Narada Purana — Purva Bhaga, Shloka 48
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
पद्मपत्रप्रभः षङ्ज ऋषभः शुकपिंजरः । कनकाभस्तु गांधारो मध्यमः कुंदसन्निभः ॥ ४७ ॥
padmapatraprabhaḥ ṣaṅja ṛṣabhaḥ śukapiṃjaraḥ | kanakābhastu gāṃdhāro madhyamaḥ kuṃdasannibhaḥ || 47 ||
Nada Ṣaḍja berkilau laksana helai daun teratai; Ṛṣabha berwarna kekuningan seperti bulu nuri. Gāndhāra tampak keemasan, dan Madhyama putih bak bunga kunda.
Sanatkumara (in instruction to Narada, within a technical/disciplinary exposition)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
FAQs
It links sacred sound (svara/nāda) with contemplative imagery—assigning luminous natural forms to notes—so the mind can steady itself on purity and harmony while engaging disciplined practice.
By refining perception of sound and beauty, it supports devotional singing/recitation as a purified offering; the verse emphasizes that even technical knowledge of melody can become a sattvic aid to worship.
Śikṣā-related phonetic discipline and the Gandharva-Veda style mapping of svaras (musical notes) to recognizable qualities, useful for correct chanting, musical intonation, and regulated vocal practice.