Agni Purana — Agneya-vidya, Shloka 22
Pavitrāropaṇa-vidhāna
The Procedure for Installing the Pavitra
तावद्युगसहस्राणि विष्णुलोके महीयते कुलानां शतमुद्धृत्य दश पूर्वान् दशापरान् विष्णुलोकं तु संस्थाप्य स्वयं मुक्तिमवाप्नुयात्
tāvadyugasahasrāṇi viṣṇuloke mahīyate kulānāṃ śatamuddhṛtya daśa pūrvān daśāparān viṣṇulokaṃ tu saṃsthāpya svayaṃ muktimavāpnuyāt
На столько тысяч юг человек почитается в мире Вишну; вознеся и спасши сто членов своего рода — десять предков и десять потомков — и утвердив их в Вишну-локе, он затем сам достигает освобождения (мокши).
Lord Agni (narrating to Sage Vasiṣṭha in the Agni Purāṇa’s dialogue frame)
Vidya Category: {"primary_vidya":"Vrata","secondary_vidya":"Philosophy","practical_application":"Motivates dāna/vrata by describing long honor in Viṣṇu-loka, uplift of lineage (ancestors/descendants), and culminating mokṣa—used to frame observance goals and śrāddha-linked merit transfer.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Dāna–Vrata Phala: Viṣṇu-loka Honor, Lineage Uplift, and Mokṣa","lookup_keywords":["viṣṇuloka","yuga-sahasra","kula-uddhāra","daśa-pūrvān","mokṣa"],"quick_summary":"The fruit of sacred giving/vows is portrayed as prolonged honor in Viṣṇu’s realm, uplift of one’s lineage across generations, and finally one’s own liberation—linking ritual merit to transgenerational welfare and mokṣa."}
Alamkara Type: Atishayokti
Concept: Karma-phala culminates beyond heaven: dharmic acts can support lineage (pitṛ/apatya) and orient the doer toward mokṣa, integrating pravṛtti (merit) with nivṛtti (liberation).
Application: Perform dāna and vrata with a dual intention: welfare of family line (including pitṛs) and inner detachment aiming at mokṣa, not merely temporary heavenly enjoyment.
Khanda Section: Dāna–Vrata–Māhātmya (Merit of gifts, vows, and sacred acts; afterlife fruits)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: Cosmic realm
Visual Art Cues: {"scene_description":"A celestial vision: Viṣṇu in His radiant realm honoring the devotee for yuga-thousands; a stream of ancestors and descendants being lifted upward and established in Viṣṇu-loka; the devotee finally dissolving into liberation light.","kerala_mural_prompt":"Kerala mural, grand cosmic tableau: four-armed Viṣṇu on a lotus throne in Vaikuṇṭha, devotee welcomed, rows of ancestors and descendants ascending on a luminous path, rich reds/ochres/greens, awe-filled serenity","tanjore_prompt":"Tanjore painting with heavy gold, Vaikuṇṭha scene with Viṣṇu and Śrī, devotee receiving honor, multiple family figures rising in tiers, gold radiance emphasizing yuga-long glory and final mokṣa glow","mysore_prompt":"Mysore style, clear layered composition: earth below with dāna/vrata symbol, middle ascent of lineage figures, top Vaikuṇṭha with Viṣṇu; soft shading and precise ornamentation for didactic cosmology","mughal_miniature_prompt":"Mughal miniature, intricate celestial court of Viṣṇu-loka, the devotee presented and honored, genealogical figures ascending in ordered groups, delicate clouds and architectural pavilions, refined narrative detail"}
Audio Atmosphere: {"recitation_mood":"epic","suggested_raga":"Yaman","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: शतमुद्धृत्य = शतम् + उद्धृत्य; मुक्तिमवाप्नुयात् = मुक्तिम् + अवाप्नुयात्; युगसहस्राणि = युग-सहस्राणि (तत्पुरुष).
Related Themes: Agni Purana Dāna–Vrata–Māhātmya passages on phala-śruti and loka-phala; sections on mokṣa-oriented teaching elsewhere in the text
FAQs
It conveys the doctrine of phala (result) for meritorious religious performance—residence and honor in Viṣṇu-loka, plus the capacity of one’s merit to uplift specified generations of one’s lineage.
It exemplifies the Purāṇa’s dharma-śāstric and soteriological cataloging—mapping concrete karmic outcomes (heavenly honor, lineage uplift, liberation) to religious conduct, alongside its many other domains (ritual, polity, medicine, arts).
The verse frames personal merit as trans-generational: one’s dharmic act is said to benefit ancestors and descendants by placing them in Viṣṇu-loka, culminating in the performer’s own mokṣa.