Shiva’s Wedding Procession to Kailasa and the Marriage of Girija (Kali)
एवं क्रीडां हरः कृत्वा समं च गिरिकन्यया आगच्छद् दक्षिणां वेदिमृषिभिः सेवितां दृढाम्
evaṃ krīḍāṃ haraḥ kṛtvā samaṃ ca girikanyayā āgacchad dakṣiṇāṃ vedimṛṣibhiḥ sevitāṃ dṛḍhām
Demikianlah, setelah melakukan permainan ilahi, Hara bersama Puteri Gunung datang ke pelantar mezbah selatan (vedī) yang teguh dan mapan, yang dihadiri serta dilayani para resi.
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Divine līlā is not opposed to Vedic order: after playful intimacy, Śiva and Pārvatī move toward a consecrated, sage-attended ritual space, suggesting that dharma and sanctity frame and stabilize even divine play.
This is best classed under ākhyāna / dharma-anuśaṅga within 'Vamśānucarita' or allied narrative sections rather than core cosmogenesis; it is episodic narration tied to sacred/ritual setting and ṛṣi participation.
The 'dakṣiṇā vedī' and the presence of ṛṣis symbolize the anchoring of divine power in yajña-space and tradition; the couple’s approach can signify the integration of śakti (Girikanyā) with īśvara (Hara) in a ritually affirmed cosmos.