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Narada Purana — Purva Bhaga, Shloka 33

Bhuvaneśī (Nidrā-Śakti) Mantra-vidhi, Nyāsa–Āvaraṇa Worship, Padma-homa Prayogas, and the Opening of Śrī-Mahālakṣmī Upāsanā

माध्वीपूर्णकपालाढ्यं विघ्नराजं दिगंबरम् । पुष्करे विगलद्रत्नस्फुरच्चषकधारिणम् ॥ ३३ ॥

mādhvīpūrṇakapālāḍhyaṃ vighnarājaṃ digaṃbaram | puṣkare vigaladratnasphuraccaṣakadhāriṇam || 33 ||

Je médite sur Vighnarāja (Gaṇeśa), vêtu du ciel (nu), richement pourvu d’un bol-crâne rempli de vin au miel, tenant dans sa main de lotus une coupe rayonnante, étincelante de joyaux ruisselants.

mādhvī-pūrṇa-kapāla-āḍhyamabounding in a skull-bowl full of mead
mādhvī-pūrṇa-kapāla-āḍhyam:
Viśeṣaṇa (विशेषण) of ‘vighna-rājam’
TypeAdjective
Rootmādhvī + pūrṇa + kapāla + āḍhya (प्रातिपदिक)
FormMasculine, Accusative, Singular; tatpuruṣa ‘rich/abundant with a skull-bowl full of mādhvī (mead)’
vighna-rājamVighnarāja (Gaṇeśa)
vighna-rājam:
Karma (कर्म)
TypeNoun
Rootvighna + rāja (प्रातिपदिक)
FormMasculine, Accusative, Singular
dig-ambaramsky-clad (naked)
dig-ambaram:
Viśeṣaṇa (विशेषण) of ‘vighna-rājam’
TypeAdjective
Rootdik + ambara (प्रातिपदिक)
FormMasculine, Accusative, Singular; tatpuruṣa ‘having the directions as garment’ (naked/sky-clad)
puṣkarein/on the lotus
puṣkare:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootpuṣkara (प्रातिपदिक)
FormNeuter, Locative (7th/सप्तमी), Singular
vigalat-ratna-sphurat-caṣaka-dhāriṇamholding a cup glittering with slipping gems
vigalat-ratna-sphurat-caṣaka-dhāriṇam:
Viśeṣaṇa (विशेषण) of ‘vighna-rājam’
TypeAdjective
Rootvi-gal (धातु) + śatṛ (शतृ) + ratna + sphurat (प्रातिपदिक/कृदन्त) + caṣaka + dhārin (प्रातिपदिक)
FormMasculine, Accusative, Singular; tatpuruṣa: ‘holding a cup (caṣaka) that is shining with gems that are slipping/falling’ (vigalat = ‘dropping’)

Narada (as a devotional/ritual description within the teaching context)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: bhakti

V
Vighnaraja (Ganesha)
P
Pushkara (lotus)

FAQs

It functions as an auspicious invocation of Vighnarāja (Gaṇeśa), emphasizing obstacle-removal and ritual readiness before undertaking sacred study or technical disciplines.

Bhakti here is expressed as dhyāna and stuti—contemplating the deity’s iconographic marks to focus the mind, invoke grace, and ensure a smooth, unobstructed practice.

It reflects the prayoga-principle used in ritual sciences: beginning any recitation, study, or rite with a vighna-śānti/āvāhana-style invocation to prevent impediments.