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 yang ada yoga dan pengetahuan rohani, dan pembebasan dicapai dalam satu hayat—setelah sampai ke Avimukta, janganlah menginginkan mana-mana 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.