The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
गैरिकाचित्रितवपुर्नवमेघवपुः स्मरः । कोटिकंदर्पलावण्यो लसन्मकरकुंडलः ॥ ५९ ॥
gairikācitritavapurnavameghavapuḥ smaraḥ | koṭikaṃdarpalāvaṇyo lasanmakarakuṃḍalaḥ || 59 ||
Si Smara (Kāma) ay nagpakita na ang anyo’y pinintahan ng pulang okra, ang katawan ay tulad ng bagong ulap-ulan; taglay ang ganda ng sampung milyong Kupido, at may kumikislap na hikaw na hugis-makara.
Narada (as narrator within the dialogue tradition addressed to the Sanatkumara brothers)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shringara
The verse uses sacred aesthetic imagery to portray Smara’s overwhelming power of attraction—reminding the reader that desire can appear dazzling and compelling, and thus must be understood and governed within dharma.
By highlighting the captivating force of kāma (desire), the verse indirectly supports bhakti’s discipline: devotion redirects the mind from sensory enchantment to steadiness in worship and remembrance of the Divine.
It reflects the puranic-technical concern with rupa-varṇana (formal description of forms, ornaments, and signs), useful for traditional iconographic understanding that often accompanies ritual, mantra, and temple practice.
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