The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
वायोश्यनंगकुसुमा तथैवानंगमेखला । अनंगमदनानंगमदनातुरसाह्वया ॥ ७१ ॥
vāyośyanaṃgakusumā tathaivānaṃgamekhalā | anaṃgamadanānaṃgamadanāturasāhvayā || 71 ||
นางยังถูกเรียกว่า ‘วาโยศยะนังคกุสุมะ’ และ ‘อนังคเมขลา’; อีกทั้งมีนามว่า ‘อนังคมทนา’, ‘อนังคมทนาตุรา’ และ ‘สาหฺวยา’
Narada (in a transmitted listing within the Narada Purana dialogue tradition)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
This verse functions as a nāma-saṅgraha (collection of names/epithets), where multiple appellations encode subtle meanings—especially states of love (kāma) and aesthetic imagery—used for remembrance, recitation, and precise identification in a technical/lexical context.
Indirectly: by emphasizing disciplined remembrance through names (nāma), it mirrors the bhakti principle of focused recollection (smaraṇa). Even when the content is descriptive, the Purāṇic method of naming supports devotional concentration and correct liturgical usage.
Vyākaraṇa/lexicography-style precision: the verse demonstrates systematic listing of synonyms/epithets (nāma-paryāya), useful for accurate recitation, interpretation, and cataloging—typical of technical sections aligned with Vedāṅga learning.