Shloka 103
संस्थाप्यतं विपुलशैलमथोत्तरेण शैलं सुपार्श्वमपि माषमयं सवस्त्रम् । पुष्पैश्च हेमवटपादपशेखरं तमाकारयेत्कनककेतुविराजमानम्
saṃsthāpyataṃ vipulaśailamathottareṇa śailaṃ supārśvamapi māṣamayaṃ savastram | puṣpaiśca hemavaṭapādapaśekharaṃ tamākārayetkanakaketuvirājamānam
広大なる山を安置したのち、その北にスパールシュヴァ山をも据えよ。マーシャ（黒豆）にて形づくり、衣をまとわせる。さらに花で飾り、ヘーマヴァタを足もととし、パーシェーカラを頂とし、黄金の旗にて燦然と輝かせよ。
Unspecified (instructional narration within Sṛṣṭikhaṇḍa; likely within a dialogue frame such as Pulastya → Bhīṣma, but not provable from the single verse alone)
Concept: Completion matters: sacred work is perfected by finishing the full circuit—north included—so the whole becomes harmonious.
Application: Do not leave duties half-done; complete the ‘four directions’ of responsibility—self, family, society, and inner life—then raise a ‘banner’ of steady practice.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: celestial_realm
Visual Art Cues: {"scene_description":"To the north of the great central mountain, Supārśva is raised from dark māṣa grains, draped in cloth like a consecrated idol-mountain. Flowers crown its ridges, a golden banner flutters from its summit, and the base is framed by a luminous ‘Hemavaṭa’ foothill and a crest-like ‘Pāśekhara’ peak, completing the cosmic compass.","primary_figures":["Supārśva (as black-gram mountain-altar)","ritual officiant (ṛtvij-like sage)","personified North (Uttarā diś)"],"setting":"Northern quadrant of a cosmic altar-mandala, with cloth offerings, flower garlands, and a prominent golden dhvaja at the summit.","lighting_mood":"divine radiance","color_palette":["midnight black","saffron gold","rose pink","snow white","bronze brown"],"tanjore_prompt":"Tanjore painting style: northern Supārśva mountain formed of dark māṣa grains, richly clothed, crowned with flowers; a tall golden banner at the summit; heavy gold leaf on dhvaja and ornaments, deep red-green background, ornate lotus borders, jewel-like detailing on garlands.","pahari_prompt":"Pahari miniature style: crisp northern air with pale sky; dark textured mountain draped in patterned cloth; delicate flower clusters; slender golden banner catching light; refined priest figure completing the mandala, subtle landscape cues suggesting ‘Hemavaṭa’ foothills.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized dark mountain with cloth bands, bright gold banner, rhythmic floral motifs; symmetrical composition emphasizing completion of the four quarters; temple-wall palette with reds, yellows, greens.","pichwai_prompt":"Pichwai cloth painting style: four-quadrant mandala panel with the northern Supārśva highlighted; dark mound with floral crown and tall gold dhvaja; intricate border of lotuses and vines, deep indigo ground, gold paint accents and repeating garland motifs."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","temple bells","hand cymbals","uplifting drone"]}
Sandhi Resolution Notes: atha + uttareṇa → athottareṇa; puṣpaiḥ + ca → puṣpaiśca; tam + ākārayet → tamākārayet; ākārayet + kanaka... → ākārayetkanaka... (euphonic joining).
FAQs
It gives a prescriptive, ritual-like description of arranging sacred mountains in a cosmographic layout—installing a major mountain and then placing Mount Supārśva to its north, with specific materials and adornments.
Such details indicate a constructed or iconographic/ritual representation rather than a literal geological mountain—using edible/ritual materials and garments as part of a sacred model or offering arrangement.
In this verse the emphasis is not devotional instruction or moral teaching, but cosmographic and ritual-constructive description—how to set up and decorate a sacred mountain form within a larger creation/cosmos framework.