Varaha Purana 45.2: Adhyaya 45, Shloka 2
Ritual Procedure for Worship of Rāma and Lakṣmaṇa in the Month of Jyeṣṭha
Pūrva Bhāga · Stotra-vidhi / Aṅga-nyāsa style praise (iconographic mapping of epithets to body-parts)
नमो रामाभिरामाय पादौ पूर्वं समर्चयेत् । त्रिविक्रमायेति कटिं धृतविश्वाय चोदरम् ॥ ४५.२ ॥
namo rāmābhirāmāya pādau pūrvaṃ samarcayet | trivikramāyeti kaṭiṃ dhṛtaviśvāya codaram || 45.2 ||
namo rAmAbhirAmAya pAdau pUrvaM samarchayet | trivikramAyeti kaTiM dhRRitavishvAya chodaram || 45.2 ||
‘നമോ രാമാഭിരാമായ’ എന്നു പറഞ്ഞു ആദ്യം പാദങ്ങൾ അർച്ചിക്കണം. തുടർന്ന് ‘ത്രിവിക്രമായ’ എന്നു കടി, ‘ധൃതവിശ്വായ’ എന്നു ഉദരം അർച്ചിക്കണം.
Sandhi Notes
- धृतविश्वाय चोदरम् = धृतविश्वाय + च + उदरम्
- त्रिविक्रमायेति = त्रिविक्रमाय + इति
Varāha
Devotional focus; learning icon-based worship
How is the deity to be worshipped limb-by-limb (aṅga-pūjā) with specific mantras and placements?
Divine names encode functions; worship becomes contemplative when each limb is honored with its corresponding cosmic epithet.
During pūjā, proceed systematically from feet upward; recite the given mantras with attention to meaning and placement.
The deity’s body is treated as the cosmos: feet/waist/belly correspond to divine functions—delightful Rāma (grace), Trivikrama (cosmic stride), bearer of the universe (support).
Body-as-altar mapping: pāda as foundation, kaṭi as axis of expansion (Trivikrama), udara as locus of world-bearing (dhṛta-viśva).
Saguna-brahman contemplation: meditating on names and limbs integrates bhakti with a unitive vision of the Lord as adhāra (support) of all.
Perform aṅga-pūjā: worship the feet first with ‘namo rāmābhirāmāya’, then the waist with ‘trivikramāya’, and the belly with ‘dhṛtaviśvāya’.
Correct mantra-aṅga assignment is held to perfect the worship and yield full merit; incorrect/neglectful performance is traditionally said to reduce siddhi.
Varāha Purāṇa 45.45.1-3: continuous aṅga-pūjā sequence
FAQs
It preserves a Purāṇic-style devotional/ritual register in which divine epithets are associated with specific body-parts, reflecting the broader early-medieval Sanskrit practice of liturgical praise and iconographic mapping used in temple and domestic worship contexts.
No geographic location is named in this verse; the content is primarily ritual and iconographic rather than topographical.
The verse conveys disciplined attentiveness in worship—approaching the subject of veneration in an ordered, respectful sequence—framed as a cultural practice of reverence rather than a coercive mandate.
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