Narada Purana — Purva Bhaga, Shloka 60
Kṛṣṇādi-mantra-varga-varṇana
Classification of Krishna and Related Mantras
ध्येयो हरिः सकपिलागणमध्यसंस्थस्ता आह्वयन्दधद्दक्षिणदोस्थवेणुम् । पाशं सयष्टिमपरत्र पयोदनीलः पीताम्बराहिरिपुपिच्छकृतावतंसः ॥ ६० ॥
dhyeyo hariḥ sakapilāgaṇamadhyasaṃsthastā āhvayandadhaddakṣiṇadosthaveṇum | pāśaṃ sayaṣṭimaparatra payodanīlaḥ pītāmbarāhiripupicchakṛtāvataṃsaḥ || 60 ||
គួរធ្វើសមាធិលើ ព្រះហរិ—ពណ៌ខៀវងងឹតដូចពពកភ្លៀង ឈរនៅកណ្ដាលក្រុមកបិល និងអ្នកបម្រើ; ទ្រង់ហៅអញ្ជើញ ហើយកាន់ខ្លុយនៅដៃស្តាំ; ដៃម្ខាងទៀតកាន់ខ្សែចងជាមួយដំបង; ស្លៀកព្រះវស្ត្រពណ៌លឿង និងពាក់ស្លាបក្ងោកជាគ្រឿងអលង្ការលើកំពូល។
Sanatkumara (in dialogue with Narada)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
FAQs
It prescribes a concrete dhyāna-mūrti of Hari: fixing the mind on specific divine attributes (color, posture, emblems, attire) to stabilize concentration and awaken devotion leading toward liberation.
Bhakti is expressed as personal, form-based remembrance: Hari is portrayed as actively “calling” the devotee, while the flute, yellow garments, and peacock-feather crest cultivate loving contemplation (smaraṇa) as a devotional practice.
It reflects a technical, lakṣaṇa-based method of visualization—precise descriptive markers used like a meditative ‘definition’—supporting disciplined practice akin to Vedāṅga-style exactness (terminology, attributes, and structured contemplation).