Shloka 20

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

Devanagari script

नैकस्तंभमयं चापि चामीकरवरप्रभम् मुक्तादामावलम्बं च मणिरत्नावभासितम्

Transliteration

naikastaṃbhamayaṃ cāpi cāmīkaravaraprabham muktādāmāvalambaṃ ca maṇiratnāvabhāsitam

Translation

那圣林伽仿佛由无数柱体汇成，放射出精炼纯金的至上光辉；又垂挂珍珠花鬘，宝石与诸珍宝的光芒交相辉映。如此，人得以瞻见这神圣的林伽——Pati（主宰）可见的标志，引导被缚的paśu之魂趋向解脱。

Word by Word

• naika: many, not one

• stambha-mayam: made of pillars/column-like forms

• ca api: and also

• cāmīkara: gold

• vara-prabham: of excellent/supreme radiance

• muktā: pearls

• dāmā: garlands/strings

• avalambam: hanging down, suspended

• ca: and

• maṇi-ratna: gems and precious jewels

• avabhāsitam: shining forth, illuminated, made brilliant

Speaker

Suta Goswami

Characters & Entities

• Shiva
• Linga

FAQs

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

It emphasizes the Linga as a consecrated, perceivable focus for devotion—adorned with gold, pearls, and jewels—supporting puja through beauty (śrī) that steadies the mind and directs the worshipper (pashu) to Pati, Shiva.

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

By presenting the Linga as self-manifest splendour—radiant and jewel-like—it points to Shiva-tattva as prakāśa (luminous consciousness) that becomes approachable through a sacred symbol without being limited by it.

What ritualistic or Yogic practice is highlighted here?

Alankāra (ritual adornment) in Shiva-linga puja is implied—decorating with garlands and shining substances—paired with dhyāna: fixing awareness on the Linga’s radiance as a support for Pashupata-oriented inward recollection of Pati.