Shloka 16
Ṣaḍvidhārtha-Parijñāna: Praṇavārtha and the Sixfold Unity of Meaning (षड्विधार्थपरिज्ञानम् / प्रणवार्थपरिज्ञानम्)
सर्व्वाधस्ताल्लिखेत्पीठं तदूर्ध्वम्प्रथमं स्वरम् । उवर्णं च तदूर्द्ध्वं स्थम्पवर्गान्तं तदूर्ध्वगम्
sarvvādhastāllikhetpīṭhaṃ tadūrdhvamprathamaṃ svaram | uvarṇaṃ ca tadūrddhvaṃ sthampavargāntaṃ tadūrdhvagam
في أسفل الرسم يُخطّ المقعد (pīṭha). وفوقه تُكتب أولُ حركةٍ صوتية؛ وفوقها يُكتب الحرف «u»؛ وفوقه يُوضَع «stha»؛ ثم فوق ذلك تُرتَّب السلسلة التي تبدأ بـ«pa» إلى آخرها، صعودًا على التدرّج.
Lord Shiva (instructional discourse in Kailāsasaṃhitā)
Tattva Level: pasha
Shiva Form: Sadāśiva
FAQs
It presents a disciplined, step-by-step upward arrangement of sacred phonemes over a pedestal, indicating that worship of Shiva is to be performed with ordered awareness—raising the mind from the base (support) toward higher, subtler mantra-principles aligned with Pati (Shiva).
The pīṭha (base) and the upward placement of syllables point to a structured form of Saguna worship—supporting concentration on the Linga through mantra/diagrammatic placement (nyāsa-like ordering), where sound (śabda) becomes a means to approach Shiva’s presence.
It suggests a written/drawn mantra arrangement (a yantra/nyāsa-style layout) used during worship—placing specific vowels and consonant groups in ascending order to steady the mind and sanctify the ritual space before japa or Linga-pūjā.