Shloka 30

स्वेच्छाविग्रहसंभव-प्रतिष्ठाफलवर्णनम् (विविधशिवमूर्तिप्रतिष्ठा, लोक-फल, शिवसायुज्य)

Devanagari script

काकपक्षधरं मूर्ध्ना नागटङ्कधरं हरम् सिंहाजिनोत्तरीयं च मृगचर्मांबरं प्रभुम्

Transliteration

kākapakṣadharaṃ mūrdhnā nāgaṭaṅkadharaṃ haram siṃhājinottarīyaṃ ca mṛgacarmāṃbaraṃ prabhum

Translation

Dapat pagnilayan si Hara, ang Panginoon, na may tuktok ng buhok na tila pakpak ng uwak sa ulo, at may palamuting ahas; nakabalabal ng balat ng leon at nakasuot ng balat ng usa—Siya ang Pati na nagpapalaya sa paśu mula sa pāśa.

Word by Word

• काकपक्ष-धरम्: bearing the crow-wing tuft (a side-lock/tuft)

• मूर्ध्ना: on the head

• नाग-टङ्क-धरम्: wearing the serpent as an ornament/torc

• हरम्: Hara (Shiva, the Remover)

• सिंहाजिन-उत्तरीयम्: having a lion-skin as the upper garment

• च: and

• मृगचर्म-अम्बरम्: clothed in deer-skin

• प्रभुम्: the Lord, sovereign.

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva (Hara/Mahadeva)

FAQs

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

It gives a dhyana-lakshana (meditative form) of Shiva to be visualized before worship—centering the mind on the Pati whose marks signify mastery over fear, death, and instinct, making the devotee fit for Linga-puja.

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

By portraying Hara as the ascetic sovereign, it points to Shiva-tattva as transcendent yet immanent: the Lord who bears symbols of control over pasha (bondage) and grants liberation to the pashu (individual soul).

What ritualistic or Yogic practice is highlighted here?

Dhyana (iconic meditation) as a preparatory limb of worship—aligned with Pashupata discipline where steady contemplation of the Lord’s form purifies the pashu and loosens pasha.