Shloka 81
Rudra’s Removal of Brahmahatyā; Kapālamocana and Avimukta Māhātmya; Origins of Nara and Karṇa
link to Arjuna/Karna query
वर्तुले त्वर्चयात्मानम्मामथो धनुराकृतौ । चतुःकोणे हरं देवं ऋग्यजुःसामनामभिः
vartule tvarcayātmānammāmatho dhanurākṛtau | catuḥkoṇe haraṃ devaṃ ṛgyajuḥsāmanāmabhiḥ
Verehre Mich in kreisförmiger Gestalt; dann in bogenförmiger. In vierwinkliger Gestalt verehre den göttlichen Herrn Hara mit den Namen von Ṛg, Yajus und Sāma.
Unspecified (contextual speaker not provided in the single-verse input)
Concept: Divinity is approached through ordered forms and revealed names; ritual geometry becomes a language of the sacred.
Application: Bring intentional form to worship and life: set a clean space, use consistent symbols/mantras, and honor different functions without losing the central orientation to the Supreme.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: temple
Visual Art Cues: {"scene_description":"A ritual floor becomes a living diagram: a luminous circle where the worshipper offers flowers to the Supreme, a bow-shaped arc marked with mantric syllables, and a perfect square where Hara is honored with the tri-Vedic names. The scene blends geometry and devotion—each shape glowing faintly as if the Vedas themselves have taken visible form.","primary_figures":["The worshipper (yajamāna or sage)","Vishnu (as the addressed 'Me')","Hara (Shiva)"],"setting":"Consecrated mandala floor inside a pavilion; powdered pigments, flower heaps, incense, and Vedic manuscripts nearby; directional lamps at corners.","lighting_mood":"divine radiance","color_palette":["lapis blue","lotus pink","ash white","marigold gold","charcoal black"],"tanjore_prompt":"Tanjore painting style: sacred geometry mandala with a radiant circular field for Vishnu worship, a bow-shaped arc motif, and a square altar for Shiva, heavy gold leaf outlining the shapes, jeweled ornaments on deities, rich crimson and emerald textiles, embossed decorative borders and traditional South Indian iconography.","pahari_prompt":"Pahari miniature style: refined mandala floor with delicate pigments, subtle shading on circle/bow/square forms, Vishnu and Shiva appearing as gentle epiphanies above their respective shapes, cool pastel background, lyrical naturalism and fine facial features.","kerala_mural_prompt":"Kerala mural style: bold black contours of circle and square, stylized bow-arc, Vishnu and Shiva with characteristic large eyes, flat yet vibrant reds/yellows/greens, ornamental creepers and lotus medallions framing the ritual diagram.","pichwai_prompt":"Pichwai cloth painting style: ornate floral borders, central circular lotus mandala for Vishnu, surrounding bow-arc motif like a garland, a square panel honoring Shiva, deep indigo ground with gold highlights, intricate patterning reminiscent of temple textiles."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["mantra murmurs","incense crackle","temple bells","soft conch in distance"]}
Sandhi Resolution Notes: तु+अर्चय=त्वर्चय; आत्मानम्+माम्=आत्मानम्माम् (म्+म्); अथ+उ=अथो; ऋक्+यजुः+साम+नामभिः=ऋग्यजुःसामनामभिः (समुच्चय-समास/सन्धि-समाहार)
FAQs
It prescribes worship in specific geometric forms—circular and bow-shaped for the addressed deity (“Me”), and a four-cornered (square) form for Hara (Śiva), using Vedic names/mantras connected with the Ṛg, Yajus, and Sāma.
They indicate a Vedic mode of invocation: worship is to be performed through recognized Vedic designations or mantric names associated with these three Vedas, emphasizing orthodox mantra-based praise.
Even within creation-oriented narration, the verse foregrounds structured, mantra-guided worship and acknowledges Śiva (Hara) explicitly, reflecting the Purāṇic integration of ritual geometry, Vedic authority, and sectarian devotion.