Vamana Purana — Shiva's Kedara Tirtha, Shloka 62
Shiva’s Kedara-Tirtha and the Rise of Mura: From Shaiva Pilgrimage to Vaishnava Theology
इत्येवामुक्त्वा वचनं दुग्धाब्धिमगमन्मुरः यत्रास्ते शेषपर्यङ्के चतुर्मूर्तिर्जनार्दनः
ityevāmuktvā vacanaṃ dugdhābdhimagamanmuraḥ yatrāste śeṣaparyaṅke caturmūrtirjanārdanaḥ
এইদৰে কথা কৈ মুৰ ক্ষীৰসাগৰলৈ গ’ল; য’ত শেষ-পৰ্য্যংকত চতুৰ্মূর্তি জনাৰ্দন শয়ন কৰে।
{ "primaryRasa": "adbhuta", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
Dugdhābdhi (Kṣīroda) is a cosmic ocean classically enumerated among the mythic oceans and also functions as a transcendent sacred locus where Nārāyaṇa is envisioned reclining on Ananta. It is not a terrestrial tirtha but a cosmographic ‘divine geography’ frequently invoked in Purāṇas.
The epithet signals a fourfold mode of manifestation. In many Vaiṣṇava theological frames this can point to the catur-vyūha (Vāsudeva, Saṅkarṣaṇa, Pradyumna, Aniruddha) or to four functional aspects (creation, maintenance, dissolution, grace). The next verse shows Nārada explicitly asking how the one Vishnu is described as fourfold, indicating a doctrinal clarification is intended.
Śeṣa/Ananta as the serpent-couch symbolizes infinity, stability, and the support of cosmic order. The image of Hari reclining on Ananta in the cosmic waters is a standard Purāṇic iconography expressing transcendence and immanence: the Lord rests ‘within’ the cosmos while remaining beyond it.