Shloka 14
Cosmic Time, Cycles of Creation and Dissolution, and the Varāha Uplift of Earth
एककाले हि सृज्यंते संह्रियंते च पूर्ववत् । चतर्युगानां संख्याता साधिका ह्येकसप्ततिः
ekakāle hi sṛjyaṃte saṃhriyaṃte ca pūrvavat | cataryugānāṃ saṃkhyātā sādhikā hyekasaptatiḥ
แท้จริงแล้ว สิ่งทั้งหลายถูกสร้างขึ้นและถูกรวมคืนในกาลเดียวกัน ดังเดิมมา จำนวนจตุรยุคกล่าวว่าเจ็ดสิบเอ็ด (และมากกว่านั้นเล็กน้อย)
Pulastya (contextual, Sṛṣṭikhaṇḍa dialogue tradition)
Concept: Sṛṣṭi and saṃhāra recur in patterned cycles; time is measurable yet rooted in the divine order.
Application: Cultivate detachment from short-term anxieties by remembering long cycles; align actions with dharma as the stable anchor within change.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A vast cosmic tableau where creation and dissolution occur simultaneously: lotus-born Brahmā seated within a luminous padma emerging from Viṣṇu’s navel, while distant galaxies fade into a dark ocean and reappear as sparks. Above, a celestial abacus of yugas—beads of light—counts seventy-one caturyugas in a single manvantara-like arc.","primary_figures":["Vishnu (Nārāyaṇa)","Brahmā (Padma-ja)","personified Kāla (subtle, optional)"],"setting":"Kṣīra-sāgara-like cosmic ocean with a navel-lotus; starfields and dissolving worlds in the background","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","pearl white","deep indigo"],"tanjore_prompt":"Tanjore painting style: Nārāyaṇa reclining on the cosmic ocean with a prominent navel-lotus bearing Brahmā; surrounding circular mandala showing repeated creation-dissolution waves, seventy-one luminous yuga-beads arranged like a garland; heavy gold leaf halos, rich crimson and emerald borders, gem-studded ornaments, intricate temple-style arch framing the cosmic scene.","pahari_prompt":"Pahari miniature style: delicate depiction of Viṣṇu on a calm blue ocean, a soft pink lotus rising to Brahmā; in the sky, translucent rings representing yuga cycles with tiny worlds appearing and fading; cool blues and mauves, lyrical clouds, refined faces, subtle gold accents, poetic sense of vastness.","kerala_mural_prompt":"Kerala mural style: bold black outlines of reclining Viṣṇu with stylized lotus and Brahmā; concentric time-cycles as patterned bands around them; traditional red-yellow-green palette with mineral pigments, large expressive eyes, temple-wall symmetry, ornamental motifs of waves and stars.","pichwai_prompt":"Pichwai cloth painting style: lotus-dominant composition with a central navel-lotus motif; Viṣṇu as the cosmic center, surrounded by floral borders and repeated circular yuga-medallions like lotuses; deep blues with gold detailing, intricate vines, peacocks at the borders as symbols of cyclical beauty, Nathdwara-inspired ornamentation adapted to Nārāyaṇa iconography."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["low temple bell","conch shell (distant)","silence between phrases","soft drone (tanpura)"]}
Sandhi Resolution Notes: ekakāle = eka-kāle; sṛjyaṃte = sṛjyante (anusvāra orthography); saṃhriyṃte = saṃhriyante; hyeṣa/hyekasaptatiḥ: hi + eka-saptatiḥ → hyekasaptatiḥ; cataryugānāṃ normalized as caturyugānām (catur-yugānām).
FAQs
It describes cyclical time: beings or worlds are produced and then withdrawn again, repeating “as before,” indicating a recurring cosmological pattern.
Seventy-one caturyugas is the standard Purāṇic measure for a manvantara (the reign-period of one Manu), linking this verse to the broader framework of cosmic chronology.
It emphasizes impermanence and recurrence: worldly conditions arise and pass in vast cycles, encouraging detachment and orientation toward enduring spiritual aims.