Shloka 180
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
एतावदुक्त्वा सारुह्य तस्मात्स्थानद्गिरौ स्थिता । विष्णुस्तदग्रतः स्थित्वा बध्वा च करसंपुटं
etāvaduktvā sāruhya tasmātsthānadgirau sthitā | viṣṇustadagrataḥ sthitvā badhvā ca karasaṃpuṭaṃ
এতটুকু বলিয়া দেবী সেই স্থানের পর্বতে আরোহণ করে সেখানেই স্থিত হলেন। তখন বিষ্ণু তাঁর সম্মুখে দাঁড়িয়ে করযুগল সংযোজিত করে ভক্তিভরে প্রণাম করলেন।
Narrator (contextual, not explicitly marked in this single pāda)
Concept: True approach to the divine begins with humility and folded hands—inner surrender preceding speech or ritual.
Application: Before beginning worship, work, or difficult conversations, pause, become still, and offer a mental namaskāra—letting ego ‘descend’ as the heart ‘ascends’.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: mountain
Visual Art Cues: {"scene_description":"A serene mountain ledge overlooks a vast, mist-filled valley. A radiant feminine presence has just ascended and stands poised upon the rocky crest, while Viṣṇu faces her below, hands joined in añjali, his posture calm and utterly reverent, as if the cosmos itself has paused to listen.","primary_figures":["Viṣṇu","A divine feminine presence (unnamed in this pāda; Śakti/Devī implied)"],"setting":"High mountain outcrop with ancient stone, sparse alpine flowers, distant clouds, and a quiet sky suggesting a sacred threshold.","lighting_mood":"golden dawn","color_palette":["sapphire blue","lotus pink","warm gold","stone gray","mist white"],"tanjore_prompt":"Tanjore painting style: Viṣṇu standing in añjali before a poised Devī on a mountain dais, heavy gold leaf halos, rich crimson and emerald textiles, gem-studded ornaments, stylized rocky pedestal, ornate floral borders, sacred stillness emphasized by symmetrical composition.","pahari_prompt":"Pahari miniature style: a lyrical Himalayan ridge with soft mist and delicate flora; Viṣṇu with refined features and gentle añjali, Devī elevated on the crest; cool blues and grays with subtle pinks, fine brushwork, airy negative space conveying silence.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; Viṣṇu in deep blue with yellow-gold ornaments, Devī luminous atop a stylized mountain; temple-wall aesthetic, large expressive eyes, rhythmic cloud bands framing the encounter.","pichwai_prompt":"Pichwai cloth painting style: devotional tableau with lotus and floral borders; Viṣṇu in añjali beneath a mountain-altar motif, peacocks and stylized clouds; deep indigo background with gold detailing, emphasizing reverence and auspiciousness."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["high-altitude wind hush","distant temple bell","conch shell (soft, single)","silence between phrases"]}
Sandhi Resolution Notes: सारुह्य = सा + आरुह्य; तस्मात्स्थानद्गिरौ = तस्मात् + स्थानात् + गिरौ; विष्णुस्तदग्रतः = विष्णुः + तत् + अग्रतः.
FAQs
Viṣṇu stands before her and joins his hands (kara-saṃpuṭa), indicating respectful greeting or supplication (añjali).
It denotes hands joined/cupped together—an añjali gesture—commonly used to express humility, prayer, and reverence.
No. The pronoun is context-dependent; the surrounding verses of Adhyaya 17 are needed to identify the female figure precisely.