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Shloka 4

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

नैकधातुशतैश्चित्रे विचित्रकुसुमाकुले नितम्बपुष्पसालम्बेन्-ऐकसत्त्वगणान्विते

naikadhātuśataiścitre vicitrakusumākule nitambapuṣpasālamben-aikasattvagaṇānvite

ఆ స్థలం వందల ధాతువుల వైవిధ్యంతో చిత్రవిచిత్రంగా మెరిసి, అనేక వర్ణాల అద్భుత పుష్పాలతో నిండిపోయి, నితంబవస్త్రంలా వేలాడే పుష్పమాలలతో అలంకృతమై ఉండెను; అక్కడ పతి పరమేశ్వరుని ఏక తత్త్వంలో ఏకాగ్రులైన, ఏకభావ గణసమూహాలు సమృద్ధిగా ఉండెను।

naikamany, various
naika:
dhātumineral/ore/elemental substance
dhātu:
śataiḥby hundreds
śataiḥ:
citremulticolored, wondrous, decorated
citre:
vicitradiverse, marvellous
vicitra:
kusumaflower
kusuma:
ākulefilled with, crowded
ākule:
nitambahip/rounded slope/overhanging ledge (by extension, a projecting or draped form)
nitamba:
puṣpaflower
puṣpa:
sālambanahanging support, pendant, suspended (as garlands)
sālambana:
ekaone
eka:
sattvabeing, nature, inner disposition/intent
sattva:
gaṇahost, troop (often Shiva’s gaṇas)
gaṇa:
anviteendowed with, accompanied by
anvite:

Suta Goswami (narrating to the sages of Naimisharanya)

S
Shiva
S
Shiva’s Ganas

FAQs

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.

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.

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.