Shloka 94

अध्याय ८२ — व्यपोहनस्तवः (पापव्यपोहन-स्तोत्रम्)

Devanagari script

ऐरावतगजारूढः कृष्णकुञ्चितमूर्धजः कृष्णाङ्गो रक्तनयनः शशिपन्नगभूषणः

Transliteration

airāvatagajārūḍhaḥ kṛṣṇakuñcitamūrdhajaḥ kṛṣṇāṅgo raktanayanaḥ śaśipannagabhūṣaṇaḥ

Translation

Monté sur l’éléphant Airāvata, aux boucles sombres, aux membres noirs et aux yeux rouges, Il est paré de la lune et du serpent. Tel est le Seigneur Suprême (Pati), dont la forme accorde au paśu (l’âme) une vision qui desserre les liens du pāśa (entrave).

Word by Word

• ऐरावत-गज-आरूढः: mounted on the elephant Airāvata

• कृष्ण-कुञ्चित-मूर्धजः: whose head-hair is dark and curled

• कृष्ण-अङ्गः: dark-bodied/dark-limbed

• रक्त-नयनः: red-eyed

• शशि-पन्नग-भूषणः: adorned with the moon and the serpent

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Airavata
• Chandra (Moon)
• Naga (Serpent)

FAQs

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

It functions as a dhyāna-style description: contemplating Shiva’s auspicious marks (moon, serpent, radiant eyes) steadies the mind for Linga-pūjā and turns worship toward Pati, the liberator of paśu from pāśa.

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

Shiva-tattva is shown as both transcendent and manifest: the Lord assumes a graspable, symbol-rich form, yet remains the supreme Pati whose presence alone begins the release of bondage.

What ritualistic or Yogic practice is highlighted here?

Śiva-dhyāna (iconic contemplation) aligned with Pāśupata orientation—using the Lord’s attributes as supports for one-pointed meditation before or during Linga-arcana.