Padma Purana — Bhumi Khanda, Shloka 18
The Narrative of Suvrata: Tapas, Surrender-Prayer, and Cyclical Time
वरं वरय भद्रं ते कृष्णोऽहं ते समागतः । एवमाकर्ण्य मेधावी विष्णोर्वाक्यमनुत्तमम्
varaṃ varaya bhadraṃ te kṛṣṇo'haṃ te samāgataḥ | evamākarṇya medhāvī viṣṇorvākyamanuttamam
“کوئی ور مانگ، تیرے لیے بھلائی ہو؛ میں کرشن ہوں، تیرے پاس آیا ہوں۔” وشنو کے یہ بے مثال کلمات سن کر وہ صاحبِ فہم (پھر) بولا۔
Viṣṇu (as Kṛṣṇa)
Concept: Bhagavān personally approaches the devotee and invites a boon; the wise response begins with attentive hearing (śravaṇa) of Viṣṇu’s unsurpassed words.
Application: Before making requests (to God or life), practice śravaṇa: pause, listen, and clarify intention; in prayer, begin with praise and attentive silence, then articulate one aligned ‘vara’ (boon) such as steadiness in dharma.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: mountain
Visual Art Cues: {"scene_description":"Viṣṇu stands close to the ascetic, not distant—his expression tender as he says, ‘I am Kṛṣṇa, I have come.’ The devotee, eyes wide with luminous intelligence, listens in reverent silence, the moment suspended between divine invitation and the human choice of a boon.","primary_figures":["Viṣṇu (self-identifying as Kṛṣṇa)","wise ascetic devotee","(optional) Lakṣmī as a gentle presence in the background"],"setting":"Mountain shrine threshold with lotus motifs appearing in the air, suggesting the bridge between tapas and bhakti.","lighting_mood":"divine radiance","color_palette":["midnight blue","aura gold","lotus pink","sage green","pearl white"],"tanjore_prompt":"Tanjore painting style: Kṛṣṇa-Viṣṇu in regal stance with gold-leaf halo, conch/discus motifs subtly integrated; the devotee seated with folded hands, listening; gold-leaf highlights on lotus patterns floating around; rich crimson border, emerald accents, gem-studded ornaments, traditional iconographic precision.","pahari_prompt":"Pahari miniature style: intimate close-range composition—Kṛṣṇa-Viṣṇu leaning slightly toward the devotee; cool mountain palette with soft gold wash; delicate facial expressions emphasizing listening and grace; minimal background shrine details, lyrical clouds.","kerala_mural_prompt":"Kerala mural style: iconic Kṛṣṇa-Viṣṇu with bold outlines and saturated pigments; gesture of boon-giving (vara-mudrā) emphasized; devotee in attentive posture; rhythmic decorative bands and lotus motifs; temple-wall symmetry with warm reds and yellows.","pichwai_prompt":"Pichwai cloth painting style: Kṛṣṇa-centered scene with elaborate lotus borders and floral filigree; deep blue ground with gold highlights; peacocks at corners; the devotee small but central in narrative focus; intricate Nathdwara-style ornamentation and patterned textiles."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["conch shell (soft)","temple bells (distant)","gentle drone","brief silence after ‘kṛṣṇo’ham’"]}
Sandhi Resolution Notes: कृष्णोऽहं = कृष्णः + अहं; एवमाकर्ण्य = एवम् + आकर्ण्य; विष्णोर्वाक्यम् = विष्णोः + वाक्यम्.
FAQs
It presents a divine epiphany: Viṣṇu identifies himself as Kṛṣṇa and offers a boon, highlighting divine grace and the intimacy of God approaching the devotee.
The verse refers to an unnamed intelligent recipient within the narrative context of Bhūmi-khaṇḍa 22; he is the one who hears Viṣṇu’s words and is about to respond in the next line/verse.
It implies that sincere spiritual merit culminates in divine attention, and that boons should be sought with discernment—ideally aligned with dharma and devotion rather than mere worldly gain.