Sūrya-vaṃśa Genealogy and the Supremacy of Tapas: Gāyatrī-Japa, Rudra-Darśana, and Śatarudrīya Upadeśa
चतुर्मुखं जटामौलिमष्टहस्तं त्रिलोचनम् / चन्द्रावयवलक्षमाणं नरनारीतनुं हरम्
caturmukhaṃ jaṭāmaulimaṣṭahastaṃ trilocanam / candrāvayavalakṣamāṇaṃ naranārītanuṃ haram
Nasilayan niya si Hara (Śiva): apat ang mukha, ang mga buhol-buhol na buhok ay nakapatong na parang korona, walong kamay, tatlong mata; may tanda ng buwan bilang palamuti; at ang katawan ay lalaki’t babae sa iisang anyo (Ardhanārīśvara).
Narrator (Purāṇic narrator describing the vision of Hara within the Kurma Purana’s Shaiva-Vaishnava theological frame)
Primary Rasa: adbhuta
Secondary Rasa: shanta
By portraying Hara as simultaneously many-formed (four faces, eight arms) yet a single reality, and as male-female in one body, the verse points to a non-dual Supreme that transcends ordinary categories while manifesting as all forms.
The verse supports dhyāna-yoga through sāguṇa-upāsanā: meditating on specific divine marks (three eyes, moon-crest, multiple arms) to steady the mind—an approach aligned with Pāśupata-leaning Shaiva practice as integrated in the Kurma Purana.
Within the Kurma Purana’s synthesis, such exalted description of Hara complements Vaishnava theology by presenting Shiva as a supreme manifestation worthy of yogic contemplation, reinforcing the Purana’s tendency toward harmony rather than sectarian opposition.