Devapūjā-krama: Ārghya-saṃskāra, Maṇḍala–Nyāsa, Mudrā-pradarśana, Āvaraṇa-arcana, Homa, Japa, and Kṣamāpaṇa
तारः कार्म्ममहांस्ते तु ततो जलचराय च । वर्म फट् हृदयं पांचजन्याय हृदयं मनेः ॥ १३ ॥
tāraḥ kārmmamahāṃste tu tato jalacarāya ca | varma phaṭ hṛdayaṃ pāṃcajanyāya hṛdayaṃ maneḥ || 13 ||
ထို့နောက် ကုရ္မ မဟာ (တော်မြတ်သော လိပ်အဝတား) အတွက် ဘီဇာ “တားရ” ကို ထည့်သုံး၍၊ ထို့နောက် ရေတွင်းနေသော ဇလစာရ (ရေသတ္တဝါ) အတွက်လည်း ထည့်သုံးရမည်။ ထို့ပြင် ကာကွယ်မန်တရ “ဝර්မ” နှင့် လက်နက်သံ “ဖတ်” ကို သုံး၍၊ ပာဉ္စဇန్య (သိဒ္ဓိသံခ) အတွက် ဟృဒယ-ညာသ နှင့် စိတ်၏အရှင် (မဏိ/မနသ္ပတိ) အတွက် ဟృဒယ-ညာသ ကို ပြုလုပ်ရမည်။
Sanatkumāra (in dialogue with Nārada, teaching technical mantra-vidhi/nyāsa)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It encodes a ritual sequence of bīja and protective syllables used in nyāsa, linking the practitioner’s body-mind to Viṣṇu’s cosmic supports (like Kūrma) and divine implements (Pāñcajanya) for protection and steadiness in sādhana.
Bhakti here is expressed as disciplined upāsanā: remembering and ritually installing Viṣṇu’s forms and symbols (especially the conch Pāñcajanya) so that devotion becomes embodied as protection, purity, and single-pointedness.
It highlights applied mantra-śāstra/ritual technique—use of bīja-syllables, kavaca (‘varma’), and astrā-bīja (‘phaṭ’) within nyāsa—typical of the technical (Vedāṅga-adjacent) instruction found in Book 1.3.