नैमिषं च कुरुक्षेत्रं गंगाद्वारमवंतिका । अयोध्या मथुरा चैव द्वारकाप्यमरावती
naimiṣaṃ ca kurukṣetraṃ gaṃgādvāramavaṃtikā | ayodhyā mathurā caiva dvārakāpyamarāvatī
وكذلك نيميṣa (Naimiṣa) وكوروكشيترا (Kurukṣetra)؛ وغانغادفارا (Gaṅgādvāra/هاريدفارا) وأفانتيكا (Avantikā/أوجّاييني)؛ وأيودھيا (Ayodhyā) وماثورا (Mathurā)؛ وأيضًا دواركا (Dvārakā) وأمارافاتي (Amarāvatī)—كلّها مشاهدُ مقدّسةٌ مشهورةٌ متّصلةٌ بالتحرّر.»
Skanda (deduced from Kāśīkhaṇḍa dialogue context)
Tirtha: Naimiṣa; Kurukṣetra; Gaṅgādvāra; Avantikā; Ayodhyā; Mathurā; Dvārakā; Amarāvatī
Type: kshetra
Listener: Frame-listener (often Pārvatī)
Scene: A ‘garland of tīrthas’ montage: forest hermitages of Naimiṣa, the wide plains of Kurukṣetra, Gaṅgā descending at Haridvāra, Ujjain’s Śaiva skyline, Ayodhyā’s royal ghāṭs, Mathurā’s Yamunā banks, Dvārakā’s sea-walls, and a faint celestial Amarāvatī above.
The Purāṇa frames India’s sacred landscape as a network of muktisthānas where pilgrimage supports dharma and liberation.
Multiple: Naimiṣa, Kurukṣetra, Haridvāra, Ujjain, Ayodhyā, Mathurā, Dvārakā, and Amarāvatī.
No single ritual is specified; the implication is tīrtha-yātrā and customary practices like snāna, darśana, and dāna at these sites.