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
ത്രിമൂർത്തിയായ, ആനന്ദപദത്തിൽ ആത്മമൂർത്തിയായി നിലകൊള്ളുന്ന, ജഗന്നിവാസനും ജഗന്മയനും ആയ പ്രഭുവിന് നമസ്കാരം. ലലാടത്തിൽ നേത്രം അർപ്പിതനായവനും, സർവ്വജനങ്ങളുടെ ഹൃദയത്തിൽ സ്ഥാപിതനായവനും നമഃ।
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.