Matsya Purana — Brahmā’s Four Faces, Shloka 43

Devanagari script

उपयेमे स विश्वात्मा शतरूपाम् अनिन्दिताम् संबभूव तया सार्धम् अतिकामातुरो विभुः सलज्जां चकमे देवः कमलोदरमन्दिरे //

Transliteration

upayeme sa viśvātmā śatarūpām aninditām saṃbabhūva tayā sārdham atikāmāturo vibhuḥ salajjāṃ cakame devaḥ kamalodaramandire //

Translation

彼普遍之我（宇宙之灵）迎娶无瑕的舍多卢帕为妻；而大能者为炽盛欲念所迫，与她相合。神在那莲腹之居（如莲之宫）中欢悦于她——她含羞而端谨。

Word by Word

• उपयेमे (upayeme): married, took as wife

• स (sa): he

• विश्वात्मा (viśvātmā): the Universal Self, all-pervading one

• शतरूपाम् (śatarūpām): Śatarūpā (the woman of ‘a hundred forms’)

• अनिन्दिताम् (aninditām): blameless, irreproachable

• संबभूव (saṃbabhūva): united with, came together with

• तया (tayā): with her

• सार्धम् (sārdham): together

• अतिकामातुरः (atikāmāturaḥ): greatly afflicted/overwhelmed by desire

• विभुः (vibhuḥ): the mighty lord, powerful one

• सलज्जाम् (salajjām): modest, bashful

• चकमे (cakame): delighted in, desired, took pleasure in

• देवः (devaḥ): the god, divine being

• कमलोदरमन्दिरे (kamalodaramandire): in the lotus-bellied/lotus-like abode (a poetic epithet for a splendid inner chamber or residence)

Speaker

• Sūta (narrating the Purāṇic account in third-person)

Entities Mentioned

• Viśvātmā (the all-pervading lord)
• Śatarūpā

Tags

• Creation
• Genealogy
• Prajapati
• Manu
• Śatarūpā

FAQs

What does this verse reveal about the creation or dissolution (Pralaya)?

It reflects the creative (sarga) phase: through the divine union with Śatarūpā, progeny and social lineages are set in motion—an origin motif rather than a dissolution (pralaya) teaching.

How does this verse relate to the duties of a King or Householder?

By foregrounding marriage and sanctioned union, it supports the gṛhastha (householder) ideal—procreation and continuity of lineage as a dharmic foundation later mirrored in royal genealogies.

What is the architectural or ritual significance mentioned here?

The phrase “kamalodara-mandire” is poetic imagery of an auspicious inner abode (mandira), evoking lotus symbolism used widely in temple iconography and sacred-space aesthetics, though no direct Vāstu rule is prescribed in this verse.