Padma Purana — Bhumi Khanda, Shloka 45
Entering Kāmodā and the Doctrine of Dreams, Sleep, and the Self
उत्तमांश्च विरुद्धांश्च कर्मयुक्तान्प्रपश्यति । गिरींस्तथा सुदुर्गांश्च उच्चावचान्प्रपश्यति
uttamāṃśca viruddhāṃśca karmayuktānprapaśyati | girīṃstathā sudurgāṃśca uccāvacānprapaśyati
Ia melihat yang mulia dan yang berlawanan, serta makhluk yang terikat oleh karma. Ia juga menyaksikan gunung-gunung—sebagian sangat sukar dicapai—dan bentang tanah yang tinggi maupun rendah.
Unspecified (context-dependent within the Adhyaya)
Concept: In subtle vision one perceives beings bound to karma, along with stark moral and existential contrasts—noble/opposed, high/low, accessible/inaccessible.
Application: Read life’s ‘high and low ground’ as karmic consequence without despair; choose sattvic company and disciplined vows to climb steadily rather than chase extremes.
Primary Rasa: adbhuta
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"A panoramic dream-vision shows a karmic landscape: towering jagged mountains shrouded in mist, steep passes guarded by shadowy figures, and below them valleys where crowds move in chains of cause-and-effect. On one ridge stand luminous ‘noble’ beings, while on another, darker ‘opposed’ figures argue and clash—contrasts rendered as altitude and light.","primary_figures":["Antarātman as a witnessing traveler","Noble beings (sāttvika figures)","Opposed beings (tāmasika/rajasika figures)","Karma-bonded crowds"],"setting":"Mythic terrain with inaccessible peaks, narrow passes, and alternating high plateaus and low ravines; dreamlike scale.","lighting_mood":"divine radiance","color_palette":["storm gray","ice blue","burnished gold","pine green","charcoal black"],"tanjore_prompt":"Tanjore painting style: a grand mountainous tableau with gold-leaf highlights on the ‘noble’ ridge and darker enamel-like tones in the lower valleys; ornate framing, stylized clouds, tiny figures bound by golden chains of karma, dramatic contrast between illuminated peaks and shadowed ravines.","pahari_prompt":"Pahari miniature style: Himalayan-inspired ridgelines with delicate mist washes; small refined figures on peaks and in valleys, subtle storytelling in miniature groups; cool blues and greens with touches of warm gold where virtue shines.","kerala_mural_prompt":"Kerala mural style: bold contour mountains, patterned rock textures; symbolic color-blocking—bright zones for noble, dark reds/browns for opposed; central witnessing figure placed on a mid-slope, emphasizing moral discernment.","pichwai_prompt":"Pichwai cloth painting style: stylized mountain forms arranged like a mandala of ‘high and low’; repeated motifs of chains and footprints; ornate floral borders, deep blues and greens with gold accents, devotional symbolism of crossing samsāra’s terrain."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["distant thunder","wind through mountain passes","low drum resonance","conch shell punctuations"]}
Sandhi Resolution Notes: उत्तमांश्च → उत्तमान् च; विरुद्धांश्च → विरुद्धान् च; कर्मयुक्तान्प्रपश्यति → कर्मयुक्तान् प्रपश्यति; गिरींस्तथा → गिरीन् तथा; सुदुर्गांश्च → सुदुर्गान् च; उच्चावचान्प्रपश्यति → उच्चावचान् प्रपश्यति.
FAQs
It describes an all-seeing perception that recognizes moral and social oppositions (noble vs. opposed) and also sees beings as bound to karma, alongside a vivid perception of varied geography (mountains, difficult passes, high and low land).
The phrase “karmayuktān” frames living beings as linked to their actions and outcomes, aligning with Purāṇic ethics where experience and circumstance are understood through the lens of karma.
It complements the theme of comprehensive vision: not only moral and social categories are perceived, but also the physical world in its difficult and varied forms—suggesting a panoramic, integrative seeing.