Shloka 39

शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)

Devanagari script

किन्नर्यः किंनराश्चैव भुजङ्गाः सिद्धकन्यकाः नानावेषधराश्चान्या नानाभूषणभूषिताः

Transliteration

kinnaryaḥ kiṃnarāścaiva bhujaṅgāḥ siddhakanyakāḥ nānāveṣadharāścānyā nānābhūṣaṇabhūṣitāḥ

Translation

また、キンナリーとキンナラ、蛇族の者たち、シッダの乙女らがあり、さらに他の者たちも種々の装いをまとい、さまざまな宝飾で身を飾って、その神聖なる集いに उपस्थितしていた。

Word by Word

• किन्नर्यः: Kinnarīs (celestial female musicians)

• किंनराः: Kinnaras (celestial male musicians)

• च एव: and indeed

• भुजङ्गाः: serpent-beings (Nāgas)

• सिद्धकन्यकाः: maidens of the Siddhas (accomplished celestial beings)

• नाना: many, various

• वेषधराः: wearing forms/garments, assuming disguises

• च अन्याः: and others

• नाना: various

• भूषण: ornaments

• भूषिताः: adorned, decorated

Speaker

Suta Goswami

Characters & Entities

• Kinnaras
• Kinnaris
• Bhujangas (Nagas)
• Siddhas

FAQs

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

It portrays the vast, multi-realm participation in Shiva’s sphere—celestial beings and perfected hosts gathering around the sacred presence, implying that Linga-worship is a universal (sarva-loka) Shaiva rite under Pati, the Lord of all.

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

By showing diverse beings in varied attire and ornaments converging, the verse hints that all differentiated forms belong to the manifested order, while Shiva-tattva remains the sovereign Pati who draws all categories of beings into a single sacred orientation.

What ritualistic or Yogic practice is highlighted here?

No specific puja-vidhi is stated; the takeaway is the Shaiva Siddhanta framing of many forms (veṣa) as part of the world of pashus, which are to be gathered and purified through devotion—typically expressed through Linga-puja and Pashupata-oriented discipline.