The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
दंडांका मुकुटांका च पूर्णचन्द्रा शुकांकिता । कृष्णात्रहारपाका च वृन्दाकुंजविहारिणी ॥ १६३ ॥
daṃḍāṃkā mukuṭāṃkā ca pūrṇacandrā śukāṃkitā | kṛṣṇātrahārapākā ca vṛndākuṃjavihāriṇī || 163 ||
彼女は杖の印と冠の印を帯び、満月の印と鸚鵡の印をもつ。黒き衣をまとい、星の首飾りを佩び、ヴリンダーのクンジャの林—ヴリンダーヴァナ—にて戯れを喜ぶ。
Narada (in dialogue context with the Sanatkumara tradition; descriptive narration)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
The verse functions as a dhyāna-lakṣaṇa (meditative description): by contemplating the deity’s emblems (staff, crown, moon, parrot) and her Vrindavana setting, the devotee steadies the mind in bhakti and gains devotional concentration (smṛti and dhyāna).
It teaches bhakti through visual remembrance—associating the beloved deity with Vṛndā’s groves (Vrindavana) and auspicious marks—so devotion becomes intimate, constant, and emotionally anchored in līlā-sthāna (the sacred play-ground).
It reflects a Vedāṅga-like lakṣaṇa method: precise identification of marks/emblems used for correct dhyāna and ritual visualization, supporting disciplined worship (upāsanā) and accurate iconographic recognition.