Agni Purana — Yoga & Brahma-vidya, Shloka 38
Adhyāya 379 — अद्वैतब्रह्मविज्ञानम्
Advaita-brahma-vijñāna
समस्तावयेभ्यस्त्वं पृथग्भूतो व्यवस्थितः कोहमित्यत्र निपुणं भूत्वा चिन्तय पार्थिव तच्छ्रत्वोवाच राजा तमवधूतं द्विजं हरिं
samastāvayebhyastvaṃ pṛthagbhūto vyavasthitaḥ kohamityatra nipuṇaṃ bhūtvā cintaya pārthiva tacchratvovāca rājā tamavadhūtaṃ dvijaṃ hariṃ
Engkau berdiri teguh sebagai yang berbeda dari seluruh unsur tubuh dan batin. Menjadi mahir dalam pokok ‘Siapakah aku?’, renungkanlah dengan mendalam, wahai raja. Mendengar itu, sang raja berkata kepada avadhūta, brahmana Hari itu.
Avadhuta Brahmin (addressing the King); narrative voice within Agni Purana traditionally framed by Agni to Vashistha
Vidya Category: {"primary_vidya":"Philosophy","secondary_vidya":"Dharmashastra","practical_application":"Guided self-inquiry (‘ko’ham’) and detachment from psycho-physical constituents; framing the teacher as avadhuta for radical renunciation pedagogy.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Ko’ham inquiry: standing apart from constituents (avayava)","lookup_keywords":["ko'ham","avadhuta-upadesha","viveka","vairagya","skandha/avayava"],"quick_summary":"Recognize yourself as distinct from all constituents; then practice sustained ‘Who am I?’ reflection to stabilize disidentification and inner freedom."}
Alamkara Type: Upadesha (didactic direct address)
Concept: Purusha/witness stands distinct from body-mind constituents; inquiry matures into steady abidance.
Application: Daily practice: (1) note sensations/thoughts as ‘seen’; (2) ask ‘Who is the seer?’; (3) rest as the witnessing awareness, especially during praise/blame and gain/loss.
Khanda Section: Moksha-jnana / Avadhuta-upadesha (Self-inquiry and detachment teachings)
Primary Rasa: Shanta
Secondary Rasa: Adbhuta
Visual Art Cues: {"scene_description":"An avadhuta Brahmin (Hari-like, serene) instructs a king: the king listens with folded hands; the teacher’s presence suggests renunciation and inner freedom.","kerala_mural_prompt":"Kerala mural, avadhuta with matted hair and simple cloth, luminous calm face, king in royal attire kneeling respectfully, symbolic separation shown by a faint halo around the sage and a subtle boundary line between body silhouettes and a glowing ‘witness’ aura.","tanjore_prompt":"Tanjore painting, avadhuta seated on deer-skin, king offering respectful salutation, gold leaf for spiritual aura, minimal props: kamandalu, staff, palm-leaf text labeled ‘ko’ham’.","mysore_prompt":"Mysore style, quiet hermitage setting, teacher pointing inward toward the heart-space, king attentive, soft colors and fine ornamentation, didactic clarity.","mughal_miniature_prompt":"Mughal miniature, ascetic and king in dialogue near a riverside grove, delicate foliage, the king’s retinue kept at distance to emphasize renunciation, refined facial expressions."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"instructional"}
Sandhi Resolution Notes: समस्तावयेभ्यः = समस्त + अवयवेभ्यः (पाठभेद; यहाँ ‘अवयेभ्यः’ रूप); अवयेभ्यस्त्वम् = अवयेभ्यः + त्वम्; पृथग्भूतः = पृथक् + भूतः; कोहम् = कः + अहम्; इत्यत्र = इति + अत्र; तच्छ्रुत्वा = तत् + श्रुत्वा; श्रत्वोवाच (पाठ) = श्रुत्वा + उवाच; तमवधूतम् = तम् + अवधूतम्.
Related Themes: Agni Purana moksha-dharma passages on vairagya and jnana; Agni Purana Kapila/Sankhya expositions (purusha-prakriti distinction)
FAQs
A jñāna-vidyā method: viveka (discrimination) from body–mind constituents and sustained ātma-vicāra through the inquiry “ko ’ham—Who am I?”
Alongside ritual, polity, medicine, and arts, the Agni Purana also preserves mokṣa-oriented instruction—here, a concise Advaita-style self-inquiry framed through an avadhūta dialogue.
Contemplating oneself as distinct from the body and mental factors purifies identification (ahaṅkāra) and supports liberation (mokṣa) by loosening karmic bondage rooted in misidentification.