Shloka 16
The Glory of Lamp-Donation
in Kārttika
पूर्वं त्रेतायुगे विप्रो वैकुंठो नामतः शुचिः । यस्य संगप्रभावेण मुक्तो भवति पातकी
pūrvaṃ tretāyuge vipro vaikuṃṭho nāmataḥ śuciḥ | yasya saṃgaprabhāveṇa mukto bhavati pātakī
กาลก่อนในยุคเตรตา มีพราหมณ์ผู้บริสุทธิ์นามว่า ไวกุณฐะ; ด้วยอานุภาพแห่งการคบหาสมาคมกับท่าน แม้ผู้มีบาปก็ยังพ้นบาปได้
Unspecified in the provided excerpt (context needed from surrounding verses in Brahma-khaṇḍa, Adhyaya 3).
Concept: Satsaṅga itself becomes a liberating force; proximity to a pure Vaiṣṇava burns sin without elaborate prerequisites.
Application: Seek regular company of sincere devotees/teachers; let daily life include satsang, kīrtana, and service—purification begins by association before mastery of rituals.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"In a serene Tretā-yuga āśrama, the brāhmaṇa Vaikuṇṭha sits in japa, his presence radiating a soft aura. A weary sinner approaches hesitantly; as he steps into the saint’s proximity, dark smoke-like stains lift away, dissolving into lotus-scented light.","primary_figures":["Brāhmaṇa Vaikuṇṭha (saint)","A repentant sinner/pātakī (human figure)","Subtle presence of Lord Hari as a faint halo or śālagrāma on an altar"],"setting":"Forest hermitage with tulasī pots, kuśa grass seat, small altar with śālagrāma and conch; distant riverbank suggested","lighting_mood":"golden dawn with gentle divine radiance","color_palette":["sandalwood beige","lotus pink","saffron gold","deep forest green","smoky indigo"],"tanjore_prompt":"Tanjore painting style: Vaikuṇṭha the saint seated on a kuśa āsana before a small Hari-altar with śālagrāma, conch, and tulasī; a sinner stands at the threshold as dark pāpa-smoke peels away into lotus-shaped light; heavy gold leaf halo around the saint and subtle Vishnu aura behind the altar, rich crimson and emerald textiles, gem-studded ornaments on the altar vessels, ornate arch frame.","pahari_prompt":"Pahari miniature style: quiet Himalayan-like forest āśrama, delicate lines and refined faces; Vaikuṇṭha in white garments with a calm gaze, a hesitant traveler-sinner approaching; pale river ribbon in the background, soft morning mist, cool greens and pinks, lyrical naturalism with small tulasī plant near the altar.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Vaikuṇṭha with large expressive eyes and serene smile, white dhoti with red border; altar with śālagrāma and lamp; the sinner’s dark aura dissolving into stylized lotus motifs; warm yellow-red-green palette with temple-wall texture.","pichwai_prompt":"Pichwai cloth painting style: central altar of Hari with tulasī and lotus motifs; Vaikuṇṭha as a devotee-saint offering a garland; border filled with repeating lotuses and vines; symbolic pāpa as dark clouds transforming into golden petals; deep blue background with gold detailing, peacocks perched on branches."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","forest birds","gentle silence","distant flowing water"]}
Sandhi Resolution Notes: संगप्रभावेण → सङ्गप्रभावेण (anusvāra/ṅ); no major external sandhi requiring split beyond compound resolution
FAQs
It teaches the purifying power of satsanga—association with a truly pure and holy person—so strong that even a sinner can be freed through that influence.
Vaikuṇṭha is presented as a pure brāhmaṇa (vipraḥ śuciḥ) who lived in the Tretā Yuga; the verse highlights his sanctity rather than giving biographical detail.
Choose one’s company carefully: keeping the company of the virtuous elevates character and can lead to moral and spiritual release from wrongdoing.