Narada Purana — Purva Bhaga, Shloka 87
Devapūjā-krama: Ārghya-saṃskāra, Maṇḍala–Nyāsa, Mudrā-pradarśana, Āvaraṇa-arcana, Homa, Japa, and Kṣamāpaṇa
समाप्यावरणार्चां तु देवतारार्तिकं चरेत् । शंखतोयं परिक्षिप्योद्वाहुर्नृत्यन् पतेत्क्षितौ ॥ ८७ ॥
samāpyāvaraṇārcāṃ tu devatārārtikaṃ caret | śaṃkhatoyaṃ parikṣipyodvāhurnṛtyan patetkṣitau || 87 ||
Tras concluir la adoración de las deidades del círculo (āvaraṇa), debe realizarse el ārati del Señor. Habiendo rociado en torno el agua del śaṅkha, el devoto alza los brazos, danza en bhakti y, por último, se postra en tierra.
Narada (teaching ritual procedure in dialogue with the Sanatkumara tradition)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
FAQs
It frames worship as both precise (āvaraṇa-arcā, śaṅkha-jala sprinkling, ārati) and heartfelt (arms raised, devotional dance, full prostration), showing that outer ritual and inner bhakti culminate together in surrender.
Bhakti is expressed bodily and emotionally—through ārati, celebratory dance, and finally falling to the earth in namaskāra—indicating loving reverence that peaks in humility and self-offering.
It highlights ritual sequencing and upacāra-prayoga (procedural application): completing āvaraṇa worship before ārati, and using śaṅkha-toya for parikṣepa (protective/purificatory sprinkling), reflecting technical liturgical discipline.