Shloka 22
The Glory of Charity: Land-Gifts, Śālagrāma Donation, and Food–Water as Supreme Gifts
सालंकारां द्विजश्रेष्ठ कन्यां यच्छति यो नरः । स गच्छेद्ब्रह्मसदनं पुनर्जन्म न विद्यते
sālaṃkārāṃ dvijaśreṣṭha kanyāṃ yacchati yo naraḥ | sa gacchedbrahmasadanaṃ punarjanma na vidyate
โอ้ทวิชะผู้ประเสริฐ บุรุษผู้ถวายกัญญาที่ประดับด้วยอาภรณ์ ย่อมไปถึงสำนักพระพรหมา; สำหรับเขาไม่มีการเกิดใหม่
Unspecified (narratorial/teaching voice within Brahma-khaṇḍa dialogue context)
Concept: Kanyādāna performed with honor (including ornaments) yields extraordinary puṇya culminating in liberation from rebirth.
Application: Treat life-cycle rites as sacred service: give with dignity, avoid transactional attitudes, and prioritize the recipient’s welfare and honor.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A solemn wedding-gift moment: a father offers his ornamented daughter with folded hands to a radiant groom, while a learned dvija officiant chants beside a small sacred fire. Above, a translucent vision of Brahmaloka appears—lotus-throne Brahmā in a serene, golden expanse—signifying the promised fruit of the gift.","primary_figures":["brāhmaṇa officiant (dvija-śreṣṭha)","father (dātā)","adorned maiden (kanyā)","groom","Brahmā (visionary realm)"],"setting":"Vedic marriage pavilion with maṇḍapa pillars, kuśa grass, homa-kuṇḍa, garlands, and a faint celestial lotus-world overlay.","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","saffron gold","ivory white","emerald green","vermillion red"],"tanjore_prompt":"Tanjore painting style: a richly ornamented kanyādāna scene in a wedding maṇḍapa with the sacred fire at center, the maiden in heavy gold jewelry and silk, the dvija priest with palm-leaf manuscript; in the upper register Brahmā seated on a lotus in Brahmaloka, rendered with gold leaf halos, embossed jewelry, ruby-green accents, and traditional South Indian iconography.","pahari_prompt":"Pahari miniature style: intimate kanyādāna under a delicate canopy, refined faces and soft gestures, the maiden’s ornaments finely detailed; a dreamy Brahmaloka vignette in the sky with lotus motifs, cool pastel background, lyrical naturalism, and subtle Himalayan-style flora framing the scene.","kerala_mural_prompt":"Kerala mural style: bold outlined wedding pavilion with the homa fire, stylized large eyes, the maiden and groom in classical attire; Brahmā on lotus above with concentric aura bands, using natural pigments—deep red, yellow ochre, leaf green—temple-wall composition and rhythmic symmetry.","pichwai_prompt":"Pichwai cloth painting style: a devotional tableau where the kanyādāna is framed by lotus borders and floral creepers; celestial lotus-clouds above hint at Brahmaloka, intricate textile patterns, deep indigo background with gold highlights, peacocks at the corners, and ornate decorative margins."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["temple bells","homa fire crackle","soft conch shell","murmured Vedic chanting"]}
Sandhi Resolution Notes: सालंकाराम् = स + अलंकाराम् (अव्ययीभाव ‘सह’). गच्छेद् = गच्छेत् (त् + ब् → द् before voiced consonant). पुनर्जन्म = पुनः + जन्म (विसर्ग-लोपः).
FAQs
The verse praises giving a maiden (kanyā-dāna, typically understood as giving one’s daughter in marriage), specifically described as adorned with ornaments.
It states that the giver attains Brahmā’s abode (brahma-sadana) and that rebirth does not occur for him.
It emphasizes generosity and the high merit attributed in Purāṇic ethics to fulfilling social-religious duties associated with marriage and charitable gifting, presented as leading to exalted posthumous destiny.