Narada Purana — Purva Bhaga, Shloka 186
The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga
तद्बहिर्वृष्णयः सर्वे पुरोवच्च स्वरादयः । एवं ध्यात्वा जपेल्लक्षपंचकं तद्दशांशतः ॥ १८६ ॥
tadbahirvṛṣṇayaḥ sarve purovacca svarādayaḥ | evaṃ dhyātvā japellakṣapaṃcakaṃ taddaśāṃśataḥ || 186 ||
وخارج ذلك الترتيب الباطن تُوضَعُ جميعُ آلِ فْرِشْنِي (Vṛṣṇi) كما كان من قبل، وكذلك الحروفُ المتحرّكة وسائرُ الأصوات. فإذا تمّت هذه التأمّلات فليُكرَّر المانترا خمسَ مئةِ ألفِ مرّة، ثم يُؤدَّى العُشرُ ختامًا كنسكٍ مُتمِّم.
Narada (teaching in a Vedanga/ritual-technical context, traditionally within the Narada–Sanatkumara dialogue framework)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
FAQs
It links correct inner visualization (dhyāna/nyāsa-like placement) with disciplined mantra repetition, emphasizing that spiritual efficacy comes from both contemplative arrangement and sustained japa completed by a proper concluding tenth-part observance (daśāṃśa).
Bhakti here is expressed as attentive worship: the devotee meditatively arranges the divine retinue and sacred sounds, then offers steady mantra-japa as a devotional act, culminating in a prescribed completion rite that seals the practice with reverence and order.
Śikṣā (Vedic phonetics) is implied through “svara-ādayaḥ” (vowels and other sounds), showing the ritual importance of correct sound/letter ordering and disciplined japa counts (lakṣa-japa with daśāṃśa completion).