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 ||
پرنَو اور مایا (ہریں) کو لے کر، اپنے بیج اَکشر پر ختم کرکے، کان کی نوک پر آہستہ ‘ویر’ کا اُچار کرے۔ پھر ہر سمت رُخ رکھنے والے، شعلہ فشاں مہا وِشنو کا آہوان کرے۔
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.