Within this tradition, what stands out is not so much the invention of entirely new or exclusive mantras, but a characteristic way of bringing together well-known mantras into a single, integrated vision. The worship of multiple deities is typically expressed through mantras to Śiva (“oṁ namaḥ śivāya”), Viṣṇu (“oṁ namo nārāyaṇāya”), Devī in various forms (such as “oṁ hrīṁ duṁ durgāyai namaḥ” or “oṁ śrīṁ mahālakṣmyai namaḥ”), Sūrya (“oṁ hrāṁ hrīṁ hrauṁ saḥ sūryāya namaḥ”), and Gaṇeśa (“oṁ gaṁ gaṇapataye namaḥ”). What is distinctive is the regular recitation of these in a single, coordinated pattern of worship, so that the practitioner moves through all these forms while holding to the understanding that they are manifestations of one Brahman. This integrative use of deity mantras, rather than a sectarian focus on a single form, is a hallmark of the tradition’s ritual life.

Alongside this multi-deity worship, there is a strong emphasis on mantras and passages that directly articulate non-dual insight. Upaniṣadic mahāvākyas such as “tat tvam asi,” “ahaṁ brahmāsmi,” “prajnānam brahma,” and “ayam ātmā brahma” are chanted or meditated upon, often in close connection with ritual worship. Śānti mantras like “oṁ pūrṇam adaḥ pūrṇam idaṁ…,” “oṁ saha nāvavatu…,” and the repeated “oṁ śāntiḥ śāntiḥ śāntiḥ” frame practice with an explicitly Advaitic orientation, and the syllable “oṁ” itself is treated as a central pointer to Brahman. In this way, devotion to particular deities and contemplation of non-dual reality are woven together rather than kept in separate compartments.

Hymns attributed to Ādi Śaṅkarācārya occupy a special place in this synthesis of devotion and non-dual philosophy. Texts such as Śivānanda-laharī, Saundarya-laharī, Bhaja Govindaṁ, and the Dakṣiṇāmūrti-stotra are widely used as liturgical and meditative chants, blending praise of specific deities with teachings that direct the mind toward the realization of Brahman. These compositions, together with the regular recitation of Upaniṣadic statements, give the tradition a recognizable soundscape in which many deities are honored, yet all are understood as expressions of the same ultimate reality.