Shloka 14097
Brahmā’s Lotus-Birth, Puṣkara-Creation Imagery, Madhu–Kaiṭabha, and Early Genealogies
विराजं चैव राजं च विश्वायुं सुमतिं तथा । अश्वगं चित्ररश्मिं च तथा च निषधं नृपं
virājaṃ caiva rājaṃ ca viśvāyuṃ sumatiṃ tathā | aśvagaṃ citraraśmiṃ ca tathā ca niṣadhaṃ nṛpaṃ
และ (ท่านได้) กล่าวนามวิราชะและราชะด้วย; ทั้งวิศวายุและสุมติ; อีกทั้งอัศวคะและจิตรรัศมี และนิษธะผู้เป็นพระราชา
Unspecified (context not provided; verse appears as part of a genealogical/royal enumeration)
Concept: Remembering lineage and righteous kingship as part of cosmic order (dharma) and Purāṇic memory.
Application: Honor one’s forebears and responsibilities; treat leadership and stewardship as sacred duties rather than personal entitlement.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A Purāṇic sage recites an ancient royal genealogy while a scribe inscribes names on palm-leaf manuscripts. Behind them, a symbolic procession of crowned kings—Virāja, Rāja, Viśvāyu, Sumati, Aśvaga, Citraraśmi, and Niṣadha—appears like translucent figures in a timeless hall of memory.","primary_figures":["Purāṇic narrator-sage","scribe","Virāja","Rāja","Viśvāyu","Sumati","Aśvaga","Citraraśmi","Niṣadha (king)"],"setting":"Hermitage library with palm-leaf bundles, ink-pot, ritual fire, and a faint celestial backdrop suggesting the continuity of dynasties.","lighting_mood":"temple lamp-lit","color_palette":["burnished gold","palm-leaf tan","deep maroon","smoky sandalwood brown","indigo shadow"],"tanjore_prompt":"Tanjore painting style: a seated sage with palm-leaf manuscript and stylus, gold-leaf halo, ornate borders; behind him a tiered frieze of seven crowned kings labeled in Devanagari, gem-studded ornaments, rich reds and greens, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a quiet ashram interior with delicate linework; the sage recites while a scribe writes; in the background, ethereal kings in soft washes appear like memory-visions, cool muted palette, refined faces, subtle floral margins.","kerala_mural_prompt":"Kerala mural style: bold black outlines, earthy pigments; the sage and scribe in frontal pose, stylized flames of the homa; a horizontal band above shows the kings as iconic busts with crowns, large expressive eyes, red/yellow/green dominance.","pichwai_prompt":"Pichwai cloth painting style: a narrative panel framed by intricate floral borders; instead of Krishna-centered imagery, depict a Vaishnava manuscript-recitation scene with lotus motifs and peacocks in the border, deep blues and gold accents, the kings appearing in medallions like a genealogical garland."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","crackling fire","palm-leaf rustle","low drone (tanpura)"]}
Sandhi Resolution Notes: चैव→च एव; (अन्यत्र) पदानां समुच्चयः; चित्ररश्मिं→चित्ररश्मिम्
FAQs
It functions as a catalog-style enumeration of named figures—primarily kings or lineage members—typical of Purāṇic genealogical sections.
Not explicitly; it is mainly descriptive. Any broader lesson would come from the surrounding narrative about dynasties, righteous rule, or cosmic history.
In this verse they are best read as personal names (proper nouns), with the final term nṛpaṃ (“king”) clarifying a royal identity at least for Niṣadha.