Linga Purana — Purva Bhaga, Shloka 131

Adhyaya 72 — Puradāha: Rudra’s Cosmic Chariot, Pāśupata-Vrata, and Brahmā’s Shiva-Stuti

Devanagari script

षोडशात्मस्वरूपाय मकाराय नमोनमः अष्टधात्मस्वरूपाय अर्धमात्रात्मने नमः

Transliteration

ṣoḍaśātmasvarūpāya makārāya namonamaḥ aṣṭadhātmasvarūpāya ardhamātrātmane namaḥ

Translation

向音节“摩(Ma)”再三顶礼——彼之自性为十六重自我。向彼顶礼：其自性为八重自我，并安住为“半摩怛罗(ardha-mātrā)”，那超越可言之声的微妙、超然之度量。

Word by Word

• ṣoḍaśa: sixteenfold

• ātma-svarūpa: whose essential nature is the Self/principle

• -āya: unto

• makāra: the syllable ‘ma’

• namaḥ namaḥ: salutations again and again

• aṣṭadhā: eightfold

• ardha-mātrā: half-mora/half-measure (the subtle transcendental sound-unit beyond full articulation)

• ātmane: whose essence is

• namaḥ: salutations

Speaker

Suta Goswami (narrating a Shaiva stuti/mantra passage within the Linga Purana)

Characters & Entities

• Shiva

FAQs

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

It frames Linga-puja as mantra-centered: Shiva is praised through the seed-sound (makāra) and the transcendent ardha-mātrā, indicating worship that moves from audible japa to inner stillness where Pati is realized beyond sound.

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

Shiva is presented as the ground of multiple cosmic structures (eightfold and sixteenfold manifestations) while simultaneously being the subtlest reality—ardha-mātrā—beyond measurable phonetic expression, the Pati who transcends pasha-bound differentiation.

What ritualistic or Yogic practice is highlighted here?

Mantra-japa and nāda-anusandhāna (contemplation of inner sound): beginning with the audible syllable “ma,” the sādhaka refines awareness toward the ardha-mātrā—silent, subtle absorption aligned with Pashupata-oriented inner worship.