Dakṣa’s Progeny, Nṛsiṃha–Varāha Avatāras, and Andhaka’s Defeat
Hari–Hara–Śakti Synthesis
विमुञ्चन् भैरवं नादं शङ्खचक्रगदाधरः / आरुह्य गरुडं देवो महामेरुरिवापरः
vimuñcan bhairavaṃ nādaṃ śaṅkhacakragadādharaḥ / āruhya garuḍaṃ devo mahāmerurivāparaḥ
主尊手持海螺、神轮与神杵,放出可怖如雷的轰鸣,登乘迦楼罗,巍然如另一座雄伟的摩诃梅鲁山。
Narrator (Purāṇic narrator describing Lord Viṣṇu/Kūrma’s manifestation)
Primary Rasa: raudra
Secondary Rasa: adbhuta
By portraying the Lord as awe-inspiring yet ordered (bearing śaṅkha-cakra-gadā), the verse signals a Supreme Reality that is both transcendent (Mahāmeru-like, cosmic) and immanent (personally manifest), a hallmark of the Kurma Purana’s theistic non-dual tone.
While not prescribing a technique directly, the emphasis on nāda (powerful sound) supports a contemplative reading aligned with nāda-upāsanā and dhyāna: the mind is gathered through awe (bhairava) and steadied on the Lord’s concrete symbols (śaṅkha-cakra-gadā) as an aid to one-pointed devotion and yogic concentration.
The term bhairava (often resonant with Śaiva imagery) applied to the Lord’s nāda, alongside Viṣṇu’s clear iconography, reflects the Kurma Purana’s synthetic style—Śaiva vocabulary and Vaishnava form converging to communicate a single Supreme divinity expressed through multiple theological idioms.