Shloka 145
Rudra’s Removal of Brahmahatyā; Kapālamocana and Avimukta Māhātmya; Origins of Nara and Karṇa
link to Arjuna/Karna query
नमामि नारायणमप्रमेयं कृते सितं द्वापरतश्च रक्तम् । कलौ च कृष्णं तमथो नमामि ससर्ज यो वक्त्रत एव विप्रान्
namāmi nārāyaṇamaprameyaṃ kṛte sitaṃ dvāparataśca raktam | kalau ca kṛṣṇaṃ tamatho namāmi sasarja yo vaktrata eva viprān
అప్రమేయుడైన నారాయణునికి నేను నమస్కరిస్తున్నాను—కృతయుగంలో శ్వేతవర్ణుడు, ద్వాపరయుగంలో రక్తవర్ణుడు, కలియుగంలో కృష్ణవర్ణుడు. తన ముఖమునుండే బ్రాహ్మణులను సృష్టించిన ఆయనకే మళ్లీ నమస్కారం.
Unspecified (narrative voice not provided in the input excerpt)
Concept: The Lord remains one yet manifests in age-appropriate forms (yuga-dharma), and social-spiritual order is rooted in the divine source.
Application: Adapt practice to time and capacity while keeping devotion constant; honor sacred speech—truthful, compassionate, Veda-aligned words—as a form of worship.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A triptych-like vision of Nārāyaṇa across the yugas: in one panel He shines white and serene, in another He glows red with regal warmth, and in the third He appears dark as raincloud, compassionate and near to the Kali-age world. From His mouth streams a luminous current of Vedic syllables that crystallize into brāhmaṇa sages holding śruti manuscripts and ladles for yajña.","primary_figures":["Nārāyaṇa (three yuga-aspects)","Brāhmaṇa sages","Personified Vedic syllables (subtle)"],"setting":"Cosmic timeline rendered as three adjacent realms; a central axis of light connecting them; faint yajña-altar motifs below.","lighting_mood":"divine radiance","color_palette":["ivory white","vermilion red","raincloud black-blue","antique gold","sandalwood beige"],"tanjore_prompt":"Tanjore painting style: three-arched shrine composition showing Nārāyaṇa in white/red/black-blue yuga aspects, each with ornate crown and gold leaf halo; from the central mouth motif emanate golden Sanskrit akṣaras forming brāhmaṇa sages; rich reds/greens, embossed gold work, gem-like highlights.","pahari_prompt":"Pahari miniature style: delicate triptych with soft ivory, warm cinnabar, and deep indigo panels; Nārāyaṇa’s expressions subtly shift with yuga mood; fine-lined sages emerging from a stream of luminous script; refined naturalism and airy spacing.","kerala_mural_prompt":"Kerala mural style: bold outlines, three stacked registers for yugas, strong color blocks (white/vermillion/blue-black), stylized akṣara-flow from the mouth forming sages; temple mural symmetry and iconic eyes.","pichwai_prompt":"Pichwai cloth painting style: central Nārāyaṇa with three color-aureoles indicating yugas, surrounded by lotus and floral borders; script-like motifs as decorative bands becoming sages; deep blue ground with gold and red accents, devotional textile intricacy."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft mridangam pulse","temple bells (light)"]}
Sandhi Resolution Notes: नारायणमप्रमेयम् = नारायणम् + अप्रमेयम्; द्वापरतश्च = द्वापरतः + च; तमथो = तम् + अथो; वक्त्रत एव = वक्त्रतः + एव
FAQs
It presents a yuga-based iconography in which the Lord is praised as manifesting with differing complexions/forms suited to each age—white in Kṛta, red in Dvāpara, and dark (Kṛṣṇa) in Kali—emphasizing His adaptability and timeless presence across cosmic cycles.
It echoes the Purāṇic/Vedic motif that brāhmaṇas are associated with the “mouth” as the seat of speech, teaching, and sacred recitation—symbolizing their ritual and instructional function rather than a purely biological origin claim.
The verse models bhakti through stuti (praise): recognizing the Lord as beyond measure, present in every age, and the cosmic source of sacred order—encouraging reverence, humility, and alignment with dharma.