Shloka 20
Brahmā’s Puṣkara Sacrifice and the Manifestation of Sarasvatī
with Tīrtha-Merit Teachings
अजैकपादहिर्बुध्न्यः पिनाकी चापराजितः । भवो विश्वेश्वरश्चैव कपर्दी च विशांपते
ajaikapādahirbudhnyaḥ pinākī cāparājitaḥ | bhavo viśveśvaraścaiva kapardī ca viśāṃpate
ข้าแต่เจ้าแห่งปวงชน พระองค์ทรงเป็นอชัยกปาท และอหิรพุธนยะ เป็นผู้ทรงถือปิณากะ ผู้ไม่อาจปราชัย เป็นภวะ เป็นวิศเวศวร และเป็นกปัรทีด้วย
Unspecified in the provided excerpt (context needed from surrounding verses)
Concept: The One divine principle is apprehended through many names that indicate functions, attributes, and cosmic roles.
Application: Use sacred names as contemplative lenses: reflect on what each epithet points to (steadfastness, unconquerability, lordship) and cultivate those virtues ethically.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A scroll of living light unfurls in the sky, each epithet appearing as a symbolic vignette: Ajaikapād as a one-footed ascetic silhouette, Ahirbudhnya as a serpent-power rising from cosmic waters, Pinākī holding the great bow, and Viśveśvara radiating lordship over the directions. The figures overlap like a mandala, suggesting one power seen through many functions.","primary_figures":["Rudra/Śiva (as multi-epithet form)","Ajaikapād","Ahirbudhnya","Pinākī","Bhava","Viśveśvara","Kapardī"],"setting":"Celestial mandala-space with concentric circles, directional guardians implied, and a luminous mantra-scroll motif.","lighting_mood":"divine radiance","color_palette":["midnight blue","ash grey","vermilion","antique gold","serpent green"],"tanjore_prompt":"Tanjore painting style: central Śiva as Pinākī with ornate crown and gold halo, surrounding medallions depicting Ajaikapād (one-footed yogin), Ahirbudhnya (serpent emerging from waters), and Viśveśvara (lordly form with directional emblems), heavy gold leaf work, ruby-green textiles, gem-like highlights, symmetrical iconographic framing.","pahari_prompt":"Pahari miniature style: a refined multi-panel composition like a poetic album leaf, each epithet shown in a small vignette around a calm central Bhava, cool blues and soft greys, delicate serpent curves for Ahirbudhnya, subtle mountain-cloud horizon, elegant calligraphic labels.","kerala_mural_prompt":"Kerala mural style: bold outlined Śiva with Pināka, stylized serpent forms at the base for Ahirbudhnya, circular mandala arrangement, strong red/yellow/green blocks, temple-wall symmetry, expressive eyes and rhythmic ornamentation.","pichwai_prompt":"Pichwai cloth painting style: circular lotus-mandala with name-medallions, deep indigo ground, gold floral borders, central lordly figure with radiating motifs, serpents and bow symbols integrated into decorative patterning, intricate textile detailing."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","low mridangam pulse","temple bells (sporadic)","resonant silence between epithets"]}
Sandhi Resolution Notes: अजैकपादहिर्बुध्न्यः→अजैकपात् अहिर्बुध्न्यः; चापराजितः→च अपराजितः; विश्वेश्वरश्चैव→विश्वेश्वरः च एव; विशांपते→विशाम् पते.
FAQs
They are epithets (names) of Rudra/Śiva, reflecting Vedic-Rudra traditions where multiple aspects of the divine are praised through distinct titles.
“Pinākī” highlights Śiva as the wielder of the Pināka bow (sovereign power and protection), while “Kapardī” points to his ascetic identity with matted hair, symbolizing renunciation and yogic supremacy.
The verse models nāma-smaraṇa (remembrance through divine names): recognizing many facets of the same supreme reality cultivates reverence, steadiness of mind, and devotion.