Shloka 141
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
पयोधरौ नातिचित्रं कस्य संजायते हृदि । रागोपहतदेहोयमधरो यद्यपि स्फुटम्
payodharau nāticitraṃ kasya saṃjāyate hṛdi | rāgopahatadehoyamadharo yadyapi sphuṭam
ใครเล่าจะไม่หวั่นไหวในดวงใจเมื่อเห็นทรวงอก? แต่กายนี้ถูกกิเลสราคะทำร้าย แม้ริมฝีปากจะปรากฏชัดและยั่วยวนแก่สายตา
Unspecified (context required from surrounding verses to identify the dialogue speaker reliably)
Concept: Sense-objects naturally agitate the mind; unchecked rāga wounds embodied life even when the object seems ‘clear’ and attractive.
Application: Notice the first ‘stirring’ (saṃjāyate hṛdi) as an early signal; pause, redirect attention to japa/śravaṇa, and avoid feeding the mental image.
Primary Rasa: shringara
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A contemplative sage pauses mid-step as a fleeting vision of worldly beauty arises like a mirage—softly suggested rather than explicit—while a faint, thorn-like aura of rāga appears as a subtle wound across the chest. The composition contrasts the clarity of the alluring ‘lip’ with the inner turbulence of the heart, hinting at the moral tension between perception and restraint.","primary_figures":["a contemplative sage (generic ṛṣi)","personified Rāga (subtle allegorical presence)"],"setting":"Forest hermitage edge with a lotus pond; distant thatched kuṭīra; a path where the mind ‘wanders’.","lighting_mood":"forest dappled","color_palette":["sandalwood beige","deep maroon","smoky indigo","lotus pink","antique gold"],"tanjore_prompt":"Tanjore painting style: a serene ṛṣi with calm eyes stands near a lotus pond, one hand on the heart, while a faint allegorical aura of Rāga appears as a thorned red-gold shimmer; ornate borders, gold leaf halo around the sage’s head, rich vermilion and emerald accents, gem-studded ornaments on symbolic elements (lotus, mala), South Indian iconographic symmetry, devotional restraint emphasized rather than sensual detail.","pahari_prompt":"Pahari miniature style: a quiet Himalayan-forest hermitage scene with delicate brushwork; the sage’s face shows subtle inner agitation, a translucent mirage-like silhouette suggests temptation without explicitness; cool greens and blues, lyrical naturalism, fine textiles, distant hills and a small lotus pond reflecting the mind’s wavering.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; the sage in ochre garments with large expressive eyes, a stylized red aura (rāga) like a serpent-thorn motif near the chest; temple-wall aesthetic, flat yet powerful composition, dominant reds/yellows/greens with controlled symbolism.","pichwai_prompt":"Pichwai cloth painting style: a symbolic lotus-garden border with intricate floral motifs; central figure a sage offering a tulasi sprig toward an unseen Viṣṇu presence to sublimate desire; deep indigo background, gold highlights, stylized lotuses and peacocks, emphasis on devotional redirection rather than erotic display."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["forest birds","soft wind","distant temple bell","brief silence after key words"]}
Sandhi Resolution Notes: nāticitraṃ = na + ati-citram; rāgopahatadehoyamadharo = rāga-upahata-dehaḥ + ayam + adharaḥ (with sandhi); yadyapi = yadi + api.
FAQs
It highlights how sensory attraction naturally arises, but warns that passion (rāga) harms or disturbs the embodied mind, implying the need for restraint and discernment.
Yes. By describing desire as something that “afflicts” the body, it frames lust as a destabilizing force and implicitly commends self-mastery over impulsive attraction.
The speaker cannot be determined from the single isolated śloka provided; identification typically depends on the surrounding narrative frame (preceding/following verses) in Adhyaya 16.