Vamana Purana — Nara-Narayana's Tapas, Shloka 57
Nara-Narayana’s Tapas, Indra’s Temptation, and the Burning of Kama: The Origin of Ananga and the Shiva-Linga Episode
तस्मिन् सुपुण्ये विषये निविष्टो रुद्रप्रसादादभिपूज्यते ऽसौ तस्मिन् प्रयाते भगवांस्त्रिनेत्रो देवो ऽपि विन्ध्यं गिरिमभ्यगच्छत् // वम्प्_6.56 तत्रापि मदनो गत्वा ददर्श वृषकेतनम् दृष्ट्वा प्रहर्त्तुकामं च ततः प्रादुवचद्धरः
tasmin supuṇye viṣaye niviṣṭo rudraprasādādabhipūjyate 'sau tasmin prayāte bhagavāṃstrinetro devo 'pi vindhyaṃ girimabhyagacchat // VamP_6.56 tatrāpi madano gatvā dadarśa vṛṣaketanam dṛṣṭvā praharttukāmaṃ ca tataḥ prāduvacaddharaḥ
“Setelah menetap di wilayah yang amat suci itu, ia dipuja dengan sewajarnya berkat anugerah Rudra. Setelah ia berangkat, Deva yang bertuah, Yang Bermata Tiga, pun menuju ke gunung Vindhya. Di sana juga, Madana pergi dan melihat Vṛṣaketu; melihatnya berhasrat untuk memukul, Dhara lalu bersabda…”
{ "primaryRasa": "adbhuta", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
The verse emphasizes that sustained worship and sanctity are grounded in divine grace (Rudra-prasāda) and in stable establishment (niviṣṭa). It also models the Purāṇic idea that gods move to restore or reconfigure dharmic balance across regions (Śiva proceeding to Vindhya).
Primarily an anucarita/mahatmya segment: it legitimizes a worship-site and then transitions to another mythic sub-episode (Madana–Vṛṣaketu–Dhara). It is not sarga/pratisarga; it belongs to episodic sacred-history used to explain why a place/deity is worshiped.
Rudra’s ‘prasāda’ functioning as the cause of public worship symbolizes Śiva as the hidden enabler of religious efficacy. The move to Vindhya hints at Śiva’s pan-geographic lordship (mountains as his domain). The appended Madana scene signals a narrative hinge—often in Purāṇas, shifts like this connect kṣetra-māhātmya to broader theogonic or moral episodes.