Śrīmad-Bhāgavatam 10.69.7-8
Blended reading (Sanskrit + English inline)
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antaḥ-puram
—
the private royal precinct
Compound: antaḥ (inner) + pura (city). The inmost residential quarter — where Bhagavān is approached not as world-ruler but as gṛhastha. The chapter's whole reversal turns on this word: even Kṛṣṇa's inner apartments are not 'private' in the worldly sense, since each one holds Him in full.
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tvaṣṭrā
—
by Tvaṣṭā (Viśvakarmā)
Tvaṣṭā / Viśvakarmā is the architect of the devas. That he is summoned for Dvārakā — and shown completely (kārtsnyena darśitam) — signals that this dhāma exceeds anything in the heavenly planets. The devas serve, the Lord is served.
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ṣoḍaśabhiḥ
—
with sixteen thousand
The fixed number rescued from Bhaumāsura (SB 10.59). Each palace is a complete residence with a complete Kṛṣṇa — Gauḍīyas read the number as a marker of Bhagavān's unbounded svarūpa-śakti, not as a folkloric exaggeration.
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hareḥ
—
of Lord Hari
Hari — He who takes away (√hṛ). Even surrounded by sixteen thousand consorts and the opulence of Dvārakā, Bhagavān remains Hari, the one whose proximity removes anarthas. Aiśvarya does not eclipse the saving function.
Śrīla Jīva Gosvāmī points out that Tvaṣṭā, Viśvakarmā, manifested the expertise of the Supreme Lord, and thus he was able to build such exquisite palaces. Śrīla Prabhupāda writes: “The great kings and princes of the world used to visit these palaces just to worship [Lord Kṛṣṇa]. The architectural plans were made personally by Viśvakarmā, the engineer of the demigods, and in the construction of the palaces he exhibited all of his talents and ingenuity.”
In Dvaraka there were decorated palaces. Narada entered one of the queen’s palaces.
The palaces are described in six verses. The place was endowed with all beauty and wealth (śrīmat). In this area, Viśvakarmā’s extraordinary (sva) architectural skill was continually revealed. These sixteen thousand palaces were more attractive than the buildings previously described, being completely ornamented (sam—alaṅkṛtam). Nārada entered a great palace—the oldest and best (mahat) belonging to Rukmiṇī. This is also mentioned in verse 14. This was the reason he entered this palace first. The phrase hareḥ sva-kauśalaṁ yatra tvaṣṭrā kārtsnyena darśitam can also mean “The palaces were manifested by Viśvakarmā through the instructions of the Lord, not by his own powers.”
A jeweler's master craftsman works to the limit of his art when commissioned by his king; Viśvakarmā, architect of the devas, is given Dvārakā as the one place where he may show his entire kauśalam. The setting is not incidental — it is the visible shape of Bhagavān's aiśvarya, the opulent register of Kṛṣṇa's līlā.
My note
Source: vedabase.io