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 ||
Ngài được gọi là “Bất khả chiến bại” (Ajeya), “Bất hoại” (Avyaya), “Vô hiển” (Avyakta), và cũng là “Nội tạng của Trứng Vũ Trụ” (Brahmāṇḍodara). Rồi, khi kết thúc một ngàn chu kỳ của Brahmā, vang lên âm thanh mang tên “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.