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Srimad Bhagavatam — Panchama Skandha, Shloka 9

Rāhu, Eclipses, Antarikṣa, and the Seven Subterranean Heavens

Bila-svarga

येषु महाराज मयेन मायाविना विनिर्मिता: पुरो नानामणिप्रवरप्रवेकविरचितविचित्रभवनप्राकारगोपुरसभाचैत्यचत्वरायतनादिभिर्नागासुरमिथुनपारावतशुकसारिकाकीर्णकृत्रिमभूमिभिर्विवरेश्वरगृहोत्तमै: समलङ्कृताश्चकासति ॥ ९ ॥

yeṣu mahārāja mayena māyāvinā vinirmitāḥ puro nānā-maṇi-pravara-praveka-viracita-vicitra-bhavana-prākāra-gopura-sabhā-caitya-catvarāyatanādibhir nāgāsura-mithuna-pārāvata-śuka-sārikākīrṇa-kṛtrima-bhūmibhir vivareśvara-gṛhottamaiḥ samalaṅkṛtāś cakāsati.

Tâu Đại vương, trong những “thiên giới mô phỏng” gọi là bila-svarga có một đại a-tu-la tên Maya Dānava, bậc thầy về nghệ thuật và kiến trúc. Ông dựng nên nhiều thành thị rực rỡ, trang hoàng bằng cung thất kỳ diệu, tường thành, cổng tháp, hội trường, đền miếu, quảng trường và khuôn viên thánh điện, tất cả được kết bằng châu báu thượng hạng. Những đô thành ấy luôn đông đúc các đôi Nāga và Asura, cùng chim bồ câu, vẹt, sáo và nhiều loài khác; dinh thự của các vị chúa tể nơi đó xây bằng bảo ngọc quý nhất, khiến toàn cảnh đẹp đẽ và quyến rũ vô cùng.

yeṣuin which
yeṣu:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootyad (प्रातिपदिक)
FormMasculine/Neuter, Locative (7th/सप्तमी), Plural; relative pronoun
mahārājaO great king
mahārāja:
Sambodhana (सम्बोधन)
TypeNoun
Rootmahā + rāja (प्रातिपदिक)
FormMasculine, Vocative (8th/सम्बोधन), Singular; कर्मधारय
mayenaby Maya
mayena:
Karaṇa (करण) / Agent-instrument
TypeNoun
Rootmaya (प्रातिपदिक)
FormMasculine, Instrumental (3rd/तृतीया), Singular; proper name (Maya)
māyāvināby the magician
māyāvinā:
Karaṇa (करण)
TypeAdjective
Rootmāyāvin (प्रातिपदिक)
FormMasculine, Instrumental (3rd/तृतीया), Singular; adjective used substantively
vinirmitāḥconstructed
vinirmitāḥ:
Karta (कर्ता) / Predicate adjective
TypeAdjective
Rootvinirmita (कृदन्त; √mā/मा with नि-वि- prefix)
FormMasculine, Nominative (1st/प्रथमा), Plural; Past Passive Participle (क्त/PPP)
puraḥcities
puraḥ:
Karta (कर्ता) / Subject (with vinirmitāḥ)
TypeNoun
Rootpura (प्रातिपदिक)
FormFeminine, Nominative (1st/प्रथमा), Plural (Vedic/epic form ‘puraḥ’ for ‘purāḥ’)
nānā-maṇi-pravara-praveka-viracita-vicitra-bhavana-prākāra-gopura-sabhā-caitya-catvara-āyatana-ādibhiḥwith various structures etc. made of superb gems
nānā-maṇi-pravara-praveka-viracita-vicitra-bhavana-prākāra-gopura-sabhā-caitya-catvara-āyatana-ādibhiḥ:
Karaṇa (करण)
TypeNoun
Rootnānā + maṇi + pravara + praveka + viracita(√rac/रच्, कृदन्त) + vicitra + bhavana + prākāra + gopura + sabhā + caitya + catvara + āyatana + ādi (प्रातिपदिक)
FormNeuter/Masculine, Instrumental (3rd/तृतीया), Plural; बहुपद-तत्पुरुष: ‘with various wondrous buildings, walls, gateways, halls, shrines, squares, temples, etc., fashioned with excellent gems’
nāga-asura-mithuna-pārāvata-śuka-sārikā-kīrṇa-kṛtrima-bhūmibhiḥwith artificial grounds filled with nāgas/asuras and birds
nāga-asura-mithuna-pārāvata-śuka-sārikā-kīrṇa-kṛtrima-bhūmibhiḥ:
Karaṇa (करण)
TypeNoun
Rootnāga + asura + mithuna + pārāvata + śuka + sārikā + kīrṇa(√kṝ/कीर्, कृदन्त) + kṛtrima + bhūmi (प्रातिपदिक)
FormFeminine, Instrumental (3rd/तृतीया), Plural; बहुपद-तत्पुरुष: ‘with artificial grounds strewn with pairs of nāgas/asuras and with pigeons, parrots, mynas, etc.’
vivara-īśvara-gṛha-uttamaiḥwith excellent mansions of the cavern-lords
vivara-īśvara-gṛha-uttamaiḥ:
Karaṇa (करण)
TypeNoun
Rootvivara + īśvara + gṛha + uttama (प्रातिपदिक)
FormNeuter, Instrumental (3rd/तृतीया), Plural; तत्पुरुष: ‘with excellent houses of the lords of the caverns’
samalaṅkṛtāḥadorned
samalaṅkṛtāḥ:
Karta (कर्ता) / Predicate adjective
TypeAdjective
Rootsamalaṅkṛta (कृदन्त; √kṛ/कृ with सम्+अलङ्)
FormMasculine, Nominative (1st/प्रथमा), Plural; Past Passive Participle (क्त/PPP)
cakāsatishine
cakāsati:
Kriyā (क्रिया)
TypeVerb
Root√kāś (धातु)
FormPresent tense (लट्), Parasmaipada, 3rd person (प्रथमपुरुष), Singular; impersonal/collective subject ‘puraḥ’
M
Mahārāja Parīkṣit
M
Maya Dānava

FAQs

Bhagavatam 5.24.9 describes radiant subterranean cities built by Maya, filled with gem-made palaces, gates, halls, temples, and lively artificial landscapes populated by nāgas and birds—showing extraordinary material opulence below the earth.

In Canto 5, Śukadeva answers Parīkṣit’s inquiries about the structure of the universe by detailing the regions below the earth, including their rulers and the remarkable, illusory opulence fashioned by Maya.

Even astonishing beauty and luxury—especially when produced by māyā—remain material and temporary; the verse nudges a seeker to appreciate creation without becoming absorbed in opulence, and to prioritize devotion and liberation over fascination with splendor.