Shloka 19
The Origin of the Lauhitya River
and the King of Tīrthas
उद्भवं तीर्थराजस्य श्रोतुमिच्छामि तत्त्वतः । श्रीभगवानुवाच । मुनिर्देवैः समाराध्यः पद्मयोनिसमप्रभः
udbhavaṃ tīrtharājasya śrotumicchāmi tattvataḥ | śrībhagavānuvāca | munirdevaiḥ samārādhyaḥ padmayonisamaprabhaḥ
ମୁଁ ତୀର୍ଥରାଜଙ୍କ ଉଦ୍ଭବକୁ ତତ୍ତ୍ୱତଃ ଶୁଣିବାକୁ ଇଚ୍ଛା କରୁଛି। ଶ୍ରୀଭଗବାନ କହିଲେ—ସେଇ ମୁନି ଦେବମାନଙ୍କ ଦ୍ୱାରା ସମାରାଧିତ ଥିଲେ ଏବଂ ପଦ୍ମଯୋନି ବ୍ରହ୍ମାଙ୍କ ସମ ତେଜସ୍ୱୀ ଥିଲେ।
Śrī Bhagavān (narrator voice within the dialogue)
Concept: Hearing (śravaṇa) the true origin of a supreme tīrtha is itself meritorious; sages revered by devas embody tapas that generates sanctity in the world.
Application: Cultivate śraddhā by regularly hearing sacred histories; let admiration for tapas and purity translate into disciplined practice and compassionate conduct.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A divine narrator begins to speak as a seeker requests the true origin of the ‘King of Tīrthas’; the scene feels like a doorway opening into sacred history. A great sage stands luminous—his tejas mirroring the lotus-born Brahmā—while devas offer reverence, acknowledging his tapas as world-sustaining.","primary_figures":["Śrī Bhagavān (as narrator voice; can be depicted as Viṣṇu or a radiant divine presence)","the luminous sage revered by devas","devas in añjali","Brahmā as a comparative presence (symbolic/optional)"],"setting":"Celestial-forest assembly: a hermitage that blends with a deva-sabhā, with lotuses, incense, and a subtle cosmic backdrop.","lighting_mood":"divine radiance","color_palette":["sapphire blue","gold leaf","lotus pink","emerald green","moonstone white"],"tanjore_prompt":"Tanjore painting style: Viṣṇu as the speaking Bhagavān with gold halo, seated on a stylized throne; the sage standing radiant with ascetic ornaments; devas in rows offering flowers; heavy gold leaf work, rich reds/greens, gem-studded jewelry, temple-arch composition.","pahari_prompt":"Pahari miniature style: serene hermitage with celestial visitors, delicate brushwork; the sage’s aura painted as a soft glow; refined faces, cool greens and blues, lyrical naturalism with a hint of the cosmic lotus motif.","kerala_mural_prompt":"Kerala mural style: frontal divine speaker with bold outlines, sage with pronounced tejas halo, devas in symmetrical arrangement; natural pigment palette, temple-wall aesthetic, stylized lotus patterns behind.","pichwai_prompt":"Pichwai cloth painting style: central speaking Viṣṇu vignette framed by lotus borders and floral garlands; devas and the sage arranged symmetrically; deep indigo background with gold detailing, intricate textile motifs suggesting ‘tīrtharāja’ grandeur."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["conch shell opening note","temple bells","tanpura drone","soft chorus hum"]}
Sandhi Resolution Notes: श्रोतुमिच्छामि = श्रोतुम् + इच्छामि (म् + इ → मि). श्रीभगवानुवाच = श्रीभगवान् + उवाच (न् + उ → नु). मुनिर्देवैः = मुनिः + देवैः (विसर्ग-सन्धि: ः + द → र्द).
FAQs
It frames a “Tīrtha-rāja” (King of sacred places) as having a specific origin story worth hearing “in essence,” signaling that sacred geography in the Padma Purāṇa is grounded in mythic-historical narration rather than mere location lists.
By describing a sage as “samārādhyaḥ” (fully worshipped/propitiated) by the devas, the verse highlights devotion and reverent worship as a means of attaining extraordinary spiritual radiance and authority.
The verse suggests that truth-seeking (wanting to hear “tattvataḥ”) and sincere reverence (being “samārādhyaḥ”) are prerequisites for understanding and participating in sacred tradition.