Padma Purana — Srishti Khanda, Shloka 14035
Brahmā’s Lotus-Birth, Puṣkara-Creation Imagery, Madhu–Kaiṭabha, and Early Genealogies
येषां यत्कांक्षितं किंचित्तत्तदावां विचिंतय । ब्रह्मोवाच । आवाभ्यां संहतौ दृष्ट्वा युवां पूर्वं पराजितौ
yeṣāṃ yatkāṃkṣitaṃ kiṃcittattadāvāṃ viciṃtaya | brahmovāca | āvābhyāṃ saṃhatau dṛṣṭvā yuvāṃ pūrvaṃ parājitau
তাদের যা কিছু কাম্য, সেই সেই বিষয়ে আমাদের জন্য বিচার করে স্থির করো। ব্রহ্মা বললেন—তোমরা দু’জন একত্রিত হয়েও পূর্বে আমাদের দু’জনের কাছে পরাজিত হয়েছিলে।
Brahmā
Concept: Even powerful binding forces can be checked when higher order (here Brahmā’s governance under the Supreme) asserts discernment and unity; division among guṇas weakens them, union strengthens them.
Application: When inner ‘forces’ (impulses) unite against you, respond with clarity and governance: name the desire, set boundaries, and enlist supportive counter-forces (sattva, satsaṅga, prayer).
Primary Rasa: vira
Secondary Rasa: raudra
Type: celestial_realm
Visual Art Cues: {"scene_description":"In Brahmā’s luminous hall, the four-faced creator stands poised, one hand raised in command, as the twin forces (Rajas and Tamas) stand before him—now wary, their earlier arrogance checked. Behind Brahmā, a subtle emblem of the Supreme (a radiant Viṣṇu-disc or lotus-navel motif) suggests higher sanction, while cosmic ledgers and lotus-thrones indicate governance of creation.","primary_figures":["Brahmā","Rajas (personified)","Tamas (personified)","celestial attendants (optional)"],"setting":"Brahmaloka court with lotus pillars, Vedic manuscripts, and a cosmic horizon visible through an archway.","lighting_mood":"divine radiance with judicial clarity","color_palette":["sunlit gold","lotus white","vermillion","deep blue","sage green"],"tanjore_prompt":"Tanjore painting style: Brahmā enthroned on a lotus with gold leaf halo, four faces clearly rendered; Rajas and Tamas as two richly dressed but subdued figures; ornate court with lotus pillars; gold leaf embossing on throne, manuscripts, and jewelry; rich reds/greens, gem-studded ornaments, traditional South Indian iconography.","pahari_prompt":"Pahari miniature style: elegant celestial court with delicate architectural lines; Brahmā calm yet commanding; rajas/tamas shown as contrasting color auras; refined facial features, soft gradients, lyrical clouds beyond the balcony; cool palette with warm gold accents.","kerala_mural_prompt":"Kerala mural style: bold outlines; Brahmā with characteristic large eyes and stylized crown; lotus-seat and decorative borders; rajas in red tones, tamas in deep blue; temple-wall symmetry and natural pigments.","pichwai_prompt":"Pichwai cloth painting style: central lotus throne with ornate floral border; Brahmā as focal deity; rajas/tamas as attendant-like figures at lower corners; deep blue background with gold and vermillion highlights; intricate lotus motifs throughout."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["courtly drum pulse","conch shell","clear bell chimes","rustle of palm-leaf manuscripts","resonant silence"]}
Sandhi Resolution Notes: यत्कांक्षितं = यत् + कांक्षितम्; किंचित्तत्तदावां = किंचित् + तत् + तत् + आवाम् (t/d sandhi; gemination); ब्रह्मोवाच = ब्रह्मा + उवाच; संहतौ = संहतौ (saṃhata + dual nom.).
FAQs
The verse explicitly marks the speaker as Brahmā ("brahmovāca").
It combines counsel (to deliberate on fulfilling desires) with a reminder of a prior defeat that occurred when the addressed pair were seen united.
No. In this shloka, the focus is dialogue and a past conflict; there is no explicit reference to pilgrimage geography (tirtha) or devotional practice (bhakti).