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

adho dviti'ya bha'go va' yava'rdha'ka'ra laks"an.am /
paks"asu'tra vinirmuktam ubhayam tviha ki'rtitam // 40
rekha'trayam tu kartavyam sarva'sa'm anuku'latah /
s"od'as'a'ms'e caturbha'gam tyaktvordhve dva'das'a'ms'akam // 41
sapadma kud'malam na'lam adhobha'gadvayam vina' /
rudra'ms'occam tridha'kr'tva' cordhva bha'gam tyajet krama't // 42
paks"a'ms'am das'adha' kr'tva' vyoma'ms'am mukulam bhavet /
vista'rastatsamo jn"eyo na'lam tu vasu bha'gikam // 43
In the two parts below, a mark in the form of half barley grain should be made as an alternative.
These two marks should not be touched by the two side lines. For the easy
possibility of drawing the marks for all lingas, three lines should be drawn in the middle.
Out of the 16 parts of the height, 4 parts should be left out in the top portion. And, in the
remaining 12 parts, a channel(nala) should be drawn with a lotus-bud design at its top. This
channel should terminate at two parts from below. If the rudra part is divided into three
equal parts, one part should be left out at the top. If the remaining 15 parts are again divided
into 10 parts, one part should be taken for the mark of lotus-bud. If the length of the channel is
divided into eight equal parts, thickness of the channel should be equal to one part.
मुकुलात्तु समारभ्य पक्षरेखे विवर्तयेत् ।
मणिरेखे तु विज्ञेये तयोःपृष्ठे तु संगतिः ।। ४४
mukula'ttu sama'rabhya paks"arekhe vivardhayet /
man.irekhe tu vijn"eye tayoh pr's"t'he tu samgatih // 44
Beginning from the lotus-bud, theAcharya should draw the curving side lines so as to
proceed backwards. The point at which these two curved side lines meet at the back is known
as manirekha.
रुद्रांशे रुद्रभागे तु गुणांशमुपरिन्यसेत्।
एकेन मुकुली नालं सप्तांशं इति कीर्तितम् ।। ४५
रुद्रांशं नवधाकृत्वा चोर्ध्वे भागत्रयं त्यजेत् ।
मुकुलं चैकभागेन नालं पञ्चांशतो भवेत् ।। ४६
षोडशांशे पुनस्तस्मिन् त्यजेदूर्ध्वं चतुष्टयम् ।
मुकुलं चैकभागेन दशांशं नालमिष्यते ।। ४७

द्वादशांशे तु पूजांशं त्यक्त्वोर्ध्वे ऽम्शद्वयं ततः।
एकांशं मुकुलं ज्ञेयं वस्वंशं नालमिष्यते ।। ४८
rudra'ms'e rudrabha'ge tu gun.a.ms'am uparinyaset /
ekena mukuli' na'lam sapta'ms'am iti ki'rtitam // 45
rudra'ms'am navadha' kr'tva' cordhve bha'gadvayam tyajet /
mukulam caika bha'gena na'lam pan''ca'ms'ato bhavet // 46
s''od'as'a'ms'e punastasmin tyajedu'rdhvam catus''t'ayam /
mukulam caika bha'gena das'a'ms'am na'lam is''yate // 47
dva'das'a'ms'e tu pu'ja'ms'am tyaktvordhve ams'advayam tatah /
eka'ms'am mukulam jn''eyam vasvams'am na'lam is''yate // 48
If the rudra potion is divided into 11 equal parts, three parts should be left out in the top
portion. Flower-bud should occupy one part and the channel takes seven parts.
If the rudra portion is divided into nine equal parts, he should leave out three parts in the
top portion. In this case, the flower bud takes one part and the cahannel takes five parts.
If the rudra portion is divided into 16 equal parts, 4 parts should be left out in the top portion
and the flower bud should be designed so as to take one part. The channel should be drawn
so as to take 10 parts. If the worshipful portion is divided into 12 equal parts, 2 parts should
be left out in the top portion and the channel should be drawn so as take 8 parts.
नालायाममधस्तिर्यक् कृत्वा मुकुल मूलतः।
पार्श्वयोरुभयोस्सूत्रं यथा ऋजु भवेद् द्विजाः।। ४९
अधश्चोर्ध्वद्वयोः पार्श्वे चतुरश्रद्वयं तथा।
निष्पाद्य बहिरूर्ध्वस्थं कोणे हस्तं विधाय च।। ५०
na'la'ya'mamadhastiryak kr'tva' mukula mu'latah /
pa'rs'vayorubhayos su'tram yatha' r'ju baved dvija'h // 49
adhas'cordhva dvayoh pa'rs've caturas'ra dvayam tatha' /
nis''pa'dya bahiru'rdhvastham kon.e hastam vidha'ya ca // 50
The two side lines which start from the flower bud should be drawn perfectly in such a way
that they proceed across and stretch backwards from the lower part of the channel. O, the

twice-born Sages!, two square marks should be drawn in the top and bottom part of the two side
lines. Then arrow marks should be drawn outside these square marks in the upper and
bottom parts of the channel.
पद्मकुड्मलमारभ्य नालान्तं भ्रामयेद्बहिः।
नालायामं तु नवधा कृत्वा चैकैकवर्धनम्॥ ५१
तस्मान्नवप्रमाणेन नवधा वर्धनं भवेत्।
नालान्तरेऽष्टधा भक्ते भागाधार्धवर्धितम्॥ ५२
चतुर्मानं भवेल्लक्ष्म पक्षसूत्रान्तरे द्विजाः।
पक्षसूत्रं च कर्तव्यं सूत्रं मुकुल मूलतः॥ ५३
padmakud'malam a'rabhya na'la'ntam bhra'mayed bahih।
na'la'ya'mam tu navadha' kr'tva' caikaika vardhanam॥ 51
tasma'nnava prama'n.ena navadha' vardhanam bhavet।
na'la'ntare as"t'adha bhakte bha'ga'rdha'd ardha vardhitam॥ 52
caturma'nam bhvellaks"ma paks"asu'tra'ntare dvija'h।
paks"asu'tram ca kartavyam su'tram mukula mu'latah॥ 53
Starting from the lotus-bud and reaching the end of the channel, a circular line should be
drawn outside. Dividing the whole length of the channel into nine equal parts, this circular
line should be drawn from one part as well as from other parts increasing one by one
successively. In this way the circling of the line takes place in nine different ways with nine
different measures. If the channel is divided into eight equal parts, half part of each of the lower
four parts may be taken for drawing the circular lines. In this way four dimensions
could be available for drawing the marks in between the side lines. The side lines should be drawn
from the bottom of the flower-bud which is at the top of the channel.
कुड्मलं वा गजाक्षं वा लिङ्गाग्रं पद्मसंनिभम्।
कदलीमुकुलाकारं शूलाग्राश्वत्थपत्रकम्॥ ५४
लोकपालायुधास्त्राग्रं शिवास्त्राग्रं तु वा भवेत्।
सार्वदेशिकलिङ्गस्य लक्ष्मेत्थं कीर्तितं द्विजाः॥ ५५
नैतद्रत्नमयेलिङ्गे न लोहेपि च लोहितम्।
न बाणलिङ्गे लौहे वा नदीप्रस्रवणोद्भवे॥ ५६

kud’malam va’ gaja’ks”am va’ lin’ga’gram padmasannibham /
kadali’mukula’ka’ram s’u’la’gra’s’vattha patrakam // 54
lokapa’la’yudha’stra’gram s’iva’stra’gram tu va’ bhavet /
sa’rvades’ika lin’gasya laks”mettham ki’rtitam dvija’h // 55
naitadratna mayelin’gena lohepi ca lohitam /
na ba’n.alinge lauhe va’ nadi’prasravan.odbhave // 56
The mark at the top of the channel may be in the form of flower-bud, eye of the elephant,
top of the linga, lotus, plantain-bud, top of the trident, leaf of asvattha tree, top of the
weapons of the directional deities or siva-astra. O, the twice-born Sages!, drawing of the
characteristic marks for the sarvadesika has been told in the same way. Drawing of such
characteristic marks is not recommended for the lingas made of gems, made of recommended
metals and bana lingas which are born of water gushing forth in the rivers.
स्वाकारलक्ष्मातीतेषु तेजोरत्नेषु भास्वरम्।
रत्नजे लोहजे लक्ष्म विधेयं वा न वा भवेत्।। ५७
रन्ध्रमध्ये भगाकारमूर्ध्वाग्रं लक्ष्मपीठकम्।
एवं लक्ष्म लिखेद्विद्वान् गुरुर्हेम शलाकया।। ५८
अक्षिलोह समोपेतं अस्त्रमन्त्रमनुस्मरन्।
शिल्पशास्त्रान्तराभ्यां तु ताभ्यां वा लक्ष्म वा लिखेत्।। ५९
तत्तस्मादेव शास्त्रेण सममेव विवर्तयेत्।
sva’ka’ralaks”ma’ti’tes”u tejoratnes”u bha’svaram /
ratnaje lohaje laks”ma vidheyam van a va’ bhavet // 57
randhramadhye bhaga’ka’ramu’rdhva’gram laks”ma pi’t’hakam /
evem laks”ma likhed vidva’n gurur hema s’ala’kaya’ // 58
aks”iloha samopetam astramantram anusmaran /
s’ilpas’a’stra’ntara’bhya’m tu ta’bhya’m ba’ laks”ma va’ likhet // 59
tattasma’deva s’a’stren.a samameva vivartayet /
If the self-manifest marks are missing in the effulgent lingas made of resplendent gems,
such characteristic marks may be engraved. They may or may not be engraved in the
lingas made of other gems and metals. In such lingas, a mark in the form of vulva should

be made at the center of fissure seen at the top. The tip of the vulva-mark should be
facing upward to serve as the base for other recommended marks. The Guru who has
mastered the scriptures should draw the characteristic marks in this way with the
needle made of gold. Being associated with a specific tool known as akshiloha and reciting
the astra mantra, he should make the marks. He should know all other details from other
silpa sastras and do the marks meticulously. Or after consulting with the scripture
applicable to each case, he should draw these characteristic marks with equal符 meticulousness.
रेखा हीनाधिका हन्याद्यजमानं सशिल्पिनम्।। ६०
राजानं राष्ट्रसहितं समं तस्माद्विवर्तयेत्।
आचार्यो मन्त्रयोग्यस्तु स्थपतिः कर्म कारयेत्।। ६१
rekha' hi'na'dhika' hanya'd yajama'nam sas'ilpinam ।। 60
ra'ja'nam ra's"trasahitam samam tasma'd vivartayet।
a'ca'ryo mantrayogyastu sthapatih karma ka'rayet।। 61
If such characteristic lines are with increased or decreased dimensions, such aberration
would result in the sudden demise of the sponsor and the sculptor and the ruler would
face decay along with his kingdom. Therefore, such marks should be drawn so as to be
with exact dimensions, free from increase or decrease. The Acharya is the competent
guru for the activities associated with mantras. The Sthapati is the competent Master
for all the sculptural and carving activities.
।। इति कामिकाख्ये महातन्त्रे लिङ्गस्थापनविधिर्नाम चतुष्षष्ठितमः पटलः ।।
। iti ka'mika'khye maha'tantre lin'gastha'pana vidhirna'ma catus"s"as"t'hitamah pat'alah ।
This is the 64th chapter titled “Directions for the Installation of Linga” in the Great Tantra called Kamika

६५ प्रतिमा लक्षणविधि पटलः
65 PRATIMA' LAKS"AN.A VIDHI PAT'ALAH
65 Directions for Making the Icons with Essential Lineaments
प्रमितमा लक्षणं वक्ष्ये श्रूयतां मुनिपुङ्गवाः ।
लिङ्गतारोच्चनाहैर्वा तैश्च द्वित्रिगुणैस्तु वा ।। १
अङ्गुलैस्त्रिविधैर्वापि मानमात्रतनूद्भवैः ।
प्रासादगर्भद्वाराभ्यां पादाधिष्ठान मानतः ।। २
यवेन हस्तमानेन प्रतिमोच्चं विधीयते ।
pratima' laks"an.am vaks"ye s'r'u'yata'm munipun'gava'h /
lin'gata'roccana'hairva' tais'ca dvitrigun.aistu va' // 1
an'gulaistrividhairva'pi ma'nama'tra tanu'dbhavaih /
pra'sa'da garbha dva'ra'bhya'm pa'da'dhis"t'ha'na ma'natah // 2
yavena hastama'nena pratimoccam vidhi'yate /
O, the excellent Sages!, now I will tell you the lineaments of icons. Listen to these details.
The height of an icon is determined from the factors such as: diameter of the linga, height of
the linga, circumference of the linga, twice or thrice these measurements, three types of
digits(angulas) – manangula, matrangula, dehalabdhangula, measurements of the entrance
of the main shrine of the temple, measurements of pillars and those of the basement, yava-based,
or hasta-based
अङ्गुलत्रितयं हस्तं यवमानं विहाय च ।। ३
शेषमान समानं वा षोडशांशे कृतेऽथवा ।
तन्मध्ये च विकारांशे त्रिभागादेकवृद्धितः ।। ४
रुद्रान्तं वाधिकं हीनं पूर्वमानात्प्रकल्पयेत् ।

an'gulatritayam hastam yavama'nam viha'ya ca ।। 3
s'es"ama'na sama'nam va' s"od'as'a'ms'e kr'te atha va' ।
tanmadhye ca vika'ra'ms'e tribha'gadeka vrddhitah ।। 4
rudra'ntam va'dhikam hi'nam pu'rvama'na't prakalpayet ।
Except the three types of angula measurements, hasta-based and yava-based measurements,
all other measurements may be taken as they are with reference to the linga and others. Or,
the total height of the reference object may be divided into 16 equal parts and the height of the
proposed icon should be taken as 3 parts and increasing by one part each time the maximum
height should be held to be of 11 parts. Or, the height may be ascertained by decreasing the
height of 16 parts by one part successively.
पूजांशो लिङ्गशब्देन कथितो द्विजसत्तमाः ।। ५
अङ्गुलत्रयमारभ्य मात्राद्वय विवर्धनात् ।
पञ्चविंशति संयुक्त शतमात्रान्तमीरितम् ।। ६
यवसप्तकमारभ्य यवद्वय विवर्धनात् ।
सहस्रयव पर्यन्तं यवमानं प्रकीर्तितम् ।। ७
pu'ja'ms'o lin'gas'abdena kathito dvijasattama'h ।। 5
an'gulatrayam a'rabhya ma'tra'dvaya vivardhanam ।
pan"cavims'ati samyukta s'atama'tra'ntam i'ritam ।। 6
yavasaptakam a'rabhya yavadvaya vivardhana't ।
sahasrayava paryantam yavama'nam praki'rtitam ।। 7
O, the excellent twice-born Sages!, the term linga denotes always the worshipful part(rudra
bhaga) of the Sivalinga. Starting from three angulas and increasing by two units each time,
the maximum height is held to be 325 units(matras), in he case of angula-based. Starting
from 7 yavas and increasing by 2 yavas each time, the maximum height in the yava-based
measurement is held to be 1000 yavas.
मात्राङ्गुलैर्गृहाद्वा स्युर्यवैः क्षुद्रं विधीयते ।
अष्टषष्ट्यष्टकपङ्क्त्यूर्ध्वे वेदद्वियुगषड्विधम् ।। ८
भागं कृत्वैकभागेन युक्तं जात्यङ्गकान्वितम् ।
वसुभिर्गुणिते तस्मिन् सप्तविंशतिभिर्हते ।। ९

ब्रह्मणादि दिनं प्रोक्तं तेषामेतच्छुभावहम्।
त्रिष्वङ्गुलप्रमाणेषु जात्यंशकं न रोपयेत्॥ १०
ma'tra'n'gulair gr'ha'd va' syuryavaih ks"udram vidhi'yate /
as"t'as"as"t'yarka pan'ktyu'rdhve veda dviyuga s"ad'vidham // 8
bha'gam kr'tvaika bha'gena yuktam ja'tyan'gaka'nvitam /
vasubhirgun.ite tasmin saptavims'atibhir hr'te // 9
bra'hman.a'di dinam proktam tes"a'm etacchubha'vaham /
tris"van'gula prama'n.es"u ja'tyams'akam na ropayet // 10
The matrangula measurement is applicable to the icons to be kept in the home shrines. The
yava-based measurement is applicable only to the icons of small size. Apart from these
measurements, there is one factor known as jatyamsa which is caste-based. The obtained
measurement of the proposed icon should be divided into 84, 62, 24 and 16 equal parts
and one part out of these should be added to the obtained height, for the brahmins, kshatriyas,
vaisyas and sudras respectively. The unit added in this way is known as jatyamsa. If the
total height(obtained height added with jatyamsa) is multiplied by 8 and divided by 27, the
remainder denotes the star of that height. If this is compatible to the star of the owner, then
it is held that the total height obtained will yield auspicious benefits to brahmin and others.
For the icons which are with the height measured in three types of angulas , this jatyamsa need not
be added.
शुभमानं न युक्तं चेद्राजग्रामादि वास्तुषु।
उत्सेधं पङ्क्ति पङ्क्त्यादि भजेत्पञ्चषडंशकम्॥ ११
व्योमभागस्सदा योज्यो यावानस्य शुभोदयः।
आयांशश्चैव नेष्टस्स्यात्त्रिविधेष्वङ्गुलेषु च॥ १२
s'ubhama'nam na yuktam ced ra'jgra'ma'di va'stus"u /
utsedham pan'kti pan'ktya'di bhajet pan"ca s'ad'ams'akam // 11
vyomabha'gas sada'yojyo ya'va'nasya s'ubhodayah /
a'ya'ms'as'caiva nes't'assya't trividhes"van'gules"u ca // 12
If the measurement recommended for auspiciousness is not added with the measurements
of capital city, village and others, such negligence would result in inauspicious effects. The
height should be divided by the multiples of 10; then , 5 parts, 6 parts or 1 part out of these

should be added until the total height becomes auspicious to yield good benefits. For the
three types of angulas, aya and other factors need not be considered.
यवमानेऽपि जात्यंशमायांशं नैव रोपयेत् ।
वसुभिर्गुणितेष्वर्कहृते वायं विनिर्दिशेत् ।। १३
अष्टपञ्चदिनं प्रोक्तं पञ्चविंशतिभिर्हृतम् ।
नवभिर्गुणिते सप्तहृते वारं तु निर्दिशेत् ।। १४
नन्दसंगुणिते दिग्भिर्भाजिते व्ययमादिशेत् ।
गुणघ्ने वसुभिन्ने तु योनिरित्यभिधीयते ।। १५
वेदसंगुणिते नन्दहृते त्वंशक इष्यते ।
द्वयोर्ऋक्षफलं प्रोक्तं राशिरंशश्च ऋक्षतः ।। १६
yavama’ne api ja’tyams’am a’ya’ms’am naiva ropayet /
vasubhirgun.ites”varka hr’te va’yam vinirdis’et // 13
as”t’apan”ca dinam proktam pan”cavims’atibhir hr’te /
navabhirgun.ite saptahr’te va’ram tu nirdis’et // 14
nandasamgun.ite digbhir bha’jite vyayam a’dis’et /
gun.aghne vasubhinne tu yonirityabhidhi’yate // 15
vedasamgun.te nanda hr’te tvams’aka is”yate /
dvayor r’ks”aphalam proktam ra’s’irams’as’ca r’ks”atah // 16
Even in the yava-based measurements, jatyamsa and ayadi factors should never be considered.
If the obtained height(including the jatyamsa) is multiplied by 8 and divided by 12, the
remainder denotes the aya factor. If that height is multiplied by 13 and divided by 25, the
remainder denotes the dina factor. If that height is multiplied by 9 and divided by 7, the
remainder denotes the vara factor. If multiplied by 9 and divided by 10, the remainder
denotes vyaya factor. If multiplied by 3 and divided by 8, the remainder denotes the
yoni factor. If multiplied by 4 and divided by 9, the remainder denotes amsa factor.
The effect of the lunar mansion should be considered for both the owner and the icon. From
the same lunar mansion, the effect of rasi and amsa could be known.
त्रिंशद्भिन्ने तिथिः प्रोक्ता योगोवारक्षयो भवेत् ।
जात्यंश योजिते वैभिर्युक्तं चेत् तत्प्रगृह्यताम् ।। १७

नो चेदायांशयुक्ते तु सशुभं तु समारभेत् ।
गृहीत प्रतिमोत्तुङ्गमानमात्रेण वा भवेत् ।। १८
trims'adbhinne tithih prokta' yogova'raks"ayo bhavet /
ja'tyams'am yojite vaibhiryuktam cet tatpragr'hyata'm // 17
no ceda'ya'ms'a yukte tu sas'ubham tu sama'rabhet /
gr'hi'ta pratimottun'ga ma'nama'tren.a va' bhavet // 18
If divided by 30, the remainder denotes the tithi factor. If divided by 7, the remainder denotes
the yoga factor. If these factors are considered for the height to which jatyamsa has been added
and if it is known that the obtained measure is conducive to auspiciousness, then it should be
accepted for making the icon. If it is known that the obtained height is not compatible with aya
and other factors, then the sthapati should commence once again to decide upon another height for
auspiciousness.
शैलं वार्क्षं च लोहं च मृण्मयं रत्नजं भवेत् ।
धातुजं दन्तजं बेरमेवं सप्तविधं भवेत् ।। १९
s'ailam va'rks"am ca loham ca mr'n.mayam ratnajam bhavet /
dha'tujam dantajam beram evam saptavidham bhavet // 19
Stone-made, wood-made, metal-made, clay-made, gem-made, made of primary element (dhatu,
such as cinnabar, ochre and such others) and ivory made – in this way, the icons are of seven kinds.
महूर्ते समनुप्राप्ते गृहीतायाम मानतः ।
प्रतिमां कारयेद् विद्वान् शिल्पिना हृदयं जपेत् ।। २०
muhu'rte samanupra'pte gr'hi'ta'ya'ma ma'natah /
pratima'm ka'rayed vidva'n s'ilpina' hr'dayam japet // 20
Upon the approach of auspicious time, the learned Acharya, having ascertained the accurate
measurement, should make the icon through the sculptor, reciting the hrydaya mantra.

बिम्बं संपूजयेत्पश्चाद् गन्धपुष्पादिभिर्हृदा।
आचार्यं संपूजयेत्पश्चाद्वस्त्र हेमाङ्गुलीयकैः ।। २१
तथैव पूजयेत्पश्चच्छास्त्रज्ञं शिल्पवित्तमम् ।
bimbam sampu'jayet pas'ca'd gandha pus"a'dibhir hr'da'।
a'ca'ryam sampu'jayet pas'ca'd vastra hema'n'guli'yakaih॥ 21
tathaiva pu'jayet pas'ca'c cha'strajn"am s'ilpavittamam।
Upon the completion of the work, the Acharya should worship the image with sandal, flowers
and other substances , reciting the hrudaya mantra. Then, the sponsor should worship the
Acharya and honor him by presenting new clothes, gold ring and such other valuable things.
In the same way, he should worship the Silpi , who is well versed in the concerned Scriptures
and who is supreme among those who are proficient in sculpting.
सदाशिवाद्यं बेरं तु दशतालोत्तमेन तु ।। २२
आदौ सदाशिवः प्रोक्तः नृत्तमूर्तिरतः परम्।
उमोमास्कन्दसहितस्थितस्यादिन्दुशेखरः ।। २३
त्रिपुरघ्नः ततः प्राक्तो लिङ्गोद्भूतस्त्वनन्तरम्।
ततस्स्याद्दक्षिणामूर्तिर्गेयमूर्तिरतःपरम्।। २४
sada's'iva'dyam beram tu das'ata'lottamena tu॥ 22
a'dau sada's'ivah proktah nr'ttamu'rtiratah param।
umoma'skanda sahitas sthitasya'dindu s'ekharah॥ 23
tripuraghnah tatah prokto lin'godbhu'tastvanantaram।
tatassya'd daks"in.a'mu'rtir geyamu'rtiratah param॥ 24
The images of Sadasiva and others should be rendered in the system of superior kind of
ten-span measurement(uttama dasa tala mana). Of these images, the first one is Sadasiva;
next, Nataraja Murti; then, Somaskanda Murti; then Candrasekhara Murti; then, Tripura
Samhara Murti; then Lingodbhava Murti; then Dakshina Murti; then Bhikshatana Murti;
चण्डेशाधिपतिः पश्चात्कालकामादि नाशकः ।
सुखासनस्ततः प्रोक्तः ततः कल्याणसुन्दरः ।। २५

उमाविष्णुर्धरूपं च ब्रह्मविष्णुसमन्वितः ।
वृषारूढस्ततः प्रोक्तः गंगायुतपरस्तथा ।। २६
ततःकंकालमूर्तिस्स्याद्वलिभर्ता त्वनन्तरम् ।
नन्दीश्वरप्रसादश्च ऊर्ध्वपाद समन्वितः ।। २७
can.d'es'a'dhipatih pas'ca't ka'laka'ma'di na's'akah /
sukha'sanastatah proktah tatah kalian.asundarah // 25
uma'vis"n.vardha ru'pam ca brahmavis"n.u samanvitah /
vr's"a'ru'd'has tatah proktah gan'ga'yutaparas tatha' // 26
tatah kan'ka'lamu'rtissya'd balibharta' tvanantaram /
nandi's'vara prasa'das'ca u'rdhvapada samanvtah // 27
Next, Candesa Anugraha Murti; then Kala Samhara Murti; then Kama Dahana Murti; then,
Sukhasana Murti; then, Kalyana Sundara Murti; then, Ardhanarisvara Murti; then,
Haryardha Murti; then, Ekapada Trimurti; then, Vrushabharudha Murti; then, Gangadhara
Murti; then, Kankala Murti; then, Vatuka Bhairava Murti; then, Nandisvara Prasada Murti;
and then, Urdhvapada Murti.
एवमादीनि चान्यानि प्रोक्त तालेन कारयेत् ।
मनोन्मनीं च गौरीं च विघ्नेशस्कन्दनन्दिनः ।। २८
चण्डेश्वरं तथा मध्ये दशतालेन कारयेत् ।
ब्रह्माणं च हरिं लक्ष्मीं मोटीं वागीश्वरीमपि ।। २९
दुर्गार्कसप्तमातश्च दशतालाधमेन तु ।
evama'di'ni ca'nya'ni prokta ta'lena ka'rayet /
manonmani'm ca gauri'm ca vighnes'askandanandinah // 28
can.d'es'varam tatha' madhye das'ata'lena ka'rayet /
brahma'n.am ca harim laks"mi'm mot'i'm va'gi's'vari'm api // 29
durga'rka saptama'tas'ca das'ata'la'dhamena tu /
All these images and such others should be rendered in the superior type of dasa-tala. The
images of Manonmani, Gauri, Vignesa, Skanda, Nandi and Candesvara should be rendered in
the medium type of dasa-tala. The images of Brahma, Vishnu, Lakshmi, Moti, Vagisvari,
Durga and Sapta Matrus should be rendered in the lower type of dasa-tala.

ज्येष्ठासवितृऋक्षेन्द्रानश्विनीं च महीं ऋषीन् ।। ३०
ज्येष्ठेन नवतालेन कुर्यात्क्षेत्रेश्वरं त्विति ।
लोकपालान्वसूनष्टौ मूर्ति मध्येन कारयेत् ।। ३१
यक्षानप्सरसो मध्याञ्छस्त्र मूर्ति मरुद्गणान् ।
विद्येश्वरान् कनिष्ठेन नवतालेन कारयेत् ।। ३२
jyes"t'ha' savitr' r'ks"endra'nas'vini'm ca mahi'm r's"i'n // 30
jyes"t'hena navata'lena kurya't ks"tres'varam tviti /
lokapa'la'n vasu'nas"t'au mu'rti madhyena ka'rayet // 31
yaks"a'napsaraso madhya'n" chastramu'rti marudgan.a'n /
vidyes'vara'n kanis"t'hena navata'lena ka'rayet // 32
The images of Jyeshta, Surya, Candra, Asvini Devas, Maharishis and Kshetrapala should
be rendered in the superior type of nava-tala. Lokapalas, Ashta Vasus and Ashta Murtis should
be rendered in the medium type of nava-tala. Yakshas, Apsaras, Astra Murtis, Marud Ganas
and Vidyesvaras should be rendered in the lower type of nava-tala.
राक्षसान् यातुधानांश्च गन्धर्वान् सिद्धचारणान् ।
असुरांश्च पितॄंश्चैव तथैव हि समाचरेत् ।। ३३
अष्टतालेन मनुजान् पिशाचान् सप्ततालतः ।
कुब्जकान् रसतालेन दशतालोत्तमेन तु ।। ३४
ra'ks"asa'n ya'tudha'na'ms'ca gandharva'n siddhaca'ran.a'n /
asura'ms'ca pitr'ms'caiva tathaiva hi sama'caret // 33
as"t'ata'lena manuja'n pis'a'ca'n saptata'latah /
kubjaka'n rasata'lena das'ata'lottamena tu // 34
The images of Rakshasas, Yatudhanas, Gandharvas, Siddhas, Caranas, Asuras and Pitrus
should be rendered in the same way(lower type of nava-tala). The images of human beings
should be rendered in the system of eight-span measurement(ashta tala). The images of
Pisacas should be rendered in seven-span measurement(sapta tala) The images of Kubjakas
should be rendered in six-span measurement(rasa tala) or in the system of superior type of
dasa-tala.

विघ्नेशं कारयेत्तत्र मध्यमेनाधमेन वा ।
भूतान्तराणि कार्याणि चतुस्तालेन सालकान् ।। ३५
किन्नरान् पुरुषानन्यान् त्रितालेन द्वितालतः ।
कबन्धकानेकतालेन द्विभागेनैवमाचरेत् ।। ३६
vignes'am ka'rayet tatra madhyamena'dhamena va' /
bhu'ta'ntara'n.i ka'rya'n.i catusta'lena sa'laka'n // 35
kinnara'n purus"a'n anya'n trita'lena dvita'latah /
kabandhaka'n ekata'lena dvibhagenaivam a'caret // 36
The images of Vighnesa may also be rendered in the medium type or lower type of dasa-tala. The
images of other kinds of Bhuta Ganas and Salakas should be rendered in four-span system(catus
tala). The images of Kinnaras , Kimpurushas and such others should be rendered in the three-span
system(tri tala) as well as in two-span system(dvi tala). The images of Kabandhakas should be
rendered in the system of one-span(eka tala) and in two parts of the eka-tala system.
मानहीने महाव्याधिरधिके शत्रुवर्धनम् ।
नाहहीने विनाशस्स्यादधिके च क्षयाय च ।। ३७
प्रमाणहीने दारिद्र्यं अधिके दारनाशनम् ।
लम्बमानहीने तु राजराष्ट्रस्य नाशकृत् ।। ३८
उपमानविहीने तु शिल्पिनं हन्ति देशिकम् ।
सर्वलक्षणसंयुक्तं एतत्सर्वप्रदायकम् ।। ३९
ma'nahi'na maha'vya'dhih adhike s'atruvardhanam /
na'hahi'ne vina's'assya'd adhike ca ks"aya'ya ca // 37
prama'n.ahi'ne da'ridryam adhike da'rana's'anam /
lambama'na hi'ne tu ra'jara's"t'rasya na's'akr't // 38
upama'na vihi'ne tu s'ilpinam hanti des'ikam /
sarvalaks"an.a samyuktam etat sarva prada'yakam // 39

If there is decrease in the required accurate measurement, there would be the occurrence
of severe diseases; if there is increase in this, number of enemies will be in increase. If there is
decrease in the required thickness or circumference, destruction would occur; if there is increase in
that, there would be gradual decay. If there is decrease in the proportionate measures, it will
lead to poverty and insufficiency. If there is increase in that, it would result in the sudden
demise of the spouse. If there is decrease in the measures of plumb lines, it will destroy the
capital and the kingdom. If there is decrease in the measures of interspace, then it will
ruin the life of the Silpi and the Acharya. The image rendered in a perfect way so as to be
associated with all the specific lineaments ia capable of yielding all the desired fruits .
।। इति कामिकाख्ये महातन्त्रे प्रतिमालक्षणविधिः पञ्चषष्टितमः पटलः ।।
|| iti ka’mika’khye mahatantre pratima’laks”an.avidhih pan”cas”as”t’itamah pat’alah ||
This is the 65ᵗʰ chapter titled “Directions for Making the Icons with Essential Lineaments”
in the Great Tantra called Kamika

:
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