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

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

it stands straight and motionless. If the image is made of granite, these gems and other items
should be arranged according to the prescribed directions, during the time of installation. If
the wooden frame of the image is to be installed, these gems should be arranged on the levelled
stretch of clay. For other idols, the placing of gems may be avoided, specifically.
नेत्रद्वययुतर्क्षे तु कारयेन्नेत्र मोक्षणम्॥ ३२
सुगुप्ते मण्डपे रम्ये गोमयेनानुलेपिते।
प्रच्छन्नपट संयुक्ते सर्वालङ्कार संयुते॥ ३३
स्थण्डिलं तत्र कर्तव्यं अष्टद्रोणादि व्रीहिभिः।
तिलतण्डुल संयुक्तम् लाजपुष्प समन्वितम्॥ ३४
netradvayayutarkṣe tu kārayennetra mokṣaṇam|| 32
sugupte maṇḍape ramye gomayenānulepite|
pracchannapaṭa saṁyukte sarvālaṅkāra saṁyute|| 33
sthaṇḍilaṁ tatra kartavyaṁ aṣṭadroṇādi vrīhibhiḥ|
tilataṇḍula saṁyuktam lājapuṣpa samanvitam|| 34
The eyes of the image should be opened in an auspicious day in which the lunar mansion
is in conjunction with ‘two eyes’. The pavilion designed for this activity should be protected
well from being seen by others , should be charming to look at with its interior ground being
smeared with diluted cow-dung. It should be decorated with all kinds of beautifying materials and
should be provided with concealing screen. There, the Acharya should design a raised platform
(sthandila) with eight dronas of paddy grains. Sesame, unhusked rice ,parched paddy, and such
others should be used for the designing of the sthandila.
तस्य मध्ये न्यसेद्विम्बं प्राङ्मुखं देशिकोत्तमः।
हेमसूचिप्रहाराभ्यां नेत्रमन्त्रमनुस्मरन्॥ ३५
प्रथमं दक्षिणं नेत्रं द्वितीयं वाम नेत्रकम्।
ललाटस्थं तृतीयं तु लेखयेत्पूजयेद्गुरुः॥ ३६
पक्ष्मरेखां पुराकृत्वा ततो वै दृष्टिमण्डलम्।
ज्योतिर्मण्डलमालिख्य नेत्रमोचनमाचरेत्॥ ३७

tasya madhye nyasedbimbaṁ prāṅmukhaṁ deśikottamaḥ|
hemasūciprahārābhyāṁ netramantramanusmaran|| 35
prathamaṁ dakṣiṇaṁ netraṁ dvitīyaṁ vāma netrakam|
lalāṭasthaṁ tṛtīyaṁ tu lekhayetpūjayedguruḥ|| 36
pakṣmarekhāṁ purākṛtvā tato vai dṛṣṭimaṇḍalam|
jyotirmaṇḍalamālikhya netramocanamācaret|| 37
The foremost Acharya should place the image at the center of the sthandila in such a way that
it faces east. Then, with gentle strokes of the needle made of gold and reciting the netra mantra,
he should draw the right eye first and then the left eye. Thirdly, the eye located in the forehead
should be drawn. Having drawn the three eyse, the Guru should worship them. First, the lines
defining the eye-lids should be drawn. Then, the circles, defining the eye ball should be drawn.
Then, having drawn the luminous spots, he should unfold the eyes of the image.
तथैवोत्मीलनं शिल्पी वज्रकाञ्चनसूचितः।
पुष्पायोनिर्मितेनैव टङ्केनैव त्रिलोचने॥ ३८
नासिका कर्णवक्त्राणि लिङ्गं पायुं च मोचयेत्।
तत्तद्देवाङ्ग भूतानां नयनोन्मीलनं नयेत्॥ ३९
चित्राभासादि देवानां तत्तद्वर्णैस्समाचरेत्।
तदाक्षिमोचनं कुर्याद्धेमतूलिकया गुरुः॥ ४०
tathaivonmīlanaṁ śilpī vajrakāñcanasūcitaḥ|
puṣpāyonirmitenaiva ṭaṅkenaiva trilocane|| 38
nāsikā karṇavaktrāṇi liṅgaṁ pāyuṁ ca mocayet|
tattaddevāṅga bhūtānāṁ nayanonmīlanaṁ nayet|| 39
citrābhāsādi devānāṁ tattadvarṇaissamācaret|
tadākṣimocanaṁ kuryāddhematūlikayā guruḥ|| 40
In the same way, the Silpi should open the eyes of the image with the needles made of diamond
and gold. He should make the eyes to unfold by striking with a small hatchet on the spots
identified with flowers. All other parts such as nose, ears, mouth, genital organ, anus and others
should be exposed. Even for the images of retinue dieties, ‘opening of the eyes’ should be

done according to the directions set forth here. For the images belonging to the types of ‘citra’
and ‘abhasa’, the Guru should make the eyes unfold, using the colors applicable to each and
using the pencil made of gold.
उद्वास्य शिल्पिनं पश्चात् तस्याग्रे स्थण्डिलं नयेत्।
बिम्बं तस्योपरि न्यस्त्वा हृदयेन तु मन्त्रतः॥ ४१
ससूत्रान् सपिधानांश्च कलशानष्ट दिक्षु च।
सवस्त्रान् वारिसंयुक्तान् सकूर्चान् पल्लवैर्युतान्॥ ४२
स्वमन्त्रैरभितो न्यस्त्वा लोकेशांस्तत्र पूजयेत्।
क्षुद्रेऽष्टकलशान् हित्वा चान्यत्सर्वं समाचरेत्॥ ४३
udvāsya śilpinaṁ paścāt tasyāgre sthaṇḍilaṁ nayet|
bimbaṁ tasyopari nyastvā hṛdayena tu mantrataḥ|| 41
sasūtrān sapidhānāṁśca kalaśānaṣṭa dikṣu ca|
savastrān vārisaṁyuktān sakūrcān pallavairyutān|| 42
svamantrairabhito nyastvā lokeśāṁstatra pūjayet|
kṣudre'ṣṭakalaśān hitvā cānyatsarvaṁ samācaret|| 43
Having sent off the Silpi with due honors, the Acharya should design a sthandila in front
of the image and place that at the center of the sthandila with the accompaniment of hrudaya
mantra. He should place eight pots around the image. These pots should have been wound round
with thread, closed with lid, covered with new cloth, filled up with consecrated water, furnished
with a bunch of darbha-grass and tender leaves(of mango tree). These are meant for the eight
gaurdians of the directions and these should be arranged with the accompaniment of mantra
pertaining to each gaurdian-deity. Then, the Acharya should worship these directional dieties.
For the images of minor deities, eight pots need not be arranged. All other ritulas should be
performed for the images of these deities.
स्वर्णाया दूर्वया नेत्रं मध्वाज्याभ्यां तु तर्पयेत्।
हृदा वा नेत्रमन्त्रेण मन्त्रिताभ्यां गुरूत्तमः॥ ४४
लोहजे शैलजे वार्क्षे रत्नजेप्येवमाचरेत्।

अन्येषामपि सर्वेषां भावयेत् तर्पणक्रियाम्॥ ४५
तर्जन्यनामिका मध्ये सूर्यसोमाग्निलोचने।
हिरण्यनखसंप्रोतैर्न्यसेत्तद्बीज संयुतम्॥ ४६
svarṇayā dūrvayā netraṁ madhvājyābhyāṁ tu tarpayet|
hṛdā vā netramantreṇa mantritābhyāṁ gurūttamaḥ|| 44
lohaje śailaje vārkṣe ratnajepyevamācaret|
anyeṣāmapi sarveṣāṁ bhāvayet tarpaṇakriyām|| 45
tarjanyanāmikā madhye sūryasomāgnilocane|
hiraṇyanakhasaṁprotairnyasettadbīja saṁyutam|| 46
The foremost Acharya should effect the fullness of the event by offering the drops of honey and
ghee consecrated with the hrudaya mantra or the netra mantra, by using durva-grass made of
gold. Such ritual should be performed in the same way for the images made of metals, granite,
wood and gems. For all other images, such tarpana(effecting of fullness) should be done.
Wearing the nails made of gold on the index finger, the ring finger and the middle finger which
represent sun, moon and fire respectively, the Acharya should do the nyasa of netra, reciting the
seed mantra pertaining to each of these.
सौवर्णे राजते ताम्रे कांस्ये वाथ शरावके।
घृतेन मधुना चैव प्रत्येकं प्रस्थपूरितम्॥ ४७
तदर्धेनार्धपादेन पूरितं वा पृथक् पृथक्।
घृतं प्रदर्शयेन्मन्त्री नेत्रमन्त्रमनुस्मरन्॥ ४८
दर्शयेन् मधुपात्रं तु मृत्युजिन्मन्त्रमुच्चरन्।
हृदयेन तु मन्त्रज्ञः तद्वत्साङ्गं प्रदर्शयेत्॥ ४९
sauvarṇe rājate tāmre kāṁsye vātha śarāvake|
ghṛtena madhunā caiva pratyekaṁ prasthapūritam|| 47
tadardhenārdhapādena pūritaṁ vā pṛtak pṛtak|
ghṛtaṁ pradarśayenmantrī netramantramanusmaran|| 48

darśayen madhupātraṁ tu mṛtyujinmantramuccaran।
hṛdayena tu mantrajñaḥ tadvatsāṅgaṁ pradarśayet॥ 49
He should take up two saravaka-vessels(hollowed plates) made of gold, silver, copper or brass
and fill them up with ghee and honey, each being in the measure of one prastha, half or quarter
of a prastha. He should hold the ghee-filled saravaka and show it to the image, reciting the
netra mantra. Then, he should hold the honey-filled saravaka and show it to the image, reciting
the mruyunjaya mantra. The Acharya, who has known well the significance of such mantras
should show them to other limbs of the image, reciting the hrudaya mantra.
बीजमुख्येन मन्त्रेण धान्यराशिं प्रदर्शयेत्।
शिवादिदशभागान्तं तेषां मानं प्रकीर्तितम्॥ ५०
ब्राह्मणान् दर्शयेत्पश्चात् पवमानमनुस्मरन्।
तेनैव दर्शयेत्कन्यां भूषितां सर्वभूषणैः॥ ५१
bījamukhyena mantreṇa dhānyarāśiṁ pradarśayet।
śivādidaśabhāgāntaṁ teṣāṁ mānaṁ prakīrtitam॥ 50
brāhmaṇān darśayetpaścāt pavamānamanusmaran।
tenaiva darśayetkanyāṁ bhūṣitāṁ sarvabhūṣaṇaiḥ॥ 51
Then, he should show the varieties of grains, reciting the mantras pertaining to the seeds
of each variety of grain. The grains may be in the measure of one drona. The measue may be
decreased up to one tenth of a drona, according to availabilty. Then, he should show
the presence of learned brahmins, reciting the pavamana sukta. With the recital of same sukta,
he should show the presence of maidens, well adorned with all kinds of ornaments.
प्रच्छन्नपटमावर्ज्य जनसंघान् प्रदर्शयेत्।
मृद्भस्मकुशागोमूत्र गोमयैः पञ्चगव्यकैः॥ ५२
त्वक्सारैः प्रतिमाशुद्धिं चित्रादौ दर्पणे नयेत्।
रजन्यामल पिष्टाद्यैश्शुद्धियुक्तं प्रकल्पयेत्॥ ५३

वस्त्रैर्गन्धैश्च मालाभिर्भूषयेद् भूषणार्हकैः।
ग्राम प्रदक्षिणं कुर्यात् सर्वालङ्कारसंयुतम्॥ ५४
ग्रामप्रदक्षिणं वापि चित्रादौ परिवर्जयेत्।
महत्तरे वा तत्त्याज्यं प्रापयेत्तु जलं ततः॥ ५५
pracchannapaṭamāvarjya janasaṁghān pradarśayet|
mṛdbhasmakuśāgomūtra gomayaiḥ pañcagavyakaiḥ|| 52
tvaksāraiḥ pratimāśuddhiṁ citrādau darpaṇe nayet|
rajanyāmala piṣṭādyaiśśuddhiyuktaṁ prakalpayet|| 53
vastrairgandhaiśca mālābhirbhūṣayed bhūṣaṇārhakaiḥ|
grāma pradakṣiṇaṁ kuryāt sarvālaṅkārasaṁyutam|| 54
grāmapradakṣiṇaṁ vāpi citrādau parivarjayet|
mahattare vā tattyājyaṁ prāpayettu jalaṁ tataḥ|| 55
Having removed the concealing screen, he should enable the assembled people to have the
gracious vision of the image. Then he should purify the image with clay, sacred ash, cow-urine,
cow-dung, five substances got from the cow which have been proportionately mixed and
consecrated and with the juice of the barks of recommended trees. For the citra-image and
mirror-image, he should perform tarpana(imparting fullness of event). Purification should be
rendered to the image with turmeric powder, myrobalan fruit, flour of rice and such others.
Then, he should adorn the image with new garment, sandal paste, garlands and the ornaments
suitable for the image. Having rendered the image so as to be pleasant and charming with
all kinds of ornamental things, he should arrange for the circumambulation of the village.
Circumambulation of village may be dropped for the citra, abhasa and such other images.
The circumambulation should be left out even for the image which is very large in size.
Having circumambulated, the image should be brought near the bank of river or tank.
जलमध्ये प्रपां कृत्वा चतुर्गात्र समन्विताम्।
मण्डितान् दर्भमालाद्यैस्तीरे समतले पुनः॥ ५६
स्थण्डिलं स्थापयित्वा तु गन्धाद्यैरर्चयेद्गुरुः।
तस्याग्रे स्थण्डिलं कृत्वा कलशानष्ट विन्यसेत्॥ ५७

jalamadhye prapāṁ kṛtvā caturgātra samanvitam|
maṇḍitān darbhamālādyaistīre samatale punaḥ|| 56
sthaṇḍilaṁ sthāpayitvā tu gandhādyairarcayedguruḥ|
tasyāgre sthaṇḍilaṁ kṛtvā kalaśānaṣṭa vinyaset|| 57
Having erected a thatched shed in the tank or river so as to be associated with four entrances,
the Acharya should decorate it with rows of darbha-grass, garlands and others. Again, he
should design a sthandila on the evenly-levelled ground near the bank of the tank or river
and worship it with sandal, flowers and other materials. Having designed another sthandila
in front of the previous one, he should place eight pots over it.
लोकपालाधिपांस्तत्र हेमाढ्यान् पूजयेद्गुरुः।
व्यपोह्य भूषणार्हं तु वस्त्रेणाच्छाद्य वर्मणा॥ ५८
लम्बकूर्चेन संयुक्तं द्वात्रिंशत्सम्मितेन तु।
पीठे वा फलकादौ वा शाययेज्जलमध्यमे॥ ५९
lokapālādhipāṁstatra hemāḍhyān pūjayedguruḥ|
vyapohya bhūṣaṇārhaṁ tu vastreṇācchadya varmaṇā|| 58
lambakūrcena saṁyuktaṁ dvātriṁśatsammitena tu|
pīṭhe vā phalakādau vā śāyayejjalamadhyame|| 59
The Acharya should invoke the directional deities on the pots and worship them. He should
worship the image adorned with ornaments of gold. Upon the completion of worship, he should
remove all the ornaments and cover the image with a suitable cloth, reciting the kavaca mantra.
Then, having placed a lamba-kurca designed with 32 darbhas of even length on the image,
he should safely place the image so as to be recumbent on the wooden pedestal or wooden
plank kept in the water.
गङ्गातीर्थमावाह्य परितः कलशान् न्यसेत्।
एकादि नवरात्रान्तं वेदत्रिद्व्येकयामकम्॥ ६०
जलादिवासनं कुर्याच्चित्रादौ दर्पणे न वा।

gaṅgātīrthamāvāhya paritaḥ kalaśān nyaset|
ekādi navarātrāntaṁ vedatridvyekayāmakam|| 60
jalādivāsanaṁ kuryāccitrādau darpaṇe na vā|
Having placed eight pots in due order around the central image, the Acharya should invoke the
sacred water of the holy Ganga river. The activity known as ‘jaladhivasa’(keeping the image
immersed in water) should be last for one to nine nights or for 4,3,2 or 1 yama. Such
‘jaladhivasa’ need not be done to citra-image or mirror-image.
मण्डपं भूषयेत्पश्चात् पटेन महताऽवृतम्॥ ६१
ब्राह्मणान् भोजयेत्तत्र सहस्रान्तान् दशादिकान्।
पुण्याहं वाचयित्वा तु वास्तुहोमं तु कारयेत्॥ ६२
पर्यग्निकरणं कृत्वा प्रोक्षयेत्तु शिवाम्बसा।
पुण्याहं वाचयेत्पश्चात् स्थण्डिले वेदिकोपरि॥ ६३
अष्टद्रोणैर्तदर्धैर्वा तदर्धैश्शालिभिर्मतम्।
तिलैर्लाजैश्च दर्भैश्च पुष्पैस्सम्यक् प्रकल्पयेत्॥ ६४
maṇḍapaṁ bhūṣayetpaścāt paṭena mahatāvṛtam|| 61
brāhmaṇān bhojayettatra sahasrāntān daśādikān|
puṇyāhaṁ vācayitvā tu vāstuhomaṁ tu kārayet|| 62
paryagnikaraṇaṁ kṛtvā prokṣayettu śivāmbasā|
puṇyāhaṁ vācayetpaścāt sthaṇḍile vedikopari|| 63
aṣṭadroṇairtadardhairvā tadardhaiśśālibhirmatam|
tilairlājaiśca darbhaiśca puṣpaissamyak prakalpayet|| 64
Then, having covered the pavilion completely with a larger cloth and having decorated it so
as to be charming, he should arrange for the feeding of 10 to 1000 brahmins. Then he should
purify the interior of the pavilion and declare the auspiciousness of the chosen time and
perform the fire-ritual related to vastu. Having come around the pavilion with a burning
effigy of the evil force(paryagni karana), he should purify the area by sprinkling the drops
of sivatirtha. Once again he should purify the interior and declare the auspiciousness of the
chosen time. Then he should design a sthandila over the altar with 8, 4 or 2 dronas of paddy
grains, sesame, parched paddy, darbhas, flowers and other substances.

शयनं कल्पयेदूर्ध्वे चर्मजाद्यैरनुक्रमात्।
चित्रादौ कल्पयेच्छय्यां तत्तत्पादप्रदेशके॥ ६५
मोक्षयेत् पुरुषेणैव हृदा गन्धादिभिरर्चयेत्।
जलादुत्तीर्य बेरं तु स्नानश्वभ्रे ति विन्यसेत्॥ ६६
śayanaṁ kalpayedūrdhve carmajādyairanukramāt|
citrādau kalpayecchayyāṁ tattatpādapradeśake|| 65
mokṣayet puruṣeṇaiva hṛdā gandhādibhirarcayet|
jalāduttīrya beraṁ tu snānaśvabhre ti vinyaset|| 66
Above the sthandila, he should design a couch making use of fine hairs got from skin and
other materials, according to the prescribed order. For the citra-image and such others, couch
should be designed in a place adjacent to the bottom of the image. Upon the approach of proper
time, he should awaken the image reciting the tatpurusha mantra and worship it with sandal
and other materials, reciting the hrudaya mantra. Having lifted the image from the water, he
should carefully place it in the pit meant for the ceremonial bath.
व्यपोह्य वस्त्रकूर्चाद्यं स्नपनं पूर्ववन्नयेत्।
वस्त्रेणैव तु संवेष्ट्य पूजयेद्धृदयेन तु॥ ६७
कौतुकं बन्धयेत्पश्चाद्धृदा दक्षिणहस्तके।
शक्तीनां चैव सर्वासां वामे वा दक्षिणेऽपि वा॥ ६८
vyapohya vastrakūrcādyaṁ snapanaṁ pūrvavannayet|
vastreṇaiva tu saṁveṣṭya pūjayeddhṛdayena tu|| 67
kautukaṁ bandhayetpaścāddhṛdā dakṣiṇahastake|
śaktīnāṁ caiva sarvāsāṁ vāme vā dakṣiṇe'pi vā|| 68
Having removed the cloth, bunch of darbhas(kurca) and other things from the image, he should
perform the snapana bath as explained earlier. Having covered the image with a new cloth,
he should worship it with the accompaniment of hrudaya mantra and tie up the protective

band of thread in the right hand, reciting the hrudaya mantra. For all the female Deities, the
protective band may be tied up in the left hand or right hand.
कुम्भान् संस्थापयेत्पश्चात् सर्वलक्षण संयुतान्।
ससूत्रान् सहिरण्यांश्च सकूर्चान् वस्त्र संयुतान्॥ ६९
गन्धोदकेन सम्पूर्णांन् फलपल्लव शोभितान्।
विन्यस्य परितस्सर्वान् गन्धपुष्पादिभिरर्चयेत्॥ ७०
मूर्तिन्यासं ततः कुर्याल्लिङ्गस्थापन मार्गतः।
आत्मविद्यां शिवाख्यं च जानुकर्ण शिरोवधि॥ ७१
kumbhān saṁsthāpayetpaścāt sarvalakṣaṇa saṁyutān|
sasūtrān sahiranyāṁśca sakūrcān vastra saṁyutān|| 69
gandhodakena sampūrṇān phalapallva śobhitān|
vinyasya paritassarvān gandhapuṣpādibhirarcayet|| 70
mūrtinyāsaṁ tataḥ kuryālliṅgasthāpana mārgataḥ|
ātmavidyāṁ śivākhyaṁ ca jānukarṇa śirovadhi|| 71
Then he should place the pots(kumbhas) in an orderly way. Such pots should have been
wound round with thread, covered with cloth, associated with gold coin or plate and bunch of
darbhas. These should have been filled up with perfumed and consecrated water. They
should be very pleasant to look at, beautified with coconut fruit and tender leaves. Having
placed such pots around the central one, he should worship them with sandal, flowers and
such other materials. Then, the Acharya should do the murti-nyasa, in a way similar to the
nyasa precribed for the installation of Sivalinga. Atma tattva, vidya tattva and siva tattva
should be contemplated from the feet to the knee, knee to ears and ears to the head respectively.
होमकर्म तदन्ते स्यात् प्रागुक्तविधिना सह।
पलाशोदुम्बराश्वत्थ वटाः पूर्वादिषु क्रमात्॥ ७२
शम्यपामार्गश्रीवृक्ष पिप्पलैश्चाग्नि कोणतः।
प्रधानस्य पलाशस्स्यात् समिधस्संप्रकीर्तिताः॥ ७३

समिदाज्य चरू लाज सर्षपाश्चैव वैणवाः।
यवप्रियङ्गुशाल्यश्च मुद्गमाष कुलुत्थकाः ॥ ७४
मधु क्षीर गुले सक्तु फलादावुदकास्स्मृताः।
त्रिपञ्चसप्तनवभिः रुद्रैर्विश्वैश्च पक्षकैः ॥ ७५
द्रव्यैर्वा सप्तदशभिस्समस्तैर्होममाचरेत्।
homakarma tadante syāt prāguktavidhinā saha|
palāśodumbarāśvattha vaṭāḥ pūrvādiṣu kramāt|| 72
śamyapāmārgaśrīvṛkṣa pippalaiścāgni koṇataḥ|
pradhānasya palāśasyāt samidhassaṁprakīrtitāḥ|| 73
samidājya carū lāja sarṣapāścaiva vaiṇavāḥ|
yavapriyaṅguśālyaśca mudgamāṣa kulutthakāḥ|| 74
madhu kṣīra gule saktu phalādāvudakāssmṛtāḥ|
tripañcasaptanavabhiḥ rudrairviśvaiśca pakṣakaiḥ|| 75
dravyairvā saptadaśabhissamastairhomamācaret|
After the nyasa, fire-ritual should be performed , according to the directions explained before.
Palasa, udumbara, asvattha and vata – these are applicable to the fire-pits in the east, south, west
and north repectively. Sami, apamarga, srivruksha and pippala – these are for the fire-pits in
the south-east, south-west, north-west and north-east respectively. Palasa is for the primal fire-
pit. Faggots, clarified butter, cooked rice, parched paddy, mustard, bamboo-rice, yava, priyangu,
saali. mudga, masha, kulttha, honey, milk, molasses, flour, fruits, water – these are the substances
recommended for oblations. Out of these, three, five, seven, nine, eleven, thirteen, fifteen
or seventeen substances or all the substances may be offered as oblations.
ब्रह्मादि दिक्षु ख्यातानि विदिक्षु हृदयादयः ॥ ७६
प्रधाने मूलमन्त्रस्स्याद् अङ्गब्रह्म समायुतः।
पञ्चाभ्यातनं चेत्तु हृदयादीनि वर्जयेत्॥ ७७
एकाभ्यातनम् चेत्तु द्रव्यैरेकत्र होमयेत्।
सहस्रमर्धं तस्यार्धं शतं वार्थशतं तु वा ॥ ७८