Mahāviṣṇu-Mantras: Aṣṭākṣarī, Sudarśana-Astra, Nyāsa Systems, Āvaraṇa-Pūjā, and Prayogas
उद्यद्दोः परिधं दिव्यं सितदंष्ट्राग्रभूधरम् । स्वर्णाभं पार्थिवे पीते मंडले सुसमाहितः ॥ १२८ ॥
udyaddoḥ paridhaṃ divyaṃ sitadaṃṣṭrāgrabhūdharam | svarṇābhaṃ pārthive pīte maṃḍale susamāhitaḥ || 128 ||
সম্পূর্ণ একাগ্র হয়ে পার্থিব পীত মণ্ডলে সেই দিব্য দীপ্ত বৃত্তকে ধ্যান করুক—যার পরিধি উজ্জ্বল, স্বর্ণবর্ণ, এবং যার শ্বেত দংশ্ট্রার অগ্রভাগ পর্বতশিখর সদৃশ।
Narada (in a didactic passage aligned with Vedanga-style technical description/visualization)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
It emphasizes disciplined dhyāna: fixing the mind (susamāhita) on a precisely described divine form within a maṇḍala, using color and structure as supports for steady contemplation.
Bhakti is expressed here as reverent, form-based contemplation—holding a vivid divine image in the heart-mind—so devotion matures into one-pointed absorption rather than remaining merely verbal praise.
A technical, almost yantra/maṇḍala-style method: using defined visual parameters (paridhi, colors like pīta and svarṇa) as a practical aid for concentration, aligning with Vedanga-adjacent disciplines that systematize ritual and contemplative procedure.