Shloka 151
Kroṣṭu–Yādava Lineages, the Syamantaka Jewel, Krishna’s Birth Context, and the Māyāmoha Account
रुक्मिणी सत्यभामा च सत्या नाग्निजिती तथा । सुमित्रा च तथा शैब्या गांधारी लक्ष्मणा तथा
rukmiṇī satyabhāmā ca satyā nāgnijitī tathā | sumitrā ca tathā śaibyā gāṃdhārī lakṣmaṇā tathā
Rukmiṇī, Satyabhāmā, Satyā et Nāgnajitī ; de même Sumitrā et Śaibyā ; ainsi encore Gāndhārī et Lakṣmaṇā.
Unspecified in the provided excerpt (context needed from surrounding verses of Adhyaya 13).
Concept: Remembering the Lord’s līlā and associates (parikara) is a devotional practice that stabilizes the mind in sacred remembrance.
Application: Use nāma-smaraṇa and līlā-smaraṇa: recite sacred lists with attention, letting remembrance refine desire into devotion.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A regal court scene unfolds in Dvārakā: Kṛṣṇa seated in serene majesty while his queens—Rukmiṇī, Satyabhāmā, Satyā, Nāgnajitī and others—stand in graceful arcs, each distinguished by subtle emblems and colors. The mood is auspicious and intimate, presenting divine household harmony as a form of cosmic order.","primary_figures":["Kṛṣṇa","Rukmiṇī","Satyabhāmā","Satyā","Nāgnajitī","Sumitrā","Śaibyā","Gāndhārī","Lakṣmaṇā"],"setting":"Dvārakā palace hall with carved pillars, jeweled canopies, lotus pools glimpsed through arches, attendants holding cāmara fans.","lighting_mood":"divine radiance","color_palette":["peacock blue","emerald green","lotus pink","ivory white","gold leaf"],"tanjore_prompt":"Tanjore painting style: Kṛṣṇa enthroned with gold leaf halo, queens arranged symmetrically with rich silk sarees in red/green/pink, heavy gold jewelry and gem accents; ornate palace arch, embossed gold borders, traditional South Indian iconography with cāmara bearers and lotus motifs.","pahari_prompt":"Pahari miniature style: refined Dvārakā court with delicate brushwork, cool blues and soft pinks; queens in elegant profiles with lyrical textiles, architectural arches opening to a stylized seascape, subtle expressions emphasizing devotion and grace.","kerala_mural_prompt":"Kerala mural style: bold outlines and saturated pigments; Kṛṣṇa with characteristic large eyes, queens in rhythmic arrangement, palace interior rendered as patterned bands, dominant reds/yellows/greens with deep blue background and ornamental border panels.","pichwai_prompt":"Pichwai cloth painting style: Krishna-centered composition with ornate floral borders and lotus motifs; queens depicted as devotional attendants around the central figure, deep blue ground with gold highlights, peacocks and lotus ponds in the margins, Nathdwara-inspired symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["soft bells","veena phrases","courtly murmurs (subtle)","sea breeze (Dvārakā ambience)"]}
Sandhi Resolution Notes: No significant sandhi beyond standard word junctions; all are proper nouns coordinated by च/तथा.
FAQs
They are traditionally understood as prominent consorts/queens associated with Śrī Kṛṣṇa: Rukmiṇī, Satyabhāmā, Satyā, Nāgnajitī, Sumitrā, Śaibyā, Gāndhārī, and Lakṣmaṇā.
Not directly; it is primarily enumerative. In Purāṇic literature, such lists often support narrative, lineage, and devotional remembrance (smaraṇa) of figures connected to Viṣṇu/Kṛṣṇa.
They function as mnemonic catalogues for tradition, preserving recognized names across recensions and aiding devotional or narrative continuity within longer theological and historical accounts.