Shloka 36
Vows of Hari and the Hundred Names of Suputra (Viṣṇu/Kṛṣṇa): Ritual Metadata and Fruits of Japa
यो जपेच्च शतं नाम्नां स्तोत्रं पातकनाशनम् । पितरस्तुष्टिमायांति तृप्ता यांति परां गतिं
yo japecca śataṃ nāmnāṃ stotraṃ pātakanāśanam | pitarastuṣṭimāyāṃti tṛptā yāṃti parāṃ gatiṃ
Quem recitar este hino dos cem nomes, que destrói os pecados, torna os antepassados satisfeitos; contentes, eles alcançam o estado supremo.
Not explicitly specified in the provided excerpt (context likely a narrator within the Bhūmi-khaṇḍa dialogue tradition).
Concept: Recitation of the sin-destroying hundred-name hymn pleases the pitṛs and elevates them to the supreme state.
Application: Adopt a daily or śrāddha-season practice of reciting the stotra with attention and purity of intent, dedicating merit to ancestors.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A devotee sits on a kuśa mat, counting a mālā as luminous syllables rise like golden lotuses from his lips. In the upper space, satisfied pitṛs receive the offering of sound and ascend toward a radiant Vaikuṇṭha-like horizon, while the stotra scroll glows with sacred script.","primary_figures":["Devotee reciting stotra","Pitṛs (ancestors, subtle forms)","Vishnu/Keśava (distant radiant presence or emblematic conch-disc)"],"setting":"Quiet shrine corner with a small altar, incense, lamp, and a manuscript/palm-leaf text; subtle cosmic sky opening above.","lighting_mood":"divine radiance","color_palette":["lotus pink","radiant gold","midnight blue","pearl white","saffron"],"tanjore_prompt":"Tanjore painting style: central seated devotee with mālā and open stotra manuscript; above, pitṛs in gentle halos moving toward a gold-leaf Vaikuṇṭha arch; Vishnu’s conch and discus motifs in the corners; heavy gold embellishment, rich crimson and emerald textiles, ornate borders, jewel-like highlights on the lamp and vessels.","pahari_prompt":"Pahari miniature style: serene indoor shrine with delicate brushwork; the devotee softly chanting, visible breath rendered as tiny lotus glyphs; pitṛs as translucent figures drifting upward into a pale blue sky; refined facial features, soft shadows, minimalistic elegance, lyrical naturalism.","kerala_mural_prompt":"Kerala mural style: bold outlined devotee with mālā, manuscript in hand; pitṛs in stylized cloud bands ascending; Vishnu’s radiant mandala above; natural pigments with dominant reds/yellows/greens, patterned floor, temple-wall composition, large expressive eyes.","pichwai_prompt":"Pichwai cloth painting style: a central lotus medallion containing the chanting devotee; surrounding rings of stylized Sanskrit syllables and floral borders; pitṛs depicted as small haloed figures moving toward a blue-gold celestial band; intricate creepers, peacocks, and lamp motifs, deep indigo background with gold detailing."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["mālā bead clicks","soft drone (tanpura)","incense crackle","distant temple bell","night insects or early dawn birds"]}
Sandhi Resolution Notes: जपेच्च → जपेत् + च; तुष्टिमायांति → तुष्टिम् + आयान्ति; पितरस्तुष्टिम् → पितरः + तुष्टिम् (visarga sandhi); आयांति (IAST) normalized to आयान्ति; no further required splits.
FAQs
It recommends reciting (japa) a “hundred-names” hymn (śata-nāma stotra) described as a destroyer of sins.
It states that the recitation pleases the Pitṛs; once satisfied, they attain a higher or supreme state (parā gati).
It emphasizes responsibility toward one’s lineage and the purifying power of devotional remembrance (nāma-japa) as a means of benefiting both oneself and one’s ancestors.