Abhinavagupta’s Tantrāloka turns into a veritable “mantra factory” and ritual playbook in two main swaths of its thirty-odd chapters.

First up, Chapters 6–15 (especially 6–9 and 11–12) dive headlong into mantra theory and practice:
• Chapter 6, Nāda (Sound), lays the metaphysical groundwork—why every syllable vibrates reality itself.
• Chapter 7, Śakti in Mantra, teases out the deity-power encoded in each sound-unit.
• Chapter 8, Mantra-Bandha, becomes the nuts-and-bolts guide to composing and combining bija (seed) syllables.
• Chapter 9, Kīrtana, explores the art of chanting: rhythm, intonation and the ecstasy that follows.
• Chapters 11–12 address the initiation rites (Dikṣā-vidhi) and the siddhi-potency that each mantra unlocks.

Then, shifting gears from inner sound to outer worship, Chapters 17–22 (with a nod to 31–32) map out the choreography of puja and upāsana:
• Chapter 17, Pūjā-vidhi, stages the temple-ritual on the body-temple—offering flowers and lights to one’s own chakras.
• Chapter 18, Homa and Dakṣiṇā, gives the step-by-step for fire-oblation rites and honorific gifts.
• Chapter 19, Nyāsa, shows how to “inscribe” the divine via mantra into fingers, limbs and breath.
• Chapter 20, Upāsana, unfolds the contemplative worship that knits together sound, breath and vision into meditative union.
• Chapters 31–32 revisit the classic āhārya-pūjā (paraphernalia, kīrtana, rāsas), weaving in a more elaborate temple ceremonial.

In today’s world—where digital‐mantra apps compete for attention—the Tantrāloka remains the gold standard for understanding both the inner alchemy of sound and the outer choreography of worship.