The Greatness of Puruṣottama
Aṣṭākṣarī Maṇḍala-Pūjā and Nyāsa
प्रद्युम्नं पश्चिमे कुर्यादनिरुद्धं तथोत्तरे । वाराहं च तथाग्रेये नरसिंहं च नैर्ऋते ॥ ४० ॥
pradyumnaṃ paścime kuryādaniruddhaṃ tathottare | vārāhaṃ ca tathāgreye narasiṃhaṃ ca nairṛte || 40 ||
西の方にはプラデュムナを、北の方にはアニルッダを安置する。さらに、北東にはヴァラーハを、南西にはナラシンハを安置すべきである。
Narada
Vrata: none
Rasa: {"primary_rasa":"bhakti","secondary_rasa":"shanta","emotional_journey":"Continues the calm, methodical sanctification of space: additional placements complete a protective, theologically charged mandala, ending in a sense of ordered wholeness."}
It teaches dik-vinyāsa—placing specific forms of Viṣṇu in prescribed directions—so worship becomes orderly, symbolically complete, and aligned with sacred space (kṣetra) principles.
Bhakti here is expressed as disciplined, reverent service (sevā) through correct installation and honoring of Viṣṇu’s manifestations—Pradyumna, Aniruddha, Varāha, and Narasiṃha—each approached in its proper place.
It reflects applied ritual-knowledge connected with kalpa (procedural ritual rules) and spatial discipline akin to vāstu/dik-jñāna, specifying directions (paścima, uttara, āgneya/īśāna, nairṛta) for icon placement.