Shiva’s Kedara-Tirtha and the Rise of Mura: From Shaiva Pilgrimage to Vaishnava Theology
ततो वीटां सुखे क्षिप्य निरुच्छ्वासो ऽभवद् यतिः विस्तृते हिमवत्पुष्ठे रम्ये समशिलातले
tato vīṭāṃ sukhe kṣipya nirucchvāso 'bhavad yatiḥ vistṛte himavatpuṣṭhe ramye samaśilātale
তেতিয়া সেই যতি স্বচ্ছন্দে নিজৰ ‘ভীটা’ (আসন) ত্যাগ কৰি নিশ্বাসৰহিত হ’ল; হিমৱৎ-আধাৰিত বিস্তৃত, ৰম্য, সম শিলাতলত তেওঁ স্থিৰে থাকিল।
{ "primaryRasa": "shanta", "secondaryRasa": "", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
In Purāṇic ascetic descriptions it typically signals yogic breath-restraint (kumbhaka-like suspension), not death—an intensification of tapas meant to compel divine attention.
It situates the scene in a Himalayan-fed or Himalayan-supported region—evoking the Himālaya as the archetypal tapas-landscape (source of rivers, forests, and secluded stone plateaus).
It underscores austerity and steadiness: a hard, level rock becomes the ‘seat’ for immobility and meditation, contrasting with the earlier abandonment of comfort (vīṭāṃ sukhe kṣipya).