Shloka 50
The Glory of Śrāddha at Sacred Fords and the Determination of the Kutapa Time
तथा सहस्रलिंगं च राघवेश्वरमुत्तमम् । सेन्द्रकाला नदी पुण्या तत्र शक्रो गतः पुरा
tathā sahasraliṃgaṃ ca rāghaveśvaramuttamam | sendrakālā nadī puṇyā tatra śakro gataḥ purā
ដូចគ្នានេះ មាន សហស្រលិង្គ (Sahasraliṅga) និងស្ថានបូជាដ៏ប្រសើរ រហាឃវេស្វរ (Rāghaveśvara)។ នៅទីនោះ ទន្លេបរិសុទ្ធ សេន្រ្តកាលា (Sendrakālā) ហូរ; កាលបុរាណ សក្រ (ឥន្ទ្រ) ក៏ធ្លាប់ទៅទីនោះដែរ។
Pulastya (to Bhīṣma) [traditional Padma Purāṇa dialogue frame]
Concept: Sacred sites are upheld by divine visitation; pilgrimage is a legitimate means of purification and dharmic renewal even for the powerful.
Application: Approach diverse sacred spaces with humility; let pilgrimage be an occasion for confession, restraint, charity, and renewed devotion rather than mere tourism.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: tirtha
Visual Art Cues: {"scene_description":"A vast field of countless liṅgas—Sahasraliṅga—spreads across a river plain, each stone anointed with water and bilva leaves. Nearby stands the shrine of Rāghaveśvara, while the river Sendrakālā curves like a silver ribbon; Indra arrives in disguise, humbled, offering flowers and water at the sanctum.","primary_figures":["Indra (Śakra)","Śiva-liṅgas (Sahasraliṅga)","Temple priests and pilgrims","Presiding deity Rāghaveśvara (icon/sanctum presence)"],"setting":"Riverbank kṣetra with innumerable liṅgas, a principal temple, and a flowing river channel","lighting_mood":"divine radiance with high-noon clarity","color_palette":["stone gray","bilva green","silver-white","sky blue","marigold yellow"],"tanjore_prompt":"Tanjore painting style: panoramic Sahasraliṅga field rendered in rhythmic rows, central Rāghaveśvara shrine with gold-leaf vimāna, Indra with jeweled crown slightly bowed, ornate halos, rich reds/greens, gold embellishment on temple architecture and ritual vessels.","pahari_prompt":"Pahari miniature style: delicate landscape with a meandering river, tiny repeated liṅgas like beads across the ground, Indra as a refined figure approaching with folded hands, cool palette, lyrical naturalism, distant hills and trees framing the sacred complex.","kerala_mural_prompt":"Kerala mural style: bold iconographic Rāghaveśvara sanctum, stylized Indra with large eyes and crown, patterned rows of liṅgas, strong primary pigments, temple-wall symmetry and decorative borders.","pichwai_prompt":"Pichwai cloth painting style: repeated liṅga motifs forming a mandala-like field, central shrine arch, floral borders with bilva and lotus, peacocks near the river, deep blues and gold, devotional patterning emphasizing multiplicity and sanctity."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["river flow","temple bells","conch shell","pilgrim murmurs","wind through trees"]}
Sandhi Resolution Notes: राघवेश्वरमुत्तमम् = राघव-ईश्वरम् + उत्तमम्; सेन्द्रकाला = स + इन्द्र + काला.
FAQs
It lists specific named shrines (Sahasraliṅga, Rāghaveśvara) together with a named river (Sendrakālā), showing how the text maps holiness onto identifiable places—temples and waterways functioning together as a tīrtha landscape.
By highlighting revered names of a deity and a holy river, it points to devotion expressed through pilgrimage, remembrance of sacred sites, and reverence for consecrated liṅgas—practices that cultivate bhakti through embodied worship and sacred travel.
The mention that even Śakra (Indra) once went there implies humility and the value of seeking purification; greatness is shown not by pride, but by honoring holy places and pursuing merit through reverent action.