Shloka 12

Ekādaśāhna-vidhiḥ (The Rite Prescribed for the Eleventh Day): Maṇḍala-racanā, Āvāhana, Mudrā, and Ativāhika-devatā Pūjā

Devanagari script

कुण्डलामृष्टगण्डाश्च पीनोन्नतपयोधराः । हारकेयूरकटककांचीदाममनोहराः

Transliteration

kuṇḍalāmṛṣṭagaṇḍāśca pīnonnatapayodharāḥ | hārakeyūrakaṭakakāṃcīdāmamanoharāḥ

Translation

Ang kanilang mga pisngi ay pinaganda ng mga hikaw, at ang kanilang dibdib ay hitik at nakataas. Sila’y kaakit-akit sa mga kuwintas, armlet, pulseras, sinturon at mga tanikalang palamuti sa baywang—nakalulugod sa ningning ng kanilang alahas.

Word by Word

• kuṇḍala-āmṛṣṭa-gaṇḍāḥ: having cheeks brushed/ornamented by earrings
• kuṇḍala-āmṛṣṭa-gaṇḍāḥ: Karta (कर्ता) — qualifier of the women
• Type: Adjective
• Root: kuṇḍala (प्रातिपदिक) + āmṛṣṭa (कृदन्त; √mṛj/√mṛṣ धातु) + gaṇḍa (प्रातिपदिक)
• Form: पुंलिङ्ग (m.), प्रथमा (1st), बहुवचन (pl); बहुव्रीहि (whose cheeks are 'touched/ornamented' by earrings)

• ca: and
• ca: Samuccaya (समुच्चय)
• Type: Indeclinable
• Root: ca (अव्यय)
• Form: अव्यय; समुच्चय (conjunction)

• pīna-unnata-payodharāḥ: having full, uplifted breasts
• pīna-unnata-payodharāḥ: Karta (कर्ता) — qualifier
• Type: Adjective
• Root: pīna (प्रातिपदिक) + unnata (कृदन्त/प्रातिपदिक; ud-√nam धातु) + payodhara (प्रातिपदिक)
• Form: पुंलिङ्ग (m.), प्रथमा (1st), बहुवचन (pl); बहुव्रीहि (those whose breasts are full and uplifted)

• hāra-keyūra-kaṭaka-kāṃcī-dāma-manoharāḥ: charming with necklaces, armlets, bracelets, girdles, and chains
• hāra-keyūra-kaṭaka-kāṃcī-dāma-manoharāḥ: Karta (कर्ता) — qualifier
• Type: Adjective
• Root: hāra (प्रातिपदिक) + keyūra (प्रातिपदिक) + kaṭaka (प्रातिपदिक) + kāṃcī (प्रातिपदिक) + dāma (प्रातिपदिक) + manohara (प्रातिपदिक)
• Form: पुंलिङ्ग (m.), प्रथमा (1st), बहुवचन (pl); बहुव्रीहि (those who are charming with garlands/necklaces, armlets, bracelets, girdles, and chains)

Speaker

Suta Goswami

Shaiva Theology

Tattva Level: pashu

Shakti Dimension

Shakti Form: Pārvatī

Role: nurturing

Characters & Entities

• Shiva
• Parvati

FAQs

What is the spiritual significance of this verse in the Shiva Purana?

The verse uses sacred aesthetics to portray the refined, luminous order of Kailāsa—suggesting that proximity to Śiva (Pati) purifies and harmonizes the manifested world, turning even external beauty into a sign of inner auspiciousness (śivam).

How does this verse relate to the worship of the Linga or Saguna Shiva?

Such descriptions support Saguna-upāsanā: contemplating Śiva’s realm and divine retinue steadies the mind and strengthens devotion, which then culminates in deeper reverence for the Liṅga as the accessible, grace-bestowing form of the Supreme.

What ritualistic or meditative practice is suggested here?

A practical takeaway is dhyāna (visual contemplation) of Kailāsa and Śiva’s divine presence before japa of the Pañcākṣarī (“Om Namaḥ Śivāya”), using purity disciplines like bhasma (tripuṇḍra) and rudrākṣa if one follows Shaiva observance.