Shloka 25
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
सर्वं नारायणन्त्वेवं संपूज्यावाहनक्रमात् । दामोदरायेत्युदरं कटिं पंचजनाय वै
sarvaṃ nārāyaṇantvevaṃ saṃpūjyāvāhanakramāt | dāmodarāyetyudaraṃ kaṭiṃ paṃcajanāya vai
ดังนี้ เมื่อบูชาทุกส่วนเป็นนารายณะตามลำดับแห่งการอัญเชิญแล้ว พึงถวายส่วนพระอุทรด้วยมนต์ “(นะโม) ทาโมทรายะ” และถวายส่วนเอวด้วย “(นะโม) ปัญจชนายะ”
Unspecified (instructional/ritual narration within the chapter)
Concept: To worship ‘everything as Nārāyaṇa’ is a disciplined non-dual devotion: the many limbs, names, and functions converge into one Lord approached through orderly ritual.
Application: Bring order to devotion: keep a consistent sequence (invocation → offering → mantra → gratitude). In daily life, practice ‘sarvaṁ Nārāyaṇam’ by treating tasks and people with sacred regard while maintaining clear boundaries and ethics.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: temple
Visual Art Cues: {"scene_description":"A devotee stands before a Viṣṇu image, performing āvāhana in a precise sequence, then touching the belly area in reverence while murmuring ‘Dāmodarāya,’ and the waist with ‘Pañcajanāya.’ The scene emphasizes sacred order: each gesture is deliberate, each mantra a thread binding the body, the icon, and the cosmos into one Nārāyaṇa-vision.","primary_figures":["Viṣṇu (icon or four-armed form)","devotee/priest performing āvāhana and aṅga-pūjā"],"setting":"ritual platform with yantra-like arrangement of offerings, conch placed prominently, lamps and flowers aligned in neat rows","lighting_mood":"golden dawn","color_palette":["warm gold","conch white","turmeric yellow","deep blue","copper bronze"],"tanjore_prompt":"Tanjore painting style: Viṣṇu with ornate arch, devotee performing āvāhana-krama with raised hand and bell, gold leaf highlighting the conch (Pañcajana) and jewelry, rich red-green background textiles, meticulous symmetry of offerings and lamps.","pahari_prompt":"Pahari miniature style: quiet domestic shrine with delicate utensils, devotee’s hand gestures captured mid-mantra, soft morning light, cool shadows, refined lines and gentle color transitions, subtle emphasis on conch and waist-belt ornaments.","kerala_mural_prompt":"Kerala mural style: stylized Viṣṇu with clear conch emblem, devotee in profile performing ritual gestures, bold outlines and flat decorative space, traditional pigment palette with rhythmic repetition of lamp forms.","pichwai_prompt":"Pichwai cloth painting style: central Viṣṇu figure with patterned borders of conch motifs and lotus vines, devotee at lower edge performing aṅga-pūjā, deep blue field with gold highlights, intricate floral framing and symmetrical layout."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["bell rhythm","conch placed (soft thud)","mantra murmurs","lamp crackle","gentle hand cymbals"]}
Sandhi Resolution Notes: नारायणम् + तु + एवम् → नारायणन्त्वेवं; संपूज्य + आवाहनक्रमात् → संपूज्यावाहनक्रमात्; दामोदराय + इति → दामोदरायेतिः (→ दामोदरायेत्य् before vowel); इति + उदरम् → इत्युदरम्.
FAQs
The verse reflects a nyāsa-style ritual mapping, where divine names are placed on specific body parts as part of orderly worship (āvāhana-krama), sacralizing the practitioner’s body for Vaiṣṇava devotion.
Pañcajana is a Vaiṣṇava epithet strongly linked to Viṣṇu’s conch (pañcajanya); here it functions as a sacred name invoked during the ritual placement on the body.
By treating “all as Nārāyaṇa” and invoking Viṣṇu’s names in a structured act of worship, the verse presents devotion as embodied practice—reverence expressed through mantra, attention, and ritual order.