Chapter 116 — गयायात्राविधिः (Gayā-yātrā-vidhiḥ) | The Procedure for the Gayā Pilgrimage
परलोकगते मह्यमक्ष्यय्यमुपतिष्ठतां गयायां पितृरूपेण स्वयमेव जनार्दनः
paralokagate mahyamakṣyayyamupatiṣṭhatāṃ gayāyāṃ pitṛrūpeṇa svayameva janārdanaḥ
ഞാൻ പരലോകത്തിലേക്ക് ഗമിച്ചാൽ, ഗയാക്ഷേത്രത്തിൽ പിതൃരൂപമായി നിലകൊള്ളുന്ന അക്ഷയനായ ജനാർദനൻ സ്വയം എന്റെ സമീപത്ത് നിലകൊണ്ട് അചഞ്ചല സഹായിയായിരിക്കട്ടെ.
Lord Agni (in dialogue with Sage Vasiṣṭha, typical Agni Purana frame)
Vidya Category: {"primary_vidya":"Vrata","secondary_vidya":"Stotra","practical_application":"Prayer used in Gayā-śrāddha: invoking Janārdana as the imperishable support who manifests as Pitṛs, ensuring post-mortem protection and continuity of ancestral rites.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Gayā: Janārdana as Pitṛ-rūpa and Akṣaya-śaraṇa","lookup_keywords":["Gayā śrāddha","pitṛrūpa Janārdana","akṣaya","paraloka","pitṛ-tarpaṇa"],"quick_summary":"The verse frames Gayā as a locus where Janārdana is present in the form of the Pitṛs; the devotee prays for unfailing support after death."}
Alamkara Type: Rūpaka (identification: Janārdana as Pitṛ-rūpa)
Concept: Īśvara as the ultimate guarantor of pitṛ-yajña; divine immanence in ancestral forms.
Application: During Gayā-śrāddha, cultivate śaraṇāgati: dedicate rites to the Akṣaya Lord, viewing Pitṛs as His manifestation.
Khanda Section: Shraddha-vidhi (Gaya-shraddha and Pitri-tarpana)
Primary Rasa: shanta
Secondary Rasa: bhakti
Type: Tirtha
Visual Art Cues: {"scene_description":"At Gayā, a devotee performs pitṛ-tarpaṇa and piṇḍa offerings; Janārdana appears subtly as the Pitṛs—an imperishable protective presence behind the ritual.","kerala_mural_prompt":"Kerala mural, Gayā ghats with priests and darbha, three Pitṛ figures haloed yet sharing Viṣṇu’s iconographic aura, muted sacred palette, frontal ritual composition","tanjore_prompt":"Tanjore, central Janārdana with gold halo, below him Pitṛs seated receiving offerings, devotee kneeling with piṇḍas, gold embellishment on halos and vessels","mysore_prompt":"Mysore painting, didactic scene: Gayā shrine/ghat labeled, priest guiding tarpaṇa, translucent overlay of Janārdana as Pitṛ-rūpa, fine lines and calm tones","mughal_miniature_prompt":"Mughal miniature, detailed ghat architecture and crowd, devotee offering water with cupped hands, ethereal Viṣṇu presence blending with ancestral figures, soft atmospheric wash"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: मह्यमक्षय्यम् = मह्यम् + अक्षय्यम् (म् + अ → म).
Related Themes: Agni Purana 116 (Gayā-śrāddha context)
It conveys the Gaya-śrāddha doctrine that Viṣṇu (Janārdana) is specially present at Gayā as Pitṛrūpa, making the rite there yield akṣaya (inexhaustible) support/merit for the departed and the performer.
Alongside many subjects, the Agni Purana functions as a practical ritual compendium; this verse anchors a pilgrimage-based śrāddha teaching (Gayā-mahātmya) by linking place-theology (tīrtha) with ancestral ritual efficacy.
It emphasizes that remembrance and śrāddha connected with Gayā invoke imperishable divine assistance—Janārdana’s grace mediated through the Pitṛs—supporting auspicious post-mortem destiny and purification of ancestral obligations.
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