Shloka 5

अघोरस्य प्रादुर्भावः कुमारकचतुष्टयं च योगमार्गः

Devanagari script

कृष्णांबरधरोष्णीषं कृष्णयज्ञोपवीतिनम् कृष्णेन मौलिना युक्तं कृष्णस्रगनुलेपनम्

Transliteration

kṛṣṇāṃbaradharoṣṇīṣaṃ kṛṣṇayajñopavītinam kṛṣṇena maulinā yuktaṃ kṛṣṇasraganulepanam

Translation

Baginda digambarkan memakai pakaian gelap dan serban gelap, serta menyandang yajñopavīta (benang suci) yang gelap; kepalanya dihiasi jambul gelap, dan tubuhnya diserikan dengan kalungan serta sapuan wangi yang gelap—menyingkapkan Pati, yang rupa-Nya menyerap dan melampaui segala warna dan sifat, namun tetap menjadi penguasa batin semua makhluk (paśu).

Word by Word

• कृष्ण-आम्बर-धर: wearing dark/black garments

• उष्णीष: turban/head-wrap

• कृष्ण-यज्ञोपवीतिन्: one who wears a dark sacred thread

• कृष्णेन: with dark/black (adornment)

• मौलि: head-crest/topknot/crown

• युक्त: endowed/adorned with

• कृष्ण-स्रक्: dark garland

• अनुलेपन: unguent/smearing/fragrant paste

Speaker

Suta Goswami (narrating to the sages at Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It supplies a dhyāna-lakṣaṇa (meditative iconography) for Shiva: the devotee visualizes the Lord’s marked attributes before linga-pūjā, steadying the mind on Pati so the paśu turns inward from bondage (pāśa) toward grace.

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

Though presented with visible qualities (dark garments, garlands, unguents), the intent is tattvic: Shiva is the all-containing ground of experience, the transcendent Pati who can assume forms for devotees while remaining beyond limiting guṇas.

What ritualistic or Yogic practice is highlighted here?

Dhyāna (visual contemplation) as a preparatory limb of pūjā and mantra-japa—aligning the practitioner with Pāśupata orientation: fixing awareness on Pati to loosen pāśa and purify the paśu.