Agni Purana — Raja-dharma, Shloka 2
Abhiṣeka-mantrāḥ
Consecration Mantras
सुरास्त्वामभिषिञ्चन्तु ब्रह्मविष्णुमहेश्वराः वासुदेवः सङ्कर्षणः प्रद्युम्नश्चानिरुद्धकः
surāstvāmabhiṣiñcantu brahmaviṣṇumaheśvarāḥ vāsudevaḥ saṅkarṣaṇaḥ pradyumnaścāniruddhakaḥ
愿诸天为汝行灌顶：梵天、毗湿奴与大自在天；并愿婆苏提婆、僧羯沙那、普罗丢摩那与阿尼卢陀亦为汝灌顶。
Lord Agni (instructing sage Vasiṣṭha in ritual procedure)
Vidya Category: {"primary_vidya":"Mantra","secondary_vidya":"Stotra","practical_application":"Recite as an abhiṣeka-invocation to call Brahmā–Viṣṇu–Maheśvara and the Vyuha forms (Vāsudeva, Saṅkarṣaṇa, Pradyumna, Aniruddha) to empower and legitimize the consecrated person/image.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Mantra","entry_title":"Abhiṣeka-āhvāna of Trimūrti and Caturvyūha","lookup_keywords":["Brahmā","Viṣṇu","Maheśvara","caturvyūha","abhisheka-mantra"],"quick_summary":"The mantra frames consecration as a divine anointing by the Trimūrti and the four Vyūhas, invoking comprehensive cosmic authority for protection and success."}
Concept: Consecration is not merely human ceremony; it is construed as deva-kṛta abhiṣeka—divine sanction through invoked presences.
Application: In pūjā/installation, mentally place these deities around the kumbha and the consecrand, aligning the rite with Vaiṣṇava theology (vyūha) while honoring broader Purāṇic ecumenism (Trimūrti).
Khanda Section: Puja-vidhi (Abhisheka and Mantra for Deity Consecration)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A consecration moment where the Trimūrti and the four Vyūhas are envisioned above/around the consecrated figure, as if pouring sanctifying waters and blessings.","kerala_mural_prompt":"Kerala mural, layered divine assembly: Brahmā with four faces, Viṣṇu with conch-disc, Maheśvara with trident, and four Vyūhas in Vaiṣṇava regalia, all bestowing abhiṣeka over a central seated king/deity, glowing halos, temple lamps","tanjore_prompt":"Tanjore, central consecrand with large gold halo; above, Trimūrti and four Vyūhas in a tiered composition, heavy gold work on crowns and ornaments, kalasha motifs, rich jewel tones","mysore_prompt":"Mysore style, clean iconographic clarity: depict each deity with key attributes (Brahmā kamaṇḍalu/veda, Viṣṇu śaṅkha-cakra, Śiva triśūla/ḍamaru; Vyūhas with Vaiṣṇava emblems), arranged symmetrically around abhiṣeka scene","mughal_miniature_prompt":"Mughal miniature, courtly consecration with subtle divine apparitions in clouds: Trimūrti and four Vyūhas hovering, delicate detailing, architectural pavilion, attendants and priests, restrained palette with fine gold accents"}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"devotional"}
Sandhi Resolution Notes: surās tvām abhiṣiñcantu → surāḥ tvām abhiṣiñcantu; brahmaviṣṇumaheśvarāḥ treated as enumeration: brahmā viṣṇuḥ maheśvaraḥ; pradyumnaś cāniruddhakaḥ → pradyumnaḥ ca aniruddhakaḥ
Related Themes: Agni Purana 219 (Abhiṣeka-mantrāḥ); Agni Purana sections on Viṣṇu worship and mantra-kalpa (various chapters)
FAQs
It provides an Abhiṣeka (ritual anointing/consecration) invocation, calling major deities and the Vaiṣṇava Caturvyūha to sanctify the worshipped form during installation or ceremonial bathing.
It exemplifies the text’s practical ritual manual aspect (pūjā-vidhi), integrating broad Purāṇic theology (Trimūrti) with sectarian doctrinal structure (Caturvyūha), showing how doctrine is operationalized in temple and household rites.
Invoking these divine powers for Abhiṣeka is understood to purify the rite, confer auspiciousness and protection, and establish the deity’s presence (pratiṣṭhā) so the worship yields stable religious merit (puṇya).