Shloka 4

Bhūtavana–Kailāsa–Mandākinī–Rudrapurī: Śiva’s Jeweled Abodes and Perpetual Worship

Devanagari script

नैकधातुशतैश्चित्रे विचित्रकुसुमाकुले नितम्बपुष्पसालम्बेन्-ऐकसत्त्वगणान्विते

Transliteration

naikadhātuśataiścitre vicitrakusumākule nitambapuṣpasālamben-aikasattvagaṇānvite

Translation

नैकधातुशतैश्चित्रे विचित्रकुसुमाकुले नितम्बपुष्पसालम्बे एकसत्त्वगणान्विते॥

Word by Word

• naika: many, various

• dhātu: mineral/ore/elemental substance

• śataiḥ: by hundreds

• citre: multicolored, wondrous, decorated

• vicitra: diverse, marvellous

• kusuma: flower

• ākule: filled with, crowded

• nitamba: hip/rounded slope/overhanging ledge (by extension, a projecting or draped form)

• puṣpa: flower

• sālambana: hanging support, pendant, suspended (as garlands)

• eka: one

• sattva: being, nature, inner disposition/intent

• gaṇa: host, troop (often Shiva’s gaṇas)

• anvite: endowed with, accompanied by

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Shiva’s Ganas

FAQs

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

It sacralizes the worship-context by portraying Shiva’s sphere as intrinsically pure, ornamented, and flower-filled—mirroring how the Linga is approached with fragrant offerings and a consecrated atmosphere that turns the devotee (pashu) toward Pati.

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

By implying “eka-sattva” (single intent toward the One), it points to Shiva-tattva as the singular supreme Reality (Pati) that gathers all beings and powers into unified devotion, transcending diversity while accommodating it.

What ritualistic or Yogic practice is highlighted here?

The imagery supports puja-vidhi—especially flower and garland offerings—and suggests the yogic principle of ekāgratā (one-pointedness), a Pashupata-aligned inner discipline where the mind becomes ‘eka-sattva’ oriented toward Shiva.