Shloka 15
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
धर्मवंतं सदाचारं भवंतं धर्मवत्सलम् । मया ज्ञात्वा ततः कन्या दत्ता चैषा विरंचये
dharmavaṃtaṃ sadācāraṃ bhavaṃtaṃ dharmavatsalam | mayā jñātvā tataḥ kanyā dattā caiṣā viraṃcaye
Setelah mengetahui engkau seorang yang berpegang pada dharma, berakhlak mulia, dan penuh kasih kepada dharma, maka aku menyerahkan gadis ini dalam perkahwinan kepada Virañci (Brahmā).
Unspecified (context-dependent narrator/speaker in Adhyaya 17; verse indicates a father/guardian giving a maiden in marriage)
Concept: Right conduct (sadācāra) and dharma-steadfastness qualify one for sacred responsibility and generative roles in the cosmos.
Application: Choose alliances, mentors, and commitments by character and integrity; treat life-transitions as dharmic vows, not mere preference.
Primary Rasa: shanta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A venerable guardian, hands joined in respectful offering, presents a veiled maiden to Virañci (Brahmā). Brahmā, four-faced and serene, receives the kanyā-dāna with a lotus in hand, while subtle cosmic motifs—lotus petals and faint starry spirals—hint that this marriage is a hinge of creation.","primary_figures":["Virañci (Brahmā)","the maiden (kanyā)","guardian/father figure","attendant sages (optional)"],"setting":"A ritual pavilion with a small sacred fire, lotus garlands, and a backdrop suggesting the first dawn of creation—half earthly mandapa, half cosmic expanse.","lighting_mood":"golden dawn","color_palette":["lotus pink","saffron gold","ivory white","vermillion red","deep indigo"],"tanjore_prompt":"Tanjore painting style: Brahmā seated on a lotus throne within a richly ornamented wedding-mandapa, guardian offering the maiden with kanyā-dāna gesture, gold leaf halos and embossed lotus patterns, rich reds and greens, gem-studded crowns, sacred fire and kalasha in foreground, traditional South Indian iconography with ornate borders.","pahari_prompt":"Pahari miniature style: delicate kanyā-dāna scene with refined faces, soft pastel lotus pinks and cool indigos, slender Brahmā with four calm profiles, patterned textiles, small sacred fire, lyrical floral motifs and a faint celestial sky wash behind the mandapa.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Brahmā with four faces and large expressive eyes, guardian presenting the maiden, flat temple-wall composition, natural pigment reds/yellows/greens, lotus medallions and ritual vessels, stylized flames of the homa-kunda.","pichwai_prompt":"Pichwai cloth painting style: lotus-heavy border with floral creepers, central Brahmā on lotus receiving the maiden, symmetrical attendants, intricate textile patterns, deep blues and gold accents, sacred fire and kalash motifs, ornate frame reminiscent of Nathdwara aesthetics (adapted to Brahmā iconography)."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["temple bells","soft conch shell","crackling sacred fire","gentle drone (tanpura)"]}
Sandhi Resolution Notes: चैषा→च एषा.
FAQs
The verse praises dharma (righteousness) and sadācāra (good conduct) as the decisive qualifications for a respected social and spiritual standing.
“Virañci” is a traditional epithet of Brahmā used in Purāṇic Sanskrit, functioning as an honorific name for the creator-deity.
It reflects the Purāṇic-cultural model of kanyādāna—marrying a daughter by entrusting her to a worthy groom—framed as an act guided by discernment of virtue.