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Agni Purana — Agneya-vidya, Shloka 35

Chapter 33 — पवित्रारोहणविधानं

The Procedure for Pavitrārohaṇa / Installing the Sacred Thread or Consecratory Amulet

मध्येग्न्यादौ च धर्माद्या अधर्मादीन्द्रमुख्यगम् फट् क्रूमिति ङ, चिह्नितपुस्तकपाठः ॐ क्षौं हः फट् क्रूमिति ङ, चिह्नितपुस्तकपाठः ज्वालामालासमप्रभमिति ङ, चिह्नितपुस्तकपाठः यथास्वमिति ख, चिह्नितपुस्तकपाठः धर्मादीनिन्द्रादौ विपरीतकानिति ङ, चिह्नितपुस्तकपाठः सत्त्वादि मध्ये पद्मञ्च मायाविद्याख्यतत्त्वके

madhyegnyādau ca dharmādyā adharmādīndramukhyagam phaṭ krūmiti ṅa, cihnitapustakapāṭhaḥ oṃ kṣauṃ haḥ phaṭ krūmiti ṅa, cihnitapustakapāṭhaḥ jvālāmālāsamaprabhamiti ṅa, cihnitapustakapāṭhaḥ yathāsvamiti kha, cihnitapustakapāṭhaḥ dharmādīnindrādau viparītakāniti ṅa, cihnitapustakapāṭhaḥ sattvādi madhye padmañca māyāvidyākhyatattvake

Sa gitna, simula kay Agni, ilagay/ituon sa pagninilay ang Dharma at iba pang mga kabutihan; at sa bahagi na nagsisimula kay Indra at sa mga pangunahing diyos, ilagay ang Adharma at ang iba pa sa baligtad na pagkakasunod. Sa ilang manuskrito, minamarkahan ang pagbasa ng mantra bilang: “phaṭ, krūṃ” at “oṃ kṣauṃ haḥ phaṭ krūṃ”; may dagdag pa: “may ningning na gaya ng kuwintas ng mga liyab” at “bawat isa sa kani-kaniyang lugar.” Sa gitna ng Sattva at iba pang guṇa, ilagay ang lotus sa tattva na tinatawag na Māyā/Vidyā.

sattva-ādi(the group) beginning with sattva
sattva-ādi:
Adhikarana (अधिकरण)
TypeNoun
Rootsattva + ādi (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; ‘आदि’समासान्तः (sattva etc.)
madhyein the middle
madhye:
Adhikarana (अधिकरण)
TypeNoun
Rootmadhya (प्रातिपदिक)
Formनपुंसकलिङ्ग, सप्तमी (7th/सप्तमी), एकवचन; स्थानवाचक (in the middle)
padmamthe lotus
padmam:
Karta (कर्ता)
TypeNoun
Rootpadma (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन
caand
ca:
Sambandha (सम्बन्ध/connector)
TypeIndeclinable
Rootca (अव्यय)
Formसमुच्चयबोधक अव्यय (conjunction)
māyā-vidyā-ākhya-tattvakein the tattva called Māyā/Vidyā
māyā-vidyā-ākhya-tattvake:
Adhikarana (अधिकरण)
TypeNoun
Rootmāyā + vidyā + ākhya + tattvaka (प्रातिपदिक)
Formनपुंसकलिङ्ग, सप्तमी (7th/सप्तमी), एकवचन; ‘मायाविद्याख्य’ = नामधेय-तत्पुरुषः (called māyā/vidyā) + ‘तत्त्वक’ (tattva-category)

Lord Agni (in the Agni Purana’s primary dialogue, narrating to Sage Vasiṣṭha)

Vidya Category: {"primary_vidya":"Tantra","secondary_vidya":"Mantra","practical_application":"Yantra/maṇḍala-vinyāsa in pūjā: placing dharma/adharma sets, guṇas, and Māyā-tattva lotus with protective bīja-mantras for nyāsa and āvaraṇa-devatā installation.","sutra_style":true}

Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Madhya-āvaraṇa nyāsa: Agni–Dharma placement, Indra–Adharma reverse, Māyā-tattva padma","lookup_keywords":["nyasa","mandala-vinyasa","dharma-adharma","maya-tattva","kṣauṃ krūṃ phaṭ"],"quick_summary":"Install Dharma etc. beginning with Agni at the center; place Adharma etc. beginning with Indra in reverse order in the outer region, sealing with phaṭ/krūṃ (and oṃ kṣauṃ haḥ phaṭ krūṃ). Visualize a flame-garland radiance and place the lotus within Māyā/vidyā-tattva amid the guṇas."}

Concept: Tattva-nyāsa: mapping ethical polarities (dharma/adharma), guṇas, and Māyā/vidyā onto a ritual cosmogram to align microcosm and macrocosm.

Application: Use the mapped placements as a meditative scaffold during pūjā to stabilize visualization, mantra-japa, and protective sealing of the ritual space.

Khanda Section: Puja-vidhi / Yantra-Mantra-Nyasa (Tantric ritual placement in a mandala/yantra)

Primary Rasa: adbhuta

Secondary Rasa: shanta

Visual Art Cues: {"scene_description":"A luminous yantra/mandala with a central Agni and Dharma-set, outer ring showing Indra-led deities with Adharma-set in reverse order, a central lotus seated within Māyā-tattva, all encircled by a garland of flames; bīja syllables inscribed at nodes.","kerala_mural_prompt":"Kerala temple mural of a geometric mandala: central Agni in red-gold flames, lotus within a dark-blue Māyā field, surrounding dikpāla-like figures with Sanskrit bīja inscriptions, thick outlines, mineral pigments, flame-garland border.","tanjore_prompt":"Tanjore painting focusing on the central lotus and Agni: embossed gold foil flame-garland halo, gem-like highlights, concentric āvaraṇas labeled with Dharma/Adharma, Indra at a cardinal sector, rich reds and greens.","mysore_prompt":"Mysore style instructional yantra plate: clean linework mandala with labeled compartments (Agni/Dharma, Indra/Adharma viparīta), subtle shading, small deity vignettes, clear bīja text ‘oṃ kṣauṃ haḥ phaṭ krūṃ’.","mughal_miniature_prompt":"Mughal miniature of a ritualist viewing a mandala on cloth: precise geometry, delicate flames around the border, tiny deity figures in compartments, calligraphic bīja syllables, courtly palette and fine detailing."}

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

Sandhi Resolution Notes: Verse text contains extensive manuscript notes/mantra fragments; analyzable pāda here: “sattvādi madhye padmañ ca māyāvidyākhyatattvake”. Sandhi: sattvādi = sattva+ādi; padmañca = padmam+ca; māyāvidyākhyatattvake = māyā+vidyā+ākhya+tattvake.

Related Themes: Agni Purana 33 (yantra-mantra-nyāsa sequence); Agni Purana sections on mantra-bīja and āvaraṇa-devatā nyāsa (adjacent verses 33.36–33.39)

A
Agni
D
Dharma
A
Adharma
I
Indra
S
Sattva
M
Māyā (Vidyā-tattva)
P
Padma (lotus mandala)

FAQs

It teaches yantra/mandala placement (nyāsa/vinyāsa): arranging Dharma and related principles around Agni, placing Adharma and its set with Indra-led deities in reverse order, and using protective bīja-mantras (phaṭ, krūṃ, kṣauṃ, haḥ) while visualizing a flaming radiance and a central lotus in the Māyā/vidyā-tattva.

Beyond narrative theology, it preserves technical tantric liturgy—precise spatial sequencing, mantra variants across manuscripts, and metaphysical mapping (guṇas and tattvas) onto a ritual diagram—showing the Agni Purana as a compendium of applied ritual science.

Correct placement with protective bījas is presented as a means of purification and safeguarding the rite: ordering virtues and their opposites symbolically disciplines the practitioner’s inner qualities while establishing a protected sacred space for worship and attainment.