Varaha Purana 20.28: Adhyaya 20, Shloka 28
The Birth of the Aśvins: Solar Lineage, Saṃjñā and Chāyā, and the Granting of a Hymn and Boons
ॐ नमस्ते निष्क्रिय निष्प्रपञ्च निराश्रय निरपेक्ष निरालम्ब निर्गुण निरालोक निराधार निर्जय निराकार । ब्रह्मन् महाब्रह्मन् ब्राह्मणप्रिय पुरुष महापुरुषोत्तम । देव महादेवोत्तम स्थाणो स्थितस्थापक । भूत महाभूत भूताधिपति यक्ष महायक्ष यक्षाधिपते । गुह्य महागुह्याधिपते सौम्य महासौम्य सौम्याधिपते । पक्षि महापक्षिपते दैत्य महादैत्याधिपते । रुद्र महारुद्राधिपते विष्णु महाविष्णुपते । परमेश्वर नारायण प्रजापतये नमः । एवं स्तुतस्तदा ताभ्यामश्विभ्यां स प्रजापतिः । तुतोष परमप्रीत्या वाक्यं चेदमुवाच ह ॥ २०.२८ ॥
oṃ namaste niṣkriya niṣprapañca nirāśraya nirapekṣa nirālamba nirguṇa nirāloka nirādhāra nirjaya nirākāra | brahman mahābrahman brāhmaṇapriya puruṣa mahāpuruṣottama | deva mahādevottama sthāṇo sthitasthāpaka | bhūta mahābhūta bhūtādhipati yakṣa mahāyakṣa yakṣādhipate | guhya mahāguhyādhipate saumya mahāsaumya saumyādhipate | pakṣi mahāpakṣipate daitya mahādaityādhipate | rudra mahārudrādhipate viṣṇu mahāviṣṇupate | parameśvara nārāyaṇa prajāpataye namaḥ | evaṃ stutas tadā tābhyām aśvibhyāṃ sa prajāpatīḥ | tutoṣa paramaprītyā vākyaṃ cedam uvāca ha || 20.28 ||
“Oṃ. Sembah sujud kepada-Mu—yang tanpa perbuatan, melampaui segala peluasan fenomena, tanpa sandaran, tanpa kebergantungan, tanpa penopang, tanpa sifat (nirguṇa), tanpa lingkungan yang terlihat, tanpa asas, tidak terkalahkan, dan tanpa rupa. Wahai Brahman, Mahābrahman; yang mengasihi para Brāhmaṇa; Purusha, yang tertinggi antara para Mahāpurusha. Wahai Deva, yang tertinggi antara para Mahādeva; Sthāṇu, yang teguh dan penegak keteguhan. Wahai Bhūta, Mahābhūta; penguasa segala makhluk; wahai Yakṣa, Mahāyakṣa, penguasa Yakṣa; penguasa para Guhya; wahai yang lemah lembut, maha lemah lembut, penguasa yang lemah lembut; wahai Burung, penguasa burung-burung agung; wahai Daitya, penguasa Daitya yang agung; wahai Rudra, penguasa Rudra yang agung; wahai Viṣṇu, penguasa Viṣṇu yang agung; wahai Tuhan Tertinggi, Nārāyaṇa—sembah sujud kepada Prajāpati.” Demikianlah dipuji ketika itu oleh kedua Aśvin, maka Prajāpati amat berkenan lalu bersabda demikian.
Aśvinīkumāras (the twin Aśvins), with narrative voice by the text’s narrator
Varaha Avatara Context: {"is_varaha_focus":false}
Bhu Devi Dialogue: {"is_dialogue":false}
Mathura Mandala: {"is_mathura_related":false}
Dharma Shastra: {"has_dharma_rule":false}
Vrata Mahatmya: {"has_vrata":false}
Cosmic Boar Symbolism: {"has_symbolism":true,"symbolic_interpretation":"The stotra stacks nirguṇa epithets (niṣkriya, nirguṇa, nirākāra) with īśvara epithets (Nārāyaṇa, Viṣṇu, Rudra, Yakṣa, etc.), expressing the Purāṇic synthesis: the one absolute is beyond attributes yet appears as all divine offices.","yajna_varaha_imagery":"Not explicit as Yajña-Varāha anatomy; instead a ‘sarva-devatātmaka’ mapping where all deity-lordships are names of the one praised.","vedantic_connection":"Bridges nirguṇa Brahman language with saguna īśvara devotion; supports a Vedāntic reading where names/forms are pedagogical superimpositions on the absolute."}
Philosophical Teaching: {"has_teaching":true,"teaching_type":"nirguṇa–saguṇa synthesis","core_concept":"The supreme is actionless and formless, yet is addressed through many divine titles; plurality of names points to unity of essence.","practical_application":"In worship, hold both levels: meditate on the formless ground while using names/forms to steady devotion and concentration."}
Subject Matter: ["Theology (nirguṇa/formless absolute)","Praise-poetry (stotra)","Puranic narrative framing"]
Primary Rasa: adbhuta
Secondary Rasa: śānta
Type: mantric/ritual speech-space
Related Themes: Varāha Purāṇa: other stotra passages that conflate Nārāyaṇa with cosmic offices (general motif)
Visual Art Cues: {"scene_description":"The twin Aśvins chant an expansive litany before Prajāpati/Nārāyaṇa, whose form radiates multiple divine aspects while remaining serene and transcendent; Prajāpati becomes pleased.","item_prompts":["two Aśvins (twin youthful deities) in chanting posture","Prajāpati/Nārāyaṇa enthroned with layered halos","multiple symbolic emblems subtly suggested (conch/disc, trident, bird motif) without clutter","mantric ‘Oṃ’ motif","varada/abhaya gestures as pleasure arises"],"kerala_mural_prompt":"Kerala mural style, symmetrical twins chanting, central deity with concentric halos and subtle iconographic hints of multiple lordships, bold flat colors, ornate borders with ‘Oṃ’.","tanjore_prompt":"Tanjore style, central deity with heavy gold halo and embossed ornaments, twins at sides with garlands, gold-lettered ‘Oṃ’ cartouche, rich reds/greens.","mysore_prompt":"Mysore style, refined deity face, soft glow, twins with delicate jewelry, minimal but clear emblems (śaṅkha-cakra suggested), elegant pavilion.","pahari_prompt":"Pahari style, lyrical celestial terrace, twins singing with expressive hands, central luminous figure with gentle aura, pastel sky, fine detailing."}
Audio Atmosphere: {"recitation_mood":"majestic and mantra-like","suggested_raga":"Darbari Kanada","pace":"slow (litany cadence)","voice_tone":"deep, resonant, steady; slight crescendo through the epithets"}
FAQs
It exemplifies Purāṇic stotra-style theology by layering nirguṇa (attribute-less) descriptors with sovereign titles (lord of yakṣas, guhyas, rudras), showing how late-classical Sanskrit texts integrate philosophical abstraction with mythic cosmology.
No specific geographic site is named in this verse; it functions as a hymn and narrative transition (the Aśvins’ praise leading to Prajāpati’s reply).
Rather than a direct moral rule, the verse models a philosophical posture of humility and intellectual reverence: acknowledging the ultimate principle as independent, formless, and beyond worldly supports, before proceeding to discourse or request.
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