Kṛṣṇādi-mantra-varga-varṇana
Classification of Krishna and Related Mantras
ध्येयो हरिः सकपिलागणमध्यसंस्थस्ता आह्वयन्दधद्दक्षिणदोस्थवेणुम् । पाशं सयष्टिमपरत्र पयोदनीलः पीताम्बराहिरिपुपिच्छकृतावतंसः ॥ ६० ॥
dhyeyo hariḥ sakapilāgaṇamadhyasaṃsthastā āhvayandadhaddakṣiṇadosthaveṇum | pāśaṃ sayaṣṭimaparatra payodanīlaḥ pītāmbarāhiripupicchakṛtāvataṃsaḥ || 60 ||
يُتأمَّل في هَري: أزرقَ داكنًا كغمام المطر، قائمًا في وسط جماعة كَپِلا وأتباعه؛ كأنه يدعو العابد، وفي يمينه نايٌ ممسوك؛ وفي اليد الأخرى حبلُ قيدٍ مع عصًا؛ لابسًا ثوبًا أصفر، ومتوجًا بريشة طاووس كزينةٍ على القِمّة.
Sanatkumara (in dialogue with Narada)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
It prescribes a concrete dhyāna-mūrti of Hari: fixing the mind on specific divine attributes (color, posture, emblems, attire) to stabilize concentration and awaken devotion leading toward liberation.
Bhakti is expressed as personal, form-based remembrance: Hari is portrayed as actively “calling” the devotee, while the flute, yellow garments, and peacock-feather crest cultivate loving contemplation (smaraṇa) as a devotional practice.
It reflects a technical, lakṣaṇa-based method of visualization—precise descriptive markers used like a meditative ‘definition’—supporting disciplined practice akin to Vedāṅga-style exactness (terminology, attributes, and structured contemplation).