Shiva’s Kedara-Tirtha and the Rise of Mura: From Shaiva Pilgrimage to Vaishnava Theology
ततो वीटां सुखे क्षिप्य निरुच्छ्वासो ऽभवद् यतिः विस्तृते हिमवत्पुष्ठे रम्ये समशिलातले
tato vīṭāṃ sukhe kṣipya nirucchvāso 'bhavad yatiḥ vistṛte himavatpuṣṭhe ramye samaśilātale
随后,他安然抛却vīṭā(坐具/臀座),这位苦行者遂成无息之状;他停住于一片广阔之地,得喜马伐特(Himavat)所滋养,景致清美,石面平整。
{ "primaryRasa": "shanta", "secondaryRasa": "", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
In Purāṇic ascetic descriptions it typically signals yogic breath-restraint (kumbhaka-like suspension), not death—an intensification of tapas meant to compel divine attention.
It situates the scene in a Himalayan-fed or Himalayan-supported region—evoking the Himālaya as the archetypal tapas-landscape (source of rivers, forests, and secluded stone plateaus).
It underscores austerity and steadiness: a hard, level rock becomes the ‘seat’ for immobility and meditation, contrasting with the earlier abandonment of comfort (vīṭāṃ sukhe kṣipya).