Shloka 20
The Greatness of the Jayantī Vow
Fast, Vigil, and Worship of Hari/Kṛṣṇa
सगरेण दिलीपेन काकुस्थेन कृता पुरा । गौतमेन च गार्ग्येण जामदग्न्येन धीमता
sagareṇa dilīpena kākusthena kṛtā purā | gautamena ca gārgyeṇa jāmadagnyena dhīmatā
ഇത് പൂർവം സഗരൻ, ദിലീപൻ, കാകുസ്തൻ എന്നിവർ നിർവഹിച്ചു; കൂടാതെ ഗൗതമൻ, ഗാർഗ്യൻ, ധീമാനായ ജാമദഗ്ന്യനും നിർവഹിച്ചു।
Unspecified in the provided excerpt (context needed to attribute to Pulastya–Bhīṣma or Śiva–Pārvatī dialogue).
Concept: A vrata gains prāmāṇya (authoritativeness) through the exemplary conduct of revered kings and ṛṣis; imitation of the sādhus’ path is itself a dharmic proof.
Application: When adopting a discipline (fast, vigil, worship), anchor it in a tested tradition: follow a clear lineage of practice, keep consistency, and seek sāttvika exemplars rather than novelty.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A ceremonial hall where a luminous altar is surrounded by six archetypal exemplars—three crowned kings and three austere sages—each offering flowers and water in turn. Behind them, a faint, cosmic lotus motif suggests Padma Purāṇa’s origin-myth, while a subtle discus-emblem (cakra) glows above the altar, hinting at Viṣṇu’s pleasure.","primary_figures":["Sagara","Dilīpa","Kakutstha (Ikṣvāku-line king)","Gautama Ṛṣi","Gārgya Ṛṣi","Jāmadagnya (Paraśurāma)"],"setting":"Royal-sacrificial pavilion blending rāja-sabhā and āśrama aesthetics; altar with kalasha, lamps, and flower trays; attendants holding conch and incense.","lighting_mood":"temple lamp-lit","color_palette":["saffron gold","deep vermilion","sandalwood beige","emerald green","midnight blue"],"tanjore_prompt":"Tanjore painting style: a richly ornamented mandapa with Sagara, Dilīpa, and Kakutstha in jeweled crowns offering lotus flowers at a central altar; Gautama, Gārgya, and Jāmadagnya as radiant sages with matted hair and sacred threads; a stylized golden cakra hovering above, heavy gold leaf embellishment on crowns, halo rings, and altar vessels; rich reds and greens, gem-studded ornaments, traditional South Indian iconography, symmetrical composition.","pahari_prompt":"Pahari miniature style: a refined court-āśrama scene with delicate brushwork—kings in soft brocades and sages in simple white, seated around a small fire-altar; distant riverbank and flowering trees, cool mountain palette with lyrical naturalism; subtle golden aura shaped like a lotus behind the altar; refined facial features and gentle gestures of offering.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments depicting the six exemplars in a semi-circle around a lamp-lit altar; large expressive eyes, stylized jewelry on kings, ochre-red and leaf-green dominance; a prominent cakra emblem above the altar, temple-wall aesthetic with ornamental borders of lotus and creepers.","pichwai_prompt":"Pichwai cloth painting style: a devotional tableau where the altar is framed by lotus motifs and floral borders; the six exemplars offer garlands and lamps; deep indigo background with gold highlights; peacocks at the corners and a central cakra-lotus medallion suggesting Viṣṇu’s presence, intricate textile-like detailing."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft conch shell","low drone (tanpura)","murmured mantra","crackling lamp-wick"]}
Sandhi Resolution Notes: कृता: क्त-प्रत्ययान्त कृदन्त (PPP) स्त्री. एक. (अध्याहृतं ‘व्रतम्/क्रिया’ इति नपुंसकं कर्म).
FAQs
It emphasizes the antiquity and authority of a certain sacred act/rite by listing renowned kings and sages who performed it in the past.
Jāmadagnya means “descendant/son of Jamadagni” and commonly refers to Paraśurāma, famed for ascetic power and dharmic severity.
Such catalogues function as scriptural validation: by associating the practice with exemplary figures (rājarṣis and ṛṣis), the text frames it as time-tested and dharmically endorsed.