हिमालयगृहे नारदस्य आगमनम् तथा विश्वकर्मनिर्मितवैभववर्णनम् — Nārada’s Arrival at Himālaya’s Palace and the Description of Viśvakarman’s Marvels
विमोहनार्थं सर्वेषां देवानां च विशेषतः । कृता माया चित्रमयी परिहासविकारिणी
vimohanārthaṃ sarveṣāṃ devānāṃ ca viśeṣataḥ | kṛtā māyā citramayī parihāsavikāriṇī
เพื่อทำให้สรรพผู้คน—โดยเฉพาะเหล่าเทพ—หลงมัวเมา นางได้เนรมิต “มายา” อันวิจิตรหลากสี เป็นพลังแห่งลีลาอันก่อให้เกิดการแปรเปลี่ยนอันเล่นสนุก
Suta Goswami
Tattva Level: pasha
Shiva Form: Umāpati
Shakti Form: Pārvatī
Role: creative
It highlights māyā as a purposeful, divinely-governed power that can bewilder even exalted beings; in Shaiva Siddhanta, liberation arises by turning from such delusion toward Pati (Shiva) through devotion and right knowledge.
Māyā’s play can distract the mind into appearances; worship of Saguna Shiva in the Linga form steadies attention and devotion, helping the devotee move from shifting phenomena to Shiva as the stable refuge and revealer of truth.
A practical takeaway is japa of the Panchakshara mantra (Om Namaḥ Śivāya) to pierce delusion, supported by Shaiva disciplines like applying Tripuṇḍra (bhasma) and cultivating steady remembrance of Shiva amid changing experiences.