Shloka 194
Kroṣṭu–Yādava Lineages, the Syamantaka Jewel, Krishna’s Birth Context, and the Māyāmoha Account
द्विसप्ततिं तथान्यानि नियुतान्यधिकानि तु । अशीति च सहस्राणि त्रैलोक्यैश्वर्यवानभूत्
dvisaptatiṃ tathānyāni niyutānyadhikāni tu | aśīti ca sahasrāṇi trailokyaiśvaryavānabhūt
Ông đạt quyền thống trị cõi Tam giới trong bảy mươi hai, lại thêm các niyuta (hàng vạn) nữa, và suốt tám vạn năm.
Unspecified (narratorial continuation within Adhyaya 13)
Concept: Even trailokya-aiśvarya (lordship over the three worlds) is time-bound and therefore not the highest goal.
Application: Do not equate success with ultimate fulfillment; pursue devotion and ethical restraint alongside ambition.
Primary Rasa: adbhuta
Secondary Rasa: raudra
Type: celestial_realm
Visual Art Cues: {"scene_description":"A panoramic cosmic map unfurls behind the asura ruler: the earth with oceans and mountains below, the mid-sky with planets and nāga-like cloud currents, and the luminous deva realm above. The king’s insignia—banner, crown, and scepter—casts a long shadow across all three tiers, emphasizing the reach yet also the impermanence of dominion.","primary_figures":["Asura sovereign (Hiraṇyakaśipu implied)","personified Trailokya (three-tiered realms)"],"setting":"A stylized cosmic vista with three stacked realms, like a sacred diagram turned into a royal tableau.","lighting_mood":"divine radiance","color_palette":["celestial blue","sunlit gold","cloud white","emerald green","royal purple"],"tanjore_prompt":"Tanjore painting style: central asura king with ornate gold crown and scepter; behind him a tripartite trailokya rendered in concentric gold-framed panels—earth with oceans, mid-sky with planets, heaven with deva palaces; heavy gold-leaf halos and architectural borders, jewel-toned reds/greens, symmetrical composition.","pahari_prompt":"Pahari miniature style: delicate triptych landscape—lower earth with rivers and forests, middle with swirling clouds and grahas, upper with a bright deva city; the ruler seated to one side, refined detailing on textiles; cool blues and soft greens with lyrical atmosphere.","kerala_mural_prompt":"Kerala mural style: three horizontal registers for the worlds; bold outlines, flat luminous colors; the sovereign in frontal pose with stylized ornaments; lotus and vine motifs framing the cosmic tiers; dominant yellow-red-green palette with controlled blue accents.","pichwai_prompt":"Pichwai cloth painting style: trailokya depicted as ornate bands filled with lotus rosettes and cloud scrolls; central royal figure framed by intricate floral borders; deep blue ground with gold highlights; peacocks and stylized celestial motifs to suggest the upper realm’s splendor."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft cymbals","distant conch","wind through high clouds"]}
Sandhi Resolution Notes: तथान्यानि = तथा + अन्यानि; नियुतान्यधिकानि = नियुतानि + अधिकानि; त्रैलोक्यैश्वर्यवानभूत् = त्रैलोक्य + ऐश्वर्यवान् + अभूत् (सन्धि: य्/व् संयोग, पदसंयोग)
FAQs
It states a specific duration during which a figure attained and held sovereignty (aiśvarya) over the three worlds (trailokya), using large-number terms like niyuta and sahasra.
Niyuta is a traditional Sanskrit large-number term commonly interpreted as ten thousand; here it is used to quantify an extended span of time.
This single verse does not explicitly name a speaker; it reads like narrative exposition within Adhyaya 13, so the speaker is best marked as unspecified without the surrounding verses.