Shloka 16
The Origin of the Lauhitya River
and the King of Tīrthas
सर्वेषामपि जंतूनां सुरासुरनृणां भवेत् । दृष्ट्वाऽमोघां वरारोहां सर्वलोकपितामहः
sarveṣāmapi jaṃtūnāṃ surāsuranṛṇāṃ bhavet | dṛṣṭvā'moghāṃ varārohāṃ sarvalokapitāmahaḥ
Bahkan dalam kalangan semua makhluk—dewa, asura dan manusia—tatkala melihat Amoghā, wanita beranggota tubuh indah yang tiada tersasar, Pitāmaha segala loka, Brahmā, turut diliputi pesona.
Narrator (contextual; likely within the Pulastya–Bhīṣma frame, but not explicit in this single verse)
Concept: No embodied being is automatically immune to desire; vigilance and dharmic safeguards are necessary.
Application: Do not rely on status, learning, or position for purity; adopt regular sādhana (nāma-japa, ekādaśī discipline, tulasī-sevā) to steady the mind.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"In a celestial hall of lotuses, Brahmā—four-faced and radiant—turns his gaze toward an extraordinarily beautiful, steadfast woman whose presence seems ‘unfailing’ like a vow. The air shimmers with the subtle arrows of Kāma, while sages and devas watch in hushed astonishment at the cosmic mind being stirred.","primary_figures":["Brahmā (Lokapitāmaha)","the ‘Amoghā’ varārohā woman","attendant devas and sages","personified Kāma (subtle/optional)"],"setting":"Brahmā’s lotus-throne pavilion with layered lotus petals, veena-like celestial architecture, and floating garlands.","lighting_mood":"divine radiance","color_palette":["lotus pink","saffron gold","pearl white","turquoise blue","vermillion"],"tanjore_prompt":"Tanjore painting style: Brahmā seated on a lotus throne with gold leaf halo, four faces rendered symmetrically; Amoghā standing gracefully with ornate silk and jewelry; faint Kāma with sugarcane bow; rich reds/greens, gem-studded ornaments, temple-arch frame, heavy gold embellishment.","pahari_prompt":"Pahari miniature style: airy celestial terrace with lotus pools, delicate linework, refined faces; Brahmā’s surprised yet controlled expression; Amoghā in flowing garments; cool pastel sky, lyrical naturalism, subtle emotional tension.","kerala_mural_prompt":"Kerala mural style: bold outlines, Brahmā with stylized crowns and four faces, Amoghā with large expressive eyes; flat vibrant pigments (red/yellow/green), decorative lotus background, temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: lotus-laden backdrop with intricate floral borders; central figures framed by garlands and peacocks; deep indigo field with gold highlights, devotional textile detailing, symmetrical ornamentation."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft mridanga pulse","celestial chimes","conch shell swell","hushed crowd ambience"]}
Sandhi Resolution Notes: दृष्ट्वाऽमोघाम् = दृष्ट्वा + अमोघाम् (स्वर-सन्धि: आ + अ → आऽ).
FAQs
‘Sarvalokapitāmaha’ means “the grandsire of all the worlds,” a standard epithet of Brahmā, the cosmic progenitor.
‘Amoghā’ literally means “unfailing” or “unerring,” suggesting an irresistible or assured potency—often used to indicate beauty or influence that does not go in vain.
By depicting even a cosmic authority as affected upon seeing beauty, the verse can be read as a reminder that fascination and desire can arise in any mind, underscoring the need for vigilance and self-restraint.