अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
पुन्नागेषु द्विजशतविरुतं रक्ताशोकस्तबकभरनतम् रम्योपान्तक्लमहारभवनं फुल्लाब्जेषु भ्रमरविलसितम्
punnāgeṣu dvijaśatavirutaṃ raktāśokastabakabharanatam ramyopāntaklamahārabhavanaṃ phullābjeṣu bhramaravilasitam
في بساتين البُنّاغا كان صياحُ مئات الطيور يرنّ؛ وكانت أشجار الأشوكا الحمراء تنحني تحت ثقل عناقيدها. وكان ذلك ملاذاً جميلاً يبدّد الإعياء، وبين اللوتس المتفتّح تماماً كانت النحلات تلهو—مشهدٌ مبارك يليق بتأمّل البَتِي، شيفا، الذي يُرخي باشا البَشُو.
Suta Goswami
It frames the tirtha as a purified, sattvic setting—birdsong, blossoms, and lotus-bees—supporting śuddhi (inner cleansing) and dhyāna before Linga-pūjā, so the paśu approaches Pati with reduced pasha (restlessness and fatigue).
By implying a “weariness-dispelling abode,” it points to Śiva as Pati who grants śānti and releases bondage; the serene, auspicious environment mirrors Shiva-tattva as the still center that quiets the paśu’s agitation.
A preparatory discipline: choosing a pure, quiet place for japa and dhyāna prior to pūjā—an environmental support for Pāśupata-oriented inwardness (reducing klama and vikshepa).