Texts 87-91: “ ‘Śrīmatī Rādhārāṇī’s twenty-five chief transcendental qualities are:
(1) She is very sweet.
(2) She is always freshly youthful.
(3) Her eyes are restless.
(4) She smiles brightly.
(5) She has beautiful, auspicious lines.
(6) She makes Kṛṣṇa happy with Her bodily aroma.
(7) She is very expert in singing.
(8) Her speech is charming.
(9) She is very expert in joking and speaking pleasantly.
(10) She is very humble and meek.
(11) She is always full of mercy.
(12) She is cunning.
(13) She is expert in executing Her duties.
(14) She is shy.
(15) She is always respectful.
(16) She is always calm.
(17) She is always grave.
(18) She is expert in enjoying life.
(19) She is situated at the topmost level of ecstatic love.
(20) She is the reservoir of loving affairs in Gokula.
(21) She is the most famous of submissive devotees.
(22) She is very affectionate to elderly people.
(23) She is very submissive to the love of Her friends.
(24) She is the chief gopī.
(25) She always keeps Kṛṣṇa under Her control.
In short, She possesses unlimited transcendental qualities, just as Lord Kṛṣṇa does.’
The following is similar and is quoted from the VedaBase - Chapter 16: Writing of Past Acaryas - Writing of Srila Bhaktivinode Thakura - Jaiva Dharma - JDH 33: Madhurya-rasa Part Three:
Gosvami, "The Queen of Vrndavana, Radharani, is, like Krsna, the treasure-trove of endless excellences. The most prominent twenty-five qualities are
(1) madhurya: She is sweetness personified, and extremely lovely to behold.
(2) nava-vayah: She blossoms with the fresh youthfulness of adolescence.
(3) cala-apanga: She has bright restless eyes.
(4) ujjvala-smita: Constantly, a tender soft smile plays upon Her lips.
(5) caru-saubhagya-rekha-adhya: Beautiful auspicious signs and lines mark Her body. (6) gandha-unmadita-madhava: Her bodily fragrance enchants Krsna.
(7) sangita prasara-abhijna: She is an expert musician and singer.
(8) ramya-vak: She is practised in the art of pleasing conversation.
(9) narma-pandita: She possesses sparkling feminine wit and humour.
(10) vinita: She is modest and gentle by nature.
(11) karuna-purna: She is full of compassion and mercy.
(12) vidagdha: She is extremely intelligent and transcendentally cunning.
(13) patava-anvita: She is expert in performing Her duties.
(14) lajja-sila: She is shy.
(15) su-maryada: She is always respectful.
(16) dhairya: She is patient and calm and able tolerate pain and suffering.
(17) gambhirya-salini: She is grave and sober.
(18) su-vilasa-priya: She relishes pastimes and is expert in enjoying life.
(19) maha-bhava parama-utkarsa-tarsini-yukta: She is situated at the topmost level of maha-bhava, ecstatic love, and always desirous to experience the same.
(20) gokula-prema-vasatih: She is the embodiment and abode of vraja-prema; Her very sight evokes spontaneous love in the residents of Gokula.
(21) jagat-sreni-lasadvasah: She is the most famous devotee throughout creation.
(22) gurvarpita-snehaspada: She is very affectionate to Her elders and always receives their affection.
(23) sakhi-pranayita-vasa: She is controlled by the love and affection of Her girlfriends.
(24) krsna-priya-avali-mukhya: She is the chief gopi and the most beloved of Krsna.
(25) santata-asrava-kesavah: She always keeps Krsna under Her control."
Vijaya, "I wish to learn in detail the beautiful and auspicious signs and lines that mark the transcendental body of Srimati Radhika."Gosvami, "The Varaha-samhita, jyoti-sastra, Kasi-khanda of the Skanda Purana, Matsya Purana, and Garuda Purana have presented the following descriptions of Her auspicious signs and lines:"Upon the sole of Radhika's left foot there are
(1) at the base of the big toe of the left foot, the auspicious mark of a yava, barleycorn;
(2) a discus below that;
(3) a lotus flower at the base of the middle toe;
(4) a flag and
(5) a banner below that;
(6) the urdhva-rekha line beginning right of the middle toe and extending up to the middle of the sole; and
(7) an ankusa, elephant goad, at the base of the little toe."Upon the sole of Her right foot there are (1) a conchshell at the base of the big toe;
(2) a fish upon the heel;
(3) a chariot above the fish;
(4) an altar throne at the base of the little toe, and above the fish is
(5) a mountain;
(6) a coil like an earring;
(7) a mace, and
(8) a sakti symbol like a spear."
"Upon the palm of Her left hand, the prominent lines are
(1) the life line which begins from between the index finger and middle finger and runs all the way to below the little finger;
(2) another line, starting below the life line extends from the middle of outer side of the palm below the little finger and travels up to between the index finger and thumb; and
(3) at the base of the thumb, starting from the wrist, a line curves up, to meet the middle line thus reaching the mid-section between the thumb and index finger. The following marks are also found upon the palm of the left hand:
(4-8) a disc upon each fingertip, which with the three lines add up to eight signs. Furthermore, there are:
(9) an elephant below the ring-finger;
(10) a horse below the life-line;
(11) a bull below the middle-line; and
(12) below the little finger, an elephant goad; plus
(13) a fan;
(14) a bilva Sri Laksmi bel fruit tree;
(15) a post;
(16) an arrow;
(17) a lance; and
(18) a string of beads -- thus making eighteen signs and lines."Upon the palm of Her right hand there are
(1-3) the same three prominent lines as on the left palm; plus
(4-8) a conchshell on each finger-tip;
(9) a yak-tail camara fan below the index finger; and
(10) a goad;
(11) a palace;
(12) a dundubhi, kettle drum;
(13) a lightning bolt;
(14) a pair of carts; (15) a bow; (16) a sword; and finally
(17) a water pot with a spout below the little finger."
Thus, on the sole of the left foot there are seven signs, on the sole of right foot eight signs, on the palm of the left hand eighteen signs, and on the right hand seventeen signs. Therefore, altogether there are fifty auspicious marks and lines."
>>> Ref. VedaBase => JDH 33: Madhurya-rasa, Part Three
Srimati Radharani's Lotus Hands
anayārādhito nūnaṁ
bhagavān harir īśvaraḥ
yan no vihāya govindaḥ
prīto yām anayad rahaḥ
Synonyms
anayā — by Her; ārādhitaḥ — perfectly worshiped; nūnam — certainly; bhagavan — the Personality of Godhead; hariḥ — Lord Kṛṣṇa; īśvaraḥ — the supreme controller; yat — inasmuch as; naḥ — us; vihāya — rejecting; govindaḥ — Lord Govinda; prītaḥ — pleased; yām — whom; anayat — led; rahaḥ — to a secluded place.
Translation
Certainly this particular gopī has perfectly worshiped the all-powerful Personality of Godhead, Govinda, since He was so pleased with Her that He abandoned the rest of us and brought Her to a secluded place.
Purport
Śrīla Viśvanātha Cakravartī explains that the word ārādhitaḥ refers to Śrīmatī Rādhārāṇī. He comments, “The sage Śukadeva Gosvāmī has tried with all endeavor to keep Her name hidden, but now it automatically shines forth from the moon of his mouth. That he has spoken Her name is indeed Her mercy, and thus the word ārādhitaḥ is like the rumbling of a kettledrum sounded to announce Her great good fortune.” Although the gopīs spoke as if jealous of Śrīmatī Rādhārāṇī, they were actually ecstatic to see that She had captured Śrī Kṛṣṇa.
Śrīla Viśvanātha Cakravartī quotes the following detailed description of Śrīmatī Rādhārāṇī’s footprints, as given by Śrīla Rūpa Gosvāmī in his Śrī Ujjvala-nīlamaṇi:
1. At the base of the large toe of Her left foot is the mark of a barleycorn,
2. below that mark is a disc,
3. below the disc is an umbrella,
4. and below the umbrella is a bracelet.
5. A vertical line extends from the middle of Her foot to the juncture of Her large and second toes.
6. At the base of the middle toe is a lotus,
7. below that is a flag with a banner,
8. and below the flag is a creeper,
9. together with a flower.
10. At the base of Her small toe is an elephant goad,
11. and upon Her heel is a half-moon.
Thus there are eleven marks on Her left foot.
12. “At the base of the large toe of Her right foot is a conchshell,
13. and below that a spear.
14. At the base of the small toe of Her right foot is a sacrificial altar,
15. below that an earring,
16. and below the earring a club.
17. Along the base of the second, third, fourth and small toes is the mark of a mountain,
18. below which is a chariot,
19. and on the heel is a fish.
“Thus all together there are nineteen distinguishing marks on the soles of Śrīmatī Rādhārāṇī’s lotus feet.”
Left Lotus Foot: 11 Most Auspicious Marks
01. Barleycorn
02. Disc
03. Upcurving line
04. Lotus
05. Umbrella
06. Elephant Goad
07. Flag
08. Bracelet
09 . Flower
10. Creeper
11. Half Moon
Right Lotus Foot: 8 Most Auspicious Marks
01. Sacrificial Altar
02. Mountain
03. Conch
04. Earring
05. Club
06. Chariot
07. Spear
08. Fish
01. cchatra - Umbrella
02. ari - Disc
03. dhvaja - Flag
04. valli - Flowery Twig
05. puṣpa - Flower
06. valayan - Jewelled Bangle
07. padma - Lotus08. urdhva-rekha - Upward line
09. ankusham - Elephant Goad
10. ardhendu - Half Moon
11. yavaṁ - Barleycorn
12. śaktiṁ - Spear
13. gadaṁ - Club
14. syandanam - Chariot
15. vedi - Sacrificial Altar
16. kuṇḍala - Earrings
17. matsya - Fish
18. parvata - Mountain
19. daraṁ - Conch
The Nectar Moon of Sri Radha's Sweetness
64 Transcendental Arts of Srimati Radharani
ānanda-cinmaya-rasa-pratibhāvitābhis
tābhir ya eva nija-rūpatayā kalābhiḥ
goloka eva nivasaty akhilātma-bhūto
govindam ādi-puruṣaṁ tam ahaṁ bhajāmi
Synonyms
ānanda — bliss; cit — and knowledge; maya — consisting of; rasa — mellows; prati — every second; bhāvitābhiḥ — who are engrossed with; tābhiḥ — with those; yaḥ — who; eva — certainly; nija-rūpatayā — with His own form; kalābhiḥ — who are parts of portions of His pleasure potency; goloka — in Goloka Vṛndāvana; eva — certainly; nivasati — resides; akhila-ātma — as the soul of all; bhūtaḥ — who exists; govindam — Govinda; ādi-puruṣam — the original personality; tam — Him; aham — I; bhajāmi — worship.
Translation
I worship Govinda, the primeval Lord, residing in His own realm, Goloka, with Rādhā, resembling His own spiritual figure, the embodiment of the ecstatic potency possessed of the sixty-four artistic activities, in the company of Her confidantes [sakhīs], embodiments of the extensions of Her bodily form, permeated and vitalized by His ever-blissful spiritual rasa.
Purport
Although the Lord Absolute and His potency are one and the self-same existence, still They exist eternally as separate entities, as Rādhā and Kṛṣṇa. In both the ecstatic energy and the transcendental Lord Kṛṣṇa, there exists śṛṅgāra-rasa (amorous love) whose quality is inconceivable. The vibhāva (extension) of that rasa (mellow quality) is twofold, viz., ālambana (prop) and uddīpana (stimulation). Of these ālambana is twofold, viz., āśraya (supported) and viṣaya (supporter). Āśraya signifies Rādhikā Herself and the extensions of Her own form and viṣaya means Kṛṣṇa Himself. Kṛṣṇa is Govinda, Lord of Goloka. The gopīs are the facsimile āśraya of that rasa. With them Kṛṣṇa indulges in eternal pastimes in Goloka. Nija-rūpatayā means "with the attributes manifested from the ecstatic energy."
The sixty-four activities in fine arts and crafts are the following:
(1) gīta-art of singing.
(2) vādya-art of playing on musical instruments.
(3) nṛtya-art of dancing.
(4) nāṭya-art of theatricals.
(5) ālekhya-art of painting.
(6) viśeṣakacchedya-art of painting the face and body with colored unguents and cosmetics.
(7) taṇḍula-kusuma-balī-vikāra-art of preparing offerings from rice and flowers.
(8) puṣpāstaraṇa-art of making a covering of flowers for a bed.
(9) daśana-vasanāṅga-rāga-art of applying preparations for cleansing the teeth, cloths and painting the body.
(10) maṇi-bhūmikā-karma-art of making the groundwork of jewels.
(11) śayyā-racana-art of covering the bed.
(12) udaka-vādya-art of playing on music in water.
(13) udaka-ghāta-art of splashing with water.
(14) citra-yoga-art of practically applying an admixture of colors.
(15) mālya-grathana-vikalpa-art of designing a preparation of wreaths.
(16) śekharāpīḍa-yojana-art of practically setting the coronet on the head.
(17) nepathya-yoga-art of practically dressing in the tiring room.
(18) karṇapātra-bhaṅga-art of decorating the tragus of the ear.
(19) sugandha-yukti-art of practical application of aromatics.
(20) bhūṣaṇa-yojana-art of applying or setting ornaments.
(21) aindra-jāla-art of jugglery.
(22) kaucumāra-a kind of art. (23) hasta-lāghava-art of sleight of hand.
(24) citra-śākāpūpa-bhakṣya-vikāra-kriyā-art of preparing varieties of salad, bread, cake and delicious food.
(25) pānaka-rasa-rāgāsava-yojana-art of practically preparing palatable drinks and tinging draughts with red color.
(26) sūcī-vāya-karma-art of needleworks and weaving.
(27) sūtra-krīḍā-art of playing with thread.
(28) vīṇā-ḍamuraka-vādya-art of playing on lute and small x-shaped drum.
(29) prahelikā-art of making and solving riddles.
(29-a) pratimālā-art of caping or reciting verse for verse as a trial for memory or skill.
(30) durvacaka-yoga-art of practicing language difficult to be answered by others.
(31) pustaka-vācana-art of reciting books.
(32) nāṭikākhyāyikā-darśana-art of enacting short plays and anecdotes.
(33) kāvya-samasyā-pūraṇa-art of solving enigmatic verses. (34) paṭṭikā-vetra-bāṇa-vikalpa-art of designing preparation of shield, cane and arrows. (35) tarku-karma-art of spinning by spindle.
(36) takṣaṇa-art of carpentry.
(37) vāstu-vidyā-art of engineering.
(38) raupya-ratna-parīkṣā-art of testing silver and jewels.
(39) dhātu-vāda-art of metallurgy.
(40) maṇi-rāga jñāna-art of tinging jewels.
(41) ākara jñāna-art of mineralogy.
(42) vṛkṣāyur-veda-yoga-art of practicing medicine or medical treatment, by herbs.
(43) meṣa-kukkuṭa-lāvaka-yuddha-vidhi-art of knowing the mode of fighting of lambs, cocks and birds.
(44) śuka-śārikā-prapālana (pralāpana)?-art of maintaining or knowing conversation between male and female cockatoos.
(45) utsādana-art of healing or cleaning a person with perfumes.
(46) keśa-mārjana-kauśala-art of combing hair.
(47) akṣara-muṣṭikā-kathana-art of talking with letters and fingers.
(48) mlecchita-kutarka-vikalpa-art of fabricating barbarous or foreign sophistry.
(49) deśa-bhāṣā-jñāna-art of knowing provincial dialects.
(50) puṣpa-śakaṭikā-nirmiti-jñāna-art of knowing prediction by heavenly voice or knowing preparation of toy carts by flowers.
(51) yantra-mātṛkā-art of mechanics.
(52) dhāraṇa-mātṛkā-art of the use of amulets.
(53) samvācya-art of conversation.
(54) mānasī kāvya-kriyā-art of composing verse mentally.
(55) kriyā-vikalpa-art of designing a literary work or a medical remedy.
(56) chalitaka-yoga-art of practicing as a builder of shrines called after him.
(57) abhidhāna-koṣa-cchando-jñāna-art of the use of lexicography and meters.
(58) vastra-gopana-art of concealment of cloths.
(59) dyūta-viśeṣa-art of knowing specific gambling.
(60) ākarṣa-krīḍā-art of playing with dice or magnet.
(61) bālaka-krīḍanaka-art of using children's toys.
(62) vaināyikī vidyā-art of enforcing discipline.
(63) vaijayikī vidyā-art of gaining victory.
(64) vaitālikī vidyā-art of awakening master with music at dawn.
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