Shloka 4

अध्याय ८२ — व्यपोहनस्तवः (पापव्यपोहन-स्तोत्रम्)

Devanagari script

शुद्धस्फटिकसंकाशः सर्वाभरणभूषितः सर्वज्ञः सर्वगः शान्तः सर्वोपरि सुसंस्थितः

Transliteration

śuddhasphaṭikasaṃkāśaḥ sarvābharaṇabhūṣitaḥ sarvajñaḥ sarvagaḥ śāntaḥ sarvopari susaṃsthitaḥ

Translation

Ele brilha como cristal sem mácula, adornado com todos os ornamentos divinos. Onisciente e onipresente, perfeitamente sereno, estabelecido acima de tudo—Pati supremo, além de todo pāśa e de todo paśu.

Word by Word

• śuddha: pure, stainless

• sphaṭika-saṃkāśaḥ: having the appearance/lustre of crystal

• sarva-ābharaṇa-bhūṣitaḥ: adorned with all ornaments

• sarva-jñaḥ: all-knowing, omniscient

• sarva-gaḥ: going everywhere, all-pervading

• śāntaḥ: peaceful, tranquil

• sarva-upari: above all, transcendent over all

• su-saṃsthitaḥ: firmly established, perfectly stationed (in supremacy)

Speaker

Suta Goswami (narrating a stotra-style description within the Linga Purana’s discourse)

Characters & Entities

• Shiva

FAQs

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

It frames Shiva as the stainless, all-pervading Pati—supporting the Linga as a transcendent symbol of the Supreme beyond form, while still graciously appearing with divine attributes for devotion.

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

Shiva is presented as sarvajña (omniscient) and sarvaga (all-pervading), yet śānta (utterly tranquil) and sarvopari (supreme above all)—a Siddhanta-aligned portrait of Pati who is not bound by pasha and who liberates the pashu.

What ritualistic or Yogic practice is highlighted here?

A contemplative upāsanā: meditate on Shiva’s crystal-like purity and supreme station (sarvopari susaṃsthitaḥ) as a Pashupata-oriented dhyāna to dissolve pasha (bondage) and steady the mind in śānti.