Shloka 173
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
लावण्यं तदिहैकस्थं दर्शितं विश्वयोनिना । अस्योपमा स्मरः साध्वी मन्मथस्य त्विषोपमा
lāvaṇyaṃ tadihaikasthaṃ darśitaṃ viśvayoninā | asyopamā smaraḥ sādhvī manmathasya tviṣopamā
ณ ที่นี้ ความงามนั้นซึ่งรวมอยู่ ณ แห่งเดียว ได้ถูกเผยโดยบ่อเกิดแห่งสากลโลก สำหรับนาง แม้สมระก็ยังเป็นอุปมาอันเหมาะ และรัศมีของนางก็ประหนึ่งแสงแห่งมันมถะ
Unspecified narrator (context-dependent within Sṛṣṭikhaṇḍa narration)
Concept: All beauty is ultimately sourced in the World-Cause; concentrated splendor in one locus hints at the divine origin of loveliness.
Application: Appreciate beauty without possessiveness; let admiration become gratitude and remembrance of the divine source rather than craving.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"The ‘Source of the universe’ reveals a single, concentrated locus of beauty—like a lotus blooming with impossible perfection—while onlookers feel Cupid’s power mirrored and surpassed. Radiance emanates from the figure, turning the surrounding space into a haloed chamber of shimmering air.","primary_figures":["The World-Source (Vishnu/Bhagavan as viśvayoni)","A supremely beautiful woman","Attendant onlookers or sages (optional)"],"setting":"A celestial garden with lotuses and flowering trees; a pavilion where the revelation of beauty feels like a theophany.","lighting_mood":"golden dawn","color_palette":["lotus pink","champagne gold","emerald green","ivory","carmine red"],"tanjore_prompt":"Tanjore painting style: a radiant divine figure revealing a woman of extraordinary beauty in a lotus pavilion; thick gold leaf halo and ornate arch; rich reds and greens; jewelry rendered with gem-like dots; stylized lotuses and floral scrollwork emphasizing concentrated splendor.","pahari_prompt":"Pahari miniature style: refined portrait-like scene in a garden; delicate facial features, soft blush tones; Cupid/Manmatha hinted as a small symbolic figure or bow motif in the margin; cool greens and pinks, lyrical naturalism, gentle dawn sky.","kerala_mural_prompt":"Kerala mural style: bold outlines and patterned garments; the woman’s radiance shown as concentric aureoles; floral background with stylized vines; warm reds/yellows/greens, temple-wall composition, iconic symmetry.","pichwai_prompt":"Pichwai cloth painting style: central lotus-throne composition; abundant lotus motifs and floral borders; the radiance depicted as gold stippling on deep blue ground; devotional ornamentation, peacocks and vines framing the scene, intricate textile detailing."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["birds","gentle flute","tanpura drone","soft bells"]}
Sandhi Resolution Notes: तदिहैकस्थं = तत् + इह + एकस्थम्; विश्वयोनिना = विश्व-योनिना (समास); अस्योपमा = अस्य + उपमा; त्विषोपमा = त्विष्-उपमा (समास)
FAQs
“Viśvayoni” literally means “the womb/source of the universe,” a title commonly used for the supreme cosmic cause—often read as Viṣṇu or the supreme Brahman depending on the chapter’s narrative context.
Smara and Manmatha are two well-known epithets for Kāma (Cupid). The verse uses poetic variation: one name as a benchmark for comparison and the other to emphasize radiance/splendour.
It heightens admiration through hyperbole and simile: beauty is said to be “concentrated in one place,” and even the god of desire becomes the standard of comparison for her allure and brilliance.