Śrīmad-Bhāgavatam 10.70.17
Blended reading (Sanskrit + English inline)
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sudharmā-ākhyām
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known as Sudharmā
Sudharmā literally 'excellent dharma' — the hall is named for the dharma it embodies. In a Gauḍīya frame, sudharma is bhāgavata-dharma, devotional service; nothing else qualifies.
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ṣaṭ ūrmayaḥ
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the six waves (of material life)
The six waves are traditionally hunger, thirst, lamentation, illusion, old age, death — or per Śrīdhara, the dvandvas of the body, mind, and life. Bhagavān's hall protects those inside from all six. The image: His sannidhi is itself the antidote to saṁsāra.
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vṛṣṇibhiḥ
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by the Vṛṣṇis
The Vṛṣṇi dynasty are Bhagavān's personal kinsmen, members of His eternal parivāra. The Gauḍīyas identify them as nitya-pārṣadas — eternal associates — not historical contingencies.
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aṅga
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my dear (King)
Śuka addresses Parīkṣit with the intimate aṅga, the Bhāgavata's vocative of tenderness. The narration of Bhagavān's daily routine is itself offered as a refuge for the dying king.
Śrīla Prabhupāda writes: “It may be remembered that the Sudharmā assembly house was taken away from the heavenly planet and was reestablished in the city of Dvārakā. The specific significance of the assembly house was that anyone who entered it would be free from the six kinds of material pangs, namely hunger, thirst, lamentation, illusion, old age and death. These are the waves of material existence, and as long as one remained in that assembly house of Sudharmā, he would not be affected by these six material waves.” In this regard, Śrīdhara Svāmī and Viśvanātha Cakravartī explain that when Lord Kṛṣṇa would exit separately from each of His many palaces, each individual form would be visible to the persons present on those particular palace grounds and to the neighboring residents, but not to others. Then, at the gateway path of the Sudharmā assembly hall, all the forms of the Lord would merge into a single form, and thus He would enter the hall.
Leaving each palace in each of his forms, each form would been seen only by the residents and surround neighbors of that particular palace, and not by others. Coming along the main road up to the entrance of the assembly hall, those forms would then become one, and he would enter the hall with only one form, surrounded (parivaritah) by the Vrsnis.
No one would enter the assembly hall if Kṛṣṇa did not enter. He entered with music and songs (pra—aviśat). Though the hall was great from having been situated in Svarga, it was even greater because it was now in Kṛṣṇa’s city. Thus those who entered were not affected by material suffering.
No one would enter the assembly hall if Kṛṣṇa did not enter. He entered with music and songs (pra—aviśat). Its attractive nature is shown. The six waves are lamentation, illusion, old age death, hunger and thirst. O king (aṅga)!
The Sudharmā hall — once Indra's, now Kṛṣṇa's — protects everyone inside from the six waves of saṁsāra. It is like a deity-room scaled up to a kingdom: entering is itself salvation, and the entrance-fee is only His company.
In SB 10.50, after the defeat of Jarāsandha's allies, Kṛṣṇa brought the Sudharmā assembly hall down from Indra's heaven to Dvārakā. The same hall that once heard Indra's deliberations now seats Kṛṣṇa's.
Gauḍīya commentators read this as Bhagavān relocating the centre of cosmic dharma: wherever He sits, that becomes the real Sudharmā, and the celestial original is only a shadow of His earthly court.
My note
Source: vedabase.io