The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
अजेयाव्यय अव्यक्त ब्रह्माण्डोदर इत्यपि । ततो ब्रह्मसहस्रान्ते कोटिस्रग्रुण्डशब्दतः ॥ १८९ ॥
ajeyāvyaya avyakta brahmāṇḍodara ityapi | tato brahmasahasrānte koṭisragruṇḍaśabdataḥ || 189 ||
അവൻ ‘അജേയ’, ‘അവ്യയ’, ‘അവ്യക്ത’, കൂടാതെ ‘ബ്രഹ്മാണ്ഡോദര’ എന്നും കീർത്തിക്കപ്പെടുന്നു. തുടർന്ന് ആയിരം ബ്രഹ്മചക്രങ്ങളുടെ അവസാനം ‘കോടി-സ്രഗ്രുണ്ഡ’ എന്ന ശബ്ദം ഉദ്ഭവിക്കുന്നു.
Sanatkumara (teaching Narada in a Vedāṅga/śabda-oriented context)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
It presents transcendent epithets—invincible, imperishable, unmanifest—pointing to the Supreme beyond form, while linking cosmic time (thousand Brahmā-cycles) with a technical notion of śabda (sacred sound) that marks a major cosmological transition.
By emphasizing the Lord as avyakta (beyond visible form), it supports devotion that is grounded in remembrance of divine attributes and in reverence for sacred sound/mantra, not merely in external appearances.
The verse uses śabda-based technical naming (a hallmark of Vyākaraṇa/Śikṣā-style discourse), showing how precise terminology and sound-concepts are employed to describe cosmology and divine attributes in Narada Purana’s Vedāṅga-oriented sections.