History of Dharmashastra (Ancient and Mediaeval Religious and Civil Law in India) v3.c44.41
History of Dharmaśāstra (Ancient and Mediaeval Religious and Civil Law in India) v3.c44.41
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Here numerous matters have to be considered. 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 vedi therein, erection of four *toraṇas* (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 artizans, drawing lines on the image or liṅga with a golden needle to represent 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, yāsāṃ rājā and āpo hi ṣṭhā, 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);
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placing the image in a chariot with the verses 'ā mūrajā' and 'rathe tiṣṭhan' (Ṛg. VI. 47. 31 and VI. 75. 6) and entering it in the maṇḍapa with the verse 'ā 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 'āpo devīr' (Tai. S. VII. 3. 13. 1) and 'āpo asmān' (Ṛg. X. 17. 10); placing under the head of the image silken pillows, 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 'tryambakaṁ yajāmahe' (Ṛg. VII. 59. 12); placing four priests and four door-keepers in the four 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.
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16), then a hymn to Indra. Then the ācārya is to perform 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 the north-east in the temple; a stone in the form of a tortoise is to be placed on the temple floor;