Padma Purana — Srishti Khanda, Shloka 20
The Crushing of the Traipuras
Gaṇeśa’s Battle with Tripura’s Son
चतुर्भिर्नाभिदेशे च पंचभिर्मुष्टिमस्तके । संबिभेद महाक्रोधो बलिनं शंभुनंदनः
caturbhirnābhideśe ca paṃcabhirmuṣṭimastake | saṃbibheda mahākrodho balinaṃ śaṃbhunaṃdanaḥ
ਮਹਾਨ ਕ੍ਰੋਧ ਨਾਲ ਪ੍ਰਜਵਲਿਤ ਸ਼ੰਭੂ ਦੇ ਪੁੱਤਰ ਨੇ ਉਸ ਬਲਵਾਨ ਨੂੰ ਬੇਧ ਦਿੱਤਾ—ਨਾਭੀ ਦੇ ਦੇਸ਼ ਵਿੱਚ ਚਾਰ ਵਾਰ ਅਤੇ ਮੱਥੇ ਉੱਤੇ ਮੁੱਠੀਆਂ ਨਾਲ ਪੰਜ ਵਾਰ।
Narrator (third-person epic narration; specific dialogue speaker not explicit in this verse alone)
Concept: Uncontrolled krodha (wrath) manifests as destructive force even in divinely-linked beings; power without restraint becomes a weapon.
Application: Treat anger as a signal to pause; cultivate restraint (kṣamā) before acting, especially when you hold authority or strength.
Primary Rasa: raudra
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A furious divine warrior—Vināyaka as Śambhu’s son—surges forward in a dust-choked battlefield, delivering measured yet devastating blows: four to the navel-region and five hammering strikes to the head. The opponent reels, armor dented, while celestial onlookers sense the turning of fate in a single burst of wrath.","primary_figures":["Vināyaka (Śambhu-nandana)","the mighty opponent (Balin/daitya-like warrior)","battle attendants (gaṇas or soldiers)"],"setting":"A mythic battlefield with chariots, banners, broken weapons, and swirling dust; distant silhouettes of gods observing from the sky.","lighting_mood":"storm-lit, divine radiance cutting through battlefield haze","color_palette":["smoky umber","blood red","bronze gold","ash gray","electric sapphire"],"tanjore_prompt":"Tanjore painting style: Vināyaka in heroic martial posture striking a towering daitya on a battlefield; ornate crown and gem-studded ornaments, thick gold-leaf halos, rich crimson and emerald textiles, embossed gold detailing on weapons and armor, traditional South Indian iconography with stylized clouds and celestial witnesses.","pahari_prompt":"Pahari miniature style: a dynamic combat vignette with delicate brushwork—Vināyaka’s compact, powerful form delivering rapid blows; lyrical dust clouds, fluttering pennants, refined facial features, cool yet dramatic palette with Himalayan-style rolling hills in the far background.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; Vināyaka rendered with characteristic large eyes and rhythmic body curves, battlefield simplified into iconic motifs (chariot wheel, banner, broken spear), dominant reds/yellows/greens with a glowing aura around the divine combatant.","pichwai_prompt":"Pichwai cloth painting style: a symbolic battlefield framed by intricate floral borders and lotus motifs; divine energy emphasized with gold highlights, stylized attendants and celestial beings; deep indigo ground with red-gold accents, integrating traditional decorative patterns while keeping the combat central."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["war drums","conch shell","clashing weapons","dusty wind","distant thunder"]}
Sandhi Resolution Notes: caturbhirnābhideśe = caturbhiḥ + nābhi-deśe; paṃcabhirmuṣṭimastake = paṃcabhiḥ + muṣṭi-mastake; śaṃbhunaṃdanaḥ = śaṃbhu-nandanaḥ.
FAQs
“Śaṃbhunandana” literally means “the son of Śambhu (Śiva).” The verse identifies the attacker as Śiva’s son, without naming him explicitly here.
Not directly. This śloka is primarily narrative, describing a violent moment in a mythic conflict; any ethical or theological takeaway depends on the surrounding episode and its framing.
It describes Śiva’s son, in great anger, striking a powerful opponent with four blows to the navel area and five fist-blows to the head.