Shloka 25
Description of the Fruits of Pilgrimage
Puṣkara Tīrtha Māhātmya
अस्मिंस्तीर्थे महाभाग नित्यमेव पितामहः । उवास परमप्रीतो देवदानवसंमतः
asmiṃstīrthe mahābhāga nityameva pitāmahaḥ | uvāsa paramaprīto devadānavasaṃmataḥ
Wahai yang sangat berbahagia, di tīrtha ini Pitāmaha (Brahmā) bersemayam sentiasa, amat berkenan; dihormati sama oleh para dewa dan dānava.
Unspecified (context-dependent narrator addressing a listener as 'mahābhāga')
Concept: A tīrtha becomes supremely potent when a great deity/sage abides there in delight; divine presence sanctifies space beyond sectarian conflict.
Application: Approach holy places with the attitude of ‘meeting’ the presiding presence (adhiṣṭhātṛ-devatā); cultivate reverence that dissolves hostility and fosters shared sacredness.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"Brahmā is depicted seated near Puṣkara’s waters on a lotus-throne, four faces serene, holding kamaṇḍalu and Veda manuscripts; devas and dānavas stand on opposite sides with folded hands, their rivalry softened into shared reverence. The tīrtha glows as if the very air is mantra, with swans circling and lotuses opening in synchrony.","primary_figures":["Brahmā (Pitāmaha)","devas (Indra-like figure, Maruts)","dānavas (noble, subdued forms)","ṛṣis as witnesses"],"setting":"Puṣkara Lake shoreline with ghāṭas, lotus beds, swans (haṃsa), distant temple architecture and sandy hills","lighting_mood":"divine radiance","color_palette":["vermillion red","antique gold","turquoise water blue","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: Brahmā enthroned on a lotus beside Puṣkara Lake, four-faced with ornate crown; devas and dānavas symmetrically arranged in añjali; heavy gold leaf on halos, throne, and lake highlights; rich reds/greens, gem-studded jewelry, temple motifs framing the scene.","pahari_prompt":"Pahari miniature style: Brahmā by a tranquil lake with delicate lotuses and swans, soft Himalayan-like atmospheric perspective adapted to Aravalli hills; devas and dānavas in refined profiles, pastel garments, lyrical calm, intricate but light ornamentation.","kerala_mural_prompt":"Kerala mural style: Brahmā large central figure with bold outlines and stylized eyes, lotus throne and kamaṇḍalu prominent; devas/dānavas in balanced rows, flat yet vibrant background of lake and ghāṭa; red/yellow/green pigments with controlled shading.","pichwai_prompt":"Pichwai cloth painting style: Puṣkara as a lotus mandala with Brahmā at center, ornate floral borders, swans and lotuses repeating; deep blues and gold accents, symmetrical devotional composition with rows of worshippers on both sides."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft drone of tanpura","water lapping at ghāṭa steps","swan calls","conch shell at cadence"]}
Sandhi Resolution Notes: अस्मिंस्तीर्थे→अस्मिन्+तीर्थे. देवदानवसंमतः analyzed as (देव+दानव) dvandva + संमत.
FAQs
It presents the tīrtha as exceptionally sanctified: Brahmā (Pitāmaha) is said to reside there continually, indicating enduring spiritual potency and merit associated with the place.
By stating that both gods and dānavas esteem Brahmā, the verse underscores his universal authority and the tīrtha’s inclusive renown across cosmic factions.
The implied lesson is tīrtha-sevā and pilgrimage faith: visiting or honoring such a place is portrayed as meaningful because it is associated with the continual presence and pleasure of Brahmā.