Shloka 28
The Vow of the Bed of Good Fortune (Saubhāgya-śayana) and the Saubhāgyāṣṭaka
शर्वाय पुरहर्त्तारं वासुदेव्यै तथालकम् । नमः श्रीकंठनाथाय शिवकेशांस्तथार्चयेत्
śarvāya puraharttāraṃ vāsudevyai tathālakam | namaḥ śrīkaṃṭhanāthāya śivakeśāṃstathārcayet
ਸ਼ਰਵ ਨੂੰ ਤ੍ਰਿਪੁਰ-ਹੰਤਾ (ਤਿੰਨ ਨਗਰਾਂ ਦੇ ਸੰਹਾਰਕ) ਰੂਪ ਵਿੱਚ ਪੂਜੋ, ਅਤੇ ਵਾਸੁਦੇਵੀ ਨੂੰ ਵੀ ਕੇਸ਼ ਦੀ ਲਟ ਅਰਪਣ ਕਰਕੇ। ‘ਸ਼੍ਰੀਕੰਠਨਾਥ ਨੂੰ ਨਮਸਕਾਰ’ ਕਹਿ ਕੇ ਫਿਰ ‘ਸ਼ਿਵਕੇਸ਼’ ਰੂਪ ਦੀ ਭੀ ਅਰਚਨਾ ਕਰੇ।
Unspecified in the provided excerpt (context-dependent narration within Sṛṣṭikhaṇḍa)
Concept: Remembering divine deeds (Tripurāntaka) and offering personal tokens (a lock of hair) expresses surrender—turning identity-markers into offerings.
Application: Offer a ‘piece of self’ daily—time, pride, or a habitual attachment—symbolized by the hair-lock offering; pair remembrance of divine victories with inner purification.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"Śiva as Tripurāntaka is envisioned with a calm yet heroic aura, the memory of three blazing cities dissolving into cosmic ash behind him. A devotee offers a small lock of hair on a leaf-plate to Vāsudevī’s presence and then bows to Śrīkaṇṭhanātha, as if surrendering ego and identity into sacred order.","primary_figures":["Śiva as Tripurāntaka (Śarva/Purahartṛ)","Vāsudevī (goddess aspect named in the verse)","Śrīkaṇṭhanātha (Śiva)","Devotee/priest"],"setting":"Temple courtyard with a distant cosmic backdrop of three faint, dissolving citadels; altar with bilva leaves, ash vessel, and hair-lock offering plate","lighting_mood":"divine radiance","color_palette":["storm-cloud blue","ash white","flame orange","copper","deep maroon"],"tanjore_prompt":"Tanjore painting style: Tripurāntaka Śiva with gold-leaf halo, trident and bow motifs, three stylized burning cities in the background; devotee offering a lock of hair on a plate; rich maroon and emerald textiles, embossed gold flames, gem-studded ornaments, ornate prabhāvali.","pahari_prompt":"Pahari miniature style: heroic yet restrained Śiva with soft gradients; distant tripura silhouettes fading into smoke; devotee in simple attire offering hair-lock; cool blues with warm orange accents, delicate brushwork and lyrical composition.","kerala_mural_prompt":"Kerala mural style: Śiva with bold outlines, tripuṇḍra, and stylized flames of Tripura behind; offering plate and bilva leaves rendered iconically; strong reds/yellows/greens with ash-white highlights, temple-wall symmetry.","pichwai_prompt":"Pichwai cloth painting style: central Śiva icon framed by lotus borders; background filled with stylized flame motifs and floral patterns; deep indigo with gold and copper detailing; intricate garlands and symmetrical decorative elements."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","temple bells","low drum strokes","crackling fire (symbolic)"]}
Sandhi Resolution Notes: तथालकम् → तथा + अलकम्; तथार्चयेत् → तथा + अर्चयेत्. पुरहर्त्तारं normalized as पुरहर्तारम् (पुर-हर्तारम्).
FAQs
‘Purahartā’ means “destroyer of the cities” and refers to Śiva as Tripurāntaka, the deity who destroyed the three fortified cities (Tripura) of the demons.
It presents a brief worship sequence: honoring Śiva under specific epithets (Śarva, Purahartā, Śrīkaṇṭhanātha) and also venerating associated forms such as Śiva-keśa, accompanied by offerings and salutations.
The verse emphasizes disciplined reverence—approaching the divine through remembrance of sacred names and prescribed acts of worship, cultivating devotion (bhakti) and humility (namaḥ).