कामिक आगम: पूर्व भाग (अष्टाविंशति मूल शैव आगमों का प्रथम एवं सर्वोच्च आगम महाकोश)

:
It has पा (pā) which has two vertical lines (one for प, one for ा), then ह्व (hva) or व्ह (vha).
Wait, look at the glyph: ह्व or व्ह? It is ह्व (ह with व inside). But Roman has pāhvaśca.
So it's कदम्बश्शिंशुपाद्वश्च or पाव्हश्च or पाह्वश्च? In Devanagari, it's ह्व -> कदम्बश्शिंशुपाह्वश्च.

Let's check शमीतितिशता...:
Wait, look at शमीतितिशता:
Is it शमी तिनिश?
Look at Roman: śamītiniśatāpiñcastalako
Look at English: sami, tinisa, tapinca, talaka
In Devanagari: शमी + तिनिश + तापिञ्च + स्तलको
Wait, does it have तिनिश or तितिश?
Look at तिनिश: the letter after ति has a loop?
Wait, look at ति (character 3): arc down.
Character 4: wait, look at the top left of character 4. It has a small circle/loop

पनसो देवदारुश्च पद्मतिन्दुक संज्ञकौ ॥ ४
तिलकस्सप्तपर्णश्च विष्णोश्शूलार्थ ईरिताः।
panaso devadāruśca padmatinduka saṁjñakau|| 4
tilakassaptaparṇaśca viṣṇośśūlārtha īritāḥ|
Panasa, devadaru, padma, tinduka, tilaka, saptaparna – these are the trees suitable for
making the wooden frame for the images of Vishnu.
वकुलः कुटजाह्वश्च पिण्डितस्तिनिशः पुनः॥ ५
धन्विनश्चार्जुनोऽश्वत्थौ ब्रह्मणः पादपा मताः।
यस्य देवस्य या देवी तस्यास्तद्वृक्ष एव हि ॥ ६
vakulaḥ kuṭajāhvaśca piṇḍitastiniśaḥ punaḥ|| 5
dhanvinaścārjunāśvatthau brahmaṇaḥ pādapā matāḥ|
yasya devasya yā devī tasyāstadvṛkṣa eva hi|| 6
Vakula, kutaja, pindika, tinisa, dhanvina, arjuna, asvattha – these are the trees for making the
wooden frame for the images of Brahma. The trees recommended for a God are equally suitable
for the consort of that God, to make the wooden frame.
वैकङ्कतश्च खादिर्यश्शमी दुर्गाकुजा मताः।
ज्येष्ठायाः पाटली प्रोक्ता शिवाख्यस्सप्त मातृषु॥ ७
vaikaṅkataścakhādiryaśśamī durgākujā matāḥ|
jyeṣṭhāyāḥ pāṭalī proktā śivākhyassapta mātṛṣu||
7
Vaikankata, khaadira, sami – these are the trees suitable for the Goddess Durga. Patali tree
is recommended for Jyeshta Devi. And for the Seven Mothers, the tree known as siva is
suitable.

वकुलश्चण्ड वृक्षस्स्याद्दिक्पाले राजवृक्षकः।
खादिरस्सर्व देवानां क्षीरिणी खादिरस्तथा॥ ८
vakulaścaṇḍa vṛkṣassyāddikpāle rājavṛkṣakaḥ।
khādirassarva devānāṁ kṣīriṇī khādirastathā॥ 8
Vakula is the tree suitable for Candesvara. Rajavruksha is suitable for the Directional Deities.
For all the Deities, Khadira, Kshiirini(Paalai) and Khaadira trees are recommended.
सर्वासां देवतानां च श्रीवृक्षस्संप्रकीर्तिताः।
गणपस्कन्द शास्तॄणां मातृणां शिवपादपाः॥ ९
sarvāsāṁ devatānāṁ ca śrīvṛkṣassaṁprakīrtitāḥ।
gaṇapaskanda śāstṝṇāṁ mātṝṇāṁ śivapādapāḥ॥ 9
And Srivruksha also is suitable for all the Deities. For Ganapati, Skanda, Sasta and Sapta
Matrus(Seven Mothers), the tree called siva is recommended.
सर्वे सर्वत्र वा कर्तॄ कृत्यनाहानुसारिणः।
ताम्रारकूट रौप्यैर् वा शातकुंभेन वा मताः॥ १०
sarve sarvatra vā kartrā kṛtyanāhānusāriṇaḥ।
tāmrārakūṭa raupyair vā śātakuṁbhena vā matāḥ॥ 10
Or, all the trees mentioned here may be used under all circumstances for all the Deities
in accordance with the patterns of the proposed structure. Such inner frame for the stucco
images may be designed with copper, brass, silver or gold.
एकस्य चैकवृक्षस्स्याद् बहुवृक्षस्तु नेष्यते।
द्रव्यसंग्रहणं कुर्यात् तद्विधान प्रकारतः॥ ११

ekasya caikavṛkṣassyād bahuvṛkṣastu neṣyate|
dravyasaṁgrahaṇaṁ kuryāt tadvidhāna prakārataḥ|| 11
For one wooden frame, only one of the recommended trees should be used. Designing the
frame with timber got from many trees is not desirable. Other needed materials should be
collected according to the directions set forth for such collection.
केशाङ्गुल्यादि मानार्थं मानार्धं दारुवन्नयेत्।
ब्रह्मदण्डस्य विस्तारः पञ्चाङ्गुलमिति स्मृतम्॥ १२
keśāṅgulyādi mānārthaṁ mānārdhaṁ dāruvannayet|
brahmadaṇḍasya vistāraḥ pañcāṅgulamiti smṛtam|| 12
For the proportionate measurements of hair, fingers and such other minor limbs, half unit
should be reduced gradually, as is done for sharpening a wooden pike. The thickness of the
central frame known as brahma danda(or vamsa danda) should be 5 digits(angulas).
मेढ्रादि नाभिपर्यन्तं चतुरश्राकृतिर्भवेत्।
नाभेर्हिक्कान्तकं चैव वस्वश्रः परिभाषितः॥ १३
तस्योर्ध्वे वर्तुलं कुर्यात् पक्षदण्डस्य विस्तरः।
सप्ताङ्गुल इति ज्ञेया तद्घने तु कला भवेत्॥ १४
meḍhrādi nābhiparyantaṁ caturaśrākṛtirbhavet|
nābherhikkāntakaṁ caiva vasvaśraḥ paribhāṣitaḥ|| 13
tasyordhve vartulaṁ kuryāt pakṣadaṇḍasya vistaraḥ|
saptāṅgula iti jñeyā tadghane tu kalā bhavet|| 14
The brahma danda should be four-sided from the level of genital organ up to the navel. From
the navel up to base of the neck(hikka), it should in eight-sided form. Above the level of
the base of the neck, it should be cylindrical. The length of the two side-frames(paksha danda)
sholud be 7 digits. Their thickness should be 3 digits.

उभयोरग्रयोस्तस्य द्विमात्रे च शिखायतिः।
व्योममात्र प्रमाणेन शिखा विस्तार इष्यते॥ १५
ubhayoragrayostasya dvimātre ca śikhāyatiḥ|
vyomamātra pramāṇena śikhā vistāra iṣyate|| 15
On both ends,the length of the finial part of the two frames should be with a measure of 2 units.
The width of the finial should be with a measure of one unit.
एकद्वित्रिचतुश्शङ्ख्याश्शिकान्ताश्च प्रकीर्तिताः।
रन्ध्रं विष्ण्वंश तारेण वक्षोदण्डस्य मध्यमे॥ १६
ekadvitricatuśśaṅkhyāśśikāntāśca prakīrtitāḥ|
randhraṁ viṣṇvaṁśa tāreṇa vakṣodaṇḍasya madhyame|| 16
The extreme tip of the finial(at both the ends) may be one, two, three or four in number. At
the middle of the chest-frame(vaksha danda), a hole should be provided with a measure equal
to the thickness of the vishnu part of the central frame.
हिक्कासूत्राद्धस्तात्तु वक्षोदण्डस्य संस्थितिः।
कटिदण्डस्य विस्तारस्सप्ताङ्गुलं उदाहृतः॥ १७
कला ज्ञेया घने तस्य पार्श्वयोरुभयोरपि।
अग्न्यङ्गुल प्रमाणेन शिखा तिर्यङ्मुखा भवेत्॥ १८
hikkāsūtrāddhastāttu vakṣodaṇḍasya saṁsthitiḥ|
kaṭidaṇḍasya vistārassaptāṅgulaṁ udāhṛtaḥ|| 17
kalā jñeyā ghane tasya pārśvayorubhayorapi|
agnyaṅgula pramāṇena śikhā tiryaṅmukhā bhavet|| 18

The fixing of the chest-frame should be below the horizontal line passing through the base of
the neck. The length of the hip-frame should be 7 digits. The thickness of the hip-frame on the
two sides of the central frame should be 3 digits. The lateral finial of the hip-frame should be
with a length of 3 digits.
ब्रह्मभागस्य तारेण तन्मध्ये सुषिरं नयेत्।
चतुरश्रस्य तारेण मानार्धं द्व्यङ्गुलं न्यसेत्॥ १९
द्विमात्रं नाभ्यधस्तात्तु हित्वात्र कटिदण्डकम्।
योजयेद्ब्रह्मदण्डे तु सुस्निग्धं सुदृढं नयेत्॥ २०
brahmabhāgasya tāreṇa tanmadhye suṣiraṁ nayet|
caturaśrasya tāreṇa mānārdhaṁ dvyaṅgulaṁ nyaset|| 19
dvimātraṁ nābhyadhastāttu hitvātra kaṭidaṇḍakam|
yojayedbrahmadaṇḍe tu susnigdhaṁ sudṛḍhaṁ nayet|| 20
A hole should be made in the middle of the hip-frame with a measure equal to the thickness
of the brahma danda(central frame). The width of the hip-frame should be 2 digits in addition
to half the unit measure of the four-sided portion of the central frame. Leaving out 2 unit
measure below the navel, this hip-frame should be fixed with the brahma danda. It should be
unswervingly joined with the brahma danda.
ऊरुदण्डाग्र विस्तारः कोरकेति च संमतम्।
तस्य मूले तु सुषिरं शिखामानेन कारयेत्॥ २१
तस्याग्रे तु शिखां कुर्यात् पक्षमात्रप्रमाणतः।
कटिदण्डे शिखायां च ऊरुदण्डं च योजयेत्॥ २२
ūrudaṇḍāgra vistāraḥ koraketi ca saṁmatam|
tasya mūle tu suṣiraṁ śikhāmānena kārayet|| 21
tasyāgre tu śikhāṁ kuryāt pakṣamātrapramāṇataḥ|
kaṭidaṇḍe śikhāyāṁ ca ūrudaṇḍaṁ ca yojayet|| 22

The width of the tip of the thigh-frame should be 2 digits. A groove should be designed at
its base with a measure equal to that of its finial. A finial should be provided so as to be
with a measure of 2 units. With a measure of 2 units, a finial should be designed at its end.
The thigh-frame should be firmly joined with the finial of the hip-frame.
जङ्घायामेन संग्राह्यं चतुर्मात्र समन्वितम्।
जङ्घामूलस्य विस्तारस्त्र्यङ्गुलस्समुदाहृतः॥ २३
तस्य चाग्रे तु विस्तारस्सार्ध मात्र इतिस्मृतः।
तस्य मूले तु सुषिरं शिखामानेन कारयेत्॥ २४
jaṅghāyāmena saṁgrāhyaṁ caturmātra samanvitam।
jaṅghamūlasya vistārastryaṅgulassamudāhṛtaḥ॥ 23
tasya cāgre tu vistārassārdha mātra itismṛtaḥ।
tasya mūle tu suṣiraṁ śikhāmānena kārayet॥ 24
The length of the shin-frame should be exceeding the actual length by 4 units. The width of the
base of the shin-frame should be 3 digits. The width of its tip should be half unit. A groove
should be provided at its base with a measure equal to that of the finial.
वक्षोदण्डशिखायां तु बाहुदण्डं तु योजयेत्।
योजयेत् ऊरुदण्डं तु जानुमण्डलकं बुधः॥ २५
जानुमण्डल विस्तारो युगाङ्गुलमुदाहृतः।
आयामस्तत्समो ज्ञेयो जङ्घा तत्र तदर्धतः॥ २६
vakṣodaṇḍaśikhāyāṁ tu bāhudaṇḍaṁ tu yojayet।
yojayet ūrudaṇḍaṁ tu jānumaṇḍalakaṁ budhaḥ॥ 25
jānumaṇḍala vistāro yugāṅgulamudāhṛtaḥ।
āyāmastatsamo jñeyo jaṅghātatra tadardhataḥ॥ 26

The learned sthapati should join the thigh-frame with the knee-structure whose width should
be equal to 2 digits. Its length should be equal to that width. The width of the shin there
should be equal to one digit.
तलदण्डस्य विस्तारश्चतुर्मात्रमुदाहृतः।
बाहुमूलस्य विस्तारो गुणाङ्गुलमुदाहृतम्॥ २७
तस्याग्रस्य च विस्तारस्सार्धपक्षाङ्गुलो मतः।
सप्तमात्र प्रमाणेन तन्मूले सुषिरं नयेत्॥ २८
taladaṇḍasya vistāraścaturmātramudāhṛtaḥ|
bāhumūlasya vistāro guṇāṅgualamudāhṛtam|| 27
tasyāgrasya ca vistārassārdhapakṣāṅgulo mataḥ|
saptamātra pramāṇena tanmūle suṣiraṁ nayet|| 28
The width of the palm-frame should be equal to 4 units. The width of the shoulder-frame, at its
base should be equal to 3 digits. Its width at the top end should be equal to two and a half digits.
A groove should be provided at its base with a measure equal to 7 units.
वक्षोदण्डशिखायां तु बाहुमूलं तु योजयेत्।
प्रकोष्ठ मूलविस्तारस्त्रिमात्रस्समुदाहृतः॥ २९
तस्याग्रस्य च विस्तारस्सार्धाङ्गुलं उदाहृतः।
तन्मूलेन द्विमात्रेण सुषिरं कारयेत्ततः॥ ३०
vakṣodaṇḍaśikhāyāṁ tu bāhumūlaṁ tu yojayet|
prakoṣṭha mūlavistārastrimātrassamudāhṛtaḥ|| 29
tasyāgrasya ca vistārassārdhāṅgulaṁ udāhṛtaḥ|
tanmūlena dvimātreṇa suṣiraṁ kārayettataḥ|| 30
The base of the shoulder-frame should be joined with the finial of the chest-frame. The width
of the base of the fore-arm should be equal to 3 units. Its width at the tip should be equal to one
and a half units. A groove should be designed at its base with a measure equal to 2 units.

बाहुग्रस्तशिखाश्चैव प्रकोष्ठेनैव योजयेत्।
वक्षोदण्डात्समारभ्य कटिदण्डान्तरक्रमात्॥ ३१
पार्श्व दण्डायतम् ज्ञेयं तत्त‍ारं कोलकं भवेत्।
तत्घनं तत्समं ज्ञेयं पार्श्वदण्डस्य चोपरि॥ ३२
अधश्च सुषिरं कार्यं एकाङ्गुलप्रमाणतः।
वक्षोदण्ड कटीदण्डे योजयेत् पार्श्वदण्डकं॥ ३३
bāhugrastaśikhāścaiva prakoṣṭhenaiva yojayet|
vakṣodaṇḍātsamārabhya kaṭidaṇḍāntarakramāt|| 31
pārśva daṇḍāyatam jñeyaṁ tattāraṁ kolakaṁ bhavet|
tatghanaṁ tatsamaṁ jñeyaṁ pārśvadaṇḍasya copari|| 32
adhaśca suṣiraṁ kāryaṁ ekāṅgulapramāṇataḥ|
vakṣodaṇḍa kaṭīdaṇḍe yojayet pārśvadaṇḍakaṁ|| 33
The finial of shoulder-frame should be joined with

pārśvajaṁ daṇḍayormadhye agre ca ṛṣimātakam|
strīṇāṁ caiva viśeṣeṇa varjayetpārśvadaṇḍake|| 34
eteṣāṁ daṇḍamāne tu māṁsamānaṁ tyajed budhaḥ|
pādāṅgulaṁ samārabhya pādāṅgula vivardhanāt|| 35
dvimātrānte vidheyasyāddhānirvṛttśca yuktitaḥ|
brahmadaṇḍe'ntyadaṇḍeṣu dvātriṁśad gṛhyatāṁ dvijāḥ|| 36
The length between the two side-frames at their top level should be equal to 7 units. Specifically
in the case of wooden frame meant for the female Deities, there is no need to provide the side-
frames. For the proportionate measures of all such frames, the learned sthapati should leave out
the measures belonging to the fleshy parts of the intended image. Starting from one fourth of a
digit and increasing by one fourth successively up to 2 digits, the measurements prescribed for
these frames may be increased or decreased suitably according to the reasonable adjustments
to be made in view of the compactness of the whole frame. O, the twice-born Sages!, the whole
length of the brahma danda, from the top to the bottom, may be taken to be 32 digits.
शिरः करतलं कर्णमम्बरं चरणादिकम्।
स्वमानादर्धमात्रं तु हीनं युक्त्यैव कारयेत्॥ ३७
स्थानकस्यैवमाख्यातं विशेषः कश्चिदासने।
ब्रह्मदण्डस्य मूले तु योजयेत्तु युगाङ्गुलम्॥ ३८
जङ्घामूल प्रदेशस्तु अध्यर्धाङ्गुल हीनयुक्।
शूललक्षणमाख्यातं तत्स्थापनं इहोच्यते॥ ३९
śiraḥ karatalaṁ karṇamambaraṁ caraṇādikam|
svamānādardhamātraṁ tu hīnaṁ yuktyaiva kārayet|| 37
sthānakasyaivamākhyātaṁ viśeṣaḥ kaścidāsane|
brahmadaṇḍasya mūle tu yojayeettu yugāṅgulam|| 38
jaṅghāmūla pradeśastu adhyardhāṅgula hīnayuk|
śūlalakṣaṇamākhyātaṁ tatsthāpanaṁ ihocyate|| 39

The proportionate measures of the head, palm, ears, interspace between the fingers and
shoulders, feet and other limbs may be decreased by a half unit from the actual measures
of each limb, as thought to be reasonable by the sthapati. The directions for making the wooden
frame suitable for the standing image have been told. There are some specific directions for
making the wooden frame suitable for the sitting image. The bottom end of the brahma danda
should be increased by 2 digits. The base of the shin-frame should be decreased by one and a half
digit. Thus, the lineaments for the wooden inner frame have been told. Now, the process of its
installation is explained.
कालोऽपि पूर्ववन्नेयस्त्वङ्कुरार्पणमेव च।
मण्डपः कुण्डक्लृप्तिस्तु नवपञ्चैक संख्यया॥ ४०
चतुरश्राणि कुण्डानि तद्दिक्कुण्डानि वा तथा।
शिल्पिनं च विसृज्याथ पुण्याहं वाचयेत्ततः॥ ४१
kālo'pi pūrvavanneyastvaṅkurārpaṇameva ca|
maṇḍapaḥ kuṇḍakḷptistu navapañcaika saṁkhyayā|| 40
caturaśrāṇi kuṇḍāni taddikkuṇḍāni vā tathā|
śilpinaṁ ca visṛjyātha puṇyāhaṁ vācayettataḥ|| 41
The auspicious time for the installation should be ascertained as explained earlier. First,
the ritual known as the ‘offering of the sprouts’ (ankurarpaṇa) sould be performed and it
should be followed by the structuring of suitable pavilion, construction of fire-pits and others.
There may be nine or five fire-pits or one fire-pit. All the fire-pits may be in the form of square
or they may be designed as to be in a form applicable to each direction. Then having sent off
the Silpi with due honors, the Acharya should perform the ritual known as ‘punyaha vacana’ –
declaring the auspiciousness of the selected time and place.
वास्तुहोमं च कृत्वान्ते स्थण्डिलं कारयेद्विजाः।
सङ्कल्प्य शयनं तत्र ज्ञात्वा ब्रह्मादि दण्डकान्॥ ४२
पञ्चगव्येन संप्रोक्ष्य ततः पञ्चामृतादिभिः।
संस्त्राप्य शुद्धतोयेन वस्त्रेणाच्छाद्य पूजयेत्॥ ४३

vāstuhomaṁ ca kṛtvānte sthaṇḍilaṁ kārayeddvijāḥ|
saṅkalpya śayanaṁ tatra jñātvā brahmādi daṇḍakān|| 42
pañcagavyena saṁprokṣya tataḥ pañcāmṛtādibhiḥ|
saṁsnāpya śuddhatoyena vastreṇācchādya pūjayet|| 43
O, the twice-born Sages!, next vastu-homa should be performed and at the end of the vasu-homa,
the Acharya should design a suitable couch, having known well the features of various frames
such as the brahma danda and others. Then he should sprinkle the mixture of five substances got
from the cow and perform the ceremonial bath(abhisheka) with the mixture of five fruits and
others and with pure consecrated water. Then, having covered the frame with new cloth, he
should worship it.
आसनं कल्पयित्वा तु शय्यायां आसनाणुभिः।
मूर्तिभूतं तु तच्छूलं हृदयेन निवेशयेत्॥ ४४
कौतुकं बन्धयित्वा तु तत्समन्ताद् घटान् न्यसेत्।
सकूर्चान् हेमसंयुक्तान् सवस्त्रानुदपूरितान्॥ ४५
āsanaṁ kalpayitvā tu śayyāyāṁ āsanāṇubhiḥ|
mūrtibhūtaṁ tu tacchūlaṁ hṛdayena niveśayet|| 44
kautukaṁ bandhayitvā tu tatsamantād ghaṭān nyaset|
sakūrcān hemasaṁyuktān savastrānudapūritān|| 45
The Acharya should mentally design a pedestal over that couch with the recital of the mantras
pertaining to that pedestal. Then he should invoke and identify the Deity pertaining to that
wooden frame with the accompaniment of hrudaya mantra. Having tied up the consecrated
thread of protection on the appropriate hand, he should place the kalasas(pots or pot-like vessels)
around the wooden frame. These vessels should be duly furnished with a bunch of
darbha grass(kurca) and other items, impregnated with gold(coin or piece, made of gold)
and filled up with consecrated and perfumed water. These should be covered with new cloth.
तत्तन्मूर्त्तिं मनुं मध्ये लोकेशान् परितो यजेत्।
तत्त्व तत्त्वेश्वरोपेतान् मूर्त्तिं मूर्त्तीश्वरान् न्यसेत्॥ ४६
ब्रह्मभिरस्सकलीकृत्य मूर्त्तिं तत्र निवश्येत्।
गन्धपुष्पादिनाभ्यर्च्य मूर्तिमन्त्र मनुस्स्मरन्॥ ४७

tattanmūrti manuṁ madhye lokeśān parito yajet|
tattva tattvaśvaropetān mūrti mūrtīśvarān nyaset|| 46
brahmabhissakalīkṛtya mūrtiṁ tatra nivaśayet|
gandhapuṣpādinābhyarcya mūrtimantra manussmaran|| 47
With the mula mantra pertaining to the Deity concerned, he should worship that Deity at
the center. He should worship the directional Deities around the Deity invoked at the center.
He should ideate the exact form of the main Deity by doing various nyasas related to the
tattvas, tattvesvaras, murtis and murtisvaras and related to the samhita mantras pertaining
to that Deity. Reciting the mula mantra of the invoked Deity, he should worship it with
necessary paraphernalia such as sandal, flowers and others.
पायसं सन्निवेद्याथ होमकर्म समाचरेत्।
कृत्वा कुण्डादि संस्कारं मूर्त्तिमावाह्य तर्पयेत्॥ ४८
समिदन्नाज्य लाजैश्च तिलसर्षप संयुतम्।
पालाशोदुम्बराश्वत्थ वटाः पूर्वादि दिक्षु च॥ ४९
शम्यपामार्ग मधूक श्रीवृक्षास्त्वग्नि कोणतः।
प्रधानस्य पलाशस्स्याच्छतसंख्या प्रधानके॥ ५०
pāyasaṁ sannivedyātha homakarma samācaret|
kṛtvā kuṇḍādi saṁskāraṁ mūrtimāvāhya tarpayet|| 48
samidannājya lājaiśca tilasarṣapa saṁyutam|
pālāśodumbarāśvattha vaṭāḥ pūrvādi dikṣu ca|| 49
śamyapāmārga mādhūka śrīvṛkṣāstvagni koṇataḥ|
pradhānasya palāśassyācchatasaṁkhyā pradhānake|| 50
Having offered the rice boiled in milk with sugar, he should commence the rituals concerned
with offering of oblations into the consecrated fire. Having done all the sacramental rituals
to the fire-pits, the Acharya should invoke the concerned Deity in the fire and offer the oblations.
He should do the oblations with the faggots, cooked rice, clarified butter, parched paddy grains
and sesame along with mustard. Palasa, udumbara, asvattha and vata- these are the faggots

recommended for east, south, west and north respectively. Sami, apamarga, madhuka and
srivruksha – these are the faggots recommended for the south-east, south-west, north-west and
north-east respectively. For the primal fire-pit, faggots of palasa tree should be used and the
oblations should be made for one hundred times.
दशांशो ब्रह्मभिर्होमस्तथा नेत्रेण संमतः।
तत्त्वतत्त्वेश्वराद्यैश्च प्रत्येकं त्रितयं क्रमात्॥ ५१
ततः पूर्णाहुतिं कृत्वा प्रभाते मूर्तिपैर्गुरुः।
स्नात्वा देवं घटं मन्त्री संपूज्याग्निं समीपतः॥ ५२
स्थित्वा छिद्रं निरस्याथ पूर्णां मूर्त्या प्रदापयेत्।
daśaṁśo brahmabhirhomastathā netreṇa saṁmataḥ|
tattvatattveśvarādyaiśca pratyekaṁ tritayaṁ kramāt|| 51
tataḥ pūrṇāhutiṁ kṛtvā prabhāte mūrtipairguruḥ|
snātvā devaṁ ghaṭaṁ mantrī saṁpūjyāgniṁ samīpataḥ|| 52
sthitvā chidraṁ nirasyātha pūrṇāṁ mūrtyā pradāpayet|
One tenth of the oblations made with the accompaniment of mula mantra should be offered
with the recital of the samhita mantras. Same number of oblations should be made with the
recital of netra mantra. For the tattvas, tattvesvaras, murtis and murtisvaras, three oblations
should be offered for each in the prescribed order. Then the Acharya should offer the
consummate oblation(purna ahuti). In the next early morning, the Acharya should take bath
along with the assisting priests(murtipas). Having seated near the fire-pit, the Acharya
who has identified his form with the mantra, should worship the Deity, consecrated vessel
and the fire. Having carefully averted any omission or any excessive action, he should complete
the fire ritual and offer the benefits of that ritual to the concerned Deity.
सुमुहूर्ते सुलग्ने तु प्राप्तपूजो गुरूत्तमः॥ ५३
संगृह्य मूलधाम्नस्तु प्रदक्षिणमनुव्रजन्।
प्रविश्य गर्भगेहं तु ज्ञात्वा ब्रह्मादि भागकान्॥ ५४

स्थानकादि विभागेन कृत्वा स्नानं घटीकृतम्।
इष्टकांशादिकास्तत्र न्यसेदाधार संज्ञकम्॥ ५५
sumuhūrte sulagne tu prāptapūjo gurūttamaḥ|| 53
saṁgṛhya mūladhāmnastu pradakṣiṇamanuvrajan|
praviśya garbhagehaṁ tu jñātvā brahmādi bhāgakān|| 54
sthānakādi vibhāgena kṛtvā snānaṁ ghaṭīkṛtam|
iṣṭakāṁśādikāstatra nyasedādhāra saṁjñakam|| 55
Upon the approach of the ascertained auspicious duration of time characterised by beneficial
muhurta and lagna, the foremost Acharya, having completed all the activities related to the
worship, should collect all the objects such as the consecrated vessels and others and come
around the temple in clockwise direction, reciting the relevant mantras pertaining to the
circumambulation and should enter the main sanctum. Having known the divisions of the interior
of the main shrine pertaining to the brahma pada, daivika pada, manusha pada and others and
known such padas as applicable to the standing images, sitting images and others, the Acharya
should perform the ceremonial bath to the bricks meant for designing the basement and arrange
them in the prescribed order.
स्थानकासन सुप्ताश्च यानगा गमनोन्मुखा।
नाट्योत्सुकाश्च षोढा स्यात् स्थानकाधार संज्ञतः॥ ५६
तथैव नृत्तसक्ता च गमनाभिरता हि च।
यानगोच्चादि संस्था स्यादासनास्थास्तु पीठगाः॥ ५७
शय्यासक्ता तु सुप्ता स्यात् सा च प्रायोऽस्य नेष्यते।
विष्ण्वादि प्रतिमा सा स्यादाधारं त्वधुनोच्यते॥ ५८
sthānakāsana suptāśca yānagā gamanonmukhā|
nāṭyotsukāśca ṣoḍhā syāt sthānakādhāra saṁjñataḥ|| 56
tathaiva nṛttasaktā ca gamanābhiratā hi ca|
yānagoccādi saṁsthā syādāsanasthāstu pīṭhagāḥ|| 57
śayyāsattā tu suptā syāt sā ca prāyo'sya neṣyate|
viṣṇvādi pratimā sā syādādhāraṁ tvadhunocyate|| 58

The base for the standing images is of six kinds – sthanaka, adhara, supta, yanaga,
gamanonmukha and naatyotsukha. The base for the sitting images are nruttasakta, gamanabhirata,
yanaga, ucca and others. The base for the recumbent image is supta and generally this kind
of base is not desirable for the Siva temple. This is applicable to the images of Vishnu and
other related Deities.
शूलमूल विशालेनाध्यर्धमाधार मानकम्।
तद्बेराङ्गुल मानेन एकाङ्गुल विवर्धनात्॥ ५९
चतुरङ्गुल मानं स्यात्समं स्याच्चतुरश्रकम्।
तद्घनं त्रिविधं प्रोक्तं तस्मादेकैक वर्धनात्॥ ६०
चतुर्मात्रान्तमानं स्यात् क्रियामानानुसारतः।
सुवर्णतार ताम्राद्यैः पादपाद्यैस्तु वा भवेत्॥ ६१
śūlamūla viśālenādhyardhamādhāra mānakam|
tadberāṅgula mānena ekāṅgula vivardhanāt|| 59
caturaṅgula mānaṁ syātsamaṁ syāccaturaśrakam|
tadghanaṁ trividhaṁ proktaṁ tasmādekaika vardhanāt|| 60
caturmātrāntamānaṁ syāt kriyāmānānusārataḥ|
suvarṇatāra tāmrādyaiḥ pādapādyaistu vā bhavet|| 61
The proportionate measurement of the base(pedestal) is one and a half times the width of
the base of the wooden frame. Based on the measurement of the actual image, the width
of the pedestal should be more than the width of the base of the actual image by one to
four digits, increasing the measure by one digit each time. The base should be with four equal
sides. The thickness of the pedestal is obtained in three ways, increasing the width by one unit
each time. According to the acitivities related to the structure of the frame, the thickness
may be increased up to four units. Or, the pedestal may be designed with gold, silver, copper
and such other metals or with wood and others.

पादानि नव तन्मध्ये कृत्वा कूटयुतानि वा।
रत्नाद्यं विन्यसेत्तत्र प्रागुक्त विधिना गुरुः॥ ६२
तत्र संस्तापयेद्वाग्मी तत्र मूर्तिं मनुस्मरन्।
pādāni nava tanmadhye kṛtvā kūṭayutāni vā|
ratnādyaṁ vinyasettatra prāgukta vidhinā guruḥ|| 62
tatra saṁstāpayedvāgmī tatra mūrti manusmaran|
In the middle of the pit meant for the base, the Acharya should design a square mandala
associated with nine grids within it or he may design this within a casket. Then he should deposit
nine gems and other objects according to the directions set forth earlier for placing of the gems.
Upon such pedestal, the Acharya who is adept in articulation of mantras should install
the wooden frame reciting the mula mantra pertaining to the actual Deity.
ब्रह्मदण्डेऽन्यदण्डांश्च योजयेदुक्तवर्त्मना॥ ६३
अथवा पीठकोत्सेधं ब्रह्मदण्डस्य मूलतः।
शूलदैर्घ्यान्वितम् कृत्वा इष्टमानान्वितं तु वा॥ ६४
कृत्वा तदवधिस्थाने स्थाप्यं वाधार संज्ञकम्।
स्थिराद्यं पीठबन्धाद्यैर्बन्धयेत् सुषिरं यथा॥ ६५
brahmadaṇḍe'nyadaṇḍāṁśca yojayeduktavartmanā|| 63
athavā pīṭhakotsedhaṁ brahmadaṇḍasya mūlataḥ|
śūladaighyānvitaṁ kṛtvā iṣṭamānānvitaṁ tu vā|| 64
kṛtvā tadavadhisthāne sthāpyaṁ vādhāra saṁjñakam|
sthirādyaṁ pīṭhabandhādyairbandhayet suṣiraṁ yathā|| 65
He should join the other frames with the brahma danda according to the order prescibed before.
The height of the pedestal may be determined from the base of the brahma danda or from the
length of the whole wooden frame. Or its height may be as desired by the sthapati. Having
ascertained the height of the base, the Acharya should fix the base at the appropriate place.
He should fasten the groove joints with the binding bands of the pedestal for the sake of
stability.

मूर्तिनिर्गत शूलैश्च सुस्थिरैस्सारदारुजैः।
इष्टनाहा समायुक्तैः इष्टसंख्या समन्वितैः॥ ६६
ब्रह्मदण्डादि दण्डे तु योजयित्वा गुरूत्तमः।
स्थैर्यं संपादयेदत्र क्रियामाणानुसारतः॥ ६७
mūrtinirgata śūlaiśca susthiraissāradārujaiḥ|
iṣṭanāhā samāyuktaiḥ iṣṭasaṁkhyā samanvitaiḥ|| 66
brahmadaṇḍādi daṇḍe tu yojayitvā gurūttamaḥ|
sthairyaṁ saṁpādayedatra kriyāmāṇānusārataḥ|| 67
The frames with which the intended form of the Diety has been identified, should be firm and
sturdy, should be made of khadira and such other trees associated with sap and resin. They
should be asscociated with the desired thickness and they should be in the desired number.
The foremost Acharya should yoke such frames with the brahma danda and other dandas. He
should effect stability to the whole structure according to the activities related to such frame.
ऋजुभिर्लोहपट्टैश्च लोहकीलैरनेकधा।
बन्धयित्वा यथा कर्म आर्द्रं वा वस्त्रवेष्टनम्॥ ६८
कल्कचिक्कणकाद्यैस्तु संपूर्णाङ्गं यथा नयेत्।
वर्णैर्नानाविधैश्चित्रं कारयेत् प्रतिमोक्तवत्॥ ६९
ṛjubhirlohapāṭṭaiśca lohakīlairanekadhā|
bandhayitvā yathā karma ārdraṁ vā vastraveṣṭanam|| 68
kalkacikkaṇakādyaistu saṁpūrṇāṅgaṁ yathā nayet|
varṇairnānāvidhaiścitraṁ kārayet pratimoktavat|| 69
He should strengthen the frame with the metal sheets which are flattened evenly and with
a number of metal nails and fasten the joints according to the prescribed manner and cover
the frame with moist cloth. Making use of paste(kalka) and mortar(cikkana), he should
design all limbs of the image so as bring out the full form of the Deity. According to the
directions set forth under the section dealing with the lineaments of image, he should beautify
the image by painting it with different colors.

चतुर्वर्णानुलोमाद्यैश्शिल्पिभिश्चित्रवित्तमैः।
नयनोन्मीलनं कुर्याच्चित्रकर्मावसानके॥ ७०
नयनोन्मीलनात्पूर्वं द्रव्यमात्रं तु तद्भवेत्।
तत्र छेदादिकं चेष्टं तदूर्ध्वं नेष्यते द्विजाः॥ ७१
caturvarṇānulomādyaiśśilpibhiścitravittamaiḥ|
nayanonmīlanaṁ kuryāccitrakarmāvasānake|| 70
nayanonmīlanātpūrvaṁ dravyamātraṁ tu tadbhavet|
tatra chedādikaṁ ceṣṭaṁ tadūrdhvaṁ neṣyate dvijāḥ|| 71
Upon the completion of beautification of the image(with colors), he should perform the
specific function known as the ‘opening of the eyes’ (nayana unmilala) in the presence of
people belonging to all the four castes and the mixed caste and of the Silpis and those who
are highly skilled in drawing and painting. O, the twice-born Sages!, prior to the performance of
the opening of the eyes, all the tools and substances needed essentially for such activity should
have been kept ready. All the activities such as cutting, decreasing and others should have been
done prior to the opening of the eyes. Once the eyes are opened, no such activity should
be undertaken..
तत्र प्रतिष्ठा कर्तव्या स्थापनोक्त विधानतः।
स्थानायैव तलव्यास मानेनाधार संज्ञिकम्॥ ७२
जङ्घोरू प्रतिमा दण्डात् स्थापयित्वा तदूर्ध्वतः।
कटिदण्डं च संयोज्य ब्रह्मदण्डे नियोजयेत्॥ ७३
सर्वदण्डादि संयुक्तं कृत्वा च प्रतिमादिकम्।
पट्टायैर्बन्धयित्वा तु तां शय्यायां निधाय च॥ ७४
तत्त्वमूर्त्यादि विन्यासं कृत्वा तां स्थापयेत्तु वा।

tatra pratiṣṭhā kartavyā sthāpanokta vidhānataḥ|
sthānāyaiva talavyāsa mānenādhāra saṁjñikam|| 72
jaṅghorū pratimā daṇḍāt sthāpayitvā tadūrdhvataḥ|
kaṭidaṇḍaṁ ca saṁyojya brhamadaṇḍe niyojayet|| 73
sarvadaṇḍādi saṁyuktaṁ kṛtvā ca pratimādikam|
paṭṭādyairbandhayitvā tu tāṁ śayyāyāṁ nidhāya ca|| 74
tattvamūrtyādi vinyāsaṁ kṛtvā tāṁ sthāpayettu vā|
The joining of the base and the image should be done there accoding to the directions given in
the section dealing with the installation. What is known as the base should be governed by the
standing posture of the image and the proportionate measurement of width of the feet. Having
joined the shin-frame and the thigh-frame of the image, he should join the hip-frame which is
above the level of the thigh-frame with the brahma danda. Subsequently, all other frames
should be joined in due order. Having strengthened the joints with metal plates, he should place
the image on the couch. Then, having done the nyasa of tattvas, murtis and others, he should
ceremonially install the image there.
शैली चेत्प्रतिमा शैलं कुर्यादाधार संज्ञकम्॥ ७५
अन्यत्सर्वं समानं स्यात् किन्तु पादशिलादयः।
कृत्वा कूर्चं क्रमात् क्षीणं बलानुगत मानकम्॥ ७६
सुषिरे पीठ मध्ये तु यथास्निग्धं नियोजयेत्।
कृत्वासनं तु तन्मन्त्रैर्बाहुभिस्सकलीकृतः॥ ७७
śailī cetpratimā śailaṁ kuryādādhāra saṁjñakam|| 75
anyatsarvaṁ samānaṁ syāt kintu pādaśīlādayaḥ|
kṛtvā kūrcaṁ kramāt kṣīṇaṁ balānugata mānakam|| 76
suṣire pīṭha madhye tu yathāsnigdhaṁ niyojayet|
kṛtvāsanaṁ tu tanmantrairbāhubhissakalīkṛtaḥ|| 77
If the image is designed with granite, the pedestal also should be designed with the granite.
All other prescriptions are common. But in the case of pedestals made of stones, the bottom
of the stone should be made to tapper down gradually, according to the measures derived
so as to effect strength and stability. The tappeing part should be joined with the groove