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
ມັນເຕັມໄປດ້ວຍຈັງຫວະກອງມຣິດັງກະ ແລະມຸຣະຈະ, ກັງວານດ້ວຍສຽງວີນາແລະຂຸ່ຍ; ຖືກຫ້ອມລ້ອມດ້ວຍຝູງອັບສະຣາຜູ້ຟ້ອນລຳ ແລະຝູງພູຕະ, ພ້ອມທັງປະດັບດ້ວຍເຮືອນວັງອັນລໍ້ຕາ ທີ່ສ້າງໃຫ້ຄ້າຍວັງສະຫວັນຂອງພຣະອິນທຣາ.
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.