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Narada Purana — Purva Bhaga, Shloka 47

The Exposition of the Maheśa Mantra

Mahēśa-mantra-prakāśana

श्यामं रक्तोत्पलकरं वामांकन्यस्ततत्करम् । द्विनेत्रं रक्तवस्त्राढ्यं सेनापतिमथार्चयेत् ॥ ४७ ॥

śyāmaṃ raktotpalakaraṃ vāmāṃkanyastatatkaram | dvinetraṃ raktavastrāḍhyaṃ senāpatimathārcayet || 47 ||

แล้วพึงบูชาพระเสนาบดี—ทรงมีพระวรกายสีเข้ม ถือดอกบัวแดง มือซ้ายวางบนพระเพลาซ้าย มีสองเนตร และทรงรุ่งเรืองด้วยฉลองพระองค์สีแดง

श्यामम्dark (in complexion)
श्यामम्:
Karma (कर्म)
TypeAdjective
Rootश्याम (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन; विशेषण
रक्तोत्पलकरम्having a red-lotus in hand
रक्तोत्पलकरम्:
Karma (कर्म)
TypeAdjective
Rootरक्त-उत्पल-कर (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन; तत्पुरुषः ‘रक्तोत्पलं करः यस्य/यः’ (हस्ते रक्तोत्पलधारी)
वामाङ्कन्यस्ततत्करम्whose hand is placed on the left side/lap
वामाङ्कन्यस्ततत्करम्:
Karma (कर्म)
TypeAdjective
Rootवाम-अङ्क-न्यस्त-तत्-कर (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन; तत्पुरुषः ‘वामाङ्के न्यस्तः तत्करः यस्य’ (तत्=तस्य/तद्)
द्विनेत्रम्two-eyed
द्विनेत्रम्:
Karma (कर्म)
TypeAdjective
Rootद्वि-नेत्र (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन; द्विगु-समासः ‘द्वे नेत्रे यस्य’
रक्तवस्त्राढ्यम्richly clad in red garments
रक्तवस्त्राढ्यम्:
Karma (कर्म)
TypeAdjective
Rootरक्त-वस्त्र-आढ्य (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन; तत्पुरुषः ‘रक्तवस्त्रैः आढ्यः/समृद्धः’
सेनापतिम्the commander (Skanda)
सेनापतिम्:
Karma (कर्म)
TypeNoun
Rootसेनापति (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन; तत्पुरुषः ‘सेनायाः पतिः’
अथthen
अथ:
Sambandha (सम्बन्ध/sequence)
TypeIndeclinable
Rootअथ (अव्यय)
Formअनन्तरार्थक-अव्यय (then/next)
अर्चयेत्should worship
अर्चयेत्:
Kriya (क्रिया)
TypeVerb
Root√अर्च् (धातु)
Formविधिलिङ् (Optative), प्रथमपुरुष, एकवचन; परस्मैपद

Narada (instructional narration within a ritual/vidhi sequence)

Vrata: none

Primary Rasa: bhakti

Secondary Rasa: vira

S
Senāpati

FAQs

It teaches dhyāna-lakṣaṇa (meditative iconography) as part of worship: fixing the deity’s form—color, attributes, posture, and garments—so the mind becomes steady and the ritual becomes inwardly concentrated.

Bhakti here is expressed through upāsanā: the devotee lovingly contemplates specific divine features (lotus, red garments, composed posture) and then performs arcana, making devotion concrete through disciplined visualization and worship.

It reflects kalpa-oriented ritual method: a procedural instruction for arcana supported by dhyāna (visual specification), which is a practical component of performing rites correctly and consistently.