Agni Purana — Raja-dharma, Shloka 4

Chapter 229 — शकुनानि (Śakuna: Omens)

Devanagari script

तुषभस्मकपालास्थिभिन्नभाण्डमशस्तकं अशस्तो वाद्यशब्दश् च भिन्नभैरवझर्झरः

Transliteration

tuṣabhasmakapālāsthibhinnabhāṇḍamaśastakaṃ aśasto vādyaśabdaś ca bhinnabhairavajharjharaḥ

Translation

Cascas (de grão), cinza, crânios e ossos, e recipientes quebrados—tudo isso é inauspicioso. Do mesmo modo, são inauspiciosos os sons de instrumentos musicais, e o clamor áspero, “quebrado”, do tambor bhairava e do jharjhara (chocalho/instrumento tipo címbalo).

Word by Word

• तुष-भस्म-कपाल-अस्थि-भिन्न-भाण्ड-अशस्तकम्: a broken vessel with husk, ash, skull, bones, etc. (an inauspicious object)
• तुष-भस्म-कपाल-अस्थि-भिन्न-भाण्ड-अशस्तकम्: Karma (कर्म)
• Type: Noun
• Root: तुष (प्रातिपदिक) + भस्म (प्रातिपदिक) + कपाल (प्रातिपदिक) + अस्थि (प्रातिपदिक) + भिन्न (कृदन्त; भिद्-धातु) + भाण्ड (प्रातिपदिक) + अशस्तक (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, प्रथमा/द्वितीया (1/2), एकवचन; बहुपद-तत्पुरुष-समास (neuter nom/acc sg)

• अशस्तः: inauspicious
• अशस्तः: Karta (कर्ता)
• Type: Adjective
• Root: अशस्त (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा (1), एकवचन; विशेषण (masc nom sg)

• वाद्य-शब्दः: sound of musical instruments
• वाद्य-शब्दः: Karta (कर्ता)
• Type: Noun
• Root: वाद्य (प्रातिपदिक) + शब्द (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा (1), एकवचन (masc nom sg)

• च: and
• च: Sambandha (सम्बन्ध)
• Type: Indeclinable
• Root: च (अव्यय)
• Form: समुच्चयार्थक-अव्यय (conjunction)

• भिन्न-भैरव-झर्झरः: a broken ‘bhairava-jharjhara’ (a kind of drum/rattle)
• भिन्न-भैरव-झर्झरः: Karta (कर्ता)
• Type: Noun
• Root: भिन्न (कृदन्त; भिद्-धातु) + भैरव (प्रातिपदिक) + झर्झर (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा (1), एकवचन; तत्पुरुष-समास (masc nom sg)

Speaker

Lord Agni (narrating to Sage Vasiṣṭha in the Agni Purana’s instructional dialogue frame)

Vidya Category

Vidya Category: {"primary_vidya":"Jyotisha","secondary_vidya":"Dharmashastra","practical_application":"Omen-reading in ritual space: identify inauspicious materials (husks, ash, bones, broken vessels) and disruptive sounds; decide to halt, purify, or perform śānti before proceeding.","sutra_style":true}

Encyclopedic Reference

Encyclopedic Reference: {"reference_type":"List","entry_title":"Aśubha-nimitta: Husks, Ash, Skulls/Bones, Broken Vessels; Inauspicious Instrument Sounds (Bhairava-drum, Jharjhara)","lookup_keywords":["aśubha-nimitta","kapāla","asthi","bhagna-bhāṇḍa","vādyāśabda"],"quick_summary":"Broken/impure remnants and harsh, fractured instrument sounds are treated as inauspicious signs in ritual contexts; they signal disturbance requiring postponement or pacification rites."}

Philosophical Teaching

Concept: Ritual efficacy depends on integrity (akhaṇḍatā) of vessels/materials and harmonious sound; brokenness/discord signifies disorder (doṣa) needing correction.

Application: Replace broken vessels, remove ash/husks/bone-like impurities, and restore auspicious sound (maṅgala-vādya); perform śānti/japa if harsh sounds arise at commencement.

Khanda Section

Khanda Section: Ritual Impurity Omens (Aśubha-lakṣaṇa) / Śakuna-śāstra (Omens in ritual and daily life)

Verse Rasa

Primary Rasa: bhayanaka

Secondary Rasa: bibhatsa

Visual Art Cues

Visual Art Cues: {"scene_description":"A ritual courtyard with scattered husks and ash, a broken pot, skull-and-bone symbols indicating impurity; nearby musicians produce harsh, fractured sounds from a bhairava drum and a jharjhara, while the priest signals to stop and purify.","kerala_mural_prompt":"Kerala mural: dramatic temple courtyard, broken vessels and ash rendered symbolically, musicians with bhairava-drum and jharjhara, priest raising hand to halt; strong contours, earthy palette, rhythmic decorative borders.","tanjore_prompt":"Tanjore: temple interior with gold-highlighted pillars; broken pot and ash in foreground contrasted with gleaming ritual items; musicians at side with drum and rattle; gold work emphasizes sacred order vs inauspicious debris.","mysore_prompt":"Mysore painting: instructional depiction—two panels: (1) inauspicious materials (tūṣa, bhasma, kapāla, asthi, bhinna-bhāṇḍa) (2) inauspicious sounds (bhairava-jharjhara); fine lines, clear labeling, calm didactic layout.","mughal_miniature_prompt":"Mughal miniature: lively yet tense scene with musicians, detailed instruments, broken pottery shards, ash and husks; officiant and patrons reacting; architectural precision, nuanced expressions, illuminated margins."}

Audio Atmosphere

Audio Atmosphere: {"recitation_mood":"epic","suggested_raga":"Bhairav","pace":"medium","voice_tone":"instructional"}

Sandhi Resolution Notes

Sandhi Resolution Notes: कपालास्थि = कपाल + अस्थि (स्वर-सन्धि); भिन्नभाण्डमशस्तकम् = भिन्नभाण्डम् + अशस्तकम् (समास/पदसंयोग); वाद्यशब्दश् च = वाद्यशब्दः + च (विसर्गस्य शकारादेशः परे ‘च’)

Cross References

Related Themes: Agni Purana 229: continuing śakuna catalogues and any prescribed śānti responses (contextual); Agni Purana: Puja-vidhi sections on proper vessels and purity of upacāras (thematic)

Characters & Entities

• Bhairava (as a drum/instrument-name and Bhairava-associated sound)

FAQs

What technical or ritual knowledge (Vidya) is imparted in this verse?

It lists aśubha-nimittas (inauspicious signs) relevant to ritual context—impure materials (ash, bones, skulls), broken utensils, and discordant/harsh instrument sounds—indicating conditions to avoid or rectify before worship and ceremonies.

How does this verse contribute to the 'Encyclopedic' nature of the Agni Purana?

Beyond theology, it preserves applied śakuna-śāstra and ritual pragmatics—how to read environmental and auditory signs (objects and sounds) as indicators of auspiciousness—showing the Purana’s broad coverage of lived religious practice.

What is the spiritual or karmic significance of this specific instruction?

Avoiding or correcting such inauspicious signs protects the rite from impurity and obstruction (vighna), supporting a clean, auspicious performance believed to yield steadier religious merit (puṇya) and fewer adverse outcomes.