Shloka 166
Viśokā Dvādaśī Vow, Guḍa-Dhenū (Jaggery-Cow) Gift, and Śaila-Dāna (Mountain-Charity) Rites
धान्यपर्वतवत्संर्वं विधानमिह पठ्यते । अधिवासनपूर्वं हि तद्वद्धोमसुरार्चनम्
dhānyaparvatavatsaṃrvaṃ vidhānamiha paṭhyate | adhivāsanapūrvaṃ hi tadvaddhomasurārcanam
Here, the entire prescribed procedure is taught just as in the Dhānyaparvata rite. And indeed, after the preliminary consecration (adhivāsana), one should likewise perform the fire-offering (homa) and the worship of the deities.
Unspecified (narrative/ritual instruction within Sṛṣṭikhaṇḍa; likely within the Pulastya–Bhīṣma dialogue framework, but not explicit from the single verse).
Concept: Ritual efficacy depends on following a proven vidhi: consecration (adhivāsana) precedes homa and deva-arcana.
Application: Before any major undertaking, do a ‘consecration step’: prepare the space, set intention, then act—order creates clarity and steadiness.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A priestly assembly reads from a palm-leaf manual while a consecrated altar space is marked with lines of rice flour and kusa grass. After adhivāsana, the fire is kindled; ghee and offerings are prepared as deities are invoked for worship in a seamless, disciplined sequence.","primary_figures":["chief ṛtvij (hotṛ/adhvaryu archetype)","assistant priests","yajamāna","invoked devatās (subtle, in aura forms)"],"setting":"ritual hall with palm-leaf manuscripts, homa-kuṇḍa, ladles, ghee pots, flower trays, deity seats (āsanas) arranged in order","lighting_mood":"golden dawn","color_palette":["saffron","smoke-black","ghee-gold","leaf-green","sandalwood beige"],"tanjore_prompt":"Tanjore painting style: a richly ornamented yajña scene—priests performing adhivāsana with sacred markings, then homa with bright ghee flames; deities indicated by haloed presence above their āsanas; heavy gold leaf on fire aura, vessels, and borders; deep reds/greens, jewel-like detailing, symmetrical temple-arch framing.","pahari_prompt":"Pahari miniature style: a calm, scholarly ritual moment—palm-leaf text being read, adhivāsana preparations, then a small controlled homa fire; delicate lines, cool earthy palette, refined faces, gentle dawn light, lyrical naturalism in smoke curls and cloth folds.","kerala_mural_prompt":"Kerala mural style: bold outlined priests around a square homa-kuṇḍa; stylized flames with ghee sheen; ritual implements rendered iconically; warm red-yellow-green palette, temple-wall composition, rhythmic gestures of offering and worship.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial mandala-like layout—homa-kuṇḍa central, offerings and deity seats arranged symmetrically; ornate floral borders, lotus motifs, deep indigo background with gold highlights; peacocks and vines framing the sacred order of the rite."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["fire crackle","low Vedic chanting","conch shell (soft, occasional)","metal ladle clink"]}
Sandhi Resolution Notes: धान्यपर्वतवत् = धान्य-पर्वत-वत्; वधानमिह = विधानम् इह; तद्वद्धोमसुरार्चनम् = तद्वत् होम-सुरा-अर्चनम्; ‘संर्वं’ in Devanagari appears as scribal for ‘सर्वं’.
FAQs
It states that the procedure follows the Dhānyaparvata model: first adhivāsana (preliminary consecration), then homa (fire-offering) and surārcana (worship of the deities).
Adhivāsana is the preparatory consecration that ritually establishes and sanctifies the setting and materials, after which the main offerings and deity-worship are performed.
The pairing suggests both inner discipline through offering (homa) and devotional reverence through worship (deva-arcana), integrating duty (karma/vidhi) with devotion (upāsanā).