Next Verse

Linga Purana — Purva Bhaga, Shloka 1

विनायकोत्पत्तिः / ताण्डव-प्रसङ्गः (दारुक-वधः, काली-उत्पत्तिः, क्षेत्रपालोत्पत्तिः)

इति श्रीलिङ्गमहापुराणे पूर्वभागे विनायकोत्पत्तिर्नाम पञ्चाधिकशततमो ऽध्यायः ऋषय ऊचुः नृत्यारम्भः कथं शंभोः किमर्थं वा यथातथम् वक्तुमर्हसि चास्माकं श्रुतः स्कन्दाग्रजोद्भवः

iti śrīliṅgamahāpurāṇe pūrvabhāge vināyakotpattirnāma pañcādhikaśatatamo 'dhyāyaḥ ṛṣaya ūcuḥ nṛtyārambhaḥ kathaṃ śaṃbhoḥ kimarthaṃ vā yathātatham vaktumarhasi cāsmākaṃ śrutaḥ skandāgrajodbhavaḥ

如是,在《圣林伽大往世书》前分中,开启名为“毗那耶迦之起源”的第一百零六章。诸仙人说道:“噢,商婆(湿婆)啊,您如何开始圣舞?又为着何种目的——请如实为我等宣说。我们已闻天军神斯甘达之长兄(毗那耶迦)的显现,因此恳请为我等开示。”

itithus
iti:
śrī-liṅga-mahāpurāṇein the auspicious Liṅga Mahāpurāṇa
śrī-liṅga-mahāpurāṇe:
pūrva-bhāgein the first section (Pūrvabhāga)
pūrva-bhāge:
vināyaka-utpatti-nāmanamed ‘Origin of Vināyaka’
vināyaka-utpatti-nāma:
pañcādhika-śatatamaḥ adhyāyaḥthe 106th chapter
pañcādhika-śatatamaḥ adhyāyaḥ:
ṛṣayaḥ ūcuḥthe sages said
ṛṣayaḥ ūcuḥ:
nṛtya-ārambhaḥthe commencement of the dance
nṛtya-ārambhaḥ:
kathamhow
katham:
śaṃbhoḥof Śambhu (Śiva)
śaṃbhoḥ:
kim-artham vāand for what purpose
kim-artham vā:
yathā-tathamjust as it truly happened
yathā-tatham:
vaktum arhasiyou are fit to tell / please explain
vaktum arhasi:
ca asmākamand to us
ca asmākam:
śrutaḥ(it is) heard / we have heard
śrutaḥ:
skanda-agraja-udbhavaḥthe arising/birth of Skanda’s elder (Vināyaka)
skanda-agraja-udbhavaḥ:

Rishis (Sages of Naimisharanya), addressing Suta Goswami

S
Shiva (Shambhu)
V
Vinayaka (Ganapati)
S
Skanda

FAQs

It frames the next teaching as a sacred inquiry into Śiva’s cosmic activity (dance) and the arising of Vināyaka—both understood as expressions of Pati (Śiva) guiding and removing obstacles for the pashu (bound soul) on the path of worship.

Śiva is implied as Śambhu, the auspicious Lord whose actions are purposeful and exact; His dance is not mere performance but a deliberate cosmic function through which grace and order operate.

No specific rite is prescribed in this opening verse; it sets up the doctrinal context where Śiva’s dance and Vināyaka’s manifestation are read as supports to sādhana—especially obstacle-removal and right orientation for Pāśupata-aligned worship.