Shloka 129
Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits
तदेकं मे वद विभो यस्मिन्स्थाने भवान्स्थितः । केषुकेषु च स्थानेषु त्वां पश्यंति सदा द्विजाः
tadekaṃ me vada vibho yasminsthāne bhavānsthitaḥ | keṣukeṣu ca sthāneṣu tvāṃ paśyaṃti sadā dvijāḥ
హే విభో, మీరు నివసించే ఆ ఒక్క స్థలాన్ని నాకు చెప్పండి; అలాగే ఏ ఏ స్థలాలలో ద్విజులు మిమ్మల్ని నిత్యం దర్శిస్తారు?
Unspecified in provided excerpt (a questioner addressing the Lord, 'vibho')
Concept: The Lord’s presence is both singular (parama-dhāma) and multiply accessible through sanctified loci where realized seekers perceive Him.
Application: Seek sacred spaces and also cultivate the inner qualification—purity, study, and devotion—so that ‘seeing’ becomes constant rather than occasional.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A devoted questioner stands with palms joined, eyes lifted, asking about the single supreme abode and the many earthly stations of divine vision. Behind them, a faint mandala-map of India’s sacred sites appears like a constellation, hinting that the answer will unfold as a pilgrimage litany.","primary_figures":["Devotee-questioner (dvija)","The Lord addressed as Vibhu (all-pervading)","Sages as witnesses (optional)"],"setting":"A hermitage veranda overlooking a riverbank, with palm-leaf manuscripts and a ritual fire; in the sky, a subtle cartographic halo of tīrthas.","lighting_mood":"golden dawn","color_palette":["sunrise gold","river jade","sandalwood beige","lapis blue","vermillion"],"tanjore_prompt":"Tanjore painting style: the Vibhu enthroned with expansive halo; the dvija devotee in añjali; gold leaf map-like motifs of tīrthas around the halo, ornate arch (prabhāvali), rich reds/greens, gem-like highlights on crowns and jewelry.","pahari_prompt":"Pahari miniature style: a quiet dawn at an āśrama; delicate lines, soft gradients; the questioner near a small yajña-kuṇḍa, the Lord seated; distant hills and a river; tiny symbolic tīrtha icons floating like stars.","kerala_mural_prompt":"Kerala mural style: frontal iconic figures; the devotee asking, the Lord gesturing assurance; stylized river and palm trees; bold outlines, saturated reds/yellows/greens, symmetrical composition with sacred-site emblems in the border.","pichwai_prompt":"Pichwai cloth painting style: central divine figure with lotus garlands; surrounding border filled with miniature tīrtha vignettes (ghāṭas, temples, rivers) like a devotional atlas; deep blue ground, gold and white floral tracery, hanging lamps and lotuses."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["flowing water","birds at dawn","soft temple bell","crackling sacred fire"]}
Sandhi Resolution Notes: तदेकम् = तत् + एकम्; यस्मिन्स्थाने = यस्मिन् + स्थाने; भवान्स्थितः = भवान् + स्थितः; केषुकेषु = केषु + केषु (पुनरुक्ति); पश्यंति → पश्यन्ति (अनुस्वार-लिप्यन्तरभेद)।
FAQs
The speaker asks for the Lord’s primary abode (“that one place”) and also asks in which other places the twice-born regularly perceive or encounter the Lord.
“Dvija” literally means “twice-born” and commonly refers to the initiated members of the Vedic social orders—especially Brahmins—who are portrayed in Purāṇic literature as dedicated to study, ritual, and pilgrimage.
By asking where the Lord is seen in various places, the verse naturally frames divinity as accessible through specific locations—often understood in Purāṇic contexts as tīrthas, temples, and sanctified regions where vision of the divine is especially emphasized.