Shloka 38
Divine Abodes on the Mountains — A Sacred Survey of Jambūdvīpa
Kailāsa to Siddha Realms
नृत्यद्भिरप्सरः सङ्घैरितश्चेतश्च शोभितम् / मृदङ्गमुरजोद्घुष्टं वीणावेणुनिनादितम्
nṛtyadbhirapsaraḥ saṅghairitaścetaśca śobhitam / mṛdaṅgamurajodghuṣṭaṃ vīṇāveṇunināditam
നൃത്തം ചെയ്യുന്ന അപ്സരാസ്സമൂഹങ്ങൾ ഇങ്ങും അങ്ങും അലങ്കരിച്ച ആ ധാമം, മൃദംഗ–മുരജങ്ങളുടെ ഘോഷത്തിൽ മുഴങ്ങി; വീണയും വേണുവും പകരുന്ന മധുരനിനാദത്തിൽ നിറഞ്ഞിരുന്നു।
Sūta (narrator) recounting the scene to the sages (frame narration typical of Purāṇic discourse)
Primary Rasa: adbhuta
Secondary Rasa: shringara
FAQs
Indirectly: by depicting a perfected, luminous divine environment where harmony, rhythm, and beauty prevail, the verse gestures toward the ordered presence of the Supreme—often approached through contemplation of sacred harmony rather than abstract definition in this specific line.
This verse emphasizes nāda (sound) as a contemplative support: rhythmic percussion and melodic resonance mirror the yogic use of focused attention (ekāgratā). In the broader Kurma Purana ethos, such ordered sound can be read as conducive to inner steadiness that later aligns with Pashupata-oriented discipline and devotion.
Not explicitly in this line; however, the Kurma Purana’s wider Shaiva-Vaishnava synthesis frames divine splendor and sacred sound as common markers of the one Supreme revered through both Śaiva and Vaiṣṇava idioms—an aesthetic unity that supports non-sectarian devotion.