Shloka 25
The Glory of Plastering/Smearing (and Maintaining) Hari’s Temple
किंत्वाकर्णय लोकेश सुकृतं चास्य वर्त्तते । मन्येऽहं यमुनाभ्रातः सर्वपापविलोपि तत्
kiṃtvākarṇaya lokeśa sukṛtaṃ cāsya varttate | manye'haṃ yamunābhrātaḥ sarvapāpavilopi tat
എങ്കിലും കേൾക്കുക, ഹേ ലോകേശാ! ഇവനിൽ സുകൃതവും നിലനിൽക്കുന്നു. യമുനാഭ്രാതാവ് (ശ്രീകൃഷ്ണൻ)യുടെ പ്രസാദത്താൽ അതുതന്നെ സർവ്വപാപവും മായ്ക്കുമെന്നു ഞാൻ കരുതുന്നു।
Unspecified (addressing 'Lokeśa')
Concept: Even a small sukṛta connected to the Lord can become sarva-pāpa-vilopaka (sin-erasing) through divine grace.
Application: Do not despair over past mistakes; cultivate one sincere act of devotion daily (nāma-japa, offering water/leaf/flower, temple visit) and protect it from negligence.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"Citragupta, still holding the ledger of sins, turns and raises a finger as if remembering a hidden jewel of merit. Behind him, a luminous vision of the Yamunā appears—dark-blue waters with silver ripples—hinting at Kṛṣṇa’s presence as the river’s ‘brother,’ bathing the courtroom in sudden grace.","primary_figures":["Citragupta","Dharmarāja (Yama)","a faint visionary form of Kṛṣṇa/Viṣṇu (as Yamunā-bhrātā)"],"setting":"Yama-sabhā with a visionary aperture opening to the Yamunā riverbank","lighting_mood":"divine radiance breaking through judicial gloom","color_palette":["yamunā deep blue","moon-silver","lotus pink","soft saffron","radiant gold"],"tanjore_prompt":"Tanjore painting style: Citragupta addressing Yama with one hand in respectful gesture, while a gold-leaf ‘vision window’ shows Yamunā’s blue waters and a small Kṛṣṇa figure with peacock feather; heavy gold embellishment, ruby-green borders, ornate crowns, embossed halos, devotional warmth overtaking the court’s severity.","pahari_prompt":"Pahari miniature style: a lyrical contrast—somber court interior on one side, and a delicate vignette of Yamunā with kadamba trees on the other; Kṛṣṇa suggested as a subtle, graceful figure; cool blues and soft pinks, fine facial features, poetic atmosphere.","kerala_mural_prompt":"Kerala mural style: Yama and Citragupta in bold outlines; behind them a stylized river band labeled by iconography (waves, lotuses), with Kṛṣṇa’s form emerging in iconic stance; strong reds/yellows/greens with deep blue river, temple-wall symmetry.","pichwai_prompt":"Pichwai cloth painting style: central motif of Yamunā as a flowing blue ribbon with lotuses, peacocks, and floral borders; a small Kṛṣṇa figure as ‘Yamunā-bhrātā’ blessing; integrate script-like motifs suggesting ‘sarva-pāpa-vilopa’; deep blue and gold with intricate white highlights."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft bells","gentle flowing water","tanpura drone","distant conch","brief uplift in cadence"]}
Sandhi Resolution Notes: किंत्वा- → किम् तु; किंत्वाकर्णय → किम् तु आकर्णय; चास्य → च अस्य; मन्येऽहं → मन्ये अहम्
FAQs
“Yamunā’s brother” (yamunā-bhrātaḥ) commonly refers to Yama, who is traditionally described as Yamunā’s brother.
Even when faults are present, a person’s sukṛta (merit) is acknowledged; such merit is portrayed as capable of leading to the removal of sins.
The verse primarily uses karma language—sukṛta (merit) and sarva-pāpa (sins)—framing spiritual progress in terms of moral causality and purification.