Shloka 121
Brahmin Right Conduct: Morning Remembrance, Bathing, Purification, and Tarpaṇa Method
समानस्तु समस्ताभिरुदानस्तर्जनीं विना । नागः कूर्मश्च कृकरो देवदत्तो धनंजयः
samānastu samastābhirudānastarjanīṃ vinā | nāgaḥ kūrmaśca kṛkaro devadatto dhanaṃjayaḥ
സമാനവായു എല്ലാ വിരലുകളിലും നിലകൊള്ളുന്നു; ഉദാനവായു തർജനി ഒഴികെ മറ്റെല്ലായിടത്തും വർത്തിക്കുന്നു. (ഉപപ്രാണങ്ങൾ:) നാഗൻ, കൂർമൻ, കൃകരൻ, ദേവദത്തൻ, ധനഞ്ജയൻ।
Unspecified (narratorial/teaching voice within Sṛṣṭikhaṇḍa context)
Concept: Knowledge of prāṇa-vāyu taxonomy (major and minor winds) underlies ritual and yogic discipline; the body’s functions are ordered, not random.
Application: Observe breath and bodily energies during worship; cultivate regularity (sleep, food, cleanliness) to keep prāṇa balanced and the mind fit for bhakti.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A diagrammatic yet devotional scene: a seated practitioner is shown with subtle luminous lines extending into each finger, indicating samāna’s pervasion and udāna’s exception at the index finger. Around the figure, five smaller wind-deities—Nāga, Kūrma, Kṛkara, Devadatta, Dhanañjaya—appear as translucent, symbolic forms (serpent, tortoise, spark, gentle cloud, golden breath) orbiting like guardians of bodily function.","primary_figures":["a meditative practitioner","Nāga-vāyu (serpent symbol)","Kūrma-vāyu (tortoise symbol)","Kṛkara-vāyu (spark/ember symbol)","Devadatta-vāyu (soft cloud/breeze symbol)","Dhanañjaya-vāyu (golden breath symbol)"],"setting":"Minimal sacred space with an āsana and a small altar in the background; the foreground emphasizes hands and subtle energy mapping.","lighting_mood":"temple lamp-lit","color_palette":["deep indigo","warm gold","vermillion","ash gray","emerald green"],"tanjore_prompt":"Tanjore painting style: central seated yogic devotee with hands prominently displayed, fingers annotated by luminous gold leaf lines for samāna/udāna mapping; five symbolic vāyu forms (serpent, tortoise, ember, cloud, golden breath) arranged in a mandala around; ornate gold leaf borders, rich reds and greens, altar with tiny Viṣṇu emblem in the back.","pahari_prompt":"Pahari miniature style: elegant figure with finely painted hands, subtle translucent ribbons marking vāyu pathways; five small symbolic creatures/forms floating in a circular composition, soft washes and refined facial features, cool mountain palette with gentle gold accents.","kerala_mural_prompt":"Kerala mural style: bold black outlines, stylized hand gestures enlarged, vāyu symbols rendered as iconic serpent/tortoise/flame/cloud motifs; strong red-yellow-green pigments, symmetrical mandala framing, temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: mandala-like arrangement where lotus vines trace prāṇa pathways to the fingers; five vāyu symbols integrated into floral medallions, deep blue ground with gold detailing, ornate borders with repeating lotus and leaf motifs, subtle Vaishnava altar element at center-bottom."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["tanpura drone","soft handbell at verse end","gentle breath cues","quiet indoor ambience","pages/leaf rustle (scripture)"]}
Sandhi Resolution Notes: samānastu → samānaḥ tu; samastābhirudānaḥ → samastābhiḥ udānaḥ; udānastarjanīṃ → udānaḥ tarjanīm; kūrmaśca → kūrmaḥ ca; devadatto → devadattaḥ.
FAQs
It enumerates specific vital airs (prāṇa-vāyus), stating where Samāna and Udāna are situated, and listing five subsidiary airs: Nāga, Kūrma, Kṛkara, Devadatta, and Dhanañjaya.
They are traditionally known as upa-prāṇas (secondary vital winds) described in yogic and āyurvedic sources, functioning alongside the primary prāṇas to govern bodily and physiological processes.
It gives a traditional localization rule: Udāna is said to be present in all (fingers/locations) except the index finger, marking a subtle-body mapping used in certain prāṇa teachings.