Padma Purana — Bhumi Khanda, Shloka 114
Nahusha’s Challenge to Hunda and the Mustering of Battle
इति श्रीपद्मपुराणे भूमिखंडे वेनोपाख्याने गुरुतीर्थमाहात्म्ये च्यवनचरित्रे नहुषाख्याने चतुर्दशाधिकशततमोऽध्यायः
iti śrīpadmapurāṇe bhūmikhaṃḍe venopākhyāne gurutīrthamāhātmye cyavanacaritre nahuṣākhyāne caturdaśādhikaśatatamo'dhyāyaḥ
આ રીતે શ્રીપદ્મપુરાણના ભૂમિખંડમાં—વેનોપાખ્યાન, ગુરુતીર્થ-માહાત્મ્ય, ચ્યવનચરિત્ર અને નહુષાખ્યાનના પ્રસંગમાં—એકસો ચૌદમો અધ્યાય સમાપ્ત થયો.
Narrator/Redactor (chapter colophon)
Concept: Purāṇic teaching is organized as a chain of upākhyānas and māhātmyas; remembering the topics itself reinforces śraddhā in tīrtha, guru, and dharma narratives.
Application: Treat spiritual learning as structured practice: revisit headings, summarize, and keep a ‘kathā-notebook’ to retain teachings and apply them.
Primary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A palm-leaf manuscript lies open on a low wooden desk, the final ‘iti’ line freshly inscribed, while a calm scribe-sage places a lotus beside the text. In the background, faint vignettes appear like miniature panels—Vena, a sacred tīrtha, Cyavana, and Nahuṣa—suggesting the chapter’s contents as a curated spiritual anthology.","primary_figures":["scribe-sage (lekhaka)","symbolic lotus (padma)","miniature vignette figures: Vena, Cyavana, Nahuṣa (as small panels)"],"setting":"quiet āśrama library with palm-leaf manuscripts, ink pot, stylus, and hanging lamps","lighting_mood":"temple lamp-lit","color_palette":["warm parchment beige","lamp gold","ink black","lotus pink","deep sandalwood brown"],"tanjore_prompt":"Tanjore painting style: a serene manuscript-closure scene with gold-leaf halo around the open text, ornate borders, rich reds and greens; small framed panels in the background depicting Vena, Guru-tīrtha, Cyavana, and Nahuṣa; gem-like highlights on the lamp and manuscript clasps.","pahari_prompt":"Pahari miniature style: intimate indoor āśrama setting with delicate brushwork; the scribe poised over palm leaves, soft shadows, muted earth tones; tiny narrative vignettes arranged like miniature paintings within the same frame.","kerala_mural_prompt":"Kerala mural style: stylized scribe with bold outlines, warm yellow and red pigments; the manuscript enlarged symbolically with the ‘iti’ line prominent; background panels simplified into iconic forms of king, sage, and tīrtha waters.","pichwai_prompt":"Pichwai cloth painting style: decorative composition centered on an open scripture framed by lotus vines and floral borders; four corner medallions showing Vena, a tīrtha-kunda, Cyavana, and Nahuṣa; deep blue ground with gold and white detailing."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bell","page/palm-leaf rustle","low drone (tanpura)","night insects outside āśrama"]}
Sandhi Resolution Notes: तमोऽध्यायः = तमः + अध्यायः (अः + अ → ओऽ). वेनोपाख्याने = वेन + उपाख्याने. गुरुतीर्थमाहात्म्ये = गुरुतीर्थ + माहात्म्ये. च्यवनचरित्रे = च्यवन + चरित्रे. नहुषाख्याने = नहुष + आख्याने. चतुर्दशाधिकशततम = चतुर्दश + अधिक + शत + तम (समास).
FAQs
It is a concluding colophon that marks the end of Adhyaya 114 and summarizes the sub-topics covered (Vena’s episode, the māhātmya of Guru-tīrtha, Cyavana’s story, and the Nahuṣa account).
No. It is primarily editorial/structural, serving as a chapter-end marker and topical index for the chapter’s contents.
“Māhātmya” denotes a section praising the spiritual greatness of a sacred place (tīrtha), typically describing its merits, rituals, and salvific benefits.