Shloka 55
Slaying of Andhaka; Hymn to the Sun; Glory of Brahmins; Gayatri Nyasa and Pranayama
मायेति चोपनिषदर्कषडेव देवा मर्त्यास्तथा वयमिवेह उपासतेऽमी । गंधर्वकिन्नरगणाः सहचारणैस्तु रूपं तथा च भगवन्प्रतिपद्यसे त्वम्
māyeti copaniṣadarkaṣaḍeva devā martyāstathā vayamiveha upāsate'mī | gaṃdharvakinnaragaṇāḥ sahacāraṇaistu rūpaṃ tathā ca bhagavanpratipadyase tvam
แม้เหล่าเทพผู้รุ่งเรืองทั้งหกซึ่งอุปนิษัทสรรเสริญ ก็ยังบูชาพระองค์ ณ ที่นี้ในนาม “มายา”; มนุษย์ผู้เป็นมรรตัยและพวกเราก็บูชาเช่นเดียวกัน หมู่คันธรรพ์และกินนร พร้อมด้วยจารณะ ก็สักการะพระองค์ด้วย ดังนั้น โอ้พระภควาน พระองค์จึงทรงรับรูปอันสอดคล้องกับภาวนาของผู้บูชา
Unspecified in provided excerpt (likely a devotee/sage addressing Bhagavān in praise)
Concept: The Supreme is approached through diverse conceptions—‘Māyā’ for some—yet He compassionately reveals forms suited to the worshipper’s capacity.
Application: Respect different spiritual vocabularies; refine one’s conception from abstract power (‘māyā’) toward personal devotion, while recognizing the Lord’s responsiveness to sincere worship.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A layered cosmos unfolds: in the upper tier, devas with radiant crowns offer hymns; in the middle, Gandharvas and Kinnaras sing with vīṇās; below, mortals with folded hands stand at a temple threshold. At the center, the Lord’s form shifts like a living prism—sometimes an abstract luminous veil of māyā, sometimes a personal Vishnu-form—responding to each group’s devotion.","primary_figures":["Vishnu/Bhagavan (multi-form manifestation)","Devas (six radiant ones as a symbolic group)","Gandharvas","Kinnaras","Cāraṇas","Human devotees"],"setting":"Cosmic amphitheater blending temple architecture with celestial terraces; clouds as balconies, musical assemblies in concentric rings.","lighting_mood":"divine radiance","color_palette":["opal white","peacock blue","amethyst purple","sunrise gold","cloud silver"],"tanjore_prompt":"Tanjore painting style: central Vishnu with gold leaf aura that morphs into a shimmering veil (māyā), surrounded by devas and celestial musicians; rich reds/greens, heavy jewelry, embossed gold patterns on clouds and temple pillars, ornate crowns and lotus motifs framing the scene.","pahari_prompt":"Pahari miniature style: delicate celestial concert with Gandharvas and Kinnaras, cool blues and mauves; Vishnu’s form subtly changing in translucent washes; refined faces, lyrical clouds, gentle gradients suggesting māyā’s softness.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized celestial beings with large eyes; Vishnu at center with layered halos, māyā depicted as patterned veil; strong red/yellow/green palette, temple-wall symmetry and ornamental borders.","pichwai_prompt":"Pichwai cloth painting style: Krishna/Vishnu-centered composition with concentric floral borders; celestial musicians and devotees arranged like a festival darshan; deep indigo field, gold highlights, lotus and vine motifs symbolizing māyā’s weaving power."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft vīṇā","celestial choir hum","temple bells distant","wind through banners","silence between phrases"]}
Sandhi Resolution Notes: māyeti → māyā iti; copaniṣadarkaṣaḍeva → ca upaniṣat-arka-ṣaṭ eva; vayamiveha → vayam iva iha; upāsate'mī → upāsate amī; sahacāraṇaiḥ → saha-cāraṇaiḥ; bhagavanpratipadyase → bhagavan pratipadyase.
FAQs
It teaches that different classes of beings—gods, humans, and celestial hosts—worship the Lord in various conceptions, and the Lord correspondingly manifests an appropriate form to be approached by them.
The verse indicates that some worship the Lord under the designation “Māyā,” pointing to His power of manifestation and the mysterious, world-projecting potency through which He becomes knowable in diverse ways.
It encourages sincere worship and reverence: the Lord is accessible to devotees across different capacities and temperaments, and devotion (upāsanā) is portrayed as a valid means of approach regardless of one’s station.