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Shloka 5

Pādukā-Vandana and the Ananta Padmāsana: Mantra-Body of Śiva-Śakti

Devanagari script

ह्रीं श्रीं निवृत्त्यादि कला पृथिव्यादितत्त्व मनन्तादिभुवनमोङ्कारादिवर्णम् / हकारादिनवात्मकपदः सद्योदातादिमन्त्रः ह्रां हृदयाद्यङ्गः / एवं मन्त्रमहेश्वर सिद्धविद्यात्मकः परामृतार्णवः सर्वभूतो दिक्समस्तषडङ्गः सदाशिवार्णवपयः पूर्णोदधिपक्षश्रीमानास्पदात्मकः विद्योमापूर्णज्ञत्वकर्तृत्वलक्षणज्येष्ठाचक्ररुद्रशक्त्यात्मककर्णि कः / नवशक्तिशिवादिभिर्मूलमण्डलत्रयकुजात्मकोत्पन्नापद्मासनपादुकां पूजयामि नमः

Transliteration

hrīṃ śrīṃ nivṛttyādi kalā pṛthivyāditattva manantādibhuvanamoṅkārādivarṇam / hakārādinavātmakapadaḥ sadyodātādimantraḥ hrāṃ hṛdayādyaṅgaḥ / evaṃ mantramaheśvara siddhavidyātmakaḥ parāmṛtārṇavaḥ sarvabhūto diksamastaṣaḍaṅgaḥ sadāśivārṇavapayaḥ pūrṇodadhipakṣaśrīmānāspadātmakaḥ vidyomāpūrṇajñatvakartṛtvalakṣaṇajyeṣṭhācakrarudraśaktyātmakakarṇi kaḥ / navaśaktiśivādibhirmūlamaṇḍalatrayakujātmakotpannāpadmāsanapādukāṃ pūjayāmi namaḥ

Translation

Hrīṃ وŚrīṃ—هذا المانترا يَجْمَعُ الكَلاّات ابتداءً من نِفْرِتّي، والتَتْتْڤات ابتداءً من الأرض، والعوالم ابتداءً من أننتا، والحروف ابتداءً من oṃ. وهو الصيغة ذات التسعة الأوجه المبتدئة بـ ‘ha’، وسلسلة المانترا المبتدئة بـ Sadyojāta، و‘hrāṃ’ قلبًا وسائر الأعضاء (aṅga). وهكذا يتجلّى المهيشڤرا بوصفه مانترا—ذو طبيعة المعرفة المقدّسة المُنجَزة—كمحيط الرحيق الأعلى، نافذًا في جميع الكائنات، ذا ستة أعضاء تمتدّ إلى كل الجهات؛ وكمحيط جوهر سَدَاشِڤا، سندًا مجيدًا لامتداد البحر المكتمل؛ وكالكَرْنِكَا (المركز) المؤلَّف من Vidyā وامتلاءٍ كالسّماء، وعلمٍ كُلّيّ وقدرةٍ على الفعل، موسومًا بعجلة Jyeṣṭhā مع Rudra-Śakti. ومع التسع شاكتيات وصورٍ تبدأ بشِڤا—المنبثقة من الأصل ومن الماندالا الثلاثة—أعبدُ، بخشوع، مقعد اللوتس (Padmāsana) والپادوكَا المقدّسة؛ سلامٌ وخضوع.

Word by Word

ह्रींseed syllable hrīṃ

श्रींseed syllable śrīṃ

निवृत्त्यादिbeginning with Nivṛtti

कला(the) kalā, phase/portion

पृथिव्यादितत्त्वthe principle beginning with earth

अनन्तादिभुवनमोङ्कारादिवर्णम्the letters beginning with Oṃ, (connected with) worlds beginning with Ananta

हकारादिनवात्मकपदःthe word/form consisting of nine (elements) beginning with ‘ha’

सद्योदातादिमन्त्रःthe mantra beginning with Sadyodāta

ह्रांseed syllable hrāṃ

हृदयाद्यङ्गःthe limb(s) beginning with the heart (hṛdaya)

एवम्thus

मन्त्रमहेश्वरःMantra-Maheśvara (the great lord as mantra)

सिद्धविद्यात्मकःof the nature of perfected knowledge

परामृतार्णवःocean of supreme nectar

सर्वभूतःall-becoming / all-existent

दिक्समस्तषडङ्गःhaving the six limbs complete in all directions

सदाशिवार्णवपयःthe water/essence of the ocean of Sadāśiva

पूर्णोदधिपक्षश्रीमानास्पदात्मकःwhose nature is the abode of the glorious ‘full-ocean side/phase’

विद्योमापूर्णज्ञत्वकर्तृत्वलक्षणज्येष्ठाचक्ररुद्रशक्त्यात्मककर्णिकःthe pericarp (center) embodying Vidyomā, fullness, omniscience, agency, the mark, Jyeṣṭhā-cakra, and Rudra-śakti

नवशक्तिशिवादिभिःby the nine śaktis and by Śiva and others

मूलमण्डलत्रयकुजात्मकोत्पन्नाarisen from the triad of root-circles, of the nature of Kuja (Mars)

पद्मासनपादुकाम्the sandals of the lotus-seat

पूजयामिI worship

नमःsalutation

Speaker

Lord Viṣṇu (in instruction to Garuḍa), within a mantra–pūjā/vidhi passage

Philosophical Teaching

Concept: Microcosm–macrocosm identity via mantra: phonemes, tattvas, kalās, and deities form one integrated ‘mantra-śarīra’.

Vedantic Theme: Non-dual pervasion (sarva-bhūta-vyāpti) and the unity of knowledge-power (vidyā-śakti) with agency (kartṛtva) under Īśvara; contemplative integration of categories dissolves fragmentation.

Application: Use structured visualization: correlate mantra parts (bīja/varṇa), bodily loci (aṅga/ṣaḍaṅga), and cosmological principles (tattva/kalā) during japa to stabilize attention and deepen meaning.

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: shanta

Geographic Context

Type: subtle-body/mandala

Cross References

Related Themes: Garuda Purana ritual-vidyā sections describing nyāsa, ṣaḍaṅga, maṇḍala, and mantra-deha (contextual internal linkage)

Characters & Entities

Sadyojāta

Sadāśiva

Rudra

Śakti

Jyeṣṭhā (as Jyeṣṭhā-cakra)

FAQs

What is the importance of bīja mantras like hrīṃ and śrīṃ in the Garuda Purana?

This verse frames hrīṃ and śrīṃ as seed-syllables that encode cosmic principles (kalās, tattvas, worlds, and phonemes), making the mantra a condensed form of the deity and the universe for ritual worship.

How does this verse explain ṣaḍaṅga (six-limbed) practice and nyāsa?

It explicitly mentions ‘hrāṃ’ as the heart and other aṅgas, and describes the mantra as having the six limbs extending to all directions—indicating a nyāsa-style ritual mapping of mantra power onto the practitioner and space.

Practical application of this wisdom today?

Approach mantra-recitation with clarity of meaning and disciplined method: treat the mantra as a complete sacred system (sound, body-mapping, and intention), and keep the practice ethically grounded (śauca, restraint, and devotion).