Shloka 13
The Account and Merit of Śivadūtī
with the Nāga-tīrtha at Puṣkara
अनंतो वासुकिश्चैव तक्षकश्च महाबलः । कर्कोटकश्च नागेंद्रः पद्मश्चान्यः सरीसृपः
anaṃto vāsukiścaiva takṣakaśca mahābalaḥ | karkoṭakaśca nāgeṃdraḥ padmaścānyaḥ sarīsṛpaḥ
Ananta, Vasuki, Takshaka hùng mạnh, Karkotaka chúa tể loài rắn, và Padma—một con rắn vĩ đại khác—(đều có mặt).
Unspecified (narrative enumeration within the chapter context)
Concept: Cosmos is populated by ordered hierarchies of beings; remembering their names situates the listener within a sacred cosmology oriented toward Viṣṇu’s preservation.
Application: Cultivate reverence for the unseen supports of life—ecological, social, and spiritual; gratitude steadies the mind.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A ceremonial roll-call of the great Nāgas unfolds like a living tapestry: Ananta vast and serene, Vāsuki regal, Takṣaka fierce, Karkoṭaka coiled with stormy power, and Padma gleaming with lotus-like sheen. They appear as jeweled serpent-kings in a luminous subterranean court, their hoods fanned like crowns.","primary_figures":["Ananta (Śeṣa)","Vāsuki","Takṣaka","Karkoṭaka","Padma (Nāga)"],"setting":"Nāga-loka palace with crystal pillars, pearl-studded floors, bioluminescent waters, and lotus motifs echoing the Padma Purāṇa’s emblem.","lighting_mood":"moonlit subterranean glow with jewel-like highlights","color_palette":["opal white","emerald green","lapis blue","amethyst purple","molten gold"],"tanjore_prompt":"Tanjore painting style: five nāga-kings in frontal icon-like arrangement; gold leaf hoods and halos, gem-studded ornaments, rich reds/greens, ornate palace archways, lotus borders, symmetrical devotional composition.","pahari_prompt":"Pahari miniature style: refined nāga court with delicate detailing; cool palette and lyrical water reflections; each serpent-king individualized with subtle expressions; translucent veils of mist and soft shading.","kerala_mural_prompt":"Kerala mural style: bold outlines and stylized hood-fans; saturated greens and yellows; nāga-kings with large expressive eyes; palace backdrop simplified into strong geometric bands and decorative motifs.","pichwai_prompt":"Pichwai cloth painting style: nāga-kings arranged around a central lotus mandala; intricate floral borders, peacocks and vines as framing devices; deep blue ground with gold highlights, ornamental symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low drone","soft cymbals","echoing cavern ambience","gentle water drip"]}
Sandhi Resolution Notes: vāsukiścaiva = vāsukiḥ + ca + eva (visarga sandhi: ḥ + c → śc). takṣakaśca = takṣakaḥ + ca. nāgeṃdraḥ = nāga-indraḥ (a+i → e). padmaścānyaḥ = padmaḥ + ca + anyaḥ (ḥ + c → śc).
FAQs
The verse lists prominent serpent beings: Ananta (Śeṣa), Vāsuki, Takṣaka, Karkoṭaka, and Padma.
In creation-oriented sections, such lists function as cosmological catalogues—mapping important beings and lineages that populate the world-order described by the Purana.
The verse primarily serves as identification rather than moral instruction; indirectly, it reflects the Purāṇic theme that creation includes many orders of beings, each with a recognized place and role in the cosmic hierarchy.