Shloka 19
The Greatness of Śukla Tīrtha: Bathing, Fasting, Charity, and Śiva Worship
इति श्रीपाद्मे महापुराणे स्वर्गखंडे ऊनविंशोध्यायः
iti śrīpādme mahāpurāṇe svargakhaṃḍe ūnaviṃśodhyāyaḥ
Demikianlah berakhir bab kesembilan belas dalam Svarga-khaṇḍa bagi Śrī Padma Mahāpurāṇa yang mulia.
Narrator / redactional colophon (not part of the dialogue)
Concept: True seekers of dharma gravitate to tīrthas; sacred geography becomes a vehicle for inner purification and right conduct.
Application: Choose environments that elevate conduct—visit temples/tīrthas, keep holy days, and associate with dharma-minded people; let ‘place’ reinforce practice.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: tirtha
Visual Art Cues: {"scene_description":"Above a radiant earthly ford, wish-fulfilling vimānas hover like jeweled lotuses in the sky. From them descend dharma-seeking devas and semi-divines, their garments streaming as they look down toward Śukla-tīrtha’s shining waters, as if the very air is sanctified.","primary_figures":["Devas","Gandharvas","Kinnaras","Siddhas","Vidyādharas","Apsarases","Nāgas","A dharma-seeking king (implied addressee)"],"setting":"Sky over Śukla-tīrtha: luminous river/ford below, cloud corridors above, vimānas with ornate canopies and banners; distant hermitages and temple spires suggested on the horizon.","lighting_mood":"golden dawn","color_palette":["sunrise gold","pearl white","turquoise","vermillion","lapis lazuli"],"tanjore_prompt":"Tanjore painting style: vimānas studded with gems and gold leaf hover over a glowing Śukla-tīrtha; descending devas with ornate crowns and silk garments; thick gold leaf on vimāna borders, halos, and water highlights; rich vermillion and emerald textiles; stylized lotuses and conch motifs framing the ford as a sacred portal.","pahari_prompt":"Pahari miniature style: airy composition with delicate clouds and small, finely detailed vimānas; cool turquoise water of Śukla-tīrtha shimmering; refined figures stepping from sky to earth; lyrical landscape with slender trees and distant shrines; subtle gradients and fine brushwork emphasizing serenity and wonder.","kerala_mural_prompt":"Kerala mural style: bold outlined vimānas and celestial beings arranged in horizontal registers—sky above, tīrtha below; saturated reds/yellows/greens with blue water panel; large expressive eyes; ornamental borders with lotus and makara motifs; the ford rendered as a bright, sanctifying band.","pichwai_prompt":"Pichwai cloth painting style: Śukla-tīrtha as a central luminous water-oval surrounded by lotus motifs; vimānas like decorative medallions in the upper field; intricate floral borders, peacocks and stylized clouds; deep blues and gold with vermillion accents; devotional symmetry suggesting a sacred destination drawing all beings."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["conch shell","temple bells","wind chimes","flowing water","distant choral humming"]}
Sandhi Resolution Notes: ऊनविंशोध्यायः = ऊनविंशः + अध्यायः (अ + अ → ओ).
FAQs
It is a colophon-style chapter marker indicating the conclusion of Adhyaya 19 in the Svarga-khaṇḍa of the Padma Purāṇa, rather than a doctrinal statement.
“Iti” commonly signals closure—“thus (ends)”—marking the end of a section, chapter, or discourse in Sanskrit textual tradition.
Such lines are typically editorial or scribal markers added to structure the text; they do not belong to the internal dialogue (e.g., Pulastya–Bhīṣma or Śiva–Pārvatī) of the chapter’s narrative.