Shloka 46
पुंड्रा भार्गाः किराताश्च सुदेष्णा भासुरास्तथा । शका निषादा निषधास्तथैवानर्त नैऋताः
puṃḍrā bhārgāḥ kirātāśca sudeṣṇā bhāsurāstathā | śakā niṣādā niṣadhāstathaivānarta naiṛtāḥ
มีพวก/แคว้น ปุณฺฑระ ภารฺคะ และกิราตะ; อีกทั้ง สุเทษฺณะ และภาสุระ; ศกะ นิษาทะ นิษธะ; และอานรฺตะ กับไนฤตะ ด้วย
Unspecified (context not provided; likely a narrator enumerating peoples/regions within Svarga-khaṇḍa).
Concept: Spiritual geography includes ‘center’ and ‘periphery’; sacred order is not confined to one culture-zone.
Application: Replace social othering with dharmic responsibility: fair dealings, protection of the vulnerable, and openness to sincere devotion wherever found.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"A ringed world-map shows eastern riverlands labeled Puṇḍra, rugged Himalayan foothills marked Kirāta, and western coastal plains for Ānarta. Figures in diverse attire—forest hunters, hill archers, and caravan riders—stand beneath a unifying sky where a faint Viṣṇu emblem (cakra) glows, suggesting one cosmic sovereignty.","primary_figures":["representative Puṇḍra townsfolk","Kirāta hill archers","Śaka caravan riders","Niṣāda forest dwellers","Viṣṇu symbol (cakra/śaṅkha) as subtle motif"],"setting":"Mandala-map landscape blending plains, mountains, forests, and caravan routes.","lighting_mood":"golden dawn","color_palette":["himalayan slate blue","forest green","sandstone ochre","river-silver","sunrise gold"],"tanjore_prompt":"Tanjore painting style: concentric geography with embossed gold leaf borders, inset panels for Puṇḍra riverine city, Kirāta mountain ridge with archers, Ānarta coastal market, Śaka caravan with horses, Niṣāda forest camp; gold-highlighted Viṣṇu cakra hovering above as cosmic seal; rich vermilion and emerald accents, ornate jewelry and textiles.","pahari_prompt":"Pahari miniature style: sweeping Himalayan slopes with delicate pine trees for Kirātas, soft river plains for Puṇḍra, warm western light over Ānarta; tiny figures in varied costumes, refined faces, airy perspective, calligraphic labels on fluttering pennants.","kerala_mural_prompt":"Kerala mural style: stylized multi-register landscape—mountains, forests, coast—bold outlines and flat pigment fields; groups of peoples rendered iconically; a central cakra motif framed by lotus vines; dominant reds/yellows/greens with black contouring.","pichwai_prompt":"Pichwai cloth painting style: lotus-petal cartography where each petal contains a people-name (Puṇḍra, Kirāta, Śaka, Niṣāda, Ānarta), intricate floral borders, peacocks and deer in forest petals, deep indigo ground with gold and white detailing, subtle Vaiṣṇava symbols in corners."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low tanpura","distant horn/conch","forest birds","mountain wind"]}
Sandhi Resolution Notes: किराताश्च → किराताः + च. भासुरास्तथा → भासुराः + तथा. निषधास्तथैवानर्त → निषधाः + तथा + एव + अनर्ताः.
FAQs
It serves as an enumerative (catalog) verse listing groups of peoples/regions, reflecting the Purana’s encyclopedic style and its interest in mapping the human world through traditional ethnonyms.
They function primarily as ethnonyms and regional identifiers in Puranic literature—often referring to peoples associated with particular territories (e.g., Puṇḍra, Ānarta) or frontier groups (e.g., Kirāta, Śaka, Niṣāda), depending on context.
Not directly; it is descriptive rather than prescriptive. Any broader lesson would come from the surrounding passage (not provided), where such lists may support themes like cosmic order, the scope of creation, or the spread of peoples across regions.