Shloka 21

Adhyaya 44: Nandikesvara’s Manifestation and Abhisheka; The Rule of Namaskara in Shiva-Nama

Devanagari script

स्तंभैश् च वैडूर्यमयैः किङ्किणीजालसंवृतम् चारुरत्नकसंयुक्तं मण्डपं विश्वतोमुखम्

Transliteration

staṃbhaiś ca vaiḍūryamayaiḥ kiṅkiṇījālasaṃvṛtam cāruratnakasaṃyuktaṃ maṇḍapaṃ viśvatomukham

Translation

Y había un maṇḍapa cuyo pilares eran de vaidūrya (gema ojo de gato), cercado por celosías de diminutas campanillas, adornado con joyas exquisitas y orientado hacia todas las direcciones: digno de Pati, el Señor omnipresente, ante quien todo sendero del paśu se vuelve hacia la liberación.

Word by Word

• स्तंभैः: with pillars

• च: and

• वैडूर्यमयैः: made of vaidūrya (cat’s-eye gem)

• किङ्किणीजालसंवृतम्: enclosed/covered with a net (lattice) of small bells

• चारु: beautiful, exquisite

• रत्नकसंयुक्तम्: furnished/adorned with jewels

• मण्डपम्: pavilion, hall

• विश्वतोमुखम्: having faces/openings in all directions, facing everywhere

Speaker

Suta Goswami

FAQs

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

It highlights the maṇḍapa (ritual pavilion) as an auspicious, carefully consecrated space—adorned and oriented “in all directions”—supporting proper Shiva-puja and the devotee’s approach to the Linga as the universal presence.

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

Through the term viśvatomukha (“facing everywhere”), the verse implies Shiva’s all-pervasive Pati-nature: the Lord is not confined to one direction or form, and all directions open into His presence.

What ritualistic or Yogic practice is highlighted here?

It points to puja-vidhi foundations—preparing the mandapa for worship—where the sanctified environment aids steadiness of mind (yogic focus) and supports Pashupata-oriented devotion toward liberation from pāśa (bondage).