Mahāviṣṇu-Mantras: Aṣṭākṣarī, Sudarśana-Astra, Nyāsa Systems, Āvaraṇa-Pūjā, and Prayogas
अरुणाब्जासनस्थस्य तार्क्ष्यस्योपरि संस्थितम् । पूर्वोक्तरूपिणं देवं श्रीकरं लोकमोहनम् ॥ १०४ ॥
aruṇābjāsanasthasya tārkṣyasyopari saṃsthitam | pūrvoktarūpiṇaṃ devaṃ śrīkaraṃ lokamohanam || 104 ||
Sang Dewa itu bersemayam di atas takhta teratai kemerah-merahan, berada di atas Tārkṣya (Garuḍa). Dialah Tuhan yang berwujud seperti yang telah dihuraikan—penganugeraha keberuntungan dan kemakmuran, serta pemikat segala dunia.
Narada (teaching/description within the Narada–Sanatkumara dialogue framework)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It directs the mind to a precise dhyāna-image of the Supreme Deity—seated on a lotus and above Garuḍa—so devotion becomes steady, auspicious (śrīkara), and world-transcending even while acknowledging the Deity’s power to enchant the worlds (lokamohana).
Bhakti is strengthened through remembrance (smaraṇa) and visualization (dhyāna) of the Lord’s form as taught earlier; focusing on the auspicious, prosperity-bestowing Lord seated above Garuḍa provides a concrete support for loving contemplation.
It reflects the practical use of dhyāna-lakṣaṇa (meditative iconography) employed alongside ritual and mantra recitation—an applied, technical method often paired with correct pronunciation and usage (Śikṣā/Vyākaraṇa-supported practice) in Purāṇic-vedic disciplines.