Shloka 21
Yayāti and Mātali on the Order of Divine Worlds, the Merit of Śiva’s Name, and the Unity of Śiva and Viṣṇu
शिवस्य हृदयं विष्णुर्विष्णोश्च हृदयं शिवः । एकमूर्तिस्त्रयो देवा ब्रह्मविष्णुमहेश्वराः
śivasya hṛdayaṃ viṣṇurviṣṇośca hṛdayaṃ śivaḥ | ekamūrtistrayo devā brahmaviṣṇumaheśvarāḥ
พระวิษณุคือดวงหทัยของพระศิวะ และพระศิวะคือดวงหทัยของพระวิษณุ แม้ปรากฏเป็นสาม—พรหมา วิษณุ และมหेशวร—แต่แท้จริงเป็นสภาวะกายเดียวกัน
Unspecified in the provided excerpt (context needed from Adhyaya 71 framing dialogue).
Concept: The apparent triad (Brahmā–Viṣṇu–Maheśvara) is one embodied reality; Viṣṇu and Śiva are mutually indwelling as ‘heart’.
Application: Honor sincere devotion across forms; cultivate inner remembrance that the same divine presence pervades all sacred names and duties, reducing rivalry and increasing steadiness in sādhana.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A serene cosmic tableau where Viṣṇu and Śiva face one another, each revealing a luminous lotus-heart in the chest, the light intermingling into a single orb. Behind them, Brahmā appears seated on a lotus, completing the triad, while a subtle single silhouette (eka-mūrti) overlays all three, suggesting one reality in three functions.","primary_figures":["Vishnu (Nārāyaṇa)","Shiva (Maheśvara)","Brahmā"],"setting":"Celestial expanse with a lotus-throne motif; faint mandala geometry and drifting clouds; symbolic rather than terrestrial.","lighting_mood":"divine radiance","color_palette":["sapphire blue","ash-white","lotus pink","gold leaf","smoky violet"],"tanjore_prompt":"Tanjore painting style: Hari-Hara unity scene with Viṣṇu in sapphire blue and Śiva in ash-white, both displaying radiant heart-lotuses that merge into one golden orb; Brahmā on a lotus behind them; heavy gold leaf halos, gem-studded crowns, rich vermilion and emerald textiles, ornate arch frame with temple motifs, symmetrical iconography and sacred geometry.","pahari_prompt":"Pahari miniature style: delicate Hari-Hara meeting in a calm celestial garden with soft clouds and a lotus pond; refined faces, gentle gestures pointing to their hearts; Brahmā seated on a pale pink lotus; cool blues and mauves, fine linework, lyrical naturalism, subtle gold highlights, distant Himalayan-like ridgelines as symbolic backdrop.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; Viṣṇu and Śiva frontal yet slightly turned toward each other, heart-lotus motifs glowing; Brahmā above on lotus; red-yellow-green dominant palette with deep blue for Viṣṇu, white/grey for Śiva, large expressive eyes, temple-wall composition with decorative borders.","pichwai_prompt":"Pichwai cloth painting style: central luminous lotus mandala representing eka-mūrti, with Viṣṇu and Śiva on either side offering garlands toward the shared lotus-heart; Brahmā on a lotus above; intricate floral borders, lotus motifs everywhere, deep indigo background with gold detailing, peacocks and stylized clouds framing the theological harmony."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft tanpura drone","temple bells (distant)","conch shell (single, opening)","silence between pādas"]}
Sandhi Resolution Notes: विष्णुर्विष्णोश्च → विष्णुः + विष्णोः + च; एकमूर्तिस्त्रयो → एकमूर्तिः + त्रयः; ब्रह्मविष्णुमहेश्वराः → ब्रह्म + विष्णु + महेश्वराः (द्वन्द्व)
FAQs
Yes. It states mutual inner identity—each as the other's “heart”—and concludes with the Trimūrti being one embodied reality (eka-mūrti).
It frames Brahmā, Viṣṇu, and Maheśvara as three manifestations of one underlying divine reality, emphasizing unity rather than rivalry.
It encourages reverence without sectarian hostility: honoring Viṣṇu does not negate Śiva (and vice versa), since both are presented as expressions of a single divine essence.