Narada Purana — Purva Bhaga, Shloka 57
Gṛhastha-nitya-karman: Śauca, Sandhyā-vidhi, Pañca-yajña, and Āśrama-krama
ध्येया सा च सरस्वती भगवती पीतांबरालंकृता श्यामा श्यामतनुर्जरोपरिलसद्गात्रांचिता वैष्णवी । तार्क्ष्यस्था मणिनूपुरांगदलसद्ग्रैवेयभूषोज्ज्वला हस्तालंकृतशंखचक्रसुगदापद्मा श्रियै चास्तु नः ॥ ५७ ॥
dhyeyā sā ca sarasvatī bhagavatī pītāṃbarālaṃkṛtā śyāmā śyāmatanurjaroparilasadgātrāṃcitā vaiṣṇavī | tārkṣyasthā maṇinūpurāṃgadalasadgraiveyabhūṣojjvalā hastālaṃkṛtaśaṃkhacakrasugadāpadmā śriyai cāstu naḥ || 57 ||
ພຣະນາງສະຣັສວະຕີ ຜູ້ເປັນພຣະເທວີອັນປະເສີດ ຄວນແກ່ການພິຈາລະນາ—ປະດັບຜ້າສີເຫຼືອງ, ມີສີຄໍາຄືນ ກາຍຄໍາຄືນ, ມີລັກສະນະແຫ່ງວັຍທີ່ສ່ອງປະກາຍຢູ່ຕາມອະວະຍະວະ, ແລະຕັ້ງຢູ່ໃນສະພາບໄວສະນະວະ. ປະທັບເທິງ ກຣຸດ (ຕາຣກຊະ), ສ່ອງສະຫວ່າງດ້ວຍກໍາໄລຂໍ້ຕີນປະດັບແກ້ວ ແລະເຄື່ອງປະດັບຄໍອັນງາມ. ມືຂອງນາງປະດັບດ້ວຍສັງຂະ, ຈັກຣະ, ຄະທາ, ແລະດອກບົວ—ຂໍໃຫ້ນາງເປັນເພື່ອສິຣີ ແລະໂຊກດີແກ່ພວກເຮົາ.
Narada (within the Narada–Sanatkumara dialogue context)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shanta
FAQs
It functions as a dhyāna-śloka: the devotee is instructed to visualize Sarasvatī as a Vaishnava Goddess, integrating wisdom (Sarasvatī) with Vishnu-centered protection and auspiciousness (śrī).
Bhakti here is practiced through focused remembrance (smaraṇa/dhyāna) using sacred iconography—Garuḍa, conch, discus, mace, and lotus—so the mind rests steadily on the Divine and receives śrī (well-being and grace).
The verse primarily highlights ritual-application knowledge: dhyāna as a preparatory limb of worship (upāsanā) where precise form-description supports mantra-japa and pūjā; it is more aligned with prayoga (ritual procedure) than with technical Vyākaraṇa or Jyotiṣa details.