Shloka 25
Exposition of the Duties of Ascetics
Saṃnyāsa-Dharma
धौतकाषायवसनो तस्मिञ्छन्नतनूरुहः । अधियज्ञं ब्रह्मजपेदाधिदैविकमेव च
dhautakāṣāyavasano tasmiñchannatanūruhaḥ | adhiyajñaṃ brahmajapedādhidaivikameva ca
In gewaschenen ockerfarbenen Gewändern, mit besänftigtem (oder bedecktem) Körperhaar, soll er das Brahman-Mantra im Hinblick auf das Adhiyajña, das Opfer, und ebenso im Hinblick auf das Adhidaivika, das Göttliche, rezitieren.
Unspecified (contextual narrator/instructor in Svarga-khaṇḍa 59)
Concept: With austere dress and disciplined body, one should perform brahma-japa aligned to both the sacrificial (adhiyajña) and divine (adhidaivika) dimensions—integrating ritual and contemplation.
Application: When doing japa or pūjā, consciously dedicate it as ‘offering’ (yajña-bhāva) and as ‘presence’ (daiva-bhāva): begin with a sankalpa, end with offering of results.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A renunciant in washed ochre robes sits beside a small, controlled sacrificial fire, his posture unwavering as he recites brahma-japa. Above the flames, faint celestial forms—devas as luminous silhouettes—appear, showing the bridge between adhiyajña and adhidaivika, while the air shimmers with mantra-heat.","primary_figures":["ochre-robed renunciant performing japa","subtle deva-presences (luminous silhouettes)"],"setting":"forest clearing with a neat yajña-kuṇḍa, kuśa mats, a water pot, and quiet trees forming a natural mandapa","lighting_mood":"firelit dusk","color_palette":["burnt ochre","ember orange","smoke gray","deep forest green","moonlit blue"],"tanjore_prompt":"Tanjore painting style: ochre-robed ascetic seated by a yajña-kuṇḍa, gold-leaf flames and halo effects, devas hinted as gold silhouettes in the smoke, rich red and green borders, ornate detailing on ritual implements (kamaṇḍalu, ladle, kuśa), symmetrical sacred geometry around the fire.","pahari_prompt":"Pahari miniature style: dusk forest clearing with delicate fire glow, fine brushwork on smoke curling into faint divine forms, cool blues of evening contrasted with warm embers, serene ascetic face, lyrical trees and distant hills, intimate contemplative atmosphere.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized fire as rhythmic red-orange tongues, ascetic in kāṣāya with strong contouring, devas as patterned luminous shapes in the upper register, green forest panels, temple-wall aesthetic with decorative borders.","pichwai_prompt":"Pichwai cloth painting style: central yajña fire as a lotus-like mandala, ascetic seated in front, ornate floral borders, deep indigo background with gold and orange highlights, smoke forming circular motifs that contain small deva icons, intricate repetitive patterns emphasizing mantra rhythm."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Desh","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["crackling fire","low mantra hum","night wind in leaves","distant owl call"]}
Sandhi Resolution Notes: धौतकाषायवसनो → धौत-काषाय-वसनः; तस्मिञ्छन्नतनूरुहः → तस्मिन् छन्न-तनू-रुहः; अधियज्ञं → अधि-यज्ञम्; ब्रह्मजपेदाधिदैविकमेव → ब्रह्म जपेत् अधि-दैविकम् एव
FAQs
It emphasizes external purity and restraint (washed ochre clothing, controlled bodily state) along with focused japa connected to both sacrificial context (adhiyajña) and divine contemplation (adhidaivika).
Adhiyajña indicates the sacrificial/ritual dimension (yajña-oriented meaning), while adhidaivika points to the divine or celestial dimension—contemplation of deity-level principles beyond the merely physical.
The verse links inner practice (japa) with disciplined conduct and purity, teaching that spiritual recitation is strengthened by restraint, cleanliness, and a sacred orientation of mind.