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
ഇങ്ങനെ ശ്രീപദ്മപുരാണത്തിലെ ഭൂമിഖണ്ഡത്തിൽ—വേനോപാഖ്യാനം, ഗുരുതീർത്ഥമാഹാത്മ്യം, ച്യവനചരിത്രം, നഹുഷാഖ്യാനം എന്നീ പ്രസംഗങ്ങളിൽ—നൂറ്റി പതിനാലാം അധ്യായം സമാപ്തമായി.
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.