Pañca-prakṛti-nirūpaṇa and Mantra-vidhi: Rādhā, Mahālakṣmī, Durgā, Sarasvatī, Sāvitrī; plus Sāvitrī-Pañjara
संध्यासूर्यमणिग्रीवां मरुद्बाहुसमन्वितान् । पर्जन्यदृदयासक्तां वस्वाख्यप्रतिमंडलाम् ॥ १३१ ॥
saṃdhyāsūryamaṇigrīvāṃ marudbāhusamanvitān | parjanyadṛdayāsaktāṃ vasvākhyapratimaṃḍalām || 131 ||
في عنقها يلمع كالجوهرة بريق الشفق والشمس؛ ولها أذرع كالماروت؛ وقلبها متعلّق ببارجانيَا (Parjanya) إله المطر؛ وتحيط بها دائرة بهيّة تُعرف باسم الفاسو (Vasus).
Narada (in dialogue context with the Sanatkumara tradition; technical-description passage in Book 1.3)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
It presents a symbolic devatā-visualization using Vedic deities (Sandhyā, Sūrya, Maruts, Parjanya, Vasus), suggesting that cosmic forces are integrated as a single sacred form—useful for contemplative ritual and meditative mapping of the universe.
Bhakti is supported here through reverent visualization: by contemplating divine qualities—radiance (Sandhyā–Sūrya), power (Maruts), nourishment (Parjanya), and sustaining order (Vasus)—the mind is trained to see the world as pervaded by sacred presence.
The verse aligns with ritual-science usage of devatā correspondences—helpful for kalpa-style practice (ritual arrangement) and jyotiṣa-style thinking (solar/twilight timing), where deities and cosmic functions are mapped for correct worship and observance.