Shloka 50

स्वेच्छाविग्रहसंभव-प्रतिष्ठाफलवर्णनम् (विविधशिवमूर्तिप्रतिष्ठा, लोक-फल, शिवसायुज्य)

Devanagari script

वामेतरं सुविन्यस्य वामे चालिङ्ग्य चाद्रिजाम् शूलाग्रे कूर्परं स्थाप्य किङ्किणीकृतपन्नगम्

Transliteration

vāmetaraṃ suvinyasya vāme cāliṅgya cādrijām śūlāgre kūrparaṃ sthāpya kiṅkiṇīkṛtapannagam

Translation

Baginda meletakkan lengan kanan dengan tertib, dan dengan lengan kiri memeluk Girijā (Pārvatī); lalu meletakkan siku pada hujung trisula, sehingga ular yang menjadi perhiasan berdering seperti loceng kecil. Demikianlah Pati menzahirkan penguasaan yang serba mudah, sementara Śakti tetap tidak terpisah di sisi-Nya.

Word by Word

• वामेतरम्: the right (arm/side)

• सुविन्यस्य: having properly placed/arranged

• वामे: with the left (arm/side)

• च: and

• आलिङ्ग्य: having embraced

• च: and

• अद्रिजाम्: the Mountain-born (Pārvatī)

• शूलाग्रे: on the tip/point of the trident

• कूर्परम्: the elbow

• स्थाप्य: having placed

• किङ्किणीकृत-: made into a jingling/bell-like sound

• पन्नगम्: the serpent

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Parvati

FAQs

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

Though not a direct pūjā-injunction, the verse encodes core Linga-theology: Shiva as Pati (the Supreme Lord) is never separate from Shakti, and his sovereign ease (aiśvarya) is the inner meaning devotees contemplate while worshipping the Linga as the sign of the One Reality beyond fear and bondage.

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

Shiva-tattva is shown as effortless lordship and freedom: while embracing Shakti, he handles the trident and even makes the serpent an ornament that ‘rings’—implying mastery over death, fear, and the pasha that binds the pashu, all without strain.

What ritualistic or Yogic practice is highlighted here?

The verse points to contemplative upāsanā rather than a specific rite: meditating on Shiva as Pashupati with Trishula and the serpent (nāga) symbolizes control of prāṇa and fear, and the inseparability of Shiva–Shakti—an inner key often aligned with Pāśupata-oriented visualization.