Shloka 33
The Deeds of Cyavana
in the Context of Guru-tirtha Glorification
द्वारावती प्रभासश्च अवंती नैमिषस्तथा । चंडकश्च महारत्नो महेश्वरकलेश्वरौ
dvārāvatī prabhāsaśca avaṃtī naimiṣastathā | caṃḍakaśca mahāratno maheśvarakaleśvarau
ทวาราวตี ประภาส อวันตี และไนมิษะ; อีกทั้งจัณฑกะ มหารัตนะ และศาสนสถานศักดิ์สิทธิ์สองแห่ง—มเหศวร และกเลศวร
Unspecified in the provided excerpt (context likely a narrator listing tīrthas within a dialogue, often Pulastya addressing Bhīṣma in Bhūmi-khaṇḍa).
Concept: Smaraṇa and saṅkīrtana of tīrthas cultivates puṇya and turns the mind toward dharma and pilgrimage.
Application: Keep a ‘tīrtha-smaraṇa’ practice—weekly remembrance/reading of holy places, paired with a small dāna or temple visit—to convert curiosity into sādhana.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A celestial cartographer-sage recites a garland of holy names while a luminous map of Bhārata blooms like a lotus. Each tīrtha appears as a miniature shrine—Dvārakā’s sea-walls, Prabhāsa’s coastal liṅga-temple, Ujjain’s river-ghāṭas, and Naimiṣa’s forest hermitages—linked by threads of light.","primary_figures":["Pulastya (as narrator-sage)","Bhīṣma (as listener)","Viṣṇu (subtle presence as all-pervading radiance)"],"setting":"A forest āśrama with palm-leaf manuscripts; behind them, a visionary panorama where tīrthas manifest as floating vignettes.","lighting_mood":"divine radiance","color_palette":["lotus pink","saffron gold","deep indigo","emerald green","pearl white"],"tanjore_prompt":"Tanjore painting style: Pulastya seated on a jeweled āsana in an āśrama, right hand in teaching gesture, with a gold-leaf lotus-map unfurling behind him showing Dvārāvatī by the sea, Prabhāsa temple, Ujjain ghāṭas, and Naimiṣa forest; rich reds and greens, heavy gold embossing, gem-studded ornaments, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a serene Himalayan-like forest āśrama where a sage recites tīrtha-names; delicate brushwork renders tiny vignettes of Dvārakā’s waves, Prabhāsa’s coastal shrine, Ujjain’s river steps, and Naimiṣa’s sacred grove; cool palette with lyrical naturalism and refined faces.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments depict the sage-teacher and listener in a temple-āśrama; behind them a stylized lotus mandala contains icons of the listed tīrthas; dominant reds, yellows, greens with characteristic large eyes and mural flatness.","pichwai_prompt":"Pichwai cloth painting style: a lotus-filled mandala-map where each petal holds a tīrtha vignette; central aura suggests Viṣṇu’s presence; intricate floral borders, peacocks and cows at the margins, deep blues and gold, Nathdwara-inspired ornamentation."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft conch shell","forest birds","distant ocean surf"]}
Sandhi Resolution Notes: प्रभासश्च = प्रभासः + च (visarga sandhi). चंडकश्च = चंडकः + च. महेश्वरकलेश्वरौ treated as dvandva in dual.
FAQs
It enumerates notable tīrthas (pilgrimage places), presenting a sacred-geographical catalogue that maps religious merit onto specific locations.
Purāṇic tīrtha-lists often integrate multiple sectarian landscapes; here, places associated with Kṛṣṇa (Dvārāvatī) and Śiva (Maheśvara, Kaleśvara) appear together to frame pilgrimage as broadly dharmic.
Yes—such lists function as prompts for remembrance, pilgrimage, and reverence for sacred places, reinforcing the ethic of honoring dharma through tīrtha-sevā (service/visit) and śraddhā (faith).