Shloka 145
Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits
नारायणश्च गोमंते मायापुर्यां द्विजप्रियः । ऋषिवेदे दुराधर्षो देवायां सुरमर्दनः
nārāyaṇaśca gomaṃte māyāpuryāṃ dvijapriyaḥ | ṛṣivede durādharṣo devāyāṃ suramardanaḥ
Di Gomanta Aku ialah Nārāyaṇa; di Māyāpurī Aku ialah Dvijapriya, yang dikasihi para dvija. Dalam Ṛṣiveda Aku ialah Durādharṣa, tidak terkalahkan; dan di Devāyā Aku ialah Suramardana, pemusnah musuh para dewa.
Unknown (verse fragment presented without surrounding narrative context; likely within a catalog of Vishnu’s sacred names/manifestations by place).
Concept: The Lord supports brahminical learning (dvija-priya), remains unconquerable to adharma, and subdues hostile powers—divinity as guardian of dharma across regions.
Application: Protect learning and ethical order in one’s community; cultivate inner ‘unconquerability’ through discipline, truthfulness, and remembrance of Nārāyaṇa.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"A four-panel sacred panorama: in Gomanta, Nārāyaṇa stands on a rocky Western Ghats ridge with ocean wind in His garments; in Māyāpura, He appears as dvija-priya, blessing scholars beneath a banyan near a riverbank. In Ṛṣiveda, He is durādharṣa—an immovable radiant form surrounded by protective aura; in Devāyā, He becomes sura-mardana, subduing dark, chaotic foes while devas watch in relief.","primary_figures":["Nārāyaṇa/Vishnu","dvijas (Vedic scholars)","ṛṣis","devas","asuric foes (symbolic)"],"setting":"Composite kṣetra-vision: coastal hills, riverine scholastic grove, ascetic hermitage, and a battlefield-like divine clearing.","lighting_mood":"divine radiance","color_palette":["peacock blue","storm-cloud gray","sandalwood beige","vermillion","leaf green"],"tanjore_prompt":"Tanjore painting style: Vishnu in four vibhūti panels—Gomanta hilltop, Māyāpura scholastic grove with dvijas, Ṛṣiveda hermitage with blazing aura, Devāyā victory scene over shadowy foes; thick gold leaf halos, ornate crowns, ruby-green textiles, embossed borders and temple pillars separating panels.","pahari_prompt":"Pahari miniature style: delicate coastal ridge for Gomanta with misty horizon; Māyāpura rendered as a calm riverside learning scene with palm-leaf manuscripts; Ṛṣiveda as a quiet forest āśrama with luminous stillness; Devāyā as a restrained heroic vignette—dynamic yet elegant, with fine brushwork and cool-warm balance.","kerala_mural_prompt":"Kerala mural style: central Vishnu with large eyes and bold ornaments, flanked by narrative side-panels; stylized demons in Devāyā subdued under Vishnu’s discus symbolism; flat reds/yellows/greens with black outlines, rhythmic patterns suggesting protective aura.","pichwai_prompt":"Pichwai cloth painting style: Vishnu as Nārāyaṇa centered, with surrounding medallions naming Gomanta and Māyāpura; scholars and cows in peaceful medallions, and a symbolic victory medallion with subdued darkness; lotus borders, deep indigo field, gold floral filigree."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","mridanga pulse (soft)","wind over hills","temple bells","brief silence after heroic epithets"]}
Sandhi Resolution Notes: नारायणश्च = नारायणः + च.
FAQs
It links Nārāyaṇa’s epithets to specific locales (Gomanta, Māyāpura, Ṛṣiveda, Devāyā), reflecting a Purāṇic mapping of devotion onto a network of sacred places where the same deity is praised under different names.
By presenting approachable, place-based forms of Nārāyaṇa—especially as “dvijapriya” (beloved of the twice-born)—it encourages devotion through pilgrimage, praise, and remembrance of the deity’s names tied to lived religious landscapes.
The verse highlights reverence for the divine across diverse settings and underscores virtues associated with God—being protective and invincible against wrongdoing—encouraging devotees to align with dharma and seek refuge in Nārāyaṇa.