Shloka 124

Adhyaya 71: पुरत्रयवृत्तान्तः—ब्रह्मवरदानम्, मयकृतत्रिपुर-निर्माणम्, विष्णुमाया-धर्मविघ्नः, शिवस्तुति, त्रिपुरदाहोपक्रमः

Devanagari script

कल्पकद्रुमजैः पुष्पैः शोभितैरलकैः शुभैः हारैर् वारिजरागादिमणिचित्रैस् तथाङ्गदैः

Transliteration

kalpakadrumajaiḥ puṣpaiḥ śobhitairalakaiḥ śubhaiḥ hārair vārijarāgādimaṇicitrais tathāṅgadaiḥ

Translation

कल्पकद्रुमजैः पुष्पैः शोभितैरलकैः शुभैः । हारैर्वारिजरागादिमणिचित्रैस्तಥाङ्गदैः ॥

Word by Word

• कल्पकद्रुमजैः: born of the wish-fulfilling tree (kalpavṛkṣa)

• पुष्पैः: with flowers

• शोभितैः: adorned/beautified

• अलकैः: with curling locks/tresses

• शुभैः: auspicious

• हारैः: with necklaces/garlands

• वारिजरागादि: lotus-colored ruby and similar gems (lit. ‘lotus-dye’ etc.)

• मणिचित्रैः: variegated/inlaid with gems

• तथा: and also

• अङ्गदैः: with armlets/upper-arm ornaments

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 the puja principle of alankara-seva—offering flowers, garlands, and ornaments as outer symbols of inner reverence—training the pashu (soul) to turn from pasha (bondage) toward Pati (Shiva).

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

Shiva-tattva is indicated as both transcendent and graciously manifest: though beyond form, Pati accepts auspicious adornment so devotees can approach Him with devotion and purified perception.

What ritualistic or Yogic practice is highlighted here?

Shiva-puja with flowers and garlands (pushpa-hara-arpana) and alankara is implied; yogically, it corresponds to cultivating śuddha-bhāva and ekāgratā (one-pointed attention) through devotional offering.