Shloka 72

वासिष्ठकथनम् (आदित्य–सोमवंशवर्णनम् तथा रुद्रसहस्रनाम-प्रशंसा)

Devanagari script

सिंहशार्दूलरूपाणाम् आर्द्रचर्मांबरंधरः कालयोगी महानादः सर्वावासश्चतुष्पथः

Transliteration

siṃhaśārdūlarūpāṇām ārdracarmāṃbaraṃdharaḥ kālayogī mahānādaḥ sarvāvāsaścatuṣpathaḥ

Translation

Śiva, que asume las formas del león y del tigre; que viste un manto de piel húmeda; el Yogui del Tiempo (Kāla), el Gran Sonido (Mahānāda). Mora en todos como morada interior, y permanece en la encrucijada de cuatro caminos—presente en toda senda y en todo estado del ser.

Word by Word

• siṃha: lion

• śārdūla: tiger

• rūpāṇām: of forms/appearances

• ārdracarma: moist/fresh hide

• aṃbara: garment/covering

• dharaḥ: bearer/wearer

• kāla: time/death

• yogī: yogin/master of yoga

• mahānādaḥ: great sound/cosmic resonance

• sarva: all

• āvāsaḥ: dwelling/abode

• catuṣpathaḥ: fourfold crossroads/four paths

Speaker

Suta Goswami (narrating Shiva Sahasranama to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It frames Shiva as the indwelling Lord (Pati) present in all abodes and paths; thus Linga-puja is not merely external worship but recognition of Shiva’s all-pervasive presence through a consecrated symbol.

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

Shiva is shown as transcendent yet immanent: taking fierce protective forms (lion/tiger), mastering Time (Kāla), manifesting as cosmic vibration (Mahānāda), and dwelling within all beings—Pati who pervades every pashu while remaining unbound by pasha.

What ritualistic or Yogic practice is highlighted here?

The epithet Kālayogī points to meditative absorption on Shiva as the Lord of Time, while Mahānāda supports nāda-anusandhāna (contemplation of inner sound) as a Shaiva yogic aid aligned with Pashupata-oriented discipline.