Chapter 43 - Installation of deities in the temples

[Sanskrit text for this chapter is available]

The Lord said:

1. O Brahman! Listen to my description (of the mode) of installation (of images) of deities in the temples. (Image of Vāsudeva should be placed at the middle of the five divine) edifices.

2. (The images of) the dwarf-form, man-lion form, horseheaded form, (and) boar form (of Viṣṇu) should be placed in the south-east, south-west, north-west and north-east (respectively).

3-5. (The image of) Nārāyaṇa should be placed in the middle. (The images of) the goddess, sun, Brahmā and the liṅga (symbolic representation of Śiva) or of Rudra (Śiva) should be placed in the south-east, south-west, north-west and north-east (respectively). Otherwise, (image of) Vāsudeva should be placed at the centre of the nine chambers and beautiful (images of Indra and the guardian deities of the world (should be placed) in the east and other directions. Otherwise, one should make five chambers and worship Puruṣottama (Viṣṇu) in the centre..

6. (The images of) Lakṣmī and Vaiśravaṇī (Kubera) should be placed in the east, the divine mothers in the south, Skanda, Gaṇeśa, Īśāna (a form of Śiva) and the sun and other planets in the west.

7-8. Otherwise, having installed (the images of) the manifestations (of Viṣṇu) such as the Fish etc., in the north, Caṇḍikā (a form of Goddess Pārvatī) in the south-east, Ambikā in the south-west, Sarasvatī in the north-west, Padmā (Lakṣmī) in the north-east and Vāsudeva or also Nārāyaṇa in the centre. The omni-present form of Hari should be placed in the centre in (the construction of) the thirteen chambers.

9-11. (Images of) Keśava and others (should be placed) in the east and other directions or (the images) of Hari himself in all chambers. The images are of seven kinds—earthen, wooden, metallic, made of gems, made of stones, made of sandal and made of flowers. The images made of flowers, sandal and earth yield all desired fruits when they are worshipped at that moment. I shall describe the stone image (where such practice) prevails.

12. In the absence of hills, the stone lying buried in the earth should be taken out. Among the colours, white, red, yellow, and black are extolled.

13. When stones of the above-mentioned colours are not available (the desired) colour is brought about by the (ceremony known as) siṃhavidyā.^[1]

14. After (the performance of) the siṃhahoma (a piece of) stone (which becomes) tinged with white colour or black colour or produces sound like a bell-metal or emits sparks of fire (is deemed) as male.

15. The female one is that in which these characteristics are present in a lesser degree. If they are devoid of colours they are neuter. (The stones) in which the sign of a circle is found are to be taken as impregnated and should be rejected.

16. One should go to the forest and perform the forest rites for the sake of an image. After having bathed and plastering a shed Hari should be worshipped there.

17. After having made the offering of the victim, the (stonecutter’s) chisel used for the work should be worshipped. Having offered homa (pouring of clarified butter into the fire), water mixed with rice should be sprinkled over the image with the implement (chisel).

18. Having made the protective spell it should be worshipped with basic sacred syllable of lord Nṛsiṃha. After having made the offering to fire the final oblation should be made. Then offerings to the goblins should be given by the preceptor.

19. Having worshipped the good (spirits), the demons, guhyakas (a class of attendant-gods of Kubera), and accomplished souls and others who may be residing there, should be requested to forgive.

20. (They should be addressed as follows). “This journey (has been undertaken) by us for the image of Viṣṇu by the command of Keśava. Any work done for the sake of Viṣṇu, should also be your (concern).”

21. “Being always pleased with this offering (you) repair quickly to some other place quitting this place for good”.

22. Being informed thus (these beings) go to another place in good cheer and satisfied. Having eaten the sacrificial porridge along with the sculptors, he should repeat in the night the following sacred syllables (inducing) sleep.

23. “Oṃ! salutations to (Lord) Viṣṇu, the omnipresent, Prabhaviṣṇu (Viṣṇu) (strong), the universe, and Salutations to the lord of dreams.”

24. “O Lord of lords! I have slept by your side. (Instruct me) in my dreams (how to execute) all the works I have in my mind.”

25. “Oṃ Oṃ! hrūṃ phaṭ viṣṇave svāhā! When the dream (is) good, everything (will also be) good. If it is bad, it becomes good by the performance of the siṃhahoma^[2]. Having offered reverential waters to the stone in the morning, the implements should be worshipped with (the sacred syllables) (for the worship of) implements.

26. The spades and chisels should have their edges besmeared with honey and clarified butter. (The priest) should think himself as Viṣṇu and the sculptor as Viśvakarman (the divine architect).

27-28. The implement which is of the form of Viṣṇu should be given (to the sculptor) and its face and back should be shown. Having cut a square block of the stone with controlled senses and holding a chisel, the sculptor should make a smaller one for the purpose of the pedestal. Having placed (them) in a chariot and brought to the workspot together with the cloth (one who) makes the image after having worshipped (the form conceived), is a sculptor.

Footnotes and references:

[1]:

Only Hayaśīrṣasaṃhitā of the Pañcarātrāgama texts mentions this. The present text does not explain this. See Vaiṣṇava Iconography, p. 40.

[2]:

See VV. 13 and 17 above.