भवनशतसहस्रैर् जुष्टम् आदित्यकल्पैर् ललितगतिविदग्धैर् हंसवृन्दैश् च भिन्नम् धवखदिरपलाशैश् चन्दनाद्यैश् च वृक्षैर् द्विजवरगणवृन्दैः कोकिलाद्यैर्द्विरेफैः
bhavanaśatasahasrair juṣṭam ādityakalpair lalitagatividagdhair haṃsavṛndaiś ca bhinnam dhavakhadirapalāśaiś candanādyaiś ca vṛkṣair dvijavaragaṇavṛndaiḥ kokilādyairdvirephaiḥ
そこは太陽のごとく輝く楼閣が幾十万と立ち並び、優雅な歩みを心得た白鳥の群れが生気を添えていた。ダヴァ、カディラ、パラーシャ、白檀などの樹々が飾りとなり、コーキラをはじめとする気高き鳥たちと、四方にうなる蜂の群れが満ちていた。
Suta Goswami (narrating to the sages of Naimisharanya)
By portraying Shiva’s realm as radiant, orderly, and filled with auspicious life, the verse supports the idea that Linga-puja aligns the pashu (individual soul) with the purity and luminosity of Pati (Shiva), loosening pasha (bondage) through sacred remembrance and devotion.
Shiva-tattva is implied as self-luminous (sun-like radiance) and harmonizing—where all beings move gracefully and coexist without conflict—indicating the Lord as the inner order and bliss (anugraha) behind the manifest world.
No single technique is stated explicitly; the takeaway is dhyāna (contemplative visualization) used in Shaiva practice—meditating on Shiva’s auspicious domain to steady the mind in Pashupata-oriented devotion and purity.