HomeVamana PuranaAdh. 5Shloka 1
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Vamana Purana — Rudra's Wrath & Kalarupa, Shloka 1

Rudra’s Wrath at Daksha’s Sacrifice and the Iconography of Kālarūpa through the Zodiac

इति श्रीवामनपुराणे चतुर्थो ऽध्यायः पुलस्त्य उवाच जटाधरं हरिर्द्दष्ट्वा क्रोधादारक्तलोचनम् तस्मात् स्थानादपाक्रम्य कुब्जाम्रे ऽन्तर्हितः स्थितः

iti śrīvāmanapurāṇe caturtho 'dhyāyaḥ pulastya uvāca jaṭādharaṃ harirddaṣṭvā krodhādāraktalocanam tasmāt sthānādapākramya kubjāmre 'ntarhitaḥ sthitaḥ

പുലസ്ത്യൻ പറഞ്ഞു—ക്രോധത്തിൽ ചുവന്ന കണ്ണുകളുള്ള ജടാധരനെ (ശിവനെ) കണ്ട ഹരി ആ സ്ഥാനത്തിൽ നിന്ന് പിന്മാറി ‘കുബ്ജാമ്ര’ എന്ന സ്ഥലത്ത് അന്തർഹിതനായി നിലകൊണ്ടു। ഇങ്ങനെ ശ്രീവാമനപുരാണത്തിലെ നാലാം അധ്യായം സമാപ്തം।

itithus
iti:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootiti (अव्यय)
FormAvyaya, quotative particle (इति-निपात) marking end of narration
śrī-vāmana-purāṇein the Śrī Vāmana Purāṇa
śrī-vāmana-purāṇe:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootśrī + vāmana + purāṇa (प्रातिपदिक)
FormNeuter, Locative (सप्तमी/7), Singular; tatpuruṣa chain: śrīmat vāmana-purāṇa (in the Śrī Vāmana Purāṇa)
caturthaḥfourth
caturthaḥ:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootcaturtha (प्रातिपदिक)
FormMasculine, Nominative (प्रथमा/1), Singular; ordinal adjective qualifying adhyāyaḥ
adhyāyaḥchapter
adhyāyaḥ:
Karta (कर्ता)
TypeNoun
Rootadhyāya (प्रातिपदिक)
FormMasculine, Nominative (प्रथमा/1), Singular
pulastyaḥPulastya
pulastyaḥ:
Karta (कर्ता)
TypeNoun
Rootpulastya (प्रातिपदिक)
FormMasculine, Nominative (प्रथमा/1), Singular
uvācasaid
uvāca:
Kriyā (क्रिया)
TypeVerb
Rootvac (धातु)
FormPerfect (लिट्), 3rd person (प्रथमपुरुष), Singular; parasmaipada
jaṭādharamJaṭādhara (Śiva)
jaṭādharam:
Karma (कर्म)
TypeNoun
Rootjaṭādhara (प्रातिपदिक)
FormMasculine, Accusative (द्वितीया/2), Singular
hariḥHari (Viṣṇu)
hariḥ:
Karta (कर्ता)
TypeNoun
Roothari (प्रातिपदिक)
FormMasculine, Nominative (प्रथमा/1), Singular
dṛṣṭvāhaving seen
dṛṣṭvā:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeVerb
Rootdṛś (धातु)
FormAbsolutive/Gerund (क्त्वान्त), 'having seen'
krodhātfrom/with anger
krodhāt:
Hetu (हेतु)
TypeNoun
Rootkrodha (प्रातिपदिक)
FormMasculine, Ablative (पञ्चमी/5), Singular; expresses cause
ārakta-locanamwhose eyes were reddened
ārakta-locanam:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootārakta + locana (प्रातिपदिक)
FormMasculine, Accusative (द्वितीया/2), Singular; bahuvrīhi: yasya locane ārakte (whose eyes are reddened) qualifying jaṭādharam
tasmātfrom that
tasmāt:
Apādāna (अपादान)
TypeNoun
Roottad (सर्वनाम-प्रातिपदिक)
FormPronoun (सर्वनाम), Ablative (पञ्चमी/5), Singular, Masculine/Neuter; 'from that'
sthānātplace
sthānāt:
Apādāna (अपादान)
TypeNoun
Rootsthāna (प्रातिपदिक)
FormNeuter, Ablative (पञ्चमी/5), Singular
apākramyahaving retreated
apākramya:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeVerb
Rootapa + kram (धातु)
FormAbsolutive/Gerund (ल्यप्), 'having withdrawn/retreated'
kubja-āmrein/at Kubjāmra
kubja-āmre:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootkubja + āmra (प्रातिपदिक)
FormMasculine, Locative (सप्तमी/7), Singular; tatpuruṣa: kubjasya āmraḥ / kubjāmra (name of a place/tree)
antarhitaḥhaving disappeared/hidden
antarhitaḥ:
Kriyā (क्रिया)
TypeAdjective
Rootantarhita (प्रातिपदिक); from antar + √dhā/√hi? (traditional: antar + √dhā 'to place' → hidden)
FormPast passive participle (क्त), Masculine, Nominative, Singular; 'hidden, disappeared'
sthitaḥremained
sthitaḥ:
Kriyā (क्रिया)
TypeVerb
Rootsthita (प्रातिपदिक); from √sthā (स्था धातु)
FormPast active participle/ppp in sense (क्त), Masculine, Nominative, Singular; predicative 'stood/remained'
Pulastya (narrator) → (frame likely to Nāradaper Purāṇic dialogue convention)
Vishnu (Hari)Shiva (Jaṭādhara/Śaṅkara)
ShaivismVaishnavismSectarian HarmonyDivine Lila (withdrawal/antarhāna)

{ "primaryRasa": "bhayanaka", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

Even when divine powers appear opposed (anger, confrontation), the narrative often resolves through restraint and withdrawal rather than escalation—modeling the containment of wrath and the preservation of cosmic order (dharma).

Primarily within Vaṃśānucarita/Carita-style narrative (episodes involving gods and their interactions), rather than sarga/pratisarga; it is an event-narrative embedded in the dialogue frame.

Hari’s ‘antarhāna’ (becoming unseen) functions as a lila-device: the Absolute is not confined to visible contest. The mention of Śiva as jaṭādhara foregrounds Śaiva iconography while keeping Hari central—supporting the Purāṇa’s harmonizing tendency.