Agni Purana — Bhuvanakosha & Tirtha-mahatmya, Shloka 5
Chapter 109 — Tīrtha-mahātmya
The Glory of Sacred Pilgrimage Places
पुष्करं परमं तीर्थं सान्निध्यं हि त्रिसन्ध्यकं दशकोटिसहस्राणि तीर्थानां विप्र पुष्करे
puṣkaraṃ paramaṃ tīrthaṃ sānnidhyaṃ hi trisandhyakaṃ daśakoṭisahasrāṇi tīrthānāṃ vipra puṣkare
Pushkara est le tīrtha suprême. En vérité, aux trois sandhyā quotidiennes (aube, midi, crépuscule) s’y trouve une présence divine particulière. Ô brāhmaṇa, à Pushkara résident (les mérites de) dix crores de milliers de tīrtha.
Lord Agni (narrating the Agni Purana’s teachings to Vashistha)
Vidya Category: {"primary_vidya":"Tirtha-mahatmya (Pilgrimage and Sacred Geography)","secondary_vidya":"Stotra","practical_application":"Identifies Puṣkara as a paramount tīrtha with heightened sanctity at the three sandhyās; guides pilgrims on optimal times for worship/bathing and frames Puṣkara as a confluence of innumerable tīrtha-merits.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Puṣkara—parama-tīrtha and tri-sandhyā-sānnidhya","lookup_keywords":["Pushkara","parama-tirtha","trisandhya","sannidhya","tirtha-koti"],"quick_summary":"Puṣkara is proclaimed the supreme tīrtha, with special divine presence at dawn, noon, and dusk; it is said to contain the potency of vast numbers of other sacred places."}
Alamkara Type: Atishayokti
Concept: Kāla-viśeṣa (sacred timing) enhances tīrtha efficacy; sandhyā is a liminal time for heightened sānnidhya and practice.
Application: Plan Puṣkara worship/bathing and japa at dawn/noon/dusk; treat sandhyā as a disciplined daily vrata within pilgrimage.
Khanda Section: Tirtha-Mahatmya (Pilgrimage and Sacred Geography)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: Tirtha
Visual Art Cues: {"scene_description":"The sacred lake/ford of Puṣkara with pilgrims performing sandhyā at dawn, noon, and dusk; the scene conveys ‘supreme tīrtha’ and the presence of innumerable tīrthas symbolically gathered there.","kerala_mural_prompt":"Kerala mural: Puṣkara lake with stepped ghāṭas; three vignettes in one frame—sunrise, midday sun, sunset—pilgrims in sandhyā posture; subtle divine presence as luminous aura over the waters; bold outlines and traditional palette.","tanjore_prompt":"Tanjore: central Puṣkara lake and shrine with gold-leaf radiance; three suns (rising, zenith, setting) in the border medallions; pilgrims offering arghya; ornate temple architecture accents and rich colors.","mysore_prompt":"Mysore: clear topographic depiction of Puṣkara ghāṭa and ritual stations; three time-of-day panels labeled prātaḥ/madhyāhna/sāyam; fine linework and gentle shading for instructional clarity.","mughal_miniature_prompt":"Mughal miniature: panoramic lakeside with bustling yet reverent pilgrims; atmospheric gradient showing dawn-to-dusk in a triptych; delicate architectural details of shrines, boats, and ghāṭas; calligraphic cartouche ‘Puṣkara paramaṃ tīrtham’."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Desh","pace":"medium","voice_tone":"devotional"}
Sandhi Resolution Notes: No major external sandhi beyond standard word-joining in recitation; compounds: trisandhyakam (dvigu), daśakoṭisahasrāṇi (numerical compound treated as dvigu).
Related Themes: Agni Purana: Sandhyā-vandana and daily rite summaries (where present); Agni Purana: Other tīrtha-mahātmyas comparing tīrthas by prādhānya
FAQs
It highlights sandhyā-kāla (the three daily twilight junctions) as ritually potent times when divine presence is especially accessible at Pushkara, guiding pilgrims to align worship/bathing/recitation with trisandhyā.
By cataloging tīrtha-mahātmya (pilgrimage theology and sacred geography) alongside other disciplines, it shows the text’s wide scope—preserving ritual calendrics (sandhyā-times) and comparative valuation of holy sites.
It teaches that visiting Pushkara—especially at dawn, noon, and dusk—yields exceptionally concentrated merit, symbolically equated with the efficacy of vast numbers of other tīrthas.