Linga Purana — Purva Bhaga, Shloka 22

Vighneshvara-Prashna and Deva-Krita Shiva-Stava

Adhyaya 104

Devanagari script

ओङ्कारे त्रिविधं रूपम् आस्थायोपरिवासिने पीताय कृष्णवर्णाय रक्तायात्यन्ततेजसे

Transliteration

oṅkāre trividhaṃ rūpam āsthāyoparivāsine pītāya kṛṣṇavarṇāya raktāyātyantatejase

Translation

Nanahan sa pantig na Oṃ, inaangkin Niya ang tatluhang anyo—naninirahan sa itaas bilang Panginoong Transendente; nagpapakita bilang dilaw, bilang maitim, at bilang pula—Siya na may di-masukat na ningning.

Word by Word

• ओङ्कारे (oṅkāre): in/within the Omkara (Oṃ)

• त्रिविधं (trividhaṃ): threefold

• रूपम् (rūpam): form

• आस्थाय (āsthāya): having assumed/taken refuge in

• उपरिवासिने (uparivāsine): to the One who dwells above/abides in the higher plane

• पीताय (pītāya): to the yellow-hued One

• कृष्णवर्णाय (kṛṣṇa-varṇāya): to the dark/black-complexioned One

• रक्ताय (raktāya): to the red-hued One

• अत्यन्ततेजसे (atyanta-tejase): to the One of extreme/infinite splendor

Speaker

Suta Goswami (narrating Linga Purana teachings to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Omkara (Pranava)

FAQs

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

It identifies Oṃ (Pranava) as the subtle seat of the Linga-principle: the worshipper contemplates Shiva as the transcendent Pati who manifests in a threefold way, making Omkara-dhyana a direct support for Linga-upasana.

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

Shiva is portrayed as atyanta-tejas (limitless consciousness-radiance) who remains ‘above’ as transcendent, yet expresses Himself through differentiated appearances (the three colors/forms), indicating both nirguna transcendence and saguna manifestation.

What ritualistic or Yogic practice is highlighted here?

Pranava-upasana: meditative absorption on Oṃ as Shiva’s sonic body, used in Pashupata-oriented contemplation to loosen pasha (bondage) and steady the pashu (soul) in awareness of the Pati.