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

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

provided in the middle of the base in such a way that it stands with firmness and stability.
Having designed the seat with the recital of the mantra meant for making the seat, he should
bring out the mantra-form of the Deity through the recital of the samhita mantras.
मूर्तिमन्त्रान्न्यसेत्कुम्भं तोयगं प्रतिमाहृदि।
तदम्बसा तु संस्नाप्य लोकपान् परितो न्यसेत्॥ ७८
तच्छैलं सुधालेप्य वस्त्रेणावेष्ट्य चित्रयेत्।
शूलस्थापन काले तु मूर्तिमन्त्र मनुन्यसेत्॥ ७९
mūrtimantrānnnyasetkumbhaṁ toyagaṁ pratimāhṛdi|
tadambasā tu saṁsnāpya lokapān parito nyaset|| 78
tacchailaṁ sudhālepya vastreṇāveṣṭya citrayet|
śūlasthāpana kāle tu mūrtimantra manunyaset|| 79
He should do the nyasa of the mantra pertaining to the form of the Deity by sprinkling the
drops of consecrated water contained in the main vessel(pradhana kalasa) over the chest
of the image. Then he should perform the ceremonial bath to the image with that consecrated
water and worship the eight directional Deities around the installed image. Having plastered
the stone-image with stucco, he should adorn the image with new cloth and beautify it with
other materials. During the installation of the wooden frame, the Acharya should do the nyasa
of the mantra meant for designing the form of Deity.
॥ इति कामिकाख्ये महातन्त्रे त्रिशूलस्थापनविधि पटलः षट्षष्टितमः ॥
|| iti kāmikākhye mahātantre triśūlasthāpanavidhi paṭalaḥ ṣaṭṣaṣṭitamaḥ||
This is the 66ᵗʰ Chapter “Directions for Structuring the Wooden Inner Frame” in the Great Tantra called Kamika

६७ देवतास्थापन विधि पटलः
67 devatāsthāpana vidhi paṭalaḥ
67 Exact Locations for the Installation of Various Deities
देवतास्थापनं स्थानं वक्ष्येऽथ मुनिपुङ्गवाः।
ग्रामे वा नगरे वापि पत्तने राजधानिके॥ १
आदौ नद्यास्तटे पुण्ये देवतायतनेषु च।
समुद्रतीरे सेतौ च पुष्करिण्यास्तटेषु च॥ २
महाजल समीपे वा महाजन समीपगमे।
उद्याने पुण्यदेशे वा निष्कलं सकलं तु वा॥ ३
devatāsthāpanaṁ sthānaṁ vakṣye'tha munipuṅgavāḥ|
grāme vā nagare vāpi pattane rājadhānike|| 1
ādau nadyāstaṭe puṇye devatāyataneṣu ca|
samudratīre setau ca puṣkariṇyāstaṭeṣu ca|| 2
mahājala samīpe vā mahājana samīpagame|
udyāne puṇyadeśe vā niṣkalaṁ sakalaṁ tu vā|| 3
O, the supreme Sages!, now I will tell the exact locations for the installation of various Dieties.
Such location may be in the village, city(in the interior land), pattana(city, situated near the sea
shore), capital city and such others, banks of sacred rivers, temples already constructed,
sea shore, vicinity of dams, banks of large tanks, the vicinity of the confluence of rivers.
the vicinity of a place frequented by the people of all castes, flower garden or a place
sanctified by the saints. In such locations, either the image characterized by nishkla aspect
or the image characterized by sakala aspect may be installed.

शैलं वा लोहजं वार्क्षं रत्नजं मृण्मयं तु वा।
सौधजं वार्धचित्रं वा आभासं वाथ पीठकम्॥ ४
स्थापयेद्देशिको धीमान् ब्रह्मदेवादि भागवत्।
śailaṁ vā lohajaṁ vārkṣaṁ ratnajaṁ mṛṇmayaṁ tu vā|
saudhajaṁ vārdhacitraṁ vā ābhāsaṁ vātha pīṭhakam|| 4
sthāpayeddeśiko dhīmān brahmadevādi bhāgavat|
Images made of granite, metals. woods, gems, clay or stucco, half-relief images,
semblance-images(pictures), images associted with suitable base – should be installed
by the learned Acharya according to the divisions such as brahma bhaga, daivika and others.
आरभ्य पञ्चपञ्चांशमेकैक पदवर्धनात्॥ ५
द्वात्रिंशत्पदपर्यन्तं कृत्वा गर्भग्रहं ततः।
एकं वापि द्वयं वापि त्रयं वा ब्रह्ममन्दिरे॥ ६
तदन्तरं तथा कृत्वा दैविकं वार्षकं तथा।
पदं पैशाचिकं प्रोक्तं ब्रह्मभागे प्रकल्पयेत्॥ ७
ārabhya pañcapañcāṁśamekaika padavardhanāt|| 5
dvātriṁśatpadaparyantaṁ kṛtvā garbhagṛhaṁ tataḥ|
ekaṁ vāpi dvayaṁ vāpi trayaṁ vā brahmamandire|| 6
tadantaraṁ tathā kṛtvā daivikaṁ vārṣakaṁ tathā|
padaṁ paiśācikaṁ proktaṁ brahmabhāge prakalpayet|| 7
The interior of the main shrine(garbha gruha) should be reticulated into 5x5 rows. Increasing
the number of the rows by one each time, the maximum number of rows may be up to 32x32.
The central area covered by one row, two or three rows should be taken for the brahma pada.
The rows lying outside the brahma pada belong to the daivika pada. The rows lying outside
the daivika pada belong to the arsha pada. In the same way, manusha pada and paisacika pada
should be identified. Sich padas should also be identified within the brahma bhaga(main shrine)
of the temple.

इदं ब्रह्मादिकद्यं तु ग्रामादौ वा वियोजयेत्।
निष्कलं ब्रह्मभागे तु सकलं दैविकांशके॥ ८
ग्रामादीनां निवेशे तु ब्रह्मांशे दैर्घिकांशके।
स्थापयेन्मानुषं वापि मातुः केचिदिदं भवेत्॥ ९
idaṁ brahmādikadyaṁ tu grāmādau vā viyojayet|
niṣkalaṁ brahmabhāge tu sakalaṁ daivikāṁśake|| 8
grāmādīnāṁ niveśe tu brahmāṁśe dairghikāṁśake|
sthāpayenmānuṣaṁ vāpi mātuḥ kecididaṁ bhavet|| 9
Such divisions as to brhma pada, daivika pada and others should be identified in the entire
area of the village and other settlements. The nishkala-image should be installed in the brahma
bhaga. Images belonging to the sakala type should be installed in the daivika pada. At the
entrance point of the villages and other settlemnts, where such divisions have been identified,
the manusha-linga may be installed in the lengthy side of the brahma pada. Under some
circumstances, images of sakta-linga may be installed.
चित्रयुक्तं तु तद्बेरं बाह्ये पैशाचिके अपि।
रक्षोगन्धर्व यक्षाद्याः पिशाचाद्याश्च मूर्तिपैः॥ १०
citrayuktaṁ tu tadberaṁ bāhye paiśācike api|
rakṣogandharva yakṣādyāḥ piśācādyāśca mūrtipaiḥ|| 10
Even in the paisacika pada lying outside the manusha pada occupying the bordering rows,
images associated with fully exposed limbs may be installed. Images of rakshas, gandharvas,
yakshas and others, images belonging to the group of paisacas, images associated with
fully manifest features of the form of Deity may be installed.
मानुषे वाथ पैशाचे द्विजानां वास इष्यते।
ईशानादि चतुष्कोणे सभाचं तत्र कल्पयेत्॥ ११
ब्रह्मभागं चतुर्भागं कृत्वैशाने सभां नयेत्।

वापीं चाग्नेयदेशे तु गोवासं कूपसंयुतम्॥ १२
नैर्ऋते वापणस्थानं देवालययुतं तु वा।
वायौ देवालयं कुर्याद्व्यत्यासे व्यसनं भवेत्॥ १३
mānuṣe vātha paiśāce dvijānāṁ vāsa iṣyate|
īśānādi catuṣkoṇe sabhādyamṁ tatra kalpayet|| 11
brahambhāgaṁ caturbhāgaṁ kṛtvaiśāne sabhāṁ nayet|
vāpīṁ cāgneyadeśe tu govāsaṁ kūpasaṁyutam|| 12
nairṛte vāpaṇasthānaṁ devālayayutaṁ tu vā|
vāyau devālayaṁ kuryādvyatyāse vyasanaṁ bhavet|| 13
It is recommended that the dwellings of brahmins may be located in the manusha pada or
the paisaca pada. In all the four corners, north-east and others, edifice meant for public utility
may be located. Or, the brahma bhaga should be divided into four equal parts. In the
north-east quarter, edifice for public utility should be built. In the south-east corner, a tank
should be constructed so as to be associated with cow-stable and well. The south-west may
be allocated for market pace. It may be associated with a temple. In the nort-west, temple for
Skanda should be constructed. If this order of allocation is not maintained and a different order
is followed, the village will be affected by disasters.
क्षुद्रवास्तौ तु तत्सर्वं नेष्यते ब्रह्मभागिके।
द्विजावासस्तु तत्सर्वं शर्वे वाथ विधीयते॥ १४
वरुणे विष्णुवासस्स्यात् केशवं शर्व एव वा।
पञ्चपञ्चांशतो न्यूनात् तदूर्ध्वं द्विजसत्तमाः॥ १५
चतुर्विंशत्सहस्रान्त पदं पैशाचिकं क्रमात्।
kṣudravāstau tu tatsarvaṁ neṣyate brahmabhāgike|
dvijāvāsastu tatsarvaṁ śarve vātha vidhīyate|| 14
varuṇe viṣṇuvāsassyāt keśavaṁ śarva eva vā|
pañcapañcāṁśato nyūnāt tadūrdhvaṁ dijasattamāḥ|| 15
caturviṁśatsahasrānta padaṁ paiśācikaṁ kramāt|

In a small village of insignificant area, such divisions as brahma bhaga and others are not
desirable. The whole area may be allocated for the dwellings of brahmins or such dwellings
may be restricted to the north-east. The temple for Vishnu should be in the west. Or, this may
be allocated for the temple of both Vishnu and Siva. O, the foremost twice-born Sages!, the
minimum number of rows(of vastu mandala) for the construction is 5x5. The number of rows
may be increased so as to reach the maximum number of 32x32. The paisacika pada extends
gradually up to 1024 grids.
सूर्यस्कन्द गणेशानां दुर्गाद्या वास्तुदेवताः॥ १६
वास्तुपैशाचिके मोटी मदनस्सप्तमातरः।
मोटी शास्तृ विहीना वा सप्तदेवास्तथा मताः॥ १७
sūryaskanda gaṇeśānāṁ durgādyā vāstudevatāḥ|| 16
vāstupaiśācike moṭī madanassaptamātaraḥ|
moṭī śāstṛ vihīnā vā saptadevāstathā matāḥ|| 17
Shrines for Surya, Skanda, Ganesa, Durga and other Deities should be located according to
the orderly presence of Vastu Devatas. In the rows belonging to the paisacika pada, shrines
for Moti, Kama Deva and Sapta Matrus should be built. Shrine for Sapta Devas may be given
importance, without building shrines for Moti and Sasta.
सहस्रविप्रादूर्ध्वं तु सभाद्यम् ब्राह्मणादिकं।
कल्पना न्यूनविप्रे तु त्यजेत्कोष्ठमथाङ्गणम्॥ १८
तदूर्ध्वं तु सहस्रान्ते गौरीव कमलालया।
ब्रह्मा वैश्रवणस्सौम्यः कन्दर्पोऽन्तर्व्यवस्थिताः॥ १९
बाह्ये क्षेत्राधिपज्येष्ठाः पूर्वोक्तं स्मृतदेवताः।
तदूर्ध्वं सर्वदेवाश्च शंसिताः फलदायकाः॥ २०
sahasraviprādūrdhvaṁ tu sabhādyam brāhmaṇādikaṁ|
kalpanā nyūnavipre tu tyajetkoṣṭhamathāṅgaṇam|| 18
tadūrdhvaṁ tu sahasrānte gaurīva kamalālayā|

brahmā vaiśravaṇassaumyaḥ kandarpo'ntarvyavasthitāḥ|| 19
bāhye kṣetrādhipajyeṣṭhāḥ pūrvoktaṁ smṛtadevatāḥ|
tadūrdhvaṁ sarvadevāśca śaṁsitāḥ phaladāyakāḥ|| 20
In a village where more than 1000 brahmins live, edifice meant for the public utility may
be built in the brahma pada and other adjacent belts. If the number of brahmins is very much
less, then the construction of elongated , small four-pillared hall , courtyard and other such
buildings should be left out. In a village where the number of brahmins extends up to 1000,
shrines for Gauri and Laksmi may be constructed. The shrines for Brahma, Kubera, Candra,
and Kamadeva should be in the interior sections. The shrines for Kshetrapala, Jyestha and other
Deities mentioned earlier should be in the exterior sections. In a village where more than 2000
brahmins live,construction of the shrines for all the prominent Deities who grant all the desired
fruits is highly recommended.
एतेष्वन्यतमार्थं तु शिवो गौरी विनायकः।
स्कन्दस्तत्र विधेयो वा ब्रह्मभागादि भागके॥ २१
शास्ता वान्तर्बहिस्थाप्यो बाह्ये रौद्राः प्रकीर्तिताः।
वास्तुविन्यास तुष्टास्तु प्रागत्र स्थापिताः सुराः॥ २२
eteṣvanyatamārthaṁ tu śivo gaurī vināyakaḥ|
skandastatra vidheyo vā brahmabhāgādi bhāgake|| 21
śāstā vāntarbahisthāpyo bāhye raudrāḥ prakīrtitāḥ|
vāstuvinyāsa tuṣṭāstu prāgatra sthāpitāḥ surāḥ|| 22
In these sections, shrines for other Deities, not mentioned here, may also be constructed. In
the brahma bhaga and other sections, temples for Siva, Gauri, Vinayaka and Skanda may
be built . The shrine of Sasta may built in the interior or exterior grid-belts. Shrines for
the Deities belonging to the Rudra Gana should be in the exterior sections. These Deities
installed in a settlement remain pleased and favorably disposed, if the application of the
chosen vastu-mandala has been performed carefully prior to the installation.
उक्तदेशेऽन्यदेशे वा न ते वास्त्वङ्गभाजिनः।
विना प्रतिष्ठां देवानां वास्तुन्न्यासं पृथग्भवेत्॥ २३

तस्मात्सर्वप्रयत्नेन देवानां च प्रकल्पयेत्।
विन्यसेद्रुद्रदेवांश्च शैवं सम्पादयेद्गुरुः॥ २४
uktadeśe'nyadeśe vā na te vāstvaṅgabhājinaḥ|
vinā pratiṣṭhāṁ devānāṁ vāstunyāsaṁ pṛthagbhavet|| 23
tasmātsarvaprayatnena devānāṁ ca prakalpayet|
vinyasedrudradevāṁśca śaivaṁ sampādayedguruḥ|| 24
Either in the locations mentioned before or in other locations, these Deities do not become
occupants of the shrines, if such shrines are built in the area , not identified according to the
vastu-mandala. Therfore, apart from the installation of the Deities, there is a separate and specific
activity known as the‘vastu nyasa’(accurate application of the selected vastu-mandala).
Therefore, creating the vibrant prsence of the vastu-deities is very much essential. This ritual
should be performed with all efforts and care. The Deities belonging to Rudra Gana should be
invoked subsequently and the Acharya should see that auspiciousness is effected in all respects.
सन्त्यक्तमार्षस्थानाद्यथा देवालयास्त्विह।
पुरातनात्वालोच्य वास्तुन्यासं समाचरेत्॥ २५
वास्तुन्यासिदिकं सर्वं प्रागेव प्रतिपादितम्।
तथापि पुनरद्यापि विशेषस्तत्र कथ्यते॥ २६
santyaktamārṣasthānādyathā devālayāstviha|
purātanātvathālocya vāstunyāsaṁ samācaret|| 25
vāstunyāsidikaṁ sarvaṁ prāgeva pratipāditam|
tathāpi punaradyāpi viśeṣastatra kathyate|| 26
The locations precribed for the ascetics should be left out, as it is done in the case of construction
of the temples. The ‘vastu-vinyasa’ should be carried out, adhering carefully to the
uninterrupted traditional process and analysing the consummate benefits. The process of
vastu-vinyasa and other related activities have been already explained. But, even now it
is explained with additional specific details.

पदं पैशाचिकान्तं तु ग्रामानां विधीयते।
गृहश्रेणिषु वृद्धिर्वा हानिर्बाह्यान्तरेऽपि वा॥ २७
आयामे विस्तरे वापि वैषम्यं तेषु मानतः।
इष्यते क्षुद्रमार्गो वा क्षुद्रे महति वास्तुनि॥ २८
बाह्यान्तरविधौ चैव वैषम्यं वा परस्परम्।
वास्तुपैशाच वैषम्यं इष्यते वास्तुनिर्मितौ॥ २९
padaṁ paiśācikāntaṁ tu grāmānāṁ vidhīyate|
gṛhaśreṇiṣu vṛddhirvā hānirbāhyāntare'pi vā|| 27
āyāme vistare vāpi vaiṣamyaṁ teṣu mānataḥ|
iṣyate kṣudramārgo vā kṣudre mahati vāstuni|| 28
bāhyāntaravidhau caiva vaiṣamyaṁ vā parasparam|
vāstupaiśāca vaiṣamyaṁ iṣyate vāstunirmitau|| 29
In the villages and other settlements, all the sections from the brahma pada to paisaca pada
should be ascertained well. In such sections, the decrease or increase in the recommended
rows of residential buidings, is permissible here. Either in the length or in the width,
asymmetrical adjustments are not excluded. Either in the small street or in the small area
of a larger settlement, there may be asymmetrical adjustments in the outer and the inner sections.
Such adjustments should be mutual, in view of the exterior and interior arrangements. In
the process of vastu-vinyasa, asymmetrical adjustments in the measurements are adimssible.
तथैव मार्गो मानेषु यथा देवालयेषु च।
स्थानादीनां यथा षोडा न स्यात्सर्वं तथा नयेत्॥ ३०
ब्रह्मदैविकभागादिस्थिता षोडा न दोषदा।
तस्मादुक्तेषु देशेषु मर्माद्यं परिगृह्य च॥ ३१
नागरादि प्रभेदेन दिग्भेदेन विशेषतः।
प्रतिपादित हर्म्येषु शिवाद्यान् स्थापयेत्ततः॥ ३२

tathaiva mārgo māneṣu yathā devālayeṣu ca|
sthānādīnāṁ yathā ṣoḍā na syātsarvaṁ tathā nayet|| 30
brahmadaivikabhāgādisthitā ṣoḍā na doṣadā|
tasmādukteṣu deśeṣu marmādyaṁ parigṛhya ca|| 31
nāgarādi prabhedena digbhedena viśeṣataḥ|
pratipādita harmyeṣu śivādyān sthāpayettataḥ|| 32
In the same way, either in the manusha pada or in the temples, the six vulnerable points
(marmasthana) need not be observed. They need not be excluded, as done before. Similarly,
the six vulnerable points observable in the brahma pada and the daivika pada are not to
be considered as defective in this context. Therefore, these vulnerable points observable
in the places mentioned here may be accepted; they are not negligible. Having accepted these,
the Acharya should install the images of Siva and other Gods in the temples listed here,
specifically taking into consideration the different types of linga such as nagara and others and
the characteristics of different directions.
॥ इति कामिकाख्ये महातन्त्रे देवतास्थापनविधि पटलः सप्तषष्टितमः ॥
|| iti kāmikākhye mahātantre devatāsthāpanavidhi paṭalaḥ saptaṣaṣṭitamaḥ||
This is the 67ᵗʰ Chapter “Locations for the Installation of Various Deities” in the Great Tantra called Kamika

६८ प्रतिमा प्रतिष्ठा विधिः
68 pratimā pratiṣṭhā vidhiḥ
68 Directions for Installation of the Images
प्रतिमानां प्रतिष्ठां तु प्रवक्ष्यामि समासतः।
द्रव्यसंग्रहणं पूर्वं बिम्बनिर्माणं एव च॥ १
पश्चान्मण्डप निर्माणं रत्नन्यासं अतः परम्।
नयनोन्मीलनं पश्चाद्बेरशुद्धिरनन्तरम्॥ २
ग्राम प्रदक्षिणं पश्चाज्जलवेशोऽष्टमं भवेत्।
मण्डपालङ्कृतिः पश्चाद्वास्तुहोमं अतः परम्॥ ३
शय्याकॢप्तिस्ततः प्रोक्ता प्रतिमास्थापनं ततः।
ततः कौतुकबन्धस्स्याच्छयनारोहणं पुनः॥ ४
कुम्भसंस्थापनं पश्चादर्पणं तदनन्तरम्।
ततो मूर्त्यादि विन्यासो होमकार्यमनन्तरम्॥ ५
दक्षिणादानमन्ते स्यान्मन्त्रन्यासं अतः परम्।
अतः परं च स्नपनं अर्चनं स्यादतः परम्॥ ६
द्वाविंशतिः क्रिया प्रोक्तास्तासां लक्षणं उच्यते।
pratimānāṁ pratiṣṭhāṁ tu pravakṣyāmi samāsataḥ|
dravyasaṁgrahaṇaṁ pūrvaṁ bimbanirmāṇaṁ eva ca|| 1
paścānmaṇḍapa nirmāṇaṁ ratnanyāsaṁ ataḥ param|
nayanonmīlanaṁ paścādberaśuddhiranantaram|| 2
grāma pradakṣiṇaṁ paścājjalaveśo'ṣṭamaṁ bhavet|
maṇḍapālaṅkṛtiḥ paścādvāstuhomaṁ ataḥ param|| 3
śayyākḷptistataḥ proktā pratimāsthāpanaṁ tataḥ|

tataḥ kautukabandhassyācchayanārohaṇaṁ punaḥ|| 4
kumbhasaṁsthāpanaṁ paścādarpaṇaṁ tadanantaram|
tato mūrtyādi vinyāso homakāryamanantaram|| 5
dakṣiṇādānamante syānmantranyāsaṁ ataḥ param|
ataḥ paraṁ ca snapanaṁ arcanaṁ syādataḥ param|| 6
dvāviṁśatiḥ kriyā proktāstāsāṁ lakṣaṇaṁ ucyate|
Now, I will explain briefly the process of installation of the images within the shrine. The
installation is performed through a series of 22 activities. The first one is the collection
and arranging of the required materials. Second is the structuring of the image. Then,
construction of the pavilion. Next, fixing the gems. Opening of the eyes of the image,
purification of the image, circumambulating the village, keeping the image immersed in
water, decoration of the pavilion, fire-ritual related to the vastu deities, designing the couch,
perfecting the image, tying up the protective thread, placing the image to be in recumbent pose
on the couch, arranging the vessels(kumbhas), dedicating the image, doing the nyasa of
the actual form of the Deity, offering the oblations, offering the ceremonial fees, the
nyasa of the mantra, preparation of snapana and adoration – these are 22 activities prescribed
for the installation. I will give the details of these activities, one by one.
शिलामृल्लोहसद्वृक्ष रत्नधातु सुधा पटाः॥ ७
दन्तबेरकनिर्माणे तस्य संग्रहमुच्यते।
सुमुहूर्ते सुलग्ने तु नक्षत्र करणान्विते॥ ८
शिलादिस्थानमासाद्य स्थण्डिले पूजितेश्वरः।
हुताग्नि पूजिताश्चाथ दत्तभूतबलिश्रुचिः
śilāmṛllohasadvṛkṣa ratnadhātu sudhā paṭāḥ|| 7
dantaberakanirmāṇe tasya saṁgrahamucyate|
sumuhūrte sulagne tu nakṣatra karaṇānvite|| 8
śilādisthānamāsādya sthaṇḍile pūjiteśvaraḥ|
hutāgni pūjitāścātha dattabhūtabaliśśuciḥ|| 9
When the images made of granite, clay, metal, wood, gems, minerals, stucco, painted image or
the image depicted in thick cloth, image made of ivory are to be installed, the Acharya should
take hold of the image to be installed through the prescribed ritual. The process of that ritual is
now told. Upon the approach of auspiscious time characterised by beneficial muhurta and lagna

and conjoined with auspiscious star and karana, the Acharya who has purified himself should sit
near the place where the image is kept and worship the Lord on the raised platform(sthandila),
invoke and worship the consecrated fire, offer necessay oblations into the fire and offer the
balls of cooked rice(bali) to the gaurdian deities of the cosmic elements.
शिलाद्यं प्रोक्ष्य वस्त्रेण वर्मणावेष्ट्य पूजयेत्।
हृदि वस्त्रेण संवेष्ट्य टङ्काद्यं मधुसर्पिषा ॥ १०
आप्लाव्य त्रिः प्रहारेण स्फोटयेदस्त्रमन्त्रतः।
गुरोरनुज्ञया शिल्पी तथैवास्फोटयेत्पुनः॥ ११
śilādyaṁ prokṣya vastreṇa varmaṇāveṣṭya pūjayet|
hṛdi vastreṇa saṁveṣṭya ṭaṅkādyaṁ madhusarpiṣā|| 10
āplāvya triḥ prahāreṇa sphoṭayedastramantrataḥ|
guroranujñayā śilpī tathaivāsphoṭayetpunaḥ|| 11
Having sprinkled the drops of consecrated water over the image and other objects with the
accompaniment of astra mantra, he should wrap the image with a new cloth reciting the kavaca
mantra and worship it. Having covered the tools such as hatchet and others with a cloth reciting
the hrudaya mantra, he should sprinkle the honey and clarified butter over them and striking
over the left palm three times, snap the fingers with the accompaniment of astra mantra. Getting
the instruction from the Guru to do so, the Silpi should strike over his left palm three times
and snap the fingers, as done by the Acharya.
संपूज्य वस्त्रहेमाद्यैराचार्यं स्थपतिं तथा।
तस्मात्संगृह्य तद्द्रव्यं नयेत्कर्मकुटीं पुनः॥ १२
saṁpūjya vastrahemādyairācāryaṁ sthapatiṁ tathā|
tasmātsaṁgṛhya taddravyaṁ nayetkarmakuṭīṁ punaḥ|| 12
The chief patron of the installation should honor the Acharya and the Sthapati with new
garments, gold and other valuable materials , collect the materials from the Acharya
and bring them again to the sacrificial pavilion.

आदौ सिक्तं द्रवीभूतं अस्त्रेणास्राव्य वारिणा।
मण्डपे स्थण्डिलं कृत्वा सिक्तं तत्रैव निक्षिपेत्॥ १३
संपूज्य गन्धपुष्पाद्यैर्हृदा वस्त्रेण वेष्टयेत्।
तद्द्रव्यं शिल्पिने दत्वा कारयेल्लक्षणान्वितम्॥ १४
ādau siktaṁ dravībhūtaṁ astreṇāsrāvya vāriṇā|
maṇḍape sthaṇḍilaṁ kṛtvā siktaṁ tatraiva nikṣipet|| 13
saṁpūjya gandhapuṣpādyairhṛdā vastreṇa veṣṭayet|
taddravyaṁ śilpine datvā kārayellakṣaṇānvitam|| 14
First, the Acharya should consecrate those substances which are drenched and liquefied
by sprinkling the consecrated water with the accomapniment of astra mantra. Having designed
a raised platfrom in the sacrificial pavilion, he should place those objects over it. Having
worshipped the tools with sandal , flowers and other such materials reciting the hrudaya mantra
he should wrap them with a cloth with the accompaniment of astra mantra and hand them over to
the Silpi. Through him, the Acharya should carry out the related works so as to render the image
to be associated with good features.
तस्य निर्माण काले तु उत्तराभिमुखो गुरुः।
प्रतिमा मूलमन्त्रं तु जपेदष्टोत्तरं शतम्॥ १५
तस्याश्चोत्तर दिग्भागे शान्तिहोमं तु कारयेत्।
देशिकं शिल्पिनं चैव पूजयेत्काञ्चनादिभिः॥ १६
tasya nirmāṇa kāle tu uttarābhimukho guruḥ|
pratimā mūlamantraṁ tu japedaṣṭottaraṁ śatam|| 15
tasyāścottara digbhāge śāntihomaṁ tu kārayet|
deśikaṁ śilpinaṁ caiva pūjayetkāñcanādibhiḥ|| 16

During the time of the performance of the works concerned with the image, the Guru
should be seated facing north and recite the mula mantra of the image concerned for 108 times.
In the north side of the Guru, fire-ritual meant for alleviation should be performed. The chief
patron should worship the Acharya and the Silpi, honoring them with gold and other valuables.
वृक्ष संग्रहणे वृक्षं संपूज्यैवं वदेद्गुरुः।
श्रीनिकेत नमस्तुभ्यं देवजुष्ट वनस्पते॥ १७
सङ्क्रामस्स्यादितिस्थानं गुणवद्यन्मनोरमम्।
विसृज्यानेन मन्त्रेण छदात्मानं निरुच्यते॥ १८
vṛkṣa saṁgrahaṇe vṛkṣaṁ saṁpūjyaivaṁ vadedguruḥ|
śrīniketa namastubhyaṁ devajuṣṭa vanaspate|| 17
saṅkrāmassyāditisthānaṁ guṇavadyanmanoramam|
visṛjyānena mantreṇa chadātmānaṁ nirucyate|| 18
When the Acharya is about to cut the selected tree for getting the needed wood for making
the image, he should worship that tree and recite these lines: “O, the Lord of the forest,
you are here being resorted to by the celestial gods. You are the abode of Lakshmi.
Prostrations to you. Be pleased to shift your residence from this tree to some other tree
which is associated with good features and charming to the mind”. Covering himself with
upper garment, he should recite this mantra loudly and bid farewell to the Deity of the tree.
घृताक्तेन कुठारेण छिन्द्यान्मृत्युञ्जयं स्मरन्।
यक्षेन्द्रशिवकाष्ठासु पतितं सर्वकामदम्॥ १९
तापमृत्युमहारोग गुल्मोच्चाटनमन्त्रितः।
द्रव्यसंग्रहणं चैवं निर्माणं पूर्वमेव तु॥ २०
ghṛtāktena kuṭhāreṇa chindyānmṛtyuñjayaṁ smaran|
yakṣendraśivakāṣṭhāsu patitaṁ sarvakāmadam|| 19

tāpamṛtyumahāroga gulmoccāṭanamagnitaḥ|
dravyasaṁgrahaṇaṁ caivaṁ nirmāṇaṁ pūrvameva tu|| 20
With the hatchet, slightly anointed with ghee, he should cut the tree, reciting the mantra of
mrutyunjaya. If the severed branch falls in the south-west, east or north-east, it will yield
all the desired fruits. If it falls in the south-east, it will lead to agony, death, grievous malady,
chronic spleen enlargement and cause the residents to move out of the village. Assembling of the
wood and other materials should be done in this way. The preparation of the image for
installation should be carried out as explained before.
प्रतिमालक्षणं प्रोक्तं मण्डपं त्वधुनोच्यते।
प्रासादस्य चतुर्दिक्षु मण्डपं चाग्रपार्श्वयोह्॥ २१
त्रिहस्तं तु समारभ्य चैकैक करवृद्धितः।
पञ्चादशकरान्तं तु कुर्याल्लक्षण संयुतम्॥ २२
अत्रानुक्तं तु यत्किञ्चित्तत्सर्वं पूर्ववन्नयेत्।
pratimālakṣaṇaṁ proktaṁ maṇḍapaṁ tvadhunocyate|
prāsādasya caturdikṣu maṇḍapaṁ cāgrapārśvayoḥ|| 21
trihastaṁ tu samārabhya caikaika karavṛddhitaḥ|
pañcādaśakarāntaṁ tu k

navapañcaika kuṇḍāni pūrvavat parikalpayet| 23
caturaśrāṇi vṛttāni taddigaśrāṇi vā nayet|
śaktīnāṁ ca sarvāsāṁ yonyākārāṇi kalpayet|| 24
Either nine fire-pits, five fire-pits or one fire-pit may be designed in the pavilion, as detailed
earlier. All the fire-pits may be square or circular. Or, each fire-pit may be designed so as to
be in the geometrical form suitable to each direction. For all the female Deities, the fire-pits
should be in the form of vulva.
मण्डपं समलङ्कृत्य पीठं तत्र विनिक्षिपेत्।
नवपट्ट समायुक्तं पञ्चपट्टयुतं तु वा ॥ २५
एकपट्टयुतं वापि पूजयेच्चन्दनादिभिः।
आधाराख्यं अनन्तं च मध्यमे विन्यसेद्गुरुः॥ २६
maṇḍapaṁ samalaṅkṛtvā pīṭhaṁ tatra vinikṣipet|
navapaṭṭa samāyuktaṁ pañcapaṭṭayutaṁ tu vā|| 25
ekapaṭṭayutaṁ vāpi pūjayeccandanādibhiḥ|
ādhārākhyaṁ anantaṁ ca madhyame vinyasedguruḥ|| 26
Having beatifully decorated the pavilion, he should design an altar in its middle. This altar
may be provided with nine or five mouldings(bands) or one moulding. The Acharya should
worship the altar with sandal, flowers and other materials. He should invoke adhara-sakti and
ananta asana in the middle of the altar and worship them.
लोकपालांश्च चतुरः रत्नानि विविधानि च।
माणिक्यमिन्द्रनीलं च वैडूर्यं च प्रवालकम्॥ २७
मुक्ता वज्रं तथा पुष्परागं गोमेदकं तथा।
मरकतं चैव रत्नानि नवरत्नादि पञ्चकम्॥ २८

पञ्चरत्नमिति प्रोक्तं माणिकं चैकमेव वा।
वज्रं वा मध्यमे प्रोक्तं महावेशमिति स्मृतम्॥ २९
lokapālāṁśca caturaḥ ratnāni vividhāni ca|
māṇikyamindranīlaṁ ca vaidūryaṁ ca pravālakam|| 27
muktā vajraṁ tathā puṣyarāgaṁ gomedakaṁ tathā|
marakataṁ caiva ratnāni navaratnādi pañcakam|| 28
pañcaratnamiti proktaṁ māṇikkaṁ caikameva vā|
vajraṁ vā madhyame proktaṁ mahāveśamiti smṛtam|| 29
The directional deities should be worshipped in all the four sides, corresponding to the
eight directions. Nine gems or five gems or one gem may be taken. Gems are manifold.
Ruby, sapphire, beryl, coral, pearl, diamond, topaz, hessonite and emerald – these are
the nine gems prescibed here. The five gems should be chosen from these nine gems. In
the case of one gem, it may be ruby or diamond. This should be placed in the central square.
Consecration of these gems is known as ‘mahavesa’.
स्वस्वलोकप मन्त्रैश्च मध्यादि क्रमतो न्यसेत्।
देवं रत्नोपरि न्यस्त्वा सुस्निग्धं कारयेद्दृढम्॥ ३०
शैलं चेत्स्थापने काले रत्नाद्यं विधिवन्न्यसेत्।
शूलस्थापने काले तु न्यसेद्रत्नानि मृण्मये॥ ३१
अन्येषाम् रत्नविन्यासं वर्जयेत्तु विशेषतः।
svasvalokapa mantraiśca madhyādi kramato nyaset|
devaṁ ratnopari nyastvā susnigdhaṁ kārayeddṛḍham|| 30
śailaṁ cetsthāpane kāle ratnādyaṁ vidhivannyaset|
śūlasthāpane kāle tu nyasedratnāni mṛṇmaye|| 31
anyeṣāṁ ratnavinyāsaṁ varjayettu viśeṣataḥ|
These gems should be placed in the due order, starting from the middle and proceeding in
clockwise direction to reach the north-east, with the accompaniment of the mantra pertaining
to each. Then he should place the image over the gems arranged in the due order so that