Padma Purana — Srishti Khanda, Shloka 14093
Brahmā’s Lotus-Birth, Puṣkara-Creation Imagery, Madhu–Kaiṭabha, and Early Genealogies
दक्षश्चैव महाबाहुः पुष्करस्तम एव च । चाक्षुषश्च ततोत्रिश्च तथा भद्रमहोरगौ
dakṣaścaiva mahābāhuḥ puṣkarastama eva ca | cākṣuṣaśca tatotriśca tathā bhadramahoragau
وكذلك دكشا (Dakṣa) ذو الذراعين العظيمتين، وبوشكرا (Puṣkara)، وتاما (Tama) أيضًا؛ ثم تشاكشوشا (Cākṣuṣa)، وكذلك أتري (Atri)؛ ومثلهم بهادرا (Bhadra) وماهوراغا (Mahoraga).
Unspecified in the provided excerpt (context needed from Adhyaya 40 narration)
Concept: Creation is structured through named lineages; order is conveyed through precise remembrance (smṛti) of progenitors and their roles.
Application: Honor sources—teachers, parents, traditions—by accurate remembrance and gratitude; keep ‘lineage awareness’ in one’s learning and practice.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A celestial scribe unrolls a palm-leaf register while luminous figures—Dakṣa, Puṣkara, Tama, Cākṣuṣa, Atri, Bhadra, and Mahoraga—stand in a procession, each marked by a distinct emblem. The background shows faint layers of the cosmos like stacked mandalas, suggesting that names themselves are pillars of creation.","primary_figures":["Dakṣa","Puṣkara","Tama","Cākṣuṣa","Atri","Bhadra","Mahoraga","celestial scribe (optional)"],"setting":"celestial archive-hall with palm-leaf manuscripts, lotus pillars, and mandala-like ceiling","lighting_mood":"temple lamp-lit","color_palette":["burnished gold","palm-leaf tan","deep maroon","lapis blue","sage green"],"tanjore_prompt":"Tanjore painting style: a royal-celestial court where Dakṣa and the listed beings appear as icon-like figures with ornate crowns; gold leaf fills the background; palm-leaf manuscripts and stylized lotus pillars; rich reds and greens, heavy jewelry, symmetrical composition.","pahari_prompt":"Pahari miniature style: refined procession of sages and progenitors in a delicate hall; Atri with ascetic simplicity, others with subtle divine ornaments; soft architectural lines, cool palette with gentle shading; fine facial features and minimal gold.","kerala_mural_prompt":"Kerala mural style: bold outlines, flat pigments; each figure labeled by emblem (fire, lotus, serpent hood for Mahoraga); rhythmic spacing like a temple frieze; dominant reds/yellows/greens with black contouring.","pichwai_prompt":"Pichwai cloth painting style: a central lotus medallion with the names embodied as small aureoled figures around it; floral borders, repeating lotus motifs; deep blue ground with gold and white highlights, devotional symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft mridang pulse (subtle)","page-turning/palm-leaf rustle (suggested)","brief bell at list transitions"]}
Sandhi Resolution Notes: दक्षश्चैव = दक्षः + च + एव; पुष्करस्तम = पुष्करः + तमः; चाक्षुषश्च = चाक्षुषः + च; ततोत्रिश्च = ततः + त्रिः + च; भद्रमहोरगौ = भद्र + महोरगौ (द्वन्द्वार्थे)
FAQs
It functions as an enumerative (list) verse, naming key figures—ṛṣis and other beings—within a broader creation/genealogical or cosmological catalogue typical of the Sṛṣṭikhaṇḍa.
Not directly. The verse is primarily a list of names; any Bhakti or ritual implication would depend on the surrounding passage in Adhyaya 40.
Mahoraga commonly denotes a ‘great serpent’ (nāga class), while Bhadra is a proper name that can refer to a personage or being. The precise identification (e.g., whether nāga, sage, or another class) requires the immediate textual context around this shloka.