Shloka 147
Pṛthu’s Earth-Milking, the Etymology of ‘Pṛthivī,’ and the Vaivasvata (Solar) Genealogy
अगृह्णाद्वंशकर्तारं प्रभाऽगृह्णाद्बहून्सुतान् । एकं भानुमती पुत्रमगृह्णादसमंजसं
agṛhṇādvaṃśakartāraṃ prabhā'gṛhṇādbahūnsutān | ekaṃ bhānumatī putramagṛhṇādasamaṃjasaṃ
Baginda menerima pengasas keturunan; Prabhā menerima ramai putera. Bhānumatī menerima seorang putera sahaja—Asamañjasa.
Narrator (contextual genealogical narration; specific dialogue speaker not identifiable from the single verse alone)
Concept: Different destinies within the same household: one becomes the lineage-founder, another bears many, another bears a single pivotal heir—dharma unfolds through differentiated roles.
Application: Honor diverse roles within family/community; measure success by dharma and responsibility, not by comparison of outcomes.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Three queens stand before a royal court altar where lineage symbols—scepter, genealogy scroll, and sacred fire—are displayed. One queen receives a single radiant heir marked by a subtle halo, while another is surrounded by many infant silhouettes like a garland of stars; the third’s acceptance is shown through a ceremonial cloth and blessing gesture.","primary_figures":["three queens (including Prabhā and Bhānumatī)","infant Asamañjasa","court priest (optional)"],"setting":"Ayodhyā-like palace courtyard with a small yajña pavilion and carved pillars; genealogy scrolls and royal insignia.","lighting_mood":"golden dawn","color_palette":["royal blue","ivory","antique gold","lotus pink","copper red"],"tanjore_prompt":"Tanjore painting style: Palace mandapa with ornate pillars; queens in heavy silk with gold borders; Asamañjasa as a small central figure with a gold halo; embossed gold leaf on jewelry and throne motifs; rich reds, greens, and lapis blues; decorative arch framing the scene.","pahari_prompt":"Pahari miniature style: Elegant palace terrace with distant hills; delicate lines, soft pastel garments; the many sons suggested as faint repeated infant forms; refined expressions and lyrical composition.","kerala_mural_prompt":"Kerala mural style: Flat iconic palace backdrop, bold outlines; queens with stylized eyes and elaborate ornaments; symbolic depiction of ‘many sons’ as repeated motifs; warm red-yellow-green palette.","pichwai_prompt":"Pichwai cloth painting style: Genealogy as a floral-vine motif—many buds for many sons, one large lotus for Asamañjasa; ornate border with lotuses and peacocks; deep indigo field with gold highlights."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["palace courtyard ambience","soft conch in distance","anklet chimes","low ritual chanting"]}
Sandhi Resolution Notes: अगृह्णाद्वंशकर्तारम् = अगृह्णात् + वंशकर्तारम्; प्रभाऽगृह्णात् = प्रभा + अगृह्णात् (अवग्रह); अगृह्णाद्बहून् = अगृह्णात् + बहून्; पुत्रमगृह्णात् = पुत्रम् + अगृह्णात्; अगृह्णादसमंजसम् = अगृह्णात् + असमंजसम्.
FAQs
It records a genealogical detail: different women (Prabhā and Bhānumatī) are said to have accepted/borne sons, including a single son named Asamañjasa for Bhānumatī, and it mentions a “founder of the lineage” (vaṃśakartā).
In this verse, Asamañjasa is presented as the name of Bhānumatī’s son. Further identification (dynasty, deeds, cross-text links) requires adjacent verses or chapter context.
Not directly; it is primarily genealogical narration. Any ethical or devotional takeaway would be indirect—highlighting continuity of lineage and the Purāṇic interest in sacred history.