Shloka 14

Matsya Purana — Cosmic Architecture of Sun–Moon and the ‘Houses of the Gods’

Devanagari script

तस्मात्ताम्रा भवन्त्यापो दिवारात्रिप्रवेशनात् अस्तं गते पुनः सूर्ये अहर्वै प्रविशत्य् अपः //

Transliteration

tasmāttāmrā bhavantyāpo divārātripraveśanāt astaṃ gate punaḥ sūrye aharvai praviśaty apaḥ //

Translation

Therefore the waters take on a coppery hue because they enter into day and night. And when the Sun has set, the day indeed passes into the waters again.

Word by Word

tasmāttherefore

tāmrāḥcopper-coloured, reddish

bhavantibecome

āpaḥthe waters

divā-rātri-praveśanātdue to entering (the cycle/condition) of day and night

astaṃ gatewhen (he/it) has gone to setting

punaḥagain

sūryewhen the Sun (is set/has set)

ahaḥday

vaiindeed, surely

praviśatienters, passes into

apaḥthe waters

Speaker

Suta (narrator) conveying the Matsya Purana’s cosmological explanation (didactic narration within the Purana’s discourse)

Entities Mentioned

Surya (the Sun)Apah (Waters)

FAQs

What does this verse reveal about the creation or dissolution (Pralaya)?

It does not describe Pralaya directly; it gives a cosmological account of how day and night operate in relation to the Sun and the waters, explaining observable changes (like a coppery tint) through the cyclical movement of time.

How does this verse relate to the duties of a King or Householder?

Indirectly, it supports dharmic time-awareness: householders and rulers schedule rituals, governance, and daily duties by the Sun’s cycle; the verse reinforces that day-night order is a cosmic principle to be followed in conduct and rites.

What is the architectural or ritual significance mentioned here?

Ritually, it emphasizes Surya-based timing—sunrise/sunset as boundaries for acts like sandhyā and other observances; architecturally (Vastu), it supports orientation and planning aligned with solar movement, though no direct building rule is stated in this verse.