Shloka 23
Bhaimaśaṅkara-māhātmya: Śiva’s Descent in Kāmarūpa and the Rise of Bhīma
ऊर्ध्वबाहुश्चैकपादस्सूर्य्ये दृष्टिं दधत्पुरा । संस्थितस्स बभूवाथ भीमो राक्षसपुत्रकः
ūrdhvabāhuścaikapādassūryye dṛṣṭiṃ dadhatpurā | saṃsthitassa babhūvātha bhīmo rākṣasaputrakaḥ
Dahulu putra raksasa yang mengerikan itu berdiri dalam tapa-vrata yang berat—mengangkat kedua lengan, bertumpu pada satu kaki, dan memusatkan pandangannya pada Surya (Matahari).
Suta Goswami
Tattva Level: pashu
FAQs
It depicts intense tapas (austerity) and ekāgratā (one-pointedness). In a Shaiva Siddhanta lens, such discipline becomes spiritually fruitful only when oriented toward Pati (Lord Shiva) rather than mere power or pride.
The verse shows external austerity (posture, gaze, endurance), which in Shiva worship is ideally redirected into devotion to Saguna Shiva—often through Linga-upāsanā—so that tapas matures into bhakti and grace rather than self-will.
A practical takeaway is steady dhyāna with regulated posture and focused attention, supported by Panchākṣarī japa (Om Namaḥ Śivāya) and, where appropriate, Shaiva marks like Tripuṇḍra (bhasma) and Rudrākṣa to anchor the mind in Shiva-bhāva.