अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
पुष्पैर्वन्यैः शुभशुभतमैः कल्पितैर्दिव्यभूषैर् देवीं दिव्यामुपवनगतां भूषयामास शर्वः सा चाप्येनं तुहिनगिरिसुता शङ्करं देवदेवं पुष्पैर्दिव्यैः शुभतरतमैर् भूषयामास भक्त्या
puṣpairvanyaiḥ śubhaśubhatamaiḥ kalpitairdivyabhūṣair devīṃ divyāmupavanagatāṃ bhūṣayāmāsa śarvaḥ sā cāpyenaṃ tuhinagirisutā śaṅkaraṃ devadevaṃ puṣpairdivyaiḥ śubhataratamair bhūṣayāmāsa bhaktyā
森の野花――最も吉祥なる花々――と、それらでこしらえた天上の飾りをもって、シャルヴァは聖なる林苑に入った光輝の女神を飾り立てた。さらにヒマーラヤの娘もまた、清らかなバクティをもって、神々の神シャンカラを、いっそう吉祥なる天華で荘厳した。
Suta Goswami (narrating to the sages at Naimisharanya)
It highlights pūjā through upacāras (offerings) like flowers and adornment, showing that sincere bhakti is itself an offering to Pati (Śiva) and supports the devotee (paśu) in loosening pasha (bondage).
Śiva is portrayed as Devadeva and also as the intimate Lord who lovingly honors Devī—revealing Shiva-tattva as both transcendent sovereignty and compassionate relational presence, inseparable from Śakti.
A flower-based pūjā mood (puṣpārcana and bhūṣaṇa-upacāra) is emphasized, pointing to bhakti-yukta worship as a practical discipline aligned with Shaiva sādhana and Pāśupata-oriented inner purification.