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Narada Purana — Purva Bhaga, Shloka 9

Rādhā-sambaddha-mantra-vyākhyā

Rādhā-Related Mantras Explained

कलावतीमुखाष्टानामीश्वरी ललिता मता । राधाचरणपूजायामुक्ता मालावतीमुखाः ॥ ९ ॥

kalāvatīmukhāṣṭānāmīśvarī lalitā matā | rādhācaraṇapūjāyāmuktā mālāvatīmukhāḥ || 9 ||

Dalam kelompok lapan yang bermula dengan Kalāvatī, Dewi yang berdaulat dianggap ialah Lalitā. Dan dalam pemujaan pada kaki suci Rādhā, mereka disebut sebagai bermula dengan Mālāvatī.

कलावतीमुखाष्टानाम्of the group of eight headed by Kalāvatī
कलावतीमुखाष्टानाम्:
Sambandha (सम्बन्ध/षष्ठी)
TypeNoun
Rootकलावती + मुख + अष्टन् (प्रातिपदिक)
Formस्त्रीलिङ्ग, षष्ठी-विभक्ति (Genitive), बहुवचन; समासः—तत्पुरुषः (कलावतीमुख-समूहः) + ‘अष्ट’ (eight)
ईश्वरीthe mistress/leader
ईश्वरी:
Karta (कर्ता)
TypeNoun
Rootईश्वरी (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा-विभक्ति (Nominative), एकवचन
ललिताLalitā
ललिता:
Karta (कर्ता)
TypeNoun
Rootललिता (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा-विभक्ति (Nominative), एकवचन; ईश्वरी इत्यस्य समानााधिकरणम्
मताis considered
मता:
Kriya (क्रिया)
TypeVerb
Rootमन् (धातु)
Formकृदन्त—क्त (past passive participle), स्त्रीलिङ्ग, प्रथमा-विभक्ति, एकवचन; ‘is considered’
राधाचरणपूजायाम्in the worship of Rādhā’s feet
राधाचरणपूजायाम्:
Adhikarana (अधिकरण)
TypeNoun
Rootराधा + चरण + पूजा (प्रातिपदिक)
Formस्त्रीलिङ्ग, सप्तमी-विभक्ति (Locative), एकवचन; समासः—तत्पुरुषः (राधायाः चरणयोः पूजा)
उक्ताare said (to be)
उक्ता:
Kriya (क्रिया)
TypeVerb
Rootवच् (धातु)
Formकृदन्त—क्त (past passive participle), स्त्रीलिङ्ग, प्रथमा-विभक्ति, बहुवचन (समूहवाचक-स्त्री); ‘are said/called’
मालावतीमुखाःthose headed by Mālāvatī
मालावतीमुखाः:
Karta (कर्ता)
TypeNoun
Rootमालावती + मुख (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा-विभक्ति (Nominative), बहुवचन; समासः—तत्पुरुषः (मालावती मुखं यस्याः/येषां ते) ‘headed by Mālāvatī’

Sanatkumara (in dialogue instruction to Narada)

Vrata: none

Primary Rasa: bhakti

Secondary Rasa: shanta

L
Lalitā
R
Rādhā
K
Kalāvatīmukhā
M
Mālāvatīmukhā

FAQs

It identifies Lalitā as the presiding Śakti among a named group of eight, and links that devotional hierarchy directly to the practice of worshiping Rādhā’s feet—emphasizing ordered, name-based devotion (nāma-smaraṇa and pūjā-krama).

Bhakti is presented as structured worship: honoring Rādhā through caraṇa-pūjā while invoking attendant divine forms in a prescribed sequence, with Lalitā acknowledged as the leading īśvarī within that set.

Ritual application of mantra/nāma lists and pūjā-krama (procedural ordering) is implied—an applied, technical dimension of worship aligned with śrauta/smārta-style precision in recitation and sequence.