Shloka 21
Kurukṣetra and Sarasvatī Tīrthas: Pilgrimage Itinerary and the Sanctification of Rāma-hrada
Paraśurāma’s Lakes
तत्रैव च महाराज जयां लोकपरिश्रुताम् । स्नात्वाभिगम्य राजेंद्र सर्वकाममवाप्नुयात्
tatraiva ca mahārāja jayāṃ lokapariśrutām | snātvābhigamya rājeṃdra sarvakāmamavāpnuyāt
Dan di sana juga, wahai raja agung, setelah mandi suci dan mendekati tirtha bernama Jayā yang termasyhur di dunia—wahai raja para raja—seseorang memperoleh terpenuhinya segala keinginan.
Unspecified narrator (addressing a king; likely Pulastya speaking to Bhīṣma in the Svarga-khaṇḍa dialogue frame)
Concept: Desires become fulfilled when one combines purification (snāna) with respectful approach (abhigamana) to a famed sacred locus.
Application: Before seeking outcomes, perform a ‘two-step’ practice: cleanse (body/mind) and then approach the sacred with humility; reframe personal wishes as offerings aligned with dharma.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"At the famed Jayā tīrtha, a kingly pilgrim descends to bathe, then walks toward a small sanctum with folded hands as attendants hold parasols. The air glows with a subtle ‘victory’ aura—garlands sway, and the water reflects a lotus-shaped light, hinting at sarva-kāma fulfillment.","primary_figures":["royal pilgrim (rājā)","tīrtha-priest","tīrtha-devatā (subtle presence)"],"setting":"Celebrated ghat with victory-banners (jayapatākā), a small shrine, and a processional path; offerings arranged on brass plates.","lighting_mood":"divine radiance","color_palette":["royal purple","marigold orange","gold","turquoise","lotus pink"],"tanjore_prompt":"Tanjore painting style: Jayā tīrtha with a royal pilgrim bathing then approaching a shrine; gold leaf used for banners, jewelry, and a radiant aura over the water; rich reds/greens, ornate archways, gem-like detailing on crowns and lamps, celebratory yet sacred composition.","pahari_prompt":"Pahari miniature style: refined courtly pilgrim scene at a ghat, delicate parasols and attendants; soft luminous water with lotus reflections; cool-turquoise and pink highlights, gentle landscape, lyrical movement toward the shrine.","kerala_mural_prompt":"Kerala mural style: stylized king and attendants, bold outlines, symmetrical shrine and ghat; strong reds/yellows/greens with deep blue water, divine aura rendered as patterned halo bands.","pichwai_prompt":"Pichwai cloth painting style: central ghat and shrine framed by ornate floral borders; victory flags, lotus motifs, and peacocks; deep blue background with gold and marigold accents, intricate textile detailing suggesting ‘sarva-kāma’ abundance."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["conch shell","temple bells","chanting crowd","flowing water","drum procession distant"]}
Sandhi Resolution Notes: तत्रैव = तत्र + एव; स्नात्वाभिगम्य = स्नात्वा + अभिगम्य; सर्वकाममवाप्नुयात् = सर्वकामम् + अवाप्नुयात्
FAQs
It points to a specific named tīrtha—Jayā—described as “world-renowned,” indicating that the Svarga-khaṇḍa preserves a network of celebrated pilgrimage sites and their promised fruits.
While not explicitly devotional, it reflects a Purāṇic practice where reverent approach to a sacred place—especially through ritual bathing (snāna)—is treated as a spiritually potent act that supports one’s aims and devotional life.
Desire-fulfillment is framed as arising from disciplined sacred action (bathing, visiting, approaching with respect), implying that goals should be pursued through dhārmic means rather than mere impulse.