Shloka 62
The Glory of Śrāddha at Sacred Fords and the Determination of the Kutapa Time
एषु श्राद्धप्रदातारः प्रयांति परमं पदम् । तीर्थं मातृगृहं नाम करवीरपुरं तथा
eṣu śrāddhapradātāraḥ prayāṃti paramaṃ padam | tīrthaṃ mātṛgṛhaṃ nāma karavīrapuraṃ tathā
ผู้ที่ถวายศราทธะ (śrāddha) ณ สถานที่เหล่านี้ย่อมบรรลุสภาวะสูงสุด ในบรรดานั้นมีทิรถะชื่อ มาตฤคฤหะ และเมือง กรวีรปุระ ด้วย
Unspecified (context-dependent narrator/speaker in Adhyaya 11)
Concept: Śrāddha performed in sanctified places, with faith and correctness, becomes a bridge not only for pitṛs but for the performer toward the supreme goal.
Application: Perform śrāddha/tarpaṇa with sincerity—feed the needy, honor elders, and dedicate the act to Nārāyaṇa; even at home, keep purity and remembrance to mirror tīrtha efficacy.
Primary Rasa: shanta
Secondary Rasa: karuna
Type: tirtha
Visual Art Cues: {"scene_description":"On a quiet ghāṭa, a householder offers piṇḍas and water-libations while a gentle, translucent line of ancestors stands behind, their faces softening into peace. Above the river-mist, the words ‘paramaṃ padam’ appear like a luminous path leading upward, and the tīrtha-signs ‘Mātṛgṛha’ and ‘Karavīrapura’ are carved on stone pillars beside flowering trees.","primary_figures":["householder performing śrāddha","pitṛs (ancestral spirits) depicted respectfully","officiating priest"],"setting":"riverbank ghāṭa with offering platform, kusa grass, sesame, and lamps; nearby town-gate motif for Karavīrapura","lighting_mood":"moonlit","color_palette":["smoke gray","lamp gold","river indigo","saffron","white jasmine"],"tanjore_prompt":"Tanjore painting style: śrāddha scene at a ghāṭa with priest and householder, piṇḍa offerings on leaf plates, ancestors shown as serene translucent figures with gold leaf halos, ‘paramaṃ padam’ rendered as a golden stairway of light rising behind; ornate arch frame, rich maroons and greens, gem-like highlights on vessels and lamps.","pahari_prompt":"Pahari miniature style: intimate riverside ritual with delicate gestures—water poured from a small lota, piṇḍas arranged neatly; ancestors faintly visible in mist, soft moonlight, cool indigo palette, refined facial expressions conveying compassion and release, subtle town silhouette for Karavīrapura.","kerala_mural_prompt":"Kerala mural style: bold outlined ritual tableau—priest, householder, offering items stylized; pitṛs as pale, calm figures in a band above, ‘paramaṃ padam’ symbolized by a lotus-ladder; natural pigments, strong reds/yellows/greens with dark background, temple-wall symmetry.","pichwai_prompt":"Pichwai cloth painting style: central lotus with a small ghāṭa scene inside, surrounding border of jasmine and tulsi-like foliage motifs (as decorative, not textual claim), medallions naming Mātṛgṛha and Karavīrapura; deep blue ground, gold highlights, intricate floral borders, serene devotional ambiance."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["low temple bell","water poured in tarpaṇa","night insects","soft silence"]}
Sandhi Resolution Notes: एषु (सप्तमी बहुवचन) पूर्वोक्त-तीर्थेषु; श्राद्धप्रदातारः = श्राद्ध + प्रदातारः (समास); अन्यत्र सन्धि विशेषः न।
FAQs
It states that those who perform śrāddha at these specified tīrthas attain “paramaṃ padam,” i.e., the highest spiritual state or supreme abode.
The verse names the tīrtha called Mātṛgṛha and also Karavīrapura.
It highlights the merit of fulfilling ancestral duties (śrāddha) with faith at sanctified locations, presenting ritual responsibility as a means toward elevated spiritual attainment.