Shloka 6
Vows of Hari and the Hundred Names of Suputra (Viṣṇu/Kṛṣṇa): Ritual Metadata and Fruits of Japa
तस्य देवस्य कृष्णस्य शतनामाख्यमुत्तमम् । संप्रत्येव प्रवक्ष्यामि तच्छृणुष्व सुतोत्तम
tasya devasya kṛṣṇasya śatanāmākhyamuttamam | saṃpratyeva pravakṣyāmi tacchṛṇuṣva sutottama
บัดนี้เราจักประกาศ ‘ร้อยพระนาม’ อันประเสริฐของพระกฤษณะผู้เป็นเทวะนั้นโดยแท้; จงสดับเถิด โอ้บุตรผู้เลิศ
Unspecified narrator (introducing the Kṛṣṇa-śatanāma within the dialogue frame of the Bhūmi-khaṇḍa)
Concept: Śravaṇa of Kṛṣṇa’s excellent hundred names is itself a sanctifying act; the listener’s receptivity is emphasized (‘śṛṇuṣva’).
Application: Create a daily ‘listening vow’: hear or chant a fixed set of names with full attention, treating śravaṇa as worship rather than background sound.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A narrator-teacher raises a hand in gentle instruction, inviting the ‘best of sons’ to listen as the hundred names of Kṛṣṇa are about to unfold. In the air, syllables appear like luminous garlands, and a youthful Kṛṣṇa presence—blue as raincloud—shimmers faintly, as if the names themselves are summoning him.","primary_figures":["narrator/teacher","sutoत्तम (ideal disciple)","Krishna (subtle epiphany)"],"setting":"Hermitage classroom or temple mandapa with manuscript stand, tulasi-like garlands (as generic devotional décor), and a small shrine niche.","lighting_mood":"divine radiance","color_palette":["peacock blue","golden saffron","ivory white","emerald green","lotus magenta"],"tanjore_prompt":"Tanjore painting style: teacher addressing a youthful disciple in a mandapa, with a radiant, semi-manifest Kṛṣṇa behind a veil of golden syllables; heavy gold leaf for the nāma-garland letters, rich reds/greens in textiles, ornate pillars, gem-like highlights on jewelry and shrine vessels.","pahari_prompt":"Pahari miniature style: intimate guru-śiṣya listening scene, cool blues and soft greens; Kṛṣṇa appears as a delicate, misty figure in the background with a flute silhouette; fine brushwork on facial expressions, lyrical trees and a distant riverbank hinted as Vrindavan-like ambience without explicit labeling.","kerala_mural_prompt":"Kerala mural style: bold outlines, warm ochres and greens; central teacher and disciple with a stylized blue Kṛṣṇa aura in a circular medallion; decorative borders of lotus and conch motifs, temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: central blue Kṛṣṇa motif emerging from a garland of written nāmas, surrounded by lotus borders, peacocks, and floral arabesques; deep indigo background with gold detailing, Nathdwara-inspired symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft mridangam pulse","temple bells (intermittent)","incense crackle","attentive silence between phrases"]}
Sandhi Resolution Notes: शतनामाख्यमुत्तमम् → शतनामाख्यम् + उत्तमम्; संप्रत्येव → सम्प्रति + एव; तच्छृणुष्व → तत् + शृणुष्व.
FAQs
The verse introduces the forthcoming recitation of Kṛṣṇa’s “Śatanāma”—a formal list of one hundred divine names used for devotion, praise, and remembrance.
By foregrounding nāma (the divine names) as a central devotional act—hearing and reciting Kṛṣṇa’s names is presented as an ‘excellent’ spiritual practice.
The immediate instruction is śravaṇa (attentive listening): receive sacred teaching with focus and reverence, which is treated as a foundational discipline in devotional traditions.