Kurma Purana — Purva Bhaga, Shloka 147
Dakṣa’s Progeny, Nṛsiṃha–Varāha Avatāras, and Andhaka’s Defeat
Hari–Hara–Śakti Synthesis
दृष्ट्वा वरासनासीनं देव्या चन्द्रविभूषणम् / प्रणेमुरादराद् देव्यो गायन्ति स्मातिलालसाः
dṛṣṭvā varāsanāsīnaṃ devyā candravibhūṣaṇam / praṇemurādarād devyo gāyanti smātilālasāḥ
Nang makita ang Diyosa na nakaupo sa maringal na trono, pinalamutian ng buwan bilang hiyas, ang mga banal na ginang ay yumukod nang may paggalang; at sa pananabik ng debosyon, nagsimula silang umawit ng papuri sa Kanya.
Narrator (Purāṇic narrator describing the scene; traditionally Sūta conveying Vyāsa’s account)
Primary Rasa: adbhuta
Secondary Rasa: bhakti
FAQs
Indirectly, it frames the Goddess as a visible locus for reverence—suggesting that the transcendent is approached through sacred form (saguṇa-upāsanā), which can mature into insight into the inner Self.
The verse emphasizes devotional concentration through darśana (sacred seeing), praṇāma (reverential bowing), and stuti (hymnic praise)—practices that steady the mind and support contemplative absorption in Purāṇic yoga-bhakti.
By foregrounding devotion to Devī with lunar ornamentation (a common Śaiva-Śākta marker), it reflects the Kurma Purana’s inclusive theology where sectarian symbols coexist within a broader non-hostile synthesis.