Pañca-prakṛti-nirūpaṇa and Mantra-vidhi: Rādhā, Mahālakṣmī, Durgā, Sarasvatī, Sāvitrī; plus Sāvitrī-Pañjara
कर्पूरकुंदधवलां पूर्णचंद्रोज्ज्वलाननाम् । हंसाधिरूढां भालेंदुदिव्यालंकारशोभिताम् ॥ ९७ ॥
karpūrakuṃdadhavalāṃ pūrṇacaṃdrojjvalānanām | haṃsādhirūḍhāṃ bhāleṃdudivyālaṃkāraśobhitām || 97 ||
കർപ്പൂരവും കുന്ദപുഷ്പവും പോലെ ധവള, പൂർണ്ണചന്ദ്രനെപ്പോലെ ദീപ്തമായ മുഖം; ഹംസാരൂഢ, ലലാടത്തിൽ ദിവ്യ ചന്ദ്രചിഹ്നാഭരണത്തോടെ ശോഭിക്കുന്ന അവളെ ധ്യാനിക്കണം।
Narada (instructive narration in a dhyana/vidhi context; traditionally framed within Narada–Sanatkumara dialogue)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It provides a dhyāna-lakṣaṇa (meditative iconography): by fixing the mind on the deity’s luminous, pure form (moonlike face, swan-seat, divine ornaments), the practitioner stabilizes attention and cultivates sattva for effective upāsanā.
Bhakti is strengthened through concrete contemplation: the devotee visualizes the beloved deity’s auspicious features with reverence, making remembrance (smaraṇa) steady and emotionally resonant.
It reflects prayoga-style upāsanā method—using prescribed dhyāna imagery as part of mantra/ritual procedure—typical of Vedāṅga-aligned technical instruction (application of mantra with visualization).
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