अन्धक-हिरण्याक्ष-प्रसङ्गः, वराहावतारः, दंष्ट्राभूषणं च
त्वमष्टमूर्तिस्त्वमनन्तमूर्तिस् त्वमादिदेवस्त्वमनन्तवेदितः त्वया कृतं सर्वमिदं प्रसीद सुरेश लोकेश वराह विष्णो
tvamaṣṭamūrtistvamanantamūrtis tvamādidevastvamanantaveditaḥ tvayā kṛtaṃ sarvamidaṃ prasīda sureśa lokeśa varāha viṣṇo
أنت ربُّ التجليات الثمانية (أشتَمورتي)، وأنت ذو الصور اللامتناهية. أنت الإله الأوّل، المعروف بلا نهاية عبر الفيدا. بك صُنِع هذا الكون كلّه—فَتَفَضَّل بالنعمة، يا سيّد الدِّيفات، يا مالكَ العوالم، يا ڤَرَاهَا، يا ڤِشْنُو.
Suta Goswami (narrating a hymn of praise within the Purva-Bhaga context)
It frames divine worship as moving from many names and avatāras to one supreme Reality: the devotee praises Viṣṇu (Varāha) while implicitly affirming the single Pati behind all forms—supporting Linga worship as the symbol of that formless-yet-all-form Lord.
By declaring “eightfold” and “infinite-formed,” it points to the Shaiva view that the Supreme (Pati) manifests as the cosmos and its deities without being limited by them—Shiva-tattva is simultaneously immanent (as forms) and transcendent (endless, Veda-known).
The key practice is stuti with tattva-buddhi (right metaphysical discernment): praising the deity while contemplating the one Lord beyond all names—an inner discipline aligned with Pāśupata orientation toward recognizing Pati as the ruler of all lokas.