Varaha Purana 45.2 — Adhyaya 45, Shloka 2
Ritual Procedure for Worship of Rāma and Lakṣmaṇa in the Month of Jyeṣṭha
नमो रामाभिरामाय पादौ पूर्वं समर्चयेत् । त्रिविक्रमायेति कटिं धृतविश्वाय चोदरम् ॥ ४५.२ ॥
namo rāmābhirāmāya pādau pūrvaṃ samarcayet | trivikramāyeti kaṭiṃ dhṛtaviśvāya codaram || 45.2 ||
Hendaklah terlebih dahulu memuja kedua kaki dengan salam: “Sembah sujud kepada Rāma, Yang amat menawan.” Kemudian hendaklah (memuja) pinggang dengan mantera “kepada Trivikrama”, dan perut dengan mantera “kepada Pemangku alam semesta.”
Varāha (default dialogue framework; speaker not explicit in the excerpt)
Varaha Avatara Context: {"is_varaha_focus":false,"aspect_highlighted":"None","boar_form_detail":"None","earth_interaction":"None"}
Bhu Devi Dialogue: {"is_dialogue":true,"speaker_role":"instructor","bhu_devi_state":"devotional focus; learning icon-based worship","key_question":"How is the deity to be worshipped limb-by-limb (aṅga-pūjā) with specific mantras and placements?"}
Mathura Mandala: {"is_mathura_related":false,"specific_site":"None","parikrama_context":"None","krishna_connection":"None"}
Dharma Shastra: {"has_dharma_rule":true,"topic":"None","instruction_summary":"Perform aṅga-pūjā: worship the feet first with ‘namo rāmābhirāmāya’, then the waist with ‘trivikramāya’, and the belly with ‘dhṛtaviśvāya’.","karmic_consequence":"Correct mantra-aṅga assignment is held to perfect the worship and yield full merit; incorrect/neglectful performance is traditionally said to reduce siddhi (implied)."}
Vrata Mahatmya: {"has_vrata":false,"vrata_name":"None","tithi_month":"None","promised_fruit":"None"}
Cosmic Boar Symbolism: {"has_symbolism":true,"symbolic_interpretation":"The deity’s body is treated as the cosmos: feet/waist/belly correspond to divine functions—delightful Rāma (grace), Trivikrama (cosmic stride), bearer of the universe (support).","yajna_varaha_imagery":"Body-as-altar mapping: pāda as foundation, kaṭi as axis of expansion (Trivikrama), udara as locus of world-bearing (dhṛta-viśva).","vedantic_connection":"Saguna-brahman contemplation: meditating on names and limbs integrates bhakti with a unitive vision of the Lord as adhāra (support) of all."}
Philosophical Teaching: {"has_teaching":true,"teaching_type":"upāsanā method (name-form contemplation)","core_concept":"Divine names encode functions; worship becomes contemplative when each limb is honored with its corresponding cosmic epithet.","practical_application":"During pūjā, proceed systematically from feet upward; recite the given mantras with attention to meaning and placement."}
Subject Matter: ["Ritual Practice","Vaishnava Iconography","Devotional Literature"]
Primary Rasa: bhakti
Secondary Rasa: shanta
Type: temple/household shrine (pūjā-maṇḍala)
Related Themes: Varāha Purāṇa 45.45.1-3: continuous aṅga-pūjā sequence
Visual Art Cues: {"scene_description":"A devotee performs aṅga-pūjā on a standing Viṣṇu icon: touching/adorning the feet, then waist, then belly while reciting the three epithets.","item_prompts":["standing Viṣṇu mūrti","devotee’s hands at feet/waist/belly sequence","flower offerings and sandal paste marks","mantra scroll/banner with the three names","lamp and conch nearby"],"kerala_mural_prompt":"Kerala mural: frontal Viṣṇu icon with clear limb zones; devotee in profile performing sequential worship; bold color blocks and ornamental borders.","tanjore_prompt":"Tanjore: richly ornamented Viṣṇu with gold-leaf jewelry; devotee offering flowers at the feet; inscriptions of ‘Trivikrama’ and ‘Dhṛtaviśva’ as decorative bands.","mysore_prompt":"Mysore: elegant temple interior, detailed textiles; subtle depiction of hand placement and ritual items.","pahari_prompt":"Pahari: small shrine scene with lyrical lines; devotee’s gesture emphasized; soft palette and delicate floral motifs."}
Audio Atmosphere: {"recitation_mood":"mantric-devotional","suggested_raga":"Kedar","pace":"slow","voice_tone":"soft, precise, reverent"}
FAQs
It preserves a Purāṇic-style devotional/ritual register in which divine epithets are associated with specific body-parts, reflecting the broader early-medieval Sanskrit practice of liturgical praise and iconographic mapping used in temple and domestic worship contexts.
No geographic location is named in this verse; the content is primarily ritual and iconographic rather than topographical.
The verse conveys disciplined attentiveness in worship—approaching the subject of veneration in an ordered, respectful sequence—framed as a cultural practice of reverence rather than a coercive mandate.
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