Shloka 17
दुर्गोपवीत-रचना तथा शिवामलङ्कारोत्सवः | The Making of the Durgopavīta and Pārvatī’s Auspicious Adornment Festival
ते पर्वता द्विजाश्चैव सर्वमंगलपाणयः । संजग्मुस्सोत्सवाः प्रीत्या यत्र देवो महेश्वरः
te parvatā dvijāścaiva sarvamaṃgalapāṇayaḥ | saṃjagmussotsavāḥ prītyā yatra devo maheśvaraḥ
Ang mga bundok na iyon at ang mga pantas na dvija (dalawang ulit na isinilang) ay naglakbay din, tangan ang lahat ng mapalad na handog, at lumakad nang masaya sa pagdiriwang na may pag-ibig, patungo sa kinaroroonan ng Panginoong Maheśvara (Śiva).
Sūta Gosvāmin
Tattva Level: pashu
Shiva Form: Umāpati
Sthala Purana: Not a Jyotirliṅga episode; the verse frames the cosmic community (mountains and ṛṣis) converging for darśana of Maheśvara in the Śiva–Pārvatī vivāha narrative.
Significance: Models tīrtha-yātrā psychology: approaching Śiva with maṅgala-dravya and prīti is itself a form of bhakti that ripens toward anugraha (grace).
Type: stotra
Shakti Form: Pārvatī
Role: nurturing
Offering: pushpa
FAQs
It highlights bhakti as joyful movement toward Pati (Śiva): devotees and sages approach Maheśvara with auspicious intent, indicating that loving reverence and sacred assembly purify the mind and prepare it for Shiva-darśana and grace.
The verse emphasizes approaching the manifest presence of Maheśvara (Saguna Śiva) with maṅgala-upacāras (auspicious offerings). In Shaiva practice this corresponds to going to Śiva’s abode/temple—often centered on the Liṅga—for darśana, pūjā, and celebration.
A practical takeaway is pilgrimage and temple pūjā with maṅgala offerings—performed in a spirit of prīti (loving devotion)—supported by japa of the Pañcākṣarī “Om Namaḥ Śivāya” while approaching Śiva for darśana.