Agni Purana — Agneya-vidya, Shloka 32
Chapter 38 — देवालयनिर्माणफलं
The Merit of Constructing a Temple
प्रतिमास्थापने यागे फलस्यान्तो न विद्यते मृण्मयाद्दारुजे पुण्यं दारुजादिष्ट्काभवे
pratimāsthāpane yāge phalasyānto na vidyate mṛṇmayāddāruje puṇyaṃ dārujādiṣṭkābhave
No rito sacrificial realizado para a instalação de uma pratimā (imagem sagrada), o fruto do mérito não tem limite. O mérito de instalar uma imagem de madeira excede o de uma de barro; e o de uma imagem de tijolo ou alvenaria excede o de uma de madeira.
Lord Agni (in dialogue tradition, instructing sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Vrata","practical_application":"Selecting icon material and planning pratima-pratishtha/yajna with an understanding of graded punya attributed to different media (clay/wood/brick-masonry).","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Phala-taratamya in Pratima-sthapana by Material (Mrinmaya–Darujā–Iṣṭakā)","lookup_keywords":["pratima-sthapana","pratishtha-yajna","mrinmaya murti","darujā murti","iṣṭakā murti"],"quick_summary":"In icon-installation sacrifice, merit is declared limitless, and a hierarchy of merit is taught by icon material: earthen < wooden < brick/masonry."}
Concept: Karma-phala amplification through sacred installation; material choice participates in dharmic merit.
Application: When resources permit, prefer more enduring/ritually valued media for icons and complete installation with yajña.
Khanda Section: Puja-vidhi / Pratima-pratishtha (Icon installation and ritual procedure)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A consecration pavilion with priests performing homa while artisans present three icons—clay, wood, and brick/masonry—indicating a hierarchy of merit.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, pratishtha-yajna scene with homa-kunda, brahmin priests in white, three pratimā materials displayed (clay idol, wooden idol, brick/masonry shrine-icon), ornate temple backdrop, flat decorative detailing.","tanjore_prompt":"Tanjore painting, central consecration scene with gold-leaf aura around the installed deity, priests offering ghee into fire, side panels showing clay and wooden icons, rich jewelry and embossed gold work, temple arch framing.","mysore_prompt":"Mysore painting style, instructional composition: labeled depiction of mṛṇmaya, dāruja, iṣṭakā icons near a sanctum, clean lines, muted colors, emphasis on ritual implements (kalasha, darbha, ladles).","mughal_miniature_prompt":"Mughal miniature, courtly workshop-meets-ritual: artisans and priests around a small shrine, detailed textiles, fire altar, three icon materials arranged, fine architectural perspective and delicate faces."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairavi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: phalasyāntaḥ = phalasya + antaḥ; mṛṇmayāddāruje = mṛṇmayāt + dāruje; dārujādiṣṭkābhave read as dārujāt + iṣṭakā-bhave (orthography: iṣṭkā→iṣṭakā).
Related Themes: Agni Purana: Pratima-lakṣaṇa and Pratiṣṭhā-vidhi sections (within Puja-vidhi corpus); Agni Purana: Devalaya-nirmāṇa/mahātmya passages contiguous to 38.33–38.36
FAQs
It teaches a Pratiṣṭhā-vidhi principle: the installation-yāga yields immeasurable merit, and the material of the icon (clay < wood < brick/masonry) is graded by increasing ritual fruit.
It preserves a technical, quasi-manual rule from temple-practice—linking theology (puṇya) with material culture (icon materials and construction), showing the Purana’s coverage of ritual science alongside doctrine.
It frames icon-installation as a high-yield karmic act: performing the consecration sacrifice generates vast merit, amplified when the icon/shrine is made with more durable, formally sanctified materials.