Dakṣa’s Progeny, Nṛsiṃha–Varāha Avatāras, and Andhaka’s Defeat
Hari–Hara–Śakti Synthesis
त्रिमूर्तये ऽनन्दपदात्ममूर्ते जगन्निवासाय जगन्मयाय / नमो ललाटार्पितलोचनाय नमो जनानां हृदि संस्थिताय
trimūrtaye 'nandapadātmamūrte jagannivāsāya jaganmayāya / namo lalāṭārpitalocanāya namo janānāṃ hṛdi saṃsthitāya
السلامُ والتسليمُ للربِّ ذي الصورِ الثلاث (تريمورتي)، الذي تجسّدُه عينُ الذاتِ المقيمةِ في مقامِ الأنندا. السلامُ لمن هو مسكنُ الكون، ولمن يملأُ الكونَ بوصفه جوهرَه. السلامُ لمن وُضِعَت عينُه على الجبين؛ والسلامُ لمن استقرَّ في قلوبِ جميعِ الخلائق.
A devotee/narratorial voice offering a stuti (hymn) within the Purva-bhaga context; the verse functions as a praise-formula aligned with Shaiva–Vaishnava synthesis.
Primary Rasa: adbhuta
Secondary Rasa: shanta
It identifies the Supreme as the bliss-grounded Self (ātman) who is not merely beyond the cosmos but also its support and substance—present inwardly as the witness seated in every heart.
The verse points to antaryāmin-dhyāna: meditation on the Lord within the heart, alongside contemplation of His all-pervading presence (jaganmaya) and transcendental bliss-nature (ānandapada).
By praising the One Lord as Trimūrti and invoking the forehead-eye motif (often associated with Śiva) while affirming universal indwelling sovereignty, it frames Śiva–Viṣṇu as unified expressions of a single Supreme reality.