Shloka 54
The Glory of Śrāddha at Sacred Fords and the Determination of the Kutapa Time
विदर्भा चाथ वेगा च पयोष्णी प्राङ्मुखा परा । कावेरी चोत्तरांगा च तथा जालंधरो गिरिः
vidarbhā cātha vegā ca payoṣṇī prāṅmukhā parā | kāverī cottarāṃgā ca tathā jālaṃdharo giriḥ
وكذلك (توجد) فيداربها (Vidarbhā)، وفيغا (Vegā)، وبايوشني (Payoṣṇī)، وبرانموخا (Prāṅmukhā) الفاضلة؛ وكافيري (Kāverī)، وأوتّارانغا (Uttarāṅgā)، وكذلك جبل جالاندارا (Jālaṃdhara).
Unspecified in the provided excerpt (context likely a narrator listing sacred rivers/regions and a mountain).
Concept: Dharma is geographically embodied: rivers and mountains become living reminders to practice purity, charity, and devotion.
Application: Use sacred geography as a discipline of remembrance: when encountering any river, practice a brief arghya, gratitude, and a vow to avoid harm (ahiṃsā) toward water ecosystems.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"A sweeping bird’s-eye sacred map shows the Deccan plateau with ribbon-like rivers labeled Kāverī and Payoṣṇī, flowing past temple towns and ghāṭs. Jālaṃdhara mountain rises like a dark-blue lingam-shaped peak crowned with clouds, while pilgrims traverse paths with flags and water pots.","primary_figures":["pilgrims (yātrikas)","river-deities","a guardian deity on the mountain (kṣetrapāla motif)"],"setting":"Panoramic Indian landscape: plateau rivers, temple ghāṭs, distant mountain massif","lighting_mood":"divine radiance","color_palette":["deep indigo","emerald green","cloud white","terracotta red","antique gold"],"tanjore_prompt":"Tanjore painting style: panoramic sacred geography panel with Kāverī as a jeweled river-goddess flowing through stylized ghāṭs, Payoṣṇī and Vegā as smaller attendant rivers, Jālaṃdhara mountain as a monumental blue-green peak with gold-leaf cloud bands; ornate borders, rich reds/greens, gold leaf highlights on water ripples and temple towers.","pahari_prompt":"Pahari miniature style: elegant landscape with meandering rivers across rolling hills, tiny pilgrims with saffron flags, Jālaṃdhara mountain in cool blue tones under soft clouds; delicate linework, refined faces, subtle gradients, floral margins, lyrical naturalism.","kerala_mural_prompt":"Kerala mural style: stylized river bands in green-blue with repeating wave motifs, mountain as a bold triangular form, pilgrims in simplified poses; thick black outlines, red-yellow-green palette, temple-wall symmetry with lotus medallions and vine scrolls.","pichwai_prompt":"Pichwai cloth painting style: rivers rendered as patterned bands filled with lotus motifs, temple silhouettes along the banks, peacocks and cows near water, mountain centered like a sacred axis; deep blue background, gold detailing, intricate floral borders, devotional textile rhythm."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["flowing water","wind over hills","temple bells","footsteps on stone ghāṭ"]}
Sandhi Resolution Notes: चाथ = च + अथ; चोत्तरांगा = च + उत्तरांगा. सूची-शैली—नामानि प्रथमा-एकवचनेन।
FAQs
It preserves a Purāṇic catalogue of named rivers/regions and a mountain, reflecting how sacred geography is mapped through remembered hydronyms and toponyms used for pilgrimage and cultural orientation.
Indirectly: by naming revered rivers and landscapes associated with sanctity and pilgrimage, it supports devotional practice through tīrtha-smaraṇa (remembering holy places), a common aid to bhakti in Purāṇic tradition.
The verse functions mainly as a descriptive list rather than an explicit moral teaching; its implied lesson is reverence for sacred natural sites and the cultivation of remembrance and respect toward places held holy in dharma traditions.