• indra-ketubhiḥ — with festive columns
  Indra (Indra's) + ketu (banner-pole). Tall ceremonial poles raised at festivals (named after the indra-dhvaja-mahotsava). The Bhāgavatam's note: Kṛṣṇa, who once humbled Indra at Govardhana, is now welcomed by indra-ketus as His marriage-décor. Even the rival's emblem becomes the Lord's ornament.
• vicitra-mālya-ambara-ratna-toraṇaiḥ — with archways of variegated garlands, cloth banners, and jewels
  Five-part compound. The maṅgala-toraṇa is the traditional welcome-arch over a doorway. Vyāsa enumerates each adornment-class to render Dvārakā fully present to the reader's eye. Bhakti-narrative is visual.
• āpūrṇa-kumbha — full waterpots
  Ā-pūrṇa (completely filled) + kumbha (pot). The pūrṇa-kalaśa is a standard maṅgala-substance at Hindu thresholds — a pot full of water topped with mango leaves and a coconut. The Bhāgavatam confirms its Vedic age.
• aguru-dhūpa-dīpakaiḥ — with aguru-scented incense and lamps
  Aguru (a fragrant wood) + dhūpa (incense) + dīpa (lamp). The classic three-of-five aṅga-pūjā items (the others being arghya and naivedya). The whole city is being offered to the divine couple as one would offer to a deity.
• maṅgalaiḥ — with auspicious items
  Plural of maṅgala. The umbrella-category for all of the above. Maṅgala is, in Vaiṣṇava etymology, that which leads to (gala) the Supreme (mam = aham, the self). Auspiciousness has theological content.

Festive columns raised, garlanded archways, banners, jewels, full waterpots, aguru-smoke, doorway-lamps — every traditional maṅgala-component is in place. Dvārakā becomes the visible model of the Vaiṣṇava aṅga-pūjā: the body of the city itself is adorned as one worships a deity.