Shloka 13
The Account and Merit of Śivadūtī
with the Nāga-tīrtha at Puṣkara
अनंतो वासुकिश्चैव तक्षकश्च महाबलः । कर्कोटकश्च नागेंद्रः पद्मश्चान्यः सरीसृपः
anaṃto vāsukiścaiva takṣakaśca mahābalaḥ | karkoṭakaśca nāgeṃdraḥ padmaścānyaḥ sarīsṛpaḥ
Ananta, Wasuki, Taksaka yang perkasa, Karkotaka raja segala ular, dan Padma—ular besar yang lain—(disebutkan di sini).
Unspecified (narrative enumeration within the chapter context)
Concept: Cosmos is populated by ordered hierarchies of beings; remembering their names situates the listener within a sacred cosmology oriented toward Viṣṇu’s preservation.
Application: Cultivate reverence for the unseen supports of life—ecological, social, and spiritual; gratitude steadies the mind.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A ceremonial roll-call of the great Nāgas unfolds like a living tapestry: Ananta vast and serene, Vāsuki regal, Takṣaka fierce, Karkoṭaka coiled with stormy power, and Padma gleaming with lotus-like sheen. They appear as jeweled serpent-kings in a luminous subterranean court, their hoods fanned like crowns.","primary_figures":["Ananta (Śeṣa)","Vāsuki","Takṣaka","Karkoṭaka","Padma (Nāga)"],"setting":"Nāga-loka palace with crystal pillars, pearl-studded floors, bioluminescent waters, and lotus motifs echoing the Padma Purāṇa’s emblem.","lighting_mood":"moonlit subterranean glow with jewel-like highlights","color_palette":["opal white","emerald green","lapis blue","amethyst purple","molten gold"],"tanjore_prompt":"Tanjore painting style: five nāga-kings in frontal icon-like arrangement; gold leaf hoods and halos, gem-studded ornaments, rich reds/greens, ornate palace archways, lotus borders, symmetrical devotional composition.","pahari_prompt":"Pahari miniature style: refined nāga court with delicate detailing; cool palette and lyrical water reflections; each serpent-king individualized with subtle expressions; translucent veils of mist and soft shading.","kerala_mural_prompt":"Kerala mural style: bold outlines and stylized hood-fans; saturated greens and yellows; nāga-kings with large expressive eyes; palace backdrop simplified into strong geometric bands and decorative motifs.","pichwai_prompt":"Pichwai cloth painting style: nāga-kings arranged around a central lotus mandala; intricate floral borders, peacocks and vines as framing devices; deep blue ground with gold highlights, ornamental symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low drone","soft cymbals","echoing cavern ambience","gentle water drip"]}
Sandhi Resolution Notes: vāsukiścaiva = vāsukiḥ + ca + eva (visarga sandhi: ḥ + c → śc). takṣakaśca = takṣakaḥ + ca. nāgeṃdraḥ = nāga-indraḥ (a+i → e). padmaścānyaḥ = padmaḥ + ca + anyaḥ (ḥ + c → śc).
FAQs
The verse lists prominent serpent beings: Ananta (Śeṣa), Vāsuki, Takṣaka, Karkoṭaka, and Padma.
In creation-oriented sections, such lists function as cosmological catalogues—mapping important beings and lineages that populate the world-order described by the Purana.
The verse primarily serves as identification rather than moral instruction; indirectly, it reflects the Purāṇic theme that creation includes many orders of beings, each with a recognized place and role in the cosmic hierarchy.