Shloka 12
Account of Kāmākṣā (Bhavānī) at Āhicchatrā
इति श्रीपद्मपुराणे पातालखंडे शेषवात्स्यायनसंवादे रामाश्वमेधे कामाक्षो । पाख्यानं नाम द्वादशोऽध्यायः
iti śrīpadmapurāṇe pātālakhaṃḍe śeṣavātsyāyanasaṃvāde rāmāśvamedhe kāmākṣo | pākhyānaṃ nāma dvādaśo'dhyāyaḥ
かくして、尊き『パドマ・プラーナ』—パーターラ・カーンダにおけるシェーシャとヴァーツヤーヤナの対話、ラーマのアシュヴァメーダの段—「カーマークシャの物語」と題する第十二章はここに結了する。
Narratorial colophon (chapter-end marker); dialogue frame: Śeṣa ↔ Vātsyāyana
Concept: Sacred knowledge is preserved through named lineages of dialogue; remembering the transmission honors the authority (prāmāṇya) of dharma-kathā.
Application: Value authentic sources and teachers; keep track of where teachings come from and transmit them responsibly.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A serene tableau shows Śeṣa, the cosmic serpent, as a luminous, many-hooded presence, while the sage Vātsyāyana listens with folded hands. Above them, a subtle script-like aura forms the chapter title, as if the very air records the conclusion of the sacred account.","primary_figures":["Śeṣa (Ananta)","Vātsyāyana (sage)"],"setting":"A jeweled cavern-palace in Pātāla with nāga motifs, pearl-like columns, and a calm subterranean lake reflecting lamp-light.","lighting_mood":"moonlit","color_palette":["pearl white","deep emerald","midnight blue","soft gold","amethyst purple"],"tanjore_prompt":"Tanjore painting style: Śeṣa with multiple hoods forming a radiant canopy, gold leaf heavily used on hoods and ornaments; Vātsyāyana seated in reverence; ornate borders; chapter-title calligraphy integrated as decorative band; rich jewel tones and embossed gold textures.","pahari_prompt":"Pahari miniature style: tranquil subterranean palace with delicate detailing; Śeṣa rendered as a graceful multi-hooded serpent with soft luminescence; Vātsyāyana in simple ascetic attire; cool palette with lyrical water reflections; fine script panel indicating the colophon.","kerala_mural_prompt":"Kerala mural style: iconic Śeṣa with bold outlines and stylized hoods; Vātsyāyana seated in namaskāra; strong reds/yellows/greens with deep blue background; ornamental borders and a central title cartouche for the chapter ending.","pichwai_prompt":"Pichwai cloth painting style: devotional framing with lotus borders and symmetrical composition; Śeṣa as central canopy figure, Vātsyāyana below; intricate floral patterns and gold accents; a banner-like panel bearing the chapter title in decorative Devanagari-inspired motifs."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","gentle drone (tanpura)","subterranean water drip","hushed silence","distant conch"]}
Sandhi Resolution Notes: त्विषुधी (द्विवचन) ‘इषुधी/इषुधि’ इत्यस्य द्विवचनरूपम्; वैरिकोटिविनिष्पेष → वैरि + कोटि + विनिष्पेष (समास/उपाधि-रूपेण संबोधन); बाणकोटि → बाण + कोटि; सुपूरितौ इमौ/त्विषुधी इत्यस्य विशेषणम्
FAQs
It functions as a colophon—an end-of-chapter marker—summarizing the textual location (khanda, dialogue frame, and topic) and naming the chapter.
The verse points to the dialogue framework as Śeṣa and Vātsyāyana, though this line itself is narratorial rather than spoken instruction.
It situates the chapter within the Pātāla-khaṇḍa and specifically within the narrative context connected to Rāma’s Aśvamedha, with the chapter titled as the account of Kāmākṣa.