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Narada Purana — Purva Bhaga, Shloka 178

The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma

शिखिपिच्छलसच्चूडा स्वर्णचंपकभूषिता । कुंकुमालक्तकस्तूरीमंडिता चापराजिता ॥ १७८ ॥

śikhipicchalasaccūḍā svarṇacaṃpakabhūṣitā | kuṃkumālaktakastūrīmaṃḍitā cāparājitā || 178 ||

Seus cabelos eram ornados com um delicado penacho de penas de pavão; ela se enfeitava com adornos de campaka dourada; e era embelezada por kuṅkuma, laca vermelha e almíscar—sempre invicta e resplandecente.

शिखि-पिच्छल-सत्-चूडाhaving a fine topknot adorned with peacock feathers
शिखि-पिच्छल-सत्-चूडा:
Karta (कर्ता/Subject)
TypeAdjective
Rootशिखि (प्रातिपदिक) + पिच्छल (प्रातिपदिक) + सत् (प्रातिपदिक) + चूडा (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; बहुव्रीहिः—‘शिखिनः पिच्छैः सत् (सुन्दर/उत्तम) चूडा यस्याः’
स्वर्ण-चम्पक-भूषिताadorned with golden campaka flowers/ornaments
स्वर्ण-चम्पक-भूषिता:
Karta (कर्ता/Subject)
TypeAdjective
Rootस्वर्ण (प्रातिपदिक) + चम्पक (प्रातिपदिक) + भूषित (कृदन्त, भूष्)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; भूतकृदन्त (क्त) भूष् धातोः; ‘स्वर्णचम्पकैः भूषिता’ (तृतीया-सम्बन्धः)
कुङ्कुम-अलक्तक-कस्तूरी-मण्डिताadorned with saffron, red lac, and musk
कुङ्कुम-अलक्तक-कस्तूरी-मण्डिता:
Karta (कर्ता/Subject)
TypeAdjective
Rootकुङ्कुम (प्रातिपदिक) + अलक्तक (प्रातिपदिक) + कस्तूरी (प्रातिपदिक) + मण्डित (कृदन्त, मण्ड्)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; समाहार-द्वन्द्वः (कुङ्कुम+अलक्तक+कस्तूरी) ततः ‘...मण्डिता’; भूतकृदन्त (क्त)
and
:
Sambandha (सम्बन्ध/Connector)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक-अव्यय (conjunction)
अपराजिताunconquered
अपराजिता:
Karta (कर्ता/Subject)
TypeAdjective
Rootअपराजित (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; नञ्-समासान्त विशेषण—‘न पराजिता’ (unconquered)

Sanatkumara (in dialogue with Narada)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: shringara

A
Aparājitā

FAQs

The verse functions as a dhyāna-style description: by contemplating the deity’s auspicious ornaments and purity-symbols (gold, campaka, kuṃkuma, kastūrī), the practitioner stabilizes devotion and focuses the mind for ritual or recitation.

Bhakti here is expressed through reverent visualization and praise (stuti/dhyāna): describing the deity’s splendor is a way to remember (smaraṇa) and adore (pūjana-bhāva) the divine form, deepening single-pointed attention.

It reflects ritual-technical language used in worship—materials and adornments (dravya, anulepana like kuṃkuma and kastūrī, decorative bhūṣaṇa), supporting correct pūjā procedure and visualization conventions.