अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
सारङ्गैः क्वचिदुपशोभितप्रदेशं प्रच्छन्नं कुसुमचयैः क्वचिद्विचित्रैः हृष्टाभिः क्वचिदपि किन्नराङ्गनाभिर् वीणाभिः सुमधुरगीतनृत्तकण्ठम्
sāraṅgaiḥ kvacidupaśobhitapradeśaṃ pracchannaṃ kusumacayaiḥ kvacidvicitraiḥ hṛṣṭābhiḥ kvacidapi kinnarāṅganābhir vīṇābhiḥ sumadhuragītanṛttakaṇṭham
有些地方因娑罗伽鹿而更显秀美;有些地方又被缤纷花堆所掩映。另有一些地方回荡着欢喜的紧那罗天女之歌喉——伴随维那琴声,唱出极其甘美的妙曲并翩然起舞——显现出一方悦目悦耳而仍归向主宰帕提、湿婆尊临在的境界。
Suta Goswami (narrating to the sages at Naimisharanya)
It portrays a sanctified Shaiva environment—flowers, auspicious beings, and devotional music—suggesting that the devotee should make the Linga’s space beautiful and sattvic, turning the senses into instruments of pūjā rather than bondage (pāśa).
Shiva-tattva is implied as Pati, the centered Presence around which even celestial joy (song, dance, beauty) becomes harmonized; the realm’s delight does not distract but points the pashu (soul) toward the Lord who transcends and purifies experience.
Indirectly, it highlights pūjā-bhāva and Pāśupata orientation: refining sound (mantra/saṅgīta), sight (flowers/ornamentation), and mind (hṛṣṭa-bhāva) so sensory currents are redirected from pāśa toward devotion to Pati.