Bhuvaneśī (Nidrā-Śakti) Mantra-vidhi, Nyāsa–Āvaraṇa Worship, Padma-homa Prayogas, and the Opening of Śrī-Mahālakṣmī Upāsanā
षड्दीर्घयुक्तबीजेन कुर्यादंगानि षट् क्रमात् । संहारसृष्टिमार्गेण मातृकान्यस्तविग्रहः ॥ ७ ॥
ṣaḍdīrghayuktabījena kuryādaṃgāni ṣaṭ kramāt | saṃhārasṛṣṭimārgeṇa mātṛkānyastavigrahaḥ || 7 ||
Avec le bīja joint aux six voyelles longues, qu’il accomplisse, dans l’ordre prescrit, les six aṅga-nyāsa ; puis, après avoir installé les mātṛkā sur le corps, qu’il avance selon la méthode de résorption (saṃhāra) et d’émanation (sṛṣṭi).
Sanatkumara (teaching Narada a technical nyāsa/mantra procedure)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It frames the body as a mantra-field: by installing mātṛkā letters and performing aṅga-nyāsa, the practitioner sacralizes the limbs and aligns inner dissolution (saṃhāra) and inner manifestation (sṛṣṭi) as a disciplined yogic-ritual process.
Bhakti here is expressed as embodied worship: the devotee internalizes the deity’s presence through nyāsa, making the body a temple where remembrance and reverence are stabilized by precise mantra practice.
Śikṣā (phonetics) and mantra-application are emphasized—specifically the use of long vowels (dīrgha-svaras) with a bīja and the ordered performance of six aṅga-nyāsas as a technical ritual discipline.