Shloka 192
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
उत्पलाक्षी सहस्राक्षे हिरण्याक्षे महोत्पला । गयायां मंगला नाम विमला पुरुषोत्तमे
utpalākṣī sahasrākṣe hiraṇyākṣe mahotpalā | gayāyāṃ maṃgalā nāma vimalā puruṣottame
In Sahasrākṣa wird sie Utpalākṣī genannt; in Hiraṇyākṣa Hiraṇyākṣī; und auch Mahotpalā. In Gayā ist sie als Maṅgalā bekannt, und in Puruṣottama heißt sie Vimalā.
Unspecified in the provided excerpt (contextual narrator within Padma Purāṇa, Sṛṣṭikhaṇḍa).
Concept: Auspiciousness (maṅgala) and purity (vimala) are accessed through kṣetra-sevā; śakti supports both ancestral duty and Viṣṇu-centered liberation.
Application: Perform family duties (gratitude to ancestors) without losing sight of inner purification; visit sacred places with humility and ethical conduct.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"On the banks near Gayā, priests perform piṇḍa-dāna while Devī Maṅgalā appears as a benevolent guardian, her hands raised in blessing over families honoring their ancestors. The scene transitions to Puruṣottama-kṣetra: towering temple silhouettes and a sanctum where Devī Vimalā stands radiant beside the aura of the Supreme Lord’s dhāma, embodying spotless purity and protection.","primary_figures":["Devī as Maṅgalā (Gayā)","Devī as Vimalā (Puruṣottama)","pitṛ-kārya priests","pilgrim families"],"setting":"Two sacred vignettes: Gayā śrāddha-ghāṭa with ritual platforms; Puri dhāma temple precinct with a side-shrine for Vimalā.","lighting_mood":"temple lamp-lit","color_palette":["sandstone beige","sindoor red","coconut white","deep teal","antique gold"],"tanjore_prompt":"Tanjore painting style: Gayā ghāṭa with priests and offering trays, Devī Maṅgalā with gold halo and red-gold sari, then a grand Puri temple backdrop with Devī Vimalā in a jeweled arch, heavy gold leaf, embossed ornaments, lamp flames and conch motifs, intricate borders with lotus and śrāddha symbols (til, darbha).","pahari_prompt":"Pahari miniature style: gentle riverbank ritual scene with fine details of darbha grass and offering balls, Devī hovering in soft clouds, then a lyrical coastal-temple vignette for Puruṣottama with pale sky washes, refined faces, and delicate architectural lines, cool shadows and devotional calm.","kerala_mural_prompt":"Kerala mural style: bold symmetrical composition, Gayā ritual platform at left, Puruṣottama temple at right, Devī Maṅgalā and Vimalā in iconic frontal poses with large eyes, strong red-yellow-green palette, stylized waves and lamp patterns, thick black outlines and ornamental bands.","pichwai_prompt":"Pichwai cloth painting style: central lotus medallion split into two halves—Gayā rites with floral borders and ritual motifs, Puruṣottama dhāma with temple flags, peacocks and cows at margins, deep blue ground with gold highlights, Devī forms richly ornamented, garlands and bells framing the narrative."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["low temple bell","soft conch","murmured mantras","sea breeze (Puri)","ritual water pouring"]}
Sandhi Resolution Notes: Compounds: utpala-akṣī, sahasra-akṣa, hiraṇya-akṣa, mahā-utpalā, puruṣa-uttama. nāma is indeclinable used as “called/by name”.
FAQs
It maps a devotional sacred geography by linking specific holy places (like Gayā and Puruṣottama) with localized divine epithets, suggesting that pilgrimage sites are understood through distinct, place-based manifestations of the sacred.
By presenting the divine as personally approachable through names and forms encountered at pilgrimage centers, it supports bhakti practice centered on remembrance (nāma), visitation (tīrtha-yātrā), and localized worship traditions.
The verse implies reverence for sacred places and traditions: purity (vimalā) and auspicious conduct (maṅgalā) are cultivated through respectful pilgrimage, worship, and mindful engagement with holy sites.