Uttara Purana

SR No.: 002728
Original Sutra Author: Gunbhadrasuri
Author: Pannalal Jain
Publisher: Bharatiya Gyanpith
Publication Year: 2000
Total Pages: 738
Language: Hindi, Sanskrit
Classification: Book_Devnagari & Mythology
File Size: 20 MB

Page 235

त्रिषष्टितम पर्व
२०७ मामृतांशोनिशासनादुष्णत्वानास्करस्य च । तेजस्तस्योपमान स्याद् भूषणक्ष्माजतेजसः॥४७॥ कान्तेः का वर्णना तस्य यदि शक्रः सहस्ररक् । शचीवदनपङ्केजविमुखस्तं निरीक्षते ॥ ४४८॥ भूषणानां कुलं लेभे शोभा तस्याङ्गसङ्गमात् । महामणिनिबद्धद्धसुधौतकलधौतवत् ॥ ४४९ ॥ स्वनामश्रुतिसंशुष्यन्मदारिकरिसंहतेः। रवोऽराजत राजेशो राजकण्ठीरवस्य वा ॥ ४५० ॥ कोतिवल्ली जगत्प्रान्तं प्राप्य प्रागेव जन्मनः । तदीयालम्बनाभावादिव तावति सुस्थिता ॥ ४५१ ॥ कुलरूपवयःशीलकलाकान्त्यादिभूषणाः । कन्यकास्तत्पिता तेनायोजयद्रतिदायिनीः ॥ ४५२ ॥ कामिनीनीलनीरेजदलोज्वलविलोचनैः। प्रेमामृताम्बुसंसिक्तैर्मुहुराहादिताशयः ॥ ४५३ ॥ वल्लभावलितालोललीलालसविलोकनैः। स्वमनोधनलुण्टाकरखण्डं स शमेयिवान् ॥१५॥ उपञ्चवर्गसहस्राब्दकाले गतवतीशितुः । कौमारेण सुखैरेव दिव्यमानुषगोचरैः ॥ ४५५ ॥ ततोऽनु तत्प्रमाणेन विश्वसेनसमर्पिते। राज्येऽप्यच्छिन्नभोगस्य काले विगलिते तदा ॥ ४५६ ॥ साम्राज्यसन्धनान्यस्य चक्रादीनि चतुर्दश । रत्नानि निधयोऽभूवन्नव चाविष्कृतौजसः ॥ ४५७ ॥ तेषु चक्रातपत्रासिदण्डाः शनगृहेऽभवन् । काकिणी चर्मचूलादिमणिश्च श्रीनिकेतने ॥ ४५८ ॥ पुरोधाः स्थपतिः सेनापतिर्गृहपतिश्च ते। हास्तिनाख्यपुरे कन्यागजाश्वाः खगभूधरे ॥ ४५९ ॥ नवापि निधयः पूज्या नदीसागरसङ्गमे । तदानीमेव देवेशैरानीताः पुण्यचोदितैः ॥ ४६॥
इत्याधिपत्यमासाद्य दशभोगाङ्गसङ्गतः। तावत्येव गते काले स्वालकारालयान्तरे ॥ ४६१ ॥ करते हैं यह सोचकर ही मानो नवीन पत्तोंके समान उनके दोनों पैर रागी-रागसहित अथवा लालरंगके हो रहे थे ।। ४४६ ।। चन्द्रमाके साथ रात्रिका समागम रहता है और सूर्य उष्ण है अतः ये दोनों ही उनके तेजकी उपमा नहीं हो सकते। हाँ, इतना कहा जा सकता है कि उनका तेज भूषणांग जातिके कल्पवृक्षके तेजके समान था ॥४४७ । जब कि हजार नेत्रवाला इन्द्र इन्द्राणीके मुखकमलसे विमुख होकर उनकी ओर देखता रहता है तब उनकी कान्तिका क्या वर्णन किया जावे ॥४४॥ जिस प्रकार महामणियोंसे निबद्ध देदीप्यमान उज्वल सुवर्ण सुशोभित होता है उसी प्रकार उनके शरीरके समागमसे आभूषणोंका समूह सुशोभित होता था ।। ४४६ ॥ अपने नामके सुनने मात्रसे ही जिन्होंने शत्रुरूपी हाथियोंके समूहका मद सुखा दिया है ऐसे राजाधिराज भगवान् शान्तिनाथका शब्द सिंहके शब्दके समान सुशोभित होता था ।। ४५० ॥ उनकी कीर्तिरूपी लता जन्मसे पहले ही लोकके अन्त तक पहुँच चुकी थी परन्तु उसके आगे आलम्बन न मिलने से वह वहीं पर स्थित रह गई ॥ ४५१ ॥ उनके पिताने कुल, रूप, अवस्था, शील, कला, कान्ति आदिसे विभूषित सुख देनेवाली अनेक कन्याओंका उनके साथ समागम कराया था-अनेक कन्याओंके साथ उनका विवाह कराया था ।। ४५२ ।। प्रेमामृतरूपी जलसे सींचे हुए त्रियोंके नीलकमलदलके समान नेत्रोंसे वे अपना हृदय बार-बार प्रसन्न करते थे॥ ४५३ ।। अपने मनरूपी धनको लूटनेवाली खयोकी तिरछी चञ्चल लीलापूर्वक और आलसभरी चितवनोंसे वे पूणे सुखको प्राप्त होते थे । ४५४ ॥ इस तरह देव और मनुष्योंके सुख भोगते हुए भगवान्के जब कुमारकालके पञ्चीस हजार वर्ष बीत गये तब महाराज विश्वसेनने उन्हें अपना राज्य समर्पण कर दिया। क्रम-क्रमसे अखण्ड भोग भोगते हुए जब उनके पच्चीस हजार वर्ष और व्यतीत हो गये तब तेजको प्रकट करनेवाले भगवानके साम्राज्यके साधन चक्र आदि चौदह रत्न और नौ निधियाँ प्रकट हुई ॥४५५-४५७ ।। उन चौदह रत्नोंमेंसे चक्र, छत्र, तलवार और दण्ड, ये आयुधशालामें उत्पन्न हुए थे, काकिणी, चर्म और चूड़ामणि श्रीगृहमें प्रकट हुए थे, पुरोहित, स्थपति, सेनापति और गृहपति हस्तिनापुरमें मिले थे और कन्या गज तथा अश्व विजयार्ध पर्वत पर प्राप्त हुए थे॥ ४५८-४५६ ॥ पूजनीय नौ निधियाँ भी पुण्यसे प्रेरित हुए इन्द्रोंके द्वारा नदी और सागरके समागम पर लाकर दी गई
॥ इस प्रकार चक्रवतीका साम्राज्य पाकर दश प्रकारके भोगोंका उपभोग करते हुए जब १ भूषणाजकल्पवृक्षतेजसः । २ शम् सुखम् एयिवान् प्राप्तवान् ।। पञ्चविंशत् ल ।

Translation AI Generated

## The Trishatittama Parva

**Chapter 207**

**47.** The moon's cool rays and the sun's heat cannot be compared to his brilliance. His radiance was like that of the Kalpavriksha, the wish-fulfilling tree, adorned with jewels.

**448.** How can one describe his beauty when even Indra, with his thousand eyes, turns away from the lotus face of Sachi (Indrani) to gaze upon him?

**449.** The ornaments, like a cluster of great jewels, shone brightly, adorned by their contact with his body.

**450.** His voice, like the roar of a lion, dried up the pride of the elephant-like enemies, just as the sound of the king of the birds, the Garuda, silences the roar of the king of the snakes.

**451.** His fame, like a creeper, had reached the edge of the universe even before his birth. But without a support, it remained there, unable to spread further.

**452.** His father arranged marriages for him with many beautiful daughters, adorned with qualities like lineage, beauty, youth, character, skills, and radiance.

**453.** His eyes, like the blue lotus petals, were filled with the nectar of love, and they constantly delighted his heart.

**454.** With his playful, languid glances, he stole the treasure of his mind, and thus he attained complete bliss.

**455.** Twenty-five thousand years of his childhood passed in divine and human realms, filled with happiness.

**456.** Then, after that period, King Vishvasena, with complete faith, entrusted him with the kingdom. As time passed, he enjoyed uninterrupted pleasures.

**457.** Fourteen treasures, including the wheel, emerged as the instruments of his empire, along with nine treasures, radiating with brilliance.

**458.** Among those fourteen treasures, the wheel, umbrella, sword, and staff were found in the armory, while the coin, leather, and jewel-studded crown were discovered in the treasury.

**459.** The priest, architect, general, and household manager were found in Hastinapur, while the daughters, elephants, and horses were found on Mount Vijayardha.

**460.** The nine treasures, worthy of worship, were brought by the gods, inspired by merit, from the confluence of the river and the ocean.

**461.** Having attained the sovereignty of the Chakravarti, and enjoying the ten pleasures, he remained in his palace, even after the passage of time.

**446.** Thinking this, his two feet, like new leaves, were becoming red with love and passion.

**Note:** The translation preserves the Jain terms like "Kalpavriksha," "Chakravarti," and "Trishatittama Parva." It also attempts to convey the poetic and devotional tone of the original text.