Padma Purana — Srishti Khanda, Shloka 42
The Origin of the Lauhitya River
and the King of Tīrthas
तच्छ्रुत्वा जामदग्न्यस्तु तीर्थानि प्रययौ तदा । गंगां सरस्वतीं शुभ्रां कावेरीं सरयूं तथा
tacchrutvā jāmadagnyastu tīrthāni prayayau tadā | gaṃgāṃ sarasvatīṃ śubhrāṃ kāverīṃ sarayūṃ tathā
Pagkarinig niyon, si Jāmadagnya ay naglakbay noon sa mga banal na tawiran—sa Gaṅgā, sa maningning na Sarasvatī, sa Kāverī, at gayundin sa Sarayū.
Narrator (contextual; likely within the Pulastya–Bhīṣma dialogue frame)
Concept: Hearing authoritative instruction (śravaṇa) impels decisive action (yātrā) toward purification; sacred rivers are approached as living channels of merit.
Application: Let good counsel become movement: when you learn a remedy—spiritual or ethical—act promptly and consistently rather than postponing.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: river
Visual Art Cues: {"scene_description":"Jāmadagnya strides with staff and kamaṇḍalu across a vast sacred landscape where four rivers appear as distinct luminous bands—Gaṅgā like silver, Sarasvatī like white mist, Kāverī like emerald, Sarayū like pale gold. Each riverbank shows a small ghat with lamps and sages, forming a pilgrimage garland across the subcontinent.","primary_figures":["Jāmadagnya (Paraśurāma)","river-deities (Gaṅgā, Sarasvatī, Kāverī, Sarayū)","pilgrims and sages"],"setting":"A montage-like sacred geography: multiple river ghats, banyan and aśvattha trees, small shrines, and distant mountains/plains transitioning from north to south.","lighting_mood":"golden dawn","color_palette":["silver-white","emerald green","saffron","sky blue","lamp-flame gold"],"tanjore_prompt":"Tanjore painting style: Paraśurāma centered, with four river goddesses in corner medallions—Gaṅgā on makara, Sarasvatī with veena-like purity motif, Kāverī with lotus pot, Sarayū with gentle waves; heavy gold leaf borders, rich reds/greens, ornate ghats and lamps, jewel-like detailing.","pahari_prompt":"Pahari miniature style: a lyrical travel scene with Paraśurāma walking along riverbanks; delicate rendering of water textures—misty Sarasvatī, bright Gaṅgā, green Kāverī, calm Sarayū; soft hills and plains, refined facial features, narrative vignettes along the path.","kerala_mural_prompt":"Kerala mural style: iconic Paraśurāma with bold outlines; four stylized river bands behind him, each with a small shrine and lamp; strong primary pigments, symmetrical composition, temple-wall storytelling panel aesthetic.","pichwai_prompt":"Pichwai cloth painting style: four river-lotus panels around the central pilgrim; intricate floral borders, peacocks near water, cows at ghats; deep indigo ground with gold highlights and lotus motifs, emphasizing sacred waters as devotional ornaments."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["flowing water","birds at dawn","footsteps on stone ghats","distant temple bells"]}
Sandhi Resolution Notes: tacchrutvā = tat + śrutvā; jāmadagnyastu = jāmadagnyaḥ + tu.
FAQs
It maps tīrtha-practice onto major pan-Indian rivers—Gaṅgā (north), Sarasvatī (Vedic sacred landscape), Sarayū (Ayodhyā region), and Kāverī (south)—showing a broad sacred geography rather than a single localized cult-site.
By presenting pilgrimage (tīrtha-yātrā) to revered rivers as a concrete religious response after receiving instruction, it frames devotion as lived practice—approaching sanctified waters with reverence as part of one’s spiritual discipline.
The verse models prompt, action-oriented receptivity: upon hearing guidance, one should undertake purifying and dharma-aligned practices (like tīrtha-visit), rather than remaining passive.