Narada Purana — Purva Bhaga, Shloka 59
The Description of the Worship of Rāma and Others
Rāmādi-pūjā-vidhāna
बीजैः षड्दीर्घयुक्तैर्वा मंत्रार्णान्पूर्ववन्न्यसेत् । ध्यायेत्कल्पतरोर्मूले सुवर्णमयमण्डपे ॥ ५९ ॥
bījaiḥ ṣaḍdīrghayuktairvā maṃtrārṇānpūrvavannyaset | dhyāyetkalpatarormūle suvarṇamayamaṇḍape || 59 ||
Au moyen des syllabes-semence — ou de celles pourvues de six voyelles longues —, ou autrement, qu’on place (qu’on accomplisse le nyāsa des) syllabes du mantra comme il fut enseigné auparavant. Puis qu’on médite à la racine du Kalpataru, l’arbre exauçant les vœux, dans un pavillon d’or.
Sanatkumara (in instruction to Narada, within a Vedanga/ritual-technical teaching sequence)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It links outer ritual precision (nyāsa of mantra-syllables) with inner contemplation (dhyāna), teaching that correct placement of mantra-power culminates in a stable, sacred visualization—symbolized by meditation at the kalpataru’s root in a golden maṇḍapa.
Though technical, it supports bhakti by directing the practitioner to internalize the deity’s presence through mantra and focused meditation; disciplined mantra-nyāsa becomes a devotional means of making the heart a “mandapa” for sustained remembrance.
It emphasizes phonetic/metrical precision and mantra-grammar in practice—working with syllables (arṇa), long vowels (dīrgha), and structured nyāsa—reflecting a Śikṣā/Vyākaraṇa-informed approach to mantra-sādhana described in Narada Purana’s technical section.