Shloka 4
Annadāna and the Obstruction of Viṣṇu-Darśana; Vāmadeva’s Teaching and the Vāsudeva Stotra Prelude
पूजितः सर्वकामैश्च प्राप्तवान्सत्वरं मुदा । गते तस्मिन्महालोके देवदेवं न पश्यति
pūjitaḥ sarvakāmaiśca prāptavānsatvaraṃ mudā | gate tasminmahāloke devadevaṃ na paśyati
เมื่อได้รับการบูชาแล้ว พระองค์ก็ได้บรรลุความปรารถนาทั้งปวงโดยเร็วด้วยความปีติยินดี แต่ครั้นเสด็จไปสู่มหาโลกนั้นแล้ว ก็ไม่อาจได้เห็นเทวเทพผู้เป็นเทพเหนือเทพอีกต่อไป
Unspecified (narratorial voice within Bhūmi-khaṇḍa context)
Concept: Worldly aims may be quickly granted, yet without sustained bhakti one may miss direct vision of the Supreme even in exalted realms.
Application: Treat ‘results’ (success, comfort, recognition) as secondary; keep daily remembrance (smaraṇa) so that achievement does not replace devotion.
Primary Rasa: karuna
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A king, crowned and radiant with the glow of fulfilled boons, steps into a vast celestial city of jeweled towers—yet his face turns searching, sensing an absence. The sky is magnificent, but the central throne of the Devadeva is veiled by a thin mist, symbolizing that attainment without devotion lacks true darśana.","primary_figures":["a king (departed soul)","celestial attendants (devas/gandharvas)","Devadeva (Vishnu) as unseen/veiled presence"],"setting":"A grand celestial realm with crystal stairways, lotus ponds, and distant vimānas; an empty or veiled sanctum at the center.","lighting_mood":"divine radiance","color_palette":["pearl white","amethyst purple","gold leaf","sky blue","mist gray"],"tanjore_prompt":"Tanjore painting style: opulent celestial court with gold leaf architecture and embossed halos; the king adorned with gems, devas offering garlands; at the center a veiled sanctum where Vishnu’s throne is suggested but not revealed, using translucent white layers over gold to convey ‘not beholding’ Devadeva.","pahari_prompt":"Pahari miniature style: lyrical celestial terrace with lotus pools and delicate clouds; the king’s expression subtly sorrowful amid splendor; a faint outline of Vishnu behind gauzy cloud-wash, emphasizing longing and spiritual distance with restrained, poetic composition.","kerala_mural_prompt":"Kerala mural style: stylized celestial palace, bold outlines, rhythmic ornament; the king and attendants in profile; central panel shows a curtain-like motif before the deity space, conveying absence through iconographic negative space and symbolic veiling.","pichwai_prompt":"Pichwai cloth painting style: ornate heavenly mandala with lotus borders and flying figures; central shrine rendered as a closed curtain with gold patterns, while the king stands below with folded hands; deep blues and gold dominate, creating devotional yearning within decorative symmetry."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft drone (tanpura)","distant temple bells","wind through high terraces","faint conch echo","long pauses"]}
Sandhi Resolution Notes: सर्वकामैश्च = सर्वकामैः + च; प्राप्तवान्सत्वरं = प्राप्तवान् + सत्वरम्; तस्मिन्महालोके = तस्मिन् + महालोके
FAQs
It contrasts swift attainment of worldly or desired results through worship with the absence of direct vision of the supreme divine (“God of gods”) after reaching an exalted realm—implying that results and divine darśana are not identical.
Literally “God of gods,” a title commonly used for the supreme deity in Purāṇic usage (often Viṣṇu or Śiva depending on context). This verse alone does not specify which, so the identification should follow the surrounding passage.
It suggests prioritizing devotion aimed at divine realization (darśana) rather than only seeking the fulfillment of desires, since attaining “great worlds” or rewards may still fall short of direct encounter with the supreme.