Agni Purana — Mantra-shastra, Shloka 27
Chapter 312 — Various Mantras (नानामन्त्राः)
ॐ ह्रीं अनङ्गाय नमः ॐ ह्रीं ह्रीं स्मराय नमः मन्मथाय च माराय कामायैवञ्च पञ्चधा कामाः पाशाङ्कुशौ चापवाणाः ध्येयाश् च विभ्रतः
oṃ hrīṃ anaṅgāya namaḥ oṃ hrīṃ hrīṃ smarāya namaḥ manmathāya ca mārāya kāmāyaivañca pañcadhā kāmāḥ pāśāṅkuśau cāpavāṇāḥ dhyeyāś ca vibhrataḥ
“Oṃ hrīṃ, sembah sujud kepada Anaṅga (Yang Tanpa Jasad). Oṃ hrīṃ hrīṃ, sembah sujud kepada Smara (Yang Membangkitkan Ingatan).” Dan (sembah sujud) kepada Manmatha, kepada Māra, serta kepada Kāma. Kāma hendaklah direnungkan dalam lima bentuk, memegang jerat (pāśa) dan cangkuk (aṅkuśa), serta busur dan anak panah.
Lord Agni (instructing Sage Vasiṣṭha in the Agni Purana’s ritual/mantra sections)
Vidya Category: {"primary_vidya":"Mantra","secondary_vidya":"Tantra","practical_application":"Japa and dhyāna of Kāma-deva using specified bīja/namaskāra mantras and visualization of his implements for siddhi in attraction/mental focus rites (within dharmic restraint).","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Mantra","entry_title":"Kāma (Anaṅga/Smara) Namaskāra-Mantras and Fivefold Dhyāna with Weapons","lookup_keywords":["Om hrim","Ananga","Smara","Manmatha","pasha ankusha"],"quick_summary":"Gives Kāma’s salutatory mantras and a dhyāna template: contemplate him in fivefold aspect holding noose, goad, bow, and arrows—standard tantric visualization supports mantra efficacy."}
Weapon Type: Bow and arrows (cāpa-bāṇa); also pāśa (noose) and aṅkuśa (goad) as control-weapons.
Concept: Mantra + dhyāna + devatā-rūpa (with āyudha) as a unified method for focused intention and ritual power.
Application: Use the mantra as japa while holding a stable visualization of Kāma’s implements to discipline attention and channel desire-energy into chosen vows/rites.
Khanda Section: Puja-vidhi / Mantra-tantra (Kama-deva upasana and dhyana)
Primary Rasa: Shringara
Secondary Rasa: Adbhuta
Visual Art Cues: {"scene_description":"Kāma-deva visualized in a ritual setting, radiant and youthful, holding bow and arrows, with noose and goad; a sādhaka recites ‘oṃ hrīṃ’ mantras.","kerala_mural_prompt":"Kerala mural: Kāma with greenish-gold complexion, floral motifs, sugarcane bow and flower arrows, also pāśa and aṅkuśa, sādhaka seated with japa-mālā, bold outlines and flat shading.","tanjore_prompt":"Tanjore: Kāma richly ornamented with gold leaf, prominent bow and arrows, noose and goad in secondary hands or attendants presenting them, ornate arch, lamps and lotus pedestal.","mysore_prompt":"Mysore: clean instructional composition—Kāma’s four implements clearly depicted, mantra syllables in small cartouches, soft pastel palette and fine linework.","mughal_miniature_prompt":"Mughal miniature: garden pavilion scene, Kāma as elegant prince with bow and quiver, attendants holding noose and goad, calligraphy panel with ‘oṃ hrīṃ’ mantra, delicate detailing."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Khamaj","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: IAST ‘kāmāyaivañca’ resolved as ‘kāmāya eva ca’. ‘pāśāṅkuśau cāpavāṇāḥ’ resolved as ‘pāśa aṅkuśau ca āpa-vāṇāḥ’ → taken as list ‘pāśa, aṅkuśa, cāpa, vāṇa’; orthography suggests ‘cāpa-vāṇāḥ’ (bows and arrows). ‘vibhrataḥ’ treated as archaic for ‘vibhrati’.
Related Themes: Agni Purana 312 (mantra-tantra segment around Kāma-upāsanā); Agni Purana 313–314 (nyāsa and devī-sādhana methods that parallel this dhyāna structure)
FAQs
It gives Kāma-upāsanā mantra-nyāsa style salutations (with the bīja ‘Hrīṃ’) and a dhyāna specification: meditate on Kāma’s fivefold aspect while visualizing his implements—noose, goad, bow, and arrows.
Beyond mythic narration, it preserves applied ritual technology—seed-mantras, deity epithets, and iconographic meditation cues—showing the Agni Purana’s coverage of practical pūjā-vidhi and mantra-tantra alongside other sciences.
Correct mantra-recitation with dhyāna is presented as a means to align the mind with the deity’s śakti (attraction/creative impulse), supporting siddhi-oriented worship while also functioning as a purificatory, intention-directing practice.