Kurma Purana — Purva Bhaga, Shloka 37
Adhyāya 25 — Liṅga-māhātmya (The Chapter on the Liṅga): Hari’s Śiva-Worship and the Fiery Pillar Theophany
अवादयन्त विविधान् वादित्रान् मधुरस्वनान् / शङ्खान् सहस्त्रशो दध्मुर्वोणावादान् वितेनिरे
avādayanta vividhān vāditrān madhurasvanān / śaṅkhān sahastraśo dadhmurvoṇāvādān vitenire
พวกเขาบรรเลงเครื่องดนตรีนานาชนิดด้วยเสียงอันไพเราะ; สังข์นับพันถูกเป่า และการบรรเลงวีณาก็ดำเนินไปอย่างเต็มเปี่ยม
Sūta (narrator) describing the scene to the sages (Naimiṣāraṇya frame)
Primary Rasa: adbhuta
Secondary Rasa: shringara
FAQs
Indirectly: it highlights auspicious sacred sound (nāda) in communal worship; in the Kurma Purana’s synthesis, outer ritual harmony supports inner recollection of the indwelling Lord (Ātman as the witness) even when the verse itself is descriptive.
No explicit yogic technique is taught here; the emphasis is on devotional and ritual sound (conch, instruments), which in Purāṇic practice functions as a supportive limb (aṅga) for steadiness of mind—complementary to later, more formal disciplines such as Pāśupata-oriented restraint and contemplation.
By portraying a shared Purāṇic idiom of auspicious worship (śaṅkha, music, celebration) that is used in both Vaiṣṇava and Śaiva contexts, it reflects the Kurma Purana’s integrative religious culture even without naming Śiva or Viṣṇu directly in this line.