Shloka 127
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
ताम्रपात्रासनगतं हेमनेत्रपटावृतम् । सुकांस्यभाजनोपेतमिक्षुदंडसमन्वितम्
tāmrapātrāsanagataṃ hemanetrapaṭāvṛtam | sukāṃsyabhājanopetamikṣudaṃḍasamanvitam
ประทับนั่งบนอาสนะเป็นภาชนะทองแดง คลุมด้วยผ้าประดับลายดุจดวงเนตรทองคำ พร้อมภาชนะสำริดเนื้อละเอียด และมีไม้เท้าอ้อยประกอบอยู่
Unspecified in the provided excerpt (context needed from surrounding verses of Sṛṣṭikhaṇḍa 23).
Concept: Outer ritual order (upacāra) supports inner saṅkalpa; purity and propriety in gifts and seating honor both deity and brāhmaṇa.
Application: When performing worship or charity, prepare clean, appropriate implements; let aesthetics serve reverence rather than vanity.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A ritual pavilion is arranged with meticulous symmetry: a copper vessel-seat set upon kusa grass, draped in a cloth patterned with golden eye-like motifs. Nearby rests a resonant bell-metal vessel and a tall sugarcane staff, while a brāhmaṇa officiant prepares to receive the offering in silence.","primary_figures":["ritual patron (yajamāna)","brāhmaṇa officiant"],"setting":"domestic yajña-śālā with kusa mats, low altar, offering vessels, and neatly arranged ritual implements","lighting_mood":"temple lamp-lit","color_palette":["burnished copper","antique gold","deep vermilion","smoky sandalwood brown","leaf green"],"tanjore_prompt":"Tanjore painting style: a South Indian ritual pavilion with a copper vessel-seat (tāmrapātra-āsana) draped in cloth patterned with gold eye-motifs, bell-metal vessel gleaming, sugarcane staff upright; priest and patron in traditional attire; heavy gold leaf embellishment on textiles and vessels, rich reds and greens, ornate borders, gem-like highlights.","pahari_prompt":"Pahari miniature style: intimate domestic yajña scene with delicate brushwork; copper seat and bell-metal vessel rendered with subtle sheen; sugarcane staff beside kusa mats; refined faces, soft architectural lines, cool shadows, lyrical stillness, fine floral textile patterns with tiny gold accents.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; ritual patron and brāhmaṇa near a copper seat draped in patterned cloth; bell-metal vessel and sugarcane staff as iconic props; temple-wall aesthetic, stylized eyes, dominant reds/yellows/greens with controlled gold detailing.","pichwai_prompt":"Pichwai cloth painting style: devotional pavilion framed by lotus borders and floral vines; copper seat and bell-metal vessel centered like sacred objects; sugarcane staff as vertical motif; intricate textile patterns, deep indigo background with gold highlights, peacocks at the border, Vaishnava ambience even in a ritual-dāna scene."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","low fire-crackle","conch shell (distant)","ritual murmurs","silence between phrases"]}
Sandhi Resolution Notes: समास/सन्धि-विच्छेदः: ताम्रपात्रासनगतं = ताम्र + पात्र + आसन + गतम्; हेमनेत्रपटावृतम् = हेम + नेत्र + पट + आवृतम्; सुकांस्यभाजनोपेतम् = सु + कांस्य + भाजन + उपेतम्; इक्षुदंडसमन्वितम् = इक्षु + दण्ड + समन्वितम्। सर्वे पदाः नपुंसक-एकवचन-प्रथमा/द्वितीया रूपेण (वस्तु-वर्णनम्) प्रयुक्ताः।
FAQs
The verse gives a material description of a figure or sacred setup—highlighting a copper vessel-seat, a decorative cloth with golden motifs, a bell-metal vessel, and a sugarcane staff—suggestive of ritual or iconographic detailing.
Purāṇic texts often specify metals to signal ritual suitability, auspiciousness, and status; copper and bell-metal are commonly associated with durable, ritually acceptable vessels used in worship and formal observances.
While the verse is primarily descriptive, it reflects the Purāṇic emphasis on careful preparation and reverence in sacred contexts—suggesting that devotion is expressed not only through belief but also through attentive, orderly ritual practice.