Śeṣoditya-Sūrya-nyāsa, Soma-sādhana, Graha-pūjā, and Bhauma-vrata-vidhi
प्राणायामत्रयं कृत्वा कुर्यादंगानि पूर्ववत् । सुधाबीजं चंदनेन दक्षे करतले लिखेत् ॥ ४१ ॥
prāṇāyāmatrayaṃ kṛtvā kuryādaṃgāni pūrvavat | sudhābījaṃ caṃdanena dakṣe karatale likhet || 41 ||
Après avoir accompli le prāṇāyāma en trois temps, qu’on exécute comme auparavant les rites des membres (aṅga-nyāsa et autres) ; puis, avec de la pâte de santal, qu’on inscrive le « sudhā-bīja » sur la paume de la main droite.
Sanatkumara (teaching Narada)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
It links breath-discipline (threefold prāṇāyāma) with mantra-body alignment (aṅga/nyāsa) and a tangible ritual marker (writing the bīja), presenting worship as purification, internalization, and precise procedure.
Bhakti here is expressed through disciplined upāsanā: the devotee steadies prāṇa, performs prescribed nyāsa, and uses the bīja as a devotional seal—showing devotion guided by mantra-vidhi rather than emotion alone.
It highlights applied ritual technique—sequenced prāṇāyāma and aṅga-nyāsa with mantra-bīja usage—reflecting the technical, procedure-focused spirit associated with Vedāṅga-style discipline in practice.