Pañca-prakṛti-nirūpaṇa and Mantra-vidhi: Rādhā, Mahālakṣmī, Durgā, Sarasvatī, Sāvitrī; plus Sāvitrī-Pañjara
राधिका प्रणवो बीजं स्वाहा शक्तिरुदाहृता । षडक्षरैः षडंगानि कुर्याद्विन्दुविभूषितैः ॥ ३५ ॥
rādhikā praṇavo bījaṃ svāhā śaktirudāhṛtā | ṣaḍakṣaraiḥ ṣaḍaṃgāni kuryādvinduvibhūṣitaiḥ || 35 ||
« Rādhikā » doit être pris comme mantra principal ; le praṇava (Oṁ) est déclaré être son bīja (graine), et « svāhā » est enseigné comme sa śakti (puissance). Avec les six syllabes—ornées du bindu—qu’on accomplisse le ṣaḍaṅga-nyāsa, l’imposition des six membres.
Sanatkumara (teaching Narada in a Vedanga/ritual-technical context)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
It frames a mantra as a living power: Oṁ functions as the seed (bīja), svāhā as the activating force (śakti), and ṣaḍaṅga-nyāsa sanctifies the practitioner’s body as a fit support for devotion and mantra-japa.
By prescribing mantra-vidhi centered on Rādhikā, it presents bhakti not only as emotion but as disciplined worship—using sacred sound, nyāsa, and reverent recitation to internalize the deity’s presence.
It highlights ritual-technical practice akin to Vedāṅga-oriented precision: mantra components (bīja/śakti), phonetic markers like bindu (anusvāra), and the standardized ṣaḍaṅga-nyāsa sequence used in tantric-ritual application.