Shloka 131
Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits
ब्रह्मोवाच । पुष्करेहं सुरश्रेष्ठो गयायां च चतुर्मुखः । कान्यकुब्जे देवगर्भो भृगुकक्षे पितामहः
brahmovāca | puṣkarehaṃ suraśreṣṭho gayāyāṃ ca caturmukhaḥ | kānyakubje devagarbho bhṛgukakṣe pitāmahaḥ
พระพรหมตรัสว่า: “ที่ปุษกร เราเป็นที่รู้จักนามว่า สุเรศเรษฐะ; ที่คยา นามว่า จตุรมุข (สี่พักตร์) ที่กานยกุบชะ นามว่า เทวครรภะ; และที่ภฤคุกักษะ นามว่า ปิตามหะ (ปู่ผู้ยิ่งใหญ่)”
Brahmā
Concept: One deity is approached through many kṣetras and names; sacred place and sacred name mutually reinforce remembrance and merit.
Application: When visiting a holy place, learn its traditional names and associated forms; let travel become sādhana—discipline, humility, and remembrance rather than tourism.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A panoramic ‘tīrtha-mandala’ shows Brahmā appearing in four distinct iconographic moods across India: at Puṣkara as the foremost among gods, at Gayā as the four-faced lord, at Kānyakubja as Devagarbha, and at Bhṛgukakṣa as Pitāmaha. Each vignette is linked by a golden thread like a pilgrimage route, with tiny devotees moving from shrine to shrine.","primary_figures":["Brahmā (Suraśreṣṭha form)","Brahmā (Caturmukha form)","Brahmā (Devagarbha form)","Brahmā (Pitāmaha form)","Pilgrims (dvijas, householders)"],"setting":"A stylized map-like landscape with four sacred nodes: Pushkar lake and ghats; Gayā’s ritual banks; Kannauj’s riverine city-temples; Bhṛgukakṣa’s coastal/river confluence shrine atmosphere.","lighting_mood":"divine radiance","color_palette":["gold leaf","lotus pink","turmeric yellow","peacock blue","terracotta"],"tanjore_prompt":"Tanjore painting style: four-panel composition with Brahmā in each tīrtha niche; heavy gold leaf halos and architectural arches; Pushkar lake with lotuses, Gayā with śrāddha offerings, Kannauj with riverfront temples, Bhṛgukakṣa with confluence imagery; rich reds/greens, gem-studded crowns, ornate borders connecting panels like a pilgrimage garland.","pahari_prompt":"Pahari miniature style: lyrical multi-vignette landscape; delicate rivers and ghats; small pilgrims in procession; Brahmā depicted with refined features and soft halos; cool blues and greens with warm accents; each place labeled in tiny Devanagari cartouches.","kerala_mural_prompt":"Kerala mural style: compartmentalized sacred geography; bold outlines; Brahmā in four iconic stances; stylized water bodies and temple towers; saturated reds/yellows/greens; decorative border of lotuses and swans (haṃsa) associated with Brahmā.","pichwai_prompt":"Pichwai cloth painting style: tīrtha-mandala with lotus-filled borders; central medallion of Brahmā and surrounding four vignettes; intricate floral patterns, hanging lamps, and miniature devotees; deep blue ground with gold and white detailing, ornate textile symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (opening)","temple bells","pilgrim footsteps","river-ghat ambience","soft drone (tanpura)"]}
Sandhi Resolution Notes: ब्रह्मोवाच = ब्रह्मा + उवाच; पुष्करेहं = पुष्करे + अहम्; सुरश्रेष्ठो = सुरश्रेष्ठः (विसर्ग-लोपः पदान्ते); अन्यत्र स्पष्टम्।
FAQs
It links specific pilgrimage sites (Puṣkara, Gayā, Kānyakubja, Bhṛgukakṣa) with distinct names of Brahmā, mapping theology onto sacred geography—each place is portrayed as a locus where a particular divine aspect is especially recognized.
By presenting revered places where Brahmā is worshipped under particular epithets, the verse supports devotional practice through tīrtha-yātrā (pilgrimage) and place-centered remembrance of the deity’s forms and titles.
It encourages reverence for sacred places and traditions, suggesting humility and gratitude: the divine is honored through multiple names and contexts, and seekers cultivate merit by respectful engagement with established tīrthas.