Skanda Purana — Mahesvara Khanda, Shloka 75
तस्मान्नादमयः शंभुर्नादाच्च प्रतिलभ्यते । तस्माद्वीणा मया चाद्य वादिता हि परंतप
tasmānnādamayaḥ śaṃbhurnādācca pratilabhyate | tasmādvīṇā mayā cādya vāditā hi paraṃtapa
അതുകൊണ്ട് ശംഭു നാദമയൻ; നാദത്തിലൂടെയാണ് അവനെ പ്രാപിക്കുന്നത്. അതിനാൽ, ഹേ പരന്തപാ, ഞാൻ ഇന്ന് തീർച്ചയായും വീണ വായിച്ചു।
Nārada (within Sūta’s narration)
Tirtha: Kedāra
Type: kshetra
Scene: Nārada justifies playing the vīṇā: since Śiva is nāda-maya and reached by nāda, the instrument becomes a vehicle of realization. The scene shifts from restraint to sanctioned sacred music, with sound-waves visually linking vīṇā to Śiva’s aura.
FAQs
Divine realization is linked to sacred sound: Śiva is described as nādamaya and approachable through nāda, validating devotional sound-practices.
Kedārakhaṇḍa forms the sacred setting; the verse primarily glorifies nāda as a spiritual principle rather than a particular spot.
Implicitly, engagement with sacred sound (nāda)—such as musical devotion or mantra-like resonance—is presented as a means to attain Śiva.
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