Agni Purana — Mantra-shastra, Shloka 13
Chapter 306 — त्रैलोक्यमोहनमन्त्राः
Mantras for Enchanting the Three Worlds
कर्मादिकल्पिते पीठे पद्मस्थं गरुडोपरि मर्वाङ्गसुन्दरं प्राप्तवयोलावण्ययौवनं
karmādikalpite pīṭhe padmasthaṃ garuḍopari marvāṅgasundaraṃ prāptavayolāvaṇyayauvanaṃ
কর্মাদি বিধি অনুসাৰে কল্পিত পীঠত, গৰুড়ৰ ওপৰত পদ্মাসনস্থ (দেৱতা)-ক ধ্যান কৰিব—যি সৰ্বাঙ্গসুন্দৰ আৰু পূৰ্ণ বয়সৰ কান্তি, লাবণ্য আৰু যৌৱন-তেজেৰে যুক্ত।
Lord Agni (instructing sage Vasiṣṭha in dhyāna/ritual visualization, typical Agni Purana dialogue frame)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Puja-vidhi","practical_application":"Dhyāna for worship: visualize the deity on a ritually prepared pīṭha, seated on a lotus above Garuḍa, with idealized youthful beauty—supporting accurate iconographic meditation and subsequent pūjā.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Dhyāna-mūrti: Lotus-seated deity above Garuḍa on a ritual pīṭha, youthful and limb-perfect","lookup_keywords":["pitha","padmastha","garuda","dhyana-murti","lavanya-yauvana"],"quick_summary":"For meditation and worship, construct a proper seat (pīṭha) and visualize the deity lotus-seated above Garuḍa, possessing symmetrical beauty and youthful radiance—an iconographic template for dhyāna."}
Alamkara Type: Rupaka (idealized embodiment of youth/beauty as a visualized form)
Concept: Dhyāna as a bridge between inner vision and outer worship; form (rūpa) stabilizes devotion and concentration.
Application: Use a consistent iconographic mental image (āsana, vāhana, bodily perfection) to prevent distraction during japa and pūjā.
Khanda Section: Puja-vidhi / Dhyana-yoga (Iconography and meditative visualization)
Primary Rasa: shringara
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A ritually arranged pedestal (pīṭha) with a lotus throne; above/with Garuḍa as vāhana, the deity sits lotus-seated, perfectly proportioned, youthful and radiant.","kerala_mural_prompt":"Kerala mural, Viṣṇu lotus-seated with Garuḍa beneath/behind, ornate pīṭha and lotus, strong outlines, saturated greens/reds, symmetrical limb beauty emphasized.","tanjore_prompt":"Tanjore painting, Viṣṇu on lotus throne with Garuḍa, heavy gold foil on jewelry and halo, rich textiles, pīṭha rendered with embossed gold work.","mysore_prompt":"Mysore painting, refined iconographic clarity: pīṭha, lotus seat, Garuḍa placement, youthful facial features, delicate shading and crisp ornament details.","mughal_miniature_prompt":"Mughal miniature, courtly refinement: deity on lotus pedestal with Garuḍa, intricate feather and textile detailing, luminous youthful complexion, architectural niche framing the scene."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Madhyamavati","pace":"medium","voice_tone":"devotional"}
Sandhi Resolution Notes: karmādikalpite → karma-ādi-kalpite; garuḍopari → garuḍa-upari; marvāṅgasundaraṃ → marva-aṅga-sundaram; prāptavayolāvaṇyayauvanaṃ → prāpta-vayaḥ-lāvaṇya-yauvanam.
Related Themes: Agni Purana 306 (dhyāna and pūjā sequence)
FAQs
It teaches a dhyāna-protocol for worship: prepare the ritual seat (pīṭha) per prescribed rites and meditate on the deity in padmāsana, positioned above Garuḍa, with idealized auspicious bodily marks (sarvāṅga-saundarya, lāvaṇya, yauvana).
Beyond mythology, it preserves practical liturgical technology—how to structure visualization (dhyāna) and iconographic placement (pīṭha, padma, Garuḍa) used in temple and household worship, reflecting the Purana’s broad coverage of ritual science.
Correct dhyāna aligned with ritual prescription (karma-vidhi) is held to purify intention and stabilize devotion; visualizing the deity in an auspicious, perfected form supports concentration, merit (puṇya), and inner refinement.