Shloka 129
Slaying of Andhaka; Hymn to the Sun; Glory of Brahmins; Gayatri Nyasa and Pranayama
धरायां तीर्थभूतानां सर्वपापहराय च । जन्मना ब्राह्मणो ज्ञेयः संस्कारैर्द्विज उच्यते
dharāyāṃ tīrthabhūtānāṃ sarvapāpaharāya ca | janmanā brāhmaṇo jñeyaḥ saṃskārairdvija ucyate
บนแผ่นดินนี้ เขาทั้งหลายประดุจเป็นทีรถะอันศักดิ์สิทธิ์และเป็นผู้ขจัดบาปทั้งปวง บุคคลพึงรู้ว่าเป็นพราหมณ์ด้วยกำเนิด; ด้วยสังสการะอันชำระจึงได้ชื่อว่า ‘ทวิชะ’ ผู้เกิดสองครั้ง
Unspecified (narrative voice not provided in the excerpt; commonly framed within a Purāṇic dialogue context in Sṛṣṭikhaṇḍa)
Concept: Birth indicates brāhmaṇa-jāti, but dvija-hood is conferred through saṃskāras; sacred status is tied to purification and responsibility.
Application: Treat rites of passage, study, and ethical discipline as obligations that refine character; honor truly purified persons as ‘moving tīrthas’ by learning from them and serving them.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A serene riverside ghat on Earth where a dignified brāhmaṇa stands like a living tīrtha, while pilgrims approach with folded hands. Above him, faint lotus motifs suggest the cosmic Padma origin, implying that true sanctity blooms through saṃskāra and conduct, not merely place.","primary_figures":["ideal brāhmaṇa (dvija)","pilgrims","subtle Vishnu-lotus symbolism"],"setting":"stone ghat with small shrine, banyan tree, ritual vessels, sacred thread ceremony elements (yajñopavīta, darbha)","lighting_mood":"golden dawn","color_palette":["saffron","ivory white","river-teal","vermillion","gold leaf"],"tanjore_prompt":"Tanjore painting style: a composed dvija standing on a ghat as a ‘living tīrtha’, pilgrims offering water and flowers, ornate yajñopavīta and ruddy tilaka, lotus medallions and a faint Vishnu-navel-lotus motif in the background, heavy gold leaf halos, rich reds and greens, gem-studded ornaments on attendants, intricate temple arch framing.","pahari_prompt":"Pahari miniature style: delicate dvija figure by a quiet river, soft Himalayan-like landscape with banyan and distant shrine, refined faces and gentle gestures of reverence, cool morning palette with lyrical naturalism, thin brushwork detailing ritual items and sacred thread.","kerala_mural_prompt":"Kerala mural style: bold black outlines, dvija with clear sacred thread and calm eyes, stylized river waves and lotus patterns, temple-wall aesthetic with natural pigments, dominant red/yellow/green blocks, symmetrical composition emphasizing purity and dharma.","pichwai_prompt":"Pichwai cloth painting style: lotus-heavy border and floral creepers, central scene of a sanctified dvija as a ‘tīrtha-person’, small Vishnu-lotus emblem above, attendants with kalashas, peacocks near the water, deep indigo background with gold highlights and intricate textile-like patterning."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["soft temple bells","flowing water","conch shell (distant)","morning birds"]}
Sandhi Resolution Notes: संस्कारैः + द्विजः → संस्कारैर्द्विजः (विसर्ग/रेफ-सन्धि); अन्यत्र पदच्छेदः स्पष्टः।
FAQs
It distinguishes two ideas: brāhmaṇa is identified “by birth” (janmanā), while “dvija” (twice-born) is a status associated with the performance of saṃskāras—formal purificatory rites that mark religious initiation and refinement.
Calling them “tīrtha-bhūta” portrays them as spiritually purifying presences—like sacred sites believed to cleanse sin—emphasizing their role in moral and ritual purification within society.
The verse links spiritual authority not only to lineage but also to disciplined formation through saṃskāras, implying that religious identity is expected to be lived and cultivated through prescribed rites and conduct.