Adhyaya 44: Nandikesvara’s Manifestation and Abhisheka; The Rule of Namaskara in Shiva-Nama
भेरीमृदङ्गकाद्यैश् च पणवानकगोमुखैः वादित्रैर्विविधैश्चान्यैः पटहैरेकपुष्करैः
bherīmṛdaṅgakādyaiś ca paṇavānakagomukhaiḥ vāditrairvividhaiścānyaiḥ paṭahairekapuṣkaraiḥ
Под звуки бхери и мриданг, под панава, анака и рога гомукха,—а также под многие иные инструменты, под барабаны патаха и одноглавые пушкары,—они шумно праздновали во славу Шивы, Пати, размыкающего узы паши, что связывают пашу.
Suta Goswami (narrating to the sages of Naimisharanya)
It highlights the utsava (festival) dimension of Shiva worship—auspicious instruments (maṅgala-vādya) accompany public devotion, creating a sacred atmosphere that supports Linga-puja and collective remembrance of Shiva as Pati.
Though indirect, the verse frames Shiva as the supreme center of auspiciousness: the community’s ordered, celebratory sound becomes an offering, implying Shiva as Pati—the Lord who receives worship and grants release from pasha to the pashu.
Ritual practice: Shiva-utsava with instrumental music as an upacāra (service/offering). Yogic takeaway: disciplined sensory expression (sound offered to the deity) is redirected from bondage toward devotion, aligning the pashu toward Pati.