Narada Purana — Purva Bhaga, Shloka 46
The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
अङ्गा न्यादौ समाराध्यदिक्पत्रेषु यजेत्पुनः । गरुडादीन् श्रीमुखांश्च विदिक्षु लोकपान्बहिः ॥ ४६ ॥
aṅgā nyādau samārādhyadikpatreṣu yajetpunaḥ | garuḍādīn śrīmukhāṃśca vidikṣu lokapānbahiḥ || 46 ||
Tendo realizado devidamente o aṅga-nyāsa e adorado a Divindade, deve-se novamente prestar culto sobre as pétalas destinadas às direções; e nas direções intermediárias (vidik) adorar Garuḍa e os assistentes de face auspiciosa, e fora (do lótus/maṇḍala) os Lokapālas, guardiões dos mundos.
Narada (teaching within a technical/ritual instruction section traditionally framed as Narada’s transmission in dialogue context)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
FAQs
It sacralizes space: by worshipping the directional petals, Garuḍa and attendants in the intermediate quarters, and the Lokapālas outside, the sādhaka establishes protection and cosmic order around the main deity-worship.
Bhakti here is shown as orderly upacāra: devotion is expressed through precise offerings—beginning with aṅga-nyāsa (making the body a fit seat for worship) and extending reverence to Vishnu’s associates like Garuḍa and to the guardians who uphold dharma in the directions.
It highlights ritual-technical knowledge: nyāsa (mantric placement), dik-vinyāsa (directional arrangement), and maṇḍala/lotus-petal worship sequencing—procedural principles used in applied liturgy (kalpa-style practice).