Srimad Bhagavatam — Dashama Skandha, Shloka 56

Chapter 54

Devanagari script

सा वृष्णि-पुरी उत्तम्भितेन्द्र-केतुभिः

विचित्र-माल्याम्बर-रत्न-तोरणैः ।

बभौ प्रति-द्वार्य् उपकॢप्त-मङ्गलैर्

आपूर्ण-कुम्भागरु-धूप-दीपकैः ॥

Transliteration

sā vṛṣṇi-pury uttambhitendra-ketubhir $ vicitra-mālyāmbara-ratna-toraṇaiḥ & babhau prati-dvāry upakḷpta-maṅgalair % āpūrṇa-kumbhāguru-dhūpa-dīpakaiḥ //

Translation

弗利什尼人的城邑光辉灿然：胜利旗幡高举如因陀罗之旌，缀以缤纷花鬘、华美织物与宝石拱门；每一门前皆陈设吉祥之物——满水之壶、芬芳的沉香熏烟与明灯。

Synonyms

• सा: she/that (city)
• सा: Karta (कर्ता)
• Type: Noun
• Root: तद् (सर्वनाम-प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा-विभक्ति, एकवचन; सर्वनाम

• वृष्णि-पुरी: the Vṛṣṇi city (Dvārakā)
• वृष्णि-पुरी: Karta (कर्ता)
• Type: Noun
• Root: वृष्णि (प्रातिपदिक) + पुरी (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा-विभक्ति, एकवचन; षष्ठी-तत्पुरुष: वृष्णीनां पुरी (city of the Vṛṣṇis)

• उत्तम्भित-इन्द्र-केतुभिः: with lofty banners raised
• उत्तम्भित-इन्द्र-केतुभिः: Karaṇa (करण)
• Type: Adjective
• Root: उद् + स्तम्भ् (धातु) → उत्तम्भित (कृदन्त) + इन्द्र-केतु (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया-विभक्ति, बहुवचन; तत्पुरुष (कर्मधारय-प्राय): इन्द्रकेतवः (very tall banners/flagstaffs); उत्तम्भितैः इन्द्रकेतुभिः (with raised lofty banners)

• विचित्र-माल्य-अम्बर-रत्न-तोरणैः: with splendid garlands, cloths, jewels, and festoons
• विचित्र-माल्य-अम्बर-रत्न-तोरणैः: Karaṇa (करण)
• Type: Noun
• Root: विचित्र (प्रातिपदिक) + माल्य (प्रातिपदिक) + अम्बर (प्रातिपदिक) + रत्न (प्रातिपदिक) + तोरण (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, तृतीया-विभक्ति, बहुवचन; इतरेतर-द्वन्द्व (enumerative): माल्याणि च अम्बराणि च रत्नानि च तोरणानि च (with variegated garlands, cloths, jewels, and archways)

• बभौ: shone/appeared splendid
• बभौ: Kriyā (क्रिया)
• Type: Verb
• Root: भा (धातु)
• Form: लिट्-लकार (Perfect), प्रथम-पुरुष, एकवचन; परस्मैपद

• प्रति-द्वारि: at each door
• प्रति-द्वारि: Adhikaraṇa (अधिकरण)
• Type: Indeclinable
• Root: प्रति (अव्यय) + द्वार (प्रातिपदिक)
• Form: अव्ययीभाव: प्रति द्वारम्/द्वारि (at each doorway); सप्तमी-एकवचन रूप ‘द्वारि’ अव्ययीभावे अव्ययवत्

• उपकॢप्त-मङ्गलैः: with auspicious arrangements
• उपकॢप्त-मङ्गलैः: Karaṇa (करण)
• Type: Noun
• Root: उप + कॢप् (धातु) → उपकॢप्त (कृदन्त) + मङ्गल (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, तृतीया-विभक्ति, बहुवचन; तत्पुरुष: उपकॢप्तानि मङ्गलानि (with arranged auspicious items)

• आपूर्ण-कुम्भ-अगरु-धूप-दीपकैः: with full jars, incense (aloe), and lamps
• आपूर्ण-कुम्भ-अगरु-धूप-दीपकैः: Karaṇa (करण)
• Type: Noun
• Root: आ + पूर् (धातु) → आपूर्ण (कृदन्त) + कुम्भ (प्रातिपदिक) + अगरु (प्रातिपदिक) + धूप (प्रातिपदिक) + दीपक (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया-विभक्ति, बहुवचन; समाहार/इतरेतर-द्वन्द्व (contextual enumeration): आपूर्णकुम्भाः च अगरवः/अगरु-धूपः च दीपकाः च (with full jars, aloe/incense, and lamps)

Purport

The Bhāgavata here lingers on the visual theology of auspiciousness. Dvārakā (the Vṛṣṇis’ city) is not merely decorated for spectacle; it becomes a sacred landscape proclaiming Kṛṣṇa’s presence. “Indra-ketu” imagery suggests royal triumph and protection—yet in Kṛṣṇa-līlā, the ultimate sovereignty belongs to Bhagavān, not the demigods. The lifted banners announce victory of divine order: the marriage is not a private event but a cosmic affirmation of dharma. The details—garlands, cloth, jeweled toraṇas—show that beauty can be devotional when it points toward the Lord. The repeated emphasis on “prati-dvāri” (at every door) indicates that auspiciousness is communal, not confined to palaces. The “āpūrṇa-kumbha” symbolizes abundance and welcome; “aguru-dhūpa” and “dīpaka” evoke purity, fragrance, and illumination—external signs of an inner intention to honor the Lord and invite blessings. For seekers, the verse teaches that bhakti is not only inward meditation; it also expresses itself through creating uplifting, sattvic environments—homes and communities oriented toward remembrance of Kṛṣṇa.

Characters & Entities

• Kṛṣṇa
• Rukmiṇī
• Vṛṣṇis
• Dvārakā
• Indra

FAQs

What does the Srimad Bhagavatam say about auspicious decorations in Dvārakā?

This verse describes Dvārakā shining with banners, garlands, jeweled archways, and auspicious doorway arrangements like full pots, incense, and lamps to honor Kṛṣṇa’s celebration.

Why are full water pots, incense, and lamps placed at every doorway?

They are traditional symbols of welcome, purity, abundance, fragrance, and illumination—signaling that the whole community is prepared to receive divine auspiciousness.

Practical application of this verse in modern life?

Keep your living space spiritually uplifting—clean, fragrant, and prayerful—so daily life supports remembrance and devotion rather than distraction.