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Narada Purana — Purva Bhaga, Shloka 68

The Description of the Worship of Rāma and Others

Rāmādi-pūjā-vidhāna

अयोध्यानगरे रत्नचित्रसौवर्णमण्डपे । मंदारपुष्पैराबद्धविताने तोरणान्विते ॥ ६८ ॥

ayodhyānagare ratnacitrasauvarṇamaṇḍape | maṃdārapuṣpairābaddhavitāne toraṇānvite || 68 ||

In der Stadt Ayodhyā, auf einem goldenen Maṇḍapa, mit juwelenartigen Mustern geschmückt, dessen Baldachin mit Mandāra-Blüten befestigt und mit feierlichen Torbögen (toraṇa) versehen war, wurde der heilige Schauplatz bereitet.

अयोध्या-नगरेin the city of Ayodhyā
अयोध्या-नगरे:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootअयोध्या + नगर (प्रातिपदिक)
Formषष्ठी-तत्पुरुष (genitive determinative): ‘अयोध्यायाः नगरम्’; नपुंसकलिङ्ग, सप्तमी (7th), एकवचन; locative singular
रत्न-चित्र-सौवर्ण-मण्डपेin the gem-adorned golden pavilion
रत्न-चित्र-सौवर्ण-मण्डपे:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootरत्न + चित्र + सौवर्ण + मण्डप (प्रातिपदिक)
Formबहुपद-कर्मधारय (descriptive): ‘रत्नैः चित्रः सौवर्णः मण्डपः’; पुंलिङ्ग, सप्तमी (7th), एकवचन; locative singular
मन्दार-पुष्पैःwith mandāra flowers
मन्दार-पुष्पैः:
Karaṇa (करण)
TypeNoun
Rootमन्दार + पुष्प (प्रातिपदिक)
Formषष्ठी-तत्पुरुष: ‘मन्दारस्य पुष्पाणि’; नपुंसकलिङ्ग, तृतीया (3rd), बहुवचन; instrumental plural
आबद्ध-वितानेhaving a canopy fastened/arranged
आबद्ध-विताने:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootआ + बन्ध् (धातु) + वितान (प्रातिपदिक)
Formकर्मधारय/तत्पुरुष-समास: ‘आबद्धः वितानः यस्मिन्’; ‘आबद्ध’ = क्त-प्रत्ययान्त (past passive participle) from √बन्ध्; नपुंसकलिङ्ग/पुंलिङ्ग, सप्तमी (7th), एकवचन; agrees with मण्डपे
तोरण-अन्वितेadorned with gateways/arches
तोरण-अन्विते:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootतोरण + अन्वित (प्रातिपदिक/कृदन्त)
Formतत्पुरुष: ‘तोरणैः अन्वितः’; ‘अन्वित’ = क्त-प्रत्ययान्त (PPP) from √इ (anu+√i ‘to go/attend’ → ‘endowed with’); सप्तमी (7th), एकवचन; agrees with मण्डपे

Narada (narrative description within the dialogue context)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: bhakti

A
Ayodhya
M
Mandara

FAQs

It sanctifies the worship context by describing a properly adorned maṇḍapa—an outer expression of inner reverence—where sacred discourse or pūjā becomes auspicious and dharma-aligned.

Bhakti is supported by seva expressed through orderly, beautiful preparation—flowers, canopy, and toranas—showing devotion not only in thought but also in careful ritual hospitality to the Divine.

It reflects kalpa/ritual praxis (a Vedāṅga-associated domain): arranging the maṇḍapa, vitāna (canopy), and torana according to auspicious ceremonial standards used in pūjā and vrata settings.