Shloka 140111
Brahmā’s Lotus-Birth, Puṣkara-Creation Imagery, Madhu–Kaiṭabha, and Early Genealogies
यं यं कामयते कामं तं तं लोकेश्वराल्लभेत् । सर्वं विहाय य इमं पठेद्वै पौष्करं हरेः
yaṃ yaṃ kāmayate kāmaṃ taṃ taṃ lokeśvarāllabhet | sarvaṃ vihāya ya imaṃ paṭhedvai pauṣkaraṃ hareḥ
လူသည် မည်သည့်ဆန္ဒကိုမဆို လိုလားပါက ထိုဆန္ဒကို လောက၏ အရှင် (Lokeśvara) ထံမှ ရနိုင်သည်။ အခြားအရာအားလုံးကို စွန့်လွှတ်၍ ဟရီ၏ ဤ ပေါုရှ္ကရ (Puṣkara-ဆိုင်ရာ) ပုဒ်ကို သေချာစွာ ရွတ်ဖတ်ပါက ဖြစ်သည်။
Unspecified (narratorial/teaching voice within Sṛṣṭikhaṇḍa 40)
Concept: Single-pointed recitation of Hari’s Puṣkara-related section, with renunciation of distractions, grants fulfillment of desires through the Lord of the worlds.
Application: Choose one core sādhana (daily pāṭha/japa) and protect it by simplifying commitments; let desires be offered to the Lord, accepting what supports dharma and inner growth.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"On the ghats of Puṣkara Lake, a devoted reciter sits facing the shimmering sacred waters, chanting Hari’s section with unwavering focus while the bustle of the world fades behind him. A faint vision of Hari appears above the lake’s lotus-strewn surface, as if the tīrtha itself becomes a mirror of divine presence granting boons.","primary_figures":["devotee reciter","Hari (Vishnu/Krishna as visionary presence)","pilgrims at ghats (background)"],"setting":"Puṣkara-sarovara ghats with steps descending into water, lotus clusters, distant temples and flags, morning pilgrims carrying brass pots.","lighting_mood":"golden dawn","color_palette":["lake turquoise","lotus pink","sunrise gold","stone beige","flag vermilion"],"tanjore_prompt":"Tanjore painting style: Puṣkara Lake ghats with a seated devotee reciting from a manuscript, Vishnu appearing above the water with gold leaf halo, ornate temple silhouettes, rich reds and greens, gem-like highlights on ornaments, lotus motifs across the lake, decorative arch framing the scene.","pahari_prompt":"Pahari miniature style: serene lakeside at dawn with delicate ripples, soft pastel sky, devotee in simple garments chanting, distant temples and pilgrims rendered with fine brushwork, lyrical naturalism, subtle divine apparition of Hari in the clouds reflected in the water.","kerala_mural_prompt":"Kerala mural style: stylized ghat steps and lotus-filled lake, bold outlines, central devotee with manuscript, Hari’s radiant form above the water, warm red-yellow-green palette with turquoise accents, ornamental borders of lotuses and conch-chakra motifs.","pichwai_prompt":"Pichwai cloth painting style: Krishna/Hari hovering above a lotus lake with intricate floral borders, deep blues and gold, ghats populated by small pilgrim figures, peacocks and lotuses abundant, central devotee reciting, Nathdwara-inspired ornamentation and symmetrical composition."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["flowing water","distant temple bells","morning birds","soft conch","footsteps on stone ghats"]}
Sandhi Resolution Notes: lokeśvarāllabhet → lokeśvarāt labhet; paṭhedvai → paṭhet vai.
FAQs
By calling the passage “pauṣkara” (Puṣkara-related), the verse points to Puṣkara as a recognized tīrtha whose associated narrative/recitation is treated as spiritually efficacious.
It links the fulfillment of aims to devotion expressed through recitation centered on Hari (Viṣṇu), presenting śravaṇa/pāṭha (hearing/reciting) as a direct bhakti practice with transformative results.
The line “sarvaṃ vihāya” teaches prioritization: setting aside distractions and approaching the divine with focused intent and discipline, rather than treating spirituality as incidental.