Shloka 20

लिङ्गार्चनविधिक्रमः—शुद्धि, न्यास, आसनकल्पना, अभिषेक, स्तोत्र-प्रदक्षिणा

Adhyaya 27

Devanagari script

बालेन्दुमुकुटं चैव हरिवक्त्रं चतुर्भुजम् पुष्पमालाधरं सौम्यं सर्वाभरणभूषितम्

Transliteration

bālendumukuṭaṃ caiva harivaktraṃ caturbhujam puṣpamālādharaṃ saumyaṃ sarvābharaṇabhūṣitam

Translation

اس کے سر پر بال چاند کا مکٹ ہے، ہری جیسا چہرہ، چار بازو؛ پھولوں کی مالا دھارے، نرم و مبارک، اور ہر طرح کے زیوروں سے آراستہ۔

Word by Word

• bālendu-mukuṭam: having the young-crescent as a crown/diadem

• ca eva: and indeed

• hari-vaktram: having Hari (Vishnu)-like face / the Hari-faced form

• catur-bhujam: four-armed

• puṣpa-mālā-dharam: wearing/holding a garland of flowers

• saumyam: gentle, benevolent, auspicious

• sarva-ābharaṇa-bhūṣitam: decorated with all ornaments

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Vishnu (Hari)

FAQs

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

It supplies a dhyana-lakṣaṇa (meditative iconography) to be visualized before puja: the worshipper steadies the mind on Shiva as Pati—gentle, ornamented, and auspicious—so the external linga-ritual is supported by inner concentration.

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

Shiva-tattva is presented as auspicious sovereignty (Pati) expressed through a gracious, approachable form—yet marked by transcendent signs like the crescent moon—indicating the Lord who stands beyond time while compassionately guiding the pashu toward liberation.

What ritualistic or Yogic practice is highlighted here?

Dhyana (focused visualization) as part of Pashupata-oriented sadhana and linga-puja: contemplate the specified form (crescent-crowned, Hari-faced, four-armed, garlanded) to unify attention and loosen pasha (bondage) through sustained remembrance.