43 - Installation of deities in the temples 

The Lord said:

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

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

3-5. (The image of) Narayanashould be placed in the middle. (The images of) the goddess, sun, Brahma and the linga (symbolic representation of Siva) or of Rudra (Śiva)should be placed in the south-east, south-west, north-west and north-east. (respectively). Otherwise, (image of) Vasudevashould be placed at the centre of the nine chambers and beautiful (images of Indra and the guardian deities of the world (should be placed) in the east and other directions. Otherwise, oneshould make five chambers and worship Purushottama (Vishnu) in the centre. 

6. (The images of) Lakshmi and Vaiśravaņi (Kubera)should be placed in the east, the divine mothers in the south, Skanda, Ganesha, Ishäna (a form of Siva) and the sun and other planets in the west. 

7-8. Otherwise, having installed (the images of) the manifestations (of Vishnu) such as the Fish etc., in the north, Chandika (a form of Goddess Pårvati) in the south-east, Ambikå in the south-west, Sarasvati in the north-west, Padma (Lakshmi) in the north-east and Vasudeva or also Nåråyana in the centre. The omni-present form of Harishould be placed in the centre in (the construction of) the thirteen chambers. 

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

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

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

1. Only Hayasirshasamhita of the Pancharåtragama texts mentions this. The present text does not explain this. See Vaisnava Iconography, p. 40. 

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

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

16. Oneshould go to the forest and perform the forest rites for the sake of an image. After having bathed and plastering ashed Harishould be worshipped there. 

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

18. Having made the protective spell itshould be worshipped with basic sacred syllable of lord Nrusimha. After having made the offering to fire the final oblationshould be made. Then offerings to the goblinsshould be given by the preceptor. 

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

20. (Theyshould be addressed as follows). “This journey (has been undertaken) by us for the image of Vishņu by the command of Kesava. Any work done for the sake of Vishņu,should also be your concern)." 

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

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

23. “Om! salutations to (Lord) Vishņu, the omnipresent, PrabhaVishņu (Vishnu) (strong), the universe, and Salutations to the lord of dreams." 

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

25. "Om Om! hrūm phat vishņave svāhā! When the dream (is) good, everything (will also be) good. If it is bad, it becomes good by the performance of the simhahoma¹. Having offered reverential waters to the stone in the morning, the implementsshould be worshipped with (the sacred syllables) (for the worship of) implements. 

1. See VV. 13 and 17 above. 

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

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