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
Ali, Viśvakarman construiu uma cidade chamada Kāmoda. Na cidade de Kāmoda, uma mulher foi adornada com prazeres e luxos celestiais.
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.