Pañca-prakṛti-nirūpaṇa and Mantra-vidhi: Rādhā, Mahālakṣmī, Durgā, Sarasvatī, Sāvitrī; plus Sāvitrī-Pañjara
तिथिमासर्तुपक्षाख्यैः संकेतनिमिषात्मिकाम् । मायाकल्पितवैचित्र्यसंध्याख्यच्छदनावृताम् ॥ १३५ ॥
tithimāsartupakṣākhyaiḥ saṃketanimiṣātmikām | māyākalpitavaicitryasaṃdhyākhyacchadanāvṛtām || 135 ||
Ia terbina daripada penamaan konvensional seperti tithi (hari bulan), bulan, musim dan pakṣa (separuh bulan), serta tersusun daripada detik-detik sekejap; ia diselubungi oleh tirai yang disebut “sandhyā”, yang kepelbagaian rupanya dibentuk oleh Māyā.
Sanatkumara (teaching Narada in a Vedanga/time-reckoning context)
Vrata: none
Primary Rasa: shanta (peace)
Secondary Rasa: adbhuta (wonder)
It reframes “time” as a stream of fleeting instants that appears structured through conventional divisions (tithi, month, season, fortnight), while its shifting display is said to be Māyā’s construction—prompting detachment and clearer discernment.
By portraying calendrical time and its changing moods as Māyā-made coverings, the verse supports Bhakti as steadiness in remembrance beyond changing circumstances—devotion that does not rise and fall with temporal cycles.
It points to Jyotiṣa/Vedāṅga time-reckoning—tithi, pakṣa, māsa, and ṛtu—showing how ritual calendars are built from named conventions grounded in moment-by-moment measurement.