Skanda Purana — Nagara Khanda, Shloka 34
एवं स एव भगवान्भवभूत भव्यभूतादिकृत्सकलसंस्थितिनाशनांकः । सोऽपि श्रिया सह भवोऽपि गिरीशपुत्र्या सार्द्धं चतुर्षु च द्रुमेषु निवासमाप
evaṃ sa eva bhagavānbhavabhūta bhavyabhūtādikṛtsakalasaṃsthitināśanāṃkaḥ | so'pi śriyā saha bhavo'pi girīśaputryā sārddhaṃ caturṣu ca drumeṣu nivāsamāpa
Demikianlah Tuhan Yang Terpuji itu—pencipta masa lalu, kini dan akan datang, yang memikul tanda peleraian segala kewujudan yang tersusun—telah bersemayam. Dan Bhava (Śiva) juga, bersama Śrī, serta bersama puteri Girīśa (Pārvatī), datang menetap di antara empat batang pohon.
Narrator (continuation of the Śālagrāma origin narrative)
Tirtha: Hāṭakeśvara-kṣetra (grove locus within the kṣetra narrative)
Type: kshetra
Listener: Pilgrimage audience; within the chapter-cycle, Brahmā–Nārada frame is operative
Scene: A sacred grove with four prominent trees forming a natural mandala; the Blessed Lord (Viṣṇu/Nārāyaṇa implied by surrounding Śeṣaśāyī context) is shown as cosmic yet approachable; Śiva (Bhava) appears with Śrī (Lakṣmī) and Pārvatī, indicating a rare confluence of divine households in one grove.
FAQs
The Supreme pervades time and dissolves bondage, yet chooses localized sacred abodes—making transcendence approachable through place.
The broader Śālagrāma–Gaṇḍakī tīrtha narrative is being sacralized through the motif of divine residence in a specific grove-like setting.
None directly; it establishes a sacral geography (divine residence) that supports pilgrimage, darśana, and worship traditions.