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

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

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

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

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

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

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

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

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

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

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