Shloka 24

शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)

Devanagari script

स्फाटिकैर् मण्डपैः शुभ्रैर् जांबूनदमयैस् तथा नानारत्नमयैश्चैव दिग्विदिक्षु विभूषितम्

Transliteration

sphāṭikair maṇḍapaiḥ śubhrair jāṃbūnadamayais tathā nānāratnamayaiścaiva digvidikṣu vibhūṣitam

Translation

وكانت مُزَيَّنةً في كلِّ الجهاتِ والجهاتِ الفرعية بأروقةٍ من البلّورِ الصافي المتلألئ، وببُنىً من ذهبِ جامبونادا، وبحُليٍّ من شتّى الجواهر—مُظهِرةً بهاءَ مقامِ اللِّينغا المقدّس للربّ.

Word by Word

• स्फाटिकैः: with crystal (clear quartz)

• मण्डपैः: with pavilions/mandapas

• शुभ्रैः: white, radiant, auspicious

• जांबूनदमयैः: made of Jāmbūnada-gold (pure gold)

• तथा: and also

• नानारत्नमयैः: made of various gems

• च एव: and indeed

• दिग्विदिक्षु: in the directions and intermediate directions

• विभूषितम्: adorned, decorated, beautified

Speaker

Suta Goswami

Characters & Entities

• Shiva
• Linga

FAQs

What is the importance of this verse in the context of Linga worship?

It frames the Linga’s abode as a consecrated mandapa adorned in all directions, implying that Linga-puja is not merely personal devotion but a complete sanctification of space—aligning the worshipper (pashu) with the Lord (Pati) through ordered, sacred surroundings.

How does this verse describe the nature of Shiva (Shiva-tattva)?

By portraying the Linga-shrine as universally adorned in every quarter, the verse points to Shiva-tattva as all-pervading and sovereign over the totality of space—transcendent yet manifest as the luminous center of worship.

What ritualistic or Yogic practice is highlighted here?

It highlights puja-vidhi through mandapa-bhāvanā (consecrated pavilion arrangement) and dik-bandhana (directional sanctification), which can be internalized in Pashupata-oriented practice as establishing a purified inner ‘mandapa’ around the awareness of the Linga.