Shloka 145

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

Devanagari script

सगणो गणसेनानीर् मेघपृष्ठे यथा भवः दशयोजनविस्तीर्णं मुक्ताजालैर् अलंकृतम्

Transliteration

sagaṇo gaṇasenānīr meghapṛṣṭhe yathā bhavaḥ daśayojanavistīrṇaṃ muktājālair alaṃkṛtam

Translation

గణములతోను గణసేనానులతోను కూడిన భవుడు (శివుడు) మేఘపృష్టంపై ఉన్నట్లుగా కనిపించెను. అది దశ యోజనాల విస్తీర్ణమై, ముత్యాల జాలాలతో అలంకృతమై యుండెను.

Word by Word

• sa-gaṇaḥ: together with the gaṇas

• gaṇa-senānīḥ: the commanders/leaders of the gaṇas

• megha-pṛṣṭhe: on the back/surface of a cloud

• yathā: as if/just like

• bhavaḥ: Bhava, i.e., Śiva

• daśa-yojana-vistīrṇam: extending ten yojanas in breadth

• muktā-jālaiḥ: with nets/garlands-webs of pearls

• alaṃkṛtam: ornamented/adorned

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva (Bhava)
• Ganas

FAQs

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

It frames Śiva (Pati) as the supremely vast and radiant reality whose darśana sanctifies worship; the pearl-net imagery supports the temple-idiom of adorning the Liṅga and its maṇḍapa as an outer reflection of inner reverence.

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

Śiva is portrayed as immeasurable and all-encompassing (ten-yojana vastness), yet personally present with his gaṇas—showing Pati as both transcendent in magnitude and immanent as the Lord who appears for devotees.

What ritualistic or Yogic practice is highlighted here?

The verse most directly implies pūjā-upacāra through ornamentation (alaṅkāra) and darśana-bhāvanā; in a Pāśupata sense, contemplating Śiva’s vast form loosens pasha (bondage) by fixing the pashu (soul) on Pati.