The Exposition of the Maheśa Mantra
Mahēśa-mantra-prakāśana
रेफादिव्यंजनैः षड्भिः कुर्यादंगानि षट् क्रमात् । त्रिनेत्रं नीलमणिभं शूलपाशं कपालकम् ॥ १६१ ॥
rephādivyaṃjanaiḥ ṣaḍbhiḥ kuryādaṃgāni ṣaṭ kramāt | trinetraṃ nīlamaṇibhaṃ śūlapāśaṃ kapālakam || 161 ||
Dengan enam konsonan yang bermula dengan “ra” (repha), hendaklah dilakukan enam aṅga-nyāsa menurut tertibnya. Renungkan devatā bermata tiga, bercahaya laksana permata biru, memegang śūla (trisula), pāśa (jerat), dan kapāla (mangkuk tengkorak).
Sanatkumara (teaching Narada the technical procedure of nyasa/meditation)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It teaches disciplined mantra-practice: aligning sound (specific consonants) with the body through aṅga-nyāsa, then stabilizing the mind through a precise dhyāna (visualization) of the deity—sound, body, and contemplation made one.
Bhakti here is expressed as focused worship: the devotee internalizes the mantra via nyāsa and then offers the mind in steady remembrance of the deity’s form and attributes, turning ritual precision into concentrated devotion.
It highlights Śikṣā/Vyākaraṇa-oriented mantra technique—using classified phonemes (vyañjana letters) for ritual nyāsa—showing how phonetics and sound-order are applied in sādhana and worship procedures.