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Shloka 6

Adhyaya 44: Nandikesvara’s Manifestation and Abhisheka; The Rule of Namaskara in Shiva-Nama

भेरीमृदङ्गकाद्यैश् च पणवानकगोमुखैः वादित्रैर्विविधैश्चान्यैः पटहैरेकपुष्करैः

bherīmṛdaṅgakādyaiś ca paṇavānakagomukhaiḥ vāditrairvividhaiścānyaiḥ paṭahairekapuṣkaraiḥ

Với tiếng trống bhērī và mṛdaṅga, với paṇava, ānaka và kèn gomukha—cùng muôn loại nhạc khí khác, với trống paṭaha và trống puṣkara một mặt—họ vang dậy lễ hội để tôn vinh Śiva, Đấng Pati, vị tháo gỡ dây trói pāśa của các paśu.

भेरी (bherī)kettle-drum
भेरी (bherī):
मृदङ्ग (mṛdaṅga)barrel drum
मृदङ्ग (mṛdaṅga):
काद्यैः (kādyaiḥ)and other such (instruments)
काद्यैः (kādyaiḥ):
च (ca)and
च (ca):
पणव (paṇava)small hand-drum
पणव (paṇava):
आनक (ānaka)large drum
आनक (ānaka):
गोमुख (gomukha)horn/trumpet shaped like a cow’s mouth
गोमुख (gomukha):
वादित्रैः (vāditraiḥ)with musical instruments
वादित्रैः (vāditraiḥ):
विविधैः (vividhaiḥ)of various kinds
विविधैः (vividhaiḥ):
च (ca)and
च (ca):
अन्यैः (anyaiḥ)other
अन्यैः (anyaiḥ):
पटहैः (paṭahaiḥ)with paṭaha-drums
पटहैः (paṭahaiḥ):
एकपुष्करैः (eka-puṣkaraiḥ)with single-headed puṣkara-drums
एकपुष्करैः (eka-puṣkaraiḥ):

Suta Goswami (narrating to the sages of Naimisharanya)

S
Shiva

FAQs

It highlights the utsava (festival) dimension of Shiva worship—auspicious instruments (maṅgala-vādya) accompany public devotion, creating a sacred atmosphere that supports Linga-puja and collective remembrance of Shiva as Pati.

Though indirect, the verse frames Shiva as the supreme center of auspiciousness: the community’s ordered, celebratory sound becomes an offering, implying Shiva as Pati—the Lord who receives worship and grants release from pasha to the pashu.

Ritual practice: Shiva-utsava with instrumental music as an upacāra (service/offering). Yogic takeaway: disciplined sensory expression (sound offered to the deity) is redirected from bondage toward devotion, aligning the pashu toward Pati.