Shloka 145
Rudra’s Removal of Brahmahatyā; Kapālamocana and Avimukta Māhātmya; Origins of Nara and Karṇa
link to Arjuna/Karna query
नमामि नारायणमप्रमेयं कृते सितं द्वापरतश्च रक्तम् । कलौ च कृष्णं तमथो नमामि ससर्ज यो वक्त्रत एव विप्रान्
namāmi nārāyaṇamaprameyaṃ kṛte sitaṃ dvāparataśca raktam | kalau ca kṛṣṇaṃ tamatho namāmi sasarja yo vaktrata eva viprān
Ich verneige mich vor dem unermesslichen Nārāyaṇa: weiß im Kṛta-Yuga, rot im Dvāpara-Yuga und schwarz im Kali-Yuga. Erneut verneige ich mich vor Ihm, der die Brāhmaṇas aus seinem eigenen Mund erschuf.
Unspecified (narrative voice not provided in the input excerpt)
Concept: The Lord remains one yet manifests in age-appropriate forms (yuga-dharma), and social-spiritual order is rooted in the divine source.
Application: Adapt practice to time and capacity while keeping devotion constant; honor sacred speech—truthful, compassionate, Veda-aligned words—as a form of worship.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A triptych-like vision of Nārāyaṇa across the yugas: in one panel He shines white and serene, in another He glows red with regal warmth, and in the third He appears dark as raincloud, compassionate and near to the Kali-age world. From His mouth streams a luminous current of Vedic syllables that crystallize into brāhmaṇa sages holding śruti manuscripts and ladles for yajña.","primary_figures":["Nārāyaṇa (three yuga-aspects)","Brāhmaṇa sages","Personified Vedic syllables (subtle)"],"setting":"Cosmic timeline rendered as three adjacent realms; a central axis of light connecting them; faint yajña-altar motifs below.","lighting_mood":"divine radiance","color_palette":["ivory white","vermilion red","raincloud black-blue","antique gold","sandalwood beige"],"tanjore_prompt":"Tanjore painting style: three-arched shrine composition showing Nārāyaṇa in white/red/black-blue yuga aspects, each with ornate crown and gold leaf halo; from the central mouth motif emanate golden Sanskrit akṣaras forming brāhmaṇa sages; rich reds/greens, embossed gold work, gem-like highlights.","pahari_prompt":"Pahari miniature style: delicate triptych with soft ivory, warm cinnabar, and deep indigo panels; Nārāyaṇa’s expressions subtly shift with yuga mood; fine-lined sages emerging from a stream of luminous script; refined naturalism and airy spacing.","kerala_mural_prompt":"Kerala mural style: bold outlines, three stacked registers for yugas, strong color blocks (white/vermillion/blue-black), stylized akṣara-flow from the mouth forming sages; temple mural symmetry and iconic eyes.","pichwai_prompt":"Pichwai cloth painting style: central Nārāyaṇa with three color-aureoles indicating yugas, surrounded by lotus and floral borders; script-like motifs as decorative bands becoming sages; deep blue ground with gold and red accents, devotional textile intricacy."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft mridangam pulse","temple bells (light)"]}
Sandhi Resolution Notes: नारायणमप्रमेयम् = नारायणम् + अप्रमेयम्; द्वापरतश्च = द्वापरतः + च; तमथो = तम् + अथो; वक्त्रत एव = वक्त्रतः + एव
FAQs
It presents a yuga-based iconography in which the Lord is praised as manifesting with differing complexions/forms suited to each age—white in Kṛta, red in Dvāpara, and dark (Kṛṣṇa) in Kali—emphasizing His adaptability and timeless presence across cosmic cycles.
It echoes the Purāṇic/Vedic motif that brāhmaṇas are associated with the “mouth” as the seat of speech, teaching, and sacred recitation—symbolizing their ritual and instructional function rather than a purely biological origin claim.
The verse models bhakti through stuti (praise): recognizing the Lord as beyond measure, present in every age, and the cosmic source of sacred order—encouraging reverence, humility, and alignment with dharma.