Padma Purana — Bhumi Khanda, Shloka 12
Vena Episode Conclusion: Pṛthu’s Merit and the Greatness of Hearing the Padma Purāṇa in Kali-yuga
कलौयुगे तु विघ्नाश्च न जायंते नरस्य वै । व्यास उवाच । कस्मात्कलौ न जायंते शृण्वानस्य च पद्मज
kalauyuge tu vighnāśca na jāyaṃte narasya vai | vyāsa uvāca | kasmātkalau na jāyaṃte śṛṇvānasya ca padmaja
कलियुग में उस मनुष्य के लिए विघ्न नहीं उत्पन्न होते। व्यास बोले—हे पद्मज (ब्रह्मा), कलि में सुनने वाले के लिए विघ्न क्यों नहीं होते?
Vyāsa (questioning Brahmā/Padmaja; prior clause is narrative assertion)
Concept: In Kali-yuga, attentive listening to sacred teaching can neutralize impediments that otherwise obstruct spiritual progress.
Application: Make daily time for listening/reading Purāṇic or Vaiṣṇava teachings with attention and reverence; treat śravaṇa as a protective discipline against distraction and relapse.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"In a quiet hermitage, Vyāsa sits with palm-leaf manuscripts, his brow lifted in wonder as he questions Padmaja Brahmā. The air shimmers with subtle divine light, suggesting that in Kali-yuga the simplest act—listening—becomes a shield against unseen obstacles.","primary_figures":["Vyāsa","Brahmā (Padmaja)","attendant sages (ṛṣis)"],"setting":"forest āśrama with a small altar, manuscripts, and a distant lotus-filled pond symbolizing Padma Purāṇa’s source-imagery","lighting_mood":"forest dappled with divine radiance","color_palette":["saffron ochre","lotus pink","palm-leaf tan","emerald green","soft gold"],"tanjore_prompt":"Tanjore painting style: Vyāsa seated cross-legged holding a palm-leaf manuscript, facing four-faced Brahmā on a lotus pedestal; gold leaf halo around Brahmā, rich vermilion and emerald textiles, gem-studded ornaments, stylized forest shrine elements, ornate arch framing the dialogue, subtle inscriptions suggesting ‘Kali-yuga śravaṇa’ as the theme.","pahari_prompt":"Pahari miniature style: intimate hermitage dialogue between Vyāsa and Brahmā, delicate brushwork and refined faces; cool greens and muted earth tones, lotus pond in the background, thin white outlines on garments, lyrical trees and distant hills, a calm sky hinting at metaphysical wonder.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Brahmā with four faces and lotus seat, Vyāsa with matted hair and manuscript; temple-wall aesthetic with red/yellow/green pigments, large expressive eyes, patterned borders of lotus and palm leaves, radiating aura indicating the power of listening in Kali.","pichwai_prompt":"Pichwai cloth painting style: central lotus motif with Brahmā emerging, surrounding border of tulasi and lotus vines; sages arranged in a semicircle listening, deep indigo background with gold highlights, intricate floral frame, peacocks near the pond, devotional ambience emphasizing śravaṇa as sacred offering."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","forest birds","gentle breeze through leaves","distant conch (faint)"]}
Sandhi Resolution Notes: kalau yuge → kalauyuge (उ + य → उय); vighnāḥ ca → vighnāśca (ः + च → श्च); kasmāt kalau → kasmātkalau (त् + क → त्क); viṣarga sandhi in vighnāśca; punctuation ‘vyāsa uvāca’ is separate speech marker.
FAQs
It states that in Kali-yuga, obstacles do not arise for a person—specifically framed around someone who is “listening” (śṛṇvāna), implying attentive hearing of sacred teaching.
“Padmaja” means “lotus-born” and refers to Brahmā, who is traditionally described as being born from a lotus.
The verse elevates śravaṇa (listening to sacred discourse) as a protective practice, implying that sincere receptivity to dharmic teaching helps one overcome or avoid hindrances.