The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
सिंहस्था व्याघ्रगा चैव गजाश्वगरुडस्थिता । भौमाप्या तैजसीवायुरूपिणी नाभसा तथा ॥ १५२ ॥
siṃhasthā vyāghragā caiva gajāśvagaruḍasthitā | bhaumāpyā taijasīvāyurūpiṇī nābhasā tathā || 152 ||
Elle siège sur un lion; elle se meut sur un tigre; elle est montée sur l’éléphant, le cheval et Garuḍa. Elle prend les formes de la terre et de l’eau, du feu et du vent, et aussi de l’éther (l’espace).
Sanatkumara (in dialogue with Narada)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: vira
It portrays a single divine power as all-pervasive—manifesting through multiple vāhanas and through the five great elements—teaching contemplative worship (upāsanā) that sees the Deity in all of creation.
Bhakti is strengthened by recognizing the Lord’s (and divine śakti’s) presence everywhere: in beings, symbols like vāhanas, and in the pañca-bhūtas—turning ordinary experience into remembrance and reverence.
It aligns with technical elemental classification (pañca-bhūta) used in ritual planning and contemplative practice—useful for jyotiṣa-style elemental correspondences and for structuring dhyāna and nyāsa in worship.