Shloka 25
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
सर्वं नारायणन्त्वेवं संपूज्यावाहनक्रमात् । दामोदरायेत्युदरं कटिं पंचजनाय वै
sarvaṃ nārāyaṇantvevaṃ saṃpūjyāvāhanakramāt | dāmodarāyetyudaraṃ kaṭiṃ paṃcajanāya vai
Demikian, setelah memuja semuanya sebagai Nārāyaṇa menurut tertib pemanggilan yang benar, hendaklah mempersembahkan bahagian perut dengan mantra “(namo) Dāmodarāya,” dan bahagian pinggang dengan “(namo) Pañcajanāya.”
Unspecified (instructional/ritual narration within the chapter)
Concept: To worship ‘everything as Nārāyaṇa’ is a disciplined non-dual devotion: the many limbs, names, and functions converge into one Lord approached through orderly ritual.
Application: Bring order to devotion: keep a consistent sequence (invocation → offering → mantra → gratitude). In daily life, practice ‘sarvaṁ Nārāyaṇam’ by treating tasks and people with sacred regard while maintaining clear boundaries and ethics.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: temple
Visual Art Cues: {"scene_description":"A devotee stands before a Viṣṇu image, performing āvāhana in a precise sequence, then touching the belly area in reverence while murmuring ‘Dāmodarāya,’ and the waist with ‘Pañcajanāya.’ The scene emphasizes sacred order: each gesture is deliberate, each mantra a thread binding the body, the icon, and the cosmos into one Nārāyaṇa-vision.","primary_figures":["Viṣṇu (icon or four-armed form)","devotee/priest performing āvāhana and aṅga-pūjā"],"setting":"ritual platform with yantra-like arrangement of offerings, conch placed prominently, lamps and flowers aligned in neat rows","lighting_mood":"golden dawn","color_palette":["warm gold","conch white","turmeric yellow","deep blue","copper bronze"],"tanjore_prompt":"Tanjore painting style: Viṣṇu with ornate arch, devotee performing āvāhana-krama with raised hand and bell, gold leaf highlighting the conch (Pañcajana) and jewelry, rich red-green background textiles, meticulous symmetry of offerings and lamps.","pahari_prompt":"Pahari miniature style: quiet domestic shrine with delicate utensils, devotee’s hand gestures captured mid-mantra, soft morning light, cool shadows, refined lines and gentle color transitions, subtle emphasis on conch and waist-belt ornaments.","kerala_mural_prompt":"Kerala mural style: stylized Viṣṇu with clear conch emblem, devotee in profile performing ritual gestures, bold outlines and flat decorative space, traditional pigment palette with rhythmic repetition of lamp forms.","pichwai_prompt":"Pichwai cloth painting style: central Viṣṇu figure with patterned borders of conch motifs and lotus vines, devotee at lower edge performing aṅga-pūjā, deep blue field with gold highlights, intricate floral framing and symmetrical layout."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["bell rhythm","conch placed (soft thud)","mantra murmurs","lamp crackle","gentle hand cymbals"]}
Sandhi Resolution Notes: नारायणम् + तु + एवम् → नारायणन्त्वेवं; संपूज्य + आवाहनक्रमात् → संपूज्यावाहनक्रमात्; दामोदराय + इति → दामोदरायेतिः (→ दामोदरायेत्य् before vowel); इति + उदरम् → इत्युदरम्.
FAQs
The verse reflects a nyāsa-style ritual mapping, where divine names are placed on specific body parts as part of orderly worship (āvāhana-krama), sacralizing the practitioner’s body for Vaiṣṇava devotion.
Pañcajana is a Vaiṣṇava epithet strongly linked to Viṣṇu’s conch (pañcajanya); here it functions as a sacred name invoked during the ritual placement on the body.
By treating “all as Nārāyaṇa” and invoking Viṣṇu’s names in a structured act of worship, the verse presents devotion as embodied practice—reverence expressed through mantra, attention, and ritual order.