Shloka 122
Adhyaya 71: पुरत्रयवृत्तान्तः—ब्रह्मवरदानम्, मयकृतत्रिपुर-निर्माणम्, विष्णुमाया-धर्मविघ्नः, शिवस्तुति, त्रिपुरदाहोपक्रमः
पुत्रं पुत्रवतां श्रेष्ठं भूषितं भूषणैः शुभैः मुकुटैः कटकैश्चैव कुण्डलैर्वलयैः शुभैः
putraṃ putravatāṃ śreṣṭhaṃ bhūṣitaṃ bhūṣaṇaiḥ śubhaiḥ mukuṭaiḥ kaṭakaiścaiva kuṇḍalairvalayaiḥ śubhaiḥ
അവർ ആ പുത്രനെ കണ്ടു—പുത്രവാന്മാരിൽ ശ്രേഷ്ഠൻ—ശുഭാഭരണങ്ങളാൽ അലങ്കൃതൻ: മുകുടങ്ങൾ, കടകങ്ങൾ, കുണ്ഡലങ്ങൾ, ദീപ്തമായ വളകൾ।
Suta Goswami (narrating the Purana to the sages of Naimisharanya)
FAQs
It highlights śubha-lakṣaṇa (auspicious marks) and divine adornment as signs of sacred presence—supporting the puja principle that the devotee approaches the Linga with śuddhi (purity) and maṅgala (auspiciousness) through proper upacāras.
By portraying an unsurpassed, auspiciously adorned divine presence, the verse points to Pati’s aiśvarya (lordly splendor) manifesting for devotees—Shiva-tattva revealing grace (anugraha) through a perceivable, auspicious form within the narrative.
The emphasis aligns with alankāra-upacāra in Shiva-puja (offering adornments/beautification) and, at the yogic level, suggests cultivating inner maṅgala—refining the pashu (soul) toward purity while loosening pasha (bondage) through devotion and disciplined practice.