शंकरोऽपि च तां दृष्ट्वा विस्मयं परमं गतः । सुदृष्टां नाकरोद्भीत्या पार्श्वस्थां वीक्ष्य पार्वतीम् । ततः प्रदक्षिणां चक्रे सा प्रणम्य महेश्वरम् । श्रद्धया परया युक्ता कृतांजलिपुटा स्थिता
śaṃkaro'pi ca tāṃ dṛṣṭvā vismayaṃ paramaṃ gataḥ | sudṛṣṭāṃ nākarodbhītyā pārśvasthāṃ vīkṣya pārvatīm | tataḥ pradakṣiṇāṃ cakre sā praṇamya maheśvaram | śraddhayā parayā yuktā kṛtāṃjalipuṭā sthitā
Selbst Śaṅkara geriet, als er sie erblickte, in höchstes Staunen. Doch aus Furcht vor Unziemlichkeit schaute er sie nicht ganz an, sondern blickte zu Pārvatī, die an seiner Seite stand. Dann vollzog sie die Pradakṣiṇā und verneigte sich vor Maheśvara; von höchster श्रद्धा erfüllt, stand sie mit gefalteten Händen in Ehrfurcht da.
Sūta
Tirtha: Kailāsa
Type: peak
Scene: Śiva, seated with Pārvatī, is filled with wonder yet averts a full gaze out of propriety, glancing toward Pārvatī; the maiden performs a full pradakṣiṇā and bows, then stands with folded hands, radiant with faith.
True devotion is disciplined: wonder does not become indulgence; reverence (praṇāma, pradakṣiṇā) is the correct response to the divine.
The scene is set on Kailāsa; within the chapter it functions as the mythic backdrop for the later glorification of Rūpa-tīrtha.
Pradakṣiṇā (circumambulation) and praṇāma (prostration/bowing), performed with śraddhā and añjali.