Shloka 18
दुर्गोपवीत-रचना तथा शिवामलङ्कारोत्सवः | The Making of the Durgopavīta and Pārvatī’s Auspicious Adornment Festival
तदा वादित्रघोषेण ब्रह्मघोषेण भूयसा । महोत्साहोऽभवत्तत्र गीतनृत्यान्वितेन हि
tadā vāditraghoṣeṇa brahmaghoṣeṇa bhūyasā | mahotsāho'bhavattatra gītanṛtyānvitena hi
Dann, inmitten des widerhallenden Klangs der Instrumente und des noch lauteren Gesangs der vedischen Hymnen, erhob sich dort ein großer Schub freudiger Begeisterung — wahrlich begleitet von Gesang und Tanz.
Sūta Gosvāmin
Tattva Level: pashu
Shiva Form: Naṭarāja
Sthala Purana: Not tied to a Jyotirliṅga; it depicts utsava-lakṣaṇa—instrumental music, Vedic recitation, song and dance—surrounding Śiva’s presence.
Significance: Establishes that Veda-ghoṣa and nāda (sacred sound) are legitimate modes of honoring Śiva; communal celebration becomes a vehicle for stabilizing devotion (sthiti) and inviting grace.
Type: rudram
Shakti Form: Pārvatī
Role: nurturing
FAQs
It highlights śabda (sacred sound) as a purifier and awakener of bhakti—where Vedic recitation and devotional music together intensify collective devotion, turning celebration into an uplifting spiritual atmosphere oriented toward Śiva.
Such descriptions commonly frame public worship around Saguna Śiva—where the Lord is approached through accessible forms, rituals, and communal devotion; the ‘brahmaghoṣa’ (Vedic sound) sanctifies the rite, while music and dance express heartfelt bhakti in the presence of the worshipped deity (often the Liṅga in Shaiva practice).
Group nāma-saṅkīrtana or mantra-japa with rhythmic accompaniment is implied; as a takeaway, one may combine pañcākṣara-japa ("Om Namaḥ Śivāya") with Vedic/Śaiva stotra recitation in a disciplined, sattvic celebratory worship setting.