Shloka 28

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

Devanagari script

ऐरावतः सुप्रतीको गजावेतौ सुपूजितौ मुकुटं काञ्चनं चैव निर्मितं विश्वकर्मणा

Transliteration

airāvataḥ supratīko gajāvetau supūjitau mukuṭaṃ kāñcanaṃ caiva nirmitaṃ viśvakarmaṇā

Translation

Airāvata dan Supratīka—dua gajah mulia yang sangat dihormati—dipersembahkan. Dan sebuah mahkota emas pun dibuat oleh Viśvakarman untuk dipersembahkan.

Word by Word

• ऐरावतः (airāvataḥ): Airavata

• सुप्रतीकः (supratīkaḥ): Supratika

• गजौ (gajau): two elephants

• एतौ (etau): these two

• सुपूजितौ (supūjitau): well-honored, greatly revered

• मुकुटम् (mukuṭam): crown/diadem

• काञ्चनम् (kāñcanam): golden

• च एव (caiva): and also

• निर्मितम् (nirmitam): made, fashioned

• विश्वकर्मणा (viśvakarmaṇā): by Vishvakarman (the divine artisan)

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Airavata
• Supratika
• Vishvakarman

FAQs

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

It frames royal emblems (elephants and a golden crown) as supportive symbols of divine sovereignty, reminding the devotee that all aishvarya ultimately belongs to Shiva as Pati and is to be oriented toward Linga-puja rather than personal pride.

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

By highlighting divinely fashioned splendor, it implies Shiva-tattva as the supreme Lordship (aisvarya) that transcends yet can manifest through forms and symbols—guiding pashu (the soul) beyond pasha (bondage) toward the Pati.

What ritualistic or Yogic practice is highlighted here?

Ritually, it points to upachara-style honoring of the Divine with auspicious items; yogically (Pashupata), it teaches non-attachment—recognizing splendor as Shiva’s, while the practitioner pursues inner purification and steadfast devotion.