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

স্ফটিকৰ উজ্জ্বল মণ্ডপ, জাঁবূনদ-সুৱৰ্ণময় নিৰ্মাণ আৰু নানাৰত্নময় অলংকাৰৰে—দিশা আৰু বিদিশাত সৰ্বত্র—সেই নগৰ বিভূষিত আছিল।

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.