Kurma Purana — Purva Bhaga, Shloka 59
Genealogies of Yadus and Vṛṣṇis; Navaratha’s Refuge to Sarasvatī; Rise of Sāttvata Tradition; Prelude to Kṛṣṇa-Balarāma Incarnation
पुत्रैः पौत्रैः सपत्नीको राजा गानविशारदः / पूजयामास गानेन देवं त्रिपुरनाशनम्
putraiḥ pautraiḥ sapatnīko rājā gānaviśāradaḥ / pūjayāmāsa gānena devaṃ tripuranāśanam
Bersama putra-putra, cucu-cucu, dan permaisurinya, sang raja yang mahir kidung suci memuja Dewa Tripuranāśana melalui nyanyian bhakti.
Narrator (Purāṇic narrator in the Kurma Purana’s discourse framework)
Primary Rasa: bhakti (shanta)
Secondary Rasa: adbhuta
FAQs
By portraying worship of Tripurāntaka through heartfelt gāna, the verse implies that the Supreme is approachable not only by ritual but by inner devotion—where voice and mind are unified toward the indwelling Lord.
The practice emphasized is bhakti expressed as gāna (devotional singing), which functions like a yogic concentration method: sustained remembrance (smaraṇa) and one-pointedness (ekāgratā) offered as pūjā.
Though the verse names Śiva as Tripurāntaka, within the Kurma Purana’s Shaiva–Vaishnava synthesis this devotion exemplifies that worship of the Lord—whether spoken of as Śiva or Viṣṇu—leads toward the same supreme reality honored across the Purāṇa.