Shloka 5

अघोरस्य प्रादुर्भावः कुमारकचतुष्टयं च योगमार्गः

Devanagari script

कृष्णांबरधरोष्णीषं कृष्णयज्ञोपवीतिनम् कृष्णेन मौलिना युक्तं कृष्णस्रगनुलेपनम्

Transliteration

kṛṣṇāṃbaradharoṣṇīṣaṃ kṛṣṇayajñopavītinam kṛṣṇena maulinā yuktaṃ kṛṣṇasraganulepanam

Translation

Inilarawan Siya na nakasuot ng maiitim na kasuotan at maitim na putong, may maitim na banal na sinulid (yajñopavīta); ang ulo’y may maitim na tuktok na palamuti, at pinalamutian ng maiitim na kuwintas ng bulaklak at pahid na pabango—inihahayag ang Pati, na ang anyo’y sumasaklaw at lumalampas sa lahat ng kulay at katangian, ngunit nananatiling panloob na Tagapaghari ng lahat ng nilalang (paśu).

Word by Word

• कृष्ण-आम्बर-धर: wearing dark/black garments

• उष्णीष: turban/head-wrap

• कृष्ण-यज्ञोपवीतिन्: one who wears a dark sacred thread

• कृष्णेन: with dark/black (adornment)

• मौलि: head-crest/topknot/crown

• युक्त: endowed/adorned with

• कृष्ण-स्रक्: dark garland

• अनुलेपन: unguent/smearing/fragrant paste

Speaker

Suta Goswami (narrating to the sages at Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It supplies a dhyāna-lakṣaṇa (meditative iconography) for Shiva: the devotee visualizes the Lord’s marked attributes before linga-pūjā, steadying the mind on Pati so the paśu turns inward from bondage (pāśa) toward grace.

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

Though presented with visible qualities (dark garments, garlands, unguents), the intent is tattvic: Shiva is the all-containing ground of experience, the transcendent Pati who can assume forms for devotees while remaining beyond limiting guṇas.

What ritualistic or Yogic practice is highlighted here?

Dhyāna (visual contemplation) as a preparatory limb of pūjā and mantra-japa—aligning the practitioner with Pāśupata orientation: fixing awareness on Pati to loosen pāśa and purify the paśu.