Vamana Purana — Andhaka's Defeat & Redemption, Shloka 91
Andhaka’s Defeat, the Bhairava Manifestation, and His Redemption as Bhṛṅgī Gaṇapati
समागम्याम्बिकापादौ ववन्दतुरुभावपि अन्धको ऽपि तदा गौरीं भक्तिनम्रो महामुने स्तुतिं चक्रे महापुण्यां पापघ्नीं श्रुतीसंमिताम्
samāgamyāmbikāpādau vavandaturubhāvapi andhako 'pi tadā gaurīṃ bhaktinamro mahāmune stutiṃ cakre mahāpuṇyāṃ pāpaghnīṃ śrutīsaṃmitām
[{"question": "What do ‘Tāmasa’ and ‘Raivata’ signify here?", "answer": "They are standard Purāṇic labels for specific manvantaras (cosmic administrative epochs) or their associated contexts. Deity-hosts (like Maruts) are ofteVamana Purana,44,92,VamP 44.92,andhaka uvāca oṃ namasye bhāvānīṃ bhūtabhavyapriyāṃ lokadhātrīṃ janitrīṃ skandamātaraṃ mahādevapriyāṃ dhāriṇīṃ syandinīṃ cetanāṃ trailokyamātaraṃ dharitrīṃ devamātaramathejyāṃ smṛtiṃ dayāṃ lajjāṃ kāntimagryāmasūyāṃ matiṃ sadāpāvanīṃ daityasainyakṣayakarīṃ mahāmāyāṃ vaijayantī suśubhāṃ kālarātriṃ govindabhaginīṃ śailarājapūtrīṃ sarvadevārcitāṃ sarvabhūtārcitāṃ vidyāṃ sarasvatīṃ trinayanamahiṣīṃ namasyāmī mṛḍānīṃ śaraṇyāṃ śaraṇamupāgato 'haṃ namo namaste | itthaṃ stutā sāndhakena parituṣṭā vibhāvarī prāha putra prasannāsmi vṛṇuṣva paramuttamam,अन्धक उवाच ॐ नमस्ये भावानीं भूतभव्यप्रियां लोकधात्रीं जनित्रीं स्कन्दमातरं महादेवप्रियां धारिणीं स्यन्दिनीं चेतनां त्रैलोक्यमातरं धरित्रीं देवमातरमथेज्यां स्मृतिं दयां लज्जां कान्तिमग्र्यामसूयां मतिं सदापावनीं दैत्यसैन्यक्षयकरीं महामायां वैजयन्ती सुशुभां कालरात्रिं गोविन्दभगिनीं शैलराजपूत्रीं सर्वदेवार्चितां सर्वभूतार्चितां विद्यां सरस्वतीं त्रिनयनमहिषीं नमस्यामी मृडानीं शरण्यां शरणमुपागतो ऽहं नमो नमस्ते | इत्थं स्तुता सान्धकेन परितुष्टा विभावरी प्राह पुत्र प्रसन्नास्मि वृणुष्व परमुत्तमम्,Andhaka Vadha,Stuti,Adhyaya 44 (Andhaka’s hymn to the Goddess; boon and pacification),92,andhaka uvāca oṃ namasye bhāvānīṃ bhūtabhavyapriyāṃ lokadhātrīṃ janitrīṃ skandamātaraṃ mahādevapriyāṃ dhāriṇīṃ syandinīṃ cetanāṃ trailokyamātaraṃ dharitrīṃ devamātaramathejyāṃ smṛtiṃ dayāṃ lajjāṃ kāntimagryāmasūyāṃ matiṃ sadāpāvanīṃ daityasainyakṣayakarīṃ mahāmāyāṃ vaijayantī suśubhāṃ kālarātriṃ govindabhaginīṃ śailarājapūtrīṃ sarvadevārcitāṃ sarvabhūtārcitāṃ vidyāṃ sarasvatīṃ trinayanamahiṣīṃ namasyāmī mṛḍānīṃ śaraṇyāṃ śaraṇamupāgato 'haṃ namo namaste | itthaṃ stutā sāndhakena parituṣṭā vibhāvarī prāha putra prasannāsmi vṛṇuṣva paramuttamam,andhaka uvāca: oṃ namasye bhāvānīṃ bhūta-bhavya-priyāṃ loka-dhātrīṃ janitrīṃ skanda-mātaraṃ mahādeva-priyāṃ dhāriṇīṃ syandinīṃ cetanāṃ trailokya-mātaraṃ dharitrīṃ deva-mātaram atha-ijyāṃ smṛtiṃ dayāṃ lajjāṃ kāntiṃ agryām asūyāṃ matiṃ sadā-pāvanīṃ daitya-sainya-kṣaya-karīṃ mahā-māyāṃ vaijayantīṃ su-śubhāṃ kāla-rātriṃ govinda-bhaginīṃ śaila-rāja-putrīṃ sarva-deva-arcitāṃ sarva-bhūta-arcitāṃ vidyāṃ sarasvatīṃ tri-nayana-mahiṣīṃ namasyāmi mṛḍānīṃ śaraṇyāṃ śaraṇam upāgato ’haṃ namo namaste | itthaṃ stutā sā andhakena parituṣṭā vibhāvarī prāha: putra prasannā ’smi vṛṇuṣva paramottamam,Andhaka said: “Om. I bow to Bhavānī—beloved of beings of the past and the future; the sustainer of the worlds; the progenitrix; the mother of Skanda; dear to Mahādeva; the bearer (of the universe); the flowing one; consciousness itself; the mother of the three worlds; the Earth; the mother of the gods; the one worthy of worship; memory; compassion; modesty; supreme radiance; freedom from malice; intelligence; ever-purifying; the destroyer of the armies of the Daityas; the great Māyā; the victorious one (Vaijayantī); the most auspicious; Kālarātrī; the sister of Govinda; the daughter of the Lord of Mountains; worshipped by all gods and all beings; knowledge; Sarasvatī; the consort of the Three-eyed (Śiva). I bow to Mṛḍānī
{ "primaryRasa": "bhakti", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
Purāṇas often legitimize hymns by stating they accord with Śruti, meaning the praise expresses orthodox theological principles—divine supremacy, purity, and cosmic order—without contradicting Vedic revelation.
Approaching and bowing at the deity’s feet is a standard marker of surrender and discipleship. It signifies relinquishing ego and seeking grace; in narrative terms it marks Andhaka’s pivot from transgression to repentance.
No. Despite the text’s broader geographical interests, this verse is purely devotional-narrative and contains no explicit toponyms (rivers, tīrthas, forests, or lakes).