Shloka 50
The Bestowal of Boons upon Aṅga
कृष्णाय कृष्णरूपाय लक्ष्मीनाथाय ते नमः । नमः पद्मपलाशाय आनंदाय पराय च
kṛṣṇāya kṛṣṇarūpāya lakṣmīnāthāya te namaḥ | namaḥ padmapalāśāya ānaṃdāya parāya ca
سلامٌ لك—يا كريشنا؛ يا من صورته هي كريشنا عينُه؛ يا ربَّ لاكشمي. سلامٌ لذي العيون كأوراق اللوتس؛ سلامٌ للنعيم ذاته؛ وسلامٌ للعلِيِّ الأعلى.
Unknown (insufficient context from single verse; likely within a devotional stotra/prayer passage)
Concept: The Supreme is approachable as Krishna—beauty, bliss, and the Lord of Lakshmi—uniting sweetness (mādhurya) with supremacy (aiśvarya).
Application: Practice nāma-smaraṇa with a chosen epithet—‘Krishna’, ‘Lakshmīnatha’, ‘Padmapalāśa-netra’—to steady the mind in beauty and gratitude during daily tasks.
Primary Rasa: shringara
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"Krishna stands in gentle tribhaṅga, his eyes long like lotus leaves, while Lakshmi’s presence is suggested as a luminous aura and a lotus-throne behind him. The air shimmers with the feeling of ‘ānanda’—petals drifting, a soft breeze, and a devotee offering folded hands and a garland.","primary_figures":["Krishna (as Lakshmīnatha)","Lakshmi (as radiant presence or seated beside)","Unnamed devotee"],"setting":"A sanctum-like lotus pavilion that blends temple and celestial garden—pillars wrapped in flowering vines, lotus pond nearby.","lighting_mood":"golden dawn","color_palette":["peacock blue","lotus pink","warm gold","ivory white","spring green"],"tanjore_prompt":"Tanjore painting style: Krishna as Lakshmīnatha with lotus-leaf eyes, standing on a lotus pedestal; Lakshmi seated beside on a smaller lotus, both with thick gold leaf halos, rich red-green background, ornate jewelry, gem-like highlights, devotee offering a garland at the bottom.","pahari_prompt":"Pahari miniature style: Krishna in tribhaṅga near a lotus pond, delicate facial features and soft shading; Lakshmi as a serene companion figure, pale gold aura; drifting petals, refined brushwork, cool blues and pinks, lyrical garden setting.","kerala_mural_prompt":"Kerala mural style: Krishna with bold outlines, large lotus eyes, yellow-red-green pigments; Lakshmi with symmetrical ornamentation; lotus motifs filling the background, temple-wall composition with rhythmic patterns.","pichwai_prompt":"Pichwai cloth painting style: Krishna-centered composition with dense lotus motifs, ornate floral borders, deep blue ground; Lakshmi’s lotus-seat and gold accents; peacocks and stylized lotuses framing the stuti mood, intricate textile-like detailing."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft mridanga pulse","temple bells","flute-like melodic line","gentle water ripples"]}
Sandhi Resolution Notes: No major external sandhi; repeated formulaic 'नमः' retained. Compounds treated as samāsa: कृष्ण-रूप, लक्ष्मी-नाथ, पद्म-पलाश.
FAQs
The verse praises Kṛṣṇa as the divine Lord (also identified with Viṣṇu) through layered epithets—“Lord of Lakṣmī,” “lotus-leaf(-eyed),” “Bliss,” and “Supreme”—to affirm both his personal form (saguṇa) and transcendent nature (para).
“Lakṣmīnatha” is a classic title of Viṣṇu as consort of Lakṣmī; its use here signals theological continuity: Kṛṣṇa is revered as the same Supreme Lord who bears the traditional Viṣṇu identity and sovereignty.
The verse models bhakti through repeated “namaḥ” (salutations), encouraging reverent remembrance of the Lord’s names and attributes as a direct practice of devotion and surrender.