Shloka 43
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
मध्ये तु पद्माकारं च कारयेद्वैष्णवो द्विजः । पूर्वतो वेदिकां स्थो न स्थो न याम्ये च कल्पयेत्
madhye tu padmākāraṃ ca kārayedvaiṣṇavo dvijaḥ | pūrvato vedikāṃ stho na stho na yāmye ca kalpayet
ตรงกลางนั้น พราหมณ์ผู้เป็นไวษณพพึงให้ทำลวดลายรูปดอกบัว; และพึงตั้งแท่นบูชาทางทิศตะวันออก มิให้ตั้งไว้ทางทิศใต้
Unspecified (instructional narration within the ritual context of Sṛṣṭikhaṇḍa 23)
Concept: Make the center pure and lotus-like: the heart of worship is to enthrone the divine in the ‘middle’—both in the altar and in oneself.
Application: In daily pūjā, keep a clear central focus (one iṣṭa-devatā, one mantra) and arrange the space cleanly; avoid clutter and inauspicious placements that distract the mind.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"At the center of a carefully swept ritual floor, a radiant lotus diagram blooms in white and vermillion powders, its petals perfectly symmetrical. To the east, an altar-platform rises with kusa grass and ritual vessels, while the southern side is left intentionally unoccupied, conveying disciplined auspiciousness.","primary_figures":["Vaiṣṇava brāhmaṇa","ṛtviks","Puruṣottama (as invoked presence, not yet installed)"],"setting":"Yajña-śālā with eastern vedi, kalasha pots, conch, lamps, and a central lotus mandala.","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","ivory white","vermillion","emerald green","antique gold"],"tanjore_prompt":"Tanjore painting style: central lotus mandala with thick gold-leaf outlines on each petal, eastern vedi with kalasha and deepam, Vaishnava brāhmaṇa in silk dhoti placing sacred powders, rich reds/greens, ornate jewelry, embossed gold background haloing the lotus as a cosmic emblem.","pahari_prompt":"Pahari miniature style: refined lotus drawn on the floor with delicate stippling, soft shadows, eastern altar with small flames, lyrical calm, cool pastel palette with precise textile patterns, gentle facial expressions of priests, subtle architectural lines.","kerala_mural_prompt":"Kerala mural style: bold lotus with concentric petal rings, strong black contours, flat fields of red/yellow/green, stylized eastern vedi, rhythmic decorative borders, large expressive eyes on the officiant figures.","pichwai_prompt":"Pichwai cloth painting style: oversized lotus at center with intricate floral borders, deep blue ground, gold and white detailing, symmetrical composition, small ritual objects rendered like motifs, peacocks and vines framing the eastern altar."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["oil lamp flicker","conch shell (soft, distant)","low priestly chanting","bell punctuations"]}
Sandhi Resolution Notes: कारयेद्वैष्णवो = कारयेत् + वैष्णवः. The pāda 'पूर्वतो वेदिकां स्थो न स्थो न याम्ये' appears textually irregular; 'स्थो न स्थो न' likely reflects a corrupt transmission or scribal repetition. Analysis keeps surface forms with uncertainty flagged.
FAQs
It gives ritual-layout guidance: make a lotus motif in the center, place the altar-platform to the east, and avoid placing it on the southern side.
The lotus commonly symbolizes purity and auspiciousness and is frequently used as a sacred diagram (padma-ākāra) for arranging worship spaces in Vaiṣṇava practice.
When arranging the worship area, prioritize an eastward placement of the vedikā and avoid the southern placement, while using an auspicious central lotus design.