Shloka 70
देवासुराणां सर्वेषां श्वेतः पर्वतमुच्यते । गंधर्वा निषधे नित्यं नीले ब्रह्मर्षयस्तथा
devāsurāṇāṃ sarveṣāṃ śvetaḥ parvatamucyate | gaṃdharvā niṣadhe nityaṃ nīle brahmarṣayastathā
ໃນບັນດາເທວະແລະອະສຸຣະທັງປວງ “ພູສີຂາວ” ຖືກເວົ້າວ່າເປັນທີ່ສະຖິດ. ພວກຄັນທັຣວະຢູ່ນິສະທະເປັນນິດ ແລະພວກພຣະພຣົມຣິສີກໍຢູ່ພູນີລະ (ພູສີນ້ຳເງິນ) ເຊັ່ນກັນ.
Unspecified (narratorial voice within Svarga-khaṇḍa; broader dialogue context not provided in the input)
Concept: Cosmic harmony includes differentiated roles—power (deva/asura), beauty (gandharva), and wisdom (brahmarṣi)—each anchored in its proper ‘seat’.
Application: Balance life through ‘three seats’: discipline (ṛṣi), art/joy (gandharva), and responsibility/power (deva)—without letting any one dominate.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: mountain
Visual Art Cues: {"scene_description":"Three monumental peaks rise in a single cosmic panorama: the White Mountain gleams like crystal where devas and asuras assemble in tense but orderly council; Niṣadha is alive with gandharvas playing vīṇā and flute amid flowering groves; the Blue Mountain holds silent brahmarṣis in meditation, their tapas forming a blue aura that merges with the sky.","primary_figures":["Devas","Asuras","Gandharvas","Brahmarṣis"],"setting":"Mythic highlands with three distinct mountain zones, each with its own atmosphere—court, grove, and hermitage","lighting_mood":"golden dawn","color_palette":["crystal white","cobalt blue","verdant green","sunrise gold","rose coral"],"tanjore_prompt":"Tanjore painting style: triptych-like composition—Śveta-parvata with devas/asuras in jeweled crowns and gold leaf halos; Niṣadha with gandharvas in musical procession, ornate textiles; Nīla-parvata with seated brahmarṣis, gold leaf on sacred implements and mountain edges; rich reds/greens, symmetrical iconography and decorative borders.","pahari_prompt":"Pahari miniature style: elegant mountain landscape with cool blues and whites; devas/asuras depicted with refined faces in a calm council; gandharvas in a lyrical grove with delicate instruments; rishis on the blue peak in quiet meditation; soft gradients and fine botanical detail.","kerala_mural_prompt":"Kerala mural style: bold outlined figures—devas/asuras in formal rows, gandharvas with stylized instruments, rishis with pronounced eyes and serene expressions; strong primary pigments; mountain bands rendered as decorative color fields (white/green/blue).","pichwai_prompt":"Pichwai cloth painting style: patterned mountains as layered textile motifs; gandharva music scene framed by lotus borders; devas/asuras shown as symmetrical processions; rishis as repeating meditative figures; deep blue ground with gold highlights and intricate floral filigree."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["celestial drums (dundubhi)","veena phrases","wind chimes","conch shell","mountain wind"]}
Sandhi Resolution Notes: देव + असुराणाम् → देवासुराणाम् (द्वन्द्व-समाहारार्थे षष्ठी बहुवचन); पर्वतम् + उच्यते → पर्वतमुच्यते; ब्रह्मर्षयः + तथा → ब्रह्मर्षयस्तथा।
FAQs
It assigns specific classes of beings to specific mythic mountains: Devas and Asuras to Śveta-parvata, Gandharvas to Niṣadha, and Brahmarṣis to Nīla-parvata—reflecting Purāṇic cosmography rather than modern physical geography.
Not directly. The verse functions primarily as a descriptive catalog of cosmic locations and the beings associated with them, typical of Svarga-khaṇḍa’s encyclopedic style.
The implied idea is ordered cosmos (ṛta/dharma): different beings have appropriate realms and stations, suggesting a structured universe where spiritual status and function correspond to particular domains.