Skanda Purana — Mahesvara Khanda, Shloka 60
Devanagari script
कालागरुविलिप्तांगं महामुकुटमंडितम् । रुचिरांगदसन्नद्धं महासिंहासने स्थितम्
Transliteration
kālāgaruviliptāṃgaṃ mahāmukuṭamaṃḍitam | rucirāṃgadasannaddhaṃ mahāsiṃhāsane sthitam
Translation
သူ၏ကိုယ်ခန္ဓာကို အမှောင်ရောင် အဂရုသစ်အလိမ်းဖြင့် လိမ်းထားပြီး၊ မဟာမုကুটကြီးဖြင့် တန်ဆာဆင်ကာ၊ လှပသော လက်မောင်းကွင်းများကို ဆင်ယင်၍ မြင့်မြတ်သော စင်္ဟာသနပေါ်၌ ထိုင်နေ၏။
Word by Word
kāla-agaru-vilipta-aṅgamwhose body is smeared with black aloe/agaru paste
kāla-agaru-vilipta-aṅgam:
Karma (Object/कर्म)
TypeAdjective
Rootkāla (प्रातिपदिक) + agaru (प्रातिपदिक) + vilipta (कृदन्त; √lip लेपने, क्त) + aṅga (प्रातिपदिक)
Formनपुंसकलिङ्ग, द्वितीया-विभक्ति (कर्म), एकवचन; समासः—तत्पुरुषः (कālāgaru-लेपेन विलिप्तानि अङ्गानि यस्य)
mahā-mukuṭa-maṇḍitamadorned with a great crown
mahā-mukuṭa-maṇḍitam:
Karma (Object/कर्म)
TypeAdjective
Rootmahā (प्रातिपदिक) + mukuṭa (प्रातिपदिक) + maṇḍita (कृदन्त; √maṇḍ अलङ्कारे, क्त)
Formनपुंसकलिङ्ग, द्वितीया-विभक्ति, एकवचन; समासः—तत्पुरुषः (महता मुकुटेन मण्डितम्)
rucira-aṅgada-sannaddhamarmed/fastened with splendid armlets
rucira-aṅgada-sannaddham:
Karma (Object/कर्म)
TypeAdjective
Rootrucira (प्रातिपदिक) + aṅgada (प्रातिपदिक) + sannaddha (कृदन्त; √nah बन्धने, सम्+क्त)
Formनपुंसकलिङ्ग, द्वितीया-विभक्ति, एकवचन; समासः—तत्पुरुषः (रुचिरैः अङ्गदैः सन्नद्धम्)
mahā-siṃhāsaneon a great lion-throne
mahā-siṃhāsane:
Adhikarana (Location/अधिकरण)
TypeNoun
Rootmahā (प्रातिपदिक) + siṃhāsana (प्रातिपदिक)
Formनपुंसकलिङ्ग, सप्तमी-विभक्ति (अधिकरण), एकवचन; समासः—कर्मधारयः (महच्च तत् सिंहासनम्)
sthitamseated/standing
sthitam:
Karma (Object/कर्म)
TypeAdjective
Rootsthita (कृदन्त; √sthā तिष्ठति, क्त)
Formनपुंसकलिङ्ग, द्वितीया-विभक्ति, एकवचन; क्त-प्रत्ययान्त विशेषणम्
Speaker
Lomaharṣaṇa (Sūta), implied
Visual Art Cues
Scene: A daitya-king seated on a lofty lion-throne, body smeared with dark agaru paste, wearing a towering crown and gleaming armlets; attendants and court architecture emphasize intimidating grandeur.
Characters & Entities
D
Dānava (Daitya/Tāraka context)FAQs
External grandeur is vividly portrayed to set up the later ethical and cosmic correction—power without dharma becomes a stage for downfall.
None; the focus is the Dānava’s royal setting.
None.