Padma Purana — Bhumi Khanda, Shloka 43
Vena Episode Conclusion: Pṛthu’s Merit and the Greatness of Hearing the Padma Purāṇa in Kali-yuga
द्वापरे कथिता विप्र ब्रह्मणा परमात्मना । द्वादशैव सहस्राणां पद्माख्या सा तु संहिता
dvāpare kathitā vipra brahmaṇā paramātmanā | dvādaśaiva sahasrāṇāṃ padmākhyā sā tu saṃhitā
โอ้พราหมณ์ผู้เป็นวิปร ในทวาปรยุค พระพรหมผู้เป็นปรมาตมันได้แสดงไว้ สังหิตาที่มีนามว่า “ปัทมะ” นั้นมีโศลกครบถ้วนหนึ่งหมื่นสองพัน
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Concept: Purāṇic teaching is anchored in a sacred lineage: in Dvāpara it was taught by Brahmā identified with the Paramātman, establishing the text’s prāmāṇya (authoritativeness).
Application: Treat devotional study as participation in a living lineage: read/listen with humility, cite sources carefully, and align practice with the text’s intended theistic center rather than mere curiosity.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"In Brahmā’s luminous hall, the four-faced creator sits upon a lotus-throne, reciting a palm-leaf manuscript whose letters glow like tiny suns. Around him, attentive brāhmaṇa-sages receive the ‘Padma’ teaching, while a subtle Viṣṇu-presence—an aura of conch-and-discus light—suggests the Paramātman behind the words.","primary_figures":["Brahmā","brāhmaṇa sages (ṛṣis)","subtle Viṣṇu aura (Paramātman)"],"setting":"Brahmaloka assembly with lotus pillars, celestial manuscripts, and ritual vessels.","lighting_mood":"golden dawn","color_palette":["sunlit gold","sandalwood beige","vermillion","sky blue","smoky violet"],"tanjore_prompt":"Tanjore painting style: Brahmā on a lotus throne in a jeweled mandapa, holding a manuscript labeled ‘Padma’; thick gold leaf on halos and pillars, rich reds/greens, ornate crowns, and a faint Viṣṇu-emblem aura (śaṅkha-cakra) behind Brahmā to indicate Paramātman authority.","pahari_prompt":"Pahari miniature style: intimate courtly scene in a celestial pavilion; Brahmā teaching to seated sages with delicate facial features, fine textile patterns, pale gold light, and a soft blue aura suggesting Viṣṇu’s inner presence; meticulous brushwork on manuscripts and lotus motifs.","kerala_mural_prompt":"Kerala mural style: symmetrical Brahmā with four faces, bold outlines, manuscript in hand; sages in attentive rows; warm red-yellow-green pigments, stylized lotus architecture, and a subtle conch-discus motif in the background wall pattern.","pichwai_prompt":"Pichwai cloth painting style: lotus borders framing Brahmā’s teaching scene; manuscript and lotus motifs repeated; deep blue ground with gold highlights, floral filigree, and a central medallion hinting at Viṣṇu as the inner source of the teaching."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["veena drone","soft assembly murmur (faded)","temple bells (light)","page-rustle of palm leaves (suggested)"]}
Sandhi Resolution Notes: dvādaśaiva = dvādaśa + eva; padmākhyā = padma + ākhya (समास); अन्यत्र स्पष्ट-सन्धिः न।
FAQs
It states that the “Padma” compilation was taught in the Dvāpara-yuga and attributes its teaching to Brahmā, described also as the Paramātmā.
Yes. It specifies “twelve thousand” (dvādaśa sahasrāṇām), indicating a traditional verse-count for the Padma-saṃhitā in this context.
The emphasis is on scriptural authority and transmission: sacred knowledge is presented as coming from a primordial teacher (Brahmā/Paramātmā) and being preserved as a defined, named compilation.