Shloka 153
रुक्मिणी जनयामास पुत्रान्शृणु विशारदान् । चारुदेष्णं रणेशूरं प्रद्युम्नञ्च महाबलम्
rukmiṇī janayāmāsa putrānśṛṇu viśāradān | cārudeṣṇaṃ raṇeśūraṃ pradyumnañca mahābalam
ರುಕ್ಮಿಣೀ ಪುತ್ರರನ್ನು ಜನಿಸಿದಳು—ಓ ವಿಶಾರದ, ಕೇಳು—ಚಾರುದೇಷ್ಣ, ವೀರ ರಣೇಶೂರ ಮತ್ತು ಮಹಾಬಲ ಪ್ರದ್ಯುಮ್ನ.
Not explicitly stated in the provided excerpt (contextually a narrator continuing a genealogical account).
Concept: Divine lineage is narrated to anchor cosmic order (vaṁśa) and the continuity of dharma through Bhagavān’s household.
Application: Honor family responsibilities as a field for dharma; see household life as capable of sanctity when aligned with devotion and right conduct.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Inside a jeweled Dvārakā palace chamber, Rukmiṇī sits serene on a lotus-cushioned seat, cradling the aura of motherhood while attendants hold lamps and flower trays. In the background, three princely children—Cārudeṣṇa, Raṇeśūra, and Pradyumna—are shown as youthful figures with miniature bows, conch motifs, and protective amulets, suggesting heroic destiny without battlefield violence.","primary_figures":["Rukmiṇī","Cārudeṣṇa","Raṇeśūra","Pradyumna"],"setting":"Dvārakā palace interior with carved pillars, lotus motifs, and a distant glimpse of the sea-city through an archway","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","sapphire blue","gold leaf","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: Rukmiṇī seated on a lotus throne in Dvārakā palace, three princely sons standing beside her with subtle heroic attributes, heavy gold leaf halos, gem-studded crowns, rich vermilion and emerald textiles, ornate pillars and lotus borders, devotional Vaishnava iconography with conch and discus motifs in the décor.","pahari_prompt":"Pahari miniature style: intimate palace scene of Rukmiṇī with three young princes, delicate facial features and fine textiles, cool pastel architecture, lyrical detailing of lotus patterns, a small window opening to the blue sea of Dvārakā, soft shading and refined linework.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Rukmiṇī with large expressive eyes and stylized ornaments, three princes in traditional attire, lotus pedestal, warm red-yellow-green palette, temple-wall composition with symmetrical framing and Vaishnava symbols subtly embedded.","pichwai_prompt":"Pichwai cloth painting style: Dvārakā rendered as a lotus-garden palace, Rukmiṇī central with three princes, intricate floral borders, lotus clusters and peacocks, deep indigo background with gold highlights, Vaishnava conch-chakra motifs woven into the border pattern."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft mridanga pulse","conch shell (distant)","palace ambience (soft footsteps)"]}
Sandhi Resolution Notes: पुत्रान्शृणु → पुत्रान् + शृणु; प्रद्युम्नञ्च → प्रद्युम्नम् + च.
FAQs
The verse names Cārudeṣṇa, Raṇeśūra, and Pradyumna as sons born to Rukmiṇī.
It serves a genealogical role—preserving remembered lineages and notable figures by listing descendants with brief epithets such as “heroic” and “mighty.”
Indirectly, yes: by praising qualities like strength and heroism while recording sacred lineage, it reinforces the Purāṇic value of remembering exemplary figures connected to the divine narrative.