The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
कृष्णप्रबोधनकरी कृष्णशेषान्नभोजिनी । पद्मकेसरमध्यस्था संगीतागमवेदिनी ॥ १६४ ॥
kṛṣṇaprabodhanakarī kṛṣṇaśeṣānnabhojinī | padmakesaramadhyasthā saṃgītāgamavedinī || 164 ||
She is the awakener of Kṛṣṇa; she partakes of Kṛṣṇa’s sacred remnants of food. She abides amid the lotus filaments, and she knows the traditional sacred science of music.
Sanatkumara (teaching to Narada in a technical/vedāṅga context)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
It presents sacred music (saṃgīta) not merely as art but as an āgamic, tradition-backed discipline aligned with devotion—depicting a devotional figure intimately connected with Kṛṣṇa and empowered by spiritual authority in music.
By emphasizing intimacy and service—awakening Kṛṣṇa and honoring His remnants (śeṣa)—it frames bhakti as personal attendance and reverent participation, with music functioning as a refined vehicle of worship.
The verse highlights saṃgīta-āgama—authoritative musical doctrine associated with Gandharva-veda traditions—implying structured knowledge of melody, rhythm, and performance used in ritual and devotional settings.