Shloka 64
The Glory of Bhārata-varṣa: Enumerating Mountains, Rivers, and Regions
द्रोषकाश्च कलिंगाश्च किरातानां च जातयः । तोमरा हन्यमानाश्च तथैव करभंजकाः
droṣakāśca kaliṃgāśca kirātānāṃ ca jātayaḥ | tomarā hanyamānāśca tathaiva karabhaṃjakāḥ
Kaum Droṣaka dan Kaliṅga, serta pelbagai suku Kirāta; juga Tomara, Hanyamāna, dan demikian pula Karabhaṃjaka.
Unspecified in the provided excerpt (context needed to identify the dialogue pair).
Concept: The world of humans is vast and variegated; dharma discourse addresses all communities within Bhārata’s moral geography.
Application: Cultivate non-sectarian respect for regional cultures while holding to sāttvika conduct; see diversity as part of a single sacred landscape.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"A sweeping cartographic tableau of ancient Bhārata: caravans and forest tribes, hill paths and frontier forts, each group shown with distinctive attire and weapons, arranged like a living map. A sage-narrator gestures across the horizon as if naming regions one by one, while subtle divine motifs hint that all lands rest within Viṣṇu’s cosmic order.","primary_figures":["Sūta (as narrator, implied)","Ṛṣis (listeners, implied)","Representatives of Kaliṅgas","Kirātas","Tomaras","Hanyamānas","Karabhaṃjakas"],"setting":"Panoramic ‘map-scape’ blending coast, forest, hills, and trade routes; a hermitage platform in the foreground where the narration occurs.","lighting_mood":"golden dawn","color_palette":["earth ochre","forest green","indigo haze","burnt sienna","antique gold"],"tanjore_prompt":"Tanjore painting style: a wide ceremonial panorama where a seated sage-narrator points to a stylized Bhārata map filled with miniature figures of Kaliṅgas, Kirātas, Tomaras and other tribes; gold leaf embellishment outlining borders and banners; rich reds and greens, gem-studded ornaments on royal envoys, traditional South Indian iconographic symmetry with ornate arches framing the scene.","pahari_prompt":"Pahari miniature style: lyrical landscape-map of Bhārata with delicate brushwork; small vignettes of forest Kirātas and coastal Kaliṅgas; cool mountain blues fading into warm plains; refined faces, thin ink outlines, and a quiet hermitage in the corner where the sage recites names.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; a narrative frieze of diverse janapadas marching across bands of landscape; temple-wall aesthetic with rhythmic repetition of figures, red/yellow/green dominance, and a central narrator-sage in frontal pose.","pichwai_prompt":"Pichwai cloth painting style: Bhārata as a sacred mandala with floral borders and lotus motifs; miniature processions of regional peoples circling a central Vaishnava emblem (śaṅkha-cakra) to suggest unity; deep blues and gold with intricate textile patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft drone (tanpura)","distant caravan bells","forest birds","page-turning hush","temple bell (light)"]}
Sandhi Resolution Notes: द्रोषकाः+च→द्रोषकाश्च; कलिङ्गाः+च→कलिंगाश्च; हन्यमानाः+च→हन्यमानाश्च; तथा+एव→तथैव
FAQs
It functions as a catalogue-style listing of peoples/tribes, reflecting the Purāṇic habit of mapping the human and cultural landscape through ethnonyms.
Not directly; it is primarily geographic/ethnographic in tone, naming groups rather than expounding doctrine or a specific pilgrimage site.
In Purāṇic usage, “Kirāta” is a broad label for forest- and hill-dwelling communities, often associated with eastern and Himalayan regions; the verse notes their various sub-groups (jātayaḥ).