Shloka 163
Vrata–Dāna Compendium at Puṣkara: Puṣpavāhana’s Account and the Ṣaṣṭhī-vrata Purification Rite
अपसव्यं ततः कृत्वा सव्यं जानु च भूतले । अग्निष्वात्तांस्तथा सौम्यान्हविष्मंतस्तथोष्मपान्
apasavyaṃ tataḥ kṛtvā savyaṃ jānu ca bhūtale | agniṣvāttāṃstathā saumyānhaviṣmaṃtastathoṣmapān
Pagkaraan, lumingon sa kaliwa ayon sa ritwal, at ilapat ang kaliwang tuhod sa lupa; saka magalang na tawagin ang maamong Agniṣvātta, ang Haviṣmant, at ang Uṣmapa.
Not specified in the provided excerpt (context needed from surrounding verses).
Concept: Embodied discipline matters: dharma is enacted through precise gestures, directions, and inner reverence; the body becomes an instrument of sacred order.
Application: Approach duties with careful method: small procedural faithfulness (posture, attention, cleanliness) trains the mind for steadiness in japa, pūjā, and ethical action.
Primary Rasa: shanta
Visual Art Cues: {"scene_description":"The practitioner turns apasavya, left shoulder toward the offering space, and gently lowers the left knee to the earth. In the air above a small fireless altar, three serene pitṛ-gaṇas—Agniṣvātta, Haviṣmant, and Uṣmapa—manifest as pale-gold ancestral lights, receiving invocation with quiet dignity.","primary_figures":["Householder (yajamāna)","Agniṣvātta pitṛs","Haviṣmant pitṛs","Uṣmapa pitṛs"],"setting":"Earthen courtyard or ghat-side ritual spot with kuśa, a small water vessel, sesame bowl nearby; minimalistic, emphasizing posture and direction.","lighting_mood":"temple lamp-lit","color_palette":["smoke gray","pale gold","earth brown","copper","ivory"],"tanjore_prompt":"Tanjore painting style: apasavya-turned devotee kneeling with left knee on ground, hands in invocation mudrā, three ancestral pitṛ-gaṇas as haloed figures above, heavy gold leaf radiance, deep maroon backdrop, ornate borders, metallic highlights on vessels and sacred thread.","pahari_prompt":"Pahari miniature style: intimate courtyard scene with delicate shading, the devotee turned left in precise posture, subtle translucent pitṛ forms floating like morning mist, restrained palette with soft browns and cool grays, fine textile patterns and gentle facial expressions.","kerala_mural_prompt":"Kerala mural style: stylized kneeling figure with bold outlines, exaggerated expressive eyes, pitṛ-gaṇas depicted as symmetrical divine ancestors with circular halos, rhythmic decorative motifs around the ritual space, warm reds/yellows/greens with black contouring.","pichwai_prompt":"Pichwai cloth painting style: central kneeling devotee framed by lotus and geometric borders, pitṛ-gaṇas represented as luminous medallions above rippling water motifs, deep indigo cloth ground with gold and white detailing, intricate floral filigree."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft bell strokes","low drone (tanpura)","rustle of grass","distant water","measured silence"]}
Sandhi Resolution Notes: tathoṣmapān → तथा + उष्मपान्; सौम्यान्हविष्मंतस्तथोष्मपान् → सौम्यान् + हविष्मन्तः + तथा + उष्मपान् (listing of Pitṛ-classes).
FAQs
They are classes of Pitṛs (ancestral beings) invoked in ancestral rites; the verse lists them as recipients of respectful invocation during the procedure.
In many Hindu ritual systems, apasavya (leftward orientation) is associated with Pitṛ-kārya (ancestral rites), distinguishing it from devas-oriented rites that are typically performed in the auspicious (savyā) orientation.
It instructs placing the left knee on the ground as part of the formal, reverential procedure while invoking specific groups of Pitṛs.