Shloka 12

मेरुवर्णनम्—प्रमाण, दिग्विभाग, देवपुरी-विमान-निवासाः

Devanagari script

स्त्रीसहस्रैः समाकीर्णा चाप्सरोभिः समन्ततः दीर्घिकाभिर्विचित्राभिः फुल्लाम्भोरुहसंकुलैः

Transliteration

strīsahasraiḥ samākīrṇā cāpsarobhiḥ samantataḥ dīrghikābhirvicitrābhiḥ phullāmbhoruhasaṃkulaiḥ

Translation

あたり一面は幾千もの天女とアプサラスに満ち、さらに妙なる蓮池が飾りとなって、咲き満ちた水蓮が群れ立っていた。その吉祥なる輝きは、聖なる界の至高の中心としてパティを際立たせていた。

Word by Word

• स्त्रीसहस्रैः: by thousands of women

• समाकीर्णा: completely filled/densely thronged

• च: and

• अप्सरोभिः: by Apsarās (celestial nymphs)

• समन्ततः: on all sides/everywhere

• दीर्घिकाभिः: with ponds/tanks (dīrghikā)

• विचित्राभिः: variegated/wondrous

• फुल्ल: fully blossomed

• अम्भोरुह: lotus/water-born flower

• संकुलैः: crowded/filled with

Speaker

Suta Goswami (narrating to the sages of Naimisharanya; internal scene description inferred from Purana style)

Characters & Entities

• Apsaras

FAQs

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

It establishes the auspicious, sattvic atmosphere surrounding the Lord—implying that Linga-puja is supported by purity, beauty, and ordered sacred space (kṣetra-bhāva), which helps the pashu (soul) turn toward Pati (Shiva).

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

By portraying a realm overflowing with divine harmony and auspiciousness, it indirectly points to Shiva-tattva as the supreme, centripetal reality around which all splendor and divine energies are arranged—Shiva as Pati, the ground of sacred order beyond pasha.

What ritualistic or Yogic practice is highlighted here?

No single rite is directly prescribed, but the imagery supports puja-vidhi principles: maintaining a pure, auspicious setting (cleanliness, flowers/lotus symbolism, sanctified water) that steadies the mind for Pashupata-oriented contemplation and devotion.