Shloka 48

उमामहेश्वरव्रतं—पञ्चाक्षरमन्त्रस्य माहात्म्यं, न्यासः, जपविधिः, सदाचारः, विनियोगः

Devanagari script

पञ्चमः स्वरितश्चैव मध्यमो निषधः स्मृताः नकारः पीतवर्णश् च स्थानं पूर्वमुखं स्मृतम्

Transliteration

pañcamaḥ svaritaścaiva madhyamo niṣadhaḥ smṛtāḥ nakāraḥ pītavarṇaś ca sthānaṃ pūrvamukhaṃ smṛtam

Translation

الخامس يُنطق بنبرة سْفَريتَا؛ ومجاله الموسيقي هو الوسط (madhyama)، ونغمته تُعرف باسم نِشَذَه (Niṣadha). والمقطع «na» لونه أصفر ذهبي، وموضعه يُذكر في الوجه الشرقي—هكذا تُعلَّم مرتبته.

Word by Word

• पञ्चमः: the fifth (sound/letter category)

• स्वरितः: svarita-accented

• च एव: and indeed

• मध्यमः: middle (pitch/register)

• निषधः: Niṣadha (musical note)

• स्मृताः: are remembered/declared

• नकारः: the syllable/letter ‘na’

• पीत-वर्णः: yellow/golden-colored

• च: and

• स्थानम्: place/locus

• पूर्व-मुखम्: eastern face/front

• स्मृतम्: is remembered/declared

Speaker

Suta Goswami (narrating traditional Shiva-mantra/varna-nyasa teaching within the Linga Purana)

Characters & Entities

• Shiva

FAQs

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

It encodes a nyāsa-style mapping—sound (svara), note (niṣadha), color (pīta), and direction (east)—so the devotee installs mantra into the ritual body of the Linga, making worship an internalized, mantric consecration.

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

Shiva-tattva is presented as manifesting through śabda (sacred sound) ordered by cosmic correspondences; the Pati is approached not only as form (liṅga) but as the luminous intelligence structuring speech, direction, and ritual perception.

What ritualistic or Yogic practice is highlighted here?

Varnamālā/akṣara-nyāsa linked to Linga-pūjā: assigning syllables with accent, pitch, color, and directional face, a practice that supports Pāśupata-style purification of the paśu by loosening pasha through disciplined mantra-placement.