Shloka 165
The Establishment of Vāmana at Kānyakubja and the Sanctification of Setu
दर्भपाणिर्हंसकेतुः कर्ता हर्ता हरो हरिः । जटी मुंडी शिखी दंडी लगुडी च महायशाः
darbhapāṇirhaṃsaketuḥ kartā hartā haro hariḥ | jaṭī muṃḍī śikhī daṃḍī laguḍī ca mahāyaśāḥ
അവൻ കൈയിൽ ദർഭം ധരിച്ച് ഹംസചിഹ്നധാരി; അവൻ തന്നേ കർത്താവും സംഹർത്താവും; അവൻ ഹരനും ഹരിയും. അവൻ ജടാധാരി, മുണ്ഡിതൻ, ശിഖാധാരി, ദണ്ഡധാരി, ലഗുഡിധാരി—മഹായശസ്സുള്ളവൻ.
Unspecified in the provided excerpt (context-dependent within Sṛṣṭikhaṇḍa 38)
Concept: The Supreme is simultaneously the ritualist and the renunciant, the creator and withdrawer—one reality appearing through many sacred roles.
Application: Honor diverse spiritual paths (yajña, japa, sannyāsa) as offerings to one Lord; reduce sectarian hostility by seeing one divine agency behind varied symbols.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A single radiant deity stands at the center, shifting iconographic attributes as if layered in one form: kuśa-grass in one hand, a staff and club appearing as shadow-forms, with matted locks and also the serene shaven-headed ascetic visage suggested in overlapping halos. Above, a swan-emblem glides through a mandala of Vedic fire and forest silence, implying the Lord as both yajamāna and yogin.","primary_figures":["Vishnu (as all-form, Hari)","Hara-aspect (suggested, not separate)","Hamsa emblem (swan)"],"setting":"A liminal sacred space blending a yajña-śālā (fire altar, kuśa mats) with a forest hermitage edge; symbolic rather than geographic.","lighting_mood":"divine radiance","color_palette":["sapphire blue","ash white","gold leaf","kusha green","smoke gray"],"tanjore_prompt":"Tanjore painting style: a central syncretic Hari-form with layered ascetic attributes (jaṭā and muṇḍa suggested through dual halos), holding kuśa and a daṇḍa, with a subtle gadā silhouette; hamsa emblem above; ornate prabhāmaṇḍala, heavy gold leaf, ruby-green borders, gem-studded ornaments, sacred fire altar at the base, rich reds and greens, traditional South Indian iconography.","pahari_prompt":"Pahari miniature style: lyrical forest-ashram scene merging a small yajña pavilion and pine-like woodland; the deity as serene blue figure with minimal ornaments, kuśa in hand, staff nearby, a white swan motif in the sky; delicate brushwork, cool mountain palette, refined facial features, soft atmospheric perspective.","kerala_mural_prompt":"Kerala mural style: bold black outlines, natural pigments; the all-form Lord with prominent expressive eyes, holding kuśa and daṇḍa, gadā hinted; sacred fire and kuśa mats below; hamsa emblem in a circular aureole; red/yellow/green dominant with deep blue body tone, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: Vishnu-centered composition with lotus and kuśa motifs forming a floral border; a swan medallion above; the Lord holding kuśa with a subtle gadā; intricate vines, peacocks at corners, deep indigo background with gold detailing, Nathdwara-inspired ornamentation."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft conch shell","crackling sacrificial fire","forest birds"]}
Sandhi Resolution Notes: दर्भपाणिर्हंसकेतुः = दर्भपाणिः + हंसकेतुः (visarga sandhi).
FAQs
The verse deliberately pairs Hara (Śiva) and Hari (Viṣṇu) to express a theological synthesis: the one divine reality is praised through multiple names and functions (withdrawal/removal and preservation).
They point to renunciant and protective aspects of divinity—matted hair or a topknot, shaved head, and carrying a staff or club—indicating mastery over discipline, detachment, and the power to uphold dharma.
No. This verse is primarily a litany of divine epithets and forms; it focuses on identity and attributes rather than describing sacred places.