Chapter Three (तृतीयोध्यायः)

A learned man arranging the consecration of Viṣṇu should have an excellent image made, in due order, from metal, stone, wood, or clay. (1)

The image should measure ninety-six fingerbreadths and may be seated in a yogic posture, standing, or reclining, expounding his own state to seekers of liberation. (2)

From the face upward, it should measure two aṅgulas in height. Its radiant face should measure nine aṅgulas, its well-rounded neck three aṅgulas, and the distance to the breast six aṅgulas. (3)

It should measure fifteen aṅgulas to the navel, ten and a half aṅgulas to the scrotum, and extend two and a half aṅgulas from the base. (4)

The distance to the anus should be the same. From the caitya prominence, it should measure eighteen aṅgulas; the prominence itself should measure two aṅgulas, and the shank twenty-two aṅgulas. (5)

From the middle of the ankle, it should measure four and a half fingerbreadths. The forefoot should be six fingerbreadths high and measure exactly two and a half fingerbreadths at the end, including its height. Its rise should be two aṅgulas; the second toe should be three aṅgulas long, and the middle toe half an aṅgula shorter. (6–7)

The next toe should be three-quarters of an aṅgula shorter, and the toe beyond it should be the same length. The big toenail should be three-quarters of an aṅgula high, and the next nail half as high. (8)

Each succeeding toenail should be one-quarter shorter than the preceding one. The auspicious image should have red toenails, and the forepart of the foot should be six aṅgulas wide. (9)

The circumference of the big toe is said to be four aṅgulas, and that of the next toe three aṅgulas. The subsequent toes should each be half a grain of rice smaller in circumference than the preceding one. (10)

The lower leg should measure ten aṅgulas in circumference at the base and three aṅgulas more at the middle. At the upper part it should measure seventeen aṅgulas, and at the knee eighteen aṅgulas. (11)

The end of the thigh should likewise measure eighteen aṅgulas; its middle should measure twenty-four aṅgulas, and its root four aṅgulas more. The genital organ should measure four and a half aṅgulas and three and a half aṅgulas in circumference. The scrotum should measure four aṅgulas, with a circumference of seven aṅgulas, and should be round throughout. (12–13)

The waist should measure thirty-eight fingerbreadths in circumference, and both hips should be perfectly rounded and full throughout. (14)

The breadth of the waist and the firm placement of the feet are likewise prescribed. Below the navel, the measurement is said to exceed that of the waist by one aṅgula. (15)

The navel should be one and a half aṅgulas deep, project half an aṅgula, be round, and turn clockwise; it should measure forty-two aṅgulas. (16)

At the middle of the breast, the circumference should be six aṅgulas greater than that. The chest should be nineteen aṅgulas wide. (17)

Including both arms, this measurement is also one and a quarter aṅgulas; each shoulder is considered to be eight aṅgulas wide. (18)

The shoulders should rise seven aṅgulas above the armpits, and the arms should measure precisely thirty-eight aṅgulas. (19)

The upper arms should measure eighteen aṅgulas in circumference, gradually tapering to eight and a half aṅgulas at their ends. (20)

The palm, including the fingers, is said to measure nine and a half aṅgulas. The two are to be understood as equal; the same applies to the breadth of the palm. (21)

The middle finger projects half an aṅgula beyond the two and one and a half aṅgulas beyond the little finger; the other finger exceeds the latter by the measure of a grain of rice. (22)

The middle and largest fingers are said to be three and a half aṅgulas in circumference. The other two are smaller by one and a half grains of rice, while the remaining finger measures two and a half aṅgulas. (23)

Except for the largest digit, all are said to have circumferences at their tips smaller by one quarter. The circumference of the neck equals the breadth of the chest. (24)

The forehead, abdomen, and throat bear three long lines, while the neck, arms, breasts, and fingers are rounded. (25)

The palms, soles, and nails are red, as are the corners of the eyes, both lips, and the tongue. The two nails each measure three-quarters of an aṅgula. (26)

The two middle nails each measure half an aṅgula, while the others become successively smaller by one eighth. Measured vertically, the portion below the nose, the nose itself, and the forehead are equal in size; the total measurement of the face is half an aṅgula greater. (27–28)

The mouth likewise measures four aṅgulas. The lower lip is said to measure one and a half grains of rice, and the upper lip one grain; the region above it is equal in size to the lower lip. (29)

The distance immediately below the lower lip is said to be one and a half aṅgulas, while the two lateral spans from the mouth to the ears measure six aṅgulas. (30)

The lateral distance from the nose to the ear is prescribed as seven aṅgulas, and the nose is said to be one and a quarter aṅgulas high. (31)

Each nostril measures half an aṅgula, and the central portion is also said to measure half an aṅgula. The nose is one grain of rice wide, and the eyes are three aṅgulas long. (32)

When open, the eyes are one aṅgula wide; otherwise, they are half an aṅgula wide. Each eyebrow is four aṅgulas long and half an aṅgula wide. (33)

The eyebrows are separate and dense, and the eyelashes are very dark blue. The ears are three aṅgulas long and two and a half aṅgulas wide. (34)

The opening, together with the earring, is said to be exactly the same size. Its breadth, including the two ornamental strands, is likewise said to be two aṅgulas. (35)

The ears bear ear ornaments and are adorned with two lotuses; the lotus-like face has a thousand dark curls. (36)

The forehead is very broad, measuring nine and a half aṅgulas across. The head is rounded at the crown and is said to be shaped like an umbrella. (37)

Hari’s hair should be long, blue-black, and curled at the tips. Keśava’s crown should be exactly as high as his face. (38)

The earrings are shaped like makaras. The chest is full and prominent; it bears the Kaustubha and, on the right, the Śrīvatsa. (39)

The chest is also adorned with necklaces and neck ornaments and provided with a sacred thread. The arms bear upper-arm ornaments, bracelets, armlets, and rings. (40)

The waist should be encircled by a waistband, with a yellow garment at the hips and a girdle cord; the two feet should bear anklets of exceptionally sweet sound. (41)

Skilled artisans should properly fashion toe rings for both feet. The figure should also wear an upper garment and be equipped with weapons, beginning with the discus. (42)

It should be fashioned with close-set, nonprotruding teeth and a pleasing smile, and should have a level gaze and a smooth, charming appearance. (43)

When setting out to make the image, he should be accompanied by five auspicious sounds. Once he reaches a pure site, he should examine the stone there. (44)

By noting a difference in sound, he should identify and reject a stone containing an internal inclusion. Having fasted, he should remain, reciting the root mantra and meditating on Viṣṇu. (45)

If the image is wooden, it should be made solely from the heartwood of a sacrificial tree. Only a concise procedure is given for the bali offering. (46)

Because this is a concise treatise, it does not rule out a more elaborate procedure. After presenting an offering to Hari, one should offer bali in every direction to the beings belonging to him, saying, “To the beings of Viṣṇu in the east,” and so forth. After obtaining permission from the beings of Viṣṇu, the guardians of the worlds, and Hari, one should remove a tree or stone for making the image. The image, pedestal, and seat should be made from the three classes of stone. (47–49)

Stones fall into male, female, and other classes according to differences in the depth of their sound. A male stone is used for the image, while a female stone is used to fashion the pedestal. (50)

He should transport the image amid auspicious Vedic chanting and instrumental music. A wise person should build the temple on a site that slopes eastward or northward. (51)

A temple site measuring twelve kiṣkus should be established in a very pleasant, spacious, and exceptionally clean place, far from cremation grounds and similar locations. It may be in a pleasant enclosed setting on the southern or western side, on a mountain summit, or in the center of a village or city, but the northeastern direction alone should be excluded. It may be on ground free from water or in the middle of a reservoir, at a spot free from rocks, trees, and the like. (52–54)

One should properly purify the ground over an area twice or four times that size, or even one hundred kiṣkus, to a depth of one and a half man-heights. (55)

The ground should be free from hair, charcoal, bones, anthills, clods, stones, and the like; Hari should then be duly worshipped there and a ritual offering made as before. (56)

One should then build a sturdy temple of clay, wood, and stone, or of metal. Three kalama grains laid lengthwise and eight barley-grain widths laid crosswise are traditionally considered equal to the middle line of a finger and constitute the defining standard. For images and the like, however, the middle line measured by one’s own finger is the standard. (57–58)

In every case, short, medium, and tall forms are measured respectively by the prādeśa, hasta, and puruṣa; this is the general standard. (59)

The doorway should be one and a half times as high as the image and half as wide as it is high. The pedestal should be half as high as the image. (60)

The pedestal’s elevation, however, should correspond to the image inside the shrine and may measure four aṅgulas, three aṅgulas, or two. (61)

The height should rise gradually all around from the center. If the structure has a single spire, it should reach the same height on the outside. (62)

Alternatively, it may be half that height, with the lower part as high as the image; above that, it may measure twice that amount or exactly one and a half image-heights. (63)

Within the spire, however, the neck is said to equal the image’s measure, three-quarters or half of that measure, or alternatively one and a half times it. (64)

The vimāna may be circular, lotus-shaped, shaped like an elephant’s back, square, or octagonal. (65)

The pinnacle should measure ten times as much as the image, or even twenty times as much; it should be circular, single, and crown-shaped. (66)

The temple may also have a hall, a separate hall, two or three halls, or a gateway tower. It may be surrounded by an enclosure wall or by exactly seven enclosure walls, or it may have a square outer enclosure extending one kiṣku around the building. (67–68)

If, farther out, the distance from the hall is one kiṣku, the third enclosure is prescribed beyond it at exactly one and a half times that distance. (69)

A space of three kiṣkus from its circumference is prescribed by Śakra and the others. One should then construct a well-proportioned pavilion for the consecration. (70)

One should always worship the deities beginning with Brahmā who are positioned above the Vāstupuruṣa. Vāstu is the son of Hari in his form as Varāha. (71)

Cast down upon the ground by the deities, Vāstu lies in a square form. The ground plan should be divided into an eight-by-eight grid, with Brahmā worshipped in the central four cells; Śakra, Yama, Varuṇa, and Soma in two cells each; and the corner deities beginning with Agni in the corners. (72–73)

In each set of three cells, one should worship Kāma, Dhātṛ together with Vidhātṛ, and Skanda; Sūrya and Vināyaka should also be worshipped in a corner. (74)

Outside, in the various directions, one should separately worship Kāla, Kubera, Hāri, Hari, Gabhīra, Gāhana, Gahana, and Guha. (75)

In the east, one should worship Bhānu and Aṅgāraka, as well as Hari under the names Dāruṇa, Vidari, Dyota, Pradyota, and Dyotana. (76)

In the south, one should duly worship Mṛtyu, Śanaiścara, Puṣkara, Kṣaraṇa, Kṣārin, Vikṣaṇa, Kṣobhaṇa, and Kṣaṇa. (77)

In the west, one should duly worship Cārvaṅga, Bhārgava, Cāra, Vicāra, Pracāra, Sañcāra, Caraṇa, and Cara. (78)

In the north, one should duly worship Bṛhaspati and Budha. Worship should likewise be performed before construction of the shrine begins. (79)

One should then have a pavilion of saptaparṇa wood properly constructed, measuring seven by twelve cubits, or twice or four times that size. It should be square and include a courtyard. One should also have another pavilion constructed, five cubits long. (80–81)

In its center, one should have an auspicious maṇḍala properly made, extending eastward, arranged in a three-by-four grid, and measuring only one hasta in width. (82)

There one should place twelve vessels, beginning with pālikās. Each pālikā should be twenty-four aṅgulas high. (83)

The pālikās should also measure exactly eighteen aṅgulas and have five openings. The shallow bowls should measure exactly twelve aṅgulas and be aligned toward the west. (84)

There one should devoutly worship Viṣṇu in his four forms three times and fill those same vessels with seven kinds of grain for sprouting. (85)

For ten nights, one should make a daily ritual offering there to Viṣṇu, together with Brahmā, Śaṅkara, the gods, the ancestors, the Gandharvas, the Yakṣas, and the bhūtas. The offerings should consist of rice pudding alone, then lotus and unbroken rice, a rice cake, flower-rice offerings, cooked rice, parched grain and unbroken rice, and roasted flour, in precisely that sequence, ending with the deity; alternatively, rice pudding may be offered. (86–87)

At the same time, one should have the preliminary consecration of the image performed by placing it in pañcagavya for seven nights with the Puruṣasūkta. (88)

The foremost twice-born men should duly recite all four Vedas. Two should be stationed at each gate, beginning with the eastern gate, with one Veda assigned to each gate. They should number at least ten; alternatively, as many may be engaged as are available and financial means permit. All should be wholly devoted to Viṣṇu. (89)

A knowledgeable practitioner should have thirteen fire pits constructed around the site, each conforming to the prescribed specifications. The principal pit should be in the southeastern corner, one hasta from the exact point of the corner. (90)

He should make one hundred thousand ghee offerings in each pit. Alternatively, he may make ten thousand in each and one hundred thousand in the principal pit. (91)

Alternatively, the knower of the mantra should first make half the prescribed number of offerings, or half that amount again, in the principal fire with the root mantra, for the twenty-five principles. (92)

Alternatively, he may make either one thousand or only one hundred offerings for each, as well as one hundred with the Puruṣasūkta and one thousand with the Gāyatrī. Beforehand, he should perform the water-immersion rite, or else immersion in pañcagavya. (93)

The auspicious maṇḍala in the pavilion may be either a Cakrābja or a Bhadraka. The Cakrābja is defined by a lotus, three circles, a wheel, the zodiacal signs, a pathway, and ornamental and subsidiary ornamental sections. The distinctive feature of the Bhadraka is a wheel without a square enclosure. (94–95)

One should worship a thousand ritual vessels there, or half or a quarter of that number. If funds are insufficient, one hundred, fifty, or twenty-five vessels are prescribed. (96)

The liquids are a decoction of latex-bearing trees, the five nectars, purified pañcagavya, and water, each kept separate. (97)

One should fill the vessels with these liquids, using only pure water for the central vessel. Four vessels of scented water should be placed in the cardinal directions around the Brahmā vessel. (98)

Within the maṇḍala, the juices, decoctions, and auspicious waters should be arranged, in order beginning with the east, on the group of four white, four-petaled lotuses. (99)

He should also place the fragrant substances there and set the pañcagavya in the clean interior. The wise practitioner should separately make a small red lotus with four petals. (100)

If there are fifty vessels, he should place the fragrant-water vessel at the center of the entire arrangement. In front of Brahmā’s vessel, he should place one large vessel of Śarva. (101)

On each of the eight lotuses in the eight directions, one should place five vessels. Following this arrangement, all the vessels containing their respective substances should be placed outside, each in its corresponding position. At the same time, one should arrange the vessels for sprouts all around the site. (102–103)

The special ritual pitchers are those containing kuśa-infused water, camphor water, saffron water, sandalwood water, cold water, turmeric water, vetiver water, costus-and-mustard water, river-confluence water, reservoir water, well water, and spring water. The two pure-water pitchers should also contain water from a major sacred bathing place. (104-105)

For a set of one hundred, another person should likewise invoke the letter-forms associated with the twenty-four forms in both direct and reverse order. (106)

One should again invoke the letter-forms, but only twice or four times. In rites involving a thousand kalaśas and the like, one should recite the mantras according to one’s capacity. (107)

Then, with reverence and amid the fivefold sounds and Vedic chanting, one should bring in the image and devoutly perform its ritual bath using the praṇava, the mantras ending with the Puruṣasūkta, the Viśvataścakṣus mantra, and, once again, the eight-syllabled mantra alone and the praṇava. (108–109)

After bathing the image with scented waters and adorning it with fragrant substances, flowers, and the like, one should install it with the praṇava. (110)

The mantra practitioner should recite the eight-syllabled mantra and the mantra specific to each form one hundred and eight times. He should then meditate again on the radiant image within the image and, at its center, on the supreme and highest form, whose essence is consciousness and bliss and which is fully endowed with perfect attributes. (111–112)

Afterward, one should install the deities of the twenty-five principles within the image, around Keśava. (113)

After reciting there the Ātvāhārṣa, Gharma, Vaiṣṇava, Viśvakarman, and Puruṣa hymns, as well as his own mantra and again the eight-syllabled mantra, the wise practitioner should recite the praṇava while meditating on Viṣṇu, who possesses the highest form. (114–115)

Then he should bathe Janārdana with the pitchers, following the outer sequence and using the prescribed mantras. For the central pitcher, he should use the praṇava, his own eight-syllabled mantra, and the Puruṣasūkta. Invocation and bathing with pañcagavya are performed as with the central pitcher. The order of the pitchers begins in the east and ends in the north. (116–117)

After again reciting those mantras, one should perform the worship as prescribed and make a ritual offering in due order to the doors and the lords of the worlds. One should then adorn the guru with garments, jewels, gold, and the like according to one’s means, and give him a ritual fee of one crore, one lakh, or one thousand. (118–119)

Alternatively, the fee may be one hundred, half that amount, or half again. A person without means should devoutly ask forgiveness. Half that amount should also be given to the officiating priests, and half to those who perform the breaking of the fast. (120)

He should give all the food even to dogs and dog-cookers, doing so continuously for seven nights both before and afterward. (121)

Within one’s means, one should also devoutly honor visitors and guests with gold, silver, garments, jewels, and the like, thinking, “May the Lord be pleased.” (122)

The wise man should spend seven days with songs and dances, musical instruments, Purāṇas and Itihāsa narratives, Vedic hymns, and auspicious acclamations. Then, with the splendor of a great king, he should lead the God of gods to the concluding bath and have it performed with Vedic recitations, songs, and dances. (123–124)

Then, at the confluence of a great river and at a most excellent sacred bathing place, one should bathe him as before with mantras ending in the Puruṣa-sūkta, while remembering Hari. (125)

Then one should return as before, bring Puruṣottama inside, worship him according to the prescribed procedure, give gifts according to one’s means, and devoutly honor the teacher before receiving his blessings. The food offering, however, should amount to no less than one hundred prasthas and consist chiefly of milk-rice pudding. (126–127)

On these days, the offering should be presented with ghee, sugar, and the like. Even afterward, Hari should always be worshipped according to one’s means. (128)

When dismantling a dilapidated temple, one should recite the mantras of the principles and one’s own mantra in reverse order, and then cause Hari to contract within the image. (129)

After bathing Hari as prescribed, following precisely the stated procedure and using half the prescribed resources or even only a quarter, the wise person should reconstruct the temple by the same procedure and then bathe the Lotus-eyed Lord with twice the resources used for the conveyance. (130–131)

In accordance with his means, he should likewise recite the mantras again. Meditating upon the Lord with devotion as prescribed, he should worship the Lord of the universe. (132)

The procession should likewise be conducted as before. There, and at all festivals, worship and the presentation of the bali offering should be performed in every respect according to the procedure prescribed for the ritual vessel. (133)

This should always be performed during festivals, as should the kalaśa rite. After the festival, the procession and bathing should be carried out according to the duly prescribed procedure. (134)

If a thief, a Caṇḍāla, a fallen person, a dog, a menstruating woman, or the like enters; if the site is defiled by a corpse or the like; or if worship is interrupted, expiation should be performed according to the procedure prescribed for the ritual bathing. In every case, the homa with the Viṣṇu Gāyatrī should number at least ten thousand. (135–136)

Following the designation beginning with Nāvāvyā, one likewise has, on the image, “We meditate,” and beneath the third, “May that one impel us.” This is called the Gāyatrī. (137)

One should also install the deities headed by Durgā, Śiva, Skanda, Sūrya, and Vināyaka according to the prescribed procedure, using their respective mantras while remembering Hari. (138)

A man of renown should install two or even three golakas for Viṣṇu. When installing other deities, he should contemplate Hari within each one. (139)

Worship performed without remembrance of Viṣṇu is demonic. The deities do not accept it, and consequently the land is afflicted by disease, thieves, and other disturbances. Therefore, Hari should always be contemplated within. (140)

One who lacks devotion to Viṣṇu can never attain an auspicious destiny, even if devoted to other deities. Therefore, Hari should always be contemplated. (141)

When remembered, Lord Viṣṇu, the auspiciousness of all that is auspicious, grants everything desired. Therefore, everyone should meditate upon him. (142)

Puruṣa, the unmanifest, the principle of Mahat, egoity, mind, the ten faculties, those beginning with sound, and the elements—these constitute the twenty-five. (143)

Time, Māyā, determination, intellect, knowledge, capacity, and activity are also designated as tattvas, forming a collection of thirty-two tattvas. (144)

The remaining forms are Sphūrti, Saṃvit, Pratiṣṭhā, and Śakti. The learned know eleven forms of Mahālakṣmī and likewise exactly eleven forms of Viṣṇu bearing the same names. All these forms, without exception, resemble the principal form in complexion, have two arms, and hold their palms joined in reverence toward Hari as the principal deity. (145–146)

All of these are principles. Brahmā is regarded as both Puruṣa and Mahat, while Brahmāṇī is said to bear the name Avyakta. (147)

Vāyu and Bhāratī are likewise to be understood as that triad. Rudra is identified with ahaṃkāra, while Skanda and Indra are identified with manas. (148)

The learned also identify Śeṣa and Vīndra with ahaṃkāra. The quarters, Vāyu’s son, Sūrya, Varuṇa, the two Aśvins, Fire, Dakṣa, Indra’s son, Mitra, and Manu are known as the sense faculties. Bṛhaspati is said to bear the name “Sound.” (149–150)

Others are said to be sons of Vāyu and also of Rudra; among all these, however, the Blessed Lord Viṣṇu alone is the principal form. (151)

He should be contemplated between the two Supreme Selves—the name of the principle and its referent. In recitation and ritual placement, the formula ends in namaḥ; in the oblation rite, it ends in svāhā. (152)

In offerings and related rites, these are to be repeated three, four, six, or ten times. Ritual placement on the fingers and at the midpoints of the thighs and arms is prescribed in reverse order; when performed in the regular order, this is inverted, and Śakti is said to come first. (153)

When their seer, meter, deity, limbs, and meditation are not specified, all these mantras should be understood to follow the principal mantra. Individually, they confer liberation and other benefits. (154)

Although Hari has proclaimed countless tantric paths, this path is easy to follow and fruitful for those who practice it. (155)

Everything without whose performance a rite would remain incomplete has been fully set forth in this Tantra according to the prescribed procedure. (156)

When worshiped according to this method, Lord Puruṣottama is pleased and grants his devotees liberation and the fulfillment of their desires. (157)

Thus ends the third chapter of the Tantrasārasaṅgraha, composed by the venerable Ānandatīrtha Bhagavatpādācārya.