Shloka 147
Narasiṃha’s Greatness and the Slaying of Hiraṇyakaśipu
Boon, Portents, and Cosmic Restoration
एलामुखः कालियश्च महापद्मश्च वीर्यवान् । सहस्रशीर्षश्शुद्धांगो हेमतालध्वजः प्रभुः
elāmukhaḥ kāliyaśca mahāpadmaśca vīryavān | sahasraśīrṣaśśuddhāṃgo hematāladhvajaḥ prabhuḥ
ایلامُکھ، کالِیَہ اور قوت والا مہاپَدْم؛ پاکیزہ اعضا والا سہسرشیرش؛ اور ربّانی شان والا ہیمَتالَدھوج—یہ نامور ہستیاں ہیں۔
Unspecified in the provided excerpt (context needed from surrounding verses).
Concept: Names and forms (nāma-rūpa) proliferate in creation, yet remain within a single cosmic administration.
Application: Respect power without idolizing it; see all capacities—strength, purity, lordship—as entrusted roles within dharma.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: celestial_realm
Visual Art Cues: {"scene_description":"A procession of nāga-chiefs emerges from a luminous underground lake: Elāmukha and Kāliya glide with jeweled hoods, while Mahāpadma stands like a living mountain of coils. Sahasraśīrṣa appears with countless hoods forming a canopy, and Hematāladhvaja bears a golden palm-banner that catches the cavern’s light.","primary_figures":["Elāmukha","Kāliya","Mahāpadma","Sahasraśīrṣa","Hematāladhvaja"],"setting":"Underground lake and jeweled cavern-palace with serpent-guarded gateways and lotus-like mineral formations","lighting_mood":"moonlit","color_palette":["midnight blue","malachite green","topaz gold","amethyst purple","silver"],"tanjore_prompt":"Tanjore painting style: nāga procession by an underground lotus-lake, Sahasraśīrṣa with a grand hood-canopy highlighted in gold leaf, Hematāladhvaja holding a golden palm-banner, rich jewel tones, heavy ornaments, embossed gold detailing on scales and crowns, symmetrical temple-arch frame.","pahari_prompt":"Pahari miniature style: delicate serpentine figures with refined faces, cool nocturne palette, shimmering lake reflections, Hematāladhvaja’s banner painted with fine linework, lyrical cavern flora, subtle gradients suggesting depth and mystery.","kerala_mural_prompt":"Kerala mural style: bold outlines and rhythmic hood patterns, stylized lake with lotus motifs, strong red/yellow/green accents, Sahasraśīrṣa’s many hoods arranged in a mandala-like fan, banner rendered as a flat iconic emblem.","pichwai_prompt":"Pichwai cloth painting style: ornate border of lotus and creepers, central Sahasraśīrṣa hood-canopy like a floral mandala, deep blues and gold, intricate patterning on serpent scales, decorative banner motif repeated in corners, devotional symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["gentle water flow","anklet-like jingles of ornaments","soft drone","cavern resonance"]}
Sandhi Resolution Notes: कालियश्च = कालियः + च; महापद्मश्च = महापद्मः + च; सहस्रशीर्षश्शुद्धांगो = सहस्रशीर्षः + शुद्धाङ्गः (विसर्ग-सन्धिः: ः + श् → श्श्)
FAQs
It functions as a catalogue-style listing of named beings (likely from a genealogical or classificatory section), typical of creation-era enumerations found in Purāṇas.
The verse itself only lists names and epithets; identification (e.g., Nāga lineage) depends on the surrounding passage in Adhyaya 45. With only this single verse, the safest reading is that it records a set of prominent named figures.
No explicit ethical or bhakti instruction appears in this standalone verse; it is primarily nominative/descriptive. Teachings, if any, would be inferred from the broader narrative context.