Shloka 73

उमामहेश्वरव्रतं—पञ्चाक्षरमन्त्रस्य माहात्म्यं, न्यासः, जपविधिः, सदाचारः, विनियोगः

Devanagari script

कृत्वाङ्गन्यासमेवं हि मुखानि परिकल्पयेत् पूर्वादि चोर्ध्वपर्यन्तं नकारादि यथाक्रमम्

Transliteration

kṛtvāṅganyāsamevaṃ hi mukhāni parikalpayet pūrvādi cordhvaparyantaṃ nakārādi yathākramam

Translation

Habiendo realizado así el aṅga-nyāsa, debe entonces concebir ritualmente los (divinos) rostros, comenzando por la dirección del Este y avanzando hasta lo Alto (el cenit), asignándolos en el debido orden a partir de la sílaba «na» y las restantes (de la secuencia mantrica).

Word by Word

• कृत्वा (kṛtvā): having done

• अङ्गन्यासम् (aṅga-nyāsam): placement/installation of mantra on the limbs (ritual nyāsa)

• एवम् (evam): thus

• हि (hi): indeed

• मुखानि (mukhāni): faces/aspects (of the deity, directionally conceived)

• परिकल्पयेत् (parikalpayet): one should imagine/assign/ritually arrange

• पूर्वादि (pūrvādi): beginning with the east and other directions

• च (ca): and

• ऊर्ध्वपर्यन्तम् (ūrdhva-paryantam): up to the upper direction/zenith

• नकारादि (nakārādi): beginning with ‘na’ (the ‘na’ syllable and onward)

• यथाक्रमम् (yathākramam): in proper sequence

Speaker

Suta Goswami (narrating the Puja-vidhi to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It instructs that after aṅga-nyāsa, the worshipper should perform a structured visualization/assignment of Shiva’s directional faces, aligning the rite with mantra-order (nakārādi), thereby making the Linga-puja an ‘installed’ presence rather than a mere external offering.

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

Shiva is approached as Pati who pervades all directions and transcends them (reaching ‘ūrdhva’), and is accessed through mantra-śakti—His aspects are ritually ‘conceived’ so the bound soul (paśu) can orient mind and prāṇa toward the all-pervading Lord.

What ritualistic or Yogic practice is highlighted here?

Aṅga-nyāsa followed by dik/ūrdhva-vinyāsa (directional arrangement of faces/aspects) keyed to a mantra-syllable sequence (nakārādi), a practice that supports Pashupata-style inner purification and focused worship.