Shloka 96
Tīrtha-Māhātmya of the Sarasvatī Region and the Praise of Kurukṣetra
Pilgrimage Merits
तस्मिन्वसंति ये राजन्न ते शोच्याः कथंचन । तरंडकारंडकयोर्यदंतरं रामह्रदानां च मचक्रुकस्य च । एतत्कुरुक्षेत्र समंतपंचकं पितामहस्योत्तर वेदिरुच्यते
tasminvasaṃti ye rājanna te śocyāḥ kathaṃcana | taraṃḍakāraṃḍakayoryadaṃtaraṃ rāmahradānāṃ ca macakrukasya ca | etatkurukṣetra samaṃtapaṃcakaṃ pitāmahasyottara vedirucyate
Wahai Raja, mereka yang tinggal di sana tidak patut diratapi sama sekali. Kawasan di antara Taraṇḍa dan Kāraṇḍaka, serta di antara Rāma-hrada dan Macakruka—itulah Kurukṣetra, Samanta-pañcaka, dan ia disebut sebagai ‘altar utara Pitāmaha (Brahmā)’.
Unspecified (narrator addressing a king, likely within a rishi–king dialogue)
Concept: Residence/association with a consecrated dharma-region removes grounds for grief; sacred space functions as protective merit-field.
Application: Create ‘tīrtha-like’ sanctity at home through daily worship, cleanliness, and dharma; seek periodic retreat to sacred places to reset mind and conduct.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"A sacred map comes alive: four boundary markers—two ancient ponds and two named tracts—glow like jeweled points around a central altar-field. Above the landscape, an ethereal northern vedi appears as a luminous geometric altar, suggesting Brahmā’s consecration, while a king listens to the sage’s calm assurance.","primary_figures":["Royal listener (king)","Sage-narrator (unnamed/ṛṣi figure)","Brahmā (Pitāmaha) as a subtle visionary presence"],"setting":"Kurukṣetra rendered as a sacred circuit with ponds (hradas), boundary stones, and a central vedi-like field; a teaching scene at the edge of a tīrtha pool","lighting_mood":"golden dawn","color_palette":["burnished gold","river-pearl white","verdant green","terracotta","lapis blue"],"tanjore_prompt":"Tanjore painting style: a didactic yet ornate Kurukṣetra ‘map-scene’ with the king seated respectfully before a sage; four glowing boundary tīrthas depicted as small jeweled ponds; Brahmā’s northern altar (uttara-vedi) shown as a radiant gold-leaf geometric vedi in the sky; rich reds/greens, gem-like highlights on water and ritual objects.","pahari_prompt":"Pahari miniature style: elegant landscape cartography—soft hills on the horizon, delicate ponds labeled by visual motifs (lotus clusters, birds), the king and sage in quiet dialogue; cool blues and greens with fine brushwork, lyrical naturalism and refined expressions.","kerala_mural_prompt":"Kerala mural style: stylized ponds and boundary icons arranged symmetrically around a central vedi; bold outlines, flat yet vibrant pigments; Brahmā as a calm, four-faced presence above; king and sage in profile with characteristic mural eyes and ornamental borders.","pichwai_prompt":"Pichwai cloth painting style: Kurukṣetra as a mandala-like altar-field with lotus rosettes marking Taraṇḍa, Kāraṇḍaka, Rāma-hradas, Macakruka; ornate floral borders, peacocks near the ponds, deep blue ground with gold detailing; devotional cartographic aesthetic."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["water lapping at a pond","soft conch accent","low drone (tanpura)","distant birds","footsteps on earth"]}
Sandhi Resolution Notes: तस्मिन्+वसन्ति→तस्मिन्वसन्ति; राजन्+न→राजन्न; तरंडकारंडकयोः+यत्→तरंडकारंडकयोर्यत्; यत्+अन्तरम्→यदंतरं; एतत्+कुरुक्षेत्रम्→एतत्कुरुक्षेत्रम्; पितामहस्य+उत्तर→पितामहस्योत्तर; वेदी+उच्यते→वेदिरुच्यते
FAQs
It states that those who live there are not to be mourned—implying the place is spiritually auspicious and supportive of merit and liberation-oriented life.
It gives boundary markers—between Taraṇḍa and Kāraṇḍaka, and between the Rāma-hradas and Macakruka—identifying that region as Kurukṣetra, known as Samanta-pañcaka.
“Pitāmaha” refers to Brahmā; calling the region his “uttara-vedi” frames Kurukṣetra as a prime, sanctified sacrificial ground in the cosmological-sacred map of the Purāṇa.