अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
पुन्नागेषु द्विजशतविरुतं रक्ताशोकस्तबकभरनतम् रम्योपान्तक्लमहारभवनं फुल्लाब्जेषु भ्रमरविलसितम्
punnāgeṣu dvijaśatavirutaṃ raktāśokastabakabharanatam ramyopāntaklamahārabhavanaṃ phullābjeṣu bhramaravilasitam
पुन्नागवनात शेकडो पक्ष्यांचा किलबिलाट घुमत होता; लाल अशोक फुलगुच्छांच्या भाराने झुकले होते. जवळच थकवा हरवणारे रम्य निवासस्थान होते, आणि फुललेल्या कमळांत भुंगे खेळत होते—पाश शिथिल करणाऱ्या पति शिवाच्या ध्यानास योग्य पावन स्थळ।
Suta Goswami
It frames the tirtha as a purified, sattvic setting—birdsong, blossoms, and lotus-bees—supporting śuddhi (inner cleansing) and dhyāna before Linga-pūjā, so the paśu approaches Pati with reduced pasha (restlessness and fatigue).
By implying a “weariness-dispelling abode,” it points to Śiva as Pati who grants śānti and releases bondage; the serene, auspicious environment mirrors Shiva-tattva as the still center that quiets the paśu’s agitation.
A preparatory discipline: choosing a pure, quiet place for japa and dhyāna prior to pūjā—an environmental support for Pāśupata-oriented inwardness (reducing klama and vikshepa).