Different mūrtis of lord Narasiṁha according to the Āgamas:

Narasiṁha, one of the ten most revered incarnations of Viṣṇu, is widely worshipped across both the northern and southern regions of India. Although the Viṣṇu shrines in the north pay homage to him but the independent temples dedicated to Narasiṁha are more common in South India. The renowned temple at Puri-Jagannātha follows a distinct worship ritual for him too.

According to ancient texts like the Bhāgavata Purāṇa, Harivaṁśa, and Viṣṇu Purāṇa, Narasiṁha's incarnation aimed to rescue the world from the tyranny of the demon Hiraṇyakaśipu, who held a deep grudge against Viṣṇu due to the killing of his brother, Hiraṇyākṣa, by Viṣṇu's Varāha avatāra. Hiraṇyakaśipu's devoted son, Prahlāda, was threatened and punished by his father for having an unwavering devotion to Viṣṇu.

Viṣṇu was required to emerge from the pillar to safeguard and protect this young boy. However, Hiraṇyakaśipu had received a boon from Brahmā that made him invulnerable to death by any devatā, human, animal, with any weapon, at any time of day and night, and both inside and outside his palace.So, Viṣṇu had to manifest in a form combining man and beast, or a man-lion, unforseen anywhere in the universe before, and use his claws instead of weapons to rip apart the demon's entrails. This happened during the twilight, a time neither fully day nor night, being positioned on the threshold of the palace, which is a state of being neither fully inside nor outside. In the legend, Hiraṇyakaśipu challenged his son Prahlāda to demonstrate Viṣṇu's omnipresence. Viṣṇu then emerged from a palace pillar in His ferocious man-lion form.

Narasiṁha's depictions in mūrtis include all the aspects of this legend: emerging from a pillar, confronting Hiraṇyakaśipu, battling him, tearing open his belly and pulling his antras out while and holding him on His lap, and assuring protection to Prahlāda. His mūrtis are depicted in all the traditional stances: seated, standing and striding : āsīna, sthānaka, yānaka. His forms are categorized as both brutally wrathful, oozing with hair standing ferocity (ugra) towards the enemies of dharmins, and also extremely kind, generous and altruistic towards His bhaktas (saumya, varada). Therefore, there are copious variations of Narasiṁha svarūpas described in the scriptures and recommended for his worship.

The Vihagendra Saṁhitā enumerates over seventy svarūpas of Narasiṁha, while other texts like the Pādma Saṁhitā only mention a few. Similarly, various Pāñcarātra and Vaikhānasa texts offer numerous descriptions as well. Some of these svarūpas are differentiated by the variety of āyudhas held and the number of hands they manifest. While there are several forms which depict various stages of Narasiṁha-upākhyāna found in the scriptures.

Stambha/Sthānu Narasiṁha - instance of Narasiṁhhaemerging from the pillar

Svayaṁ Narasiṁha - seizing the asura Hiraṇyakaśipu

Vidāraṇa Narasiṁha - Tearing in the belly of the asura and dis entrailing him

Saṁhāra Narasiṁha - killing the Asura

Ghora Narasiṁha, Ugra Narasiṁha, Caṇḍa Narasiṁha, Jvālā Narasiṁha etc. Forms depict the quality of anger and vīra rasa as manifested by Narasiṁha. Lakṣmī Narasiṁha form depicts how Narasiṁha's wrath was pacified by the āliṅgana of Lakṣmī. Prāsāda Narasiṁha is Prahlāda Varada. Yoga Narasiṁha is a form where Narasiṁha meditates upon himself to calm down his anger and is suitable to be worshipped by tīvra mumukṣus and yogins. Chatra Narasiṁha is seated upon Ananta having Ananta's five hoods above him as a chatra.

When Narasiṁha is overcome or possessed and consumed by vīra rasa and divine anger, the svarūpa is called Āveśa Narasiṁha. During the battle with Hiraṅyakaśipu when He filled the directions with His rumbling, loud garjanās and laughter, he is called as Aṭṭahāsa Narasiṁha. Cakra Narasiṁha is a form where He is seated in Rājalīlāsana holding cakra in one hand.

The Viṣṇu-dharmottara identifies Narasiṁha with the Saṅkarṣaṇa form of Viṣṇu and explains that the demon Hiraṇyakaśipu symbolizes the ignorance, which Narasiṁha destroys. Saṅkarṣaṇa, in the form of Narasiṁha, eradicates the sins of the world arising from speech, mind, and body. Narasiṁha's form is described as destructive to all kinds of ignorance. The Sāttvata-saṁhitā similarly explains that the Narasiṁha's composite form embodies pure knowledge and eliminates the fear born of karma.

In the keeping with this symbolic representation or portrayal illustrates a figure possessing a human body but a lion-like head(galāntaṁ nararūpaṁ mahāsiṁham ataḥ para) , enveloped by thick manes reminiscent of flames (sa-sāṭā-skandha-samāyukta/jvālamālā kula mukho jvālā kesara maṇḍalaḥ). His three prominent, round eyes (vartule netre) emit fiery sparks (tryakṣair visphurantam) and radiate a luminosity likened to the combination of fire and the sun (bibharti netrāṇi hutāśanārka-prabhāñcitāni). He has a majestic and a fierce figure resembling a mountain of crystal (śuddha-sphaṭika saṅkāśam/śveta parvata saṅkāśam), fiery emanations (jvalad-agni-sphuliṅgābhis svadehotthābhir āvṛtam), furrowed and contorted eyebrows (bhruvau hyākuñcita vakre) , and a protruding tongue eager for blood (lelihāna-jihvā). He wears a tall crown (kirīṭa mukutojjvala) and is adorned with ornaments(sarvābharaṇa vibhūṣitā), including the Śrī-vatsa chiḥnam and Kaustubha maṇi on his chest. He wears a nāgayajñopavīta. Different texts suggest variations in his attire, such as a red bodice or garments (rakta-kañcuka-saṁyukta), dark blue clothes (nila-vāsah), or yellow attire (pitambara-suśobhita). His whole body is smeared with red sandalwood paste (rakta candana carcita/ rakta candana viliptāṅga).

Usually, Narasiṁha is depicted with a single head (dhyayed ekavaktram), as mentioned in the Sāttvata-saṁhitā. However, the Īśvara-saṁhitā describes a form of Narasiṁha with five heads and ten arms (pañcānana suśobhita), each head representing a direction (four primal directions and above) and shining with different colors. This form, known as Meru, is worshipped for protection and to alleviate various ailments.

Narasiṁha images fall into two categories: Girija and Sthūṇaja. Girija depicts Narasiṁha emerging from his mountain to protect His bhaktas, while Sthūṇaja portrays him ready to combat Hiraṇyakaśipu, often depicted in a fierce stance, either seated or standing. Girija images convey a calmer expression, sometimes showing Narasiṁha in a seated or yogic posture. Another classification of Narasiṁha idols are as svatantra and devī sahita. Svatantra mūrtis always depict Narasiṁha alone and Devī Sahita vigrahas have Lakṣmī seated on His lap or both Śrī and Bhū on His sides. Devī Sahita Mūrtis are considered as Saumya in nature while svatantra ones are Ugra. Prahlāda varada category of mūrtis where Bhakta Prahlāda is also depicted, are a subcategory within Devī Sahita and are Saumya in nature. In Īśvara Saṁhitā a variety of svarūpas called puccha Narasiṁhas are described. These forms have a lion like tail. These forms are very much lion like and have their hands pressed against the earth (karau bhūmau pratiṣṭhāpya) and is trashing the earth with His tail (āsphoṭya bhūmau lāṅgulam). These mūtris are ati ugra in nature.

🙏 Namo Narasiṁha 🙏