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Shloka 15

The Greatness of Puruṣottama

Goloka-tattva and Rādhā–Kṛṣṇa Upāsanā

द्विधाभूतमभूत्तत्र वामांगं तु चतुर्भुजम् । समानरूपावयवं समानांबरभूषणम् ॥ १५ ॥

dvidhābhūtamabhūttatra vāmāṃgaṃ tu caturbhujam | samānarūpāvayavaṃ samānāṃbarabhūṣaṇam || 15 ||

ณ ที่นั้น รูปนั้นแยกเป็นสองส่วน และด้านซ้ายปรากฏเป็นองค์สี่กร มีอวัยวะงดงามเสมอกัน ทั้งอาภรณ์และเครื่องประดับก็เหมือนกัน॥๑๕॥

द्विधाin two parts
द्विधा:
Sambandha (सम्बन्धः)
TypeIndeclinable
Rootद्विधा (अव्यय)
Formप्रकारवाचक-अव्यय (manner adverb: in two ways)
भूतम्become/formed
भूतम्:
Karta (कर्ता)
TypeVerb
Rootभू (धातु)
Formभूत-कृदन्तः क्त-प्रत्ययः (past passive participle), नपुंसकलिङ्गः, प्रथमा/द्वितीया, एकवचनम्
अभूत्became
अभूत्:
Kriya (क्रिया)
TypeVerb
Rootभू (धातु)
Formलुङ्-लकारः (Aorist/Imperfective past), परस्मैपदम्, प्रथमपुरुषः, एकवचनम्
तत्रthere
तत्र:
Adhikarana (अधिकरण)
TypeIndeclinable
Rootतत्र (अव्यय)
Formदेशवाचक-अव्यय (locative adverb)
वाम-अङ्गम्the left side/limb
वाम-अङ्गम्:
Karta (कर्ता)
TypeNoun
Rootवाम (प्रातिपदिक) + अङ्ग (प्रातिपदिक)
Formनपुंसकलिङ्गः, प्रथमा/द्वितीया-विभक्तिः, एकवचनम्; कर्मधारयः (vāmam aṅgam)
तुand/but
तु:
Sambandha (सम्बन्धः)
TypeIndeclinable
Rootतु (अव्यय)
Formविरोध/अन्वयार्थक-अव्यय (particle: but/and)
चतुर्भुजम्four-armed
चतुर्भुजम्:
Visheshana (विशेषण)
TypeAdjective
Rootचतुर् (संख्या-प्रातिपदिक) + भुज (प्रातिपदिक)
Formनपुंसकलिङ्गः, प्रथमा/द्वितीया, एकवचनम्; बहुव्रीहिः (yasya catvāro bhujāḥ saḥ)
समान-रूप-अवयवम्having limbs of the same form
समान-रूप-अवयवम्:
Visheshana (विशेषण)
TypeAdjective
Rootसमान (प्रातिपदिक) + रूप (प्रातिपदिक) + अवयव (प्रातिपदिक)
Formनपुंसकलिङ्गः, प्रथमा/द्वितीया, एकवचनम्; तत्पुरुषः (samāna-rūpāḥ avayavāḥ yasya)
समान-अम्बर-भूषणम्with matching garments and ornaments
समान-अम्बर-भूषणम्:
Visheshana (विशेषण)
TypeAdjective
Rootसमान (प्रातिपदिक) + अम्बर (प्रातिपदिक) + भूषण (प्रातिपदिक)
Formनपुंसकलिङ्गः, प्रथमा/द्वितीया, एकवचनम्; तत्पुरुषः (samānam ambaram ca bhūṣaṇam ca yasya / samāna-ambarāṇi bhūṣaṇāni yasya)

Suta

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: bhakti

FAQs

It emphasizes the doctrine that the Divine can manifest in multiple forms without loss of unity—showing a purposeful, orderly revelation marked by symmetry and sacred ornamentation.

By describing a recognizable divine form (notably the four-armed archetype associated with Vishnu), it supports devotional contemplation (dhyāna) and loving worship through a concrete, auspicious iconography.

No specific Vedanga technique is taught in this verse; its practical takeaway is iconographic clarity for worship—how a divine manifestation is envisioned with consistent form, garments, and ornaments in ritual devotion.