Shloka 143
Merit of Causeways and Crossings, Temple Construction Rewards, and the Rudrākṣa Mahātmya
कार्तिकेय उवाच । एकवक्त्रं द्वित्रिचतुःपंचषड्वक्त्रमेव च । सप्ताष्टनववक्त्रं च दशैकादशवक्त्रकम्
kārtikeya uvāca | ekavaktraṃ dvitricatuḥpaṃcaṣaḍvaktrameva ca | saptāṣṭanavavaktraṃ ca daśaikādaśavaktrakam
Kārtikeya sprach: „Es gibt die einantlitzige Form, ebenso die zwei-, drei-, vier-, fünf- und sechsgesichtige; ferner die sieben-, acht- und neunsgesichtige sowie die zehn- und elfgesichtige.“
Kārtikeya (Skanda)
Concept: Sacred objects possess differentiated forms (mukhas) with distinct spiritual correspondences; dharma includes knowing proper classifications for correct use.
Application: When adopting a religious practice, learn its proper forms and meanings from reliable sources; avoid superstition by pairing faith with informed discernment.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"Kārtikeya, youthful and radiant, instructs a listener while a tray displays rudrākṣa beads arranged in rows, each bead subtly marked with one to eleven natural grooves. The scene feels like a sacred classroom—devotional yet meticulous—where divine taxonomy becomes a form of worship.","primary_figures":["Kārtikeya (Skanda)","attentive disciple/questioner","rudrākṣa beads (1–11 mukha)"],"setting":"Forest āśrama teaching space with palm-leaf manuscripts and a low wooden platform.","lighting_mood":"golden dawn","color_palette":["sunrise gold","peacock blue","leaf green","terracotta","ivory"],"tanjore_prompt":"Tanjore painting style: Skanda seated on a jeweled pedestal, holding a spear (vel) and gesturing in instruction; in front, a ceremonial platter with rudrākṣa beads labeled by mukha count; gold leaf halo, rich crimson drapery, emerald borders, gem-like highlights, ornate arch frame.","pahari_prompt":"Pahari miniature style: Skanda as a graceful youthful teacher in an āśrama; delicate brushwork shows tiny grooves on beads; cool natural palette with lyrical trees and distant hills; refined faces, patterned textiles, and a calm didactic mood.","kerala_mural_prompt":"Kerala mural style: Skanda with bold outlines, large eyes, and stylized ornaments; beads depicted as rhythmic brown circles with incised lines; red-yellow-green palette, temple-wall composition with decorative borders and lotus medallions.","pichwai_prompt":"Pichwai cloth painting style: devotional instructional tableau with ornate floral border; Skanda centered, platter of rudrākṣa arranged symmetrically like a mandala; deep blue background with gold detailing, lotus motifs and peacocks as fillers, intricate textile patterning."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["birds in an āśrama grove","soft hand cymbals","page-turn of palm leaves","gentle breeze"]}
Sandhi Resolution Notes: कार्तिकेय उवाच इति वाक्यसमाप्तिः। द्वित्रिचतुःपञ्चषड्वक्त्रम्, सप्ताष्टनववक्त्रम्, दशैकादशवक्त्रकम् इत्यत्र संख्यापदानां समाहार-द्वन्द्वसमासः; ‘च’ समुच्चयार्थे।
FAQs
He is listing a series of forms characterized by the number of faces (vaktra)—from one-faced up to eleven-faced—indicating multiple manifestations distinguished by iconographic features.
Not directly; it functions more as a descriptive or classificatory statement within the Sṛṣṭikhaṇḍa context, focusing on forms (iconography/taxonomy) rather than an explicit bhakti injunction.
It suggests reverence for the diversity of divine manifestations and encourages a non-reductive understanding of sacred forms—recognizing that the same sacred reality may be approached through many iconographic expressions.