Devta Murti Prakaran

Author(s): Vinaysagar, Bhagvandas Jain, Rima Jain
Publisher: Prakrit Bharati Academy
Catalog link: https://jainqq.org/explore/002234/1

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Mandan Sutradhar's DEVATA-MURTI-PRAKARANAM (With Hindi-English Translations) Prakrit Bharati Academy, Jaipur

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Pandit Bhagwandas Jain The original translator of this work in Hindi, Pandit Bhagwandas, was a renowned Jain 'scholar of his times. The fields where he had established himself as unparalleled authority are architecture, painting, sculpture, and astrology. There can be no better evidence of his expertise than the fact that an eminent scholar like Shri Vasudevsaran Agrawal came to Jaipur and spent a fortnight to study Vastu Shastra under his guidance.Pandit Bhagwandasji came to Jaipur some time in 1943 and remained here till he breathed his last sometime in 1979 or 80. To him goes the credit of translating and publishing some very important technical Prakrit texts into Hindi. He was the person who commissioned artists to complete the beautiful Jinadarshan Choubisi (paintings of 24 Tirthankars in Rajasthani style) Sahitya Vachaspati M. Vinay Sagar The editor of the Sanskrit text and Hindi translation of this work, M. Vinay Sagar, is an established authority on various aspects of Jain philosophy. Besides this he is a scholar of languages like Prakrit, Sanskrit, Apabhramsh, Gujarati, and Rajasthani. For long he has been actively involved in research in Jain philosophy, Prakrit language, and ancient texts. There is a long list of publications authored and edited by him. Two of his books, Vrittamauktikam and Nemidootam were approved text books for post graduate studies in Jodhpur and Rajasthan Universities. At present he holds the post of Director of Prakrit Bharti Academy, Jaipur.

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Editor-in-Chief Sahityavachaspati M. Vinaysagar Prakrit Bharati Pushp - 122 Mandan Sutradhar's DEVATA-MURTI-PRAKARANAM [With Hindi-English Translations] General Editor Sahityavachaspati M. Vinaysagar Hindi Translation Pt. Bhagvandas Jain English Translation Dr. Rima Hooja Prakrit Bharati Academy

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Dis so beatifeBharati Academy Publisher : Director, * 13-A, Main Malviya Nagar, Jaipur-302 017 Phone : 524827,28 First Edition : 1999 Price : Rs. 300.00 (c) With the publisher Laser Typesetting Compu Prints, Jaipur-3 Phone : 323496 Printed Popular Printers, Jaipur 4 Phone : 606883 MANDAN'S DEVATA-MURTI-PRAKARANAM. Jaipur/1999

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* pradhAna sampAdaka : sAhityavAcaspati ma. vinayasAgara prAkRta bhAratI puSpa - 122 maNDana sUtradhAra praNIta devatA-mUrti-prakaraNam (hindI aMgrejI anuvAda sahita) . . sampAdaka-saMzodhaka sAhityavAcaspati ma. vinayasAgara hindI anuvAdaka paM. bhagavAna dAsa jaina . AMgla anuvAdaka DA. rImA hUjA prAkRta bhAratI akAdamI jayapura

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prakAzaka: nidezaka prAkRtabhAratI akAdamI 13-e, mena mAlavIya nagara, jayapura-302017 (rAja.) dUrabhASa-714827, 714818 prathama saMskaraNa 1999 mUlya:300.00 rupaye (c) sarvAdhikAra prakAzakAdhIna lejaraTAIpasaiTiMga: kampyU prinTsa, jayapura-3 dUrabhASa : 313496 mudraka: paoNpulara prinTarsa, jayapura-4 dUrabhASa : 606883 MANDAN'S Devata-Murti-Prakarnam Jaipur/1999

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From the Desk of Publisher * Mandan's Devata-Murti-Prakarnam Evidences of profound knowledge of various disciplines of arts and sciences are scattered in the Agamic literature of Jains. From time to time later scholars and thinkers and experts of these fields also made significant contributions. But with the advent of modern physical sciences and the onslaught of the glamour of materialism came a guadual and systematic decline of active interest in the scientific knowledge we inherited. At the most the interest was confined to the literary, historical, and archaeological aspects. This attitude further damaged the spirit of research as we derived contentment just out of glorifying the past. ; With the view to inspire research and practical application by "slowly creating a bridge between the ancient and the modern, Prakrit Bharti, in its modest way, is trying to bring to light such texts where technical and scientific information is compiled. This work on iconography is another such effort after our earlier titles like Basic Mathematics and Astronomy and Cosmology by Dr. L.C. Jain and Rasaratna Samucchaya and Nadivijnanam of Kanad by Dr. J.C. Sikdar. Jain temples are famous throughout the world for their imposing beauty and serenity. It is self evident that for more

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(Six) then two thousand years they have richly contributed to the fields of iconography and temple architecture in India. On the basis of available archaeological evidences the origin of image-worship in Jainism may be assigned to the Mauryan age, circa 3rd century B.C., the age of Samprati, the grandson of Ashoka the great. The evidence of Lohanipur statue does lend support to this tradition. Two bronzes of Jivantasvami (the living arhat) one of which could be dated to c. 550 A.D. were discovered in Akota hoard. "This supports the belief that attempts were made to worship an image of Bhagavan Mahavir even during his lifetime. Kankali Tila: is. one of the richest Jain archeological sites having a wide range of objects including images as well as reliefs depicting scenes from Jain mythology. With passage of time, besides the Tirthankar images, numerous other deities found place in Jain worship. : , All this could not have been possible without the evolution and development of various theories and techniques in related fields. Much of the technical material as well as the history of the development in this field is lost to ravages of time. However, as the applied sciences were traditionally.inherited in the family lineage, the knowledge was not completely lost. Some of the important works belonging to a later period in this tradition are available. In the tradition of Vastusar Prakaran by Thakkar Pheru the scholarly chief of Allauddin Khilji's treasury, this book by Sutradhar Mandan is one such work of the 15th century, on various aspects of Hindu and Jain iconography in Sanskrit. We are publishing it with Hindi translation and an English rendering enriched by illustrations and photographs. The scholarly English translator sums up the usefulness of this work in just two words - it is 'sculptor's handbook'. We are sure the working experts of this field will benefit by this publication.

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(Seven) The original translator of this work in Hindi, Pt. Bhagawandas .was a renowned Jain scholar of his times. The fields where he had established himself as unparalleled authority are architecture, painting, sculpture, and astrology. There was a time when almost all Jain images commissioned by any Jain acharya anywhere in India and sculpted or painted in Jaipur were made under his guidance and direction. He was also considered an authority on finalising sthapana muhurt (auspicious moment for consecrating of idols in temples). There can be no better evidence of his expertise than the fact that an eminent scholar like Shri Vasudevasaran Agrawal came to Jaipur and spent a fortnight to study Vastu Shastra under his guidance. Pt. Bhagawandas ji was one of the illustrious group of scholars prepared by Acharya Vijaya Dharm Suri in his Yashovijay Jain Pathshala at Varanasi. Some of these towering personalities who dominated the field of Jainology during the first half of this century were - Pt, Sukh Lal ji, Pt. Bechardas ji, Pt. Hargovind Das Seth, Muni Shri Nyaya Vijaya ji, Muni Shri Vidya Vijaya ji, Pt. Lalchand Bhagavandas Gandhi, Shri Sushil, Pt. Virbhadra (Jaipur), and Pt. Abhayachand Bhagavandas Gandhi. : Pt. Bhagavandas ji came to Jaipur some time in 1940 and remained here till he breathed his last sometime in 1979 or 80. To him goes the credit of translating and publishing some very important technical Prakrit texts into Hindi - Vastusar of Thakkar Phery, 'Prasad Mandan and Devata-murti Prakaran of Sutradhar Mandan, Heer Kalash Jyotish (Prakrit and Rajasthani), Jyotishsaar-sunder, and Meghamahodaya-varsh-prabodh. He was the person who commissioned artists to complete the beautiful Jinadarshan Choubisi (beautiful paintings of 24 Tirthankars in Raj'asthani style). He also got this set published in book form. The original set is safe now with Acharya Vijaya Yashodev Suri. Prakrit Bharti Academy is the proud publisher of a new edition of this book. Soon its second edition is also coming.

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(Eight) The original manuscript of the Hindi translation was lost during its typing. The typed script available to us was full of errors both in the Sanskrit text and Hindi translation. Besides this, translation of many of the verses were found missing. I have put in my sincere effort to the painstaking work of correcting and completing the Sanskrit text as well as Hindi translation. We are thankful to Dr. Rima Hooja, an established scholar of archaeology with many published works to her credit besides her teaching assignments at Kota University and various other prestigious institutions, for taking this assignment and doing full justice to it. Her sincere efforts in making the book more useful is reflected in the pain she took to send a photographer to Kumbhalgarh to get required photographs at sites associated with Sutradhar Mandan. We treasure association with such creative. scholars. Our thanks to Shri Rajesh Agarwal of Compu Prints for taking pains to typeset this complicated text; and Popular Printers for finally giving it the book form. . We hope our readers, specially the scholars of this subject and practising sculptors will find this work immensely useful. Director Prakrit Bharati Academy, Jaipur.

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MANDAN'S "DEVATA-MURTI-PRAKARNAM" Introduction Medieval Rajasthan is regarded in popular imagination as an age of chivalry, romance, frequent battles and acts of heroism, vividly immortalized by bards and ballad singers. This period, however, witnessed a tremendous outpouring of art, architecture, devotional poetry, and court and oral literature too. One of the noteworthy figures of the age was Mewar's acclaimed ruler, Maharana Kumbha (r.1433-1468 A.D.). Kumbha was renowned as a scholar and writer, patron of the arts, and celebrated warrior who was successful both in protecting his ancient ancestral kingdom from the frequent attacks and invasions of neighbouring states, as well as in its territorial expansion. Tradition holds that 32 out of the 84 famed forts and fortresses of Mewar were constructed or renovated during Kumbha's reign. In addition, Maharana Kumbha's period witnessed the construction of numerous water-reservoirs, palaces, temple-complexes and temples etc. all over the kingdom as well as in areas conquered by warfare. Included in the architectural legacy left behind by this ruler are the famed fortresses of Kumbhalgarh, Achalgarh, Basantgarh, the Ranakpur temples, and various temples and the Victory Tower at Chittorgarh. 1. A 'Sutradhar' means in the literal sense, one who holds or wields a 'plumb-line. It is also used to indicate the narrator in a drama - as in one who strings (sutra) the narration together.

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(Ten) Some of the credit for the architectural splendour of Kumbha's reign goes to the skill and brilliance of one of Mewar's most valued court architect-artisans - Mandan. Mandan, also known as Sutradhar1 Mandan and Kshetra-atmaj-Mandan' or 'Mandan, the son of Kshetra', was responsible for the design and construction of buildings like the forts (containing public buildings, water-reservoirs, temples and palaces within them) of Kumbhalgarh (Kumbhalmer) and Achalgarh, and the Vishnu temple at Eklingji, among others. It must be borne in mind, though, that besides Mandan there were many other architects at Kumbha's court, as is apparent from the listing of names in different epigraphs, including the Ranakpur Temple Inscription of 1439 A.D. (1496 Vikram Samvat). Thus, we learn that the well-known Chaumukha temple at Ranakpur was built in A.D. 1439 by one of the Maharana's favourites - Dharnaka and designed by an architect named Deepak [Deep], a Sompura Brahmin from Mundata. Mandan's own brother, Natha, and sons, Govinda and Ishvara, were also well-versed in the arts (shilpa). Natha wrote an architectural treatise called Vastumanjari', Govinda wrote the 'Uddhar-dharani', 'Dwardeepika' and 'Kalanidhi', and Ishvara constructed a Vishnu temple at Jawar for a patron called Ramabai. (In his turn, Ishvara's son and Mandan's grandson, Chhitara (referred to in an epigraph from Chittorgarh dated 1556), went on to become the State architect of a later ruler of Mewar, Maharana Raimal). The fame of Mandan has survived for more reasons than one though, since besides designing and controlling construction at various places, Sutradhar Mandan also set down in written form contemporary prevalent rules for iconography, town-planning and architecture in several treatises. These include his Vastu-Mandan, Rupa-Mandan, Prasad-Mandan, Raj-Vallabh, Vastusaar, Vastushastra, Apa-tattva, Rupavtar and Devata-Murti-Prakarnam. It is this last-named text, Devata-Murti-Prakarnam - a work in eight chapters which graphically discusses various aspects of Hindu and Jain iconography - which is presented here in the

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(Eleven) original Sanskrit text, along with a Hindi and English translation. The Hindi translation is by the late Pandit Bhagwandas Jain, while the English one has been attempted by me. A few photographs of idols and structures from Kumbhalgarh - fabricated according to Mandan's instructions - accompany the text to illustrate the written descriptions provided in the Devata-Murti-Prakarnam. The photography was carried out with the kind permission of the Archaeological Survey of India, which is gratefully acknowledged here. In addition, a small number of pen-&-ink drawings made by the late Pt. Jain have been used to illustrate this work. The translation of certain stanzas into Hindi, left partially finished upon the demise of Pt. Bhagwandas Jain, has been completed by Mahopadhyaya Shri Vinay Sagar. As Director of the Prakrit Bharati Akademi, Jaipur, Mahopadhyaya Vinay Sagar-ji has also seen to the overall production of this book, for which I am most grateful to him. The Prakrit Bharati Akademi, a non-profit non-governmental organisation, has emerged as an important cultural centre over the last decade or so. It has published more than a hundred books, to date, on Iridian history, traditions, religions, and other subjects (some of them being translations of original manuscripts), . as part of its objectives of bringing out the different facets of Indian cultural life for the benefit of modern scholars and general readers alike. . I would also like to thank Shri D.R. Mehta, the motivating force behind the establishment Prakrit Bharati Akademi, for entrusting me the task of translating the Devata-Murti-Prakaram, following discussions with my sculptor-mother, Usha Rani. With fifty years of sculpting behind her, my mother proved an invaluable source of knowledge about various technical aspects. She also read through the entire translation before it went to the press. The rest of the Hooja Family - father Bhupendra Hooja, brother Rakesh, sister-in-law Meenakshi, and nephews Rajat and Rakshat - as always, provided listening ears and critical comments too during the arduous task of translation between 1987-89 when the

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(Twelve) bulk of this manuscript was translated. Then, and subsequently, they have also put up patiently with information on iconography, Mandan's text, and/ or Sanskrit and linguistics being flung at them at odd hours and places especially meal-times! Portions of chapters 6 and 7 were translated amidst the warm hospitality of Dr. Chandra Sayal (Chandra Bua) and Mrs. E.V.V. Ebdon (Vivienne Masi), at their respective homes - 'Dera' in Derby' and 'Sheeshnag' in Melksham, for which I thank them. Thanks are also due to Shri Rajesh Agarwal of Compu Prints (Jaipur) for the. computer-type-setting (D.T.P.) of this text for publication. On my part, it has been a conscious decision to use a somewhat ornate style and language to convey and approximate the flavour, richness, flamboyance and imagery present in the original Sanskrit text of Mandan's Devata-Murti-Prakarnam. Unlike Mandan's better known Rupa-Mandan (a work.in six chapters), the Devata-Murti-Prakaram has attracted lesser attention from contemporary 20th century scholars - perhaps due to the fact that it is not easily available in translation at present. In fact, besides this present translation of the Devata-Murti-Prakarnam no other English translation of this work is known. It may be noted that in 1936 Upendra Mohan Sankhyatirtha brought out a printed edition of the original Sanskrit manuscripts of Devata-Murti-Prakarnam and Rupa-Mandan, with a commentary in Sanskrit and a short introduction in English, entitled Devatamurtiprakaranam and Rupamandanam (Manuals of Indian Iconography and Iconometry), Metropolitan Printing and Publishing House Ltd., Calcutta, 1936. The work was No. XII in the Calcutta Sanskrit Series, under the General Editor-ship of Narendra Chandra Vedantatirtha, and used an original manuscript Cat. no.1.G.89 of the Asiatic Society of Bengal.2 2. Discussions of other texts by Mandan include Pandit Bhagwandas Jain's 'Mandan Sutradhar ke vastu-shilpa granth'. Rajasthan Bharati, vol. 8, 1963-65; R. C. Agrawala's Rupa-Mandan tatha Kumbhalgarh se prapt mahatvapurna prastar pratimayen', Shodhpatrika, vol. 8, no. 3, March 1957; and Balram Srivastava's Hindi translation of Rupamandana published by Motilal Banarasidass, Varanasi, 1964.

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(Thirteen) Texts by Mandan were apparently popular, for within two centuries of their being set down in writing over half a dozen copies of his works were in the library of one Kavindra-acharya, a Deccan Brahmin of Benares, from where they spread to other places westward and eastward. Manuscripts of Mandan's texts also spread across Central India to reach parts of South India (Haridas Mitra's 'Introduction' in above-cited Sankhyatirtha 1936:3-4). Mandan's works were obviously based on earlier traditional texts on architecture and iconography, belonging to different regions of India and different time-periods, as well as the contemporary working traditions of medieval Rajasthan and Western India in general.3 Interestingly, Sankhyatirtha concluded that Mandan's Devata-Murti-Prakarnam is more South Indian rather than North Indian in character (ibid:5). In his view, Mandan chiefly utilised South Indian texts (though not the Saiva and Vaisnav Agamas), apparently making copious use of the Shilpa-Ratna of Srikumar and Maymtam of Mayamuni, both probably from original Malayalam sources. Among the North Indian texts Mandan mainly used the Vishnudharmottar, Matsya, Padma, Skanda and Brahma Puranas for the Devata-Murti-Prakarnam, with some passages from the Brihat-Samhita quoted verbatim, and a work called the * Vishvakarma-Shastra used more sparingly (ibid). R. C. Agrawala is of the opinion that the Aparajit-Prachha of Sri-Bhuvan-Dev (?Vishvakarma) had a strong influence of Mandan.4 In a sense, Mandan's Devata-Murti-Prakarnam is almost a 'sculptor's handbook' since it takes the artist from the initial step of choosing a suitable working material, to fabricating it into an appropriate idol according to the established conventions of 3. Among these are works like the Mansar, Maymtam of Mayamuni, Shilpa-Ratna of Srikumar, Sanat Kumar's Vastu-shastra, Kashyap-shilpa, Brihat-Samhita, Bimba-Prakarnam, Vattusar, Achardinkar, Vivek-vilas, Matsya-Purana, Agni-Purana, Vishnudharmottar-Purana, Manasollas, Takkar Pheru's Vastusar-Prakarnam, and Vasunandi's Pratishtihasar, etc. Personal Communication. 4.

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(Fourteen) iconography and in the prescribed scale, and finally installing it in an auspicious position for worship within a shrine. Each chapter begins and ends with a special invocation - the mangalacharan - to the deity who enjoys prominence in that particular chapter. The rest of the chapter is devoted to descriptions about the appearance of various idols, or their correct scale, size, positions and proportions, and so forth. Opening with an invocation, the first chapter, which consists of sixty-three stanzas, describes the correct. way of selecting a suitable shila (stone) for sculpture or for foundation-stones. It then goes on to prescribe the different heights and sizes of both idols and shrines which are regarded as auspicious for various types of idols. The interpretation of divine omens and unnatural. phenomena is also dealt with in this chapter, along with a detailed description of the misfortunes which will occur if statues, are incorrectly or disproportionately made. . The second chapter contains only thirty-five stanzas. This provides details about the correct proportions and measurements for sculpting statues of different gods, goddesses, demi-gods, demons, humans, birds and animals. It also gives the traditional scale and the units comprising this scale. : The third chapter contains only twenty-eight stanzas in total: Like chapter two, chapter three also contains information which may be described as "technical, as it deals with aspects like the correct placements for various idols, along with descriptions of what are regarded as the 'auspicious' and 'inauspicious' lines of vision of a statue. The treatise indicates that in the period under discussion a sculpture had to be prepared in accordance with established conventions for it to be sanctified as an idol. Following these initial three chapters containing general rules and norms for iconography, the remaining five chapters of the Devata-Murti-Prakarnam concentrate on detailing the religious representation of specific deities. These include idols of Brahma, Vishnu, Siva, the Jain Tirthankars, Shakti, Ganesh, Agni, and so forth. Thus, chapter four concentrates on the iconography of deities

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(Fifteen) like Surya, Brahma, the Navagrahas, four Vedas and eight Lokapalas or Dikapalas (regents of the northern, southern, eastern, western, north-eastern, north-western, south-eastern and south-western directions), among others. The doorkeepers or dvarapalas of certain deities are also described in this chapter, which contains sixty-seven stanzas. Chapter five focusses mainly on describing the different idols of Vishnu. These include the 24 emanations or vyuhus of Vishnu (also known as ayudha-purushas), the ten incarnations (das-avtars), and forms like Trailokyamohan, Vishvarup, Baikunth, Trivikram, Anant and so forth. Different holy shalagram stones (or ammonites) venerated by Vaisnavites are also described in this chapter, along with information about the merits accruing from the worship of each type. This chapter, containing one hundred and sixteen stanzas, also provides detailed instructions for making statues of Sheshnag, Garuda and the eight doorkeepers of Vishnu temples. The sixth chapter of the Devata-Murti-Prakarnam is also the longest, consisting of one hundred and seventy-one stanzas. It basically pertains to the iconography of Siva. In addition, this chapter also describes composite or syncreticistic statues which * combine the attributes of two or more different deities in one single idol. Among such composite statues listed are images of Siva-Narayan, Krishna-Karttikeya, Krishna-Shankar, Hari-Hara-Pitamah, Chandranka-Pitamah, Ardhnareshwar and * Surya-Hari-Hara-Pitamah. Mandan has described different types of Sivalingas too in this chapter, along with the 'merit attained through worshipping or through installing each type. The iconography of the 24 Jain Tirthankars is described in the seventh chapter. Along with this, their respective attendant yakshas and yakshinis (also known as shasan-devis) have also been described in some detail. This penultimate chapter, containing seventy-six stanzas, also provides information about the constellations and zodiacal signs associated with the birth of different Tirthankars.

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(Sixteen) The eighth and final chapter of the Devata-Murti-Prakaram, mainly describes the idols of various forms of the Great Goddess'. These include statues of the Twelve Saraswatis, Nine Durgas, Twelve Gauris, Five Leelas and the Eight Matres or Ashta-Matrikas, along with images of Mahalakshmi, Lakshmi, Bhadrakali, Katyayani etc. In addition to these, idols of Ganesh, Karttikeya, Kshetrapala and the various dvarapalikas are detailed in this chapter. This final chapter of Mandan's Devata-Murti-Prakarnam contains one hundred and twenty stanzas. One aspect of medieval iconography which becomes apparent from Mandan's treatise is the extent to which detailed directions are provided for the user/reader of the work. These range from methods of stone-selection from the ground, to determining if a particular stone was appropriate for sculpting a god or goddess, or only for foundations, to providing the proper attributes (ayudha) to an idol in the 'correct' hands and prescribed manner, and a hundred other such directives. At the same time, there are indications that these instructions were intended for someone already familiar with, and working in the established tradition. Thus, very often, while the ornamentation of a particular idol is detailed, something as crucial as whether the statue is in a seated or standing pose is not referred to in the text. It is noteworthy that the very first chapter warns a sculptor to conform to the prescribed size, scale and so forth, since otherwise calamities will occur (ch.1, st.27-39). Such injunctions were, perhaps, a means of ensuring that artists paid attention to scale and form. For example, Mandan warns in one stanza that "Statues of deities must never be disproportionate in scale. If an idol has smaller limbs and a large and awesome head it will bring destruction to the donor of the statue" (ch.1, st.30). Similarly, one learns that "A disproportionate statue with large limbs will lead to the destruction of the sculptor, while one with exceptionally lean and emaciated proportions will destroy wealth. Making an idol with an emaciated stomach will cause famine, and making one without any flesh will cause poverty" (ch.1, st.31).

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(Seventeen) What gives the text additional significance is the indirect * light it throws on the general socio-economic conditions, and religious and philosophical beliefs etc. For instance, we learn about which specific images of Vishnu and holy ammonite (shalagram) stones could be worshipped, according to prevalent social norms, by Brahmins, Kshatriyas, Vaisyas, Shudras, Bhils, Medas, Kirats, Varuts (or Mlecchas) and so forth (ch.5, st. 1-6, 30-31). Mandan's work, thus, not only refers specifically to the existence of the four-fold caste division, but also provides information about different groups and sub-castes found in 15th century Mewar, who were categorized (and perhaps differentiated) in society by occupation. In another section of the Devata-Murti Prakarnam one learns that while it is auspicious and permissible for cities and small towns to worship idols of Karttikeya possessing twelve arms, in the case of small market towns and market-centres only four-armed Karttikeya statues ought to be installed, and in the case of villages and forest-shrines only two-armed ones (Ch. 8, st. 39-40). The stanzas imply the existence of cities, towns, market centres, villages and 'forest-dwellings as cognisable categories for the 15th Century A.D. Mewar mind. The references in the treatise provide a time-specific data-base on some of the ritual activities centred around various idols too, though rites and rituals find only passing reference and do not merit detailed descriptions. Examples of this are the mention of festivities like Devata-yatra, or ritual-practices accompanying the consecration ceremony of a statue or a Sivalinga, which are referred to in Mandan's work without any additional delineation of the actual activity. Being a written text in Sanskrit, the manuscript provides us, in a manner of speaking, with a picture frozen and preserved in time. In other words, though the writer of the Devata-Murti-Prakarnam obviously intended it as a guide for artists making temples and statues in his own age, the treatise may also be used to compare and gauge the changing importance of different deities both prior to, and post, Mandan's period. For instance, there are detailed descriptions of different idols of Brahma, like

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(Eighteen) the Vishvakarma, Kamalasan, Virinchi, Pitamah and Brahma forms (ch.4, st.1-7), and the twelve Suryas (ch.4, st.21-34), along with descriptions about their respective dvarapalas, shrines, directions these shrines should face, and the placement of idols of other deities in relation to these images. The relatively greater importance of Brahma and Surya during the 15th century AD vis-a-vis the 20th century is thus re-inforced by this old text on sculpture. Similarly, the Devata-Murti Prakaram describes idols like Vishvarup, Trivikram, Varah, the Eleven Rudras, Indra, Harsiddi, Vaitala, Virupaksha, Kshetrapala, the Panch-Leelas and the Ashta-Matrikas, among others. Many of these deities enjoy lessened or even no importance in contemporary Rajasthan, but both their detailed treatment in the Devata-Murti Prakarnam and the occurrence of contemporaneous sculptures of such deities from Chittorgarh, Achalgarh, Basantgarh, Kumbhalgarh, Eklingji and other parts of Mewar indicates that they were venerated during' the period that Mandan was working and compiling his treatises. In a like manner, the increased importance of Ganesh by this period is reflected in the numerous descriptions of different types of Ganesh images, shrines and attendants. These include the Hairambhagrahlita, Ucchista-Ganesh, Ganadhipati etc. forms. It is also significant to see that while different idols of Karttikeya are described, the reference to Karttikeya images is markedly less when compared with Ganesh. This is perhaps indicative of the concurrent decreasing importance of Karttikeya in this part of India by Mandan's period. The blending of different cults and religious traditions by this period, leading to the development of composite images of Vishnu and Siva, or Surya and Siva, or Surya, Vishnu, Siva and Brahma; and to the occurrence of combined temple-complexes like the Panch-ayatana form is also reflected in the iconographical descriptions available in the treatise. The Panch-ayatana, as the name indicates, is a specific type of temple-complex in which five (panch) shrines (ayatana) of Siva, Vishnu, Shakti, Surya and Ganesh are provided within a complex. This type of building has one

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* (Nineteen) central shrine dedicated to one particular deity, with four other shrines, dedicated to the remaining four deities, around it. The idol placed within the central shrine denotes the main deity of that particular panch-ayatana. The statues of Siva, Vishnu, Shakti, Surya and Ganesh have a predetermined position within the panch-ayatana in relation to whichever of the five deities is placed in the central shrine. A fine example of the panch-ayatana temple-complex, which was designed by Mandan and built as per his directions, is available at Kumbhalgarh. In an age when composite or syncretistic images and combined temple-complexes like the panch-ayatana were gaining popularity, numerous sects were flourishing in this part of India, and the influence of many saints (and reformers) of the Bhakti and Sufi tradition was pronounced; religion was in a state of flux and fusion. Maharana Kumbha himself ruled as the 'Steward' or Dewan of Lord Eklingji - i.e. Siva, but had a special place in his heart for the Vishnu cult, as known from contemporary sources as well as the numerous Vishnu temples he caused to be set up in different parts of his kingdom. Other traditions hold that he favoured the Jain religion. This multiplicity of parallel belief systems probably had some impact on traditional architect-artisans like Sutradhar Mandan. ... This is probably reflected in the Devata-Murti Prakarnam, for when we look at the dedications at the end of each of the eight chapters of the work, it is not easy to pick out which of the many cults or deities or beliefs were nearest to the heart of the author, even though one tradition holds that Mandan was a follower of Jainism. In fact, when one looks at the manner in which Mandan has described all the different statues in his treatise, it becomes obvious that far from emphasising his own personal preference in the text, Mandan appears to be a devotee of each and every one of the idols he has so evocatively described in his text. And yet, perhaps there is no contradiction involved. As Mandan emphasised towards the end of his treatise, "...As the

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(Twenty) hands draw attention to some aspect (i.e. physically), so the eyes should do the same. For, where the eyes go there is the mind; where the mind is, there is the bhava (the feeling, the emotions); and where the bhava is, there is the rasa - the very essence of everything" (ch. 8, st. 123). Striving to understand and re-create this rasa was (and remains) crucial for the artists who attempted to fabricate idols for worship out of mere stone, stucco, precious stones, clay or. metal. To portray the unity behind different faces; the cosmic balance in the universe; this was perhaps an aspect of 15th century religious ideals, and the attempt of Mandan, the artisan, in his " treatise on iconography called Devata-Murti-Prakarnam. Rima Hooja

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viSayAnukrama CONTENTS rUpAvatAre devatA-mUrti-prakaraNam Rupavatare Devata Murty Prakaranam prathamodhyAya : zilA parIkSA, pratimA-pramANa, guNa-doSAdhikAra First Chapter Selection of the stone, attributes and flaws of a statue, omens, and so forth dvitIyodhyAya: pratimA, tAla-nirNayAdhikAra Second Chapter Scale, size and proportions tRtIyodhyAya : pratimA-pada-sthAna- dRSTisthAnAdhikAra Third Chapter Positioning of statues, and so forth caturthodhyAya : brahmA, sUrya-navagraha-dasadikpAlAdhikAra Fourth Chapter: Brahma, Surya, the Nava-Graha, Dikpalas etc. paMcamodhyAya : viSNu-zAligrAma zilA parIkSA Adi bhedAdhikAra . Fifth Chapter : Vishnu, Shaligram, verification of auspicious nature, and so forth SaSThodhyAya : rudra-mUrti-liMgAdhikAra Sixth Chapter : Statues of Rudra, different Siva lingas, and so forth - saptamodhyAya : jina mUrti, caturviMzati yakSa-yakSiNyadhikAra Seventh Chapter: Statues of the Jain Tirthankaras, the twenty-four yakshas and yakshinis, etc. aSTamodhyAya : devI-mUrti-lakSaNAdhikAra Eighth Chapter Images of the Goddess, distinguishing features and descriptions, and other statues 1 se 277 1-277 1 se 51 1-15 52 se 63 52-62 63 se 74 63-74 75 se 101 75-101 102 se 142 102-142 143 se 203 143-203 203 se 232 204-232 233 se 277 233-277

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ILLUSTRATIONS Colour Plates raMgIna chAyAcitra Cover (upper photograph) : Sculpted pillars and supporting beams of a temple at Kumbhalgarh. The jutting-out stone covered in a human-like image is locally referred to as a 'Keechak'. .:: kumbhalagaDha sthita maMdira ke khambe va chata kI paTTiyA~ / ubhare hue patthara para banI huI mUrti ko 'kIcaka' nAma se bhI jAnA jAtA hai| Cover (lower, photograph) : Decorative portal of a shrine, . Kumbhalgarh fort. garbhagRha kA kalAtmaka praveza dvAra, kumbhlgddh| . (II) An idol of Brahma. brahmA mUrti / Vishnu, flanked by attendants. viSNu mUrti paricArakoM shit| A statue of Ganesh. gaNeza mUrti / Uma-Maheshwar (right) and Lakshmi (left). umA-mahezvara (dAeM) evam lakSmI (baaeN)| A standing Kartikkeya. He holds the Tamrachuda cock in his uppermost left hand. kArtikeya mUrti sabase Upara vAle bAeM hAtha meM tAmracUDa kukkuTa sahita / Jain Tirthankar. tiirthNkr| Mahishasura-mardini (Durga slaying the buffalo demon). mahiSAsura-mardini A Statue from Kumbhalgarh holding a rosary, Thunder-bolt, rod of justice and kamandal (water-vessel) in hands. . .

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.. kumbhalagaDha kI eka mUrti, hAthoM meM krama se akSasUtra, vajra, daNDa va kamaNDala dhAraNa kie hue hai| (IV) Goddess Lakshmi, flanked by elephant and attendants. This image is often called Gaja-Lakshmi. gaja lakSmI mUrti Statue of a Goddess - Possibly Leelya, one of the five Leela-Devis (see chapter 8). She holds a string of rosary-beads and a Kamandal respectively in her lower right and left hands, with both the upper hands holding stalks of lotus (Mrinalam). .. eka devI- saMbhavataH yaha paMca lIlA deviyoM meM se eka, lIlyA devI hai| nIce ke hAthoM me akSasUtra va kamaNDala hai, va Upara ke donoM hAthoM meM mRnnaal| Sculpture from Kumbhialgarh, (possibly a Jain yakshini). The attributes held in her left arms are broken and unrecognizable, but her lower right hand is in the varad mode of bestowing . blessings, while the upper right holds a noose. .. kumbhalagaDha sthita mUrti (saMbhavata : jaina ykssinnii)| bAeM hAthoM ke Ayudha bhagna haiM, evaM dAeM hAthoM meM eka meM pAza hai, aura dUsarA varadamudrA meM hai| : ; Sculpture from Kumbhalgarh (possibly a yakshini) She holds a rosary in her lower, right hand, and a citron fruit (beejpurakam) . in her lower left hand. * kumbhalagaDha sthita eka mUrti (saMbhavata : yakSiNI) dAeM adhohasta meM akSasUtra hai, va bAeM meM bIjapUraka hai| . Sculpted frieze from Kumbhalgarh. kumbhalagaDha meM sthita dIvAra me utkIrNa mUrtiyA~ / Remains of a Jain temple, Kumbhalgarh. jaina maMdira ke purA-avazeSa, kumbhalagaDha / ___NI) Decorative cieling and upper panels of a shrine, Kumbhalgarh. kumbhalagaDha sthita eka maMdira kI chata va UparI hisse kA dRzya / /

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Line Drawings rekhA citra 1. Five different forms of Brahma- Vishvakarma, Kamalasan, Virinchi, Pitamah and Brahma; Savitri; The four Vedas - Rig-veda, Yajur-veda, Sama-veda & Atharvan-veda; * Nritya-Shastram; and Garuda. The Eight Dikpalas - or Regents of the Eight Quarters, Ishan, Indra, Agni, Kuber, Yama, Vayu, Varuna and Nirtriti.. The Nava-Grahas - or Nine Planets- Shani, Chandra, Mangal, Budh, Surya, Guru, Rahu, Shukra and Ketu. The Twelve Saraswati Goddesses - Mahavidya, Mahavani, Bharati, Saraswati, Arya, Brahmi, Mahadhenu, Vedagarbha, Ishwari, Mahalakshmi, Mahakali and Mahasaraswati. brahmA ke pAMca svarUpa- vizvakarmA, kamalAsana, viriMci, pitAmaha va brahmA; sAvitri; caturveda- Rgveda, yajurveda, sAmaveda va atharvaveda; nRtya zAstra; aura grudd| aSTa dikpAla- IzAna, indra, agni, kubera, yama, vAyu, varuNa va niRti| navagraha- zani, candra, maMgala, budha, sUrya, guru, rAhu, zukra aura ketu / bAraha sarasvatI- mahAvidyA, mahAvANI, bhAratI, sarasvatI, AryA, brAhmI, mahAdhenu, vedagarbhA, IzvarI, mahAlakSmI, mahAkAlI aura mhaasrsvtii| . 4.

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brahmA Brahma gaNeza, kumbhalagar3ha Ganesh, Kumbhalgarh Tth LES viSNu, kumbhalagar3ha Vishnu, Kumbhalgarh MAR dAeM - umA mahezvara, bAeM - lakSmI Right-Uma Maheshvar, Left - Lakshmi

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A Standing image of Kartikkeya. A Tirthankar Mahishasura Mardini Statue from Kumbhalgarh

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Lakshmi Statue of a Goddess - Possibly Leelya Sculpture from Kumbhalgarh - Possibly a Jain Yakshini Sculpture from Kumbhalgarh

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Sculpted Freize Remains of a Jain Temple

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sUtradhAra maNDana viracitam rUpAvatAre devatAmUrti-prakaraNam Sutradhaf Mandan Virachitam Rupavatarey Devata Murti Prakarnam.

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1 prathamodhyAyaH maGgalAcaraNam Adau ya: sUtradhArastribhuvanaracanA sUtralakSyasya (svArUpo, yenedaM devadaityoragadharaNitalaM parvatAkAzarUpam / sRSTaM citra vicitraM jagaditi sakalaM jantuvRkSAdisarvaM, * vandyo'sau sRSTikartA suradanujanaraiH sarpavidyAdharAdyaiH // 1 // .: jo sUtradhAra Adi meM tribhuvana kI racanA karane ke liye sUtra kA lakSya svarUpa hai, jisane deva, daitya, sA~pa, bhUmitala, parvata, AkAza, rUpa, prANI aura vRkSa Adi. samasta citra vicitra vAlA sArA jagat banAyA, yaha jagatkartA deva dAnava manuSya sarpa aura vidyAdhara Adi se vandanIya hai| ... .. Invocation (Mangalacharan) All praise to the Almighty who has created the Three Worlds (of heaven, the earth, and the netherworld), stringing together everything to give it meaning. The Sutradhar who has made this colourful and remarkable Universe of gods, demons, snakes, carth, mountains, sky, forms, living creatures, trees and all other things. To that Creator, all the gods, demons, humans, snakes, demi-gods (the Vidhyadhars) and others offer obeisance. (1).

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devatAmUrti-prakaraNam shilaa-priikssaadhaaturtn-shilaakaasstth--citrlepsmudbhvm| yadrUpaM vidhivattasya vidhiM vakSyAmi vastunaH // 2 // dhAtu ratna pASANa lakar3I citra aura lepamaya (IMTa, cUnA miTTI Adi) vastuoM ke jo rUpa banate haiM, una rUpoM ke banAne kI vidhi ko maiM (maNDana sUtradhAra) kahatA . hU~ // 2 // (Examining the Stone) - Let me (Mandan) tell you about the many forms that can be created from materials like metals, precious stones, stone, wood; paint and frescoes, - as well as the method of making such forms. (2). ekavarNA ghanA snigdhaa--muulaagraadaarjvaanvitaa| "aja (? gaja) ghaMTAravAghoSA sA puMzilA prakIrtitA // 3 // jo zilA eka hI varNa vAlI, saghana, cikanI, mUla se lekara agra bhAga taka barAbara eka samAna aura bakarI ke gale meM baMdhI huI ghaMTI ke jaisI athavA hAthI kI pITha para laTakate hue ghaMTe ke jaisI AvAja vAlI ho vaha puruSa jAti kI zilA hai // 3 // A slab of stone-or shila, that is of one colour and type, smooth and compact (or dense), and is of the same thickness from its base to its apex, and which has, furthermore, a resonance like bells around the neck of a goat, or the bell hanging on an elephant's back** is classified as a 'masculine' stone. (3). sthUlamUlA kRzAgrA yA kAMsyatAlasamadhvaniH / mayamatam Adi dUsare zilpa granthoM meM gajaghaMTA aisA pATha hai| yaha tIsarA aura cauthA zloka 'mayamatam' graMtha se milatA hai| (anuccheda 33 zloka 8-9) "The Hindi translator reads this term as 'gajaghanta', which is the form occuring in other manuals, including the Maymatam, rather than the 'ajaghanta' which occurs in the original of this manuscript. .Stanzas 3 & 4 of Mandan's text are similar to stanzas 8 & 9:33, of Maymatam.

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devatAmUrti-prakaraNam 5 strIzilA kRzamUlAgra - sthUlA SaNDheti niHsvanA // 4 // jo 'zilA mUlabhAga meM sthUla ho aura agra zirA bhAga meM kRza ho tathA kAMso ke bane hue karatAla - jhAMjha vAdya vizeSa ke jaisI AvAja (zabda) karane vAlI ho, vaha strI jAti kI zilA mAnI jAtI hai| jo zilA mUla bhAga meM kRza ho aura aprabhAga meM sthUla ho evaM zabda rahita ho, vaha napuMsaka jAti kI zilA mAnI jAtI hai // 4 // A stone (shila) which has a bulky and thick base but a slim, lean and thin tip, and a sound like bronze cymbals, is classified as 'feminine '. Conversely, a slab of stone (shila) which is thin and lean at its base and becomes thick towards the top, and which gives out no sound at all, belongs to the neutral or genderless category. ( 4 ). zilA ke bheda se kArya bheda liGgAni pratimA mizraM kuryAt puMzilayA budhaH / yuJjyAt strIzilayA samyak pIThikA - zaktimUrttayaH // 5 // SaNDhopalena karttavye brahmakUrmazile tathA / prAsAdatalakuNDAdi-karma kuryAd vicakSaNaH // 6 // buddhimAn zilpakAra zivaliGga aura devoM kI mUrtiyA~ puruSa jAti kI zilA se bnaave| pIThikA (jalaharI) aura devI kI mUrtiyA~ strI jAti kI zilA se - banAve // 5 // tathA brahma-zilA, kUrmazilA evaM prAsAda ke tala bhAga aura kuNDa Adi napuMsaka zilA se banAve // 6 // ( Using stones correctly) - An intelligent artisan should use the masculine category of shilas for making Siva-lingas and idols of gods etc., while the peethika bases of Siva-lingas and statues of the goddesses and the like should be fashioned out of stone slabs belonging to the female category. (5) .

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devatAmUrti prakaraNam The neutral or genderless category of stone should be used for 'Brahma' and 'Kurma' stones , and for the base and lower portions of temples/ palaces, as well as for tanks, water reservoirs, . ponds etc. (6). bhUmi meM rahI huI zilA kA mAthA Adi aGga vibhAga kA nirmANa : prAk pazcAddakSiNe saumye sthitA bhUmau tu yA shilaa| pratimAyA: zirastasyAH kuryAt pazcimadakSiNe // 7 // bhUmi meM jo zilA pUrva pazcima athavA uttara dakSiNa laMbI rahI huI ho, vaha pahale dhyAna meM rakha lenA caahiye| jo zilA pUrva pazcima dizA meM lambI . ho, usa zilA ke pazcima tarapha kA aura jo uttara dakSiNa dizA meM lambI ho, usa zilA ke dakSiNa tarapha ke bhAga kA mUrti kA zira. banAnA cAhiye // 7 // 3. (The construction of the forehead and other features on , stone which has been lying underground) :-'. ... Stone which was lying length-wise in an east-to-west or a north-to-south direction within the ground should be considered first of all. Slabs which lie east-to-west in length should have the statue's head on the western side; while those lying north-to-south should have the head on the southern side. (7). ' AkRti se zilA kA grahaNa niviDA nivraNA mRdvI sugandhA madhurA shilaa| sarvArcAliGgapITheSu zreSThA kAntiyutA ca yA // 8 // jo zilA bArIka pogaravAlI, saghana, cheda rahita, komala, sugandhavAlI, madhura aura kAntivAlI ho, aisI zilA saba jAti kI pratimA, zivaliGga aura pIThikA ke liye zreSTha hai // 8 // "Kurma shila' is a stone bearing a tortoise mark which is placed in temple/palace foundations and sanctum sanctorum at the start of construction work. 'Brahma shila' is the slab placed on top of the 'Kurma' or tortoise shila. (see Matsya Purana stanza 4 : 266).

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devatAmUrti-prakaraNam (Choosing a stone) - A stone (shila) that is unmarked and whole, compact, without any holes, smooth, fragrant as a grape vine, and beautiful, and full of lustre, is the best and most appropriate for all types of idols, Siva-lingas and linga bases (or peethikas). (8). tyAga karane yoga azubha zilA vimalaM hemakAMsyAdi-cihna lohamayaM hi yat / tathA'nyadvividhaM cihna pratimAyAM bhayAvaham // 9 // vizeSa malina, suvarNa, kAMsA aura lohA Adi dhAtu ke raGga ke cihna vAlI tathA aneka prakAra ke dUsare cihna vAlI jo pratimA ho, vaha bhayadAyaka hotI hai // 9 // ... Stones which are especially soiled, and of the colour and appearance of gold, brass, iron etc., and have certain other inauspicious markings should be avoided, as they give rise to statues which are fear-inducing. (9). grAhyazilA kpotkumudbhRngg-maassmudgaasitopmaa| - pANDurAghRtapadmAbhA sarvArcAsu sukhAvahA // 10 // kabUtara, kumuda puSpa, bhramara, ur3ada, mUMga aura kRSNa varNa vAlI, pIlI ghI ke * varNa kI aura sapheda kamala ke varNa kI aisI zilA saba devoM kI mUrtiyA~ banAne ke liye sukhakAraka hai // 10 // Stones that are the colour of pigeons and doves, or the Kumud flower (a term used both for the white water-lily, which is said to bloom at moonrise, as well as for the red lotus), or the big, black bhanwra bee, or lentil-beans like mash and mudga, as well as stones which are dark-blue or black, or yellow, or creamy like ghee (clarified butter), or like a white lotus, are auspicious for making images of all the deities, and bestow happiness. (10).

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* devatAmUrti-prakaraNam zilA lAne kA muhUrta sudine zubhanakSatre zakune shaantcessttite| pratimAgRhakASThAdi karma kAryaM na cAnyathA // 11 // iti zilA parIkSA // .. acche zubha dina meM, zubha nakSatra meM, acche zakuna meM prazAnta citta hokara pratimA aura ghara Adi ke kAma ke liye kASTha aura zilA ko grahaNa karanA caahiye| azubha samaya meM ukta kArya nahIM karanA cAhiye // 7 // (Auspicious timings for obtaining stone) - Stone and wood for making statues and for use in other work connected with temples and structures should be obtained on an auspicious day, when the planets and constellations are in: appropriately beneficial postitions, the omens are favourable and the mind is at peace. This task should never be undertaken at other (inauspicious) times. (11). . Thus ends the description of stones. prAsAda ke mAna se khar3I pratimA kA mAna ekahaste tu prAsAde muurtirkaadshaanggulaa|| dazAGgulA tato vRddhi-ryAvaddhastacatuSTayam // 12 // .. . vyaMgulA dazahastAntA zatArddhAntAGgulasya ca / ato viMzadazAMzonA madhyamArcA kanIyasI // 13 // eka hAtha ke vistAra vAle prAsAda meM gyAraha aGgula kI khar3I pratimA rakhanA caahiye| pIche pratyeka cAra hAtha taka ke vistAra vAle prAsAda meM dasa-dasa aGgula bar3hAkara rakhanA cAhiye // 12 // pA~ca se dasa hAtha taka ke vistAra vAle prAsAda meM pratyeka hAtha do-do aGgala bar3hAkara aura gyAraha se pacAsa hAtha ke vistAra vAle prAsAda meM eka-eka aGgula bar3hAkara khar3I mUrti rakhanA caahiye| yaha jyeSThamAna kI mUrti kahI jAtI hai| isa jyeSTha mAna meM se bIsavA~ bhAga kama karane se madhyama mAna aura dazavA~ bhAga kama karane se kaniSTha mAna kI . mUrti hotI

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devatAmUrti-prakaraNam 1193. 11 - (Proportions of sculpture in relation to buildings) - In a temple, or structure, measuring one 'hasta' (a measure of length equal to 24 angulas, or about 18 inches), a standing idol should be 11 angulas in height*. An increase of 10 angulas in the idol's height should be made for every additional hasta upto a maximum of 4 hastas in measure. (12). For structures measuring between 5 and 10 hastas, a further increase of 2 angulas per hasta should be made in the size of the image. In the case of lengths between 11 hastas and 50 hastas, the height of the standing statue increases by a corresponding 1 angula for each hasta. Thus, in a building of 50 hastas, the standing image should (according to the scale of calculation detailed above) be 93 angulas high. Such a statue is classified as large. If the proportion of a statue is reduced by, a twentieth part it becomes a medium-scale image, and if by a tenth part a small-scale one.(13) Thus the scale recommended for standing images inside a * temple can be summarized in the chart given along side as : Traditional measures are as follows : - 1 hasta = 24 angulas (about 18 inches). 1 angula = a finger's breadth, equal to 8 barley-corns (yavas). 1 yava=a measure of length equal to 1/6th or 1/8th of an angula. 1 kara = 24 angushthas or thumbs; i.e. 24 angulas. 1 angushtha =a thumb's breadth, usually regarded as equal to angula. 12 angulas = 1 vitasti, or span 24 angulas = 1 hasta, or cubit. 1 vitasti = 12 angulas, being the distance between the extended thumb and little finger. . . .

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10 SIZE OF SHRINE (in Hasta) 1 hasta 2 3 4 5 6 7 8 9 10 11 12 13 14 "" "" 99 "" dw "" "" "" "" "" "" 22 "" "" 15 16 17 18 19 20 21 22 23 24 (And so forth upto 50 hastas.) 50 hasta "" "" "" 39 "" 99 "" "" 22 prAsAda ke mAna se baiThI pratimA kA mAna HEIGHT OF STANDING IMAGE (in Angulas). 11 angulas "" 21 31 41 43 45 47 49 51 53 54 55 56 57 58 59 60 61 62 63 64 65 66 6980 67 22 "" 32 27 "" "" "" "" "" "" "" 46 """ "" "" "" "" "" "" "" devatAmUrti-prakaraNam "" "" 93 angulas. hastAdervedahastAnte SaDvRddhiH syAt SaDaGgulA / tadUrdhvaM dazahastAntA tryaGgulA vRddhiriSyate // 14 // ekAGgulA bhaved vRddhi-ryAvat paJcAzaddhastakamM /

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devatAmUrti-prakaraNam 11 viMzatyekAdhikA jyeSThA viMzatyonA kanIyasI // 15 // UrdhvArcA prathamA proktA AsanasthA dvitIyikA / eka hAtha se cAra hAtha taka vistAra vAle prAsAda meM krama se pratyeka hAtha cha: chaH aGgula baDhAkara, pA~ca se dasa hAtha taka ke vistAra vAle prAsAda meM tIna-tIna aGgula bar3hAkara aura gyAraha se pacAsa hAtha taka ke vistAra vAle prAsAda meM eka-eka aGgula bar3hAkara mUrti rakhanI cAhiye / yaha madhyama mAna kI mUrti hotI hai| inameM yadi bIsavA~ eka bhAga bar3hAyA jAya to jyeSThamAna kI aura bIsavA~ bhAga kama kiyA jAya to kaniSTha mAna kI mUrti hotI hai| prathama jo mAna kahA hai, vaha khar3I pratimA kA hai aura yaha dUsarA mAna baiThI pratimA kA hai // 14, 15 // Scale for seated images For shrines which are between 1 hasta to 4 hastas in length, the idol should be in the ratio of 6 angulas for each hasta; while for shrines measuring between 5 and 10 hastas the proportionate increase per hasta is of 3 angulas ( 14 ). In the case of structures between 11 hasta and 50 hastas in size, the statue. should be 1 angula more in height for every additional hasta. ( By this scale, therefore, a shrine which is 50 *hastas in size should have a seated figure that is 82 angulas high . ) (This is a medium-scale statue). If an additional 20th part (i.e. 1/20th) is added to the .. scale of this medium-sized statue, the resultant sculpture will be known as a large-scale one. In the same manner, if a 20th portion (i.e. 1/20th) is substracted from the prescribed proportions a small- scale statue will be fabricated.(15). The first scale detailed above applies to a standing statue ( stanzas 12 & 13), and the second scale ( stanzas 14 & 15 ) is for a seated one. (16a). dvAra ke mAna se jyeSTha pratimA kA mAna dvArocchrayo'STadhA kArye bhAgamekaM parityajet // 16 // saptabhAgaM tridhA kRtvA dvibhAgA pratimA bhavet / dvAra kI U~cAI kA ATha bhAga ke Upara eka bhAga chor3a denA / bAkI jo

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12 devatAmUrti-prakaraNam sAta bhAga rahe, unakA phira tIna bhAga karanA, inameM se do bhAga ke mAna kI pratimA banAnA aura eka bhAga kI pIThikA bnaanaa| yaha khar3I pratimA kA mAna samajhanA / yadi baiThI pratimA banAnA ho, to do bhAga kI pIThikA aura eka bhAga kI pratimA banAnA caahiye| As regard the doors of shrines, here are the recommended proportions - In the case of a large-scale statue, divide the height of the entrance (the dvar) into 8 portions. Leaving out the upper-most 1/8th (16), sub-divide the remaining 7/8th into 3 parts. The statue' should be equal to 2 of these 3 parts, and the statue's base equal : to the remaining 1 part in scale, in the case of a standing image. - These proportions should be reversed for a seated statue - with the base being 2 parts and the statue itself 1 part. (17a). . dvAra mAna se madhyama mAna kI pratimA kA mAna. dvAraM vibhajya navadhA bhAgamekaM parityajet // 17 // aSTau bhAgAMstridhA kRtvA dvibhAge pratimA bhavet / dvAra kI U~cAI kA nava bhAga karake Upara kA eka bhAga chor3a denA, bAkI jo ATha bhAga rahe, unakA phira tIna bhAga karanA, inameM se do bhAga kI pratimA aura eka bhAga kI pIThikA banAveM / . For a medium-scale statue, the height of the door-way should be divided into 9 parts. Leaving out the uppermost 1/9th portion (17), the remaining 8/9th should be sub-divided into 3 parts. The idol should be equal to 2 of these parts and its pedestal 1 part (18a). dvAra mAna se kaniSTha pratimA kA mAna tribhAgai jite dvAre dvibhAge'rcA prakIrtitA // 18 // bhAgamekaM bhavet pIThaM kaniSThA mdhymottmaa| .

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13 devatAmUrti-prakaraNam yA proktA dvAramAnena sAdau zreSThA prakIrtitA // 19 // dvAra kI U~cAI kA tIna bhAga karake unameM se do bhAga kI pratimA aura eka bhAga kI pITha banAnA caahiye| yaha kaniSTha, madhyama aura uttama pratimA kA mAna kahA, unameM prathama jyeSTha mAna kI uttama pratimA kahA hai| In the case of a small-scale statue, the height of the portal should be divided into 3 parts. The statue should be equal to 2 of these parts (18), and its base to 1 part. These are the suggested proportions for the large, medium and small categories of statues in relation to the scale of the doorways. Among these the large scale is considered superior (19). . ! (Note : Scale recommended for a sealed image inside a Temple :-) SIZE OF SHRINE HEIGHT OF SEATED IMAGE (in Hasta) (in Angula) 1 hasta 6 angulas 12 " 2 " 18 "

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devatAmUrti prakaraNam ghara meM pUjane yogya pratimA kA mAna ArabhyaikAMgulAdUrdhvaM pryntdvaadshaanggulm| gRheSu pratimA pUjyA nAdhikA zasyate tataH // 20 // __ghara meM eka aGgula se lekara bAraha aGgula taka ke nApa kI pratimA pUjanIya hai aura bAraha. aGgala se adhika pramANa kI pratimA ghara meM nahIM rakhanI caahiye| Idols which are kept for worship within homes by devotees should be between 1 angula and 12 angulas in size. Statues larger than 12 angulas should not be kept inside residential homes for purposes of worship. (20). maMdira meM pUjanIya pratimA kA mAna tadUrdhvAnnavahastAntA pUjanIyA suraalye| dazahastAdito yArcA prAsAdena vinAyet // 21 // bAraha aGgala se adhika nava hAtha taka ke mAna kI bar3I pratimA maMdira meM pUjanIya hai| daza hAtha se adhika bar3I pratimA prAsAda ke binA khule cabUtare para pUjanIya Statues more than 12 angulas in height, and upto a maximum height of 9 hastas should be worshipped in temples. However, statues which are 10 hastas and more in height should be worshipped in the open air and not inside temple-buildings. (21). dazAdikaravRddhyA ca SaTtriMzatratimAH pRthak / bANavedakarAn yAvaccatuSkyAM pUjayet sudhIH // 22 // daza hAtha se lekara paiMtAlIsa hAtha taka ke mAna kI jo chattIsa prakAra kI pratimAyeM haiM, ve khule cabUtare para sthApita karake pUjanA caahiye| All the 36 types of images which are known should be installed in the open-air for purposes of worship if they are between 10 hastas and 45 ('banavedakaran') hastas in height. (22).

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devatAmUrti-prakaraNam prAsAda garbhagRha aura dvAra kA mAna caturastrIkRte kSetre dazadhA bhU vibhAjite / caturbhAge bhaved bhittiH zeSaM garbhagRhaM smRtam // 23 // prAsAda kI samacorasa bhUmi kA daza bhAga karanA, unameM se do-do bhAga kI pratyeka dIvAra arthAt donoM tarapha kI donoM dIvAra kula cAra bhAga kI karanA aura bAkI madhya ke chaH bhAga kA garbhagRha (gaMbhArA) karanA / 12 As regards the proportions of the garbhagriha or sanctum sanctorum (or cella) and the walls of a shrine, here is the proportion: the square area of the temple should be divided into 10 parts. Of this, 4 parts of the area should be utilized for the walls and the remaining 6 parts for the sanctum sanctorum or innermost chamber of the temple where the main idol is to be placed. (23). garbhagRha ke mAna se pratimA kA mAna 15 garbhagehatribhAgeNa jyeSThArcA kathitA budhaiH / : madhyamA ca dazAMzonA paJcAMzonA kanIyasI // 24 // ke mukhya gaMbhAre kA jo mAna ho, usakA tIna bhAga karake, unameM se eka bhAga mAna kI pratimA banAnA yaha jyeSThamAna kI pratimA hai| isameM se pratimA kA dazavA~ bhAga ghaTA dene se madhyama mAna kI aura pAMcavAM bhAga ghaTA dene se kaniSTha mAna kI pratimA hotI hai 1 A statue that is 1/3rd the size of the sanctum sanctorum is classified as 'Jyeshtha' or large scale idol. One which is 1/10th lesser (than the above proportion ) is a 'Madhyam' or medium scale idol, and one that is a further 1 / 5th lesser in size is a 'Kaneeyasi' (Kanishtha) or small scale statuc. (24). * zayanastha pratimA kA mAna saptAMze garbhagehe tu dvau bhAgau parivarjayet / paJcabhAgo bhaveddevaH zayanasthaH sukhAvahaH // 25 //

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devatAmUrti-prakaraNam garbhagRha kA sAta bhAga karake do bhAga chor3a denA, bAkI jo pA~ca bhAga rahe, usa mAna kI zayana karane vAle zeSazAyI Adi devoM kI pratimA banAnA sukhakAraka hai| (Scale of u reclining idol) To make statues in a reclining/sleeping pose, divide the inner sanctum or 'garbhgriha' of a shrine into 7 parts. Leave out 2 parts, and manufacture the reclining/sleeping idol to the scale of the remaining 5 parts. This: is the scale which is the most auspicious for reclining deities, bestowing happiness to all. (25). pratimA banAne ke padArtha aSTalohamayI mUrtiH zailaratnamayI tthaa| zreSThavRkSamayI vA'pi pravAlAdimayI zubhA // 26 // . . ATha prakAra kI suvarNa Adi dhAtu, pASANa, ratna, zreSTha vRkSa aura pravAla (mUMgA) Adi kI mUrti banavAnA zubhadAyaka hai||13 ... Material from which idols may be made includes the eight-metal alloy known as 'Ashta-lohmayi' (the Ashta-dhatu of contemporary Hindi parlance) composed of gold, silver, copper, bell-metal, brass, lead, iron and tin, as well as stone, jewels, good timber, and coral and the like. These are auspicious. (26). pUjanIya jIrNa pratimA atItAbdazatA yA syAnmUrttiH sthApyA mhttmaiH| .. khaNDitA sphuTitApyA anyathA duHkhadAyikA // 27 // mahAn puruSoM dvArA sthApita kI huI mUrti yadi eka sau varSa se pUjI jAtI ho, to vaha yadi khaNDita ho yA phaTI huI ho, to bhI pUjanIya hai| anyathA khaNDita mUrti duHkhadAyaka hai|14 / / Any statue which was installed by highly revered and renowned great people in the past, and which has been worshipped regularly for a hundred years, retains its sanctity even if it is broken or shattered. Such an idol can be worshipped but otherwise the worship of desecrated idols brings grief. (27).

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devatAmUrti-prakaraNam saMskAra yogya pratimA dhAturanavilepottha vyaGgAH sNskaaryogykaaH| kASThapASANajA: bhagnA: saMskArArhA na devatA: // 28 // dhAtu, ratna aura lepamaya mUrti yadi jIrNa ho jAya athavA khaNDita ho jAya to vaha phira saMskAra karane yogya hai| kASTha aura pASaNa kI mUrti jIrNa ho jAya to vaha phira saMskAra karane yogya nahIM hai|15 . If a statue made of metal, jewel, or stucco gets damaged or desecrated, it maybe re-consecrated and purificd. However, broken statues made from wood or stone cannot be sanctified anew. (28). devAlAya se bAhara sthApana karane yogya deva bhairava: zasyate loke pratyAyatanasaMsthitaH // na mUlAyatane kAryo bhairavastu bhayaMkaraH // nArasiMho varAho vA tathA'nye'pi bhayaMkarA: // 29 // . devAlaya se bAharaM sthApita kiyA huA bhairava loka meM zreSTha hai| bhairava deva bar3A bhayaMkara hone se koI bhI deva ke mukhya prAsAda meM usakI sthApanA nahIM karanA caahiye| parantu bhairava kA hI mukhya prAsAda ho to usameM sthApana kara sakate haiN| isI prakAra nArasiMha aura varAha Adi bhayaMkara devoM ke viSaya meM bhI smjhnaa| It is most ideal for the world if an image of Bhairav is installed outside a temple-building. Lord Bhairav is an extremely fearsome and frightening deity and his statues should not be installed inside the main temples of other deities. Such idols may, however, be installed within a templo dedicated to Bhairav himself. (In other words, where Bhairav is the main deity). Statues of Narsingh, Varah and other terrible-to-behold and awe-inspiring deities should be regarded in the same way too. 129), ... aisA matsya purANa a. 259 zloka 14-15 meM yahI zloka hai| ** Stanzas 14-15 ch. 259 of Matsya Purana are similiar to this.

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devatAmUrti-prakaraNam azubha. pratimA kA lakSaNa aura phala nAdhikAGgA na hInAGgAH karttavyA devatA: kvacit / svAminaM ghAtayen nyUnA karAlavadanA tathA // 30 // devoM kI pratimA mAna se adhika yA hIna aGga vAlI kabhI bhI nahIM banAnA caahiye| hIna aGga vAlI aura bhayaMkara mukha vAlI pratimA banavAne vAle ke liye nAzakAraka hai| Statues of deities must never be disproportionate in scale. If an idol has smaller limbs and a large and awesome head it. will bring destruction to the donor of the statue. (30). . adhikA zilpinaM hanti kRzA caivaarthnaashinii| kRzodarI tu durbhikSaM nirmAMsA dhananAzinI // 31 // pratimA yadi mAna se adhika aGga vAlI ho to banAne vAle zilpI ke liye nAza kAraka hai, kRza (durbala) ho to dhana kA nAza karatI hai| durbala peTa vAlI ho to durbhikSakAraka aura mAMsa rahita aGga vAlI ho, to dhanaH kA nAza karatI A disproportionate statue with large limbs will lead to the destruction of the sculptor, while one with exceptionally lean and emaciated proportions will destroy wealth. Making an idol with an emaciated stomach will cause famine, and making one without any flesh will cause poverty. (31). vakranAsAtiduHkhAya saMkSiptAGgA bhyNkrii| . cipiTA duHkhazokAya AdhipatyavinAzinI // 32 // Ter3hI nAsikA vAlI adhika duHkhadAyaka, nyUna aGga vAlI bhayadAyaka, capaTe aGga vAlI pratimA duHkha aura zokakAraka evaM aizvarya kA vinAza karane vAlI hai| Statues with crooked noses will produce sorrow, while those with small limbs will cause fear, and those with flattened features will produce both sorrow and lamentation, as well as lead to the destruction of sovereignity and power. (32).

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devatAmUrti-prakaraNam duHkhaMdA hInavaktrA tu pANipAdakRzA tathA / hInAMgA hInajaGghA ca bhramonmAdakarI nRNAm // 33 // hInamukha vAlI aura durbala hAtha paira vAlI pratimA duHkhakAraka hai| hIna aGga vAlI aura hIna javAvAlI pratimA manuSyoM ko bhrama aura unmAda karane vAlI * Another kind of statue which will bring unhappiness is one with a small face and thin hands and fect. A statue which has disproportionately deficient limbs and small thighs will cause delusion and madness in men. (33). zuSkavaktrA tu rAjAnaM kaTihInA ca yA bhavet / pANipAda-vihInAyAM jAyate mArako mahAn // 34 // zuSka mukhavAlI aura hIna kaTi vAlI ho to rAjA kA vinAza karane vAlI hai| hAtha aura paira hIna ho to bar3I mahAmArI karane vAlI hotI hai| A statue, with a shrivelled or dessicated face and disproportionately.small hips will destroy kings, while a statue that is devoid of hands and feet will cause plague and pestilence in the land. (34). : * javAjAnuvihInA ca shtruklyaannkaarinnii| putramitravinAzAya hInA vakSaHsthalena yA // 35 // .:. jo pratimA jaGghA aura jAnu hIna ho vaha zatru kA kalyANa karane vAlI hai| tathA hIna chAtI vAlI ho to putra aura mitra kA vinAza karane vAlI hai|16 . A statue without knee and thighs is an aid to one's enemy; being beneficial for enemies. A statue with a disproportionately small chest is harmful for one's son and friend. (35). pITha, vAhana aura parivAra se khaNDita mUrti ke doSa pITha yAna-parIvAra-dhvaMse sati ythaakrmm| sthAna-vAhana-bhRtyAnAM nAzo bhavati nizcitam / 36 //

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20 ... devatAmUrti-prakaraNam . pIThikA khaNDita ho to sthAna kA, vAhana khaNDita ho to pUjaka ke vAhana kA aura parivAra khaNDita ho to sevaka jana kA nizcaya se nAza hotA hai|17 Damage to the pedestal or base of a statue portends danger to the place; damage to the idol's vehicle or seat (the vahana on yana) means danger to thc worshipper's own conveyance; and damage to the sculpted retinue of family and attendants around an idol (the parivar) means the destruction of servants and helpers. . . (36). ghara meM nahIM pUjane yogya mUrti pratimA kASTha lepAzma-dantacitrAyasAM gRhe|" mAnAdhikA parIvAra-rahitA naiva pUjyate // 37 // . lakar3I, lepa, pASANa, dA~ta, citra aura lauha Adi dhAtu, ina vastuoM kI pratimA zAstra meM likhe mAna se adhika ho aura apane parivAra se rahita ho to ghara meM nahIM pUjanA cAhiye / 18 If statues made of wood, stucco, stone, ivory, paint and metal are larger than the sizes stipulated for worshipping within homes, and if they are devoid of their attendants, they should not be worshipped in the house. (37). adhomukhAdi doSa anetrI netranAzAya svalpA syAd bhogvrjitaa| arthahatpratimottAnA cintAheturadhomukhI // 38 // . netrahIna pratimA netra kA nAza karatI hai, choTe mukha vAlI ho to bhoganIya vastu kI hAni karatI hai| U~ce mukha vAlI ho to dravya kI hAni karatI hai aura adhomukhI ho to cintAkAraka hai|19 An idol with no eyes will cause blindness, while one with a small face will destroy enjoyment of material objects. A statuc mudrita saMskaraNa meM "daNDacittAdi saMgrahe" pATha hai

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devatAmUrti-prakaraNam with its facc turned upwards will lead to loss of wcalth, and one facing downwards will cause anxiety. (38). zubhapratimA kA lakSaNa sampUrNAvayavA yA syAdAyurlakSmIpradA sdaa| evaM lakSaNamAsAdya kartavyA devatA budhaiH // 39 // uparokta pratimA kA lakSaNa jAna karake sampUrNa avayava vAlI deva pratimA vidvAna karAve, to vaha hamezA AyuSya aura lakSmI dene vAlI hotI hai| - A stalue which has been made with appropriate attributes (in other words, one where inauspicious, incorrect and improper characteristics do not occur), and which is of the permitted or recommended proportion and scale, with no limbs or parts missing or incomplete, always promotes longevity and good fortune. (39). atha utpAta-.. . ___yAnarutpAtAn garga: provAca: tAnahaM vakSye / . teSAM saMkSepo'yaM prakRteranyatvamutpAta: // 40 // jo jo padArtha apane svabhAva meM rahe haiM, unameM kucha viparItatA mAlUma par3e, uMsa ko. utpAta kahate haiN| garga RSi ne atri RSi ko jo-jo utpAta vistAra pUrvaka kahe haiM, una utpAtoM ko maiM (maNDana sUtradhAra) saMkSepa se kahatA huuN| ... Let me (Mandan), now relate to you in brief what the sage Garg explained to the sage Atri regarding disturbances or changes which occur in natural phenomena, and. which are portents of calamity. (40). utpAta ke kAraNa apacAreNa narANA-mupasarga: pApasaJcayAd bhavati / saMsUcayanti dizAntarikSabhaumAM tathotpAta: // 41 // manuSyoM ke durAcAra se pApoM kA saMcaya hotA hai, jisase aneka prakAra ke upasarga hote haiN| ye upasarga divya, aMtarikSa aura bhauma sambandhI hote haiM, usako

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- - devatAmUrti-prakaraNam utpAta kahate haiN| The ill-conduct of humans enables sin and evil to accumulatc. This causes calamities and misfortunes of many different kinds. These calamitics are manifested through changes in things terrestial or of the Earth (bhoum), of the the sky (antariksham), and through other supernatural (divyam) phenomenon. (41). . manujAnAmapacArAdaparaktA devatA: sRjantyetAn // . . tatpratighAtAya nRpaH zAnti rASTra prayuJjIta // 42 // .. manuSyoM ke durAcAra se devatA virakta hokara utpAtoM ko karate haiM; unakI zAnti ke liye rAjA apane rAjya meM zAnti pUjana karAve / 20. ... Displeased with the ill deeds and misconduct of human bcings, the deities send down various calamities. To avert these,, a ruler should organise special pacificatory.prayers in the country. (42). divya aura aMtarikSa utpAta divyaM grhhmvaikRt-mulkaanirghaatpvnpriveshaaH| gandharvapura-purandaracApAMsi yadAntarikSaM tat // 43 // graha aura nakSatroM meM jo kucha parivartana ho, usako divya utpAta kahate hai| ulkA-tAre kA yA agni kA girnaa| nirghAta-AkAza meM balavAna vAyu kA dUsare vAyu se TakarAkara zabda honaa| pavana-mahA. pracaNDa vAyu kA clnaa| pariveza-sUrya candramA kA maNDala honaa| gandharva nagara aura indradhanuSa dekha par3anA, ityAdi ko aMtarikSa utpAta kahate haiN| Alterations or changes in the planets and constellations are known as divine or divyam portents. Mcteors or fiery phenomenon in the sky, whirlwinds or the noise of contending wind-currents in the sky, or haloes around the sun or the moon, or secing the legendary city of the Gandharvas- Gandharvapur-in the sky, and the bow of Indra, the destroyer of cities (Purandhar), i.e. a rainbow, are all categorised as space or sky (antariksh) portents. (43).

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devatAmUrti-prakaraNam bhauma utpAta bhaumaM carasthirabhavaM tacchAntibhirAhataM zamamupaiti / nAbhasamupaiti mRdutAM zamIta ne divyaM vadantyeke // 44 // cara padArtha sthira ho jAya, sthira padArtha cara ho jAya, usako bhUmi utpAta kahate haiN| usakI zAnti karAne se zAnti ho jAtI hai| antarikSa utpAta kI zAnti se utpAta ke phala meM maMdatA hotI hai| aura divya utpAta kI zAnti karAne se zAnti ho yA na bhI ho, aisA koI AcArya kahate haiN|21 Bhoum (or Bhumi) or earth portents are those in which moving objects become stationary and vice-versa. Such disturbances can be fully appeased and propitiated by certain mcans, if attempted. The effect of antariksh or sky portents, however, can only be somewhat softened through attempts at pacification. As regards the divya or divine category of omens, the sages have said that these may or may not get calmed or pacisied through prescribed means. (44). . . . divyamapi zamamupaiti prabhUtakanakAnagomahIdAnaiH / rudrAyatane bhUmeordAnAt koTihomAcca // 45 // bahuta suvarNa, anna, gAya aura jamIna kA dAna karane se, zivAlaya meM jamIna aura gAya kA dAna karane se aura koTi homa karane se divya utpAta kI bhI zAnti ho jAtI hai| * Divya or supernatural (divine) distubances can also be appeasod by giving away a lot of gold, grain, cattle and land in charity; and donating land and cattle to Rudra (Siva) temples; and performing special homa (yagnas) rites and sacrifices. (45). deva utpAta kA kahA~ prabhAva hotA hai ? AtmasutakozavAhanapuradArapurohiteSu loke c| pAkamupayAti daivaM parikalpitamaSTadhA nRpateH // 46 //

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devatAmUrti-prakaraNam rAjA kA zarIra, usakA putra, khajAnA, vAhana, nagara, strI, purohita aura pUjA * ina AThoM ke Upara devakRta utpAta kA phala hotA hai| The consequences of divinc disturbances can be seen in eight ways. These are :-effects on the ruler, his son, the State Trcasury, the ruler's vehicle, the city, the ruler's wife, the pricst and subjects. (46). zivaliGgAdi utpAta kA phala animittclnbhngg-svedaashrunipaatjlpnaadyaani| liGgArcAyatanAnAM nAzAya nareza-dezAnAm // 47 // ... binA kAraNa zivaliGga, pratimA aura deva mandira kA calAyamAna honA, bhaGga honA, una para pasInA AnA, A~sU kA giranA aura avyakta zabda honA, ye utpAta hone se rAjA aura deza kA vinAza hotA hai| : If, for no apparent cause 'Siva-lingas, idols and temples move from thcir locations or break, or appear to sweat, or weep, or give out sounds or babble incoherently, it portends the destruction of the ruler and the country. (47). svadezadhvaMsa: sphoTaM bhavet tathA- - - - - - sthAnAccalane bhaGgaM dezasya vinirdizet: prAjJaH // 48 // zivaliGgAdi binA kAraNa phaTa jAya yA apane sthAna se calAyamAna ho jAya to deza kA vinAza hove, aisA vidvAn jana kahate haiN| According to the learned, if Siva-lingas, idols, etc. break or shatter for no reason, or become mobile, it signifies the destruction of the nation. (48). nartanaM jalpanaM hAsyamunmIlananimIlane / devA yatra prakurvanti tatra vidyAnmahadbhayam // 49 // jo deva pratimA binA kAraNa nAca kare, zabda kare, hAsya kare, A~khoM ko unmIlana kare athavA zarIra saMkoce yA phailAve, to bar3A bhaya Ane vAlA smjhnaa| If an idol dances, makes incoherent sounds; laughs, opens and closes its eyes, or expands or contracts itself, consider it a

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devatAmUrti-prakaraNam 25 warning and know that some great fear is imminent. (49). rodane nartane hAsye devatAnAM prsrpnne| mahadbhayaM vijAnIyAt SaNmAsAt triguNaM param // 50 // ___ yadi deva pratimA rudana kare, nAce, hAsya kare athavA apanA avayava phailAve, to bar3A bhaya jaannaa| isakI zIghra hI zAnti na kI jAya to chaH mAsa ke bAda triguNa utpAta hotA hai| It should also be feared if an idol wails and laments, dances, laughs or moves forward. This too foretells extreme terror. If such phenomena is not appeased as soon as possible know that in six months time the consequences will be three times as terrible. (50). dhUmajvAlA rajo bhasma yadA muJcanti devatAH / rAjA tadA ca mriyate prasUte ca dhanakSayam // 51 // yadi dhuMA, jvAlA, dhUlI aura bhasma Adi ko devatA barasAve to rAjA kI mRtyu hove aura dhana kA vinAza hove|22 ___If the deities release: smoke, flames, dust and ash, and so forth, it signifies the death of the king and the destruction of 'wealth. (51). bhUmiryadA nabho yAti vized vasundharAM namaH / dRzyante cAntarA devAstathA rAjavadho bhavet // 52 // pRthvI AkAza meM aura AkAza pRthvI meM praveza karate hue, aise dikhAve ko devatA dikhAve to rAjA kA vadha hove| If the gods show the earth moving into the sky and the sky entering the earth (at sunset), it is an omen that the king will be killed: (52). devatAyAtrAzakaTAkSacakrayugaketubhaGgapatanAni / samparyAsanasAdanasaGgAzca na dezanRpazubhadAH // 53 // ratha yAtrA mahotsava meM gAr3I (ratha), dhurA, pahiyA~, yuga (baila jotane kA kANDa), aura ratha kI dhvajA inameM se kisI kA binA kAraNa bhaGga ho jAya yA gira jAya, athavA inameM kucha parivartana ho jAya, zaktihIna ho jAya, yA gatihIna

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. devatAmUrti-prakaraNam ho jAya to deza aura rAjA ko zubhakAraka nahIM hai| . During the course of a religious procession honouring the deities -- a Devtayatra - if the carriage, or axle, or wheel, or yoke, or the chariot's banner breaks or falls down for no reason; or if there is any transformation in any of them; or if they become powerless or loose movement, it is inauspicious for the kingdom and the king. (53). utpAda vizeSa se vyakti vizeSa phala RSidharmapitRbrahma-prodbhUta-vaikRtaM dvijaatiinaam| yadrudralokapAlodbhavaM pazUnAmaniSTaM tat // 54 // RSi, dharma, pitara aura brahmA inakI mUrtiyoM meM utpanna huA utpAta dvijAti (brAhmaNa, kSatriya aura vaizya) ke manuSyoM ko azubha hai| tathA mahAdeva aura lokapAla kI mUrtiyoM meM utpanna huA utpAta pazuoM ko aniSTakAraka hai| It is inauspicious for the 'Twice-born' category (that is, the Brahmins, Kshatriya, Vaisya castes), if omens have been manifested through statues of sages (rishis), Dharma, ancestors (pitras), or Brahma. Similarly, it is unlucky for animals if the portents have been manifested through statues of Rudra (Siva) and the Lokapalas. (There are 8 Lokapalas or regents of the 8 cardinal points of the compass - Indra, Varuna, Vayu, Yama, Kubera, Agni, Ishan and Nairttrata. They are described in Chapter 4). (54). .. gurusitazanaizcarotyaM purodhasAM viSNujaM ca lokAnAm / skandavizAkhasamutthaM mAGgalikaM na narendrANAm // 55 // guru, zukra aura zani deva kI mUrti meM utpanna huA utpAta purohita ko, viSNu mUrti meM utpanna huA utpAta logoM ko, tathA kArtikeya aura vizAkhadeva mUrti meM utpanna huA utpAta rAjAoM ko azubha hotA hai| Omens originating from statues of Guru (also called Brihaspati), Shukra and Shani (Jupiter, Venus and Saturn personified) are inauspicious for priests, and those from idols of Vishnu for the populace in general. Portents emanating from statues of Skanda and Vishakha are inauspicious for kings. (55).

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devatAmUrti-prakaraNam vedavyAse mantriNi vinAyake vaikRtaM camUnAthe / dhAtari savizvakarmaNi lokAbhAvAya nirdiSTam // 56 // 27 " vedavyAsa kI mUrti meM utpanna huA utpAta rAjamaMtrI ko gaNeza kI mUrti meM utpanna senApati ko, brahmA aura vizvakarmA kI mUrti meM utpanna huA utpAta logoM ko aniSTakAraka hai / Unlucky for the country's ministers are ill-omens conveyed through phenomena on statucs of Veda-Vyas, while those connected with idols of Ganesh are unlucky for the commander-in-chief of the army. Portents connected with statues of Dhatri (Brahma) and Vishvakarma herald calamity for the people. (56). devakumAra-kumArI-vanitApraiSyeSu vaikRtaM yat syAt / tannarapateH kumArakumArikAstrIparijanAnAm // 57 // deva kumAra, kumArI, devI aura sevaka Adi parivAra kI mUrti meM utpanna hue utpAta se rAjakumAra, kumArI, strI aura sevaka Adi parivAra kA vinAza kAraka hai| Portents manifested by the attendant sons, daughters, goddesses and other retinue of the main idol are also unlucky, signalling the destruction of the country's prince ( s), princess (es), _queen(s), and servitors, respectively. (57). rakSaH pizAcaguhyakanAgAnAmevameva nirdiSTam / rAkSasa, pizAca, yakSa aura nAga devoM kI mUrti se utpanna hue utpAta rAjakumAra Adi ke lie vinAzakAraka hai / Ill-omens connected with statues of Rakshasas ( demons), Pishachas (malevolent spirits), Guhyakas (a class of demi-gods, who are, like the Yakshas, attendants of Kubera and guardians of his treasure), and Naga snakes etc. foretell calamity for royal princes and others. ( 58a ) .

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devatAmUrti-prakaraNam utpAta kA phala vipAka mAsaizcApyaSTAbhi: sarveSAmeva phalapAkaH // 58 // Upara kahe hue utpAtoM kA phala ATha mAsa ke bhItara ho jAtA hai| isake bAda niSphala ho jAte haiN|23 The resultant consequences of all these above mentioned 'unnatural phenomena come into play within 8 months. After the cxpiry of this time they do not 'bear fruit. (58). utpAta zAnti budhvA devavikAraM zuci: purodhAstrayahoSitaH snaatH|. snAnakusumAnulepanavastrairabhyarcayet pratimAm // 59 // . madhuparkeNa purodhA bhakSyairbalibhizca vidhivadupatiSThet / sthAlIpAkaM juhuyAd vidhivanmantraizca talliGgaiH // 60 // deva pratimA meM vikAra huA jAnakara, tIna upavAsa kiyA huA purohita snAna karake pavitra hove, bAda meM pavitra jala se paJcAmRta jala se pratimA ko snAna karAve, caMdana barAsa Adi se vilepana kare, tathA 'puSpa, aura vastra Adi evaM dahI aura madhu Adi se SoDazopacAra pUjA kre| pIche khAne yogya naivedya Adi lekara Ave aura vidhipUrvaka una devoM ke maMtrAnusAra pakvAnnoM kA homa kre| Transformations or changes in the statue of a deity may be appeased if a ritually purified priest, who has previously fasted for 3 days prior to the appeasement ceremony, bathes, and then worships the deity, bathing the idol and adorning and annointing it with unguents made from sandalwood, camphor etc., and offering flowers and clothes and so forth. (59). The family-priest (purodha), having performed what is stated above, must then offer the madhuparka mixture of honey, curd and other ingredients to the idol. Then, placing suitable food and oblation (or sacrificial) offerings in the ritually prescribed manner before the idol, the priest should worship the deity in the correct ceremonial manner. The ceremonies of sthalipakam-a ritual

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devatAmUrti-prakaraNam offering by householders, and the juhoti form of worship should be performed, and appropriate mantras (or incantations) recited in the course of the ceremony. (60). 29 iti vibudhavikAre zAntayaH saptarAtraM, dvijavibudhagaNArcA gItanRtyotsavAzca / vidhivadavanipAlairyaiH prayuktA na teSAM, bhavati duritapAko dakSiNAbhizca ruddhaH // 61 // isa prakAra devakRta utpAta hone se sAta dina taka gIta nRtya Adi mahotsava pUrvaka brAhmaNa aura devagaNoM kI pUjA jo rAjA vidhipUrvaka karatA hai aura brAhmaNoM ko dakSiNA detA hai, vaha utpAta ke aniSTa phala ko roka detA hai / Divine portents are pacified in this manner, if for seven days (from the sighting of the omen) the king arranges for the performance of appropriate ceremonies, ritual and prayers, as well as songs and dances and so forth to please the gods, and gives charity donations to the Brahmins. Thus may the calamitious consequences of the portent be averted and neutralised. (61). yatsa cakraphala vatsenAbhimukhe kuryAd yAtrA dvAraM ca vAstunaH / pravezaH pratimAdInAM gurviNInAM vizeSataH // 62 // jisa dizA meM vatsa ho usa dizA meM yAtrA (gamana karanA), navIna vAstu dvAra, aura pratimA kA maMdira meM praveza ityAdi kArya nahIM karanA caahiye| usameM bhI garbhavatI strI vizeSa karake praveza nahIM kare / 24 Journeys should not be undertaken in the direction where Vatsa is positioned, nor should gateways facing it be constructed. Idols should not be brought into the temple from that direction, and pregnant women in particular must not enter from that direction. (62).

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devatAmUrti-prakaraNam pratimA ke vidhAna meM nakSatra rAzi Adi kA melApa nakSatrayonizca SaDaSTakaM ca, vargASTakaM nADigataM ca RkSam / / devAdikSANi vizopakAzca, ete vilokyA: pratimAvidhAne // 63 // iti zrIkSetrAtmajasUtrabhanmaNDanaviracite vAstuzAstre devatAmUrtiprakaraNe zilAparIkSA-pratimApramANa-guNadoSodbhUtAdhikAro nAma prthmodhyaayH| ....' deva pratimA banavAte samaya yA sthApanA karate samaya banavAne vAle kA yA sthApanA karane vAle kA aura deva kA nakSatra, yonivaira, rAzi kA SaDaSTaka, vargASTaka, nAr3I vedha, gaNadoSa aura viMzopakA (lenA denI) ityAdi ko avazya dekhanA caahiye| ___ zrIkSetrAtmaja sUtradhAra maNDana racita vAstuzAstra ke devatAmUrtiprakaraNa kA :zilAparIkSA, pratimA pramANa, guNadoSAdhikAra nAma kA prathama adhyAya pUrNa huaa| When making or installing statues it is vital to look into the zodiacal positions, astrological houses, 'the Shadashtaka and Vargashtaka of the astrological houses, lunar mansions, and (astrological) exchange-system etc. of the deities as well as of the donor who is having the statue made or installed.(63). Here ends the first chapter of the Devata Murti Prakarnam, the treatise on architecture composed by Sri Kshetratmaja Sutrabhrin Mandan (the artisan Mandan, son of Shri Kshetra,), in which the statues of deities, examination of the stones, the scale of idols, their positive and. negative qualities, flaws and faults, and the occurence of unnatural phenomenon and so forth have been discussed. Mandan, the author of this treatise, explains in his other work-Raj Vallabh that in the 'sun' of the zodiacal signs Virgo, Libra & Scorpio Vatsa faces south, in Pisces, Aries & Taurus west, and in Gemini, Cancer & Leo north. If construction work is done facing Vatsa or with its back to Vatsa (during these times) it will be a failure. However, in the 'sun' of Leo, Taurus, Scorpio & Aquarius signs work may be done in all directions. (Elsewhere, we Icarn that Vatsa is positioned in each direction for a period of three months).

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devatAmUrti-prakaraNam viziSTa vivecana 1. padya - 4. mAnasAra adhyayana 42 meM kahA hai ki'mUlamagraM ca madhyaM ca samAkAraM tu puMzilA / sthUlamUlaM kRzAgraM syAt strIzilA tu prakIrttitA // sthUlAgraM ca kRzaM madhye sthUlaM napuMsakaM zilA / ' jisa zilA kA mUla bhAga, agrabhAga aura madhya bhAga barAbara ho, vaha puMzilA hai| mUla meM sthUla aura agrabhAga meM kRza ho, vaha strI zilA hai / mUla meM sthUla agrabhAga meM kRza aura madhyabhAga meM sthUla ho vaha napuMsaka zilA hai| phira bhI kahA hai ki 'caturastraM puMzilA proktaM vRttaM syAd vanitA zilA / bahudhA cAgrabhRMgaM syAnnapuMsakaM tamudAhRtam // ' 31 jo zilA samacorasa ho vaha puMzilA hai / gola ho vaha strIzilA aura bahuta zAkhA vAlI ho vaha napuMsaka zilA hai / phira bhI kahA hai ki "kAMsakA dhvaninAdaM syAt strIzilA tu prakIrttitA / ratnabhANDadhvaninAdaM zilA ca puruSaM smRtam // nirdhvani ca zilA sarvaM na strI na pumAn viduH // " jo zilA karatAla ke jaisI AvAja vAlI ho vaha strI zilA, ratna ke baratana ke AvAja jaisI AvAja vAlI ho vaha puruSa zilA aura binA zabdavAlI vaha napuMsaka zilA hai / phira bhI kahA hai ki " tAladhvaninAdaM syAcchilA vallI prakIrttitA / mahiSadhvanisaMyuktA zilA vRkSA prakIrttitA / pUrvoktArthaM dhvaninAdaM bAvanA ca zilA bhavot // "

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32 devatAmUrti-prakaraNam karatAla ke jaisI zabda vAlI 'vallI' zilA, mahiSa ke zabda jaisI zabdavAlI 'vRkSa' zilA aura pUrvokta dono zabda se AdhA zabdavAlI ho vaha 'bAvanA' - zilA hai 1 kAzyapa-zilpa anuccheda 49 zloka 57 meM prakArAntara se kahA hai. "caturasrA ca vasvassrA strIzileti prakIrttitA / AyatAsrA ca vRttA ca daza-dvAdaza- koNakA // puMzilA sA zilA khyAtA sRvRttA sA napuMsakA // " jo zilA samacorasa yA ATha koNavAlI ho vaha strIzilA, laMba corasa athavA gola ho tathA dasa yA bAraha koNavAlI ho vaha pulliGga zilA . aura acchI taraha gola ho vaha napuMsaka zilA haiM / 2. padya - 5. ye donoM zloka mayamatam anu. 33 zloka 10-11 ke anusAra haiM / isa adhyayana meM likhA hai ki liGga tIna prakAra ke haiM"niSkalaM sakalaM mizraM liGga ceti tridhA matam / niSkalaM liGgamityuktaM sakalaM beramucyate // 1 // mukhaliGga tayormizraM liMgArcAkRtisannibhaiH // " niSkala - liGga, sakala- - mUrti, aura mizra - liGga ke AkAra kA mukha liGga / ye donoM pulliGga zilA se banAnA cAhiye / prAsAda - garbha gRha meM khanana muhUrta ke samaya jo kUrma ke cihna vAlI zilA kI sthApanA kI jAtI hai, usako kUrmazilA kahate haiM / isa kUrma zilA ke Upara jo zilA rakhI jAe vaha brahmazilA hai| matsyapurANa a. 266 zloka 4 meM kahA hai ki " adhaH kUrmazilA proktA sadA brahmazilAdhikA / uparyavasthitA tasyA brahmabhAgAdhikA zilA // " kAryabheda viparIta kare to usakA phala zilparatna ke uttara bhAga adhyayana pahale meM kahA hai ki strIzilAkalpite liGge rASTra rAjA ca nazyati / puMzilAkalpite pIThe liGge pIThe ca SaNDhake // 28 //

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devatAmUrti-prakaraNam striyA puMsA ca bhUpIThe kRte syAd rASTranAzanam / evaM vijJAya tadyogyAmAnayedambarAvRtAm // 29 // 33 strI zilA se liGga aura devamUrti, puMzilAse pIThikA, napuMsaka zilA se liGga aura pIThikA evaM strI aura puMliGga zilA se prAsAda tala, isa prakAra strIliGga zilA se puruSa jAti kI devamUrttiyA~ aura pulliMga zilA se strI jAti kI devI mUrttiyA~ banAve to rAjya aura rAjA kA vinAza hove / 3. padya - 7. mAnasAra a. 42 meM spaSTa likhA hai kiyatpUrvottarAgraM jJAtvA mUlaM dakSiNapazcime / adhobhAge mukhaM jJAtvA zayane cAparordhvakam // 4 // pUrvAgrAzca zilAH sarvA dakSiNe savyapArzvake / uttare vAmabhAgaM syAduttarAgrazile viduH // 5 // pUrvaM tu dakSiNaM pArzvaM pazcimaM vAmapArzvakam / IzAnAgrazilAnAM tu mUlaM nairityavaMzakam // 6 // anyakoNeSu sarveSu mUlamayaM na vidyate / dikSu dIrghazilAH sarvAH puMzilAzca prakIrttitAH // 7 // * catuSkoNeSu dIrghaM syAcchilA SaNDhaH prakIrttitaH / prabhUtaM ca sthitaM sarvaM pRthvyAkAzAyataM tathA // 8 // UrdhvAyamadhomUlaM prAguktAdik tapezake / zilA kA agrabhAga pUrva aura uttara meM, tathA mUla bhAga dakSiNa aura pazcima meM rahatA hai| zilA nIce mukha karake auMdhI sotI rahatI hai, aisA zilpa zAstrakAra mAnate haiN| jise nIce ke bhAga kA mukha aura Upara ke bhAga kAzira bhAga banAnA kahate haiN| pUrva dizA meM jisa zilA kA aprabhAga ho, usakA dAhinA aGga dakSiNa dizA meM aura bA~yA aGga uttara dizA tarapha jAnanA / yadi uttara dizA meM zilA kA agrabhAga ho, to usakA dAhinA aGga pUrva dizA meM aura bA~yA aGga pazcima dizA meM jAnanA / jisa zilA kA agrabhAga IzAna koNa meM ho to usakA mUla bhAga nairRtya koNa meM jAnanA / dUsare agni aura vAyukoNa meM zilA kA mUla aura aprabhAga

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34 devatAmUrti-prakaraNam nahIM rahatA / dizAoM meM jo laMbI zilA ho, usakA pulliMga zilA aura kone meM jo laMbI zilA ho, usako napuMsaka zilA kahate haiN| yadi zilA nIce aura Upara laMbI ho to Upara kA agra bhAga aura nIce kA mUla bhAga samajhanA / usameM pUrva dizA kA mukha aura pazcima dizA kA pRSTha bhAga banAnA cAhiye / mayamataM a. 33 meM likhA hai kimukhamuddharaNe'dha'zamUrdhvabhAgaM ziro viduH // zilAmUlamavAkpratyagudagraM prAgudagdizi / agramUrdhvamadhomUlaM pASANasya sthitasya tu // 18 // nairRtyezAna dezAgrA vahnyagrA vahnivAyuMgA // zilA ke nIce ke bhAga kA mukha aura Upara ke bhAga kA zira jAnanA / zilA kA mUla dakSiNa aura pazcima meM tathA agrabhAga pUrva aura uttara dizA meM jAnanA / agra yaha UrdhvabhAga aura mUlaM yaha adhobhAga samajhanA / isa prakAra bhUmi meM zilA rahatI hai| jo zilA IzAna aura nairRtya koNa meM laMbI ho, usakA IzAna meM agra aura nairRtya meM 'mUla hai, tathA agni aura vAyukoNa meM jo zilA laMbI ho, usakA agni koNa meM agra aura vAyukoNa meM mUla rahatA hai 1 kAzyapazilpa a. 49 meM kahA hai ki " prAgagrAM codagagrAM vA zilAM saMgrAhya dezikaH / prAgagre pazcimaM mUla--- mudagagraM tu dakSiNe // 61 // adhobhAgaM mukhaM khyAtaM pRSThamUrdhvagataM bhavet // 62 // " pUrva aura uttara dizA meM agra bhAga vAlI zilA grahaNa karanI cAhiye / zilA kA pUrva dizA meM agrabhAga aura pazcima dizA meM mUla bhAga hai / evaM uttara dizA meM agrabhAga aura dakSiNa dizA meM mUla bhAga hai| zilA ke nIce ke bhAga ko mukha aura Upara ke bhAga ko pRSTha samajhanA / zilparana ke pUrva bhAga meM adhyayana 14 zloka 16 meM likhA hai ki"pUrvottaraziroyuktA ghaNTAnAda-sphuliGgavat / " zilA ke pUrva aura uttara dizA ke bhAga ko zira jAnanA || uparokta kaI eka zilpa graMthoM meM pUrva aura uttara dizA meM zilA kA

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devatAmUrti-prakaraNam 35 agra bhAga mAnA hai, jise usa dizA ke agra bhAga meM mUrti kA zira rakhanA cAhiye, parantu isa bhranthakAra maNDana sUtradhAra ne pazcima yA dakSiNa dizA ko agra bhAga mAnakara usa tarapha kA zira banAnA likhate haiN| yaha kisI dUsare prantha se pramANa rUpa se dekhane meM nahIM AyA / uparokta kathana se mAlUma hotA hai ki zilA kA jo agra bhAga ho, usa tarapha kA mUrti kA zira aura mUla bhAga ke tarapha kA mUrti kA paira banAnA caahiye| usakA vizeSa khulAsA bRhatsaMhitA a. 45 zloka 7 meM likhA hai ki" liGgaM vA pratimA vA drumavat sthApyA yathAdizaM yasmAt / tammAccihnayitavyA dizo drumasyordhvamadha vAdhaH // " ziva liGga aura pratimAe~ vRtta kI taraha sthApana karanA caahiye| jaise vRkSa kA pUrva bhAga vaha pratimA kA pUrva bhAga mukha, isa prakAra dakSiNa, pazcima, uttara, adho aura Urdhva bhAga vRkSa kA, usI prakAra pratimA kA dAhinA, pRSTha aura bA~yA bhAga banAnA cAhiye tathA adhobhAga paira aura UrdhvabhAga zira honA cAhiye / isake pramANa rUpa isI zloka kI TIkA meM bhaTTotpala kAzyapazilpa kA pramANa dete haiM "vRkSavat - pratimA kAryA prAgbhAgAdyupalakSitA / pAdAH pAdeSu karttavyAH zIrSamUrdhve tu kArayet // " isakA kA artha Upara mujaba hai / kAzyapa- zilpa a. 79 zloka 23 meM likhA hai ki" vRkSasya pUrvabhAge tu mukhaM pRSThaM tu pazcime / dakSiNe savyapArzvaM syAd vAmapArzvaM tathottaram // " vRkSa kA jo pUrva bhAga hai yaha pratimA mukha, pazcima bhAga pITha, dAhinA bhAga dAhinA aGga aura uttara bhAga bA~yA aGga samajhanA / 4. padya - 8. mayamatam graMtha meM a. 33 meM likhA hai ki " TaMkaghAtAdimRdvI yA mandapakveSTakopamA // zilA bAlA matA tajjJaiH sarvakarmasu ninditA / " TAMkaNeM kA AghAta karane se narama mAlUma ho aura IMTa kI taraha maMda pakI huI ho, aisI bAlA saMjJaka zilA ko saba kArya meM niMdita mAnA hai /

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devatAmUrti-prakaraNam "snigdhA gambhIra-nirghoSA sugandhA zItalA mRduH| navilAvayavA teja:sahitA yauvanA zilA // madhyamA sarvayogyA syAt srvkrmaarthsiddhidaa| matsyamaNDUkazakalA rUkSA vRddhA zilA'zivA // " cIkanI, sAMkala ke AghAta se gambhIra zabda karane vAlI, sugandhavAlI, zItala, kaThora, kisI prakAra ke bila rahita aura tejasvI aisI yauvanA saMjJaka zilA saba kArya ke liye yogya hai aura saba kArya, dhana aura siddhi ko denI vAlI hai| machalI, meMDhaka ke jaisI aura rUkhI zilA vRddhA-saMjJaka hai, yaha azuma hai| 5. padya-9. mayamatam a. 33 meM likhA hai ki"rekhAbindukalaMkADhyA sA tyAjyA sarvayatnataH // " rekhA aura bindu Adi kalaMkavAlI zilA saba prakAra se tyAga karane yogya vatyusAra ke bimba parIkSA prakaraNa meM likhA hai ki"biMbaparivAramajjhe selassa ya vaNNasaMkaraM na suhaM / samaaGgalappamANaM na sundaraM havai kaiyAvi // " mUrti yA mUrti ke parikara meM pApANa varNasaMkara (dAga vAlA) ho to azuma hai| evaM mUrti kA mAna U~cAI meM sama aGgala ho to mUrti kabhI bhI lAbhadAyaka nahIM hotii| . AcAradinakara meM cihna ke parihAra rUpa likhA hai ki"pratimAyA~ davarakA bhaveyuzca kthnycn| samAvarNA na duSyanti varNAnyatve'tidUSitA // " pratimA meM yadi apane varNa ke raGga kI rekhA yA dAga ho to doSa nahIM hai, kintu dUsare varNa kI rekhA yA dAga ho to bahuta doSa vAlI hai| vasunaMdi kRta pratiSThAsAra meM likhA hai ki'nirmalasnigdhazAntA ca vrnnsaaruupyshaalinii|' pratimA meM yadi nirmala, cikanI aura zAnta aisI rekhA yA dAga ho, vaha

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37 devatAmUrti-prakaraNam apane pratimA ke varNa ke sadaza ho to doSa vAlI nahIM hai| mAnasAra a. 42 meM likhA hai ki"sarveSAM varNapASANe kRSNarekhAM visarjayet / zvetaM ca svarNarekhAM ca sarvasampatkaraM zubham // " saba varNa ke pASANa meM kAle raGga kI rekhA yA kAle raGga kA dAga ho to usa pASANa kA tyAga karanA caahiye| parantu sapheda yA suvarNa raGga kI rekhA yA dAga ho to saba prakAra kI sampadA dene vAlI zubha hai| pASANa aura kASTha meM rekhA yA dAga jAnane kI parIkSA vivekavilAsa meM 'likhI hai"nirmale nAranAlena piSTyA shriiphltvcaa| vilipte'zmani kASThe vA prakaTaM maNDalaM bhavet // " / nirmala kAMjI ke sAtha bela phala kI chAla pIsa kara pASANa yA lakar3I para lepa karane se maNDala (dAga) prakaTa ho jAtA hai| "madhubhasmaguDavyoma-kapotasadRzaprabhaiH // mAJjiSThairaruNaiH pItaiH kapilaiH zyAmalairapi // citraizca maNDalairebhi-rantajJeyA ythaakrmm| khadyoto vAlukA rakta-meko'mbugRhagodhikA // darduraH kRkalAsazca godhAkhusarpavRzcikAH // santAnavibhavaprANa-rAjyocchedazca tatphalam // " jisaM pASANa yA kASTha kI pratimA banAnA ho, usI ke Upara pUrvokta lepa karane se yA svAbhAvika yadi madhu ke jaisA maNDala dIkha par3e. to bhItara khadyota jaannaa| bhasma ke jaisA maNDala dIkha par3e to reta, gur3a ke jaisA * ho to lAla meMDhaka, AkAza ke jaisA ho to pAnI, kapota (kabUtara) ke varNa kA dIkha par3e to chipakalI, maMjITha ke jaisA ho to meMDhaka, rakta ke jaisA dIkha par3e to zaraTa (giragiTa), pIle varNa kA dIkha par3e to goha, kapila varNa kA ho to U~dara, kAle varNa kA dIkha par3e to sarpa aura citravarNa kA maNDala dIkha par3e to bhItara bicchU hai, aisA smjhnaa| isa prakAra ke dAga vAle pASANa kA kASTha ho, usakI pratimA banAyI jAya to santAna, lakSmI, prANa aura rAjya kA vinAza karatI hai|

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- ' devatAmUrti-prakaraNam zilparatna a. 14 meM likhA hai ki"tulyAMzaH kSIrapiSTaistu viSakAsIsagairikaiH / dRSadAlipya ni:zeSa-mekarAtroSitaM ttH|| prakSAlya garbhAt doSAMzca maNDalaistatra rakSayet / " vacchanAga, hIrAkasIsa aura gaira ye tInoM samAna bhAga lekara dUdha se pIse, usakA pASANa ke Upara lepa karake eka rAtri rahane de, pIche usako. dhone. se patthara ke bhItara ke dAga aura doSa mAlUma ho jaaygaa| AcAradinakara meM kahA hai ki"azubhasthAnaniSpannaM satrAsaM mshkaanvitm| . saziraM caiva pASANaM bimbArthaM na samAnayet // " apavitra sthAna meM utpanna hone vAle, cIrA, masA yA nasa Adi doSa vAle aise pASANa pratimA banAne ke liye nahIM lAne caahiye| 6. padya-10. zilparatna meM likhA hai ki"nandyAvarttavasundharAdharahaya--zrIvatsakUrmopamAH, zaGkhasvastikahastigovRSanibhAH zakrendusUryopamAH / chatrasragdhvajaliGgatoraNamRga-prAsAdapadmopamA, , vajrAbhA garuDopamAzca zubhadA rekhA: kapardopamAH // " pASANa yA lakaDI meM naMdyAvarta, zeSanAga, ghor3A, zrIvatsa, kachuA, zaGkha, svastika, hAthI, gau, naMdI, indra, candra, sUrya, chatra, mAlA dhvajA, zivaliGga, toraNa, hariNa, maMdira, kamala, vajra, garur3a yA ziva jaTA ke sadRza rekhA hove to zubha dAyaka haiN| vasunaMdIkRta pratiSThAsAra meM likhA hai ki"gacchatyevaM prayatnena samyaganveSayecchilAm / prasiddha-puNyadezeSu nadInagavaneSu ca // " acche zubha yAtrA muhUrta ke samaya prasiddha pavitra tIrtha sthAnoM meM, nadI, parvata yA upavanoM meM jAkara zilA kI acchI taraha zodha kreN| . "zvetA raktA'sitA pItA paaraavt-smprbhaa|

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devatAmUrti-prakaraNam mudgakApotapadmAbhA mAJjiSThA ca hariprabhA / / kaThinA- zItalA snigdhA susvAdA susvarA dRDhA / sugandhAtyantatejaskA manojJA cottamA zilA // " sapheda, lAla, kRSNa aura pIle raGga ke varNa vAlI. kabUtara ke varNa vAlI. mUMga, kamer3I aura kamala ke varNa vAlI, majITha ke varNa kI, hare raGga kI, kaThina, ThaMDI, cikanI, acche svAda vAlI, acche AvAja vAlI, majabUta, sugandhavAlI, acche teja vAlI aura manohara aisI zilA uttama hai| varNAnukrama se zilA kA varNa"zvetA raktA pItA kRSNA viprAdInAM hitA sdaa|" brAhmaNa varNa ke liye sapheda, kSatriya varNa ke liye lAla, vaizya varNa ke liye pIlI aura zUdra varNa ke liye kAlI zilA hitakAraka hai| 7. pay-11. mayamatam a. 33 meM likhA hai ki"uttarAyaNamAse tu zuklapakSe shubhodye| prazastapakSanakSatre muhUrte karaNAnvite // " uttarAyaNa ke sUrya mAsoM meM, zukla pakSa meM, zubha lagna meM, acche nakSatra meM aura acche karaNa yukta muhUrta meM zilA ko grahaNa karanA caahiye| . . 8. padya-14-15. prAsAda ke. mAna se baiThI pratimA kA mAnaprAsAda ke hAtha, baiThI mUrti ke aGgula prAsAda ke hAtha, mUrti ke aGgula 2. . . isa prakAra 13 hAtha se pratyeka hAtha eka-eka aGgula bar3hAne se pacAsa hAtha ke vistAra vAle prAsAdameM 82 aGgula kI baiThI mUrti kA mAna hotA hai|

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40 devatAmUrti-prakaraNam Thakkura pheru kRta vAstusAra prakaraNa meM likhA hai ki"pAsAyaturiyabhAgappamANabiMbaM sa uttamaM bhaNiyaM " arthAt prAsAda ke mAna se cauthe bhAga kI pratimA banAnA uttama kahA hai / vivekavilAsa meM kahA hai ki " prAsAda - turya bhAgasya samAnA pratimA matA / uttamAya kRte sA tu kAryaikonAdhikAMgulA // . athavA svadazAMzena hInasyApyadhikasya vA / kAryA prAsAdapAdasya zilpibhiH pratimA samA // " prAsAda ke vistAra ke cauthe bhAga ke mAna kI pratimA banAnA, yaha uttama hai, parantu eka aGgula nyUna yA adhika rakhanA cAhiye / athavA prAsAda ke cauthe bhAga kA dazavA~ bhAga mUrti ke mAna meM kama yA adhika karake usa mAna kI pratimA zilpakAra se banavAnA cAhiye / 9. padya - 16. bRhatsaMhitA meM likhA hai ki"devAgAradvArasyASTAMzonasya yastRtIyoM'zaH / tatpiNDikApramANaM pratimA taddviguNaparimANA // " maMdira ke dvAra kI U~cAI kA ATha bhAga karake Upara kA eka bhAga chor3a denA / bAkI sAta bhAga rahe, unakA tIna bhAga karake usake eka bhAga kI pIThikA aura do bhAga kI pratimA banAnA cAhiye / 10. padya-20. Tha. pherukRta vAstusAra ke bimba prakaraNa meM likhA hai ki"ikkAMgulAi paDimA ikkArasa jAva gehi pUijjA / uDDuM pAsAi puNo ia bhaNiyaM puvvasUrIhiM // " ghara meM eka aGgula se gyAraha aGgula taka ke mAna kI pratimA pUjanIya hai aura gyAraha aGgula se adhika mAna kI pratimA prAsAda (maMdira) meM rakhakara pUjanA cAhiye, aisA pUrvAcAryoM ne kahA hai / 1 matsyapurANa ke a. 258 zloka 22 meM likhA hai ki

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devatAmRrti-prakaraNam "aGguSThaparvAdArabhya vitastiryAvadeva tu / gRheSu pratimA kAryA nAdhikA zasyate budhaiH // " aGguThe ke eka parva se lekara eka vitasti ( bilAMda) taka ke mAna kI pratimA ghara meM pUjanIya hai, isase adhika nApa kI ghara meM prazaMsanIya nahIM hai / 11. padya - 21. matsyapurANa meM kahA hai ki " " ASoDazA tu prAsAde karttavyA nAdhikA tataH / a. 25 zlo. 23 // " 41 do bilAMda se lekara solaha bilAMda taka ke mAna kI pratimA prAsAda meM pUjanIya hai, isase adhika mAna kI pratimA prAsAda se bAhara pUjanIya hai I 12. padya-23. Tha. pherukRta vAstusAra prakaraNa pra. 3 zloka 20 meM kahA hai ki"pAsAyessa pamANaM gaNijja saha bhittikuMbhagatharAo / tassa ya dasa bhAgAo do-do bhittI hi rasagabbhe // " prAsAda kA mAna dIvAra aura ku~mA ke ghara ke sahita mAnA jAtA hai / usakA daza bhAga karanA, uname se do-do bhAga kI dIvAra aura cha: bhAga kA garbhagRha jAnanA / bRhatsaMhitA a. 44 zloka 12 meM kahA hai ki "vistArArddhaM bhaved garbho bhittayo nyAsatatsamaH // " prAsAda ke vistAra kA AdhA garbhagRha aura Adhe bhAga ke mAna kI donoM dIvAra samajhanA / - vasunaMdi pratiSThAsAra meM likhA hai ki "kSetramaSTapadaM kRtvA taMtra garbhaM catuSpadam / dvipado bhitti vistAraH tatsamo jalapaTTakaH || " prAsAda mAna kA ATha bhAga karanA, uname cAra bhAga kA garbhagRha karanA / do bhAga kI dIvAra aura do bhAga kA jalapada (kutrAdidharAM) gharoM kA nirgama karanA /

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42 ATha prakAra ke lohabiMba 13. padya-26. sauvarNaM rAjataM tAmraM paittalaM kAMsyamAyasam / saisakaM trApuSaM ceti lauhaM bimbaM tathASTadhA // zilparatna u. a. 1 // suvarNa, cA~dI, tA~bA, pittala, kA~sI, lohA, sIsA aura kalaI (rAMgA) ye ATha prakAra ke loha biMba haiM / "mukhyalohAni catvAri hemAdIni zubhAni hi / pizAcalohAnyanyAni kAMsyAdInIti kecana // " devatAmUrti-prakaraNam uparokta ATha lohoM meM prathama suvarNa Adi cAra ( sonA cA~dI tA~bA aura pittala) dhAtu zubha haiN| tathA kA~sI Adi cAra (kA~sI lohA sIsA aura kalaI) dhAtu pizAca rUpa haiM 1 AcAradinakara meM kahA hai ki "svarNarUpyatAmramayaM vAcyaM dhAtumayaM param / kAMsyasIsa-baMgamayaM kadAcinnaiva kArayet // . tatra dhAtumaye rIti-mayamAdriyate kvacit / niSiddhau mizradhAtuH syAd rItiH kaizcicca gRhyate // " ATha prakAra ke ratna biMba sonA, cA~dI aura tA~bA, ina dhAtuoM kI pratimA banavAnA zreSTha hai, parantu kAMsI, sIsA aura kalaI, ina dhAtuoM kI kabhI bhI pratimA nahIM banavAnA caahiye| pItala kI pratimA banAnA kvacit kahA gayA hai| mizradhAtu (kAMsI Adi) kI pratimA banavAne kA niSedha kiyA hai| kitaneka AcArya pItala kI pratimA banavAne ko kahate haiM / " sphaTikaM padmarAgaM ca vajraM nIlaM hiraNmayam / vaiDUryaM vidrumaM puSpaM ratnabimbaM tathASTadhA // zi. u. a.1 // " . sphaTika, padmarAga (mANaka), vajra (hIrA), nIla, hiraNmaya, vaiDUrya, pravAla, aura pukharAja ye ATha ratna jAti ke biMba haiM /

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devatAmUrti-prakaraNam "sphaTikaM sUryakAntaM ca candrakAntamiti tridhaa| sphaTikasyaiva bhedA: syuH kAmamokSArthadA: kramAt / / zriyaM kAmaM tathA''rogya-mRddhiM putraM jayaM sukham / labhate padmarAgAdi-bimbAnAM kramazorcanAt // zi.u.a. 1 // " sphaTika, sUryakAMta aura candrakAnta ye tIna sphaTika ratna ke bheda haiN| ye tInoM krama se icchita phala, mokSa aura dhana ko dene vAle haiN| tathA padmarAga Adi ratna bimboM kI pUjA karane se krama se isa prakAra phaladAyaka haiM--padmarAga lakSmIdAyaka, vajra icchita phala dAyaka, nIla ratna Arogya prada, hiraNyaratna Rddhi dene vAlA, vaiDUryarana putradAyaka, pravAla bimba vijaya karane vAlA aura pukharAja kA biMba sukhadAyaka hai| . dhAtu aura ratna mUrti kA mAna-. . "sarveSAmapi dhAtUnAM rlsphttikyorpi| pravAlasya ca bimbeSu caityamAnaM yadRcchayA / " vivekavilAsa a. 2 zloka 154 saba prakAra kI dhAtu, saba jAti ke rana, sphaTika aura pravAla kI mUrti banavAnA ho to prAsAda yA dvArA ke mAna se banAne kI jarUrata nahIM hai| ye to apanI icchAnusAra mAna kI banA sakate haiN| pratimA ke yogya kASTha "kAryaM dArumayaM caitye zrIpA candanena vaa| bilvena vA kadambena raktacandanadAruNA // piyAlodumbarAbhyA~ vA kvacicchizimayApi vaa| anyadArUNi sarvANi bimbakAyeM vivarjayet // .. tanmadhye ca zalAkAyAM bimbayogyaM ca yad bhavet / tadeva dAru pUrvoktaM nivezyaM pUtabhUmijam // " aacaardinkre| devAlaya meM yadi kASTha kI pratimA banavAnA ho, to zrIparNA, candana, bela, kadamba, lAla candana, piyAla, gUlara aura zIzama ina vRkSoM kI lakar3I uttama hai| inase dUsare vRkSoM kI lakar3I varjanIya hai| ina vRkSoM meM jo

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44 devatAmUrti-prakaraNam pratimA banane yogya zAkhA ho, vaha doSoM se rahita aura uttama bhUmi meM utpanna honI cAhiye / 14. padya-27. vivekavilAsa meM kahA hai ki"atItAbdazataM yatsyAd yacca sthApitamuttamaiH / tadvyaMgamapi pUjyaM syAd bimbaM tanniSphalaM na hi // " - uttama puruSoM ne sau varSa pahale jo mUrti sthApita kI ho, vaha yadi beDola ho, to bhI pUjanIya hai, usakA pUjana phala niSphala nahIM jAtA / 15. padya - 28. Tha. pherukRta vAstusAra a. 2 zloka 41 meM likhA hai ki" dhAulevAibiMbaM vialaMgaM puNa vi kIrae sajjaM / rayaNaselamayaM na puNo sajjaM ca kaI Avi || ' dhAtu aura lepa kI pratimA yadi vikalAGga ho jAya, to usI ko dUsarI bAra banA sakate haiM / kintu kASTha, ratna aura pASANa kI pratimA yadi khaNDita ho jAya to usI ko kabhI bhI dUsarI bAra nahIM banAnA cAhiye // AcAradinakara meM kahA hai ki " dhAtulepyamayaM sarvaM vyaMgaM saMskAramarhati / kASTha-pASANa-niSpannaM saMskArArhaM punarnahiM // pratiSThite punarbimbe saMskAraH syAnna karhicit / saMskAre na kRte kAryA pratiSThA tAdRzI punaH || saMskRte tulite caiva duSTaspRSTe parIkSite / hRte bimbe ca liMge ca pratiSThA punareva hi // " dhAtu aura IMTa, cUnA, miTTI Adi kI lepamaya pratimA yadi vikalAGga ho jAya to vaha phira saMskAra karane yogya hai / parantu lakar3I aura patthara kI pratimA phira saMskAra karane yogya nahIM hai / pratiSThita mUrti kA dUsarI bAra kabhI saMskAra nahIM hotA, yadi saMskAra karanA par3e to dUsarI bAra pUrvavat hI pratiSThA karanI caahiye| kahA hai ki pratiSThita mUrti kA saMskAra karanA par3e, tolanA par3e, duSTa manuSya kA sparza ho jAya, yA corI jAya to usI

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devatAmUrti-prakaraNam mUrti kI pahale ke jaisI hI phira se pratiSThA karanI caahiye| ____16. para-35. vivekavilAsa sarga 1 meM kahA hai kinakhAMgulIbAhUnAsAM-ghINAM bhaMgeSvanukramAt / zatrubhirdezabhaGgazca bandhaH kuladhanakSayaH / / pratimA kA nakha khaNDita ho jAe to zatru se bhaya, aGgulI khaNDita ho jAya to deza kA vinAza, bAhu khaNDita ho jAya to baMdhana, nAsikA khaNDita ho jAya to kulakSaya aura paira khaNDita ho jAe to kula kA kSaya aura dhana kI hAni hove| 17. paha-36. isI prakAra yaha zloka akSarazaH vivekavilAsa a 1 zloka 143 meM likhA hai| vAstusAra pra. 2 gAthA 45 meM likhA hai ki"payapITha ciNha-parigara-bhane jn-jaannbhicchaannikme| chattasirivacchasavaNe lacchIsuhabaMdhavANa * khayaM // " pAda, pITha, cihna aura parikara inameM se kisI kA bhaGga ho jAya to anukrama se svajana, vAhana aura sevaka kI hAni hove| chatra, zrIvatsa aura kAna khaNDita ho jAya to krama se lakSmI, sukha aura bAndhavoM kA kSaya ho jaay| . . 18. pacha-37. isI prakAra yaha zloka akSarazaH vivekavilAsa a. 1 zloka 145 meM likhA hai| pherukRta vAstusAra pra 2 gA. 43 meM likhA hai ki"pAhANalevakaTThA daMtamayA cittalihiya jA pddimaa| apparigara mANAhiya na sundarA pUyamANagihe // " pASANa, lepa kASTha, dA~ta aura citra kI pratimA yadi apane parivAra se rahita ho aura mAna se adhika (gyAraha aGgula se bar3I) ho to pUjana karane vAle ke ghara meM acchI nahIM hai|

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46 19. padya-38. pherukRta vAstusAra (2-48) meM kahA hai kiuttANA atthaharA vakaggIvA sadesabhaMgakarA / ahomuhA ya sacitAM videsagA havai nIcuccA || devatAmUrti-prakaraNam pratimA yadi Urdhvamukha vAlI ho to dhana kA nAza kare, Ter3hI garadana vAlI ho to svadeza kA vinAza, adhomukha vAlI ho to cintA utpanna karAve aura U~ce nIce mukha vAlI ho to videza gamana karAve / pratimA dRSTi doSa "UrdhvadRgdravyanAzAya tiryagdRg bhogahAnaye / duHkhadA stabdhadRSTizcA'dhomukhI kulanAzini // - vivekavilAsa pratimA kI dRSTi U~cI ho to dravya kA nAza kare / tirachI dRSTi ho to bhoganIya vastu kI hAni kare / stabdha ( rukI huI) dRSTi ho to duHkha dene vAlI aura adho dRSTi ho to kula (vaMza) kA nAza karane vAlI hai I bRhatsaMhitA a. 59 zloka meM likhA hai ki vAmAvanatA patnIM dakSiNavinatA hinastyAyuH / andhatvamUrdhvadRSTyA karoti cintAmadhomukhI dRSTiH // bA~yIM aura dRSTi namI huI ho to strI kA vinAza kAraka aura dAhinI aura dRSTi namI huI ho to AyuSya kA kSaya kAraka hai / UrdhvadRSTi ho to netra vinAza kAraka hai aura adhodRSTi ho to cintA karAne vAlI hai| Tha. pherukRta vAstusAra pra. 2 gAthA 51 meM likhA hai ki"uDDhamuhI dhaNanAsA appUyA tiriyadiTThi vinneyA / aighaTTadiTThi asuhA havai ahodiTThi vigghakarA // " pratimA yadi Urdhva mukha vAlI ho to dhana kA nAza kare, tirachI dRSTi vAlI ho to apUjanIya hove / ati gAr3ha dRSTi vAlI ho to azubha hove aura adhodRSTi vAlI ho to vighna kAraka hove / anyAya dravya se banavAI mUrti ke doSa"visamAsaNa- vAhikarA rorakaraNNAyadavvanipphannA / * hINAhiyaMgapaDimA sapakkhaparapakkhakaTThakarA // " vAstusAra 2/49

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devatAmUrti-prakaraNam . pratimA yadi viSama AsanavAlI ho to vyAdhi karane vAlI hai| anyAya se paidA. kiye hue dhana se banavAI ho to vaha pratimA duSkAla karane vAlI hotI hai| nyUnAdhika aGgavAlI ho to svapakSa aura parapakSa ko kaSTa dene vAlI hai| vivekavilAsa a. 1 meM likhA hai ki"anyAyadravyaniSpannA prvaastudlodbhvaa| hInAdhikAMgI pratimA svaparonnatinAzinI // " pratimA yadi anyAya se paidA kiye hue dhana se banavAI ho, makAnAdi dUsare kAma ke liye lAye hue pASANa Adi kI banavAI ho aura nyUnAdhika aMzavAlI ho, to apanI aura dUsare kI unnati kA nAza karatI hai| 20. padya-42. . - aisA matsyapurANa a. 229 zloka 4 meM kahA hai evaM bRhatsaMhitA ke a. 45 meM bhaTTotpala TIkA meM garga RSi kA vacana uddhata hai "atilobhAdasatyAdvA nAstikyAdvApyadharmataH // narApacArAnniyatamupasarga: pravartate // " . manuSyoM ke adhika lobha se, asatya vyavahAra se, nAstikatA se, adharma se aura durAcAroM se nizcaya karake utpAta hote haiN| vivekavilAsa meM kahA hai ki"anyAyakusamAcArau pAkhaNDAdhikatA jne| sarvamAkasmikaM jAtaM vaikRtaM dezanAzanam // a. zloka 10 // " yadi manuSyoM meM anyAya, durAcAra aura chala-kapaTa kI adhikatA bar3ha jAya tathA mUla vastuoM meM akasmAt pheraphAra ho jAya to deza kA vinAza hotA hai| 21. pacha-44. matsyapurANa a. 229 zloka 8 meM bhauma utpAta vizeSa rUpa se kahA hai"carasthira bhavau bhaumau bhUkampazcApi bhUmijaH / jalAzayAnAM vaikRtyaM bhaumaM tadapi kIrtitam // " cara aura sthira padArthoM meM viparItatA ho, bhUmikaMpa ho aura kuA~ tAlAba Adi jalAzaya meM kucha akasmAt parivartana ho jAya to

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devatAmUrti-prakaraNam vaha bhauma utpAta kahA jAtA hai| "bhaume tvalpaphalaM jJeyaM cireNa ca vipacyate // abhrajaM madhyaphaladaM mdhykaalphlprdm| adbhute tu samutpanne yadi vRSTiH zivA bhavet / / saptAhAbhyantare jJeyamadbhutaM niSphalaM bhavet / adbhutasya vipAkazca vinA zAntyA na dRzyate // " a. 229 bhauma utpAta nyUna phala dAyaka hai, bahuta samaya meM usakA phala nAza ho jAtA hai| aMtarikSa utpAta madhyama phaladAyaka hai, vaha madhya samaya meM phala detA hai| utpAta hone ke bAda yadi varSA ho jAya to utpAMta kI zAMti .ho jAtI hai| utpAta hone ke bAda sAta dina ke bhItara usakA phala hotA hai, sAta dina ke bAda utpAta kA phala niSphala hotA hai| yadi utpAta kA phala dikhane meM Ave, to usakI zAMti kiye binA zAMta nahIM hotii| 22. pa.-51.. matsyapurANa a. 230 zloka 1-5 meM vizeSa kahA hai ki"devatArcA: pranRtyanti vepante prajvalanti ca / vamantyagni tathA dhUmaM snehaM raktaM tathA vasAm // AraTanti rudantyetA: prasvidyanti hasanti' ca // uttiSThanti niSIdanti pradhAvanti damanti c| bhuJjante vikSipante vA kosh-prhrnndhvjaan|| avAGmukhA ve tiSThanti sthAnAt sthAnaM bhramanti ca // evamAdyA hi dRzyante vikArA: shsotthitaa:|| liGgAyatanavipreSu tatra vAsaM na rocayet // rAjJo vA vyasanaM tatra sa ca dezo vinshyti| devayAtrAsu cotpAtAn dRSTvA dezabhayaM vadet // " yadi deva pratimA nAce, kampAyamAna hove, prakAzamAna hove, agni, cUMA, cikanA padArtha, loha yA vasA (carbI) inakA vamana- kare, zabda raTana kare, rove, pasInA yukta ho jAya, haMse, khar3I hove, baiThe, daur3e, bhayaMkara zabda kare,

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devanApati prakaraNa bhajana kare, khalAnA zastra aura rAjya kI dhvajA ko pheMka deve, Ter3he mukhavAlI ho jAe, eka sthAna se dUsare sthAna bhramaNa kare, ityAdi aneka prakAra ke upadrava akasmAt dekhane meM Ave to vahA~ nivAsa nahIM karanA caahiye| kAraNa yaha vahA~ ke rAjA kA tathA deza kA vinAza kAraka hai| tathA deva yAtrA (ratha yAtrA) mahotsava meM utpAta ko dekhakara deza ko bhayadAyaka khnaa| 23. paha-58. vivekavilAsa a. 8 zloka 22 meM kahA hai ki"pakSamAsartuSaNmAsa-varSamadhye na cetphlm| . riSTaM tadvyarthameva syA-dutpanne zAntiriSyate // " eka pakSa, mAsa, do mAsa, chaH mAsa yA eka varSa meM yadi utpAta kA phala na hove to vaha utpAta niSphala jAnanA aura phala dIkha par3e to usakI zAnti karAnI caahiye| dina nakSatra se phala vipAka"mAsairaSTabhirAgneye dvAbhyA~ vAyavyake punaH / mAsena vAruNe saptarAtrAmAhendrake phalam // " vi. u. 8 zloka 29 'agnimaNDala nakSatra meM utpanna huA utpAta ATha mAsa meM, vAyu maNDala nakSatra meM utpanna huA utpAta do mAsa meM, vAruNa maNDala nakSatra meM utpanna huA utpAta eka mAsa meM aura mAhendra maNDala meM utpanna huA utpAta sAta dina meM phaladAyaka hai| . 24. padya-62. isa graMthakAra maNDana sUtradhAra racita rAjavallabha grantha meM kahA hai ki bharaNI, kRttikA, puSya, maghA, pUrvAphAlgunI, vizAkhA aura pUrvAbhAdrapada ye sAta nakSatra agnimaNDala hai| azvinI, mRgazIrSa, punarvasu, uttarAphAlgunI, hasta, citrA aura svAti ye sAta nakSatra vAyu maNDala ke hai| AH azleSA, mUla, pUrvASADhA, zatabhiSA, uttarAbhAdrapadA aura revatI ye sAta nakSatra vAruNa maNDala ke haiN| rohiNI, anurAdhA, jyeSThA, uttarASADhA, abhijita, zravaNa aura dhaniSThA ye sAta nakSatra mAhendra maNDala ke haiN| ina cAra maNDaloM meM vAruNa aura mAhendra maNDala meM utpanna huA utpAta kA phala zubha mAnA hai| vizeSa jAnanA cAheM to dekheM merA anuvAdita 'megha mahodaya varSa prabodha' grnth| . ..

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... devatAmUrti-prakaraNam "kanyAdi triSu pUrvato yamadizi tyAjyaM ca cApAditau, dvAraM pazcimatastrike jalacarAt saumye ravau yugmataH / tasmAd vyastadizAmukhaM tu bhavana-dvArAdikaM hAnikRta, siMhaM cAtha vRSaM ca vRzcika-ghaTe yAte hitaM sarvataH / / " kanyA, tulA aura vRzcika ye tIna rAzi ke sUrya meM vatsa kA. mukha pUrva dizA meM, dhana, makara aura kuMbha ye tIna rAzi ke sUrya meM vatsa kA mukha dakSiNa meM, mIna, meSa aura vRSa ye tIna rAzi ke sUrya meM vatsa' kA mukha pazcima dizA meM, tathA mithuna, karka aura siMha ye tIna rAzi ke sUrya meM vatsa kA mukha uttara dizA meM rahatA hai| isaliye vatsa ke sanmukha aura pIchAr3I meM gRhadvAra Adi kA kArya kare to hAni kAraka hotA hai| parantu siMha, vRSabha, vRzcika aura kuMbha ina cAra rAzi ke sUrya meM cAroM dizA meM dvAra Adi kA kArya kara sakate haiN| Thakkura pheru kRta vAstusAra pra. 1 gA.. 31. meM vizeSa rUpa se kahA hai ki "aggimao Auharo dhaNakkhayaM kuNai pacchimo vccho| vAmo a dAhiNo vi a suhAvaho havai naayvvo||" sanmukha vatsa ho to AyuSya kA nAza karatA hai aura pIchAr3I vatsa ho to dhana kA kSaya kre| tathA bA~yI aura dAhinI ora vatsa ho to sukhakAraka eka dizA meM vatsa tIna mAsa taka rahatA hai, jise pravezAdika uparokta kArya tIna mAsa taka jo roka nahIM sake, usake liye bhI vAstusAra meM batalAyA hai ki"gihabhUmi-sattabhAe pnn-dh-tihi-tiis-tihi-dhkkhkmaa| ia diNasaMkhA caudisi sirapucchasamaMki vacchaThiI // " pra. 1, gA. 20. ghara kI bhUmi ke pratyeka dizAoM meM sAta-sAta bhAga karanA, unameM anukrama se pA~ca, daza, pandraha, tIsa, pandraha, daza, aura pA~ca dina taka vatsa rahatA haiN| isa prakAra cAroM hI dizA meM samajhanA caahiye| jisa aGka ke bhAga para vatsa kA mastaka ho usake sAmane usI aGka vAle bhAga para pU~cha rahatI

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51 devatAmUrti-prakaraNam .. hai| arthAt kanyA rAzi kA sUrya ho taba pUrva dizA meM dvAra Adi kA kArya karane kI AvazyakatA ho, taba kanyA rAzi kA prathama pA~ca dina pahale bhAga meM, cha: se pandraha dina taka dUsare bhAga meM, solaha se tIsa dina taka tIsare bhAga meM dvAra Adi kA kArya na kare, evaM inake sAmane ke bhAgoM para bhI na kare, kintu anyatra bhAgoM para kara sakate haiN| tulA rAzi kA sUrya ho to madhya ke cauthe bhAga meM ukta kArya na kare, kintu usake sAmane kA bhAga chor3a kara anyatra kara sakate haiN| evaM vRzcika rAzi kA sUrya ho taba pahale pandraha dina taka pA~caveM bhAga meM, solaha se paccIsa dina taka chaThe bhAga meM aura chabbIsa se tIsa taka sAtaveM bhAga meM ukta kArya na kare, kintu isake sAmane kA bhAga chor3akara anyatra kara sakate haiN| isI prakAra cAroM hI dizA ke bhAgoM meM vatsa sthita bhAgoM kI dina saMkhyA chor3akara anya bhAgoM meM kArya kara sakate haiN|

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52 mAna nirNaya * 2 dvitIyodhyAyaH / devatAmUrti-prakaraNam "chAyANu-reNu-bAlAgra-likSa-yUkA yavo'GgulaH / kramAdaSTaguNaM mAnaM jinasaMkhyaiH karo'GgulaiH // 1 // chAyANu (paramANu), reNu, bAlAma, lIkha, jU~, yava aura aGgula, ye anukrama se ATha 2 gune bar3e haiN| caubIsa aGgula kA eka hAtha hotA hai // 1 // Here begins the second chapter. Chayanu, Renu, Balagra, Liksha, Yuka, Yava and Angula are units of measurements, each being 8 times greater than its previously mentioned one**. 24 angulas make one hasta. (1). tasyAGgulapramANena dvyaGgulaM golakaM bhavet / *** kalA ca tatsamA proktaM dvAbhyA~ tu bhAga eva ca // 2 // mu. chAyA reNuzca / mu. kramAdvazaguNaM mAnaM jinasaMkhyai karAM (roM ?) gulaiH / Literally speaking, a Chayanu is "a shadow of an atom"; Renu "an atom of dust"; Balagra the tip of a hair; Liksha a very minute measure of weight, said to be equal to 4 or 8 trasa renus; Yuka a louse; and Yava a barley-corn. bhAgameva /

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devatAmUrti-prakaraNam uparokta aGgula ke mAna se do aGgula kA eka golaka hotA hai| isa golaka ke mAna barAbara eka kalA hotI hai / do golaka yA do kalA kA eka bhAga saMjJA hotI hai / " 2 angulas make up 1 golak. A golak is equivalent in scale to 1 kala. 2 golaks or 2 kalas make 1 bhaga. ( 2 ) . ebhireva tribhirbhAgaistAlamAnaM prakIrttitam / ekatAlAdi vakSyAmi yathA bhavati nAnyathA // 3 // tIna bhAga arthAt bAraha aGgula kA eka tAla hotA hai / isa tAla ke nApa se deva pratimA kA mAna eka Adi tAla ke krama se kahU~gA, jisase isase viparIta na ho jAya / 3 bhagas (i.e. 12 angulas) make one tala. Using the tala as a scale of measure, I (Mandan) shall now describe the scale and dimensions of various statues as they ought to be. The idols will be discussed in a set order beginning with one tala images, and going on to two tala, 3 tala and so forth. ( 3 ) . mUrtiyoM kA tAla mAna * 53 "kIrttimukhaM tAlamAnaM dvAbhyAM proktA vihaGgamAH / tritAlaiH kuJjarA jJeyA vedatAlaisturagaMmAH // 4 // prAsamukha eka tAla ke mAna se, pakSI do tAla ke mAna se, hAthI tIna tAla ke mAna se aura ghor3A cAra tAla ke mAna se banAnA cAhiye / The scale for making a Kirtimukha is 1 tala, bird 2 talas, elephant 3 talas and horse 4 talas. (4). ** kubjAzca paJcabhistAlai - rupaviSTo jinastathA / * upaviSTAH prakarttavyA brahmaviSNuzivA vRSa: // 5 // vAmanAvatAra kI, baiThe hue jina deva kI, baiThe hue brahmA viSNu aura mahAdeva kI tathA naMdI kI mUrtiyA~ pA~ca tAla ke mAna se banAnA cAhiye / mu. kIrti (kUrma 1) mukhaM ta (tA) lamukhaM / mu. janastathA /

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devatAmUrti-prakaraNam The (hunchbacked) Vaman incarnation of Vishnu and seated Jina idols should be 5 talas, as should scated images of Brahma, Vishnu, Siva, and Siva's bull Nandi. (5). * zUkaraM paJcatAlaizca SaTtAlaM syAd vinAyakam / madhyamaM zUkaraM jJeyaM vRSabhaJca tathaiva hi // 6 // manujAH saptabhistAlai- vRSabhaM zUkaraM tathA / varAhavatAra pA~ca tAla ke mAna se, gaNeza mUrtti chaH tAla ke mAna se, evaM madhyama mAna se varAha avatAra aura naMdI kI mUrttiyA~ chaH tAla ke mAna se, sAta tAla ke se manuSya, tathA jyeSTha mAna se varAha avatAra aura naMdI kI mUrttiyA~ banAnA cAhiye / 54 A statue of the boar incarnation (Varah ) should be 5 talas, and of Vinayak (Ganesh ) 6 talas. Medium-scale statues of Varah and Nandi should also be 6 talas. ( 6 ) . Statues of humans should be 7. talas, as should large-scaled Varah and Nandi images. (7a). aSTAbhiH pArvatI proktA mAtarazca tathaiva hi // 7 // ** durgA lIlA "mahAlakSmI lakSmI: sarasvatI tathA / kAlindI caiva sAvitrI nandA padmAvatI tathA // 8 // kAtyAyanI samAkhyAtA bhagavatyaSTatAlakA / pArvatI, mAtRdevI, durgA, lIlA, mahAlakSmI, lakSmI, sarasvatI, kAlindI, sAvitrI, naMdA, padmAvatI aura kAtyAyanI Adi bhagavatI deviyoM kI mUrttiyA~ ATha tAla ke mAna se banAve | For idols of Parvati and Mother-Goddesses, however, the scale should be 8 talas. ( 7 ). Statues of Durga, Lila, Mahalakshmi, Lakshmi, Saraswati, Kalindi, Savitri, Nanda, and Padmavati should also be of the 8 talas scale. (8). * mu. paJcatAla ca / ma. mahAlakSmI la (rla ?) kSmIryA tu sarasvatI

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55 devatAmUrti-prakaraNam . navatAlairbhaved viSNu-brahmAtmA devatAstathA // 9 // dazatAlairbhaved rAmo blirvairocnistthaa| siddhAzcaiva jinendrAzca UrkhAste ca prakIrtitAH // 10 // viSNu, brahmA aura mahAdeva ina devoM kI mUrtiyA~ navatAla ke mAna se banAve / rAma, balarAma, sUrya, siddha aura khaDgAsana (khar3I mUrti) vAlA jinendra ina devoM kI mUrtiyA~ dasa tAla ke mAna se banAve // Katyayani and the other Bhagwati goddesses should be 8 talas too, while Vishnu, Brahma and Siva should be 9 talas. (9). ___Rama, Balaram, Virochana (the Sun), and statues of standing Siddhas (those who have achieved a state of purity and holiness, are semi-divine, and are said to be characterised by 8 supernatural faculties called siddhis) as well as Jinendras (Jain Arhats and Buddhist saints), should be 10 talas. (10). tAlA ekAdaza skando hanumAMzcaNDikA tthaa| bhUtAnAM ca samastAnA-meSa tAla: prakIrtitaH // 11 // kArtikeya, hanumAna, caNDikA devI aura samasta bhUta jAti ke deva inakI mUrtiyA~ gyAraha tAlaM ke mAna se bnaave| ____ The war-god Skanda, Hanuman, goddess Chandika, and all images of the Bhoota (ghosts, spirits, goblins etc.) category should be 11 talas. (11). tAlA dvAdaza vetAlA rAkSasAzca trayodaza / pizAcA: krUrakarmANa: zasyate mukuTairvinA // 12 // vetAla devoM kI mUrtiyA~ bAraha tAla ke mAna se bnaave| rAkSasa aura pizAca Adi. krUra karma karane vAle devoM kI mUrtiyA~ mukuTa se rahita teraha tAla kI bnaave| " brhmaadyaa| tAlekAdaza skaMdastu svAmikArtikeyo pi cet / skandazca hanumAnazca mAtA caNDiyakA tathA / / '

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devatAmUrti-prakaraNam Vaitala should be 12 talas. Rakshasas and Pischachas (both in the demon category), and other evil-actioned beings should be depicted ininus crowns and should be 13 talas.(12). tAlAzcaturdaza proktA daityendrA mukuTairyutAH / tithyA samAnatAlaizca bhRgurUpaM prakArayet // 13 // mukuTa vAle daityendra kI mUrti caudaha tAla ke mAna se aura. bhayaGkara rUpa vAle deva pandraha tAla ke mAna se banAve / 14 talas is the scale for statues of Daityendras with crowns. The scale for Bhrigu or awe-inspiring gods is 15 talas. (13). .. SoDazAbhi: krUradevI rUpANi kArayed budhaiH / / uta UrdhvaM na karttavyaM pramANaM kathayAmyata: // 14 // krUra devI kA svarUpa solaha tAla ke. mAna se vidvAn bnaave| aise solaha tAla se adhika tAla ke mAna kI mUrtiyA~ nahIM bnaaveN| aba ina tAloM kA pramANa kahatA huuN|| The wise should make statues of goddesses who are terrible to behold in the 16 talas scale. Statues should not be taller than this 16 tala scale. ____Let me (Mandan) now describe the measurements in detail. (14). . sAta tAla ke mAna se avayavoM kA pramANa sapta tAlaM pravakSyAmi kezAnte ca trimaatrkm| vaktraM tAla pramANaM ca grIvA syAdaGgulatrayam // 15 // sArddhasaptAGgulaM vakSo madhyaM navabhiraGgulaiH / Daityas are demons, being sons of the sage Kashyap and Ditix The Adityas, on the other hand, are gods, being sons of sage Kashyap and Aditi, the sister.of Diti. mudrita saMskaraNa meM nahIM hai| .

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devatAmUrti-prakaraNam saptasArddhaM nAbhiMmedra - mUrU aSTAdaza smRtAH // 16 // jAnvaGgulatrayaM proktaM jaMghe aSTAdazAGgule / pAdotsedhastrimAtrastu manujAH saptatAlake // 17 // aba sAta tAla ke mAna se avayavoM kA pRthaka-pRthaka mAna kahate haiM-- kezAnta (mastaka) tIna aGgula, mukha bAraha aGgula, galA tIna aGgula, chAtI sAr3he sAta aGgula, peTa nava aGgula, nAbhi se liMga taka kA mAna sAr3he sAta aGgula, liMga se jAnu taka Uru kA mAna aThAraha aGgula, ghuTanA tIna aGgula, jAnu (ghuTanA) se paira kI gA~Tha taka aThAraha aGgula aura paira kI gA~Tha se paira ke tala bhAga taka tIna aGgula, isa prakAra kula caurAsI aGgula kA mAna U~cAI kA hai / 57 In a figure of 7 talas, the dimensions should be the following :-the keshanta (tip of forehead ) is 3 angulas, face 12 angulas and neck 3 angulas. ( 15 ). The chest should be 7 1/2 angulas and middle (?stomach) 9 angulas. The distance from the navel to the end of the torso (medra ) should be 7 1/2 angula, and from the medra through the thigh and to the knee 18 angulas. ( 16 ). The knee should be 3 angulas, the distance between the knee and ankle 18 angulas, and the distance from the ankle to the sole of the foot 3 angulas. (The complete statue thereby having a height of 84 angulas). (17). sAr3he sAta tAla ke mAna se avayavoM kA mAna saptasArddhaM pravakSyAmi tAlaM maGgala-zukrayoH / budhasauryostathA jJeyaM kezAntaM ca trimAtrakam // 18 // vaktraM dvAdazamAtraM tu grIvA caiva trimAtrikA | dazamAtraM bhaved vakSo nAbhimeDhraM tathodaram // 19 // aSTAdaza bhavedUru-rjAnu mAtrA trayaM smRtam /

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58 * devatAmUrti-prakaraNam "aSTAdazAGgulau granthI grahANAM tryaGgulau pada * // 20 // aba sAr3he sAta tAla ke mAna se maMgala, zukra, budha aura zani ina grahoM kI mUrtiyoM kA mAna kahate haiM-- mastaka tIna aGgula, mukha bAraha aGgula, galA tIna aGgula, chAtI dasa aGgula, peTa dasa aGgula, nAbhi aura liMga kA madhya bhAga dasa aGgula, liMga se ghuTanA taka Uru kA mAna aThAraha aGgula, ghuTanoM tIna aGgula, ghuTanA se paira kI gA~Tha taka aThAraha aGgula aura paira kI gA~Tha se paira ke tala bhAga taka tIna aGgula, isa prakAra nabbe aGgula kA mAna U~cAI kA hai / I now talk about statues in the 7V2 tala scale. This is the size in which images of Mangal (Mars), Shukra (Venus), Budh (Mercury), Shani (Saturn) and other planets are made. The keshanta should be 3 angulas ( 18 ), face 12, neck 3, chest 10, stomach 10 and distance from the navel to medra (linga) or end of the torso 10 angulas respectively. ( 19 ). From the medram through the thigh to the knee, the distance should be 18 angulas. The knee should be 3 angulas, the distance from the knee to the ankle-bone 18 angulas, and from the ankle to the sole of the foot 3 angulas. (In this way, the completed statue in the 712 tala scale will have a standing height of 90 angulas). (20). ATha tAla ke mAna se avayavoM kA mAna aSTatAlaM pravakSyAmi devyAzcaNDyAzca lakSaNam / mAtrA trayaM syAt kezAntaM vaktraM ca dvAdazAGgulam // 21 // grIvA ca tryaGgulA kAryA hRdayaM navabhistathA / madhyaM dvAdazamAtraM syAd nAbhidre navAGgale // 22 // ekaviMzad bhavedUru-rjAnu caiva guNAGgulam / jaMghAGgalaikaviMzatyA pAdamUlaM guNAGgulam // 23 // mu. 'aSTAdazAMgulI granthI grahANAmaMgulI padau / '

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devatAmUrti-prakaraNam ATha tAla ke mAna se caNDI Adi deviyoM ke avayavoM kA mAna kahatA hU~-mastaka tIna aGgula, mukha bAraha aGgula, galA tIna aGgula, chAtI nava aGgula, udara bAraha aGgula, nAbhi aura liMga ke madhya kA bhAga nava aGgula, liMga se ghuTanA taka Uru ikkIsa aGgula, ghuTanA tIna aGgula, jaMghA (ghuTanA se paira kI gA~Tha taka) ikkIsa aGgula, aura gA~Tha se paira ke tala bhAga taka tIna aGgula, isa prakAra chayAnaveM aGgula kA mAna U~cAI kA hai| The proportions for a sculpture of 8 talas - which is the correct scale for idols of most goddesses - should be as follows :- Keshanta 3 angulas, face 12 (21); neck 3, chest 9, and stomach 12 angulas respectively, and (the distance) from the navel to the end of the torso 9 angulas..(22). From the base of the torso, through the thigh, to the knee the distance should be 21 angulas. The knee should be 3 angulas, the distance between the knee and ankle 21 angulas, and that between the ankle and the tip of the foot 3 angulas. (23). (In this manner a completed 8 tala statue will have a standing height of 96 angulas.) sAr3he ATha tAla ke mAna se avayavoM kA mAna aSTasArddha pravakSyAmi gISpatestAlalakSaNam / kezAntaM ca trimAtraM tu vaktraM syAd dvAdazAGgulam // 24 // grIvA ca yamulA kAryA hRdayaM nvbhistthaa| trayodaza bhavenmadhyaM tAlena nAbhimer3hake // 25 // dvAviMzatyA bhavedUru-rjAnu caiva trimAtrakam / jaMghe Urusame prokte tyaGgula: pAda eva ca // 26 // bRhaspati ke avayavoM kA pramANa sAr3he ATha tAla ke mAna se kahatA huuN| mastaka tIna aGgala, mukha bAraha agala, galA tIna aGgala, chAtI nava aGgala, udara teraha, nAbhi aura liMga ke madhya kA bhAga bAraha aGgula, Uru bAIsa aGgula, ghuTanA tIna aGgula, jaMghA bAIsa aGgula aura caraNa tIna aGgula, isa prakAra eka sau aGgula

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60 devatAmUrti-prakaraNam kA mAna U~cAI kA hai / For the 82 tala scale (applicable to statues of Brihaspati (Jupiter) etc.), I now relate the relative proportions. The keshanta should be 3, face 12, ( 24 ); neck 3, chest 9 and stomach 13 angulas respectively. The area from the navel to the end of the torso (medra) should be 12 angulas. ( 25 ). The distance from the medra through the thigh to the knee should be 22 angulas. The knee should be 3 angulas, the portion from the knee to the ankle 22 angulas, and from the ankle to the foot 3 angulas ( 26 ). ( The complete figure being 102 angulas ) . nava tAla ke mAna se avayavoM kA mAna navatAlaM pravakSyAmi brahmAdyA devatA yathA / kezAntaM ca trimAtraM tu . . karttavyaM devarUpakam // 27 // yAvanmAno bhavettAlo vibhajed ravibhAgakaiH / sUrya-rAma-dazArkAbdhi-vasu-jaina-yugArhatAH // 28 // vedA vaktragalau vakSo nAbhistUdaraguhyakam / tathorU jAnunI jaMghe caraNau ca yathAkramam // 29 // brahmA Adi devoM kI mUrtiyoM ke avayavoM kA mAna nava tAla ke mAna se kahatA hU~ / eka tAla ke bAraha aGgula, isa mAna se kezAnta (mastaka) tIna aGgula, mukha bAraha aGgula, galA tIna aGgula, chAtI daza aGgula, chAtI se nAbhi taka bAraha 'aGgula, nAbhi se udara taka cAra aGgula, udara se liMga taka ATha aGgula, liMga se ghuTanA taka Uru caubIsa aGgula, ghuTanA cAra aGgula, ghuTanA se paira kI gA~Tha taka jaMghA caubIsa aGgula aura gA~Tha se paira ke tala bhAga taka cAra aGgula, isa prakAra eka sau ATha aGgula kA mAna U~cAI kA hai / Now I speak of statues in the 9 talas scale, in which Brahma and other gods should be made. The keshanta should be 3 angulas. (27). The face should be 12 angulas, neck 3, chest 10, and distance between chest and navel 12 angulas. The navel to stomach area should be 4 angulas, and stomach to base of the

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devatAmUrti-prakaraNam torso 8 angulas. From this to the knee the distance should be 24 angulas, as should be the distance between the knee and the ankle. The knee should be 4 angulas, as should the distance from the ankle to the foot. (28, 29). (The final image being 108 angulas in height.) vistAraH stanagarbhe ca dvaadshaanggulmiiritm| tabAhye vedavedAMze kakSe ekAntare tata: // 30 // saptasaptAGgulau bAhU daiye syAt ssoddshaanggulau| karo'STAdazamAtrazca vistAro'gre guNAkulaH // 31 // dairye sUryAGgula: pANi-vistare paJcamAtrakaH / nAbhi: sUryAGgulo vyAse kaTiH proktA jinAGgulAH // 32 // mUla ekAdazorU syAd jaMghA prAnte yugaanggulaa| caturdazAGgula: pAda-stadUrdhvaM ca yugAGgulaH // 33 // kakSa: skandastadUce tu karttavyazcASTamAtrakaH / grIvA cASTAGgulA vyAse pAda: proktaH SaDaGgulaH // 34 // . donoM stana kA bicalA bhAga vistAra meM bAraha aGgula, donoM stana se kA~kha taka kA vistAra cAra-cAra aGgala, kA~kha aura bhujA kA antara eka-eka aGgula, donoM bhujA kA vistAra sAta-sAta aGgula aura bhujA kI lambAI solaha-solaha aGgula, donoM hAtha kI lambAI. maNibaMdha taka aThAraha-aThAraha aGgula, maNibaMdha kA vistAra tIna aGgala, hathelI (paJjA kI lambAI bAraha aGgala aura caur3AI pA~ca aGgula, nAbhi pradeza kA vistAra bAraha aGgula, kaTi kA vistAra caubIsa aGgula, Uru kA mUla bhAga vistAra meM gyAraha aGgula, jaMghA kA anta bhAga paira kI gA~Tha ke pAsa cAra aGgula, paira kI lambAI caudaha aGgala aura paira kI U~cAI gA~Tha taka cAra aGgula, kA~kha ke Upara kaMdhA kA vistAra ATha aGgula, galA kA vistAra ATha aGgala aura paira kA vistAra chaH aGgula bnaanaa| The distance beteween the breasts should be 12 angulas, and between the breasts and armpits 4 angulas each. There should

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devatAmUrti-prakaraNam be 1 angula between the armpits and arms. (30). The upper-arms should each be 7 angulas wide (? in circumference?) and 16 angulas in length, while the forc-arms should be 18 angulas in length and the wrist 3 angulas in cxtent. (31). The hands should be 12 angulas long and 5 wide. The navel portion should be 12 angulas, hips 24 (32); and thigh 11 angulas wide. The part of the shank, ncar the ankle, ,,should be 4 angulas. The foot should be 14 angulas long, with a height (from the sole to the top of the foot) of 4 angulas. (33). ... From the armpit upwards, the shoulders should be.8 angulas. The neck should be 8 angulas, and the feet 6 angulas wide. (34). jAnAti nAnAvidharUpabhAvaM, zrIvizvakarmA surasUtradhAraH / UrdhvANDajasvedajarAyujADhyaM, sa vizvarUpaM sukhahetavestu // 35 // iti zrIkSetrAtmaja-sUtrabhRnmaNDanaviracite vAstuzAstre rUpAvatAre devatA-mUrti-prakaraNe pratimAtAlanirNayAdhikAro nAma dvitIyodhyAyaH // 2 // devoM kA sUtradhAra zrI vizvakarmA aneka prakAra ke rUpoM ke bhAvoM ko jAnatA hai| Urdhvaja, aMDaja, svedaja aura jarAyuja ye cAra prakAra ke jIvoM se vyApta jo vizvarUpa hai, vaha sukha ke liye hove| sUtradhAra maNDana racita devatAmUrti prakaraNa kA dUsarA adhyAya pUrNa huaa| The Divine Artisan of the deities, Sri Vishvakarma, knows innumerable different types of forms, and expressions. All praise to the Omniscient Being who has brought into being a world with four types of life-forms-the superior and upright; those born from eggs (like birds); those born from warm vapours (insects and the like); and those born from wombs (mammals etc.). May these forms work for happiness. (35). Here ends the second chapter of the treatise on architecture composed by Sri Kshetratmaj Sutrabhrin Mandan, (i.e. Mandan, the son of Sri Kshetra) in which the scale, proportions and measurements of idols have been discussed... uscudae

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devatAmUrti-prakaraNam tRtiiyo'dhyaayH| devoM kA pada sthAna 'trisaptAMze kRte mAne brahmAMze suutrmdhyme| kRtvA SaDaMzakaM tacca vAme yaMzaM vyapohya ca // 1 // tanmAnamagrato nItvA prAgudaggatasUtrakam / tad brahmasUtramityuktaM tat sUtraM zivamadhyagam // 2 // brahma aura zivaM sUtra kA sthAna- .. garbha gRha kA ekabIsa bhAga krnaa| isameM madhya kA brahmAMza (brahmasUtra) kahA jAtA hai| isa kA phira cha: bhAga krnaa| ina cha: bhAgoM meM se bA~yI tarapha ke do bhAga chor3a denAM, utane hI. mAna kA Age kA jo bhAga hai, usameM pUrva aura uttara tarapha gaye hue sUtra ko brahmasUtra kahate haiM, yahI zivasUtra hai, usameM zivaliMga sthApita kiyA jAtA hai // 1, 2 // Upon dividing the inner sanctum of a temple into twenty-one parts, the middle portion is called the Brahma-ansha. This Brahma portion should be further divided into six parts. Of these, two parts to the left should be set aside (1). Of the area of the same (two parts) scale to the front, the part to the east and north is known as the Brahma-Sutra. This is also the Sutra or position

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64 devatAmUrti-prakaraNam where a Siva-linga is installed. (2). madhye yad brahmaNa: sUtraM tasya vAme zivasya c| tanmadhye vaiSNavaM sUtraM tatsUtraM sArvadaivatam // 3 // garbha gRha ke madhya meM jo brahmasUtra hai, usake bA~yI tarapha zivasUtra hai aura zivasUtra ke madhya meM viSNusUtra hai, yaha saba devoM kA sUtra hai| To the left of the Brahma-Sutra, the place of which has been described above as being in the centre of the temple's sanctum sanctorum, is the Siva-Sutra. Between the Brahma-Sutra and Siva-Sutra lies the Vishnu-Sutra. It is the Sutra of all, the gods. (3). devatraya sthApana krama madhye traipuruSe rudra Adau brahmAntago hriH| krameNa sauravyadA evaM viparItA bhayAvahAH // 4 // brahmA, viSNu aura rudra (mahAdeva) ina tInoM puruSoM kA eka hI prAsAda meM sthApana karanA ho to usakA krama isa prakAra hai-madhya meM rudra, isakI dAhinI aura brahmA aura bA~yI ora viSNu ko sthApita karanA sukhadAyaka haiN| isase viparIta sthApita kare to bhayadAyaka haiM // 4 // 2 . , When installing idols of Brahma, Vishnu and Siva in the same temple the prescribed order is as follows :- Rudra (Siva) should be in the centre, Brahma at the beginning (i.e. to the right), and Hari (Vishnu) at the end (i.e. to the left). This bestows happiness. To do otherwise will engender fear. (4). rudro vaktrA ? sUtrotribhAgena rira ? trirardhena) pitAmahaH / tattulyA ca umAdevI sukhadA sarvakAmadA // 5 // sUtra ke tribhAga se rudra, sADhe tIna bhAga se pitAmaha/brahmA (karanA) |inhiiN ke samAna umA devI bhI jo sukhadAyI aura sarva kAmadAtrI hai| In relation to the Sutra the face of a statue of Rudra (Siva) should be in the third part, while Brahma and Uma-devi (Parvati) should both be in the three and a half part. This will provide

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65 devatAmUrti-prakaraNam happiness and be beneficient for all tasks. (5). bhAgA ekonapaJcAzad garbhArddha bhittito bhajet / garbhAzo brahmasaMsthAnaM daivaM bhAgASTakaM tataH // 6 // mAnuSa: SoDazAMza: syAccaturviMzat pizAcakaH / daivAMze brahmaviSNvaMzAH sarve devAzca mAnuSe // 7 // mAtaro yakSagandharvA rkssobhuutsuraadyH| . sthApyA: paizAcaveMze te brahmAMze liMgamaizvaram // 8 // iti devtaa-pd-sthaanm| prAsAda ke garbha gRha ke Adhe kA dIvAra se 49 gunapacAsa bhAga krnaa| usameM Adhe garbhagRha kA pahalA bhAga brahmAMza, usake Age ATha bhAga daivAMza, usake Age solaha bhAga mAnuSAMza aura usake Age caubIsa bhAga pizAcAMza hai| devAMza meM brahmA, viSNu aura saba devoM kI sthApanA krnaa| mAnuSAMza meM sapta mAtRdevI ko sthApanA karanA, yakSa gandharva, rAkSasa, bhUta aura sura ye deva paizAcAMza meM sthApana karanA aura brahmAMza meM zivaliMga ko sthApana krnaa| Divide the wall of half the garbhgriha (the inner sanctum), into 49 portions. Of this, the first portion will be the Brahma-sthanam or the Brahma area, The next 8 portions the place of the Devas (6), the next 16 of Manusha, and the remaining 24 of Pishachas. Brahma, Vishnu and incarnations of Vishnu should be installed in the Devansha or Deva portion. All the (other) gods may be installed in the Manushansh (or Manush portion). (7). In the portion classified as Pishach-ansh may be placed statues of the mother-goddesses (eg. Brahmi, Maheshwari, Kaumari, Vaishnavi, Aindri, Varahi, Chamunda), and other goddesses, Yakshas,. Gandharvas, Rakshasas, Bhootsuras and others. The Siva-linga should be installed in the Brahma-sthanam, or Brahma portion. (8). These are the placements of the statues.

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devatAmUrti-prakaraNam devoM kA dRSTi sthAna dvArAdayo'STadhA kAryA ekaikAMzo'STadhA puna: / catuHSaSTivibhAgeSu viSameSu zubhA dRzaH // 9 // trayoviMzatiparyantamekAdi vissmaaNshke| sthApyA udumbarAdUrdhvaM zivAliGgAni dhImattA // 10 // . paJcavize mukhaM liGgaM vyadhike jlshaayinH| dhanadasya dvayAdhikye mAtRNAM tadvayAdhike // 11 // . yakSANAM dRktrayastriMze paJcatriMze varAhadRk / .. saptatriMza umezasya bauddhasya tadvayAdhike // 12 // .. ekAdhicatvAriMze tu sAvitryA brahmaNo dRshH| durvAsaso dvayAdhikye nAradAgastyayorapi // 13 // paJcavedapadAMze tu lakSmInArAyaNasya c| dvayAdhikye vidherdhAtuH sarasvatyA dvayAdhike // 14 // zAradAMze gaNezasya vyadhike'bjAsanasya c| harasiddhistripaJcAMzeM karttavyA sarvakAmadA // 15 // UrdhvA dRSTisaMsthAnaM brhmvissnnujinaarky:| paJcapaJcAzadbhAge syAd raudrI tasmAd dvayAdhike // 16 // caNDyA ekonaSaSTyaMze bhairavI tad dvyaadhike| vaitAlasya triSaSTyaMze padaM zUnyaM tadUrdhvata: // 17 // isake udaya kA dehalI aura otaraGga ke madhya kA ATha bhAga karanA, phira ina pratyeka bhAga kA ATha-ATha bhAga karanA, jisase kula causaTha bhAga hote haiM, unameM viSama bhAga meM arthAt eka yA tIna bhAga, sAta ityAdi sahI bhAga meM devoM

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devatAmUrti-prakaraNam / kI dRSTi rakhanA zubha hai| dehalI ke Upara eka, tIna, pA~ca ityAdi teIsa bhAga taka viSama bhAga meM zivaliMga kA buddhimAn sthApana kre| 25 veM bhAga meM mukha liMga kI dRSTi rakhanA, 27 veM bhAga meM jalazAyI (zeSazAyI) kI, 29 veM bhAga meM kubera kI, 31 veM bhAga meM sAta mAtRdeviyoM kI, 33 veM bhAga meM yakSa devoM kI, 35 veM bhAga meM varAha kI, 37 veM bhAga meM umA-mahezvara kI, 39 veM bhAga meM buddha deva kI, 41 veM bhAga meM sAvitrI yukta brahmA kI, 43 veM bhAga meM durvAsA, nArada aura agastya Adi RSiyoM kI, 45 veM bhAga meM lakSmI nArAyaNa kI, 47 veM bhAga meM vidhAtA kI, 49 veM bhAga meM sarasvatI kI, zAradA ke bhAga meM gaNeza kI, 51 veM bhAga meM kamalAsana kI, 53 veM bhAga meM harasiddhiyoM kI, 55 veM bhAga meM brahmA, viSNu aura jinadeva kI, 57 veM bhAga meM raudrI devI kI, 59 veM bhAga meM caNDI devI kI, 61 veM bhAga meM bhairavI devI yA bhairava kI, 63 veM bhAga meM vetAla. kI, isa krama se devoM kI dRSTi rakhanA caahiye| 64 veM bhAga meM kisI bhI deva kI dRSTi nahIM rakhanA caahiye| (The line of vision of the images of various deities is important). The elevation of the doorway should be divided into 8 portions, and each portion further divided into 8 parts. This will yield a total of 64 portions. It is auspicious if the line of vision of images are on odd-numbered parts of these 64 portions. (9): From the threshold upwards, upto 23 parts, (using the portions in odd numbers from 1 onwards - i.e., 1, 3, 5, 7, etc.), are used by the wise for positioning a Siva-linga. (10). The line of vision from a Mukha-linga should be on the 25th portion and of a Jalashayin (Vishnu) statue on the 27th portion. Kuber should look at the 29th part, and the mother-goddesses at the 31st. (11). Yakshas should keep their line of vision on the 33rd part, a Varah statue on the 35th, Uma-Maheshwar on the 37th and a Buddha idol on the 39th. (12). A statue of Brahma accompanied by Savitri should look at the 41st portion (of the 64 divisions), and images of sages like Durvasa, Narada, Agastya and others at the 43rd portion. (13). The 45th portion is the line of vision of Lakshmi-Narayan, the 47th of the Creator, Brahma, and 49th of Saraswati. (14).

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devatAmUrti-prakaraNam Ganesha should also look at the same part as Sharada (i.c. Saraswati) does-the 49th, while the line of vision of the Abjasana (Brahma) should be on the 51st and Harsiddhi on the 53rd part. This is auspicious ( 15 ). The elevated line of vision of Brahma, Vishnu and the Jinas (the Jain Tirthankaras) should be on the 55th part, and of the goddess Raudri on the 57th ( 16 ). Chandi should look at the 59th part, Bhairavi at the 61st, and Vaitala at the 63rd. No idol should have the 64th part in its line of vision (17). (These are the lines of vision which should be kept in mind by sculptors). 68 liGgA naiva karttavyA hyarcArUpeNa devatA: / prabhA naSTA na bhogAzca yathA tArA divAkare // 18 // ziva liMga ke sAmane dUsare devoM ko pUjana ke liye sthApana karanA nahIM, kyoMki una devoM kA prabhAva nAza ho jAtA hai, tathA ve pUjana ke phala ko dene meM asamartha ho jAte haiN| jaise sUrya kA udaya hone se tArA kA prabhAva naSTa ho jAtA hai, vaise ziva ke sAmane dUsare devoM kA prabhAva nAza ho jAtA hai / Idols of other deities, if intended for worship, should not be installed in front of a Siva-linga, as the influence of these idols gets destroyed and neutrallised when placed in front of a Siva-linga and they cannot reward devotees fully. This may be compared with the way that stars loose their brilliance when the sun rises. (18). zivasyAgre zivaM kuryAt brahmANaM brahmaNo'grataH / viSNau viSNuM jine jainaM sUrye sUryamanukramAt // 19 // ziva ke sAmane ziva ko, brahmA ke sAmane brahmA ko viSNu ke sAmane viSNu ko, jina deva ke sAmane jina deva ko aura sUrya ke sAmane sUrya kI sthApanA karanA cAhiye / An idol of Siva may be placed in front of another idol of Siva, as may one of Brahma be placed in front of a Brahma, Vishnu in front of a Vishnu, the different Jinas in front of their own, and Surya in front of a Surya image. (19). *

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devatAmUrti-prakaraNam .. mAtarazcaNDikAgre syuryakSA: kssetraadibhairvH| sve sve sthAne surA: sthApyA ye yasyA'pi hitAvahAH // 20 // caNDikA ke sAmane mAtRdevI, yakSoM yA bhairava kSetrapAla Adi devoM ko sthApana karanA, saba devoM ko apane-apane sthAna meM sthApana karanA yA jo deva jisa deva ko hitakAraka ho, usako sthApana karanA acchA hai| Placing statues of the mother-goddesses in front of a Chandika idol is permissible, as are Yakshas, Kshetrapalas and so forth, before Bhairava. All the deities should be installed in their own prescribed places, or in other appropriate places where they will be beneficial for the world. (20). brahmaviSNvorekanAbhirjime doSo na vidyate / zivAgre cAnyadevasya dRSTivedhe mahadbhayam // 21 // brahmA, viSNu aura jina ye tInoM paraspara eka nAbhi hoM, arthAt sAmane dRSTi ' vedha ho to usakA doSa nahIM hai| parantu ziva ke sAmane dUsare devoM kA dRSTivedha ho to bar3A bhaya utpanna karatA hai| . __Brahma, Vishnu and Jina, being of one nabhi (relationship) may have their lines of vision crossing each others without any harm ensuing. However, immensc fear will be generated if Siva's line of vision crosses that of other deities - i.e. if other statues are positioned so as to cross sight with Siva. (21). brahmA viSNuH zazI sUrya indraH skando hutAzanaH / dikpAlA lokapAlAzca grahA mAtRgaNAstathA // 22 // ete zivAzraye sthApyA dRSTivedhavivarjitAH / dRSTipAtahitA yatra purAdhaM na prarohati // 23 // brahmA, viSNu, caMdramA, sUrya, indra, kArtikeya, agni, dikpAla, lokapAla, graha aura mAtRgaNa ye zivAlaya meM ziva kI dRSTivedha chor3a kara sthApana kre| unakA darzana nagara ke pApa ko utpanna nahIM karatA // Statues of Brahma, Vishnu, Shashi (the moon), Surya (sun),

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... devatAmUrti-prakaraNam Indra, Skanda (also called Kartikeya), Hutashan (or Agni) the Dikapalas and Lokapalas, the planets (grahas) and the mother-goddesses (22), may be installed inside temples to Siva, provided that they are so placed that they do not cross the line of vision of Siva at all. Their benign sight will guard the city from the growth of sin and wickedness. (23). pUrvAparAsyaM devAnAM mukhaM no dakSiNottaram / brahmA viSNu: zivArkendrA guhaH pUrvaparAGmukhaH // 24 // . . pUrva aura pazcima mukha vAle devoM kA mukha dakSiNa aura uttara meM na rakheM, brahmA, viSNu, ziva, sUrya, indra aura kArtikeya ye deva pUrva aura pazcima dizA ke mukha vAle haiN| Idols which are meant to face the east and west should not be installed facing the south and north. .Brahma, Vishnu, Siva, Arka (another name of Surya), Indra and Guha (an epithet of Karttikeya) arc deities who should be depicted with their faces towards the east and west. (24). nagarAbhimukhA: zreSThA madhye bAhye ca devatAH / zivabrahmajinA viSNu: sarvAzAbhimukhA: zubhA: // 25 // vAstu ke madhya meM yA bAhara jo deva sthApana kiyA jAya vaha nagara ke sanmukha rakhA jAya to zreSTha hai| ziva, brahmA, jina aura viSNu inake mukha cAroM dizA meM rakhanA zubha mAnA hai| ina devoM ke mukha 24 veM zloka meM pUrva aura pazcima mukha vAle mAne haiM aura isameM cAroM dizA meM mukha vAle mAne haiN| yaha matAntara mAlUma hotA hai| It is ideal if idols, installed within a building or outside, face the city. Siva, Brahma, Jina and Vishnu are auspicious facing all four cardinal points or directions. (25). actions (25). . gaNezo bhairavazcaNDI nakulIzo grhaastthaa| bhUtAdyA dhanadAzcaiva dakSiNAsyA: zubhAH smRtAH // 26 //

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devatAmUrti-prakaraNam 71 gaNeza, bhairava, caNDI, nakulIza nava graha, bhUta aura kubera ina devoM kA mukha dakSiNAbhimukha rakhanA zubha hai // 26 // 3 It is auspicious to install Ganesh, Bhairava, Chandi, Nakulish T (also called Lakulish), nava-grahas (nine celestial bodies), bhoots (ghosts and spirits), and Kuber with their faces towards the south. (26). mAtRNAM sadanaM kAryaM dakSiNottaradiGmukham / hanumAn vAnarazreSTho nairRtAsyo vidiGmukhaH // 27 // mAtR devatA kA devAlaya uttara yA dakSiNAbhimukha karanA aura vAnara zreSTha hanumAna jI kA mukha nairRtya koNa meM rakhanA / Shrines dedicated to the mother-goddesses should face southwards or northwards. Hanuman, the best-among-all-monkeys, should be installed facing the south-western direction. (27) jJAtvA sarvaM sthApitA yena rItyA, devA daityA mAnuSAdyAzca sarve 1 dRSTvAtmAnaM vyApakaM sRSTikAraM, . sthAyI 'dRSTvA vizvakarmA sa vndyH|| 28 // iti zrI kSetrAtmajasUtradhAra - maNDana- viracita vAstuzAstre devatA - mUrttiprakaraNe pratimA-pada-sthAna- dRSTisthAnAdhikAro nAma tRtIyo'dhyAyaH // 3 // jisa vizvakarmA ne apane vyApaka aura sRSTikarttA svarUpa ko dRDhabhAva se dekhakara evaM saba kucha jAnakara ucita rIti se deva, daitya, manuSya Adi kI sthApanA kI, vaha vandanIya hai 1 zrI kSetrAtmaja sUtradhAra maNDana racita vAstuzAstra - devatAmUrti prakaraNa kA tIsarA adhyAya pUrNa huA / All praise and obeisance to the One who knows all; including According to Vishvakarmavtara-Vastushastra, the statue of Nakulish is described as being in the padmasana position, holding a citron fruit (matulingam) in the right & the rod of justice (danda) in the left. Early sculptural representations of Nakulish sometimes depict Nandi, (the sacred bull of Siva), beneath the idol, which is flanked by ascetics with long, matted hair.

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72 devatAmUrti-prakaraNam the modes and methods of placing (statues of) deities, daityas (demons), manushas, and others. Seeing the all-pervading soul of the Maker in all creation, we bow before that Omniscient Creator of the universe. (28). . Here ends the third chapter of the treatise on architecture composed by Sutradhar Mandan, son of Shri Kshetra, in which the positioning of statues, the line of vision of the deities, and related issues have been discussed.

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devatAmUrti-prakaraNam viziSTa vivecana 1. padya - 1. madhyame bhavet / triHsaptAMze kRte dvAre brAhme'ze kRtvA SaDaMzakaM tacca vAme dvayaMzaM vyapohya ca // tadaMzamagraM nItvA tu prAgudaggatasUtrakam / tadbrahmasUtramityuktaM tatsUtraM zivamadhyamam / mayamatam a. 33 zloka. 38-39-40 / matsyapurANa meM kahA hai ki " dvAraM vibhajya pUrvaM tu ekaviMzatibhAgakam / tato madhyagataM jJAtvA brahmasUtraM prakalpayet // tasyArddhaM tu tridhA kRtvA bhAgaM cottaratastyajet / evaM dakSiNatnastyaktaMvA brahmaMsthAnaM prakalpayet // " a. 263 zloka 5-6-7 . prathama, dvAra kA ikavIsa bhAga karanA, inameM 'madhya bhAga meM gaye hue sUtra ko brahmasUtra kI kalpanA karanA / isa brahmasUtra ke Adhe kA tIna bhAga karake uttara dakSiNa kA bhAga chor3a denA, bAkI madhya bhAga ko brahmasthAna kI kalpanA kare / mAnasAra meM anya prakAra se kahA hai ki"madhye brahmapade sapta-saptabhAgaM vibhAjite / 73 brahmAMze madhyame brahmasUtraM tatparikalpayet // tadvAme viSNusUtraM syAt taddbAhye parikalpayet / tatsUtradvayormadhye zivasUtraM prakalpayet // " a. 52 zloka 71-72. madhya brahmasthAna kA gunapacAsa bhAga karanA / usameM madhya kA jo brahma bhAga hai, yaha brahmasUtra kalpanA kre| isa brahmasUtra ke bA~yI ora viSNusUtra kI kalpanA karanA / isa viSNusUtra aura brahmasUtra ke madhya meM zivasUtra kI kalpanA karanA / 2. padya - 4. samarAMgaNasUtradhAra meM bhI kahA hai ki " sthApayet (puruSatrayA ? ) zi(vA ? vaM) madhye nivezayet /

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devatAmUrti-prakaraNam brahmANaM dakSiNenAsya vAmataH puruSottamam / / anyathA sthApanAdeSAM pratyavAyo mahAn bhavet // " a.70 zaloka 141-142 / puruSatraya kI sthApanA meM madhya meM ziva, dakSiNa meM brahmA aura bA~yI ora viSNu ko sthApana kre| isase viparIta sthApana kare to doSakAraka hai| 3. padya-27. nakulIza mUrti kA svarUpa vizvakarmAvatAra-vAstuzAstra meM kahA hai kinakulIzaM UrdhvamedUM pdmaasnsusNsthitm| dakSiNe mAtuliGgaM ca vAme daNDaM prakIrtitam // . nakulIza kI mUrti Urdhva liMga vAlI aura padmAsana letI huI, usake dAhine hAtha meM bijorA aura bA~ye hAtha meM daNDa hai| usakI prAcIna mUrti ke nIce kabhI-kabhI naMdI aura donoM tarapha jaTAdhArI sAdhujana hote haiN|

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000000000000000000000026338880608 .3 MOHAMMANAo88084005065804800/dowskosak20630003000sabcomcod00000000000388comassadsawwwimwas FIVE DIFFERENT FORMS OF BRAHMA AND SAVITRI brahmA ke pAMca svarUpa va sAvitri vizvakarmA kamalAsana Kamalasan Vishvakarma virici Virinchi pitAmaha Pitamah brahmA Brahma FRIKA sAvitri Savitri MODIM ADS DOTARAN

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800620000RDOSHKANGAREASOKAR THE FOUR VEDAS, NRITYA-SHASTRA AND GARUDA sa caturveda, nRtyazAstra aura garur3a / yajurveda Rgveda Yajur-Veda Rig-Veda IMMM AIIMAANAND atharvaNaveda Atharvan-Veda sAmaveda Sama-Veda WanananaWaM nRtyazAstra Nritya-Shastram garuDa Garuda fOD AzArArANAzaya

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devatAmUrti-prakaraNam 4 cturthodhyaayH| vizvakarmA akSasUtraM pustakaM ca kmnnddluvraanvitH| vizvakarmA caturhastazvinetrazcandrazekharaH // 1 // vizvakarmA cAra hAtha vAle haiM, ina hAthoM meM kramazaH, mAlA, pustaka, kamaMDalu aura varadamudrA hai| tIna netra aura jaTAyeM candramA hai // 1 // Vishvakarma holds an akshasutra (a rosary or string of prayer-beads), a book and kamandalu-the earthen or wooden water-vessel used by ascetics, in three hands, while the fourth is in the varad-mudra or 'the position of blessing. Vishvakarma has four hands and three eyes, and the moon ornaments his hair. (1). kamalAsana RgvedAdiprabhedena kRtaadiyugbhedtH| viprAdivarNabhedena caturvaktraM caturbhujam // 2 // akSasUtraM kare dakSe srucistasyordhvata: sthitaa| syAd vAme pustakaM haste tasyordhvaM ca kamaNDaluH // 3 //

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devatAmUrti-prakaraNam kamalAsananAmA'yaM sarvavarNe hitapradaH / kartRkArApakaiH sArdhaM lohita: kamalAsanaH // 4 // Rgveda Adi cAra vedoM ke bheda se, satyayuga Adi cAra yugoM ke bheda se aura brAhmaNa Adi cAroM varNa ke bheda se kamalAsana (brahmA) cAra mukha aura cAra bhujA vAlA hai| usake nIce ke dAhine hAtha meM mAlA aura Upara ke hAtha meM homa karane kA karjA, bA~he Upara ke hAtha meM pustaka aura nIce ke hAtha meM kamaMDalu hai tathA lAla kamala ke Asana para baiThA huA hai| yaha kamalAsana nAma kA brahmA saba vargoM ko aura inakI mUrti karane vAle aura karAne vAle ko hitakAraka haiN| ___ . Kamalasana has four heads and four arms; symbolic of the four Vedas (the Rig, Sama, Yajur and Atharva). The four. Yugas or Eras (Satyuga, Treytayuga, Dvaparyuga and Kalyuga); and four castes (Brahmin, Kshatriya, Vaisya and Sudra). (2). __Kamalasana holds a string of prayer-beads (akshasutra) in his lower right hand and a Srucha- or the special long-handled spoon used for offering oblations to a sacrificial yagna fire, in his upper right, while his lower left hand possesses a book and the upper a kamandalu. (3). Seated on a red lotus, this Kamalasana form of Brahma is beneficial for all the castes, and for those who make such idols as well as for those who have them viriMcideva akSasUtraM pustakaM ca sruvA caiva' kmnnddluH| viriJcezca bhavenmUrti: dvApare' syAt sukhadAyinI // 5 // viriMci nAmaka brahmA kI mUrti ke cAroM bhujAoM meM anukrama se akSamAlA, pustaka, homa karane kI lakar3I kI karjA aura kamaNDalu ko dhAraNa karane vAlI hai, vaha dvApara meM sukhadAyaka hai| A Srucha is a wooden spoon or ladle with a long handle, usually made from the wood of the Palasa or Khadira trees. It is used for pouring ghee etc. on the sacrificial fire. mu. kRte zcaiva mu. zruti 2.

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devatAmUrti-prakaraNam .. 77 ___Virinchi bears a string of prayer-beads, a book, the spoon for offering oblations and a kamandalu in his four arms. An idol of the Virinchi form of Brahma bestows happiness to all in the Dvaparyuga. (5). pitAmaha kamaNDaluzcAkSasUtraM zucirve pustakaM tthaa| pitAmahasya syAnmUrtistretAyAM sukhadAyinI // 6 // pitAmaha (brahmA) kI mUrti ke cAroM hAthoM meM kramazaH kamaNDalu, mAlA, homa karane kI karjA aura pustaka dhAraNa karane vAlI hai, yaha tretA yuga meM sukha dene vAlI hai| . . . The Pitamah form of Brahma is depicted as holding a kamandalu, a string of prayer-beads, the long-handled oblation spoon and a book respectively in his four hands. This stalue gives happiness in the Treytayuga. (6). pustakaM cAkSasUtraM ca zucizcaiva kamaNDaluH / brahmaNazca bhavenmUrtiH kRte syAt sukhadAyinI // 7 // brahmA kI mUrti ke cAroM hAthoM meM krama se pustaka, mAlA, homa karane kI karjA aura kamaNDalu dhAraNa karane vAlI hai| yaha sat yuga meM sukha dene vAlI hai| Holding a book, a string. of prayer-beads, the spoon for oblations and a kamandalu respectively, is the statue of Brahma. This image bestows happiness in the Satyuga. (7). sAvitrI akSasUtraM pustakaM ca dhatte padmaM kamaNDalum / caturvaktrA tu sAvitrI zrotriyANAM gRhe hitA' // 8 // 1. mu. sthitA

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devatAmUrti-prakaraNam sAvitrI devI kI mUrti ke cAroM hAthoM meM krama se akSamAlA, pustaka, kamala aura kamaNDalu ko dhAraNa karane vAlI aura cAra mukha vAlI hai| yaha zrotriyoM arthAt veda pAThakoM ke ghara hitakAraka hai| The goddess Savitri holds a string of prayer-bcads, a book, a lotus and a kamandalu in her four hands. She has four heads. Savitri bestows benevolence on the homes of those versed in the Vedas/ sacred scriptures. (8). Rgveda Rgveda: zvetavarNa: syAt dvibhujo raasbhaannH| .. akSamAlAmbupAtre ca zritazcAdhyayane rataH // 9 // . Rgveda sapheda varNa vAlA, do bhujA vAlA, gardabha kA mukha vAlA, hAtha meM akSamAlA aura kamaNDalu ko dhAraNa karane vAlA tathA svAdhyAya dhyAna meM rahane vAlA hai| ___Rig-Veda is depicted as being white. in colour, with two arms, and the face of a donkey (or ass, a rasabh), and holding a string of prayer-beads and a kamandalu. Rig-Veda is in a state of perpetual meditation and self-study. (9). yajurveda ajAsya: pItavarNaH syAd yajurvedo'kSasUtradhRk / vAme cAMkuzapANistu bhUtido maMgalapradaH // 10 // bakare ke jaisA mukha vAlA, pIle varNa kA, dAhine hAtha meM akSamAlA aura bA~ye hAtha meM aGkuza ko dhAraNa karane vAlA yajurveda hai, vaha aizvarya ko dene vAlA aura maMgala karane vAlA hai| Yajur-Veda has the face of a goat, and holds a string of prayer-beads in the right hand and a goad in the left. Yajur-Veda is yellow in colour, and bestows good fortune and auspiciousness. (10).

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devatAmUrti-prakaraNam sAmaveda 79 nIlotpaladalAbhAsaH sAmavedo hayAnanaH / akSamAlAnvito dakSe vAme kambudharaH smRtaH // 11 // nIla kamala ke samAna kAnti vAlA, ghor3A ke jaisA mukha vAlA, dAhine hAtha meM akSa mAlA aura bA~yeM hAtha meM zaGkha ko dhAraNa karane vAlA sAmaveda hai 1 * Possessing the lustre of the blue lotus is Sama-Veda, with the face of a horse, and holding a string of prayer-beads in the right and a conchshell in the left hand. (11). atharvaNa veda atharvaNAbhidho vedo dhavalo markaTAnanaH / akSasUtraM ca khadvAGgaM bibhrANo vijayazriye // 12 // atharvaNaveda sapheda varNa vAlA, vAnara ke jaisA mukha vAlA, dAhine hAtha meM mAlA aura bA~ye hAtha meM khaTvAMga (zivajI kA eka zastra) ko dhAraNa karane vAlA / yaha vijaya lakSmI dene vAlA hai / . hai Atharvan-Veda is white in colour and has the face of an ape. Atharvan-Veda holds a string of prayer-beads in the right hand and a khatvanga - a club topped with a skull, which is regarded as a weapon of Siva, and is frequently carried by ascetics in the left. This statuc bestows riches and good fortune. (12). nRtyazAstra nRtyazAstraM sitaM ramyaM mRgavaktraM jaTAdharam / akSasUtraM trizUlaM ca bibhrANaM tatrilocanam // 13 // nRtya zAstra kI mUrti sapheda varNa kI, manohara hiraNa ke mukha vAlI, jaTA ko dhAraNa karane vAlI, eka hAtha meM akSamAlA aura dUsare hAtha meM trizUla ko dhAraNa karane vAlI aura tIna netra vAlI hai / Nritya-shastram is white in colour, with the face of an

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80 devatAmUrti-prakaraNam attractive deer and long matted hair (jata). The three-eyed Nritya-shastram holds a string of prayer-beads in one hand. and a trident (trishul) in the other. (13). brahmA ke mandira meM dUsare devoM kA sthApana pada AgneyAM tu gaNaM proktaM mAtRsthAnaM ca dkssinne| nairRtye tu sahasrAkSaM vAruNyAM jalazAyinam // 14 // . vAyavye pArvatIrudrau grahAzcaivottare smRtaaH| IzAne ca zriyA devI prAcyAM tu dharaNIdharaH // 15 // brahmA ke mandira meM Agneya koNa meM gaNeza, dakSiNa dizA meM mAtRdevatA, nairRtya koNa meM indra, pazcima dizA meM viSNu, vAyavya koNa meM pArvatI aura mahAdeva, uttara dizA meM nava graha, IzAnakoNa meM lakSmI devI aura pUrva meM zeSanAga ko sthApana kreN| The positioning of other deities in, a temple dedicated to Brahma should be as follows :-Gana (Ganesh) should be installed in the south-eastern quarter, Mother-goddess in the southern, Indra in the south-western and Vishnu in the western. (14). In the north-western quarter should be Parvati and Rudra (Siva), with the Nava-grahas(Nine Planets) in the northern, the goddess Shree (Lakshmi) in the north-eastern and the Dharnidhar who holds up the Earth on his hood (Sheshnag), in the eastern quarters respectively. (15). brahmA ke ATha dvArapAla brahmaNo'STau pratIhArAH kathayiSyAmyanukramAt / puruSAkAragambhIrAH sakUrcA mukuTojjvalA: // 16 // brahmA ke ATha pratIhAra (dvArapAla) haiN| unako anukrama se maiM khuuNgaa| ve dvArapAla puruSa ke AkAra vAle gambhIra svAbhAva vAle, dAr3hI aura mUMcha vAle, mastaka para zobhAyamAna mukuTa dhAraNa karane vAle haiN|

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81 devatAmUrti-prakaraNam . Brahma has eight door-keepers, whom I (Mandan) shall now describe one-by-one. These guardians of the portals are human-like in appearance, and grave by nature. They are bearded and wear shining crowns. (16). pUrva dizA ke dvArapAla padmaM srucAkSaraM daNDaH satyanAmA tu vAmataH / savyApasavyayogena padmaM daNDazcare dharmakaH // 17 // pUrva dizA ke dvAra ke bA~yeM bhAga meM satya nAma kA dvArapAla hai, usake dAhine hAtha meM kamala aura homa karane kI ka>> hai| bA~ye hAtha meM pustaka aura daNDa hai| dUsarA pUrva dizA ke dAhine bhAga meM dharma nAma kA dvArapAla hai| usake nIce ke bA~yeM hAtha meM kamala aura Upara ke bA~yeM hAtha meM daNDa hai| Upara ke dAhine hAtha meM homa karane kI kI aura dAhine hAtha meM pustaka hai| The door-keeper' who stands to the left of the eastern entrance is called Satya. He holds a lotus, the long-handled spoon for offering oblations to the sacrificial fire, a book and the rod of justice or danda in his four hands. The door-keeper who stands to the right of the eastern door is called Dharmak, and in his hands are the same attributes as Satya but in the opposite order. (17). dakSiNa dizA ke dvArapAla akSaM. padmAgamau daNDaM karairdhatte priyodbhvH|| daNDAgamasrucAphalairjaya: syAt sarvakAmadaH / 18 // dakSiNa dizA ke bA~yI ora priyodbhava nAma kA dvArapAla hai, usake dAhine ... 1. 2. 3. 4. mu. dNshN| mu. sptnaamaa| mu. kamaNDaluJca mu. akSapadmavAmadaNDakamalaM ca matodbhavaH / mu. kAlaM

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. . devatAmUrti-prakaraNam hAthoM meM krama se mAlA, kamala, pustaka aura daNDa haiN| dAhinI ora jaya nAma kA dvArapAla hai| usake hAthoM meM daNDa, pustaka, karjA (yajJa karane kI kI) aura phala At the southern door, the door-keeper standing on the left is called Priyodbhava, while the one on the right is called Jaya or Yagna-jaya. Priyodbhava holds a string of prayer-beads, a lotus, a book and the rod of danda in his four hands, and Jaya possesses a danda, a book, the long-handled oblation spoon and fruit in his hands. (18). pazcima dizA ke dvArapAla akSasUtraM gadAkheTaM daNDaJca vijayanAmakaH / adhohastApasavyena kheTako yajJabhadrakaH // 19 // pazcima dizA ke bA~yI ora vijaya nAma kA dvArapAla hai| usake dAhine nIce ke hAtha meM akSasUtra, gadA, DhAla aura daNDa haiN| dAhinI tarapha yajJabhadra nAma kA dvArapAla hai, usake nIce ke bA~yeM hAtha meM krama seM DhAla, daNDa, mAlA aura gadA The two door-keepers at the western door are known as Vijay and Yagnabhadraka. Vijay, standing to the left of the portal, holds a string of prayer-beads, a mace (club or gada), a khetam or shield (the term kheta' is also used for Balaram's club), and a danda respectively in his four hands (beginning from the lower right hand). Yagnabhadraka, standing to the right, holds a shield, danda, prayer-beads and mace in his hands (beginning from the lower left hand). (19). uttara dizA ke dvArapAla akSapAzAMkuzAn daNDo bhava: syAt sarvakAmadaH / daNDAkuMzapAzotpalaM vibhava: sarvazAntidaH // 20 // 1. mu. vijayo ddht| mu. khddgyuk|

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devatAmUrti-prakaraNam . ___ uttara dizA ke bA~yI ora bhava kA nAma kA dvArapAla hai vaha nIce ke dAhine hAtha meM akSamAlA, pAza, (phAMsI), aGkuza aura daNDa dhAraNa kiye hai| dAhinI ora vibhava nAmakA dvArapAla hai, vaha nIce ke dAhine hAtha meM daNDa, aGkuza (phAMsI) aura kamala ko dhAraNa kiye hai| Bhava is the door-keeper positioned at the left of the northern door. He holds a string of prayer-beads, a noose, a goad and a danda. To the right of the door stands Vibhava holding a danda, a goad, a noose and a lotus. (20). sUrya kI bAraha mUrtiyoM kA svarUpa zRNu vatsa ! pravakSyAmi sUryabhedAMzca te jaya ! yAvatprakAzaka: sUryo yAvanmUrtibhirIrita: // 21 // vizvakarmA apane santAna jaya nAma ko sambodhana karake kahate haiM ki aba maiM sUrya deva kI mUrtiyoM kA bheda khuuNgaa| jaba taka sUrya prakAzamAna hai, taba taka mUrti se bhI preraNA milatI rhegii| "Listen child." (says the Creator); "I shall now tell you, O Jaya, about the different kinds of statues of Surya, the Sun. As long as the Sun continues to provide light, idols dedicated to Surya will prove beneficial and be revered." (21). 1. sudhAmA mUrti dakSiNe pauSkarI mAlA kare vAme kamaNDaluH / padmAbhyAM zobhitau hastau sudhAmA prathamA smRtA // 22 // __. sUrya kI sudhAmA nAma kI pahalI mUrti ke nIce ke dAhine hAtha meM kamala kI mAlA aura bA~yeM hAtha meM kamaNDalu hai aura Upara ke donoM hAthoM meM kamala. haiN| (i) Sudhama = The first form (of the Sun) to be called to 1. 2. mu. zobhitakarau ( rA ? ) mu. sudhAmA (tA?)

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.. . devatAmUrti-prakaraNam mind is that of resplendent Sudhama, holding lotuscs in both his upper hands, with a garland of blue lotus flowers in his lower right hand and a kamandalu in his lower left hand. (22).. 2. mitrA zUlaM vAmakare yasyA dakSiNe soma eva c| mitrA nAmA trinayanA kuzezayavibhUSitA // 23 // . dUsarI mitrA nAma kI sUrya kI mUrti tIna netra vAlI hai, usa ke nIce ke bAyeM hAtha meM trizUla aura dAhinA hAtha varadamudrA yukta hai aura Upara ke. donoM hAtha kamaloM se zobhAyamAna hai| (ii) Mitra= The three eyed Mitra holds a shula (spear) in his lower left hand and (?) the Soma plant /varad-mudra pose . in the lower right. Water-lilies adorn both his upper hands. ,(23). 3. AryamaNI prathame tu kare cakraM tathA vAme ca kaumudii| mUrtirAryamaNI jJeyA sapadmau pANipallavau // 24 // tIsarI AryamaNI nAma kI sUrya kI mUrti hai, usake dAhine hAtha meM cakra aura bA~yeM hAtha meM gadA hai tathA Upara ke donoM hAtha kamaloM se zobhAyamAna haiN| (iii) Aryamani = The statue of Aryamani * depicts the Sun with a disc (chakra) in his lower right hand and a kaumudi mace in his left. The two upper arms are adorned with lotus blossoms. (24). 4. raudrI akSamAlA kare yasyA vajaM vAme prtisstthitm| sA mUrtI raudrI jJAtavyA pradhAnA padmabhUSitA // 25 // cauthI raudrI nAma kI sUrya kI mUrti hai| usake dAhine hAtha meM akSamAlA aura bA~yeM hAtha meM vajra hai| Upara ke donoM hAtha kamala se zobhAyamAna haiN|

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devatAmUrti-prakaraNam . ___ (iv) Raudri = The Raudri form of Surya may be known by the string of prayer-beads held in the lower right hand and a vajra or thunder-bolt in the left, and lotuses adorning both the upper hands. (25). 5. vAruNI cakraM tu dakSiNe yasyA vAme pAza: sushobhn:| sA vAruNI bhavenmUrtiH padmavyAkaradvayA // 26 // pA~cavIM vAruNI nAma kI mUrti hai, usake dAhine hAtha meM cakra aura bA~yeM hAtha meM pAza hai| Upara ke donoM hAtha kamaloM se yukta haiN| (v) Varuni = The idol of Varuni is also glorious to behold. Varuna has lotuses in both of his upper hands, a chakra (disc) in the lower right hand and a noose (pash) in the left. (26). 6. sUryamUrti kamaNDalurdakSiNato'kSamAlA caiva vAmataH / sA bhavet sasmitA sUrya-mUrtiH padmavibhUSitA // 27 // chaThI sUrya mUrti hai kucha haMsatI huii| usake dAhine hAtha meM kamaMDalu aura bA~yeM hAtha meM akSamAlA hai| Upara ke donoM hAtha kamaloM se zobhAyamAna haiN| (vi) Surya= Holding a kamandalu in his lower right hand and an akshamala (string of prayer-beads) in his lower left, and with both his upper hands adorned with lotuses, is the gently smiling statue of Surya. (27). 7. bhagamUrti yasyAstu dakSiNe zUlaM vAmahaste sudrshnm| bhagamUrtiH samAkhyAtA padmahastA zubhAya vai // 28 // jisa mUrti ke nIce ke dAhine hAtha meM trizUla aura bA~yeM hAtha meM cakra hai tathA Upara ke donoM hAtha kamala yukta haiN| sAtavIM sUrya kI bhaga nAma kI mUrti

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86 ... devatAmUrti-prakaraNam kalyANa ke liye haiN| ___(vii) Bhaga = The idol which possesses a shula (spear) in the lower right and the Sudarshan discus in the lower left hand, and is further embellished by lotuses held in the two upper arms, is known as Bhaga. This seventh form of the Sun is auspicious for all. (28). 8. vizvamUrti atha vAmakare mAlA trizUlaM dakSiNe kre| . sA vizvamUrtiH sukhadA padmalAJchanalakSitA // 29 // ... AThavIM vizvamUrti nAma kI sUrya mUrti hai, vaha zubha dene vAlI hai| usake nIce ke bA~ye hAtha meM mAlA aura dAhine hAtha meM trizUla hai, tathA Upara ke donoM hAtha kamala se suzobhita haiN| ____(viii) Vishvamurti = The name of the eighth idol is Vishvamurti (Note: This is usually Vivaswat in other iconographical traditions). This is also auspicious for everyone. Vishvamurti holds a garland in his lower left hand and a trident in his lower right hand, with both the upper arms adorned by lotuses. (29). 9. pUSA pUSAkhyasya ravermUrti-rdvibhujA pdmlaanychnaa| sarvapApaharA jJeyA sarvalakSaNalakSitA // 30 // nauvIM pUSA nAma kI sUrya mUrti hai vaha do hAtha vAlI hai, ve donoM hAthoM meM kamala dhAraNa karane vAlI aura sarva zubha lakSaNoM se yukta aura saba pApoM ko haraNa karane vAlI hai| ___ (ix) Pushan = Pushan is depicted as having two arms. Holding lotuses in both hands, Pushan bears all the auspicious marks and insignia, and is believed to absolve the sins of every being. (30).

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devatAmUrti-prakaraNam sAvitrI dakSiNe tu gadA yasyA vAmahaste sudarzanam ! padmavyagrA tu sAvitrI - mUrttiH sarvArthasAdhinI // 31 // dasavIM sAvitrI nAma kI sUrya mUrti hai, usake dAhine hAtha meM gadA aura bA~yeM hAtha meM sudarzana cakra hai tathA Upara ke donoM hAtha kamala se suzobhita hai / vaha saba kArya ko siddha karane vAlI hai / 10. (x) Savitri = Bearing a gada (mace) and the Sudarshan disc in his lower right and left hands respectively, and holding lotuses in both his upper hands, the statue of Savitri grants success in all tasks. (31). 11. tvASTrI 87 sruvaM ca dakSiNe haste vAme homajakIlakam / mUrttistvASTrI bhaved vatsa ! padmaruddhakaradvayA // 32 // gyArahavIM tvASTrI nAma kI sUrya mUrti hai| usake dAhine hAtha meM homa karane kA sruvA - (karchA vizeSa ) hai aura bA~yeM hAtha meM yajJakIla hai / Upara ke donoM hAthoM meM kamala hai| (xi) Tvashtri His right hand holds the long-handled spoon for pouring oblations on the sacrificial altar and his left the homajakeelakam - the pillar or pin of the sacrifice. Such ( O Child ) is the statue of Tvashtri. Tvashtri holds lotuses in his two upper hands. (32). 12. vaiSNavI = 1. sudarzanakarA savye padmahastA tu vAmataH / eSA sA dvAdazI mUrttirviSNoramitatejasaH // 33 // bArahavIM viSNu nAma kI sUrya mUrti aparimita teja vAlI hai| usake dAhine hAtha meM sudarzana cakra aura bA~yeM hAtha meM kamala hai / mu. homaja ( lIlakaM ? kajjalam )

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devatAmUrti-prakaraNam (xii) Vishnu Holding the Sudarshan chakra in his right hand, and a lotus in his left, is the twelfth type of statue of the Sun god. Known as Vishnu, this is an idol of especial splendour and exceeding lustre. ( 33 ) . 88 sUrya ke bAraha nAma dhAtA mitro'ryamA rudro varuNaH sUrya eva ca / bhago vivasvAn pUSA ca savitA tvaSTR - viSNukau // 34 // iti dvAdaza sUrya - mUrttayaH / dhAtA, mitra, aryamA, rudra, varuNa, sUrya, bhaga, vivasvAna, pUSA, saMvitA, tvaSTR aura viSNu ye bAraha sUrya hai / Dhata, Mitra, Aryama, Rudra, Varuna, Surya, Bhaga, Vivasvan, Pushan, Savita, Tvashttra and Vishnu- these are the twelve statues of the Sun. (34). devoM kA pUjana krama sUryo vinAyako viSNuzcaNDI zambhustathaiva ca / anukrameNa pUjyante phaladAH syuH sadA'rcane // 35 // devoM ke pUjana karate samaya sUrya, gaNeza, viSNu, caNDI devI aura mahAdeva ina pA~coM devoM kI pUjA anukrama se hamezA karane se vaha phaladAyaka hai / Worshipping Surya, Vinayak (Ganesh), Vishnu, Chandi and Shambhu (Siva) regularly, in the order cited, will always yield positive results for the worshipper. ( 35 ). sUryAyatana Agneye tu kujaH sthApyo gururyAmye pratiSThitaH / nairRtye rAhusaMsthAnaM zukrasthAnaM ca pazcime // 36 // vAyavye ketusaMsthAnaM saumyAyAM budha eva ca / IzAne ca zani: sthApyaH prAcyA~ sthApyazca candramAH // 37 //

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devatAmUrti-prakaraNam .. sUrya ke mandira ke madhya meM sUrya, agni koNa meM maMgala, dakSiNa meM guru, nairRtya koNa meM rAhu, pazcima dizA meM zukra, vAyavya koNa meM ketu, uttara dizA meM budha, IzAna koNa meM zani aura pUrvadizA meM candramA sthApana karanA caahiye| In a temple dedicated to the Sun, statues of other deities should be so arranged that, with the idol of Surya in the centre, Kuja (i.e. Mangal or Mars) is in the south-eastern quarter, Guru (Brihaspati or Jupiter) in the south, Rahu in the south-western, and Shukra (Venus) in the western. (36). Ketu should be in the north-western direction, with Budh (Mercury) in the .northern, Shani (Saturn) in the north-castern, and Chandrama (the Moon) in the eastern direction.(37). devoM kA paJcAyatanasUryaikadantAcyutazaktirudrA, vighnezazaktIzvaraviSNusUryAH / zrInAthavighnezabhagAmbikezAzcaNDIza hairambapataGgakRSNAH // 38 // zrIkaNThasUryAkhurathAmbikAjA: pradakSiNaimadhyavidikSu pUjyAH // svasthAnagA: sarvamanorathAMste yacchanti vighnAni paratrasaMsthAH // 39 // sUrya ke paJcAyatana meM sUrya ko madhya meM sthApana karake pradakSiNA krama se pUrva meM gaNeza, dakSiNa meM viSNu, pazcima meM zakti devI aura uttara meM mahAdeva ko sthApana kreN| gaNeza ke paJcAyatana meM gaNeza ko madhya meM sthApana karake usake pUrva meM zakti devI, dakSiNa meM mahAdeva, pazcima meM viSNu aura uttara meM sUrya ko sthApana kreN| viSNu ke paJcAyatana meM madhya meM viSNu ko sthApana karake usake pUrva meM gaNeza, dakSiNa meM sUrya, pazcima meM zakti devI aura uttara meM mahAdeva ko sthApana kreN| zakti devI ke paJcAyatana meM madhya meM zakti devI ko sthApana karake usake pUrva meM mahAdeva, dakSiNa meM gaNeza, pazcima meM sUrya aura uttara meM viSNu ko sthApana kreN| mahAdeva ke paJcAyatana meM madhya meM mahAdeva ko sthApana karake usake pUrva meM sUrya, dakSiNa meM gaNeza, pazcima meM zakti devI aura uttara meM viSNu ko sthApana kreN| isa prakAra jo devI ke paJcAyatana meM pradakSiNA krama se sthApana karane kA

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devatAmUrti-prakaraNam likhA hai, usI anusAra apane - apane sthAna meM sthApana karake pUjana kiyA jAya to saba prakAra ke mana icchita phaloM ko dete haiM, parantu ye eka dUsare ke sthAna meM sthApana karane se aneka prakAra ke vighnoM ko karate haiN| 90 The recommmended places for different idols in the panchayatana type of temples are as follows: In a Surya panchayatana, the idol of the Sun should be in the centre, with Ganesh to the east, Vishnu. to the south, the goddess Shakti (another form of Parvati or Durga) to the west, and Rudra (Siva) to the north, in the order of circumambulation. In a Ganesh panchayatana, which has the statue of Ganesh in the centre, Shakti should be to the east of it, Siva to the south, Vishnu to the west and Surya to the north. In a Vishnu panchayatana, on the other hand, Ganesh should be to the east. of the central idol of Shrinath (Vishnu), Surya to the south, Shakti to the west and Siva to the north, while in a panchayatana temple dedicated to Chandi (Shakti or Durga), the idol of the goddess should be in the centre, with the statue of Siva to east, Ganesh to the south, Surya to the west and Vishnu to the north. (38). In a Siva panchayatana, the statue of Surya should be to the east of the central image of Lord Shreekantth (Siva), with Ganesh to the south, the goddess Shakti to the west and Vishnu to the north. These are the prescribed norms. Statues positioned in this way and worshipped in the order of circumambulation (going from left to right, thereby always presenting the right side of the worshipper to the main idol), will be beneficial and fulfill all wishes and desires. If, however, idols are incorrectly situated, being wrongly installed in each other's places, they will prove obstructive in several ways. (39). sUrya ke dvArapAla daNDI ca piGgalazcaiva AnandazcAntakastathA / citro vicitro jJAtavya: kiraNAkSaH sulocanaH // 40 //

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devatAmUrti-prakaraNam sarve ca puruSAkArA: kartavyA: shaantimicchtaa| caturiSu ca sthApyA dizAJcaiva pradakSiNe // 41 // daNDI, piMgala, Ananda, aMtaka, citra, vicitra kiraNAkSa aura sulocana ye ATha sUrya ke pratIhAra (dvArapAla) haiN| sukha zAnti ko cAhane vAle puruSa ina AThoM dvArapAloM kI mUrtiyA~ puruSAkAra banAve aura pUrvAdi pradakSiNa krama se cAroM dvAra para sthApana kreN| ___ The eight door-keepers of Surya are Dandi, Pingal, Anand, Antak, Chitra, Vichitra, Kiranaksha. and Sulochan. (40). Those who desire happiness and peace should have statues of these cight door-keepers constructed and installed (according to the order of circumambulation) at the four portals of a Sun temple. These statues should be 'Purushakara' or like a human in form and dimension. (41). pUrvadizA ke dvArapAla-. .. pratarjanyUrdhvakiraNaM tAmracUDaM daNDAyudham / daNDI vAmavibhAge tu piGgala: syAdata: zRNu // 42 // . kiraNe tu yadA zakti: kiraNaM taamrcuuddke| tarjanI daNDapUrvaM ca piGgala: pUrvadakSiNe // 43 // Upara kI huI tarjanI, kiraNa ke AkAra kA zastra, tAmracUDa nAma kA zastra aura daNDa inaM AyudhoM ko dhAraNa karane vAlA, pUrva dizA meM bA~yI ora daNDI nAma kA dvArapAla hai| kiraNa ke sthAna meM zakti aura tAmracUDa ke sthAna meM kiraNa ko tathA tarjanI aura daMDa pUrvavat dhAraNa karane vAlA, pUrva dizA meM dAhinI ora piMgala nAma kA dvArapAla hai| The dvarapala watching over the left side of the eastern entrance is called Dandi. Dandi has a raised finger (tarjani), and bears a kiran or ray, a Tamrachuda weapon and the danda rod of justice and law in his hands. (42).

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devatAmUrti-prakaraNam To the right of the door stands Pingal, who holds the Shakti weapon in place of Dandi's kiran, and a kiran instead of the Tamrachudam held by Dandi. Pingal too has the raised forefinger as well as rod of justice (danda) as has been described above for Dandi. (43). 92 dakSiNa dizA ke dvArapAla tarjanyau dve vajradaNDau dadhAnA''nandakaH 1 tarjanIdaNDApasavyaM sa bhavedantakaH zubhaH donoM hAtha kI do tarjanI, vajra aura daNDa ko dhAraNa karane vAlA Ananda nAma kA dvArapAla sUrya kI dakSiNa dizA ke dvAra kI bA~yI ora sthApana karanA / Upara ke zastroM meM tarjanI aura daNDa bA~ye hAthoM meM tathA dAhine hAthoM meM karane se aMtaka nAmaka dvArapAla hotA hai, vaha dAhinI ora sthApana kareM / pazcima dizA ke dvArapAla 1. 2. Holding up the forefingers of two hands, and possessing a vajra (or thunderbolt) and danda is the door-keeper Anand, who stands to the left of the southern entrance to a Surya shrine. To the right of the doorway is Antak's place. Antak also has two raised forefingers, and holds the danda and vajra, but in opposite hands to Anand's. (44). 3. smRtaH / // 44 // dve tarjanyau padmadaNDau citro dhatte sa vAmataH / tarjanI daNDApasavye vicitro dakSiNe sthitaH // 45 // donoM hAtha kI do tarjanI, padma aura daNDa ko dhAraNa karane vAlA citra nAma kA dvArapAla pazcima dizA ke dvAra kI bAyIM ora sthApanA karanA / Upara ke zastroM meM tarjanI aura daNDa ko cauthe hAtha meM tathA dAhinI ora tarjanI evaM padma tIsare hAtha meM dhAraNa karane vAlA vicitra nAma kA dvArapAla dAhinI ora mu. tarjanI dvau vaktrAnAM ( ? ) daNDenAnandakaH / mu samavedAntakA zubhAH / mu. tarjanA dvaupamanI daNDaM daNDAnte citrakA bhavet / tarjanI daNDApasavyaM sa bhavetadvicitrakaH /

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izAna Ishan indra Indra THE EIGHT DIKPALAS aSTa dikpAla MOR8888888 na888888 2835268603800 WOR DurauINDINAS MALINIM kubera Agni .. Kuber

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Na. AD 98598888888888 . ketu TH guru Ketu Guru THE NAVA GRAHAS navagraha . - rAhu Rahu zukra. Shukra

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93 devatAmUrti-prakaraNam sthApita krnaa| With the forefingers of both hands raised, and holding a lotus and a danda stands Chitra, guarding the left side of the western portal. To the right of the door stands Vichitra, with the same attributes but held in opposite hands. (45). uttara dizA ke dvArapAla tarjanyau kiraNaM daNDaM kiraNAkSastu dhArayet / ' tarjanIdaNDApasavye kartavyaH sa sulocana: // 46 // iti sUryAyatana-pratihArAH / do tarjanI, kiraNa aura daNDa ko dhAraNa karane vAlA kiraNAkSa nAma kA dvArapAla sUrya kI uttara dizA dvAra kI bA~yI ora sthApanA, Upara ke zastroM meM tarjanI aura daNDa ko bA~ye hAthoM meM tathA kiraNa ko dAhine hAthoM meM dhAraNa karane vAlA sulocana nAma kA dvArapAla dAhinI ora sthApana kre| Kiranaksha, with both forefingers raised, and holding a kiran and a danda in his hands, stands to the left of the northern entrance to a 'Surya temple; while Sulochan, with the same attributes but held in opposite hands, stands to the the right. (46). These are the Pratiharas or guardians of a Surya temple. candrazcitre vidhAtavya: zveta: shvetaambraavRtH| dazazvetAzvasaMyukta Arur3ha: syandane zubhe // 47 // dvibhujo dakSiNe pANau gadAM bibhrat pRthUdarIm / vAmastu varado hasta: zazAMkasya nirUpyate // 48 // . iti candramA citrakarma meM candramA sapheda varNa vAlA, sapheda vastra ko dhAraNa karane vAlA, 1. mu. tarjanI dvau kiraNaM ( ? ) daNDAntakiraNodbhave / 2. mu ythaadrm|

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devatAmUrti-prakaraNam zveta varNa vAle daza ghor3oM ke ratha meM baiThA zubha hotA hai| dAhine hAtha meM vizAla peTa vAlI gadA ko dhAraNa karane vAlA aura bA~yA hAtha varadamudrA vAlA aisA candramA kA svarUpa bnaave| ___Moon-Chandra, the Moon god, is white in colour and wears white clothes. Riding, resplendently elevated, on a chariot pulled by ten white horses (47), the two armed Chandra holds a mace with a large rounded belly in his right hand. His left hand is in the varad-mudra or conventional position for bestowing blessings. This is the manner in which Shashank, the Moon, should be portrayed. Such is Chandrama. (48). maMgala dharAputrasya vakSyAmi lakSaNaM citrkrmnni| caturbhujo meSagamazcAGgArasadRzadyutiH // 49 // dakSiNaM bunagaM hastaM varadaM parikalpayet / UrdhvaM zaktisamAyuktaM vAmau zUlagadAdharau // 50 // citrakarma meM maMgala kA lakSaNa kahatA huuN| cAra bhujA vAlA, meMDe kI savArI karane vAlA, aGgAre ke jaisI kAnti vAlA, nIce ke dAhine hAtha meM varadamudrA aura Upara ke dAhine hAtha meM zakti ko tathA bA~yeM hAtha meM trizUla aura gadA ko dhAraNa karane vAlA maMgala hai| i Mangal - Let me now tell you about the attributes of Mars, the Dharaputra, son of Earth, Mangal, for purposes of depicting him. The four armed Mangal has a ram as his mount, and is full of lustre to behold, being bright and radiant like the sparks of a fire (49). His lower right hand is in the mode for blessing, and his upper right hand bear the Shakti weapon, while his two left hands hold a trident and a mace. (50). siMhArUDhaM budhaM bakSye krnnikaarsmprbhm|

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devatAmUrti-prakaraNam 95 pItamAlyAmbaradharaM svarNabhUSAvibhUSitam // 51 // varadaM khaDgasaMyuktaM kheTakena samanvitam / gadayA ca samAyuktaM bibhrANaM dozcatuSTayam // 52 // aba budha kA svarUpa kahatA hU~ / siMha para baiThA huA, kanera ke puSpa jaisI sapheda kAnti vAlA, pIle varNa kI mAlA aura pIle vastra ko dhAraNa karane vAlA, suvarNa ke gahanoM se zobhAyamAna, cAra bhujAoM meM krama se varadamudrA, talavAra, DhAla aura gadA ko dhAraNa karane vAlA aisA budha hai / Budh-I (Mandan) shall now describe Budh, the planet Mercury. Seated on a lion, and possessing radiance like the flower of a Karnikara tree, Budh wears yellow clothes and a yellow garland, and is adorned with ornaments made of gold ( 51 ). One of his four hands (the lower right) is in the blessing mode-varad-mudra, while the others hold a sword (khadaga), a shield (khetaka ), and mace (gada) respectively. Budh removes confusion and delusions. ( 52 ). guru aura zukra pIto devagururlekhyaH zubhrazca bhRgunandanaH / caturbhirbAhubhiryuktazcitrakarmavizAradaiH // 53 // varadau sAkSasUtrau ca kamaNDaludharau tathA / daNDinau ca tathA bAhU bibhrANau parikalpayet // 54 // guru pIle varNa kA aura zukra zveta varNa kA hai, ye donoM cAra-cAra bhujA vAle haiN| ina donoM ke hAthoM meM varadamudrA, mAlA, kamaNDalu aura daNDa haiM / isa prakAra citrakArya meM catura logoM ne kalpanA kI hai| Guru and Shukra Guru, the planet Jupiter, is yellow in colour, while Shukra, or Venus, is white. Both are portrayed by the wise as having four arms (53). Both hold one hand in the blessing position, and have a string of prayer-beads, a kamandalu, and a danda respectively in their other three hands. (54).

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96 zani devatAmUrti-prakaraNam sauriM nIlasamAbhAsaM gRdhrAruDhaM caturbhujam / varadaM bANasaMyuktaM cApazUladharaM likhet // 55 // zani nIla varNa kA, gIdha pakSI kI savArI karane vAlA, cAra bhujA vAlA hai / pratyeka bhujA meM varadAna, bANa, dhanuSa aura trizUla ko dhAraNa karatA hai / Shani--Blue-hucd Shani, the planet Saturn, rides a vulture. 3 He has four arms. One hand is in the blessing-mode, while the other thrce hold an arrow, a bow and a trident respectively. (55). rAhu siMhAsanagataM rAhuM karAlavadanaM likhet / varadaM khaDgasaMyuktaM kheTazUladharaM likhet // 56 // rAhu siMhAsana para baiThA huA, bhayaGkara mukha vAlA hai, bhujAoM meM varadAna, talavAra, DhAla aura trizUla ko kAraNa karane vAlA hai / Rahu-Rahu should be depicted with a fearsome face, and seated on a Simhasana (a throne). One hand is in the blessing position and the others hold a sword, a shield and a trident. (56). ketu dhUmrA dvibAhavaH sarve varadAzca gadAdharAH / gRdhrapRSThasamArUDhA lekhanIyAstu ketavaH // 57 // saba jAti ke ketu dhUoN ke jaise varNa vAle, do bhujA vAle, varadAna aura gadA ko dhAraNa karane vAle aura gIdha pakSI kI savArI karane vAle haiM 1 Ketu - Ketu is delineated as being the colour of smoke. He has two arms, with one hand in the blessing position and the other holding a mace. Ketu rides on the back of a vulture. This description applies to all categories of images of Ketu ( 57 ). 1. mu. tilasamAbhAsaM / 2. rUpamaNDana Adi granthoM meM bhaiMsA kI savArI karane vAlA likhA hai / 3. According to 'Rupa - Mandan' and other texts, Shani rides on a buffalo.

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izAna Ishan indra Indra *MONE THE EIGHT DIKPALAS : aSTa dikpAla VAIRUTINITIMI agni Agni Kuber

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HTTERRAREER 988 THE EIGHT DIKPALAS aSTadikpAla PRASH AI vAyu Vayu / yama Yama nirRti Nirrati oppos ra Paisa NUD MITIMON UV varuNa Varuna

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devatAmUrti-prakaraNam grahoM kA svarUpa grahA: kirITina: kAryA navatAlapramANakAH / . ratnakuNDalakeyUrahArAbharaNabhUSitAH // 58 // iti nvgrhaaH| saba graha mukuTa dhAraNa karane vAle, nava tAla (108 aGgula) ke pramANa vAle, rala ke kuMDala, bAjU aura hAra ke AbhUSaNoM se zobhAyamAna haiN| The Nava-grahas or 'Nine Planets' . all wear crowns (kireet). Their dimensions should be of the 9 talas scalc. The Nava-grahas are adorned with jewelled earrings, armlets and necklaces. (58). . Such are the Nava-grahas. (Note : In Indian mythology, the Nava-grahas generally mean Surya (the sun), Chandra (the moon), Mangal (Mars), Budh (Mercury), Guru or Brihaspati (Jupiter), Shukra (Venus), Rahu and Ketu). dazadigpAloM kA svarUpa1. indra (soma)-: varadaM. vAMkuzaM ca kamaNDaluvidhRtkaram / gajAruDhaM sahasrAkSamindraM pUrvadizi sthitam // 59 // varadAna, vajra, aGkuza aura kamaNDalu ko dhAraNa karane vAlA, hAthI ke vahAna vAlA, hajAra netra vAlA aura pUrva dizA kA adhipati indra deva hai| Sculptures of the dikapalas or the regents of the directions should be as follows : (i) Indra--Seated on an elephant, with one hand in the varad or blessing mode, and holding a thunderbolt, a goad and a kamandalu respectively in the other three hands, is Indra, the 'Thousand-Eyed' Lord of the Eastern Quarter. (59).

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98 2. agni devatAmUrti-prakaraNam varadaM zaktihastaM ca mRNAlaM ca kamaNDalum / jvAlApuJjanibhaM devaM meSArUDhaM hutAzanam // 60 // varadAna, zakti, kamala daNDa aura kamaNDalu ko dhAraNa karane vAlA, jvAlA ke samUha jaisI kAnti vAlA, meMDe kI savArI karane vAlA agni deva hai, vaha agni koNa kA adhipati hai / (ii) Agni - With one hand in the blessing position, and the other three holding the Shakti weapon / spear, lotus stalk ( 'mrinal' also means the root of a fragrant grass) and a kamandalu respectively, is Agni, the shining god, who glows with the light of fires surrounding him. Agni rides a ram, and is the Lord of the South-Eastern Quarter. ( 60 ) . 3. yam lekhanI pustakaM haste kukkuTaM daNDameva ca / mahAmahiSamArUDhaH kRSNAGgazca yamo bhavet // 61 // kalama, pustaka, kukkuTa jAti kA astra vizeSa aura daNDa ko hAtha meM dhAraNa karane vAlA, bar3e bhaiMse para baiThA huA aura kAle varNa kA yamadeva hai / yaha dakSiNa dizA kA mAlika hai / (iii) Yama - Holding a pen, a book, a kukkutam weapon and a danda is the Lord of the Southern Quarter, Yama. The black-complexioned Yama rides a gigantic buffalo. (61). 4. nirRti-- khaDgakheTakahastaM ca kartRkA vairimastakam / daMSTrAkarAlAsyaM kuryAt zvAnArUDhaM ca nairRtim // 62 // bar3e talavAra, DhAla, kaiMcI aura zatru kA mastaka hAtha meM dhAraNa karane vAlA, dA~ta vAlA, bhayaGkara mukha vAlA aura kutte kI savArI karane vAlA nairRti deva hai / yaha nairRta koNa kA mAlika hai|

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devatAmUrti-prakaraNam (iv) Nirtrati- Nirtrati, the Lord of the South-Western Quarter, holds a sword, a shield, a karttikam ( a small sword / or scissors), and a enemy's head in his hands. He has large teeth and a terrifying face. Nirtrati's mount is a hound. (62). 5. varuNa varadaM pAzapadmaM ca kamaNDaluM tathA kare / nakrArUDhaM ca karttavyaM varuNaM pazcimAdizi // 63 // varadAna, pAza (phA~sI), kamala aura kamaNDalu ko hAtha meM dhAraNa karane vAlA, magara kI savArI karane vAlA varuNa deva hai / vaha pazcima dizA kA svAmI hai / 99 (v) Varuna -- With one hand in the varad-mudra of blessing, and holding a noose, a lotus and a kamandalu in the other hands, is Varuna, the Lord of the Western Quarter. His mount is a Nakra or crocodile. (63). 6. vAyu-- varaM dhvajapatAkaM ca kamaNDaluM tathA kare / mRgArUDhaM prakarttavyaM vAyudevaM maruddizi // 64 // varada muMdrA, dhvajA, patAkA aura kamaNDalu ko hAtha meM dhAraNa karane vAlA, hiraNa kI savArI karane vAlA aura vAyu koNa kA adhipati vAyu deva hai / (vi) Vayu-Vayu holds up one hand in blessing and possesses a dhvaja (flag), a pataka (banner; also a flag-standard) and a kamandalu in his other three hands. He rides on a deer, and is the Lord of the North-Western Quarter. (64). 7. kubera gadA-nidhi-bIjapUraM kamaNDaluM kare tathA / gaMjArUDhaM prakarttavyaM saumyAyAM dhanadaM dizi // 65 // gadA, nidhikuMbha, bIjorA aura kamaNDalu hAtha meM dhAraNa karane vAlA, hAthI kI savArI karane vAlA aura uttara dizA kA adhipati kubera deva hai /

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100 ... devatAmUrti-prakaraNam __ (vii) Kuber-Kuber, the Lord of the Northern Quarter, 'rides an elephant. He holds a mace, the nidhi receptacle signifying Kuber's treasure-hoard, a citron (beejpurakam) and a kamandalu in his hands. (65). 8. IzAna varaM caiva trizUlaM ca nAgendraM biijpuurkm| vRSArUDhaM prakarttavyamIzAnaM mitrakoNake // 66 // . varadAna, trizUla, sarparAja aura bIjorA ko dhAraNa karane vAlA, vRSabha (naMdI) kI savArI karane vAlA aura IzAna koNa kA svAmI IzAna deva hai| . (viii) Ishan-Ishan, the Lord of the North-Eastern Quarter, rides on a bull. He holds up one hand in blessing, and has a trident, a king-cobra snake, and a citron (beejpurakam) in his other hands. (66). yasmAd brahmA vedavidyA: samastA, AdityAdyA: khecarA dhissnnyckrm| dikpAlAdyaM vyaktarUpaM ca jAtaM, vandyo viSNurvizvasRk. pAlako'sau // 67 // . . iti zrIkSetrAtmaja-sUtrabhRnmaNDanaviracite vAstuzAstre devatAmUrti-prakaraNe rUpAvatAre brahma-sUrya-navagraha-dazadikpAlAdhikArazcaturtho'dhyAyaH / jisase brahmA vedavidyA sUrya Adi samasta graha, nakSatra aura dikpAla Adi pratyakSa rUpa hue| aise mahAna jagata kA pAlane karane vAle viSNu bhagavAna vaMdanIya haiN| 67 / zrIkSetrasUnu sUtradhAra maNDana viracita devatA-mUrti-prakaraNa kA .. cauthA adhikAra pUrNa huaa| 1. mu. (mitra ? mantri) konnke|

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101 devatAmUrti-prakaraNam . All praise to that Universal Power who has given form to Brahma, Vedic knowledge, the Adityas, moon and constellations etc., and the guardians of the different directions. We bow before Vishnu, the Preserver, who looks after this universe. (67). Here ends the fourth chapter of the treatise on architecture - the Devata Murti Prakarnam - composed by Sutrabhrin Mandan, son of Kshetra, in which the form of idols dedicated to Brahma, Surya, the Nava-grahas, and the Keepers of the directions, and so forth, have been discussed.

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102 devatAmUrti-prakaraNam 5 paJcamodhyAyaH brAhmaNa varNa ko sukhadAyaka viSNu mUrtiyA~ nArAyaNaH kezavazca mAdhavo mdhusuudnH| sthApitA mUrtayo hyetA viprANAM sukhadAH sadA // 1 // nArAyaNa, kezava, mAdhava ora madhusUdana ye mUrtiyA~ hamezA brAhmaNoM ko sukha dene vAlI haiN| Statues of Narayan, Keshav, Madhav and Madhusudan will always provide happiness and satisfaction for Brahmins, when installed. (1). kSatriya aura vaizya varNa ko zubhadAyaka mUrtiyA~ madhusUdanaviSNU ca kSatriyANAM phlprdau| trivikramo vAmanazca vaizyAnAmarcane zubhau // 2 // madhusUdana aura viSNu ye kSatriyoM ko zubha phala dAyaka hai| trivikrama aura vAmana kI mUrtiyoM kA pUjana vaizyoM ko zubhadAyaka hai| For Kshatriyas, idols of Madhusudan and Vishnu will prove auspicious and bountiful; and for Vaisyas, thc worship of images 1. mu. madhusUdanaviSNu ca khaDgazUladharaM likhet / kSatriyANAM phlprdau| ..

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103 devatAmUrti-prakaraNam .. of Trivikram and Vaman. (2). zUdravarNa ko zubha mUrtiyA~ pUjitA zredharI mUrtiH zUdrANAM ca sukhprdaa| carmakRdrajakAnAM ca naTasya varaTasya ca // 3 // zrIdhara kI mUrti mocI, dhobI, naTa aura mleccha jAti vAloM ko sukha dene vAlI hai| Worshipping the statue of Shreedhar will bring happiness to Shudras, cobblers and others who work in leather, washermen, dancers, actors and performers, and Varuts (or Mlechchas - outcastes, forcigners, or groups not classified in the formal four-fold caste division).(3). . meda-bhilla-kirAtAnAM hRSIkeza: sukhAvahaH / kuMbhakAra-vaNigvezyA -cAkrikANAM dhvajasya ca // 4 // meda, bhIla, kirAta, kuMbhAra, vaNika, vezyA, tailI aura kalAla ke liye hRSIkeza kI mUrti sukhakAraka hai| . The idol of Hrishikeshi will bring happiness for Medas, Bhils and Kiratas, as well as for potters, merchants, harlots and courtesans, Chakrikas or those who extract oil from oil-seeds, and Dhvajas or.distillers and vendors of liquor. (4). . sarvAsAM prakRtInAM ca padmanAbhaH sukhprdH|| dAmodara: saukhyakaro brahmacAryekadaNDinoH // 5 // saba jAti ke liya padmanAbha kI mUrti sukha dene vAlI hai| brahmacArI aura ekadaMDI saMnyAsiyoM ke liye dAmodara kI mUrti sukhakAraka hai| The idol of Padmanabha is auspicious and good for all castes and groups, and that of Damodar is beneficial for Brahmacharins (those who have taken the vow of celibacy, and/or those who are serving the Bralimacharya portion of their lives as pcr the Four Ashram system), and for sages of the 'Ekadandin' 1.. mu. vaishy|

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104 . . . devatAmUrti-prakaraNam (also known as 'Hansa') sect. (5). hariM hiraNyagarbhaM ca nArasiMhamata: prm| vAmanaM ca varAhaM ca sarvavarNeSu saukhyadam // 6 // hari, hiraNyagarbha, narasiMha, vAmana aura varAha kI mUrtiyA~ saba varNa vAloM ko sukhadAyaka haiN| Worshipping statues of Hari, Hiranyagarbha, Narsingh, Vaman and Varali will grant happiness and joy to people of all castes and sub-castes. (6). prahaNa aura tyAga karane yogya mUrtiyA~ aGgapratyaGgabhagnA yA mUrttiH sthApyA visrjyet| . nakhAbharaNamAlAstrairbhagnAM tAM na visarjayet // 7 // ___ sthApita huI mUrti ke aGga yA pratyaGga khaMDita ho jAya to usa mUrti kA tyAga karanA caahiye| nakha, AbharaNa, mAlA yA zastra khaMDita ho jAya to usa mUrti kA tyAga nahIM karanA caahiye| A statue should be discarded if the torso, limbs or other parts of the body are damaged. However, if the damage occurs to the nails, ornaments, garlands or weapons/attributes of an idol, it is still fit to be worshipped and should not be discarded. (7). viSNu kI caubIsa mUrtiyoM kA svarUpa kezava: pa-zaM-ca-gazca madhusUdanazca-zaM-pa-gaH // saMkarSaNo ga-zaM-pa-cai-rdAmodara: pa-za-Ggaca: // 8 // vAsudevo ga-zaM-ca-paiH pradyumnazcakra-za-GgapaH / viSNurgadA-pa-zaM-cakrI mAdhavo ga-ca-zaMGkha paiH // 9 // anuruddhazca-gaM-zaM-pa: purussottmshc-paashnggaiH| adhokSaja: pa-gAzaM-co janArdana: pa-caM-zaM-gaH // 10 // 1. mu. 5-c-shNc|

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105 devatAgUrti-prakaraNam govindazcakra-gAM-pa-zaistrivikrama: pa-ga-ca-zaiH / zrIdharaH padma-caM-gA-zai-hRSIkezo ga-caM-pa-zaiH // 11 // narasiMhazca-pa-ga-zai-racyuto g-p-ckr-shaiH| * vAmanaH zaM-ca-ga-pau-nArAyaNa zaM-paM-ga-caH // 12 // padmanAbhaH zaM-pa-cA-ga. upendra: zaM-gadA-ca-paiH / hariH zaM-ca-pa-ga: pUjya: kRSNa: zaM-ga-pa-cakrabhRt // 13 // iti viSNucaturviMzati mUrtayaH / padma, zaGkha, cakra aura gadA ko dhAraNa karane vAlA kezava deva hai| cakra, zaGkha, padma aura gadA ko dhAraNa karane vAlA madhusUdana deva hai| gadA, zaGkha, kamala aura cakra ko dhAraNa karane vAlA dAmodara deva hai| gadA, zaMkha, cakra aura padma ko dhAraNa karane vAlA vAsudeva hai| cakra, zaGkha, gadA aura kamala ko dhAraNa karane vAlA pradyumna hai| gadA, kamala zaGkha aura kamala ko dhAraNa karane vAlA viSNu deva hai| gadA, cakra, zaGkha aura kamala ko dhAraNa karane vAlA mAdhava deva hai| cakra, gadA, zaGkha aura padma ko dhAraNa karane vAlA anuruddha deva hai| cakra, padma, zaGkha, aura gadA ko dhAraNa karane vAlA puruSottama deva hai| padma, gadA, zaGkha aura cakra ko dhAraNa karane vAlA adhokSaja deva hai| kamala, cakra, zaGkha aura gadA ko dhAraNa karane vAlA janArdana deva hai| cakra, gadA, padma aura zaGkha ko kAraNa karane vAlA govinda deva hai| padma, gadA, cakra aura zaGkha ko dhAraNa karane vAlA trivikrama deva hai| padma, cakra, gadA aura zaGkha ko dhAraNa karane vAlA zrIdhara deva hai| gadA, cakra, padma aura zaGkha ko dhAraNa karane vAlA hRSikeza deva hai| cakra, padma, gadA aura zaMkha ko dhAraNa karane vAlA narasiMha deva hai| gadA, padma, cakra aura zaGkha ko dhAraNa karane vAlA acyuta deva hai| zaGkha, cakra, gadA aura padma ko dhAraNa karane vAlA bAmana deva hai| zaMkha, padma, gadA aura cakra ko dhAraNa karane vAlA nArAyaNa deva hai| zaGkha, padma, cakra aura gadA ko dhAraNa karane vAlA padmanAbha deva hai| zaGkha, gadA, cakra aura padma ko dhAraNa karane vAlA upendra deva hai| zaGkha, cakra, padma aura gadA ko dhAraNa karane vAlA hari deva hai| zaGkha, gadA, kamala, aura cakra ko dhAraNa karane vAlA kRSNa deva hai| The twenty-four statues of Vishnu are now described :

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106 devatAmUrti-prakaraNam The Keshav form holds a lotus (padma), a conch shell (shankh), a disc (chakra), and a mace (gada) respectively in his four hands; while Madhusudan holds a disc, conchshell, lotus and mace; Samkarshna a mace, conchshell, lotus and disc; and Damodar a lotus, conchshell, mace and disc. (8). Vasudeva holds a macc, conchshell, disc and lotus; and Pradyumna a disc, conchshell, mace and lotus. Vishnu has a mace lotus, conchshell and disc in his four hands, and Madhav.a mace, disc, conchshell and lotus. (9). Anuruddha possesses a disc, mace, conchshell and lotus; Purushottam a disc, lotus, conchshell and mace; Adhokshaj a lotus, mace, conchshell and disc; and Janardhan a lotus, disc, conchshell and mace. (10). Govind has a disc, mace, lotus and conchshell; while Trivikram holds a lotus, mace, disc and conchshell. Shreedhar has a lotus, disc, mace and conchshell, respectively in his four hands, while Hrishikesh has a mace, disc, lotus and conchshell. (11). . ___The idol of Narsingh holds a disc, lotus, mace and conchshell; Achyut a mace, lotus, disc and conchshell; Vaman a conchshell, disc, mace and lotus, and Narayan a conchshell, lotus, mace and disc. (12). ___Padmanabha holds a conchshell, lotus, disc and mace; Upendra a conchshell, mace, disc and lotus; Hari a conchshell, disc, lotus and mace, and Krishna a conchshell, mace, lotus and disc. (13). These are the 24 types of idols of Vishnu. AyudhoM ko dhAraNa karane kA krama adharaM dakSiNe hasta-mArabhya sRssttimaargt:| caturviMzatimUrtInAM sarvatraivAyudhakramaH // 14 // nIce ke dAhine hAtha meM sRSTi mArga ke krama se arthAt prathama nIce ke dAhine hAtha meM, pIche Upara ke dAhine hAtha meM, pIche Upara ke bA~ye hAtha meM aura pIche nIce ke bA~yeM hAtha meM isa prakAra AyudhoM ko rakhanA caahiye|

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devatAmUrti-prakaraNam There is a prescribed order for placing the above mentioned attributes or insignia in the four hands of these twenty-four different Vishnu idols. Beginning with the lower right hand (in which the first attribute listed is to be depicted), one should proceed to the upper right hand (where the second named object is placed), then to the upper left hand (for the third attribute) and, finally, to the lower left hand-thereby following the srishti-marg-the way of creation. (14). grahaNa karane yogya zilA atha zAlamAmazilAparIkSA 107 nAgabhogasamAkArA zilA sUkSmA ca yA bhavet / pUjanIyA prayatnena sthirA snigdhA ca vartulA // 15 // sA~pa ke phaNa ke AkAra vAlI, bArIka pogara vAlI, capaTe AkAra kI, cIkanI aura gola AkAra kI zilA pUjanIya haiM / Now to discuss 'Shaligrama' stones ( ammonites) :Shilas which are worthy of worship and reverence should be the shape of a snake's hood; fine-grained, flat, smooth and glossy, and rounded. ( 15 ). tatrApyAmalakI mAnA sUkSmA cAtIva yA bhavet / tasyAmeva sadA kRSNaH zriyA saha vasatyasau // 16 // yathA yathA zilA sUkSmA tathA tathA mahatphalam / tasmAt tAM pUjayennityaM dharmakAmArthamuktaye // 17 // jo zilA AMvale ke mAna kI athavA isase bhI sUkSma mAna kI ho, usameM lakSmI ke sAtha kRSNa hamezA nivAsa karate haiM / jaise-jaise mAna sUkSma ho vaise-vaise adhika mahAn phaladAyaka hai| isalie dharma, artha, kAma aura mokSa ke liye usa zilA ko hamezA pUjanA cAhie / If the shila is of the size of an amlaka (the fruit of the Emblic myrobalan tree; amla or aunla in modern Hindi), or even

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devatAmUrti-prakaraNam smaller, it is the abode of Krishna and Shree (Lakshini ). ( 16 ). As the size of the stone decreases, its beneficial powers increase. Thus, such stones should always be worshipped to attain the goals of dharma, artha, kama and moksha (as set down by the sages). (17). 108 tyAga karane yogya zilA kapilA karburA bhagnA rukSA chidrAkulA ca yA rekhAkulA'sthirA sthUlA bahucakraikacakrikA // 18 // bRhanmukhI bRMhaccakrA baddhacakrA ca yA punH|| baddhacakrAthavA yA syAd bhinnacakrA tvadhomukhI // 19 // dagdhA suraktA cApUjyA niSaNNA (? bhISaNA) paMkticakrikA / pUjayed yaH pramAdena duHkhameva labhet sadA // 20 // jo zilA pIle varNa vAlI, sAdhAraNa kAle raGga kI, TUTI huI, rUkhI, chidravAlI, bahuta rekhA vAlI, sthira na raha sake aisI, moTA pogara kI, adhika cakroM vAlI, eka cakravAlI, bar3e mukha vAlI, bar3e cakra vAlI, cakra ke bhItara cakroM vAlI, saMlagna cakra vAlI, bhinna cakra vAlI, nIce mukha vAlI, jalI huI, adhika lAla varNa kI, bhayaGkara svarUpa vAlI aura paMkti baMdha cakroM vAlI ho, aisI zilA kA pramAda se bhI pUjana kiyA jAya to hamezA duHkha hI prApta hotA hai / Stone which is tawny or reddish-yellow in colour, or spotted and variegated, broken, flaky, full of holes, and has many lines and ridges; is unable to remain motionless and is coarse-grained, with many circular marks, or with one circle; (18) ; or stone which has an expanded face (brhan-mukhi), large circles, circles within circles, circles joining each other, or scattered circles, and is downward facing ( 19 ) ; or stone which is burnt by fire, very red in colour, or a terrible form and having rows of circles, will cause 1. mu. nidrAkulA

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devatAmUrti-prakaraNam perpctual sorrow and unhappiness if it is worshipped even by careless oversight-i.e. unintentionally. (20). tyAjya zilA kA parihAra 109 khaNDitA sphuTitA bhinnA pArzvabhinnA vibhedikA / zAligrAma - samudbhUtA zilA doSavahA na hi // 21 // khaMDita huI, phaTI huI, cIrA vAlI, eka tarapha cIrA vAlI, athavA adhika cIrA vAlI, isa prakAra kI zilA yadi zAligrAma ke AkAra kI ho, to vaha doSakAraka nahIM hai / Desecrated or destroyed, broken, fragmented or split, or split at one side, or severely pierced stone should not be regarded as flawed and inauspicious if it is in the shape of the sacred Shaligrama stone, which is a symbol of Vishnu. ( 21 ) . zilA ke varNa bheda ke phala snigdhA siddhikarI mudrA kRSNA kIrttipradAyikA / pANDurA pApadahanI pItA putrapradAyinI / nIlA dizati lakSmIM ca raktA bhogapradAyinI // 22 // mulAyama cIkanI zilA siddhi karane vAlI, kRSNA zilA kIrtti dene vAlI, sapheda varNa kI zilA pApa ko bhasma karane vAlI, pIle varNa kI putra dene vAlI, nIle raGga kI lakSmI dene vAlI aura lAla raGga kI sukha dene vAlI hai / Stone that is smooth and glossy bestows success and achievement of siddhi (perfections). Black stone gives fame and glory, while pale whitish stone absolves sins, yellow stone grants the birth of sons, blue stone gives wealth and prosperity, and red stone provides happiness and enjoyment. (22). zilA ke varNa se saMjJA bheda kapilaM nArasiMhaM tu vAmanaM pItasannibhaM (cAtasInibham) / vAsudevaM sitaM jJeyaM raktaM saMkarSaNaM smRtam // 23 //

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110 ... devatAmUrti-prakaraNam dAmodaraM ca nIlAbha-maniruddhaM tathaiva c| zyAma nArAyaNaM kSetraM (?jJeya) vaiSNavaM kRSNavarNakam // bahuvarNamanantAkhyaM zrIdharaM pItamucyate // 24 // ye zilA kapila (bhUre) varNa vAlI ho vaha narasiMha zilA hai| alasI ke varNa vAlI vAmana zilA jaannaa| sapheda raGga kI vAsudeva zilA hai| lAla varNa kI saMkarSaNa zilA hai| nIla varNa kI dAmodara aura aniruddha zilA samajhanA / zyAma varNa kI nArAyaNa zilA aura kAle varNa kI vaiSNava zilA jaannaa| aneka varNa vAlI anaMta zilA hai aura pIle varNa kI zrIdhara nAma kI zilA hai| A stone that is brownish in colour is Narsingh, and one that is golden-yellow like flax (atsi) Vaman. A white stone is Vasudeva, while one that is red, like blood, is Samkarshna. (23). Damodar and Aniruddha are bluc-coloured stones, Narayan is dark or blue-black, and Vaishnav is black. A multi-coloured or variegated stone is Anant, and a yellow one is Shreedhar. (24). cakra kA pramANa vRttasUtre'STamo bhAga uttamaM cakralakSaNam / madhyamaM ca caturbhAga: kanIyastu tribhAgikam // 25 // zilA kI golAI se AThaveM bhAga kA cakra ho to. uttama, cauthe bhAga kA madhyama aura tIsare bhAga kA kaniSTha cakra smjhnaa| Circular markings (chakra) on the rounded parts of a stone should be regarded in the following manner : If the mark covers an eighth part of the stone it is Uttam or great, if it covers a fourth part it is Madhyam or 'medium, and if it is over a third part it is Kanishta or small. (25). cakra ke lakSaNa se saMjJA bheda vAsudevadvAradeze same cakre dRzyate naantriiyke| .

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devatAmUrti-prakaraNam vAsudevaH sa vijJeyaH zuklAbhazcAtitejasA // 26 // zilA ke dvAra bhAga meM do cakra paraspara mile hue hoM, to use ati teja vAlA sapheda varNa kA vAsudeva jAnanA / 111 If the dvaradesha part of a stone has two circles joining each other, that stone should be regarded as Vasudeva, white in colour and possessing immense lustre and brilliance. (26). saMkarSaNa dve cakre ekalagne tu pUrvabhAge tu puSkalam / saMkarSaNAkhyo vijJeyo raktAbhazcAtitejasA // 27 // jisake sAtha do cakra paraspara mile hue hoM aura pUrva bhAga meM chidra ho to use adhika tejasvI lAla varNa kA saMkarSaNa jAnanA / A stone in which, two circles join each other, and which is pushkalam (abundant/complete/resonant), in its purva-bhag (upper portion) should be known as a Samkarshna of the red colour, possessing immense light and radiance. (27). pradyumna pradyumnaH sUkSmacakrastu pItadIptistathaiva ca / suSiraM chidrabahulaM dIrghAkAraM tu yadbhavet // 28 // jo zilA zaGkha ke cihna vAlI, bahuta chidra vAlI aura lambI ho, usameM sUkSma cakra hoM, to use prakAzamAna pIle varNa kA pradyumna jAnanA / A stone with minute circles, full of many holes and perforations, (?with the mark of a conchshell according to the Hindi translator), and long in measurement is Pradyumna, yellow. in colour and ablaze with light. (28). aniruddha aniruddhastu nIlAbho vartulazcAtizobhanaH / rekhANAM tritayaM dvAre pRSThaM padmena lAJchitam // 29 //

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112 devatAmUrti-prakaraNam zilA ke dvAra bhAga meM tIna rekhA ho aura usakA pichalA bhAga padma ke cihna vAlA ho aura gola ho to use adhika zobhAyamAna nIle varNa kA aniruddha jaannaa| A stone which has three lines at its dvaradesha section, and the mark of a lotus on its reverse is Aniruddha, blue in colour, rounded and possessing extra beauty and radiance. (29). uparokta zilA ke pUjA kA adhikArI brAhmaNairvAsudevastu nRpaiH sNkrssnnstthaa| pradyumna: pUjyate vaizyairaniruddhastu zUdrakaiH // 30 // . ' catvAro brAhmaNaiH pUjyAstrayo raajnyjaatibhiH| ... vaizyaveva sampUjyau tathaikaH zUdrajAtibhi: // 31 // . brAhmaNoM ko vAsudeva, kSatriyoM ko saMkarSaNa, vaizyoM ko pradyumna aura zUdroM ko aniruddha zilA pUjanIya hai| evaM brAhmaNoM ko vAsudeva, saMkarSaNa, pradyumna aura aniruddha ye cAroM pUjanIya hai| kSatriyoM ko saMkarSaNa, pradyumna aura aniruddha pUjanIya hai| vaizyoM ko pradyumna aura aniruddha pUjanIya hai, kintu vAsudeva aura saMkarSaNa pUjanIya nahIM hai| zUdroM ko kevala aniruddha hI pUjanIya hai, kintu Upara ke tInoM pUjanIya nahIM haiN| A Vasudeva Shaligram should be worshipped by Brahmins; a Samkarshna by Kshatriyas; Pradyumna by Vaisyas and Aniruddha by Shudras. (30). Brahmins may worship all four kinds of Shaligram stones - Vasudeva, Samkarshna, Pradyumna and Aniruddha, and the warriors (Kshatriyas) may worship Samkarshna, Pradyumna and Aniruddha but not Vasudeva. Vaisyas may worship Pradyumna and Aniruddha, but not Vasudeva and Samkarslina, while Shudras may worship only thc Aniruddha category of Shaligram. (31). lakSmInArAyaNa lakSmInArAyaNo devstribhishckrairvyvsthitH| pUjanIya: prayatnena bhuktimuktiphalapradaH // 32 // .

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113 devatAmUrti-prakaraNam / tIna cakra vAlI "zilA lakSmInArAyaNa kI jAnanA, vaha acchI taraha pUjane se sukha aura mokSa ke phala ko detI hai| A stone with three circles may be recognised as Lakshmi-Narayan. Worshipping Lakshmi-Narayan with sincerity will grant the devotee happiness and salvation (mukti)-freedom from the chains of worldly life. (32). madhusUdana nAbhipArve zaMkhapadmaM yasya mudrA prdRshyte| madhusUdana AkhyAta: zatruhA parikIrtita: // 33 // jisa zilA meM nAbhi ke bagala meM zaGkha aura padma kI mudrA dekhane meM Ave, vaha madhusUdana nAma kI zilA hai, usako pUjane se zatruoM kA nAza karane vAlI hotI hai| If a stone has the marks of a conchshell and a lotus near its centre ('navel' or nabhi), it is called Madhusudan. Its worship will lead to the downfall of (the devotee's) enemies. (33). dAmodara- .. . sthUlo dAmodaro jJeya: sUkSmarandhro bhavet tu sH| cakre tu madhyarekhaH syAt pUjita: sukhada: sadA // 34 // jo zilA sthUla aura sUkSma chidravAlI ho, tathA cakra ke madhya meM rekhA ho vaha dAmodara zilA hai, vaha pUjane se hamezA sukha dene vAlI hai| Damudar is a broad stone with fine perforations and a line in the middle of a circle. Its worship will give ever-lasting happiness. (34). .. lakSmInarasiMha vAmapArve sthite cakre kRSNavarNe sbinduke| lakSmInRsiMho vikhyAto bhuktimuktiphalapradaH // 35 //

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114 devatAmUrti-prakaraNam jisa zAligrAma zilA ke bA~yI tarapha cakra aura kRSNa raGga ke bindu ho vaha lakSmI aura narasiMha zilA hai| vaha sukha aura mokSa ke phala ko dene vAlI hai| If a shila has a circle and a dark spot on its left side, know it to be Lakshmi-Narsingh, renowned for bestowing joy and salvation. (35). puruSottama suvartulaM tathA pItaM pRSThe tu suSiraM dhruvm| . vidikSu dikSu sarvAsu mukhaM yasyeva dRzyatate // . sa devadevo vijJeyaH purANa: puruSottamaH // 36 // * jo zilA acchI taraha gola aura pIle varNa kI ho, pichale bhAga meM zaGkha ho, saba dizA aura vidizA meM mukha dikhate hoM, aisI zilA devadeva purANa puruSottama jaannaa| A well-rounded yellow-coloured stone which has the mark of Vishnu-a conchshell (sushiram-dhruvam)-on its reverse, and which seems to be facing all directions, including the intermediate points of the compass, at the same time should be known as the venerable Devadeva Purana Purushottam revered by the gods and the sages. (36). eka cakra vAlI kI paJca saMjJA zuklo raktastathA kRSNo dvivarNo bahuvarNabhAk / ekacakrasya paJcaitA: saMjJA: paJca yathAkramam / 37 // puNDarIka: pralambaghno rAmo vaikuNTha eva c| . viSvaksena iti brahman phalaM cAsyArcane shRnnu| mokSaM mRtyuM vivAdaM ca dAridryamaTanaM tathA // 38 // jo zAligrAma kI zilA sapheda, lAla, kAlI, do varNa vAlI aura adhika varNa vAlI, ye pA~coM eka-eka cakra vAlI hoM unake pA~ca nAma anukrama se puMDarIka,

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devatAmUrti-prakaraNam pralaMbadhna, rAma, vaikuMTha aura viSvaksena hai, unake pUjana kA phala anukrama se mokSa, mRtyu, vivAda, daridratA aura paribhramaNa jAnanA / arthAt eka cakravAlI sapheda zilA puMDarIka hai| usake pUjana kA phala mokSa dene vAlA hai / eka cakra vAlI lAla zilA pralaMbana hai, usakA phala mRtyudAyaka hai / eka cakra vAlI kAle raGga kI rAma nAma kI zilA hai, usakA phala vivAda kAraka hai / eka cakra vAlI do varNa kI baikuMTha nAma kI zilA jAnanA, usakA phala dAridra kAraka hai| eka cakra vAlI adhika varNa vAlI zilA viSvaksena hai, usakA phala paribhramaNa karAne vAlI jAnanA / White, red, black, two-coloured stones and multi-coloured stones, each with a single chakra or circle on it, are known as (37), Pundreeka, Pralambhagna, Rama, Vaikunth and Visvakasena respectively. Worshipping them (in the order cited) results in salvation, death, dispute and controversy, poverty and exile respectively. (38). (Thus worshipping the white shila with one circle called Pundreeka leads to salvation, the red one called Pralambhagna results in death, and so forth.) do cakra vAlI. zilA kI pazca saMjJA 115 cakre tu madhyadeza syAttAmAkhyAmi rame ! zruNu / parameSThyajitakrodhastathA nArAyaNo'ntakaH // 39 // anantazceti vijJeyo nAnAmUrttistu yo bhavet / rAjyaM mRtyuM dhanaM caiva hAniJca vAJchitArthakam // 40 // jisa zAligrAma zilA ke madhya bhAga meM do cakra ho, vaha sapheda varNa kI ho, to parameSThI jAnanA, usakA phala rAja dene vAlI hai| lAla varNa kI ho to ajitakrodha jAnanA, usa kA phala mRtyukAraka hai / kAle varNa kI nArAyaNa hai, usakA phala dhanadAyaka jAnanA / do varNa kI aMtaka hai, usakA phala hAnikAraka jAnanA / adhika varNa vAlI anaMta zilA hai, usakA phala vA~chita phala dene vAlI hai 1 Hear now about stones with two chakras on their central portions. A white shila with two circles is Parameshthi. This

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116 .. . devatAmUrti-prakaraNam grants kingdoms. A red one is Ajithkrodha and results in death. A black one is Narayana and bestows wealth. A bi-coloured one is Antak and brings misfortunes and disasters; while a multi-coloured stone with two circles is Anant and leads to the fulfillment of desires. (39, 40). padmAMkitA eka cakrAnvitA' yA tu dkssinnaavrttsNsthitaa| ... caturlAJchanasaMyuktA bhogamokSapradA zubhA // 41 // cakreNa kambunA yA ca padmena gdyaaNkitaa| tatra zrIH pratyahaM tiSThet sarvasampadamAdizet // lAJchanena vinA yA syAt prazastA tu na sA smRtA // 42 // jo zAligrAma zilA eka cakra vAlI aura dakSiNa Avarta vAlI ho. tathA cakra, zaGkha, padma aura gadA ye cAroM cihnoM se yukta ho to usa zilA meM AtmA nirantara rahatI hai| vaha sukha aura mokSa ko dene vAlI hai evaM sarvasampadA ko dene vAlI hai| parantu cAroM cihna usameM na ho to prazaMsanIya nahIM hai| A Shaligrama shila which has one circle and is dakshin-avartan (turned clockwise) (? south facing) is auspicious and will grant joy, material prosperity and salvation if it bears the four marks of a chakra (disc or circle), a kambu (conchshell), a padma (lotus) and a gada (mace), all emblems of Vishnu. Such a stone is always the abode of the Almighty Soul. However, if any of these four signs are absent the stone is not worthy of veneration and worship. (41, 42). hari cakraM vA kevalaM yatra padmaM vApyathavA gdaa| lAgalaM vanamAlA ca harirlakSyA saha sthitaH // 43 // 1. mu. padmAMkitA

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117 devatAmUrti-prakaraNam tasmin gRhe ne dAridryaM na zoko rogajaM bhym| na corAgnibhayaM tasya grahaiH rogairna bAdhyate // ante mokSo bhavet tasya pUjanAdeva nityazaH // 44 // jo zilA kevala eka cakravAlI, padma, gadA, hala aura vanamAlA ke cihna vAlI ho, usameM lakSmI ke sAtha hari rahe hue haiM, aisA jaannaa| usakA hamezA pUjana karane se ghara meM dAridrya nahIM rahatA, evaM zoka, roga kA bhaya, cora kA bhaya aura agni kA bhaya nahIM hotA, tathA graha aura roga kI pIr3A nahIM hotii| anta meM mokSa ke sukha ko dene vAlI hai| . A stone with only a single circle, and bearing the mark of a lotus, or mace, or a vanamala (a garland of forest-flowers, usually worn by Krishna in iconography), indicates that it is the abode of both Hari and Lakshmi (Hari with Lakshmi). (43). Worshipping such a stone will keep poverty and sorrow away from one's home, and provide freedom from illness and plague, theft, fire and the evil influence of negative constellation positions. It will finally lead to salvation: (44). narasiMha- . . . vikaTAsyA tu vikRtA nRsiNhmukhlaanychnaa| pAzAMkuMzagadA-cakrANyeSAmaMkena lAJchitA // 45 // nArasiMhI bhavenmudrA bhogmokssprdaayikaa| darzanAnnazyate pApaM brahmahatyAM vyapohati // 46 // jo zAligrAma zilA bhayaGkara aura virUpa aise narasiMha ke mukha ke cihna vAlI ho, tathA pAza, aGkaza, gadA aura cakra ye cAroM cihnoM se yukta ho, to vaha nArasiMhI mudrA jaannaa| vaha sukha aura mokSa ko dene vAlI hai| usake darzana se pApa nAza ho jAte haiM, brahmahatyA ke pApa ko bhI nAza karatI hai| A stone which seems terribly fearsome and deformed, with the signs of the face of Narsingh, and which has the four marks of a pash (noose, or length of rope to tie the wicked), an ankush

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118 devatAmUrti-prakaraNam (goad), a mace and a disc (45), should be recognised as a Narsinghi pose (mudra). It will give happiness and salvation to its worshipper. Merely looking at it will expiate sins - even the heinous sin of killing a Brahmin. (46). kapila narasiMha nRsiMhaM pItavarNAbhaM mahaccakraM mukhe gurum|| yatInAM pUjanAdeva satyalokapradAyakam // 47 // .. pIle varNa kI, bar3e cakra vAlI aura bar3e mukha vAlI narasiMha zilA jaannaa| brahmacArI logoM dvArA pUjita hone se satya loka ko dene vAlI hai|... . A Narsingh Shaligrama is golden-yellow in colour, with a large circle and a large face. Ascetics who worship this Narsingh stone will attain Satya-loka, the abode of Brahma, and thus salvation. (47). sudarzana dve cakre pRSThadigbhAge zyAmaM ca madhuvarNakam / sudarzanaM zilA nAma pUjitaM sukhakAmadam // sAnnidhyaM mama mUrtyA ca pUjane ca phalAdhikam // 48 // jo zAligrAma zilA pichale bhAga meM do cakra vAlI ho, zyAma athavA madhu ke varNa vAlI ho to vaha sudarzana nAma kI zilA hai, usakA pUjana karane se sukha aura kAma ko dene vAlI hai| Satya-loka is the highest world - the abode of Brahma. The world, a division of the Universe, is usually classified in Hindu mythology into 3 lokas-Svarga-loka or heaven, Prithvi-loka or earth, and Patala-loka or the netherworld. However, according to a fuller classification, the lokas or worlds are 14 in number, with 7 higher ones rising from the earth one above the other, and 7 lower ones descending from the earth one below the other. The higher ones are (in order of ascent) Bhur-loka, Khar-loka, Svar-loka, Mahar-loka, Janar-loka, Tapar-loka and finally Satya-loka, also called Brahma-loka. The lower lokas are Atal-loka, Vital-loka, Satal-loka, Rasatal-loka, Talatal-loka, Mahatal-loka and Patal-lok.

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devatAmUrti:prakaraNam 119 A stone which is dark or honey-coloured in appearance, with two circles on its reverse side, is called Sudarshan. Worshipping this grants happiness and love. Its benefits are more bountiful than those from other statues. (48). hyagrIva azvAkRtistathA mudrA sAkSamAlA spustkaa| padmAMkitA bhavenmudrA hayagrIveti vizrutA // 49 // 'jaya-pUjA-zubhAsakto naraH pApAt prmucyte| akSayA ca bhavettasya lakSmIraizvaryamuttamam // 50 // jisa zilA meM ghor3e kI AkRti, akSamAlA, pustaka aura padma cihna vAlI mudrA dIkhe to vaha hayagrIva zilA hai, usakA japa-pUjana zubha dhyAna se karane vAlA puruSa pApoM se mukta hotA hai aura usake ghara meM akSaya lakSmI hotI hai tathA uttama aizvarya hotA hai| . A stone bearing the forms of a horse, rosary, book and lotus is known as Hayagreeva (49). Worshipping it with a pure heart will absolve the sins of the devotee. The worshipper's home will be filled with prosperity and wealth and he will enjoy fame and plenty. (50). matsya matsyAMkitAstu yA cakrA AyurdAH puSTidA nRNAm / sadA pUjyA gRhasthena sannidhAne'tra kezavaH // 51 // jo zilA machalI ke cihna vAlI ho, acche cakroM vAlI ho vaha manuSyoM ko AyuSya aura puSTi dene vAlI hai| jo gRhastha usakI pUjA kare usake samIpa kezava rahatA hai| A stone bearing the auspicious marks of a matsya (fish) and circles on it will grant long-life and fulfillment to humans. Householders who worship such a stone will always find Keshav (Vishnu) besides them. (51). 1. . mu. jayadusvazubhAsakto /

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120 janArdana devatAmUrti-prakaraNam eka- mukhaM' catuzcakraM catuzcakro janArdanaH / pUjanIyaH sadA saukhyamuktido nAtra saMzayaH // 52 // eka mukha aura cAra cakra vAlI cAra cakra vAlA janArdana zilA jAnanA / usakI pUjA se vaha hamezA sukha aura mukti dene vAlI hai| usameM saMzaya nahIM hai 1 A stone with four circles and one face. (mukham) is known as a four chakra Janardhan. Janardhan, without any doubt, grants happiness and salvation to worshippers. ( 52 ) . kUrma kUrmAGkitAstu ye cakrA mahAsantatidAyakAH / mahArthakArakA divyA haristatra vyavasthitaH // 53 // jisa zilA meM kachuvA ke cihna vAle cakra hoM, to vaha mahA saMtati ko dene vAlI hai aura mahA dhanakAraka hai, aisI divya zilA meM hari kA nivAsa hai / A stone which has a circle like a tortoise bestows mahasantati-the continuance of succeeding generations. Such a Kurma (tortoise) stone is the abode of Hari. Its worship also produces immense wealth. (53). varAha varAhamUrttisaMyuktaM yadi cakraM prapadyate / pUjanAllabhate rAjyaM pRthivyAmekarAjakam // 54 // jo zilA varAha mUrti yukta cakra vAlI ho, usako pUjane se pRthvI meM sAmrAjya prApta hotA hai / If a stone carrying the image of a Varah idol with a circle is seen it should be worshipped to attain earthly kingdoms and domains. (54). mu. ekamukhe 1.

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devatAmUrti-prakaraNam .. 121 narasiMha nArasiMhAMkitaM cakraM durlabhaM bhuvi maanvaiH| zatrUNAM nAzanaM taddhi klezanaM parikIrtitam // stambhanaM parasainyasya mahAmRtyuharaM zubham // 55 // narasiMha ke cihna yukta cakra vAlI zilA bhUmi meM manuSyoM ko prApta honI durlabha hai| usakI pUjA karane se vaha zatru aura kleza ko nAza karatI hai tathA zatru kI senA ko staMbhita karane.vAlI aura mahA mRtyu kA nAza karane vAlI zubha hai| The discovery (from the ground) of a stone bearing the signs of Narsingh along with a circle is indeed unique. Worshipping it will cause the downfall of enemies. It also removes trouble and suffering. This auspicious stone obstructs the advance of enemy armies, causing widescale . death (to the enemy). (55). vAmana- .. . aGkitaM vAmanena syAccakraM paramazobhanam / nAnAvRddhikaraM caitadannAdyaM cAkSayaM bhavet // 56 // vAmana mUrti se yukta cakra vAlI zilA parama zubha hai| vaha aneka prakAra kI dravya vRddhi karane vAlI aura akSaya anna Adi ko dene vAlI hai| * A stone with the image of Vaman and a circle is very auspicious. Its veneration results in several kinds of material advances and bestows an unlimited and perpetual supply of grain (and food). (56). jAmadAgnya cakramadhye tu dRzyeta parazuM raamruupkm| tajjAmadagnyaM cakraM 'syAd pUjanAdaparAGmukhaH // 57 // 1-1. . mu. yjtaadekraangmukhe| yajamAnoparAGmukhaH ityapi pAThaH /

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122 devatAmUrti-prakaraNam jo zilA cakra ke madhya meM parazurAma kI mUrti vAlI dIkhe vaha jAmadAgnya zilA jAnanA, usakA pUjana karane vAlA kisI se parAGmukha nahIM hotA / / When you see the image of Parashurama in the centre of a circle on a stone, know it to be a Jamdagnya chakra. One who reveres it will be second to none. (57). . kauzalyAnandana cakreNa dRzyate brahman baannkaarmukbhRtprbhuH| .... kauzalyAnandano rAma: tRtIyaH parikIrtitaH // 58 // cakra ke madhya meM bANa aura dhanuSa ko dhAraNa karane vAlA prabhu dIkhe to vaha kauzalyA mAtA kA putra tRtIya rAmacandra smjhnaa| . If the Lord possessing a bow and arrow is seen within a circle on any stone, recognise it as. Kaushalyanandam Rama, (Rama, the son of Kaushalya). (58). . zuddha tena yuktAstu dRzyante pASANadhRtarUpiNaH / buddhAMkitaM bhaveccakraM mahAdravyapradaM.ca yat // 59 // jisa zilA meM pASANa dhAraNa karane vAle kA rUpa dIkhe vaha buddha cihna se yukta vAlI zilA adhika dravya dene vAlI hai| If the image of Vishnu holding a mountain is seen, know that such a stone, bearing the mark of Buddha within a circle, will grant immense wealth (59). 'katkI'-puruSottama padmAsana khaDgyAsanasamArUDhaH khaDgadhAtRsvarUpavAn / ubhau cakrau tu tatrasthau sa bhavet puruSottamaH // 60 // mu. siitaayaaH| 1.

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devatAmUrti-prakaraNam .. 123 ___jisa zAligrAma zilA meM khaDga ko dhAraNa kiyA huA khaDgAsana sthita rUpa mAlUma par3e aura do cakra yukta ho, vaha puruSottama zilA hai| If the stone has the form of a sword-weilder seated in khadagasana and also has two circles on it, know it to be Purushottam. (60). cakra pratiSThA kA niSedha 'ahaM brahmAdayo devAH sarvabhUtAni kezavaH // sadA sannihitAzcakre pratiSThAkarma nAstyata: // 61 // maiM 'vizvakarmA' aura brahmA Adi saba devoM, sarvabhUtoM aura kezava ye saba deva zAligrAma zilA meM hamezA rahe hue haiM, jisase usakA pratiSThAkArya nahIM hotA (Speaks the Supreme Being), "I, Brahma and the other gods, spirits and Keshav, have perpetually remained together collectively. (in a Shaligrama stone). Thus, the stone requires no pratishthakarma or additional consecration. (61). zAligrAmazilA ke becanA kA niSedha zAligrAmazilAyA yazcakramudghATayennaraH / vikretA cAnumantA ca ya: parIkSyAnumodayet // sarve te narakaM yAnti yAvadAbhUtasamplavam // 62 // ___ jo puruSa zAligrAma zilA ke mUlya ko prakaTa kare, bece, mUlya kA anumAna lagAve, yA parIkSA karake becAtI leve ve saba loka jaba taka pRthvI kA pralaya na ho taba taka naraka meM jAte haiN| A person who sells, or attempts to estimate the value of, or accepts after subjecting to an examination, any Shaligrama stone with circles on it will go to hell until such time as the 1. . mu. AhuH

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124 .... devatAmUrti-prakaraNam earth is submerged by the deluge accompanying the final destruction. (62). zAligrAmazilA kI prazaMsA zAligrAmazilAgre tu yo juhoti hutAzanam / ekAhutirhatA samyak kalpakoTiguNottarA // etasmin pUjite deve trailokyaM pUjitaM bhavet // 63 // .. iti shaaligraampriikssaa| zAligrAma zilA ke Age agni meM homa kara eka bhI Ahuti acchI taraha deve to vaha Ahuti karor3oM kalpa ke puNya ko dene vAlI hotI hai| isa prakAra vaha devoM se pUjita hone se tInoM loka meM pUjanIya hai| Even a single oblation offered correctly in a sacrifical fire before a shaligrama shila will bring down blessings for one crore (10 million) kalpas for the worshipper". Such a devotee will be worthy of honour from the gods themselves and will be revered in the three lokas (or worlds-namely Heaven, Earth and the Netherworld). (63). Here ends the examination of Shaligrama shilas. garuDa tAkSyoM marakataprakhyaH kaushikaakaarnaasikH| caturbhujastu kartavyo vRttanetramukhastathA // 64 // gRdhrorujAnucaraNa: pkssdvyvibhuussitH| prabhAsaMsthAna-sauvarNa: kalApena virAjitaH // 65 // navatAla: prakarttavyo garuDo maansuutrt:| A kalpa is one day of Brahma, and is equal to 1000 yugas * a period of 432 million years for mortals. mu. vivarjitaH

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devatAmUrti-prakaraNam 125 pAdaM jAnu kaTiM yAvadarcAyAM vAhanasya dRk // 66 // chatraM ca kumbhapUrNaM ca karayostasya kArayet / karadvayaM tu karttavyaM tathA viracitAJjaliH // 67 // yaduzca bhagavAn pRSThe chatrakumbhadharau karau / kiJcillambodaraH kAryaH sarvAbharaNabhUSitaH // 68 // iti pannagAzanaH / " garuDa deva marakata maNi ke jaisI kAntivAlA arthAt hare raGga kA ullU ke jaisI nAka vAlA, cAra bhujA vAlA, golAkAra netra aura golAkAra mukha vAlA, gIdha pakSI ke jaisA Uru jAnu aura caraNa vAlA, do pA~khoM vAlA, suvarNa ke jaisI kAnti vAlA, mayUra ke kalara jaisI pA~khoM vAlA, aisA navatAla ke mAna se garuDa deva karanA / paira, jAnu yA kamara taka mUrti ke vAhana kI dRSTi rkhnaa| usake eka hAtha meM chatra aura dUsare hAtha meM ghar3A banAnA tathA dUsare donoM hAtha aJjalibaddha arthAt namaskAra mudrA vAlA karanA / chatra aura ghar3A dhAraNa karane vAle donoM hAtha viSNu bhagavAna ke pRSTha bhAga meM rakhanA, kucha peTa lambA karanA aura saba AbhUSaNoM se suzobhita karanA / Garuda = Taksharya, the Garuda, mount of Vishnu, looks like an emerald in radiance, with a 'nose'/beak like an owl, four arms, a round face and round eyes ( 64 ). His thighs, knees and feet are like a vulture's, and he has two wings with the glow and lustre of a pile of gold and the beauty and radiance of a peacock's feathers. (65). A statue of Garuda should be made in the 9 tala scale. It is conventional to keep the line of vision or the gaze of the vahan (mount) on the feet or the thighs or the hips of its deity's idol. (Thus, a Garuda image should look at Vishnu's feet, thighs or hips, and no higher) (66). Depict Garuda with a chhatra (canopy or an umbrella) in one hand and a full waterpot the purna-kumbha -in the other, and arrange the second pair of hands in the anjali or salutation position (where the two hands join together). (67). -

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devatAmUrti-prakaraNam If Bhagwan (Vishnu) is depicted on the back of a statue of Garuda holding a chhatra and a kumbha, make the stomach portion of Garuda's statue slightly longer. Adorn Garuda with all the various ornaments and jewels. ( 68 ). Such is Garuda, the Pannagasana. 126 aSTabhujA vAlI harimUrti - aSTabAhoharermUrterAyudhAni vadAmyaham / nandakazca gadA bANaH padmaM dakSiNa- bAhuSu // zaGkho dhanustathA cakraM kheTakaM vAmabAhuSu // 69 ATha bhujA vAlI hari kI mUrti ke AyudhoM ko maiM kahatA hU~ - dAhine hAthoM meM naMdaka nAma kA khaDga, gadA, bANa aura kamala haiN| bA~ye hAthoM meM zaGkha, dhanuSa, cakra aura DhAla haiM / "I now speak," (writes Mandan), "about the ayudhas or weapons and attributes of an eight armed,statue of Hari. In the right arms are the Nandak sword, a mace, an arrow, and a lotus, and in the left a conchshell, a bow, a disc and a khetakakam or shield". (69). vAmanamUrti trivikramo nRsiMhazca dazatAlau prakIrttitau / vAmanaH saptatAlastu vipramUrttiH kvacid bhavet // 70 // kRSNAjinopavItaH syAcchatrIdhRtakamaNDaluH / kuNDalI zikhayA yuktaH kubjAkAro manoharaH // 71 // trivikrama aura narasiMha kI mUrti daza tAla ke mAna se banAnA cAhiye / "thA vAmana kI mUrtti sAta tAla ke mAna se aura vipramUrti (RSimUrti) bhI kvacit sAta tAla ke mAna se banAnA / vAmanadeva kRSNa carma ko dhAraNa karane vAlA yajJopavIta pAlA hai, eka hAtha meM chatra aura dUsare hAtha meM kamaNDalu dhAraNa karane vAlA hai / evaM sarpa aura zikhA se yukta aura manohara kubaDe ke AkAra kA banAnA /

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devatAmUrti-prakaraNam . 127 Idols of Trivikram and Narsingh should be in the 10 tala scale, Vaman in the 7 tala scale, and sometimes Vipra-murti (statues of sages) should be in the same 7 tala scale too. (70). Vaman is clad in the skin of a black antelope and invested with the sacred upaveeta thread. He holds a chhatra (umbrella) and a kamandalu in his hands, and possesses a snake as well as a shikha topknot. Such is the pleasing appearance of the Hunch-backed One (Vaman). (71). rAma rAmastu dvibhujo ramya: zaracApadharaH prbhuH| rAmacandra prabhu manohara do bhujA vAle haiM, eka hAtha meM bANa aura dUsare hAtha meM dhanuSa ko dhAraNa karane vAle hai| Rama has two arms and holds an arrow and a bow. Such is the attractive Lord. (72a). naravarAha.nRvarAhaM pravakSyAmi zUkarAsyena zobhanam / gadApadmadharaM dhAtrI daMSTrAgreNa samuddhRtAm // 72 // bibhrANaM kUpara vAme vismyotphulllocnH| 'nIlotpaladharAM devI-mupariSTA prakalpayet // 73 // dakSiNaM kaTisaMsthaM ca bAhuM tasya prakalpayet / kUrmapRSThe padaM caikamanyannAgendramUrddhani // 74 // zeSazcaturbhuja: kAryastathaiva rcitaanyjliH| kartavyau zIramusalau karayostasya cordhvayoH // 75 // . nara-varAha ke svarUpa ko kahatA hU~-vaha varAha (sUara) ke mukha jaise sundara mukha vAlA, hAtha meM gadA aura padma ko dhAraNa karane vAlA, dA~ta ke agra bhAga para pRthvI ko dhAraNa karane vAlA hai| usakI bA~yI ora suMdara aura vikasita netroM

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128 devatAmUrti-prakaraNam vAlI tathA bA~ye hAtha meM nIlakamala ko dhAraNa karane vAlI devI ko sthApana kare, usakA dAhinA hAtha kamara para rakhA huA bnaave| eka paira kachue kI pITha para aura dUsarA nAgendra ke mastaka para rakhA huA banAnA / nRsiMha kI bA~yI ora zeSa deva cAra bhujA vAlA banAveM, isameM do hAtha aJjali baddha kareM, Upara donoM hAthoM meM se eka hAtha meM hala aura dUsare hAtha meM musala dhAraNa kiye knaaveN| ___ I (Mandan), now expound upon the appearance of the Great Nri-Varah-the boar incarnation of Vishnu. His glorious face is like a boar in appearance, and he holds a mace and a lotus in his hands. His tusks hold Prithvi (the Earth) aloft (72b). To his left, behind him (at the level of his eyebrow) place a goddess with remarkable and astonished large cyes holding a blue lotus in her left hand (73). Her righ arm should be depicted placed at her hip. One foot of Varah should be. placed on the back of a. kurma (tortoise) and the other on the forehcad of Nagendra, the Lord of Snakes (an epithet. of Sheshnag) (74). The four-armed Shesh(nag) should bc portrayed with two hands folded in the anjali salutation and the two upper arms holding a Sheer (Sheer = snake/Secr = plough) and a musal or a pestic. (75). athavA zUkarAkAraM mahAkAyaM kvcillikhet| tIkSNadaMSTrograghoNAsyaM stabdhakarNordhvaromakam // 76 // .. athavA sUara ke AkAra vAlI, bar3e zarIra vAlI, tIkSNa dA~ta aura tIkSNa nAsikA se yukta mukha vAlI, sthira kAna vAlI aura khar3e bAla vAlI varAha mUrti bnaaveN| Or else make a statue of the form of a boar, with a great body and a head with sharp tusks, pointed nose (i.e. snout), fixed and immovcable cars and raised bristles (in order to depict Varah). (76). narasiMha narasiMhAkRtiM vakSye raudrsiNhmukhekssnnaam| bhujASTakasamAyuktAM dhvajapInasaTAzritAm // 77 //

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129 devatAmUrti-prakaraNam ____129 hiraNyakazipuM daityaM dArayantIM nakhAMkuraiH / Urorupari vinyasya khaDgakheTaka-dhAriNam // 78 // tasyAntramAlAM niSkRSya bAhuyugmena bibhratIm / AkAraM puruSasyaiva dhArayantI ganoharam // 79 // madhyasthitAbhyAM bAhubhyAM dakSiNe ckrpngkje| kaumodakI tathA zaGkha bAhubhyAmiti vAmataH // 80 // adhaHsthitAbhyAM bAhubhyAM dArayantI prakalpayet / UrdhvasthitAbhyAM bAhubhyAmantramAlAM tu bibhratIm // 81 // nIlotpaladalacchAyAM caJcaccampakasaprabhAm / taptakAMcanasaMkAzAM bAlArkasadRzIM likhet // 82 // aba narasiMha kI mUrti ke lakSaNa kahatA hU~-bhayaGkara siMha ke jaise mukha aura netravAlI, ATha bhujA vAlI, sthUla keza kI jaTAvAlI, Uru ke Upara rakhe hue khaDga aura DhAla vAle hiraNyakazipu nAma ke daitya ko nakhoM se cIratI huI, daitya ke oNtoM ko nikAla kara donoM hAthoM se dhAraNa karatI huI, mukha ke nIce kA zarIra. puruSa ke suMdara AkAra ko dhAraNa karatI, madhya kI dAhinI donoM bhujAoM meM krama se cakra aura kamala ko, tathA madhya kI-bA~yI bhujAoM meM gadA aura zaGka ko dhAraNa karatI huI, nIce kI do bhujAoM se daitya ko cIratI huI, Upara kI donoM bhujAoM se AMtoM kI mAlA ko dhAraNa karatI huI, nIlakamala ke jaisI kAMti vAlI, campA ke jaisI prabhA vAlI, tape hue suvarNa ke jaisI yA bAla sUrya ke jaisI kAnti vAlI aisI narasiMha bhagavAna kI sundara mUrti bnaaveN| I (Mandan) now describe the image of Narsingh-he who. has the visage and cycs of a ficrce and terrible lion, and possesses eight arms and has a profuse mane or dhvajapeenasata-shritam (literally, a collection of profuse matted hair, or mane of a lion, adorning the head) (77). On his thighs lies the daitya (demon) Hiranyakashipu holding a sword and a shield, whom Narsingh is Icaring apart with his nails. (78).

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devatAmUrti-prakaraNam Holding the demon's intestines in his hands like a garland, Narsingh has the form of a well-proportioned human from his neck downwards. (79). 130 The two right hands in the middle (in the centre of the composition) possess a disc and a lotus, and the two left ones the Kaumodki mace (of Vishnu) and a conchshell ( 80 ). The lower-most pair of hands should be shown tearing the demon apart, and the upper-most ones upraised and holding the garland of entrails (as stated in stanzas 78 & 79 above ). ( 81 ). The radiance of Narsingh is like a blue lotus and his lustre like the Champaka flower. He gleams like molten gold, or like the colours of the newly risen sun. Such should be the statue of Narsingh. ( 82 ). prakArAntara se narasiMha mUrti AsInaM dvibhujaM devaM prasannavadanekSaNam / zvetaM sphaTikasaMkAzaM caturbAhumathApi vA // 83 // AjAnulambitau bAhU karttavyau tatra dakSiNe / samIpe kalpayeccakraM vAme zeSaM samIpataH // 84 // UrdhvasthitAbhyAM bAhubhyAM dakSiNe paGkajaM nyaset / vAme bAhau gadA ramyA likheccitravizAradaH // 85 // nRsiMha deva baiThA huA, do bhujA vAlA, prasanna mukha aura netra vAlA, sphaTika ke jaisA sapheda raGga vAlA, athavA cAra bhujA vAlA, donoM jAnu taka lambI bhujA vAlA hai| usakI dAhinI ora samIpa meM cakra ko aura bA~yI ora samIpa meM zeSa deva rahA huA hai| donoM bhujA U~cI rakhI huI haiM, unameM dakSiNa bhujA meM kamala aura bA~yI bhujA meM sundara gadA hai| isa prakAra citra vizArada banAveM / A seated two-armed god, with a pleasing face (and, happy expression) and eyes, who is white in colour like quartz or crystal (sphatika), is an alternative idol of Narsingh. Or depict him as a four armed statue (83), with long arms reaching down as far as

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131 devatAmUrti-prakaraNam / the knees. Make a chakra (disc) to the right of the idol and show Sheshnag to the left, both very close to Narsingh. (84). Narsingh's arms are upraised, with the right arm holding a lotus and the left arm a macc of fine workmanship. Such should bc the portrayal by the proficient. (85). jalazAyI jalamadhyaMgata: kArya: zeSa: pnngdrshnH| phaNAmbujamahAratna-durnirIkSazirodharaH // 86 // devadevastu karttavyastatra suptazcaturbhujaH / ekapAdo'sya karttavyaH zeSabhogAMkasaMsthitaH // 87 // eko bhujastu karttavyastasya jAnuprasArita: / kartavyo nAbhidezasthastathA tasyAparaH karaH // 88 // tathaivAnyakara: kAryoM devshtrushirodhrH| santAnamaJjarIdhArI tathA caivAparo bhavet // 89 // nAbhisarasi sambhUte kamale tasya yAdavaH / sarvabhUmimayo deva: prAk kAryastu pitAmahaH // nAlalagnau ca karttavyau padmasya madhukaiTabhau // 90 // pAnI ke madhya meM sarpa ke AkAra kA zeSanAga bnaave| vaha kaThinAI se dekhane yogya mahAratna ko phaNa kamalarUpa mastaka dharane vAlA hai| isa zeSanAga ke Upara devAdhideva sote hue banAnA, vaha cAra bhujA vAlA hai| vaha eka paira zeSa ke zarIra ke goda para rakhA huA hai| eka bhujA jAnu taka lambI karanA, dUsarI bhujA nAbhi pradeza para rakhI huI bnaanaa| tIsarI bhujA deva-zatru ke (daitya ke) sira para rakhI huI karanA aura cauthI bhujA meM santAna nAma ke kalpavRkSa kI maMjarI yukta bnaanaa| usake nAbhi rUpa sarovara meM U~cA kamala banAnA, usa kamala meM yAdava kI mUrti krnaa| sarvabhUmimaya deva ke pUrva bhAga meM brahmA sthApita karanA, tathA

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132 devatAmUrti-prakaraNam kamala nAla se lage hue madhu aura kaiTabha bnaanaa| Jalashayin = The Great Snake, Sheshnag, should be depicted as if lying in the middle of water. He holds up, like a lotus, the precious jewel in his hood which is difficult to behold. (86). ... The God-of-gods (devadeva) Vishnu should be made endowed with four arms and shown slecping/rcclining on Sheshnag, with one foot on the snake's coils. (87). ___Make one of Vishnu's arms extended upto the knees, and place the second arm in the region of the nayel (88). Yet another hand is on top of the head of a demon (devashatru), while a fourth holds a sprig (of blossoms) from the Santana tree (one of the five flowering trees of Indra's paradise). (89): / Depict a lotus rising out of the navel (which is perceived as a lake), and install an image of Yadava within thc locus. Place an idol of Brahma, the Pitamah, before (to the cast of?) Vishnu, the Lord of the Earth, and sculpt Madhu and Kctabh (the two demons killed by Vishnu) besides the lotus-stalk. (90). vaikuMTha vaikuNThaM ca pravakSyAmi sASTabAI mhaablm| tAAsanaM caturvaktraM karttavyaM zAntimicchatA // 91 // gadAkhaDgau bANacakre dkssinnaastrctussttym| .. zaGkhakheTadhanuH padmaM vAme dadyAccatuSTayam // 12 // agrata: puruSAkAraM nArasiMhaM ca dkssinne| aparaM strImukhAkAraM vArAhAsyaM tathottaram // 93 // ... vaikuMTha deva kI mUrti kA svarUpa kahatA hU~-ATha bhujA vAlI, mahA bala vAlI, garuDa kI savArI karane vAlI, cAra mukha vAlI, dAhine hAthoM meM gadA, khaDga, bANa aura cakra ko dhAraNa karane vAlI, bA~yI bhujAoM meM zaGkha, DhAla, dhanuSa aura padma ko dhAraNa karane vAlI, isa prakAra baikuMTha kI mUrti zAnti ko cAhane vAlA bnaave| cAra mukhoM meM Age kA mukha puruSa ke jaisA, dakSiNa tarapha. kA narasiMha ke

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devatAmUrti-prakaraNam . 133 jaisA, pazcima tarapha kA mukha strI ke mukha jaisA aura uttara tarapha kA vArAha ke mukha jaisA bnaanaa| Vaikunth=I shall now talk about the image of Vaikunth. He has eight arms and is immensely strong. Seated on Taksharya (Garuda), Vaikunth should be portrayed with four faces by devotees desiring peace. (91). ____His four.right hands hold a mace, a sword, an arrow, and a disc; while his left oncs possess a conchshell, a kheta or shicld, a bow, and a lotus (92). Of his four faces, the front-facing visage is like a man, the one to the south like Narsingh, the westward facing one like a woman and the one to the north like Varah. (93). vizvarUpa sutejasaM vizvarUpaM vizvazaM sRSTikArakam / tasya cAnukramaM vakSye viMzadbhirhastakairyutam // 94 // patAkA-zaGkhau ca halaM vjrmNkush-saaykau| cakraM bIjaka' varadau dakSiNeSu kareSu ca // 95 // . paMtAkA daNDapAzau ca gdaashaarnggvidhRtkrm| 'padmaM zrRMgI ca kumuda-makSamAlA tathaiva ca // 16 // yogamudrA karadvandve vainateyopari sthitm|| naraM ca nArasiMhaM ca strImukhaM zUkarAnanam // 97 // vizvarUpa deva mahAtejasvI, vizva ko jAnane vAlA aura sRSTi kA karane vAlA hai| usake bIsa bhujAe~ haiM, unameM dhAraNa karane vAle zastroM ko anukrama se kahatA hU~-dAhinI bhujAoM meM dhvajA, zaGkha, hala, vajra, aGkuza, bANa, cakra, bIjoru aura varadAna hai| bA~yI bhujAoM meM krama se patAkA, daNDa, pAza, gadA, dhanuSa, padma, zrRMgI (parvata) kamala aura akSamAlA hai| donoM tarapha ke eka-eka hAtha yoga mudrA / 1. mu. tujhaM c| . .

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134 ___ devatAmUrti-prakaraNam vAlA hai| garur3a kI savArI para baiThA huA hai| usake mukhoM kA AkAra sAmane kA mukha puruSa ke jaisA, dAhinA narasiMha jaisA, pazcima kA strI jaisA aura uttara kA sUara jaisA hai| Vishvarupa = Vishvarupa is illustrious and full of brilliance. He is the All-Knowing One, who knows the world, and who has caused Creation to occur. Hear about the attributes held in his twenty arms, which I (Mandan) now relate in the prescribed order. On the right-hand side, these are. (95) :-a banner, a conchshell, a plough, a thunderbolt, a goad, an arrow, a disc, and a citron, with the ninth hand in the varad position of blessings. (95). The left hands possess a banner, a danda, a noose, a mace, the Shardanga bow of Vishnu, a lotus, the mountain Shringi, a water-lily, and a string of prayer-beads. (96). . . The two remaining right and left hands are in a yogic pose. Vishvarupa is seated on Garuda, son of Vanita. The four faces of Vishvarupa are like a man (front face), Narsingh (facing south), a woman (facing west) and the boar incarnation (facing north). (97). anantadeva anantAnantarUpaM ca yasmAd vizvasamudbhavaH / anantazaktisaMkIrNa-manantarUpasaMyutam // 98 // saMyutaM dvAdazabhujaizca cturvktrmhotsvm| suparNaskandhamArUDhaM karttavyaM sarvakAmadam // 99 // gadAkhaDgau tathA cakra-vajrAMkuzazarANi vai| zaGkhakheTau dhanuH padmaM daNDapAzAvanantakaH // 100 // naraM tathA nArasiMhaM strImukhaM zUkarAnanam / teja:puJjodbhavaM kAryamanantaM nAma nAmata: // 101. //

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devatAmUrti-prakaraNam 135 anantAnanta rUpa vAlA, vizva utpanna karane vAlA, ananta zakti yukta, ananta rUpa yukta, bAraha bhujA vAlA, cAra mukha vAlA aura garuDa Upara savArI karane vAlA deva sarva manoratha pUrNa karane vAlA bnaanaa| usake hAthoM meM anukrama se gadA, khaDga, cakra, vajra aGkuza, bANa, zaGkha, DhAla, dhanuSa, padma, daNDa aura pAza haiN| usake mukha kA svarUpa nara, siMha, strI aura varAha ke jaise haiN| aisA ananta rUpa bnaanaa| Anant =Of an infinite form is Anant, the Perpetual One who created the World. He possesses unending power (shakti) (98). Anant has twelve arms and four faces. He is seated on Garuda. Such is Anant, who grants all wishes. (99). He holds a mace, a sword, a disc, a thunderbolt, a goad, an arrow, a conchshell, a shield, a bow, a lotus, a danda, and a noose in his hands. (100). His four faces are like a man, Narsingh, a woman and a boar (i.e. Varah) respectively. In Anant is collected all brilliance, majesty, and lustre. Thus should be depicted this Anant form of God. (101). trailokyamohana trailokyamohanaM vakSye saMsAramohakArakam / SoDazaiva bhujAstasya tAvArUDhaM mahAbalam // 102 // . gadA-cakrAMkuzAnyeva baannshktisudrshnm| . varadaM karamudvRtya zastrA vai dakSiNe tathA // 103 // mudgaraH pAzazAGgai tu zaGkha pdmkmnnddluu| zRMgI ca vAmahaste syAd yogamudrAkaradvaye / 104 // naraM ca nArasiMhAkhyaM zUkaraM kpilaannm| dvizaktyaSTazaktiyutaM kuryAt trailokyamohanam // 105 // trailokyamohana ke svarUpa ko kahatA huuN| vaha saMsAra ko saMmohita karane vAlA, solaha bhujA vAlA, garur3a kI savArI karane vAlA aura mahA balavAna hai| usake dAhine hAthoM meM anukrama se gadA, cakra, aGkuza, bANa, zakti, sudarzana cakra,

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devatAmUrti-prakaraNam varadAna haiN| bA~yI bhujAoM meM mudgara, pAza, dhanuSa, zaGkha, padma, kamaNDalu aura zrRMgI (parvata) haiN| tathA donoM tarapha ke eka-eka hAtha yogamudrA vAle haiN| usake mukha kA svarUpa anukrama se nara, narasiMha, zUkara aura kapilA (strI) ke jaisA hai, do athavA ATha zakti ke sAtha trailokyamohana deva karanA 136 Trailokyamohan = I ( Mandan) speak about Trailokyamohan now, the Lord who fascinates the world, filling us with wonder and illusions. Seated on Garuda, the sixteen armed Trailokyamohan is full of immense strength and power. (102). He holds a mace, a disc, a goad, an arrow, the Shakti weapon and the Sudarshan chakra in six of his right hands, with the seventh being in the Varad pose. (103). In his left hands are a mudgar or mace, a noose, a bow, a conchshell, a lotus, a kamandalu and the Mount Shringi. The remaining two right and left hands are in a yogic pose. (104). Make Trailokyamohan with the faces of a man, Narsingh, the Varah boar, and a woman. The doubly-powerful Trailokyamohan should be depicted with either two, or else eight shaktis. Such should be the statue of Trailokyamohan. (105). viSNu ke Ayatana-- dakSiNe puNDarIkAkSaH pUrve nArAyaNaH smRtaH / pazcime syAttu govinda uttare madhusUdanaH // 106 // IzAne sthApayed viSNumAgneyyA~ ca janArdanam / nairRtye padmanAbhaM ca vAyavyAM mAdhavaM tathA // 107 // kezavaM madhyataH sthApyamathavA vAsudevakam / saMkarSaNapradyumnau cAniruddhaM ca yathAkramam // 108 // jalazAyI tathA prokto dazAvatArasaMyutaH / zUkarazcAgrataH sthApyaH sarvadevamayaH zubhaH // 109 // dakSiNa dizA meM puNDarIkAkSa, pUrva meM nArAyaNa, pazcima meM govinda, uttara

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devatAmUrti-prakaraNam .. 137 meM madhusUdana, IzAna meM viSNu, agni koNa meM janArdana, nairRtya meM padmanAbha aura vAyavya meM mAdhava ko sthApana karanA / madhya bhAga meM kezava athavA vAsudeva, saMkarSaNa, pradyumna aura aniruddha ko athavA dazAvatAra se yukta jalazAyI sthApita kre| Age ke bhAga meM saba deva-svarUpa zubha rUpa zUkara bhagavAna sthApana kreN| Placement of idols in a Vishnu temple should be as follows: To the south should be the statue of Pundareekaksh, to the east Narayana, to the west Govind and to the north Madhusudan (106). In the north-east install Vishnu, and in the south-east Janardhan. Place Padmanabha in the south-western quarter and Madhav in the north-western (107). In the centre is the place of Keshav. Qr alternatively, install Vasudeva, Samkarshna, Pradyumna and Aniruddha in the prescribed order. (108). Otherwise, place the Jalashayin Vishnu, complete with his ten avatars (incarnations). In the front area may be installed Varah, the boar incarnation of Vishnu, the most auspicious of forms amongst the deities. (109). viSNu ke ATha dvArapAla pratIhArostato vakSye aSTau caturpu dikSu c|| tasyAnukramarUpaM ca lakSayed yasya yAdRzam // 110 // vAmanAkArarUpAzca karttavyA: sarvata: shubhaaH| viSNu ke cAroM dizAoM ke ATha dvArapAloM ko kahatA huuN| jaisA anukrama hai, usI anukrama se lakSaNa kahatA huuN| ve saba vAmana AkAra ke svarUpa vAle aura saba taraha se zubha kAraka haiN| I now describe the placements of the doorkeepers of Vishnu-eight of them in all-who guard the four directions. Their appearance and attributes are explained in their respective order. (110).

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138 devatAmUrti-prakaraNam pUrva dizA ke dvArapAla tarjanIM zaGkhacakraM ca daNDaM prAgdakSiNakramAt // 111 // . caNDAbhidhAnakaH prokto'syApasavye pracaNDakaH // vAme caNDa: prakarttavya: pracaNDo dakSiNe tathA // 112 // tarjanI, zaGkha, cakra aura daNDa ko dAhine hAtha se dhAraNa karane vAlA; caNDa nAma kA dvArapAla hai| zastroM ko bA~ye hAtha meM rakhane se pracaMDa nAma kA dvArapAla hai| inameM pUrva dizA kI bA~yI ora caNDa ko aura dAhinI ora pracaNDa kI sthApanA krnaa| They are all dwart-like in appearance like Vamaq, and are very auspicious and lucky in every way. Holding, in the order of pradakshina or circumambulation (i.e. left to right), a raised. foresinger (tarjani), a conchshell, a disc and a danda (111), is the guardian, called Chand. Holding the same attributes as Chand but in the reverse order is Prachand. Chand stands to the left and Prachand to the right of the eastern portal. (112). dakSiNa dizA ke dvArapAla padmakhaDgaM kheTakaM ca gadAM teSu prdkssinne| vilomaiH padmagadayorjayo vijaya dakSiNe / 113 // padma, khaDga, DhAla aura gadA ko pradakSiNa krama meM dhAraNa karane vAlA bA~yI ora jaya nAma kA dvArapAla hai| padma ke sthAna meM gadA aura gadA ke sthAna meM padma ko bAkI zastroM ko pUrvavat dhAraNa karane vAlA vijaya nAma kA dvArapAla dakSiNa tarapha sthApana krnaa| Holding a lotus, sword, shicld and mace respectively in the pradakshina order stands Jai, while holding the same attributes in the opposite order (i.c. mace in place of a lotus and so on) stands Vijay. They guard the southern door, Jai standing to the left and Vijay to the right of the door. (113).

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devatAmUrti-prakaraNam .. 139 pazcima dizA kA dvArapAla tarjanI bANa-cApaM ca gadAM teSu prdkssinnaa| gadA'pi savyata: kuryAd dhAtA tasmAd vidhAtRkaH // 114 // . tarjanI, bANa, dhanuSa aura gadA ko pradakSiNA krama se dhAraNa karane vAlA bA~yI ora dhAtA ko sthaapnaa| gadA, tarjanI, bANa aura dhanuSa ko dhAraNa karane vAlA dAhinI ora vidhAtA ko sthApanA / At the western cntrance stand Dhata and Vidhata. Dhata has a raised foresinger, an arrow, a bow and a mace in the order of pradakshina, while Vidhata possesses the same atiributes in the opposite order. (114). uttara dizA kA dvArapAla tarjanI padma zaGkha ca gadAM teSu prdkssinnaa| - savyApasavyayogena. subhadro bhadra eva ca // 115 // tarjanI, kamala, zaGkha aura gadA ko pradakSiNA krama se dhAraNa karane vAlA bA~yI ora bhadra nAma kA dvArapAla sthaapnaa| ina zastroM kA adala badala karane se subhadra nAma kA dvArapAla dAhinI ora sthApita krnaa| Guarding the northern portal are Bhadra and Subhadra. Bhadra has the tarjani finger, a lotus, a conchshell and a mace in the pradakshina order; while Subhadra holds the same attributes in the reverse order. (115). mUrteH pramANagaNanAM garuDadhvajasya, brahmAdayo'maraMgaNA na hi te samarthAH / vizvasya pAlanavidhau bahudhA prakAraM, rUpANi yasya vicaranti sa pAtu viSNuH // 116 // iti kSetrAtmaja-sUtrabhRnmaNDanaviracite vAstuzAstre devatAmUrtiprakaraNe dazAvatAre viSNu-zAligrAma-zilAparIkSAdibhedAdhikAro nAma paJcamodhyAyaH // 5 // . viSNu kI mUrti ke pramANa kI gaNanA karane meM brahmA Adi devagaNa bhI

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devatAmUrti-prakaraNam 140 samartha nahIM hai| vizva kA pAlana karane ke liye, jisake aneka prakAra ke rUpa haiM, vaha viSNu saba kA rakSaNa kareM / zrI kSetrAtmaja maNDana sUtradhAra praNIta vAstuzAstra ke devatAmUrti prakaraNa kA pAMcavAM adhyAya pUrNa huA / Even Brahma and the other gods are unable to adequately describe, and count and relate the signs and symbols of Vishnu's idols and the ceremonial Garuda-dhvaja pillars! May Vishnu, who guides and preserves the world, and has many forms, protect every being. (116). Here ends the fifth chapter of the treatise on architecture, the Devata Murti Prakarnam, composed by the artisan Mandan, son of Kshetra, in which the statues of Vishnu, the test of Shaligramas and so forth have been discussed.

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devatAmUrti-prakaraNam 141 viziSTa vivecana 1. padya-14. bRhatsaMhitA meM viSNu bhagavAna kA svarUpa isa prakAra hai"kAryo'STabhujo bhagavAMzcaturbhujo dvibhuja eva vA vissnnuH| zrIvatsAMkitavakSAH kaustubhmnnibhuussitorskH||1|| atasIkusumazyAmaH pItAmbaranivasanaH prsnnmukhH| kuNDalakirITadhArI pInagalora sthlaaNsbhujH||2|| khaDgagadAzarapANirdakSiNataH zAntadazcaturthakaraH / vAmakareSu ca kArmukakheTakacakrANi zaGkhazca // 3 // atha ca caturbhujamicchati zAntida eko gdaadhrshcaanyH| dakSiNapAzrve tveSaM vAme zaGkhazca cakraM ca // 4 // dvibhujasya tu zAntikaroM dakSiNahastoparazca shngkhdhrH| evaM viSNoH pratimA kartavyA bhUtimicchandriH // 5 // " kRSNa aura baladeva ke bIca meM jo 'ekAnaMzA' nAma kI devI rakhI jAtI hai, usakA svarUpa bRhatsaMhitA ke matAnusAra'ekAnaMzA kAryA devI bldev-kRssnnyormdhye| kaTisaMsthitavAmakarA sarojamitareNa codvahatI // 1 / " kAryA . caturbhujA. yA vAmakarAbhyAM supustakaM kamalam / dvAbhyAM dakSiNapAveM varadAthimakSasUtraM ca // 2 // vAme'thASTabhujAyA: kamaNDaluzcApamambujaM shaastrm| varazaradarpaNayuktAH savyabhujAH sAkSasUtrAzca // 3 // baladeva aura kRSNa ke bIca meM ekAnaMzA nAma kI devI sthApana krnaa| usakA bA~yA hAtha kaTI para rahA huA ho aura dAhinA hAtha kamala dhAraNa karane vAlA ho| yaha devI cAra bhujA vAlI banAveM to usake bA~yeM donoM bhujAoM meM 1. . 'draSTurabhimukha UrdhvAguli: zAntidaH karaH' iti vRhatsaMhitA kI TIkA meM likhA hai|

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devatAmUrti-prakaraNam pustaka aura kamala tathA dAhinI donoM bhujAoM meM varada aura akSasUtra (mAlA) mukuTa banAnA / yadi yaha isI ATha bhujA vAlI banAnA ho to bA~ye cAroM bhujA kamaMDalu, dhanuSa, kamala aura pustaka yukta tathA dAhinI cAroM bhujAyeM varadAna, bANa, darpaNa aura mAlA yukta banAnA / 142 zAMba aura pradyumna (kAmadeva) kA aura unake deviyoM kA svarUpa " zAmbazca gadAhastaH pradyumnazcApabhRtsurUpazca / anayoH striyau ca kArye kheTaka nistriMza-dhAriNyau // " zAMba kumAra do bhujA vAlA eka hAtha meM gadA yukta ho / pradyunna, kumAra (kAmadeva) dhanuSa dhAraNa karane vAlA do bhujA vAlA sundara rUpa vAlA hai| ina donoM kI striyA~ khaDga aura DhAla dhAraNa karane vAlI banAnA / O

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devatAmUrti-prakaraNam 143 6 SaSThodhyAyaH sadyojAta zuklAmbaragharaM devaM zuklamAlyAnulepanam / jaTAbhArasamAyuktaM bAlendukRtazekharam // 1 // trilocanaM saumyamukhaM kuNDalAsyamalaMkRtam / divyadehaM mahAkAyaM navayauvanamaNDitam // mahAbhujaM mahotsAhaM varadAbhayapANinam // 2 // . sadyojAta nAma kA deva sapheda kasaM dhAraNa karane vAlA, sapheda mAlA aura sapheda caMdana ke lepana vAlA, jaTA vAlA, zira para bAla candramA ko dhAraNa karane vAlA, tIna netra vAlA, sundara mukha vAlA, kuNDaloM ko dhAraNa karane vAlA, divya aura bar3e zarIra vAlA, yuvAvasthA se suzobhita, bar3I bhujA vAlA, bar3e utsAha vAlA, varadamudrA aura abhayamudrA vAlA hai| Sadhyojat - Sadhyojata is clad in white, with a white garland around his neck, and annointed with a white (sandalwood) paste. His hair is matted and twisted together (jata) and the newly waxing crescent moon - balendu-adorns his topknot. (1).

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144 devatAmUrti-prakaraNam He has three eyes and a handsome face. He is adorned with kundala earrings. The divine body of the god is great in size and resplendent in its youth, and his arms strong and powerful. He possesses great energy and is portrayed with his hands in the position of varad (bestowing blessings) and abhay (absence of fear). (2). vAmadeva raktAmbaradharaM devaM rktyjnyoviitinm| . raktoSNISaM raktanetraM raktAmAlyAnulepanam // 3 // jaTAkRtacandradevaM trinetraM tuNgnaasikm| mahAvaktraM mahAbAhuM khaDgakheTakadhAriNam // 4 // . . raktAsyaM raktanayanaM rktkunnddldhaarinnm| raktAlaGkArasaMyuktaM sarpAbharaNabhUSitam // 5 // vAmadeva lAla vastra ko dhAraNa karane vAlA, lAla janeU vAlA, lAla mukuTa dhAraNa karane vAlA, lAla netra, lAla mAlA aura lAla caMdana vAlA, jaTA meM candra dhAraNa karane vAlA, tIna netra vAlA, U~cI nAsikA vAlA, bar3e mukha aura bar3I bhujA vAlA, hAtha meM khaDga aura DhAla dhAraNa karane vAlA, lAla mukha vAlA, lAlakuNDala vAlA, lAla alaGkAra aura sarpa kA AbharaNa dhAraNa karane vAlA hai| Vamadeva - The red-garbed god Vamadeva wears a red yagnopveetinam or 'sacred string' and a red diadem. His eyes are red, as is his garland and the unguent (of red sandalwood) with which he is annointed (3). The moon adorns his matted locks (jata). The three eyed Lord has an elevated (?prominent) nose and a large face. His arms are powerful and hold a sword and a shield. (4). Such is Vamadeva of the ruddy complexion, red eyes, red kundala earrings and red ornaments, and adorned with a snake. (5).

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devatAmUrti-prakaraNam aghora daMSTrAkarAlavikaTAsyaM sarpazIrSa trilocanam / ruNDamAlAdharaM devaM sarpakuNDalameva ca // 6 // bhujaMga-keyUradharaM sarpahAropavItinam / gonasaM kaTisUtraM ca vRzcikamAlikA gale // 7 // nIlotpaladala - zyAma matasIpuSpasannibham / piMgabhU-piMgajaTilaM zazAGkakRtazekharam // 8 // takSakaM puSTikaM caivaM pAdau ca nUpurau kRtau / aghorasya svarUpaM tu kAlarUpamivAparam // 9 // mahAvIryaM mahotsAha maSTabAhuM mahAbalam // trAsayantaM ripubalaM nivezo yatra bhUtale // 10 // khaTvAGgaM ca kapAlaM ca kheTakaM pAzameva ca / vAmahasteSu karttavya' - midaM shstrctussttym|| 11 // trizUlaM parazuM khaDgaM daNDaM caivArimardanam / dakSiNeSu kareSu syAdetacchastracatuSTayam // 12 // - 2. aghora deva bar3e-bar3e dA~toM se yukta bhayaMkara mukha vAlA, mAthe ke Upara sAMpa ko dhAraNa karane vAlA, tIna netra vAlA, nara-muNDoM kI mAlA dhAraNa karane vAlA, kAna meM sAMpoM kA kuNDala pahanane vAlA, sAMpa ke bAjUbanda vAlA, sAMpa kI mAlA aura janeU dhAraNa karane vAlA, gonasa sAMpa kI kaTi mekhalA vAlA, gale meM vichU kI mAlA pahanane vAlA, nIla kamala ke jaisI yA alasI ke puSpa jaisI 1. mu. karttavyaM zastrANAM ca catuSTayam / mu. cakraM / 145

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devatAmUrti-prakaraNam zyAma kAnti vAlA, pIle raMga kI bhRkuTI aura pIlI jaTA vAlA, jaTA meM candramA dhAraNa karane vAlA, takSaka aura puSTika nAma ke sAMpoM kA paira meM nUpura pahanane vAlA, dUsarA kAlarUpa mahA bhayaMkara, bar3A parAkramI, bar3A utsAha vAlA, ATha bhujA vAlA, mahA balavAn aura zatru ke sainya ko trAsa dene vAle aise aghora deva ke svarUpa kA isa bhUtala para sthAna hai / vaha bA~yI cAra bhujAoM meM khaTvAGga, kapAla, DhAla aura nAgapAza ye cAra zastroM ko dhAraNa karane vAlA hai| dAhinI cAra bhujAoM . meM trizUla, parazu, khaDga aura daNDa ye cAra zastra dhAraNa karane vAlA hai| 146 Aghor Aghor has large and terrible teeth and a fiercely dreadful face. A snake crowns his head. The three eyed deity wears a garland of skulls and kundala earrings composed of snakes. (6). Snakes adorn his upper arms like an armlet (keyura) and form his necklace too, Even his upaveetam or 'sacred string is made up of snakes. The Gonasa snake girdles his hips and a garland of scorpions encircles his neck. ( 7 ). Dark, like the blue lotus or like the flowers of a linseed plant (atsi-pushpa), and with tawny brows and tawny matted hair adorned with Shashank, the moon ( 8 ), Aghor wears the snakes : called Takshak and Pushtika around his ankles like anklets (noopur). The form of Aghor is eternal and timeless, and he appears as Kala itself. (The Supreme Spirit in the form of the Destroyer of the Universe). (9). He possesses great valour, energy and strength, and has eight arms. Aghor strikes fear amongst enemy armies. Such is the Lord who dwells on earth. (10). He possesses the Khatvanga club topped by a skull (regarded as Siva's weapon, the khatvanga is often carried by ascetics), a kapal or a cup made from a skull, a shield and a pasha (noose, fetter or cord) in his left hands. These are the four weapons in Aghor's left hands ( 11 ). The weapons or attributes held in his four right hands are a trident (trishul), an axe (parashu), a sword and the danda rod. (12).

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devatAmUrti-prakaraNam 14 tatpuruSa pItAmbaradharaM devaM piityjnyopviitinm| mAtuluGgaM kare vAme akSasUtraM ca dakSiNe // 13 // tatpuruSa deva pIle vastra vAle, pIlI janeU vAle, bAyeM hAtha meM bIjorA aura dAhine hAtha meM. akSasUtra ko dhAraNa karane vAle hai| Tatpurush Tatpurush is clad in yellow robes and wears a yellow yagnopveetinam. In his left hand is a citron (matulunga) and in his right a string of prayer-beads (akshasutra). (13). IzAnadeva zuddhasphaTikasaMkAzaM jttaacndrvibhuussitm| tryakSaM dakSe trizUlaM ca vAmahaste kapAlinam // 14 // zuddha sphaTika jaisI sapheda kAnti vAlA, naTA meM candra dhAraNa karane vAlA, tIna netra vAlA, dAhine hAtha meM trizUla aura bAMye hAtha meM kapAla dhAraNa karane vAlA hai| Ishan - Ishan has the brilliance of pure crystal. The moon adorns his matted locks. He has three eyes and holds a trident in his right hand and a skull cup (kapal) in his left. (14). mRtyuJjaya kapAlamAlinaM zvetaM zazAGkakRtazekharam / vyAghracarmadharaM bhadraM nAgendrAsanabhUSitam // 15 // trizUlaM cAkSasUtraM ca kArayed dakSiNe kre| kapAlaM kuNDikA pAzaM yogamudrA karadvaye // 16 // mRtyuJjaya deva kapAloM kI mAlA dhAraNa karane vAlA, sapheda raMga vaalaa|

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148 devatAmUrti-prakaraNam jaTA meM candramA dhAraNa karane vAlA, vyAghra ke carma ko pahanane vAlA, bhadra prakRti vAlA, sarparAja ke Asana se vibhUSita hai| vaha dAhinI bhujAoM meM trizUla aura akSasUtra tathA bA~yI bhujAoM meM kapAla aura kamaNDalu ko dhAraNa karane vAlA aura dAhinI do bhujA yogamudrA vAlI haiN| Mrityunjaya - ___ Mrityunjaya wears a garland of skulls. He is white in colour, and the topknot of his matted hair is crowned by the moon. Draped in a tiger-skin, Bhadra the auspicious, is seated on a Nagendra throne (15). He possesses a trident and a string of prayer-beads in his right hands, and a skull (kapal), a kundika (a water-pitcher or a kamandalu) and a pasha (noose.or rope) in his left hands, with two hands being held in yogic mudras or positions. (16). vijaya ekavaktraM trinetraM ca shshaangkkRtshekhrm| bRhadbhAlakapAlaM ca kaNThagrIvAsuzobhitam // 17 // caturbhujaM mahAbAhuM zUlapaGkajadhRtkaram / divyarUpadharaM devaM varadAbhayapANikam // 18 // vijaya deva eka mukha aura tIna netra vAlA, jaTA meM candramA ko dhAraNa kiye hue, vizAla mastaka aura kapAla vAlA, sundara kaMTha aura gale vAlA, mahA balavAn, cAra bhujAoM vAlA, dAhinI bhujAoM meM trizUla aura kamala tathA bA~yI bhujAoM meM varadamudrA aura abhayamudrA hai| aisA divya rUpa dhAraNa karane vAlA vijaya deva hai| Vijay Vijay has one face and three eyes, and wears the moon, resplendent, in his hair. He has a large forehead, and his neck and throat are adorned by a large garland of skulls (17). He has

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149 devatAmUrti-prakaraNam .. four arms and is very powerful. He possesses a trident and a lotus in two hands, and holds two hands in the blessing (varad) and absence of fear' (abhay) positions. Such is Vijay, the Lord with the divine form. (18). kiraNAkSa caturbhujaM mahAbAhuM shuklaakssipaannipaadkm| pustakAbhayahastaM ca varadAkSaM trilocanam // 19 // kiraNAkSa deva mahAbalavAn, cAra bhujA vAlA, A~kha, hAtha aura paira sapheda raMga vAlA, dAhine hAthoM meM pustaka aura abhaya, bAyeM hAthoM meM varadAna aura akSamAlA dhAraNa karane vAlA aura tIna netra vAlA hai| Kiranaksha - Kiranaksha has four arms and is very powerful. He has white eyes, white hands and white feet. The three eyed Lord holds a book in one (?right) -hand with the other in the Abhay-hasta; with the two other (?left) hands in the Varad-hasta and holding a string of prayer-beads, respectively. (19). aghora 'jvalatpAvakasaMkAzaM khaDgahastaM trishuulinm| mahAkrodhadharaM devaM bhayakSatta(?) mahadbhayam // 20 // aghoraM deva jAjvalyamAna agni ke jaisI kAnti vAlA, hAtha meM khaDga aura trizUla ko dhAraNa karane vAlA, mahAkrodhI, bhayadAyaka aura mahAbhayaMkara hai| Aghor With the blazing lustre of fire, and holding a sword and a trident in his hands is the Lord who is terrible in his anger and who causes great fear. Such is Siva the Fearsome. (20). zrIkaNTha

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150 devatAmUrti-prakaraNam citravastradharaM devaM citrayajJopavItinam / citrarUpaM mahezAnaM citraizvaryasamanvitam // 21 // caturbAhuM caikavaktraM sarvAlaGkArabhUSitam / khaDgaM cApaM zaraM kheTaM zazAGkakRtazekharam // 22 // . zrIkaMTha deva vicitra vastra vAlA, vicitra janeU dhAraNa karane vAlA, vicitra rUpa vAlA, vicitra aizvarya vAlA, cAra bhujA aura eka mukha vAlA, tathA saba alaGkAroM se vibhUSita hai| hAthoM meM khaDga, dhanuH, bANa aura DhAla ko dhAraNa karane vAlA, tathA jaTA mukuTa meM candramA ko dhAraNa karane vAlA hai| .... Shreekantth Wearing clothes of wonderous variegated colours and a similar (ie multicoloured) yagnppaveetinam, the Lord with the wonderful form, Maha Ishan; has extraordinary sovereignty. (21). He has four arms and one face, and is adorned with all kinds of ornaments and jewels. He holds a sword, a bow, an arrow and a shield in his hands and wears the moon in his hair.(22). mahAdeva trilocanaM caturbAhuM zuklanetraM krdvym| dakSe pANau ca sampUrNaM cAmRtaM ca rasaM pibet // 23 // akSasUtraM tathA vAme mhaadevmumaarcitm| rudramekAdazaM proktaM mahadaizvaryakArakam // 24 // mahAdeva tIna locana, cAra bhujA, sapheda netra aura do hAtha vAlA hai| vaha dAhine hAtha se sampUrNa amRta rasa kA pAna karatA huA aura bAyeM hAtha meM akSamAlA ko dhAraNa karane vAlA, aura umAdevI se pUjita bar3e aizvarya vAlA hai| isa prakAra 1. 2. mu. citracandradharaM (sUtraM ? citra) / mu. khddgcaapshirH|

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devatAmUrti-prakaraNam gyAraha rudroM kA svarUpa kahA / Mahadeva Mahadeva, the Great Three-Eyed God (Trilochanam), has four arms and white eyes and hands. With his right hands he drinks amrit (nectar or ambrosia) and rasa (sap, liquid, or poison). (23). His left hand holds a string of prayer-beads and another hand honours the goddess Uma. 151 These are the descriptions of the 11 Rudras, manifestations of the Supreme Being. ( 24 ). sadAziva padmAsanazivacchAyAM yogAsanakaradvayam / paJcavaktramaMyaM zakti-zUlakhaTvAGgadhRtkaram // 25 // bhujaMgamakSasUtraM ca DamaruM mAtuluGgakam / icchA jJAna kriyA ceti trinetraM jJAnatArNavam // 26 // saMdAziva padmAsana meM baiThA huA, yoga-mudrA vAlA aura pAMcamukha vAlA hai / hAthoM meM zakti, zUla, khaTvAGga, sAMpa, akSamAlA, Damaru aura bIjoru dhAraNa karane vAlA, icchA, jJAna aura kalA kA AdhAra sthAna, tIna netra vAlA aura jJAna kA samudra hai| Sadashiv Seated in the padmasana position ( ? in constant meditation?), with two hands in yogic positions, Sadashiv has five faces. He possesses the weapons Shakti-shula, and the Khatvanga club (25), and a snake, a rosary, the damroo drum and a citron-fruit in his hands. The three eyed God is the source of desires, knowledge and the arts, and is an ocean of knowledge. (26).

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152 devatAmUrti-prakaraNam arddhanArIzvara arddhanArIzvaraM vakSye umaadehaarddhdhaarinnm| vAmAGge ca stanaM kuryAt kaNe vai tAlapatrakam // 27 // vyAlakA vAmakarNe tu dakSiNe kuNDalaM sthitm| . mukuTAgre ca mANikyaM jaTAbhAraM svadakSiNe // 28 // .. arddha tasya striyArUpaM srvaabhrnnbhuupitm| puruSaM dakSiNe bhAge kapAlaM kaTimekhalA // 29 // trizUlaM cAkSasUtraM ca dakSayo: kryostthaa| kamaNDalu darpaNaM ca gaNezaM vAma ucyate // 30 // AdhA zarIra umA ke svarUpa ko dhAraNa karane vAlA, arddha nArIzvara deva kA svarUpa kahatA hUM- donoM kAnoM meM tAlapatra dhAraNa karane vAlA athavA bAyeM kAna meM kuNDala aura dAhine kAna meM sAMpa, bA~yeM bhAga meM mANika lage hue mukuTa ko aura dAhine bhAga meM jaTA ko dhAraNa karane vAlA, zarIra kA bA~yA bhAga saba AbhUSaNoM se suzobhita aisA strI ke rUpa kA aura dakSiNa bhAga puruSa ke rUpa kA kapAla, kaTi aura karaghanI yukta karanA, dAhinI do bhujAoM meM trizUla aura akSamAlA, bA~yI do bhujAoM meM kamaMDalu aura darpaNa rakhanA tathA goda meM. gaNeza rkhnaa| Ardhanarishvar I speak now of Ardhanarishvar who takes on half the form of Uma. The left part of the idol is made like a woman, with a breast. Both ears are adorned with the Talapatrak ear-ornament (a hollow cylinder of gold inserted through the ear-lobes) (27). The left ear has a snake, and the right a kundala. At the left of the head is a ruby-encrusted crown and at the right matted locks (jata) (28). The left half of the figure is like a woman, and is adorned with all the ornaments worn by women, while the right is like a man's, with a waist-band of skulls (katimekhala). (29).

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devatAmUrti-prakaraNam . 153 In the right hands of Ardhnarislivar are a trident and a string of prayer-beads. The left hands hold a kamandalu and a mirror. Ganesh is to the left too. (30). umAmahezvara umAmahezvaraM vakSye umayA saha shngkrm| mAtuluGgaM trizUlaM ca bibhrataM dakSiNe kare // 31 // 'AliGgito vAmahasto nAgeMdro dvitIye kre| haraskandhe umAhasto darpaNaM dvitIye kare // 32 // adhastAd vRSabhaM kuryAt kumAraM ca gaNezvaram // bhRGgirITaM tathA kuryAnniyamAnnRtyasaMsthitam // 33 // umAmahezvara kA svarUpa kahatA hU~ - pArvatI ke sAtha zaGkara kI mUrti bnaanaa| mahezvara cAra bhujA vAlA hai, usake dAhinI do bhujAoM meM bIjorA aura trizUla hai| bA~yA eka hAtha AliGgana yukta aura dUsarA bA~yA hAtha sAMpa yukta hai| pArvatI devI kA dAhinA hAtha zaGkara ke kaMdhe para rakhA huA aura bA~ye hAtha meM darpaNa dhAraNa kiyA huA bnaanaa.| nIce ke bhAga meM naMdI bnaanaa| usake eka tarapha kumAra deva aura dUsarI tarapha gaNeza karanA, tathA nAca karatA huA ,girITa nAma kA anucara bnaanaa| Uma-Maheshvar I now describe Uma-Maheshvar-the statue of Uma with Shankar. A citron and a trident grace the right hands of Maheshvar. (31); whilc one left hand embraces the goddess and the other possesses Nagendra, the king of snakes. Uma has one hand on the shoulder of Hara (Maheshvar) and holds a mirror in the other hand. (32). Below thesc iwo deities place the bull Nandi, flanked by the gods Kumar and Ganesh. Make a dancing 'Bhringireet' (one 1-1. mu. padya nahIM hai|

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154 devatAmUrti prakaraNam of the attendants of Siva) to completc thc composition. (33). kRSNazaGkara kRSNazaMkaramato vakSye kRSNAddhena tu sNyutm| kRSNArddha mukuTaM kuryAjjaTAdhAraM ca dakSiNe // 34 // kuNDalaM dakSiNe bhAge vAjhe mkrkunnddlm| akSamAlAM trizUlaM ca cakraM vai zaGkhameva ca // 35 // kRSNazaGkara kI mUrti kA svarUpa kahatA hU~- mUrti kA baoNyI tarapha kA arddha bhAga kRSNa varNa kA bnaanaa| isa kRSNArddha ke Upara mukuTa aura dAhine arddha bhAga para jaTA bnaanaa| dAhine bhAga meM kuNDala aura bAyeM bhAga meM makara kA kuNDala krnaa| hAthoM meM anuvrama se akSamAlA, trizUla aura zaGkha dhAraNa kiyA huA bnaanaa| Krishna-Shankur -- The image of Krishna-Shankar is now described. Hall the idol should be like Krishna and the other half like Siva. The Krishna half of thc statuc (i.e. the left side) should be adorncd with a mukut (crown) and the other half (the right) with the matted jata locks of Shankar (34). There is a kundala earring in the right car and a makara-kundala carring in the left. The four hands of the statue possess a string of prayer-beads, a trident, a disc and a conchshell respectively. (35). kRSNakArtikeya: padmazakti-kheTazaGkha mUrti: syAt kRssnnkaartikii| kamala, zakti, DhAla aura zaGkha ko dhAraNa karane vAlI kRSNa kArtikeya kI mUrti hai| Krishna-Kartikeya -- The idol of Krishna-Karttikeya possesses a lotus (padma),

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155 devatAmUrti-prakaraNam . the Shakti weapon, a shield and a conchshell. (36a). garuDadhvaja padma-zaMkha-dhvajA-cihna tAArUDhaM garuDadhvajam // 36 // kamala, zaGkha, dhvaja, daMDa aura patAkA dhAraNa karane vAlI garuDadhvaja kI mUrti Ganida-dhvaja - Bearing the signs of a lotus, a conchshell, a danda and a flag is Garuda-dhvaja. He is seated on Garuda. (36). zivanArAyaNa zivanArAyaNaM vakSye sarvapApapraNAzanam / vAmArddha mAdhavaM vidyAd dakSiNe zUlapANinam // 37 // bAhudvayaM ca kRSNaM ca,maNikeyUrabhUSitam / zaGkha cakradharaM zAnta - mAraktAMgulivibhramam // 38 // cakrasthAne gadAM vApi pANau ddyaaddhstne| zeSaM vA dakSiNe dadyAt kaTyarddha bhUSaNojjvalam // 39 // pItavastraparIdhAnaM caraNaM maNibhUSitam // dakSiNArddhajaTAbhAramaddhendukRtalakSaNam // 40 // bhujaMgahAravalayaM varadaM dakSiNaM karam / dvitIyaM cApi kurvIta trizUlavaradhAriNam // 41 // vyAlopavItasaMyuktaM kaTyaddhe kRttivaassm| maNiratnaizca saMyuktaM pAdaM nAgavibhUSitam // 42 // saba pApoM ko nAza karane vAlI ziva-nArAyaNa kI mUrti kA svarUpa kahatA hU~-mUrti kA bA~yA arddha bhAga mAdhava kA aura dAhinA ardhabhAga ziva kA banAnA /

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156 devatAmUrti-prakaraNam bA~yA arddha bhAga kRSNa varNa kA, do bhujA vAlA maNiyoM ke bAjUbaMda Adi bhUSaNoM vAlA karanA, ina donoM bhujAoM ko zaGkha aura cakra dhAraNa karane vAlI lAla aGguliyoM se suzobhita karanA, athavA cakra ke sthAna meM nIce kA hAtha gadA dhAraNa karane vAlA bnaanaa| kamara sundara AbhUSaNa yukta aura pItAmbara dhAraNa karane vAlI bnaanaa| caraNa meM maNiyoM ke AbhUSaNa bnaanaa| dAhinA AdhA bhAga jaTA vAlA aura arddha candra krnaa| sAMpa kA hAra dhAraNa karane vAlA aura varada mudrA vAlA, tathA dUsare hAtha meM trizUla dhAraka bnaanaa| sAMpa kI janeU, kamara- meM. mRga carma aura pairoM meM ratna ke sAMpa ke AbhUSaNa bnaanaa| Siva-Narayana ____I (Mandan) now describe the. statue of Siva-Narayana, the absolver of all sins. The left half of the idol is like Madhava (Vishnu) and the right half like Shulapani (Siva). (37). The left half is dark in colour and has two arms adorned with keyura armlets made of rubies. A conchshell and a disc are held in the two hands, the fingers. of which are (decorated) red (38). Alternatively, a mace may be *depicted instead of the disc held in the lower arm. The rest of the left-half of the statue should be adorned with a shining jewelled waistband and other adornments (39), and depicted clad in yellow raiments, with rubies adding lustre to the (left) foot. The right half of the idol of Siva-Narayana should be made possessing matted jata locks, crowned by a crescent-moon, symbolic of Siva (40). Make a garland of snakes around the neck, and one right hand in the varad or boon-conferring position and the other holding a trident (41). The Siva half of the statue wears a snake as the sacred upaveeta string and has a deer-skin girdling the waist (as befits Siva, the Krittivassa). The foot is adorned by rubies (mani) and other gems (ratna), as well as by snakes. (42). Such is Siva-Narayana who absolves sin.

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devatAmUrti-prakaraNam .. 157 hariharapitAmaha ekapIThasamArUDha - mekdehnivaasinm|' SaDbhujaM ca caturvaktraM sarvalakSaNasaMyutam // 43 // akSasUtraM trizUlaM ca gadAM caiva tu dkssinne| kamaNDaluM ca khaTvAGgaM cakraM vAmabhuje tathA // 44 // eka hI Asana Upara baiThe hue aura eka hI zarIra dhAraNa karane vAle chaha bhujA, cAra mukha aura saba- lakSaNoM se yukta viSNu, ziva aura brahmA kI mUrti bnaanaa| dAhinI tIna bhujAoM meM krama se akSamAlA, trizUla aura gadA ko tathA bA~yI tIna bhujAoM meM kamaNDalu, khaTvAGga aura cakra dhAraNa karane vAlI bnaanaa| Hariharapitamah Seated on one (common) pedestal and ensconced within one 1 'ysical body is the six-armed idol of Hari-hara-pitamah with four faces, endowed with all the symbols and attributes (of Vishnu, Siva and Brahma). (43). . . A string of prayer-beads, a trident and a mace grace the three right hands, while a kamandalu, the khatvanga club and a disc are held in the left hands. (44). sUryahariharapitAmaha caturvaktramaSTabAhuM catuSkaikanivAsinam / RddhA (?prAcye) mukhagata: kArya: padmahasto divAkaraH // 45 // khaTvAGga trizUlahasto rudro dakSiNata: zubha : / kamaNDaluzcAkSasUtramaparastha: pitAmahaH // 46 // zaGkhacakradharo harirvAme caiva tu saMsthitaH / evaM vidho'yaM' karttavyaH sarvakAmaphalapradaH // 47 // 1. mu. ekapIThasamArUDhaM tanutrayanivAsinam /

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158 ... devatAmUrti-prakaraNam eka hI Asana para baiThe hue aura eka hI zarIra dhAraNa karane vAle sUrya, viSNu, ziva aura brahmA kI mUrti cAra mukha aura ATha bhujA vAlI bnaanaa| sanmukha kamala dhAraNa karane vAlA sUrya, dAhinA zivamukha khaTvAGga aura trizUla dhAraNa karane vAlA, pazcima meM brahmAmukha kamaNDalu aura akSamAlA, bA~yI ora viSNumukha zaGkha aura cakra ko dhAraNa karane vAlA banAnA / Suryahariharapitamah The idol of Surya, Hari, Hara and Pitamah together, known as Suryahariharapitamah, has four faces and eight arms and is combined within a single body, with a common asana (seat or pedestal). The Sun, Divakara, is in front (facing the devotec) holding lotuses in both hands. (45). . To the right is the auspicious face of Rudra (Siva), holding a khatvanga club and a trident, while beyond Siva (on the far side, or parasth, of Surya) is the Pitamah, Brahma. The Pitamah holds a kamandalu vessel and an akshamala string of prayer-beads. (46). To the left (of Surya) is the 'visage of Vishnu (Hari). He possesses a conchshell and a chakra' dise in his hands. An idol of Surya-Hari-Hara-Pitamah fabricated in the manner described here will grant worshippers wish-fulfillment and success in all tasks undertaken. (47). candrAMkapitAmaha SaDbhujaM ca caturvaktraM srvaabhrnnbhuussitm| kamaNDaluzcAkSasUtra - mubhayo: kamaladhRtkaram // 48 // mRNAloce yugmahaste kartavye shubhlkssnne| sarvAbharaNasaMyuktaM sarvakAmaphalapradam // 49 // 1. mu. vidheya ( ?) /

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devatAmUrti-prakaraNam 159 eka hI Asana para baiThe hue aura eka hI zarIra dhAraNa karane vAle ziva aura brahmA kI mUrti cha: bhujA aura cAra mukha vAlI bnaanaa| nIce kI do bhujA kamaNDalu aura akSamAlA, madhya kI do bhujA kamala aura Upara kI donoM bhujA kamala daNDa yukta banAnA, tathA saba AbhUSaNa bhI karanA, aisI mUrti sarva icchita phala ko dene vAlI hai| Chandrankapitamah Adorned with all the appropriate jewellery, and possessing six arms and four faces is the statue of Chandranka-Pitamah, (composite of Siva and Brahma together). The two lowermost hands hold a kamandalu and a string of prayer-bcads, while the two middle ones hold lotuses.(48). In the uppermost hands are lotus-stalks. Embellish the statue with all the auspicious symbols and attributes, and depict all kinds of adornments. It will grant success in all tasks. (49). caNDa bhairava lelihantaM daMSTrAkarAlaM caNDabhairavamuttamam / ekavaktraM zUlahastaM khaDgazaktizarAMkuzam // 50 // varadaM dakSiNe jJeyaM khaTvAGgaM kheTakaM tathA / . cApaM tathA'bhayaM caiva kapAlaM vAmahastake // 51 // dvAbhyAM vai gajacarma syaanmunnddmaalaavibhuussitm| IdRzaM kArayet prAjJazcaNDabhairavamuttamam // 52 // eka hI zarIra dhAraNa karane vAlI ziva aura bhairava kI mUrti jIbha bAhara nikalatI, vikarAla dA~toM vAlI, eka mukha aura daza bhujA vAlI banAnA / dAhine hAthoM meM khaDga, zakti, bANa, aGkaza aura varadamudrA ko, tathA bAyeM hAthoM meM khaTvAGga, DhAla, dhanuSa, abhaya aura kapAla ko dhAraNa karane vAlI va donoM hAthI kA camar3A pahane hue aura muMDamAlA dhAraNa karane vAle, isa prakAra kI caMDa bhairava kI mUrti buddhimAna puruSa bnaaveN|

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160 devatAmUrti-prakaraNam Chand-Bhairay The Chand-Bhairav form of Siva ihc Lailihantam (an epithet of Siva), has large teeth and a fierce appearance, (?with the tongue sticking out). The Shulahastam's idol has one face (and ten arms). He holds a sword, the shakti weapon, an arrow and a goad (50), in four of his right hands, and has the fifth hand in the varad position of bestowing blessings. Three of his left hands possess the khatvanga club, a shield and a bow, respectively, while the fourth is upraised in the Abhay pose and the fifth holds a skull. (51). ___Both parts of the composite Chand-Bhairav are .clad in elephant-hide and adorned with necklaces made of heads. This is manner in which the learned should make the statue of Chand-Bhairav. (52). virUpAkSa virUpAkSastata: khaDgaM zUlaM ddmrumNkushm| sarpa cakraM gadA-makSasUtraM bibhrat karASTake // 53 // kheTaM khaTvAGgazaktiM ca prshutrjniighttm| ghaNTAkapAlako ceti vAmorkhAdi karASTake // 54 // dAhine Upara ke hAtha meM khaDga, zUla, Damaru, aGkuza, sarpa, cakra, gadA aura akSamAlA ye ATha zastra dAhinI bhujAoM meM, tathA DhAla, khaTvAMga, zakti, pharasA, tarjanI, ghar3A, ghaMTA aura kapAla ye ATha zastra bAyeM hAtha ke Upara se bA~yI bhujAoM meM dhAraNa karane vAle virUpAkSa kI mUrti bnaanaa| Virupaksh Virupaksh possesses a sword, spcar, the damroo drum (a small hand-held drum shaped like an hour-glass), a goad, a snake, a disc, a mace and a rosary in his eight right hands. (53). His cight upraised left hands hold up a shield, the khatvanga club, the shakti weapon, an axe, a forefinger - (tarjani), a pot (ghatam), a ghanta or bell and a skull. (54).

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devatAmUrti-prakaraNam trayaMbaka tryambako'pi dadhaccakraM DamaruM mudgaraM zaram / zUlAMkuzAhijApyaM ca dakSordhvAdikarASTake // 55 // gadAkhaTvAGgapAtrANi kArmukaM tarjanIM ghaTam / parazuM paTvizaM caiva vAmordhvAdikrameNa vai // 56 // cakra, Damaru, mudgara, bANa, trizUla, aGkuza, sarpa aura akSamAlA ye Upara ke krama se ATha dAhine hAthoM meM, tathA gadA, khaTvAGga, pAtra, (pAza ?) dhanuSa, tarjanI, kumbha, pharazA aura paTTisa ye Upara ke krama se ATha bAyeM hAthoM meM dhAraNa karane vAlA tryaMbaka deva hai / 161 Trayambak - Trayambak also has sixteen arms. He should be depicted as having a disc, a damroo, a mudgar mace, an arrow, a trident, a goad, a snake and a string of prayer-beads in his eight upraised right hands. (55). In the eight upraised left hands are a mace, the khatvanga club, a patra vessel (drinking-cup?), a bow, upraised tarjani fore finger, a water-pot (ghatam ), an axe and a pattish (spear) respectively, in the order cited. (56). hariharamUrti : kAryo hariharazcApi dakSiNArddhe sadAzivaH / vAmArddhe ca hRSIkezaH zvetanIlAkRtI kramAt // 57 // varatrizUlacakrAbja-dhAriNo bAhavaH kramAt / dakSiNe vRSabhaH pArzve vAme vihaGgarADiti // 58 // eka hI zarIra vAlI hari aura hara kI mUrti banAnA, usameM dAhinI ora ke Adhe bhAga meM sadAziva aura bA~yI tarapha ke Adhe bhAga meM hRSIkeza kI mUrti krama se sapheda aura nIle raMga kI karanA / dAhinI bhujAoM meM varadamudrA aura

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162 ... devatAmUrti-prakaraNam . trizUla, bA~yI bhujAoM meM cakra aura kamala ko dhAraNa kiye hue banAnA / dAhinI ora vRSabha ora bA~yI aura garuDa kI AkRti krnaa| Harihara - * For making a statue of Hari-Hara, make the right half as described for Sadashiv and the left half as for Hrishikesh. The two halves are white and blue-hued respectively. (57). One hand is in the varad position, while the others possess a trident, a disc and a lotus in the prescribed manner. (That is beginning with the lower right hand and going in the clockwise direction to the upper right, upper left and lower lest etc.).. An image of Nandi the bull should flank the idol of Harihara on the right and Garuda on the left. (58). kRSNazaGkarasaMyogAd dvAtriMzabhedamUrtayaH / noditA granthabAhulyAd jJeyaM dIpArNavAd budhaiH // 59 // kRSNa aura zaGkara ke saMyoga se battIsa prakAra kI mUrtiyA~ hotI haiM. ye graMtha bar3ha jAne ke bhaya se yahA~ nahIM kahA hai, jise dIpArNava Adi graMthoM se vidvAn jAna leN| There are thirty-two types of statues' which can be made by combining the aspects and attributes of Krishna and Shankar. In order to prevent this granth (book) from becoming too long and unmanageable, however, all the different composite idols are not being detailed here. The wise and learned may know about such idols from works like Deeparnava. (59). __ atha zivaliGga svarUpa ATha dhAtu aSTalohAni liGgArthe svarNa raupyaM ca tAmrakam / kAMsya-pittala-baMgAni nAgaM lohaM tathASTamam // 60 // sonA, cAMdI, tA~bA, kAMsI, pItala, kalaI, sIsA aura lohA ye ATha dhAtu zivaliGga ke liye haiN|

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devatAmUrti-prakaraNam 163 Here are the descriptions of Siva-lingas. The eight metals which may be used for Siva-lingas are gold, silver, copper, bell-metal, brass, tin, lead and iron. These are the ashtha-lohani. (60). dhAtuliGga kA mAna ekAMgulAd dhAtumayaM yaavdssttaaguNlodym| ekaikasyAgulasyASTau liGgAnyaSTau tata: pun:|| 61 // eka aGgula se ATha aGgula taka U~cAI vAle dhAtu kA zivaliGga banAnA / arthAt eka 2 aGgula kI U~cAI ke sonA Adi AThoM hI dhAtu ke, do 2 aGgula kI. U~cAI ke ATha dhAtu ke, isa prakAra ATha. 2 aGgala kI U~cAI ke AThoM hI dhAtu ke zivaliGga bnaanaa| . Siva-lingas made of metal should be between one angula to eight angulas in height. Make lingas of one angula from any of the eight metals, (of two angulas from two metals) and so forth, up to eight angulas from the eight metal alloy. (61). dhAtu liGga ke nAma manoharaM zrImukhaM ca rudratejo mahotsavam / AnandaM ca suvastrAsyaM strIpujaM nandivarddhanam // 62 // manohara, zrImukha, rudrateja, mahotsava, Ananda, suvastrAsya, strIpuMja aura naMdivarddhana ye dhAtu liGga ke ATha nAma haiN| arthAt eka aMgula kI U~cAI vAlA manohara aura do aMgula kI UMcAI vAlA zrImukha / The names of. Siva-lingas made of metal are Manohar, Shrimukha, Rudrateja, Mahotsav, Anand, Suvastrasya, Stripunj and Nandivardhan. (By implication, Manohar is the name for a metal linga of one angula, Shrimukha for a two angula linga, and so on).(62).. 1. mu. suvastrAkhyaM / /

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164 .. devatAmUrti-prakaraNam . .dhAtuliGga meM vizeSatA lauhaM mizraM na karttavyaM svmaatryonisNyutm| zivaliGga mizra dhAtu kA nahIM karanA arthAt jisa dhAtu kA zivaliGga ho usI dhAtu kI pAThikA bhI karanI caahie| jaise suvarNa ke liGga kI suvarNa kI pIThikA karanI, parantu dUsarI dhAtu kI nahIM krnii| The Yoni or base in which the Siva-linga is placed should be of the same metal as used for the Siva-linga. Different metals should not be used for the twe! ratnaliGga kA mAna- . . . . karttavyaM dhAtuliGgasya pramANena hi ratnajam // 63 // : . ratna jAti ke zivaliGga dhAtu ke liGga ke mAna mujaba bnaanaa| . For Siva-lingas made from jewels or precious stones follow the same scale as for metal Siva-lingas. (63). - kASTha ke liGga kA mAna SoDazAGgulaliGga ca ekaikaaNgulvrddhnaat| liGgAnyArasahastAnta-maSTAviMzottaraM shtm| RmeNa navaliGgAnAM SaTkarAntAni saMkhyayA // 64 // kASTha kA liGga solaha aGgula se kama U~cAI kA nahIM karanA cAhiye, isa solaha aGgula meM kramazaH eka vAra eka 2 aGgula bar3hAkara chaH hAtha taka U~cAI kA bnaanaa| yA solaha aGgula meM ATha bAra solaha 2 aGgula baDhAne se eka sau aThAisa aMgula hote haiN| arthAt ATha vAra solaha 2 aGgala bar3hAne se chaH hAtha taka bddh'aanaa| yaha nava prakAra ke kASTha liGga kA mAna hotA hai| ye chaH hAtha kI hI banAI jAtI hai| isa prakAra se kASTha liGga smjhnaa| Wooden lingas should not be less than sixteen angulas in height. By adding sixteen angulas at time to the initial sixteen angulas, wooden Siva-lingas may be made upto a scale of six hastas. In other words, increase the height of the lingas upto one hundred and twenty eight angulas by adding sixteen angulas cach

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devatAmUrti-prakaraNam 165 time to the previous total. This will give eight Siva-lingas of the height of 16, 32, 48, 64, 80, 96, 112, and 128 respectively, with the nineth Siva-linga being 144 angulas or six hastas. (64). kASTha liGga ke nAma makarendu ca mAMgalyaM puSpaM siddhArthakaM ttH| daNDAkhyaM prauravaM kAmyaM puSpakaM ca phalodbhavam // 65 // makarendu, mA~galya, puSpa, siddhArthaka, daNDa, praurava, kAmya, puSpaka aura phalodbhava ye nava kASTha liGga ke nAma haiN| arthAt solaha aGgala. ke liGga kA nAma makarendu evaM 32 aGgula ke liGga kA nAma mA~galya hai| The nomenclature for wooden Siva-lingas are Makarendu, Mangalya, Pushp, Sidharthaka, Danda-akhya, Praurava, Kamya, Pushpaka and Phalodbhava respectively, applicable to the nine sizes of wooden lingas given above. (65). zivaliGga banAne yogya kASTha-. zrIparNI ziMzukAzoka: zirISa: khdiro'rjunH| candanaH zrIphalo nimbo raktacandanabIjakau // 66 // karpUro devadAruzca syandana: pArijAtakaH / campako madhuvRkSazca hintAlazcAgaru: zubhaH // 67 // zrIparNA, zIzama, azoka, zirISa, khera, arjuna, candana, zrIphala, nIma, raktacandana, bIjaka, kapUra, devadAru, syaMdana, pArijAtaka, campA, madhuvRkSa (mahuvA), hiMtAla aura agaru ina vRkSoM kA kASTha zivaliGga banAne ke liye zubha mAnA hai| The following kinds of timber are regarded as auspicious for making wooden Siva-lingas :- wood from the Shri, Parna (Palasa), Shishuka, Ashoka, Shireesh, Khadira, Arjun, Chandan, Shriphala, Nimba, Rakta-Chandan, Veeryaka (66), Karpoora, Devadaru, Syandan, Parijataka, Champaka, Madhuvriksha, 1. mu. mAMlakyaM / 2. mu. viiryko| . ..

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166 devatAmUrti-prakaraNam Hintala and Agru trees. (67). kASThoktazubhAzubhalakSaNa nitraNA: sudRDhA vRkSA liGgArthe saukhydaaykaaH| granthikoTarasaMyuktAn zAkhodbhUtAn parityajet // 68 // vraNa rahita aura acchI taraha majabUta aisA kASTha ziva liGga banAne ke liye sukhadAyaka hai, parantu gAMTha, koTara aura zAkhA vAlA yogya nahIM hai| ... Wood which is unmarked (or not cut, bruised or spoilt in appearance), and is strong and fine-looking is auspicious for Siva-lingas. However, wood which is gnarled and has knots should be avoided. (68). zivaliGga ke yogya prAsAda nilayaM dAruliGgAnA - miSTaMkAdArujaM shubhm| zailajaM dhAtuliGgAnAM svarUpaM vAdhikaM zubham // 69 // kASTha ke zivaliGga kA prAsAda IMTa kA athavA kASTha kA banAnA zubha hai| dhAtu aura rala ke zivaliGga kA prAsAda pASANa kA athavA zivaliGga kI jAti kA banAnA zubha hai| Shrines housing wooden Siva-lingas can be made of brick or of wood. These are appropriate and auspicious, In the same way, it is auspicious if Siva-lingas made from stone, jewels (including precious and semi-precious stones), and metal are enshrined within buildings made of the same material as the Siva-linga, or alternatively, in structures built from stone. (69). pASANa liGga kA mAna eka hastAdimaM liGgaM hastavRddhyA navAntikam / zailaliGgasya mAnaM tu hastahInaM na kArayet // 70 // hastAdipAdavRddhyA ca trayastriMzat krameNa vai|

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devatAmUrti-prakaraNam . 167 liGgAni navahastAntaM- . eka hAtha se nava hAtha taka U~cAI meM pASANa kA zivaliGga banA sakate haiN| parantu eka hAtha se kama pASANa liGga nahIM karanA caahiye| eka hAtha se lekara caraNa, hAtha kI vRddhi nava hAtha taka karane se tetIsa prakAra ke liGga hote haiM aura eka hAtha se lekara eka 2 hAtha kI vRddhi nava hAtha taka karane se nava prakAra ke liGga hote haiN| Stone lingas should be from one hasta to nine hastas in height. A stone linga may not be made less than one hasta (70). By adding a quarter (of 1 hasta) at a time to one hasta, thirty-three types of stone Siva-lingas can be made; while by adding one hasta at a time (upto the permitted maximum of nine hastas) nine types of stone Siva-lingas can be made. (71a). pASANa liGga ke cautIsa nAma zrIbhavaM tUdbhavaM bhavam // 71 // . bhayahRt pAzaharaNaM pApahasteja ucyte| tataH paraM mahAtejA parAparamahezvaram // 72 // zekharaM ca zivaM zAntaM mahAhlAdakaraM ttH| rudrateja: sadAtmajaM vAmadevamaghorezvaram // 73 // tatpuruSaM tathezAnaM mRtyuJjayavijayakramAt / kiraNAkSamahorAstraM zrIkaNThaM munivarddhanam // 74 // puNDarIkaM suvaktrAkhyaM umAtejaM vishveshvrm| trinetraM tryambakaM caiva mahAkAlaM ca nAmataH // 75 // zrIbhava, udbhava, bhava, bhayahat, pAzaharaNa, pApahantA, teja, mahAteja, parApara, mahezvara, zekhara, ziva, zAnta, mahAhlAdakara, rudrateja, sadAtmajJa, vAmadeva, aghora, Izvara, tatpuruSa, IzAna, mRtyuJjaya vijaya, kiraNAkSa mahorAstra, zrIkaMTha, munivarddhana, puNDarIka, 1. mu, mnohaadkrN|

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168 devatAmUrti-prakaraNam suvaktra, umAteja, vizvezvara, tIna netra vAlA, tryambaka aura mahAkAla ye pASANaliGga ke (cautIsa) nAma haiN| The names of the different stone Siva-lingas are as follows:Shribhava, Udbhava, and Bhava (71b), Bhayhrita, Pashaharan, Papahasteja, Mahateja, Parapara and Maheshwar (72), Shekhar, Siva, Shant, Mahahaladkar, Rudrateja, Sadatmagya, Vamadeva, Aghor and Ishvar (73), Tatpurush, Ishan, Mrityunjaya, Vijay, Kiranaksha, Mahorastra, Shreekantth, and Munivardhan 174), and Pundareek, Suvaktra, Umateja, Vishveshwar, Trineytra, Trayambak and Mahakala. (75). prAsAda mAna se zivaliGga kA mAna hastamAnaM bhavelliGgaM vedahaste suraalye| jyeSThaliGgaM tu vedAMze SaTtriMze navahastakam // 76 // :, paJcAdibhUtavedAnte prAsAde hstsNkhyyaa| madhyamaM paJcamAMzena hastAdinavahastakam // 77 // RtvAdiyugatattvAnte hastasaMkhyA shivaalye| SaDaMzena prakarttavyaM hastAdi navahastakam // 78 // kaniSTha jyeSTha liGgeSu madhyamAmadhyameSu c| . prAsAdA: kanyase jyeSThAH sImAmAnamidaM smRtam // 79 // cAra hAtha ke prAsAda meM eka hAtha kA zivaliGga sthApana krnaa| prAsAda kA cauthA bhAga zivaliGga karanA yaha jyeSTha mAna kA zivaliGga hai, isa prakAra chattIsa gaja ke prAsAda meM nava hAtha kA zivaliGga hotA hai| pAMca hAtha se paiMtAlIsa hAtha taka ke prAsAda meM pAMcaveM bhAga kA zivaliGga karanA yaha madhyama mAna hai| isa mAna se nava hAtha ke zivaliGga ke liye paitAlIsa hAtha kA prAsAda hotA hai| chaH hAtha se cauvana hAtha taka ke prAsAda meM chaThe bhAga kA zivaliGga karanA yaha kaniSTha mAna kA hai| isa mAna se nava hAtha ke zivaliGga ke liye cauvana hAtha kA prAsAda hotA hai| isa hisAba se jyeSTha mAna ke liGga kA. prAsAda kaniSTha,

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169 devatAmUrti-prakaraNam .. madhyama mAna ke liGga kA prAsAda madhyama aura kaniSTha mAna se liMga kA prAsAda jyeSTha mAna kA hotA hai| ___In a shrine (Suralaya) of four hasta the Siva-linga should be of the scale of one hasta. A 'Jyeshtha' or large-scale linga is of the scalc of one-quarter (1/4) the size of the shrine. Thus, a temple of thirty-six hastas has a Siva-linga of nine hastas. (76). In a structure that is from five hastas to forty-five hastas in size, the Siva-linga is to the scale of one-fifth (1/5th) of the building. Thus, in a temple of forty-five hastas the linga should be nine hasta. This is the scale of a 'Madhyam' or medium-scale linga. (77). For a temple that is between six hasta and fifty-four hasta, the Siva-linga is one-sixth (1/6th) the size of the building. In this manner, the Siva-linga is nine hasta in height for a structure of fifty-four hasta. (This is a 'Kanishtha' or small-scale linga) (78). (As stated in stanza 70 stone Siva-lingas cannot be more than nine hasta in height). Following the scale described here, a Jyeshtha scale linga should be set-up in a small or Kanishtha shrine, a Madhyam scale linga in a medium-sized shrine, and a Kanishtha scale linga in a large or 'Jyeshtha shrine. (79). gabhAre ke mAna se zivaliGga kA mAna garbhe paJcAMzake tryaMze jyeSThaliGgaM tu mdhymm| navAMze paJcabhAge syAd garbhAI kanyasodayam // 80 // dhAtuje ratnaje caiva zambhubANe ca daarve| gRhaM nyUnAdhikaM proktaM vaktraliGge ca pArthive // 81 // prAsAda ke gabhAre kA pAMca bhAga karake tIna bhAga kA zivaliGga karanA, yaha jyeSThamAna kA hai, evaM gabhAre kA nava bhAga karake pA~ca bhAga kA liGga banAnA, yaha madhyama mAna kA hai aura gabhAre ke Adhe mAna kA liGga karanA, yaha kaniSTha

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170 ___ devatAmUrti-prakaraNam mAna kA zivaliGga hai| tathA dhAtuliGga, ratna liGga, zaMbhu bANa liGga, kASTha liGga, mukhaliGga aura miTTI ke liGga inakA gabhArA nyUna yA adhika bhI kara sakate haiN| Here is the scale of Siva-lingas in relation to the garbhgriha or sanctum sanctorum (cella or inner sanctuary of a temple) : Divide the sanctum sanctorum of the temple into five parts and make the Siva-linga within it to the scale of three parts. (In other words, 3/5th of the inner sanctuary in scale). Such a linga is a Jyeshtha or great linga. When the sanctum sanctorum is divided into nine parts, however, and the Siva-linga is to the scale of five parts (that is, 5/9th of the garbhgriha), it is a Madhyam or medium linga. When the linga is half the size of the sanctum sanctorum, however, it is known as a Kanyasa (Kanishtha) or small linga. (80). The garbhagriha for Siva-lingas made of metal, gems (ratna), and wood, and Shambhu-bana lingas,' Vakra (or Mukha) lingas and earthern lingas can be greater or lesser than the above given proportions. (81). zivaliGga kA vistAramAna mRddAru-lohazailAnAM daiye bhakte jinAMzakaiH / kuryAt SaTsArddha-saptAMza-navAMze vistaraM kramAt // 82 // viSkambhaM navabhAgaM tu sArddhamaSTa pitAmahaH / nArAyaNo'STabhirjeya: saptasArdhaM mahezvaraH // 83 // miTTI, kASTha, dhAtu aura pASANa ke liGga kA caubIsa bhAga karanA, unameM se chaH, sAr3he sAta yA nava bhAga ke mAna kA liGga kA vistAra krnaa| arthAt viSkambha (kAsa) navabhAga kA smjhnaa| ziva liGga ke caubIsa bhAga karanA, usameM nava ke sAr3he ATha bhAga brahmA kA, madhya ke ATha bhAga kA viSNu kA aura sAr3he sAta bhAga mahezvara kA bnaanaa| Divide the length of earthen, wooden, metal and stone lingas into twenty-four parts, and make the breadth of the linga equal

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171 devatAmUrti-prakaraNam to six, or seven-and-a-half, or nine parts of the length respectively. (82). When the Vishkambha or diameter of the Siva-linga is nine parts, then eight-and-a-hall parts of the Siva-linga's length (of twenty-four parts). comprise the Pitamah (Brahma) portion, eight parts the Narayana (Vishnu) portion, and seven-and-a-half parts the Maheshwar (Siva) portion. (83). zivaliGga meM brahmA Adi kA bhAga brahmAMzazcaturasro'dho madhye'STAsrastu vaiSNavaH / pUjAbhAga: suvRtta: syAt pIThoz2a zaGkarasya ca // 84 // liGgoM ke nIce kA samacorasa brahma bhAga, viSNu bhAga madhya kA ATha koNa vAlA aura zaGkara kA pUjA bhAga pIche ke Upara kA gola bhAga smjhnaa| The Brahma, Vishnu and Shankar portions of a Siva-linga are the following :-Brahma is the four-sided lower portion, Vishnu the central eight-sided portion, and the rounded upper portion which is worshipped, and which rises up from the peeth or pedestal, is Shankar. (84). nAgaraliGga kA mAna garbhAI kanyasaM zreSThaM paJcatryaMzaM shivaalym| bhavanti nava liGgAni tayormadhye'STa bhAjite // 85 // zreSThamadhyakaniSThAni tri-tribhedAni tAni hi| nAgare nAgarasyoktaM mAnaM liGgasya mandire // 86 // prAsAda gRha ke Adhe mAna kA zivaliGga kaniSTha prAsAda kA pAMca bhAga karake tIna bhAga kA zreSTha hai, nava bhAga karake pAMca bhAga kA madhyama hai, isakA ATha bhAga karake sabhI bhAga kA liGga madhyama mAna kA hotA hai| zreSTha, madhya aura kaniSTha ina. tIna bhedoM se navagraha hote haiN| nAgara jAti ke prAsAda meM yaha nAgaraliGga kA mAna kahA hai| A Siva-linga which is half the size of the garbhagriha or

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172 devatAmUrti-prakaraNam inner sanctuary of a Sivalaya (temple of Siva) is called Kanishtha, 'while one that is three-fifth (3/5th) of the garbhgriha is Shreshtha (i. e. best). A medium or Madhyam linga is of the scale of five-nineth (5/9th) of the sanctorum. If the sanctorum is divided into eight parts, a linga of any of these parts is Madhyam scale linga. (85). Shreshtha, Madhyam and Kanishtha - these are the three distinctions respectively used for the scale of Nagar Siva-linga within the Nagar category of temples. (86). vikArAMze tadAyAme bhuutvedaagnivistrm| jayadaM pauSTikaM sArddhakAmakaM nAgare viduH|| 87 // zivaliGga kI laMbAI kA solaha bhAga karake unameM se pAMca bhAga, cAra bhAga aura tIna bhAga ke vistAra vAle krama se nAgara jAti ke jayada, pauSTika aura sArddhakAmaka, nAma ke liGga hai| arthAt pAMca bhAga.ke vistAra kA jayada, cAra bhAga ke vistAra vAlA pauSTika aura tIna bhAga ke vistAra, vAlA sArcakAmaka nAma ke liGga haiN| From a prescibed scale if the length of the Siva-lingas are of five, sour and three parts respectively, the lingas should be known as Jayad, Paushtika and Sardhakamaka Siva-lingas of the Nagar category. (87). drAviDa liGga mAna garbhe trisaptabhAge tu dazAMzo drAviDe'dhamaH / trayodazAMzakaM zreSThaM madhye'STAMzena pUrvavat // 88 // trisaptAMze nijAyAme SaTpaJcacaturaMzakam / jayadAdivizAlaM tu pUrvavat drAviDe matam // 89 // drAviDa prAsAda ke garbha kA ekabIsa bhAga karake daza bhAga kA liGga kaniSTha mAna kA aura teraha bhAga kA uttama liGga hai| aura usake ATha bhAga karake kisI Nagar, Veysar and Dravida are three Indian architectural styles.

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devatAmUrti-prakaraNam bhI bhAga kA zivaliGga madhyama mAna kA hotA hai / zivaliGga kA ekabIsa bhAga karake usameM se cha:, pA~ca aura cAra bhAga ke vistAra hote haiM / arthAt chaH bhAga ke vistAra vAlA jayada, pAMca bhAga ke vistAra vAlA pauSTika aura cAra bhAga ke vistAra vAlA sArddhakAmaka liGga hotA hai| 1 ziva liGga kI laMbAI kA ekabIsa bhAga karake cha:, pA~ca aura cAra bhAga kA jayada Adi drAvir3a jAti ke liGga kA vistAra hotA hai| | For the Dravida category, divide the sanctum sanctorum into twenty-one portions. A linga which is to the scale of ten of these parts-ie. 10/21th, is a small Siva-linga, and one that is to the scale of thirteen parts-or 13/21th, is a Shreshtha or great linga. When the garbhgriha is divided into eight portions, a linga of any of these portions will, as stated before, be a Madhyam linga. (88). 173 On this scale of twenty-one parts, if the length of the linga is to the scale of six parts or five parts or four parts the resultant Siva-lingas are classified (as mentioned for the Nagar category), as Jayad, Paushtika and Sardhakamaka lingas of the Dravida category. (89). vesara liGga mAna vesare paJcapaJcAMze garbhAkAre vimAnake / trayodazAMzakaM hIne zreSThaM kuryAd vicakSaNaH // 90 // garbha ke AkAra ke vesara meM prAsAda gRha kA paccIsa bhAga karanA, inameM se teraha aMza hIna karane zeSa rahe bAraha aGka ke mela kA vidvAn zreSTha liGga banAveM / In the Veyasar category, the garbhgriha is divided into twenty-five parts. The wise should omit thirteen of these twenty-five parts and make the Shreshtha linga of the scale of the remaining twelve parts (ie. 12/25th of the sanctum sanctorum).(90). prAsAda aura liGga ke nakSatra utsedhASTaguNe saptaviMzabhirharaNe tataH // zeSamazvayujAdyaM tu --

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174 devatAmUrti-prakaraNam prAsAda aura liGga kI U~cAI ke mAna ko ATha se guNa denA, jo guNanaphala Ave, usake sattAvIsa se bhAga dene se jo zeSa bace vaha azvinI Adi nakSatra smjhnaa| eka zeSa bace to azvinI, do zeSa bace to bharaNI, isa prakAra saba smjhnaa| If the height or elevation (of the linga or temple) is multiplied by eight, and the resultant total divided by lwenty-seven, the remaining area should be regarded as Ashvini and the other constellations. If the remainder is onc, know it to be Ashvini, if two as Bharni and so on.(91). (This, is for astrology-linked calculations). taskara Adi nava aMza - nakSatre ca caturguNe // 91 // .. navabhirharaNe zeSa - maMzakaM taskarAdikam / bhukti-mukti-dhanaM rAjA SaNDaM calAbhayaM vipat / taskaraM viyat SaMDaM tu ninditaM ca supAThakaiH // 92 // nakSatra ko cAra guNA karake nava se bhAga denA, jo zeSa bace use krama se taskara Adi nava aMza smjhnaa| taskara, bhukti, mukti, dhana, rAjA, paMDa, cala, abhaya aura vipat ye nava aMza ke nAma haiN| unameM taskara, vipat aura SaMDa ye tIna aMza vidvAnoM ne azubha mAne haiN| If this nakshatra or constellations area is multiplied by four, and the result divided by nine, the remainder should be regarded as Taskar and the other Anshakas or portions. (Anshak variously means a portion/ a degree of latitude or longitude/a solar day etc). These ninc Anshakas are Taskar, Bhukti, Mukti", Dhan, 1. mu. cAbhayakaM viyt| In works like Shilpa-Ratna and Kashyap-Shilpa, the terms Taskar, Mukti, Shakti appear in place of Taskar, Bhukti, Mukti.. .

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175 devatAmUrti-prakaraNam / Raja, Shand, Chal, Abhay, and Vipat respectively.. of these, Taskar, Vipat and Shand are considered inauspicious by the learned. (92). dhana, RNa aura yoni lAne kA prakAra uttuGge vsunndaagnigunne'ssttaakaassttbhirhte| zeSa-dhana-mRNaM caiva yonitvaM syAdyathAkram // dhanAdhikamRNakSINaM mAnaM tatsampadAM pdm|| 93 // prAsAda yA zivaliGga kI U~cAI ke mAna ko ATha, nau, aura tIna se pRthaka guNa karake krama se ATha aura ATha se bhAga denaa| jo zeSa bace vaha anukrama se dhana, RNa aura yoni smjhnaa| mAna dhanAdhika ho aura RNa se kSINamAna ho to vaha sampadAoM kA sthAna hai| If the height (of the shrine or the linga) is multiplied by eight, nine and three respectively, and the result divided by eight, twelve and eight respectively, the remainder should be regarded as the Dhan, Rna and Yoni portion respectively. If Dhan is greater and Rna lesser in scale, then it is indicative of prosperity and good fortune. (93). ravivAra Adi sAta vAra lAne kA prayAsa tujhaM navaguNaM kRtvA saptabhi: kSapayet ttH| . zeSaM sUryAdi vAra: syAt krUrAstatra vivarjitAH // 94 // prAsAda yA ziva liGga kI U~cAI ko nava se guNA karake sAta se bhAga denA, jo zeSa bace vaha ravivAra Adi vAra smjhnaa| Multiply the elevation by nine and divide the result by seven. The remainder should be regarded as Sunday, and so forth, i.e. the seven days of the week. Of these, Saturday is wholly inauspicious.(94). * Taskar means a thicf or something bad; Bhukti means enjoyment and food; Mukti means salvation; Dhan means wealth, Raja means King; Shand means a bull or eunuch; Chal stands for movement; Abhay for absence of fear and Vipat means calamity or distress.

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176 devatAmUrti-prakaraNam tithi lAne kA prakAra tuGgamaSTaguNaM kRtvA tithibhirharaNAt tataH / zeSaM ca tithayaH samyag riktA parvavivarjitAH // 95 // . prAsAda yA zivaliGga ko ATha se guNA karake paMdraha se bhAga denA. jo. zeSa bace vaha tithi jaannaa| unameM riktA (4-9-14) tithi ko chor3akara bAkI tithi zubha haiN| If the elevation/height is multiplied by cight and the result divided by fifteen, the remainder should be considered to be the dates. Of these, the inauspicious dates are the 4th, 9th and 14th days of a lunar fortnight. (95). zivaliGga ke zubha cihna aura zubha rekhA padmaM zaGkha dhvajaM chatraM khaDga: svastika caamre| vajraM daNDArddhacandrau gauzcakraM matsyo ghaTaH zubhAH // 96 // saukhyadaM cihnamityAdyamAvarto dakSiNaM hi y:| raktazvetapItakRSNArekhA-varNeSu saukhyadA // 97 // kamala, zaGkha, dhvaja, chatra, talavAra, svAstika, cAmara, daNDa, arddhacaMdra, go, cakra, machalI aura kalaza ye cihna zivaliMga para hote haiM to zubhakAraka hai| tathA zivaliGga para dakSiNa Avarta ho to zubha haiN| lAla, sapheda, pIlI aura kRSNa raMga kI rekhA ho to vaha zivaliGga anukrama se brAhmaNa, kSatriya, vaizya aura zudra vargoM ke liye zubhadAyaka hai| Symbols which are auspicious on Siva-lingas are a lotus, a conchshell, a flag, an umbrella, a sword, the swastik, the chamar (or chowrie-the bushy tail of the Chamara (Bos grunniens) used as a fan, and believed to be one of the insignia of royalty), a thunderbolt or vajra mace, the danda rod, a half-moon or crescent moon, a Gau-Chakra, a fish and a water-pitcher. (96). 1. mu ca ckrmtsyau|

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devatAmUrti-prakaraNam . 177 Marks which will ensure happiness spiral to the right in the clockwise direction) -- dakshinavarta. Red, white, yellow and blue/black coloured lines respectively will bring happiness, prosperity and satisfaction for the Brahmin, Kshatriya, Vaisya and Sudra castes. (97). liGga kA rekhA karane kA prakAra--- pUjAyAme kalAMze tu liGgaM cihna dazAMzakaiH / pIThasyordhvadvibhAgena rekhA kAryA pradakSiNe // 98 // liGga kI laMbAI kA solahavAM bhAga karanA, usameM se dasavAM bhAga pramANa kA liGga cihna pUjA kA smjhnaa| pITha ke Upara do bhAga se pradakSiNa krama se cAroM ora rekhA krnaa| . . The auspicious positioning for marks on a Siva-linga which are worthy of worship is as follows :- if the height of a linga is divided into sixteen parts, the tenth part is where symbols appropriate for veneration should occur. Using as a measure two parts (of the linga) rising above the peeth an encircling line should be drawn, following in the direction of circumambulation (pradakshina). (98). liGga kA zira varNana chatrAbhamaSTamAMze tu sArddhadvyaMze ssddNshke| trapuSAbhaM vistarArdhe kukkuTANDaM ziro matam // 99 // tribhAge liGgavistAre caikAMzenArddhacandrakam / sArddhatryaMzena tulyaM syAdaSTAMze buddAkRtiH // 100 // tIna bhAga kiye hue zivaliGga ke Upara kI zilA hai jaisA pahale kaha cuke haiN| dUsarI ziva bhAga kI zilA kA tIna bhAga karake Upara kA nAma zira samajhanA, yaha jaisA honA cAhie, vaha hai| isa zivaliGga kA ATha bhAga karake DhAI bhAga chatra ke jaisA, cha bhAga karake yaha bhAga trapuSa kI AbhA jaisA liGga

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devatAmUrti-prakaraNam ke vistAra ke sAtha murge ke aMDeM jaisA, liGga ke vistAra ke tIna bhAga karake eka bhAga kA arddhacandra ke jaisA aura ATha bhAga karake sAr3he tIna bhAga budabuda ke AdhAra kA zira hai / 178 If the Siva-linga is divided into 8 portions, the Chhatra (umbrella or top portion ) will be 221/2 parts and the remaining 6 parts will be Trapushambha. Half the extent (vistaar) of the linga is like a fowl's egg - Kukkutandam (ie. rounded), and is considered the upper or shira (head) portion. (99). When the extent of the linga is divided into 3 parts one part is (regarded as) a crescent moon-ardhachandra, and when divided in 8 parts 31/2 parts is like the image of Budbud. (100). azubha liGga lakSaNa UrdhvAdhomadhyahInaM yalliGgaM nAzakaraM bhavet / dIrgha vA saMdhirekhAbhiryuktaM kAkapadAdikaiH // 101 // jo zivaliGga Upara, nIce aura madhya meM mAna hIna ho to nAzakAraka hai / evaM zivaliGga kI U~cAI meM sAMdha, rekhA yA kaue~ ke paira sadRza cihna dRSTi meM Ave aisA zivaliGga nAza kAraka mAnanA / * A Siva-linga that is lesser than the scale in its upper, lower and central portions causes destruction. One that has sandhi- rekhas ( literally, lines that join; also a hole; or a crevice), or marks resembling crows feet along its length yields the same result. (101). Aya Adi kI zuddhi ke liye liGga meM nyUnAdhikatA - ekadvitryaGgulA vRddhirhAnirAyAdizuddhaye / Aya vyaya Adi kI zuddhi ke liye zivaliGga kI U~cAI meM eka, do yA tIna aGgula kI vRddhi athavA hAni kara sakate haiM / An addition or subtraction of onc, or two, or three angula *

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179 devatAmUrti-prakaraNam - may be made in the scale of the Siva-linga in order to purify income etc, (102a). sphaTika liGga kA mAna mAtrAdi sphATikaM liGgaM yAvadekAdazAMgulam // 102 // eka aGgula se gyAraha aGgula taka sphaTika liGga kA mAna mAnanA / The measurement of a linga made from sphatika (crystal) is between one to eleven angula. (102). - atha bANaliGga bANaliGga ke utpatti sthAna kurukSetraM ca liGgAni sarasvatyAM tathA pun:| vArANasyAM prayAge tu gaMgAyA: saGgameSu ca // 103 // yAni vai narmadAyAM ca antarvede ca snggme| kedAre ca prabhAse ca bANaliGgaM sukhAvaham // 104 // kurukSetra, sarasvatI, vArANasI (kAzI), prayAga, gaMgA nadI ke saMgama, narmadA, gaMgA yamunA kA madhya pradeza, nadiyoM ke saMgama, kedAratIrtha aura prabhAsatIrtha ina sthAnoM meM utpanna hue bANaliGga sukhakAraka haiN| Banalinga - ___Bana-lingas originating from Kurukshetra, Saraswati, Varanasi and Prayag. where there is a confluence or sangam of the river Ganga (with Yamuna and Saraswati) (103); as well as from river Narmada, the antarvedam or land between the rivers Ganga and Yamuna, the confluence of rivers, and the pilgrimage sites of Kedar and Prabhas bring happiness. (104). bANaliGga kI parIkSA tripaJcavAraM yasyaiva tulAsAmyaM na jaayte| tadA bANaM samAkhyAtaM zeSaM pASANasaMbhavam // 105 //

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180 devatAmUrti-prakaraNam jo zivaliGga tIna yA pAMca bAra tolane se barAbara tola banatA na ho arthAta alaga vajana mAlUma par3e to vaha bANaliGga samajhanA caahiye| bANa ke saba pASANa liGga samajhanA caahiye| Examination of a Bana-lingu - A Siva-linga which, upon being weighed 3 or 5 times, (or three of three times five; i.e. 3x15, times?) does not show the same weight cach time (ie. provides different results upon weighing), should be known to be a Bana-linga. The others are all Pashana or stone lingas. (105). varjanIya bANa liGga . . . sthUlaM khaMDaM ca dIrgha ca sphuTitaM chidrsNyutm|. binduyuktaM ca zUlAgraM kRSNaM ca cipiTaM tathA // 106 // vakraM ca madhyahInaM ca bahuvarNaM ca yad bhvet| varjayenmatimAMlliGgaM sarvadoSakaraM yataH // 107 // jo bANaliGga sthUla, khaMDita, dIrgha, TUTA huA, chidra vAlA, bindu vAlA, trizUla ke agrabhAga jaisA, kRSNa varNa kA, capaTA, Ter3hA, madhya meM patalA aura bahuta varNa vAlA ho, vaha liGga buddhimAna puruSa chor3a de, kyoMki aisA liGga sarvataH doSakAraka hai| A Bana-linga which is either desecrated, or larger and longer (than the norm), or broken, full of perforations, or has many holes and dots, is like the front part of a trident, black or dark (krishnam) in colour and is flat (106); and which is crooked and thinner (than the norm) in its central or middle portion, and is multi-coloured, should be avoided. Such a Bana-linga, according to the wise, is full of all manners of faults, and is to be abandoned (being unfit for purposes of worship). (107). pASANa kA pUjyabhAva mahAnadI samudbhUtaM siddhkssetraadismbhvm| pASANaM parayA bhaktyA liGgavat pUjayet sadA // 108 // 1. mu. vrN|

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devatAmUrti-prakaraNam mahAnadI aura siddha kSetra Adi meM utpanna hue pASANa ko bhI parama bhakti se liGga kI taraha hamezA pUjanA cAhiye / Stones originating from the river Mahanadi, the Siddha areas and other holy and sacred places are always worthy of worship with the utmost devotion (bhakti) just like the most highly venerated lingas. (108). jaisA taisA rahA huA bANaliGga kA prazastapana puSpapIThamapIThaM vA mantrasaMskAravarjitam / bhuktimuktikaraM bANaM sarvaprAsAdapIThakam // 109 // pITha vAlA yA pITha binA kA tathA mantroM ke saMskAra se rahita jaisA bANa - liGga sukha aura mukti kA dene vAlA hai / 181 Bana-lingas with or without pushp-peetha or pedestals, or which are without the rituals involving sacred mantras (incantations), lead to salvation and wordly enjoyment. ( 109 ). sukhadAyakaM bANaliGga UrdhvasthUlaM kRzaM cAdho yadA liGgaM nivezayet / tadA bhogaM vijAnIyAt putrapautrazca varddhate // 110 // jo bANaliGga Upara ke bhAga meM sthUla aura nIce ke bhAga meM patalA ho, to vaha sukha dene vAlA aura putra pautra ko bar3hAne vAlA hai / Where there resides a Bana-linga which is broader at the top and narrower towards the base, there comes the benediction of happiness and the blessing of (an increase in the number of) sons and grandsons. (110). UrdhvakRzaM yadA liGgaM sthUlaM cAdho nivezayet / tadA mukti vijAyIyAt saMsArocchittikAraNam // 111 // jo bANaliGga Upara ke bhAga meM patalA aura nIce ke bhAga meM moTA ho to vaha mukti ko dene vAlA aura saMsAra kA nAza karane vAlA hai 1

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182 devatAmUrti-prakaraNam Where there is a Bana-linga that is narrower at the top and broader at the base follows salvation. It leads also to the destruction (?elevation) of the world. (111). kisI bhI prakAra kA bANaliGga pUjanIya hrasvaM dIrgha kRzaM sthUlaM khaNDaM kubjaM ca vaamnm| tryasapIThaM caturasraM sthUlAgraM cakrasaMyutam // 112 // . rekhA-kIlakasaMyuktaM suvarNaM ca nivrnnkm| raktaM kRSNaM tathA zyAmaM pItaM zuklaM ca pANDuram / 113 // . sadoSaguNasaMyuktaM bANaM pUjyaM ca nityshH| balAllakSmIM samAkRSya bhujyate bANaliGgataH // 114 // tasmAcchataguNaM puNyaM ttsNsthaapnghuujnaat| bANaliGgaM tathA pUjyaM tatsaMsthApanamuttamam // 115 // choTA, laMbA, patalA, moTA, khaMDita huA, choTe kada kA, striyoM kI pITha vAlA, bhArI pITha vAlA, sthUla agra bhAga vAlA, cakra vAlA, rekhA aura kIlaka se yukta, acche varNa vAlA, varNa rahita, lAla kRSNa zyAma pIlA aura pAMDura varNa vAlA, doSa vAlA yA guNa vAlA ityAdi kisI bhI prakAra kA bANaliGga hamezA pUjanIya hai| bANaliGga kA pUjana karane vAlA bala pUrvaka lakSmI prApta karake usakA bhoga karane vAlA hotA hai| isaliye bANaliGga kI sthApanA karane se aura pUjana karane se sau guNA puNya hotA hai| isalie bANaliGga kI pUjA aura sthApanA karanA uttama hai| A Bana-linga which is either small, long, thin, fat, broken, or hunchbacked and dwarfish, with a three or four cornered pedestal, or with a heavy upper portion, and is endowed with circular markings (112); or lines, wedge or pin or column markings, and is beautiful in colour, or colourless, or red, black, dark or blue, yellow, white or pale in colour (113); whether it has faults 1. mu. ssnnddN|

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183 devatAmUrti-prakaraNam and defects or has good qualities, is fit for eternal worship and reverence. A worshipper of a Bana-linga may even enjoy wealth * accumulated by force. (114). Installing and worshipping a Bana-linga leads to the attainment of immense merit and piety. The worship and the installation of a Bana-linga are, thus, acts of excellencc. (115). bANaliGga-sthApanA kI prazaMsA sarvayajJatapodAna - tIrtha-vedeSu yatphalam / tatphalaM koTiguNitaM prApyate liGgasthApanAt // 116 // saba yajJa, tapa, dAna, tIrtha yAtrA aura vedoM ke adhyayana se jo phala hotA hai, usase bANaliGga kI sthApanA aura pUjana se karor3a guNA adhika phala hotA The merit resulting from sacrifices (yagna), meditation (tapa), giving of charity (dana), pilgrimages (tirtha), and the study of the Vedas may be increased one crore (i.e. ten million) times through installing a Siva-linga of the category known as Banalinga. (116). yo liGgaM sthApayedekaM vidhipUrvaM sadakSiNam / .. sarvAgamoditaM puNyaM koTikoTiguNaM bhavet // 117 // jo manuSya eka dakSiNAvarta bANaliGga kI vidhipUrvaka sthApanA karatA hai, / usakA jo phala samasta AgamoM meM kahA hai, unase koTi koTi guNa adhika phala hotA hai| One who installs, through the prescribed procedures, a sadakshinam (south-facing?) Bana-linga will acquire sarvagmoditam - the highest merit of ten million multiplied ten millionfold (i.c. a crore times crore). (117). zatavAraM kurukSetre sahasraM jAhnavISu ca / narmadAyA~ ca lakSaNa koTiM ca kurujAGgale // 118 //

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184 devatAmUrti-prakaraNam . kRtvA snAnaM ca piNDaM ca hutaM dAnaM ca bhojnm| guNitaM koTivAraM ca sarvapuNyaM labhennaraH // 119 // kurukSetra meM sau bAra, gaMgA nadI meM hajAra bAra, narmadA meM lAkha bAra aura kurujAMgala meM karor3oM bAra snAna piMDadAna karane evaM dAna aura bhojanAdi se jo phala hotA hai, unase karor3a guNA isa zivaliGga kI pUjA karane se hotA hai| The merit gained from a hundred pilgrimages to Kurukshetra, a thousand to the river Ganga, a lakh (one hundred thousand) to the river Narmada, and a crore (10 million) to Kurujangal (118); where a pilgrim takes ceremonial baths, offers the ritual pinda offerings to ancestors and Manes, gives alms in charity, . performs yagna ceremonies to propitiate the gods, and feeds the poor; - all this is increased one crore times (10 million fold) (over the carlicr described merit gained from installing a "Sadakshinam? Bana-linga) for the human who worships and installs a Bana-linga. (119). sthApite caikaliGge tu devklpaabhivndite| vimAnakAJcanArUDho suravAdyaistu vAdyate // 120 // jo manuSya deva gaNa se abhivandita eka ziva liGga kI sthApanA karatA hai, vaha suvarNa vimAna meM ArUr3ha hokara svarga-sukha Adi ko prApta karatA hai| One who installs one such linga gains the acclaim of even the gods. Such a devotee ascends a golden heavenly-chariot (vimana) and attains salvation.(102).. bhramate suraloke tu cchinnsNsaarbndhnH| sarvasiddhikaraM caiva sarvakAmaphalapradam // 121 // jo saba siddhiyoM ko karane vAle aura sarva icchita phala ko dene vAle zivaliGga kI sthApanA karatA hai, vaha manuSya saMsAra ke bandhanoM ko tor3akara devaloka meM bhramaNa karatA hai| One who installs such a Siva-linga, which grants the attainment of the siddhis (all manners of accomplishments and perfection), and provides fulfillment and reward for all deeds,

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185 devatAmUrti-prakaraNam will be freed from the bondage of worldly existence, and will travel to the land of the suras (gods). (121). bANaliGgA tu liGgAnAmAkarSANAM svymbhuvaa| pIThaM prAsAdarUpaM ca yatheSTaM kArayet sudhIH // 122 // liMgoM kA AkarSaNa (sarvottama) svayaMbhU dvArA sRSTa bANaliMga hai| usake liye yatheSTa pITha aura prAsAda vidvAna bnaaveN| Bana-lingas, bcing self-existent and self-crcated, attract attention by themselves (among all lingas). The base of such lingas and the forin of their temples can be fabricated in an appropriate manner by the wise. (122). ekAlAdibANamahAtmya- . . ekAsrabANamArabhya yAvaccaturdazAsrakam / pUjayA parayA bhaktyA sarvasaukhyapradaM nRNAm // 123 // bANaliGga jo ekAsa se lekara caudaha donA taka hotA hai, vaha paramabhakti se pUjane se manuSyoM ko saba sukhoM ko dene vAlA hotA hai| * A Bana-linga which possesses between one to fourleen faces' or angles will grant every possible happiness. to humans, when worshipped with the utmost devotion. (123). zivatIrthodaka lakSaNa ghaTite zatahasteSu bANe paJcazateSu c| . svayaMbhUsahasrahaste zivatIrthodakaM smRtam // 124 // ghaTita zivaliGga ho vahA~ sau 2 hAtha taka, bANaliGga ho vahA~ pA~casau 2 hAtha taka aura svayaMbhUliGga ho vahA~ eka hajAra hAtha taka zivatIrthodaka maannaa| Where there is a metal (dhatu) Siva-linga an area of one hundred hasta surrounding the linga should be regarded as - "Siva-tirthodikam' (a holy pilgrimage sitc with sacred waters, belonging to Siva); where there is a Bana-linga an area uplo five 1. mu. dhaatve|

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186 devanAmRti-prakaraNam hundred hasta, and where a Svayambhu linga an arca upto one thousand hasta should be so regarded. (124). ziva tIrthodaka kA puNya phala snAne kRte mahatpuNyaM liGgAdiSu dizaM prti| . ziva liGga kI dizA ke sAmane zivatIrthodaka meM snAna karane se bar3A. puNya hotA hai| Bathing in the consccrated water of these holy places, in the direction the linga faces, enables the devotee to accumulate immense merit. (125a). . ziva snAnodaka kA phala laMghite ca mahatpApaM zivasnAnodake nRNAm // 125 // zivajI ke snAna ke pAnI ko lAMghane se manuSyoM ko bar3A pApa lagatA hai| It is a great sin to transgress, disrespect or violate the sacred waters of Siva (?meant for Siva's bath?). (125). pradakSiNA kA niyama ekAM caNDyAM ravau sapta tisro dadyAd vinaayke| catasro viSNudevasya zivasyA( pradakSiNAm // 126 // caNDI devI ko eka, sUrya ko sAta, gaNeza ko tIna, viSNu ko cAra aura ziva jI ko AdhI pradakSiNA denI caahiye| The goddess Chandi should be circumambulated (pradakshina) once, Ravi (the Sun) seven times, Vinayak (Ganesh) three times, Vishnu four times, and Siva half (?of that). (126). jaina devAlaya meM vizeSa jaina devAgrasaMsthAne stotramantrArcanAdikam / __naiva pRSThiH' pradAtavyA sanmukhaM dvAralaMghanam // 127 // 1. mu. dRSTiH

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devatAmUrti-prakaraNam jinaM deva ke Age stuti, maMtra aura pUjA kA karake nikalate samaya apanI pITha denA nahIM, kintu deva ke sanmukha hokara dvAra kA ullaMghana karanA / 187 In temples dedicated to the Jain devas the back (of a devotee) should never be presented to the idol when holy verses are being recited or rituals conducted or worship being offered, and so forth. The devotee should face the deity and cross the doorway with reverence. (127). praNAla kA dizA niyama pUrvApare yadA dvAraM praNAlaM cottare zubham / prazastaM sarvadevAnAmiti zAstrArthanizcayaH // 128 // jo maMdira pUrva yA Mpazcima dizA ke dvAra vAle hoM to usameM pANI nikAlane kI praNAlI uttara dizA meM rakhanA zubha hai| saba devoM ke liye yaha prazaMsanIya hai / aisA zAstroM kA nizcaya hai / If the door of a (Siva) temple faces eastwards or westwards the pranalam or water-channel should be towards the north. This is auspicious and is commended by all the gods. Such is the belief of the shastras (scriptures). (128). piNDikA lakSaNa- liGgAyAmapRthuklRptaM piNDikAnAM tu lakSaNam / tatrAdau brahmaviSNozca piNDikAmucchrayaM viduH // jAtyaikayA vidhAtavyaM neSTamanyonyasaMkaram // 129 // ziva liGga kI laMbAI ke mAna kA pIThikA kA vistAra karanA, pIThikA kA Adi bhAga brahmA aura dUsarA viSNu kA jAnanA arthAt pIThikA kI U~cAI viSNu bhAga taka samajhanA / ziva liGga aura pIThikA eka jAti kI banAnA, varNa zaGkara banAnA iSTa nahIM hai I The signs for the pindika of a Siva-linga are as follows: The extent or width of the peethika ('scat' or base of a Siva-linga) should be the same as the length or height of the linga. The wisc know the first portion of the peethika as Brahma and the second

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188 - devatAmUrti-prakaraNam as Vishnu. (The height of the peethika should be as much as the Vishnu part). A Siva-linga and its peethika base should be made from the same material or class (jati). Mixing different matcrials is not desirable. (129). AhuH zaileSTame kecit pIThaM pakveSTakAmayam / uparyupari pIThAnAM sandhiraGgAvasAnake // 130 // nAlasya madhya madhye ca karNasandhiM na sandhayet / kitane hI zAstrakAra pASANa aura kASTha ke liGga ke lie pakI huI IMTa. kI pIThikA banAnA kahate haiN| Upara kI huI pIThikA kI saMdhi usake avasAna meM karanI caahiye| parantu nAsA ke madhya bhAga meM aura dona meM saMdhi nahIM karanA / Some learned people are of the view that for Siva-lingas made of stone and wood the peethika can be inade from baked bricks also. The joint or union of the raised Peethika should be at its concluding point (or end) (130). However, there must not be any joint in the middle of the channel (nala) or at the corners. (131a). praNAlikA kA bhAga praNAlaM tu tribhAgeNa tattulyaM cAgramarddhakam // 131 // tridhA vibhaktamagre tu madhye sjlmaargtH| kande tu padamekaikaM madhyavaMzodbhavAkRtiH // 132 // . pIThikA ke vistAra kA tIsarA bhAga praNAlikA saMdhi karanA aura praNAlikA ke Adhe bhAga meM nAsikA ke mukha kA vistAra karanA, tathA mukha ke tIsare bhAga kA jalamArga krnaa| eka-eka pada meM kundendu karanA aura madhya meM vaMzodbhava kA AkAra krnaa| For the scale of the channel or pranalam, divide (the length An alternate meaning is Siva-lingas made from wood obtained from mountains - Shail-drumal.

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devatAmUrti-prakaraNam 189 of the peethika) into three parts. One part of that is the channel. Half of that outermost pranalam portion (131); should be further divided into three parts, and of that one part should be the spout of the water-channel. At regular distances of one pada each, make ?Kundaindu? and at the centre the form of Vanshodbhav. (132). guNAMza pRthupITha-sUryAMzena' mekhalA shrvnnaakRti:| mekhalA ca tribhAgena khAtaM kuryAt tathA param // 133 // pIThikA ke vistAra kA bArahavAM bhAga mekhalA zravaNa kI AkRti vAlI krnii| mekhalA ke tIsare bhAga kA khAta karanA / Make a twelfth part of the width of the linga base (the peetha) of the form of mekhala shravana (the girdle of Shravan, i.e. fame, glory). It is best if a third part of the mekhala (girdle) is made khaatam ?with a hollow/excavated?. (133). . yAmyottaraM tat saMpAda-magre syAt saarddhbhaagikm| . kUrmapRSThonnatAkAraM darpaNodbhavamastakam // 134 // pIThikA uttara dakSiNa bhAga kI ora se DhAI bhAga mukha aura hoTha karanA / * kachue ke pITha samAna U~cI aura sira se darpaNa jaisI sapATa krnii| Going from south towards the north, the complete front : - (or face) portion (of the Siva-linga), is half part more than the ' peethika). It should rise elevated and rounded like the back of a tortoise, with its top as smooth as a mirror.(134). pITha kA udayamAna__mekhalAmadhyakarttavyA navapIThaM tu kAmadam / _1.. mu. gunnaaNshen| - 2. mu. drpnnodrsnnibhm|

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devatAmUrti-prakaraNam * " ucchrayaM yattu pIThasya triMzacca paribhAjitam // 135 // bhAgaikaM bhUgataM kArya tribhAgaM kaNThapaTTikA / bhAgArddhaM mukhapaTTaM ca skandhaM sArddhatribhAgataH // 136 // skandhaM ca paTTikA dvandvaM bhAgArthaM cAntapaTTikA / karNikaM' sArddhadvayaM bhAge bhAgekaikaM tu cippikA / dvibhAgaM cAntarapaTTaM ca kapotAlirdvisArddhakam // 137 // ardhapaJcagrAsapaTTI karttavyA vidhipUrvakam / arddha skandhapaTTikAkhyA tribhAgaM skandhazobhanam // 138 // arddhamukhapaTTikAkhyA karNikaizcaturbhAgakaiH / zobhanamaSTabhAgaikaM karttavyaM tamazaMkite / 139 // navapITha (nAma kA pITha) kAmadAyaka hai| isake madhya meM meqhalA banAI jAnI caahie| pITha kI UMcAI ko tIsa bhAgoM meM bAMTa leN| eka bhAga dharatI para hogA I tIna bhAgoM kI karNapaTTikA hogii| Adhe bhAga kA mukhapaTTa hogA / skandha kI UMcAI sADhe tIna bhAga hogii| skandha aura karNapaTTikA ke bIca meM (do paTTikAoM ke bIca meM) Adhe bhAga kI antarpaTTikA hogii| DhAI bAga kA karNika hogA / eka bhAga kI cippikA hogii| do bhAga kA antarpaTTa hogA aura DhAI bhAga kI kapotAlI hogii| grAsa paTTi sADhe pAMca bhAga kI hogI jo ki vidhipUrvaka banAI jAnI caahie| Adhe bhAga meM skandha paTTi hogii| aura tIna bhAga skandhazobhana hogA / ardhamukhapaTTikA nAma kI paTTikA karNikA ke cAra bhAgoM se bnegii| zobhana ATha bhAgoM ke eka bhAga se banAnA cAhie - azaMkita bhAva se / 190 The nava-peetham fulfills all wishes. In its centre a mekhala or girdle should be made, and the height of the pedestal should be divided into 30 parts. (135). Make one part 'bhoogatam' or resting on the ground. The 1. mu. nahIM / mu. kaNakaM /

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191 devatAmUrti-prakaraNam 'karnapattika' should be of 3 parts. The portion known as 'mukhapattam' should be of half a part, with 3, parts for the ' height of the shoulder or skandha area. (136). Between the skandha and karnapattika should be an antarpattika of half a part. The karnikam should be of two-and-a-half parts and portion called 'chippika' of one part. A further two parts make the 'antar-pattam' and two-and-a-half parts the 'kapotali' (137). The gras-patti, made as per norms, should be of five-and-a half parts, with a further skandha-patti of. half a part. Three parts make the Skandha-Shobhan. (138). An 'Ardha-Mukha-Pattika' should be made from four parts of the karnika, and the shobhan from one part out of eight (139). pITha kA vistAramAna yAvaddIdhaiM bhavelliGgaM tAvat syAt pIThavistaram / - umA tu pIThikA jJeyA liGgaM zaGkara ucyate // 140 // ziva liGga kI U~cAI jisa mAna kI ho usa mAna kI pIThikA kA vistAra . krnaa| pIThikA umA rUpa aura liGga zaGkara rUpa jaannaa| ... The extent of the peetha should be of the same scale as * the height of the Siva-linga. Know the peethika (base or pedestal) as Uma and the linga as Shankar. (140). ...'. nyUnAdhikA na karttavyA umA ca shngkrstthaa| nyUnAdhike kRte doSA: kurute rASTravibhramam // 141 // umA aura zaGkara arthAt pIThikA aura zivaliGga kA svarUpa mAna se nyUnAdhaka nahIM karanA caahiye| nyUnAdhika karane se aneka prakAra ke doSa aura deza meM vibhrama utpanna hotA hai| Uma and Shankar (or the peethika and the linga) should not be made greater or lesser in size as this flaw will cause immense confusion and blunder throughout the nation. (141).

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192 devatAmUrti-prakaraNam daza jAti kI pIThikA ke nAma sthaNDilA caiva vApI ca yakSI vairI' tathaiva c| maNDalA pUrNacandrA ca vajrapadmAkRtistathA // 142 // arddhacandrA trikoNA ca vijJeyA daza piitthikaaH| *etAsAM rUpasaMsthAnaM kathayAmi vibodhaye // 143 // . sthaMDilA, vApI, yakSI, vairI (vedI), maMDalA, pUrNacandrA, vajra, padmA, arddha candrA aura trikoNA ye daza prakAra kI pIThikA ke nAma haiN| aba usake svarUpa aura ' saMsthAna ko manuSya ke bodha liye kahatA huuN| The names of the ten types of peethikas are as follows:-(i) Sthandila, (ii) Vapi, (iii) Yakshi, (iv) Vairi (Vaidi), (v) Mandala, (vi) Purna-Chandra, (vii) Vajra, (viii) Padma-akriti (142), (ix) Ardha-Chandra and (x) Trikona. Now I (Mandan) shall tell you about their form and placements so that even someone unversed in wisdom may understand. (143). daza prakAra kI pIThikA kA svarUpa caturasrA' sthaNDilA syAt saMyutA mekhalaikayA *dvimekhalA bhavedvApI yakSI caiva trimekhlaa| caturasrAyatA vedI sarvakAmaphalapradA // 144 // 1. matsyapurANa meM a. 252 zloka 6 vedI likhA hai| matsyapurANa a. 253 zloka 8 sthaMDilA caturasrA tu varjitA mekhalAdibhiH arthAt mekhalA rahita sama caurasa kI pIThikA ho vaha sthaMDilA hai| mu. ydaa| 4. caturasrAyatA vedI na tAM ligeSu yojayet / eka pIThikA saMma corasa ho vaha vedI nAma kI hai use zivaliGga meM banAnA nahIM caahiye| matsyapurANa a. 252 zloka 9 / .. mu. AdhAzloka nahIM hai|

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devatAmUrti-prakaraNam 193 sthaMDilA eka mekhalA vAlI, vApI do mekhalA vAlI aura yakSI tIna mekhalA vAlI karanA, tathA vedI pITha laMbI sama corasa bnaanaa| ye sarva icchita phala ko dene vAlI hai| Sthandila is four-cornered, with one mekhala, Vapi has two mekhlas and Yakshi three. Vaidi is four-cornered, like a sacrificial yagna altar, and all are able to fulfill all desires. (144). . kartavyA maNDalakArA mekhlaabhirlNkRtaa| maNDalA sA tu vijJeyA gaNAnAM siddhihetave // 145 // gola maMDala vAlI aura adhika mekhalA vAlI maMDalA nAma kI pITha hai, vaha gaNa devoM kI siddhi ke liye hai| Know Mandala as a peethika with a circular shape like a mandal adorned with a mekhla-girdle. Mandala enables the Ganas (demi-gods; believed to be attendants of Siva), to attain siddhi-all manners of accomplishments and perfection. (145). pUrNacandranibhAkArA mdhynystdvimekhlaa| ... vijJeyA pUrNacandrA sA rudrANAM satataM priyA // 146 // pUrNacandramA ke jaisI gola AkAra vAlI aura madhya meM do mekhalA vAlI jaisI pUrNacandrA nAma kI pITha hai, vaha rudroM ko hamezA priya hai| ... Rounded, like the full moon, is .Purna-Chandra, with two * * mekhlas in its middle/centre. Recognise Purna-Chandra as the eternal favourite of the Rudras. (146). ...'. SaDasrA ca bhaved vajrA mekhalA trybhuussitaa| . SoDazAsrA bhavet padmA kiJcid isvo tu mUlata: // 147 // chaH konA vAlI aura madhya meM tIna mekhalA vAlI vajrA nAma kI pITha hai| solaha koNA vAlI aura nIce kucha choTI ho vaha padmA nAma kI pITha hai| Vajra has six corners and is adorned with three mekhlas, mu. rudraaniishtsNpriyaa| 2. mu. syAnmRNAlavat /

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194 devatAmUrti-prakaraNam while Padma has sixteen corners and is (?)somewhat smaller at the base. (147). lagnajyadhanurAkArA'rdhacandrA caiva sA bhavet / yasrA trikoNA vijJeyA sA zaktyA sadRzA bhavet // 148 // . lagI huI DorI yukta dhanuSa ke jaisI AkAra vAlI arddhacaMdrA nAma kI.. pITha hai| tIna donA vAlI aura zaktisadRza trikoNA nAma kI pITha hai| The shape of the peethika Ardha-Chandra is like a bow with its bowstring drawn. Trikona can be recognised as a three-cornered peethika, endowed with power, worthy and good .. in appearance. (148). daza prakAra kI pIThikA kA phala sthaNDilA pIThikA yatra dhndhaanyaarthdaayinii| . . mahiSIgopradA vApI yakSI sarvArthadAyinI // 149 // maNDalA kIrtibahulA pUrNacandrA tu shaantidaa| vajrA zatruvinAzAya padmA saubhAgyadAyinI // arddhacandrA sukhAya syAt trikoNA zatrunAzinI // 150 // sthaMDilA pITha dhana dhAnya dene vAlI, vApI gAya bhaiMsa dene vAlI. yakSI saba icchita phala dene vAlI, maMDalA bahuta yaza dene vAlI, pUrNacandrA zAnti dAyaka, vajrA zatru kA vinAza karane vAlI, padmA saubhAgya dene vAlI, arddhacandrA sukhadAyaka aura trikoNA zatru kA nAza karane vAlI hai| The resulting benefits of these different types of peethikas or bases are as follows : Sthandila grants wealth, grain and plenty, Vapi grants . cattle - both cows and buffaloes, and Yakshi bestows every desired blessing. (149). Mandala gives fame and glory, Purna-Chandra bestows

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195 devatAmUrti-prakaraNam peace, Vajra causes the destruction of one's enemies and Padma grants good fortune, while Ardh-Chandra bestows happiness and Trikona destroys enemies. (150). svajAti pITha kA phala zailaje zailajA yojyA dAruje dArujA shubhaa| pArthive pArthivI kAryA lohaje lohjottmaa|| ratnaje dhAtujA zastA ratnaz2AtA vizeSata: // 151 // pASANa ke liGga ko pASANa kI, kASTha ke liGga ko kASTha kI, miTTI ke liGga ko miTTI kI. aura loha ke liGga ko lohA kI pIThikA karanA zubha hai| . ratna ke liGga ko dhAtu kI pIThikA karanA zubha hai, parantu ratna kI pIThikA kareM to vizeSa zubha hai| A stone Siva-linga should have a stone peethika (base) while a wooden linga is auspicious with a wooden peethika. In the same way, it is best if an earthen linga has an earthen base and an iron linga an iron base. A metal base may be used for a linga made of precious stones or jewels, but it is more : ayspicious if the base of a ratna linga can also be made from :: precious stone. (151). * * praNAla vyavasthA mUlAdagraM praNAlasya pramANAdadhikaM shubhm| jalamArgastribhAgeNa cAgratastu suzobhanam // 152 // praNAlikA bhAga kA pramANa se adhika rakhanA zubha hai|aage ke mukha ke vistAra ke tIsarA bhAga ke mAna kA jala mArga karanA zubha hai| It is asuspicious to keep the basic scale of the water-channel or 'pranalam' more than the measurement or scale for the base. A third part of the spout or mouth of the peethika should be the scale for the water-channel. (152).

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196 mukhaliGga * "mukhaliGgaM trivaktraM syAdekavaktraM caturmukham / sammukhaM caikavaktraM syAt trivaktre pRSThato na hi // 153 // pazcimAsyaM sthitaM zubhaM kuMkumAbhaM tathottaram / yAmyaM kRSNakarAlaM ca prAcyaM dIptAgnisannibham // 154 // mukhaliGga tIna mukha vAlA, eka mukha vAlA yA cAra mukha vAlA hai| eka mukha vAlA mukhaliGga sanmukha mukha vAlA karanA aura tIna mukha vAle mukhaliGga ke pichale bhAga meM mukha nahIM rkhnaa| usake tInoM dizA meM tIna mukhaliGga karanA / mukhaliGga kA pazcima mukha sapheda varNa kA, uttara mukha kuMkuma varNa kA, dakSiNa. dizA kA mukha karAla kAle varNa kA aura pUrva dizA kA mukhaM prakAzamAna agni ke jaisA varNa vAlA hai| Mukha-linga-- devatAmUrti-prakaraNam Mukha-lingas may have three faces, or only one face, or even four. A single-faced Mukha-linga should face the devotee. A Mukha-linga with three faces should definitely not have a face at the back (i.e. looking towards the rear or back). (153). The westwards facing visage is white in colour, while one facing the north is the colour of kumkum (vermillion), one facing the south is dark and formidably dreadful, and one facing the east glows brightly like fire. (154). mukhaliGganAma sadyo vAmaM tathA ghoraM puruSaM ca caturthakam / paJcamaM ca tathezAnaM yoginAmapyagocaram // 155 // iti pIThikA mukhaliGgAdhikAraH / **. yaha pUrvArddha mu. meM nahIM hai. rUpamaNDana meM hai|

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devatAmUrti-prakaraNam sadya, vAma, ghora, tatpuruSa aura pAMcavA IzAna ye mukha liGgoM kA svarUpa yogiyoM ko bhI samajha meM nahIM AtA / The different Mukha-lingas are named (i) Saddhyo (jat), (ii) Vama, (iii) Aghor, (iv) (Tat) Purusha, and (v) Ishan. The form of the fifth is difficult for even yogis to comprehend fully. (155). Thus ends the description of peethikas, Mukha-lingas and similar aspects. eka dvAra zivAyatana 197 vAme gaNAdhipatyaM ca dakSiNe pArvatI smRtA / nairRtye bhAskaraM vidyAt vAyavye ca janArdanam // 156 // mAtRbhirmAtRsaMsthAnaM kArayed dakSiNAM dizam / saumye zAntigrahaM kuryAd yakSAdhIzaM ca pazcime // 157 // eka dvAra vAle zivAyatana meM bA~yI ora gaNAdhipa aura dAhinI ora pArvatI, nairRtya koNa meM sUrya, vAyu koNa meM janArdana, dakSiNa dizA meM mAtRkAdevI, uttara dizA meM zAntigraha aura pazcima meM yakSAdhipa kI sthApanA karanA / Remember that (in a Siva-temple possessing one door) Ganesh, the Lord of the Ganas (Ganadhipati), is to the left and Parvati to the right. Bhaskar, the Sun, is to the south-west (Naittrytya) and Janardhan (Vishnu) to the north-west (Vayu-kona ) (156). The Mother-goddesscs (Matris) are to the south and the auspicious planet Shanti (? Mercury) to the north, while to the west is the place of the Lord of the Yakshas, Kuber. (157). caturmukha zivAyatana 1. vAme snAnagRhaM kuryAd yazo dvAraM ca pazcime madhye rudraH prakarttavyo mAtRsthAnaM ca dakSiNe // 158 // - mu. dakSiNe /

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198 devatAmUrti-prakaraNam vAme devI mahAlakSmIrumA vai bhairvstthaa| brahmA viSNustathA rudraH pRSThadeze tu kArayet // 159 // candrAdityau sthitau kaNeM AgneyyAM skandameva c| IzAne vighnarAjaM tu dhUpramIzAnagocare // 160 // caturbhuja zivAyatana meM bA~yI ora snAnagraha aura pazcima meM yazoM dvAra ... krnaa| madhya bhAga meM rudra sthApana karanA, dakSiNa dizA meM mAtRdevI sthaapnaa| bA~yI ora devI mahAlakSmI umAdevI aura bhairava kI sthApanA krnaa| brahmA, viSNu aura . mahAdeva ko, pichale bhAga meM sthaapnaa| caMdramA aura sUrya kone meM sthaapnaa| agni . koNa meM skanda ko sthaapnaa| gaNeza ko IzAna koNa meM rakhanA aura dhUmra deva . ko nairRtya koNa meM sthaapnaa| In a Chaturamukha Siva temple, make the area for ritual bathing and annointing to the left and to the west have the gateway of fame- the Yashodvara. Install Rudra in the centre and the Mother-goddesses in the southern direction. (158). . . To the left place Mahalakshmi, Uma and Bhairav. To the rear of Rudra, Brahma and Vishnu should be installed. (159). Chandra, the Moon, and Aditya, the Sun, should be placed at the hypoteneuse (of the south-east) with Skanda to the south-east too. Ganesh, the Vighnaraj, should be in the north-eastern quarter, and Dhumra also in that vicinity. (159). ziva ke ATha pratIhAra-pUrva dizA kA pratIhAra mAtuluGga ca nAgendraM Damaru cAkSasUtrakam / nandI mukuTazobhADhyaH srvaabhrnnbhuussitH|| 161 // khaTvAGgaM ca kapAlaM ca DamaruM biijpuurkm| daMSTrAkarAlavadanaM mahAkAlaM tu dakSiNe // 162 // . .

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199 devatAmUrti prakaraNam ___ bIjorA, nAgendra (sarpa), Damaru aura akSamAlA ko dhAraNa karane vAlA, mukuTa kI zobhA vAlA tathA saba AbhUSaNoM se bhUSita jaisA nandI nAma kA dvArapAla pUrva dizA meM dvAra ke bA~yI ora, tathA khaTvAGga, kapAla, Damaru aura bIjorAdhAraka, dADhoM se bhayAnaka mukha vAlA mahAkAla nAma kA dvArapAla pUrva dizA kI dAhinI ora sthaapnaa| __ The eight door-keepers of Siva are as follows :-Nandi, holding a citron, Nagendra the snake-lord, the damroo drum and a string of prayer-beads (akshasutra) stands to the left of the entrance guarding the eastern portal. He is resplendent in a mukut (crown) and is accoutred with all the different types of jewels and adornments. (161). To the right of the eastern gate stands Mahakala, holding a Khatvanga club, a skull, the damroo drum and a citron. He has large teeth and a frightening visage. (162). dakSiNa dizA kA pratIhAra tarjanI ca trizUlaM ca DamarUM gajameva c| herambo vAmabhAge syAd bhRGgI dakSiNataH zRNu // 163 // gajaM Damaru-khaTvAGgaM tarjanIM vaamhstke| ubhau ca dakSiNe dvAre bhRGgI dakSiNata: zubhaH // 164 // . . tarjanI, trizUla, Damaru aura gaja ko dhAraNa karane vAlA heramba nAma kA dvArapAla bA~yI ora sthaapnaa| gaja, Damaru, khaTvAGga aura tarjanI ko dhAraNa karane vAlA bhRGgI nAma kA dvArapAla dAhinI ora rkhnaa| ye donoM dvArapAla dakSiNa dvAra meM rakhanA zubha hai| At the southern portal stand Hairamba and Bhringi, the former guarding the left of the doorway and the latter the right. Hairamba's attributes are the tarjani forefinger, a trident, a damroo, .. ' and an elephant. (163). Bhringi holds an elephant, a damroo, a Khatvanga and the tarjani forefinger. Both Hairamba and Bhringi should be installed at the southern doorway. This is auspicious. (164).

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200 - devatAmUrti-prakaraNam pazcima dizA ke dvArapAla trizUlaM DamaruM caiva khaTvAGgaM ca kpaalkm| kapAlaM 'DamaruM daNDaM bIjapuraM tathA dadhat // 165 // durmukha: pazcime vAme pANDuro dakSiNe tthaa| ' trizUla, Damaru, khaTvAGga aura kapAla ko dhAraNa karane vAlA durmukha nAma kA dvArapAla pazcima dizA kI bA~yI ora rkhnaa| kapAla, Damaru, daMDa aura bIjorA ko dhAraNa karane vAlA pAMDura nAma kA dvArapAla dAhinI ora rkhnaa| Possesing a trident, the damroo drum, a Khatvanga club and a skull, in one case, and a skull, damroo, the danda rod of justice and a citron in the other (165), stand Durmukha and Pandur respectively. They are the guardians of the western doorway. :, Durmukha's place is to the left of the door and Pandur's to the right. (166a). uttara dizA kA pratIhAra mAtuliGgaM mRNAlaM ca khaTvAGgaM padmadaNDakam // 166 // sitazcaivottare dvAre vAme caiva vyavasthitaH / padmadaNDaM ca khaTvAGgaM mRNAlaM biijpuurkm| . asito dakSiNe bhAge uttare dvAra eva ca // 167 // bIjorA, kamaladaMDa, khaTvAGga aura padmadaMDa ko dhAraNa karane vAlA sita nAma kA dvArapAla uttara dizA meM bA~yI ora rkhnaa| padmadaMDa, khaTvAGga, kamaladaMDa aura bIjorA ko dhAraNa karane vAlA asita nAma kA dvArapAla uttara dizA kI dAhinI ora rkhnaa| ___Holding a citron, a lotus-stalk, a Khatvanga and a Padma-danda (166b), is Sit, who stands to the left of the northern 1-1. mu. DamaruM ca tathA daNDaM bIjapUraM tathaiva hi / 2-3. muM. dvAre pazcimake kAryaH pANDuro vaamdkssinne|

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devatAmUrti-prakaraNam 201 door. To the right of the door is the other door-keeper, known as Asit. Asit holds a Padma-danda, a Khatvanga, a lotus-stalk and. a citron (in the order cited). (167). vAhana vidhAna vAhanaM yasya devasya tattasyAgre prakalpayet // eka-dvi-tri-catuH-paJca-rasa-saptapadAntare // 168 // vAhanaM mUrtiliGgaM ca muulpraasaadmaantH| vRSabhasya viSNvAnte ca liGge dRSTvA niyojayet / sUryasyAgre bhavet somastanasUtrasamodayaH // 169 // ___jisa deva kA jo vAhana ho, vaha usa deva ke Age eka, do, tIna, cAra, pAMca, cha: yA sAta pada ke antara se sthApana kreN| ina mUrtiyoM aura liGga ke vAhana kA mAna mukhya prAsAda ke mAna se jaannaa| zivaliGga ke naMdI kA udaya viSNu lasA arthAt nasagharI ke udaya taka banAve / The vahanas (vehicles or mounts) of the deities :Whichever vehicle belongs to a particular deity should be installed in front of its associated deity at an interval of one, two, three, four, five, six or seven padas (footstep or paces) from the idol. (168).. 1. The scale of these vahanas, statues and lingas should be ' calculated from the scale of the main temple itself. Sculpt Nandi, the bull of Siva, at the end of the Vishnu-Sutra giving due consideration to its size, scale and placement in relation to the Siva-linga. For; the position of vahanas before their deity is like the moon before the rising Sun. (169). vAhana kI dRSTi__ pAdaM jAnu kaTiM yAvanmUrtI vaahndRkshubhaa| sthAnanAzaM karotyUrdhvAdhodRSTizca prajAkSayam // 170 // 1. mu. dRssttaaN| ..

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202 devatAmUrti-prakaraNam mUrti ke vAhana kA udaya paira, jAnu yA kaTi taka karanA zubha hai| jo Urdhva dRSTiM ho to sthAna kA nAza aura adhodRSTi ho to prajA kA kSaya karatA hai| ____The line of vision of the vahana :-It is auspicious if the. line of vision (or the glance) of an idol's attendant vahana is on the feet, knees or hips of its associated deity. Looking higher (than prescribed) causes devastation of the place/area, and looking lower leads to the destruction of the land's subjects. (170). . 'dhAtAdikaM pratigata: kalane'sya rUpaM, (tatpAdayugmamagamadahAzo hariharazca) yAtau na pAramamareSvapi nandanIyamavyaktarUpamamarAdhipatezca pAtu // 171 // iti zrIkSetrAtmaja-sUtradhAra-maNDana-viracite vAstuzAstre rUpAktAre rudramUrtiliGgAdhikAro nAma sssstthodhyaayH| harihara ke pAda yugma kA svarUpa nirmANa karane meM dhAtA Adi bhI asamartha rahe haiM, to unake pUrNa svarUpa kA nirmANa karane meM kaise saphala ho sakate hai ? jo indroM dvArA vandanIya haiM aise avyapta rUpadhAraka amarAdhipati kA rakSaNa kreN| zrI kSetrAtmaja maNDana viracita vAstuzAstra ke devatA-mUrti-prakaraNa kA .. ___ chaThA adhyAya pUrNa huaa| , To fabricate in totality even the feet portion of that wonderous joint form of Hari-Hara is impossible for Dhata (the Creator Brahma) and the other gods. How then, can one attempt to make images of their full form? May the One who is worshipped by Indra and the others, and who is beyond description, provide protection to all. (171). Here ends the sixth chapter of the treatise on architecture composed by Kshetratmaj Sutradhar Mandan, in which the forms and appearance of idols of Rudra, Siva-lingas and so forth have been discussed. 1. mu. dhaataadivN|

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devatAmUrti-prakaraNam viziSTa vivecana 203 1. padya 92. zilparatna ke pUrva bhAga 15 vAM adhyayana zloka 27-28 - aMza meM jo antara hai, vaha isa prakAra hai taskaro muktizaktI ca dhanaM rAjAbhidhaM punaH / SaNDaM caiva vipaccaiva tatastu calasaMjJakam // samRddhiriti vikhyAtAnyaMzakAni nava kramAt / taskara, mukti, zakti, dhana, rAjA, SaNDa, vipat, sacala, aura samRddhi isa krama se nava aMza batalAye haiN| kAzyapazilpa meM adhyayana 40 zloka 61 meM aMza ke nAma nIce mujaba batalAye haiM taskaraM bhaktiH zaktizca dhanaM rAjaM ca SaNDakam / abhayaM dhanamRNaM caiva navAMzakamudAhRtam // taskara, bhakti, zakti, dhana, rAja, SaMDa, abhaya, dhana aura RNa ye nava aMza haiM / . p

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204 .. devatAmUrti-prakaraNam sptmodhyaayH| cauvIsa tIrthaMkaroM ke nAma RSabhazcAjitazcaiva sNbhvshcaabhinndnH| sumati: padmaprabhazca supArzva: saptamAnata: // 1 // candraprabhaH puSpadantaH zItalo dazamo mtH| zreyAMso vAsupUjyazca vimalo'nantadharmakau // 2 // zAntizca kunthunAthAramallayo munisuvrtH| naminemiH pArzvanAtho varddhamAnastataH param / caturviMzatirityete matAstIrthaMkarA budhaiH // 3 // RSabha, ajita, saMbhava, abhinaMdana, sumati, padmaprabha, supArzva candraprabha, puSpadaMta, zItala, zreyAMsa, vAsupUjya, vimala, anaMta, dharma zAMti, kunthunAtha, aranAtha, mallinAtha, munisuvrata, naminAtha, neminAtha, pArzvanAtha aura varddhamAna ye caubIsa tIrthakaroM ke nAma vidvAnoM ne mAne haiN| The wise know the names of the Tirthankars to have been Rishabha, Ajit, Sambhav, Abhinandan, Sumati, Padmaprabh, and the seventh Tirthankar Suparshva. (1).

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devatAmUrti-prakaraNam Then came Chandraprabh, Pushpadanta, and as the tenth Tirthankar, Sheetal. Shreyansa, Vasupujya, Vimal, Anant and Dharma followed. (2). Shantinath was the next Tirthankar. After him came Kunthunath, Arnath, Malli, Munisuvrata, Naminath, Neminath, Parshvanath and, as the final Great One, Vardhman. These are the twenty-four Great Ones, the Tirthankars, known to the learned. ( 3 ). tIrthakaroM ke varNa raktau ca padmaprabhavAsupUjyau, zuklau ca candraprabhapuSpadantau / kRSNau punarnemimunI ca nIlau, zrImallipA 205 kanakatviSo'nye // 4 // padmaprabha aura vAsupUjya ye donoM lAla varNa ke haiM / candraprabha aura puSpadaMta ye donoM sapheda varNa ke haiN| neminAtha aura munisuvrata ye donoM kRSNa varNa ke haiN| mallinAtha aura pArzvanAtha ye donoM nIle (hare) varNa ke haiN| bAkI ke solaha tIrthakara 'suvarNa varNa vAle haiM / Padmaprabh and Vasupujya are both red in colour, while Chandraprabh and Pushpadanta are white. Nemi (nath) is dark, as is Muni(suvrata). Shri Malli (nath) and Parshva (nath) are both. * blue coloured, while the other ( sixteen ) remaining Tirthankars are golden in colour. ( 4 ). tIrthaGkaroM ke cihna - vRSo gajo'zva plavagaH krauJco'bjaM svastikaH zazI / makaraH zrIvatsaH khaDgI mahiSaH zUkarastathA // 5 //

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206 zyeno vajraM mRgazcchAgo nandyAvarto ghaTo'pi ca / kUrmo nIlotpalaM zaGkhaH phaNI siMho'rhatAM dhvajAH // 6 // vRSabha, hAthI, ghor3A, vAnara, krauMca pakSI, kamala, svastika, candrabhA, magara, zrIvatsa, geMDA, bhaiMsA, sUara, zyena pakSI, vajra, hariNa, bakarA, naMdyAvarta, kalaza, kachuA, nIla kamala, zaGkha, sarpa aura siMha ye anukrama se caubIsa tIrthaMkaroM ke cihna haiM / The symbols of the twenty-four Tirthankars (or Arhats) are :- a bull, an elephant, a horse, a monkey, the Kraunch bird (curlew/heron), a lotus, the auspicious Swastika mark, the moon, . a makara (crocodile, or mythical sea-monster), the auspicious Srivatsa mark, a rhinoceros a buffalo, a boar ( 5 ), the Shyena bird (falcon or hawk), a Vajra (thunderbolt, also used for diamond), a deer, a goat, the auspicious Nandhyavarta mark, a water-pot, a tortoise, a blue lotus, a conchshell, a snake and a lion, respectively. (6). tIrthaMkaroM ke janmanakSatra -- devatAmUrti-prakaraNam uttarASAr3ha -rohiNyau mRgazIrSaM punarvasuH / maghA citrA vizAkhAzcAnurAdhA mUlameva ca // 7 // pUrvASADhA zrutizcaiva zatAbhottarabhAdrapat / revatI' puSyabharaNI kRttikA revatI kramAt // 8 // azvinI zravaNAzvinyau tathA citrA vizAkhikA / uttarAphAlgunI ceti jinAnAM janma bhAni vai // 9 // uttarASAr3hA, rohiNI, mRgazira, punarvasu, madhA, citrA, vizAkhA, anurAdhA, mUla, pUrvASADhA, zravaNa, zatabhiSA, uttarAbhAdrapada, revatI, puSya, bharaNI, kRttikA, revatI, azvinI, zravaNa, azvinI, citrA, vizAkhA aura uttarAphAlgunI ye cauvIsa jina deva ke nakSatra haiN| 1. mu. svAtI ca /

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devatAmUrti-prakaraNam The following are the constellations associated with the births of the Jinas (the Victorious Ones, another epithet for the Tirthankars) - (i) Uttar Ashada, (ii) Rohini, (iii) Mrighashirsh, (iv) Punarvasu, (v) Magha, (vi) Chitra, (vii) Vishakha, (viii) Anuradha and (ix) Mool (7), as well as (x) Poorva-Ashada, (xi) Shruti (i.e. Sharavan), (xii) Shatabhisha, (xiii) Uttar Bhadrapada, (xiv) Revati, (xv) Pushya, (xvi) Bharni, (xvii) Krittika, (xviii) Revati in the order cited. (8). And, (xix) Ashvini, (xx) Shravan, (xxi) Ashvini, (xxii) Chitra. (xxiii) Vishakha, and (xxiv) Uttaraphalguni. (9)." jinezvaroM kI janmarAzi dhanurvRSo'tha mithunaM mithunaM siMha-kanyake / 1. Uttar. Ashada is the 21st lunar mansion, consisting of 3 stars. 2. Rohini is the 4th lunar mansion, having 5 stars. 3. Mrighashirsh is the 5th lunar mansion, having 3 stars. 4. Punarvasu is the 7th lunar mansion, with 2 or 4 stars. 5. Magha is the 10th luhar mansion, with 5 stars. 6. Chitra is the 14th lunar mansion, with 1 star. 7. Vishakha is the 16th lunar mansion, with 2 stars. 8. Anuradha is the 17th lunar mansion, with 4 stars. 9. Mool is the 19th lunar mansion, consisting 11 stars. 10. Poorva-Ashada is the 20th lunar mansion, with 2 stars. 11. Shravan is a lunar mansion, consisting of 3 stars. 12. Shatabhisha is the 24th lunar mansion, with 100 stars. 13. Uttar Bhadrapada is the 26th lunar mansion, with 2 stars. 14. Revati is the 27th lunar mansion, with 32 stars. 207 15. Pushya is the 8th lunar mansion, with 3 stars. 16. Bharni is the 2nd lunar mansion, with 3 stars. 17. Krittika is the 3rd lunar mansion, with 6 stars. 18. Revati is the 27th lunar mansion, with 32 stars. 19. Ashvini is the 1st lunar mansion, consisting of 3 stars. 20. Shravan is a lunar mansion, with 3 stars. 21. Ashvini is the 1st lunar mansion, with 3 stars. 22. Chitra is the 14th lunar mansion, with 1 star. 23. Vishakha is the 16th lunar mansion, consisting of 2 stars. 24. Uttaraphalguni is the 12th lunar mansion, having 2 stars.

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208 tulA- vRzcika- cApAni dhanurmakara-kumbhakau // 10 // mIno mInaH karkameSau vRSo mInazca meSakaH / makaro meSakanye ca tulA kanyeti rAzayaH // 11 // dhana, vRSa, mithuna, mithuna, siMha, kanyA, tulA, vRzcika, dhana, dhana, makara, kumbha, mIna, mIna, karka, meSa, vRSa, mIna, meSa, makara, meSa, kanyA, tulA aura kanyA ye kramazaH caubIsa jinezvaroM kI janma rAziyA~ haiM / devatAmUrti-prakaraNam The zodiacal birth-signs of the twenty-four Tirthankars are: (i) Dhanu (Sagittarius), (ii) Vrish (Taurus), (iii) Mithuna' (Gemini), (iv) Mithuna (Gemini), (v) Simha (Leo), (vi) Kanya . (Virgo), (vii) . Tula (Libra), (viii) Vrishchika (Scorpio), (ix) Chapa (i.e. Dhanu-Sagittarius), (x) Dhanu (Sagittarius), (xi) Makar (Capricorn), and (xii) Kumbha (Aquarius). ( 10 ). And, (xiii) Meena (Pisces), (xiv) Meena. (Pisces), (xv) Karka (Cancer), (xvi) Mesha (Aries), (xvii) Vrish (Taurus); (xviii) Meena (Pisces), (xix) Mesha (Aries), (xx ) Makar (Capricorn) (xxi) Mesha (Aries), (xxii ) Kanya (Virgo), (xxiii) Tula (Libra), and (xxiv) Kanya (Virgo), respectively. ( 11 ). jinopAsakayakSa ke nAma 1. 2. syAdgomukho mahAyakSastrimukho yakSanAyakaH / tumburuH kusumazcApi mAtaMgo vijayo'jitaH // 12 // ' brahmA yakSeT kumAraH SaNmukhaH pAtAla - kinnaraH / garuDo gaMdharvo yakSeda kubero varuNo'pi ca / 2 bhRkuTigoMmedhaH pArzvo mAtagjhe'rhadupAsakAH // 13 // gomukha, mahAyakSa, trimukha, yakSanAyaka, tuMburu, kusuma, mAtaGga, vijaya, ajita, brahmA, yakSarAja, kumAra, SaNmukha, pAtAla, kinnara, garur3a, gaMdharva, mu. tumbaraH / mu. akuTiH /

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devatAmUrti-prakaraNam 209 yakSarAja, kubera, varuNa, bhRkuTi, gomedha, pArzva, aura mAtaGga, ye anukrama se jinezvara deva ke upAsaka yakSoM ke nAma haiN| The attendants of the Arbats (Tirthankars) are called Gaumukh, Mahayaksh, Trimukh, Yakshanayak, Tumburu, Kusum, Matanga, Vijay and Ajit. (12). And Brahma, Yakshait (Ishvar?), Kumar, Shanmukh, Patal, Kinnar, Garuda, Gandharva, Yakshendra, Kuber, Varuna, Bhrikutti, Gomedha, Parshva and Matanga, respectively. (13). jinopAsakazAsanadevI ke nAma cakrezvaryajitabalA duritArizca kaalikaa| mahAkAlI-zyAmA-zAntA-bhRkuTyazca sutArakA // 14 // azokA mAnavI caNDA viditA cAGkuzI tthaa| kaMdarpA nirvANI balA dhAriNI dharaNapriyA // 15 // naradattA ca gAndhAryambikA padmAvatI tthaa| : siddhAyikA ceti jainya: kramAcchAsanadevatA: // 16 // .... cakrezvarI, ajitabalA, duritAri, kAlikA, mahAkAlI, zyAmA, zAntA, bhRkuTi, sutArakA, azokA, mAnavI, caNDA, viditA, aMkuzA, kaMdarpA, nirvANI, balA, dhAriNI, dharaNapriyA, naradattA, gAMdhArI, ambikA, padmAvatI aura siddhAyikA ye anukrama se - jinezvara ke upAsaka zAsana deviyoM ke nAma haiN| The names of the attendant shasan-devis of the Jinas are as follows : Chakreshwari, Ajitbala, Duritari, Kalika, Mahakali, Shyama, Shanta, Bhrikutti, and Sutarka (14), as well as, Ashoka, Manvi, Chanda, Vidita, Ankushi, Kandarpa, Nirvani, Bala, Dharini, and Dharanapriya (15), and Nardutta, Gandhari, Ambika, Padmavati and Siddhayika. These are the attendants (cited in the correct ordcr) of the twenty-four Tirthankars. (16).

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210 devatAmUrti-prakaraNam 1. gomukhayakSa athAta: sampravakSyAmi yakSiNIyakSamUrtayaH / RSabhe gomukho yakSo hemavarNo gajAsanaH // 17 // varAkSasUtraM pAzaM ca bIjapUraM kareSu ca // 18 // aba yakSa-yakSiNiyoM kI mUrtiyoM kA svarUpa kahatA hU~- prathama RSabhadeva bhagavAna kA gomukha nAma kA yakSa hai, vaha suvarNa varNa vAlA, hAthI kI savArI karane vAlA, cAra bhujA vAlA hai, dAhinI vAlI do bhujAoM meM varadamudrA aura mAlA, bA~yI bhujAoM meM pAza aura bIjorA hai| I (Mandan) shall now describe the respective statues of the various attendant yakshas and yakshinis of the Tirthankars... ____Gaumukh, the attendant yaksha of Lord Rishabhadeva, is golden in colour. He rides an elephant. (17). . Gaumukh holds one hand in the Vara (blessing) position, and possesses a string of prayer-beads, a noosc, and a citron in his other hands. (18). 1. cakrezvarI devI cakrezvarI hemavarNA taaaaruuddhaassttbaahukaa| varaM bANaM cakrapAzAM-kuzacakrAzanirdhanuH // 19 // cakrezvarI devI suvarNa varNa vAlI, garur3a kI savArI karane vAlI aura ATha bhujA vAlI hai, bhujAoM meM varada, bANa, cakra, pAza, aGkuza, cakra, vajra aura dhanuSa ko dhAraNa karatI hai| Chakreshwari is also golden in colour. She rides on Garuda. Chakreshwari has eight arms, and is depicted with one hand in the Vara (or blessing) position, and the other seven hands holding an arrow, a disc, a noose, a goad, a disc, a thunderbolt and bow respectively. (19).

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devatAmUrti-prakaraNam 211 2. mahAyakSa ajitasya mahAyazo 'hastyArUDhazcaturmukhaH / 'varamudgarAkSapAzAMkuMzazaktyabhayAni bIjapUraM ca // 20 // dUsare ajitanAtha bhagavAna kA mahAyakSa nAma kA yakSa hai| vaha hAthI kI savArI karane vAlA aura cAra mukha vAlA hai| ATha bhujAoM meM varada, mudgara, mAlA, pAza, aDDaza, zakti, abhaya aura bIjorA ko dhAraNa karatA hai| Mahayaksha is Lord Ajit's attendant yaksha. He rides an elephant and has four faces. He holds one hand in the Vara (blessing) position, and has a mudgar (club), a rosary, a noose, a goad, the Shakti weapon, one hand held up in the Abhay mode, and a citron respectively in the other seven hands. (20). 2. ajitabalA devI caturbhujA gauravarNA godhaaruddhaapraajitaa| varaM caiva tathA pAzamakuMzaM bIjapUrakam // 21 // dUsarI ajitA devI cAra bhujA vAlI, gaura varNa vAlI, godhA (gora) kI saMvArI karane vAlI hai| bhujAoM meM varada, pAza, aGkuza aura bIjorA hai| * Ajitbala, the accompanying yakshini, possesses four arms. She is white in colour and rides a godha (an iguana/crocodile/ Gangetic alligator). One hand is in the Vara position of conferring blessings, and the other three possess a noose, a goad and a citron, respectively. (21). 3. trimukha yakSa sambhave trimukho yakSa: zyAmo mayUravAhanaH / nakula-gadAbhayAkSaM nAgaM ca bIjapUrakam // 22 // tIsare saMbhavanAtha bhagavAna kA trimukha nAma kA yakSa hai| vaha tIna mukha vAlA kRSNa varNa kA aura mora kI savArI karane vAlA hai, cha: bhujAoM meM nyolA, 1. 2. mu. hNsaatthuuddho| mu. varamudgarAzani

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212 devatAmUrti-prakaraNam gadA, abhaya, akSa mAlA, sA~pa aura bIjorA ko dhAraNa karatA hai| The yaksh Trimukh attends on Lord Sambhav. He is dark in colour. His vehicle is a peacock. Trimukh holds a mongoose, a mace, one hand in the Abhay mudra, a rosary, a Naga snake and a citron in his (six) hands. (22). 3. duritAri devI duritArirgauravarNA yakSiNI mhissaasnaa| . varadaM cAkSasUtraM cAbhayaM ca bIjapUrakam // 23 // . duritAri nAma kI yakSiNI gauravarNa vAlI aura bhaiMsA kI savArI karane vAlI hai| cAra bhujAoM meM varada, akSamAlA, abhaya aura bIjorA ko dhAraNa karatI hai| ____ The white-complexioned yakshini Duritari rides a buffalo.. She holds one (right) hand in the Varad .(blessing) mode and has a string prayer-beads in the second; and has one (left) hand in the Abhay position of fearlessness, with a citron in the other. (23). 4. yakSa nAyaka zyAmavarNo gajAruDha IzvarazcAbhinandane / mAtuliGgAkSasUtraM ca aGkuzaM nakulaM tathA // 24 // cauthe abhinandana bhagavAna kA Izvara nAma kA yakSa hai| vaha kRSNa. varNa kA aura hAthI kI savArI karane vAlA hai| vaha cAra bhujAoM meM bIjorA, akSamAlA, aGkaza aura nyaulA ko dhAraNa karatA hai| ___The dark yaksha, who rides an elephant, is Ishvar (Yakshnayak), the attendant of Lord Abhinandan. He has a citron, a rosary, a goad and a mongoose, respectively, in his four hands. (24). 4. kAlikA devI kAlikA zyAmavarNA syAt padmArUDhA cturbhujaa| . varaM pAzAkuMzaM nAgaM dakSiNAdhazca sRSTita: // 25 //

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devatAmUrti-prakaraNam 213 kAlikA nAma kI yakSiNI zyAma varNa vAlI, kamala ke Asana vAlI aura cAra bhujA vAlI hai| bhujAoM meM varada, pAza, aGkuza aura nAga ko dhAraNa karatI hai| sRSTi mArga se arthAt dAhine nIce ke hAtha se kramazaH zastra dhAraNa karatI hai| _Kalika, the dark-complexioned yakshini, is seated on a lotus. She has four arms. The lower right hand is in the Varad (blessing) mode, the upper right holds a noose, the upper left a goad and the lower left a Naga snake. This order, of right to left, is in the order of creation-Shrishti. (25). 5. tuMburu yakSa tArkSyasthaM tumburuM zvetaM sumatau tu caturbhujam / varadaM ca tathA zakti-nAgapAzaM gadAdharaM // 26 // pA~caveM sumatinAtha bhagavAna kA tuMburu nAma kA yakSa hai, vaha sapheda varNa kA, garur3a kI savArI karane vAlA hai, cAra bhujAoM meM kramazaH varada, zakti, nAgapAza aura gadA ko dhAraNa karatA hai| The attendant yaksha of Lord Sumati is the four-armed Tumburu. White in colour, Tumburu rides on Garuda. One of his four hands is in the Varad (blessing) position while the other three hold the Shakti weapon, a Nagapasha (a magical noose-weapon), and a mace. (26). 5. mahAkAlI devI mahAkAlI hemavarNA padmArUDhA cturbhujaa| varadaM nAgapAzaM cAMkuzaM syAd bIjapUrakam // 27 // mahAkAlI nAma kI yakSiNI suvarNa vAlI aura kamala ke Asana vAlI hai| cAra bhujAoM meM kramazaH varadamudrA, nAgapAza, aGkuza aura bIjorA ko dhAraNa karatI hai| Golden-coloured Mahakali, the accompanying yakshini, is seated on a lotus. One of her four hands is held in the Varad mode. The remaining three possess the Nagapasha weapon, a goad and a citron, respectively. (27).

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214 devatAmUrti-prakaraNam 6. kusuma yakSa padmaprabhasya kusumo nIlo hariNavAhana: / bIjapUrAbhayaM caivAkSasUtraM nakulaM tathA // 28 // chaTTe padmaprabha tIrthakara kA kusuma nAma kA yakSa hai, vaha nIle varNa vAlA aura hariNa kI savArI karane vAlA hai|caar bhujAoM meM bIjorA, abhaya, akSa mAlA, aura nyaulA ko dhAraNa karatA hai| Lord Padmaprabh is attended on by the blue-coloured yaksha Kusum, who has a deer as his vahana (vehicle or mount). He possesses as his attributes a citron, the Abhay position, a string of prayer-beads and a mongoose respectively in his four hands. (28). . 6. zyAmA devI zyAmA ca zyAmavarNA syAd narArUDhA cturbhujaa| varaM bANAbhayaM cApaM tasyA hasteSu ca kramAt // 29 // . zyAmA nAma kI yakSiNI zyAma varNavAlI aura puruSa kI savArI karane vAlI hai| cAra bhujAoM meM krama se varadamudrA, bANa, abhaya aura dhanuSa ko dhAraNa karatI hai| Dusky Shyama is scated on a man. The dark-complexioned yakshini has four arms, with one hand in the Vara (blessing) position, the second holding an arrow, the next raised in the Abhay (fearlessness) position and the fourth holding a bow. (29). 7. mAtaGga yakSa supArzve nIlavarNaH syAd mAtaGgo gajavAhanaH / hasteSu bilva pAzaM cAkuMzaM ca nakulaM tathA // 30 // sAtaveM supArzvanAtha bhagavAna ke zAsana meM mAtaGga nAma kA yakSa hai, vaha nIle varNa vAlA aura hAthI kI savArI karane vAlA hai| cAra bhujAoM meM krama se bIlI phala, pAza, aGkuza aura nyaulA ko dhAraNa karatA hai|

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devatAmUrti-prakaraNam The blue-coloured yaksha Matanga attends on Lord Suparshva. Matanga rides on an elephant. His hands hold a Bilva fruit, a noose, a goad and mongoose, respectively. (30). 7. zAntA devI zAntA bhavet suvarNA syAd gajArUDhA caturbhujA / varadaM cAkSasUtraM cAbhayaM tasmAt trizUlakam // 31 // zAntA nAma kI yakSiNI suvarNa varNa vAlI aura hAthI kI savArI karane vAlI hai.| vaha cAroM bhujAoM meM varada mudrA, akSamAlA, abhaya aura trizUla ko dhAraNa karatI hai| 215 The four-armed, golden- hued, yakshini Shanta rides on an elephant. She holds one hand in the Varad position, and has a rosary in the second, with the third in the Abhay position and the fourth grasping a trident. ( 31 ). 8. vijaya yakSa candraprabhasya vijayoM trinetro haMsavAhanaH / dvibhujo nIlavarNaH syAccakraM ca mudgaraM kramAt // 32 // AThaveM candraprabha tIrthaMkara ke zAsana meM vijaya nAma kA mahAyakSa hai| vaha tIna netra vAlA, haMsa kI savArI karane vAlA, aura do bhujAoM vAlA nIla varNa kA hai| bhujAoM meM cakra aura mudgara ko dhAraNa karatA hai / Three-eyed Vijay is the attendant of Lord Chandraprabh. Vijay is seated on a swan. He is blue in colour and has two arms. He holds a disc (chakra) and a mudgar (club) respectively in his hands. (32). . 8. bhRkuTi devI bhRkuTiH pItavarNA syAt siMhArUr3hA caturbhujA / khaDgaM tathA mudgaraM ca parazuM kheTakaM kramAt // 33 //

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216 devatAmUrti-prakaraNam bhRkuTi nAma kI yakSiNI pIle varNa vAlI aura siMha kI savArI karane vAlI hai| cAra bhujAoM meM kramazaH khaDga, mudgara, pharasA aura DhAla ko dhAraNa karane vAlI hai| The accompanying yakshini, Bhrikutti, is yellow in colour. She rides a lion and holds a sword, a mudgar, and axe and a shield respectively in her four hands. (33). 9. ajita yakSa ajita: puSpadantasya kUrmArUDha: sito bhavet / bIjapUrAkSasUtraM ca kuntaM ca nakulaM kramAt // 34 // nauveM puSpadaMta (suvidhinAtha) tIrthaMkara ke zAsana meM ajita nAma kA yakSa hai, . vaha kachuA kI savArI karane vAlA aura sapheda varNa kA hai| vaha cAra bhujAoM meM bIjorA, akSamAlA, bhAlA aura nyaulA ko dhAraNa karatA hai| Yaksh Ajit attends on Lord Pushpadanta. Ajit rides on a tortoise and is white in colour. He holds a citron, a rosary, a Kuntam or spear and a mongoose, in the order given, in his four hands. (34). 9. sutArakA devI sutArakA zvetavarNA vRSArUDhA. cturbhujaa| varadaM cAkSasUtraM cAMkuzaM ca kalazaM bhavet // 35 // . . sutArakA nAma kI yakSiNI sapheda varNa vAlI aura vRSabha kI savArI karane vAlI hai| cAra bhujAoM meM krama se varadamudrA, akSamAlA, aDDaza aura kalaza ko dhAraNa karatI hai| Yakshini Sutarka is white in colour. She rides on a bull and possesses four arms. Sutarka holds one hand in the Varad mode and grips a rosary, a goad and a Kalash water-pot in her remaining three hands. (35). 10. brahmayakSa zItale nAthe syAt brahmA tryakSa: zvetazcaturmukho'bjagaH //

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217 devatAmUrti-prakaraNam luGga mudgarapAzau cAbhayAkSAMkuzagadAnakulam // 36 // - dazaveM zItalanAtha bhagavAna ke zAsana meM brahmA nAma kA yakSa hai, vaha sapheda varNa vAlA, cAra mukha vAlA, pratyeka mukha tIna tIna netra vAlA aura kamala ke Asana vAlA hai| vaha ATha bhujAoM meM krama se bIjorA, mudra, pAza, abhaya, akSamAlA, aGkuza, gadA aura nyaulA ko dhAraNa karatA hai| The attendant yaksha of Lord Sheetal Nath is the three-cyed Brahma. He is white in colour and has four faces (each face having threc eyes). He is seated on a lotus. Brahma has a citron, a mudgar, a noose, one hand in the Abhay mudra, a rosary, a goad, a mace and a mongoose (in the order cited) in his eight hands. (36). 10. azokA devI azokA mudvarNA syAt padmArUDhA cturbhujaa| varadaM nAgapAzaM cAMkuzaM vai bIjapUrakam // 37 // azokA nAma kI yakSiNI mUMga ke jaisI varNa vAlI aura kamala ke Asana - vAlI hai| cAra bhujAoM meM varada mudrA, nAgapAza, aGkuza aura bIjorA ko dhAraNa * karatI hai| 1. The four-armcd yakshini Ashoka is the colour of mudga (a type of yellow. lentil or bean). Ashoka is seated on a lotus. One hand is the Varad position, while the other three possess the Nagapasha weapon, a goad and a citron, respectively. (37). 11. Izvara yakSa zreyAMsa Izvaro yakSastrayakSaH zveto vRSAsanaH / mAtuliGgaM gadAM caivAMkuzaM ca kamalaM kramAt // 38 // ..gyArahaveM zreyAMsanAtha tIrthaMkara ke zAsana meM Izvara nAma kA yakSa hai, vaha - zveta varNa vAlA aura baila kI savArI karane vAlA hai| vaha cAra bhujAoM meM krama se bIjorA, gadA, aGkuza aura kamala ko dhAraNa karatA hai| The three-eyed attendant yaksha of Lord Shreyansa is called

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218 devatAmUrti-prakaraNam Ishvar. He is white in colour and has a bull for his mouni. Hc holds a citron, a mace, a goad and a lotus, respectively, in his four hands. (38). . 11. mAnavI devI caturbhujA gauravarNA mAnavI siNhvaahnaa| aGkuzaM varadaM hastaM nakulaM mudgaraM tathA // 39 // mAnavI nAma kI yakSiNI cAra bhujA vAlI, gaura varNa vAlI aura siMha kI savArI karane vAlI hai| bhujAoM meM aDDaza, varada mudrA, nyaulA aura mudgara ko dhAraNa karatI hai| _The four-armed, whitc-complexioned, accompanying: yakshini, Manvi, rides on a lion. The attributes in her hands are a goad, the Varad hasta (blessing modc), a mongoose. and. a mudgar respectively. (39). 12. kumAra yakSa vAsupUjye kumAraH syAt zveto vai hNsvaahnH| mAtuliGgaM ca bANaM ca dhanurna kulameva ca // 40 // bArahaveM vAsupUjya tIrthaMkara ke zAsana meM kumAra nAma kA yakSa hai, vaha sapheda varNa vAlA aura haMsa kI savArI karane vAlA hai| cAra bhujAoM meM krama se bIjorA, bANa, dhanuSa aura nyaulA ko dhAraNa karatA hai| Lord Vasupujya is attended by the yaksha named Kumar. Kumar rides on a swan and is white in colour. He holds a citron, an arrow, a bow and a mongoose, respectively, in his four hands. (40). 12. pracaNDA devI pracaNDA zyAmavarNA syAd azvArUDhA cturbhujaa| ___ varadaM ca tathA zaktirgadAmbujamanukramAt // 41 // 1. mu. meM 41 vAM padya nahIM hai|

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devatAmUrti-prakaraNam pracaNDA nAma kI yakSiNI kRSNa varNa vAlI aura ghor3e kI savArI karane vAlI hai| vaha cAra bhujAoM meM krama se varadamudrA, zakti, gadA aura kamala ko dhAraNa karatI hai| The dark-complexioned, four-armed, yakshini Prachanda is seated on a horse. She holds one hand in the Varad position, and grasps the Shakti weapon, a mace and a lotus (in the order stated) in her other three hands. (41). 13. SaNmukha yakSa vimale SaNmukha: zveta: zikhistha: phalacakrabhRt / bANaM khaDgaM ca pAzAkSamabhayAMkuzakheTakam // 42 // dhanuzcakraM ca nakulaM dakSiNAdha: karakramAt / terahaveM vimalanAtha tIrthaMkara ke zAsana meM SaNmukha nAma kA yakSa hai| vaha cha: mukha vAlA, sapheda varNa vAlA aura mora kI savArI karane vAlA hai| tathA vaha bAraha bhujAoM meM krama se phala, cakra, bANa, khaDga, pAza, akSamAlA, abhaya, aGkuza, DhAla, dhanuSa, cakra aura nyaulA ko dhAraNa karatA hai| . The attendant yaksha of Lord Vimal is called Shanmukh. He is white in colour and rides on a peacock. He possesses six faces and twelve arms. The six right hands hold fruit, a disc, an .' arrow, a sword, a noose and a rosary. Of his six left hands, the uppermost is in the Abhay mode and the other five hold a goad, a shield (42), a bow, a disc and a mongoose. 1. These attributes are placed in the order stated beginning with the lowermost right hand (and going in a clockwise direction, finally ending at the lowermost left hand). (43a). 13. viditA devI padmasthA viditA pItA bANapAzAhikArmukam // 43 // viditA nAma kI yakSiNI kamala para baiThI huI pIle varNa vAlI hai| usakI cAroM bhujAoM meM bANa, phAMsI, sarpa aura dhanuSa hai| Yellow-coloured Vidita is seated on a lotus. She holds an

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220 . devatAmUrti-prakaraNam arrow, a noose, a snake and a bow in her four hands.(43). 14. pAtAla yakSa pAtAlastrimukho'nante rakto makaravAhanaH / padma-khaDgaM tathA pAzamakSaM kheTaM ca nAkulam // 44 // caudahaveM anantanAtha tIrthaMkara ke zAsana meM pAtAla nAma kA yakSa hai, vaha tIna mukha vAlA, lAla varNa vAlA aura magara kI savArI karane vAlA hai| usane cha: bhujAoM meM krama se kamala, khaDga, pAza, akSamAlA, DhAla aura nyaulA hai| Lord Anant's yaksha is Patal. Red in colour, with three , faces, and seated on a makara (crocodile, or mythical sea-monster),. Patal holds a lotus, a sword, a noose, a rosary, a shield and : mongoose in his six hands. (44).. 14. aDazA devI azA gauravarNA syAt padmArUr3hA cturbhujaa| khaDgaM tathA nAgapAza-maMkuzaM kheTakaM tathA // 45 // aGkuzA nAma kI yakSiNI gaura varNa vAlI, kamala para baiThI huI aura cAra bhujA vAlI hai| bhujAoM meM khaDga, nAgapAza, aDaza aura DhAla ko dhAraNa karatI The four-armed yakshini Ankusha is white in colour. She is seated on a lotus and possesses a sword, the Nagapasha weapon, a goad and a shield in her four hands. (45). 15. kinnara yakSa kinnarastrimukho dharma lohitaH kuurmvaahnH|| bIjapUraM gadAM cAbhayAkSamAlAbjanAkulam // 46 // pandrahaveM dharmanAtha jinezvara ke zAsana meM kinnara nAma kA yakSa hai, vaha tIna mukha vAlA, lAla varNa kA aura kachuA kI savArI karane vAlA hai| vaha apanI cha: bhujAoM meM bIjorA, gadA, abhaya, akSamAlA, kamala aura nyaulA ko dhAraNa karatA hai|

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devatAmUrti-prakaraNam "Kinnar, the yaksha of Lord Dharma, is blood-red in colour. Kinnar has three faces and his vahana is a tortoise. The attributes in his six hands are a citron, a mace, the Abhay mudra, a rosary, a lotus and a mongoosc. (46). 15. kaMdarpA devI kaMdarpA gauravarNA syAn matsyArUDhA caturbhujA / utpalaM cAMkuzaM haste'bhayaM padmaM kramAd bhavet // 47 // kaMdarpA nAma kI yakSiNI gaura varNa, vAlI machalI kI savArI karane vAlI, aura cAra bhujA vAlI hai| vaha bhujAoM meM utpala, aGkuza, abhaya aura kamala ko dhAraNa karatI hai ! 221 White-coloured Kandarpa is seated on a fish. She has four arms. The yakshini has a (blue) Utpal lotus, a goad, the Abhay hasta and a lotus (in the order cited) in her four hands. ( 47 ) . 16. garuDa yakSa - garuDaH zAntinAthasya zyAmaH zUkaravAhanaH / vArAhavadano bIjapUrapadmAkSanAkulaiH // 48 // solahaveM zAntinAtha jinezvara ke zAsana meM garuDa nAma kA yakSa hai| vaha * kRSNa varNa kA, sUara kI savArI karane vAlA aura sUara ke jaisA mukha vAlA hai, usakI cAroM bhujAoM meM krama se bIjorA, kamala, akSamAlA aura nyaulA hai / Garuda attends on Lord Shantinath. Garuda is dark in appearance with the visage of a boar. His vahana is a boar. His four hands possess a citron, a lotus, a rosary and a mongoose, respectively. (48). nirvANI devI nirvANI gauravarNA syAt padmArUr3hA caturbhujA / pustakaM cotpalaM padmaM kamaNDaluH kramAd bhavet // 49 // nirvANI nAma kI yakSiNI gaura varNa kI kamala para baiThI huI aura cAra

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devatAmUrti-prakaraNam bhujA vAlI hai| usakI bhujAoM meM pustaka, utpala, kamala aura kamaNDalu haiM / Nirvani is white in colour and possesses four arms. She is seated on a lotus, and holds a book, a blue Utpal lotus, a lotus and a kamandalu. respectively, in her four hands. (49) 222 17. gaMdharva yakSa kunthunAthasya gandharvo haMsasthaH zyAmavarNabhAk / varadaM nAgapAzaM cAMkuzaM vai bIjapUrakam // 50 // satrahaveM kuMthunAtha tIrthaMkara ke zAsana meM gandharva nAma kA yakSa hai, vaha haMsa kI savArI karane vAlA aura kRSNavarNa vAlA hai / vaha cAroM bhujAoM meM varadamudrA, nAgapAza, aGkuza aura bIjorA ko dhAraNa karatA hai| Lord Kunthunath is attended by the yaksha named Gandharva. Gandharva rides on a swan and is dark in colour. One hand is in the Varad position and the remaining three hold a Nagapasha weapon-noosc, a goad and a citron respectively. (50). 17: balA devI gauravarNA mayUrasthA bIjapUratrizUlane / padma-muSuNDhikA caiva syAd balA nAma yakSiNI // 51 // balA nAma kI yakSiNI gaura varNa kI aura mora kI savArI karane vAlI / vaha cAroM bhujAoM meM krama se bIjorA, trizUla kamala aura mupuMDhI (lohe ke kIleM lagI huI lakar3I) dhAraNa karatI hai / White in colour and riding on a peacock is the yakshini named Bala. She has a citron, a trident, a lotus and a mushunddika (a wooden club embellished with round iron nails) in her four hands. ( 51 ). 18. yakSendra yakSa aranAthasya yakSendrastrinetraH zaMkhavAhanaH / SaNmukhaH zyAmavarNaH syAnmAtuliGgaM zarastathA // 52 // -

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devatAmati-prakaraNama 223 khaDgaM mudgarapAzau cAbhayAkSAMkuzazUlakam / kheTaM dhanuzca nakulaM bhujA dvAdaza kIrtitAH // 53 // aThArahaveM aranAtha tIrthaMkara ke zAsana meM yakSendra nAma kA yakSa hai| vaha zaGkha ke para baiThA huA, chaH mukha vAlA, pratyeka mukha tIna netra vAlA, kRSNa varNa vAlA aura bAraha bhujA vAlA hai| pratyeka bhujAoM meM krama se bIjorA, bANa, khaDga, mudra, pAza, abhaya, akSamAlA, aGkuza, zUla, DhAla, dhanuSa aura nyaulA dhAraNa karatA Lord Arnath is attended by Yakshendra. Yakshendra has a conchshell as his vahana. He has six faces, each with three eyes, and is dark in colour. He has a citron, an arrow (52), a sword, a mudgar a noose, the Abhay position, a rosary, a goad, a spear (shula), a shield, a bow and a mongoose respectively in his twelve hands. (53). 18. dhAriNI devI dhAriNI yakSiNI nIla-varNA pdmaasnsthitaa| mAtuliGgotpalaM cAkSa-mAlA padmaM kareSu ca // 54 // dhAriNI nAma kI yakSiNI nIla varNa vAlI aura kamala ke Asana vAlI haiN| vaha cAroM bhujAoM meM krama se bIjorA, utpala, akSamAlA aura kamala ko dhAraNa karatI hai| .: The yakshini Dharini is blue-hued. She is seated on a lotus and hold a citron, a blue Utpal lotus, a rosary and a lotus in her four hands. (54). 19. kubera yakSa... mallau sita: kubero'tha 'hastyArUDhazcaturmukhaH // varaM pazuM zUlAbhayAkSaM mudgaraM zaktiluGgakam // 55 // 1. mu. rathAruDhaH /

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224 devatAmUrti-prakaraNam unnIsaveM mallinAtha tIrthakara ke zAsana meM kubera nAma kA yakSa hai| vaha hAthI kI savArI karane vAlA, cAra mukha vAlA aura sapheda varNa vAlA hai| ATha bhujAoM meM krama se varadamudrA, pharasA, zUla, abhaya, akSamAlA, mudra, zakti aura . bIjorA ko dhAraNa karatA hai| ___The attendant of Lord Malli(nath) is white-complexioned Kuber. Kuber has four faces and rides an elephant. The attributes in his cight hands are the Vara position, an axe, a spear (shula), the Abhay position, a rosary, a mudgar, the Shakti weapon and. . a citron respectively. (55). 19. dharaNapriyA kRSNavarNA caturhastA padmasthA dhrnnpriyaa| varadaM cAkSasUtraM ca zaktirvai mAtuliGgakam // 56 // . dharaNapriyA nAma kI yakSiNI kRSNa varNa kI, cAra hAtha vAlI aura kamala para baiThI huI hai| usakI cAroM bhujAoM meM varadamudrA, akSamAlA, zakti aura bIjaurA ___ Dark-hued Dharanapriya yakshini is seated on a lotus. The four-armed Dharanapriya holds one hand in the Varad mode, and has a rosary, the Shakti weapon and.a citron in her other hands. (56). 20. varuNa yakSa trinetro varuNo yakSo dhavalo munisuvrte| vRSavAhazcaturvaktro jaTAmukuTamaNDita: // 57 // mAtuliGgaM gadA bANaM zaktiH pAzaM dhanustathA // padmaM ca nakulaM ceti dakSiNAdha:karakramAt // 58 // bIsaveM munisuvrata tIrthaMkara ke zAsana meM varuNa nAma kA yakSa hai| vaha sapheda varNa kA, baila kI savArI karane vAlA, cAra mukha vAlA, pratyeka mukha tIna-tIna netra vAlA, jaTA ke mukuTa se zobhAyamAna hai| usakI ATha bhujAoM meM krama se bIjorA, gadA, bANa, zakti, pAza, dhanuH, kamala aura nyaulA hai|

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devatAmUrti-prakaraNam Lord Munisuvrata's yaksha is the three-eyed, white-coloured Varuna. Varuna has the bull as his vahana. He has four heads (each with three eyes) crowned by a profusion of matted jata locks. (57). In his eight hands are, in the order stated here, and beginning with the lowermost right hand, a citron, a mace, an arrow, the Shakti weapon, a noose, a bow, a lotus and mongoose. (58). 20. naradattA devI -:. 225 naradattA' gauravarNA siMhArUDhA suzobhanA / varadaM cAkSasUtraM ca trizUlaM bIjapUrakam // 59 // naradattA nAma kI yakSiNI gaura varNa kI, siMha kI savArI karane vAlI aura suzobhanA hai| usakI cAroM bhujAoM meM krama se varada mudrA, mAlA, trizUla aura hai| Beautiful Nardutta yakshini is seated on a lion. White in colour, she holds one hand in the Varad position, and possesses a rosary, a trident and a citron respectively in her other three hands. (59). 21. bhRkuTi yakSa-- bhRkuTirnaminAthastha pItastryakSazcaturmukhaH / vRSavAho mAtuliGgaM zaktizca mudgarAbhayau // 60 // akSaM vajraM parzu nakulamathAtastu ( ? ) gAndhArI / ikkIsaveM naminAtha tIrthaMkara ke zAsana meM bhRkuTi nAma kA yakSa hai| vaha pIta varNa kA, cAra mukha vAlA, pratyeka mukha tIna-tIna netra vAlA aura baila kI savArI karane vAlA hai| usakI ATha bhujAoM meM krama se bIjorA, zakti, mudgara, abhaya, akSamAlA, vajra, pharasA aura nyaulA hai / isake pazcAta gAMdhArI yakSiNI kA svarUpa kahate haiN| Bhrikutti is the yaksha of Lord Naminath. Bhrikutti is yellow in colour, with four heads, each with three eyes. His mount is a bull. In his right hands, he holds a citron, the Shakti weapon and

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226 . devatAmUrti-prakaraNam a mudgar, with one hand in the Abhay position. (60). Bhrikutti's left hands possess a rosary, a vajra (thunder-bolt), an axe and a mongoose. (61a). 21. gAMdhArI devI varaM khaDgaM kheDaM luGgaM haMsArUDhA sitA kAyA // 61 // gAMdhArI nAma kI yakSiNI haMsa kI savArI karane vAlI aura sapheda varNa. kI hai| vaha cAroM bhujAoM meM krama se varada, mudrA, DhAla aura bIjorA ko dhAraNa karatI hai| Gandhari has one hand in the Vara position, and holds a . sword, a shield and a citron respectively in her other three hands... She is seated on a swan and is white in colour. (61). 22. gomedha yakSa neminAthasya gomedho narasthastrimukho'sita: // , bIjapUraM pazuM cakraM zaktizUlaM ca nAkulam // 62 // bAIsaveM nomanAtha tIrthaMkara ke zAsana meM gomedha nAma kA yakSa hai| vaha manuSya kI savArI karane vAlA, tIna mukha vAlA aura kRSNa varNa vAlA hai, usake cha: hAthoM meM bIjorA, pharasA, cakra, zakti, zUla aura nyaulA hai| ___Lord Neminath's attendant yaksha is Gomedha. Three-headed Gomedha rides on a man. He is black in colour. He possesses a citron, an axc, a disc, the Shakti weapon, a spcar (shula) and a mongoose respectively in his six hands. (62).. 22. ambikA devI siMhArUDhAmbikA pItAmralumbI naagpaashkm| aGkuzaM ca tathA putraM tasyA hasteSu kArayet // 63 // ambikA nAma kI yakSiNI pIta varNa kI aura siMha kI savArI karane vAlI hai| tathA Ama kI zAkhA, nAgapAza, aGkuza aura putra ko hAtha meM dhAraNa karatI hai

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devatAmUrti-prakaraNam Yellow-hued Ambika rides on a lion. She has a mango a son in her hands. branch, a Nagapasha noose, a goad and (63). 23. pArzva yakSa 227 pArzvaH zrIpArzvanAthasya kUrmArUDho gajAnanaH / bIjapUroragaM nAgaM nakulaM zyAmavarNabhRt // 64 // teIsaveM zrI pArzvanAtha tIrthaMkara ke zAsana meM pArzva nAma kA yakSa hai| vaha kachuA kI savArI karane vAlA, hAthI ke mukha vAlA aura kRSNa varNa kA hai| usakI cAroM bhujAoM ke zastra bIjorA, uraga, sA~pa aura nyaulA haiM / The elephant-faced yaksha Parshva attends on Lord Shree Parshvanath. Parshva rides on a tortoise. He is dark in colour. In his hands are a citron, a Uranga snake, a Naga snake and a mongoose.(64). 23. padmAvatI devI-- padmAvatI raktavarNA 'kukkuTasthA caturbhujA / padmaM pAzAGkuzaM bIja-pUraM hasteSu kArayet // 65 // padmAvatI nAma kI yakSiNI lAla varNa kI, kurkuTajAti ke sA~pa kI savArI pAza, aGkuza aura bIjorA ina karane vAlI aura cAra bhujA vAlI hai| vaha kamala, zastroM ko dhAraNa karatI hai / Four-armed Padmavati yakshini is red like blood in colour. . Her mount is a Kukkuta cock. She holds a lotus, a noose, a goad and citron in her hands. ( 65 ). 24. mAtaGga yakSa-- mahAvIrasya mAtaGgaH zyAmaH syAd gajavAhanaH / dakSiNe nakulaM haste vAme syAd bIjapUrakam // 66 // caubIsaveM mahAvIra tIrthaMkara ke zAsana meM mAtaGga nAma kA yakSa hai| vaha

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devatAmUrti-prakaraNam kRSNa varNa kA aura hAthI kI savArI karane vAlA hai| usakI do bhujAoM meM dAhinI bhujA meM nyaulA aura bA~yI bhujA meM bIjorA hai / 228 Lord Mahavir's attendant yaksha is the dark-hued Matanga. Matanga has an elephant for his vahana. In his right hand, Matanga holds a mongoose, and in his left a citron. ( 66 ). 24. siddhAyikA devI-- siddhAyikA nIlavarNA siMhArUDhA caturbhujA / pustakaM cAbhayaM caiva bANa (? vINA) syAnmAtuluGgakam // 67 siddhAyikA nAma kI yakSiNI nIle varNa kI, siMha kI savArI karane vAlI aura cAra bhujA vAlI hai| vaha bhujAoM meM pustaka, abhaya, (vINA) bAMNa aura bIjorA ko dhAraNa karatI hai / Blue-hued Siddhayika has four arms and is seated on a lion. The yakshini has a book, the Abhay - mudra, an arrow (? or Veena instrument), and a citron in her four hands, respectively. (67). atha dvitIyabhedena cakrezvarI dvAdazabhujASTacakre vajrayordvayameva ca / mAtuluGgAbhayaM caiva padmasthA garuDopari // 68 // dUsare prakAra se cakrezvarI devI bAraha bhujA vAlI hai| ATha bhujAoM meM cakra, do bhujAoM meM vajra, eka bhujA meM bIjorA aura eka bhujA meM abhaya ko dhAraNa karatI hai| garur3a ke Upara kamala ke Asana para baiThI huI hai| An alternate depiction of Chakreshwari may be of the following type -She has twelve arms. In eight of her twelve hands she holds chakras (discs). She has vajras (thunderbolts) in two hands, and a citron and Abhay mode in the final two hands. Chakreshwari is seated on a lotus placed on top of Garuda. (68). kailAzasamosaraNAbjasiddhAvarttisadAzivam / siMhAsanaM dharmacakramuparIha chatratrayam // 69 // zrIvatsaM ca tathA'zokaM vRSA vRzcikadundubhiH /

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devatAmUrti-prakaraNam 229 kailAza para samavasaraNa meM padmAsana se virAjamAna sadA kalyANakArI haiN| siMhAsana, dharmacakra, chatratraya, zrIvatsa, azoka vRkSa aura dharma duMdubhI se guMjAyamAna hai| (artha aspaSTa hai| jina pratIkoM ke yahAM nAma haiM, saMbhava hai zloka meM unheM mUrti ke parikara yA nIce kI paTTikA para banAne kA Adeza ho|) Seated on thrones of Kailash, Somasharan, lotus (abja), Siddhavartti and Sadashiv, the idols (of the Tirthankars) possess dharma-chakras and a canopy of triple umbrellas (trichhatra). (69). Other auspicious markings are the Srivatsa symbol, Ashoka tree, Vrsha (bull), Vrishchika (scorpion), and the dundubhi type of kettledrum (which accompany the statues). (70a). jinadeva ke pratIhAra (dvArapAla)- . indra indrajayazcaiva mAhendro vijayastathA // 70 // dharaNendro padmakazca sunAma:' suradundubhiH // ityaSTau tu pratIhArA vItarAge tu zAntidAH // 71 // . indra, indrajaya, mAhendra, vijaya, dharaNendra, padmaka, sunAma aura suradundubhi ye ATha vItarAga deva ke pratIhAra haiM, ve zAnti dene vAle haiN| .: Indra and Indrajay, Mahendra and Vijay (70), Dharnendra and Padmaka, and Sunabh and Surdundubhi are the eight Pratiharas or door-keepers of the Veetaragas (a Veetaraga is one who is free from desires etc., in other words, the Jinas). They bestow peace. (71). A slighty different version occurs in another work by Mandan-Rupa-Mandan (ch. 6, Stanzas 26, 27, 33 & 34). This indicates that the 'Tirthankars Adinath, Nemi, Parshva, and Mahavir have as their seats or thrones (simha-asana) Kailash, Somasharan, Siddhivarti and Sadashiv. They have dharma-chakras and three umbrellas above each (R.M., Ch. 6; St. 26-27). Along with three chariots (tri-rath), the idols should be depicted accompanied by leaves of the Ashoka tree, celestial dundubhi beaters, thrones, Asuras, elephants and lions. (R.M. Ch. 6., St. 33-34). mu. sunaabh| ___ 1.

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230 devatAmUrti-prakaraNam jinadeva ke pratIhAroM kA svarUpa phalavajrAMkuzaM daNDamindro'pasavye indrjystthaa| dvau vanau phaladaNDaM tu mAhendro'pasavye vijayastathA // 72 // . pUrva dizA ke dvAra ke dAhinI ora kA indra nAma kA dvArapAla phala, vajra, . aGkuza aura daNDa ko dhAraNa karane vAlA hai aura inhIM zastroM ko apasavya krama. se dhAraNa karane vAlA bA~yI ora kA dvArapAla indrajaya hai| dakSiNa dizA ke dvAra. . ke dAhinI ora kA mAhendra nAma kA dvArapAla do vajra, phala aura daNDa ko dhAraNa karatA hai| aura inhIM zastroM ko apasavya krama se dhAraNa karane vAlA bA~yI ora ' . kA vijaya nAma kA dvArapAla hai| __ Indra holds fruit, a thunderbolt, a goad and the rod of danda (and stands on the right of the eastern door), while Indrajay has the same attributes but in the reverse or opposite order (and , stands on the left of the eastern door). Mahendra (standing to the right of the southern door) holds two thunderbolts, fruit and the danda rod respectively in his four hands, while Vijay (who stands to the left of the southern door) has the same objects in his four hands in the opposite order to Mahendra. (72). tdaayudhyogodbhvaastripnycaadriphnnordhvgaaH| , dharaNendraH padmakazca sarvazAntikarau smRtau // 73 // pazcima dizA ke dvAra ke dAhinI ora kA dharaNendra nAma kA dvArapAla uparokta zastroM ko savya krama se dhAraNa karatA hai| evaM bA~yI ora kA dvArapAla padmaka bhI uparokta zastroM ko apasavya krama se dhAraNa karatA hai| vizeSa meM itanA hI hai ki ina donoM ke mastaka para tIna, pA~ca yA sAta phaNA hotI haiN| ye sarvazAntikAraka haiN| Holding the attributes (ayudha) already mentioned above in the right or savya order is Dharnendra (who stands to the right of the western portal), and holding the same attributes in the reverse or apasavya order is Padmaka (who stands to the left of the western door). Dharnendra and Padmaka have three or five or more open, raised hoods (phana) on their heads and

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devatAmUrti-prakaraNam 231 bestow peace everywhere. (73). yakSarUpAvikArAzca nidhihastAH shubhodyaa:| sunAmo dundubhizcaiva sarve zAntipradAyakAH // 74 // uttara dizA ke dvAra ke dAhinI ora sunAma nAma kA aura bA~yI ora dudubhi nAma kA dvArapAla hai| ye yakSa ke svarUpa vAle, vikAra rahita, hAtha meM nidhi (dhana) ko dhAraNa karane vAle, zubha udaya vAle haiM aura saba ko zAnti dene vAle haiN| Sunabh and Dundubhi (who guard the right and left respectively, at the northern entrance) are of the form and size of yakshas. Holding nidhi (treasure) in their hands, they give rise to all auspiciousness. They bestow peace everywhere. (74). ityaSTau ca pratIhArA jinendrasya ca zAntidAH / nagarAdipuragrAme sarvavighnapraNAzanA: // 75 // jinendra deva ke ye AThoM pratIhAra zAnti dene vAle haiN| tathA nagara, pura aura gA~va Adi meM sabaM vighnoM ko nAza karane vAle haiN| These are the eight guardians or door-keepers of the Jinendras. They grant peace and destroy all impediments and obstructions-whether. occuring in towns or cities or villages. (75). muktyarthe vizvametad bhramati ca bahudhA devadaityA: pizAcA rakSogandharvayakSA naramRgapazavo naiva mukti vijagmuH / eka: zrIvItarAga: paramapadasukhe muktimArge vilIno, vandyastenAdyajaina: suragaNamanujaiH sarvasaukhyasya hetuH // 76 // iti zrIkSetrAtmaja-sUtramRnmaNDanaviracite vAstuzAstre rUpAvatAre jinamUrti-caturviMzatiyakSayakSiNyadhikAro nAma saptamodhyAyaH // 7 // yaha vizva mukta ke lie bhramaNa kara rahA hai, to bhI bahuta se deva, daitya, pizAca, rAkSasa, gaMdharva, yakSa, manuSya, mRga aura pazu mukta ko prApta nahIM kara ske| kevala eka zrI vItarAga deva hI sukhamaya aise paramapada vAle mukti mArga meM lIna hai, isaliye samasta sukha ke hetubhUta jaise jinadeva deva-manuSyagaNoM se vandanIya haiN| 1. mu. meM 74 vAM padya nahIM hai|

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232 devatAmUrti-prakaraNam satradhAra maNaDana racita devatA-mUrti-prakaraNa kA sAtavAM adhyAya pUrNa huaa| This world revolves and moves in search of mukti (salvation), but, even so, many devas (gods), daityas, pishachas and rakshasas (different classes of demons), the semi-divine gandharvas and yakshas, humans (nara), mriga (deer) and other animals are unable to attain salvation. Only the One, Shree Veetaraga, is blissfully subinerged or. dissolved in the path of salvation. That One, the Jina, who is the cause and the object of total bliss, is venerated by the deities, the ganas, humans and other forms of life. (76). Here ends the seventh chapter of the treatise on architecture composed by Sutrabhrin Mandan, son of Sri Kshetra, in which the twenty-four images of the Jinas, the associated yakshas and yakshinis, and so forth have been discussed.

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devatAmUrti-prakaraNam gaurI mUrtiyoM ke sAmAnya lakSaNa 8 aSTamodhyAyaH / atha gaurIM pravakSyAmi pramANaM mUrttilakSaNam / caturbhujA trinetrA ca sarvAbharaNabhUSitA // * godhAsanoparisthA ca karttavyA sarvakAmadA // 1 // bAraha gaurI devI ke nAma aba gaurI devI ke mUrttiyoM kA pramANa aura lakSaNa ko kahatA huuN| ve saba cAra bhujA vAlI, tIna-tIna netroM vAlI, saba AbhUSaNoM se zobhAyamAna aura godhA (goha) kI saMvArI karane vAlI banAnA, ye saba icchita dene vAlI haiN| 1 233 I (Mandan) will now describe the different forms and attributes of statues of the Gauri goddesses. Depict them with four arms and three eyes each, bedecked with every type of jewellery and adornments, and scated on a godha (an iguana cr monitor; term also used for alligator). They grant all wishes. (1). umA ca pArvatI gaurI lalitA ca zriyA tathA / kRSNA ca himavantI ca rambhA ca sAvitrI tathA / trikhaNDA totalA caiva tripurA dvAdazoditAH // 2 //

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devatAmUrti-prakaraNam umA, pArvatI, gaurI, lalitA, zriyA, kRSNA, himavantI, rambhA, sAvitrI, trikhaNDA, totalA aura tripurA ye bAraha gaurI devI haiN| ___The twelve Gauri goddesses are Uma, Parvati, Gauri, Lalita, Shriya, Krishna, Himvanti, Rambha, Savitri, 'Trikhanda, Totala and Tripura. (2). 1. umAdevI akSasUtraM ca kamalaM darpaNaM ca kmnnddlum|| umA nAmnI bhavenmUrttiH pUjitA tridazairapi // 3 // ... akSamAlA, kamala, darpaNa aura kamaNDalu ko dhAraNa karane vAlI umA nAma . kI mUrti hai, vaha devatAoM kI bhI pUjanIya hai| ___ Holding a string of prayer-beads, a lotus, a mirror and a kamandalu is the idol that depicts Uma. It is worshipped even , by the gods. (3). 2. pArvatI devI akSasUtraM zivaM devaM gaNAdhyakSaM kmnnddlum| agnikuNDobhaye pakSe pArvatI parvatodbhavA // 4 // akSamAlA, mahAdeva, gaNeza aura kamaNDalu ko dhAraNa karane vAlI parvata se utpanna huI pArvatI devI kI mUrti hai, usake donoM tarapha agnikuMDa rkhnaa| The statue of goddess Parvati, daughter of Parvat, the mountain, has a string of prayer-beads, the Lord Siva, Ganesh and a kamandalu respectively in her four hands. Place agni-kundas (fire-altars) on both sides of her. (4). 3. gaurI devI akSasUtrAbhaye padmaM tasyAdhastu' kmnnddlum| gauryAzca mUrtirityuktA kartavyA zivazAsinI // 5 // 1. mu. tasyoce tu|

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devatAmUrti-prakaraNam akSamAlA, abhaya, kamala aura kamaNDalu ko dhAraNa karane vAlI gaurI devI kI mUrti banAnA, vaha mahAdeva kA zAsana karane vAlI haiN| Goddess Gauri holds a rosary, one hand in the Abhay mode, a lotus and a kamandalu. This is how her statue should be made. She enforces the law of Siva (Siva-shaasani). (5). 4. lalitA devI akSasUtraM ca vINe dve kamaNDaluH kareSu ca / lalitA ca tadA nAma siddhacAraNasevitA // 6 // akSamAlA, do hAtha meM vINA aura kamaNDalu ko dhAraNa karane vAlI lalitA nAma kI devI hai, vaha siddha aura cAraNoM se pUjanIya haiN| 235 The goddess named Lalita is depicted holding a string of prayer-beads, the Veena musical instrument, and a kamandalu in her four hands. She is revered by the Siddhas and Charans *** (6). 5. zriyA devI godhAsanAkSasUtrAbja- mabhayaM varadaM karam / zriyA mUrttistadA nAma gRhe pUjyA zriye sadA // 7 // goha kI savArI karane vAlI, akSamAlA, kamala, abhaya aura varadamudrA ko dhAraNa karane vAlI zriyA devI kI mUrti hai, vaha ghara meM pUjane se hamezA lakSmI dene vAlI hai| Seated on a godha with a rosary and a lotus in two hands, and two hands in the Abhay and Varad positions respectively, the *** Siddhas = A Siddha is a semi-divine being with eight supernatural faculties called siddhis; or a sage or prophet; or a pious accomplished human who has attained the siddhis. Charans The term Charan is a used for a group of semi-divine heavenly musicians in the scriptures. It is also the name of a bardic community who have been long revered, particularly in Rajasthan from the medieval period onwards. Literally, the term means, variously, either a pilgrim; or a bard; or a heavenly singer; or a reader of the scriptures.

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236 devatAmUrti-prakaraNam statue of the goddess called Shriya always bestows good fortune and wealth when worshipped in homes. (7). 6. kRSNA devI akSasUtraM kamaNDaluM hRdaye ca puttaanyjliH| paJcAgnayazca kuNDeSu kRSNA nAma suzobhanA // 8 // nIce ke eka hAtha meM akSamAlA aura dUsare hAtha meM kamaNDalu dhAraNa karane . vAlI tathA Upara ke donoM hAthoM se aMjalI jor3I huI aisI kRSNA. devI kI mUrti acchI zobhAyamAna bnaanaa| bagala meM paJcAgni ke kuNDa bnaanaa| Holding a string of prayer-beads and a kamandalu in her lower right and left hands respectively, and with both the upper hands clasped together near the heart in the anjali mode (signifying salutation or respectful greeting), is the idol of the resplendent Krishna. A panch-agni-kunda-the altar of the five sacred fires-should be made besides her. / 7. himavantI devI himavantI zailarAjI tasyApatyA girisutaa|' padmadarpaNA vyAkhyAtA vIvAhe tu mAhezvarI // 9 // . himAlaya kI putrI himavaMtI nAma kI devI hai, vaha eka hAtha meM kamala aura dUsare hAtha meM darpaNa dhAraNa karatI hai| do hAtha vyAkhyAna mudrA vAle hai| vaha vivAha kArya meM bar3I devI hai| Himvanti is the daughter of Himvan, the king of the mountains. The goddess holds a lotus in one hand and a mirror in the other, with the remaining two hands held in the position of a vyakhyata-one who is explaining, or commenting upon, or communicating something. The daughter of Himalaya is Maheshwari-the Great Goddess, - who presides over marriage rites. (9).

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devatAmUrti-prakaraNam 237 8. raMbhA devI kamaNDalvakSavajrAkuzaM gjaasnsNsthitaa| sA pratItodbhavad rUpA rambhA ca sarvakAmadA // 10 // rambhA devI bhujAoM meM kamaNDalu, akSamAlA, vajra aura aGkaza . ko dhAraNa karatI hai aura hAthI kI savArI karane vAlI haiM, vaha saba kAmanA ko pUrNa karane vAlI aura pratikSaNa aneka rUpa dhAraNa karane vAlI hai| Seated on an elephant throne, and possessing a kamandalu, a rosary, a thunderbolt and a goad in her hands is the goddess Rambha. She appears in ever-changing forms and grants fulfillment of all desires. (10). 9. sAvitrI devI akSasUtraM pustakaM ca dhatte padmaM kmnnddlum| caturvaktrA tu. sAvitrI zrotriyANAM gRhe hitA // 11 // akSasUtra, pustaka, kamala aura kamaNDalu ko dhAraNa karane vAlI sAvitrI devI hai| vaha cAra mukhavAlI hai| vaha vedapAThaka brAhmaNoM ke ghara hitakAraka hai| Savitri possesses a string of prayer-beads, a book, a lotus * and a kamandalu in her hands. The goddess has four faces. Savitri is auspicious for the homes of those who study the scriptures. . . (11). 10. trikhaNDA devI akSasUtraM vajrazaktI tasyAdhazca kamaNDaluH / trikhaNDAM pUjeyannityaM sarvakAmaphalapradAm // 12 // akSamAlA, vajra, zakti aura kamaNDalu ko dhAraNa karane vAlI trikhaMDA nAma kI devI hai| usakI hamezA pUjA karane se saba icchita phala dene vAlI haiN| Bearing a rosary, a thunderbolt, the Shakti weapon and a kamandulu in her hands is the goddess Trikhanda. Regular and

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238 - devatAmUrti-prakaraNam constant worship of Trikhanda will bestow every desired wish to the devotee. (12). 11. totalA devI 'zUlAkSasUtraM daNDaM ca zvetacAmarakaM tthaa| zvetadehA bhaveddevI totalA pApanAzinI // 13 // trizUla, akSamAlA, daNDa aura sapheda caMvara ko dhAraNa karane vAlI sapheda varNa kI totalA devI hai, vaha saba pApoM kA nAza karane vAlI hai| Totala holds a trident, a rosary, danda and a white chamar in her hands. The white-coloured goddess destroys all sins. (13). : 12. tripurA devI pAzAGkuzAbhayavaraM caturhasteSvanukramAt / tripurA nAma sampUjyA vanditA tridazairapi // 14 // iti dvAdaza gauryH| pAza, aGkuza, abhaya mudrA aura varada mudrA (kamaNDalu krama se) cAroM bhujAoM meM dhAraNa karane vAlI tripurA nAma kI devI haiM, vaha sarvadA pUjanIya hai evaM devoM dvArA bhI vandanIya hai| ___Holding a noose, a goad, the Abhay-hasta and the Vara-hasta respectively (in the order cited) in her four hands is the goddess Tripura. She is worthy of worship everywhere and is venerated even by the tridashas (or gods). (14). . These are the twelve Gauri goddesses. gaurI devI kA Ayatana vakSyAmi gauryAyatana devatAnAmanukramam / vAme siddhiH zriyA saumye sAvitrI caiva pazcime // 15 // pRSThe karNe tathA dvAbhyA~ bhagavatI srsvtii| . 1. 'akSasUtraM tathA daNDaM kheTa cAmarazikhodbhavam / ' aparAjite a. 222 /

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239 devatAmUrti-prakaraNam IzAne ca gaNeza: syAt kumArazcAgnikoNake // 16 // kuNDalAbhyAmalaMkRtA srvaabhrnnbhuussitaa| madhye devI pratiSThApyA cezvarasya sadA priyA // 17 // iti gauryaaytnm| . aba gaurI devI ke Ayatana devoM kA krama kahatA hU~ uttara meM siddhi devI, dakSiNa meM zriyA devI, pazcima meM sAvitrI devI, nairRtya aura vAyavya koNa meM bhagavatI sarasvatI, IzAna koNa meM gaNeza aura agni koNa meM kArtikeya sthApana krnaa| madhya meM kuNDaloM se zobhAyamAna aura saba AbhUSaNoM se bhUSita, mahAdeva ko hamezA priya gaurI devI sthApana krnaa| I shall now descibe the positions of the deities in a Gauri shrine one by one.. To the left (in the northern direction) is the place of Siddhi and to the right (in the southern direction) of Shriya. In the west is Savitri (15). At both corners to the rear of the main idol, place Bhagvati and Saraswati. In the north-eastern quarter is Ganesh and in the south-eastern quarter Kumar (i.e. Karttikeya). (16). . In the centre, adorned with kundala earrings and necklaces and all manners of jewels and ornaments, is the place of the . Goddess, Devi, the beloved of Ishwar, whose shrine is described here. (17). . Such should be the ayatans (temples) of Gauri. . gaurI devI kI pratIhArikA (dvArapAlikA) - abhayAMkuzapAzadaNDaM jayA caiva tu pUrvata: / savyApasavyayogena vijayA nAma sA bhavet // 18 // abhaya, aGkuza, pAza aura daNDa ina AyudhoM ko bA~yI ora krama se dhAraNa * karane vAlI jayA nAma kI dvArapAlikA aura dAhine krama se dhAraNa karane vAlI vijayA nAma kI dvArapAlikA hai| inameM jayA devI ko pUrvadvAra kI bA~yI ora aura vijayA devI ko pUrva dvAra kI dAhinI ora sthApanA krnaa| The eight pratiharikas or door-keepers of a Gauri shrine

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240 devatAmUrti-prakaraNam are now discussed. Standing to the left of the eastern doorway of a Gauri shrine, with one hand in the Abhay position and the other three holding a goad, a noose and the rod of danda, respectively, is the door-keeper called Jaya. To the right of the door, holding the same attributes in her four hands but in the opposite or reversed order to Jaya, is the dvarpalika (doorkeeper or.. pratiharika) Vijaya.(18). 'abhyaambujpaashdnndd-mjitaasvye'praajitaa|. . abhaya, kamala, pAza aura daNDa ko bAye krama se dhAraNa karane vAlI ajitA .. nAma kI dvArapAlikA aura dAhine krama se dhAraNa karane vAlI aparAjitA nAma kI. dvArapAlikA hai| inameM ajitA ko dakSiNa dvAra kI bA~yI ora aura dAhinI ora aparAjitA ko sthaapnaa| Holding one hand in the Abhay mode, with the other three hands possessing a lotus, a noose and the rod of danda respectively, in the savya or right order, is the guardian named .Ajita. She stands at the left of the southern portal. Holding the same attributes but in a reversed order, and standing to the right of the southern door, is Aparajita. (19a). abhayavajrAMkuzadaNDaM vibhaktAsavye maGgalA // 19 // abhaya, vajra, aGkuza aura daNDa ko bA~ye krama se dhAraNa karane vAlI vibhaktA nAma kI dvArapAlikA aura dAhine krama se dhAraNa karane vAlI maMgalA- nAma kI dvArapAlikA hai| inameM vibhaktA ko pazcima dvAra kI bA~yI ora aura dAhinI ora maMgalA ko sthApita karanA caahiye| Vibhakta, standing to the left of the western entrance, has one hand raised in the Abhay position, with a thunderbolt, a goad and the rod of danda respectively in her other hands. To the right of the door, with the same attributes as Vibhakta but held in a reversed order, stands the doorkeeper called Mangala. (19). 1. mu. abhyaaNkush| 2. mu. vibhktaangkshaapsvye|

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devatAmUrti-prakaraNam abhayaM zaMkhapadmadaNDaM mohinI nAma vAmataH / savyApasavyayogena sA bhavet stambhinI tathA // 20 // abhaya, zaGkha, padma aura daNDa ko bA~ye krama se dhAraNa karane vAlI mohinI nAma kI dvArapAlikA uttara dvAra kI bA~yI ora sthApanA aura ukta zastroM ko dAhine krama se dhAraNa karane vAlI staMbhinI nAma kI dvArapAlikA uttara dvAra kI dAhinI ora sthApanA / With one hand raised in the Abhay mode and a conchshell, a lotus and a danda in her other three hands, is Mohini, who guards the left side of the northern door. To the right of the door is the place of Stambhini, who possesses the same attributes as Mohini but in a reversed order. (20). jayA ca vijayA caiva ajitA cAparAjitA / vibhaktA maGgalA gauryA''yatane zastAzca sRSTyaSTau 241 caiva mohinI stambhinI tathA / dvArapAlikAH // 21 // iti gauryAH pratIhArAH / jayA, vijayA, ajitA, aparAjitA, vibhaktA, maMgalA, mohinI aura stambhinI ye ATha dvArapAlikA gaurI devI ke Ayatana (maMdira) meM pUrvAdi sRSTi krama se sthApanA karanA / gaNeza deva 1. 2. Jaya and Vijaya, Ajita and Aparajita, Vibhakta and Mangala, and Mohini and Stambhini-these eight auspicious dvarpalikas of . a Gauri shrine should be installed as described. ( 21 ). mu. aSTa syuH / mu. daNDaM / dantaM ca parazuM padmaM modakaM ca gajAnanam / gaNezaM mUSakArUDhaM siddhidaM sarvakAmadam // 22 // hAthI dA~ta, parasA, kamala aura laDDa ko dhAraNa karane vAlA, hAthI ke mukha

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242 devatAmUrti-prakaraNam vAlA aura cahA kI savArI karane vAlA gaNezadeva hai| vaha siddhi dene vAlA aura sarva icchita phala dene vAlA hai| (i) Ganesh = Holding a tusk (danta) an axc (parashu,) a lotus (padma) and a modakam (laddon, a sweet) in his hands is Ganesha with the visage of an elephant. His vehicle is a mouse (moosha). Ganesh bestows the siddhis (accomplishments) and grants all desires and wishes. (22). 2. heraMba deva varaM tathAMkuzaM daNDaM ('danta) parazuM cAbhayaM kramAt / kapAlaM ca zarazcAkSamAlApAzagadA kare // 23 // paJcavaktraM trinetraM ca herambaM ca gnneshvrm| mUSake ca samArUDhaM sarvakAmArthasAdhakam // 24 // varadamudrA, aDaza, danta, pharasA, abhaya, kapAla, bANa, akSamAlA, pAza aura gadA ko krama se daza-bhujAoM meM dhAraNa karane vAlA, pA~ca mukha vAlA, pratyeka mukha tIna-tIna netra vAlA aura cUhe kI savArI karane vAlA, aisA heraMba nAma kA gaNeza deva he| vaha saba kAma aura artha ko siddha karane vAlA hai| . (ii) Hairamba = In his ten arms are the following attributes (in the order cited) :-One hand (the lowermost right one) is in the Vara or blessing mode, the next three possess a goad (ankusha), a danta (tusk) and an axe (parashu) respectively, while.the fifth hand (the uppermost right) is in the Abhay-mudra. The other five (left) hands hold a skull (kapal), an arrow (shara), a rosary (akshamala), a noose (pasha) and a mace (gada) respectively. (23). He has five faces, each with three eyes. Such is Hairamba (Ganesha), the lord of the Ganas. He rides on a mouse and bestows fulfillment of all desires. (24). 3. gajAnana deva raktAGgo gajavaktraH syAt ratnakumbhaM tthaaNkushm|

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devatAmUrti-prakaraNam parazuM ca tathA dantaM dakSiNAdhaHkarakramAt // 25 lAla zarIra vAlA, hAthI ke mukha vAlA, dAhine nIce ke hAtha meM krama se ratna kA kalaza, aGkuza, pharasA aura dAnta ko dhAraNa karane vAlA gajAnana deva jAnanA / (iii) Gajanan = With a body red like blood and a face like an clephant's is the lord who possesses a pot of jewels (ratna-kumbha), a goad, an axe and a tusk respectively in his four hands, beginning from the lower right in the order cited. (25).. 4. vakratuNDa laMbodaraM trinayanaM pAzAMkuzadharaM param / varadAbhayahastaM ca lasatkarNaM' sacAmaram // 26 // lambe N udara vAlA, tIna netra vAlA, krama se pAza, aGkuza, varadamudrA aura abhayamudrA yukta cAra bhujA vAlA, zobhAyamAna kAna vAlA aura caMvara vAlA vakratuNDa nAma kA gaNeza deva hai / 243 (iv) Vakratunda Holding a noose and a goad in two hands with the other two hands in the positions of Varad (blessing) and Abhay (absence of fear) is the three-eyed lord Vakratunda, with a large belly (lambodar), beautiful waving ears and the chamar (chowrie) fan. ( 26 ). 5. ucchiSTa gaNapati vAlA, ucchiSTaM mUSakasthaM ca tryakSaM vyAlopavItinam / bhagnadantAkSasUtraM ca parazuM modakaM kramAt // 27 // ucchiSTa gaNapati cUhe kI savArI vAlA, tIna netra vAlA, sAMpa kI janeU bhujAoM meM bhagna dA~ta, akSamAlA, pharasA aura laDDU dhAraNa karane vAlA hai| (v) Uchchhishtam Ganapati = The 'uchchhishta' form of Ganesh rides on a mouse and has three eyes. He wears a snake 1. = mu. calatkarNaM /

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244 devatAmUrti-prakaraNam as his sacred 'Upavitam' thread. In his hands are a broken tusk (bhagn-danta), a rosary, an axc and a modakam sweet respectively. (27). 6. bIja gaNapati sindUrAbhastrinetraM ca prokto biijgnnaadhipH| daNDapAzAMkuzaM bIja-pUraM bibhrat kareSu ca // 28 // . sindUra ke varNa vAlA, tIna netra vAlA, bhujAoM meM krama se daNDa, pAza, aGkuza aura bIjorA ko dhAraNa karane vAlA bIja gaNapati hai| (vi) Beej-Ganadhipa = This form of Ganesh is the colour of vermillion (sindhoor). He has three eyes and posseses a danda, a noose, a goad and a citron in his four hands. (28). 7. heraMbagrahilatA gaNeza sindUrAbhaM trinetraM ca abhayaM modakaM tthaa| , TahU-zarokSamAlAM ca mudgaraM cAMkuzaM tthaa| trizUlaM ceti hasteSu dadhAnaM kundavat sitam // 29 // sindUra varNa vAlA, tIna netra vAlA, bhujAoM meM krama se abhaya, laDDu, pharasA, bANa, akSamAlA, mudra, aGkuza aura trizUla ko dhAraNa karane vAlA aura kunda puSpa kI jaise sapheda kAnti vAlA heraMba pahilatA nAma kA gaNeza hai| . . (vii) Hairambagrahilata Ganesh = The vermillion (sindhoor) coloured, three-eyed lord holds one hand in the Abhay pose and possesses a modakam, an axc (tangku), an arrow, a rosary; a mudgar (club), a goad and a trident (trishula) in his other seven hands. His brilliance is like that of the delicate, white, Kunda jasmine. Such is Hairambagrahilata. (29). 8. kSipra gaNapati pAzAMkuzau kalpalatAM bhRGgaM bibhrat kareSu ca / 1. mu. 28 vAM padya nahIM hai|

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245 devatAmUrti-prakaraNam zazimaulistrinetrazca rakta: kSipragaNAdhipaH // 30 // - pAza, aGkaza, kalpalatA aura bhaMga (dA~ta) ko bhujAoM meM krama se dhAraNa karane vAlA, mukuTa meM candramA dhAraNa karane vAlA, tIna netra vAlA aura lAla raMga vAlA kSipra gaNapati hai| (viii) Kshipra-Ganadhipa= The Kshipra-Ganapati form possess a noose, a goad, the Kalpa-lata crceper which grants all wishes and a broken tusk (bhagna-danta or Bhringa) in his hands. His crown is ornamented by the moon. The three-eyed lord is the colour of blood. Such is Kshipra-Ganadhipa. (30). gaNeza Ayatana vAmAGge gajakarNaM tu siddhiM dadyAcca dkssinne| pRSTikaNe tathA dvau ca dhUmrako bAlacandramAH // 31 // uttare tu sadA gaurI yAmye caiva srsvtii| * pazcime yakSarAjazca buddhiH pUrve susaMsthitA // 32 // ..gaNeza ke Ayatana meM vAma bhAga meM (IzAna meM) gajakarNa deva, dakSiNa bhAga (agni koNa) meM siddhi devI, nairRtya aura vAyavya kone meM dhUmraka aura bAlacandramA, 'uttara dizA meM gaurI devI, dakSiNa meM sarasvatI devI, pazcima meM yakSarAja kubera aura pUrva meM buddhi devI kI sthApanA karanA / . In a Ganesh shrine the relative positions of various deities should be as follows :- To the left install Gajakarna and to the right Siddhi-devi. Place Dhumraka and Balachandrama at the two corners behind (i.e. at the rear of) the main idol. (31). The idol of the goddess Gauri should be installed in the the northern direction and of Saraswati in the southern. Yaksharaja __ *. ____1. The Shilpa-Ratna lists a beejpuraka or citron as the fourth attribute. mu. 31 vAM padya nahIM hai, rUpamaNDana meM hai|

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246 devatAmUrti-prakaraNam (Kuber) should be placed in the western direction and Buddhi-devi in the eastern. (32). gaNeza ke pratIhAra (dvArapAla) - sarve ca vAmanAkArA: puruSAnana-saumyabhAH / tarjanI parazuM padma-mavighno daNDahastakaH // 33 // tarjanIdaNDApasavye sabhavet vighyAjakaH / tarjanIkhaDgavaradaM daNDahasta: suvaktrakaH // 34 // tarjanIdaNDApasavye balavantaka dkssinne| tarjanI bANacApaM ca daNDaM ca gajakarNakaH // 35 // tarjanIdaNDApasavye gokrnnaakRtipshcimm| . tarjanI padmAMkuzaM ca daNDahasta: susaumyakaH // 36 // tarjanIdaNDApasavye sa caiva shubhdaaykH| . pakSadvArAdike sarve aSTau caiva zubhAvahaH // 37 // gaNeza ke AThoM hI dvArapAla vAma rUpa vAle, puruSa ke mukha vAle aura sundara kAnti vAle banAnA caahiye| tarjanI, pharasA, kamala aura daNDa ko savya krama se dhAraNa karane vAlA, avina nAma kA dvArapAla pUrva dvAra kI bA~yI ora rakhanA, tarjanI, daNDa, pharasA aura padma ko apasavya krama se dhAraNa karane vAlA vighna-rAja nAma kA dvArapAla pUrvadvAra kI dAhinI ora rkhnaa| tarjanI, khaDga, varada aura daNDa ko savya krama se dhAraNa karane vAlA suvaktra nAma kA dvArapAla dakSiNa dvAra kI bA~yI ora rkhnaa| tarjanI, daNDa, khaDga aura varada ko apasavya krama se dhAraNa karane vAlA balavantaka nAma kA dvArapAla dakSiNa dvAra kI dAhinI ora rkhnaa| tarjanI, bANa, dhanuSa aura daNDa ko savya krama se dhAraNa karane vAlA gajakarNa nAma kA dvArapAla pazcima dvAra kI bA~yI ora rkhnaa| tarjanI, daNDa, bANa aura dhanuSa. ko apasavya krama se dhAraNa karane vAlA gokarNa nAma kA dvArapAla pazcima dvAra 1. mu. zloka 36-37 nahIM hai|

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devatAmUrti-prakaraNam kI dAhinI ora rkhnaa| tarjanI, padma, aGkuza aura daNDa ko savya krama se dhAraNa karane vAlA saumyaka nAma kA dvArapAla uttara dvAra kI bA~yI tarapha rakhanA / tarjanI, daNDa, kamala aura aGkuza ko apasavya krama se dhAraNa karane vAlA zubhadAyaka nAma kA dvArapAla uttara dvAra kI ora rakhanA / ye AThoM dvArapAla pUrvAdi dvAra ke donoM tarapha rakhe hue zubhadAyaka haiN| The eight dvarapalas or door-keepers who watch over the portals of Ganesh shrines are all dwarfish in size like Vaman, with faces like men, and a wonderous lustrc. 247 The guardian Avighan (who stands to the left of the eastern door), has a raised finger (tarjani), an axe, a lotus and a danda respectively as his attributes in his hands (33). With the tarjani and danda and so forth held in the opposite or reverse order is Vighanarajak (who stands to the right of the door). At the southern portal stands Suvakra (to the left of the door), holding a raised finger (tarjani), a Khadag sword, onc hand in the Varad mode and the danda (34). Possessing the same attributes in his four hands, but in the opposite order, is Balawantak (who stands to the right of the door). * Gajakarnak is the name of the doorkeeper who watches over (the left side of) the western entrance. His attributes are the tarjani finger, an arrow, a bow and the danda rod, respectively (35). Holding the same attributes, but in the opposite order, stands Gokarna at (the right of) the western door. At (the left of) the northern portal stands Susaumyak with the raised tarjani finger, a lotus, a goad and the danda rod in his hands (36). With the tarjani and danda and so forth held in the reversed order, stands Shubhadayak (to the right of the door). These eight dvarapalas or guardians, placed on either side of the four entrance portals of a Ganesh shrine, are harbingers of auspiciousness and good fortune.(37). kArtika svAmI kArtikeyaM pravakSyAmi taruNAdityasaprabham /

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248 1. 2. devatAmUrti-prakaraNam kamalodaravarNAbhaM kumAraM sukumArakam // 38 // gaNDakaizcikurairyuktaM mayUravaravAhanam / sthAnIye kheTanagare bhujA dvAdaza kalpayet // 39 // caturbhujaH kharbaTe syAt vane grAme dvibAhukaH / zaktipAzaM tathA khaDgaM zaraH zUlaM tathaiva ca // 40 // varadazcaikahastaH syAdathavAbhayado bhavet / 2 ete dakSiNato jJeyAH keyUrakaTakojjvalAH // 41 // dhanuH patAkA muSTizca tarjanI tu prasAritA / kheTakaM tAmracUDazca vAmahasteSu zasyate // 42 // iti dvAdaza bhujaH / dvibhujasya kare zaktirvAme Urdhve ca kukkuTaH // iti dvibhujaH / caturbhuje zaktipAzau vAmato dakSiNe tvasiH // 43 // varado'bhayado vApi dakSiNaH syAt turIyakaH // iti caturbhujaH / kArttikeyamimaM zubhraM karttavyaM sarvakAmadam // 44 // iti kArttikeyaH / aba kArttikeya svAmI kA svarUpa kahatA huuN| vaha taruNa sUrya ke teja kI jaisI kAnti vAlA, kamala ke udara bhAga ke jaisA varNa vAlA sukumAra banAnA / vaha kapola taka lambe kesoM vAlA aura mora kI savArI karane vAlA hai / pura, kheTa aura nagara meM bAraha bhujA vAlI, kharbaTa meM cAra bhujA vAlI, vana aura gAMva meM do bhujA vAlI kArttika svAmI kI mUrti pUjanA cAhiye / jAnubaMdha aura mukuTa se mu. kamaNDalodavarNAbhaM / 'nyaH kukkuTopari /

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devatAmUrti-prakaraNam 249 zobhAyamAna bAraha bhujAoM meM se prathama dAhinI cha: bhujAoM meM krama se zakti, pAza, khaDga, bANa, trizUla aura eka hAtha varada yukta athavA abhaya yukta ye zastra haiN| aba vAma (bAyeM) cha: bhujAoM meM krama se dhanuSa, dhvajA, muSTi, U~cI kI huI tarjanI, aGgulI, DhAla aura murge ko dhAraNa karatA hai| do bhujA vAle kArtikeya ke dAhinI bhujA meM zakti aura vAma bhujA meM murge ke AkAra kA zastra vizeSa hai| cAra bhujA vAle kArtika svAmI kI vAma bhujAoM meM zakti aura pAza tathA dAhinI eka bhujA meM talavAra aura dUsarI bhujA meM varada yA abhaya mudrA dhAraNa karatA hai| aisA kArtika svAmI saba icchita phala dene vAlA hai| Karttikeya - I (Mandan), shall now describe the form of lord Karttikeya. He possesses radiance and lustre like the newly risen sun, and is the colour of the lower part of a lotus blosson. Such is the appearance (idol) of the handsome and youthful lord Kumar. (38). Make him with a fine cheek (?countenance) and beautiful locks of hair curling from his temple to his cheeks, with a peacock as his vahana or mount. Cities, hamlets and towns are proper to worship statues of Karttikeya having twelve arms. (39). However, four-armed idols of Karttikeya are recommended for small market towns and two-armed statues for forests and . villages. . ... The following are attributes placed in the hands of an image . of Karttikeya possessing twelve arms : In the six right hands are held the shakti weapon, a noose, a sword, and arrow and a trident (40), with one hand held in either the Varad or the Abhay position. (These should be placed in the order cited, and beginning with the lower-most right hand). The arms should be adorned with Keyura armbands, gleaming wrist-bands and other jewellery. (41). The attributes in the six left hands are a bow, a banner, a mushti or clenched list, a tarjani finger, a shield and a cock "(tamrachuda), respectively. (42). This instruction pertains to a twelve-armed idol. A statue of Karttikeya having two arms holds the shakti weapon in the right hand and a cock in the left. In the case of

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250 devatAmUrti-prakaraNam the four-armed idol, the attributes of the two left hands arc a shakti weapon and a noose respectively, with one right hand holding a twasi or sword and the other hand (i.e. the fourth hand of a four-armed image) in either the Varad or the Abhay mode.(43). Such is the Lord Karttikeya Swami, the radiant god who grants all wishes. (44). pA~ca lIlA devI paJcalIlayA vakSyAmi zastrabhedaistu bheditaaH| lIlayA lIlA lIlAgI lalitA ca lIlAvatI // 45 // . taptakAJcanavarNAbhA baalsuurysmprbhaa| suvaktrA ca sunetrA ca svarUpA rUpadAyinI // 46 // akSamAlA-kamaNDalU' adhohasteSu kaaryet| dvau hastAvIdRzau sarvAvardhvahastau nigadyate // 47 // mRNAla-yugmaiH lIlayA lIlA syAt padmapustakaiH / lIlAGgI pAzapadmAbhyAM lalitA ca vajrAMkuzaiH // 48 // pAzAMkuzailIlAvatI lIlayA: paJca kIrtitAH / zastroM ke bhedoM ke anusAra pA~ca lIlA devI ke svarUpa ko kahatA huuN| lIlayA, lIlA, lIlAMgI, lalitA aura lIlAvatI ye pA~ca lIlA devI haiN| ve tape hue suvarNa ke jaise varNa vAlI aura bAlasUrya ke jaisI prabhA vAlI, acche mukha vAlI, acche netra vAlI, sundara rUpa vAlI aura rUpa dene vAlI haiN| pA~co lIlAdeviyoM ke nIce ke donoM hAthoM meM se dAhine hAtha meM akSamAlA aura bAMye hAtha meM kamaNDalu hai| aba Upara ke donoM hAthoM ke zastra isa prakAra hai- Upara ke donoM hAthoM meM kamala dhAraNa karane vAlI lIlayA devI hai| kamala aura pustaka dhAraNa karane vAlI lIlAdevI hai| pAza aura kamala ko dhAraNa karane vAlI lIlAMgI devI 1. mu. taka kunnddii|

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251 devatAmUrti-prakaraNam hai| vajra aura aGkuza dhAraNa karane vAlI lalitA devI hai| pAza aura aGkuza ko dhAraNa lIlAvatI devI hai| ye pA~ca lIlA devI ke svarUpa haiN| Now let me (Mandan) relate the forms of the five Leela goddesses, as distinguished according to the sacred Shastra scriptures. The five are called Leelya, Leela, Leelangi, Lalita and Leelawati. (45). They are like molten gold in complexion, with the lustre and radiance of the rising sun, and (good) pleasing faces and cyes, beautiful in appearance and granting beauty to all. (46). In their two lower (right and left) hands, all the five goddessess bold a string of prayer-beads and a kamandalu respectively. In the two upper hands each of the five goddesses holds the attributes described below. (47). Leelya possesses flowering lotus-stalks (mrinalam) in both her upper hands, while Leela has a lotus and a book, Leelangi a noose and a lotus, and Lalita a thunderbolt (vajra) and a goad (ankusha) (48). The goddess Leelawati holds a noose and a goad in her two upper hands. . These are the forms of the five glorious Leela goddesses. (49a). nava durgA devI kA svarUpa asyAnantarato vakSye navadurgAH zubhAvahAH // 49 // Adau tatra mahAlakSmInandA kSemaGkarI tthaa| sarvatI maharaNDA ca bhramaNI sarvamaMgalA // 50 // revatI harasiddhizca nvdurgaabhidhaankm| pRthagekaikasyAnukramaM kathayiSyAmyanukramAt // 51 // aba zubhadAyaka nava durgA kA svarUpa kahatA huuN| prathama durgA devI ke nAma-mahAlakSmI-1, nandA-2, kSemaMkarI-3, sarvatI-4, maharaNDA-5, bhramaNI-6, sarvamaMgalA-7, * zivadUtI mahAraNDA / a. 222 /

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252 devatAmUrti-prakaraNam revatI-8 aura harasiddhi-9 ye nava durgA devI ke nAma haiN| aba pratyeka kA anukrama se svarUpa khuuNgaa| Now I (Mandan) shall describe the different appearances of the Nine Durga goddesses. These Nava-Durgas bestow auspiciousness. (49). 'The first of the Durgas is known as Mahalakshmi. Then comes Nanda, Kshemankari, Sarvati, Maharanda, Bhramani, Sarvamangala (50), Rewati and Harasiddhi. These are the names : of the Ninc Durgas. Now each of them shall be described in the order mentioned. (51). 1. mahAlakSmI devI varadaM trizUlaM kheTaM pAnapAtraM ca bibhrtii| nAgaM nIlakaNThamadhye mahAlakSmI: prakIrtitA // 52 // . varada mudrA, trizUla, DhAla aura pAnapAtra ko dhAraNa karane vAlI, nIlakaNTha vAlI, usameM sAMpa ko dhAraNa karane vAlI mahAlakSmI devI hai| (i) Mahalakshmi = Mahalakshmi holds one hand in the Varad mode and possesses a trident,' a shield and a panapatram(goblet or drinking vessel) in the other three hands. Her blue throat is adorned by a snakc. Such is the splendour of Mahalakshmi. (52). 2. nandA devI akSasUtraM khaDgakheTaM pAnapAtraM tathottamam / nandA nAma samAkhyAtA pUjyate nandahetave // 53 // akSamAlA, khaDga, DhAla aura pAnapAtra ko dhAraNa karane vAlI nandA devI hai, vaha sukha ke liye pUjanIya hai| (ii) Nanda = Bearing a rosary, a sword, a shield and a panapatram in her arms is the renowned goddess named Nanda. She is worshipped to obtain happiness and bliss. (53).

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devatAmUrti-prakaraNam 253 3. kSemaMkarI devI varadaM trizUlaM padma pAnapAtraM vidhRtkre| kSemaMkarI tathA nAma kSemArogyapradAyinI // 54 // varadAna, trizUla, padma aura pAnapAtra hAthoM meM dhAraNa karane vAlI kSemakarI nAma kI devI hai, vaha kalyANa aura Arogya karane vAlI hai| (iii) Kshemankari = With one hand in the Varad position, and a trident, a lotus and a panapatram in the other three is the goddess called Kshemankari. She bestows peace and well-being (kshema), as well as good health and freedom from sickness. (54). 4. sarvatI devI- . . kamaNDaluM cakrakheTaM pAnapAtraM tthottmm|| sarvatI ca tadA nAma sarvasiddhipradAyinI // 55 // kamaNDalu, cakra, DhAla aura pAnapAtra ko dhAraNa karane vAlI sarvatI nAma kI devI hai, vaha saba siddhiyoM ko dene vAlI hai| (iv) Sarvati =Sarvati possesses a kamandalu, a disc (chakra,) * a shield and panapatram. She bestows all the accomplishments and perfection -- the siddhis. (55). * 5. maharaNDA devI khaDgaM tathA trizUlaM ca ghaNTApAtraM tthonntm| maharaNDA tathA nAma vanditA tridazairapi // 56 // khaDga, trizUla, ghaNTA aura pAnapAtra ko dhAraNa karane vAlI maharaNDA nAma kI devI hai, vaha devatAoM se vaMdanIya hai| (v) Maharanda = With a sword, a trident, a bell and a patram vesscl in her hands is the goddess Maharanda, venerated by the very gods themselves. (56).

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254 devatAmUrti-prakaraNam 6. bhramaNI devI - khaDga DamarukheTapAzaM bibhratI ca karotamaiH / bhrAmaNI ca tadA nAma bhrAmayed duSTacetasaH // 57 // khar3A, Damaru, DhAla aura pAza ko uttama bhujAoM meM dhAraNa karane vAlI . bhrAgaNI nAma kI devI hai, vaha duSToM ko bhrama karane vAlI hai| (vi) Bhramari = Bhramani holds a sword, the damroo drum, . a shield and a noose in her hands. She confounds, deludes and confuses the wicked. (57). 7. sarvagaMgalA devI akSasUtraM tathA vajraM ghaNTApAtraM tthottmm|| sarvamaMgalA maGgalyA sarvavighnavinAzinI // 58 // akSamAlA, vajra, ghaNTA aura pAnapAtra ko dhAraNa karane vAlI sarvamaMgalA nAma kI devI hai| vaha maMgala karane vAlI va saba vighnoM kA vinAza karane vAlI hai| (vii) Sarvamangala = Sarvamangala has a rosary, a thunderbolt, a bell and a patram in her hands: She bestows good ... fortune and resolves all manners of obstructions. (58). 8. revatI devI daNDaM trizUlaM khaTvAGgaM pAnapAtraM ca bibhrtii| revatI ca tadA nAma sarvazAntipradAyinI // 59 // daNDa, trizUla, khaTvAGga aura pAnapAtra ko dhAraNa karane vAlI revatI nAma kI devI hai, vaha saba prakAra se zAntidAyaka hai| (viii) Revati = Holding a danda, a trident, the khatvanga club and a panapatram (or goblet) is the goddess known as Revati. She bestows peace everywhere. (59). 9. harasiddhidevI kamaNDaluM khaGgaDamarUM pAnapAtraM tathA zubham /

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devatAmUrti-prakaraNam harasiddhistadA nAma sarvasya siddhihetave // 60 // iti nava durgaaH|| kamaNDalu, khar3aga, Damaru aura pAnapAtra ko dhAraNa karane vAlI harasiddhi nAma kI devI hai, vaha saba kI siddhi ke liye haiN| (ix) Harasiddhi =- Possessing a kamandalu, a sword, the damroo drum and a panapatram is the auspicious Harasiddhi, who is worshipped for the attainment of the siddhis (all accomplishments). (60). : These are the Nine Durga goddesses. gaurI lIlA aura durgA deviyoM ke vAhana godhAsanA bhaved gaurI lIlA syAd hNsvaahnaa| durgA siMhavAhanoktA karttavyA sarvakAmadA // 61 // bAraha gaurI deviyoM kA vAhana goha kA hai| pA~ca lIlA devI kA vAhana haMsa kA hai aura nava durgA devI kA vAhana siMha kA hai| ye sarva deviyAM saba icchita phala dene vAlI haiN| The twelve Gauri goddesses are seated on godhas (iguana/?alligator) and the five Leela goddesses on swans; while the nine Durgas use lions for their vahanas (vehicles or mounts). This is the manner in which they ought to be depicted. They fulfill all desires. (61). * kSetrapAla kA svarUpa kSetrapAlo vidhAtavyo digvAsA ghaNTabhUSitaH / kartikAM DamaruM bibhrad dakSiNe tu karadvaye // 2 // vAme zUlaM kapAlaM ca muNDamAlopavItakaH / karoTinikarodAramAlAgranthita shekhrH| hrasvahasto mahoraskaH sarpagraMthitazekharaH // 63 // 2 1. mu. 61 vAM padya nahIM hai| 2. mu. ardhazloka nahIM hai|

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256 devatAmUrti-prakaraNam nagna svarUpa vAlA aura ghaMTar3iyoM ke AbhUSaNa vAlA kSetrApAla banAnA / usake dAhine do hAthoM meM kataranI aura Damaru tathA bA~yeM do hAthoM meM trizUla aura kapAla (khopar3I) hai| muMDamAlA kI janeU vAlA, choTA hAtha bar3A peTa aura sarpakI gA~Thayukta jaTA vAlA krnaa| Kshctrapala should be depicted without any clothes but adorned with bells. He possesses a karttika (scissors - term also used for knife) and the damroo drum in his two right hands (62), . and a trident (shula) and a skull (kapal) in his left. His sacred Upavitum is composed of skulls. He has small hands, a large stomach and snakes are entwined in the hair of his topknot. 1. 'mAtR deviyoM meM prathama brAhmI devIathAta: saMpravakSyAmi mAtRrUpANi te jy| tatra brAhmI caturvaktrA SaDbhujA haMsasaMsthitA // 64 // : piGgalI bhUSaNopetA mRgcrmottriiykaa| varaM sUtraM kajaM dhate dakSabAhunaye kramAt // 65 // vAmeSu pustakaM kuNDI bibhratI caabhyprdaa| . iti brAhmI // vizvakarmA kahate haiM ki he jaya ! aba mAtR deviyoM kA svarUpa kahatA huuN| usameM brAhmI devI cAra mukha vAlI, cha: bhujA vAlI, haMsa kI savArI karane vAlI, pIle AbhUSaNa pahanane vAlI aura mRga carma ke uttarAsana vAlI hai| usakI dAhinI tIna bhujAoM meM pustaka, kuMDI aura abhaya hai| _Hear now, O Jaya (says the Creator), about the appearance of the Matre - the mother-goddesses. All reverence to them! (i) There is Brahmi, with four faces and six arms, riding on a swan (64). She is adorned with yellow jewellery. Her uttariyaka (upper garment) is a deer-skin. The attributes in her three right hands are (in the order cited), the Varad position, a Sutra (rosary) * and a lotus (65). In two of her left hands arc a book and a kundi 1. . mAtRdeviyoM kA svarUpa rUpamaMDana meM isase bhinna mAlUma hotA hai|

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devatAmUrti-prakaraNam vessel (ic. a mendicant's bowl), with the third hand in the Abhay position. Such is Brahmi. ( 66a). 2. mAhezvarI devI 257 mAhezvarI vRSArUDhA paJcavaktrA trilocanA // 66 // bAlendu bhRjjaTAjUTa- suzobhA sarvasaukhyadA / . SaDbhujA varadA dakSe sUtraM DamarukaM tathA // 67 // zUlaM ghaNTAbhayaM vAme saiva dhatte mahAbhujA / mAhezvarI devI vRSabha kI savArI karane vAlI, tIna-tIna netra vAlI, pA~ca mukha vAlI, bAla candramA yukta jaTA vAlI, acchI zobhAyamAna, saba prakAra ke sukha dene vAlI aura mahAna chaH bhujA vAlI hai| dAhinI tIna bhujAoM meM varada mudrA, akSamAlA aura Damaru haiM, tathA vAma tIna bhujAoM meM trizUla, ghaNTA aura abhaya ko dhAraNa karatI hai| (ii) Maheshwari rides a bull. She has five faces, cach with three eyes (66). Her matted jata locks are adorned with the crescent moon. The beautiful goddess, who is full of lustre, grants happiness. The six-armed Maheshwari has one right hand (the lowermost) in the Varad position and possesses a sutra and the damroodrum in her other two right hands. ( 67 ). Two of her left hands hold a shula (trident) and a bell respectively, while the third is in the Abhay mode. Such is the all-powerful mighty-armed Maheshwari. (68a). 3. kaumArI devI kaumArI raktavarNA syAt SaDvaktrA sArkalocanA // 68 // ravibAhurmayUrasthA varadA zaktidhAriNI / - patAkA bibhratI daNDaM pAzaM bANaM ca dakSiNe // 69 //

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258 devatAmUrti-prakaraNam vAme cApamatho ghaNTAM kamalaM kukkuTaM tvadhaH / . parazuM bibhratI dakSe tadadhastvabhayAnvitA // 70 // kaumArI devI lAla varNa vAlI, chaH mukha vAlI, bAraha netra aura bAraha bhujA vAlI aura mora kI savArI karane vAlI hai| usakI dAhinI cha: bhujAoM meM krama se varada mudrA, zakti, patAkA, daNDa, pAza aura bANa haiM, vAma cha: bhujAoM meM dhanuSa, ghaNTA, kamala, muragA ke AkAra kA zastra, pharasA aura abhaya hai| .. (iii) Kaumari is blood-red in colour, with six faces and twelve eyes (68). She has twelve arms and rides on a peacock. Of her six right hands, the lowermost is in the Varad pose while the other five passess the Shakti weapon, a banner, danda, a.. noose and an arrow, respectively (69). Her six left hands hold a bow, a bell, a lotus, the kukkuta (cock) and an axe, with the lowermost hand in the Abhay mode.(70). . . 4. vaiSNavI devI vaiSNavI tAjgA zyAmA SaDbhujA vanamAlinI / varadA gadinI dakSe dadhatI cAyudhasrajam // 71 // zaGkhacakrAbhayairvAme sA caiva vilsdbhujaa| vaiSNavI devI garuDa kI savArI karane vAlI, kRSNa varNa kI aura cha: bhujA vAlI hai| usakI dAhinI tIna bhujAoM meM vanamAlA, varada mudrA aura g2adA hai| vAma tIna bhujAoM meM zaGkha, cakra aura abhaya se zobhAyamAna hai| (iv) Vaishnavi is seated on Taksharya (Garuda). She is dark in colour and has six arms. Her three right hands hold a vanamala (garland of forest-flowers), the Varad position and a macc as attributes (ayudhas) (71), while her three left hands hold a conchshell, a disc and the Abhay pose. Such is the resplendent-armed Vaishnavi. (72a). 5. vArAhI devI kRSNavarNA tu vArAhI zUkarAsyA mahodarA // 72 // .

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259 devatAmUrti-prakaraNam 259 varadA daNDinI khaDgaM bibhratI dakSiNe sdaa| . kheTapAzAbhayairvAme saiva cApi lasad bhujA // 73 // vArAhI devI kRSNa varNa vAlI, sUara ke mukha vAlI aura bar3e peTa vAlI hai| vaha dAhinI tIna bhujAoM meM varada, daNDa aura khaDga ko tathA bA~yI tIna bhujAoM meM DhAla, pAza aura abhaya ko dhAraNa karatI hai| (v) Varahi is blue-black in colour, with a visage like a boar and a large stomach (72). She has her lowermost right hand in the Varad position of blessings and possesses a danda and a sword in her other two right hands. Her three left hands are adorned by a shield, a noose and the Abhay mode, respectively. Such is the shining-armed Varahi (73). 6. aindrI (indrANI) devI aindrI . sahasradRksaumyA hemAmA gjsNsthitaa| varadA sUtriNI vajraM bibhratyUrve tu dakSiNe // 74 // vAme tu kalazaM pAtramabhayaM tddh:kre| aindrI devI hajAra netroM vAlI, zAnta prakRti vAlI, suvarNa varNa vAlI aura hAthI kI savArI karane vAlI hai| vaha dAhinI tIna bhujAoM meM varada, bhAlA aura ...vajra ko tathA vAma tIna bhujAoM meM kalaza, pAtra aura abhaya ko dhAraNa karatI (vi) Aindri (Indrani) has a thousand eyes. She is of a peaceful disposition. She has the radiance of gold and is seated on an elephant. Aindri has one right hand in the Varad mode and possesses a sutrini (rosary) and a thunderbolt in the other two (74). Two of her left hands hold a kalash pot and a patra (vessel) respectively, while the third is in the Abhay modc. (75a). 7. cAmuNDA devI cAmuNDA pretagA raktA vikRtAsyAhibhUSaNA // 75 // daMSTralA kSINadehA ca gartAkSI bhImarUpiNI /

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260 devatAmUrti-prakaraNam . digbAhuH kSAmakukSizca musalaM cakrakaM zaraH // 76 // aGkuzaM bibhratI khaDgaM dAkSiNeSvatha vAmataH / kheTaM pAzadhanurdaNDakuThAraM ceti bibhratI // 77 // cAmuNDA devI preta kI savArI karane vAlI, lAla varNa vAlI, vikRta mukha vAlI, sA~pa ke AbhUSaNa vAlI, bar3e dA~ta vAlI, kSINa zarIra vAlI, OMr3e netra vAlI; bhayaGkara rUpa vAlI, daza bhujA vAlI aura kSINa kamara vAlI hai| vaha dAhinI pA~ca bhujAoM meM musala, cakra, bANa, aMkuza aura khaDga tathA bAMyI pAMca bhujAoM meM krama se DhAla, pAza, dhanuSa, daNDa aura pharasA ko dhAraNa karatI hai| ___ (vii) Chamunda rides a preta (spirit). She is blood-red in: colour, with a terrible face. Her ornaments are made up of snakcs (75). Chamunda has large tectii, an emaciated body, sunken cycs, and a terrible form. She has len arms. Her waist is extremely thin, and she holds a musala (pcstle/mace), a disc, an arrow (76), a goad and a sword, respectively in her five right hands. In lier five left hands are a shield, a noose, a bow, the danda rod and an axe (kuthara). (77). caNDikA devI caNDikA zvetavarNA syAcchavArUDhA ca ssddbhujaa| jaTilA ca lasattryakSA varadA zUladhAriNI // 78 // kartikAM bibhratI dakSe paashpaatraabhyaanyt:| ityetA mAtaraH proktA rUpabheda-vyavasthayA // 79 // caNDikA devI sapheda varNa vAlI, preta kI savArI karane vAlI, cha: bhujA vAlI, jaTA vAlI aura caJcala tIna netra vAlI hai| vaha dAhinI tIna bhujAoM meM varada mudrA, trizUla aura kataraNI ko tathA vAma tIna bhujAoM meM pAza, pAtra aura abhaya ko dhAraNa karane vAlI hai| (viii) Chandika is white in colour, with six arms, matted long jata hair and three cyes that attract and rivet attention. She

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261 devatAmUrti-prakaraNam rides a corpse. One right hand is in the Varad position, while the other two grasp a spear (trident) (78), and a karttika sword respectively. Two of her left hands hold a noose and a patra and third is in the Abhay mode. Thus have been described the forms and images of the Mother-goddcsscs (matres). (79). mAtRdevI kA Ayatana bhairavaM kArayet tatra nRtyamAnaM vikAraNam / gaNezamAdau karttavyamante kuryAcca bhairavam // 80 // mAtRNAM madhyaMta: kAryA paMktizca caNDikAdayaH / vIrezvarazca bhagavAn vRSArUDho dhanurdharaH // 81 // vINAM haste trizUlaM ca bANaM caiva prakArayet / vIrezvarasya rUpaM tu mAtRNAmagrato bhavet // 82 // . .nAca karatA huA bhairava mAtR deviyoM kI paMkti ke anta meM aura gaNeza ko Adi meM sthApanA / mAtR deviyoM ke madhya meM caNDikA Adi deviyoM kI sthApanA krnaa| vIrezvara bhagavAn baila kI savArI karane vAlA, tathA dhanuSa, vINA, trizUla aura bANa ko dhAraNa karane vAlA hai| vIrezvara kI mAtRdeviyoM ke sAmane ..' sthApanA krnaa| Install a dancing Bhairav at the end of the row of the mother-goddesses and Ganesh at the beginning (80), thus placing the idols of Chandika and the other matres between Ganesh and Bhairav in a single row. Depict Bhagwan Veereshwar riding a bull and holding a bow (81), the musical instrument Veena, a trident and an arrow. The statue of Veereshwar should be installed in front of the mother-goddesses. (82).

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262 devatAmUrti-prakaraNam bAraha sarasvatI devI ekavaktrA: caturbhujA mukuTena viraajitaaH| prabhAmaNDalasaMyuktAH kuNDalAnvitazekharAH // 83 // iti sarasvatInAM saadhaarnnlkssnnm| bAraha sarasvatI devI eka mukha vAlI, cAra bhujA vAlI, mastaka para mukuTa dhAraNa karane vAlI, prabhAmaMDala se yukta aura kuMDaloM se zobhAyamAna zirobhUSaNa vAlI haiN| The twelve Saraswati goddesses each have one face and four arms. Tiaras crown their forcheads. They are encircled by : haloes of light (prablia-mandala), and adorned by kundala ear-ornaments and other jewellery and signs of lustre. These are the Saraswatis. 1. mahAvidyA devI akSaM padmaM vINA-pustakaM mahAvidyA prakIrtitA / mahAvidyA nAma ko sarasvatI devI apanI cAroM gujAoM meM krama se mAlA, kamala, vINA aura pustaka ko dhAraNa karatI hai| (i) Mahavidya = The glorious Mahavidya (thc first of the Saraswatis), posscsses a rosary, a lotus, a Veena (stringed musical instrument), and a book. (84a). . 2. mahAvANI devI-- akSaM pustakaM vINA padmaM mahAvANI ca nAmataH // 84 // . mahAvANI nAma kI sarasvatI devI apanI cAroM bhujAoM meM mAlA, pustaka, vINA aura kamala ko dhAraNa karatI hai| (ii) Mahavani = With a rosary, a book, the Veena and lotus (in the order cited) in her four respective hands is the Saraswati named Mahavani. (84).

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1 mahAvANI mahAvidyA Mahavidya Mahavani THE TWELVE SARASWATI GODDESSES bAraha sarasvatI TIO AJIT bhAratI - Bharati | sarasvatI Saraswati pa 3XXoromo . AryA Arya brAhmI cca Brahmi

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mahA Mahadhenu IzvarI Ishwari mahAkAlI Mahakali THE TWELVE SARASWATI GODDESSES bAraha sarasvatI vedagarbhA Vedagarbha mahAlakSmI Mahalakshmi ' mahAsarasvatI Mahasaraswati

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devatAmUrti-prakaraNam 3. bhAratI devI varAkSapadmapustakaM zubhAvahA ca bhAratI / bhAratI nAma kI sarasvatI devI apanI cAroM bhujAoM meM krama se varada mudrA, mAlA, kamala aura pustaka ko dhAraNa karatI hai| 1 263 (iii) Bharati = With one hand in the Varad mode and the other three holding a rosary, a lotus and a book, is the auspicious Bharati. (85a). 4. sarasvatI devI varAmbujAkSapustakaM sarasvatI prakIrttitA // 84 // sarasvatI devI kI cAroM bhujAoM meM krama se varada mudrA, kamala, mAlA aura hai | pustaka (iv) Saraswati = The attributes of the renowned Saraswati are one hand in the Varad position and a lotus, a rosary and a book (in the order cited) in the other three. (85). 5. AryA devI -- varAkSaM pustakaM padmaM AryA nAma prakIrttitA / varada, mAlA, pustaka aura kamala ko dhAraNa karane vAlI AryA nAma kI sarasvatI devI hai| (v) Arya = The famed goddess known as Arya has one hand in the Vara ( blessing) mode and possesses a rosary, a book and a lotus in her other hands. (86a). 6. brAhmI devI varaM pustakAkSapadmaM brAhmI nAma sukhAvahA // 86 // varada, pustaka, mAlA aura padma ko dhAraNa karane vAlI brAhmI nAma kI devI hai| vaha sukhakAraka hai / (v) Brahmi = The goddess called Brahmi has one hand in the Vara position and holds a book, a rosary and a lotus in the

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264 other three hands. She bestows joy. (86). 7. mahAdhenu devI varapadyavINApustakaM mahAdhenuzca nAmataH / varada, kamala, vINA aura pustaka ko apanI cAroM bhujAoM meM dhAraNa karane vAlI mahAdhenu nAma kI sarasvatI devI hai / . (vii) Mahadhenu = Mahadhenu is the name of the Saraswati goddess who has one hand in the Vara mode and grasps a lotus, a Veena and a book in her other hands. ( 87a). 8. vedagarbhA devI varaM ca pustakaM vINAM vedagarbhA tathAmbujam // 87 // varada, pustaka, vINA aura kamala ko dhAraNa karane vAlI vedagarbhA nAma kI sarasvatI devI hai| devatAmUrti-prakaraNam (viii) Vedagarbha = Vedagarbha has one hand in the Vara pose and the remaining three holding a book, a Veena and a lotus (87): 9. IzvarI devI akSaM tathAbhayaM padmaM pustakenezvarI bhavet / mAlA, abhaya, kamala aura pustaka ko dhAraNa karane vAlI IzvarI nAma kI sarasvatI devI hai| (ix) Ishwari = Holding a rosary in one hand, with the second raised in the Abhay mode and a lotus and a book, respectively in the other two hands, is Ishwari. ( 88a). 10. mahAlakSmI devI *. abhayAkSaM' pustakaM ca mahAlakSmIstathotpalam // 88 // abhaya, mAlA, pustaka aura kamala ko dhAraNa karane vAlI mahAlakSmI nAma mu. akSaM padmaM /

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devatAmUrti prakaraNam 265 kI sarasvatI devI haiN| . (x) Mahalakshmi = With one hand raised in the Abhay position denoting absence of fear and the other three holding a rosary, a book and a lotus respectively is Mahalakshmi. (88). 11. mahAkAlI devI. . akSaM padma pustakaM ca mahAkAlyabhayaM tthaa| mAlA, kamala, pustaka aura abhaya ko dhAraNa karane vAlI mahAkAlI nAma kI sarasvatI devI hai| (xi) Mahakali =Mahakali possesses a rosary, a lotus, and a book in three hands and has the fourth raised in the Abhay mode. (89a). 12. mahAsarasvatI devI. akSa pustakamabhayaM padmaM mahAsarasvatI // 89 // * iti dvAdaza srsvtyH| '.., mAlA, pustaka, abhaya aura kamala ko dhAraNa karane vAlI mahAsarasvatI nAma kI devI hai| ::: (xii) Mahasaraswati = The twelfth Saraswati goddess is called Mahasaraswati. She has, as her attributes, a rosary, a book, one * hand in the Abhay mode and a lotus. (89). These are the twelve Saraswatis. bhadrakAlI devI aSTAdaza bhujA kAryA bhadrakAlI manoharA / AlIDhasthAnasaMsthA tu kartavyA saukhyadAyakA // 90 // catuH siMharathe sthitaa| akSamAlA trizUlaM ca khaDgazcakraM kareSu c| bANa-cApe ca karttavyaM zaGkhapadmau tathaiva ca // 91 //

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266 devatAmUrti-prakaraNam zruvasrucau ca karttavyau tathA vedikmnnddluH| daNDazaktizca karttavyA kRSNAjinahutAzanau // 12 // hastAnAM bhadrakAlyAstu bhavet (kautastu?) shobhn:| ekazcaiva mahAbhAga ratnapAtradharo bhavet // 93 // .. manohAriNI bhadrakAlI aTThAraha bhujAoM vAlI (cAra siMha vAle ratha para) AlIDha mudrA meM khar3I hai| (dakSiNa caraNa ko Age baDhAkara aura vAma caraNa ko pIche AkuMcita kiye hue hai| aisI mUrti saukhyadAyaka hotI hai| bAyeM hAthoM meM akSamAlA, trizula, khaDga, cakra, bANa, dhanuSa, zaMkha aud padma haiN| dAyeM hAthoM meM ' pAnapAtra, karachA, vedI, kamaDaNlu, daNDa, zakti, kRSNacarma aura agni hai| bhadrakAlI ke hAthoM meM eka meM kauta (varada) hai aura eka meM ratnapAtra hai| Make the fascinating goddess Bhadrakali with eighteen arms. She rides a chariot pulled by four lions. She should be depicted :: standing in the aleeda posture (with the right knee advanced and the left leg retracted). The goddess bestows happiness. (90) In her hands are a string of prayer-beads, a trident, a sword, a disc, an arrow, a bow, a conchshell and a lotus. (91). Depict, in her other hands, a shruva and a srucha (both being ladles or spoons used for offering oblations in a sacrificial fire), and a vedi (sacrificial altar), a kamandalu, the rod of danda, the shakti weapon, the skin of a black antelope, and sacrificial fire. (92). These are resplendent in the hands of Bhadrakali, as is the hand held in the Kaut or blessings (Varad) posture, and the auspicious vessel of jewels - Ratna-patra - held in another hand. (93). caNDI devI nigadyate hyatho caNDI hemabhAsA suruupinnii| trinetrA yauvanasthA ca pItapInapayodharA // 14 // ekavaktrA tu sugrIvA baahuviNshtisNyutaa|

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267 devatAmUrti-prakaraNam zUlAsizakticakrANi pAzaM kheTAyudhAbhayam / Damaru zaktikAM vAmairnAgapAzaM ca kheTakam / kuThArAMkuzacApAMzca ghaNTAdhvajagadAstathA // AdarzamudgarAn hastaiH gadAzaGkhapavInapi // 15 // UrdhvAdikramayogena bibhratI sAsavA zubhA // zastrodyatakara: kruddhastad grIvA sambhava: pumAn // 96 // zUlabhinno vamadrakto raktadhUmUrdhvajekSaNaH / siMhena khAdyamAnazca pAzAbaddho gale bhRzam // 97 // yAtyaho krAntasiMhA ca savyaM dyaulIDhagAsurAH (?) / yAmyAdyAMkrAntasiMhA ca svyaaddiniymaasuraiH| caNDI codyatazastrA ca mahiSAsuraghAtinI // 98 // iti cNddii| __ aba caNDI devI kA varNana karate haiN| vaha kanakavarNA, surUpadhArikA, tIna * netroM vAlI, sadA taruNI, pItavarNI pInapayodhara vAlI, eka mukha vAlI, sundara grIvA vAlI. aura bIsa bhujAoM vAlI hai| dakSiNa bhujAoM meM trizUla, talavAra, zakti, cakra, pAza, kheTa, Ayudha, abhaya, DamarU aura zaktikA dhAraNa karatI haiN| tathA vAma bhujAoM meM nAgapAza, kheTaka, kuThAra, aMkuza, dhanuSa, ghaMTA, dhvajA, gadA, zaMkha aura vajra ko dhAraNa karatI hai| ina samasta AyudhoM ko urdhvAdi krama yoga se dhAraNa karatI haiN| devI madavihAriNI aura zubhakArI hai| zUlaviddha puruSa rakta vamana karatA huA, rakta bhrU vAlA, Upara kI ora dekhatA huA, siMha dvArA bhakSya, pAza dvArA * baMdhI huI gardana vAlA pairoM tale hai| AkramaNazIla siMha para savArI karane vAlI hai| vAma caraNa AkAza kI ora uThA huA hai| udyata zastra hai, mahiSAsuradhAtinI - aura trinetrA caNDI devI hai| 1. The appearance of the beautiful Chandi is recited now. ** antargata pATha mu. meM nahIM hai, kintu TippaNI meM a. 50, zloka 1-3 meM hai|

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268 devatAmUrti prakaraNam Like gold in splendour and colour, the three-eyed one is radiantly beautiful, with full, rounded breasts. (94). She has one face and a beautiful neck and possesses twenty. arms. The attributes held in her twenty hands are :-a shula (trident), a sword, the shakti weapon, a disc, a noose, a shield, the Abhay mode, a damroo, the shakti weapon, and the nagapasha magical noose-weapon in her left hands; and a shield, an axe, a goad, a bow, a bell, a flag, a mace, or else. a mirror, mudgar and mace, a conchsell and a thunderbolt in her right. (95). . . These attributes are held from the uppermost hand downwards. Such is the auspicious goddess who. protects (96). Ai her feet depict a bleeding figure pierced by her trident, with a bloodied brow, and looking upwards, with a noose tied around his neck while the goddess's lion consumes him (97). The glorious goddess with upraised weapons rides an aggressive, attacking, lion while slaying the demon at her feet. Her left foot is raised. Such is the three-eyed Chandi, destroyer of Mahisasura, the demon. (98). caNDikA devI ke pratIhAra caNDikAyatanoktAnAM kthyissyaamynukrmm| vetAla-karaTazcaiva' piGgAkSo bhRkuTistathA // 19 // dhUmraka: kaGkadazcaiva raktAkSazca sulocnH|| daMSTrAnanazca vikaTaH kopasphuraddazanojvalaH // 100 // . tarjanI khaTvAGgaM caivocaM syAd DamarudaNDakau / vetAlastu samAkhyAtaH savyApasavye karaTakaH // 101 // abhayaM khaDgakheTaM ca daNDaM pinggllocn:|| 1. 2. mu. vaitAlo vrttshcaiv| mu. kaNThadRk caiv|

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devatAmUrti-prakaraNam 269 ___ savyApasavyayogena' bhaved bhRkuTinAmataH / 102 // tarjanI vajrAMkuzadaNDaM dhUmrako nAma kIrtitaH / savyApasavyayogana bhavetkaMkadanAmakaH // 103 // tarjanItrizUlahastaM khaTvAGgaM daNDameva c| raktAkSo nAma tasyaiva savyApasavye sulocana: // 104 // - iti caNDikA prtiihaaraaH|| aba caNDikA devI ke pratIhAra/dvArapAloM kA svarUpa anukrama se kahatA haiM vetAla, karaTa, piMgAkSa, bhRkuTi, dhUmraka, kaMkada, raktAkSa aura sulocana ye ATha dvArapAloM ke nAma haiN| ye bhayaGkara dA~ta vAle aura krodha se sphurAyamAna ho rahe haiN| sapheda dA~toM vAle haiN| tarjanI, khaTvAGga, Damaru aura daNDa ko savyakrama se dhAraNa karane vAlA vetAla aura ina zastroM ko apasavya se dhAraNa karane se karaTaka nAma se donoM pUrva dvAra ke dvArapAla haiN| abhaya, khaDga, DhAla, aura daNDa ko savyakrama se dhAraNa karane vAlA piMgala aura ina zastroM ko apasavya krama se dhAraNa karane se bhRkuTi ye donoM dakSiNa dvAra ke dvArapAla haiN| tarjanI, vajra, aGkuza aura daNDa ko savya krama se dhAraNa karane vAlA dhUmraka aura apasavya krama se dhAraNa karane vAlA kaMkada ye donoM pazcima dvAra ke dvArapAla haiN| tarjanI, trizUla, khaTvAGga aura daNDa ko apasavya krama. se dhAraNa karane vAlA raktAkSa aura apasavya krama se dhAraNa karane se sulocana ye uttara dvAra ke dvArapAla haiN| . I (Mandan) shall now describe the guardians of the entrances to Chandika shrines in the stipulated order. These door-keepers are called Vetal, Karat, Pingaksh, Bhrikuti (99), Dhoomrak, Kankad, Raktaksh, and Sulochan. They have terrible large teeth and faces that quiver with anger. (100). ____Holding a raised forefinger (tarjani), a Khatvanga club, a damroo drum and a danda respectively stands the door-keeper . called Vetal (to the left of the eastern portal). Opposite him (at the right side of the portal) is Kartak holding the same attributes 1. 2. mu. abhyaapsvyyogen| mu, kkudnaamk|

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270 . devatAmUrti-prakaraNam .. in a reverse order. ( 101 ). With one hand in the Abhay mode and a sword, shield and danda respectively in the other three is Pinglalochan (i.e. Pinglaksha) (who guards the left side of the southern entrance); and possessing identical attributes, but in the reverse order, is Bhrikuti (who guards the right side). (102). The doorkeeper famed as Dhoomrak (who guards the left side of the western doorway) has a raised tarjani finger; a thunderbolt, a goad and a danda. Kankad (on the right of the door) has the same attributes in the opposite order. (103). M Holding a raised finger (tarjani ), a trident, the Khatvanga club and the rod of danda is the doorkeeper named Raktaksh (guarding the left side of the northern portal), while having identical attributes but in the opposite order is Sulochan (who guards the right side). (104) . These are the pratiharas (door-keepers) of Chandika. lakSmI devI divyAmbujakarA kAryA sarvAbharaNabhUSitA / gaurI zuklAmbarA devI rUpeNApratimA bhuvi // 105 // prathamA caturbhujA kAryA devI siMhAsane zubhA / siMhAsanaM prakarttavyaM kamalaM cArukarNikam // 106 // aSTapatraM mahAbhAgA karNikAyAM tu saMsthitA / vinAyakavadAsInA devI kAryA mahAbhujA // 107 // bRhannAlaM kare kAryaM tasyAdhaH kamalaM zubham / dakSiNe yAdavazreSThaH keyUraprAntasaMsthitaH // 108 // vAme'mRtaghaTaH kAryastathA tasyA manoharaH / tasyAH savyau karau kAryoM bilvazaMkhadharau kramAt // 109 //

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devatAmUrti-prakaraNam AMvarjitaghaTaM kAryaM tatpRSThaM ca karadvayam / devyAzca mastake padmaM tathA kArya manoharam // 110 // lakSmI devI bhujAoM meM divya kamala dhAraNa karane vAlI aura saba AbhUSaNoM se alaMkRta krnaa| vaha gaura varNa vAlI, zveta paridhAna vAlI, jagata meM advitIya rUpa vAlI, cAra bhujA aura ATha pAMkhar3I vAle kamala siMhAsana meM gaNeza kI jaisI baiThI huI bnaanaa| dAhine Upara ke hAtha meM kamalanAla aura nIce ke hAtha meM kamala hai| dAhine tarapha yAdava zreSTha (zrIkRSNa) devI ke bAjubaMda ke pota bhAga. taka rakhanA aura bAMyI tarapha amRta kA manohara ghaTa rkhnaa| devI ke donoM vAma bhujAoM meM bIlIphala aura zaGkha haiN| pichale bhAga meM donoM tarapha amRta kalaza se abhiSeka karate hue hAthI rakhanA aura devI ke mastaka para sundara kamala rkhnaa| Lakshmi - Holding celestial lotuses in her hands and adorned with all manners of jewellery and ornaments should be the depiction of the incomparably beautiful goddess - the very embodiment of beauty-clad in white robes and white in complexion. (105). ; First depict the goddess with four arms, auspiciously seated on a throne of the pericarp of a beautiful lotus (106). Her position : is the centre (pericarp) of an eight-petalled lotus, and the ." all-powerful goddess should be depicted.seated on it like Ganesh. * (107). In her upper right hand is a (growing) lotus stalk and .: beneath that she holds an auspicious lotus. At her right install Yadavashreshtha (Krishna) in the region of her keyura armlets . (108). To the left place the pleasing vessel of nectar-the Amrita-ghata or pot of ambrosia. In her left hands depict a bilva fruit and a conchshell respectively. (109). Behind the goddess, flanking her on both sides, show two elephants holding perpetually filled amrita-ghata vessels in their trunks and adoring her by sprinkling nectar from these over her. At Lakshmi's head depict a beautiful lotus. (100).

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272 . . devatAmUrti-prakaraNam mahAlakSmI devI kSetre kollApurAdanye mhaalkssmiirydaarcyte| lakSmIvat sA tadA kAryA rUpAbharaNabhUSitA // 111 // dakSiNAdhAkare pAtramUce kaumodakI bhavet / vAmArdhe kheTakaM dhatte zrIphalaM tadadhaHkare // 112 // kollApura se anya sthala meM mahAlakSmI kA pUjana kiyA jAya to lakSmI devI ke svarUpa jaisI svarUpa vAlI aura saba AbhUSaNoM se zobhAyamAna krnaa| dAhine nIce ke hAtha meM pAnapAtra aura Upara ke hAtha meM gadA, tathA. bA~ye Upara ke hAtha meM DhAlaM aura nIce ke hAtha meM zrIphala hai| Mahalakshmi In any other place besides Kolhapur, where Mahalakshmi is being worshipped, make the idol like Lakshmi - beautiful in appearance and adorned with all kinds of jewllery. (111). In Mahalakshmi's lower right hand is a patram and in her upper one the Kaumodaki mace (symbol of Vishnu): while in her : upper left hand is a shield and in the lower Shriphala fruit. (112). kAtyAyanI devI kAtyAyanyA: pravakSyAmi rUpaM dazabhujaM tthaa| trayANAmapi devAnAmanukArAnurUpiNIm // 113 // jaTAjUTasamAyuktAM mdhyendukRtlkssnnaam| locanatrayasaMyuktAM padmendusadRzAnanAm // 114 // atasIpuSpavarNAbhAM supratiSThAM sulocanAm / navayauvanasaMyuktAM sarvAbharaNabhUSitAm // 115 // sucAruvadanAM tadvat pInonnatapayodharAm /

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273 devatAmUrti-prakaraNam tribhaGgasthAnasaMsthAnAM mahiSAsurasUdanIm // 116 // trizUlaM khaDgacakrau ca bANaM zakti ca dkssinne| vAme ca kheTakaM cApaM pAzamaGkazameva ca // 117 // ghaNTA vA parazuM vApi vAmahaste niyojyet| adhastAnmahiSaM tadvad viziraskaM prakalpayet / 118 // zirazchedodbhavaM tadvad dAnavaM khddgpaanninm| hRdi zUlena nirminnaM tiryagdantavibhUSitam // 119 // raktaraktIkRtAGgaM ca raktavisphAritekSaNAm / veSTitaM nAgapAzaizca bhRkuTIbhISaNAnanam // 120 // devyAstu dakSiNaM pAdaM samaM siMhopari sthitm| kiJcidUrdhvaM tathA vAmamaGguSThaM mahiSopari // 121 // iti kAtyAyanI muurtiH| * aba kAtyAyanI devI kA svarUpa kahatA hU~-vaha daza bhujA vAlI, brahmA viSNu aura maheza ye tInoM devoM ke AkAra aura rUpa sadRzI, jaTA vAlI, jaTA meM arddha candra kA lakSaNa vAlI, tIna locana vAlI, padma aura candramA ke jaise mukha vAlI, alasI ke puSpa jaise varNa vAlI, prasiddha sundara netra vAlI, navayauvanA, saba AbhUSaNoM se alaMkRta, sundara mukha vAlI, puSTa aura unnata stana vAlI, tribhaGga sthAna se rahI huI, mahiSAsura kA nAza karatI huI hai| usake dAhine hAthoM meM krama se trizUla, khaDga, cakra, bANa aura zakti haiN| bA~yeM hAthoM meM DhAla, dhanuSa, pAza, aGkuza aura ghaNTA athavA pharasA hai| nIce mastaka kaTA huA mahiSa (bhaiMsA) asura banAnA, tathA khaDga dhAraNa kiyA huA, mastaka chedA huA dAnava krnaa| vaha tirache dA~ta vAlA aura usakI chAtI trizUla se chedI huI krnaa| vaha rudhira se raMgA huA 'lAla zarIra vAlA, lAla varNa kI vistAra pUrvaka khule hue netra vAlA, nAgapAza se bandhA huA, bhayaGkara bhRkuTI yukta mukha vAlA dAnava krnaa| devI kA dAhinA 1. mu. nirydntrvibhuussitm|

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devatAmUrti-prakaraNam caraNa siMha ke Upara rahA huA aura bA~yA~ caraNa mahiSAsura ke Upara aGguThe ko chUA huA banAnA / 274 Katyayani Now I (Mandan) will describe the goddess Katyayani. She has ten arms and her form and appearance incorporates the trinity. of Brahma, Vishnu and Siva. (113). Her hair is matted and knotted like an ascetic's with the, jata coiffure, and is adorned by the half-moon. She has three eyes and her face is beautiful like the lotus and the moon in appearance. (114). The lovely-eyed goddess is the colour of an atsi-pushpa (the flower of a linseed plant). Radiantly youthful, she is adorned with all types of jewels and adornments (115). The beautiful goddess, with full and rounded breasts, stands in the tribhanga pose slaying the demon Mahishasura. (116). In her right hands she possesses a trident, a sword, a disc, an arrow and the shakti weapon, and in her left hands are a shield, a bow, a noose, a goad (117), and either a bell or, alternatively, an axe. Below her is the beheaded demon in the form of a buffalo-demon. (118). With a sword in his hand and his head pierced, lies this demon with prominent, protuding teeth. His chest has been pierced by Katyayani's trident (119). The demon's body is coloured red by blood. His wide-open eyes are blood-shot and red in colour too. He is bound by a Naga-pasha and his face is fierce and terrible to behold, with prominent frowning brows. (120). The right foot of the goddess is (depicted) placed on her mount, the lion, and the left is over the demon, with the toe touching. (122). Such should be the statue of the goddess Katyayani.

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275 devatAmUrti-prakaraNam nRtya svarUpa bhaMge-bhaMge mukhaM kuryAddhastau dRSTiM ca nartane / - hastakAdyaM bhavelloke karmaNo'bhinaye'khilam // 122 // nAca karate samaya jaise-jaise paira kiyA jAtA hai, vaise-vaise mukha, donoM hAtha aura dRSTi ko bhI karanA caahiye| loka meM hasta, mukha aura dRSTi kA abhinaya ke kArya meM prayojana hai| - When making a dancing pose, the face, both the hands and the direction of the eyes should co-ordinate with the movement of the feet. The hands, the face, the eyes-these play an important role in the universe for displaying emotions and moods. (122). yato hastastato dRSTiryato dRSTistato manaH / yato manastato bhAvo yato bhAvastato rasaH // 123 // jaise hAtha jisa viSaya ko. batalAtA hai, vaisI dRSTi bhI usa viSaya ko batalAtI hai| isa prakAra jaisI dRSTi vaisA mana, jaisA mana vaisA bhAva aura jaisA bhAva vaisA rasa mAlUma hotA hai| ... As the hands draw attention to some aspect (i.e. physically), : so should the eyes do the same. For, where the eyes go, there is the mind; where the mind is, there is the bhava (the feeling, the emotions); and where the bhava, there is the rasa-the very essence of everything. (123). AsyenAlambayeda gItaM hastenArthaM prakalpayet / cakSubhyAM ca bhaved bhAva: pAdAbhyAM tAlanirNayaH // 124 // mukha se gIta, hAtha se artha, dRSTi se bhAva aura paira se tAla kA nirNaya jAnA jAtA hai| The facial expression complements or supports the geetam (song), the hands the meaning, the eyes the bhava or mood and emotion, and the feet the tala or rhythm. These are the deciding factors. (124).

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276 devanAmUrti-prakaraNam granthakAra apanI laghutA batalAte haiM zrIvizvakarmaNa: zAstre puraannbhrtaagme| rUpasaMkhyApyanekA'sti lezo'yaM likhitastata: // 125 // zrIvizvakarmA ke zAstroM meM, matsya, Agneya Adi purANa granthoM meM tathA bharata kRta nATyazAstra Adi meM rUpoM kI saMkhyA aneka hai, maiMne to saMkSepa mAtra hI likhA hai| In the works by thc Lord Shri Vishvakarman, in the Shastras, in the Puranas, and in the manual of Bharata (the . . Natya-Shastra), innumerable images have been described. In this presentation, however, I, Mandan, have only written about a very . few of those, and only in a brics, summarised manner. (125). grantha samApti yasyA no kalayanti rUpamakhilaM brahmAdayo devatA, gauryA vizvamidaM vicitraracanAzcaryaM samutpadyate / kalpAntAvasare surAsuragaNo yasyAM samAlIyate / tasmAt sA jagadambikAkhilajagadvandyA sukhaM yacchetu // 126 // iti zrIkSetrAtmajasUtrabhRnmaNDanaviracite vAstuzAstre rUpAvatAre devI mUrtilakSaNAdhikAro nAma aSTamodhyAyaH // 8 // jisa gaurI devI ke samasta svarUpa ko brahmA Adi deva bhI nahIM samajha sake haiM, jisase vicitra racanA vAlA yaha samasta jagat utpanna huA haiM aura jisameM kalpAnta samaya meM sura-asura Adi saba vilIna ho jAte hai, aisI yaha jagat vandanIya zrIjagadambikA devI sukha ko deve // zrI kSetrAtmaja sUtradhAra maNDana racita vAstu zAstra-devatAmUrti prakaraNa kA AThavAM adhyAya pUrNa huaa| Epilogue - All reverence and homage to the great Jagadamba, the Mother-Goddess, Gauri, whose innumerablc forms are not fully

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devatAmUrti-prakaraNam 277 comprehended even by Brahma and the other deities; and from whom this amazing and wonderful world has originated, and within whom the deities and the demons and the demi-gods and all others merge when the cyclical dissolution of the Universe occurs, prior to a fresh creation. May the Great Mother, venerated by the world, bestow peace everywhere. (126). Here ends the eighth chapter of the treatise on architecture composed by Sri Kshetra's son, the Sutrabhrin Mandan, in which the statues of the devis (goddesses) and their symbols and so forth have been discussed.

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278 devatAmUrti-prakaraNam viziSTa vivecana 1. padya 22. aparAjita a. 212 meM viziSTa varNana likhA haigajAnanaM caturbAhuM tryakSaM puruSarUpiNam / ekadantaM mahazcaNDaM vyAlayajJopavItinam // svadantaM dakSiNaM haste parazuM cApare kre| . utpalaM vAmahaste ca modakaM tasyAdhaHsthitam // sindUraM raktakumbhaM ca kuMkumAruNavigraham / mUSakasaha karttavyaM siddhidaM sarvakAmadam // . hAthI ke mukha vAlA, cAra bhujA vAlA, tIna netra vAlA, puruSAkAra, eka dA~ta vAlA, mahAparAkramI, sarpa kA yajJopavIta dhAraNa karane vAlA, dAhine eka hAtha meM apanA dA~ta aura dUsare hAtha meM pharasA ko, Upara ke bAMye hAtha meM kamala aura nIce ke hAtha meM laDDu ko dhAraNa karane vAlA, sindUra varNa kA kuMbhasthAna vAlA, kuMkumavarNa ke zarIravAlA aura cUhe kI savArI karane vAlA gaNezadeva banAnA, vaha siddhi aura saba icchita phala ko dene vAlA hai|

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RIMA HOOJA Educated at Jaipur's Maharani Gayatri Devi Girls' Public School, Kanoria College and Rajasthan University, as well as at Wolfson College, Cambridge (Post-graduate Certificate in Archaeology), Rima Hooja taught History at Kanoria College, Jaipur, before winning a Commonwealth Scholarship in 1981 to return to Cambridge University, where she obtained a Ph.D. in Archaeology. Books by her include - 'The Ahar Culture and Beyond', BAR, Oxford, 1988; 'Prince, Patriot, Parliamentarian : Biography of Dr. Karni Singh - Maharaja of Bikaner', HarperCollins, New Delhi, 1997; 'Crusader for SelfRule : Tej Bahadur Sapru & the Indian National Movement - Life and Selected Letters', Rawat, Jaipur, 1999; and 'Environment Degradation : Strategies for Control, Aalekh, Jaipur, 1992. With several published research papers and articles, including presentations at international seminars, to her credit, she is currently working on a book about the history of Rajasthan. She has been an Associate Editor of the 'Indian Book Chronicle', since 1987; Associate Professor (Reader), Indian Tradition & Culture, Kota Open University (Rajasthan), between January, 1990 and September, 1996; and a Visiting Fellow at the Institute of Development Studies, Jaipur during 1993-94 & 1995-96; and is currently an Honorary Senior Fellow of the Institute of Rajasthan Studies, Jaipur.

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ALTE SE Decorative ceiling and upper panels of a Jain Shrine