Agni Purana — Yoga & Brahma-vidya, Shloka 10
Chapter 373 — ध्यानम्
Dhyāna / Meditation
सकलो निष्कलो ज्ञेयः सर्वज्ञः परमो हरिः अणिमादिगुणैश्वर्यं मुक्तिर्ध्यानप्रयोजनम्
sakalo niṣkalo jñeyaḥ sarvajñaḥ paramo hariḥ aṇimādiguṇaiśvaryaṃ muktirdhyānaprayojanam
Hari Yang Tertinggi hendaklah diketahui sebagai sakala (berwujud) dan juga niṣkala (tanpa wujud); Dia Maha Mengetahui. Keagungan berkuasa yang disertai sifat seperti aṇimā dan lain-lain, serta pembebasan (mokṣa)—itulah tujuan meditasi.
Lord Agni (narrating Agni Purana’s teaching to the sage Vashistha, in the standard frame)
Vidya Category: {"primary_vidya":"Philosophy","secondary_vidya":"Jyotisha","practical_application":"Use dhyana to aim at moksha while understanding siddhis (aṇimā etc.) as secondary outcomes; maintain discernment to not be diverted by powers.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Dhyana-phala: Siddhis and Mukti","lookup_keywords":["sakala nishkala Hari","aṇimā siddhi","dhyana-phala","mukti","sarvajna"],"quick_summary":"Meditation on Hari yields two stated results: yogic perfections beginning with aṇimā and the highest fruit, liberation; Hari is to be known as both formed and formless, omniscient."}
Concept: Dhyana has graded fruits: siddhis (aṇimā etc.) and the supreme fruit, moksha; the object of dhyana is Hari understood in both saguna and nirguna modes.
Application: Practice meditation with the explicit intention of liberation; treat siddhis as incidental and potentially distracting, cultivating vairagya.
Khanda Section: Moksha-Dharma / Jnana-Yoga (Hari-tattva and Dhyana)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"Meditator visualizing Hari as both form and formless; around him subtle symbols of aṇimā and other siddhis (miniaturization, lightness) while a higher radiance signifies moksha.","kerala_mural_prompt":"Kerala mural, central Vishnu icon with expanding aura, yogi in lotus posture, small vibhuti symbols (feather-light body, tiny figure) in corners, sacred symmetry.","tanjore_prompt":"Tanjore, Vishnu with gold halo, devotee meditating, gold field above labeled by visual motifs for siddhis, culminating in a bright lotus of liberation, heavy ornamentation.","mysore_prompt":"Mysore painting, diagrammatic yet devotional: Hari (sakala) fading into abstract light (nishkala), side panels showing aṇimā/laghimā motifs, clean lines and soft shading.","mughal_miniature_prompt":"Mughal miniature, scholar-yogi in a pavilion, visionary Vishnu and a luminous void, delicate marginal vignettes depicting siddhis, fine brushwork."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: मुक्तिर्ध्यानप्रयोजनम् = मुक्तिः + ध्यानप्रयोजनम्; अणिमादिगुणैश्वर्यं = अणिमा + आदि + गुण + ऐश्वर्यम् (समास).
Related Themes: Agni Purana 373.9 (saguna–nirguna Brahman); Agni Purana 373.11–13 (continuous smarana; antaryaga)
FAQs
It teaches a meditation-doctrine: the meditator should understand Hari as both saguna (with form) and nirguna (formless), and it defines meditation’s outcomes—yogic siddhis (aṇimā etc.) and ultimately liberation (mukti).
It integrates theology (Hari-tattva), Vedantic categories (sakala/niṣkala), and yoga-technical results (aṇimā-siddhis and mukti), showing how the text spans metaphysics and practical sādhanā outcomes within one chapter.
By orienting dhyāna toward the Supreme Hari beyond both form and formlessness, the verse frames meditation as a direct means to inner purification culminating in moksha, while treating siddhis as secondary attainments on the path.