Padma Purana — Bhumi Khanda, Shloka 70
Yayāti’s Ascent to Heaven
and Entry into Vaikuṇṭha
वैकुंठं ददृशे राजा मोक्षस्थानमनुत्तमम् । देववृंदैः समाकीर्णं ययातिर्नहुषात्मजः
vaikuṃṭhaṃ dadṛśe rājā mokṣasthānamanuttamam | devavṛṃdaiḥ samākīrṇaṃ yayātirnahuṣātmajaḥ
Natanaw ng haring si Yayāti, anak ni Nahuṣa, ang Vaikuṇṭha—ang walang kapantay na tahanan ng mokṣa—na siksik sa mga pangkat ng mga deva.
Narrator (within the Pulastya–Bhīṣma dialogue framework; this verse is descriptive narration rather than direct speech)
Concept: Even a king famed for worldly attainments ultimately seeks and beholds the supreme refuge—Vaikuṇṭha surpasses all other destinations.
Application: Reframe success: treat achievements as instruments for dharma and devotion; regularly contemplate the ‘highest aim’ to prevent attachment to transient rewards.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: celestial_realm
Visual Art Cues: {"scene_description":"King Yayāti stands at the luminous threshold of Vaikuṇṭha, his royal bearing softened into reverent astonishment. Before him stretches a radiant expanse filled with orderly hosts of devas, like constellations arranged around an unseen center, as the gates of liberation open into immeasurable light.","primary_figures":["King Yayāti","Hosts of devas","Vaikuṇṭha gatekeepers (optional: Jaya-Vijaya as symbolic guardians)"],"setting":"Celestial gateway leading into Vaikuṇṭha; jeweled archways, cloud-like terraces, and distant gardens","lighting_mood":"divine radiance","color_palette":["white-gold","sky blue","amethyst purple","emerald","rose"],"tanjore_prompt":"Tanjore painting style: King Yayāti at a jeweled Vaikuṇṭha gateway, devas assembled in symmetrical rows, gold leaf radiance pouring from the arch, ornate crowns and jewelry with gem-like highlights, rich crimson and green textiles, traditional South Indian architectural motifs and thick decorative borders.","pahari_prompt":"Pahari miniature style: a poised king in refined attire gazing into a luminous celestial city; devas as elegant figures with delicate halos, soft cloud terraces and distant gardens, cool blues and lilacs with gentle gold accents, subtle emotional expression of awe.","kerala_mural_prompt":"Kerala mural style: frontal gateway composition with bold outlines; Yayāti in royal costume, devas clustered with stylized halos, radiant background wash, strong reds/yellows/greens, temple-wall symmetry and ornamental framing.","pichwai_prompt":"Pichwai cloth painting style: processional arrangement—devas in patterned rows leading toward a central luminous gate; ornate floral borders, deep blue ground with gold highlights, lotus motifs at the base, a small figure of Yayāti in reverent stance at the threshold."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","temple bells","low celestial drone","soft footsteps","wind through banners"]}
Sandhi Resolution Notes: मोक्षस्थानमनुत्तमम् = मोक्षस्थानम् + अनुत्तमम्; ययातिर्नहुषात्मजः = ययातिः + नहुषात्मजः.
FAQs
King Yayāti, identified as the son of Nahuṣa, is said to behold Vaikuṇṭha.
It presents Vaikuṇṭha as an “anuttama” (unsurpassed) “mokṣa-sthāna” (abode of liberation), aligning it with a strongly Vaiṣṇava understanding of ultimate release.
The verse frames liberation as a real and exalted destination associated with divine communion (the presence of devas), encouraging aspiration toward mokṣa rather than worldly attainment.