Shloka 14
Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits
देवगर्भं च पोतारमाग्नीध्रं चैव देवलम् । उद्गातांगिरसः प्रत्युद्गाता च पुलहस्तथा
devagarbhaṃ ca potāramāgnīdhraṃ caiva devalam | udgātāṃgirasaḥ pratyudgātā ca pulahastathā
దేవగర్భుడు, పోతారుడు; అలాగే ఆగ్నీధ్రుడు, దేవలుడు; ఉద్గాత ఆంగిరసుడు, ప్రత్యుద్గాత, అలాగే పులహుడు కూడా (ఉన్నారు)।
Unspecified in the provided excerpt (context needed from surrounding verses of Adhyaya 34).
Concept: Dharma is upheld through correct procedure and qualified participation; names signify authority and continuity of sacred knowledge.
Application: Honor expertise and tradition in spiritual practice; learn the ‘roles’ (study, chanting, service, charity) that together make devotion complete.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"Within a smoke-wreathed pavilion, the specialized priests stand at their stations: the Āgnīdhra near the fire, the Potā by the implements, and the Udgātā poised to sing Sāman melodies. Their postures are disciplined, as if each gesture is a syllable in a cosmic hymn.","primary_figures":["Devagarbha","Potāra","Āgnīdhra","Devala","Āṅgirasa (Udgātā)","Pratyudgātā","Pulaha"],"setting":"ritual pavilion with fire altars, soma vessels, chant platforms, and orderly rows of implements","lighting_mood":"divine radiance","color_palette":["ash white","copper bronze","sandalwood beige","emerald green","crimson"],"tanjore_prompt":"Tanjore painting style: multiple ṛtviks in distinct stations around a blazing altar; ornate crowns and jewelry, gold leaf flames and halos, rich red-green drapery, symmetrical layout emphasizing ritual order and sacred hierarchy.","pahari_prompt":"Pahari miniature style: slender figures of priests with refined faces; delicate depiction of ritual tools, soft smoke spirals, cool background tones, and lyrical spacing that suggests measured chanting.","kerala_mural_prompt":"Kerala mural style: bold outlined priests in iconic poses; prominent altar and ritual vessels; flat pigments with red/yellow/green dominance, decorative borders and temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: circular arrangement of priests around a central lotus-fire motif; intricate floral borders, deep blue ground with gold highlights, stylized birds and vines framing the Vedic scene as devotional ornament."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["Sāman chant drone","fire crackle","wooden ladle taps","soft bell punctuations","hushed assembly"]}
Sandhi Resolution Notes: पोतारमाग्नीध्रं → पोतारम् आग्नीध्रम्; चैव → च एव; उद्गातांगिरसः → उद्गाता अङ्गिरसः
FAQs
It functions as a catalog-style line, enumerating notable sages or figures (some associated with Vedic roles/lineages) within the creation-era narrative framework typical of the Sṛṣṭikhaṇḍa.
They can denote priestly functions (Udgātā: Sāma-vedic chanter; Pratyudgātā: the responding chanter), but in this verse they appear as proper names/titles used as identifiers in a list.
Not explicitly. This verse is primarily nominative (a list of names). Any ethical or devotional takeaway would depend on the broader passage’s narrative context in Adhyaya 34.