The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
गंधर्वा सुरतज्ञा च गोविंदप्राणसंगमा । कृष्णांगभूषणा रत्नभूषणा स्वर्णभूषिता ॥ १७३ ॥
gaṃdharvā suratajñā ca goviṃdaprāṇasaṃgamā | kṛṣṇāṃgabhūṣaṇā ratnabhūṣaṇā svarṇabhūṣitā || 173 ||
Elle est une Gandharvī, experte dans les arts de l’amour ; sa vie même est unie à Govinda. Elle pare les membres de Kṛṣṇa, se couvre de joyaux et resplendit d’or.
Narada (within the Narada–Sanatkumara dialogue framework)
Vrata: none
Primary Rasa: shringara
Secondary Rasa: bhakti
It presents devotion through vivid sacred aesthetics—depicting intimate, life-centered union with Govinda and service expressed as adorning Krishna, a poetic way of emphasizing single-pointed attachment (bhakti) to the Lord.
Bhakti is shown as loving closeness to Govinda—where one’s very prāṇa is ‘in union’ with Him—and as personal service (upacāra) symbolized by beautifying and honoring Krishna with ornaments.
While not a direct Vedanga rule, it reflects the puranic use of refined language and aesthetic culture (gandharva-related arts) to communicate dharmic devotion—useful for understanding how sacred literature employs poetic description as a teaching method.