Padma Purana — Srishti Khanda, Shloka 117
Rudra’s Removal of Brahmahatyā; Kapālamocana and Avimukta Māhātmya; Origins of Nara and Karṇa
link to Arjuna/Karna query
भक्तानामार्तिनाशस्त्वं दुःखांतस्तेन चोच्यसे । शंकरोष्याशुभक्तानां तेन त्वं शंकरः स्मृतः
bhaktānāmārtināśastvaṃ duḥkhāṃtastena cocyase | śaṃkaroṣyāśubhaktānāṃ tena tvaṃ śaṃkaraḥ smṛtaḥ
Ngài là đấng diệt trừ khổ nạn của các tín đồ; vì thế Ngài được gọi là ‘Duhkhānta’, sự chấm dứt của sầu khổ. Và vì Ngài ban điều cát tường cho những ai mau chóng khởi lòng sùng kính, nên Ngài được tưởng niệm là ‘Śaṅkara’.
Unspecified (context-dependent narration/dialogue in Adhyaya 14)
Concept: The mark of true divinity is compassionate responsiveness: removing devotees’ suffering and granting auspiciousness to sincere, swift-turning devotion.
Application: In distress, turn quickly toward devotion and ethical living; also become a ‘Shankara’ to others by reducing their suffering through practical help and kind speech.
Primary Rasa: karuna
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A group of devas and trembling devotees approach Shiva with tear-bright eyes, and the deity’s raised hand offers abhaya (fearlessness). The scene emphasizes tenderness: sorrow dissolves like mist as a calm, auspicious aura spreads outward.","primary_figures":["Shiva (as Shankara, giver of auspiciousness)","Devas/devotees seeking relief"],"setting":"A quiet sacred grove-like celestial terrace with bilva leaves and incense smoke curling upward; a simple altar with lamps and water vessels.","lighting_mood":"golden dawn","color_palette":["soft gold","ash white","leaf green","rose pink","sky blue"],"tanjore_prompt":"Tanjore painting style: Shiva in blessing posture (abhaya mudra), gold-leaf halo and ornate arch; devotees below with folded hands, expressions of relief; rich vermilion-green textiles, gem-like highlights, lamp-lit altar details, bilva motifs worked into the border.","pahari_prompt":"Pahari miniature style: intimate devotional moment; Shiva calm and compassionate; devotees with delicate, expressive faces; gentle dawn light over a grove terrace; cool blues and greens with warm gold accents, fine brushwork and lyrical mood.","kerala_mural_prompt":"Kerala mural style: Shiva with large compassionate eyes, bold outlines; devotees in rhythmic arrangement; stylized bilva leaves and lamps; warm yellow-red background with green accents, temple-wall solemnity.","pichwai_prompt":"Pichwai cloth painting style: ornate floral border; central blessing figure; devotees arranged like a devotional chorus; lotus and vine motifs; deep blue ground with gold highlights, emphasizing auspiciousness and refuge."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Desh","pace":"slow-meditative","voice_tone":"emotional","sound_elements":["soft bells","gentle flowing water","tanpura drone","low harmonium pad","quiet congregation response (antiphonal)"]}
Sandhi Resolution Notes: ārtināśastvaṃ = ārtināśaḥ + tvam (Visarga to s); duḥkhāṃtastena = duḥkhāntaḥ + tena (Visarga to s); cocyase = ca + ucyase (Guna); śaṃkaroṣyāśu = śaṃkaraḥ + asi + āśu (Visarga to o, a elided, i to y)
FAQs
It explains Shiva’s epithets by linking them to his functions: he ends devotees’ suffering and bestows auspiciousness, hence names like “Duḥkhānta” (end of sorrow) and “Śaṅkara” (maker of auspiciousness).
It portrays divine grace as especially responsive to devotion: the deity is described primarily through what he does for bhaktas—removing their distress and bringing them spiritual well-being.
No. The focus is theological and devotional—explaining Shiva’s qualities and names—rather than describing places, pilgrimages, or tīrtha-mahātmyas.