Shloka 16

शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)

Devanagari script

वज्रवैडूर्यमाणिक्यमणिजालैः समावृतम् दोलाविक्षेपसंयुक्तं घण्टाचामरभूषितम्

Transliteration

vajravaiḍūryamāṇikyamaṇijālaiḥ samāvṛtam dolāvikṣepasaṃyuktaṃ ghaṇṭācāmarabhūṣitam

Translation

そこは金剛（ダイヤ）、ヴァイドゥーリヤ（猫眼石）、マーニキヤ（紅玉）の宝網に覆われ、吊り下げられた揺り椅子のゆらめきを備え、鈴とチャーマラ（ヤクの尾の払子）で荘厳されていた。

Word by Word

• वज्र: diamond

• वैडूर्य: vaiḍūrya gem (cat’s-eye/beryl-like jewel)

• माणिक्य: ruby

• मणिजालैः: with net-like arrays of gems

• समावृतम्: fully covered/enveloped

• दोला: swing/cradle

• विक्षेप: swaying/tossing motion

• संयुक्तम्: joined/combined with

• घण्टा: bell

• चामर: yak-tail fan (royal fan used in worship)

• भूषितम्: adorned/decorated

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

This verse highlights upacāras (honorific offerings) in Linga-pūjā—ornamentation, bells, and chamara—showing that devotion refines material splendor into sacred service offered to Pati (Shiva).

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

By depicting the Linga as worthy of royal and celestial honors, the verse affirms Shiva as the supreme Lord (Pati) beyond pasha (bondage), to whom all beauty and value are ultimately offered and transcended.

What ritualistic or Yogic practice is highlighted here?

Ritualistically, it points to alankāra-upacāra—decorating the Linga and using bells and chamara during worship; yogically, it implies sublimation of attachment by dedicating prized objects and sensory experiences to Shiva.