Narada Purana — Purva Bhaga, Shloka 165

Rādhā-sambaddha-mantra-vyākhyā

Rādhā-Related Mantras Explained

Devanagari script

उद्यद्भास्करबिंबाभां माणिक्यमुकुटोज्ज्वलाम् । पद्मरागकृताकल्पामरुणांशुकधारिणीम् ॥ १६५ ॥

Transliteration

udyadbhāskarabiṃbābhāṃ māṇikyamukuṭojjvalām | padmarāgakṛtākalpāmaruṇāṃśukadhāriṇīm || 165 ||

Translation

Beliau bersinar laksana cakera matahari terbit, gemerlapan dengan mahkota delima; berhias dengan perhiasan daripada permata padmarāga merah, serta mengenakan busana merah kirmizi.

Word by Word

• उद्यद्भास्करबिंबाभाम्: having the radiance of the rising sun’s orb
• उद्यद्भास्करबिंबाभाम्: Karma (कर्म)
• Type: Adjective
• Root: उद्यत् (उद्-या + शतृ, कृदन्त) + भास्कर + बिम्ब + आभा (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, द्वितीया-विभक्ति (2nd/द्वितीया), एकवचन; qualifies the देवी (implicit)

• माणिक्यमुकुटोज्ज्वलाम्: shining with a ruby diadem
• माणिक्यमुकुटोज्ज्वलाम्: Karma (कर्म)
• Type: Adjective
• Root: माणिक्य + मुकुट + उज्ज्वल (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, द्वितीया-विभक्ति (2nd/द्वितीया), एकवचन; ‘bright with a ruby crown’

• पद्मरागकृताकल्पाम्: adorned with ornaments made of padmarāga (ruby)
• पद्मरागकृताकल्पाम्: Karma (कर्म)
• Type: Adjective
• Root: पद्मराग + कृत + आकल्प (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, द्वितीया-विभक्ति (2nd/द्वितीया), एकवचन; ‘adorned with ornaments made of ruby’

• अरुणांशुकधारिणीम्: wearing red cloth
• अरुणांशुकधारिणीम्: Karma (कर्म)
• Type: Adjective
• Root: अरुण + अंशुक + धारिणी (धृ + णिनि, कृदन्त-प्रातिपदिक)
• Form: स्त्रीलिङ्ग, द्वितीया-विभक्ति (2nd/द्वितीया), एकवचन; ‘wearing red garments’

Speaker

Narada (narrating/reciting in a descriptive passage)

Vrata Kalpa

Vrata: none

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: bhakti

FAQs

What is the spiritual significance of this verse in Narada Purana?

It functions as a dhyāna-style visualization: the deity is contemplated as sun-bright and ruby-adorned, helping steady the mind (ekāgratā) for mantra, worship, or recitation.

How does this verse explain the path of devotion (Bhakti)?

Bhakti is supported through vivid personal form (saguṇa) contemplation—seeing the beloved divine presence as radiant, ornamented, and compassionate—so the devotee’s attention naturally turns toward reverent remembrance.

What practical Vedic knowledge (Vedanga) is highlighted here?

It reflects the practical use of chandas/alankāra-like precision in liturgical description for dhyāna, a technique used in ritual manuals to guide correct visualization during japa and pūjā.