Shloka 69
न प्राप्नुवंति सर्वज्ञ लभंते मानवा यथा । ब्रह्मोवाच । पुरा सृष्टं मया तोयं सर्वदेवमयामृतम्
na prāpnuvaṃti sarvajña labhaṃte mānavā yathā | brahmovāca | purā sṛṣṭaṃ mayā toyaṃ sarvadevamayāmṛtam
ഹേ സർവ്വജ്ഞാ! അവർ മനുഷ്യർ ലഭിക്കുന്നതുപോലെ (ലാഭം) പ്രാപിക്കുന്നില്ല. ബ്രഹ്മാവ് പറഞ്ഞു—പുരാതനകാലത്ത് ഞാൻ ആ ജലം സൃഷ്ടിച്ചു; അത് അമൃതസമവും സർവ്വദേവമയവുമാണ്.
Brahmā
Concept: Sacred water is not merely material; it can be ‘all-god-imbued’ and functions as a carrier of sanctity and merit.
Application: Treat water used in worship (ācamanīya, arghya, tarpaṇa, abhiṣeka) as sacred; keep it clean, offer with mantra and intention, and avoid waste or disrespect of water sources.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"In the first dawn of creation, Brahmā appears seated upon a vast lotus rising from the cosmic waters, his four faces turned to the quarters. The waters shimmer like liquid nectar, within which faint, luminous forms of the devas glint as if dissolved into the element itself, suggesting ‘sarvadevamaya’ sanctity.","primary_figures":["Brahmā","cosmic lotus (padma)","subtle forms of devas within the waters"],"setting":"Primordial ocean of creation with a colossal lotus; distant nebula-like skies and subtle mandala patterns on the water surface.","lighting_mood":"divine radiance","color_palette":["lotus pink","sapphire blue","pearl white","gold leaf","deep indigo"],"tanjore_prompt":"Tanjore painting style: Brahmā on a grand lotus above nectar-like cosmic waters, gold leaf halo around each face, embossed lotus petals, gem-studded ornaments, rich crimson and emerald accents, subtle miniature devas shimmering within the water as gilded motifs, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: delicate Brahmā seated on a pale-pink lotus floating on calm blue waters, fine linework for ripples, soft celestial gradients, refined facial features, tiny deva silhouettes like fireflies in the water, lyrical minimal cosmos with gentle clouds.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Brahmā with stylized large eyes on a lotus, flat yet vibrant blue-green cosmic waters with patterned waves, warm yellow and red highlights, ornamental borders suggesting the ‘all-god’ presence as repeating divine emblems in the water.","pichwai_prompt":"Pichwai cloth painting style: expansive lotus-filled waters with ornate floral borders, central lotus throne with Brahmā, intricate gold detailing, peacock-feather-like wave motifs, deep blues and pinks; include small circular medallions in the water representing devas as decorative icons."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","conch shell (distant)","silence","gentle flowing water"]}
Sandhi Resolution Notes: prāpnuvanti (no sandhi); labhante (as written); brahmā+uvāca→brahmovāca; sarvadevamaya+amṛtam→sarvadevamayāmṛtam
FAQs
It presents primordial water as a sacred, divine medium—symbolically containing the powers of all deities—often used in Purāṇic creation accounts to explain why certain waters (and rites using water) are considered spiritually potent.
Primarily to creation theology (Sṛṣṭi-khaṇḍa): it frames water as a primordial, nectar-like substance created by Brahmā, which later Purāṇic passages may connect to sanctified waters and ritual purity.
The contrast suggests that divine realities are not acquired merely through ordinary human means; higher attainments depend on a different order—grace, cosmic law, or sacred origin—rather than common worldly acquisition.