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 ||
“Ajeya” (Inconquistável), “Avyaya” (Imperecível), “Avyakta” (Não-manifesto) e também “Brahmāṇḍodara” (o Interior/Ventre do Ovo Cósmico). Então, ao fim de mil ciclos de Brahmā, ergue-se o som chamado “koṭi-sragruṇḍa”.
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.