Agni Purana — Avatara-lila, Shloka 6
पाण्डवचरितवर्णनम्
The Account of the Pāṇḍavas
अविनाशी हरिर्देवो ध्यानिभिर्ध्येय एव सः विना तं द्वारकास्थानं प्लावयामास सागरः
avināśī harirdevo dhyānibhirdhyeya eva saḥ vinā taṃ dvārakāsthānaṃ plāvayāmāsa sāgaraḥ
Hari, the divine Lord, is imperishable; he alone is the object of contemplation for meditators. The ocean flooded all things, yet it did not touch that sacred site of Dvārakā.
Lord Agni (narrating to sage Vasiṣṭha in the Agni Purāṇa’s dialogic frame)
Vidya Category: {"primary_vidya":"Vrata","secondary_vidya":"Stotra","practical_application":"Supports tīrtha-māhātmya recitation and pilgrimage faith: Dvārakā’s sanctity and the practice of dhyāna on Hari as imperishable; used to inspire japa, meditation, and kṣetra-yātrā.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Commentary","entry_title":"Dvārakā’s Unflooded Sanctity and Hari as the Sole Dhyeya","lookup_keywords":["Dvārakā","sāgara-plāva","Hari avināśī","dhyāna","kṣetra-māhātmya"],"quick_summary":"Hari is declared imperishable and the unique object of meditation; Dvārakā is praised as protected even when the ocean floods all else, underscoring kṣetra-sānnidhya and steadfast dhyāna."}
Concept: Hari as avināśī (imperishable) is the singular dhyeya for meditators; external upheavals do not negate inner refuge in the divine.
Application: Adopt steady dhyāna/japa on Hari amid instability; treat pilgrimage sites as supports (ālambana) for contemplation, not mere geography.
Khanda Section: Vaishnava-Tirtha-Mahatmya (Dvārakā-kṣetra-stuti / Hari-bhakti-prasaṅga)
Primary Rasa: adbhuta
Secondary Rasa: bhakti
Type: Tirtha
Visual Art Cues: {"scene_description":"A vast ocean surge inundates surrounding lands while Dvārakā remains untouched; meditators contemplate Hari, who is depicted as imperishable presence above or within the city.","kerala_mural_prompt":"Kerala mural: stylized roaring ocean encircling Dvārakā, city shown intact with temple silhouettes; Hari as luminous dhyeya above, yogis seated in meditation, dramatic yet devotional palette.","tanjore_prompt":"Tanjore: Dvārakā as ornate golden city, ocean rendered as decorative blue-green band; central Hari with gold halo; small meditating sages at base; heavy gold work emphasizing ‘avināśī’.","mysore_prompt":"Mysore: clear narrative—flooded surroundings, protected Dvārakā; include meditating figures with calm expressions; fine lines and soft colors to convey dhyāna.","mughal_miniature_prompt":"Mughal miniature: detailed coastal cityscape of Dvārakā with waves and boats tossed outside, but calm waters near the sacred precinct; meditators on terraces; subtle divine radiance over the city."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"medium","voice_tone":"contemplative"}
Sandhi Resolution Notes: हरिर्देवो = हरिः + देवः; ध्यानिभिर्ध्येय = ध्यानिभिः + ध्येयः; द्वारकास्थानं = द्वारका-स्थानम्.
Related Themes: Agni Purana: tīrtha-māhātmya materials; Agni Purana: dhyāna and stotra sections (Vaishnava)
FAQs
It conveys dhyāna-vidhi in principle: Hari is identified as the proper and singular dhyeya (meditation-object), and Dvārakā is affirmed as a protected tīrtha-kṣetra, supporting pilgrimage and devotional practice.
Alongside rituals, polity, and sciences, the Agni Purāṇa preserves kṣetra-māhātmya material—geography of sacred places, their theological status, and devotional frameworks—integrating pilgrimage culture with meditation theology.
Meditating on imperishable Hari is presented as spiritually stabilizing and salvific, while honoring Dvārakā as a divinely safeguarded tīrtha reinforces faith (śraddhā) and accrues religious merit through devotion and pilgrimage.