The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
मूर्तेस्त्रमव्ययोबीजं विश्वमूर्तेस्त्रिमव्ययः । मायाविश्वात्मने षट् च तारः सौचं तुरात्मने ॥ १९७ ॥
mūrtestramavyayobījaṃ viśvamūrtestrimavyayaḥ | māyāviśvātmane ṣaṭ ca tāraḥ saucaṃ turātmane || 197 ||
للاهوت ذي الصورة المتجسدة (mūrti) تكون البِيجا غير الزائلة «tram». وللرب ذي الصورة الكونية (Viśva-mūrti) تكون البِيجا غير الزائلة «trim». ولمن هو ذاتُ الكون عبر المايا فله ستة مقاطع. «tāra» (Oṃ) للذات الباطنة؛ و«sauca» (الطهارة) للذات الرابعة المتعالية.
Sanatkumara (in dialogue with Sage Narada)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It maps specific seed-syllables and mantra-units to different theological levels—embodied form, cosmic form, Māyā-conditioned universality, inner Self, and the transcendent ‘fourth’ (turīya)—showing a graded approach from ritual sound to non-dual realization.
By prescribing bīja-syllables and Oṃ (tāra) for contemplation, it frames devotion as disciplined japa and inner recollection of the Lord—from worship of form (mūrti) to meditation on the universal Lord and finally the indwelling Self.
Mantra-vidyā and precise syllabic usage—core to Śikṣā (phonetics) and allied ritual applications—along with the insistence on śauca (purity) as a prerequisite for effective japa/nyāsa practice.