Shloka 35
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
अंतरिक्षे च क्रीडंतमाधारस्तंभवर्जिते । तस्यापि भवने नित्यं स्थितं त्रिभुवनेश्वरं
aṃtarikṣe ca krīḍaṃtamādhārastaṃbhavarjite | tasyāpi bhavane nityaṃ sthitaṃ tribhuvaneśvaraṃ
และเขาได้เห็นพระผู้เป็นเจ้าแห่งไตรภพ ประทับมั่นอยู่ในพระธามของพระองค์เป็นนิตย์—ทรงสำราญอยู่กลางเวหา ในแดนที่ปราศจากเสาค้ำยันใด ๆ
Uncertain from single-verse context (likely within a narrated description in the Pulastya–Bhīṣma dialogue).
Concept: The Supreme Lord abides in His own realm, self-sustained and beyond dependence; His līlā is effortless even in the ‘unsupported’ expanse.
Application: Cultivate reliance on the divine rather than external ‘pillars’—status, possessions, or fear; remember the Lord as the stable center amid life’s weightlessness.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"In a vast, pillarless expanse of mid-air, the Lord of the three worlds sports effortlessly, as if the sky itself were His palace-floor. Below, a faint suggestion of worlds hangs like lamps in the void, while His own abode appears as a self-luminous mandala—no columns, no walls, only radiance holding form.","primary_figures":["Tribhuvaneśvara (Viṣṇu/Nārāyaṇa)"],"setting":"Aerial, cosmic ‘antarikṣa’ with a subtle, self-manifest dhāma-mandala; distant spheres of the three worlds implied as floating islands of light.","lighting_mood":"divine radiance","color_palette":["sapphire blue","star-silver","lotus pink","gold leaf","deep indigo"],"tanjore_prompt":"Tanjore painting style: Tribhuvaneśvara Viṣṇu sporting in a pillarless celestial expanse, His svadhāma shown as a radiant circular mandala behind Him; heavy gold leaf halos, embossed aureole patterns, gem-studded crown and ornaments, rich vermilion and emerald textiles, stylized clouds and floating world-orbs as decorative motifs, traditional South Indian icon proportions and serene face.","pahari_prompt":"Pahari miniature style: a lyrical, weightless sky-scene where Viṣṇu plays in mid-air above faintly painted floating worlds; delicate brushwork, cool indigo gradients, fine white star-dots, soft lotus-pink highlights, refined facial features, subtle mandala of light behind the deity, minimal architecture to emphasize ‘supportless’ space.","kerala_mural_prompt":"Kerala mural style: Viṣṇu as Tribhuvaneśvara in a bold central pose within a circular prabhāmaṇḍala, thick black outlines, natural pigment blues and greens, stylized cloud bands, simplified floating world-discs, temple-wall aesthetic with strong symmetry and large expressive eyes.","pichwai_prompt":"Pichwai cloth painting style: a cosmic pichwai where the central Viṣṇu figure is framed by lotus and star motifs, ornate floral borders, deep blue ground with gold detailing, floating lotus-medallions suggesting the three worlds, intricate patterning emphasizing the self-luminous dhāma as a radiant halo-mandala."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","conch shell (distant)","silence","low drone (tanpura)"]}
Sandhi Resolution Notes: क्रीडंतमाधारस्तंभवर्जिते = क्रीडन्तम् + आधार-स्तम्भ-वर्जिते; तस्यापि = तस्य + अपि; त्रिभुवनेश्वरं = त्रिभुवन-ईश्वरम्
FAQs
It presents the supreme Lord as self-established—dwelling eternally in His own realm, which needs no physical support—highlighting transcendence and sovereignty.
“Tribhuvaneśvara” literally means “Lord of the three worlds” (heaven, earth, and the nether regions) and functions here as a title for the supreme divine ruler.
The imagery suggests reliance on the divine rather than on material supports: the highest reality is not upheld by external pillars, implying steadiness, faith, and inner anchoring in spiritual life.