Agni Purana — Bhuvanakosha & Tirtha-mahatmya, Shloka 2
Chapter 116 — गयायात्राविधिः (Gayā-yātrā-vidhiḥ) | The Procedure for the Gayā Pilgrimage
मध्याह्ने चोद्यति स्नात्वा गीतवाद्यैर् ह्युपास्य च सावित्रीपुरतः सन्ध्यां पिण्डदानञ्च तत्पदे
madhyāhne codyati snātvā gītavādyair hyupāsya ca sāvitrīpurataḥ sandhyāṃ piṇḍadānañca tatpade
ยามเที่ยง เมื่อดวงอาทิตย์อยู่ในวิถีกลาง พึงอาบน้ำแล้วบูชาด้วยบทขับร้องและดนตรี; และต่อหน้าพระสาวิตรี พึงประกอบสันธยาเวลาเที่ยง พร้อมทั้งถวายปิณฑะ ณ สถานศักดิ์สิทธิ์นั้นด้วย।
Lord Agni (in discourse to sage Vasiṣṭha, typical Agni Purana narration frame)
Vidya Category: {"primary_vidya":"Vrata","secondary_vidya":"Natya","practical_application":"Prescribes midday bath and sandhyā, worship before Sāvitrī, and piṇḍa-dāna at the sacred spot; includes sanctioned use of gīta-vādya in worship.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Madhyāhna Sandhyā before Sāvitrī with Gīta-Vādya and Piṇḍa-dāna","lookup_keywords":["madhyāhna-sandhyā","Sāvitrī","gīta-vādya","piṇḍa-dāna","snāna"],"quick_summary":"At midday, bathe and perform worship accompanied by song and instruments; then, before Sāvitrī, do the midday sandhyā and offer piṇḍa at that holy locus."}
Concept: Daily time-junction discipline (sandhyā) integrates mantra-devatā upāsanā with pitṛ offerings; devotional arts (gīta-vādya) can be legitimate supports to worship.
Application: Keep the midday sandhyā during pilgrimage; if appropriate, include devotional singing/instruments to sustain attention and reverence, then complete piṇḍa-dāna at the designated spot.
Khanda Section: Puja-vidhi (Sandhya, Gayatri/Savitri worship, Shraddha-related rites)
Primary Rasa: Bhakti
Secondary Rasa: Śānta
Type: Tirtha
Visual Art Cues: {"scene_description":"At midday on the Gayā pilgrimage: devotees bathe, then worship with singing and instruments before Sāvitrī, perform madhyāhna sandhyā, and offer piṇḍa at the sacred footing.","kerala_mural_prompt":"Kerala mural, bright midday river scene, devotees with vīṇā/mṛdaṅga and singers near a small Sāvitrī shrine, sandhyā posture with arghya vessel, piṇḍa plate on a low platform, stylized sun overhead","tanjore_prompt":"Tanjore painting, Sāvitrī Devī enthroned with gold halo, devotees offering flowers while musicians play, gold-leaf sun motif for midday, piṇḍa offering in foreground, rich reds and greens","mysore_prompt":"Mysore painting, clear instructional arrangement: bathing area, worship area with musicians, sandhyā arghya, and piṇḍa spot; fine linework, soft palette, emphasis on ritual implements","mughal_miniature_prompt":"Mughal miniature, lively yet reverent courtyard/ghāṭ with musicians and devotees, Sāvitrī shrine niche, detailed instruments and garments, midday light and shadows, piṇḍa offering scene in foreground"}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"devotional"}
Sandhi Resolution Notes: codyati → ca + udyati; gītavādyair hyupāsya → gīta-vādyaiḥ + hi + upāsya; piṇḍadānañca → piṇḍa-dānam + ca; sāvitrīpurataḥ treated as sāvitrī + purataḥ (adverbial).
Related Themes: Agni Purana 116 (Gayā-yātrāvidhi: sandhyā timings and offerings)
FAQs
It prescribes a sequence for the midday observance: bathing, devotional upāsanā accompanied by song and instruments, performing the midday Sandhyā before Sāvitrī (Gāyatrī), and completing piṇḍa-dāna as an ancillary ancestral rite.
In a compact instruction it links multiple domains—daily nitya-karma (Sandhyā), mantra-devatā focus (Sāvitrī/Gāyatrī upāsanā), and śrāddha-related practice (piṇḍa-dāna)—showing how the text catalogs practical ritual routines alongside broader religious duties.
Bathing and Sandhyā are purificatory nitya-karmas that sustain spiritual discipline, while worship before Sāvitrī emphasizes mantra-centered devotion; piṇḍa-dāna supports ancestral satisfaction and is traditionally held to accrue merit and reduce obstacles linked with pitṛ-debts.