Shloka 34
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
यः परं श्रूयते ज्योतिर्यः परं श्रूयते तपः । यः परं परतः प्राह परं यः परमात्मवान्
yaḥ paraṃ śrūyate jyotiryaḥ paraṃ śrūyate tapaḥ | yaḥ paraṃ parataḥ prāha paraṃ yaḥ paramātmavān
พระองค์ผู้ทรงเป็นที่สดับว่าเป็นแสงสว่างสูงสุด; ผู้ทรงเป็นที่สดับว่าเป็นตบะสูงสุด; ผู้ทรงประกาศความสูงสุดว่าเหนือยิ่งกว่าความเหนือ—พระองค์นั้นแลทรงประกอบด้วยปรมาตมัน
Unspecified (narrative voice not indicated in the provided excerpt)
Concept: The ultimate reality is the Supreme Light and Supreme Tapas, transcending even ‘the beyond’; realization centers on the Paramātman.
Application: Shift identity from external form to inner witness; practice daily remembrance (smaraṇa), disciplined living (tapas as self-regulation), and devotion to the Supreme as inner light.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"An infinite, silent radiance fills the frame—no sun, no moon—only a boundless golden-white light from which a lotus and the faint silhouette of the cosmos emerge. At the center, the Supreme Self is suggested not as a fixed form but as a luminous presence with a subtle Viṣṇu-outline (conch and discus hinted like constellations), conveying transcendence beyond depiction.","primary_figures":["Paramātman (as luminous presence)","Viṣṇu/Nārāyaṇa (suggested iconographically)","Brahmā (tiny, emerging from lotus as a secondary motif)"],"setting":"Transcendent void of light with a lotus emergence motif; minimal cosmic symbols (stars, mandala rings).","lighting_mood":"divine radiance","color_palette":["blazing white","molten gold","pale lotus pink","deep space indigo","silver"],"tanjore_prompt":"Tanjore painting style: a central, overwhelming gold-leaf aura representing param jyotiḥ, within which a subtle Viṣṇu icon appears with conch and discus, Brahmā on a small lotus below, rich red-green ornamental borders, gem-studded highlights, sacred geometry mandala framing the radiance.","pahari_prompt":"Pahari miniature style: ethereal negative space with delicate washes of pale gold and indigo, a faint lotus and tiny Brahmā figure, the Supreme Light implied through gradients and fine stippling, minimalistic yet devotional, refined linework suggesting Viṣṇu’s presence without heavy ornament.","kerala_mural_prompt":"Kerala mural style: bold central halo of yellow-white with thick black outline mandala, stylized Viṣṇu form emerging from light, Brahmā on lotus at lower register, traditional red/yellow/green pigments, temple-wall iconic clarity emphasizing ‘jyotiḥ’.","pichwai_prompt":"Pichwai cloth painting style: a large central lotus medallion filled with gold-white radiance, subtle Viṣṇu symbols (śaṅkha-cakra) as decorative motifs, surrounding floral borders and small lotuses, deep blue background, intricate Nathdwara-style ornamentation that frames the formless as luminous center."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["tanpura drone","single bell strike at verse end","conch shell (very soft)","expansive silence"]}
Sandhi Resolution Notes: jyotiryaḥ = jyotiḥ + yaḥ; brahman-like sandhi not present here. paramātmavān analyzed as parama-ātman-vat (tatpuruṣa base + -vat).
FAQs
It points to the Supreme (param) as the ultimate reality—described as the highest light, the highest tapas, and as transcending even what is conceived as “beyond.”
It treats both as scriptural descriptors of the same Supreme principle: jyotiḥ emphasizes illuminating consciousness, while tapaḥ emphasizes transformative spiritual power.
Seek the Supreme not merely through descriptions or debate, but by becoming “paramātmavān”—grounded in inner realization and disciplined spiritual practice.