Shloka 14093
Brahmā’s Lotus-Birth, Puṣkara-Creation Imagery, Madhu–Kaiṭabha, and Early Genealogies
दक्षश्चैव महाबाहुः पुष्करस्तम एव च । चाक्षुषश्च ततोत्रिश्च तथा भद्रमहोरगौ
dakṣaścaiva mahābāhuḥ puṣkarastama eva ca | cākṣuṣaśca tatotriśca tathā bhadramahoragau
และทักษะผู้มีพาหาอันยิ่งใหญ่ ปุษกร และตมะด้วย; แล้วจักษุษะ ต่อมาคืออัตริ—เช่นเดียวกับภัทร และมหโอรคะ
Unspecified in the provided excerpt (context needed from Adhyaya 40 narration)
Concept: Creation is structured through named lineages; order is conveyed through precise remembrance (smṛti) of progenitors and their roles.
Application: Honor sources—teachers, parents, traditions—by accurate remembrance and gratitude; keep ‘lineage awareness’ in one’s learning and practice.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A celestial scribe unrolls a palm-leaf register while luminous figures—Dakṣa, Puṣkara, Tama, Cākṣuṣa, Atri, Bhadra, and Mahoraga—stand in a procession, each marked by a distinct emblem. The background shows faint layers of the cosmos like stacked mandalas, suggesting that names themselves are pillars of creation.","primary_figures":["Dakṣa","Puṣkara","Tama","Cākṣuṣa","Atri","Bhadra","Mahoraga","celestial scribe (optional)"],"setting":"celestial archive-hall with palm-leaf manuscripts, lotus pillars, and mandala-like ceiling","lighting_mood":"temple lamp-lit","color_palette":["burnished gold","palm-leaf tan","deep maroon","lapis blue","sage green"],"tanjore_prompt":"Tanjore painting style: a royal-celestial court where Dakṣa and the listed beings appear as icon-like figures with ornate crowns; gold leaf fills the background; palm-leaf manuscripts and stylized lotus pillars; rich reds and greens, heavy jewelry, symmetrical composition.","pahari_prompt":"Pahari miniature style: refined procession of sages and progenitors in a delicate hall; Atri with ascetic simplicity, others with subtle divine ornaments; soft architectural lines, cool palette with gentle shading; fine facial features and minimal gold.","kerala_mural_prompt":"Kerala mural style: bold outlines, flat pigments; each figure labeled by emblem (fire, lotus, serpent hood for Mahoraga); rhythmic spacing like a temple frieze; dominant reds/yellows/greens with black contouring.","pichwai_prompt":"Pichwai cloth painting style: a central lotus medallion with the names embodied as small aureoled figures around it; floral borders, repeating lotus motifs; deep blue ground with gold and white highlights, devotional symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft mridang pulse (subtle)","page-turning/palm-leaf rustle (suggested)","brief bell at list transitions"]}
Sandhi Resolution Notes: दक्षश्चैव = दक्षः + च + एव; पुष्करस्तम = पुष्करः + तमः; चाक्षुषश्च = चाक्षुषः + च; ततोत्रिश्च = ततः + त्रिः + च; भद्रमहोरगौ = भद्र + महोरगौ (द्वन्द्वार्थे)
FAQs
It functions as an enumerative (list) verse, naming key figures—ṛṣis and other beings—within a broader creation/genealogical or cosmological catalogue typical of the Sṛṣṭikhaṇḍa.
Not directly. The verse is primarily a list of names; any Bhakti or ritual implication would depend on the surrounding passage in Adhyaya 40.
Mahoraga commonly denotes a ‘great serpent’ (nāga class), while Bhadra is a proper name that can refer to a personage or being. The precise identification (e.g., whether nāga, sage, or another class) requires the immediate textual context around this shloka.