Shloka 151
Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits
इंद्रपुर्यां देवनाथो द्यूतपायां पुरंदरः । हंसवाहस्तु लंबायां चंडायां गरुडप्रियः
iṃdrapuryāṃ devanātho dyūtapāyāṃ puraṃdaraḥ | haṃsavāhastu laṃbāyāṃ caṃḍāyāṃ garuḍapriyaḥ
ณ อินทรปุรี ทรงได้รับสรรเสริญว่าเทวนาถะ; ณ ทฺยูตปา ทรงเป็นปุรันทะระ. ณ ลัมพา ทรงเป็นผู้มีหงส์เป็นพาหนะ; และ ณ จัณฑา ทรงเป็นครุฑปริยะ ผู้เป็นที่รักของครุฑา.
Pulastya (to Bhīṣma) [contextual identification typical for Sṛṣṭikhaṇḍa narrations]
Concept: Divine governance and protection are accessible through localized worship; the same supreme power is praised through functionally distinct names.
Application: Invoke a functional name according to need—protection (Garuḍapriya), clarity (Haṃsavāha), strength to break inner ‘forts’ (Purandara)—as a daily prayer practice.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: tirtha
Visual Art Cues: {"scene_description":"A dynamic fourfold procession: at Indrapurī a crowned Devanātha is honored in a city-temple with banners; at Dyūtapā the fort-breaker Purandara stands before a shattered gate symbolizing conquered inner vices; at Laṃbā a serene Haṃsavāha deity glides above a lotus lake; at Caṇḍā a radiant Garuḍapriya form is flanked by Garuḍa’s wings, offering refuge to pilgrims.","primary_figures":["Devanātha","Purandara","Haṃsavāha (swan-borne form)","Garuḍapriya (Viṣṇu-associated form)","Garuḍa","Pilgrims"],"setting":"City-temple courtyard; symbolic fortress gate; lotus lake; shrine with Garuḍa-stambha and fluttering flags.","lighting_mood":"divine radiance","color_palette":["royal blue","sunlit gold","lotus white","crimson","emerald"],"tanjore_prompt":"Tanjore painting style: four-register composition with gold-leaf halos; Devanātha in a jeweled city shrine, Purandara before a gilded broken fort gate, Haṃsavāha above a lotus lake with swans, Garuḍapriya seated with Garuḍa and a prominent chakra; rich reds/greens, gem-studded ornaments, ornate arches and temple flags.","pahari_prompt":"Pahari miniature style: narrative yātrā sequence across four landscapes—city, ruined gate, lake, hill-shrine; delicate brushwork, cool shadows, refined faces; Garuḍa rendered with elegant feather detail; captions for each place-name in small script.","kerala_mural_prompt":"Kerala mural style: bold outlines and temple-wall symmetry; Garuḍapriya with large eyes and stylized Garuḍa wings; Haṃsa motifs around the lake; warm red-yellow-green palette with decorative borders and place-name plaques.","pichwai_prompt":"Pichwai cloth painting style: central Garuḍapriya (Krishna-Viṣṇu) with chakra, surrounded by four corner vignettes for the other epithets; lotus motifs, peacocks, intricate floral borders, deep blues and gold; include a Garuḍa-stambha motif and hanging lamps."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","temple drums (mridanga)","bells","wind through flags"]}
Sandhi Resolution Notes: हंसवाहस्तु = हंसवाहः + तु (विसर्ग-सन्धिः: ः + त् → स् + त्).
FAQs
It links specific place-names (Indrapurī, Dyūtapā, Laṃbā, Caṇḍā) with distinct divine epithets, reflecting a Purāṇic habit of mapping sacred geography through localized forms and names of the deity.
By presenting multiple affectionate and honorific names for the same Lord—especially “Garuḍapriya” (beloved of Garuḍa)—it encourages devotion through nāma-smaraṇa (remembrance of divine names) and place-based worship.
The verse implies reverence and humility: the Divine is approached through many names and manifestations, so one should honor diverse modes of worship and cultivate steady remembrance rather than sectarian pride.