Shloka 26

Matsya Purana — Maya’s War-Counsel to the Danavas and the Moonlit Revels in Tripura

Devanagari script

स्थित्वैव कान्तस्य तु पादमूले काचिद्वरस्त्री स्वकपोलमूले विशेषकं चारुतरं करोति तेनाननं स्वं समलंकरोति //

Transliteration

sthitvaiva kāntasya tu pādamūle kācidvarastrī svakapolamūle viśeṣakaṃ cārutaraṃ karoti tenānanaṃ svaṃ samalaṃkaroti //

Translation

Standing right at her beloved’s feet, a noble woman makes a most charming decorative mark (viśeṣaka) at the base of her own cheek; by that she adorns and beautifies her face.

Word by Word

• स्थित्वैव (sthitvā eva): having stood/standing indeed

• कान्तस्य (kāntasya): of the beloved/husband

• तु (tu): and/indeed

• पादमूले (pādamūle): at the foot-base/near the feet

• काचित् (kācid): a certain

• वरस्त्री (varastrī): excellent/noble woman

• स्वकपोलमूले (svakapolamūle): at the base of her own cheek

• विशेषकम् (viśeṣakam): a special mark/ornamental spot (cosmetic decoration)

• चारुतरम् (cārutaram): more beautiful/very charming

• करोति (karoti): makes/applies

• तेन (tena): by that/thereby

• आननम् (ānanam): face

• स्वम् (svam): her own

• समलंकरोति (samalaṃkaroti): fully adorns/ornaments.

Speaker

• Likely Sūta (narrative voice) relaying a descriptive passage within Matsya Purana’s iconography/aesthetic section; not a direct Matsya–Manu dialogue in this verse.

Entities Mentioned

• kānta (beloved/husband)
• varastrī (noble woman)

Tags

• Iconography
• Alaṅkāra
• Śṛṅgāra
• Pratima-Lakshana
• Ritual Aesthetics

FAQs

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

Nothing directly—this verse is aesthetic and descriptive, focusing on adornment (viśeṣaka) rather than cosmology or Pralaya.

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

Indirectly, it reflects cultured refinement and auspicious presentation—values often encouraged for household life and courtly settings in Purāṇic ethics, though no explicit dharma-duty is stated here.

What is the architectural or ritual significance mentioned here?

It supports iconography/pratimā-finishing practice: cosmetic-like marks and facial detailing (viśeṣaka) are part of how figures (especially feminine forms) may be portrayed or ornamented in sacred art and related ritual aesthetics.