Shloka 42

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

Devanagari script

त्रिपुण्ड्रधारिणस्तेषां शिरोमालाधरस्य च ब्रह्मणः केशकेनैकम् उपवीतं च बिभ्रतः

Transliteration

tripuṇḍradhāriṇasteṣāṃ śiromālādharasya ca brahmaṇaḥ keśakenaikam upavītaṃ ca bibhrataḥ

Translation

ان میں کچھ تری پُنڈْر دھارنے والے ہیں؛ اور ایک برہمن بھی ہے جو سر پر مالا پہنتا ہے اور بالوں کے گُچھّے سے بنا ہوا ایک ہی اُپویت دھارتا ہے—یہ شَیَو آچار کی علامت ہے۔

Word by Word

• त्रिपुण्ड्र-धारिणः: wearers of the Tripuṇḍra (three ash-lines)

• तेषाम्: among them/of those

• शिरो-माला-धरस्य: of one who wears a garland on the head

• च: and

• ब्रह्मणः: of a Brahmin

• केशकेन: with (made of) hair/a lock of hair

• एकम्: one/single

• उपवीतम्: sacred thread (upavīta)

• च: and

• बिभ्रतः: bearing/wearing

Speaker

Suta Goswami (narrating the Linga Purana to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It identifies visible Shaiva observances—Tripuṇḍra (vibhūti-tilaka), mālā, and a distinctive upavīta—as embodied commitments that support purity, devotion, and eligibility for disciplined worship of the Pati (Śiva) through Linga-pūjā.

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

By centering Shaiva marks, the verse implies Śiva as Pati—the supreme Lord whose grace is approached through both inner bhakti and outer niyamas; the ash-signs point to transcending pasha (bondage) and remembering the impermanence of the pashu’s embodied state.

What ritualistic or Yogic practice is highlighted here?

The practice highlighted is Shaiva vrata-style discipline: wearing Tripuṇḍra (vibhūti), adopting mālā, and maintaining a Shaiva upavīta—external aids that accompany Pashupata-oriented restraint, japa, and steadiness in Shiva-pūjā.