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Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c74.s10: B. Installation

Vāstu-śāstra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c74.s10

Language
English

Contents

B. Installation

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This topic of installation is a very popular topic in the innumera-ble religious digests of the Paddhati class literature and it has to be surveyed both ritualistically and artistically. The present work may not bother with the too many details of the retualistic treatment of the subject. Pratiṣṭhā and Utsarga—these are some of the most important topics of Dharmśāstra literature both of early and medieval period in Indian histroy. The Sūtra works the Smṛtis both have expounded this topic in minutest of details. A few words, therefore, need be said on Pratiṣṭhā.

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Installation or ‘Pratimā-pratiṣṭhā’ according to ‘Īśānaśivadeva-gurupaddhati’ a standard digest of Paddhati class of works, a medieval compendum, is five-fold :

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| 1. | Pratiṣṭhā | 3. | Sthitasthāpana |
| 2. | Pratisthāpana | 4. | Utthāpana and |
| | | 5. | Āsthāpana |

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and all these are connected with both the ‘Sakala’ and ‘Niṣkal images (cf. Pr. Laks. p. 66)

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**Pratistha**—A ling-icon when first installed on the Brahma-śilā and is made to rest on the ‘piṇḍikā’ the base or pedestal, is called Pratiṣṭhā—I. S. G. P. (Pr. Laks. p. 66).

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**Prastisthapana**—or Sthāpana type of installation is related to the Bāṇa-lingas, the Ārṣa-lingas, the Svaymbhū-lingas.

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**Sthitasthapana**—on the other hand is connected with those linga-icons which are made of precious stones, gold etc. and having only one piṇḍikā.

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**Utthapana.**—is concerned with jīrṇoddhāra institution of images i. e. any image when broken or demolished or got defunct and is to be reinstalled, it falls under this type of Pratiṣṭhā.

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**Asthapana.**—Lastly āsthāpana is enjoined to be adopted in case of the Sakala classes of images, the fully sculptured images in round, such as those of Viṣṇu and Śiva etc.

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Now Pratimā-pratiṣṭhā presupposes the foundation of the temples and dedication of wells, tanks, parks, etc. for the benefit of the public—the true import of the ancient institution of Prtiṣṭhā and Utsarga. It may be remarked, however, that the early dharma-sūtras, though speak of images and temples viz: “अथातो वापीकूपतडागारामदेवताय तनानां प्रतिष्ठापन व्याख्यास्यामस्तत्र” etc. Par. Gr. Pariśiṣṭa, it strikes one as somewhat strange that none of the principal Gṛhya and Dharma-sūtras contain any procedure of consecrating an image in a temple, while in the Purāṇas and some of the digests much space is devoted to the topic of devatā-pratiṣṭhā. The Matsyapurāṇa in chap. 264 and the Agnipurāṇa in chaps. 60 and 66 deal with devatāpratiṣṭhā in general. There are special chapters in the Purāṇas on the consecration of the image of Viṣṇu or Śiva or the Linga.

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The worship of God can be done in two ways, viz. without any outward symbol and with a symbol. The first is achieved by a prayer and offering oblations in fire; the second by means of images. The worship of god through the medium of images for which pratiṣṭhā is essential, is again two-fold done in one’s own house and in a public temple. The latter is, according to many works, the best and the completest, since it allows of celebration of festivals and the performce of the varied items or modes of worship (upacārās). The establishment of images in temples is again of two kinds viz. calārcā (where the image can be lifted up, moved to another place) and sthirārcā (where the image is fixed on a pedestal or is not meant to be lifted up or moved). The consecration of these two differs in certain details.

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"The principal matters to be attended to according to the Matsyapurāṇa (264-66) are: the auspicious time for the consecration of an image, the erection of a maṇḍapa to the east or north of the temple, the erection of a vedī threin, erection of four *torāṇas* (arched gates) for the maṇḍapa, placing two auspicious jars at each of four gates filled with scented water and herbs and covered with mango leaves and white cloth, raising of banners all round the maṇḍapa worship of lokapālas (guardian deities of quarters), erecting another maṇḍapa for bathing the image in, bringing the image and honouring the artisans, drawing lines on the image or liṅga with a golden needle to represented the lustre of eyes, the selection of a qualified sthāpaka or ācārya and of from eight to 32 other priests (called mūrtipa); taking the image or liṅga to the maṇḍapa meant for bathing the image, bathing the image to the accompaniment of music with pañcagavya mixture, with mṛttikā (loose earth), with holy ashes and water; rendering it pure by repeating four mantras (viz. samudrajyeṣṭhāḥ, āpo divyāḥ, yāsāṁ rājā and āpo hiṣṭhā, which are respectively Ṛg. VII. 49. 1-3 and X. 9. 1); offering worship after the bath to the image with sandalwood paste and covering it with a garment (with the verse ‘abhi vastrā’ Ṛg. IX. 97. 50), placing the image in a standing position with the mantra ‘uttiṣṭha’ (Ṛg. I. 40. 1); placing the image in a chariot with the verses ‘ā mūraja’ and ‘rathe tiṣṭhan’ (Ṛg. VI. 41. 31 and VI.

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75. 6) and entering it in the maṇḍapa with the verse ‘a kṛṣṇena’ (Ṛg. I. 35. 2); placing the image on a bed on which kuśa grass and flowers are strewn with the face (of the image) towards the east; placing a water jar (called nidrākalaśa) having gold in it and a piece of cloth at the mouth towards the head of the image with the mantras ‘āpodevīr’ (Tai. S. VII. 3. 13. 1) and ‘āpo asmān’ (Ṛg. X. 17. 10); placing under the head of the image silken pilllows, sprinkling honey and clarified butter, and worshipping with mustard with the verse ‘āpyāyasva’ Ṛg. I. 91. 16 or IX, 31. 4) and ‘yā te rudra’ (Tai. S. IV. 5. 1 .1); offering worship with sandalwood paste and flowers and tying a band (*pratisara*) on the right hand (of the image) with ‘bārhaspatya’ mantra; placing a parasol, chowrie mirror, jewels, auspicious herbs, household utensils, fine vessels and seats by the side of the image with the verse ‘abhi tvā’ (Ṛg. VII. 32. 22); honouring the image with the presentation of various foods and condiments with the verse ‘tryambakam yajāmahe’ (Ṛg. VII. 59. 12); placing four priests and four doorkeepers in the directions, viz. a priest knowing Ṛgveda in the east and so on and each of the four priests is to repeat from his own Veda several hymns and verses e. g. the Ṛgvedin priest should recite Śrīsūkta (Ṛg. I. 165), Pavamāna hymn (from Ṛg. IX. 1), Śāntikādhyāya (Ṛg. X. 16), then a hymn to Indra.

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Then the ācārya is to perfom homa towards the head of the image with Śāntika mantras and offer into the fire 1000 samidhs (fuel sticks) each of palāśa, udumbara, aśvattha, apāmārga and śamī trees and then touch the feet of the god; preparing nine kuṇḍas each one cubit square and offering into them one thousand samidhs each time on touching the navel, the chest, and the head of the image; remembering the eight forms (mūrti) of God viz. the earth, fire, the sacrifice, the sun, the water, wind, moon and ākāśa, and offering homa to these with *vaidika* mantras; placing auspicious jars near each kuṇḍa; bathing the image at every watch and offering incense, food (naivedya), sandalwood paste; offering bali to all beings, and dinner to brāhmaṇas and persons of other castes at one's desire; celebrating a festival at night with dances, song and music; this may go on from one day to seven days (it is called adhivāsana); then the temple building is to be sprinkled over; finding out a place for the image either to the north or slightly to north-east in the temple; a stone in the form of a tortoise is to be placed on the temple floor; preparing a piṇḍikā and bathing it with pañcagavya with mantras; then raising the image with the mantra 'uttiṣṭha' (Ṛg. I. 40. 1), bringing it in the inmost chamber of the temple and placing it on the pīṭha (pedestal), offering it arghya water, pādya water, madhuparka; then the nyāsa (depositing) of eight kinds of jewels, viz.

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diamond, pearl, lapis lazuis, conch, crystal, puṣparāga, indranīla and nīla in the eight directions from the east, also of eight kinds of grains viz. wheat, barley, sesame, mudga, nīvara, śyāmāka, mustard and rice and also eight fragrant things such as white and red sandal-wood, agaru, uśīra etc. Nyāsa of all these is to be made after repeating om and the paurāṇika mantras (with 'namo namaḥ' at end) of the eight guardians (lokapālas) viz. Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Soma, Īaśna, and also of Brahmā (9th) and Ananta (10th); raising the image and fixing it in the scooped up portion of the pedestal with the mantra 'dhruvā dyaur' (Ṛg. X. 173. 4); placing one's hand on the head of the image and contemplating on the well-known form of the deity that is established, whether Viṣṇu, Śiva, Brahmā, the Sun; repeating appropriate mantras (viz. those of Rudra, Viṣṇu, Brahmā, the Sun in the case of the respective gods whose image is established); establishing deitieis near the principal image of the god's dependants (such as Nandī in the case of Śiva); invocation (āvāhana) of the principal deity with its attendants with paurāṇika mantras; bathing the image with curds, milk, clarified butter, honey and sugar and then with water in which flowers and scents are mixed up; repeating the following mantras again and again viz. 'yāj-jāgrato dūram-upaiti' (Vāj. S. 34. 1), 'tato virāḍajāyata', (Vāj. S. 31. 5), 'sahasraśīrṣā' (Ṛg. X. 90. 1), 'yenedam bhūtam' (Vāj. S. 34.

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4), "Natvāvām" (Ṛg. VII. 32. 23); touching fourtimes with water the feet, the waist and head (of the image); giving gifts of clothes, ornaments etc. to the ācārya and to the poor, the blind and the distressed and to others that may be gathered to see; filling with sand any aperture in any direction in which the image appears to be unstable and performing propitiatory rites for the guardian of that quarter and making gifts suitable to each lokapāla; celebrating a festival for three, five or seven days.

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The general procedure of consecrating an image has been given above at some length from the Matsyapurāṇa in order to convey some idea how in the first centuries of the Chiristian era the consecration of images was done. It will be noticed that mostly vedic mantras were employed though a few paurāṇika mantras also occur. In medieval digests like the Devapratiṣṭhātattva other elements were added from Tantra works. Special attention may be drawn to the fact that in the above procedure the word prāṇapratiṣṭhā does not occur in the Matsya. Raghunandana (in Devapratiṣṭhātattva) quotes Devīpurāṇa to the effect that prāṇapratiṣṭhā is done after touching the cheeks of the image with the right hand and that without this vivification a mere image does not attain to the position of a deity worthy of worship. In the Devapratiṣṭhātattva, the Nirṇayasindhu, the Rājadhārma-kaustubha and other works the prāṇa-pratiṣṭhā is based on the 23rd chapter (paṭala) of the Śāradā-tilaka (verses 72—76). The mantra is also given.

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The Devapratiṣṭhātattva (p. 505) quotes the Hayaśīrṣapañ-carātra to the effect that generally a brāhmaṇa should officiate at the consecration of an image of Viṣṇu, but a kṣatriya can officiate for a vaiśya or a śūdra yajamāna and a vaiśya may do for a śūdra yajamāna, but a śūdra cannot officiate.

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In the Matsyapurāṇa, the Agnipurāṇa, the Nṛsiṁhapurāṇa, the Nirṇayasindhu and many other works there are descriptions of the consecration of the images of Vāsudeva, of a liṅga and other deities, which are all passed over here for want of space. In these works following Tāntric practices three kinds of nyāsas, viz. Mātṛkānyāsa, Tattvanyās, and Mantranyäs are referred to. The Mātṛkānyāsa consists in repeating the letters of the alphabet from a (including ‘aṁ’ and ‘aḥ’) to l (in the form of akārāya namaḥ svāhā) and offering an oblation in fire. The Tattvanyāsa consists in repeating ‘Ātmatattvāya namaḥ, svāhā’ and the same formula as to Ātmattvādhipati, Kriyāśakti, Śivatattva (or Viṣṇutattva), Śivatattvādhipati, Icchāśakti, Vidyātattva Vidyātattvādhipati, Ādhāraśakti. The Mantranyāsa is as follows, taking a mantra of certain letters for a god (e. g. one of 12 letters as in ‘om namo bhagavate Yāsudevāya’) one has to repeat each letter in the formula ‘om omkārāya namaḥ svāhā’.

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The Dharmasindhu III (pūrvārdha) sets forth a brief procedure of the consecration of images in which only one priest is required (vide pp. 333-34). In modern times also the procedure of devatāpratiṣṭhā contains numerous elements and is extremely long”.—Kaṇe’s H. D. Vol. II pt. 2.

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Bṛhatsaṁhitā an astronomical-cum-architectural treatise has very succintly described this Pratimā-pratiṣṭhā—vide ch. 60. The special notice of this work in this connection is that the the adhivāsana and pratiṣṭhā ceremoney of the images of Viṣṇu, Sūrya, Śiva, Mātṛgaṇas, Brahmā, Buddha and the Jinas, they should be installed by a Bhāgavata, a Maga, a Pāśupatta, one well-versed in the worship (of the Śakti), a Brāhmaṇa, knowing the Vedas well, a persan of Sakya race and a Digambara Jain, respectively as per the following verse:

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विष्णोर्भागवतान् मगांश्च सवितुः शम्भोः समस्मन्द्रिजान् ।
मातृणामपि मण्डलक्रमविदो विप्रान्विदुर्ब्रह्मणः ॥
शाक्यान सर्वहितस्य शान्तमनसो नग्नान् जिनानां विदु—।
र्यं यं देवमुपाश्रिताः स्वविधिना तैस्तस्य कार्या क्रिया ॥

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Further more it also enjoins to give awards not only to the Brāhmanas, etc. but also the sthapati—vide the verse (i. e. Vardhaki cf. Utpala’s Commentary).

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The Samarāṅgaṇa Sūtradhāra also corroberates this vide vol. I Hindu Science of Architecutre (Pt. III Preleminary matters). Īśānaśivadevagurpaddhati also gives similar directions vide IV Chapter, XXXIV, 4.

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Now a word on Punaḥ-pratiṣṭhā (Re-consecration of image in temples) and on Jīrṇoddhāra (rehabiliting old or dilapidated temple and its image, etc.) each, may also be said and I cannot do better to than quote Dr. Kane (the eminent author of History of Dharmasastra in several volumes) here also.

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“*Punaḥ-pratiṣṭhā*:—(Re-consecration of images in temples). The Brahmapurāṇa quoted by the Devapratiṣṭhātattva and the Nirṇayasin-dhu says ‘when an image is broken into two or is reduced to particles, is burnt, is removed from its pedestal, is insulted, has ceased to be worshipped, is touched by beasts like donkeys or falls on impure ground or is worshipped with mantras of other deities or is rendered impure by the touch of outcasts and the like—in these ten contingencies, god ceases to indwell therein.’ When an image is polluted by (contact with) the blood of a brāhmaṇa or by the touch of a corpse or the touch of a patita it should be re-consecrated. If an image is broken in parts or reduced to particles it shoud be removed according to śāstric rules and another should be installed in its place. When an image is broken or stolen a fast should be observed. If images of metal such as of copper are touched by thieves or cāṇḍālas they should be purified in the same way in which polluted vessels of those metals are purified and then they should be re-consecrated. If an image properly consecrated has had no worship performed without pre-meditation (i. e. owing to forgetfulness or neglect) for one night or a month or two months or the image is touched by a śūdra or a woman in her monthly illness, then the image should have water adhivāsa (placing in water) performed on it and it should be bathed with water from a jar, then with pañcgavya, then it should be bathed with pure water from jars to the accompaniment of the hymn to Puruṣa (Ṛg. X. 90) repeated 8000 times, 800 times or 28 times, worship should be offered with sandal wood paste and flowers, naivedya (food) of rice cooked with jaggery should be offered. This is the way in which the re-consecration is effected".

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"*Jīrṇoddhāra* (rehabilitating old or dilapidated temples, etc.). This subject is closely connected with the preceding topic and is dealt with in the Agnipurāṇa, chap. 67 and 103 (about liṅgas); the Nirṇayasindhu (III. pūrvārdha p. 353), the Dharmasindhu (III. pūrvārdha p. 335) give an exsensive procedure following the Agnipurāṇa. This is done when the image in a temple or a liṅga is burnt, or reduced to particles or is removed to another place. The Agnipurāṇa (103. 4) says that if an image or liṅga is carried off by the strong current of a river, it may be re-consecrated elsewhere according to the rites prescribed in the śāstra. According to the Agnipurāṇa (193. 21) a liṅga that is reputed to have been established by the asuras (like Bāṇāsura) or famous sages or by gods or by those who were expert in Tantra should not be removed to another place, whether it be worn out or broken, even after the performance of prescribed rites. The Agnipurāṇa prescribes (chap. 67. 3-6) that image of wood when extremely worn out may be burnt, one of stone may be thrown into water, one made of metal or of a jewel (pearl etc.) should be thrown into very deep water or the sea after carrying it covered with cloth in a cart to the accompaniment of music and on the same day another of the same dimensions and substance should be installed after the purification of the image is effected. When the daily worship of an image had been stopped of set purpose or when it is touched by śūdras and the like, purification can be effected only by re-consecration. Re-consecration can be done even in intercalary months or when Venus is too near the sun to be visible. When a temple or a well or a tank is breached or when a garden embankment or a public hall is injured, one should offer four oblations of clarified butter with the four verses ‘idam Viṣṇur’ (Ṛg. I. 22. 17), ‘mā nastoke’ (Ṛg. I. 114. 8), ‘Viṣṇoḥ karmāṇi’ (Ṛg. I. 22. 19), pādosyai (Ṛg. X. 90. 3), and then a dinner may be given to brāhmaṇas.

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The procedure of jīrṇoddhāra is given at length in the Nirṇayasindhu, the Dharmasindhu and other works. Vṛddha-Hārīta IX. 409-415 also deals with re-consecration. Śaṅkha-Likhita quoted in the Vivādaratnākara and other works says that when an image, a garden, a well, a bridge (over a moat or river), a flagstaff, a dam a reservoir of water are breached, they should be repaired (or raised), re-consecrated and the person guilty of breach should be fined 800 paṇas. When worship was stopped, some authors prescribed re-consecration, while others prescribed only prokṣaṇa as laid down in the Devaprastiṣṭhātattva (p. 512) or Dharmansindhu (III pūrvārdha p. 334).”

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It may be remarked that the jīrṇoddhāra or Punahpratiṣṭhā has been regarded for a long time as great acts of religious merit in India, rather more meritorious than the establishment of new shrines and construction of new images. Many are the historical instances which corroborate this ancient institution. Archaestopical caskets, inscriptions and the historical accounts (cf. H. Thsang testimoney of Bodhi tree restoration).

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Śilpa-ratna, a śilpa-text of renown which is credited to treat this subject also simply echoes this time-honoured tradition when it says:

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दोषे लघुतरे बिम्बं नैव त्याज्यं कदाचित् ।
बाहुच्छेदे करच्छेदे पादच्छेदे तथैव च ॥
तथैव स्फुटिते भिन्ने यस्मिन्नवयव गवे ।
वैरूप्यं जायते यस्य तत् त्याज्यं प्रायशो भवेत् ॥
अङ्गल्यादिपरिच्छेदे बन्धनं शस्यते बुधः ।

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After ritualistic details regarding the installation of the Image in its abode, the temple, let us say a few words one same of its architectural details.

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These details are based on the canons of Iconometary. The height of these images which are meant to be enshrined in temples had to take proportionate measurement with doors of temple. Thus Varāhamihira (Br. Samhitā ch. 5) tells us that the height of the pedestal of the image should be three parts of the height of the shrine door less eighth part, when the latter is divided into equal parts, and the height of the image should be twice that of the pedestal. Dr. Bannerjea (D. H. I. p. 322) considers this formula a bit complicated and he therefore cites another authority (cf. Haribhaktivilāsa): 'it says that the measure of the height of the door (shrine door) should be divided into 8 equal parts, two of these parts should constitute the height of the image and one part of it divided into three parts, the height of the pedestal which should be neither too heigh nor too low'.

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Matsypurāṇa's prescription in this connection is also note-worthy: It says (vide Ch. 258. V. 23) those images that are to be enshrined in temples should measure not more than 1/16th part of the whole height of the temple; one should make an image up to this height (this is the superior class) or less than it (of medium class or inferior class) according to his means; but on no account should the image be more than 1/16 part of the full height of the shrine'.

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This is true in case of the principal image in a temple. The host of other images that are carved out on the temple, they too are guided by the canons of iconometry and those relating to the laws of its architecutre. Prof. Kramrisch says (H. T. p. 311): 'As far as the proportions are based on number (i. e. Navatāla, etc.) so are their isocephalous rows on the upright walls of the temple..akin in their vertical rhythms to those of the groups of mouldings coherent in their proportion and forming a broad band on the socle (adhiṣṭhāna) of the temple; on its walls similar though narrower belts of architectural profiles alternate with the belts of images; though the limbs of the latter are more richly interlaced, their proportions in the vertical are as pure, and also allow for modifications as those of the many variations of the zones of acrchitectural mouldings. Thus the images do not only come forward from the walls, but are part of them also in their proportions'.

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Apart from this very brief indication of the intimate relationship of the Prāsāda, the Hindu Temple and the Pratimā, the enshrined Deity, there is still a good deal of scope to treat this subject, but exegencies of space forbid me to do it here. This theme however will form a principal dessertation in the 3rd vol. of this work 'An outline history of Indian sculptures along with their illustrations in Indian Art'. Many a symbolic sculpture on the different parts of the temple, the door, the window, etc. and other representations like the Face of Glory, Kīrtimukha, Śārdūla, Lioness typifying the Śakti, the Power along with a host of images alround which may be taken as images of Immanent Breath and Symbols of Re-integration as well as the state of being a couple and lastly ending in Āmalaka, the highest point of the microcosm and the lowest one of the macrocosm, paving the path for the Puruṣa to emerge and the mortal to converge on it, to get united with Him.

Cites (19)