Varaha Purana 41.7: Adhyaya 41, Shloka 7
Rite of the Varāha Dvādaśī Vow and an Exemplary Narrative on Expiation for Brahmin-Slaying
Pūrva Bhāga · Ritual and Iconography (Varāha-pratimā-vidhi)
सर्वबीजैस्तु सम्पूर्णं स्थापयित्वा विचक्षणः । तत्र शक्त्या तु सौवर्णं वाराहं कारयेद्बुधः ॥ ४१.७ ॥
sarvabījais tu sampūrṇaṃ sthāpayitvā vicakṣaṇaḥ | tatra śaktyā tu sauvarṇaṃ vārāhaṃ kārayed budhaḥ || 41.7 ||
sarvabIjaistu saMpUrNaM sthApayitvA vichakShaNaH | tatra shaktyA tu sauvarNaM vArAhaM kArayed budhaH || 41.7 ||
फिर सारे बीज ले के पूरा सेटअप कर लो। अपनी कैपेसिटी के हिसाब से सोना का वराह मूर्ति बना लो। यह समझदार लोग करते हैं।
Sandhi Notes
- सर्व + बीजैः → सर्वबीजैः (कर्मधारय)
- कारयेत् + बुधः → कारयेद्बुधः (त् + ब् → द्ब्)
Varāha
Devotion is expressed through orderly ritual and proportionate offering (yathā-śakti), not mere display.
Complete worship with integrity: finish the rite, then offer/commission what you can afford without harm, keeping intention and correctness central.
The ‘all-seeds’ completeness signals Varāha as the cosmic ground of germination and stability; the golden icon embodies the imperishable (akṣara) support of the Earth and dharma in a ritually graspable form.
All-seeds (sarva-bīja) = totality of beings/varieties; gold (jātarūpa/sauvarṇa) = solar, un-decaying radiance of the sacrificial Lord made present as mūrti.
From nirguṇa support to saguṇa accessibility: the transcendent Hari is approached through pratimā as upāsanā, making the cosmic stabilizer (Varāha) available to the devotee’s mind and senses.
After completing the seed-filled installation rite, one should, according to one’s means, commission a golden Varāha image as an act of pious offering and proper completion of worship.
Observing it yields merit (puṇya), auspiciousness, and strengthened devotion; neglecting the prescribed completion diminishes the rite’s fruit and is treated as ritual deficiency.
Varāha Purāṇa: surrounding verses on sarva-bīja-kalaśa, jāgara, and Hari’s prādurbhāvas
FAQs
It reflects Purāṇic-era ritual economy and material culture, where commissioning icons (including in precious metals) is framed as a regulated practice tied to capacity (śaktyā), indicating graded patronage rather than a uniform obligation.
No specific geographic site is named in this verse; it functions as a procedural instruction within a ritual-installation context.
The verse emphasizes proportionate practice—ritual or patronage should be undertaken within one’s means (śaktyā), aligning conduct with discernment (vicakṣaṇa) and prudent judgment (budha).
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