Adhyaya 70: आदिसर्गः—महत्-अहङ्कार-तन्मात्रा-भूतसृष्टिः, ब्रह्माण्डावरणम्, प्रजासर्गः, त्रिमूर्ति-शैवाधिष्ठानम्
हिरण्यमस्य गर्भो ऽभूद् धिरण्यस्यापि गर्भजः तस्माद्धिरण्यगर्भत्वं पुराणे ऽस्मिन्निरुच्यते
hiraṇyamasya garbho 'bhūd dhiraṇyasyāpi garbhajaḥ tasmāddhiraṇyagarbhatvaṃ purāṇe 'sminnirucyate
Mula sa Kanya ay sumibol ang Hiraṇyagarbha, ang “gintong sinapupunan” (kosmik na binhi); at mula rin sa mismong gintong simulain na iyon ay isinilang ang supling. Kaya sa Purāṇa na ito ay ipinaliliwanag kung bakit tinatawag na “Hiraṇyagarbha” ang gayong kalagayan—na tumuturo sa nahayag na pinagmulan ng paglikha sa ilalim ng Panginoong Pati (Śiva).
Suta Goswami (narrating the Purana tradition to the sages at Naimisharanya)
It frames creation as emerging from a prior luminous seed (Hiraṇyagarbha), supporting the Shaiva idea that the Linga signifies the unmanifest ground from which manifestation proceeds—so worship returns the pashu (soul) toward Pati (Lord) beyond mere material origin.
By emphasizing the ‘golden womb’ as a named stage of manifestation, it implies a transcendent source that is prior to the embryo of cosmos; in Shaiva Siddhanta terms, Shiva as Pati remains the independent ground while the world-process unfolds as a dependent emergence.
No specific rite is prescribed in this verse; the takeaway is contemplative—using cosmological reflection (srishti-vichara) to loosen pasha (bondage) and orient the practitioner toward Pati, a supportive attitude within Pashupata-oriented Shaiva sadhana.