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Shloka 5

Glory of Guru-tīrtha: Mānasarovara Marvels and the Revā Confluence

प्रदेशमृषिगणाकीर्णमप्सरोभिः प्रशोभितम् । बहुकौतुकशोभाढ्यं मंगल्यं मंगलैर्युतम्

pradeśamṛṣigaṇākīrṇamapsarobhiḥ praśobhitam | bahukautukaśobhāḍhyaṃ maṃgalyaṃ maṃgalairyutam

Die Gegend war von Scharen der Rishis erfüllt und von himmlischen Apsaras geschmückt. Reich an der Schönheit vieler wundersamer Festfreuden war sie glückverheißend und erfüllt von glückbringenden Riten und Zeichen.

प्रदेशम्a region/place
प्रदेशम्:
Karman (Object/कर्म)
TypeNoun
Rootप्रदेश (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन
ऋषिगणाकीर्णम्filled with groups of sages
ऋषिगणाकीर्णम्:
Visheshana (Qualifier/विशेषण)
TypeAdjective
Rootऋषि (प्रातिपदिक) + गण (प्रातिपदिक) + आकीर्ण (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; ‘ऋषिगणेन आकीर्णम्’
अप्सरोभिःby apsarases
अप्सरोभिः:
Karana (Instrument/करण)
TypeNoun
Rootअप्सरस् (प्रातिपदिक)
Formस्त्रीलिङ्ग, तृतीया (3rd/Instrumental), बहुवचन
प्रशोभितम्adorned/beautified
प्रशोभितम्:
Kriya (Predicative/क्रिया)
TypeVerb
Rootप्र + शुभ् (धातु)
Formक्त-प्रत्ययान्त (past passive participle), पुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; ‘adorned’
बहुकौतुकशोभाढ्यम्rich in many wonders and splendor
बहुकौतुकशोभाढ्यम्:
Visheshana (Qualifier/विशेषण)
TypeAdjective
Rootबहु (प्रातिपदिक) + कौतुक (प्रातिपदिक) + शोभा (प्रातिपदिक) + आढ्य (प्रातिपदिक)
Formनपुंसकलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; ‘बहुभिः कौतुकैः शोभया च आढ्यम्’ (समाहारार्थे)
मङ्गल्यम्auspicious
मङ्गल्यम्:
Visheshana (Qualifier/विशेषण)
TypeAdjective
Rootमङ्गल्य (प्रातिपदिक)
Formनपुंसकलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; विशेषणं प्रदेशस्य
मङ्गलैःwith auspicious things
मङ्गलैः:
Karana (Instrument/करण)
TypeNoun
Rootमङ्गल (प्रातिपदिक)
Formनपुंसकलिङ्ग, तृतीया (3rd/Instrumental), बहुवचन
युतम्endowed/combined
युतम्:
Kriya (Predicative/क्रिया)
TypeVerb
Rootयुज् (धातु)
Formक्त-प्रत्ययान्त (past passive participle), नपुंसकलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; ‘joined/endowed’

Unspecified narrator (within the Bhūmi-khaṇḍa dialogue frame, commonly Pulastya speaking to Bhīṣma)

Concept: Auspiciousness (maṅgalya) is not merely decorative; it arises where dharma is lived—through rishis, right rites, and sattvic celebration.

Application: Curate one’s environment—company, speech, and daily rituals—so that ‘maṅgala’ becomes habitual: keep a clean worship corner, begin tasks with a short nāma-smaraṇa, and seek sādhusatsanga.

Primary Rasa: adbhuta

Secondary Rasa: shanta

Visual Art Cues: {"scene_description":"A vast sacred region opens like a living mandala: clusters of sages in ochre robes chant beside fire-altars while apsarases hover and dance in the sky, scattering blossoms. Festive pavilions, banners, and ritual lamps create a layered panorama of ‘maṅgala’—a place where celebration itself feels like worship.","primary_figures":["rishis (ṛṣigaṇa)","apsarases","attendant gandharvas (optional)","pilgrims performing auspicious rites"],"setting":"A tirtha-like plain with yajña-vedis, flowering groves, and ceremonial arches; distant hills and a faint celestial corridor above.","lighting_mood":"golden dawn","color_palette":["lotus pink","saffron ochre","gold leaf","emerald green","pearl white"],"tanjore_prompt":"Tanjore painting style: a grand sacred landscape filled with seated rishis around glowing yajña fires, apsarases in mid-dance above them, ornate festival toranas and lamps; heavy gold leaf embellishment on halos, jewelry, and ritual vessels; rich reds and greens, gem-studded ornaments, traditional South Indian iconographic symmetry, intricate floral borders.","pahari_prompt":"Pahari miniature style: lyrical sacred valley with delicate rishis in saffron, apsarases drifting like clouds, fine linework on trees and banners; cool yet luminous palette, refined faces, layered hills, tiny ritual details—kalashas, lamps, flower garlands—rendered with poetic naturalism.","kerala_mural_prompt":"Kerala mural style: bold black outlines, flat yet vibrant natural pigments; rishis around a stylized yajña-kunda, apsarases with elongated eyes and ornate crowns; temple-fresco aesthetic with red/yellow/green dominance, rhythmic composition, decorative lotus and creeper motifs framing the scene.","pichwai_prompt":"Pichwai cloth painting style: auspicious festival ground as a lotus-filled mandala; floral borders, hanging garlands, peacocks and swans at the edges; deep blues and gold accents; central space reserved for a subtle Vishnu-symbol (shankha-chakra motif) implying the sanctity behind the celebration."}

Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["temple bells","conch shell","soft mridanga","chanting of svasti-mantras","rustle of garlands"]}

Sandhi Resolution Notes: प्रदेशमृषिगणाकीर्णमप्सरोभिः = प्रदेशम् + ऋषिगणाकीर्णम् + अप्सरोभिः; बहुकौतुकशोभाढ्यं = बहुकौतुकशोभाढ्यम्; मंगलैर्युतम् = मङ्गलैः + युतम्.

Ṛṣigaṇa (sages)
A
Apsaras (celestial nymphs)

FAQs

It portrays a tīrtha as a spiritually charged landscape marked by saintly presence (ṛṣis), divine beauty (apsarases), and pervasive auspiciousness (maṅgala), suggesting that holiness is recognized through both spiritual company and auspicious signs/rites.

The pairing blends ascetic sanctity (ṛṣis) with celestial splendor (apsarases), emphasizing that the place harmonizes spiritual power and divine beauty—an idiom often used in Purāṇic sacred-geography passages.

It underscores the value of seeking uplifting environments—holy places, noble company, and auspicious practices—since surroundings shaped by virtue and sacred observance are presented as conducive to inner refinement and devotion.