शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)
मृदङ्गमुरजैर्जुष्टं वीणावेणुनिनादितम् नृत्यद्भिर् अप्सरःसंघैर् भूतसंघैश् च संवृतम् देवेन्द्रभवनाकारैर् भवनैर् दृष्टिमोहनैः
mṛdaṅgamurajairjuṣṭaṃ vīṇāveṇunināditam nṛtyadbhir apsaraḥsaṃghair bhūtasaṃghaiś ca saṃvṛtam devendrabhavanākārair bhavanair dṛṣṭimohanaiḥ
وكان مفعمًا بإيقاعات طبول المِردنغا والمُراجا، يرنّ بأصوات الفينا والناي؛ تحيط به جماعات الأبسارات الراقصات وحشود البهوتا، وتزيّنه قصور فاتنة على هيئة قصور إندرا السماوية.
Suta Goswami (narrating to the sages of Naimisharanya, contextual)
The verse frames the Linga-centered sacred space as a manifest field of auspiciousness—where sound (nāda), beauty, and divine attendants gather—signaling the presence of Pati (Shiva) as the sanctifier of the whole environment of worship.
By portraying bhūta-hosts and celestial apsarases harmoniously surrounding the scene, the verse implies Shiva-tattva as the Lord who integrates all levels of beings—celestial and liminal—under a single sovereign, liberating order.
It highlights nāda (sacred sound) as an aid to devotion: instruments and resonant music function like upacāras (offerings) that steady attention for puja and support inward recollection aligned with Pāśupata-oriented worship.