Padma Purana — Bhumi Khanda, Shloka 47
The Nature of Knowledge, the Guru as Living Tīrtha, and the Law of Final Remembrance
तादृशाः स्युस्तु सत्वास्ते तद्रूपास्तत्परायणाः । तद्गुणास्तत्स्वरूपास्ते भावभूता भवंति हि
tādṛśāḥ syustu satvāste tadrūpāstatparāyaṇāḥ | tadguṇāstatsvarūpāste bhāvabhūtā bhavaṃti hi
وہ جاندار یقیناً اسی (مراقبے کے موضوع) جیسے ہو جاتے ہیں: اسی کی صورت اختیار کرتے ہیں، اسی کو اپنا پرم سہارا مانتے ہیں، اسی کی صفات اپنا لیتے ہیں؛ اور اسی بھاؤ سے بن کر حقیقتاً اسی حالت میں جا پڑتے ہیں۔
Unspecified in provided excerpt (context needed from Adhyaya 123 narrative frame).
Concept: One becomes what one contemplates: form, qualities, and orientation follow sustained bhāva; therefore fix bhāva on Viṣṇu to attain Viṣṇu-gati.
Application: Curate inputs (speech, images, company), keep a daily Viṣṇu-centered practice (nāma, stotra, arcana), and replace obsessive thoughts with deliberate smaraṇa.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A sequence-like tableau shows beings transforming according to their contemplation: one absorbed in a fierce animal becomes animal-like, another absorbed in a deity becomes radiant and godlike. The central motif is a swirling mandala of ‘bhāva’—thought-forms turning into bodies—illustrating that devotion and fixation sculpt identity.","primary_figures":["symbolic beings in transformation","a sage-teacher gesturing to the mandala","Viṣṇu/Nārāyaṇa as the highest contemplation-object (upper register)"],"setting":"An āśrama teaching hall opening into a cosmic vision-mandala; palm-leaf manuscripts and a small altar with śaṅkha-cakra symbols.","lighting_mood":"divine radiance","color_palette":["sapphire blue","gold leaf","smoky violet","ivory white","vermilion"],"tanjore_prompt":"Tanjore painting style: a central circular mandala of bhāva where thought-forms become embodied figures; a sage points while Nārāyaṇa appears above with gold leaf aura, śaṅkha-cakra-gadā-padma; rich reds/greens, heavy gold embellishment, ornate jewelry, temple-arch framing.","pahari_prompt":"Pahari miniature style: refined classroom scene in a forest āśrama; delicate cloud-like thought-forms above disciples’ heads morph into corresponding forms; cool blues and soft ochres, lyrical trees and distant hills, subtle expressions of absorption (parāyaṇatā).","kerala_mural_prompt":"Kerala mural style: bold outlined mandala of transformation with stylized figures; Nārāyaṇa in the upper panel, sage below; strong red-yellow-green palette, temple-wall symmetry, large expressive eyes emphasizing inner disposition becoming outer form.","pichwai_prompt":"Pichwai cloth painting style: a devotional diagram framed by lotus and floral borders; at the top, Kṛṣṇa/Vişṇu medallion; below, multiple vignettes of beings becoming what they adore; intricate patterns, deep indigo background, gold highlights, peacocks and lotuses symbolizing bhāva."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft cymbals","temple bells","wind through trees"]}
Sandhi Resolution Notes: स्युस्तु = स्युः + तु; सत्वास्ते = सत्त्वाः + ते; तद्रूपास्तत्परायणाः = तद्रूपाः + तत्परायणाः; तद्गुणास्तत्स्वरूपास्ते = तद्गुणाः + तत्स्वरूपाः + ते; भवंति = भवन्ति (spelling variant);
FAQs
It teaches a transformation principle: sustained devotion/absorption in a chosen ideal (especially the divine) makes the practitioner gradually take on that ideal’s qualities and inner nature.
By stating that those who become 'tat-parāyaṇa' (wholly devoted to That) acquire 'tad-guṇa' (those qualities), it frames bhakti as a direct means of inner re-formation into divine-like character.
It implies careful choice of objects of attention and devotion: repeated fixation shapes one’s character, so one should cultivate noble ideals and avoid degrading influences.