Shloka 19
The Origin of the Lauhitya River
and the King of Tīrthas
उद्भवं तीर्थराजस्य श्रोतुमिच्छामि तत्त्वतः । श्रीभगवानुवाच । मुनिर्देवैः समाराध्यः पद्मयोनिसमप्रभः
udbhavaṃ tīrtharājasya śrotumicchāmi tattvataḥ | śrībhagavānuvāca | munirdevaiḥ samārādhyaḥ padmayonisamaprabhaḥ
“ข้าปรารถนาจะฟังโดยแท้จริงถึงกำเนิดแห่งราชาแห่งทีรถะทั้งปวง” พระผู้เป็นเจ้าตรัสว่า “มุนีผู้นั้นเป็นที่สักการะของเหล่าเทวะ และรุ่งเรืองด้วยรัศมีเสมอด้วยปัทมโยนิ (พรหมา)”
Śrī Bhagavān (narrator voice within the dialogue)
Concept: Hearing (śravaṇa) the true origin of a supreme tīrtha is itself meritorious; sages revered by devas embody tapas that generates sanctity in the world.
Application: Cultivate śraddhā by regularly hearing sacred histories; let admiration for tapas and purity translate into disciplined practice and compassionate conduct.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A divine narrator begins to speak as a seeker requests the true origin of the ‘King of Tīrthas’; the scene feels like a doorway opening into sacred history. A great sage stands luminous—his tejas mirroring the lotus-born Brahmā—while devas offer reverence, acknowledging his tapas as world-sustaining.","primary_figures":["Śrī Bhagavān (as narrator voice; can be depicted as Viṣṇu or a radiant divine presence)","the luminous sage revered by devas","devas in añjali","Brahmā as a comparative presence (symbolic/optional)"],"setting":"Celestial-forest assembly: a hermitage that blends with a deva-sabhā, with lotuses, incense, and a subtle cosmic backdrop.","lighting_mood":"divine radiance","color_palette":["sapphire blue","gold leaf","lotus pink","emerald green","moonstone white"],"tanjore_prompt":"Tanjore painting style: Viṣṇu as the speaking Bhagavān with gold halo, seated on a stylized throne; the sage standing radiant with ascetic ornaments; devas in rows offering flowers; heavy gold leaf work, rich reds/greens, gem-studded jewelry, temple-arch composition.","pahari_prompt":"Pahari miniature style: serene hermitage with celestial visitors, delicate brushwork; the sage’s aura painted as a soft glow; refined faces, cool greens and blues, lyrical naturalism with a hint of the cosmic lotus motif.","kerala_mural_prompt":"Kerala mural style: frontal divine speaker with bold outlines, sage with pronounced tejas halo, devas in symmetrical arrangement; natural pigment palette, temple-wall aesthetic, stylized lotus patterns behind.","pichwai_prompt":"Pichwai cloth painting style: central speaking Viṣṇu vignette framed by lotus borders and floral garlands; devas and the sage arranged symmetrically; deep indigo background with gold detailing, intricate textile motifs suggesting ‘tīrtharāja’ grandeur."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["conch shell opening note","temple bells","tanpura drone","soft chorus hum"]}
Sandhi Resolution Notes: श्रोतुमिच्छामि = श्रोतुम् + इच्छामि (म् + इ → मि). श्रीभगवानुवाच = श्रीभगवान् + उवाच (न् + उ → नु). मुनिर्देवैः = मुनिः + देवैः (विसर्ग-सन्धि: ः + द → र्द).
FAQs
It frames a “Tīrtha-rāja” (King of sacred places) as having a specific origin story worth hearing “in essence,” signaling that sacred geography in the Padma Purāṇa is grounded in mythic-historical narration rather than mere location lists.
By describing a sage as “samārādhyaḥ” (fully worshipped/propitiated) by the devas, the verse highlights devotion and reverent worship as a means of attaining extraordinary spiritual radiance and authority.
The verse suggests that truth-seeking (wanting to hear “tattvataḥ”) and sincere reverence (being “samārādhyaḥ”) are prerequisites for understanding and participating in sacred tradition.