Shloka 14

भुवनकोशस्वभाववर्णनम् — सप्तद्वीप-पर्वत-लोकविन्यासः तथा यक्ष-उमा-प्रकाशः

Devanagari script

क्रौञ्चो वामनकः पश्चात् तृतीयश्चान्धकारकः अन्धकारात्परश्चापि दिवावृन्नाम पर्वतः

Transliteration

krauñco vāmanakaḥ paścāt tṛtīyaścāndhakārakaḥ andhakārātparaścāpi divāvṛnnāma parvataḥ

Translation

Als Nächstes kommt Krauñca, dann Vāmanaka; der dritte heißt Andhakāraka. Jenseits von Andhakāra liegt auch der Berg namens Divāvṛt — so werden die Gebirge der Reihe nach genannt.

Word by Word

• क्रौञ्चः: Krauñca (a mountain)

• वामनकः: Vāmanaka (a mountain)

• पश्चात्: thereafter/next

• तृतीयः: the third

• च: and

• अन्धकारकः: Andhakāraka (the ‘darkness’ mountain)

• अन्धकारात्: from/beyond Andhakāra

• परः: further/beyond

• च अपि: also

• दिवावृत्-नाम: named Divāvṛt (‘day-enclosed/covered’)

• पर्वतः: mountain

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Krauñca
• Vāmanaka
• Andhakāraka
• Divāvṛt

FAQs

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

By listing ordered mountain-regions, the verse supports the Purana’s sacred-cosmos framework in which Shiva as Pati pervades and governs all realms; Linga worship is performed with this awareness of the universe as His manifested field (kṣetra).

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

Though Shiva is not named directly, the structured enumeration implies an intelligible cosmic order sustained by the Supreme Pati; the manifested world (including ‘darkness’ and ‘day’) operates under His sovereignty, while the Pashu (soul) seeks liberation from Pasha within that same ordered reality.

What ritualistic or Yogic practice is highlighted here?

No specific puja-vidhi is stated; the takeaway is contemplative orientation—using cosmic geography as a support for dhyāna in Pashupata-aligned practice, recognizing all regions as encompassed by Shiva’s lordship.