Padma Purana — Bhumi Khanda, Shloka 36
Vows of Hari and the Hundred Names of Suputra (Viṣṇu/Kṛṣṇa): Ritual Metadata and Fruits of Japa
यो जपेच्च शतं नाम्नां स्तोत्रं पातकनाशनम् । पितरस्तुष्टिमायांति तृप्ता यांति परां गतिं
yo japecca śataṃ nāmnāṃ stotraṃ pātakanāśanam | pitarastuṣṭimāyāṃti tṛptā yāṃti parāṃ gatiṃ
جو کوئی سو ناموں والا یہ گناہ نाशک स्तوتر پڑھتا ہے، اس کے پِتر خوش ہوتے ہیں؛ سیراب ہو کر وہ اعلیٰ ترین گتی (پرَم مقام) کو پہنچتے ہیں۔
Not explicitly specified in the provided excerpt (context likely a narrator within the Bhūmi-khaṇḍa dialogue tradition).
Concept: Recitation of the sin-destroying hundred-name hymn pleases the pitṛs and elevates them to the supreme state.
Application: Adopt a daily or śrāddha-season practice of reciting the stotra with attention and purity of intent, dedicating merit to ancestors.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A devotee sits on a kuśa mat, counting a mālā as luminous syllables rise like golden lotuses from his lips. In the upper space, satisfied pitṛs receive the offering of sound and ascend toward a radiant Vaikuṇṭha-like horizon, while the stotra scroll glows with sacred script.","primary_figures":["Devotee reciting stotra","Pitṛs (ancestors, subtle forms)","Vishnu/Keśava (distant radiant presence or emblematic conch-disc)"],"setting":"Quiet shrine corner with a small altar, incense, lamp, and a manuscript/palm-leaf text; subtle cosmic sky opening above.","lighting_mood":"divine radiance","color_palette":["lotus pink","radiant gold","midnight blue","pearl white","saffron"],"tanjore_prompt":"Tanjore painting style: central seated devotee with mālā and open stotra manuscript; above, pitṛs in gentle halos moving toward a gold-leaf Vaikuṇṭha arch; Vishnu’s conch and discus motifs in the corners; heavy gold embellishment, rich crimson and emerald textiles, ornate borders, jewel-like highlights on the lamp and vessels.","pahari_prompt":"Pahari miniature style: serene indoor shrine with delicate brushwork; the devotee softly chanting, visible breath rendered as tiny lotus glyphs; pitṛs as translucent figures drifting upward into a pale blue sky; refined facial features, soft shadows, minimalistic elegance, lyrical naturalism.","kerala_mural_prompt":"Kerala mural style: bold outlined devotee with mālā, manuscript in hand; pitṛs in stylized cloud bands ascending; Vishnu’s radiant mandala above; natural pigments with dominant reds/yellows/greens, patterned floor, temple-wall composition, large expressive eyes.","pichwai_prompt":"Pichwai cloth painting style: a central lotus medallion containing the chanting devotee; surrounding rings of stylized Sanskrit syllables and floral borders; pitṛs depicted as small haloed figures moving toward a blue-gold celestial band; intricate creepers, peacocks, and lamp motifs, deep indigo background with gold detailing."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["mālā bead clicks","soft drone (tanpura)","incense crackle","distant temple bell","night insects or early dawn birds"]}
Sandhi Resolution Notes: जपेच्च → जपेत् + च; तुष्टिमायांति → तुष्टिम् + आयान्ति; पितरस्तुष्टिम् → पितरः + तुष्टिम् (visarga sandhi); आयांति (IAST) normalized to आयान्ति; no further required splits.
FAQs
It recommends reciting (japa) a “hundred-names” hymn (śata-nāma stotra) described as a destroyer of sins.
It states that the recitation pleases the Pitṛs; once satisfied, they attain a higher or supreme state (parā gati).
It emphasizes responsibility toward one’s lineage and the purifying power of devotional remembrance (nāma-japa) as a means of benefiting both oneself and one’s ancestors.