Previous Verse
Next Verse

Shiva Purana — Vayaviya Samhita, Shloka 23

स्कन्दसरः (Skandasara) — तीर्थवर्णनम् / Description of the Skandasara Sacred Lake

अप्सरोगणसंकीर्णं रुद्रकन्याभिरावृतम् । मृदंगमुरजोद्घुष्टं वेणुवीणारवान्वितम्

apsarogaṇasaṃkīrṇaṃ rudrakanyābhirāvṛtam | mṛdaṃgamurajodghuṣṭaṃ veṇuvīṇāravānvitam

สถานนั้นแน่นขนัดด้วยหมู่อัปสรา และถูกโอบล้อมด้วยธิดาแห่งรุทระ ก้องกังวานด้วยจังหวะมฤทังคะและมุรชะ พร้อมด้วยทำนองขลุ่ยและวีณาอันไพเราะ

अप्सरः-गण-संकीर्णम्filled/crowded with groups of apsarases
अप्सरः-गण-संकीर्णम्:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootअप्सरस् (प्रातिपदिक) + गण (प्रातिपदिक) + संकीर्ण (कृदन्त; √कॄ/कॢ? actually √कॄ/कॢ not; here from सम्+√कॄ?; standard: संकीर्ण = सम्+√कॄ (कृदन्त))
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन; कृदन्त-विशेषण (past passive participle)
रुद्र-कन्याभिःby Rudra’s daughters
रुद्र-कन्याभिः:
Karaṇa (करण)
TypeNoun
Rootरुद्र (प्रातिपदिक) + कन्या (प्रातिपदिक)
Formस्त्रीलिङ्ग, तृतीया (3rd/करण), बहुवचन
आवृतम्covered/surrounded
आवृतम्:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootआ-√वृ (धातु) (कृदन्त)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; भूतकर्मणि कृदन्त (PPP)
मृदङ्ग-मुरज-उद्घुष्टम्resounding with mṛdaṅga and muraja drums
मृदङ्ग-मुरज-उद्घुष्टम्:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootमृदङ्ग (प्रातिपदिक) + मुरज (प्रातिपदिक) + उद्घुष्ट (कृदन्त; उद्+√घुष् धातु)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; कृदन्त-विशेषण (PPP)
वेणु-वीणा-रव-अन्वितम्accompanied by the sounds of flute and vīṇā
वेणु-वीणा-रव-अन्वितम्:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootवेणु (प्रातिपदिक) + वीणा (प्रातिपदिक) + रव (प्रातिपदिक) + अन्वित (कृदन्त; √इ (धातु) with anu-; adjectival)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; कृदन्त-विशेषण

Suta Goswami

Tattva Level: pati

Shiva Form: Naṭarāja

Type: stotra

Role: creative

Offering: dhupa

Cosmic Event: Heavenly celebration accompanying a divine advent (gandharva-apsaras soundscape)

R
Rudra (Shiva)
A
Apsaras

FAQs

The verse portrays a sanctified divine gathering around Rudra, where celestial music and auspicious beings symbolize a sattvic atmosphere that elevates the mind toward bhakti and contemplation of Shiva (Pati) as the gracious Lord.

The described splendor and sacred soundscape support Saguna-upāsanā—devotional worship of Shiva with attributes—where music, praise, and orderly celebration become offerings that steady attention on the Lord’s presence (often centered on the Linga in ritual contexts).

It suggests nāda-bhakti: using sacred sound—kīrtana, instrumental accompaniment, and mantra-japa (especially the Panchakshara, “Om Namaḥ Śivāya”)—to collect the mind; it also aligns with temple-style pūjā where music is offered as upacāra.