Shloka 15

विदलोत्पलदैत्ययोरुत्पत्तिः देवपराजयः ब्रह्मोपदेशः नारदप्रेषणम्

Vidalotpala Daityas, Defeat of the Devas, Brahmā’s Counsel, and Nārada’s Mission

Devanagari script

स्फुटच्चोलांशुकपथतिर्यदंगप्रभावृता । उल्लसत्कंदुकास्फालातिश्रोणितकराम्बुजा

Transliteration

sphuṭaccolāṃśukapathatiryadaṃgaprabhāvṛtā | ullasatkaṃdukāsphālātiśroṇitakarāmbujā

Translation

Her limbs were partly veiled by the clear, slanting line of her garment; and as she moved, her lotus-like hips and hands shone forth, lively with the playful bouncing of her youthful grace.

Word by Word

• स्फुटत्-चोल-अंशुक-पथ-तिर्यक्-अङ्ग-प्रभा-आवृता: covered with the sideways radiance of her limbs through the clearly visible path of her garment
• स्फुटत्-चोल-अंशुक-पथ-तिर्यक्-अङ्ग-प्रभा-आवृता: Viśeṣaṇa (विशेषण)
• Type: Adjective
• Root: स्फुट् (धातु) + चोल (प्रातिपदिक) + अंशुक (प्रातिपदिक) + पथ (प्रातिपदिक) + तिर्यक् (अव्यय/प्रातिपदिक) + अङ्ग (प्रातिपदिक) + प्रभा (प्रातिपदिक) + आवृत (कृदन्त)
• Form: बहुव्रीहि-समास (या स्फुटच्चोलांशुकपथेन तिर्यगङ्गप्रभया आवृता); स्त्रीलिङ्ग, प्रथमा-विभक्ति, एकवचन

• उल्लसत्-कन्दुक-आस्फाल-अति-श्रोणि-तट-कर-अम्बुजा: whose lotus-like hands shone near her very broad hips while striking the ball
• उल्लसत्-कन्दुक-आस्फाल-अति-श्रोणि-तट-कर-अम्बुजा: Viśeṣaṇa (विशेषण)
• Type: Adjective
• Root: उल्लस् (धातु) + कन्दुक (प्रातिपदिक) + आ + स्फल् (धातु) + अति (अव्यय) + श्रोणि (प्रातिपदिक) + तट (प्रातिपदिक) + कर (प्रातिपदिक) + अम्बुज (प्रातिपदिक)
• Form: बहुव्रीहि-समास (यस्याः कराम्बुजानि उल्लसत्कन्दुकास्फालात् अति-श्रोणितटे); स्त्रीलिङ्ग, प्रथमा-विभक्ति, एकवचन

Speaker

Suta Goswami

Shaiva Theology

Tattva Level: pati

Shiva Form: Umāpati

Shakti Dimension

Shakti Form: Pārvatī

Role: creative

Ritual Elements

Offering: dipa

Characters & Entities

• Shiva
• Parvati

FAQs

What is the spiritual significance of this verse in the Shiva Purana?

The verse uses poetic imagery of movement, radiance, and lotus-like grace to present the divine form as a sanctified object of contemplation—guiding the devotee from sensory beauty (saguṇa) toward inner reverence and purified awareness aligned with Śiva-Śakti.

How does this verse relate to the worship of the Linga or Saguna Shiva?

Such descriptions support saguṇa-upāsanā: the mind steadies by contemplating sacred form and auspicious qualities. In Śaiva practice, this matures into Linga worship where form becomes a doorway to the formless Lord (nirguṇa) without denying the sanctity of manifested beauty.

What ritualistic or meditative practice is suggested here?

A practical takeaway is dhyāna (devotional visualization) of Śiva-Śakti with disciplined purity—paired with japa of the Pañcākṣarī “Om Namaḥ Śivāya” to convert aesthetic attention into bhakti and inward steadiness.