Shloka 30

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

Devanagari script

काकपक्षधरं मूर्ध्ना नागटङ्कधरं हरम् सिंहाजिनोत्तरीयं च मृगचर्मांबरं प्रभुम्

Transliteration

kākapakṣadharaṃ mūrdhnā nāgaṭaṅkadharaṃ haram siṃhājinottarīyaṃ ca mṛgacarmāṃbaraṃ prabhum

Translation

Hãy quán niệm Hara, Đấng Chúa, trên đầu có búi tóc như cánh quạ, trang sức bằng xà-ornament; khoác da sư tử làm áo choàng và mặc da nai làm y phục—Ngài là Pati tối thượng, giải thoát paśu khỏi pāśa.

Word by Word

• काकपक्ष-धरम्: bearing the crow-wing tuft (a side-lock/tuft)

• मूर्ध्ना: on the head

• नाग-टङ्क-धरम्: wearing the serpent as an ornament/torc

• हरम्: Hara (Shiva, the Remover)

• सिंहाजिन-उत्तरीयम्: having a lion-skin as the upper garment

• च: and

• मृगचर्म-अम्बरम्: clothed in deer-skin

• प्रभुम्: the Lord, sovereign.

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva (Hara/Mahadeva)

FAQs

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

It gives a dhyana-lakshana (meditative form) of Shiva to be visualized before worship—centering the mind on the Pati whose marks signify mastery over fear, death, and instinct, making the devotee fit for Linga-puja.

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

By portraying Hara as the ascetic sovereign, it points to Shiva-tattva as transcendent yet immanent: the Lord who bears symbols of control over pasha (bondage) and grants liberation to the pashu (individual soul).

What ritualistic or Yogic practice is highlighted here?

Dhyana (iconic meditation) as a preparatory limb of worship—aligned with Pashupata discipline where steady contemplation of the Lord’s form purifies the pashu and loosens pasha.