Shloka 58
The Glory of Śrāddha at Sacred Fords and the Determination of the Kutapa Time
अट्टहासं तथा तीर्थं गौतमेश्वरमेव च । तथा वसिष्ठतीर्थं च भारतं च ततः परम्
aṭṭahāsaṃ tathā tīrthaṃ gautameśvarameva ca | tathā vasiṣṭhatīrthaṃ ca bhārataṃ ca tataḥ param
Juga disebut tīrtha bernama Aṭṭahāsa, serta Gautameśvara; demikian pula Vasiṣṭha-tīrtha, dan selepas itu Bhārata, tanah suci India.
Unspecified in the provided excerpt (context needed from surrounding verses).
Concept: Smaraṇa and darśana of tīrthas sacralize one’s life-journey; Bhārata is presented as a uniquely dharmic geography fit for liberation-oriented acts.
Application: Keep a ‘tīrtha-smaraṇa’ practice: daily remembrance of one sacred place, offering a mental arghya and resolving to act with purity as if standing at a ford.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A sage-narrator gestures across a luminous map-scroll of Bhārata where tīrtha-names glow like mantra-syllables. In the air, subtle icons arise: a laughing echo at Aṭṭahāsa, a serene liṅga-shrine for Gautameśvara, and a calm hermitage aura for Vasiṣṭha-tīrtha, all merging into a vast lotus-shaped outline of India.","primary_figures":["itinerant sage (tīrtha-kathaka)","pilgrims with water pots","subtle presence of Viṣṇu as protective aura"],"setting":"riverbank pavilion with palm-leaf manuscripts; distant hills and temple spires; a stylized ‘Bhārata’ map formed by lotus petals","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","river-silver","sandalwood beige"],"tanjore_prompt":"Tanjore painting style: a seated sage reciting tīrtha-names before a lotus-shaped map of Bhārata, miniature shrine-icons labeled Aṭṭahāsa, Gautameśvara, Vasiṣṭha-tīrtha; Viṣṇu’s conch-and-disc aura faintly behind, heavy gold leaf halos, rich crimson and emerald textiles, gem-studded ornaments, ornate arch frame, temple lamp-lit glow.","pahari_prompt":"Pahari miniature style: a gentle riverbank scene with a sage pointing to a painted scroll-map, pilgrims listening; delicate brushwork, cool greens and blues, lyrical sky, refined faces, small hermitage and shrine vignettes for Gautameśvara and Vasiṣṭha, soft Himalayan-like ridges in the distance.","kerala_mural_prompt":"Kerala mural style: bold outlined sage with palm-leaf manuscript, stylized lotus-map of Bhārata behind, iconographic shrine motifs for the named tīrthas, natural pigments with dominant ochres, reds, and greens, temple-wall aesthetic, large expressive eyes, rhythmic ornamental borders.","pichwai_prompt":"Pichwai cloth painting style: Bhārata as a giant lotus pond filled with tīrtha-lotuses labeled Aṭṭahāsa, Gautameśvara, Vasiṣṭha-tīrtha; peacocks and cows at the margins, intricate floral borders, deep indigo background with gold detailing, subtle Viṣṇu symbols (śaṅkha-cakra) woven into the pattern."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","flowing water","page-turn of palm leaves","distant conch shell"]}
Sandhi Resolution Notes: गौतमेश्वरमेव = गौतमेश्वरम् + एव; अन्यत्र पदच्छेदः सरलः (समुच्चयार्थक च-प्रयोगः)।
FAQs
It functions as a catalog-style mention of multiple tīrthas (Aṭṭahāsa, Gautameśvara, Vasiṣṭha-tīrtha), placing them within the broader sacred landscape associated with Bhārata.
By foregrounding tīrthas and named sacred shrines, the verse supports a devotional culture where pilgrimage, remembrance of holy places, and reverence for revered sages/deities become practical expressions of bhakti.
The implied lesson is to honor and preserve sacred spaces and traditions of pilgrimage, treating them as conduits for purification, humility, and disciplined religious life.