Installation of deities in the temples ||43||
1The Lord said: O Brahman! Listen to my description (of the mode) of installation (of images) of deities in the temples. (Image of Vasudeva should be placed at the middle of the five divine) edifices.
2(The images of) the dwarf-form, man-lion form, horse headed form, (and) boar form (of Vishnu) should be placed in the south-east, south-west, north-west and north-east (respectively).
3-5(The image of) Narayana should be placed in the middle. (The images of) the goddess, sun, Brahma and the linga (symbolic representation of Siva) or of Rudra (Siva) should be placed in the south-east, south-west, north-west and north-east (respectively). Otherwise, (image of) Vasudeva 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 Purusottama (Vishnu) in the centre.
6(The images of) Laksmi and Vaisravani (Kubera) should be placed in the east, the divine mothers in the south, Skanda, Ganesa, lsana (a form of Siva) and the sun and other planets in the west.
7-8Otherwise, having installed (the images of) the manifestations (of Vishnu) such as the Fish etc., in the north, Can^ika (a form of Goddess Parvati) in the south-east, Ambika in the south-west, Sarasvati in the north-west, Padma (Lakshmi) in the north-east and Vasudeva or also Narayana 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) Kelava 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.
12In 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.
13When stones of the above-mentioned colours are not available (the desired) colour is brought about by the (ceremony known as) simhavidya.
14After (the performance of) the simhahoma (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.
15The 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.
16One 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.
17After 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).
18Having made the protective spell it should be worshipped with basic sacred syllable of lord Nrsimha. After having made the offering to fire the final oblation should be made. Then offerings to the goblins should be given by the preceptor.
19Having 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 Vishnu by the command of Kelava. Any work done for the sake of Vishnu, should also be your (concern).”
21“Being always pleased with this offering (you) repair quickly to some other place quitting this place for good”.
22Being 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“Om! salutations to (Lord) Vishnu, the omnipresent, Prabhavishnu (Vishnu) (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“Om Om! hrum pha) visnave svdha! When the dream (is) good, everything (will also be) good. If it is bad, it becomes good by the performance of the simhahoma1. Having offered reverential waters to the stone in the morning, the implements should be worshipped with (the sacred syllables) (for the worship of) implements.
26The spades and chisels should have their edges besmeared with honey and clarified butter. (The priest) should think himself as Visnu and the sculptor as Vishvakarman (the divine architect).
27-28The implement which is of the form of Vishnu 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 work spot together with the cloth (one who) makes the image after having worshipped (the form conceived), is a sculptor.