Śeṣoditya-Sūrya-nyāsa, Soma-sādhana, Graha-pūjā, and Bhauma-vrata-vidhi
सूर्यं च मूर्ध्नि वदने हृदि गुह्ये च पादयोः । सद्यादिपञ्च ह्रस्वाद्यान् न्यसेन्ङे हृदयोंऽतिमान् ॥ ८ ॥
sūryaṃ ca mūrdhni vadane hṛdi guhye ca pādayoḥ | sadyādipañca hrasvādyān nyasenṅe hṛdayoṃ'timān || 8 ||
ينبغي له أن يُجري النْياسا (nyāsa)، فيُثبّت سُوريا (Sūrya، إله الشمس) على قمة الرأس، وفي الفم، وفي القلب، وفي الموضع السري، وعلى القدمين؛ ثم يُثبّت كذلك المانترات الخمس التي تبدأ بـ «ساديا…»، مع الحركات القصيرة وسائر الأصوات، فيُتمّ بذلك نْياسا القلب (hṛdaya-nyāsa) على الترتيب المأثور.
Sanatkumara (in instruction to Narada, within Vedanga/ritual context)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
It teaches nyāsa—sacralizing the practitioner’s body by assigning divine power (here, Sūrya and a pentad of mantras) to specific loci, making the body a fit support for mantra-japa and ritual contemplation.
By prescribing embodied worship: devotion is expressed not only as feeling but as disciplined ritual remembrance, where the deity is invoked and honored in the very limbs and vital centers before further practice.
Ritual-technical practice linked to Vedāṅga application—precise mantra placement (nyāsa), phonetic elements like short vowels (hrasva), and ordered limb-mapping used in formal worship and mantra-sādhana.