Shloka 94

अध्याय ८२ — व्यपोहनस्तवः (पापव्यपोहन-स्तोत्रम्)

Devanagari script

ऐरावतगजारूढः कृष्णकुञ्चितमूर्धजः कृष्णाङ्गो रक्तनयनः शशिपन्नगभूषणः

Transliteration

airāvatagajārūḍhaḥ kṛṣṇakuñcitamūrdhajaḥ kṛṣṇāṅgo raktanayanaḥ śaśipannagabhūṣaṇaḥ

Translation

ព្រះអង្គជិះលើដំរីអៃរាវត; មានសក់ខ្មៅរួញរលោង; រាងកាយខ្មៅ និងភ្នែកក្រហម; តុបតែងដោយព្រះចន្ទ និងពស់—ដូច្នេះហើយជាព្រះអម្ចាស់អតីតកំពូល (បតិ) ដែលទម្រង់របស់ព្រះអង្គផ្តល់ទស្សនៈដល់បសុ (ព្រលឹង) ឲ្យស្រាលផាសៈ (ចំណង)។

Word by Word

• ऐरावत-गज-आरूढः: mounted on the elephant Airāvata

• कृष्ण-कुञ्चित-मूर्धजः: whose head-hair is dark and curled

• कृष्ण-अङ्गः: dark-bodied/dark-limbed

• रक्त-नयनः: red-eyed

• शशि-पन्नग-भूषणः: adorned with the moon and the serpent

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Airavata
• Chandra (Moon)
• Naga (Serpent)

FAQs

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

It functions as a dhyāna-style description: contemplating Shiva’s auspicious marks (moon, serpent, radiant eyes) steadies the mind for Linga-pūjā and turns worship toward Pati, the liberator of paśu from pāśa.

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

Shiva-tattva is shown as both transcendent and manifest: the Lord assumes a graspable, symbol-rich form, yet remains the supreme Pati whose presence alone begins the release of bondage.

What ritualistic or Yogic practice is highlighted here?

Śiva-dhyāna (iconic contemplation) aligned with Pāśupata orientation—using the Lord’s attributes as supports for one-pointed meditation before or during Linga-arcana.