Shloka 6
Supremacy of Hari-Bhakti in Kali-yuga; Warnings on Sensual Attachment; Praise of Brāhmaṇas, Purāṇa-Listening, and Gaṅgā
कलौ नारायणं देवं यजते यः स धर्म्मभाक् । दामोदरं हृषीकेशं पुरुहूतं सनातनम्
kalau nārāyaṇaṃ devaṃ yajate yaḥ sa dharmmabhāk | dāmodaraṃ hṛṣīkeśaṃ puruhūtaṃ sanātanam
Trong thời Kali, ai thờ phụng Thần Nārāyaṇa thì thật là người thọ phần Chánh pháp—tôn thờ Ngài như Dāmodara, Hṛṣīkeśa, Puruhūta, Đấng Vĩnh Hằng (Sanātana).
Unspecified in the provided excerpt (context needed from surrounding verses to confirm the dialogue frame, e.g., Pulastya–Bhīṣma or Śiva–Pārvatī).
Concept: Worship of Nārāyaṇa in Kali-yuga itself constitutes dharma; His many names/forms are valid objects of devotion.
Application: Adopt a chosen Viṣṇu-name (iṣṭa-nāma) for daily japa; see dharma not merely as social duty but as God-centered worship.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A devotee in simple attire offers a lamp and water to a four-armed Nārāyaṇa whose aura contains shimmering name-glyphs: Dāmodara, Hṛṣīkeśa, Puruhūta, Sanātana. The scene suggests Kali-yuga simplicity—few offerings, immense grace—while celestial beings witness the act as true dharma.","primary_figures":["Nārāyaṇa (four-armed)","human devotee","celestial witnesses (gandharvas/apsarās)"],"setting":"Temple threshold or small shrine with a single lamp, conch, and lotus; faint cosmic backdrop indicating eternity","lighting_mood":"temple lamp-lit","color_palette":["deep indigo","burnished gold","vermilion","pearl white","leaf green"],"tanjore_prompt":"Tanjore painting style: four-armed Nārāyaṇa seated on a lotus throne, gold leaf halo and ornate arch; devotee offering ārati; name-epithets inscribed as decorative aureole motifs; rich reds/greens, gem-like jewelry, symmetrical composition.","pahari_prompt":"Pahari miniature style: intimate shrine scene with delicate facial features; soft lamp glow; floating Devanāgarī name-banners in the sky; cool blues and gentle pinks; refined naturalism in textiles and posture.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized lotus seat, large expressive eyes of Nārāyaṇa; warm yellow-red background; devotee in añjali; ornamental borders with conch and discus motifs.","pichwai_prompt":"Pichwai cloth painting style: central Krishna-Viṣṇu form with lotus motifs; ornate floral border containing the four epithets; peacocks and cows as auspicious fillers; deep blue ground with gold highlights and rhythmic symmetry."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["temple bells","hand cymbals (soft)","conch shell (closing)","low tanpura"]}
Sandhi Resolution Notes: धर्म्मभाक् = धर्म + भाक् (कृदन्त); second pāda continues objects of implied ‘यजते’ (worships).
FAQs
It declares that worship of Nārāyaṇa in Kali-yuga itself constitutes dharma, highlighting devotion (bhakti) as an accessible and sufficient religious path in this age.
The epithets point to different aspects of the Lord—Dāmodara evokes His intimate, grace-filled līlā; Hṛṣīkeśa indicates His mastery over the senses; Puruhūta suggests being widely invoked—together presenting a fuller theological portrait of Nārāyaṇa.
The verse teaches that righteousness is not merely social duty or ritual complexity; sincere worship aligned to the Divine becomes a direct participation in dharma and a grounding for ethical life.