Shloka 16
Ṣaḍvidhārtha-Parijñāna: Praṇavārtha and the Sixfold Unity of Meaning (षड्विधार्थपरिज्ञानम् / प्रणवार्थपरिज्ञानम्)
सर्व्वाधस्ताल्लिखेत्पीठं तदूर्ध्वम्प्रथमं स्वरम् । उवर्णं च तदूर्द्ध्वं स्थम्पवर्गान्तं तदूर्ध्वगम्
sarvvādhastāllikhetpīṭhaṃ tadūrdhvamprathamaṃ svaram | uvarṇaṃ ca tadūrddhvaṃ sthampavargāntaṃ tadūrdhvagam
最下部に台座（ピートゥハ）を描く。その上にまず第一の母音を書き、さらに上に「u」を記し、その上に「stha」を置く。さらに上には「pa」から終わりまでの字列を、順次上方へ配してゆく。
Lord Shiva (instructional discourse in Kailāsasaṃhitā)
Tattva Level: pasha
Shiva Form: Sadāśiva
FAQs
It presents a disciplined, step-by-step upward arrangement of sacred phonemes over a pedestal, indicating that worship of Shiva is to be performed with ordered awareness—raising the mind from the base (support) toward higher, subtler mantra-principles aligned with Pati (Shiva).
The pīṭha (base) and the upward placement of syllables point to a structured form of Saguna worship—supporting concentration on the Linga through mantra/diagrammatic placement (nyāsa-like ordering), where sound (śabda) becomes a means to approach Shiva’s presence.
It suggests a written/drawn mantra arrangement (a yantra/nyāsa-style layout) used during worship—placing specific vowels and consonant groups in ascending order to steady the mind and sanctify the ritual space before japa or Linga-pūjā.