Shloka 7

Nārada Sees Lord Kṛṣṇa’s Yoga-māyā in the Palaces of the Queens

Dvāra-kā-līlā

Devanagari script

तस्यामन्त:पुरं श्रीमदर्चितं सर्वधिष्ण्यपै: । हरे: स्वकौशलं यत्र त्वष्ट्रा कार्त्स्‍न्येन दर्शितम् ॥ ७ ॥ तत्र षोडशभि: सद्मसहस्रै: समलङ्कृतम् । विवेशैकतोमं शौरे: पत्नीनां भवनं महत् ॥ ८ ॥

Transliteration

tasyām antaḥ-puraṁ śrīmad arcitaṁ sarva-dhiṣṇya-paiḥ hareḥ sva-kauśalaṁ yatra tvaṣṭrā kārtsnyena darśitam

Translation

Em Dvārakā havia um esplêndido recinto interno do Senhor Hari, venerado pelos regentes dos mundos. Ali Viśvakarmā exibira plenamente toda a sua habilidade divina. Esse domínio estava magnificamente adornado pelos dezesseis mil palácios das rainhas de Śaurī, Śrī Kṛṣṇa. Nārada Muni entrou em um desses imensos palácios.

Synonyms

• tasyām: in that (city)
• tasyām: Adhikarana (अधिकरण)
• Type: Noun
• Root: tad (सर्वनाम-प्रातिपदिक)
• Form: Feminine (स्त्रीलिङ्ग), Locative (7/सप्तमी), Singular (एकवचन)

• antaḥ-puram: inner palace
• antaḥ-puram: Karma (कर्म)
• Type: Noun
• Root: antaḥ + pura (प्रातिपदिक)
• Form: Neuter (नपुंसकलिङ्ग), Nominative (1/प्रथमा) / Accusative (2/द्वितीया), Singular (एकवचन); षष्ठी/सप्तमी-तत्पुरुष: antaḥ (within) + puram (palace)

• śrīmat: splendid
• śrīmat: Visheshana (विशेषण)
• Type: Adjective
• Root: śrīmat (प्रातिपदिक)
• Form: Neuter (नपुंसकलिङ्ग), Nominative/Accusative, Singular; agrees with antaḥ-puram

• arcitam: worshipped/honored
• arcitam: Visheshana (विशेषण)
• Type: Adjective
• Root: arc (धातु)
• Form: Past passive participle (क्त/कृदन्त), Neuter (नपुंसकलिङ्ग), Nominative/Accusative, Singular; agrees with antaḥ-puram

• sarva-dhiṣṇya-paiḥ: by all the presiding deities
• sarva-dhiṣṇya-paiḥ: Karana (करण)
• Type: Noun
• Root: sarva + dhiṣṇya-pa (प्रातिपदिक)
• Form: Masculine (पुंलिङ्ग), Instrumental (3/तृतीया), Plural (बहुवचन); तत्पुरुष: sarva (all) + dhiṣṇya-pa (lords of abodes/guardians)

• hareḥ: of Hari
• hareḥ: Sambandha (षष्ठी-सम्बन्ध)
• Type: Noun
• Root: hari (प्रातिपदिक)
• Form: Masculine (पुंलिङ्ग), Genitive (6/षष्ठी), Singular (एकवचन)

• sva-kauśalam: his own skill
• sva-kauśalam: Karma (कर्म)
• Type: Noun
• Root: sva + kauśala (प्रातिपदिक)
• Form: Neuter (नपुंसकलिङ्ग), Nominative (1/प्रथमा) / Accusative (2/द्वितीया), Singular (एकवचन); तत्पुरुष: sva (own) + kauśala (skill)

• yatra: where
• yatra: Adhikarana (अधिकरण)
• Type: Indeclinable
• Root: yatra (अव्यय)
• Form: Relative adverb (देशवाचक-अव्यय)

• tvaṣṭrā: by Tvaṣṭṛ (the divine artisan)
• tvaṣṭrā: Karana (करण)
• Type: Noun
• Root: tvaṣṭṛ (प्रातिपदिक)
• Form: Masculine (पुंलिङ्ग), Instrumental (3/तृतीया), Singular (एकवचन)

• kārtsnyena: in entirety/fully
• kārtsnyena: Karana (करण)
• Type: Noun
• Root: kārtsnya (प्रातिपदिक)
• Form: Neuter (नपुंसकलिङ्ग), Instrumental (3/तृतीया), Singular (एकवचन)

• darśitam: was displayed
• darśitam: Karma (कर्म)
• Type: Adjective
• Root: dṛś (धातु)
• Form: Past passive participle (क्त/कृदन्त), Neuter (नपुंसकलिङ्ग), Nominative/Accusative, Singular; agrees with sva-kauśalam

Purport

Śrīla Jīva Gosvāmī points out that Tvaṣṭā, Viśvakarmā, manifested the expertise of the Supreme Lord, and thus he was able to build such exquisite palaces. Śrīla Prabhupāda writes: “The great kings and princes of the world used to visit these palaces just to worship [Lord Kṛṣṇa]. The architectural plans were made personally by Viśvakarmā, the engineer of the demigods, and in the construction of the palaces he exhibited all of his talents and ingenuity.”

Characters & Entities

• Hari (Śrī Kṛṣṇa)
• Tvaṣṭā

FAQs

What does the Srimad Bhagavatam say about Krishna’s palace in Dvaraka?

It describes Kṛṣṇa’s inner palace as supremely opulent and honored even by the presiding deities, with divine artistry fully displayed through Tvaṣṭā.

Why is Tvashta mentioned in relation to Krishna’s palace?

Tvaṣṭā is invoked as the celestial craftsman through whom the palace’s extraordinary design is described, emphasizing that Kṛṣṇa’s own divine excellence is perfectly manifested there.

Practical application of Krishna’s Dvaraka opulence in modern life?

The verse directs attention beyond material luxury to the Lord’s presence and worship—seeing beauty and skill as meant to glorify God rather than inflate ego.