Shloka 6
Sūrya–Navagraha Pūjā Upacāra, Śiva–Vaiṣṇava Salutations, and Sarasvatī-Mantra Vidhi
ॐ ह्रांशिवाय नमः / ॐ ह्रां शिवमूर्तये शिवाय नमः / ॐ ह्रां हृदयाय नमः / ॐ ह्रीं शिरसे स्वाहा / ॐ ह्रूं शिखायै वषट् / ॐ ह्रै कवचाय हुं / ॐ ह्रौं नेत्रत्रयाय वौषट् / ॐ ह्रः अस्त्राय नमः / ॐ ह्रां सद्योजातय नमः / ॐ ह्रीं वामदेवाय नमः / ॐ ह्रूं अघोराय नमः / ॐ ह्रैं तत्पुरुषाय नमः / ॐ ह्रौं ईशानाय नमः / ॐ ह्रीं गौर्यै नमः / ॐ ह्रौं गुरुभ्यो नमः / ॐ ह्रौं इन्द्राय नमः / ॐ ह्रौं चण्डाय नमः / ॐ ह्रां अघोराय नमः / ॐ वासुदेवासनाय नमः / ॐ वासुदवमूर्तये नमः / ॐ अं ॐ नमो भगवते वासुदेवाय नमः / ॐ आं ॐ नमो भगवते सङ्कर्षणाय नमः / ॐ अं ॐ नमो भगवते प्रद्युम्नाय नमः / ॐ अः ॐ नमो भगवते अनिरुद्धाय नमः / ॐ नारायणाय नमः / ॐ तत्सब्द्रह्यणे नमः / ॐ ह्रां विष्णवे नमः / ॐ क्षौं नमो भगवते नरसिंहाय नमः / ॐ भूः ॐ नमो भगवते वराहाय नमः / ॐ कं टं पं शं वैनतेयाय नमः / ॐ जं खं रं सुदर्श नाय नमः / ॐ खं ठं फं षं गदैयौ नमः / ॐ वं लं मं क्षं पाञ्चजन्याय नमः / ॐ घं ढं भं हं श्रियै नमः / ॐ गं डं वं सं पुष्ट्यै नमः / ॐ धं षं वं सं वनमालायै नमः / ॐ सं दं लं श्रीवत्साय नमः / ॐ ठं चं भं यं कौस्तुभाय नमः / ॐ गुरुभ्यो नमः / ॐ इन्द्रादिदिक्पालेभ्यो नमः / ॐ विष्वक्सेनाय नमः
oṃ hrāṃśivāya namaḥ / oṃ hrāṃ śivamūrtaye śivāya namaḥ / oṃ hrāṃ hṛdayāya namaḥ / oṃ hrīṃ śirase svāhā / oṃ hrūṃ śikhāyai vaṣaṭ / oṃ hrai kavacāya huṃ / oṃ hrauṃ netratrayāya vauṣaṭ / oṃ hraḥ astrāya namaḥ / oṃ hrāṃ sadyojātaya namaḥ / oṃ hrīṃ vāmadevāya namaḥ / oṃ hrūṃ aghorāya namaḥ / oṃ hraiṃ tatpuruṣāya namaḥ / oṃ hrauṃ īśānāya namaḥ / oṃ hrīṃ gauryai namaḥ / oṃ hrauṃ gurubhyo namaḥ / oṃ hrauṃ indrāya namaḥ / oṃ hrauṃ caṇḍāya namaḥ / oṃ hrāṃ aghorāya namaḥ / oṃ vāsudevāsanāya namaḥ / oṃ vāsudavamūrtaye namaḥ / oṃ aṃ oṃ namo bhagavate vāsudevāya namaḥ / oṃ āṃ oṃ namo bhagavate saṅkarṣaṇāya namaḥ / oṃ aṃ oṃ namo bhagavate pradyumnāya namaḥ / oṃ aḥ oṃ namo bhagavate aniruddhāya namaḥ / oṃ nārāyaṇāya namaḥ / oṃ tatsabdrahyaṇe namaḥ / oṃ hrāṃ viṣṇave namaḥ / oṃ kṣauṃ namo bhagavate narasiṃhāya namaḥ / oṃ bhūḥ oṃ namo bhagavate varāhāya namaḥ / oṃ kaṃ ṭaṃ paṃ śaṃ vainateyāya namaḥ / oṃ jaṃ khaṃ raṃ sudarśa nāya namaḥ / oṃ khaṃ ṭhaṃ phaṃ ṣaṃ gadaiyau namaḥ / oṃ vaṃ laṃ maṃ kṣaṃ pāñcajanyāya namaḥ / oṃ ghaṃ ḍhaṃ bhaṃ haṃ śriyai namaḥ / oṃ gaṃ ḍaṃ vaṃ saṃ puṣṭyai namaḥ / oṃ dhaṃ ṣaṃ vaṃ saṃ vanamālāyai namaḥ / oṃ saṃ daṃ laṃ śrīvatsāya namaḥ / oṃ ṭhaṃ caṃ bhaṃ yaṃ kaustubhāya namaḥ / oṃ gurubhyo namaḥ / oṃ indrādidikpālebhyo namaḥ / oṃ viṣvaksenāya namaḥ
此处规定一连串顶礼真言：先礼敬湿婆之诸相与诸支分（心、首、顶髻、护甲、三目与神兵），礼敬湿婆五面（萨迪约阇多、瓦摩提婆、阿伽罗、怛特补鲁沙、伊沙那），礼敬高丽，礼敬诸师与因陀罗、旃陀等天神；继而礼敬毗湿奴/那罗延为婆苏提婆及其四位显现（僧伽尔沙那、普拉丢摩那、阿尼卢陀），并礼敬其化身（人狮、野猪）及其神圣侍从与标志——迦楼罗（毗那帝耶）、苏达尔沙那、神杵（伽陀）、螺号（般遮阇尼耶）、室利、补施底、林花鬘、室利跋蹉、考斯图婆——最后礼敬诸方护与毗湿伐克塞那。
Lord Viṣṇu (instructional context to Garuḍa/Vinata-putra, in Ācāra Kāṇḍa ritual framing)
Concept: Mantra as embodied devotion: aṅga-nyāsa (heart, head, śikhā, kavaca, netra, astra) and pañcabrahma/five-face remembrance, followed by Vaiṣṇava vyūhas, avatāras, and divine emblems—worship as total consecration.
Vedantic Theme: Saguna-upāsanā leading to antaḥkaraṇa-śuddhi; unity-in-diversity of the Divine expressed through multiple forms and powers (śakti, āyudha, parivāra).
Application: In pūjā/japa: perform nyāsa carefully (aṅga and kara), then invoke iṣṭa-devatā and parivāra-devatās; treat weapons/emblems as protective aspects of the same Lord.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: ritual-space (nyāsa/arcana setting)
Related Themes: Garuda Purana 1.7.5 (upacāra sequence); Garuda Purana 1.7.7-1.7.9 (Hari-mantras and Sarasvatī-śakti worship)
FAQs
This verse functions like a protective nyāsa/kavaca sequence—placing divine power in the limbs and invoking forms of Śiva and Viṣṇu—so the practitioner’s body and rite become ritually safeguarded and consecrated.
While not describing the preta-path directly, it provides the ritual foundation: protection, purity, and correct invocation are treated as prerequisites for effective śrāddha/pinda-related acts that support the departed and reduce obstacles.
Use it as a structured invocation before worship or ancestral rites—remembering the core intent: reverence, self-discipline, and seeking protection through surrender to the divine rather than mere mechanical recitation.