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
اے راجن! جو وہاں رہتے ہیں وہ کسی طرح بھی قابلِ افسوس نہیں۔ تَرَṇḍ اور کارَṇḍک کے درمیان، اور رام ہردوں اور مچکرُک کے درمیان جو خطہ ہے—وہی کُرُکشیتر، سمنت پنچک ہے، اور اسے پِتامہہ (برہما) کی شمالی ویدی کہا جاتا ہے۔
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.