Shloka 144
Merit of Causeways and Crossings, Temple Construction Rewards, and the Rudrākṣa Mahātmya
रुद्राक्षं द्वादशास्यं च त्रयोदशमुखं तथा । चतुर्दशास्यसंयुक्तं स्वयमुक्तं च शंकरम्
rudrākṣaṃ dvādaśāsyaṃ ca trayodaśamukhaṃ tathā | caturdaśāsyasaṃyuktaṃ svayamuktaṃ ca śaṃkaram
Juga ada rudrākṣa bermuka dua belas, demikian juga yang bermuka tiga belas, dan yang bermuka empat belas—bentuk yang terzahir dengan sendirinya; serta Śaṅkara (Śiva) juga.
Unspecified (context-dependent within Adhyaya 59)
Concept: Higher-faced rudrākṣas (12–14) are treated as especially potent, even ‘self-manifest’, and intimately linked with Śaṅkara.
Application: Treat rare or ‘powerful’ religious items with humility and ethical restraint; prioritize inner virtues over acquisition, and seek authenticity over commerce.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A close, reverent view of three rare rudrākṣa beads—twelve-, thirteen-, and fourteen-faced—resting on a silk cloth, each bead emitting a faint inner glow as if self-manifest. Behind them, Śaṅkara’s presence is suggested through a tranquil silhouette with matted locks and a crescent moon, blessing the sacred objects.","primary_figures":["rudrākṣa beads (12–14 mukha)","Śaṅkara (Śiva) symbolic presence"],"setting":"Temple sanctum table or āśrama altar with incense, bilva leaves, and a water pot.","lighting_mood":"divine radiance","color_palette":["smoked bronze","midnight blue","ash white","copper","soft gold"],"tanjore_prompt":"Tanjore painting style: a sanctum still-life of rare rudrākṣas on crimson silk, each bead highlighted with gold leaf accents; Śiva in the background within an ornate arch, haloed, with gem-studded ornaments; rich reds/greens, embossed gold, traditional iconography with bilva and trident motifs.","pahari_prompt":"Pahari miniature style: intimate altar scene with delicate shading on the beads to show multiple grooves; cool nocturne palette, gentle incense smoke curling; Śiva’s calm figure lightly rendered in the background, Himalayan-like serenity and refined detailing.","kerala_mural_prompt":"Kerala mural style: stylized beads enlarged and iconic, with bold outlines; Śiva behind with characteristic eyes and ornaments; natural pigments, red-yellow-green dominance with ash-white highlights, temple-wall symmetry and decorative borders.","pichwai_prompt":"Pichwai cloth painting style: symmetrical devotional composition—rare rudrākṣas arranged like a mandala on deep blue cloth; ornate floral border with lotus motifs; gold detailing and rhythmic patterning, peacocks as corner elements, sanctum-lamp accents."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["conch shell (distant)","incense crackle","temple bells","low drum pulse"]}
Sandhi Resolution Notes: चतुर्दशास्यसंयुक्तम् इति तत्पुरुषसमासः (चतुर्दशास्यैः संयुक्तम्)। स्वयम् + उक्तम् = स्वयमुक्तम् (सन्धिः)।
FAQs
It enumerates Rudrākṣa beads classified by the number of “faces” (mukha)—12, 13, and 14—and links them to Śaṅkara (Śiva), implying their Śaiva sanctity and special status.
It refers to the number of natural longitudinal segments/lines on the bead, traditionally counted as “mukhas” (faces), used in Purāṇic and later ritual traditions to classify Rudrākṣas.
By naming Śaṅkara alongside the Rudrākṣa types, the verse frames Rudrākṣa as a sacred Śaiva object—associated with Śiva’s presence, blessing, or manifestation.