Agni Purana — Sahitya-shastra, Shloka 46
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
कर्णिकायां लिखेदेकं द्वे द्वे दिक्षु विदिक्षु च प्रवेशनिर्गमौ दिक्षु कुर्यादष्टच्छदे ऽम्बुजे
karṇikāyāṃ likhedekaṃ dve dve dikṣu vidikṣu ca praveśanirgamau dikṣu kuryādaṣṭacchade 'mbuje
کرنیکا (مرکزی حصے) میں ایک نشان/حرف لکھے؛ اور اصلی و ذیلی سمتوں میں دو دو لکھے۔ آٹھ پنکھڑی والے کنول میں سمتوں کے مطابق داخلہ اور خروج بھی مرتب کرے۔
Lord Agni (teaching to sage Vasiṣṭha in the Agni Purāṇa’s instructional discourse)
Vidya Category: {"primary_vidya":"Tantra","secondary_vidya":"Mantra","practical_application":"Construction of an aṣṭadala-padma (eight-petalled lotus) yantra/maṇḍala for pūjā, specifying bindu/akṣara placement in the karṇikā and directional petal-marking with prescribed entry/exit points for ritual movement and prāṇa/śakti circulation.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Aṣṭadala-padma yantra: karṇikā-akṣara, dik/vidik marking, and praveśa-nirgama","lookup_keywords":["aṣṭadala padma","karṇikā lekhana","dik vidik nyāsa","praveśa nirgama","yantra pūjā-vidhi"],"quick_summary":"Place a single central mark/seed in the pericarp, mark pairs in the eight directions, and define directional entrances/exits on the eight-petalled lotus to regulate ritual approach and circulation."}
Concept: Dik-niyama (directional order) and madhya-bindu (central principle) as the organizing logic of āvaraṇa-pūjā.
Application: Use strict orientation and defined gateways to avoid ritual errors (doṣa) and to maintain consistent nyāsa/āvaraṇa sequencing.
Khanda Section: Yantra-Mantra & Puja-Vidhi (Tantric diagram construction / lotus-maṇḍala)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A ritual diagram is being drawn: an eight-petalled lotus with a central pericarp mark, directional petals annotated with paired marks, and small gateway symbols indicating entry and exit aligned to the cardinal directions.","kerala_mural_prompt":"Kerala temple mural aesthetic, flat yet rich colors, priest-sage drawing an aṣṭadala lotus yantra on a clean floor with rice-powder lines, clear dik/vidik markers, minimal background, sacred calm","tanjore_prompt":"Tanjore style, gold-leaf accents on the lotus petals and central karṇikā, ornate border, ritual implements (kalaśa, dīpa) beside the yantra, strong symmetry and frontal clarity","mysore_prompt":"Mysore painting style, fine linework emphasizing geometric precision of the lotus-maṇḍala, labeled directions in small Devanagari, instructional composition with subdued palette","mughal_miniature_prompt":"Mughal miniature, top-down view of a scholar-priest drafting the lotus diagram on paper, delicate calligraphy for directional notes, architectural interior with patterned carpet, meticulous geometry"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairav","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: लिखेदेकम् = लिखेत् + एकम्; अष्टच्छदेऽम्बुजे = अष्टच्छदे + अम्बुजे (अ + अ → ’).
Related Themes: Agni Purana 342 (yantra-mantra, padma-maṇḍala context)
FAQs
It gives a precise rule for constructing an eight-petalled lotus (aṣṭadala-padma) maṇḍala/yantra: place one inscription in the central pericarp, place pairs of inscriptions in each direction (cardinal and intercardinal), and designate directional entry/exit points for ritual movement or installation.
Beyond narrative theology, it preserves applied ritual technology—diagrammatic geometry, directional layout (dik/vidik), and procedural logistics (entry/exit)—showing the Agni Purāṇa as a manual that spans liturgy, sacred architecture principles, and tantric-style maṇḍala practice.
Correct directional placement and controlled entry/exit in a lotus-maṇḍala are meant to maintain ritual purity, concentrate the deity’s presence in the center, and ensure the rite proceeds without directional faults (dik-doṣa), supporting auspicious results and merit from properly executed worship.