SB 10.16.26 · Srimad-Bhagavatam

Devanagari

एवं परिभ्रमहतौजसमुन्नतांस- मानम्य तत्पृथुशिर:स्वधिरूढ आद्य: । तन्मूर्धरत्ननिकरस्पर्शातिताम्र- पादाम्बुजोऽखिलकलादिगुरुर्ननर्त ॥ २६ ॥

Verse text

evaṁ paribhrama-hataujasam unnatāṁsam ānamya tat-pṛthu-śiraḥsv adhirūḍha ādyaḥ tan-mūrdha-ratna-nikara-sparśāti-tāmra- pādāmbujo ’khila-kalādi-gurur nanarta

Synonyms

evam — in this way ; paribhrama — because of the Lord’s moving around him ; hata — spoiled ; ojasam — whose strength ; unnata — raised high ; aṁsam — whose shoulders ; ānamya — making him bend down ; tat — his ; pṛthu — śiraḥsu — onto the broad heads ; adhirūḍhaḥ — having climbed up ; ādyaḥ — the ultimate origin of everything ; tat — his ; mūrdha — on the heads ; ratna — nikara — the numerous jewels ; sparśa — because of touching ; ati — tāmra — very much reddened ; pāda — ambujaḥ — whose lotus feet ; akhila — kalā — of all arts ; ādi — guruḥ — the original spiritual master ; nanarta — began to dance .

Translation

Having severely depleted the serpent’s strength with His relentless circling, Śrī Kṛṣṇa, the origin of everything, pushed down Kāliya’s raised shoulders and mounted his broad serpentine heads. Thus Lord Śrī Kṛṣṇa, the original master of all fine arts, began to dance, His lotus feet deeply reddened by the touch of the numerous jewels upon the serpent’s heads.

Translation (Visvanatha Cakravarti Thakura)

Having severely depleted the serpent's strength with His relentless circling, Śrī Kṛṣṇa, the origin of everything, pushed down Kāliya's raised shoulders and mounted his broad serpentine heads. Thus Lord Śrī Kṛṣṇa, the original master of all fine arts, began to dance, His lotus feet deeply reddened by the touch of the numerous jewels upon the serpent's heads. KB 10.16.26 As Kṛṣṇa and Kāliya moved in a circle, the serpent gradually became fatigued, and his strength seemed to diminish considerably. Kṛṣṇa immediately pressed down the serpent’s hoods and jumped up on them. The Lord’s lotus feet became tinged with red from the rays of the jewels on the snake’s hoods. Then He who is the original artist of all fine arts, such as dancing, began to dance upon the hoods of the serpent, although they were moving to and fro.

Purport

Śrī Hari-vaṁśa states, śiraḥ sa kṛṣṇo jagrāha sva-hastenāvanamya: “Kṛṣṇa grabbed Kāliya’s head with His hand and forced it to bow down.” Most people in this world are quite reluctant to bow down to the Supreme Person, the Absolute Truth. In the contaminated state called material consciousness, we conditioned souls become proud of our insignificant position and are thus reluctant to bow our heads before the Lord. Yet just as Lord Kṛṣṇa forcibly pushed Kāliya’s heads down and thus defeated him, the Supreme Lord’s energy in the form of irresistible time kills all conditioned souls and thus forces them to bow down their arrogant heads. We should therefore give up the artificial position of material life and become faithful servants of the Supreme Lord, enthusiastically bowing down at His lotus feet. Śrīla Viśvanātha Cakravartī Ṭhākura explains that Lord Kṛṣṇa’s lotus feet became red like copper because of their contact with the numerous hard jewels upon the heads of Kāliya. Lord Kṛṣṇa, with those glowing reddish feet, then began to demonstrate His artistic skill by dancing on the unsteady, moving surface of the serpent’s hoods. This extraordinary demonstration of dancing skill was meant for the pleasure of the young women of Vṛndāvana, who at this phase of their relationship with Kṛṣṇa were seriously falling in love with Him.

Purport (Visvanatha Cakravarti Thakura)

Kaliya, who had very high shoulders, gradually became tired from turning around to catch Krsna, and thus Krsna was able to bend down his head with one hand. Raising himself upon Kaliya’s head, he began to dance. Hari vamsa confirms this. He danced with his lotus feet which were reddened (ati tamra) because of the hard touch of all the jewels on Kaliya’s head. The dancer somtimes dances on various objects such as dishes to show his expertise. Krsna danced on the moving heads of Kaliya for this reason, and also to show that he was the original guru of all arts. It should be understood however that he especially want to show the young women of Vraja who were attracted to him his skill in dancing.

Purport (Jiva Goswami)

Though Kāliya was fatigued from Kṛṣṇa circling him, his shoulders were still raised. Therefore with his hand Kṛṣṇa lowered his shoulders. Hari-vaṁśa says śiraḥ sa kṛsṇo jagrāha svahastenāvanamya ca: Kṛṣṇa grasped his head and lowered it. Kāliya’s head was broad, making it suitable as a dancing arena. Kṛṣṇa lightly touched his jeweled head with his feet, but because his feet were very soft, they became red. This indicates the beauty of Kṛṣṇa’s feet. Because Kṛṣṇa is first (ādyaḥ), he is the first guru (adi-guruḥ). By this, Kāliya’s great fortune is indicated.

Purport (Sanatana Goswami)

Though Kāliya was fatigued from Kṛṣṇa circling him, his shoulders were still raised. Therefore Kṛṣṇa lowered them. Kāliya’s head was broad, making it suitable as a dancing arena. Dancing on his head revealed Kṛṣṇa’s beauty, his absorption in dancing and his skill. He was the best teacher of all arts, or the first promoter of arts. Or because he was supreme (ādi) he mounted his hoods. This hints at great auspiciousness for Kāliya (having a guru). Later more will be explained. The word kalā will also be explained.