Shloka 26

प्रसाद-ज्ञान-योग-मोक्षक्रमः तथा व्यास-रुद्रावतार-मन्वन्तर-परम्परा

Devanagari script

कृष्णः श्यामस् तथा धूम्रः सुधूम्रश् च द्विजोत्तमाः अपिशङ्गः पिशङ्गश् च त्रिवर्णः शबलस् तथा

Transliteration

kṛṣṇaḥ śyāmas tathā dhūmraḥ sudhūmraś ca dvijottamāḥ apiśaṅgaḥ piśaṅgaś ca trivarṇaḥ śabalas tathā

Translation

Wahai yang terbaik antara para dwija, (Baginda) dipuji sebagai Kṛṣṇa, Śyāma, Dhūmra dan Sudhūmra; sebagai Apiśaṅga dan Piśaṅga; serta sebagai Trivarṇa dan Śabala—nama-nama yang menandakan Tuhan (Pati) menzahirkan pelbagai warna dan rupa, namun tetap Śiva Yang Esa, melampaui segala guṇa.

Word by Word

• कृष्णः: the Dark One

• श्यामः: the deep-blue/black-hued One

• तथा: and

• धूम्रः: smoke-hued/grey One

• सुधूम्रः: excellently smoke-hued/bright-grey One

• च: and

• द्विजोत्तमाः: O best among the twice-born (Brahmin)

• अपिशङ्गः: slightly tawny/with a faint reddish-brown hue

• पिशङ्गः: tawny/reddish-brown-hued

• च: and

• त्रिवर्णः: of three hues/threefold-coloured

• शबलः: variegated/mottled/many-coloured

• तथा: also/and.

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It supports Linga-puja through nama-japa: the Lord is invoked by many epithets, showing that the one Shiva (Pati) can be approached in worship through multiple sacred names while the Linga remains His formless, all-pervading symbol.

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

By listing contrasting hues and mixed colours, it implies Shiva’s immanence in all manifested appearances (saguna expression) while He remains the single, unconditioned reality beyond colour and form (nirguna Pati).

What ritualistic or Yogic practice is highlighted here?

Nama-japa and contemplative recollection (smarana) of Shiva’s epithets—used in Shaiva sadhana to loosen pasha (bondage) on the pashu (individual soul) and orient awareness toward Pati.