Shloka 134
व्यक्तमव्यक्तयोगं मामवगच्छ मुरद्विषम् । अहमेकाक्षरो मंत्रस्त्र्यक्षरश्च पितामहः
vyaktamavyaktayogaṃ māmavagaccha muradviṣam | ahamekākṣaro maṃtrastryakṣaraśca pitāmahaḥ
จงรู้จักเรา—มุรทวิษ ผู้ปราบมุระ—ว่าเป็นองค์เดียวผู้ประกอบด้วยทั้งที่ปรากฏและไม่ปรากฏ เราเป็นมนตร์พยางค์เดียว และเรายังเป็นปิตามหะสามพยางค์ คือพระพรหมด้วย
Viṣṇu (Muradviṣ), speaking in self-revelation
Concept: Viṣṇu is the unity of vyakta and avyakta; He is the essence of mantra (ekākṣara) and the source even of Pitāmaha (Brahmā).
Application: Use mantra-japa with the understanding that mantra is a direct presence of the Lord; contemplate the Divine as both immanent in forms and beyond form to reduce anxiety and attachment.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"Viṣṇu appears as Muradviṣ in a radiant theophany: half of the scene is filled with tangible forms—lotus, conch, discus—while the other half dissolves into misty, unmanifest space. Above His crown floats the glowing syllable Oṁ, and within a lotus aura a small Brahmā appears, indicating origin and dependence.","primary_figures":["Viṣṇu (Muradviṣ)","Brahmā (Pitāmaha, miniature or secondary)","Mārkaṇḍeya (witness)"],"setting":"A liminal cosmic threshold where form meets formlessness; a mandala of mantra-syllables faintly inscribed in the air.","lighting_mood":"divine radiance","color_palette":["electric blue","molten gold","smoky violet","ivory","vermilion"],"tanjore_prompt":"Tanjore painting style: central Muradviṣ Viṣṇu standing with śaṅkha-cakra-gadā-padma, massive gold-leaf halo; left side richly detailed with ornaments and lotus motifs (vyakta), right side fades into a gold-violet mist (avyakta); the Oṁ glyph in raised gold leaf above, a small Brahmā in a lotus medallion near the navel region; gem-studded crown, deep red-green borders, temple arch frame.","pahari_prompt":"Pahari miniature style: Viṣṇu in refined posture at the boundary of a detailed garden-lotus world and a soft, clouded void; Oṁ rendered as luminous calligraphy; tiny Brahmā seated on a lotus near the navel line; cool blues with warm gold accents, delicate brushwork, contemplative mood.","kerala_mural_prompt":"Kerala mural style: bold outlined Viṣṇu with strong color blocks; a clear split composition—one half patterned with lotus and weapon motifs, the other half a stylized empty field; Oṁ in bright yellow above; Brahmā in a small lotus panel; temple-wall symmetry and floral borders.","pichwai_prompt":"Pichwai cloth painting style: central Viṣṇu medallion with surrounding ring of mantra syllables; Oṁ at the top center; lotus motifs and symmetrical borders; deep blue background with gold and vermilion highlights, intricate floral filigree."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","temple bells (clear)","tanpura drone","deep gong on 'Oṁ'"]}
Sandhi Resolution Notes: avyakta-yogam: avyaktayogam (a+a). mām avagaccha: māmavagaccha (m+a). mantraḥ tri-akṣaraḥ: mantrastryakṣaraḥ (ḥ+t→st). tri-akṣaraḥ ca: tryakṣaraśca (i+a contraction; ḥ+c→śc).
FAQs
It identifies Viṣṇu as encompassing both vyakta (manifest) and avyakta (unmanifest), presenting a theology where the Supreme is simultaneously immanent in form and transcendent beyond form.
It frames the Supreme as identical with the essential seed-mantra (ekākṣara), emphasizing mantra as a direct pointer to the Divine essence rather than merely a ritual sound.
The epithet tryakṣara (“three-syllabled”) is applied to Pitāmaha/Brahmā as a name-form identifier, while the verse simultaneously asserts that Brahmā’s principle ultimately rests within the Supreme (Viṣṇu) who speaks.