Padma Purana — Bhumi Khanda, Shloka 119
The Kāmodā Episode: Ocean-Churning Maiden, Tulasī Identity, and the Merit of Proper Flower-Offerings
इति श्रीपद्मपुराणे भूमिखंडे वेनोपाख्याने गुरुतीर्थमाहात्म्ये च्यवनचरित्रे कामोदाख्याने एकोनविंशत्यधिकशततमोऽध्यायः
iti śrīpadmapurāṇe bhūmikhaṃḍe venopākhyāne gurutīrthamāhātmye cyavanacaritre kāmodākhyāne ekonaviṃśatyadhikaśatatamo'dhyāyaḥ
Так завершается сто девятнадцатая глава «Шри Падма-пураны» в Бхуми-кханде — в повествовании о Вене, в прославлении Гуру-тиртхи, в жизнеописании Чьяваны и в эпизоде, именуемом «Камода».
Narrator/Redactor (chapter colophon; not a dialogue utterance)
Concept: Sacred geography is a vehicle of dharma: tīrtha-māhātmya frames narrative episodes as pathways to purification and right conduct.
Application: Treat spiritual learning as structured: complete one unit (adhyāya), reflect, then proceed—like a disciplined sādhana.
Primary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A palm-leaf manuscript lies open on a wooden lectern, the final colophon line freshly inked; beside it, a small shrine lamp burns steadily, suggesting the sanctity of textual transmission. In the background, faint vignettes—Vena, Cyavana, Guru-tīrtha waters, and Kāmodā’s city-gate—appear like miniature panels summarizing the chapter’s sacred contents.","primary_figures":["scribe (lekhaka)","implied figures: Vena, Cyavana, Nārada (as miniature vignettes)"],"setting":"A quiet āśrama library or temple scriptorium with manuscripts, inkpot, and a lit dīpa.","lighting_mood":"temple lamp-lit","color_palette":["burnished gold","palm-leaf tan","lamp-flame orange","ink black","vermilion red"],"tanjore_prompt":"Tanjore painting style: Manuscript colophon scene with gold leaf borders, a central oil lamp, ornate frame containing four small medallions—Vena, Cyavana, Guru-tīrtha, Kāmodā—rich reds/greens, gem-like highlights, devotional stillness.","pahari_prompt":"Pahari miniature style: A serene scriptorium with a scholar-scribe, delicate brushwork, warm interior tones, refined objects (palm leaves, ink, lamp), small narrative vignettes in the margins like illustrated chapter summaries.","kerala_mural_prompt":"Kerala mural style: Stylized manuscript and lamp with bold outlines, patterned background, red/yellow/green pigments; medallion panels showing the named episodes, temple-wall aesthetic and rhythmic ornamentation.","pichwai_prompt":"Pichwai cloth painting style: Decorative colophon tableau—central lamp and manuscript framed by lotus borders, deep blue ground with gold floral filigree; small narrative roundels for Guru-tīrtha and Kāmodā integrated into the border."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"serene","sound_elements":["page rustle","soft bell","steady lamp crackle","silence"]}
Sandhi Resolution Notes: श्रीपद्मपुराणे (कर्मधारय-समास); एकोनविंशत्यधिकशततमोऽध्यायः→एकोनविंशत्यधिकशततमः+अध्यायः (विसर्ग-सन्धि: ओऽ).
FAQs
It is a chapter-colophon marking the conclusion of Adhyaya 119 and indexing the nested narrative themes covered (Vena-upākhyāna, Guru-tīrtha-māhātmya, Cyavana-caritra, and the Kāmodā episode).
It signals that the chapter includes a māhātmya section—praise of a specific tīrtha—typically describing its sanctity, benefits of visiting, and associated legends.
Not directly; as a colophon it serves bibliographic and structural purposes, though it points to the surrounding narratives where ethical and devotional teachings are usually found.