Padma Purana — Bhumi Khanda, Shloka 112
Gurutīrtha Māhātmya (within the Nahuṣa Episode): Celestial Song, Divine Splendor, and Reflective Doubt
इति श्रीपद्मपुराणे भूमिखंडे वेनोपाख्याने गुरुतीर्थमाहात्म्ये च्यवनचरित्रे नहुषाख्याने द्वादशाधिकशततमोऽध्यायः
iti śrīpadmapurāṇe bhūmikhaṃḍe venopākhyāne gurutīrthamāhātmye cyavanacaritre nahuṣākhyāne dvādaśādhikaśatatamo'dhyāyaḥ
至此，《圣莲花往世书》（Śrī Padma Purāṇa）之《大地品》（Bhūmi-khaṇḍa）中，维那传说之内、古鲁圣渡（Gurutīrtha）功德赞中、遮婆那（Cyavana）事迹与那胡沙（Nahuṣa）篇章里，第一百一十二章圆满。
Narrator/Redactor (colophon statement; no in-scene speaker)
Concept: Sacred geography is remembered and transmitted through layered narratives; tīrtha-mahātmya is a pedagogical device linking ethics, devotion, and place.
Application: Treat spiritual learning as a lineage: note sources, contexts, and the ‘where’ of practice; visit sacred places with humility and study their kathās to internalize values.
Primary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A manuscript-like tableau: palm-leaf folios or birch-bark pages laid on a low wooden desk, with a scribe’s stylus resting beside a small oil lamp. Above, faint divine motifs—lotus, conch, and a tīrtha-ghaṭa—hover like marginal illuminations, signaling the chapter’s closure and the sanctity of transmission.","primary_figures":["Scribe (lekhaka)","Symbolic lotus (padma)","Conch (śaṅkha)","Tīrtha-ghaṭa (pilgrimage steps)"],"setting":"A quiet āśrama library corner or temple study hall with stacked manuscripts and a hanging bell.","lighting_mood":"temple lamp-lit","color_palette":["antique parchment","lamp-flame amber","ink black","vermilion","burnished gold"],"tanjore_prompt":"Tanjore painting style: Ornate manuscript-closure scene with a central palm-leaf folio inscribed ‘iti’, flanked by conch and lotus emblems; gold leaf borders, rich vermilion backdrop, jewel-like ornamentation on symbolic motifs, South Indian temple arch framing the writing desk.","pahari_prompt":"Pahari miniature style: A serene scriptorium with a sage-scribe in profile, delicate folio lines, soft lamp glow, minimalistic composition; cool earthy palette with refined detailing on the manuscript edges and a small lotus motif in the margin.","kerala_mural_prompt":"Kerala mural style: Stylized manuscript and lamp with bold outlines; symbolic conch and lotus above; flat yet vibrant red/yellow/green fields, temple-wall aesthetic, decorative border patterns reminiscent of grantha manuscripts.","pichwai_prompt":"Pichwai cloth painting style: A symmetrical textile-like composition where the central ‘iti’ folio is surrounded by lotus medallions, conch motifs, and floral borders; deep blue ground with gold highlights, intricate repetitive patterns evoking sacred cataloging."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["page rustle","soft bell","lamp crackle","silence"]}
Sandhi Resolution Notes: शततमोऽध्यायः = शततमः + अध्यायः (ओऽ + अ → ओऽ).
FAQs
It is a colophon (closing line) that marks the end of Adhyaya 112 and indexes the nested narrative units: Vena’s episode, the Gurutīrtha-māhātmya, Cyavana’s account, and the Nahuṣa episode.
No. It is primarily bibliographic/structural, used for navigation and recitation tradition to confirm the section and chapter boundary.
It literally means “the one-hundred (śata) plus twelve (dvādaśa-adhika),” i.e., the 112th chapter.