Shloka 41
Vrata–Dāna Compendium at Puṣkara: Puṣpavāhana’s Account and the Ṣaṣṭhī-vrata Purification Rite
कनिष्ठे कांचनं देयमित्येषा दक्षिणा स्मृता । प्रथमं ब्रह्मदैवत्यं द्वितीयं वैष्णवं तथा
kaniṣṭhe kāṃcanaṃ deyamityeṣā dakṣiṇā smṛtā | prathamaṃ brahmadaivatyaṃ dvitīyaṃ vaiṣṇavaṃ tathā
وأما في المرتبة الأدنى فيُعطى الذهب؛ فهذه هي الدكشِنا (dakṣiṇā) المأثورة. والأول تحت رئاسة براهما، والثاني كذلك فَيْشنَفيّ تحت رئاسة فيشنو.
Unspecified (narratorial instruction within the Adhyaya; common Padma Purana dialogue frame not explicit in the provided excerpt)
Concept: Dakṣiṇā is graded even for lesser recipients (kanिष्ठ) with gold; ritual portions are aligned with presiding deities—Brahmā first, then Viṣṇu—indicating ordered sacrality.
Application: When giving, match the gift to the recipient’s role and your means; also align actions with clear intention—begin with clarity (Brahmā/creation principle) and proceed to preservation (Viṣṇu) in planning and service.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A ritual officiant gestures to three symbolic stations: a lotus-throne for Brahmā, a conch-and-disc altar for Viṣṇu, and an unlit third space awaiting Rudra. A small heap of gold coins and a golden bracelet are placed respectfully as dakṣiṇā, emphasizing the ‘kanिष्ठe kāñcanaṃ’ rule.","primary_figures":["ritual teacher/narrator","brāhmaṇa officiants","symbolic presences of Brahmā and Viṣṇu (icons/altars)"],"setting":"sacrificial pavilion with three altars aligned in sequence, ritual implements neatly arranged","lighting_mood":"golden dawn","color_palette":["burnished gold","lotus pink","deep indigo","sandalwood beige","leaf green"],"tanjore_prompt":"Tanjore painting style: tri-altar yajña pavilion—Brahmā’s lotus seat first, Viṣṇu’s conch-disc altar second, gold coins offered as dakṣiṇā; lavish gold leaf, jewel-like ornamentation, rich reds/greens, symmetrical composition with traditional South Indian altar motifs.","pahari_prompt":"Pahari miniature style: refined yajña scene with three aligned ritual stations, delicate gold dakṣiṇā placed on a cloth, cool indigo shadows, soft dawn sky, intricate linework on vessels and textiles, gentle facial expressions and lyrical spatial depth.","kerala_mural_prompt":"Kerala mural style: stylized triadic altar arrangement with bold outlines, flat gold/yellow/red fields, iconic symbols (lotus, conch, discus), priestly figures in calm poses, temple-wall aesthetic and rhythmic ornament bands.","pichwai_prompt":"Pichwai cloth painting style: ornate border of lotuses and vines framing a central altar with Viṣṇu symbols, gold dakṣiṇā depicted as patterned discs, deep blue ground with gold highlights, symmetrical devotional geometry reminiscent of Nathdwara textiles."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["conch shell (soft)","temple bells","measured mantra cadence"]}
Sandhi Resolution Notes: देयमित्येषा = देयम् + इति + एषा; ब्रह्मदैवत्यं = ब्रह्म-दैवत्यम्
FAQs
It states that giving gold is the prescribed dakṣiṇā for the junior (kaniṣṭha) recipient/officiant, presenting it as a remembered normative rule.
They indicate the presiding deity classification: the first is under Brahmā’s divine association (brahma-daivatyam), and the second is associated with Viṣṇu (vaiṣṇavam).
It emphasizes orderly ritual conduct—proper compensation/gifting (dakṣiṇā) and clear recognition of the deity framework guiding different ritual portions.