Ankle

Expressions researched:
"ankle" |"ankles" |"anklets"

SB Canto 2

SB 2.1.26, Translation:

Persons who have realized it have studied that the planets known as Pātāla constitute the bottoms of the feet of the universal Lord, and the heels and the toes are the Rasātala planets. The ankles are the Mahātala planets, and His shanks constitute the Talātala planets.

SB 2.5.40-41, Translation:

My dear son Nārada, know from me that there are seven lower planetary systems out of the total fourteen. The first planetary system, known as Atala, is situated on the waist; the second, Vitala, is situated on the thighs; the third, Sutala, on the knees; the fourth, Talātala, on the shanks; the fifth, Mahātala, on the ankles; the sixth, Rasātala, on the upper portion of the feet; and the seventh, Pātāla, on the soles of the feet. Thus the virāṭ form of the Lord is full of all planetary systems.

SB Canto 3

SB 3.17.21, Translation:

Hiraṇyākṣa's temper was difficult to control. He had anklets of gold tinkling about his feet, he was adorned with a gigantic garland, and he rested his huge mace on one of his shoulders.

SB 3.20.29, Translation:

The body given up by Brahmā took the form of the evening twilight, when the day and night meet, a time which kindles passion. The asuras, who are passionate by nature, dominated as they are by the element of rajas, took it for a damsel, whose lotus feet resounded with the tinkling of anklets, whose eyes were wide with intoxication and whose hips were covered by fine cloth, over which shone a girdle.

SB 3.22.17, Translation and Purport:

I have heard that Viśvāvasu, the great Gandharva, his mind stupefied with infatuation, fell from his airplane after seeing your daughter playing with a ball on the roof of the palace, for she was indeed beautiful with her tinkling ankle bells and her eyes moving to and fro.

It is understood that not only at the present moment but in those days also there were skyscrapers. Herein we find the word harmya-pṛṣṭhe. Harmya means "a very big palatial building." Svād vimānāt means "from his own airplane." It is suggested that private airplanes or helicopters were also current in those days. The Gandharva Viśvāvasu, while flying in the sky, could see Devahūti playing ball on the roof of the palace. Ball playing was also current, but aristocratic girls would not play in a public place. Ball playing and other such pleasures were not meant for ordinary women and girls; only princesses like Devahūti could indulge in such sports. It is described here that she was seen from the flying airplane. This indicates that the palace was very high, otherwise how could one see her from an airplane? The vision was so distinct that the Gandharva Viśvāvasu was bewildered by her beauty and by hearing the sound of her ankle bangles, and being captivated by the sound and beauty, he fell down. Kardama Muni mentioned the incident as he had heard it.

SB 3.23.31, Translation:

Her entire body, including her head, was completely bathed, and she was decorated all over with ornaments. She wore a special necklace with a locket. There were bangles on her wrists and tinkling anklets of gold about her ankles.

SB 3.28.8, Purport:

Sitting in an easy posture is called svasti samāsīnaḥ. It is recommended in the yoga scripture that one should put the soles of the feet between the two thighs and ankles and sit straight; that posture will help one to concentrate his mind on the Supreme Personality of Godhead. This very process is also recommended in Bhagavad-gītā, Sixth Chapter. It is further suggested that one sit in a secluded, sanctified spot. The seat should consist of deerskin and kuśa grass, topped with cotton.

SB 3.28.15, Translation:

He also wears around His neck a garland of attractive sylvan flowers, and a swarm of bees, intoxicated by its delicious fragrance, hums about the garland. He is further superbly adorned with a pearl necklace, a crown and pairs of armlets, bracelets and anklets.

SB 3.28.15, Purport:

The significance of spirituality is that everything is eternal and inexhaustible. Everything taken from everything remains everything, or, as has been stated, in the spiritual world one minus one equals one, and one plus one equals one. The bees hum around the fresh flowers, and their sweet sound is enjoyed by the Lord. The Lord's bangles, necklace, crown and anklets are all bedecked with invaluable jewels. Since the jewels and pearls are spiritual, there is no material calculation of their value.

SB 3.28.20, Purport:

To think of the Lord as a whole may sometimes be impersonal; therefore, it is recommended here that one first think of His lotus feet, then His ankles, then the thighs, then the waist, then the chest, then the neck, then the face and so on. One should begin from the lotus feet and gradually rise to the upper limbs of the transcendental body of the Lord.

SB 3.28.24, Translation:

Next, the yogi should fix his mind in meditation on the Personality of Godhead's thighs, the storehouse of all energy. The Lord's thighs are whitish blue, like the luster of the linseed flower, and appear most graceful when the Lord is carried on the shoulders of Garuḍa. Also the yogī should contemplate His rounded hips, which are encircled by a girdle that rests on the exquisite yellow silk cloth that extends down to His ankles.

SB 3.28.24, Purport:

The description of the transcendental form of the Lord is exactly represented in the arcā-vigraha, the statue in the temples. Generally, the lower part of the body of the statue of the Lord is covered with yellow silk. That is the Vaikuṇṭha dress, or the dress the Lord wears in the spiritual sky. This cloth extends down to the Lord's ankles. Thus, since the yogī has so many transcendental objectives on which to meditate, there is no reason for his meditating on something imaginary, as is the practice of the so-called yogīs whose objective is impersonal.

SB 3.28.25, Purport:

In the previous verse it was stated that the goddess of fortune, Lakṣmī, who engages in massaging the legs, ankles and thighs of the Lord, is called the mother of Brahmā, but actually Brahmā is born from the abdomen of the Lord, not from the abdomen of his mother. These are inconceivable conceptions of the Lord, and one should not think materially, "How can the father give birth to a child?"

SB 3.29.35, Purport:

It is not acceptable for one to be satisfied simply by practicing the sitting postures and thinking himself complete. By meditation one must attain the stage of devotional service. As previously described, a yogī is advised to meditate on the form of Lord Viṣṇu from point to point, from the ankles to the legs to the knees to the thighs to the chest to the neck, and in this way gradually up to the face and then to the ornaments. There is no question of impersonal meditation.

SB Canto 4

SB 4.8.49, Translation:

The Lord is decorated with small golden bells around His waist, and His lotus feet are decorated with golden ankle bells. All His bodily features are very attractive and pleasing to the eyes. He is always peaceful, calm and quiet and very pleasing to the eyes and the mind.

SB 4.23.14, Translation:

When Mahārāja Pṛthu practiced a particular yogic sitting posture, he blocked the doors of his anus with his ankles, pressed his right and left calves and gradually raised his life air upward, passing it on to the circle of his navel, up to his heart and throat, and finally pushed it upward to the central position between his two eyebrows.

SB 4.24.12, Translation:

While Śatadruti was thus being married, the demons, the denizens of Gandharvaloka, the great sages, and the denizens of Siddhaloka, the earthly planets and Nāgaloka, although highly exalted, were all captivated by the tinkling of her ankle bells.

SB 4.24.12, Purport:

In the case of Śatadruti, however, she was so beautiful that she attracted the whole universe at her marriage ceremony. Indeed, she attracted all the learned and exalted demigods simply by the tinkling of her ankle bells. This indicates that all the demigods wanted to see her beauty completely, but they were not able to see it because she was fully dressed and covered with ornaments. Since they could only see the feet of Śatadruti, they became attracted by her ankle bells, which tinkled as she walked. In other words, the demigods became captivated by her simply by hearing the tinkling of her ankle bells. They did not have to see her complete beauty. It is sometimes understood that a person becomes lusty just by hearing the tinkling of bangles on the hands of women or the tinkling of ankle bells, or just by seeing a woman's sari. Thus it is concluded that woman is the complete representation of māyā.

SB 4.24.47-48, Translation:

The Lord is superexcellently beautiful on account of His open and merciful smile and Mis sidelong glance upon His devotees. His black hair is curly, and His garments, waving in the wind, appear like flying saffron pollen from lotus flowers. His glittering earrings, shining helmet, bangles, garland, ankle bells, waist belt and various other bodily ornaments combine with conchshell, disc, club and lotus flower to increase the natural beauty of the Kaustubha pearl on His chest.

SB 4.25.23, Translation:

The waist and hips of the woman were very beautiful. She was dressed in a yellow sārī with a golden belt. While she walked, her ankle bells rang. She appeared exactly like a denizen of the heavens.

SB Canto 5

SB 5.2.5, Translation:

As Pūrvacitti passed by on the road in a very beautiful style and mood of her own, the pleasing ornaments on her ankles tinkled with her every step. Although Prince Āgnīdhra was controlling his senses, practicing yoga with half-open eyes, he could see her with his lotuslike eyes, and when he heard the sweet tinkling of her bangles, he opened his eyes slightly more and could see that she was just nearby.

SB 5.2.5, Purport:

Although Āgnīdhra, the son of Priyavrata, was practicing mystic yoga and trying to control his senses, the tinkling sound of Pūrvacitti's ankle bells disturbed his practice. Yoga indriya-saṁyamaḥ: actual yoga practice means controlling the senses. One must practice mystic yoga, to control the senses, but the sense control of a devotee who fully engages in the service of the Lord with his purified senses (hṛṣīkeṇa hṛṣīkeśa-sevanam (CC Madhya 19.170)) can never be disturbed.

SB 5.2.5, Purport:

Another example is Prince Āgnīdhra, whose attention was drawn to the movements of Pūrvacitti, the Apsarā, simply because he heard the tinkling of her ankle bells. In the same way that Viśvāmitra Muni was attracted by the tinkling bangles of Menakā, Prince Āgnīdhra, upon hearing the tinkling bangles of Pūrvacitti, immediately opened his eyes to see her beautiful movements as she walked. The prince was also very handsome. As described herein, his eyes were just like the buds of lotus flowers. As he opened his lotuslike eyes, he could immediately see that the Apsarā was present by his side.

SB 5.2.10, Translation:

O brāhmaṇa, I can simply hear the tinkling of your ankle bells. Within those bells, tittiri birds seem to be chirping among themselves. Although I do not see their forms, I can hear how they are chirping. When I look at your beautiful circular hips, I see they are the lovely color of kadamba flowers, and your waist is encircled by a belt of burning cinders. Indeed, you seem to have forgotten to dress yourself.

SB 5.3.3, Translation:

Lord Viṣṇu appeared before King Nābhi with four arms. He was very bright, and He appeared to be the best of all personalities. Around the lower portion of His body, He wore a yellow silken garment. On His chest was the mark of Śrīvatsa, which always displays beauty. He carried a conchshell, lotus flower, disc and club, and He wore a garland of forest flowers and the Kaustubha gem. He was beautifully decorated with a helmet, earrings, bangles, belt, pearl necklace, armlets, ankle bells and other bodily ornaments bedecked with radiant jewels. Seeing the Lord present before them, King Nābhi and his priests and associates felt just like poor people who have suddenly attained great riches. They received the Lord and respectfully bent their heads and offered Him things in worship.

SB 5.12.5-6, Translation:

The self-realized brāhmaṇa Jaḍa Bharata said: Among the various material combinations and permutations, there are various forms and earthly transformations. For some reason, these move on the surface of the earth and are called palanquin carriers. Those material transformations which do not move are gross material objects like stones. In any case, the material body is made of earth and stone in the form of feet, ankles, calves, knees, thighs, torso, throat and head. Upon the shoulders is the wooden palanquin, and within the palanquin is the so-called King of Sauvīra. The body of the King is simply another transformation of earth, but within that body Your Lordship is situated and falsely thinking that you are the King of the state of Sauvīra.

SB Canto 6

SB 6.4.35-39, Translation:

The Lord wore a golden belt on His waist, bracelets on His arms, rings on His fingers, and ankle bells on His feet. Thus decorated by various ornaments, Lord Hari, who is attractive to all the living entities of the three worlds, is known as Puruṣottama, the best personality. He was accompanied by great devotees like Nārada, Nanda and all the principal demigods, led by the heavenly king, Indra, and the residents of various upper planetary systems such as Siddhaloka, Gandharvaloka and Cāraṇaloka. Situated on both sides of the Lord and behind Him as well, these devotees offered Him prayers continuously.

SB Canto 7

SB 7.4.9-12, Translation:

The steps of King Indra's residence were made of coral, the floor was bedecked with invaluable emeralds, the walls were of crystal, and the columns of vaidūrya stone. The wonderful canopies were beautifully decorated, the seats were bedecked with rubies, and the silk bedding, as white as foam, was decorated with pearls. The ladies of the palace, who were blessed with beautiful teeth and the most wonderfully beautiful faces, walked here and there in the palace, their ankle bells tinkling melodiously, and saw their own beautiful reflections in the gems. The demigods, however, being very much oppressed, had to bow down and offer obeisances at the feet of Hiraṇyakaśipu, who chastised the demigods very severely and for no reason. Thus Hiraṇyakaśipu lived in the palace and severely ruled everyone.

SB 7.5.23-24, Purport:

Now let us discuss the offenses in Deity worship. The following are offenses: (a) to enter the temple with shoes or being carried on a palanquin, (b) not to observe the prescribed festivals, (c) to avoid offering obeisances in front of the Deity, (d) to offer prayers in an unclean state, not having washed one's hands after eating, (e) to offer obeisances with one hand, (f) to circumambulate directly in front of the Deity, (g) to spread one's legs before the Deity, (h) to sit before the Deity while holding one's ankles with one's hands, (i) to lie down before the Deity, (j) to eat before the Deity, (k) to speak lies before the Deity, (l) to address someone loudly before the Deity, (m) to talk nonsense before the Deity, (n) to cry before the Deity,

SB Canto 8

SB 8.6.3-7, Translation:

The Lord has attractive eyebrows, and His cheeks are adorned with earrings. Lord Brahmā and Lord Śiva saw the belt on the Lord's waist, the bangles on His arms, the necklace on His chest, and the ankle bells on His legs. The Lord is bedecked with flower garlands, His neck is decorated with the Kaustubha gem, and He carries with Him the goddess of fortune and His personal weapons, like His disc and club. When Lord Brahmā, along with Lord Śiva and the other demigods, thus saw the form of the Lord, they all immediately fell to the ground, offering their obeisances.

SB 8.8.18, Translation:

Her two breasts, which were symmetrical and nicely situated, were covered with sandalwood pulp and kuṅkuma powder, and her waist was very thin. As she walked here and there, her ankle bells jingling softly, she appeared like a creeper of gold.

SB 8.8.41-46, Purport:

Attracted by the aroma of Her face and body, bumblebees hummed around Her, and thus Her eyes were restless. Her hair, which was extremely beautiful, was garlanded with mallikā flowers. Her attractively constructed neck was decorated with a necklace and other ornaments, Her arms were decorated with bangles, Her body was covered with a clean sari, and Her breasts seemed like islands in an ocean of beauty. Her legs were decorated with ankle bells. Because of the movements of Her eyebrows as She smiled with shyness and glanced over the demons, all the demons were saturated with lusty desires, and every one of them desired to possess Her.

SB 8.9.16-17, Translation:

O King, as the demigods and demons sat facing east in an arena fully decorated with flower garlands and lamps and fragrant with the smoke of incense, that woman, dressed in a most beautiful sari, Her ankle bells tinkling, entered the arena, walking very slowly because of Her big, low hips. Her eyes were restless due to youthful pride, Her breasts were like water jugs, Her thighs resembled the trunks of elephants, and She carried a waterpot in Her hand.

SB 8.18.2, Translation:

The body of the Supreme Personality of Godhead, blackish in complexion, was free from all inebrieties. His lotus face, decorated with earrings resembling sharks, appeared very beautiful, and on His bosom was the mark of Śrīvatsa. He wore bangles on His wrists, armlets on His arms, a helmet on His head, a belt on His waist, a sacred thread across His chest, and ankle bells decorating His lotus feet.

SB Canto 10.1 to 10.13

SB 10.8.22, Translation:

When Kṛṣṇa and Balarāma, with the strength of Their legs, crawled in the muddy places created in Vraja by cow dung and cow urine, Their crawling resembled the crawling of serpents, and the sound of Their ankle bells was very charming. Very much pleased by the sound of other people's ankle bells, They used to follow these people as if going to Their mothers, but when They saw that these were other people, They became afraid and returned to Their real mothers, Yaśodā and Rohiṇī.

SB 10.8.22, Purport:

When Kṛṣṇa and Balarāma were crawling about Vrajabhūmi, They were enchanted by the sound of ankle bells. Thus They sometimes followed other people, who would enjoy the crawling of Kṛṣṇa and Balarāma and exclaim, "Oh, see how Kṛṣṇa and Balarāma are crawling!" Upon hearing this, Kṛṣṇa and Balarāma could understand that these were not Their mothers They were following, and They would return to Their actual mothers. Thus the crawling of Kṛṣṇa and Balarāma was enjoyed by the people of the neighborhood, as well as by mother Yaśodā and Rohiṇī and the two children Themselves.

SB 10.11.39-40, Translation:

Sometimes Kṛṣṇa and Balarāma would play on Their flutes, sometimes They would throw ropes and stones devised for getting fruits from the trees, sometimes They would throw only stones, and sometimes, Their ankle bells tinkling, They would play football with fruits like bael and āmalakī. Sometimes They would cover Themselves with blankets and imitate cows and bulls and fight with one another, roaring loudly, and sometimes They would imitate the voices of the animals. In this way They enjoyed sporting, exactly like two ordinary human children.

SB 10.13.47-48, Translation:

All those personalities had four arms, holding conchshell, disc, mace and lotus flower in Their hands. They wore helmets on Their heads, earrings on Their ears and garlands of forest flowers around Their necks. On the upper portion of the right side of Their chests was the emblem of the goddess of fortune. Furthermore, They wore armlets on Their arms, the Kaustubha gem around Their necks, which were marked with three lines like a conchshell, and bracelets on Their wrists. With bangles on Their ankles, ornaments on Their feet, and sacred belts around Their waists, They all appeared very beautiful.

SB Cantos 10.14 to 12 (Translations Only)

SB 10.30.16, Translation:

One gopī took the role of Tṛṇāvarta and carried away another, who was acting like infant Kṛṣṇa, while yet another gopī crawled about, her ankle bells tinkling as she pulled her feet.

SB 10.33.5, Translation:

A tumultuous sound arose from the armlets, ankle bells and waist bells of the gopīs as they sported with their beloved Kṛṣṇa in the circle of the rāsa dance.

SB 10.33.13, Translation:

Another gopī became fatigued as she danced and sang, the bells on her ankles and waist tinkling. So she placed upon her breasts the comforting lotus hand of Lord Acyuta, who was standing by her side.

SB 10.33.15, Translation:

Enhancing the beauty of the gopīs' faces were the lotus flowers behind their ears, the locks of hair decorating their cheeks, and drops of perspiration. The reverberation of their armlets and ankle bells made a loud musical sound, and their chaplets scattered. Thus the gopīs danced with the Supreme Lord in the arena of the rāsa dance as swarms of bees sang in accompaniment.

SB 10.39.49-50, Translation:

He had large loins and hips, thighs like an elephant's trunk, and shapely knees and shanks. His raised ankles reflected the brilliant effulgence emanating from the nails on His petallike toes, which beautified His lotus feet.

SB 10.39.51-52, Translation:

Adorned with a helmet, bracelets and armlets, which were all bedecked with many priceless jewels, and also with a belt, a sacred thread, necklaces, ankle bells and earrings, the Lord shone with dazzling effulgence. In one hand He held a lotus flower, in the others a conchshell, discus and club. Gracing His chest were the Śrīvatsa mark, the brilliant Kaustubha gem and a flower garland.

SB 10.41.25, Translation:

Some of the ladies put their clothes and ornaments on backwards, others forgot one of their earrings or ankle bells, and others applied makeup to one eye but not the other.

SB 10.44.29, Translation:

Kṛṣṇa and Balarāma then called Their young cowherd boyfriends to join Them, and in their company the Lords danced about and sported, Their ankle bells resounding as musical instruments played.

SB 10.47.43, Translation:

Does He recall those nights in the Vṛndāvana forest, lovely with lotus, jasmine and the bright moon? As we glorified His charming pastimes, He enjoyed with us, His beloved girlfriends, in the circle of the rāsa dance, which resounded with the music of ankle bells.

SB 10.53.51-55, Translation:

Rukmiṇī appeared as enchanting as the Lord's illusory potency, who enchants even the sober and grave. Thus the kings gazed upon her virgin beauty, her shapely waist, and her lovely face adorned with earrings. Her hips were graced with a jewel-studded belt, her breasts were just budding, and her eyes seemed apprehensive of her encroaching locks of hair. She smiled sweetly, her jasmine-bud teeth reflecting the glow of her bimba-red lips. As she walked with the motions of a royal swan, the effulgence of her tinkling ankle bells beautified her feet. Seeing her, the assembled heroes were totally bewildered.

SB 10.60.8, Translation:

Her hand adorned with rings, bangles and the cāmara fan, Queen Rukmiṇī looked resplendent standing near Lord Kṛṣṇa. Her jeweled ankle-bells tinkled, and her necklace glittered, reddened by the kuṅkuma from her breasts, which were covered by the end of her sāri. On her hips she wore a priceless belt.

SB 10.83.28, Translation:

Just then I walked onto the ceremonial ground, the ankle bells on my feet gently tinkling. I was wearing new garments of the finest silk, tied with a belt, and I carried a brilliant necklace fashioned of gold and jewels. There was a shy smile on my face and a wreath of flowers in my hair.

SB 10.84.48, Translation:

Vasudeva received initiation along with his wives, who wore silk sārīs and were adorned with bangles, necklaces, ankle bells and earrings. With his body wrapped in a deerskin, Vasudeva shone splendidly.

SB 11.14.36-42, Translation:

The two brilliant lotus feet are decorated with ankle bells and bracelets, and that form exhibits the Kaustubha gem along with an effulgent crown. The upper hips are beautified by a golden belt, and the arms are decorated with valuable bracelets. All of the limbs of that beautiful form capture the heart, and the face is beautified by merciful glancing. Pulling the senses back from the sense objects, one should be grave and self-controlled and should use the intelligence to strongly fix the mind upon all of the limbs of My transcendental body. Thus one should meditate upon that most delicate transcendental form of Mine.

SB 11.30.28-32, Translation:

The Lord was exhibiting His brilliantly effulgent four-armed form, the radiance of which, just like a smokeless fire, dissipated the darkness in all directions. His complexion was the color of a dark blue cloud and His effulgence the color of molten gold, and His all-auspicious form bore the mark of Śrīvatsa. A beautiful smile graced His lotus face, locks of dark blue hair adorned His head, His lotus eyes were very attractive, and His shark-shaped earrings glittered. He wore a pair of silken garments, an ornamental belt, the sacred thread, bracelets and arm ornaments, along with a helmet, the Kaustubha jewel, necklaces, anklets and other royal emblems. Encircling His body were flower garlands and His personal weapons in their embodied forms. As He sat He held His left foot, with its lotus-red sole, upon His right thigh.

CC Adi-lila

CC Adi 5.186, Translation:

He wore golden earrings on His ears, and golden armlets and bangles. He wore tinkling anklets on His feet and a garland of flowers around His neck.

CC Adi 13.112, Translation:

She brought different kinds of golden ornaments, including armlets, necklaces, anklets and bangles for the hands.

CC Adi 14.78, Translation:

When the child was going out, there was a tinkling of ankle bells from His lotus feet. Hearing this, His father and mother were struck with wonder.

CC Adi 14.79, Translation:

Jagannātha Miśra said, "This is a very wonderful incident. Why is there a sound of ankle bells from the bare feet of my child?"

CC Madhya-lila

CC Madhya 5 Summary:

Gopālajī followed the younger brāhmaṇa, who could hear the tinkling sound of Gopālajī’s ankle bells. When all the respectable gentlemen of Vidyānagara were assembled, Gopālajī testified to the promise of the elderly brāhmaṇa. Thus the marriage was performed. Later, the king of that country constructed a fine temple for Gopāla.

CC Madhya 5.99, Translation:

“You will know that I am walking behind you by the sound of My ankle bells."

CC Madhya 5.102, Translation:

While Gopāla followed the young brāhmaṇa, the tinkling sound of His ankle bells could be heard. The brāhmaṇa became very pleased, and he cooked first-class rice for Gopāla to eat.

CC Madhya 13.21, Translation:

The car was also decorated with silken cloth and various pictures. Many brass bells, gongs and ankle bells rang.

CC Madhya 14.228, Translation:

“"The anklets on the damsels of Vraja-bhūmi are made of cintāmaṇi stone. The trees are wish-fulfilling trees, and they produce flowers with which the gopīs decorate themselves. There are also wish-fulfilling cows (kāma-dhenus), which deliver unlimited quantities of milk. These cows constitute the wealth of Vṛndāvana. Thus Vṛndāvana"s opulence is blissfully exhibited.’”

CC Madhya 21.128, Translation:

“His fingernails are many full moons, and they dance on the flute in His hands. Their song is the melody of that flute. His toenails are also many full moons, and they dance on the ground. Their song is the jingling of His ankle bells."

CC Madhya 23.51, Purport:

“Kṛṣṇa's smile, the fragrance of His transcendental body, His flute, bugle, ankle bells and conchshell, the marks on His feet, His place of residence, His favorite plant (tulasī), His devotees, and the observance of fasts and vows connected to His devotion all awaken the symptoms of ecstatic love.”

The Bhakti-rasāmṛta-sindhu (2.2.1) describes anubhāva as follows:

anubhāvās tu citta-stha-bhāvānām avabodhakāḥ

te bahir vikriyā prāyāḥ proktā udbhāsvarākhyayā

CC Antya-lila

CC Antya 17.43, Translation:

“The tinkling of Kṛṣṇa's ankle bells surpasses the songs of even the swan and crane, and the sound of His bangles puts the singing of the caṭaka bird to shame. Having allowed these sounds to enter the ears even once, one cannot tolerate hearing anything else."

CC Antya 17.48, Translation:

“Only the most fortunate can hear these four nectarean sounds—Kṛṣṇa's words, the tinkling of His ankle bells and bangles, His voice and the vibration of His flute. If one does not hear these sounds, his ears are as useless as small conchshells with holes.”

Nectar of Devotion

Nectar of Devotion 8:

In the supplementary Vedic literature, there is the following list of thirty-two offenses in the matter of serving the Lord: (1) One should not enter the temple of the Deity in a car or palanquin or with shoes on the feet. (2) One should not fail to observe the various festivals for the pleasure of the Supreme Personality of Godhead, such as Janmāṣṭamī and Ratha-yātrā. (3) One should not avoid bowing down before the Deity. (4) One should not enter the temple to worship the Lord without having washed one's hands and feet after eating. (5) One should not enter the temple in a contaminated state. (According to Vedic scripture, if someone dies in the family the whole family becomes contaminated for some time, according to its status. For example, if the family is brāhmaṇa their contamination period is twelve days, for the kṣatriyas and vaiśyas it is fifteen days, and for śūdras thirty days.) (6) One should not bow down on one hand. (7) One should not circumambulate in front of Śrī Kṛṣṇa. (The process of circumambulating the temple is that one should begin circumambulating from the Deity's right-hand side of the temple and come round. Such circumambulation should be performed outside the temple structure at least three times daily.) (8) One should not spread his legs before the Deity. (9) One should not sit before the Deity holding the ankles, elbows or knees with one's hands.

Nectar of Devotion 26:

His helmet, His earrings, His necklace, His four garments, the bangles on His head, the rings on His fingers, His ankle bells and His flute—these are the different features of Kṛṣṇa's ornaments. Kṛṣṇa, the enemy of Agha, always looked beautiful with His incomparable helmet, His earrings made of diamonds, His necklace of pearls, His bangles, His embroidered garments and the beautiful rings on His fingers.

Nectar of Devotion 41:

So with the permission of mother Yaśodā, he would immediately enter the house. And while mother Yaśodā was dressing Kṛṣṇa, he would try to help put on Kṛṣṇa's ankle bells, and Kṛṣṇa would jokingly strike him with His flute. Then mother Yaśodā would call, "Kṛṣṇa, what is this? Why are You teasing Your friend?" And Kṛṣṇa would laugh, and the friend would also laugh. These are some of the activities of Kṛṣṇa's sakhās. Sometimes the sakhās would take care of the cows who were going hither and thither. They would tell Kṛṣṇa, "Your cows were going off here and there," and Kṛṣṇa would thank them.

Krsna, The Supreme Personality of Godhead

Krsna Book 8:

A short time after this incident, both Balarāma and Kṛṣṇa began to crawl on Their hands and knees. When They were crawling like that, They pleased Their mothers. The bells tied to Their waist and ankles sounded fascinating, and They would move around very pleasingly. Sometimes, just like ordinary children, They would be frightened by others and would immediately hurry to Their mothers for protection. Sometimes They would fall into the clay and mud of Vṛndāvana and would approach Their mothers smeared with clay and saffron.

Krsna Book 11:

While taking charge of the calves, sometimes the two brothers played on Their flutes. And sometimes They played with āmalaka fruits and bael fruits, just as small children play with balls. Sometimes They danced and made tinkling sounds with Their ankle bells. Sometimes They made Themselves into bulls and cows by covering Themselves with blankets. Thus Kṛṣṇa and Balarāma played. The two brothers also used to imitate the sounds of bulls and cows and play at bullfighting. Sometimes They used to imitate the sounds of various animals and birds. In this way, They enjoyed Their childhood pastimes apparently like ordinary, mundane children.

Krsna Book 30:

One gopī imitated child Kṛṣṇa and lay down on the ground, and one gopī became the demon Tṛṇāvarta and carried the small child Kṛṣṇa by force into the sky; and one of the gopīs began to imitate Kṛṣṇa while He was attempting to walk, ringing His ankle bells. Two gopīs imitated Kṛṣṇa and Balarāma, and many others imitated Their cowherd boyfriends. One gopī assumed the form of Bakāsura, and another forced her to fall down as the demon Bakāsura did when he was killed; similarly, another gopī defeated Vatsāsura. Just as Kṛṣṇa used to call His cows by their different names, so the gopīs imitated Him, calling the cows by their respective names.

Krsna Book 33:

There were lotus flowers over both their ears, and their faces were decorated with sandalwood pulp. They wore tilaka, and there were drops of perspiration on their smiling mouths. From their feet came the tinkling sound of ankle bells and bangles. The flowers within their hair were falling to the lotus feet of Kṛṣṇa, and He was very satisfied.

Krsna Book 39:

There was a nice belt around His waist, and He wore a sacred thread across His broad chest. Bangles were on His hands, and armlets on the upper portion of His arms. He wore bells on His ankles. He possessed dazzling beauty, and His palms were like lotus flowers. He was further beautified by the different emblems of the viṣṇu-mūrti—the conchshell, club, disc and lotus flower—which He held in His four hands. His chest was marked with the particular signs of Viṣṇu, and He wore fresh flower garlands. All in all, He was very beautiful to look at.

Krsna Book 41:

They had been awaiting the arrival of Kṛṣṇa and Balarāma with great anxiety, and in their extreme eagerness to see Kṛṣṇa and Balarāma, the ladies did not dress themselves very properly. Some of them placed their clothes in the wrong place. Some anointed their eyes on one side only, and some wore ankle bells only on one leg or wore only one earring. Thus in great haste, not even decorated properly, they went to see Kṛṣṇa from the roofs. Some of them had been taking their lunch, but as soon as they heard that Kṛṣṇa and Balarāma were in the city, they left their eating and ran to the roofs.

Krsna Book 53:

Although the princes gazed upon her beautiful features, she was not at all proud. Her eyes moved restlessly, and when she smiled very simply, like an innocent girl, her teeth appeared just like jasmine buds. Expecting Kṛṣṇa to take her away at any moment, she proceeded slowly toward her home. Her legs moved just like a full-grown swan, and her ankle bells tinkled mildly.

Krsna Book 60:

The handle of the cāmara was made of gold and bedecked with valuable jewels, and it became more beautiful when taken by Rukmiṇī because all of her fingers were beautifully set with jeweled rings. Her legs were decorated with jeweled ankle bells, which rang very softly between the pleats of her sari. Rukmiṇī’s raised breasts were smeared with kuṅkuma and saffron; thus her beauty was enhanced by the reflection of the reddish color emanating from her covered breasts.

Krsna Book 75:

While the King was taking the avabhṛtha bath, different musical instruments vibrated, such as mṛdaṅgas, conchshells, paṇava drums, kettledrums and bugles, and the ankle bells of the dancing girls jingled. Many groups of professional singers sang as vīṇās, flutes, gongs and cymbals were played, and thus a tumultuous sound vibrated in the sky. The princely guests from many kingdoms, like Sṛñjaya, Kāmboja, Kuru, Kekaya and Kośala, were present with their different flags and gorgeously decorated elephants, chariots, horses and soldiers. All of them passed in a procession, with King Yudhiṣṭhira in the forefront.

Krsna Book 75:

When the queens, with their heavy breasts and thin waists, moved within the palace and their ankle bells rang very melodiously with their movement, the whole palace appeared more opulent than the heavenly kingdom. Because a portion of their breasts was sprinkled with saffron powder, the pearl necklaces on their breasts appeared reddish. With their beautiful earrings and flowing hair, the queens appeared very attractive. After seeing such beauties in the palace of King Yudhiṣṭhira, Duryodhana was envious.

Krsna Book 82:

Since it is a Vedic custom to give in charity as much as possible during the hours of the eclipse, the members of the Yadu dynasty distributed many hundreds of cows in charity to the brāhmaṇas. All those cows were fully decorated with nice dress and ornaments. The special feature of these cows was that they had golden ankle bells and flower garlands on their necks.

Krsna Book 83:

At that time, I entered the arena of competition, and the ankle bells on my legs sounded very melodious as I walked. I was nicely dressed with new silken garments, flowers decorated my hair, and because of Lord Kṛṣṇa's victory I was in ecstatic joy and smiling very pleasingly. I carried in my hands a golden necklace bedecked with jewels, which glittered at intervals. My curling hair encircled my face, which shone with a bright luster due to the reflection of my various earrings.

Krsna Book 84:

While the ceremony was being observed strictly according to the principles of the scriptures, Vasudeva resembled the moon encircled by stars. Because he was being initiated for the sacrifice, he was dressed in a deerskin, but all his wives were dressed with very nice saris, bangles, necklaces, ankle bells, earrings and many other ornaments. Vasudeva looked very beautiful surrounded by his wives, exactly like the King of heaven when he performs such sacrifices.

Srimad-Bhagavatam Lectures

Lecture on SB 2.1.7 -- Paris, June 15, 1974:

Mind is your enemy and mind is your friend. When the mind is engaged in Kṛṣṇa consciousness, that mind is your friend. And the mind, when it is engaged in other consciousness, that is your enemy. So you can create your mind—friend or enemy—according to your desire. If you fix up always... The Deity worship means to fix up your mind on the lotus feet of Kṛṣṇa, always worshiping Kṛṣṇa. So therefore I am asking why there is no ankle bell. There must be ankle bell the lotus feet of Kṛṣṇa. So if you fix up your mind, then immediately, fix up your mind on the lotus feet of Kṛṣṇa, immediately you are nairguṇya-stha, situated in the nairguṇya, transcendental platform.

Lecture on SB 3.28.20 -- Nairobi, October 30, 1975:

This arca-vigraha... By offering worship to the Deity, you see the lotus feet is there, the ankle is there, the mark in the sole is there. Everything is there. So each and every part you study and understand, "Kṛṣṇa is here. Kṛṣṇa is there." This is meditation. It is not that the rascal's theory that God is everywhere except in the temple. No. It is not like that. He is everywhere. Now He has appeared in this temple specifically to show His mercy how we can study very analytically: "Here is feet. Here is hand. The feet is marked with these symptoms. His hand is like this. His flute is like this. His hair is like this. Eyes are..." Study everything minutely. Then that is meditation, and this will help you to think of Kṛṣṇa constantly, and that will be trance, samādhi, samādhi, practical. It is not to be imaginary.

Lecture on SB 5.5.1-8 -- Stockholm, September 8, 1973:

So You have to go with me and say yes, this promise was made before You, to become witness." So Gopālajī said, "How I can go? Do you think a marble Deity can go anywhere?" So he was devotee, he said, "Yes, marble Deity, if He can speak, He can go also." Then He could not say anything. By logic, Kṛṣṇa was defeated. Yes. "Sir, if You can speak You can go also. So You have to go." "All right. So I'll go with you, but don't see back. I'll go, rest assured. And you'll hear the tinkling sound of My ankle bell, so you'll know I am coming. Daily you offer Me one kilo rice on the way. I shall go."

Lecture on SB 5.5.1-8 -- Stockholm, September 8, 1973:

So when the Deity reached almost, say, one mile away from the village, the ankle bell, tinkling of the ankle bell was not heard. So he was very much anxious, whether He has not come. He saw backside, he saw Deity is there. So he said, "Sir..." Now the Deity said, "Now I shall not go. Because I told you that don't see back side. So you have seen now backside. I am here, of course. But I cannot go any further." So he informed in the village that "My Gopālajī witness has come. You come here." So all the village people immediately came there and saw the big Deity, Gopālajī's there. So they could understand that it is not possible to carry this Deity from such a long distance.

1972 Conversations and Morning Walks

Talk with Bob Cohen -- February 27-29, 1972, Mayapura:

Devotee: There is an infection in this ankle.

Prabhupāda: Ankle? Oh, there was some... (break)

Bob: ...who is not very aware of God, but...

Prabhupāda: Then he's an animal. The animal does not know what is God. A person who does not know what is God or one who does not try to understand what is God, he's animal. The animals are with four legs, and that animal is with two legs. And Darwin's theory is they are monkeys. So anyone who does not know God or does not try to understand God, he's nothing but animal.

1968 Correspondence

Letter to Jadurani -- Los Angeles 25 December, 1968:

Setting of the scene: Vasudeva saw that all of the doors were opened and that the gate-keepers were asleep so he went outside of the house and came to the bank of the Yamuna. He sees that the river is inflated with rainy season water and he thinks, "How shall I cross?" Then he saw a jackal crossing the river and Vasudeva realized that the river was shallow and only up to his ankles. So Vasudeva, holding little Krishna in his arms follows the jackal across the Yamuna River. So this night scene of walking across the river is the fourth picture.

1969 Correspondence

Letter to Madhavi Lata -- Los Angeles 13 January, 1969:

Setting the scene: Vasudeva saw that all of the doors were opened and that the gate-keepers were asleep, so he went outside of the house and came to the bank of the Yamuna. He saw that the river was inflated with rainy season water and he thought, "How shall I cross?" Then he saw a jackal crossing the river and Vasudeva realized that the river was shallow and only up to his ankles. So Vasudeva, holding Little Krishna in his arms, follows the jackal across the Yamuna River. This night scene of walking across the river and following the jackal is the fourth picture.

1971 Correspondence

Letter to Jadurani -- Los Angeles 9 July, 1971:

This is spiritual rest and enjoyment. That is the real feature of the Supreme Personality of Godhead. Why should he work? So finish the picture nicely. The idea is all right. The monkeys with Lord Rama are greyish with black face. Why Ramacandra has only one ankle bracelet? They should be on both legs. Painting of Sukadeva is all right. Nara Narayana has four arms and they are bluish; Datyatreya, Prthu and Dhanvantari are yellowish; Lord Buddha is flesh colored; Yajna is bluish; Mohini is extraordinarily beautiful woman. There is no comparison to her beauty, so much so that Lord Siva is captivated by her beauty, what to speak of others.