Matsya Purana — The Strategy to Defeat Tāraka: Pārvatī’s Birth, Shloka 191

Devanagari script

चरणौ पद्मसंकाशाव् अस्याः स्वच्छनखोज्ज्वलौ सुरासुराणां नमतां किरीटमणिकान्तिभिः //

Transliteration

caraṇau padmasaṃkāśāv asyāḥ svacchanakhojjvalau surāsurāṇāṃ namatāṃ kirīṭamaṇikāntibhiḥ //

Translation

Ses deux pieds rayonnent tels des lotus; ses ongles, nets et lumineux, étincellent. Cet éclat est avivé par la lueur des joyaux des couronnes des dieux et des asuras lorsqu’ils se prosternent devant elle.

Word by Word

• चरणौ (caraṇau): the two feet

• पद्मसंकाशौ (padma-saṃkāśau): lotus-like, resembling a lotus in splendour

• अस्याः (asyāḥ): of her

• स्वच्छ (svaccha): clear, pure, bright

• नख (nakha): nails (toenails)

• उज्ज्वलौ (ujjvalau): shining, radiant

• सुरासुराणाम् (surāsurāṇām): of the gods and the asuras

• नमताम् (namatām): of those bowing, paying homage

• किरीट (kirīṭa): crown

• मणि (maṇi): jewel, gem

• कान्तिभिः (kāntibhiḥ): by the lustres, radiances

Speaker

• Sūta (narratorial recitation) describing a Devī/Śakti iconographic praise within the Matsya Purana’s iconography-focused passage

Entities Mentioned

• Devī (Goddess)
• Suras (Devas)
• Asuras

Tags

• Iconography
• Devī-stuti
• Pratima Lakshana
• Temple ritual
• Darśana (auspicious vision)

FAQs

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

This verse is not about pralaya; it is an iconographic praise focusing on the Goddess’ auspicious limbs, emphasizing universal reverence rather than cosmological dissolution.

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

By portraying even gods and asuras bowing, it models the dharmic ideal of humility and devotion—encouraging kings and householders to honor the divine with reverence, disciplined conduct, and proper worship.

What is the architectural or ritual significance mentioned here?

The verse supports pratima-lakṣaṇa (iconographic) contemplation used in pūjā and consecration: visualizing lotus-like feet and radiant nails aligns with temple worship aesthetics and the devotional ‘aṅga-dhyāna’ method during installation and daily rites.