Shloka 81
Rudra’s Removal of Brahmahatyā; Kapālamocana and Avimukta Māhātmya; Origins of Nara and Karṇa
link to Arjuna/Karna query
वर्तुले त्वर्चयात्मानम्मामथो धनुराकृतौ । चतुःकोणे हरं देवं ऋग्यजुःसामनामभिः
vartule tvarcayātmānammāmatho dhanurākṛtau | catuḥkoṇe haraṃ devaṃ ṛgyajuḥsāmanāmabhiḥ
Hãy thờ phụng Ta trong hình tròn; rồi tiếp đến trong hình như cây cung. Và trong hình bốn góc (vuông), hãy tôn thờ Thần Hara (Śiva) bằng các danh xưng của Ṛg, Yajus và Sāma Veda.
Unspecified (contextual speaker not provided in the single-verse input)
Concept: Divinity is approached through ordered forms and revealed names; ritual geometry becomes a language of the sacred.
Application: Bring intentional form to worship and life: set a clean space, use consistent symbols/mantras, and honor different functions without losing the central orientation to the Supreme.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: temple
Visual Art Cues: {"scene_description":"A ritual floor becomes a living diagram: a luminous circle where the worshipper offers flowers to the Supreme, a bow-shaped arc marked with mantric syllables, and a perfect square where Hara is honored with the tri-Vedic names. The scene blends geometry and devotion—each shape glowing faintly as if the Vedas themselves have taken visible form.","primary_figures":["The worshipper (yajamāna or sage)","Vishnu (as the addressed 'Me')","Hara (Shiva)"],"setting":"Consecrated mandala floor inside a pavilion; powdered pigments, flower heaps, incense, and Vedic manuscripts nearby; directional lamps at corners.","lighting_mood":"divine radiance","color_palette":["lapis blue","lotus pink","ash white","marigold gold","charcoal black"],"tanjore_prompt":"Tanjore painting style: sacred geometry mandala with a radiant circular field for Vishnu worship, a bow-shaped arc motif, and a square altar for Shiva, heavy gold leaf outlining the shapes, jeweled ornaments on deities, rich crimson and emerald textiles, embossed decorative borders and traditional South Indian iconography.","pahari_prompt":"Pahari miniature style: refined mandala floor with delicate pigments, subtle shading on circle/bow/square forms, Vishnu and Shiva appearing as gentle epiphanies above their respective shapes, cool pastel background, lyrical naturalism and fine facial features.","kerala_mural_prompt":"Kerala mural style: bold black contours of circle and square, stylized bow-arc, Vishnu and Shiva with characteristic large eyes, flat yet vibrant reds/yellows/greens, ornamental creepers and lotus medallions framing the ritual diagram.","pichwai_prompt":"Pichwai cloth painting style: ornate floral borders, central circular lotus mandala for Vishnu, surrounding bow-arc motif like a garland, a square panel honoring Shiva, deep indigo ground with gold highlights, intricate patterning reminiscent of temple textiles."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["mantra murmurs","incense crackle","temple bells","soft conch in distance"]}
Sandhi Resolution Notes: तु+अर्चय=त्वर्चय; आत्मानम्+माम्=आत्मानम्माम् (म्+म्); अथ+उ=अथो; ऋक्+यजुः+साम+नामभिः=ऋग्यजुःसामनामभिः (समुच्चय-समास/सन्धि-समाहार)
FAQs
It prescribes worship in specific geometric forms—circular and bow-shaped for the addressed deity (“Me”), and a four-cornered (square) form for Hara (Śiva), using Vedic names/mantras connected with the Ṛg, Yajus, and Sāma.
They indicate a Vedic mode of invocation: worship is to be performed through recognized Vedic designations or mantric names associated with these three Vedas, emphasizing orthodox mantra-based praise.
Even within creation-oriented narration, the verse foregrounds structured, mantra-guided worship and acknowledges Śiva (Hara) explicitly, reflecting the Purāṇic integration of ritual geometry, Vedic authority, and sectarian devotion.