Shloka 76
Genealogy of the Ancestors (Pitṛs) and the Procedure of Śrāddha
नित्यं नैमित्तिकं काम्यं त्रिविधं श्राद्धमुच्यते । नित्यं तावत्प्रवक्ष्यामि अर्घ्यावाहनवर्जितम्
nityaṃ naimittikaṃ kāmyaṃ trividhaṃ śrāddhamucyate | nityaṃ tāvatpravakṣyāmi arghyāvāhanavarjitam
شرادھ تین قسم کا کہا گیا ہے: نِتیہ (روزانہ)، نَیمِتِک (موقعہ وار)، اور کامیہ (خواہش پر مبنی)۔ پہلے میں نِتیہ شرادھ بیان کرتا ہوں، جو اَर्घیہ اور آواہن (دعوتِ حضور) کے بغیر کیا جاتا ہے۔
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.