Shloka 156
Merit of Causeways and Crossings, Temple Construction Rewards, and the Rudrākṣa Mahātmya
नाशुभं विद्यते किंचित्त्रिवक्त्रस्य तु धारणात् । चतुर्वक्त्रः स्वयं ब्रह्मा यस्य देहे प्रतिष्ठति
nāśubhaṃ vidyate kiṃcittrivaktrasya tu dhāraṇāt | caturvaktraḥ svayaṃ brahmā yasya dehe pratiṣṭhati
Keinerlei Unheil gibt es für den, der die dreigesichtige Gestalt trägt; denn in seinem Leib nimmt Brahmā selbst, der Viergesichtige, Wohnung und wird fest gegründet.
Unspecified (context not provided for the dialogue frame)
Concept: Tri-vaktra-dhāraṇa removes all inauspiciousness; it makes the bearer a living seat for Brahmā (catur-vaktra) himself.
Application: Treat sacred symbols/observances as commitments to purity: speech, thought, and action become ‘faces’ turned toward dharma; cultivate auspicious conduct so the body-mind becomes a fit ‘seat’ for higher qualities (clarity, creativity, responsibility).
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A devotee stands serene with a luminous tri-faced emblem hovering like a translucent crown, while within his chest a radiant, miniature Brahmā (four-faced) appears seated on a tiny lotus-throne—symbolizing ‘Brahmā established in the body.’ Around him, shadows of inauspicious forces dissolve into petals and light, leaving an atmosphere of absolute maṅgala.","primary_figures":["devotee bearing tri-vaktra","Brahmā (caturmukha, miniature indwelling form)","symbolic maṅgala energies (lotus-petals, light forms)"],"setting":"A sanctified inner-vision scene blending a simple earthly space with a subtle-body cosmos of lotuses and radiance.","lighting_mood":"divine radiance","color_palette":["lotus pink","radiant gold","sapphire blue","ivory white","crimson vermilion"],"tanjore_prompt":"Tanjore painting style: central standing devotee with a tri-faced translucent crown motif; within a heart-lotus, a small caturmukha Brahmā seated, rendered with heavy gold leaf on crowns and halos; rich vermilion and emerald garments; gem-studded ornaments; ornate arch framing the figure; gold-leaf lotus petals radiating outward to signify total auspiciousness.","pahari_prompt":"Pahari miniature style: refined, lyrical depiction of the devotee with a subtle tri-vaktra aura; delicate inner-heart lotus showing tiny Brahmā with four faces; cool background gradients and soft floral motifs; fine linework and gentle naturalism, emphasizing serenity and wonder rather than grandeur.","kerala_mural_prompt":"Kerala mural style: bold black outlines; stylized tri-vaktra emblem above the head; heart-lotus containing caturmukha Brahmā; strong reds/yellows/greens with rhythmic ornamental borders; large expressive eyes and temple-wall aesthetic conveying consecration and maṅgala.","pichwai_prompt":"Pichwai cloth painting style: central figure framed by dense lotus motifs; heart-lotus with miniature Brahmā; deep indigo background with gold highlights; intricate floral borders and symmetrical mandala patterns; peacocks and vines at the margins to amplify auspiciousness and sacred beauty."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"serene","sound_elements":["tanpura drone","soft conch (single)","temple bells (gentle)","silence as emphasis","faint humming of mantra"]}
Sandhi Resolution Notes: nāśubhaṃ = na + aśubham; kiṃcittrivaktrasya = kiṃcit + trivaktrasya.
FAQs
It teaches that adopting or bearing the ‘three-faced’ sacred form (trivaktra-dhāraṇa) is a powerful auspicious practice, removing inauspicious influences and inviting the stabilizing presence of Brahmā (the four-faced) within oneself.
The verse uses the epithet “three-faced” without naming the deity explicitly. In Purāṇic usage, such epithets can denote a specific divine form or a ritual emblem/meditative form; the exact referent depends on the surrounding verses of Adhyaya 59.
It implies that disciplined sacred observance—bearing a revered form or symbol with faith and steadiness—cultivates purity, wards off harmful tendencies, and aligns the practitioner with higher creative/intellectual order associated with Brahmā.