Shloka 147
Narasiṃha’s Greatness and the Slaying of Hiraṇyakaśipu
Boon, Portents, and Cosmic Restoration
एलामुखः कालियश्च महापद्मश्च वीर्यवान् । सहस्रशीर्षश्शुद्धांगो हेमतालध्वजः प्रभुः
elāmukhaḥ kāliyaśca mahāpadmaśca vīryavān | sahasraśīrṣaśśuddhāṃgo hematāladhvajaḥ prabhuḥ
ഏലാമുഖൻ, കാലിയൻ, വീര്യവാനായ മഹാപദ്മൻ; ശുദ്ധാംഗനായ സഹസ്രശീർഷൻ, കൂടാതെ പ്രഭു ഹേമതാലധ്വജൻ—ഇവയാണ് പേരുകൾ।
Unspecified in the provided excerpt (context needed from surrounding verses).
Concept: Names and forms (nāma-rūpa) proliferate in creation, yet remain within a single cosmic administration.
Application: Respect power without idolizing it; see all capacities—strength, purity, lordship—as entrusted roles within dharma.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: celestial_realm
Visual Art Cues: {"scene_description":"A procession of nāga-chiefs emerges from a luminous underground lake: Elāmukha and Kāliya glide with jeweled hoods, while Mahāpadma stands like a living mountain of coils. Sahasraśīrṣa appears with countless hoods forming a canopy, and Hematāladhvaja bears a golden palm-banner that catches the cavern’s light.","primary_figures":["Elāmukha","Kāliya","Mahāpadma","Sahasraśīrṣa","Hematāladhvaja"],"setting":"Underground lake and jeweled cavern-palace with serpent-guarded gateways and lotus-like mineral formations","lighting_mood":"moonlit","color_palette":["midnight blue","malachite green","topaz gold","amethyst purple","silver"],"tanjore_prompt":"Tanjore painting style: nāga procession by an underground lotus-lake, Sahasraśīrṣa with a grand hood-canopy highlighted in gold leaf, Hematāladhvaja holding a golden palm-banner, rich jewel tones, heavy ornaments, embossed gold detailing on scales and crowns, symmetrical temple-arch frame.","pahari_prompt":"Pahari miniature style: delicate serpentine figures with refined faces, cool nocturne palette, shimmering lake reflections, Hematāladhvaja’s banner painted with fine linework, lyrical cavern flora, subtle gradients suggesting depth and mystery.","kerala_mural_prompt":"Kerala mural style: bold outlines and rhythmic hood patterns, stylized lake with lotus motifs, strong red/yellow/green accents, Sahasraśīrṣa’s many hoods arranged in a mandala-like fan, banner rendered as a flat iconic emblem.","pichwai_prompt":"Pichwai cloth painting style: ornate border of lotus and creepers, central Sahasraśīrṣa hood-canopy like a floral mandala, deep blues and gold, intricate patterning on serpent scales, decorative banner motif repeated in corners, devotional symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["gentle water flow","anklet-like jingles of ornaments","soft drone","cavern resonance"]}
Sandhi Resolution Notes: कालियश्च = कालियः + च; महापद्मश्च = महापद्मः + च; सहस्रशीर्षश्शुद्धांगो = सहस्रशीर्षः + शुद्धाङ्गः (विसर्ग-सन्धिः: ः + श् → श्श्)
FAQs
It functions as a catalogue-style listing of named beings (likely from a genealogical or classificatory section), typical of creation-era enumerations found in Purāṇas.
The verse itself only lists names and epithets; identification (e.g., Nāga lineage) depends on the surrounding passage in Adhyaya 45. With only this single verse, the safest reading is that it records a set of prominent named figures.
No explicit ethical or bhakti instruction appears in this standalone verse; it is primarily nominative/descriptive. Teachings, if any, would be inferred from the broader narrative context.