Shloka 150
Rudra’s Removal of Brahmahatyā; Kapālamocana and Avimukta Māhātmya; Origins of Nara and Karṇa
link to Arjuna/Karna query
शुद्धं सर्वगतं नित्यं व्योमरूपं सनातनम् । भावाभावविनिर्मुक्तं नमस्ये सर्वगं हरिम्
śuddhaṃ sarvagataṃ nityaṃ vyomarūpaṃ sanātanam | bhāvābhāvavinirmuktaṃ namasye sarvagaṃ harim
ข้าพเจ้าขอนอบน้อมแด่พระหริ—ผู้บริสุทธิ์ แผ่ซ่านทั่วสรรพสิ่ง เป็นนิตย์ มีสภาวะดุจอากาศ และเป็นสันตตะ; พ้นจากทั้งภาวะและอภาวะ ทรงแทรกซึมอยู่ทุกหนแห่ง
Unspecified (a devotional narrator/reciter within the Sṛṣṭikhaṇḍa context)
Concept: Hari is pure, all-pervading, eternal, and beyond the dualities of being and non-being.
Application: When caught in extremes (success/failure, praise/blame), remember the ‘vyoma’ metaphor: spacious awareness and devotion together—act steadily without being trapped by dualistic reactivity.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Hari appears not as a single bounded figure but as a luminous presence filling the sky—transparent, pure, and infinite—while still bearing a gentle, recognizable Viṣṇu-form at the center. Stars, subtle mandalas, and drifting cloud-veils suggest freedom from ‘bhāva’ and ‘abhāva’.","primary_figures":["Hari/Viṣṇu as cosmic all-pervader","meditating sage or narrator-voice implied"],"setting":"Open night-sky over a silent lotus lake; the horizon dissolves into a vast ākāśa-mandala.","lighting_mood":"moonlit with divine radiance","color_palette":["midnight blue","silver-white","smoky violet","pale gold","crystal gray"],"tanjore_prompt":"Tanjore painting style: Central Viṣṇu seated on a lotus with a large gold-leaf halo expanding into a starry ākāśa dome, subtle gold embossing forming concentric mandalas, minimal earthly elements, rich indigo background with silver-like highlights, serene face and gem-studded ornaments, emphasizing purity and all-pervasion.","pahari_prompt":"Pahari miniature style: A vast sky-scape with delicate stars and thin cloud washes; a small yet radiant Viṣṇu-form at the center, soft gradients and refined lines, a sage seated by a quiet lake in the lower corner, cool palette and contemplative emptiness conveying ‘vyoma-rūpa’.","kerala_mural_prompt":"Kerala mural style: Viṣṇu framed by a large circular ākāśa-mandala, bold outlines, stylized celestial motifs, deep blue field with red-yellow-green ornamental borders, the deity’s calm gaze and symmetrical composition emphasizing eternity and purity.","pichwai_prompt":"Pichwai cloth painting style: A cosmic lotus field with repeating lotus rosettes and star motifs; central Hari in deep blue surrounded by concentric floral borders, gold detailing, peacocks rendered as celestial fillers, the sky itself treated as patterned sacred cloth—‘vyoma’ as ornament."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["tanpura drone","soft wind ambience","distant temple bell","long pauses (ākāśa-like spaciousness)"]}
Sandhi Resolution Notes: भावाभावविनिर्मुक्तं = भाव + अभाव + विनिर्मुक्तम् (समास); व्योमरूपं = व्योम + रूपम् (समास).
FAQs
It portrays Hari as omnipresent, eternal, and transcendent—likened to space itself—while also being beyond conceptual opposites such as existence and non-existence.
The central act is namasye—reverent bowing. The verse models devotion grounded in contemplation of the divine attributes (purity, omnipresence, eternality).
Cultivate humility and steady remembrance: if the divine pervades all and is untouched by worldly dualities, one should practice reverence, equanimity, and purity of intention in daily life.