The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
द्वाभ्यां कराभ्यां च रिपोर्जानुमस्तकपीडनम् । ऊर्द्ध्वीकृताभ्यां बाहुभ्यां आन्त्रमालाधरं विभुम् ॥ ६६ ॥
dvābhyāṃ karābhyāṃ ca riporjānumastakapīḍanam | ūrddhvīkṛtābhyāṃ bāhubhyāṃ āntramālādharaṃ vibhum || 66 ||
De ses deux mains, il broie l’ennemi—écrasant les genoux et la tête de l’adversaire ; de ses deux bras levés vers le haut, il soutient le Seigneur tout‑puissant, paré d’une guirlande d’entrailles (antra‑mālā).
Narada (teaching in a technical/descriptive register consistent with Vedanga-style iconographic enumeration)
Vrata: none
Primary Rasa: vira
Secondary Rasa: bhayanaka
It presents a dhyāna-style visualization where the deity’s posture signifies mastery over hostile forces (inner and outer), emphasizing divine supremacy (vibhu) and the awe-inspiring power that protects dharma.
By giving concrete visual attributes, it supports bhakti through focused contemplation (dhyāna) and deity-form remembrance—key aids for steady devotion during pūjā and mantra practice.
It reflects applied technical description used in ritual contexts—murti-lakṣaṇa and dhyāna-lakṣaṇa—supporting correct visualization and worship procedure (a practical, śāstra-aligned aid akin to Vedanga-style precision).