Shiva Purana — Vayaviya Samhita, Shloka 33
न्यासत्रैविध्य-भूतशुद्धि-प्रक्रिया
Threefold Nyāsa and the Procedure of Elemental Purification
ततश्चतुर्षु वक्त्रेषु पुरुषस्य कला अपि । चतस्रः प्रणिधातव्याः पूर्वादिक्रमयोगतः । हृत्कंठांसेषु नाभौ च कुक्षौ पृष्ठे च वक्षसि । अघोरस्य कलाश्चाष्टौ पादयोरपि हस्तयोः
tataścaturṣu vaktreṣu puruṣasya kalā api | catasraḥ praṇidhātavyāḥ pūrvādikramayogataḥ | hṛtkaṃṭhāṃseṣu nābhau ca kukṣau pṛṣṭhe ca vakṣasi | aghorasya kalāścāṣṭau pādayorapi hastayoḥ
ثم على الوجوه الأربعة تُوضَع أيضًا الكَلاّت الأربع لهيئة «بوروشا» (Puruṣa)، وفق الترتيب الصحيح ابتداءً من الوجه الشرقي. وتُثبَّت في القلب والحنجرة والكتفين والسُّرّة والبطن والظهر والصدر. وكذلك تُوضَع كَلاّت «أغورا» (Aghora) الثماني على القدمين، وعلى اليدين أيضًا.
Suta Goswami
Tattva Level: pashu
Shiva Form: Tatpuruṣa
Role: teaching
FAQs
It teaches inner worship (mānasa-pūjā) where Shiva’s kalās are reverently installed in the body, transforming the seeker (paśu) by aligning awareness with Pati (Shiva) and loosening the bonds (pāśa) through disciplined dhyāna.
Though Linga worship is often external, this verse presents an internalized Saguna approach: Shiva’s aspects (Puruṣa and Aghora) are contemplated as living presences mapped onto faces, limbs, and vital centers—making the body a temple for Linga-bhāvanā.
A form of nyāsa and dhyāna is implied—mentally placing Shiva’s kalās in specified bodily locations (heart, throat, shoulders, etc.), commonly paired with mantra-japa (such as the Panchākṣarī) to stabilize concentration and purity.