Kurma Purana — Purva Bhaga, Shloka 186
Dakṣa’s Progeny, Nṛsiṃha–Varāha Avatāras, and Andhaka’s Defeat
Hari–Hara–Śakti Synthesis
अस्तुवन् मुनयः सिद्धा जगुर्गन्धर्विकिंनराः / अन्तरिक्षे ऽप्सरः सङ्घा नृत्यन्तिस्म मनोरमाः
astuvan munayaḥ siddhā jagurgandharvikiṃnarāḥ / antarikṣe 'psaraḥ saṅghā nṛtyantisma manoramāḥ
சித்த முனிவர்கள் துதித்தனர்; கந்தர்வரும் கின்னரரும் பாடினர்; ஆகாய நடுவில் மனோகர அப்சரஸ்களின் கூட்டம் இனிமையாக அழகுற நடனமாடியது.
Narrator (Sūta/primary Purāṇic narrator describing the scene)
Primary Rasa: adbhuta
Secondary Rasa: shanta
FAQs
Indirectly: it depicts the cosmos responding in reverent harmony—praise, song, and dance—implying an ordering presence worthy of stuti; the verse itself focuses on devotional celebration rather than an explicit Atman doctrine.
No specific yogic technique is taught in this line; it functions as a narrative marker of auspiciousness (maṅgala) where celestial beings express devotion—supporting the Purāṇic ethos that inner discipline culminates in stuti and reverence.
It does not name Shiva or Vishnu explicitly; however, the shared Purāṇic motif of universal stuti aligns with the Kurma Purana’s broader synthesis where the Supreme is praised through multiple divine forms and traditions.