Padma Purana — Bhumi Khanda, Shloka 38
Viṣṇu’s Māyā and the Stratagem Against Vihuṇḍa
with the Kāmodā–Gaṅgādvāra motif
कामोदाख्यं पुरं तत्र निर्मितं विश्वकर्मणा । कामोदपत्तने नारी दिव्यभोगैरलंकृता
kāmodākhyaṃ puraṃ tatra nirmitaṃ viśvakarmaṇā | kāmodapattane nārī divyabhogairalaṃkṛtā
Di sana Viśvakarman membina sebuah kota bernama Kāmoda. Di kota Kāmoda, seorang wanita dihiasi dengan kenikmatan dan kemewahan yang bersifat surgawi.
Unspecified (narratorial voice within the ongoing dialogue context of Bhūmi-khaṇḍa)
Concept: Divine order manifests as both sacred place and structured beauty; yet celestial enjoyments are portrayed as contingent, setting the stage for discerning dharma over mere bhoga.
Application: Appreciate beauty without bondage; treat comfort as stewardship, not identity—keep devotion and restraint central when prosperity arises.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: city
Visual Art Cues: {"scene_description":"A jewel-like city rises beside a sacred riverbank, its gateways carved with lotus and conch motifs, said to be built by Viśvakarman. Within a palace courtyard, a woman gleams with celestial ornaments—silks, garlands, and luminous jewels—while apsarā attendants arrange perfumes and lamps, suggesting a realm of refined bhoga.","primary_figures":["Viśvakarman (architect-deity, suggested)","adorned woman in Kāmodā","apsarā attendants"],"setting":"Mythic riverside city with palatial terraces, carved pillars, lotus ponds, and aerial vimāna silhouettes.","lighting_mood":"moonlit with pearl-like sheen and palace lamp-glow","color_palette":["pearl white","emerald green","ruby red","midnight blue","antique gold"],"tanjore_prompt":"Tanjore painting style: opulent Kāmodā palace with gold leaf on arches and jewelry; central adorned woman seated on a lotus-throne-like seat, apsarās fanning her; Viśvakarman shown at the side holding measuring cord and śilpa tools; rich reds/greens, heavy ornamentation, gem-studded borders.","pahari_prompt":"Pahari miniature style: elegant palace balconies and lotus ponds, cool blues and greens; the woman in delicate textiles with fine line jewelry; apsarās in flowing scarves; subtle night sky gradient and distant hills, refined facial features and lyrical composition.","kerala_mural_prompt":"Kerala mural style: stylized palace architecture with patterned panels; the woman and apsarās with bold outlines and large expressive eyes; natural pigment palette emphasizing reds/yellows/greens; ornamental borders like temple murals.","pichwai_prompt":"Pichwai cloth painting style: palace courtyard framed by intricate floral borders; lotus pond foreground with swans; deep blue background with gold highlights; ornamental motifs (conch, lotus, vine) repeating across textiles; apsarās arranged symmetrically like devotional attendants."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["anklet bells","soft veena","palace fountains","distant conch"]}
Sandhi Resolution Notes: कामोदाख्यम् = कामोदा + आख्यम् (समास); कामोदपत्तने = कामोदा + पत्तने (समास); दिव्यभोगैः = दिव्य + भोगैः (समास); अलंकृता = अलम् + कृ + क्त (कृदन्त)
FAQs
It uses place-description (a named city, Kāmoda) as part of Bhūmi-khaṇḍa’s broader sacred-geography style, where locations are introduced with mythic origins and distinctive features.
Indirectly: by portraying divinely fashioned settings and divine agency (Viśvakarman), it supports a worldview where sacred places and events are understood as shaped by higher powers—often forming the narrative backdrop for devotion.
The verse highlights the allure of divine pleasures and ornamentation; in Purāṇic contexts this often serves as a reminder that splendor and enjoyment are contingent and bestowed, encouraging discernment rather than attachment.