Agni Purana — Agneya-vidya, Shloka 3
Chapter 40 — भूपरिग्रहो नाम
Bhū-parigraha) / अर्घ्यदानविधानम् (Arghya-dāna-vidhāna
उत्पलादिभिर्जयन्तञ्च द्विपदस्थं पताकया महेन्द्रञ्चैककोष्ठस्थं सर्वरक्तैः पदे रविं
utpalādibhirjayantañca dvipadasthaṃ patākayā mahendrañcaikakoṣṭhasthaṃ sarvaraktaiḥ pade raviṃ
Ilarawan si Jayanta na may mga lotus at iba pang katulad, nakatindig sa dalawang paa at may hawak na watawat (patākā). Ilarawan si Mahendra sa loob ng iisang bahagi (kahon). At ilarawan si Ravi (Araw) sa kanyang pada gamit ang lubos na pulang kulay.
Lord Agni (in dialogue tradition, instructing the sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Vastu","practical_application":"Guides painters/sculptors in assigning attributes, stance, panel-allocation, and color-coding for specific deities within a mandala/panel system.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Chitra-lekha: Jayanta, Mahendra, and Ravi—attributes, panel placement, and color","lookup_keywords":["Jayanta lotus","patākā banner","Mahendra panel","Ravi red color","pratimā-lakṣaṇa"],"quick_summary":"Depict Jayanta with lotus motifs and a banner in a standing posture; place Mahendra within a single compartment; render Ravi in his assigned position using fully red coloration—linking iconography to mandala placement."}
Concept: Form (ākṛti), placement (sthāna), and color (varṇa) are carriers of divine function; correct depiction is a ritual act, not mere aesthetics.
Application: When painting/sculpting for a consecrated space, follow attribute-and-color prescriptions and keep each deity within its allotted compartment/pada to maintain ritual correctness.
Khanda Section: Chitra-lekha & Pratima-Lakshana (Iconography and diagrammatic prescriptions)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A craftsman lays out compartments on a wall/diagram: Jayanta stands with lotus motifs and a banner; Mahendra is confined to one panel; Ravi is painted in vivid red in his designated position.","kerala_mural_prompt":"Kerala mural, artisan painting deity-panels, Jayanta standing with lotus garlands and patākā, Mahendra in a single framed koṣṭha, Ravi as red-hued solar figure, bold outlines and traditional ornament","tanjore_prompt":"Tanjore painting, three-panel composition with embossed gold borders, Jayanta with lotus decorations and banner, Mahendra/Indra richly jeweled in one compartment, Ravi rendered in saturated red with gold halo","mysore_prompt":"Mysore painting, clean compartmental layout, emphasis on line precision and color instruction: ‘all red’ palette for Ravi, labeled panels for Jayanta and Mahendra, workshop setting with pigments and brushes","mughal_miniature_prompt":"Mughal miniature, atelier scene with painter and assistants, compartmented wall scroll, Jayanta with banner, Indra in a framed niche, red-painted Sun figure, intricate detailing of tools and textiles"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: उत्पलादिभिर्जयन्तञ्च→उत्पल-आदिभिः जयन्तम् च; महेन्द्रञ्चैककोष्ठस्थं→महेन्द्रम् च एक-कोष्ठ-स्थम्.
Related Themes: Agni Purana: chitra-lakṣaṇa/pratimā-lakṣaṇa chapters; vāstu-pada-devatā allocation passages
FAQs
It gives practical iconographic instructions: which motifs to associate with Jayanta, how to show him (two-footed stance with a banner), how to place Mahendra in a single panel, and the canonical color prescription for Ravi (all red).
Beyond theology, it codifies applied knowledge—painting/temple-art standards (chitra, koṣṭha layout, color rules) and deity/planet identification—showing the Purana’s role as a manual for ritual culture and sacred visual design.
Following prescribed forms, placements, and colors is treated as preserving sacred order (dharma) in worship spaces; correct depiction supports proper devotion and is traditionally believed to enhance the efficacy and purity of ritual representation.