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, reverência a Anaṅga (o Incorpóreo). Oṃ hrīṃ hrīṃ, reverência a Smara (o que desperta a lembrança).” E (reverência) a Manmatha, a Māra e igualmente a Kāma. Kāma deve ser contemplado em forma quíntupla, portando o laço (pāśa) e o aguilhão (aṅkuśa), bem como o arco e as flechas.
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.