Shloka 27
पार्वत्याः पितृगृहगमनं तथा मङ्गलस्वागतम् | Pārvatī’s Return to Her Father’s House and the Auspicious Welcome
शृंगं वामे करे धृत्वा दक्षिणे डमरु तथा । पृष्ठे कंथां रक्तवासा नृत्यगानविशारदः
śṛṃgaṃ vāme kare dhṛtvā dakṣiṇe ḍamaru tathā | pṛṣṭhe kaṃthāṃ raktavāsā nṛtyagānaviśāradaḥ
كان يمسك بقرنٍ في يده اليسرى، وبـدَمَرو (ḍamaru) في يده اليمنى؛ وعلى ظهره رداءٌ، وعليه لباسٌ أحمر، وهو بالغُ المهارة في الرقص والغناء.
Suta Goswami
Tattva Level: pati
Shiva Form: Naṭarāja
FAQs
The verse highlights Shiva’s Saguna (manifest) attributes—sound (ḍamaru), rhythm, and divine artistry—showing that creation, dissolution, and grace operate through sacred vibration (nāda) and ordered movement, guiding devotees toward inner stillness and liberation.
While the Liṅga points to Shiva’s transcendent Nirguna reality, such iconographic descriptions support Saguna upāsanā: devotees contemplate Shiva’s forms and symbols (like the ḍamaru) to steady the mind, mature devotion, and ultimately realize the Liṅga’s formless truth.
Meditate on the ḍamaru as the source of sacred sound and silently repeat the Pañcākṣarī mantra “Om Namaḥ Śivāya,” aligning breath and attention with rhythmic japa—especially suitable for Mahāśivarātri vrata, worship, and night-long kīrtana.