Linga Purana — Purva Bhaga, Shloka 4
Bhūtavana–Kailāsa–Mandākinī–Rudrapurī: Śiva’s Jeweled Abodes and Perpetual Worship
नैकधातुशतैश्चित्रे विचित्रकुसुमाकुले नितम्बपुष्पसालम्बेन्-ऐकसत्त्वगणान्विते
naikadhātuśataiścitre vicitrakusumākule nitambapuṣpasālamben-aikasattvagaṇānvite
Ang pook ay sari-sari ang anyo dahil sa daan-daang uri ng mineral at ore, siksik sa mga bulaklak na may kahanga-hangang iba’t ibang kulay; at ang mga kuwintas ng bulaklak ay nakalaylay na parang mga telang nakababa. At ito’y dinagsa ng mga pangkat ng nilalang na iisa ang layon—tapat sa iisang Katotohanan, ang Panginoong Pati (Śiva).
Suta Goswami (narrating to the sages of Naimisharanya)
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.