Dakṣa’s Progeny, Nṛsiṃha–Varāha Avatāras, and Andhaka’s Defeat
Hari–Hara–Śakti Synthesis
विमुञ्चन् भैरवं नादं शङ्खचक्रगदाधरः / आरुह्य गरुडं देवो महामेरुरिवापरः
vimuñcan bhairavaṃ nādaṃ śaṅkhacakragadādharaḥ / āruhya garuḍaṃ devo mahāmerurivāparaḥ
法螺貝・円盤・棍棒を携える主は、雷鳴のごとき恐るべき咆哮を放ち、ガルダに乗りて、あたかも第二の大マハーメール山のように現れた。
Narrator (Purāṇic narrator describing Lord Viṣṇu/Kūrma’s manifestation)
Primary Rasa: raudra
Secondary Rasa: adbhuta
By portraying the Lord as awe-inspiring yet ordered (bearing śaṅkha-cakra-gadā), the verse signals a Supreme Reality that is both transcendent (Mahāmeru-like, cosmic) and immanent (personally manifest), a hallmark of the Kurma Purana’s theistic non-dual tone.
While not prescribing a technique directly, the emphasis on nāda (powerful sound) supports a contemplative reading aligned with nāda-upāsanā and dhyāna: the mind is gathered through awe (bhairava) and steadied on the Lord’s concrete symbols (śaṅkha-cakra-gadā) as an aid to one-pointed devotion and yogic concentration.
The term bhairava (often resonant with Śaiva imagery) applied to the Lord’s nāda, alongside Viṣṇu’s clear iconography, reflects the Kurma Purana’s synthetic style—Śaiva vocabulary and Vaishnava form converging to communicate a single Supreme divinity expressed through multiple theological idioms.