Shloka 107
Genealogy of the Ancestors (Pitṛs) and the Procedure of Śrāddha
ततः पिंडादिकं कुर्यादावाहनविसर्जनम् । ततो गृहीत्वा पिंडेभ्यो मात्राः सर्वाः क्रमेण तु
tataḥ piṃḍādikaṃ kuryādāvāhanavisarjanam | tato gṛhītvā piṃḍebhyo mātrāḥ sarvāḥ krameṇa tu
Ensuite, qu’il accomplisse les rites commençant par les offrandes de piṇḍa, avec l’invocation et le congé. Puis, prélevant des parts des piṇḍas, qu’il offre ou répartisse toutes les portions mesurées selon l’ordre prescrit.
Unspecified (narrative/ritual instruction voice within Sṛṣṭikhaṇḍa)
Concept: Dharma is upheld through orderly, correctly sequenced offerings; reverence becomes effective when expressed as disciplined ritual action.
Application: In any duty—family care, remembrance of elders, charity—follow a clear sequence: invoke intention, act carefully, then conclude properly; avoid haste and improvisation in sacred commitments.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A quiet courtyard altar is prepared with darbha grass and three rounded piṇḍas set on a leaf-plate. A householder, calm and focused, performs āvāhana and visarjana with cupped hands, then carefully pinches measured portions from each piṇḍa in a precise sequence, as if counting sacred shares.","primary_figures":["householder (yajamāna)","pitṛs (subtle, suggested presence)","ritual assistant/priest (optional)"],"setting":"domestic śrāddha space with darbha, leaf plates, water pot (kalaśa), sesame bowl, and a low wooden stool; faint presence of ancestors in the background as translucent silhouettes","lighting_mood":"temple lamp-lit","color_palette":["sandalwood beige","darbha green","sesame brown","lamp-flame gold","smoke gray"],"tanjore_prompt":"Tanjore painting style: a South Indian courtyard śrāddha scene with three piṇḍas on a banana-leaf plate, the yajamāna in white dhoti performing āvāhana-visarjana mudrās; ornate gold leaf halos subtly behind the unseen pitṛ-presences, rich vermilion borders, gem-like detailing on the kalaśa and lamp, traditional iconographic symmetry.","pahari_prompt":"Pahari miniature style: intimate domestic ritual on a clean veranda, delicate brushwork showing darbha strands and tiny sesame grains; cool muted palette with lyrical realism, soft hills/trees hinted beyond the courtyard wall, refined facial features and gentle gestures as measured portions are taken from the piṇḍas.","kerala_mural_prompt":"Kerala mural style: bold black outlines and earthy pigments; the yajamāna seated near a low altar with piṇḍas, kalaśa, and lamp; stylized ancestral presences as faint, patterned forms; strong reds/yellows/greens with temple-wall compositional balance.","pichwai_prompt":"Pichwai cloth painting style: a devotional śrāddha tableau framed by intricate floral borders and lotus motifs; piṇḍas and ritual vessels rendered with decorative precision; deep indigo background with gold highlights, peacocks and stylized vines at the margins, emphasizing sacred order and offering."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["low temple bell","soft conch in distance","crackling oil lamp","gentle courtyard silence"]}
Sandhi Resolution Notes: पिंडादिकम् = पिंड + आदिकम्; कुर्यादावाहनविसर्जनम् = कुर्यात् + आवाहनविसर्जनम्; आवाहनविसर्जनम् treated as द्वन्द्व (आवाहन + विसर्जन); गृहीत्वा (क्त्वा); पिंडेभ्यो (पञ्चमी बहु); सर्वाः (स्त्री द्वितीया बहु) agrees with मात्राः.
FAQs
It instructs performing piṇḍa-related offerings and completing the formal invocation and dismissal (āvāhana–visarjana), then taking measured portions from the piṇḍas and offering/distributing them sequentially.
Āvāhana is the formal inviting/invocation of the intended recipients (commonly ancestors in śrāddha contexts), and visarjana is the respectful dismissal/conclusion after the offering is complete.
It emphasizes disciplined, respectful procedure—performing duties carefully and in the prescribed sequence, reflecting reverence toward the recipients and the sanctity of the rite.