Vamana Purana — Trivikrama Theophany, Shloka 15

Vishnu’s Return to Brahmā and the Vāmana–Trivikrama Theophany

Devanagari script

नृत्यन्ति तत्राप्सरसां समूह्य गायन्ति गीतानि सुरेन्द्रगायनाः विद्याधरास्तूर्यरांश्च वादयन् स्तुवन्ति देवासुरसिद्धसङ्घाः

Transliteration

nṛtyanti tatrāpsarasāṃ samūhya gāyanti gītāni surendragāyanāḥ vidyādharāstūryarāṃśca vādayan stuvanti devāsurasiddhasaṅghāḥ

Translation

তাত অপ্সৰাসকলৰ দল একেলগে নৃত্য কৰে; দেৱেন্দ্ৰৰ গায়কসকলে গীত গায়। বিদ্যাধৰসকলে তূৰ্য আদি বাদ্য বজায়, আৰু দেৱ-অসুৰ-সিদ্ধৰ সংঘসমূহে স্তৱ কৰে।

Speakers

• Narrator describing the worship-festival around Viṣṇu in Svayaṃbhu’s abode

Primary Deities

• Vishnu
• Indra

Key Themes

• Divine liturgy and celebration
• Cosmic social order (Devas/Asuras/Siddhas together in praise)
• Music and dance as modes of stuti
• Indra’s courtly culture (surendra-gāyanāḥ)

Verse Rasa (Emotional Flavour)

{ "primaryRasa": "adbhuta", "secondaryRasa": "vira", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

Why are Asuras included among those who praise in a Vāmana-context?

Purāṇic scenes sometimes depict a temporary suspension of hostility in the presence of the Supreme, especially in Brahmā’s court or during formal worship. It underscores Viṣṇu’s trans-sectarian sovereignty and the ritual propriety of praise even among rival cosmic factions.

What do ‘surendra-gāyanāḥ’ indicate?

The compound points to professional celestial singers associated with Surendra (Indra). It situates the scene within the aesthetic-ritual culture of heaven, where music functions as formal eulogy (stuti) rather than mere entertainment.

Do Apsarases and Vidyādharas have a specific doctrinal role here?

They represent the ‘ornamental’ and ‘knowledge-bearing’ strata of the cosmos: Apsarases embody auspicious beauty and celebratory ritual, while Vidyādharas signify refined, quasi-siddha capacities. Together they mark the event as a full celestial pūjā-festival.