Shloka 14
Narmadā Pilgrimage Itinerary: Sequence of Tīrthas, Rites, and Fruits
कन्याऋद्धिं च यः सेवेत्कन्यादानं प्रयच्छति । तीर्थं तत्र महाराज दशकन्येति विश्रुतम्
kanyāṛddhiṃ ca yaḥ sevetkanyādānaṃ prayacchati | tīrthaṃ tatra mahārāja daśakanyeti viśrutam
Ai phụng hành pháp Kanyāṛddhi và thực hiện kanyādāna—hiến trao con gái trong hôn lễ—thì tại đó, hỡi đại vương, bến thánh (tīrtha) ấy nổi danh là Daśakanyā.
Unspecified narrator addressing a king (mahārāja) within the Svargakhaṇḍa dialogue frame
Concept: Serving a prescribed observance and performing kanyādāna at a sanctified place generates enduring puṇya and establishes social dharma as a spiritual path.
Application: Treat life-cycle duties (supporting marriages, education, protection of dependents) as sacred service; give responsibly and with purity of intent.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"At the Daśakanyā ford, ten maidens stand in a gentle arc holding lotus buds and water-pots, symbolizing the tīrtha’s name and its dharmic focus. A priest marks the ground with rice-flour diagrams while a donor couple offers garments and ornaments, the river reflecting the ritual fire’s glow.","primary_figures":["ten maidens (daśa-kanyā)","donor (dātā) and family","tīrtha priest (purohita)","Vishnu shrine icon (symbolic)"],"setting":"riverbank tīrtha with ghats, small mandapa, ritual fire altar, offerings laid on banana leaves","lighting_mood":"golden dawn","color_palette":["saffron","river turquoise","ivory white","vermillion","leaf green"],"tanjore_prompt":"Tanjore painting style: Daśakanyā tīrtha at sunrise with ten maidens in ornate yet modest attire, gold leaf halos and heavy temple jewelry; a small Vishnu shrine with conch-chakra emblems; donor couple presenting garments and ornaments; rich reds/greens, embossed gold borders, gem-like highlights on crowns and vessels.","pahari_prompt":"Pahari miniature style: serene riverbank with ten maidens holding lotus buds, delicate facial features and soft textiles; a small pavilion with a priest drawing yantra-like patterns; cool blues and greens, distant hills, fine linework on jewelry and water ripples.","kerala_mural_prompt":"Kerala mural style: frontal composition with ten maidens in rhythmic symmetry, bold outlines, saturated reds/yellows/greens; the priest and donor couple shown in profile; stylized river waves and a compact Vishnu shrine panel with conch and discus motifs.","pichwai_prompt":"Pichwai cloth painting style: central river-ford framed by lotus borders; ten maidens arranged like a garland around a shrine medallion; peacocks and floral vines; deep blue ground with gold detailing, hanging garlands, intricate textile patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["morning birds","flowing water","soft temple bells","murmured mantras","crackling ritual fire"]}
Sandhi Resolution Notes: कन्याऋद्धिं→कन्याऋद्धिम्; सेवेत्कन्यादानं→सेवेत्+कन्यादानम्; दशकन्येति→दशकन्या+इति
FAQs
It links a named pilgrimage site—Daśakanyā tīrtha—with specific meritorious acts, showing how Padma Purana maps sacred geography through ritual and ethical observances.
This verse is primarily dharma- and tīrtha-focused rather than explicitly bhakti-centered; it highlights merit through service/observance (sevā) and charitable gifting (dāna), which can function as supportive disciplines within broader devotional life.
It upholds dāna and social responsibility: supporting righteous household life through kanyādāna and honoring sacred duties, presented as actions that connect one to recognized holy places and spiritual merit.