Agni Purana — Bhuvanakosha & Tirtha-mahatmya, Shloka 4
Chapter 116 — गयायात्राविधिः (Gayā-yātrā-vidhiḥ) | The Procedure for the Gayā Pilgrimage
प्रात इति क मध्याह्ने सरसीति ग मुच्यते भयादिति छ , झ च बलिं काकशिलायाञ्च कुमारञ्च नमेत्ततः स्वर्गद्वार्यां सोमकुण्डे वायुतीर्थे ऽथ पिण्डदः
prāta iti ka madhyāhne sarasīti ga mucyate bhayāditi cha , jha ca baliṃ kākaśilāyāñca kumārañca namettataḥ svargadvāryāṃ somakuṇḍe vāyutīrthe 'tha piṇḍadaḥ
„Am Morgen“ —gekennzeichnet durch ‘ka’; „zur Mittagszeit“ —gekennzeichnet durch ‘ga’; und beim Rezitieren der Formel „man wird von Furcht befreit“ —gekennzeichnet durch ‘cha’ und ‘jha’. Danach soll man ein bali (Speiseopfer) darbringen, sich vor dem heiligen Ort Kākaśilā und vor Kumāra verneigen; sodann soll man bei Svargadvārā, am Somakuṇḍa und am Vāyutīrtha piṇḍas (Toten-Reisbälle des śrāddha) darbringen.
Lord Agni (in dialogue framework, instructing Sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Dharmashastra","secondary_vidya":"Vrata","practical_application":"Timing-coded pilgrimage and śrāddha procedure: perform specified recitations at morning/midday with phonetic markers, offer bali, bow at named sacred spots, and perform piṇḍa-dāna at designated tīrthas.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Tīrtha-śrāddha sequence: bali, namaskāra, and piṇḍa-dāna at Svargadvārā–Somakuṇḍa–Vāyutīrtha","lookup_keywords":["tīrtha-śrāddha","bali","piṇḍa-dāna","Svargadvārā","Somakuṇḍa"],"quick_summary":"The verse gives a stepwise śrāddha itinerary: time-specific recitation markers, bali offering, salutations at Kākaśilā and Kumāra, then piṇḍa offerings at Svargadvārā, Somakuṇḍa, and Vāyutīrtha."}
Concept: Pitṛ-yajña through tīrtha-śrāddha: dharma is enacted via correct time (kāla), place (deśa), and act (karma) coordination.
Application: Follow a disciplined itinerary: observe purity rules, perform offerings in prescribed order, and treat phonetic/time markers as mnemonic aids for correct performance.
Khanda Section: Tirtha-yatra & Shraddha-vidhi (Pilgrimage rites and offering of piṇḍa/bali)
Primary Rasa: shanta
Secondary Rasa: bhakti
Type: Tirtha
Visual Art Cues: {"scene_description":"A pilgrim performs morning and midday rites by a lakeside (sarasi), offers bali on a stone platform, bows at a rock shrine labeled Kākaśilā and a Kumāra shrine, then proceeds to three tīrthas—Svargadvārā, Somakuṇḍa, Vāyutīrtha—placing piṇḍas near water.","kerala_mural_prompt":"Kerala mural, sequential panels: morning by lotus lake, bali offering on stone, namaskāra to Kākaśilā rock and Kumāra shrine, then piṇḍa-dāna at three labeled tirthas, stylized water and temple lamps, serene palette.","tanjore_prompt":"Tanjore style with gold accents on shrine arches and ritual vessels, devotee offering bali and piṇḍas, rich textile details, inscriptions of Svargadvārā and Somakuṇḍa, devotional calm.","mysore_prompt":"Mysore painting emphasizing procedural clarity: time markers (morning/midday), mantra syllable cues (ka/ga/cha/jha) shown as small calligraphic labels, neat depiction of bali and piṇḍa placement at each tirtha.","mughal_miniature_prompt":"Mughal miniature travel-scene: pilgrim entourage moving between distinct water bodies and shrines, fine architectural pavilions for Svargadvārā and Somakuṇḍa, delicate rendering of offerings on leaf plates, soft naturalistic landscape."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairavi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: सरसीति = सरसि + इति; काकशिलायाञ्च = काक-शिलायाम् + च; कुमारञ्च = कुमारम् + च; नमेत्ततः = नमेत् + ततः; स्वर्गद्वार्यां = स्वर्ग-द्वार्याम्; वायुतीर्थेऽथ = वायु-तीर्थे + अथ.
Related Themes: Agni Purana 116 (tīrtha list and śrāddha-vidhi continuum); Agni Purana śrāddha-prakaraṇa (general)
FAQs
It prescribes a tīrtha-based śrāddha routine: timing (morning/midday), recitation of a fear-removing formula, bali offering, salutations at specific shrines, and piṇḍa-offering at named tīrthas.
It functions like a compact ritual manual embedded in the Purāṇa—listing procedure, mantric cues, and a pilgrimage itinerary (named sacred sites) for śrāddha-related acts, showing the text’s breadth beyond mythology into applied dharma.
The verse frames these offerings and salutations as protective and purificatory—especially the stated ‘release from fear’—and as merit-producing acts for ancestors and the performer through tīrtha-śrāddha.