The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga
हालालोलो नीलवासा हलवानेककुंडलः । कला या श्यामला भद्रा सुभद्रा भद्रभूषणा ॥ ६७ ॥
hālālolo nīlavāsā halavānekakuṃḍalaḥ | kalā yā śyāmalā bhadrā subhadrā bhadrabhūṣaṇā || 67 ||
ນາງເປັນຜູ້ຫຼິ້ນຢ່າງຮ່າເຮີງ ເຄື່ອນໄຫວອ່ອນຊ້ອຍ, ນຸ່ງຜ້າສີນ້ຳເງິນ ແລະ ປະດັບຕຸ້ມຫູຫຼາຍຄູ່. ນາງແມ່ນກະລາ (Kalā) ອັນເທວະ—ສີຄ່ຳ, ມົງຄຸນ, ມົງຄຸນຍິ່ງ ແລະ ປະດັບດ້ວຍເຄື່ອງມົງຄຸນ.
Narada (in a recitational/technical-stotra listing context, transmitted within the Narada–Sanatkumara dialogue frame)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It functions as a nāma-style praise: by contemplating the deity’s auspicious qualities—beauty, sacred adornment, and beneficence—the reciter cultivates śubha (auspiciousness) and devotional focus (bhakti-smṛti).
Bhakti here is practiced through reverent naming and visualization: repeating epithets like śyāmalā, bhadrā, and subhadrā trains the mind to dwell on the deity’s benevolent presence rather than worldly distraction.
The verse supports Vedāṅga-style disciplined recitation—clear phonetics (śikṣā) and structured name-lists useful for pāṭha/japa—where precision of sound and consistent repetition are treated as spiritually efficacious.