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Narada Purana — Purva Bhaga, Shloka 111

The Exposition of the Maheśa Mantra

Mahēśa-mantra-prakāśana

चंद्रार्कहुतभुङ्नेत्रं स्मितास्यं युग्मपद्मगम् । मुद्रापाशैणाक्षसूत्रलसत्पाणिं शशिप्रभम् ॥ १११ ॥

caṃdrārkahutabhuṅnetraṃ smitāsyaṃ yugmapadmagam | mudrāpāśaiṇākṣasūtralasatpāṇiṃ śaśiprabham || 111 ||

其双目为月、日与祭火;面含微笑,安坐于双莲之上。其手光耀,执印(mudrā)、绳索、鹿与念珠;通体放出如月之辉。

caṃdra-arka-hutabhuṅ-netramhaving eyes (like) the moon, sun, and fire
caṃdra-arka-hutabhuṅ-netram:
Karma (कर्म) / Viśeṣaṇa (विशेषण)
TypeAdjective
Rootcaṃdra (प्रातिपदिक) + arka (प्रातिपदिक) + hutabhuj (प्रातिपदिक) + netra (प्रातिपदिक)
FormNapuṃsakaliṅga, Dvitīyā (Acc. 2nd), Ekavacana; bahuvrīhi: ‘whose eyes are (like) moon, sun, and fire’ (describing the deity)
smita-āsyamwith a smiling face
smita-āsyam:
Karma (कर्म) / Viśeṣaṇa (विशेषण)
TypeAdjective
Rootsmita (प्रातिपदिक) + āsya (प्रातिपदिक)
FormNapuṃsakaliṅga, Dvitīyā (Acc. 2nd), Ekavacana; ‘whose face is smiling’
yugma-padma-gamstanding on twin lotuses
yugma-padma-gam:
Karma (कर्म) / Viśeṣaṇa (विशेषण)
TypeAdjective
Rootyugma (प्रातिपदिक) + padma (प्रातिपदिक) + ga (प्रातिपदिक)
FormNapuṃsakaliṅga, Dvitīyā (Acc. 2nd), Ekavacana; ‘going/standing on a pair of lotuses’
mudrā-pāśa-eṇa-akṣa-sūtra-lasat-pāṇimwhose shining hands (hold) mudrā, noose, deer, and rosary
mudrā-pāśa-eṇa-akṣa-sūtra-lasat-pāṇim:
Karma (कर्म) / Viśeṣaṇa (विशेषण)
TypeAdjective
Rootmudrā (प्रातिपदिक) + pāśa (प्रातिपदिक) + eṇa (प्रातिपदिक) + akṣa (प्रातिपदिक) + sūtra (प्रातिपदिक) + lasat (कृदन्त; las-śatṛ) + pāṇi (प्रातिपदिक)
FormPuṃliṅga, Dvitīyā (Acc. 2nd), Ekavacana; bahuvrīhi: ‘whose hands are shining (holding) mudrā, noose, deer, rosary-string’
śaśi-prabhammoon-radiant
śaśi-prabham:
Karma (कर्म) / Viśeṣaṇa (विशेषण)
TypeAdjective
Rootśaśin (प्रातिपदिक) + prabhā/prabha (प्रातिपदिक)
FormPuṃliṅga/napuṃsaka, Dvitīyā (Acc. 2nd), Ekavacana; ‘moon-like in radiance’

Narada (within a technical-ritual exposition, likely quoting/teaching a dhyāna for worship)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: bhakti

C
Chandra
S
Surya
A
Agni

FAQs

It functions as a dhyāna description: by visualizing the deity’s cosmic eyes (Moon, Sun, Fire) and auspicious attributes (mudrā, noose, deer, rosary), the practitioner steadies the mind and turns ritual action into inward contemplation.

Bhakti is supported through focused remembrance (smaraṇa) and visualization (dhyāna). The smiling face and moonlike radiance evoke intimacy and grace, while the rosary indicates sustained japa—devotion made continuous through practice.

It reflects applied ritual-technical knowledge: murti-lakṣaṇa (iconographic specification) and upāsanā procedure (dhyāna before mantra/japa), which are commonly taught alongside ancillary disciplines used in correct worship performance.