Narada Purana — Purva Bhaga, Shloka 87
Yakṣiṇī-Mantra-Sādhana Nirūpaṇa
Lakṣmī-avatāra-vidyāḥ: Bālā, Annapūrṇā, Bagalā
अंगानि कल्पयित्वा च ध्यायेत्पीताम्बरां ततः । स्वर्णासनस्थां हेमाभां स्तंभिनीमिंदुशेखराम् ॥ ८७ ॥
aṃgāni kalpayitvā ca dhyāyetpītāmbarāṃ tataḥ | svarṇāsanasthāṃ hemābhāṃ staṃbhinīmiṃduśekharām || 87 ||
அங்கங்களின் அமைப்பை மனத்தில் வகுத்த பின், பீதாம்பரா தேவியைத் தியானிக்க வேண்டும்—பொன் ஆசனத்தில் அமர்ந்தவள், பொன் ஒளியால் பிரகாசிப்பவள், ஸ்தம்பினீ சக்தி, நெற்றியில் இந்து-சேகரம் தரித்தவள்।
Narada (instructional narration within a technical/ritual-vidhi context)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
FAQs
It teaches a precise upāsanā method: mentally constructing the deity’s form (aṅga-kalpanā) and then fixing the mind in dhyāna on a specific śakti-form—showing that inner visualization is a core limb of ritual and mantra practice.
Bhakti here takes the form of focused contemplative devotion: the devotee lovingly holds the deity’s attributes—yellow garments, golden radiance, golden throne, moon-crest—so the mind becomes one-pointed and receptive to divine grace and power.
It reflects the technical discipline of ritual procedure—dhyāna as a preparatory limb of mantra-sādhana—where correct mental ‘construction’ (kalpanā) and iconographic precision support effective practice.