Narada Purana — Purva Bhaga, Shloka 14
Devapūjā-krama: Ārghya-saṃskāra, Maṇḍala–Nyāsa, Mudrā-pradarśana, Āvaraṇa-arcana, Homa, Japa, and Kṣamāpaṇa
तत्रार्कमण्डलायेति द्वादशांते कलारमने । अमुकार्ध्येति पात्रांते नमोंतस्त्र्यक्षिवर्णवान् ॥ १४ ॥
tatrārkamaṇḍalāyeti dvādaśāṃte kalāramane | amukārdhyeti pātrāṃte namoṃtastryakṣivarṇavān || 14 ||
ત્યાં દ્વાદશના અંતે ‘તત્રાર્કમંડલાય’ અને પછી ‘કલારમણે’ કહેવું. અર્ઘ્યપાત્રના અંતે ‘અમુકાર્ધ્યે’ કહી, અંતે ‘નમો’થી મંત્ર પૂર્ણ કરવો; તે ત્ર્યક્ષિ-વર્ણરીતિથી યુક્ત છે।
Sanatkumara (in instruction to Narada on ritual/technical recitation)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It emphasizes that devotion in ritual is expressed through precision—specific mantra segments, correct placement (beginning/end), and a reverential conclusion (“namo”), aligning the offering (arghya) with the solar divinity and mantra-structure.
Bhakti here is shown as disciplined worship: the practitioner honors the deity (notably the solar orb) through prescribed utterances and a humble ending of obeisance, making external action an inward act of surrender.
It highlights mantra-prayoga and recitation-structure—counting/units (dvādaśa), placement within the rite (pātrānta), and technical descriptors of mantra formation (varṇa/akṣi), aligning with Śikṣā-style attention to sound and ritual procedure.