Shloka 61
The Greatness of the Hymn to Tulasī
इति श्रीपाद्मपुराणे प्रथमे सृष्टिखंडे तुलसीस्तवमाहात्म्यं नामैकषष्टितमोऽध्यायः
iti śrīpādmapurāṇe prathame sṛṣṭikhaṃḍe tulasīstavamāhātmyaṃ nāmaikaṣaṣṭitamo'dhyāyaḥ
Demikian berakhir bab ke-61, bernama “Kemuliaan Kidung Pujian kepada Tulasi,” dalam Kitab Pertama (Sṛṣṭikhaṇḍa) dari Padma Purāṇa yang mulia.
Narratorial colophon (chapter-ending formula; no direct speaker)
Application: Use as a mindful ‘closing’ after recitation—pause, offer gratitude, and mentally dedicate the merit (puṇya) to Vishnu and all beings.
Primary Rasa: shanta
Visual Art Cues: {"scene_description":"A palm-leaf manuscript lies open on a wooden stand, the final line of the chapter highlighted with a red rubric mark. A scribe’s stylus rests beside a small lamp; behind, a faint lotus motif suggests Padma Purana’s identity and the sanctity of textual transmission.","primary_figures":["Purana scribe (lekhaka)","reciter (paṭhaka)","symbolic lotus (padma)"],"setting":"Traditional manuscript room in a temple library (grantha-bhaṇḍāra), with shelves of wrapped manuscripts and a small shrine niche.","lighting_mood":"temple lamp-lit","color_palette":["aged palm-leaf tan","vermilion red","lamp-gold","indigo shadow","leaf-green accents"],"tanjore_prompt":"Tanjore painting style: ornate manuscript stand with gold leaf borders, a lotus medallion at top, a small Vishnu emblem (chakra) embossed in gold, scribe seated with stylus, rich reds/greens, jewel-like inkpots, decorative arch framing the library shrine.","pahari_prompt":"Pahari miniature style: intimate indoor scene with delicate lines, manuscript folios with fine Devanagari, soft lamplight, muted earth tones, a lotus motif painted on the wall, refined calm expressions, minimal but lyrical detailing.","kerala_mural_prompt":"Kerala mural style: stylized library interior with bold outlines, symmetrical shelves, lamp flame rendered in flat pigments, lotus emblem prominent, strong red/yellow/green palette with controlled black contours.","pichwai_prompt":"Pichwai cloth painting style: decorative border-heavy composition where the colophon text becomes a central cartouche, surrounded by lotus vines, peacocks, and temple motifs; deep blue ground with gold floral filigree, manuscript and lamp as sacred objects."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["single bell strike at end","soft page rustle","lamp crackle","brief silence","distant conch"]}
Sandhi Resolution Notes: tulasīstavamāhātmyaṃ = tulasī-stava-māhātmyaṃ; nāmaikaṣaṣṭitamo'dhyāyaḥ = nāma ekaṣaṣṭitamaḥ adhyāyaḥ (o' = aḥ + a- sandhi); śrīpādmapurāṇe treated as śrī-pādma-purāṇe.
FAQs
It is a colophon—an editorial/narratorial closing line that identifies the text (Padma Purana), the section (Srishti-khanda), and the chapter title and number.
No. It does not add new doctrine or story; it simply marks the conclusion of Adhyaya 61, whose topic is the greatness of the Tulasi hymn.
Tulasi is revered as supremely sacred in Vishnu-bhakti; Purāṇic chapters often frame her worship and praise (stava) as spiritually efficacious, hence the recurring theme of “māhātmya” (greatness).