मेरुवर्णनम्—प्रमाण, दिग्विभाग, देवपुरी-विमान-निवासाः
स्त्रीसहस्रैः समाकीर्णा चाप्सरोभिः समन्ततः दीर्घिकाभिर्विचित्राभिः फुल्लाम्भोरुहसंकुलैः
strīsahasraiḥ samākīrṇā cāpsarobhiḥ samantataḥ dīrghikābhirvicitrābhiḥ phullāmbhoruhasaṃkulaiḥ
Sa paligid ay siksik sa libu-libong babaeng makalangit at mga Apsarā; at pinalamutian ng mga kahanga-hangang lawa ng lotus, punô ng mga liryo sa tubig na ganap na namumukadkad—isang mapalad na karilagan na naglalantad kay Pati bilang sukdulang sentro ng banal na dako.
Suta Goswami (narrating to the sages of Naimisharanya; internal scene description inferred from Purana style)
It establishes the auspicious, sattvic atmosphere surrounding the Lord—implying that Linga-puja is supported by purity, beauty, and ordered sacred space (kṣetra-bhāva), which helps the pashu (soul) turn toward Pati (Shiva).
By portraying a realm overflowing with divine harmony and auspiciousness, it indirectly points to Shiva-tattva as the supreme, centripetal reality around which all splendor and divine energies are arranged—Shiva as Pati, the ground of sacred order beyond pasha.
No single rite is directly prescribed, but the imagery supports puja-vidhi principles: maintaining a pure, auspicious setting (cleanliness, flowers/lotus symbolism, sanctified water) that steadies the mind for Pashupata-oriented contemplation and devotion.