अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
तुङ्गाग्रैर् नीलपुष्पस्तबकभरनतप्रांशुशाखैर् अशोकैर् दोलाप्रान्तान्तनीलश्रुतिसुखजनकैर् भासितान्तं मनोज्ञैः रात्रौ चन्द्रस्य भासा कुसुमिततिलकैरेकतां सम्प्रयातं छायासुप्तप्रबुद्धस्थितहरिणकुलालुप्तदूर्वाङ्कुराग्रम्
tuṅgāgrair nīlapuṣpastabakabharanataprāṃśuśākhair aśokair dolāprāntāntanīlaśrutisukhajanakair bhāsitāntaṃ manojñaiḥ rātrau candrasya bhāsā kusumitatilakairekatāṃ samprayātaṃ chāyāsuptaprabuddhasthitahariṇakulāluptadūrvāṅkurāgram
Com elevados aśokas—altos, com os ramos superiores vergados pelo peso de cachos de flores azul-escuras—sua extensão encantadora resplandecia, deleitando o ouvido com o profundo zumbido azulado nas extremidades dos balanços. À noite, parecia fundir-se numa só com o brilho da lua, como se estivesse marcada por tilakas em flor; e, em suas sombras, manadas de veados dormiam, depois despertavam e permaneciam de pé, sem pisar as pontas dos brotos da relva dūrvā. Nessa quietude santificada, a mente volta-se naturalmente para Pati (Śiva), o Senhor que afrouxa os pāsas do paśu por meio de contemplação serena e sāttvica.
Suta Goswami (narrating to the sages of Naimisharanya)
The verse sanctifies the worship-setting: a pure, undisturbed grove and moonlit stillness are portrayed as naturally turning the mind inward—supporting liṅga-upāsanā where the paśu approaches Pati through calmness, purity, and focused contemplation.
Though Shiva is not described directly, the scene functions as a tattva-indicator: Shiva-tattva is the still, luminous ground in which agitation subsides—like moonlight unifying the landscape—hinting at Pati as the serene Lord who dissolves pasha (bondage) through inner clarity.
It implies nocturnal dhyāna and sattvic temple-grove worship—an atmosphere suited to Pāśupata-oriented inwardness, where sense-restraint and tranquil attention support liṅga-pūjā and contemplation of Pati.