3. Kāmika Āgama · Uttara Pāda (part 2 of 2)

वक्ष्ये प्रत्यङ्गिरोद्धारं समासाद् द्विजसत्तमाः। सर्वभक्तिप्रदं सर्वव्याधिविध्वंसनं परम्॥ ज्वरापस्मारमारीणां नाशनं क्षयनाशनम् । शत्रुकृत्यादि संभूत रोगानीक विनाशनम्॥ चतुरङ्गबलोपेत शत्रुक्षयकरं परम् । सर्वसेनारक्षकं नित्यं समर्थं सर्वकर्मसु ॥

vakṣye pratyaṅgiroddhāraṃ samāsād dvijasattamāḥ| sarvabhaktipradaṃ sarvavyādhividhvaṃsanaṃ param|| jvarāpasmāramārīṇāṃ nāśanaṃ kṣayanāśanam | śatrukṛtyādi saṃbhūta rogānīka vināśanam|| caturaṅgabalopeta śatrukṣayakaraṃ param | sarvasenārakṣakaṃ nityaṃ samarthaṃ sarvakarmasu ||

O, the foremost twice-born sages!, now I will tell you how the mantra of Pratyangira Astra gets formed in a prescribed order. This mantra grants all kinds of variegated benefits. It is capble of eradicating all kinds of diseases. It is a supreme mantra which is efficacious in nullifying various epidemics such as infectious fever, epilepsy, pestilence and such others and consumptive cough. It is powerful in destroying the host of diseases and misfortunes born of heinous contrivances worked out by the enemies. It is supremely powerful in destroying the enemy associated with the strength of four kinds of troops. It is capable of protecting constantly all kinds of troops belonging to the devoted king. It is efficacious in accomplishing all kinds of beneficial deeds.

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ओं हिरङ्कारं समुद्धृत्य तदन्ते कृष्णवाससे । ततश्च सिंहवदने महवदन इत्यपि ॥ महाभैरवि वर्णे च सर्वशत्रुपदं तथा । कर्मविध्वंसिनीत्येवं परमन्त्रपदं ततः ॥ छेदिनीत्युद्धरेत्पश्चात् सर्वभूतदमन्यपि । सर्वभूतांस्ततो बन्ध बन्धेति पदमुद्धरेत् ॥ सर्वविध्वंसिनीति पदं छिन्दि छिन्दीति यत्पदम्। सर्वव्याधिं निकृन्तेति निकृन्तेति पदं च यत् ॥ सर्वदुष्टांस्तथा भक्ष भक्षेति पदमुद्धरेत् । ज्वालाजिह्वे करालेति पदं दंष्ट्र पदं पुनः ॥ प्रत्यङ्गिरे पदं हीं च नमोऽस्त्विति पदं ततः। ते स्वाहेत्युद्धरेदेष मन्त्रः प्रत्यङ्गिरात्मकः ॥ प्रत्यङ्गिरेयं विख्याता शतवर्ण स्वरूपिणी ।

oṃ hiraṅkāraṃ samuddhṛtya tadante kṛṣṇavāsase | tataśca siṃhavadane mahavadana ityapi || mahābhairavi varṇe ca sarvaśatrupadaṃ tathā | karmavidhvaṃsinītyevaṃ paramantrapadaṃ tataḥ || chedinītyuddharetpaścāt sarvabhūtadamanyapi | sarvabhūtāṃstato bandha bandheti padamuddharet || sarvavidhvaṃsinīti padaṃ chindi chindīti yatpadam| sarvavyādhiṃ nikṛnteti nikṛnteti padaṃ ca yat || sarvaduṣṭāṃstathā bhakṣa bhakṣeti padamuddharet | jvālājihve karāleti padaṃ daṃṣṭra padaṃ punaḥ || pratyaṅgire padaṃ hīṃ ca namo'stviti padaṃ tataḥ| te svāhetyuddharedeṣa mantraḥ pratyaṅgirātmakaḥ || pratyaṅgireyaṃ vikhyātā śatavarṇa svarūpiṇī |

"Om hrim, krishna vasase, simhavadane, maha vadane, maha bhairavi, sarvasatru karma vidhvamsini, paramantra chedini, sarvabhuta damani, sarvabhutaan bandha bandha, sarva vighnaan chindi chindi, sarva vyadhim nikrunta nikrunta, sarvadushtam bhaksha bhaksha, jvalajihve, karala damshtre, pratyangire, hrim namah svaha."- this is the mantra of Pratyangira Astra conceived in the form constitued of 100 letters.

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आद्यसप्ताक्षरं हृत्याच्छिरः पञ्च दशाक्षरम्। दशाक्षरा शिखा तस्मात् कवचं सप्तवर्णकम्॥ तथैव तस्मान् नेत्राणुश्चतुत्रिंशद्भिरस्त्रकम्। त्रयोदशाणुर्गायत्री सावित्री सप्तवर्णतः॥ नमस्स्वाह वषट् वौषट् हुँफड्युक्ता हृदादयः।

ādyasaptākṣaraṃ hṛtyācchiraḥ pañca daśākṣaram| daśākṣarā śikhā tasmāt kavacaṃ saptavarṇakam|| tathaiva tasmān netrāṇuścatutriṃśadbhirastrakam| trayodaśāṇurgāyatrī sāvitrī saptavarṇataḥ|| namassvāha vaṣaṭ vauṣaṭ hum̐phaḍyuktā hṛdādayaḥ|

Of these 100 letters, the hrudaya mantra is formed of first 7 letters; siro mantra is formed of th 15 letters; sikha mantra is formed of the next 10 letters; kavaca mantra is formed of the next 7 letters; netra mantra is formed of the next 7 letters; astra mantra is formed of 34 letters. The Gayatri mantra pertaining to Pratyangira Astra consists of 13 letters and its Savitri mantra consists of 7 letters. At the end of six anga mantras, hrudaya and others, namah, svaha, vashat, hum, vaushat and hum phat -all these are to be added respectively in the same order.

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सिंहवक्रोग्रदंष्ट्राग्नि सप्रभोर्ध्व शिखान्विताम्॥ कृष्णाञ्जन निभां वृत्त रक्तनेत्रत्रयान्विताम्। वहन्तीं सव्यहस्ताभ्यां शुलं डमरुकं परम्॥ वहन्तीं वामहस्ताभ्यां मुण्डं शेषे तु पल्लवम्। अट्टहासादि शब्दैस्तु गर्जितां मुदितामपि॥ कृष्णाम्बरधरां सासृङमांसास्यां नर्तने रताम्। मौक्तिकाभरणैर्योग्यैस्सर्वावयव भूषिताम्॥ कृष्णाजिनधरां नाम्ना भैरवीं अर्चितां सुरैः। देवीं ध्यात्वैकचित्तस्तु सर्वशत्रून् विनाशयेत्॥ ध्वंसयेत् सर्वरोगांश्च परमन्त्रान्निवारयेत्।

siṃhavakrogradaṃṣṭrāgni saprabhordhva śikhānvitām|| kṛṣṇāñjana nibhāṃ vṛtta raktanetratrayānvitām| vahantīṃ savyahastābhyāṃ śulaṃ ḍamarukaṃ param|| vahantīṃ vāmahastābhyāṃ muṇḍaṃ śeṣe tu pallavam| aṭṭahāsādi śabdaistu garjitāṃ muditāmapi|| kṛṣṇāmbaradharāṃ sāsṛṅamāṃsāsyāṃ nartane ratām| mauktikābharaṇairyogyaissarvāvayava bhūṣitām|| kṛṣṇājinadharāṃ nāmnā bhairavīṃ arcitāṃ suraiḥ| devīṃ dhyātvaikacittastu sarvaśatrūn vināśayet|| dhvaṃsayet sarvarogāṃśca paramantrānnivārayet|

Pratyangira Devi, the presiding Goddess of the Pratyangira Astra appears with a lion-like face, dreadful fang-like teeth, hairs on Her head raised upward and glowing like the flames of fire. She is black in color, like the color of black pigment. She is with three rounded and reddish eyes. In Her two right hands, She is holding a trident and high-sounding drum. In Her two left hands, She is holding severed head and tender leaf. Being in a delighted state, She is roaring and raising boisterous sounds of laughter and other sounds. She is attired in black colored dress. She takes delight in dancing, keeping a piece of flesh associated with sinews. All parts of Her body are adorned with fitting ornaments made of pearls. She is wearing the hide of antelope. In the name of Bhairavi, She is being worshipped by the Devas. Having meditated on such a form of Pratyangra with concentrated mind, let the sadhaka destroy all of his enemies; let him eradicate all the diseases; let him ward off the mantras employed against him by the enemies.

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विद्याधरत्व लाभाय कृष्णागरुयुतं परम्॥ अथवा नाभिकिञ्जल्कं जुहुयात् साधकोत्तमः। कदम्बकलिका होमाद्यक्षिणी सिद्ध्यति ध्रुवम्॥ प्रियङ्गुकदलीपुष्पाण्यादृतो जुहुयाद्धः। करवीरस्य पुष्पाणि घृतं च मधुसंयुतम्॥ खादिरादि समिच्चैव क्षिप्रमातुष्टिकारिका। सिद्धार्थं चैव मुक्तां च अश्वमांसी समन्वितम्॥ पायसं पयसा युक्तं तत्क्षणात् क्षणतां व्रजेत्।

vidyādharatva lābhāya kṛṣṇāgaruyutaṃ param|| athavā nābhikiñjalkaṃ juhuyāt sādhakottamaḥ| kadambakalikā homādyakṣiṇī siddhyati dhruvam|| priyaṅgukadalīpuṣpāṇyādṛto juhuyāddhaḥ| karavīrasya puṣpāṇi ghṛtaṃ ca madhusaṃyutam|| khādirādi samiccaiva kṣipramātuṣṭikārikā| siddhārthaṃ caiva muktāṃ ca aśvamāṃsī samanvitam|| pāyasaṃ payasā yuktaṃ tatkṣaṇāt kṣaṇatāṃ vrajet|

To attain the state of being highly proficient in knowledge and science, the foremost sadhaka should offer the oblations with standard black-sandal(krishna agaru) or with 'nabhi kinjalka' got from the lotus plant, in the fire-pit specifically designed for the purpose. By offering the oblations with the buds of kadamba-flowers, the power of keeping yakshini under control assuredly occurs to the sadhaka. If the wise and diligent sadhaka offers the oblations with priyangu-grain, plantain flowers, karaviraflowers, clarified butter, honey, faggots got from khaadira and other trees, such a homa would yield a delighted state at all levels. If he offers the oblations with white mustard, pearls, asvamamsi, and payasa made with payas, immediately he is blessed with auspicious time and honored state.

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धुत्त्र पुष्पसंयुक्तं खदिरोर्ध्व समन्वितम्॥ कृष्णतिलं घृतं चैव स्तम्भयेदभिचारतः। रक्तपङ्कज पुष्पं च तत्सम रक्तचन्दनम्॥ कपिलाघृत संयुक्तं कपिला क्षीरसंयुतम्। होमयेद्दशसाहस्रं क्षिप्रं मोहयति ध्रुवम्॥

dhuttra puṣpasaṃyuktaṃ khadirordhva samanvitam|| kṛṣṇatilaṃ ghṛtaṃ caiva stambhayedabhicārataḥ| raktapaṅkaja puṣpaṃ ca tatsama raktacandanam|| kapilāghṛta saṃyuktaṃ kapilā kṣīrasaṃyutam| homayeddaśasāhasraṃ kṣipraṃ mohayati dhruvam||

The sadhaka who offers oblations with black-sesame and clarified butter along with dhurtura-flowers and kahdira-woods, he becomes capable of immobilizing the evil consequences of magic spells and of the homas done with heinous motives. If a sadhaka offers the oblations with red-lotus, red-sandal, clarified butter of tawny colored cow and the milk of the same type of cow for 10,000 times, he is sure to become powerful enough immediately to keep the people in infatuated and deluded state.

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महिषोद्भूतमर्क च गार्दभं क्षीरमेव च। गिरिकायाश्च तत्पुष्पमङ्गारास्थि समन्वितम्॥ जुहुयाच्छतसाहस्रं तत्कुलोत्साधनं भवेत्। कुङ्कुमां रोचनां चैव कार्पासफल गुग्गुलु॥ वेणुनां भेदनं सद्यो भवेदेव न संशयः। निम्बपुष्पं तथा व्रीहिं निम्बतैल समायुतम्॥ अर्कक्षीर समायुक्तं होमयेदपि पारतम्। राजयक्ष्मादि रोगाणां शान्तये जुहुयाद्रुः॥

mahiṣodbhūtamarka ca gārdabhaṃ kṣīrameva ca| girikāyāśca tatpuṣpamaṅgārāsthi samanvitam|| juhuyācchatasāhasraṃ tatkulotsādhanaṃ bhavet| kuṅkumāṃ rocanāṃ caiva kārpāsaphala guggulu|| veṇunāṃ bhedanaṃ sadyo bhavedeva na saṃśayaḥ| nimbapuṣpaṃ tathā vrīhiṃ nimbataila samāyutam|| arkakṣīra samāyuktaṃ homayedapi pāratam| rājayakṣmādi rogāṇāṃ śāntaye juhuyādruḥ||

If the sadhaka offers oblations with buffalo-milk, arka, ass-milk, gairika-powder, red flowers and charcoal pieces for one hundred thousand times, there would occur remarkable upliftement for his lineage. If oblations are made with kumkuma, gorocana, cotton seeds, guggulu and bamboo pieces, the sadhaka attains immediate benefits as desired by him. There is no doubt about this. Oblations are to be made by the Guru with nimba-flowers, paddy, oil got from the nimba-seeds, milk of arka plant and mercury in order to cure the diseases such as raja-yakshma and others.

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घृताक्तेन तिलेनैव दूर्वया घृतसिक्तया। दुकूलचरु लाजांश्च मधुत्रय समन्वितान्॥ औदराणां च रोगाणां शुण्ठीं पथ्यां मरीचिभिः। जुहुयादग्नि सिद्ध्यर्थं अग्निबीज पुरस्सरम्॥ अक्षिरोगादि रोगाणां क्षीरेण च घृतेन च। मधुना होमयेत्सर्वं नेत्रमन्त्रेण मन्त्रवित्॥

ghṛtāktena tilenaiva dūrvayā ghṛtasiktayā| dukūlacaru lājāṃśca madhutraya samanvitān|| audarāṇāṃ ca rogāṇāṃ śuṇṭhīṃ pathyāṃ marīcibhiḥ| juhuyādagni siddhyarthaṃ agnibīja purassaram|| akṣirogādi rogāṇāṃ kṣīreṇa ca ghṛtena ca| madhunā homayetsarvaṃ netramantreṇa mantravit||

In order to cure the diseases concerned with stomach, oblations should be offered with sesame soaked in ghee, durva-grass soaked in ghee, silk cloth, parched paddy and madhu-traya(trimadhura). To attain 'agni-siddhi'(to remain unaffected by fire), oblations should be offered with dry ginger, tippili and pepper, reciting the mula mantra preceded by the seed-letter of fire. In order to cure the diseases concerned with eyes, the Guru who has known well about the mantras shold offer oblations with milk, clarified butter and honey, reciting the mula mantra added with netra mantra.

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विषमज्वर नाशाय चूतपत्राणि होमयेत्। घृतेन सह सार्द्राणि प्लुतमृत्युञ्जिता यथा॥ सर्वोपद्रव नाशाय रुद्रशान्त्या खिलादिभिः। वस्त्राद्यैर्वात शान्त्यर्थं सर्षपैः श्लेष्म शान्तये॥ पित्त शान्त्यै च जुहुयाच्चन्दनायैस्सुशीतलैः। सहस्रमयुतं वाथ लक्षं तत्त्विगुणं तु वा॥

viṣamajvara nāśāya cūtapatrāṇi homayet| ghṛtena saha sārdrāṇi plutamṛtyuñjitā yathā|| sarvopadrava nāśāya rudraśāntyā khilādibhiḥ| vastrādyairvāta śāntyarthaṃ sarṣapaiḥ śleṣma śāntaye|| pitta śāntyai ca juhuyāccandanāyaissuśītalaiḥ| sahasramayutaṃ vātha lakṣaṃ tattviguṇaṃ tu vā||

In order to eradicate poisonous fever, the Guru should make oblations with tender leaves of mango tree. In order to ward off all kinds of troubles and worries, the Guru should offer the oblations with moist tender leaves of mango tree sprinkled with the recital of Mrutyunjaya mantra along with clarified butter with the accomapaniment of the recital of 'Rudra-santi' and all other related mantras. In order to nullify the defects caused by 'vata', oblations are to be made with clothes and others; to nullify the defects caused by 'sleshma', oblations are to be made with white mustard; to nullify the defects caused by 'pitta', oblations are to be made with cool sandal wood and others. These oblations may be offered for one thousand, ten thousand or one hundred thousand times or thrice this number.

संप्रोक्षण विधिं वक्ष्ये सर्वदोष निकृन्तनम्। आवर्त चेत्यनावर्त पुनरावर्तनं तथा॥ ततोऽन्तरिकं चेति प्रोक्षणं तु चतुर्विधम्।

saṃprokṣaṇa vidhiṃ vakṣye sarvadoṣa nikṛntanam| āvarta cetyanāvarta punarāvartanaṃ tathā|| tato'ntarikaṃ ceti prokṣaṇaṃ tu caturvidham|

Now I will tell you the directions for the performance of consecration which is efficacious in nullifying all kinds of defects. The consecration is of four kinds - avarta, anavarta, punaravarta and antarika.

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मूलबालगृहान्मूलस्थाने यत् स्थापनं मतम्॥ तदावर्तमिति प्रोक्तं अनावर्त ततो भवेत्। पतितैः पातकैः स्पृष्टे चण्डालैरन्त्यजैस्तथा॥ मासोर्ध्वपुजाहीने च विश्लिष्टे स्थलकर्मणि। लिङ्गे पीठे च चलिते त्वनावर्तमिति स्मृतम्॥ मूलालयासमादाय स्थाप्य बालालये पुनः। तस्मात्संस्थापनं मूले पुनरावर्तनं स्मृतम्॥ प्रतिमानां च मिश्राणां शक्तीनां आयुधादिभिः। स्फोटने वर्णहीने च अङ्गोपाङ्ग विहीनके॥ चर्मच्छेदेऽस्त्रहीने च भूषणादि विहीनके। अम्बुजासनहीने च स्थलकर्म विहीनके॥ विश्लिष्टे पीठबन्धे तु तदन्तरितमुच्यते।

mūlabālagṛhānmūlasthāne yat sthāpanaṃ matam|| tadāvartamiti proktaṃ anāvarta tato bhavet| patitaiḥ pātakaiḥ spṛṣṭe caṇḍālairantyajaistathā|| māsordhvapujāhīne ca viśliṣṭe sthalakarmaṇi| liṅge pīṭhe ca calite tvanāvartamiti smṛtam|| mūlālayāsamādāya sthāpya bālālaye punaḥ| tasmātsaṃsthāpanaṃ mūle punarāvartanaṃ smṛtam|| pratimānāṃ ca miśrāṇāṃ śaktīnāṃ āyudhādibhiḥ| sphoṭane varṇahīne ca aṅgopāṅga vihīnake|| carmacchede'strahīne ca bhūṣaṇādi vihīnake| ambujāsanahīne ca sthalakarma vihīnake|| viśliṣṭe pīṭhabandhe tu tadantaritamucyate|

Withdrawing the form and the concerned mantras invoked and installed in the original miniature temple (mula balalaya) and installing them in the newly made image within the main shrine is known as 'avarta'. Then, the 'anavarta' is described. If the image duly installed in the shrine has been defiled by the touch of outcast, of a person born of mixed caste or of a person born in the lowest caste, if the image has not been daily worshipped for more than one month and if there have occurred cracks or breakages in the walls,ceilng and such other parts of the temple, if the main image and the pedestal get displaced or become shaky, the performance of proper rituals to set right the defects and omissions goes by the name 'anavarta'. Having withdrawn the form and the mantras from the image of the main shrine(mula alaya), installing them in the image of the miniature shrine and re-installing them in the image of the main shrine after the completion of renovation is known as 'punaravartana'. If the icons meant for the festival formed and formless image(Sivalinga) and the images of Sakti have been split or damaged by weapons and such other tools, if the original color of the images has faded or completely vanished, if the main limbs (anga) and the minor limbs(upanga) of the installed images have been damaged or broken, if the weapons such as the shield, arrow and such others and the ornaments and other embellishments have become damaged, if the lotus-pedestal of the installed image has become broken , if defects and defilement have occurred in the temple structure, if the eightfold band(ashta bandhana) applied to the images has loosened or broken, the performance of renovation to set right such defects and damages is known as 'antarika'.

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यात्राहोमयुगावर्त अन्येस्युस्तद्विहीनकाः॥ आवर्ते तु द्विजास्सर्वान् मासपक्षक्षकादिकान्। लिङ्गसंस्थापनस्योक्त मार्गेणैव समाचरेत्॥ न तिथिर्न च नक्षत्रं न वाराद्यंशकादिकाः। कालापेक्षां विना कुर्याच्छेषाण्यन्यानि सुव्रताः॥

yātrāhomayugāvarta anyesyustadvihīnakāḥ|| āvarte tu dvijāssarvān māsapakṣakṣakādikān| liṅgasaṃsthāpanasyokta mārgeṇaiva samācaret|| na tithirna ca nakṣatraṃ na vārādyaṃśakādikāḥ| kālāpekṣāṃ vinā kuryāccheṣāṇyanyāni suvratāḥ||

The 'avarta' consecration is associated with 'yatra homa'. All other consecrations are performed without 'yatra homa'. O, the twice-born sages!, in the 'avarta' type of consecration, fixing of auspicious and fitting time , such as the month, fortnight, lunar mansion and others should be done according to the process detailed for the installation of Sivalinga. O, the sages who have fulfilled good austerities!, all other consecrations are to be performed without looking into the factors of lunar day, lunar mansion, week-day, amsa and such others.

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आवर्तवदनावर्तं कुर्यादेभिर्विहीनकम्। लक्षणोद्धारणं तोयाधिवासः शयनं तथा॥* सर्वालङ्कार संयुक्तं मङ्गलाङ्कर शोभितम्॥ वितानध्वज संयुक्तं छत्रचामर संयुतम्। नानावाद्य समायुक्तं नानानृत्त समन्वितम्॥ बेरेण च समायुक्तं बेरयात्रायुतं न वा।

āvartavadanāvartaṃ kuryādebhirvihīnakam| lakṣaṇoddhāraṇaṃ toyādhivāsaḥ śayanaṃ tathā|| sarvālaṅkāra saṃyuktaṃ maṅgalāṅkara śobhitam|| vitānadhvaja saṃyuktaṃ chatracāmara saṃyutam| nānāvādya samāyuktaṃ nānānṛtta samanvitam|| bereṇa ca samāyuktaṃ berayātrāyutaṃ na vā|*

A procession should be arranged so as to be associated with all kinds of decorations, to be charming with the auspicious fresh sprouts, associated with canopy, flags, festival-umbrellas, camaras, various kinds of musical instruments , varieties of dance-performance and the specific festival-icon. The procession may be without the festival-icon.

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गृहस्थो ब्रह्मचारी वा दीपं संगृह्य पाणिना॥ दण्डं शीघ्रं समारुह्य तदूर्ध्वं सौम्यवक्रयुक्। दीपयेदूर्ध्वपात्रे तु तस्मात् सोऽप्यवर्ताय तु॥ विज्ञापयेन्महेशाय तस्मिन्काले तु चक्रगान्। मूर्धादि पादपर्यन्तं दीपानारोपयेत्ततः॥

gṛhastho brahmacārī vā dīpaṃ saṃgṛhya pāṇinā|| daṇḍaṃ śīghraṃ samāruhya tadūrdhvaṃ saumyavakrayuk| dīpayedūrdhvapātre tu tasmāt so'pyavartāya tu|| vijñāpayenmaheśāya tasminkāle tu cakragān| mūrdhādi pādaparyantaṃ dīpānāropayettataḥ||

Either a house-holder or a celibate should take the light in his hands, climb the ladder quickly to reach the top of the post and being north-faced, should light the vessel placed at the top of the light-post. Then, having descended to the ground, he should respectfully inform the ongoing event to the Supreme Lord and make a humble entreat. On that time, all the lamps kept in the ring-like structures should be lighted from the top to the bottom of the post.

लिङ्गानां आर्षकाणां तु प्रासाद विधिरुच्यते।। आर्षकमृषिभिस्सर्वैः कौशिकाद्यैः प्रतिष्ठितम्॥ स्थूलमूलं शिरःस्थूलं मध्यस्थूलं कृशं तु वा। वृत्तांशं यत्फलाकारं मानसूत्र विवर्जितम्॥ मानुषेतरमित्युक्तं आर्ष स्यादधुनोच्यते।

liṅgānāṃ ārṣakāṇāṃ tu prāsāda vidhirucyate|| ārṣakamṛṣibhissarvaiḥ kauśikādyaiḥ pratiṣṭhitam|| sthūlamūlaṃ śiraḥsthūlaṃ madhyasthūlaṃ kṛśaṃ tu vā| vṛttāṃśaṃ yatphalākāraṃ mānasūtra vivarjitam|| mānuṣetaramityuktaṃ ārṣa syādadhunocyate|

The directions for the construction of shrines for the Arsha Lingas are now told. The Lingas installed and worshipped by the Sages such as Kausika and others are known as 'Arsha Lingas'. The Lingas whose bottom is larger than its upper part, whose top is larger than other parts, whose middle portion is larger or lesser than its other parts, whose rounded portion looks like a fruit and which are not marked with characteristic lines and which are different from the 'Manusha Lingas'(Lingas installed by the devotees) are known as the 'Arsha Lingas'. The features of such Lingas are told here.

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पूजांश द्विगुणं पीठं त्रिगुणं गर्भगेहकम्॥ तदर्थं भित्तिमानं स्यात् तत्सम त्र्यंशमेव वा। विस्ताराद् द्विगुणं तच्च त्रिपादाधिकमेव वा॥ अर्धाधिकं तु वा सप्तभागाधिकमथापि वा। लिङ्गविस्तारमानेन त्रिगुणं पीठमुच्यते॥

pūjāṃśa dviguṇaṃ pīṭhaṃ triguṇaṃ garbhagehakam|| tadarthaṃ bhittimānaṃ syāt tatsama tryaṃśameva vā| vistārād dviguṇaṃ tacca tripādādhikameva vā|| ardhādhikaṃ tu vā saptabhāgādhikamathāpi vā| liṅgavistāramānena triguṇaṃ pīṭhamucyate||

The measure of the pedestal should be twice that of the linga-bhaga(pujamsa) and the measure of the main shrine should be thrice that of the pedestal. Thickness of the wall may be half the measure of the breadth of the shrine, equal to that measure or one part out of three parts of that measure. Or, it maybe twice the circumference of the linga-bhaga, three parts out of four parts in excess of that measure, half in excess of that measure or one part out of seven parts in excess of that measure. The measure of the pedestal is also said to be thrice the circumference of the linga-bhga.

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गर्भगेहं ततस्तस्य त्रिभागद्वयभित्तियुक्। प्राग्वदुत्सेध उद्दिष्ट अन्यथापि निगद्यते॥ लिङ्गविस्तार कर्णेन द्विगुणान्तार्ध संयुतम्। पीठविस्तार मानेन सार्धानर्ध विवर्धनात्॥ सार्धद्विगुण पर्यन्तं पीठ विस्तार उच्यते। द्विगुणं त्रिगुणं तेन चतुर्गुणमथापि वा॥ नालीगृह विशलस्स्याद् द्विभागं स्यात् त्रिपादकम्। सार्धद्वयांशकैकांश समं वा भित्तिविस्तरः॥ उदयं प्राग्वदेव स्यादन्यथा च निगद्यते।

garbhagehaṃ tatastasya tribhāgadvayabhittiyuk| prāgvadutsedha uddiṣṭa anyathāpi nigadyate|| liṅgavistāra karṇena dviguṇāntārdha saṃyutam| pīṭhavistāra mānena sārdhānardha vivardhanāt|| sārdhadviguṇa paryantaṃ pīṭha vistāra ucyate| dviguṇaṃ triguṇaṃ tena caturguṇamathāpi vā|| nālīgṛha viśalassyād dvibhāgaṃ syāt tripādakam| sārdhadvayāṃśakaikāṃśa samaṃ vā bhittivistaraḥ|| udayaṃ prāgvadeva syādanyathā ca nigadyate|

Thrice the measurement of the pedestal should be the extent of the main shrine (garbha gruha). Thickness of the wall should be two parts out of three parts of breadth of the main shrine. The height of the wall should be the same as it was earlier. Another method of deciding on the measurements is now told. The breadth of the pedestal may be held to be twice the measure of the diagonal of the linga-bhaga(if it is with four equal sides) or one and half times the measure the diagonal. The breadth may be from one and half times up to two times that measure, increasing the measure by half times each time. The extent of the main shrine(naligruha)may be twice, thrice or four times the measure of the pedestal. Thickness of the wall may be half, three parts out of four parts, two and a half parts, one part of the pedestal or equal to the breadth of the shrine. The height is the same as determined before. Then, another method of ascertaining the measure of the pedestal and other parts is told.

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लिङ्गनाहस्य कर्णेन पीठविस्तार उच्यते॥ त्रिगुणंगर्भगेहं स्यात् पञ्चांशे त्र्यंशमेव वा। व्यंशे चैकांशकं वापि भित्तिविस्तारं आरभेत्॥ पूजांशोच्च द्विभागस्स्यात् कर्णपीठ विशालकम्। तस्माच्चतुर्गुणं नालीगेहं तत्रिषडंशकैः॥ एकांशकस्य विस्तारं अन्यथा च प्रकथ्यते।

liṅganāhasya karṇena pīṭhavistāra ucyate|| triguṇaṃgarbhagehaṃ syāt pañcāṃśe tryaṃśameva vā| vyaṃśe caikāṃśakaṃ vāpi bhittivistāraṃ ārabhet|| pūjāṃśocca dvibhāgassyāt karṇapīṭha viśālakam| tasmāccaturguṇaṃ nālīgehaṃ tatriṣaḍaṃśakaiḥ|| ekāṃśakasya vistāraṃ anyathā ca prakathyate|

The breadth of the pedestal may be decided according to the measure of the diameter of the linga-bhaga (if it is of cylindrical shape). The extent of the main shrine should be thrice the breadth of the pedestal. Thickness of the wall may be three parts out of five parts or half the breadth of the shrine. The breadth of the square pedestal may be half the height of the linga-bhaga. The extent of the main shrine should be four times the breadth of the pedestal. Thickness of the wall may be one part out of three parts or one part out of six parts of the breadth of the shrine. Then, another way of ascertaining the measures of the main shrine are told.

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लिङ्गद्विगुण विस्तारं कर्णपीठ विशालकम्॥ नालीगेहं त्रिभागं तु त्रिचतुष्पञ्चभागके। एकांशं तद् द्विविस्तारं अन्यथा पुनरुच्यते॥ परीणाहे विकारांशे तच्चतुर्दश कर्णकम्। पिण्डिकाविपुलं नाली तच्चतुर्गुणमुच्यते॥ तत्पादत्र्यंशमानं वा अष्टांशं भित्तिविस्तरः। विस्तारद्विगुणे कर्णदशांशोंऽश विहीनकम्॥ पीठतारं ततः पञ्चगुणं नालीगृहं भवेत्। तत्पञ्चसप्तभागैकं भित्तितारार्धमारभेत्॥

liṅgadviguṇa vistāraṃ karṇapīṭha viśālakam|| nālīgehaṃ tribhāgaṃ tu tricatuṣpañcabhāgake| ekāṃśaṃ tad dvivistāraṃ anyathā punarucyate|| parīṇāhe vikārāṃśe taccaturdaśa karṇakam| piṇḍikāvipulaṃ nālī taccaturguṇamucyate|| tatpādatryaṃśamānaṃ vā aṣṭāṃśaṃ bhittivistaraḥ| vistāradviguṇe karṇadaśāṃśoṃ'śa vihīnakam|| pīṭhatāraṃ tataḥ pañcaguṇaṃ nālīgṛhaṃ bhavet| tatpañcasaptabhāgaikaṃ bhittitārārdhamārabhet||

The breadth of the square pedestal should be twice the breadth of four-sided linga-bhaga. The extent of the main shrine should be thrice the breadth of the square pedestal. Thickness of the wall may be one part out of three, four or five parts of the breadth of the shrine or twice the breadth of the linga-bhaga. Another method is now told. The breadth of the pedestal may be fourteen parts out of sixteen parts of the circumference or diagonal of the linga-bhaga. The extent of the main shrine should be four times the breadth of the pedestal. Thickness of the wall may be one part out of four parts, three parts or eight parts of the breadth of the shrine. There is another method. The breadth of the pedestal should be twice the breadth of the side of the linga-bhaga or one part less than ten parts of the diagonal of the linga-bhaga. The extent of the main shrine should be five times the breadth of the pedestal. Thickness of the wall may be one part out of five or seven parts of the breadth of the shrine or half that breadth.

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हीनाहीनान्तरेऽष्टांशपीठे नालीगृहे तथा। भवन्ति बहुमानानि तेष्विष्टं गृह्यतां वरैः॥ लिङ्गे स्वायंभुवे चैतत् प्रोक्तं तदपि गृह्यताम्। एवमेकतले प्रोक्तं द्वितलादिषु धामसु॥ साधारे वा निराधारे त्वलिन्दं भित्तिरेव च। प्रागुक्त विधिना धामनक्षत्राद् द्वितलं नयेत्॥

hīnāhīnāntare'ṣṭāṃśapīṭhe nālīgṛhe tathā| bhavanti bahumānāni teṣviṣṭaṃ gṛhyatāṃ varaiḥ|| liṅge svāyaṃbhuve caitat proktaṃ tadapi gṛhyatām| evamekatale proktaṃ dvitalādiṣu dhāmasu|| sādhāre vā nirādhāre tvalindaṃ bhittireva ca| prāgukta vidhinā dhāmanakṣatrād dvitalaṃ nayet||

One or two parts out of eight parts of the breadth of the linga-bhaga may be decreased while deciding on e breadth of the pedestal and the main shrine. In this way, there are many ways of deciding on the possible measures of the pedestal and the main shrine. Such measure may be decided by the expert builder according to his choice. Even for svayambhu-linga(self-manifest linga), various methods of deciding on the breadth of the pedestal and the shrine explained here may be applied. Such methods are applicable to the single storeyed vimana(super structure). Considering the pedestal or not considering the pedestal, the measurements of the main shrine and thickness of the wall should be determined according to the rules set forth earlier for the two-storeyed vimana, based on the 'vastu-nakshatra' of the temple.

अथ पौरुषलिङ्गस्य प्रासाद विधिरुच्यते। पौरुषं भक्तियुक्तैस्तु मनुजैः स्थापितं भवेत्॥ पूर्वस्मिन् स्थापिते तस्मिन्नज्ञाते पूर्वमन्दिरे। लिङ्गमान वशेनात्र प्रासादं परिकल्पयेत्॥

atha pauruṣaliṅgasya prāsāda vidhirucyate| pauruṣaṃ bhaktiyuktaistu manujaiḥ sthāpitaṃ bhavet|| pūrvasmin sthāpite tasminnajñāte pūrvamandire| liṅgamāna vaśenātra prāsādaṃ parikalpayet||

Then, the directions the construction of main shrine for the 'Paurusha Linga' are told. The Linga installed and worshipped by a human being in whom deep devotion for the Lord is actively present is known as 'Paurusha Linga'. If a shrine had been built randomly, without following the well settled rules of construction of the shrine for a Linga installed by a devotee previously, a shrine should be built perfectly for that Linga according to the measurements of that Linga.

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लिङ्गविष्कम्भमानेन त्रिगुणं पीठविस्तरः। त्रिभागं नालिगेहस्य त्रिचतुर्भागभागतः॥ भित्तिविस्तार उद्दिष्ट उत्सेधं पूर्ववद्भवेत्। लिङ्गविष्कम्भ कर्णस्य अध्यर्धादर्घवृद्धितः॥ सार्धद्विगुणकं यावत् पीठविस्तारं आहरेत्। तस्माच्चतुर्गुणं पञ्चगुणं त्रिगुणमेव वा॥ नालीगृह विशालं स्यात् पीठविस्तार मानतः। समं वा द्विगुणं वापि अध्यर्थं पीठविस्तृतम्॥ उदयं प्राग्वदेव स्यात् अन्यथापि च कथ्यते।

liṅgaviṣkambhamānena triguṇaṃ pīṭhavistaraḥ| tribhāgaṃ nāligehasya tricaturbhāgabhāgataḥ|| bhittivistāra uddiṣṭa utsedhaṃ pūrvavadbhavet| liṅgaviṣkambha karṇasya adhyardhādarghavṛddhitaḥ|| sārdhadviguṇakaṃ yāvat pīṭhavistāraṃ āharet| tasmāccaturguṇaṃ pañcaguṇaṃ triguṇameva vā|| nālīgṛha viśālaṃ syāt pīṭhavistāra mānataḥ| samaṃ vā dviguṇaṃ vāpi adhyarthaṃ pīṭhavistṛtam|| udayaṃ prāgvadeva syāt anyathāpi ca kathyate|

The breadth of the pedestal should be thrice the measurement of the circumference of the linga-bhaga. The extent of the main shrine should be three times the breadth of the pedestal. Thickness of the wall may be one part out of three or four parts of the breadth of the shrine. The height of the shrine may be retained as it was before. From one and a half of the measurement of the diameter of the t measure by half of that measure each time, the breadth of the pedestal may be held to be two and a half times the diameter of the linga-bhaga. The extent of the main shrine may be three, four or five times the breadth of the pedestal. Or, the breadth of the pedestal may be equal to the height of the linga-bhaga or twice or one and a half times that height. The height of the shrine should be maintained as it was before. Another method is now told.

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पूजांशद्विगुणं पीठमुदयं तु विशालतः॥ चतुष्पञ्चगुणं नालीगेहमत्र विधीयते। ततोऽवसिष्टं तत्सर्वं पूर्ववत् परिकल्पयेत्॥ लिङ्गात् पीठं ततो गर्भ गर्भाद्भित्ति विनिश्चये। एकात्सप्त यवान्तं तु मात्रादेक विवृद्धितः॥ त्रिमात्रान्तं तदा वृद्धिं ह्रासं च परिकल्पयेत्।

pūjāṃśadviguṇaṃ pīṭhamudayaṃ tu viśālataḥ|| catuṣpañcaguṇaṃ nālīgehamatra vidhīyate| tato'vasiṣṭaṃ tatsarvaṃ pūrvavat parikalpayet|| liṅgāt pīṭhaṃ tato garbha garbhādbhitti viniścaye| ekātsapta yavāntaṃ tu mātrādeka vivṛddhitaḥ|| trimātrāntaṃ tadā vṛddhiṃ hrāsaṃ ca parikalpayet|

The breadth of the pedestal should be twice the height of the linga-bhaga. Four or five times the breadth of the pedestal may the breadth of the main shrine. All other parts of the shrine may be held to be the same as they were before. In determining the measurement of the pedestal based on that of the lingabhaga, the measurement of shrine based on that of the pedestal and the measurement of the thickness of the wall based on that of the shrine, the measurement may be increased by one 'yava' to seven 'yavas', increasing each time by one yava. The previous measure may be increased or decreased up to three yavas.

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पीठं गर्भे भवेदेवं भवेत् प्रासाद विस्तरे॥ तदर्थं वा त्रिपादं वा कुड्यतारं उदाहृतम्। अन्तरेऽष्टांशमानं वा तत्पादं वा समाहरेत् ॥ उदयं प्राग्वदुद्दिष्टं यच्च स्वायम्भुवादिषु। तथा तदपि तद्राममानं पौराण पौरुषे॥

pīṭhaṃ garbhe bhavedevaṃ bhavet prāsāda vistare|| tadarthaṃ vā tripādaṃ vā kuḍyatāraṃ udāhṛtam| antare'ṣṭāṃśamānaṃ vā tatpādaṃ vā samāharet || udayaṃ prāgvaduddiṣṭaṃ yacca svāyambhuvādiṣu| tathā tadapi tadrāmamānaṃ paurāṇa pauruṣe||

In this way, the pedestal should be designed in the main shrine, maintaining an accurate correspondence between the extent of the shrine and the pedestal. Thickness of the wall may be half, three parts out of four parts of the breadth of the shrine. Alternately, thickness of the wall may be held to be one part out of eight parts or one fourth of the breadth of the shrine. Height of the shrine may be retained to be same as the previous measure. In the case of 'svayambu linga', the extent of the main shrine may be decided according to the vastu-measurements of the village in which it is present. The same process may be applied even for the 'paurusha-linga' which seems to have been installed many centuries ago.

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पट्टिकाङ्गं अधिष्ठानं आर्षके धाग्नि कीर्तितम्। उपानं जगतीकण्ठ पट्टिका कुमादादिषु॥ स्थलान्तं कल्पयेदेवं पुराणे धाम्नि पौरुषे। मानुषे पट्टिकान्तं च वृत्यन्तं जलनिस्रवम्॥ पीठव्यासेन हर्म्यस्य नालिके भज्य युग्मयुक्। यदि तद्वाह्यभागं च युग्ममेव विधीयते॥ युग्मं चेद्युग्ममेव स्यात् संमिश्रं तेषु नेष्यते। त्रिवर्ण पूजितं लिङ्गम् पौरुषं वा विधीयते ॥

paṭṭikāṅgaṃ adhiṣṭhānaṃ ārṣake dhāgni kīrtitam| upānaṃ jagatīkaṇṭha paṭṭikā kumādādiṣu|| sthalāntaṃ kalpayedevaṃ purāṇe dhāmni pauruṣe| mānuṣe paṭṭikāntaṃ ca vṛtyantaṃ jalanisravam|| pīṭhavyāsena harmyasya nālike bhajya yugmayuk| yadi tadvāhyabhāgaṃ ca yugmameva vidhīyate|| yugmaṃ cedyugmameva syāt saṃmiśraṃ teṣu neṣyate| trivarṇa pūjitaṃ liṅgam pauruṣaṃ vā vidhīyate ||

In the shrine meant for the 'arsha-linga', various members of the structure such as 'pattika', 'adhishthana' should be provided. 'Upana', 'jagati', 'kantha', 'pattika', 'kumuda' and other such parts up to the top roof should be provided for the shrine meant for the very ancient 'paurusha-linga'. In the shrine designed based on the breadth of the pedestal, if the extent of the shrine is divided in terms of even numbers, all the outer parts of the structure should also be divided in even numbers only. If even number is applied for the main shrine, the same even number of divisions should be maintained for other parts of the temple. The mixture of even and odd number of divisions is not recommended for the construction. The Linga installed and worshipped by the devotees of all the three castes is also considered to be 'paurusha-linga'.

अथेदानीम् विशेषेण लिङ्गात् प्रासाद उच्यते। स्वायम्भुवं बाणलिङ्ग दैविकं चार्षकं त्विति॥ सिद्धविद्याधराद्यैश्च स्थापितं यन्महात्मभिः। तेषां लिङ्गवशाद्विद्वान् प्रासादं परिकल्पयेत्॥

athedānīm viśeṣeṇa liṅgāt prāsāda ucyate| svāyambhuvaṃ bāṇaliṅga daivikaṃ cārṣakaṃ tviti|| siddhavidyādharādyaiśca sthāpitaṃ yanmahātmabhiḥ| teṣāṃ liṅgavaśādvidvān prāsādaṃ parikalpayet||

Now, I will tell you the process of constructing shrines based on the measurements of already installed Lingas. The Sthapati who has known well the principles set forth in the Scriptures should construct the shrines according to the Lingas such as 'svayambhu', 'bana', 'daivika', 'arshaka' and the Lingas installed by the Siddha-ganas, Vidyadharas and the Great Souls.

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पूजांशमानतो नाहाद्विस्तारादुच्छयादपि। एतेषां कर्णमानैश्च प्रसादं परिकल्पयेत्॥ तत्समं द्विगुणं वापि त्रिगुणं वा चतुर्गुणं। पञ्चषङ्गुणितं वापि द्विगुणाद्यं प्रगृह्यताम्॥

pūjāṃśamānato nāhādvistārāducchayādapi| eteṣāṃ karṇamānaiśca prasādaṃ parikalpayet|| tatsamaṃ dviguṇaṃ vāpi triguṇaṃ vā caturguṇaṃ| pañcaṣaṅguṇitaṃ vāpi dviguṇādyaṃ pragṛhyatām||

The Sthapati should construct the shrine based on the measurement of the circumference, width and height of the linga-bhaga(pujamsa) and on the measurement of the diagonal or diameter of the lingabhaga. The breadth of the pedestal may be equal to one of these measures or two times, three times, four times, five times or six times the measurement of one of these - circumference, width, height and karna.

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अष्टौ वा देवमानानि नवमानानि सुव्रताः। तत्तदर्धे तदर्थं स्याद् द्वात्रिंशत् कथितानि तु॥ प्रत्येकं चैवमाख्यातं पीठमानं द्विजोत्तमाः। पीठद्विगुणमानो वा त्रिगुणो वा चतुर्गुणः॥ पञ्चषङ्गुणितो वापि गर्भगेहस्य विस्तरः। अवान्तर प्रमाणानि पूर्ववत् परिकल्पयेत्॥

aṣṭau vā devamānāni navamānāni suvratāḥ| tattadardhe tadarthaṃ syād dvātriṃśat kathitāni tu|| pratyekaṃ caivamākhyātaṃ pīṭhamānaṃ dvijottamāḥ| pīṭhadviguṇamāno vā triguṇo vā caturguṇaḥ|| pañcaṣaṅguṇito vāpi garbhagehasya vistaraḥ| avāntara pramāṇāni pūrvavat parikalpayet||

0, Sages who have fulfilled essential austerities!, there are eight and nine kinds of measurements available from the images of Gods. Keeping these measurements as they are or keeping half or quarter of these measurements as basic units, as many as thirty-two kinds of measurements have been enumerated. Each one of these measurements may be taken for deciding the breadth of the pedestal. The width of the main shrine may be two, three, four, five or six times the breadth of the pedestal. Other kinds of measurement(such as thickness and height of the wall) may be retained as they were previously.

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गर्भगेह विशाले तु द्विभागादेक भागतः। षङ्गुणान्तर पर्यन्तान् भागान् कृत्वैक भागतः॥ एकभाग विवृद्ध्या तु द्विगुणान्ता विशालता। भित्तेरन्तर मानं तु पूर्ववत् परिकल्पयेत्॥ लिङ्गात् पीठं ततो गर्भो गर्भाद्भित्ति विनिश्चये। एकात्सप्त यवान्तं तु मात्रादेक विवृद्धितः॥ पीठगर्ने भवेदेवं भवेत् प्रासाद विस्तरे। अङ्गुलीहस्त पूर्णार्थं सप्तमात्रान्तं आचरेत्॥

garbhageha viśāle tu dvibhāgādeka bhāgataḥ| ṣaṅguṇāntara paryantān bhāgān kṛtvaika bhāgataḥ|| ekabhāga vivṛddhyā tu dviguṇāntā viśālatā| bhitterantara mānaṃ tu pūrvavat parikalpayet|| liṅgāt pīṭhaṃ tato garbho garbhādbhitti viniścaye| ekātsapta yavāntaṃ tu mātrādeka vivṛddhitaḥ|| pīṭhagarne bhavedevaṃ bhavet prāsāda vistare| aṅgulīhasta pūrṇārthaṃ saptamātrāntaṃ ācaret||

The width of the main shrine which may be twice, thrice, four times, five times or six times the breadth of the pedestal should be divided into many convenient parts. Based on such parts, the measurements of the wall should be decided. Thickness of the wall may be from one part up to twice the breadth of the shrine, increasing by one part each time. All other minor measurements of various members of the wall may be the same as they were earlier. In deciding the breadth of the pedestal from the linga-bhaga, width of the shrine from the breadth of the pedestal and thickness of the wall from the width of the shrine, there may be increase or decrease by one yava to seven yavas, increasing by one yava each time. In this way, the main shrine is constructed based on the pedestal of the Linga. This process is extended in deciding the total width of the temple. Fractional measurements should be avoided and in order to keep the angulas and hastas to be in whole numbers, one matra(sub-unit of angula) to seven matras may be increased to or decreased from the available measurements.

अङ्गलिङ्गप्रतिष्ठां तु प्रवक्ष्यामि समासतः। प्रधानं अङ्गमित्येवं द्विविधं लिङ्गमुच्यते॥ मण्टपाः परिवारा वा प्राकारा गोपुरादयः। यस्य लिङ्गस्य विद्यन्ते तत् प्रधानं इति स्मृतम्॥ यत् प्रधानाविरिधेन पञ्चप्राकार मध्यमे। तदङ्गमिति विख्यातं परिवारैर्विनाकृतम्॥

aṅgaliṅgapratiṣṭhāṃ tu pravakṣyāmi samāsataḥ| pradhānaṃ aṅgamityevaṃ dvividhaṃ liṅgamucyate|| maṇṭapāḥ parivārā vā prākārā gopurādayaḥ| yasya liṅgasya vidyante tat pradhānaṃ iti smṛtam|| yat pradhānāviridhena pañcaprākāra madhyame| tadaṅgamiti vikhyātaṃ parivārairvinākṛtam||

I will tell you vividly the process of installation of 'anga-linga', in a brief way. The Linga is two kinds'pradhana'(the primary one) and 'anga'(the secondary one). The Linga for which various mantapas (pavilions), retinue Deities, enclosures(prakaras), gopuras and such other structures have been built is known as 'Pradhana-linga'. The Linga which is installed in the middle of five enclosures without contradicting the features and worship of Pradhana-linga and without retinue Deities is said to be 'Angalinga'.

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शुभाशा संस्थितं भुक्त्यै मुत्यै सर्वासु दिक्षु च। पश्चिमोत्तर पूर्वाशाश्शुभाशाः संप्रकीर्तिताः॥ कुर्यात्तेषां विमानाचं मूलधामोनमानकम्। तत्र संस्थापयेल्लिङ्गं प्रतिमां वोभयात्मिकाम्॥ प्राकारत्रय बाह्ये तु यदि देवाः प्रकीर्तिताः। परिवारादिकं तत्र कुर्याद्वा लेशमार्गतः॥ नित्योत्सवादिकं तत्र विरोधाय न कल्पते।

śubhāśā saṃsthitaṃ bhuktyai mutyai sarvāsu dikṣu ca| paścimottara pūrvāśāśśubhāśāḥ saṃprakīrtitāḥ|| kuryātteṣāṃ vimānācaṃ mūladhāmonamānakam| tatra saṃsthāpayelliṅgaṃ pratimāṃ vobhayātmikām|| prākāratraya bāhye tu yadi devāḥ prakīrtitāḥ| parivārādikaṃ tatra kuryādvā leśamārgataḥ|| nityotsavādikaṃ tatra virodhāya na kalpate|

Anga-linga is installed in recommended auspicious directions for deriving the worldly enjoyments and it is installed in all directions for the attainment of liberation. West, north and east - these are the auspicious directions recommended for the installation of Anga-linga. Vimana and other essential structures should be constructed based on the proportionate measurements applied to the primary temple. Linga(avyakta), images with fully exposed limbs(vyakta) and the images in which all the limbs are not visibly made(vyakta-avyakta) may be installed as Anga-lingas. For the Anga-lingas which are installed in the enclosures outside the third enclosure, a few retinue Deities corresponding to that Linga may be installed. The daily festival for such Anga-linga should be performed without violating the ritualistic process of the Primary-linga.

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अङ्गलिङ्गाद्यकं शुद्धशैवमार्गेण कारयेत्॥ नैव पाशुपतेनापि न महाव्रतिना क्वचित्। न बौद्धार्हत कापाल पाञ्चरात्रादिकैर्न च॥ अन्यैरपि न कर्तव्यं दर्शनान्त्र संस्थितैः। प्रमादात्तैः कृते तच्च शैवं संपादयेत् क्षणात्॥

aṅgaliṅgādyakaṃ śuddhaśaivamārgeṇa kārayet|| naiva pāśupatenāpi na mahāvratinā kvacit| na bauddhārhata kāpāla pāñcarātrādikairna ca|| anyairapi na kartavyaṃ darśanāntra saṃsthitaiḥ| pramādāttaiḥ kṛte tacca śaivaṃ saṃpādayet kṣaṇāt||

The installation of Anga-lingas and other forms should be performed only according to the process being followed in the system of Suddha Saiva(system of the Saiva Agamas). Such installation should never be done by the followers of the Pasupata system and the Mahavrata system. It should not be done by the followers of Buddhism, Jainism, Kapalika, Pancaratra and others or by others who are following the systems other than the systems mentioned before. If such installation has been performed by the followers of these adverse systems due to carelessness and negligence, then such installation should by nullified immediately and the Anga-linga should be re-installed according to the Saiva system.

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एकहस्तात्त्विहस्तान्तं अङ्गलिङ्ग प्रमाणकम्। अत ऊर्ध्वं न कर्तव्यं कृतं चेत् सर्वदोषकृत्॥ पञ्चादश करादूर्ध्वं प्रासादं नैव कारयेत्। स्वधामगर्भ मानाद्वा कुर्यादङ्गुलमानतः॥ सार्वदेशिकमेवेष्टं प्रासादं लिङ्गमेव च। कर्षणादिकं एतेषां कर्तव्यं वा न वा पृथक्॥ आद्येष्टकादिकं कर्म तावदस्य समाचरेत्। एवं लिङ्ग विमानाद्यं कृत्वा संस्थापयेत् सुधीः॥

ekahastāttvihastāntaṃ aṅgaliṅga pramāṇakam| ata ūrdhvaṃ na kartavyaṃ kṛtaṃ cet sarvadoṣakṛt|| pañcādaśa karādūrdhvaṃ prāsādaṃ naiva kārayet| svadhāmagarbha mānādvā kuryādaṅgulamānataḥ|| sārvadeśikameveṣṭaṃ prāsādaṃ liṅgameva ca| karṣaṇādikaṃ eteṣāṃ kartavyaṃ vā na vā pṛthak|| ādyeṣṭakādikaṃ karma tāvadasya samācaret| evaṃ liṅga vimānādyaṃ kṛtvā saṃsthāpayet sudhīḥ||

The height of Anga-linga should be from one hasta to three hastas. Anga-linga whose height exceeds three hastas should not be designed. If designed so as to exceed three hastas in height, installation of such Anga-linga would bring in all sorts of defect. Similarly, the shrine for the Anga-linga should never be constructed in such a way that its breadth exceeds 15 hastas. The shrine of Anga-linga should be built based on the measurements applied to the main shrine(garbha gruha) or based on the system of 'angula' measurement(bera-angula or mana-angula system). Both the shrine and the Anga-linga are considered to belong to the 'sarvadesika' type. The preliminary activities such as 'ploughing the land'(karshana) and other related rituals may or may not be performed separately for such construction of the shrine for the Anga-linga. The ritual known as 'placing of the first brick' and other rituals should be performed for this. In this way, the highly knowledgeable Acharya should design the Linga, vimana and others through Sthapati and duly install them.

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प्रागेव विहितं यस्मात् प्रतिष्ठा तेन चोच्यते। मूर्धेष्टकादिकं कर्म जीर्णोद्धारादिकं च यत्॥ पूर्वोक्त विधिना सर्वं कर्तव्यं चोदितं यथा। क्रियमाणेऽपि मूलस्य पवित्रारोहणादिके॥ तस्मिन्कालेऽङ्गलिङ्गादेः पवित्रारोहण न वा। पृथग्वा करणीयं तद्यथाशास्त्रं द्विजोत्तमाः॥

prāgeva vihitaṃ yasmāt pratiṣṭhā tena cocyate| mūrdheṣṭakādikaṃ karma jīrṇoddhārādikaṃ ca yat|| pūrvokta vidhinā sarvaṃ kartavyaṃ coditaṃ yathā| kriyamāṇe'pi mūlasya pavitrārohaṇādike|| tasminkāle'ṅgaliṅgādeḥ pavitrārohaṇa na vā| pṛthagvā karaṇīyaṃ tadyathāśāstraṃ dvijottamāḥ||

The word 'pra' means 'long before ' and 'thishta' means 'well settled' or 'well established'. Since installation is performed based on the rules established long before, it is characteristically called 'pratishta'. All rituals such as the 'placing of the final brick on the top', renovation and other related activities should be performed according to the rules established earlier in the Agamas. O, the foremost twice-born Sages! while performing the purificatory festival known as 'offering of purifying threads'(pavitra arohana) to the Primary Linga, same ritual may be performed to Anga-linga also at the same time or it may not be performed at that time. If left out at that time, such offering should be done separately for the Anga-linga later, according to the directions given in the Agamas.

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संलब्धकामो देहान्ते शिवेन सह मोदते। एकाद्येकैक वृद्ध्या तु रुद्रसंख्यावसानकम्॥ अष्टोत्तरशतं वाथ तदर्थं वा तदर्धकम्। शतं वार्धम् तदर्थं वा शतोर्ध्वमपि पुष्कलम्॥ एवं यः कारयेत् कर्ता स एवाहं न संशयः॥

saṃlabdhakāmo dehānte śivena saha modate| ekādyekaika vṛddhyā tu rudrasaṃkhyāvasānakam|| aṣṭottaraśataṃ vātha tadarthaṃ vā tadardhakam| śataṃ vārdham tadarthaṃ vā śatordhvamapi puṣkalam|| evaṃ yaḥ kārayet kartā sa evāhaṃ na saṃśayaḥ||

erson who arranges for the installation of Anga-linga and others is surely blessed with longevity, wealth, celebrity, auspicious fortunes, health, various enjoyments and many descendents. Having obtained all things and comforts as desired by him, he attains blissful existence with Siva after leaving this body. Such devoted person may install such Lingas from one to eleven in the same temple. He may arrange for the installation of 108, 54 or 27 Lingas, 100, 50 or 25 Lingas or more than 100 Lingas or innumerable Lingas. The devoted person(karta) who arranges for such installation attains oneness with me. He is none other than Myself. There is no doubt about this.

सार्वदेशिक लिङ्गादेस्स्थापनं सम्यगुच्यते। प्रासादस्याथ लिङ्गस्य पीठस्याश्मन एव वा॥ सार्वदेशिक संज्ञस्य विधिस्सर्वत्र संमतः।। सात्त्विके राजसे देशे तामसे वा प्रकल्पयेत्॥ विशेषाद्राजसे देशे राज्ञां विजय कारणम्। धर्मकामार्थ सिद्ध्यर्थं सार्वकामिकमुच्यते॥ अन्ये मोक्षप्रदास्सर्वे कर्तुः कारयितुस्सदा।

sārvadeśika liṅgādessthāpanaṃ samyagucyate| prāsādasyātha liṅgasya pīṭhasyāśmana eva vā|| sārvadeśika saṃjñasya vidhissarvatra saṃmataḥ|| sāttvike rājase deśe tāmase vā prakalpayet|| viśeṣādrājase deśe rājñāṃ vijaya kāraṇam| dharmakāmārtha siddhyarthaṃ sārvakāmikamucyate|| anye mokṣapradāssarve kartuḥ kārayitussadā|

The installation of 'Sarvadesika Linga' and others is now explained. The rules set forth for the construction of the shrine, designing of the Linga, pedestal and the base structure(adhara sila) are common as far as Sarvadesika Linga and the locations are concerned. The shrine for Sarvadesika Linga may be constructed in all the areas characterized as 'satvika', 'rajasa' and 'tamasa'. Especially, if a shrine is constructed for Sarvadesika Linga in rajasic area, it would be a powerful source for the victory of the country and it would enable the people achieve the three goals - dharma, artha and kama and it would yield all the desired fruits. Above all, it would grant the final liberation for the person who builds such shrine and for the person who commissions him in this work.

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नागरं स्याद्युगे कार्ते त्रैते द्राविडमिष्यते॥ द्वापरे वेसरं कार्यं सार्वदेश्यं कलौ युगे। वराटं चैव कालिङ्गं सर्वत्रापि च संमतम्॥ नागराद्राविडाच्चापि कालिङ्गाद्वेसरादपि। वराटाख्यं विशिष्टं स्यात्सार्वदेश्यं मुनीश्वराः॥

nāgaraṃ syādyuge kārte traite drāviḍamiṣyate|| dvāpare vesaraṃ kāryaṃ sārvadeśyaṃ kalau yuge| varāṭaṃ caiva kāliṅgaṃ sarvatrāpi ca saṃmatam|| nāgarādrāviḍāccāpi kāliṅgādvesarādapi| varāṭākhyaṃ viśiṣṭaṃ syātsārvadeśyaṃ munīśvarāḥ||

The 'nagara' type of Linga is highly suitable and beneficial in the kruta yuga. The 'dravida' type of Linga is specifically suitable and beneficial in the treta yuga. The 'vesara' type of Linga is specifically suitable and beneficial in the dvapara yuga. The 'sarvadesika' type of Linga is specifically suitable and beneficial in the kali yuga. The 'varata' and the 'kalinga' types of Lingas are suitable for all the yugas and all the places. O, Munisvaras!, the 'sarvadesika' type of Linga is more specifically powerful than the'nagara', 'dravida', 'vesara', 'kalinga' and 'varata' types of Lingas.

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सार्वदेशिकमित्युक्तं फलं तस्य विशिष्यते। स्वायम्भुवं च बाणं च दैविकं चार्षकं तथा॥ यथाविशिष्टं विप्रेन्द्रास्तद्वदेतदुदाहृतम्। मानुषेत्वेव लिङ्गादौ फलवैशिष्ट्यमिष्यते॥ तस्माच्छेयोऽर्थिभिः कार्य सार्वदेशिक संज्ञितम्। तन्त्रसंकरदोषोऽपि मन्त्रसंकर एव वा॥ आचार्यसंकरो वापि देशसंकर एव वा। कालसंकर दोषश्च युगसंकर एवं वा॥ अन्येषां संकरो वापि यतो नातो विशिष्यते।

sārvadeśikamityuktaṃ phalaṃ tasya viśiṣyate| svāyambhuvaṃ ca bāṇaṃ ca daivikaṃ cārṣakaṃ tathā|| yathāviśiṣṭaṃ viprendrāstadvadetadudāhṛtam| mānuṣetveva liṅgādau phalavaiśiṣṭyamiṣyate|| tasmāccheyo'rthibhiḥ kārya sārvadeśika saṃjñitam| tantrasaṃkaradoṣo'pi mantrasaṃkara eva vā|| ācāryasaṃkaro vāpi deśasaṃkara eva vā| kālasaṃkara doṣaśca yugasaṃkara evaṃ vā|| anyeṣāṃ saṃkaro vāpi yato nāto viśiṣyate|

In this way, the efficay and supreme nature of 'sarvadesika' type of Linga is specifically extolled. O, the eminent twice-born sages!, just as the specific nature of 'svayambhuva', 'bana', 'daivika', 'arshaka', 'manusha'and other Lingas has been vividly told, even so the efficacy and supremacy of 'sarvadesika' Linga has been declared in the Scriptures. The installation of 'sarvadesika' Linga has to be essentially do who are desirous of beatific upliftment. In the installation of such 'sarvadesika' Linga, the Guru need not take notice of the defect which could occur due to the adopting the rules given in two or more Agamas, combination of mantras, combining of Acharyas, combining of locations, combining of time, and the combining of yuga. He need not even observe other kinds of defect. In this way, the greatness of 'sarvadesika' Linga is specifically described.

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सार्वदेशिक धाम्नस्तु मानोन्मानं विधीयते॥ त्रिचतुर्हस्तमारभ्य द्विद्विहस्त विवर्धनात्।। पञ्चाशद्धस्त पर्यन्तं मानं स्यात् सार्वदेशिकम्॥ सार्वदेशिक धामादौ शान्तिकाद्युच्छयास्तु ये। तारद्विभागे त्र्यंशाद्याः सप्तान्ताः शान्तिकादयः॥ अध्यधं त्रिगुणान्ताश्च संग्राह्या देशिकोत्तमैः। एकद्वित्रिकरैर्युक्त मानाद्धीनं तु वाधिकम्॥

sārvadeśika dhāmnastu mānonmānaṃ vidhīyate|| tricaturhastamārabhya dvidvihasta vivardhanāt|| pañcāśaddhasta paryantaṃ mānaṃ syāt sārvadeśikam|| sārvadeśika dhāmādau śāntikādyucchayāstu ye| tāradvibhāge tryaṃśādyāḥ saptāntāḥ śāntikādayaḥ|| adhyadhaṃ triguṇāntāśca saṃgrāhyā deśikottamaiḥ| ekadvitrikarairyukta mānāddhīnaṃ tu vādhikam||

The proportionate measurements and the derived measurements pertaining to the main shrine of 'sarvadesika' Linga are now told. Starting from 12 hastas and increasing by 2 hastas each time, the extent of the shrine could be increased up to 50 hastas. For the shrines of 'saradesika' and others, the height of the shrine may be decided according the various types of height such as 'santi', 'paustika' and others. The five kinds of height - 'santi' and others - should be 3/2,4/2, 5/2, 6/2 and 7/2 of the breadth of the shrine. The foremost Guru may decide it to be one and a half time to three times its breadth. There is no defect if the height gets decreased or increased by one, two or three hastas.

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आयाद्यं सकले नेति नियमान्नेष्यते द्विजाः। विस्तारादुच्छ्रयाद्वाथ विस्तारोच्छ्रयेण वा॥ विस्तारायामतो वाथ नाहेनाथ परीक्षयेत्। प्रसङ्गेन च कथ्यन्ते लेशादायादयोऽपि ये॥

āyādyaṃ sakale neti niyamānneṣyate dvijāḥ| vistārāducchrayādvātha vistārocchrayeṇa vā|| vistārāyāmato vātha nāhenātha parīkṣayet| prasaṅgena ca kathyante leśādāyādayo'pi ye||

0, the twice-born sages!, in the case of 'sakala' type of images(images whose limbs are fully exposed) laya' and other aspects need not be calculated in the conventional way(as told) earlier based on the measures of length and breadth. For these, 'aya' and other factors are determined based on the breadth or height or both the breadth and the height. Or, they may be decided based on the length alone or breadth alone or the thickness or circumference. Incidentally, various methods of calculating the 'aya' and other factors are now explained.

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गुणयेदिष्टमानं तु नवनागरसैः क्रमात्। रुद्रभानुशरैर्हन्याच्छेषमायं विनिर्दिशेत् ॥ गुणाष्टरन्ध्रदशभिर्मनुषङ्सुसप्तभिः। गुणयेत् क्षपयेद्वापि तच्छेषं व्यायमादिशेत्॥

guṇayediṣṭamānaṃ tu navanāgarasaiḥ kramāt| rudrabhānuśarairhanyāccheṣamāyaṃ vinirdiśet || guṇāṣṭarandhradaśabhirmanuṣaṅsusaptabhiḥ| guṇayet kṣapayedvāpi taccheṣaṃ vyāyamādiśet||

Multiply the taken measure by 9, 8 and 6 and divide by 11, 12 and5respectively. The remainders denote the 'aya'. These are the three methods. Multiply the same measure by 3, 8, 9 and 10 and divide by 14, 6, 8 and 7 respectively. The remainders give the value of 'vyaya' factor.

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भानुनाडिरसैर्वृद्ध नक्षत्रैः क्षपयेद्दिनम्। नृपकर्तृ दिनाद्वास्तु लिङ्गाद्युक्तदिनान्तकम्॥ गुणयेल्लब्ध नक्षत्रे जन्माद्यानि यथाक्रमम्। तुष्टिसम्पद्विपत्क्षेम प्रत्यरं साधको वधः॥ मैत्रं परममैत्रं स्यात् कलहः प्रथमक्रमे। द्वितीये संपदाद्यास्तु पूर्ववत् समुदाहृतम्॥ शुभं तृतीयजन्मक्षैत्रं मृतं अष्टमराशिकम्। वैनाशिकं च त्यक्त्वा तु तृतीये वा विपर्यये॥ शेषं शुभं इति ज्ञेयं एवं ज्ञात्वा प्रयोजयेत्।

bhānunāḍirasairvṛddha nakṣatraiḥ kṣapayeddinam| nṛpakartṛ dinādvāstu liṅgādyuktadināntakam|| guṇayellabdha nakṣatre janmādyāni yathākramam| tuṣṭisampadvipatkṣema pratyaraṃ sādhako vadhaḥ|| maitraṃ paramamaitraṃ syāt kalahaḥ prathamakrame| dvitīye saṃpadādyāstu pūrvavat samudāhṛtam|| śubhaṃ tṛtīyajanmakṣaitraṃ mṛtaṃ aṣṭamarāśikam| vaināśikaṃ ca tyaktvā tu tṛtīye vā viparyaye|| śeṣaṃ śubhaṃ iti jñeyaṃ evaṃ jñātvā prayojayet|

Multiply the same measure(decided for the breadth or height) by 12 or 7 or 6 and divide by 27. The remainder denotes the 'dina' factor and its compatibility should be ascertained by counting the nakshatras in the following way. Starting from the birth-star of the king or the main sponsor, the Guru should count the nakshtras up to the nakshatra(dina) denoted by the remainder. The counting should be done in a cycle of nine. The number arrived lastly when counting the 'dina' denotes a particular effect. There are nine effects - tushti, sampat, vipat, kshema, pratyara, sadhaka, vadha, maitra and parama maitra corresponding to the number 1,2,3,4,5,6,7,8 and 9. If the counting ends with 1, the dina-factor pertaining to the taken measure denotes tushti. If it ends with 2, the dina-facor denotes 'sampat'(porosperity). Similarly, the effects of other numbers should be understood, as told earlier. Generally, the number 1 is to be avoided. But, if it comes when the counting is done for the third time, it is considered to be auspicious. That is, the third birth-star (anujanma) is considered to be auspicious. If the 'dina' synchronizes with the eighth zodiacal sign counting from the 'lagna', it is to be avoided since it would inflict death upon the master (king, sponsor or the owner). If the 'dina' happens to be'vainasika nakshatra' in the third counting or in some other calculation, it should be avoided even though it may denote good effect(sampath and others). All others are considered to be auspicious. Having known all such details, the Guru should decide the nature of dina.

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वियोगाद्यशुभ योगं गणं चासुर मानुषम्॥ वर्जयेत्सिद्धिकामस्तु मुक्तिकामो यथेच्छया। सप्तभूतवेदाग्नि नवभिः क्षपितं तु यत्॥ तस्कराचंशकं ज्ञेयं नाम्ना तेषां फलं भवेत्।

viyogādyaśubha yogaṃ gaṇaṃ cāsura mānuṣam|| varjayetsiddhikāmastu muktikāmo yathecchayā| saptabhūtavedāgni navabhiḥ kṣapitaṃ tu yat|| taskarācaṃśakaṃ jñeyaṃ nāmnā teṣāṃ phalaṃ bhavet|

Yogas such as 'viyoga'(mrutyu and others) and the 'ganas' such as 'asura' and 'manusha' are inauspicious and therefore these should be avoided by those who are intent on attaining auspicious benefits. Those who are in pursuit of liberation may fix the measure as desired by them. If the taken measure is divided by 7, 6, 5, 4,3 or 9, the remainder denotes one of the 9'amsas' - 'taskara' and others. Taskara indicates theft. In this way, the effect of the amsa is made known through its specific name.

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रुद्ररन्ध्रगुणैर्वृद्धिं योनिभिः क्षपयेद् गुरुः॥ ध्वजाद्या योनयश्चाष्टौ षङ्घात्यास्सप्त योनयः। पृथ्व्याद्याः पञ्चसंख्या वा दक्षिणाद्यास्त्रयोऽग्नयः॥ चतुष्प्राकाराद्विज्ञेया ध्वजाद्याः पूर्ववन् मताः। षड्ो वृषभ गान्धारौ पञ्चमो मध्यमस्तथा॥ निषादो दैवतस्सप्त योनयस्तासु शस्यते। षङ्गश्च वृषभो मध्ये भूतेषु पृथिवी जलम्॥ *गार्हपत्यस्तथैवाहवनीयोऽग्निषु शस्यते। पृथ्व्याद्याः प्रथिताः पञ्च दक्षिणाद्यास्तथाग्नयः॥

*rudrarandhraguṇairvṛddhiṃ yonibhiḥ kṣapayed guruḥ|| dhvajādyā yonayaścāṣṭau ṣaṅghātyāssapta yonayaḥ| pṛthvyādyāḥ pañcasaṃkhyā vā dakṣiṇādyāstrayo'gnayaḥ|| catuṣprākārādvijñeyā dhvajādyāḥ pūrvavan matāḥ| ṣaḍो vṛṣabha gāndhārau pañcamo madhyamastathā|| niṣādo daivatassapta yonayastāsu śasyate| ṣaṅgaśca vṛṣabho madhye bhūteṣu pṛthivī jalam|| gārhapatyastathaivāhavanīyo'gniṣu śasyate| pṛthvyādyāḥ prathitāḥ pañca dakṣiṇādyāstathāgnayaḥ||

The Guru should multiply the taken measure by 11, 9 or 3 and divide by the number of yonis. The remainder will denote the auspiciousness or inauspiciousness of the yoni-factor. There are 8 kinds of yonis, dhvaja and others; 7 kinds of yonis, shadja and others; 5 kinds of yonis, pruthivi and others; 3 kinds of yonis, dakshinagni and others. Thus, there are four diferent methods of analyzing the yonifactor. The eight yonis, dhvaja and others have been enumerated before. Shadja, vrushabha, gandhara, pancama, madhyama, nishada and daivata - these are the seven yonis. Among these, shadja, vrushabha and madhyama are considered to be auspicious. Among the five yonis related to the five elementspruthivi, jala, agni, vayu and akasa- pruthivi and jala are considered to be auspicious. Dakshinagni, avahaniyagni and garhapatya are the three yonis related to fire. Among these, garhaptya and avahaniya are considered to be aupicious yonis.

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वृद्धं नवाष्टकरसैहरेद्वारं तु सप्तभिः। निन्दिता रविसौराराश्शुभयोगे शुभप्रदाः॥ प्रासादे मण्टपे चैव प्राकारे गोपुरे तथा। लिङ्गबेरादिके चैवं आयाद्यं कल्पयेद् द्विजाः॥ किं तु लिङ्गे च बेरे च तुङ्गेनैव निरीक्षयेत्।

vṛddhaṃ navāṣṭakarasaiharedvāraṃ tu saptabhiḥ| ninditā ravisaurārāśśubhayoge śubhapradāḥ|| prāsāde maṇṭape caiva prākāre gopure tathā| liṅgaberādike caivaṃ āyādyaṃ kalpayed dvijāḥ|| kiṃ tu liṅge ca bere ca tuṅgenaiva nirīkṣayet|

The Guru should multiply the taken measure by 9, 8 or 6 and divide by 7. The remainder will denote name of the week-day. (1 denotes Sunday, 2 denotes Monday and so on). Sunday, Tuesday and Saturday are inauspicious days. When all these factors synchronize with auspicious yoga, they would yield best effects in the construction of temple, pavilion, enclosure, super-structure and such others. O, the twice-born sages!, the Guru should analyze the nature of aya and other factors while installing the Linga and other images. But, in the case of Linga and images, he should analyze these factors based on its height only.

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तत्संग्रहेऽपि नात्यन्तदोषस्स्यात् सार्वदेशिके। स्वयम्भु दैविके बाणे गाणे मौने विशेषतः ॥ लक्षणं नेष्यते तेषां विस्तारेणोच्छयेण वा। तथा ब्रह्मादिभिर्भागैश्शिरोलक्षण भेदतः॥

tatsaṃgrahe'pi nātyantadoṣassyāt sārvadeśike| svayambhu daivike bāṇe gāṇe maune viśeṣataḥ || lakṣaṇaṃ neṣyate teṣāṃ vistāreṇocchayeṇa vā| tathā brahmādibhirbhāgaiśśirolakṣaṇa bhedataḥ||

In the case of 'sarvadesika' Linga, there is no place for the occurrence of vicious defects while ascertaining the proportionate measures based on the height. The presence of all the needed lineaments need not be observed especially in the 'sarvadesika' type of 'svayambhu', daivika, bana, gana and manusha Lingas. The breadth or the height or the features of the brahma-bhaga and others and the different forms of the headportion of the Lingas need not be examined.

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ब्रह्मनन्दिशिलाभिश्च स्वाकारो लक्षणं यतः। त्रिभिर्ब्रह्मादिभिर्भागैः द्वाभ्यां एकेन वा युतम्॥ यदाकारविशिष्टं तद्रूपं तस्य तदेव हि। प्रासाद पीठिके तेषां गर्भमानादिकं च यत्॥ सार्वदेशिकमेवेष्टं यतस्ते सार्वदेशिकाः।।

brahmanandiśilābhiśca svākāro lakṣaṇaṃ yataḥ| tribhirbrahmādibhirbhāgaiḥ dvābhyāṃ ekena vā yutam|| yadākāraviśiṣṭaṃ tadrūpaṃ tasya tadeva hi| prāsāda pīṭhike teṣāṃ garbhamānādikaṃ ca yat|| sārvadeśikameveṣṭaṃ yataste sārvadeśikāḥ||

The finer lineaments of the images such as Brahma, Nandi and others and other stone images are observed according to their forms as told in the scriptures. In the same way, the lineaments of these Lingas are to be observed through the three parts - brahma bhaga, vishnu bhaga and rudra bhaga - or two parts or one part. The part which appears to be associated with special features is considered to be the specific form of the Lord. The measures of the temple, pedestal and the main shrine should be decided according to the Linga.

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प्रासाद पीठिकादीनां जीर्णादौ समुपस्थिते॥ जीर्णोद्धार विधानेन पीठप्रासादमाचरेत्। परित्यक्त शिलायोगे शिलायोगश्च कथ्यते॥

prāsāda pīṭhikādīnāṃ jīrṇādau samupasthite|| jīrṇoddhāra vidhānena pīṭhaprāsādamācaret| parityakta śilāyoge śilāyogaśca kathyate||

When renovations for the shrine, pedestal and such others are to be undertaken, such works should be completed according to the rules given in the concerned chapter dealing with renovations and the pedestal and the shrine should be set right. When a Linga seems to be without pedestal, designing and joining of the suitable pedestal is ordained.

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स्वायम्भुवादि लिङ्गानां दृश्यभागादधस्स्थितम्। दर्शयेत् खननाद्यैश्चेत् चोरदुःखावहं नृणाम्॥ दृश्यभागं इति ज्ञेयं ब्रह्मविष्णुहरांशकम्। तस्मादधः स्थितं लिङ्गं मूले नैव परीक्षयेत्॥ अज्ञानाच्छोधने कर्तुर्मृत्युरेव न संशयः। सार्वदेशिक लिङ्गानां इत्थं लक्षणमीरितम्॥ प्रतिष्ठाया विधानं यत् पूर्वोक्त विधिनोच्यते॥

svāyambhuvādi liṅgānāṃ dṛśyabhāgādadhassthitam| darśayet khananādyaiścet coraduḥkhāvahaṃ nṛṇām|| dṛśyabhāgaṃ iti jñeyaṃ brahmaviṣṇuharāṃśakam| tasmādadhaḥ sthitaṃ liṅgaṃ mūle naiva parīkṣayet|| ajñānācchodhane karturmṛtyureva na saṃśayaḥ| sārvadeśika liṅgānāṃ itthaṃ lakṣaṇamīritam|| pratiṣṭhāyā vidhānaṃ yat pūrvokta vidhinocyate||

If the unexposed bottom portion of 'svayambhu' Linga and other self-manifest images are forcibly seen by digging the ground and such other activities, the ruler and the country would be affected by thieves and inconceivable difficulties. The portion of the self-manifest image itself which is visible outside is considered to be associated with three parts- brahma, vishnu and rudra. Therefore, the Guru or others should never proceed to see and examine the unexposed bottom part of the Linga. If it is examined due to ignorance, death would occur to the doer. There is no doubt about this. The main features of 'sarvadesika' Linga have been told in this way. The process of installation of such 'sarvadesika' Linga is according to the directions given earlier in the concerned chapter.

बाणलिङ्गप्रतिष्ठां तु वक्ष्ये संक्षेपतः क्रमात्। बाणो नामासुरः प्रोक्तस्स च सिद्ध्यर्थमादरात्॥ प्रार्थयामास पूजार्थं लिङ्गानि विविधानि च। दत्तवाँ लिङ्गकोटीनां चतुर्दश महेश्वरः॥ तानि संपूज्य कालान्तेस्थानेष्वेतेषु न्यक्षिपत्। लिङ्गादौ कालिलागर्ते श्रीनगे कन्यकाश्रमे॥ कन्यातीर्थंच नेपाले महेन्द्रे चामरेश्वरे। अन्यत्र च नदीमध्ये पर्वते च विशेषतः॥

bāṇaliṅgapratiṣṭhāṃ tu vakṣye saṃkṣepataḥ kramāt| bāṇo nāmāsuraḥ proktassa ca siddhyarthamādarāt|| prārthayāmāsa pūjārthaṃ liṅgāni vividhāni ca| dattavām̐ liṅgakoṭīnāṃ caturdaśa maheśvaraḥ|| tāni saṃpūjya kālāntesthāneṣveteṣu nyakṣipat| liṅgādau kālilāgarte śrīnage kanyakāśrame|| kanyātīrthaṃca nepāle mahendre cāmareśvare| anyatra ca nadīmadhye parvate ca viśeṣataḥ||

Next, in the order of subject matter, I will tell you briefly about the installation of Bana-Linga. There was an asura whose name was Bana. He entreated Lord Siva to present him variously shaped Lingas for the sake of systematic worship by which he could achieve all the desired fruits. The Great Lord Isvara gave him 140 millions of Lingas. He was worshipping these Lingas systematically and in due course of time, after achieving the desired fruits, he disposed all those Lingas in various places such as Lingadri, Kalikagarta, Srinaga, Kanyakasrama, Kanyatirtha, Nepala, Mahendra, Amaresvara and in many other places, particularly in the rivers and the mountains.

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माषमात्रादि हस्तान्तं तेषां मानमुदाहृतम्। पादाङ्गुलविवृद्ध्या तु गृह्णीयाद्वा यथेच्छया॥ विस्तारनाहमानं तु बाणलिङ्गस्ये नेष्यते। रेखाबिन्दुकलङ्कादिरहितं युक्तमेव वा॥

māṣamātrādi hastāntaṃ teṣāṃ mānamudāhṛtam| pādāṅgulavivṛddhyā tu gṛhṇīyādvā yathecchayā|| vistāranāhamānaṃ tu bāṇaliṅgasye neṣyate| rekhābindukalaṅkādirahitaṃ yuktameva vā||

The size of those Bana-Lingas varies from the size of masha-grain (bean seed) to one hasta. Starting from the size of masha-grain and increasing the size by quarter of an inch each time, various Bana-Lingas could be taken for the sake of worship, according to one's own desire. Rules regarding to the breadth and thickness(or circumference) need not be observed for the Bana-Lingas. But only those Bana-Lingas which are bereft of defects such as lines, dots and other marks are fit for the worship.

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सर्वेषामपि लिङ्गानां बाणलिङ्गं विशिष्यते। स्नपने यजने धूपे गन्धपुष्प निवेदने॥ अन्यकर्मणि विप्रेन्द्राः स्वायम्भूतादिके तथा। प्रासाद पीठकादीनां नियमो न च नेष्यते॥

sarveṣāmapi liṅgānāṃ bāṇaliṅgaṃ viśiṣyate| snapane yajane dhūpe gandhapuṣpa nivedane|| anyakarmaṇi viprendrāḥ svāyambhūtādike tathā| prāsāda pīṭhakādīnāṃ niyamo na ca neṣyate||

Amongst all Lingas, Bana-Linga is held in high esteem. 0, the foremost among the twice-born sages!, For the Bana-Linga, snapana, worship, offering of incense, perfumes, flowers, eatable food and fruits and other rituals should be done in the same way as done for the svayambhu and other kinds of Lingas. Strict rules related to the construction of the shrine and the designing of the pedestal need not be observed for the Bana-Linga.

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ग्रामादि सर्ववास्तूनां बाह्ये बाह्यान्तरेऽपि वा। विमानं बाणलिङ्गस्य कल्पयेत् कल्पवित्तमः॥ शिलामृल्लोह सद्वृक्षरत्नाद्यैः पीठिका भवेत्। एकवर्णं भवेत्पीठं सर्वकामार्थ सिद्धये॥ लिङ्गोत्सेधत्रिभागैकं पञ्चव्यंशमथापि वा। विधेयं खातमानं तु लिङ्गाधं अथवा द्विजाः॥ यथाभिमतमानं वा खातमानं उदाहृतम्।

grāmādi sarvavāstūnāṃ bāhye bāhyāntare'pi vā| vimānaṃ bāṇaliṅgasya kalpayet kalpavittamaḥ|| śilāmṛlloha sadvṛkṣaratnādyaiḥ pīṭhikā bhavet| ekavarṇaṃ bhavetpīṭhaṃ sarvakāmārtha siddhaye|| liṅgotsedhatribhāgaikaṃ pañcavyaṃśamathāpi vā| vidheyaṃ khātamānaṃ tu liṅgādhaṃ athavā dvijāḥ|| yathābhimatamānaṃ vā khātamānaṃ udāhṛtam|

The Guru who is the foremost among the knowers of the Scriptures should construct a suitable vimana for the Bana-Linga either in the outskirts of the village and other settlements or in the adjacent surroundings of the village. The pedestal for the Bana-Linga could be made of stone, earth, metal, suitable wood, gem and others. The material of the pedestal should be the same as the material of the Linga in order to derive all the desired benefits and fortunes. O, the twice-born sages!, the height of the pedestal may be one part out of three parts of the height of the Linga or two parts out of five parts of it. Or, it may be equal to the height of the pit dug for taking out the Linga. Or, it may be equal to half the height of the Linga. Or, it may be with a height as desired by the Guru, provided it does not exceed the measure of the pit.

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सरित्प्रवाह संस्थं च बाणलिङ्ग समाकृति॥ यदन्यदपि बोद्धव्यं लिङ्गं सर्वसुखावहम्। पर्वतादि समुद्भूतं तद्वदेव समीरितम्॥ उन्नतं तु मुखं ज्ञेयं स्थूलभागे कृशेऽपि वा। स्थूलं वाथ कृशं वाथ कान्तिमद्रूपं ऊर्ध्वगम्॥ रत्नजं चैवमाख्यातं लोहजं च तथा मतम्। सहजं वाथ भिन्नं वा लिङ्गं श्रेष्ठं सयोनिजम्॥ रत्नजे लोहजेऽप्येवं पार्थिवेऽपि तथा मतम्।

saritpravāha saṃsthaṃ ca bāṇaliṅga samākṛti|| yadanyadapi boddhavyaṃ liṅgaṃ sarvasukhāvaham| parvatādi samudbhūtaṃ tadvadeva samīritam|| unnataṃ tu mukhaṃ jñeyaṃ sthūlabhāge kṛśe'pi vā| sthūlaṃ vātha kṛśaṃ vātha kāntimadrūpaṃ ūrdhvagam|| ratnajaṃ caivamākhyātaṃ lohajaṃ ca tathā matam| sahajaṃ vātha bhinnaṃ vā liṅgaṃ śreṣṭhaṃ sayonijam|| ratnaje lohaje'pyevaṃ pārthive'pi tathā matam|

The Bana-Lingas which are available in the flowing rivers are with well-shaped form. Such Lingas and even other Lingas available there are conducive to all states of happiness. The Bana-Lingas which are available in the mountains and other places are also of the same nature. That part which appears as raised either in the thick portion or thin portion of the Linga is to be known as the face of the bana-Linga. In the case of BanaLinga formed of gem, that part which appears with much brightness either in the thick portion or thin nsidered to be the face. That is the upper side. This is applicable even to the Bana-Lingas formed of metal. The Bana-Linga which is associated with naturally formed pedestal or associated naturally with a broken pedestal is considered to be of the supreme category. This is applicable even to the Lingas formed of gem, metal and earth.

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सर्वेषामपि चैतेषां प्रतिष्ठाद्यं निगद्यते॥ शैललिङ्ग प्रतिष्ठायां श्रेष्ठकाल उदाहृतः। चललिङ्ग प्रतिष्ठायां प्रतिमादौ च मध्यमः॥ कालोऽधमस्स्याद्वाणादौ मुमुक्षोस्सर्व एव हि। मासायनक्षं वारादि विधिस्तेषु च नेष्यते॥ तथैव बाणलिङ्गस्य किं तु कालोऽधमोऽथवा।

sarveṣāmapi caiteṣāṃ pratiṣṭhādyaṃ nigadyate|| śailaliṅga pratiṣṭhāyāṃ śreṣṭhakāla udāhṛtaḥ| calaliṅga pratiṣṭhāyāṃ pratimādau ca madhyamaḥ|| kālo'dhamassyādvāṇādau mumukṣossarva eva hi| māsāyanakṣaṃ vārādi vidhisteṣu ca neṣyate|| tathaiva bāṇaliṅgasya kiṃ tu kālo'dhamo'thavā|

Now, the directions for the installation and other related rituals concerned with all types of Bana-Lingas are told. The foremost kind of auspicious time is enjoined for the installation of the Lingas made of stone. The medium kind of auspicious time is enjoined for the installation of moveable Lingas, images and such others. The inferior kind of auspicious time is recommended for the installation of Bana-Lingas and the related images. All kinds of time are suitable if the installation is done for the sake of those who are desirous of final liberation. The suitability of the month, solstice, lunar mansion, week-day and such other factors of auspicious time need not be analyzed for such installation. The same rule is applicable even to the installation of Bana-Linga. Or, if desired, the inferior kind of auspicious time may be decided for it.

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विधाय वज्रबन्धाद्यं ततः स्थापनं आरभेत्॥ अङ्कुरार्पणकार्यं तु प्रागुक्त विधिना नयेत्। रत्नन्यासं ततः कुर्यान्नवपञ्चैक रत्नकम्॥ पिण्डिकावट मध्ये तु हैमं वाथ विनिक्षिपेत्। लक्षणोद्धारणं नेष्टं स्वाकारो लक्षणं भवेत्॥

vidhāya vajrabandhādyaṃ tataḥ sthāpanaṃ ārabhet|| aṅkurārpaṇakāryaṃ tu prāgukta vidhinā nayet| ratnanyāsaṃ tataḥ kuryānnavapañcaika ratnakam|| piṇḍikāvaṭa madhye tu haimaṃ vātha vinikṣipet| lakṣaṇoddhāraṇaṃ neṣṭaṃ svākāro lakṣaṇaṃ bhavet||

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शिल्प्युद्वासन पुण्याह विप्रभुक्युपलेपनम्। भूपरीक्षा विधेया तु वास्तुपूजाग्नि तर्पणम्॥ स्थण्डिले शयनं तस्य पूजनं प्राग्वदाचरेत्। जलमध्यादथानीय शुद्धिं गव्यादिभिर्नयेत्॥ अभ्यर्थ्यावेष्ट्य वस्त्रेण कृतप्रतिसरं शिवम्। शय्यामध्ये निवेश्याथ शिवकुम्भं च वर्धनीम्। विद्येशकुम्भ संयुक्तं ससूत्रं सापिधानकम्। सहिरण्यं सवस्त्रं च गन्धोद परिपूरितम्॥

śilpyudvāsana puṇyāha viprabhukyupalepanam| bhūparīkṣā vidheyā tu vāstupūjāgni tarpaṇam|| sthaṇḍile śayanaṃ tasya pūjanaṃ prāgvadācaret| jalamadhyādathānīya śuddhiṃ gavyādibhirnayet|| abhyarthyāveṣṭya vastreṇa kṛtapratisaraṃ śivam| śayyāmadhye niveśyātha śivakumbhaṃ ca vardhanīm| vidyeśakumbha saṃyuktaṃ sasūtraṃ sāpidhānakam| sahiraṇyaṃ savastraṃ ca gandhoda paripūritam||

Sending off the Silpi with due honours, declaring the auspiciousness and purpose of the time and the event (punyaha vacana), feeding of the learned brahmins, besmearing the ground, examination of the selected site, vastu-puja, offering of oblations in the sacred fire - all such activities are to be done for this installation. Reposing of the image(sayana adhivasa) should be done on the sthandila. Worship should be performed in a systematic way as explained earlier. Having taken out the image(placed for jala adhivasa) from the water, the Guru should purify it with five substances got from the cow(pancha gavya). Having worshipped it and covered it with pure cloth, he should offer the protective thread to the Lord. Having carefully placed the image over the couch, he should place the siva-kumbha and the sakti-kumbha(vardhani) and eight kumbhas around these two, for the sake of eight Vidyesvaras. All the kumbhas should be wound around with thread, associated with lid, covered with new cloth and filled up with perfumed water. He should place gold coin in each kumbha.

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संस्थाप्य संयजेत्सर्वांस्तत्त्वतत्त्वेश संयुतान्। मूर्तिमूर्तीश्वरान्यस्त्वा संपाद्यैवं शिवानलम्॥ समिदाज्यान्नलाजैश्च तिलेन च समन्वितम्। जुहुयान्मूलमन्त्रेण शतमष्टोत्तरं यथा॥ मनोन्मन्याधं अङ्गैस्तु दशांशं द्विजसत्तमाः। तत्त्वतत्त्वेश्वरादीनां पूर्ववद्धोममाचरेत्॥ वस्त्रेणाच्छाद्य लिङ्गं तु नैवेद्यं च निवेदयेत्।

saṃsthāpya saṃyajetsarvāṃstattvatattveśa saṃyutān| mūrtimūrtīśvarānyastvā saṃpādyaivaṃ śivānalam|| samidājyānnalājaiśca tilena ca samanvitam| juhuyānmūlamantreṇa śatamaṣṭottaraṃ yathā|| manonmanyādhaṃ aṅgaistu daśāṃśaṃ dvijasattamāḥ| tattvatattveśvarādīnāṃ pūrvavaddhomamācaret|| vastreṇācchādya liṅgaṃ tu naivedyaṃ ca nivedayet|

Having well arranged all the kumbhas in this way, the Guru should invoke and worship in the due order all the Deities such as Tattvas, Tattvesvaras, Murtis and Murtisvaras. Having completed this, he should kindle the fire in the fire-pit and offer the oblations with faggots, clarified butter, cooked food, parched paddy and sesame, each one for 108 times, reciting the mula mantra. 0, the foremost among the twice-borns!, these oblations should be done for 54 times for the sake of Manonmani(Sakti); for 10 times, for the sake of Vidyesvaras. As said before, he should offer the oblations for the sake of Tattvas and Tattvesvaras, Murtis and Murtisvaras. Having screened the Linga with a cloth, he should offer the 'naivedya'(food and fruits).

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प्रातःस्नात्वार्चयित्वा तु मण्टपाधिपदेवताः॥ लिङ्गमग्निं अघोरेण जुहुयाच्छत संख्यया। संप्राप्त दक्षिणस्तुष्टः प्राप्त पञ्चाङ्ग भूषणः॥ मुहूर्ते समनुप्राप्ते मन्त्रन्यासं समाचरेत्। एकाद्या नवनिष्कान्ता भवेद्देशिक दक्षिणा॥

prātaḥsnātvārcayitvā tu maṇṭapādhipadevatāḥ|| liṅgamagniṃ aghoreṇa juhuyācchata saṃkhyayā| saṃprāpta dakṣiṇastuṣṭaḥ prāpta pañcāṅga bhūṣaṇaḥ|| muhūrte samanuprāpte mantranyāsaṃ samācaret| ekādyā navaniṣkāntā bhaveddeśika dakṣiṇā||

Having bathed in the next early morning, he should worship the presiding Deities of the sacrificial pavilion and the Linga and offer the oblations for 100 times with the recital of aghora mantra. He, having adorned his five limbs with respective ornaments, being delighted with the offered sacrificial fees(dakshina), should perform the 'mantra-nyasa' for the Linga, upon the approach of auspicious time fixed for that. The sacrificial fees for the Guru may be from one nishka (of gold) to nine nishkas.

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संकल्प्य सासनं मूर्ति मूलमन्त्रं शिवे न्यसेत्। तज्जलैः स्नापयेत्देवं देवीं पीठस्वरूपिणीम्॥ स्नपनं कारयेदन्ते दद्यान्नैवेद्यं आदरात्। यदनुक्तं भवेदत्र लिङ्गस्थापनवन्नयेत्॥ चतुर्थ होमं चण्डेशयजनं चास्य नेष्यते। प्रत्यहं पूजयेद्देवं अर्चनोक्त विधानतः॥

saṃkalpya sāsanaṃ mūrti mūlamantraṃ śive nyaset| tajjalaiḥ snāpayetdevaṃ devīṃ pīṭhasvarūpiṇīm|| snapanaṃ kārayedante dadyānnaivedyaṃ ādarāt| yadanuktaṃ bhavedatra liṅgasthāpanavannayet|| caturtha homaṃ caṇḍeśayajanaṃ cāsya neṣyate| pratyahaṃ pūjayeddevaṃ arcanokta vidhānataḥ||

Having conceptually ideated the seat and the 'vidya deha'(form constituted of mantras), the Guru should unify the mula mantra with the Linga. With the consecrated and energized water contained in the Kubhas, he should bathe Siva(in the form of Linga) and Sakti, who has assumed the form of the pedestal. Then, he should perform the 'snapana-abhisheka' and at the end, he should offer 'naivedya' with devoted heart. Other rituals which have not been told here should be performed according to the directions given earlier under the context of 'Linga-sthapana'. The fourth (conclusive) homa and the worship of Candesa need not be performed in the worship of Bana-Linga. The Guru should worship the Lord(whose presence is in the Bana-Linga) daily, according to the directions given in the chapter dealing with 'arcana'.

श्लिष्टलिङ्गे गतिर्नास्ति सामान्यस्य गतिःक्षणात्। जीर्णादि दोषदुष्टं च विधिनापि न चालयेत्॥ सुदृढं स्वर्णपट्टाद्यैः कृत्वा शान्तिं समाचरेत्। कुम्भे वा स्थण्डिले वापि मण्डले पीठकादिके॥ पूर्वदिक्कलिते देशे दिक्क्लुप्से मण्टपादिके। संपूज्य देवदेवेशं उदग्देशे मनोन्मनीम्॥ अष्टविद्येश्वरोपेतं गन्धाद्यैरुपचारकैः। पञ्चाङ्ग भूषणोपेतो यावत् कृत्यं समाप्यते॥

śliṣṭaliṅge gatirnāsti sāmānyasya gatiḥkṣaṇāt| jīrṇādi doṣaduṣṭaṃ ca vidhināpi na cālayet|| sudṛḍhaṃ svarṇapaṭṭādyaiḥ kṛtvā śāntiṃ samācaret| kumbhe vā sthaṇḍile vāpi maṇḍale pīṭhakādike|| pūrvadikkalite deśe dikklupse maṇṭapādike| saṃpūjya devadeveśaṃ udagdeśe manonmanīm|| aṣṭavidyeśvaropetaṃ gandhādyairupacārakaiḥ| pañcāṅga bhūṣaṇopeto yāvat kṛtyaṃ samāpyate||

The defect of getting loosened or split does not occur in the Linga in which the rudra-bhaga and the pedestal are joined firmly with the eightfold band(ashta bandhana). But, in an ordinary Linga, such defect could occur within a short time. The Linga which has become decayed and appears to be affected with many defects such as the loosening of the band and others should not be disposed even according to the rules. As soon as the defect is observed, the Guru should join the pedestal and the Linga firmly with gold band and other materials, making sure that the joint is with firmness. Having done so, he should perform the 'santi' ritual. He should worship the Lord in the kumbha, sthandila, mandala or specially designed pedestal, having placed it over the ground selected in the east or in the recommended direction or placed it inside the mantapa constructed in the recommended direction. Having worshipped the Lord, he should worship Manonmani invoked in the north side of the Linga. He should worship the Lord and the Sakti along with 8 Vidyesvaras with sandal, flowers and such others associated with various offerings. The Guru should keep himself adorned with ornaments suitable to the five parts of his body until the completion the rituals.

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अन्ते विसर्जनं कुर्याच्छान्तिहोमं समाचरेत्। आदावन्ते च वा होमं प्रत्यहं होममेव वा॥ तत्र संप्रोक्षणं नेष्टं तदर्थं होममेव वा।। लिङ्गाग्रे स्थण्डिलं तत्र कुम्भसंस्थापनं नु हि॥

ante visarjanaṃ kuryācchāntihomaṃ samācaret| ādāvante ca vā homaṃ pratyahaṃ homameva vā|| tatra saṃprokṣaṇaṃ neṣṭaṃ tadarthaṃ homameva vā|| liṅgāgre sthaṇḍilaṃ tatra kumbhasaṃsthāpanaṃ nu hi||

At the end, he should send off the invoked Deities with the offering of arghya-water. Then, he should perform the fire-ritual meant for appeasement. The fire-ritual may be done at the beginning and the end of this specific activity of setting right the defects. Or, it may be done daily during the course of this activity. The sprinkling of consecrated water need not be done for this. Instead, oblations could be offered in view of the sprinkling. Under this context, the designing of sthandila and the arrangement of the kumbhas should be done in front of the Linga.

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कुम्भेष्वावाहनं तस्मात् कुम्भमन्त्रान्निवेशयेत्। नेष्यते स्नपनं हित्वा जीर्णोद्धारविधौ द्विजाः। तत्कुम्भोदैरपि स्नानं केवलं प्रोक्षणं तु वा। क्रियान्ते स्नपनं कुर्याद् विशेषेणार्चयेच्छिवम्॥

kumbheṣvāvāhanaṃ tasmāt kumbhamantrānniveśayet| neṣyate snapanaṃ hitvā jīrṇoddhāravidhau dvijāḥ| tatkumbhodairapi snānaṃ kevalaṃ prokṣaṇaṃ tu vā| kriyānte snapanaṃ kuryād viśeṣeṇārcayecchivam||

other Deities should be invoked in the kumbhas. Therefore, the Guru should energize the water contained in the kumbhas with the concerned mantras, relevant for each kumbha. O, the twice-born sages!, the process of renovation in which 'snapana' is not included is not recommended. The Linga should be bathed well with the consecrated water contained in the kumbhas or it may be simply sprinkled with the kumbha-water. At the end of this ritual, the Guru should perform the 'snapana-abhisheka' and worship Lord Siva with the materials collected specially for this activity.

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एष एव विधिः प्रोक्तो बन्धविश्लेष कर्मणि। स्थलकर्मणि विश्लेषे सुधाकर्म विहीनके॥ क्षणमात्रे च निर्वर्ण्य कर्मण्यत्र न पूजनम्। होमाद्यमपि नेष्टं स्यात् कर्तुं लिङ्गं समर्चयेत्॥ गन्धाद्यैरुपचारैश्च शान्तिहोमं तु वा नयेत्। मूर्तिहोमं दिशाहोमं तत्कर्म गुरुलाघवात्॥

eṣa eva vidhiḥ prokto bandhaviśleṣa karmaṇi| sthalakarmaṇi viśleṣe sudhākarma vihīnake|| kṣaṇamātre ca nirvarṇya karmaṇyatra na pūjanam| homādyamapi neṣṭaṃ syāt kartuṃ liṅgaṃ samarcayet|| gandhādyairupacāraiśca śāntihomaṃ tu vā nayet| mūrtihomaṃ diśāhomaṃ tatkarma gurulāghavāt||

This is the detailed process told for setting right the loosened band made of eight substances. When the interior ground gets damaged and becomes uneven and when the applied mortar gets decayed and vanishes, these defects should be set right within the shortest time possible, desisting from the usual daily worship at that time. For this, the Guru need not perform the fire-ritual. After setting right the defects, he should worship the Linga with sandal, flowers and such other offerings and perform the 'santi-homa'. Either in a big scale or in a small scale, he should perform the 'murti-homa' and the 'disa-homa'.

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पीठस्थलोपलुतौ चेत् स्नपनं देवपीठयोः। तयोरभ्यन्तरस्यापि दाढ्यशैथिल्य कारणात्॥ शुद्धिं वस्त्रादिना कृत्वा यथा निर्माल्य शोधनम्। अस्त्राम्बु प्रोक्षणं तत्र स्नपनार्थं द्विजोत्तमाः॥

pīṭhasthalopalutau cet snapanaṃ devapīṭhayoḥ| tayorabhyantarasyāpi dāḍhyaśaithilya kāraṇāt|| śuddhiṃ vastrādinā kṛtvā yathā nirmālya śodhanam| astrāmbu prokṣaṇaṃ tatra snapanārthaṃ dvijottamāḥ||

If the hardness between the pedestal and the ground gets weakened and decayed, both the pedestal and the ground should be set right. When they are rendered to be fit for the rituals concerned with the worship, the Guru should perform the 'snapana-abhisheka' for the Lord and the pedestal. Having cleaned them with cloth and other materials in such a way that they appear devoid of any impurity. O, the foremost twice-born sages!, if 'snapana' is not possible, the Guru should sprinkle the consecrated water with the recital of astra-mantra for the sake of 'snapana'.

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बहुदैवसिके स्नानभङ्गश्चेत् स्नपनं महत्।। महाहविस्तथा प्रोक्तं राज्ञो राष्ट्रस्य शान्तये॥ ग्रामस्थानं जनानां च तथा तत्स्थानवासिनाम्। कर्तुः कारयितुश्चापि देशिकस्य विशेषतः॥

bahudaivasike snānabhaṅgaścet snapanaṃ mahat|| mahāhavistathā proktaṃ rājño rāṣṭrasya śāntaye|| grāmasthānaṃ janānāṃ ca tathā tatsthānavāsinām| kartuḥ kārayituścāpi deśikasya viśeṣataḥ||

If the ceremonial bath to be performed for the Lord gets interrupted for many consecutive days, the Guru should perform the 'maha snapana abhisheka' to alleviate the defect; in addition to this, he should offer 'maha havis'. For the sake of welfare of the king and the country, he should perform these. The performance of these is significantly beneficial to all the people of the village, to those who are living adjacent to the temple, to the person who arranges for such performance, to the person who directed him to do so and to the Acharya.

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पीठसंस्थापनं वक्ष्ये तल्लक्षण पुरस्सरम्। लिङ्गायामविशालं तु पीठं सर्वार्थ साधकम्॥ विष्यवंशसमतुङ्गं छायादोष विवर्जितम्।। पूजांशस्योदयप्रान्त पीठनिर्गमनान्वितम्॥ ईदृशं पीठमापाद्य को न सिद्येत मानवः।

pīṭhasaṃsthāpanaṃ vakṣye tallakṣaṇa purassaram| liṅgāyāmaviśālaṃ tu pīṭhaṃ sarvārtha sādhakam|| viṣyavaṃśasamatuṅgaṃ chāyādoṣa vivarjitam|| pūjāṃśasyodayaprānta pīṭhanirgamanānvitam|| īdṛśaṃ pīṭhamāpādya ko na sidyeta mānavaḥ|

Now I will explain various methods for the designing and installation of suitable pedestal for the Linga with specifications related to the lineaments of different pedestals. The pedestal whose width is equal to the height of the linga-shaft is capable of accomplishing all the desired fruits. The pedestal whose height is equal to the height of vishnu-part of the Linga, which is bereft of any defect related to the shadow and which is associated with a fitting hallow at the center of its upper face is considered to be auspicious. What could not be attained by a devotee who has designed such a pedestal and duly installed it?

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लिङ्गायामसमं वापि लिङ्गायामार्धमेव वा॥ सप्तविंशतिमानानि षड्विंशत्यंश मानकम्। लिङ्गस्यतार त्रिगुणं भवेत्पञ्चगुणं तु वा॥ तदन्तरे तथा भक्ते सप्तविंशति मानकम्। लिङ्गमानवशात्पीठ विस्तारं परिकीर्तितम्॥

liṅgāyāmasamaṃ vāpi liṅgāyāmārdhameva vā|| saptaviṃśatimānāni ṣaḍviṃśatyaṃśa mānakam| liṅgasyatāra triguṇaṃ bhavetpañcaguṇaṃ tu vā|| tadantare tathā bhakte saptaviṃśati mānakam| liṅgamānavaśātpīṭha vistāraṃ parikīrtitam||

The width of the pedestal may be equal to the height of the Linga or half the height of that. On dividing the height of the Linga into 26 equal parts, 27 measures could be obtained for the width of the pedestal. Or, having multiplied the height by 3 and by 5, the difference between these two measures should be divided into 26 equal parts. By doing so, 27 measures could be obtained for the width. In this way, the width of the pedestal to be determined according to the height of the Linga has been explained well.

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तिथ्यङ्गुलं समारभ्य व्योमाङ्गुल विवृद्धितः। षोडशाङ्गुलसंयुक्त विंशकाङ्गुलकावधि। हस्तादि नवहस्तान्तं लिङ्गानां पीठविस्तृतिः। लिङ्गायामाधिकः पीठविस्तारो नेष्यते द्विजाः॥

tithyaṅgulaṃ samārabhya vyomāṅgula vivṛddhitaḥ| ṣoḍaśāṅgulasaṃyukta viṃśakāṅgulakāvadhi| hastādi navahastāntaṃ liṅgānāṃ pīṭhavistṛtiḥ| liṅgāyāmādhikaḥ pīṭhavistāro neṣyate dvijāḥ||

Beginning with 15 angulas and increasing by one angula each time, the width may be ascertained. The width may be increased from16 angulas up to 20 angulas. 0, the twice-born sages!, the width of the pedestal which exceeds the height of the Linga is not acceptable.

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अयं मूलसमं वास्य हीनमूलं तु नेष्यते। षडंशात् षोडशांशान्तं कृत्वा मूलविशालकम्। एकांशेनाग्रविस्तारं पीठं वा परिकीर्तितम्।। विष्ण्वंशोत्सेधतुङ्गस्य पीठस्य ब्रह्मभागके॥ चतुर्भागे त्रिभागांशाधिकं वा पीठतुङ्गकम्।। तयोर्मध्येऽष्टधा भक्ते नवमानं उदीरितम्॥

ayaṃ mūlasamaṃ vāsya hīnamūlaṃ tu neṣyate| ṣaḍaṃśāt ṣoḍaśāṃśāntaṃ kṛtvā mūlaviśālakam| ekāṃśenāgravistāraṃ pīṭhaṃ vā parikīrtitam|| viṣṇvaṃśotsedhatuṅgasya pīṭhasya brahmabhāgake|| caturbhāge tribhāgāṃśādhikaṃ vā pīṭhatuṅgakam|| tayormadhye'ṣṭadhā bhakte navamānaṃ udīritam||

The bottom and the top of the pedestal should be with equal measure. The bottom with a decreased measure is not desirable. Having divided the width of the bottom into six equal parts or up to 16 parts, the top of the pedestal may be designed so as to be less than the base-measure by 1 part. The height of the pedestal should be equal to that of the vishnu-part. Or the height of the brahma-part may be divided into 4 equal parts and the height of the pedestal may be held to be in excess of 3 parts of the height of the brahma-part. If the difference between these two measures original height and the increased height) is divided into eight equal parts, nine different measures could be obtained for the width.

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नन्द्यावर्तशिला चाल्पे वर्जनीया द्विजोत्तमाः।। मानुषे पीठमाने स्यात्स्वयम्भूतादिकेऽपि च॥ चललिङ्गेऽपि सामान्यं विधानं किंचिदुच्यते। लिङ्गमानसमं वार्धद्विगुणं पीठमिष्यते॥ विस्तारमध्य सप्तांशे मानं सप्तदशैव हि। मूलं प्रोक्तप्रमाणं च संग्राह्यं द्विजसत्तमाः॥ विस्तारार्धसमं तुङ्गं समं वार्धाधिकं तु वा। प्रत्येकं सप्तधा भक्ते मानं सप्तदश द्विजाः॥ स्वायंभुवादि लिङ्गेषु लिङ्गायामादि विस्तरः। पीठस्य तु दोषस्या ज्ञात्वैवं पीठमाचरेत्॥

nandyāvartaśilā cālpe varjanīyā dvijottamāḥ|| mānuṣe pīṭhamāne syātsvayambhūtādike'pi ca|| calaliṅge'pi sāmānyaṃ vidhānaṃ kiṃciducyate| liṅgamānasamaṃ vārdhadviguṇaṃ pīṭhamiṣyate|| vistāramadhya saptāṃśe mānaṃ saptadaśaiva hi| mūlaṃ proktapramāṇaṃ ca saṃgrāhyaṃ dvijasattamāḥ|| vistārārdhasamaṃ tuṅgaṃ samaṃ vārdhādhikaṃ tu vā| pratyekaṃ saptadhā bhakte mānaṃ saptadaśa dvijāḥ|| svāyaṃbhuvādi liṅgeṣu liṅgāyāmādi vistaraḥ| pīṭhasya tu doṣasyā jñātvaivaṃ pīṭhamācaret||

O, the foremost among the twice-born sages!, for the Lingas which are in smaller size, the particular pattern of placing the base-stones need not be performed. The requred measurements of the pedestals for the manusha-linga, svayambhu-linga and others and for the moveable lingas are now told briefly. The width of the pedestal may be equal to the height of the Linga, half the height or twice the height of that linga. On dividing half the height and twice the height into seven equal parts, seventeen kinds of width-measure could be obtained. O, the much celebrated twice-born sages!, the exact measurement of the base of the pedestal should be taken as explained before. The height of the pedestal may be half the width, equal to the width or one and half the width. On dividing the decreased and increased measure into seven equal parts, seventeen kinds of measure for the height could be obtained. For the svayambhu-linga and others, it would be defective if the width of the pedestal is ascertained based on the diameter or circumference of the Linga.

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वेदात्रं वर्तुलं वाथ संमतं पीठरूपकम्। लोहजे रत्नलिङ्गे वा बाणलिङ्गेऽपि वा मतम्॥ बेरायामत्रिपादं वा तच्चतुर्थाशमेव वा। कल्पयेत्पीठविस्तारं मध्यमे षोडशांशकम्॥ मानं सप्तशाख्यातं समाशं वायतं तु वा। द्विगुणावधि तन्मध्ये कृते प्राग्वत्तथा मतम्॥

vedātraṃ vartulaṃ vātha saṃmataṃ pīṭharūpakam| lohaje ratnaliṅge vā bāṇaliṅge'pi vā matam|| berāyāmatripādaṃ vā taccaturthāśameva vā| kalpayetpīṭhavistāraṃ madhyame ṣoḍaśāṃśakam|| mānaṃ saptaśākhyātaṃ samāśaṃ vāyataṃ tu vā| dviguṇāvadhi tanmadhye kṛte prāgvattathā matam||

The form of the pedestal may be square or circular; one of them is acceptable. This is applicable to the Lingas made of metal and gems and to the Bana-linga.The pedestal for any image(endowed with all the features of form) may be with a width equal to three quarters of the height of the image or to one quarter. The difference between these two measures should be divided into 16 equal parts. By such division, 17 kinds of width could be obtained. The pedestal may be in the form of square or rectangular. Or, the width may be twice the height of the image. If the difference between the original height and the increased height is divided into 16 equal parts as done before, 17 kinds of measure could be obtained for the width.

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पीठायामं समाख्यातं तस्योत्सेधश्च कथ्यते। विस्तारसममुत्सेधस्तदर्धी वा तदन्तरे॥ विकारांशं भवेत्सप्तदशमानं द्विजोत्तमाः। पादाधिकं तथोत्सेधं विस्तारात् परिकल्पयेत्॥ वसुधा भाजिते मध्ये नवमानं इति स्मृतम्। बिम्बोत्सेधचतुर्भागं पद्मोत्तुङ्गं परं मतम्॥ बेरायामाष्ट भागैकं अपरं परिकीर्तितम्। अष्टधा मध्यमं भक्त्वा नवमानं प्रकल्पयेत्॥

pīṭhāyāmaṃ samākhyātaṃ tasyotsedhaśca kathyate| vistārasamamutsedhastadardhī vā tadantare|| vikārāṃśaṃ bhavetsaptadaśamānaṃ dvijottamāḥ| pādādhikaṃ tathotsedhaṃ vistārāt parikalpayet|| vasudhā bhājite madhye navamānaṃ iti smṛtam| bimbotsedhacaturbhāgaṃ padmottuṅgaṃ paraṃ matam|| berāyāmāṣṭa bhāgaikaṃ aparaṃ parikīrtitam| aṣṭadhā madhyamaṃ bhaktvā navamānaṃ prakalpayet||

About the width and length of the pedestal has been told. Now, the details regard to the height are told. The height of the pedestal may be equal to its width or equal to half of that width. The difference between these two should be divided into 16 equal parts and by such division, 17 kinds of measure for the height could be obtained. Or, the height may be one and one-fourth(quarter). As told before, if the difference between the two measures(1 and one and one-fourth) is divided into 8 equal parts,9kinds of measure for height could be obtained. The height of the lotus-like pedestal should be one part out of four parts one-fourth) of the height of the image. This is held to be of supreme kind. The height taken to be one part out of eight parts is considered to be of secondary type. If the difference between the two(one-fourth and one eighth) is divided into 8 equal parts, nine kinds of measure for the height could be obtained.

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स्थानके वा तलायामात् एकैकाङ्गुल वृद्धितः। द्वादशाङ्गुल पर्यन्तं पङ्कजस्याग्र विस्तरः॥ आसने पद्माविस्तारस्त्रयोविंशति मात्रतः। अर्धाङ्गुलाद्यं षद्विशत्करजावधि मानकम्॥ त्रिभागैकाधिको मूलविस्तारः श्रेष्ट उच्यते।। द्वादशांश विहीनेऽथ मध्ये षोडशधा कृते॥ विस्तारस्सप्त संयुक्तो दशधा परिकीर्तितः।

sthānake vā talāyāmāt ekaikāṅgula vṛddhitaḥ| dvādaśāṅgula paryantaṃ paṅkajasyāgra vistaraḥ|| āsane padmāvistārastrayoviṃśati mātrataḥ| ardhāṅgulādyaṃ ṣadviśatkarajāvadhi mānakam|| tribhāgaikādhiko mūlavistāraḥ śreṣṭa ucyate|| dvādaśāṃśa vihīne'tha madhye ṣoḍaśadhā kṛte|| vistārassapta saṃyukto daśadhā parikīrtitaḥ|

For the image which is in standing position, the width at the top of the lotus-like pedestal should be one angula up to 12 angulas in excess of the length of feet of the image, increasing the measure by one angula each time. For the image which is in seated posture, the width of the lotus-like pedestal should be 23 digits(matras, units of angula). Increasing this by half angula each time, the width may be up to the limit of 36 angulas. The width at the bottom of the pedestal should be one part out of three parts in excess of the measure of the top. Such measure is considered to be the foremost. Leaving out 12 parts, if the remaining portion is divided into 16 equal parts, 17 kinds of measure for the width could be obtained.

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विस्तार सदृशस्त्वायो द्विगुणे वाथ मध्यमे॥ वसुधा भाजिते दैर्घ्यं नवधा परिकीर्तितम्। त्रिभागाद्र भागान्तं तदुत्सेधे विभाजिते॥ एकद्वित्रिचतुष्पञ्च भागैर्ध्वस्थ पङ्कजम्। शेषांशैस्स्यादधः पद्म हीनं वोर्ध्व दलैस्तु वा॥ चतुरष्ट दलोपेतं विकारार्क दलं तु वा।।

vistāra sadṛśastvāyo dviguṇe vātha madhyame|| vasudhā bhājite dairghyaṃ navadhā parikīrtitam| tribhāgādra bhāgāntaṃ tadutsedhe vibhājite|| ekadvitricatuṣpañca bhāgairdhvastha paṅkajam| śeṣāṃśaissyādadhaḥ padma hīnaṃ vordhva dalaistu vā|| caturaṣṭa dalopetaṃ vikārārka dalaṃ tu vā||

The length of the pesdestal may be equal to its width or twice the width. If the difference between these two measures is divided into 8 equal parts, nine kinds of measure for the length could be obtained. If the height of the image is divided into 3 parts up to 11 parts, the upper lotus-moulding should be with a measure of 1, 2, 3, 4, 5 parts(one part out of three parts, two parts out of 4 parts and so on). The lotus below the upper one may be with a height of the remaining parts(2 parts out of 3 parts, 2 parts out of 4 parts and so on). The upper lotus may be without petals. Or, it may be disigned so as to be with 4,8 12 or 16 petals.

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विपुलं तुङ्गमायुक्तं स्थानके पीठमुच्यते॥ अधिकोत्तुङ्ग संयुक्तं आसनोपरि कल्पयेत्। त्रिभागाद्र भागान्तं दैर्घ्यविस्तारं एव वा॥ विभज्य पार्श्वयोरेकद्वित्रिभागमथापि वा। संस्थाप्य शेषभागैस्तु मध्यं भद्रं प्रकल्पयेत्॥

vipulaṃ tuṅgamāyuktaṃ sthānake pīṭhamucyate|| adhikottuṅga saṃyuktaṃ āsanopari kalpayet| tribhāgādra bhāgāntaṃ dairghyavistāraṃ eva vā|| vibhajya pārśvayorekadvitribhāgamathāpi vā| saṃsthāpya śeṣabhāgaistu madhyaṃ bhadraṃ prakalpayet||

For the image which is in standing posture, the recommended width and height should be given to the pedestal. For the image which is in seated posture, the height should be in excess of the width. Having divided the width and the length into 3 parts up to 11 parts, the Guru should leave out 1, 2 or 3 parts and install the image in the remaining portion the pedestal. The projected moulding should be designed in the middle of the left out parts.

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सभद्रं वा विभद्रं वा पीठं सर्वत्र कारयेत्। एकपीठमनेकेषां यदि शोभावशान्नयेत्॥ वृत्तावायतवृत्तापि अर्धचन्द्राकृतिस्तु वा। पद्माकृतिः प्रकर्तव्या तत्रासीनेऽर्धचन्द्रकम्॥

sabhadraṃ vā vibhadraṃ vā pīṭhaṃ sarvatra kārayet| ekapīṭhamanekeṣāṃ yadi śobhāvaśānnayet|| vṛttāvāyatavṛttāpi ardhacandrākṛtistu vā| padmākṛtiḥ prakartavyā tatrāsīne'rdhacandrakam||

For all kinds of images, the pedestal may be designed so as to be with or without the projected moulding at the border of the upper face. If one and same pedestal should be designed for several images, the sthapati should design it in such a way that it pesents elegant appearance, provided with essential embellishments. The pedestal may be circular, apsidal(elongated circle), in the form of half-moon or lotus flower. For the image which is in seated posture, half-moom pedestal is the most suitable.

अलङ्कारं अतो वक्ष्ये लिङ्गानां पीठतुङ्गके। षोडशांशे तु मानेन पादुकं परिकीर्तितम्॥ वेदांशा जगती प्रोक्ता गुणांशः कुमुदो भवेत्। वस्वश्रपद्ममेकेन वह्नयंशः कर्ण उच्यते॥ अंशेन पट्टिका ज्ञेया महापट्टी द्विभाग्तः।। घृतवार्यंशमानेन भद्रपीठं इदं मतम्॥

alaṅkāraṃ ato vakṣye liṅgānāṃ pīṭhatuṅgake| ṣoḍaśāṃśe tu mānena pādukaṃ parikīrtitam|| vedāṃśā jagatī proktā guṇāṃśaḥ kumudo bhavet| vasvaśrapadmamekena vahnayaṃśaḥ karṇa ucyate|| aṃśena paṭṭikā jñeyā mahāpaṭṭī dvibhāgtaḥ|| ghṛtavāryaṃśamānena bhadrapīṭhaṃ idaṃ matam||

Now, I will explain how to embellish the pedestal with various parts associated with proportionate measurements. If the height of the pedestal of Linga is divided into 16 equal parts, one part is for the plinth; 4 parts for the lower fillet(jagati); 3 parts for the torus(kumuda); one part for the eight-petalled lotus; 3 parts for the upper fillet(karna); one part for the fillet above the karna; 2 parts for the large fillet (maha patti); and one part for the surrounding water-course(ghrutavari). The pedestal associated with such embellishments is considered to be Bhadra Pitha.

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षोडशांशे तदुत्सेधे द्विभागं पादुकं भवेत्। शरांशं पद्ममानं स्याद् द्विभागं वृत्तमुच्यते॥ वेदांशं ऊर्ध्वपझं स्याद् अश्विन्यंशेन पट्टिका। घृतवार्यंशमानं स्यात् पद्मपीठं इदं मतम्॥

ṣoḍaśāṃśe tadutsedhe dvibhāgaṃ pādukaṃ bhavet| śarāṃśaṃ padmamānaṃ syād dvibhāgaṃ vṛttamucyate|| vedāṃśaṃ ūrdhvapajhaṃ syād aśvinyaṃśena paṭṭikā| ghṛtavāryaṃśamānaṃ syāt padmapīṭhaṃ idaṃ matam||

Out of 16 parts of the height of the pedestal, 2 parts are for the plinth; 5 parts for the lotus-like fillet; 2 parts for the cirular fillet; 4 parts for the upper lotus-like fillet; 2 parts for the fillet(pattika) above the previous one; and one part for the surrounding water-course. The pedestal provided with such embellishments is known as Padma Pitha.

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एकविंशतिभागेऽग्निभागैः पादुकमूर्ध्वतः। पञ्चभिः पङ्कजं कम्पस्त्वेकेनो त्रिभागतः॥ कर्णस्त्वेकेन कम्पःस्याद् भूतांशैर्ध्व पङ्कजम्। द्वाभ्यां पक्की भवेदू घृतवार्येकभागतः॥

ekaviṃśatibhāge'gnibhāgaiḥ pādukamūrdhvataḥ| pañcabhiḥ paṅkajaṃ kampastvekeno tribhāgataḥ|| karṇastvekena kampaḥsyād bhūtāṃśairdhva paṅkajam| dvābhyāṃ pakkī bhavedū ghṛtavāryekabhāgataḥ||

If the height of the pedestal is divided into 21 equal parts, 3 parts are for the plinth; 5 parts for the lotus-like fillet above the base; one part for the fillet(kampa); 3 parts for the fillet(karna) above the kampa; one part for the fillet above the karna; 5 parts for the upper lotus-like fillet; 2 parts for the top fillet(pankti); and one part for the surrounding water-course. Such proportionated pedestal is also known as Padma Pitha.

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षोडशांशे तदुत्सेधे पादुकं सार्धभागभाक्। जगती बन्धभागेन गुणाधं पद्मतुङ्गकम्॥ व्योमांशं ऊर्ध्वकम्पं तु द्वाभ्यां कुमुद उच्यते। वृत्ताकारस्तदूर्वे तु पट्टिका भाग मानतः॥ द्वाभ्यां कर्णस्तु पद्म स्याद् अर्धेनांशेन पट्टिका। शेषेण घृतवारी तु श्रीकरं पीठमीरितम्॥

ṣoḍaśāṃśe tadutsedhe pādukaṃ sārdhabhāgabhāk| jagatī bandhabhāgena guṇādhaṃ padmatuṅgakam|| vyomāṃśaṃ ūrdhvakampaṃ tu dvābhyāṃ kumuda ucyate| vṛttākārastadūrve tu paṭṭikā bhāga mānataḥ|| dvābhyāṃ karṇastu padma syād ardhenāṃśena paṭṭikā| śeṣeṇa ghṛtavārī tu śrīkaraṃ pīṭhamīritam||

Out of 16 parts of the height of the pedestal, one and half parts are for the base; 4 parts for the lower fillet (jagati); one and half, for the lotus-like fillet; one part for upper fillet(urdhva kampa); 2 parts for the lilly fillet(kumuda); one part for the pattika-fillet; 2 parts for the karna-fillet; 2 parts for the padma-fillet; half, for the pattika-fillet; and the remaining half for the surrounding water-course. The pedestal associated with such embellishments is called Srikara Pitha.

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पञ्चविंशति भागे तु व्योमांशं पादुकं भवेत्। पद्ममेकेन तस्योर्ध्व वाजनं व्योमभागतः॥ ११ जगती चतुरंशं स्यात् पद्मतुङ्गं त्रिभागतः। गलमधं त्रिभागेन पद्म त्र्यंशेन वृत्तकम्॥ १२ कुमुदं पद्ममेकेन वाजनं व्योमभागतः। भागाभ्यां कर्ण इत्युक्तस्स्याद् एकेनैव वाजनम्॥ १३ कञ्जमेकेन भागाभ्यां महावाजनीरितम्।। एकेन कम्पमर्धेन घृतवार्यभिधीयते॥ पीठं शाम्भवं आख्यातं अन्यथान्यद्विधीयते।

pañcaviṃśati bhāge tu vyomāṃśaṃ pādukaṃ bhavet| padmamekena tasyordhva vājanaṃ vyomabhāgataḥ|| 11 jagatī caturaṃśaṃ syāt padmatuṅgaṃ tribhāgataḥ| galamadhaṃ tribhāgena padma tryaṃśena vṛttakam|| 12 kumudaṃ padmamekena vājanaṃ vyomabhāgataḥ| bhāgābhyāṃ karṇa ityuktassyād ekenaiva vājanam|| 13 kañjamekena bhāgābhyāṃ mahāvājanīritam|| ekena kampamardhena ghṛtavāryabhidhīyate|| pīṭhaṃ śāmbhavaṃ ākhyātaṃ anyathānyadvidhīyate|

The height of the pedestal should be divided into 25 equal parts. Out of 25 parts of the pedestal, one part is for the plinth; one part for inverted cyma(padma); one part for the vajana-fillet; 4 parts for the jagati-fillet; 3 parts for the cyma; half part for the neck-fillet; 3 parts for the upper cyma; 3 parts for the kumuda-fillet; one part for the vajana-fillet; 2 parts for the karna-fillet; one part for the vajana- fillet; one part for the cyma above; 2 parts for the great vajana-fillet; one part for the kampa-fillet; and half part for the surrounding Watercourse. The pedestal provided with such embellishments is called Sambhava Pitha. Another type of the pedestal is then explained.

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एकविंशति भागं तु पीठोत्तुङ्गं विभज्य च॥ भागेन पादुकं वेद भागेन जगती मता। एकेन कर्णस्त्वेकेन पद्म स्याद् गुणभागतः॥ कुमुदं पद्म अंशेन वाजनं त्वेक भागतः। कर्णो द्विभागो भागेन वाजनं पद्म अंशतः॥ १७ द्विभागा तु महापट्टी पद्ममंशेन भागतः। कम्पस्स्याद् घृतवायूंर्वे विजयाख्यं इदं मतम्॥

ekaviṃśati bhāgaṃ tu pīṭhottuṅgaṃ vibhajya ca|| bhāgena pādukaṃ veda bhāgena jagatī matā| ekena karṇastvekena padma syād guṇabhāgataḥ|| kumudaṃ padma aṃśena vājanaṃ tveka bhāgataḥ| karṇo dvibhāgo bhāgena vājanaṃ padma aṃśataḥ|| 17 dvibhāgā tu mahāpaṭṭī padmamaṃśena bhāgataḥ| kampassyād ghṛtavāyūṃrve vijayākhyaṃ idaṃ matam||

If the height of pedestal is divided into 21 equal parts, one part is for the plinth; 4 parts for the jagati-fillet; one part for the karma-fillet; one part for the cyma; 3 parts for the kumuda-fillet;one part for cyma; one part for the vajana-fillet; 2 parts for the karna-fillet; one part for the vajana; one part for the padma; 2 parts for the great fillet(maha patti); one part for the padma; one part for the kampa-fillet; and one part for the surrounding water-course(ghrutavari). The pedestal associated with such embellishments is known as Vijaya Pitha.

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अष्टादश विभागे तु व्योमांशं पादुकं भवेत्। अध्यर्थं पद्ममित्युक्तं कम्पमेकांशतो भवेत्॥ १९ जगती वेदभागेन गुणांशः कुमुदो भवेत्। कम्पमेकेन कर्णस्स्याद् द्विभागः कम्पमेकतः॥ २० महापट्टी द्विभागेन वाजनं चैकभागतः। अर्धेन घृतवार्युक्तं उमापीठं इदं मतम्॥

aṣṭādaśa vibhāge tu vyomāṃśaṃ pādukaṃ bhavet| adhyarthaṃ padmamityuktaṃ kampamekāṃśato bhavet|| 19 jagatī vedabhāgena guṇāṃśaḥ kumudo bhavet| kampamekena karṇassyād dvibhāgaḥ kampamekataḥ|| 20 mahāpaṭṭī dvibhāgena vājanaṃ caikabhāgataḥ| ardhena ghṛtavāryuktaṃ umāpīṭhaṃ idaṃ matam||

If the height of the pedestal is divided into 18 equal parts, one part is for the base; one and half for the inverted cyma; one part for the kampa; 4 part for the jagati-fillet; 3 parts for the kumuda-fillet; one part for the kampa; 2 parts for the karna-fillet; one part for the karna; 2 parts for the maha-patti; one part for the vajana-fillet; and half part for the surrounding water-course. The pedestal desiged with such ornamental parts is known as Uma Pitha.

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विकारांशे तदुत्सेधे पादुकं भागमानकम्। पद्ममंशमितं बन्धभागेन जगती भवेत्॥ भागाभ्यां पङ्कजाद्रीवा चार्धाधेनोर्ध्वपङ्कजम्। कुमुदं स्याद् द्विभागेन पद्ममर्धेन चार्धतः॥ कम्पं कर्णस्तु चार्धेनार्धेन कम्पं च वारिजम्। भागार्धेन महापट्टी साधेनांशेन मूर्धनि॥ घृतवारि समाख्यातं सम्पत्करमिहोदितम्।

vikārāṃśe tadutsedhe pādukaṃ bhāgamānakam| padmamaṃśamitaṃ bandhabhāgena jagatī bhavet|| bhāgābhyāṃ paṅkajādrīvā cārdhādhenordhvapaṅkajam| kumudaṃ syād dvibhāgena padmamardhena cārdhataḥ|| kampaṃ karṇastu cārdhenārdhena kampaṃ ca vārijam| bhāgārdhena mahāpaṭṭī sādhenāṃśena mūrdhani|| ghṛtavāri samākhyātaṃ sampatkaramihoditam|

If the height of the pedestal is divided into 16 equal parts, one part is for the base; one part for the inverted cyma; 4 parts for the jagati; one part for the cyma; one part for the griva-fillet; one and half parts for the upper cyma; 2 parts for the kumuda; half part for the cyma; half part for the kampa; half part for the karna; half part for the kampa; half part for the padma; half part for the maha-patti; one and half parts for the surrounding water course at the top. The pedestal associated with such embellishments is called Sampatkara Pitha.

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रुद्रभागे तु तत्तुङ्गे व्योमांशं पादुकं भवेत्॥ गुणांशं जगती कम्पं एकं कर्णो द्विभागतः। एकांशो वाजनः प्रोक्तो महापट्टी द्विभागतः॥ घृतवार्येकभागेन नन्दिकावृत्तमीरितम्।

rudrabhāge tu tattuṅge vyomāṃśaṃ pādukaṃ bhavet|| guṇāṃśaṃ jagatī kampaṃ ekaṃ karṇo dvibhāgataḥ| ekāṃśo vājanaḥ prokto mahāpaṭṭī dvibhāgataḥ|| ghṛtavāryekabhāgena nandikāvṛttamīritam|

If the height of the pedestal is divided into 11 equal parts, one part is for the plinth; 3 parts for the jagati; one part for the kampa; 2 parts for the karna; one part for the vajana-fillet; 2 parts for the maha-patti; and one part for the surrounding water-course(ghrutavari). The pedestal enodwed with such embellishments is called Nandikavrutta Pitha.

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तिथ्यंशं विभजेत्तुङ्गमध्यर्थं पादुकं भवेत्॥ अर्धेन कम्पं पद्म स्याद् गुणांशं गलमर्धतः।। पद्ममंशेन भागाभ्यां कुमुदं पद्ममंशतः॥ अर्धं गलं त्रिभागेन पद्म सार्धेन पट्टिका। अर्धाशं घृतवार्युक्तं स्वस्तिकं चेदमीरितम्॥

tithyaṃśaṃ vibhajettuṅgamadhyarthaṃ pādukaṃ bhavet|| ardhena kampaṃ padma syād guṇāṃśaṃ galamardhataḥ|| padmamaṃśena bhāgābhyāṃ kumudaṃ padmamaṃśataḥ|| ardhaṃ galaṃ tribhāgena padma sārdhena paṭṭikā| ardhāśaṃ ghṛtavāryuktaṃ svastikaṃ cedamīritam||

The height of the pedestal should be divided into 15 equal parts. One and half parts, for the base; half part for the kampa; 3 parts for the padma; half part for the kantha(neck part); one part for the cyma; 2 parts for the kumuda-fillet; one part for the padma; half part for the kantha; 3 parts for the cyma; one and half parts for the pattika; and half part for the ghrutavari(water course). The pedestal provided with such embellishments is called Svastika Pitha.

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तुङ्गाष्टादशभागे तु द्विभागं पादुकं भवेत्। पङ्कजं तु त्रिभागेन पट्टिकैकांशनिर्मिता॥ षड्सागैः कर्ण इत्युक्तो वाजनं चैकभागतः।। अनं द्विभागतः प्रोक्तं द्वाभ्यां वाजनमिष्यते॥ घृतवार्येकभागेन पूर्णचन्द्रं इदं भवेत्।

tuṅgāṣṭādaśabhāge tu dvibhāgaṃ pādukaṃ bhavet| paṅkajaṃ tu tribhāgena paṭṭikaikāṃśanirmitā|| ṣaḍsāgaiḥ karṇa ityukto vājanaṃ caikabhāgataḥ|| anaṃ dvibhāgataḥ proktaṃ dvābhyāṃ vājanamiṣyate|| ghṛtavāryekabhāgena pūrṇacandraṃ idaṃ bhavet|

If the height of the pedestal is divided into 18 equal parts, 2 parts are for the plinth; 3 parts for the cyma; one part for the pattika; 6 parts for the karma-fillet; one part for the vajana-fillet; 2 parts for the upper lotus; 2 parts for the vajana-fillet; and one part for the surrounding water-course. The pedestal associated with such ornamental mouldings is known as Purnacandra Pitha.

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कलांशं विभजेत्तुङ्गं व्योमभागेन पादुकम्॥ द्वाभ्यां पद्ममथैकेन कम्पष्षङ्वागतो गलम्।। भागेन कम्पं पद्म स्याद् द्विभागेन द्विभागतः॥ महापट्यंशमानेन घृतवायूंĀतो भवेत्। स्थण्डिलं पीठमेवं स्यात् पुनरन्यदिहोच्यते॥

kalāṃśaṃ vibhajettuṅgaṃ vyomabhāgena pādukam|| dvābhyāṃ padmamathaikena kampaṣṣaṅvāgato galam|| bhāgena kampaṃ padma syād dvibhāgena dvibhāgataḥ|| mahāpaṭyaṃśamānena ghṛtavāyūṃĀto bhavet| sthaṇḍilaṃ pīṭhamevaṃ syāt punaranyadihocyate||

If the height of the pedestal is divided into 16 equal parts, one part is for the base; 2 parts for the lotus; one part for the kampa-fillet; 6 parts for the gala(neck); one part for the kampa; 2 parts for the lotus; 2 parts for the maha-patti; and one part for the ghrutavari. The pedestal associated with such embellishments is known as Sthandila Pitha. Another type of pedestal is now told.

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त्रिषडंशे तदुत्सेधे द्विभागं पादुकं भवेत्।। व्योमांशं कम्पमित्युक्तं द्विभागं पद्ममुच्यते॥ भागेन कम्पमित्युक्तं शेषं पूर्ववदेव हि। एकोनविंशत्यंशे तु द्विभागं पादुकं भवेत्॥ कम्पमंशेन भागेन पुनः कम्पं द्विभागतः। पद्ममंशेन कम्पस्स्याच्छेषं पूर्ववदीरितम्॥ स्वायम्भुवं इदं प्रोक्तं अधिष्ठानानि यानि च। उपपीठानि तान्यत्र योज्यानीहाग्रजोत्तमाः॥

triṣaḍaṃśe tadutsedhe dvibhāgaṃ pādukaṃ bhavet|| vyomāṃśaṃ kampamityuktaṃ dvibhāgaṃ padmamucyate|| bhāgena kampamityuktaṃ śeṣaṃ pūrvavadeva hi| ekonaviṃśatyaṃśe tu dvibhāgaṃ pādukaṃ bhavet|| kampamaṃśena bhāgena punaḥ kampaṃ dvibhāgataḥ| padmamaṃśena kampassyāccheṣaṃ pūrvavadīritam|| svāyambhuvaṃ idaṃ proktaṃ adhiṣṭhānāni yāni ca| upapīṭhāni tānyatra yojyānīhāgrajottamāḥ||

If the height of the pedestal is divided into 18 equal parts, 2 parts are for the plinth; one part for the kampa; 2 parts for the lotus; one part for the kampa; the remaining parts are for other mouldings as explained be Or, if the height of the pedestal is divided into 19 equal parts, 2 parts are for the plinth; one part for the kampa; one part for the kampa above the previous one; 2 parts for the lotus; one part for the upper kampa. The remaining parts are for other mouldings as detailed before. The pedestal associated with such embellishments is called Svayambhuva Pitha. O, the foremost among the twice-born sages!, other important mouldings such as adhisthana, upa pitha and the like should be provided for the pedestal.

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घृतवारि तदू स्यादेकभागेन सार्धतः। द्विभागेनाथ कर्तव्यं भक्त्याभीष्टांश तुङ्गके॥ महापट्टी विनिष्क्रामसमनिष्काम संयुता। घृतवारि विधेयं वा वृत्तं वा चतुरश्रकम्॥ अधिष्ठान कम्पोपेतं अथवा परिकल्पयेत्। कर्णमानं च संगृह्य कम्पादौ विनियोजयेत्॥ तन्मानं अथ कर्णं तु यावदेकयवेन च। वृध्याष्टमात्रपर्यन्तं वृद्धिहानिं प्रयोजयेत्॥

ghṛtavāri tadū syādekabhāgena sārdhataḥ| dvibhāgenātha kartavyaṃ bhaktyābhīṣṭāṃśa tuṅgake|| mahāpaṭṭī viniṣkrāmasamaniṣkāma saṃyutā| ghṛtavāri vidheyaṃ vā vṛttaṃ vā caturaśrakam|| adhiṣṭhāna kampopetaṃ athavā parikalpayet| karṇamānaṃ ca saṃgṛhya kampādau viniyojayet|| tanmānaṃ atha karṇaṃ tu yāvadekayavena ca| vṛdhyāṣṭamātraparyantaṃ vṛddhihāniṃ prayojayet||

On the upper surface of the pedestal, the surrounding water-course should be designed with the measurement of one part, one and half parts or two parts, when the height is divided into many parts as desired by the sthapati. The maha-patti may be with a raised projection or with a projection equal to the ghrutavari. The ghrutavari may be circular or square. The pedestal may be designed so as to be associated with adhisthana and kampa. The measure of karna may be joined with the measure of kampa and such other elements. Or, the measure of kampa may be joined with the measure of karna by increasing or decreasing the measure by one yava-grain to eight yava-grains, applying one yava each time.

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सर्वेष्वङ्गेषु पीठानां सकले निष्कलेऽपि च। चले वाप्यचले लौहे रत्नजे बाणलिङ्गके॥ ४३ । शैले दारुमये वापि मृण्मयेऽन्यमयेऽपि वा। निष्कले तु प्रमाणं स्यात् तन्मानं अधुनोच्यते॥

sarveṣvaṅgeṣu pīṭhānāṃ sakale niṣkale'pi ca| cale vāpyacale lauhe ratnaje bāṇaliṅgake|| 43 | śaile dārumaye vāpi mṛṇmaye'nyamaye'pi vā| niṣkale tu pramāṇaṃ syāt tanmānaṃ adhunocyate||

These modifications may be done for all parts of the pedestals meant for sakala form, nishkala form, moveable image, fixed image, images made of metal, gems, stone, wood , earth or any other material, bana-linga and others. Even for the pedestal applicable to the nishkala-form, there are rules governing the proportionate measurements. Such measurements are told now.

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पीठतार त्रिभागं स्यात् प्रणालो मूलविस्तरः। तणाग्रविस्तारस्सर्वलिङ्गेषु योग्यकः॥ पीठार्धमानः पादो वा मध्यमे षोडशांशके। मानं सप्तदशाख्यातं नालायाम द्विजोत्तमाः॥ तत्समं वा सपादं वा त्रिपादं वाथ मध्यमे। तथा विभक्ते संग्राह्य मानं सप्तदशैव च॥

pīṭhatāra tribhāgaṃ syāt praṇālo mūlavistaraḥ| taṇāgravistārassarvaliṅgeṣu yogyakaḥ|| pīṭhārdhamānaḥ pādo vā madhyame ṣoḍaśāṃśake| mānaṃ saptadaśākhyātaṃ nālāyāma dvijottamāḥ|| tatsamaṃ vā sapādaṃ vā tripādaṃ vātha madhyame| tathā vibhakte saṃgrāhya mānaṃ saptadaśaiva ca||

The width at the base of the spout (of ghrutavari) should be one part out of three parts of the width of the pedestal. Its width at the front part(ending part) should be equal to the length of the spout. This is applicable to all types of Lingas. The width may be equal to half or quarter of the width of the pedestal. The difference between these two should be divided into 16 equal parts. By doing so, 17 kinds of measures could be obtained. O, the foremost among the twice-born sages!, it may be equal to the width, one fourth in excess of that width or three-fourth in excess of that width. If the difference between one and one fourth and one and three-fourth is divided into 16 equal parts, 17 kinds of measure could be obtained.

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प्रणाल मूलदेशे तु तदयं तेन मानतः। त्रिपादमर्धपादोनं पञ्चत्रित्र्यंशमेव वा॥ सप्तांशे भूतवेदाग्निभागं वाग्रे प्रकल्पयेत्। वारिवाहस्तथा प्रोक्ता गाम्भीर्याद्विस्तरेण वा॥ मूलकम्पं तदूर्ध्वं तु पद्म पार्श्वद्वयोरपि। तदूर्ध्वं कम्पमेकद्विव्योमभागैस्तथा क्रमात्॥

praṇāla mūladeśe tu tadayaṃ tena mānataḥ| tripādamardhapādonaṃ pañcatritryaṃśameva vā|| saptāṃśe bhūtavedāgnibhāgaṃ vāgre prakalpayet| vārivāhastathā proktā gāmbhīryādvistareṇa vā|| mūlakampaṃ tadūrdhvaṃ tu padma pārśvadvayorapi| tadūrdhvaṃ kampamekadvivyomabhāgaistathā kramāt||

These measures should be applied to the base of the spout and the front part of the spout. One-fourth, half or three-fourth, three parts out of five parts, five, four or three parts out of seven parts could be applied to the front part of the spout. The designing of ghrutavari may be done so as to be associated with sufficient recess and width around the rim. On either side(above and below) of the lotus, there should be kampa-fillet. One part for the lower kampa, two parts for the lotus and one part for the upper kampa - in this way, the mouldings should be provided in the due order.

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प्रणालघनमाने तु तन्मानं अधुनोचुते। कर्णोर्ध्वमानं तन्मानं पीठोत्सेधं विभज्य च॥ त्रिसप्तमानं वेदांशादेकभाग विवृद्धितः। दशभागावसनं तु पीठनालघनं तु वा ॥

praṇālaghanamāne tu tanmānaṃ adhunocute| karṇordhvamānaṃ tanmānaṃ pīṭhotsedhaṃ vibhajya ca|| trisaptamānaṃ vedāṃśādekabhāga vivṛddhitaḥ| daśabhāgāvasanaṃ tu pīṭhanālaghanaṃ tu vā ||

Now, the proportionate measure of the spout is told in terms its thickness(circumference). Thickness of the spout should be equal to the measure of the upper karna. The height of the pedestal should be divided into 21 equal parts. The thickness of the pitha-spout should be 4 parts. Increasing this by one part each time, the thickness may be up to 10 parts.

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समानयोनिजं श्रेष्ठं तदभावेन भिन्नजम्। अभिन्नपिण्डिकं लिङ्गं नेष्टं भुक्त्यार्थिनामिह॥ तदन्यमिष्टं श्रेष्ठं स्याद् रत्नजं स्फटिकादिकम्। अखण्डशैलं इष्टं स्यात् तदभावे सखण्डकम्॥ खण्डं त्वङ्गावसानं स्यादूर्ध्वखण्डं अखण्डजम्। प्रणालयुक्तं इष्टं स्यात् तदधःखण्डनेऽपि च॥

samānayonijaṃ śreṣṭhaṃ tadabhāvena bhinnajam| abhinnapiṇḍikaṃ liṅgaṃ neṣṭaṃ bhuktyārthināmiha|| tadanyamiṣṭaṃ śreṣṭhaṃ syād ratnajaṃ sphaṭikādikam| akhaṇḍaśailaṃ iṣṭaṃ syāt tadabhāve sakhaṇḍakam|| khaṇḍaṃ tvaṅgāvasānaṃ syādūrdhvakhaṇḍaṃ akhaṇḍajam| praṇālayuktaṃ iṣṭaṃ syāt tadadhaḥkhaṇḍane'pi ca||

The pedestal should be made of the same material by which the main image has been made. The joining of such pedestal and the image is considered to be of supreme kind. If that material is not available, the pedestal may made with a different material. The Linga for which the pedestal is of the same material is not recommended for those who are desirous of worldly enjoyments. The Linga whose pedestal has been made with different material is beneficial for them and superior also. This is applicable to the Lingas made of gems and crystal. The pedestal made of single stone(unsplit piece) is highly suitable. If single stone is not available, two or three pieces of stone may be used for the pedestal. Even in this case, the lower section of the pedestal may be made of stone pieces. But the upper section should be made with a single stone and it should be associated with ghrutavari and spout(pranala). The water-course and spout may be provided to the lower section of the pedestal also.

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नदोषाढ्यादिवस्त्वन्ताः खण्डाः पीठाः प्रकीर्तिताः। सकलानां अनालं स्यात् सनालमथ पीठकम्॥ ५६ घृतवारि विहीनं वा सहितं वा प्रकल्पयेत्। बाणलिङ्गादि लिङ्गानां चतुरश्रायताश्रकम्॥ ५७ पीठं कृत्वा तदूर्ध्वं तु पीठं वा परिकल्पयेत्। पीठलग्नां प्रभां कुर्याद्भिन्नां वाभिन्नयोगकाम्॥

nadoṣāḍhyādivastvantāḥ khaṇḍāḥ pīṭhāḥ prakīrtitāḥ| sakalānāṃ anālaṃ syāt sanālamatha pīṭhakam|| 56 ghṛtavāri vihīnaṃ vā sahitaṃ vā prakalpayet| bāṇaliṅgādi liṅgānāṃ caturaśrāyatāśrakam|| 57 pīṭhaṃ kṛtvā tadūrdhvaṃ tu pīṭhaṃ vā parikalpayet| pīṭhalagnāṃ prabhāṃ kuryādbhinnāṃ vābhinnayogakām||

The separate materials to be used for designing the pedestal should be perfect and free from the defects normally observed, such as roughness, soundless, dotted and so on. The pedestals meant for the images associated with features of form(sakala murti) may be without spout. Or they may be provided with the spout. They may designed so as to be with or without the water-course ghrutavari). The pedestals meant for the Bana-linga and such others, may be in the form of square or rectangle. Having designed the lower section of the pedestal with separate materials, the sthapati should design the upper pedestal with single material. All the additional embellishments such as the side-designs(pithalgna), elliptical structure(prabha) and others should be provided. They may be detachable or they may be designed unseparable from the pitha.

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नाना वाजन संयुक्त मुक्तादामावलिक्रियाम्। नानापुष्पावलीप्रोतां नानावह्निशिखान्विताम्॥ सर्वालङ्कार संयुक्तां इष्टास्यघनसंयुताम्। सतोरणं वा वृत्तं वा सायतं वा प्रमाणतः॥ बेरलिङ्गवशात्कृप्तां इष्टमान समन्विताम्। एवं लक्षणमाख्यातं स्थापनं चाधुनोच्यते॥

nānā vājana saṃyukta muktādāmāvalikriyām| nānāpuṣpāvalīprotāṃ nānāvahniśikhānvitām|| sarvālaṅkāra saṃyuktāṃ iṣṭāsyaghanasaṃyutām| satoraṇaṃ vā vṛttaṃ vā sāyataṃ vā pramāṇataḥ|| beraliṅgavaśātkṛptāṃ iṣṭamāna samanvitām| evaṃ lakṣaṇamākhyātaṃ sthāpanaṃ cādhunocyate||

The pedestals should be designed so as to be associated with various types of fillets, carvings of garlands of pearls, rows of various flowers stitched together, array of sevaral flames of fire, all kinds of ornamental mouldings and arches. They may with pleasing frontal look and thickness as desired by the sthapti. They may be square or rectangular in shape, designed with accurate measures. Normally, they should be designed according to the height or width of the main image. They may be designed according to the measures as desired by the sthapati. Thus, the lineaments of the pedestals have been explained. Now, the details related to the proper installation of the pedestals are told.

पिण्डिका स्थापनं वक्ष्ये श्रूयतां मुनिपुङ्गवाः।। आधाराधेय संयोज्यं स्थापने क्रियते क्रमात्॥ पिण्डिकायां उमादेवी लिङ्गे स्याच्च सदाशिवः। तयोर्यः क्रियते योगस्सा प्रतिष्ठेति गद्यते॥

piṇḍikā sthāpanaṃ vakṣye śrūyatāṃ munipuṅgavāḥ|| ādhārādheya saṃyojyaṃ sthāpane kriyate kramāt|| piṇḍikāyāṃ umādevī liṅge syācca sadāśivaḥ| tayoryaḥ kriyate yogassā pratiṣṭheti gadyate||

Now I will explain the process of installation of the pedestal. O, the foremost Sages!, listen to these directions. In the process of installation, long lasting unification of the supporting structure and the supported image is accomplished in the due order. In the pindika(pedestal), there is the presence of Uma(Sivasakthi) and in the Linga, there is the presence of Sadasiva. The action by which the unification of Siva and Sakthi is fulfilled is called 'pratishtha'.

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योगश्च द्विविधो ज्ञेयस्त्वाद्यः पश्चाद्भवस्त्विति। आद्यः प्रागेव कथितो लिङ्गस्थापन कर्मणि॥ द्वितीयः कथ्यते विप्राः पूर्वं तस्या यदाकृतिः। तथैव च पुनः कुर्यादन्यथा दोषकारकम्॥

yogaśca dvividho jñeyastvādyaḥ paścādbhavastviti| ādyaḥ prāgeva kathito liṅgasthāpana karmaṇi|| dvitīyaḥ kathyate viprāḥ pūrvaṃ tasyā yadākṛtiḥ| tathaiva ca punaḥ kuryādanyathā doṣakārakam||

It is to be known that such unification is of two kinds - that which occurres first(adya) and that which occurres subsequently (pascat bhava). The 'adya' type of installation has been explained before in the chapter dealing with the installation of Linga. O, the twice-born sages!, the second type of installation is now explained. The new pedestal should be designed to be in the same form as that of the previous pedestal. Designing the new pedestal in a different form will lead to distress and miseries.

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मानवे पीठसंकल्प विधानं परिकीर्तितम्। चतुरश्रेऽथ वृत्ते वा रूपान्तरयुतेऽपि वा।। दैविके चार्षके बाणे लिङ्गे स्वायम्भुवे तथा। वृत्तं सर्वत्र कर्तव्यं पूर्वाकृतियुतं तु वा॥

mānave pīṭhasaṃkalpa vidhānaṃ parikīrtitam| caturaśre'tha vṛtte vā rūpāntarayute'pi vā|| daivike cārṣake bāṇe liṅge svāyambhuve tathā| vṛttaṃ sarvatra kartavyaṃ pūrvākṛtiyutaṃ tu vā||

For the Linga to be installed by a common devotee, the exact way of designing a suitable pedestal should be contemplated well. That pedestal may be in the form of square, circular or may be in another convenient form. For the Daivika Linga, Arshaka Linga, Bana Linga and Svayambhuva Linga, the pedestal should be designed to be in the circualar form. Or, it may be designed to be in the form of the previous pedestal.

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पूर्वद्रव्येण कर्तव्यं उत्कृष्टेनाथवा नयेत्। लिङ्गसंस्थापनस्योक्त वर्मना सकलां क्रियाम्॥ ७ कारयेत् कथ्यते विप्राश्शेषस्तदवधार्यताम्। अङ्कुरार्पणकार्यं तु प्रागुक्त विधिना नयेत्॥ हयग्रे सौम्यदेशेऽग्नौ चैशान्यां यागमण्टपम्।। प्रागुक्त विधिना मानं मण्टपे परिकीर्तितम्॥

pūrvadravyeṇa kartavyaṃ utkṛṣṭenāthavā nayet| liṅgasaṃsthāpanasyokta varmanā sakalāṃ kriyām|| 7 kārayet kathyate viprāśśeṣastadavadhāryatām| aṅkurārpaṇakāryaṃ tu prāgukta vidhinā nayet|| hayagre saumyadeśe'gnau caiśānyāṃ yāgamaṇṭapam|| prāgukta vidhinā mānaṃ maṇṭape parikīrtitam||

The material used for the previous pedestal should be used for the new pedestal or the material superior to the previous one may be used for making the new pedestal. All the activities concerned with this should be done in the same way as explained earlier under the chapter on 'Linga Sthapana'. Those activities which were not told there would be explained now.0, the twice-born sages!, listen to these details. First, 'the offering of fresh sprouts' should be performed according to the directions set forth earlier. A sacrificial pavilion should be erected in front of the shrine, in the north, in the south-east or in the north-east. The measurements for such pavilion should be taken in the same way as detailed before.

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तन्मध्ये वेदिकां कुर्याल्लिङ्गस्थापन वर्मना। कुण्डानि परितः कुर्यान्नवपञ्चैक संख्यया॥ योन्याकाराणि कुण्डानि त्रिमेखलयुतानि च। तत्पूर्वे सौम्यदेशे वा स्नानार्थं स्नपन मण्टपम्॥ एवं निष्पाद्य सर्वं तु पश्चात् कर्म समारभेत्।

tanmadhye vedikāṃ kuryālliṅgasthāpana varmanā| kuṇḍāni paritaḥ kuryānnavapañcaika saṃkhyayā|| yonyākārāṇi kuṇḍāni trimekhalayutāni ca| tatpūrve saumyadeśe vā snānārthaṃ snapana maṇṭapam|| evaṃ niṣpādya sarvaṃ tu paścāt karma samārabhet|

The Guru should construct an altar at the center of the pavilion according to the directions given in the chapter on 'Linga Sthapana'. He should construct nine or five fire-pits around the altar, all of them in the form of 'yoni' and provided with three steps(mekhalas). He should erect a snapana-pavilion for the purpose of bathing the image, either in the east or north of the sacrificial pavilion. In this way, having copleted all the preparatory works, the Guru should commence the essential rituals.

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विशेषयजनं कृत्वा स्तुत्वा नत्वा मुहुर्मुहुः॥ १२ शिवं विज्ञाप्य लब्धाज्ञः क्रियमेनां समारभेत्। लिङ्गाग्रे स्थण्डिलं कृत्वा शिवकुम्भं च वर्धनीम्॥ १३ मध्यमे स्थापयित्वा तु परितोऽष्टौ घटांस्तु च। ससूत्रान् सापिधानांश्च सकूर्चाम्बर पल्लवान्॥

viśeṣayajanaṃ kṛtvā stutvā natvā muhurmuhuḥ|| 12 śivaṃ vijñāpya labdhājñaḥ kriyamenāṃ samārabhet| liṅgāgre sthaṇḍilaṃ kṛtvā śivakumbhaṃ ca vardhanīm|| 13 madhyame sthāpayitvā tu parito'ṣṭau ghaṭāṃstu ca| sasūtrān sāpidhānāṃśca sakūrcāmbara pallavān||

Having performed special 'puja' for Siva, praised Him and prostrated before Him several times, the Guru should entreat the Lord, obtain His kind permission and begin the subsequent rituals. Having designed a raised platform(sthandila) in front of the Linga, he should place Siva-kumbha and Vardhani-kalasa at the center of the sthandila and arrange eight vessels (ghatas) around these two kumbhas in way. The kumbhas and ghatas should be wound aorund with thread, should be provided with lid, bundle of darbha-grass(kurcha), new cloth and tender leaves of mango-tree.

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गन्धस्रग्दामधूपायैः अर्चयेतदनन्तरम्।। पुण्याहं वाचयित्वा तु सासनं मूर्ति संयुतं॥ आवाह्य लिङ्गं लिङ्गस्थ शिवकुम्भगतं न्यसेत्। पीठाद्देवीं समावाह्य वर्धन्यां मध्यमे न्यसेत्॥ विद्येशान् परितो न्यस्त्वा गन्धाद्यैरर्चयेत्तु तान्। नैवेद्यान्तैश्च तत्पूर्वे स्थण्डिले होममाचरेत्॥

gandhasragdāmadhūpāyaiḥ arcayetadanantaram|| puṇyāhaṃ vācayitvā tu sāsanaṃ mūrti saṃyutaṃ|| āvāhya liṅgaṃ liṅgastha śivakumbhagataṃ nyaset| pīṭhāddevīṃ samāvāhya vardhanyāṃ madhyame nyaset|| vidyeśān parito nyastvā gandhādyairarcayettu tān| naivedyāntaiśca tatpūrve sthaṇḍile homamācaret||

Then he should worship the concerned Deities with sandal, flowers, garlands, incense and such other substances and perform the ritual known as 'punyaha vacana'(declaring the auspiciousness of time, date and the event). He should ideate the seat(asana) and the form(murti) of the concerned Deities. Then, having invoked Siva who is present in the Linga, he should install His presence in the Siva-kumbha. Similarly, he should invoke Sivasakti present in the pedestal and install Her presence in the Vardhani kalasa. Having invoked the presence of eight Vidyesvaras in the eight kalasas placed around the central kumbhas, he should worship them with sandal, flowers and other substances and complete the worship with the offering of 'naivedya'. Then he should perform the fire-ritual on the sthandila designed in front of the kalasas.

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सहस्र संख्यं मूलेन समिदाज्यान्नलाजकैः। तिलेनापि समायुक्तं प्रत्येकं तु शतं तु वा॥ प्रायश्चित्तमघोरेण शतसंख्येन होमयेत्। अन्यत्र स्थण्डिलं कृत्वा ततस्संस्थापयेदमून्॥

sahasra saṃkhyaṃ mūlena samidājyānnalājakaiḥ| tilenāpi samāyuktaṃ pratyekaṃ tu śataṃ tu vā|| prāyaścittamaghoreṇa śatasaṃkhyena homayet| anyatra sthaṇḍilaṃ kṛtvā tatassaṃsthāpayedamūn||

He should offer the oblations for 1000 times with the recital of mula mantra and with the recommended faggots, clarified butter, cooked rice, parched paddy and sesame. Or, he may offer the oblations with each of the substances mentioned above for 100 times. Having designed a sthandila in another place and having installed siva-fire there, he should offer the oblations for 100 times with the accompaniment of aghoraastra mantra, for the sake of appeasement(prayschitta).

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नित्यपूजा प्रकल्बया लिङ्गे कुम्भे च नित्यशः। टङ्केन हैमजातेन पीठं छित्वास्त्रमुच्चरन्॥ अगाधेऽम्भसि निक्षिप्य तदुद्भूत सुधादिकम्। शान्तिहोमः प्रकर्तव्यः प्रत्यहं तु शतं तु वा॥

nityapūjā prakalbayā liṅge kumbhe ca nityaśaḥ| ṭaṅkena haimajātena pīṭhaṃ chitvāstramuccaran|| agādhe'mbhasi nikṣipya tadudbhūta sudhādikam| śāntihomaḥ prakartavyaḥ pratyahaṃ tu śataṃ tu vā||

Worship should be performed for the Linga and the kumbha on each day, in the same way as the daily-worship is done. The Guru should gently rub the pedestal with a small chisel made of gold, recitiing the astra mantra and submerge it under the deep water of river or pond and remove the patches of mortar accumulated over the pedestal. Santi-homa should be performed daily by offering oblations for 100 times.

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ततस्संस्थापनं कुर्यात् तद्विधानमिहोच्यते। शाणाभिगर्षणं कृत्वा पञ्चमृत्पञ्चगव्यतः॥ कषायोदक गोमूत्र गोशकृद्भिर्जलान्तरे। प्रणवेणास्त्रमन्त्रेण स्नापयेत् परमेश्वरम्॥ वस्त्रचन्दन पुष्पाचैरिट्वा मण्टप मध्यमे। स्थण्डिलं कल्पयित्वास्मिन् स्थापयेत्पिण्डिकां ततः॥

tatassaṃsthāpanaṃ kuryāt tadvidhānamihocyate| śāṇābhigarṣaṇaṃ kṛtvā pañcamṛtpañcagavyataḥ|| kaṣāyodaka gomūtra gośakṛdbhirjalāntare| praṇaveṇāstramantreṇa snāpayet parameśvaram|| vastracandana puṣpācairiṭvā maṇṭapa madhyame| sthaṇḍilaṃ kalpayitvāsmin sthāpayetpiṇḍikāṃ tataḥ||

Then the Guru should perform the rituals concerned with the installation. The process of such performance is told here. Having rubbed the surface of the image with whetstone, he should perform 'abhisheka' for Siva with the mixture of five fruits, five kinds of soil, astringent wtaer, cow-urine, cow-dung and water, reciting the pranava and astra-mantra. Having worshipped the Lord by offering new cloth, flowers, sandal and other substances, he should design a sthandila at the center of the mantapa(pavilion) and place the pedestal there.

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गन्धाद्यैरर्चयित्वा तु भगाङ्के लक्ष्म लक्षयेत्॥ मध्वाज्याभ्यां तु संतयॆ मृत्युजिन्मन्त्रमुच्चरन्॥ ताम्रजे कांस्यजे पात्रे मध्वाज्याभ्यां समन्विते।। सहैमं दर्शयेद्विद्वान् नेत्रमन्त्रमनुस्मरन्॥

gandhādyairarcayitvā tu bhagāṅke lakṣma lakṣayet|| madhvājyābhyāṃ tu saṃtayaॆ mṛtyujinmantramuccaran|| tāmraje kāṃsyaje pātre madhvājyābhyāṃ samanvite|| sahaimaṃ darśayedvidvān netramantramanusmaran||

Having worshipped the pindika(pedestal) with sandal, flowers and other substances, the Guru should display 'yoni' mudra. Having pleased Sakthi with the offering of honey and ghee, reciting the mantra of Mrutyunjaya, he should hold the vessel made of copper or brass containing the honey and clarified butter along with a needle made of gold and show it to the Sakti. He should do this reciting the netra-mantra.

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धान्यराशिं सवत्सां गां कन्यां हृदयमन्त्रतः।। प्रच्छन्नपटमावर्त्य दर्शयेद्देशिकोत्तमः॥ प्राग्वत्संस्नाप्य देवीं तु वस्त्रगन्धादिनार्चयेत्। प्रदक्षिणं नयेद्रामे जलतीरे निवेश्य च॥ । स्थण्डिलं तत्र निक्षिप्य स्थापयेत्तत्र पिण्डिकाम्।

dhānyarāśiṃ savatsāṃ gāṃ kanyāṃ hṛdayamantrataḥ|| pracchannapaṭamāvartya darśayeddeśikottamaḥ|| prāgvatsaṃsnāpya devīṃ tu vastragandhādinārcayet| pradakṣiṇaṃ nayedrāme jalatīre niveśya ca|| | sthaṇḍilaṃ tatra nikṣipya sthāpayettatra piṇḍikām|

Then he should show the heaps of various grains, cow associated with calf, and virgin to the Sakthi, reciting the hrudaya mantra. Having removed the screening cloth, the foremost Guru should enable the devotees see the sanctified pedestal. Having bathed the image of Sakthi as done before, he should worship the Sakthi and offer the new cloth, sandal, flowers and other substances. Having taken the image in procession around the village in clockwise direction, he should reach the river bank. Having designed a suitable sthandila there, he should place the pedestal over it.

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कलशान्स्थापयेदष्टौ लोकपालाधिपान क्रमात्॥ २९ देवीं च कलशान् इष्ट्वा लम्बकूर्च समन्विताम्।। नववस्त्र परिच्छन्नं फलको जलान्तरे॥ ३० स्थापयेदभितोऽष्टौ तु कलशान् सूत्र संयुतान्। पिधानाम्बरहैमांस्तान् सकूर्चान् शक्त्यधिष्ठितान्॥ ३१ पश्चान्मण्टपमासाद्य चतुस्तोरण संयुतम्। सवितानध्वजं दर्भ मुक्ता पुष्पजमालया॥ ३२ सर्वत्र ज्वलितं दीप्तैर्व्वलद्भिः परिवारितम्। सर्वलक्षण संपन्नं सुविसर्जित तक्षकम्॥ ३३ ब्राह्मणान् भोजयित्वा तु गोमयेनोपलेपयेत्। पुण्याहं वाचयित्वा तु वास्तुहोमं च कारयेत्॥

kalaśānsthāpayedaṣṭau lokapālādhipāna kramāt|| 29 devīṃ ca kalaśān iṣṭvā lambakūrca samanvitām|| navavastra paricchannaṃ phalako jalāntare|| 30 sthāpayedabhito'ṣṭau tu kalaśān sūtra saṃyutān| pidhānāmbarahaimāṃstān sakūrcān śaktyadhiṣṭhitān|| 31 paścānmaṇṭapamāsādya catustoraṇa saṃyutam| savitānadhvajaṃ darbha muktā puṣpajamālayā|| 32 sarvatra jvalitaṃ dīptairvvaladbhiḥ parivāritam| sarvalakṣaṇa saṃpannaṃ suvisarjita takṣakam|| 33 brāhmaṇān bhojayitvā tu gomayenopalepayet| puṇyāhaṃ vācayitvā tu vāstuhomaṃ ca kārayet||

The Guru should arrange 8 vessels for the sake of gaurdian-deities of eight directions in due order and worship Devi and the kalasas which are furnished with bundle of darbha-grass and covered with new clothes. Then, having placed the kalasas which are wound around with thread, furnished with lid, new cloth, gold coin and the bundle of darbha-grass and which are energized by 8 Saktis on the wooden platform near the watersource, he should reach the sacrificial pavilion which is with four arches, beautified with canopy, flags, rows of darbhas, garlands of flowers and pearls and whose entire area has been brightened with mutitudes of ciated with luminous retinue items and which is furnished with all characteristic features. Then having sent off the sthapati with due honors, he should arrange for the feeding of learned brahmins and besmear the interior area with cow-dung. Then, he should perform 'punyaha vacana' and 'vastu homa'.

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द्वाराण्यत्रेण संप्रोक्ष्य द्वाराणि द्वारपान्यजेत्। प्रविश्य सद्यद्वारेण सौम्यास्योर्ध्वस्थितास्थितिः॥ ३५ मन्त्रकायः शिवं चान्तरिष्ट्वा हृन्नाभिबिन्दुषु। गृहीतखङ्गहस्तस्सन् पूजितात्म समन्वितः॥ ३६ कृतपञ्चाङ्ग भूषस्तु कुम्भास्त्राशाधिपार्चनः।

dvārāṇyatreṇa saṃprokṣya dvārāṇi dvārapānyajet| praviśya sadyadvāreṇa saumyāsyordhvasthitāsthitiḥ|| 35 mantrakāyaḥ śivaṃ cāntariṣṭvā hṛnnābhibinduṣu| gṛhītakhaṅgahastassan pūjitātma samanvitaḥ|| 36 kṛtapañcāṅga bhūṣastu kumbhāstrāśādhipārcanaḥ|

Having sprinkled the consectrated water over the four entrances one by one and having worshipped the Deities invoked on the entarances and the Gaurdian-deities of eight directions, the Guru should enter the sacrificial hall through the west-entrance and sit on wooden or darbha seat, being north-faced. Having rendered his body to be identical with relevant mantras, he should worship Siva in his heart, perform the internal fire-ritual at the navel and meditate on Siva at the midpoint between the eye-brows. With his soul being identical with Siva, he should take the jnana-khadga(sword of knowledge designed with darbhas) in his right hand, wear the relevant ornaments over five parts of his body and proceed to worship the kumbhas, astras and the lords of eight directions.

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कृत कुण्डाग्निसंस्कारो जलवासान्महेश्वरीम्॥ आनीय स्नपनाख्योक्त मण्टपे स्नपनं नयेत्। मृत्कषायोगव्याद्यैः पुष्यपत्र फलोदकैः॥ कुशगन्धजलैः पञ्चामृतैस्संस्नापयेच्छिवाम्। आच्छाद्य वस्त्रयुग्मेन गन्धाद्यैरर्चयेत्तु ताम्॥

kṛta kuṇḍāgnisaṃskāro jalavāsānmaheśvarīm|| ānīya snapanākhyokta maṇṭape snapanaṃ nayet| mṛtkaṣāyogavyādyaiḥ puṣyapatra phalodakaiḥ|| kuśagandhajalaiḥ pañcāmṛtaissaṃsnāpayecchivām| ācchādya vastrayugmena gandhādyairarcayettu tām||

Having done all the sacramental rituals to the fire-pits and the kindled fire, he should take out the image of Devi from the water, bring it to the hall meant for the ceremonial bath and perform 'abhisheka' for Devi with five kinds of soil, astringent water, five substances got from the cow, flower-water, leaf-water, fruit-water, darbha-water, sandal-water, pure water and the mixture of five fruits. Having covered the image with two clothes, he should worship Devi and the pedestal with sandal, flowers and other substances.

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कृत्वा कौतुकबन्धं तु तन्नाले तद्गलेऽपि वा। शालिभिः स्थण्डिलं कृत्वा वसुद्रोण समन्वितैः॥ ४० तदर्धेस्तण्डुलैर्युक्तं तदर्ध तिललाजकम्। दर्भेः पुष्पैः परिस्तीर्य चर्मजाद्यैरनुक्रमात्॥ ४१ ततश्शल्यां च संकल्प्य तदलाभेऽम्बरैर्नयेत्। आसनं तत्र संकल्प्य पिण्डिकां विन्यसेद्धृदा॥

kṛtvā kautukabandhaṃ tu tannāle tadgale'pi vā| śālibhiḥ sthaṇḍilaṃ kṛtvā vasudroṇa samanvitaiḥ|| 40 tadardhestaṇḍulairyuktaṃ tadardha tilalājakam| darbheḥ puṣpaiḥ paristīrya carmajādyairanukramāt|| 41 tataśśalyāṃ ca saṃkalpya tadalābhe'mbarairnayet| āsanaṃ tatra saṃkalpya piṇḍikāṃ vinyaseddhṛdā||

Having tied the protective-thread over the spout or the neck part of the pedestal, the Guru should design a sthandila with 8 dronas of paddy-grains, 4 dronas of rice and 2 dronas of sesame and parched paddy, strew the darbhas and flowers over it and spread the hide of antelope and others. The couch for 'sayana adhivasa' should be prepared in this way. If such things are not available, the couch could simply be designed with silk-cloth. Having ideated a fiiting seat there, the Guru should place the pedestal over it , reciting the hrudaya mantra.

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आच्चाद्य वस्त्रयुग्मेन तद्देशे करकं न्यसेत्। सूत्रवस्त्र परिच्छन्नं नवरत्न समन्वितम्॥ सहैमपङ्कजं कूर्च फलपल्लव वस्त्रकम्। तन्मध्ये सासनां देवीं अर्चयेद्गन्धसंमुकैः॥ वर्धनीरष्टसंख्याताः कूर्चवस्त्र ससूत्रकाः। सहैमाः पल्लवोपेतास्सापिधानाः फलोद्वहा॥ वामाद्यधिष्ठिता बाह्य परितो विनिवेशयेत्।

āccādya vastrayugmena taddeśe karakaṃ nyaset| sūtravastra paricchannaṃ navaratna samanvitam|| sahaimapaṅkajaṃ kūrca phalapallava vastrakam| tanmadhye sāsanāṃ devīṃ arcayedgandhasaṃmukaiḥ|| vardhanīraṣṭasaṃkhyātāḥ kūrcavastra sasūtrakāḥ| sahaimāḥ pallavopetāssāpidhānāḥ phalodvahā|| vāmādyadhiṣṭhitā bāhya parito viniveśayet|

Having covered the pedestal with two clothes, the Guru should place the kalasa which is wound around with thread, covered with cloth, in which nine gems and lotus made of gold are deposited, and which is furnished with the bundle of darbhas, tender mango-leaves and new cloth. Having invoked the presence of Devi into the kalasa, he should ideate a seat for Her and worship Her with sandal, flowers and other substances. He should arrange 8 vardhani-vessels around the Devi-kalasa. The vardhani-vessels should be furnished with kurca(darbha), cloth, thread, gold coin, tender leaves, friuts and lid. Eight Saktis - Vama and others - are the presiding Saktis of these eight vessels.

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गन्धाद्यैरर्चयित्वा तु पिण्डिकां वर्धनीमपि॥ ४६ तत्त्वतत्त्वेशि संयुक्तां मूर्ति मूतीश्वरी न्यसेत्।। कर्णस्याधो गले कर्णादूर्ध्वं तत्त्वत्रयं न्यसेत्॥ ४७ क्रिया ज्ञानं तथेच्छेति त्रितत्त्वेशाः प्रकीर्तिताः।। धारिका दीप्तिमत्युग्रा ज्योत्स्ना चेता बलोत्कटा॥ ४८ धात्री विभ्वीति मूर्तिभ्यः परिभाव्याः क्रमेण तु।

gandhādyairarcayitvā tu piṇḍikāṃ vardhanīmapi|| 46 tattvatattveśi saṃyuktāṃ mūrti mūtīśvarī nyaset|| karṇasyādho gale karṇādūrdhvaṃ tattvatrayaṃ nyaset|| 47 kriyā jñānaṃ tatheccheti tritattveśāḥ prakīrtitāḥ|| dhārikā dīptimatyugrā jyotsnā cetā balotkaṭā|| 48 dhātrī vibhvīti mūrtibhyaḥ paribhāvyāḥ krameṇa tu|

Having worshipped the pedestal and the vardhani-kalasa with sandal, flowers and other substances, he should unify Tattvas, Tattvesavaris, Murtis and Murtisvaris with the pedestal. The three tattvas -atma, vidya and siva - should be unified with the part below the karna, kantha(neck) and the part above the karna respectively. The corresponding Tattvesvaris are Kriya, Jnana and Iccha respectively. The eight Murtisvaris are Diptimat, Ugra, Jyotsna, Ceta, Balothkata, Dhatri and Vibhvi. These eight Saktis are to be contemplated in the due order.

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पञ्चपक्षेऽथवा ग्राह्य त्वत्रानुक्तं तु यद्भवेत्॥ लिङ्गसंस्थापनप्रोक्त विधिनाखिलमाचरेत्।। चन्दनायैस्समभ्यर्ल्स होमकर्म समारभेत्॥ समिदाज्यान्नलाजैश्च तिलैस्सर्षपकैर्यवैः। पलाशोदुम्बराश्वत्थन्यक्रोधाः पूर्वतो दिशि॥ ५१ शमीखादिरमायुराश्रीवृक्षा वह्निकोणतः। पलाशं तु प्रधानं स्यात्पलाशो वाखिलो मतः॥

pañcapakṣe'thavā grāhya tvatrānuktaṃ tu yadbhavet|| liṅgasaṃsthāpanaprokta vidhinākhilamācaret|| candanāyaissamabhyarlsa homakarma samārabhet|| samidājyānnalājaiśca tilaissarṣapakairyavaiḥ| palāśodumbarāśvatthanyakrodhāḥ pūrvato diśi|| 51 śamīkhādiramāyurāśrīvṛkṣā vahnikoṇataḥ| palāśaṃ tu pradhānaṃ syātpalāśo vākhilo mataḥ||

If the number of fire-pits is five(instead of nine), all those rituals which are not mentioned here should be performed according to the directions given in the chapter dealing with the installation of Linga. Having worshipped all the Deities with sandal and other substances, the Guru should commence the rituals related to homa. The oblations should be offered with faggots, clarified butter, cooked rice, parched paddy, sesame, white mustard and yaya-grains. Palasa, udumbara, asvattha and nyakrodha - faggots got from these trees should be offered in the fire-pits designed in the east, south, west and north respectively. Sami, khadira, ra and srivruksha - faggots got from these trees should be offered in the fire-pits designed in the South-east, south-west, north-west and north-east respectively. Palasa-faggots should be offered in the main fire-pit. Or, palasa-faggots may be offered in all the fire-pits.

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सहस्रं वा तदर्थं वा शतमष्टाधिकं तु वा। देव्या मूलेन होतव्यं तदङ्गैस्तद्दशांशतः॥ शान्त्यम्भः प्रोक्षणं दर्भस्पर्शनं च समारभेत्। तत्त्वतत्त्वेश्वराद्यैश्च होमयेत्प्रतिकुण्डकम्॥ प्रायश्चित्तमघोरेण शतोच्चारेण होमयेत्। भूति दर्भदलै रक्षां कृत्वा तत्त्वावलं तदा॥ अन्तर्बलिं च क्षेत्रेशबलिं च प्रक्षिपेद्रुः।

sahasraṃ vā tadarthaṃ vā śatamaṣṭādhikaṃ tu vā| devyā mūlena hotavyaṃ tadaṅgaistaddaśāṃśataḥ|| śāntyambhaḥ prokṣaṇaṃ darbhasparśanaṃ ca samārabhet| tattvatattveśvarādyaiśca homayetpratikuṇḍakam|| prāyaścittamaghoreṇa śatoccāreṇa homayet| bhūti darbhadalai rakṣāṃ kṛtvā tattvāvalaṃ tadā|| antarbaliṃ ca kṣetreśabaliṃ ca prakṣipedruḥ|

With the recital of mula-mantra pertaining to Devi, the Guru should offer the oblations for 1000, 500 or 108 times. One part out of ten parts of the number of oblations done with the mula mantra should be offered with the recital of 'anga-mantras'. Then the Guru should sprinkle the cosecrated water contained in the 'santi-kumbha' over the pedestal and perform the ritual known as 'sparsa-ahuti', making use of the darbhas meant for it. In each fire-pit oblations should be offered separately for the Tattvas and Tattvesvaris and other Deities. With the recital of aghora-astra mantra, oblations should be offered for 100 times for the sake of 'prayascitta' appeasement). Having performed 'protection' with the ashes collected in the darbha s, he should contemplate the entire range of tattvas and offer the balls of cooked rice for the Deities invoked in the interior of the hall and for the Protecting Lord(Kshetresvara) of the village.

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ततः प्रभाते विमले मूर्तिमद्भिर्गुरुश्शुचिः॥ कृतनित्य विधानस्तु सामान्यार्थ्यकरो गुरुः। द्वाराणि तत्पतीनिष्ट्वा समुत्थाप्य महेश्वरीम्॥ गन्धैः पुष्पैश्च धूपैश्च दीपैनैवेद्यकैस्तदा। ताम्बूलान्तैश्च संपूज्य पिण्डिकां वर्धनीं अपि॥ अग्निहोमैश्च संत प्रायश्चित्तं विधाय च। दत्वा मूलेन पूर्णं तु सर्वदोषनिकृन्तनीम्॥

tataḥ prabhāte vimale mūrtimadbhirguruśśuciḥ|| kṛtanitya vidhānastu sāmānyārthyakaro guruḥ| dvārāṇi tatpatīniṣṭvā samutthāpya maheśvarīm|| gandhaiḥ puṣpaiśca dhūpaiśca dīpainaivedyakaistadā| tāmbūlāntaiśca saṃpūjya piṇḍikāṃ vardhanīṃ api|| agnihomaiśca saṃta prāyaścittaṃ vidhāya ca| datvā mūlena pūrṇaṃ tu sarvadoṣanikṛntanīm||

On the next early morning, the duration of which is exceedingly pure, the Guru and the assisting priests (Murtipas) should take bath and complete the daily rituals(nitya anusthana). The Guru, holding the samanya-arghya vessel in his hand, should worship the entrances and the protecting Deities of the entrances and worship the Goddess. Having duly worshipped the pedestal and the vardhani-kalasa with sandal, flowers, incense, lighted lamps, naivedya and such others and offered 'tambula' at the end, the Guru should please the Devi by offering the oblations into the fire and perform the homa for the sake of 'prayascitta'. Then, he should offer the 'purma-ahuti'(consummate oblation) which is efficacious in nullifying all the defects and omissions .

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सर्वातोद्य समायुक्तं नृत्तगान समन्वितम्। धामप्रदक्षिणं नीत्वा गर्भगेहे निवेशयेत्॥ लिङ्गसंस्थापन प्रोक्त विधिना तान्निवेशयेत्।

sarvātodya samāyuktaṃ nṛttagāna samanvitam| dhāmapradakṣiṇaṃ nītvā garbhagehe niveśayet|| liṅgasaṃsthāpana prokta vidhinā tānniveśayet|

Having taken the pedestal and lifted up the kumbhas, the Guru should circumambulate the temple in clockwise direction, being accompanied by the rich sounding of all musical instruments, dancing and singing, enter the main shrine and place the pedestal and kalasas in front of the Linga. Then he should fix the pedestal according to the directions given for the installation of Linga.

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पिण्डिकास्थापनं बाणलिङ्गस्य यदि वर्तते॥ तदये मण्टपादौ तु तल्लिङ्ग स्थण्डिले न्यसेत्। नववस्त्र परिच्छन्नं शुभाशासु शिरो यथा॥ पीठे सुधादिकं त्यक्त्वा तस्मिन्नेव प्रदेशके। पीठं संस्थापयित्वा तु तत्र लिङ्गं निवेशयेत्॥

piṇḍikāsthāpanaṃ bāṇaliṅgasya yadi vartate|| tadaye maṇṭapādau tu talliṅga sthaṇḍile nyaset| navavastra paricchannaṃ śubhāśāsu śiro yathā|| pīṭhe sudhādikaṃ tyaktvā tasminneva pradeśake| pīṭhaṃ saṃsthāpayitvā tu tatra liṅgaṃ niveśayet||

If the pedestal is to be installed for the Bana-linga, the Guru should place the Linga over the sthandila designed in the mantapa erected in front of the shrine. The Bana-linga should be well covered with fresh cloth and it should be placed in such a way that its head is in one of the auspicious directions. Having removed the pieces of mortar and other impure substances from the pedestal, the Guru should place it in the same sthandila and perform the unification of Linga and the pedestal there itself.

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रत्नानि सर्वं पीठस्य गर्ने संस्थाप्य सद्गुरुः। सुवर्णं वाथ निक्षिप्य प्राग्वत्सर्वं समाचरेत्॥ अष्टबन्धं त्रिबन्धं वा योजयेत्तदनन्तरम् ।। पुण्याहप्रोक्षणं शान्तिकुम्भतोयाभिषेचनम्॥ प्रागुक्त विधिना कृत्वा आसनाणुं ततो न्यसेत्।

ratnāni sarvaṃ pīṭhasya garne saṃsthāpya sadguruḥ| suvarṇaṃ vātha nikṣipya prāgvatsarvaṃ samācaret|| aṣṭabandhaṃ tribandhaṃ vā yojayettadanantaram || puṇyāhaprokṣaṇaṃ śāntikumbhatoyābhiṣecanam|| prāgukta vidhinā kṛtvā āsanāṇuṃ tato nyaset|

The learned Guru should deposit the nine gems in a definite pattern in the hollow privided in the pedestal. Or, he may deposit gold plate there. All other rituals should be done in the same way as done for the installation of Sivalinga. Then he should firmly apply the binding band made of 8 or 3 ingredients. Punyaha-vacana, sprinkling, bathing with the water contained in the 'santi-kumbha' - all such activities should be done according to the directions given earlier. Then, the Guru should identify the asana-mantra with the pedestal.

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पीठे क्रियाख्यं विन्यस्य गुरुः प्रागुक्त वर्मना॥ ६६ लिङ्गाग्रनिहितं वापि शिवकुम्भं च वर्धनीम्। वामादि वर्धनी युक्तां वेदिकान्तर संस्थिताम्॥ ६७ देवाग्रे स्थापयित्वा तु जीवन्यासेन विन्यसेत्। संस्थाप्य वर्धनीं वापि वर्धन्यष्टक संयुताम्॥ ६८ वेदिका मध्यमे न्यस्त्वा जीवन्यासार्थं आरभेत्।

pīṭhe kriyākhyaṃ vinyasya guruḥ prāgukta varmanā|| 66 liṅgāgranihitaṃ vāpi śivakumbhaṃ ca vardhanīm| vāmādi vardhanī yuktāṃ vedikāntara saṃsthitām|| 67 devāgre sthāpayitvā tu jīvanyāsena vinyaset| saṃsthāpya vardhanīṃ vāpi vardhanyaṣṭaka saṃyutām|| 68 vedikā madhyame nyastvā jīvanyāsārthaṃ ārabhet|

The Guru should identify the Kriya Sakti with the pedestal according to the direction set forth earlier. He should place the Siva-kumbha and Vardhani-kalasa in front of Sivalinga. Having taken the 8 vardhanivessels which are arranged in another altar and for which Vama and others are the presiding Saktis, he should place them in front of the Lord and proceed to do the 'jiva nyasa' for them. Or, he may place the Vardhani-kalasa at the center of the altar and the eight vardhani-vessels around it and proceed to perform the jivanyasa'.

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जीवन्यासस्त्रिषु स्थानेष्वथ कार्योऽथवासने॥ लिङ्गादौ स्थापिते कुम्भे न्यासकाले विशेषतः। स्नपनं कारयेदन्ते पञ्चामृत्विधिस्तु वा॥ केवलेनाम्भसा वाथ गन्धायैस्सम्यगर्चयेत्। यावच्चन्द्रश्च सूर्यश्च यावत्तिष्ठति मेदिनी॥ तावदत्र त्वया देवि सान्निध्यं कुरु सर्वदा। लिङ्गसंस्थापनप्रोक्तं दक्षिणायं च दाप्येत्॥

jīvanyāsastriṣu sthāneṣvatha kāryo'thavāsane|| liṅgādau sthāpite kumbhe nyāsakāle viśeṣataḥ| snapanaṃ kārayedante pañcāmṛtvidhistu vā|| kevalenāmbhasā vātha gandhāyaissamyagarcayet| yāvaccandraśca sūryaśca yāvattiṣṭhati medinī|| tāvadatra tvayā devi sānnidhyaṃ kuru sarvadā| liṅgasaṃsthāpanaproktaṃ dakṣiṇāyaṃ ca dāpyet||

The 'jiva nyasa' should be done in three locations - pedestal, linga and the kumbha. This should be specifically done in the process of nyasa. At the end, the Guru should perform 'snapana abhisheka'. Or, he may do the ablution with the mixture of five fruits or simply with pure water. Then he should worship Sakti with sandal, flowers and other substances and entreat: " O Devi!, let your vibrant presence in this pitha be continued for ever, so long as the sun and moon are present in this world." The chief yajamana(sponsor) should honor the Guru and other priests with sufficient ceremonial fees(dakshina) as explained under the context of 'Linga sthapana'.

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चतुर्दिनं त्रयं वापि द्वयमेकं च नित्यशः। विशेषपूजा कर्तव्या होमेन च समन्विता॥ पूर्वोक्तैरणुभिश्शाक्तैः पायसैममाचरेत्। चतुर्थे प्रथमे वाथ चण्डकल्पो विधीयताम्॥ बाणादौ स च नेष्टस्स्यादथवा परिभाव्यताम्।।

caturdinaṃ trayaṃ vāpi dvayamekaṃ ca nityaśaḥ| viśeṣapūjā kartavyā homena ca samanvitā|| pūrvoktairaṇubhiśśāktaiḥ pāyasaimamācaret| caturthe prathame vātha caṇḍakalpo vidhīyatām|| bāṇādau sa ca neṣṭassyādathavā paribhāvyatām||

Worship should be done in an elaborate and special way continuosly for four, three or two days or at least for one day. Fire-ritual should also be performed in all these days. The oblations should be offered with 'payasa' reciting the Sakti-mantras mentioned earlier. Either in the fourth day or in the first day, the worship of Candesvara should specifically be done. Such worship need not be performed for the installation of the pedestal of Bana-linga. Or, such worship may be conceptually done.

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पीठ संस्थापनस्यापि फलं लिङ्गप्रतिष्ठया॥ समानं कथितं यस्मात् प्रतिष्ठेकोभयत्र च॥

pīṭha saṃsthāpanasyāpi phalaṃ liṅgapratiṣṭhayā|| samānaṃ kathitaṃ yasmāt pratiṣṭhekobhayatra ca||

The fruit to be derived from the installation of the pedestal is the same as that derived from the installation of Linga, since this installation is one and the same for both the pedestal and the Linga.

49 Directions for the Installation of Lingas meant for

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1-2

काम्यलिङ्ग प्रतिष्ठां तु वक्ष्ये लक्षण पूर्वकम् | काम्यानि सिद्धयो ज्ञेयाः सिद्धयो बहुधा स्मृताः || १ कन्यसं मध्यमं ज्येष्ठं श्रेष्ठं चेति चतुर्विधम् | प्रत्येकं त्रिविधं प्रोक्तं उत्तमादि विभेदतः || २ फलं दृष्टं अदृष्टं च द्विविधं तत्परापरम्

kāmyaliṅga pratiṣṭhāṃ tu vakṣye lakṣaṇa pūrvakam | kāmyāni siddhayo jñeyāḥ siddhayo bahudhā smṛtāḥ || 1 kanyasaṃ madhyamaṃ jyeṣṭhaṃ śreṣṭhaṃ ceti caturvidham | pratyekaṃ trividhaṃ proktaṃ uttamādi vibhedataḥ || 2 phalaṃ dṛṣṭaṃ adṛṣṭaṃ ca dvividhaṃ tatparāparam

Now, I will explain the process of installation of the Lingas for attaining the desired powers and benefits, including the characteristic lineaments of such Lingas. The benefits desired are generally known as 'siddhis' and these siddhis are considered to be of various kinds. The lowest, medium, super and the foremost- these are the four kinds of siddhis. Each kind of siddhi is again categorized into three as the superior, medium and the lowest. The fruit of worship of such Lingas is of two kinds - the most supreme(para) and the supreme (apara).

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3-4

कन्यसं भूपतीशत्वं मध्यमं बलसिद्धयः || ३ उत्तमं खेचरत्वं व श्रेष्ठं देवसमानता | भिद्यते बहुधैकैकं विद्येशत्वादि भेदतः || ४

kanyasaṃ bhūpatīśatvaṃ madhyamaṃ balasiddhayaḥ || 3 uttamaṃ khecaratvaṃ va śreṣṭhaṃ devasamānatā | bhidyate bahudhaikaikaṃ vidyeśatvādi bhedataḥ || 4

The lowest siddhi is the attainment of lordship over the country. the medium kind of siddhi is the attainment of supreme powers. The super kind of siddhi is the attainment of roaming through the space and visiting the Divine Worlds. The superior kind of siddhi is the attainment of equality with the Deities of the pure realm. Each attainment is again classified into several verieties such as the attainment of Vidyesatva(the status of being the Lord of Vidyas) and others.

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5-7

विद्येशत्वं च रुद्रत्वं ब्रह्मत्वं वैष्णवं पदम् | इत्येवमादि दैवत्वं श्रेष्ठमित्युच्यते बुधैः || ५ सिद्धयश्चाणिमाद्याश्च चक्रवर्तित्वमेव च | इत्येवमादिकं श्रेष्ठं सिद्धीनां मुनिपुङ्गवाः || ६ गुलिकाञ्जन पाताल खद्ग घण्टादि मध्यमम् | अपमृत्युजयोच्चाट वश्याद्यं अधमं मतम् || ७

vidyeśatvaṃ ca rudratvaṃ brahmatvaṃ vaiṣṇavaṃ padam | ityevamādi daivatvaṃ śreṣṭhamityucyate budhaiḥ || 5 siddhayaścāṇimādyāśca cakravartitvameva ca | ityevamādikaṃ śreṣṭhaṃ siddhīnāṃ munipuṅgavāḥ || 6 gulikāñjana pātāla khadga ghaṇṭādi madhyamam | apamṛtyujayoccāṭa vaśyādyaṃ adhamaṃ matam || 7

Attainment of the status of Vidyesa, of Rudra, of Brahma and of Vishnu and such other attainments belong to the category of 'deivatva'. Such attainment is considered to be of foremost kind by the learned sages. O, the foremost Sages!, superior powers such as 'anima' and others, attainment of the status of emperor and such other attainments also belong to the foremost kind. Attainment of specific powers such as 'gulika', anjana, patala, khadga, ghanta and such others is considered to be of medium kind. Acquiring of the power to gain victory over untimely death, to drive away the obstacles, enemies and unfavorable forces, to bring others under one`s own control - is considered to be of lowest kind.

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8-9

दृष्टत्वे तदनेनैव यद्देहेनोपभुज्यते | देहान्तरेण वा दृष्टं मायाकार्ये परत्र च || ८ मायाकार्येऽमरेशादि रुद्रस्थाने तु यत्सुखम् | अपरं तत्परं विद्यादनन्तादि पदस्थितिः || ९

dṛṣṭatve tadanenaiva yaddehenopabhujyate | dehāntareṇa vā dṛṣṭaṃ māyākārye paratra ca || 8 māyākārye'mareśādi rudrasthāne tu yatsukham | aparaṃ tatparaṃ vidyādanantādi padasthitiḥ || 9

The benefits of such siddhis could be experienced with the existing body. There are some siddhis, the benefits of which could be experienced with a different body. Such bodies are created out of 'maya' as suitable to different worlds. The siddhis whose benefits evolve in the form of comforts and happiness enjoyable with the maya-born body, being in the world of Rudra belong to the supreme category(apara). The siddhis whose benefits evolve in the form of comforts and happiness enjoyable with the body born of pure maya, being in the world of Anantesvara and of other Vidyesvaras belong to the most supreme category(para).

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10-12

न सिद्धिर्न च मुक्तिश्च लिङ्गाश्रयणमन्तरा | शिवलिङ्गमनादृत्य सिद्धिमुक्त्यभिलाषिणः || १० एते मूढधियस्तीर्णाः किं भीमं भवसागरम् | भवाभीष्टफलं प्राप्ताः सिद्धसिद्धाः सुरा मताः || ११ रत्नलिङ्गजपा मूढाः का युक्तिर्भ्रान्तिचेतसः | तस्माल्लिङ्गाश्रयात्सिद्धिर्युक्तलिङ्गं समाश्रयेत् || १२

na siddhirna ca muktiśca liṅgāśrayaṇamantarā | śivaliṅgamanādṛtya siddhimuktyabhilāṣiṇaḥ || 10 ete mūḍhadhiyastīrṇāḥ kiṃ bhīmaṃ bhavasāgaram | bhavābhīṣṭaphalaṃ prāptāḥ siddhasiddhāḥ surā matāḥ || 11 ratnaliṅgajapā mūḍhāḥ kā yuktirbhrānticetasaḥ | tasmālliṅgāśrayātsiddhiryuktaliṅgaṃ samāśrayet || 12

Through the means other than resorting to the worship of Linga, neither the worldly enjoyments nor the final liberation could be achieved. Having despised the worship of Sivalinga, those who desire for the attainment of siddhis and mukti are considered to be with stupefied and misguided intellect. How could they cross over the dreadful ocean of the repeating cycle of birth and death? Those who have attained the fruits as desired by them through the worship of Linga are considered as 'Devas'. What suitable means is there for those who are with perplexed and deluded mind, even if they worship the Linga made of gems and do the incantation? Therefore, the attainment of siddhis could be possible only by resorting to the worship of Linga. But, those who desire for the attainment of siddhis and other benefits should resort to the worship of Linga as suitable to the desired purpose.

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13-15

विष्ण्वाद्या वसवो रुद्राः मुनयश्च महौजसः | विधिवल्लिङ्गमाराध्य फलमिष्टतमं गताः || १३ स्वायम्भुवं स्थापितं वा मुनिभिर्विबुधैर्गणैः | सिद्धैर्विद्याधराद्यैश्च न मानुष्यैः कदाचन || १४ स्वयं वा स्थापयित्वा तु सर्वलक्षण संयुतम् | यथा शास्त्रं यथा कालं यथा देशं परीक्ष्य च || १५ तत्र संसाधयेत् सिद्धिं आचार्यस्साधकोऽपि वा |

viṣṇvādyā vasavo rudrāḥ munayaśca mahaujasaḥ | vidhivalliṅgamārādhya phalamiṣṭatamaṃ gatāḥ || 13 svāyambhuvaṃ sthāpitaṃ vā munibhirvibudhairgaṇaiḥ | siddhairvidyādharādyaiśca na mānuṣyaiḥ kadācana || 14 svayaṃ vā sthāpayitvā tu sarvalakṣaṇa saṃyutam | yathā śāstraṃ yathā kālaṃ yathā deśaṃ parīkṣya ca || 15 tatra saṃsādhayet siddhiṃ ācāryassādhako'pi vā |

Various Gods such as Vishnu and others, eight Vasus, eleven Rudras and Sages endowed with great splendour and glory have worshipped Linga according to the directions given in the Agamas and by such worship they have achieved the fruits abundantly as desired by them. Savyambhu Linga, the Lingas installed and worshipped by the Sages, Devas, Ganas, Siddhas, Vidyadharas and other groups of celestial beings - all such Lingas could be worshipped to attain the desired siddhis. The Lingas installed by the human beings should never be worshipped , with a motive to attain the siddhis. The Acharyas and the Sadhakas may install a suitable Linga , of their own accord or they may install it through another Acharya according to the Scriptural rules, after having examined thoroughly the suitability of time and place. Having installed, they should duly worship them to attain the desired siddhis.

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16-17

स्वयं कर्तुं अशक्तानां नृपतीनां हिताय च || १६ देशिकस्साधयेत्सिद्धिं चतुर्णां वा हिताय च | स्वस्य वान्यस्य वा कर्तुर्हितकृद्देशिकोत्तमः || १७

svayaṃ kartuṃ aśaktānāṃ nṛpatīnāṃ hitāya ca || 16 deśikassādhayetsiddhiṃ caturṇāṃ vā hitāya ca | svasya vānyasya vā karturhitakṛddeśikottamaḥ || 17

For the benefits of the kings who are not able to install the Lingas of their own accord or for the benefits of the people of all the four castes, the Acharya should install the suitable Lingas and enable them attain the desired siddhis. That Acharya is considered to be the foremost who brings auspicious benefits to the chief sponsor, irrespective of the installation meant for one`s own or others.

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18-19

लिङ्गार्थं आकरं यायात् स्वस्य कृत्यानुसारतः | शिलादि द्रव्यमादाय नयेत् कर्मानुरूपतः || १८ तानि द्रव्याणि बहुधा शिलामृल्लोह दारुभिः | रत्नक्षणिकवस्तूनि कथ्यन्ते तान्यशेषतः || १९

liṅgārthaṃ ākaraṃ yāyāt svasya kṛtyānusārataḥ | śilādi dravyamādāya nayet karmānurūpataḥ || 18 tāni dravyāṇi bahudhā śilāmṛlloha dārubhiḥ | ratnakṣaṇikavastūni kathyante tānyaśeṣataḥ || 19

In order to make the Linga, the Acharya should go to a suitable location where the material for making the Linga is available. Such material should be in accordance with the siddhi to be attained by the master. Having procured the needed material such as the stone and others, he should arrange for the designing of the Linga according to the expected fruit. Such materials are of various kinds such as the stone, earth, metal, wood, gems, substances meant for making the Lingas which are disposable at the end of worship and others. The characteristics of all such materials are now told.

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20-21

श्वेता रक्ता च पीता च कृष्णा चेति चतुर्विधा | चतुर्णामपि वर्णानां शिला धात्री च संमता || २० एताश्चतस्रो विप्रस्य तिस्रो राज्ञां उभे विशः | एका शूद्रस्य नियमाच्छिला भूम्यश्च कीर्तिताः || २१ तत्तद्भूजनिता एव मृदो लिङ्गार्थं ईरिताः |

śvetā raktā ca pītā ca kṛṣṇā ceti caturvidhā | caturṇāmapi varṇānāṃ śilā dhātrī ca saṃmatā || 20 etāścatasro viprasya tisro rājñāṃ ubhe viśaḥ | ekā śūdrasya niyamācchilā bhūmyaśca kīrtitāḥ || 21 tattadbhūjanitā eva mṛdo liṅgārthaṃ īritāḥ |

The stone and the earth which are in the colors of white, red, whitish yellow and bluish black are fit for making the Lingas. All these four are suitable to the brahmins; except the first, all other three are suitable to the kshatriyas; the last two are suitable to the vaisyas; and the last one is suitable to the sudras. Even the earth availble in the same location where the people are living comforatably is suitable for making the lingas.

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22-25

फलं लिङ्गानुरूपेण शिलानां समुदाहृतम् || २२ पृथ्वीशत्वं फलं ज्ञेयं चतसृणां मृदामपि | श्रीकामस्य सुवर्णोत्थं राज्यकामस्य राजतम् || २३ आयसं मारणे लिङ्गं उन्मादे कांस्यजं भवेत् | उत्सादे रीतिजं ज्ञेयं त्रपुजं पुत्रवृद्धये || २४ वृद्धिकामस्य ताम्रोत्थं सीसजं व्याधिनाशनम् | लोहलिङ्गं समाख्यातं रत्नलिङ्गमथोच्यते || २५

phalaṃ liṅgānurūpeṇa śilānāṃ samudāhṛtam || 22 pṛthvīśatvaṃ phalaṃ jñeyaṃ catasṛṇāṃ mṛdāmapi | śrīkāmasya suvarṇotthaṃ rājyakāmasya rājatam || 23 āyasaṃ māraṇe liṅgaṃ unmāde kāṃsyajaṃ bhavet | utsāde rītijaṃ jñeyaṃ trapujaṃ putravṛddhaye || 24 vṛddhikāmasya tāmrotthaṃ sīsajaṃ vyādhināśanam | lohaliṅgaṃ samākhyātaṃ ratnaliṅgamathocyate || 25

The benefit of worship has been told according to the material by which the Linga has been made. The worship of the Linga designed with all the four kinds of earth would bestow the lordship over the particular land or the country; the Linga made of gold is suitable for those who are desirous of wealth; the Linga made of silver is suitable for those who desire for kingdom; the Linga made of iron is for inflicting death; the Linga made of bell-metal is for inflicting madness; the Linga made of brass is for inflicting loss or destruction; the Linga made of tin is for the growth of the descendants; the Linga made of copper is suitable for those who are desirous of growth in all respects; the Linga made of lead is for curing the diseases. Thus, the benefit of the Lingas designed with metals has been told. Now, the benefit of the Lingas made of gems is revealed.

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26-28

वज्रलिङ्गं क्षितीशत्वे मौक्तं आरोग्यदं भवेत् | इन्द्रनीलमयाल्लिङ्गात् सर्वान् कामान् समश्नुते || २६ महानीलमयाल्लिङ्गाद्वैष्णवं पदमाप्नुयात् | वैडूर्याद्व्याधिनाशस्स्यात् सौभाग्यं पुष्परागजात् || २७ आरोग्यदं मरकतं प्रवालं च वशीकरम् | राजावर्तमयाल्लिङ्गान्महाभोगं समश्नुते || २८

vajraliṅgaṃ kṣitīśatve mauktaṃ ārogyadaṃ bhavet | indranīlamayālliṅgāt sarvān kāmān samaśnute || 26 mahānīlamayālliṅgādvaiṣṇavaṃ padamāpnuyāt | vaiḍūryādvyādhināśassyāt saubhāgyaṃ puṣparāgajāt || 27 ārogyadaṃ marakataṃ pravālaṃ ca vaśīkaram | rājāvartamayālliṅgānmahābhogaṃ samaśnute || 28

The Linga made of diamond is for the attainment of lordship over the country; the Linga made of pearl is capable of bestowing a healthy state free from diseases. Through the worship of the Linga made of supreme kind of sapphire(indranila), one could achieve all the benefits desired by him. Through the worship of the Linga made of sapphire known as mahanila, one could attain an exalted state equal to Vishnu. Through the worship of the Linga made of beryl, complete removal of incurable diseases could be effected. The Linga made of topaze is capable of yielding prosperity. the Linga made of emerald is capable of bestowing health. The Linga made of coral is cpable of bestowing the power of attraction. Through the worship of the Linga made of 'rajavarta'(diamond of inferior quality), one could attain immeasurable riches.

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29-32

नैलं नागेन्द्रभोगाय शङ्खं सौभाग्यदं भवेत् | शूलाक्षमणिजं शत्रुक्षयाय पुलकं तथा || २९ सस्यकं सस्यनिष्पत्यै सौरार्थं सूर्यकान्तजम् | चन्द्रकान्तं मृत्युजिते भूतिदं पद्मरागजम् || ३० स्फाटिकं सर्वसिद्ध्यर्थं भौमजं दिव्यसिद्धये | वैक्रान्तकं महावृत्तरक्तायस्कान्तजं हितम् || ३१ क्षुद्रसिद्धियुतं मन्त्रजाति संस्कार संस्कृतम् | गुणाद्दृष्टफलं प्रोक्तं परासु मणिजातिषु || ३२ इत्थं रत्नजं आख्यातं दारुजं कथ्यतेऽधुना |

nailaṃ nāgendrabhogāya śaṅkhaṃ saubhāgyadaṃ bhavet | śūlākṣamaṇijaṃ śatrukṣayāya pulakaṃ tathā || 29 sasyakaṃ sasyaniṣpatyai saurārthaṃ sūryakāntajam | candrakāntaṃ mṛtyujite bhūtidaṃ padmarāgajam || 30 sphāṭikaṃ sarvasiddhyarthaṃ bhaumajaṃ divyasiddhaye | vaikrāntakaṃ mahāvṛttaraktāyaskāntajaṃ hitam || 31 kṣudrasiddhiyutaṃ mantrajāti saṃskāra saṃskṛtam | guṇāddṛṣṭaphalaṃ proktaṃ parāsu maṇijātiṣu || 32 itthaṃ ratnajaṃ ākhyātaṃ dārujaṃ kathyate'dhunā |

The Linga made of nila( a kind of sapphire) is suitable for the attainment of pleasures available in the world of Nagas. The Linga made of conch is for the attainment of prosperity; the Linga made of rudraksha associated with the symbol of trident and of 'pulaka'-gem is for the destruction of enemies; the Linga made of 'sasyaka'-gem is for the abundant growth of crops; the Linga made of sun-stone(surya kanta) is for gaining vigor and valor; the Linga made of moon-stone is for gaining victory over the god of death; the Linga made of padmaraga ( a kind of ruby) is capable of bestowing a state of well-being and riches; the Linga made of crystal is for the attainment of all kinds of siddhis; the Linga made of bhauma-gem is for the attainment of divine powers; the Lingas made of vaikranta, mahavrutta and red iron-stone are beneficial. Among the Lingas made of superior kind of gems, those which are meant for the attainment of siddhis related to the mundane level are capable of yielding much benefits to be experienced directly in this birth, if they are purified with and charged with the relevant groups of mantras. In this way, the significance of the Lingas made of gems has been told. Now, the significance of the Lingas made of various kinds of wood is revealed.

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33-34

सारवद्वृक्षजं भूत्यै क्षीरद्रुमजं आयुषे || ३३ माधुर्यगन्धगुणवज्ज्ञानसौभाग्यकीर्तिदम् | रक्ताह्वचन्दनाशोकं शिंशुपाशोकबिल्वजम् || ३४ सर्वदुःखादि राहित्ये पिशाचजमरिच्छिदे

sāravadvṛkṣajaṃ bhūtyai kṣīradrumajaṃ āyuṣe || 33 mādhuryagandhaguṇavajjñānasaubhāgyakīrtidam | raktāhvacandanāśokaṃ śiṃśupāśokabilvajam || 34 sarvaduḥkhādi rāhitye piśācajamaricchide

The Lingas made of wood got from the heavy and solid trees are suitable for the atainment of prosperity and wealth; the Lingas made of wood got from the trees associated with the exudation of sap or resin are for the attainment of longevity; the Lingas made of wood got from the trees which are with sweet sap, good fragrance and auspicious qualities are capable of bestowing spiritual knowledge and prosperity. In order to be free from all kinds of afflictions and worries, the Lingas mad of red sandal, asoka, simsupa(another kind of asoka) and bilva are suitable. The Linga made of wood got from the paisaca-tree is suitabale for effecting destruction to the enemies.

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35-39

Tहे Lइन्गस् मदे ओf wओओद् गोत् fरोम् थे हेअव्य् अन्द् सोलिद् त्रेएस् अरे सुइतब्ले fओर् थे अतैन्मेन्त् ओf प्रोस्पेरित्य् अन्द् wएअल्थ्; थे Lइन्गस् मदे ओf wओओद् गोत् fरोम् थे त्रेएस् अस्सोचिअतेद् wइथ् थे एxउदतिओन् ओf सप् ओर् रेसिन् अरे fओर् थे अत्तैन्मेन्त् ओf लोन्गेवित्य्; थे Lइन्गस् मदे ओf wओओद् गोत् fरोम् थे त्रेएस् wहिछ् अरे wइथ् स्wएएत् सप्, गोओद् fरग्रन्चे अन्द् औस्पिचिओउस् qउअलितिएस् अरे चपब्ले ओf बेस्तोwइन्ग् स्पिरितुअल् क्नोwलेद्गे अन्द् प्रोस्पेरित्य्. Iन् ओर्देर् तो बे fरेए fरोम् अल्ल् किन्द्स् ओf अffलिच्तिओन्स् अन्द् wओर्रिएस्, थे Lइन्गस् मद् ओf रेद् सन्दल्, असोक, सिम्सुप(अनोथेर् किन्द् ओf असोक) अन्द् बिल्व अरे सुइतब्ले. Tहे Lइन्ग मदे ओf wओओद् गोत् fरोम् थे पैसच-त्रेए इस् सुइतबले fओर् एffएच्तिन्ग् देस्त्रुच्तिओन् तो थे एनेमिएस्.

The Lingas made of wood got from the heavy and solid trees are suitable for the atainment of prosperity and wealth; the Lingas made of wood got from the trees associated with the exudation of sap or resin are for the attainment of longevity; the Lingas made of wood got from the trees which are with sweet sap, good fragrance and auspicious qualities are capable of bestowing spiritual knowledge and prosperity. In order to be free from all kinds of afflictions and worries, the Lingas mad of red sandal, asoka, simsupa(another kind of asoka) and bilva are suitable. The Linga made of wood got from the paisaca-tree is suitabale for effecting destruction to the enemies.

Or, the Linga may be designed with the wood compatible to the birth-star of the sadhaka. Karaskara, Amalaka, Udumbara, Jambuka,Khadira, Krishna-kakubha, Sirisha, Asvatthaka, Punnaga, Nyakrodha, Palasa, Plakshaka, Ambashta, Bilva, Arjuna, Salmali, Vakula, Pindi, Sarja, Vanjula, Panasa, Amra, Arka, Kadamba, Vahni, Nimba, Madhuka- these are suitable to the lunar mansions starting from Asvini. If Lingas are to be made from these trees compatible to the lunar mansions, first 'santi-homa' and the related rituals should be performed in a lunar mansion. Then only the Lingas should be designed in a day synchronizing with the nakshatra suitable to the intended purpose. Otherwise, the sadhaka would be affected by unexpected bad effects such as untimely death.

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40-44

श्वेतार्कमूलजं लिङ्गं जयार्थं विजयार्थिनाम् || ४० चन्दनं सर्ववश्यं स्याच्छ्रीकरं रक्तचन्दनम् | सरलं सर्वकाम्यार्थं खादिरं रोगनाशनम् || ४१ साप्तपर्णं च सालोत्थं राजादन समुद्भवम् | विशेषात् सर्ववर्णानां सर्व कामार्थ साधनम् || ४२ उदुम्बरमयं पुष्ट्यै शान्त्यै न्यक्रोधसंभवम् | वश्यायाश्वत्थजं लिङ्गं आरोग्ये खादिरं भवेत् || ४३ लिङ्गं वैभीतकं शत्रूच्चाटनार्थं द्विजोत्तमाः | दारुजं लिङ्गमाख्यातं क्षणिकं लिङ्गमुच्यते || ४४

śvetārkamūlajaṃ liṅgaṃ jayārthaṃ vijayārthinām || 40 candanaṃ sarvavaśyaṃ syācchrīkaraṃ raktacandanam | saralaṃ sarvakāmyārthaṃ khādiraṃ roganāśanam || 41 sāptaparṇaṃ ca sālotthaṃ rājādana samudbhavam | viśeṣāt sarvavarṇānāṃ sarva kāmārtha sādhanam || 42 udumbaramayaṃ puṣṭyai śāntyai nyakrodhasaṃbhavam | vaśyāyāśvatthajaṃ liṅgaṃ ārogye khādiraṃ bhavet || 43 liṅgaṃ vaibhītakaṃ śatrūccāṭanārthaṃ dvijottamāḥ | dārujaṃ liṅgamākhyātaṃ kṣaṇikaṃ liṅgamucyate || 44

The Linga made of the root of white-arka plant is suitable for those who are intent on gaining victory. The Linga designed with sandal is meant for gaining the power of attracting. The Linga designed with red sandal is capable of bestowing wealth. The Linga made of sarala-wood is for the attainment of all the desired fruits. The Linga made of khadira-wood is capable of curing the diseases. The Linga made of saptaparna-wood and sala-wood is capable of rewarding the worshipper with a dwelling place in the royal palace.

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45-52

सैकतं मोक्षभूत्यर्थं गोमयं रोगनाशनम् | अन्नं अन्नाद्यकामस्य पैष्टं पुष्टिप्रदायकम् || ४५ गौलं प्रीतिकरं प्रोक्तं फलं इष्टार्थसिद्धये | घृतेन कल्पितं लिङ्गं ह्लादकृद् दुःखिनामपि || ४६ ह्लादकृन्नवनीतं च गुणाढ्यं मृण्मयं भवेत् | विशेषाद्भस्मजं लिङ्गं सर्वव्याधि निवारणम् || ४७ स्वस्ववर्णानुरूपेण पौष्पं पुष्टिप्रदायकम् | बिल्वादिपत्रजं लिङ्गं यत्तत्पुत्रविवर्धनम् || ४८ तद्बीजजनितं लिङ्गं विशेषात् तृप्तिकारणम् | धान्यतण्डुलजं लिङ्गं तत्तद्द्रव्यफलप्रदम् || ४९ कन्दमूलमयं लिङ्गं ब्रह्मतत्त्वस्य कारणम् | रोगहृत् साक्तवं लिङ्गं तथा लाजविनिर्मितम् || ५० जलेन निर्मितं लिङ्गं प्रणिनां शान्तिपुष्टितम् | लिङ्गं यच्चित्रितं सद्यो विचित्र फलदायकम् || ५१ कर्पूरचन्दनाद्यैस्तु लिङ्गं यत्तज्ज्वरापहृत् | द्रव्याणि कथितान्येवं लक्षणं च विधीयते || ५२

saikataṃ mokṣabhūtyarthaṃ gomayaṃ roganāśanam | annaṃ annādyakāmasya paiṣṭaṃ puṣṭipradāyakam || 45 gaulaṃ prītikaraṃ proktaṃ phalaṃ iṣṭārthasiddhaye | ghṛtena kalpitaṃ liṅgaṃ hlādakṛd duḥkhināmapi || 46 hlādakṛnnavanītaṃ ca guṇāḍhyaṃ mṛṇmayaṃ bhavet | viśeṣādbhasmajaṃ liṅgaṃ sarvavyādhi nivāraṇam || 47 svasvavarṇānurūpeṇa pauṣpaṃ puṣṭipradāyakam | bilvādipatrajaṃ liṅgaṃ yattatputravivardhanam || 48 tadbījajanitaṃ liṅgaṃ viśeṣāt tṛptikāraṇam | dhānyataṇḍulajaṃ liṅgaṃ tattaddravyaphalapradam || 49 kandamūlamayaṃ liṅgaṃ brahmatattvasya kāraṇam | rogahṛt sāktavaṃ liṅgaṃ tathā lājavinirmitam || 50 jalena nirmitaṃ liṅgaṃ praṇināṃ śāntipuṣṭitam | liṅgaṃ yaccitritaṃ sadyo vicitra phaladāyakam || 51 karpūracandanādyaistu liṅgaṃ yattajjvarāpahṛt | dravyāṇi kathitānyevaṃ lakṣaṇaṃ ca vidhīyate || 52

The Linga made of sand is for the attainment of final liberation and of celebrity and greatness. The Linga made of cowdung is for curing the diseases. The Linga made of cooked rice is beneficial for those who are desirous of food and other substances. The Linga made of kneaded flour is capable of bestowing the continuous growth of wealth and welfare. The Linga made of molasses is suitable for giving a delighted and contended state. The Linga designed with fruit would yield the desired benefits. The Linga designed with clarified butter would be source of delight for the worshipper For those who are in distress the Linga designed with butter would give them happiness. The Linga designed with earth would make the worshipper as a renowned person enodowed with good virtues and serene qualities. The Linga specially designed with the sacred ash(vibhuti) would ward off all kinds of disease. The Linga designed with flowers selected so as to be with the colors recommended for each caste would promote the sustained growth and welfare to the worshipper. The Linga made of the leaves of Bilva-tree would bestow good descendents(sons, grandsons, daughters and granddaughters) and continuity of lineage. The Linga designed with seeds of that tree would specifically grant a state of fulfilment and contentment. The Linga designed with rice or with some other grain would give a plentiful yield of that grain. The Linga which is made of bulb or root would bestow a perfect knowledge of the Supreme Reality. The Linga designed with fried and ground flour would ward off the diseases and the Linga designed with parched paddy would also give the same benefit. The Linga designed with water would bestow a state of calmness and sustained growth of prosperity to the worshippers. The Linga drawn on a suitable cloth according to the prescribed lineaments would give various kinds of benefits within a short time. The Linga designed with camphor, sandal or such other substances would ward off fever and other diseases. In this way, the benefits of the Lingas designed with various materials have been told. Now, the lineaments of various forms of Linga are explained.

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53-54

प्रासादगर्भ मानेन लिङ्गं ज्येष्ठादि भेदतः | मुख्यतस्सिद्धये प्रोक्तं मुक्त्यर्थं अनुषङ्गतः || ५३ हस्तादि लिङ्गमानानि यानि तानि विमुक्तये | भुक्तये चानुषङ्गेण भवन्ति विधियोगतः || ५४

prāsādagarbha mānena liṅgaṃ jyeṣṭhādi bhedataḥ | mukhyatassiddhaye proktaṃ muktyarthaṃ anuṣaṅgataḥ || 53 hastādi liṅgamānāni yāni tāni vimuktaye | bhuktaye cānuṣaṅgeṇa bhavanti vidhiyogataḥ || 54

Based on the measurements of the main shrine, the Lingas are categorized into four kinds such as the foremost(jyeshtha) and others. Such Lingas are primarily meant for the attainment of siddhis. In addition to this, they would also lead to the attainment of final liberation. The measurements prescribed according to the rules for the Lingas, such as hasta and others, are primarily in view of the final liberation. As the secondary importance, they are also applicable for the attainment of worldly enjoyments.

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55-57

गर्भार्धं अधमं ज्ञेयं पञ्चत्र्यंशं वरं भवेत् | तदन्तरेऽष्टभागे तु नवलिङ्गानि सन्ति हि || ५५ तस्मात्तस्मात् अधस्तात्तु त्रीणि त्रीणि भवन्ति हि | षट्त्रिंशन्मानमुद्दिष्टं गर्भमानं द्विजोत्तमाः || ५६ प्रासादे वा ततो वह्निवेदग्रहविभाजिते | द्वारि वांशं परित्यज्य सपीठाश्रा विशेषतः || ५७

garbhārdhaṃ adhamaṃ jñeyaṃ pañcatryaṃśaṃ varaṃ bhavet | tadantare'ṣṭabhāge tu navaliṅgāni santi hi || 55 tasmāttasmāt adhastāttu trīṇi trīṇi bhavanti hi | ṣaṭtriṃśanmānamuddiṣṭaṃ garbhamānaṃ dvijottamāḥ || 56 prāsāde vā tato vahnivedagrahavibhājite | dvāri vāṃśaṃ parityajya sapīṭhāśrā viśeṣataḥ || 57

Half of the measurement(width) of the main shrine is for the lower category. Three parts out of five parts of that measurment is considered to be superior. If the difference between these two measures are divided into eight equal parts, there occur nine kinds of measurements. These measures are categorized into three kinds - inferior, medium and the foremost. O, the foremost twice-born sages! When caculated for all the four types of Lingas, thirty-six kinds of measurements would be obtained based on the measurement of the main shrine. The measurement of the main shrine should be divided into three, four or nine equal parts. Having left out the measurement of the threshold, the reamining measure should be considered in a special way for the width of the pedestal.

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58-60

पूर्ववच्च प्रमाणानि लिङ्गानां विहितानि तु | एकाङ्गुलं समारभ्य चाङ्गुअलाङ्गुल वृद्धितः || ५८ अष्टोत्तरशतान्तं तु त्रिविधाङ्गुल मानतः | एकहस्तं समारभ्य षडङ्गुल विवृद्धितः || ५९ नवहस्त प्रमाणान्तं हस्तमानवशान्नयेत् | हस्तादधः स्थितं शैलं प्रासादेषु न शस्यते || ६०

pūrvavacca pramāṇāni liṅgānāṃ vihitāni tu | ekāṅgulaṃ samārabhya cāṅgualāṅgula vṛddhitaḥ || 58 aṣṭottaraśatāntaṃ tu trividhāṅgula mānataḥ | ekahastaṃ samārabhya ṣaḍaṅgula vivṛddhitaḥ || 59 navahasta pramāṇāntaṃ hastamānavaśānnayet | hastādadhaḥ sthitaṃ śailaṃ prāsādeṣu na śasyate || 60

As set forth earlier, the proportionate measurements of the Lingas should be determined. Starting from one angula, the measurement could be increased by one angula each time up to 108 angulas. The three types of angulas may be considered for the determination of accurate measures. Starting from one hasta, the measuremnet should be increased by 6 angulas each time to reach the maximum measurement of nine hastas. Such procedure is based on hasta. The Linga which is made of stone and whose height is less than one hasta is not recommended for installation in the main shrine.

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61-62

पादोनं दारुजं लोहमस्यार्धेनैव संमतम् | अङ्गुलादि वितस्त्यन्तं रत्नलिङ्गं द्विजोत्तमाः || ६१ आयादि शुभसंयुक्तं नयेत् कर्मानुरूपतः | हस्तादधः स्थितं शैलं योज्यमुच्चाटनादिषु || ६२

pādonaṃ dārujaṃ lohamasyārdhenaiva saṃmatam | aṅgulādi vitastyantaṃ ratnaliṅgaṃ dvijottamāḥ || 61 āyādi śubhasaṃyuktaṃ nayet karmānurūpataḥ | hastādadhaḥ sthitaṃ śailaṃ yojyamuccāṭanādiṣu || 62

The height of the Linga made of wood should be with the maximum height of three-fourth of a hasta. The height of the Linga made of metal should be with the maximum height of half of one hasta. O, the foremost among the twice-born sages!, the height of the Linga made of gems should be from one angula to twelve angulas. The Linga should be made in such a way that it is associated with auspicious 'aya' and other factors, according to the intended purpose. For effecting the results such as driving away the enemies, expulsion and such others, the Linga made of stone should be installed taking care to see that its height is lower than one hasta.

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63-65

लिङ्गायामैकभागे तु वेदभागेन विस्तरः | खण्डत्रयं समं कुर्यात् सिद्धिलिङ्गेषु सर्वसु || ६३ चतुरश्रं तथाष्टाश्रं कूर्चावृत्त शिरोवहम् | अर्धचन्द्रशिरो युक्तं स्थापयेदैन्द्रपीठके || ६४ पूर्वदिक्स्वेष्टसिद्ध्यर्थं लिङ्गं वज्रशिरो यथा | वज्रकायं समायोज्य स्तम्भादि परिकीर्तितम् || ६५

liṅgāyāmaikabhāge tu vedabhāgena vistaraḥ | khaṇḍatrayaṃ samaṃ kuryāt siddhiliṅgeṣu sarvasu || 63 caturaśraṃ tathāṣṭāśraṃ kūrcāvṛtta śirovaham | ardhacandraśiro yuktaṃ sthāpayedaindrapīṭhake || 64 pūrvadiksveṣṭasiddhyarthaṃ liṅgaṃ vajraśiro yathā | vajrakāyaṃ samāyojya stambhādi parikīrtitam || 65

The breadth(diameter) of the Linga should be equal to one fourth of its total height. The height of the Linga should be with three sections, each section being with equal height. This process is appilcable to all the Lingas meant for the attainment of siddhis. The bottom section should be four sided, the middle section eight sided and the upper section, circular. The top of the Linga should be designed so as to be in the form of half-moon and it should be surrounded by bunches of darbhas. Such Linga should be installed in the pedestal placed in the east. In order to accomplish the desired fruit, the top portion of the Linga should be marked with the insignia of vajra-weapon and its pedestal also should be provided with the form of vajra-weapon. It has been declared in the Agamas that the worship of such vajra-linga should be undertaken for effecting immobilization and other effects.

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66-68

लिङ्गोर्ध्वे रुद्रभागे तु शरांशैश्चतुरश्रकम् | वस्वश्रं पूर्ववद्वृत्ते सप्ताश्रं स्वां दिशं विना || ६६ आग्नेयपीठे तल्लिङ्गं वह्निदिक्स्वाम्यसिद्धये | लिङ्गं शक्तिशिरोपेतं स्थाप्यं शक्त्यङ्ग पिण्डिके || ६७ शान्त्युग्रं तु तथा तेजो रिपुनाशो द्विषादयः | तापदाहं रिपोः कुर्याल्लिङ्गमाग्नेयकं द्विजाः || ६८

liṅgordhve rudrabhāge tu śarāṃśaiścaturaśrakam | vasvaśraṃ pūrvavadvṛtte saptāśraṃ svāṃ diśaṃ vinā || 66 āgneyapīṭhe talliṅgaṃ vahnidiksvāmyasiddhaye | liṅgaṃ śaktiśiropetaṃ sthāpyaṃ śaktyaṅga piṇḍike || 67 śāntyugraṃ tu tathā tejo ripunāśo dviṣādayaḥ | tāpadāhaṃ ripoḥ kuryālliṅgamāgneyakaṃ dvijāḥ || 68

The height of the Linga should be divided into 11 equal parts and 5 parts should be taken for the four sided brhama bhaga. The remaining parts are for the eight sided vishnu bhaga and circular rudra bhaga. Leaving out the east side,the rudra bhaga should be designed to be seven sided(to be with seven vertical stripes). Such Linga should be installed in the pedestal kept in the south-east and it should be worshipped for the attainment of mastership and other desired fruits. The top of the Linga should be with sakti-weapon, the insignia of the Fire-god. The pedestal also should be designed in such a way that it appears with sakti-weapon in its front side. O, the twice-born sages!, the regular worship of Agneya Linga would appease the anger of divine forces, would give resplendence, effect destruction to the enemies and evil powers, inflict distress and diseases born of excessive heat of the body upon the hostile persons.

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69-71

नवांशे पञ्चभिः पूर्वापरे पार्श्वद्वयं त्रिभिः | प्रधानभुजयोर्याम्यं वृत्तमग्निच्च्युतिः क्रमात् || ६९ याम्यदिक्स्वाम्य सिद्ध्यर्थं स्थापयेद्याम्यपीठके | लिङ्गं दण्डशिरोयुक्तं स्थापयेद्विधिना मतम् || ७० गुरुदण्डं तु याम्यायां आयुर्वृद्धिं च पौरुषम् | रिपोर्देशे स्थितं नाशं नगराद्दक्षिणे ततः || ७१ मारीं च भेदनं रोगं विधत्ते नात्र संशयः |

navāṃśe pañcabhiḥ pūrvāpare pārśvadvayaṃ tribhiḥ | pradhānabhujayoryāmyaṃ vṛttamagniccyutiḥ kramāt || 69 yāmyadiksvāmya siddhyarthaṃ sthāpayedyāmyapīṭhake | liṅgaṃ daṇḍaśiroyuktaṃ sthāpayedvidhinā matam || 70 gurudaṇḍaṃ tu yāmyāyāṃ āyurvṛddhiṃ ca pauruṣam | ripordeśe sthitaṃ nāśaṃ nagarāddakṣiṇe tataḥ || 71 mārīṃ ca bhedanaṃ rogaṃ vidhatte nātra saṃśayaḥ |

The height of the Linga should be divided into 9 equal parts and 5 parts should to be taken for the four sided brahma bhaga. The remaining parts are for the eight sided vishni bhaga and the circular rudra bhaga. Leaving out the south-east part, all other three parts, - east, north and south - should be designed to be in circular form. The south-east should be in the form of vertical stripe. Such Linga should be installed in the pedestal kept in the south and should be worshipped for the attainment of mastership and the desired benefits. The Linga whose top is provided with the insignia of rod-weapon should be installed according to the prescibed rules. The Linga provided with the pedestal associated with a bigger rod-weapon in its front would grant longevity, courage, valor and strength; would destroy the enemies who are in the city where it is worshipped; would effect pestilence, mutual enmity between the opposite groups themselves and incurable diseases in the area which is in the south of that city. There is no doubt about this.

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72-75

दैर्घ्यद्वाविंशदंशे तु शरांशैश्चतुरश्रकम् || ७२ अष्टाश्रं पूर्ववद्वृत्तं दशाश्रसहितं द्विजाः | स्थापयेद्राक्षसे पीठे स्वदिक्साधन सिद्धये || ७३ खद्गाङ्गं पीठिकायां तु स्थापयेदसिमस्तकम् | अरातिक्षयविद्वेषं कीलभेदेन मोहनम् || ७४ तत्सैन्यध्वंसमुन्मादं रक्षोमारि प्रवर्तनम् | कुरुते नात्र सन्देहो विधिवन्मन्त्र संयुतम् || ७५

dairghyadvāviṃśadaṃśe tu śarāṃśaiścaturaśrakam || 72 aṣṭāśraṃ pūrvavadvṛttaṃ daśāśrasahitaṃ dvijāḥ | sthāpayedrākṣase pīṭhe svadiksādhana siddhaye || 73 khadgāṅgaṃ pīṭhikāyāṃ tu sthāpayedasimastakam | arātikṣayavidveṣaṃ kīlabhedena mohanam || 74 tatsainyadhvaṃsamunmādaṃ rakṣomāri pravartanam | kurute nātra sandeho vidhivanmantra saṃyutam || 75

The height of the Linga should be divided into 22 equal parts and 5 parts should be taken for the four sided brahma bhaga. The remaining parts are for the eight sided section and the circular section. The circular section should in the ten sided form. O, the twice-born sages!, such Linga should be installed in the pedestal kept in the south-west and should be worshipped for the attainment of siddhis related to that direction. The pedestal and the top of the Linga should be provided with the insignia of sword. If such Linga is worshipped according to the rules with the accomapaniment of relevant mantras, it would cause destruction to the enemies, create hatredness between them, make them pinned to a particular location, create contempt, infatuated state, cause the destruction of the army of the enemies, create insanity, make them to be under the spell of evil spirits and goblins and cause plague in a large scale. There is no doubt about this.

76-78

Tहे हेइघ्त् ओf थे Lइन्ग स्होउल्द् बे दिविदेद् इन्तो २२ एqउअल् पर्त्स् अन्द् ५ पर्त्स् स्होउल्द् बे तकेन् fओर् थे fओउर् सिदेद् ब्रह्म भग. Tहे रेमैनिन्ग् पर्त्स् अरे fओर् थे एइघ्त् सिदेद् सेच्तिओन् अन्द् थे चिर्चुलर् सेच्तिओन्. Tहे चिर्चुलर् सेच्तिओन् स्होउल्द् इन् थे तेन् सिदेद् fओर्म्. O, थे त्wइचे-बोर्न् सगेस्!, सुछ् Lइन्ग स्होउल्द् बे इन्स्तल्लेद् इन् थे पेदेस्तल् केप्त् इन् थे सोउथ्-wएस्त् अन्द् स्होउल्द् बे wओर्स्हिप्पेद् fओर् थे अत्तैन्मेन्त् ओf सिद्धिस् रेलतेद् तो थत् दिरेच्तिओन्. Tहे पेदेस्तल् अन्द् थे तोप् ओf थे Lइन्ग स्होउल्द् बे प्रोविदेद् wइथ् थे इन्सिग्निअ ओf स्wओर्द्. If सुछ् Lइन्ग इस् wओर्स्हिप्पेद् अच्चोर्दिन्ग् तो थे रुलेस् wइथ् थे अच्चोमपनिमेन्त् ओf रेलेवन्त् मन्त्रस्, इत् wओउल्द् चौसे देस्त्रुच्तिओन् तो थे एनेमिएस्, च्रेअते हत्रेद्नेस्स् बेत्wएएन् थेम्, मके थेम् पिन्नेद् तो अ पर्तिचुलर् लोचतिओन्, च्रेअते चोन्तेम्प्त्, इन्fअतुअतेद् स्तते, चौसे थे देस्त्रुच्तिओन् ओf थे अर्म्य् ओf थे एनेमिएस्, च्रेअते इन्सनित्य्, मके थेम् तो बे उन्देर् थे स्पेल्ल् ओf एविल् स्पिरित्स् अन्द् गोब्लिन्स् अन्द् चौसे प्लगुए इन् अ लर्गे स्चले. Tहेरे इस् नो दोउब्त् अबोउत् थिस्.

The height of the Linga should be divided into 22 equal parts and 5 parts should be taken for the four sided brahma bhaga. The remaining parts are for the eight sided section and the circular section. The circular section should in the ten sided form. O, the twice-born sages!, such Linga should be installed in the pedestal kept in the south-west and should be worshipped for the attainment of siddhis related to that direction. The pedestal and the top of the Linga should be provided with the insignia of sword. If such Linga is worshipped according to the rules with the accomapaniment of relevant mantras, it would cause destruction to the enemies, create hatredness between them, make them pinned to a particular location, create contempt, infatuated state, cause the destruction of the army of the enemies, create insanity, make them to be under the spell of evil spirits and goblins and cause plague in a large scale. There is no doubt about this.

The height of the Linga should be divided into 14 equal parts and 4 parts should be taken for the four sided brhama bhaga. The remaining parts are for the eight sided vishnu bhaga and the circular rudra bhaga. The top of the rudra bhaga should be in the shape of young crescent. If such Linga is installed in the pedestal kept in the west and worshipped, lordship over the region in the west could be obtained. The top of the Linga should be provided with the insignia of noose and the pedestal should be provided with the insignia of noose in a compatible bigger size. If such Linga is duly installed in the west and worshipped, the worshipper would attain calmness, sustained growth of prosperity and other needs, wealth, excellence , a healthy state free from diseases, riches and fortunes. There is no place for any doubt in this respect.

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79-81

गायत्र्यंशे भवेद्दैर्घ्यं सप्तभागं तु विस्तरे | नवभक्ते त्रिभिर्भक्ते मध्ये षड्रसवृद्धये || ७९ तदूर्ध्वे तु भवेद्वृत्तं रुद्रांशे त्रापुषं शिरः | वायव्यां तु प्रतिष्ठाप्य वायुदिक्स्वाम्यं आप्नुयात् || ८० लिङ्गं ध्वजशिरोयुक्तं ध्वजाङ्कायं न्यसेद्गुरुः | तेनलिङ्गेन मन्त्रज्ञः प्रोच्चाटोद्वेगविभ्रमान् || ८१ भृशं शोषवियोगौ च शत्रोः कुर्यान्नसंशयः |

gāyatryaṃśe bhaveddairghyaṃ saptabhāgaṃ tu vistare | navabhakte tribhirbhakte madhye ṣaḍrasavṛddhaye || 79 tadūrdhve tu bhavedvṛttaṃ rudrāṃśe trāpuṣaṃ śiraḥ | vāyavyāṃ tu pratiṣṭhāpya vāyudiksvāmyaṃ āpnuyāt || 80 liṅgaṃ dhvajaśiroyuktaṃ dhvajāṅkāyaṃ nyasedguruḥ | tenaliṅgena mantrajñaḥ proccāṭodvegavibhramān || 81 bhṛśaṃ śoṣaviyogau ca śatroḥ kuryānnasaṃśayaḥ |

The height of the Linga should be divided into 24 equal parts and the diameter of the Linga should be equal to 7 parts. 12 parts should be taken for the four sided brahma bhaga, 6 parts for the eight sided vishnu bhaga and 6 parts for the circular rudra bhaga. The top of the rudra bhaga should be in the shape of cucumber. If such Linga is installed in the north-west and worshipped, the sadhaka would attain lordship over the region in that direction. The top of the Linga should be provided with the insignia of flag and the pedestal should be provided with the insignia of flag in bigger size. The Guru who has known well the significance of mantras and who worships such Linga becomes skilled in bringing out the effects such as driving away the opponents, trembling and alarm, confusion and distress, extreme draught and famine and untimely death. These are caused to affect the enemies. There is no doubt about the efficay of such Linga.

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82-84

पूर्वोक्तं वारुणं लिङ्गं याक्षं चोर्ध्वशिरोऽन्वितम् || ८२ यक्षाख्यायां प्रतिष्ठाप्य यक्षदिक्स्वाम्यमाप्नुयात् | गदामस्तक लिङ्गं तु गदाङ्के स्थाप्य देशिकः || ८३ जाम्बूनदसुखप्राप्तिं अतीवबलदं मतम् | जयं धैर्यं तथा राज्यप्राप्तिं च प्रभुतामपि || ८४ लभते नात्र सन्देहो मन्त्रैस्सान्निध्यमागतम् |

pūrvoktaṃ vāruṇaṃ liṅgaṃ yākṣaṃ cordhvaśiro'nvitam || 82 yakṣākhyāyāṃ pratiṣṭhāpya yakṣadiksvāmyamāpnuyāt | gadāmastaka liṅgaṃ tu gadāṅke sthāpya deśikaḥ || 83 jāmbūnadasukhaprāptiṃ atīvabaladaṃ matam | jayaṃ dhairyaṃ tathā rājyaprāptiṃ ca prabhutāmapi || 84 labhate nātra sandeho mantraissānnidhyamāgatam |

The Linga associated with the lineaments told for the Linga of the north-west and with a raised top should be installed in the yaksha-pedestal kept in the north. Through the worship of such Linga, the sadhaka attains lordship over the region in the north. The top of such Linga should be provided with the insigmia of mace-weapon and its pedestal also should be marked with the insignia of mace. By worshipping such Linga which is with vibrant presence of yaksha through the recital of relevant of mantras, the sadhaka attains the pleasure of owning a heap of 'jambunada', a supreme type of gold; attains extraordinary strength, victory, courage, kingdom and supreme lordship. One cannot doubt about such great achiements.

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85-88

दैर्घ्यार्धं रौद्रवत् कृत्वा रसाङ्गैः पद्मसंभवम् || ८५ एकादशांशो विष्ण्वंशः पार्श्वै रामैस्तु वर्धनात् | अष्टाश्रं वृत्तकं रौद्रं पार्श्वमध्ये त्रिरुन्नतम् || ८६ कुक्कुडाण्ड शिरोयुक्तं लिङ्गमैशाख्य पीठके | स्थापयिता स्वदिग्साम्यं लिङ्गं शूल शिरोयुतम् || ८७ शुलाख्यायां तु संस्थाप्य पृथिवीशत्वमाप्नुयात् | ज्ञानविज्ञान मोक्षार्थं योगीशत्व प्रदायकम् || ८८ शिवप्रदायकं सौख्यं तद्वत् साम्राज्य सिद्धिदम् |

dairghyārdhaṃ raudravat kṛtvā rasāṅgaiḥ padmasaṃbhavam || 85 ekādaśāṃśo viṣṇvaṃśaḥ pārśvai rāmaistu vardhanāt | aṣṭāśraṃ vṛttakaṃ raudraṃ pārśvamadhye trirunnatam || 86 kukkuḍāṇḍa śiroyuktaṃ liṅgamaiśākhya pīṭhake | sthāpayitā svadigsāmyaṃ liṅgaṃ śūla śiroyutam || 87 śulākhyāyāṃ tu saṃsthāpya pṛthivīśatvamāpnuyāt | jñānavijñāna mokṣārthaṃ yogīśatva pradāyakam || 88 śivapradāyakaṃ saukhyaṃ tadvat sāmrājya siddhidam |

Half of the height of the linga should be taken for the rudra bhaga. The remaing half should be divided into 17 equal parts. 6 parts are for the brahma bhaga and 11 parts are for the vishnu bhaga which should be eight sided. The rudra bhaga should be circular. In the middle of the two sides of the rudra bhaga, three vertical projections should be given. The top of the rudra bhaga should be in the shape of umbrella. If such Linga is installed in the pedestal kept in the north-east and systematically worshipped, the worshipper would attain lordship over the region in that direction. The top of the Linga should be provided with the insignia of trident and its pedestal also should be associated with the trident mark. By worshipping such Linga, the sadhaka attains supreme lordship over the country. For the attainment of spiritual knowledge and liberation, such Linga should be worshipped. Such Linga is efficacious in bestowing mastership in sivayoga, auspicious qualities of Siva, blissful state and kingdom

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89-91

उत्सेधे ग्रहभक्ते तु वेदाश्रं तु शरांशकम् || ८९ वस्वस्रं पूर्ववद् वृत्तं लिङ्गं छत्र शिरोयुतम् | ब्राह्म्यां संस्थाप्यित्वा तु स्वदिगीशत्वं आप्नुयात् || ९० तदेवाब्जशिरः पाद्मं पद्माङ्कायां प्रतिष्ठितम् | खेचरीशत्वं आप्नोति साम्राज्यफल साधनम् || ९१

utsedhe grahabhakte tu vedāśraṃ tu śarāṃśakam || 89 vasvasraṃ pūrvavad vṛttaṃ liṅgaṃ chatra śiroyutam | brāhmyāṃ saṃsthāpyitvā tu svadigīśatvaṃ āpnuyāt || 90 tadevābjaśiraḥ pādmaṃ padmāṅkāyāṃ pratiṣṭhitam | khecarīśatvaṃ āpnoti sāmrājyaphala sādhanam || 91

The height of the Linga should be divided into 9 equal parts and 5 parts should be taken for the four sided brahna bhaga. The eight sided vishnu bhaga and the circular rudra bhaga should be designed as done earlier. The top of the rudra bhaga should be in the shape of umbrella. By installing such Linga in the pedestal kept between the north-east and east and worshipping it, the sadhaka would attain lordship over the region in that direction. The top of the Linga should be provided with the insignia of lotus and the pedestal should be marked with the insignia of lotus. By worshipping this Linga, the sadhaka would gain mastership over the power of roaming in different spaces. This Linga is capable of rewarding with the desired kingdom.

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92-93

गायत्र्यंशे तु लिङ्गोच्चे शरांशैश्चतुरश्रकम् | पूर्ववन्मध्यवृत्ते तु मस्तकं त्रपुषोपमम् || ९२ संस्थाप्य गारुडे पीठे तद्दिक्स्वाम्यफलं भवेत् | चक्रमस्तक संयुक्तं चक्राङ्कायां तु देशिकः || ९३ न्यस्त्वा पातालसिद्धिं च रसायनं अवाप्नुयात्

gāyatryaṃśe tu liṅgocce śarāṃśaiścaturaśrakam | pūrvavanmadhyavṛtte tu mastakaṃ trapuṣopamam || 92 saṃsthāpya gāruḍe pīṭhe taddiksvāmyaphalaṃ bhavet | cakramastaka saṃyuktaṃ cakrāṅkāyāṃ tu deśikaḥ || 93 nyastvā pātālasiddhiṃ ca rasāyanaṃ avāpnuyāt

The height of the Linga should be divided into 24 equal parts and 5 parts should be taken for the four sided brahma bhaga. The eight sided vishnu bhaga and the circular rudra bhaga should be designed as done before. The top of the rudra bhaga should be in the shape of cucumber. If such Linga is installed in the garuda-pedestal kept between the south-west and the west and worshipped regularly, the sadhaka would obtain lordship over the region in that direction. The top of the rudra bhaga should be provided with the insignia of wheel-weapon and the pedestal should be marked with the wheel. The Guru who designs the Linga in this way and worships it would attain the power of seeing the treasure hidden under the ground and attain mastery over the medicines meant for prolonging the life and for avoiding the onset of old age.

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94-95

लिङ्गायामे नवांशे तु ब्रह्मांशो गुणभागतः || ९४ तथा विष्णुर्हरश्चापि विस्ताराच्च तथैव ते | सिद्धिलिङ्गं इदं श्रेष्ठं विच्छायादोषपिण्डिकम् || ९५

liṅgāyāme navāṃśe tu brahmāṃśo guṇabhāgataḥ || 94 tathā viṣṇurharaścāpi vistārācca tathaiva te | siddhiliṅgaṃ idaṃ śreṣṭhaṃ vicchāyādoṣapiṇḍikam || 95

The height of the Linga should be divided into 9 equal parts and 3 parts should be taken for the brahma bhaga, 3 for the vishnu bhaga and 3 for the rudra bhaga. The diameter of the Linga should be determined according the height. Such Linga, which should be free from the defect of shadow, is of the foremost kind and it is known as the Siddhi Linga.

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96-98

आप्यादि देवलिङ्गेषु लोकपालार्चितेषु वा | सहस्रलिङ्गं कर्तव्यं तच्च प्रागुक्तवन्नयेत् || ९६ सर्वान् कामान्ददात्येतद्वागीशीकृत लक्षणम् | अर्चांशे वेदभागे तु नाहे नक्षत्र भाजिते || ९७ अष्टोत्तरशतं लिङ्गं सूत्रैर्विषययोजितैः | आढ्यादिलिङ्गान्युत्सेधैस्समखण्डानि कल्पयेत् || ९८ छत्रकुक्कुट खण्डेन्दु त्रपुषाभशिरांसि हि |

āpyādi devaliṅgeṣu lokapālārciteṣu vā | sahasraliṅgaṃ kartavyaṃ tacca prāguktavannayet || 96 sarvān kāmāndadātyetadvāgīśīkṛta lakṣaṇam | arcāṃśe vedabhāge tu nāhe nakṣatra bhājite || 97 aṣṭottaraśataṃ liṅgaṃ sūtrairviṣayayojitaiḥ | āḍhyādiliṅgānyutsedhaissamakhaṇḍāni kalpayet || 98 chatrakukkuṭa khaṇḍendu trapuṣābhaśirāṃsi hi |

The Linga in which the rudra bhaga is designed so as to be with 1000 miniature Lingas is known as 'sahasra linga'. Such Linga could be designed in Apya Linga and others, Deva Linga or the Lingas worshipped by the Gaurdians of eight directions, according to the directions given earlier. The Sahasra Linga designed so as to be associated with all the lineaments given in Silpa Sastra revealed by Vagisvari is capable of bestowing all the desired benefits. If the rudra bhaga is divided into four equal parts (horizontally)and its circumference is divided into 27 equal parts(vertically), that Linga becomes known as 'Ashtottara Sata Linga' (the Linga with 108 miniature Lingas). Such division should be made with suitable cord(thread) by the experts. For the Adhya Linga and other types, the height should be divided into three sections of equal measure. The top of these Lingas should be in the shape of umbrella, fowl`s egg, half moon or cucumber.

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99-103

धारालिङ्गं तथैकाश्रं द्वित्रयंशाश्रादिकं द्विजाः || ९९ साध्यसिद्धिस्सुतावाप्तिः पुराप्तिः काम्यलाभता | मृतिरुच्चाटनं द्वेषशान्ती पुष्टिर्वशीकृतिः || १०० आकर्षारोग्य रोगाश्च शोषणं च धनं सुखम् | मोहस्तंभाभिघाताश्च रक्षा पैशाच राक्षसैः || १०१ आसुरं पौरुषं चैव सादेशैशानभैरवम् | देवत्वं देवराजत्वं सर्वकामफलं च यत् || १०२ रुद्रत्वं च फलान्येषु लिङ्गेष्वेकाश्रकादिषु | एवमेव हि पीठानि कल्प्यान्यश्रविभेदतः || १०३

dhārāliṅgaṃ tathaikāśraṃ dvitrayaṃśāśrādikaṃ dvijāḥ || 99 sādhyasiddhissutāvāptiḥ purāptiḥ kāmyalābhatā | mṛtiruccāṭanaṃ dveṣaśāntī puṣṭirvaśīkṛtiḥ || 100 ākarṣārogya rogāśca śoṣaṇaṃ ca dhanaṃ sukham | mohastaṃbhābhighātāśca rakṣā paiśāca rākṣasaiḥ || 101 āsuraṃ pauruṣaṃ caiva sādeśaiśānabhairavam | devatvaṃ devarājatvaṃ sarvakāmaphalaṃ ca yat || 102 rudratvaṃ ca phalānyeṣu liṅgeṣvekāśrakādiṣu | evameva hi pīṭhāni kalpyānyaśravibhedataḥ || 103

O, the twice-born sages!, there are other types of Lingas such as 'Dhara Linga', 'One Sided', 'Two Sided' and others. They are suitable for the attainment of a siddhi primarily desired by the sadhaka, good decendents, sustained growth of prosperity and welfare, subduing others, attracting, health, a state free from diseases, dryness, riches, comforts, keeping the intended persons under delusion, keeping them in arrested state, hurting them heavily, keeping them under the spell of evil spirits, ghosts and goblins, attainment of various magic powers, firmness, courage, supremacy with the power of authority to issue orders, attainment of form and power equal to Isana, Bhairava, Devas, King of the Devas Rudra and all other desired fruits. The benefits other than mentioned here would also be attained through the worship of 'Asra Linga'(Lingas designed to be with 1side to 16 sides) and others. According to these Asra Lingas and other types of Lingas, corresponding pedestals should be designed.

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104-106

लिङ्गानां लक्षणं ख्यातं विविच्यन्ते शिरांसि च | अष्टांशे तु चतुर्भक्ते भागभाग विवर्धनात् || १०४ भवन्ति पुण्डरीकादिशिरांसि फलभेदतः | पुण्डरीकाद्यशोदीप्तिर्विशाले विपुलां श्रियम् || १०५ प्राप्नोति सर्वं श्रीवत्साद्विजयं शत्रुमर्दनात् | कुक्कुटाण्ड शिरस्तस्य चतुर्थांश विवर्धनात् || १०६ प्रजावृत्तिकरं यस्मात् प्रजां लेभे प्रजापतिः

liṅgānāṃ lakṣaṇaṃ khyātaṃ vivicyante śirāṃsi ca | aṣṭāṃśe tu caturbhakte bhāgabhāga vivardhanāt || 104 bhavanti puṇḍarīkādiśirāṃsi phalabhedataḥ | puṇḍarīkādyaśodīptirviśāle vipulāṃ śriyam || 105 prāpnoti sarvaṃ śrīvatsādvijayaṃ śatrumardanāt | kukkuṭāṇḍa śirastasya caturthāṃśa vivardhanāt || 106 prajāvṛttikaraṃ yasmāt prajāṃ lebhe prajāpatiḥ

So far, the lineaments of Lingas have been told. Now, the features of the top portion of the Lingas are detailed. If the rudra-bhaga is divided into eight equal parts , the top part should be again divided into four equal parts. By increasing the divisions of the top part, the top portion may be designed so as to appear like a compressed lotus and others. The various designings of the top are meant to yield different benefits. The top of the Linga designed in the form of closed lotus flower would yield celebrity, effulgence of the body and soul, extensive knowledge and great wealth. The top designed to be in the form of 'srivatsa'(a kind of ornament) would yield all the desired benefits, victory and the destruction of enemy. The modifications given in the fourth part of the rudra-bhaga so as to appear like the fowl's egg would enhance the welfare of a person. That person would, in course of time, attain leadership over the people living in the territory.

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107-110

Sओ fअर्, थे लिनेअमेन्त्स् ओf Lइन्गस् हवे बेएन् तोल्द्. Nओw, थे fएअतुरेस् ओf थे तोप् पोर्तिओन् ओf थे Lइन्गस् अरे देतैलेद्. If थे रुद्र-भग इस् दिविदेद् इन्तो एइघ्त् एqउअल् पर्त्स् , थे तोप् पर्त् स्होउल्द् बे अगैन् दिविदेद् इन्तो fओउर् एqउअल् पर्त्स्. Bय् इन्च्रेअसिन्ग् थे दिविसिओन्स् ओf थे तोप् पर्त्, थे तोप् पोर्तिओन् मय् बे देसिग्नेद् सो अस् तो अप्पेअर् लिके अ चोम्प्रेस्सेद् लोतुस् अन्द् ओथेर्स्. Tहे वरिओउस् देसिग्निन्ग्स् ओf थे तोप् अरे मेअन्त् तो यिएल्द् दिffएरेन्त् बेनेfइत्स्. Tहे तोप् ओf थे Lइन्ग देसिग्नेद् इन् थे fओर्म् ओf च्लोसेद् लोतुस् fलोwएर् wओउल्द् यिएल्द् चेलेब्रित्य्, एffउल्गेन्चे ओf थे बोद्य् अन्द् सोउल्, एxतेन्सिवे क्नोwलेद्गे अन्द् ग्रेअत् wएअल्थ्. Tहे तोप् देसिग्नेद् तो बे इन् थे fओर्म् ओf ऽस्रिवत्सऽ(अ किन्द् ओf ओर्नमेन्त्) wओउल्द् यिएल्द् अल्ल् थे देसिरेद् बेनेfइत्स्, विच्तोर्य् अन्द् थे देस्त्रुच्तिओन् ओf एनेम्य्. Tहे मोदिfइचतिओन्स् गिवेन् इन् थे fओउर्थ् पर्त् ओf थे रुद्र-भग सो अस् तो अप्पेअर् लिके थे fओwल्ऽस् एग्ग् wओउल्द् एन्हन्चे थे wएल्fअरे ओf अ पेर्सोन्. Tहत् पेर्सोन् wओउल्द्, इन् चोउर्से ओf तिमे, अत्तैन् लेअदेर्स्हिप् ओवेर् थे पेओप्ले लिविन्ग् इन् थे तेर्रितोर्य्.

So far, the lineaments of Lingas have been told. Now, the features of the top portion of the Lingas are detailed. If the rudra-bhaga is divided into eight equal parts , the top part should be again divided into four equal parts. By increasing the divisions of the top part, the top portion may be designed so as to appear like a compressed lotus and others. The various designings of the top are meant to yield different benefits. The top of the Linga designed in the form of closed lotus flower would yield celebrity, effulgence of the body and soul, extensive knowledge and great wealth. The top designed to be in the form of 'srivatsa'(a kind of ornament) would yield all the desired benefits, victory and the destruction of enemy. The modifications given in the fourth part of the rudra-bhaga so as to appear like the fowl's egg would enhance the welfare of a person. That person would, in course of time, attain leadership over the people living in the territory.

If the top portion of the rudra bhaga is divided into three equal parts and if one upper part is designed to be in the above mentioned form and worshipped, the worshipper would attain lordship over the seven worlds. Such worship would result in the attainment of prosperity and longevity. Having divided the top portion into six equal parts, the Guru should work with them as prescribed in the Sastras so as to render the top to be in the form of cucumber. The worship of such Linga with cucumber-top would yield exalted wealth and state. The worshipper would attain riches and greatness as bestowed by the Sadhyas, Rishis and Devas. Having worshipped such Lingas even in a normal way, the foremost devotees would attain all the benefits as contemplated by them and at the end of their life, they would be elevated to the supreme world of Siva. In this way, the features and the benefits of the Lingas whose top portion is designed to be in the form of umbrella and others have been explained. The installation of such Lingas should be done according to the rules set forth earlier.

50 Directions for the Installation of Sakti

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1-2

देव्यास्संस्थापनं वक्ष्ये तल्लक्षण पुरस्सरम् | शिलादि द्रव्यमापाद्य तैः कुर्यात् प्रतिमां ततः || १ ग्रामादौ शिवहर्म्ये तु अष्टदिग्वन्तरालके | गौरीप्रतिष्ठा कर्तव्या इष्टदेशे मनोरमे || २

devyāssaṃsthāpanaṃ vakṣye tallakṣaṇa purassaram | śilādi dravyamāpādya taiḥ kuryāt pratimāṃ tataḥ || 1 grāmādau śivaharmye tu aṣṭadigvantarālake | gaurīpratiṣṭhā kartavyā iṣṭadeśe manorame || 2

I will tell you the process of installation of Sakti. First, the lineaments of various forms of Sakti are told. Having collected the suitable material such as stone and others , the Guru should design the image of Sakti. In a suitable and charming place selected as desired, in the village and other settlements, in the temple of Siva or in the space available between the eight directions, the installation of the image of Sakti should be done.

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3-4

I wइल्ल् तेल्ल् योउ थे प्रोचेस्स् ओf इन्स्तल्लतिओन् ओf Sअक्ति. Fइर्स्त्, थे लिनेअमेन्त्स् ओf वरिओउस् fओर्म्स् ओf Sअक्ति अरे तोल्द्. Hअविन्ग् चोल्लेच्तेद् थे सुइतब्ले मतेरिअल् सुछ् अस् स्तोने अन्द् ओथेर्स् , थे Gउरु स्होउल्द् देसिग्न् थे इमगे ओf Sअक्ति. Iन् अ सुइतब्ले अन्द् छर्मिन्ग् प्लचे सेलेच्तेद् अस् देसिरेद्, इन् थे विल्लगे अन्द् ओथेर् सेत्त्लेमेन्त्स्, इन् थे तेम्प्ले ओf Sइव ओर् इन् थे स्पचे अवैलब्ले बेत्wएएन् थे एइघ्त् दिरेच्तिओन्स्, थे इन्स्तल्लतिओन् ओf थे इमगे ओf Sअक्ति स्होउल्द् बे दोने.

I will tell you the process of installation of Sakti. First, the lineaments of various forms of Sakti are told. Having collected the suitable material such as stone and others , the Guru should design the image of Sakti. In a suitable and charming place selected as desired, in the village and other settlements, in the temple of Siva or in the space available between the eight directions, the installation of the image of Sakti should be done.

The shrine of Sakti should be constructed so that its breadth may be from one hasta up to fifty-one hastas. The height of shrine should be determined based on the breadth, as told earlier. The six-membered basement should be constructed as done before. The finial part of the vimana may be in the form of sala(elongated) or sabha(square) or prasada. The number of mastaka and sthupi may be from one to eleven

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5-6

दिग्देवतासु देव्यास्तु रूपभेदाः प्रकीर्तिताः || ५ शिवायतन देवा वा गणपः षण्मुखोऽपि वा | सिंहो वा वृषभो वापि वाहनं परिकीर्तितम् || ६ शुका वा कोणदेशे स्युरन्यत् प्रागुक्तवन्नयेत्

digdevatāsu devyāstu rūpabhedāḥ prakīrtitāḥ || 5 śivāyatana devā vā gaṇapaḥ ṣaṇmukho'pi vā | siṃho vā vṛṣabho vāpi vāhanaṃ parikīrtitam || 6 śukā vā koṇadeśe syuranyat prāguktavannayet

The retinue Deities of Sakti to be installed in the eight directions are said to be of various forms. The images of the Deities installed in the Siva-temple, of Ganesa or Skanda may be designed in the vimana. In the intermediary directions, lion-vehicle or bull-vehicle or parrot may be installed. Other structural designs should be provided as detailed earlier.

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7-8

पूर्वास्यं पश्चिमास्यं वा दक्षिणास्यम् समीरितम् || ७ उत्तरास्यं तु वा कुर्यात् सर्वं तत्सम्पदां पदम् | कृताचेद्गर्भमानेन तद्विस्तारो विशिष्यते || ८ आयामो वाथ संग्राह्यः प्रतिमालक्षणोक्तितः |

pūrvāsyaṃ paścimāsyaṃ vā dakṣiṇāsyam samīritam || 7 uttarāsyaṃ tu vā kuryāt sarvaṃ tatsampadāṃ padam | kṛtācedgarbhamānena tadvistāro viśiṣyate || 8 āyāmo vātha saṃgrāhyaḥ pratimālakṣaṇoktitaḥ |

The Sakti may be installed so as to be facing the east, west, south or north. Whichever may the direction, the Sakti should be installed in the appropriate grid of the vastu which is capable of yielding auspicious effects. If the shrine of Sakti is to be constructed based on the measurements of the main shrine, the breadth of the main shrine should be taken as the basic. Or, its length may be taken as the basic and the corresponding measurements of the shrine of Sakti should be determined, as detailed in the chapter dealing with the lineaments of the images.

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9-12

धाम्नि दिग्देवताः स्थाप्यास्तद्देवी रूपविग्रहाः || ९ रुद्रस्कन्द गणेशा वा द्वादशान्त तलान्विते | हर्म्यकोणेषु वृषभं सिंहं वा परिकल्पयेत् || १० प्रासाद भित्ति देवानां अशेषाणामपि प्रभोः | प्रासादस्य प्रतिष्ठायां प्रतिष्ठा परिकीर्तिता || ११ रुद्रावतार क्रीडासु प्रतिष्ठा नैव कीर्तिता | प्राकार परिवारांश्च मण्टपादींश्च कल्पयेत् || १२

dhāmni digdevatāḥ sthāpyāstaddevī rūpavigrahāḥ || 9 rudraskanda gaṇeśā vā dvādaśānta talānvite | harmyakoṇeṣu vṛṣabhaṃ siṃhaṃ vā parikalpayet || 10 prāsāda bhitti devānāṃ aśeṣāṇāmapi prabhoḥ | prāsādasya pratiṣṭhāyāṃ pratiṣṭhā parikīrtitā || 11 rudrāvatāra krīḍāsu pratiṣṭhā naiva kīrtitā | prākāra parivārāṃśca maṇṭapādīṃśca kalpayet || 12

The directional Deities whose forms are of the nature of Sakti should be installed. If the shrine is to be with twelve storeys, the forms of Rudra, Skanda or Ganesa may be provided in the vimana. In the intermediary directions, either the bull or the lion may be designed. All the images of the Devas designed in the surrounding wall of the temples of Siva may be provided in the surrounding wall of the Sakti-shrine. Thus the process of installation has been declared. The forms of Rudra, manifested palyfuly under variuos contexts should never be installed in the shrine of Sakti. The retinue Deities and their miniature shrines exclusively belonging to the enclosures of the Sakti-shrine should be installed.

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13-16

वामाद्याश्शक्तयो वापि परिवारे व्यवस्थिताः | श्री दुर्गा क्ष्मा शशिन्या च गायत्री चाप्युषा तथा || १३ सन्ध्या सरस्वतीत्येताः स्थाप्या वा मुनिपुङ्गवाः | प्रज्ञा मेधा श्रुतिश्चैव स्मृतिः स्वाहा वषट् च वै || १४ धृतिर्मतिश्च पूर्वादि क्रमाद्देव्यः प्रकीर्तिताः | अथवा ज्येष्ठयोपेतास्सप्त मातर ईरिताः || १५ देहली पेषणी चुल्ली खण्डनोलूखली तथा | मुसली मुद्गरी देवी वर्धमानी च वा मताः || १६ चतुर्हस्ता इष्टास्त्राः पद्महस्तास्तु व मताः

vāmādyāśśaktayo vāpi parivāre vyavasthitāḥ | śrī durgā kṣmā śaśinyā ca gāyatrī cāpyuṣā tathā || 13 sandhyā sarasvatītyetāḥ sthāpyā vā munipuṅgavāḥ | prajñā medhā śrutiścaiva smṛtiḥ svāhā vaṣaṭ ca vai || 14 dhṛtirmatiśca pūrvādi kramāddevyaḥ prakīrtitāḥ | athavā jyeṣṭhayopetāssapta mātara īritāḥ || 15 dehalī peṣaṇī cullī khaṇḍanolūkhalī tathā | musalī mudgarī devī vardhamānī ca vā matāḥ || 16 caturhastā iṣṭāstrāḥ padmahastāstu va matāḥ

Or, the eight Saktis, from Vama to Sarvabhutadamani, may be installed as the retinue Deities. O, the foremost sages!, Sri, Durga, Kshma, Sasinya, Gayatri, Usha, Sandhya and Sarasvati - these eight Devis may be installed instead of Vama and other Saktis. Prajna, Medha, Sruti, Smruti, Svaha, Vashat, Dhruti, and Mati - these are to be installed in the eight directions starting from the east as the retinue Devis of Sakti. Or, the seven Mothers and Jyeshta Devi may be installed. Dehali, Peshani, Culli, Khandani, Ulukhali, Musali, Mudgari and Vardhamani - these eight Devis may also be installed. These Devis are to be designed so as to be with four hands, holding the specific weapons belonging to them. They may be designed as seated on the lotus-pedestal.

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17-20

वृषो गणधिपः स्कन्दो महाशास्ता धनेश्वरः || १७ वीरश्च क्षेत्रपालश्च भास्करः पूर्वतो दिशि | नैरृते वाग्निदेशे वा विघ्नेशं संप्रकल्पयेत् || १८ इन्द्रादीन्वा तदस्त्राणि कल्पयेत् पूर्वतो दिशि | निर्माल्यधारिणीं देवीं अशनीं ईशगोचरे || १९ पूर्वोक्त परिवारान्वा कल्पयेद्देशिकोत्तमाः | महापीठे विशेषेण सर्वाश्चाप्सरसः स्थिताः || २०

vṛṣo gaṇadhipaḥ skando mahāśāstā dhaneśvaraḥ || 17 vīraśca kṣetrapālaśca bhāskaraḥ pūrvato diśi | nairṛte vāgnideśe vā vighneśaṃ saṃprakalpayet || 18 indrādīnvā tadastrāṇi kalpayet pūrvato diśi | nirmālyadhāriṇīṃ devīṃ aśanīṃ īśagocare || 19 pūrvokta parivārānvā kalpayeddeśikottamāḥ | mahāpīṭhe viśeṣeṇa sarvāścāpsarasaḥ sthitāḥ || 20

Bull, Ganesa, Skanda, Maha Sasta, Dhanesvara, Virabhadra, Kshetrapala and Surya are to be installed in eight directions, starting from the east. Ganesa may be installed in the south-west or in the south-east. Or, Indra and other Lokapalas and their weapons may be installed, in all the eight directions starting from the east. Asani, who has been empowered to hold the flowers and garlands offered to Sakti(nirmalya dharini) should be installed in the north-east. (Asani is the name of Candesvari of Sivasakti). Or, the foremost Guru may install the retinhue Saktis mentioned before. The celestial ladies known as 'Apsaras' are ever present in the great pedestal (maha balipitha) of Sakti.

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21-23

देव्या मानं त्रिधा प्रोक्तं शिवलिङ्गानुरूपतः | पूजांश सदृशं वाथ द्विगुणं त्रिगुणं तु वा || २१ चतुष्पञ्चगुणं वापि पूजांशोच्च त्रिपादकम् | अर्धं तदन्तरेऽष्टांशे नवमानं च वा भवेत् || २२ पूजांशोच्चं चतुर्त्रिंशच्छतं वाथ विभज्य च | भ्रूदृग्घ्राणास्यकर्णान्तं बाहुकक्षस्तनान्तकम् || २३

devyā mānaṃ tridhā proktaṃ śivaliṅgānurūpataḥ | pūjāṃśa sadṛśaṃ vātha dviguṇaṃ triguṇaṃ tu vā || 21 catuṣpañcaguṇaṃ vāpi pūjāṃśocca tripādakam | ardhaṃ tadantare'ṣṭāṃśe navamānaṃ ca vā bhavet || 22 pūjāṃśoccaṃ caturtriṃśacchataṃ vātha vibhajya ca | bhrūdṛgghrāṇāsyakarṇāntaṃ bāhukakṣastanāntakam || 23

The proportionate measurements of the image of sakti are determined in three different ways. The height of the image being equal to that of Sivalinga, equal to the height of rudra-bhaga and two, three, four and five times the height of rudra-bhaga - these are the measurements derived in three ways. If the difference between three-fourth and half of the height of the rudra bhaga are divided into eight equal parts, nine kinds of measures would be available for the height of the image of Sakti. The height 'pujamsa'(rudra bhaga) should be divided into 34 equal parts, and the proportionate measurements of the eye-brows, eyes, nose, mouth, ears, shoulders and chest should be determined based on the 34 divisions of pujamasa.

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24-26

लिङ्गमानवशाद्देवीमानं निष्कल संज्ञके| प्रतिमा मानतस्तस्या मानमेवं समीरितम् || २४ स्वयंप्रधाना देवी चेत् स्वधामादि प्रमाणजा | तच्च पूर्ववदेव स्यादथ मानाङ्गुलेन वा || २५ मात्राङ्गुले गृहार्चायां यवैर्वा परिकल्पयेत् | ततश्चेयं प्रकर्तव्या देवी प्रोक्त प्रमाणतः || २६

liṅgamānavaśāddevīmānaṃ niṣkala saṃjñake| pratimā mānatastasyā mānamevaṃ samīritam || 24 svayaṃpradhānā devī cet svadhāmādi pramāṇajā | tacca pūrvavadeva syādatha mānāṅgulena vā || 25 mātrāṅgule gṛhārcāyāṃ yavairvā parikalpayet | tataśceyaṃ prakartavyā devī prokta pramāṇataḥ || 26

The proportionate measurements of Devi may be ascertained based on the height of Sivalinga installed in the main shrine. They may be ascertained based on the fully formed image(pratima). Devi installed in a separate temple is known as 'Svayam Pradhana Devi'(independent Sakti). The proportionate measurements of Independent Sakti should be determined based on the breadth of the temple, of the main shrine of that temple and other parts. These should be ascertained in the manner explained earlier. Or, such proportionate measurements may be calculated with 'mana angula' units. The measurement of the image of Sakti to be worshipped in the home-shrine should be calculated with 'matra angula' or with 'yava' units. In this way, the image of Sakti should be designed according to the proportionate measurements mentioned above.

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27-29

चतुर्भुजा त्रिणेत्रा च सुप्रसन्नैक वक्त्रका | दुकूलवसना देवी करण्ड मकुटान्विता || २७ वरदाभ्य संयुक्ता पाशाङ्कुश करान्विता | द्विभुजा वा द्विनेत्रा वा प्रलम्बित करान्विता || २८ पद्महस्तातिशान्ता च सा देवी कनक प्रभा | शुकोत्पलकरा वापि शूलपाशकरापि वा || २९

caturbhujā triṇetrā ca suprasannaika vaktrakā | dukūlavasanā devī karaṇḍa makuṭānvitā || 27 varadābhya saṃyuktā pāśāṅkuśa karānvitā | dvibhujā vā dvinetrā vā pralambita karānvitā || 28 padmahastātiśāntā ca sā devī kanaka prabhā | śukotpalakarā vāpi śūlapāśakarāpi vā || 29

The form of Sakti should be conceived as having four hands, three eyes, one face with benign and charming look, attired with silken cloth, adorned with the karanda-type of crown , hands showing the fear-dispelling gesture and boon-giving gesture, noose and goad. Or, the form may be conceived as having two hands, two eyes, the left hand stretching down and the right hand holding a lotus and shining with golden hue. Or, the two hands may be designed as holding a parrot and utpala-flower or holding the trident and noose.

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33-33

यथेष्टास्त्रापि वा शङ्खचक्रहस्ता तु षड्भुजा | दंष्ट्राकराल वदना पञ्चास्या दशदोर्युता || ३० देवोक्तात्रासना वापि देवालिङ्गन तत्परा | देवोरुसंस्थिता वापि स्थानकासन संयुता || ३१ प्रलम्ब वामपादा वा लम्बितापर पादिका | देवेन सहिता वापि केवला वा प्रकीर्तिता || ३२ श्यामा श्वेताथवा रक्ता साधकेच्छानुरूपतः | ऋज्वाकारयुता वापि द्विभङ्गसहिताथवा || ३३

yatheṣṭāstrāpi vā śaṅkhacakrahastā tu ṣaḍbhujā | daṃṣṭrākarāla vadanā pañcāsyā daśadoryutā || 30 devoktātrāsanā vāpi devāliṅgana tatparā | devorusaṃsthitā vāpi sthānakāsana saṃyutā || 31 pralamba vāmapādā vā lambitāpara pādikā | devena sahitā vāpi kevalā vā prakīrtitā || 32 śyāmā śvetāthavā raktā sādhakecchānurūpataḥ | ṛjvākārayutā vāpi dvibhaṅgasahitāthavā || 33

The form of Sakti may be designed as holding in the hands the desired weapons, conch and wheel; or as having six hands. The ferocious Sakti may be designed as having frightful face with protruding tooth or as having five faces and ten hands. The image of Sakti may be shown as seated on the pedestal designed for Siva, as embracing Siva, or as seated on the left thigh of Siva. If the image is designed to be in standing pose , a pedestal applicable to such pose should be provided. The left leg should be shown as stretched down straitly(if the image is to be in the right side of Siva) or the right leg should be shown as stretched down straitly(if on the left side of Siva). The image of Sakti may be installed as associated with Siva or Sakti alone(without Siva) may be installed. The form of Sakti may be conceived to be in the color of bluish black, white or red or in any color as desired by the sadhaka. The image may be designed to be strait from feet to head or as having two bends.

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34-35

मूलदेव्याः प्रमाणं तु पूर्वमुक्तं द्विजोत्तमाः | उत्सवाद्यङ्गदेवीनां मानं यन्मूलबेरजम् || ३४ लिङ्गमानवशात् प्रोक्तं मूलदेवीवशात्तथा | अङ्गेषु मानं संग्राह्यं जानूरू सममेव वा || ३५

mūladevyāḥ pramāṇaṃ tu pūrvamuktaṃ dvijottamāḥ | utsavādyaṅgadevīnāṃ mānaṃ yanmūlaberajam || 34 liṅgamānavaśāt proktaṃ mūladevīvaśāttathā | aṅgeṣu mānaṃ saṃgrāhyaṃ jānūrū samameva vā || 35

O, the foremost twice-born sages!, the proportionate measurements of the Devi to be installed in the main shrine of Sakti-temple should be ascertained according to the process explained earlier. The proportionate measuremebts of the festival icons and the retinue Deities and those of the main image of Sakti should be derived from the height of Sivalinga of the main shrine. The proportionate measurements of various limbs of the form such as the kness, thighs and others should be derived from the height of the Sakti installed in the main shrine.

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36-38

एवं देवी प्रकर्तव्या तस्याः संज्ञाः द्विधा मता | मनोन्मनीति गौरीति लक्ष्मभेदस्तु नानयोः || ३६ मूर्तिस्सादाशिवी यत्र कल्प्यते तत्र कल्प्यताम् | तदा मनोन्मनी संज्ञां लभते विप्रसत्तमाः || ३७ नृत्तमूर्त्यादि भेदेषु गौर्याद्याख्यां समस्नुते | कृत्वा सलक्षणां देवीं मन्त्रैस्संस्थापयेत्ततः || ३८

evaṃ devī prakartavyā tasyāḥ saṃjñāḥ dvidhā matā | manonmanīti gaurīti lakṣmabhedastu nānayoḥ || 36 mūrtissādāśivī yatra kalpyate tatra kalpyatām | tadā manonmanī saṃjñāṃ labhate viprasattamāḥ || 37 nṛttamūrtyādi bhedeṣu gauryādyākhyāṃ samasnute | kṛtvā salakṣaṇāṃ devīṃ mantraissaṃsthāpayettataḥ || 38

The image of the Sakti should be designed in this way. It is to be known that Sakti is conceived in two ways as Manonmani and Gauri. No form apart from these two has been told. O, the supreme twice-born sages!, the image of Sakti installed in a place where the form of Sadasiva(Sivalinga) has been installed gains the specific name "Manonmani". The image of Sakti installed as associated with one of various forms of Siva, such as Nataraja and others gains the specific name "Gauri". Having designed the image of Sakti so as to be with all the prescribed lineaments, the Guru should install the form with the recital of concerned mantras.

51 Directions for the Installation of Vighnesa

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1-3

विघ्नेशस्थापनं वक्ष्ये लक्षणादिपुरस्सरम् | पुरादावष्टदिक्ष्वन्ते वान्तराले तदालयः || १ शिवधाम्न्यष्टदिक्ष्वष्टस्तद्देशे मण्टपादिषु | चैत्यवृक्षादि देशेषु तन्मूले वाखिलालये || २ आपणे वाथ रथ्यायां गृहे वा यत्र कुत्रचित् | यथेष्टदिशि वक्त्रं स्याद्विघ्नेशस्य हि कीर्तितम् || ३

vighneśasthāpanaṃ vakṣye lakṣaṇādipurassaram | purādāvaṣṭadikṣvante vāntarāle tadālayaḥ || 1 śivadhāmnyaṣṭadikṣvaṣṭastaddeśe maṇṭapādiṣu | caityavṛkṣādi deśeṣu tanmūle vākhilālaye || 2 āpaṇe vātha rathyāyāṃ gṛhe vā yatra kutracit | yatheṣṭadiśi vaktraṃ syādvighneśasya hi kīrtitam || 3

Now, I will explain the process of installation of Vighnesvara, preceded by the delineation of features of the form of Vighnesvara. At the boundary of the city or village, in all the eight directions and in the place located between the directions, the temple for Ganesa could be built. In all the directions of Siva-temple, eight forms of Ganesa could be installed in the fitting mantapas(small shrines). In the sacred places in which fig-trees and other trees fit for the sacrificial rituals have grown, at the bottom of fig-tree, in all the temples, in the market place, in a place where many roads meet, in the homes and in all other places, shrine for Ganesa could be built. The image of Vighnesa may be installed as facing any desired direction.

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4-7

अथैकादित्र्यस्त्रिंशद्धस्तविस्तार संयुतः | एकादिनवभूम्यन्त भूमिभाग समन्वितः || ४ विशेषाद्गजपृष्ठाभस्त्वन्यरूपयुतोऽथवा | दिक्षुविघ्नेश्वरोपेतः कोणे मूषिकसंयुतः || ५ गणो वा स्कन्दरूपाढ्यस्त्वधमालय ईरितः | पूर्ववत्कृतसद्गर्भः प्रथमेष्टकयान्वितः || ६ दिग्देवमूर्ति संयुक्तो मध्यकुम्भयुतो न वा | धाम्नस्संस्थापनेनापि युक्तः प्रागुक्त वर्त्मना || ७

athaikāditryastriṃśaddhastavistāra saṃyutaḥ | ekādinavabhūmyanta bhūmibhāga samanvitaḥ || 4 viśeṣādgajapṛṣṭhābhastvanyarūpayuto'thavā | dikṣuvighneśvaropetaḥ koṇe mūṣikasaṃyutaḥ || 5 gaṇo vā skandarūpāḍhyastvadhamālaya īritaḥ | pūrvavatkṛtasadgarbhaḥ prathameṣṭakayānvitaḥ || 6 digdevamūrti saṃyukto madhyakumbhayuto na vā | dhāmnassaṃsthāpanenāpi yuktaḥ prāgukta vartmanā || 7

The breadth of the temple may be from one hasta up to 33 hastas and the number of floors may be from one to nine. Specifically, the main shrine may be designed in such a way that its back side is in the likeness of the hind part of an elephant(gajaprushtha) or designed to be in some other suitable form. Various forms of Vighnesa should be designed in the four directions of the vimana and the mouse-vehicle(mushika) should be designed in all the four corners. The temple is considered to be in the lower category, if the sides of vimana are provided with various forms of Ganas and Skanda. The temple should be with well-formed main shrine duly deposited with the first-stone. It should be provided with the directional Deities(lokapalas) . It may or may not be provided with the kumbha in the middle. In the main shrine of such a temple, Vighnesa should be installed according to the directions set forth earlier.

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8-10

प्राकारमण्टपोपेतो मन्टपाद्यैश्च मण्डितः | मण्टपो वालयस्तस्य कूटाद्याकार एव वा || ८ परितः परिवारोक्तः प्रसंगात् स च कथ्यते | विश्वरूपं विशालाक्षं अक्षयं मदविभ्रमम् || ९ उन्मत्तं ललितं भीमं तीक्ष्णदंष्ट्रं यथाक्रमम् | अस्याष्टमूर्तीशान्वाष्ट पीठानिन्द्राद्यधिष्ठितम् || १०

prākāramaṇṭapopeto manṭapādyaiśca maṇḍitaḥ | maṇṭapo vālayastasya kūṭādyākāra eva vā || 8 paritaḥ parivāroktaḥ prasaṃgāt sa ca kathyate | viśvarūpaṃ viśālākṣaṃ akṣayaṃ madavibhramam || 9 unmattaṃ lalitaṃ bhīmaṃ tīkṣṇadaṃṣṭraṃ yathākramam | asyāṣṭamūrtīśānvāṣṭa pīṭhānindrādyadhiṣṭhitam || 10

The temple should be associated with enclosures beautified with many pavilions(mantapas). The mantapa should be with a roof designed in the form of kuta, sabha or sala. The retinue Deities should be installed in all directions. As occasioned by the context, the names of the retinue Deities are told now. Visvarupa, Visalaksha, Akshaya, Madavibhrama, Unmatta, Lalita, Bhima and Tikshnadamshtra - these are to be installed in eight directions starting from the east. These are the eight forms of Ganesa(ashta murtis). Eight bali-pithas, occupied by Indra and other Lokapalas should be designed in all the eight directions.

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11-14

कल्पयेत् पूर्ववत् सम्यग् द्वाराग्रे मूषिक च वै | द्वारपौ कल्पयेद् द्वारि विकटं भीममेव च || ११ कुम्भोदरं तथैशान्यां न्यसेन्निर्माल्य धारिणम् | आमोदश्च प्रमोदश्च सुमुखो दुर्मुखस्तथा || १२ अविघ्नो विघ्नराजश्च भक्ष्याशी पञ्चहस्तकः | एतेऽष्टमूर्तिपाः ख्यातास्त्वन्यथा च निगद्यते || १३ हस्तिवक्त्रः प्रलम्बोष्ठो विघ्नेशश्च गणाधिपः | विनायकैकदन्तौ च भक्ष्यप्रियोऽहिमेखलः || १४ विग्नेश्वरनिभा ह्येते विघ्नेशस्याष्टमूर्तिपाः |

kalpayet pūrvavat samyag dvārāgre mūṣika ca vai | dvārapau kalpayed dvāri vikaṭaṃ bhīmameva ca || 11 kumbhodaraṃ tathaiśānyāṃ nyasennirmālya dhāriṇam | āmodaśca pramodaśca sumukho durmukhastathā || 12 avighno vighnarājaśca bhakṣyāśī pañcahastakaḥ | ete'ṣṭamūrtipāḥ khyātāstvanyathā ca nigadyate || 13 hastivaktraḥ pralamboṣṭho vighneśaśca gaṇādhipaḥ | vināyakaikadantau ca bhakṣyapriyo'himekhalaḥ || 14 vigneśvaranibhā hyete vighneśasyāṣṭamūrtipāḥ |

As done before, the Guru should install the mouse-vehicle in front of the entrance and should design the two gaurdians of the entrance Vikata and Bhima. Kumbhodara who is empowered to hold the 'niramalaya' should be installed in the north-east of the main shrine. Amoda, Pramoda, Sumukha, Durmukha, Avighna, Vighnaraja, Bhakshyasi, Pancahastaka - these belong to another set of Ashtamurtis of Ganesa. There is also another set of Ashtamurtis comprising Hastivaktra, Pralamboshtha, Vignesa, Ganadhipa, Vinayaka, Ekadanta, Bhakshyapriya and Ahimekhala.

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15-16

द्वारस्थौ द्वारपौ कार्यौ भूतरूपौ द्विबाहुकौ || १५ हलपल्लवहस्ताढ्यौ दक्षिणे दण्डधारकौ | उग्रदंष्ट्रान्वितौ सिंहकन्धरस्थैकपादकौ || १६ रक्तवर्णनिभौ रौद्रौ द्वारपौ विकृताननौ |

dvārasthau dvārapau kāryau bhūtarūpau dvibāhukau || 15 halapallavahastāḍhyau dakṣiṇe daṇḍadhārakau | ugradaṃṣṭrānvitau siṃhakandharasthaikapādakau || 16 raktavarṇanibhau raudrau dvārapau vikṛtānanau |

The gaurdians of the entrance should be in the form of Bhuta(demon), having two hands, holding plough- weapon and tender leaf in their hands, holding a shaft on their right side, dreadful look and protruding tooth and placing one leg over the head of lion. Their complexion is red and they are dreadful. The gaurdians should be designed in this way.

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17-20

धूम्रवर्णस्तथा चाखू रक्तनेत्रस्सुदंष्ट्रवान् || १७ तीक्ष्णपुच्छश्चतुष्पादः किङ्किणीदामभूषितः | कुम्भोदरश्चतुर्हस्तष्टङ्कशूलासिदण्डधृक् || १८ रक्तवर्णो महादीप्तो भद्रपीठोपरिस्थितः | श्वेतवर्णा बृहत्कायाश्चित्राम्बरान्विताः || १९ पाशाङ्कुशोरुसंसिक्त स्वदन्तयुतबाहवः | परिवारा इति ख्याता गणेशाभिमुखस्थिताः || २०

dhūmravarṇastathā cākhū raktanetrassudaṃṣṭravān || 17 tīkṣṇapucchaścatuṣpādaḥ kiṅkiṇīdāmabhūṣitaḥ | kumbhodaraścaturhastaṣṭaṅkaśūlāsidaṇḍadhṛk || 18 raktavarṇo mahādīpto bhadrapīṭhoparisthitaḥ | śvetavarṇā bṛhatkāyāścitrāmbarānvitāḥ || 19 pāśāṅkuśorusaṃsikta svadantayutabāhavaḥ | parivārā iti khyātā gaṇeśābhimukhasthitāḥ || 20

The mouse-vehicle should be conceived as in smoky color. It has reddish eyes and protruding tooth. It is with sharp-tipped tail and four legs and adorned with the garland of kinkini(a kind of bell). Kumbhodara(Candesvara of Ganesa) has four hands, holding chisel, trident, knife and shaft. His color is red. Being with exceeding brilliance, he is seated on the pedestal known as 'bhadra pitha'. The retinue Deities are in white color and are with big belly attired with multi-colored cloth. Keeping one hand on the thigh, they are holding in other three hands noose, goad and their own tusk.

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21-22

परिवारान्तरे सर्वे क्षेत्रपाः परिकीर्तिताः | बलिपीठं महापीठं पूर्ववत् परिकल्पयेत् || २१ पीठस्याष्टदलेषूक्ता आमोदाद्यष्टमूर्तयः | भूतेशः कर्णिकाभ्यां च लोकपास्त्रीणि बाह्यतः || २२

parivārāntare sarve kṣetrapāḥ parikīrtitāḥ | balipīṭhaṃ mahāpīṭhaṃ pūrvavat parikalpayet || 21 pīṭhasyāṣṭadaleṣūktā āmodādyaṣṭamūrtayaḥ | bhūteśaḥ karṇikābhyāṃ ca lokapāstrīṇi bāhyataḥ || 22

In the place between the retinue Deities, the Gaurdians of the village or city should be installed. The bali-pita and the maha-pitha should be designed as explained before. In the eight petals of the bali-pitha the eight Gods, Ashtamurtis of Genesa, are present; in the pericarp, Bhutesvaras are present; Indra and other Lokapalas and their weapons are present in the outside.

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23-25

लक्षणं तस्य संक्षेपाच्छृणुध्वं विप्रसत्तमाः | द्रव्यैश्शिलादिभिः कुर्यात् पञ्चतालोत्तमेन तु || २३ पञ्चाश्द्भाजिते गर्भे पञ्चांशादेकवृद्धितः | त्रिंशद्भागावसानान्तं गर्भमानं उदाहृदम् || २४ स्तम्भद्वारोदयादेवं मानप्यत्र भाव्यताम् | प्रतिमालक्षणप्रोक्तमानं लिङ्गादिजं तु वा || २५

lakṣaṇaṃ tasya saṃkṣepācchṛṇudhvaṃ viprasattamāḥ | dravyaiśśilādibhiḥ kuryāt pañcatālottamena tu || 23 pañcāśdbhājite garbhe pañcāṃśādekavṛddhitaḥ | triṃśadbhāgāvasānāntaṃ garbhamānaṃ udāhṛdam || 24 stambhadvārodayādevaṃ mānapyatra bhāvyatām | pratimālakṣaṇaproktamānaṃ liṅgādijaṃ tu vā || 25

O, the foremost twice-born sages!, now I will tell you the lineaments of the image of Vighnesa, listen to these details. The image of Vighnesa should be made with stone and other materials, aplying the proportionate measurements based on the system of five-span(pancatala mana). If the breadth of the main shrine of Sivalinga is divided into 50 equal parts, the height of the image of Vighnesa may be from 5 parts up to 30 parts, increasing the height by one part each time. This is the height based on the 'garbha mana'. The height of Vighesa may be decided based on the height of the pillar or the entrance. The measurements pertaining to the lineaments prescibed for the image may be derived from the height of Linga and other main images.

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26-28

केशादि पादपर्यन्तं चतुष्षष्ट्यंशतो भजेत् | उष्णीषं एकमात्रेण तत्केशं द्व्यङ्गुलेन तु || २६ अर्काङ्गुलेन वक्त्रं स्याद् द्वाभ्यां कण्ठ इहेरितः | ततो हृदयपर्यन्तं रुद्राङ्गुलं इति स्मृतम् || २७ अर्काङ्गुलं तु नाभ्यन्तं मेढ्रान्तं कौशिकाङ्गुलम् | तथैव तस्माज्जान्वन्तं जान्वायामं गुणाङ्गुलम् || २८ जङ्घा चोरुसमा ज्ञेया तलोत्सेधं द्विमात्रकम् |

keśādi pādaparyantaṃ catuṣṣaṣṭyaṃśato bhajet | uṣṇīṣaṃ ekamātreṇa tatkeśaṃ dvyaṅgulena tu || 26 arkāṅgulena vaktraṃ syād dvābhyāṃ kaṇṭha iheritaḥ | tato hṛdayaparyantaṃ rudrāṅgulaṃ iti smṛtam || 27 arkāṅgulaṃ tu nābhyantaṃ meḍhrāntaṃ kauśikāṅgulam | tathaiva tasmājjānvantaṃ jānvāyāmaṃ guṇāṅgulam || 28 jaṅghā corusamā jñeyā talotsedhaṃ dvimātrakam |

If the height of the image, from the top of the head to the feet, of Vighnesa is divided into 64 equal parts, one matra(one unit) is for the top knot; 2 units for height of the haired part; 12 units for the face; 2 units for the neck; 11 units for the part between the neck and the middle of the chest; 12 units up to the navel; 6 units up to the genital organ; 6 units for the thighs, up to the knees; 3 units for the knees; 6 units for the shins; 2 units for the feet. (correction: the height of the haired portion must be 3 units)

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29-32

केशान्तादक्षिसूत्रान्तं चतुरङ्गुलमुच्यते || २९ दन्तमूलात्तु जान्वन्तं गजहस्तस्य दैर्घ्यकम् | दन्तायामाच्चतुर्मात्रं मूलनाहं तथैव च || ३० दक्षिणेऽदक्षिणे वापि दन्तमेकं प्रकल्पयेत् | मस्तके कुम्भविस्तारं प्रत्येकं तु गुणाङ्गुलम् || ३१ नेत्रं तु कर्णमूलान्तं चतुरङ्गुलमुच्यते | कर्णौ च दशमात्रौ स्यात् तत्तारं नन्दमानकम् || ३२

keśāntādakṣisūtrāntaṃ caturaṅgulamucyate || 29 dantamūlāttu jānvantaṃ gajahastasya dairghyakam | dantāyāmāccaturmātraṃ mūlanāhaṃ tathaiva ca || 30 dakṣiṇe'dakṣiṇe vāpi dantamekaṃ prakalpayet | mastake kumbhavistāraṃ pratyekaṃ tu guṇāṅgulam || 31 netraṃ tu karṇamūlāntaṃ caturaṅgulamucyate | karṇau ca daśamātrau syāt tattāraṃ nandamānakam || 32

4 units, from the bottom of the haired portion to the line joining the center point of the two eyes; the length of the trunk should be taken from the bottom of the tusk to the knee. Thickness of the bottom of the tusk should be 4 units less than the length of the tusk. One tusk should be designed, in the left or right side of the bottom of the trunk. The circumference of each kumbha on the head should be 3 units. Length from the eyes to the bottom of the ears should be 4 units; breadth of the ears, 10 units and the height, 9 units.

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33-35

कक्षयोरन्तरं पूर्वे प्रोक्तं पञ्चदशाङ्गुलम् | कक्षात्तु चोर्ध्वबाह्वन्तं षडङ्गुलमिति स्मृतम् || ३३ मध्यकायस्य विस्तारं मन्वङ्गुलमुदाहृतम् | हृदयान्नाभिसीमन्तं दशाङ्गुलमिहोच्यते || ३४ नाभेरधस्तान्मेढ्रान्तं वस्वङ्गुलमुदाहृतम् | अष्टाङ्गुलं द्वयोरूर्वोर्जानुनी चाङ्गुलत्रये || ३५ जङ्घे द्वे तलपर्यन्ते वस्वङ्गुलविनिर्मिते |

kakṣayorantaraṃ pūrve proktaṃ pañcadaśāṅgulam | kakṣāttu cordhvabāhvantaṃ ṣaḍaṅgulamiti smṛtam || 33 madhyakāyasya vistāraṃ manvaṅgulamudāhṛtam | hṛdayānnābhisīmantaṃ daśāṅgulamihocyate || 34 nābheradhastānmeḍhrāntaṃ vasvaṅgulamudāhṛtam | aṣṭāṅgulaṃ dvayorūrvorjānunī cāṅgulatraye || 35 jaṅghe dve talaparyante vasvaṅgulavinirmite |

Length between the two armpits, in the front side, 15 units; from the armpit to the top of the upper shoulder, 6 units; the circumference at the middle of the belly, 14 units; 10 units, from the middle of the chest to the bottom of navel; 8 units from the bottom of navel to the genital organ; height of the thighs, 8 units; height of the knees, 3 units; length of the shin from the bottom of the kness up to the feet, 8 units.

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36-39

गजवक्त्रो गणाधीशो भूतरूपो महोदरः || ३६ नागयज्ञोपवीतस्तु घनपिण्डोरुजानुकः | नीलनीररुहाभस्तु चतुर्दोर्दण्डमण्डितः || ३७ अवामवामावर्तेभहस्तः पद्मासनस्थितः | स्वदन्तं परशुं कुर्यात् स्वदक्षिण करद्वये || ३८ लड्डुकं चाक्षमालां च वामापाणावथोत्पलम् | रक्तवक्त्रधरं वाथ श्यामाभं कनकप्रभम् || ३९

gajavaktro gaṇādhīśo bhūtarūpo mahodaraḥ || 36 nāgayajñopavītastu ghanapiṇḍorujānukaḥ | nīlanīraruhābhastu caturdordaṇḍamaṇḍitaḥ || 37 avāmavāmāvartebhahastaḥ padmāsanasthitaḥ | svadantaṃ paraśuṃ kuryāt svadakṣiṇa karadvaye || 38 laḍḍukaṃ cākṣamālāṃ ca vāmāpāṇāvathotpalam | raktavaktradharaṃ vātha śyāmābhaṃ kanakaprabham || 39

The image of Ganesa, the Supreme Lord of the various groups of divine and celestial Beings, should be designed so as to be with the face of elephant, with huge form and big stomach, adorned with sacred thread of snake; His thighs and kness should be solid and thickly formed. He should be formed so as to be in the color of blue lotus-flower, to be with four strong arms, with the trunk curled leftwise or rightwise and as seated on the lotus-pedestal.

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40-42

पीतकञ्चुक संछन्नं किरीटमकुटोज्ज्वलम् | शुक्लयज्ञोपवीतं च सर्वाभरण भूषितम् || ४० स्वशृङ्गं वाङ्कुशं दक्षे वामे पाशं च लड्डुकम् | स्थानकं वासनं वाथ गणेशं कारयेत्ततः || ४१ त्रिभिर्विराजितं नेत्रैर्नेत्राभ्यां अथवा द्विजाः | पद्मस्थं वापि पीठस्थं मूषिकस्थमथापि वा || ४२

pītakañcuka saṃchannaṃ kirīṭamakuṭojjvalam | śuklayajñopavītaṃ ca sarvābharaṇa bhūṣitam || 40 svaśṛṅgaṃ vāṅkuśaṃ dakṣe vāme pāśaṃ ca laḍḍukam | sthānakaṃ vāsanaṃ vātha gaṇeśaṃ kārayettataḥ || 41 tribhirvirājitaṃ netrairnetrābhyāṃ athavā dvijāḥ | padmasthaṃ vāpi pīṭhasthaṃ mūṣikasthamathāpi vā || 42

He should be formed as well attired with a fitting dress in the color of whitish yellow. He should be adorned with the crown in the form of kirita; adorned with white sacred thread and all sets of ornaments. He should be shown as holding his own tusk and goad in His right hands, noose and 'ladduka'-sweet in His left hands. The Guru should design such a form of Ganesa as standing or seated on a pedestal. O, the twice- born sages!, He may be designed as having three or two eyes, as seated on the lotus, pedestal or on the mouse-vehicle.

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43-44

इष्टासनस्थितो वापि प्रभादि परिमण्डितः | एवं स्यात् केवलो विघ्नराजश्शक्त्यान्वितोऽथवा || ४३ गणेशो भारतीश्रीभ्यां वामेऽवामे युतोऽथवा | शक्त्यैकया युतो देवो यदि तल्लक्षणोज्ज्वलम् || ४४

iṣṭāsanasthito vāpi prabhādi parimaṇḍitaḥ | evaṃ syāt kevalo vighnarājaśśaktyānvito'thavā || 43 gaṇeśo bhāratīśrībhyāṃ vāme'vāme yuto'thavā | śaktyaikayā yuto devo yadi tallakṣaṇojjvalam || 44

Or, the Guru may design His form as occpying the desired seat and as well adorned with prabha and other structures. The image of Vighnaraja should be designed in this way. Either Ganesa alone or Ganesa associated with Sakti may be installed in the shrine. He may be installed as associated with Bharati in His left side and Sri in His right side.

52 Directions for the Installation of the Dancing Form of Lord Siva

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1-3

नृत्तमूर्ति प्रतिष्ठां तु वक्ष्ये तल्लक्षणान्वितम् | चतुर्भुजस्त्रिणेत्रश्च संविकीर्ण जटायुतः || १ जटामकुट संयुक्तो वक्रनाग फणावृतः | पृष्ठगाः पार्श्वगास्तास्स्युः पञ्चाद्येकैक वृद्धितः || २ त्रिंशत्संख्यावसानास्स्युर्जटास्सान्तरालकाः | धुत्तूरारग्वधार्कादि पुष्पयुक्तास्सपिङ्गलाः || ३

nṛttamūrti pratiṣṭhāṃ tu vakṣye tallakṣaṇānvitam | caturbhujastriṇetraśca saṃvikīrṇa jaṭāyutaḥ || 1 jaṭāmakuṭa saṃyukto vakranāga phaṇāvṛtaḥ | pṛṣṭhagāḥ pārśvagāstāssyuḥ pañcādyekaika vṛddhitaḥ || 2 triṃśatsaṃkhyāvasānāssyurjaṭāssāntarālakāḥ | dhuttūrāragvadhārkādi puṣpayuktāssapiṅgalāḥ || 3

Now, I explain in details the process of installation of the Dancing Form of Lord Siva, along with the characteristic lineaments of that form. The form of Nataraja is associated with four hands; three eyes; dishevelled matted hair; the specific form of the crown designed with matted hair, encircled by the cobra appearing with bent and expanded hood. The number of the strands of matted hair, stretched over the back and the sides may be from 5 to 30, increasing the number by one each time and they may be designed so as to be with enough space between the strands. The Nrutta Murthi is in the color of golden yellow; beautified with various flowers such as dhuttura, aragvada, arka and others.

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4-6

कृताञ्जलिपुटोपेत जाह्नव्या दक्षिणस्थया | बालचन्द्रेण संयुक्तो वामपार्श्वस्थितेन च || ४ युक्तो वकुलमालाभिर्मुक्तादामोरगादिभिः | व्याघ्राजिनाम्बरो दीप्तस्सर्वाभरण भूषितः || ५ वामदोर्मूलमालाम्बिद्वीपिचर्माम्बरान्वितः | दिव्याम्बरान्वितो वापि मृगाजिनयुतोऽपिवा || ६

kṛtāñjalipuṭopeta jāhnavyā dakṣiṇasthayā | bālacandreṇa saṃyukto vāmapārśvasthitena ca || 4 yukto vakulamālābhirmuktādāmoragādibhiḥ | vyāghrājināmbaro dīptassarvābharaṇa bhūṣitaḥ || 5 vāmadormūlamālāmbidvīpicarmāmbarānvitaḥ | divyāmbarānvito vāpi mṛgājinayuto'pivā || 6

On the right side of the matted hair is Ganga Devi, holding her hands in ‘anjali mudra’(keeping the palms facing each other to express obeisance). The left side of the matted hair is adorned with the young crescent-moon. He is adorned with garland of vakula-flowers and ornaments made of pearls and adorned with snakes. He is dressed with tiger-skin and He is beautified with all kinds of ornaments which are with exceeding resplendence. The hide of tiger is hanging from the top of the left shoulder like a garland. Or, the form of Nataraja may be designed so as to be attired in elegant and bright cloth or in the hide of antelope.

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7-9

कस्थब्रह्मकपालेन नानापुष्पैरलङ्कृतः | धृतवाराहदन्ताग्र शार्दूलनखकच्छपैः || ७ शाङ्किकैर्मणिभिः प्रोतमालया हृदि भूषितः | स्थितो दक्षिणपादेन वामेनोपरिवर्तिना || ८ कुञ्चितावर्तमानाङ्घ्रिः सुप्रसारित तत्करः | अम्बिकामुखबिम्बाब्ज भ्रमरीकृत लोचनः || ९

kasthabrahmakapālena nānāpuṣpairalaṅkṛtaḥ | dhṛtavārāhadantāgra śārdūlanakhakacchapaiḥ || 7 śāṅkikairmaṇibhiḥ protamālayā hṛdi bhūṣitaḥ | sthito dakṣiṇapādena vāmenoparivartinā || 8 kuñcitāvartamānāṅghriḥ suprasārita tatkaraḥ | ambikāmukhabimbābja bhramarīkṛta locanaḥ || 9

He is well adorned with the garland of skulls of Brahma and various kinds of flowers. He is wearing the tooth of boar, tiger-nail and the shell of tortoise. His chest is adorned with the string made of the balls designed with conch. His right foot is straight and the left foot is raised above and bent rightward. His lower left hand is stretched across and held above the lifted left foot. His eyes are like the bees drawn towards the lotus-face of Ambika(sakthi).

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10-12

आबद्ध किङ्किणीयुक्तस्तद्वन्नूपुर शोभितः | वामदक्षिण कर्णाढ्य पत्रिका नक्रकुण्डलः || १० दक्षाभय करस्थेन भुजङ्गेनोत्फणेन च | वामापर करस्थेन वह्निना दक्षकेन तु || ११ डिण्डिमेन समायुक्त उपवीतेन संयुतः | गोक्षीरधवलप्रख्य आदित्याङ्गुलभङ्गयुक् || १२ नानासर्प समायुक्तस्वपस्मारोपरि स्थितः |

ābaddha kiṅkiṇīyuktastadvannūpura śobhitaḥ | vāmadakṣiṇa karṇāḍhya patrikā nakrakuṇḍalaḥ || 10 dakṣābhaya karasthena bhujaṅgenotphaṇena ca | vāmāpara karasthena vahninā dakṣakena tu || 11 ḍiṇḍimena samāyukta upavītena saṃyutaḥ | gokṣīradhavalaprakhya ādityāṅgulabhaṅgayuk || 12 nānāsarpa samāyuktasvapasmāropari sthitaḥ |

A stripe designed with sweet-sounding ‘kinkini-bells’ is fastened over the lower part of the leg. His both legs are adorned with ankles known as ‘nupura’. His left ear is adorned with an ear-ring designed with rolled-up palm-leaf and His right-ear is adorned with the ear-ring designed in the form of ‘makara’ crocodile. His lower right hand held in fear-dispelling mudra is adorned with a snake whose hood remains stretched. His stretched upper left hand is holding the fire and the stretched right hand is holding the drum. He is wearing the sacred thread. His whitenss is comparable to the cow-milk. His waist is with flexion to the extent of 12 angulas. Various parts of His body are adorned with many kinds of snakes. His right leg is placed over the demon known as ‘apasmara’.

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13-16

मूर्ध्नो ललाटदक्षस्थं नासादक्षपुटस्थितम् || १३ नाभेर्दक्षिणतो गुल्फे मध्ये सूत्रं प्रसारयेत् | ललाटमध्य सूत्रात्तु द्विमात्रमिति कीर्तितम् || १४ हिक्कासूत्रद्वयोर्मध्ये त्रिमात्रमिति कीर्तितम् | श्रोणीवामोरुसंस्पृष्टं तत्सूत्रमिह सम्मतम् || १५ सूत्रगुल्फद्वयोर्मध्यं एकाङ्गुलमिति स्मृतम् | सूत्राद्धि नतजान्वन्तं भानुदिक् नन्दमात्रकम् || १६

mūrdhno lalāṭadakṣasthaṃ nāsādakṣapuṭasthitam || 13 nābherdakṣiṇato gulphe madhye sūtraṃ prasārayet | lalāṭamadhya sūtrāttu dvimātramiti kīrtitam || 14 hikkāsūtradvayormadhye trimātramiti kīrtitam | śroṇīvāmorusaṃspṛṣṭaṃ tatsūtramiha sammatam || 15 sūtragulphadvayormadhyaṃ ekāṅgulamiti smṛtam | sūtrāddhi natajānvantaṃ bhānudik nandamātrakam || 16

The Guru should stretch and fix the reference line in such a way that it touches the head, right side of the forehead, right nostril, right side of the navel and the mid point between the two ankles. The distance between the line starting from the middle of the forehead and the central line should be 2 digits(matras). The distance between the lines on two sides of the hip should be 3 matras. It is recommended that the central line should touch the hip and left thigh. The distance between the two lines touching the ankles should be one angula. The distance between the central line and the knee of the bent leg may be 12, 10 or 9 matras.

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17-20

तत्सूत्राद्वामपृष्ठान्तं सप्ताधिक दशाङ्गुअलम् | तत्सूत्राद्वामजान्वेकचत्वारिंशद्दशाङ्गुलम् || १७ सूत्राद्दक्षिणतः कुक्षिरष्टाङ्गुल उदाहृतः | सूत्रात्तु सव्यकुक्षिस्तु रव्यङ्गुल उदाहृतः || १८ ऊर्वोर्दक्षिणतस्सूत्रं सप्ताधिक दशाङ्गुलम् | सूत्रात्तद्वामभागे तु नवमात्रमुदीरितम् || १९ सूत्रात्तु वामकण्ठस्तु पञ्चाङ्गुल उदाहृतः | सूत्रात्तु दक्षिणः कण्ठो भाग इत्यभिधीयते || २० सूत्रात्तु वामबाह्वन्तं त्र्यङ्गुलक्षयसंयुतम् |

tatsūtrādvāmapṛṣṭhāntaṃ saptādhika daśāṅgualam | tatsūtrādvāmajānvekacatvāriṃśaddaśāṅgulam || 17 sūtrāddakṣiṇataḥ kukṣiraṣṭāṅgula udāhṛtaḥ | sūtrāttu savyakukṣistu ravyaṅgula udāhṛtaḥ || 18 ūrvordakṣiṇatassūtraṃ saptādhika daśāṅgulam | sūtrāttadvāmabhāge tu navamātramudīritam || 19 sūtrāttu vāmakaṇṭhastu pañcāṅgula udāhṛtaḥ | sūtrāttu dakṣiṇaḥ kaṇṭho bhāga ityabhidhīyate || 20 sūtrāttu vāmabāhvantaṃ tryaṅgulakṣayasaṃyutam |

The distance between the central line and left buttock should be 17 angulas; the distance between the central line and the left knee may be forty-one angulas or fifty-one angulas. The distance between that line and the right stomach should be 8 angulas. The distance between that line and the left stomach should be 12 angulas. The distance between that line and the right thigh should be 17 angulas. The distance between that line and the left thigh should be 9 matras. The distance between that central line and the left neck should be 5 angulas and that between the central line and the right neck should be one angula. The distance between the central line and the left shoulder may be 3 angulas or less than three angulas.

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21-24

अथवान्य प्रकारेण सूत्रपातोऽभिधीयते || २१ कनीनिकान्तं तन्मूर्ध्नस्तद्वन्नासापुटान्ततः | नाभेश्च दक्षमात्रान्तं स्थिताङ्घ्रेर्गुल्फमध्यमम् || २२ स्पृष्ट्वा यत् पतितं सूत्रं मध्यसूत्रमुदाहृतम् | सूत्राद्वामे मुखं पञ्चमात्रं कण्ठं त्रिमात्रकम् || २३ बाह्वन्ते तिथिमात्रं स्यान्नवमात्रं तु कक्षगम् | मध्योदरेऽष्टमात्रं स्याच्छ्रोणी विश्वाङ्गुलेन च || २४

athavānya prakāreṇa sūtrapāto'bhidhīyate || 21 kanīnikāntaṃ tanmūrdhnastadvannāsāpuṭāntataḥ | nābheśca dakṣamātrāntaṃ sthitāṅghrergulphamadhyamam || 22 spṛṣṭvā yat patitaṃ sūtraṃ madhyasūtramudāhṛtam | sūtrādvāme mukhaṃ pañcamātraṃ kaṇṭhaṃ trimātrakam || 23 bāhvante tithimātraṃ syānnavamātraṃ tu kakṣagam | madhyodare'ṣṭamātraṃ syācchroṇī viśvāṅgulena ca || 24

Or, making of the image of Natarja is explained now in a different way. The vertical line which is drawn from the head to the little finger of the right foot so as to touch the bottom of the left nostril, right of the navel and the middle of the ankle of the right foot is known as the central line. On the left side of the central line, the breadth of the face should be 5 matras and the neck, 3 matras. Up to the end of the left shoulder, 15 matras and up to the armpit, 9 matras. On the left of the central line, the middle of the stomach, 8 matras and the hip 14 angulas.

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25-27

कटिस्तिथ्यङ्गुलेन स्यादन्यत्र षष्टिमात्रकम् | नवमात्रं तदूरुः स्यात् पार्ष्ण्यन्तं वेदतुङ्गकम् || २५ सप्ताङ्गुलं मुखेऽन्यत्र कण्ठःस्याद्रसमात्रकम् | बाह्वन्ते त्रिमात्रं स्यात् कक्षान्ते विश्वमात्रकम् || २६ मन्वङ्गुलं भवेत् कुक्षौ श्रोण्यां स्याद्युगमात्रकम् | कट्यां च वेदमात्रं स्याज्जानुरष्टाङ्गुलं भवेत् || २७ पादाग्रे मुखमात्रं स्यादेवं बुध्वा समाचरेत् |

kaṭistithyaṅgulena syādanyatra ṣaṣṭimātrakam | navamātraṃ tadūruḥ syāt pārṣṇyantaṃ vedatuṅgakam || 25 saptāṅgulaṃ mukhe'nyatra kaṇṭhaḥsyādrasamātrakam | bāhvante trimātraṃ syāt kakṣānte viśvamātrakam || 26 manvaṅgulaṃ bhavet kukṣau śroṇyāṃ syādyugamātrakam | kaṭyāṃ ca vedamātraṃ syājjānuraṣṭāṅgulaṃ bhavet || 27 pādāgre mukhamātraṃ syādevaṃ budhvā samācaret |

On the left side of the central line, the loin should be 15 matras and on its right side, it should be 60 matras. The left thigh, 9 matras; the bottom of the heel, with a height of 4 matras. On the right side of the central line or thread, the face should be 7 angulas; the neck, 6 angulas; up to the end of the right shoulder, 3 matras and up to the armpit, 14 matras; the stomach, 14 angulas; the hip, 4 matras; the loin, 4 matras; the right knee, 8 angulas; the front of the feet, 5 matras. Having known all such iconic details, the Guru should design the image of the Lord.

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28-30

स्थितजानुसमं विद्याद्वर्तिताङ्घ्रेः समुच्छ्रयः || २८ तत्पार्ष्णिजान्वोर्द्विमुखं द्व्यन्तरं परिकीर्तितम् | श्रोणीसमुच्छ्रयं वामजनोरुद्धरणं मतम् || २९ तदूरुमध्यान्नाभेश्च द्व्यन्तरं नवमात्रकम् | तज्जानोर्दण्डहस्तस्य मणिबन्धान्तरं मनुः || ३०

sthitajānusamaṃ vidyādvartitāṅghreḥ samucchrayaḥ || 28 tatpārṣṇijānvordvimukhaṃ dvyantaraṃ parikīrtitam | śroṇīsamucchrayaṃ vāmajanoruddharaṇaṃ matam || 29 tadūrumadhyānnābheśca dvyantaraṃ navamātrakam | tajjānordaṇḍahastasya maṇibandhāntaraṃ manuḥ || 30

The lifted and stretched foot should be on the level equal to the level of the right knee. The measurement between the ankle of the lifted foot and the knee (of the same foot) should be equal to twice the height of the face. The level of the hip should be equal to the level of the knee of the left leg. The distance between the middle of the thigh(of that leg) and the navel should be 18 matras. The distance between that knee and the end of the wrist of the stretched left hand should be 14 matras.

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31-33

तस्मादभयहस्तस्य मणिबन्धो रसाङ्गुलः | तस्य चाङ्गुष्ठमूलान्तात् स्तनाक्षाद् द्व्यन्तरं मुखम् || ३१ तद्दोस्समं तलोच्चं स्यात्तद्बाह्वोर्मध्यमात् पुनः | सप्तदशाङ्गुअलं विद्याद्दण्डहस्तस्य कोर्परम् || ३२ भुजान्तं साग्निहस्तोच्चं सोऽग्निः पञ्चाङ्गुलोच्छ्रयः | विस्तारः कोलकस्तस्य शिखाभिस्तिसृभिर्युतः || ३३

tasmādabhayahastasya maṇibandho rasāṅgulaḥ | tasya cāṅguṣṭhamūlāntāt stanākṣād dvyantaraṃ mukham || 31 taddossamaṃ taloccaṃ syāttadbāhvormadhyamāt punaḥ | saptadaśāṅgualaṃ vidyāddaṇḍahastasya korparam || 32 bhujāntaṃ sāgnihastoccaṃ so'gniḥ pañcāṅgulocchrayaḥ | vistāraḥ kolakastasya śikhābhistisṛbhiryutaḥ || 33

The distance between that and the wrist of the lower right hand holding the abhaya-mudra should be 6 angulas. From the bottom of the right thumb to the right nipple, the distance should be twice the length of the face. The level of the raised palm should be the same as that of the arms. The distance between the fore-arm of stretched lower left hand and the middle of the shoulders should be 17 angualas. The level of the upper left hand holding the fire shoud be the same as that of the left shoulder. The flame of the fire should be with a height of 5 angulas. The breadth of the rounded bottom of the fire which is with three flames should also be 5 angulas.

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34-35

धृत डामरुको हस्तः कर्णोच्चो वाङ्गुलाधिकः | धातुर्डमरुकायामो भूतैस्तु मुखविस्तृतिः || ३४ कोलको मध्यविस्तारः परितस्सूत्रयन्त्रितः | एकजिह्वा समायुक्तो गम्भीरध्वनिसंयुतः || ३५ बाह्वोस्तु मणिबन्धान्तं चतुस्त्रिंशत्तथापरम् |

dhṛta ḍāmaruko hastaḥ karṇocco vāṅgulādhikaḥ | dhāturḍamarukāyāmo bhūtaistu mukhavistṛtiḥ || 34 kolako madhyavistāraḥ paritassūtrayantritaḥ | ekajihvā samāyukto gambhīradhvanisaṃyutaḥ || 35 bāhvostu maṇibandhāntaṃ catustriṃśattathāparam |

The level of the upper right hand holding the drum should be greater than the upper level of the right ear by one angula. The length of the drum held by the Lord should be 5 parts out of 7 parts of the length of the face. The rounded middle part of the drum should appear as tied around with three threads. The drum should appear as associated with a striking knob and lines indicating its reverberating sounds. From the shoulder up to the wrist, the length should be 34 angulas.

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36-38

अपस्मारोच्छ्रयं भानुरुद्रनन्दाष्ट मात्रकम् || ३६ देवस्य वक्त्रमानेन स्यादपस्मारमानकम् | वक्त्रद्वयं समारभ्य पञ्चवक्त्रावसानकम् || ३७ वक्त्रार्धमानवृद्ध्या तु सप्तमानं उदाहृतम् | चतुस्तालेन कर्तव्यं अपस्मारो द्विजोत्तमाः || ३८

apasmārocchrayaṃ bhānurudranandāṣṭa mātrakam || 36 devasya vaktramānena syādapasmāramānakam | vaktradvayaṃ samārabhya pañcavaktrāvasānakam || 37 vaktrārdhamānavṛddhyā tu saptamānaṃ udāhṛtam | catustālena kartavyaṃ apasmāro dvijottamāḥ || 38

The height of the ‘apsmara-demon’ lying under the right foot of the Lord may be 12, 11, 9 or 8 matras. The proportionate measurements of the apasmara should be decided based on the measurement of the face of the Lord. The length of the apasmara may be obtained in 7 different ways, from 2 face- measurement up to 5 face-measurement, increasing the measure by half face-measurement each time. (two, two and half, three, three and half and so on). O, the foremost twice-born sages!, the form of apasmara should be designed according to the four- palm system of proportionate measurement.

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39-42

उष्णीषात् पादपर्यन्तं षडष्टांशं विभाजयेत् | उष्णिषात् केशपर्यन्तं कोलकं चेति कीर्तितम् || ३९ केशान्ताद्धनुपर्यन्तं अष्टभागमिति स्मृतम् | गलमर्धाङ्गुलं प्रोक्तं अध्यर्धं कर्ण उच्यते || ४० षडङ्गुल इति प्रोक्तो हिक्कादि हृदयान्ततः | तथैव तस्मान्नाभ्यन्तं षडङ्गुलमिति स्मृतम् || ४१ तस्मात्तु मेढ्रमूलान्तं कौशिकाङ्गुलमुच्यते | ऊर्वायामं तु सप्तांशं जानूत्सेधो द्विमात्रकः || ४२ जङ्घायामस्तु सप्तांशः पादोत्सेधो द्विमात्रकः |

uṣṇīṣāt pādaparyantaṃ ṣaḍaṣṭāṃśaṃ vibhājayet | uṣṇiṣāt keśaparyantaṃ kolakaṃ ceti kīrtitam || 39 keśāntāddhanuparyantaṃ aṣṭabhāgamiti smṛtam | galamardhāṅgulaṃ proktaṃ adhyardhaṃ karṇa ucyate || 40 ṣaḍaṅgula iti prokto hikkādi hṛdayāntataḥ | tathaiva tasmānnābhyantaṃ ṣaḍaṅgulamiti smṛtam || 41 tasmāttu meḍhramūlāntaṃ kauśikāṅgulamucyate | ūrvāyāmaṃ tu saptāṃśaṃ jānūtsedho dvimātrakaḥ || 42 jaṅghāyāmastu saptāṃśaḥ pādotsedho dvimātrakaḥ |

From the headgear(that is, a band around the head of apasmara) up to the feet, the total length of the image should be devided into 48 equal parts. The portion between the headgear and the tuft is known as ‘kolaka’. From the tip of the hair up to the chin, the length should be 8 parts. Half-part is for the neck. One and a half parts, for the ears. From the bottom of the neck up to the middle of the chest, 6 parts. From the middle of the chest up to the navel, 6 parts. From the navel up to the bottom of the genital organ, 6 parts. The length of the thighs should be 7 parts. The length of the knee, 2 parts. The length of the shin, 7 parts. The length of the feet (ankle to heel), 2 parts.

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43-44

द्विभुजश्च द्विनेत्रश्च ऊर्ध्वकायस्त्वधोमुखः || ४३ व्यालं वै वामहस्ते तु तस्य मूर्धा तु दक्षिणे | आवृतालंकृताभङ्गी सव्यपार्श्वशिरोयुतः || ४४

dvibhujaśca dvinetraśca ūrdhvakāyastvadhomukhaḥ || 43 vyālaṃ vai vāmahaste tu tasya mūrdhā tu dakṣiṇe | āvṛtālaṃkṛtābhaṅgī savyapārśvaśiroyutaḥ || 44

The apasmara-demon should be shown as having two hands, two eyes, his body turned upwards and his face turned downwards. His left hand should be holding a snake and the right hand should be with the head of that snake. The form should be shown as bent in the middle and as well adorned with various kinds of wearings and ornaments. The head of the apasmara should be on the right side of the Lord.

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45-48

देवस्य वक्त्रमानेन जाह्नव्यायाम उच्यते | द्विभुजा च त्रिणेत्रा च करण्ड मकुटान्विता || ४५ सर्वाभरण संयुक्ता कृताञ्जलिपुटान्विता | ऊर्ध्वभागादधोभागं तोयाकारेण कारयेत् || ४६ गङ्गादेव्यानया देवस्संयुक्तो वा विवर्जितः | प्रभावकाशविस्तारो दशाधिकशताङ्गुलम् || ४७ सप्तत्रिंशच्छतायाम तद्दण्डो भागविस्तरः | एकादिदशपर्यन्त मात्रैरुनाधिकापि वा || ४८

devasya vaktramānena jāhnavyāyāma ucyate | dvibhujā ca triṇetrā ca karaṇḍa makuṭānvitā || 45 sarvābharaṇa saṃyuktā kṛtāñjalipuṭānvitā | ūrdhvabhāgādadhobhāgaṃ toyākāreṇa kārayet || 46 gaṅgādevyānayā devassaṃyukto vā vivarjitaḥ | prabhāvakāśavistāro daśādhikaśatāṅgulam || 47 saptatriṃśacchatāyāma taddaṇḍo bhāgavistaraḥ | ekādidaśaparyanta mātrairunādhikāpi vā || 48

The length of the image of Ganga-devi to be shown on the matted hair should be based on the face-measurement of the Lord. The form of Ganga should be shown as having two hands and three eyes and as adorned with ‘karanda’ type of crown, as adorned with all kinds of ornaments and as holding Her hands in ‘anjali’ mudra. Her form from the upper part to the lower part should be designed so as to appear as the waves of the river. The Lord may be shown as associated or not associated with Ganga-devi. The width of the inner space of the elliptical structure known as ‘prabha’ should be 110 angulas. The total length of the stem of the elliptical structure should be 137 angulas. There may increase or decrease by one to ten matras, in the recommended measurements.

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49-50

द्व्यङ्गुलादङ्गुलार्धात्तु बालचन्द्रस्तु सप्तधा | तद्वशात् पार्श्वगां देवीं कल्पयेत्तद्विधानतः || ४९ कुर्याद् भृङ्गिरटिम् वाथ भद्रकालीमथाऽपि वा | भुजङ्गत्रास आख्यातो भुजङ्गललितस्ततः || ५०

dvyaṅgulādaṅgulārdhāttu bālacandrastu saptadhā | tadvaśāt pārśvagāṃ devīṃ kalpayettadvidhānataḥ || 49 kuryād bhṛṅgiraṭim vātha bhadrakālīmathā'pi vā | bhujaṅgatrāsa ākhyāto bhujaṅgalalitastataḥ || 50

The proportionate measurement of the young crescent moon could be obtained in 7 ways, starting from 2 angulas and increasing up to 5 angulas, increasing by half angula each time. The form of Sakthi of the Lord should be designed according to the settled directions, based on the measurement of the form of Nataraja. Either the image of Bhrungi or that of Bhadrakali may be designed to be on the left side of the Lord. The form of Nataraja designed in this way is called ‘Bhujangatrasa’. There is another form known as ‘Bhujangalalita’. !B#%9

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51-53

भुजङ्गत्रासवत्सर्वं विशेषः कश्चिदस्ति हि | उद्धृतस्य तलं कुर्यात् स्थितजानूर्ध्वतः क्रमात् || ५१ द्विमात्रं वा त्रिमात्रं वा चतुर्मात्रमथापि वा | भुजङ्गललितः ख्यातस्तद्भैरव इहोच्यते || ५२ भुजङ्गत्रासवत् सर्वं विशेषस्तत्र चोच्यते | उद्धृतं दक्षिणं पादं वामपादं तु वा नयेत् || ५३

bhujaṅgatrāsavatsarvaṃ viśeṣaḥ kaścidasti hi | uddhṛtasya talaṃ kuryāt sthitajānūrdhvataḥ kramāt || 51 dvimātraṃ vā trimātraṃ vā caturmātramathāpi vā | bhujaṅgalalitaḥ khyātastadbhairava ihocyate || 52 bhujaṅgatrāsavat sarvaṃ viśeṣastatra cocyate | uddhṛtaṃ dakṣiṇaṃ pādaṃ vāmapādaṃ tu vā nayet || 53

All the lineaments of the Bhujangalalita are the same as those of the Bhujangatrasa. But, there are some specific modifications. The raised foot of the Lord should be shown as higher than the knee and the thigh of the straight foot, by 2, 3 or 4 matras. Such form is said to be Bhujangalalita. This is also called Bhairava. In the Bhujangalalita form, the right foot may be shown as raised above or the left foot may be designed so as to be in raised state.

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54-55

स पादो देहमध्यस्थश्चोर्ध्वपाद तलान्वितः | चतुर्भुजोऽष्टहस्तो वा नानादिव्यास्त्र भूषितः || ५४ शिलादि द्रव्यमासाद्य कुर्यादेवं नटेश्वरम् | इत्थं लक्षणमाख्यातं प्रतिष्ठा तत उच्यते || ५५

sa pādo dehamadhyasthaścordhvapāda talānvitaḥ | caturbhujo'ṣṭahasto vā nānādivyāstra bhūṣitaḥ || 54 śilādi dravyamāsādya kuryādevaṃ naṭeśvaram | itthaṃ lakṣaṇamākhyātaṃ pratiṣṭhā tata ucyate || 55

One foot should be on the middle of the body of apasmara-demon and another foot should be shown as raised above. The form of Natesvara may be with 4 hands or 8 hands , adorned with various kinds of divine weapons. Having collected the suitable stone, metal and such other materials, the Guru should design the image of Natesvara. The characteristic lineaments of the form of Nataraja have been detailed in this way. Now, I will explain the process of installation of such form.

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56-58

कालोऽपि पूर्ववत्प्रोक्तस्तद्वदेवाङ्कुरार्पणम् | रत्नन्यासाक्षिमोक्षौ च पूर्ववत् संयगाचरेत् || ५६ बेरशुद्धिं ततः कुर्यान्नगरादि प्रदक्षिणम् | जलाधिवासनं पश्चान्मण्टपं पूर्ववन्नयेत् || ५७ कुण्डानि परितः पश्चान्नवपञ्चैक संख्यया | चतुरश्राणि वृत्तनि तद्दिगश्राणि वा नयेत् || ५८

kālo'pi pūrvavatproktastadvadevāṅkurārpaṇam | ratnanyāsākṣimokṣau ca pūrvavat saṃyagācaret || 56 beraśuddhiṃ tataḥ kuryānnagarādi pradakṣiṇam | jalādhivāsanaṃ paścānmaṇṭapaṃ pūrvavannayet || 57 kuṇḍāni paritaḥ paścānnavapañcaika saṃkhyayā | caturaśrāṇi vṛttani taddigaśrāṇi vā nayet || 58

The auspicious time for the installation should be decided according to the process explained earlier. Similarly, the rituals such as the offering of sprouts, fixing the gems on various parts of the image and the opening of the eyes of the image should be performed well, as done before. Then the Guru should perform the following rituals: purification of the image, taking the image around the village in clockwise direction and keeping the image in the water. Then he should arrange for the construction of a suitable hall, as done before. Inside that hall, he should construct the fire-pits around the central altar(vedika), the number of the fire-pits being 9 or 5 or 1. The fire-pits may be in the form of square or circular or in the form appropriate to each direction.

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59-61

मण्टपे भोजयएद्विप्रान् सहस्रान्तान् दशाधिकान् | पुण्याहं वाचयेत्पश्चान्मण्टपस्य विशुद्धये || ५९ समरीयपदे कुर्याद्वास्तुहोमं विधानतः | वास्तुहोमं विना वापि भूपरिग्रहमाचरेत् || ६० पुण्याहं वाचयित्वा तु वेद्यूर्ध्वे स्थण्डिलं नयेत् | शयनं कल्पयेदूर्ध्वे प्रतिमां शोधयेत्ततः || ६१

maṇṭape bhojayaedviprān sahasrāntān daśādhikān | puṇyāhaṃ vācayetpaścānmaṇṭapasya viśuddhaye || 59 samarīyapade kuryādvāstuhomaṃ vidhānataḥ | vāstuhomaṃ vinā vāpi bhūparigrahamācaret || 60 puṇyāhaṃ vācayitvā tu vedyūrdhve sthaṇḍilaṃ nayet | śayanaṃ kalpayedūrdhve pratimāṃ śodhayettataḥ || 61

The Guru should invite the learned Brahmins and feed them inside the hall, the number of such Brahmins being 10 and more up to 1000. Then , for the sake of purification of the mantapa(hall), he should perform ‘punyaha vacana’. According to the settled directions, he should perform the vastu homa in the specific grid occupied by Samari, the vastu-devata. Or, he may perform ‘bhu parigraha’(taking posession of the site) even without performing the vastu homa. Having done the ‘punyaha vacana’, he should design a sthandila over the altar. A couch should be made on the sthandila and the image should be purified.

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62-63

कृत्वा कौतुकबन्धं तु शाययेच्छयनोपरि | शिरःप्रदेशे देवस्य शिवाख्यं तु घटं नयेत् || ६२ वर्धनीमुत्तरे न्यस्य तस्यां गौरीं च विन्यसेत् | लक्ष्णोदितरूपं तु ध्यात्वा गन्धादिभिर्यजेत् || ६३

kṛtvā kautukabandhaṃ tu śāyayecchayanopari | śiraḥpradeśe devasya śivākhyaṃ tu ghaṭaṃ nayet || 62 vardhanīmuttare nyasya tasyāṃ gaurīṃ ca vinyaset | lakṣṇoditarūpaṃ tu dhyātvā gandhādibhiryajet || 63

Having tied up the protective string on the right hand of the image, he should place it gently on the couch so as to be in recumbent position. He should place the siva-kalasa near the head of the image of the Lord and the vardhani-kalasa to be on the north side of siva-kalasa. Having invoked the presence of Gauri(Sivasakthi) in the vardhani, the Guru should contemplate the form of Gauri associated with specific lineaments mentioned before and worship Her with sandal, flowers and such other substances.

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64-65

अभितः कलशानष्टौ विद्येशाधिष्ठितान्नयेत् | अर्चयेद्गन्धपुष्पाद्यैर्नैवेद्यान्तं गुरूत्तमः || ६४ तत्त्वतत्त्वेश्वरान्मूर्तिमूर्तीशानपि विन्यसेत् | होमं समारभेत् काले मूर्तिपैस्सह देशिकः || ६५

abhitaḥ kalaśānaṣṭau vidyeśādhiṣṭhitānnayet | arcayedgandhapuṣpādyairnaivedyāntaṃ gurūttamaḥ || 64 tattvatattveśvarānmūrtimūrtīśānapi vinyaset | homaṃ samārabhet kāle mūrtipaissaha deśikaḥ || 65

He should arrange 8 kalasas to be occupied by 8 Vidyesvaras around the siva-kalasa and vardhani-kalasa. The foremost Guru should invoke them and worship them with sandal, flowers and other substances and complete the worship with the offering of ‘naivedya’(food and eatables). Then, he should invoke and worship Tattvas and Tattvesvaras, Murtis and Murtisvaras. Being assisted by the sadhaka-priests, he should commence the homa-rituals at the proper time fixed earlier.

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66-68

कृत्वा कुण्डाग्नि संस्कारं अग्निकार्योक्तमाचरेत् | समिदाज्यचरूं लाजान् सर्षपं च यवं तिलम् || ६६ प्रियङ्गुशालिमुद्गांश्च जुहुयात् क्रमतो गुरुः | उदुम्बरवटाश्वत्थप्लक्षाः पूर्वादि दिक्षु च || ६७ शम्यपामार्गबिल्वाश्च खदिरश्चाग्नि कोणतः | प्रधानस्य पलाशस्तु समिधश्चैवमीरिताः || ६८

kṛtvā kuṇḍāgni saṃskāraṃ agnikāryoktamācaret | samidājyacarūṃ lājān sarṣapaṃ ca yavaṃ tilam || 66 priyaṅguśālimudgāṃśca juhuyāt kramato guruḥ | udumbaravaṭāśvatthaplakṣāḥ pūrvādi dikṣu ca || 67 śamyapāmārgabilvāśca khadiraścāgni koṇataḥ | pradhānasya palāśastu samidhaścaivamīritāḥ || 68

Having done all the essential sacraments to the fire-pits and the fire, the Guru should perform the fire- ritual. He should offer the oblations into the fire with faggots, clarified butter, cooked rice, parched paddy grains, white mustard, yava, tila, priyangu, sali and mudga according to the said order. Udumbara, vata, asvattha and plaksha are the faagots recommended for the four main directions, starting from the east. Sami, apamarga, bilva and khadira are the faggots recommended for the four intermediary directions, starting from the south-east. In the principal fire-pit, the faggots of palasa should be offered.

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69-72

ऋगाद्यध्ययनं मन्त्रजपं च विधिवन्नयेत् | गेयनृत्तयुतैस्तोत्रवेदघोषैर्व्यपोह्य च || ६९ रात्रिशेषं ततः प्रातः स्मृत्वा शान्तं सदाशिवम् | समूर्तिपो गुरुः स्नातो मन्त्रसंशुद्ध देहयुक् || ७० उद्धृत्य प्रतिमां पूर्वमुखां सर्वात्मना गुरुः | व्यपोह्य वस्त्रकूर्चादीन् पूजयेद्गन्धपुष्पकैः || ७१ कुम्भांश्च कुण्डेष्वग्नींश्च तर्पयेच्च गुरूत्तमः | पूर्णाहुतिं ततो दद्याद्वौषडन्तशिवेन तु || ७२

ṛgādyadhyayanaṃ mantrajapaṃ ca vidhivannayet | geyanṛttayutaistotravedaghoṣairvyapohya ca || 69 rātriśeṣaṃ tataḥ prātaḥ smṛtvā śāntaṃ sadāśivam | samūrtipo guruḥ snāto mantrasaṃśuddha dehayuk || 70 uddhṛtya pratimāṃ pūrvamukhāṃ sarvātmanā guruḥ | vyapohya vastrakūrcādīn pūjayedgandhapuṣpakaiḥ || 71 kumbhāṃśca kuṇḍeṣvagnīṃśca tarpayecca gurūttamaḥ | pūrṇāhutiṃ tato dadyādvauṣaḍantaśivena tu || 72

The recital of the Rg Veda and other Vedas, Agamas and other scriptures, incantation of particular mantras should be done according to the directions set forth in the Agamas. Having spent the remaining night-time with songs, dances, recital of hymns and high-sounding Vedic hymns, the Guru should get up in the next early morning, meditate on the serene form of Sadasiva and take the ceremonial bath along with the assisting sadhaka-priests. Then he should assume a body purified with the nyasa of various mantras and lift up the image from the couch so as to face the east, reciting the ‘sarvatma-mantra’. Having removed the cloth, bunch of darbha-grass and others from the image he should worship it with sandal,flowers and such other substances. Then, the foremost Guru should do ‘tarpana’(making the deity contended and delighted) for the kumbhas and the fire kindled in the fire-pits. He should offer the final and consummate oblation(purna ahuti), with the recital of the mula-mantra of Siva ending with ‘vaushat’.

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73-75

वस्त्रहेमाङ्गुलीयाद्यैराचार्यं पूजयेत्ततः | दक्षिणा पूर्ववत् प्रोक्ता ततः स्थापनं आरभेत् || ७३ ततो वेद्यास्समुद्धृत्य स्नानश्वभ्रे तु विन्यसेत् | चलं प्रासादमध्ये तु स्थापयेदचलं गुरुः || ७४ ततः कुम्भान् समुद्धृत्य सर्वातोद्य समाकुलम् | हर्म्यप्रदक्षिणं कृत्वा प्रतिमाग्रं नयेद्बुधः || ७५

vastrahemāṅgulīyādyairācāryaṃ pūjayettataḥ | dakṣiṇā pūrvavat proktā tataḥ sthāpanaṃ ārabhet || 73 tato vedyāssamuddhṛtya snānaśvabhre tu vinyaset | calaṃ prāsādamadhye tu sthāpayedacalaṃ guruḥ || 74 tataḥ kumbhān samuddhṛtya sarvātodya samākulam | harmyapradakṣiṇaṃ kṛtvā pratimāgraṃ nayedbudhaḥ || 75

Then, the chief-sponsor of the event (yajamana) should worship the chief Acharya and honor him with the offering of new clothes, gold ring and other valuable items, the details of which have been told earler. After that, the Guru should commnce the rituals related to the installation. If the image is meant for the festival and moveable, the Guru should take it from the altar and place it in a place prepared for performing the ceremonial bath to the image. If the image is to be installed and fixed firmly , he should place it in the middle of the shrine. Then, the learned Acharya should lift up all the kalasas with the accompaniment of the sounding of various musical instruments and having taken them around the temple in clockwise direction he should place them in front of the Image installed in the shrine.

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76-78

कुम्भाद्बीजं समादाय महेशस्य हृदि न्यसेत् | वर्धन्या बीजमादाय तत्पीठाब्जे तु विन्यसेत् || ७६ विद्येशान् पीठपद्मेषु तत्तद्देशेऽभिषेचयेत् | देवीयागोक्तमार्गेण देवीं च स्थापयेद्गुरुः || ७७ तदन्ते कारयेद्धीमान् कल्याणमपि देशिकः | उत्सवं कारयेत् पश्चात् तथा वित्तानुसारतः || ७८

kumbhādbījaṃ samādāya maheśasya hṛdi nyaset | vardhanyā bījamādāya tatpīṭhābje tu vinyaset || 76 vidyeśān pīṭhapadmeṣu tattaddeśe'bhiṣecayet | devīyāgoktamārgeṇa devīṃ ca sthāpayedguruḥ || 77 tadante kārayeddhīmān kalyāṇamapi deśikaḥ | utsavaṃ kārayet paścāt tathā vittānusārataḥ || 78

Having collected the seed-mantras from the siva-kalasa,the Guru should fix them in the heart of the image and taking out the seed-mantras from the vardhani-kalasa, he should fix them in the pedestal designed in the form of lotus. Then he should pour down the consecrated water contained in the kalasas and perform ‘abhisheka’. The Guru should also install the image of Devi in the appropriate place according to the directions set forth for the installation and worship of Sakthi. At the end of installation rituals, the Guru should perform the marriage-festival for Siva and Sakthi. Then the regular festival should be performed according to the available materials and other essential resources.

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79-80

अनुक्तामत्र सामान्यस्थापनोदितमाचरेत् | एवं यः कुरुते मर्त्यः प्रतिष्ठां भावनायुतः || ७९ स यायात् पदमैशानं भुक्त्वा भोगानिहैव तु || ८०

anuktāmatra sāmānyasthāpanoditamācaret | evaṃ yaḥ kurute martyaḥ pratiṣṭhāṃ bhāvanāyutaḥ || 79 sa yāyāt padamaiśānaṃ bhuktvā bhogānihaiva tu || 80

Other details which are not told here are common for the process of installation and they should be carried out according to those details explained earlier . The devotee who installs the form of Natesvara associated with specific contemplation would reach the blissful abode of the Supreme Lord, after enjoying the delightful wordly enjoyments here in this life.

53 Directions for the Installation of Somaskanda Murthi (and Sukhasana Murthi)

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1-4

वक्ष्यामि सोमोमास्कन्द सुखेशस्थापनं परम् | तल्लक्षण समायुक्तं तच्चेदानीम् प्रकथ्यते || १ चतुर्भुजस्त्रिणेत्रश्च जटामकुट मण्डितः | सर्वाभरण संयुक्तो वरदाभय हस्तकः || २ कृष्णापरशु युक्तोर्ध्व वामेतर करान्वितः | असव्यसव्य कर्णस्थ पत्रिकानक्रकुण्डलः || ३ सोपवीतः प्रसन्नात्मा शयिता सव्यपात्तलः | सालम्बदक्षपादेन वामे गौर्या च संयुतः || ४ सर्वलक्षणसंयुक्तस्सर्वाभरण भूषितः |

vakṣyāmi somomāskanda sukheśasthāpanaṃ param | tallakṣaṇa samāyuktaṃ taccedānīm prakathyate || 1 caturbhujastriṇetraśca jaṭāmakuṭa maṇḍitaḥ | sarvābharaṇa saṃyukto varadābhaya hastakaḥ || 2 kṛṣṇāparaśu yuktordhva vāmetara karānvitaḥ | asavyasavya karṇastha patrikānakrakuṇḍalaḥ || 3 sopavītaḥ prasannātmā śayitā savyapāttalaḥ | sālambadakṣapādena vāme gauryā ca saṃyutaḥ || 4 sarvalakṣaṇasaṃyuktassarvābharaṇa bhūṣitaḥ |

Now I explain the process of installation of Somaskanda Murthi and Sukhasana Murthi, including the characteristic lineaments of these forms. The form of Siva seated in sukhasana posture is associated with four arms and three eyes and beautified with the crown of matted hair; it is adorned with all kinds of ornaments; the lower right hand is holding ‘abhaya mudra’ and the lower left hand is holding ‘varada mudra’. The upper left hand is holding the deer and the upper right hand is holding the hatchet. (parasu). The right ear is adorned with the ear-ring designed in the form of makara(crocodile) and the left ear is adorned with the ear-ring designed with the roll of palm-leaf. It is wearing the sacred thread. Its left leg is stretched and placed on the pedestal and its right leg is stretched down. It is associated with Gauri , seated on its left side. The form of Gauri is associated with all the essential lineaments and is beautified with all kinds of ornaments.

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5-7

ललाटनासिका नाभि मेढ्रपाद्गुल्फ मध्यमे || ५ श्रोणिस्फिक् संस्थितं सूत्रं मध्यसूत्रं इति स्मृतम् | मुखान्तात् पिप्पिलीमूलाद्ग्रीवापार्श्वात्तथैव च || ६ चूचुकस्याथ मध्यात्तु कटिस्थं पार्श्वगं मतम् | उष्णीषात्तु ककुद्वंश कण्ठस्फिङ्मध्यमाद्गतम् || ७ पृष्ठसूत्रं इति प्रोक्तं.....

lalāṭanāsikā nābhi meḍhrapādgulpha madhyame || 5 śroṇisphik saṃsthitaṃ sūtraṃ madhyasūtraṃ iti smṛtam | mukhāntāt pippilīmūlādgrīvāpārśvāttathaiva ca || 6 cūcukasyātha madhyāttu kaṭisthaṃ pārśvagaṃ matam | uṣṇīṣāttu kakudvaṃśa kaṇṭhasphiṅmadhyamādgatam || 7 pṛṣṭhasūtraṃ iti proktaṃ.....

The reference line which runs down touching the forehead, nose, navel, genital organ , the middle of the two ankles, hip and buttocks is known as the central line(madhya sutra). The reference line which touches the side of the face, back of the ear, side of the neck, center of the nipple and the loin is known as the side-line(parsva sutra). The reference line which, starting from the headgear runs through the top of the spinal column, back neck and the middle of the buttocks is known as the back-line.

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8-10

पार्श्वस्थात् सार्धमात्रकम् | हित्वा पार्श्वद्वयोश्चैव ततस्स्यादूरु दैर्घ्यकम् || ८ जानुः पक्षाङ्गुलं वामे लम्बितस्य गुणाङ्गुलम् | सूत्रात्तु वामजान्वन्तं ऊर्ध्वकायार्ध मानकम् || ९ ऊरुमूलात्तु षण्मात्रं नालकान्तं द्विजोत्तमाः | तलाग्रादूरुमध्याच्च द्व्यन्तरं तु गुणाङ्गुलम् || १०

pārśvasthāt sārdhamātrakam | hitvā pārśvadvayoścaiva tatassyādūru dairghyakam || 8 jānuḥ pakṣāṅgulaṃ vāme lambitasya guṇāṅgulam | sūtrāttu vāmajānvantaṃ ūrdhvakāyārdha mānakam || 9 ūrumūlāttu ṣaṇmātraṃ nālakāntaṃ dvijottamāḥ | talāgrādūrumadhyācca dvyantaraṃ tu guṇāṅgulam || 10

Having left out one and half parts from the two side lines which are on the right and left side of the image, the length of the left thigh up to the knee should be 15 angulas. The distance between the side line and right leg which stretches down should be 3 angulas.The distance between the central line and the bottom of the left knee should be equal to half the height of the upper portion of the image. O, the foremost twice-born sages!, the distance between the top of the thigh and the bottom of the spinal column should be 6 angulas.The distance between the central line and the front part of the foot and the middle of the thigh should be 3 angulas.

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11-12

सूत्राल्लम्बाङ्घ्रिपार्ष्ण्यन्तं सार्धविश्वाङ्गुलं भवेत् | कटकान्मणिबन्धाधोदेशे कट्यग्रसीमगम् || ११ नाभेस्तु मणिबन्धान्तं षोडशाङ्गुलमीरितम् | वरदं चेत्तु तत्पृष्ठान्नाभ्यन्त सममिष्यते || १२

sūtrāllambāṅghripārṣṇyantaṃ sārdhaviśvāṅgulaṃ bhavet | kaṭakānmaṇibandhādhodeśe kaṭyagrasīmagam || 11 nābhestu maṇibandhāntaṃ ṣoḍaśāṅgulamīritam | varadaṃ cettu tatpṛṣṭhānnābhyanta samamiṣyate || 12

From the central line up to the bottom of the heel of the down-stretched right leg, the distance should be seven and half angulas.The upper horizontal line of the hip should synchronize with the lower part of the wrist and the kataka-mudra. From the navel to the bottom of the wrist, the distance should be 16 angulas. The level of the back side of the hand holding the varada-mudra should be on the same level as that of the bottom of the navel.

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13-14

वामे देव्या समायुक्तस्तदध्यायप्रसिद्धया | स सोमस्सोम एव स्यात् सोमास्कन्दविधिर्भवेत् || १३ देवोच्च दशभागैकभागेनाथ द्विभागतः | त्रिवेदभागैर्वा कुर्यात् स्कन्दं तन्मध्यमे गुरुः || १४

vāme devyā samāyuktastadadhyāyaprasiddhayā | sa somassoma eva syāt somāskandavidhirbhavet || 13 devocca daśabhāgaikabhāgenātha dvibhāgataḥ | trivedabhāgairvā kuryāt skandaṃ tanmadhyame guruḥ || 14

The Lord should be shown as associated with Devi whose proportionate measurements and lineaments have been well told in the chapter dealing with the nature of Devi. Such form of the Lord is known as Soma Murthi(Umasahaya Murthi). If this form is associated with Skanda, it is known as Somaskanda Murthi. The Guru should design the form of Skanda so as to be in between Siva and Sakthi. The height of Skanda-image may be 2, 3 or 4 parts out of 10 parts of the height of the image of Lord Siva.

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15-18

द्विनेत्रस्स द्विबाहुश्च करण्डमकुटान्वितः | कर्णयोर्नक्रपिण्डौ तु सर्वाभरण भूषितः || १५ दक्षभाग करस्थाब्जः प्रसारित करोऽपरः | द्विहस्त पङ्कजो वाथ नृत्तरूपयुतोऽथवा || १६ देव्यूरु संस्थितो वापि निष्पङ्कजकरोऽथवा | आसीनो वा स्थितो वापि स्कन्दस्त्वेवं प्रकीर्तितः || १७ स्कन्दोमारहितस्त्वेष एवं स्यात्तु सुखासनः | सोमे च सोमास्कन्दे च सुखेशे लक्षणं मतम् || १८

dvinetrassa dvibāhuśca karaṇḍamakuṭānvitaḥ | karṇayornakrapiṇḍau tu sarvābharaṇa bhūṣitaḥ || 15 dakṣabhāga karasthābjaḥ prasārita karo'paraḥ | dvihasta paṅkajo vātha nṛttarūpayuto'thavā || 16 devyūru saṃsthito vāpi niṣpaṅkajakaro'thavā | āsīno vā sthito vāpi skandastvevaṃ prakīrtitaḥ || 17 skandomārahitastveṣa evaṃ syāttu sukhāsanaḥ | some ca somāskande ca sukheśe lakṣaṇaṃ matam || 18

The form of Skanda should be designed so as to be with two eyes and two shoulders. It should be shown as associated with ‘karanda’ type of crown, ears adorned with the ear-ring designed in the form of ‘makara’ and as beautified with all kinds of ornaments. The right hand should be holding the lotus flower and the left hand should be shown as stretched down freely. Or, both the hands may be shown as holding the lotus. Or, Skanda may be shown as appearing in the dancing form. The form may be designed as seated on a pedestal or designed to be in standing posture. Thus, the lineaments of the form of Skanda have been told. The specific form of Siva without Skanda and Uma is known as Sukhasana Murthi. The characteristic lineaments of Soma Murthi, Somaskanda Murthi and Sukhasana Murthi are to be contemplated in this way.

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19-20

प्रतिष्ठैषां प्रकर्तव्या सुकालेऽङ्कुरपूर्विका | रत्नन्यासं ततः कुर्याद्देवदेव्योश्च वै गुहे || १९ हेमाब्जं हेममायूरं देव्यां स्कन्देऽथवा न्यसेत् | तत्तत्प्रतिष्ठाध्यायोक्त मन्त्रैरपि समन्वितम् || २० तत्तत्पीठाम्बुजेष्वेव सुस्निग्धान्तं गुरुर्न्यसेत्

pratiṣṭhaiṣāṃ prakartavyā sukāle'ṅkurapūrvikā | ratnanyāsaṃ tataḥ kuryāddevadevyośca vai guhe || 19 hemābjaṃ hemamāyūraṃ devyāṃ skande'thavā nyaset | tattatpratiṣṭhādhyāyokta mantrairapi samanvitam || 20 tattatpīṭhāmbujeṣveva susnigdhāntaṃ gururnyaset

The installation of these Murthis should be done in an auspicious time, preceded by the offering of sprouts. The Guru should perform ‘ratna nyasa’(fixing the gems on various parts of the image) for Siva, Sakthi and Skanda. Instead of gems, gold lotus may be offered for Gauri and the gold-peacock may be offered for Skanda. The Guru should place all the essential things including the polished gems over the lotus-petals designed inside the pedestal of each form, with the accompaniment of appropriate mantras, the details of which have been told in the relevant chapter dealing with the installation of each of these forms.

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21-23

दृशामुन्मोक्षणं कृत्वा बेरशुद्धिं प्रदक्षिणम् || २१ जलाधिवासनं प्राग्वद् भवेन्मण्टपमाचरेत् | दिगश्रान्यथ वृत्तनि वेदाश्राणि च वा नयेत् || २२ कुण्डानि नवपञ्चैक संख्यया कुट्टिमाद्बहिः | शिल्पिनं च विसृज्याथ विप्रान् संभोजयेत्ततः || २३

dṛśāmunmokṣaṇaṃ kṛtvā beraśuddhiṃ pradakṣiṇam || 21 jalādhivāsanaṃ prāgvad bhavenmaṇṭapamācaret | digaśrānyatha vṛttani vedāśrāṇi ca vā nayet || 22 kuṇḍāni navapañcaika saṃkhyayā kuṭṭimādbahiḥ | śilpinaṃ ca visṛjyātha viprān saṃbhojayettataḥ || 23

The opening of the eyes, purification of the image, circumambulation and ‘jaladhivasa’(keeping the image in the water) should be done as performed before. A pavilion should be constructed then. The fire-pits to be constructed inside the pavilion may be in various geometrical shapes suitable to the eight directions, may be circular or square. The number of fire-pits may be 9, 5 or one. Having sent forth the Silpi from the hall with due honors, the Guru should arrange for the feeding of the learned Brahmins.

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24-26

पुण्याहप्रोक्षणं वास्तुहोमं स्थण्डिलकल्पनम् | शयनं कल्पयेन्मध्ये स्नपनं कारयेत्ततः || २४ कौतुक त्रितयं बध्वा त्रिषु तां शाययेत्ततः | वस्त्रैश्च पृथगावेष्ट्य कुम्भान् संस्थापयेत्ततः || २५ शिवकुम्भं शिरोदेशे शिवस्य च तदुत्तरे | विन्यस्य वर्धनीं सोमास्कन्दश्चेद्दक्षिणे घटम् || २६ स्कन्धेनाधिष्ठितं न्यस्य गन्धाद्यैरर्चयेत्ततः |

puṇyāhaprokṣaṇaṃ vāstuhomaṃ sthaṇḍilakalpanam | śayanaṃ kalpayenmadhye snapanaṃ kārayettataḥ || 24 kautuka tritayaṃ badhvā triṣu tāṃ śāyayettataḥ | vastraiśca pṛthagāveṣṭya kumbhān saṃsthāpayettataḥ || 25 śivakumbhaṃ śirodeśe śivasya ca taduttare | vinyasya vardhanīṃ somāskandaśceddakṣiṇe ghaṭam || 26 skandhenādhiṣṭhitaṃ nyasya gandhādyairarcayettataḥ |

‘Punyaha vacana’(declaring the auspiciousness of the day and the event), sprinkling of the consecrated water and vastu-homa – all these should be performed in the due order. The Guru should design a sthandila (a raised surface) and design a fitting couch at the middle of the sthandila and place a kalasa containing water for ablution. Having tied up three protective strings separately for the three Murthis, he should place them over the couch to be in recumbent position. He should cover each form with suitable cloth and place the kalsas there. Sivakumbha should be placed near the head of Siva-image; Sakthikumbha should be placed on the north side of the sivakumbha. On the south side of the sakthikumbha, kalsa for Skanda should be placed. This arrangement is for the Somaskanda Murthi. Having placed the kalasas in this way, the Guru should worship them with sandal, flowers and other substances.

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27-29

लक्षणोदितरूपाभिध्यानाधिकृतधीर्गुरुः || २७ परितोऽष्टौ घटान्न्यस्य विद्येशैरप्यधिष्ठितान् | तत्तदध्यायमार्गेण तत्त्वमूर्त्यादिकं नयेत् || २८ कृत्वा कुण्डाग्नि संस्कारं समिदाज्यान्नलाजकैः | तिलसस्येन्द्रमुद्गैश्च होमं च विधिना नयेत् || २९

lakṣaṇoditarūpābhidhyānādhikṛtadhīrguruḥ || 27 parito'ṣṭau ghaṭānnyasya vidyeśairapyadhiṣṭhitān | tattadadhyāyamārgeṇa tattvamūrtyādikaṃ nayet || 28 kṛtvā kuṇḍāgni saṃskāraṃ samidājyānnalājakaiḥ | tilasasyendramudgaiśca homaṃ ca vidhinā nayet || 29

The Guru who is with perfect enlightenment with regard to the contemplation of the characteristic lineaments of these forms should arrange 8 kalasas in the due order to be occupied by the eight Vidyesvaras. According to the details set forth in the chapters dealing with the installation of these forms separately, the Guru should invoke the presence of Tattvas, Tattvesvaras, Murthis and Murthisvaras pertaining to each Deity. Having done the essential sacraments to the fire-pits and the fire, he should offer the oblations with the faggots, clarified butter, cooked rice, parched paddy, sesame, white mustard and mudga according to the prescibed rules.

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30-31

पलाशोदुम्बराश्वत्थ वटा दिक्षु विदिक्षु च | शमीखदिरमायूर श्रीवृक्षोत्था इहेरिताः || ३० प्रधानेऽप्यादिभिः प्रोक्तः पूर्णान्तं कर्म कारयेत् | षण्मुखं च तदा देवीं प्रधाने तर्पयेद्गुरुः || ३१ एते विभिन्न पीठश्चेत् पृथङ्मण्टपमाचरेत्

palāśodumbarāśvattha vaṭā dikṣu vidikṣu ca | śamīkhadiramāyūra śrīvṛkṣotthā iheritāḥ || 30 pradhāne'pyādibhiḥ proktaḥ pūrṇāntaṃ karma kārayet | ṣaṇmukhaṃ ca tadā devīṃ pradhāne tarpayedguruḥ || 31 ete vibhinna pīṭhaścet pṛthaṅmaṇṭapamācaret

The faggots got from the palasa, udumbara, asvattha and vata trees should be offered in the fire-pits of the four main directions, starting from the east. Those got from the sami, khadira, mayura and sri trees should be offered in the fire-pits of the intermediary directions, starting from the south-east. In the principal fire-pit, the faggots of palasa tree should be offered. Such rituals should be done up to the offering of ‘purna ahuti’. The Guru should do ‘tarpana’ in the principal fire-pit for Skanda and Devi. If each of these three forms is associated with separate pedestal, sacrificial hall also should be constructed separately.

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32-34

द्वितीये देवकुम्भाग्नीं तर्पयेत् पूर्ववर्त्मना || ३२ संप्राप्तदशनिष्कादि दक्षिणो मूर्तिपादिभिः | वस्त्रहेमाङ्गुलीयादि पूजितो गुरुरादरात् || ३३ कुम्भाद्बीजं समादाय महेशान हृदि न्यसेत् | वर्धन्यास्तत उद्धृत्य तस्य पीठे तु विन्यसेत् || ३४

dvitīye devakumbhāgnīṃ tarpayet pūrvavartmanā || 32 saṃprāptadaśaniṣkādi dakṣiṇo mūrtipādibhiḥ | vastrahemāṅgulīyādi pūjito gururādarāt || 33 kumbhādbījaṃ samādāya maheśāna hṛdi nyaset | vardhanyāstata uddhṛtya tasya pīṭhe tu vinyaset || 34

On the early morning of the second day, the Guru should do ‘tarpana’ for the Deity, Kumbha and the Fire in the same way as done before. The officiating and assisting priests may be offered 10 nishkas of gold and more than this as the sacrificial fee. The chief sponsor of the event should honor the chief Acharya by offering new clothes, gold ring and other valuable things to him. Having collcted the seed-mantras from the kumbha, the Achrya should unify them with the heart of the Siva. Having collected the seed-mantras from the vardhani-kalasa, he should unify them with the pedestal.

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35-36

सहजा यदि सा देवी तस्यास्तु हृदि विन्यसेत् | गुहकुम्भाद्गुहार्णं तं गुहस्य हृदि विन्यसेत् || ३५ अन्येभ्यः परितः पीठे न्यस्य तानभिषेचयेत् | एते विभिन्न पीठश्चेत् पृथङ्मण्टपमाचरेत् || ३६

sahajā yadi sā devī tasyāstu hṛdi vinyaset | guhakumbhādguhārṇaṃ taṃ guhasya hṛdi vinyaset || 35 anyebhyaḥ paritaḥ pīṭhe nyasya tānabhiṣecayet | ete vibhinna pīṭhaścet pṛthaṅmaṇṭapamācaret || 36

If Devi has been installed in the same pedestal along with Siva, then the Guru should place the seed- mantras on the heart of Devi. Having collected the seed-mantras from the kalasa of Skanda, he should place them on the heart of Skanda. The cosecrated water contained in the Vidyesvara Kalasas should be poured around the concerned pedestal. If each of these forms is associated with separate pedestal, the Guru should construct separate mantapa(hall) for each Murthi.

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37-38

कल्याणकर्म कर्तव्यं यथाविधि विशेषतः | अनुक्तमत्र यत् कुर्यात् सामान्यस्थापनोक्तवत् || ३७ इत्थमेषां प्रतिष्ठां तु यः कुर्यान्नरसत्तमः | स यास्यति शिवेनैक्यं इह सिद्धिं च सोऽश्नुते || ३८

kalyāṇakarma kartavyaṃ yathāvidhi viśeṣataḥ | anuktamatra yat kuryāt sāmānyasthāpanoktavat || 37 itthameṣāṃ pratiṣṭhāṃ tu yaḥ kuryānnarasattamaḥ | sa yāsyati śivenaikyaṃ iha siddhiṃ ca so'śnute || 38

The marriage-festival should be performed in a special way according to the prescribed directions. Those details which have not been told explicitly here are common to the installation of all images and those should be carried out as prescribed earlier. A competent and good-minded devotee who arranges for the installation of Somaskanda Murthi, Somesa or Sukhasana Murthi would attain oneness with Siva when he leaves this world and attain all sorts of benefit and fulfilment in his efforts while living in this world.

54 Directions for the Installation of Chandrasekhara Murthi

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1-3

इन्दुमौलि प्रतिष्ठां तु वक्ष्ये लक्षणपूर्विकाम् | आपाद्य च शिलादीनि तैः कुर्यात् प्रतिमां गुरुः || १ चतुर्भुजस्त्रिणेत्रश्च समपात् स्थानके स्थितः | वराभय समायुक्तः पूर्वस्थ करपल्लवः || २ वरदं वामहस्ते स्यादभयं दक्षिणे करे | वरदं यदि तं कुर्यादथान्यः सिंहकर्णकः || ३

indumauli pratiṣṭhāṃ tu vakṣye lakṣaṇapūrvikām | āpādya ca śilādīni taiḥ kuryāt pratimāṃ guruḥ || 1 caturbhujastriṇetraśca samapāt sthānake sthitaḥ | varābhaya samāyuktaḥ pūrvastha karapallavaḥ || 2 varadaṃ vāmahaste syādabhayaṃ dakṣiṇe kare | varadaṃ yadi taṃ kuryādathānyaḥ siṃhakarṇakaḥ || 3

Now, I reveal the directions for the installation of Chandrasekhara Murthi, preceded by the details related to the specific lineaments of the image of Chandrasekhara. Having assembled necessary materials such as suitable stone and others, the Guru should design the form. Chandrasekhara has four arms and three eyes; he is in erect posture, with His feet placed at equal level. In His lower left hand, He is holding varada-mudra and in His lower right hand, He is holding abhaya-mudra. If the right hand is to be designed as holding the varada-mudra, then the other hand should be shown as holding the simhakarna-mudra(displaying the palm and manoeuvring the fingers to appear like the ear of lion).

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4-6

ऊरुस्पृष्टकरो वापि कटको वा विधीयते | मृगटङ्ककरावन्यौ दोस्सीमान्तं व्यवस्थितौ || ४ मृगटङ्कौ तु कर्णान्तौ कर्तरी संव्यवस्थिता | पराङ्मुखो संमुखो वा मृगटङ्कौ समीरितौ || ५ दिङ्मात्रं कर्तरी बाहुमध्यमं परिकीर्तितम् | हिक्कायाः कर्तरी मध्यं एकत्रिंशदथाङ्गुलम् || ६

ūruspṛṣṭakaro vāpi kaṭako vā vidhīyate | mṛgaṭaṅkakarāvanyau dossīmāntaṃ vyavasthitau || 4 mṛgaṭaṅkau tu karṇāntau kartarī saṃvyavasthitā | parāṅmukho saṃmukho vā mṛgaṭaṅkau samīritau || 5 diṅmātraṃ kartarī bāhumadhyamaṃ parikīrtitam | hikkāyāḥ kartarī madhyaṃ ekatriṃśadathāṅgulam || 6

Or, the left hand may be shown as touching the upper thigh or as holding the kataka-mudra. The upper two hands ,the right hand holding the hatchet(tanka) and the left hand holding the deer, should be shown as raised and kept near the top of the shoulders and the deer and the hatchet should be shown as held with ‘kartari-mudra’ so that they remain raised up to the bottom of the ears. The deer and the hatchet may be designed to be facing the opposite directions(the deer turned towards left and the hatchet turned towards right) or they may be shown as facing each other. The distance between the kartari-mudra and the middle of the shoulders should be 8 matras. From the bottom of the hip to the middle of the kartari, the distance should be 31 angulas.

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7-9

मणिबन्धकबाह्वोस्तु मध्यमं द्वादशाङ्गुलम् | श्रोण्यन्तात् कूर्परादर्वागन्तरं पूर्वहस्तयोः || ७ शरैर्वा कौशिकैर्वापि सार्धाङ्गुलरसैस्तु वा | स्तनान्तमभयान्तोच्चं नाभ्यूर्ध्वे पुष्करोदयः || ८ नाभेरभयहस्तान्तं गुणाङ्गुलमिति स्मृतम् | स्तनान्तादभयाग्रान्तं द्वादशाङ्गुलमिष्यते || ९

maṇibandhakabāhvostu madhyamaṃ dvādaśāṅgulam | śroṇyantāt kūrparādarvāgantaraṃ pūrvahastayoḥ || 7 śarairvā kauśikairvāpi sārdhāṅgularasaistu vā | stanāntamabhayāntoccaṃ nābhyūrdhve puṣkarodayaḥ || 8 nābherabhayahastāntaṃ guṇāṅgulamiti smṛtam | stanāntādabhayāgrāntaṃ dvādaśāṅgulamiṣyate || 9

The distance between the wrist and the middle of the shoulders should be 12 angulas. The distance between the bottom of the loin and the front of the elbow and that between the lower hands may be 5, 6 or six and half angulas. The height of abahya-mudra should reach up to the level of the breast. Above the area of the navel, cavity should be shown. The distance between the navel and the hand holding the abhaya-mudra should be 3 angulas. The distance between the breast and the tip of the finger of abhya-mudra should be 12 angulas.

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10-12

कटकाधःप्रदेशं तु मेढ्रमूलसमं भवेत् | ऊरुमूले कटकान्तं स्पृष्टं वाथ गुणान्तरम् || १० सार्धभागद्वयेनाथ भागाभ्यां वाथ कल्पयेत् | ऊर्वादिमध्यमात्राणां जान्वोरप्यन्तरं क्रमात् || ११ एकेनार्धेन सार्धाभ्यां त्रिभिश्च परिकल्पयेत् | अथवा जानुमध्यात्तु सार्धाङ्गुलमिति स्मृतम् || १२

kaṭakādhaḥpradeśaṃ tu meḍhramūlasamaṃ bhavet | ūrumūle kaṭakāntaṃ spṛṣṭaṃ vātha guṇāntaram || 10 sārdhabhāgadvayenātha bhāgābhyāṃ vātha kalpayet | ūrvādimadhyamātrāṇāṃ jānvorapyantaraṃ kramāt || 11 ekenārdhena sārdhābhyāṃ tribhiśca parikalpayet | athavā jānumadhyāttu sārdhāṅgulamiti smṛtam || 12

The bottom part of the kataka-mudra and the base of the genital organ should be on the same level. The bottom of kataka may be shown as touching the top of the thigh or it may be shown at a distance of 3 angulas from the thigh. Or, the distance may be two and half or two angulas. The space between the thighs at the upper level and at the middle level and between the knees should be one and half, two and half and three angulas respectively. Or, the space between the knees may be one and half angulas.

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13-15

जङ्घयोर्मूलमध्याग्रं वेदभूतरसान्तकम् | अङ्गुष्ठयोर्द्वयोर्मध्यं विद्येशाङ्गुलमीरितम् || १३ भागं पार्ष्ण्यन्तरं प्रोक्तं ततस्सूत्राणि लम्बयेत् | तत्पार्श्वयोस्त्रिसूत्राणि मुखकर्णभुजावधि || १४ पुरः पृष्ठे च मध्ये च नव तान्यवलम्बयेत् | प्रलम्बफलकामूर्ध्नि स्थापयित्वावलम्बयेत् || १५

jaṅghayormūlamadhyāgraṃ vedabhūtarasāntakam | aṅguṣṭhayordvayormadhyaṃ vidyeśāṅgulamīritam || 13 bhāgaṃ pārṣṇyantaraṃ proktaṃ tatassūtrāṇi lambayet | tatpārśvayostrisūtrāṇi mukhakarṇabhujāvadhi || 14 puraḥ pṛṣṭhe ca madhye ca nava tānyavalambayet | pralambaphalakāmūrdhni sthāpayitvāvalambayet || 15

Having designed a couch inside the hall, the Guru should place the image of the Lord to be in recumbent posture. Near the head of the Lord’s image, he should place the siva-kumbha and vardhani kalasa. Contemplating the form of Siva and Sakthi associated with perfect features, he should worship the kumbha and the vardhani. He should arrange 8 kalasas around the siva-kumbha and sakthi-kalasa and invoke and worship the eight Vidyesvaras in them. Having collected the essential paraphernalia, the Guru should worship the kalasas with sandal, flowers and other substances and continue the the worship up to the offering of ‘naivedya’. Having invoked the presence of Tattvas, Tattvesvaras, Murthis and Murthisvaras and worshipped them, he should perform the fire-rituals and oblations.

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16-18

ललाटघ्राणहृन्नाभि मेढ्राङ्घ्रियुगमध्यमे | सूत्रं पुरःस्थितं नासाकुक्षिस्पर्शं यथा भवेत् || १६ मुखान्तपिप्पिलीकर्णमूलचूचुकपात्तले | कर्णकण्ठस्तनानां तु बाह्वो श्रोणिस्पृगेव च || १७ मुखान्मूलान्तरं नीत्वा दोस्स्पृश्यगपरं गतम् | एवं पार्श्वे त्रिसूत्राणि लम्बयेद्देशिकोत्तमः || १८

lalāṭaghrāṇahṛnnābhi meḍhrāṅghriyugamadhyame | sūtraṃ puraḥsthitaṃ nāsākukṣisparśaṃ yathā bhavet || 16 mukhāntapippilīkarṇamūlacūcukapāttale | karṇakaṇṭhastanānāṃ tu bāhvo śroṇispṛgeva ca || 17 mukhānmūlāntaraṃ nītvā dosspṛśyagaparaṃ gatam | evaṃ pārśve trisūtrāṇi lambayeddeśikottamaḥ || 18

The forehead, nose, middle of the chest, navel, genital organ and the mid point between the two feet- the string suspended so as to touch these parts is known as the fore string. This string may also run through the tip of the nose and the stomach. One string should be suspended so as to touch the side of the face, pupil of the eye, base of the ear, nipple and the foot. Another string should be suspended so as to touch the ear, side of the neck, breast, shoulder, hip and buttock. One more string should be suspended, so as to run through the space between the side of the face and base of the shoulder and so as touch the back of the shoulder. In this way, the foremost Guru should suspend three strings on both sides of the image.

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19-20

कृकाटिकाककुत्कर्ण स्फिक्पार्ष्णीनां तु मध्यमे | मस्तकाल्लम्बनीयं स्याद्यथा पृष्ठककुद्गतम् || १९ देहस्यान्तर्गतं मध्यसूत्रं स्यान्मुनिपुङ्गवाः | उष्णीषभूषणं कुर्यात् त्रिमात्रेण विशेषतः || २०

kṛkāṭikākakutkarṇa sphikpārṣṇīnāṃ tu madhyame | mastakāllambanīyaṃ syādyathā pṛṣṭhakakudgatam || 19 dehasyāntargataṃ madhyasūtraṃ syānmunipuṅgavāḥ | uṣṇīṣabhūṣaṇaṃ kuryāt trimātreṇa viśeṣataḥ || 20

One string should be suspended from the head so as to touch the back side of the neck, top of the spinal column, ear, buttock and the mid point between the heels. This may aslo touch the back side of the image and a small projection at the rear neck. O, the supreme sages!, the string which is suspended inside the image is known as the central string. The Guru should design the headgear-ornament in a specific pattern, its measurement being three matras.

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21-23

पार्श्वयोः पुरतः पृष्ठे चतुष्पूरिसमन्वितम् | मध्ये मकरकूटं स्यात् सप्तकोटर संयुतम् || २१ पार्श्वयोः पत्रकूटं स्यात् पृष्ठे स्याद्रत्नकूटकम् | अग्रे दशाङ्गुलं तस्य मूले तु मुखविस्तरम् || २२ तत्तत्त्रिगुणनाहं तु वामेऽवामेऽर्धचन्द्रकम् | वामे महाफणिं तस्य सर्वालङ्कारभूषितम् || २३

pārśvayoḥ purataḥ pṛṣṭhe catuṣpūrisamanvitam | madhye makarakūṭaṃ syāt saptakoṭara saṃyutam || 21 pārśvayoḥ patrakūṭaṃ syāt pṛṣṭhe syādratnakūṭakam | agre daśāṅgulaṃ tasya mūle tu mukhavistaram || 22 tattattriguṇanāhaṃ tu vāme'vāme'rdhacandrakam | vāme mahāphaṇiṃ tasya sarvālaṅkārabhūṣitam || 23

The Guru should design a specific ornament associated with four stripes on both sides , front and back of the head-dress and design ‘makara kuta’ motif associated with seven hollows, on its middle. He should provide ‘patra kuta’ on its sides and ‘ratna kutaka’ on its back. The front of the ratna kuta should have a width of 10 angulas and the base of that should be with a width equal to the width of the face. The cicumference of each motif should be three times the width. The half-moon should be designed in the left or the right side of the head. The great serpent, Vasuki, should be designed on the left, associated with all sorts of adornment and ornaments.

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24-26

जटभिः पञ्चभिर्ग्रन्थिं त्रिमात्रेण विशेषतः | एकधा तु त्रिधावृत्या शेषाभिः पार्श्वलम्बनम् || २४ जटामकुटमेतद्धि सर्वालङ्कारमीरितम् | रत्नपत्रिकया वापि शङ्खपत्रिकयापि वा || २५ पद्मपत्रिकया वापि शोभितं वामकर्णकम् | सव्यं मकरसिंहाख्य पत्रकुण्डलकैर्युतम् || २६

jaṭabhiḥ pañcabhirgranthiṃ trimātreṇa viśeṣataḥ | ekadhā tu tridhāvṛtyā śeṣābhiḥ pārśvalambanam || 24 jaṭāmakuṭametaddhi sarvālaṅkāramīritam | ratnapatrikayā vāpi śaṅkhapatrikayāpi vā || 25 padmapatrikayā vāpi śobhitaṃ vāmakarṇakam | savyaṃ makarasiṃhākhya patrakuṇḍalakairyutam || 26

The stretching locks of matted hair should be five in number, each stretch with a width of three matras. One strand or three strands should be in twisted and knotted state and the remaining strands should be hanging along the sides. This is the fashioning of the crown of matted hair associated with all kinds of embellishments. The ear-ring of the left ear may be designed with gems or with conch. Or, the ear-ring may be in the form of lotus. The left ear should appear bright and beautiful, with such ornament. The right ear may be beautified with the ear-ring designed in the form of ‘makara simha’ (ferocious crocodile) or designed with leaf-roll.

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27-29

पृष्ठतः कर्णपर्यन्तं केशावर्ति विलम्बनम् | पार्श्वयोर्बाहुमूलात्तु जटाग्राणां विलम्बनम् || २७ हारयुग् ग्रीवसंयुक्तं तथा कर्णिकयान्वितम् | वक्षस्थलं प्रकर्तव्यं भुजाः केयूर संयुताः || २८ सुपत्रवलयोपेतास्सर्वरत्नोपशोभिताः | मुक्तादाम विलम्बाश्च तदग्रे मणिभूषणम् || २९

pṛṣṭhataḥ karṇaparyantaṃ keśāvarti vilambanam | pārśvayorbāhumūlāttu jaṭāgrāṇāṃ vilambanam || 27 hārayug grīvasaṃyuktaṃ tathā karṇikayānvitam | vakṣasthalaṃ prakartavyaṃ bhujāḥ keyūra saṃyutāḥ || 28 supatravalayopetāssarvaratnopaśobhitāḥ | muktādāma vilambāśca tadagre maṇibhūṣaṇam || 29

Locks of hair should be hanging down on the back side and up to the ears. The ends of the locks of matted hair should be hanging down on the shoulders, on both sides. The neck should be adorned with ornament known as ‘hara’(chain) and the chest should be shown as adorned with‘karnika’. The arms should be shown as adorned with ‘keyuras’ which are elegant, being designed with all kinds of gems and being associated with ‘patra’ and ‘valaya’ designs. The image should be designed as adorned with hanging strings of pearls and with the ornmaent made of ruby, set in front of the pearl chains.

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30-31

कराग्रं कटकोपेतं अङ्गुल्यो मुद्रिकान्विताः | छन्नवीरोत्तरीयोपवीतैस्सोदरबन्धनः || ३० समस्तरत्नपाशाढ्यकृत्रिमाननदामभिः | संयुक्तकटिसूत्रोऽन्तः पादजालकसंयुतः || ३१

karāgraṃ kaṭakopetaṃ aṅgulyo mudrikānvitāḥ | channavīrottarīyopavītaissodarabandhanaḥ || 30 samastaratnapāśāḍhyakṛtrimānanadāmabhiḥ | saṃyuktakaṭisūtro'ntaḥ pādajālakasaṃyutaḥ || 31

The image should appear as adorned with ‘kataka’ ornament in the fore arm, rings on the fingers, ‘channavira’-ornament, sacred thread, stomach-band, larger chains designed with strings of all kinds of gems, waistband and ‘pada jala’(anklet).

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32-33

चन्द्रशेखर एवं स्याद्देव्या च सहितो न वा | सापीह भिन्नपीठा वा देवेनालिङ्गिताथवा || ३२ तयालिङ्गितदेवो वा अन्योन्यालिङ्गितस्तु वा | आलिङ्गन न युतो वा स्यान्निराभङ्गोऽथवा मतः || ३३ एवं लक्षणमाख्यातं प्रतिष्ठाद्यं निगद्यते |

candraśekhara evaṃ syāddevyā ca sahito na vā | sāpīha bhinnapīṭhā vā devenāliṅgitāthavā || 32 tayāliṅgitadevo vā anyonyāliṅgitastu vā | āliṅgana na yuto vā syānnirābhaṅgo'thavā mataḥ || 33 evaṃ lakṣaṇamākhyātaṃ pratiṣṭhādyaṃ nigadyate |

These are the lineaments of the image of Chandrasekhara. This Murthi could be installed as associated with Devi or not associated with Devi. The Devi may be installed in a separate pedestal or in the same pedestal as embraced by the Lord. Or, the Lord as embraced by Devi, both the Lord and Devi embracing mutually or without being embraced or without any flexion– these are various postures in which Chandrasekhara Murthi could be installed. Thus, the charecteristic features of Chandrasekhara Murthi have been told. Now, the process of ceremonial installation is detailed.

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34-36

कालोऽपि प्राग्वदुद्दिष्टस्तद्वदेवाङ्कुरार्पणम् || ३४ रत्नन्यासं दृशां मोक्षं बेरशुद्धिं प्रदक्षिणम् | जलाधिवासनं पश्चान्मण्टपं पूर्ववन्नयेत् || ३५ कुण्डानि परितः कुर्यान्नवपञ्चैक संख्यया | तद्दिगश्राणि वृत्तानि कुण्डान्यश्राणि वा नयेत् || ३६

kālo'pi prāgvaduddiṣṭastadvadevāṅkurārpaṇam || 34 ratnanyāsaṃ dṛśāṃ mokṣaṃ beraśuddhiṃ pradakṣiṇam | jalādhivāsanaṃ paścānmaṇṭapaṃ pūrvavannayet || 35 kuṇḍāni paritaḥ kuryānnavapañcaika saṃkhyayā | taddigaśrāṇi vṛttāni kuṇḍānyaśrāṇi vā nayet || 36

The auspicious time for the installation should be ascertained as explained before and similarly, the offering of sprouts should be performed as done before. Placing the gems, opening of the eyes, purification of the image, circumambulation around the village, keeping the image in water, construction of sacrificial hall – all these should be done according to the directions set forth earlier. The number of fire-pits around the altar may be 9, 5 or one. The shape of the fire-pits may be relevant to each direction. Or all the fire-pits may be constructed to be in circular shape or in the recommended geometrical shape.

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37-39

विप्रान् संभोजयेत्पश्चात् पुण्याहं वाचयेत्ततः | समरीयपदे वास्तुहोमः कार्यो द्विजोत्तमाः || ३७ पुण्याहं वाचयित्वा तु शय्यायाः कल्पनं नयेत् | स्नपनं कौतुकं शय्यारोहणं पृथगाचरेत् || ३८ ततः कुम्भं शिरोदेशे वर्धनी च तदुत्तरे | लक्षणोदितरूपं च स्मरन्नभ्यर्चयेत्तयोः || ३९

viprān saṃbhojayetpaścāt puṇyāhaṃ vācayettataḥ | samarīyapade vāstuhomaḥ kāryo dvijottamāḥ || 37 puṇyāhaṃ vācayitvā tu śayyāyāḥ kalpanaṃ nayet | snapanaṃ kautukaṃ śayyārohaṇaṃ pṛthagācaret || 38 tataḥ kumbhaṃ śirodeśe vardhanī ca taduttare | lakṣaṇoditarūpaṃ ca smarannabhyarcayettayoḥ || 39

Then, the Guru should arrange for the feeding of the learned Brahmins and perform the ritual known as ‘punyaha vacana’. O, the foremost twice-born sages!, vastu-homa should be done in the samari-grid of the vastu mandala pertaining to the sacrificial hall. Having declared the auspiciousness of the time, event and the motive, the Guru should design a fitting couch. Snapana, fastening the protective string, placing the image over the couch – all these should be done in the due order. If there is a separate pedestal for Devi, all these should performed separately. Then, the Guru should place the siva-kumbha near the head of the image and the vardhani kalasa, on the north side of the siva-kumbha. Contemplating the characteristic features of the form of Chandrasekhara and Devi, he should worship them with sandal and flowers.

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40-42

परितोऽष्टौ घटान्न्यस्य विद्येशाधिष्ठितान्न्यसेत् | न्यस्यैव तत्त्वमूर्त्यादीन् प्राग्वद्धोमं समाचरेत् || ४० कृत्वा कुण्डाग्नि संस्कारं समिदाज्यान्नकैस्तिलैः | लाजसस्येन्द्रकैश्चैव वटोदुम्बर संज्ञकौ || ४१ अश्वत्थकपलाशौ च दिक्ष्वेवं समिधो मताः | शम्यपामार्गश्रीवृक्षमायूरा वह्निकोणतः || ४२ प्रत्येकं पूर्ववद्धुत्वा पूर्णान्ते देशिकोत्तमः

parito'ṣṭau ghaṭānnyasya vidyeśādhiṣṭhitānnyaset | nyasyaiva tattvamūrtyādīn prāgvaddhomaṃ samācaret || 40 kṛtvā kuṇḍāgni saṃskāraṃ samidājyānnakaistilaiḥ | lājasasyendrakaiścaiva vaṭodumbara saṃjñakau || 41 aśvatthakapalāśau ca dikṣvevaṃ samidho matāḥ | śamyapāmārgaśrīvṛkṣamāyūrā vahnikoṇataḥ || 42 pratyekaṃ pūrvavaddhutvā pūrṇānte deśikottamaḥ

Having arranged 8 kalasas around the siva-kumbha and vardhani-kalasa, he should invoke the presence of 8 Vidyesvaras to occupy those kalsas. Having invoked the presence of Tattvas, Tattvesvaras, Murthis and Murthisvaras, he should perform the fire ritual. Having done all the essential sacraments to the fire-pit and the fire, he should offer the oblations with the recommended faggots, clarified butter, cooked rice, sesame, parched paddy grains and white mustard. The faggots of vata tree, udumbara tree, asvattha and palasa trees should be offered in the fire-pits of the four main directions, starting from the east. Sami, apamarga, sri vruksha and mayura – the faggots got from these should be offered in the fire-pits of the intermediary directions, starting from the south-east. The foremost Acharya should offer the oblations with each of these substances and finally, he should offer the ‘purna ahuti’.

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43-45

प्रभाते देवकुम्भाग्नीनभ्यर्च्य गुरुरादरात् || ४३ वस्त्रहेमाङ्गुलीयाद्यैर्मूर्तिपाद्यैस्समन्वितः | संप्राप्त दक्षिणः प्राग्वन्मन्त्रन्यासं समाचरेत् || ४४ प्रतिमाग्रे घटान्न्यस्य कुम्भाद्बीजं तु विन्यसेत् | देवस्य हृदि तत्पीठे वर्धन्यास्तु मनुं न्यसेत् || ४५

prabhāte devakumbhāgnīnabhyarcya gururādarāt || 43 vastrahemāṅgulīyādyairmūrtipādyaissamanvitaḥ | saṃprāpta dakṣiṇaḥ prāgvanmantranyāsaṃ samācaret || 44 pratimāgre ghaṭānnyasya kumbhādbījaṃ tu vinyaset | devasya hṛdi tatpīṭhe vardhanyāstu manuṃ nyaset || 45

On the early morning of the next day, the Guru should worship the Lord, Kumbha and the Fire with reverence and devotion. The chief Achraya and the assisting priests should be honored with sacrificial fee, new clothes, gold ring and other valuable items by the main sponsor(yajamana). Having obtained the honors, the Guru should perform the mantra-nyasa as done before. Having placed the kumbha in front of the image installed in the shrine, he should withdraw the seed-mantras from the kumbha and fix them in the heart of the Lord. Similarly, he should withdraw the seed-mantras from the vardhani kalasa and fix them on the pedestal.

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46-47

सहजा चेत्तु तद्देवी तस्यास्तु हृदि विन्यसेत् | अन्येभ्यो विन्यसेद्बीजं पीठस्य परितस्ततः || ४६ विभिन्न पीठा देवी चेत् पृथङ्मण्टपमाचरेत् | कल्याणं कारयेदन्ते स्नपनं चोत्सवं तथा || ४७ कारयेद् भूरि नैवेद्यं दापयेत्तु न वा गुरुः |

sahajā cettu taddevī tasyāstu hṛdi vinyaset | anyebhyo vinyasedbījaṃ pīṭhasya paritastataḥ || 46 vibhinna pīṭhā devī cet pṛthaṅmaṇṭapamācaret | kalyāṇaṃ kārayedante snapanaṃ cotsavaṃ tathā || 47 kārayed bhūri naivedyaṃ dāpayettu na vā guruḥ |

If Devi is associated with the Lord(if the image of the Lord and that of Sakthi are in the same pedestal), the Guru should fix the seed-mantra in the heart of the Sakthi. Having collected the mantras from the eight kalasas, he should fix them around the pedestal. If Devi is to be installed in a separate pedestal, the Guru should construct a separate sacrificial hall. At the final stage, the Guru should perform the marriage for Siva and sakthi, snapana-abhisheka and festival. The Guru should arrange for the preparation of varieties of ‘naivedya’ in a large scale and offer them to Siva and Sakthi. Or, if not possible for large scale preparation, he may offer the naivedya in a simple manner.

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48-49

अत्रानुक्तं तु संग्राह्यं सामान्यस्थापनोदितम् || ४८ चन्द्रमौलि प्रतिष्ठां तु कुर्यादेवं हि यो नरः | लब्ध्वेह सर्वकामांस्तु स चान्ते मोक्षमाप्नुयात् || ४९

atrānuktaṃ tu saṃgrāhyaṃ sāmānyasthāpanoditam || 48 candramauli pratiṣṭhāṃ tu kuryādevaṃ hi yo naraḥ | labdhveha sarvakāmāṃstu sa cānte mokṣamāpnuyāt || 49

Those details which are not told here should be known from the chapter dealing with the common process of installation. The devotee who is instrumental for the installation of Chandrasekhara Murthi would attain final liberation, having obtained here in this world all those desired by him and having enjoyed them.

55 Directions for the Installation of Purari Murthi

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1-3

पुरारिस्थापनं वक्ष्ये तदादो लक्षणं च वै | चतुर्भुजस्त्रिणेत्रश्च जटामकुट संयुतः || १ समभङ्गयुतस्संयक् स्थानकेन समन्वितः | सव्यकर्णस्थ मकरकुण्डलेन समन्वितः || २ कृष्णापरशु संयुक्त परहस्तद्वयान्वितः | धनुर्बाणयुतोपेत वामेतर करान्वितः || ३

purāristhāpanaṃ vakṣye tadādo lakṣaṇaṃ ca vai | caturbhujastriṇetraśca jaṭāmakuṭa saṃyutaḥ || 1 samabhaṅgayutassaṃyak sthānakena samanvitaḥ | savyakarṇastha makarakuṇḍalena samanvitaḥ || 2 kṛṣṇāparaśu saṃyukta parahastadvayānvitaḥ | dhanurbāṇayutopeta vāmetara karānvitaḥ || 3

Now, I will tell you the process of installaion of Tripurantaka Murthi, including the characteristic lineaments of that form. This Lord appears with four arms, three eyes and with the crown designed with locks of matted hair. He is in ‘samabhanga’ posture, standing on the pedestal. He is wearing the ‘makara-kundala’ in His right ear. Upper hands are holding the deer and hatchet. Lower right hand is holding the arrow and lower left hand is holding the bow.

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4-5

दोस्सीमपरहस्तोच्चं शरस्तन्मेढ्रसीमकम् | नाभेस्तु मणिबन्धान्त मात्रमेकोनविंशतिः || ४ पार्श्वमध्यम बाह्वोश्च मध्यमं तु शराङ्गुलम् | दोर्मूलात्परहस्तान्तं षोडशाङ्गुलं ईरितम् || ५

dossīmaparahastoccaṃ śarastanmeḍhrasīmakam | nābhestu maṇibandhānta mātramekonaviṃśatiḥ || 4 pārśvamadhyama bāhvośca madhyamaṃ tu śarāṅgulam | dormūlātparahastāntaṃ ṣoḍaśāṅgulaṃ īritam || 5

The upper hands are raised up to the level of the shoulders. The tip of the arrow is at the level of the genital organ. The distance between the navel and the wrist of the lower right hand is 19 angulas. The distance between the two sides and that between the shoulders is 5 angulas. From the base of the shoulder to the end of the upper hand, the distance is 16 angulas.

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6-8

परहस्तोज्झितो वाथ द्विहस्तस्त्रिपुरान्तकः | शिरसो वामदृक् कृष्ण मण्डलस्य च दक्षिणे || ६ सूत्रं तु लम्बयेद्वामे वामनासापुटस्य तु | दक्षिणस्थित पादे च पुरस्थान् मुनिपुङ्गवाः || ७ हृन्नाभिमेढ्रसव्याङ्घ्रि जानूनां सूत्रतोऽन्तरम् | सव्येऽग्निभागादेवं स्यात् समभङ्गे स्थिरानतिः || ८

parahastojjhito vātha dvihastastripurāntakaḥ | śiraso vāmadṛk kṛṣṇa maṇḍalasya ca dakṣiṇe || 6 sūtraṃ tu lambayedvāme vāmanāsāpuṭasya tu | dakṣiṇasthita pāde ca purasthān munipuṅgavāḥ || 7 hṛnnābhimeḍhrasavyāṅghri jānūnāṃ sūtrato'ntaram | savye'gnibhāgādevaṃ syāt samabhaṅge sthirānatiḥ || 8

In another form of Tripurantaka, only the upper hands may be shown as raised or only the two hands may be shown as holding the bow and arrow. The Guru should suspend a string so as to touch the head, the right side of the pupil of the left eye and the side of the left nostril. It should end in front of the foot placed in the south side. O, the supreme sages!, he should suspend another string so as to run through the middle of the chest, navel, genital organ, right knee and the right foot. The normal and uniform flexion , in the erect posture, with the feet equidistant to the central line, should be with a measure of 3 angulas in the right side.

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9

तत्पादाङ्गुष्ठ पार्ष्ण्योश्च द्व्यन्तरं दशभौतिकम् | कुर्यात् सलक्षणं वाथ वामभागे तु पार्वतीम् || ९ एवं कृत्वा पुरारिं तु प्रतिष्ठां कारयेत्ततः |

tatpādāṅguṣṭha pārṣṇyośca dvyantaraṃ daśabhautikam | kuryāt salakṣaṇaṃ vātha vāmabhāge tu pārvatīm || 9 evaṃ kṛtvā purāriṃ tu pratiṣṭhāṃ kārayettataḥ |

The distance between the big toes and the heels is 15 angulas. The image of Purari should be designed so as to be with all the prescribed lineaments. The image of Parvati should be designed on the left side of the Lord. Having designed the form of Tripurantaka in this way, the Guru should perform the ritualas related to the installation.

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10-12

सुमुहूर्ते सुलग्ने च कृत्वैवाङ्कुर कर्म च || १० रत्नन्यासं दृशां मोक्षं बेरशुद्धिं प्रदक्षिणम् | तोयाधिवासनं पश्चात् स्नपनं कौतुकं नयेत् || ११ मण्टपे स्थण्डिलं कृत्वा नवपञ्चैक संख्यया | कुण्डान्यश्राणि वृत्तानि तद्दिगश्राणि तानि च || १२

sumuhūrte sulagne ca kṛtvaivāṅkura karma ca || 10 ratnanyāsaṃ dṛśāṃ mokṣaṃ beraśuddhiṃ pradakṣiṇam | toyādhivāsanaṃ paścāt snapanaṃ kautukaṃ nayet || 11 maṇṭape sthaṇḍilaṃ kṛtvā navapañcaika saṃkhyayā | kuṇḍānyaśrāṇi vṛttāni taddigaśrāṇi tāni ca || 12

The Guru should perform the ‘offering of sprouts’ in an auspicious ‘muhurtha’ and ‘lagna’ ascertained according to the prescribed rules. This should be followed by various activities such as: placing the gems on various parts of the image, opening of the eyes, purification of the image, circumambulation, keeping the image in the water, snapana, fastening the protective string and so on. Having designed a sthandila over the altar constructed inside the sacrificial hall, the Guru should construct the fire-pits around the altar. The number of the fire-pits may be 9, 5 or one. The shape of the fire-pits may be square, circular or angled. Or they may be in various geometrical shapes, relevant to each direction.

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13-15

संकल्प्य शयनं तस्मिन्नारोप्य च महेश्वरम् | देवेशस्य शिरोदेशे शिवकुम्भं च वर्धनीम् || १३ लक्षणोक्त च रूपं तु ध्यात्व तत्रैव पूजयेत् | अभितोऽष्टौ घटान्न्यस्य विद्येशांस्तत्र पूजयेत् || १४ गन्धाद्यैरपि नैवेद्य पर्यन्तैर्भावितो गुरुः | तत्त्वमूर्त्यादि विन्यासं कृत्वा होमं समाचरेत् || १५

saṃkalpya śayanaṃ tasminnāropya ca maheśvaram | deveśasya śirodeśe śivakumbhaṃ ca vardhanīm || 13 lakṣaṇokta ca rūpaṃ tu dhyātva tatraiva pūjayet | abhito'ṣṭau ghaṭānnyasya vidyeśāṃstatra pūjayet || 14 gandhādyairapi naivedya paryantairbhāvito guruḥ | tattvamūrtyādi vinyāsaṃ kṛtvā homaṃ samācaret || 15

Having designed a couch inside the hall, the Guru should place the image of the Lord to be in recumbent posture. Near the head of the Lord’s image, he should place the siva-kumbha and vardhani kalasa. Contemplating the form of Siva and Sakthi associated with perfect features, he should worship the kumbha and the vardhani. He should arrange 8 kalasas around the siva-kumbha and sakthi-kalasa and invoke and worship the eight Vidyesvaras in them. Having collected the essential paraphernalia, the Guru should worship the kalasas with sandal, flowers and other substances and continue the the worship up to the offering of ‘naivedya’. Having invoked the presence of Tattvas, Tattvesvaras, Murthis and Murthisvaras and worshipped them, he should perform the fire-rituals and oblations.

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16-17

संस्कृत्य कुण्डं वह्निं च समिदाज्यान्नकैस्तिलैः | पालाशोदुम्बराश्वत्थ वटाः प्रागादि दिक्षु च || १६ शम्यपामर्ग श्रीवृक्ष मायूरा वह्निकोणतः | प्रधानस्य पलाशस्स्यात् स च सर्वत्र वा मतः || १७ प्रत्येकं पूर्ववद्धुत्वा पूर्णाहुत्यन्तमेव च |

saṃskṛtya kuṇḍaṃ vahniṃ ca samidājyānnakaistilaiḥ | pālāśodumbarāśvattha vaṭāḥ prāgādi dikṣu ca || 16 śamyapāmarga śrīvṛkṣa māyūrā vahnikoṇataḥ | pradhānasya palāśassyāt sa ca sarvatra vā mataḥ || 17 pratyekaṃ pūrvavaddhutvā pūrṇāhutyantameva ca |

Having done all the sacraments to the fire-pits and the fire, he should offer the oblations with the faggots, clarified butter, cooked rice, sesame and other substances. Palasa, udumbara, asvattha and vata – the faggots got from these trees should be offered as oblations in the fire-pits designed in the four main directions, starting from the east. The faggots got from sami, apamarga, srivruksha and mayura trees should be offered in the fire-pits designed in the four intermediary directions, starting from the south-east. The faggots of palasa should be offered in the principal fire-pit. Or, the faggots of palasa may be offered in all the fire-pits. Having offered the oblations with each of these substances, the Guru should offer the consummate oblation(purna ahuti).

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18-20

ततो द्वितीय दिवसे देवकुम्भाग्नि तर्पणम् || १८ पूजितो मूर्तिपैस्सार्धं प्राप्त पूर्वोक्त दक्षिणः | सुमुहूर्ते ततः प्राप्ते मनुन्यासं समाचरेत् || १९ कुम्भाद्बीजं समादाय शिवस्य हृदि विन्यसेत् | वर्धन्या बीजमादाय तत्पीठे विन्यसेद्गुरुः || २०

tato dvitīya divase devakumbhāgni tarpaṇam || 18 pūjito mūrtipaissārdhaṃ prāpta pūrvokta dakṣiṇaḥ | sumuhūrte tataḥ prāpte manunyāsaṃ samācaret || 19 kumbhādbījaṃ samādāya śivasya hṛdi vinyaset | vardhanyā bījamādāya tatpīṭhe vinyasedguruḥ || 20

Then, in the early morning of the next day, the Guru should perform ‘tarpana’ for the Lord, kumbha and the fire. Having been honored by the chief sponsor, the Guru along with the assisting priests should accept the sacrificial fees and other valuable gifts from the sponsor. Upon the onset of the auspicious time as fixed earlier,the Guru should perfrom the nyasa of the mantras. Having collected the seed-mantras from the kumbha, he should unify them with the heart of the Lord. Having collected the seed-mantras from the vardhani kalasa, he should unify them with the pedestal.

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21-22

सहासना तु देवी चेत् तस्यास्तु हृदि विन्यसेत् | विभिन्न पीठाचेत्तस्याः पृथङ्मण्टपं आचरेत् || २१ कल्याणं कारयेत् पश्चात् तदन्ते स्नपनं नयेत् | उत्सवं भूरि नैवेद्यं कारयेद्वा न वा गुरुः || २२

sahāsanā tu devī cet tasyāstu hṛdi vinyaset | vibhinna pīṭhācettasyāḥ pṛthaṅmaṇṭapaṃ ācaret || 21 kalyāṇaṃ kārayet paścāt tadante snapanaṃ nayet | utsavaṃ bhūri naivedyaṃ kārayedvā na vā guruḥ || 22

If Devi is on the same pedestal of Siva, the Guru should unify the seed-mantras collected from the vardhani with the heart of the Sakthi. If Sathi is to be installed in a separate pedestal, the sacificial hall aslo should be constructed separately. Then, the marriage should be performed for Siva and Sakthi. At the end of the event, the Guru should perform ‘snapana abhisheka’.

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23-24

अनुक्तामत्र यद्ग्राह्यं सामान्यस्थापनोक्तवत् | प्रथिष्ठैवं समाख्याता पुरारेरिष्टदायिनी || २३ इत्थं कारितवान्यस्तु प्रतिष्ठां भक्तिपूर्वकम् | सोऽनेकभोगान् भुक्त्वेह यायादन्ते शिवं परम् || २४

anuktāmatra yadgrāhyaṃ sāmānyasthāpanoktavat | prathiṣṭhaivaṃ samākhyātā purāreriṣṭadāyinī || 23 itthaṃ kāritavānyastu pratiṣṭhāṃ bhaktipūrvakam | so'nekabhogān bhuktveha yāyādante śivaṃ param || 24

Those details which are not told here should be known from the chapter dealing with the common process of installation. Thus, the process of installation of Tripurantaka Murthi has been well detailed. Such installation of Purari is capable of granting the desired fruits. The devotee who installs this Murthi with utmost devotion would be blessed with various wordly enjoyments. Having enjoyed them in this world, he would reach at the end the supreme abode of Siva.

56 Directions for the Installation of Lingodbhava Murthi

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1-2

लिङ्गोद्भवस्य देवस्य प्रतिष्ठाद्यं निगद्यते | गर्भमान वशाल्लिङ्गं प्राग्वत् सम्यक् प्रकल्पयेत् || १ लिङ्गोच्चे वेदपञ्चर्तु सप्तांशोंशं अधस्त्यजेत् | तत्समं वा तदर्धं वा त्यक्त्वा चोर्ध्वे तदन्तरे || २ पूर्ववत् कारयेत् सम्यक् चन्द्रशेखर मूर्तिनम् |

liṅgodbhavasya devasya pratiṣṭhādyaṃ nigadyate | garbhamāna vaśālliṅgaṃ prāgvat samyak prakalpayet || 1 liṅgocce vedapañcartu saptāṃśoṃśaṃ adhastyajet | tatsamaṃ vā tadardhaṃ vā tyaktvā cordhve tadantare || 2 pūrvavat kārayet samyak candraśekhara mūrtinam |

Now, according to the sequence, the installation of Lingodbhava and other rituals related to it are explained. The image of Lingodbhava should be designed with the proportinate measures derived from those of the main shrine, as explained before. From the total height of the image, 4, 5, 6 or 7 parts should be left out at the bottom. Next, equal to the part left out at the bottom or half of that part, should be left out at the upper portion. In the portion between the parts left out at the bottom and the upper side, the form of Chandrasekhara should be sculpted, in the way as explained before.

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3-4

लिङ्गाधो शर्वजान्वन्त भागं नेन्द्रियगोचरम् || ३ लिङ्गोर्ध्वाधः प्रदेशे तु हंसं सूकरमाचरेत् | बिम्बस्यानन मानेन कारयेद्धंशमादरात् || ४ बिम्बाद्विमुख मानेन भूकृष्टास्यं तु सूकरम्

liṅgādho śarvajānvanta bhāgaṃ nendriyagocaram || 3 liṅgordhvādhaḥ pradeśe tu haṃsaṃ sūkaramācaret | bimbasyānana mānena kārayeddhaṃśamādarāt || 4 bimbādvimukha mānena bhūkṛṣṭāsyaṃ tu sūkaram

In the lower part of the Linga, the portion from the feet up to the knee of the image of Chandrasekhara need not be sculpted so that it remains invisible to the eyes. The form of Swan(hamsa) and that of boar should be designed on the upper side and lower side respectively. The swan should be shown as facing the top of the form of Chandrasekhara and the boar should be shown as turned away from the image and as digging the ground.

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5-6

तल्लिङ्ग रसभागैक द्वित्रिवेदशरैर्नयेत् || ५ ब्रह्मविष्णू द्विपार्श्वस्थौ नतौ तस्यानुकूलकौ | तिर्यग्गतसुपादौ तौ सर्वावयव सुन्दरौ || ६

talliṅga rasabhāgaika dvitrivedaśarairnayet || 5 brahmaviṣṇū dvipārśvasthau natau tasyānukūlakau | tiryaggatasupādau tau sarvāvayava sundarau || 6

The forms of Brahma and Vishnu should be designed on the right and left side of the main image respectively, their height being one part, two parts, three, four or five parts out of six parts of height of main image. They should be shown as bowing down, as intent on doing what the Lord wished, their feet placed crossly. The forms should be made in such way that all of their limbs look charming and beautiful.

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7

लिङ्गोद्भूतस्त्विति ख्यातो ब्रह्मविष्ण्वभिनन्दितः | ब्रह्मविष्णु विहीनो वा हंससूकर संयुतः || ७ इत्थं लक्षणमादिष्टं प्रतिष्ठा विधिरुच्यते |

liṅgodbhūtastviti khyāto brahmaviṣṇvabhinanditaḥ | brahmaviṣṇu vihīno vā haṃsasūkara saṃyutaḥ || 7 itthaṃ lakṣaṇamādiṣṭaṃ pratiṣṭhā vidhirucyate |

Such a form is called ‘Lingodbhava’ which is delighted by the praising of Brahma and Vishnu. Such a form may be designed without the images of Brahma and Vishnu on its right side the left side, but as associated with the images of swan and the boar. In this way, the lineaments of the form of Lingodhbhava have been told. Now, the directions for its installation are told.

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8-9

कालश्च पूर्ववद्ग्राह्यस्तद्वदेवाङ्कुरार्पणम् || ८ पश्चान् मण्टपनिर्माणं कृत्वा तत्रैव कल्पयेत्| कुण्डानि परितोऽश्राणि नवपञ्चैक संख्यया || ९ दिगश्राण्यथ वृत्तानि रत्नन्यासोऽत्र नास्ति हि

kālaśca pūrvavadgrāhyastadvadevāṅkurārpaṇam || 8 paścān maṇṭapanirmāṇaṃ kṛtvā tatraiva kalpayet| kuṇḍāni parito'śrāṇi navapañcaika saṃkhyayā || 9 digaśrāṇyatha vṛttāni ratnanyāso'tra nāsti hi

The auspicious time for the installation should be ascertained according to the process mentioned earlier. In the same way, auspicious time for the offering of fresh sprouts should be decided. Then, having constructed a suitable pavilion or hall in the recommended place and direction, the Guru should design the required fire-pits, which may be nine, five or one in number around the central vedika(altar). The fire-pits should be in the shape of square in the main directions and in angular shape in the intermediary directions. The principal fire-pit should be circular in shape. For the image of Lingodhbhava, the ritual known as ‘ratna-nyasa’(fixing the gems on various parts of the image) need nod be peformed.

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10-12

नयनोन्मीलनं पश्चाद्बेरशुद्धिं अनन्तरम् || १० प्रदक्षिणं पुरादीनां जले चैवाधिवासनम् | भूषणं मण्टपस्यैव वास्तुहोमं अतः परम् || ११ भूपरिग्रहमादौ वा पूर्ववत् कारयेद्बुधः | वेद्यूर्ध्वे स्थण्डिलं कृत्वा शयनं कल्पयेत्ततः || १२

nayanonmīlanaṃ paścādberaśuddhiṃ anantaram || 10 pradakṣiṇaṃ purādīnāṃ jale caivādhivāsanam | bhūṣaṇaṃ maṇṭapasyaiva vāstuhomaṃ ataḥ param || 11 bhūparigrahamādau vā pūrvavat kārayedbudhaḥ | vedyūrdhve sthaṇḍilaṃ kṛtvā śayanaṃ kalpayettataḥ || 12

Then, the rituals such as the ‘opening of the eyes’(nayanonmilana), ‘purification of the image(berasuddhi), circumambulation around the temple or village/city, ‘keeping the image immersed in the water of river or temple-tank, decoration of the sacrificial hall, vastu-homa, taking possesion of the ground selected for the installation and other related activities – all these should be performed by the learned Guru according to the directions set forth earlier. Having designed a raised platform over the altar, the Guru should place the image on the couch.

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13-14

जलादुत्तीर्य देवं तु प्रतिमां शोधयेत्ततः | कृत्वा कौतुकबन्धं तु शाययेच्छयनोपरि || १३ नयनोन्मीलनाद्यं तु ब्रह्मविष्ण्वोस्तु कल्पयेत् | ब्रह्माणं दक्षिणे चैव विष्णु वामे तु शाययेत् || १४ वस्त्रैश्चैव तु संवेष्ट्य गन्धाद्यैरर्चयेत्ततः

jalāduttīrya devaṃ tu pratimāṃ śodhayettataḥ | kṛtvā kautukabandhaṃ tu śāyayecchayanopari || 13 nayanonmīlanādyaṃ tu brahmaviṣṇvostu kalpayet | brahmāṇaṃ dakṣiṇe caiva viṣṇu vāme tu śāyayet || 14 vastraiścaiva tu saṃveṣṭya gandhādyairarcayettataḥ

Having taken out the image from the water(of river or tank), the Guru should clean the image, tie up the protective thread and place it on the couch to be in recumbent position. The ritual known as the ‘opening of eyes’(nayanonmilana) should be performed for the images of Brahma and Vishnu. The image of Brahma should be placed to be in recombent position on the right side of Lingodbhava and that of Vishnu should be placed in the same way on the left side of Lingodbhava. Having covered the images

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15-17

प्रधानकुम्भं तेषां तु शिरोभागे तु विन्यसेत् || १५ वर्धनीं विन्यसेद्धीमान् शिवकुम्भस्य चोत्तरे | अभितश्च घटानष्टौ न्यस्य विद्येश्वरात्मकान् || १६ लक्षणोदित रूपं तु ध्यायेत् स्वहृदि देशिकः | रूपसंस्थानभावैस्तु पूजयित्वा यथाविधि || १७

pradhānakumbhaṃ teṣāṃ tu śirobhāge tu vinyaset || 15 vardhanīṃ vinyaseddhīmān śivakumbhasya cottare | abhitaśca ghaṭānaṣṭau nyasya vidyeśvarātmakān || 16 lakṣaṇodita rūpaṃ tu dhyāyet svahṛdi deśikaḥ | rūpasaṃsthānabhāvaistu pūjayitvā yathāvidhi || 17

The principal kumbha known as ‘siva-kumbha’should be placed in the location above the head of all these recumbent images and the sakthi-kumbha known as ‘vardhani-kalasa’ should be placed on the left side of siva-kumbha. Eight vessels(kalasas) meant for eight Vidyesvaras should be arranged to be around these two kalasas. The Acharya should meditate within his heart on the form of Lingodbhva according to the lineaments set forth for it in the Agamas. Then he should worship it with concentrated thought that his own form is identical with the form of Lingodhbhava, according to the directions set forth for such worship.

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18-20

देवस्य ब्रह्मणो विष्णोस्तत्त्वमूर्त्यादिकं न्यसेत् | प्राग्वद् देवस्य तत्त्वाद्यान् कविष्णोस्तु यथोदितम् || १८ ततो होमं प्रकुर्वीत मूर्तिपैसह देशिकः | समिदाज्यान्न लाजैश्च तिलसर्षपवैणवैः || १९ पलाशोदुम्बराश्वत्थप्लक्षाः पूर्वादि दिक्षु च | शय्यपामार्गश्रीवृक्ष मायूरा वह्निकोणतः || २०

devasya brahmaṇo viṣṇostattvamūrtyādikaṃ nyaset | prāgvad devasya tattvādyān kaviṣṇostu yathoditam || 18 tato homaṃ prakurvīta mūrtipaisaha deśikaḥ | samidājyānna lājaiśca tilasarṣapavaiṇavaiḥ || 19 palāśodumbarāśvatthaplakṣāḥ pūrvādi dikṣu ca | śayyapāmārgaśrīvṛkṣa māyūrā vahnikoṇataḥ || 20

Then, the Guru should perform the nyasa of tattva, murthi and others pertaining to Siva, Brahma and Vishnu according to the details related to the tattva, murthi and others belonging to Siva and others explained earlier. After that, the Guru, along with the assisting priests(murtipas) should perform the fire-ritual with oblations of faggots, clarified-butter, cooked-rice, parched paddy, sesame, white mustard and the bamboo-rice grains. The faggots got from palasa, udumbara, asvattha and plaksha trees should be used for the fire-pits in the main directions. The faggots of sayya, apamarga, srivruksha and mayura should be used for the fire-pits in the intermediary directions.

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21-23

प्रधानस्य पलाशस्तु स च सर्वत्र वा मतः | द्रव्यैरेभिः क्रमाद्धुत्वा ब्रह्माणं विष्णुमेव च || २१ गुरुः प्रधान कुण्डे तु तर्पयेत् समिदादिभिः | रात्रिशेषं व्यपोह्याथ प्रभाते विमले ततः || २२ देशिकस्तु विशुद्धात्मा मूर्तिपैस्सह तत्त्ववित् | बिम्बानुद्धृत्य संपूज्य कुम्भान् कुण्डेषु पावकान् || २३

pradhānasya palāśastu sa ca sarvatra vā mataḥ | dravyairebhiḥ kramāddhutvā brahmāṇaṃ viṣṇumeva ca || 21 guruḥ pradhāna kuṇḍe tu tarpayet samidādibhiḥ | rātriśeṣaṃ vyapohyātha prabhāte vimale tataḥ || 22 deśikastu viśuddhātmā mūrtipaissaha tattvavit | bimbānuddhṛtya saṃpūjya kumbhān kuṇḍeṣu pāvakān || 23

The faggots of palasa-tree should be used for the principal fire-pit. Or, the palasa-faggots may be used for oblations to be made in all the fire-pits. The Guru, having offered the oblations for Brahma and Vishnu with these recommended substances, should delight Lord Siva with the necessary oblations into the principal fire-pit making use of faggots and others. Having spent the remaining duration of the night time there, the Guru who is the knower of tattvas, along with the offciating priests, should get up in the early morning and take up the ceremonial bath. Having purified themselves in this way, the Guru and other priests should lift up the images from the couch and worship them. They should worship the Deities invoked in the Kalasas and in the kindled fire of the fire-pits.

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24-26

देशिकादींश्च संपूज्य दक्षिणां दापयेत्ततः | मुहूर्तनाडिकापूर्वं मन्त्रन्यासं समाचरेत् || २४ वेद्याः कुम्भान् समुद्धृत्य तदग्रे स्थण्डिलए न्यसेत् | कुम्भाद्बीजं समादाय देवस्य हृदि विन्यसेत् || २५ वर्धन्या बीजमादाय पाददेशेऽभिषेचयेत् | विद्येभ्यस्तथा न्यस्य तज्जलैः स्नापयेत्प्रभुम् || २६

deśikādīṃśca saṃpūjya dakṣiṇāṃ dāpayettataḥ | muhūrtanāḍikāpūrvaṃ mantranyāsaṃ samācaret || 24 vedyāḥ kumbhān samuddhṛtya tadagre sthaṇḍilae nyaset | kumbhādbījaṃ samādāya devasya hṛdi vinyaset || 25 vardhanyā bījamādāya pādadeśe'bhiṣecayet | vidyebhyastathā nyasya tajjalaiḥ snāpayetprabhum || 26

The ‘yajamana’(main sponsor) should honour the Acharya and other priests by presenting to them sufficient sacrificial fees, new clothes, gold-ring and others. Just before the onset of ascertained auspicious time for installation, the Guru should perform the nyasa of mantras to the images. Having lifted up the kumbhas from the altars, the Guru and others should place them on the sthandila designed in front of the main image. Having collected the seed-mantras from the kumbha, he should place them on the heart of the image. Having collected the seed-mantras from the sakthi-kalasas, he should place them over the feet and the pedestal. Having placed the seed-mantras collected from the eight kalasas pertaining to Vidyesvaras, he should perform the ceremonial bath to the Lord(invoked in the Lingodhbhava) with the consecrated water of these kalasas.

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27-30

ब्रह्मविष्णोः स्वबीजं तु तद्वन्न्यस्याभिषेचयेत् | स्नपनं पूजनं कुर्यात् अन्ते चोत्सव संयुतम् || २७ बिम्बान् संस्थापयेत् पश्चाद् ब्रह्माणं दक्षिणे गुरुः | वामभागे तु देवस्य विष्णुं संस्थापयेद्गुरुः || २८ अनुक्तमत्र सामान्य प्रतिमास्थापनोक्तवत् | लिङ्गोद्भव प्रतिष्ठां तु कुर्यादेवं हि यो नरः || २९ इहैव धनवान् धीमान् सोऽन्ते सायुज्यं आप्नुयात् || ३०

brahmaviṣṇoḥ svabījaṃ tu tadvannyasyābhiṣecayet | snapanaṃ pūjanaṃ kuryāt ante cotsava saṃyutam || 27 bimbān saṃsthāpayet paścād brahmāṇaṃ dakṣiṇe guruḥ | vāmabhāge tu devasya viṣṇuṃ saṃsthāpayedguruḥ || 28 anuktamatra sāmānya pratimāsthāpanoktavat | liṅgodbhava pratiṣṭhāṃ tu kuryādevaṃ hi yo naraḥ || 29 ihaiva dhanavān dhīmān so'nte sāyujyaṃ āpnuyāt || 30

In the same way, the Guru should collect the seed-mantras from the kalasas pertaining to Brahma and Vishnu and place them on heart of the concerned images and perform the ceremonial bath to them with the consecrated water contained in these kalasas. Then, he should install the image over the pedestal. The image of Brahma should be installed on the right side of the Lord and that of Vishnu should be installed on His left side. This should be followed by snapana and worship. At the end, festival should be performed. All other common rules related to the installation which are not told here should be followed as explained in the chapter dealing with the installation of image. The devotee who is instrumental to the installation of Lingodbhava Murthi and sponsors such installation would become a wealthy man and knowledgeable person in this very life and at the end he would attain oneness with the Lord.

57 Directions for the Installation of Dakshinamurthi

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1-2

स्थापनं दक्षिणेशस्य शृणुध्वं विप्रसत्तमाः | व्याख्यानगेय योगेषु निष्ठस्य त्रिविधस्य च || १ व्याख्यायुग्ज्ञानमुद्रातो गेयी विणा समन्वितः | द्वभ्यां विरहितो योगी स नानाकारभेदतः || २

sthāpanaṃ dakṣiṇeśasya śṛṇudhvaṃ viprasattamāḥ | vyākhyānageya yogeṣu niṣṭhasya trividhasya ca || 1 vyākhyāyugjñānamudrāto geyī viṇā samanvitaḥ | dvabhyāṃ virahito yogī sa nānākārabhedataḥ || 2

Now I will explain the process of installation of Dakshinamurthi. O, the foremost twice-born sages!, listen to these instructions. There are three types of form for Dakshinamurthi who is always in a state of total absorbtion – Vyakhya, Geya and Yoga. The form which is holding explanatory mudra(hand-gesture) is known as Vyakhyana Dakshinamurthi. The form which is associated with vīṇā(musical istrument) is known as Geya Dakshinamurthi. The form which is without vyakhyana mudra or vīṇā is known as Yoga Dakshinamurthi and this form could be sculpted in many different ways.

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3-6

चतुर्भुजस्त्रिणेत्रस्तु कुन्देन्दु धवळप्रभः | श्वेतविद्रुम हेमाभः श्यामाभो वा प्रकीर्तितः || ३ व्याघ्रचर्माम्बरो वापि दिव्याम्बरधरस्तु वा | उत्तरीयसमोपेतः शुक्लयज्ञोपवीतकः || ४ विकीर्ण मूर्धजो वापि जटामकुट एव वा | पट्टिका बन्धनो वापि सत्करोटिकया युतः || ५ धुर्तूरारग्वधैर्नागपत्रैश्चन्द्रेण मण्डितः | पञ्चमुद्रा समोपेतो गङ्गाकिङ्किणि संयुतः || ६

caturbhujastriṇetrastu kundendu dhavaḷaprabhaḥ | śvetavidruma hemābhaḥ śyāmābho vā prakīrtitaḥ || 3 vyāghracarmāmbaro vāpi divyāmbaradharastu vā | uttarīyasamopetaḥ śuklayajñopavītakaḥ || 4 vikīrṇa mūrdhajo vāpi jaṭāmakuṭa eva vā | paṭṭikā bandhano vāpi satkaroṭikayā yutaḥ || 5 dhurtūrāragvadhairnāgapatraiścandreṇa maṇḍitaḥ | pañcamudrā samopeto gaṅgākiṅkiṇi saṃyutaḥ || 6

The form of Dakshinamurthi should be shown as having four hands, three eyes, white resplendence in the likeness of kunda-flower and moon. The color of the form may be white, red as coral, gold or blue-black. He may be shown as attired with tiger-skin or with white silken cloth, as having upper garment and white sacrificial thread. His matted hair may shown as dishevelled or as collected and bound to appear like a crown, as tied around with ‘pattika’ and adorned with a skull. He may be shown as adorned with various flowers such as dhurtura, aragvada, naga-patra and crescent-moon. Ha may be shown as holding pancha-mudra(vyakhyana mudra) and as associated with Ganga and garland of kinkini-bells.

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7-9

अधस्ताद्वटवृक्षस्य शैलादूर्ध्वं श्रितः पुनः | व्याघ्रचर्मोपरिष्टात्तु स्थितो वीरासनोऽथवा || ७ लम्बितं दक्षिणं पादं तज्जानूपरि संस्थितम् | वामाङ्घ्रि नाळकं कुर्यात् सव्यहस्तं तु मुद्रया || ८ संदर्शसंज्ञयोपेतं वामहस्तस्थ पुस्तकः | द्वात्रिंशद्धृतिमात्रान्त दैर्घ्यः स्यात् स तु पुस्तकः || ९

adhastādvaṭavṛkṣasya śailādūrdhvaṃ śritaḥ punaḥ | vyāghracarmopariṣṭāttu sthito vīrāsano'thavā || 7 lambitaṃ dakṣiṇaṃ pādaṃ tajjānūpari saṃsthitam | vāmāṅghri nāḷakaṃ kuryāt savyahastaṃ tu mudrayā || 8 saṃdarśasaṃjñayopetaṃ vāmahastastha pustakaḥ | dvātriṃśaddhṛtimātrānta dairghyaḥ syāt sa tu pustakaḥ || 9

He may be shown as seated under a vaṭa-tree or seated on the top of a structure made of stone; may be shown as seated over the tiger-skin, in virāsana-posture in which the right leg is stretched down and the left leg is placed on the right-knee. The ‘nalaka’(shrinked part below the ankle) should be shown on the right thigh. The right hand should be holding the mudra known as ‘samdarśa’(vyakhyana) and the left holding a palm-leaf scripture whose length should be up to 32 digits.

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10-12

अथवा नागसंयुक्तो वामहस्तस्समीरितः | वरदं तं विजानीयाज्जानुस्थ मणिबन्धकम् || १० दण्डहस्तो यदा स स्यात् प्रकोष्ठं जानुसंस्थितम् | विकसत्पद्मसंकाशस्त्वधस्ताद्विस्तृताङ्गुलिः || ११ परहस्तद्वये चाक्षमाला ज्वाला समन्वितः | पद्मं वा चोत्पलं वापि व्याळं वामे तु कल्पयेत् || १२

athavā nāgasaṃyukto vāmahastassamīritaḥ | varadaṃ taṃ vijānīyājjānustha maṇibandhakam || 10 daṇḍahasto yadā sa syāt prakoṣṭhaṃ jānusaṃsthitam | vikasatpadmasaṃkāśastvadhastādvistṛtāṅguliḥ || 11 parahastadvaye cākṣamālā jvālā samanvitaḥ | padmaṃ vā cotpalaṃ vāpi vyāḷaṃ vāme tu kalpayet || 12

Or, the upper right hand may be shown as holding a serpent. The left lower hand may be shown as holding the boon-giving mudra(varada), its wrist resting on the left knee. If the left hand is to be shown as streched, its fore part should be shown as placed on the left knee, its fingers being spread well to appear like a fully blossomed lotus-flower. With regard to the two upper hands, the right hand may be shown as holding the rosary of rudraksha and the left hand holding the flamed fire. Or, the left hand may be shown as holding a lotus or utpala-flower or serpent.

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13-15

कटकौ द्वौ प्रकर्तव्यौ प्रसन्नसमलोचनः | नासाग्रदृष्टियुग्वामहस्तो वा स्यात्सुपुस्तकः || १३ आभङ्गसहितं कुर्याद् देहमध्ये तु वामतः | सूत्रं वामे च हृदयान् नाभेर्मेढ्रात् क्रमेण तु || १४ मात्रं कालं च भागं च त्यक्त्वा तिष्ठति मद्यतः | लम्बपादस्थितं मध्यसूत्रादर्धाङ्गुलान्तरे || १५ अर्धार्धाङ्गुल वृद्ध्या तु यावत् सार्धयवं भवेत् |

kaṭakau dvau prakartavyau prasannasamalocanaḥ | nāsāgradṛṣṭiyugvāmahasto vā syātsupustakaḥ || 13 ābhaṅgasahitaṃ kuryād dehamadhye tu vāmataḥ | sūtraṃ vāme ca hṛdayān nābhermeḍhrāt krameṇa tu || 14 mātraṃ kālaṃ ca bhāgaṃ ca tyaktvā tiṣṭhati madyataḥ | lambapādasthitaṃ madhyasūtrādardhāṅgulāntare || 15 ardhārdhāṅgula vṛddhyā tu yāvat sārdhayavaṃ bhavet |

The two hands should be shown as holding the kaṭaka mudra. The two eyes should be depicted to be equal in size and exbiting tranqulity and inner calmess, looking at the tip of the nose. The left hand should be shown as holding a scripture. The image should be designed to be in abhanga-posture(a little bent), slightly bent towards left at the middle of the body. The reference line(sutra) of the left side should be at one matra, three matras and one matra from the heart, navel and the genital organ respectively. The distance between the central reference line and the left foot placed down should be half an angula. Increasing by half angula, the maximum distance may be up to one and half angula.

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16-18

स दशाङ्गुष्ठ मूलोच्चस्तनाग्रावधिरेव तु || १६ नयने मध्यमं विद्यादङ्गुष्ठस्तनयोस्ततः | नाभेस्तु मणिबन्धान्तो धृत्यङ्गुलमुदाहृदः || १७ सुपुस्तकस्य हस्तस्य चोरूर्ध्वाद्भागमन्तरम् | नाभेस्तु मणिबन्धान्तं स स्यादेकोनविंशतिः || १८

sa daśāṅguṣṭha mūloccastanāgrāvadhireva tu || 16 nayane madhyamaṃ vidyādaṅguṣṭhastanayostataḥ | nābhestu maṇibandhānto dhṛtyaṅgulamudāhṛdaḥ || 17 supustakasya hastasya corūrdhvādbhāgamantaram | nābhestu maṇibandhāntaṃ sa syādekonaviṃśatiḥ || 18

The distance between the bottom of the thumb and the breast-point should be ten angulas. The distance between the middle of the eyes and the thumb and the breast-point should also be ten angulas. The distance between the navel and the wrist should be eight angulas. The space between the left hand holding the scripture and the upper part of the

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19-20

दोर्मध्यात् पार्श्वमध्याच्च द्व्यन्तरं स्याद्रसाङ्गुलम् | परस्य मणिबन्धाच्च भुजमध्याद्यवाङ्गुलम् || १९ द्व्यन्तरं दशमात्रं स्याद् दोर्मूलान्मध्यमाङ्गुलात् | हिक्कासूत्रद्विमात्राथ कटकाग्र समुच्छया || २०

dormadhyāt pārśvamadhyācca dvyantaraṃ syādrasāṅgulam | parasya maṇibandhācca bhujamadhyādyavāṅgulam || 19 dvyantaraṃ daśamātraṃ syād dormūlānmadhyamāṅgulāt | hikkāsūtradvimātrātha kaṭakāgra samucchayā || 20

The distance between the shoulders and that between the two sides should be twelve angulas. The distance between the upper wrist and the middle of the shoulder should be eight angulas. The distance between the upper part of the shoulder and the middle finger should be twenty angulas. From the hikka-sutra(line passing through depression in the throat) to the knot of kataka-mudra, the distance should be two angulas.

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21-23

सजटा मकुटा देवचूचुकास्य गळान्तकाः | तत्तत्त्कलासमोपेताश्शुक्लयज्ञोपवीतिनः || २१ शुक्लाद्यम्बर संयुक्ता भस्मरुद्राक्ष संयुताः | कौशिकः काश्यपश्श्यामस्त्वितरः पीतवर्णकः || २२ रक्तवर्णो भरद्वाजो धूम्राभावत्रिगौतमौ | एषामेकं द्वयं वापि त्रयं वा पार्श्वयोर्न्यसेत् || २३ व्याख्यान मूर्तिरेवं स्याद् गेयमूर्तिस्ततो मतः

sajaṭā makuṭā devacūcukāsya gaḷāntakāḥ | tattattkalāsamopetāśśuklayajñopavītinaḥ || 21 śuklādyambara saṃyuktā bhasmarudrākṣa saṃyutāḥ | kauśikaḥ kāśyapaśśyāmastvitaraḥ pītavarṇakaḥ || 22 raktavarṇo bharadvājo dhūmrābhāvatrigautamau | eṣāmekaṃ dvayaṃ vāpi trayaṃ vā pārśvayornyaset || 23 vyākhyāna mūrtirevaṃ syād geyamūrtistato mataḥ

The stripes of matted hair at the bottom of jata-makuta(matted hair bound to appear like a crown) should be shown as hanging up to the nipple of the breast or to the bottom of the neck. The form of Dakshinamurthi may be shown as wearing the sacrificial thread, attired in white cloth or in clothes of different colors and as adorned with the triple stripes of vibhuti and rosary of rudraksha. Among the sages who are seated in front of Him, Kausikha and Kasyapa are in the color of blue-black and others are in yellowish white color. Sage Bharadvaja is in red color; Atri and Gautama are in the color of smoke. Among these sages, either one, two or three sages may be shown as seated on the two sides of Dakshinamurthi. The lineaments of Vyakhyana Dakshinamurthi have been told. Then, those of Geya Dakshinamurthi are told now.

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24-26

ऊर्ध्वाधो मध्यकटकौ सव्यासव्यकरावुभौ || २४ वीणा तु दक्षिणे वाग्रे दक्षिणे कटकस्थितिः | दक्षिणे कटकं चोरुस्थितायां विनिवेशयेत् || २५ कोलकं चोरुबाह्ये तु तन्मूलं कटकोर्ध्वतः | भागमग्रं तदा वामो भागाधिक चतुर्मुखः || २६

ūrdhvādho madhyakaṭakau savyāsavyakarāvubhau || 24 vīṇā tu dakṣiṇe vāgre dakṣiṇe kaṭakasthitiḥ | dakṣiṇe kaṭakaṃ corusthitāyāṃ viniveśayet || 25 kolakaṃ corubāhye tu tanmūlaṃ kaṭakordhvataḥ | bhāgamagraṃ tadā vāmo bhāgādhika caturmukhaḥ || 26

The kataka-mudra held in the hands may be shown as facing upwards, downwards or not facing up and down, according to the position of other hands. The right hand and the left hand should be shown as holding the vīṇā-instrument. The right hand holding the kaṭaka-mudra should rest on the front part of the vīṇā. Or, the right hand with kaṭaka-mudra may be shown as resting on the upper part of the right thigh. The rounded half-spherical part of the vīṇā should be above the right thigh and the other end of it should be above the kaṭaka-mudra of the left hand. The ending part of the vīṇā on the left should have a projection up to one part of the basic measurement and the half-spherical part should have a projection of more than one part.

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27-29

विस्तारस्तु कला तस्याः परिणाहं तु पूर्ववत् | कला वक्त्रस्य विस्तारायामं वापि षडङ्गुलम् || २७ तत्तुङ्गं तु तदर्धं स्यादेवं ज्ञात्वा समाचरेत् | हस्तस्य मणिबन्धान्तं हिक्कासुत्रादितः क्रमात् || २८ त्रिंशदङ्गुलमित्युक्तं अथान्य मणीबन्धतः | आनाभेरन्तरं तालं शेषं सर्वं तु पूर्ववत् || २९

vistārastu kalā tasyāḥ pariṇāhaṃ tu pūrvavat | kalā vaktrasya vistārāyāmaṃ vāpi ṣaḍaṅgulam || 27 tattuṅgaṃ tu tadardhaṃ syādevaṃ jñātvā samācaret | hastasya maṇibandhāntaṃ hikkāsutrāditaḥ kramāt || 28 triṃśadaṅgulamityuktaṃ athānya maṇībandhataḥ | ānābherantaraṃ tālaṃ śeṣaṃ sarvaṃ tu pūrvavat || 29

The diameter of the half-spherical part(kolaka) should be 16 angulas and its circumference should be as told earlier.The diameter or the circumference of the kolaka of the vīṇā may be 6 angulas also. Its height shuld be half of its diameter. Having known all such details, the sthapati should design the vīṇā. From the hikka-sutra, the fore arm and the wrist should be at a distance of 30 angulas. The distance between the wrist of other hand and the navel should be one tālā(12 angulas). Other parts should be designed as explained before.

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30-32

व्याख्यान सहितस्त्वेवं सन्दर्शस्य समास्ययुक् | तत्राक्षिपातयोगेन सदा कुञ्चित लोचनः || ३० प्रसृतो वामहस्तः स्याद्योगमूर्तिरयं मतः | अथ कुञ्चित वामाङ्घ्रियुग्मस्फिग्गत पार्ष्णिकः || ३१ उद्धृतं तस्य जान्वग्र दण्डकोर्परकान्तयुक् | संदर्शदृष्टिपातश्च आभङ्गं चैव पूर्ववत् || ३२

vyākhyāna sahitastvevaṃ sandarśasya samāsyayuk | tatrākṣipātayogena sadā kuñcita locanaḥ || 30 prasṛto vāmahastaḥ syādyogamūrtirayaṃ mataḥ | atha kuñcita vāmāṅghriyugmasphiggata pārṣṇikaḥ || 31 uddhṛtaṃ tasya jānvagra daṇḍakorparakāntayuk | saṃdarśadṛṣṭipātaśca ābhaṅgaṃ caiva pūrvavat || 32

These are the lineaments of Geya Dakshinamurthi who is holding vyākhyāna mudra or cin-mudra (mudra denoting the unfoldment of siva-kanowledge) and whose face expresses calmness and tranquility. Then listen to the lineaments of Yoga Dakshinamurthi. His eyes are casting a downward look over the cin-mudra. The fingers of the stretched left hand are widely spread touching the knee of the left thigh. The heel of the lifted left foot should be under the hip of the right side and the left side. The top of the knee of the lifted and bent left leg should be touching the fore part of the stretched left hand. The look of His eyes should fall upon the samdarsa-mudra(cin-mudra). Such a form should be sculpted so as to be in ābhanga-posture.

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33-35

नानामृगैस्तु संकीर्णं नानाव्याळैस्तु संयुतम् | नानामुनिगणैस्सार्धं सिद्धविद्याधरैरपि || ३३ भूतैश्च किन्नरैरन्यैः पुष्पवृक्षैश्च मण्डितम् | शैलं कुर्यात्तु तत्पार्श्वे वटवृक्षस्तु शाद्वले || ३४ फलशाखोपशाखाढ्यो नानापक्षि समायुतः | तन्मूले दक्षिणे छायानिषण्णः कृपया युतः || ३५

nānāmṛgaistu saṃkīrṇaṃ nānāvyāḷaistu saṃyutam | nānāmunigaṇaissārdhaṃ siddhavidyādharairapi || 33 bhūtaiśca kinnarairanyaiḥ puṣpavṛkṣaiśca maṇḍitam | śailaṃ kuryāttu tatpārśve vaṭavṛkṣastu śādvale || 34 phalaśākhopaśākhāḍhyo nānāpakṣi samāyutaḥ | tanmūle dakṣiṇe chāyāniṣaṇṇaḥ kṛpayā yutaḥ || 35

He is surrounded by various kinds of animals and adorned with various kinds of serpents. He is associated with various groups of sages, siddhas and vidyadharas, bhuta-groups, kinnaras and others. His abode is beautified with flowering trees. The sthapati should design a stone-pedestal by the side of vaṭa-tree which is surrounded by the pleasant ground beautified with thickly grown grass, which is associated with countless main branches and sub-branches and various kinds of birds. In the shade and at the bottom of such vaṭa-tree and in the southern side of it, He is seated , facing south and expressing spontaneous compassion.

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36-37

रत्नोपशोभिते पीठे व्याघ्रचर्मोत्तरच्छदे | आसीनो मुनिभिस्सम्यक् कौशिकादिभिरादरात् || ३६ शिवद्विजकुलस्यादिभूतैस्तु परितः स्थितैः | आगमाहितचेतोभिः परमेशेन दीक्षितैः || ३७

ratnopaśobhite pīṭhe vyāghracarmottaracchade | āsīno munibhissamyak kauśikādibhirādarāt || 36 śivadvijakulasyādibhūtaistu paritaḥ sthitaiḥ | āgamāhitacetobhiḥ parameśena dīkṣitaiḥ || 37

On the pedestal designed with precious gems and covered with tiger-skin, He is seated well surrounded by the sages such as Kausika and others, who belong to the lineage of Adi Saivas who were first created by Lord Siva, whose mind is anchored in the Saiva Agamas and who were first initiated by the Supreme Lord Himself. Thus, various types of the form of Dakshinamurthi have been well explained.

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38-40

व्याख्यायुक् ज्ञानदः प्रोक्तो गेययुक् भुक्तिदो मतः || ३८ सयोगो मुक्तिदो ज्ञेय इति ज्ञात्वा समाचरेत् | आसीनो वा स्थितो वापि ऋषिभिस्संवृतो न वा || ३९ वटवृक्ष विहीनो वा भूताद्यावृत एव वा | भूतस्थ लम्बपादो वा दक्षिणेशस्समीरितः || ४० एवं लक्षणं आदिष्टं प्रतिष्ठा विधिरुच्यते

vyākhyāyuk jñānadaḥ prokto geyayuk bhuktido mataḥ || 38 sayogo muktido jñeya iti jñātvā samācaret | āsīno vā sthito vāpi ṛṣibhissaṃvṛto na vā || 39 vaṭavṛkṣa vihīno vā bhūtādyāvṛta eva vā | bhūtastha lambapādo vā dakṣiṇeśassamīritaḥ || 40 evaṃ lakṣaṇaṃ ādiṣṭaṃ pratiṣṭhā vidhirucyate

Lord Dakshinamurthi holding the vyākhyāna-mudra grants supreme knowledge; Geya Dakshinamurthi grants the worldly enjoyments; Yoga Dakshinamurthi grants the final liberation. Having known these details, one should install the form of Dakshinamurthi. Such a form could be sculpted to be in a sitting position or standing position. He may be shown as surrounded or not surrounded by the sages. Or, the form of Dakshinamurthi may be designed without the vaṭa-tree; as surrounded by the bhūta-ganas; may be designed in such a way that his left or right foot pressing down the apasmara-bhūta. In this way, the characteristics of various forms of Dakshinamurthi have been explained in the Scriptures. Thus, the lineaments of the image of Dakshiamurthi have been well detailed. Now, the rules pertaining to the installation of Dakshinamurthi are told.

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41-44

वाराद्यं पूर्ववद् ग्राह्यं अङ्कुरार्पणमेव च || ४१ मण्टपं पूर्ववत् कुर्यान्नवपञ्चैक संख्यया | कुण्डानि परितोऽश्राणि तद्दिगश्राणि वा नयेत् || ४२ रत्नन्यासाक्षिमोक्षौ च प्रतिमा शोधनं तथा | ग्रामप्रदक्षिणं चैव जले चैवाधिवासनम् || ४३ पुण्याहप्रोक्षणं चैव पश्चाद्ब्राह्मण भोजनम् | पुण्याहं वास्तुहोमं च भूपरिग्रहमेव वा || ४४

vārādyaṃ pūrvavad grāhyaṃ aṅkurārpaṇameva ca || 41 maṇṭapaṃ pūrvavat kuryānnavapañcaika saṃkhyayā | kuṇḍāni parito'śrāṇi taddigaśrāṇi vā nayet || 42 ratnanyāsākṣimokṣau ca pratimā śodhanaṃ tathā | grāmapradakṣiṇaṃ caiva jale caivādhivāsanam || 43 puṇyāhaprokṣaṇaṃ caiva paścādbrāhmaṇa bhojanam | puṇyāhaṃ vāstuhomaṃ ca bhūparigrahameva vā || 44

The auspicious day, time and other factors suitable for the installtion should be ascertained in the way as explained before. The offering of fresh sprouts should be performed as done earlier. As done before, the sacrificial pavilion should be constructed in a suitable place and nine or five fire-pits should be designed around the central altar within the pavilion. Or, there may be only one fire-pit. Fire-pits in the form of square may be designed in all directions around the altar or they may be designed to be in a particular geometrical form suitable to the main directions and the intermediary directions. Fixing the gems on various parts of the image, chiselling of the eyes, purification of the image, circumambulation around the village or town, keeping the image immersed in the water of the river or tank, sprinkling the consecrated water over the image, feeding of the learned brahmins, declaring the auspiciousness of the time and of the event, vastu-homa, ceremonial acquring of the selected location – all such activities should be perormed in due order.

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45-47

कृत्वा तु देवदेवस्य ऋषीणाम् च यथार्हकम् | वेद्यूर्ध्वे स्थण्डिलं कृत्वा शयनं कल्पयेत् पृथक् || ४५ स्नानवेद्यां तु ऋषिभिः स्नपनं कारयेच्छिवे | शय्यायां शाययेद्देवं कौशिकादि ऋषीनथ || ४६ दक्षिणे तु भरद्वाज प्रमुखानप्यदक्षिणे | शाययेद्वस्त्रकूर्चादि भूषितांस्तान् पृथक् पृथक् || ४७

kṛtvā tu devadevasya ṛṣīṇām ca yathārhakam | vedyūrdhve sthaṇḍilaṃ kṛtvā śayanaṃ kalpayet pṛthak || 45 snānavedyāṃ tu ṛṣibhiḥ snapanaṃ kārayecchive | śayyāyāṃ śāyayeddevaṃ kauśikādi ṛṣīnatha || 46 dakṣiṇe tu bharadvāja pramukhānapyadakṣiṇe | śāyayedvastrakūrcādi bhūṣitāṃstān pṛthak pṛthak || 47

Having made the images of various sages suitable to the selected form of Dakshinamurthi and having designed a sthaṇḍila over the altar, the Guru should prepare couches. Separate couch should be provided for the form of each sage and for Dakshinamurthi. Separate altar meant for the ceremonial bath and for snapana should be designed for the sages and the Lord. Then, the Guru should place the image of Dakshinamurthi to be in the recumbent posture over the couch and place the image of Kausika and other Rishis on the right side of the Lord and that of Bharadvaja and others on the left side of the Lord. They should be laid down on the respective couch in this way. The Guru should offer the clothes, bunch of darbha- grass and others separately to each image and adorn all those images.

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48-50

व्याख्यानगेययोगानां एतत्सामान्यमीरितम् | स्वांस्तु कुम्भान् शिरोदेशे न्यसेद्वस्त्रादि भूषितान् || ४८ वर्धनीं विन्यसेद्धीमान् शिवकुम्भस्य चोत्तरे | अभितो वसुकुम्भांस्तु विद्येशाधिष्ठितान् न्यसेत् || ४९ रूपसंस्थान भावैस्तु पूजयित्वा यथाक्रमम् | तत्त्वमूर्त्यादि विन्यासं कृत्वा होमं समाचरेत् || ५०

vyākhyānageyayogānāṃ etatsāmānyamīritam | svāṃstu kumbhān śirodeśe nyasedvastrādi bhūṣitān || 48 vardhanīṃ vinyaseddhīmān śivakumbhasya cottare | abhito vasukumbhāṃstu vidyeśādhiṣṭhitān nyaset || 49 rūpasaṃsthāna bhāvaistu pūjayitvā yathākramam | tattvamūrtyādi vinyāsaṃ kṛtvā homaṃ samācaret || 50

All the details which are common to Vyākhyāna, Geya and Yoga Dakshiṇāmurthi have been told. The kumbhas well adorned with new clothes and others such as kūrcha, mango-leaves and all, pertaining to the Lord and sages should be placed on the side of the head of the images. On the north side of siva- kumbha, the vardhani kalasa(sakthi kumbha) should be placed. The eight kumbhas meant for the eight Vidyesvaras should be arranged around the siva-kumbha and sakthi-kumbha. Having worshipped the Lord and the Sages in due order with deep contemplation on each form fashioned of mantras, the Guru should unite the tattvas and tattva-murthis with the images and proceed to perform the fire-ritual.

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51-53

तत्त्वायं पूर्ववद्दत्त्वा मुनिष्वपिं यथोदितम् | कृत्वाग्निकुण्ड संस्कारं उत्पाद्य शिवपावकम् || ५१ समिदाज्यचरूल्लाजांस्तिलसर्षप वैणवान् | जुहुयात्तु महाशासु प्रधानेऽपि पलाशकम् || ५२ बैल्वाः कोणेषु होतव्याः प्रधाने तर्पयेदृषीन् | द्रव्यैरेभिः क्रमैर्हुत्वा पूर्णाहुत्यवसानकम् || ५३

tattvāyaṃ pūrvavaddattvā muniṣvapiṃ yathoditam | kṛtvāgnikuṇḍa saṃskāraṃ utpādya śivapāvakam || 51 samidājyacarūllājāṃstilasarṣapa vaiṇavān | juhuyāttu mahāśāsu pradhāne'pi palāśakam || 52 bailvāḥ koṇeṣu hotavyāḥ pradhāne tarpayedṛṣīn | dravyairebhiḥ kramairhutvā pūrṇāhutyavasānakam || 53

As done before, having identified the tattvas pertaining even to the sages with the concerned images as explained in the Agamas, the Guru should do all the essential sacraments to the fire-pit and efect the manifestation of siva-fire in it. He should offer the oblations of faggots, clarified-butter, cooked-rice, parched paddy-grains, sesame and grains got from the bamboo into the fire-pits designed in main directions. He should offer the oblations of palasa-faggots into the principal fire-pit and those of faggots got from the bilva-tree into the fire-pits designed to be in the form of square and in angular forms. Oblations for the Sages should be offered into the principal fire-pit. Having made the oblations with these substances in due order, the Guru should offer the consummate oblation(purṇa-āhuti) at the end of the fire-ritual.

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54-55

रात्रिशेषं व्यपोह्येवं प्रभाते विमले ततः | समूर्तिपैर्गुरुः स्नातः कृत मन्त्रादि विग्रहः || ५४ संपूज्योद्धृत्य बिम्बांश्च कुम्भान् कुण्डेषु पावकान् | देशिकादींश्च संपूज्य दक्षिणां दापयेत् पृथक् || ५५

rātriśeṣaṃ vyapohyevaṃ prabhāte vimale tataḥ | samūrtipairguruḥ snātaḥ kṛta mantrādi vigrahaḥ || 54 saṃpūjyoddhṛtya bimbāṃśca kumbhān kuṇḍeṣu pāvakān | deśikādīṃśca saṃpūjya dakṣiṇāṃ dāpayet pṛthak || 55

Having spent the remaining duration of the night, the Guru should get up in the defectless early morning, take the ceremonial bath along with the assisting priests and make his body to be identical with the relevant mantras by means of nyasa. Then, having worshipped the Lord and the sages, the kumbhas and the fire invoked in the fire-pits, he should lift up the images from the couches and all the kumbhas. The chief sponsor of the event should, at this time, pay reverence to the Chief Acharya and the assisting priests and honor them with due sacrificial fees.

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56-58

मुहूर्त नाडिका पूर्वे मन्त्रन्यासं समारभेत् | कुम्भान् बिम्बपुरो न्यस्य स्थण्डिले पूर्वत्कृते || ५६ कुम्भाद्बीजं समादाय शिवस्य हृदि विन्यसेत् | वर्धन्या बीजमादाय तस्य पीठे तु विन्यसेत् || ५७ विद्येशानां तु बीजानि पीठे शक्रादितो न्यसेत् | तत्तत्कुम्भ जलैश्चैव तत्तद्देशेऽभिषेचयएत् || ५८

muhūrta nāḍikā pūrve mantranyāsaṃ samārabhet | kumbhān bimbapuro nyasya sthaṇḍile pūrvatkṛte || 56 kumbhādbījaṃ samādāya śivasya hṛdi vinyaset | vardhanyā bījamādāya tasya pīṭhe tu vinyaset || 57 vidyeśānāṃ tu bījāni pīṭhe śakrādito nyaset | tattatkumbha jalaiścaiva tattaddeśe'bhiṣecayaet || 58

Before the onset of ascertained auspicious time(muhurta), the Guru should perform the ritual of mantra- nyasa to the images. Having arranged the kumbhas on the sthaṇḍila designed in front of the pedestal of the image to be installed, the Guru should collect the seed-mantras from the siva-kumbha and place them on the heart of the Lord(image) and, in the same way, collect the seed-mantras from the sakthi-kalasas and place them on the pedestal. The seed-mantras collected from the kalasas of Vidyesvaras should be placed on the pedestal starting from the east and ending with the north-east. He should pour down the consecrated water of the siva-kumbha on the Lord’s image, that of the sakti-kumbha on the pedestal and that of the Vidyesvara kalasas over the pedestal, in all directions.

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59-61

ऋषीणामपि बिजानि तेषां तु हृदि विन्यसेत् | तत्तत्कुम्भोदकैश्चैव तेषां च स्नपनं नयेत् || ५९ श्रीकण्ठ मुनिहस्तस्थ पुस्तकेष्वखिलागमम् | विन्यसेत् कामिकाद्यं तु सोपभेदं गुरूत्तमः || ६० देवेशं स्थापयेत् पश्चाद्दृषींस्तत्द्दक्ष वामयोः | स्नपनं चोत्सवं भूरिनैवेद्यं कारयेन्न वा || ६१

ṛṣīṇāmapi bijāni teṣāṃ tu hṛdi vinyaset | tattatkumbhodakaiścaiva teṣāṃ ca snapanaṃ nayet || 59 śrīkaṇṭha munihastastha pustakeṣvakhilāgamam | vinyaset kāmikādyaṃ tu sopabhedaṃ gurūttamaḥ || 60 deveśaṃ sthāpayet paścāddṛṣīṃstatddakṣa vāmayoḥ | snapanaṃ cotsavaṃ bhūrinaivedyaṃ kārayenna vā || 61

The seed-mantras collected from the kalasas meant for the sages should be placed on the heart of the image of each sage. The Guru should perform the ceremonial bath to each sage with the consecrated water of the kalasa pertaining to him. He should identify all the Mula Agamas from Kamika and all the Upāgamas with the scripture held in the left hand of Srikaṇṭha(Dakshinamurthi). Then he should install duly the images of the Lord and the sages, effecting perfect unification of the image and the pedestal. Relevant sages should be installed on the right side and left side of the Lord. Then all other regular activities such as snapana-abhisheka, festival, offering of abundant naivedya and such others should be performed. Some of these activities such as festival and others may or may not be performed.

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62-63

अनुक्तमत्र सामान्य स्थापनोक्तवदाचरेत् | एवं यो दक्षिणामूर्तेः स्थापनं कुरुते नरः || ६२ सोऽखिलानिह भुक्त्वाथ भोगान् स्वत्माभिवाञ्चितान् | देहान्ते परमेशानं कर्ता यायन्न संशयः || ६३

anuktamatra sāmānya sthāpanoktavadācaret | evaṃ yo dakṣiṇāmūrteḥ sthāpanaṃ kurute naraḥ || 62 so'khilāniha bhuktvātha bhogān svatmābhivāñcitān | dehānte parameśānaṃ kartā yāyanna saṃśayaḥ || 63

Those rituals which are not explicitly told here are common to the process of installation and they could be performed as detailed in the chapter dealing with installation. The devotee who arranges for such installation of Dakshinamurthi would enjoy all the worldly pleasures and comforts as ardently desired by him and at the end of his life would become one with Lord Siva. There is no doubt about this.

58 Directions for the Installation of Bhikshāṭhana Murthi (bhikshāṭanah – one who is wandering and receiving alms)

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1-3

भिक्षाटनस्य वक्ष्येऽहं कङ्काळस्यापि लक्षणम् | प्रतिष्ठां तु द्विजश्रेष्टाश्शृणुध्वं द्विजसत्तमाः || १ पादे पादुका युक्तं चतुर्दोर्भिस्समन्वितम् | सयज्ञसूत्रं च शान्तं च गमनोन्मुखमीश्वरम् || २ आबद्ध क्षुरिकं सौम्यं कपर्द मकुटोज्ज्वलम् | क्षौमाम्बरं स्थितं कुर्यात् सुन्दरं तं विभूषितम् || ३

bhikṣāṭanasya vakṣye'haṃ kaṅkāḷasyāpi lakṣaṇam | pratiṣṭhāṃ tu dvijaśreṣṭāśśṛṇudhvaṃ dvijasattamāḥ || 1 pāde pādukā yuktaṃ caturdorbhissamanvitam | sayajñasūtraṃ ca śāntaṃ ca gamanonmukhamīśvaram || 2 ābaddha kṣurikaṃ saumyaṃ kaparda makuṭojjvalam | kṣaumāmbaraṃ sthitaṃ kuryāt sundaraṃ taṃ vibhūṣitam || 3

Now I explain the process of installation of Bhikshāṭana. Most of His lineaments are common to the form of Kankala Murthi. O, the foremost twice-born sages!, listen to these details. The feet of Bhikshāṭana are wearing the pādukā(wooden sandal) and He is with four hands. Wearing the sacrificial thread, he looks benign and calm. Expressing the intention of commencing his wandering and casting a serene appearance, He, the Īśvara, has tied up a sword in his waist. His head is adorned with crown of matted hair. He is attired in white silken cloth. The form of Bhikshatana should be in standing position. Such a form should be sculpted so as to appear beautiful and adorned with various ornaments.

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4-6

सशङ्खपत्रिका वामे दक्षिणे नक्र कुण्डलम् | दक्षिणं कुञ्चितपादं वामपादं तु सुस्थितम् || ४ समभङ्गयुतं वापि कान्तियुक्त निजाङ्गकम् | प्रहारं दक्षिणे हस्ते डक्कां वामे तु पूर्वयोः || ५ सव्यमध्याङ्गुलाग्रं तु कृष्णाजिह्वाग्रगं भवेत् | वामे करेऽपरे पिञ्चदण्डकं कालदण्डकम् || ६

saśaṅkhapatrikā vāme dakṣiṇe nakra kuṇḍalam | dakṣiṇaṃ kuñcitapādaṃ vāmapādaṃ tu susthitam || 4 samabhaṅgayutaṃ vāpi kāntiyukta nijāṅgakam | prahāraṃ dakṣiṇe haste ḍakkāṃ vāme tu pūrvayoḥ || 5 savyamadhyāṅgulāgraṃ tu kṛṣṇājihvāgragaṃ bhavet | vāme kare'pare piñcadaṇḍakaṃ kāladaṇḍakam || 6

His left ear is adorned with śankha patrika(a ring made of conch shell) and his right ear is adorned with nakra kuṇḍala(ear ring appearing in the form of curled alligator). His right foot is raised a little as if to move and his left foot is palced on the ground. His form may be designed to be in samabhanga position, various parts of this form being resplendent. He is holding a staff in his front right hand and a drum in his front left hand. The tip of the middle finger of another right hand is touching the tongue of the black antelope which is following Him. In the rear left hand, He is holding a bunch of peacock feathers and a long staff known as kāladaṇḍa.(kaladanda is held horizontally, its tip appearing on the right side)

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7-8

उभयोर्दण्डयोर्मूलं स्कन्धमूलोपरि स्थितम् | नानागण समायुक्तं नानाभूत समाकुलम् || ७ असव्यभूतमूर्धस्थ बलिपात्रेण संयुतम् | नानारूपधरैर्भूतैरनेकैः परिवारितम् || ८

ubhayordaṇḍayormūlaṃ skandhamūlopari sthitam | nānāgaṇa samāyuktaṃ nānābhūta samākulam || 7 asavyabhūtamūrdhastha balipātreṇa saṃyutam | nānārūpadharairbhūtairanekaiḥ parivāritam || 8

The base of the bunch of peacock feather and that of kaladanda appear above the top of the left shoulder. He is surrounded by various groups of demi-gods and celestial beings and by multitudes of bhuta-ganas. The bhuta on his left side is holding an alm-bowl on its head. He is well surrounded by innumerable bhuta- ganas which appear in various forms.

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9-10

भेरिकाकाहळाद्याढ्यैः गाननृत्त रवाकुलैः | योषितश्चानवद्याङ्गा अपेक्षवश्यमोहिताः || ९ स्रस्तभूषणवस्त्राद्या बलिदानसुमुन्मुखाः | आशीर्वादान्विताः काश्चित् काश्चिदालिङ्गनोन्मुखाः || १०

bherikākāhaḷādyāḍhyaiḥ gānanṛtta ravākulaiḥ | yoṣitaścānavadyāṅgā apekṣavaśyamohitāḥ || 9 srastabhūṣaṇavastrādyā balidānasumunmukhāḥ | āśīrvādānvitāḥ kāścit kāścidāliṅganonmukhāḥ || 10

He is surrounded and followed by charming ladies who are amidst the high sounds of bheri and kāhala and amidst hihgly raised musical songs and various sounds raised by the dancing groups. These ladies are with defectless limbs and exqusitely beautiful. Eagerly wishing for His company, being overpowered by the beauty of the Lord and being under infatuation, these ladies are following Him. They, being unmindful of their slipping and loosely hanging clothes, ornaments and other wearings, they are intent on offering the alms to him. Some of them are intent to have his words of blessing and some others are highly intent on embracing him.

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11-13

मूर्ध्नस्सूत्रं ललाटस्य मध्यं नीत्वाङ्गुलं नयेत् | सव्यनासा पुटाग्रास्तु स्थिताङ्घ्रय्ङ्गुष्ठमूलतः || ११ दक्षिणेऽष्टयवं हित्वा हृदयाद्दक्षिण त्रिकम् | नाभेर्मेढ्रात्तु वामे तु भागं सप्ताङ्गुलं भवेत् || १२ पादाङ्गुष्ठद्वयोर्मध्यं स्मृतिमात्रं उदाहृतम् | पार्ष्ण्योश्च मुनिमात्रं स्याज्जान्वोर्मध्यं मुखेन तु || १३

mūrdhnassūtraṃ lalāṭasya madhyaṃ nītvāṅgulaṃ nayet | savyanāsā puṭāgrāstu sthitāṅghrayṅguṣṭhamūlataḥ || 11 dakṣiṇe'ṣṭayavaṃ hitvā hṛdayāddakṣiṇa trikam | nābhermeḍhrāttu vāme tu bhāgaṃ saptāṅgulaṃ bhavet || 12 pādāṅguṣṭhadvayormadhyaṃ smṛtimātraṃ udāhṛtam | pārṣṇyośca munimātraṃ syājjānvormadhyaṃ mukhena tu || 13

The plumb-line from the head should pass down, being one angula away from the center of the forehead. It should pass through the tip of the left nostril and touch the base of the toe of the left foot placed on the ground. Havig left out eight yavas on the right side, it should touch the point which is three yavas from right side of the heart. On the left side, the distance between the navel and the genital organ shuld be seven angulas. The space between the two toes should be four angulas. The space between the tow heels should be seven angulas and that between the knees should be equal to the height of the face.

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14-16

सार्धविश्वाङ्गुलैर्वाथ तयोरन्तरं इष्यते | प्रकारहस्ते यो वक्रः कटको नाभिसीमकः || १४ नाभेस्तन् मणिबन्धान्तो भाग इत्यभिधीयते | पार्श्वमध्यम बाह्वोश्च मध्यमं भूतमात्रकम् || १५ हरिण्यास्यगतो हस्त ऊरुमध्यसमो भवेत् | ऊरुमध्याच्च तस्याग्रं एकविंशति मात्रकम् || १६

sārdhaviśvāṅgulairvātha tayorantaraṃ iṣyate | prakārahaste yo vakraḥ kaṭako nābhisīmakaḥ || 14 nābhestan maṇibandhānto bhāga ityabhidhīyate | pārśvamadhyama bāhvośca madhyamaṃ bhūtamātrakam || 15 hariṇyāsyagato hasta ūrumadhyasamo bhavet | ūrumadhyācca tasyāgraṃ ekaviṃśati mātrakam || 16

Or, the distance between the knees may be fourteen and a half angulas. The hand holding the staff should be slightly bent and its kataka-mudra should be at the level of navel. The distance between the navel and the left wrist should be equal to the face-measure. The distance between the two sides and that between the two shoulders should be five angulas. The hand which is touching the antelope should be on the same level with the middle of the thigh. From the middle of the thigh up to the tip of the middle finger of that hand, the distance should be twenty-one angulas.

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17-19

अधोमुखस्सकटकः स्मृतिर्वाग्र समन्वितः | पार्श्वमध्यम बाह्वोश्च मध्यं पाताल मात्रकम् || १७ कङ्काळपिञ्चधृग् हस्तः कक्षतुल्योच्छ्रयो भवेत् | भुजान्तान्मणिबन्धान्ताद् द्व्यन्तरं षोडशाङ्गुलम् || १८ अर्कमात्रं तु वा प्रोक्तं पिञ्चदण्डस्तु हस्ततः | तत्समं पिञ्चदैर्घ्यं स्याद् देवनासाग्र मात्रकम् || १९

adhomukhassakaṭakaḥ smṛtirvāgra samanvitaḥ | pārśvamadhyama bāhvośca madhyaṃ pātāla mātrakam || 17 kaṅkāḷapiñcadhṛg hastaḥ kakṣatulyocchrayo bhavet | bhujāntānmaṇibandhāntād dvyantaraṃ ṣoḍaśāṅgulam || 18 arkamātraṃ tu vā proktaṃ piñcadaṇḍastu hastataḥ | tatsamaṃ piñcadairghyaṃ syād devanāsāgra mātrakam || 19

The kataka which is turned downwards should be at a distance of four angulas from the central line. The space between the two sides and that between the two shoulders may be seven angulas also. The hand which is holding the bunch of peacock feathers and kankala should be raised up to the armpit. The distance between the two arms and that between the two wrists should be sixteen angulas. Or, the length of the hand holding the peacock feathers and kankala-danda may be twelve angulas. The length of the peacock feathers should be equal to that of the hand and its tip should be on the same level with the tip of the nose.

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20-22

कङ्काळ दण्डमानं तु देवस्याधो गळान्तकम् | दण्डाग्रे कारयेद्विद्वान् कङ्काळाहि मुनीश्वराः || २० योषितो देवकन्याः स्युः स्तननाभ्यन्त सीमकाः | भूतरूपाणि सर्वाणि त्रिमुखेनेच्छया तथा|| २१ एव एष परो देवो नग्नः कङ्काळ वर्जितः | विकीर्णोभयपार्श्वस्थ जटालक विभूषितः || २२

kaṅkāḷa daṇḍamānaṃ tu devasyādho gaḷāntakam | daṇḍāgre kārayedvidvān kaṅkāḷāhi munīśvarāḥ || 20 yoṣito devakanyāḥ syuḥ stananābhyanta sīmakāḥ | bhūtarūpāṇi sarvāṇi trimukhenecchayā tathā|| 21 eva eṣa paro devo nagnaḥ kaṅkāḷa varjitaḥ | vikīrṇobhayapārśvastha jaṭālaka vibhūṣitaḥ || 22

The kankala-danda should be lengthened up to lower part of neck of the Lord. O, the lords of sages!, the sthapati should design kankala and serpent at the top of the danda. The height of the celestial ladies (who are coming after him) should be up to the breast or navel of the Lord. All the forms of various bhuta-ganas should be designed in the three-tāla system or as desired by the sthapati. These are the features of the form of Bhikshāṭana. His form may be designed in another way also. The form may be without any cloth and without kankala. The locks of matted hair should be shown as stretched and spread over the two sides(of the neck) and the form may be shown as adorned with many ornaments.

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23-25

कटिदेशे प्रकर्तव्यः फणिसूत्रेण वेष्टितः | सत्कपालं च वरदं वामहस्तं तु कल्पयेत् || २३ दिव्यडक्का समायुक्तं वामस्थं अपरं करम् | शिखिपिञ्चधरं कुर्यात् सव्यस्थं अपरं करम् || २४ व्याळपार्श्वस्थितः कार्यः पूर्वसव्यो मृगस्यगः | सव्यं कोण समायुक्तं अथवा परिकल्पयेत् || २५

kaṭideśe prakartavyaḥ phaṇisūtreṇa veṣṭitaḥ | satkapālaṃ ca varadaṃ vāmahastaṃ tu kalpayet || 23 divyaḍakkā samāyuktaṃ vāmasthaṃ aparaṃ karam | śikhipiñcadharaṃ kuryāt savyasthaṃ aparaṃ karam || 24 vyāḷapārśvasthitaḥ kāryaḥ pūrvasavyo mṛgasyagaḥ | savyaṃ koṇa samāyuktaṃ athavā parikalpayet || 25

His waist should be tied around with serpent-thread and his left hands should be holding the skull and the boon-giving mudra. Another left hand(upper hand) should be holding the resplendent danda. The upper right hand should be holding the peacock feathers. Serpents should be on his both sides. The antelope should be in the left front. Or, the antelope may be shown with its face turned towards the left corner.

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26-27

कपालहस्त पृष्ठं तु नाभिदध्नं प्रकल्पयेत् | नाभेस्तन्मणिबन्धान्तं षोडशाङ्गुल ईरितः || २६ डमरूच्चं तु कर्णान्तं तद्धस्त मणिबन्धनात् | कर्णान्तं षोडशैर्मात्रैः शेषं कङ्काळवत्भवेत् || २७ भिक्षाटनो हरः प्रोक्तः पृथग्विष्णु युतो न

kapālahasta pṛṣṭhaṃ tu nābhidadhnaṃ prakalpayet | nābhestanmaṇibandhāntaṃ ṣoḍaśāṅgula īritaḥ || 26 ḍamarūccaṃ tu karṇāntaṃ taddhasta maṇibandhanāt | karṇāntaṃ ṣoḍaśairmātraiḥ śeṣaṃ kaṅkāḷavatbhavet || 27 bhikṣāṭano haraḥ proktaḥ pṛthagviṣṇu yuto na

The back of the hand holding the skull should be shown as lowered up to the level of navel. The distance between the navel and the wrist of that hand should be sixteen angulas. The drum held in the right hand should be raised up to the bottom the right ear and the distance between the wrist of that hand and the bottom the ear should be sixteen angulas. All other parts should be designed as told for the form of Kankala Murti. Bhikshaṭana is one of the manifestations of Lord Siva. This form may be designed as associated with or not associated with Vishnu.

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28-30

स्थापनं च सामासेन वक्ष्येऽहं मुनिपुङ्गवाः || २८ कालः प्राग्वत् समुद्दिष्टः तद्वदुक्ताङ्कुरक्रिया | रत्नन्यासं ततः कृत्वा देवे भूते यथाक्रमम् || २९ जायासु च पृथक् पीठे चैकत्र गुरूत्तमः | अथवा रत्नविन्यासं कृष्णादीनां विसर्जयेत् || ३०

sthāpanaṃ ca sāmāsena vakṣye'haṃ munipuṅgavāḥ || 28 kālaḥ prāgvat samuddiṣṭaḥ tadvaduktāṅkurakriyā | ratnanyāsaṃ tataḥ kṛtvā deve bhūte yathākramam || 29 jāyāsu ca pṛthak pīṭhe caikatra gurūttamaḥ | athavā ratnavinyāsaṃ kṛṣṇādīnāṃ visarjayet || 30

O, the celebrated Sages!, now I will tell you briefly about the process of installation. The auspicious time for the installation should be ascertained as explained earlier. Offring of fresh sprouts should also be done as is usually done for other installations. Chiselling of the eyes should be done for the Lord and bhuta-ganas in due order. The foremost Guru should place the image of each lady on a separate pedestal or he may place all the images of them on a single pedestal. Or, he may refrain from doing the ratna-nyasa for the antelope and others.

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31-32

नेत्राणां मोक्षणं कृत्वा बेरशुद्धिं अतः परम् | जलाधिवासनं ग्रामप्रदक्षिण पुरस्सरम् || ३१ यागमण्टपं आसाद्य पूर्ववत् परिकल्पयेत् | तद्दिगश्राणि वृत्ताभं नवपञ्चैक कुण्डकम् || ३२

netrāṇāṃ mokṣaṇaṃ kṛtvā beraśuddhiṃ ataḥ param | jalādhivāsanaṃ grāmapradakṣiṇa purassaram || 31 yāgamaṇṭapaṃ āsādya pūrvavat parikalpayet | taddigaśrāṇi vṛttābhaṃ navapañcaika kuṇḍakam || 32

Having chiselled the eyes for the image of Bhikshatana and of others, the Guru should purify the images. Preceded by the circumambulation of the town, activities such as keeping the image immersed in water, construction of sacrificial pavilion and others should be done as performed before. The fire-pits should be designed around the altar raised in the pavilion, their shape being angular, circular or square suitable to each direction. These fire-pits may be nine, five or one in number.

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33-35

उद्वास्य शिल्पिनं विद्वान् भोजयेत्तद्विशुद्धये | पुण्याहं वास्तुहोमं च स्थण्डिलं शयनं पृथक् || ३३ स्नपनं कौतुकं तेषां पृथक् कृत्वा तु शोधयेत् | मध्ये देवं च तद्दक्षे जाया भूतानि वामके || ३४ यथावच्छाययेत् सर्वान् पृथक् वस्त्रादि भूषितान् | पृथक् कङ्काळदण्डश्चेत् शिरोदेशे तु शाययेत् || ३५

udvāsya śilpinaṃ vidvān bhojayettadviśuddhaye | puṇyāhaṃ vāstuhomaṃ ca sthaṇḍilaṃ śayanaṃ pṛthak || 33 snapanaṃ kautukaṃ teṣāṃ pṛthak kṛtvā tu śodhayet | madhye devaṃ ca taddakṣe jāyā bhūtāni vāmake || 34 yathāvacchāyayet sarvān pṛthak vastrādi bhūṣitān | pṛthak kaṅkāḷadaṇḍaścet śirodeśe tu śāyayet || 35

Having sent away the sthapati with due honors, he should arrange for the feeding of the learned brahmins for the sake of purification of the venue and the surroundings. Rituals such as punyaha-vacana and vastu homa should be performed. The designing of sthandila and couch should be done separately for each image. Having arranged for snapana and kautuka(fastening the protective thread) separately for each image, he should purify all the images. The image of the Lord should be placed in the middle of the couch and the images of the ladies on right side of the Lord and the images of bhuta-ganas on His left side. All of these images should be adorned with clothes and other items. If the kankala-danda is formed separately, it should be placed in the recumbent position near the head of image of the Lord.

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36-38

शक्रशाङ्करयोर्मध्ये न्यसेत् कुम्भं च वर्धनीम् | अन्येषां च शिरोदेशे घटं जायासु वर्धनीम् || ३६ विन्यस्य गन्धपुष्पाद्यैः पूजयेत् स्वस्वमन्त्रयुक् | वीरेशाय नमश्चेति भूतकुम्भे यजेद्गुरुः || ३७ नन्दनायै नमश्चेति तद्वर्धन्यां यजेद्धृदा | कङ्काळकुम्भे कङ्काळं न्यस्त्वा तत्त्वादिकान् न्यसेत् || ३८

śakraśāṅkarayormadhye nyaset kumbhaṃ ca vardhanīm | anyeṣāṃ ca śirodeśe ghaṭaṃ jāyāsu vardhanīm || 36 vinyasya gandhapuṣpādyaiḥ pūjayet svasvamantrayuk | vīreśāya namaśceti bhūtakumbhe yajedguruḥ || 37 nandanāyai namaśceti tadvardhanyāṃ yajeddhṛdā | kaṅkāḷakumbhe kaṅkāḷaṃ nyastvā tattvādikān nyaset || 38

In between the east and the north-east, siva-kumbha and vardhani-kumbha should be placed. For all other images of the bhuta-ganas, kalasas should be placed near the top of the head. Having placed vardhani-kalasa for the ladies, the Guru should worship with sandal, flowers and such other substances reciting the mantra pertaining to each form. He should worship the bhuta-kumbha reciting the mantra “Om Vīrēśāya namah” and the vardhani-kalasa reciting the mantra “Om Nandanāyai namah”. These two mantras should be accompanied by hrudaya mantra. Having identified kankala with the kankala-kumbha, the Guru should identify the tattvas and others with the relevant image.

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39-40

तत्त्वादयः शिवे प्राग्वद् वीरेशे पुनरुच्यते | मूर्तयः प्राग्वदेव स्युः प्रमुखो दुर्मुखस्तथा || ३९ प्रमोदश्च तथा मोदो विघ्नराडिति मूर्तिपाः | विष्णूक्तवत् स्यात् कङ्काळे ततो होमं समारभेत् || ४०

tattvādayaḥ śive prāgvad vīreśe punarucyate | mūrtayaḥ prāgvadeva syuḥ pramukho durmukhastathā || 39 pramodaśca tathā modo vighnarāḍiti mūrtipāḥ | viṣṇūktavat syāt kaṅkāḷe tato homaṃ samārabhet || 40

For Siva, the tattvas and tattva murtis are the same as told earlier. For Vīreśa, the murtis are Pramukha, Durmukha, Pramoda, Moda and Vighnarājah. For Kankala, the murti is the same as told for Vishnu.

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41-43

कुण्डानि संस्कृतिं कृत्वा समिदाज्यान्न लाजकैः | तिलैस्सस्येन्द्रकैस्सार्धं साक्षतैर्होममाचरेत् || ४१ पलाशखदिराश्वत्थोदुम्बरो दिक्षु संमताः | शमी वटाश्च श्रीवृक्षा मायूरा वह्निकोणतः || ४२ प्रधानेऽपि पलाशस्स्यात् स च सर्वत्र वा मतः | देशिकेन्द्रः प्रधाने तु देवानावाह्य तर्पयेत् || ४३

kuṇḍāni saṃskṛtiṃ kṛtvā samidājyānna lājakaiḥ | tilaissasyendrakaissārdhaṃ sākṣatairhomamācaret || 41 palāśakhadirāśvatthodumbaro dikṣu saṃmatāḥ | śamī vaṭāśca śrīvṛkṣā māyūrā vahnikoṇataḥ || 42 pradhāne'pi palāśassyāt sa ca sarvatra vā mataḥ | deśikendraḥ pradhāne tu devānāvāhya tarpayet || 43

Having performed sacramental rituals to all the fire-pits, the Guru should perform the fire-ritual by offering oblations of faggots, clarified butter, cooked rice, parched paddy, sesame and white mustard along with akshata-rice grains. The faggots got from palasa, khadira, asvattha and udumbara trees should be offered in the fire-pits of main directions. The faggots got from sami, vata, srivruksha and mayura trees should be offered in the fire-pits of intermediary directions. The faggots of palasa tree should be offered in the principal fire-pit. Or, the faggots of palasa tree may be offered in all the fire-pits. The Chief Acharya should offer the oblations in the main fire-pit, having invoked the presence of the Lord.

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44-46

ततो द्वितीय दिवसे देवकुम्भाग्नि तर्पणम् | पूजितो वस्त्रहेमाद्यैः मूर्तिपैः प्राप्तदक्षिणः || ४४ मन्त्रन्यासं ततः कुर्यान् न्यस्त्वा बिम्बपुरो घटान् | कुम्भान्मनुं समादाय देवस्य हृदि विन्यसेत् || ४५ वर्धन्या मनुमादाय तस्य पीठाम्बुजे न्यसेत् | अन्येभ्यो बीजमादाय तेषां च हृदि विन्यसेत् || ४६

tato dvitīya divase devakumbhāgni tarpaṇam | pūjito vastrahemādyaiḥ mūrtipaiḥ prāptadakṣiṇaḥ || 44 mantranyāsaṃ tataḥ kuryān nyastvā bimbapuro ghaṭān | kumbhānmanuṃ samādāya devasya hṛdi vinyaset || 45 vardhanyā manumādāya tasya pīṭhāmbuje nyaset | anyebhyo bījamādāya teṣāṃ ca hṛdi vinyaset || 46

Then, on the morning of the second day, the Guru and other priests should worship the Lord, Kumbha and the Fire and make them delighted by the fire-ritual. The chief sponsor should honor the Acharya and the officiating priests by offering to them the sacrificial fees and new clothes and valuable things. Then, the Acharya should do mantra-nyasa and place the kumbhas in front of the image. Having collected the seed- mantras from the kumbha, he should place them over the heart of the Lord. In the same way, he should collect the seed-mantras from the vardhani kalasa and unite them with the pedestal designed in the form of lotus flower. Having collected the seed-mantras from other kalasas, he should unite them with the heart of the relevant deity.

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47-48

तत्तत् कुम्भजलैः स्नाप्य स्नपनं चोत्सवं महत् | नैवेद्यं च प्रतिष्ठान्ते देशिकेन्द्रस्तु कारयेत् || ४७ अनुक्तमत्र संग्राह्यं सामान्यस्थापनोक्तवत् | एवम् यः कुरुते मर्त्यः स पुण्यां गतिमाप्नुयात् || ४८

tattat kumbhajalaiḥ snāpya snapanaṃ cotsavaṃ mahat | naivedyaṃ ca pratiṣṭhānte deśikendrastu kārayet || 47 anuktamatra saṃgrāhyaṃ sāmānyasthāpanoktavat | evam yaḥ kurute martyaḥ sa puṇyāṃ gatimāpnuyāt || 48

Having performed the ceremonial bath for all the Deities with the consecrated water of the kumbhas pertaining to each Deity, the Guru should do snapana-abhisheka , offer naivedya and , at the end, perform the festival in a grand scale. All those details which are not told here explicitly should be known from the chapter dealing with common installation. The devotee who arranges for such installation of Bhikshāṭana Murti would attain meritorious state.

1-2

बलिभर्तुः प्रतिष्ठांतु वक्ष्ये तल्लक्षणं तु वै| नित्योत्सवे तु कथितं सूत्राद्यं चेन्दुमौळिवत्|| १ प्रायश्चित्तादिके वाथ सर्वकाम प्रसिद्धये | नित्योत्सवेऽपि तच्छ्रेष्टं तन्मन्त्रैश्च विशेषतः || २ प्रतिष्ठां च समासेन प्रवक्ष्यामि मुनीश्वराः

balibhartuḥ pratiṣṭhāṃtu vakṣye tallakṣaṇaṃ tu vai| nityotsave tu kathitaṃ sūtrādyaṃ cendumauḷivat|| 1 prāyaścittādike vātha sarvakāma prasiddhaye | nityotsave'pi tacchreṣṭaṃ tanmantraiśca viśeṣataḥ || 2 pratiṣṭhāṃ ca samāsena pravakṣyāmi munīśvarāḥ

I will now speak on the process of installation of Balibartru( the Deity in presence of whom various ‘balis’ are made) and the lineaments of this image. The marking of the lines for the construction of pavilion should be made, while conducting the daily festival. These lines should be marked according to the directions given for the installation of the image of Chandramauli. Balibartru should be specially worshipped while performing rituals for expiation and amendments(prāyaścitta), for the assured attainment of all the fruits desired by the devotees and during the daily festival. Such worship should be done with the accompaniment of the relevant mantras. O, the lords of the sages!, now I shall explain briefly the details related to the installation.

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3-5

कालोऽङ्कुरक्रिया रत्नन्यासो वै दृष्टि मोचनम् || ३ शुद्धिः प्रदक्षिणं ग्रामप्रभृतीनां जलस्थितिः | पूर्वमेवोदितं यस्मात् तद्वत्सर्वं समाचरेत् || ४ मण्टपं कारयेत्तत्र नवपञ्चैक कुण्डकम् | कुण्डानि वृत्तान्यश्राणि तद्दिगश्राणि वा नयेत् || ५ कुण्डं वृत्तं प्रधानं स्यात्त्रिषु पक्षेषु वै द्विजाः |

kālo'ṅkurakriyā ratnanyāso vai dṛṣṭi mocanam || 3 śuddhiḥ pradakṣiṇaṃ grāmaprabhṛtīnāṃ jalasthitiḥ | pūrvamevoditaṃ yasmāt tadvatsarvaṃ samācaret || 4 maṇṭapaṃ kārayettatra navapañcaika kuṇḍakam | kuṇḍāni vṛttānyaśrāṇi taddigaśrāṇi vā nayet || 5 kuṇḍaṃ vṛttaṃ pradhānaṃ syāttriṣu pakṣeṣu vai dvijāḥ |

Fixing the auspicious time, offering of fresh sprouts, fixing the gems on various parts of the image, releasing the look of the eyes of the image(opening of the eyes, nētrōnmīlanam), purification of the image, procession around the temple,village and other important places, keeping the image immersed in the river or tank water – all such rituals mentioned earlier for the installation should be performed. A suitable pavilion should be constructed within the temple and the fire-pits should be designed, the number of fire-pits being nine, five or one. The fire-pits may be circular or square in shape or in a shape prescribed for each direction. Irrespective of the number of the fire-pits, either nine, five or one, the principal fire-pit should always be circular in shape.

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6-8

पश्चाच्छिल्पिनं उद्वास्य ब्राह्मणांस्तत्र भोजयेत् || ६ पुण्याहप्रोक्षणं कृत्वा वास्तुहोमं तु कारयेत् | जलादुधृत्य बिंबं तु मृदाद्यैः स्नपनं नयेत् || ७ गन्धादिना ततोऽभ्यर्च्य कौतुकं बन्धयेत्ततः | शयनं कल्पयेद्वेद्यां तस्यां स्थण्डिल पूर्वकम् || ८ शयने शाययेद्देवं रक्तवस्त्रादि भूषितम्

paścācchilpinaṃ udvāsya brāhmaṇāṃstatra bhojayet || 6 puṇyāhaprokṣaṇaṃ kṛtvā vāstuhomaṃ tu kārayet | jalādudhṛtya biṃbaṃ tu mṛdādyaiḥ snapanaṃ nayet || 7 gandhādinā tato'bhyarcya kautukaṃ bandhayettataḥ | śayanaṃ kalpayedvedyāṃ tasyāṃ sthaṇḍila pūrvakam || 8 śayane śāyayeddevaṃ raktavastrādi bhūṣitam

Then, having sent off the Silpi with due honours, the Guru should arrange for the feeding of the learned brahmins. Preceded by the declaration of auspiciousness of the time, event and such other deeds, he should perform vāstu-pūja and vāstu-hōma. Having lifted out the image from the water, he should perform the ceremonial bath to it and purify it with earth and other substances. Having worshipped the image with sandal, flowers and other materials, he should tie up the protective band of thread around the right wrist of the image. Then he should adorn the image with red clothes and others and place it to be in recumbent posture on the bed spread over the sthandila designed on the altar.

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9-12

पूर्ववत् स्थापयेत् कुम्भान् परितश्शिव कुम्भकम् || ९ सुवस्त्राढ्यं शिरोदेशे सर्वे वस्त्रादि भूषिताः | शिवकुम्भे यजेदस्त्रं देवं पाशुपताह्वयम् || १० तल्लक्षणोक्त रूपं तु ध्यात्वा गन्धादिभिस्तदा | हुंफट्क इति मन्त्रेण चतुर्थ्यन्तेन नामतः || ११ दीपंश्लीं पशुंपूर्वं हुं च पण्णम इत्यपि | मन्त्रेण वाऽथ संपूर्णं देवं पाशुपताह्वयम् || १२

pūrvavat sthāpayet kumbhān paritaśśiva kumbhakam || 9 suvastrāḍhyaṃ śirodeśe sarve vastrādi bhūṣitāḥ | śivakumbhe yajedastraṃ devaṃ pāśupatāhvayam || 10 tallakṣaṇokta rūpaṃ tu dhyātvā gandhādibhistadā | huṃphaṭka iti mantreṇa caturthyantena nāmataḥ || 11 dīpaṃślīṃ paśuṃpūrvaṃ huṃ ca paṇṇama ityapi | mantreṇa vā'tha saṃpūrṇaṃ devaṃ pāśupatāhvayam || 12

As done before, the Guru should array eight ‘kalasas’(vessels) around the śiva-kumbha, after covering each kalasa with fresh cloth and placing the essential things inside them and darbha-bunch, bunches of mango-leaves and others over them. He should worship the specific weapon known as pāśupata-astra after invoking it in the śiva-kumbha. Having contemplated the form of pāśupata-astra whose lineaments have been told earlier, he should worship it with sandal, flowers and other substances. The mantra for this pāśupata-astra is: “Ōm ślīm pam śum pāśupatāstrāya humpaṇṇamaḥ”

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13-15

आकाराद्यौकारान्ताश्चस्वरास्सद्यादयो मताः | ओंकाराद्याः फडन्ताश्च मन्त्रास्स्युर्हृदयादयः || १३ मन्त्रेण विधिवद्भिन्ना ओंकाराद्या हृदादयः | हृदयादि समोपेता हुंपडन्ता नमोऽन्तकाः || १४ हृत्पुटाजातमूर्त्या च विद्यादेहाणुनापि वा | हुंकार कल्पितेनैव हृदा संपुटितेन च || १५

ākārādyaukārāntāścasvarāssadyādayo matāḥ | oṃkārādyāḥ phaḍantāśca mantrāssyurhṛdayādayaḥ || 13 mantreṇa vidhivadbhinnā oṃkārādyā hṛdādayaḥ | hṛdayādi samopetā huṃpaḍantā namo'ntakāḥ || 14 hṛtpuṭājātamūrtyā ca vidyādehāṇunāpi vā | huṃkāra kalpitenaiva hṛdā saṃpuṭitena ca || 15

For the brahma-mantras from Sadyojāta to Īśāna, the vowels am, im, um, ēm and ōm should be used as seed-leters. The aṅga-mantras from hrudaya to astra should begin with Ōm and end with namaḥ, svāhā, vaṣaṭ, hum, vauṣaṭ and phaṭ respectively. The mantra of pāśupata-astra should be split into six parts and be added with six aṅga-mantras from hrudaya to astra. For the mūrti of Sadyōjāta, the seed-letter of hrudaya should be added with the concerned part of pāśupata-mantra. Similarly, the mantra for the vidyā- deha should be framed. Being encased between the seed-letters of hum and ham, the astra-mantra should be recited.

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16

वज्रादीन् आयुधान् अष्टौ परितोऽभ्यर्चयेद्गुरुः | तत्त्व तत्त्वेश्वरान्न्यस्त्वा न्यसेन्मूर्तीश्च पूर्ववत् || १६ मूर्तीशांश्च न्यसेद्धीमान् वज्रादीन् देशिकोत्तमः |

vajrādīn āyudhān aṣṭau parito'bhyarcayedguruḥ | tattva tattveśvarānnyastvā nyasenmūrtīśca pūrvavat || 16 mūrtīśāṃśca nyaseddhīmān vajrādīn deśikottamaḥ |

The eight weapons from vajra to trident should be worshipped around the pāśupata-astra by the Guru. In the eight weapons, the foremost Guru should identify the Tattvas, Tattvēśvaras, Mūrtis and Mūrtīśvras.

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17-20

कृत्वा कुण्डेषु संस्कारं संपाद्य च शिवानलम् || १७ समिद्घृतान्न सस्येन्द्र तिललाज समन्वितम् | पूर्वोक्त मूलब्रह्माङ्गैर्होमं पूर्वोक्त संख्यया || १८ तत्त्वमूर्त्यादि मन्त्रैश्च सार्धं कुर्याद्गुरूत्तमः | पलाशोदुम्बराश्वत्थ वटा इन्द्रादि दिक्षु च || १९ शमीखदिरश्रीवृक्ष पिप्पला अग्निकोणतः | प्रधानेऽपि पलाशस्स्याद् द्वितीये ह्येवमाचरेत् || २०

kṛtvā kuṇḍeṣu saṃskāraṃ saṃpādya ca śivānalam || 17 samidghṛtānna sasyendra tilalāja samanvitam | pūrvokta mūlabrahmāṅgairhomaṃ pūrvokta saṃkhyayā || 18 tattvamūrtyādi mantraiśca sārdhaṃ kuryādgurūttamaḥ | palāśodumbarāśvattha vaṭā indrādi dikṣu ca || 19 śamīkhadiraśrīvṛkṣa pippalā agnikoṇataḥ | pradhāne'pi palāśassyād dvitīye hyevamācaret || 20

Having performed all the sacramental rituals to the fire-pits and having created the śiva-fire as prescribed in the Āgamas, the Guru should offer the oblations of the faggots, clarified-butter, cooked-rice, white mustard, sesame, parched paddy-grains and other things. With the chanting of mūla-mantras, brahma- mantras and aṅga-mantras which have been told earlier along with the mantras pertaining to the Tattvas Tattvēśvaras, Mūrtis and Mūrtīśvaras, the foremost Guru should offer the oblations, the number of oblations being the same as told earlier. The faggots got from palāśa, udumbara, aśvattha and vaṭa trees should be offered in the fire-pits of east, south, west and north. Those got from śamī, khadira, śrīvṛkṣa, and pippala trees should be offered in the fire-pits of south-east, south-west, north-west and north-east. The faggots of palāśa tree are to be offered as oblations even in the principal fire-pit. The fire-ritual should be performed in the second day also in the same way.

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21-22

संपूज्य देशिकादींश्च दक्षिणां दापयेत्ततः | प्रतिमाग्रे घटान्न्यस्त्वा तत्कुम्भात्तु मनुं हृदि || २१ न्यसेत् पीठांबुजे तस्य परिवार मनुं न्यसेत् | स्नपनं चोत्सवं भूरि नैवेद्यं कारयेन्न वा || २२

saṃpūjya deśikādīṃśca dakṣiṇāṃ dāpayettataḥ | pratimāgre ghaṭānnyastvā tatkumbhāttu manuṃ hṛdi || 21 nyaset pīṭhāṃbuje tasya parivāra manuṃ nyaset | snapanaṃ cotsavaṃ bhūri naivedyaṃ kārayenna vā || 22

Having duly honored the Āchārya and all the assisting priests, the Yajamāṇa (the main sponsor) should present the sacrificial fees sufficiently to them. Having placed the kumbhas in front of the image newly installed, the Guru should collect the mantra from the kumbha and unite it with the heart of the image. Similarly, having collected the mantras from the eight kalasas pertaining to the retinue Deities, he should unite them with the pedestal. After that, he should perform the ‘snapana abhisheka’ and the concerned festival. He should offer the ‘naivedya’ abundantly. Some of these activities may be left out according to the circumstance.

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23-24

अनुक्तानत्र सामान्यस्स्थापनोक्तवदाचरेत् | एवमस्त्र प्रतिष्ठां तु यः कुर्यादस्त्रमूर्तिनः || २३ यात्येव च सुखं मोक्षं इहापि च परत्र च || २४

anuktānatra sāmānyassthāpanoktavadācaret | evamastra pratiṣṭhāṃ tu yaḥ kuryādastramūrtinaḥ || 23 yātyeva ca sukhaṃ mokṣaṃ ihāpi ca paratra ca || 24

Those rituals which are not told explicitly now are very common to the process of installation and they should be done according to the directions given earlier for such installation. The devotee who performs the installation of Astra pertaining to the Pāśupatāstra Mūrti would attain comfortable life and happiness while living in this world and would attain the final liberation after reaching the world of Ṣiva.

60 Directions for the Installation of Śarabheśvara Mūrti

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1-4

शरभेश प्रतिष्ठां तु वक्ष्ये लक्षण पूर्विकाम् | पक्ष्याकारं सुवर्णाभं पक्षद्वय समन्वितम् || १ ऊर्ध्वपक्ष सामायुक्तं रक्तनेत्र त्रयान्वितम् | पादैः सिम्हपदाकारैश्चतुर्भिश्च समन्वितम् || २ सुतीक्ष्ण नखसंयुक्तैः ऊर्ध्वस्थैर्वेदपादकैः | दिव्यलाङ्गल संयुक्तं सुविकीर्ण जटान्वितम् || ३ कन्धरोर्ध्वं नराकारं दिव्यमौलि समायुतम् | सिंहास्यं भीमदंष्ट्रं च भीमविक्रम संयुतम् || ४

śarabheśa pratiṣṭhāṃ tu vakṣye lakṣaṇa pūrvikām | pakṣyākāraṃ suvarṇābhaṃ pakṣadvaya samanvitam || 1 ūrdhvapakṣa sāmāyuktaṃ raktanetra trayānvitam | pādaiḥ simhapadākāraiścaturbhiśca samanvitam || 2 sutīkṣṇa nakhasaṃyuktaiḥ ūrdhvasthairvedapādakaiḥ | divyalāṅgala saṃyuktaṃ suvikīrṇa jaṭānvitam || 3 kandharordhvaṃ narākāraṃ divyamauli samāyutam | siṃhāsyaṃ bhīmadaṃṣṭraṃ ca bhīmavikrama saṃyutam || 4

Now, I will speak on the process of installation of Śarabhēśvara along with the characteristic lineaments of His form. He is in the form of śarabha bird appearing with the lustre of gold; associated with two wings raised upwards; He is with three eyes which are in red color; with four legs in the likeness of the legs of lion; among these four legs, the two front legs raised upwards are with sharp claws; He is associated with bright tail of the lion ; with unkempt and stretched matted hair; the part above the neck is in the likeness of human form, adorned with resplendent crown. Śarabha appears with lion’s face associated with dreadful protruding teeth. His form is so terrifying as to reveal His valor.

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5-7

हरन्तं नरसिंहं तु जगत्संहरणोद्घतम् | कृताञ्जलि पुटोपेतं निश्चेष्टित महातनुम् || ५ नम्रदेहं तदूर्ध्वास्यं विष्णुं पद्मदळेक्षणम् | पादाभ्यां अम्बरस्थाभ्यां कुक्षिस्थाभ्यां च तस्य तु || ६ गगनाभिमुखं देवं कारयेच्छरभेश्वरम् | एवं लक्षणमादिष्टं तस्य मन्त्रश्च कथ्यते || ७

harantaṃ narasiṃhaṃ tu jagatsaṃharaṇodghatam | kṛtāñjali puṭopetaṃ niśceṣṭita mahātanum || 5 namradehaṃ tadūrdhvāsyaṃ viṣṇuṃ padmadaḷekṣaṇam | pādābhyāṃ ambarasthābhyāṃ kukṣisthābhyāṃ ca tasya tu || 6 gaganābhimukhaṃ devaṃ kārayeccharabheśvaram | evaṃ lakṣaṇamādiṣṭaṃ tasya mantraśca kathyate || 7

He is to be shown as subduing Narasimha(in whose form Viṣṇu appeared) who is with intensified force to destroy the whole world. Narasimha appears with the hands folded together and raised up to the head to express saltations to Śarabha and with his whole body devoid of any movement; the form of Narasimha is bent to show his submissiveness and his face associated with lotus-like eyes is turned upwards. The two legs of Śarbha raised up are touching the stomach of Narasimha. The face of Śarabhēśvara should be shown as looking up the sky. The image of Śarabhēśvara should be sculpted as described here. Thus, the lineaments of Śarabha-form are told. Now, the mantras pertaining to Śarabhēśa are told.

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8-10

अष्टवर्गादिमं बीजं चतुर्दश विभूषितम् | षष्टस्वर समोपेतं बिन्दुनाद समन्वितम् || ८ शारभं बीजमित्याहुः शरभेश्वर इत्यपि | ततो हरिहरस्त्वेवं चतुर्थ्यन्तं पदद्वयम् || ९ आदौ प्रणव संयुक्तं नमस्कारान्त संयुतम् | योजयेच्छरभेशार्थं पूजादिष्वष्ट सिद्धये || १०

aṣṭavargādimaṃ bījaṃ caturdaśa vibhūṣitam | ṣaṣṭasvara samopetaṃ bindunāda samanvitam || 8 śārabhaṃ bījamityāhuḥ śarabheśvara ityapi | tato hariharastvevaṃ caturthyantaṃ padadvayam || 9 ādau praṇava saṃyuktaṃ namaskārānta saṃyutam | yojayeccharabheśārthaṃ pūjādiṣvaṣṭa siddhaye || 10

With the first letter of the eighth group of the alphabets, the fourteenth vowel , the sixth vowel, bindu and nāda should be joined. The letter formed in this way(śauḥ) is the seed-letter of Śarabhēśvara. Then, the words ‘śarabhēśvara’ and ‘harihara’ should be added so as to end with the fourth class. The praṇava should be placed in the first and ‘namaḥ’ in the end. Join these words in this way to formulate the mantra of Śarabhēśvara and this mantra should be recited in His worship and to accomplish the eightfold consequence. “Om śauḥ śarabheśvarāya hariharāya namaḥ” – this is the mantra.

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11-13

कल्पयेदाद्य वर्णेन ब्रह्माण्यङ्गानि देशिकः | वज्रदेहो भवेदाद्यः खादकश्च वियोजकः || ११ मारणो दीर्घहस्तस्तु तीक्ष्ण दंष्ट्रो जटाधरः | बलिप्रियेण चाष्टौ स्युः प्रग्दिगारभ्य संस्थिताः || १२ पूजायां च प्रतिष्ठादौ क्रमेण परितः स्थिताः | स्वनामाद्यक्षरेणैषां मन्त्राणां उद्धृतिर्भवेत् || १३

kalpayedādya varṇena brahmāṇyaṅgāni deśikaḥ | vajradeho bhavedādyaḥ khādakaśca viyojakaḥ || 11 māraṇo dīrghahastastu tīkṣṇa daṃṣṭro jaṭādharaḥ | balipriyeṇa cāṣṭau syuḥ pragdigārabhya saṃsthitāḥ || 12 pūjāyāṃ ca pratiṣṭhādau krameṇa paritaḥ sthitāḥ | svanāmādyakṣareṇaiṣāṃ mantrāṇāṃ uddhṛtirbhavet || 13

The Guru should formulate the brahma-mantras and the aṅga-mantras(of Śarabha) with the first letter of His mūlamantra. The eight Vidyēśvaras pertaining to Śarabhēśvara are: Vajradēha, Khādaka, Viyōjaka, Māraṇa, Dīrghahasta, Tīkshṇadamṣṭra, Jaṭādhara and Balipriya. They are to be ideated to be in the eight directions, starting from the east and ending with the north-east in the due order, during the systematic worship(pūja), installation and other events. The mantras pertaining to these Vidyēśvaras should be formulated taking the first letter of the name of each Vidyēśvara as the seed-letter.

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14-16

कुर्याच्छिलदिष्विष्टेन द्रव्येण शरभेश्वरम् | प्रतिष्ठां च ततः कुर्याच्छुभलग्नोदयेऽहनि || १४ अङ्कुरार्पण कार्यं तु तद्विधानेन कारयेत् | नेत्राणामपि रत्नानां मोक्षणं न्यासमाचरेत् || १५ मृदादि शोधनं ग्रामप्रभृदीनां प्रदक्षिणम् | जलाधिवासनं प्राग्वत् पृथक् कुर्याद्धरे हरौ || १६

kuryācchiladiṣviṣṭena dravyeṇa śarabheśvaram | pratiṣṭhāṃ ca tataḥ kuryācchubhalagnodaye'hani || 14 aṅkurārpaṇa kāryaṃ tu tadvidhānena kārayet | netrāṇāmapi ratnānāṃ mokṣaṇaṃ nyāsamācaret || 15 mṛdādi śodhanaṃ grāmaprabhṛdīnāṃ pradakṣiṇam | jalādhivāsanaṃ prāgvat pṛthak kuryāddhare harau || 16

The image of Śarabhēśvara may be made of stone or some other material as desired by the Guru. The image should be installed during the onset of auspicious lagna occurring in an auspicious day. The ritual of offering the fresh sprouts should be done according to the prescribed directions. Rituals such as the opening of the eyes, fixing of the gems, purifying the image with earth and other substances, procession around the village and other places, keeping the image immersed in the river or tank water – all such activities should be performed as done before separately for Śivamūrti and Viṣṇumūrti.

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17-19

मण्टपं पूर्वत् कृत्वा वेदाश्रं नवकुण्डकम् | पञ्चाग्न्यायतनोपेतं एकाग्न्यायतनेन वा || १७ स्थपत्युद्वासनं पुण्य तोयसेचनमाचरेत् | विप्रभुक्तिं तदुच्छिष्टोद्वासनं मार्जनं पुनः || १८ पुण्याहं वास्तुपूजाग्निकार्यं स्थण्डिल कल्पनम् | शयनं स्नपनं प्राग्वद् बन्धनं कौतुकस्य च || १९

maṇṭapaṃ pūrvat kṛtvā vedāśraṃ navakuṇḍakam | pañcāgnyāyatanopetaṃ ekāgnyāyatanena vā || 17 sthapatyudvāsanaṃ puṇya toyasecanamācaret | viprabhuktiṃ taducchiṣṭodvāsanaṃ mārjanaṃ punaḥ || 18 puṇyāhaṃ vāstupūjāgnikāryaṃ sthaṇḍila kalpanam | śayanaṃ snapanaṃ prāgvad bandhanaṃ kautukasya ca || 19

Having constructed a suitable pavilion as done before, the Guru should design the fire-pits to be in the number of nine, five or one; they should be square in shape. Then he should send off the Sthapati with due honors and sprinkle the consecrated water over the interior of the pavilion. He should feed the learned brahmins and arrange for the removal of the leftover foods and leaves and for the purification of the ground. Declaration of the auspiciousness of the day, time and event, vāstu-pūja, vāstu-hōma, designing of sthaṇḍila and couch, snapana, tying up the protective thread on the right wrist of the image – all these sould be performed in the same way as done before.

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20-23

पृथग्द्वयोस्समादिष्टं शयनारोहणं नयेत् | उदक्पादं यथादेवं पूर्वदिङ्मस्तकं यथा || २० भिन्न पीठो हरिस्तर्हि वामे तं शाययेत्प्रभोः | रक्तवस्त्रेण संवेष्ट्य कुम्भस्थापनं आरभेत् || २१ विन्यसेच्छिवकुम्भं च विष्णुकुम्भं च विन्यसेत् | ससूत्रं सापिधानं च सवस्त्राढ्यं शिरोऽन्तिके || २२ परितोऽष्टौ घटान्न्यस्त्वा स्वर्णवस्त्रादि संयुतान् || ससूत्रान्सोदकान् वज्रदेहाद्यैरप्यधिष्ठितान् || २३

pṛthagdvayossamādiṣṭaṃ śayanārohaṇaṃ nayet | udakpādaṃ yathādevaṃ pūrvadiṅmastakaṃ yathā || 20 bhinna pīṭho haristarhi vāme taṃ śāyayetprabhoḥ | raktavastreṇa saṃveṣṭya kumbhasthāpanaṃ ārabhet || 21 vinyasecchivakumbhaṃ ca viṣṇukumbhaṃ ca vinyaset | sasūtraṃ sāpidhānaṃ ca savastrāḍhyaṃ śiro'ntike || 22 parito'ṣṭau ghaṭānnyastvā svarṇavastrādi saṃyutān || sasūtrānsodakān vajradehādyairapyadhiṣṭhitān || 23

The ritual of ‘śayanārōhaṇam’(placing the image on the couch so as to be in recumbent posture) should be done separately for Hara and Hari. The image should be placed in such a way that its legs are in the north direction and its head is in east direction. If the pedestal has been made separately for Hari, then the image of Hari should be placed on the left side of Hara. The image should be covered with red colored cloth. Then the Guru should proceed to arrange the kumbhas according to the procedure. He should place both the śivakumbha and viṣṇukumbha on the head-side of the image. The kumbhas should have been wound around with thread, well covered with fresh clothes and provided with lids. Eight kalasas deposited with gold coins , covered with clothes, wound around with threads, and filled up with water should be arrayed around the kumbhas. Vajradēha and others are the presiding Deities of these eight kalasas.

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24-26

प्रागुक्ताणुस्वरूपज्ञो गन्धाद्यैरर्चयेद्गुरुः | हृत्पुटाजातमूर्त्या तानावाह्य सकळीकृतम् || २४ विधाय हृत्पुटेनैव मूलेनावाह्य तं मनुम् | शरभेश मनुं न्यस्त्वा यजेद्विष्णौ तदुक्तवत् || २५ मूर्तिमूतीश्वर न्यासं कारयेत् प्राग्वदेव हि | मूर्तयो वज्रदेहाद्यास्तदीशाना इति स्मृताः || २६

prāguktāṇusvarūpajño gandhādyairarcayedguruḥ | hṛtpuṭājātamūrtyā tānāvāhya sakaḷīkṛtam || 24 vidhāya hṛtpuṭenaiva mūlenāvāhya taṃ manum | śarabheśa manuṃ nyastvā yajedviṣṇau taduktavat || 25 mūrtimūtīśvara nyāsaṃ kārayet prāgvadeva hi | mūrtayo vajradehādyāstadīśānā iti smṛtāḥ || 26

The Guru who has known well the significance and power of the mantras mentioned earlier should worship them with the recital of such mantras and with sandal, flowers and other substances. Having invoked them with the recital of the mūrti mantra formed of the seed-letters of hrudaya and others and having rendered his body to be in oneness with the form of Hara and Hari, he should invoke them with the mūla mantra prefixed with the seed-letter of hrudaya. Having identified himself and the image with the mantra of Śarabhēśa and that of Viṣṇu, he should worship them. In the manner explained before, he should do the ‘nyāsa’ of mūrtis and mūrtīśvaras. The Mūrtis are Vajradēha and others, the eight Vidyēśvaras of Śarabhēśa.

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27-28

ततो होमं प्रकुर्वीत कृत्वा कुण्डाग्नि संस्कृतिम् | समिद्भिरथ पालाशैर्घृतेन चरुणापि च || २७ तिलैर्लाजैश्च सस्येन्द्रैर्मूर्तीशाद्यणुभिर्युतम् | पूर्णां हुत्वा द्वितीयेऽह्नि वह्निकुम्भामरार्चनम् || २८

tato homaṃ prakurvīta kṛtvā kuṇḍāgni saṃskṛtim | samidbhiratha pālāśairghṛtena caruṇāpi ca || 27 tilairlājaiśca sasyendrairmūrtīśādyaṇubhiryutam | pūrṇāṃ hutvā dvitīye'hni vahnikumbhāmarārcanam || 28

Then, having performed the essential sacramental deeds, he should do the fire-ritual. He should offer oblations with the faggots got from palāśa and other trees, clarified-butter, cooked rice, sesame, parched paddy, white mustard and others with the accompaniment of the mantras pertaining to Mūritīśvaras and other Deities. In the second day also he should perform the fire-ritual up to the offering of consummate oblation(pūrṇāhuti), preceded by the worship of fire, kumbhas and Hara and Hari.

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29-32

सम्प्राप्त दक्षिणस्तुष्टो गुरुस्संपूजितस्सह | मूर्तिपाद्यैर्यथायोग्यं मन्त्रन्यासं समारभेत् || २९ देवेशाग्रे घटान्न्यस्त्वा संकल्प्य स्थण्डिलं गुरुः | कुम्भाद्बीजं समादाय शरभेश हृदिन्यसेत् || ३० विष्णुबीजं समादाय नरसिंह हृदिन्यसेत् | अन्येभ्यो बीजामादाय पीठाब्जे परितो न्यसेत् || ३१ तत्तत्कुम्भोदकैश्चैव स्नापयएत्परमेश्वरम् | स्नपनं कारयित्वा तु नैवेद्यं चोत्सवं न्यसेत् || ३२

samprāpta dakṣiṇastuṣṭo gurussaṃpūjitassaha | mūrtipādyairyathāyogyaṃ mantranyāsaṃ samārabhet || 29 deveśāgre ghaṭānnyastvā saṃkalpya sthaṇḍilaṃ guruḥ | kumbhādbījaṃ samādāya śarabheśa hṛdinyaset || 30 viṣṇubījaṃ samādāya narasiṃha hṛdinyaset | anyebhyo bījāmādāya pīṭhābje parito nyaset || 31 tattatkumbhodakaiścaiva snāpayaetparameśvaram | snapanaṃ kārayitvā tu naivedyaṃ cotsavaṃ nyaset || 32

The Guru, having obtained the sacrificial fees and having been duly honored and being with delighted heart, should perform ‘mantra nyāsa’ and other deeds along with the assisting priests. Then, having designed a sthaṇḍila in front of the installed image, he should place the kumbhas and kalasas in due order. Having withdrawn the seed-letters and mantra from the kumbha, he should unite them with the heart of Śarabhēśa and having collected the seed-letter and the mantra from the Viṣṇu kumbha, he should unite them with the heart of Viṣṇu. Having collected the mantras from other kalasas, he should unite them with the lotus-like pedestal around. Then he should perform the ceremonial bath to Paramēśvara with the consecrated water of the concerned kumbhas and kalasas. He should, then, perform ‘snapana abhshēka’ , offer the ‘naivēdya’ and conduct the festival related to the installation.

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33-35

एवं देवं प्रतिष्ठाप्य प्रत्यहं तं समर्चयेत् | अर्चनं प्राग्वदेवस्यात् किं तु मन्त्रैस्तु शारभैः || ३३ स्नपनोत्सव कर्माद्यं तदर्थं विधिनाचरेत् | देशिकश्चास्य मन्त्रैस्तान् नाशयेच्छत्रु वर्गिणः || ३४ सर्वव्याधि समुत्पत्तौ मन्त्रेणानेन नाशयेत् | वश्याकर्षण विद्वेषमनेनविधिना नयेत् || ३५

evaṃ devaṃ pratiṣṭhāpya pratyahaṃ taṃ samarcayet | arcanaṃ prāgvadevasyāt kiṃ tu mantraistu śārabhaiḥ || 33 snapanotsava karmādyaṃ tadarthaṃ vidhinācaret | deśikaścāsya mantraistān nāśayecchatru vargiṇaḥ || 34 sarvavyādhi samutpattau mantreṇānena nāśayet | vaśyākarṣaṇa vidveṣamanenavidhinā nayet || 35

Having installed Śarabhēśvara in this way, the Guru should systematically worship Him daily. The worship should be done with the accomapaniment of the mantras pertaining to Śarabhēśa. Snapana, festival and such other deeds should be performed for Śarabhēśa according to the prescribed directions. With such worship and with such mantras related to Śarabhēśa, the Guru could subdue the groups of enemies; could ward off the diseases which have occurred there and which are affecting the people. He could cause vaśya(controlling), ākarṣaṇa(summoning the desired object or person to one’s own place), vidvēṣaṇa(hatred) and such other effects to occur with such woship and mantras.

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36-38

अनुक्तानत्र संग्राह्यं सामान्यस्थापनोक्तवत् | कुर्यादेवं स्थापनं तु यो नरश्शरभेश्वरे || ३६ भक्त्या भावनया सार्धं तस्यैवं कलयेद् द्विजाः | इयत्त पुण्यसंघस्य भोगान् भुक्त्वेह जन्मनि || ३७ वाञ्चितांस्तान् परत्रापि प्राप्नोति पदमैश्वरम् || ३८

anuktānatra saṃgrāhyaṃ sāmānyasthāpanoktavat | kuryādevaṃ sthāpanaṃ tu yo naraśśarabheśvare || 36 bhaktyā bhāvanayā sārdhaṃ tasyaivaṃ kalayed dvijāḥ | iyatta puṇyasaṃghasya bhogān bhuktveha janmani || 37 vāñcitāṃstān paratrāpi prāpnoti padamaiśvaram || 38

Those rituals which are not told here are common to the process of installation and they are to be done according to directions given in the chapter dealing with installation. O, the twice-born sages!, the devotee who takes necessary steps for the installation of Śarabhēśvra and installs His image in this way with devotion and consciouness of the rituals, would reap abundant merits. Having enjoyed the fruits of accumulated meritorious deeds earned by him with such installation and having enjoyed all the worldly pleasures desired by him in this very birth, he would reach the exalted world of Paramēśvara.

61 Directions for the Installation of Caṇḍeśa Anugraha Mūrti, Nandikeśvara Anugraha Mūrti and Viṣṇu Anugraha Mūrti

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1-3

अथ चण्डेश नन्दीश विष्ण्वनुग्रकृत्प्रभोः | प्रतिष्ठां संप्रवक्ष्यामि तल्लक्षण पुरस्सरम् || १ उमया सहितस्याथ चन्द्रशेखरमूर्तिनः | वामे वा दक्षिणे वापि कारयेद्देशिकोत्तमः || २ एवं जानूरु नाभ्यन्तस्तनवक्षोगळास्यगम् | सुखासीनं स्थितं वापि कृताञ्जलिपुटान्वितम् || ३

atha caṇḍeśa nandīśa viṣṇvanugrakṛtprabhoḥ | pratiṣṭhāṃ saṃpravakṣyāmi tallakṣaṇa purassaram || 1 umayā sahitasyātha candraśekharamūrtinaḥ | vāme vā dakṣiṇe vāpi kārayeddeśikottamaḥ || 2 evaṃ jānūru nābhyantastanavakṣogaḷāsyagam | sukhāsīnaṃ sthitaṃ vāpi kṛtāñjalipuṭānvitam || 3

Then, I will speak on the directions for the installation of three Anugraha Mūrtis(manifestation of grace-bestowing form which appeared for Caṇḍeśa, Nandi and Viṣṇu) of Lord Śiva along with the prescribed lineaments. Either Umāmaheśara Mūrti or Candraśekhara Mūrti may be taken as model for depicting the form of Caṇḍeśa Anugraha Mūrti. The image of Caṇḍeśa may be formed either to the left or right side of this Mūrti. The foremost Guru should design the image of Caṇḍesa in such a way that its height is up to the knee, thigh, navel, breast or chest, neck or face of Śiva. It may be designed to be in the seated or standing posture, with the hands folded and palms joined together expressing obeisance.

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4-5

देवेक्षण समोपेतं मद्भक्तं चण्डनायकम् | सर्वाङ्गसुन्दरं कुर्यात् कनिष्ठदशतालतः || ४ मालाग्रं देववरदे कटकेनेतरेण तु | देवश्शिरसि चण्डस्य मालया परिवेष्टयेत् || ५

devekṣaṇa samopetaṃ madbhaktaṃ caṇḍanāyakam | sarvāṅgasundaraṃ kuryāt kaniṣṭhadaśatālataḥ || 4 mālāgraṃ devavarade kaṭakenetareṇa tu | devaśśirasi caṇḍasya mālayā pariveṣṭayet || 5

The eyes of Caṇḍa nāyaka who is my chosen devotee should be formed in such a way that they are looking at the face of the Lord. All limbs of the form of Caṇḍeśa should be designed to be beautiful and charmimg, applying the proportionate system of kaniṣṭha daśatāla(the inferior ten-digit system). One end of the garland should be in the Lord’s left hand holding the varada mudrā. His right hand holding the kaṭaka mudrā should be keeping the garland and wounding it around the head of Canḍeśa.

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6-8

नन्दीश्वर प्रसादे तु विशेषः किञ्चिदिष्यते | द्विनेत्रं द्विभुजं शान्तं कृताञ्जलिपुटान्वितम् || ६ सुविकीर्ण जटोपेतं जटामकुटकान्वितम् | आभङ्ग सहितं कुर्यादागमश्रवणोन्मुखम् || ७ नन्दीश्वरं प्रसन्नं तं कारयेत्पूर्वमानतः | नन्दीशानुग्रहस्त्वेवं तद्वद्विष्णु प्रसादकृत् || ८

nandīśvara prasāde tu viśeṣaḥ kiñcidiṣyate | dvinetraṃ dvibhujaṃ śāntaṃ kṛtāñjalipuṭānvitam || 6 suvikīrṇa jaṭopetaṃ jaṭāmakuṭakānvitam | ābhaṅga sahitaṃ kuryādāgamaśravaṇonmukham || 7 nandīśvaraṃ prasannaṃ taṃ kārayetpūrvamānataḥ | nandīśānugrahastvevaṃ tadvadviṣṇu prasādakṛt || 8

With regard to Nandīśānugraha Mūrti, there are some specific details. The form of Nandi should be shown to be in a state of composure, as having two eyes and two arms, as having his palms folded and joined together expressing obeisance, associated with well-stretched matted hair and the jaṭa-crown. He shoud be shown as intent on listening to the instructions given by Lord Śiva on the Āgamas. The form of Nandīśvra who is in delighted state should be in ābhaṅga-posture and it should be designed applying the system of kaniṣṭha daśatāla. The form of NandIśvara Anugrahamūrti should be depicted in this way. In the same way, the form of Viṣṇu Anugraha Mūrti should be designed.

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9-10

हित्वा नन्दीश्वरं तस्मिन् विष्णुम् तल्लक्षणान्वितम् | सचक्राञ्जलिहस्तं च शङ्खाब्जापरहस्तकम् || ९ कारयेद्देव एष स्याच्चक्रदो विष्णुमूर्तिनः | कारयेदेवमेवान्य प्रसादाभिमुखं शिवम् || १० इत्थं लक्षणमादिष्टं प्रतिष्ठा विधिरुच्यते

hitvā nandīśvaraṃ tasmin viṣṇum tallakṣaṇānvitam | sacakrāñjalihastaṃ ca śaṅkhābjāparahastakam || 9 kārayeddeva eṣa syāccakrado viṣṇumūrtinaḥ | kārayedevamevānya prasādābhimukhaṃ śivam || 10 itthaṃ lakṣaṇamādiṣṭaṃ pratiṣṭhā vidhirucyate

Having taken out the form of Nandīśvra, the Guru should design the form of Viṣṇu in that place. He should design the form of Viṣṇu so as to be associated with the prescribed lineaments. Viṣṇu should be shown as holding the wheel-weapon in the lower two hands kept in ‘añjali mudra’ and as holding the counch and lotus in his upper hands. The form of Śiva should be shown as presenting the wheel- weapon to Viṣṇu. Even in other forms of Śiva known for the bestowal of grace, the Deity who has has been blessed by Śiva should be shown as turned towards the Lord. In this way, the specific features of various forms of Anugraha Mūrti have been detailed. Now, the directions for the installation are told.

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11-13

वाराद्यं अङ्कुरं रत्न विन्यासमुभयत्र च || ११ नेत्रमोक्षं तथा शुद्धिं पुरादीनां प्रदक्षिणम् | तोयाधिवासनं यागमण्टपस्य प्रकल्पनम् || १२ कुण्डानां अथ वृत्ताश्र दिगश्राणां तु कल्पनम् | नवपञ्चैक संख्यानां लक्षणैः पूर्ववद्द्विजाः || १३

vārādyaṃ aṅkuraṃ ratna vinyāsamubhayatra ca || 11 netramokṣaṃ tathā śuddhiṃ purādīnāṃ pradakṣiṇam | toyādhivāsanaṃ yāgamaṇṭapasya prakalpanam || 12 kuṇḍānāṃ atha vṛttāśra digaśrāṇāṃ tu kalpanam | navapañcaika saṃkhyānāṃ lakṣaṇaiḥ pūrvavaddvijāḥ || 13

Fixing the auspicious day and time, offering of fresh sprouts, fixing the gems on the two forms(Śiva and Caṇḍeśa or Śiva and Nandi or Śiva and Viṣṇu), releasing the look of the eyes, purification of images, procession around the village and other important places, keepimg the images immersed in the water, construction of sacrificial pavilion, construction of fire-pits to be in various shapes such as square, circular and angular applicable to each direction – all these are to be performed according to the directions given earlier and according to the prescribed lineaments. O, the twice-born sages!, the number of fire-pits may be nine, five or one.

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14-17

तक्षकोद्वासनं विप्रभुक्तिं पुण्योदसेचनम् | वास्तुहोमं तु वेद्यां तु स्थण्डिलं शयनं पृथक् || १४ स्नपनं कौतुकं चैव देवानां पूर्ववत् पृथक् | आरोहणं च शय्यायास्तस्यां च शयनं नयेत् || १५ देवास्त्वनुग्रहीता ये भिन्नपीठस्थिता यदि | देवेश पादमूले तु तेषां च शयनं नयेत् || १६ देवोत्तमाङ्गदेशे तु शिवकुम्भं च वर्धनीम् | अनुग्रहीत देवानां तत्तन्मूर्त्यष्टकं मतम् || १७ तत्तदध्यायसंसिद्धं संग्राह्यं मुनिपुङ्गवाः

takṣakodvāsanaṃ viprabhuktiṃ puṇyodasecanam | vāstuhomaṃ tu vedyāṃ tu sthaṇḍilaṃ śayanaṃ pṛthak || 14 snapanaṃ kautukaṃ caiva devānāṃ pūrvavat pṛthak | ārohaṇaṃ ca śayyāyāstasyāṃ ca śayanaṃ nayet || 15 devāstvanugrahītā ye bhinnapīṭhasthitā yadi | deveśa pādamūle tu teṣāṃ ca śayanaṃ nayet || 16 devottamāṅgadeśe tu śivakumbhaṃ ca vardhanīm | anugrahīta devānāṃ tattanmūrtyaṣṭakaṃ matam || 17 tattadadhyāyasaṃsiddhaṃ saṃgrāhyaṃ munipuṅgavāḥ

Sending off the sthapati with due honors, feeding of the learned brahmins, sprinkling of the sacred water, vāstu-pūja, vāstu-hōma, designing of sthaṇḍila on the altar, preparation of separate couches, snapana, tying up the protective thread – all these should be done in the manner explained earlier. Sthaṇḍila, couches, snapana and kautuka bandhana(offering of protective thread) should be done separately for the Lord and the Deity. Then, the Guru should place the images on the couch to be in recumbent posture. If separate pedestals have been made for the Lord who bestowed His grace and the Deity who had been blessed, the Guru should place the Deity on the couch to be in recumbent posture,at the feet of the Lord. He should place the śiva-kumbha and vardhani near the head of the image of Śiva. Eight kalasas should be arrayed around the śiva-kumbha and vardhani for the eight Vidyeśvaras pertaining to the concerned Deity. O, the foremost sages!, the names of eight Vidyeśvaras of Caṇḍeśa, Nandi and Viṣṇu could be known from the chapters dealing with the characteristics of these Deities.

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18-20

कृत्वा कुण्डाग्नि संस्कारं द्रव्यैर्होमं समारभेत् || १८ समिदाज्यान्नलाजैश्च तिलशाल्यक्षतैः क्रमात् | सत्पलाशवटप्लक्षोदुम्बरं पूर्वतो भवेत् || १९ शमीखदिरश्रीवृक्षा अश्वत्थो वह्निकोणतः | प्रधानस्य पलाशस्स्यात् स च सर्वत्र वा मतः || २०

kṛtvā kuṇḍāgni saṃskāraṃ dravyairhomaṃ samārabhet || 18 samidājyānnalājaiśca tilaśālyakṣataiḥ kramāt | satpalāśavaṭaplakṣodumbaraṃ pūrvato bhavet || 19 śamīkhadiraśrīvṛkṣā aśvattho vahnikoṇataḥ | pradhānasya palāśassyāt sa ca sarvatra vā mataḥ || 20

Having done all the sacramental deeds for the fire-pits and the fire, the Guru should commence the fire-ritual. He should offer the oblations with faggots, clarified-butter, cooked-rice, parched paddy, sesame and unbroken rice-grains according to the settled order. The faggots got from the palāśa, vaṭa, plaksha and udumbara are to be offered in the fire-pits of east, south, west and north respectively. The faggots got from śamī, khadira, śrīvruksha and aśvattha are to be offered in the fire-pits in the south-east, south-west, north-west and north-east respetively. The faggots of palāśa tree should be offered in the main fire-pit. Or, these may be offered in all the fire-pits.

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21-22

चण्डनन्दीशविष्णूंश्च प्रधाने तर्पयेद्गुरुः | निष्कृतो पूर्णयोपेतं होमकर्म पृथङ्नयेत् || २१ द्वितीये तु ततश्शुद्धो मूर्तिपैस्तत्त्वविद्गुरुः | संपूज्योद्धृत्य देवांस्तु कुम्भान् कुण्डेषु पावकान् || २२ सुमुहूर्तेऽथ संप्राप्ते मन्त्रन्यासं समाचरेत्

caṇḍanandīśaviṣṇūṃśca pradhāne tarpayedguruḥ | niṣkṛto pūrṇayopetaṃ homakarma pṛthaṅnayet || 21 dvitīye tu tataśśuddho mūrtipaistattvavidguruḥ | saṃpūjyoddhṛtya devāṃstu kumbhān kuṇḍeṣu pāvakān || 22 sumuhūrte'tha saṃprāpte mantranyāsaṃ samācaret

The Guru should offer the oblations in the main fire-pit itself for Caṇḍeśa, Nandi and Viṣṇu to make them delighted. Once the fire-ritual is completed with the offering of consummate oblation, the Guru should perform the fire-ritual in the same way on the second day also. Then, the Guru who has known well the tattvas, should purify himself with bath and nyāsa and worship the Lord, Deity, kumbhas and the fire, being assisted by the officiating priests. Having lifted the bimbas from the couch and worshipped the kalasas and the fire kindled in the fire-pits, he should begin to perform the mantra-nyāsa for the images to be installed, exactly at the onset of auspicious time.

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23-25

वस्त्रहेमाङ्गुलीयादि पूजितो मूर्तिपादिभिः || २३ संप्राप्त दशनिष्कादि दक्षिणस्तुष्टधीर्गुरुः | कृतस्थण्डिलकाधारान् बिम्बाग्रे तु घटान्न्यसेत् || २४ कुम्भान्मनुं समादाय शिवस्य हृदि विन्यसेत् | वर्धन्या मनुमादाय तत्पीठोपरि विन्यसेत् || २५

vastrahemāṅgulīyādi pūjito mūrtipādibhiḥ || 23 saṃprāpta daśaniṣkādi dakṣiṇastuṣṭadhīrguruḥ | kṛtasthaṇḍilakādhārān bimbāgre tu ghaṭānnyaset || 24 kumbhānmanuṃ samādāya śivasya hṛdi vinyaset | vardhanyā manumādāya tatpīṭhopari vinyaset || 25

Then the chief sponsor of the event should honor the Āchārya and the assisting priests by presenting to them new clothes, gold ring and other valuable things. Having obtained sufficient sacrificial fees and being in delighted state, the Guru should lift up the kalasas and place them in an orderly way on the sthaṇḍila designed in front of the installed image. Having collected the mantra and the seeds from the kumbha, he should fix them on the heart of the image. Having collected the mantra from the vardhani- kalasa, he should unite it with the pedestal.

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26-29

देवी सहासना चेत्तु तस्या हृदि मनुं न्यसेत् | अन्येभ्यो बीजमादाय पीठस्य परितो न्यसेत् || २६ चण्डेशादिषु देवेषु तत्तत्कुम्भान्मनुं न्यसेत् | तत्तद्घटोदकैस्तत्तद् देवमप्यभिषेचयेत् || २७ स्नपनं चोत्सवं भूरि नैवेद्यं कारयेन्न वा | देवी विभिन्न पीठा चेत् कल्याणं कारयेद्गुरुः || २८ एवं यः कुरुते मर्त्यः सोऽन्ते मोक्षमवाप्नुयात् || २९

devī sahāsanā cettu tasyā hṛdi manuṃ nyaset | anyebhyo bījamādāya pīṭhasya parito nyaset || 26 caṇḍeśādiṣu deveṣu tattatkumbhānmanuṃ nyaset | tattadghaṭodakaistattad devamapyabhiṣecayet || 27 snapanaṃ cotsavaṃ bhūri naivedyaṃ kārayenna vā | devī vibhinna pīṭhā cet kalyāṇaṃ kārayedguruḥ || 28 evaṃ yaḥ kurute martyaḥ so'nte mokṣamavāpnuyāt || 29

If Devi is installed in the same pedestal of Śiva, the Guru should unify the mantra collected from the vardhani with the heart of Devi. Having collected the mantras and seeds from the eight kalasas, he should unite them around the pedestal, in all the eight directions. The Guru should collect the mantra from the kalasa pertaining to Caṇḍeśa and other Mūrtis and unite it with the concerned Deity. He should perform the ceremonial bath to the Lord and to the concerned Deity with the consecrated water contained in the kumbha and kalasas pertaining to each of them. After the completion of installation, the Guru should perform the snapana-abhisheka and the concerned festival and offer the ‘naivedya’ in abundant measure. Or, these may be left out. If Devi is installed in a separate pedestal, then, the Guru should perform the ‘marriage-festival’ to Śiva and Devi, in the evening. The devotee who arranges for such installation would attain final liberation at the end of his worldly life.

62 Directions for the Installation of Bhakta Anugraha Mūrti

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1-3

भक्तानुग्रह देवस्य तल्लक्षणपुरस्सरम् | स्थापनं संप्रवक्ष्यामि श्रूयतां द्विजसत्तमाः || १ सदाशिवादयो देवाः प्रागेव प्रतिपादिताः | त एवानुग्रहपरा भक्तानुग्राहका मताः || २ देवदानव गन्धर्व मुनयो मनुजादयः | पिपीलिकाद्या गजान्ता जङ्गमाः स्थावराश्च ये || ३ तेऽनुग्राह्याः स्मृताश्शास्त्रे ऽनुग्रहो बहुधा मतः |

bhaktānugraha devasya tallakṣaṇapurassaram | sthāpanaṃ saṃpravakṣyāmi śrūyatāṃ dvijasattamāḥ || 1 sadāśivādayo devāḥ prāgeva pratipāditāḥ | ta evānugrahaparā bhaktānugrāhakā matāḥ || 2 devadānava gandharva munayo manujādayaḥ | pipīlikādyā gajāntā jaṅgamāḥ sthāvarāśca ye || 3 te'nugrāhyāḥ smṛtāśśāstre 'nugraho bahudhā mataḥ |

Consequently, I will speak on the directions for the installation of Bhakta Anugraha Mūrti(the manifestation of the Lord in a particular form to bestow grace upon a devotee) along with the characteristic features of such form. O, the foremost twice-born sages!, listen to these instructions. Various Lords(forms of Śiva) such as Sadāśiva and others about whom much details have been given earlier are always motivated towards bestowing grace upon the devotees and they are considered as Bhakta Anugraha Mūrtis. Devas, dānavas, gandharvas, munis, human beings and other embodied souls, small-sized beings such as ants and others and big-sized beings such as elephants are called ‘jaṅgamas’ (moving beings). Trees, plants, mountains and such others are called ‘sthāvaras’(fixed ones; non-moving existents). In this Scripture it is held that the jaṅgama-beings and the sthāvara-beings are the embodied souls which deserve to receive grace from the Lords. The bestowal of grace happens in manifold ways.

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4-6

दीक्षाव्याख्यान संस्पर्शावलोकोक्तिमुखो द्विजाः || ४ शिवाधिष्ठित देहस्तु मरणं याति यो नरः | स नरः शिव एव स्यात् सर्वपाप बहिष्कृतः || ५ तस्मादुत्क्रान्ति काले तु स्वेष्टलिङ्गं तु संस्पृशन् | प्राणमोक्षं च कुर्याद्यः स शिवो नात्र संश्यः || ६

dīkṣāvyākhyāna saṃsparśāvalokoktimukho dvijāḥ || 4 śivādhiṣṭhita dehastu maraṇaṃ yāti yo naraḥ | sa naraḥ śiva eva syāt sarvapāpa bahiṣkṛtaḥ || 5 tasmādutkrānti kāle tu sveṣṭaliṅgaṃ tu saṃspṛśan | prāṇamokṣaṃ ca kuryādyaḥ sa śivo nātra saṃśyaḥ || 6

O, the twice-born sages!, a devotee who has attained a pure body through various initiations such as scriptural explanation(śāstra vyākhyāna), powerful touch(sparśa), look charged with the fire of knowledge(avalōkana), instruction(ukti) and others and whose body has become a fitting seat for Śiva is rightly considered as Lord Śiva Himself, since he has been disentangled from all sorts of kārmic effects. A devotee who breaths his last touching the image of his chosen Deity at the final stage of his life when his soul is about to leave the body is verily Lord Śiva Himself. There is no doubt in this regard.

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7-9

सुसंस्पृष्टोक्त गोत्रादि देहं कृत्वा तु साकृतिम् | आसीनं वा स्थितं वापि शयितां शुभलक्षणाम् || ७ कृताञ्जलिपुटोपेतां प्रतिमां लोहपूर्वकैः | द्रव्यैस्सदाशिवाद्यां तु कृत्वा संस्थापयेत्सुधीः || ८ तत्पीठानथ तद्देवाकृतिं कुर्याद् गुरुस्सुधीः | भक्तानुग्रह देवस्य लक्षणं त्वेवं ईरितम् || ९

susaṃspṛṣṭokta gotrādi dehaṃ kṛtvā tu sākṛtim | āsīnaṃ vā sthitaṃ vāpi śayitāṃ śubhalakṣaṇām || 7 kṛtāñjalipuṭopetāṃ pratimāṃ lohapūrvakaiḥ | dravyaissadāśivādyāṃ tu kṛtvā saṃsthāpayetsudhīḥ || 8 tatpīṭhānatha taddevākṛtiṃ kuryād gurussudhīḥ | bhaktānugraha devasya lakṣaṇaṃ tvevaṃ īritam || 9

The form characterized by gotra and such other factors of the departed devotee should be perfectly made so as to be associated with all features of a body. The form should be rendered to appear with auspicious lineaments; it may be designed so as to be in seated posture, standing posture or recumbent posture. The two hands of the image should be shown as folded and joined together to express obeisance. Having designed the form of the devotee with metal, stone or other materials and having made the images of Sadāśiva and other Lords with recommended materials, the learned Guru should perform the installation. The well-informed Guru should design a fitting pedestal for the image of the devotee to be like the pedestal of Sadāśiva and other Lords. Thus, the lineaments of Bhakta Anugraka Mūrti have been told.

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10-12

संस्थापनं अथो वक्ष्ये श्रूयतां द्विजसत्तमाः | कालः प्राग्वत्समुद्दिष्टस्तथैवाङ्कुरकर्म च || १० रत्नन्यासं तथैवाक्षिमोक्षणं बेरशोधनम् | ग्रामप्रदक्षिणं वारिमध्यमे त्वधिवासनम् || ११ प्रतिष्ठा मण्टपाख्यं यत् पूर्वोक्त विधिनाचरेत् | कुण्डानि कारयेत्तत्र नवपञ्चैकसंख्यया || १२ चतुरश्राणि कार्याणि प्रधानं वृत्तमेव वा

saṃsthāpanaṃ atho vakṣye śrūyatāṃ dvijasattamāḥ | kālaḥ prāgvatsamuddiṣṭastathaivāṅkurakarma ca || 10 ratnanyāsaṃ tathaivākṣimokṣaṇaṃ beraśodhanam | grāmapradakṣiṇaṃ vārimadhyame tvadhivāsanam || 11 pratiṣṭhā maṇṭapākhyaṃ yat pūrvokta vidhinācaret | kuṇḍāni kārayettatra navapañcaikasaṃkhyayā || 12 caturaśrāṇi kāryāṇi pradhānaṃ vṛttameva vā

O, the good-souled sages!, now I will explain the details of installation. Listen to these instructions. As done before, the auspicious time should be ascertained first. This is to be followed by the offering of fresh sprouts. Fixing of the gems, opening of the eyes, purification of the image, procession around the village, keeping the image immersed in water, construction of sacrificial pavilion meant for installation – all such rituals shuld be done according to the directions given before. Fire-pits should be constructed in the pavilion, their number being nine, five or one. The fire-pits should be square in shape. The principal fire-pit should be in circular shape only.

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13-15

तक्षकोद्वासनं विप्रभुक्तिं पुण्योदसेचनम् || १३ स्थण्डिलं स्नपनं शय्यां तद्वत् कौतुक बन्धनम् | शयनारोहणं कुम्भस्थापनं पूर्ववन्नयेत् || १४ तत्पादे भक्तकुम्भं तु तत्तद्ध्यान समन्वितम् | आत्ममन्त्र समोपेतं विद्येश्वर घटावृतम् || १५ तद्वन्मूर्त्यादि विन्यासं प्रागुक्त विधिना नयेत्

takṣakodvāsanaṃ viprabhuktiṃ puṇyodasecanam || 13 sthaṇḍilaṃ snapanaṃ śayyāṃ tadvat kautuka bandhanam | śayanārohaṇaṃ kumbhasthāpanaṃ pūrvavannayet || 14 tatpāde bhaktakumbhaṃ tu tattaddhyāna samanvitam | ātmamantra samopetaṃ vidyeśvara ghaṭāvṛtam || 15 tadvanmūrtyādi vinyāsaṃ prāgukta vidhinā nayet

Sending off the sthapati with due honors, feeding the learned brahmins, sprinkling the sacred water over the interior of the pavilion, sthaṇḍilam, snapanam, preparation of couch, tying up the protective thread, placing the image to be in recumbent posture on the couch, arrangement of the kalasas – all such deeds should be performed as done earlier. The kumbha meant for the devotee should be placed near the feet of Lord’s image with the accompaniment of the recital of ‘meditation-verse’ composed on the devotee and with the recital of ‘ātma-mantra’ pertaining to him. Eight kalasas meant for the Vidyeśvaras of the devotees should be arrayed around the bhakta-kumbha. The nyāsa of mūrti and others should be done according to the directions detailed earlier.

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16-18

अग्निकुण्डादि संस्कारं कृत्वा होमं समाचरेत् || १६ समिदाज्यान्नलाजैश्च तिलैर्वेणुयवैर्द्विजाः | पलाशोदुम्बराश्वत्थन्यक्रोधाः प्राग्दिगादितः || १७ शम्यपामार्ग श्रीवृक्षप्लक्षाश्चाग्नेय गोचराः | प्रधाने तु पलाशस्स्यात् स च सर्वत्र वा मतः || १८

agnikuṇḍādi saṃskāraṃ kṛtvā homaṃ samācaret || 16 samidājyānnalājaiśca tilairveṇuyavairdvijāḥ | palāśodumbarāśvatthanyakrodhāḥ prāgdigāditaḥ || 17 śamyapāmārga śrīvṛkṣaplakṣāścāgneya gocarāḥ | pradhāne tu palāśassyāt sa ca sarvatra vā mataḥ || 18

Having performed the sacramental activities for the fire-pits, the Guru should commence the fire-ritual. O, the twice-born sages!, oblations should be made with the faggots, clarified-butter, cooked rice, parched paddy, sesame, bamboo-rice and barley grains. The faggots got from the palāśa, udumbara, aśvattha and nyakrodha trees should be used for the fire-pits in the east, south, west and north respectively; faggots got from śamī, apāmārga, śrīvruksha and plaksha trees should be used for the fire-pits in the south-east, south-west, north-west and north-east. The faggots of palāśa tree should be used for the pricipal fire-pit. Or, these may be used for all the fire-pits.

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19-20

ततो द्वितीयदिवसे कृतकुम्भाग्नि पूजनः | पूजितो वस्त्रहेमाद्यैर्मूर्तिपाद्यैस्समन्वितः || १९ संप्राप्त दशनिष्कादि दक्षिणस्तुष्टधीर्गुरुः | मन्त्रन्यासं ततः कुर्यान्न्यस्त्वा बिम्बपुरो घटान् || २०

tato dvitīyadivase kṛtakumbhāgni pūjanaḥ | pūjito vastrahemādyairmūrtipādyaissamanvitaḥ || 19 saṃprāpta daśaniṣkādi dakṣiṇastuṣṭadhīrguruḥ | mantranyāsaṃ tataḥ kuryānnyastvā bimbapuro ghaṭān || 20

Then, on the second day, the Guru should worship the kumbhas and the fire kindled in the fire-pit. The ‘yajamāna’ should honor the chief-priest and the assisting priests by offering new clothes, gold-ring and such other valuable things. Having obtained the sacrificial fees sufficiently from him, the Guru, being with delighted heart and content mind, should perform ‘mantra-nyāsa’ for the image and place the kumbhas and kalasas in front of the installed image.

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21-23

कुम्भान्मन्त्रं समादाय देवस्य हृदये न्यसेत् | देव्या देवस्समायुक्तो यदि देवीमनुं गुरुः || २१ विन्यसेद्धृदये देव्या नो चेत् पीठे तु विन्यसेत् | ततः कुम्भजलेनाथ तौ च संस्नापयेद् द्विजाः || २२ भक्तकुम्भस्थ बीजं तु तद्भक्त हृदये न्यसेत् | आदाय बीजान्यन्येभ्यः पीठस्य परितो न्यसेत् || २३ तत्कुम्भस्थ जलेनापि स्नापयेत्पीठमादरात् |

kumbhānmantraṃ samādāya devasya hṛdaye nyaset | devyā devassamāyukto yadi devīmanuṃ guruḥ || 21 vinyaseddhṛdaye devyā no cet pīṭhe tu vinyaset | tataḥ kumbhajalenātha tau ca saṃsnāpayed dvijāḥ || 22 bhaktakumbhastha bījaṃ tu tadbhakta hṛdaye nyaset | ādāya bījānyanyebhyaḥ pīṭhasya parito nyaset || 23 tatkumbhastha jalenāpi snāpayetpīṭhamādarāt |

Having collected the mantra and the seeds from the śiva-kumbha, the Guru should place them over the heart of Lord’s image and if Devī is installed in the same pedestal along with the Lord, he should place the mantra collected from the vardhani-kalasa over the heart of Devi’s image. If Devī is not installed on the pedestal, he should unite this mantra with the pedestal. O, the twice-born sages!, the Guru should then perform the ceremonial bath to the Lord and Devī with the consecrated water contained in the śiva-kumbha and vardhani-kalasa. In the same way, he should collect the mantra from the bhakta-kumbha and unite it with the heart of the image of the devotee; collect the mantras from the eight kalasas and place them around the pedestal of that image. He should perform the ceremonial bath with reverence and love to the Devotee with the consecrated water contained in the kumbha of the devotee and to the pedestal with the consecrated water contained in the eight kalasas.

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24-26

स्नपनं कारयेदन्ते नैवेद्यं दापयेत्ततः || २४ उत्सवं तु तदन्ते स्यादेतत् सामान्यमीरितम् | विशेषस्त्रिपुरघ्नादि प्रतिष्ठा विधिचोदितः || २५ तथा भक्तप्रतिष्ठोक्त विधिना च समन्वितः | एवं यः कुरुते मर्त्यस्स पुण्यां गतिमाप्नुयात् || २६

snapanaṃ kārayedante naivedyaṃ dāpayettataḥ || 24 utsavaṃ tu tadante syādetat sāmānyamīritam | viśeṣastripuraghnādi pratiṣṭhā vidhicoditaḥ || 25 tathā bhaktapratiṣṭhokta vidhinā ca samanvitaḥ | evaṃ yaḥ kurute martyassa puṇyāṃ gatimāpnuyāt || 26

Then at the end, the Guru should perform ‘snapana-abhisheka’, offer abundantly the naivedya and perform the concerned festival. These are the activities common for the installation of any image. There are some specific rituals and directions concerned with the installation and such rituals and directions have been told in the chapter dealing with the installation of Tripura Samhāra Mūrti and others and such rituals should be performed for the installation of Bhakta Anugraha Mūrti according to the given directions. A person who arranges for the installation of this Mūrti would be elevated to a higher plane of existence attainable through accumulated effects of meritorious deeds.

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27-29

पुत्रार्थी लभते पुत्रान् धनार्थी धनमाप्नुयात् | देवार्थी देवमाप्नोति मोक्षार्थी मोक्षमाप्नुयात् || २७ यान्यान् कामयते भोगांस्तान्सर्वानाप्नुयान् नरः | मृतमुद्दिश्य यः कुर्यात्तत्पुत्रः पौत्र एव वा || २८ जीवन्नेवाथवा कुर्यादात्मानं शिवसंज्ञितम् || २९

putrārthī labhate putrān dhanārthī dhanamāpnuyāt | devārthī devamāpnoti mokṣārthī mokṣamāpnuyāt || 27 yānyān kāmayate bhogāṃstānsarvānāpnuyān naraḥ | mṛtamuddiśya yaḥ kuryāttatputraḥ pautra eva vā || 28 jīvannevāthavā kuryādātmānaṃ śivasaṃjñitam || 29

The person who, being the son or grandson of a deceased devotee, arranges for the installation of Bhakta Anugraha Mūrti in the name of that deceased devotee would achieve his desired goal. He who wants a good descendent would be blessed with son/daughter; who desires for the abudant wealth would be blessed with wealth; who aspires for attaining a godly state would surely attain that exalted state; who wishes for the final liberation would be blessed with such liberated state. He would attain all those wordly enjoyments which he wanted to gain. An enlightened person who has realized that his soul is in oneness with Śiva could install this Murti for the sake of his own self even while he is alive.

63 Directions for the Installation of Kālāntaka Mūrti and Kāmaghna Mūrti

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1-3

वक्ष्ये कालारि कामघ्न प्रतिष्ठां लक्षणान्विताम् | चतुर्भुजस्त्रिणेत्रश्च कपर्द मकुटान्वितः || १ कुञ्चितासव्य पादस्तु व्याघ्रचर्माम्बरान्वितः | ततोद्धृत सदक्षाङ्घ्रिस्तीक्ष्णदंष्ट्रोग्रनासिकः || २ दक्षहस्तस्थ शूलो वा वामहस्तस्थ सूचिकः | दक्षहस्तस्थ परशुर्नागपाशोऽथ वामगः || ३

vakṣye kālāri kāmaghna pratiṣṭhāṃ lakṣaṇānvitām | caturbhujastriṇetraśca kaparda makuṭānvitaḥ || 1 kuñcitāsavya pādastu vyāghracarmāmbarānvitaḥ | tatoddhṛta sadakṣāṅghristīkṣṇadaṃṣṭrogranāsikaḥ || 2 dakṣahastastha śūlo vā vāmahastastha sūcikaḥ | dakṣahastastha paraśurnāgapāśo'tha vāmagaḥ || 3

Now I will speak on the process of installation of Kālāntaka Mūrti and Kāmaghna Mūrti along with the characteristic features of these two forms. Kālāntaka Mūrti should be shown as having four arms and three eyes, as adorned with the crown of matted hair, his left leg bent a little, attired with tiger-hide, his right leg raised up and bent, having sharp protruded teeth, and nose dilated with anger, as holding the trident in His lower right hand, holding the sūci-mudra(terrifying gesture) in His lower left hand, holding a hatchet in His upper right hand and holding the serpent-goad in His upper left hand.

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4-6

कटाक्षदृष्टिर्देवस्य कालदेवे व्यवस्थितः | शूलं ह्यधोमुखं प्रोक्तं कालकण्ठस्थमेव वा || ४ कालं तु पतितं कुर्यात्तं प्लुताक्षं तु मूर्चितम् | उद्गिरद्रक्तवस्त्रं च तथा लोहित मूर्धजम् || ५ शूलपाशकरं चैव विकीर्ण चरणान्वितम् | दंष्ट्राकराळ वदनं रक्तभ्रू रक्तलोचनम् || ६

kaṭākṣadṛṣṭirdevasya kāladeve vyavasthitaḥ | śūlaṃ hyadhomukhaṃ proktaṃ kālakaṇṭhasthameva vā || 4 kālaṃ tu patitaṃ kuryāttaṃ plutākṣaṃ tu mūrcitam | udgiradraktavastraṃ ca tathā lohita mūrdhajam || 5 śūlapāśakaraṃ caiva vikīrṇa caraṇānvitam | daṃṣṭrākarāḷa vadanaṃ raktabhrū raktalocanam || 6

The compassionate look of the Lord should be shown as falling on Yama, the God of Death and the trident should be shown as facing down or as touching the neck of Yama. The form of Kāladeva(Yama) should be shown as fallen down on the ground, as his eyes filled with tears and as swooned, his red garment falling down on his side and as having red and raised hair on his head. He should be shown as holding the trident and goad in his hands and as his feet stretched and kept apart, as his face appearing with protruding teeth, as having red brows and red eyes.

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7-11

देवस्य नाभिमानेन नवतालेन कारयेत् | कृताञ्जलिपुटं वापि कारयेत् कालमादरात् || ७ अथवाथ हराल्लिङ्गान्निर्गतात् पतितं नयेत् | कालान्तलिङ्गमानाद्यं लिङ्गोद्भूतोक्तवन्नयेत् || ८ त्रिभङ्गेन स्थितश्चान्योऽधोमुखो भस्मविग्रहः | बद्धपुष्पाञ्जलिः पार्श्वे मार्कण्डेयः स्थितो वरः || ९ कर्तव्यः कालतो भीतस्सन्तुष्टो नु हरेण तु | मार्कण्डेयोऽनुमानेन युक्तो वा वर्जितस्तु वा || १० अपस्मार शरीरस्थ चरणेन युतो न वा | कालारिरेवमाख्यातो मन्मथान्तक उच्यते || ११

devasya nābhimānena navatālena kārayet | kṛtāñjalipuṭaṃ vāpi kārayet kālamādarāt || 7 athavātha harālliṅgānnirgatāt patitaṃ nayet | kālāntaliṅgamānādyaṃ liṅgodbhūtoktavannayet || 8 tribhaṅgena sthitaścānyo'dhomukho bhasmavigrahaḥ | baddhapuṣpāñjaliḥ pārśve mārkaṇḍeyaḥ sthito varaḥ || 9 kartavyaḥ kālato bhītassantuṣṭo nu hareṇa tu | mārkaṇḍeyo'numānena yukto vā varjitastu vā || 10 apasmāra śarīrastha caraṇena yuto na vā | kālārirevamākhyāto manmathāntaka ucyate || 11

The image of Kāladeva should be with a height equalling the height between the feet and navel of the Lord and it should be designed according to the proportionate system of nava-tāla. This form may be designed in such a way that the hands of Yama are folded together to be in añjali-mudra. Or, the form of Yama may be shown as knocked down by the Lord coming out with a force from the Liṅga. The proportionate measures and other features of Kālāntaka and Liṅga are as told for the Liṅgodbhva Mūrti. Mārkaṇḍeya, the celebrated one, should be shown as standing in tribhaṅga-posture(form bent at three points) by the side of the Lord, as his face looking downwards, as besmeared with bhasma and as holding flowers in his hands held in añjali-mudra. He may be depicted as terrified by the appearance of Yama or as much delighted by the manifestation and grace of Śiva. The image of Mārkaṇḍeya may be designed there as mentally conceived by the sthapati or this image may be left out. The left foot of the Lord may or may not be shown as placed on the body of apasmāra. Thus, the features of Kālāntaka Mūrti have been told. Next, those of Manmathāntaka Mūrti are detailed.

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12-14

अग्रे तु दक्षिणामूर्तेर्योगनिष्ठस्य मन्मथम् | कुर्यात्तु पतितं दृष्टि पातादेव च तत्क्षणात् || १२ भक्त्वा दशांशं देवोच्चं एकाद्याः सप्तभागगाः | मन्मथोत्सेध उद्दिष्टः स तु हेमविभूषितः || १३ शुद्धजाम्बूनदप्रख्यः पुष्पपञ्चेषु संयुतः | मीनकेतुस्तथैवेक्षु कार्मुकाकृति संयुतः || १४

agre tu dakṣiṇāmūrteryoganiṣṭhasya manmatham | kuryāttu patitaṃ dṛṣṭi pātādeva ca tatkṣaṇāt || 12 bhaktvā daśāṃśaṃ devoccaṃ ekādyāḥ saptabhāgagāḥ | manmathotsedha uddiṣṭaḥ sa tu hemavibhūṣitaḥ || 13 śuddhajāmbūnadaprakhyaḥ puṣpapañceṣu saṃyutaḥ | mīnaketustathaivekṣu kārmukākṛti saṃyutaḥ || 14

The form of Manmatha should be shown as fallen down in front of Dakshiṇāmūrti who is in totally absorbed state attained through yoga and this form should be designed as thrown down at the very moment the look of the Lord fell on him. The total height of the Lord should be divided into ten equal parts and based on this division the height of Manmatha may be decided to be from one part out of ten parts up to seven parts out of ten parts. The form of Manmatha should be shown as adorned with gold ornaments; as being with the brilliance of exceedingly pure gold; as holding five flowery arrows sugarcane-bow and the fish-flag.

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15-16

देवभाग वसन्ताख्य मित्रयुक्तोऽतिसुन्दरः | लम्बिनी तापिनी चैव वेदिनी द्राविणी तथा || १५ मारिणी तु शराख्याः स्युर्धनुर्वामे शराः परे | मन्मथो मित्रयुक्तो वाऽयुतोवैक शरेण तु || १६ इत्थं लक्षणमाख्यातं प्रतिष्ठा विधिरुच्यते |

devabhāga vasantākhya mitrayukto'tisundaraḥ | lambinī tāpinī caiva vedinī drāviṇī tathā || 15 māriṇī tu śarākhyāḥ syurdhanurvāme śarāḥ pare | manmatho mitrayukto vā'yutovaika śareṇa tu || 16 itthaṃ lakṣaṇamākhyātaṃ pratiṣṭhā vidhirucyate |

Vasanta who is the companion of Manmatha and who is with excelling beauty should be shown as standing by the side of the Lord. The five flowery arrows of Manmatha are: lambinī, tāpinī, vedinī, drāviṇī and māriṇī. These are in the right hand of Manmatha and the sugarcane-bow is in his left hand. Manmatha may be shown as associated or not associated with Vasanta; may be shown as holding only one arrow. Thus, the lineaments of Manmathāntaka Mūrti have been told. Next, the directions for the installation are told.

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17-19

वाराद्यं अङ्कुरं यागमण्टपं पूर्ववन्नयेत् || १७ कुण्डानि मण्टपे कुर्याद् ग्रहभूतैक संख्यया | दिग्गताश्राणि वृत्तानि चतुरश्राणि वा द्विजाः || १८ रत्नन्यासाक्षिमोक्षौ च बेरशुद्धिमनन्तरम् | ग्रामप्रदक्षिणं तोयाधिवासं पूर्ववद्गुरुः || १९

vārādyaṃ aṅkuraṃ yāgamaṇṭapaṃ pūrvavannayet || 17 kuṇḍāni maṇṭape kuryād grahabhūtaika saṃkhyayā | diggatāśrāṇi vṛttāni caturaśrāṇi vā dvijāḥ || 18 ratnanyāsākṣimokṣau ca beraśuddhimanantaram | grāmapradakṣiṇaṃ toyādhivāsaṃ pūrvavadguruḥ || 19

Fixing an auspicious day and time, offering of the fresh sprouts, construction of sacrificial pavilion – all these should be done according to the directions told earlier. Nine or five fire-pits or one fire-pit should be designed in the pavilion. O, the twice-born sages!, the fire-pits should be square, angular and circular in shape suitable to each direction. Fixing the gems on the image, opening the eyes of the images, purification of the images, procession around the village, keeping the images immersed under water – all these should be performed by the Guru as done by him earlier.

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20-21

देवे च कालए कामे च कारयेत्तु पृथक् पृथक् | वेद्यूर्ध्वे स्थण्डिले चैव शयनं स्नपनं पृथक् || २० देवस्य पाददेशे तु शय्या स्यात् कालकामयोः | कौतुकं शयनारोहं पूर्ववत् पृथगाचरेत् || २१

deve ca kālae kāme ca kārayettu pṛthak pṛthak | vedyūrdhve sthaṇḍile caiva śayanaṃ snapanaṃ pṛthak || 20 devasya pādadeśe tu śayyā syāt kālakāmayoḥ | kautukaṃ śayanārohaṃ pūrvavat pṛthagācaret || 21

These rituals should be performed separately for Kālāntaka and Kāmaghna. Sthaṇḍila over the altar, the couch and snapana should be done separately for these two Mūrtis. The couch should be prepared so as to be near the feet of Kālāntaka and Kāmaghna. Similarly, tying of the protective thread and placing the image to be in recumbent posture on the couch should be done separately for these two Mūrtis.

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22-23

ईशकुम्भं शिरोदेशे वर्धनीं तस्य चोत्तरे | कालकुम्भं च तन्मूर्ध्नः प्रदेशे तन्मनुं स्मरन् || २२ कामश्चेत्तच्छिरोदेशे वस्त्राद्याढ्यं घटं न्यसेत् | मित्राभ्यां संयुतश्चेत्तु तयोश्च कलशद्वयम् || २३

īśakumbhaṃ śirodeśe vardhanīṃ tasya cottare | kālakumbhaṃ ca tanmūrdhnaḥ pradeśe tanmanuṃ smaran || 22 kāmaścettacchirodeśe vastrādyāḍhyaṃ ghaṭaṃ nyaset | mitrābhyāṃ saṃyutaścettu tayośca kalaśadvayam || 23

The kumbha for the Lord should be placed near the head of His image and vardhani-kalasa(Śakti- kumbha) should be placed on the left of śiva-kumbha. The kumbha for Yama should be placed near the head-side of Kāladeva and the kumbha for Manmatha should be placed near his head-side. These kumbhas should be placed with the recital of mantra pertaining to each Mūrti. The kumbhas should be covered with new clothes and be deposited with essential things. If Manmatha is associated with his two companions, then two kumbhas should be placed for both of them.

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24-26

कामस्य पार्श्वयोः क्लुप्त शय्या शयितयोरपि | देवभाग वसन्ताख्य युक्तयोर्मित्रयोर्गुरुः || २४ विन्यसेद्वस्त्रहेमाढ्यं पूर्ववत् परितो घटान् | विद्येश्वरात्मकान्न्यस्य यजेत् गन्धादिभिस्ततः || २५ तत्त्वेश्वरादि विन्यासं कृत्वा होमं समाचरेत् | तत्त्वाद्याः पूर्ववद्देवे कामे तस्य यथोदितम् || २६

kāmasya pārśvayoḥ klupta śayyā śayitayorapi | devabhāga vasantākhya yuktayormitrayorguruḥ || 24 vinyasedvastrahemāḍhyaṃ pūrvavat parito ghaṭān | vidyeśvarātmakānnyasya yajet gandhādibhistataḥ || 25 tattveśvarādi vinyāsaṃ kṛtvā homaṃ samācaret | tattvādyāḥ pūrvavaddeve kāme tasya yathoditam || 26

The couches for Devabhāga(friend of Manmatha) and for Vasanta(another friend of Manmatha) should be placed by the Guru on both sides of the couch meant for Manmatha. As done before, he should array eight kalasas wrapped with fresh cloth and deposited with gold coin and other materials around the kumbhas. These kalasas are meant for the Vidyeśvaras of Manmatha. Then he should worship the kumbhas and kalasas with sandal, flowers and such other things. Having done the nyāsa of tattvas and others, he should commence the fire-ritual. The tattvas pertaining to Kāma are the same as mentioned earlier.

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27-28

कालस्य पञ्चमूर्तिस्तु मूर्तीशानपि विन्यसेत् | आत्मविद्या शिवाख्यानां तत्त्वानां व्याप्तिरिष्यते || २७ शब्दप्रकृतिकालान्तं तदीशानां तथैव हि | मूर्तयः प्राग्वदुद्दिष्टा वसन्तो ग्रीष्म संज्ञकः || २८ प्रावृट् शरश्च हेमन्त इति मूर्तीश्वरा मताः |

kālasya pañcamūrtistu mūrtīśānapi vinyaset | ātmavidyā śivākhyānāṃ tattvānāṃ vyāptiriṣyate || 27 śabdaprakṛtikālāntaṃ tadīśānāṃ tathaiva hi | mūrtayaḥ prāgvaduddiṣṭā vasanto grīṣma saṃjñakaḥ || 28 prāvṛṭ śaraśca hemanta iti mūrtīśvarā matāḥ |

The Guru should do the nyāsa of the five Mūrtis and Mūrtīśvaras pertaining to Yama. Here, it is pertinent to say about the pervasive power of ātma tattva, vidyā tattva and śiva tattva. The ātma tattva (with reference to Kāla and Kāma) is pervasive up to śabda tattva; vidyā tattva is pervasive up to prakruti tattva; śiva tattva is pervasive up to kāla tattva. The Mūrtis of Manmatha are as told before. His Mūrtīśvaras are: Vasanta, Grīṣma, Prāvruṭ, Śaraś and Hemanta.

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29-31

कृत्वा कुण्डाग्नि संस्कारं समिद्घृतचरूंस्तिलान् || २९ अक्षतांश्च गुळं लाजान्सर्षपं च हुनेत् क्रमात् | पलाशोदुम्बराश्वत्थ वटाः प्रागादि दिक्षु च || ३० शमीखदिरमायूर श्रीवृक्षा वह्नि कोणतः | पलाशस्तु प्रधाने स्यात् स तु सर्वत्र वा मतः || ३१

kṛtvā kuṇḍāgni saṃskāraṃ samidghṛtacarūṃstilān || 29 akṣatāṃśca guḷaṃ lājānsarṣapaṃ ca hunet kramāt | palāśodumbarāśvattha vaṭāḥ prāgādi dikṣu ca || 30 śamīkhadiramāyūra śrīvṛkṣā vahni koṇataḥ | palāśastu pradhāne syāt sa tu sarvatra vā mataḥ || 31

Having completed the sacramental rituals for the fire-pits and the fire, the Guru should perform the fire-ritual. Faggots, clarified butter, cooked rice, sesame, unbroken rice grains, pieces of molasses, parched paddy, white mustard – all these should be offered as oblations into the fire in due order by the Guru. Faggots got from palāśa, udumbara, aśvattha and vaṭa trees are to offered in the fire-pits of east, south, west and north directions. Faggots got from śamī, khadira, māyūra and śrīvruksha trees are to be offered in the fire-pits of south-east, south-west, north-west and north-east directions. The faggots of palāśa tree should be used for the pricipal fire-pit. Or, palāśa may be used for all the fire-pits.

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32-33

कालं कामं प्रधाने तु कल्पयेद्देशिकस्सुधीः | नीत्वैवं रात्रिशेषं तु प्रभाते विमले ततः || ३२ देशिकस्सुविशुद्धात्मा संपुज्योद्धृत बिम्बकः | कुम्भान् कुण्डस्थ वह्निं च मन्त्रन्यासं गुरूत्तमः || ३३

kālaṃ kāmaṃ pradhāne tu kalpayeddeśikassudhīḥ | nītvaivaṃ rātriśeṣaṃ tu prabhāte vimale tataḥ || 32 deśikassuviśuddhātmā saṃpujyoddhṛta bimbakaḥ | kumbhān kuṇḍastha vahniṃ ca mantranyāsaṃ gurūttamaḥ || 33

The Guru who is endowed with scriptural knowledge should offer the oblations into the principal fire-pit for Kāla and Kāma. Having spent the night calmly after the completion of the first-day fire ritual, the Guru should get up in the early morning and get himself purified with systematic bath and other deeds. Having worshipped the images, kumbhas, kalasas and the fire kindled in the fire-pits , he should lift up the images from the couches and palce them inside the shrine. The foremost Guru should do ‘mantra nyāsa’ for the kumbhas and the images.

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34-36

वस्त्रहेमाङ्गुलीयाद्यैः पूजितो मूर्तिपादिभिः | संप्राप्त दक्षिणः पश्चात् सुमुहूर्ते सुलग्नके || ३४ कुम्भान् बिम्बपुरो न्यस्य शिवकुम्भं मनुं स्मरन् | शिवस्य चादरान्न्यस्य तत्पीठे करकं न्यसेत् || ३५ वैद्येशकुम्भ बीजानि तत्पीठे परितो न्यसेत् | अन्येभ्यो मनुमादाय तेषां तेषां हृदि न्यसेत् || ३६

vastrahemāṅgulīyādyaiḥ pūjito mūrtipādibhiḥ | saṃprāpta dakṣiṇaḥ paścāt sumuhūrte sulagnake || 34 kumbhān bimbapuro nyasya śivakumbhaṃ manuṃ smaran | śivasya cādarānnyasya tatpīṭhe karakaṃ nyaset || 35 vaidyeśakumbha bījāni tatpīṭhe parito nyaset | anyebhyo manumādāya teṣāṃ teṣāṃ hṛdi nyaset || 36

Having been honoured by the yajamāna(main sponsor) with new clothes, gold-ring and such other valuable things and obtained sufficient sacrificial fees from him, the Guru and the assisting priests should lift up the kumbhas and kalasas upon the arrival of ascertained auspicious muhūrta and lagna. He should place them in front of the installed image. Having collected the mantra from the śiva-kumbha, he should unite it with the heart of the image and unite the mantra collected from the vardhani with the pedestal. Having collected the mantras and seeds from the eight kalasas of Vidyeśvaras, he should unite them with the pedestal. Having collected the mantras from the other kumbhas, he should unite them with the heart of the concerned images.

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37-38

स्नपनं भूरि नैवेद्यं चोत्सवं कारयेन्न वा | अनुक्तमत्र सामान्यस्थापनोक्तवदाचरेत् || ३७ एवं यः कुरुते मर्त्यो भोगान् भुक्त्वा स्ववाञ्छितान् | देहान्ते पुनरीशानं प्राप्नोत्यत्र न संशयः || ३८

snapanaṃ bhūri naivedyaṃ cotsavaṃ kārayenna vā | anuktamatra sāmānyasthāpanoktavadācaret || 37 evaṃ yaḥ kurute martyo bhogān bhuktvā svavāñchitān | dehānte punarīśānaṃ prāpnotyatra na saṃśayaḥ || 38

Snapana-abhisheka, offering of naivedya in abundant scale and the concerned festival may or may not be performed. Those riuals which have not been explicitly told here are common to the process of installation and such rituals should be performed according to the directions given in the chapter exclusively dealing with installation. A pesron who arranges for the installation of these Mūrtis would be blessed by the Lord to enjoy the worldly pleasures as desired by him and at the time of leaving his embodied state, he would reach the feet of Śiva. There is no doubt about this occurrence.

64 Directions for the Installation of Kalyāṇa Mūrti

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1-2

वक्ष्ये कल्याणमूर्तेस्तु प्रतिष्ठां लक्षणान्विताम् | जटामकुट संयुक्तश्चन्द्रार्धकृतशेखरः || १ त्रिदृक् चतुर्भुजश्चैव नवयौवन गर्वितः | समभङ्गयुतो देवः स्थानकः संप्रकीर्तितः || २

vakṣye kalyāṇamūrtestu pratiṣṭhāṃ lakṣaṇānvitām | jaṭāmakuṭa saṃyuktaścandrārdhakṛtaśekharaḥ || 1 tridṛk caturbhujaścaiva navayauvana garvitaḥ | samabhaṅgayuto devaḥ sthānakaḥ saṃprakīrtitaḥ || 2

Now, I will explain the process of installation of the image of Kalyāṇa Murti along with the settled lineaments of the image. Lord Śiva in the form of Kalyāṇa Mūrti appears with the crown of matted hair; His head is adorned with half-moon; He is with three eyes and four arms; with ever-fresh youthfulness, He appears with pride and elegance. The image should be designed so as to be in sama-bhanga and standing posture.

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3-4

कुञ्चितः सव्यपादस्तु स्थितसव्येतराङ्घ्रिकः | इन्दुशेखर हस्ताभ परहस्तद्वयान्वितः || ३ जलसंग्रहणे योग्य वरवाम करान्वितः | स्वदक्षिणगृहीतो वा दक्षहस्तः प्रसन्नधीः || ४

kuñcitaḥ savyapādastu sthitasavyetarāṅghrikaḥ | induśekhara hastābha parahastadvayānvitaḥ || 3 jalasaṃgrahaṇe yogya varavāma karānvitaḥ | svadakṣiṇagṛhīto vā dakṣahastaḥ prasannadhīḥ || 4

His right foot is raised a little and His left foot is placed firmly on the pedestal. His hands are like those of Chandraśekhara Mūrti. He appears with four hands, two in lower level and other two in upper level. His lower left hand is held in a position of accepting the arghya-water poured by Brahma. Being with delighted mind and heart, His right hand is hoding the right hand of Pāravti.

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5-7

नासाग्राल्लम्बयेत्सूत्रं स्तनमध्यात्तु दक्षिणे | नाभिमध्यात्तु वामे च दक्षिणे बहिरेव च || ५ एकैकाङ्गुलं नीत्वा नाभिसूत्रसमं भवएत् | वरहस्तस्य पृष्ठोच्चे तन्नाह मणिबन्धयोः || ६ अन्तरं स्यात्तथैकोनविंशतिर्बाहुमध्यमात् | पार्श्वान्तं रसमात्रं स्यादन्तरं मुनिपुङ्गवाः || ७

nāsāgrāllambayetsūtraṃ stanamadhyāttu dakṣiṇe | nābhimadhyāttu vāme ca dakṣiṇe bahireva ca || 5 ekaikāṅgulaṃ nītvā nābhisūtrasamaṃ bhavaet | varahastasya pṛṣṭhocce tannāha maṇibandhayoḥ || 6 antaraṃ syāttathaikonaviṃśatirbāhumadhyamāt | pārśvāntaṃ rasamātraṃ syādantaraṃ munipuṅgavāḥ || 7

Suspend the reference-thread(or line) in front of the nose. Let it pass through the right of the midpoint between the two breasts and through the left of the midpoint of the navel. Having deviated one digit from each of the points mentioned before, the reference-line of the navel should be on the same level. The distance between the top of the back of the left hand holding the varada-mudra and the wrist should be nineteen parts. O, the foremost Sages!, the distance between the middle of the shoulders and the sides should be six digits.

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8-10

मेढ्रमूलसमं दक्षकटकस्यास्यलम्बनम् | नाभेस्तु मणिबन्धान्तं स्मृत्यङ्गुलमितीरितम् || ८ तद्बाहुमध्यात् पार्श्वान्तं शराङ्गुलमितिस्मृतम् | पादाङ्गुष्ठद्वयोर्मध्यं मुखपार्ष्णि द्वयान्तरम् || ९ सूत्राअत्तु जानुनो मध्यं कलया परिकीर्तितम् | अर्धेन्दुमौलिवच्चान्य हस्तयोरन्तरं मतम् || १०

meḍhramūlasamaṃ dakṣakaṭakasyāsyalambanam | nābhestu maṇibandhāntaṃ smṛtyaṅgulamitīritam || 8 tadbāhumadhyāt pārśvāntaṃ śarāṅgulamitismṛtam | pādāṅguṣṭhadvayormadhyaṃ mukhapārṣṇi dvayāntaram || 9 sūtrāattu jānuno madhyaṃ kalayā parikīrtitam | ardhendumaulivaccānya hastayorantaraṃ matam || 10

meḍhramūlasamaṁ dakṣakaṭakasyāsyalambanam | nābhestu maṇibandhāntaṁ smṛtyaṅgulamitīritam || 8 tadbāhumadhyāt pārśvāntaṁ śarāṅgulamitismṛtam | pādāṅguṣṭhadvayormadhyaṁ mukhapārṣṇi dvayāntaram || 9 sūtrāattu jānuno madhyaṁ kalayā parikīrtitam | ardhendumaulivaccānya hastayorantaraṁ matam || 10

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11-13

पूर्ववत्कथितं देव्या मानं विप्रोत्तमास्त्विह | देवी दृगास्यचिबुककक्षचूचुक मानका || ११ तद्देव्यापरभागस्था श्रीदेवी सर्वलक्षणैः | युक्ता देवीकटिस्पृष्टकराभ्यामपि संयुता || १२ श्रीदेवीमध्यमर्कांशैस्तद्वन्नाभि भुजान्तरम् | पादाङ्गुष्ठद्वयोर्मध्यं भवेदष्टदशाङ्गुलम् || १३ रसाङ्गुलान्तरे पार्ष्ण्योः श्रीदेव्येवं प्रकीर्तिता

pūrvavatkathitaṃ devyā mānaṃ viprottamāstviha | devī dṛgāsyacibukakakṣacūcuka mānakā || 11 taddevyāparabhāgasthā śrīdevī sarvalakṣaṇaiḥ | yuktā devīkaṭispṛṣṭakarābhyāmapi saṃyutā || 12 śrīdevīmadhyamarkāṃśaistadvannābhi bhujāntaram | pādāṅguṣṭhadvayormadhyaṃ bhavedaṣṭadaśāṅgulam || 13 rasāṅgulāntare pārṣṇyoḥ śrīdevyevaṃ prakīrtitā

O, the foremost Sages!, the proportionate measurements of Dēvī are as told earlier. The eyes, mouth, chin, armpit, nipple of the breasts – all these parts of the Dēvī to be shown on the back side of Śiva should be designed according to the proportionate measures so as to be associated with all lineaments. If Devi is associated with Śiva, with Her hands touching the hip, the space between Devi and Śiva should measure 12 parts and the the space between the navel and the middle of the shoulders also should be in the same measure. The space between the two toes should measure eighteen angulas. The space between the two heels of Devī should measure six angulas.

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14-19

देवोच्चदशभाकैकभागादेकादशावधि || १४ भागमानयुतः श्यामः किरीटमकुटान्वितः | गृहीतशङ्खचक्रश्च हस्ताभ्यां धृतयापि च || १५ तोयकुण्डिकयोपेतो विष्णुरेष उदाहृतः | नासाग्रात् स्थितपादस्य चाङ्गुष्ठान्तं विलम्बयेत् || १६ तत्सूत्रान्नाभिमध्यं तु वेदमात्रं इति स्मृतम् | कुण्डिकोत्सेधविस्तारो तालसूत्राङ्गुलौ मतौ || १७ तद्गळोत्सेध विस्तारो कलया कोलकेन च | आस्यं पञ्चाङ्गुलं प्रोक्तं नासिकोच्चं द्विकोलकम् || १८ तन्मूलं तु कला चाग्रं तस्य वक्त्राकृतिर्भवेत् | एकाङ्गुलं तत्पादोच्चं तन्मूलाग्रततिस्त्रिभिः || १९

devoccadaśabhākaikabhāgādekādaśāvadhi || 14 bhāgamānayutaḥ śyāmaḥ kirīṭamakuṭānvitaḥ | gṛhītaśaṅkhacakraśca hastābhyāṃ dhṛtayāpi ca || 15 toyakuṇḍikayopeto viṣṇureṣa udāhṛtaḥ | nāsāgrāt sthitapādasya cāṅguṣṭhāntaṃ vilambayet || 16 tatsūtrānnābhimadhyaṃ tu vedamātraṃ iti smṛtam | kuṇḍikotsedhavistāro tālasūtrāṅgulau matau || 17 tadgaḷotsedha vistāro kalayā kolakena ca | āsyaṃ pañcāṅgulaṃ proktaṃ nāsikoccaṃ dvikolakam || 18 tanmūlaṃ tu kalā cāgraṃ tasya vaktrākṛtirbhavet | ekāṅgulaṃ tatpādoccaṃ tanmūlāgratatistribhiḥ || 19

The height of the image of Viṣṇu may be taken to be from one part up to the maximum of eleven parts of the height of Śiva’s form. Viṣṇu should be designed so as to be in the color of blue-black, to be adorned with ‘kirīṭa makuṭa’(a kind of crown); his hands holding the discus(cakra) ,counch and water-filled kuṇḍika-vessel. The reference thread should be suspended, touching the tip of the nose and the middle of the toes. From this thread to the navel, the distance should be four angulas. The height and circumference of the kuṇḍika-vessel should be decided according to the proportionate measure of the palm. The height of the neck of that vessel should be ascertained according to the proportionate unit of the rounded-part of the vessel. Its mouth should be with a diameter of five angulas and the height of the nose-part of the vessel should be twice the measure of the rounded- part(golaka). The base of that nose should be in proportion to the rounded part. The tip of the nose should be in the form of the mouth of the vessel.

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20-22

पञ्चभिश्च हरेर्वामकरपल्लव संस्थितिः | तदूर्ध्वे दक्षिणं हस्तं धारापाताय कल्पयेत् || २० कुण्डिकामूलहस्तोच्चं नाभिसूत्रसमं भवेत् | नाभेस्तु मणिबन्धान्तं धातुमात्रं इति स्मृतम् || २१ तदन्य मणिबन्धात्तु सप्तभिश्चूचुकान्तकम् | वरदकटकौ स्यातां वामेतर करावुभौ || २२

pañcabhiśca harervāmakarapallava saṃsthitiḥ | tadūrdhve dakṣiṇaṃ hastaṃ dhārāpātāya kalpayet || 20 kuṇḍikāmūlahastoccaṃ nābhisūtrasamaṃ bhavet | nābhestu maṇibandhāntaṃ dhātumātraṃ iti smṛtam || 21 tadanya maṇibandhāttu saptabhiścūcukāntakam | varadakaṭakau syātāṃ vāmetara karāvubhau || 22

The left hand of Viṣṇu which is in the likeness of a tender branch of a tree should be with the measure equal to five unit-measure of his height. His right hand should be above the level of the left hand, holding the vessel for making the water flow down from it. The base of the vessel and the height of the raised hand should be in alignment with the thread of navel. The distance between the navel and the wrist should be equal to seven units. The distance between the other wrist and nipple should also be seven units. The two left hands should be designed in such a way that they are holding the boon-giving mudra and kaṭaka mudra.

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23-25

हरेरुक्तप्रमाणेन ब्रह्माणमपि कारयेत् | चतुर्मुखं चतुर्बाहुं जटामकुट मण्डितम् || २३ होमोन्मुखं प्रसन्नं तं कुङ्कुमक्षोदसन्निभम् | मौञ्जीमेखलयोपेतं सोपवीतोत्तरीयकम् || २४ वामेतरकरावूर्ध्वौ कमण्डल्वक्षधारकौ | वराभयकरौ पूर्वो स्यातां तौ दक्षिणेतरौ || २५

hareruktapramāṇena brahmāṇamapi kārayet | caturmukhaṃ caturbāhuṃ jaṭāmakuṭa maṇḍitam || 23 homonmukhaṃ prasannaṃ taṃ kuṅkumakṣodasannibham | mauñjīmekhalayopetaṃ sopavītottarīyakam || 24 vāmetarakarāvūrdhvau kamaṇḍalvakṣadhārakau | varābhayakarau pūrvo syātāṃ tau dakṣiṇetarau || 25

The Guru should design the image of Brahma according to the system of measures told for Viṣṇu. Brahma should be designed so as to be with four faces, four hands, adorned with the crown of matted hair(jaṭā makuṭa), with his face delighted and looking at the fire- ritual. He should be shown so as to be in the hue of saffron-dust, as wearing the sacred thread and the girdle designed with mauñji-grass. His upper two hands should be holding the kamaṇḍalu-vessel and the rosary of rudrāksha. His right hand should be showing the abhaya-mudra and the left hand displaying the varada-mudra.

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26-29

स्रुवपातक्रियोपेतावन्यौ तु कटकामुखौ | सूत्रं ललाटनासाग्र मध्यमे नाभिगुल्पयोः || २६ विलम्बितं ततो नाभेर्द्व्यन्तरं तु दशांशकम् | तत्पादाङ्गुष्ठमूलान्तान्नाभेर्वसुदशाङ्गुलम् || २७ अभयं चूचुकान्तं स्यान्नाभ्यन्तं मणिबन्धकम् | तन्मध्ये विश्वमात्रं स्याद् बाहुपार्श्वान्तकं रसैः || २८ ऊर्ध्वकायसमं जान्वोरन्तरं समुदाहृतम् | ब्रह्मरूपं इति ख्यातं तथा पद्मासनस्थितम् || २९

sruvapātakriyopetāvanyau tu kaṭakāmukhau | sūtraṃ lalāṭanāsāgra madhyame nābhigulpayoḥ || 26 vilambitaṃ tato nābherdvyantaraṃ tu daśāṃśakam | tatpādāṅguṣṭhamūlāntānnābhervasudaśāṅgulam || 27 abhayaṃ cūcukāntaṃ syānnābhyantaṃ maṇibandhakam | tanmadhye viśvamātraṃ syād bāhupārśvāntakaṃ rasaiḥ || 28 ūrdhvakāyasamaṃ jānvorantaraṃ samudāhṛtam | brahmarūpaṃ iti khyātaṃ tathā padmāsanasthitam || 29

Or, the lower two hands may be shown as holding the ladle(sruva) downwards to make the oblations and holding tha kaṭaka-mudrā. The reference thread should be suspended so as pass through the middle of the fore-head, tip of the nose, navel and the middle of the two ankles. At the level of the navel, the distance between the two sides should be twelve parts. From the base of the two toes to the navel, the height should measure eighteen angulas. The distance between the abhaya-mudrā and the base of the nipple and that between the navel and the wrist should be sixteen angulas. The space between the shoulder and the end of one side should be six angulas. The space between the knees should be equal to the width of the torso. The lineaments of Brahma seated on the lotus- pedestal have been described so far.

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30-31

देवस्याङ्गुलमानेन द्वाविंशत्यङ्गुलो भवेत् | अग्निकुण्डस्यविष्कम्भस्त्रिमेखलयुतस्य च || ३० मेखलैकाङ्गुला प्रोक्ता प्रत्येकं मुनिपुङ्गवाः | द्वादशाङ्गुल विस्तार दैर्घ्या सा सप्तजिह्वकः || ३१ पञ्चजिह्वायुतो वाग्निः कुण्डमध्यस्थितः स्वयम् |

devasyāṅgulamānena dvāviṃśatyaṅgulo bhavet | agnikuṇḍasyaviṣkambhastrimekhalayutasya ca || 30 mekhalaikāṅgulā proktā pratyekaṃ munipuṅgavāḥ | dvādaśāṅgula vistāra dairghyā sā saptajihvakaḥ || 31 pañcajihvāyuto vāgniḥ kuṇḍamadhyasthitaḥ svayam |

The breadth of the fire-pit should be twenty-two aṅgulas in terms of the system of proportionate measurement applicable to the image of Śiva. O, the foremost sages !, the height of each girdle of the fire-pit should be one aṅgula. Or, the breadth may be with a measure of twelve aṅgulas. The fire invoked to be present within the fire-pit may be conceived as associated with seven tongues or five tongues.

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32-34

शिवादिहस्तसूत्राणां प्रमाणं द्व्यन्तरं तु यत् || ३२ उद्धृतिर्हस्तपादानां अन्याङ्गानां इहोच्यते | एषामेव नतिश्चापि संकोचो निर्गमोऽपि वा || ३३ शरचापादि शस्त्राणां संग्रहे संस्थितिस्त्वियम् | अस्त्राणां नियमश्चापि सर्वशास्त्र प्रचोदितः || ३४ दृष्टान्तमात्रतस्सर्व शास्त्रेषु प्रतिपादितः

śivādihastasūtrāṇāṃ pramāṇaṃ dvyantaraṃ tu yat || 32 uddhṛtirhastapādānāṃ anyāṅgānāṃ ihocyate | eṣāmeva natiścāpi saṃkoco nirgamo'pi vā || 33 śaracāpādi śastrāṇāṃ saṃgrahe saṃsthitistviyam | astrāṇāṃ niyamaścāpi sarvaśāstra pracoditaḥ || 34 dṛṣṭāntamātratassarva śāstreṣu pratipāditaḥ

It is prescribed here in this Āgama that for the images of Śiva and others the reference threads for the hands, legs and other parts which are in pairs should be hung in order to render the image to be in accordance with perfect lineaments. The measures for the height and breadth derived from such threads may be increased or decreased a little. This kind of rule is also applicable to the weapons such as the arrow, bow, sword or knife held in the hands of the Deities. Such system for the designing of the weapons has been well expounded in all the śastras(scriptures) through many illustrations.

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35-36

भूषणां च सर्वेषां वामदक्षिण भेदतः || ३५ दर्शनं सर्वबेराणां सर्वेषां द्विजसत्तमाः | देवीनामेवमेव स्यान्नरादीनां विशेषतः || ३६ इत्थं लक्षणं आख्यातं प्रतिष्ठा विधिरुच्यते |

bhūṣaṇāṃ ca sarveṣāṃ vāmadakṣiṇa bhedataḥ || 35 darśanaṃ sarvaberāṇāṃ sarveṣāṃ dvijasattamāḥ | devīnāmevameva syānnarādīnāṃ viśeṣataḥ || 36 itthaṃ lakṣaṇaṃ ākhyātaṃ pratiṣṭhā vidhirucyate |

O, the enlightened Sages !, in these scriptures even details about the measurements applicable to the ornaments of the images of all the Deities , making differentiations between the ornaments pertaining to their left side and the right side, have been given. Such specific instructions have been told even for the images of Devi and of the devotees and heroes. Thus, the lineaments of the Kalyāṇa Murti have been told. Now, directions for the installation of the image are detailed.

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37-39

संभाव्य पूर्ववत्कालं प्राग्वत् कृत्वाङ्कुरार्पणम् || ३७ देवस्य सव्ये ब्रह्माणं उत्तरे विष्णुमेव च | गौर्याश्च दक्षिणे लक्ष्मीं विन्यसेद्देशिकोत्तमः || ३८ नवरत्नं न्यसेत्पश्चाद् देवेशे च हरावपि | शिष्टानां ब्रह्मगौरीश्री देवीनां कनकं न्यसेत् || ३९

saṃbhāvya pūrvavatkālaṃ prāgvat kṛtvāṅkurārpaṇam || 37 devasya savye brahmāṇaṃ uttare viṣṇumeva ca | gauryāśca dakṣiṇe lakṣmīṃ vinyaseddeśikottamaḥ || 38 navaratnaṃ nyasetpaścād deveśe ca harāvapi | śiṣṭānāṃ brahmagaurīśrī devīnāṃ kanakaṃ nyaset || 39

Having ascertained an auspicious time for the installation as done before, the Guru should perform the ritual known as the ‘offering of fresh sprouts’ the process of which has been explained earlier. He should place the image of Brahma on the south side of the image of Śiva and that of Viṣṇu on the north side of Śiva. He should place Lakshmi on the right side of Gauri(Śivaśakti). The foremost Guru should fix nine gems according to the order on the relevant parts of the image of Śiva and of Viṣṇu. He should fix gold-piece on the relevant parts of the image of Brahma, Gauri and Lakshmi.

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40-42

दृङ्मोक्षणं ततः कृत्वा तदध्यायोक्त वर्त्मना || बेरशुद्धिं पुरग्राम प्रभृतीनां प्रदक्षिणम् || ४० तोयेऽधिवासयेद्देवं मध्ये तद्दक्षवामयोः | ब्रह्मविष्णू तु तौ ब्रह्म पार्श्वयोरम्बिकां श्रियम् || ४१ यागमण्टपं आसाद्य पूर्ववत् परिकल्पितम् | पूर्वाशोत्तर काष्ठासु स्नानवेदिकयान्वितम् || ४२

dṛṅmokṣaṇaṃ tataḥ kṛtvā tadadhyāyokta vartmanā || beraśuddhiṃ puragrāma prabhṛtīnāṃ pradakṣiṇam || 40 toye'dhivāsayeddevaṃ madhye taddakṣavāmayoḥ | brahmaviṣṇū tu tau brahma pārśvayorambikāṃ śriyam || 41 yāgamaṇṭapaṃ āsādya pūrvavat parikalpitam | pūrvāśottara kāṣṭhāsu snānavedikayānvitam || 42

Having properly opened the eyes of the images through the sthapati, as explained in the chapter dealing with the subject of ‘opening of the eyes’, the Guru should arrange for the procession of all the newly made images around the village or city and for keeping the images immersed in the river water. While immersing the images, he should place the image of Śiva in the middle, Viṣṇu on the left side of Śiva, Brahma on His right side and Gauri and Lakshmi on both sides of Brahma. Then he should come back to the temple and enter into the sacrificial pavilion which has been constructed already so as to be associated with an altar meant for bathing the images between the east and the north-east.

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43-44

अस्य पूर्वयमाप्येन्दु स्थानेष्विष्टस्तु मण्टपः | योन्याभ नवपञ्चैक कुण्डैरपि समन्वितः || ४३ स्नानश्वभ्र त्रयोपेतो देव्याः पूर्ववदीरितः | देवस्य मण्टपे चापि कुण्डानि नवसंख्यया || ४४ पञ्चैक संख्यया वापि चतुरश्र निभानि वा | दिगश्राण्यथ वृत्तानि कल्पयेत् कल्पवित्तमः || ४५

asya pūrvayamāpyendu sthāneṣviṣṭastu maṇṭapaḥ | yonyābha navapañcaika kuṇḍairapi samanvitaḥ || 43 snānaśvabhra trayopeto devyāḥ pūrvavadīritaḥ | devasya maṇṭape cāpi kuṇḍāni navasaṃkhyayā || 44 pañcaika saṃkhyayā vāpi caturaśra nibhāni vā | digaśrāṇyatha vṛttāni kalpayet kalpavittamaḥ || 45

This sacrificial pavilion may be in the east, south or north of the enclosure of the temple, as desired by the Guru. In the sacrificial pavilion of Gauri, nine or five fire-pits in the shape of yoni or a single fire-pit shaped like a yoni may be constructed; similarly he should construct three altars in that pavilion for the purpose of bathing the images. Even in the sacrificial pavilion constructed for Śiva, nine or five fire-its or one fire-pit should be designed. These fire-pits in the main directions should be in the shape of square and those in the intermediary diections should be angular. The Guru who has known well the concerned Scriptures should design the main fire-pit to be in circular shape.

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46-49

उद्वास्य शिल्पिनं पश्चाद् विप्रान् संभोजयेत्ततः | पुण्याहं वास्तुहोमं च स्थण्डिलं शयनं तथा || ४६ स्नपनं केशगौरीश्री देवीनां कौतुकं पृथक् | शयने शाययेद्देवं तस्य वामे च दक्षिणे || ४७ कृष्णं चैवाब्जजं भिन्नशय्यायां शाययेद्गुरुः | देव्यास्तु मण्टपे देवीं शाययेद्दक्षिणे श्रियम् || ४८ उत्तरे शाययेद्वह्निं संकल्प्य शयनं पृथक् | रक्तेन वाससा देवं देवीं पीतेन केशवम् || ४९ कृष्णेन पद्मां शुभ्रेण तद्वर्णेन पितामहम्

udvāsya śilpinaṃ paścād viprān saṃbhojayettataḥ | puṇyāhaṃ vāstuhomaṃ ca sthaṇḍilaṃ śayanaṃ tathā || 46 snapanaṃ keśagaurīśrī devīnāṃ kautukaṃ pṛthak | śayane śāyayeddevaṃ tasya vāme ca dakṣiṇe || 47 kṛṣṇaṃ caivābjajaṃ bhinnaśayyāyāṃ śāyayedguruḥ | devyāstu maṇṭape devīṃ śāyayeddakṣiṇe śriyam || 48 uttare śāyayedvahniṃ saṃkalpya śayanaṃ pṛthak | raktena vāsasā devaṃ devīṃ pītena keśavam || 49 kṛṣṇena padmāṃ śubhreṇa tadvarṇena pitāmaham

Having relieved the sthapati with due honors, the Guru should arrange for the feeding of the learned brahmins and perform the ritual known as ‘puṇyāha vacana’(declaration of the time and event and purification of the pavilion) and the ‘vāstu homa’. Then he should design a sthaṇḍila and couch and arrange for the snapana. He should offer the protective threads for the Lord, Gauri, Viṣṇu, Brahma and Lakshmi. Then he should place the image of Śiva on the couch so as to be in the recumbent posture. Similiarly, he should place the image of Viṣṇu to be in recumbent state on the left side of Śiva and that of Brahma on His right side to be in the same posture. There should be a separate couch for each one of them. He should place the image of Gauri to be in recumbent state over the couch designed in the pavilion meant for Gauri and in the same way he should place the image of Lakshmi over the couch designed separately on the south side of Gauri’s couch. He should place the image of fire-god over the couch designed on the north side of Gauri. Then, he should cover the image of Śiva with a red cloth, the image of Gauri with the cloth in the color of yellowish white, the image of Viṣṇu with a cloth in blue color, the image of Lakshmi with a bright white cloth and the image of Brahma with a cloth in the color of bright white.

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50-53

आचार्याः संगृहीतव्याः प्रतिमण्टपं उत्तमाः || ५० गुरवः प्रतिदेवं वा संग्राह्या मुनिपुङ्गवाः | देवोत्तमाङ्गदेशे तु शिवकुम्भं च वर्धनीम् | ५१ ब्रह्मविष्णोश्शिरोदेशे विन्यसेत्तु घटद्वयम् | परितोऽष्टौ घटान्न्यस्त्वा विद्येशाधिष्ठितान्न्यसेत् || ५२ देवीश्रीपावकानां तु शिरोदेशे घटत्रयम् | वामाद्यधिष्ठितानष्ट कुम्भांश्च परितोन्यसेत् || ५३

ācāryāḥ saṃgṛhītavyāḥ pratimaṇṭapaṃ uttamāḥ || 50 guravaḥ pratidevaṃ vā saṃgrāhyā munipuṅgavāḥ | devottamāṅgadeśe tu śivakumbhaṃ ca vardhanīm | 51 brahmaviṣṇośśirodeśe vinyasettu ghaṭadvayam | parito'ṣṭau ghaṭānnyastvā vidyeśādhiṣṭhitānnyaset || 52 devīśrīpāvakānāṃ tu śirodeśe ghaṭatrayam | vāmādyadhiṣṭhitānaṣṭa kumbhāṃśca paritonyaset || 53

O, the foremost Sages!, there should be a chief priest (pradhāna ācārya) for each pavilion. It is good to invite the Gurus for each of these images(of Gods). The Guru should place śivakumbha and vardhani kumbha near the head-side of the image of Śiva. He should place one kalaśa near the head-side of Viṣṇu and another near the head-side of Brahma. Then he should arrange eight kalaśas in an orderly way around the main kumbhas. Eight Vidyeśvaras are to be invoked in these eight kalaśas. Similarly, he should place three kumbhas near the head-side of Devi, Lakshmi and Agni. In order to be occupied by the eight Śaktis – Vāma and others – he should arrange eight kalasas around these kumbhas (eight kalaśas around each kumbha).

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54-56

तल्लक्षणोदिताकारध्यानयुक्तः स्वतन्त्रयुक् | यजेद् गन्धादिभिर्देवान् नैवेद्यान्तैः पृथक् पृथक् || ५४ तत्त्वमूर्त्यादि विन्यासं कारयेत्पूर्ववत् प्रभोः | अन्येषां ततदध्याय प्रोक्तांस्तत्त्वादिकान् न्यसेत् || ५५ ततो होमः प्रकर्तव्यः कृत्वा कुण्डाग्नि संस्कृतिम् | समिदाज्यान्नलाजैश्च तिलसर्षपमुद्गकैः || ५६

tallakṣaṇoditākāradhyānayuktaḥ svatantrayuk | yajed gandhādibhirdevān naivedyāntaiḥ pṛthak pṛthak || 54 tattvamūrtyādi vinyāsaṃ kārayetpūrvavat prabhoḥ | anyeṣāṃ tatadadhyāya proktāṃstattvādikān nyaset || 55 tato homaḥ prakartavyaḥ kṛtvā kuṇḍāgni saṃskṛtim | samidājyānnalājaiśca tilasarṣapamudgakaiḥ || 56

The lineaments of the form of each God/Goddess, verses to be chanted for meditating on each form – all such details have been given in the relevant chapters dealing with the installation of these Deities. Each Deity should be duly worshipped separately with flowers, sandal and such other substances and the worship should be completed with the offering of food, fruits and other eatables(naivedya). For Śiva, various nyāsas such as the tattvas, mūrtis and others should be done, as done before. For the other Gods, tattva-nyāsa, mūrti-nyāsa and others should be done according to the details given in the relevant chapters. Then, having done the sacramental rituals for the fire-pits, the Guru should perform the fire ritual. He should offer the oblations into the consecrated fire with the faggots, clarified butter, parched paddy, sesame, mustard and kidney-bean.

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57-58

पलाशोदुम्बराश्वत्थ वटाः पूर्वादि दिक्षु च | शम्यपामार्गश्रीवृक्ष मायूरा वह्निकोणतः || ५७ प्रधाने तु पलाशस्स्यात् सर्वत्रैव च वा मतः | प्रत्येकं पूर्ववद् हुत्वा पूर्णान्ते देशिकोत्तमः || ५८

palāśodumbarāśvattha vaṭāḥ pūrvādi dikṣu ca | śamyapāmārgaśrīvṛkṣa māyūrā vahnikoṇataḥ || 57 pradhāne tu palāśassyāt sarvatraiva ca vā mataḥ | pratyekaṃ pūrvavad hutvā pūrṇānte deśikottamaḥ || 58

The faggots got from the palāśa-tree, udumbara, aśvattha and vaṭa should be offered in the fire-pits which are in the east, south, west and north, respectively. Those of śamī, apāmārga, śrīvṛuksha and māyūra should be offered into the fire-pits which are in the south-east, south-west, north-west and north-east. Faggots of palāśa should be offered into the main fire-pit. Or, these may be offered in all the fire-pits. Having offered the oblations separately for each Deity, the Guru should offer the consummate oblation(pūrṇāhuti).

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59-60

स्वगृहे तत्प्रदेशे वा स्वपेदायास शान्तये | प्रभाते कृतनित्यस्तु कर्ता संपूजयेद्गुरुम् || ५९ वस्त्रहेमाङ्गुलीयाद्यैर्मूर्तिपाद्यैस्समन्वितम् | तदन्ते दक्षिणां दत्वा पञ्चनिष्कादि संमिताम् || ६०

svagṛhe tatpradeśe vā svapedāyāsa śāntaye | prabhāte kṛtanityastu kartā saṃpūjayedgurum || 59 vastrahemāṅgulīyādyairmūrtipādyaissamanvitam | tadante dakṣiṇāṃ datvā pañcaniṣkādi saṃmitām || 60

After completing all the rituals concerned in that night, the Guru may sleep in his house or in the precincts of the temple, in order to get himself relieved from the weariness and such other physical pains. In the next morning, the yajamāna(the main sponsor), having purified himself with bath and other associated rituals, should worship the Guru and honor him by offering new clothes, gold ring and others to him. He should also honor the assisting priests (mūrtipas) associated with the Guru, in the same way. At the end, he should offer the sacrificial fees, which may be five nishkas of gold or more

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61-63

प्रतिमाग्रे घटान्न्यस्त्वा कुम्भाद्बीजं तु विन्यसेत् | वर्धन्या बीजमादाय देवीहृदय मध्यमे || ६१ सहजा चेदुमादेवी भिन्ना चेत्पीठमध्यमे | भिन्नपीठाथवा देवी तद्गतं वा मनुं न्यसेत् || ६२ अन्येभ्यो बीजमादाय पीठस्य परितो न्यसेत् | संपूज्य स्नपनं कुर्यादर्चनोक्तवदर्चयेत् || ६३ दत्वा नैवेद्यं अन्ते तु प्रतिष्ठोत्स्वं आचरेत् |

pratimāgre ghaṭānnyastvā kumbhādbījaṃ tu vinyaset | vardhanyā bījamādāya devīhṛdaya madhyame || 61 sahajā cedumādevī bhinnā cetpīṭhamadhyame | bhinnapīṭhāthavā devī tadgataṃ vā manuṃ nyaset || 62 anyebhyo bījamādāya pīṭhasya parito nyaset | saṃpūjya snapanaṃ kuryādarcanoktavadarcayet || 63 datvā naivedyaṃ ante tu pratiṣṭhotsvaṃ ācaret |

Having placed the kumbhas and kalaśās in front of the image, the Guru should collect the seed-mantras from the kumbha and unite them with the heart of the image. Having collected the seed-mantras from the vardhani, he should unite them with the heart of the image of Devi. This process is applicable when the image of Devi is in the same pedestal provided for Śiva. If the image of Devi is in a separate pedestal, the seed-mantras collected from the vardhani should be united with the center of the pedestal. The seed-mantras collected from the main kumbha should be united with the heart of Devi. Having collected the seed-mantras from the eight kalasas, he should unite them around the pedestal. Then, having worshiped the Lord and Devi, he should perform ‘snapana-abhiṣeka’, according to the directions told for the performance of ‘arcana’. Having offered varieties foods, fruits and others as naivedya at the end, the Guru should conduct the festival related to the installation.

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64-66

कश्चिदस्मिन्विशेषोऽस्ति श्रूयतां द्विजसत्तमाः || ६४ सदाशिवादि देवानां देवी यस्य यथा मता | तथा विधेया सा देवी स्वतन्त्रे देवसद्मनि || ६५ प्रासाद मण्टपादीनां बाह्ये संस्थापिता यदा | तेषां हस्तादि विन्यासः स्वस्वपूर्वादि देशतः || ६६

kaścidasminviśeṣo'sti śrūyatāṃ dvijasattamāḥ || 64 sadāśivādi devānāṃ devī yasya yathā matā | tathā vidheyā sā devī svatantre devasadmani || 65 prāsāda maṇṭapādīnāṃ bāhye saṃsthāpitā yadā | teṣāṃ hastādi vinyāsaḥ svasvapūrvādi deśataḥ || 66

There are some specific rules with regard to the installation of this mūrti. O, the learned Sages!, listen to these directions. The images of various Devis who are the consorts of the relevant forms of the Lord, such as Sadāśiva-mūrti and others, should be designed according to the lineaments pertaining to each from of the Devi. And such images should be installed in a separate shrine within the temple of Lord Śiva. If such separate shrines are to be constructed outside the temple or maṇṭapa or such other constructions, then the rules related to hasta and other types of measures and to the directions such as east and others applicable to each different form are to be observed carefully.

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65-67

यथा वा लभते शोभा बलं तेषां यथा भवेत् | तेषां देव्यश्च तत्पार्श्वे कर्तव्या वा न वा मताः || ६७ स्वतन्त्रे सर्वथा कार्या वृषवाहानकादिषु | दक्षिणेशादि देवानां देव्यो न क्वापि संमताः || ६८ प्रासादभित्ति देवानां प्रतिष्ठा भिन्नगा न वा | एवं मर्त्योऽपि यः कुर्याद्वाञ्छितं फलमाप्नुयात् || ६९

yathā vā labhate śobhā balaṃ teṣāṃ yathā bhavet | teṣāṃ devyaśca tatpārśve kartavyā vā na vā matāḥ || 67 svatantre sarvathā kāryā vṛṣavāhānakādiṣu | dakṣiṇeśādi devānāṃ devyo na kvāpi saṃmatāḥ || 68 prāsādabhitti devānāṃ pratiṣṭhā bhinnagā na vā | evaṃ martyo'pi yaḥ kuryādvāñchitaṃ phalamāpnuyāt || 69

The auspicious appearance and elegance of the image of Devi results in the stability and power of that image. The images of various Devis pertaining to various forms of the Lord may or may not be installed by the side of the concerned Lord. In a shrine exclusively built for the Devi, the images of the relevant vehicles such as the Bull and others should necessarily be installed. Under no circumstance, the image of Devi should be installed by the side of Dakshiṇāmūrti and such other related Mūrtis. The installation of the images of various Deities which are to have their small shrines in the wall of the enclosures may be done jointly or separately. The devotee who is instrumental for the installation of Kalyāṇasundara Mūrti is sure to attain all the fruits desired by him.

65 Directions for the Performance of Marriage Festival

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1-3

वक्ष्ये कल्याणकर्माऽपि सर्वदेवे सनातने | पूर्वोक्त सुभमुहूर्ते तु तद्दिने वाऽपरे दिने || १ तृतीयेऽह्नि चतुर्थे वा दिवाकालेऽर्धरात्रके | प्रपायां मण्टपे वेष्टदेशे गोमयलेपिते || २ स्थण्डिलं तत्र संकल्प्य सितवस्त्रोत्तरच्छदम् | स्थापयेत्तत्र देवेशं भूषितं भूषणार्हकैः || ३

vakṣye kalyāṇakarmā'pi sarvadeve sanātane | pūrvokta subhamuhūrte tu taddine vā'pare dine || 1 tṛtīye'hni caturthe vā divākāle'rdharātrake | prapāyāṃ maṇṭape veṣṭadeśe gomayalepite || 2 sthaṇḍilaṃ tatra saṃkalpya sitavastrottaracchadam | sthāpayettatra deveśaṃ bhūṣitaṃ bhūṣaṇārhakaiḥ || 3

Now I will give instructions for conducting the marriage festival for all the Divine Couples.These instructions are according to the uninterrupted tradition of the Scriptures. This festival may be commenced in the auspicious time fixed already as related to the day of installation, in the second day, in the third day or in the fourth day. This may be performed during the day time or right before the midnight. Within the prapā( a kind of pavilion covered with dry coconut leaves), maṇṭapa or in a desired place, the Guru should design a sthaṇḍila over the ground well besmeared with cow-dung. The sthaṇḍila should be covered with white cloth.Then he should place the Lord well adorned with recommended ornaments over the altar.

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4-6

गेयपञ्चमहाशब्दच्छत्रचामर दर्पणैः | अनेकधूपैः सद्दीपैरानीतं शिबिकादिभिः || ४ प्राङ्मुखं तत्पुरः कृत्वा स्थण्डिलं सिकदादिभिः | देवस्थण्डिलयोर्मध्ये स्थापयएद्वह्निमूर्तिनम् | ५ तस्यैव वामभागेऽजं सौम्यास्यं दक्षिणाननम् | विष्णुं तत्सव्यभागे तु वस्त्राभरण भूषितम् || ६

geyapañcamahāśabdacchatracāmara darpaṇaiḥ | anekadhūpaiḥ saddīpairānītaṃ śibikādibhiḥ || 4 prāṅmukhaṃ tatpuraḥ kṛtvā sthaṇḍilaṃ sikadādibhiḥ | devasthaṇḍilayormadhye sthāpayaedvahnimūrtinam | 5 tasyaiva vāmabhāge'jaṃ saumyāsyaṃ dakṣiṇānanam | viṣṇuṃ tatsavyabhāge tu vastrābharaṇa bhūṣitam || 6

Having mounted the image of the Lord over the palanquin or over the suitable litter, he should bring the Lord to the pavilion accompanied by musical renderings, sounding of specific musical instruments related to the five elements, specially designed umbrella, cāmaras(bunches of grey tails of deers), innumerable incense-holders and lamps. Having placed the image to be facing the east, the Guru should prepare a sthaṇḍila with loose sand and other materials. He should place the Agni-mūrti between the Lord and the sthaṇḍila. He should place Brahma-mūrti who appears with benign look and smile on the left side of the sthaṇḍila so as to be south-faced. Then he should place Viṣṇu-mūrti well adorned with new clothes and ornaments on the right side of the sthaṇḍila.

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7-11

पाद्यमाचमनं दत्वा सदशं चाम्बरद्वयम् | आच्छादनोत्तरीयार्थं गुरुर्दद्यात् प्रभोर्हृदा || ७ स्थण्डिलेऽग्निं विनिक्षिप्य पञ्चसंस्कारं आचरेत् | सषडङ्गं शिवं चेष्ट्वा समिदाज्यान्नकैस्सह || ८ पूर्णाहुतिं तदा दत्वा सर्वाभरण संयुताम् | गौरीं ईश्वरसव्ये तु हृदा संस्थाप्य देशिकः || ९ पाद्यमाचमनं चार्घ्यं दद्यात्तेनैव मन्त्रतः | देव्या मङ्गलसूत्रं तु दद्यात् हृदय मन्त्रतः || १० आच्छादनोत्तरीयार्थं वस्त्रयुग्मं च दापयेत् | अथ पार्श्वे न्यसेल्लक्ष्मीं देव्यास्सर्वाङ्गसुन्दरीम् || ११ कौतुकं बन्धयेद्देवदेव्योस्सर्वात्मना गुरुः

pādyamācamanaṃ datvā sadaśaṃ cāmbaradvayam | ācchādanottarīyārthaṃ gururdadyāt prabhorhṛdā || 7 sthaṇḍile'gniṃ vinikṣipya pañcasaṃskāraṃ ācaret | saṣaḍaṅgaṃ śivaṃ ceṣṭvā samidājyānnakaissaha || 8 pūrṇāhutiṃ tadā datvā sarvābharaṇa saṃyutām | gaurīṃ īśvarasavye tu hṛdā saṃsthāpya deśikaḥ || 9 pādyamācamanaṃ cārghyaṃ dadyāttenaiva mantrataḥ | devyā maṅgalasūtraṃ tu dadyāt hṛdaya mantrataḥ || 10 ācchādanottarīyārthaṃ vastrayugmaṃ ca dāpayet | atha pārśve nyasellakṣmīṃ devyāssarvāṅgasundarīm || 11 kautukaṃ bandhayeddevadevyossarvātmanā guruḥ

Having given ‘pādya’ water, ‘ācamana’ water and ‘arghya’ to Viṣṇu, the Guru should offer two clothes, each beautified with bordering strip, to Viṣṇu to be worn as the waist dress and upper garment. Having deposited fire in the sthaṇḍila, he should do five sacramental rituals to render purity to the fire. Having worshipped the fire with six aṅga-mantras and śiva mūla-mantra, he should offer oblations with faggots, clarified butter, cooked rice and such other things and to complete the ritual he should offer ‘pūrṇa āhuti’. Then, he should place the image of Gauri beautified with all sorts of ornaments on the right side of the Lord with the accompaniment of hṛudaya-mantra. With the same mantra, he should offer ‘pādya’, ācamana’ , ‘arghya’ and the most auspicious thread(maṅgala sūtra) to Gauri. Also, he should offer to Devi, two clothes to be worn as the waist dress and upper garment. Then he should place Lakshmi, all limbs of whose form appear auspiciously beautiful, by the side of Gauri Devi. The Guru should offer the protective thread to the Lord and Devi with the recital of sarvātma-mantra.

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12-14

शिवद्विज कुलोद्भूतस्समधीत शिवागमः || १२ सोष्णिषस्सोत्तरीयश्च धृत पञ्चाङ्ग भूषणः | अनेन गुरुणादिष्टो गुरुरन्यः प्रसन्नधीः || १३ वस्त्रद्वयाङ्गुलीयस्सन् निजदेहं तु विष्णुवत् | ध्यात्वोदकं हृदा दद्यात् कराभ्यां करकेण च || १४ शैवेऽपरे करे भस्म पश्चाद् दद्याद्वयोरपि |

śivadvija kulodbhūtassamadhīta śivāgamaḥ || 12 soṣṇiṣassottarīyaśca dhṛta pañcāṅga bhūṣaṇaḥ | anena guruṇādiṣṭo gururanyaḥ prasannadhīḥ || 13 vastradvayāṅgulīyassan nijadehaṃ tu viṣṇuvat | dhyātvodakaṃ hṛdā dadyāt karābhyāṃ karakeṇa ca || 14 śaive'pare kare bhasma paścād dadyādvayorapi |

The Guru should invite another priest to come near to perform the role of Viṣṇu.The invited priest should be born in the lineage of Ādi Śaivas and he should have well studied the Śaivāgamas. The priest, being adorned with head-dress and upper garment and having adorned his five limbs with relevant ornaments, being with much delighted heart and mind, being dressed with two clothes and wearing the ring, should contemplate his form to be the identical with the form of Viṣṇu. Being with such contemplation and holding the vessel(karaka) in his two hands, he should let the water flow from the vessel with the accompaniment of hṛudaya mantra and offer the water in the hand of Lord Śiva. Then he should offer the sacred vibhūti to both Śiva and Devi.

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15-17

पुण्याहं वाचयेत्पश्चात् सूक्तवेदध्वनीनपि || १५ समिधः षोडशैवाग्नौ शिवेनाङ्गैश्च तर्पयेत् | गुडदुग्धाज्यसंमिश्रं मधुपर्कं हृदा प्रभोः || १६ दद्याद्वक्त्रेण चाचान्तं पुनराज्येन वै हृदा | हुत्वा षोडशसंख्यातं ततस्त्वाज्येन षोडश || १७

puṇyāhaṃ vācayetpaścāt sūktavedadhvanīnapi || 15 samidhaḥ ṣoḍaśaivāgnau śivenāṅgaiśca tarpayet | guḍadugdhājyasaṃmiśraṃ madhuparkaṃ hṛdā prabhoḥ || 16 dadyādvaktreṇa cācāntaṃ punarājyena vai hṛdā | hutvā ṣoḍaśasaṃkhyātaṃ tatastvājyena ṣoḍaśa || 17

Having performed the ‘puṇyāha vācana’ and having recited the prescribed Vedic hymns and mantras, the Guru should make the fire pleased with the offering of sixteen faggots done with the recital of six aṅga-mantras and mūla-mantra. Then he should give ‘madhu parka’ prepared with the mixture of molasses, milk and clarified butter with the recital of hṛudaya mantra. Then, he should give ‘ācamana’ water with the recital of vaktra-mantra. After this, he should offer sixteen oblations into the fire with clarified butter reciting the hṛudaya-mantra and sixteen oblations with the clarified butter reciting the vaktra-mantra.

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18-21

नैवेद्यं सोपदंशं तु दत्वा शान्तिं च वै हृदा | ताम्बूलमपि तेनैव स्तुत्वा परमकारणम् || १८ त्रिंशद्दर्भमितं कृत्वा ग्रन्थियुक्तं द्वितालकम् | शिवहस्तमिति ध्यात्वा गौर्या हृदि हृदा न्यसेत् || १९ तस्मादक्षिण कर्णे तु बीजमुख्यं जपेद्गुरुः | ततो वामेऽश्म संस्थाप्य शालिस्थण्डिलकोपरि || २० पूर्वोक्त शिवहस्तेन देव्या दक्षिणपात्तलम् | संगृह्य विन्यसेत्तस्मिन् अश्मन्येव हृदा गुरुः || २१

naivedyaṃ sopadaṃśaṃ tu datvā śāntiṃ ca vai hṛdā | tāmbūlamapi tenaiva stutvā paramakāraṇam || 18 triṃśaddarbhamitaṃ kṛtvā granthiyuktaṃ dvitālakam | śivahastamiti dhyātvā gauryā hṛdi hṛdā nyaset || 19 tasmādakṣiṇa karṇe tu bījamukhyaṃ japedguruḥ | tato vāme'śma saṃsthāpya śālisthaṇḍilakopari || 20 pūrvokta śivahastena devyā dakṣiṇapāttalam | saṃgṛhya vinyasettasmin aśmanyeva hṛdā guruḥ || 21

`Having offered food varieties associated with various kinds of cooked /fried vegetables for ‘naivedya’, the Guru should offer oblations into the fire with the recital of hṛudaya mantra in order to neutralize the obstacles and inauspiciousness. Then he should offer ‘tāmbūla’(betel leaf, areca nut, cardamom, clove) with the accompaniment of hṛudaya mantra and praise the Lord who is the Ultimate and Primal Cause. Having designed a ‘kūrca’ with thirty darbhas so as to be with a knot and to be with the length equal to twice the length of the palm. Contemplating the ‘kūrca’ as the hand of Śiva, he should touch the heart of Devi with the tip of that ‘kūrca’ reciting the hṛudaya mantra. He should pronoune the primal seed-letter of Śiva in the right ear of Devi. Then the Guru should place the grinding stone over the sthaṇḍila designed with paddy on the left side. As done before, contemplating the ‘kūrca’ as the hand of Śiva, he should grasp the right foot of Devi with the ‘kūrca’ and place it over the grinding stone, reciting the hṛudaya mantra.

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22-23

उष्णीषाद्यैस्ततो विष्णुं तोषयेदीश्वराज्ञया | प्राग्वद्दर्भस्य हस्तस्य कृत्वैवाथ चतुष्टयम् || २२ शिवहस्तद्वयं देव्या हस्तद्वयं इति स्मरेत् | ततस्शिवाग्निं प्रज्वाल्य हस्तैस्तैस्तु विनिक्षिपेत् || २३ अतीव धवलान् लाजान् शुद्धान् अस्त्रेण शोधितान् |

uṣṇīṣādyaistato viṣṇuṃ toṣayedīśvarājñayā | prāgvaddarbhasya hastasya kṛtvaivātha catuṣṭayam || 22 śivahastadvayaṃ devyā hastadvayaṃ iti smaret | tatasśivāgniṃ prajvālya hastaistaistu vinikṣipet || 23 atīva dhavalān lājān śuddhān astreṇa śodhitān |

Then the Guru should offer various things such as the head-dress and others to Viṣṇu and make Him delighted. He should do this, contemplating that Lord has directed him to offer these things to him. As done before, he should design four ‘kūrcas’ to represent the two hands of Śiva and two hands of Devi. Contemplating the ‘kūrcas’ as the hands of Śiva and Śakti, he should kindle the śiva-fire to blaze forth brightly and offer parched paddy grains which are in bright white color and free from husk and other unwanted things and which are purified with the astra mantra, into that fire.

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24-26

देशिकस्य तथान्यस्य साङ्गुलीय करेण च || २४ प्रदद्य हृदयेनैव तस्मिनग्नौ शिवाणुना | अग्नेः प्रदक्षिणं कृत्वा संस्पृश्याश्म ततो गुरुः || २५ द्वितीयं लाजदानं च प्रदक्षिणमनुव्रजेत् | कृत्वैवमपरं चापि व्याहृतिं जुहुयात्ततः || २६

deśikasya tathānyasya sāṅgulīya kareṇa ca || 24 pradadya hṛdayenaiva tasminagnau śivāṇunā | agneḥ pradakṣiṇaṃ kṛtvā saṃspṛśyāśma tato guruḥ || 25 dvitīyaṃ lājadānaṃ ca pradakṣiṇamanuvrajet | kṛtvaivamaparaṃ cāpi vyāhṛtiṃ juhuyāttataḥ || 26

Then, the Guru should give the parched paddy-grains to the priest(in the form of Viṣṇu) and direct him to offer them into the fire with his hand adorned with the gold ring and with the recital of hṛudaya mantra and śiva-mūla-mantra. Having circumambulated the fire-pit and having touched the grinding stone, the Guru should offer the oblations of parched paddy for the second time and do the circumambulation as done before. Having repeated this once again, he should offer the oblations with the recital of ‘vyāhṛuti mantras.’

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27-28

शतमष्टोत्तरं हुत्वा पूर्णां चान्ते शिवेन तु | विसृज्य पावकस्थं तं शिवं साङ्गं तु पूर्ववत् || २७ शिवाग्निं च विसृज्याथ तद् भस्म च विसर्जयेत् | संपूज्य पुष्कलैर्देवान् गन्धपुष्प स्रगादिभिः || २८ ततश्चतुर्थ दिवसे चतुर्थं कर्म कारयेत् |

śatamaṣṭottaraṃ hutvā pūrṇāṃ cānte śivena tu | visṛjya pāvakasthaṃ taṃ śivaṃ sāṅgaṃ tu pūrvavat || 27 śivāgniṃ ca visṛjyātha tad bhasma ca visarjayet | saṃpūjya puṣkalairdevān gandhapuṣpa sragādibhiḥ || 28 tataścaturtha divase caturthaṃ karma kārayet |

Having offered the oblations for 108 times, he should offer the ‘pūrṇa āhuti’ at the end with the accompaniment of śiva-mūla-mantra. Having completed the fire-ritual, he should make Śiva associated with His aṅgas invoked and installed in the fire to leave that fire, as done by him earlier. Then he should also make the śiva-fire to leave the fire-pit and render the ashes to be devoid of the presence of mantras. Having worshipped the Deities in an elaborate way with abundant materials such as sandal, flowers and other things, the Guru should perform all the deeds to be done on the fourth day.

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29-30

तद्दिने वापरे वापि दिवाकालेऽर्धरात्रके || २९ समिदाज्यान्नकैरग्नौ पञ्चसंस्कार संस्कृते | शिवेनैव शतं चाङ्गैः प्रत्येकं दशकं हुनेत् || ३० अघोरास्त्रं शतं हुत्वा पूर्णां दद्याच्छिवाणुना

taddine vāpare vāpi divākāle'rdharātrake || 29 samidājyānnakairagnau pañcasaṃskāra saṃskṛte | śivenaiva śataṃ cāṅgaiḥ pratyekaṃ daśakaṃ hunet || 30 aghorāstraṃ śataṃ hutvā pūrṇāṃ dadyācchivāṇunā

Either in that day or in the next day, either in day time or before midnight, the Guru should perform the fire-ritual by offering oblations into the fire purified by five kinds of sacramental rituals. The oblations should be made with faggots, clarified butter and cooked rice with the accompaniment of śiva-mūla-mantra and aṅga mantras. He should make one hundred oblations with the mūla-mantra and ten oblations with each of the six aṅga mantras. Then, having offered hundred oblations with aghorāstra mantra, he should offer ‘pūrṇa āhuti’ with the recital of śiva-mūla-mantra.

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31-30

शयनं चर्मजाद्यैर्वा पञ्चवस्त्रैस्तु वा नयेत् || ३१ वर्मणा तच्च संपूज्य नवखट्वोपरिस्थितम् | दम्पती तत्र विन्यस्य चापूपाद्यैस्तु तोषयेत् || ३२ स्नपनं कारयेन्नो वा तदन्ते तु शिवोत्सवम्

śayanaṃ carmajādyairvā pañcavastraistu vā nayet || 31 varmaṇā tacca saṃpūjya navakhaṭvoparisthitam | dampatī tatra vinyasya cāpūpādyaistu toṣayet || 32 snapanaṃ kārayenno vā tadante tu śivotsavam

The bed may be designed with hide and such other materials or with five kinds of clothes. Having worshipped the bed with the kavaca-mantra, the Guru should spread it over the newly made couch. He should place Śiva and Śakti over the bed and make them delighted by offering sweets and various kinds of eatables. The ‘snapana-abhishekam’ may or may not be performed .At the end, festival for Śiva and Śakti(Kalyāṇotsava) should be performed.

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33-36

चलं चेदचलं चेत्तु स्थापयेत्तु सहासने || ३३ देवं देवीं श्रियं विद्वान् वह्निं तत्पुरतो नयेत् | वह्नेर्वामेऽप्यवामेऽजं हरिं वा विपरीततः || ३४ एवमेवान्य देवानां कर्म वैवाह्यं आचरेत् | भिन्नपीठाम्बिकानां तु मूललिङ्गस्य च द्विजाः || ३५ किं तु श्रीहरि बेराभ्यां ब्रह्म बेरेण वोज्झितम् | गन्धाद्यैः स्थण्डिले तत्र तानभ्यर्च्यैव कारयेत् || ३६

calaṃ cedacalaṃ cettu sthāpayettu sahāsane || 33 devaṃ devīṃ śriyaṃ vidvān vahniṃ tatpurato nayet | vahnervāme'pyavāme'jaṃ hariṃ vā viparītataḥ || 34 evamevānya devānāṃ karma vaivāhyaṃ ācaret | bhinnapīṭhāmbikānāṃ tu mūlaliṅgasya ca dvijāḥ || 35 kiṃ tu śrīhari berābhyāṃ brahma bereṇa vojjhitam | gandhādyaiḥ sthaṇḍile tatra tānabhyarcyaiva kārayet || 36

These directions are to be followed, if the images are moveable(cala bimbas). If the images are to be immoveable, the learned Guru should install the images in one and the same pedestal. The image of fire-god should be placed in front of the Śiva, Devi and Lakshmi. Brahma should be placed in the left side of the fire-god and Viṣṇu should be placed in the right side of the fire. Or, they may be placed in the contradictory way (Brahma in the right side and Viṣṇu in the left side). Marriage festival should be conducted for other Deities in the same way. O, the twice-born Sages!, to perform the marriage festival for the mūla-liṅga and the Devi installed in a separate pedestal, the images of Lakshmi, Viṣṇū and Brahma may be left out and the Guru should worship them in a sthaṇḍila with sandal, flowers and other substances and continue the remaining activities.

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37-40

मूललिङ्गस्य चोद्बाह्ये गर्भागारात्तु मण्टपे | विन्यस्य स्थण्डिले देवीं कर्म वैवाहिकं नयेत् || ३७ प्रतिष्ठाकर्म यः कुर्याद् एवं कल्याणमूर्तिनः | स्वबन्धुजनवर्गैस्तु सर्वैरेतैरतन्द्रितः || ३८ आयुः श्रीकीर्ति संयुक्तः पुत्रपौत्रादि संयुतः | इह लोके सुखं प्राप्य नृपाणामपि दुर्लभम् || ३९ गच्छेत्स्वदेह पातान्ते शिवं स्थानं अनुत्तमम् | यद्गत्वा न निवर्तन्ते मम भक्ता द्विजोत्तमाः || ४०

mūlaliṅgasya codbāhye garbhāgārāttu maṇṭape | vinyasya sthaṇḍile devīṃ karma vaivāhikaṃ nayet || 37 pratiṣṭhākarma yaḥ kuryād evaṃ kalyāṇamūrtinaḥ | svabandhujanavargaistu sarvairetairatandritaḥ || 38 āyuḥ śrīkīrti saṃyuktaḥ putrapautrādi saṃyutaḥ | iha loke sukhaṃ prāpya nṛpāṇāmapi durlabham || 39 gacchetsvadeha pātānte śivaṃ sthānaṃ anuttamam | yadgatvā na nivartante mama bhaktā dvijottamāḥ || 40

Having designed a sthaṇḍila in the manṭapa which is in front of the main shrine , the Guru should conduct the marriage festival for the mūla-liṅga and the Devi. The devotee who arranges for the installation of Kalyāṇamūrti would be blessed immediately with longevity, wealth, celebrity, sons and grandsons; even his relatives belonging to varoius groups would be blessed with these benefits, without any delay. Having enjoyed a virtuous and pleasant life associated with all sorts of comforts which are very difficult to be obtained by the worldly people, he would reach the abode of Śiva superior to which there is nothing, after shedding his physical body on the earth. O, the foremost Sages!, the abode of Śiva to be attained by him is the one reaching which my devotees never come back to this world.

66 Directions for the Installation of Ardhanārīśvara Mūrti

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1-3

विष्णुमूर्ति प्रतिष्ठां तु वक्ष्ये तल्लक्षणान्वितम् | द्रव्यैः शिलादिभिः कुर्यात् प्रतिमां तु विशेषतः || १ उमार्धं वामभागं तु हरार्धं दक्षिणं वपुः | सजटामकुटं दक्ष शश्यर्धाङ्कितं अग्रजाः || २ करण्डमकुटं वामं अळकेन समन्वितम् | ललाट दक्षिणे भागे नयनार्धेन संयुतम् || ३

viṣṇumūrti pratiṣṭhāṃ tu vakṣye tallakṣaṇānvitam | dravyaiḥ śilādibhiḥ kuryāt pratimāṃ tu viśeṣataḥ || 1 umārdhaṃ vāmabhāgaṃ tu harārdhaṃ dakṣiṇaṃ vapuḥ | sajaṭāmakuṭaṃ dakṣa śaśyardhāṅkitaṃ agrajāḥ || 2 karaṇḍamakuṭaṃ vāmaṃ aḷakena samanvitam | lalāṭa dakṣiṇe bhāge nayanārdhena saṃyutam || 3

Now, I will speak on the installation of ‘Half-Śiva, Half-Uma’ form and Half-Śiva, Half- Hari’ form associated with the description of the lineaments of these forms. These images could be made in a specific way with stone and other such materials. In the form of Ardhanārīśvara, the left half is Umā and the right side of the form is Śiva. O, the twice- born Sages!, the right side is associated with the crown of matted hair beautified with half-moon. The left side appears with ‘karaṇḍa makuṭa’(a type of crown) associated with curly hair falling on the forehead. The right side of the forehead is associated with half of the fiery eye.

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4-6

पत्रं तु वामकर्णे स्याद्वाळिकेनापि संयुतम् | सनक्र कुण्डलं सव्ये तं विना वाथ कारयेत् || ४ सव्ये टङ्काभयौ हस्ते उत्पलं वामगे करे | देव्यध्यायोदितास्त्रं वा दर्पणासक्त लोचनम् || ५ दर्पणं मुखवृत्तं स्यात्तन्मुष्टिस्स्यात्तदर्धतः | तत्पुच्छं मुकुलाकारं पादे शोभाविराजितम् || ६

patraṃ tu vāmakarṇe syādvāḷikenāpi saṃyutam | sanakra kuṇḍalaṃ savye taṃ vinā vātha kārayet || 4 savye ṭaṅkābhayau haste utpalaṃ vāmage kare | devyadhyāyoditāstraṃ vā darpaṇāsakta locanam || 5 darpaṇaṃ mukhavṛttaṃ syāttanmuṣṭissyāttadardhataḥ | tatpucchaṃ mukulākāraṃ pāde śobhāvirājitam || 6

The left ear is adorned with the rolled leaf(thōḍu, in Tamil). This ear may be adorned with vāḷikā (a kind of ear-ring)in addition to the leaf. The right ear is adorned with the ring designed in the form of alligator. Or, the right ear may be without any ornament. The two hands in the right side are holding the ‘abhaya mudrā’ and hatchet. One of the left hands is holding the ‘utpala’ flower and the other hand on the left side is holding a weapon as told in the chapter dealing with the lineaments of Umā. Or, this hand may be shown as holding a mirror , its top raised to the level of left eye. The size of the mirror should be equal to the face-measure; its moulded part, with a half of that measure; its bottom part, appearing like a flower-bud and its foot designed to be with elegance and resplendence.

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7-8

उमाभागं स्तनोपेतं चित्रवस्त्र परिच्छदम् | व्याघ्राजिनाम्बरं सव्यपादं कुञ्चितं इष्यते || ७ सुस्थितं वामचरणं नूपुरेणाप्यलङ्कृतम् | आभङ्गसहितं तच्च कोलकाङ्गुलकैर्नतिः || ८ वामं मरकताभं स्याद् दक्षिणं मणिसन्निभम्

umābhāgaṃ stanopetaṃ citravastra paricchadam | vyāghrājināmbaraṃ savyapādaṃ kuñcitaṃ iṣyate || 7 susthitaṃ vāmacaraṇaṃ nūpureṇāpyalaṅkṛtam | ābhaṅgasahitaṃ tacca kolakāṅgulakairnatiḥ || 8 vāmaṃ marakatābhaṃ syād dakṣiṇaṃ maṇisannibham

The left side belonging to Umā appears with well raised breast and covered with multi- colored garment. The right side is attired with tiger-skin. The right foot is raised and bent a little and the left foot adorned with anklet is firmly placed over the pedestal.The left side appears with a flexion , the bent being with a measue of kōlaka-aṅgula(two digits of the aṅgula with reference to that image). The left side appears in the color of emerald and the right side is in the color of ruby.

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9-12

नाभिहृन्मेढ्र देशेभ्यो वामे दक्षे च वामके || ९ चन्द्रे तु भागान् हित्वाग्रे स्थिताङ्घ्रेर्मध्यमे नयेत् | सूत्रमुत्पल हस्तोच्चं चूचुकां तदनन्तरम् || १० द्वादशाङ्गुलं इत्युक्तं विश्वाङ्गुलं अथापि वा | पार्श्वमध्यम बाह्वोस्तु मध्यमं तु षडङ्गुलम् || ११ अङ्गुष्ठपार्ष्णे मध्यं तु तिथिभूताङ्गुलं भवेत् | चन्द्रशेखरवच्छेषं कर्तव्यं हि मुनीश्वराः || १२

nābhihṛnmeḍhra deśebhyo vāme dakṣe ca vāmake || 9 candre tu bhāgān hitvāgre sthitāṅghrermadhyame nayet | sūtramutpala hastoccaṃ cūcukāṃ tadanantaram || 10 dvādaśāṅgulaṃ ityuktaṃ viśvāṅgulaṃ athāpi vā | pārśvamadhyama bāhvostu madhyamaṃ tu ṣaḍaṅgulam || 11 aṅguṣṭhapārṣṇe madhyaṃ tu tithibhūtāṅgulaṃ bhavet | candraśekharavaccheṣaṃ kartavyaṃ hi munīśvarāḥ || 12

The reference line(thread) should pass through the left navel, right of the heart and left of the genital organ. Its top should touch the half-moon on the head, leaving out a portion of it. Its bottom should lie in between the feet. The side line should reach the height of the hand holding the utpala-flower. The space between this line and the nipple may be 12 aṅgulas or 16 aṅgulas. The midpoint between the shoulders and the sides should measure six aṅgulas. The distance between the toes should be fifteen aṅgulas and that between the heels should be five aṅgulas.

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13-15

अर्धनारीश्वरो ह्येवं हर्यर्धं शृणुत द्विजाः | प्राग्वत् कृत्वा महेशार्धं विष्ण्वर्धमितरत्र च || १३ भुजद्वययुतं शङ्ख कटकस्तत्र संमतः | पीताम्बर समोपेतं सर्वाभरण संयुतम् || १४ चन्द्रशेखरवच्छेषं सूत्रपातादिकं भवेत् | हर्यर्धमेवं ब्रह्मादिभागं चैवं समाचरेत् || १५

ardhanārīśvaro hyevaṃ haryardhaṃ śṛṇuta dvijāḥ | prāgvat kṛtvā maheśārdhaṃ viṣṇvardhamitaratra ca || 13 bhujadvayayutaṃ śaṅkha kaṭakastatra saṃmataḥ | pītāmbara samopetaṃ sarvābharaṇa saṃyutam || 14 candraśekharavaccheṣaṃ sūtrapātādikaṃ bhavet | haryardhamevaṃ brahmādibhāgaṃ caivaṃ samācaret || 15

The image of Ardhanārīśvara should be made in this way. O, the twice-born Sages!, then listen to the instructions related to the Haryardha Mūrti(Half Viṣṇu and Half Śiva). Having designed half form of Maheśvara as explained earlier, the remaining half of Uma should be designed so as to be in the half form of Viṣṇu. The left side is with two hands holding the conch and kaṭaka. The left side should be decorated with pītāmbara(cloth in the color of whitish yellow) and beautified with all suitable ornaments. The reference lines(sūtras) should be marked according to the directions set forth for the form of Candraśekhara Mūrti. The image of Haryardha Mūrti should be made in this way. In the same way, the part belonging to Brahma and others may also be designed.

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16-18

बेरमेवं समापाद्य प्रतिष्ठां कारयेत्ततः | तां प्रतिष्ठां च विप्रेन्द्राः शृणुध्वं हि समामतः || १६ कालः पूर्व समादिष्टस्तद्वदेवाङ्कुरार्पणम् | रत्नन्यासाक्षिमोक्षौ च मृदाद्यैर्बेरशोधनम् || १७ प्रदक्षिणं पुरादीनां उदके चाधिवासनम् | सामान्य स्थापनप्रोक्त मार्गेणैव समाचरेत् || १८

beramevaṃ samāpādya pratiṣṭhāṃ kārayettataḥ | tāṃ pratiṣṭhāṃ ca viprendrāḥ śṛṇudhvaṃ hi samāmataḥ || 16 kālaḥ pūrva samādiṣṭastadvadevāṅkurārpaṇam | ratnanyāsākṣimokṣau ca mṛdādyairberaśodhanam || 17 pradakṣiṇaṃ purādīnāṃ udake cādhivāsanam | sāmānya sthāpanaprokta mārgeṇaiva samācaret || 18

Having designed the image perfectly, the Guru should then perform the rituals related to the installation. O, the supreme ones among the twice-borns!, now listen to the instructions related to the installation of Umārdha Mūrti and Viṣṇvardha Mūrti, with concentrated mind. As explained earlier, ascertainment of auspicious time, and offering of fresh sprouts should be done first. Fixing the gems on various parts of the images, opening the eyes of the images, purification of the images with lose earth and such other substances, procession around the city or village, keeping the images immersed in water – all these activities should be done according to the directions given in the chapter dealing with common installation.

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19-20

किं त्वर्धभागं देवाणुसंयुक्तं कारयेद्गुरुः | मुखवासग्रहेष्वेक कुण्डं तु परिकल्पयेत् || १९ प्राच्यैशदक्षे वेदाश्रं कुण्डमेकं तु कल्पयेत् | शिल्पिनं तु विसृज्याथ विप्रान् संभोजयेत्ततः || २०

kiṃ tvardhabhāgaṃ devāṇusaṃyuktaṃ kārayedguruḥ | mukhavāsagraheṣveka kuṇḍaṃ tu parikalpayet || 19 prācyaiśadakṣe vedāśraṃ kuṇḍamekaṃ tu kalpayet | śilpinaṃ tu visṛjyātha viprān saṃbhojayettataḥ || 20

But, in this installation, the Guru should recite the mūla-mantra pertaining to each half of the image. He should construct nine or five fire-pits or one fire-pit within the sacrificial pavilion. If only one fire-pit is to be made, he should design it to be in the shape of square, in the east , in the north-east or in the north. Having relieved the śilpi with due honours, he should arrange for the feeding of the learned Brahmins.

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21-22

पुण्योदसेचनं कृत्वा स्थण्डिलं च ततो नयेत् | शयनं कल्पयेत्तस्मिन् स्नपनं कौतुकं पृथक् || २१ बन्धयेद्देशिको धीमान् उभयोः पूर्वहस्तयोः | शयनारोहणं कृत्वा शाययेद्देवं आदरात् || २२

puṇyodasecanaṃ kṛtvā sthaṇḍilaṃ ca tato nayet | śayanaṃ kalpayettasmin snapanaṃ kautukaṃ pṛthak || 21 bandhayeddeśiko dhīmān ubhayoḥ pūrvahastayoḥ | śayanārohaṇaṃ kṛtvā śāyayeddevaṃ ādarāt || 22

Having done the ‘sprinkling of consecrated water’, he should design a sthaṇḍila and couch, arrange for ‘snapana’ and offer the protective thread. The Guru who is well-versed in the Scriptures should tie up the protective thread in both the right arm and the left arm of the image. Having performed the rituals concerned with ‘śayanārohaṇa’, he should place the image so as to be in recumbent posture, with devoted heart.

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23-24

शिरः प्रदेशे देवस्य शिवकुम्भं तु विन्यसेत् | उमोत्तमाङ्गदेशे तु वर्धनीं विन्यसेद्गुरुः || २३ विष्णुच्चेत्तच्छिरोदेशे विष्णुकुम्भं तु विन्यसेत् | तत्तत्कायार्धभागं तु तत्र ध्यात्वा यजेद्गुरुः || २४

śiraḥ pradeśe devasya śivakumbhaṃ tu vinyaset | umottamāṅgadeśe tu vardhanīṃ vinyasedguruḥ || 23 viṣṇuccettacchirodeśe viṣṇukumbhaṃ tu vinyaset | tattatkāyārdhabhāgaṃ tu tatra dhyātvā yajedguruḥ || 24

He should place the śiva-kumbha on the head-side of the half belonging to Śiva and vardhani-kalaśa on the head-side of the half belonging to Umā. For the Viṣṇvardha Mūrti, he should place the viṣṇu-kumbha on the head side of the half-image belonging to Viṣṇu. The Guru should meditate on the combined form of Śiva and Umā or Śiva and Viṣṇu and proceed to worship the form.

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25-26

परितोऽष्टघटान्न्यस्त्वा विद्येशाधिष्ठितान्न्यसेत् | गन्धस्रग्धूपनैवेद्य प्रमुखैर्देशिकोत्तमः || २५ तत्त्वतत्त्वेश्वरन्यासं कृत्वा व्याप्तिं च भावयेत् | क्ष्मादि मूर्त्यष्टकं न्यस्त्वा मूर्तीशानपि विन्यसेत् || २६

parito'ṣṭaghaṭānnyastvā vidyeśādhiṣṭhitānnyaset | gandhasragdhūpanaivedya pramukhairdeśikottamaḥ || 25 tattvatattveśvaranyāsaṃ kṛtvā vyāptiṃ ca bhāvayet | kṣmādi mūrtyaṣṭakaṃ nyastvā mūrtīśānapi vinyaset || 26

Having arranged eight vessels(ghaṭas) around the main kumbha, he should render them to be occupied by eight Vidyeśvaras. The foremost Guru should worship them with sandal, flowers, garlands, incense , naivedya and such other offerings. Having done the nyāsa of Tattvas and Tattveśvaras, he shoud contemplate the realm pervaded by them. Having done the nyāsa of eight Mūrtis, Earth and others, he should do the nyāsa of eight Mūrtiśvaras.

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27-28

मूर्तीशानां तु विन्यासे विशेषः कश्चिदिष्यते | शर्वं च पशुपत्युग्ररुद्रांश्चैतान्बलोत्कटान् ||| २७ धात्रीं विभ्वीमथेन्द्रादि काष्ठादि क्रमशो न्यसेत् | विष्ण्वर्धस्थापने शर्व पशुपत्युग्र रुद्रकान् || २८ पुरुष्टुतं च विष्णुं च गोविन्दं वित्तनाथकम् |

mūrtīśānāṃ tu vinyāse viśeṣaḥ kaścidiṣyate | śarvaṃ ca paśupatyugrarudrāṃścaitānbalotkaṭān ||| 27 dhātrīṃ vibhvīmathendrādi kāṣṭhādi kramaśo nyaset | viṣṇvardhasthāpane śarva paśupatyugra rudrakān || 28 puruṣṭutaṃ ca viṣṇuṃ ca govindaṃ vittanāthakam |

With regard to the ‘mūrti-nyāsa’ , there is a specific direction to be observed. In the case of Umārdha Mūrti, the eight Mūrtīśvaras are: Śarva, Paśupati, Ugra, Rudra, Cetanā, Balotkaṭī, Dhātrī and Vibhvī. These are to be invoked in the eight directions starting from the east. In the case of Viṣṇvardha Mūrti, the eight Mūrtīśvaras are: Śarva, Paśupati, Ugra, Rudra, Puruṣṭuta, Viṣṇu, Govinda and Lakshmīnāyaka.

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29-31

पञ्चमूर्त्यात्मके न्यासे मूर्तयः पूर्व वर्त्मना || २९ ब्रह्माणं केशवं रुद्रं ज्ञानीमिच्छां तु पश्चिमात् | न्यसेद्गौर्यर्ध पक्षे तु ब्रह्म विष्णू च रुद्रकम् || ३० जनार्दनं ततस्संयक् पुरुष्टुतमथाप्यथ | न्यसेद्विष्ण्वर्ध पक्षे तु पञ्चमूर्तीश्वरानपि || ३१

pañcamūrtyātmake nyāse mūrtayaḥ pūrva vartmanā || 29 brahmāṇaṃ keśavaṃ rudraṃ jñānīmicchāṃ tu paścimāt | nyasedgauryardha pakṣe tu brahma viṣṇū ca rudrakam || 30 janārdanaṃ tatassaṃyak puruṣṭutamathāpyatha | nyasedviṣṇvardha pakṣe tu pañcamūrtīśvarānapi || 31

With regard to the nyāsa of five Mūrtis, the directions belonging to the five Mūrtis are as told earlier. For Umārdha Mūrti, the five Murits are: Brahma, Keśava, Rudra, Jñānī and Ichhā, in the order of west, north, south, east and the center. For Viṣṇvardha Mūrti, the five Mūrtis are: Brahma, Viṣṇu, Rudra, Janārdana and Puruṣṭuta, in the same order of directions. The nyāsa of these Mūrtis should be done by the Guru.

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32-33

शिवांशे शिवमन्त्रं तु न्यसेदन्यत्र तन्मनुम् | ईशादि संहितामन्त्रान् देवस्यार्धे तु विन्यसेत् || ३२ तत्रैव योजयेदन्य देवोक्तेशाद्यणून्मनून् | एवमेवान्य मन्त्रांश्च युक्त्या ज्ञात्वैव विन्यसेत् || ३३

śivāṃśe śivamantraṃ tu nyasedanyatra tanmanum | īśādi saṃhitāmantrān devasyārdhe tu vinyaset || 32 tatraiva yojayedanya devokteśādyaṇūnmanūn | evamevānya mantrāṃśca yuktyā jñātvaiva vinyaset || 33

The nyāsa of śiva-mantras should be done for the right side of the image belonging to Śiva. The nyāsa of the mantras related to the Deity to which the left side belongs should be done by the Guru. The samhitā-mantras beginning from Iśāna should be identified with the half part belonging to Śiva. The mantras, Iśāna and others pertaining to the other Deity, should be identified with left half belonging to that Deity. In the same way, he should do the nyāsa of the mantras, having known well the mantras pertaining to the other Deities.

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34-36

संस्कृत्य कुण्डमन्ते तु जनयेत्तत्र पावकम् | आवाह्य मूर्तिमूर्तीशांस्तत्तद्दिक्षु व्यवस्थितान् || ३४ समिदाज्यान्न लाजैश्च तिलवेणुयवैरपि | होमयेत् सर्वमन्त्रैश्च प्रधाने पूर्ववद्गुरुः || ३५ पलाशोदुम्बराश्वत्थ वटाः प्रागादि दिक्षु च | शम्यपामार्ग श्रीवृक्ष मायुरा वह्निकोणतः || ३६

saṃskṛtya kuṇḍamante tu janayettatra pāvakam | āvāhya mūrtimūrtīśāṃstattaddikṣu vyavasthitān || 34 samidājyānna lājaiśca tilaveṇuyavairapi | homayet sarvamantraiśca pradhāne pūrvavadguruḥ || 35 palāśodumbarāśvattha vaṭāḥ prāgādi dikṣu ca | śamyapāmārga śrīvṛkṣa māyurā vahnikoṇataḥ || 36

After that, the Guru should perform the sacramental rituals to the fire-pit and create and kindle the fire there. Having invoked the Mūrtis and Mūrtīśvaras who are present in their respective directions, the Guru should perform the fire-ritual. As done before, he should offer the oblations into the main fire-pit with the faggots, clarified butter, cooked rice, parched paddy, sesame, bamboo rice and yava-grains, with the accompaniment of all the relevant mantras. The faggots of palāśa tree, udumbara, aśvattha and vaṭa should be offered in the fire-pits constructed in the east, south, west and north. The faggots of śami, apāmārga, śrīvṛuksha and māyūra should be offered in the fire-pits designed in the south- east, south-west, north-west and north-east. The faggots of palāśa should be offered in the main fire-pit. In the case of Viṣṇvardha Mūrti, there is a specific direction with regard to the faggot. Both tulasī and palāśa should be offered in the principal fire-pit.

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38-39

ततो द्वितीये दिवसे देवान् कुम्भांश्च पावकान् | यजेद्गन्धादिभिश्चैवं वस्त्रहेमाङ्गुलीयकैः || ३८ मूर्तिपाद्यैर्गुरुं चेष्ट्वा दक्षिणां दापयेत्ततः | शुभे मुहूर्ते संप्राप्ते मन्त्रन्यासं समाचरेत् || ३९

tato dvitīye divase devān kumbhāṃśca pāvakān | yajedgandhādibhiścaivaṃ vastrahemāṅgulīyakaiḥ || 38 mūrtipādyairguruṃ ceṣṭvā dakṣiṇāṃ dāpayettataḥ | śubhe muhūrte saṃprāpte mantranyāsaṃ samācaret || 39

Then, on the second day, the Guru should worship the Deities, kumbhas and the fire-pits with sandal, flowers and such other substances. The chief sponsor(yajamāna) should honor the Chief Ācārya and the assisting priests(mūrtipas) with new clothes, gold ring and other valuable things and present the sacrificial fees to them. Upon the onset of ascertained auspicious time, the Guru should perform the mantra-nyāsa for the image.

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40-41

कुम्भान्मनूंश्च वर्धन्या शिवोमांशे क्रमान्न्यसेत् | विष्ण्वर्धपक्षे वर्धन्या मनुं पीठे तु विन्यसेत् || ४० कृष्णस्य कुम्भात् कृष्णस्य बीजं कृष्ण हृदि न्यसेत् | अन्येभ्यो बीजमादाय तत्पीठे परितो न्यसेत् || ४१

kumbhānmanūṃśca vardhanyā śivomāṃśe kramānnyaset | viṣṇvardhapakṣe vardhanyā manuṃ pīṭhe tu vinyaset || 40 kṛṣṇasya kumbhāt kṛṣṇasya bījaṃ kṛṣṇa hṛdi nyaset | anyebhyo bījamādāya tatpīṭhe parito nyaset || 41

Having collected the seed-mantras from the śiva-kumbha and the vardhanī, the Guru should unite them with the half part belonging to Śiva and the half part belonging to Umā, respectively. In the case of Viṣṇvardha Mūrti, the seed-mantras collected from the vardhanī should be united with the pedestal. Having collected the seed-mantras from the Viṣṇu kumbha, he should unite them with the heart of Viṣṇu to whom the left half of the image belongs. Having collected the seed-mantras from the eight kalasas, he should unite them around the pedestal.

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42-43

उत्सवं स्नपनं भूरि नैवेद्यं कारयेन्न वा | अनुक्तमत्र संग्राह्यं तद्देवस्थापनोदितम् || ४२ विष्णूमार्ध प्रतिष्ठा तु कथिता भुक्तिमुक्तिदा || ४३

utsavaṃ snapanaṃ bhūri naivedyaṃ kārayenna vā | anuktamatra saṃgrāhyaṃ taddevasthāpanoditam || 42 viṣṇūmārdha pratiṣṭhā tu kathitā bhuktimuktidā || 43

The festival related to the installation, ‘snapana abhiṣekam’ and offering of food items, fruits and eatables in an abundant measure – these may be performed according to the resources available or these may be left out. Those matters which have not been told here with regard to these forms should be known by going thorough the concerned chapters of this Āgama. It has been ascertained in the Scriptures that the installation of Umārdha Mūrti and Viṣṇvardha Mūrti is capable of yielding the virtuous enjoyments in this world and the final liberation.

67 Directions for the Installation of Trimūrti

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1-2

त्रिमूर्ति स्थापनं वक्ष्ये तल्लक्षण पुरस्सरम् | रक्तवर्णस्त्रिणेत्रश्च वरदाभय हस्तकः || १ कृष्णा परसु संयुक्तो जटामकुट मण्डितः | ऋज्वागतस्तथैकेन पादेनापि समन्वितः || २

trimūrti sthāpanaṃ vakṣye tallakṣaṇa purassaram | raktavarṇastriṇetraśca varadābhaya hastakaḥ || 1 kṛṣṇā parasu saṃyukto jaṭāmakuṭa maṇḍitaḥ | ṛjvāgatastathaikena pādenāpi samanvitaḥ || 2

Now, I will speak on the process of installation of Trimūrti along with the detailed lineaments of the form. Trimūrti is red-hued and He appears with four hands, two lower hands holding abhaya mudra and varada mudra and the two upper hands holding antelope and hatchet; His head is adorned with the crown of matted hair. He appears with one foot, the part from the foot up to the hip being straight and sturdy.

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3-4

दक्षिणोत्तरयोश्चैव पार्श्वयोरुभयोरपि | कटिप्रदेशादूर्ध्वे तु ब्रह्मविष्ण्वर्ध काययुक् || ३ स्त्रीमानवत्तयोर्मानं ब्रह्मविष्ण्वोस्तु कल्पयेत् | कृताञ्जलि पुटावेक पादयुक्तो च वा मतौ || ४

dakṣiṇottarayoścaiva pārśvayorubhayorapi | kaṭipradeśādūrdhve tu brahmaviṣṇvardha kāyayuk || 3 strīmānavattayormānaṃ brahmaviṣṇvostu kalpayet | kṛtāñjali puṭāveka pādayukto ca vā matau || 4

Above the hip level, His form is associated with the half-form of Brahma and half-form of Viṣṇu, both on his right side and left side. The form of Brahma and that of Viṣṇu should be sculpted according to the system of proportionate measurement(tāla māna) applicable to the female form. Brahma and Viṣṇu should be shown as holding ‘añjali mudra’. They may or may not be shown as associated with one foot.

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5-6

अथवा शिवलिङ्गस्य पार्श्वयोर्न गतौ तु तौ | अथवा तौ पृथक्स्थाप्यावेकविष्टरमास्थितौ || ५ अथवा मध्यमे लिङ्गं पृथगालय संस्थितम् | तस्य सव्येप्यसव्ये च ब्रह्मविष्णू तथा मतौ || ६

athavā śivaliṅgasya pārśvayorna gatau tu tau | athavā tau pṛthaksthāpyāvekaviṣṭaramāsthitau || 5 athavā madhyame liṅgaṃ pṛthagālaya saṃsthitam | tasya savyepyasavye ca brahmaviṣṇū tathā matau || 6

Or, the form of Brahma and that of Viṣṇu may be shown as standing on both sides of Śivaliṅga or as appearing over the pedestal with half form(from the hip to head). Or, Brahma and Viṣṇu may be shown as standing on a separate stool on both sides of the pedestal of Śivaliṅga. Or, having constructed a shrine for the Śivaliṅga in the middle, separate shrine for Brahma on the right side of the Liṅga-shrine and another shrine for Viṣṇu on the left side of the Liṅga shrine may be built. These three shrines are considered colectively as the form of Trimūrti.

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7-9

पृथग्धामस्थितावैक धामस्था वा त्रिमूर्तयः | संश्लिष्ट धामयुक्ता वा ब्रह्मविष्णुशिवा मताः || ७ पूर्वास्याः पश्चिमास्या वा परिवारादि संयुताः | भिन्न प्राकारगा वापि एकप्राकार संस्थिताः || ८ नृत्तमूर्त्यादि देवा वा स्थापनीयास्तु मध्यमे | एवं लक्षणं आदिष्टं प्रतिष्ठा विधिरुच्यते || ९

pṛthagdhāmasthitāvaika dhāmasthā vā trimūrtayaḥ | saṃśliṣṭa dhāmayuktā vā brahmaviṣṇuśivā matāḥ || 7 pūrvāsyāḥ paścimāsyā vā parivārādi saṃyutāḥ | bhinna prākāragā vāpi ekaprākāra saṃsthitāḥ || 8 nṛttamūrtyādi devā vā sthāpanīyāstu madhyame | evaṃ lakṣaṇaṃ ādiṣṭaṃ pratiṣṭhā vidhirucyate || 9

These three forms may be installed in separate shrines or in one and the same shrine. The three shrines may be combined so as to be considered as a single shrine or these three shrines may be left out as they are without getting joined. These three Lords may me installed so as to be facing east or west. They may be shown as associated with retinue Deities or as without the retinue Deities. They may be in different enclosures or may be in one and the same enclosure. The images of Naṭarāja and of others may be installed in the middle of these shrines. Thus, the characteristics of the form of Trimūrti have been told. Now, the directions for the installation are told.

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10-12

शिवलिङ्ग प्रतिष्ठा च ब्रह्मणः केशवस्य च | तत्तदध्याय संसिद्धाः कर्तव्या मुनिपुङ्गवाः || १० इदानीं एकपादस्य प्रतिष्ठा विधिरुच्यते | पूर्ववत् काल इत्युक्तस्तद्वदेवाङ्कुरार्पणम् || ११ रत्न न्यासं च दृङ्मोक्षं बेरशुद्धिं पृथङ्नयएत्| प्रदक्षिणं जलवासं च मण्टपं पूर्ववन् नयेत् || १२

śivaliṅga pratiṣṭhā ca brahmaṇaḥ keśavasya ca | tattadadhyāya saṃsiddhāḥ kartavyā munipuṅgavāḥ || 10 idānīṃ ekapādasya pratiṣṭhā vidhirucyate | pūrvavat kāla ityuktastadvadevāṅkurārpaṇam || 11 ratna nyāsaṃ ca dṛṅmokṣaṃ beraśuddhiṃ pṛthaṅnayaet| pradakṣiṇaṃ jalavāsaṃ ca maṇṭapaṃ pūrvavan nayet || 12

The process of installation of Śivaliṅga, Brahma and Viṣṇu has already been vividly told in the concerened chapters of this Āgama. These three forms, collectively known as Trumūrti, should be installed according to the directions given there. Now, the process of installation of Ekapāda Trimūrti is explained here. Ascertaining of auspicious time and offering of fresh sprouts should be performed as done before. Fixing the gems on various parts of the image, opening the eyes of the image, purification of the image – all these should be done separately for each form. Procession of the images around the city or village, immersion of the images in the water, construction of sacrificial pavilion – all these should completed as done before.

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13-15

कुण्डानि कारयेत् तत्र नवपञ्चैक संख्यया | दिगश्राण्यथ वृत्तानि चतुरश्राणि तानि वा || १३ तक्षकोद्वासनं विप्रभुक्तिं पुण्योदसेचनम् | स्थण्डिलं शयनं स्नानं कौतुकानां च बन्धनम् || १४ ब्रह्मविष्णु हराणां च दक्षहस्ते तु वै पृथक् | शयनारोहणं कुम्भस्थापनं पूर्ववन्नयएत् || १५

kuṇḍāni kārayet tatra navapañcaika saṃkhyayā | digaśrāṇyatha vṛttāni caturaśrāṇi tāni vā || 13 takṣakodvāsanaṃ viprabhuktiṃ puṇyodasecanam | sthaṇḍilaṃ śayanaṃ snānaṃ kautukānāṃ ca bandhanam || 14 brahmaviṣṇu harāṇāṃ ca dakṣahaste tu vai pṛthak | śayanārohaṇaṃ kumbhasthāpanaṃ pūrvavannayaet || 15

The Guru should construct nine or five fire-pits or one fire-pit within the sacrificial hall. Fire-pits in angular shape, square shape and circular shape should be provided in the relevant directions. Relieving of the śilpi, feeding of the brahmins, sprinkling of the consecrated water, designing of the sthaṇḍila, couch, altar for the ceremonial bath, offering of the protective thread – all these should be performed in due order according to the directions set forth earlier. The Guru should tie up the protective thread around the right fore-arm of Śiva, Brahma and Viṣṇu. Placing of the image over the couch to be in recumbent posture and arrangement of the kumbhas and kalasas should be performed as done earlier.

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16-17

देवस्य ब्रह्मणो विष्णोश्शिरोदेशे घटत्रयम् | न्यस्त्वा तु शिवकुम्भस्य उत्तरे वर्धनीं न्यसेत् || १६ तत्तद्रूपं तु तत्रैव ध्यात्वा गन्धादिभिर्यजेत् | तत्त्वमूर्त्यादि विन्यासं तेषां कुर्याद्यथोदितम् || १७

devasya brahmaṇo viṣṇośśirodeśe ghaṭatrayam | nyastvā tu śivakumbhasya uttare vardhanīṃ nyaset || 16 tattadrūpaṃ tu tatraiva dhyātvā gandhādibhiryajet | tattvamūrtyādi vinyāsaṃ teṣāṃ kuryādyathoditam || 17

Three kumbhas should be placed near the head of Śiva, Brahma and Viṣṇu; vardhani- kalasa should be placed on the north side of śiva-kumbha. Having meditated on the form of Śiva, Brahma and Viṣṇu according to the lineaments described in the concerned verses (dhyāna ślokas), the Guru should worship them with sandal, flowers and such other substances. As detailed earlier, the nyāsa of Tattvas, Tattvamūrtis, Mūrtis and Mūrtīśvaras should be done for each of these forms.

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18-19

अग्निकुण्डादि संस्कारं कृत्वा होमं तु कारयेत् | तिलसर्षप मुद्गांश्च माषशिम्बाढवैणवैः || १८ पलाशोदुम्बराश्वत्थ न्यक्रोधाः प्राग्दिगादितः | शम्यपामार्गश्रीवृक्ष प्लक्षाश्चाग्नेय कोणतः || १९ प्रधाने तु पलाशस्स्यात् स च सर्वत्र वा मतः

agnikuṇḍādi saṃskāraṃ kṛtvā homaṃ tu kārayet | tilasarṣapa mudgāṃśca māṣaśimbāḍhavaiṇavaiḥ || 18 palāśodumbarāśvattha nyakrodhāḥ prāgdigāditaḥ | śamyapāmārgaśrīvṛkṣa plakṣāścāgneya koṇataḥ || 19 pradhāne tu palāśassyāt sa ca sarvatra vā mataḥ

Having purified the fire-pits with essential sacramental rituals, the Guru should perform the fire-rituals. He should offer the oblations with sesame, mustard, kidney-bean, māṣa, śimba, āḍhaka and bamboo-rice. The faggots of palāśa, udumbara, aśvattha and nyakrodha should be offered into the fire-pits in the east, south, west and the north. Śamī, apāmārga, śrīvṛuksha and plaksha should be offered into the fire-pits in the south-east, south-west, north-west and the north-east respectively. The faggots of palāśa should be offered into the main fire-pit. These may be offered into all other fire-pits also.

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20-21

ततो द्वितीय दिवसे देवकुम्भाग्नि तर्पणम् || २० पूजितो वस्त्रहेमाद्यैर्मूर्तिपाद्यैस्समन्वितः | संप्राप्त दशनिष्कादि दक्षिणस्तुष्टधीर्गुरुः || २१ मन्त्रन्यासं ततः कुर्यान् न्यस्त्वा बिम्बपुरो घटान्

tato dvitīya divase devakumbhāgni tarpaṇam || 20 pūjito vastrahemādyairmūrtipādyaissamanvitaḥ | saṃprāpta daśaniṣkādi dakṣiṇastuṣṭadhīrguruḥ || 21 mantranyāsaṃ tataḥ kuryān nyastvā bimbapuro ghaṭān

Then, on the second day, the Guru should perform the concerned rituals to render the Deities, kumbha-devatas and the fire-god to be pleased and delighted. The Guru and the assisting priests should be worshipped and honored by the chief sponsor(yajamāna) with new clothes, gold ring and other valuable things. Having received sufficiently the sacrificial fees along with other priests and being with contented and delighted heart, the Guru should perform the nyāsa of the mantras to the image, after placing the kumbhas and kalasas in front of that image.

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22-24

कुम्भान्मनुं समादाय देवस्य हृदि विन्यसेत् || २२ वर्धन्या बीजमादाय तस्य पीठे तु विन्यसेत् | ब्रह्मविष्णु घटाद्बीजं हृत्वा तद्धृदि विन्यसेत् || २३ आदाय बीजं अन्येभ्यः पीठस्य परितो न्यसेत् | तत्तत्कुम्भजलैश्चैव तत्तद्देशेऽभिषेचयेत् || २४

kumbhānmanuṃ samādāya devasya hṛdi vinyaset || 22 vardhanyā bījamādāya tasya pīṭhe tu vinyaset | brahmaviṣṇu ghaṭādbījaṃ hṛtvā taddhṛdi vinyaset || 23 ādāya bījaṃ anyebhyaḥ pīṭhasya parito nyaset | tattatkumbhajalaiścaiva tattaddeśe'bhiṣecayet || 24

Having collected the seed-mantras from the kumbha, he should unite them with heart of the Śiva and having collected the seed-mantras from the vardhanī-kalaśa(Śakti Kalaśa), he should unite them with the pedestal of the image. Having collected the seed-mantras from the vessels(ghaṭas) of Brahma and Viṣṇu, he should unite them with the heart of Brahma and Viṣṇu respectively. Having collected the mantras from all other kalaśas, he should unite them around the pedestal. Then he should pour down the consecrated water contained in each kumbha over the Deity related to that kumbha.

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25-26

स्नपनं चोत्सवं कुर्याद् भूरि नैवेद्यं एव च | अनुक्तमत्र संग्राह्य तत्तदध्यायचोदितम् || २५ प्रतिष्ठेयं कृता येन त्रिमूर्तीनां नरेण तु | इह लोके सुखं प्राप्य याति सोऽन्ते परं शिवम् || २६

snapanaṃ cotsavaṃ kuryād bhūri naivedyaṃ eva ca | anuktamatra saṃgrāhya tattadadhyāyacoditam || 25 pratiṣṭheyaṃ kṛtā yena trimūrtīnāṃ nareṇa tu | iha loke sukhaṃ prāpya yāti so'nte paraṃ śivam || 26

Then he should perform ‘snapana-abhisheka’ and offer the varieties of food, fruits, sweets and other eatables abundantly to the newly installed Lord. Whatever has been left out here untold should be known from the concerned chapters of this Āgama. The devotee who is instrumental for the installation of Trimūrti would attain happiness and worldly comforts in this life and, at the end, would reach the abode of Śiva, the Supreme Lord.

68 Directions for the Installation of Vṛṣārūḍha Mūrti (The form of Śiva standing by the side of the Bull or mounted on the Bull)

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1-3

वृषारूढ प्रतिष्ठां तु वक्ष्ये तल्लक्षणान्विताम् | चतुर्भुजस्त्रिणेत्रश्च जटामकुट संयुतः || १ परशुर्दक्षिणेहस्ते वामहस्ते मृगो भवेत् | पूर्वदक्षिणहस्तस्तु कटको वक्रदण्डयुक् || २ अस्य सव्यप्रकोष्ठं तु विन्यसेद्वृषमस्तके | स हस्तो हंसपक्षो वा पताकाधोमुखस्तु वा || ३

vṛṣārūḍha pratiṣṭhāṃ tu vakṣye tallakṣaṇānvitām | caturbhujastriṇetraśca jaṭāmakuṭa saṃyutaḥ || 1 paraśurdakṣiṇehaste vāmahaste mṛgo bhavet | pūrvadakṣiṇahastastu kaṭako vakradaṇḍayuk || 2 asya savyaprakoṣṭhaṃ tu vinyasedvṛṣamastake | sa hasto haṃsapakṣo vā patākādhomukhastu vā || 3

Now, I will explain the process of installation of Vṛṣārūḍha Mūrti along with the respective lineaments of the image of such Mūrti. The form of Vṛṣārūḍha is associated with four arms, three eyes and the crown of matted hair. In His upper right hand, He is holding the hatchet(paraśu) and in His upper left hand He is holding the antelope. He is holding a crooked shaft in His lower right hand kept in the posture of ‘kaṭaka mudrā’. The fore-arm of His lower left hand is placed on the head of the Bull. Or, His lower left hand may be shown as holding the hamsa-mudrā(gesture depicing a swan) or the ‘patāka mudrā’ facing downward.

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4-6

तन्मध्यमाङ्गुलाग्रेण नाभिसूत्रं समं भवेत् | तदग्रान्नाभिसूत्रान्तं पञ्चाधिक दशाङ्गुलम् || ४ तद्धस्त मणिबन्धाच्च पार्श्वतो द्व्यङ्गुलं भवेत् | प्रकोष्ठमूलाद्धृन्मध्यात् पञ्चपञ्चाङ्गुलं भवेत् || ५ हस्तस्य मणिबन्धाधो मेढ्रमूल समोभवेत् | एकोनविंशन्मात्रं स्यात् पार्श्वतो मणिबन्धकात् || ६

tanmadhyamāṅgulāgreṇa nābhisūtraṃ samaṃ bhavet | tadagrānnābhisūtrāntaṃ pañcādhika daśāṅgulam || 4 taddhasta maṇibandhācca pārśvato dvyaṅgulaṃ bhavet | prakoṣṭhamūlāddhṛnmadhyāt pañcapañcāṅgulaṃ bhavet || 5 hastasya maṇibandhādho meḍhramūla samobhavet | ekonaviṃśanmātraṃ syāt pārśvato maṇibandhakāt || 6

The tip of the middle finger of that lower left hand should be in the same level as that of the reference thread placed at the navel. The distance between the tip of that finger and the navel-thread should be fifteen aṅgulas. The distance between the wrist of that hand and the side of the navel should be two aṅgulas. From the base of the fore-arm to the middle of the heart, the distance should be ten aṅgulas. The bottom of the wrist of that hand should be on the same level as that of the base of the genital organ. From the wrist of that hand to the other side of the image, the distance should be nineteen aṅgulas.

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7-9

पार्श्वमध्यम बाह्वोश्च मध्ये सप्ताङ्गुलो भवेत् | समभङ्गयुतो देवः स्थानकेनापि संयुतः || ७ ललाटघ्राण मध्याच्च दक्षिणे स्थितपादके | गुल्फमध्ये स्थितं सूत्रं शिवसूत्रं इतिस्मृतम् || ८ सूत्रं हृन्मध्यगं प्रोक्तं गुणाङ्गुलं इतिस्मृतम् || सूत्रनाभ्यन्तरं मात्रं चतुर्भिर्मेढ्रसूत्रयोः || ९

pārśvamadhyama bāhvośca madhye saptāṅgulo bhavet | samabhaṅgayuto devaḥ sthānakenāpi saṃyutaḥ || 7 lalāṭaghrāṇa madhyācca dakṣiṇe sthitapādake | gulphamadhye sthitaṃ sūtraṃ śivasūtraṃ itismṛtam || 8 sūtraṃ hṛnmadhyagaṃ proktaṃ guṇāṅgulaṃ itismṛtam || sūtranābhyantaraṃ mātraṃ caturbhirmeḍhrasūtrayoḥ || 9

The distance between the middle of the two shoulders to the middle of the shoulder at each side should be seven aṅgulas. The image of the Lord may be designed so as to be in ‘samabhaṅga’ posture rendered in ‘sthānaka’ style. The reference thread which runs through the middle of the fore-head, nose and the middle of the ankles is known as ‘śiva- sūtra’. The distance between this thread and the thread running through the heart should be three aṅgulas. The distance between the ‘nābhi-sūtra’ and the ‘meḍhra-sūtra’(the thread placed at the level of the genital organ) should be four aṅgulas.

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10-14

सूत्रदक्षिण जान्वोस्तु मध्यमं हि गुणाङ्गुलम्| शराङ्गुलोऽन्तरे पार्ष्ण्योः दक्षपादस्य वक्रता || १० द्व्यङ्गुलेन तु शेषं तु चन्द्रशेखरवद्भवेत् | तस्यैव दक्षिणे देवीं कारयेल्लक्षणान्वितम् || ११ अथ स्वदक्षिणे देव्यायुक्तो वा मूर्त्यपेक्षया | आयुधव्यतिरिक्तैस्स्वैरङ्गैस्तु विपरीतकैः || १२ संयुक्तो वा वृषारूढस्त्वेवं मुक्तिप्रदो भवेत् | पृष्ठतो वृषभः कार्यो देवजानूरुकोच्छ्रयः || १३ मेढ्रान्तो नाभिसीमान्तश्शेषं सर्वं तु पूर्ववत् | एवं देवं समापाद्य शिलाद्यैः स्थापनं नयेत् || १४

sūtradakṣiṇa jānvostu madhyamaṃ hi guṇāṅgulam| śarāṅgulo'ntare pārṣṇyoḥ dakṣapādasya vakratā || 10 dvyaṅgulena tu śeṣaṃ tu candraśekharavadbhavet | tasyaiva dakṣiṇe devīṃ kārayellakṣaṇānvitam || 11 atha svadakṣiṇe devyāyukto vā mūrtyapekṣayā | āyudhavyatiriktaissvairaṅgaistu viparītakaiḥ || 12 saṃyukto vā vṛṣārūḍhastvevaṃ muktiprado bhavet | pṛṣṭhato vṛṣabhaḥ kāryo devajānūrukocchrayaḥ || 13 meḍhrānto nābhisīmāntaśśeṣaṃ sarvaṃ tu pūrvavat | evaṃ devaṃ samāpādya śilādyaiḥ sthāpanaṃ nayet || 14

The distance between the middle of the knees and the right reference-thread should be three aṅgulas. The space between the two heels should be five aṅgulas and the right foot should be formed so as not to be parallel to the left foot and the front of the right foot should be shown as deviated from the front part of the left foot up to two aṅgulas. All other features of the image should be shown according to the lineaments prescribed for the image of Candraśekhara Mūrti. The image of Devi should be designed on the right side of the Lord so as to be with all the specific lineaments. Keeping in mind the lineaments of the Lord as associated with Devi or those of the Lord alone, the recommended weapons applicable to these forms may be designed in the usual way or in a different way. The form of Vṛṣārūḍha Mūrti designed in this way is capable of bestowing the final liberation. The form of the Bull, from the base of the genital organ to its navel , should be designed so as to be with a height up to the level of the left knee of the Lord. All other features are according to those mentioned earlier. Having designed the form of Vṛṣārūḍha in this way with the recommended materials such as the stone and others, the Guru should perform the installation of such Mūrti.

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15-17

कालेऽङ्कुरार्पणं रत्नन्यासं संप्रोक्षणं नयेत् | वृषस्य नेत्रमोक्षं तु शुद्धि ग्रामप्रदक्षिणम् || १५ जलाधिवासनं कृत्वा मण्टपं पूर्ववन्नयेत् | कुण्डानि नवपञ्चैक संख्यया तत्र कल्पयेत् || १६ चतुरश्राणि वृत्तानि तद्दिगश्राणि तानि वा | पश्चाच्छिल्पिनं उद्वास्य तस्मिन्विप्रांस्तु भोजयेत् || १७

kāle'ṅkurārpaṇaṃ ratnanyāsaṃ saṃprokṣaṇaṃ nayet | vṛṣasya netramokṣaṃ tu śuddhi grāmapradakṣiṇam || 15 jalādhivāsanaṃ kṛtvā maṇṭapaṃ pūrvavannayet | kuṇḍāni navapañcaika saṃkhyayā tatra kalpayet || 16 caturaśrāṇi vṛttāni taddigaśrāṇi tāni vā | paścācchilpinaṃ udvāsya tasminviprāṃstu bhojayet || 17

Ascertaining the auspicious time for the installation, offering of fresh sprouts, fixing the gems on various parts of the image, sprinkling of the consecrated water, opening the eyes of Vṛṣārūḍha, purification of the image, taking the image in procession around the city or village, keeping the image immersed under the river or tank water – having performed all these rituals in the due order, the Guru should enter into the sacrificial pavilion constructed already in a proper place within the temple. He should consctruct nine or five fire-pits or one fire-pit within the pavilion so as to be in square, angular and circular form applicable to each direction. Then, having sent away the śilpi with due honors, he should arrange for the feeding of the learned Brahmins.

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18-20

पुण्याहप्रोक्षणं कृत्वा स्थण्डिलं शयनं न्यसेत् | स्नपनं कौतुकं कुर्याद्वृषेऽपि च यथोदितम् || १८ आरोप्य शयने पश्चात् कुम्भान् संस्थापयेत्ततः | शिवस्य च शिरोदेशे शिवकुम्भं च वर्धनीम् || १९ यदि भिन्नो वृषो देवपादमूले तु शाययेत् | दक्षमस्त्क संयुक्तां शय्यां संकल्प्य वै पृथक् | २०

puṇyāhaprokṣaṇaṃ kṛtvā sthaṇḍilaṃ śayanaṃ nyaset | snapanaṃ kautukaṃ kuryādvṛṣe'pi ca yathoditam || 18 āropya śayane paścāt kumbhān saṃsthāpayettataḥ | śivasya ca śirodeśe śivakumbhaṃ ca vardhanīm || 19 yadi bhinno vṛṣo devapādamūle tu śāyayet | dakṣamastka saṃyuktāṃ śayyāṃ saṃkalpya vai pṛthak | 20

Having performed the declaration of auspicious time and the purpose of the installation and sprinkled the consecrated water over the interior of the pavilion, the Guru should design a sthaṇḍila and couch and arrange the snapana-kalasas. Then he should tie up the protective thread around the wrist of the image of the Lord and the Devi and also offer the protective thread to the Bull in a suitable way according to the situation. Then, he should place the images over the couches and arrange the kumbhas. The śiva-kumbha and the vardhani-kumbha(śakti-kumbha) should be placed near the head of the Lord’s image. If the image of the Bull has been made separately, the Guru should design a separate couch near the feet of the Lord and place the image of the Bull so that its head is on the right side of the Lord.

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21-24

वृषभमस्तकदेशे तु वृषकुम्भं तु विन्यसेत् | परितोऽष्टघटान्न्यस्त्वा विद्येशांस्तत्र पूजयेत् || २१ गन्धपुष्पदिभिर्धीमान् नैवेद्यान्तैर्गुरूत्तमः | तत्त्वमूर्त्यादि विन्यासं कृत्वा देवे वृषेऽपि च || २२ अग्निकुण्डादि संस्कारं कृत्वा होमं समाचरेत् | समिदाज्यान्न लाजादि तिलसर्षप माषकैः || २३ पलाशोदुम्बराश्वत्थ वटाः प्रागादि दिक्षु च | शम्यपामार्ग श्रीवृक्ष मायूरोत्था भवन्ति हि || २४ प्रधानेऽपि पलाशस्स्यात् तर्पयेत्तत्र वै वृषम् |

vṛṣabhamastakadeśe tu vṛṣakumbhaṃ tu vinyaset | parito'ṣṭaghaṭānnyastvā vidyeśāṃstatra pūjayet || 21 gandhapuṣpadibhirdhīmān naivedyāntairgurūttamaḥ | tattvamūrtyādi vinyāsaṃ kṛtvā deve vṛṣe'pi ca || 22 agnikuṇḍādi saṃskāraṃ kṛtvā homaṃ samācaret | samidājyānna lājādi tilasarṣapa māṣakaiḥ || 23 palāśodumbarāśvattha vaṭāḥ prāgādi dikṣu ca | śamyapāmārga śrīvṛkṣa māyūrotthā bhavanti hi || 24 pradhāne'pi palāśassyāt tarpayettatra vai vṛṣam |

The Guru should place the kumbha for Bull on the head side of the image (of the Bull). Having arranged in due order eight vessels around the śiva-kumbha and vardhani-kalasa, he should worship the eight Vidyeśvaras in those vessels(ghaṭas). The much-learned and the foremost Guru should worship the Lord, Devi and the eight Vidyeśvaras with sandal, flowers and with other offerings ending with ‘naivedya’. He should do the ‘nyasa’ of Tatvas, Tattveśvaras, Mūrtis and Mūrtīśvras for the Lord, Devi and even for the Bull. Then, having done the sacramental rituals for the fire-pits, he should perform the fire-ritual with the oblations of the faggots, clarified-butter, cooked rice, parched paddy-grains, sesame, mustard and kidney-beans. The faggots got from the palāśa, udumbara, aśvattha and vaṭa trees should be offered as oblations into the fire-pits designed in the east, south, west and north. The faggots of śamī, apāmārga, śrīvṛksha and mayūra should be offered into the fire-pits designed in the south-east, south-west, north-west and the north-east. The faggots of palāśa tree should be offered into the main fire-pit and the oblations for the sake of the Bull should also be made into the same fire-pit.

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25-29

ततो द्वितीये संतर्प्य देवान् कुम्भांश्च पावकान् || २५ समूर्तिपो गुरुस्सम्यग् वस्त्रहेमादि पूजितः | संप्राप्त दक्षिणः पश्चान् मन्त्रन्यासं समाचरेत् || २६ घटान्न्यस्त्वा तु देवाग्रे स्थण्डिले तु गुरुः क्रमात् | कुम्भाद्बीजं समादाय देवस्य हृदि विन्यसेत् || २७ वर्धन्या मनुमादाय तस्य पीठे तु विन्यसेत् | सहजा यदि सा देवी तस्यास्तु हृदि विन्यसेत् || २८ वृषकुम्भान् मनुं स्मृत्वा वृषभस्य हृदि न्यसेत् | अन्येभ्यो बीजमादाय पीठस्य परितो न्यसेत् || २९ विभिन्न पीठा देवी चेत् प्रतिष्ठां पृथगाचरेत् |

tato dvitīye saṃtarpya devān kumbhāṃśca pāvakān || 25 samūrtipo gurussamyag vastrahemādi pūjitaḥ | saṃprāpta dakṣiṇaḥ paścān mantranyāsaṃ samācaret || 26 ghaṭānnyastvā tu devāgre sthaṇḍile tu guruḥ kramāt | kumbhādbījaṃ samādāya devasya hṛdi vinyaset || 27 vardhanyā manumādāya tasya pīṭhe tu vinyaset | sahajā yadi sā devī tasyāstu hṛdi vinyaset || 28 vṛṣakumbhān manuṃ smṛtvā vṛṣabhasya hṛdi nyaset | anyebhyo bījamādāya pīṭhasya parito nyaset || 29 vibhinna pīṭhā devī cet pratiṣṭhāṃ pṛthagācaret |

Then, on the second day, the Guru should perform the fire-ritual again in the same way and make the Lord, Devi, the Bull and other Deities invoked in the kumbhas and the fire-pits to be much contended and delighted by the oblations. The Guru and all other Ācāryas and assisting priests should be honored with gifts of new clothes, gold coins or rings and with sufficient sacrificial fees. Being pleased with this honor, the Guru should perform the mantra-nyāsa for all the images to be installed. Having placed the vessels, kalasas and the kumbhas in an orderly way over the sthaṇḍila designed in front of the images, the Guru should collect the seed-mantras from the śiva-kumbha and unify them with the heart of the Lord. Having collected the seed-mantras from the vardhani, he should unify them with the pedestal of the image of the Lord. If the image of Devī has been made separately on the same pedestal of the Lord, the mantras of the vardhani should be unified with the heart of Devi. Having collected the seed-mantras from the kumbha meant for the Bull, he should unify them with the heart of the Bull. Having collected the seed-mantras from the other kalasas, he should unify them around the pedestal of the Lord and the Bull. If the image of the Devi has been made to be on the separate pedestal, then all the rituals related to the installation should be performed separately for the Devi.

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30-31

कल्याणं कारयेत् पश्चात् तद्विधानेन देशिकः || ३० उत्सवं स्नपनं भूरि नैवेद्यं कारयेन्न वा | अनुक्तमत्र संग्राह्यं सामान्य स्थापनोदितम् || ३१

kalyāṇaṃ kārayet paścāt tadvidhānena deśikaḥ || 30 utsavaṃ snapanaṃ bhūri naivedyaṃ kārayenna vā | anuktamatra saṃgrāhyaṃ sāmānya sthāpanoditam || 31

Then, the Guru should perform the marriage-festival according to the directions prescribed for such a festival. This festival, snapana-abhiṣeka, offering of varieties of foods and fruits in a large scale may be done or may be left out. All those details which have not been told here should be known from the chapter dealing with the process of common installation.

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32-33

इत्याख्याता प्रतिष्ठेयं वृषवाहन मूर्तिनः | घनोवाऽप्यघनो वापि वृषभस च सम्मतः || ३२ प्रतिष्ठानुष्ठिता येन भक्त्या भावनया सह | लभते स पदं शैवं भुक्त्वा भोगान्यथेच्छया || ३३

ityākhyātā pratiṣṭheyaṃ vṛṣavāhana mūrtinaḥ | ghanovā'pyaghano vāpi vṛṣabhasa ca sammataḥ || 32 pratiṣṭhānuṣṭhitā yena bhaktyā bhāvanayā saha | labhate sa padaṃ śaivaṃ bhuktvā bhogānyathecchayā || 33

In this way, the installation of Vṛṣārūḍha Mūrti has been vividly told. The Bull may be designed so as to be in a larger size or a smaller size and such designing has been allowed in the Scriptures. The Devotee by whom such process of installation of Vṛṣārūḍha has been well carried out with devotion, awareness and contemplation would attain the state of oneness with Śiva, after enjoying all the worldly pleasures as desired by him.

69 Directions for the Installation of Gaṅgādhara Mūrti (The form of Śiva bearing the Gaṅga on His matted hair)

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1-3

गङ्गाधर प्रतिष्ठां तु वक्ष्ये तल्लक्षणान्विताम्| चतुर्भुजस्त्रिणेत्रश्च जटामकुट मण्डितः || १ दक्षिणाभय हस्तस्थोऽप्यन्यत्र कटकामुखः | तेन हस्तेन धृत्वैकां जटां गङ्गा समन्विताम् || २ संस्थितस्तु प्रसन्नात्मा कृष्णा परशु संयुतः | जटायुक्त करोच्चं तु कर्णस्योर्ध्व समं भवएत् || ३

gaṅgādhara pratiṣṭhāṃ tu vakṣye tallakṣaṇānvitām| caturbhujastriṇetraśca jaṭāmakuṭa maṇḍitaḥ || 1 dakṣiṇābhaya hastastho'pyanyatra kaṭakāmukhaḥ | tena hastena dhṛtvaikāṃ jaṭāṃ gaṅgā samanvitām || 2 saṃsthitastu prasannātmā kṛṣṇā paraśu saṃyutaḥ | jaṭāyukta karoccaṃ tu karṇasyordhva samaṃ bhavaet || 3

Now, I will explain the process of installation of Gaṅgādhara Mūrti along with the perfect lineaments pertaining to that form. He appears with four hands and three eyes and beautified with the crown of matted hair. His right hand is holding the fear-dispelling gesture(abhaya mudrā) and His left hand appears with kaṭaka mudrā. He is bearing a lock of matted hair in addition to the Gaṅga Devi in His left hand raised up to a height above the level of His left ear. He is holding the paraśu-weapon in His upper right hand and the antelope in His upper left hand. He appears with serene and delighted face.

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4-6

तदन्तरं तु द्विमुखं आभङ्गेन समन्वितम् | स्थानकस्तु तदुष्णीष नासापाद्दक्षमध्यमे || ४ सूत्रं वामे तु हृदयाद्दक्षे वै नाभि मेढ्रयोः | हिक्कासूत्राच्चतुर्मात्रं सव्यजानोर्गुणाङ्गुलम् || ५ पादाङ्गुष्ठद्वयोः पार्ष्ण्योरन्तरं तिथिबाणकम् | वामपादस्य वक्त्रं तु सूत्राद्वामे गुणाङ्गुलम् || ६

tadantaraṃ tu dvimukhaṃ ābhaṅgena samanvitam | sthānakastu taduṣṇīṣa nāsāpāddakṣamadhyame || 4 sūtraṃ vāme tu hṛdayāddakṣe vai nābhi meḍhrayoḥ | hikkāsūtrāccaturmātraṃ savyajānorguṇāṅgulam || 5 pādāṅguṣṭhadvayoḥ pārṣṇyorantaraṃ tithibāṇakam | vāmapādasya vaktraṃ tu sūtrādvāme guṇāṅgulam || 6

The form of Devi and that of Gaṅga should be shown as appearing in ‘ābhaṅga’ mode. The image of the Lord should be rendered so as to be in ‘sthānaka’ posture, as to be associated with head-dress. The reference thread on the right side should pass through the nose and the middle of the right foot. The thread on the left side should pass through the right side of the heart, navel and the genital organ. The distance between the ‘hikkā’ thread and the left knee should be four aṅgulas. The distance between the two toes and the two heels should be fifteen aṅgulas. The front of the left foot should be deviated through three aṅgulas from the left reference thread.

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7-9

इन्दुशेखरवच्छेषं कर्तव्यं मुनिपुङ्गवाः | देवस्य वामभागे तु देवीं कुर्यात्सलक्षणाम् || ७ कुर्याद् भगीरथं देव नाभ्यन्तस्तनसीमगम् | गलान्तं वाष्टतालेन विलम्बित जटान्वितम् || ८ वल्कलाम्बर संयुक्तं हृन्मस्तक कृताञ्जलिम् | द्विनेत्रं च द्विबाहुं तं एवं गङ्गाधरो भवेत् || ९

induśekharavaccheṣaṃ kartavyaṃ munipuṅgavāḥ | devasya vāmabhāge tu devīṃ kuryātsalakṣaṇām || 7 kuryād bhagīrathaṃ deva nābhyantastanasīmagam | galāntaṃ vāṣṭatālena vilambita jaṭānvitam || 8 valkalāmbara saṃyuktaṃ hṛnmastaka kṛtāñjalim | dvinetraṃ ca dvibāhuṃ taṃ evaṃ gaṅgādharo bhavet || 9

All other features of the form should be rendered to be in the likeness of those of Chandraśekhara Mūrti.O, the foremost Sages!, the śilpi should scuplt the image of Devi on the left side of the Lord so as to be associated with all the lineaments prescribed for Umā. The form of Bhagīratha should be sculpted to be with a height up to the level of navel, breast or the bottom part of the neck of the Lord. He should be shown as appearing with the matted hair stretched downwards and the form should be according to the eight-tāla system of proportionate measurement. He should be shown as attired in the cloth designed with bark and as holding the añjali-mudra in front of his chest or above his head and appearing with two eyes and two shoulders. Thus, the image of Gaṅgādhara Mūrti should be sculpted.

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10-12

कालोऽङ्कुरार्पणं रत्नन्यासो वै नेत्रमोक्षणम् | रत्नन्यासो न गङ्गायाः कर्तव्यो नेत्रमोक्षणम् || १० तथा भगीरथस्यापि रत्नन्यासस्तु पञ्चभिः | प्रतिमा शोधनं ग्रामपुरादीनां परदक्षिणम् || ११ तोयाधिवासो यागार्ह मण्टपः पूर्ववर्त्मनः| चतुरश्राणि कुण्डानि नवपञ्चैक संख्यया || १२

kālo'ṅkurārpaṇaṃ ratnanyāso vai netramokṣaṇam | ratnanyāso na gaṅgāyāḥ kartavyo netramokṣaṇam || 10 tathā bhagīrathasyāpi ratnanyāsastu pañcabhiḥ | pratimā śodhanaṃ grāmapurādīnāṃ paradakṣiṇam || 11 toyādhivāso yāgārha maṇṭapaḥ pūrvavartmanaḥ| caturaśrāṇi kuṇḍāni navapañcaika saṃkhyayā || 12

Ascertaining the auspicious time, offering of the fresh sprouts, fixing the gems on the prescribed parts of the image, opening the eyes of the images of the Lord, Devi, and Bhagīratha – all these should be done as explained earlier. Fixing of the gems and opening of the eyes need not be done for Gaṅga. Ratna-nyāsa(fixing of the gems) for Bhagīratha should be done with five gems, not with nine gems. Purification of the images, taking the images in procession around the village or city, keeping the images immersed under the water, construction of the pavilion suitable for the fire-ritual – all these should be done according to the direcions set forth earlier. The square and angular fire-pits should be designed within the pavilion, their number being nine, five or one.

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13-15

मोचनं शिल्पिनः कृत्वा कुर्याद्भूसुर भोजनम् | पुण्याहोदन संसिच्य वास्तुहोमं ततो नयेत् || १३ स्थण्डिलं शयनं बिम्बस्नपनं कौतुकं पृथक् | भगीरथस्य गङ्गाया देवस्यापि नयेद्गुरुः || १४ शयनं भिन्नपीठस्थो यदि स्यात्तु भगीरथः | देवस्य पाददेशे तु शयनं तत्र कल्पयेत् || १५

mocanaṃ śilpinaḥ kṛtvā kuryādbhūsura bhojanam | puṇyāhodana saṃsicya vāstuhomaṃ tato nayet || 13 sthaṇḍilaṃ śayanaṃ bimbasnapanaṃ kautukaṃ pṛthak | bhagīrathasya gaṅgāyā devasyāpi nayedguruḥ || 14 śayanaṃ bhinnapīṭhastho yadi syāttu bhagīrathaḥ | devasya pādadeśe tu śayanaṃ tatra kalpayet || 15

Having sent away the śilpis with due honors, the Guru should arrange for the feeding of the learned Brahmins. Having performed ‘puṇyāha vacana’ and sprinkled the consecrated water over the interior of the sacrificial pavilion, he should perform ‘vāstu homa’. Then, he should desingn a sthaṇḍila and couch, arrange the snapana-kalasas and offer the protective threads to the Lord and others. The protective thread and the couch should be offered separately to the Lord, Bhagīratha, Gaṅga and Devi. If a separate pedestal has been made for Bhagīratha, then the couch for Bhagīratha should be designed near the feet of the Lord.

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16-18

देवेशस्य शिरः पार्श्वे शिवकुम्भं च वर्धनीम् | भगीरथश्शिरोदेशे घटं वस्त्रादि भूषितम् || १६ हैरण्यपङ्कजाढ्यं वा गङ्गायाश्चैवं आचरेत् | परितोऽष्टौ घटान्न्यस्त्वा विद्येशैस्तैरधिष्ठितान् || १७ पूर्वोक्त रूपसंस्थान ध्यानयुक्तो गुरूत्तमः | गन्धपुष्पादिभिस्सर्वान् देवानभ्यर्चयेत् क्रमात् || १८

deveśasya śiraḥ pārśve śivakumbhaṃ ca vardhanīm | bhagīrathaśśirodeśe ghaṭaṃ vastrādi bhūṣitam || 16 hairaṇyapaṅkajāḍhyaṃ vā gaṅgāyāścaivaṃ ācaret | parito'ṣṭau ghaṭānnyastvā vidyeśaistairadhiṣṭhitān || 17 pūrvokta rūpasaṃsthāna dhyānayukto gurūttamaḥ | gandhapuṣpādibhissarvān devānabhyarcayet kramāt || 18

The śiva-kumbha and ‘vardhanī-kalaśa’ should be placed near the head of the Lord. The vessel(ghaṭa) furnished with new cloth, thread, tender mango-leaves , lotus flower made of gold and other things should be placed near the head of Bhagīratha. Eight vessels should be arranged in due order around the śiva-kumbha and vardhani-kalasa for the sake of eight Vidyeśvaras, the presiding Lords of these vessels. Contemplating the form of the Deities according to the lineaments detailed in the ‘dhyāna-verses’ pertaining to each Deity, the foremost Guru should worship the Lord and others with sandal, flowers and all other substances, in the prescribed order.

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19-22

तत्त्वमूर्त्यादि विन्यासं प्रकुर्यात् पूर्ववत् प्रभोः | भगीरथस्य मूर्तीशैः पञ्चभिश्च समन्वितान् || १९ पञ्चमूर्तीर्न्यसेद्धीमान् मूर्तयः पूर्ववर्त्मना | मूर्तीशास्स्युर्भगारोत्थास्सद्योजातादयोऽणवा || २० बान्तं चतुर्दशं षष्ठं बिन्दुनादौ नियोजयेत् | चतुर्थ्यन्तं स्वनामान्ते चेति मूलाणुरेष वै || २१ भगीरथाक्षरेणैव हृदादीनां समुद्धृतिः | गङ्गायास्तद्विधानोक्त मार्गेणैव सामाचरेत् || २२

tattvamūrtyādi vinyāsaṃ prakuryāt pūrvavat prabhoḥ | bhagīrathasya mūrtīśaiḥ pañcabhiśca samanvitān || 19 pañcamūrtīrnyaseddhīmān mūrtayaḥ pūrvavartmanā | mūrtīśāssyurbhagārotthāssadyojātādayo'ṇavā || 20 bāntaṃ caturdaśaṃ ṣaṣṭhaṃ bindunādau niyojayet | caturthyantaṃ svanāmānte ceti mūlāṇureṣa vai || 21 bhagīrathākṣareṇaiva hṛdādīnāṃ samuddhṛtiḥ | gaṅgāyāstadvidhānokta mārgeṇaiva sāmācaret || 22

The Guru should perform the nyāsa of Tattvas, Mūrtis and others to the Lord. The nyāsa of five Mūrtis along with the five Mūrtīśvaras should be done for Bhagīratha. The process of such nyāsa is as explained before. With the mantras pertaining to Sadyojāta and others, the nyāsa of five Mūrtīśvaras should be done for him. The seed-letter of Bhagīratha is formed by the combination of the letter next to the letter ‘ba’, the fourteenth vowel and the sixth vowel, bindu and nāda. This seed-letter is folowed by the name Bhagīratha ending in the fourth case. This is the mūla-mantra of Bhagīratha. The hṛdaya mantra and others should be formed based on the first letter of Bhagīratha. The worship of Gaṅga should be done according to the process explained in the chapter dealing with Her worship.

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23-25

कृत्वा कुण्डाग्नि संस्कारं समिदाज्यान्नलाजकैः | तिलैश्चैव जुहुयात्पश्चाद् वस्त्रहेमाङ्गुलीयकैः || २३ दक्षिणां दापयेत्तेषां मन्त्रन्यासं ततो नयेत् | तत्तद्देव पुरस्तात्तत् कुम्भान्न्यस्त्वा गुरूत्तमः || २४ शिवकुम्भ मनुं ध्यात्वा शिवस्य हृदि विन्यसेत् | वर्धन्या मनुमादाय तस्य पीठे तु विन्यसेत् || २५

kṛtvā kuṇḍāgni saṃskāraṃ samidājyānnalājakaiḥ | tilaiścaiva juhuyātpaścād vastrahemāṅgulīyakaiḥ || 23 dakṣiṇāṃ dāpayetteṣāṃ mantranyāsaṃ tato nayet | tattaddeva purastāttat kumbhānnyastvā gurūttamaḥ || 24 śivakumbha manuṃ dhyātvā śivasya hṛdi vinyaset | vardhanyā manumādāya tasya pīṭhe tu vinyaset || 25

Having performed all the sacramental rituals for the fire-pits, the Guru should do the fire-ritual. He should offer the oblations of the recommended faggots, clarified butter, cooked rice, parched paddy-grains and sesame. At the end of the fire-ritual, the main sponsor should honor the Chief Guru and all the assisting priests by offering new clothes, gold ring and sufficient sacrificial fees. Then, the foremost Guru should do the mantra-nyāsa for all the images. Having brought all the kumbhas and kalasas from the sacrificial pavilion, he should place them in front of the concerned images in an orderly way. Having contemplated on the relevant mantra invoked in the śiva-kumbha and collected it from the kumbha, he should unify that mantra with the heart of the Lord. Having collected the seed-mantra from the vardhani-kalasa, he should unify it with the pedestal of the Lord.

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26-28

अन्येभ्यो बीजमादाय पीठाब्जे परितो न्यसेत् | गङ्गाया बीजमादाय तस्यास्तु हृदि विन्यसेत् || २६ भगीरथ घटाद् बीजं स्मृत्वा तस्य हृदि न्यसेत् | तत्तत्कुम्भ जलेनैव स्नापयेत् तत्तत्प्रदेशके || २७ सहासना तु देवी चेद् वर्धन्यास्तद्धृदि न्यसेत् | विभिन्नपीठा देवी चेत् प्रतिष्ठां पृथगाचरेत् || २८

anyebhyo bījamādāya pīṭhābje parito nyaset | gaṅgāyā bījamādāya tasyāstu hṛdi vinyaset || 26 bhagīratha ghaṭād bījaṃ smṛtvā tasya hṛdi nyaset | tattatkumbha jalenaiva snāpayet tattatpradeśake || 27 sahāsanā tu devī ced vardhanyāstaddhṛdi nyaset | vibhinnapīṭhā devī cet pratiṣṭhāṃ pṛthagācaret || 28

Having collected the mantras from the other kalasas meant for the Vidyeśvaras, he should unify them around the pedestal of the Lord. Having collected the mantra of Gaṅga from the concerned kalasa, he should unify it with Her heart .The mantra collected from the kalasa of Bhagīratha should be unified with his heart. The Guru should perform the ceremonial bath for each Deity and the Lord with the consecrated water of the kalasas pertaining to each Deity and to the Lord. If the image of Devi is made to be on the same pedestal of the Lord, then the Guru should unify the mantra collected from the vardhani-kalasa with the heart of Devi and not with the pedestal. If the image of Devi has been made to be on a separate pedestal, then the Guru should perform the rituals concerned with the installation separately for the Devi.

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29

कल्याणं कारयेदन्ते स्नपनं चोत्सवं ततः | कारयेद् भूरि नैवेद्यं कतुरिच्छा वशेन तु || २९ अनुक्तमत्र संग्राह्यं सामान्यस्थापनोक्तवत् |

kalyāṇaṃ kārayedante snapanaṃ cotsavaṃ tataḥ | kārayed bhūri naivedyaṃ katuricchā vaśena tu || 29 anuktamatra saṃgrāhyaṃ sāmānyasthāpanoktavat |

The Guru should perform the marriage festival at the end of installation. This should be followed by snapana-abhisheka and processional festival. According to the desire and sources of the main sponsor, the Guru may arrange for the offering of varieties naivedya in an abundant scale. All those details which have not been told here should be known from the chapter dealing with the process of common installation.

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30-32

भगीरथ युतो वायं वियुक्तो वा महेश्वरः || ३० जाह्नवीश प्रतिष्ठां तु भक्त्या यः कुरुते नरः | इह लोके सुखं प्राप्य स्वबन्धुजन संयुतः || ३१ यायात् स्वदेह पातान्ते शैवं स्तानं तु दुर्लभम् || ३२

bhagīratha yuto vāyaṃ viyukto vā maheśvaraḥ || 30 jāhnavīśa pratiṣṭhāṃ tu bhaktyā yaḥ kurute naraḥ | iha loke sukhaṃ prāpya svabandhujana saṃyutaḥ || 31 yāyāt svadeha pātānte śaivaṃ stānaṃ tu durlabham || 32

The form of Gaṅgādhara Mūrti may be sculpted as associated with Bhagīratha or may be designed without him. The devotee who is instrumental to the installation of this Gaṅgādhara Mūrti, would enjoy the worldly benefits and pleasures, associated with his kith and kin. Immediately after the cessation of his bodily existence in this world, he would reach the blissful abode of Śiva which is not attainable by the wordly minded people.

70 Directions for the Installation of Lord Guha(Skanda)

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1-4

गुहस्य स्थापनं वक्ष्ये तल्लक्षणपुरस्सरम् | पुरादेर्मध्यमे वाग्नौ यमे वा मध्यमे तयोः || १ नैरृते वरुणे वायौ सोमे शर्वेऽथवा भवेत् | अन्तरालेऽथवा तेषां शिवधाम्न्येवमेव वा || २ अन्यदेवालयेऽप्येवं अथवा पर्वतोपरि | पर्वतस्यान्तके वापि नद्युद्यानादिकेऽथवा || ३ राजधान्यादिके वाथ पुण्यक्षेत्रे गृहेषु वा | प्रासाद मण्टपादीनां देशे पुण्यतरुष्वथ || ४ कुमारालय इष्टस्स्याद्धामलक्षण लक्षितः |

guhasya sthāpanaṃ vakṣye tallakṣaṇapurassaram | purādermadhyame vāgnau yame vā madhyame tayoḥ || 1 nairṛte varuṇe vāyau some śarve'thavā bhavet | antarāle'thavā teṣāṃ śivadhāmnyevameva vā || 2 anyadevālaye'pyevaṃ athavā parvatopari | parvatasyāntake vāpi nadyudyānādike'thavā || 3 rājadhānyādike vātha puṇyakṣetre gṛheṣu vā | prāsāda maṇṭapādīnāṃ deśe puṇyataruṣvatha || 4 kumārālaya iṣṭassyāddhāmalakṣaṇa lakṣitaḥ |

Now, I will explain the details about the installation of Lord Skanda(Guha) preceded by His specific leneaments. In a city or a village, the temple for Skanda may be in the east, south-east, between the east and south-east, south, between the south-east and south, south- west, west, north-west, north or north-east. It may be built in the directions mentioned above in the interior enclosure next to the outermost enclosure of the city or village or within a Śiva-temple, in one of the directions mentioned above. The temple for Skanda may be built in the same way within the precincts of other temples also. Or, it may be constructed on the summit of a mount or at the bottom of the mount. It may also be built on the bank of rivers, in the flower-gardens, groves and other places. It may be built within the capital of the country and in the important places associated with the capital. It may be built in any sacred place or within the precincts of a house. Even within the maṇṭapas(halls) of a Śiva-temple or under the sacred trees inside the temple, the temple of Skanda may be constructed. Such temple for Lord Kumara should be built , keeping in mind all the features and lineaments prescribed for the construction of a Śiva-temple.

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5-7

अथैकादि त्रयस्त्रिंशत् हस्तविस्तार संयुतः || ५ त्रयस्त्रिंशत्करादूर्ध्वं विस्तारो नेष्यते द्विजाः | दिङ्न्यस्त स्कन्दरूपाढ्यः केवलो वा तदालयः || ६ रुद्रोमाविघ्न रूपाढ्यस्त्वथवा हंसकोणयुक् | गुणकोणोऽथवा स स्यात् केवलो वा गुहालयः || ७

athaikādi trayastriṃśat hastavistāra saṃyutaḥ || 5 trayastriṃśatkarādūrdhvaṃ vistāro neṣyate dvijāḥ | diṅnyasta skandarūpāḍhyaḥ kevalo vā tadālayaḥ || 6 rudromāvighna rūpāḍhyastvathavā haṃsakoṇayuk | guṇakoṇo'thavā sa syāt kevalo vā guhālayaḥ || 7

The beadth of the temple for Skanda may be from one hasta up to thirty-three hastas. O, the twice-born Sages!, the beadth of Guha-temple exceeding thirty-three hastas is never recommended. This temple may be associated with shrines of all the sixteen forms of Skanda or it may be with one main shrine alone meant for the principal form of Guha. This temple may be associated with the shrines built for Śiva, Umā and Vigheśa. The temple of Guha may be with two or three enclosures(prākaras) or may be without any enclosure so as to appear as a single shrine.

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8-10

एकभूम्यादि सप्तान्त तलेष्विष्ट तलान्वितः | शिवोक्तमार्ग संकॢप्त गर्भाद्येष्टकयान्वितः || ८ तद्वन्मूर्धेष्टकास्थूपि प्रतिष्ठाभ्यां समायुतः | दिङ्न्यस्तदेव विन्यस्त मध्यकुम्भ युतेन च || ९ धाम्नस्संस्थापनेनाढ्यः प्रागुक्त विधिना सह | प्रागुक्त मण्टपाद्यैश्च प्राकाराद्यैश्च मण्डितः || १०

ekabhūmyādi saptānta taleṣviṣṭa talānvitaḥ | śivoktamārga saṃkḷpta garbhādyeṣṭakayānvitaḥ || 8 tadvanmūrdheṣṭakāsthūpi pratiṣṭhābhyāṃ samāyutaḥ | diṅnyastadeva vinyasta madhyakumbha yutena ca || 9 dhāmnassaṃsthāpanenāḍhyaḥ prāgukta vidhinā saha | prāgukta maṇṭapādyaiśca prākārādyaiśca maṇḍitaḥ || 10

The Guha-temple may be with an upper structure associated with one storey or with many storyes, their number being two to seven. The main shrine(garbha graha), laying of the first brick, placing of the top brick, finial structure(stūpi) – all such parts of the temple should be structured well according to the directions given for the construction of Śiva- temple. The forms of various Deities pertaining to each direction, the central kumbha and all other essential structures prescribed for the Śiva-temple should be provided for the Guha-temple according to the directions set forth earlier. The temple should be embellished with all types of maṇṭapas and prākāras mentioned earlier for the Śiva-temple.

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11-14

पूर्वास्यः पश्चिमास्यो वा दक्षोत्तर मुखस्तु वा | परिवारामरैर्युक्तः कथ्यन्ते ते प्रसङ्गतः || ११ यक्षेन्द्रो राक्षसेन्द्रश्च पिशाचेन्द्रश्च भूतराट् | गन्धर्वः किन्नरो दैत्यनायको दानवाधिपः || १२ क्रमात्पूर्वादि शर्वान्तस्थिता एते चतुर्भुजाः | वरदाभय संयुक्ताः खड्ग खेट समन्विताः || १३ खड्गखेट समायुक्ता द्विभुजा वाञ्जनप्रभाः | भीमरूपास्सुशान्ता वा बद्ध केशास्तु वा मताः || १४

pūrvāsyaḥ paścimāsyo vā dakṣottara mukhastu vā | parivārāmarairyuktaḥ kathyante te prasaṅgataḥ || 11 yakṣendro rākṣasendraśca piśācendraśca bhūtarāṭ | gandharvaḥ kinnaro daityanāyako dānavādhipaḥ || 12 kramātpūrvādi śarvāntasthitā ete caturbhujāḥ | varadābhaya saṃyuktāḥ khaḍga kheṭa samanvitāḥ || 13 khaḍgakheṭa samāyuktā dvibhujā vāñjanaprabhāḥ | bhīmarūpāssuśāntā vā baddha keśāstu vā matāḥ || 14

The image of Guha may be installed so as to face east, west, south or west and as associated with the retinue Deities. So, at this context, the names of the retinue Deities of Skanda are told now. Yakshendra(the King of Yakshas), Rākshasendra, Piśācendra, Bhūtendra, Gandharvendra, Kinnarendra, Daityendra and Dānavendra – these eight Deities are present in the eight directions starting from the east and ending with north-east. These Deities appear with four hands. Their lower two hands are holding the ‘abhaya mudrā’ and ‘varada mudrā’ and upper two hands are holding the sword and the shield. Or, they may be formed as appearing in black color and as associated with two hands holding the sword and the shield. They may be shown as appearing with a dreadful form or benign form, their matted hair appearing as well gathered and knotted.

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15-18

शकुनी पूतना चैव रेवती चार्धपूतना | वक्त्रमण्डी शकारी च विशान्ता मेषदेवता || १५ षण्मुखश्शक्तिपाणिश्च कार्तिकेयो गुहस्ततः | स्कन्दो मयूरवाहस्स्यात् सेनानीः शक्तिहस्त्वान् || १६ एते वा मूर्तिपास्तस्य कृताञ्जलिपुटान्विताः | वज्रपद्मधरास्सर्वे स्कन्दोक्ताक्षर संयुताः || १७ चतुर्भुजा द्विहस्ता वा षड्वक्त्राश्चैकवक्त्रकाः | एते वा परितः स्थाप्याः क्रमात् पूर्वादि योगतः || १८

śakunī pūtanā caiva revatī cārdhapūtanā | vaktramaṇḍī śakārī ca viśāntā meṣadevatā || 15 ṣaṇmukhaśśaktipāṇiśca kārtikeyo guhastataḥ | skando mayūravāhassyāt senānīḥ śaktihastvān || 16 ete vā mūrtipāstasya kṛtāñjalipuṭānvitāḥ | vajrapadmadharāssarve skandoktākṣara saṃyutāḥ || 17 caturbhujā dvihastā vā ṣaḍvaktrāścaikavaktrakāḥ | ete vā paritaḥ sthāpyāḥ kramāt pūrvādi yogataḥ || 18

Śakunī, Pūtanā, Revatī, Ardhapūtanā, Vaktramaṇḍī, Śakārī, Viśāntā and Meṣadevatā- these are the names of Devatas occuppying the next interior enclosure, as the retiniue Goddesses. In the next interior enclosure, eight Mūrtīśvaras pertaining to Skanda are present in the eight directions starting from the east. They are: Ṣaṇmukha, Śaktipāṇi, Kārtikeya, Guha, Skanda, Mayūravāhana, Senānī and Śaktidhara. They are keeping their hands in ‘añjali mudrā’. In the other two hands, they are holding vajra-weapon and lotus flower. Their names are associated with the seed-letter of Skanda. These forms may be shown as associated with four or two hands and with six faces or one face. These eight Mūrtipas(Aṣṭa Mūrtis) should be installed in the eight directions starting from the east, in the order mentioned above, around the main shrine.

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19-20

इन्द्रादीन्वाष्ट पीठं वा मयूरं वाग्रतो गजम् | विघ्नेशं क्षेत्रपं भानुं महापीठं प्रकल्पयेत् || १९ बलिपीठं च शर्वोक्तान् परिवारांस्तु वा न्यसेत् | बलिपीठ दलेष्विन्द्र पूर्वान्मध्ये ग्रहेश्वराः || २०

indrādīnvāṣṭa pīṭhaṃ vā mayūraṃ vāgrato gajam | vighneśaṃ kṣetrapaṃ bhānuṃ mahāpīṭhaṃ prakalpayet || 19 balipīṭhaṃ ca śarvoktān parivārāṃstu vā nyaset | balipīṭha daleṣvindra pūrvānmadhye graheśvarāḥ || 20

The eight dik-pālakas - Indra and others – or eight bali-pīṭhas should be installed in the eight directions. Either the peacock-vehicle or the elephant-vehicle should be installed in front of the main shrine of Skanda. The images of Vighneśa, Kshetrapāla, Sūrya and Mahāpīṭha should be installed in the respective places. The retinue Deities mentioned for Lord Śiva should be identified with the Balipīṭha(Mahāpīṭha); Indra and others should be identified with the petals of the Balipīṭha. The presiding Deities of the nine planets should be invoked in the middle of the Mahāpīṭha.

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21-24

द्वारपौ कल्पयेद्द्वारे श्यामरत्ननिभौ क्रमात् | दक्षवामगतौ द्वारे द्विभुजौ वा चतुर्भुजौ || २१ खड्गकेटधरौ सूचिमुद्रा विस्मय संयुतौ | श्यामाभौ रक्तवर्णौ वा सितकृष्णौ भयङ्करौ || २२ जयाख्य विजयाख्यौ द्वौ द्वारपौ विकृताननौ | ईशाने कल्पयेत् स्कन्दचण्डं वेदकरं वरम् || २३ अभयं वज्रपद्मेच वरदं द्विभुजं तु वा | शाकल्य संज्ञया ख्यातं तदर्थं पीठमेव वा || २४

dvārapau kalpayeddvāre śyāmaratnanibhau kramāt | dakṣavāmagatau dvāre dvibhujau vā caturbhujau || 21 khaḍgakeṭadharau sūcimudrā vismaya saṃyutau | śyāmābhau raktavarṇau vā sitakṛṣṇau bhayaṅkarau || 22 jayākhya vijayākhyau dvau dvārapau vikṛtānanau | īśāne kalpayet skandacaṇḍaṃ vedakaraṃ varam || 23 abhayaṃ vajrapadmeca varadaṃ dvibhujaṃ tu vā | śākalya saṃjñayā khyātaṃ tadarthaṃ pīṭhameva vā || 24

On the right side and left side of the entrance of the shrine, two entrance-keepers, one in the color of blue-black and the other in the red color should be installed. They may be shown as associated with two hands or four hands. In the four hands, they are holding the sword and the shield, sūci-mudrā(hand-gesture, giving a warning) and vismaya-mudrā (hand-gesture expressing wonderment). Or, they may be shown as appearing in white color and black color. These entrance-keepers, called Jaya and Vijaya, are with frightening and rough countenance. Skanda Caṇḍeśvara who is with four hands holding ‘abhaya mudrā’, ‘varada mudrā’, vajra-weapon and lotus flower should be installed in the north-east of the main shrine. Or, he may be shown as having two hands holding abhaya mudrā and varada mudrā. This kind of the form of Skanda Caṇḍeśvara is known as ‘śākalya’ and the pedestal corresponding to śākalya type should be made for this Caṇḍeśvara.

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25-27

लक्षणं तस्य संक्षेपाच्छृणुध्वं विप्रसत्तमाः | द्रव्यैश्शिलादिभिः कुर्यात् प्रतिमा लक्षणोदितैः || २५ प्रतिमा लक्षणप्रोक्तं विश्वमानं गुहस्य तु | योजनीयं द्विजा गर्भद्वारस्तम्भादि संयुतम् || २६ द्विभुजश्च द्विनेत्रश्च सुब्रह्मण्यस्सुसुन्दरः | पद्मधृक् सव्यपाणिर्लम्बितेतर सत्करः || २७ बालरूपी प्रतिष्ठाप्यो ग्रामस्यैवाभिवृद्धये |

lakṣaṇaṃ tasya saṃkṣepācchṛṇudhvaṃ viprasattamāḥ | dravyaiśśilādibhiḥ kuryāt pratimā lakṣaṇoditaiḥ || 25 pratimā lakṣaṇaproktaṃ viśvamānaṃ guhasya tu | yojanīyaṃ dvijā garbhadvārastambhādi saṃyutam || 26 dvibhujaśca dvinetraśca subrahmaṇyassusundaraḥ | padmadhṛk savyapāṇirlambitetara satkaraḥ || 27 bālarūpī pratiṣṭhāpyo grāmasyaivābhivṛddhaye |

O, the foremost twice-born Sages!, now I will speak briefly on the lineaments of various forms of Lord Skanda. Listen to these details. The images of Skanda should be designed with stone and such other materials according to the features and lineaments pertaining to various forms of the Lord. The adhama-daśa-tāla system of proportionate measurement should be applied to the images of Guha according to the directions told in the chapter dealing with the lineaments of various images. O, the twice-born Sages!, the measurements may be ascertained as compatible to the measurement of the main shrine, or to the measurement of the side-pillars of the entrance. The image of beautiful Subrahmaṇya(Skanda) may be designed to be with two shoulders and two eyes. His right hand is holding the lotus-flower and His left hand streches downwards up to the left thigh. Such form is known as Bāla-Subrahmaṇya Mūrti and such Mūrti should be installed for the sustained growth of the village or city.

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28-31

द्विहस्तो यज्ञसूत्राढ्यस्सशिखस्स त्रिमेखलः || २८ कौपीन दण्डधृक् सव्यपाणिः कट्याश्रितोऽपरः | स्थाप्योऽयं ज्ञानदः स्कन्दः पर्वतेषु वनादिषु || २९ चतुर्भुजश्त्रिणेत्रश्च कर्णयोः पत्रपिण्डयुक् | नक्रकुण्डलयुक्तो वा ह्यक्षशक्ति करद्वयः || ३० वरदाभय संयुक्तश्शक्तिद्वययुतो न वा | शक्यैकया युतो वा स्यात्तयोर्लक्षणं उच्यते || ३१

dvihasto yajñasūtrāḍhyassaśikhassa trimekhalaḥ || 28 kaupīna daṇḍadhṛk savyapāṇiḥ kaṭyāśrito'paraḥ | sthāpyo'yaṃ jñānadaḥ skandaḥ parvateṣu vanādiṣu || 29 caturbhujaśtriṇetraśca karṇayoḥ patrapiṇḍayuk | nakrakuṇḍalayukto vā hyakṣaśakti karadvayaḥ || 30 varadābhaya saṃyuktaśśaktidvayayuto na vā | śakyaikayā yuto vā syāttayorlakṣaṇaṃ ucyate || 31

Another form of Skanda appears with two hands, well settled sacred-thread and tuft associated with three folds. He is wearing the loin-strip(kaupīna), holding a staff in His right hand and keeping His left hand stretched down and placed at the hip. Such form is capable of bestowing supreme knowledge and it should be installed on the top of the hills or in the forest and such other places. In His variant form, He appears with four hands and three eyes. His ears are adorned with ear-rings made of palm-leaf rolled to be in the form of cylindrical piece. Or, His ear-ring may be shown to be in the form of the head of alligator. His lower hands are displaying the abhaya-mudra and varada-mudra and He is holding rosary of rudrāksha and śakti-weapon in His upper hands. He may be shown as associated with His two Śaktis or with one Śakti or He may be without Śaktis. Now, I will tell the lineaments of those two Śaktis.

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32-33

द्विनेत्रे द्विभुजे शान्ते पद्मोत्पल करद्वये | श्यामरक्त निभे सव्य वामपार्श्वे व्यवस्थिते || ३२ गौरिलक्षण संयुक्ते कल्पयेत्तु शुभानने | गजेति गजवल्लीति नाम्ना ख्यातेऽतिसुन्दरे || ३३ इत्थं लक्षणयुक् स्थाप्यः पुरे वा नगरेऽपिवा

dvinetre dvibhuje śānte padmotpala karadvaye | śyāmarakta nibhe savya vāmapārśve vyavasthite || 32 gaurilakṣaṇa saṃyukte kalpayettu śubhānane | gajeti gajavallīti nāmnā khyāte'tisundare || 33 itthaṃ lakṣaṇayuk sthāpyaḥ pure vā nagare'pivā

Gaja and Gajavallī are the most beautiful consorts of Lord Skanda. Gajavallī is on His right side and Gajā is on His left side. Gajavallī whose complexion is blue-black appears with two hands, holding a lotus-flower in Her left hand. Gajā whose complexion is red appears with two hands, holding an utpala-flower(blue lilly) in Her right hand. The face of each Śakti appears with all-auspiciousness. The forms of these two Śaktis should be sculpted accoding to the lineaments prescribed for Gaurī(Śivaśakti). Such form of Skanda associated with the lineamnts told above should be installed in a large town or city.

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34-35

षडाननो द्विषड्बाहुरर्कश्रोत्रेक्षणान्वितः || ३४ षट्कण्ठस्त्वेक कण्ठो वा षड्भिर्मौलिभिरन्वितः | सशक्तिस्साभयस्सासिस्साक्षमालस्सकुकुटः || ३५ सखेटकस्त्वयं स्थाप्यो वृद्धये राजधानिके |

ṣaḍānano dviṣaḍbāhurarkaśrotrekṣaṇānvitaḥ || 34 ṣaṭkaṇṭhastveka kaṇṭho vā ṣaḍbhirmaulibhiranvitaḥ | saśaktissābhayassāsissākṣamālassakukuṭaḥ || 35 sakheṭakastvayaṃ sthāpyo vṛddhaye rājadhānike |

Another form of Skanda appears with six faces, twelve hands, twelve ears, twelve eyes, six necks or one neck and as adorned with six crowns. The lance, abhaya mudrā, small sword, rosary of rudrāksha, cock and shield are held in His hands. Such form should be installed for the multi-faceted and sustained growth of the capital city.

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36-39

रक्ताम्बर समायुक्तो बालचन्द्र समप्रभः || ३६ करण्ड मकुटोपेतो नेत्रत्रय समन्वितः | शक्तिं च मुसलं खड्गं चक्रं पाशाभये वहन् || ३७ दक्षिणेऽदक्षिणे वज्रं कार्मुकं खेटकं तथा | समयूरध्वजं चैवं अङ्कुशं वरदं वहन् || ३८ सोपवीतो मयूरस्थो शक्तिद्वय समायुतः | ग्रामादौ स्थापनीयोऽयं प्रासादादौ च सिद्धये || ३९

raktāmbara samāyukto bālacandra samaprabhaḥ || 36 karaṇḍa makuṭopeto netratraya samanvitaḥ | śaktiṃ ca musalaṃ khaḍgaṃ cakraṃ pāśābhaye vahan || 37 dakṣiṇe'dakṣiṇe vajraṃ kārmukaṃ kheṭakaṃ tathā | samayūradhvajaṃ caivaṃ aṅkuśaṃ varadaṃ vahan || 38 sopavīto mayūrastho śaktidvaya samāyutaḥ | grāmādau sthāpanīyo'yaṃ prāsādādau ca siddhaye || 39

Another form of Skanda appears as attired in red clothes. In that form, He is with the effulgence of young crecent. Being three-eyed, He is adorned with karaṇḍa-crown. He is holding in His right hands the śakti-weapon(lance), musala-weapon, sword, disc-weapon, noose and abhaya-mudra. In His left hands, He is holding the vajra-weapon, bow, shield, peacock-flag, goad and varada-mudrā. Being associated with two consorts, He is wearing the sacred thread and mounted on the peacock-vehicle. Such form of Skanda should be installed in village or within a temple, mansion and such other places for the attainment of all kinds of wordly enjoyments.

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40-42

एवं पञ्चविधस्कन्दो विभागस्थान भेदतः | द्वापरे स्यान्न वान्यत्र सर्वे सर्वत्र वा मताः || ४० एवं सम्पाद्य तन्मन्त्रैः प्रतिष्ठां आरभेत्ततः | शवर्गस्य तृतीयं तु षष्ठस्वर समन्वितम् || ४१ चतुर्दशस्वरोपेतं बिन्दुनाद विभूषितम् | सुब्रह्मण्यं चतुर्थ्यन्तं नमोऽन्तं प्रणवादिकम् || ४२ मूलबीजं इति ख्यातं तस्मिन् ब्रह्माङ्ग कल्पना |

evaṃ pañcavidhaskando vibhāgasthāna bhedataḥ | dvāpare syānna vānyatra sarve sarvatra vā matāḥ || 40 evaṃ sampādya tanmantraiḥ pratiṣṭhāṃ ārabhettataḥ | śavargasya tṛtīyaṃ tu ṣaṣṭhasvara samanvitam || 41 caturdaśasvaropetaṃ bindunāda vibhūṣitam | subrahmaṇyaṃ caturthyantaṃ namo'ntaṃ praṇavādikam || 42 mūlabījaṃ iti khyātaṃ tasmin brahmāṅga kalpanā |

In this way, the five kinds of the form of Lord Skanda and different patterns in each kind suitable to different locations have been told. Though such different forms and different locations were applicable to the dvāpara-yuga , the Scriptures maintain that all kinds of Skanda-forms are suitable to all locations and all time. Having designed the suitable form of Guha, the Guru should commence the rituals related to the installation with the mantras relevant to that form. The third letter of śa-group of alphabets and the sixth vowel should be combined with the fourteenth vowel, bindu and nāda. Then the name ‘Subrahmaṇya’ should be added so as to end with the fourth case. The word ‘namaḥ’ should be added at the end and the syllable Om should be prefixed in the beginning. The mantra formed in this way is said to be the mūlamantra of Skanda. The brahma-mantras and the aṅga-mantras should be formed based on this mūlamantra.

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43-47

शान्तान्तं दीर्घह्रस्वार्णैर्जात्यन्तैर्वा नमोऽन्तकैः || ४३ ईशानादि पदोपेतैः ब्रह्माङ्गानि समुद्धरेत् | महासेनाय संयुक्तं विद्महे पदसंयुतम् || ४४ षडाननाय संयुक्तं धीमहीति पदं ततः | तन्नस्स्कन्दपदोपेतं अन्तेयुक्तं प्रचोदयात् || ४५ गायत्रीबीजं एतत्स्याद् दीपपूर्वं प्रयोजयेत् | हृत्पुटाज्जातमूलाणू मूर्तिविद्यामनू स्मृतौ || ४६ गजाया गजवल्याश्च मन्त्रास्तन्नाम कल्पिताः | ततः प्रतिष्ठा कर्तव्या प्राग्वत्कृत्वाङ्कुरार्पणम् || ४७

śāntāntaṃ dīrghahrasvārṇairjātyantairvā namo'ntakaiḥ || 43 īśānādi padopetaiḥ brahmāṅgāni samuddharet | mahāsenāya saṃyuktaṃ vidmahe padasaṃyutam || 44 ṣaḍānanāya saṃyuktaṃ dhīmahīti padaṃ tataḥ | tannasskandapadopetaṃ anteyuktaṃ pracodayāt || 45 gāyatrībījaṃ etatsyād dīpapūrvaṃ prayojayet | hṛtpuṭājjātamūlāṇū mūrtividyāmanū smṛtau || 46 gajāyā gajavalyāśca mantrāstannāma kalpitāḥ | tataḥ pratiṣṭhā kartavyā prāgvatkṛtvāṅkurārpaṇam || 47

The concerned long vowels and short vowels should be added with the letter ‘sa’ in the beginning and various māntric syllables such as ‘svāhā’, ‘svadhā’, ‘hum’, ‘phaṭ’ should be added at the end or the syllable ‘namaḥ’ should be added at the end according to the context and event. In addition to this, the names such as Īśāna, Tatpuruṣa and others should be included in the middle. In this way, the brahma-mantras and the aṅga-mantras of Skanda should be formulated. Mahāsenāya, vidmahe, ṣaḍānanāya, dhīmahi, tannaskandaḥ, pracodayāt – these terms constitute the gāyatri-mantra of Lord Skanda and this mantra should be chanted preceded by the syllable Om.The mūrti-mantra and the vidyādeha- mantra of Skanda are formed by adding the seed-letter of the heart with His mūla mantra. Similarly, the mantras pertaining to Gaja and Gajavallī are formulated according to the name of each Śakti. Then, the installation should be duly performed, after the ritual known as the ‘offering of fresh sprouts’ (aṅkrārpaṇa)has been performed.

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48-50

शुभे पूर्वोदिते काले पञ्चरत्नानि विन्यसेत् | देव्याश्च हृदयेनैव पञ्चहेमाब्जमेव वा || ४८ कृत्वा पद्मस्य संघातं नेत्रमोक्षणं आचरेत् | मध्वाज्याभ्यां सहेमाभ्यां पात्रस्थाभ्यां प्रकल्पयेत् ||४९ हृदा स्वर्णनखन्यासं धान्यगोविप्र दर्शनम् | कुर्यात् प्रच्छन्नवस्त्रेण सह सर्वात्मना गुरुः || ५०

śubhe pūrvodite kāle pañcaratnāni vinyaset | devyāśca hṛdayenaiva pañcahemābjameva vā || 48 kṛtvā padmasya saṃghātaṃ netramokṣaṇaṃ ācaret | madhvājyābhyāṃ sahemābhyāṃ pātrasthābhyāṃ prakalpayet ||49 hṛdā svarṇanakhanyāsaṃ dhānyagovipra darśanam | kuryāt pracchannavastreṇa saha sarvātmanā guruḥ || 50

In an auspicious day ascertained earlier, the Guru should fix five gems on the recpective parts of the images of Gaja and Gajavallī with the recital of hṛdaya-mantra. Or he may fix five lotus-flowers made of gold. Having fixed the gold-lotuses over the images, he should perform ‘netronmīlana’(opening the eyes of the image). He should keep honey, nail made of gold and clarified butter in a vessel. With the nail drenched in the honey and clarified butter, he should open the eyes aided by the śilpi. Having opened the eyes in this way, he should enable the images whose eyes are opened now see the collection of various grains, cow associated with its calf and the learned Brahmins. The Guru should perform this ritual known as ‘daśa darśana’ with the covering cloth and with the accompaniment of sarvātma-mantra.

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51-53

यदि देवीयुतः स्कन्दः पृथक् तस्याश्च कारयेत् | प्राग्वच्छुद्धिं प्रकल्प्यासौ ग्रामादीनां प्रदक्षिणम् || ५१ जलेऽधिवासयेत् स्कन्दं लम्बकूर्चयुतं हृदा | परितः कलशान् मन्त्री न्यसेदिन्द्राद्यधिष्ठितान् || ५२ प्रासादस्य चतुर्दिक्षु वह्नावीशेऽथ मण्टपम् | पद्माभ नवपञ्चैक संख्या कुण्डप्रकल्पनम् || ५३

yadi devīyutaḥ skandaḥ pṛthak tasyāśca kārayet | prāgvacchuddhiṃ prakalpyāsau grāmādīnāṃ pradakṣiṇam || 51 jale'dhivāsayet skandaṃ lambakūrcayutaṃ hṛdā | paritaḥ kalaśān mantrī nyasedindrādyadhiṣṭhitān || 52 prāsādasya caturdikṣu vahnāvīśe'tha maṇṭapam | padmābha navapañcaika saṃkhyā kuṇḍaprakalpanam || 53

If Skanda is associated with His consort, then the Guru should perform the ‘daśa darsana’ separately for His Śakti. Then, other rituals such as the purification of the images, procession around the village or city, keeping the images immersed under the river or tank water and other deeds should be done as performed earlier for other installation. Immersion of the images should be done, after offering the ‘lamba-kūrca’ with the recital of hṛdaya mantra for them. The Guru, who has mastered the mantras well should arrange eight kalasas for which Indra and others are the presiding Deities around the images. The sacrificial pavilion should be constructed inside the temple, in any one of the four main directions or in the south-east or in the north-east of the temple. The fire-pits should be constructed inside the pavilion to be in the form of lotus. The number of such fire-pits may be nine, five or one.

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54-55

पूर्वोत्तरेश संकॢप्त स्नानवेदिकयान्वितम् | तक्षकोद्वासनं विप्रभुक्तिं गोमयलेपनम् || ५४ पुण्योदसेचनं वास्तुदेवतेज्याग्नितर्पणे | स्थण्डिलं शयनं प्राग्वच्चर्मजाद्यैस्तु वाम्बरैः || ५५

pūrvottareśa saṃkḷpta snānavedikayānvitam | takṣakodvāsanaṃ viprabhuktiṃ gomayalepanam || 54 puṇyodasecanaṃ vāstudevatejyāgnitarpaṇe | sthaṇḍilaṃ śayanaṃ prāgvaccarmajādyaistu vāmbaraiḥ || 55

In the east, north or north-east of the pavilion, altar for the performance of ceremonial bath to the newly designed images should be constructed. Sending away the śilpi with due honors, feeding of the learned Brahmins, besmearing the inetrior ground of the pavilion with cow-dung, sprinkling of the consecrated water over the ground, vāstu pūjā, fire-ritual, designing of the sthaṇḍila, designing the couches with recommended hide or with recommended clothes – all these should be performed in the due order as done earlier.

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56-57

जलादानीय तं स्कन्दं स्नपनं प्राग्वदाचरेत् | गन्धपुष्पादिनाभ्यर्च्य बन्धयेत् कौतुकं हृदा || ५६ आरोप्य शयने स्कन्दं शाययेत् प्राक्शिरो यथा | वस्त्रैरावेष्ट्य संपूज्य सासनं मूर्ति संयुतम् || ५७ सदेहमूलमन्त्राढ्यं साङ्गं गन्धादिभिर्गुहम् |

jalādānīya taṃ skandaṃ snapanaṃ prāgvadācaret | gandhapuṣpādinābhyarcya bandhayet kautukaṃ hṛdā || 56 āropya śayane skandaṃ śāyayet prākśiro yathā | vastrairāveṣṭya saṃpūjya sāsanaṃ mūrti saṃyutam || 57 sadehamūlamantrāḍhyaṃ sāṅgaṃ gandhādibhirguham |

Having taken out the image of Skanda, the Guru should perform the ceremonial bath (abhisheka) to Him as done before for other installation. Having worshipped Him with sandal, flowers and such other substances, he should offer the protective thread to Him with the recital of hṛdaya mantra. Then he should mount the image of Skanda over the couch and place it in the recumbent posture in such a way that its head is on the east direction. Having covered the image with fresh cloth, he should worship Lord Skanda with sandal, flowers and others, with the accompaniment of āsana-mantra, mūrti-mantra, vidyādeha- mantra , mūla-mantra and aṅga-mantras.

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58-60

शिरः प्रदेशे सूत्राढ्यं कुम्भं वस्त्रादिभिर्युतम् || ५८ न्यस्त्वा तस्मिन्यथा बेरे तथा स्कन्दं प्रपूजयेत् | देवीयुतं चेद्विन्यस्य वर्धनीं तत्र तां यजेत् || ५९ परितोऽष्टौ घटान्न्यस्त्वा गुहविद्येश्वरान्यजेत् | सूत्रवस्त्र सुवर्णादि युक्तास्सर्वे घटा मताः || ६०

śiraḥ pradeśe sūtrāḍhyaṃ kumbhaṃ vastrādibhiryutam || 58 nyastvā tasminyathā bere tathā skandaṃ prapūjayet | devīyutaṃ cedvinyasya vardhanīṃ tatra tāṃ yajet || 59 parito'ṣṭau ghaṭānnyastvā guhavidyeśvarānyajet | sūtravastra suvarṇādi yuktāssarve ghaṭā matāḥ || 60

He should place the śiva-kumbha adorned well with thread, fresh cloth and other substances such as the tender mango-leaves, coconut and others, on the head side of the image of Skanda. Then he should worship it in the same way as he worshipped Skanda earlier. If Skanda is associated with Devi, he should place vardhanī-kalasa by the side of śiva-kumbha and worship it with the relevant mantras. Having arranged eight vessels (ghaṭas) around the kumbha and vardhani, he should invoke eight Vidyeśvaras of Skanda in them and worship them in the due order. All such vessels should be with thread, fresh cloth, gold coin and other materials essential for the kumbhas.

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61-62

आत्मविद्याशिवाख्यं च जानुकण्ठशिरोऽवधि | न्यस्त्वा तत्त्वत्रयं सेशं मूर्तिमूर्तीश्वरान् न्यसेत् || ६१ मूर्तयः क्षमादयो लोकपालामूर्तीश्वरा मताः | प्रागुक्ता वा तदीशानास्ततो होमं समाचरेत् || ६२

ātmavidyāśivākhyaṃ ca jānukaṇṭhaśiro'vadhi | nyastvā tattvatrayaṃ seśaṃ mūrtimūrtīśvarān nyaset || 61 mūrtayaḥ kṣamādayo lokapālāmūrtīśvarā matāḥ | prāguktā vā tadīśānāstato homaṃ samācaret || 62

Ātma tattva, vidyā tattva and śiva tattva should be identified respectively with the knee(from the feet), neck(from the knee) and the head(from the neck) of the Lord. The Tattvas, Tattveśas, Mūrtis and Mūrtīśvaras should be identified with the respecrive parts. Mūrtis are the eight Īśvaras pertaining to the eight forms of the Lord, Earth and others. Indra and others are considered as the Mūrtīśvaras. Or, the Mūtīśvaras may be held to be those mentioned for Śiva. Having known in this way, the Guru should perform the fire-ritual.

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63-65

गुरुः पूर्वोक्त पञ्चाङ्ग भूषणस्सोत्तरीयकः | सोष्णीषस्साम्बरस्स्नातश्शिवद्विज कुलोद्भवः || ६३ मूर्तिपैरीदृशैर्युक्तः कृत्वा कुण्डाग्नि संस्कृतिम् | प्रधाने स्कन्दं आवाह्य सब्रह्माङ्गं सलोचनम् || ६४ तत्त्वत्रयं सनाथं च मूर्तिमूर्तीश्वरान्वितम् | गजां च गजवल्लीं च तर्पयेत्संभवे तयोः || ६५

guruḥ pūrvokta pañcāṅga bhūṣaṇassottarīyakaḥ | soṣṇīṣassāmbarassnātaśśivadvija kulodbhavaḥ || 63 mūrtipairīdṛśairyuktaḥ kṛtvā kuṇḍāgni saṃskṛtim | pradhāne skandaṃ āvāhya sabrahmāṅgaṃ salocanam || 64 tattvatrayaṃ sanāthaṃ ca mūrtimūrtīśvarānvitam | gajāṃ ca gajavallīṃ ca tarpayetsaṃbhave tayoḥ || 65

The Guru should be the one born in the lineage of Ādiśaiva. He should be wearing the respective ornaments over the five parts of his form. Having taken the bath in the early moring, he should be wearing the upper garment and diadem(uṣṇīṣa) and be attired in new clothes. The assisting priests also should be with same etiquette. Having completed the sacramental rituals for the fire-pits, He should invoke the presence of Skanda in the main fire- pit with the concerned brahma-mantras, aṅga-mantras, netra-mantra, three tattvas along with their presiding Deities, Mūrtis and Mūritīśvaras. He should offer the oblations for Gajā and Gajavallī according to the context.

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66-67

Tहे Gउरु स्होउल्द् बे थे ओने बोर्न् इन् थे लिनेअगे ओf Āदिशैव. Hए स्होउल्द् बे wएअरिन्ग् थे रेस्पेच्तिवे ओर्नमेन्त्स् ओवेर् थे fइवे पर्त्स् ओf हिस् fओर्म्. Hअविन्ग् तकेन् थे बथ् इन् थे एअर्ल्य् मोरिन्ग्, हे स्होउल्द् बे wएअरिन्ग् थे उप्पेर् गर्मेन्त् अन्द् दिअदेम्(उष्णीष) अन्द् बे अत्तिरेद् इन् नेw च्लोथेस्. Tहे अस्सिस्तिन्ग् प्रिएस्त्स् अल्सो स्होउल्द् बे wइथ् समे एतिqउएत्ते. Hअविन्ग् चोम्प्लेतेद् थे सच्रमेन्तल् रितुअल्स् fओर् थे fइरे-पित्स्, Hए स्होउल्द् इन्वोके थे प्रेसेन्चे ओf Sकन्द इन् थे मैन् fइरे- पित् wइथ् थे चोन्चेर्नेद् ब्रह्म-मन्त्रस्, अङ्ग-मन्त्रस्, नेत्र-मन्त्र, थ्रेए तत्त्वस् अलोन्ग् wइथ् थेइर् प्रेसिदिन्ग् Dएइतिएस्, Mऊर्तिस् अन्द् Mऊरितीश्वरस्. Hए स्होउल्द् ओffएर् थे ओब्लतिओन्स् fओर् Gअजा अन्द् Gअजवल्ली अच्चोर्दिन्ग् तो थे चोन्तेxत्.

The Guru should be the one born in the lineage of Ādiśaiva. He should be wearing the respective ornaments over the five parts of his form. Having taken the bath in the early moring, he should be wearing the upper garment and diadem(uṣṇīṣa) and be attired in new clothes. The assisting priests also should be with same etiquette. Having completed the sacramental rituals for the fire-pits, He should invoke the presence of Skanda in the main fire- pit with the concerned brahma-mantras, aṅga-mantras, netra-mantra, three tattvas along with their presiding Deities, Mūrtis and Mūritīśvaras. He should offer the oblations for Gajā and Gajavallī according to the context.

The Guru should offer the oblations with the accompaniment of mūla-mantra for 1000 times, 500 times or 100 times. One tenth of these oblations should be done with the accomapaniment of brahma and aṅga-mantras. The assisting priests should offer half of the oblations done by the Chief Guru with mūla-mantra. The assisting priests should offer the oblations for the Mūrtis of brahma-mantra in the main directions and for the Mūrtis of Aṅga-mantras in the intermediary directions. They should offer the oblations even for the Mūrtis and Mūrtīśvaras along with the śānti-kalaśa.

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68-69

समिद्घृतान्नसस्येन्द्र तिलसल्लाज तण्डुलाः | पलाशोदुम्बराश्वत्थ वटा दिक्षु विदिक्ष्वत || ६८ शम्यपामार्ग श्रीवृक्षा होम्याः पिप्पल पश्चिमाः | पलाशस्स्यात् प्रधानेऽपि स च सर्वत्र वा भवेत् || ६९

samidghṛtānnasasyendra tilasallāja taṇḍulāḥ | palāśodumbarāśvattha vaṭā dikṣu vidikṣvata || 68 śamyapāmārga śrīvṛkṣā homyāḥ pippala paścimāḥ | palāśassyāt pradhāne'pi sa ca sarvatra vā bhavet || 69

The oblations should be made with the recommended faggots, clarified butter, cooked rice, mustard, sesame, parched paddy-grains and unhusked rice-grains. The faggots got from the palāśa, udumbara, aśvattha and vaṭā trees should be offered into the fire-pits in the main directions starting from the east. Those got from śamī, apāmārga, śrīvṛksha and pippala should be offered into the fire-pits in the intermediary directions starting from the south-east. The faggots of palāśa tree should be offered into the main fire-pit or the same may be offered into all the fire-pits irrespective of the directions.

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70-72

वेदपाठश्चतुर्दिक्षु कोणेष्वस्त्र जपो भवेत् | शान्त्यम्भः प्रोक्षणं स्वस्वमन्त्राणां च जपक्रियाम् || ७० दर्भसंस्पर्शनं चेत्थं प्रतिभागं समाचरेत् | ततः प्रभाते संशुद्धे मूर्तिपैस्सह देशिकः || ७१ उद्धृत्य षण्मुखं तं च कुम्भानग्नींश्च तर्पयेत् | प्रायश्चित्त निमित्तं तु दक्षिणेन शताहुतिम् || ७२

vedapāṭhaścaturdikṣu koṇeṣvastra japo bhavet | śāntyambhaḥ prokṣaṇaṃ svasvamantrāṇāṃ ca japakriyām || 70 darbhasaṃsparśanaṃ cetthaṃ pratibhāgaṃ samācaret | tataḥ prabhāte saṃśuddhe mūrtipaissaha deśikaḥ || 71 uddhṛtya ṣaṇmukhaṃ taṃ ca kumbhānagnīṃśca tarpayet | prāyaścitta nimittaṃ tu dakṣiṇena śatāhutim || 72

All the four Vedas should be recited in the four main directions starting from the east. The chanting of astra-mantra should be performed in the intermediary directions. The sprinkling of the consecrated water contained in the śānti-kumbha, the chanting of the mantras pertaining to each part of the image, touching with the darbha-kūrca – all these should be done for the three parts –brahma bhāga, viṣṇu bhāga and śiva bhaga. Then, on the morning of the next day, the Guru, having purified himself along with the assistingpriests, should lift the images from the couches and perform ‘tarpaṇa’(oblations for gratification) for the sake of kumbhas and for the fire kindled in the fire-pits. For the sake of expiation, he should offer oblations with the accompaniment of aghora-mantra for 100 times.

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73-75

दत्वा पूर्णाहुतिं पश्चात् प्रविशेद्धाम देशिकः | मानुषे दैविके वापि प्राग्वत् संस्कारसंयुताम् || ७३ कशिलां हृदयेनैव रत्नधान्यादि गर्भिताम् | विन्यस्य स्थापयेत् तस्यां षण्मुखं मूलमुच्चरन् || ७४ सुलग्ने सुमुहूर्ते तु यथा द्वारस्य सम्मुखम् | अथ ब्रह्मशिलोपेतं स्थापयेद्वा षडाननम् || ७५

datvā pūrṇāhutiṃ paścāt praviśeddhāma deśikaḥ | mānuṣe daivike vāpi prāgvat saṃskārasaṃyutām || 73 kaśilāṃ hṛdayenaiva ratnadhānyādi garbhitām | vinyasya sthāpayet tasyāṃ ṣaṇmukhaṃ mūlamuccaran || 74 sulagne sumuhūrte tu yathā dvārasya sammukham | atha brahmaśilopetaṃ sthāpayedvā ṣaḍānanam || 75

Then, having offered the consummate oblation(pūrṇa āhuti), the Guru should enter into the main shrine of the temple and fix the image of Skanda into the brahma-stone which is designed in the mānuṣa-grid or in the daivika-grid, which is filled up with gems and grains and which has been purified with essential sacramental rituals. He should place the image of Skanda inside the brahma-śila, with the recital of hṛdaya mantra. He should fix the image of Ṣaṇmukha , taking care to see that it is exactly facing the entrance of the main shrine, chanting the mūla mantra. He should install the image during the auspicious lagna and auspicious muhūrta. Or, the Guru may install the image of Ṣaḍānana (six-faced Skanda) already associated with the brahma-śila.

76-78

देवाग्रे तु घटान्न्यस्त्वा मन्त्रन्यासं समाचरेत् | कुम्भाद्बीजं समादाय षण्मुखस्य हृदि न्यसेत् || ७६ यदि देवी सती तस्यां वर्धन्या विन्यसेन्मनुम् | पीठस्य परितश्चान्य कुम्भेभ्यो विन्यसेन्मनून् || ७७ तत्तद्घटस्थिताद्भिस्तं अभिषिञ्चेत् षडाननम् | तत्त्वमूर्त्यादि विन्यासं कारयेत्पूर्ववत्ततः || ७८

devāgre tu ghaṭānnyastvā mantranyāsaṃ samācaret | kumbhādbījaṃ samādāya ṣaṇmukhasya hṛdi nyaset || 76 yadi devī satī tasyāṃ vardhanyā vinyasenmanum | pīṭhasya paritaścānya kumbhebhyo vinyasenmanūn || 77 tattadghaṭasthitādbhistaṃ abhiṣiñcet ṣaḍānanam | tattvamūrtyādi vinyāsaṃ kārayetpūrvavattataḥ || 78

Having arranged the kumbhas and kalasas in an orderly way in front of the Lord, the Guru should perform the mantra-nyāsa for the image. Having collected the seed-mantras from the kumbha, he should unify them with the heart of Lord Ṣaṇmukha. If the image of Śakti is on the same pedestal of the Lord, he should collect the mantras from the vardhani and unify them with the heart of Śakti. Having collected the mantras from the other vessels, he should unify them around the pedestal. Then he should perform the ceremonial ablution for Ṣaḍānana(six-faced Skanda) with the consecrated water contained in the respective kumbha and kalasas. As done before, he should perform tattva-nyāsa, mūrti-nyāsa and other nyāsas for the Lord.

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79-80

स्नपनं कारयेदन्ते नैवेद्यं चोत्सवं चले | गुरुं च मूर्तिपादींश्च वस्त्राद्यैर्दक्षिणायुतम् || ७९ इष्ट्वा हेमाङ्गुलीयैश्च प्रतिमास्थापनोक्तवत् | सनातन प्रतिष्ठोक्तं यदनुक्तं समाचरेत् || ८०

snapanaṃ kārayedante naivedyaṃ cotsavaṃ cale | guruṃ ca mūrtipādīṃśca vastrādyairdakṣiṇāyutam || 79 iṣṭvā hemāṅgulīyaiśca pratimāsthāpanoktavat | sanātana pratiṣṭhoktaṃ yadanuktaṃ samācaret || 80

At the end, he should perform ‘snapana-abhiṣeka’, offer the varieties of foods and fruits as naivedya and perform the festival related to the installation. As detailed in the chapter dealing with the installation of image, the main sponsor for such installation should honor the Chief Guru and the assisting priests by offering new clothes, gold rings and such other valuable things and sufficient sacrificial fees. All those details which have not been told here should be known from the chapter dealing with the uninterrupted traditional process of common installation.

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81-82

एवं यः स्थापनं कुर्यात् षण्मुखस्य द्विजोत्तमाः | आयुः पुत्रान् वसून्विद्यां अकलङ्कां वरस्त्रियम् || ८१ सौभाग्यं महतीं लक्ष्मीं नीरोगत्वं यशस्सुखम् | शुभं लब्ध्वा परत्रापि मोक्षं च लभते नरः || ८२

evaṃ yaḥ sthāpanaṃ kuryāt ṣaṇmukhasya dvijottamāḥ | āyuḥ putrān vasūnvidyāṃ akalaṅkāṃ varastriyam || 81 saubhāgyaṃ mahatīṃ lakṣmīṃ nīrogatvaṃ yaśassukham | śubhaṃ labdhvā paratrāpi mokṣaṃ ca labhate naraḥ || 82

O, the foremost twice-born sages!, the Devotee who takes responsibility for the installation of Ṣaṇmukha would be blessed with longevity, good descendents, fertile land, knowledge related to spiritual upliftment, impeccable spouse endowed with supreme qualities, all sorts of auspicious benefits, abundant wealth, healthy life, wide-spread celebrity, comforts needed for a contended life and good fortune. At the end of his life, he would attain the final liberation.

71 Directions for the Worship of Guha(Skanda)

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1-2

तस्यार्चनं च संक्षेपात् शृणुध्वं विप्रसत्तमाः | अथ प्रातः कृतावश्यशौचस्नाने विधाय च || १ सन्ध्योपस्थापनं मन्त्रतर्पणं प्राग्वदाचरेत् | गत्वा धाम प्रविश्यान्तर्निर्णेक्त्राङ्घ्रि करद्वयः || २

tasyārcanaṃ ca saṃkṣepāt śṛṇudhvaṃ viprasattamāḥ | atha prātaḥ kṛtāvaśyaśaucasnāne vidhāya ca || 1 sandhyopasthāpanaṃ mantratarpaṇaṃ prāgvadācaret | gatvā dhāma praviśyāntarnirṇektrāṅghri karadvayaḥ || 2

O, the foremost twice-born Sages!, now I will tell you briefly about the process of daily worship to be done for Skanda. Listen to these details. Having done all the deeds related to the morning activities such as cleaning the bowels, brushing the teeth and so on and completed the ceremonial bath , the Guru should perform the Sandhyā-worship, upasthāpana, mantra-tarpaṇa and other related activities as done before. Having entered into the temple, he should purify his hands and feet.

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3-5

आचान्तः सकलीकृत्य स्कन्देशान हृदयादिभिः | सनातनं विधायार्घ्यं अस्त्रमन्त्रेण तज्जलैः || ३ द्वारं संप्रोक्ष्य संपूज्य जयं च विजयं तथा | स्वनाम्नोदुम्बरे हेतिं प्रविश्यान्तस्समर्चयेत् || ४ वास्तुनाथं उदग्वक्त्रः स्वासनस्थोऽणुविग्रहः | शक्तिस्थं स्वं समायोज्य रक्षायै ध्वंसितस्थितिः || ५

ācāntaḥ sakalīkṛtya skandeśāna hṛdayādibhiḥ | sanātanaṃ vidhāyārghyaṃ astramantreṇa tajjalaiḥ || 3 dvāraṃ saṃprokṣya saṃpūjya jayaṃ ca vijayaṃ tathā | svanāmnodumbare hetiṃ praviśyāntassamarcayet || 4 vāstunāthaṃ udagvaktraḥ svāsanastho'ṇuvigrahaḥ | śaktisthaṃ svaṃ samāyojya rakṣāyai dhvaṃsitasthitiḥ || 5

Having taken three sips of water (ācamana) for purification, the Guru should render his body and soul to be identical with Skanda through the recital of hṛdaya-mantra associated with the names ‘skanda’ and īśāna and other aṅga mantras formed in the same manner. Having prepared the arghya water according to the uninterrupted tradition, he should sprinkle that water over the entrance, reciting the astra-mantra and worship Jaya and Vijaya, the protectors of the entrance. With the recital of heti-mantra associated with the name of Skanda, he should sprinkle the water over the beam of the entrance and enter into the main shrine. Then he should worship Vāstunātha and occupy the seat , being north-faced. Being identical with the mūla mantra and Guha by means of nyāsa, he should elevate his soul up to dvādaśānta and unite it with Śakti who is present in that plane for the sake of protecting it while incinerating his physical body which is of the nature of five elements. Incineration should be effected through the contemplation on the five kalas.

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6-8

शक्त्युद्भूत सुधौघेन कृतपूत महातनुः | अस्त्रमन्त्रं सुसंशुद्धं चन्दनार्पित सत्करः || ६ न्यस्तेशाननराघोर वामाजाङ्गुष्ठकादिकः | तलद्वय निविष्टाक्षि देहमूलाणु संयुतः || ७ कनिष्ठाङ्गुलिन्यस्त हृच्छिरश्चूलिकाद्यणुः | भूयस्तलकृतन्यास मूलमन्त्रपरान्वितः || ८

śaktyudbhūta sudhaughena kṛtapūta mahātanuḥ | astramantraṃ susaṃśuddhaṃ candanārpita satkaraḥ || 6 nyasteśānanarāghora vāmājāṅguṣṭhakādikaḥ | taladvaya niviṣṭākṣi dehamūlāṇu saṃyutaḥ || 7 kaniṣṭhāṅgulinyasta hṛcchiraścūlikādyaṇuḥ | bhūyastalakṛtanyāsa mūlamantraparānvitaḥ || 8

Through the continuous and abundant flow of nectar issuing from the Śakti, his body attains absolute purity and gets transmuted to be in the likeness of the form of Skanda. Having purified his palms with astra-mantra, he should apply the paste of sandal over the right and left palm to stabilize the purity. Then, he should identify the five brahma-mantras - Īśāna, Tatpuruṣa, Aghora, Vāmadeva and Sadyojāta - with the thumb and other four fingers. Having charged the palms with the power of the eyes of Skanda through the recital of netra-mantra, he should make them to be identical with the vidya-deha and mūla mantra. Then he should identify the aṅga-mantras – hṛdaya, śiras, śikhā, kavaca and astra with the fingers starting from the little finger. Having performed kara-nyāsa once again, he should attain perfect oneness with the mūla-mantra and Skanda.

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9-10

देहन्यासं च तैर्मन्त्रैः मालाब्रह्मान्वितैर्न वा | सैकत्रिंशत्कलामन्त्र न्यासं प्राग्वन्नयेन्न वा || ९ आपाद्यैवं तनुं मन्त्री गुहवत्तामनुस्मरन् | इष्ट्वा हुत्वा विभाव्यान्तर्गुहं हृन्नाभि बिन्दुषु || १० शिवाणुभिस्तनुं शैवीं अथापाद्य गुहं यजेत्

dehanyāsaṃ ca tairmantraiḥ mālābrahmānvitairna vā | saikatriṃśatkalāmantra nyāsaṃ prāgvannayenna vā || 9 āpādyaivaṃ tanuṃ mantrī guhavattāmanusmaran | iṣṭvā hutvā vibhāvyāntarguhaṃ hṛnnābhi binduṣu || 10 śivāṇubhistanuṃ śaivīṃ athāpādya guhaṃ yajet

With the same mantras, he should perform the nyāsa for his body. The nyāsa with mālā- mantras associated with brahma mantras may be done or left out. The nyāsa of thirty-one kalā-mantras may be done as performed before or this may be left out. Having rendered his body to be in perfect identity with Skanda, He should contemplate absolute oneness with Him. Then he should perform internal worship for Skanda. For the internal worship, pūja should be done at the heart; homa should be done at the navel; and contemplation should be done at the midpoint between the eyebrows(bindu sthāna). Having attained a pure body which has become identical with the form of Skanda through nyāsa of the mantras pertaining to Him, he should proceed to worship Guha.

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11-13

अवकुण्ठन दिग्बन्ध प्राकारैः स्थानशोधनम् || ११ विशेषार्घ्यं च संकल्प्य गन्धपुष्पाक्षतैर्हृदा | अर्चनाङ्गोदितैर्वाथ पाद्यमाचमनं तथा || १२ अर्घ्यं वा केवलं तेन संप्रोक्ष्य द्रव्यसंहतिम् | हृदाभिमन्त्र्य स्वं चेष्ट्वा शुद्ध्यै मन्त्रान् समुच्चरन् || १३

avakuṇṭhana digbandha prākāraiḥ sthānaśodhanam || 11 viśeṣārghyaṃ ca saṃkalpya gandhapuṣpākṣatairhṛdā | arcanāṅgoditairvātha pādyamācamanaṃ tathā || 12 arghyaṃ vā kevalaṃ tena saṃprokṣya dravyasaṃhatim | hṛdābhimantrya svaṃ ceṣṭvā śuddhyai mantrān samuccaran || 13

The purification of the place where Lord Skanda is worshipped should be done through ‘avakuṇṭhana’ and ‘digbandhana’. Having prepared the viśeṣa-arghya, the Guru should worship it with hṛdaya-mantra. Or, the pādya-water, ācamana-water and arghya-water may be prepared according to the process explained in the chapter known as “arcanāṅga ”. Or, the arghya-water alone may be prepared and energized with hṛdaya-mantra and others and the Guru should sprinkle this arghya-water over the collection of materials kept for the worship. Having placed a flower over his own head, he should chant the essential mantras raising his breath up to bindu , brahma-randhra and dvādaśānta to complete the process meant for the purification of mantras.

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14-16

इष्ट्वा पर्युषितां पूजां गायत्र्यार्घ्यं सनातनम् | दत्वा मूर्ध्नि हृदा तां च दद्यान्निर्माल्य धारिणे || १४ त्यजेद्वा बेरसंशुद्धिं नयेत् प्रागुक्त वर्त्मना | लोहजं यदि तद्बेरं स्नानं पर्वणि पर्वणि || १५ चित्रादिजं चेत् कर्मार्चा शुद्ध्या शुद्धिर्मता द्विजाः | इत्थं आत्मधराद्रव्य मन्त्रबिम्ब विशोधनम् || १६

iṣṭvā paryuṣitāṃ pūjāṃ gāyatryārghyaṃ sanātanam | datvā mūrdhni hṛdā tāṃ ca dadyānnirmālya dhāriṇe || 14 tyajedvā berasaṃśuddhiṃ nayet prāgukta vartmanā | lohajaṃ yadi tadberaṃ snānaṃ parvaṇi parvaṇi || 15 citrādijaṃ cet karmārcā śuddhyā śuddhirmatā dvijāḥ | itthaṃ ātmadharādravya mantrabimba viśodhanam || 16

Having duly honored the flowers, garlands and others offered to the Lord on the previous day and collected them from the Lord, the Guru should offer them with reverence to Caṇḍeśvara of Guha known as ‘Nirmāya Dhāri’(the possessor of the flowers and other substamces removed from the Lord). He should offer them with the recital of Gāyatri-mantra of Guha and with arghya water. The arghya-water should be offered at the head of Caṇḍeśvara. If the mūrti of Caṇḍeśvara has not been installed, then the flowers and garlands removed from the Lord may be placed outside the shrine. Then the Guru should do the ‘purification of image’(bera śuddhi) as performed earlier for other Deities. If the image is made of metal, then the ablution(abhiṣekam) may be done on each full-moon day. If the form of Skanda has been depicted as picture or rendered in such other ways, then such picture gets purified by simple activities such as cleaning and wiping. O, the twice-born sages!, in this way the five kinds of purification – ātma śuddhi, sthāna śuddhi, dravya śuddhi, bimba śuddhi and mantra śuddhi – have been explained to you.

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17-19

कृत्वासनं गुहस्यैवं कल्पयेत् प्रणवादिभिः | प्रणवं मध्यमे धर्माधर्मादीन् कल्पयेत्पुनः || १७ अधश्चोर्ध्वच्छदे पद्मकर्णिकेऽन्ते गुहासनम् | संकल्प्य चासनं मूर्तिं आवाह्यस्मिन् हृदाद्यणून् || १८ ईशानादीन् न्यसेन्माला ब्रह्माण्यर्णास्तु वाखिलान् | विद्यादेहं च संकल्प्य तस्मिन्मूलेन षण्मुखम् || १९

kṛtvāsanaṃ guhasyaivaṃ kalpayet praṇavādibhiḥ | praṇavaṃ madhyame dharmādharmādīn kalpayetpunaḥ || 17 adhaścordhvacchade padmakarṇike'nte guhāsanam | saṃkalpya cāsanaṃ mūrtiṃ āvāhyasmin hṛdādyaṇūn || 18 īśānādīn nyasenmālā brahmāṇyarṇāstu vākhilān | vidyādehaṃ ca saṃkalpya tasminmūlena ṣaṇmukham || 19

The Guru should ideate the seat for Guha to be with all the kalas of Praṇava with the chanting of praṇava and other mantras. At the middle of the praṇva-seat, he should ideate the presence of eight forces – from dharma to avairāgya – and the presence of lower-knot and upper-knot of the lotus-stem and contemplate the proper seat for Guha at the middle of the pericarp of the lotus. Contemplating on the seat and the mūrti of Guha, he should invoke His presence there with the recital of hṛdaya-mantra and other mantras. He should identify the Īśāna mūrti and other Mūrtis with the form of Skanda. He may identify the māla-mantras associated with the seed-letter of brahma-mantras with that form. Having ideated the vidyā-deha of Skanda in this way, he should worship Him with the recital of the mūla-mantra of Ṣaṇmukha.

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20-21

हृदयानुगतेनैव पुष्पसंपूर्ण सत्करः | आवाह्य बिम्बे तद्बिन्दोः आनीय स्थापयेद्धृदा || २० निष्ठुरां सन्निधानाद्यां हृदा कृत्वावकुण्ठयेत् | हृदादि नेत्रपर्यन्त मन्त्रन्यासोऽवकुण्ठनम् || २१ महामुद्रां च मूलेन कल्पयेद्वामृतीकृतिम्

hṛdayānugatenaiva puṣpasaṃpūrṇa satkaraḥ | āvāhya bimbe tadbindoḥ ānīya sthāpayeddhṛdā || 20 niṣṭhurāṃ sannidhānādyāṃ hṛdā kṛtvāvakuṇṭhayet | hṛdādi netraparyanta mantranyāso'vakuṇṭhanam || 21 mahāmudrāṃ ca mūlena kalpayedvāmṛtīkṛtim

Having brought down the presence of Skanda from his bindu-sthāna(midpoint between the eyebrows) to his heart and keeping his palms filled up with flowers, he should contemplate that Lord Skanda has now come from his heart to the flower-filled hands and install the the Lord by placing the flowers held in his hands at the heart and head of Skanda with the recital of hṛdaya-mantra. Then he should display niṣṭhura mudrā and sannidhāna mudrā and other such mudrās with the accompaniment of hṛdaya-mantra and perform ‘avakuṇṭhana’. Then he should do the nyāsa of the mantras from hṛdaya to netra, do the ‘avakuṇṭhana’ and show the ‘mahā mudrā’ with the recital of mūla mantra. Or, the mudrā for amṛtīkaraṇa(dhenu mudrā) may be displayed by him.

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22-25

पाद्यं पादे हृदाचान्तिं मुखेऽर्घ्यं शिरसि क्रमात् || २२ नमःस्वाहा वषड्वौषड् जात्यन्तेन गुहस्य च | गन्धं पुष्पं च धूपं च दत्वा पञ्चामृतादिभिः || २३ विभूतौ स्नापयेत् पिष्टामलकादि समन्वितम् | वाससोन्मृज्य वक्त्रेण दत्वाचान्तिं गुहस्य तु || २४ चन्दनागरु कर्पूर कुष्ठान् पूर्वप्रमाणजान् | पिष्ट्वालिप्य हृदा स्कन्दं केवलं चन्दनं तु वा || २५

pādyaṃ pāde hṛdācāntiṃ mukhe'rghyaṃ śirasi kramāt || 22 namaḥsvāhā vaṣaḍvauṣaḍ jātyantena guhasya ca | gandhaṃ puṣpaṃ ca dhūpaṃ ca datvā pañcāmṛtādibhiḥ || 23 vibhūtau snāpayet piṣṭāmalakādi samanvitam | vāsasonmṛjya vaktreṇa datvācāntiṃ guhasya tu || 24 candanāgaru karpūra kuṣṭhān pūrvapramāṇajān | piṣṭvālipya hṛdā skandaṃ kevalaṃ candanaṃ tu vā || 25

The pādya should be offered at the feet with the recital of hṛdaya-mantra ending with ‘namaḥ’; ācamana should be offered at the mouth with the same mantra ending with ‘svāhā’; arghya should offered on the head with same mantra ending with ‘svadhā’ or ‘vauṣaṭ’. The hṛdaya-mantra should be combined with the name of Skanda. Having offered the perfumes, flowers and incense, he should perform the ablution with pañcāmṛta and other substances such as the kneaded turmeric powder, rice-flour and myrobalan and others; then with vibhūti and pure water. Having gently wiped the image with pure cloth with the recital of tatpuruṣa-mantra, he should offer ācamana-water to the Lord. He should take candana, agaru, karpūra and kuṣṭha according to the quantity mentioned before, knead them and besmear the paste over the image with recital of hṛdaya-mantra; or he may besmear the paste of sandal alone, if other things are not available.

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26-28

कृष्णागरुकृतं धूपं दद्याद्धृदयमन्त्रतः | लघुचन्दन निर्यासं भस्मजं वा पुरोदितम् || २६ सुरभीणि विचित्राणि सर्वर्तुप्रसवानि तु | तत्क्षणप्रतिबुद्धानि प्राग्वत् पुष्पाणि दापयेत् || २७ हृदा तैलाद्यसंकॢप्तिं दद्यात् प्राग्वद् हृदाणुना | आमन्त्रण हविर्दद्यात् प्रागुक्त विधिना न वा || २८

kṛṣṇāgarukṛtaṃ dhūpaṃ dadyāddhṛdayamantrataḥ | laghucandana niryāsaṃ bhasmajaṃ vā puroditam || 26 surabhīṇi vicitrāṇi sarvartuprasavāni tu | tatkṣaṇapratibuddhāni prāgvat puṣpāṇi dāpayet || 27 hṛdā tailādyasaṃkḷptiṃ dadyāt prāgvad hṛdāṇunā | āmantraṇa havirdadyāt prāgukta vidhinā na vā || 28

The he should offer the incense prepared with black ‘agaru’ with the recital of hṛdaya- mantra. Or, as mentioned before, the incense prepared with the crushed myrobalan, sandal and niryasa(exudation from ceratin trees) may be offered with same mantra. Various kinds of flowers which are with pleasant aroma and which blossom in all the seasons and the flowers which have unfolded afresh at that moment should be offered to the Lord as done before. As done earlier, varieties of lights nourished by sesame oil and such other kinds of oil should be arranged in front of the Lord. ‘Havis’ meant for inviting the gaurding Deities should be offered with hṛdaya-mantra according to the directions set forth earlier. Or, such offering may be left out.

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29-31

गन्धादीनां प्रमाणं तु पश्चिमास्यार्चनोक्तवत् | पूजयेदावृतिं पश्चाद् धूपदानावसानके || २९ वह्नीशरक्षोवातेश दिग्विदिक्षु हृदाद्यणून् | तद्बहिर्वसुमूर्तींश्च बहिरिन्द्रादि देवताः || ३० ततोऽस्त्राणि यजेदेवं त्रिभिर्वावरणैर्गुहम् | द्वाभ्यां वैकेन भूयोऽपि धूपदीपं प्रदापयेत् || ३१

gandhādīnāṃ pramāṇaṃ tu paścimāsyārcanoktavat | pūjayedāvṛtiṃ paścād dhūpadānāvasānake || 29 vahnīśarakṣovāteśa digvidikṣu hṛdādyaṇūn | tadbahirvasumūrtīṃśca bahirindrādi devatāḥ || 30 tato'strāṇi yajedevaṃ tribhirvāvaraṇairguham | dvābhyāṃ vaikena bhūyo'pi dhūpadīpaṃ pradāpayet || 31

The quantity of perfumes and other items to be used should be according to the details given in the chapter dealing with the worship related to west-faced temple. Then, the Guru should perform the worship in all the enclosures up to the offering of incense. The Deities of hṛdaya-mantra and other aṅga mantras should be worshipped at the center, in the south-east, south-west, north-west and north-east and around all the directions. In the next enclosure, outside the previous one, the forms of eight Mūrtis, starting from the Earth, should be worshipped. Indra and others should be worshipped in the next enclosure. In the last enclosure, vajra and other weapons should be worshipped. This is the worship concerened with five enclosures. The enclosures may be three or two in number or there may be only one enclosure. All kinds of offering up to the offering of incense should be done for the Deities of all the enclosures.

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32-34

गानयेन्मन्त्रगानाद्यं जपं कृत्वा निवेदयेत् | नैवेद्यं च बलिं दत्वा कुण्डे शैवेऽनले गुहम् || ३२ आवाह्य साङ्गं चर्वन्तं पलाशसमिदाज्ययुक् | मूलेन शतपञ्चाशत् पञ्चविंशति संख्यया || ३३ जुहुयात्तद्दशांशेन षडङ्गाहुतिमाचरेत् | दत्वा पूर्णाहुतिं पश्चान् नित्योत्सवं अथाचरेत् || ३४

gānayenmantragānādyaṃ japaṃ kṛtvā nivedayet | naivedyaṃ ca baliṃ datvā kuṇḍe śaive'nale guham || 32 āvāhya sāṅgaṃ carvantaṃ palāśasamidājyayuk | mūlena śatapañcāśat pañcaviṃśati saṃkhyayā || 33 juhuyāttaddaśāṃśena ṣaḍaṅgāhutimācaret | datvā pūrṇāhutiṃ paścān nityotsavaṃ athācaret || 34

The Guru should arrange for the musical rendering of the relevant mantras and for the dance-performance. Then, having completed the incantation of mūla mantra, he should offer varieties of foods and fruits as naivedya. Then, having invoked the presence of Skanda along with His retinue Deities in the śiva-fire kindled in the fire-pit, he should prepare various offerings up to ‘caru’(specially cooked rice). Then he should offer the oblations with the faggots of palāśa along with clarified butter for 100, 50 or 25 times. One tenth of the oblations should be done with the recital of six aṅga-mantras. Having offered the consummate oblation(pūrṇāhuti), he should perform the daily-festival.

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35-37

तदन्ते ताण्डवं कुर्यात् प्रागुक्त विधिना सह | एकाहादि नवाहान्तं कुर्यात्संवत्सरोत्सवम् || ३५ ध्वजे मयूरं आलिख्य ध्वजारोहणं आचरेत् | तद्दिनत्रिगुणे वाथद्विगुणे वाथ तद्दिने || ३६ अङ्कुरार्पणपूर्वं तु भेरीताडन पूर्वकम् | ध्वजारोहण पूर्वं वा कारयेदुत्सवं बुधः || ३७

tadante tāṇḍavaṃ kuryāt prāgukta vidhinā saha | ekāhādi navāhāntaṃ kuryātsaṃvatsarotsavam || 35 dhvaje mayūraṃ ālikhya dhvajārohaṇaṃ ācaret | taddinatriguṇe vāthadviguṇe vātha taddine || 36 aṅkurārpaṇapūrvaṃ tu bherītāḍana pūrvakam | dhvajārohaṇa pūrvaṃ vā kārayedutsavaṃ budhaḥ || 37

.At the end, he should arrange for the performance of tāṇḍava(dance) according to the directions set forth earlier. The yearly grand-festival(samvatsarotsva) should be conducted, its duration being one day to nine days. Having designed a flag by drawing a colorful picture of peacock on the selected cloth, he should perform ‘dhvaja ārohaṇa’(hoisting the flag). Either three or two days after ‘dhvaja ārohaṇa’ or on the same day, the festival may be commenced. The Guru may commence the festival either preceded by the offering of fresh sprouts (aṅkurārpaṇa), preceded by the sounding of the ‘bheri’(big drum) or preceded by the hoisting of the flag.

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38-40

शकुनी रेवती चैव पूतना मण्डपूतना | वक्त्रमुण्डी ततः प्रोक्ता निशान्ता मेषदेवता || ३८ शकारीति परिज्ञेयाः सुब्रह्मण्यस्य सुव्रताः | षट्कुमारास्तु विज्ञेयास्तेषां नामानि च द्विजाः || ३९ सेनापतिस्सुरेशश्च हरसूनुस्सुराग्रजः | सुब्रह्मण्यः कुमारश्च षट्कुमाराः प्रकीर्तिताः || ४०

śakunī revatī caiva pūtanā maṇḍapūtanā | vaktramuṇḍī tataḥ proktā niśāntā meṣadevatā || 38 śakārīti parijñeyāḥ subrahmaṇyasya suvratāḥ | ṣaṭkumārāstu vijñeyāsteṣāṃ nāmāni ca dvijāḥ || 39 senāpatissureśaśca harasūnussurāgrajaḥ | subrahmaṇyaḥ kumāraśca ṣaṭkumārāḥ prakīrtitāḥ || 40

Śakunī, Revatī, Pūtanā, Maṇḍapūtanā, Vaktramuṇḍī, Niśāntā, Meṣadevatā, Śakārī – these are the eight Devtas who are in the fourth enclosure. There are six Kumāras known as the retinue Deities of Skanda. O, the twice-born sages!, listen to their names. Senāpati, Sureśa, Harasūnu, Surāgraja, Subrahmaṇya and Kumāra. They are called Ṣaṭkumārās.

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41-43

कुण्डं षडश्रमिष्टं स्यादीशाने वाथ पावके | वज्ररूपं भवेदस्त्रं पुष्पे वा तण्डुले यजेत् || ४१ द्विनेत्रं द्विभुजं रौद्रं शिखाकोटि समुज्ज्वलम् | तीक्ष्णवज्रधरं सव्ये वामहस्ते तु चित्रके || ४२ शकुन्यादि कुमारान्ता दिनानां अधिपा मताः || ४३

kuṇḍaṃ ṣaḍaśramiṣṭaṃ syādīśāne vātha pāvake | vajrarūpaṃ bhavedastraṃ puṣpe vā taṇḍule yajet || 41 dvinetraṃ dvibhujaṃ raudraṃ śikhākoṭi samujjvalam | tīkṣṇavajradharaṃ savye vāmahaste tu citrake || 42 śakunyādi kumārāntā dinānāṃ adhipā matāḥ || 43

Either in the north-east or in the south-east, fire-pit in the form of hexagonal should be designed for the great festival. The astra-deva of Skanda is in the form of vajra-weapon. He should be worshipped in the sthaṇḍila designed with flowers or unhusked rice. He appears with two eyes, two shoulders and with fierce look. He is with exceeding effulgence, being surrounded by millions of flames of fire. He is holding a sharp vajra in his right hand and a shield beautified with ornamental designs in his left hand. For the first eight days of the grand festival, Śakunī and others are the presiding Devatas and for the ninth day, the six Kumaras are the presiding Deities.

72 Directions for the Installation of Caṇḍeśāmūrti

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1-2

चण्डेशस्थापनं वक्ष्ये तल्लक्षणपुरस्सरम् | परस्वतन्त्र भेदेन द्विविधं तच्च संमतम् || १ पुरादौ मध्यमे वाष्टदिक्षु चण्डेश्वरालयः | वामेअशानेऽथ सौम्ये वा सोमेशेन्द्रान्तरेऽथवा || २ अन्तर्मण्डलदेशेऽन्तर्हारायां वेष्ट शालके |

caṇḍeśasthāpanaṃ vakṣye tallakṣaṇapurassaram | parasvatantra bhedena dvividhaṃ tacca saṃmatam || 1 purādau madhyame vāṣṭadikṣu caṇḍeśvarālayaḥ | vāmeaśāne'tha saumye vā someśendrāntare'thavā || 2 antarmaṇḍaladeśe'ntarhārāyāṃ veṣṭa śālake |

Next, I will explain the details about the installation of Caṇḍeśvara, preceded by the lineaments of His form. The shrine of Caṇḍeśa is of two kinds – para and svatantra (the associated and the independent). This shrine may be built in front of the temple, in its middle or in one of the eight directions around the temple. This may be in the south, north-east or the north; or may be between the north and the north-east or between the east and the north-east. This may be built in the enclosure known as ‘antar maṇḍala’ or ‘antarhāra’ or in the enclosure as desired by the sthapati or the chief sponsor.

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3-6

अथैकादित्रयस्त्रिंशद्धस्तविस्तार संयुतः || ३ धामलक्षण संसिद्धायामेनापि समन्वितः | एकादि सप्तभूम्यन्तं भूमिभाग समन्वितः || ४ धामोक्ताकार संयुक्तो दिक्षु चण्डेश्वरान्वितः | इष्टदेवान्वितो वा स्यात् केवलो वा वृषान्वितः || ५ प्रागुक्त विधिनानीत गर्भाद्येष्टकया युतः | मूर्धेष्टका समायुक्तः स्थूपिस्थापन संयुतः || ६ दक्षिणद्वार संयुक्तं पराङ्गं चेन्मुनीश्वराः

athaikāditrayastriṃśaddhastavistāra saṃyutaḥ || 3 dhāmalakṣaṇa saṃsiddhāyāmenāpi samanvitaḥ | ekādi saptabhūmyantaṃ bhūmibhāga samanvitaḥ || 4 dhāmoktākāra saṃyukto dikṣu caṇḍeśvarānvitaḥ | iṣṭadevānvito vā syāt kevalo vā vṛṣānvitaḥ || 5 prāgukta vidhinānīta garbhādyeṣṭakayā yutaḥ | mūrdheṣṭakā samāyuktaḥ sthūpisthāpana saṃyutaḥ || 6 dakṣiṇadvāra saṃyuktaṃ parāṅgaṃ cenmunīśvarāḥ

The breadth of the shrine may be from one hasta up to thirty hastas. This may be held according to ‘āyādi’ calculations systematically done for the main temple. The shrine should be with a super structure associated with one tire to seven tiers whose dimensions should be in accordance with those of the ground floor. The super structure may be designed acording to the dierctions given for the super structure of the main temple. This super struture may be built as associated with various forms of Caṇḍeśvara in all the eight directions or with the forms of desired Deity or simply with the forms of Bull. O, the celebrated and supreme Sages!, this shrine should be designed so as to be associated with garbha(the main cell), deposit of the the first brick, laying of the final and top brick, finial(sthūpi) and such other essential parts. This shrine should be designed so as to be with the main entrance in the soulth. These are the features of the shrine known as ‘para’.

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7-9

स्वतन्त्रस्थापने दक्षपूर्वपश्चिम दिङ्मुखः || ७ दिङ्न्यस्तामर विन्यस्त मध्यकुम्भयुतेन च | धाम संस्थापनेनाढ्यः प्रागुक्त विधिना सह || ८ प्रागुक्त गर्भमानाद्यं सर्वमत्र प्रयोज्यताम् | प्राकार मण्टपोपेतः परितः परिवारयुक् || ९

svatantrasthāpane dakṣapūrvapaścima diṅmukhaḥ || 7 diṅnyastāmara vinyasta madhyakumbhayutena ca | dhāma saṃsthāpanenāḍhyaḥ prāgukta vidhinā saha || 8 prāgukta garbhamānādyaṃ sarvamatra prayojyatām | prākāra maṇṭapopetaḥ paritaḥ parivārayuk || 9

For the installation of Caṇḍeśvara in the ‘svatantra’ type of shrine, the shrine should be provided with the main entrance in the south, east and the west. It should be with a super structure associated with the relevant images of the Deities in all the directions and it should be with a central kumbha-like finial. In compliance with the directions given earlier, the shrine should be provided with all the essential ornamental structures and images recommended for the construction of a great shrine. The proportionate measurements of the ‘garbha-gruha’(main cell) of the main temple should be applied to all the parts of the shrine. This svatantra-shrine should be designed so as to be associated with enclosures, maṇṭapas and the retinue Deities all around.

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10-12

रुद्रभक्तस्ततो रुद्रश्चण्डश्चण्डप एव च | महाबलस्तथा विप्राष्टङ्कपाणीश सेवकौ || १० रुद्रकोपज इत्यष्टमूर्तयः परिवारगाः | एते श्वेता महाकाया कृताञ्जलि पुटान्विताः || ११ सटङ्कास्तद्विहीना वा वीराद्यासन संस्थिताः | कृत्तिवासोऽन्विता वाथ चण्डरूपधरास्तु वा || १२

rudrabhaktastato rudraścaṇḍaścaṇḍapa eva ca | mahābalastathā viprāṣṭaṅkapāṇīśa sevakau || 10 rudrakopaja ityaṣṭamūrtayaḥ parivāragāḥ | ete śvetā mahākāyā kṛtāñjali puṭānvitāḥ || 11 saṭaṅkāstadvihīnā vā vīrādyāsana saṃsthitāḥ | kṛttivāso'nvitā vātha caṇḍarūpadharāstu vā || 12

The eight Deities known as ‘aṣṭa mūrtis’ of Caṇḍeśvara are: Rudrabhakta, Rudra, Caṇḍa, Caṇḍapa, Mahābala, Taṅkapāṇi, Īśa-sevaka and Rudrakopaja. These are the retinue Deities of Caṇḍeśvara. All these Deities are in white color; they are with huge form, holding their hands in ‘añjali-mudra’. They may be shown as holding a hatchet and seated in the posture of ‘vīrāsana’ or in other recommended posture. Or they may be shown without holding the hatchet. They may be designed as attired with the hide of antelope(or tiger) or they me be shown exctly in the likeness of the form of Caṇḍeśvra.

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13-15

इन्द्राद्या वा तदर्थं तु पीठं वा पूर्वतो वृषः | बलिपीठादि पीठान्तं पूर्ववत् कल्पयेत्तु वा || १३ द्वारस्थो द्वारपौ कार्यौ द्विकरौ दण्डधारकौ | चण्डानुगः चण्डमान्यो नेष्टौ वा देशिकाग्रजाः || १४ बलिपीठे बलिर्देयो यथा देशं बलिर्हितः | देवोक्त परिवारान्वा विघ्नक्षेत्रेश भानुभिः || १५

indrādyā vā tadarthaṃ tu pīṭhaṃ vā pūrvato vṛṣaḥ | balipīṭhādi pīṭhāntaṃ pūrvavat kalpayettu vā || 13 dvārastho dvārapau kāryau dvikarau daṇḍadhārakau | caṇḍānugaḥ caṇḍamānyo neṣṭau vā deśikāgrajāḥ || 14 balipīṭhe balirdeyo yathā deśaṃ balirhitaḥ | devokta parivārānvā vighnakṣetreśa bhānubhiḥ || 15

The sub-shrines for the eight directional Deities, Indra and others, should be built around the main shrine or simply the ‘pīṭhas’(small bali-pīṭhas) may be designed in their places. The Bull should be designed in front of the main shrine. Or, the main bali-pīṭha and other pīṭhas may be built around as done before for the construction of the main temple. The door-keeping Deities, known as ‘Canḍānuga’ and ‘Caṇḍamānya’ should be designed on the two sides of the entrance. O, the prominent Sages among the Ācāryas!, they should be shown as having two hands and holding a shaft(daṇḍa) in their hands. Or, the designing of such door-keeping Deities may be left out. The ‘bali’ should be offered on the bali-pīṭhas in such a way as to be coducive to the welfare of the beings and environment of the location. Or, the retinue-deities mentioned for Lord Śiva, such as Vighneśa, Kshetrapāla, Sūrya and others may be designed around the shrine. All these images should be made with the recommended stones and such other materials.

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16-19

द्रव्यैः शिलादिभिः कार्यः पूर्ववल्लक्षणान्वितः | मध्येन दशतालेन दशतालाधमेन वा || १६ प्रतिमालक्षणप्रोक्त मानेनायादि संयुतः | बद्धपद्मासनश्चण्डनाथो दुर्दर्श भीषणः || १७ व्याळयज्ञोपवीती च मुकोद्गीर्ण महानलः | कराळकज्जळाभासो जटिलश्चन्द्रशेखरः || १८ चतुर्वक्तश्चतुर्बाहुश्चाक्षमाला त्रिशूलवान् | टङ्कं कमण्डलुं वामे भानुरक्तार्कलोचनः || १९

dravyaiḥ śilādibhiḥ kāryaḥ pūrvavallakṣaṇānvitaḥ | madhyena daśatālena daśatālādhamena vā || 16 pratimālakṣaṇaprokta mānenāyādi saṃyutaḥ | baddhapadmāsanaścaṇḍanātho durdarśa bhīṣaṇaḥ || 17 vyāḷayajñopavītī ca mukodgīrṇa mahānalaḥ | karāḷakajjaḷābhāso jaṭilaścandraśekharaḥ || 18 caturvaktaścaturbāhuścākṣamālā triśūlavān | ṭaṅkaṃ kamaṇḍaluṃ vāme bhānuraktārkalocanaḥ || 19

These images should be designed according to the lineaments of the concerned images prescribed earlier. These may be designed according to the medium ten-tāla system of proportionate measurement or the inferior ten-tāla system. The proportionate measurements related to ‘āya’, ‘vyaya’ and other factors prescribed in the section dealing with the characteristics of pratimas(statues or images) should be applied for all these images. Caṇḍeśvara should be shown as seated on a lotus-pedestal, as appearing with exceeding brightness which is very difficult to behold and as the One inflicting terror on the the evil forces, as wearing the snake as the sacred-thread, as the flames of fire bursting forth from his faces; as appearing in a thick black-color comparable to the dark smoky layer collected from the burning lamp; his head adorned with matted hair and the crescent; having four faces and four hands; holding the rosary of rudraksha and trident in the right hands; hatchet and kamaṇḍalu-vessel in the left hands; and having twelve eyes which are reddish like the rising sun. These are the lineaments of the form of Caṇḍeśvara.

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20-25

अथवा शङ्खवर्णाभश्चतुर्बाहुस्त्रिलोचनः | चन्द्रार्धमण्डितः कृत्तिवासा वीरासनस्थितः || २० पिनाकामोघ बाणाभ्यां व्यग्रपाणि तलद्वयः | वराभयप्रदानाभ्यां अन्यत्र परिमण्डितः || २१ अथवा द्विभुजश्शुक्लवस्त्रस्त्र्यक्षोऽञ्जनप्रभः | जटामकुटयुक्तो वा धवलीकृत मूर्धजः || २२ स्थानको वासनस्थो वा शयितासव्यपात्तलः | सलम्ब सव्यपादस्तु वामहस्तभुजानुगः || २३ वरहस्तोऽथवा स स्यादितरष्टङ्कसंयुतः | वामेतरकरष्टङ्क युक्तोऽञ्जलिपुटोऽथवा || २४ शंकरेक्षणसंपन्नश्शोकनम्रशिरास्तु वा | उत्कुटासनयुक् शान्तो जटिलष्टङ्कधृक्करः || २५ एवं वा चण्डनाथस्तु कार्यस्त्विष्टासनान्वितः |

athavā śaṅkhavarṇābhaścaturbāhustrilocanaḥ | candrārdhamaṇḍitaḥ kṛttivāsā vīrāsanasthitaḥ || 20 pinākāmogha bāṇābhyāṃ vyagrapāṇi taladvayaḥ | varābhayapradānābhyāṃ anyatra parimaṇḍitaḥ || 21 athavā dvibhujaśśuklavastrastryakṣo'ñjanaprabhaḥ | jaṭāmakuṭayukto vā dhavalīkṛta mūrdhajaḥ || 22 sthānako vāsanastho vā śayitāsavyapāttalaḥ | salamba savyapādastu vāmahastabhujānugaḥ || 23 varahasto'thavā sa syāditaraṣṭaṅkasaṃyutaḥ | vāmetarakaraṣṭaṅka yukto'ñjalipuṭo'thavā || 24 śaṃkarekṣaṇasaṃpannaśśokanamraśirāstu vā | utkuṭāsanayuk śānto jaṭilaṣṭaṅkadhṛkkaraḥ || 25 evaṃ vā caṇḍanāthastu kāryastviṣṭāsanānvitaḥ |

Or, the form of Caṇḍeśvara may be shown in a different way as appearing in white complexion comparable to the color of conch, having four arms and three eyes, his head adorned with half-moon, attired with the hide of tiger and seated in ‘virasana’ posture. His active upper hands holding the pināka-bow and invincible and uncountable arrows and his lower hands holding abhaya-mudra and varada-mudra. Or he may be shown as having two arms and three eyes , his color being as black as the collyrium, as attired in white-dress; he may be shown as associated with the crown of matted hair or his head completely covered with whitened matted-hair. He may be designed so as be in seated posture or standing posture; as his right leg held in recumbent mode , left leg stretched down and the left hand touching the right foot placed over the left knee. Or, he may be shown as his left hand holding the varada-mudra and the right hand holding the hatchet; or, as his two hands holding the hatchets or kept in anjali-mudra. Or, his head may be shown as adorned with abundant flowers signifying the full grace issuing from the eyes of Śaṅkara , which have subdued his grief. Or, he may be shown as seated in the utkuṭāsana-posture, benign, adorned with matted hair and his hand holding the hatchet. In this way, Caṇḍanātha may be designed in many different styles, as having occupied a different seat as desired by the sthapati or the sponsor(yajamana).

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26-28

अथवाभयटङ्काभ्यां पाशशूलद्वयेन तु || २६ चतुर्भुजस्तु वा कार्यश्शङ्कराज्ञानुपालकः | विशेषस्सिंहळेदेशे कश्चिदत्राभिधीयते || २७ कृतायामष्टहस्तस्स्यात् त्रेतायां षड्भुजो मतः | द्वापरे च चतुर्हस्तः कलौ तु द्विकरो मतः || २८ अन्यदेशे तु सर्वत्र विभागो नायमीरितः |

athavābhayaṭaṅkābhyāṃ pāśaśūladvayena tu || 26 caturbhujastu vā kāryaśśaṅkarājñānupālakaḥ | viśeṣassiṃhaḷedeśe kaścidatrābhidhīyate || 27 kṛtāyāmaṣṭahastassyāt tretāyāṃ ṣaḍbhujo mataḥ | dvāpare ca caturhastaḥ kalau tu dvikaro mataḥ || 28 anyadeśe tu sarvatra vibhāgo nāyamīritaḥ |

Or, the form of Caṇḍeśvara, who is always wakeful in fulfilling the orders of Lord Śiva and in protecting the Scriptures in which such orders and directions are enshrined, may be designed so as to be with four hands holding abhaya-mudra, hatchet, noose and trident. There are some significant details about the form of Caṇḍeśvara prevalent in the Simhala country and they are explained now. In the Kṛuta Yuga, Caṇḍeśvara appears with eight hands; in the Treta Yuga, he appears with six hands; in the Dvāpara Yuga, he appears with four hands; and in the Kali Yuga, he appears with two hands. In all other countries, such details and differences are not held in practice or observed.

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29-30

अथवा चण्डनाथस्तु देव्या तु सहितो न वा || २९ सा देवी श्यामला हस्तद्वयाखिल विभूषिता | धर्मनीत्याख्यया ख्याता धृतनीलोत्पला वरा || ३० एवं आपाद्य बेरं तु मनुभिः स्थापनं नयेत् |

athavā caṇḍanāthastu devyā tu sahito na vā || 29 sā devī śyāmalā hastadvayākhila vibhūṣitā | dharmanītyākhyayā khyātā dhṛtanīlotpalā varā || 30 evaṃ āpādya beraṃ tu manubhiḥ sthāpanaṃ nayet |

Or, the form of Caṇḍeśvara may be so designed as to be associated with his consort or not associated with her. His consort appears in shyama-color(grey or blue-black); she is with two hands and adorned with all kinds of ornaments. She is holding an utpala-flower (blue lotus) and varada-mudra. She is called Dharmanīti. Having designed the image of Caṇḍeśvara perfectly in this way, the Guru should perform all the rituals concerned with the installation of such image, employing the relevant mantras.

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31-33

चण्डासनं चतुर्थ्यन्तं नत्यन्तं मनुरासने || ३१ चण्डमूर्तिपदं दीपपूर्वं नत्यन्तमेव च | चतुर्थ्यन्तं इदं मूर्तिमन्त्रमित्यभिधीयते || ३२ ध्वनिचण्डेश्वरायेति हुंफट् स्वाहा पदेन च | मूलमन्त्रस्समादिष्टस्तदग्रे दीपसंयुतः || ३३

caṇḍāsanaṃ caturthyantaṃ natyantaṃ manurāsane || 31 caṇḍamūrtipadaṃ dīpapūrvaṃ natyantameva ca | caturthyantaṃ idaṃ mūrtimantramityabhidhīyate || 32 dhvanicaṇḍeśvarāyeti huṃphaṭ svāhā padena ca | mūlamantrassamādiṣṭastadagre dīpasaṃyutaḥ || 33

The name ‘caṇḍa’ ending with the fourth case and with the word denoting the obeisance (namah) is considered as the ‘āsana-mantra’ of Caṇḍeśvara(Om Caṇḍāsanāya namah). The name ‘caṇḍamūrti’ ending with the fourth case , preceded by the seed-letters ‘Om’ and ‘hām’ and ending with the word namah is considered as the mūrti-mantra(Om hām Caṇḍamūrtaye namah). The words ‘dhvani caṇḍeśvarāya’ and ‘hum phaṭ svāhā’ constitute the mūla mantra of Caṇḍeśvara. The seed-letters “Om hām” should be added at the beginning. (Om hām dhvani caṇḍeśvarāya hum phaṭ svāhā).

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34-36

ईशानादीनि चण्डस्य चकारेणोद्धरेद् गुरुः | ओं चण्डपूर्वको हुंफण्णमोन्तः स्याद् हृदादिकाः || ३४ तन्नाम्ना हुंपडन्तेन मूर्तिनामपरो मनुः | अथवान्यप्रकारेण मन्त्रश्चण्डाय कल्प्यते || ३५ ज्ञानशक्तिपदैर्मन्त्रैः हुंफट्कार समन्वितैः | चण्डायेति पदोपेतैः चण्डमन्त्रोऽयमीरितः || ३६ विद्याङ्गैरावृतो वाथ चण्डनाथस्समीरितः |

īśānādīni caṇḍasya cakāreṇoddhared guruḥ | oṃ caṇḍapūrvako huṃphaṇṇamontaḥ syād hṛdādikāḥ || 34 tannāmnā huṃpaḍantena mūrtināmaparo manuḥ | athavānyaprakāreṇa mantraścaṇḍāya kalpyate || 35 jñānaśaktipadairmantraiḥ huṃphaṭkāra samanvitaiḥ | caṇḍāyeti padopetaiḥ caṇḍamantro'yamīritaḥ || 36 vidyāṅgairāvṛto vātha caṇḍanāthassamīritaḥ |

The Guru should conceive the six aṅga mantras, īśāna and others pertaining to Caṇḍeśvara holding the letter ‘cam’ as the seed letter. Based on the mantra which runs as “Om caṇḍāya hum phaṇṇamah”, he should formulate the hṛudaya mantra and others. ‘Om cām caṇḍa hṛudayāya humphaṇṇamah’ – this is the hṛrudaya mantra. All other aṅga mantras should be formed in this way. To formulate the mantras of the eight mūrtis of Caṇḍeśvara, each name of the Murtis should be suffixed with ‘hum phaṭ’. Or, the mūla mantra of Caṇḍeśvara may be formed in a different way. The words ‘jñāna śakti’, ‘hum phaṭ’ and ‘caṇḍāya’ should be combined to constitute the mūla mantra. (“Om caṇḍāya jñānaśaktaye hum phaṭ”). Caṇḍeśvara may be conceived as associated with an enclosure occupied by the eight Vidyeśvaras of Caṇḍeśa.

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37-39

ततः प्रतिष्ठा कर्तव्या चाङ्कुरार्पण पूर्विका || ३७ कालः पूर्ववदेवोक्तो रत्नन्यासश्च पूर्ववत् | सौवर्णबेरे रत्नादि विन्यासो नात्र कथ्यते || ३८ कृत्वा पद्मस्य सङ्घातं नेत्रमोक्षणं आचरेत् | मध्वाज्याभ्यां सहेमाभ्यां पात्रस्थाभ्यां हृदाणुना || ३९ सौवर्णनखविन्यासः प्रच्छन्नपटकादिभिः

tataḥ pratiṣṭhā kartavyā cāṅkurārpaṇa pūrvikā || 37 kālaḥ pūrvavadevokto ratnanyāsaśca pūrvavat | sauvarṇabere ratnādi vinyāso nātra kathyate || 38 kṛtvā padmasya saṅghātaṃ netramokṣaṇaṃ ācaret | madhvājyābhyāṃ sahemābhyāṃ pātrasthābhyāṃ hṛdāṇunā || 39 sauvarṇanakhavinyāsaḥ pracchannapaṭakādibhiḥ

Then, the installation of Caṇḍeśvara should duly be performed preceded by the offering of fresh sprouts. As detailed before, the auspicious time for the installation should be ascertained first and the ritual known as ‘ratna nyāsa’ should be performed. Ratna-nyāsa is not recommended for the images made of gold. Having meticulously identified the the central circular area of the eyes of the image which are comparable to the lotus-flowers, the Guru should perform the ritual known as ‘nayana-unmīlana’(opening of the eyes). Having placed the concealing screen around the image, he should perform this ritual with a needle and nail made of gold drenched in honey and clarified butter kept in the golden vessel, with the accompaniment of hṛudaya-mantra.

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40-42

बेरशुद्धिं पुरादेश्च प्रदक्षिणमथाचरेत् || ४० तोयेऽधिवासयेद्देवं इन्द्राद्यष्टघटान्वितम् | यागार्थ मण्टपं कुर्याद् धाम्नोऽग्रे तस्य पार्श्वयोः || ४१ याम्याप्यैन्द्रेषु वार्धेन्दुनिभकुण्डानि कल्पयेत् | नवपञ्चैक संख्यानि वृत्तान्यस्त्राणि वा द्विजाः || ४२

beraśuddhiṃ purādeśca pradakṣiṇamathācaret || 40 toye'dhivāsayeddevaṃ indrādyaṣṭaghaṭānvitam | yāgārtha maṇṭapaṃ kuryād dhāmno'gre tasya pārśvayoḥ || 41 yāmyāpyaindreṣu vārdhendunibhakuṇḍāni kalpayet | navapañcaika saṃkhyāni vṛttānyastrāṇi vā dvijāḥ || 42

The Guru should make arangements for the purification of the freshly designed image and for the procession of the image around the village or city. He should keep the image associated with eight ghaṭas(vessels) meant for Indra and other digpālas immersed in the river water(or, temple tank). He should construct a sacrificial pavilion in front of the temple or in the recommended sides of the temple. He should construct the fire-pit to be in the form of half-moon in the south, west and the east. O, the twice-born Sages!, nine or five fire-pits or one fire-pit may be constructed to be in the circular form and sided-form relevant to each direction.

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43-45

मण्टपं कल्पयित्वैवं पूर्वोक्तविधिना सह | उद्वास्य शिल्पिनं पश्चाच्छैवान् भक्तांश्च भोजयेत् || ४३ पुण्याहप्रोक्षणं कृत्वा वास्तुहोमं समाचरेत् | जलादानीय चण्डेशं प्राग्वत् स्नपनं आचरेत् || ४४ कौतुकं बन्धयित्वान्ते सर्वात्मानं समुच्चरन् | कल्पयेच्छयनं वेद्यां अण्डजाद्यैरनुक्रमात् || ४५ पञ्चभिर्वाम्बरैश्शुद्धैश्शाययेत् हृदयेन तु

maṇṭapaṃ kalpayitvaivaṃ pūrvoktavidhinā saha | udvāsya śilpinaṃ paścācchaivān bhaktāṃśca bhojayet || 43 puṇyāhaprokṣaṇaṃ kṛtvā vāstuhomaṃ samācaret | jalādānīya caṇḍeśaṃ prāgvat snapanaṃ ācaret || 44 kautukaṃ bandhayitvānte sarvātmānaṃ samuccaran | kalpayecchayanaṃ vedyāṃ aṇḍajādyairanukramāt || 45 pañcabhirvāmbaraiśśuddhaiśśāyayet hṛdayena tu

Having constructed the pavilion in this way according to the directions detailed earlier, the Guru should honor the śilpis and send them away. He should make arrangements for the feeding of the devotees of Śiva. The he should perform the ritual known as ‘puṇyāha prokshanam’(declaration of the auspicious time, event and sprinkling) and the vāstu-homa. He should tie up the protective thread in the right hand of the image with the accompaniment of sarvātma-mantra. Then he should design a couch over the altar making use of the soft feathers of the birds and such other materials, in the due order. If such things are not available, he should spread five pure and fresh clothes one above the other to make the couch and place the image to be in recumbent state over the bed, reciting the hṛudaya- mantra.

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46-48

वासोभ्यां वेष्टयित्वा तु कुम्भन्यासं समाचरेत् || ४६ चण्डोत्तमाङ्गदेशे तु सूत्रकूर्चाम्बरान्वितम् | सहैमटङ्कतोयाढ्यं विन्यसेएत्तु सपल्लवम् || ४७ तथाविध घटानष्टौ विन्यसेत् परितो बहिः | चण्डेशो देवियुक्तश्चेद् वर्धनीं उत्तरे न्यसेत् || ४८

vāsobhyāṃ veṣṭayitvā tu kumbhanyāsaṃ samācaret || 46 caṇḍottamāṅgadeśe tu sūtrakūrcāmbarānvitam | sahaimaṭaṅkatoyāḍhyaṃ vinyaseettu sapallavam || 47 tathāvidha ghaṭānaṣṭau vinyaset parito bahiḥ | caṇḍeśo deviyuktaśced vardhanīṃ uttare nyaset || 48

Having covered the image with a fresh cloth, the Guru should place the kumbhas in the prescribed order. He should place the śiva-kumbha wound around with thread and adorned with piece of fresh cloth, tanka-weapon(small hatchet) made of gold and tender leaves, near the head of the image. Eight kumbhas furnished with the same materials should be arrayed around the śiva-kumbha. If Caṇḍeśa is associated with his consort, then the Guru should place the śakti-kalasa(vardhani) on the north side of śiva-kumbha.

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49-53

सासनेन सदेहेन चण्डेशेनाप्यधिष्ठितम् | कुम्भमिष्ट्वा तु पूर्वोक्त ध्यानयुक् चन्दनादिभिः || ४९ हृच्छिरश्चूळिकावर्म शस्त्राणि परितो बहिः | घटेषु पूजयेन्मन्त्री ईशानादुत्तरावधि || ५० लोकपालास्तु वा तेषु चण्डमूर्त्यष्टकं तु वा | गन्धपुष्पादिभिश्चेष्ट्वा तत्त्वमूर्त्यादिकं न्यसेत् || ५१ आत्मविद्याशिवाख्यं च ब्रह्मादींश्च तदीश्वरान् | क्ष्मादिमूर्तिस्तदीशानान् लोकपानपि विन्यसेत् || ५२ प्रागुक्त मूर्तयो वाथ रुद्रभक्तादयोऽथवा | सासनं मूर्तियुक् चण्डं ब्रह्माङ्गसहितं यजेत् || ५३

sāsanena sadehena caṇḍeśenāpyadhiṣṭhitam | kumbhamiṣṭvā tu pūrvokta dhyānayuk candanādibhiḥ || 49 hṛcchiraścūḷikāvarma śastrāṇi parito bahiḥ | ghaṭeṣu pūjayenmantrī īśānāduttarāvadhi || 50 lokapālāstu vā teṣu caṇḍamūrtyaṣṭakaṃ tu vā | gandhapuṣpādibhiśceṣṭvā tattvamūrtyādikaṃ nyaset || 51 ātmavidyāśivākhyaṃ ca brahmādīṃśca tadīśvarān | kṣmādimūrtistadīśānān lokapānapi vinyaset || 52 prāgukta mūrtayo vātha rudrabhaktādayo'thavā | sāsanaṃ mūrtiyuk caṇḍaṃ brahmāṅgasahitaṃ yajet || 53

With the full consciousness of the features of the form of Caṇḍeśvara , and conceiving the seat and the mantric-form occupied by Caṇḍeśa, the Guru should worship the main kumbha with sandal, flowers and other substances. Hṛudaya, śiras, śikhā, kavaca and astra pertaining to Caṇḍeśa should be worshipped around and outside the kumbha. Starting from the north-east and ending with the north, the knower of the mantras(Guru) should worship the eight dig-pālakas or the eight Mūrtis of Caṇḍeśvara with sandal, flowers and such other substances. Then he should invoke the prsence of tattvas, tattva-mūrtis, ātma tattva, vidyā tattva, śiva tattva, the presiding Deities of these three tattvas, namely Brahma, Vishṇu and Śiva, the eight Murtis starting from the Earth, the presiding Lords of these eight Murtis. Or, the eight Murtis – Rudrabhakta and others mentioned earlier – may be invoked. He should worship all these, associated with āsana mantra, mūrti mantra, mūla mantra of Caṇḍa, the brahma mantras and the aṅga mantras.

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54-56

मूर्तिभृद्भिर्गुरुस्सार्धं होमार्थं कुण्डमाश्रयेत् | संस्कृत्य कुण्डं वह्निं च दिक्षु तत्पुरुषाद्यणून् || ५४ कोणेषु हृदयादींश्च सब्रह्माङ्गं तु चण्डपम् | प्रधाने तर्पयेन्मन्त्री समिदाज्यान्नसत्तिलैः || ५५ लाजसक्तुयवैस्सार्धं पलाशोदुम्बरो वटः | प्लक्षश्च समिधो दिक्षु प्रधानेऽपि पलाशकः || ५६ शमीखदिरमायूर श्रीवृक्षा वह्निकोणतः |

mūrtibhṛdbhirgurussārdhaṃ homārthaṃ kuṇḍamāśrayet | saṃskṛtya kuṇḍaṃ vahniṃ ca dikṣu tatpuruṣādyaṇūn || 54 koṇeṣu hṛdayādīṃśca sabrahmāṅgaṃ tu caṇḍapam | pradhāne tarpayenmantrī samidājyānnasattilaiḥ || 55 lājasaktuyavaissārdhaṃ palāśodumbaro vaṭaḥ | plakṣaśca samidho dikṣu pradhāne'pi palāśakaḥ || 56 śamīkhadiramāyūra śrīvṛkṣā vahnikoṇataḥ |

Being associated with the assisting priests(mūrtipas), the Guru should enter into the sacrificial pavilion and go near the fire-pits in order to commence the fire-ritual. They should perform all the essential sacramental rituals to the fire-pits and the kindled fire to render them to be in pure state. Tatpurusha and other Mūrtis should be invoked in the main directions; hṛudaya and other mantra-mūrtis should be invoked in the corner- directions (north-east and others); and Caṇḍeśvra should be invoked in the principal fire-pit. They should perform ‘tarpaṇa’ to all the invoked Deities making use of the faggots, clarified- butter, cooked-food , sesame, parched paddy grains, pulverized grains and yava. The faggots got from the palāśa, udumbara, vaṭa and plaksha trees should offered into the fire-pits in the main directions; those got from śamī, khadira, māyūra and śrī trees should be used for the fire-pits in the corner-directions. The faggots of palaāśa tree should be offered into the main fire-pit.

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57-59

तत्त्वमूर्तितदीशांश्च क्रमशस्तर्पयेत् पृथक् || ५७ शान्त्यम्बः प्रोक्षणं स्वस्वमन्त्राणां च जपक्रियाम् | दर्भसंस्पर्शनं चैवं प्रतिभागं समाचरेत् || ५८ ततः प्रभाते शुद्धस्तु मूर्तिपैस्सह देशिकः | उद्धृत्य चण्डबिम्बं तु कुम्भानग्नींश्च तर्पयेत् || ५९

tattvamūrtitadīśāṃśca kramaśastarpayet pṛthak || 57 śāntyambaḥ prokṣaṇaṃ svasvamantrāṇāṃ ca japakriyām | darbhasaṃsparśanaṃ caivaṃ pratibhāgaṃ samācaret || 58 tataḥ prabhāte śuddhastu mūrtipaissaha deśikaḥ | uddhṛtya caṇḍabimbaṃ tu kumbhānagnīṃśca tarpayet || 59

The Guru should perform tarpaṇa separately for the Tattvas and the Tattva-mūrtis. The sprinkling of consecrated water in the śānti-kumbha and the incantation of the mantras pertaining to the invoked Deities should be performed separately. For each part of the three parts(brahma-bhāga, viṣṇu-bhāga and rudra-bhāga), darbha-sparśana(touching the part with the tip of the bunch of darbha-grass with the drops of ghee) should be performed. Then, in the early morning of the next day, the Guru and the assisting priests should take the ceremonial bath and purify themselves, take out the image of Caṇḍa from the couch and perform tarpaṇa for the kumbhas, fire-pits and the aroused fire.

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60-63

प्रायश्चित्तं च पूर्णं च गुरुः कृत्वा समूर्तिपः | वस्त्रस्वर्णाङ्गुलीयाद्यैः पूजितः प्राप्तदक्षिणः || ६० अधमा पञ्चनिष्का तु द्विगुणा मध्यमा भवेत् | त्रिगुणा चोत्तमा प्रोक्ता चान्येषां पूर्ववद्भवेत् || ६१ प्रतिष्ठा कशिलादीनां प्राग्वत् कार्या द्विजोत्तमाः | सुमुहूर्ते प्रतिष्ठाप्य धाम्नि मन्त्रांस्तु विन्यसेत् || ६२ देवाग्रस्थण्डिलस्थेभ्यः कुम्भेभ्यो देशिकोत्तमः | तत्तत्कुम्भगतैस्तोयैः स्नापयेच्चण्डविग्रहम् || ६३

prāyaścittaṃ ca pūrṇaṃ ca guruḥ kṛtvā samūrtipaḥ | vastrasvarṇāṅgulīyādyaiḥ pūjitaḥ prāptadakṣiṇaḥ || 60 adhamā pañcaniṣkā tu dviguṇā madhyamā bhavet | triguṇā cottamā proktā cānyeṣāṃ pūrvavadbhavet || 61 pratiṣṭhā kaśilādīnāṃ prāgvat kāryā dvijottamāḥ | sumuhūrte pratiṣṭhāpya dhāmni mantrāṃstu vinyaset || 62 devāgrasthaṇḍilasthebhyaḥ kumbhebhyo deśikottamaḥ | tattatkumbhagataistoyaiḥ snāpayeccaṇḍavigraham || 63

The Guru should offer special oblations for the sake of alleviating the defects that could have occurred in the sacrificial activities and complete the fire-ritual with the offering of the consummate oblation(pūrṇāhuti). Then the Guru and the assisting priests should be honoured with sufficient sacrificial fees, new clothes, gold ring and such other valuable things. Offering of five niṣkas of gold to the priest is of inferior kind; that of ten niṣkas of gold is of medium type; offering of fifteen niṣkas of gold is of superior kind. For the other persons who have rendered their service in the fire-ritual, the offering of fees is as told earlier. O, the foremost twice-born sages!, the installation of brahma-śila and others should have been done as explained before. Having installed in the auspicious time, the Guru should perform the nyāsa of the relevant mantras for the images installed in the shrine. Then the foremost Guru should perform the ceremonial bath to the installed image with the consecrated water contained in the śiva-kumbha and other kalaśas placed over the sthaṇḍila in front of Canḍeśvara.

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64-67

स्नपनं भूरि नैवेद्यं उत्सवं च चलम् यदि | कारयेद्देवियुक्तं चेत् तस्याश्च स्थापनं नयेत् || ६४ चण्डेश्वर प्रतिष्ठेयं बालस्थानान्विता न वा | चण्डेशस्थापनं ह्येवं यः कुर्यान्नरपुङ्गवः || ६५ आयुष्कामो लभेदायुर्धनार्थी चेद्वसूनि च | विद्याकामोऽमलां विद्यां पुत्रार्थी चेत्सुतं लभेत् || ६६ लक्ष्मीकामो महालक्ष्मीं रतिकामो वरस्त्रियः | चण्डेश्वरं प्रपन्ना ये न तेषां भवकारणम् || ६७

snapanaṃ bhūri naivedyaṃ utsavaṃ ca calam yadi | kārayeddeviyuktaṃ cet tasyāśca sthāpanaṃ nayet || 64 caṇḍeśvara pratiṣṭheyaṃ bālasthānānvitā na vā | caṇḍeśasthāpanaṃ hyevaṃ yaḥ kuryānnarapuṅgavaḥ || 65 āyuṣkāmo labhedāyurdhanārthī cedvasūni ca | vidyākāmo'malāṃ vidyāṃ putrārthī cetsutaṃ labhet || 66 lakṣmīkāmo mahālakṣmīṃ ratikāmo varastriyaḥ | caṇḍeśvaraṃ prapannā ye na teṣāṃ bhavakāraṇam || 67

If the image is moveable one meant for the festival, the Guru should perform snapana- abhiśeka separately for that and offer varieties of food , sweet and others in a grand scale. If Caṇḍeśvara is associated with his consort, he should perform snapana separately for the consort. The installation Caṇḍeśvara may be done preceded by the miniature and model shrine(bālasthāna) or without such bālasthāna. The foremost devotee who is instrumental for the installation of Caṇḍeśvara according to the directions given here is sure to achieve all the desired benefits. The one who wishes for longevity would be blessed with a long duration of life; who wishes for the wealth would be blessed with many kinds of riches in terms of gold, land and such others; who wishes for proficiency in studies and sciences would achieve excelling and superior knowledge; who wishes for good descendents would be blessed with them; who wishes for the attainment of undecaying affluence would be granted inexhaustible possessions; who wishes for a beautiful spouse would be blessed with impeccable and praiseworthy girl. The seed of future births ceases to exist for those who have taken refuge in the feet of Caṇḍeśvara.

73 Directions for the Systematic Worship of Caṇḍeśvara

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1-3

चण्डेशस्थापनं ख्यातं तस्य पूजा न कथ्यते | स्नानाद्यं पूर्ववत्कृत्वा सकलीकृत विग्रहः || १ चण्डेशनाथस्य हृत्पूर्वं सामान्यार्घ्यं च हेतिना द्वारपौ तेन गन्धाद्यैः इष्ट्वास्त्र द्वारमध्यमे || २ आलयस्य प्रविश्यान्तर्भूतशुद्धिं विधाय च | सकलीकृत देहस्तु कृतवान्तश्चण्डपूजनम् || ३

caṇḍeśasthāpanaṃ khyātaṃ tasya pūjā na kathyate | snānādyaṃ pūrvavatkṛtvā sakalīkṛta vigrahaḥ || 1 caṇḍeśanāthasya hṛtpūrvaṃ sāmānyārghyaṃ ca hetinā dvārapau tena gandhādyaiḥ iṣṭvāstra dvāramadhyame || 2 ālayasya praviśyāntarbhūtaśuddhiṃ vidhāya ca | sakalīkṛta dehastu kṛtavāntaścaṇḍapūjanam || 3

So far, the installation and consecration of Caṇḍeśvara has been told. The process of worship to be done to him was not told. It is now being explained. The Guru, having completed the prior activities such as the ceremonial bath, sandhi-worship and others should render his body to be in the likeness of the Lord to be worshipped by means of ‘sakalīkaraṇa’. He should prepare the sāmānya-arghya with the accompaniment of hṛudaya-mantra and kavaca-mantra of Caṇḍeśa and worship the two gaurdian-deities on the two sides of the entrance with sandal, flowers and such other substances. Then he should worship the astra-devata at the middle of the entrance, enter into the shrine and perform the purification of his gross body and subtle body(bhūta śuddhi). Keeping his form occupied and energised by the māntric form of Caṇḍeśa, he should commence the worship.

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4-5

अस्त्रप्राकार दिग्बन्धैः स्थानशुद्धिं विधाय च | पाद्यमाचमनं दत्वा हृदार्घ्यं संहिताणुभिः || ४ अर्घ्यं वा केवलं तेन प्रोक्ष्य द्रव्यं हृदा लभेत् | स्वस्वमिष्ट्वा हृदा मन्त्रान् उच्चरेन् मन्त्रशुद्धये || ५

astraprākāra digbandhaiḥ sthānaśuddhiṃ vidhāya ca | pādyamācamanaṃ datvā hṛdārghyaṃ saṃhitāṇubhiḥ || 4 arghyaṃ vā kevalaṃ tena prokṣya dravyaṃ hṛdā labhet | svasvamiṣṭvā hṛdā mantrān uccaren mantraśuddhaye || 5

He should create mentally the enclosure which is of the nature of astra-weapon, arrest the negative forces present in all the directions(digbandhana) and purify the place where the worship is to be done(sthāna śuddhi). With the arghya-water and with the recital of hṛudaya-mantra, he should offer pādya and ācamana to Caṇḍeśa; with the accompaniment of samhita-mantras, he should offer the arghya to him. To perform the purification of the materials meant for the worship of Caṇḍeśa, he should sprinkle the sāmānya-arghya water over them and take them, reciting the hṛudaya-mantra. Having worshipped the Lord within his own heart reciting the hṛudaya-mantra, he should recite the mūla-mantra and others concentrating his thought on the mid-point between the eye-brows and brahma- randhra. This should be done for the purification of mantras(mantra-śuddhi).

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6-8

पूर्वपूजां समभ्यर्च्य चण्डेशानाय विद्महे | इत्युक्त्वा टङ्कहस्ताय धीमहीति पदं ततः || ६ तन्नश्चण्डपदं पश्चात् पदमुक्त्वा प्रचोदयात् | दत्वा सामान्यमर्घ्यं च निर्माल्यं अपनीय च || ७ संशोध्य चण्डमस्त्रेण सामान्यार्घ्योदकेन च | चण्डासनं च मूर्तिं च संकल्प्येशाद्यणून् क्रमात् || ८

pūrvapūjāṃ samabhyarcya caṇḍeśānāya vidmahe | ityuktvā ṭaṅkahastāya dhīmahīti padaṃ tataḥ || 6 tannaścaṇḍapadaṃ paścāt padamuktvā pracodayāt | datvā sāmānyamarghyaṃ ca nirmālyaṃ apanīya ca || 7 saṃśodhya caṇḍamastreṇa sāmānyārghyodakena ca | caṇḍāsanaṃ ca mūrtiṃ ca saṃkalpyeśādyaṇūn kramāt || 8

Having contemplated and honoured the worship done in the previous day, the Guru should recite the caṇḍa-gāyatri mantra formed by the words ‘caṇḍeśāya vidmahe’, ‘ṭaṅka hastāya’, ‘dhīmahi’, ‘tannaścaṇḍaḥ’ and ‘prcodayāt’. Having offered the sāmānya-arghya reciting this gāyatri-mantra, he should remove the flowers and other substances offered to him on the previous day. Then he should cleanse the image with the recital of astra-mantra and with the consecrated water of sāmānya-arghya. He should then conceive the presence of the seat and the māntric-form of Caṇḍeśa and recite the brhama-mantras starting from the Īśāna in the prescribed order.

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9-10

हृदादींश्च यथास्थानं न्यस्य मूलेन चण्डपम् | बिन्दोरावाह्य संस्थाप्य हृदा सन्निधिरोधनम् || ९ न्यासं च हृदयादीनामप्यङ्गा भेदभावनम् | पाद्यमाचमनं चार्घ्यं दत्वा हृदय मन्त्रतः || १० अभ्यङ्गोद्वर्तनाद्यैश्च पञ्चगव्यामृतैरपि | इष्ट्वा चण्डेश्वरं शक्तौ वस्त्रं गन्धं च पुष्पयुक् || ११

hṛdādīṃśca yathāsthānaṃ nyasya mūlena caṇḍapam | bindorāvāhya saṃsthāpya hṛdā sannidhirodhanam || 9 nyāsaṃ ca hṛdayādīnāmapyaṅgā bhedabhāvanam | pādyamācamanaṃ cārghyaṃ datvā hṛdaya mantrataḥ || 10 abhyaṅgodvartanādyaiśca pañcagavyāmṛtairapi | iṣṭvā caṇḍeśvaraṃ śaktau vastraṃ gandhaṃ ca puṣpayuk || 11

Having unified the hṛudaya-mantra and other mantras with the corresponding parts of the image of Canḍeśa such as the heart, front-head, top head and others, he should invoke the presence of Caṇḍeśa from the bindu-point between his eye-brows with the recital of Caṇḍa mūla mantra and install him in the heart of the image and stabilize his presence with the recital of hṛudaya mantra. He should conceive the distinct appearance of various parts of his form such as the heart, head, arms and others. Then he should offer the pādya, ācamana and arghya with the recital of hṛudaya mantra. All the essential deeds such as oiling and anointing the image, cleaning, wiping, ablution with pañcāmṛuta and such others should be performed in the due order. Then he should worship Caṇḍeśvara and his consort with the offering of cloth, sandal, flowers and other substances.

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12-13

धूपदीपं हृदा दद्यादर्चनाङ्ग विधानतः | हृदादीन् रुद्रभक्तादीन् सास्त्रान् आशापतीनपि || १२ परितश्चण्डनाथस्य तानिष्ट्वार्घ्योपचारतः | नैवेद्यं तद्विधानोक्तं दत्वा ताम्बूल संयुतम् || १३

dhūpadīpaṃ hṛdā dadyādarcanāṅga vidhānataḥ | hṛdādīn rudrabhaktādīn sāstrān āśāpatīnapi || 12 paritaścaṇḍanāthasya tāniṣṭvārghyopacārataḥ | naivedyaṃ tadvidhānoktaṃ datvā tāmbūla saṃyutam || 13

Then, according to the process related to various aspects of the worship, he should offer the incense, light and others with the recital of hṛudaya mantra. The forms related to hṛudaya and other aṅga mantras, the eight Vidyeśvaras – Rudrabhakta and others (mentioned earlier) – digpālakas and the astra-devatas – all these retinue Deities of Caṇḍanātha should be worshipped in the due order accompanied by all kind of offerings. Then he should offer the ‘naivedya’ along with ‘tāmbūla’according to the directions given in the section dealing with ‘naivedya upacāra’.

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14-18

पराङ्गं चेच्छिवेनोपभुक्तं चापि निवेदयेत् | जपं कृत्वा निवेद्यास्मै परिवारे बलिं नयेत् || १४ पलाशसमिदाज्यान्नैः होमं च विभवे सति | मूलेन तद्दशांशेन तदङ्गैर्होममाचरेत् || १५ नित्योत्सवं ततश्चण्ड बेरस्यान्येन कारयेत् | पुष्पान्नक्षतलिङ्गैश्च चण्डेशास्त्रेण पूजितैः || १६ प्रातर्मध्याह्न रात्रेषु चण्डबेरोज्झितैस्तु वा | पादुकाराधनोपेतं प्रविशेदालयं प्रति || १७ एकद्वित्रिचतुष्पञ्च षट्सप्ताष्ट विभेदिषु | कालेष्विष्टेषु चण्डेशं यजेत्प्रत्यहमादरात् || १८

parāṅgaṃ cecchivenopabhuktaṃ cāpi nivedayet | japaṃ kṛtvā nivedyāsmai parivāre baliṃ nayet || 14 palāśasamidājyānnaiḥ homaṃ ca vibhave sati | mūlena taddaśāṃśena tadaṅgairhomamācaret || 15 nityotsavaṃ tataścaṇḍa berasyānyena kārayet | puṣpānnakṣataliṅgaiśca caṇḍeśāstreṇa pūjitaiḥ || 16 prātarmadhyāhna rātreṣu caṇḍaberojjhitaistu vā | pādukārādhanopetaṃ praviśedālayaṃ prati || 17 ekadvitricatuṣpañca ṣaṭsaptāṣṭa vibhediṣu | kāleṣviṣṭeṣu caṇḍeśaṃ yajetpratyahamādarāt || 18

If Caṇḍeśvara has been installed in the ‘parāṅga’ type of shrine, the flowers and garlands offered to Lord Śiva(Śivaliṅga) on the previous day and accepted by Him should be offered as ‘naivedya’ to Caṇḍeśvara. Then, having done the incantation of the mūla mantra of Caṇḍeśvara and having dedicated to him, the Guru should offer ‘bali’ to the concerened retinue Deities. If sufficient materials are available, he should perform the fire-ritual and offer the oblations with the faggots of palāśa , clarified-butter and cooked rice; with the recital of aṅga mantras, oblations should be offered to the tune of one tenth of the oblations done with the mūla mantra. The daily festival should be performed for Caṇḍeśvara, keeping the moveable image of Caṇḍeśa for the worship and for other festive activities. Having designed liṅga with flower, food or akshata-grains, the Guru should worship it with the accompaniment of caṇḍa-astra mantra, associated or not associated with Caṇḍeśa. Then he should perform the worship of Caṇḍa-pādukā. Taking the duly worshipped pādukā around the temple , he should enter into the shrine. Such worship of Caṇḍeśvara should be performed with diligence in extensive way for one time to eight times everyday according to the availability of the materials. Or such worship may be performed in any desired session.

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19-21

पराङ्ग चण्डनाथस्य विशेषः कथ्यतेऽर्चने | आदौ पर्युषितां पूजां पीठकादौ हृदाणुना || १९ चण्डेशायेति संकल्प्य यच्छिवाय निवेदयेत् | नैवेद्याद्यं च पूजान्ते चण्डेशस्यार्चकोत्तमः || २० गत्वा तदालयं शुद्ध तोयगन्धस्रगादिभिः | संपूज्य शिवनिर्माल्यमपि पश्चान्निवेदयेत् || २१

parāṅga caṇḍanāthasya viśeṣaḥ kathyate'rcane | ādau paryuṣitāṃ pūjāṃ pīṭhakādau hṛdāṇunā || 19 caṇḍeśāyeti saṃkalpya yacchivāya nivedayet | naivedyādyaṃ ca pūjānte caṇḍeśasyārcakottamaḥ || 20 gatvā tadālayaṃ śuddha toyagandhasragādibhiḥ | saṃpūjya śivanirmālyamapi paścānnivedayet || 21

A specific activity has been told in the worship of Caṇḍeśvara installed in the ‘parāṅga’ shrine. First, all the items offered to the pedestal of Liṅga and such other parts on the previous day should be taken by the foremost priest(Guru) with the recital of hṛudaya mantra and be kept in a separate place within the shrine. “These belong to Caṇḍeśa and let them be offered to him” – with this ideation in mind, he should declare his saṅkalpa to Śiva. Having worshipped Caṇḍeśa with all the essential upacāras(offerings) up to naivedya, the foremost Guru should come to the main shrine of Śivaliṅga, worship and honour all those items kept there in a separate place for Caṇḍeśa with pure water, sandal, flowers garlands and other substances and having collected all those things he should come back to the shrine of Caṇḍeśa and offer them to him, saying “this śiva nirmālya is offered to you”.

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22-23

आत्मार्थं च परार्थं च सामान्यमिदमीरितम् | नित्येज्यैवं समादिष्टा भुक्तिमुक्ति फलप्रदा || २२ आयुः प्रज्ञां सदारोग्यं सौभाग्यं अतुलां श्रियम् | अन्यच्च लभते नित्यं चण्डेशस्यार्चनेन तु || विशेषयजनं कुर्यात् स्नपनेनेष्टसिद्धये | २३

ātmārthaṃ ca parārthaṃ ca sāmānyamidamīritam | nityejyaivaṃ samādiṣṭā bhuktimukti phalapradā || 22 āyuḥ prajñāṃ sadārogyaṃ saubhāgyaṃ atulāṃ śriyam | anyacca labhate nityaṃ caṇḍeśasyārcanena tu || viśeṣayajanaṃ kuryāt snapaneneṣṭasiddhaye | 23

This kind of worship is said to be common to both ‘ātmārtha pūjā’ and ‘parārtha pūjā’. The worship performed daily in this way is capable of bestowing both the worldly enjoyments and the final liberation. Through the daily worship of Caṇḍeśa, the devotee could attain manifold benefits such as longevity, supreme knowledge, consciousness related to the Eternal Existence, healthiness, auspicious enjoyments, inexhaustible wealth and such other fortunes. In order to attain a particular benefit desired intensively, worship of Caṇḍeśa should be done in a specific and grand scale.

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24-27

स्नपनं पूर्ववत् किं तु मध्ये चण्डेश्वरं घटे || २४ देव्यायुतस्स चेन्न्यस्त्वा वर्धनीं तत्र तां यजेत् | अष्टमूर्तिषु पूर्वादि दिक्स्थाः पञ्चप्रकल्पने || २५ रुद्रभक्तादयोऽष्टौ स्युर्नवकुम्भाभिषेचने | इन्द्राद्या वज्रपूर्वाः स्युस्तद्बाह्ये पञ्चविंशतौ || २६ पञ्चाशत् स्नपने बाह्ये चण्डेशास्त्रं तु केवलम् | शतस्नाने तु तद्बाह्ये हृदयं केवलं यजेत् || २७

snapanaṃ pūrvavat kiṃ tu madhye caṇḍeśvaraṃ ghaṭe || 24 devyāyutassa cennyastvā vardhanīṃ tatra tāṃ yajet | aṣṭamūrtiṣu pūrvādi diksthāḥ pañcaprakalpane || 25 rudrabhaktādayo'ṣṭau syurnavakumbhābhiṣecane | indrādyā vajrapūrvāḥ syustadbāhye pañcaviṃśatau || 26 pañcāśat snapane bāhye caṇḍeśāstraṃ tu kevalam | śatasnāne tu tadbāhye hṛdayaṃ kevalaṃ yajet || 27

For the specific worship of Caṇḍeśa, snapana abhisheka should be performed. But, in this snapana, the central kumbha should be placed for Caṇḍeśa, not for Śiva. If Caṇḍeśvara has been installed with his consort, vardhani-kumbha should be placed on the north side of the Caṇḍa kumbha and both Caṇḍa and Devī should be worshipped at the center. Four kalasas should be placed in all main directions starting from the east. The eight Mūrtis of Caṇḍeśa should be invoked into these four kalasas and worshipped .This arrangement is for pañca-kalaśa-snapana. Eight kalasas should placed around Caṇḍa kumbha and Vardhani kumbha so as to be in all the eight directions. These kalasas are meant for Rudrabhakta and other Vidyeśvaras of Caṇḍeśa. This kind of arrangement is for nava- kalaśa-snapana(snapana with nine kalasas). For the snapana with twenty-five kalasas, eight kalasas for Indra and other dig-pālakas should be placed around the kalasas meant for the Vidyeśvaras and eight kalasas should be arrayed for the Vajra and other wepons around the kalasas placed for the dig-pālakas. For the snapana with fifty kalasas, twenty-five kalasas should be placed around the previous enclosure meant for the vajra and other weapons. These twenty-five kalsas are meant for the astra-weapon of Caṇḍeśa only. For the snapana with hundred kalasas, fifty kalasas should be placed around the previous enclosure and these kalasas are meant for the hṛudya-mantra of Caṇḍeśa only. The Guru should worship all these kalasas to be used for the snapana-abhisheka.

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28-30

उत्सवं दमनारोहं पवित्रारोहणं नयेत् | दीपावलीं वसन्तेज्यां मासे मासोत्सवक्रियाम् || २८ नवनैवेद्य कर्माणि जीर्णोद्धारं च निष्कृतिम् | किं तूत्सवे ध्वजे टङ्कं वृषं वा केवलं लिखेत् || २९ शिवोत्सवेऽपि कर्तव्यश्चण्डनाथोत्सवस्त्विह | ध्वजहोमबलिं हित्वा केवलं यानमेव वा || ३०

utsavaṃ damanārohaṃ pavitrārohaṇaṃ nayet | dīpāvalīṃ vasantejyāṃ māse māsotsavakriyām || 28 navanaivedya karmāṇi jīrṇoddhāraṃ ca niṣkṛtim | kiṃ tūtsave dhvaje ṭaṅkaṃ vṛṣaṃ vā kevalaṃ likhet || 29 śivotsave'pi kartavyaścaṇḍanāthotsavastviha | dhvajahomabaliṃ hitvā kevalaṃ yānameva vā || 30

Various festivals such as damana utsava, pavitrotsava, dīpāvaḷi and vasanta utsava should be performed in the concerned months. Relevant monthly festival should be performed in each month. Offering of nava-naivedya, renovation, expiatory rituals and such other activities should be carried out essentially. The picture of ṭaṅka(hatchet) and Bull or the that of Bull only should be drawn in the flag-cloth to be raised for the festival. The festival(utsava) for Caṇḍeśa should be performed even during the festival of Śiva. This is the specific direction given in this Āgama. The Caṇḍeśa utsava may be performed during the festival of Śiva without raising of the flag, fire-ritual and bali-offering for Caṇḍeśa. He may be taken in procession simply mounted on a vehicle.

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30-31

प्रतिमां चण्डवत् कुर्यात् तत्र टङ्काकृतिर्भवेत् | प्रतिष्ठोत्सव कर्मादावनुक्तं कर्म यद् द्विजाः || ३१ तत्सर्वं पूर्ववद् ग्राह्यं चण्डेशाणुसमन्वितम् || ३२

pratimāṃ caṇḍavat kuryāt tatra ṭaṅkākṛtirbhavet | pratiṣṭhotsava karmādāvanuktaṃ karma yad dvijāḥ || 31 tatsarvaṃ pūrvavad grāhyaṃ caṇḍeśāṇusamanvitam || 32

The image meant for the festival should be made exactly in the likeness of Caṇḍeśa or that image may be designed to be in the form of ṭaṅka. O, the twice-born sages!, all those details which are not given here in these directions related to the installation, festival and other activities concerned with Caṇḍeśa should be collected from the relevant sections dealing with these matters and such activities should be done with the accompaniment of the mantras related to Caṇḍeśa.

74 Directions for the Installation of Vidyā Pīṭhā (For Instituting a Center for Learning the Scriptures)

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1-2

विद्यापीठ प्रतिष्ठां तु प्रवक्ष्यामि समासतः | सा विद्या द्विविधा प्रोक्ता संस्कृतान्यात्मिकेति वा || १ प्रासादौ चतुर्दिक्षु तद्विदिक्ष्वन्तरालके | भक्तोक्तस्थानके वापि विद्यास्थानं प्रकल्पयेत् || २

vidyāpīṭha pratiṣṭhāṃ tu pravakṣyāmi samāsataḥ | sā vidyā dvividhā proktā saṃskṛtānyātmiketi vā || 1 prāsādau caturdikṣu tadvidikṣvantarālake | bhaktoktasthānake vāpi vidyāsthānaṃ prakalpayet || 2

Now I will tell you briefly about instituting a center(pīṭhā) for the systematic study of the Scriptures(Āgamas and Vedas). That study is of two kinds – samskṛuta(well systematized) and ātmikā(practical-cum-spiritual oriented). Such center for the scriptural studies may be constructed in all the four main directions of the temple, in the corner directions of the temple, in its inner enclosure or in the locations recommended for the installation of the images of śaiva-devotees.

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3-5

अङ्गुलत्रयमारभ्य व्योमाङ्गुल विवृद्धितः | पञ्चविंशतिमात्रान्तं भवेत् पुस्तक दैर्घ्यकम् || ३ व्योमाङ्गुलात् पादवृद्ध्या रविमात्रावसानकम् | प्रमाणं तु विशाले स्यात् पक्षपट्टियुतं तु वा || ४ भूर्जत्वक्कुलसंभूतं श्रीताळी दलमेव वा | तालसंभूतपत्रं वा सुवर्णादि विनिर्मितम् || ५

aṅgulatrayamārabhya vyomāṅgula vivṛddhitaḥ | pañcaviṃśatimātrāntaṃ bhavet pustaka dairghyakam || 3 vyomāṅgulāt pādavṛddhyā ravimātrāvasānakam | pramāṇaṃ tu viśāle syāt pakṣapaṭṭiyutaṃ tu vā || 4 bhūrjatvakkulasaṃbhūtaṃ śrītāḷī dalameva vā | tālasaṃbhūtapatraṃ vā suvarṇādi vinirmitam || 5

Starting from three aṅgulas, increasing this measure by one aṅgula each time, the length of the scripture may be up to twenty-five aṅgulas. Starting from one aṅgula, increasing this measure by one quarter each time, the breadth of the scripture may be up to twelve aṅgulas; or, the breadth may be fifteen aṅgulas. Such scripture may be designed with the bark of the bhūrja-tree, leaf of śrītāḷī-tree or the leaf of palm-tree. Or, it may be designed with the sheet or plate made of gold, copper and such other metals.

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6-7

शैलदारुकृतं वापि लेखयेदक्षरैः शुभैः | मष्या वा कुङ्कुमाद्यैर्वा पुष्पाद्यैर्निर्मितेन वा || ६ लिखेत् तूलिकया वापि देशिकः शिष्य एव वा | शुभवारर्क्षयोगादावारभेद् अनुकूलके || ७

śailadārukṛtaṃ vāpi lekhayedakṣaraiḥ śubhaiḥ | maṣyā vā kuṅkumādyairvā puṣpādyairnirmitena vā || 6 likhet tūlikayā vāpi deśikaḥ śiṣya eva vā | śubhavārarkṣayogādāvārabhed anukūlake || 7

Or, it may be designed with the bark of śaila-tree. The Guru and the disciple should write the words formed by the auspicious letters with tūḷī (stylus or nib used for drawing) over the leaf, making use of the ink prepared with the paste of saffron or with such other flowers. He should commence the writing on an auspicious day and time synchronizing with favorable nakshatra, yoga and other factors.

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8-10

पशुना लेखयेन्नैतच्छिवज्ञानं प्रयत्नतः | न समीपे पशूनां तु कुर्याद् अध्ययनं बुधः || ८ नानादेश समुद्भूतैः अक्षरैः कान्तिसंयुतैः | लेखयेद् ऋजुपङ्क्त्या तं पत्रप्रान्ते न लेखयेत् || ९ गन्धाद्यैः शिवमभ्यर्च्य मातृकां शिवरूपिणीम् | वस्त्राद्यैः देशिकश्चेष्ट्वा पत्रिकामपि पूजयेत् || १०

paśunā lekhayennaitacchivajñānaṃ prayatnataḥ | na samīpe paśūnāṃ tu kuryād adhyayanaṃ budhaḥ || 8 nānādeśa samudbhūtaiḥ akṣaraiḥ kāntisaṃyutaiḥ | lekhayed ṛjupaṅktyā taṃ patraprānte na lekhayet || 9 gandhādyaiḥ śivamabhyarcya mātṛkāṃ śivarūpiṇīm | vastrādyaiḥ deśikaśceṣṭvā patrikāmapi pūjayet || 10

The Scriptures, specifically called “Śivajñāna”, should never be written in the palm leaf or bark by the uneducated and ignorant person. Nor they may be studied by the wise disciple in the vicinity of the uneducated and ignorant persons. These scriptures should be neatly written in straight lines with the letters which have originated in various countries and which are associated with significant and potential powers. The Guru or the disciple should not write the letters in the edges of the palm leaves or bark. Before commencing the writing, the disciple should worship Śiva and Śakti who presents Herself in the form of letters and who, by the virtue of such presence, is known as Mātṛuka; worship his Guru by offering to him new clothes and other valuable things; and worship the bunch of palf leaves collected for writing.

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11-12

गोमयालिप्त भूभागे रङ्गलेख समन्विते | प्रकीर्ण पुष्पप्रकरे सधूपेन च धूपिते || ११ ज्वलद्दीप समोपेते शुद्धशैव समावृते | लिखेद्वा शृणुयाद्वापि पठेद्वादौ शुचिर्नरः || १२ नाशुद्धं लेखयेद्विद्वान् यथालिखित पाठकैः

gomayālipta bhūbhāge raṅgalekha samanvite | prakīrṇa puṣpaprakare sadhūpena ca dhūpite || 11 jvaladdīpa samopete śuddhaśaiva samāvṛte | likhedvā śṛṇuyādvāpi paṭhedvādau śucirnaraḥ || 12 nāśuddhaṃ lekhayedvidvān yathālikhita pāṭhakaiḥ

The disciple who is maintaining purity in body and mind should write, or listen to or read the scripture , having seated on the ground which is besmeared with cow-dung, which is beautified with charming depictions designed with various colorful flours, which is strewn with heaps of flowers, well fumigated by fragrant incense, on which lights lamps are placed and which is occupied by śuddha-śaiva devotees. Such disciple who has known well the process of writing should never write improper and meaningless words in between the lines already written by the reader or writer of the scriptures.

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13-18

शिवज्ञानस्य कालेन प्रणष्टस्य प्रमासतः || १३ ऊनातिरिक्त वर्णस्य लिखितस्य प्रमादिभिः | प्रमादीकृत पाठस्य नाशितस्याल्पबुद्धिभिः || १४ अल्पज्ञानसमोपेतैः आचार्यैः शोधितस्य च | व्यर्थैः पदैरुपेतस्य पुनरुक्तस्य चार्थतः || १५ पूर्वोत्तरविरुद्धस्य स्वसिद्धान्त विरोधिनः | छन्दसातीव नष्टस्य शब्दार्थ रहितस्य च || १६ इत्येवमादिभिर्दोषैरुपेतस्य क्वचित् क्वचित् | यः करोति पुमान् सम्यक् संस्कारं देशिकः सुधीः || १७ शिवतत्त्वार्थ विद्वान् यः स विद्याः पारमेश्वराः | अध्यापयेच्छनैश्शिष्यान् शिवभक्तान् प्रबोधयेत् || १८

śivajñānasya kālena praṇaṣṭasya pramāsataḥ || 13 ūnātirikta varṇasya likhitasya pramādibhiḥ | pramādīkṛta pāṭhasya nāśitasyālpabuddhibhiḥ || 14 alpajñānasamopetaiḥ ācāryaiḥ śodhitasya ca | vyarthaiḥ padairupetasya punaruktasya cārthataḥ || 15 pūrvottaraviruddhasya svasiddhānta virodhinaḥ | chandasātīva naṣṭasya śabdārtha rahitasya ca || 16 ityevamādibhirdoṣairupetasya kvacit kvacit | yaḥ karoti pumān samyak saṃskāraṃ deśikaḥ sudhīḥ || 17 śivatattvārtha vidvān yaḥ sa vidyāḥ pārameśvarāḥ | adhyāpayecchanaiśśiṣyān śivabhaktān prabodhayet || 18

During the passage of time, some defects could have occurred in the Āgamas(Śivajñāna Śāstras) written in the palm-leaves. Owing to the absence of memory power or consciousness, such defects could have crept into the verses. Due to inattentiveness or carelessness, letters of ceratin words get erased from the already written lines or added there unnecessarily. There may be some blunders and mistakes in the lines, committed by the persons with insufficient knowledge or some lines could have been lost or ruined by them. Some scriptures could have been read, examined and re-written by some ācāryas who were with insufficient understanding. The lines written by them would be with unwanted and purposeless words, would be with repetitions, would be with improper words contradicting what has been said in the earlier section and the later section; or they may be opposed to the priciples of śaiva-siddhanta; or some verses may be with extremely defective meter(chandas) or with mutilated chandas. Or there may be meaningless words. In this way, various defects could be seen here and there in such palm-leaf manuscripts. The foremost Guru, who has mastered the scriptures, who is with wondrous memory power and who has well understood the tattvas of Śaiva System should set right all such defects which have crept into the Āgamas revealed by the Supreme Lord and commence to teach them to his disciples step by step and inform the essential matters enshrined in them to the devotees of Śiva.

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19-21

शिवविद्यानुसारेण विद्यादानं तदुच्यते | संस्कृतैर्द्रामिडैर्वाक्यैः देशभाषा प्रकारकैः || १९ प्राकृत प्रभवैः शब्दैः विशुद्धैः संस्कृतैरपि | अत्र लौकिक शब्दैश्च यश्शिष्यमनुरूपतः || २० देशभाषाद्युपायैश्च तथाभूतागमैरपि | प्रदेशवर्तिभिस्सर्वदेशस्थं बोधयेद्यथा || २१

śivavidyānusāreṇa vidyādānaṃ taducyate | saṃskṛtairdrāmiḍairvākyaiḥ deśabhāṣā prakārakaiḥ || 19 prākṛta prabhavaiḥ śabdaiḥ viśuddhaiḥ saṃskṛtairapi | atra laukika śabdaiśca yaśśiṣyamanurūpataḥ || 20 deśabhāṣādyupāyaiśca tathābhūtāgamairapi | pradeśavartibhissarvadeśasthaṃ bodhayedyathā || 21

It is maintained in this Āgama that imparting the scriptural knowledge should be done according to the principles set forth in the Śaiva Scriptures(Āgamas). Such imparting through instructions may be done through Sanskrit, Tamil works, any other local languages or through the words born of Prākṛuta or through the standard words which are perfected and which remain in absolute purity. Or, the teaching could be done through the common and simple words of the local people, keeping in mind the capability and fitness of the disciples. The Ācārya should teach the scriptures prevailing in various countries through the medium of the language of the concerned country, through the works which have been written in that language or through any other laguages which are flourishing in those locations.

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22-24

यथा शिवस्य नैवान्तस्संपूर्णस्य महात्मनः | तथा विद्याप्रदानस्य नान्तस्सर्व गुणात्मनः || २२ शिवान्तगुणमैश्वर्यं विद्यादानस्य तत्फलम् | इह कीर्तिः श्रियो ब्राह्मी प्रज्ञा कान्तिर्धनं सुखम् || २३ योऽशुद्धामात्मनाधीत्य ज्ञानमध्यापयेत्परम् | स याति नरकं घोरं पापीयान् ज्ञाननाशकः || २४

yathā śivasya naivāntassaṃpūrṇasya mahātmanaḥ | tathā vidyāpradānasya nāntassarva guṇātmanaḥ || 22 śivāntaguṇamaiśvaryaṃ vidyādānasya tatphalam | iha kīrtiḥ śriyo brāhmī prajñā kāntirdhanaṃ sukham || 23 yo'śuddhāmātmanādhītya jñānamadhyāpayetparam | sa yāti narakaṃ ghoraṃ pāpīyān jñānanāśakaḥ || 24

Just like there is no extinction to Lord Śiva who is all-pervasive and the Great Soul, even so there is no extinction to the Guru who is endowed with all attributes of Śiva and who imparts the contents of the Āgamas. The benefit which results from such imparting is the attainment of śivatva(the dual power of knowing-all and doing-all) and the atainment of lordship on par with Īśvara. He is blessed with widespread celebrity, richness, adorable power of Vāgdevī who is the spouse of Brahma, supreme knowledge, lustrousness, wealth and happiness. The Guru who accepts a person who is impure and imperfect in all respects as his disciple and teaches the principles enshrined in the supreme scriptures known as Śivajñāna Śāstras(Āgamas) to him reaches the dreadful world of hells; he is considered as the great sinner and as the destroyer of Āgamas.

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25-27

शिववत्पूजयेत् भक्त्या शिवज्ञानप्रकाशकम् | प्रत्यहं लेखयेद्विद्वान् यथाशक्ति सुबुद्धिमान् || २५ यावदक्षर संख्याःस्युः शिवज्ञानस्य पुस्तके | तावद्युगसहस्राणि दाता शिवपुरे नरः || २६ दशपूर्वान् समुद्धृत्य दश वंश्यांश्च बुद्धिमान् | मातृः पितृइन्धर्मपत्नीस्तैस्स्वर्गं समवाप्य च | २७

śivavatpūjayet bhaktyā śivajñānaprakāśakam | pratyahaṃ lekhayedvidvān yathāśakti subuddhimān || 25 yāvadakṣara saṃkhyāḥsyuḥ śivajñānasya pustake | tāvadyugasahasrāṇi dātā śivapure naraḥ || 26 daśapūrvān samuddhṛtya daśa vaṃśyāṃśca buddhimān | mātṛḥ pitṛindharmapatnīstaissvargaṃ samavāpya ca | 27

With devoted heart, the disciples should worship his Ācārya who imparts the tenets of Śaiva Siddhanta Śāstras considering him as Lord Śiva Himself. He who has systematically studied the Siddhanta Śāstras and has become the knowledgeable person sholud write the verses of the Āgamas dailly as long as his capacity allows him to do so. Up to the extent of thousands of yugas equalling the number of letters contained in the Scripture, he would be in the world of Śiva as the giver of knowledge. Being a celebrated intellectual person, he would elevate the ten generations prior to him and the ten generations coming after him to the higher planes. Having reached the heaven along with his father, mother and wife and having established all of them in that world, he would reach the world of Śiva.

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28-31

अपि श्लोकं तदर्धं वा शिवज्ञानस्य यः पठेत् || २८ वाचयेच्चिन्तयेद्वापि लिखिद्वा लेखयेत्तु वा | शृणुयाद्येकचित्तस्तु तदर्थं च विचारयेत् || २९ अन्येभ्यः श्रावयेद्यस्तु तस्य पुण्यफलं महत् | शिवज्ञानाभियुक्तस्य भोजनाच्छदनादिभिः || ३० आसामाप्तेस्तु संरक्षेद् विद्यादान फलं लभेत् | मूल्येन कारयेद्वाथ तदेव फलमश्नुते || ३१

api ślokaṃ tadardhaṃ vā śivajñānasya yaḥ paṭhet || 28 vācayeccintayedvāpi likhidvā lekhayettu vā | śṛṇuyādyekacittastu tadarthaṃ ca vicārayet || 29 anyebhyaḥ śrāvayedyastu tasya puṇyaphalaṃ mahat | śivajñānābhiyuktasya bhojanācchadanādibhiḥ || 30 āsāmāptestu saṃrakṣed vidyādāna phalaṃ labhet | mūlyena kārayedvātha tadeva phalamaśnute || 31

He who reads daily one verse or half of a verse from the scripture of Āgama, enables others to do so, contemplate on the meaning of that verse, writes that, enables others to write that or listen to one verse or half-verse with attentive one-pointed mind, ruminate on the inner and deeper meaning of the verse or enables others to listen to the reading and meaning of the verse would attain meritorious benefits in great measure. He who worships and honors a Guru who is endowed with the deep knowledge of Śivajñāna Śāstras(Āgamas) by offering foods, clothes and such other things and take care of him until the end of his life would attain the same benefits as attained by a teacher who imparted the meaning of the Āgamas. Let him protect the knower of the Scriptures at least with sufficient amount of honorarium. By this, he would be blessed with the benefits attained by the giver of the scriptural knowledge.

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32-33

यस्य राष्ट्रे शिवज्ञान व्याख्यानं वर्तते द्विजाः | स राजा वर्धते राष्ट्रं स राजाधिप ऊर्जितः || ३२ राज्ये राजगुरुत्वेऽपि सैनापत्येऽन्यकर्मणि | पुरोहितत्वे सर्वेषां राजकार्येऽन्यदर्शने || ३३ शुद्धशैवो भवेद्योग्यः स चेत्सान्तानिको वरः

yasya rāṣṭre śivajñāna vyākhyānaṃ vartate dvijāḥ | sa rājā vardhate rāṣṭraṃ sa rājādhipa ūrjitaḥ || 32 rājye rājagurutve'pi saināpatye'nyakarmaṇi | purohitatve sarveṣāṃ rājakārye'nyadarśane || 33 śuddhaśaivo bhavedyogyaḥ sa cetsāntāniko varaḥ

O, the twice-born sages!, the Ruler of a country in which the activity of writing or teaching the commentaries on the Āgamas is flourishing is considered as the supreme king who augments the prosperity and glory of his country. He becomes declared as the King of the kings. To be appointed as the Rājaguru, as the army-chief, as the authorities in other portfolios, as the royal-priest, as the officer in all other royal departments and as the controller in the field concerned with other religions, only śuddha-śaiva is considered to be fit. If such śuddha-śaiva happens to be a sāntānika, it is more praiseworthy.

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34-36

यस्सिद्धान्ताविरोधेन विरिधेन वेदं वेदाङ्गं एव च || ३४ तथा पाशुपतादीनि गारुडादीन्यनेकधा | निश्चिनोति च शास्त्रार्थं स धर्मं वेत्ति नेतरः || ३५ निश्चिनोति च शास्त्रार्थं शुद्धशैव विरोधतः | बुद्धिस्स्यात्तामसी तस्य स च धर्मबहिष्कृतः || ३६

yassiddhāntāvirodhena viridhena vedaṃ vedāṅgaṃ eva ca || 34 tathā pāśupatādīni gāruḍādīnyanekadhā | niścinoti ca śāstrārthaṃ sa dharmaṃ vetti netaraḥ || 35 niścinoti ca śāstrārthaṃ śuddhaśaiva virodhataḥ | buddhissyāttāmasī tasya sa ca dharmabahiṣkṛtaḥ || 36

The one who understands with certainty the exact meaning of the texts such as the Vedas, Vedāṅgas, Pāśupata Āgamas, Gāruḍa Tantras and such other multifarious scriptures without contradicting the basic principles enshrined in the Siddhānta Āgamas is considered as the knower of eternal Truth (dharma); not others. But the one who understands with certainty the meaning of the scriptures mentioned above in a way opposed to the tenets enshrined in the Āgamas is considered as a person whose ‘buddhi’(intellect-tattva, one of the internal instruments called antaḥkaraṇa) is of tāmasic nature; he is the one excommunicated from the eternal path of Dharma(Sanātana Dharma).

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37-38

तस्मात्सिद्धान्त शैवेन शुद्धशैवविदादरात् | शान्तिकं पौष्टिकं कर्म नेयं राज्ञा विशेषतः || ३७ अन्येषामपि सर्वेषां अभिचारादिकं तु वा | विधेयं धर्मनिष्ठेन सान्तानिक वरेण तु || ३८ तेनैवानुष्ठितं कर्म फलदं सर्वदा नृणाम् |

tasmātsiddhānta śaivena śuddhaśaivavidādarāt | śāntikaṃ pauṣṭikaṃ karma neyaṃ rājñā viśeṣataḥ || 37 anyeṣāmapi sarveṣāṃ abhicārādikaṃ tu vā | vidheyaṃ dharmaniṣṭhena sāntānika vareṇa tu || 38 tenaivānuṣṭhitaṃ karma phaladaṃ sarvadā nṛṇām |

Therefore, the Ruler of the country should be keen in protecting with care the Śuddha Śaivas of Siddhanta-path and through them he should make special arrangements for the performance of ‘śānti karma’ and ‘pauṣṭika karma’. For all other deeds such as ‘abhicāra karmas’(rituals meant for malevolent purpose), he may employ other persons who are with the mind firmly fixed on Dharma or he may employ a much learned sāntānika. Only those karmas performed systematically by such competent persons would yield the desired benefits for all the people of the country.

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39-42

एवं विद्या प्रभावस्स्यात् स्थापनं वक्ष्यतेऽधुना || ३९ त्रिहस्तं तु समारभ्य त्रयस्त्रिंशत् करान्तकम् | विद्याशाला विशालस्स्यात् प्रासादो वाथ मण्टपः || ४० एकशालादि भेधेन शाला वा लक्षणान्विता | विद्यापीठस्य विस्तारस्सप्ताङ्गुल विशालतः || ४१ द्विद्व्यङ्गुल वृद्ध्या तु स्यादेकत्रिंशदङ्गुअलः | तेनायामस्समाख्यातः पञ्चाशत्करजान्तकः || ४२

evaṃ vidyā prabhāvassyāt sthāpanaṃ vakṣyate'dhunā || 39 trihastaṃ tu samārabhya trayastriṃśat karāntakam | vidyāśālā viśālassyāt prāsādo vātha maṇṭapaḥ || 40 ekaśālādi bhedhena śālā vā lakṣaṇānvitā | vidyāpīṭhasya vistārassaptāṅgula viśālataḥ || 41 dvidvyaṅgula vṛddhyā tu syādekatriṃśadaṅgualaḥ | tenāyāmassamākhyātaḥ pañcāśatkarajāntakaḥ || 42

Thus, the greatness of the Āgamas and that of the imparting of their tenets has been told. Now, the process of installation and consecration of the Vidyā Pīṭhā is explained. The Vidyā Śālā should be constructed in the form of a separate shrine or pavilion(maṇṭapa), with its breadth being from three hastas up to thirty-three hastas. This may be in different styles of construction such as eka-śālā, dvi-śālā and so on, so as to be associated with all the features of śālā-type of building. The specific pedestal known as the Vidyā-Pīṭhā meant for placing the Āgamas should be designed, with its width being from seven aṅgulas to thirty-one aṅgulas, increasing the width by two aṅgulas each time. The maximum length of the pedestal should be fifteen hastas.

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43-45

चतुरश्रसमो वा स्यादायताश्रस्तु वा भवेत् | अन्यदासनविध्युक्त मार्गेण सकलं नयेत् || ४३ संस्कारांश्च ततो विद्यात् प्रोक्षयेत् पञ्चगव्यतः | मण्टपे स्थण्डिलं कृत्वा वस्त्रोर्ध्वे तां निवेशयेत् || ४४ आसनाद्यं शिवे यद्वन् मूर्तिमूतीश संयुतम् | शिवभेदे शिवः पूज्यो रुद्रभेदे स एव हि || ४५

caturaśrasamo vā syādāyatāśrastu vā bhavet | anyadāsanavidhyukta mārgeṇa sakalaṃ nayet || 43 saṃskārāṃśca tato vidyāt prokṣayet pañcagavyataḥ | maṇṭape sthaṇḍilaṃ kṛtvā vastrordhve tāṃ niveśayet || 44 āsanādyaṃ śive yadvan mūrtimūtīśa saṃyutam | śivabhede śivaḥ pūjyo rudrabhede sa eva hi || 45

The Vidyā Pīṭhā may be square or rectangular in shape. This should be designed according to the āsana type of vāstu maṇḍala and all the features should be provided so as to be in accordance with āsana-maṇḍala. Having designed it, the Guru should perform all the essential sacramental rites and sprinkle the drops of pañcagavya over it. Having designed a sthaṇḍila in the pavilion, he should spread a new cloth over it and place all the Āgamas there. Āsana, Mūrti, Mūrtīśa and others should be conceived for them in the same way as contemplated for Lord Śiva. Lord Śiva should be worshipped in the Āgamas belonging to Śiva-bheda; Rudraśiva should be worshipped in the Āgamas belonging to Rudra-bheda.

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46-49

मध्यमे शिवकुम्भं तु पार्श्वयोः वर्धनी द्वयम् | द्व्योरेकैव पुजा स्याद्विद्येशान् बहिरावृतान् || ४६ संपूज्य गन्धपुष्पाद्यैः होमं प्राग्वत् समाचरेत् | समिदाज्य तिलोपेतं हविषा च समन्वितम् || ४७ यवेनाष्टोत्तरशतं हुत्वा पूर्णां समाचरेत् | संप्राप्त दक्षिणः कुर्यान् मन्त्रन्यासं गुरूत्तमः || ४८ मध्यमे च शिवं न्यस्त्वा देवीं पट्टिकयोर्न्यसेत् || ४९

madhyame śivakumbhaṃ tu pārśvayoḥ vardhanī dvayam | dvyorekaiva pujā syādvidyeśān bahirāvṛtān || 46 saṃpūjya gandhapuṣpādyaiḥ homaṃ prāgvat samācaret | samidājya tilopetaṃ haviṣā ca samanvitam || 47 yavenāṣṭottaraśataṃ hutvā pūrṇāṃ samācaret | saṃprāpta dakṣiṇaḥ kuryān mantranyāsaṃ gurūttamaḥ || 48 madhyame ca śivaṃ nyastvā devīṃ paṭṭikayornyaset || 49

Śiva-kumbha should be placed in the middle and vardhanī-kalasas should be placed on the two sides of śiva-kumbha. Or, both Śiva and Śakti may be invoked and worshipped in the śiva-kumbha only. Eight kalasas should be arrayed around these in the outer enclosure for the eight ṣidyeśvaras. Having worshipped with sandal, flowers and other substances, the Guru should perform the fire-ritual as done before. Having offered the oblations with the recommended faggots, clarified butter, sesame, havis(rice cooked within the sacrificial hall) and yava-grains for one hundred and eight times, he should offer the pūrṇa-āhuti. Having obtained enough the sacrificial fees, the foremost Guru should perform the nyāsa of mantras to the Āgamic Scriptures. The presence of Śiva should be identified with the middle of palm-leaf scripture and that of Śakti should be identified with both sides of the leaf.

75 Directions for the Installation of Ten Weapons

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1-3

दशायुध प्रतिष्टां तु वक्ष्ये लक्षणपूर्वकम् | वज्रम् शक्तिं च दण्डं च खड्गं पाशं तथाङ्कुशम् | १ गदा त्रिशूलं पदमं च चक्रं चेति दशायुधम् | एकवक्त्रं द्विनेत्रं च करण्ड मकुटान्वितम् || २ कृताञ्जलि पुटोपेतं द्विबाहुं सर्वलक्षणम् | प्रतिमालक्षणप्रोक्त मानेनैव समाचरेत् || ३

daśāyudha pratiṣṭāṃ tu vakṣye lakṣaṇapūrvakam | vajram śaktiṃ ca daṇḍaṃ ca khaḍgaṃ pāśaṃ tathāṅkuśam | 1 gadā triśūlaṃ padamaṃ ca cakraṃ ceti daśāyudham | ekavaktraṃ dvinetraṃ ca karaṇḍa makuṭānvitam || 2 kṛtāñjali puṭopetaṃ dvibāhuṃ sarvalakṣaṇam | pratimālakṣaṇaprokta mānenaiva samācaret || 3

Now I expound the directions for the installation of ten weapons, preceded by the lineaments of these weapons. The ten weapons are: vajra, śakti, daṇḍa, khaḍga, pāśa, aṅkuśa, gadā, triśūla, padma and cakra. Each weapon appears with a relevant form. The common features associated with each weapon-form are – one face, two eyes, karaṇḍa type of crown, two shoulders; its two hands are held in ‘añjali-mudra’. The form appears with all the characteristic lineaments. Each form should be designed according to the proportionate measurements given in the chapter dealing with the lineaments of various images.

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4-7

जाये शक्तिगते ज्ञेये चक्रपद्मे नपुंसके | शेषाः पुमांसो विज्ञेयास्त्वष्टताल विनिर्मिताः || ४ स्वमूर्धन्यायुध संयुक्ताः स्वकीयादेक तालतः | तालाष्टांश विवृद्ध्या तु चतुस्तालावसानकम् || ५ कल्पयेदायुधं विद्वान् अस्त्रवर्गोक्त मार्गतः | तेषां मूर्धन्यायुधं कार्यं अथवा मकुटोपरि || ६ हस्तयोरन्तरे वापि वामेतरकरेऽपि वा | परित्यज्याङ्कुश यद्वा तत्स्थाने कल्पयेद् ध्वजम् || ७

jāye śaktigate jñeye cakrapadme napuṃsake | śeṣāḥ pumāṃso vijñeyāstvaṣṭatāla vinirmitāḥ || 4 svamūrdhanyāyudha saṃyuktāḥ svakīyādeka tālataḥ | tālāṣṭāṃśa vivṛddhyā tu catustālāvasānakam || 5 kalpayedāyudhaṃ vidvān astravargokta mārgataḥ | teṣāṃ mūrdhanyāyudhaṃ kāryaṃ athavā makuṭopari || 6 hastayorantare vāpi vāmetarakare'pi vā | parityajyāṅkuśa yadvā tatsthāne kalpayed dhvajam || 7

Among these weapons, śakti and gadā belong to the female gender; cakra and padma belong to the neuter gender; all other weapons belong to the male gender. All these weapons should be designed according to the proportionate system of eight-tāla. Each form of weapon is holding its own weapon on its head, the measurement of this weapon being one tāla corresponding to the proportionate measurement of the concerned form. The height of the weapon held on the head of each form may be gradually increased by one part out of eight parts of one tāla each time up to the maximum height of four tālas. The sthapati who has known well the tālamāna-system should design all these weapons according to the process given in the chapter dealing with the making of astra-varga(series of weapons). Usually, the form is designed as holding its weapon on its head. The concerned weapon may be designed as appearing on the crown; or appearing between the two hands of the form or as held in the left or right hand of the form. In this series of ten weapons, the aṅkuśa-weapon may be left out and in its place dhvajā-weapon may be designed.

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8-9

ततः प्रतिष्ठा कर्तव्या तद्विधानं इहोच्यते | रत्नन्यासं पुराकुर्यान् नेत्रमोक्षणकं ततः || ८ तर्पणं नेत्रयोर्धान्य दर्शनं मधुसर्पिषा | गव्याभिषेचितं शस्त्रं अलङ्कृत्य नयेत्ततः || ९ ग्रामप्रदक्षिणं नीत्वा शाययेज्जलमध्यमे |

tataḥ pratiṣṭhā kartavyā tadvidhānaṃ ihocyate | ratnanyāsaṃ purākuryān netramokṣaṇakaṃ tataḥ || 8 tarpaṇaṃ netrayordhānya darśanaṃ madhusarpiṣā | gavyābhiṣecitaṃ śastraṃ alaṅkṛtya nayettataḥ || 9 grāmapradakṣiṇaṃ nītvā śāyayejjalamadhyame |

The, the installation should be done. The exact process of such installation is now told here. First, ratna-nyāsa should be done. This should be followed by netronmīlana, trapaṇa and dhānya-darśana for the netras(eyes) and abhiṣeka with honey, clarified butter and pañcagavya. Having adorned the images with clothes, ornaments and flowers, the Guru should take them in procession around the village and keep them immersed in the river-water or in the water of the temple-tank.

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10-13

प्रागुक्त मण्टपं कृत्वा चतुर्द्वार समन्वितम् || १० एकवेदि समोपेतं पृथक्वेदियुतं तु वा | मण्टपं दशसंख्यातं प्रपाकुण्डसमन्वितम् || ११ पूर्वस्मिन् स्वस्वदिक्कुण्ड संस्थानैरन्वितं यथा | एकस्मिन्मन्टपे त्वष्टदिक्कुण्डं परितो भवेत् || १२ इन्द्रेशानान्तरे वृत्तं पितृवारण मध्यमे | वृत्तकुण्डं भवेदेवं कुण्डानि दश संख्यया || १३

prāgukta maṇṭapaṃ kṛtvā caturdvāra samanvitam || 10 ekavedi samopetaṃ pṛthakvediyutaṃ tu vā | maṇṭapaṃ daśasaṃkhyātaṃ prapākuṇḍasamanvitam || 11 pūrvasmin svasvadikkuṇḍa saṃsthānairanvitaṃ yathā | ekasminmanṭape tvaṣṭadikkuṇḍaṃ parito bhavet || 12 indreśānāntare vṛttaṃ pitṛvāraṇa madhyame | vṛttakuṇḍaṃ bhavedevaṃ kuṇḍāni daśa saṃkhyayā || 13

Having constrructed a pavilion as detailed earlier as associated with four entrances and with one common altar for all the ten weapons or with one altar separately built for each weapon(ten altars, on the whole). Or ten pavilions may be constructed each one associated with ‘prapa’ design and fire-pit. Starting from the east, fire-pit pertaining to each weapon should be designed in each pavilion. If there is only one pavilion with one common altar, eight fire-pits should be designed around the common altar in all the eight directions. A circulr fire-pit should be designed(for the padma-weapon) between the east and the north- east; another circular fire-pit should be designed(for the cakra-weapon) between the south- west and the west. In this way, ten fire-pits should be designed within that single pavilion.

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14-16

ब्राह्मणान् भोजयेद्वास्तुहोमं प्रत्येकमेव वा | पुण्याहप्रोक्षणान्ते तु स्थण्डिलं लक्षणन्वितम् || १४ शयनं कल्पयेद्वस्त्रैरनेकैरेकतोऽपि वा | आसनं प्रणवं कृत्वा दर्भैः पुष्पैः परिस्तरेत् || १५ जलानीतं तु सुस्नातं पूजितं कृतकौतुकम् | शयने शाययेद्बिम्बं प्रदक्षिणशिरोन्वितम् || १६

brāhmaṇān bhojayedvāstuhomaṃ pratyekameva vā | puṇyāhaprokṣaṇānte tu sthaṇḍilaṃ lakṣaṇanvitam || 14 śayanaṃ kalpayedvastrairanekairekato'pi vā | āsanaṃ praṇavaṃ kṛtvā darbhaiḥ puṣpaiḥ paristaret || 15 jalānītaṃ tu susnātaṃ pūjitaṃ kṛtakautukam | śayane śāyayedbimbaṃ pradakṣiṇaśironvitam || 16

Then, the Guru should arrange for the feeding of the learned brahmins. Vāstu-homa may be performed for all the ten weapons or this homa may be performed separately for each weapon. All other usual activities such as puṇyāha-vācana, prokshaṇa and others should be done. A sthaṇḍila should be designed in a perfect way so as to be associated with all the characteristic features. Then a couch should be designed with one cloth or multiple clothes. Having designed a seat with praṇava, the Guru should strew the darbhas and flowers over it. Having taken out the images of the weapons from the water, he should perform the ceremonial bath and worship for each weapon, tie up the protective thread on the right hand of each image and gently place the image over the couch in such a way that its head is on the north.

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17-18

वस्त्रैराच्छादयेत्सर्वान् कुम्भान् संस्थापयेद् गुरुः | परितोऽष्टघटान्वापि कलशान् प्राग्दिगादितः || १७ स्वस्ववर्णैश्च मूलाणुं ब्रह्माण्यङ्गानि कल्पयेत् | मध्यकुम्भे च मूलाणुं दिक्षु ब्रह्माणि पूजयेत् || १८ विदिक्ष्वङ्गानि संपूज्य व्याप्तिं पुरुषगोचराम्

vastrairācchādayetsarvān kumbhān saṃsthāpayed guruḥ | parito'ṣṭaghaṭānvāpi kalaśān prāgdigāditaḥ || 17 svasvavarṇaiśca mūlāṇuṃ brahmāṇyaṅgāni kalpayet | madhyakumbhe ca mūlāṇuṃ dikṣu brahmāṇi pūjayet || 18 vidikṣvaṅgāni saṃpūjya vyāptiṃ puruṣagocarām

Then, the Guru should cover and screen all the images with new clothes and place the main kumbhas in the due order. Eight ghaṭas may be arrayed around the main kumbha, starting from the east. The mūla mantra, brahma-mantras and the aṅga-mantras of each weapon should be formulated with the letters constituting the name of each weapon. The mūla mantra should be invoked and worshipped in the central kumbha; brahma-mantras should be invoked and worshipped in the main directions; aṅga-mantras should be invoked and worshipped in the corner directions. Out of six aṅga-mantras, two aṅga- mantras should be conceived as incuded in the Tatpuruṣa-khaṭa.

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19-21

स्मृत्वा होमं स्वमन्त्रैश्च समिदाज्य तिलान्वितम् || १९ हविषा पूर्णयायुक्तं स्वाग्नौ स्वं होममाचरेत् | पलाशोदुम्बराश्वत्थ वटा दिक्षु विदिक्षु च || २० शमीखादिरमायूर श्रीवृक्षस्संप्रकीर्तिताः | पलाशो ब्रह्मणो विष्णोश्श्रीवृक्षस्समिधो मताः || २१

smṛtvā homaṃ svamantraiśca samidājya tilānvitam || 19 haviṣā pūrṇayāyuktaṃ svāgnau svaṃ homamācaret | palāśodumbarāśvattha vaṭā dikṣu vidikṣu ca || 20 śamīkhādiramāyūra śrīvṛkṣassaṃprakīrtitāḥ | palāśo brahmaṇo viṣṇośśrīvṛkṣassamidho matāḥ || 21

Having conceived the presence of the mantras in this way, the Guru should perform the fire-ritual with the accompaniment of mantras pertaining to each weapon. Oblations should be offered with the faggots, clarified-butter, sesame and havis-food. At the end, he should offer the pūrṇa-āhuti into each fire-pit with the recital of the mantra pertaining to each weapon. The faggots got from palāśa, udumbara, aśvattha and vaṭa should be offered into the fire-pits in the main directions. Those got from śamī, khadira, māyūra and śrī trees should be offered into the fire-pits in the corner directions. The faggots of palāśa should be offered into the fire-pit belonging to the weapon of Brahma. The faggots of śrī-tree should offered into the fire-pit belonging to the weapon of Viṣṇu.

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22-23

प्रातः पूर्णाहुतिं दत्वा मन्त्रन्यासं समाचरेत् | संपूज्य गन्धपुष्पाद्यैः नैवेद्य सहितं यथा || २२ स्नपनं कारयेन्नो वा तद्वदुत्सव एव वा | एवं यः कारयेन्मर्त्यः सर्वारिष्टैर्विमुच्यते || २३

prātaḥ pūrṇāhutiṃ datvā mantranyāsaṃ samācaret | saṃpūjya gandhapuṣpādyaiḥ naivedya sahitaṃ yathā || 22 snapanaṃ kārayenno vā tadvadutsava eva vā | evaṃ yaḥ kārayenmartyaḥ sarvāriṣṭairvimucyate || 23

Having offered the pūrṇa-āhuti in the next morning, the Guru should perform the mantra- nyāsa for each weapon. Having worshipped each weapon with sandal, flowers and other substances, he should offer the naivedya to each weapon in the prescribed way. Snapana and utsava(festival) may or may not be performed. The devotee who takes steps and becomes instrumental for the installation of ten weapons in this way gets freed from all kinds of misfortunes and difficulties.

76 Directions for the Installation of Śiva-Bhakta

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1-2

वक्ष्यामि शिवभक्तानां प्रतिष्ठां भोगमोक्षदाम् | ब्राह्मणः क्षत्रिया वैश्याश्शूद्रा वा ह्यन्तराळजाः || १ स्त्रियो वा गुरवश्चैषां अभिषिक्तो नृपोऽथवा | शिवभक्ति समोपेता जीवन्तो वा मृतास्तु वा || २ तेषां प्रतिकृतिं कृत्वा प्रतिष्ठाप्य समर्चयेत् |

vakṣyāmi śivabhaktānāṃ pratiṣṭhāṃ bhogamokṣadām | brāhmaṇaḥ kṣatriyā vaiśyāśśūdrā vā hyantarāḷajāḥ || 1 striyo vā guravaścaiṣāṃ abhiṣikto nṛpo'thavā | śivabhakti samopetā jīvanto vā mṛtāstu vā || 2 teṣāṃ pratikṛtiṃ kṛtvā pratiṣṭhāpya samarcayet |

Now I explain the details related to the installation of the devotees of Śiva, which installation is capable of yielding both the worldly enjoyments and the final liberation. The devotees of Śiva may be brahmins, kshatriyas, vaiśyas, śūdras or may be those who have born in the mixed-caste; they may be women, gurus, enlightened and purified saints(abhishiktas) or the rulers of the people. Whoever the devotee may be, the primal qualification is that he should be with the spirit wholly dedicated and devoted to Lord Śiva. He may be alive or the one deceased to exist. The image of such devotee should be made according to the system of tāḷamāna, duly installed and worshipped.

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3-4

शिवाः पशुपताश्चैव महाव्रतधराश्च ये || ३ लकुला भैरवाद्याश्च येन मार्गेण दीक्षिताः | तेषां तेनैव मार्गेण स्थापनाद्य विधीयताम् || ४

śivāḥ paśupatāścaiva mahāvratadharāśca ye || 3 lakulā bhairavādyāśca yena mārgeṇa dīkṣitāḥ | teṣāṃ tenaiva mārgeṇa sthāpanādya vidhīyatām || 4

The devotees belong to various denominations of Śaivism. They may be Śaivas, Pāśuapatas, Mahāvratas, Lākulas, Bhairavas and others who follow the other systems of Saivism. It is ordained in this Āgama that the installation and consecration of such images of the devotees should be performed according to the process through which they have been initiated.

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5-8

शिवसिद्धान्त मार्गेण सर्वेषां स्थापनं परम् | स्वप्रधानं पराङ्गं च द्विविधं स्थापनं मतम् || ५ ग्रामादौ वा नदीतीरे पुष्करिण्यास्तटेऽपि वा | वने चोपवने वापि पर्वते वा मनोरमे || ६ स्थानेऽन्यत्र कर्तव्यं स्वप्रधानस्य मन्दिरम् | देवालयान्तस्सालादौ तत्र कल्पितमन्दिरे || ७ परिवार समोपेतं स्वप्रधानं प्रकीर्तितम् | देवालयादौ सर्वत्र मालिका मण्टपादिषु || ८ परिवार विहीनं यत् कल्पितं त्वङ्गमिष्यते |

śivasiddhānta mārgeṇa sarveṣāṃ sthāpanaṃ param | svapradhānaṃ parāṅgaṃ ca dvividhaṃ sthāpanaṃ matam || 5 grāmādau vā nadītīre puṣkariṇyāstaṭe'pi vā | vane copavane vāpi parvate vā manorame || 6 sthāne'nyatra kartavyaṃ svapradhānasya mandiram | devālayāntassālādau tatra kalpitamandire || 7 parivāra samopetaṃ svapradhānaṃ prakīrtitam | devālayādau sarvatra mālikā maṇṭapādiṣu || 8 parivāra vihīnaṃ yat kalpitaṃ tvaṅgamiṣyate |

The highest kind of consecration of all such devotees is the one performed according to the directions given in the Āgamas which expound the path of Śaiva Siddhanta. The consecration is of two kinds – svapradhāna and parāṅga. The svapradhāna shrine may be built in a village, city or such other locations, by the side of river-bank, circular tank, rectangular or square tank, in the forest, in the groves and gardens, on the mountain and such other serene and beautiful locations. Construction of a shrine within one of the enclosures of the main temple and the consecration of the image of the devotee there as associated with his retinues also belongs to the svapradhana-category. The shrine constructed for the devotee without any retinue form within a temple, in the row of various shrines or in the manṭapas, belongs to the category of parāṅga.

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9-11

त्रिहस्तं तु समारभ्य द्विद्विहस्त विवर्धनात् || ९ एकविंशति हस्तान्तौ विमानव्यास इष्यते | आयामोत्सेध गर्भाद्यं मण्टपाद्यं तथापरम् || १० सालं च गोपुरं पुण्यमायादीनां निरीक्षणम् | आद्येष्टका विधानं च गर्भसंस्थापनं तथा || ११ मूर्धेष्टका विधानं च प्राग्वदेव समीरितम् |

trihastaṃ tu samārabhya dvidvihasta vivardhanāt || 9 ekaviṃśati hastāntau vimānavyāsa iṣyate | āyāmotsedha garbhādyaṃ maṇṭapādyaṃ tathāparam || 10 sālaṃ ca gopuraṃ puṇyamāyādīnāṃ nirīkṣaṇam | ādyeṣṭakā vidhānaṃ ca garbhasaṃsthāpanaṃ tathā || 11 mūrdheṣṭakā vidhānaṃ ca prāgvadeva samīritam |

Commencing from 3 hastas and increasing this measure by 2 hastas each time so as to reach the limit of 21 hastas, the breadth of vimāna should be ascertained. The length and height should be ascertained based on the btreadth-measure and these measures should be in concordance with āyā, vyaya and other factors. The measures of the main-shrine, maṇṭapa, enclosures, gopura and such other constructions should be carefully looked into so as to comply with āyā and other factors. The details related to the laying of the first-stone, designing of the main shrine, laying of the crowning-stone and such others are as explained earlier.

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12-14

तदर्थं शिवलिङ्गं वा प्रतिमा वा शिवस्य तु || १२ स्कन्दनन्द्यादि रूपं वा मृतप्रतिकृतिं तु वा | कुर्यादायादि संयुक्तं शिलाद्यैरुक्त वस्तुभिः || १३ शैलं लोहं तथा वार्क्षं मृण्मयं मणिजं तु वा | अर्धचित्रं अथाभासं पटादि परिकल्पितम् || १४

tadarthaṃ śivaliṅgaṃ vā pratimā vā śivasya tu || 12 skandanandyādi rūpaṃ vā mṛtapratikṛtiṃ tu vā | kuryādāyādi saṃyuktaṃ śilādyairukta vastubhiḥ || 13 śailaṃ lohaṃ tathā vārkṣaṃ mṛṇmayaṃ maṇijaṃ tu vā | ardhacitraṃ athābhāsaṃ paṭādi parikalpitam || 14

For the installation of Bhakta, śivaliṅga, an image of any desired form of Śiva, the image of Skanda, Nandi and other Gods or the image sculpted in the form of deceased devotee may be taken. Such image should be made of stone or other suitable materials so as to comply with the basic six factors- āya and others. The image may be designed with stone, metal, wood, clay or gems; the image may be in full form or it may be designed to be a relief-sculpture. Or, the image may be depicted in a canvas with suitable colors.

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15-17

लिङ्गं चेत् प्रतिमा चेद्वा लिङ्गबेरोक्त वर्त्मना | मानं तयोश्च संग्राह्यं हर्म्याद् गर्भगृहादथ || १५ द्वारात् पादोच्चमानाद्वा मानाङ्गुलवशेन वा | षड्यवादि प्रभेदेन कर्तुर्मात्राङ्गुलेन वा || १६ हर्म्यदिमाने नवधा कृते स्यादुत्तमादिकम् | त्र्यङ्गुलाद् द्व्यङ्गुलर्द्ध्या तु षण्णवत्यङ्गुलान्तकम् || १७ मानमेतत्समाख्यातं जात्यायांश समन्वितम्

liṅgaṃ cet pratimā cedvā liṅgaberokta vartmanā | mānaṃ tayośca saṃgrāhyaṃ harmyād garbhagṛhādatha || 15 dvārāt pādoccamānādvā mānāṅgulavaśena vā | ṣaḍyavādi prabhedena karturmātrāṅgulena vā || 16 harmyadimāne navadhā kṛte syāduttamādikam | tryaṅgulād dvyaṅgularddhyā tu ṣaṇṇavatyaṅgulāntakam || 17 mānametatsamākhyātaṃ jātyāyāṃśa samanvitam

If liṅga or image is to be made, it should be designed according to the directions given for the making of liṅga or image. The proportionate measurements of the liṅga or image should be decided according to the measure of the temple, main shrine, entrance or the height of the pillar. Or, it may be ascertained according to the mānāṅgula-system; or according to the mātrāṅgula-measure pertaining to the main sponsor(karta) which could be divided into many different ways such as six-yavas, eight yavas and so on. Having differentiated the measure of the temple or of the desired section such as the main shrine and others into nine ways, the categories as to the three foremost types, three medium types and three inferior types should be determined. Starting from three aṅgulas and increasing by two and a half each time, the height of the image could be increased up to the maximum of 96 aṅgulas. The measure pertaining to ‘jātyamśa’ should be added with the ascertained height.

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18-20

वसुनन्दगुणर्द्ध्या तु भानुनाड्यष्टभिर्हृतम् || १८ आयो व्ययोऽथ योनिस्स्यादष्टघ्नं भैर्हृतं दिनम् | नववेदहृतं सप्तनवसंख्याहृतंतु यत् || १९ वारो ह्यंशस्समाख्यातो यजमानानुकूलितम् | मृतनामाक्षरेणानुकूलितं च विधीयताम् || २०

vasunandaguṇarddhyā tu bhānunāḍyaṣṭabhirhṛtam || 18 āyo vyayo'tha yonissyādaṣṭaghnaṃ bhairhṛtaṃ dinam | navavedahṛtaṃ saptanavasaṃkhyāhṛtaṃtu yat || 19 vāro hyaṃśassamākhyāto yajamānānukūlitam | mṛtanāmākṣareṇānukūlitaṃ ca vidhīyatām || 20

Dividing 8, 9 and 3 by 12, 10 and 8 respectively, the value of āyā, vyayā and yoni could be known. 3 divided be 27 would denote the lunar mansion. 9 divided by 7 would denote the corresponding vāra(day of a week). 4 divided by 9 would denote the corresponding amśa. In this way, the height of the image should be decided so as to comply with āyā and other factors and as favorable to the sponsor(karta). Or, the height may be ascertained based on the first letter of the name of that devotee so as to be favorable to the sponsor.

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21-24

लिङ्गं चेत्तद्विधानोक्त्या प्रतिमा च तथैव च | तदुक्ततालभेदेन कर्तव्यं स्याद् द्विजोत्तमाः || २१ मृतप्रतिकृतिं चोक्तं अष्टतालेन कारयेत् | आसीनं स्थानकं वापि वाहनारूढमेव वा || २२ आसने स्थानके वाथ पद्मसिंहासनं तु वा | अधस्तात् कल्पयेद्विद्वान् उभयं वा विधीयताम् || २३ यथेष्टासनयुक्तं वा समाश्रं वा यथाक्रमम् | आसनोन्मान विस्तारं आयामं तद्वदलंकृतिम् || २४ प्रतिमोक्त प्रकारेण प्रागुक्त विधिना नयेत् |

liṅgaṃ cettadvidhānoktyā pratimā ca tathaiva ca | taduktatālabhedena kartavyaṃ syād dvijottamāḥ || 21 mṛtapratikṛtiṃ coktaṃ aṣṭatālena kārayet | āsīnaṃ sthānakaṃ vāpi vāhanārūḍhameva vā || 22 āsane sthānake vātha padmasiṃhāsanaṃ tu vā | adhastāt kalpayedvidvān ubhayaṃ vā vidhīyatām || 23 yatheṣṭāsanayuktaṃ vā samāśraṃ vā yathākramam | āsanonmāna vistāraṃ āyāmaṃ tadvadalaṃkṛtim || 24 pratimokta prakāreṇa prāgukta vidhinā nayet |

If it is liṅga, it should be designed according to the process detailed in the chapter dealing with the lineaments of liṅga. Similarly, if it is an image, it should be designed according to the prescribed way. O, the foremost twice-born sages!, be it liṅga or image, it should be designed according to the recommended system of proportionate measurement(tāla māna). The image of the deceased devotee should be designed according to system of eight-tālas (aśṭa tāla). The image may be designed so as to be in seated posture or standing posture, or as mounted on a suitable vehicle(vāhana). The pedestal for the seated image or the standing image may be in the form of lotus or in the form of lion-throne(simhāsana). These pedestals should be designed below for both the seated and standing images. Or, the seat for the images may be designed to be in any desired form or in the form of square. The circumference, breadth, length, height and the details related to the embellishment and ornamentation – all these should be determined according to the process detailed before in the chapter dealing with the making of images.

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25-28

शिखी वा बद्धकेशी वा मुण्डितो जटिलोऽथवा || २५ अभिषिक्तो नृपश्चेत्तु किरीटमकुटान्वितः | यथेष्टायुधयुक्तो वा नमस्कारयुतोऽथवा || २६ सर्वलक्षण सम्पान्नस्सर्वाभरण भूषितः | गायका नृत्तयुक्ता वा पूजका वा यथेष्टकम् || २७ स्त्रियश्चेत्स्वानुरूपेण भूषणैरुपभूषिताः | एवं लक्षणमाख्यातं प्रतिष्ठाद्यं निगत्यते || २८

śikhī vā baddhakeśī vā muṇḍito jaṭilo'thavā || 25 abhiṣikto nṛpaścettu kirīṭamakuṭānvitaḥ | yatheṣṭāyudhayukto vā namaskārayuto'thavā || 26 sarvalakṣaṇa sampānnassarvābharaṇa bhūṣitaḥ | gāyakā nṛttayuktā vā pūjakā vā yatheṣṭakam || 27 striyaścetsvānurūpeṇa bhūṣaṇairupabhūṣitāḥ | evaṃ lakṣaṇamākhyātaṃ pratiṣṭhādyaṃ nigatyate || 28

The head of the image may be designed to be with tuft, well-knotted hairs or locks of matted hair; or it may be in shaven form. If the devotee for whom the image is to be designed is a king, the image should be designed to be with kirīṭa-crown or makuṭa-crown. It should be shown as holding the desired weapons or holding the hands in namaskāra- mudra. It should be associated with all essential lineaments and beautified with all kinds of ornaments. It should be associated with singers, dancers or the bards and worshippers or with any desired groups. If the devotee is a woman, then her image should be designed according to the lineaments of her form adorned with all kinds of ornaments. Thus, the characteristic features of the image of bhakta have been well explained. Now, the process of the installation of that image and other details are told.

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29-32

मधूच्छिष्ट क्रियात्रापि प्रतिमोक्त प्रकारतः | ततोऽङ्कुरार्पणं कुर्यात् प्रतिष्ठार्थं ततः पुरा || २९ रत्नन्यासं ततः कृत्वा नेत्रोन्मीलनं आचरेत् | स्थण्डिलं पूर्ववत् कृत्वा तदूर्ध्वं विन्यसेत्पटम् || ३० संकल्प्य प्रणवं पीठं तदूर्ध्वे प्रतिमां न्यसेत् | हेमसूचिप्रहाराभिः कृष्णमण्डलमालिखेत् || ३१ ज्योतिर्मण्डलमालिख्य दृष्टिं यूकप्रमाणिकाम् | नेत्रमन्त्रं समुच्चार्य क्रियामेनां समाचरेत् || ३२

madhūcchiṣṭa kriyātrāpi pratimokta prakārataḥ | tato'ṅkurārpaṇaṃ kuryāt pratiṣṭhārthaṃ tataḥ purā || 29 ratnanyāsaṃ tataḥ kṛtvā netronmīlanaṃ ācaret | sthaṇḍilaṃ pūrvavat kṛtvā tadūrdhvaṃ vinyasetpaṭam || 30 saṃkalpya praṇavaṃ pīṭhaṃ tadūrdhve pratimāṃ nyaset | hemasūciprahārābhiḥ kṛṣṇamaṇḍalamālikhet || 31 jyotirmaṇḍalamālikhya dṛṣṭiṃ yūkapramāṇikām | netramantraṃ samuccārya kriyāmenāṃ samācaret || 32

According to the process explained in the section dealing with the making of images, the sthapati should perform the deed known as ‘madhu-ucchiṣṭha kriya’(casting of the image in bees’-wax). After the image has been designed perfectly, the Guru should first perform the ritual known as ‘aṅkurārpaṇa’(offering of fresh sprouts) and fix the recommended gems on various parts of the image. Then he should arrange for the opening of the eyes of the image. Having designed a sthaṇḍila first, he should spread a thick cloth over it. Having ideated the praṇava-seat there with the recital of the concerned mantra, he should place the image over that seat. The sthapathi should draw the black-circle of the eyes with the gold-needle and with gentle strokes of the tiny gold-hammer. Having drawn the luminous region(jyotirmaṇḍala), he should impart the look of the eyes, its size being equal to one yūka. He should perform all these activities , reciting the netra-mantra.

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33-35

तर्पयेन्मधुसर्पिभ्यां विद्वान् सौवर्ण दूर्वया | मध्वाज्यपूरितं पात्रद्वयं तस्य प्रदर्शयेत् || ३३ सौवर्णेन नखेनैव नेत्रमन्त्रेण संस्पृशेत् | धान्यानि गां सवत्सां च कन्यकां ब्राह्मणानपि || ३४ दर्शयित्वा पटं हित्वा बेरशुद्धिमथाचरेत् | सर्वालङ्कारसंयुक्तं ग्रामादौ भ्रमणं नयेत् || ३५

tarpayenmadhusarpibhyāṃ vidvān sauvarṇa dūrvayā | madhvājyapūritaṃ pātradvayaṃ tasya pradarśayet || 33 sauvarṇena nakhenaiva netramantreṇa saṃspṛśet | dhānyāni gāṃ savatsāṃ ca kanyakāṃ brāhmaṇānapi || 34 darśayitvā paṭaṃ hitvā beraśuddhimathācaret | sarvālaṅkārasaṃyuktaṃ grāmādau bhramaṇaṃ nayet || 35

Having pleased and delighted the Deity by offering honey and clarified butter with the dūrva-grass made of gold, the Guru should hold two small vessels filled with honey and ghee in front of the face of the image enabling the Deity to look at them. Then he should touch the eyes with nail made of gold, reciting the netra-mantra. The he should show the vessel filled with varieties of grains, cow associated with calf, virgin lady and learned brahmins to the image whose eyes have been now opened perfectly. Then, having removed the cloth from the sthaṇḍila, he should purify the image. Having adorned the image with all kinds of ornaments and flowers, he should arrange for the circumambulation of the image around the village and other places.

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36-38

जलेऽधिवासयेद्बिम्बं लोकपालघटान्वितम् | यागार्थं मण्टपं कुर्याद्वामेनाग्रेऽस्य पार्श्वयोः || ३६ नवपञ्चैक संख्यानि तत्र कुण्डानि कल्पयेत् | उद्वास्य शिल्पिनं पश्चाद्विप्रभोजनमाचरेत् || ३७ वेद्यूर्ध्वे स्थण्डिलं कृत्वा शालिभिः पूर्वमानतः | प्राग्वच्छुद्धिं प्रकल्प्याथ ग्रामादीनां प्रदक्षिणम् || ३८

jale'dhivāsayedbimbaṃ lokapālaghaṭānvitam | yāgārthaṃ maṇṭapaṃ kuryādvāmenāgre'sya pārśvayoḥ || 36 navapañcaika saṃkhyāni tatra kuṇḍāni kalpayet | udvāsya śilpinaṃ paścādviprabhojanamācaret || 37 vedyūrdhve sthaṇḍilaṃ kṛtvā śālibhiḥ pūrvamānataḥ | prāgvacchuddhiṃ prakalpyātha grāmādīnāṃ pradakṣiṇam || 38

Then he should keep the image immersed in river or tank-water along with eight vessels arranged for the sake of eight loka-pālas(directional deities). A pavilion should be constructed in the left, front or right side of the temple for the performance of yāga. Nine or five fire-pits or one fire-pit should be designed within the pavilion. Having sent off the śilpi with due honors, the Guru should arrange for the feeding of the learned brahmins. Then he should design a sthaṇḍila with paddy-grains over the altar, its size being governed by the measurements taken previously. Having purified the image as done before, he should take the image in procession around the village.

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39-42

जलाधिवासनं चैव मण्टपे कुण्डकल्पनम् | शाल्यादि स्थण्डिलं पञ्चशयनं चर्मजादिकम् || ३९ आधाराख्यं अनन्तं च धर्माद्यं च चतुष्टयम् | संकल्प्य मानुषं पीठं प्रणवेन प्रकल्पयेत् || ४० स्नानवेदीं नयेद्बिम्बं शिलाद्यैरपि निर्मिते | पीठे संस्थाप्य बेरं तु प्रागुक्तविधिना गुरुः || ४१ वस्त्रैरावेष्ट्य गन्धाद्यैः मालाद्यैरुपभूषयेत् | बद्धप्रतिसरं बेरं शयनोपरि विन्यसेत् || ४२

jalādhivāsanaṃ caiva maṇṭape kuṇḍakalpanam | śālyādi sthaṇḍilaṃ pañcaśayanaṃ carmajādikam || 39 ādhārākhyaṃ anantaṃ ca dharmādyaṃ ca catuṣṭayam | saṃkalpya mānuṣaṃ pīṭhaṃ praṇavena prakalpayet || 40 snānavedīṃ nayedbimbaṃ śilādyairapi nirmite | pīṭhe saṃsthāpya beraṃ tu prāguktavidhinā guruḥ || 41 vastrairāveṣṭya gandhādyaiḥ mālādyairupabhūṣayet | baddhapratisaraṃ beraṃ śayanopari vinyaset || 42

Keeping the image within the heap of various kinds of grains, designing of various kinds of fire-pits inside the pavilion, designing of sthaṇḍila with paddy and other grains, designing of a couch with five kinds of materials such as the hide of deer and others, ideation of a seat constituted of ādhāra-śakti, ananta, dharma, jñāna, vairāgya and aiśvarya – all these should be done as done before. He should ideate a pedestal known as ‘mānuṣa-pīṭha’ with praṇava mantra. Then he should place the image made of stone or other material over the altar designed for ablution(snāna). Having firmly placed the image over the pedestal, the Guru should cover the image with fresh clothes, worship it with sandal, flowers and other substances and beautify it with garlands and others according to the directions given earlier. Then having tied up the protective thread around the wrist of the image, he should place the image over the couch so as to be in recumbent posture.

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43-47

उपधानं न्यसेत्प्राच्यां तत्र बिम्बशिरो भवेत् | शिरसश्चोत्तरे भागे कुम्भं प्राधानिकं न्यसेत् || ४३ अभितोऽष्टघटान्वस्त्र हेमसूत्र विभूषितान् | चन्दनोदक संपूर्णान् फलपल्लव संयुतान् || ४४ तन्मध्यमे न्यसेन्मन्त्रांस्तद्विधानं इहोच्यते | सान्तमाद्यस्वरोपेतं बिन्दुयुक्तं यथा भवेत् || ४५ आत्मन्त्रस्समाख्यातो हंसशब्दोऽथवा मतः | सान्तेनैव च वर्णेन ब्रह्माङ्गानि प्रकल्पयेत् || ४६ विद्याङ्गानि च वा तस्य स्वाख्यायुक्तस्य वा मनुः | ह्रीङ्कारः स्त्रीप्रतिष्ठायां तेन ब्रह्माङ्ग कल्पना || ४७

upadhānaṃ nyasetprācyāṃ tatra bimbaśiro bhavet | śirasaścottare bhāge kumbhaṃ prādhānikaṃ nyaset || 43 abhito'ṣṭaghaṭānvastra hemasūtra vibhūṣitān | candanodaka saṃpūrṇān phalapallava saṃyutān || 44 tanmadhyame nyasenmantrāṃstadvidhānaṃ ihocyate | sāntamādyasvaropetaṃ binduyuktaṃ yathā bhavet || 45 ātmantrassamākhyāto haṃsaśabdo'thavā mataḥ | sāntenaiva ca varṇena brahmāṅgāni prakalpayet || 46 vidyāṅgāni ca vā tasya svākhyāyuktasya vā manuḥ | hrīṅkāraḥ strīpratiṣṭhāyāṃ tena brahmāṅga kalpanā || 47

The Guru should place a pillow on the east side of the couch and place the image in such a way that its head is resting on that pillow. He should place the main kumbha on the north side of the head. Eight vessels(ghaṭas) should be arranged around the main kumbha to be in eight directions. These kumbhas should have been wound around with thread and deposited with gold coin, filled up with water mixed with sandal and furnished with tender leaves of mango and coconut. The Guru should invoke the presence of mantras into the water consecrated in the kumbha. The details of the concerned mantras are now told here. The seed letter of the mantra is formed of the letter ‘ha’ associated with the first vowel and bindu. This is called ‘ātma mantra’; also considered as the hamsa mantra. With the same seed letter, the brahma mantras and aṅga mantras should be formed. The mantras pertaining to vidyā deha and other aṅgas should be formed with the name of the devotee for whom the image has been made. For the images of female devotees, the seed letter ‘hrīm’ should be used to formulate the brahma mantras and aṅga mantras.

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48-49

स्वपत्नी सहिता यत्र प्रतिष्ठा प्रविधीयते | प्रधानघटसौम्ये तद्भार्यार्थं करकं न्यसेत् || ४८ पत्नीं द्वयं चेद्याम्येऽपि वर्धनीं अपरां न्यसेत् | बह्व्यश्चेत् करका ग्राह्या बहवः पार्श्वयोर्द्वयोः || ४९ स्त्रीप्रतिष्ठासु सर्वासु वर्धन्यस्संप्रकीर्तिताः |

svapatnī sahitā yatra pratiṣṭhā pravidhīyate | pradhānaghaṭasaumye tadbhāryārthaṃ karakaṃ nyaset || 48 patnīṃ dvayaṃ cedyāmye'pi vardhanīṃ aparāṃ nyaset | bahvyaścet karakā grāhyā bahavaḥ pārśvayordvayoḥ || 49 strīpratiṣṭhāsu sarvāsu vardhanyassaṃprakīrtitāḥ |

If the image of the devotee is to be associated with that of his spouse, the process of installation is now explained. The Guru should place a kalaśa on the north side of the main kumbha for the sake of his spouse. If there are the images of his two spouses, then the Guru should place another kalaśa on the south side of the main kumbha. In case the number of spouses is more than two, then he should place the kalaśas evenly on both sides of the main kumbha according to the number of the spouses. For the installation of all the images of female devotess, arranging of vardhanī-kalaśas is to be essentially done.

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50-52

पृथिव्यादीनि भूतानि मनोऽहङ्कार बुद्धयः || ५० परिवारघटे पूज्या अष्टौ वा वसवो मताः | स्त्रीणां दिशस्तु पूर्वस्माद्देवताः परिकीर्तिताः || ५१ पुरुषे लोकपाला वा पूर्वाद्यष्ट घटेषु च | संपूज्य गन्धपुष्पाद्यैः तत्त्वतत्त्वेश्वरान् न्यसेत् || ५२

pṛthivyādīni bhūtāni mano'haṅkāra buddhayaḥ || 50 parivāraghaṭe pūjyā aṣṭau vā vasavo matāḥ | strīṇāṃ diśastu pūrvasmāddevatāḥ parikīrtitāḥ || 51 puruṣe lokapālā vā pūrvādyaṣṭa ghaṭeṣu ca | saṃpūjya gandhapuṣpādyaiḥ tattvatattveśvarān nyaset || 52

The five gross elements- earth, water, fire, air and space, manas-tattva, ahaṅkāra-tattva and buddhi tattava – all these eight should be invoked and worshipped in the eight kalasas arranged around the main kumbha. Or, the eight vasus may be invoked. For the female devotees, the śaktis of these deities should be invoked and installed in the due order starting from the east. For the male devotees, the protecting Deities of the eight directions may be invoked in the eight kalasas starting from the east. Having worshipped the kumbha and the kalasas with sandal, flowers and other substances, the Guru should invoke the presence of tattvas and tattveśvaras.

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53-55

आत्मविद्याशिवाख्यं च तत्त्वत्रयं उदीरितम् | आत्मानं अन्तरात्मानं परमात्मानमेव च || ५३ तत्त्वतत्त्वाधिपत्वेन क्रमेण विनिवेशयेत् | स्त्रीणामप्येवमेवं स्यात् क्ष्मादयो मूर्तयो मताः || ५४ अष्टौस्युः पञ्चपक्षे तु क्ष्मादयः पञ्च एव हि | इन्द्राद्या मूर्तिपाः पक्षे निवृत्त्याद्यास्तु मूर्तिपाः || ५५

ātmavidyāśivākhyaṃ ca tattvatrayaṃ udīritam | ātmānaṃ antarātmānaṃ paramātmānameva ca || 53 tattvatattvādhipatvena krameṇa viniveśayet | strīṇāmapyevamevaṃ syāt kṣmādayo mūrtayo matāḥ || 54 aṣṭausyuḥ pañcapakṣe tu kṣmādayaḥ pañca eva hi | indrādyā mūrtipāḥ pakṣe nivṛttyādyāstu mūrtipāḥ || 55

Ātma tattva, vidyā tattva and śiva tattva – these are the three tattvas; Ātmā, Antarātmā and Paramātmā – these are the presiding Deities of these three tattvas respectively. These Tattvas and Tattveśvaras should be invoked in the due order and identified with the image. Even for the female devotees, the Tattvas and Tattveśvaras are the same. If the fire-ritual is based on the system of nine fire-pits, the Earth and seven others are the eight Mūrtis; Indra and seven others are the eight Mūrtipas. If the fire-ritual is based in the five fire-pits, the Earth and four other Elements are the five Mūrtis; Nivṛuti and four others are the five Mūrtipas.

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56-57

तत्तद्ब्रह्माणि विन्यस्य तत्तन्मूर्तिं हृदि न्यसेत् | अकारादि क्षकारान्तं न्यस्त्वा मूर्धादिषु क्रमात् || ५६ जीवन्यासं स्वमन्त्रेण न्यस्त्वाङ्गानि च विन्यसेत् | संपूज्य गन्धपुष्पाद्यैः वस्त्रेणाच्छाद्य वर्मणा || ५७

tattadbrahmāṇi vinyasya tattanmūrtiṃ hṛdi nyaset | akārādi kṣakārāntaṃ nyastvā mūrdhādiṣu kramāt || 56 jīvanyāsaṃ svamantreṇa nyastvāṅgāni ca vinyaset | saṃpūjya gandhapuṣpādyaiḥ vastreṇācchādya varmaṇā || 57

Having identified the concerned brahma-mantras of each Mūrti with the image, the Guru should fix that Mūrti in the heart of the image. All the fifty-one letters from ‘a’ to ‘kṣa’ should be identified with the image from the head and other concerned parts of the image. Then, having done the ‘jīva-nyāsa’(fixing the soul) with the recital of the mantra formed of the name of that devotee, the Guru should identify the concerned aṅga-mantras with the image.

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58-60

ततः कुण्डान्तिकं गत्वा होमकर्म समारभेत् | प्राग्वच्च कुण्डसंस्कारं शिवाग्न्याधानमेव वा || ५८ तन्मध्ये भक्तमावाह्य साङ्गं संपूज्य तर्पयेत् | समिदाज्य चरूं लाजांस्तिलैर्द्रव्यैस्तु मूर्तिपैः || ५९ पलाशोदुम्बराश्वत्थ वटाः प्रागादिषु क्रमात् | शमीखदिरमायूर श्रीवृक्षास्त्वग्नि कोणतः || ६० प्रधानेऽपि पलाशस्स्यात् शतं वार्धं तदर्धकम् |

tataḥ kuṇḍāntikaṃ gatvā homakarma samārabhet | prāgvacca kuṇḍasaṃskāraṃ śivāgnyādhānameva vā || 58 tanmadhye bhaktamāvāhya sāṅgaṃ saṃpūjya tarpayet | samidājya carūṃ lājāṃstilairdravyaistu mūrtipaiḥ || 59 palāśodumbarāśvattha vaṭāḥ prāgādiṣu kramāt | śamīkhadiramāyūra śrīvṛkṣāstvagni koṇataḥ || 60 pradhāne'pi palāśassyāt śataṃ vārdhaṃ tadardhakam |

Then, having seated near the fire-pit, the Guru should commence the fire-ritual. As done before, he should perform the essential sacramental activities for the fire-pit, install and raise the śiva-agni inside the fire-pit. Having invoked the presence of the Bhakta, he should worship him contemplating various parts of his form and make him delighted and contended(tarpana) by the offering of the faggots, clarified butter, consecrated food, parched paddy, sesame and other substances, being assited by the officiating priests. The faggots got from the palāśa, udumbara, aśvattha and vaṭa trees should be offered into the fire-pits in the east, south, west and north respectively. Those got from the śamī, khadira, māyūra and śrīvṛuksha should be offered into fire-pits in the corner directions starting from south-east. The faggots of palāśa tree should to be offered into the main fire-pit. The offering may be done for 100, 50 or 25 times.

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91-63

हुत्वा पूर्णां ततो दत्वा तत्त्वतत्त्वेश्वरान् प्रति || ६१ मूर्तिमूर्तीश्वरोपेतं प्रत्येकं चाहुतित्रयम् | कृत्वा घोराणुना होमं निच्छिद्रार्थं शतं द्विजाः || ६२ स्पृष्ट्वा मूर्धादि पदान्तं शान्तितोयेन सेचयएत् | ततश्चान्तर्बलिं बाह्यबलिं दत्वा शुचिर्गुरुः || ६३

hutvā pūrṇāṃ tato datvā tattvatattveśvarān prati || 61 mūrtimūrtīśvaropetaṃ pratyekaṃ cāhutitrayam | kṛtvā ghorāṇunā homaṃ nicchidrārthaṃ śataṃ dvijāḥ || 62 spṛṣṭvā mūrdhādi padāntaṃ śāntitoyena secayaet | tataścāntarbaliṃ bāhyabaliṃ datvā śucirguruḥ || 63

Having offered the consummate oblation(pūrṇāhuti), he should offer three oblations for each one of the Tattvas, Tattveśvaras, Mūrtis and Mūrtiśvaras. Then, he should offer the oblations with the rectal of aghora-mantra for hundred times in order to ward off any defects or omissions which could have occurred in the course of fire-ritual. Having touched the image from the top of the head up to the feet, he should sprinkle the consecrated water contained in the śānti-kumbha over the image. O, the twice-born sages!, then he should do the offering of the ineterior-bali and exterior bali.

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64-66

रात्रिशेषं व्यपोह्याथ प्रभाते मूर्तिपैस्सह | स्नात्वा समाप्य सन्ध्यां तु कृतकृत्यो गुरूत्तमः || ६४ पञ्चगोचर संजातस्सोष्णीषस्सोत्तरीयकः | पञ्चाङ्ग भूषणोपेतो दक्षिणा तुष्ट मानसः || ६५ तद्वत् संपूजितैर्मूर्तिधारकैरणुजापिभिः | अध्येतृभिश्च दैवज्ञैश्शिल्पिभिस्तोषितैर्युतः || ६६

rātriśeṣaṃ vyapohyātha prabhāte mūrtipaissaha | snātvā samāpya sandhyāṃ tu kṛtakṛtyo gurūttamaḥ || 64 pañcagocara saṃjātassoṣṇīṣassottarīyakaḥ | pañcāṅga bhūṣaṇopeto dakṣiṇā tuṣṭa mānasaḥ || 65 tadvat saṃpūjitairmūrtidhārakairaṇujāpibhiḥ | adhyetṛbhiśca daivajñaiśśilpibhistoṣitairyutaḥ || 66

Having spent that night inside the temple, the foremost Guru along with all the assisting priests should take bath as enjoined in the Āgamas, complete the worship of sandhya and perform all the preliminary rituals. The Guru and the priests should have born in one of the five ‘gocaras’, should wear the head-dress and upper cloth and wear the recommended ornaments over the respective five parts of the body. Being with the mind pleased with the sacrificial fees offered by the sponsor, the Guru should proceed towards the sacrificial pavilion along with the assisting priests, assistants who were appointed to do the incantation of the prescribed mantras, those appointed for reciting the four Vedas, goldsmiths and śilpis who have also become much pleased with the honor and gifts given to them by the sponsor.

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67-69

द्वार द्वाराधिपान् इष्ट्वा कृतकुम्भार्चनो गुरुः | संपूज्य वह्निकुण्डस्थं पूर्णां दत्वा यथाक्रमात् || ६७ उत्थाप्य शयनाद्बिम्बं यानमारोप्य युक्तितः | प्रासादादौ नयेद्बिम्बं स्नानश्वभ्रेऽथवा नयेत् || ६८ रत्नन्यासं यथापूर्वं स्थापने परिकल्पयेत् | आसनं प्रणवं कृत्वा मूर्तिस्थाणु प्रकल्पिताम् || ६९ मातृकां च ततो न्यस्त्वा जीवन्यासं समाचरेत् |

dvāra dvārādhipān iṣṭvā kṛtakumbhārcano guruḥ | saṃpūjya vahnikuṇḍasthaṃ pūrṇāṃ datvā yathākramāt || 67 utthāpya śayanādbimbaṃ yānamāropya yuktitaḥ | prāsādādau nayedbimbaṃ snānaśvabhre'thavā nayet || 68 ratnanyāsaṃ yathāpūrvaṃ sthāpane parikalpayet | āsanaṃ praṇavaṃ kṛtvā mūrtisthāṇu prakalpitām || 69 mātṛkāṃ ca tato nyastvā jīvanyāsaṃ samācaret |

Having worshipped the entrance and the guardian Deities of the entrance, the Guru should worship the kumbhas, worship the Deities invoked in the fire raised in the fire-pit, offer the ceremonial oblations and the consummate oblation(pūrṇāhuti) in the due order explained earlier. Having lifted the image from the couch, he should carefully place that over the vehicle designed for that purpose. Having taken the image around the temple, he should place that image on the altar specially made for bathing the image. Ratna-nyāsa should have done for that image when it is to be installed properly,as prescribed before. Having ideated the praṇava-seat over the altar, he should identify the mūrti-mantra with the image and perform the mātṛukā-nyāsa and jīva-nyāsa without any omission.

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70-72

संस्नाप्य कुम्भपानीयैः परितः स्थापितैरपि || ७० वस्त्रैर्गन्धैश्च पुष्पैश्च धूपदीपनिवेद्यकैः | उपचारैस्तथाचान्यैश्शिवभक्तं समर्चयेत् || ७१ उत्सवं कारयेदन्ते यथा विभवविस्तरम् | ततः प्रभृतिं तं भक्तं प्रत्यहं पूजयेन्नरः || ७२

saṃsnāpya kumbhapānīyaiḥ paritaḥ sthāpitairapi || 70 vastrairgandhaiśca puṣpaiśca dhūpadīpanivedyakaiḥ | upacāraistathācānyaiśśivabhaktaṃ samarcayet || 71 utsavaṃ kārayedante yathā vibhavavistaram | tataḥ prabhṛtiṃ taṃ bhaktaṃ pratyahaṃ pūjayennaraḥ || 72

Having performed the ceremonial bath to the newly installed Bhakta with the consecrated watrer contained in the kumbhas and kalaśas arrayed in due order in front of the image, the Guru should worship the Bhakta and offer new clothes, varieties of fragrant substances, flowers, incense, lights, naivedya(cooked rice, sweets and others) and all other offerings. At the end, he should perform the festival appropriate to the fresh installation according to the available resources. From that day onwards, the Guru should duly worship the Bhakta daily according to the given directions.

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73-74

शिवभक्तप्रतिष्ठां तु यः कुर्यान्नरसत्तमः | आयुरारोग्य विजय श्रीकीर्तिफलमाप्नुयात् || ७३ अन्ते सायुज्यमाप्नोति नात्र कार्या विचारणा || ७४

śivabhaktapratiṣṭhāṃ tu yaḥ kuryānnarasattamaḥ | āyurārogya vijaya śrīkīrtiphalamāpnuyāt || 73 ante sāyujyamāpnoti nātra kāryā vicāraṇā || 74

The sponsor-devotee who is instrumental for the installation and consecration of Bhakta of Lord Śiva and evolves into the foremost one among the human beings thereby is sure to be blessed with longevity, health, victory, wealth, celebrity and such other auspicious benefits. And at the end, he would attain the final liberation characterized as ‘sāyujya mukti’. No need to think of other deed to be blessed with such auspicious benefits.

77 Directions for the Performance of Daily Worship of Śivabhakta

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1-3

आदिशैवकुलोद्भूतः पञ्चगोचर संभवः | आवश्यकं तथा शौचस्नानसन्ध्यादि वन्दनम् || १ कृत्वा प्रविश्य हर्म्यं तु सामान्यार्घ्यकरो गुरुः | पुरुषं प्रकृतिं चैव संपूज्य द्वारपार्श्वयोः || २ प्रविश्य गर्भगेहं तु परमात्मानं अव्ययम् | वास्तुं मध्ये समभ्यर्च्य भूतशुद्धिं विधाय च || ३

ādiśaivakulodbhūtaḥ pañcagocara saṃbhavaḥ | āvaśyakaṃ tathā śaucasnānasandhyādi vandanam || 1 kṛtvā praviśya harmyaṃ tu sāmānyārghyakaro guruḥ | puruṣaṃ prakṛtiṃ caiva saṃpūjya dvārapārśvayoḥ || 2 praviśya garbhagehaṃ tu paramātmānaṃ avyayam | vāstuṃ madhye samabhyarcya bhūtaśuddhiṃ vidhāya ca || 3

The Ācārya is the one who has born in the lineage of Ādiśaivas and as associated with one of the five gocaras. Having done the usual morning deeds such as cleaning the bowels, washing the teeth and so on, the Guru(Ācārya) should purify himself and take bath with the accompaniment of mantras and mudras and perform the worship of sandhya and other deeds. Then, having entered the temple, he should prepare the sāmānya-arghya; holding the vassel containing the sāmānya-arghya water, he should worship ‘Puruṣa’ and ‘Prakṛuti’ who are the entrance-deities on the two sides of the main entrance of the shrine and enter into the sanctum sanctorum. Having worshipped the Vāstu-brahma in the middle who is the Great Being and Eternal Existence, he should purify his physical body , subtle body and his soul.

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4-6

कृतमन्त्रतनुः पश्चात् स्थानशुद्धिं विधाय च | परिकल्प्य विशेषार्घ्यं कुसुमाक्षत तोययुक् || ४ प्रोक्षयेद् द्रव्यजालं तु प्रागुक्त विधिना नरः | प्रणवाद्यान् पठेन्मन्त्रान् नमोन्तान्मन्त्रशुद्धये || ५ अस्त्रतोयेन बेराद्यं स्नापयेद् बेरशुद्धये | षडुत्थमासनं कृत्वा पूर्वोक्तेन विधानतः || ६

kṛtamantratanuḥ paścāt sthānaśuddhiṃ vidhāya ca | parikalpya viśeṣārghyaṃ kusumākṣata toyayuk || 4 prokṣayed dravyajālaṃ tu prāgukta vidhinā naraḥ | praṇavādyān paṭhenmantrān namontānmantraśuddhaye || 5 astratoyena berādyaṃ snāpayed beraśuddhaye | ṣaḍutthamāsanaṃ kṛtvā pūrvoktena vidhānataḥ || 6

Then, having rendered his body to be identical with the mūla-mantra, he should do the ‘purification of the place’(sthāna śuddhi) and prepare the ‘viśeṣa-arghya’ with recommended flowers and unhusked and unbroken rice(akshata). According to the directions set forth earlier, he should sprinkle the arghya-water over the collected and well-arranged paraphernalia. For the purification of the mantras, he should recite the mantras which are essential for this worship beginning with Om and ending with ‘namah’. He should bathe the installed image with the water consecrated with astra-mantra for the purification of the image. Then, he should ideate a pedestal known as ‘ṣaḍutthāsana’ constituted of six-mantras starting from the ‘adhāra śakti-mantra’, according to the directions told before.

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7-9

तन्मध्ये कल्पयेन्मूर्तिं मूर्तिमन्त्रेण पूजितम् | तत्तद्रूप समोपेतं तत्तन्मूलाणुना बुधः || ७ जीवन्यासं ततः कृत्वा हृदयादि यथा न्यसेत् | पाद्यमाचमनं चार्घ्यं हृदयेन निवेदयेत् || ८ संस्नाप्य शुद्धतोयेन पञ्चगव्यादिभिस्तु वा | संमृज्य वाससा वस्त्रं गन्धं पुष्पं सधूपकम् || ९

tanmadhye kalpayenmūrtiṃ mūrtimantreṇa pūjitam | tattadrūpa samopetaṃ tattanmūlāṇunā budhaḥ || 7 jīvanyāsaṃ tataḥ kṛtvā hṛdayādi yathā nyaset | pādyamācamanaṃ cārghyaṃ hṛdayena nivedayet || 8 saṃsnāpya śuddhatoyena pañcagavyādibhistu vā | saṃmṛjya vāsasā vastraṃ gandhaṃ puṣpaṃ sadhūpakam || 9

The Guru should worship the Bhakta at the center of that ṣaḍutthāsana with the recital of the mūla-mantra pertaining to the Bhakta. The learned Guru should contemplate the form of the concerned Bhakta associated with perfect lineaments while reciting the concerned mūla-mantra. Then , having done the ‘jīva-nyāsa’, he should identify the hṛudaya-mantra and other aṅga-mantras with that form. He should offer pādya, ācamana and arghya with the recital of hṛudaya-mantra. Then he should bathe the image with pure water. The ablution may be performed with ‘pañcāmṛuta’ and other special materials. Having well wiped the image with pure cloth, he should beautify the image with cleaned cloth and offer the sandal and flowers along with the incense.

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10-12

दीपेन सहितं दद्यान्नैवेद्यं सोपदंशकम् | ताम्बूलं च त्रिसन्ध्यासु दद्यात्सन्ध्याद्वयेऽपि वा || १० अथवा त्वेकसन्ध्यायां बल्युत्सवयुतं न वा | दीपान्तं वा निवेद्यान्तं यजेच्छक्त्यानुरूपतः || ११ अयने विषुवे चैव संक्रान्तौ ग्रहणादिषु | स्नपनं विधिना कार्यं प्रागुक्तेन क्रमेण तु || १२

dīpena sahitaṃ dadyānnaivedyaṃ sopadaṃśakam | tāmbūlaṃ ca trisandhyāsu dadyātsandhyādvaye'pi vā || 10 athavā tvekasandhyāyāṃ balyutsavayutaṃ na vā | dīpāntaṃ vā nivedyāntaṃ yajecchaktyānurūpataḥ || 11 ayane viṣuve caiva saṃkrāntau grahaṇādiṣu | snapanaṃ vidhinā kāryaṃ prāguktena krameṇa tu || 12

He should wave the lights and offer various kinds of food and fruits along with appetizing dishes and tāmbūla(set of betel leaves, areca-nut ,cardamom and other spices). Such kind of worship should be done in three sessions(sandhis); or this may be done in two sessions or in one session. The offering of bali and daily festival may or may nor be done. The daily worship should be performed up to the offering of lights or that of ‘naivadya’ according to the resources available. On the occurrence of solstice, viṣu, conjunction of months and eclipse, snapana-abhiṣeka should be performed according to the directions set forth earlier.

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13-15

मध्यकुम्भे तु भक्तस्स्यात् क्ष्मादयः प्रथमावृतौ | स्वराष्षोडश तद्बाह्ये तद्बाह्ये कादयो मताः || १३ एवमुक्तमकल्पस्स्यात् आवृतिद्वययुक् समम् | एकावरणसंयुक्तं अधमं त्विति कीर्तितम् || १४ प्रतिमासं ततः कुर्यात् उत्सवं विभवे सति | भक्तजन्मदिने वापि कर्तुर्जन्मदिनेऽपि वा || १५

madhyakumbhe tu bhaktassyāt kṣmādayaḥ prathamāvṛtau | svarāṣṣoḍaśa tadbāhye tadbāhye kādayo matāḥ || 13 evamuktamakalpassyāt āvṛtidvayayuk samam | ekāvaraṇasaṃyuktaṃ adhamaṃ tviti kīrtitam || 14 pratimāsaṃ tataḥ kuryāt utsavaṃ vibhave sati | bhaktajanmadine vāpi karturjanmadine'pi vā || 15

With regard to the arrangement of kalasas for snapana, the Bhakta should be invoked in the kumbha placed at the center. The Eight Mūrits starting from the Earth should be invoked in the kalasas arranged in the first enclosure. In the second enclosure which is outside the first one, sixteen vowels should be invoked and worshipped. In the third enclosure, all the consonants starting from ‘ka’ should be invoked and worshipped. This kind of arrangement is for the foremost type of snapana. Snapana with two enclosures is of medium type and the snapana with only one enclosure is of inferior type. In this way, the snapana should be performed in each month. If sufficient resources are available, the festival may be performed in a large scale on the birth-day of the Bhakta or that of the sponsor-devotee.

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16-18

संवत्सरोत्सवः कार्यः प्रत्यब्दं च विवाहकम् | नवाहं वाथ सप्ताहं पञ्चाहं त्रिदिनं तु वा || १६ अथवैकदिनं वापि बलिहोम समन्वितम् | ध्वजारोहण पूर्वादि कर्तव्यं कर्तुरिच्छया || १७ ध्वजे तु वृषभः कार्यः सर्वेषामुत्सवादिषु | स्वस्वजाति वशेनोक्त मङ्गळाष्टक संयुतम् || १८

saṃvatsarotsavaḥ kāryaḥ pratyabdaṃ ca vivāhakam | navāhaṃ vātha saptāhaṃ pañcāhaṃ tridinaṃ tu vā || 16 athavaikadinaṃ vāpi balihoma samanvitam | dhvajārohaṇa pūrvādi kartavyaṃ karturicchayā || 17 dhvaje tu vṛṣabhaḥ kāryaḥ sarveṣāmutsavādiṣu | svasvajāti vaśenokta maṅgaḷāṣṭaka saṃyutam || 18

Every year, the yearly-festival(festival to be conducted on the day in which consecration took place) and marriage-festival should be conducted. Such festival may be conducted associated with bali and homa for 9, 7, 5, 3 days or one day. This may be conducted as preceded by the raising of the featival-flag or as desired by the sponsor-devotee. In all such festivals, the Bull should be drawn in the flag-cloth as associated with the drawings of eight auspicious forms appropriate to the caste of the Bhakta.

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19-21

भेरी संताडनं रात्रौ भक्तास्त्रेण समन्वितम् | इन्द्रादीनां बलिं दद्याद् गन्धं पुष्पादि संयुतम् || १९ यागाधिवासनं कुर्याद् उत्सवस्यादिरात्रके | यागशालां विधानेन कृत्वा वेदिसमन्विताम् || २० पूर्वादिकुण्ड संयुक्तं पञ्चकुण्डयुतं तु वा | सर्वमङ्गळ संयुक्तं मङ्गळाङ्कुरमाचरेत् || २१

bherī saṃtāḍanaṃ rātrau bhaktāstreṇa samanvitam | indrādīnāṃ baliṃ dadyād gandhaṃ puṣpādi saṃyutam || 19 yāgādhivāsanaṃ kuryād utsavasyādirātrake | yāgaśālāṃ vidhānena kṛtvā vedisamanvitām || 20 pūrvādikuṇḍa saṃyuktaṃ pañcakuṇḍayutaṃ tu vā | sarvamaṅgaḷa saṃyuktaṃ maṅgaḷāṅkuramācaret || 21

The beating of the great drum and the procession of the astra-rāja pertaining to the Bhakta should be done in the night. The bali associated with flowers and other concerned substances should be offered to Indra and other dik-pālakas. The Guru should do the ritual known as ‘adhivasana’(staying inside the shrine during the night of the day in which the festival commences). The sacrificial pavilion should have been constructed asassociated with the altar according to the prescribed directions. The pavilion may be with nine or five fire-pits in the east and other directions. The sacrificial pavilion should be beautified with all kinds of auspicious forms and designs and with auspicious fresh sprouts.

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22-23

बल्यर्थं उत्सवार्थं च भक्तप्रतिकृतिं द्विजाः | अल्पां च महतीं कृत्वा प्रतिष्ठाप्य विधानतः || २२ तत्र प्रतिसरं बध्वा वेदिमध्ये विधानतः | स्थण्डिलं शालिपूर्वैश्च कृत्वा संस्थापयेद् घटान् || २३ प्रतिष्ठावित्तथा तेन तत्रोक्तानेव तान्यजेत् |

balyarthaṃ utsavārthaṃ ca bhaktapratikṛtiṃ dvijāḥ | alpāṃ ca mahatīṃ kṛtvā pratiṣṭhāpya vidhānataḥ || 22 tatra pratisaraṃ badhvā vedimadhye vidhānataḥ | sthaṇḍilaṃ śālipūrvaiśca kṛtvā saṃsthāpayed ghaṭān || 23 pratiṣṭhāvittathā tena tatroktāneva tānyajet |

O, the twice-born sages!, two icons of the Bhakta, a big one and a small one, should be made. These should be properly made and consecrated according to the prescribed rules. Having tied up the protective thread in the wrist of the icons, the Guru who has known well the process of installation should design a sthaṇḍila with paddy and other recommended grains, place a ghaṭa(vessel) at the center of the sthaṇḍila and worship it according to the direction given in the chapter dealing with installation of the image.

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24-26

प्रत्यहं पूजयेद्देवान् सायं प्रातर्गुरूत्तमः || २४ गन्ध पुष्पादि संयुक्तमन्ते होमं समाचरेत् | द्रव्याण्यत्रापि विप्रेन्द्राः प्रतिष्ठोक्त प्रकारतः || २५ सायं प्रातर्बलिं दद्यात् क्षुद्रबिम्ब समन्वितम् | बल्यन्ते चोत्सवं कुर्याद् सर्वालङ्कार संयुतम् || २६

pratyahaṃ pūjayeddevān sāyaṃ prātargurūttamaḥ || 24 gandha puṣpādi saṃyuktamante homaṃ samācaret | dravyāṇyatrāpi viprendrāḥ pratiṣṭhokta prakārataḥ || 25 sāyaṃ prātarbaliṃ dadyāt kṣudrabimba samanvitam | balyante cotsavaṃ kuryād sarvālaṅkāra saṃyutam || 26

The foremost Guru should worship daily the Bhakta and the Deities invoked in the kumbha with sandal, flowers and other substances and at the end he should perform the fire-ritual. O, the foremost among the twice-borns!, the materials for the fire ritual should be collected according to the directions set forth in the chapter dealing with the installation. He should offer the bali both in the evening and the morning , keeping the small icon near the fire-pit. At the end of the offering of bali, the festival should be conducted making use of all kinds of decorative garlands and such other materials.

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27-29

परिवेषक्रमं कुर्याद् गेयनृत्तादि संयुतम् | अन्ते चूर्णोत्सवं कृत्वा तीर्थकर्म समाचरेत् || २७ प्रत्यहं मूलबेरस्य पूजा वैशेषिकी भवेत् | शुद्धस्नपनं अन्ते च मूले बेरादिके नयेत् || २८ ध्वजोत्थान विहीनं वा बलिहोमोज्झितं तु वा | केवलं चूत्सवं कुर्याद् अशक्तश्चेन्मुनीश्वराः || २९

pariveṣakramaṃ kuryād geyanṛttādi saṃyutam | ante cūrṇotsavaṃ kṛtvā tīrthakarma samācaret || 27 pratyahaṃ mūlaberasya pūjā vaiśeṣikī bhavet | śuddhasnapanaṃ ante ca mūle berādike nayet || 28 dhvajotthāna vihīnaṃ vā balihomojjhitaṃ tu vā | kevalaṃ cūtsavaṃ kuryād aśaktaścenmunīśvarāḥ || 29

The procession known as ‘pariveṣa-krama’ should be done accompanied by the groups of singers and dancers. At the end, the Guru should perform the ‘cūrṇotsava’ and then he should perform ‘tīrthavāri’ festival. During the festival, worship should be done daily to the main image of the Bhakta in the sanctum sanctorum in a grand sacale and special manner. At the end of the festival, snapana-ablution for the main image and other related images should be done with pure and consecrated water. O, the Lords of the Sages!, if sufficient materials and resources are not available, the festival may be performed simply without raising the flag, offering of bali and fire-ritual.

78 Directions for the Installation of Trident

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1-3

त्रिशूलस्थापनं वक्ष्ये तल्लक्षण पुरस्सरम् | हेमराजत ताम्रैर्वायसेनाश्मादिभिस्तु वा || १ गर्भगेहे नवांशे तु त्रिभागान्तं नवांशतः | महतामेकभागं तु शूलानां मानमिष्यते || २ प्रत्येकं अष्टधा भक्त्वानेकधा मानमेव च | द्वारस्तम्भोदयादेव मानं वा परिभाव्यताम् || ३

triśūlasthāpanaṃ vakṣye tallakṣaṇa purassaram | hemarājata tāmrairvāyasenāśmādibhistu vā || 1 garbhagehe navāṃśe tu tribhāgāntaṃ navāṃśataḥ | mahatāmekabhāgaṃ tu śūlānāṃ mānamiṣyate || 2 pratyekaṃ aṣṭadhā bhaktvānekadhā mānameva ca | dvārastambhodayādeva mānaṃ vā paribhāvyatām || 3

Now I speak about the process of installing the Trident preceded by full exposition on the lineaments of that weapon. The Trident may be designed with gold, silver, copper, iron or stone and such other materials. Having divided the breadth or length of the main shrine into nine equal parts, three parts may be taken to be the height of the trident. This is for the foremost type. To take two parts as the height is of medium type. Taking one part to be the height is of inferior type. If each one of these three is divided into eight equal parts, nine varieties of height could be obtained for each type. Thus, the sthapathi can get innumerable measures for the height. Or, the height of the Trident may be determined based on the height of the entrance-pillar.

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4-5

द्विहस्तादेक मात्रद्ध्र्या चतुर्हस्तान्तमेव वा | जात्यंशं पूर्ववन्नीत्वा कल्पयेद्देशिकोओत्तमः || ४ यल्लब्धं त्रिंशदंशादि शतान्तादनुभाजयेत् | भागमेकं प्रयुञ्जीयाच्छुभायादि प्रसिद्धये || ५

dvihastādeka mātraddhryā caturhastāntameva vā | jātyaṃśaṃ pūrvavannītvā kalpayeddeśikoottamaḥ || 4 yallabdhaṃ triṃśadaṃśādi śatāntādanubhājayet | bhāgamekaṃ prayuñjīyācchubhāyādi prasiddhaye || 5

Starting from two hasta-measure of the pillar and increasing by one hasta each time to reach four hasta-measure of the pillar, the height of the Trident may be taken in three ways. The foremost Guru should determine the number of ‘jātyamśa’ as explained before and add that value to the arrived height. The height of the Trident arrived in this way should be divided into 30 to 100 equal parts. One part may be added or reduced to determine the height of the Trident in order to ascertain that exact height of the Trident is compatible to āyā, vyayā and other four factors.

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6-8

लौकिकं यौगिकं चेति द्विविधं शूलं इष्यते | यजमाननृपग्रामानुकूलं लौकिकं मतम् || ६ जात्यंशोज्झितं रुद्राक्षानुकूल समन्वितम् | अङ्गुलैर्निर्मितं यत्तु यौगिकं शूलमिष्यते || ७ लौकिकं चान्यधामस्थ बेरसाधारणं मतम् | यौगिकं चान्यनगर स्थानकर्त्रानुरूपि यत् || ८ तदन्यत्रापि योज्यं वा प्रतिमास्वेवमेव वा |

laukikaṃ yaugikaṃ ceti dvividhaṃ śūlaṃ iṣyate | yajamānanṛpagrāmānukūlaṃ laukikaṃ matam || 6 jātyaṃśojjhitaṃ rudrākṣānukūla samanvitam | aṅgulairnirmitaṃ yattu yaugikaṃ śūlamiṣyate || 7 laukikaṃ cānyadhāmastha berasādhāraṇaṃ matam | yaugikaṃ cānyanagara sthānakartrānurūpi yat || 8 tadanyatrāpi yojyaṃ vā pratimāsvevameva vā |

Trident is of two kinds – laukika and yaugika. The Trident whose height is determined so as to be compatible and favorable to the chief sponsor, Ruler of the country or the village or city is known as laukika. The Trident whose height is set right according to jātyamśa, set right to be compatible to the height of the image of Śiva’s form or determined based on ‘mānāṅgula’ measure is known as yaugika. It is held that laukika type of Trident could be considered as common to the images of Śiva installed in other temples also. Likewise, the yaugika type of Trident may be held to be common to the shrines or the sponsor in other cities. Such type of Trident may be given to other temples during the period of festival and other such occasions or offered to other images of Śiva.

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9-13

उत्सेधं दशधा कृत्वा व्योमाद्वित्रिभिरेव वा || ९ तन्मध्याष्टांशमानं वा मध्यपत्रोच्च मानकम् | पादमानयुतं वाथ तन्मानं पृथक् पृथक् || १० तत्त्रिंशदंशं कृत्वैव द्वित्रिवेदशरांशकैः | रस सप्ताष्टनवभिर्मध्यपत्रस्य विस्तरः || ११ संग्राह्य पत्रमानं तु चतुरश्रं समं नयेत् | पत्रमानं विसृज्याथ पार्श्वयोरुभयोरपि || १२ वृत्ताकारं नयेत्तत्र पत्रमानेन वोभयोः | मध्यपत्रततिर्यद्वत् पार्श्वपत्र ततिस्तथा || १३

utsedhaṃ daśadhā kṛtvā vyomādvitribhireva vā || 9 tanmadhyāṣṭāṃśamānaṃ vā madhyapatrocca mānakam | pādamānayutaṃ vātha tanmānaṃ pṛthak pṛthak || 10 tattriṃśadaṃśaṃ kṛtvaiva dvitrivedaśarāṃśakaiḥ | rasa saptāṣṭanavabhirmadhyapatrasya vistaraḥ || 11 saṃgrāhya patramānaṃ tu caturaśraṃ samaṃ nayet | patramānaṃ visṛjyātha pārśvayorubhayorapi || 12 vṛttākāraṃ nayettatra patramānena vobhayoḥ | madhyapatratatiryadvat pārśvapatra tatistathā || 13

Having divided height of the Trident into ten equal parts, one, two or three parts may be taken to be the height of middle leaf (middle pike); or, the measure held as two parts may be divived into ten equal parts and eight parts may be taken to be the height of the middle leaf. Or, with each of these different measures, one out of four parts may be added. The height of the Trident should be divided into 30 equal parts and two, three, four, five, six, seven, eight or nine parts may be taken to be the breadth of the middle leaf. Having ascertained these measures(of height and breadth), the middle leaf should be designed so as to be with a square mould at its bottom. Having left out the measurement of the middle leaf, the sthapathi should design a circular form on both sides of the middle leaf so that the two circular designs are at equidistance from the central thread of the shaft and they are with the same measurement of the middle leaf. The thickness of the leaves on both sides should be equal to that of the middle leaf.

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14-17

चतुःपञ्चषडंशेन वृद्धिर्वा तारमिष्यते | मध्यपत्राद् बहिश्चान्तर्मध्यसूत्र समाश्रयात् || १४ पार्श्वपत्रे प्रकर्तव्ये कृशमूलाग्र संयुते | पत्रमूलबलार्धं च मूलतारं विवृद्धयेत् || १५ अधः पत्रं विचित्रं च पत्राग्रं तु कृशं भवेत् | पत्रतारेण चाग्रे तु तदर्धेनाथ पादतः || १६ अधिकं वाथ तत्पार्श्व पत्राग्राभ्यां मुनीश्वराः | पत्राग्र मध्यमं तद्वद्विशिष्टं वा प्रकल्पयेत् || १७

catuḥpañcaṣaḍaṃśena vṛddhirvā tāramiṣyate | madhyapatrād bahiścāntarmadhyasūtra samāśrayāt || 14 pārśvapatre prakartavye kṛśamūlāgra saṃyute | patramūlabalārdhaṃ ca mūlatāraṃ vivṛddhayet || 15 adhaḥ patraṃ vicitraṃ ca patrāgraṃ tu kṛśaṃ bhavet | patratāreṇa cāgre tu tadardhenātha pādataḥ || 16 adhikaṃ vātha tatpārśva patrāgrābhyāṃ munīśvarāḥ | patrāgra madhyamaṃ tadvadviśiṣṭaṃ vā prakalpayet || 17

The length of the shaft may be increased by four, five or six parts. The central reference line should be conceived from the middle leaf, in front and back of the shaft.The bottom and tip of the leaves on both sides of middle leaf should be designed so as to very thin. The length at the bottom of the shaft should be increased by half of the base of the middle leaf. The bottom of the leaf should be provided with ornamental designs and the tip of the leaf should be designed to be thin, corresponding to its bottom. O, the Lords of Sages!, the length and the tip of the side-leaves may be increased by half or one-fourth of the thickness of the tip of the middle leaf. In the same way, the tip and the middle part of the leaf should be provided with special designs and engravings.

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18-20

तद्वन् मूलान्तरं प्रोक्तं पार्श्वपत्र द्वयोरपि | पत्रतारं चतुष्पञ्च रससप्ताष्ट भागतः || १८ नवांशांशेन वा प्रोक्तं घनं पत्रेषु वान्यथा | यवार्धं तु समारभ्य यवपाद विवर्धनात् || १९ अङ्गुलान्तप्रमाणं वा मध्यदेशे घनं भवेत् | मध्यपत्रस्य मध्यात्तु हीनं तत्पत्रपार्श्वकम् || २०

tadvan mūlāntaraṃ proktaṃ pārśvapatra dvayorapi | patratāraṃ catuṣpañca rasasaptāṣṭa bhāgataḥ || 18 navāṃśāṃśena vā proktaṃ ghanaṃ patreṣu vānyathā | yavārdhaṃ tu samārabhya yavapāda vivardhanāt || 19 aṅgulāntapramāṇaṃ vā madhyadeśe ghanaṃ bhavet | madhyapatrasya madhyāttu hīnaṃ tatpatrapārśvakam || 20

In the same way, the back side of the bottom sould be decorated with deigns and engravings and even the leaves on both sides of middle leaf should be designed uniformly. The length of the leaf may be 4,5,6,7, 8 or 9 parts. Thickness of the leaves may be from half-yava to one aṅgula, increasing the measure from half-yava each time by one-fourth of a yava-grain. Thickness at the middle of the central leaf should be gradually decreasing up to both sides of that leaf.

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21-23

मध्यपत्रस्य मूलेऽग्रे मध्ये पार्श्वद्वयोरपि | एकद्वित्रियवैर्वापि निर्गतं मुकुलं नयेत् || २१ पत्रयामं त्रिपञ्चांशं कृत्वैकद्वित्रिभागतः | पादायामस्तु मूले स्यात् तदर्धं पार्श्वपत्रयोः || २२ तदर्ध विस्तरस्तस्य पादो वा परिकीर्तितः | द्विगुणो मध्यपादस्य विस्तारः पार्श्वपादतः || २३

madhyapatrasya mūle'gre madhye pārśvadvayorapi | ekadvitriyavairvāpi nirgataṃ mukulaṃ nayet || 21 patrayāmaṃ tripañcāṃśaṃ kṛtvaikadvitribhāgataḥ | pādāyāmastu mūle syāt tadardhaṃ pārśvapatrayoḥ || 22 tadardha vistarastasya pādo vā parikīrtitaḥ | dviguṇo madhyapādasya vistāraḥ pārśvapādataḥ || 23

At the bottom, middle and tip of the middle leaf and in the same way in the side-leaves also, a bud-like design should be designed so as to be in projected state. This bud-like design may be with a measure of 1, 2 or 3 yava-grains. The length of the middle leaf should be divided into fifteen parts. The height of the base at the middle leaf may be held to be equal to 1 part, or 2 or 3 parts out of the 15 parts. Half of this height should be given to the base of the side-leaves. Half of this measure should be the breadth of the base of the middle leaf. The breadth of the base of the side-leaves should be twice the breadth of the base of the middle leaf.

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24-26

पत्राणां पादमूले तु कुर्याद्वा चित्रमण्डनम् | तस्याधः पालिका कार्या पत्रायामार्ध भागतः || २४ हीनावैकेन रुद्रांशी द्वित्रिभिर्वर्धिताथवा | पालिका विस्तृतिं भक्त्वा नवधैकेन वार्धतः || २५ पादेन वा त्रिपादेन घनं चाधो द्विपङ्कजम् | एकेन करणविस्तार इष्टांशेन मतो द्विजाः || २६

patrāṇāṃ pādamūle tu kuryādvā citramaṇḍanam | tasyādhaḥ pālikā kāryā patrāyāmārdha bhāgataḥ || 24 hīnāvaikena rudrāṃśī dvitribhirvardhitāthavā | pālikā vistṛtiṃ bhaktvā navadhaikena vārdhataḥ || 25 pādena vā tripādena ghanaṃ cādho dvipaṅkajam | ekena karaṇavistāra iṣṭāṃśena mato dvijāḥ || 26

Different kinds of decorative engravings should be made at the bottom of the base of the leaves. Below that base, a moulding known as ‘pālikā’ should be designed, its length being equal to half of the length of the middle leaf. Or, the height may be equal to one part out of eleven parts of that length. Or, the measure obtained in this way may be increased to be double or triple. Having divided the breadth of pālikā into nine equal parts, each part may be increased by half, one fourth or three-fourth. The measure obtained in this way should be given to the thickness of the pālikā. O, the twice-born sages!, below the pālikā, two lotus-like mouldings , the diameter of each lotus being one part of the nine parts or the diameter may be taken as desired by the sthapati.

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27-30

पालिकार्धो घटाकार उत्सेधस्स्यात् त्रिपादतः | तदर्धं च गलं प्राग्वत् कर्तव्यं मुनिपुङ्गवाः || २७ पादोनकुम्भ तारेण वार्धेनास्यं प्रकल्पितम् | घटवन्नाडिकामानं युगधा विभजेत्ततत् || २८ एकभागान्तरं कुर्यात् तत्प्रमाणेन हीरिका | हीरिकाधः प्रकर्तव्यो दण्डस्तु विधिना द्विजाः || २९ आस्यतार चतुर्भाग त्रिभागो दण्डविस्तरः | तदर्धं लोहदण्डश्चेद् यथाशोभांशतोऽथवा || ३०

pālikārdho ghaṭākāra utsedhassyāt tripādataḥ | tadardhaṃ ca galaṃ prāgvat kartavyaṃ munipuṅgavāḥ || 27 pādonakumbha tāreṇa vārdhenāsyaṃ prakalpitam | ghaṭavannāḍikāmānaṃ yugadhā vibhajettatat || 28 ekabhāgāntaraṃ kuryāt tatpramāṇena hīrikā | hīrikādhaḥ prakartavyo daṇḍastu vidhinā dvijāḥ || 29 āsyatāra caturbhāga tribhāgo daṇḍavistaraḥ | tadardhaṃ lohadaṇḍaśced yathāśobhāṃśato'thavā || 30

Bleow the pālikā, a moulding in the form of ‘ghaṭa’, its height being three-fourth of the height of pālikā, should be made. O, the Lords pf Sages!, the neck of the ghaṭa should be with the circumference equal to the half of its height. The mouth of the ghaṭa should be equal to three-fourth of half of its height. Below the ghaṭa, two nāḍis should be made, their height being equal to that of the ghaṭa, leaving a space of one part betweem them. With the same height, a moulding known as ‘hīrikā’ should be made. O, the twice-born sages!, below the hīrikā, daṇḍa should be designed in orderly way. The thickness of daṇḍa should be equal to one-fourth or three-fourth of its height. If the Trident is to be made with metal, thickness of the daṇḍa should be half of its height. Or, the thickness may be given in such a way that it presents a beautiful and elegant appearance.

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31-33

दण्डमूले तु पद्मं वा मध्यपत्रसमं तु वा | तदर्धं वान्तरेऽष्टांशे नवधा मानमेव वा || ३१ विस्तारस्तत्समं तूच्चं त्रिपादं वार्धमेव वा | पादं वान्तरमानं वा तदुच्चे दशधा कृते || ३२ पट्टिका त्रिभिर्द्वाभ्यां द्वाभ्यां वांशैः कुशेशयम् | वृत्तं वा चतुरश्रं वा द्विमिश्रं वा प्रकल्पयेत् || ३३

daṇḍamūle tu padmaṃ vā madhyapatrasamaṃ tu vā | tadardhaṃ vāntare'ṣṭāṃśe navadhā mānameva vā || 31 vistārastatsamaṃ tūccaṃ tripādaṃ vārdhameva vā | pādaṃ vāntaramānaṃ vā taducce daśadhā kṛte || 32 paṭṭikā tribhirdvābhyāṃ dvābhyāṃ vāṃśaiḥ kuśeśayam | vṛttaṃ vā caturaśraṃ vā dvimiśraṃ vā prakalpayet || 33

At the bottom of daṇḍa, a lotus-like moulding should be made, its measure being equal to that of the middle leaf, or equal to half of the height of the middle leaf; or its measure may be ascertained in nine different ways by dividing the height of the middle leaf into eight equal parts. Diameter of the lotus should be equal to the breadth of the middle leaf and its height should be equal to three-fourth, half or one-fourth of that breadth; or, its height may be ascertained by dividing the height of the middle leaf into ten equal parts and considering the intermediary measures available through these parts. Below the lotus, three mouldings known as paṭṭikā should be made, their height being equal to two parts obtained earlier. Based on the same parts, mouldings in the form of lotus, circle ,square and in the combined form of circle and square should be made.

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34-36

हीरिका सममानेन तस्योर्ध्वे पट्टिकाथवा | मध्यपत्रस्य मध्ये तु लिखेद्वाब्जं तु तन्मुखम् || ३४ अथवा मध्यपत्रस्य मूले वृषभ वाहनम् | पत्रोच्च नवभागैक द्वित्रिवेदशरोच्चकम् || ३५ देव्या समायुतं वाथ वृषभेण युतं न वा | देवान्तरं वा लोकेशान् अस्त्रान्वेष्टप्रमाणतः || ३६

hīrikā samamānena tasyordhve paṭṭikāthavā | madhyapatrasya madhye tu likhedvābjaṃ tu tanmukham || 34 athavā madhyapatrasya mūle vṛṣabha vāhanam | patrocca navabhāgaika dvitrivedaśaroccakam || 35 devyā samāyutaṃ vātha vṛṣabheṇa yutaṃ na vā | devāntaraṃ vā lokeśān astrānveṣṭapramāṇataḥ || 36

Or, paṭṭikā may be designed above the hīrikā, its measurements being equal to those of hīrikā. A lotus-like design should be engraved at the center of the middle leaf so as to appear as its face. Or, the Bull-vehicle may be engraved at the base of the middle leaf. The length of the middle leaf should be divided into nine equal parts and taking 1,2,3 or 4 parts as the height, the form of Devi may be designed at the base as associated or not associated with Bull-vehicle. Or, the forms of other Deities or those of Lokapālas and their weapons may be designed around the base according to the desired and compatible measurements.

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37-38

अथवा पालिकायास्तु विदिक्ष्वश्वत्थ पत्रवत् | माला चतुष्टयं कुर्यात् तद्विहीनं तु वा द्विजाः || ३७ टङ्कास्ययुक्तं दण्डाग्रं अथवा परिकल्पयेत् | पालिकोपरि कोणेषु कारयेद्वा वृषेश्वरम् || ३८

athavā pālikāyāstu vidikṣvaśvattha patravat | mālā catuṣṭayaṃ kuryāt tadvihīnaṃ tu vā dvijāḥ || 37 ṭaṅkāsyayuktaṃ daṇḍāgraṃ athavā parikalpayet | pālikopari koṇeṣu kārayedvā vṛṣeśvaram || 38

Or, a design in the form of aśvattha-leaf may be made in the four corner-directions above the pālikā. Designs of four garlands may be made around the pālikā or such designs may be left out. The top portion of the daṇḍa should be made so as to appear like the face of taṅka-weapon. In the four corner-directions above the pālikā, the form of Vṛuṣabheśvara may be designed.

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39-41

शैलजे मृण्मये शूले विशेषः कश्चिदुच्यते | मध्यपत्र समायामं त्रिपादोनार्धतोऽपि वा || ३९ पादेन मध्यमेऽष्टांशमानाद्वा दण्डविस्तरः | विस्तारोच्चसमं तद्वद्विस्तार सममेव वा || ४० यथा दण्डघनं प्रोक्तं पत्राणां वा घनं तथा | पादभूषणमण्ड्यादि पत्राधो वा प्रकल्पयेत् || ४१

śailaje mṛṇmaye śūle viśeṣaḥ kaściducyate | madhyapatra samāyāmaṃ tripādonārdhato'pi vā || 39 pādena madhyame'ṣṭāṃśamānādvā daṇḍavistaraḥ | vistāroccasamaṃ tadvadvistāra samameva vā || 40 yathā daṇḍaghanaṃ proktaṃ patrāṇāṃ vā ghanaṃ tathā | pādabhūṣaṇamaṇḍyādi patrādho vā prakalpayet || 41

In the making of Trident with stone or clay-mixture, there are some specific directions to be observed and they are told now. Thickness of daṇḍa should be equal to that of the middle leaf or equal to three-fourth, half, one-fourth or one-eighth of the thickness of the middle leaf. Or, both thickness and height may be taken to be equal to the breadth at the center of the middle leaf. With the thickness mentioned for the daṇḍa or for the leaf, decorative engravings and other such designs should be made at the base and below the middle leaf.

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42-44

चतुरश्र शिलायां तु शूलाकारं तु वा लिखेत् | त्रिशूलापरभागे तु वृषभं वा समालिखेत् || ४२ अथवा दण्डमानेन पूरुषं जटिलं तु वा | पूर्वभागे परे दण्डं तदूर्ध्वे शूलमाचरेत् || ४३ वृषाग्रे वृषपृष्ठे वा बलिपीठाग्र एव वा | सुदृढं स्थापयेच्छूलं तत्प्रतिष्ठा निगद्यते || ४४

caturaśra śilāyāṃ tu śūlākāraṃ tu vā likhet | triśūlāparabhāge tu vṛṣabhaṃ vā samālikhet || 42 athavā daṇḍamānena pūruṣaṃ jaṭilaṃ tu vā | pūrvabhāge pare daṇḍaṃ tadūrdhve śūlamācaret || 43 vṛṣāgre vṛṣapṛṣṭhe vā balipīṭhāgra eva vā | sudṛḍhaṃ sthāpayecchūlaṃ tatpratiṣṭhā nigadyate || 44

The form of Trident may be depicted over the surface of a stone whose form is rendered to be in perfect square. On left side of the Trident, the form of Bull may be depicted. Or, the form of Rudra adorned with matted hair may be drawn in the front side. On the right side of Rudra, a daṇḍa should be drawn and the Trident should be depicted above the daṇḍa. The Trident designed in this way may be installed in front of the Bull, on the rear side of the Bull or in front of the Bali-pīṭha. The installation should be done in such a way that the Trident stands there firmly and immovable. The process of ceremonial installation of the Trident is now told.

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45-47

तदर्थमाहरेद् वृक्षाञ्छूलार्थं ये प्रशंसिताः | प्रोक्त कालार्क्षवाराद्यं तद्वदेवाङ्कुरार्पणम् || ४५ संघातमष्टबन्धाद्यैः कुर्याद्दण्डेन बुद्धिमान् | पद्मसंघात मार्गेण चोर्ध्वाधः खण्डयोरपि || ४६ रत्नन्यासो न कर्तव्यस्तथा नयनमोक्षणम् | अचलस्थापनं चेत्तु रत्नन्यासं तु कारयेत् || ४७

tadarthamāhared vṛkṣāñchūlārthaṃ ye praśaṃsitāḥ | prokta kālārkṣavārādyaṃ tadvadevāṅkurārpaṇam || 45 saṃghātamaṣṭabandhādyaiḥ kuryāddaṇḍena buddhimān | padmasaṃghāta mārgeṇa cordhvādhaḥ khaṇḍayorapi || 46 ratnanyāso na kartavyastathā nayanamokṣaṇam | acalasthāpanaṃ cettu ratnanyāsaṃ tu kārayet || 47

In order to make the wooden Trident, the Guru should select poroper timber from the sacrificial trees recommended for making the vehicles and weapons and the Trident should be perfectly designed. For the proper installation, the Guru should fix an auspicious time defined by the lunar mansion, day and such other factors and commence the process with the ritual known as ‘aṅkurārpaṇa’(offering of fresh sprouts). The learned Guru should prepare the specific bond known as aṣṭa-bandhana( mixture of eight ingredients) by pounding with the pestle, mixing of the pieces in the way prescribed for the mixing of different dhātus and such other deeds. Ratna-nyāsa and ‘nayanonmīlana’ need not be done for the Trident. If the Trident is to be installed so as to be immovable, then ‘nayanonmīlana’ should be done for the Deities designed in and around the daṇḍa of the Trident.

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48-50

विद्यते प्रतिमाद्यं चेत् तस्य दृङ्मोक्षणं नयेत् | शुद्धिं कृत्वा मृदाद्यैस्तु पुरादीनां प्रदक्षिणम् || ४८ जलाधिवासनं कृत्वा ततो मण्टपमाश्रयेत् | पूर्वोक्तमानं भूतैक ग्रहकुण्डसमन्वितम् || ४९ संत्यक्त तक्षकोपेतं विप्रभुक्त्या च पावनम् | वास्तुहोम समायुक्तं वेद्यां स्थण्डिल संयुतम् || ५० शयनेनापि संयुक्तं पञ्चकेनाण्डजादिना

vidyate pratimādyaṃ cet tasya dṛṅmokṣaṇaṃ nayet | śuddhiṃ kṛtvā mṛdādyaistu purādīnāṃ pradakṣiṇam || 48 jalādhivāsanaṃ kṛtvā tato maṇṭapamāśrayet | pūrvoktamānaṃ bhūtaika grahakuṇḍasamanvitam || 49 saṃtyakta takṣakopetaṃ viprabhuktyā ca pāvanam | vāstuhoma samāyuktaṃ vedyāṃ sthaṇḍila saṃyutam || 50 śayanenāpi saṃyuktaṃ pañcakenāṇḍajādinā

If various forms of Deities are designed in the Trident, then nayanonmīlana should be done for each Deity. Having purified the Trident with clay and other substances, the Guru should take it in procession around the village and then keep it immersed in the river or tank-water. Then he should bring it back to the sacrificial pavilion constructed according to the measurements detailed before and provided with nine or five fire-pits or with only one fire-pit. Having sent off the sthapati with due honors , the Guru should arrange for the feeding of the learned brahmins and perform the vāstu-homa for the sake of purity of the pavilion associated with altars, sthaṇḍilas and couch made with five kinds of soft materials such as feathers of birds and other things.

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51-53

ततो बिम्बं समानीय स्नापयेत्पूर्व वर्त्मना || ५१ कौतुकं बन्धयेत् पश्चात् पद्मपत्रेषु वा त्रिषु | बेरे च वृषभे चैव बन्धयेत् कौतुकं गुरुः || ५२ शयने शाययेत् पश्चात् प्राक्शिरश्चोर्ध्व वक्त्रकम् | आच्छाद्य श्वेतरक्ताभ्यां वासोभ्यां अस्त्रमुच्चरन् || ५३

tato bimbaṃ samānīya snāpayetpūrva vartmanā || 51 kautukaṃ bandhayet paścāt padmapatreṣu vā triṣu | bere ca vṛṣabhe caiva bandhayet kautukaṃ guruḥ || 52 śayane śāyayet paścāt prākśiraścordhva vaktrakam | ācchādya śvetaraktābhyāṃ vāsobhyāṃ astramuccaran || 53

Then, having brought the image of the Trident inside the shrine, the Guru should bathe it according to the directions given earlier. He should tie up the protective thread over the lotus-design or over three leaves and also over the Bull. Then he should place the image over the couch to be in recumbent posture in such a way that its head is on the east and facing above. Reciting the astra-mantra, he should cover the image with white cloth and red cloth.

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54-56

त्रिशूलस्य शिरोदेशे वस्त्रहेमकजान्वितम् | शिवास्त्रं संयजेत्तत्र चतुर्बाह्विन्दुभूषितम् || ५४ चतुर्वक्त्रं ज्वलत्केशं त्रिणेत्र परिमण्डितम् | स्वास्ये दंष्ट्रान्वितं शक्तिशूलाभयवरान्वितम् || ५५ विद्युत्पुञ्जनिभं भीमं अशनिध्वनिसंयुतम् | द्विरष्टवर्षेणोपेतं सुभासं स्वस्तिकान्वितम् || ५६

triśūlasya śirodeśe vastrahemakajānvitam | śivāstraṃ saṃyajettatra caturbāhvindubhūṣitam || 54 caturvaktraṃ jvalatkeśaṃ triṇetra parimaṇḍitam | svāsye daṃṣṭrānvitaṃ śaktiśūlābhayavarānvitam || 55 vidyutpuñjanibhaṃ bhīmaṃ aśanidhvanisaṃyutam | dviraṣṭavarṣeṇopetaṃ subhāsaṃ svastikānvitam || 56

On the head side of the Trident, he should place śivāstra-kumbha covered with cloth and deposited with lotus-flower made of gold. He should worship Śivāstra meditating on the form of Śivāstra. The form of Śivāstra appears with four arms; head adorned with crescent; appears with four faces beautified with three eyes; with matted hair blazing like the flames of fire, with mouth associated with protruding teeth; with the hands holding śakti-weapon, trident, abhaya-mudra and varada-mudra; appears with excessive brightness of thick bunches of lightning; appears dreadful, roaring like the thunder. He is ever at the age of sixteen. Being with great effulgence, He is placing His feet to be in svastika-posture.

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57-59

यद्यस्ति प्रतिमा शर्वे शिवकुम्भं च वर्धनीम् | वृषो यद्यस्ति तत्कुम्भं तेषु तानर्चयेत्क्रमात् || ५७ वज्रादीन् वसुकुम्भेषु परितः संस्थितेषु च | तत्त्वतत्त्वेश्वरोपेतं मूर्तिमूर्तीश्वरान्न्यसेत् || ५८ पूर्ववत् प्रतिमायां च वृषे च गुरुपुङ्गवाः | दण्डमध्याग्रपत्रान्तं तत्त्वतत्त्वेश्वरान्न्यसेत् || ५९

yadyasti pratimā śarve śivakumbhaṃ ca vardhanīm | vṛṣo yadyasti tatkumbhaṃ teṣu tānarcayetkramāt || 57 vajrādīn vasukumbheṣu paritaḥ saṃsthiteṣu ca | tattvatattveśvaropetaṃ mūrtimūrtīśvarānnyaset || 58 pūrvavat pratimāyāṃ ca vṛṣe ca gurupuṅgavāḥ | daṇḍamadhyāgrapatrāntaṃ tattvatattveśvarānnyaset || 59

If the Trident is provided with the form Śiva and Śakti, then he should place śiva-kumbha and vardhani-kalaśa. If it is with Bull, then he should place a kumbha for the Bull also. Having arranged kumbhas, he should worship them in the due order. In the eight kalaśas arranged around the śiva-kumbha and vardhani, he should invoke eight weapons – vajra and others - and worship them. By means of nyāsa, he should unify the Tattvas, Tattveśvaras, Mūrtis and Mūrtīśvaras with the forms of Śiva, Śakti and Vṛuṣabha. O, the foremost and celebrated Gurus!, the Guru should do the nyasa of Tattvas and Tattveśvaras on the middle of the daṇḍa and on the leaf at the top.

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60-64

शूलस्य मूर्तयः प्राग्वद् वज्राद्या मूर्तिपा मताः | न्यस्त्वैवं मूर्तिमूर्तीशान् शिवास्त्रं विन्यसेद्गुरुः || ६० ततस्तद्व्यापकत्वेन सर्वान्देवमनून्न्यसेत् | मध्यपत्रे न्यसेद्रुद्रं ब्रह्माणं दक्षपत्रके || ६१ वामे विष्णुं समावाह्य पालिकायां तु पार्वतीम् | षण्मुखं कुम्भदेशे तु कुम्भस्यास्ये विनायकम् || ६२ दण्डस्याग्रे तु शास्तारं आदित्यान् दण्डमध्यमे | तन्मूले चण्डराजं च लक्ष्मीं पूर्वदळाग्रके || ६३ दक्षिणे मातरस्सप्त ज्येष्टां पश्चिमदिग्दले | दुर्गां वै सौम्यदेशे तु रुद्रानर्कान्वसूनपि || ६४ दण्डमूलेऽश्विनौ चैव अष्टादशगणांस्तथा |

śūlasya mūrtayaḥ prāgvad vajrādyā mūrtipā matāḥ | nyastvaivaṃ mūrtimūrtīśān śivāstraṃ vinyasedguruḥ || 60 tatastadvyāpakatvena sarvāndevamanūnnyaset | madhyapatre nyasedrudraṃ brahmāṇaṃ dakṣapatrake || 61 vāme viṣṇuṃ samāvāhya pālikāyāṃ tu pārvatīm | ṣaṇmukhaṃ kumbhadeśe tu kumbhasyāsye vināyakam || 62 daṇḍasyāgre tu śāstāraṃ ādityān daṇḍamadhyame | tanmūle caṇḍarājaṃ ca lakṣmīṃ pūrvadaḷāgrake || 63 dakṣiṇe mātarassapta jyeṣṭāṃ paścimadigdale | durgāṃ vai saumyadeśe tu rudrānarkānvasūnapi || 64 daṇḍamūle'śvinau caiva aṣṭādaśagaṇāṃstathā |

The Mūrtis pertaining to the Trident are as told before. Vajra and other weapons are the Mūrtīśvaras of the Trident. Having identified the Mūrtis and Mūtīśvaras with the Trident in this way, the Guru should identify all the Deities with various parts of the Trident, reciting the mantra pertaining to each Deity and meditating on the pervasiveness of these Deities. He should invoke Rudra and unify Him with the middle leaf; Brahma with the leaf on the right side; Viṣṇu with the leaf on the left side; Pārvatī with the pālikā; Ṣaṇmukha with the body of the kumbha; Vināyaka with the mouth of the kumbha; Śāstṛu with the top of the daṇḍa; Ādityas with the middle portion of the daṇḍa; Caṇḍeśvara with the base of the daṇḍa; Lakṣmi with the east petal of the lotus; Seven Mātṛus with the south petal; Jyeṣṭā with the west petal; Durga with the north petal; 8 Vasus, 11 Rudras, 12 Ādityas, Aśvinī Devas and 18 Gaṇas – all of these Lords with the base of the daṇḍa.

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65-68

होमं कुर्यात्तदन्ते तु कृत्वा कुण्डाग्नि संस्कृतिम् || ६५ समिदाज्यान्न लाजैश्च तिलसस्येन्द्र संयुतम् | पलाशोदुम्बराश्वत्थ वटाः प्रागादि दिक्षु च || ६६ पलाशस्त्वन्यकुण्डेषु स च सर्वत्र वा मतः | प्रधाने तर्पयेद्धीमान् शिवं साङ्गं गुरूत्तमः || ६७ पूर्वस्मिन् पार्वतीं दक्षे ब्रह्माणं विष्णुमुत्तरे | सेनानीं पश्चिमे कुण्डे रवीनग्निदिशौ स्थितौ || ६८

homaṃ kuryāttadante tu kṛtvā kuṇḍāgni saṃskṛtim || 65 samidājyānna lājaiśca tilasasyendra saṃyutam | palāśodumbarāśvattha vaṭāḥ prāgādi dikṣu ca || 66 palāśastvanyakuṇḍeṣu sa ca sarvatra vā mataḥ | pradhāne tarpayeddhīmān śivaṃ sāṅgaṃ gurūttamaḥ || 67 pūrvasmin pārvatīṃ dakṣe brahmāṇaṃ viṣṇumuttare | senānīṃ paścime kuṇḍe ravīnagnidiśau sthitau || 68

At the end, having performed all the sacramental rituals to the fire-pits, the Guru should perform the fire-ritual. He should offer the oblations with faggots, clarified –butter,cooked and consecrated rice, parched paddy-grains, sesame and white mustard. The faggots got from the palāśa, udumbara, aśvattha and vaṭa trees should be offered in the fire-pits designed in the main directions starting from the east. The faggots of palāśa should be offered into the fire-pits in other directions. The wise Guru should delight Śiva and His retinue Lords with the oblations offered in the main fire-pit. He should offer oblations for Parvati, into the fire-pit designed in the east; for Brahma, into the south fire-pit; for Viṣṇu, into the north fire-pit; for Ṣaṇmukha, into the fire-pit designed in the west; for the Ādityas, into the south-east fire-pit.

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69-71

विघ्नेशं नैरृते वायौ मदनं चण्डरुद्रकम् | ईशान कुण्डे पूर्वस्मिन् लक्ष्मीं दक्षे तु मातरः || ६९ ज्येष्टां तु पश्चिमे कुण्डे दुर्गां उत्तरतो दिशि | तद्दिङ्मूर्त्यादि संयुक्तं पूर्वसंख्या समन्वितम् || ७० रुद्रार्कवसवोऽश्विन्यौ अष्टादश गणा अपि | एकैकाहुति दानेन तर्प्याः कुण्डे प्रधानके || ७१

vighneśaṃ nairṛte vāyau madanaṃ caṇḍarudrakam | īśāna kuṇḍe pūrvasmin lakṣmīṃ dakṣe tu mātaraḥ || 69 jyeṣṭāṃ tu paścime kuṇḍe durgāṃ uttarato diśi | taddiṅmūrtyādi saṃyuktaṃ pūrvasaṃkhyā samanvitam || 70 rudrārkavasavo'śvinyau aṣṭādaśa gaṇā api | ekaikāhuti dānena tarpyāḥ kuṇḍe pradhānake || 71

He should offer oblations for Vighneśa into the fire-pit in the south-west; for Madana into the fire-pit in the north-west; for Caṇḍarudra, into the fire-pit in the north-east; for Lakṣmī, into the fire-pit in the east; for the Mātṛus, into the fire-pit in the south; for Jyeṣṭā, into the fire-pit in the west; for Durga, into the fire-pit in the north. Oblations should be offered to these Deities and Śaktis along with the Lokapāla of each direction. The number of oblations to be offered is as told before. Rudras, Ādityas, Vasus, Aśvini-devas and eighteen Gaṇas should be delighted by means of one oblation for each into the main fire-pit.

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72-73

वृषारूढादि देवांश्च पूर्ववत् तर्पयेद्गुरुः | वज्रादीन् पङ्कजे सर्वान् देवान् प्राग्वन्निवेशयेत् || ७२ तत्तत्कुम्भजलैश्चैव स्नापयेच्छूलमादरात् | स्नपनं भूरि नैवेद्यं उत्सवं कारयेच्चले || ७३

vṛṣārūḍhādi devāṃśca pūrvavat tarpayedguruḥ | vajrādīn paṅkaje sarvān devān prāgvanniveśayet || 72 tattatkumbhajalaiścaiva snāpayecchūlamādarāt | snapanaṃ bhūri naivedyaṃ utsavaṃ kārayeccale || 73

The Guru should offer oblations for Vṛuṣārūḍha and other forms of Śiva as done before. He should identify Vajra and others and all the Devas with lotus design of the Trident as told before. The Guru should perform the ablution for the Trident with the consecrated water of the kalaśas pertaining to each Deity. For the movable Trident, the Guru should perform snapana-abhiṣeka and offer naivedya abundantly and perform the festival related to the installation.

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74-75

अनुक्तमत्र संग्राह्यं सामान्यस्थापनोदितम् | त्रिशूलस्थापनं ह्येवं कुर्याद्यो नरसत्तमः || ७४ भुक्त्वा भोगानिहैवान्ते मोक्षं चैव समाप्नुयात् || ७५

anuktamatra saṃgrāhyaṃ sāmānyasthāpanoditam | triśūlasthāpanaṃ hyevaṃ kuryādyo narasattamaḥ || 74 bhuktvā bhogānihaivānte mokṣaṃ caiva samāpnuyāt || 75

All those details which have not been explicitly told here should be known from the chapter dealing with common installation. The foremost devotee who is instrumental for the installation of the Trident in this way would experience all the worldly enjoyments here in this world and attain the final liberation at the cessation of his worldly life.

79 Directions for the Installation of Royal Throne

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1-2

सिंहासन विधिं वक्ष्ये श्रूयतां द्विजसत्तमाः | देवादीनां नृपादीनां मर्त्यानां च महात्मनाम् || १ देवाद्याः शिवपूर्वास्स्युः नृपाद्या बहवो मताः | चक्रवर्ती भवेदाद्यस्त्वतिराजो द्वितीयकः || २ तृतीयः स्यान्नरेन्द्रस्तु तेषां लक्षणं उच्यते

siṃhāsana vidhiṃ vakṣye śrūyatāṃ dvijasattamāḥ | devādīnāṃ nṛpādīnāṃ martyānāṃ ca mahātmanām || 1 devādyāḥ śivapūrvāssyuḥ nṛpādyā bahavo matāḥ | cakravartī bhavedādyastvatirājo dvitīyakaḥ || 2 tṛtīyaḥ syānnarendrastu teṣāṃ lakṣaṇaṃ ucyate

O, the celebrated twice-born Sages !, now I will instruct the dirctions related to the installation of royal throne(simhāsana, ). Listen to these instructions. The royal throne is recommended for the Deities and other Devas, Kings and others who are on par with them and the human beings who are with greatness and celebrity. Śiva and other Gods belog to the group of Devas. Kings are categorized in many ways. The first one is known as Cakravartī; the second one is known as Atirāja; the third one is known as Narendra. Their significant and characteristic position is now explained.

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3-5

चतुःसमुद्र पर्यन्तं पृथ्वी यः परिपालयेत् || ३ चक्रवर्ती समाख्यातः सप्तराज्यं प्रपालयेत् | अधिराजस्समाख्यातः त्रिराज्यं यस्तु पालयेत् || ४ नरेन्द्रः स तु विज्ञेयस्त्वन्येऽपि बहवो मताः | पार्ष्णेयप्रमुखास्तेषां आसनानि बहून्यपि || ५

catuḥsamudra paryantaṃ pṛthvī yaḥ paripālayet || 3 cakravartī samākhyātaḥ saptarājyaṃ prapālayet | adhirājassamākhyātaḥ trirājyaṃ yastu pālayet || 4 narendraḥ sa tu vijñeyastvanye'pi bahavo matāḥ | pārṣṇeyapramukhāsteṣāṃ āsanāni bahūnyapi || 5

The one who rules over and protects well the entire stretch of land surrounded by all the four great oceans is specifically called Cakravartī; the one who rules over seven states is specifically called Atirāja; the one who rules over and protects three states is specifically called Narendra. In this way there are many other kinds of rulers such as Pārṣṇeya and other specific and important rulers. Their thrones are also of many varieties.

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6-7

द्वारोत्सेधः त्रिभागेन उत्तमं हीनमर्धतः | द्व्यन्तरं त्वष्टधा कृत्वा नवोत्सेधाः प्रकीर्तिताः || ६ द्वारोदयसमं वाष्ट नवभागेनमेव वा | नरेन्द्र सदृशं तस्य बाहूरुनाभिदध्नजम् || ७ प्रदेशमानं एतत् स्यान् नृपाणामेव कीर्तितम् |

dvārotsedhaḥ tribhāgena uttamaṃ hīnamardhataḥ | dvyantaraṃ tvaṣṭadhā kṛtvā navotsedhāḥ prakīrtitāḥ || 6 dvārodayasamaṃ vāṣṭa navabhāgenameva vā | narendra sadṛśaṃ tasya bāhūrunābhidadhnajam || 7 pradeśamānaṃ etat syān nṛpāṇāmeva kīrtitam |

The height of the throne is of foremost type if it is equal to one-third of the height of entrance of the royal assembly hall. Its height equal to half the height of the entrance is considered to be the lowest. If the difference between the foremost and the lowest height is divided into eight equal parts, nine different heights may be obtained. Or, the nine different heights may be obtained by dividing the height of the entrance into eight equal parts, if this height is held to be the height of the throne. For the Narendras, the height of the throne may be held to be equal to the height between his foot and shoulders, thighs, navel or the mid-point between his breasts. For all other kings, the height of the throne is to be held as equal to the height between the foot and the hip.

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8-10

तिथ्यङ्गुलं समारभ्य द्विद्व्यङ्गुल विवर्धनात् || ८ पञ्चपञ्चाशदंशान्तं तुङ्गानि कथितानि तु | उत्सेध सदृशो वाथ त्रिपादोऽर्धस्तु वा मतः || ९ विस्तारो द्व्यन्तरं कृत्वा चतुर्धा नवमानकम् | हीनानां हीनमानं स्यात् श्रेष्ठानां सर्वमिष्यते || १०

tithyaṅgulaṃ samārabhya dvidvyaṅgula vivardhanāt || 8 pañcapañcāśadaṃśāntaṃ tuṅgāni kathitāni tu | utsedha sadṛśo vātha tripādo'rdhastu vā mataḥ || 9 vistāro dvyantaraṃ kṛtvā caturdhā navamānakam | hīnānāṃ hīnamānaṃ syāt śreṣṭhānāṃ sarvamiṣyate || 10

Starting from 15 aṅgulas and increasing by 2 aṅgulas gradually so as to reach the maximum measure of 55 aṅgulas, the width of the throne should be decided. Taking one of these measures obtained in this way, the width of the throne may be held to be equal to that selected measure. Or, either one-third of this measure or half of that may be held as the width of the throne. Then, the difference between the full width and its one-third should be divided into four equal parts and that between the full width and its half should be divided into four equal parts. Thus, nine different measures for the width could be obtained. For the Rulers who are in lower rank, the lower measures should be applied and for those who are in the superior rank, the greater measures should be applied.

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11-13

चतुरश्रायताश्रं वा सिंहपीठं विधीयताम् | चतुरश्रं समं वृत्तं द्युसदां चक्रवर्तिनाम् || ११ अष्टांशं समारभ्य तद्वृद्ध्या द्विगुणादिकम् | सिंहासनायतं कुर्यात् अङ्गुलैर्वाथ कारयेत् || १२ अङ्गुलद्वयमारभ्य द्विद्व्यङ्गुल विवर्धनात् | द्विगुणान्तं विधेयं स्यात् आयामेऽप्येवमीरितम् || १३

caturaśrāyatāśraṃ vā siṃhapīṭhaṃ vidhīyatām | caturaśraṃ samaṃ vṛttaṃ dyusadāṃ cakravartinām || 11 aṣṭāṃśaṃ samārabhya tadvṛddhyā dviguṇādikam | siṃhāsanāyataṃ kuryāt aṅgulairvātha kārayet || 12 aṅguladvayamārabhya dvidvyaṅgula vivardhanāt | dviguṇāntaṃ vidheyaṃ syāt āyāme'pyevamīritam || 13

The seat of the lion-throne may be in the shape of square or rectangular. For the Devasand the Chakravartis, the seat may be in the shape of perfect square or circle. Increasing the witdth by one part out of eight parts of the side each time so as to reach the measure equal to twice the width, the length of the seat may be decided. Or the increase may be in terms of aṅgulas. Starting from two aṅgulas and increasing by two aṅgulas each time so as to reach the maximum of twice the measure of the width, the length of the seat may be decided.Thus the process of ascertaining the length has been told.

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14-16

पादबाह्यं तु देवानां तन्मध्ये चक्रवर्तिनाम् | अन्येषामपि सर्वेषां पादान्तं मानमिष्यते || १४ सर्वं सर्वेषु वा ग्राह्यं पादविस्तार उच्यते | सार्धाङ्गुलं समारभ्य वर्धयेदर्धमात्रतः || १५ पञ्चाङ्गुलान्तं तद्भित्तेः पादवेदांश निर्गताम् | यथाबलं यथा शोभं भित्तिस्तत्र विधीयताम् || १६

pādabāhyaṃ tu devānāṃ tanmadhye cakravartinām | anyeṣāmapi sarveṣāṃ pādāntaṃ mānamiṣyate || 14 sarvaṃ sarveṣu vā grāhyaṃ pādavistāra ucyate | sārdhāṅgulaṃ samārabhya vardhayedardhamātrataḥ || 15 pañcāṅgulāntaṃ tadbhitteḥ pādavedāṃśa nirgatām | yathābalaṃ yathā śobhaṃ bhittistatra vidhīyatām || 16

For the thrones meant for the Devas, the length between the two legs should be measured from the exterior of the two legs;for the Cakravartins, it should be measured from the middle of the legs; for all others, it should be measured from the interior side of the legs. Or, all these three measurements could be applied for all. Now the breadth of the legs is explained. Starting from one and a half aṅgula and increasing by half aṅgula each time, the breadth may be up to five aṅgulas.The projection of bhitti at the base of the leg should be one-fourth of the thickness of the leg. The bhitti should be designed so as to be with beauty and elegance.(bhitti-projected surface of the bottom part of the leg)

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17-20

एकत्रिपञ्चमुनयो विस्तारे भक्तयो मताः | दैर्घ्यैर्नवाधिकाः प्रोक्ताः पूर्वोक्ता भक्तयो द्विजाः || १७ पादानामन्तरे पादा भवेयुरुपपीठके | पादे पादान्तरेऽन्यत्र सिंहरूपाणि कारयेत् || १८ मकरैर्नक्रकैः पत्रैर्नानाचित्रैर्विचित्रयेत् | सिंहासनत्रिभागेन चतुर्भागेन वा त्वधः || १९ एकद्वित्रिचतुर्मात्रैर्विस्तारादधिकं ततः | उपपीठं विधेयं स्यात्तद्रूपं इह कथ्यते || २०

ekatripañcamunayo vistāre bhaktayo matāḥ | dairghyairnavādhikāḥ proktāḥ pūrvoktā bhaktayo dvijāḥ || 17 pādānāmantare pādā bhaveyurupapīṭhake | pāde pādāntare'nyatra siṃharūpāṇi kārayet || 18 makarairnakrakaiḥ patrairnānācitrairvicitrayet | siṃhāsanatribhāgena caturbhāgena vā tvadhaḥ || 19 ekadvitricaturmātrairvistārādadhikaṃ tataḥ | upapīṭhaṃ vidheyaṃ syāttadrūpaṃ iha kathyate || 20

With the divisions mentioned before, one, three, five, seven or nine units of the basic aṅgula may be added to increase the width. The legs of upapīṭha should be formed so as to be within the limits of the legs of the throne. The corner legs and the legs in between them should be designed so as to be like the legs of lion. They should be beautified with various kinds of carvings such as makaras and nakrakas(crocodiles), leaves and others. The upapīṭha should be designed below in such a way that its height is in excess of one, two, three or four matras of one-third or one-fourth of the width. The features of the form of upapīṭha are now told.

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21-22

स्थावरं जङ्गमं चैव द्विविधं तदुदाहृतम् | मृत्पाषाणकुजैर्दन्तैर्लोहैर्वा सुधयाथवा || २१ शैलं नेष्टं नराणां स्यात् सर्वं देवेषु योग्यकम् | दन्तवृक्षकृतं यच्च स्वर्णरत्नैर्विचित्रितम् || २२

sthāvaraṃ jaṅgamaṃ caiva dvividhaṃ tadudāhṛtam | mṛtpāṣāṇakujairdantairlohairvā sudhayāthavā || 21 śailaṃ neṣṭaṃ narāṇāṃ syāt sarvaṃ deveṣu yogyakam | dantavṛkṣakṛtaṃ yacca svarṇaratnairvicitritam || 22

The materials suitable for the making of thrones are of two kinds – those got from the non-moving existents and those got from the moving existents. The thrones may be made of earth, stone, trees, ivory,metals or stucco. Those made of stones are not recommended for the humans. For the Devas, those made of all these materials mentioned here are suitable.The thrones made of ivory and wood should be beautified with carvings and depictions designed with gold and gems.

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23-26

राज्ञां सिंहासनं श्रेष्ठं तल्लक्षणमिहोच्यते | त्रिनवांशे तदुत्सेधे क्षेपणं पङ्कजं गळम् || २३ वेत्रं गळं च पद्मं च कुमुदं पट्टपट्टिके | वेत्रं कर्णं च वेत्रं च कम्पं पत्रं कपोतकम् || २४ वेत्रं कर्णं च निद्रा च मसूराधार पट्टिका | सप्तैकार्धांशकार्धैर्वा व्योमवेदांशकार्धतः || २५ अर्धाशार्धार्धपादैश्च अर्धार्धार्धैश्च सार्धकैः | अर्धेनैकोनविंशांशं भद्रकं परिकीर्तितम् || २६

rājñāṃ siṃhāsanaṃ śreṣṭhaṃ tallakṣaṇamihocyate | trinavāṃśe tadutsedhe kṣepaṇaṃ paṅkajaṃ gaḷam || 23 vetraṃ gaḷaṃ ca padmaṃ ca kumudaṃ paṭṭapaṭṭike | vetraṃ karṇaṃ ca vetraṃ ca kampaṃ patraṃ kapotakam || 24 vetraṃ karṇaṃ ca nidrā ca masūrādhāra paṭṭikā | saptaikārdhāṃśakārdhairvā vyomavedāṃśakārdhataḥ || 25 ardhāśārdhārdhapādaiśca ardhārdhārdhaiśca sārdhakaiḥ | ardhenaikonaviṃśāṃśaṃ bhadrakaṃ parikīrtitam || 26

The lion-throne is stated to be the excellent one for the king. Its features and lineaments are told here. Out of 27 divisions of the height of the throne, the following parts should be designed: projection(kshepaṇa), cyma(paṅkaja)), neck(kaṇṭha), cane-like band(vetra), neck(gala), cyma(padma), torus(kumuda), flat-fillet(paṭṭa-paṭṭikā), cane-like band(vetra), cornice(karṇa), cane-like band(vetra), fillet(kampa), leaf(patra), pigeon(kapota), cane-like band(vetra), cornice(karṇa), drift(nidrā), fillet(masūra) and base-band(ādhāra paṭṭikā). The proportionate measurents in terms of aṅgulas for these are: seven, one, half, one, half, one, four, half, half, one and a half, half, one-fourth, half, half, half, one and a half, half. Such type of throne is called Bhadraka.

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27-30

त्रिंशदंशे तदुत्सेधे वेदार्धे द्वन्द्वसार्धके | सार्धार्धांश विभागार्धैः एकार्धाष्टांश सार्धकैः || २७ अर्धार्धद्व्यर्धकार्धैश्च व्योमार्धैरनुपूर्वशः | पद्मं कम्पं च कर्णं च कम्पं पद्मं च वाजनम् || २८ पद्मं कम्पं च कर्णं च कण्ठं निद्रा च पट्टिका || अङ्घ्रिरुत्तरपट्टी च निद्रा पद्मं कपोतकम् || २९ आलिङ्गान्तरिते चैव प्रतिवाजनमूर्ध्वतः | एतत्सौम्यं समाख्यातं त्रिसप्ताङ्गैस्समायुतम् || ३०

triṃśadaṃśe tadutsedhe vedārdhe dvandvasārdhake | sārdhārdhāṃśa vibhāgārdhaiḥ ekārdhāṣṭāṃśa sārdhakaiḥ || 27 ardhārdhadvyardhakārdhaiśca vyomārdhairanupūrvaśaḥ | padmaṃ kampaṃ ca karṇaṃ ca kampaṃ padmaṃ ca vājanam || 28 padmaṃ kampaṃ ca karṇaṃ ca kaṇṭhaṃ nidrā ca paṭṭikā || aṅghriruttarapaṭṭī ca nidrā padmaṃ kapotakam || 29 āliṅgāntarite caiva prativājanamūrdhvataḥ | etatsaumyaṃ samākhyātaṃ trisaptāṅgaissamāyutam || 30

When the height is conceived to be with thirty divisions, it should be portioned in the following way: four, half, one and a half, one and a half, one and a half, half, half, one, half, eight, one and a half, half, half, half, half, half, one and half. According to these proportionate measurements, the following parts(of the legs of the throne) should be designed: padma, kampa, karṇa, kampa, padma, vājana, padma, kampa, karṇa, kaṇṭha, nidrā, paṭṭikā, aṅghri, uttara paṭṭikā, nidrā, padma, kapota, āliṅga, antarita and prati-vājana. This type of throne is called Saumya associated with 21 parts.

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31-33

एतदेव मुखे पृष्ठे सौभद्रं भद्रसंयुतम् | पार्श्वयोर्भद्रयुग्मं चेच्छ्रीवहं परिकीर्तितम् || ३१ पञ्चानां असनानां तु वीजिः पृष्ठे विधीयताम् | आसनव्यासतुङ्गाढ्या मसूराधार वेशिनी || ३२ यथेष्टोन्नत विस्तारा विधेया वा द्विजोत्तमाः | तद्विस्तार विभागेन मध्ये मकर तोरणम् || ३३

etadeva mukhe pṛṣṭhe saubhadraṃ bhadrasaṃyutam | pārśvayorbhadrayugmaṃ cecchrīvahaṃ parikīrtitam || 31 pañcānāṃ asanānāṃ tu vījiḥ pṛṣṭhe vidhīyatām | āsanavyāsatuṅgāḍhyā masūrādhāra veśinī || 32 yatheṣṭonnata vistārā vidheyā vā dvijottamāḥ | tadvistāra vibhāgena madhye makara toraṇam || 33

If this type of throne is associated with projection(bhadraka) in its front and back, it is called Saubhadram. If it is associated with projection in its left side and right side, it is called Śrīvaham. For all these five kinds of thrones, a specific part known as vīji should be designed at its back side. O, the foremost twice-born sages!, both along the width and height masūra, ādhāra-paṭṭikā and veśinī should be designed , their width and height to be with the desired measurements. In the middle of the width, makara-toraṇa should be designed according to the proportionate divisions made along the width.

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34-36

If थिस् त्य्पे ओf थ्रोने इस् अस्सोचिअतेद् wइथ् प्रोजेच्तिओन्(भद्रक) इन् इत्स् fरोन्त् अन्द् बच्क्, इत् इस् चल्लेद् Sऔभद्रम्. If इत् इस् अस्सोचिअतेद् wइथ् प्रोजेच्तिओन् इन् इत्स् लेfत् सिदे अन्द् रिघ्त् सिदे, इत् इस् चल्लेद् Śरीवहम्. Fओर् अल्ल् थेसे fइवे किन्द्स् ओf थ्रोनेस्, अ स्पेचिfइच् पर्त् क्नोwन् अस् वीजि स्होउल्द् बे देसिग्नेद् अत् इत्स् बच्क् सिदे. O, थे fओरेमोस्त् त्wइचे-बोर्न् सगेस्!, बोथ् अलोन्ग् थे wइद्थ् अन्द् हेइघ्त् मसूर, आधार-पट्टिका अन्द् वेशिनी स्होउल्द् बे देसिग्नेद् , थेइर् wइद्थ् अन्द् हेइघ्त् तो बे wइथ् थे देसिरेद् मेअसुरेमेन्त्स्. Iन् थे मिद्द्ले ओf थे wइद्थ्, मकर-तोरण स्होउल्द् बे देसिग्नेद् अच्चोर्दिन्ग् तो थे प्रोपोर्तिओनते दिविसिओन्स् मदे अलोन्ग् थे wइद्थ्.

If this type of throne is associated with projection(bhadraka) in its front and back, it is called Saubhadram. If it is associated with projection in its left side and right side, it is called Śrīvaham. For all these five kinds of thrones, a specific part known as vīji should be designed at its back side. O, the foremost twice-born sages!, both along the width and height masūra, ādhāra-paṭṭikā and veśinī should be designed , their width and height to be with the desired measurements. In the middle of the width, makara-toraṇa should be designed according to the proportionate divisions made along the width.

A design depicting a shower of lotus flowers should be made in the middle of the arch (toraṇa). The two ends of the toraṇa should be shown with projection beautified with the band associated with the carving of a crocodile. They should be shown as resting on the head of serpent placed above the muṣṭi-bandha design. O, the twice-born sages!, this should be furnished with various ornamental designs such as kampa, kshepaṇa, kapota and other parts; should be beautified with the depictions of makaras,nakrakas and such other forms. The rods, linch-pins and bands made of iron should be used for joining the parts firmly.

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37-39

स्वर्णनिर्मित पट्टाद्यैः रत्नैर्वाथ विचित्रयेत् | कुर्यात्तोरण पृष्ठे तु कल्पवृक्षं सुवर्णजम् || ३७ नानारत्न समोपेतं अनन्तफण संयुतम् | विजिं हित्वाथवा कुर्यात् कल्पवृक्षं तु केवलम् || ३८ वितोरण विजिर्वाथ आसनं केवलं तु वा | पञ्चाङ्गमुपपीठं यत् पद्मकाधो नियोजयेत् || ३९

svarṇanirmita paṭṭādyaiḥ ratnairvātha vicitrayet | kuryāttoraṇa pṛṣṭhe tu kalpavṛkṣaṃ suvarṇajam || 37 nānāratna samopetaṃ anantaphaṇa saṃyutam | vijiṃ hitvāthavā kuryāt kalpavṛkṣaṃ tu kevalam || 38 vitoraṇa vijirvātha āsanaṃ kevalaṃ tu vā | pañcāṅgamupapīṭhaṃ yat padmakādho niyojayet || 39

The thrones should be decorated with bands and such other items made of gold and with gems. The tree of the celestial world, kalpa vṛuksha, made of gold should be formed behind the arch. This kalpa-tree should be associated with the hood of ādisesha-serpent designed with different kinds of gems. Or, the kalpa-tree alone may be designed, leaving out the viji(serpent-design). Or, the throne alone may be designed without viji and toraṇa. Lotus and other parts should be furnished below the upapīṭha associated with five major parts.

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40-41

पद्मकादि चतुर्णां स्याद् द्वादशाङ्गं उपासनम् | उपपीठ दशांशे तु वेदांशैः कण्ठ उच्यते || ४० क्षुद्रकम्पौ तदूर्ध्वाधोभागेन द्व्यंशमानतः | महाकम्पौ विधातव्यो पञ्चाङ्गं उपपीठकम् || ४१

padmakādi caturṇāṃ syād dvādaśāṅgaṃ upāsanam | upapīṭha daśāṃśe tu vedāṃśaiḥ kaṇṭha ucyate || 40 kṣudrakampau tadūrdhvādhobhāgena dvyaṃśamānataḥ | mahākampau vidhātavyo pañcāṅgaṃ upapīṭhakam || 41

In the sub-pedestal associated with 12 parts, four mouldings from padma should be designed. In the upapīṭha associated with ten parts, the kaṇṭha should be with the proportionate measurement of four parts; two kshudra kampas , each one with one part; two maha kampas, each one with two parts.

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42-43

चतुर्दशांशके तुङ्गे द्व्येकार्धार्ध चतुष्टयैः | अर्धार्धकैः द्विचन्द्रैश्च अर्धार्धाभ्यां अनुक्रमात्|| ४२ पादुकं पङ्कजं वेत्रं कम्पं कण्ठं च वेत्रकम् | वेत्राब्ज वाजनं पद्मं कम्पं वेत्रं अनुक्रमात् || ४३ द्वादशाङ्गं इदं कुर्यात् उपपीठं मनोहरम् |

caturdaśāṃśake tuṅge dvyekārdhārdha catuṣṭayaiḥ | ardhārdhakaiḥ dvicandraiśca ardhārdhābhyāṃ anukramāt|| 42 pādukaṃ paṅkajaṃ vetraṃ kampaṃ kaṇṭhaṃ ca vetrakam | vetrābja vājanaṃ padmaṃ kampaṃ vetraṃ anukramāt || 43 dvādaśāṅgaṃ idaṃ kuryāt upapīṭhaṃ manoharam |

In the upapīṭha with a height of fourteen units, twelve mouldings should be designed: pāduka, paṅkaja, vetra, kampa, kaṇṭha, vetra, vetra, padma, vājana, padma, kampa and vetra. These should be with the following measurements respectively: one, one, half, half, half, half, half, one, one, half, half and half. In this way, the upapīṭha shold be elegantly designed.

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44-46

चतुस्सप्तांशके तुङ्गे जगती पङ्कजं गळम् || ४४ वेत्रं गळं च पद्मं च कुमुदं पद्मकम्पके | वेत्रं गळं च वेत्रं च कम्पं निद्रा कपोतकम् || ४५ आलिङ्गान्तरिते चोर्ध्वे प्रतिवाजनमेव च | ऊर्ध्वे मसूरकाधारपट्टिका मूलतः क्रमात् || ४६ सार्धांशकैस्तथैकेन अर्धकार्धार्धकार्धकैः | द्व्यार्धार्धकार्धक सप्तांशैः अर्धार्धार्ध त्रिभागतः || अर्धार्धकार्धकैश्चैव श्रीकान्तं इति कीर्तितम् |

catussaptāṃśake tuṅge jagatī paṅkajaṃ gaḷam || 44 vetraṃ gaḷaṃ ca padmaṃ ca kumudaṃ padmakampake | vetraṃ gaḷaṃ ca vetraṃ ca kampaṃ nidrā kapotakam || 45 āliṅgāntarite cordhve prativājanameva ca | ūrdhve masūrakādhārapaṭṭikā mūlataḥ kramāt || 46 sārdhāṃśakaistathaikena ardhakārdhārdhakārdhakaiḥ | dvyārdhārdhakārdhaka saptāṃśaiḥ ardhārdhārdha tribhāgataḥ || ardhārdhakārdhakaiścaiva śrīkāntaṃ iti kīrtitam |

In the upapīṭha with a height of 28 units, the following parts should be designed: jagati, paṅkaja, kaṇṭha, vetra, kaṇṭha, padma, kumuda, padma, kampa, vetra, kaṇṭha, vetra, kampa, nidrā, kapota, āliṅga, antarita, prativājana, masūraka and ādhāra-paṭṭika. The proportionate measuremnts of these are respectively: one and a half, one, half, half, half, half, half, half, half, half, half, seven, half, three parts each one with half, half, one-third, half,and half. This type of upapīṭha is called Śrīkāntam.

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48-52

एतदेव गळाधस्तान्नेत्रार्धैकार्ध भागतः || ४८ कर्णं च वाजनं निद्रा वेदिका पद्मकम्पकम् | योजयेद् वृत्तकान्तं स्याद् द्वात्रिंशद्भाग निर्मितम् || ४९ उच्चे नवदशांशोऽर्धे सार्धैर्वेदार्धकार्धकैः | त्रिभागार्धार्ध वेदार्धैः अर्धद्वयर्धार्धकांशकैः || ५० पादुकं पङ्कजं दृक् च पङ्कजं कुमुदपङ्कजम् | वाजनं पद्मवेत्रं च पङ्कजं वाजनं कजम् || ५१ वेत्रं च वाजनं मूलाद् द्विसप्ताङ्गमुदाहृतम् | श्रीकान्तादि चतुर्णां स्याद् अष्टाङ्गं उपपीठकम् || ५२

etadeva gaḷādhastānnetrārdhaikārdha bhāgataḥ || 48 karṇaṃ ca vājanaṃ nidrā vedikā padmakampakam | yojayed vṛttakāntaṃ syād dvātriṃśadbhāga nirmitam || 49 ucce navadaśāṃśo'rdhe sārdhairvedārdhakārdhakaiḥ | tribhāgārdhārdha vedārdhaiḥ ardhadvayardhārdhakāṃśakaiḥ || 50 pādukaṃ paṅkajaṃ dṛk ca paṅkajaṃ kumudapaṅkajam | vājanaṃ padmavetraṃ ca paṅkajaṃ vājanaṃ kajam || 51 vetraṃ ca vājanaṃ mūlād dvisaptāṅgamudāhṛtam | śrīkāntādi caturṇāṃ syād aṣṭāṅgaṃ upapīṭhakam || 52

If the same kind of upapīṭha is furnished with karṇa, vājana, nidrā, vedikā, padma and kampaka below the neck part with the proportionate measurements of two, half, half, half, one and half respectively, it is called Vṛuttakānta. Such upapīṭha should be designed when the height is divided into 12 equal parts. When the height is divided into 19 equal parts, the following proportionate measurements should be marked: half, one and a half, four, half, one, half, three-fourth, half, half, four, half, half, half, half, half and one. With these measurements, the following parts should be designed: pāduka, padma, netra, padma, kumuda, padma, vājana, padma, vetra, padma, vājana, padma, vetra and vājana, starting from the base. Then, upapīṭha with eight limbs(designs) is explained.

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53-54

नेत्रैकार्ध चतुर्भागैः अर्धार्ध नयनार्धकैः | पादुकं पङ्कजं वेत्रं पद्मवेत्रं च वाजनम् || ५३ पट्टिका वाजनं चैव तत्तुङ्गे रुद्रभाजिते | अष्टाङ्गं उपपीठं स्यात् सर्वं सर्वत्र वा मतम् || ५४

netraikārdha caturbhāgaiḥ ardhārdha nayanārdhakaiḥ | pādukaṃ paṅkajaṃ vetraṃ padmavetraṃ ca vājanam || 53 paṭṭikā vājanaṃ caiva tattuṅge rudrabhājite | aṣṭāṅgaṃ upapīṭhaṃ syāt sarvaṃ sarvatra vā matam || 54

Two, one, half, four, half, half, three , half – with these proportionate measurements the following parts should be designed: pāduka, padma, vetra, padma, vetra, vājana, paṭṭika and vājana. If these eight designs are made when the height is divided into eleven equal parts, that is called ‘aṣṭāṅga-upapīṭha’. Such upapīṭḥa may be designed in all kinds of throne.

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55-56

प्रासाद लक्षणे पूर्वं कथितानि बहूनि च | अधिष्ठानानि सर्वाणि सोपपीठानि यानि च || ५५ संग्राह्याणि तानीह देशिकैर्नियमादृते | अवलम्बित पादस्स्याद् देवादीनां विशेषतः || ५६ सिंहासनाङ्ग संश्लिष्टं पादपीठं विधीयताम्

prāsāda lakṣaṇe pūrvaṃ kathitāni bahūni ca | adhiṣṭhānāni sarvāṇi sopapīṭhāni yāni ca || 55 saṃgrāhyāṇi tānīha deśikairniyamādṛte | avalambita pādassyād devādīnāṃ viśeṣataḥ || 56 siṃhāsanāṅga saṃśliṣṭaṃ pādapīṭhaṃ vidhīyatām

Many details with regard to adhiṣṭhāna , upapīṭha and all other parts explained earlier in the chapter dealing with the lineaments of temples and palaces should be considered and applied by the Guru who is meticulous about the well settled rules for the making of thrones. For the thrones meant for the Gods and Devas, the legs should specifically be in slightly curved form. The base of the legs should firmly be joined with the recommended parts of the throne.

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57-60

सिंहासन विशालोच्च चतुर्थांश प्रमाणतः || ५७ कण्ठोर्ध्वाधःकृतैः कम्पपद्मकम्पैर्विचित्रकम् | यथा शोभांश मानेन सप्ताङ्गैर्वृत्त सन्निभम् || ५८ यवादारभ्य मात्रान्तं वृद्धिर्हानिर्विधीयताम् | आसनानि च सर्वाणि सभद्राण्यथवा नयेत् || ५९ पादमर्धं त्रिपादं वा समं तस्याङ्ग निर्गमम् | प्रवेशं च तथाकुर्याच्छोभाबलवशेन वा || ६०

siṃhāsana viśālocca caturthāṃśa pramāṇataḥ || 57 kaṇṭhordhvādhaḥkṛtaiḥ kampapadmakampairvicitrakam | yathā śobhāṃśa mānena saptāṅgairvṛtta sannibham || 58 yavādārabhya mātrāntaṃ vṛddhirhānirvidhīyatām | āsanāni ca sarvāṇi sabhadrāṇyathavā nayet || 59 pādamardhaṃ tripādaṃ vā samaṃ tasyāṅga nirgamam | praveśaṃ ca tathākuryācchobhābalavaśena vā || 60

Along the breadth and along the height, above and below the kaṇṭha-part, kampa, padma, and kampa should be designed so as to be associated with ornamental carvings,applying the proportionate measurement of four. All the seven ornamental parts should be designed in such a way as to present a beautiful and elegant appearance and to be like a perfectly finished circle. Starting from one yava-grain, increase or decrease in the proportionate measurements may be done in order to bring out elegant appearance. All seats which are considered to be auspicious for the thrones should be made. The projection of particular parts specifically mentioned may be in the measurement of one-fourth, half, three-fourth of the ascertained measure or may be equal to that measure. Likewise, the drift of particular parts should be made according to the need for effecting the beautiful and elegant appearance.

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61-62

आसनानां च सर्वएषां आयादि विधिरुच्यते | परिधिं विपुलं दैर्घ्यं तुङ्गं सकलमेव च || ६१ बन्धवेद चतुर्बन्ध ग्रहैश्च गुणयेत्क्रमात् | सप्तभूतर्क्षमूर्त्यब्धि संख्यैर्भागान् हरेद्गुरुः || ६२ आयो व्ययश्च नक्षत्रं योनिर्वारो विशेषतः |

āsanānāṃ ca sarvaeṣāṃ āyādi vidhirucyate | paridhiṃ vipulaṃ dairghyaṃ tuṅgaṃ sakalameva ca || 61 bandhaveda caturbandha grahaiśca guṇayetkramāt | saptabhūtarkṣamūrtyabdhi saṃkhyairbhāgān haredguruḥ || 62 āyo vyayaśca nakṣatraṃ yonirvāro viśeṣataḥ |

The process of calculating the āyā and other factors for all kinds of thrones is now told. Circumference, breadth, length, height and all such features of the thrones should be governed by the āyā and other factors. The measurement taken for the breadth and others should be multiplied by 3, 4, 4, 5 and 9 and divided by 7, 5, 27, 8 and 4 respectively. The remainder gives the value of āyā, vyaya, nakshatra, yoni and vāra.

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63-66

शाकस्सालश्च पनशः शिंशपश्चन्दनासने || ६३ तिन्दुकोऽर्जुनतालो च निम्बश्च सुरभूरुहः | लिकुचस्सहकारश्च कुटजः कट्फलस्तथा || ६४ श्रीपर्णी जातिवृक्षा ये क्षीरवृक्षाः चतुर्विधाः | जम्बूश्चैव मधूकश्च वैकङ्कत समाह्वयः || ६५ आसनार्थं च संग्राह्य द्रव्यग्रहण मार्गतः | एवं सिंहासनं कृत्वा संस्कुर्यात् तदनन्तरम् || ६६

śākassālaśca panaśaḥ śiṃśapaścandanāsane || 63 tinduko'rjunatālo ca nimbaśca surabhūruhaḥ | likucassahakāraśca kuṭajaḥ kaṭphalastathā || 64 śrīparṇī jātivṛkṣā ye kṣīravṛkṣāḥ caturvidhāḥ | jambūścaiva madhūkaśca vaikaṅkata samāhvayaḥ || 65 āsanārthaṃ ca saṃgrāhya dravyagrahaṇa mārgataḥ | evaṃ siṃhāsanaṃ kṛtvā saṃskuryāt tadanantaram || 66

Śāka, sāla, panasa, śimśapa, candana, tinduka, arjuna, tāla, nimba, devatāru, likuca, sahakāra, kuṭaja, kaṭphala, śrīparṇī. jātivṛuksha, four kinds of kshīra-vṛuksha, jambhū, madhūka, vaikaṅkata – these are the trees to be selected for the making of thrones. These should be procured according to the directions set forth for such activity. Having designed the lion-throne in this way, the Guru should perform the sacramental rites.

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67-69

कालश्च पूर्ववत् प्रोक्तो यजमानानुकूलतः | शिल्पिनं विसृज्याथ पुण्याहप्रोक्षणान्तरम् || ६७ पञ्चगव्येन संप्रोक्ष्य हृन्मन्त्रं समुदीरयन् | अष्टमृत्सलिलेनैव क्षाळयेत् कुशवारिणा || ६८ शुद्धोदकेन संस्नाप्य ब्रह्मपञ्चकमुच्चरन् | पुनर्गन्धोदकेनैव स्नापयेत्तदनन्तरम् || ६९

kālaśca pūrvavat prokto yajamānānukūlataḥ | śilpinaṃ visṛjyātha puṇyāhaprokṣaṇāntaram || 67 pañcagavyena saṃprokṣya hṛnmantraṃ samudīrayan | aṣṭamṛtsalilenaiva kṣāḷayet kuśavāriṇā || 68 śuddhodakena saṃsnāpya brahmapañcakamuccaran | punargandhodakenaiva snāpayettadanantaram || 69

The auspicious time for the installetion should be ascertained according to the process explained earlier so as to be beneficial for the yajamāna(for whom the throne is made). Having sent off the śilpi with due honors, the Guru should perform the sprinkling of consecrated water and declaration of the auspicious time and purpose. Reciting the hṛudaya-mantra, he should sprinkle pañcagavya over the throne; he should purify it with the water mixed with eight kinds of earth, sprinkle the kuśa-water and bathe it with pure water, reciting the pañca-brahma-mantras. Then he should bathe it with the water mixed with sandal paste.

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70-71

स्थण्डिलोर्ध्वे च तन्न्यस्त्वा वस्त्रैराच्छादयेत्कुशैः | गन्धैः पुष्पैश्च धूपैश्च तन्मन्त्रेण समर्चयेत् || ७० सिंहासनपदं चोक्त्वा चतुर्थ्यन्त सदीपकम् | नमस्कार समोपेतं स्वबीजेन समन्वितम् || ७१ मन्त्रमेवं समुच्चार्य पूजयेद्देशिकोत्तमः |

sthaṇḍilordhve ca tannyastvā vastrairācchādayetkuśaiḥ | gandhaiḥ puṣpaiśca dhūpaiśca tanmantreṇa samarcayet || 70 siṃhāsanapadaṃ coktvā caturthyanta sadīpakam | namaskāra samopetaṃ svabījena samanvitam || 71 mantramevaṃ samuccārya pūjayeddeśikottamaḥ |

Having placed the throne over the staṇḍila, he should cover it with new cloth and kuśa-grass. Then he should worship it with sandal, flowers, incense and others reciting the mantra pertaining to the throne. Om sim simhāsanāya hum phaṇṇanah – this is the mantra pertaining to the throne. The foremost Guru should worship it, reciting the mantra in this way.

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72-74

तस्याग्रे स्थण्डिलं कृत्वा जुहुयात्समिदादिभिः || ७२ समिदाज्यचरूंश्चैव तिललाज समन्वितम् | शतमष्टोत्तरं हुत्वा तन्मन्त्रं समुदीरयन् || ७३ पूर्णाहुतिं ततः कृत्वा शान्तिकुम्भाम्भसा ततः | सिंहासनं समभ्युक्ष्य गन्धाद्यैः पूजयेत् पुनः || ७४

tasyāgre sthaṇḍilaṃ kṛtvā juhuyātsamidādibhiḥ || 72 samidājyacarūṃścaiva tilalāja samanvitam | śatamaṣṭottaraṃ hutvā tanmantraṃ samudīrayan || 73 pūrṇāhutiṃ tataḥ kṛtvā śāntikumbhāmbhasā tataḥ | siṃhāsanaṃ samabhyukṣya gandhādyaiḥ pūjayet punaḥ || 74

Having designed a staṇḍila in front of the throne, he should perform the fire-ritual with the recommended faggots and other substances. Faggots, clarified-butter, cooked and consecrated rice, sesame and parched paddy-grains should be offered as oblations. Reciting the mūla-mantra of the throne, the Guru should offer the oblations for one hundred and eight times. Then, having offered the consummate and final oblation(pūrṇāhuti), he should sprinkle the consecrated water contained in the śānti-kumbha and worship the throne with sandal, flowers and other substances as done before.

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75-76

स्नातं शुक्लाम्बरधरं मकुटेन विभूषितम् | सर्वाभरण संयुक्तं छत्रचामर संयुतम् || ७५ सुमुहूर्ते सुलग्ने च राजानं अधिरोपयेत् | नरेन्द्रासनसंस्कारस्त्वैवं देवे विशिष्यते || ७६

snātaṃ śuklāmbaradharaṃ makuṭena vibhūṣitam | sarvābharaṇa saṃyuktaṃ chatracāmara saṃyutam || 75 sumuhūrte sulagne ca rājānaṃ adhiropayet | narendrāsanasaṃskārastvaivaṃ deve viśiṣyate || 76

At the end, the Guru should lead the King who has taken the ceremonial bath well, who is attired with white cloth, adorned with crown and all kinds of royal ornaments and insignia and who is accompanied by parasol and cāmaras towards the throne and enable him occupy the seat, in the auspicious muhūrta and lagna. The consecration of the throne pertaining to the king should be done in this way. With regard to the consecration of the throne meant for the Gods and Devas, there are some specific directions.

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77-79

मूर्तिमूर्तीश विन्यासं तत्त्वतत्त्वेश्वरान्वितम् | तद्देवहोम संयुक्तं आसनाणुभिरन्वितम् || ७७ आधारशक्ति पूर्वैस्तु शिवासन पदान्तकैः | अष्टदिक्ष्वष्ट कुम्भांश्च मध्यमे शक्रशर्वयोः || ७८ प्रधानकुम्भं संस्थाप्य स्वर्णवस्त्रादिभिर्युतम् | शिवासनाणु मध्ये च लोकपान् परितो यजेत् || ७९

mūrtimūrtīśa vinyāsaṃ tattvatattveśvarānvitam | taddevahoma saṃyuktaṃ āsanāṇubhiranvitam || 77 ādhāraśakti pūrvaistu śivāsana padāntakaiḥ | aṣṭadikṣvaṣṭa kumbhāṃśca madhyame śakraśarvayoḥ || 78 pradhānakumbhaṃ saṃsthāpya svarṇavastrādibhiryutam | śivāsanāṇu madhye ca lokapān parito yajet || 79

Mūrtis, Mūrtiśvaras, Tattvas and Tattveśvaras should be invoked and identified with the throne and the fire-pit. The oblations should be offered with the accompaniment of all the mantras rlated to āsana- from the ādhāraśakti to śivāsana. Eight kalasas should be placed in all the eight directions and the main kumbha should be placed between the east and the north-east. These kalasas should be furnished with gems, new cloth and such other essential materials. The āsana should be worshipped in the middle with āsana-mantra; the eight directional deities should be worshipped around with the mantra pertaining to each deity.

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80-84

एवमादौ च संपूज्य ततो होमं समाचरेत् | संतर्प्यासनमन्त्रांस्तु पूर्णान्ते देशिकोत्तमः || ८० सर्वानासन मन्त्रांस्तु न्यस्त्वा सिंहासने गुरुः | शिवासनाणुं तन्मध्ये कुम्भस्थं विनिवेश्येत् || ८१ संस्नाप्य कुम्भतोयैश्च लोकपालान् परितो न्यसेत् | संपूज्य गन्धपुष्पाद्यैः तैर्मन्त्रैश्च गुरूत्तमः || ८२ संस्नाप्य देवदेशं विशेषार्चन संयुतम् | सुमुहूर्ते सुलग्ने तु देवेशं अधिरोपयेत् || ८३ आचार्यं पूजयेत्तत्र वस्त्र हेमाङ्गुलीयकैः | दक्षिणां च यथाशक्ति दापयेद्गुरुमूर्तये || ८४स्

evamādau ca saṃpūjya tato homaṃ samācaret | saṃtarpyāsanamantrāṃstu pūrṇānte deśikottamaḥ || 80 sarvānāsana mantrāṃstu nyastvā siṃhāsane guruḥ | śivāsanāṇuṃ tanmadhye kumbhasthaṃ viniveśyet || 81 saṃsnāpya kumbhatoyaiśca lokapālān parito nyaset | saṃpūjya gandhapuṣpādyaiḥ tairmantraiśca gurūttamaḥ || 82 saṃsnāpya devadeśaṃ viśeṣārcana saṃyutam | sumuhūrte sulagne tu deveśaṃ adhiropayet || 83 ācāryaṃ pūjayettatra vastra hemāṅgulīyakaiḥ | dakṣiṇāṃ ca yathāśakti dāpayedgurumūrtaye || 84s

Having worshipped well in this way in the beginning of the event, the Guru should perform the fire-ritual. Having pleased the āsana-mantras , he should perform pūrṇāhuti at the end. Having identified the mantras related to the āsana with the lion-throne, the Guru should install the śivāsana-mantra invoked in the main-kumbha in the middle of the seat. Having bathed well the directional deities around the seat with the consecrated water contained in each kalasa, the foremost Guru should worship them with sandal, flowers and other substances reciting the mantra pertaining to each deity. Having bathed well Lord Śiva at the center of the seat, he should perform the worship in a special way. Exactly at the arrival of auspicious muhūrta and lagna, the Guru should mount the Lord of all Devas over the lion-throne. Then, the yajamāna should worship and honor the Guru with new clothes, gold-ring and other valuables. He should offer the sacrificial fees to the Guru according to his resources, position and capacity.

80 Directions for the Consecration of Temple Chariot and Others

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1-2

रथादि स्थापनं वक्ष्ये तल्लक्षण पुरस्सरम् | रथोऽनेकविधः प्रोक्तस्स च चक्रविभेदतः || १ त्रिचक्रो वा चतुश्चक्रो पञ्चषट्सप्तचक्रयुक् | नवाष्टचक्रयुक्तो वा द्विचक्रश्शकटाह्वयः || २

rathādi sthāpanaṃ vakṣye tallakṣaṇa purassaram | ratho'nekavidhaḥ proktassa ca cakravibhedataḥ || 1 tricakro vā catuścakro pañcaṣaṭsaptacakrayuk | navāṣṭacakrayukto vā dvicakraśśakaṭāhvayaḥ || 2

Now I explain the details concerned with the making and consecration of temple-chariot and other vehicles preceded by their characteristic features and lineaments. Based on the number of wheels , the chariot is said to be of many different kinds. Three-wheeled, four-wheeled, five-wheeled, six-wheeled, seven-wheeled, eight-wheeled and nine-wheeled- these are different kinds of chariot. The vehicle provided with two wheels is called śakaṭa.

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3-5

त्रिचतुष्पञ्चषट्सप्त वसुग्रहवितस्तयः | भारबाह्य विशालं स्यात् तदायामश्च कथ्यते || ३ अक्षोत्तरं समाख्यातं उपधानं द्विजोत्तमाः | पोतिकाकारवत् ख्यातं भारतार घनान्वितम् || ४ भारबाह्य विशालार्ध दैर्घ्यं पादाधिकं तु वा | पादहीनोपयुक्तं वा तदन्तर्मान षट्कयुक् || ५

tricatuṣpañcaṣaṭsapta vasugrahavitastayaḥ | bhārabāhya viśālaṃ syāt tadāyāmaśca kathyate || 3 akṣottaraṃ samākhyātaṃ upadhānaṃ dvijottamāḥ | potikākāravat khyātaṃ bhāratāra ghanānvitam || 4 bhārabāhya viśālārdha dairghyaṃ pādādhikaṃ tu vā | pādahīnopayuktaṃ vā tadantarmāna ṣaṭkayuk || 5

The width of the exterior of the main support(bhāra) should be three, four, five, six, seven, eight or nine spans(vitasti). The measurement of its length is to be held as detailed here. O, the foremost twice-born sages!, the additional support(upadhanam) is called akshottara. It should be designed to be in the form of potikā. It should be with the thickness of bhāratāra. The length should be in excess of half, three-fourth or one-fourth of the breadth of the support(bhāra). Its interior measurement may be decided in six ways.

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6-8

इदमक्षोत्तरं कार्यं भाराधो द्विजोत्तमाः | यत्र यत्र च भाराक्ष संयोगस्तत्र कथ्यते || ६ अयःपट्टैश्च कीलैश्च स्वाग्रकीलैर्महत्तरैः | बन्धयेत् स्वस्वरक्षार्थं यथा दृढतरं भवेत् || ७ तदस्त्वक्ष रक्षार्थं स्वस्वमध्यम पार्श्वयोः | स्वस्वतारसमाः कार्याः शिखास्तारार्ध बाहुलाः || ८

idamakṣottaraṃ kāryaṃ bhārādho dvijottamāḥ | yatra yatra ca bhārākṣa saṃyogastatra kathyate || 6 ayaḥpaṭṭaiśca kīlaiśca svāgrakīlairmahattaraiḥ | bandhayet svasvarakṣārthaṃ yathā dṛḍhataraṃ bhavet || 7 tadastvakṣa rakṣārthaṃ svasvamadhyama pārśvayoḥ | svasvatārasamāḥ kāryāḥ śikhāstārārdha bāhulāḥ || 8

O, the wice-born sages!, the part known as akshottara should be designed in this way below the support. Wherever the joining of the bhāra and akshottara is to be made, it should be done with flat-pins, nails in small size, nails in large size , all of them made of iron to be with sharpness according to their size, should be driven firmly. For the sake of protective strength of the axel, these nails should be driven in the middle and two sides of akshottara, in such a way that the whole length of them has gone into the holes. The head of the linch- pins should be in many different sizes, beginning from half of their length.

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9-12

अक्षावधिविलम्बिन्यस्त्वयः पट्टैर्दृढीकृताः | प्रतिचक्रं विधेयास्स्युस्समा वा विषमास्तु वा || ९ शिखां विहाय वा स्वाधः स्वल्पछेद समन्वितम् | अक्षोर्ध्व संप्रवेशार्थं उपधानं तु वा नयेत् || १० अक्षेष्वप्युपधानार्थं प्रवेशार्थं तु ह्रासयेत् | भारबाह्य विशालं तु षष्टिभागं विभाजयेत् || ११ तत्समं वाधिकं षष्ट्या व्योमभाग विवर्धनात् | पादोनद्विगुणं दैर्घ्यं मूलमेतद् उदाहृतम् || १२

akṣāvadhivilambinyastvayaḥ paṭṭairdṛḍhīkṛtāḥ | praticakraṃ vidheyāssyussamā vā viṣamāstu vā || 9 śikhāṃ vihāya vā svādhaḥ svalpacheda samanvitam | akṣordhva saṃpraveśārthaṃ upadhānaṃ tu vā nayet || 10 akṣeṣvapyupadhānārthaṃ praveśārthaṃ tu hrāsayet | bhārabāhya viśālaṃ tu ṣaṣṭibhāgaṃ vibhājayet || 11 tatsamaṃ vādhikaṃ ṣaṣṭyā vyomabhāga vivardhanāt | pādonadviguṇaṃ dairghyaṃ mūlametad udāhṛtam || 12

The akshottras strengthened by the iron flat-nails and round nails should reach down up to the rim of axel.Whether the wheels are in odd number or in even number, each wheel should be made strongly in this way.Or, having left out the head-part, a small portion of the nails may be cut out and they may be driven below the axel. In order to provide a drift above the axel, upadhāna(additional base) should be made. In order to provide upadhāna and drift, the axel should be cut out along its rim. The exterior width of the support should be divided into sixty equal parts. With the measurement being equal to sixty or to be in excess of one and three-fourth of sixty arrived by increasing by one aṅgula each time, the leghth of the base should be held.

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13-15

तदग्र पृष्टभागार्धं वसुभागाद्विवर्धयेत् | भागैकेन त्रिपादार्धं आयामे परिकल्पयेत् || १३ समोपभद्रे कर्तव्ये तदग्रे वाथवाश्रिते | तयोरपि प्रमाणं तु पादोक्तविधिना मतम् || १४ अधिकं वाग्रभद्रं तु पृष्ठभद्राच्छिवाग्रजाः | केवलं भद्रमिष्टं वा भद्राग्रेष्विष्टमानतः || १५

tadagra pṛṣṭabhāgārdhaṃ vasubhāgādvivardhayet | bhāgaikena tripādārdhaṃ āyāme parikalpayet || 13 samopabhadre kartavye tadagre vāthavāśrite | tayorapi pramāṇaṃ tu pādoktavidhinā matam || 14 adhikaṃ vāgrabhadraṃ tu pṛṣṭhabhadrācchivāgrajāḥ | kevalaṃ bhadramiṣṭaṃ vā bhadrāgreṣviṣṭamānataḥ || 15

Both in front and back of the base, half of the width should be increased by one part out of eight parts. In its length side, it should be increased by half or three-fourth of one part. Equal to this increase, the upabhadra should be increased in front or in the both sides. The measurements of the base and upabhadra should be maintained according to the rules given for the legs. O, the first-born śaiva-sages!, the front and the back of the bhadra may suitably be increased. The bhadra alone may be designed in this way or the front of the bhadra may be designed in a special way according to the desired measures.

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16-20

ब्रह्मासनं विधेयं वा रहितं वा समाचरेत् | भद्रोपभद्रयोर्मानं समं वाप्यधिकं तु वा || १६ रथभद्रोपभद्राणां मानं यन्मिलितं भवेत् | तत्सर्वं भारदैर्घ्यं स्याद् भारे सन्धिं न कारयेत् || १७ त्रिचतुष्पञ्चषट्सप्त भागबाहुल्य संयुताः | द्वित्रिवेद महाभूत भाग विस्तार संयुताः || १८ द्विसंख्यादि नवान्ताश्च भारास्त्वक्षोत्तरोपरि | त्रिचतुष्पञ्चषट्सप्त विस्तारानर्ध नीव्रकान् || १९ योजयेदन्तरे चैषां अन्यान्विष्टान् बलार्थकान् | भारेषु योजयेद्विष्टानग्रे पृष्ठेऽन्तरे यदि || २०

brahmāsanaṃ vidheyaṃ vā rahitaṃ vā samācaret | bhadropabhadrayormānaṃ samaṃ vāpyadhikaṃ tu vā || 16 rathabhadropabhadrāṇāṃ mānaṃ yanmilitaṃ bhavet | tatsarvaṃ bhāradairghyaṃ syād bhāre sandhiṃ na kārayet || 17 tricatuṣpañcaṣaṭsapta bhāgabāhulya saṃyutāḥ | dvitriveda mahābhūta bhāga vistāra saṃyutāḥ || 18 dvisaṃkhyādi navāntāśca bhārāstvakṣottaropari | tricatuṣpañcaṣaṭsapta vistārānardha nīvrakān || 19 yojayedantare caiṣāṃ anyānviṣṭān balārthakān | bhāreṣu yojayedviṣṭānagre pṛṣṭhe'ntare yadi || 20

The seat for Brahma may be designed above the bhāra or it may be left out. Both the bhadra and upabhadra should be with equal measurements or one of them may be with increased measurement. If the measurements given to bhadra and upabhadra of the chariot are added together, the sum of them should be equal to the length of the bhāra. Joinings should never be made in the bhāra.The bhāra and akshottara may with 3, 4, 5, 6 or 7 divisions along the length and 2,3,4 or 5 divisions along the breadth. Above the bhāra and akshottara, the height may be with two to nine divisions. Half of the nīvraka part may be increased by 3, 4, 5, 6 and 7 digits or by the desired units to maintain the strength of the nīvraka. The increased measure should be given in between the bhāra and akshottara. Or it may be given to the front, back or middle of the bhāra as desired by the sthapati.

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21-24

प्रत्यक्षमूर्ध्वस्वच्छिद्र बन्ध पञ्चक संयुतान् | चतुर्भागं समारभ्य भागस्याष्ट दशावधि || २१ विस्तारं बहुलं कुर्यात् अक्षाणां भारवाहिनाम् | चक्रनेम्यन्तरं व्योमभागाद्भाग विवृद्धितः || २२ दशभागावसानं तु चक्रनेमि घनं तु यत् | तद्बहिश्च शिखामानं भारनेम्यन्तरं समम् || २३ एतत्सर्वं च दैर्घ्यं स्यात् अक्षाणां गुरुसत्तमाः | वृत्तान्यश्राणि वा कुर्यात् अक्षाणि गुरुसत्तमाः || २४

pratyakṣamūrdhvasvacchidra bandha pañcaka saṃyutān | caturbhāgaṃ samārabhya bhāgasyāṣṭa daśāvadhi || 21 vistāraṃ bahulaṃ kuryāt akṣāṇāṃ bhāravāhinām | cakranemyantaraṃ vyomabhāgādbhāga vivṛddhitaḥ || 22 daśabhāgāvasānaṃ tu cakranemi ghanaṃ tu yat | tadbahiśca śikhāmānaṃ bhāranemyantaraṃ samam || 23 etatsarvaṃ ca dairghyaṃ syāt akṣāṇāṃ gurusattamāḥ | vṛttānyaśrāṇi vā kuryāt akṣāṇi gurusattamāḥ || 24

The upper part of each axel should be provoded with five bands which should be without any breakage along its length. The width of the axels which are meant for bearing the weight of all upper parts may be held in different ways, beginning with four parts and ending with eight or ten parts. The diameter of the interior(inner hole) of the cakra-nemi may begin with one part and end with ten parts, increasing the measure by one part each time. The same should be maintained for the thickness of cakra-nemi. The measurement of the spire in its outside should be equal to the measurement of the nemi of the support(bhāra). O, the foremost Gurus!, the length of the axels should be held accoding to all the measures mentioned above. The axels may be designed so as to be in circular or angular form.

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25-29

पञ्चग्राहिसमाविद्ध स्वमध्यमयुतानि वा | पञ्चाङ्गमिति कार्याणि दारुणा वायसादिभिः || २५ यथाबल विशालानि तथाविध घनानि च | चक्राणां तु प्रमाणं तु बाह्ये भारान्तरं मतम् || २६ एकद्वित्रिचतुष्पञ्च षड्भागोनं तु वाधिकम् | द्विभागाद्वसुभागान्तं चक्राणां घनमीरितम् || २७ एकद्वित्र्यङ्गुलाधिक्यं नाभिदेशे भवेद् द्विजाः | तथैव बाह्यनेम्याश्च तयोर्मध्येऽरकाणि च || २८ मूलाग्र कृशयुक्तानि व्योमद्वित्र्यंशकानि च | त्रिरष्टभ्योऽष्टवृद्ध्या तु चतुष्षष्ट्यन्तकानि च || २९

pañcagrāhisamāviddha svamadhyamayutāni vā | pañcāṅgamiti kāryāṇi dāruṇā vāyasādibhiḥ || 25 yathābala viśālāni tathāvidha ghanāni ca | cakrāṇāṃ tu pramāṇaṃ tu bāhye bhārāntaraṃ matam || 26 ekadvitricatuṣpañca ṣaḍbhāgonaṃ tu vādhikam | dvibhāgādvasubhāgāntaṃ cakrāṇāṃ ghanamīritam || 27 ekadvitryaṅgulādhikyaṃ nābhideśe bhaved dvijāḥ | tathaiva bāhyanemyāśca tayormadhye'rakāṇi ca || 28 mūlāgra kṛśayuktāni vyomadvitryaṃśakāni ca | triraṣṭabhyo'ṣṭavṛddhyā tu catuṣṣaṣṭyantakāni ca || 29

The wheels should be constructed so as to be firmly fixed with the part known as ‘pañca- grāhi’(a protective part made with the mixture of five metals) at their middle. The essential five parts of the wheels may be made with suitable wood or iron. The thickness of the wheels should be according to their diameter. The measuremnts of the wheels should be decided based on the exterior measurement of bhāra. Such measurements may be less than or greater than 1, 2,3, 4, 5 or 6 aṅgulas. The thickness of the wheels may be from two parts to eight parts of the bhāra. The navel part of the wheel may be with a measure greater than the hub by 1, 2 or 3 aṅgulas. O, the twice-born sages!, the outer navels also should be made in this way. In between the inner and outer nemis (navel) spokes should be fixed. The base and front part of the spokes should be thin and sharp, provided with 1, 2 or 3 projections. The number of spokes may be from 24 to 64, the increment being eight each time.

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30-32

सारथिः षण्मुखो वा स्यादथ नन्दीश्वरोऽथवा | ब्रह्मा रथाङ्गपाणिर्वा शक्रो वा मुनिपुङ्गवाः || ३० भारोर्ध्वं उपपीठं स्यात्तन्मानं इह कथ्यते | एकभागाद्द्विकरान्तं एकभाग विवर्धनात् || ३१ तदुपानाद्विनिष्क्रान्ति भारबाह्य दशांशतः | भागबाह्य विवृद्ध्या तु रसभागा वसानकाः || ३२

sārathiḥ ṣaṇmukho vā syādatha nandīśvaro'thavā | brahmā rathāṅgapāṇirvā śakro vā munipuṅgavāḥ || 30 bhārordhvaṃ upapīṭhaṃ syāttanmānaṃ iha kathyate | ekabhāgāddvikarāntaṃ ekabhāga vivardhanāt || 31 tadupānādviniṣkrānti bhārabāhya daśāṃśataḥ | bhāgabāhya vivṛddhyā tu rasabhāgā vasānakāḥ || 32

O, the foremost sages!, the charioteer may be designed to be in the form of Lord Ṣaṇmukha, Nandīśvara, Brahma, Viṣṇu or Indra. The upapīṭha should be designed above the bhāra and its proportionate measurements are told here. Increasing the measure by one part each time, the measurement of upapīṭha may be from one part to sixteen parts. The pojection of upapīṭha should be adjusted to be equal to one part out of ten parts of the exterior measure of the bhāra. The outer measure may be increased from one part to six parts.

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33-36

एकोनत्रिंशदंशं वा तदुच्छं विभजेद्गुरुः | गुणचन्द्रमहाभूत व्योमनन्द वियद्गुणैः || ३३ त्रिभागेनैक भागेन मूलादारभ्य कारयेत् | उपानपद्म कम्पानि कम्पं कर्णं च कम्पकम् || ३४ पद्मं च वाजनं कम्पं दृष्टान्तार्थं उदाहृतम् | पादेनार्धेन भागेन त्रिभागेन द्विभागतः || ३५ त्रिभागेन चतुर्भागैः ऊनं वाप्यधिकं नयेत् | एषां प्रवेशो निष्क्रान्तिश्शोभाबलवशाद्भवेत् || ३६

ekonatriṃśadaṃśaṃ vā taducchaṃ vibhajedguruḥ | guṇacandramahābhūta vyomananda viyadguṇaiḥ || 33 tribhāgenaika bhāgena mūlādārabhya kārayet | upānapadma kampāni kampaṃ karṇaṃ ca kampakam || 34 padmaṃ ca vājanaṃ kampaṃ dṛṣṭāntārthaṃ udāhṛtam | pādenārdhena bhāgena tribhāgena dvibhāgataḥ || 35 tribhāgena caturbhāgaiḥ ūnaṃ vāpyadhikaṃ nayet | eṣāṃ praveśo niṣkrāntiśśobhābalavaśādbhavet || 36

The Guru should divide its height into 29 equal parts. Three, one, five, one, nine, one, three, three-fourth, one, one – with these measures, the following parts should be designed starting from the base: upāna, padma, kampa, kampa, karṇa, kampa, padma, vājana, kampa and netra. These may be increased or decreased by one-fourth, half, three-fourth of 2, 3 or 4 divisions of the height. Those parts which are to be as projections or drifts should be designed so as to bring out beauty and elegance by adjusting the measures.

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37-39

धामोक्तं उपपीठं यत् सर्वमत्र विधीयताम् | चतुष्कोणेषु मध्येषु तथा भद्रोपभद्रयोः || ३७ गुळिका पादपादैश्च नाटकैर्भूषयेद्गलम् | उपपीठोच्छ्रयान्तं वा कर्तव्यं उपभद्रकम् || ३८ उपभद्रोर्ध्वतः कुर्यात् फलकाच्छादनं दृढम् | फलका भारमध्यं तु पदाद्यैः परिभूषयेत् || ३९

dhāmoktaṃ upapīṭhaṃ yat sarvamatra vidhīyatām | catuṣkoṇeṣu madhyeṣu tathā bhadropabhadrayoḥ || 37 guḷikā pādapādaiśca nāṭakairbhūṣayedgalam | upapīṭhocchrayāntaṃ vā kartavyaṃ upabhadrakam || 38 upabhadrordhvataḥ kuryāt phalakācchādanaṃ dṛḍham | phalakā bhāramadhyaṃ tu padādyaiḥ paribhūṣayet || 39

The upapīṭha and all other constructions mentioned for the temple should also be applied to the making of chariot. All the four corners, the middle, bhadra,upabhadra and the neck should be beutified with ornamental designs such as guḷikā, small pillars, images depicting various episodes mentioned in the purāṇas and others. The upabhadraka should be made so as to be equal to the height of upapīṭha. The portion above the upabhadraka should be thickly and firmly coverd with wooden planks. The wooden planks and the middle of the bhāra should be furnished with pillars and such ther ornamental designs.

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40-42

फलकामध्य भारान्तं योजयेत्पद्मकुड्मळम् | सनाळं नाळमानं तु द्विसप्तत्र्यङ्गुलोर्ध्वतः || ४० शतांशान्तं समुद्दिष्टं तन्मूलं वेदभागतः | वस्वांशघनोपेतं वृत्तं वाष्टाश्रमेव वा || ४१ षडर्कभागपर्यन्तहीनाग्रं तत्र वक्रयुक् | कुम्भमण्डि समायुक्तं युक्तं वा गण्डिकाद्वयोः || ४२

phalakāmadhya bhārāntaṃ yojayetpadmakuḍmaḷam | sanāḷaṃ nāḷamānaṃ tu dvisaptatryaṅgulordhvataḥ || 40 śatāṃśāntaṃ samuddiṣṭaṃ tanmūlaṃ vedabhāgataḥ | vasvāṃśaghanopetaṃ vṛttaṃ vāṣṭāśrameva vā || 41 ṣaḍarkabhāgaparyantahīnāgraṃ tatra vakrayuk | kumbhamaṇḍi samāyuktaṃ yuktaṃ vā gaṇḍikādvayoḥ || 42

The portion between the wooden planks and the middle of the bhāra should be furnished with designs of lotus-buds associated with stem. The length of the stem may be 2, 3 or 7 aṅgulas or above this measurement. This could exceed by one-hundredth part. The root(bulb) of the stem may with a height of four parts. It should be with a thickness of one part out of eight parts and it may be in circular form or octagonal form. Its front part(tip) should be provided with vaktra, kumbha, maṇḍi and two gaṇḍikas so as to occupy 6 parts to 12 parts.

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43-45

पद्मं फलकयायुक्तं तदूर्ध्वं पद्मकुड्मळम् | तच्च वेदांशमारभ्य व्योमभाग विवृद्धितः || ४३ वस्वंशान्ताय संयुक्तं तद्विस्तारोदरान्वितम् | तत्त्रिपाद विशालं वा तदन्तस्सममानकम् || ४४ कृशाग्रं वृत्तमष्टाश्रं फुल्लबाह्यदलं तु वा | बहिःकरणमेवं स्यादत्रान्तःकरणं द्विजाः || ४५

padmaṃ phalakayāyuktaṃ tadūrdhvaṃ padmakuḍmaḷam | tacca vedāṃśamārabhya vyomabhāga vivṛddhitaḥ || 43 vasvaṃśāntāya saṃyuktaṃ tadvistārodarānvitam | tattripāda viśālaṃ vā tadantassamamānakam || 44 kṛśāgraṃ vṛttamaṣṭāśraṃ phullabāhyadalaṃ tu vā | bahiḥkaraṇamevaṃ syādatrāntaḥkaraṇaṃ dvijāḥ || 45

The padma should be associated with wooden plank and a lotus-bud should be designed above this. The diameter of the bud should begin with four parts and end with eight parts, the increment being one part each time. Its interior should be according to the diamter. Its breadth may be three-fourth of that measure or may be equal to that. The tip of the bud should be thin and it may be set within a circular maḍala or octagonal maṇḍala. Or, it may be shown as associated with well-blossomed petal in its outside. O, the twice-born sages!, the ornamental workings in the exterior and the interior should be done in this way.

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46-49

भारोर्ध्वे वाजनं कुर्याद् अल्पनिर्गमनान्वितम् | यथेष्टबहलोपेतं तदूर्ध्वे वाजनान्तरम् || ४६ तद्विनिर्गमनोपेतं उपपीठं गळावधि | द्वाभ्यां एकेन वा कुर्याद्दारुभ्यां दारुणा द्विजाः || ४७ तत्संबन्धे विधातव्ये विष्टकेऽक्षोर्ध्वदेशतः | पञ्चग्राहि निबन्धे द्वे विधातव्ये विचक्षणैः || ४८ यथेष्ट घनविस्तारे तत्संबन्धेऽपरेऽपि वा | भद्रमूले तदग्रे च समभद्रे तथा नयेत् || ४९

bhārordhve vājanaṃ kuryād alpanirgamanānvitam | yatheṣṭabahalopetaṃ tadūrdhve vājanāntaram || 46 tadvinirgamanopetaṃ upapīṭhaṃ gaḷāvadhi | dvābhyāṃ ekena vā kuryāddārubhyāṃ dāruṇā dvijāḥ || 47 tatsaṃbandhe vidhātavye viṣṭake'kṣordhvadeśataḥ | pañcagrāhi nibandhe dve vidhātavye vicakṣaṇaiḥ || 48 yatheṣṭa ghanavistāre tatsaṃbandhe'pare'pi vā | bhadramūle tadagre ca samabhadre tathā nayet || 49

The vājana(fillet) should be made above the bhāra so as to be associated with a small projection. An upapīṭha should be designed above the vājana so as to reach the level of gala-part; it should be provided with many kinds of ornamental designs and a projection according to the desired measurements. Or, instead of making two vājanas, one vājana may be provided. O, the twice-born sages!, all these should be made with timber got from the recommended trees. In the portion above the gala, a unitive band(sambhanda) and a viṣṭaka should be designed. Two pañcagrāhis which are meant to join the parts firmly should be made by the experts. Both the ‘sambhanda’ and viṣṭaka may be with the desired thickness and breadth. These may be applied to the bottom of the bhadra, to the top of the bhadra or to the whole form of bhadra.

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50-52

अन्तर्वाजनकोर्ध्वे स्यादुपपीठं गळावधि | तत्र पादा विधेयास्स्युरुपपीठावसानके || ५० फलके द्वे विधातव्ये तत्पादोपरि संस्थिते | तत्र सन्नद्धविष्टे द्वे पञ्चग्राहिगते च ते || ५१ भद्राग्रयोस्तथा कार्ये त्वेवमन्तरुदाहृतम् | उपपीठोर्ध्वतः कुर्याद् अधिष्ठानं तदुच्यते || ५२

antarvājanakordhve syādupapīṭhaṃ gaḷāvadhi | tatra pādā vidheyāssyurupapīṭhāvasānake || 50 phalake dve vidhātavye tatpādopari saṃsthite | tatra sannaddhaviṣṭe dve pañcagrāhigate ca te || 51 bhadrāgrayostathā kārye tvevamantarudāhṛtam | upapīṭhordhvataḥ kuryād adhiṣṭhānaṃ taducyate || 52

An upapīṭha should be made above the antar-vājana( small fillet gone inside between two parts above and below) up to the level of gala. Small pillars should be provided above the upapīṭha. Two wooden planks should be fixed above such pillars. Two viṣṭakas associated with pañcagrāhi should fittingly be joined there. Same designs should be given above the top of bhadras. Thus, the designs which are to be provided in the interior of the chariot are told. An adhiṣṭḥāna should be made above the upapīṭha and its dimensions are told here.

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53-56

उपपीठसमं वा स्यात्तदर्धं वाथ सार्धकम् | तन्मध्ये षट्कमानं यत् पूर्ववत् परिगृह्यताम् || ५३ अष्टाविंशतिभागं तु तदुच्चं तु समं भवेत् | पङ्क्तिनेत्रैकसप्तैक व्योमद्व्येकैक लोचनैः || ५४ पद्मं करणं च पद्मं च कुमुदं पद्मवाजने | सदन्तगळकम्पौ च महावाजनमाचरेत् || ५५ उपपीठोक्तरीत्यैतद् उनाधिक्ये समाचरेत् | प्रवेशनिर्गमौ वापि तद्वदेव समाचरेत् || ५६

upapīṭhasamaṃ vā syāttadardhaṃ vātha sārdhakam | tanmadhye ṣaṭkamānaṃ yat pūrvavat parigṛhyatām || 53 aṣṭāviṃśatibhāgaṃ tu taduccaṃ tu samaṃ bhavet | paṅktinetraikasaptaika vyomadvyekaika locanaiḥ || 54 padmaṃ karaṇaṃ ca padmaṃ ca kumudaṃ padmavājane | sadantagaḷakampau ca mahāvājanamācaret || 55 upapīṭhoktarītyaitad unādhikye samācaret | praveśanirgamau vāpi tadvadeva samācaret || 56

The height of adhiṣṭhāna may be equal to that of upapīṭha; or, it may be half or one and a half of the height of upapīṭha. As explained earlier, in between the maximum and minimum heights, six kinds of meaurements of the height should be ascertained. One of these six measures should be taken as the height. Total height, thus arrived, should be divided into 28 equal parts. With the proportionate measurements 10, 3, 1, 7, 1, 2, 1 and 3, the following parts should be designed: padma, karṇa, padma, kumuda, padma, vājana, danta-gala and kampa. Thus, mahāvājana should be designed constituted of all the eight parts mentioned above. This should be designed according to the directions given for the making of upapīṭha with a slight decrease or increase in the measurements. The drift and projection should be made in the same way.

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57-59

एतदन्तर्विधेयं चोपभद्रं भद्रमेव वा | अधिष्ठानोर्ध्वतः कार्यः पादवर्गो द्विजोत्तमाः || ५७ अधिष्ठानसमो वा स्याद् द्विगुणो वा समीरितः | तदन्तर्नवमाने वा पादाष्टांशान्वितोऽथवा || ५८ गुळिका पादपादैश्च नाटकैर्व्याळराजिभिः | सिंहभूतगजैः पादैर्वर्गं सर्वत्र भूषयेत् || ५९ तदन्तः क्षुद्रपादैश्च नाराचैस्सुदृढं नयेत्

etadantarvidheyaṃ copabhadraṃ bhadrameva vā | adhiṣṭhānordhvataḥ kāryaḥ pādavargo dvijottamāḥ || 57 adhiṣṭhānasamo vā syād dviguṇo vā samīritaḥ | tadantarnavamāne vā pādāṣṭāṃśānvito'thavā || 58 guḷikā pādapādaiśca nāṭakairvyāḷarājibhiḥ | siṃhabhūtagajaiḥ pādairvargaṃ sarvatra bhūṣayet || 59 tadantaḥ kṣudrapādaiśca nārācaissudṛḍhaṃ nayet

Either upabhadra or bhadra may be designed in between the adhiṣṭhāna and upapīṭha. O, the twice-born sages!, the frieze of pillars should be made above the adhiṣṭhāna. The height of pillars may be equal to that of adhiṣṭhāna or twice that measurement. Or, nine kinds of measurement may be obtained by dividing the difference between the two. Or, one out of eight parts of the height of adiṣṭhāna may be added to this. All parts of this section should be beautified with ornamental designs such as gulikā, small pillars, images depicting various episodes mentioned in the purāṇas, frieze of serpents, lions, groups of dwarf- demigods and pillars. The interior of this part should be strengthened well by the small pillars and linch-pins.

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60-63

प्रस्तरः पादवर्गोर्ध्वे मानं चास्य निगत्यते || ६० त्रिभागं तु समारभ्य भागभाग विवर्धनात् | नवभागावसानं स्याद् अलङ्कारश्च कथ्यते || ६१ तदुच्चे षोडशांशे तु गुणैकनयनाब्धिभिः | व्योमैकचन्द्रचन्द्रांशैरुत्तरं वाजनं ततः || ६२ निद्रा कपोतमालिङ्गं वाजनं प्रतिवाजनम् | प्रवेशो निर्गमैश्चैषां धामोक्त न्यायतो भवेत् || ६३

prastaraḥ pādavargordhve mānaṃ cāsya nigatyate || 60 tribhāgaṃ tu samārabhya bhāgabhāga vivardhanāt | navabhāgāvasānaṃ syād alaṅkāraśca kathyate || 61 taducce ṣoḍaśāṃśe tu guṇaikanayanābdhibhiḥ | vyomaikacandracandrāṃśairuttaraṃ vājanaṃ tataḥ || 62 nidrā kapotamāliṅgaṃ vājanaṃ prativājanam | praveśo nirgamaiścaiṣāṃ dhāmokta nyāyato bhavet || 63

An entablature should be designed above the frieze of pillars and their proportionate measurements are told now. The ornamental designs should be provided covering a height which starts from three parts and ends with nine parts, the increment being one part each time. If the height of the entablature is divided into sixteen equal parts, the following parts of it should be made: uttara, vājana, nidrā, kapotam, āliṅgam, vājanam and prati-vājanam. These should be respectively with the following proportionate measurements: 3,1,2,7,1, 1 and 1. The drift and projection should be designed at relevant parts as explained in the section dealing with the construction of temple.

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64-67

एकदाद्यतलं प्रोक्तं भद्रमेतत् समोदयम् | पादान्तं वाथ भद्रान्तं ह्रासयुक्तं च मूलतः || ६४ एकादिरसभागान्तं पार्श्वयोरुभयोरपि | प्रवेश रहितं वा स्याद् एवमेवोपभद्रकम् || ६५ रथस्त्वेकतलः प्रोक्तो द्वितलाद्यन्वितो न वा | षडाति त्रिंशदंशान्तं समं वा मूलपादतः || ६६ प्रस्तरोच्चं भवेन्मानं द्वितलाङ्घ्रिकपोतयोः | अनेनैव प्रकारेण कारयेत् त्रितलादिकम् || ६७

ekadādyatalaṃ proktaṃ bhadrametat samodayam | pādāntaṃ vātha bhadrāntaṃ hrāsayuktaṃ ca mūlataḥ || 64 ekādirasabhāgāntaṃ pārśvayorubhayorapi | praveśa rahitaṃ vā syād evamevopabhadrakam || 65 rathastvekatalaḥ prokto dvitalādyanvito na vā | ṣaḍāti triṃśadaṃśāntaṃ samaṃ vā mūlapādataḥ || 66 prastaroccaṃ bhavenmānaṃ dvitalāṅghrikapotayoḥ | anenaiva prakāreṇa kārayet tritalādikam || 67

These are the directions given for the chariot known as Bhadra associated with single storey. The height from the base may be reduced up to the top of pillar or that of bhadra- part. Reduction may be done on the two sides, starting from one part and ending with six parts. The upa-bhadraka may be designed so as to be without the drift. The process of constructing a single-storyed chariot has been told. The chariot associated with two storeys and more than two may or may not be constructed. The height of entablature for the two storyed chariot may be equal to the height of the basement pillar or its hieght may be from six to thirty parts of that height. The entablature should be provided with aṅghri and kapota. The chariot having three storeys and more than that should be constructed in the same way.

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68-70

छादयेत् फलकैरूर्ध्वतलं सारतरूद्भवैः | एकाङ्गुलघनैरिष्ट घनैर्वा सुदृढं यथा || ६८ भद्रं चोपभद्रं च छादयेदेवमेव तु | न्यायेनानेन कर्तव्यः प्रवेशो निर्गमोऽपि वा || ६९ पादानां पादतः कार्यः प्रस्तराणां च मञ्चतः | प्रवेश निर्गमो हित्वा कुर्याद्वा रज्जुसूत्रकम् || ७०

chādayet phalakairūrdhvatalaṃ sāratarūdbhavaiḥ | ekāṅgulaghanairiṣṭa ghanairvā sudṛḍhaṃ yathā || 68 bhadraṃ copabhadraṃ ca chādayedevameva tu | nyāyenānena kartavyaḥ praveśo nirgamo'pi vā || 69 pādānāṃ pādataḥ kāryaḥ prastarāṇāṃ ca mañcataḥ | praveśa nirgamo hitvā kuryādvā rajjusūtrakam || 70

The upper storey should be covered strongly and compactly with the wooden planks made of timber got from the recommended sap-filled trees. The planks may be with a thickness of one aṅgula or with desired thickness and they should be with much strength. Both the bhadra and upabhadra should be covered in this way. Both the drift and projection should be provided to these according to the directions told earlier. The pillars should be provided to the pāda-type of chariot and entablature should be provided to the mañca-type of chariot. Instead of drift and projection, the sthapati may carve a straight channel along the plumbline.

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71-73

अनेकतलयुक्तं चेद्विशेषः कश्चिदिष्यते | रथस्यारोहणार्थं तु सोपानकृति सन्निभम् || ७१ भद्रोक्तायाम विस्तारं मुखे पृष्ठे द्वयोस्तु वा | प्रतिभौमं प्रवेशस्स्यात् भद्रस्य मुनिपुङ्गवाः || ७२ सोपानं वा प्रकर्तव्यं तद्विधान समन्वितम् | उपभद्र विहीनं वा भद्रं भारन्तमेव वा || ७३

anekatalayuktaṃ cedviśeṣaḥ kaścidiṣyate | rathasyārohaṇārthaṃ tu sopānakṛti sannibham || 71 bhadroktāyāma vistāraṃ mukhe pṛṣṭhe dvayostu vā | pratibhaumaṃ praveśassyāt bhadrasya munipuṅgavāḥ || 72 sopānaṃ vā prakartavyaṃ tadvidhāna samanvitam | upabhadra vihīnaṃ vā bhadraṃ bhārantameva vā || 73

If the chariot is multi-storeyed, there are some specific parts to be made. In order to mount the image of the God, steps should be provided to be in the likeness of the flight of steps given to the storyed buildings. O, the celebrated sages!, in the front or in the back or both in front and back, the flight of steps should be constructed compatible to the length and breadth of the bhadra. Entrance should be provided to the bhadra designed in each storey. The flight of steps should be made according to the directions given earlier for such construction. Having left out upa-bhadra, the flight of steps may be provided to the bhadra or bhadrānta(interior of the bhadra).

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74-77

एतत्सर्वं विहायाथ केवलं तूपपीठकम् | भारोपरि विधातव्यं तदूर्ध्वे देवसंस्थितिः || ७४ उपपीठं विहायास्मिन् केवलं वा मसूरकम् | बहिःकरणमेवं स्यादन्तरत्र निगद्यते || ७५ पादवर्गेऽन्तरे क्षुद्रपादाः कम्पोपरिस्थिताः | ऊर्ध्वकम्प निबद्धाश्च विधातव्या विचक्षणैः || ७६ तदूर्ध्वे प्रस्तराग्रस्थाः पञ्चग्राहियुता न वा | विष्टराः बहवः कार्यास्तलं प्रत्येकमाचरेत् || ७७

etatsarvaṃ vihāyātha kevalaṃ tūpapīṭhakam | bhāropari vidhātavyaṃ tadūrdhve devasaṃsthitiḥ || 74 upapīṭhaṃ vihāyāsmin kevalaṃ vā masūrakam | bahiḥkaraṇamevaṃ syādantaratra nigadyate || 75 pādavarge'ntare kṣudrapādāḥ kampoparisthitāḥ | ūrdhvakampa nibaddhāśca vidhātavyā vicakṣaṇaiḥ || 76 tadūrdhve prastarāgrasthāḥ pañcagrāhiyutā na vā | viṣṭarāḥ bahavaḥ kāryāstalaṃ pratyekamācaret || 77

Having left out all these mentioned above, the upapīṭha alone may be made above the bhāra. Above the upapīṭha, there should be shrine for the God. Or, having left out the upapīṭha, masūraka alone may be designed. These are the workings to be done in the exterior side. Now, the essential workings to be done in the interior are told. In the interior side of the frieze of pillars, kampa should be designed and over that kampa, row of small pillars should be provided. Above this, an upper-kampa and strong band should be made by the experts(sthapatis). An entablature should be made above this and upon the top of entablature, pañcagrāhi may be provided or it may be left out. In each storey, many viṣṭaras should be provided.

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78-80

तुलामुखानुगाः कार्या ओजा युग्मा यथेष्टतः | जयन्त्यस्स्युस्तदूर्ध्वे तु तदूर्ध्वे छादनं मतम् || ७८ तदूर्ध्वे च विजिः कार्या यथेष्टघनतुङ्गतः | नानाकीलक पट्टैश्च पञ्चग्राहिभिरेव च || ७९ नाराचैः क्षुद्रकीलैश्च ग्राहकैः पुलकादिभिः | कोटिकैर्वक्रपट्टैश्च बन्धयेत् सुदृढं यथा || ८०

tulāmukhānugāḥ kāryā ojā yugmā yatheṣṭataḥ | jayantyassyustadūrdhve tu tadūrdhve chādanaṃ matam || 78 tadūrdhve ca vijiḥ kāryā yatheṣṭaghanatuṅgataḥ | nānākīlaka paṭṭaiśca pañcagrāhibhireva ca || 79 nārācaiḥ kṣudrakīlaiśca grāhakaiḥ pulakādibhiḥ | koṭikairvakrapaṭṭaiśca bandhayet sudṛḍhaṃ yathā || 80

Many wooden rods made to be in the likeness of the beam of a balance as desired by the sthapati, their number being odd or even, should be fixed. Above this, posts called jayanti should be fixed and they should be covered compactly with planks. Fillet known as viji should be made above this to be with desired thickness and height. All these parts and designs should be joined firmly with various kinds of linch-pins, flat-nails, pañcagrāhis, rods, small linch-pins, removable and adjustable nails, headless nails, curved nails, curved flat-pins and such others.

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81-83

एतदग्रं समाख्यातं तोरणेन युतं न वा | पादकूटयुतं तच्चेदधस्तन्मानमुच्यते || ८१ वेदतालं समारभ्य तालार्धेन विवर्धयेत् | यावदष्टयवं पाददैर्घ्यमग्न्यङ्गुलादिकम् || ८२ पादपाद विवृद्ध्या तु तत्त्वाङ्गुल समावधि | पादविस्तारं आख्यातो धामपादाकृतिर्यथा || ८३

etadagraṃ samākhyātaṃ toraṇena yutaṃ na vā | pādakūṭayutaṃ taccedadhastanmānamucyate || 81 vedatālaṃ samārabhya tālārdhena vivardhayet | yāvadaṣṭayavaṃ pādadairghyamagnyaṅgulādikam || 82 pādapāda vivṛddhyā tu tattvāṅgula samāvadhi | pādavistāraṃ ākhyāto dhāmapādākṛtiryathā || 83

The chariot, the construction of which has been detailed so far, may be provided with toraṇa(arch) or such toṟaṇa may be left out. If the chariot is to be provided with pādakūṭa in its lower part, the measurements of such part are now told. It should begin with four yavas and end with eight yavas, the increment being half-yava each time. The length of the pedestal may be more than three aṅgulas. The maximum length should be three aṅgulas and four to eight yavas. The breadth of the leg should begin with four aṅgulas and end with thirty-six aṅgulas, the increment being four each time. The pāda should be designed according to the directions told for the construction of temple.

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84-86

अग्रमूल शिखोपेताः पादाः कुम्भादिसंयुताः | बहुनीव्र समायुक्ताः फलकाशु निवेशिताः || ८४ तालाधस्संस्थितैर्विष्टैः पादमूलं च बन्धयेत् | तथैवासननाळैश्च धारकैस्सुदृढं यथा || ८५ पादोर्ध्वे प्रस्तरं कुर्याल्लुपारोहण योग्यकम् | शिखाकरण मार्गेण लुपारोहक्रियान्विता || ८६

agramūla śikhopetāḥ pādāḥ kumbhādisaṃyutāḥ | bahunīvra samāyuktāḥ phalakāśu niveśitāḥ || 84 tālādhassaṃsthitairviṣṭaiḥ pādamūlaṃ ca bandhayet | tathaivāsananāḷaiśca dhārakaissudṛḍhaṃ yathā || 85 pādordhve prastaraṃ kuryāllupārohaṇa yogyakam | śikhākaraṇa mārgeṇa lupārohakriyānvitā || 86

The pillars should be designed so as to be associated with spires, kumbhas and such other designs at their base and the top. They should be provided with multiple nīvras; multiple planks should be inserted in between the pillars. The base of the pillars and viṣṭaras which are under the tālā-part should be joined well. In the same way, the seat should be joined firmly with nālas and dhārakas. An entablature should be designed above the pedestal in such a way that it becomes fit enough for the arrangement of lūpas. The arrangement of lūpas should be done in the same way as explained for the making of śikhā(spire).

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87-90

सौवर्णैस्तारजैर्लोष्टैस्ताम्रजैर्वृक्षकैर्दृढम् | छादयेदन्यदेशं च ओजस्तूपि समन्वितम् || ८७ रथस्त्वेवं समादिष्टश्शुभायादि समन्वितः | कथ्यते स च लेशेन विस्तारादायतोऽपि वा || ८८ उभाभ्यां सकळस्याथ नाहेनोत्सङ्गतोऽथवा | वर्धयेत् द्वित्रिवेदैश्च गुणिते क्रमशो हृते || ८९ सप्तभूतर्क्षपाताळैरायोऽन्यस्तारवारकौ | तिथिस्स्यात् त्रिगुणं त्रिंशद्धस्तमेतद्रथे मतम् || ९० शकटे शिबिकादौ च शुभे शुभमुदाहृतम् |

sauvarṇaistārajairloṣṭaistāmrajairvṛkṣakairdṛḍham | chādayedanyadeśaṃ ca ojastūpi samanvitam || 87 rathastvevaṃ samādiṣṭaśśubhāyādi samanvitaḥ | kathyate sa ca leśena vistārādāyato'pi vā || 88 ubhābhyāṃ sakaḷasyātha nāhenotsaṅgato'thavā | vardhayet dvitrivedaiśca guṇite kramaśo hṛte || 89 saptabhūtarkṣapātāḷairāyo'nyastāravārakau | tithissyāt triguṇaṃ triṃśaddhastametadrathe matam || 90 śakaṭe śibikādau ca śubhe śubhamudāhṛtam |

The roof should be covered compactly with tiles made of gold, silver, earth, copper or strong woods and other parts of the chariot also should be covered well. It should be with odd number of stūpis(finials). The chariot, the making of which has been told now, should be governed by the rules related to auspicious āyā and other factors. The calculation of āya and others related to the chariot is now briefly told. The breadth, length, or addition of both the breadth and the length should be considered for the chariots based on skala-pada(vāstu maṇḍala). For other chariots, either the circumference or the height may be taken to ascertain āyā and others. The taken measurement should be multiplied by 3, 3, 4 and 4 and divided by 7, 5, 27 and 7 respectively. The remainder denotes āyā, vyaya, nakshatra and vāra. To find out the value of tithi, the measurement taken should be multiplied by 3 and divided by 30. This is the process of calculating āyā and other factors for the chariots. It is declared here that other kinds of chariots known as śakaṭa, śibika and others would be auspicious if they have been designed to comply with the rules related to auspicious āyā and other factors.

91-93

रथस्य स्थापनं यच्च कथ्यते विप्रपुङ्गवाः || ९१ उद्वास्य तक्षकं शुद्धतोयेन क्षाळयेद् दृढम् | गोमूत्रगोमयाम्भोभिः कुशोदैस्तज्जलैरपि || ९२ गव्येन प्रोक्ष्य पुण्याहतोयसेचनमाचरेत् | अस्त्रोदेनापि संप्रोक्ष्य गन्धपुष्पादिभिर्यजेत् || ९३ कौतुकं बन्धयेत् पद्ममुकुळे हृदयेन तु |

rathasya sthāpanaṃ yacca kathyate viprapuṅgavāḥ || 91 udvāsya takṣakaṃ śuddhatoyena kṣāḷayed dṛḍham | gomūtragomayāmbhobhiḥ kuśodaistajjalairapi || 92 gavyena prokṣya puṇyāhatoyasecanamācaret | astrodenāpi saṃprokṣya gandhapuṣpādibhiryajet || 93 kautukaṃ bandhayet padmamukuḷe hṛdayena tu |

O, the foremost twice-born sages!, now the process of installation of the chariot is explained. Having sent off the sthapati with due honors, the Guru should sprinkle the consecrated water over all parts of both exterior and interior. Then he should sprinkle cow-urine and cow-dung and pure water over the chariot; then he should sprinkle water-drops with kuśa-grass and mixture of five substances got from the cow. Then he should sprinkle the consecrated water contained in the kalaśa kept for puṇyāha-vācana and sprinkle the astra-water. Then, he should worship the chariot with sandal, flowers and other substances. After this, he should tie up the protective thread(kautuka) around the lotus-bud designed in the chariot, reciting the hṛudaya-mantra.

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94-98

वस्त्रेणाच्छाद्य धामोक्त्या तत्त्वतत्त्वेश्वरान्वितम् || ९४ मूर्तिमूर्तीश्वरोपेतं चक्रेष्विन्दु दिवाकरौ | दक्षिणोत्तर संस्थेषु क्रमशः परिकल्पयेत् || ९५ हरिमक्षेषु भारेषु यजेदाधार संज्ञिताम् | उपपीठे वृषं यष्ट्वाधारेऽनन्तं प्रपूजयेत् || ९६ धर्मादींश्चरणेष्वेवं अधर्मादींस्तदूर्ध्वतः | अधश्चोर्ध्वच्छदे विद्वान् क्रमेण विनिवेशयेत् || ९७ फलकाप्रस्तरस्याधश्चोर्ध्वं तत्रैव पङ्कजम् | कर्णिकां नवशक्तीश्च शिवासन मनुस्मरेत् || ९८

vastreṇācchādya dhāmoktyā tattvatattveśvarānvitam || 94 mūrtimūrtīśvaropetaṃ cakreṣvindu divākarau | dakṣiṇottara saṃstheṣu kramaśaḥ parikalpayet || 95 harimakṣeṣu bhāreṣu yajedādhāra saṃjñitām | upapīṭhe vṛṣaṃ yaṣṭvādhāre'nantaṃ prapūjayet || 96 dharmādīṃścaraṇeṣvevaṃ adharmādīṃstadūrdhvataḥ | adhaścordhvacchade vidvān krameṇa viniveśayet || 97 phalakāprastarasyādhaścordhvaṃ tatraiva paṅkajam | karṇikāṃ navaśaktīśca śivāsana manusmaret || 98

Contemplating the presence of Tattvas, Tattveśvaras, Mūrtis and Mūrtiśvaras over the full form of the chariot, the Guru should cover it completely with a new cloth. Then he should conceive the presence of various Gods in the concerened parts of the chariot: Sun and Moon in the wheels in the right side and left side respectively; Viṣṇu in the axels; Ādhāraśakti in the bhāras(supports); Vṛuṣa in the upapīṭha; Ananta(serpent Adiśeṣa) in the ādhāra; Dharma and others in the lower row of pillars; Adharma and others , in the upper row of pillars. The lower-knot and upper knot of the lotus stem should be conceived below and above the planks and entablature. The presence of well-blossomed eight-petalled lotus should be conceived above the prastara itself. Having invoked the presence of nine Śaktis in the pericarp of the lotus, he should ideate the śiva-seat there, reciting the mantra pertaining to śivāsana.

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99-103

ब्रह्मा विष्णुश्च रुद्रश्च ईश्वरश्च रथाधिपाः | शिखरे च सदेशानश्शिवस्स्यात् स्तूपिनायकः || ९९ पद्मकुड्मळकेऽनन्तो व्याप्तिं प्रासाद वर्त्मना | तदग्रे स्थण्डिलं कृत्वा तस्मिन् सूत्राम्बरान्वितान् || १०० हेमकूर्चादि संयुक्तान् नवकुम्भान्निवेशयेत् | तत्र मध्ये शिवं पूर्वे भानुमिन्दुं तथानले || १०१ दक्षिणे हरिमाधारशक्तिं निरृते घटे | वारुणे वृषभं वायावनन्तं विनिवेशयेत् || १०२ धर्माद्यं उत्तरे कुम्भे शेषमीशान गोचरे | गन्धाद्यैरर्चयित्वा तु होमकर्म समाचरेत् || १०३

brahmā viṣṇuśca rudraśca īśvaraśca rathādhipāḥ | śikhare ca sadeśānaśśivassyāt stūpināyakaḥ || 99 padmakuḍmaḷake'nanto vyāptiṃ prāsāda vartmanā | tadagre sthaṇḍilaṃ kṛtvā tasmin sūtrāmbarānvitān || 100 hemakūrcādi saṃyuktān navakumbhānniveśayet | tatra madhye śivaṃ pūrve bhānuminduṃ tathānale || 101 dakṣiṇe harimādhāraśaktiṃ nirṛte ghaṭe | vāruṇe vṛṣabhaṃ vāyāvanantaṃ viniveśayet || 102 dharmādyaṃ uttare kumbhe śeṣamīśāna gocare | gandhādyairarcayitvā tu homakarma samācaret || 103

The presiding Lord of the temple chariot are: Brahma, Viṣṇu, Rudra and Īśvara. Lord Sadāśiva is the presidng Lord of śikhara and Lord Śiva is the presiding Lord of stūpi. Anateśvara is the presiding Lord of the lotus-bud. All details about such Lords who preside over all other parts of the chariot are to be known according to the details given in the section dealing with the temple and the presiding Deities. Having designed a sthaṇḍila in front of the chariot, the Guru should arrange nine kumbhas, all of them wound around with thread and adorned with cloth, gold coin, bunch of darbha-grass (kūrca) and such others. Śiva should be worshipped in the middle kumbha; Sun, in the east kumbha; Moon, in the south-east; Viṣṇu in the south; Ādhāraśakti in the kumbha placed in the south-west; Vṛuṣabha in the west; Ananteśvara in the north-west; Dharma and others in the north; and all other Gods, in the kumbha placed in the north-east. Having worshipped all these kumbhas with sandal, flowers and other substances, the Guru should perform the fire-ritual.

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104-106

संस्थापित घटानां वा समन्ताद्वा रथस्य तु | नव वा पञ्चकुण्डानि एकं वा पूर्वतः स्थितम् || १०४ आवाह्य स्थण्डिलं वाथ कृत्वा कुण्डाग्नि संस्कृतिम् | शिवं साङ्गं प्रधाने तु तर्पयेच्छतसंख्यया || १०५ भान्वादीन् स्वस्वदिक्कुण्डे पञ्चकल्पे द्वयं द्वयम् | एककल्पे गुरुः स्वस्मिन् कुण्डे सर्वं च तर्पयेत् || १०६

saṃsthāpita ghaṭānāṃ vā samantādvā rathasya tu | nava vā pañcakuṇḍāni ekaṃ vā pūrvataḥ sthitam || 104 āvāhya sthaṇḍilaṃ vātha kṛtvā kuṇḍāgni saṃskṛtim | śivaṃ sāṅgaṃ pradhāne tu tarpayecchatasaṃkhyayā || 105 bhānvādīn svasvadikkuṇḍe pañcakalpe dvayaṃ dvayam | ekakalpe guruḥ svasmin kuṇḍe sarvaṃ ca tarpayet || 106

Nine or five fire-pits should be constructed around the nine kumbhas or around the chariot. If the fire-pit is to be one only, it should be constructed in the east. Having invoked the concerned Deities to be present over the sthaṇḍila and having done all the essential sacramental rituals for the fire-pit and the fire raised in that, the Guru should delight Lord Śiva associated with His retinue Lords , offering the oblations into the main fire-pit for one hundred times. Sun, Moon and other Deities should be pleased by offering the oblations into their respective fire-pits. If only five fire-pits are constructed, the officiating priest should offer the oblations for two Deities in each fire-pit. If there is only one fire-pit, then the Guru should offer the oblations into that fire-pit meant for him to make all the Deities pleased and delighted.

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107-109

समिदाज्यान्न लाजैश्च तिलैर्होमं समाचरेत् | तत्त्वमूर्ति तदीशैश्च गुरुर्होमं समाचरेत् || १०७ पलाशोदुम्बराश्वत्थ वटाः प्रागादि दिङ्मताः | शम्यपामार्गश्रीवृक्ष पिप्पलास्स्युर्विदिग्गताः || १०८ पलाशश्च प्रधानस्य समिधस्संप्रकीर्तिताः | पूर्णां दत्वा द्वितीयेऽह्नि कृतकुम्भाग्नि पूजनः || १०९

samidājyānna lājaiśca tilairhomaṃ samācaret | tattvamūrti tadīśaiśca gururhomaṃ samācaret || 107 palāśodumbarāśvattha vaṭāḥ prāgādi diṅmatāḥ | śamyapāmārgaśrīvṛkṣa pippalāssyurvidiggatāḥ || 108 palāśaśca pradhānasya samidhassaṃprakīrtitāḥ | pūrṇāṃ datvā dvitīye'hni kṛtakumbhāgni pūjanaḥ || 109

The oblations should be made with faggots, clarified-butter, cooked and consecrated rice, parched paddy-grains and sesame. The Guru should offer the oblations for the Tattvas and Tattveśvaras. Palāśa, udumbara, aśvattha and vaṭa – these are the faggots to be offered into the fire-pits in the main directions starting from the east. Śami, apāmārga, śrīvṛuksha and pippala – these are the faggots to be offered into the fire-pits in the corner directions starting from the south-east. The faggots of palāśa tree should be offered into the principal fire-pit. In the second day, the Guru should worship al the kumbhas and the fire raised in the fire-pits and offer the consummate oblation(pūrṇāhuti) at the end.

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110-112

संप्राप्त दक्षिणो मूर्तिधारदैवज्ञ शिल्पिभिः | मुहूर्ते समनुप्राप्ते मन्त्रन्यासं समाचरेत् || ११० तत्तत्कुम्भ पानीयैस्तत्तद्देशं सुसेचयेत् | अनुक्तमत्र सामान्यस्थापनोक्तवदाचरेत् || १११ एवं रथं समापाद्य यः कुर्यात्प्रोक्षणं नरः | इहैव धनवान् श्रीमान् वाञ्चितं फलमाप्नुयात् || ११२ रथमेवं सुसंस्कृत्य रथायात्रां समाचरेत्

saṃprāpta dakṣiṇo mūrtidhāradaivajña śilpibhiḥ | muhūrte samanuprāpte mantranyāsaṃ samācaret || 110 tattatkumbha pānīyaistattaddeśaṃ susecayet | anuktamatra sāmānyasthāpanoktavadācaret || 111 evaṃ rathaṃ samāpādya yaḥ kuryātprokṣaṇaṃ naraḥ | ihaiva dhanavān śrīmān vāñcitaṃ phalamāpnuyāt || 112 rathamevaṃ susaṃskṛtya rathāyātrāṃ samācaret

The chief-priest, assiting priests(called mūrtipas or mūrtidhāras), daivajña and sthapati should be honored duly with sacrificial fees and valuable gifts. Upon the arrival of ascertained auspicious muhūrta, the Guru should perform mantra-nyāsa and pour the consecrated water contained in the kumbha over the relevant part of the chariot to which each kumbha is meant. All other common details not mentioned here should be known from the chapter dealing with sthāpana(installation and consecration). The devotee who, having constructed the chariot in this perfect way, performs the consecration would evolve into a possessor of wealth and a great rich person and he would attain all the fruits desired by him. Having consecrated the chariot in this way, the Guru should arrange for the first procession of the chariot.

81 Lineaments of Karaṇas (karaṇa- materials, tools, instruments, forms and such others)

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1-4

लक्षणं करणानां च वक्ष्ये संक्षेपतः क्रमात् | याज्ञीयवृक्षजाश्शस्तास्समिधो द्वादशाङ्गुलाः || १ सत्वचस्तास्समच्छेदा वक्रग्रन्थ्यादि वर्जिताः | त्रिंशद्दर्भदळैर्गाढं ग्रथिता बाहुमात्रकाः || २ वेणिका वर्तुळा वापि विष्टरा दर्भनिर्मिताः | तन्माना ऋजवस्साग्रास्तत्कुण्ड समिदुद्भवाः || ३ निर्व्रणाश्च समच्छेदाः प्रोक्ताः परिधयस्समाः | चत्वारो विष्टरस्तद्वन्मताः परिधयोऽपिच || ४

lakṣaṇaṃ karaṇānāṃ ca vakṣye saṃkṣepataḥ kramāt | yājñīyavṛkṣajāśśastāssamidho dvādaśāṅgulāḥ || 1 satvacastāssamacchedā vakragranthyādi varjitāḥ | triṃśaddarbhadaḷairgāḍhaṃ grathitā bāhumātrakāḥ || 2 veṇikā vartuḷā vāpi viṣṭarā darbhanirmitāḥ | tanmānā ṛjavassāgrāstatkuṇḍa samidudbhavāḥ || 3 nirvraṇāśca samacchedāḥ proktāḥ paridhayassamāḥ | catvāro viṣṭarastadvanmatāḥ paridhayo'pica || 4

I will instruct the lineaments of various materials and tools briefly in the due order. The faggots got from the sacrifial trees are considered to be the best and they should be with a length of twelve aṅgulas. They should be with bark, equally cut and devoid of bendings and knot-like protrusions. The viṣṭaras should be made of thirty darbha-petals so as to be thick , strong and compact and they should be up to the length of a hand. They should appear as a plaited hairs and be like lengthy, thin and cylindrical bars. The paridhis pertaining to a fire-pit should be made of twigs got from the trees from which the faggots belonging to that particular fire-pit have been collected. Their length should be equal to the length of viṣṭaras; should be straight and with sharp tips. They should be free from the crooks and bendings and should be cut uniformly. There should be four viṣṭaras and four paridhis for each fire-pit.

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5-8

दर्भत्रयं समारभ्य व्योमदर्भ विवृद्धितः | षट् त्रिंशद्दर्भ पर्यन्तं कूर्चार्थं दर्भमाहरेत् || ५ तत्संख्यामात्र दैर्घ्यं स्यात् किञ्चैकादशमात्रतः | ग्रन्थिरर्धाङ्गुलात्पादवृद्ध्या स्याद् द्व्यङ्गुलावधि || ६ ग्रन्थेः प्रदक्षिणावर्त शिखामानं द्विमात्रतः | वृद्द्यैकमात्रया प्रोक्तं नवमात्रावसानकम् || ७ ग्रन्थ्यग्ररहिता वाथ कूर्चास्स्युस्त्वितरे मताः | ब्रह्मविष्ण्वीश्वराः कूर्चमूलमध्याग्रगा मताः || ८

darbhatrayaṃ samārabhya vyomadarbha vivṛddhitaḥ | ṣaṭ triṃśaddarbha paryantaṃ kūrcārthaṃ darbhamāharet || 5 tatsaṃkhyāmātra dairghyaṃ syāt kiñcaikādaśamātrataḥ | granthirardhāṅgulātpādavṛddhyā syād dvyaṅgulāvadhi || 6 grantheḥ pradakṣiṇāvarta śikhāmānaṃ dvimātrataḥ | vṛddyaikamātrayā proktaṃ navamātrāvasānakam || 7 granthyagrarahitā vātha kūrcāssyustvitare matāḥ | brahmaviṣṇvīśvarāḥ kūrcamūlamadhyāgragā matāḥ || 8

With three darbhas and increasing the number of darbhas by one each time up to the maximum of thirty-six darbhas, the kūrca may be made. The length of the kūrca should be thirty-six aṅgulas. The length of the knot should be eleven digits and its width should be from half aṅgula to two aṅgulas, increasing the measure by one-fourth of an aṅgula each time. The knot should be in such a way that it is formed in clockwise direction. The measurement of the śikha(the ending part of the knot) should be two digits. This measurement may be increased up to nine digits, the increment being one digit each time. There are other types of kūrcas which may be designed to be without the knot and the front tip. Brahma, Viṣṇu and Rudra are the presiding Lords of kūrca at its bottom, middle and front part.

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9-13

उत्कूर्चन्यासपक्षोऽयमधः कूर्चे विलोमगाः | उत्कूर्चश्शान्तिदः प्रोक्तस्त्वधःकूर्चस्तु पुष्टितः || ९ अन्तः कूर्चो न कर्तव्यः स विधेयोऽभिचारके | द्वित्रिवेदशरैर्दर्भैः मूलाग्रसहितैस्तु वा || १० पवित्रं दक्षिणावर्तग्रथितं तद्विवर्जितम् | अनामिकाङ्गुलीयोग योग्यरन्ध्र समन्वितम् || ११ प्रागुक्त ग्रन्थिशिखरं पवित्रं अतिसुन्दरम् | ईश्वराधिष्ठितं प्राग्वद्दक्षिणे चोभयत्र च || १२ कर संयोजनीयं स्यात् काले देवार्चनादिके | अङ्गुलीयकमिष्टं स्यात्तदर्थं स्वर्णनिर्मितम् || १३

utkūrcanyāsapakṣo'yamadhaḥ kūrce vilomagāḥ | utkūrcaśśāntidaḥ proktastvadhaḥkūrcastu puṣṭitaḥ || 9 antaḥ kūrco na kartavyaḥ sa vidheyo'bhicārake | dvitrivedaśarairdarbhaiḥ mūlāgrasahitaistu vā || 10 pavitraṃ dakṣiṇāvartagrathitaṃ tadvivarjitam | anāmikāṅgulīyoga yogyarandhra samanvitam || 11 prāgukta granthiśikharaṃ pavitraṃ atisundaram | īśvarādhiṣṭhitaṃ prāgvaddakṣiṇe cobhayatra ca || 12 kara saṃyojanīyaṃ syāt kāle devārcanādike | aṅgulīyakamiṣṭaṃ syāttadarthaṃ svarṇanirmitam || 13

Utkūrca, adhaḥkūrca and antaḥkūrca – these are other types of kūrcas. Utkūrca should be used to perform ‘nyāsa’. Adhaḥkūrca should always be used downwards. Utkūrca is capable of effecting peaceful and settled state(śānti). Adhaḥkūrca is capable of effecting plenteous state and strength. The antaḥkūrca should never be done by the Ācāryas since they are used in malevolent rituals and black magic. With two, three, four or five darbhas, the pavitra may be made so as to be with base and front. The knot of the pavitra should be formed to be in clockwise direction. Or, the pavitra may be made so as to be without the knot. It should be with a ring at the knot and the ring should be formed in such a way that the pavitra is conveniently worn in the ring finger. Being associated with a perfect knot mentioned above, the pavitra should be very beautiful to look at. Īśvara is the presiding Lord of the pavitra, in its right side and at its bottom and front. The pavitra should necessarily be worn in the ring finger while performing the worship of Deities and other auspicious deeds. Instead of wearing the pavitra made of darbhas, the pavitra designed with gold may be worn.

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14-15

त्रयोविंशति संख्यात दर्भैस्स्यान्निर्मितेन च | अर्कमात्रादि षट्त्रिंशत् अङ्गुलावनतेन च || १४ यथेष्टान्तरयुक्तेन लम्बनेन समन्विता | दर्भमाला विधेया स्यात् कनिष्ठाङ्गुलिनाहया || १५ रज्ज्वा चैव विधेया स्यात् साश्वत्थ दलरञ्जिता |

trayoviṃśati saṃkhyāta darbhaissyānnirmitena ca | arkamātrādi ṣaṭtriṃśat aṅgulāvanatena ca || 14 yatheṣṭāntarayuktena lambanena samanvitā | darbhamālā vidheyā syāt kaniṣṭhāṅgulināhayā || 15 rajjvā caiva vidheyā syāt sāśvattha dalarañjitā |

Darbhamāla should be made with twenty-three darbhas; its length may be from 12 aṅgulas to 36 aṅgulas. The space between each darbha-rope may be with desired measurement. It shold be with sufficient ‘lambamāna’(darbhas in downward position). Thickness of the darbha-rope should be equal to that of the little finger. The ornamental rope may be made with the leaves of aśvattha tree so as to be charmful.

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16-19

आरभ्य हस्तत्रितयं त्र्यङ्गुलेन विवर्धनात् || १६ तिथिहस्तान्त दैर्घ्यं स्यात्तदर्धा विस्तृतिर्भवेत् | सदृशो वान्तरेऽष्टांशे नवमानं प्रकीर्तितम् || १७ द्वारमानोच्च तत्प्रोक्त विस्ताराद्दैर्घ्यतोऽपि वा | स्तम्भयोर्विष्टरस्यापि प्रमाणं त्र्यङ्गुलादितः || १८ पादाङ्गुल विवृद्ध्या तु त्रिंशन्मात्रान्तमीरितम् | याज्ञिकैस्तरुभिः कुर्यात् प्रतिष्ठादौ च तोरणम् || १९

ārabhya hastatritayaṃ tryaṅgulena vivardhanāt || 16 tithihastānta dairghyaṃ syāttadardhā vistṛtirbhavet | sadṛśo vāntare'ṣṭāṃśe navamānaṃ prakīrtitam || 17 dvāramānocca tatprokta vistārāddairghyato'pi vā | stambhayorviṣṭarasyāpi pramāṇaṃ tryaṅgulāditaḥ || 18 pādāṅgula vivṛddhyā tu triṃśanmātrāntamīritam | yājñikaistarubhiḥ kuryāt pratiṣṭhādau ca toraṇam || 19

(Now, directions for the designing of toraṇa are told). The height of toraṇa(arch) may start from three hastas and end with fifteen hastas, the increment being three aṅgulas each time. Half of this measurement should be the width. Dividing the difference between the minimum and maximum measurement into eight equal parts, nine kinds of measurements may be obtained. Or the length, breadth and height of the toraṇa may be held to be equal to those of the entrance of the shrine. The measurement of the pillar and upper beam should begin with three aṅgulas and end with thirty aṅgulas, the increment being one-fourth of an aṅgula each time. For installation and such other activities, the toraṇa should be designed with the woods got from the sacred trees recommended for the sacrificial rituals.

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20-23

शिलायेष्टकयाऽन्यत्र दारुभिस्तोरणं नयेत् | इष्टमानेन खातं स्याच्छिखामानं तथैव च || २० विष्टरोर्ध्वे त्रिशूलानि नवशूलानि पञ्च वा | सप्ताङ्गुलं समारभ्य व्योममात्र विवृद्धितः || २१ पक्षमात्रावसानं तु शूलदैर्घ्यं प्रकल्पयेत् | विस्तारात् पादवृद्ध्या तु द्व्यङ्गुलादर्धमात्रकम् || २२ यावत्तावद् घनं तेषां इष्टमानेन कारयेत् | एवं तोरणं आख्यातं मङ्गलाष्टकं उच्यते || २३

śilāyeṣṭakayā'nyatra dārubhistoraṇaṃ nayet | iṣṭamānena khātaṃ syācchikhāmānaṃ tathaiva ca || 20 viṣṭarordhve triśūlāni navaśūlāni pañca vā | saptāṅgulaṃ samārabhya vyomamātra vivṛddhitaḥ || 21 pakṣamātrāvasānaṃ tu śūladairghyaṃ prakalpayet | vistārāt pādavṛddhyā tu dvyaṅgulādardhamātrakam || 22 yāvattāvad ghanaṃ teṣāṃ iṣṭamānena kārayet | evaṃ toraṇaṃ ākhyātaṃ maṅgalāṣṭakaṃ ucyate || 23

In other places and other occasions, the toraṇa may be constructed with stone, bricks or wood. To erect the toraṇa, the ground may be dug up to the desired measurrement and the spire may be with the desired height . Nine or five tridents should be fixed above the viṣṭara of the toraṇa. The length of the trident should start with seven aṅgula and end with fifteen aṅgulas, the increment being one aṅgula each time. Thickness of the trident should be decided according to the width and it should start from half-aṅgula and end with two aṅgulas, the increment being one-fourth of an aṅgula each time. Or, these tridents may be made with desired measurements. Now , directions for the making of aṣṭamaṅgala(eight auspicious forms) are told.

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24-26

नवाङ्गुलं समारभ्य वृद्ध्या व्योमाङ्गुलेन च | षट्त्रिंशन्मात्र पर्यन्तं दैर्घ्यं तेषु प्रकल्पयेत् || २४ पादमर्धं त्रिपादं वा विशालं तेषु कल्पितम् | अन्तरेऽष्टविभागे तु नवमानमुदाहृतम् || २५ घनमेकाङ्गुलात्पादवृद्ध्या सप्ताङ्गुलावधि | याज्ञीयवृक्षैर्लोहैर्वा मङ्गलाष्टकमाचरेत् || २६

navāṅgulaṃ samārabhya vṛddhyā vyomāṅgulena ca | ṣaṭtriṃśanmātra paryantaṃ dairghyaṃ teṣu prakalpayet || 24 pādamardhaṃ tripādaṃ vā viśālaṃ teṣu kalpitam | antare'ṣṭavibhāge tu navamānamudāhṛtam || 25 ghanamekāṅgulātpādavṛddhyā saptāṅgulāvadhi | yājñīyavṛkṣairlohairvā maṅgalāṣṭakamācaret || 26

The length of the eight auspicious forms may be with a minimum of 9 aṅgulas and maximum of 36 aṅgulas, increasing the length by one aṅgula each time. One-fourth, half or three-fourth of the length may be the breadth. If the difference between the minimum and maximum length is divided into eight equal parts, nine kinds of measurement could be obtained. Thickness may start with one aṅgula and end with seven aṅgulas, the increment being one-fourth of an aṅgula each time. The maṅgalāṣṭaka(eight auspicious forms) may be designed with the woods got from the trees recommended for the sacrificial rituals or with the recommended metals.

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27-29

दर्पणं पूर्णकुम्भं च वृषभो युग्मचामरम् | श्रीवत्सं सवस्तिकं शंखो दीपश्शैवाष्टमङ्गलम् || २७ अन्येषामपि देवानां देवीनां चाष्टमङ्गले | वृषं त्यक्त्वा तदर्थं तु स्वस्ववाहनमाचरेत् || २८ शैवाष्टमङ्गलं कुर्याद्देवानां वाथ वर्णिनाम् | ग्रामादौ स्वगृहे वापि यजमानानुरूपतः || २९

darpaṇaṃ pūrṇakumbhaṃ ca vṛṣabho yugmacāmaram | śrīvatsaṃ savastikaṃ śaṃkho dīpaśśaivāṣṭamaṅgalam || 27 anyeṣāmapi devānāṃ devīnāṃ cāṣṭamaṅgale | vṛṣaṃ tyaktvā tadarthaṃ tu svasvavāhanamācaret || 28 śaivāṣṭamaṅgalaṃ kuryāddevānāṃ vātha varṇinām | grāmādau svagṛhe vāpi yajamānānurūpataḥ || 29

Darpaṇa(mirror), pūrṇa-kumbha, bull, twin cāmaras, śrīvatsa, svastikā, śaṅkha(counch) and dīpa – these are the eight auspicious forms pertaining to Śiva. In the group of aṣṭamaṅgala pertaining to other Gods and Goddesses, the bull should be left out and the vehicle pertaining to each God or Goddess should be designed. The aṣṭamaṅgala pertaining to Śiva may be designed for the Devas or for those who have entered into monastic order. In the village and such other settlements or in one’s own house, the aśṭamaṅgala may be done. With the measurement ascertained according to the nakshatra of the yajamāna or to the aṅgula obtained from the finger-digits of the yajamāna(deha- labdha aṅgula), the eight auspicious forms should be made.

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30-33

विलिखेद्दर्पणादीनि तन्मानं अधुनोच्यते | पञ्चाङ्गुलं समारभ्य व्योमाङ्गुल विवृद्धितः || ३० पञ्चविंशति मात्रान्तं तेषां दैर्घ्यं समाचरेत् | विस्तारस्तद्वशाज्ज्ञेयस्सपादं वाथ दर्पणम् || ३१ पादोनार्धेन वा तस्मिन् पादं तस्य प्रकल्पयेत् | तथैव पूर्णकुम्भे तु पादमानं प्रकीर्तितम् || ३२ स्वास्यतिर्यग्लतोपेतं लथामानं ततो बहिः | तथैव पादमुक्षे स्यात् स्थितो वा शयितोऽथवा || ३३

vilikheddarpaṇādīni tanmānaṃ adhunocyate | pañcāṅgulaṃ samārabhya vyomāṅgula vivṛddhitaḥ || 30 pañcaviṃśati mātrāntaṃ teṣāṃ dairghyaṃ samācaret | vistārastadvaśājjñeyassapādaṃ vātha darpaṇam || 31 pādonārdhena vā tasmin pādaṃ tasya prakalpayet | tathaiva pūrṇakumbhe tu pādamānaṃ prakīrtitam || 32 svāsyatiryaglatopetaṃ lathāmānaṃ tato bahiḥ | tathaiva pādamukṣe syāt sthito vā śayito'thavā || 33

Mirror and other forms should be depicted according to the system of proportionate measurement. The details about such measurements are told now. The height of the forms may start from 5 aṅgulas and end with 25 aṅgulas, increasing the height by one aṅgula each time. The breadth should be decided according to the height. The mirror may be provided with supporting pedestal. It should be depicted so as to be with a height equal to three-fourth or half of the breadth of the mirror. The measurement of the pedestal of pūrṇa-kumbha should be held in the same way. The mirror should be shown as associated with flower-creeper whose length extends up to the outside of the mirror. In the same way, the bull-form should be asociated with supporting pedestal. The bull may be shown to be in standing posture or in recumbent posture

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37-39

पादपद्म समायुक्तं तूर्ध्वे छत्रसमायुतम् | श्रिवत्सस्तु यथोद्दिष्टः स्वस्तिको ग्रामवेशने || ३४ शङ्खश्चोर्ध्वमुखो ज्ञेयस्सृष्टौ मुक्तौ विपर्ययात् | श्रीवत्से पादपद्मं च छत्रं च विनिवेशयेत् || ३५ स्त्रीणां मूर्ध्नि वा कुर्याद्देवताः शृणुत द्विजाः | दर्पणे पूजयेत्सूर्यं पूर्णकुम्भे जलेश्वरम् || ३६ चामरे मातरिश्वानं स्वस्तिके तु सरस्वतीम् | शङ्खे तु विमलं दीपे पूजयेद्धव्यवाहनम् || ३७ लक्ष्म्यां लक्ष्मीं वृषं चोक्षे विन्यसेत्स्वाणुना गुरुः | पूर्वस्मिन् पश्चिमे भागे चामरद्वितयं न्यसेत् || ३८ एकैकं दक्षिणे वामे वेदिकायां च विन्यसेत् | हित्वाष्टमङ्गलं वाथ तत्स्थाने तान् प्रपूजयेत् || ३९

pādapadma samāyuktaṃ tūrdhve chatrasamāyutam | śrivatsastu yathoddiṣṭaḥ svastiko grāmaveśane || 34 śaṅkhaścordhvamukho jñeyassṛṣṭau muktau viparyayāt | śrīvatse pādapadmaṃ ca chatraṃ ca viniveśayet || 35 strīṇāṃ mūrdhni vā kuryāddevatāḥ śṛṇuta dvijāḥ | darpaṇe pūjayetsūryaṃ pūrṇakumbhe jaleśvaram || 36 cāmare mātariśvānaṃ svastike tu sarasvatīm | śaṅkhe tu vimalaṃ dīpe pūjayeddhavyavāhanam || 37 lakṣmyāṃ lakṣmīṃ vṛṣaṃ cokṣe vinyasetsvāṇunā guruḥ | pūrvasmin paścime bhāge cāmaradvitayaṃ nyaset || 38 ekaikaṃ dakṣiṇe vāme vedikāyāṃ ca vinyaset | hitvāṣṭamaṅgalaṃ vātha tatsthāne tān prapūjayet || 39

The śrīvatsa should be shown as assciated with lotus-like pedestal below and with a parosal depicted above. The svastika should be depicted in the same way as it is depicted when the ruler or a monk enters into a village or city. The face of śaṅkha should be turned upwards when it is depicted for the creative order(sṛuṣṭi mārga) and it should be turned downwards when it is meant for the order of liberation(samhāra mārga). All these may be shown as being held by the ladies upon their head. O, the twice-born sages!, then listen to the presiding Devatas of these eight auspicious forms. The Sun should be worshipped in the mirror; Varuṇa, in the pūrṇa-kumbha; Vāyu, in the cāmaras; Sarasvatī, in the svastikā; Vimala, in the śaṅkha; Agni, in the dīpa; Lakshmī, in the lakshmi; Vṛuṣabha, in the bull. In this way, the Guru should invoke the concerned Devatas with the recital of mūlamantra pertaining to each of them. With regard to the twin cāmaras, one cāmara should be placed in the east and another one in the west. In the right and left side of the altar(vedikā), all other forms should be placed one by one in due order. Or, without making these eight forms, the Guru may worship the concerned Devatas in the place identified for each form.

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40-42

वज्रं शक्तिं च दण्डं च खड्गं पाशं तथाङ्कुशम् | ध्वजं वाथ गदां शूलं पद्मं चक्रं च कारयेत् || ४० ध्वजाङ्कुशौ वा कर्तव्यो दण्डं हित्वा द्विजोत्तमाः | लोहैर्वा याज्ञिकैर्वृक्षैः लोहश्चेद् बेरमानतः || ४१ देवान् कृत्वा तु हस्ताभ्यां कृताञ्जलिपुटान्वितान् | जाये शक्तिगदे ज्ञेये शेषाः पुरुषलक्षणाः || ४२

vajraṃ śaktiṃ ca daṇḍaṃ ca khaḍgaṃ pāśaṃ tathāṅkuśam | dhvajaṃ vātha gadāṃ śūlaṃ padmaṃ cakraṃ ca kārayet || 40 dhvajāṅkuśau vā kartavyo daṇḍaṃ hitvā dvijottamāḥ | lohairvā yājñikairvṛkṣaiḥ lohaśced beramānataḥ || 41 devān kṛtvā tu hastābhyāṃ kṛtāñjalipuṭānvitān | jāye śaktigade jñeye śeṣāḥ puruṣalakṣaṇāḥ || 42

Vajra, śakti, daṇḍa, khaḍga, pāśa, dhvaja or gadā, śūla, padma and cakra – these are the ten weapons (being held by the digpālakas). O, the foremost twice-born sages!, having left out the daṇḍa, the Guru may worship either dhvaja or aṅkuśa instead of daṇḍa. These weapons may be made with metal or woods got from the sacrificial trees. If these are to be made with metals, the bera-māna system of measurement should be followed. The Devas who are holding these weapons should be shown as keeping their hands in ‘añjali- mudra’(two palms joined together and kept in front of the chest to express obeisance). Śakti and gada should be shown in female form. All other weapons should be shown in male form.

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43-46

नवतालप्रमाणेन तेषां लक्षणमुच्यते | तन्मूर्ध्नि मकुटोर्ध्वे वा हस्ते वज्रादिकान्न्यसेत् || ४३ देहलब्धेन तेषां तु प्रमाणं प्रविधीयते | षट् त्रिंशदङ्गुलायामं अष्टाङ्गुल सुविस्तरम् || ४४ तिथ्यङ्गुलं समारभ्य द्विद्व्यङ्गुल विवर्धनात् | मात्रैरेकोनपञ्चाशत् पर्यन्तैर्दीर्घमुच्यते || ४५ लोहजं यदि दारूत्थं नयेन्मात्राङ्गुलेन तु | इष्टमानेन चैतेषां विस्तार इह कथ्यते || ४६

navatālapramāṇena teṣāṃ lakṣaṇamucyate | tanmūrdhni makuṭordhve vā haste vajrādikānnyaset || 43 dehalabdhena teṣāṃ tu pramāṇaṃ pravidhīyate | ṣaṭ triṃśadaṅgulāyāmaṃ aṣṭāṅgula suvistaram || 44 tithyaṅgulaṃ samārabhya dvidvyaṅgula vivardhanāt | mātrairekonapañcāśat paryantairdīrghamucyate || 45 lohajaṃ yadi dārūtthaṃ nayenmātrāṅgulena tu | iṣṭamānena caiteṣāṃ vistāra iha kathyate || 46

These forms should be made according to the proportionate system of ‘navatāla’. Vajra and other weapons should be shown as being held in the two hands kept above the head or the crown of the Devas. Their proportionate measurements should be based on ‘deha labdha-aṅgula’ The length should be 36 aṅgulas and the breadth should be 8 aṅgulas. Or, the measurement of the length may be with a minimum of 15 aṅgulas and maximum of 49 aṅgulas, increasing the measurement by two aṅgulas each time. If the forms are to be made with metals, these rules should be applied. If they are to be made with wood, the system of‘mātrāṅgula’ should be applied. The breadth of such forms may be in desired measurements.

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47-49

नूतनं करणं श्रेष्टं पुराणं तदभावतः | पुराणकरणं ग्राह्यं वित्तं दत्वा गुरोर्द्विजाः || ४७ तदाज्ञापूर्वकं स स्यात् तद्भोग्यकरणं ततः | सहस्राघोर जापस्स्यात् पुराणकरणे ग्रहे || ४८ येन शास्त्रेण यत्स्थाने क्रिया पूर्वं प्रवर्तते | तत्र तच्छास्त्र संसिद्धं करणं विहितं बुधाः || ४९

nūtanaṃ karaṇaṃ śreṣṭaṃ purāṇaṃ tadabhāvataḥ | purāṇakaraṇaṃ grāhyaṃ vittaṃ datvā gurordvijāḥ || 47 tadājñāpūrvakaṃ sa syāt tadbhogyakaraṇaṃ tataḥ | sahasrāghora jāpassyāt purāṇakaraṇe grahe || 48 yena śāstreṇa yatsthāne kriyā pūrvaṃ pravartate | tatra tacchāstra saṃsiddhaṃ karaṇaṃ vihitaṃ budhāḥ || 49

If the materials, tools, instruments and others which have been used for many years in the temple and which are old are not available now, such tools should be newly made and they are considered to be supreme. O, the twice-born sages!, old materials may be got from other temples by paying sufficient amount. Such activity should be undertaken only upon the Guru’s order and direction. While taking possession of such materials, the Guru should perform the incantation of aghora-mantra for thousand times. O, the learned sages!, with regard to the usage of karaṇas(materials, instruments and such others), there is a specific rule. The directions for the making and usage of karaṇas to be used in a particular temple should be known from the same Āgama whose directions related to the location, time and rituals are followed in that particular temple.

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50-52

अनुक्तमन्यतो ग्राह्यं उत्सवादिषु कर्मसु | अस्त्रं वा प्रतिमा वापि देवोपकरणादिकम् || ५० श्रेष्ठस्तद्धाम संसिद्धौ न ग्राह्योऽन्यालयस्थितः | तल्लिङ्गादेर्विरुद्धत्वादायाद्यैः अशुभैर्युतः || ५१ तल्लिङ्गाद्यनुकूलं चेद्बेराद्यं यत् प्रतिष्ठितम् | तेनैवोत्सव कर्माद्यं विहितं मुनिपुङ्गवाः || ५२

anuktamanyato grāhyaṃ utsavādiṣu karmasu | astraṃ vā pratimā vāpi devopakaraṇādikam || 50 śreṣṭhastaddhāma saṃsiddhau na grāhyo'nyālayasthitaḥ | talliṅgāderviruddhatvādāyādyaiḥ aśubhairyutaḥ || 51 talliṅgādyanukūlaṃ cedberādyaṃ yat pratiṣṭhitam | tenaivotsava karmādyaṃ vihitaṃ munipuṅgavāḥ || 52

In the performance of grand festivals and other specific rituals, those details which are not told in that Āgama should be taken from the other related Āgama. The weapons, images, instruments, tools and such others are considered to be supreme in a temple if they have been perfectly made specifically for that temple. Such karaṇas which have been made in another temple should not be taken and used in that temple mentioned before. Since the āyā and other factors of those karaṇas are not compatible to the Liṅga and other images of that temple, they are considered to be inauspicious as far as that temple is concerened. O, the foremost sages!, if those images and instruments which have been duly made and consecrated in another temple are compatible to the Liṅga and other images of that temple which is in need of such materials, they could be accepted for the performance of grand festivals and other important rituals.

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53-54

स्थानात् स्थानान्तरप्राप्ति दोषशुद्ध्यर्थमाचरेत् | समिदाज्यान्नकैश्शान्तिहोमं दशशतेन च || ५३ ह्रस्वप्रासाद मन्त्रेण प्रभूत यजनान्वितम् || ५४

sthānāt sthānāntaraprāpti doṣaśuddhyarthamācaret | samidājyānnakaiśśāntihomaṃ daśaśatena ca || 53 hrasvaprāsāda mantreṇa prabhūta yajanānvitam || 54

In order to ward off the inauspicious effects which result from the displacement of the karaṇas from one temple to another temple, the Guru should perform śāntihoma by offering oblations of faggots, clarified butter and cooked and consecrated rice for one thousand times. Such fire-ritual should be associated with special ritual known as ‘prabhūta bali’ which should be performed with the recital of ‘hrasva-prāsāda mantra’ (prāsāda mantra associated with 10 or 12 kalas).