Shloka 22

Vamana's Three Steps — Vamana’s Three Steps and the Binding of Bali

Devanagari script

इष्टापूर्तादयः सर्वाः क्रियास्तत्र तु संस्थिताः पृष्ठस्था वसवो देवाः स्कन्धौ रुद्रैरधिषठितौ

Transliteration

iṣṭāpūrtādayaḥ sarvāḥ kriyāstatra tu saṃsthitāḥ pṛṣṭhasthā vasavo devāḥ skandhau rudrairadhiṣaṭhitau

Translation

กิจกรรมบุญกุศลทั้งปวง อันเริ่มด้วยอิษฏะและปูรตะ ล้วนตั้งมั่นอยู่ ณ ที่นั้น เบื้องหลังเป็นที่สถิตของเทพวสุ และบ่าทั้งสองอยู่ภายใต้การอภิบาลของเหล่ารุทร.

Speakers

• Not specified in the provided excerpt (within Adhyāya 65 narrative voice).

Primary Deities

• Vasus
• Rudras
• Rudra (as a class/collective)

Key Themes

• Deha as Tīrtha (body-as-sacred-landscape)
• Iṣṭa–Pūrta Dharma (merit through sacrifice and public benefaction)
• Devagaṇa Nyāsa (placing deity-groups in bodily loci)
• Ritual sacralization of the pilgrim

Verse Rasa (Emotional Flavour)

{ "primaryRasa": "shanta", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

What are ‘iṣṭa’ and ‘pūrta’, and why are they paired here?

In Dharmaśāstra usage, iṣṭa denotes Vedic sacrificial/oblational merit (yajña, homa, iṣṭi), while pūrta denotes socially beneficial religious works (digging wells, building tanks, temples, feeding, rest-houses). The verse frames both as ‘established’ in the sacred locus being described, implying that the pilgrim’s embodied participation in tīrtha-dharma can encompass both sacrificial and charitable merit.

Why are the Vasus placed in the back and the Rudras on the shoulders?

This is a form of deha–devatā mapping (nyāsa-like sacral anatomy). The back and shoulders symbolize support and burden-bearing; assigning Vasus (often linked with elemental supports) to the back and Rudras (powerful presiding forces) to the shoulders expresses the body as upheld and governed by cosmic deity-groups.

Is this passage ‘geographical’ if no river or tīrtha is named?

Yes—Vāmana Purāṇa often treats geography both externally (rivers/tīrthas) and internally (the body as a microcosmic kṣetra). Here the ‘terrain’ is anatomical: back and shoulders become mapped sacred regions, integrating pilgrimage ideology with embodied practice.