Shloka 12
Description of Continents, Oceans, Regions, and the Measure of the World
तेषामंतरविष्कंभो द्विगुणः प्रविभागशः । औद्भिदं प्रथमं वर्षं द्वितीयं रेणुमंडलम्
teṣāmaṃtaraviṣkaṃbho dviguṇaḥ pravibhāgaśaḥ | audbhidaṃ prathamaṃ varṣaṃ dvitīyaṃ reṇumaṃḍalam
Bei diesen Regionen ist die dazwischenliegende Breite nach rechter Einteilung doppelt so groß. Die erste Varṣa heißt Audbhida, die zweite ist der Kreis, die Region namens Reṇumaṇḍala.
Unspecified narrator (Purāṇic discourse context not indicated in the provided excerpt)
Concept: The cosmos is intelligible and proportioned; higher realms are described through precise divisions to cultivate contemplative understanding (adhyātma-dṛṣṭi through adhibhautika mapping).
Application: Practice ‘measured living’: structure time, duties, and worship with regularity (niyama), mirroring cosmic order—daily japa, fixed pūjā times, and disciplined conduct.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A celestial map unfurls like a luminous mandala in the sky, with two concentric regions labeled Audbhida and Reṇumaṇḍala, separated by a radiant ‘intervening breadth’ shown as a doubled band of light. Sages point with lotus-staffs while subtle divine script glows on the ether, suggesting measured, sacred proportions.","primary_figures":["celestial narrator (purāṇic sage)","brāhmaṇa listeners (dvijas)","personified Varṣa-deities (subtle, optional)"],"setting":"open svargic firmament above cloud-palaces; a floating lotus-dais serving as a cosmic chart table","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","pearl white","amethyst violet"],"tanjore_prompt":"Tanjore painting style: a central lotus-dais bearing a glowing circular cosmographic mandala labeled ‘Audbhida’ and ‘Reṇumaṇḍala’, doubled golden band between them, sage-narrator seated with palm-leaf manuscript, dvija listeners in reverent poses; heavy gold leaf embellishment on the mandala rings, rich crimson and emerald textiles, gem-studded ornaments, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: delicate celestial cartography painted as concentric circles in the sky, soft Himalayan-like cloud ridges framing the scene, refined sage faces, thin ink labels for Audbhida and Reṇumaṇḍala, cool blues and lilacs with gentle gold highlights, lyrical naturalism and airy negative space.","kerala_mural_prompt":"Kerala mural style: bold black outlines forming a radiant circular mandala of regions, warm yellow and red halos around the doubled intervening band, sage-narrator with stylized large eyes and ornate headgear, dvijas seated in a semicircle, temple-wall aesthetic with natural pigment textures.","pichwai_prompt":"Pichwai cloth painting style: a large lotus-mandala map with floral borders, concentric rings as garlands, peacocks perched on cloud-vines, deep indigo background with gold detailing; the regions named in decorative script, overall devotional textile symmetry and intricate botanical motifs."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft drone (tanpura)","temple bells (distant)","conch shell (brief opening)","wind through clouds"]}
Sandhi Resolution Notes: तेषामंतरविष्कंभो = तेषाम् + अन्तरविष्कम्भः (म् + अ → मा).
FAQs
The verse states that the intermediate extent (antara-viṣkambha) between the described regions is ‘twofold’ (dviguṇa) when set out according to the text’s scheme of division (pravibhāgaśaḥ).
They are names of successive varṣas (regional tracts) in the Purāṇic cosmographical listing: the first is Audbhida and the second is called Reṇumaṇḍala.
In isolation, the verse is primarily descriptive (cosmography/measurement and nomenclature). Any devotional or ethical emphasis would depend on the surrounding dialogue and purpose of the chapter.