A) Pitar
At the point when an individual passes on, its unpretentious body gets liberated from the dead body subsequent to playing out the custom of Shraddha and it gets position in the inconspicuous plane implied for spirits of dead people. Right then and there it accept the assignment of Pitar Tarpan
( তর্পণ ).
B) Parvan
In the wake of performing Sapindikaran (Shraddha performed one day before one-year fruition after the passing of the individual is called Sapindikaran Shraddha), the spirit that has accepted the assignment of Pitar now joins different Pitars and afterward gets additionally arranged as Parvan. Likewise, it picks up power in order to enable its relatives to perform Parvan Shraddha for it.
C) Pitrutrayi (Trio in Pitars)
By and large child of the dead individual has expert to perform Shraddha for the dead individual. In his nonattendance, different alternatives are investigated. The wording of Shraddha has been readied expecting the child just like the individual who plays out the shraddha. Subsequently the spirit of dead individual for whom the Shraddha is being performed, is summoned as ‘pita’ (father of the child performing Shraddha). One age previously, for example the dad of dead individual is referenced as ‘Pitamaha’ (granddad of the child performing Shraddha). The granddad of the dead individual is alluded to as ‘Prapitamaha’ (extraordinary granddad of the child performing Shraddha). The previous ages than these are not included in trios of Pitars (Pitrutrayi), in light of the fact that it is accepted that they are freed.
D) Jivatpitruk
At the point when there is a male individual whose father is alive, at that point such an individual doesn’t have expert to perform Shraddha. Be that as it may, he has ideal to perform Shraddha for his mom and granddad (mother’s dad). Likewise, by and large, he even doesn’t reserve the privilege to perform customs of Narayannagbali, Tripindi and so on; in any case on the off chance that these ceremonies are performed with the goal of imagining a tyke, at that point the jivatpitruk can do as such. So as to perform ‘Apasavya’, a jivatpitruk can just hold the string in the thumb of the left hand and can’t hold it totally in his left hand.
E) Three different ways of wearing the string (janve) are Savya, Apasavya and Nivit
The string ought to consistently be worn on the left shoulder. This style of wearing the string is known as ‘savya’. When it is worn on the correct shoulder it is known as ‘Apasavya’. At the point when worn as an accessory, it is known as ‘Nivit’.
F) Offering ‘kshan’
During the custom of shraddha, the god and the expired precursors’ spirit are welcomed by offering grass twigs (darbha) to them. This is known as the offering ‘kshan’.
G) Pishangi
Rangoli drawn utilizing powder and with reciting of mantras around the supper plate masterminded the minister (Brahmin) is called as pishangi. (Offering nourishment to minister (Brahmin) is considered as a significant piece of Shraddha). Rangoli is attracted a clockwise course (like circumambulation) around the sustenance offering plate masterminded the divinity and in the turn around bearing around the plate orchestrated the predecessors’ spirit. Pishangi is one of the parts of the custom of shraddha. These days, Pishangi is attracted just instance of offering of (Pinda daan). Nonetheless, Pishangi ought to be drawn during a wide range of shraddha.
H) Vikir
During Shraddha, in the wake of completing the process of offering of (Pinda daan) and love of Pinda, ‘Savya’ is performed and a piece of rice is kept before the plate with the nourishment offering orchestrated the Deity. This is named as Vikir.
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