About these reading aids

Easy Roman is a Devanagari-based Sanskrit reading aid. IAST preserves scholarly distinctions. Where no Roman text was supplied, IAST is derived automatically from the Devanagari; this is not a certified pronunciation guide. Vernacular songs retain their supplied word forms and spoken endings. Easy Roman simplifies unambiguous diacritics; their scholarly view retains the supplied Roman form rather than inventing Sanskrit pronunciation. Selected bija spellings are kept where unambiguous.

Kavach

Shiva Kavacham — Śivakavacakathanam

A Purāṇic protective hymn invoking the many forms of Shiva and ending in the Bhadrayu narrative.

Reading settings

Settings are saved in this page’s URL and carried to adjacent chapters. Bookmark the URL to keep them. Devanagari keeps its dedicated reading font.

Reset settings

Text, Meaning & Explanation

1

नमस्कृत्य महादेवं विश्वव्यापिनमीश्वरम् । वक्ष्ये शिवमयं वर्म सर्वरक्षाकरं नृणाम् ॥

Roman Transliteration

namaskritya mahaadevam vishvavyaapinameeshvaram | vakshye shivamayam varma sarvarakshaakaram nrinaam ||namaskṛtya mahādevaṃ viśvavyāpinamīśvaram | vakṣye śivamayaṃ varma sarvarakṣākaraṃ nṛṇām ||

Meaning

Rishabha reverently bows to the all-pervading Mahadeva and announces a protective Shiva hymn for human beings.

Explanation

The opening explicitly names Rishabha as speaker. Armour here means a sacred protective prayer, not a material weapon or proven safety device.

2

शुचौ देशे समासीनो यथावत्कल्पितासनः । जितेन्द्रियो जितप्राणश्चिन्तयेच्छिवमव्ययम् ॥

Roman Transliteration

shuchau deshe samaaseeno yathaavatkalpitaasanah | jitendriyo jitapraanashchintayechchhivamavyayam ||śucau deśe samāsīno yathāvatkalpitāsanaḥ | jitendriyo jitaprāṇaścintayecchivamavyayam ||

Meaning

The listener is described as seated in a clean place, self-controlled and meditating on imperishable Shiva.

Explanation

The verse describes a traditional contemplative ideal; it is not an approved step-by-step discipline for this site.

3

हृत्पुण्डरीकान्तरसन्निविष्टं स्वतेजसा व्याप्तनभोवकाशम् । अतीन्द्रियं सूक्ष्ममनन्तमाद्यं ध्यायेत्परानन्दमयं महेशम् ॥

Roman Transliteration

hritpundareekaantarasannivishtam svatejasaa vyaaptanabhovakaasham | ateendriyam sookshmamanantamaadyam dhyaayetparaanandamayam mahesham ||hṛtpuṇḍarīkāntarasanniviṣṭaṃ svatejasā vyāptanabhovakāśam | atīndriyaṃ sūkṣmamanantamādyaṃ dhyāyetparānandamayaṃ maheśam ||

Meaning

One contemplates Mahesha within the heart-lotus, subtle, boundless, beyond the senses and filled with supreme bliss.

Explanation

The inner lotus and infinite light are symbolic theological imagery, not a physical location in the heart.

4

ध्यानावधूताखिलकर्मबन्धश्चिरं चिदानन्दनिमग्नचेताः । षडक्षरन्याससमाहितात्मा शैवेन कुर्यात्कवचेन रक्षाम् ॥

Roman Transliteration

dhyaanaavadhootaakhilakarmabandhashchiram chidaanandanimagnachetaah | shadaksharanyaasasamaahitaatmaa shaivena kuryaatkavachena rakshaam ||dhyānāvadhūtākhilakarmabandhaściraṃ cidānandanimagnacetāḥ | ṣaḍakṣaranyāsasamāhitātmā śaivena kuryātkavacena rakṣām ||

Meaning

Absorbed in consciousness and joy, the contemplative invokes the Shaiva armour while abandoning karmic fetters.

Explanation

The text mentions six-syllable nyasa, but does not license independent instruction in initiatory body-rituals.

5

मां पातु देवोऽखिलदेवतात्मा संसारकूपे पतितं गभीरे । तन्नाम दिव्यं वरमन्त्रमूलं धुनोतु मे सर्वमघं हृदिस्थम् ॥

Roman Transliteration

maam paatu devo’khiladevataatmaa samsaarakoope patitam gabheere | tannaama divyam varamantramoolam dhunotu me sarvamagham hridistham ||māṃ pātu devo’khiladevatātmā saṃsārakūpe patitaṃ gabhīre | tannāma divyaṃ varamantramūlaṃ dhunotu me sarvamaghaṃ hṛdistham ||

Meaning

May the Lord dwelling in all deities guard one fallen into the deep well of worldly existence; may his name remove inner wrongdoing.

Explanation

The well of samsara is a metaphor for confusion and attachment; protection begins with inner transformation.

6

सर्वत्र मां रक्षतु विश्वमूर्त्तिर्ज्योतिर्मयानन्दघनश्चिदात्मा । अणोरणीयानुरुशक्तिरेकः स ईश्वरः पातु भयादशेषात् ॥

Roman Transliteration

sarvatra maam rakshatu vishvamoorttirjyotirmayaanandaghanashchidaatmaa | anoraneeyaanurushaktirekah sa eeshvarah paatu bhayaadasheshaat ||sarvatra māṃ rakṣatu viśvamūrttirjyotirmayānandaghanaścidātmā | aṇoraṇīyānuruśaktirekaḥ sa īśvaraḥ pātu bhayādaśeṣāt ||

Meaning

May the radiant, conscious, world-pervading Lord protect everywhere from every fear.

Explanation

The text pairs infinitesimal subtlety with immense power, expressing Shiva's transcendence of scale.

7

यो भूस्वरूपेण बिभर्ति विश्वं पायात्स भूमेर्गिरिशोऽष्टमूर्तिः । योऽपां स्वरूपेण नृणां करोति सञ्जीनं सोऽवतु मां जलेभ्यः ॥

Roman Transliteration

yo bhoosvaroopena bibharti vishvam paayaatsa bhoomergirisho’shtamoortih | yo’paam svaroopena nrinaam karoti sanjeenam so’vatu maam jalebhyah ||yo bhūsvarūpeṇa bibharti viśvaṃ pāyātsa bhūmergiriśo’ṣṭamūrtiḥ | yo’pāṃ svarūpeṇa nṛṇāṃ karoti sañjīnaṃ so’vatu māṃ jalebhyaḥ ||

Meaning

May Girisha, who bears the earth and sustains life through the waters, guard against dangers of land and water.

Explanation

This verse evokes Shiva's eightfold cosmic manifestations; a word in its second half remains doubtful in the selected digital text.

8

कल्पावसाने भुवनानि दग्ध्वा सर्वाणि यो नृत्यति भूरिलीलः । स कालरुद्रोऽवतु मां दवाग्नेर्वात्यादिभीतेरखिलाच्च तापात् ॥

Roman Transliteration

kalpaavasaane bhuvanaani dagdhvaa sarvaani yo nrityati bhoorileelah | sa kaalarudro’vatu maam davaagnervaatyaadibheeterakhilaachcha taapaat ||kalpāvasāne bhuvanāni dagdhvā sarvāṇi yo nṛtyati bhūrilīlaḥ | sa kālarudro’vatu māṃ davāgnervātyādibhīterakhilācca tāpāt ||

Meaning

May Kala-Rudra, imagined dancing at the end of an age, protect from forest fires, storms and distress.

Explanation

Cosmic destruction becomes a setting for seeking refuge; no literal immunity to disasters is promised.

9

प्रदीप्तविद्युत्कनकावभासो विद्यावराभीतिकुठारपाणिः । चतुर्मुखस्तत्पुरुषस्त्रिनेत्रः प्राच्यां स्थितं रक्षतु मामजस्रम् ॥

Roman Transliteration

pradeeptavidyutkanakaavabhaaso vidyaavaraabheetikuthaarapaanih | chaturmukhastatpurushastrinetrah praachyaam sthitam rakshatu maamajasram ||pradīptavidyutkanakāvabhāso vidyāvarābhītikuṭhārapāṇiḥ | caturmukhastatpuruṣastrinetraḥ prācyāṃ sthitaṃ rakṣatu māmajasram ||

Meaning

May the four-faced, three-eyed Tatpurusha of brilliant golden light guard the east.

Explanation

Tatpurusha belongs to the five-faced Shiva imagery of many Shaiva systems; direction assignments can vary.

कुठारवेदाङ्कुशपाशशूलकपालढक्काक्षगुणान्दधानः । चतुर्मुखो नीलरुचिस्त्रिनेत्रः पायादघोरो दिशि दक्षिणस्याम् ॥

Roman Transliteration

kuthaaravedaankushapaashashoolakapaaladhakkaakshagunaandadhaanah | chaturmukho neelaruchistrinetrah paayaadaghoro dishi dakshinasyaam ||kuṭhāravedāṅkuśapāśaśūlakapālaḍhakkākṣaguṇāndadhānaḥ | caturmukho nīlarucistrinetraḥ pāyādaghoro diśi dakṣiṇasyām ||

Meaning

May blue-hued, three-eyed Aghora bearing many implements protect the south.

Explanation

The implements are iconographic symbols; some compound readings diverge significantly across transcriptions.

11

कुन्देन्दुशङ्खस्फटिकावभासो वेदाक्षमालावरदाभयाङ्कः । त्र्यक्षश्चतुर्वक्त्र उरुप्रभावः सद्योधिजातोवतु मां प्रतीच्याम् ॥

Roman Transliteration

kundendushankhasphatikaavabhaaso vedaakshamaalaavaradaabhayaankah | tryakshashchaturvaktra uruprabhaavah sadyodhijaatovatu maam prateechyaam ||kundenduśaṅkhasphaṭikāvabhāso vedākṣamālāvaradābhayāṅkaḥ | tryakṣaścaturvaktra uruprabhāvaḥ sadyodhijātovatu māṃ pratīcyām ||

Meaning

May the radiant, three-eyed Sadyojata guard the west with blessings and fearlessness.

Explanation

The deity's luminous description signifies grace; even the divine-name spelling differs across witnesses.

12

वराक्षमालाभयटङ्कहस्तः सरोजकिञ्जल्कसमानवर्णः । त्रिलोचनश्चारुचतुर्मुखो मां पायादुदीच्यां दिशि वामदेवः ॥

Roman Transliteration

varaakshamaalaabhayatankahastah sarojakinjalkasamaanavarnah | trilochanashchaaruchaturmukho maam paayaadudeechyaam dishi vaamadevah ||varākṣamālābhayaṭaṅkahastaḥ sarojakiñjalkasamānavarṇaḥ | trilocanaścārucaturmukho māṃ pāyādudīcyāṃ diśi vāmadevaḥ ||

Meaning

May four-faced Vamadeva with lotus-filament colour protect the north.

Explanation

Blessing, rosary and protective gestures belong to a particular iconographic visualization of Shiva.

13

वेदाभयेष्टाङ्कुशटङ्कपाशकपालढक्काक्षकशूलपाणिः । सितद्युतिः पञ्चमुखोऽवतान्मामीशान ऊर्द्ध्वं परमप्रकाशः ॥

Roman Transliteration

vedaabhayeshtaankushatankapaashakapaaladhakkaakshakashoolapaanih | sitadyutih panchamukho’vataanmaameeshaana oorddhvam paramaprakaashah ||vedābhayeṣṭāṅkuśaṭaṅkapāśakapālaḍhakkākṣakaśūlapāṇiḥ | sitadyutiḥ pañcamukho’vatānmāmīśāna ūrddhvaṃ paramaprakāśaḥ ||

Meaning

May the five-faced, bright Ishana protect the space above.

Explanation

The directions culminate in the upward axis, tying the body and cosmos together symbolically.

14

मूर्धानमव्यान्मम चन्द्रमौ लिर्भालं ममाव्यादथ भालनेत्रः । नेत्रे ममाव्याद्भगनेत्रहारी नासां सदा रक्षतु विश्वनाथः ॥

Roman Transliteration

moordhaanamavyaanmama chandramau lirbhaalam mamaavyaadatha bhaalanetrah | netre mamaavyaadbhaganetrahaaree naasaam sadaa rakshatu vishvanaathah ||mūrdhānamavyānmama candramau lirbhālaṃ mamāvyādatha bhālanetraḥ | netre mamāvyādbhaganetrahārī nāsāṃ sadā rakṣatu viśvanāthaḥ ||

Meaning

May Moon-crested Shiva guard the head and brow, and Vishvanatha the eyes and nose.

Explanation

A visible word-break in the digital witness at candramauli needs independent philological checking.

15

पायाच्छ्रुती मे श्रुतिगीतकीर्तिः कपोलमव्या त्सततं कपाली । वक्त्रं सदा रक्षतु पञ्चवक्त्रो जिह्वां सदा रक्षतु वेदजिह्वः ॥

Roman Transliteration

paayaachchhrutee me shrutigeetakeertih kapolamavyaa tsatatam kapaalee | vaktram sadaa rakshatu panchavaktro jihvaam sadaa rakshatu vedajihvah ||pāyācchrutī me śrutigītakīrtiḥ kapolamavyā tsatataṃ kapālī | vaktraṃ sadā rakṣatu pañcavaktro jihvāṃ sadā rakṣatu vedajihvaḥ ||

Meaning

May Shiva renowned in sacred hearing protect the ears, Kapali the cheeks, and the five-faced, Veda-tongued Lord the mouth and tongue.

Explanation

Hearing and speech represent both bodily faculties and ethical attentiveness to sacred learning.

16

कण्ठं गिरीशोऽवतु नीलकण्ठः पाणिद्वयं पातु पिनाकपाणिः । दोर्मूलमव्यान्मम धर्मबाहुर्वक्षःस्थलं दक्षमखान्तकोऽव्यात् ॥

Roman Transliteration

kantham gireesho’vatu neelakanthah paanidvayam paatu pinaakapaanih | dormoolamavyaanmama dharmabaahurvakshahsthalam dakshamakhaantako’vyaat ||kaṇṭhaṃ girīśo’vatu nīlakaṇṭhaḥ pāṇidvayaṃ pātu pinākapāṇiḥ | dormūlamavyānmama dharmabāhurvakṣaḥsthalaṃ dakṣamakhāntako’vyāt ||

Meaning

May Nilakantha protect the throat, Pinakapani the hands, and the destroyer of Daksha's sacrifice the chest.

Explanation

The names recall distinct Shaiva narratives; a kavacha compiles many aspects of one deity in a bodily map.

17

ममोदरं पातु गिरीन्द्रधन्वा मध्यं ममाव्यान्मदनान्तकारी । हेरम्बतातो मम पातु नाभिं पायात्कटी धूर्जटिरीश्वरो मे ॥

Roman Transliteration

mamodaram paatu gireendradhanvaa madhyam mamaavyaanmadanaantakaaree | herambataato mama paatu naabhim paayaatkatee dhoorjatireeshvaro me ||mamodaraṃ pātu girīndradhanvā madhyaṃ mamāvyānmadanāntakārī | herambatāto mama pātu nābhiṃ pāyātkaṭī dhūrjaṭirīśvaro me ||

Meaning

May the mountain-bow bearer guard the belly, Kama's conqueror the waist, and Heramba's father the navel.

Explanation

Heramba refers to Ganesha; the familial epithet connects Shiva protection with wider household devotion.

18

ऊरुद्वयं पातु कुबेरमित्रो जानुद्वयं मे जगदीश्वरोऽव्यात् । जङ्घायुगं पुङ्गवकेतुरव्यात्पादौ ममाव्या त्सुरवन्द्यपादः ॥

Roman Transliteration

oorudvayam paatu kuberamitro jaanudvayam me jagadeeshvaro’vyaat | janghaayugam pungavaketuravyaatpaadau mamaavyaa tsuravandyapaadah ||ūrudvayaṃ pātu kuberamitro jānudvayaṃ me jagadīśvaro’vyāt | jaṅghāyugaṃ puṅgavaketuravyātpādau mamāvyā tsuravandyapādaḥ ||

Meaning

May Kubera's friend guard the thighs, the Lord of the world the knees, and the bull-bannered deity the legs and feet.

Explanation

The catalogue of limbs now completes a body-wide verbal image of refuge in Shiva.

19

महेश्वरः पातु दिनादियामे मां मध्ययामेऽवतु वामदेवः । त्रियम्बकः पातु तृतीययामे वृषध्वजः पातु दिनान्त्ययामे ॥

Roman Transliteration

maheshvarah paatu dinaadiyaame maam madhyayaame’vatu vaamadevah | triyambakah paatu triteeyayaame vrishadhvajah paatu dinaantyayaame ||maheśvaraḥ pātu dinādiyāme māṃ madhyayāme’vatu vāmadevaḥ | triyambakaḥ pātu tṛtīyayāme vṛṣadhvajaḥ pātu dināntyayāme ||

Meaning

May Maheshvara and Vamadeva protect early and midday hours, Tryambaka the third watch and Vrishadhvaja the day's end.

Explanation

Daytime division is poetic completeness, not an instruction to calculate ritual times from these poetic divisions.

पायान्निशादौ शशिशेखरो मां गङ्गाधरो रक्षतु मां निशीथे । गौरीपतिः पातु निशावसाने मृत्युञ्जयो रक्षतु सर्वकालम् ॥

Roman Transliteration

paayaannishaadau shashishekharo maam gangaadharo rakshatu maam nisheethe | gaureepatih paatu nishaavasaane mrityunjayo rakshatu sarvakaalam ||pāyānniśādau śaśiśekharo māṃ gaṅgādharo rakṣatu māṃ niśīthe | gaurīpatiḥ pātu niśāvasāne mṛtyuñjayo rakṣatu sarvakālam ||

Meaning

May moon-crested Shiva guard early night, Gangadhara midnight, Gauri's lord dawn, and Mrityunjaya all times.

Explanation

Night completes the day's protective circle; Mrityunjaya is an epithet, not a promise to prevent mortality.

21

अन्तःस्थितं रक्षतु शङ्करो मां स्थाणुः सदा पातु बहिःस्थितं माम् । तदन्तरे पातु पतिः पशूनां सदा शिवो रक्षतु मां समन्तात् ॥

Roman Transliteration

antahsthitam rakshatu shankaro maam sthaanuh sadaa paatu bahihsthitam maam | tadantare paatu patih pashoonaam sadaa shivo rakshatu maam samantaat ||antaḥsthitaṃ rakṣatu śaṅkaro māṃ sthāṇuḥ sadā pātu bahiḥsthitaṃ mām | tadantare pātu patiḥ paśūnāṃ sadā śivo rakṣatu māṃ samantāt ||

Meaning

May Shankara protect one within, Sthanu without, Pashupati between, and Sadashiva on every side.

Explanation

The inward/outward distinction offers an accessible reflection on inner life and external vulnerability.

22

तिष्ठन्तमव्या द्भुवनैकनाथः पायाद्व्रजन्तं प्रमथाधिनाथः । वेदान्तवेद्योऽवतु मान्निषण्णं मामव्ययः पातु शिवः शयानम् ॥

Roman Transliteration

tishthantamavyaa dbhuvanaikanaathah paayaadvrajantam pramathaadhinaathah | vedaantavedyo’vatu maannishannam maamavyayah paatu shivah shayaanam ||tiṣṭhantamavyā dbhuvanaikanāthaḥ pāyādvrajantaṃ pramathādhināthaḥ | vedāntavedyo’vatu mānniṣaṇṇaṃ māmavyayaḥ pātu śivaḥ śayānam ||

Meaning

May Shiva guard one while standing, walking, sitting and sleeping.

Explanation

All ordinary postures become occasions for remembering divine support; the unit has uncertain word spacing.

23

मार्गेषु मां रक्षतु नीलकण्ठः शैलादिदुर्गेषु पुरत्रयारिः । अरण्यवासादिमहाप्रवासे पायान्मृगव्याध उदारशक्तिः ॥

Roman Transliteration

maargeshu maam rakshatu neelakanthah shailaadidurgeshu puratrayaarih | aranyavaasaadimahaapravaase paayaanmrigavyaadha udaarashaktih ||mārgeṣu māṃ rakṣatu nīlakaṇṭhaḥ śailādidurgeṣu puratrayāriḥ | araṇyavāsādimahāpravāse pāyānmṛgavyādha udāraśaktiḥ ||

Meaning

May Nilakantha guard paths, Tripurari mountain passes, and the mighty hunter long wilderness journeys.

Explanation

The wilderness and difficult roads are literary images of uncertainty; they do not replace travel safety.

24

कल्पान्तकाटोपपटुप्रकोपः स्फुटाट्टहासोच्चलिताण्डकोशः । घोरारिसेनार्णवदुर्निवारमहाभयाद्रक्षतु वीरभद्रः ॥

Roman Transliteration

kalpaantakaatopapatuprakopah sphutaattahaasochchalitaandakoshah | ghoraarisenaarnavadurnivaaramahaabhayaadrakshatu veerabhadrah ||kalpāntakāṭopapaṭuprakopaḥ sphuṭāṭṭahāsoccalitāṇḍakośaḥ | ghorārisenārṇavadurnivāramahābhayādrakṣatu vīrabhadraḥ ||

Meaning

May Virabhadra protect from terrifying, seemingly irresistible hostile armies.

Explanation

The fierce cosmic imagery is part of the hymn's martial setting; it is not an endorsement of violence.

25

पत्त्यश्वमातङ्गघटावरूथसहस्रलक्षायुतकोटिभीषणम् । अक्षौहिणीनां शतमाततायिनां छिन्द्या न्मूढो घोरकुठारधारया ॥

Roman Transliteration

pattyashvamaatangaghataavaroothasahasralakshaayutakotibheeshanam | akshauhineenaam shatamaatataayinaam chhindyaa nmoodho ghorakuthaaradhaarayaa ||pattyaśvamātaṅgaghaṭāvarūthasahasralakṣāyutakoṭibhīṣaṇam | akṣauhiṇīnāṃ śatamātatāyināṃ chindyā nmūḍho ghorakuṭhāradhārayā ||

Meaning

The Lord's formidable axe is called upon against a vast and threatening force of attackers.

Explanation

The hyperbolic battlefield numbers are poetic intensification, not actionable military guidance.

26

निहन्तु दस्यून्प्रलयानलार्चिर्ज्वलत्त्रिशूलं त्रिपुरान्तकस्य । शार्दूलसिंहर्क्षवृकादिहिंस्रान्सन्त्रासयत्वीशधनुःपिनाकम् ॥

Roman Transliteration

nihantu dasyoonpralayaanalaarchirjvalattrishoolam tripuraantakasya | shaardoolasimharkshavrikaadihimsraansantraasayatveeshadhanuhpinaakam ||nihantu dasyūnpralayānalārcirjvalattriśūlaṃ tripurāntakasya | śārdūlasiṃharkṣavṛkādihiṃsrānsantrāsayatvīśadhanuḥpinākam ||

Meaning

May Tripurantaka's blazing trident oppose robbers and may Pinaka's bow frighten dangerous beasts.

Explanation

Fear of robbers and wild animals reflects a historical travel landscape, not a reliable threat-response method.

27

दुःस्वप्नदुःशकुनदुर्गतिदौर्मनस्यदुर्भिक्षदुर्व्यसनदुःसहदुर्यशांसि । उत्पाततापविषभीतिमसद्ग्रहार्तिव्याधींश्च नाशयतु मे जगतामधीशः ॥

Roman Transliteration

duhsvapnaduhshakunadurgatidaurmanasyadurbhikshadurvyasanaduhsahaduryashaamsi | utpaatataapavishabheetimasadgrahaartivyaadheemshcha naashayatu me jagataamadheeshah ||duḥsvapnaduḥśakunadurgatidaurmanasyadurbhikṣadurvyasanaduḥsahaduryaśāṃsi | utpātatāpaviṣabhītimasadgrahārtivyādhīṃśca nāśayatu me jagatāmadhīśaḥ ||

Meaning

May the Lord of all worlds remove bad dreams, ominous signs, suffering, sickness and harmful fears.

Explanation

The verse contains a densely packed compound listing anxieties; its healing language remains a devotional petition.

28

ओन्नमो भगवते सदाशिवाय सकलतत्त्वात्मकाय सकलतत्त्वविहाराय सकललोकैककर्त्रे सकललौकैकभर्त्रे सकललोकैकहर्त्रे सकललोकैकगुरवे सकललोकैकसाक्षिणे सकलनिगमगुह्याय सकलवरप्रदाय सकलदुरितार्तिभञ्जनाय सकलजगदभयङ्कराय सकललोकैकशङ्कराय शशाङ्कशेखराय शाश्व तनिजाभासाय निर्गुणाय निरुपमाय नीरूपाय निराभासाय निरामयाय निष्प्रपञ्चाय निष्कलङ्काय निर्द्वन्द्वाय निःसङ्गाय निर्मलाय निर्गमाय नित्यरूपविभवाय निरुपमविभवाय निराधाराय नित्यशुद्धबुद्धपरिपूर्णसच्चिदानन्दाद्वयाय परमशान्तप्रकाशतेजोरूपाय जयजय महारुद्र महारौद्र भद्रावतार दुःखदावदारण महाभैरव कालभैरव कल्पान्तभैरव कपालमालाधर खट्वाङ्गखड्गचर्मपाशाङ्कुशडमरुशूलचापबाणगदाशक्तिभिं डिपालतोमरमुसलमुद्गरपट्टिशपरशुपरिघभुशुण्डीशतघ्नीचक्राद्यायुधभीषणकरसहस्र मुखदंष्ट्राकराल विकटाट्टहासविस्फारितब्रह्मामण्डल नागेन्द्र कुण्डल नागेन्द्रहार नागेन्द्रवलय नागेन्द्रचर्मधर मृत्युञ्जय त्र्यम्बक त्रिपुरान्तक विरूपाक्ष विश्वेश्वर विश्वरूप वृषभवाहन विषभूषण विश्वतोमुख सर्वतो रक्षरक्ष मां ज्वलज्वल महामृत्युभयमपमृत्युभयं नाशयनाशय रोगभयमुत्सादयोत्सादय विषसर्पभयं शमयशमय चोरभयं मारयमारय मम शत्रूनुच्चा टयोच्चाटय शूलेन विदारयविदारय कुठारेण भिन्धिभिन्धि खड्गेन छिन्धिछिन्धि खट्वाङ्गेन विपोथयविपोथय मुसलेन निष्पेषयनिष्पेषय बाणैः सन्ताडय सन्ताडय रक्षांसि भीषयभीषय भूतानि विद्रावयविद्रावय कूष्माण्डवेतालमारीगणब्रह्मराक्षसान्सन्त्रासयसन्त्रासय ममाभयं कुरुकुरु वित्रस्तं मामाश्वास याश्वासय नरकभयान्मामुद्धारयोद्धारय सञ्जीवयसञ्जीवय क्षुत्तृड्भ्यां मामाप्याययाप्यायय दुःखातुरं मामानन्दयानन्दय शिवकवचेन मामाच्छादया च्छादय त्र्यम्बक सदाशिव नमस्तेनमस्तेनमस्ते ॥

Roman Transliteration

onnamo bhagavate sadaashivaaya sakalatattvaatmakaaya sakalatattvavihaaraaya sakalalokaikakartre sakalalaukaikabhartre sakalalokaikahartre sakalalokaikagurave sakalalokaikasaakshine sakalanigamaguhyaaya sakalavarapradaaya sakaladuritaartibhanjanaaya sakalajagadabhayankaraaya sakalalokaikashankaraaya shashaankashekharaaya shaashva tanijaabhaasaaya nirgunaaya nirupamaaya neeroopaaya niraabhaasaaya niraamayaaya nishprapanchaaya nishkalankaaya nirdvandvaaya nihsangaaya nirmalaaya nirgamaaya nityaroopavibhavaaya nirupamavibhavaaya niraadhaaraaya nityashuddhabuddhaparipoornasachchidaanandaadvayaaya paramashaantaprakaashatejoroopaaya jayajaya mahaarudra mahaaraudra bhadraavataara duhkhadaavadaarana mahaabhairava kaalabhairava kalpaantabhairava kapaalamaalaadhara khatvaangakhadgacharmapaashaankushadamarushoolachaapabaanagadaashaktibhim dipaalatomaramusalamudgarapattishaparashuparighabhushundeeshataghneechakraadyaayudhabheeshanakarasahasra mukhadamshtraakaraala vikataattahaasavisphaaritabrahmaamandala naagendra kundala naagendrahaara naagendravalaya naagendracharmadhara mrityunjaya tryambaka tripuraantaka viroopaaksha vishveshvara vishvaroopa vrishabhavaahana vishabhooshana vishvatomukha sarvato raksharaksha maam jvalajvala mahaamrityubhayamapamrityubhayam naashayanaashaya rogabhayamutsaadayotsaadaya vishasarpabhayam shamayashamaya chorabhayam maarayamaaraya mama shatroonuchchaa tayochchaataya shoolena vidaarayavidaaraya kuthaarena bhindhibhindhi khadgena chhindhichhindhi khatvaangena vipothayavipothaya musalena nishpeshayanishpeshaya baanaih santaadaya santaadaya rakshaamsi bheeshayabheeshaya bhootaani vidraavayavidraavaya kooshmaandavetaalamaareeganabrahmaraakshasaansantraasayasantraasaya mamaabhayam kurukuru vitrastam maamaashvaasa yaashvaasaya narakabhayaanmaamuddhaarayoddhaaraya sanjeevayasanjeevaya kshuttridbhyaam maamaapyaayayaapyaayaya duhkhaaturam maamaanandayaanandaya shivakavachena maamaachchhaadayaa chchhaadaya tryambaka sadaashiva namastenamastenamaste ||onnamo bhagavate sadāśivāya sakalatattvātmakāya sakalatattvavihārāya sakalalokaikakartre sakalalaukaikabhartre sakalalokaikahartre sakalalokaikagurave sakalalokaikasākṣiṇe sakalanigamaguhyāya sakalavarapradāya sakaladuritārtibhañjanāya sakalajagadabhayaṅkarāya sakalalokaikaśaṅkarāya śaśāṅkaśekharāya śāśva tanijābhāsāya nirguṇāya nirupamāya nīrūpāya nirābhāsāya nirāmayāya niṣprapañcāya niṣkalaṅkāya nirdvandvāya niḥsaṅgāya nirmalāya nirgamāya nityarūpavibhavāya nirupamavibhavāya nirādhārāya nityaśuddhabuddhaparipūrṇasaccidānandādvayāya paramaśāntaprakāśatejorūpāya jayajaya mahārudra mahāraudra bhadrāvatāra duḥkhadāvadāraṇa mahābhairava kālabhairava kalpāntabhairava kapālamālādhara khaṭvāṅgakhaḍgacarmapāśāṅkuśaḍamaruśūlacāpabāṇagadāśaktibhiṃ ḍipālatomaramusalamudgarapaṭṭiśaparaśuparighabhuśuṇḍīśataghnīcakrādyāyudhabhīṣaṇakarasahasra mukhadaṃṣṭrākarāla vikaṭāṭṭahāsavisphāritabrahmāmaṇḍala nāgendra kuṇḍala nāgendrahāra nāgendravalaya nāgendracarmadhara mṛtyuñjaya tryambaka tripurāntaka virūpākṣa viśveśvara viśvarūpa vṛṣabhavāhana viṣabhūṣaṇa viśvatomukha sarvato rakṣarakṣa māṃ jvalajvala mahāmṛtyubhayamapamṛtyubhayaṃ nāśayanāśaya rogabhayamutsādayotsādaya viṣasarpabhayaṃ śamayaśamaya corabhayaṃ mārayamāraya mama śatrūnuccā ṭayoccāṭaya śūlena vidārayavidāraya kuṭhāreṇa bhindhibhindhi khaḍgena chindhichindhi khaṭvāṅgena vipothayavipothaya musalena niṣpeṣayaniṣpeṣaya bāṇaiḥ santāḍaya santāḍaya rakṣāṃsi bhīṣayabhīṣaya bhūtāni vidrāvayavidrāvaya kūṣmāṇḍavetālamārīgaṇabrahmarākṣasānsantrāsayasantrāsaya mamābhayaṃ kurukuru vitrastaṃ māmāśvāsa yāśvāsaya narakabhayānmāmuddhārayoddhāraya sañjīvayasañjīvaya kṣuttṛḍbhyāṃ māmāpyāyayāpyāyaya duḥkhāturaṃ māmānandayānandaya śivakavacena māmācchādayā cchādaya tryambaka sadāśiva namastenamastenamaste ||

Meaning

A long unnumbered prose invocation salutes Sadashiva as the witness, sustainer and transcendent light of all worlds. It then invokes fierce Rudra and Bhairava epithets and petitions relief from danger, fear, suffering, sickness and hostile beings; its violent imperatives are part of the historical devotional wording, not instructions to act against anyone.

Explanation

This passage appears between numbered verses 27 and 28 in the selected complete chapter. It is included in full despite unusual compound breaks visible in the digital source. Its prose syntax and extensive epithets are not to be silently simplified or replaced with a longer SanskritDocuments recension. Specialist collation is mandatory before any publication or liturgical presentation.

28

इत्येतत्कवचं शैवं वरदं व्याहृतं मया । सर्वबाधाप्रशमनं रहस्यं सर्व देहिनाम् ॥

Roman Transliteration

ityetatkavacham shaivam varadam vyaahritam mayaa | sarvabaadhaaprashamanam rahasyam sarva dehinaam ||ityetatkavacaṃ śaivaṃ varadaṃ vyāhṛtaṃ mayā | sarvabādhāpraśamanaṃ rahasyaṃ sarva dehinām ||

Meaning

Rishabha says he has spoken this auspicious and secret Shaiva protection for embodied beings.

Explanation

This begins the phala or transmission section after the long prose invocation; keep the two separately numbered.

यः सदा धारयेन्मर्त्यः शैवं कवचमुत्तमम् । न तस्य जायते क्वापि भयं शम्भोरनुग्रहात् ॥

Roman Transliteration

yah sadaa dhaarayenmartyah shaivam kavachamuttamam | na tasya jaayate kvaapi bhayam shambhoranugrahaat ||yaḥ sadā dhārayenmartyaḥ śaivaṃ kavacamuttamam | na tasya jāyate kvāpi bhayaṃ śambhoranugrahāt ||

Meaning

The kavacha is traditionally said to give freedom from fear through Shambhu's grace.

Explanation

This is a text-internal religious efficacy claim, not independently established psychological or physical protection.

30

क्षीणायुर्मृत्युमापन्नो महारोगहतोऽपि वा । सद्यः सुखमवाप्नोति दीर्घमायुश्च विन्दति ॥

Roman Transliteration

ksheenaayurmrityumaapanno mahaarogahato’pi vaa | sadyah sukhamavaapnoti deerghamaayushcha vindati ||kṣīṇāyurmṛtyumāpanno mahārogahato’pi vā | sadyaḥ sukhamavāpnoti dīrghamāyuśca vindati ||

Meaning

The text promises relief and long life even to someone ill or approaching death.

Explanation

Avoid translating devotional promise into a guarantee; professional medical care remains essential.

31

सर्वदारिद्र्यशमनं सौमङ्गल्यविवर्धनम् । यो धत्ते कवचं शैवं स देवैरपि पूज्यते ॥

Roman Transliteration

sarvadaaridryashamanam saumangalyavivardhanam | yo dhatte kavacham shaivam sa devairapi poojyate ||sarvadāridryaśamanaṃ saumaṅgalyavivardhanam | yo dhatte kavacaṃ śaivaṃ sa devairapi pūjyate ||

Meaning

The hymn promises an easing of poverty and growth of auspiciousness, and divine honour for the bearer.

Explanation

Prosperity claims belong to the tradition's vision of divine generosity, not financial advice.

32

महापातकसङ्घातैर्मुच्यते चोपपातकैः । देहान्ते शिवमाप्नोति शिववर्मानुभावतः ॥

Roman Transliteration

mahaapaatakasanghaatairmuchyate chopapaatakaih | dehaante shivamaapnoti shivavarmaanubhaavatah ||mahāpātakasaṅghātairmucyate copapātakaiḥ | dehānte śivamāpnoti śivavarmānubhāvataḥ ||

Meaning

The speaker says even great and lesser misdeeds are overcome, and the devotee ultimately reaches Shiva.

Explanation

Theological liberation must not be confused with erasure of legal or ethical responsibility.

33

त्वमपि श्रद्धया वत्स शैवं कवच मुत्तमम् । धारयस्व मया दत्तं सद्यः श्रेयो ह्यवाप्स्यसि ॥

Roman Transliteration

tvamapi shraddhayaa vatsa shaivam kavacha muttamam | dhaarayasva mayaa dattam sadyah shreyo hyavaapsyasi ||tvamapi śraddhayā vatsa śaivaṃ kavaca muttamam | dhārayasva mayā dattaṃ sadyaḥ śreyo hyavāpsyasi ||

Meaning

Rishabha offers the highest Shaiva kavacha to his childlike disciple and wishes him good.

Explanation

The affectionate address vatsa marks a teacher-to-student transmission in the narrative.

34

इत्युक्त्वा ऋषभो योगी तस्मै पार्थिवसूनवे । ददौ शङ्खं महारावं खड्गं चारिनिषूदनम् ॥

Roman Transliteration

ityuktvaa rishabho yogee tasmai paarthivasoonave | dadau shankham mahaaraavam khadgam chaarinishoodanam ||ityuktvā ṛṣabho yogī tasmai pārthivasūnave | dadau śaṅkhaṃ mahārāvaṃ khaḍgaṃ cāriniṣūdanam ||

Meaning

The narrator says Rishabha gave the prince a loud conch and a sword.

Explanation

The speaker changes to Suta and the chapter returns to the story of prince Bhadrayu.

35

पुनश्च भस्म सम्मन्त्र्य तदङ्गं सर्वतोऽस्पृशत् । गजानां षट्सहस्रस्य द्विगुणं च बलं ददौ ॥

Roman Transliteration

punashcha bhasma sammantrya tadangam sarvato’sprishat | gajaanaam shatsahasrasya dvigunam cha balam dadau ||punaśca bhasma sammantrya tadaṅgaṃ sarvato’spṛśat | gajānāṃ ṣaṭsahasrasya dviguṇaṃ ca balaṃ dadau ||

Meaning

He is said to touch the prince with consecrated ash and grant supernatural elephant-like strength.

Explanation

Mythic strength imagery is not a recommended technique or physiological claim.

36

भस्मप्रभावात्सम्प्राप्य बलैश्वर्यधृतिस्मृतीः । स राजपुत्रः शुशुभे शरदर्क इव श्रिया ॥

Roman Transliteration

bhasmaprabhaavaatsampraapya balaishvaryadhritismriteeh | sa raajaputrah shushubhe sharadarka iva shriyaa ||bhasmaprabhāvātsamprāpya balaiśvaryadhṛtismṛtīḥ | sa rājaputraḥ śuśubhe śaradarka iva śriyā ||

Meaning

By the ash's narrated power, the prince shines with strength, good fortune and memory like the autumn sun.

Explanation

The simile emphasizes royal transformation; there is no externally verified miracle claim.

37

तमाह प्राञ्जलिं भूयः स योगी राजनन्दनम् । एष खड्गो मया दत्तस्तपोमन्त्रानुभावतः ॥

Roman Transliteration

tamaaha praanjalim bhooyah sa yogee raajanandanam | esha khadgo mayaa dattastapomantraanubhaavatah ||tamāha prāñjaliṃ bhūyaḥ sa yogī rājanandanam | eṣa khaḍgo mayā dattastapomantrānubhāvataḥ ||

Meaning

Rishabha says the sword is a gift arising from his austerity and mantra power.

Explanation

The story treats a weapon as an object of blessing; this editorial work offers no weapon-handling guidance.

38

शितधारमिमं खड्गं यस्मै दर्शयसि स्फुटम् । स सद्यो म्रियते शत्रुः साक्षान्मृत्युरपि स्वयम् ॥

Roman Transliteration

shitadhaaramimam khadgam yasmai darshayasi sphutam | sa sadyo mriyate shatruh saakshaanmrityurapi svayam ||śitadhāramimaṃ khaḍgaṃ yasmai darśayasi sphuṭam | sa sadyo mriyate śatruḥ sākṣānmṛtyurapi svayam ||

Meaning

The prince is told that enemies who face the sword will fall, even if the enemy were Death itself.

Explanation

The verse makes a supernatural violent claim, reported for understanding and not endorsed as fact.

अस्य शङ्खस्य निह्रादं ये शृण्वन्ति तवाहिताः । ते मूर्च्छिताः पतिष्यन्ति न्यस्तशस्त्रा विचेतना ॥

Roman Transliteration

asya shankhasya nihraadam ye shrinvanti tavaahitaah | te moorchchhitaah patishyanti nyastashastraa vichetanaa ||asya śaṅkhasya nihrādaṃ ye śṛṇvanti tavāhitāḥ | te mūrcchitāḥ patiṣyanti nyastaśastrā vicetanā ||

Meaning

Foes hearing the conch are said to faint and drop their weapons.

Explanation

Conch imagery evokes royal authority and protection; not a factual tactical instruction.

40

खड्गशङ्खाविमौ दिव्यौ परसैन्यविनाशिनौ । आत्मसैन्यस्वपक्षाणां शौर्यतेजोविवर्धनौ ॥

Roman Transliteration

khadgashankhaavimau divyau parasainyavinaashinau | aatmasainyasvapakshaanaam shauryatejovivardhanau ||khaḍgaśaṅkhāvimau divyau parasainyavināśinau | ātmasainyasvapakṣāṇāṃ śauryatejovivardhanau ||

Meaning

The conch and sword are described as weakening opposing armies and emboldening their own side.

Explanation

The hymn includes militarized Purāṇic rhetoric; it should not be converted to coercive practice.

41

एतयोश्च प्रभावेन शैवेन कवचेन च । द्विषट्सहस्रनागानां बलेन महतापि च ॥

Roman Transliteration

etayoshcha prabhaavena shaivena kavachena cha | dvishatsahasranaagaanaam balena mahataapi cha ||etayośca prabhāvena śaivena kavacena ca | dviṣaṭsahasranāgānāṃ balena mahatāpi ca ||

Meaning

The combined kavacha, objects and immense elephant strength are said to be with the prince.

Explanation

The number in this passage differs from another circulating version; preserve this witness's wording.

42

भस्मधारणसामर्थ्याच्छत्रुसैन्यं विजेष्यसि । प्राप्य सिंहासनं पैत्र्यं गोप्तासि पृथिवीमिमाम् ॥

Roman Transliteration

bhasmadhaaranasaamarthyaachchhatrusainyam vijeshyasi | praapya simhaasanam paitryam goptaasi prithiveemimaam ||bhasmadhāraṇasāmarthyācchatrusainyaṃ vijeṣyasi | prāpya siṃhāsanaṃ paitryaṃ goptāsi pṛthivīmimām ||

Meaning

Rishabha foretells victory, restoration of the ancestral throne and protection of the kingdom.

Explanation

The prediction is part of the prince's mythic storyline, not a general promise attached to the text.

43

इति भद्रायुषं सम्यगनुशास्य समातृकम् । ताभ्यां सम्पूजितः सोऽथ योगी स्वैरगतिर्ययौ ॥

Roman Transliteration

iti bhadraayusham samyaganushaasya samaatrikam | taabhyaam sampoojitah so’tha yogee svairagatiryayau ||iti bhadrāyuṣaṃ samyaganuśāsya samātṛkam | tābhyāṃ sampūjitaḥ so’tha yogī svairagatiryayau ||

Meaning

After instructing Bhadrayu and his mother, Rishabha departs, honoured by both.

Explanation

The chapter closes with their gratitude and the teacher's departure; the colophon is a distinct textual unit.

इति श्रीस्कान्दे महापुराण एकाशीतिसाहस्र्यां संहितायां तृतीये ब्रह्मोत्तर खण्डे सीमन्तिनीमाहात्म्ये भद्रायूपाख्याने शिवकवचकथनं नाम द्वादशोऽध्यायः ॥ १२ ॥

Roman Transliteration

iti shreeskaande mahaapuraana ekaasheetisaahasryaam samhitaayaam triteeye brahmottara khande seemantineemaahaatmye bhadraayoopaakhyaane shivakavachakathanam naama dvaadasho’dhyaayah || 12 ||iti śrīskānde mahāpurāṇa ekāśītisāhasryāṃ saṃhitāyāṃ tṛtīye brahmottara khaṇḍe sīmantinīmāhātmye bhadrāyūpākhyāne śivakavacakathanaṃ nāma dvādaśo’dhyāyaḥ || 12 ||

Meaning

This is the closing colophon of Skanda Purana, Brahmottara-khanda, chapter 12, concerning the narration of Shiva Kavacha in the Bhadrayu story.

Explanation

The colophon identifies the chapter, not a forty-fourth numbered verse; manuscript and digital colophon formulations differ.

Context & Usage

Complete selected digital reading: 43 numbered verses, one unnumbered long invocation and a closing colophon. This is NOT a print-collated canonical master.

Understanding this Shiva Kavacha

The selected composition is Skanda Purana, Brahma-khanda, Brahmottara-khanda, chapter 12, in which the Shaiva yogi Rishabha transmits a protective hymn in the story of prince Bhadrayu. Verses 1–4 frame its meditation, 5–27 petition Shiva across the body, directions, times and dangers; a very long unnumbered invocation follows verse 27; 28–33 state traditional fruits; 34–43 return to the prince's narrative. 1 2

Edition identity: Some standalone Shiva Kavacham versions include a prefatory viniyoga, hand/limb nyasa, meditations and offerings, then renumber their phalashruti. Other distinct compositions carry the same generic title. This draft is specifically the full 43-verse chapter, without editorially merging any of those versions. 3

How to read protective language: The hymn imagines Shiva as refuge in body, cosmos and time. Its claims about miraculous safety, health, military weapons and enemy defeat are traditional literary beliefs, not proven outcomes or instructions.

Unnumbered invocation

Meaning: A long unnumbered prose invocation salutes Sadashiva as the witness, sustainer and transcendent light of all worlds. It then invokes fierce Rudra and Bhairava epithets and petitions relief from danger, fear, suffering, sickness and hostile beings; its violent imperatives are part of the historical devotional wording, not instructions to act against anyone. Explanation: This passage appears between numbered verses 27 and 28 in the selected complete chapter. It is included in full despite unusual compound breaks visible in the digital source. Its prose syntax and extensive epithets are not to be silently simplified or replaced with a longer SanskritDocuments recension. Specialist collation is mandatory before any publication or liturgical presentation.

Chapter colophon

Meaning: This is the closing colophon of Skanda Purana, Brahmottara-khanda, chapter 12, concerning the narration of Shiva Kavacha in the Bhadrayu story. Explanation: The colophon identifies the chapter, not a forty-fourth numbered verse; manuscript and digital colophon formulations differ.

Themes and interpretation

Shiva's five faces and the directions (9–13): Tatpurusha, Aghora, Sadyojata, Vamadeva and Ishana populate a sacred map of space. Shaiva schools do not all use identical iconographic conventions. Protection as a language for the whole of life (14–23): The body, changing hours, sleep, walking and wilderness are treated as occasions for remembrance. The protective imagery can be read devotionally and symbolically without making a factual safety claim. The fierce passages and fruits (24–42): War, illness, lifespan and miraculous weapons belong to the Purāṇic narrative and customary hymn rhetoric. They do not authorise coercion, violence or substitution for healthcare and ordinary safeguards.

Textual variants, provenance and permissions

The provisional digital base 1 is compared against a full Sanskrit Wikisource chapter 2. Neither a historical edition nor manuscript folios were independently collated. Especially important are the questionable word in verse 7, weapon compounds in 10, name in 11, word breaks in 14/22, differences in the long invocation, phalashruti 28 and elephant-strength numbers in 35/41. The standalone Sanskrit Documents text 3 is comparison only and its distribution restrictions are not waived. Historical manuscripts 5 and 6 are leads, not verified production masters.

Frequently asked questions

Sources, Credits & Licensing

Founder-authorized educational edition. Independent textual and specialist review remains incomplete; this reading does not confer initiation or ritual authorization.

Ancient Skanda Purana, Brahmottarakhanda12. Comparative electronic witness: Sanskrit Wikisource contributors, CC BY-SA4.0. Supplied class-nasal/orthographic reading retained with43 verses, intervening prose and colophon. No modern Vishvasa commentary or scan included; no independent glyph certification claimed. Original manuscript wording and unit sequence retained. Roman rendering, meanings and explanations: ShivGoraksh. No source recording, scan image or modern third-party explanation is reproduced. Independent textual certification remains incomplete.

Text licence

Original Roman reading

The Roman reading recorded with this edition, retaining its spelling and word forms before the Easy Roman display conversion.

  1. 1

    namaskṛtya mahādevaṃ viśvavyāpinamīśvaram | vakṣye śivamayaṃ varma sarvarakṣākaraṃ nṛṇām ||

  2. 2

    śucau deśe samāsīno yathāvatkalpitāsanaḥ | jitendriyo jitaprāṇaścintayecchivamavyayam ||

  3. 3

    hṛtpuṇḍarīkāntarasanniviṣṭaṃ svatejasā vyāptanabhovakāśam | atīndriyaṃ sūkṣmamanantamādyaṃ dhyāyetparānandamayaṃ maheśam ||

  4. 4

    dhyānāvadhūtākhilakarmabandhaściraṃ cidānandanimagnacetāḥ | ṣaḍakṣaranyāsasamāhitātmā śaivena kuryātkavacena rakṣām ||

  5. 5

    māṃ pātu devo’khiladevatātmā saṃsārakūpe patitaṃ gabhīre | tannāma divyaṃ varamantramūlaṃ dhunotu me sarvamaghaṃ hṛdistham ||

  6. 6

    sarvatra māṃ rakṣatu viśvamūrttirjyotirmayānandaghanaścidātmā | aṇoraṇīyānuruśaktirekaḥ sa īśvaraḥ pātu bhayādaśeṣāt ||

  7. 7

    yo bhūsvarūpeṇa bibharti viśvaṃ pāyātsa bhūmergiriśo’ṣṭamūrtiḥ | yo’pāṃ svarūpeṇa nṛṇāṃ karoti sañjīnaṃ so’vatu māṃ jalebhyaḥ ||

  8. 8

    kalpāvasāne bhuvanāni dagdhvā sarvāṇi yo nṛtyati bhūrilīlaḥ | sa kālarudro’vatu māṃ davāgnervātyādibhīterakhilācca tāpāt ||

  9. 9

    pradīptavidyutkanakāvabhāso vidyāvarābhītikuṭhārapāṇiḥ | caturmukhastatpuruṣastrinetraḥ prācyāṃ sthitaṃ rakṣatu māmajasram ||

  10. 10

    kuṭhāravedāṅkuśapāśaśūlakapālaḍhakkākṣaguṇāndadhānaḥ | caturmukho nīlarucistrinetraḥ pāyādaghoro diśi dakṣiṇasyām ||

  11. 11

    kundenduśaṅkhasphaṭikāvabhāso vedākṣamālāvaradābhayāṅkaḥ | tryakṣaścaturvaktra uruprabhāvaḥ sadyodhijātovatu māṃ pratīcyām ||

  12. 12

    varākṣamālābhayaṭaṅkahastaḥ sarojakiñjalkasamānavarṇaḥ | trilocanaścārucaturmukho māṃ pāyādudīcyāṃ diśi vāmadevaḥ ||

  13. 13

    vedābhayeṣṭāṅkuśaṭaṅkapāśakapālaḍhakkākṣakaśūlapāṇiḥ | sitadyutiḥ pañcamukho’vatānmāmīśāna ūrddhvaṃ paramaprakāśaḥ ||

  14. 14

    mūrdhānamavyānmama candramau lirbhālaṃ mamāvyādatha bhālanetraḥ | netre mamāvyādbhaganetrahārī nāsāṃ sadā rakṣatu viśvanāthaḥ ||

  15. 15

    pāyācchrutī me śrutigītakīrtiḥ kapolamavyā tsatataṃ kapālī | vaktraṃ sadā rakṣatu pañcavaktro jihvāṃ sadā rakṣatu vedajihvaḥ ||

  16. 16

    kaṇṭhaṃ girīśo’vatu nīlakaṇṭhaḥ pāṇidvayaṃ pātu pinākapāṇiḥ | dormūlamavyānmama dharmabāhurvakṣaḥsthalaṃ dakṣamakhāntako’vyāt ||

  17. 17

    mamodaraṃ pātu girīndradhanvā madhyaṃ mamāvyānmadanāntakārī | herambatāto mama pātu nābhiṃ pāyātkaṭī dhūrjaṭirīśvaro me ||

  18. 18

    ūrudvayaṃ pātu kuberamitro jānudvayaṃ me jagadīśvaro’vyāt | jaṅghāyugaṃ puṅgavaketuravyātpādau mamāvyā tsuravandyapādaḥ ||

  19. 19

    maheśvaraḥ pātu dinādiyāme māṃ madhyayāme’vatu vāmadevaḥ | triyambakaḥ pātu tṛtīyayāme vṛṣadhvajaḥ pātu dināntyayāme ||

  20. 20

    pāyānniśādau śaśiśekharo māṃ gaṅgādharo rakṣatu māṃ niśīthe | gaurīpatiḥ pātu niśāvasāne mṛtyuñjayo rakṣatu sarvakālam ||

  21. 21

    antaḥsthitaṃ rakṣatu śaṅkaro māṃ sthāṇuḥ sadā pātu bahiḥsthitaṃ mām | tadantare pātu patiḥ paśūnāṃ sadā śivo rakṣatu māṃ samantāt ||

  22. 22

    tiṣṭhantamavyā dbhuvanaikanāthaḥ pāyādvrajantaṃ pramathādhināthaḥ | vedāntavedyo’vatu mānniṣaṇṇaṃ māmavyayaḥ pātu śivaḥ śayānam ||

  23. 23

    mārgeṣu māṃ rakṣatu nīlakaṇṭhaḥ śailādidurgeṣu puratrayāriḥ | araṇyavāsādimahāpravāse pāyānmṛgavyādha udāraśaktiḥ ||

  24. 24

    kalpāntakāṭopapaṭuprakopaḥ sphuṭāṭṭahāsoccalitāṇḍakośaḥ | ghorārisenārṇavadurnivāramahābhayādrakṣatu vīrabhadraḥ ||

  25. 25

    pattyaśvamātaṅgaghaṭāvarūthasahasralakṣāyutakoṭibhīṣaṇam | akṣauhiṇīnāṃ śatamātatāyināṃ chindyā nmūḍho ghorakuṭhāradhārayā ||

  26. 26

    nihantu dasyūnpralayānalārcirjvalattriśūlaṃ tripurāntakasya | śārdūlasiṃharkṣavṛkādihiṃsrānsantrāsayatvīśadhanuḥpinākam ||

  27. 27

    duḥsvapnaduḥśakunadurgatidaurmanasyadurbhikṣadurvyasanaduḥsahaduryaśāṃsi | utpātatāpaviṣabhītimasadgrahārtivyādhīṃśca nāśayatu me jagatāmadhīśaḥ ||

  28. 28

    onnamo bhagavate sadāśivāya sakalatattvātmakāya sakalatattvavihārāya sakalalokaikakartre sakalalaukaikabhartre sakalalokaikahartre sakalalokaikagurave sakalalokaikasākṣiṇe sakalanigamaguhyāya sakalavarapradāya sakaladuritārtibhañjanāya sakalajagadabhayaṅkarāya sakalalokaikaśaṅkarāya śaśāṅkaśekharāya śāśva tanijābhāsāya nirguṇāya nirupamāya nīrūpāya nirābhāsāya nirāmayāya niṣprapañcāya niṣkalaṅkāya nirdvandvāya niḥsaṅgāya nirmalāya nirgamāya nityarūpavibhavāya nirupamavibhavāya nirādhārāya nityaśuddhabuddhaparipūrṇasaccidānandādvayāya paramaśāntaprakāśatejorūpāya jayajaya mahārudra mahāraudra bhadrāvatāra duḥkhadāvadāraṇa mahābhairava kālabhairava kalpāntabhairava kapālamālādhara khaṭvāṅgakhaḍgacarmapāśāṅkuśaḍamaruśūlacāpabāṇagadāśaktibhiṃ ḍipālatomaramusalamudgarapaṭṭiśaparaśuparighabhuśuṇḍīśataghnīcakrādyāyudhabhīṣaṇakarasahasra mukhadaṃṣṭrākarāla vikaṭāṭṭahāsavisphāritabrahmāmaṇḍala nāgendra kuṇḍala nāgendrahāra nāgendravalaya nāgendracarmadhara mṛtyuñjaya tryambaka tripurāntaka virūpākṣa viśveśvara viśvarūpa vṛṣabhavāhana viṣabhūṣaṇa viśvatomukha sarvato rakṣarakṣa māṃ jvalajvala mahāmṛtyubhayamapamṛtyubhayaṃ nāśayanāśaya rogabhayamutsādayotsādaya viṣasarpabhayaṃ śamayaśamaya corabhayaṃ mārayamāraya mama śatrūnuccā ṭayoccāṭaya śūlena vidārayavidāraya kuṭhāreṇa bhindhibhindhi khaḍgena chindhichindhi khaṭvāṅgena vipothayavipothaya musalena niṣpeṣayaniṣpeṣaya bāṇaiḥ santāḍaya santāḍaya rakṣāṃsi bhīṣayabhīṣaya bhūtāni vidrāvayavidrāvaya kūṣmāṇḍavetālamārīgaṇabrahmarākṣasānsantrāsayasantrāsaya mamābhayaṃ kurukuru vitrastaṃ māmāśvāsa yāśvāsaya narakabhayānmāmuddhārayoddhāraya sañjīvayasañjīvaya kṣuttṛḍbhyāṃ māmāpyāyayāpyāyaya duḥkhāturaṃ māmānandayānandaya śivakavacena māmācchādayā cchādaya tryambaka sadāśiva namastenamastenamaste ||

  29. 28

    ityetatkavacaṃ śaivaṃ varadaṃ vyāhṛtaṃ mayā | sarvabādhāpraśamanaṃ rahasyaṃ sarva dehinām ||

  30. 29

    yaḥ sadā dhārayenmartyaḥ śaivaṃ kavacamuttamam | na tasya jāyate kvāpi bhayaṃ śambhoranugrahāt ||

  31. 30

    kṣīṇāyurmṛtyumāpanno mahārogahato’pi vā | sadyaḥ sukhamavāpnoti dīrghamāyuśca vindati ||

  32. 31

    sarvadāridryaśamanaṃ saumaṅgalyavivardhanam | yo dhatte kavacaṃ śaivaṃ sa devairapi pūjyate ||

  33. 32

    mahāpātakasaṅghātairmucyate copapātakaiḥ | dehānte śivamāpnoti śivavarmānubhāvataḥ ||

  34. 33

    tvamapi śraddhayā vatsa śaivaṃ kavaca muttamam | dhārayasva mayā dattaṃ sadyaḥ śreyo hyavāpsyasi ||

  35. 34

    ityuktvā ṛṣabho yogī tasmai pārthivasūnave | dadau śaṅkhaṃ mahārāvaṃ khaḍgaṃ cāriniṣūdanam ||

  36. 35

    punaśca bhasma sammantrya tadaṅgaṃ sarvato’spṛśat | gajānāṃ ṣaṭsahasrasya dviguṇaṃ ca balaṃ dadau ||

  37. 36

    bhasmaprabhāvātsamprāpya balaiśvaryadhṛtismṛtīḥ | sa rājaputraḥ śuśubhe śaradarka iva śriyā ||

  38. 37

    tamāha prāñjaliṃ bhūyaḥ sa yogī rājanandanam | eṣa khaḍgo mayā dattastapomantrānubhāvataḥ ||

  39. 38

    śitadhāramimaṃ khaḍgaṃ yasmai darśayasi sphuṭam | sa sadyo mriyate śatruḥ sākṣānmṛtyurapi svayam ||

  40. 39

    asya śaṅkhasya nihrādaṃ ye śṛṇvanti tavāhitāḥ | te mūrcchitāḥ patiṣyanti nyastaśastrā vicetanā ||

  41. 40

    khaḍgaśaṅkhāvimau divyau parasainyavināśinau | ātmasainyasvapakṣāṇāṃ śauryatejovivardhanau ||

  42. 41

    etayośca prabhāvena śaivena kavacena ca | dviṣaṭsahasranāgānāṃ balena mahatāpi ca ||

  43. 42

    bhasmadhāraṇasāmarthyācchatrusainyaṃ vijeṣyasi | prāpya siṃhāsanaṃ paitryaṃ goptāsi pṛthivīmimām ||

  44. 43

    iti bhadrāyuṣaṃ samyaganuśāsya samātṛkam | tābhyāṃ sampūjitaḥ so’tha yogī svairagatiryayau ||

  45. 45

    iti śrīskānde mahāpurāṇa ekāśītisāhasryāṃ saṃhitāyāṃ tṛtīye brahmottara khaṇḍe sīmantinīmāhātmye bhadrāyūpākhyāne śivakavacakathanaṃ nāma dvādaśo’dhyāyaḥ || 12 ||

Additional passage commentary

Verse 1

Meaning: Rishabha reverently bows to the all-pervading Mahadeva and announces a protective Shiva hymn for human beings. Explanation: The opening explicitly names Rishabha as speaker. Armour here means a sacred protective prayer, not a material weapon or proven safety device.

Verse 2

Meaning: The listener is described as seated in a clean place, self-controlled and meditating on imperishable Shiva. Explanation: The verse describes a traditional contemplative ideal; it is not an approved step-by-step discipline for this site.

Verse 3

Meaning: One contemplates Mahesha within the heart-lotus, subtle, boundless, beyond the senses and filled with supreme bliss. Explanation: The inner lotus and infinite light are symbolic theological imagery, not a physical location in the heart.

Verse 4

Meaning: Absorbed in consciousness and joy, the contemplative invokes the Shaiva armour while abandoning karmic fetters. Explanation: The text mentions six-syllable nyasa, but does not license independent instruction in initiatory body-rituals.

Verse 5

Meaning: May the Lord dwelling in all deities guard one fallen into the deep well of worldly existence; may his name remove inner wrongdoing. Explanation: The well of samsara is a metaphor for confusion and attachment; protection begins with inner transformation.

Verse 6

Meaning: May the radiant, conscious, world-pervading Lord protect everywhere from every fear. Explanation: The text pairs infinitesimal subtlety with immense power, expressing Shiva's transcendence of scale.

Verse 7

Meaning: May Girisha, who bears the earth and sustains life through the waters, guard against dangers of land and water. Explanation: This verse evokes Shiva's eightfold cosmic manifestations; a word in its second half remains doubtful in the selected digital text.

Verse 8

Meaning: May Kala-Rudra, imagined dancing at the end of an age, protect from forest fires, storms and distress. Explanation: Cosmic destruction becomes a setting for seeking refuge; no literal immunity to disasters is promised.

Verse 9

Meaning: May the four-faced, three-eyed Tatpurusha of brilliant golden light guard the east. Explanation: Tatpurusha belongs to the five-faced Shiva imagery of many Shaiva systems; direction assignments can vary.

Verse 10

Meaning: May blue-hued, three-eyed Aghora bearing many implements protect the south. Explanation: The implements are iconographic symbols; some compound readings diverge significantly across transcriptions.

Verse 11

Meaning: May the radiant, three-eyed Sadyojata guard the west with blessings and fearlessness. Explanation: The deity's luminous description signifies grace; even the divine-name spelling differs across witnesses.

Verse 12

Meaning: May four-faced Vamadeva with lotus-filament colour protect the north. Explanation: Blessing, rosary and protective gestures belong to a particular iconographic visualization of Shiva.

Verse 13

Meaning: May the five-faced, bright Ishana protect the space above. Explanation: The directions culminate in the upward axis, tying the body and cosmos together symbolically.

Verse 14

Meaning: May Moon-crested Shiva guard the head and brow, and Vishvanatha the eyes and nose. Explanation: A visible word-break in the digital witness at candramauli needs independent philological checking.

Verse 15

Meaning: May Shiva renowned in sacred hearing protect the ears, Kapali the cheeks, and the five-faced, Veda-tongued Lord the mouth and tongue. Explanation: Hearing and speech represent both bodily faculties and ethical attentiveness to sacred learning.

Verse 16

Meaning: May Nilakantha protect the throat, Pinakapani the hands, and the destroyer of Daksha's sacrifice the chest. Explanation: The names recall distinct Shaiva narratives; a kavacha compiles many aspects of one deity in a bodily map.

Verse 17

Meaning: May the mountain-bow bearer guard the belly, Kama's conqueror the waist, and Heramba's father the navel. Explanation: Heramba refers to Ganesha; the familial epithet connects Shiva protection with wider household devotion.

Verse 18

Meaning: May Kubera's friend guard the thighs, the Lord of the world the knees, and the bull-bannered deity the legs and feet. Explanation: The catalogue of limbs now completes a body-wide verbal image of refuge in Shiva.

Verse 19

Meaning: May Maheshvara and Vamadeva protect early and midday hours, Tryambaka the third watch and Vrishadhvaja the day's end. Explanation: Daytime division is poetic completeness, not an instruction to calculate ritual times from these poetic divisions.

Verse 20

Meaning: May moon-crested Shiva guard early night, Gangadhara midnight, Gauri's lord dawn, and Mrityunjaya all times. Explanation: Night completes the day's protective circle; Mrityunjaya is an epithet, not a promise to prevent mortality.

Verse 21

Meaning: May Shankara protect one within, Sthanu without, Pashupati between, and Sadashiva on every side. Explanation: The inward/outward distinction offers an accessible reflection on inner life and external vulnerability.

Verse 22

Meaning: May Shiva guard one while standing, walking, sitting and sleeping. Explanation: All ordinary postures become occasions for remembering divine support; the unit has uncertain word spacing.

Verse 23

Meaning: May Nilakantha guard paths, Tripurari mountain passes, and the mighty hunter long wilderness journeys. Explanation: The wilderness and difficult roads are literary images of uncertainty; they do not replace travel safety.

Verse 24

Meaning: May Virabhadra protect from terrifying, seemingly irresistible hostile armies. Explanation: The fierce cosmic imagery is part of the hymn's martial setting; it is not an endorsement of violence.

Verse 25

Meaning: The Lord's formidable axe is called upon against a vast and threatening force of attackers. Explanation: The hyperbolic battlefield numbers are poetic intensification, not actionable military guidance.

Verse 26

Meaning: May Tripurantaka's blazing trident oppose robbers and may Pinaka's bow frighten dangerous beasts. Explanation: Fear of robbers and wild animals reflects a historical travel landscape, not a reliable threat-response method.

Verse 27

Meaning: May the Lord of all worlds remove bad dreams, ominous signs, suffering, sickness and harmful fears. Explanation: The verse contains a densely packed compound listing anxieties; its healing language remains a devotional petition.

Verse 28

Meaning: Rishabha says he has spoken this auspicious and secret Shaiva protection for embodied beings. Explanation: This begins the phala or transmission section after the long prose invocation; keep the two separately numbered.

Verse 29

Meaning: The kavacha is traditionally said to give freedom from fear through Shambhu's grace. Explanation: This is a text-internal religious efficacy claim, not independently established psychological or physical protection.

Verse 30

Meaning: The text promises relief and long life even to someone ill or approaching death. Explanation: Avoid translating devotional promise into a guarantee; professional medical care remains essential.

Verse 31

Meaning: The hymn promises an easing of poverty and growth of auspiciousness, and divine honour for the bearer. Explanation: Prosperity claims belong to the tradition's vision of divine generosity, not financial advice.

Verse 32

Meaning: The speaker says even great and lesser misdeeds are overcome, and the devotee ultimately reaches Shiva. Explanation: Theological liberation must not be confused with erasure of legal or ethical responsibility.

Verse 33

Meaning: Rishabha offers the highest Shaiva kavacha to his childlike disciple and wishes him good. Explanation: The affectionate address vatsa marks a teacher-to-student transmission in the narrative.

Verse 34

Meaning: The narrator says Rishabha gave the prince a loud conch and a sword. Explanation: The speaker changes to Suta and the chapter returns to the story of prince Bhadrayu.

Verse 35

Meaning: He is said to touch the prince with consecrated ash and grant supernatural elephant-like strength. Explanation: Mythic strength imagery is not a recommended technique or physiological claim.

Verse 36

Meaning: By the ash's narrated power, the prince shines with strength, good fortune and memory like the autumn sun. Explanation: The simile emphasizes royal transformation; there is no externally verified miracle claim.

Verse 37

Meaning: Rishabha says the sword is a gift arising from his austerity and mantra power. Explanation: The story treats a weapon as an object of blessing; this editorial work offers no weapon-handling guidance.

Verse 38

Meaning: The prince is told that enemies who face the sword will fall, even if the enemy were Death itself. Explanation: The verse makes a supernatural violent claim, reported for understanding and not endorsed as fact.

Verse 39

Meaning: Foes hearing the conch are said to faint and drop their weapons. Explanation: Conch imagery evokes royal authority and protection; not a factual tactical instruction.

Verse 40

Meaning: The conch and sword are described as weakening opposing armies and emboldening their own side. Explanation: The hymn includes militarized Purāṇic rhetoric; it should not be converted to coercive practice.

Verse 41

Meaning: The combined kavacha, objects and immense elephant strength are said to be with the prince. Explanation: The number in this passage differs from another circulating version; preserve this witness's wording.

Verse 42

Meaning: Rishabha foretells victory, restoration of the ancestral throne and protection of the kingdom. Explanation: The prediction is part of the prince's mythic storyline, not a general promise attached to the text.

Verse 43

Meaning: After instructing Bhadrayu and his mother, Rishabha departs, honoured by both. Explanation: The chapter closes with their gratitude and the teacher's departure; the colophon is a distinct textual unit.

  1. Skanda Purana, Brahmottara-khanda 12: Śivakavacakathanam (Vishvasa online reading) · Open source
  2. Skanda Purana Brahmottara chapter 12 (Sanskrit Wikisource) · Open source
  3. Shiva Kavacham, Rishabha tradition (Sanskrit Documents) · Open source
  4. Description of Sivakavaca, Skanda Purana Brahmottara 12, translated by G V Tagare · Open source
  5. Brahmottarakhanda manuscript, Shaka 1773 / 1851, Asiatic Society Mumbai, Granth Sanjeevani MS_00000940 · Open source
  6. Brahmottara Khandeyam manuscript, British Library EAP1023/25/40 · Open source
  7. Catalogue of the India Office Library, Part I: Brahmottara-khanda imprints · Open source
  8. Skandapurana Brahmottarakhanda chapter table, Vaidhika Dharma · Open source
  9. Additional reusable textual witness (comparison, not a replacement edition) · Open source