Padma Purana — Bhumi Khanda, Shloka 106
The Lament of King Āyū and Indumatī: The Abduction/Loss of the Child and Karmic Reflection
इति श्रीपद्मपुराणे भूमिखंडे वेनोपाख्याने गुरुतीर्थमाहात्म्ये च्यवनचरित्रे नाहुषाख्याने षडधिकशततमोऽध्यायः
iti śrīpadmapurāṇe bhūmikhaṃḍe venopākhyāne gurutīrthamāhātmye cyavanacaritre nāhuṣākhyāne ṣaḍadhikaśatatamo'dhyāyaḥ
ดังนี้ ในศรีปัทมปุราณะ ภูมิคัณฑะ—ในอุปาขยานเรื่องเวนะ ในมหาตมยะของท่าน้ำศักดิ์สิทธิ์ชื่อคุรุทีรถะ ในจริยาประวัติของจยวะนะ และในตอนว่าด้วยนาหุษะ—จบบทที่หนึ่งร้อยหก
Narrator/Redactor (colophon formula; not part of the dialogue)
Concept: Colophons reaffirm the Purāṇic architecture: nested narratives (upākhyāna within māhātmya) transmit dharma through place-glorification and exemplary stories.
Application: Respect textual context: teachings are best understood by tracking frame, speaker, and purpose; pilgrimage and guru-reverence are integrated disciplines, not isolated acts.
Primary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A palm-leaf manuscript lies open on a wooden desk, its final colophon line freshly inked, while a small shrine lamp burns steadily beside a conch and tulasi-shaped brass vessel (symbolic, not textual). In the background, a faint map-like vignette shows a sacred ford labeled ‘Gurutīrtha,’ with pilgrims approaching in miniature scale.","primary_figures":["scribe/redactor (symbolic)","pilgrims (miniature)","sage Cyavana (faint vignette)"],"setting":"scriptorium-like temple library corner with palm-leaf manuscripts, ink pot, stylus, and a small shrine niche","lighting_mood":"golden dawn","color_palette":["parchment beige","ink black","lamp gold","teak brown","turquoise"],"tanjore_prompt":"Tanjore painting style: temple library scene with palm-leaf manuscript colophon, shrine lamp, conch, ornate wooden desk; gold leaf on lamp flame and shrine arch, rich reds/greens in textile backdrop, miniature vignette of Gurutīrtha pilgrims in the border, embossed decorative motifs.","pahari_prompt":"Pahari miniature style: quiet manuscript room, delicate rendering of palm leaves and stylus, soft dawn light through a lattice window, small inset scene of a river-ford pilgrimage; cool refined palette and fine linework.","kerala_mural_prompt":"Kerala mural style: stylized manuscript and shrine niche with bold outlines, warm natural pigments, iconic lamp flame, inset tirtha vignette framed like a mural panel, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: decorative colophon-themed composition with lotus borders, central manuscript and lamp, inset pilgrimage procession to a sacred ford, deep blue ground with gold floral filigree, intricate textile patterns."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"serene","sound_elements":["single bell strike","page rustle","soft conch note","quiet drone","morning birds"]}
Sandhi Resolution Notes: षडधिकशततमोऽध्यायः = षडधिकशततमः अध्यायः; वेनोपाख्याने = वेन-उपाख्याने; गुरुतीर्थमाहात्म्ये = गुरुतीर्थ-माहात्म्ये; नाहुषाख्याने = नाहुष-आख्याने
FAQs
It is a colophon (end-of-chapter marker) summarizing the nested topics covered and stating that Chapter 106 has concluded.
It situates the material within Bhūmi-khaṇḍa and indicates a layered context: Vena’s subsidiary narrative, the glorification of Gurutīrtha, Cyavana’s story, and an episode concerning Nāhuṣa.
No. Colophons generally reflect the compiler/narrator’s framing rather than a character speaking within the story.