Agni Purana — Avatara-lila, Shloka 25
Chapter 12 — श्रीहरिवंशवर्णनं (Śrī-Harivaṃśa-varṇana) | The Description of the Sacred Harivaṃśa
मत्तं कुवलयापीडं द्वारि रङ्गं प्रविश्य च कंसादीनां पश्यतां च मञ्चस्थानां नियुद्धकं
mattaṃ kuvalayāpīḍaṃ dvāri raṅgaṃ praviśya ca kaṃsādīnāṃ paśyatāṃ ca mañcasthānāṃ niyuddhakaṃ
عند مدخل الحلبة نفسه دخل إلى الميدان، فقاتل الفيل كوفالايابِيḍا الهائج بسُعار الشبق، بينما كان كَمْسَا ومن معه جالسين على المنصّة المرتفعة يشاهدون.
Lord Agni (narrating to sage Vasiṣṭha in the Agni Purana’s dialogue frame)
Vidya Category: {"primary_vidya":"Avatara-Katha","secondary_vidya":"Dhanurveda","practical_application":"Modeling heroic conduct and situational awareness in public combat; narrative anchor for discussing arena-combat and royal spectatorship.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Kuvalayāpīḍa-vadha at the Mathurā raṅga-dvāra","lookup_keywords":["Kuvalayāpīḍa","raṅga","Mathurā","Kaṃsa","niyuddha"],"quick_summary":"Kṛṣṇa enters the arena and subdues the rut-maddened elephant at the very gate, under Kaṃsa’s gaze—an archetype of overcoming a staged royal threat in public view."}
Alamkara Type: Dṛśya (scene-setting) with vīra-pradhāna varṇana
Weapon Type: Unarmed/strength combat (niyuddha) against elephant
Concept: Adharma confronted openly: the righteous hero meets danger without concealment, even when staged by tyrannical power.
Application: Cultivate courage and clarity under scrutiny; address the most immediate danger first rather than reacting to provocation.
Khanda Section: Avataras and Krishna-Charita (Puranic Narrative Section)
Primary Rasa: Vīra
Secondary Rasa: Raudra
Type: Kingdom/City
Visual Art Cues: {"scene_description":"At the arena gate in Mathurā, Kṛṣṇa confronts the rut-maddened elephant Kuvalayāpīḍa while Kaṃsa watches from a raised royal platform; crowds and wrestlers look on.","kerala_mural_prompt":"Kerala temple mural style, bold outlines and flat luminous colors; Mathurā raṅga-dvāra with Kṛṣṇa in yellow garments confronting a dark rutting elephant, Kaṃsa seated on an elevated maṇḍapa, dense crowd bands, dramatic eyes and stylized foliage motifs.","tanjore_prompt":"Tanjore painting with gold leaf highlights; central Kṛṣṇa at the arena entrance, elephant rearing; Kaṃsa on a gilded throne platform; ornate jewelry, halo, rich reds and greens, embossed gold for architectural borders.","mysore_prompt":"Mysore painting style, delicate linework and soft shading; detailed arena architecture and platform seating; Kṛṣṇa poised in controlled stance facing the elephant, emphasis on instructional clarity of posture and spatial layout.","mughal_miniature_prompt":"Mughal miniature, fine detailing and perspective; bustling stadium entrance, elephant with mahout, Kṛṣṇa in dynamic motion; Kaṃsa and courtiers on a balcony-like dais; patterned textiles and crowd realism."}
Audio Atmosphere: {"recitation_mood":"epic","suggested_raga":"Bhairav","pace":"medium","voice_tone":"epic"}
Sandhi Resolution Notes: No major external sandhi; compounds: kuvalaya+āpīḍa (Tatpurusha), kaṃsa+ādi (Tatpurusha), mañca+sthāna (Tatpurusha). paśyatām taken as genitive plural of present participle ‘paśyant’.
Related Themes: Agni Purāṇa Avatāra-kathā sections on Kṛṣṇa-līlā and Kaṃsa-vadha (adjacent verses in this adhyāya)
FAQs
No ritual or technical vidyā is taught here; the verse narrates a combat episode—Krishna’s encounter with Kaṃsa’s musth elephant at the arena gate, observed by the royal assembly.
Alongside its many technical chapters (ritual, polity, medicine, etc.), the Agni Purana also preserves core Purāṇic narratives; this verse exemplifies the text’s narrative layer that contextualizes dharma through avatāra-līlā and royal-court settings.
As a narrative of divine avatāra prowess, it reinforces bhakti and dharmic confidence: the oppression of Kaṃsa is confronted publicly, foreshadowing the restoration of righteousness and the removal of adharmic power.