The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
निविष्टान्ते ततः प्रादुर्भावकारक ईरयेत् । हृषीकेश च स्वच्छन्द निःशेषजीव विन्यसेत् ॥ १८७ ॥
niviṣṭānte tataḥ prādurbhāvakāraka īrayet | hṛṣīkeśa ca svacchanda niḥśeṣajīva vinyaset || 187 ||
Kemudian, pada akhir tata-ritus duduk, hendaknya diucapkan seruan yang menimbulkan penampakan. Lalu, dengan mengingat Hṛṣīkeśa dan Tuhan yang berkehendak bebas, lakukan nyāsa dan tegakkan daya-mantra pada semua makhluk tanpa tersisa.
Narada (teaching in a technical/ritual context; dialogue tradition with Sanatkumara lineage)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
It links inner worship to outer method: the practitioner invokes the Lord’s presence (prādurbhāva) and then stabilizes that presence through nyāsa, extending sanctity toward all beings.
By naming Hṛṣīkeśa, it frames devotion as surrender of the senses to Vishnu; nyāsa becomes a devotional act that consecrates the body and awareness to the Lord’s will (svacchanda).
It emphasizes correct mantra-intonation and procedural placement (nyāsa/vinyāsa), aligning with Śikṣā (phonetics) and Kalpa (ritual procedure) as applied in Narada Purana’s technical sections.