Shloka 31
Vows of Hari and the Hundred Names of Suputra (Viṣṇu/Kṛṣṇa): Ritual Metadata and Fruits of Japa
उभयोः संनिधौ जाप्यं कर्तव्यं सुखमिच्छता । बहुसौख्यं प्रभुक्त्वैव कुलानां शतमेव च
ubhayoḥ saṃnidhau jāpyaṃ kartavyaṃ sukhamicchatā | bahusaukhyaṃ prabhuktvaiva kulānāṃ śatameva ca
جو شخص خوشی چاہے، اسے دونوں کے حضور جَپ کرنا چاہیے۔ بے شمار خوشیاں بھोग کر وہ اپنے خاندان کی سو نسلوں تک بھلائی پہنچاتا ہے۔
Unspecified (context-dependent within Bhūmi-khaṇḍa dialogues; commonly framed as Pulastya speaking to Bhīṣma in many Padma Purāṇa sections)
Concept: Japa performed near Viṣṇu’s sacred emblems yields sukha here and spiritual benefit extending to one’s lineage.
Application: Establish a consistent japa routine in a clean sacred corner; dedicate merit for family welfare while keeping intention sattvic and devotional.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: temple
Visual Art Cues: {"scene_description":"A devotee sits cross-legged before a small altar where Śālagrāma and Dvāravatī stones rest side by side, a tulasī sprig and a conch nearby. As the rosary beads pass through the fingers, translucent silhouettes of ancestors appear behind like a protective lineage-tree, their faces softened by the glow of the lamp, suggesting ‘hundred generations’ being uplifted.","primary_figures":["Vaiṣṇava devotee performing japa","Śālagrāma","Dvāravatī-śilā","ancestral silhouettes (pitṛs)"],"setting":"Quiet shrine room with brass lamp, japa-mālā, water vessel, incense; subtle sacred geometry on the floor (maṇḍala).","lighting_mood":"divine radiance","color_palette":["warm sandalwood beige","vermillion","antique gold","midnight indigo","pearl white"],"tanjore_prompt":"Tanjore painting style: devotee with japa-mālā seated before Śālagrāma and Dvāravatī stones on a lotus pedestal, heavy gold leaf on halos and lamp flames, rich maroon backdrop, ornate arch framing, faint gold-etched ancestral figures rising behind like a kula-vṛkṣa.","pahari_prompt":"Pahari miniature style: intimate indoor scene with delicate lines—devotee chanting softly, stones on a small altar, thin incense smoke curling; cool blues and soft creams, ancestors suggested as pale watercolor-like forms, refined facial features and gentle serenity.","kerala_mural_prompt":"Kerala mural style: stylized devotee and altar with bold outlines, rhythmic patterns on floor, luminous lamp; ancestors rendered as symmetrical guardian-like forms, traditional red/yellow/green palette with black contours.","pichwai_prompt":"Pichwai cloth painting style: central altar with lotus motifs, floral borders, peacocks at corners; devotee in profile with mālā, deep blue background with gold highlights, subtle cow motifs indicating Vaiṣṇava auspiciousness, intricate textile-like detailing."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["mālā bead clicks","incense crackle","temple bells (distant)","silence"]}
Sandhi Resolution Notes: सुखमिच्छता = सुखम् + इच्छता; प्रभुक्त्वैव = प्रभुक्त्वा + एव.
FAQs
It prescribes performing japa (mantra repetition) in the saṃnidhi—i.e., the immediate presence—of both referred sacred entities.
The verse states that the practitioner enjoys abundant happiness and that the merit extends to a hundred generations of the family line.
This cannot be fixed from the single verse alone; “both” refers to two specific beings/objects identified in the surrounding verses (often a pair of deities, tīrthas, or sacred presences).