The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
वह्निसूर्येन्दुभूताह्वा तथात्माष्टाक्षराह्वया । पंचधार्यास्वरूपा च नानाव्रतसमाह्वया ॥ ६८ ॥
vahnisūryendubhūtāhvā tathātmāṣṭākṣarāhvayā | paṃcadhāryāsvarūpā ca nānāvratasamāhvayā || 68 ||
Man bezeichnet sie mit den Namen Feuer, Sonne, Mond und der Elemente; ebenso ist sie bekannt als das Selbst (Ātman) und als das acht-silbige Mantra (Aṣṭākṣara). Auch ist sie die Gestalt der „fünf zu Tragenden/zu Beobachtenden“ und wird je nach den verschiedenen Gelübden (vrata) unter vielen Namen gepriesen.
Narada (teaching within a Vedanga/vrata-technical context; dialogue lineage attributed to Narada’s instruction tradition with the Sanatkumara stream in this section)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
It explains that a single religious discipline (vrata/observance) can be understood and invoked through multiple sacred designations—cosmic powers (fire, sun, moon, elements), inner reality (Ātman), and mantra-identity (the aṣṭākṣara)—showing a unified sacred framework behind diverse practices.
By highlighting the aṣṭākṣara (commonly ‘oṃ namo nārāyaṇāya’) as a defining name, it points to mantra-centered devotion to Nārāyaṇa as a core way vratas become acts of bhakti rather than mere ritual performance.
The verse reflects technical categorization and nomenclature—how observances are named and grouped (e.g., pañca-dhārya, nānā-vrata)—a practical, śāstra-like method typical of Vedanga-adjacent sections that systematize ritual disciplines and their mantra associations.