Shloka 64
The Glory of Śrāddha at Sacred Fords and the Determination of the Kutapa Time
कीकटेषु गया पुण्या पुण्यं राजगृहं वनम् । च्यवनस्याश्रमं पुण्यं नदी पुण्या पुनःपुना
kīkaṭeṣu gayā puṇyā puṇyaṃ rājagṛhaṃ vanam | cyavanasyāśramaṃ puṇyaṃ nadī puṇyā punaḥpunā
کیکٹوں کے دیس میں گیا پُنّیہ ہے؛ راجگِرہ کا بن بھی پُنّیہ ہے۔ چَیون کا آشرم پُنّیہ ہے، اور وہ ندی بھی بار بار پُنّیہ ہے۔
Unspecified (narratorial voice within Sṛṣṭikhaṇḍa 11; speaker not identifiable from this single verse alone)
Concept: Sacredness is multi-nodal: land, forest, āśrama, and river together form a dharma-field where merit multiplies.
Application: Approach holy places with a ‘fourfold’ practice—snāna (river), darśana (shrines), satsanga (āśrama/saints), and śrāddha/dāna (ethical giving).
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"A map-like sacred panorama unfolds: Gayā’s piṇḍa-offering ghāṭa in the foreground, the green forested hills of Rājagṛha rising behind, and a quiet hermitage of Cyavana nestled among sal trees. A luminous river ribbon winds through all three, suggesting that holiness ‘repeats’ wherever its waters touch.","primary_figures":["Pilgrims at Gayā","Sage Cyavana","Forest ascetics","Local shrine guardians (optional)"],"setting":"Magadha landscape montage—riverbank ghāṭa, forested hills, hermitage huts, distant city walls of Rājagṛha.","lighting_mood":"forest dappled","color_palette":["leaf green","earth brown","river silver-blue","vermillion","smoke gray"],"tanjore_prompt":"Tanjore painting style: triptych-like sacred Magadha—Gayā ghāṭa with offerings, Rājagṛha forest hills with a small temple, Cyavana seated in tapas with japa-mālā; gold leaf outlines on hills and halos, rich crimson borders, ornate arch motifs unifying the three scenes.","pahari_prompt":"Pahari miniature style: sweeping Himalayan-like but Magadha-evocative hills, delicate trees, tiny pilgrims at Gayā, Cyavana’s hermitage with smoke from a yajña-kunda; cool blues and greens, lyrical naturalism, fine facial detailing.","kerala_mural_prompt":"Kerala mural style: stylized landscape bands—river as a bold curving motif, Cyavana in the center panel, Gayā rites on one side, Rājagṛha forest on the other; strong black outlines, flat yet vibrant pigments, temple mural symmetry.","pichwai_prompt":"Pichwai cloth painting style: sacred geography rendered as decorative compartments with lotus borders—Gayā piṇḍa offerings, forest motifs with peacocks, Cyavana under a flowering tree; deep blue ground, gold floral filigree, intricate textile patterning."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling leaves","distant temple bells","river flow","soft drum (mridangam) pulse","pilgrim footsteps"]}
Sandhi Resolution Notes: च्यवनस्याश्रमम् → च्यवनस्य + आश्रमम्; पुनःपुना → पुनः + पुना (पुनरुक्ति)
FAQs
It maps merit (puṇya) onto identifiable places—Gayā, Rājagṛha, and Cyavana’s āśrama—showing how the Purāṇa frames holiness through a network of pilgrimage sites and renowned āśramas in specific regions (here, Kīkaṭa).
Indirectly: by praising tīrthas and āśramas as repeatedly sacred, it supports devotional practice through pilgrimage, remembrance, and reverence for sanctified landscapes associated with sages and traditional holy centers.
To cultivate reverence for places and traditions that elevate conduct: visiting holy sites, honoring sages’ hermitages, and repeatedly returning to sacred acts encourages humility, self-purification, and commitment to dharma.