Pashyatam sarvadevanam tatraivaantaradhiyata, Atha Dhataa Maha Gouryah pratibimba manoharam/
Chakaara Divyalohena Maha Gourisamaakruti, Tarunaaruna Rajiva soundarya charana dvayam/
Kanatkanaka manjira pinjari kruta pithakam, Vidyudullasa Vasanamanognya manimekhalam/
Ratnakeyura vilasiddhirajita bhujadvayam, Mukta vaidurya manikya nibadhodhara bandhanam/
Vibhrajamanam madhyena valitritayashobhina, Jahnavi saridavartashobhinabhi vibhushitam/
Paatira panka karpur kumkuma alankritastanam, Aamuktamuktaalankara bhasurastanachuchukam/
Vilasena katideshanyasta vamkaarambujam, Manikyashakalaabadha mudrikabhiralankrutam/
DakshahastaambujaasaktasnigdhotpalamanoharamAadhymaprapadeenaischa divyakalpakadambakaih/
Deepta bhushana ratnamshu rajirajitadinmukham, Tapta haataka samklyupta ratnagraiveya shobhitam/
Mangalyasutra ratnanshushrenee manjula kandharam, Valeevatmsa maanikya taatanka pari bhushitam/
Japavidruma lavanya lalitadhara pallavam, Dadimiphalabijaabha dantapankti viraajitam/
Shuchimandasmitollaasi kapola phalkojjvalam, Aoupamyara hitodaara nasamani manoharam/
Vilasattkila pushpa shrivijayodyata nasikam, Isha dunmesha madhura nilotpala vilochanam/
Prasunachaapa chaapa Shri Lalita bhruvilasakam, Ardhendutulitam phaaley purnenduruchirananam/
Saandra saurabha sampanna kasturi tilakojvalam, Maktalimala vilasadalakaadhya mukhaambujam/
Paarijaata prasuna stragvalugu dhammilla bandhanam, Anargha ratna khachita makutaanchita mastakam/
Sarvalavanya vasatim bhavanam vibhramaashriyah/
Shivo Vishnuscha tatratyaassamastaascha mahajanah, Bimbasaya tasya Devyasch na bhedam jagruhustada/
Atha bimbam Maheshani swatantraa pravivesha tat/
Agratassarva Devaanaamaascharyena prapashyataamBimbaakrutyaatmano Bimbey samaagatya sthitaam cha taam/
(Shri Maha Gauri’s sacred feet are bright and delicate like red lotuses with her ankles stringed around with golden chains fitted with tiny trinklets made of a flash of precious stones making soft sounds partly hiding the glory of the lustrous silk sari that she was dressed in. She was ornamenetd with a charmingly designed ‘Odhyana bandhana’ (girdle) of gold with Nine Gems enhancing the glitter of the Sari. Her ever-forgiving hands have Nava Ratna Khachita Keyuraas or armlets. Her vakshasthala was smeared with Karpura- Kumkuma-Akshataas and her graceful left hand carried ruby studded rings of gold; her right hand carried ‘snigdhotpala’ or fully blossomed lotus; her Mangala Sutra was augmenting the beauty and splendour emitted by the Kiranas / rays of a graceful mix of neck laces; her Adhara Pallavas (tender lips) were of soft and crimson redness; her cheeks were dimpled and constantly smiling and benign; her nose excels with distinction wearing a noselet of a single but unique diamond; her forehead was like half moon but her full face was far beyond the cool brightness of a Full Moon; her Suvarana Kireeta / golden headgear full of a sparkling mix of multi-coloured an dazzling precious Stones unavailable and unseen by the Eyes of Devatas let alone human beings; She was the Epitome of Grace; the Embodiment of Kindness and the Personification of Auspiciousness).
As the description of Maha Gauri’s Physique ended, Vishnu and Maheshwara could not distinguish between her and her Bimba (Hallow) and she got absorbed in it. Shri Hari prostrated before her and requested her that as per the past practice, they would wish to celebrate the Sacred Wedding of Gauri and Maha Deva so that the general public would not be deprived of an opportunity to reach their Fulfilment of desires besides attaining Salvation. There was a Celestial Approval of the Wedding Proposal stating ‘Tathaastu’ or so be it. The Kalyana was celebrated as described above in the same Annexure I and the Deities settled in their respective positions; while Shri Kama Koshtha was in the center of Shripura, Devi Lakshmi was to its left and Vishnu was to the right. Each year, human beings should celebrate the Kalyanotsava and continue to enjoy prosperity, long life and happiness.
