Narada Purana — Purva Bhaga, Shloka 60
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 ||
হরির ধ্যান করা উচিত—কপিল ও তাঁর পরিজনের মধ্যস্থ, আহ্বানরত, দক্ষিণ হাতে বাঁশি ধারণ করে। অপর হাতে দণ্ডসহ পাশ বহন করে; মেঘশ্যম, পীতাম্বরধারী, এবং শিরোভূষণে ময়ূরপুচ্ছযুক্ত।
Sanatkumara (in dialogue with Narada)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
FAQs
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).