Padma Purana — Bhumi Khanda, Shloka 60
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
सा जपेत्परमं ज्ञानं तदा मोक्षं प्रयाति च । तन्मनास्तत्पदे लीना योगयुक्ता यदा भवेत्
sā japetparamaṃ jñānaṃ tadā mokṣaṃ prayāti ca | tanmanāstatpade līnā yogayuktā yadā bhavet
وہ جب اعلیٰ ترین معرفت کا جپ کرے تو نجات (موکش) پا لیتی ہے؛ اور جب اس کا دل اُسی حقیقت پر جم جائے، اُسی مقام میں جذب ہو کر یوگ سے یکتا ہو جاتی ہے۔
Unspecified (context-dependent within Adhyaya 86)
Concept: Reciting/realizing ‘supreme knowledge’ and fixing the mind in That state leads to mokṣa; yoga-yukti culminates in absorption (laya) in the highest padam.
Application: Pair study (svādhyāya) of a short Vedāntic/bhakti passage with nāma-japa; end with 5 minutes of silent absorption on the chosen divine form/name.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"The practitioner’s mind, depicted as a small flame, merges into a vast ocean of luminous blue-gold ‘That’—a serene expanse where a distant Vaikuṇṭha-like horizon glows. The final moment shows the meditator’s silhouette dissolving into a single radiant point at the Lord’s feet, suggesting yoga-yukti and liberation.","primary_figures":["a sādhikā (female practitioner)","a subtle vision of Viṣṇu’s lotus feet or Vaikuṇṭha radiance","personified Yoga (as a guiding light)"],"setting":"Inner-cosmic landscape: a meditation seat transforming into a celestial expanse; faint lotus constellations; a path of light toward the supreme padam.","lighting_mood":"divine radiance","color_palette":["cosmic sapphire","pale gold","white lotus","amethyst","sea-green"],"tanjore_prompt":"Tanjore painting style: Viṣṇu’s lotus feet or a Vaikuṇṭha arch rendered with heavy gold leaf, the sādhikā in meditation below with a luminous aura rising upward, ornate borders and embossed gold patterns; rich blues and reds with gem-like highlights, conveying mokṣa as entry into the supreme realm.","pahari_prompt":"Pahari miniature style: ethereal sky-ocean gradient with delicate lotuses, the meditator’s form subtly dissolving into light; refined, gentle facial serenity; cool blues and soft gold washes, minimal architecture hinting at Vaikuṇṭha in the distance.","kerala_mural_prompt":"Kerala mural style: iconic composition with the sādhikā seated, a vertical column of light connecting to a stylized Viṣṇu-padma/feet motif above; bold outlines, strong yellow-red-green accents against deep blue, temple-wall symmetry.","pichwai_prompt":"Pichwai cloth painting style: central lotus mandala representing ‘tad-pada’, surrounding rings of floral motifs and gold filigree; a small devotee figure at the base offering mind as a lamp; deep blue ground, intricate borders, Vaishnava devotional symbolism emphasized."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Desh","pace":"slow-meditative","voice_tone":"serene","sound_elements":["tanpura drone","soft conch at closure","temple bells fading","deep silence","gentle wind"]}
Sandhi Resolution Notes: जपेत् + परमम् → जपेत्परमम्; तन्मनाः = तद् + मनाः (बहुव्रीहि); तद् + पदे → तत्पदे.
FAQs
It recommends japa (recitative contemplation) of “supreme knowledge,” coupled with mental absorption—fixing the mind on “That” and becoming established in a yogic state.
It implies one-pointed attention on the ultimate reality (“That”), culminating in absorption where the mind rests in the goal/state itself rather than in distractions.
It presents them as complementary: jñāna is recited/realized through contemplative practice, and yoga is the disciplined absorption that stabilizes that realization, leading to moksha.