Narada Purana — Purva Bhaga, Shloka 49
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
पंचमस्तु भवेत्कृष्णः पीतकं धैवतं विदुः । निषादः सर्ववर्णः स्यादित्येताः स्वरवर्णताः ॥ ४८ ॥
paṃcamastu bhavetkṛṣṇaḥ pītakaṃ dhaivataṃ viduḥ | niṣādaḥ sarvavarṇaḥ syādityetāḥ svaravarṇatāḥ || 48 ||
On dit que Pañcama est noir; Dhaivata est connu comme jaune; et Niṣāda possède toutes les couleurs. Ainsi sont décrits les attributs de couleur des svaras.
Sanatkumara (teaching Narada in a technical exposition on sacred sound)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It links svara (pitch/intonation) with symbolic colour-qualities, indicating that sacred sound is not merely musical but carries subtle attributes used for disciplined recitation and contemplative understanding of nāda.
By refining how sound is understood and applied, it supports pure mantra/chant practice—an important aid to Vishnu-bhakti—where correct intonation and mindful recitation are treated as spiritually consequential.
Śikṣā (Vedic phonetics): the verse presents a technical mapping of musical/recitational notes (svaras) to colour attributes, a mnemonic-symbolic aid for training, precision, and meditative focus in chanting.