Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 16
Chapter 52: देवीप्रतिमालक्षणं (Devī-pratimā-lakṣaṇa) — Characteristics of Goddess Images
चण्डिका सशहस्ता स्यात् खड्गशूलारिशक्तिधृक् दक्षे वामे नागपाशं चर्माग्कुशकुठारकं धनुः सिंहे च महिषः शूलेन प्रहतोग्रतः
caṇḍikā saśahastā syāt khaḍgaśūlāriśaktidhṛk dakṣe vāme nāgapāśaṃ carmāgkuśakuṭhārakaṃ dhanuḥ siṃhe ca mahiṣaḥ śūlena prahatogrataḥ
Caṇḍikā hendaklah digambarkan bertangan enam, memegang pedang, lembing, dan śakti (lembing lontar pemusnah musuh). Pada tangan kanan dan kiri, baginda memegang jerat ular, perisai, aṅkuśa (cangkuk penggiring), kapak kecil, dan busur; baginda menunggang singa, dan di hadapan seekor kerbau ditampilkan rebah dipukul oleh triśūla baginda.
Lord Agni (narrating iconographic injunctions to Vasiṣṭha, per the Agni Purāṇa’s usual dialogue frame)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Vrata","practical_application":"Durga/Caṇḍikā mūrti-nirmāṇa and pūjā-vidhi: selecting correct āyudha, vāhana, and narrative adjunct (Mahīṣāsura-vadha) for temple icons, yantra-pūjā images, and festival processional mūrtis.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Caṇḍikā (Ṣaḍbhuja) mūrti-lakṣaṇa with Mahīṣāsura-vadha vignette","lookup_keywords":["Caṇḍikā","ṣaḍbhuja","āyudha","siṃha-vāhana","Mahīṣāsura-vadha"],"quick_summary":"Depict Caṇḍikā with six hands holding specified weapons and implements, mounted on a lion, with the buffalo-demon shown struck by her trident in the foreground—an iconographic checklist for correct installation and worship."}
Weapon Type: Sword, trident/spear, śakti (javelin), bow; plus goad and axe as close-combat/command implements
Concept: Sākāra-upāsanā: the deity’s powers are contemplated through precise form (rūpa), weapons (āyudha), and victory narrative (asura-vadha).
Application: Use the described form for dhyāna, prāṇa-pratiṣṭhā, and festival iconography so worship aligns with śāstric lakṣaṇa.
Khanda Section: Puja-vidhi / Devi-iconography (Murti-lakshana)
Primary Rasa: vīra
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Caṇḍikā/Durgā with six arms on a lion, holding sword, trident/spear, śakti-javelin, serpent-noose, shield, goad/axe/bow (as per local convention), with Mahīṣa (buffalo) in front pierced/struck by her śūla; dynamic battle-victory tableau.","kerala_mural_prompt":"Kerala temple mural style, flat yet vivid pigments, Caṇḍikā ṣaḍbhuja on siṃha, ornate jewelry, lotus-like eyes, Mahīṣa in foreground struck by śūla, dense floral borders, traditional red-green-gold palette, sacred aura halo","tanjore_prompt":"Tanjore painting, central Caṇḍikā on lion, heavy gold foil work on crown and ornaments, embossed prabhāmaṇḍala, weapons clearly separated in hands, Mahīṣa subdued in front, rich maroon background, temple-arch frame","mysore_prompt":"Mysore painting, refined linework, soft shading, clear labeling-like clarity of each āyudha, balanced composition with Mahīṣa in front, delicate gold highlights, instructional iconography feel","mughal_miniature_prompt":"Mughal miniature, detailed battle vignette, Caṇḍikā on lion with multiple arms rendered precisely, Mahīṣa collapsing in foreground, fine textiles and weapon detailing, naturalistic landscape backdrop, crisp outlines and jewel tones"}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavī","pace":"medium","voice_tone":"devotional"}
Sandhi Resolution Notes: saśahastā → sa-hastā (bahuvrīhi with saha- as first member); carmāgkuśakuṭhārakaṃ → carma-aṅkuśa-kuṭhārakaṃ; prahatogrataḥ → prahataḥ ugrataḥ.
Related Themes: Agni Purāṇa: Devī-mūrti-lakṣaṇa / pūjā-vidhi sections contiguous to ch. 52; Agni Purāṇa: Śakti/Devī stotra and navarātra-related vrata passages (elsewhere in the text)
FAQs
It gives mūrti-lakṣaṇa (iconographic specification) for Caṇḍikā—number of hands, weapons/implements, her lion mount, and the placement of the slain buffalo (Mahiṣa) in the composition—used for crafting icons and conducting correct temple worship.
Beyond mythic narration, the Agni Purāṇa preserves practical śāstric detail—here, standardized visual theology for sculpture and ritual (pratimā/arcā practice). This places the text alongside manuals of iconography and temple procedure, illustrating its wide-ranging, encyclopedic scope.
Correctly forming and worshipping the deity according to śāstric marks is traditionally held to make the worship ‘yathāvidhi’ (in due form), strengthening devotional focus and ensuring the intended religious merit (puṇya) and protection associated with Caṇḍikā/Durgā.