Shiva Purana — Vayaviya Samhita, Shloka 43

लिङ्ग-बेर-प्रतिष्ठाविधिः / The Procedure for Installing the Liṅga and the Bera

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Devanagari script

आनंदक्लिन्नसर्वांगैर्विन्यस्तांजलिमस्तकैः । स्तुवद्भिरेव नृत्यद्भिर्नामद्भिरभितो वृतम्

Transliteration

ānaṃdaklinnasarvāṃgairvinyastāṃjalimastakaiḥ | stuvadbhireva nṛtyadbhirnāmadbhirabhito vṛtam

Translation

Sa palibot, napaliligiran ito ng mga deboto—ang bawat sangkap ng katawan ay nababasa ng kaligayahang banal, ang mga kamay ay pinagdurugtong sa añjali at inilalagay sa tuktok ng ulo; ang ilan ay pumupuri, ang ilan ay sumasayaw, at ang iba’y yumuyuk at nagpapatirapa sa pagsamba sa Panginoong Śiva.

Word by Word

• आनन्द-क्लिन्न-सर्वाङ्गैः: by (those) whose whole bodies were moistened with bliss
• आनन्द-क्लिन्न-सर्वाङ्गैः: करण (करणम्/Instrument)
• Type: Adjective
• Root: आनन्द (प्रातिपदिक) + क्लिन्न (कृदन्त, √क्लिद्) + सर्वाङ्ग (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया (3rd/तृतीया), बहुवचन; विशेषण-प्रयोगः (instrumental plural adjective)

• विन्यस्त-अञ्जलि-मस्तकैः: by (those) with heads bowed and hands joined (in añjali)
• विन्यस्त-अञ्जलि-मस्तकैः: करण (करणम्/Instrument)
• Type: Adjective
• Root: विन्यस्त (कृदन्त, √न्यस् with वि-) + अञ्जलि (प्रातिपदिक) + मस्तक (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया (3rd/तृतीया), बहुवचन; विशेषण-प्रयोगः (instrumental plural adjective)

• स्तुवद्भिः: by (those) praising
• स्तुवद्भिः: करण (करणम्/Instrument)
• Type: Adjective
• Root: स्तुवत् (कृदन्त, वर्तमान-कर्तरि-प्रत्यय/शतृ, √स्तु)
• Form: पुंलिङ्ग, तृतीया (3rd/तृतीया), बहुवचन; वर्तमान-कृदन्त (present active participle)

• एव: indeed/only
• एव: सम्बन्ध/निपात (Particle)
• Type: Indeclinable
• Root: एव (अव्यय)
• Form: निपात (particle/emphasis)

• नृत्यद्भिः: by (those) dancing
• नृत्यद्भिः: करण (करणम्/Instrument)
• Type: Adjective
• Root: नृत्यत् (कृदन्त, वर्तमान-कर्तरि-प्रत्यय/शतृ, √नृत्)
• Form: पुंलिङ्ग, तृतीया (3rd/तृतीया), बहुवचन; वर्तमान-कृदन्त (present active participle)

• नामद्भिः: by (those) bowing
• नामद्भिः: करण (करणम्/Instrument)
• Type: Adjective
• Root: नामत् (कृदन्त, वर्तमान-कर्तरि-प्रत्यय/शतृ, √नम्)
• Form: पुंलिङ्ग, तृतीया (3rd/तृतीया), बहुवचन; वर्तमान-कृदन्त (present active participle)

• अभितः: around/on all sides
• अभितः: देशाधिकरण (अधिकरणम्/Locative sense)
• Type: Indeclinable
• Root: अभितः (अव्यय)
• Form: अव्यय, उपसर्गार्थक-अव्यय/अव्ययीभावार्थ (adverb: ‘around’)

• वृतम्: surrounded/encircled
• वृतम्: कर्म/कर्मणि-प्रयोगे कर्मस्थान (Object/PPP predicate)
• Type: Adjective
• Root: वृत (कृदन्त, भूतकर्मणि/क्त, √वृ ‘to cover/surround’)
• Form: नपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन; भूतकर्मणि कृदन्त (past passive participle)

Speaker

Suta Goswami

Shaiva Theology

Tattva Level: pashu

Shiva Form: Naṭarāja

Jyotirlinga Context

Sthala Purana: Not tied to a single Jyotirliṅga; the described bhakta-parivāra (praising, dancing, bowing) mirrors pan-Indian Śiva temple worship atmospheres, especially in festival processions.

Significance: Models embodied bhakti (kāyika-vācika-mānasika): prostration, stuti, and nṛtya as purifying acts that soften pāśa (bondage) and dispose the paśu toward Śiva’s anugraha.

Mantra Metadata

Type: stotra

Shakti Dimension

Role: nurturing

Ritual Elements

Offering: pushpa

Characters & Entities

• Shiva
• devotees (bhaktas)

FAQs

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

It portrays mature bhakti—when the devotee’s whole being becomes absorbed in ānanda (divine bliss) and expresses surrender through praise, reverent salutation, and humble prostration around Pati (Shiva), the Liberator.

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

The verse depicts embodied, Saguna worship—devotees physically gather, bow, and sing in adoration. Such outward acts are traditional supports for focusing the mind on Shiva, often centered on the Linga as the accessible form of the Supreme.

What ritualistic or meditative practice is suggested here?

Practice stuti (hymns), namaskāra/prostration, and devotional kīrtana with mindful body-posture (añjali on the head), using these as aids to steady attention on Shiva—commonly accompanied by japa of “Om Namaḥ Śivāya.”