Shloka 43
The Greatness of Avimukta (Kāśī/Vārāṇasī) and the Doctrine of Liberation-in-One-Life
यत्र योगस्तथा ज्ञानं मुक्तिरेकेन जन्मना । अविमुक्तं तदासाद्य नान्यदिच्छेत्तपोवनम्
yatra yogastathā jñānaṃ muktirekena janmanā | avimuktaṃ tadāsādya nānyadicchettapovanam
Di tempat di mana yoga dan pengetahuan rohani hadir, dan pembebasan dicapai dalam satu kehidupan—setelah mencapai Avimukta, janganlah menginginkan hutan tapa yang lain.
Unspecified (narrative voice within Svarga-khaṇḍa; likely within the Pulastya–Bhīṣma discourse context)
Concept: When the locus of yoga and jñāna is attained, the seeker should rest in that grace-filled field rather than wander for austerities; the right kṣetra supports swift liberation.
Application: Choose one steady spiritual ‘home’ (practice + place + community), deepen daily sādhana there, and reduce restless spiritual consumerism; cultivate consistency in japa, study, and service.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A serene panorama of Avimukta on the Ganga’s curve: ancient ghats, temple spires, and a quiet tapovana-like grove within the city. A lone sādhaka, having arrived with staff and waterpot, pauses in stillness as subtle light suggests liberation ‘in one birth’—the city itself appearing as a living mandala of yoga and jñāna.","primary_figures":["sādhaka/yogī pilgrim","Vishvanatha (Śiva) as subtle presence","Ganga-devī (personified, optional)"],"setting":"Kāśī ghats with a small forested courtyard (tapo-vana motif) near a shrine; distant boats and bells.","lighting_mood":"golden dawn with soft divine radiance","color_palette":["saffron ochre","river jade-green","ash white","temple gold","deep indigo"],"tanjore_prompt":"Tanjore painting style: Avimukta-Kāśī at dawn with layered ghats and a central meditating yogī before a small Viśvanātha shrine; gold leaf embellishment on temple vimānas and halo-like radiance over the kṣetra, rich reds and greens in garments, gem-studded ornaments on the deity icon, traditional South Indian iconography adapted to North Indian ghats.","pahari_prompt":"Pahari miniature style: lyrical Kāśī riverbank with delicate brushwork, cool morning haze over the Ganga, refined yogī seated under a peepal tree, small shrine with fluttering flags, subtle mandala geometry implied in the city layout, gentle pastel sky and Himalayan-style atmospheric depth.","kerala_mural_prompt":"Kerala mural style: bold black outlines framing ghats and shrine, stylized Ganga as a graceful goddess figure, the yogī in calm posture, warm red/yellow/green palette with temple-lamp accents, large expressive eyes for divine presence, mural-like symmetry suggesting sacred order.","pichwai_prompt":"Pichwai cloth painting style: Kāśī rendered as a lotus-mandala city on the Ganga, ornate floral borders with lotus and bilva motifs, deep blues and gold, peacocks perched on temple parapets, central meditating figure with subtle Śiva-linga icon, intricate patterning across steps and water ripples."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","flowing river water","distant conch shell","morning birds","brief contemplative silence"]}
Sandhi Resolution Notes: योगस्तथा = योगः + तथा (विसर्ग-सन्धि: अः + त → स्त); मुक्तिरेकेन = मुक्तिः + एकेन (विसर्ग-सन्धि: इः + ए → इरे); तदासाद्य = तत् + आसाद्य (त् + आ → दा); नान्यदिच्छेत् = न + अन्यत् + इच्छेत् (स्वर-सन्धि: न + अन्यत् → नान्यत्; त् + इ → दि)।
FAQs
It presents Avimukta as a supreme tīrtha where yoga and liberating knowledge are readily available, so that liberation can be achieved within a single lifetime.
It links disciplined practice (yoga) and true insight (jñāna) as the enabling conditions for mokṣa, emphasizing their completeness when found together.
Once one has access to a setting that supports genuine practice and realization (Avimukta), one should avoid restless spiritual tourism and instead commit to sustained sādhanā there.