Dakṣa’s Progeny, Nṛsiṃha–Varāha Avatāras, and Andhaka’s Defeat
Hari–Hara–Śakti Synthesis
फणीन्द्रहाराय नमो ऽस्तु तुभ्यं मुनीन्द्रसिद्धार्चितपादयुग्म / ऐश्वर्यधर्मासनसंस्थिताय नमः परान्ताय भवोद्भवाय
phaṇīndrahārāya namo 'stu tubhyaṃ munīndrasiddhārcitapādayugma / aiśvaryadharmāsanasaṃsthitāya namaḥ parāntāya bhavodbhavāya
Salam sujud kepada-Mu, wahai Tuhan yang memakai raja ular sebagai kalung; sepasang kaki-Mu dipuja oleh para muni agung dan para siddha. Salam sujud kepada Yang Maha Melampaui, bersemayam di atas singgahsana keagungan (aiśvarya) dan dharma; wahai Bhavodbhava, sumber darinya bahkan Bhava pun terbit.
A devotee/narrative voice offering stuti (hymnic praise) within the Purva-bhaga context
Primary Rasa: vira
Secondary Rasa: adbhuta
It points to a Transcendent Absolute (“parānta”) that is worthy of worship even by sages and siddhas, indicating the Supreme as beyond ordinary categories and as the ultimate ground from which divine manifestations arise.
The verse emphasizes bhakti-based contemplation (stuti, namas) and reverence to the Lord’s feet—classical supports for dhyāna and inner steadiness that, in Kurma Purana’s Shaiva framework, prepare the practitioner for disciplined practice aligned with dharma and īśvara-bhāva.
By calling the praised deity “Bhavodbhava” (source of Bhava/Śiva) while using iconography associated with Śiva (serpent-garland), the verse presents a non-sectarian synthesis where the Supreme Lord transcends and includes both Śaiva and Vaiṣṇava identifications.