Shloka 137
Vrata–Dāna Compendium at Puṣkara: Puṣpavāhana’s Account and the Ṣaṣṭhī-vrata Purification Rite
कन्यादानात्परं दानं नैव चास्त्यधिकं क्वचित् । पुष्करे तु विशेषेण कार्तिक्यां तु विशेषतः
kanyādānātparaṃ dānaṃ naiva cāstyadhikaṃ kvacit | puṣkare tu viśeṣeṇa kārtikyāṃ tu viśeṣataḥ
ทานใด ๆ ไม่อาจยิ่งใหญ่เหนือ “กัญญาทาน” ได้เลย; ที่ใดก็ไม่มีทานใดสูงกว่า โดยเฉพาะที่ปุษกร และยิ่งนักในเดือนการ์ติกะ
Unspecified in the provided excerpt (context needed from surrounding verses).
Concept: Dāna reaches its highest social-sacral form in kanyā-dāna, and its fruit is magnified at a powerful tīrtha and sacred month.
Application: Treat major life rites as sacred service: perform marriage responsibilities ethically, with generosity and purity; when possible, align charity with holy times (Kārttika) and holy places (tīrthas).
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"On the ghāṭas of Puṣkara Lake in Kārttika, a dignified wedding procession pauses as the bride’s father performs kanyā-dāna with water from a golden kalaśa. Pilgrims in saffron and white circle the lake, lamps and lotus garlands floating on the water, while distant temple spires shimmer in the dry Rajasthani light.","primary_figures":["bride and groom","bride’s parents (donors)","brāhmaṇa priest","pilgrims at Puṣkara","tīrtha-devatā presence (subtle Viṣṇu aura)"],"setting":"Puṣkara Lake ghāṭa, steps descending to water, Brahmā temple silhouette, Kārttika pilgrims with dīpas and garlands","lighting_mood":"golden dawn","color_palette":["saffron orange","lotus pink","burnished gold","indigo blue","sandstone beige"],"tanjore_prompt":"Tanjore painting style: Puṣkara ghāṭa at Kārttika dawn, kanyā-dāna ceremony in the foreground with a brāhmaṇa priest holding a palm-leaf vidhi text, bride adorned in rich silk, groom with traditional turban; gold leaf embellishment on jewelry, kalaśa, temple spires; rich reds and greens, gem-studded ornaments, ornate arch framing the lake with stylized lotus motifs.","pahari_prompt":"Pahari miniature style: lyrical Puṣkara lakeside scene with delicate brushwork, fine facial features, soft pastel sky; the wedding rite shown with restrained elegance, pilgrims carrying small lamps along the ghāṭa; cool shadows on sandstone steps, distant hills faintly suggested, gentle ripples with floating lotuses.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments depict the sacred rite at a stylized tīrtha; large expressive eyes on figures, patterned textiles, rhythmic composition; warm red/yellow/green palette with the lake rendered as flat turquoise bands, temple lamps and lotus borders framing the scene.","pichwai_prompt":"Pichwai cloth painting style: Puṣkara lake transformed into a lotus-filled mandala border, intricate floral frames and hanging lamps; central panel shows the kanyā-dāna rite as a devotional offering, with peacocks and cows at the margins, deep blues and gold accents, Nathdwara-like ornamentation and repeating lotus motifs."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft conch shell","murmur of pilgrims","water lapping at ghāṭa steps"]}
Sandhi Resolution Notes: kanyādānātparaṃ → kanyā-dānāt param. naiva → na eva. cāstyadhikaṃ → ca asti adhikam.
FAQs
It presents kanyā-dāna (giving a maiden in marriage) as the highest form of dāna, stating that no greater gift exists anywhere.
The verse links place and time to intensified religious merit: performing kanyā-dāna at the sacred tīrtha of Puṣkara is said to be especially meritorious, and doing so in Kārttika is described as even more exceptional.
It underscores the traditional dharmic ideal of arranging a proper marriage and supporting it as a major religious duty, framing it as a high form of giving when performed with sacred intent, at an auspicious place and time.