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Narada Purana — Purva Bhaga, Shloka 84

Rādhā-sambaddha-mantra-vyākhyā

Rādhā-Related Mantras Explained

अरुणामरुणाकल्पामरुणांशुकधारिणीम् । अरुणस्रग्विलेपां तां चारुस्मेरमुखांबुजाम् ॥ ८४ ॥

aruṇāmaruṇākalpāmaruṇāṃśukadhāriṇīm | aruṇasragvilepāṃ tāṃ cārusmeramukhāṃbujām || 84 ||

Aku bermeditasi kepada Arunā Devī itu—yang merah berseri, berhias perhiasan merah, mengenakan busana merah, berkalungkan bunga dan disapukan bahan merah—wajahnya laksana teratai, bercahaya dengan senyuman lembut nan indah.

अरुणा-अमरुणा-कल्पा-अरुण-अंशुक-धारिणीम्her who is reddish, of non-reddish? (contrastive epithet), of reddish appearance, wearing a red garment
अरुणा-अमरुणा-कल्पा-अरुण-अंशुक-धारिणीम्:
कर्म (Object/कर्म)
TypeAdjective
Rootअरुण (प्रातिपदिक) + अमरुण (प्रातिपदिक) + कल्पा (प्रातिपदिक) + अरुण (प्रातिपदिक) + अंशुक (प्रातिपदिक) + धारिणी (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; बहुपद-कर्मधारय/तत्पुरुष-समासः—'aruṇā' etc as qualifiers; refers to a देवी (goddess)
अरुण-स्रक्-विलेपाम्anointed and garlanded with red (garland)
अरुण-स्रक्-विलेपाम्:
कर्म (Object/कर्म)
TypeAdjective
Rootअरुण (प्रातिपदिक) + स्रक् (प्रातिपदिक) + विलेपा (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; तत्पुरुषः—'aruṇa-srak' (red garland) + 'vilepā' (anointed/smeared)
ताम्her
ताम्:
कर्म (Object/कर्म)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; demonstrative pronoun
चारु-स्मेर-मुख-अम्बुजाम्with a beautifully smiling lotus-like face
चारु-स्मेर-मुख-अम्बुजाम्:
कर्म (Object/कर्म)
TypeAdjective
Rootचारु (प्रातिपदिक) + स्मेर (प्रातिपदिक) + मुख (प्रातिपदिक) + अम्बुज (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; कर्मधारयः—'mukhāmbuja' (lotus-face) qualified by 'cāru-smera' (beautifully smiling)

Narada (in a descriptive/dhyana instruction context, within the Narada–Sanatkumara dialogue frame)

Vrata: none

Primary Rasa: bhakti

Secondary Rasa: adbhuta

A
Arunā Devī

FAQs

It provides a precise dhyāna-lakṣaṇa (visualization template) for worship: concentrating the mind on a single, auspicious divine form—here, Arunā in a unified crimson symbolism—so the sādhaka’s attention becomes steady and sattvic.

Bhakti is expressed through loving, detailed remembrance (smaraṇa) and inner seeing (dhyāna) of the deity’s qualities—gentle smile, lotus-face, and auspicious radiance—turning emotion and attention into continuous worship.

It reflects the applied discipline of mantra-upāsanā: using dhyāna descriptions as an aid to correct mental visualization during japa and ritual, a practical technique aligned with Vedic liturgical method (prayoga) and recitation discipline.