Shloka 4

Matsya Purana — The Terror of Tripura and the Gods’ Hymn to Śiva

Devanagari script

ते तं स्वर्णोत्पलासीनं ब्रह्माणं समुपागताः नेमुरूचुश्च सहिताः पञ्चास्यं चतुराननम् //

Transliteration

te taṃ svarṇotpalāsīnaṃ brahmāṇaṃ samupāgatāḥ nemurūcuśca sahitāḥ pañcāsyaṃ caturānanam //

Translation

Together they approached Brahmā, who was seated upon a golden lotus; and, bowing down in unison, they addressed that four-faced Lord—also praised as the five-faced one.

Word by Word

• ते (te): they

• तं (taṃ): that (him)

• स्वर्ण (svarṇa): golden

• उत्पल (utpala): lotus

• आसीनम् (āsīnam): seated

• ब्रह्माणम् (brahmāṇam): Brahmā

• समुपागताः (samupāgatāḥ): having approached

• नेमुः (nemuḥ): they bowed

• ऊचुः (ūcuḥ): they said/addressed

• च (ca): and

• सहिताः (sahitāḥ): together/in a group

• पञ्चास्यम् (pañcāsyam): five-faced (epithet)

• चतुराननम् (caturānanam): four-faced

Speaker

• Narrator (Purāṇic narrator describing the sages’ approach to Brahmā; commonly framed through Sūta’s narration in Purāṇas)

Entities Mentioned

• Brahmā

Tags

• Creation
• Cosmology
• Brahmā
• Lotus-seat
• Purāṇic narrative

FAQs

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

It situates Brahmā in his classic creation posture—seated on a lotus—signaling a creation/cosmology setting rather than describing Pralaya directly.

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

The verse models dharmic conduct: approaching a revered authority with humility (bowing first, then speaking), a core etiquette for rulers and householders in Purāṇic ethics.

What is the architectural or ritual significance mentioned here?

Ritually, it reflects proper upacāra: respectful approach and prostration before inquiry. Iconographically, it reinforces Brahmā’s lotus-seat (padmāsana/utpalāsana) and multi-faced depiction used in temple imagery guidelines.