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Dakshina-vibhaga (Southern Division)
Samanya-bhagavad-bhakti-rasa-nirupakah
General Characteristics of Bhagavad-bhakti-rasa
Shloka 14—Overview of
Bhakti-rasa
First Wave—Vibhava
The Causes of Tasting Bhakti-rasa
Second Wave—Anubhava
External Symptoms of Ecstacy
Third Wave—Sattvika-bhava
Symptoms of Ecstacy Arising from Sattva
Fourth Wave—Vyabhicari-bhava
Internal Transitory Emotions
Shloka 15-16
Fifth Wave—Sthayibhava
Permanent or Dominant Emotions
Shloka 17
(14) Overview of Bhakti-rasa
vibhavanubhava-sattvika-bhava-vyabhicari bhava-milanena raso bhavati.
yatra vishaye bhavo bhavati sa vishayalambana-vibhavah krishnah. yo bhava yukto
bhavati sa ashrayalambana-vibhavo bhaktah. ye krishnam smarayanti vastralankaradayas
te-uddipana-vibhavah. ye bhavam jnapayanti te anubhava nritya-gita-smitadayah.
ye cittam tanunca
kshobhayanti te sattvikah. te
ashtau—stambha-sveda-romanca-svarabheda-vepathu-vaivarnyashru-pralaya iti. te
dhumayita jvalita dipta uddipta suddipta iti panca-vidha yathottara-sukhadah
syuh. ete yadi nitya-siddhe tada snigdhah. yadi jataratau tada digdhah.
bhava-shunya-jane yadi jatas-tada-rukshah.
mumukshu-jane yadi
jatas-tada ratyabhasajah. karmi-jane vishayi-jane va yadi jatas-tada sattva-bhasajah.
picchila-citta-jane tad-abhyasa pare va yadi jatas-tada nihsattvah.
bhagavad-dveshi jane yadi jatas-tada pratipah.
Shri Bindu-vikashini-vritti
When krishna-rati, or
in other words, the sthayibhava (the permanent emotion of the heart in one of
the five primary relationships of shanta, dasya, sakhya, and so on) becomes
exceedingly tasty for the devotee by virtue of the elements known as vibhava,
anubhava, sattvika-bhava and vyabhicari-bhava, induced through the medium of
shravana, kirtana, and so on, it is called bhakti-rasa. In other words, when
the sthayibhava or krishna-rati mixes with vibhava, anubhava, sattvika-bhava
and vyabhicari-bhava and becomes fit to be tasted in the heart of the devotee,
it is called bhakti-rasa.
Components of Bhakti-rasa
When the sthayibhava mixes
with vibhava, anubhava, sattvika-bhava and vyabhicari-bhava and produces an
extraordinary taste within the devotee’s heart, it is called bhakti-rasa.
Vibhava - Alambana (that in
which rati is tasted)
-
Vishayalambana (the object
of rati—Krishna)
-
Ashrayalambana (the reservoir of
rati—the devotee)
Uddipana (that which stimulates rati)
Sthayibhava—The permanent sentiment in one of the five primary
relationships of shanta, dasya, sakhya, vatsalya, or madhurya, which is known
as mukhya-rati. This also refers to the dominant sentiment in the seven
secondary mellows (gauna-rati) of laughter, wonder, chivalry, compassion,
anger, fear, and disgust.
Anubhava—Visible actions which illustrate the spiritual emotions
situated within the heart (dancing, singing, and so on).
Sattvika-bhava—Eight symptoms of spiritual ecstacy arising
exclusively from vishuddha-sattva or in other words, when the heart is
overwhelmed by emotions in connection with mukhya-rati or gauna-rati.
Vyabhicari-bhava—Thirty-three internal spiritual emotions which
emerge from the nectarine ocean of sthayibhava, cause it to swell, and then
merge back into that ocean.
Comment
The terms vibhava,
anubhava, sattvika-bhava, sthayibhava and bhakti-rasa are defined in the
following quotes from Bhakti-rasamrita-sindhu:
vibhavyate hi ratyadir yatra yena vibhavyate
vibhavo nama sa dvedhalambanoddipanatmakah
(Bhakti-rasamrita-sindhu, 2.1.15)
That in which rati is tasted and that cause by which rati is
tasted are called vibhava. Vibhava is of two varieties: (1) alambana (the
support or repository of rati), and (2) uddipana (that which stimulates or
excites rati).
anubhavastu cittastha-bhavanam avabodhakah
te bahir-vikriya prayah prokta udbhasvarakhyaya
(Bhakti-rasamrita-sindhu, 2.2.1)
The symptoms which reveal the spiritual emotions situated within
the heart are called anubhavas. When they manifest mostly as external actions,
they are known as udbhasvara (that which gives light or makes apparent).
krishna sambandhibhih sakshat kincid va vyavadhanatah
bhavaish cittam ihakrantam sattvam ity ucyate budhaih
(Bhakti-rasamrita-sindhu, 2.3.1)
When the heart is overwhelmed by any of the five primary
senti-ments (mukhya-rati) in relationship with Shri Krishna of dasya, sakhya,
and so on, stimulated by direct contact with Him, or when the heart is
overwhelmed by the seven secondary sentiments (gauna-rati) of laughter,
tragedy, and so on, induced by a circumstance in which Krishna is somewhat
apart, learned scholars called this condition sattva. The bhavas or spiritual
emotions arising strictly from sattva are known as sattvika-bhavas.
The previously mentioned
anubhavas such as dancing, singing, and so on, like the sattvika-bhavas, arise
from emotion in relationship with Krishna, or in other words, when the mind is
overwhelmed by emotion in relationship with Krishna. However, symptoms such as
dancing and singing are done with conscious intention and therefore they are
not counted as sattvika-bhavas. The sattvika-bhavas are also referred to as
anubhavas because they illustrate the emotions situated within the heart.
Therefore, to distinguish between anubhavas and sattvika-bhavas, the word
udbhasvara is used to refer to those anubhavas which do not arise exclusively
from sattva. The symptoms such as becoming stunned (stambha), standing of the
hairs on end (pulaka), and so on arise spontaneously from sattva. Therefore they
are known as sattvika-bhavas.
In his commentary on
Bhakti-rasamrita-sindhu (2.1.5), Shrila Jiva Gosvami explains the nature of
rasa.
vibhavair iti. esha
krishna ratir eva sthayi-bhavah, saiva ca bhakti raso bhavet. kidrishi sati
tatraha—vibhavair iti. shravanadibhih karttribhir vibhavadibhih karanair
bhaktanam hridi svadyatvam anita samyak prapita camatkara visheshena pushtety
arthah.
This krishna-rati is the sthayibhava, and it is transformed into
bhakti-rasa. How does it become bhakti-rasa? By combination with vibhava,
anubhava, sattvika-bhava and vyabhicari-bhava. In other words, when
krishna-rati is aroused by the stimulating elements (vibhava) transmitted
through the medium of shravana, kirtana, and so on, and gives rise to various ensuing
emotions (anubhavas, sattvika-bhavas and vyabhicari-bhavas), the combination of
all these elements produces an extraordinary taste within the heart which is
referred to as bhakti-rasa.
Sthayibhava will be
described elaborately further ahead. Here, it is sufficient to know that when
krishna-rati is augmented, it attains to different levels such as sneha, mana,
pranaya, raga, anuraga, bhava and mahabhava. All of these are known as
sthayibhava (or permanent emotions) of shri krishna-bhakti. When these various
gradations of the sthayibhava combine with the appropriate vibhavas, anubhavas,
sattvika-bhavas and vyabhi-cari-bhavas, bhakti-rasa is produced and yields an
unprecedented taste.
Bhakti-rasa is of
twelve varieties and each of these has its own sthayibhava. For example: (1)
the sthayibhava of shanta-rasa is shanti-rati (tranquility), (2) the
sthayibhava of dasya-rasa is priti-rati (affection in servitude), (3) the
sthayibhava of sakhya-rasa is sakhya-rati (friendship), (4) the sthayibhava of
vatsalya-rasa is vatsalya-rati (parental affection), (5) the sthayibhava of
madhura-rasa is priyata-rati (conjugal love), (6) the sthayibhava of hasya-rasa
is hasa-rati (laughter), (7) the sthayibhava of adbhuta-rasa (wonder) is
vismaya-rati (astonishment), (8) the sthayibhava of vira-rasa (heroism) is
utsaha-rati (enthusiasm), (9) the sthayi-bhava of karuna-rasa (compassion) is
shoka-rati (sorrow or lamentation), (10) the sthayibhava of raudra-rasa is
krodha-rati (anger), (11) the sthayibhava of bhayanaka-rasa is bhaya-rati
(fear), and (12) the sthayibhava of vibhatsa-rasa is jugupsa-rati (disgust).
Although bhakti-rasa is accepted to be of twelve varieties, in the final
analysis, five rasas are predominant. The five sthayibhavas on which these are
based will be discussed elaborately ahead.
Vibhava
Krishna-rati is of five
kinds: shanta, dasya, sakhya, vatsalya and madhura. That in and by which rati
is stimulated and thus caused to be tasted is called vibhava. Vibhava is of two
kinds—alambana (the support) and uddipana (the stimulus). That in which rati is
stimulated is called alambana (the support or shelter of rati). That by which
rati is stimulated is called uddipana (the stimulus for rati). Alambana-vibhava
is also of two varieties—vishayalambana and ashrayalambana. He for whom rati is
aroused is called vishayalambana (the object of rati) and one in whom rati is
aroused is called ashrayalambana (the receptacle of rati). Shri Krishna is the
vishayalambana of krishna-rati and the devotees are the ashrayalambana. That by
which rati is stimulated is called uddipana-vibhava. Uddipana-vibhava refers to
all those things which stimulate remembrance of Shri Krishna such as His dress
and ornaments, the spring season, the bank of the Yamuna, forest groves, cows,
peacocks, and so on.
Anubhava
The actions which
display or reveal the emotions situated within the heart are called anubhavas.
The anubhavas are thirteen in number: (1) nritya (dancing), (2) viluthita
(rolling on the ground), (3) gita (singing), (4) kroshana (loud crying), (5)
tanu-motana (writhing of the body), (6) hunkara (roaring), (7) jrimbhana
(yawning), (8) shvasa-bhuma (breathing heavily), (9) loka-anapekshita (giving
up concern for public image), (10) lalasrava (salivating), (11) atöahasa (loud
laughter), (12) ghurna (staggering about), and (13) hikka (a fit of hiccups).
Sattvika-bhava
That which causes
perturbation to be aroused within the heart and body is called sattvika-bhava.
The sattvika-bhavas are of eight kinds: (1) stambha (becoming stunned), (2)
sveda (perspiration), (3) romanca (standing of the hairs on end), (4)
svara-bhanga (faltering of the voice), (5) kampa (trembling), (6) vaivarna
(palor or change of color), (7) ashru (tears), and (8) pralaya (loss of
consciousness or fainting).
All these
sattvika-bhavas are manifested in five stages of intensity: (1) dhumayita
(smouldering—when a sattvika-bhava manifests in a very small quantity by itself
or combined with another symptom and is capable of being hidden), (2) jvalita
(flaming—when two or three symptoms manifest prominently at the same time and
can be concealed only with difficulty), (3) dipta (burning—when three, four or
five sattvika-bhavas manifest very powerfully and when it is not possible to
suppress such expressions), (4) uddipta (brightly burning—when five, six or
even all eight of the sattvika-bhavas manifest simultaneously and attain
supreme exultation), and (5) suddipta (blazing—when all the sattvika-bhavas
reach the summit of expression, being extremely bright in their radiance. This
condition is observed only in the gopis of Vraja in the state of mahabhava).
Each of these stages yields greater happiness than the one preceding it.
Sattvika-bhavas are
further divided into three categories: (1) snigdha (smooth—sattvika-bhavas
which arise when the mind is overwhelmed with emotion in relationship with
either the five primary mellows, mukhya-rati, or the seven secondary mellows,
gauna-rati), (2) digdha (smeared—sattvika-bhavas which are not instigated
either by mukhya or gauna-rati but which follow in the wake of rati), and (3)
ruksha (rough—emotion which arises in persons who are devoid of rati). Snigdha
sattvika-bhavas are manifest only in the eternally perfected devotees
(nitya-siddha bhaktas). Sattvika-bhavas which arise in jata-rati bhaktas (those
in whom rati has made its appearance) are called digdha sattvika-bhavas. When
these symptoms are seen in persons in whom rati has not been aroused, they are
called ruksha-bhava. In actuality, sattvika-bhavas can occur only in persons in
whom rati has been aroused. When symptoms resembling the sattvika-bhavas are
manifest in persons who are devoid of rati, they are known as sattvikabhasa (a
semblance of sattvika-bhava). Therefore, ruksha sattvika-bhavas are also said to
be an abhasa.
Sattvikabhasa
Sattvikabhasa is of
four types: (1) ratyabhasa, (2) sattvabhasa, (3) nihsattva, and (4) pratipa.
Ratyabhasa
Ratyabhasa literally
means an abhasa or semblance of rati, and sattvikabhasa means a semblance of
the symptoms known as sattvika-bhavas. Ratyabhasa sattvikabhasa, therefore,
refers to those symptoms which resemble sattvika-bhavas arising due to a
semblance of rati. This ratyabhasa refers to pratibimba and chaya-ratyabhasa
previously described in the section on bhava-bhakti. Persons who are desirous
of liberation may adopt the angas of bhakti not for the purpose of obtaining
bhakti or krishna-rati but simply to attain mukti. When such persons chant the
holy name in the association of bhava-bhaktas, they may manifest tears,
horripilation and other symptoms. Because these symptoms arise from a
reflection of the rati situated in the hearts of genuine bhava-bhaktas, they
are known as ratyabhasa sattvikabhasa. When symptoms resembling sattvika-bhavas
are seen in mumukshus (those desirous of liberation) they are said to arise
from ratyabhasa.
Sattvabhasa
Sattvabhasa refers to
those symptoms which arise from an abhasa of sattva. Sattva refers to the
condition wherein the heart possessed of rati is overwhelmed by spiritual
emotions such as jubilation, wonder, and despondency. When a person who is
devoid of rati hears or chants about the Lord’s pastimes in the association of
pure devotees, he may become overwhelmed with some emotion which resembles
those originating from sattva. In this case the symptoms he displays such as
crying do not arise from a reflection of rati but merely from some emotion
which resembles those arising from sattva. Therefore they are known as
sattvabhasa sattvikabhasa. These emotions generally arise in persons whose
hearts are naturally soft (shithila). When symptoms resembling sattvika-bhavas
are seen in karmis or vishayis (sensualists), they are said to arise from
sattvabhasa.
Nihsattva
Nihsattva refers to
those symptoms which do not arise from sattva. The hearts of such persons are
described as picchila (slippery). Externally they appear to be soft-hearted,
but internally they are hard-hearted. They exhibit symptoms merely by forced
practice. Because the symptoms observed in such persons are devoid of even an
abhasa of sattva, they are known as nihsattva sattvikabhasa.
Pratipa
The word pratipa
literally means adverse, contrary, or displeasing. When the enemies of Krishna
display symptoms which resemble sattvika-bhavas arising due to fear or anger,
they are called pratipa-sattvikabhasa.
First Wave—Vibhava
The Causes of Tasting Bhakti-rasa
Vishayalambana-vibhava
Krishna’s qualities as vishayalambana
In the overview of bhakti-rasa
given in the previous shloka, vibhava is said to be of two types: alambana, the
support, and uddipana, the stimulus of rati. Alambana is also described to be
of two kinds: vishaya, the object of rati, and ashraya, the reservoir of rati.
Krishna’s qualities are now described as part of what makes Him the vishaya of
rati.
The qualities of Shri
Krishna are sometimes classified as vishay-alambana and sometimes as uddipana.
Because Krishna’s qualities are part-and-parcel of His form, they are included
as vishayalambana. When the principal meditation is upon Shri Krishna who
possesses various qualities, those qualities are thought of as belonging to the
object of love and are therefore classified as vishayalambana. When, however,
the principal meditation is upon the qualities of Shri Krishna and that
remembrance stimulates love for Krishna, those qualities are considered as
uddipana. Shri Krishna has sixty-four principal qualities. Out of these the
first fifty are present to a minute extent in great personalities who are
recipients of the Lord’s mercy. The ordinary jivas, however, display but a
shadow of a particle of such qualities.
(1) Suramyanga—The construction of His limbs is exceedingly
beautiful.
(2) Sarva-sal-lakshana-yukta—His body is marked with all
auspicious characteristics.
(3) Rucira—His beauty is a festival of bliss for the eyes.
(4) Tejasanvita—His body is radiant and He is extremely powerful
and influential.
(5) Baliyan—He possesses great strength.
(6) Vayasanvita—He displays different ages and yet He is eternally
situated in fresh youth.
(7) Vividhadbhuta-bhashavit—He is expert in different languages.
(8) Satyavakya—His words never prove false.
(9) Priyamvada—He speaks pleasantly even to offenders.
(10) Vavaduka—His words are ambrosial and pleasing to the ears.
(11) Supandita—He is learned and conducts Himself appropriately
with different kinds of persons.
(12) Buddhiman—His intelligence is sharp and subtle.
(13) Pratibhanvita—He is expert at improvising original
conversation on the spur of the moment.
(14) Vidagdha—He is skilled in the sixty-four arts and in amorous
pastimes.
(15) Catura—He can accomplish many actions at the same time.
(16) Daksha—He can perform difficult tasks with ease.
(17) Kritajna—He is grateful for services rendered by others.
(18) Sudridha-vrata—His promises and vows always hold true.
(19) Desha-kala-supatrajna—He is an expert judge of time, place,
and person and works accordingly.
(20) Shastra-cakshu—He acts in accordance with the religious
scriptures.
(21) Shuci—He is free from all sins and He purifies others from
sins.
(22) Vashi—He is in full control of His senses.
(23) Sthira—He perseveres until His work is completed.
(24) Danta—He endures even intolerable distress.
(25) Kshamashila—He excuses the offenses of others.
(26) Gambhira—It is very difficult to understand the import of His
mind.
(27) Dhritiman—His desires are fulfilled and He remains calm even
in the midst of great anxiety.
(28) Sama—He is devoid of attachment and aversion.
(29) Vadanya—He is chivalrous in giving charity.
(30) Dharmika—He is religious and He incites others to adopt the
path of religion.
(31) Shura—He is enthusiastic to fight and expert in the use of
weapons.
(32) Karuna—He is unable to tolerate the distress of others.
(33) Manyamana-krita—He is respectful to His guru, brahmanas, and
elders.
(34) Dakshina—Because of His excellent disposition, His actions
are very pleasing.
(35) Vinayi—He is devoid of pride.
(36) Hriman—He is bashful when He thinks that others have detected
His amorous affairs and when glorified by others.
(37) Sharanagata-palaka—He protects those who take shelter of Him.
(38) Sukhi—He enjoys pleasure and is untouched by distress.
(39) Bhakta-suhrita—He is a friend to His devotees and is easily
pleased.
(40) Prema-vashya—He is controlled only by love.
(41) Sarva-shubhankara—He is a well-wisher to everyone.
(42) Pratapi—He torments and terrifies His enemies.
(43) Kirttiman—He is famous by dint of His sterling qualities.
(44) Rakta-loka—He is the object of love and attachment for
everyone.
(45) Sadhu-samashraya—He is partial to the sadhus.
(46) Narigana-manohari—He is attractive to all women.
(47) Sarvaradhya—He is worshipable to everyone.
(48) Samriddhiman—He possesses great opulence.
(49) Variyan—He is superior to all.
(50) ˆshvara—He is independent and His order can not be
transgressed.
The next five qualities are partially present in Shri Shiva.
(51) Sada-svarupa-samprapta—He is never controlled by the dictates
of maya.
(52) Sarvajna—He knows the heart of everyone, and He knows all
things even though there may be an intervention of time, place and so on.
(53) Nitya-nutana—Even though His beauty is always experienced, it
is new at every moment and so astonishing that it appears as if it were never
previously experienced.
(54) Sac-cid-ananda-sandranga—He is the concentrated embodi-ment
of existence, consciousness, and bliss. The word sat means that He pervades all
time and space, the word cit means that He is self-manifested, the word ananda
means that He is the abode of unadulterated prema, and the word sandra means
that His form is so densely composed of sat, cit, and ananda that it is
untouched by anything else.
(55) Sarva-siddhi-nishevita—All mystic powers are under His
control.
The next five qualities are present in Shri Narayana and
Mahavishnu.
(56) Avicintya mahashakti—He possesses inconceivable potencies by
which He creates the universes and manifests even the indwelling antaryami of
those universes, by which He bewilders even Brahma and Rudra, and by which He
destroys the prarab-dha-karma of His devotees.
(57) Koöi-brahmanda-vigraha—Unlimited universes are situated
within His body.
(58) Avataravali-bija—He is the source of all incarnations.
(59) Hatari-gati-dayaka—He awards mukti to the enemies killed by
Him.
(60) Atmaramaganakarshi—He attracts the liberated souls or those
who rejoice in the self.
The next four qualities are unique to Shri Krishna alone.
(61) Lila-madhurya—He is an undulating ocean of astonishing
pastimes out of which rasa-lila is supremely captivating.
(62) Prema-madhurya—He is surrounded by devotees who possess
incomparable madhura prema which develops up to the stage of mahabhava.
(63) Venu-madhurya—The sweet and mellow sound of His flute
attracts the minds of everyone within the three worlds.
(64) Rupa-madhurya—His extraordinary beauty astonishes all moving
and non-moving entities.
Vishayalambana-vibhava
Four kinds of Nayakas or heroes
Because Shri Krishna is
the reservoir of all qualities and activities He manifests the characteristics
of all four different heroes at different times in accordance with specific
pastimes. These four varieties of heroes are described below.
(1) Dhirodatta—The hero who is grave, humble, forgiving,
compassionate, fixed in vow, unboastful, extremely powerful, and who thwarts
the pride of heroic fighters is known as dhirodatta. Previous acaryas have
described Bhagavan Shri Rama as possessing the qualities of a dhirodatta
nayaka. These qualities are also observed in Shri Krishna.
(2) Dhira-lalita—The hero who is expert in the sixty-four arts and
amorous sports, always situated in fresh youth, expert at joking, devoid of
anxiety, and controlled by the prema of his beloveds is known as dhira-lalita.
Shri Krishna clearly manifests the features of a dhira-lalita nayaka. In the
Naöya-shastra these qualities are also said to be found in Kandarpa or cupid.
(3) Dhira-shanta—The hero who is peaceful, tolerant of miseries,
judicious, and humble is known as dhira-shanta. Learned scholars of the
Naöya-shastra have declared Maharaja Yudhishöhira to be a dhira-shanta nayaka.
(4) Dhiroddhata—One who is malicious, proud, deceitful, angry,
fickle, and boastful is known as dhiroddhata. Learned scholars have accepted
Bhimasena as a dhiroddhata nayaka. Although these characteristics appear to be
faults, they are accepted as qualities in Shri Krishna, because they are
appropriate in specific pastimes in which He chastises the wicked in order to
protect His devotees.
Vibhava
(The Causes of Tasting Rati)
(1) Alambana
(those who
taste rati)
a ------------------
-Vishaya (the object of
rati—Krishna)
-Anyarupa (in
another form, e.g. when Krishna
assumed the form of the cowherd
boys and calves in the Brahma-
mohana-lila)
-Svarupa (in His
own form)
-Avrita
(in a disguised form,
e.g. Krishna
disguised
Himself as a woman)
-Prakaöa
(Krishna in His
original form)
b -----------------
-Ashraya (the reservoir of rati—the devotee)
-Sadhaka
(bhava-bhaktas, e.g.
Bilvamangala Thakura)
-Siddha
(prema-bhaktas)
Nitya-siddha
(eternally perfect)
Samprapti-siddha
(those who attained perfection)
Sadhana-siddha
(attained perfection through sadhana, e.g. Markendeya ‰shi
Kripa-siddha
(attainedperfectionthrough mercy,e.g. Yajna-patnis,Bali Maharaja,
and Shri Shukadeva)
Uddipana-vibhava
(That which stimulates rati)
Things which stimulate
the devotees’ rati or love for the Lord are known as uddipana-vibhava. The
fourteen principal uddipanas are described below. A detailed outline of
Krishna’s qualities, dress and ornaments, and flute are found on the following
pages.
(1) Guna (qualities)
(2) Ceshöa (activities)
Krishna’s activities include rasa-lila,
killing the wicked, and so
on.
(3) Prasadana (dress and ornaments)
(4) Smita (smile)
(5) Anga-saurabha (bodily fragrance)
(6) Vamsha (flute)
(7) Shringa
(buffalo horn) Krishna’s wild female buffalo horn, is mounted with
gold on both ends, studded with jewels in the middle and known as mandraghosha.
(8) Nupura (anklets)
(9) Kambu (conchshell) Krishna’s conchshell, which opens to the
right or southward, is called Pancajanya.
(10) Padanka (footprints)
(11) Kshetra (holy places)
(12) Tulasi
(13) Bhakta (devotees)
(14) Bhagavad-vasara (holy days) Janmashöami, Ekadashi, etc.
Krishna’s qualities as Uddipana-vibhava
page 165 in printed edition
page 203 in PDF file