The Explanation of Sandhyā and Related Daily Observances
Saṅdhyā-ādi Nitya-karma-Vidhi
ह्रस्वदीर्घांतरस्थैश्च तारैः कुर्यात्षडङ्गकम् । पद्मचक्रगुणैणांश्च दधतीं च त्रिलोचनाम् ॥ १४७ ॥
hrasvadīrghāṃtarasthaiśca tāraiḥ kuryātṣaḍaṅgakam | padmacakraguṇaiṇāṃśca dadhatīṃ ca trilocanām || 147 ||
Dengan tanda nada (tāra) yang menunjukkan bunyi pendek, panjang dan pertengahan, hendaklah disusun susunan enam anggota (ṣaḍaṅga). Dan hendaklah direnungi Dewi bermata tiga, yang memikul sifat-sifat teratai dan cakra, serta memegang guṇa dan aṃśa (bahagian ukuran).
Sanatkumara (in dialogue with Narada, Vedanga exposition context)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
It links correct Vedic sound-formation (short/long/intermediate measures and tonal markers) with sacred visualization, implying that precision in recitation and inner contemplation together complete a mantra-based practice.
Bhakti here is expressed as reverent, disciplined worship: the devotee honors the deity through accurate mantra-recitation and focused meditation on the divine form (the three-eyed Goddess with lotus-and-wheel qualities).
It highlights Śikṣā/Chandas-style fundamentals—hrasva and dīrgha timing, intermediate placements, and tonal/svara markers—used to correctly build and recite structured (ṣaḍaṅga) mantric formulations in Narada Purana rituals.