Shloka 76
नित्यं नैमित्तिकं काम्यं त्रिविधं श्राद्धमुच्यते । नित्यं तावत्प्रवक्ष्यामि अर्घ्यावाहनवर्जितम्
nityaṃ naimittikaṃ kāmyaṃ trividhaṃ śrāddhamucyate | nityaṃ tāvatpravakṣyāmi arghyāvāhanavarjitam
ศราทธะกล่าวกันว่ามีสามประเภท—นิตย์ (ประจำวัน), ไนมิตติกะ (ตามเหตุการณ์), และกามยะ (เพื่อความปรารถนา). ก่อนอื่นเราจักอธิบายศราทธะนิตย์ ซึ่งกระทำโดยไม่ถวายอรฺฆยะ และไม่ทำอาวาหนะ (เชิญบูชา)
Unspecified (contextual narrator within Sṛṣṭikhaṇḍa; verse introduces a classification teaching)
Concept: Dharma is structured: śrāddha has three modes—nitya, naimittika, kāmya—each with its own intent and procedure; daily śrāddha is simplified (without arghya and āvāhana).
Application: Differentiate duties: keep a simple daily baseline practice; reserve elaborate rites for occasions; avoid mixing desire-driven motives into obligatory acts.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A sage-teacher draws three neat divisions on a palm-leaf manuscript or on the ground with a kuśa tip, labeling the three śrāddhas. Beside him, three small vignettes appear: a simple daily water-offering without invocation, an occasional rite with fuller hospitality, and a desire-motivated rite with additional gifts—each shown as a distinct ritual tableau.","primary_figures":["Teacher-narrator (Pulastya or authoritative sage)","Attentive disciple(s)"],"setting":"Āśrama classroom-like space with palm-leaf manuscripts, ink pot, kuśa grass, and miniature ritual setups symbolically arranged.","lighting_mood":"golden dawn","color_palette":["palm-leaf tan","ink black","saffron","river blue","forest green"],"tanjore_prompt":"Tanjore painting style: central sage instructing with palm-leaf manuscript; three framed sub-scenes showing nitya/naimittika/kāmya śrāddha; gold leaf borders separating the three categories, rich reds and greens, ornate yet didactic composition with traditional iconographic clarity.","pahari_prompt":"Pahari miniature style: elegant didactic triptych within one frame; delicate lines and soft washes; sage pointing to three small ritual scenes arranged like story panels; cool mountain palette with warm saffron accents, refined faces and calm gestures.","kerala_mural_prompt":"Kerala mural style: bold outlines and panel-like segmentation; three ritual modes shown in stacked registers; strong primary pigments and temple-wall symmetry; sage’s large eyes and authoritative hand gesture emphasize classification teaching.","pichwai_prompt":"Pichwai cloth painting style: decorative tripartite layout with floral borders; each panel shows a distinct śrāddha mode with vessels and offerings; deep blue background, gold highlights, lotus motifs linking the panels into one devotional taxonomy."}
Audio Atmosphere: {"recitation_mood":"authoritative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["page rustle (palm leaves)","single bell at section breaks","quiet ashram ambience"]}
Sandhi Resolution Notes: श्राद्धमुच्यते = श्राद्धम् + उच्यते; तावत्प्रवक्ष्यामि = तावत् + प्रवक्ष्यामि.
FAQs
The verse classifies śrāddha into nitya (daily), naimittika (performed on specific occasions), and kāmya (performed to obtain a desired result).
It is said to be performed without arghya (a formal water-offering) and without āvāhana (ritual invocation).
By separating daily duty (nitya) from occasion-based and desire-driven rites, it highlights steadiness in dharma—regular practice not primarily motivated by personal gain.