The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
तारो माया स्वबीजान्ते कर्णोग्रं वीरमीरयेत् । महाविष्णुं ततो ब्रूयाज्ज्वलन्तं सर्वतोमुखम् ॥ १३६ ॥
tāro māyā svabījānte karṇograṃ vīramīrayet | mahāviṣṇuṃ tato brūyājjvalantaṃ sarvatomukham || 136 ||
ให้ประกอบด้วยปรณวะและมายา (หรีง) แล้วลงท้ายด้วยพยางค์บีชาของตน จากนั้นพึงเปล่งคำว่า ‘วีระ’ อย่างแผ่วเบาที่ปลายหู แล้วจึงเอ่ยนามอัญเชิญมหาวิษณุ ผู้รุ่งโรจน์และมีพระพักตร์หันสู่ทุกทิศ
Sanatkumara (in instruction to Narada, within Vedanga/Mantra-vidhi context)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It teaches a precise mantra-prayoga: combining praṇava, a bīja (Māyā), and one’s assigned seed-syllable, followed by visualization/invocation of Mahāviṣṇu as all-pervading, radiant, and omnifacing—signifying His presence in every direction and all beings.
Bhakti here is expressed as upāsanā: careful recitation and focused remembrance of Mahāviṣṇu’s universal form. The disciplined utterance (even softly near the ear) supports one-pointed devotion and continuous God-awareness.
Mantra-vidhi and prayoga: the technical use of praṇava, bīja-syllables, and prescribed modes of utterance/placement (a nyāsa-like instruction), reflecting applied ritual-phonetics and disciplined recitation practice.