Shloka 156
Merit of Causeways and Crossings, Temple Construction Rewards, and the Rudrākṣa Mahātmya
नाशुभं विद्यते किंचित्त्रिवक्त्रस्य तु धारणात् । चतुर्वक्त्रः स्वयं ब्रह्मा यस्य देहे प्रतिष्ठति
nāśubhaṃ vidyate kiṃcittrivaktrasya tu dhāraṇāt | caturvaktraḥ svayaṃ brahmā yasya dehe pratiṣṭhati
لا يوجد شؤمٌ البتّة لمن يحمل هيئة الثلاثة الوجوه؛ إذ إن براهما نفسه—ذو الوجوه الأربعة—يستقرّ ويثبت في جسده.
Unspecified (context not provided for the dialogue frame)
Concept: Tri-vaktra-dhāraṇa removes all inauspiciousness; it makes the bearer a living seat for Brahmā (catur-vaktra) himself.
Application: Treat sacred symbols/observances as commitments to purity: speech, thought, and action become ‘faces’ turned toward dharma; cultivate auspicious conduct so the body-mind becomes a fit ‘seat’ for higher qualities (clarity, creativity, responsibility).
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A devotee stands serene with a luminous tri-faced emblem hovering like a translucent crown, while within his chest a radiant, miniature Brahmā (four-faced) appears seated on a tiny lotus-throne—symbolizing ‘Brahmā established in the body.’ Around him, shadows of inauspicious forces dissolve into petals and light, leaving an atmosphere of absolute maṅgala.","primary_figures":["devotee bearing tri-vaktra","Brahmā (caturmukha, miniature indwelling form)","symbolic maṅgala energies (lotus-petals, light forms)"],"setting":"A sanctified inner-vision scene blending a simple earthly space with a subtle-body cosmos of lotuses and radiance.","lighting_mood":"divine radiance","color_palette":["lotus pink","radiant gold","sapphire blue","ivory white","crimson vermilion"],"tanjore_prompt":"Tanjore painting style: central standing devotee with a tri-faced translucent crown motif; within a heart-lotus, a small caturmukha Brahmā seated, rendered with heavy gold leaf on crowns and halos; rich vermilion and emerald garments; gem-studded ornaments; ornate arch framing the figure; gold-leaf lotus petals radiating outward to signify total auspiciousness.","pahari_prompt":"Pahari miniature style: refined, lyrical depiction of the devotee with a subtle tri-vaktra aura; delicate inner-heart lotus showing tiny Brahmā with four faces; cool background gradients and soft floral motifs; fine linework and gentle naturalism, emphasizing serenity and wonder rather than grandeur.","kerala_mural_prompt":"Kerala mural style: bold black outlines; stylized tri-vaktra emblem above the head; heart-lotus containing caturmukha Brahmā; strong reds/yellows/greens with rhythmic ornamental borders; large expressive eyes and temple-wall aesthetic conveying consecration and maṅgala.","pichwai_prompt":"Pichwai cloth painting style: central figure framed by dense lotus motifs; heart-lotus with miniature Brahmā; deep indigo background with gold highlights; intricate floral borders and symmetrical mandala patterns; peacocks and vines at the margins to amplify auspiciousness and sacred beauty."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"serene","sound_elements":["tanpura drone","soft conch (single)","temple bells (gentle)","silence as emphasis","faint humming of mantra"]}
Sandhi Resolution Notes: nāśubhaṃ = na + aśubham; kiṃcittrivaktrasya = kiṃcit + trivaktrasya.
FAQs
It teaches that adopting or bearing the ‘three-faced’ sacred form (trivaktra-dhāraṇa) is a powerful auspicious practice, removing inauspicious influences and inviting the stabilizing presence of Brahmā (the four-faced) within oneself.
The verse uses the epithet “three-faced” without naming the deity explicitly. In Purāṇic usage, such epithets can denote a specific divine form or a ritual emblem/meditative form; the exact referent depends on the surrounding verses of Adhyaya 59.
It implies that disciplined sacred observance—bearing a revered form or symbol with faith and steadiness—cultivates purity, wards off harmful tendencies, and aligns the practitioner with higher creative/intellectual order associated with Brahmā.