Narada Purana — Purva Bhaga, Shloka 145
The Explanation of Sandhyā and Related Daily Observances
Saṅdhyā-ādi Nitya-karma-Vidhi
पीता श्वेतारुणा पश्चादसितानन्तया युता । उक्ता कलामातृकैवं तत्तद्भक्तः समाचरेत् ॥ १४५ ॥
pītā śvetāruṇā paścādasitānantayā yutā | uktā kalāmātṛkaivaṃ tattadbhaktaḥ samācaret || 145 ||
ആദ്യം അത് പീതവർണ്ണം; പിന്നെ ശ്വേതവും അരുണവും; തുടർന്ന് അസിത (ശ്യാമ)യും അനന്തവും ചേർന്നതെന്ന് പറയുന്നു. ഇങ്ങനെ കലാമാതൃകാ വിവരണപ്പെട്ടു; അതിന്റെ ഭക്തൻ അതനുസരിച്ച് ആചരിക്കട്ടെ.
Sanatkumara (in instruction to Narada, within the Vedanga/technical teaching stream)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It frames the kalā-mātṛkā (a structured contemplative/phonemic scheme) as progressing through symbolic color-states and culminating in association with “Ananta,” indicating meditation on an ever-expanding, unbounded principle rather than mere recitation.
Bhakti here is shown as disciplined practice: the devotee follows the described sequence “accordingly” (samācaret), meaning devotion is expressed through faithful, methodical observance of the prescribed mantra/kalā contemplation.
It reflects a technical, Vedanga-adjacent approach to sacred sound—mātṛkā/varṇa-based practice used in mantra application—where phonemic order and prescribed contemplations guide correct ritual and meditative performance.