Agni Purana — Agneya-vidya, Shloka 18
The Description of the Sarvatobhadra Maṇḍala (सर्वतोभद्रमण्डलकथनम्)
तद्वद्विपर्यये कुर्यादुपशोभां ततः परम् कोणस्यान्तर्वहिस्त्रीणि चिन्तयेद्द्विर्विभेदतः अरकान् पीतरक्ताभिः श्यामान् नेमिन्तु रक्ततः सितश्यामारुणाः कृष्णाः पीता रेखास्तु वाह्यतः
tadvadviparyaye kuryādupaśobhāṃ tataḥ param koṇasyāntarvahistrīṇi cintayeddvirvibhedataḥ arakān pītaraktābhiḥ śyāmān nemintu raktataḥ sitaśyāmāruṇāḥ kṛṣṇāḥ pītā rekhāstu vāhyataḥ
అదేవిధంగా విపరీత క్రమంలో కూడా తరువాత ఉపశోభను నిర్వహించాలి. కోణ భాగంలో లోపల మరియు బయట మూడు మూడు రేఖలను రెండు విధాల భేదంతో భావించాలి. ‘అరక’ భాగాలను పసుపు-ఎరుపు రంగులతో నింపాలి; శ్యామ భాగాలను కూడా అలాగే; కానీ నేమి (అంచు) ఎరుపుగా ఉండాలి. తెలుపు, శ్యామ, అరుణ, నలుపు రంగాలు వాడాలి; బయట అతి రేఖలు పసుపుగా ఉండాలి.
Lord Agni (instructing the sage Vasiṣṭha in the Agni Purana’s encyclopedic teachings)
Vidya Category: {"primary_vidya":"Vastu","secondary_vidya":"Tantra","practical_application":"Alternative (reverse) layout and multi-band color scheme for corner/angle segments, spokes (araka), and rim (nemi) in mandala/yantra rendering.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Viparyaya-upaśobhā: koṇa-bandha, araka, nemi varṇa-krama","lookup_keywords":["viparyaya","upaśobhā","araka","nemi","pīta-rakta"],"quick_summary":"Execute the embellishment also in reverse arrangement; conceive triple bands inside and outside the corner with twofold differentiation; paint arakas yellow-red, rim red, and apply specified mixed tones with outermost lines in yellow."}
Concept: Symmetry (including reversal) and differentiated boundaries (bands/rims) create a controlled sacred space in visualization.
Application: Guides practitioners to render variant mandala layouts without breaking canonical color/band constraints.
Khanda Section: Vastu-Shastra / Yantra-Mandala-Lakshana (Iconography & diagrammatic visualization)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A mandala corner showing inner and outer triple bands, with spoke-like arakas painted yellow-red, a red rim (nemi), and outermost boundary lines in yellow; additional segments show white, dark-blue, tawny-red, black accents.","kerala_mural_prompt":"Kerala mural style, close-up of a mandala corner with three concentric bands inside and outside, arakas in yellow-red, rim in red, outermost lines yellow, accents of white, deep blue, tawny red, and black, strong contour lines","tanjore_prompt":"Tanjore style, geometric corner detail enlarged, gold outlining on bands and rim, arakas filled yellow-red, red nemi, outer yellow lines, jewel-like color blocks with ornate border","mysore_prompt":"Mysore style, instructional plate showing ‘reverse arrangement’ with arrows, triple bands labeled, arakas yellow-red, nemi red, outermost lines yellow, subtle shading and clean geometry","mughal_miniature_prompt":"Mughal miniature, diagram sheet with corner-bands and rim, pigments in small bowls, arakas colored yellow-red, red rim, yellow outer lines, fine penwork and marginal annotations"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: tadvadviparyaye = tadvat + viparyaye; kuryādupaśobhām = kuryāt + upaśobhām; koṇasyāntarvahiḥ = koṇasya + antarvahiḥ; cintayeddvirvibhedataḥ = cintayet + dviḥ + vibhedataḥ; nemintu = nemim + tu; rekhāstu = rekhāḥ + tu.
Related Themes: Agni Purana 29.16-29.17 (upaśobhā and triangle/cakra coloration); Agni Purana 29.19 (materials for pigments)
FAQs
It gives a technical specification for yantra/maṇḍala drafting—how to arrange inner/outer corner divisions and which colors to assign to segments (araka), the rim (nemi), and outer lines.
Beyond mythic narration, it preserves applied shastric detail—diagram construction, visualization, and color-coding—typical of Vastu/ritual-arts manuals embedded inside the Purana.
Correctly formed and colored ritual diagrams are traditionally held to stabilize visualization and ensure the rite’s efficacy, aligning the practitioner’s intention with the intended deity/energy pattern.