Vamana Purana — Kali's Complaint to Brahma (Part 2), Shloka 32

Kali’s Complaint to Brahma and the Arrival of Śrī (Jayaśrī) in Bali’s Reign

Devanagari script

चतुःषष्टिकलाः श्वेता महापद्मो निधिः स्थितः मुक्तासुवर्णरजतं रथाश्वगजभूषणम्

Transliteration

catuḥṣaṣṭikalāḥ śvetā mahāpadmo nidhiḥ sthitaḥ muktāsuvarṇarajataṃ rathāśvagajabhūṣaṇam

Translation

{"bhagavata_parallel": "Bhāgavata Purāṇa 11.17.27 (ācārya as manifestation of Hari; guru principle) and 8.22–8.23 (Bali’s reverence aligning with divine authority)", "vishnu_purana_parallel": "Viṣṇu Purāṇa 6.7 (devotion and worship of Viṣṇu as highest duty; guru principle thematically)", "ramayana_connection": "Rāmāyaṇa (Rāma’s adherence to guru/parental command while embodying dharma; thematic)", "mahabharata_echo": "Bhagavad Gītā 4.34 (approach the guru) with theistic culmination in 18.66 (ultimate refuge)", "other_puranas": ["Padma Purāṇa (guru and Hari-bhakti integration)", "Skanda Purāṇa (ācārya-mahātmyas)"], "vedic_reference": "Taittirīya Upaniṣad 1.11 (ācārya-devo bhava; framed here under Hari as lokaguru)"}

Word by Word

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Speakers

• Narratorial voice continuing an enumerative doctrinal passage.

Key Themes

• Nidhis (treasury deities)
• Royal wealth and regalia
• Sixty-four arts as auspicious accomplishments
• Prosperity as structured cosmic resource

Verse Rasa (Emotional Flavour)

{ "primaryRasa": "adbhuta", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

What is the Mahāpadma Nidhi in Purāṇic tradition?

Mahāpadma is one of the famed Nidhis—personified treasuries or archetypal stores of wealth—often associated with Kubera’s domain in wider Purāṇic lore. Here it functions as a named category of abundance, characterized by precious materials and royal assets.

Why are the ‘sixty-four arts’ mentioned alongside material wealth?

The verse treats accomplishment (kalā) as a form of prosperity parallel to gold and jewels. In classical Indian culture, mastery of arts supports courtly life, governance, ritual, and social refinement—thus it is catalogued as a ‘treasure’ sustaining sovereignty and civilization.

Does ‘śvetā’ have a technical meaning here?

Beyond the literal ‘white,’ it commonly signals auspiciousness and purity—suggesting these arts are ‘bright’ or ‘beneficent’ accomplishments, not merely worldly tricks, and therefore fit to be counted among enduring, dharmically aligned treasures.