Shloka 12

मेरुवर्णनम्—प्रमाण, दिग्विभाग, देवपुरी-विमान-निवासाः

Devanagari script

स्त्रीसहस्रैः समाकीर्णा चाप्सरोभिः समन्ततः दीर्घिकाभिर्विचित्राभिः फुल्लाम्भोरुहसंकुलैः

Transliteration

strīsahasraiḥ samākīrṇā cāpsarobhiḥ samantataḥ dīrghikābhirvicitrābhiḥ phullāmbhoruhasaṃkulaiḥ

Translation

All around it was densely filled with thousands of celestial women and Apsarās, and adorned with wondrous lotus-ponds crowded with fully blossomed water-lilies—an auspicious splendor that frames Pati as the supreme center of the sacred realm.

Word by Word

• स्त्रीसहस्रैः: by thousands of women

• समाकीर्णा: completely filled/densely thronged

• च: and

• अप्सरोभिः: by Apsarās (celestial nymphs)

• समन्ततः: on all sides/everywhere

• दीर्घिकाभिः: with ponds/tanks (dīrghikā)

• विचित्राभिः: variegated/wondrous

• फुल्ल: fully blossomed

• अम्भोरुह: lotus/water-born flower

• संकुलैः: crowded/filled with

Speaker

Suta Goswami (narrating to the sages of Naimisharanya; internal scene description inferred from Purana style)

Characters & Entities

• Apsaras

FAQs

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

It establishes the auspicious, sattvic atmosphere surrounding the Lord—implying that Linga-puja is supported by purity, beauty, and ordered sacred space (kṣetra-bhāva), which helps the pashu (soul) turn toward Pati (Shiva).

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

By portraying a realm overflowing with divine harmony and auspiciousness, it indirectly points to Shiva-tattva as the supreme, centripetal reality around which all splendor and divine energies are arranged—Shiva as Pati, the ground of sacred order beyond pasha.

What ritualistic or Yogic practice is highlighted here?

No single rite is directly prescribed, but the imagery supports puja-vidhi principles: maintaining a pure, auspicious setting (cleanliness, flowers/lotus symbolism, sanctified water) that steadies the mind for Pashupata-oriented contemplation and devotion.