Rashtriya Sanskrit Vidyapeetha, Tirupati Series No. 54 %cTT PAUSE AR A SAMHITA 9qT*TOlfefa«Si!T 3T. fa fa. sn£ q qVqai =q fttJlR f?qi?iT?q^ q^ R«ftsq &|qt qR^qTR q^fei Rashtriya Sanskrit Vidyapeetha, Tirupati Series No. 54 . jj^fpun-aTrrjfr; > 4 pr- t *% JPPfP PAUSKARA SAMHITA goqqgq^facrflgifqqiaq ST, fa. fa. 3TT£ 'TT3^7Tf^f^: *Rfcq ^TTfacTT Tlfem^frqf^nqtOT, r^qpd: tW 197*00 ^1 9 7 0 0 fcrcqfa TTftffqtf^ fifOTftW (mftcT f^ET^«IT^) H^nf^RTT 3?iq* *• «ft flr*raif TsPZ% fH^*rf?f: Rashtriya Sanskrit Vidyapectha, Tirupati Series No. 54 PAUSKARA SAMfflTA Critically edited by Dr. P. P. APTE Editor, Sanskrit Dictionary, Deccan College, Pune RASHTRIYA SANSKRIT VIDYAPEETHA TIRUPATI 1991 1 ? 7= 0 0 rFirsj. Edition , ; ri .• ■ ; , /• / Copy Rights Reserved Price i Rs. Hi 9 7 - Q Q Published by Rashtriya Sanskrit Yidyapeetha (Deemed to be University) - Tirupati Vv. 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Dr. B.R. Sharma, the then Director suggested that critical editions of the Vis‘vamitra-,Naradlya-, Markandeya-,S'npras'na-, Vas'rjut antra-, and Paugkar- Samhitas might be brought out by the Research wing* The last mentioned Samhita was assigned to Dr P. P. Apte (the then Lecturer in the wing)- Its publication was approved in a meeting of a publication committee 3-2-1986* That in view of the importance of the Paugkar- Samhita in the Pancaratra-Canon, Critical edition of the text is a pressing need, was candidly admitted by H Daniel SMITH in an article entitled, “The three gems of thePancaratra-Canon-an appraisal” published in Vol I, Part I of the Vimars'a (pp. 45-51) of the K- S. Vidyapeetha (Tirupati 1972). The Pauskar-Samhita (hereafter abbreviated to PS) contains about 5SC0 slokas, divided into 43 chap¬ ters, and it runs as a dialogue between Paugkara and Bhagawan on the technique of marshalling the Mapdala designs and their significance in the first 26 chapters- In this edition. Dr. APTE has utilised two Mss of P3— one from India office Library London and the other Supplied to him by Asuri Srinivas Ayyengar, who after entering into the Sanyasa-order is now known as HH Sri Yatiraja Sampatkumar Ramanuja Muni of Mclkote. The affiliation of the Pauskara-Parames'vara to S'rirangam temple in the south, is obviously known from the Jayakhya (Ucd) citation* Satvatam Yadus'ailendre S'rirange Pauskaram tatha i To put it particularly, the worship of Hari is earned out in accordance with Satvata-L'vara in Melkote, Pauakara-Parame-v'vara in S'rirangam and Jayikhya- Padma in Kanchi. Ill Dr. Apte is specially qualified to undertake the responsibility of ending the PS because of his qualifi¬ cations, training and experience, He obtained a docto¬ rate degree in the Pancaratra, from the university of Poona, worked for about three years in the Agama Ko-'a wing of theTirupati Vidy&peetha as Lecturer and attended several Agama conferences organised by the illustrations sage of Kanci at several temple centres in Kanci and other centres in Andhra Pradesh. I trust the text of PS with its simple translation will go a long way to whet the appetite of students of temple religion in general and Vai?oavism in particular. Tirupati Sdl. Malladi Balasubramanyam Yugadi Sake 1913 Former Principal 17-3-91 Kendriya Sanskrit Vidyapeetha * INTRODUCTION An attempt has been made to reconstruct the scheme of 25 Mandates described in ‘Paugkara Samhita’ of the Pancaratra Agama* ‘Paugkara Samhita’ is one of the three main canonical ‘samhita’ texts of the Panca¬ ratra doctrine- a Vaigijavite religious sect in India* The three classical Samhitas of the Pancaratra Agama are : Sattvata Samhita, Paugkara Samhita and Jayakhya Samhita, and these texts date back to 3rd to 5th Century AD. Though mandate worship is described and men¬ tioned in all three texts, it happens to be the central theme of ‘Paugkara Samhita* - which describes in great detail the technical construction of the mandates to te drawn for the purpose of ‘Mandalaradhana’ (Maijdala worship) as part of the initiation and progress of the spiritual aspirant seeking admission to the cult, with the final aim of attainment of Mokga. The Pancaratra religious sect is still one of the important religious sects in the South India, however, the elaborate procedure of ‘Magdalaradhana* as an in¬ dependent institution as described in Paugkara Samhita has been relegated to the background in the course of centuries and forgotten* The present reconstruction of Pauskara Samhita mandates with the help of original textual description represents an important addition to the literature re¬ garding ‘Magdala’ worship, as the date of Paugkara Sambita makes them among the oldest maijdalas in the world. * MANDALArADHANA in pancaratr agama India has been a land of cultural interactions and integrations The heritage of the Vedic tradition was supplemented by Tantric and loeal traditions in the religio-cultural field of social life, in addition to the influences of Buddhism and Jainism etc. The Moksa- dharmaparvan of the ‘Mahabharata’ has stored ency¬ clopaedic information on various religious sects S'aiva, Paficaratra, Pas'upata etc. The Paficaratra docrine belie¬ ving in one and only God "VigQU* and instructing the Sattvata mode of worship* has occupied an important place in this parvan being allotted a separate Naraya- nlya section for this cult variously named as Ekanti- dharma or the Sattvata or Bhagavatavidhi. The Gita verses ‘Imam Vivasvate yogam’.. (4-1-7) apparently refer to this Ekantidharma tradition- This tradition >, cms to have developed into the temple-oriented phase «'l the Pancaratra in the post-Mahabharata period. A.n integrated scheme of worship called ‘Catuh-sthana- nrcana* came to be accepted in the temple religion. This v lu'mc includes in addition to the image worship* invo¬ cation and worship in Kumbha (water-pot), Maijdala (mystic diagram), and Kugda (fire-pit). Mandalas are said to be mystic diagrams-mystic in the sense they are used in a mystic way or for a my- ii:- purpose often connected with tantrism. The dia- V'.ims known as Yantra-Cakra-Bhadra etc. form an allotropy of mystic symbolisms of which Matjdala is one. The Maijdala worship is found prescribed in all the three classical samhitas of the Pancaratra Agama; Sattvata, Pauskara and Jayakhya of 3rd to 5th Century A D That the worship of God with the aid of mystic diagrams was incorporated in the Pancaratra ritualism from its earliest phase is evidenced from the canonical tpxt Sattvata Sarhhita referring to a wheel inscribed with mantras (mantra-cakra) in 2rl2 ufW 5 It explains further a form of worship in the mandala diagrams (Mapdlaradhana). It is quite likely 1 hat this practice was adopted in the Pancaratra rel gion f rom tantric tradition* But soon after adoption in the I'ancari.tra family, it has been fully and finally Vii$ga- vised and has developed and maintained its personality ns such with sectarian characteristics all along iv The scheme of Maridalas happens to be the cen¬ tral theme of the Pauskara Samhita- The temple insti¬ tution having a very firm footing in the South India owes allegiance to the classical Samhitas of admittedly northern origin especially in Kashmir. The Vai?riavism apparently remodelled the tan- tric elements of Mantras, Magdalas and Mudras to suit their inherent tenets and practices- The Paugkara Sarhhita reflects the clarity of vision of the Pancaratra seers evolving the scientific and elaborate scheme of Mapdalaradhana which might be said to be a prototype of Alayaradhana or the temple-worship later on incor¬ porating and preserving the mapdala-worship along with the Agni and Kumbha worships under the 'Catu- sth an arcana’ curriculum of rituals- For understanding the topic of Maodalas, the Pauikara Sarhhita (PS-c. 300-400 (AD) which is next in authority to Sattvata Samhita (SS) is extremely im¬ portant, since it elaborates the technical aspect of these diagrams and serves as a source book for later Panca¬ ratra religion, on the subject of Magdalaradhana- Jayakhya Samhita (JS) the third canonical text also gives one specimen j Navapadmamapdala and the rest of the Samhitas I post classical and later ones describe one or more such diagrams. The Pauekara Samhita is of special value because here one gets a detailed scheme of sketching, designing and colouring of the Maijdalas. The pliict of Mao'jala worship in the historical Paii- i aratra religion especially the temple cult in South India is as an impotant component of the fourfold worship of¬ fered to God who is invoked in image, pitcher, magdala and fire(Bimba, Kumbha, Magdala and Agni)* From PS, however, it appears that the Mapdala worship, in those ■ lavs was not a part of the temple ritual only, but often maintained its independent existence like the sacrificial institution* And for that ritual known as Yaga, a spe¬ cial pandal was erected on a site chosen on a mountain or in a forest or by the side of a hermitage or on tuc hank of a river or inside temple premises (PS 2.4.5.). I lie formal purpose of the Mapdalaradhana is the ini¬ tiation and progress of the spiritual aspirant seeking admission to the cult and the final goal is obviously the attainment of Mokga* PS (Chapter I) prescribes four main classes of Magdalas * Padmodara or lotus- hearted, Aneka-kajagarbha or multi-lotus. Cakrabja or lotus -surrounded-by-circle, and Mis'racakra or of complex-wheels* These are meant for aspirants passing through various grades of progress: Samayl, Putraka, Sadhaka and Acarya- The aspirant practises some sort of Yogic-cum tantric process of self-restraint with the help of the diagrams aiming at the final liberation* It is assured that the aspirant by entangling himself in these diagrams really frees himself of all bondages. The merit of the Mapdalaradhana accrues by even witnes¬ sing, worshipping it or meditating upon it. These Yagas continue fer a period extending up to forty days or more. At a later stage, the human tendency to utilise the mysterious powers for personal visible benefit seems to have outweighed the urge for spiritual uplift and the Magdala worship was yoked formercinary ends as seen from STipras'na Samhita (i52{56-63): ‘firfasntcTa nffWHSBTfafa :i'. The diagrams were sometimes drawn on canvas or wall instead of being drawn on the ground. The elaborate procedure of ‘Mapdalaradhana’ as an independent institution has gradually been relegated to the background in the course of time The Pauskara Samhita which has been preserved as an article of faith has suffered a lot in faithful preservation of the portions dealing with the technical niceties of sketching and colouring of elaborate patterns of complicated geome¬ trical descriptions- Both the approaches, the grammatical of the Sanskritist or the geometrical of the technologist often fall short in interpreting these passages- All the same persistent efforts by researchers do yeild valuable re- sultsHt is felt that this chapter of our rich cultural heritage revealed by this interpretative methodology would interest the scholars and designers alike: THE PAUSKARA SAMHITA : MANDALAS The Pauskara Samhita opens with the entry of a spiritual aspirant approaching a Guru for initiation, who advises him to procure some amount of money for performing of Maijdala-Yaga. Thereafter follows a ilc scription of four pattern-set classes of mafldala-de- signs, prescribed for a four year progressive course of spiritual graduation leading the initiated entrant through annual qualifying examinations of Samayl, Putraka, Sadhaka and Acarya. The teacher is advised to transfer the essence of his knowledge to a deserving disciple before parting this mortal body so that the continuity of doctrinal lineage is kept uninterrupted. The four classes are called •• 1. Padmodara, 2. Anekakajagarbha, 3. Cakrabja and 4. Mahakhya Navanabha. The first one has got lotus at the centre and this category gives twenty-five magdalas beginning with Bhadra of 7x7 = 49 square units and increasing by arithmetical progression upto Paraminanda of 3 ? x31 = 9 1 sq units. The central lotus correspondingly grows in number of petals from 3 to 27 also by arithmetical progression. Apart from religio -spiritual aspect and the allied aspect of mantra-occultism, the technical aspect of sketching, colouring and architectural implications in itself is a tough job for the teacher and th^ taught. vii* Besides, the preliminaries of the Mandala Yaga require quite a complicated constructional technology of exa¬ mination and survey of the selected site, orientation and drawing of the ground plan : the Vastu mandala, errection of a Yagamandira, an enclosed structure a pandal or a hall- The Paugkara Samhita which is not a text on architecture is seen indulging in the niceties, intricacies and accuracies of the soil-testing techniques, the astronomical calculations for exact determination of the Eastern direction by accounting for the seasonal and geographical position of the place and time of the performance of the Yaga, and elaborate architectural instruction for construction of the Yaga/ala with its floor, pillars, roofs, doors and other accessories. The maijdala-designs themselves involve the structural aspect varying from squares and bisections of square-units, equi-lateral triangles, the technique of concentric circles, drawing of spokes of wheels etc and the lotus designs with varying number of petals and hlaments, budding and blooming petals all based on geometrical devices and the colour scheme of primary colours and shades, the symmetry and colour combi¬ nations, the similies used for pinpointing a precise shade, as for instance, the word ‘Go-kslra-paijdu’ to denote yellowish white of cow’s milk shade; or ‘S'arad- gagana sanka/a* for deep sky blue of autumnal shade; all these descriptions dive deep into the field of art- technology far difficult for a layman of devotional bias to grasp. It is proposed here to introduce this topic of Mandalas primarily through the approach of art-appre¬ ciation, explaining the scheme of specimens of maijdalas showing the evolution of designs and structural patterns presently focussing the analytical study of the first category of Padmodara maijdalas having lotuses at the centre. The illustrations are entirely based on the modest attempt of reconstruction with the help of textual in¬ terpretation to the extent it has been possible* Persistent efforts have been made to resolve diffi¬ cult spots and such spots which are yet to be resolved are left blank in the diagrammatic reconstruction shown in the illustrations. Various beneficial fruits are assured for the worship of each of the 25 maijdalas which bear appropriate titles indicative of the respective fruits* THE STRUCTURE OF THE DIAGRAMS 1* Selection of site : The site for the Yaga session of the Magdalas js selected on a mountain or a river bank or in a park or in any other place mentioned already above* The selected place is first purified and ploughed, seasoned and levelled. 2. Orientation a First of all, the eastern direction is settled with the help of an instrument called S'anku and then the X rest of the directions and sub-directions are easily obtained* 3* Vastupuruaamapdala : A square diagram with 8 x8 or 9x9 equal units is prepared for the convenience of architectural pur¬ pose- Each of these units is named after a divinity. From religio-spiritual point of view, these deities are unseen powers controlling the success of the construction as well as worship and hence these portions are allotted to them as a token of the sense of belonging. From architectural point of view, however, the naming of various parts of the ground plan is meticulous and elaborate improve¬ ment on the scheme of naming the directions and sub- directions after divinities, e.g, Purva (East) Indra’s direction and so on. 4* Erection of Pandal (Matjdapa-nirmatja) 1 A special pagdal with walls and roofs is erected on the chosen site for the performance of the Maij d ala- yaga* In this pandal, the central portion is allotted for the sketch of the diagram and a smooth and levelled pavement is prepared there for the purpose. 5. Stitrapata : Draught manship : The S'ilpin chalks out along x axis and y axis para¬ llel lines in rows and columns cutting each other to form a chess-board design, with the help of cords dipped in sandalwood-paste Vermillion and the like. The number of parallel lines required for rows or columns is always one more than their number. Thus, for example, 8 parallel lines make 7 rows or columns. The arcs are technically called ‘Candra-lanchana* and the intersection of arcs is called *matsya-cinha’. With the help of these processes the x and the y axis is to be obtained* 6* Padmodara Class of Designs : Pau*kara Samhita gives a scheme of 25 types of mandalas belonging to the Padmodara class- How¬ ever* the text as come down to us has lost the description of the 25th magdala called Parama- nanda. The first and the smallest magdala called Bhadra measures 7 x 7 = 49 units and the last one measures 31 x3l = 9ol units. 7- The Names of the Maijdalas s The names suggest the fruit or merit derived from worshipping the particular diagram- But from the scanty information found in the Samhita text the reason for naming them as such is not clear. As for the relation of the shape or structure of these designs with the titles, one finds only two examples the first one the Bhadraka and the sixteenth the svastika* apt- xii 8. The parts of Mandalas = The following are the parts of a mapdala-- 1. Padma (Lotus); 2. Pitha (Pedestal or seat of the Lord); 3. Vlthi (passage surrounding the pitha and meant for going round in a conventional manner keeping the deity always to the right i-e., Pradaksina); 4 Dvara (entrances on all directions;; 5. S'obha (offset design on the enclosure adjacent to the en¬ trance on both sides); 6. Kona (the corner por¬ tion of the enclosure). Besides these main parts, there are some allied parts, namely; 1. Upapltha (outer 'pedestal adja¬ cent to the central seat); 2. Upadvara (side entra¬ nces which are eight in number two on either sides of the main entrances). 3. Upa.s'obha (re entran¬ ces or recesses or the inverted counterparts of the offsets occupying the space in between offsets and corners of the enclosure); 4. Pitha-Gatra and Pitha-Kooa (the portions of the pitha on four sides and four corners respectively); 5* Bimba (sub divisions of any of the parts given above). 9. Kcstha = Am.s'a = Pada = Unit It is the basic square unit- By combining these units in a given number and by a given method, various geometrical figures are obtained. After taking a fixed number of units as per textual in- structions, one has to erase the border-line of the units failing within that area. The units are calcu¬ lated from centre to the enclosure from inner to outer rows in succession. The square unit as a rule is not further divided but exceptionally in one or two cases there occurs a diagonal bisection* 10. Padma and Padma-ksetra (Lotus & Lotus Area) The central portion of a mandate reserved for sket¬ ching a lotus is called Padma-ksetra. A circular area has to be demarcated inside that square for drawing a lotus. The first step is to draw four concentric circles by dividing the radius in four equal parts. The innermost circle is allotted for the Kargika, i e-, the pericarp of lotus. The area of the second circle circumscribing the inner one is covered with filaments (Kesara) of the lotus. The number of filaments is two or three times the num¬ ber of petals- The third circle remains blank and in the fourth circle, the petals are drawn in such a way as to make their ends touch the outer circum¬ ference, and the joints of two petals the inner cir¬ cumference. The lotuses in the 25 magdalas have 3 to 27 petals in ascending order. The number 6,8, and 12 however corresponds with the number of syllables in the mantras of Visgu. Narayaga and Vasudeva* The syllab'es of mantras are written on petals as well as filaments and the basic syllables XIV (bijak?aras) in the places of the seeds of the lotus inside the pericarp. 11* Pitha (Divine Seat) This is a diagram supporting the lotus-seat of the Lord* Its symmetrical parts situated on the four sides are called Pithagatras and the corner portions of the right-angle shape are called Pitha-kopas for padas or carapas). The pit>ha is sometimes suppor¬ ted by a sub-seat or exterior or lower pedestal called Upa-pitha which also has sometimes corres¬ ponding division into Upapltha-gatra and Upa- pithakopa. In the larger diagrams, the pitha has futher decorative divisions : pithagatra-bimba and plthakopa-bimba- The shapes of the pithagatra- bimbas in various mapdalas resembles either Roman capital lettar ‘I’ or a1 + 1 (cross mark). 12. Vlthi (Passage) t This is an open space formed with one or more rows surrounding the pitha. This is meant for 'Pradak? pa* a round walk to be taken by a devotee keeping the deity always to his right- Gamamarga and BhramapI are synonyms to Vlthi- The passage should be decorated with flowers, leaves and foli¬ ages and should never be left blank, as per textual instructions. The passage connects the divine seat with the entrances on all sides; as such it plays the role of a connecting link between the inner and the outer parts of the mandala design- 13. Entrance (Dvara) I The entrance, the offsets, and the corners together share the space allotted to the enclosure, in the outermost rows; they occupy two rows in smaller mandalas and three in the bigger ones- The inner part of the entrance is narrow, like a neck; hence it is named as gala or kaotha (or in some places karija); the outer portions which opens wide out¬ side the enclosure is called outer neck (or jaw) u pa-gala, upa-kagtha (or upa-karna). The entrance in the three rows is supplemented by an outer support called adhara* In the larger diagrams, we find two side-entrances on each direction-one each on either side of the main entrances. 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VIII CHAKRABJA-LAKSHANA (vv. 1-212) (pp. 159-159) S No. Topic Verse No. 1 Thousand varities of Chakrabja design 1-7 2 Diagram worship in nine types wheels 8-17 3 Drawing method of lotuses 18-37 4 Procedure of worship 38-43 5 Nine patterns of wheels 44-62 0 Association of wheels with time divisions ! months, years etc. 63-80 Note : The remaining part 81 to 212 is obscure and hence not amenable for cohuent translation. CH. IX (CHARACTERISTICS OF MIXED LOTUS WHEEL DESIGN (w. 1-165) (pp. 170-190) S. No- Topic Verse No 1 Various patterns of mixed wheel- designs 1-21 2 Area of encircle lotuses ro 00 i i > > 3 Designing of circumcircle 44-46 4 Spokes of the wheel 47-51 5 Wheels with 1000 spokes 52-65 6 Complex wheels named Yugachakra 66-71 7 Devachakra 72-77 8 Ground area for wheels 78-84 9 Colour Scheme 85-90 10 Formation of entrances corridors etc 91-95 11 Application of Mantras in wheel- worship 96-104 12 Invocation of Lord Purush and eightfold Prakriti 105-109 13 Invocation of Vedas 110-111 14 Importance of Mantras 112-119 15 Analogy of human body to wheel diagram 120-137 16 Assignment of Omkar syllable 138-140 17 Assignment of Lord of Mantras 141-145 18 Meditation 146-165 vii C H. X COMPOSITE MANDAL DESIGN OF NINE CONSTITUENTS (w. 1-9 ) (pp. 191-199) S- No. Topic Verse No. 1 Nine Prakrtis manifested into fourfold manifestations and five other aspects of Vishnu 1-35 2 Sketching of the Navatmamandal 36-45 Diagram No. 2-Purvatmamaijdala etc. 46»74 4 Completion of the nine motifs ?5»76 5 Colouring of various parts 77-94 CH XI VRTABIMBALAKSANA (w 1-12) (pp. 00-201) S. No. Topic Verse No. 1 Six parts denoting Six divine attributes 1-2 2 Corresponding colour application 3-4 3 Sketching of various parts 5-11 4 Drawing of lotus at the centre and worshiping Vasudeva therein 12 CH. XII pancapadma-cakrabimba- LAKSANA (vv. 1-2 8) (pp 202-206) S No. Topic Verse No. 1 Five designs in five directions 1-3 viii 2 Sketching of Paficapadma 4-10 3 Colouring 11-18 4 Worship of the Lord of motifs 19-22 5 Cakrabimba 23-28 CH- XIII SURYABIMBA laksana (vv. 1-13) (pp. 207-208) S. No- Topic Verse No- 1 Sketching and colouring 1-10 2 Drawing of the rays 11 3 Drawing of the lotus 12 4 Fruit of worship 13 CH- XIV CANDRABIMBA LAKSANA (vv 1-16) (pp. 209-210) S. No Topic Verse No. 1 Sketching 1-10 2 Colouring 11-12 3 Worship 13-15 4 Fruit of worship 16 CH. XV TRIKONA-BIMBA-LAKSANA (vv. 1-35) (pp- 211-215) S. No. Topic Verse No- l Triangular units 1-9 2 Maijdal-parts 10-30 ix .1 Colouring 31-32 4 Assignment of Vedas etc. 33 S Worship of Brahman and attainment of Mokga 34-35 CH. XVI KtJRMA-BIMBA-LAKSANA (vv. 1-48 )(pp 216-218) S. No Topic Verse No. 1 Designing of the sketch of a tortoise in a square 1-35 2 Mouth portion of the tortoise 36-39 3 Drawing a lotus 40-41 4 Colouriug 42-47 Worship of Vishnu 48 CH. XVII S'ANKHA-BIMBA-LAKSANA (vv. 1-45) (pp. 219-223) SNo. Topic Verse No. 1 Drawing a square measuring 32x32 1-10 2 The conch design 11-40 3 Colouring 41-45 4 Worship of Nrsimh 451 CH- XVIII K ALAS'A-BI MB A-LAKSANA (vv. 1-62) (pp. 224-230) S. No- Topic Verse No- 1 The design of a waterpot in a square measuring 40x40 1-2 X 2 Various parts of the waterpot 10-37 3 Mantric ritual 38-41 4 Lotus- design 42-43 5 Outer parts of the Maijd.il 44-45 6 Colouring 46-49 7 Worship of Varah 50 K General instructions regarding 51-58 9 Maijdal motifs-Fruit of Worship 59-62 CH- XIX WORSHIP OF NINE NAVEL DIAGRAM (vv- .-140) (pp. 231-240) S. No Top c Vi erse No 1 Purpose of ninenaval worship 1-5 2 Various fruits of worship 0-16 3 Further spiritual progress on rebirth 17-21 4 Final fruit of worship 22-23 5 Nine motifs in the federal Mandal diagram 24-28 6 Invocation of the Lord 29-47 7 Revival of worship in the deserted places 48-74 8 Ritual of worship of Federal Mapdal 75.129 9 Vishwedeva tarpana 130-140 CH. XX WORSHIP OF VISVAKSENA (vv. 1-121) (pp- 230-266) S. No. 1 Topic Purpose of Worship Verse No* 1-14 XI 2 Diagram for worship 15-18 3 Ritual of worship 19-22 4 Meditation of Visvaksena 25-38 5 Meditation on retinue deities 39-51 (> Worship of the retinue 52 / Prowess of Visvaksena 53-57 S Wcrship of Visvaksena in relation to Vasudev 58-82 9 Dos and donts requiring naivedya offerings 83-121 CH- XXI CHARACTERISTICS OF RETINUE (deities) ^vv. 1 -23) (pp. 267-270) S- No. Topic Verse No. 1 The names of the prowesses of the goddesses 1-7 2 Assignment on various parts 8-18 3 Description of the goddesses 19-22 4 Worship 23 ( II. XXII CHARACTERISTICS OF THE SUPPORT AND THE SEAT (w. 1-75) (pp 271-250) 8. No- Topic Verse No. I Description of the seats and supports 1-16 .! Meditation on principles and elements and attributes 17-26 Xtl 3 Assignment of Various principles on various lotus-parts 27-47 4 Meditation upon Mantrashakti 48-41 5 Existence of divine power in the structure of Mantras 62-75 CH. XXIII ASSIGNMENT OF SEAT-DEITIES (w. 1-71) (pp. 281-289) S. No. Topic Verse No. 1 Substratum-substrata relationship of diagram and the deity 1-7 2 The efficacy of the Mantras 8-12 3 Worship of divine in various seats and supports 13-20 4 Presence of the divine in various supports in subtle and gross forms 21-27 5 Invocation of the divine forms in varions parts of Maijdals 28-71 CH. XXIV CHARACTERISTICS OF DEITIES OF SUPPORTS AND SEATS (w- 1-57) (pp. 290-29?) S* No. Topic Verse No. 1 Assignment of various deities Male & female on various Maijdal parts 1-38 2 Meditation on Sudarshan 39-41 Xlll 3 Meditation on the Supreme Lord 42-47 A Guard attendents 48-57 CH XXV THE DESCRIPTION OF SUPPORT (w. 1-41) (pp. 298-303) S- No. Topic Verse No ■ 1 Code of conduct for rituals 1-41 CH. XXVI DETAILS OF THE OFFERINGS (w. w. 1-60) (pp. 04-312) S. 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V-^-ansreq-qf q«rre*R y. n-q-fqtjfsra 316 qqq^iq^ffaTqqffTiqt JTIT*$ IIV.VII fq^qTfTfqT qqfqfr?T jqqfffl q I ^HW^Thg q IPVMI %qr*#e$ srasift-* eT3^: HI I qTo5qf??T q ST5R^ S^tT q Ih^H q frcrVcRfaj qfqqr^RTq, | weirfiq ^55 JTTfq qqqR Ih^ll 3lfqqiRqqTf? qqgftB»Jc! qqeaqt: I f^HB^ 2cT?mT ??TTcq (?f«q) ftf II tell qlfcSp&sq 5?tj| I aiRT«a i'5^: jtt^ Nt *mqq*i IIVftH Hi ^1 *Mfr g efcr 1 ^mlfqsq | fteq f^eq^qTqq %cT*l. lft°ll qitaft'rft qWefermt qTO qi^^SSqyq; * 1 • qd»IR fjsqqq 2. q-q-qiqq""fqw PAUSKARA SAMHITA TRANSLATION CHAPTER •• ONE DTSCIPLE’S TEST (S'ISYA-PARlKSA) O Lotus-born, when a disciple who has fulfilled his vow, stands in front of the teacher, he should order the disciple so approached as follows, “O son, go and fetch monetory resources required for the equipment of the ritual of MANDALA-worship (Yaga) by the performance of which you will gain peace of mind. The disciple should offer the money so obtained to the worthy teacher who is endowed with many good qualities, at an auspicious time, Having then offered whatever is so obtained, to the teacher (or preceptor), iind having addressed to him as “O Master, I have ob¬ tained this (amount) due to your grace; well, please 2 accept it; and show compassion on me, who is drowned in the ocean of mundane existence.” When pathetic proclaimation like this takes place on his part, the preceptor may proceed to perform the magdala-wor- ship for his sake. (1-5^ Having sketched (the magdalas) according to procedure and having filled with auspicious colours and then decorated with vernillion powder etc., and embelished with (the designs of) water*pots etc-, on the ground, with the help of pencils of gold etc., the diagrams may be worshipped; in case however of want of funds, one may be worship with flowers and fruits and the like, always available in forests, obtained with efforts. Having worshipped it (i-e- the mandala), it should be shown to him (i e- the deciple). Mind that the maodala-pattern is fourfold. The first type is known as Padmodara, i.e. having lotus at the centre- This pattern has twentyfive (lit. denoted by the number of tattvas or the Sankhya-principles) specimens. The second variety is known as Aneka-kaja-garbha i.e, having more than one lotuses at the centre It is also of many sub-divisions. The third type of marjdalas js Cakrabja i.e. having an encircled lotus at the centre. Its sub-divisions are also several, O Lotusborn (Brah¬ man). The fourth variety is described as Mis'ra-cakra- bhidhana, i.e- having complex wheels at the centre- This pattern of mandalas is also composed of several sub-divisions. (6-10) The fourth type of maridalas is said to be one in which when entangled, one is liberated. After this* there is a (federal) pattern known as Nava-nabha i.e- having nine axe (lit. navels). This pattern is marked with various sub-designs. In the case of the devotees, l he state of liberation occurs instantly when this pat¬ tern is seen, worshipped or imagined inside the fire. When it is only seen, or worshipped duly in a period sti¬ pulated; e-g. on the twelth day of each lunar fortnight, then the devotee attains the status of Samayin [initiate] at the end of one year. He attains the status of being Putraka [sonship] by worshipping, seeing or medidating upon (the magdala), at heart, for another year. For him, eligibility is attained by that period (11-14-1/2) Well, two Vyuhas or designs : the first and the last should be worshipped at the beginning and at the conclusion with devotion, O Twiceborn (Brahman), for a period of one year (?). When the aspirant soul (jantu) has attained the status of sonship [Putrakatva], whose sins are destroyed, the fruits begin to accrue to him on destruction of his sins- Then he should be yoked to or enjoined with the status of aspirantship (Sadhakatva) by the preceptor. He should then be further initialed in that realm after commissioning him in the third category of inagdalas (trtiya cakrabja- mandala). This category or pattern is to be meditated upon and worshipped with all its sub-varieties, for three fortnights minus five days {[1 5x3 = 45-5 = -10). 4 Each wheel should be worshipped until the lotus In being worshipped [?]. O Twiceborn, the fruits of itn worship commence gradually in case of the aspirant diseiple [16-20]* The preceptor has to show the fourth pattern of the great maijdala [mahayaga] meticulously, to the aspirant. By that he will attain the status of teachership or preceptorship [Acaryatva]. Having wor¬ shipped Him for a period aforesaid, one should medidate upon the sentence [vakya?]. O Brahman tho twiceborn, the worship in the maijdala-designs may be completed in the remaining days, one by one- Whoso¬ ever [i e. the devotee aspirant] performs the worship with the help of maijdalas [yaga] for a period of four years, he attains the other end or shore of the ocean of life in the form of worldly existence, which is diffi¬ cult to be traversed. In case« he carries out the worship in the great magdala design [mahayaga] having nine vital points or navels [nava-nabha] they become for him torchlight in the form of knowledge [jnana-dlpa] in this forest of worldly life [samsara-kantara]. For the devotees and the god-believers who adhere to faith and restraint, various forms of matjdala-worship have been always prescribed. [21-25] Indeed, the oeean of worldly life is impossible to to be crossed over by any means other than the maijdala worship [yaga] He is truly remembered as a preceptor or Guru who safely leads an aspirant over to the other shore which is the object of knowledge | jrieya], by helping him board the boat in the form of the maijdala [yaga-pota], being extremely infused with compassion and having no expectation of recipro¬ cation. He is really a guru to be placed on par with Me [matsuma], who recognises a devotee to be deep- merged in the ocean of grief and in a state of being | utterly] helpless, uplifts him with the [helping] hand in the form of mandala-worship [25-28] At the very glance of these yagas, i.e. matjdala- worship, the holy fords or water-places of pilgrimage, holy places inhabited by the Siddhas or the realised mjuIs, the temples or shrines of gods who are adored and worshipped with flowers, clothes and ornaments and the hermitages of great sages, while the holy fire | whose food is the oblation] is being offered oblations alongwith the chanting of the vedic hymns, the evil temptation, the evil mind, perverse thinking, bad inten lion and bad motive and the infidelity or heresy present in the persons of baffled mind, in the persons with hatred and in the persons who are wicked by intention and in the persons who are non-believers, are ruined forever [29-32]. A feeling of devotion arises instantly in them alongwith faith, due to the influence of Him, i-e- god- No doubt it so arises in the case of those who have already attained faith. Hence, a disciple should be recognised as a devotee endowed with host of good qualities, totally absorbed in Him and permanently affiliated to Him and whose mind is free from any doubts- He may be either a Brahmin or a Ksatriyn m a Vaia'ya or a S'udra, who is poised on the path of lln> self (sva-pada) i-e- a person belonging to an acadnnii , martial, commercial or a menial class of the society He mav be either a bachelor or a householder wlm has fulfilled his duties, or a forest-oriented person m a medicant subsisting on alms or the disciple may hn a woman who has attained discrimination about I ti. Truth- The disciple should be gallant, pure, self-con tented and having ardent desire for the realisation til the truth- He should be energetic, endowed with r< solution and who has abandoned all his kinship Having obtained such a worthy disciple and havi tip thereafter completed the ritual of initiation into thr path of marjdala worship (yaga-diksa), then the prr ceptor should commit all his elemental material bond* to the sacred fire by way of oblations, including thom» which are past, which are current as also those which are yet to take place (33-38). O Lotusborn. On anni hilation of the host of bonds, state of familyhood with the embodied soul accompanied by the pervasion with the identity with the ultimate truth would com¬ mence- It would be a self-same position with the ulti¬ mate Reality which is an object of expression- The devotee would reach the state of equanimity on attainment of realisation of the lord who is omni¬ present, omniscient, beyond perception, characterised by the sentient, the truth and the bliss; who is free 7 from the states of visibility and invisibility; who is non-attached like the sky who is situated in the heart of the heart of the aspirant and who is reflected in his intellect (39-41 ). The preceptor should impart to his disciple who is so eligible, the knowledge of the Self, after having properly examined him- He should see that the dis¬ ciple has fulfilled his duties, he should then apply him to the ultimate principle and instruct him to impart the same to those who are scared of the fear of the worldly life in flux, after having pondered over the principles of knowledge, inevitably and constantly. The teacher is advised to desert his mortal body only after he has transferred the knowledge of the self to a w orthy disciple- By that the, ultimate sacred know¬ ledge which dispels the darkness of ignorance, which is the destroyer of the seed of rebirth and which is embrionic essence of the universe, does not disappear or lapse (without being put to continuity of tradition) (42- 4)- I’auskara, the Lotusborn said : in due course, when the ritual of initiation has laken place in the case of the souls scared of the worldly life but who are yet to be fully enlightened, and who have not yet attained proper spiritual stage, m case, such aspirant persons prematurely die, then () Lord, what happens to them who have not yet completed the process of worship and who have not yet attained the true knowledge? The Lord said : O dear, the fruit is indeed quicker in case of I In* persons who have the fulfilment of ritual-action prr ceded by the due resolve- However, in the case u| resolve which is not seen through, I grant him fruit as soon as his mind affiliated to the serpent-couch (naga-talpa), the bed of (Lord Visrtu i-e-) mine. Havinji crossed the ocean of >vorldly existance, he attains the supreme destination, the Eternal and Immutable Resori, virtually at the time of his resolve. There are three stages of devotee-aspirants: the accomplished one the progressing soul and the one who is desirous of progrem or ascent- After some time however, a parity is establiN- hed amongst them, which please note- By analogy, com¬ parison may be drawn with three persons: one who hud already had his food and hence who stands satiated the other one for whom the food is ready and the third one who is to be known as a person who has not ycl taken his food and whose time for eating has not yet arrived- At a culminating time (Of digestion) however want of satiaton is not regarded as disqualification, for all of them. Likewise O Lotus-born, in the case of the Mantric ritual of Mandalas, of the devotees, the adoption of the Mantric path, by the human beings, endowed with devotion and faith, the attainment of 9 the Immutable Goal in due course would arise simu- Iteneously. It is indeed potent of crossing over the life in flux. A twice-born who becomes knower of the truth, by that faith, which is incomprehensible for the intellect and the faith which is free from doubts, from those who are poised in samadhi-illumination, during his rebirth- Thus concludes the first chapter named ‘Disciple test characteristics’ of the Pauskara Samhita of the great upanisad called Pancaratra CHAPTER : TWO SOIL-TESTING (BHUPARlKSA) Pauskara, the Lotusborn said : O Lord, kindly explain to me the characteristic* of the mapdala- designs. The varieties and the location* of those designs is said to be infinite in number. Lord S'rlBhagavan said O Lotus-born, there are several kinds of suitable spots. The rituals of nagdala-worships commence in a place where the piece of land is rich with crops ami which is acquired after reaching a sacred spot of re¬ nown due to inhabitation of Siddhas, the realised souls- I shall now explain such spots: those are either on the peaks of mountains or the mountain caves or the plateaus or table lands preferred by the birds; or in the pleasant terrestrial forests with thickets of trees and herbs; or in the auspicious parks endowed with com mendable lotuses; or on the banks of downflowing rivers or on their confluences: or in the vicinity of holy fords where the flocks of swans lead quiet life; or in the premises of the shrines of deities or in the cowpens or the hermitages of Brahmins which are rid of the ferrocious animals and the fear or scare from theives. Therein, having examined the soil, at first, to be rich in good qualities and good characteristics 11 suited to the establishment of shrines of gods or town¬ ships for the Brahmins or the residence and the ritual- performance of maijdala-worship of the householders (1-8). O Brahman, listen to the merits and defects of the soil which I explain to you comprehensively. For the very reason that the site which is free from defects bestows fruitful rituals and in case it is a defective soil, it would cause several obstacles Such a soil is deserted by the evil spirits, O Lotusborn, due to the influence of the spells and hymns (astra-mantra). That site is always yielding good to all in regard to worships etc., which is accompanied by calm and quiet grove of trees, sur¬ rounded by fruit and flowers, strewn over by soft tender grass and turf; the soil having pleasing touch, having delicious water, rich in fragrance, sweet, white, not barren, not scorched either by fire or by meteors or sunrays; the soil which is free from gross defects like repulsive smell etc.; it always bestows happiness and peace- The recommended site also needs to be free from wicked beings, resorted to by auspicious birds; wherein the cows and other species of animals are seen living happily; wherein the beasts like tigers and ele¬ phants enjoy their life in company with human beings and the site which generates pleasure at sight as in the case of glance at charming wives- The piece of land may be full of both varielies of Lotus flowers blooming 12 by day and blooming by night and the dark blue veriety, and swans etc (9-16). The list of recommended sites also includes a site which has a lake on the eastern side and a mangogrovc on the western side; a big bamboo-thicket on the left side and a mountain on the right side- A site free from snakes etc-, even and of uniform colour is also recommended. The land endowed with auspicious properties to whoso northern side or north-eastern side, there exists re¬ servoir of groundwater such as a big or small well etc ; always yields allover accomplishments- A land with even touch like the moon having cool rays, which is pleasant during summer and quite worm during winter and wet with water during rainy season; which has a resonance like the bronze (karhsya) vessel, or a reso¬ nance of a bell, lute or a flute is regarded as auspicious- A soil with a resonance of a drum or a Mrdaiiga yields all desired-fruits ( 7-20.1/2) The quality-tests for soil are as follows : 1 (den¬ sity) : one or onehalf cubic unit having been dug, the clay may be removed and replaced in it. If the clay happens to be surplus, then the soil is superb; if it is equal, then the soil is medium and in case, it falls short of the capacity of the pit, it is regarded as the worst in quality and that soil may be discarded as perilous- 2 (fertil ty): Similarly, the soil in which a seed sprouts respectively in a range of three, five and seven days. arc indicative of respectively of the best the medium and t he worst types of soils* 3. (water-currrency): Soil with a slope for a water current towards either east or north or north-east, is always prescribed as acceptable, O Twice- born. A floor of convex level like the tortoise-back is appropriate, while a flat floor like the surface of the mirror is still better. The land exhibiting the shape of a conch, a disc, a club and a lotus (S'ankha, cakra, gada, pad ma - emblems of Visou) as also the footprint of Bhrgu on Visiju’s chest and the eagle or of the form of the garland or crown of Visou is always potent of fet¬ ching all achievements. A piece of land indicating pro¬ perties contradictory to above-mentioned list is likely to fetch undesirable fruit and hence is to be always warded off since it is detrimental to all accomplish¬ ments (20-1/2-26) In case however such a piece of land, endowed with the aforesaid characteristics would not be availa¬ ble. then after accepting an ordinary plot one should perform the worship after having adored it with man¬ tras* The lord of the site (vastuttama) should then be worshipped by oblations in infinite number* He should he adored with lustration with profused quantity of ghee in the lamps stationed at the centre* The selection of the she should be made by elimination of a grown up tree in the premises of a wall of a Buddhist chaitya or a shrine of a deity as also double the distance of the area of the sanctum sanctorium (27-29) (29 obscure). 14 The ritual acquisition of soil should be done dn an auspicious and favourable day. Prey-offerings should be made towards all the directions and sub-directioitN and at the centre of the plot, in the form of meat of a non-slaughtered animal or barley grains alongwith water or accompanied by fruits and flowers, combined with oil and salts, also mixed with various tangible ollVr- ines moistened with curds, milk and jaggery as also ad¬ ded w th tamarind powder, s'advala and sesamums. The Bali should be offered after having uttered the fol¬ lowing prayer, “the ferrocious and cruel beasts whose resort has been this piece of land (selected by us), let them bestow favour on me and proceed to sorhcu other resort.” Having thereafter medited upon one’s own body resembling a missile and glowing with missile mantra, one may order the spirits thereafter to depart) one may dig the ground to the water limit (30-3 ♦). .. (35 obscure). .7/ After that the pit so dug should be refilled and afterwards the land should be cultivated to grow even grass and paddy crop and tender foliages of trees*' Herd of cows should then be made to inhabit for three days* The land should be furrowed with ploughs on the ' fourth day after weeding and cleaning thoroughly. It' should thereafter be scorched all over with burnt bricks. Thereafter it should be sown all over with the dust arising out of gold and jewels accompanied with rice and other food grains, fragrant flowers, fruits as 15 also unbroken rice, parched grains, sesamum and white mustard, red-lotus [siddharthas, srikara] accom¬ panied with five products of a cow [paficagavya] i.e. milk, curds, ghee, urine and cowdung* The land attains purification by this instantly whether the pit is dug or not. The cultivation of crop etc. should be done wher ever possible for overall purification and sanctification as also the purification of the site. It is also for the sake of acheivement of seen and unseen fruit for those who are engaged in the ritual of sacrifice (yajna) or the ritual of maijdala worship. Thereafter having level led the pieceof land and causing slight downslope towa¬ rds east and north, water should be sprinkled all over* Then it should be frequently stamped with large wood cn rods [musala] made of trees fit for sacrifice. The land should be smeared with clay, cowdung and water to he made to resemble wet touch after rainfall. It should then be softened with hand and cloth. Thereafter one should undertake the task of orientation to ascer¬ tain the mainand sub directions (of the site), on an auspicious and favourable day [36-44-1/2]. Thus concludes the second chapter named ‘Soil- test characteristics of the Pauskara Samhita of the great upanisad called Sri Paiicaratra* * CHAPTER : THREE ASCERTAINMENT OF DIRECTION ORIENTATION [DIKSIDDHI1 The Lotus-born said f O Lord, kindly narrate to me the topic named ‘defining the ascertainment of directions,’ i e. the topic of orientation, for the sake of the benefit of all the people in general and of me in particular [1]. The Lord said •• In a given piece of land which is smooth and having slope towards north-east the east west direction is to be recognised by either an established [local] tra¬ dition or by conventional test- The orientation by the established tradition is that in which the directions arc arrived at from the vicinity of the walls establish near the road close to the great piller [flag-staff] of a temple or from survey already made. The artificial method is with the help of solar gnomen by recordin'? [the shadows of the] east and Oest; The central point leads to the entire orientation which I shall explain clearly with the location of the gnomen by which one can construct the hcuse for the yagas etc. in a piece of land in the open [lit without any enclosure]. The pin of the gnomen should be made of metals such as gold etc., measuring from four fingersupto twelve fingers in length and 17 having both^he^tips [tapering] resembling the south of a snake [nabu?a = nakula? = snake or mungoose]. Having *cft out onehalf [dvatha = dyams'a?] or one third at its end, it should be fixed in like a stone in one place or both. Thereafter a cord, quite hardly stretched should he plied from one end to other corner (?) Having then, taken note of the sky to be cloudless the gnomen should be pitched on a day of equinox- The gnomen should be round like the little finger, made of hard wood which is recommended; alternatively, it may be made of a sharp metal. It should be sixteen angulas in height (8 + 8) or it may be more with twelve fingers in¬ serted underground and twelve remaining above. The eord with a pin should be tied at the end of the root of the gnomen. O Lotusborn, when attached it resem¬ bles the fashion of the tying of a girdle. Then that cord should be streched fully or halfway- A demarca- lion should be made with the pin or the needle with the help of that cord on all directions on the ground, evenly with even hand, minutely as per convention (saketa = sank eta?) O. The shadow of the gnomen should be marked to enter the circumference of the circle and a marking should be scratched at the place where the shadow intersects the circle, on the western Hide as well as the eastern side O Twice-born- The de¬ marcation should be extended upto the outer periphery. O Twice-born, in a place where the day and night are of equal duration, there, the east-west orientation (de jure) is the same as derived from the shadow of the IX O brahman, in a region where the day and night are equal (in duration) on one equinoxial day only, there the east west orientation is to be located or idea tified (de jure) with the following characteristics ll»»* equinoxial axis of the sun (visuvatl kasta) extends from south to north (in the form of parallel lattitudimil lines)- On that line eastern and western divisions are ii* be identified with the help of the shadow. With that, the region lying on the western side or on the eastern side should be distinguished. The centre of that lim- also should be deliberately demarcated. The exm I eastern quarter should be prima facie decided accord i mm to customary convention of one’s own region uml similarly in other regions also- In the sites which nr* on elevated planes or depressed planes or in sites which are far removed from the centre, a portion equi¬ valent to one-sixth of a day and night duration should be imagined as a testing unit- It should be then put to application to harmonise with the morning (?) (1 -20J) On a day when the sky is clear without any cloud if a shadow is taken at mid-day eastward and westward, then the place of conjuction is to be always known (?). If however the shadow of the gnomen falls halfway then modification is needed (?). In that case more space is to be taken on the eastern side. The position of the noon-shadow (of the gnomen) it to be understood to measure eight fingers during the zodiac: aries (23). 19 The division of the actual shadow is fourfold; the surplus portion of demarcation of the east is cal¬ culated thereof. During the period of the zodiac-Mesa the noon-shadow is to be known as equivalent to eight angulas, i.e. two plus six- In the zodiac Vrsa, the shadow is five angulas (-Four angulas). in the zodiac sign Mithuna, the shadow is nngulas (it is 10 + 1 + 2). In the zodiac Karkata, it is two angulas [25*26]. The shadow in the zodiac Leo [Simha] the Miadow is equal to that in Mithuna- In the zodiac Virgo [Kanya], the shadow is to be known as equivalent t o that in the zodiac Vrsa- In the zodiac Tula, it is similar to that in Me?a. In the zodiac Scorpio [Vrs'cika] it is twelve angulas [18 + 2]- Now listen to that in the zodiac Dhanus; [Sagittarius]; it is O Twice born, equal lo eighteen angulas [+ 2-10?]. In the zodiac Makara i e. Capricorn [? jhasa = Pisces], the shadow is thirty mgulas [ + 2-20]?. The shadow in the Kumbha [Aquarius] mdiac is epuivalent to that in the Karmuka [-Dhanus]. I he shadow in the zodiac Mina i.e Pisces, it is equiva¬ lent to that in the Scorpio [Vrscika] [2 -29]. The one-twelth part of the length of the gnomen n to be known as one angula [inch] unit. The one-sixth art of the same [gnomen] is to be known as dvyan- u I a [30]- 20 Thus on the surface of this globe of earth, tljp primary task of sketching is to know the east-west and the centre of the plot as per situation. In a given slip of one’s own the eastern region may then be locutrd after application of a gnomen as before and also hnv ing rotated a circle. Thereafter the western direction as well as the north-east should be [properly] demur' cated Lotus-Born* Thereafter having considered thr centre of the circle with the help of mid-day shadow, O Twice-Born, as, before having located the east, a line may be extended. It should be connected to the east west lines O Lotus-Born, then having left out [some distance] from near that line on both sides: east and west. The measurement of the mid-day shadow peril¬ ing to directions should be marked clearly with two signs on the region of the circle. Thereafter the orien¬ tation of the towns etc. may be obtained [31-3 ]. The distinguishing marks of east-west centre etc. should then be set down- In the case of other regions, the south-north line may be accomplished after the accomplishment of the east-west line- Having thereafter erased the line drawn earlier in the circle i.e- the factual line) even though the extension of line outside the circle is to be retained. It is the original or prior orientation line of that particular region [37-39] The circle obtained by demarcation of the sunrise. 21 In case one is desiring to know the eastern direction iin per convention, without any ambiguity whatsoever, une may do it with this procedure at all times, O Lotus- horn, thereafter having demarcated the ground on all directions from outside to inside with several clear minute and close knit lines emenating from the eastern line as base. Thereafter one may record the shadow blending upto horison (lit. upto the end of the earth), altering the network of the demarcations on the yround. Thereafter one may record the spot in such n way as to get the passage towards north. Thereafter Imving pulled out the peg in such (soft) manner as not letting the surface of the ground excavated. Then having joined the points marked by the gnomen in the northern direction and the point where the gnomen is fixed in the ground and extending the line at length, o l.otus-born, with the help of the string dipped in wet lime. Having extended the line south -north and thereafter a line in east-west direction. In this way the orientation is obtained for construction work of tem¬ ples and the like (41-47). I lie Lotusborn said :- O Lord, I wish to know well the procedure of obtaining the north-south line from the east-west line mul the east-west line therefrom (48). Lotusborn, this secures the central measure of all the four directions. Thereafter one may draw a surroun¬ ding square of measurement of one’s own choice. This square will form the basis for the plan of a residence or a Mandala-diagram or a lotus design and the like* Then with the cord fixed at the centre and rotating on all directions one may record the marks of directions by taking a fixed length of the cord. The marks for the directions and sub-directions, having been recorded as per demarcations aforesaid, one may draw the lines extending from one mark to another. One may get a plot cf square shape of any approximation, O Magna¬ nimous Soul. This will be useful for construction of buildings of one’s own choice after drafting the suitable groundplan- One may thereafter worship as per pres¬ cription the person residing therein, who is indeed 23 one emenating from the shadow of the Lord in the form of the Universe, O Twiceborn (49-58). Vast upurusa maijdala (9 9 = 81) (V. 58 to 96) The ‘Person’ is to be worshipped as per proce¬ dure- This person who emerges from the shadow of the I ord in the form of the cosmos is residing here (i-e. in the ground plot: Vastu), Oh Brahman! (For the repre¬ sentation of this cosmic person a symbolic diagram is lo be drawn as described below): Having divided the ground plot ninefold on all sides with the help of cords dipped in lime paste, the lloor of the hall meant for the diagram-worship’ (yitgagara) is made of eightyone units- I I In each of these square-units, one lotus each should be drawn by dividing (the radius of the inscribed circle) into four parts; each of these lotuses will be equipped with eight petals, with the exception of the quadruple of lotuses situated in the south east, south west, north west and north east (agni i.v'a- rakso vayavya)-corner units pertaining to the outer most periphery (of this diagram) which have four petals only. The deities should be worshipped in these lotuses beginning with the northeast corner. The order of worshipping the gods, (suras), and uts (r3i) respectively in the lotuses of the outer en- 24 closure begins with the north east lotus (vr?af>ka-padn- padma). 2] The order of assignment of the deities in the north east-square is as fallows : -Inside the pericarp (kargikii) Brahma -Eastern petal-Is'vara -Southern petal Tapana -Western petal-Diti -Northern petal-Aditi Having worshipped the above-mentioned group of five in the north eastern square, one should pro¬ ceed to worship deities on the eastern side. 3] The order of worship of the deities residing in the pericarps of the lotuses drawn in the seven squares along the eastern side is as follows : 1 2 Apavatsa 3 Jayendra 4 Sama/iyaka [? Sama- rlyaka] 5 Ravi 6 Satya 7 Atmadeva 4] The deities stationed in the lotus pertaining to the south east-corner are : -Inside the pericarp, i.e. in the centre-Brahma -Eastern petal [purva patra] Blm'a -Southern petal [daksiria] Gagana -Western petal [pa.v'cima] Vibhu -Northern petal [Uttara] Pusan. 25 Having worshipped the group of four deities on four sides petals of the lotus in the south east square* One should proceed to worship the deities along the southern side, upto the south west-corner (Raksasa-koijanta) in the intervening seven squares. The deities assigned to these squares are 1 Savi- takhya, 2 Savitra 3- Svastyaya A Grahaksama (Grhaksama) 5 Vivasvan 6 Dharmadeva 7 Gandharvadhipati* ft| The deities assigned to the lotus in the south west- corner (Nairrtakorja) are ! -In the centre Brahma -Eastern petal (prak-patra) Bhrngakhya -Southern petal Bhrngaraj -Western petal Pitrgarjadhipa -Northern petal Dauvarika /| Then a group of seven deities should be placed in the eight petal-lotuses, inside the pericarp along the southern side upto the north western square in the order : l Indra 2 Indrapada 3 Sugrlva 4 Kusumadvija 5 Mitra 6 Varuna 7 Asura- dhipati. n| The assignment of the deities in the north west corner lotus is as follows : -In the centre-Prajapati (Brahma) 26 -Eastern petal (prak patra) Sesa -Southern petal-Adharma -Western petal - Yanmayadhipati (Yaksmadhipnll) -Northern petal - Nagendra 9] Thereafter a series of seven deities should be woi shipped along the northern side as before. I lio order is 1 Purvakhya 2 Rudradasa 3 Mukhyu 4 Bhallaka 5 Somaka 6 Dharadhara 7 Matsamjrtii This is the list of deities (of the outer enclosure) of the Vastu maridala- Having worshipped one dcily each inside each of the lotuses (on four sides) one should offer worship to the Lord of the site (Vastunatlm) residing in the petals (eight), having announced onc\ name- In the case of the lotuses in the corner-square, He should be worshipped beneath the lotus filament (kesaradhas) The mantra to be chanted is : Om! salu* tation to the Lord of the site. Having worshipped at per convention with (the use of) flowers, incense etc, and also curds, milk, water and eatables including fruits and roots this stage concludes. 10] Having worshipped the host of gods ( pantheon | in the outer enclosure, the lotuses in the inner rows, beginning again with the north east corner should be filled (inscribed) with eight group of alphabets in a clockwise order and in the manner of the coil of the serpant [cobra', upto the lotus in the central square (madhyapadabja], with the series of letters beginning 27 with Akara and ending with hakara. Then in the same (corresponding alphabetical) order, the deities should hr worshipped in each lotus and its petals (assigned (or the lord of habitation). Now listen to the assign¬ ment of the deities in the interior, i.e. second enclosure* I lie number of deities is twentyfour and the names are if. follows accompanied by corresponding syllables ( u j ) : 1 Dhataa) 2 Yanta 3 Dhruva (i) 4 Kala (i) II Kama (y) 6) Karta (u) 7 Jayanataka (r) 8 Jlva (r) V Prapatira (Prapastara(l) 10 Yajna(J) 11 Ravi(e) 17 Mrga (ai) 13 Yamyaka (6) 14 Lokanatha [au] |1 Vidhata [am] 16 Bhaga [ah] 17 Srasta [k] 18 Ni- v»maka[kh] 19 Manojava[I] 20 Kalyaga [h] 21 Par- mnya|h] 22 Dravii)a[c] 23 Sra§tarah[ch] 24 Vis'va* ( it r in a [j]. Oh Lotusborn! These are the twentyfour deities to be worshipped in the internal [i.e* Second] enclosure. Il| In the third enclosure interior to these squares, the pantheon to be adored bear the number sixteen [in the continued order of alphabets] as follows j 1 Samudra [jh] 2 Matarah [n] 3 Dvlpah [t] 4 Masah [th] 5 nadyah [Nadyah] [d] 5 Tarakah [dh] Vi.s'vedevah [h] 8 Aparasah [t] 9 Mana- vah [th] 10 Rsayah (d) 11 Vasavah (dh) 12 Ma- rutah (n) 13 Siddhah (p) 14 Nagah (ph) 15 Sa- dhyah (b) 16 Grahah+(bh). 28 12] In the fourth enclosure, the deities to be assigned are the protectors of the world (Lokapala) begi¬ nning with Indra (textual addition from Iw'varu Samhita): (!«' 16-135-6) Indradi lokapalanistu caturthavarane nyaset* Tatpadadau to ces-'antampadmanam patra mahyntuli 1 I/ana+ (HE)(m) 2 Indra + (E) [y) 3 Agni + (SE) (r) 4 Yama +(s) (1) 5 Nirrti + (sw)(v; 6 Varutja + (w) [*') 7 Vayu+(NW)(?) 8 Sonia (N) (S) These deities are assigned to the lotuses in the eight square units- 13] In the central lotus of the group of nine lotuses, one should worship Lord Vis'varupa residing in the petals. The accompanying syllable is li- Vi.v'varupa is the lord, assuming the form of the cosmos to whom the pantheon (group of gods) en¬ listed above attends alongwith their vehicles, wea¬ pons and paraphernalia and resides in Hiscompo site body in communion with Him, the magnani¬ mous Soul (Mahatn an)- These deities should be worshipped one by one alongwith the respective syllable assigned to it- The plot should be distinctly demarcated taking north or the east for facing. Otherwise the sight of the habitation may not fetch cherished accomplishments- With the proper per- 29 formance of worship all the accomplishments would stand revealed for the people, forever. Stable peace would accrue to the habitation gene¬ rally without being affected. For this reason the sight should be developed with efforts the pros¬ perities are established for realisation of the Moksa or the summum bonum. Thus concludes the third chapter named ‘Asser- lainment of direction orientation’ of the Paugkara Samhita of the great upaniaad called Sri Pancaratra. 30 CHAPTER* FOUR CHARACTERISTICS OF PENDAL FOR MAN DAI WORSHIP (YAGAMANDAPA) Pauskara The Lotus-born said : O Lord of Gods, Kindly explain to me, t hr (construction of) the halls etc. for (the performance id) the Maijdala-rituals, for which You have described the square (diagrams of Vastu-maijdala', earlier (in the preceding chapter). 1. The Lord Said : Having appraised of the scale pertaining to Mandalas, which is well-defined, or in case it is not so defined, having brought it over from the (proposed) marjdala-diagram, the measurement of it (i.e- the hall; is cast or sketched thereof, so also of the plot the having known the measurement of places of thr oblation and the measurement of the passages, one may asses the measurement of the enclosures. (2-31) The Lotus-born said t O Father of the Universe, kindly tell me about the standard measurements by convention as well ni the expance of the mandalas, the sketching etc. and the expance of the ground-plot- (4) 31 The Lord said = That particle (of dust) which shines in the (ray of the) sun is the one which is defined as ‘paramapu’ with eight such paramaijus is deemed (to be an ‘ar?u\ With eight such aijus, O Lotus-born, is formed an egg of a lice (lik?a); with eight eggs of a lice is formed lice- One barley seed is eqivalent to eight lices. With eight times the width of (the belly or the bulging portions-yavodara of) a standard measurement of a hurley grain is formed one finger (-width). A golaka or kala is the term used for the measurement of a dou¬ ble finger [-width]. Six times the width of a kala Igolaka] is known as tala in the course of fresh acti¬ vity of sketching. With twentyfour such finger-widths, u formed one arm, O Brahman. Well, with that scale o| an arm pertainig to either a teacher or a student, the sketching activity may be undertaken everywhere in the case of drawing mapdalas etc [3-9]. In the case of the magdala designs [yaga], having different scales of proportions as also in the case of different sketching grounds, the first scale is regarded .is standard with twelve fingers (as basis)- The second wide is with eighteen fingers and the third with twenty- tour fingers. Besides the scales with three, four and *ixleen are also approved [10—1 1 5]. The passages or corridors for the maijdalas lyftga] with moderate (svalpa) expanse are prescribed 32 to be one and half fore-arm [hasta], two fore-arms, 01 two and half fore-arms. For the medium size of yflgiu, the passage should be of three fore-arms [in widlh |, the pssage with three halffore-arms in width is still more auspicious. In the case of yagas of multi-fcrnii* nature with expansive proportion, the surrounding passages or corridor [gama-nemi] should be four forr arms or added with six golakas ( = 6x2 = 12 finger*) [12-14*] [15—164] obscure. The sketching [astra?] of the ground-plot should be done with approved scales, for all the designs sepa¬ rately as per prescription [17]. In the case of the canopies (pendalsj or the Yagas, the expansion of the ground should be sketching [point] upto the surrounding corridor [18]- The con- vient scale for the Yagas is prescribed to hange fvM ween one to five hastas; that is for the smaller category The measurement for the medium category varies from six to twelve hastas, little less or more being admisssi ble. The scale beyond that is said to belong to largn category- The house [hall] for the Yagas [Yaga-ve*'m 1 1 should be constructed after taking into consideration, with good deal of efforts, the scales as aforesaid [19-21 [ The prescription of the hall for the Yagas is a* ollows : the height of the walls for the halls of smal¬ ler size of yagas, it should be made with one hasta 33 only or with one and half hastas* The height of the walls for medium category of halls should be two has- tas. The height of the walls for bigger category of houses for the yagas, should be made with four hastas, or five or if so desired with six, seven, eight or even nine or ten hastas, O Lotusborn. Having thus accom¬ plished the measurement of the set of walls the scale may be increased to twelve hastas or thirteen (12 + 1) or fourteen hastas. The proportion of the houses (halls) of the matjdalas may be always such or little less or more* The pattern of the wall-measurement is thus threefourth {12-21). The height and the breadth of the walls should be proportionate in the rising scale (28). The construction of thependal lYaga-mapdapa) nr hall is recommended to be bestower of all accom¬ plishments, when it is done with a blending of wood and baked bricks to suit the plastering with lime-coa¬ ting. That should be achieved as per availability of funds and in accordance with the suitability of time and place (29-29,)* One doer or entrance alone, should be made for llte halls of smaller types. It should be located at the irntre of the eastern side; it may as well be placed in th.* west (at the centre). The door made by leaving the centre is non-yielding of (desired) fruit. Therefore, lie doors should be placed meticulously at the centre if the directional sides- There should be two entrances 34 respectively on the eastern and western sides for the halls of medium-size-Yagas- For the enclosures of very expansive proportions, a set of four entrances should be built on all the four sides of the surrounding wall* (50-33). The height of the entrances in the case of the halls with small scale should be one half or one third (asta-traya = amsa-traya) more than the width, ol themselves. In the case of the medium halls, the height should be one fourth more the width and in the case of the remaining type, the height should be one fifth (pa.s'cimam'-'a = pahcamanWa) more than the width, or one third of^the first (i.e. aXl/3 = 1/6) i.e* one sixth more than the wi'dth, The mutual distinction lies in the surplus height (34-35). The width of the door-panels as well as that of the pair of door-frames : lower and upper, should be one fifth of the height of those in the case of the smal¬ ler category of halls. It should be one fourth in the case of the medium ones and one third in the case of the types of higher scale. The thickness of these parts should be half of the width or the breadth. The gno- mens should be plied thereto Each door should be equipped with respectively five, seven and nine grids or sections corresponding to the three categories (small, medium and big). Then when the door-panels are set tiled, the assignment of the presiding deities should 35 he made, as per order of the direction of the respective door, as follows : The gods named Vajranabha and Hari*'a should he assigned to the (door on the) eastern side, to take positions on southern and northern sides respectively. The guardian deity Vajranabha, should hold conch and disc in addit:on to the thunderbolt and cane-stick (lit. creeper) in his hand- He should have his other pair of hands, one acting prohibition (of entry) and the other placed on the broad hips. Vajranabha should wear lerrocious contenance with the pair of eye-balls resem¬ bling fire and bearing strange glances. The deity Harl.s'a 'hould be of identical description excepting prohibitive acting and exhibiting the acting of permitting entry, indicated through one hand. Here, one deity prohibits the entry for the non-devotees and the other grants the entry to the devotees- Likewise a pair of guards should be assigned to each door. The guardian-deities: Dharmadhyaksa and Niyanta should be allotted posi¬ tion on the southern side (flanking on eastern and western sides of the door,). Dharmadhyaksa should hold arrow and bow in right and left pair- These two deities should be made to bear the resemblance of \ n taka, the god of death. They should hold staff and , lub in the other pair of hands and not the thunder¬ bolt and disc as in previous pair [36-45i]. The two deities on the western side are: 36 S'uddhaksa and Amrtananda. The position of the item* in the hands, taken from right side, is as follows : arrow and bow in one hand, a nook in another; and the four remaining hands would bear the positions as in t he previous pair, without variance. Both these deitiei should bear the resemblance of the Lord of walcrN [Varurja], forever in figure- The deities Vasunatha and occupy position in the north. Their two right hand* hold sword and spiked club [mudgara] respectively The holdings in hands of these two deities, for remai¬ ning four hands should be like previous case* Those two guardian deities should look like the Lord of stars i.e. the moon [39-49]. Thereafter, the upper door frame [urdhva-udu- mbara] should be decorated with the emblems like swan, blue lotus, encompassed with a circle, a row of conches, garland of sylvan flowers; so also, it should be embellished with swastika, Rama, Pak?Is'a [?], a water-pot full of Yamuna [and Ganga?], goddess • Lakgml and the Naga-kings accompanied by swans. The lower [atastima = adhastsama] doorframe should be decorated with snake, lion, elephant, horse etc. but none of the aforesaid emblems f 50-5 2i] The senes of windows [gavaksa-garja] should be onethird more than the half of the height of the door on both sides of the panel [?]• The number of the win¬ dows should be two, four or six. The projections of 3/ (lie doors accompanied by windows should be very charming, decorated with various designs, may be fashioned in ease (53-55). The constructions of the walls should be accom¬ plished after determining order, of the doors etc- fur¬ nished with anextures made of wood and iron, O Twice horn (56). Now listen to the construction of the columns of the pendals. The class of shelters for the yagas which lire small in size should be without any column. The other types should be constructed along with the colu¬ mns; I shall explain to you as to how those are done. The placement of the columns is prescribed to take position omitting the range of the corridor near the «ite of the oblations and around the place of the yaga. Having surveyed all the four quarters beginning with east with the help of the cord at the centre, O Lotus- horn, the row of the columns may be fixed with refere¬ nce to the column of the worshipper seated for wor¬ ship- The distance between the columns should be in ii continuous (even) number •' a group of four a group of eight, four plus twice eight (4+16>, thrice eight (8x3 = 24) or a group of four times eight (8x4 = 32) co¬ lumns. The number may be multiplied by onehalf or may be doubled taking into consideration the expanse of the pendal (57-62). The columns may be of various shapes : well- rounded, octagonal or twelve sided (lit. angled) or six- 38 teen sided (angled); those may be embelisheil with varied artistic workmanship (63). Hand and noose in other. The other group •»! four hands should be meticulously assigned with writ pons as before. These deities are always to assume I hr figure of Lord of waters, i.e. Varupa- The deities Vain natha and Sudhananda are to be installed on the null hern side along the south-north? (west-east?) direction Both of them are to hold sword and Mudgara in thru hands and the rest four hands of this pair of dciUr* should be as in the previous case- They are to be simi¬ lar to the lord of stars (i-e. moon) in complexion (47- 49). Thereafter the top panel of the door-frame should be decorated on the top of the two door panels. I » Twice-born, with the motifs of Svastika, Rama, P.it si.v'a (?) and the rivers (Ganga and) Yamuna holilinii pitchers full of water, and accompanied by the serpam kings and the swans. They should never be designed like the aforesaid deities (10-51) The rows of the windows should be like this i II should be like the doors in the respect of panels eh but those should be threefourth of the doors in height These windows should be fashioned on each side (dik kallka?) with even, number, namely, two, four or si* The doors and the windows should have the pairs u| aviaries called pigeon houses or dove-cote attractini) the mind- On each of the lines one may design puns 39 of outlets (rm'rama/nisrta?) having picturesque motifs. I lie construction of the walls should be accomplished |n proper order after determining, O Twice-born, the doors and windows (kha?) equipped with their parts made of wood or iron (52—56)* Now listen to the mode of setting up the pillars of the pandal. Wherever the group of halls of ritual nrc of small size, they should be without any pillars. I shall now explain the other pandals with pillars- The netting up of the pillars is now being explained to be prescribed after leaving the region of the corridor sur¬ rounding the ritual-ground adjoining the place of ob¬ lation (Bali)- Having properly examined the set of four directions east etc. with the help of the central line and having inspected all those (lines) a row of columns nhould be set up. Keeping in view the column of the host seated for worship one may employ the interspace of the columns along the continuous numbers = four, right and also four, sixteen (2x8) or twentyfour (3x8) or thirtytwo (4x8) columns* Alternatively the number of pillars may be increased by making it one and half limes or two times, taking into account the expanse of the pandal (57—62). The pillars should be of well rounded shape or octagonal or twelve-sided (lit* angled) or sixteen- uilcd (lit- angled) and embellished with various carvings- I he height of these may be half of the width (distance 40 between two pillars?) or else the thickness of the pillar* may be according to the availability of space ( ■ ) . A group of damsels may be carved in these pillars mini bering four or more and adorned with seats etc. cov¬ ered by the walls. This rule may not be universal, O Lotus-born. Wherever there is a pillar the design should be accompanied with a pillar* The number of tin- pillars is to be sixtyfour in a square (or four, eight ami sixtyfour). The abodes are to be filled with corn ami four damsels should be installed. [?] The diameter ol the pillars of the construction should be, O Magnunl mous Mind, should be corresponding with their brew dth in one to two and half proportion (?). The thick¬ ness of the pillars should be onethird of their breath In this having constructed the group of pillars tlir group of girders are to be set up over them for thru covering from above. Listen to the way as to how it *s to be done. Having completed the structure of tlu walls as per prescription the group of small parts, they should be fixed with the bindings of black iron cl» from beginning to the end. They should be fixed in such a way that they (pillars) would not be uprooted. The measurement of the quadrangle should be three, four or five cubits. On the top of the pillars there should be the emblem of the eagle and the flag of tlir ritual-ground. Having thereafter supported the pandul with strong, hard and quite conspicuous bamboo* Having thereafter effected the bonds of the pillar*, their small parts and their tops. The bottoms of the 41 girders may be fixed in the walls inside cavities- Having thereafter perforated or drilled their bottom one may insert the arm in its wood. It should be square in shape and broad compared to the vertical measurement- The bindings of the pillars, the small parts and the beams should be done with the timber made of hard wood and they should be broad, O Twice-born. The binding should also be supported with coverings of pots made of iron or the pegs or chains in large number so as to make it firm and non-shaking. One may thereafter prepare a great group of tops near the bottom part of the beams as also on the top, with the help of bricks plastered with morter- It may be of the shape of the cresent of the nruon or of the shape of a myrobalan (79* obsqure). The upper part of the beams should be covered with walls with clay and wood and morter so that it does not wither away- The stability of the region of the beams should be made strong. The neck portions ut the region of the pillers should be mounted upon ^77—81 ) the hard thick rope. The outward projection of the tip of the beam should be placed on the top- The (projecting?) arm should be tied with a spear. The lupporters of the beams should be designed as persons rngaged in pastime with their wives in company with the super human beings like the Kinnaras, Gandharvas, Nagas, Yak?as and Vidyadharas. Thereafter, a row of pillers should be designed in front of and adjacent to the beams, all around, O Lotusborn, after giving a little elevation (82-85). Above the pillars erected for 42 1 he support of the covering or roof, one may supply '• fixed (niyuta? niyata) number of beams- One may pin vide a humpbacked projecting arm, well-tied (NUgmi dham?subandham) and resting on the eastern hewn It should also be provided with a ligature in conncullmi with the beam. It should also be adjusted with I*" side-arms fixed obliquely. The front projection- mm should first be set up on the frontage of the ewilrin beam, and thereafter an extention row ofbambooN lit front of the side-beams. The end to be raised should taper like a dozing lotus flower (i*e. stooping). It should then be suppb’ed with bamboos obliquely stretched mil and becoming thinner and thinner towards the mil and then u should be covered hard with thin and li|dn 'et of umber or with cover made of wool, n each .1 the walls, one may employ some mergers (?praluyn?) numbering four or three, in the centre of crownluii moon-emblem. Occasionally, there should be const in ted, some channel for draining out the water (?) falliii|i from the clouds ^86-93)* Thereafter one may erect an enclosure for tin sake of urgent activities, at the time of the prescrihul time, beyond and adjacent to the sides of the pillm* of the pandal the enclosure should consist of the hum boo, sticks which is auspicious and it should be acvn rmpanied by windows, decorated entrances and envi¬ ed on ttm top by a canopy- This is for the sake nl making the rituals free from dust on all direction* 43 I lie enclosure may be decorated with special ornaments it I’ ladies like safron or vermilian obtainable in moun¬ tains. In the case of enclosures meant to last for longer time, it should be constructed with baked bricks etc- and it should be quite elevated and strong and specious for protection. The pandal may be of the shape of square, perfectly circular or triangular and matching to the ritual of worship in shape and it should be pleasant and strong as per prescription of the experts (tajjnana-kalita?). Having thus constructed a pandal as per prescription, one may prepare a special flooring inside it and it should be strong even of the shape of l he pandal, having a slight slope towards the north oast, well elevated and well polishel resembling a nvrror; the floor of pandal should not be common in quality. For the sake of the devotees eager to perform the ritual of worship, O Lotus-born, one may take the measurement of their fingerwidth and the thickness of elevation of the flooring should be about eight fingers in the case of halls of small size and their height of elevation should always be raised by on finger width at a time from nine to fifteen fingers (94- 02). In the case of abodes of medium size, the eleva¬ tion of the ground should range between sixteen to tw*ntyfour fingers in height; it should gradually rise with (one) finger, as in previous case. In the case of large scale houses, it should be one cabit or forearm (hasta), or quarter or half (plus?) extending on all sides Thus 44 is told, the measurement of elevation of the nrouml . function hall happens to be without any pillar (113-1 4J) 45 It should be made firstly with general measure¬ ment and then with special ones. The arch should be constructed with the help of the staffs of holy sacrificial limber which are even straight and hard- These staffs should be equal in height with the breadth of girders and increased by their own length of the spokes. The liright of the arches is said to be auspicious when it is «'i|iial to their breadth and a quarter- Their breadth may also be threefourth of the height. |The set of those fluffs excepting the set of horizontal pillars on the top, should be cut into three equal parts- The top portion should be rounded- The second portion below that hould be made of octagonal finishing. The third portion below that should be made square- All the •miffs to be placed over should be made all round or •limdrangular in shape and endowed with various de¬ sign-carvings, marked with flowers, blossoms, polia- yrsand birds (115-121)- The width of the arches should be ranging bet¬ ween three, four, five, six, seven or eight angulas- One- i iyhth portion of the height should be dug in the gro¬ und adjacent to altar. The other *arches also should be ilug with equal underground portions. ;This is in gene- id the characteristic description of the altar and the pillar— staffs- Now listen to their special characteristics- One may diminish onesixth portion from above having dropped onefifth part(?). This is the measurment of an 46 arch, O Lotus-born, with onetwelvth unit, leaving mu third, onehalf of all the staffs as underground. Nm mally the height of the arches should be equal to tlml of the width of the pillars in the [case of the maiiNlnm or halls equipped with pillars and two staffs should Iw fixed underground, In the case of enclosures of innn sions the arches should be like the main construction The arches should either be equal to the width of (In pillars or equal to the height of the top of the pillar m little more or with onefourth of the height above llio pill; rs. The thickness of the arches should be equal I" the interspace of the pillars* The measurement of ih*- arches should be suitable to the form of the presidiuu deity, O Doyen amongst the nores of the Vedas (i Brahma). On each arch one may fashion the image ol the eagle, i.e* Garuda seated on the top and flanked with two discs and the circular wings. These arcin'* should also be decorated with variegated designs. Tlm»* should be painted with the figures of sages, the accom plished souls, gods and marvels being manifested by them as also with the guardians of directions, forriN and parks as also multitudes of leaders of aninml flocks The pandal of the Yaga should be lalm urously painted all over, or it should be white wasln d and decorated thereafter with mirrors, chowries, silk • n garments that are respledant and adorned with bell*, cresents, canopies which are pleasant. The upper pm tion of the altar should be adorned with picturcsi|ii' 47 canvas awning which is bright white in colour and accompanied with network of pericarps (122-134)- One should hoist the banners of the colours ran¬ ging from white and the like (Sitadi) i.e. white, red, yellow and black (Sita, Rakta, Pita, Krs^a) in the side directions beginning from north east and ending in north west (i-e. north-east, south-east, south-west and north-west). In the same order of colour division, one may install a group of four/banners in the main direc¬ tions beginning with west (having white banner) upto southern direction (covering north and east in between). To flank all these banners, one may erect a pair of can¬ opies- The assignment of the arches and the canopies should be equal. Now listen to the way as to how a set of eight flags is to be hoisted. Beginning from the south-east direction and reaching the north-east dire¬ ction (via south-west and north-west), one may employ a set of four flags* white, orange ( = red?) yellow and black- Again beginning with northern direction upto the wes¬ tern direction (via east and south), a set of four flags of similar descripton has been prescribed The motifs of the disc, the lord of birds and the triple (blossom) of Vaija- yantl(the plant Tulasi) should be designed in the colour resembling that of the royal stone (i.e. black) on the arch located in the eastern direction The same set of motifs in white crystaline colour should be designed in the south. In the west should be designed (a s milar set of 48 morifs' with the colour of rcdlead. The golden sot should be designed in the north direction. On one li arch there should be three flags flanked with four bn n ners of the colours white etc. Wherein there is a single arch or a triad or a pentad, the length of banners should be half of the width of the arch and the width of the banner should be made always one and half of it* The height of the flags should be as aforesaid or may In* made equal to half of the arch, O Lotus-born, and the width should be one third. All the presiding deities of the directions are to be made so as to be endowed wit It their respective flags, weapons and vehicles but without the attendent- In the similar manner at the symmetrical entrances one may fashion the outer guards (eight) beginning with Canda and ending in Subhadra* There after one may fashion the inner set of guardian ' deiticn (eight) beginning with Kumuda- Thereafter a set of eight Bhutas should be designed* Their height should be onefourth of that of the arch and the width should be onefourth of the height. Indra (the presiding deity of the east should be visualised resembling the S'ata dhama and having four arms, riding the and wielding the very sharp thunderbolt. The presiding deity of the south-east direction, namely the Firegod t, whose food is the oblations' should be mediteted upon as riding a goat red in complexion, holding Sakti weapon in Ins hand, haloed with thousand flames and resembling thousand suns (in lustre)- The presiding deity of the smith, the god of death should be memorised as riding the great he-buffalo, resembling a mountain of collyrium •|iiitc horrifying in contenance, holding rod in his hand* I lie presiding of the south-western direction, the lord i»l' demons should be visualised as terrific, with face •allowing the yawning molars, resembling the lustre of a (lurk cloud and seated on a corpse holding sword in the hand The presiding, deity of the west, the lord of waters (.Varuija) should be visualised as bearing the inmplexion resembling that of pearls, up in arms wiel¬ ding the nook of ice, endowed with a thousand Nama damsels and riding the crocodile* The presiding deity id' the north west should be mentally visualised as re¬ sembling the dark cloud, marked with the banner of a hig dag, the god wind as seated on an antelope. The presiding deity of the north the Moon should be visua¬ lised as Soma surrounded by the galaxy of stars, white in complexion resembling cow’s milk or conch, seated •m a big hare and maker of night* The presiding deity • d north-east Is'ana, i e. Lord S'iva, having his body smearing with white ashes having three eves, riding on die bullock holding the weapon i trident and endowed with knowledge (135-156) The presiding eity of the direction of the nether icgion, Fatala, namely the Lord of serpants : Ananta should be mentally visualised as riding a tortoise wielding the plough weapon, white in complexion and 50 endowed with thousand hoods. The Lord of the uppwr direction, namely, the Lord Brahma, the unborn should be visualised as firm holding rod in his hand and*rolu ting the global sphere, ascending a swan stationed In the ethcric region and protecting the creatures. All ill* above guardian of (8 +2 = i0/ directions are to dculH ned as having four arms and holding garland of bemU and posing boon giving and protection giving gesture* and meditating upon the Supreme principal. They are all with their bodies adorned with divine endowed with divine garlands and dresses, assti ming divine forms and portent of divine fragranu’ Alternatively, only lord Siva with Bullock’s emblem should be shown with four arms and others with twn hands only, holding weapons or exhibiting boon-givinn or protection-giving gestures- Thus is described tin characteristic nature of the lords of the direction* (157-161 Now the description of Cagda and other (retinue deities) shall be narrated. So also the description of the meditation in proper order of the outer group n! attendants* The chief of the troop, namely Cagdu, should be depicted as resembling the morning (lit young or tender) sun, having broad chest and four arms He should be depicted as having tall and lofly shoulders; he should have fully grown body part*, however he should not be too fleshy or plump* Hr 51 should have compact fbelly* and depressed I'navel-He* nliouJd be adorned with a row of haij.on, the body, apdi Mioujd .have, mouth exhifoitipg gaping fangs aipd. tawny.] •• yes and beard. His eyes should re$eipbje , the ta\yny„ > olour of honey or wine, and haying curved, creeper like eyebrows. He should long and dangling ears and broad nose and smiling face. 1 He should be^ adorned with earings and garland and armlet. He should be drown as tying a turban on his head marked with black Imir He should wear white and garland, in his pair of iljilit arms one should imagine a raised disc and a limning mace resting against the slope of the hip and * on the ground surface. In onf^of his left arm there should be conch and in the other the garland of beads, t his is the description of Capda who is invincible by his valiance* He is capable of destroying thousands of mlamities when enragged (1 o2— 169). Carjdala should be installed at the right side of i he Lord and on the arch in front of the lord of the Mantra* He should be on the left side of the Host- worshipper, invariably- There alone, Pracagda should Ik- installed on the other side, with similar description, hut there should be inversion of arm-position. What- ■ ver weapons are held by Cagda in the pair of the left Arms should be held by Pracapda in thj right arms Il70-172k> On the southern side, there are two standing ilcndants ; Dhata and Vidhata. These two deities are 52 to be visualised as resembling the core of the lotiu (i e. red) and of terrific might resembling the abov# pair (Caijda-Pracaijda)- They are to be fashioned n« wearing red garments and red garland as well im smearing red ointment (173-1 4). Thereafter one should design the pair of alien dents : namely, Jaya and Vijaya on the western side They should be dark in complexion like the linseed flower- They should be endowed with yellow garland as also the garment and yellow turben. They should he ferrocious and holding similar weapons as in the pre¬ vious cases- They should ' be assuming gigantic form and having unbearable sight and also unbearable valour (175-176). On the northern side one may assign two attrn dant deities, namely, Bhadra and Subhadra adjacent to the staffs of the arch. They should be resembling the lustre of milk and jasmin and wearing blue silken gar ment. Their body should be ornate with the flower* resembling the dark blue clouds. They should resemble the pair of earlier attendants (177-178). These eight leaders of the attendants are idenlt cal in the respect of the body face and form except in the respect of halo, flowers and garments but identical in the respect of ornaments and weapons. They arc ever inclined to destroy the network of calamities spread around the devotees on all directions and which 53 l» viewin': the fruit in the form of proliferation worldly fxistcnce. They are facing each other, all in pairs and »l unding in even postures (with their toes in juxtaposi¬ tion?). Eaca of these leaders is said to be surrounded by a thousand (or) lakh petty leaders who are assuming bodies of varied complexions and absorbed in adoration nf Lord Acyuta i.e. Visiju (179—1812). Thereafter the two attendant chiefs : Kumuda und Kumudaksa who are of pleasing face and glance, who resemble the mountain of snow, who are in their young age, who are adorned with various ornaments on limbs, who are decorated with various earings, wearing various garlands and wearing various turbans, 0 Twiceborn. They are dismeared with various frag- rnnt, eunguents on their bodies and decorated with various apparels. The right hand of the attendant chief Kmnuda should be imagined as holding the chowrie i ■ cmhling the moon rays and his other right arm nhould manifest the protection gesture called Abhigac- . Im. His one left hand should be shown as holding a full blood lotus engaged in bestowing merit on the devotees afraid of the fear of the worldly existence, lie should be shown as holding the deterant gesture with his other left hand threatening and quieting the niiler forces. One may design these two hands exhibi¬ ting inversion in the case of the other attendant chief, namely Kumudaksa (182-1S8). 54 In the case of other attendant deities the invn sion is to be effected in the case of each pair of hiuul* The two deities PuQdjrika and Vamana are having l lit* lustre of the oblation eater fire. They are holding I It* flag with the emblem of the eagle and the rest de,v ii|' tion is as aforesaid- These two deities should be d* mii ned or mentally imagined or deposited through M.m tras on the right side of the temple of the I mil (189-190). The deity named Sankukarna and the < named Sarvanefrn arc both resembling golden liisw* of Campnka flower an,: '* elding fans made of pcacm ^ feathers, O Lotusborn. They are to be situated on tin back side of the god of great majesty and towards Hm north-west- The pair of deities named Sumukha n ml Supratistha should be situated on the left side el l In* Lord* They should be thought of as having dark com¬ plexion resembling the dark green Mudga-beens. Tlirs should hold umbrellas in their hands. Whatever is lt d untold in the case of the remaining hands should h*1 understood to be identical with Kumuda. O Twin- born, I have described to you these deities of interim! enclosure. They are absorbed in His devotion by tlmli deeds, mind and speech- They are surrounded by crorr* of other deities who are endowed with the six divlit*1 attributes, Jnana etc- (i.e. jnana, bala, ai/varya, Vlryu, s'akti and tejas and also infinite number of Bhutas ami other accomplished Sou’s aspiring for the highest stum of existence (191-196)* 55 Having done this much and thereafter having besmeared the altar alongwith the arches with sandal- pest and other fragrant items and bright colours in order. Having scented those with the sandle-pest in the north and having decorated the paved ground with milk sandal-pest and saffron aswell as hrlbera perfume mixed with turmeric and water* Thereafter the ground of the pandal and its entrances should be fumigated with several herbs and various fragrant substances alongwith the mantras invoking auspicious day, O I wice-born- One may thereafter prepare an excellent purk for the sake of the mantric idol of trangular shape or of the shape of white island, for the residence of the devotees. Thereafter one may accomplish the ritual ending in the ablution ceremony and all other rituals prescribed in the texts beginning with worldly enjoy- ment and culminating into final liberation (196-200^)* This hall should be equipped with one entrance imd one may prepare the pandal for the ritual fumiga¬ tion on any of the direction of one’s choice out of the oilier directions (excluding the entrance)* It should ho supplimented with the chimney for the outlet of mioke and ornate with various fire-pits* It should be novided with ghee and fuel of Palas'a sticks. It should uve the decoration of the arches and it should be or- nmented with three layers of girdles made of silk, laving thereafter wrapped the altars, the arches and ic staffs with the Darbha grass whose route and tips 57B Then comes the (eleventh') mandala mini' i Arogya (prada) which is the destroyer of all discin' » The twelfth is called Viveka for which the fruit I* U fitting its name. Next to that (i.e. 13th) is the yn«'» known by the name Vagls'a, at a mere glance of wlilnh the dignity of speech commences. The fourteenth mum dala is Manasa, which causes pleasance of mind by glum * at it- Then is the fifteenth yaga which is named Jayu u» is the bestower of victory- The sixteenth is call.’d Nvu stika and causes well being, O wise one, by worshippinu it The name of the next yaga is said to be Animiu which gives obtainment of infinite bliss by quick glum - Nitya is the eighteenth one and that is bestower of pm manejit contentment* Bhutavasa is the next mayd.ili in the continuity of magdalas, (i.e. 19th> On visualln. tion of which, there occurs the conquest of the (Ike I 'elements’, forever, O Twice-born! Thereafter is tlm (20th) yaga called Amogha, by worshipping which, tin* attachment of embodied souls, recedes from the oenm of worldly existence. Thareafter is the (21st) yaga, called Supratkllin, by worshipping which, or by visualising which, with supreme devotion, one may attain mental peace* Then* after is narrated the Buddhyadhara marjdala (22nd) l>v worshipping which one would have his intellect stain lised in the abode of one’s self; Guriikara then is to Ik known as the (23rd) mandala in which when meditated upon, at heart, O! Lotus-born!, or worshipped, the Kroup of (three) attributes (of Prakriti) gets lost' There¬ upon the next great maijdala design (24th) is wellknown ns Dhruvakhya on which when visualised, the soul-en- I'lilled in worldly existence, attain stability in one’s own self, and he would not again return to the mate- ri;il embodiment- The Paramananda magdala is the last ■ lostination, by worshipping which one would attain ilr supreme abode (5-1-20) CHAPTER * FIVE SARVATO BHADRADIMANDALA • • Magdala No. 1— Bhadraka A - Sketching Having prepared a square ground, let it be vided in to seven parts (rows and columns). There I forty nine units (50-1) are formed 1) A Lotus ould be constructed in the central square measuring ne units (3x3). With two outer rows, the entrances along with c corner, (dvaragi Sakogani) are formulated* For the sake of the neck portion of the door viira-kagtha) one unit should be rubbed from the w near the lotus-area (Padma-ksetra); and three- ree units for the jaw-portion (upakagtha) from the iter row. This is how the entrances are formed* Six units each should be rubbed for the formation each corner (koge). The Bhadraka-design so rubbed i should be filled with colours* Magdala No* 1— Bhadraka B - Colouring The Lotus encircled by a circle, cituated at the lire should be white (sita) • All the demarkation lines 58 should be written with black shade, and the joint* the Lotus petals and their interiours should be colour with white. I shall however narrate the filling of colour* appropriate places of all the parts beginning wilh 1 1 empty space outside the encircling circle and inside il outer square vvyoma-vrtta-bahya). 2) The space between the neck-portion of the do is one hundred and twenty one- 1) The central Lotus is shaped with nine (3x3) unit*. 2) One row should be washed out for the altar- 1 In' mode as to how the shape is to be given to this altar u being told- Be attentive! At all the corners the cmd should be placed at the end of two square units mi either sides and a line may be drawn [diagonally). Stretching the card. By this process the siil> parts look like a karrjika (resembling a trapezium) (2‘i> and the corners would be like the edge or blade of h plough, in shape (26). 3) The passage would be adjusted in one row beyond The remaining pirts of the mandala would be accom modaled in two outer most rows, Oh Lotus-born I 63 4) The assignment of the number of units for the en¬ trances would be similar to that of the Sadadhva maridala* 5) From the corner regions, seven units should be merged together between two entrances and then the corner should be formed with a triad of units outside* Having done this much, colours may be applied. Mapdala No. 5 — Vasugarbha B - Colouring This design should be filled with various colours. 1) The ex-space region (Vyomabahya) should be filled with ash grey colour resembling completely extinguished fire. 2) The corners of the alter beginning with the north¬ east (i.e. north east -> south east -> south west-> north west) should be filled with the colours beginning with white (sitadya) : White, red, yellow and black respectively (2b). Similarly in the main directions : West-> north ^ east-> south should the same colours : White etc* he cast in the same order (2a). I) The exterior (passage) of the altar should be sup¬ plied with the lustre resembling the bell of the fish ihasodara)* 64 4) The entrances should be smeared with orange red, 5) The motif (of the koija) in between two entrance* should be white and the remainder of the ten corner units (10-7 = 3) should be black* The Vasugarbha marjdala is thus explained !«» you MapdalaNo. 6— Sarvakamaprada (12 x 12 = 144) A - Sketching Having split the area twelvefold (dvada*'adha) as many as one hundred and forty four (150-6) unit* are produced. 1) A Lotus with defined characteristics (salakaapiO should be drawn with sixteen (4x4) units at the centre 2) The altar for the Lotus should be made with thr help of a row of units. 2 a) Two-two units there from should be rubbed on all sides (for gatrakas). 2 b) Likewise three three units should be taken at the corners (for plthakoija)* 3) The corridor should be paved with one surroun¬ ding row 65 4) Two parts would be accommodated in the s) remaining couple of rows. The entrance with neck and jaw (galopagata) should be of six units |2 + 4). The corners within corners should be made of fourteen (7 + /) units. Maridala No. 6— Sarvakamaprada B - Colouring 1 1 The inter-space between circular space and the altar I vyomaplthayoh] should be filled with the colour para¬ llel to the one in [Vasugarbha], the previous diagram I I c. like the extinguished fire, i.e. pras'antagni samana] indicating ash grey colour* ’| The altar corners [2b] should be filled with the diude of the royal stone [i.e. black-]. The centre regions hr tween the corners [i-e. gatraka-2a] should be colou- ii'il with the golden lustre* <| The corridor should be coloured with the shade • scmbling parrot’s feather [Sukapak?a] 1 1 The doors should be like the white crystals. '| The corners should then be applied with red Milour* The Sarvakamaprada mapdala is stated thus. 66 Magdala No. 6 — Ayu?ya B - Colouring 1) The ex-space region may be coloured with the hur of the substance called hinkulika (mercury oxide), i*e- red. 1) The corners of the altar (2b) are to be coloured like emerald green)* The entire group of the side-part i (2a) should be reddish orange (raktaruija) 3) The corridor should be deep golden in lustre* 4) The entrances should be intense white* 5) The corners should be like the royal stone and 6) the offseis like the ex-space region (vyoma-bahya), ie. like mercury oxide (red). This is how the Ayusya marjdala is narrated. Maijdala/ No.7— Amitrdghna A - Sketching By dividing the field thirtecnfold (trida/adha * 3 + 10), as many as one hundred and sixtynine uniit are formed- 1) A lotus should be drawn within a circle (cakr.i madhyatah ambuj tm ) in a square measuring twenty five units (5x5). 67 2) An altar should be made with one row outside the lotus field. Its sides and corners (2a) and (2b) should l>c shaped with three units on each side and three units In each corner* I) In the outer row a passage (padavi) should be left mil- The entrances etc. should be accommodated with two rows : The neck (or inner ear) portion (i.e. the narrow portion = kaijtha karrja) should have three units and i lie broader portion named outer ear (upakarijika) diould have five units* ' ) A pair of offsets will be formed by taking eight (•I + 4) units from intermediate region on either side inljacent to the entrance* M Then four altar-corners should be formed by six imils taken from each corner* Having finished this much, the design should be •n.inifested (vyanjayet) i e- coloured. Marjdala No- 7— Amitroghna B Colouring ) The ex-space portion (vyomabahya'I should be ihlish orange 68 2) All the altar-corners (2b) should be smeared wit It the same hue, but very bright (atyujjvala). The slih' parts numbering four pertaining to the altar (?m) should be smeared with the colour resembling ilir feathers of casa bird (i.e. blue)- 3) The corridor should resemble the royal stim.< i.rajopala ie. black.) 4) The entrances should be applied with silver lust n (rajatabha). 5) The part next to it the. *'obha) should be dim white (pandara-guga). 6) The kona should bear the same colour which is assumed by the inter-space between the vyoma and l li<- pitha (i-e* ex-space part). 7) Thus is narrated the Amitraghna magdala- Magdala No. 8— Ayusya A - Sketching Having split the ground plot into fourteen pans (dvisaptadha) a sum of one hundred and nintysix units is arrived at 1) I'hc lotus should be drawn with sixteen (4x4) units at the centre. 2) In the row outside if the lotus support, i e. altar may be constructed* There in (2a) two-two units Nliould be taken on all sides (for gatraka) and (2b) i hrce-three units should be taken in the corners (per inthakona)- I) With two surrounding rows, a round corridor ipadavi) may be formed. Whatever parts remain should be completed with the two rows outside- •0 The neck part of the door should be accommo¬ dated in two square-units and jaw part in four units. !S) Three units should be washed off from the row near the neck portion of the door and one unit from the row near the jaw-portion, for the formation of the offset- Thus in all eight offsets (2x4) are formulated. (0 The outer corners are formed by taking ten units i*ach from four corners of the mapdala. Majjdala No. 8— Ayuaya B - Colouring 1) The lotus area should be filled with whitish red lolour- 70 2) The eastern and the western sides of the altar should be coloured with yellow tint. 3) The regions near the door neck (dvara kaptopagii) should be filled with yellowish (pital) colour. 4 ) The group of four corners should have the samr colour, which is shared by the vyoma bahya (i.e. ihr whitish red or pink). This is how the Dharm ( = Dharmakhya mapdalu is elaborately narrated- Mapdala No. 9— Balabhadra (79— Si > A - Sketching Having divided the ground, fifteenfold, thr number of units resulting thereby would be two hun dred and twentyfive- Broadly the pattern of the Ami traghna design (M- No. 7) should be followed- 1) I.e. twentyfive units to be assigned for the lotu* area (5*5) and 2) One row arround it for the altar- 2 a) Consequenly three units are to be assigned I' the ahur sides (gatra) and 2 b) Three units for the corners (kopa). 71 3) A subordiate altar (sub-altar i.e. upapltha) should l>e drawn with a row surrounding the altar. 4) The passage (vlthi) would also be like Amitraghna, > e made of one row. Similarly, the outer parts should be accom¬ modated in the pair of [exterior] rows. ') The neck and the jaw portions of the door are also like the Amitraghna magdala; i.e. made of three and live units respectively (3 + 5 = 8)* h) The group of (i e* 2x4 = 8) offsets have the same measurements as in the case of immediately preceding I wo magdalas (Amitraghna and Ayusya i.e. no. 7 and 8) (i.e. 3 + 1=4x8 = 32). I) Ten units each should be wiped out from each cor¬ ner of the magdala (i.e* outer comer-kooa)- Marjdala No. 9— Balabhadra (82-87) B - Colouring I ) The space exterior (vyoma-avasana) should be lllled with whitish red, i*e pink colour. .') The colours for the various parts of the altar are follows ; 72 2 a) The altar-sides also to be coloured with th* sitadi set of four colours; beginning however with th« west (Pas'cimadi) and culminating in the south (i r hi clockwise order: -west-> north-> east-> south) sharknp respectively white, red, yellow and black- 2 b) Sitadi set of colours (i e* white, red, yellow and black) are to be applied to the four altar corner* north-east, south-east, south-west and north- wr*i respectively (I.-'adi) . 3) The four sides of the sub-altar starting with tin1 south (south-> west-> north-> east) sould slum -white; red, yellow and black respectively* 4) The path of movement (bhramatfl) should be filled with whitish red 5) The group of four entrances should be filled with golden hue. 6) The group of eight offsets (*'obha?taka) should then be coloured like emerald lustre (green)* 7) The remainder portion (kopa) should bear a dim red shade (rakta-gu^a)* Thus would be the Balabhadra design. 73 Magdala nq. 9— Balabhadra Total area •* 15x15 = 225 units Padmakeetra Vyoma-bahya Pitha Pitha-gatra Pa.s'cima (west) Uttara (north) Purva (east) Daksina (south) Pitha-kona IVa-koija (north-east) Agneya (south-east) Nairrtya [south-west) Vayavya (north-west) 5x5 = 25 units 1 row (1 + 1); 5 + 2 = 7 rows 7 x 7 = 49-25 = 24 units 3x4 = 12units 3 units » 9 91 Pa^durakta (whitish red) Sitadi Sita (white) Rakta (red) Pita (yellow) Krsna [black] 3 x 4units = 1 2units Sitadi (white etc.) 3 units Sita (white) „ rakta (red) „ Pita (yellow) ,, krsna (black) 74 3) Upapitha 1 + Irow. 7 + 2 = 9 rows 9x9 = 81-49 = 32 units Yamya [south] 7 (2xJ)=Sunits Apya [west] „ Uttara [north] „ Prac [east] „ Sitadi Sita [whilc| Rakta [red | Pita [yellow | Krsija [black | 4) Vithi l + lrows;9 + 2= Panduraktn 11 rows [whitish red i 11x11 = 121-81 = 40 units 5) Dvara [Kaijt.ha 3 + 5 = 8 units Upakagta] jambunada [golden] 6) S'obha 3+ 1 =4 units x 8 = Marakata 32 units [emeraldgmn 7) Koija 10 units Rakta-guya [dim red] Mandala No. 10— Paustika (87-93) A - Sketching Having divided the ground plot, sixteenfold, tin units that are obtained would number two hundred and fifty six. 75 I ) At the centre, the lotus [kahlara] should be sket¬ ched with thirty six [6><6] units. 2' The altar is to be drawn with two rows around. .’n) Two two units should be taken from the inner row u( the centre of all directions for the side parts [gatra]. .’h) Five-five units should be erased from each corner in form the altar-corners [pithakona]. .V) Six six units each on all sides [for upapltha-gatra], .M) The second [outer] row of the altar should be utilised to formulate a sub-altar [upapltha]. For that purpose, three three units should be erased at the corners [upaplthakoija]. 1) The pathways to be accommodated in one outer row- The remaining components, entrance etc. [dva- uuli] are to be accommodated in the couple of outer most rows. 4) The neck part of the entrance, the jaw part [galo- imgala]. M and the offset will have two, four and four units l') respectively- The recess [upas'obha] is formed by inversion of the offset [s'obha-viparyaya], with equal number of units [i.e. 1 +3 = 4]- 76 7) The outer corner should be formed by erasion of six units near the recess[upas obha-samlpa]* In this way, a group of eight offsets and eight recess are shaped on all sides. Having rubbed out the entire design partwise, it should be filled with varioim colours. B - Colouring (93-97) 1) The exterior of the space circle [akas'avrtta], should be filled with reddish orange tint [raktaru^a], 2) All the altar corners should be filled with golden hue [2b]; and all the sides [gatraka] with whitish orange tint [patjdararuna] [2a]. 2d) the corners of the sub-altar should be applied with the same colour [i e. whitish orange like [2a]above | 2c) Its sides [upaplthagatraka] should be white in colour. 3) The surrounding passage should be black and 4) The doors should be deep white- 5) The offsets should be similar to the vyomabahy.i, i e- reddish orange- 6) The recesses or the inverse -offsets should he applied with yellow colour- 77 7) The corners should be decorated with emerald- green and black bright (?white) shade, Oh Brahman! 1 2 motifs = 3-1-3 units)- Thus is explained the Pauatika diagram (yaga) . Magdala No. 10— Pauatika Total area : 16x16 = 256 units I) Padmaksetra Vyoma-bahya .’) Pitha /n) Pltha-gatra '!>) Pitha koija 6x6 = 36 units 2+2 = 4rows; 6 + 4 = 10 rows 10x10=100-36 = 64 units 2x4 = 8units 5 x4 r 20 units units 3x4 = 12 units Raktaruoa [reddish orange] Pagdararuoa [whitish orange] Hemabha [golden] Sukla [white] Pandararuna [whitish orange] v) Upa-pltha-gatra 6x4 = 2 •1/ Upa-pltha-koga 78 3) Vlthi 1 + 1 = 2rows* 10 + 2= 12 rows 12x12=144-100 = 44 units Asita [black | 4) Dvara 2 + 4 = 6unitsx4 Susita = 24 units [pure white* | Kantha [gala] 2 units 9 9 Upakantha [upagala] 4 units 99 51 S'obha 3 + 1 = 4 unitsx8 Raktarupa = 32 units [reddish orany 6) Upa.'-'obha 1+3 = 4 unitsx8 Pita [yellow| = 32 units 7) Kopa (units = 3 + 3 I) Kopabimba 3 units Marakatabhn [inner] [emerald green | 11) Kopabimba 3 units Syamalajjval.i [outer] [bright black | Mandala No. 11— Arogyaka (9 -103) A - Sketching Having first divided the area seventeen Cold ai many as two hundred eiehtynine (300-11) ui.ils are produced- 79 1) Then a lotus is shaped with twentyfive units- 2) The support of the lotus (pankajadhara) should be made with two rows* 2u) From the row near the lotus field five units should be taken from the portion of the pitha and one unit in the outer row from the same; thus having made the altar-sides (gatraka), those resemble the offsets (s'obhatulya). .b) Eight units should be washed all around for the shaping of each altar-corner. The area arising out of the surrounding pair of itws should be washed out for the sake of taking a vulk around (saiicara) The pair of outer rows should be assigned for lie entrace, offset etc. Ol Dvijottama or Brahman! •■si among the twice born- ) For the neck part and the jaw part of the entrance, iree and five units are respectively assigned- I The total number of units assigned for the i offset, recess and the corner (.'-'obha, upa.v'obha and Hia) together wiih the entrance would be twentytwo I f 4 + 6 + 8). Magdala No. 1 1— Arogyaka (103-107) B - Colouring Having erased the units partwise, the dinpntiii should be filled with variety of colours. 1) The exterior beyond the space circle (aka.s'aparidhil should be coloured with the shade of bandhujiva flown (i-e- deep red). 2) The four corners of the altar (plthapada-2b) should be applied with yellowish white colour of cow’s milk shade. All the four side parts (gatraka) should be like the royal stone (raja-ma = black). 3) The corridor should be coloured all round with the hue similar to the redlead (cina-pista)- 4) The doors should be coloured with golden lustre- 5) The next component, i e. /obha should be black- 6) The inverse offset (upa/obha) should be white. n) And the remaining part, i.c koga, should be filled with the red orange tint This is how the Arogyaka Magdala is stated. 81 Mandala No. 11— Arogyaka Total area = 17x17 = 289 units I) Padmaksetra 5x5 = 25 units Vyoma-bahya 2) Pitha (Pankajadhara) In) Pitha-gatra 2h) Pitha-koija .1) Vlthi I) Dvara Kantha Upakagtha S'obha 2 + 2 rows; 5 + 2 = 7 rows 7 x 7 = 49-25 = 24 units 5 + 1=6 units 6x4 = 25 2 + 2 = 4 rows; 7+2 = 9 rows 9x9.= 81-49 = 32 units 3 + 5 = 8 units x 4 = 32 units 3 units 5 units 3+1=4x8 = 32 units Bandhujlva- nibha (deep red] Rajas ma- sadrs'a [black] Cina-pigta- samana (red lead) Hemavarga (golden) 99 >» Syama (black) 8 units x4 = 32units Go-kgira-paridu (yellowish white) 82 6) Upas'obha 1+3 = 4x8 = 32 Sita (white) units 7) Kooa 6 units Raktarugu (reddish ornnit?) Maijdala No. 12— Viveka n07-114) A - Sketching Having divided the ground plot by eighteen (18x18 rows and columns), as many as three hundred and twenty four units are produced. 1) Lotus is to be drawn with sixteen (4x4) units* 2) The altar to be drawn with three outer rows* 2a) Therein, eight units are assigned for the side parlN (gatraka) : two from the row near the lotus area and at the centre, then four from the middle row and two from the outer row. In the same way, the side parts are drawn on all the directions. 2b) Each of the four altar corners made of thirteen units are drawn in between each pair of the altar sides (gatraka). For this, seven units are taken from outer row and one from the middle row to be unified there¬ after Th n with the remaining five units a corner-motil (kotjabimba) is to be designed to resemble partially (slightly) the shape of the altarside (gatrakakara) is its adherent (limpakaj* 83 3) The path way should then be made with two rows* i) From the two outer most rows, ten units '<) each should be wipped for euch outer corner; ft) ’’t Oh Brahman! The remaining components of the magdala, offset, recess and entrance should be adjusted with the remaining units (4 + 4 + fc)s With this, listen as lo how these parts are to be filled with colours. B - Colouring (114-117) I) The interior of the altar (i.e. vyomabahya'' should be filled with a colour similar to the flower of the pomegranate plant (deep orange). .’«) The side parts of the altar (gatraka) shouid be white «’b) The motifs of the corner comprising five units which are adherents of the gatrakas (limpaka) should hr black. The other motif of the corner comprising right units should be given the colour of the red lotus* I The rows outside the altar (vlthlt should be filled with the shade of the royal stone (rfijopala). 4) The four outer components of the mandala beginning *) with the entrance should be filled with the set 84 7) of colours : white etc. (white, red, yellow ami black) I.e. 4) entrance-> white; 5) S'obha-> red, 6) upas'obha-> yellow and 7) koija-> black. Thus is stated the maodala named Viveka- Mandala No. 12— Viveka Total area : 18x18 = 324 1) Padmak?etra Vyoma-bahya 2) Pltha 2a) Pltha-gatra 2b) Pitha korja I kooabimba (limpaka) II koijabimba 4x4= 16 3 + 3 rows; 4 + 6=10 10x10=100-16 = 84 units 5 + 8=13 units x 4 = 52 5 units 8 units Dadimipuqpa tulya (like ponm granate flower) Asita (black) Padmaragopanm (red lotus) 2+44-2 = 8 units Sita (white) 8x4 = 32 units 85 0 Vithi 4) Dvara ') S'obha 2 + 2 = 4 rows. 10+2 = 12 12x12=144-100 = 44 units 2 + 4 = 6x4 = 24 units 3+ 1 = 4x8 = 32 units Rajopalanibha (like black royal stone) Sita (white) Rakta (red) M Upa..s'obha 1 + 3 = 4x8 = 32 Pita (yellow) units /) Koga 10 units Krgoa (black) Maijdala No. 13 — VagLs'a (117-123) A - Sketching Vaglsa maijdala will now be narrated. Having made ninteen divisions (i.e. 19x19) of the area, as many as three hundred and sixty one square units are |U tuiuced • 1 1 The lotus is produced by twenty five units (5x5). ■ ) The altar is to be drawn with three rows- ■ n) From among the units of these rows seven each uliould be taken on four sides beginning with east and 'Kling with north. The order is like this : one unit 86 from the first row, five from the middle and one fnun the third; by combining these units the side part ijinn.i is formuluted. 2b) Then with the remaining number of units ( It . those three rows), the entire group of corners (nlilt. pltha) is formed (17 x 4 = 68). For the formation ul U. corner, five units are to be rubbed from the first imi immediately adjacent to the corner of the lotus nim then twelve units to betaken out of next two row* (3 from the second row and 9 from the third row). 3) The passage would be formed with two surroun ding rows. ' The entrances etc- should be drawn with tin outer most couple of rows- 4) Therein (i-e. within the entrance) the neck porlnm (grlvams'a) will be with three units and the jaw (up.i kagtha) with five. 5) The outer corners will be formed with ten 6) 7) units each and the offsets etc (i-e offset and recov Sobha and upa#'obha) with the remainder of unit' (4M= x4 = 32). 87 B - Colouring (134-128) • ) The exterior of the circular space (kha-mapdala) ii lo he filled with bright red colour- All the four sides of the altar = eastern etc. diniild be coloured like emerald (green) l»' The inner motifs of the corners should be filled with golden hue; and the remainder of the corner • lnuild be filled with the bright lustre of the twilight I'lnw (prabhanta = reddish orange). *1 The path way (gamamarga) should be smeared with i In1 shade of the bee. t) The four outer parts beginning with four M entrances should be filled with 1) white, 'I 2) reddish orange 3) golden and 4) red like (hin- ulika\ respectively. Oh Lotus born! i.e. Dvara, S'obha ml kona? This is how Vagi'- 'a is explained- Mandala No. 13 Total area : 19 x 19 = 361 units I’admaksetra 5x5 = 25 units 88 Vyomabahya Raktojjvnln [bright— ro*l | 2) Pitha 3rows [3 + 3 = 6] 5 + 6=11 11 xll = 121 units -25 - 96 units 2a) Pithagatra 1+5+1 -7x4= Marakaialth i 28 units (emerakl-MMt' 2b) Pithakona I bimba (inner) 5 units Hemabha [golden] II bimba (outer) 3 + 9=12 units Prabhanahhi||vM 3) Vlthi 2+2 = 4 rows Dvirepharnpn ■ [gama-marga] 11 + 2=13 raga 13x13 = 169-121 bee like blm k = 48 units 4) Dvara 3 + 5 = 8 units x Sita [white] 4 = 32 Kaijtha [grlva] 3 units 9* Upakagtha 5 units 99 5) Sobha 3 + 1 =4x8 = 32 Raktarurja units [reddish ormii1* 6) Upa^obha 3 + 1 =4x8 = 32 units Hema-goldcn 7) Korja 10 units Hinkulika (rail like [mercury oxide} Marjdala No. 14 — Manasa (127-134) A - Sketching Dividing the ground twentyfold (dvadaga-dha), ie- .! v 1C (dva = dvih = twice), four hundred units will be nhiaincd. I > From amongst these units, a lotus should be inscri¬ b'd with thirty six units at the centre. .’) The support for it (tadadhara) i.e. the altar should he formed by erasing three external rows. AO For the sake of preparation of the side-parts ( putraka), two units may be taken from the row near i lie lotus ground, two from the outer row and four from the middle one (2 + 4 + 2 = 8x4 = 32)- lh) Four altar corners to be constructed with the help of eighteen and one (i*e. 19) units, near the pair iif side-parts. For this, three, one and again three units in be taken on either side beginning from outside to be ombined together in such a way that the unit near the imer corner would be common for calculation of the number three in the inner row outer row : 3 3 = -; n itld Ie row : 1 + 1 = 2; inner row : (3 + 3-1 = 5; 6 -+ 2 I ^ = 13) This will be the inner motif of thirteen fix2 + 1); the outer motif would be formed by taking 'ix units from the outer and the middle row. 90 3) The passage should be washed off with two outer rows as in the previous one (i-e. maridala diagram mi 13). The remaining parts of the maijdala should also hr sketched with the same scale (i.e. 2 rows as in the pie vious maijdala)- 4) The assignment of units for the components of lie entrance is : kantha 2) and upakantha 4) together m* units. 5) Six-six units are to be assigned to the 6) four outer corners (6x4 = 24). Between each 7) 8) pair of entrance and the corner, a pair of Soblm* (offset and additional offset) and one upas'obhiinu (recess) in between them should be accommodated within the remaining number of square-units (4x2= H) for two s obhas and 4 for upas'obha- This diagram may be filled with colours- Maridala No- 14— Manasa(134-139) B - Colouring Various parts of the mandala should be flllnl with colours thus : 1) Portion of the ground inside the altar (ie. vyomu* bahya) should be coloured like red lead (cina-pi^ta) .’n) The altar-sides should be coloured with deep yellow colour* .'h) The inner motifs of the altar corners, i-e. the i niermediate figures between each pair of altar-sides made of thirteen units should be smeared with the ••hue resembling cat’s eye gem (vaidurya = brownish liaile). The other motif of the corner produced of six units should be smeared with full white. The path of movement (bhramaol) should bear icdilish orange and l) the group of entrances (4) should be white* ‘I The offsets adjacent to the entrances should be like vyomabahya (i.e. red). ft) The recesses (upas'obha) should be golden. /) The additional offsets (any s'obha) should be like ilie belly of the fish (jhagodara). a) The remaining part, i.e. outer corner should be like t e first s'obha (offset; i.e. red like no* 5 above)* I his is how the manasa design has been told* Maijdala No. 14— Manasa Total area : 20 x 20 = 400 units 0 Padmaksetra 6x6 = 36 units- Vyoma-bahya Cina-pista 92 2) Pitha (tadadhara) 3 + 3 = 6 rows; (red-lead) 6 + 6= 12 12x12= 144-36 = 108 units. 2a) Pitha-gatra 2 + 4 + 2.= 8*4 Suplta = 32 (deep yellow, 2b) Pitha-kona 13 + 6 = 19 units (Pitha- carana) x4 = 76 I Pithakoria 5 + 2 + 6=13 Vaidurya bimba (inner) units (brown) II „ (outer) 3 + 3 = 6 units Susita (pure white) 3) Vithi (bhramani) i 2 + 2 = 4 rows; Raktaruga 12 + 4r 16 16x16 = 256-144 = 112 units (reddish oranii" 4) Dvara 2+4 = 6 units x4 S'ukla [whilr| [Samves'ana] = 24 Kagtha 2 units Upakagtha 4 units 5) Sobha 3+1 =4x8 = 32 Cina pi?taniblm units [like red lc(ul| 6) Upa/obha 1 +3 = 4x8 = Hemabha 32 units [golden] 93 7) Anya/obha 3+ 1 =4x8=3 units Jhasodara samana [like fish-belly] K) Korja 6 units Clna pi?tani- bha (like red lead] Maijdala No. 15— Jayakhya (139-146) A - Sketching Having made the ground by twenty one divisions (rows and columns) there would arise as many as four hundred and forty one (450-9) units* I ) The lotus will be made with twenty five [5 x 5] units. Ji The altar will be formulated by one row out side- lit) Three-three units should be wiped out on four directions for the sake of the gatrakas 2b) and like *uc (three-three) units in the corners- it Outside the altar, a subordinate altar (upapitha) niiy be made with the help of three surrounding rows, in) Out of it [i e upapitha), seventeen units should be Minlied off f:r the sake of side-parts (pratigatraka)- Hirrein, three units are to be taken from the middle hi w and seven-seven units from the pair : the first and lir last rows. 3b) Each corner should be prepared 94 by rubbing out thirteen units. Likewise all the fold corners should be made. 4) The corridor should be made of two surroundum rows* With the help of exterior pair of rows the enli.iii ces etc- [vi-'adi] should be made. 5) Six units each should be assigned to the outer. 6) 7) corners The entrance should be constituted of 8) eight units ( + 5 for kantha and upakaptha)- 9) The offsets etc (i.e. /obha-Hjpas'obha -|- a i • v • v'obha) should be accommodated with the remainiiii units (4-j-4-J-4= 12) Having done so, colouring a job may be umh » taken B - Colouring (146-151) 1) The residue beyond the circular space (kha-vrtlii should be made bright white. 2) The corners of the pltha(2b) should bear the luslh resembling white colour ol cows’ milk [gokslra-dhavaliil 95 I lie group of four side parts 2a) should be emerald like (green). .1u) The side-parts of the sub-altars should be filled with a shade similar to it [plthagatra-2a]- •*h) The corners of the sub-altars should be like the colour of the bloomed red lotus. -0 The outer component of the altar, i.e. the passage diould be like the lustre of Vaidurya [cat’s eye gem] ') The set of outer corners should be filled with f>) /) golden hue; the recesses [upa*'obha] with reddish H) V) Orange, the intervening parts, i-e. s'obhas with white and the doors with yellow like powered gorocana | cow’s bile) - Thus is explained Jaya design. Mapdala No. 15 Jayakhya Total area s 21 * 21 = 441 units I) Padmaksetra 5*5 = 25 units- Vyoma-bahya PagdarojjvaU [bright white] ') Pitha 1+1=2 rows; 5 + 2 = 7 rows 96 7x7 = 49-25 = 24 units 2a) Plta-gatra 3x4= 12 units Marakatahhn [emeral green | 2b) Pltha-koga 3x4= 12 units Go-k?ira- paijdu [yellow* ish white]. 3) Upa-pltha 3 + 3 = 6 rows; 7 + 6=13 13x13 = 169-49 = 120 units 3a) Upapitha-gfttra 7+3 + 7 = 17x4 Marakatahhn = 68 units. [emeral green | 3b) UpapTtha-koQa 13x4 = 52 units Bhinna-saipn* dmarftga [fin I bloomed red lotus] 4) Vithi 2 + 2 = 4 rows; Vaiduryavat 13 + 4= 17 rows [brown] 17x17 = 289-169 = 120 5) Dvara 3 + 5 = 8 units x 4 bhinna Goroetti = 32 [yellow] 97 S'obha 3 1=4x8 = 32 Sita [white] units 1) Upa/obha 1 3 = 4x8 = 32 Raktaruoa units [reddish orange] N) Koija 6unitSx4 = 24 Rukmabha units [golden] Magdala No. 16— Svastika (22x22 = 484) A - Sketching (151-167) Having divided the field into twice eleven fold |i c. 22x22), a number equal to four hundred and rltihty four is obtained. I ) Therein, the seat for the idol (or the principal seat) i o. Lotus-area would be prepared with thirty six units i) The support for it, i*e- the altar (pltha) would be • instructed with a quadruple of surrounding rows of >t|uare— units. n) For the sake of materialising the gatraka, as many \ twenty four units should be erased at the centre on H directions, Oh Lotus-born! For the central pair of ■ 'Uiils, four units should be erased from the row close ' the lotus area; then two units to be erased from the ■I ond row, similarly two units from the third row and nr units from the last row, i e. equal to the number of units from the first row Thus, the latter motif the pairs of these motifs will partially resemble outer entrance. Then, with the remaining units 6-1-6 = 12), two motifs pertaining to the altar * [gatra-bhajau] should be obliquely (i.c. vert un I placed like the doorframe structure on either sides 2b) Now the way how the group of four altar cot n are to be made will be explained; each ot the cor will be made of sixteen units and bearing the pall similar to the altar sides [gatrakakrti]- However, e motif therein will be equipped with four square tit Two of its motifs resembling the door or entrn [dvara-Sadrsau] would be situated on the eastern s Opposite to these two motifs, will be two sin motifs [of 4 units] one starting from the north corner and another from the south east corner, touching points of these motifs should be [distim marked [samspar.s'am tarn tu lopayei]. Then two sin corner motifs should be drawn on the western ; Two similar motifs would be placed opposite of tl one starting from the north-west and the other I the south-west; so as to effect a co-ordination, in all the altar corners : north east, south east, s west and north west, two two motifs each : Om northern side and the other on southern side shou drawn but by omitting one corner unit each [the corners will have in all sixteen motifs: 4x4. consi of four units each- Of them, three units are take ouch side omitting one unit at the end by each. These three units are combined with one unit in the inner row Thus these four motifs appear facing inside soc¬ keting each other The border line of the four units of these four motifs taken together goto form a shape resembling a svastika). Of these motifs two two each ire so situated as to face the [four] gatrakas [sarhmu- k lui: i x2 = 8] [qy corolory, 4x2 = 8 bimas will be facing away or vimukha of the gatrakas). In this way, the pilha will be incorporating svastika-astakas, Oh Lotus* horn! 1) Outside the pltha, there will be a path for move¬ ment [sanchar-marga] with two external rows [2+2 = 4] I he remaining components of the maijdala are to be Insluoned with two rows; it will be explained as to how these are drawn- 4) The entrance will be produced out of six units constituting neck [2 units] and jaw [4 units] 5) The offset comprising four ]units should be made near the door. *) A side door would be next to the offset [.-.-'obhopaga] oiid drawn with the help of six units as in the previ¬ ous case (i. e the measurements of the entrance) )) A replica ol the offset should be drawn again next to the side door. 100 8) The outer corner should be sketched with »u units* Having erased the units [partwise] in this wnv the diagram should be filled [with colours]. B - Colouring (167-177) 1) The space beyond the periphery known as vyomu [empty space] should be applied with whitish red tint 2a) The two charming motifs belonging to the allitr side facing the central line should be coloured with emerald like shape* Similarly, the two vertical motif* should be applied with reddish orange- This orilet should be followed for all the altar-side [sarvagatra [ 2b) The colour pattern for the altar-corners accom panied by four motifs should be cast four fold equally as per cornerwise arrangement of the motifs : In the north east corner, (L'akoria) whitish orange should be applied to the eastern motif; while to the southern motif; royal stone like [black] to tin- western motif and golden lustre to the northern motif. Now listen to the [scheme for] south eastern comer : orange for the eastern motif and yellow, black 101 und white respectively to the motifs in the southern, western and northern regions. The [scheme for the] south western corner [raksopada] will now be explained* I lie motifs pertaining to the directions beginning with i nst and ending with north [i e- East-South-West -North] should be filled with black, yellow, orange and white n hours respectively. I shall now tell as to what colour is to be filled In ti e motifs pertaining to the north west corner- From i lie eastern to the northern [aindra-kaubera] the entire croup of motifs should be filled in with white, black, "i.mize and the remaining (ie- yellow) colours. In this way the altar in its entirity should be filled with uilours. M The corridor should bear the lustre of the bee i o, black). I) The door should be filled with white colour- M The offset should be coloured with reddish orange. ) The next [component] ie- side door should be .i Now- I The additional offset situated between the side '"ur and the corner should be coloured with black. i The outer corner should be filled with a colour wmbling the smokeless fire, i e. bright red- 102 This is how the niaridala named Svastiku l» narrated* Magdala No. 16— Svastika Total area : 22 x 22 = 284 units No Part Measurement Colours 1) Padmakaetra 6x6 = 36 units Vyoma-bahya Paijdu-raklii [whitish rni| 2) Pitha 4 + 4 = 8 rows; 6 + 8 = 14 rows ■ 14x14 = 196-36 units 2a) Pltha-gatra 24 x 4 = 96 units I-bimba 4 + 2 = 6 units Marakatablui II „ 2 + 4 = 6 units [emerald-grci n III „ 1 +2 + 2 + 1 = 6 units Raktarurja IV „ l+2+2+l=6 [reddish units orange] 2b) Pitha koija 4x4=16x4=64 units I.v'akona 4x4 = 16 units [N*E. corner] 103 Eastern motif 1 +3.s 4 units Pahdararga [wh- orange] Southern ,, >» >> Sita [white] Western „ >» »» Rajas'ma[black] Northern „ » »» Hemabha [golden] Agneya-koga 4x4= 16 units [S.E. corner] I'ustern „ 1 + 3 = 4 units Aruga [orange] ‘•nuthcrn „ 99 99 Pita [yellow] Western „ 99 »> Krgga [biack] Northern )) 99 Sita [white] Nairrtyakoija 4x4=16 units (S.W- corner] litNtcrn „ 1 +3 = 4 ukits Krgga [black] Southern „ 99 99 Pita [yellow] Western „ 99 99 Aruga [orange] oirthern „ 99 99 Sita [white] Vayavya-koga 4x4= 16 units N. W- corner intern ,, 1+3 = 4 units S'ukla [white] nil hern „ 99 99 Krgga [black] | intern „ •• 99 Aruga [orange] "Hhern „ 99 9> Apara [pita] (yellow] 104 2+2 = 4 rows; 14+4= 18 rows, 18x18 = 324-196 3) Vlthi 4) Dvara K nta Upakagta 5) S'obha 6) Upa-dvara 7) Anya-*'obha 8) Koga = 128 units 2 4 = 6 units 2 units 4 units 3+1 =4x5= 32 units 2+4 = 6x4 = 24 units 3 1=4x8=32 units Satpadftblwi (bee like 14m t 'I S'ukln }~ (Wlllli ) J Raktarui.ui (reddish orun Pita (yellow Syama [black | 6 units Nirdhumagnl Sama (like smoke* less fire red) Magdala N o. 1 7— Ananta 23 x 3 = 529 A - Sketching Having made 177-186 twenty three (23 x ? 1 1 divisions of the area there would be a total number nl five hundred and twenty nine units. 105 The lotus is to be drawn in a square measuring 'enty five (5x5) units- The altar would be of three surrounding rows and lapitha or sub-altar would be of one row* ) Seven units are to be erased for the formation of i* side parts (gatraka), on all the sides as follows; c from the first row, five from the middle row and uin one from the outer row- ) The altar-corner (pitha-pada) should then be tained by erasure of seventeen units each* Sub-altar (upapitha) is explained thus : five units li should be erased on all the four-sides (for upa- lia gatraka) 3a and seven each in the corner dire- I ions (for upaplthapada) 3b; Hie roving passages (bhramapi) is to be made of two rounding rows* The entrances etc. are to be constructed with the p of a triad of (outer rows). In the entrance the allotment of units is : neck ntha) -> three, jaw (upakaptha) -> five and seven is outside that for the support of the entrance. The offset flanking the door should be drawn with n units. Therein- one unit would be erased from the 106 row near the support, three from near the jaw and liv from the row near the neck portion. 7) Twenty seven units should be wiped off from lit region of the corner* Having done this much the di*Ni|ii should be filled with the network of colours of colom all over* B - Colouring (186-191) 1 ) The area enclosed by the altar should be colom • • with the orange red resembling red lotus. 2a) The altar-sides should be filled with snow llh (snow white) lustre- 2b) The four corners of the altar (pltha-padacatujIuvM should be coloured with bright golden hue. 3a) Side parts of the sub-altar (upapitha-gutraUi should be like the royal stone (rajas'ma = black). 3b) Tlje corners of the upapltha should be colouivd with the lustre of full blossom pala.s'a flowers (kinViil..i 4) The pathway (gama-marga) should be filled wiili white colour. 5) The doors should bear the colour like that of tli> space-exterior (vyomabahya) i.e. padmaragaruna 107 (>) The ad joining offset (upas'obhopaga?) should be re- •tcmbling the sky of the autumn [deep sky blue]. /) The network of the corners (ie- four corners] should be decorated with whitish orange colour. This is how the magdala named Ananta is fiplained- Maijdala No. 17— Ananta Total area : 23x23 = 529 units I) Padma-ksetra 5x5 = 25 units Vyomabahya J) Pltha ,'u) Pitha-gatra ;ii) Pitha-kooa i) Upa pltha 3 + 3 = 6 rows; 1+5 + 1 = 7x4 = 28 units 17x4 = 68 units 1 -|-1 = 2 rows Padmaragaruga [orange like red lotus] Tu?ara-sadr«'a [snow white] Jatarupojjvala [golden bright] RajcVma (black) in) Upapitha-gatra 5unitsx4 = 20 units 108 3b) Upapltha-koga 7 units x 4 = 28 units 4) Vlthi [gamamarga] 5) Dvara Karitha Upakaijtha Adhara 6) Sobha 7) Kopa 2 + 2=4 rows 5 + 3 + 1 = 9x8 = 72 units 27 units x4 = 108 units Prafullakiiii- *'uka [red HU pala-v'a] S'veta [while) S'aradaka*'a sankas'a [blue like autumn sky] Pagdararuija [whitish orange | 3 + 54-7 = 15 units Padmarapimim x4 = 60 units (orange 3x4 = 12 units red 5 x 4 = 20 units like red 7x4 = 28 units lotus] Magdala No. 18 — Nityakhya (24*24 = 576) A - Sketching 191-201 Having divided the field twelvefold and then twofold, [24x24] a total number of five hundred and seventy six are obtained. 1 ) The lotus is to be drawn at the centre with thirty- six units (6x6)- 109 i ) The altar is to be drawn with the help of four sur- iminding rows* ,’u) For the sake of plthagatra, i*e. the side part of ilu* altar, two-two units are to be taken at the centre I rom the first and the last rows respectively and four- Imir units from the pair of middle rows Thus the side purt of the altar (gatraka) comprising twelve units will In* formed. ’h) The corner of the altar should be made of twenty l iirlit units, possessing beautiful and attractive form. I or this, five units are to be taken from the first row ml jacent to the corner of the lotus field; for first motif ilien from the two middle rows, twelve units (6x2) are in he taken, first separately and then to be combined mid rubbed together; for the second motif then in the (iime order eleven units are to be taken from the outer¬ most row for the third motif- Thus are the corners of i lie altar to be formed. d) The passage (vithl) should be created with two Hiirrounding rows. The remaining parts (dvara etc ) are to be acco¬ mmodated within the (frame-work of) three outermost tows; now listen to the way how it is to be done. ■I) The entrance should share twelve units in the or¬ der two * four : six allotted to its parts : neck etc. (kag- iliaditah)* 5) Then one, three, and five units should be ciiimmI near the entrances beginning from outside. This will make the offset (.s'obha) of charming form (having I I l + 5 r 9 units)- 6 a&b) Two miniature decorations resembling rcm» and offset should be formed with four units taken mil of two outer rows only, adjacent to the major (sl/« | offset (jyestha-s obha\ The structure of the mininliih' s'obha and upas'obhas is like this: upas'obha-onc unll from the second row and three from the third. S'obha— three units from the second row him! one from the third, i e- outermost row- This small up i .s'obha is adjacent to the jyestha-s'obha and the snuill s'obha is adjacent to the outer corner. 7) Seventeen units are to be erased for shaping t lit- outer corners Madala No- 18— Nityakhya(201-205) B - Colouring Now listen to the manner in which the mand.ili design is to be filled with colours. 1) The space-exterior should be given the best colmu resembling red-orange shade. 2a) The side parts of the altar should be decorated with the shade of the jatihi nkulika ( - red). m 2b) The corners of the altar should be coloured motif wise, with I White, II black and III yellow shades respectively shared by its motifs (I to III)- .<) The passage should be bright red [raktojjvala]* •l) The entrances are to be filled with the colour rese¬ mbling royal stone [ = nrpopala] i,e. black. S) The offsets should be coloured with yellow pigment* (>a) The adjacent inverse offset or recess should bear emerald lustre. <>h) The mini offset adjacent rto the outer corner sho¬ uld be bright white. 7) The outer kona should be filled with shining lime like lustre, (i*e* white). Thus is explained the magdala named Nitya* Magdala No. 18— Nityakhya Total area •• 24x24 = 576units I) Padma-ksetra 6x6r36 units Vyoma bahya ) Pitha 4 + 4 = grows; S'onitarurja (blood-red- orange) 112 2b) Pitha-gatra 2+4+4+2= 12 x 4 = 48 units 2b) Pitha-koija I bimba 28x4= 112 units 5x4 = 20 units [F row] II 12x4 = 48 units [5 from II & 7 from III row] HI „ 11 x4 = 44 uuits [IV row] ♦ 3) Vithi 2+2 = 4 rows 4) Dvara Kaotha Upa-kantha Adhara 2 + 4 + 6=12x4 48 units 2x4 = 8 units 4x4 = 16 units 6 x4= 24 units 5) S'obha [jyestha = 5 + 3+l-9units major] x8 = 72 units 6) Upas'obhaka 1 + 3 = 4*8-32 [mini] units Jati-Hinkulikn (Hingula like red) Sita [white] Asita [black) Pita [yellow] Raktojjvala [bright red] Nrpopalabh.i I [- [Raja/mu I [black] Pita [yellow] Marakatapra- bha [emerald* green] 113 /) S'obhaka [mini] 3 + 1 = 4x8 = 32 units Pari'iarojjvala [bright white] «) Koija 1 7 x 4 = 65 units Sudhasamana [lime-white] Mandala No. 1 9 — Bhutavasa (25 x25 = 625) A - Sketching (205-219) By dividing the are twenty five-fold a group of nix hundred and quarter (625) square units are formed. I) At the centre, there should be an auspicious lotus Minisuring forty nine units [half century less one]. ’) The altar endowed with limbs [gatra] and feet !|iada], i-e adorned with the side-parts and the corners dtould be constructed with the help of a quadruple of nrrounding rows. it) Then a variegated side part [gatraka] consisting l live motifs should be structured with twenty four 'inis. The units are to be wiped thus : On all the dire- • i"iis, i.e- sides, one one unit to be erased from the iiirlh and the first row and three three units from the •iitlillc two rows Thus takes place the first motif of in gatraka produced out of eight units- Thereafter on "Hi the sides, four ornamenting motifs of four units nil should be drawn- For that sake, three three units 114 should be taken on either sides from the first row Ofl side the lotus area. One one unit then should be tll(9H from the second row* Similarly, one one unit should be rubbed off from the third row; and by rubbing off three three units from the fourth row, the gatraka [wllh five motifs] will be completed. 2b) Then the feet or corners of the altar should h* made out of twenty [dvada*'a = 2 x 10 dvir-da/a] until each. Therein one, five, seven and seven units should he taken out of all the four rows beginning with first an»l ending with the last row- 3) The corridor for the movement [sahcara-padavlj should be made with the help of two rows around [the altar]- Whatever remains [of the camponents of tho maijdala] should be accommodated in the three outer rows. 4) The entrance should be produced out of fifteen squares; therein three units from the first row should be rubbed at the neck region; five units should be wiped out for the jaw [upakaijtha] and seven for the support of the door [dvara adhara]- 51 The place for the v'obhas, i.e. offsets, should then, be reserved near the door* For that sake, five, three and one units should be rubbed upto to the neck* 115 ft) The upaft'obha [recess] should be structured in the similar fashion but in the inverted position of the offset. 1) Thereafter, fifteen squares should be washed away for the sake of formation of the outer corners* After rubbing off various parts in this way, this design should be coloured with the following pleasant colour shades. Mapdala No. 19 -Bhutavasa B - Colouring (219-223) 1 ) The inter space between the lotus area [circular] tmd the altar [i e. vyomabahya] should be coloured bright white. 2a) The central motifs should bear white complexion mid the two outer motifs near the lotus area should be made [black] like the royal stone- The outer pair of ••imilar motifs should be coloured with bright red. I bis completes the colouring of the gatrakas. 2b) The corners of the altar [pithapada] shouid be coloured like gold 3) The entire corridor should be smeared with emerald like shade [emerald green]. 4) The entrances will have the same colour as vyonin- bahya [i.e. bright white]- 5) The s'obha [upasankas'a] should be painted like (he plthapada [i e- golden]. 6a) The group of upas’obhas should resemble iln pounded collyrium- 7) The outer corner [koija] should be like the central motif of the side part of the altar [gatrakamadhya]. This is how the Bhutavasa mandala is explained, Maijdala No. 19— Bhutavasa Total area : 25x25 = 625 units 1) Padmakaetra 7x7 = 49 units Vyomabahya Fandarojjvala 2) Pltha 4 + 4 = 8 rows; 2a) Pitha-gatra 24x4 = 96 units I bimba [central] 1 + 3 + 3 +- 1 = 8 Sila [white] x4 = 32 units 11 „ [leftside 34-1=4x4=16 Nrpa-s'ailavat inner part] units [like Rajas'ma Ill ,, [right side d + 1 = 4x4 = 16 -black] inner part] units IP IV „ [left side- outerpart] V ,, [right side- outer part •Mi) Pitha-koija f) Vithi [sancara- padavi] 4) Dvara Kaijtha Upakantha Adhara S'obha [upasaijkav'a] >) Upa.s'obha ) Koija 1-1-3=4x4 = 16 units 1+3 = 4x4=16 units Raktojjvala [bright red] 20x4 = 80 units Hemabha [golden] 2 + 2 = 4 rows; Marakatabha [emerald green] 3 + 5+7 = 15x4 = 60 units 3x4 = 12 units 5x4 = 20 units 7x4 = 28 units 'I Vyoma-bah- J yaval i e Pap- [-darojjvala 1 bright white J 5 + 3+1 =9x8 = 72 units Padavat [He- mabha[[golden] 1 + 3 + 5 = 9x8 = 72 units Bhinnanjana- sama [like po¬ unded collysium 15x4 =6. units Gatraka-ma- dhyavat like central motif of Pithagatra [sita-white] 118 Maridala No. 20— Amogha 26x24 = 676 A - Sketching (22.-236) Now the maijdala design : Amogha is hcl explained- Having first divided the area thirteenfold should again be subdivided twofold (13x2 = 26. 76 x 2 thereby six hundred and seventysix square units a produced- 1 > Then at the centre a lotus should be drawn in square measuring sixty four (8x8) squares. 2) The altar adorned with decorai ive limbs and le (gatra-anghri) is to be drawn with the help of I'o surrounding rows. 2a) The altar limb, i.e side part (gatraka) would I made with twenty eight units- Therein at the centre ' all the sides, two-two units are to be taken from ll first and the last rows. Similarly, four-four units to I taken from the middle two rows- Thus, there will I an auspicious motif, at the centre, drawn with twef units* On either side of this motif, two units each shou be taken from the row near the lotus area- Then twc two units from midlling two rows and two units ea< from the outer row* Then unifying these units the arises a pair of motifs each comprising eight units- 2b, Afterwards, the corner part of the altar (pad 119 should be designed with twenty units and two sub¬ parts or motifs. For that sake, six units should be was¬ hed from the area outer to the lotus area, so that one corner motif will take place* Situated out side that motif there will be another subordinate motif, produ¬ ced out of fourteen units. ?) The corridor would be drawn with two rows around- 4) Outside to this, there will be sections of the entra¬ nce neck etc. [kaijthadlni]; two, four, six units respec¬ tively to be alloted for the kantha etc> of the door- 5) Then an offset with nine units should be drawn near the entrance as in the pre/ious case [i.e. Bhuta- vasa design no 19). (i Then adjacent to the s'obha there would be upa- *'obha [recess or inverse offset] 0 Then a mini offset [suksmas'obha] should be drawn near the upa/obha with four units taken from two | first] rows only 1) Then the outer corner should be sketched with thirteen units : Six from the first and the middle [1+5] and seven from the outer row. Having unified the squa¬ res in various parts the design should be coloured Magdala No- 20— Amogha (23f —241 ) B - Colouring 1) Bright-white colour should be given to the spite# beyond the lotus area (kamala-bhumibhaga). 2a) In the central motif of the altarsides the colnm resembling gold should be catered- The remainiiic units of the side-part (gatraka) should be coloured like the petals of the blue lotus 2b) The motifs situated inside the feet (corners) <>l the pltha should be coloured with deep white. Tito outer motifs of the corner should be Allied with bright red colour all over 3) The corridor should be filled with emerald shade- 4) The entrance [on each side] should be applied with white colour. 5) The offset will bear bright red and 6) the recess golden colour. 7) The mini offset to be filled with the colour resem¬ bling cat’s eye gem [vaidurya] and fc) The outer corner next to the mini s'obha’ should be smeared with bright white colour. Amogha is ex¬ plained thus 121 Maijdala No. 20— Amogha Total area : 26><26= 676 I ) Padma-k?etra 8 x 8 = 64 units Vyoma-b&hya Parjdarojjvala [bright white] 2s, Pltha 4 + 4 = 8 rows; h\) Pitha-gatra 28x4 = 112 units I bimba 2 + 4 + 4 + 2 = 12 Hemabha units [golden] II „ 2+2 + 2 + 2 = 8 Nilanlrajapat- units ravat III „ 2+2+2+2=8 like blue-lotus units petals .'b) Pitha-koga 20x4 = 80 units I bimba 3 + 3 = 6x4 = 24 Susita [intense units white] II bimba 5 + 9=14x4 = 56 Raktojjvala units [bright red] .1) Vlthi 2+2 = 4 rows; Marakatabha [emerald green] ■0 Dvara 2 + 4 + 6= 12x4 - 48 units Sukla [white] 122 Karitha 2X4=8 units S'ukla (while) Upakantha 4x4 = 16 units 99 Adhara 6*4= 24 units M 5) S'obha 5 + 3+ 1=9x8 = Raktojjvaln 72 units [bright red | f>) UpaN'obha 1 ^-3 + 5 = 9x8 Hemabha = 72 units (golden) 7) Sukama-sobha 3+1=4x8 = 32 Vaiduryasadi units (brown) 8) Kona 1 +5-4-7=13x4 Pafldarojjvulti = 52 units (bright white) Mandala No. 21 — Suprati?tha (27 * 27 = 729) A - Sketching 241-253 Having divided the square field by twenty seven (i e. 27*27), a group of seven hundred and twentynine square units is obtained* 1 ) At the centre (of this field) a lotus should be drawn in eighty one (9*9) units. 2) An altar should be drawn with surrounding four (2 + 2) rows. 123 ’») Therein, a) side-parts [gatraka] maybe drawn by nibbing off thirty two units. For that, three-three units are to be taken from the first and the last row and one nu b from the middle two rows- Thus will take place, t lie first motif of the side part consisting of eight units. I lif n there will be two additional motifs made of twelve units each; for that sake, two-two units should be erased from the last and the first row and eight units |*l-4] from the intermediate two rows. Having erased ilius all the units may be unified* The gatraka or the Mdepart should be completed thus. ,’b) The corner-part of the altar [i.e. pada or pltha- totja], is made of twenty units Now listen as to how (lie first motif of the corner part takes shape. Starting Irom the corner end of the lotus area three-three units diould be erased from the three rows of the corner Irom inside; in this way the first motif of the corner, made of nine units will be formed. For the formation of the second motif, eleven units are to be rubbed off Irom the corner : two units [l + 1] and nine units res¬ pectively from the two outer rows ') The passage or the corridor [vithi] should be made ol two rows [outside the altar on all sides]. And the u st of the parts are to be constructed within three (surrounding) rows. ■f) The constituent parts of the dvara or entrance : 124 kantha etc. [i e- neck, jaw and support] should liuv* three, five and seven units. 5) An offset [s'obha] consisting of nine units slum I I be sketched close to the entrance [on either sides] 6) A side-entrance [upadvara] may be designed dux* to the offset. For this, two, four and six units are t" be alotted for its constituents : kaptha etc. 7) The outer corner [kopa] should be formulated by rubbing five units from each row from inside for the inner motif and the rest ie 5 -|-5 = 10 for the outer on". Having completed the sketching one may pro¬ ceed for colouring [the mapdala design.] Mapdala No- 21— Supratistha (253-258) B - Colouring Having completed the sketching the mapdala should then be coloured with [various papdarojjvala) colours, Oh lotus bom ! 1) Bright white colour should be dropped in the lotus pond. 2a) The central motifs of the sideparts to be coloured with bright white (susita)- Then the remaining (two) 125 motifs of it fgatra] should be coloured with bright red | mk tojjvala] . ^h) Then the motif situated inside the altar-corner l* lo be filled with emerald like shade and the motif outside it to be coloured with bright golden colour. t) The passage [vlthika] should be coloured [blue] like the autumn sky. 4) The entrance [on each side] to be coloured like liismine flower or moon- ') The offset [*'obha] should be like the campaka llovver. ft) The side entrance should be fully filled with golden like colour- /) The outer corner (koga) should be of the lustre of (Mi belly and of the parrot’s wing (s'ukapaksa) So is explained the Suprati?tha design sketch and odour scheme. Marjdala No. 21— Supratistha Total area : 27x27 = 729 units I) Padmaksetra 9x9 = 81 units 126 PagrlarojjvMlii bright-whllr Vyoma-bahya [padma-puskarigi] 2) Pitha 4 + 4 = 8 rows; 2a) Pitha-gatra 32x4= 128 units 1 bimba [central] 3+l+l+3=8 Susita [deep x4 = 32 units white] II bimba [one 2+4 + 4 + 2 = Raktojjviilu side] 12x4 = 48 units [bright red| III bimba [other 2+4 + 4+ 2- side] 12x4= 48 units * 9 2b) Pltha-koga 20x4 = 80 units I bimba (inner) 3+3+3=9x4= Marakatabln 36 units [emerald grn II bimba [outer] 2 + 9= 11 x4 = Tapanlyojjvn 44 units [golden brif) 3) Vlthi 2 + 2 = 4 rows; S'arad-gagai Sankara |ai tumn-skyhl 4) Dvara 3 + 5 + 7=15x4 ] Kugdend - 60 units 1 | tulya [lik Kaijtha 3X4= 12 units h Upakagtha 5x4 = 20 uuits | jasmine 1 Adhara 7x4 = 28 units J moon] 127 5) S'obha 5-*-3+l=9xS = 72 units 6) Upadvara 2 + 4+6=12x8 = 96 units 15x4= 60 units 5x4=20 units jhasodarabha [fish-belly] 5-1-5=10x4= S'ukapakso- 40 units pama [parrot green] Magdala No- 22 — Buddhyadhara (28x28 = 784) A - Sketching (258-272) Having divided the area sevenfold and then again four fold [28x28], seven hundred and eighty four square units are produced. 1 ) The central lotus should be made of one hundred units [10x10]* 2) The altar with well defined parts should be con¬ structed with four exterior rows. 2a) The side-part of the altar [plthagatraka] will have twenty eight units and three motifs [bimbatraya]. For 7) Kooa I bimba [inner] II „ [outer] the central motif two-two units should be rubbed nl the centre of all the directions from amongst the first and the last rows and four-four from the middle ones Thus the central motif will be made out of twelve units' On both the sides of this motif two more motifs of eight units should be made. For that, three-three units should be washed from the first and the last rows and one-one each from the two intermediate rows. 2bl The altar-corner [plthapada] will be made of equal units [i e. 28)- It should be sketched with two decorative motifs- Listen to the mode as to how it is drawn. Beginning from the vicinity of the corner of the lotus area three-three units should be erased from each of the three rows- Thus is obtained the first motif of the altar-corner comprising nine units- Then for the second motif of the altar-corner (dvitlya-padabimba), altogether ninteen units may be rubbed of from remai¬ ning three rows excluding the first one- 3) Thereafter two rows (on all sides) may be washed off for the sake of the passage of the matjdala. The remaining parts of the mandala (dvara etc ) should be formulated with the help of three outer most rows 4) (Entrance) two, four and six square units respec¬ tively from each direction should be allotted [for the parts of the entrance)* The pairs of 129 S) s'obha and 0) Upas'obha (2 + 2) should be of nine units each as before (i.e. the s'obha of magdala no. 21)* 7) Thereafter, the corner design (koga) is to be fas¬ hioned with five motifs and made up of twentyseven units. Now be attentive to the mode of its Structure- Adjacent to the recesses [upas'obha i.e. inverted offsets] there will be two offset (-like structures) lacking in one unit* Having rubbed these parts separately the first motif (of composite nature) will be formed. Outside this another (composite) motif may be formed by rub¬ bing off three units from the second row and seven from the outer most row. Having erased thus [the intervening lines) this magdala design should be filled with a network of colours assigned to various parts. B - Colouring (2 2-277) First of all 1) The exterior part of the circum¬ ference around the lotus (vyomabahya i.e the blank upace between the periphery of the square area of the lotus and the circumscribing circle of the lotus) should he coloured bright red* 2a) The central motif of the side parts of the altar (gatra-madhyabimba) should be made bright white* 130 The pair of motifs on its either sides should be | nlT| white i*e. white shade of the cows milk* 2b) The interior motif of the altar corner should ho of emerald lustre and the exterior one of golden lustre 3) The corridor should be like the royal stone [rajo pala], [i.e- black]- 4) Entrances should be like limestone £) and the offsets like the exterior of the lotus [kaja- bahya i e. bright red] 6) The inverted offsets or recesses [upas'obha] should be like the exterior motif of the altar corner [pada- bahya). 7) The interior motifs of the corner are to be like the interior motifs of the altar-corner (pjtdabhyantara)- The exterior parts or motifs of the outer corner should resemble the central motif of the altar-sides [gatra- madhyaj The mandala called Buddhyadhara is described in this way- Mandala No. 22 - Buddhyadhara Total area : 28x28 = 784 1) Padma-k^etra 1 0x10= ICO units 131 Vyoma-bahya Raktojjvala [bright red] 2) Pitha 4 + 4 = 8 rows; ’2a) Pltha-gatra 28 x 4 = 1 1 2 units I bimba (central) 2 + 4 + 4-1-2 = 12 Paijdarojjvala x4 = 48 units [bright white] II ,, (one side) 3 + 1 -j- 1 -1-3 = 8 Go-ksirapaijdara x4 = 32 units [yellowish white III „ (other side) 3 + 1 + 1 -t-3 = 8 x4 = 32 units >» 2b) Pitha-kona 28x4= 112 units [pitha pada] I bimba (inner) 3 + 3 + 3 = 9x4 = Marakataprabha 36 units [emerald green] II „ (outer) 4 + 6 + 9 = 19x4 Jatarupabha = 76 units [golden] ) Vlthi 2 + 2 = 4 rows; Rajopalaprabha [black] ) Dvara 2 + 4+ 6 = 12units Sudhasania Kaijtha 2x4 = 8 units [like lime stcne] Upakantha 4x4 = 16 units Adhara 6x4 = 24 units •9 132 5) S'obha 6) Upas'obha 5+3i-l=9x4 = Kajabahyavnl 36 units [Raktojjvalu padtna] [bright red | l + 3+5 = 9x4 = Padabahyaviil 36 units [like b II J [golden] 7) Koija 28x4= 112 units I bimba (inner) 9 + 6 + 2 = 17 x4 Padabhyantan = 68 units tulya [like 2b l| [emerald green II „ (outer) 1 + 3 + 7=11x4= Gatramadhyu 44 units sama [like 2a l -bright white | Mandala No. 23— Gugakara (29x29 = 841) A - Sketching 277-294 [M-22=] Buddhyadhara has been told and Gunakara mandala [23] is being explained- By dividing the field twentynine fold [29x29] as n any as eight hundred and fortyone square divisions are obtained. I ) The lotus is to be drawn in the area equivalent to one hundred and twenty one units (100+7x3)- 133 The altar or divine seat [asana] is accommodated In four [2 + 2] rows surrounding the lotus area. .’ii) There in a splendid gatraka [side part of the altar] •'mbellised with five motifs should be sketched to be Miuated in a portion of forty units. For its sake, three iliree squares should be taken from first and the last rows on all the four sides Similarly, one-one square ruch from the pair of middle rows should be rubbed oil’- In this way the central motif of the side-part com¬ prising eight squares takes shape. Now listen as to how the remaining adjacent motifs of eight units are to be drawn Close to the central motif and from the first mid the last rows, one-one unit should be washed off. And three three units should be rubbed from the inner two rows- Beyond this pair of motifs there is another pair (of motifs]- For that, two-two units have to be washed oil from the rows adjacent to the two aforesaid motifs from the first and the last rows as also from the two intermediate rows. 2b) Having thus accomplished the set of gatrakas, i c side parts of the altar) one may proceed to formu¬ late the altar-corners. The altar-corners would be pro¬ duced out of twenty squares and two motifs For that lake, a group of five units is to be taken from the /icinity of the corners o.‘ the lotus area from two rows1 134 three from the first and two from the second row Thus the first motif of the corner becomes clear. Then outside that the remaining fifteen units should be wiped out : one from the second row, five from the third row and nine from the fourth row. 3) Then, with the help of two [surrounding] rows corridor should be made- The remaining parts [entrance etc ) should be accommodated in the triad of (out ermost) rows- 4) Therein (i e- in the outer triad of rows) for the neck of the entrance three units to be rubbed and five units and seven units respectively for the jaw portion (upakagtha) and the support (adbara). 5) Next to the door should be drawn on offset mea suring nine units in the rows immediately close to the door, and on both the sides 6) Next to the *'obha or offset is situated a side door (upadvara); therein two units are left for the ncck- region, four for the jaw region and six outside it- 7) Then there will be the outer-corner (a*Ti) incor¬ porating two motifs (dvi-deha) and constituted o! twentyone (7 x3) squares* Therein six units should be wiped out from two rows adjacent to the corner of the passage (to constitute the first motif of the corner)* 135 The second motif of the corner is shaped thus : from outside two rows two subordinate parts on either side should be rubbed* That is two two pairs of units on cither side (of the first motif ) should be rubbed from (lie first and the second row; and seven units should he rubbed in the third row so as to surround (the first motif). Maodala No* 23— Gugakara (294-298) B - Colouring I) The space-exterior (vyomabahya = the intervening blank space between the border of the square and the circumference of the circle circumscribing the lotus) of this (.ie* Gugakara maodala) would be bright white. 2a) The central motif of the altar-side (pithagatra- madhyabimba) should be coloured like the lustre of i he sun (Raveh)* The two adjacent motifs should bear rmerald-Iustre. Two more motifs next to these should he coloured like the snow (snow white)- ?b) The motif which is situated inside the corner .liould resemble sun’s lustre (siiryasamaprabha)* The inter motif of the corner of the altar is red-orange >) The corridor should bear the shade of the space- ixterior (vyomabahya). 136 ♦)■ The entrances in this design are white [dhavala |. 5) The offsets on all sides are to be like the Bandlui jeeva flower [i.e- red] 6) The side door on either sides of the main dom should be golden. The inner motifs of the corner should be black and the outer motif should be filled with emerald [emerald green]. This is the description of tin' Gunak&ra Mandala. MaodalaNo.23— Guijakara Total area : 29x29 = 841 units 1) Padmaksetra 11 xll = 121 units Vyomabahya Paodarojjvalu [bright-whitr | 2) Pitha 4 +4 = 8 rows; 114-8=19 rows; 19 x 19 = 361-121 = 240 units 2a) Pitha-gatra 40x4 = 160 units 1 bimba [central] 3+l+l+3=8 Raveh abhcn.i units Solar lustre II bimba [side 1] 1+3 + 3 +1=8 Marakatablia [emerald grern | units 137 111 bimba [side 2] 1 + 3 + 34-1=8 Marakatabha units [emerald green] IV „ [side 1 4-] 2 + 24-24-2 = 8 Tuaaravat units Snow white V „ [side2-f-] 2 + 24-2 +2 = 8 units tl Pitha-koga 20x4 = 80 units I bimba [inner] 3 + 2 = 5 units Suryasamapra- bha [solar lustre] II [outer] 1 + 5 + 9 = 15units Raktarupa [red¬ dish orange] Vlthi 2+2 = 4; 19 + 4 = Vyomabahya- 23 rows vat [bright white 2^x23 = 529-561 i e. Parjdaroj- = 168 units jvala Dvara 3 + 5 + 7= 15x4 Dhavala 60 units white Kantha 3 units llpakantha 5 units 9* Adhara 7 units 9t s obha 5+3 + 1 = 9x3 = Bandhujiva-vat 72 units -red flower like 6) Upadvara 138 2+4 + 6=12x8 Kaficanflhhn = 96 units [golden] 7) Koga 21x4 = 84 units I bimba [inner] 3+3 = 6 units Kraga-blaek II „ [outer] 4 + 4 + 7= 15 units Marakatabhn emerald pin Mandala No. 21 — Dhruvakhya or Dhruva (298-316) Having divided the area by twice fifteen [i.e- 31)'* 30] nine hundred square units are obtained thereby, Oh Lotus born! 1) The lotus should be drawn at the centre with nm hundred and forty four [12x12] units, 2) Then an altar is to be drawn with the help of fom outer surrounding rows. It should have two sub division side-parts and corners [gatraka + pada]- 2a) Forty four units are meant for side-parts [pitha- gatras] on all the four directions- [These are constituted of five motifs each]. 2b) For the central motif of twelve units are to be rubbed out by taking four units from the first and four from the last rows and two- two each from the pair of 139 middle rows. On either sides beyond the central motif ivvo other motifs comprising of eight units each should I lien be drawn by unifying one unit each from the first and the last rows and three three each from the intermediate rows. Having done this another pair of motifs should be drawn, adjacent to the aforesaid two motifs. For this, three-three ( = middle row units in the last motifs) units should be taken from the first and the las' rows, and one-one unit each from the inter¬ mediate pair of rows- With the accomplishment of the side parts constituted of five motifs each, corner parts made of four motifs each should then be sketched. I ach corner should be made of twenty units For that, seven units should be chosen from the nearhood of the « pace left out in the lotus area fvyomas'n] •• one from the inner row and three three from outer two rows- Having done this at the centre of the corner three motifs should be drawn beyond : two motifs on two sides and (lie third motif would be situated below (begon) those iwo motifs. For the motifs on either side one unit should be chosen from the second row. two from the third and one from the outer row, which then should he washed; thus will be formed a pair of side motifs Ipaksa-bimba-dvayaJ made of four units each* The next n.olif made of five units should be fashioned with the outer row. t) Having completed the altar, the passage should be made with two rows and entrances etc. with three outermost] remaining rows* 140 4) The entrance [dwara] should be formed with two [for kantha, i-e. neck portion], four [for upakaiHlui, i.e. jaw portion] and six [for adhara or support portion | units. 5) 6) 7) The decorative parts on either side of the entrances [s'obha upas'obha-s'obha, i e. offset recess - offset] are for- med with nine units each as in the previous case [i.e magdala No. /3], in such a way that four .s'obhas and two upas'obhas would be formed on each direction [east, south, west and north ] 8) The outer corner should be then formed between two .s'obhas with two sub-divisions or motifs and units. The inner motif of the corner should be drawn by taking one unit from the first row and four from the second row- This motif is comprised of five units by leaving out a unit at the tip of the second row* The exterior motif of the corner of ten units is formed by taking one unit from the second row [left out in the earlier motif and nine from the outermost row- Maridala No. 24— Dhruvakhya Colour Scheme (316-324) Having thus completed the sketch, the design should be filled with a network of colours : 1) The corners of the lotus-area should be coloured like full bloomed lotus 141 2a) The central motif of the pltha gatra or sideparts should be coloured like the yellow powder* Two motifs adjacent to it should be coloured like emerald [i.e emerald green]* Two more motifs outside these two should be bright like gold. 2b) The central motif of the comer [carapa or pltha- prtda] should be coloured bright like silver. The remaining three motifs of the pithakopa should be coloured like (b)-(c) like bahllka flower, il) like a pomegranate flower* The passage or the corridor (vithi) should be made white like jasmine flower or moon* •I) The entrances should be coloured like the royal slone [rajapasapa] i.e* black ') The adjacent s'obhas should be like the central motif of the pithagatra [i.e. silver bright]. ') The upas obhas next to the *'obha should be of the mcrald shade* ) The additional /obhas or offsets beyond the upa- nbha should be bright [yellow] like the campaka >wer- 142 8) The inner motif of the outer corner [kogabini should be coloured bright red. The outer motif of the corner should be of lustre of the blue gem [Indranlla] Thus has been explained [the structure and i colours] of the magdala called Dhruva* Magdala No. 24— Dhruvakhya Total area : 30 x 30 = 900 1) Padmakaetra 12x12= 144 units Vyoma-bahya Prafulla-R totpalavat like fully 1 omed red 1 2) Pitha 4 + 4 = 8 rows 2a) Plthagatra 44x4= 176 units I bimba (central! 4_|_2 + 2+4= 12 Pltapiataf; *4 = 48 units low powdi II „ (side 1) 1+3+34-1=8 Marakato; x4 = 32 units [emerald! Ill „ [side 2] 1+3+3+ 1 = 8 x4 = 32 units 99 IV 143 „ (side + ) 3+1 +1+3=8 x4 = 32 units V „ (side 2+) 3 + 1 +1 +3 = 8 x4 = 32 units 2b) Pithakoga 20x4= 0 units* I bimba 1+3+3= x4 = 28 units II „ 1+2+1 =4x4= 16 units III 1 +2 + 1 =4x4 = 16 units IV „ 6x4 = 24 units .1) Vlthi 2 + 2 = 4 rows >1) Dvara 2 + 4+6= 12x4 - 48 units Kagtha 2X4 = 8 units Upakagtha 4x4 = 16 units Adhara 6x4 = 24 units Tapaniyojjvala [golden] 99 Rajatojjvala [silver bright] Balhikaputpa* vat yy Dadimlpuspa- sadrs'a Pomegranate flower Kunda flowers and moon RajapagaQa- sione like black 99 99 99 144 5) S'obha 5 + 3 + l = 9x4 = Gatrakammlh 36 units yavat Rakto) jvala-bright h" 6) Upa.s'obha 1 +3i-5 = 9x4 = Marakatablui' 36 units emerald green 7) Anyas'obha 5 + 3+ 1 =9x4 = Campaka prn 36 units bha-goldcn 8) Koga 15x4 = 60 units I bimba 1 + 4 = 5x4 = 20 Raktojjvalu units bright red II bimba 1 +9= 10x4 = 40 Indranilanihlm units Blue Mandala No. 25 — Paramananda (31 x31 =961) A - Sketching 317-324 The magdala by name Dhruva or Dhruvakhya in so explained. Now Paramananda is being explained. Having properly divided the area by 31x31 a plot with 961 units is obtained. 1 ) Then at the centre there will be, Oh Pau?kara, the lotus area endowed with 13x 13 (=169) one hundred and sixtynine units. 145 2) Afterwards four outer (surrounding) rows should be erased for the sake of formation of the altar (pltha). 2a) This would make an altar of fine form constituted of (four) corners and (fourl side parts comprising in all, (272) two hundred and seventy two square units. A charming side-part (Gatraka) will then be formed within that (altar) with forty eight (45) units each. These side-part (Gatra) will have five motifs of to begin with a group of sixteen units to be erased at the centre on all the four sides thus : five units from first row and five from the last row alongwith three units from central pair of rows. On either sides of the central motif, two motifs of eight units each may be drawn. For the sake of these, one unit each is to be taken from the first row and the fourth row alongwith three units each from the two middle rows- One more pair of motifs may be sketched beside these motifs with, two-two units taken from all the four rows This completes the side-parts of the altar made of five motifs (together 48 units on each side). 2b) The altar-comers then would be drawn with twenty units each with four motifs For that sake, the motif wise assignment of units is as follows : The inner motif would be formed by taking three units Irom the row adjacent to the ex-space corners and two 146 units from the second row. The two side motifs w< be drawn by erasing one-one units on either side fi the third row and three each from the fourth row. fourth motif in the corner, on the outer side would (automatically) shaped by erasure of one unit at centre from the second row and three units each li the third and fourth rows respectively* This is how altar corner is formulated* 3) Vithi or the passage arround would be washed with two (2-1-2) rows. The components of the outer enclosure arc tl accommodated in the triad of exterior rows as folio 4) The entrances on all sides will be formed by eras fifteen units each : 3 for neck (kaijtha); five for j (upakagtha) and seven for the support (adhara), co ted from inside to outside* at the centre. 5) Offsets on either sides of the doors are sketcl with nine units each : Five from the inner row, tin from the middle row and one from the outer row 6) Beside the offsets (s'obha), two side-entram (one on each side) will be provided in the outer end sure (2x4— jn all). The assignment of units partw therein would be: two for th^ neck, four for the j and six lor the support (counted from rows inside outside) 147 7) Amini-offset(Suksma-s'obha) situated between the side-door and the corner will have three units from the first row and one from the second (3 + 1=4). 8) The outer-corner will be made of nineteen units each and 2 motifs each- The inner motif would share three units from the first row and two from the second counted from the passage corner. The second motif will have five units from the second and nine from the third. This is how the Paramananda mandala is explai¬ ned. Listen to its colour scheme now, Oh Lotus born ! Thus ends the fifth chapter named ‘Sarvatobha- dra mandala’ of the Pauskara Samhita of the great Upanisad called Pancaratra. Magdala No. 25— Paramananda Total area : 31x31=961 1) Padmaksetra 13x13 = 169 units 2) Pitha 4 + 4 = 8 rows 2a) Pitha-gatra 48 x4 = 192 units I bimba (central) 5+3 + 3 + 5 = 16x4 = 64 units II „ (side 1) 1 +3+3 4-1 =8x4=32 units 148 III bimba [side 2] 1 +3-1-3+ 1 = 8x4 = 32 units IV „ (sidel + ) 2 + 2+2 + 2 = 8x4 = 32 units V „ (side 2 + ) 2 + 2+2 +2 = 8x4 = 32 units 2b) Plthakopa 20x4= 0 units* I bimba (inner) 3 + 2 = 5 x4 = 20 units II „ (side) 1 +3 = 4 x4= 16 units III ». „ 1 +3 = 4x4= 16 units IV „ (outer) 1 +3 + 3 = 7x4 = 28 units 3) Vlthi 2 + 2 = 4 rows 4) Dvara 3 + 5 + 7 = 15x4 = 60 units Kaijrtha 3x4=12 units Upakaritha 5X4 = 20 units Adhara 7 x4 = 28 units 5) S'obha 5 + 3 + 1 =9x8 = 72 units 6) Upadvara 2 + 4 -»- 6 = 12 x8 = S6 units 7) Sukgmas'obha 3 + 1= 4x8 = 32 units 8) Kooa 19x4 = 76 units I bimba 3 +2 = 5x4 = 20 units II bimba 5 + 9=14x4 = 56 units CHAPTER : SIX LOTUS DESIGNS 1-85 Divisions and sub-divisions of the area assigned for the lotuses (as per prescription contained in ch* 5), are to be made further for shaping the tips of the petals (patragrasiddhaye) . For the sake of the formation of the five lotuses three-petalled etc. (i.e. upto seven- petalled lotus;, the fractions to be left out are : «, 9, ■ u. 11 and /a,* With the remainder, the pericarp filaments and petals are to be drawn* This is the method for assignment of the area in the case of the fully bloomed lotuses- With the portions mentioned above the tips of the lotuses are adjusted. Now I shall explain to you the formation of the petal-tips in the case of budded lotuses. The radius is to be divided from the centre to the end point into four divisions ! either equal or unequal, for the sake of formation of pericarps etc. I shall explain to you the method as to how this is to be done so that you would be free from doubt. I shall explain the area for the lotuses beginning with three petals and ending in eight petals; this area would from bv taking nine, eight, seven, six, five and four divisions beginning from the centre and reaching the (outer) nul. I) At the centre of each lotus a pericarp should be formed with one unii each- [with the remaining thirty divisions the length of three petals etc. are formed]- 150 2) The filaments of the lotuses possess the Icn equal to one division- These are at the roots of petals and measuring half of the pcric or its equal These filaments take positions i i t\ petal; and their number is two or three per petal. I remainder part of each petal should be divided n two and the first (filament) should be at the mil It is said to be present in the line from the centre ii| the tip of the lotus petal and at its bottom- This pi cedure is to be followed in the case of three-petal to eight-petal led lotuses. 3) The measurement of the pericarps alongwith i ^laments in the case of the lotuses marked with pci numbering eight to twentyseven is being told by i The minimum measurement for the pericarp of i eight- petal lotus is twenty- Thereafter its measuremc is to be increased by one unit; this is how the pericai of the remaining lotuses are to be formed- 41 The measurements of the lotus filaments of I remaining lotuses : nine-petalled to twentyseven pci led should be as before The length of the filamci should be increased by half of the pericarp. This is t method for these lotuses. 5) The method of sketching the oval-shaped lotu is described here (vs- 18 to 23'- 151 6) The normal method for drawing a lotus is as follows: A set of four concentric circles should be drawn (by equal division of the radius). The central circle is meant for the pericarp. The second circum circle is assigned for the filaments. The third one is marked by the middle points (joints) of the petals "and the fourth one for the end points or the tips of the petals. Inside the space between the third and the fourth circle, the lotus petals with varying number from three petals upwards are accommodated, Oh Lotus born ! 7) As for the portion to be left for the pointed tips of the lotus-petals, there is no rigid rule. The portion by which the beauty of the particular lotus enhances may be cast for its tips depending on either expansion or contraction of the lotus petals* Consequently, the tips of the shorter petals look nice if three are long- 8) Similarly, in the case of the multi-petal-lotuses drawn at the centre of the Bimbas (Bimbodarastha), the finishing of the petal tips should be made with the help of the cords as per procedure (vs. 30 to 34), with the help of arcs of the circle and their intersecting points (indulanchana and matsya-citra)- 9) A similar procedure is followed for the formation of the shattered petals (s'irija-patrakrti) (vs 34 to 39). 10) The procedure for the compact petals is described herein (vs- 40 to 43) Samsakta-patra 152 11) The unseen part of the petals (adrstaprstabhagn) are to be shaped as per instructions (vs- 47 to 50). This is the general procedure of the formation of the petals and their joints (patra-bandha). 12) The procedure for the formation of the pericarp (kargika-sadhana) ; the height of the pericarp (kanji- kocchrita) should be one and half ( 1 i) or one and quar* terc U) of the diameter of its base circle* It can as well be twice the diameter The expanse of the mouth of the pericarp should be of the same size. The mouth should consist of the seeds- The verge of the pericarp should be left for the girdle (mekhala). The remaining portion or area af the centre (brahma-sthana) should be bisec¬ ted for the assignment of the seeds- The seeds may he eight in number. The seeds may be made of metals like gold etc ( jambunadadi-dhatuttha). 13) The colours to be used for filling various parts of the lotus are made of the ingredients like s'rivestaka, milk, honey, in little quantity, the powder of kusman- da fruit, rice powder mixed with kumkum, i.e. vcrn.i- lion, and yellow powder for the tips of the filaments, The mouth of the kargika having two sections should be filled with the same colour (yellow). Then these motifs should be set with gold and gems (hema ratna dikanvite). The filaments should sprout from it, 14) The mantras are to be written on the petals of all ( he magdala designs endowed with lotuses. The man¬ tra is called adhyatma; the mantramurti is called adhidaiva and the tattra (principle) is called adbibhuta. They are also called gross subtle and sublime phases (sthula-suksma-para). The deities assuming various positions on various parts of the maijdala designs are worshipped as per prescription. Thus concludes the sixth chapter named ‘lotus designs’ of the Pauakara Samhita of the great Upanisad called Pancaratra. CHAPTER : SEVEN CHARACTERISTICS OF THE COMPOSITE DESIGN (VYOHA-LAKSANA) Paugkara said •• O Lord, Lotus-eyed One, who has known the vows of the world! You have indicated in brief the nature of the composite design (vyuha- bheda) having realised the evil fate of the people destined to worldly life* I now wish to hear from you in detail its nature, measurements, the procedure of sketching and the assignment (of mantras etc)* S'rl Bhagavan said 1 O Brahman, listen attentively to what I am explaining concisely, the nature by knowing which one attains sublime bliss- Now listen to the description of the entrances, the altars, the corners, the (ones puras), the triangles (?), circles and other motifs etc; and of all the motifs told earlier, each one being at the centre of squares (mapdalas) endowed with altars, corridors etc. These designs vary according to the varying num¬ ber of lotus petals sprouting from a single roots. Al the centre of the square with altar and corridor, four- p talcd-lotus is drawn inside a circle; and outside it three petalled lotusses are drawn This is the first design-complex made of four lotuses and it is accom¬ modated inside a triangular motif trrkona-bhuvanu) 155 ulternatively these lotuses may be drawn inside a n|!i;ire and encircled with a circle- The second design-complex will have an arran¬ gement as follows : The total number of lotuses herein ure five. One at the centre is five petalled and four on lnur sides are four petalled lotusses drawn outside it. The third design- complex (vyuha)is made of six lotuses- The central one is of six petals and five lotuses itirrounding it are of five petals Further three design-complexes are of seven uluses However the central lotuses there in are made >f seven, eight and nine petals respectively (for the ourth, fifth and sixth design)- Consequently, the outer six) lotuses are made of six, seven and eight petals. The three design-complexes, thereafter are made if eight lotuses Therein, seven lotuses are situated out- ide in these designs and one each at the centre- (design m- 7, 8, 9) (The central lotuses will have ten, eleven nd twelve petals each and the outer lotuses will have me, ten and eleven petals respectively). The next three esign-complexes (10, 11, 12) re made of nine lotuses each (The number of petals )r the central lotuses in each design is thirteen, four- :cn and fifteen respectively and the surrounding lotuses ill have twelve, thirteen and fourteen petals respec- 155 tively). All these designs have one lotus at the centre and eight in eight directions. The thirteenth design-complex will have ten lotuses : one at the centre and nine lotuses around. (The central lotus has sixteen petals and the surroun¬ ding nine lotuses will have fifteen petals each). The fourteenth design-complex constitutes eleven lotuses. One will have the central place and the remai¬ ning ten lotuses would be situated outside it. (The num ber of petals would be seventeen for the interior loun and shteen for the ten exterior lotuses). Now listen to the number of petals for the inner and outer lotuses in the design-complexes- seventh on¬ wards upto fourteenth, made of eight lotuses upto ele¬ ven lotuses. The first of these designs will have a ten- petalled lotus at the centre and by increasing the num¬ ber of petals one by one, the fourteenth design will have a seventeen petalled central lotus. Thereafter the number of petals for the external lotuses for the de¬ signs beginning from seventh would be nine to sixteen- increased one by one, as in the case mentioned above The outside lotuses in the final design (ie. fourteenth) would be made of sixteen petals. I have explained to you, O Lotusborn. the de¬ signing of the lotuses alongwith their petals in all the 157 design-complexes briefly. The orientation of the lotuses would be from central lotus and the eastern lotus (in clockwise direction) The scale and the sketching should also follow the pattern of the lotus situated at the centre. The circle of the first design-complex would be of eleven units (cubits hasta) including the corridor surrounding the outer lotuses Similarly the area of the second design-complex would be twelve (cubits hastas) The area for the further design-complexes would then be increased by one (cubit hasta kara) in each case* The measurement of the last designeomplex in this series would then be twenty four hastas* The circles on all the directions would have equal area-extension* In case the available space is congested, then the cen¬ tral circle and the corresponding surrounding circles should be half the scale. I have thus explained to you the areawise measurement. Now listen to the mode of the sketching of these design-complexes as aforesaid in the quarters east etc with twelve equal divisions- Having divided the square-area into twelve equal •livisions and having sketched the area beginning from the centre with fifteen radial lines (paksa-sammita- lantu) and having filled it with the characteristics of the particu!ar design-complex marked by circles Then with the easiern section onwards all the lines should be marked with twelve equal divisions so as to get the required area. Beginning with the central section, this method should be followed for the area of the first and upto that of the last (design-complex)- 32 ff With five divisions at the centre, first having drawn a circle and then havinit left one division for a corridor (vlthi) around tlini circle a group of outer circles may be drawn arouml the central circle (madhyavrtta). Beyond these line*, O Brahman, one more circle is to be drawn with u radius equal to four units (caturams'aka) with the linn drawn from the central access situated at equal distant r Of these circles drawn upto the circumference of tin' area, O Brahman, a pair of units remains after stretc¬ hing the lines (35). The interspace (antarala) of the outer circles h equal to each other but not having fixed measurement. . Having thus drawn the circles on the main dircc tions and the sub-directions various lotuses : of big and small size are to be drawn with differing number ol petals (40) . Thus ends the seventh chapter named ‘charac teristics of the composite design’ of the Pauakara S.im hita of the great Upani?ad called Pancaratra. CHAPTER : EIGHT CAKRABJA - LAKSANA Pauskara said s VS. 1 to 10 O Lord! God of gods, I have not heard the cha¬ racteristics of the diagram incorporating encircled lotus icakrabja). Please do narrate that unto me which you had mentioned earlier. Sri Bhagavan said 9 That Cakrabja design is know to be manifold numbering one thousand in its varieties. Listen to me as to how this single design has turned manifold* The deities preside over these designs assuming the respec¬ tive shapes : twofold onwards for which counting does not exist- So many paths of liberation proceed for the benefit of people These paths safely sail the worldly beings across the horrible ocean of worldly life. They also bestow favours on the devotees and those who take refuge, who are adhering to the path of virtue forever and who have pious conduct- Thei>e devotees who have surrendered are indeed my own ingredient parts endowed with the glory of six qualities; they worship me and are ever victorious. S- 7 ff While engaged in high praise and saluting und meditating, they remember me constantly who am 160 bestower of their cherished desires when worshipped inside the wheels embodying the lotuses (padmodaru cakra)* With this intention, O Lord, of Brahmins, I voluntarily generate the wheel- having two spokes and so on from this premier wheel which is indeed the omni support without having any modification in which all the spokes have merged (praltnara) and which is the prime cause, which resembles in lustre thousands of solar orbs, which is as circular as the orb of the sun, having eightfold division into limbs (spokes) at the same time which happens to be impartite in essence- The design- complexes wherein situated are worshipped by the devotees* These design-complexes are adorned with three, two and one axles and equal number of rim* They are all encircled [with the peripheries* And the peripheries are matched with axles. Various forms have been narrated by me serial y# Now listen to the mode of sketching these wheels beginning with the first wheel I shall also explain the ninefold varieties ; superior (uttama)etc. (14) (medium and interior) (VS- 8-13 to 17) Now listen to me about all the aspects about this diagram-worship in the wheels of nine varieties : the distinct forms, the increasing mea¬ surements, the mode of drawing the lines and designing of the divisions, the shaping of the spokes of the wheel, the filling of the colours, the assignment of various deities on various parts of wheels and finally the expla- 161 nation of the names of the deities. These are various aspects to be described hereafter- Especially listen to the assignment of the deities beginning from the axel and ending with the rim and having placed them so the mode of worship and also the fruit derived from the worship of the wheel (cakra-puja-phala). I shall now explain the way how this wheel is drawn I have already explained to you in detail the description of the circles at the central area of all the (25) maijdalas beginning with Bhadra (in ch. 5\ wherein the circles embody one brilliant lotus each. An area equal to one- twelth of the encircling the lotus may be left out adja¬ cent to the surrounding altar A circle drawn with this would be called the space-circle (vvoma-vrtta), surrou¬ nding the encircled lotus- An equal portion should be left inside that circle for formatin of the inscribed lotus. I have already narrated the description of the simple lotuses and also the lotuses with petals adjacent to each other beginning with three petals (upto 27 petals); and also of lotuses with detached petals. Now I shall explain to you the description of the lotuses having ujrrounding circles VS. 22 flf Having divided the radius seven-fold is already explained the central area will be alotted or the formation of the imperishable axel. Two por- ions should be left for the axels and the last one for lie rim (cakra-bhumika). Having drawn the circles for haping various parts, these parts should be filled with 162 colours white etc (sitadi) manufactured colours out o! precious stones or metals (ratnaj, dhauja) which art' bright and sacred. VS. 26 ff. The lotus should be drawn inside I hr axel area = VS. 8. 26 ff The lotus inside the axel ar«n should be drawn with well elevated pericarp- The colour scheme for various parts is as follows : 1) The lotus seeds inside the pericarp (karrjikft* bija) should resemble a pure crystal; i e- white. The in¬ terior of the seed should be black- 2) The pericarp should be golden in lustre. 3) The network of filaments should be like the extinguished fire, i e- ash-white 4) The bunch of lotus- petals should be deep white and white etc. (sitadika?) 5) The inter-space between the petals of the lotus should be coloured like the blue-gem 'shapphirc)- 6) All the circles of the wheels should be co¬ loured white- The space around the circle should be filled with the colour resembling a load-stone (magnet ayaskanta) or a royal-stone (rajopala) with shining. 8- 30 ff O Brahman, the sharp points (of spokes?) should shine like the heart of the mirror (dar- 163 par) odara) . The ground of the wheel should be like cluster of sunrays. The multitude of rays should be drawn on the disc of the wheel (cakrabhumi) having filled the same with colour resembling the yellow pig¬ ment (rocana), a ruby, yellow powder (plta-pista), fire or the yellow colour. Having known the particular magdala the area for the wheel should be drawn and coloured. Thus I have told you the abode of the wheel with an encircling circle and having a lotus at the cen¬ tre My form made of verbal body and named as Vasu- dcva is to be worshipped at the centre of this eight petal ied lotus and on the spokes of the wheel* The worship of the god with three abodes (tridhaman) multiplied by three again and the six limbs may be deposited in between the lotus-petals. Another form of mine of human garb should be worshipped over the wheel with the help of one’s own name beginning with Omkaraand ending in Namaskara. VS 38 ff Tne procedure of worship should be known to be as before with the application of deeds mind, speech and in accompanyment of one’s family, fhe worship follows the pattern of the Padma-marj- lalas and their procedure. This is how I have explained In you in detail the cakrabja-design (lo.us encircled ly wheel) The multitude of rays belonging to the gods: Irahma, Indra and Rudra which is extremely difficult o glance at even for those who have turned away their eyes from glancing from far off distance; that is why this wheel is known as durdar^'ana, O Brahman* fur the devotees who have surrendered, however since it In easily at sight, that is why it is known as Sudar.v'tinm The presiding self of this wheel holds the entire universe beginning with the seventh nether-world (saptamn patala) upto the super world known as Satya Loku- He is the causer of the creation and dissolution ml infinitum (eternally). The creation revolves in it along with the gods, demons and human beings. ff He rotates all the beings who do not possess self-knowledge. Consequently it is called the wheel ol worldy existence (samsara-cakra) by the wise. He wind* up their group with the prowess urged by me at the end of a kalpa (kalpavasana) O Brahman. It is called kala-cakra holding the encircled lotus in order* This is what is known as the wheel of primordial cause which cannot be defined* Of this primordial cause in the form of a wheel, the effects marked by modifications are the wheels with spokes numbering two onwards (dvyaraka)* Now listen to innumerable forms of this original wheel which endow numerous accomplishments- This cakr.i is described in many ways of which the first variety is the two-spoke-wheel. The next variety is marked by three spokes and the further varieties are marked by four (2x2), five, six seven, eight, nine and ten spokes 165 respectively, whatever wheels are situated inside the pair of wheels mentioned here are worshipped by the wise in all the three worlds. 8- 51 ff There 3 re three categories of wheels in general : Super mediocre and low (jyegtha madhya and kiinisthaka). Each of these three is further divided into llirce sub-categories; listen as to how these are made. I shall explain to you separately, the group of wheels with the sub-divisions. 1 ) The first one is the super wheel among of the itroup of wheels (uttama). 2) The second one is called super-mediocre (uttama madhyakhya). 3) The third category is called super-low (uttama Umyam)- 4) The next, i e. the first of the mediocre triad is Hilled mediocre-super wheel (madhyamottama-cakra). 5) The fifth one is called meiocre-mediocre tmadhyama-madhyama) • 6) The sixth one is called mediocre law (madh- viima-kaniyas). This is the mediocre triad- 7) The third triad begins with the low-super Uniyottama variety 8) The 8th category is known as low-mediocre lUniyo madhyama). 166 9) The last, i-e- ninth category of wheels is low- low wheel (kaniyah-kaniyas). I shall now explain to you the auspicious quali¬ ties of each of these categories : M. (1) The super or the best variety of the wheel has three axles and three rims (which are concentric)* O Brahman! (tri-nabhi-tri-nemi) 1.2. (2) The second category is the wheel willi three axles and two rims (trinabhi-dvi nemi). 1.3. (3) Listen to the third category which is having three axles and one rim (tri-nabhi-eka-nemi). This In the first triad. 2.1. (4) The first of the second triad is a wheel with two axles and three rims (dvi-nabhi-tri-nemil 2-2- (5) The second of this triad is a wheel with two axles and two rims (dvi-nabhi-dvi-nemi). 2.3- (6) The next one is a wheel with two axlcn and one rim (dvi-nabhi-eka-nemi). This is the second group of three wheels- 3.1. (7) J shall now explain to you the third group of three wheels The first category is a wheel having one axle and three rims (eka-nabhi tri-nemi) 3.2 (8) The second category of the third group is a wheel with one axle and two rims (eka- nabhi-dvi- nemi)- 167 3. 3. (9) The third of the third group is a wheel with one axle and one rim (eka-nabhi-eka-nemi)* Thus I have explained to you at length the group of nine wheels. As for the scale to be selected for sket¬ ching these wheels it may be designed according to the financial affordability and the liking of the worshipper. The wheel will be named as divine which is endowed with fine spokes numbering upto six spokes* By incre- nsing the measurement by three-three fingers the num¬ ber of spokes should be taken upto twelve and then the wheel would be resplendant and it would be called the wheel of months (masakhya). Thereafter the distance would be increased by one and half (ardha*dvitaya) lingers and the number of spokes would be gradually taken to thirty-six when it would be called the wheel of the year (samvatsarakhya) which is known as the royal wheel (cakra-raj), to 72 This is the measurement of the fingers for i lie wheel of year. An equal measurement should be designed for the divided and the undivided parts. Six divisions should be gradually increased beginning from one cubit (hastaV This is the design fer the divisions ol the wheel numbering upto one thousand spokes. I his is prescribed tor the design named as epoch (yu- yttkhya-kalpa) which is to be worshipped until the iiccomplishment* 168 For these wheel designs the diagram having the altar etc. ending in the outer entrance. The surroun¬ ding diagram should also have the altar with the side- parts and the corners as well as the surrounding pus* sage (vithi). Altarnatively this diagram should have it square with five lines bereft of the pltha with the side and corner-parts. This design should be meticulouslv drawn with five bright colours (panca-rangojjvalu). With the lines towards the directions : east, south, west and north which are already sketched the necks of the doors (kantha) may be shaped with the lines lying outside, with half the measurement of the areu of the wheel (cakra-ksetrardha). VS. 72 to 78 The measurements of the boundry lines should each be equal to that of the altar- The passages should be twice as much that measurement. And the measurement of the entrances etc- should be equal to that of the passage. The constituent parts should b: formulated with one sixth or one eighth of this measurement. The parts of the altar should be alotted normally this portion or specifically (less or more) Having prepared the area of the altar eight lines should be drawn towards sides and corners- With the lines towards the sides, the side parts of the altar may be formed and with the lines towards the corner, the corners of the altar may be formed. The area of the entrances should be divided into two (or three) parts- With the square area equally divided, the neck and the jaw portion should be formed. Thereafter the outer enclosure should be sketched to shape the entrance, the offsets and the corners. The outer en¬ closure should be drawn keeping in mind the aesthetic aspect with the entrances, the corners, the offsets, the re-entrance etc It is not possible to give the measure¬ ment of the divisions of the corners* Thus concludes the eighth chapter named Cakrabja-Laksaria of the Pau?kara Samhita of the I’rcat upanisad called STl Pancaratra. CHAPTER : NINE MIS'RALAKSANA (characteristics of mixed lotus- wheel design) Sages spoke * O Brahman, the Doyen of the knowcrs nl Brahman, kindly clarify to us for the sake of doiny benefit of the sages, the doubt as to what kind is ili<' mixed-wheel-design. Pauskara replied : This very doubt had I asked to the Lord on lv half of the doubt of the Brahmins taking the view ol the Brahmins and for the sake of the benefit of all thr people as follows, “O Lord, the delight of Goddem Laksml, please narrate to me the characteristics of tin' wheel diagrams of complex or mixed pattern ” Lord replied : As has been told (by me' the manyfold (? three fold) desigining in the case of the wheels through tlr division into the best etc., in the same way it is narrated to be in the case of the mixed wheel-designs- It is said to be the prime (or the superior or the best), n.edium and the inferior. The prime., the medium and the inferior is again to be sub-divided three fold. O Lotus-born, the division in the case of mixed- wheels is ninefold in the first pattern. I shall now describe that one (division), listen attentively. Initially a lotus having eight petals which are not compact should be drawn. Outside that (lotus), one may draw a circumcircle and a surrounding hexagon. This is how the mixed regal-wheel-design should be sketched Whatever is to be accomplished with the help of the wheels are the lotuses encompassed by circumcircles, O Lotus-born (rakta - cakragi? padma-cakragi) (1-8). (9A = obscure). Or else the design should be de¬ monstrated by a couple of wheels with six— (? pettalled lotuses, as in the case of the previous design the four central should be avoided or else the four outside units in tne wheel should be avoided. Out of these in one enclosure the rims are regarded to be drawn. Of those wheels of different forms the status in the design posi¬ tion called the enclosure and the enclosed in relation to the axle is then noticed* I have indeed narrated to you their employment into the (encircled) rims of the wheel, previously This is the first design of complex wheel with superior, middle and the inferior types* Now listen to another (category/ It consists of the category of the wheel of the supreme medium pattern and supreme inferior wheel pattern* This is the second mixed complex royal design In this ordinal modus, one may conduct complex designing This patternisation should continue to the medium-medium upto medium- inferior wheel* Having so sketched, we get six auspici- 172 ous wheel-designs (superior x 3 4- medium x 3) In gen* ral, the fashioning of the complex wheel-designs li nine in number. This is said to be the mixed superior pattern ( -16) Now I shall tell the second classification of tlw threefold medium size (wheel design). It is marked with three, two and one axle or navel with three rims. The first wheel should be written in such a way as to cn compass the lotus as per one’s own desire- Outside that encircled lotus design, endowed with the axle or navel and the periphery or the rim (of the wheel), one may draw a covering lotus and wheel. ,0 Brahman, that wheel should be equipped with three axles or navels and three peripheries or rims. In that category, the first wheel has three peripheries and decreasing number of axles. In this order the group ot axles may be designed (?) (29 A., obscure) One may deliberately materialise the medium design* (19-21)* Now listen to the threefold inferior classification of the complex encircled lotus design* One may draw the lotus encompased by three axles or with one (or two) less* Outside that, there should be four types of circles excepting the rims (?) The design pattern of the wheels should be drawn alongwith the rims outside that, as per one’s desire* The circle may be decorated with spokes ( = nadl?). Of these designs, there are 173 various patterns according to the inclination of gods. This plan is prepared O Twiceborn (Brahman), with one thousand spokes and with threefold division1 supe¬ rior etc- (i-e- superior, medium and inferior) (22-25). Now listen to the three modes of drawing these (encircled lotuses) : by triples or triads or from the centre with three divisions ! superior, medium and inferior.. .(?) The first type is so described The second type of the wheel with one thousand spokes is the sup¬ erior of the medium The third type is the inferior of i lit.* medium (26-27) Now O Lotusborn, listen to the areas of these encircled lotuses in the respective order. Whatever wheels, I have • old in the major pattern, previously, are all measuring nine cubits (hastas) and added with six golakas ( = 12 lingulas?)- Now I narrate as to how much is the area of the patterns beginning with the inferior. The standard measurement is to be understood to be two hundred standard inches (angulas) added with fourteen (2x7) lingulas.. (?\ Now will be told the classification, O I wiceborn. For. all these designs fifteen angulas are to he assigned for the lotus. Around this design there will h: three peripheral lines (bala? valitrayam) meant for the navel, the rim and the spokes of the circumcircle... (28-31). The area starting from the navel onwards should lie demarketed by a circle with a radius of three angulas 174 for the sake of an encircling wheel, O Twiceborn. Es¬ pecially for designing of the wheels with the navels and the rims the delimitations should be from the bottom of the spokes to the binding of the rim. Whatever measurement of the fixation of this wheel is described, is depending on the spokes encircling the wheel in general and always.. (?) For designing the encircled lotuses, having assigned such area, a venture may be made for accomplishing the navel, the spokes and the rim respectively (32- 5) Having fashioned the wheels embodying the lotuses a space measuring three angulas should normally be left out That area should be divided into the parts beginning with navel (i c- navel, spokes and rim). In this way the division of all the surrounding wheels should be made- The distance of the surrounding wheels should be three angulas beyond the inner wheel. This should continue till the outermost wheel with a navel having eight angula radius. (?) O Lord of the Vipras, having unified the areas equally of the wheels charac¬ terised by the navels and the rim the scale of the supe¬ rior wheels is duly prescribed^ Hereafter listen to the prescription of the scales for the medium size wheels (36-40). Having designed a lotus measuring twentyfour angulas (diameter), the border-lines should be demar¬ cated ( = lopayet?) The measurement of the navel 175 iliould be as in the previous case. The scale for the in¬ ferior type should be likewise. The measurement for iliiil should be correspondingly assigned with self-same H rordance* In fact the measurement of the inferior Uluses should be of eighteen angulas (diameter) (41-42). Thus is told the measurement of the area of •'irrc* types of wheels. Now listen to the division of the ■pnk cs alongwith their substratum (43). Beyond the lotus, a circumcircle having six pokes should be fashioned- Those spokes should re- mlile the shape of a small leaf (avarapatra?). Beyond 'ml wheel, there should be designed, a wheel with eight pokes resembling the shape of the thickness of a bar- v {train fyadora)- Beyond that wheel, there should be nother circum-wheel with twelve spokes and beyond ml a wheel having sixteen spokes resembling the shape i the belly of an ant (44-46). Beyond the wheel having sixteen spokes, a wheel mimscribing it with twentyfour spokes resembling ■r shape of a matulunga fruit should be drawn. Be* •ml that wheel, one more wheel with thirtyfour (32?) 'forty) spokes resembling an axe should be drawn* this way, having designed various complex-parts, « complex-wheel with hundred spokes is formed of « design split into two the analogy of an year is omplished (2ayan = one year) - The six seasons, one 176 should contemplate on the six spokes* Outside that, t ho twelve spokes may represent twelve months and sixteen spokes equal to sixteen months (?)• The twentyfour spokes would represent the twenty four halves ( - fort¬ nights). Similarly thirtyiwo would represent the thirty two halves ^fort night) of an year- Therein the south north spokes are to be regarded denoting two halve'. (ayanas> of an year of this design said to be complex one having hundred spokes and several other divisions is in fact beyond any divisions e it is in truth indi¬ visible) (48-51). This is how the formation of it is explained to you in toto, O Innocent One. Now, as to the wheel with one thousand spokes which is previously indicated with complex and threefold division, the allotment of the area and the division of the spokes is heard (by you) from me. It is said to be of an area with twelve hundred (.s'ata-dvadas'aka = 112?) units. Out of this area a portion with thirtyone (x31?) units should he assigned to the formulation of the lotus. Outside that the navel or axle, the spokes and the rims have to have their space with ten angulas (radius). The ^rea or the flooring of the navel, spokes and the rim of the circle surrounding that is to be with sixteen angulas (radious) O Twiceborn, The ground-area cf the third circumcir- cle should be with ninteen angulas as prescribed. Furthermore the ground-area of the fourth circum- circle is to be drawn with twentytwo angulas (52-57/ 177 We shall narrate to you the area ol the fifth circumcircle on the lines of the barley measurement narrated before (?)• It should be measured with twenty- live angulas t radius = three hastas?). The area of the sixth circumcircle will then be equivalent to twenty- ripht angulas (radius) O Lotusborn* The ground-area would always be accommodative of the axles, spokes and rims of a wheel In each case of a greater surroun¬ ding circle as aforesaid would be of threefold division. It should be equally divided having known the category of the three, two or one axle (?) (58-60) 61. ..obscure. .. In case an area measuring twelve hundred (s'ata- dvadas'a) angula-units is not intended then the con- iraction of the area may be effected whenever there occurs diminution of axle and the rim (62)* Thereafter a thousand number of spokes should be materialised in the following manner « Firstly, having drawn a circle encompasing the lotus and then the Omkara and the royal wheel * Sudars ana, thereafter five another wheels may be drawn outside (the inner one' in due order* Now listen as to how the assignment of the spokes and the rims in the enclosures as in pre¬ vious case are to be materialised The wheelwise as ign- nent of the spikes is to be : hundred, hundred spokes o be cast first, then thirty and thirty and then forty to :omplete the two surrounding wheels (63-65). 178 Thereafter one may design three circumcirclr*, so that all the spokes taken together should be mini ber one thousand; for that purpose the three circl* •* should have spokes numbering two hundred, one hull (hundred) and sixty more \?) This wheel is a complex one and called by the name of Yugas and which it worshipped by the accomplished souls They are to hr known as numbering eighteen- The corridors (villi') are to materialised for the movement around the wheel » classified as superior, medium and inferior- For llmi sake having left out some portions of the spokes lm ambulation. Similarly the tips of the lotus petals which are pointing out and are situated outside could be hen i inside (?) to give way to the cirambulatory passage ...70A... obscure.. The lotus petal reaching the limn should be made (to turn) like the petals of blue lottn and should be placed at proper place. The shape oi the lotus petals visible from outside resemble the shapr of an axe (66—7 1 j - When there forms a wheel of the shape of a axe outside (a lotus?) in that wheel which is called divine wheel (Deva-cakra?), there forms the basis < the substratum etc. Now listen to the mode of ihe fo mation of the axle the rim etc- as explained befor Having stretched the cord, in the beginning said to I of the spokes situated c.ntrally, then O Twiceborn, the end of the spokes and out of the area of the spok having left out a small portion of a fraction for t 17* sake of a separator (vyadhana) situated outside the circle of the spokest then having drawn a line at the centre of the spoke one may demarcate over the semi¬ circular arcs one may draw a line passing through the central point (Brahmapada) Thereafter one may stretch the line to the peak point (s'rnga* and then it should be rotated into one sixth portion (?) and to be taken upto the corner angle (anto/ra). Then having divided into equal parts the region of the circle, O Twiceborn, and then having cast the lines as per due order previously explained, one may accomplish the formation of the spokes utilising the ends of the cord (72-77\ Having demarcated the limits and the interspaces of the spokes and having thus formulated the groups of the spokes, one may, materialised the area of the the rounded space of the wheel (cakra-vrtta) which is denotative of the scale of the circle (?) Having done the delineation (sutrapata) of the circles on the lines of the spokes, separately in each case, one may accom¬ plish the wheels and the spokes. I have told you thus the formation of the mixed wheels in general terms. Now I shall tell you the special features, which please listen- Whatever has been told to be the measurement of the axle and the rims, one may demarcate the pas¬ sage with equal area (78-80). Having grasped, O Lotusborn, the expansion and the contraction of the available ground-space, one 180 may formulate the wheels ranging from uni-navrl (i-e. having one two and three navels) wheels upto thr wheels with three navels (the entire scheme of wheel* includes wheels with one navel and one, two and three rims, then wheels with two navels and one, two and three rims and wheels with three navels and one, two and three rims,) Having taken out one-third area loi the navel one may cast the three types of wheels with varying number of rims. In the same, way one may have the three types of bi-navel wheels and the tri¬ navel wheels- (81-84) Now I shall explain to you the colour scheme belonging to the spokes in due order from the begin¬ ning, and also the series of lotuses (padmaja-kalhara?) and circles (85). The inter-regions of the petals with even shape should be coloured like cat’s eye-gem (Vaidurya). Having then coloured the petals of the lotus with samana (?) colour, their interior should be coloured bright to white, (samana = lndlvaraccbada-samana? = like blue lotus?) - The portions of the spokes resemb¬ ling the barley grains should be deep white and their adjacent portion should be black- The spokes of the shape of the Matulunga fruit should be coloured with whitish yellow (sita pata colour. Their interiors should be filled in with bright red colour- The spokes of the shape of the axe are to be coloured with the shade 181 resembling the Royal stone (Rajopala), i-e- black* Their inter-space should be coloured like, i.e. The spokes of the wheel and the filaments (of I lie lotus-petals?) should be filled with colours suiting the embelishment, O Twiceborn (86-90). O Brahman, having accomplished the entrances, corridors and other parts (of the Mapdala designs) of nil the formation aforesaid, and thereby having drawn the whole complex of the auspicious Maijdala diagrams with great devotion one may enter those diagrams nttentively having washed those portions., (some por¬ tions of 92-93 obscure)- Now we shall explain, O Brah¬ man, as to how one may move upto the centre (91-93). An enclosure or canopy may be constructed for the Mapdala designs (?) with the timber of trees resem¬ bling those selected for the sacrificial purpose, like s'ami-tree etc* The canopy should have design of the shape or either an elephant or a horse or a bull- Such motifs should number from three to eight on all the lour sides Such motifs should have broad and stable knees and should be erected on all the four sides on the outer flanks of the entrances or on the entrances of corridors (94-95)- The wooden strips should be tied with even and strong cords of equal length, from bottom onwards- Then one may stretch over to the back (of the altar?) 182 and having covered it one may construct many passage* or corridors for free movement round the central myxtii wheel ( 6-9£-partly obscure)- One may then taken up, water from the vessel containing holy water meant Ini offering (to the deity) and having sanctified the cent rut wheel-diagram with that water, and having composed one’s own mystic finger-gesture (mudra), and having touched the wheel diagram, the aspirant may star cut ii with mpntric vision (99). O Twice-born, the group of hymns or chants (mantras) with royal protocol-ritual, and then the worshipper may walk in through the entrance passage and should go out after completion of the subsidiaries (ICO) One may worship the second wheel diagram like the earlier one (i.e* inner wheel diagram), having sanctified with the sacrament* In the same manner, one may conduct worship of the rest of wheels. When one worship one wheel like another (?) drawn on the floor. O Brahman, with rituals like water sprinkling etc* and culminating in meditation and depositing (of sacred named and mantras on various parts of one bodyj. It may be noted that there is no accruing of the sin in crossing over the wheel-diagram, as long as there is no construction of entrances and passages around the encircled lotuses Similary there is no accruing of sin to an aspirant, who spiritually equipped who is sitting 183 inside the wheel, by the event of some part of the wheel diagram being rubbed or erased. (101-104). One may deposit Lord Puruga, inside the wheel with hundred spokes in orderly manner, beginning with the pericarp of the lotus, after depositing the great Lord r05). Then the second Puruga should be deposited at the border of the tips of the lotus -filaments, and one may deposit the eightfold Prakrti on the (eight) petals beginning with the eastern petal (i06) (various tenets are symbolised on wheels with varying number of spokes). The god with sixfold self is deposited on a wheel with six spokes and eight bodied one on a wheel with eight spokes* Similarly twelve-souled God is to be deposited in a wheel with twelve spokes and sixteen- souled Puruga on sixteen spoked wheel. Twentyfour fold (thrice eightfold) Prakrti or Primordial Matter with distribution into (Sankhya-) principles, in twenty four spoked (twice-twelve) wheel- The three energy- goddessess and the twin goddesses (?) should respec¬ tively occupy thirty and two spokes of the thirty three- spoked wheel (?) or on the navel and rim of the wheel (?) (107-109)* i The four Vedas •• Rgveda etc- are respectively to be assigned to the (petals of the) lotus. The group of mantras described earlier for thousand spoked 184 wheel, should identically be deposited cumulatively in the human body-wheel in the heart-white lotun (110-111). Having worshipped the Lord inside the heart lotus, with ever-pure, divine and product of mental imagination (i e* abstract^, one may cause the enlir" group of mantras, resembling the flash of lightening, to descend on the citadel of one’s heart, gradually through the path of warm (solar) rays into the rotation of the wheel. That should be worshipped with divine paraphernalia as is available. One may contemplate on it as pervading the encircled lotus in the form of one’s body, as long as desired by the worshipper. Ono may thereafter assign the group of mantras (?mantras) embodied with fourteen (twice seven) words, with the path of the flow of mental (lunar path?.', to the own respective places (112 to 1151)* The farewell, the invocation, the descendencc cannot be otherwise understood. Since the divine pre sence of one’s own Mantra is eternal, the realised soul addresses the terms ‘come along’ to the divine mantra is for popular consumption. The invocation is to be taken in the sense of reverence. Similarly, the reveren¬ tial bidding farewell by addressing as ‘please leave* at the time of the conclusion of the ritual of worship with benevolent assignment (116-119) 185 The invocation and the farewell to divine ener¬ gies is to be ritualised by making announcement to God as O Lord, I am making a move and I deem my¬ self fit enough in discharging my job. (120). It is said about all the rituals unaccompanied by chants or mantras, and not about others- In those cases ‘please come and please leave’ is to be added at proper juncture. Having understood this, one may worship gods in the mystic wheel-diagrams (121-122). Lotus-born asked s O Lord! how is this human body to be under¬ stood in terms of the diagram of encircled lotus? (125b obscure). How to grasp the respective correspondence of (the components of the wheel-diagram such as) axle, spokes upto the rim along with the parts of the lotus with various limbs of the human body O Lord? (124). Revered Lord replied : O Brahman, this human body is like the stem of a plantain tree, made of Prakriti or primordial matter. It is made of (five elements) space, wind, fire, water and earth (125/ The parts of the lotus and the wheel can be visualised on various parts of the body x126A:obscure)* The eightfold intellect could be regarded as eight pctalled lotus The covering of the navel complex of 186 the body is to be regarded as three attributes (of Pru krti). Beyond that nearby, there are circles with thou sand flames (comparable to the thousand spokes of n wheel)* The ennumeration is arbitrary. O Brahman, according to the iconic manifestation the respective assignment on spokes of the mystic wheels should he made on nerves (?) of the body wheels A flow of water is to be contempleted as emanating from the head gear upto the feet, in an unbroken stream pervasion. One may always imagine, that the group of rims are linked with the imaginary channels (of spokes) replaced by thousands of veins in the body* O Lotus bom! That stream having encompassed the water (principle) is firmly situated beyond the fiv« fold group of elements due to augmentation through channels of veins spread over the entire body (126-13?). (O Brahman!) understand the orb of the rim having patternisation on this variety of taste (?), to bo regarded as the manifest (mapdala -diagram) and un¬ manifest (internal parts of the body) in the classification of intellect (dhl = buddhi) etc- and the triad of attribu¬ tes of prakrti. It should be grasped again and again to have been upset and set often pervading the complex body, by outer and inner distribution like the island ami the sea. (Refering to Mapdala and human body). This has been narrated in full by me since I have been ur¬ ged by you (133-135)* 187 After having properly understood the assign¬ ment of various parts on the body-wheel, presided over by the supreme Lord endowed with the body com¬ posed of six divine qualities, who is the highest soul and who is immutable and nondegrading- One should know this body to be beyond form (135-137). It is stationed on the top of the great entrance which is the consciousness, suprasensual- O doyen of twice-borns, it is the great knowledge contained in the syllable tara i.e. Orhkara consisting of the sub¬ syllables : a u and m which compasses the great rim (mahanemi or Pradhi)- It is blazing like the fire of cosmic Dissolution, and its spherical shape is flaming at the communion-bliss (sandhanananda?) and belongs to the Prime Supreme Self. (138-140)- The image of the Lord of chants (Mantres'a) of the devotees who absorbed in the constant practice and who worship or serve the Lord with faith and res¬ traint stand firm in the great abode of their body fin¬ ding emotional integration in the Supreme person- Having thus notionally superimposed (the diagram- metical assignment into bodily assignment) and the having drawn the encircled wheel with golden (pencil?) etc; one stretch diameter upto the rim or circumference (143B obscure) One may sketch the altar from neck portion to neck-portion (of the entrances) (I44B ob* scure). One may thereafter demarcate that field by one 188 and half or double measurement of cord stretching il from eastern locus point with mark resembling the arc of crescent moon (141-145). The eastern cord of the inner wheel should be marked from the centre of the wheel alongwith the lotus upto the western region but not far away from the central seat of worship' Having then placed tin- cord in the inter-region of the two central cords and laciog the north western corner and adjacent to the place of the sun (i e. east) Outside the place 01 the rim, it goes near to the north- One may demarcate that area upto the end of that unit. In that way, the demarcation of the spokes from south west upto south should "be finalised. The norther illumination for Sid— dhas is made with three houses around (?) (15GB ob¬ scure'' (146-1 5C) (151 A broken text).. The mild aura of the sages, the accomplished souls, and the gods resi¬ ding in all the worlds, naturally pleases all the direc¬ tions. Having secured (sampado = sampadya?) the eas¬ tern tip and the measurement on it and allotting it in¬ side and having divided the piller (?) fixed in the axle into seven parts, one may design a lotus with twelve petals with fourfold split of four at the centre (?) (151-153). One may carry over the one fourth part from filth layer (of the concentric circle) to the ground 189 area of the petals- With that very measurement, one may materialise the fine arc for the tip of the petals- The wheel extending beyond the remainder, having spokes measuring two parts of that circle. It should be twice the size of the petal-series and having good east- west-proportion. (1 54—155)* The shapes of the spokes should resemble the petal of the blue lotus. or of the Matulunga fruit or of un axe or a barley (156). Having first allotted the space for the circum¬ ference of the wheel, one may then draw a well-desig¬ ned lotus coming out of the inner space with three parts or two parts (3-1 ) by the distinction of medium or inferior pattern, and setting the petal (row)s closely attached to each others. Then having covered the four sides with two square-units (kaijtha = ?kogtha) (or two sticks?) but without the aura and rim, (159 half obs* cure) and keeping the diameter in front of the crescent. (160 A obscure). Within the top apperteur Brahma- randhra), one may draw a circumcircle leaving one fifth or one fourth gap (156-160). The covering-borderline would be more or less with the scale of the circumference. Then resting on I he centre of the axle, one may sketch two arms deco- ated with two (arcs of; moons. The form of the moons hould be pure and without manifested limbs and of TfO 'subtlest size* That desigrrshould be carried from Ik Workshop (karnralaya) and mad# to; enter the house < 'ritual' worship and’ it -•’should be set >in a propt place- Then hiving meditated upon* it wrth the sen* -df1 divide prose nse| one* may perform all the rites as i the case of installation of an idol of a deity /or perniii nent stature (l6.-16jj). Thus ends the ninthlchapte^,n^lnTeU, character is tics complex of (wheel diagran)) in * the . vPa-uska Samhita of Pancaratra of the Great Secret Lore. * , f- •i . «• ' i.i ' ; ’i,iU • ' • - . Ii . • -i '• •in . !. . I • • ‘ , • . * * 1 * » I I* ii ! ' i ^ i 1 1 *)** * ' i CHAPTER ^niTEb^ Navatmayaga— Mapdala (96x96 = 9216) (VS- 1 to 34) COMPOSITE ‘MANDELA DESIGN OF NINE CONSTITUENTS K ,1 ■ i. t The Lotusborij said •• ■» i 1 1 • . i 1 ‘ f i - ri ’ < Oh 'Lord of the universe ! you have-told of.^Jae famous ritual worship in a composite' desigh of' rtfne constituents for the achievements oFlhe material and spiritual accomplishment (aihika-amu$mika-siddhi). Please explain as to what are the characteristics of this diagram which is constituted of various parts; what are those nine constituents? Sri Bhagavan said « There are nine identities (nava-prakrtafyah) manifested into the fourfold manifestation : Vasudeva, Samkar3aija, Pradyumna and Aniruddha alongwith Narayaga, Vi?pu, Nrsimha, Dhargidhara and Sattvarupa representing the Supreme, self who is all pervading, pure beyond measure and contemplation - They bestow t ' • df favour on the souls immersed in the ocean of worldly life... ' ,! I shall noW explain to you the ritual worship in the diagram comprising nine altars (nava-pltha-maha- yaga), in its entirity The worldly bondage would come 192 to an end by being a mere observer of this worship. Natvatma— magdala A-Sketching Having divided the k?etra or the ground plot first into sixteen parts (twice eight) and then further into six parts (16x6 = 96), the total number of units that are obtained is nine thousand two hundred and sixteen (96x96 = 92161. Nine mapdalas are to be drawn at the centre for ninefold worship* These mapdalas are to be endowed with entrances, offsets, and corners and the passage. These lotus designs are of equal area; however the details are varying- 1) The first magdala should be drawn at the centre of the plot with the help of one hundred fortyfour (5C-6) units. This design will be decorated with four doors, altar and its motifs etc. la) At the centre of this first magdala. as many as thirtysix units should be washed off (6x6), for the for¬ mation of the bimba or motif- lb) One row around it should be assigned for the altar. The sides of the altar (plthagatra) should be for¬ med with four units each, (2x2) on all sides. 193 1c) For the corner parts (pitha-pada), three three units should be erased in the north-east, south-east, south-west and north-west corners- Id) The doors and the corners are to be drawn with the help of two rows surrounding the altar (with¬ out passage). The entrances are formed with the help of two units allotted for the ear portion (karga) and four for the outer ear portion, to be taken from the inner row and outer row respectively at the centre on all sides Ic) The offsets (4x? = 8) are shaped with four units each and the corners with six units each (6x4 = 24). Having thus completed the sketching of the central maijdala, as many as six rows should be rubbed otf on all the sides5 east, south, west and north for the sake of passage. 2) Diagram no. 2 : Purvatma-magdala « This is to be formed in an area equal to that of ihe previous one. It has entrances on four sides, flanked by the offsets as before- For the sake of the two offsets one unit is to be taken out of the outer row and three Irom the inner one- The corners are drawn near the offsets for which six units are taken from both the rows- Six rows should be washed off on three sides of the 194 maijdala : south, north and east (on the western side six rows are already left out) for the formation of the passage. In the same way all the nine diagrams are to he drawn taking care that the number of units for the nine altars is not reduced. 3) The entrances, offsets, recesses and corners of the composite or federal structure of the nine mapdalas arc to be accommodated in the outermost periphery of twelve (6x2) rows- There are four entrances on four sides, eight offsets together on four sides, so also eight recesses or inverse offsets and four corners- A set of three strips are to be drawn so as to enclose the entire diagram (of 96x96 = 9216 units). The total number of units assigned for each entrance is one hundred and eiL>ht, for each offset and each recess eightvone units each' The outermost corner (korja) should be washed off by taking nintynine (ICO-'i) units in series (of three rows). Having made the draft plan thus one may effect the actual shaping of various components (entrance etc.) 5a) The door-neck (lit ear: dvara-karga) would resemble a rectangle (catura.s'rayata sama) shaped with the help of eighteen uni's (6 x3) i e. 6 units from each row of the triad of rows counted from beside the passage or corridor (vlthi\ The outer ear (upakarpa) is drawn outside the karna, for which three rows comprising twelve units each is to be washed. Consequently, as many as thirty six units are washed off for its sake. The support of the door (dvaradhara) should be drawn by shaping a pleasant form like that of the upakarpa, by erasing three rows comprising eighteen units each. This makes fifty four units to be assigned for it. This is how the entrance is formed by erasion of units for various parts, in three rows* 3b) On either side adjacent to the door, should then be formed an offset* For that sake, fortyfive units may be erased by taking fifteen units per row, close to the dvara-karpa. Then from near the upakarpa, three rows should be erased comprising nine units each; the total number thus arrived at for it is twenty seven units* Then from near the support of the door (dvaradhara), three rows consisting of three units each should be washed. Thus the s'obha would be formed with eighty one total units. 3c) The inverse offset (upas'obha) should be similarly shaped by taking the same number of units (as for K'obha) but in the reverse, i.e. counted from outside to inside- This is how the upa^obha is formed- 196 3d) The erasion of units for the corners (kooa) in like this; from each of the three rows, inner, middle and the outer, as many as nintynine units may be was hed off so that the total number of unts becomes two hundred ninty seven (300-3)- 4) With the help of three rows outside the support of the entrances (dvaradhara), either three or five boun- dry lines or fencing strips may be formulated as if facing outside Beyond these lines, another set of three strips (pattika) may be washed ofF. (?) [Alternatively, nine rows ^outermost) may be erased for the three boundry strips and as many as six rows may be utilised for the outer encloser consisting of entrances etc. con¬ sequently the constituent parts of the entrances may be shaped with the help of two rows each (parts like dvarakarrja etc ) ] Note : The twelve rows mentioned above for the en trances etc- include nine rows for dvara, s'obha, upa- s'obha and koga; then three rows on all sides should be left blank for three boundry strips (prtivaraija- rekha). These rows or to be reckoned from the square measuring 72x72 and the square measuring 90x90 and six rows around upto 96x96. Conscequently, the area between the square measuring 72x72 and the inner square of 60x60 is left blank. Thus concludes the tentli chapter named ‘Navatma (vaga) Maijdala’ of the Pauakara Samhita of the great Upaniaad called Pancaratra. 197 Ch. 10 « Navatma— maijdala Total area : 96x96 = 9216 Measurements Measurement 6 x6 = 36 units Part Bimbakf-ietra (for all the nine) Pltha Pitha-gatra Pitha-kooa dvaradi avaraija Dvara (kaijtha) karpa (upakaptha) upakarija Sobha Kopa 1 row (6+1 + 1 = 8) 8x8 = 64-36 = 28 units 4x4= 16 units 3x4= 12 units 2 rows (8 2 + 2= 12) 12x12=144 units-64 = 80 2 + 4 = 6 units x4= 24 2 units 4 units 3+1 = 4 units x 8 = 32 6x4 = 24 units Vithi (surrounding the 6rows+6=12 central-mandala) 12 + 12 = 24 24 x 24 = 576-144 = 432 units Intermediate passages between the magdalas on 4 sides (E-S-W-N) 6x12 = 72 units and in 4 corners (NE-SE-SW-NW) 198 72x8 = 576 units 8 The square containing 45 x48 = 2304-576 = 1 7UN The eight surrounding mapdalas 9 Outer vithi surroun¬ ding the masalas 10 The blank space sur¬ rounding the vithi 1 1 Rows for the outer dvara, s'obha etc. Dvara Dvarafkarija Upakaroa Adhara 12 S'obha 13 Upas'obha Koija 6 rows (6 + 6= 12; 48 + 12 = 60 60 x 60 = 36C0-23C4 = 129ft 6 rows (6+6=12; 60 + 12 = 72) 9rows (9 + 9 = 18; 72+ 18 = 90) 6x3=18 + 12x3 = 36 + 18x3 = 54 = 10S units x. | = 432 6x3=18 12x3 = 36 18x3 = 54 3x3 = 9 + 9x3 = 27+15 x 3 = 45 = 81 units x 8 = 04* 3x3 = 9 + 9x3 = 27 + 15x 3 = 45 = 81units x 8 = 648 99 ■+• 99 + 99 = 297 units 14 199 1 5 Prati-varaija-rekha 3 rows (3 + 3 = 6) (3 border strips) 90-|-6 = 96x96 = 9216 units 9216-8100= 1116 units Alternative arrangement of entrances etc. and border strips. Dvaradi 6 rows (2 + 2 +2) Prati varaija-Rekha 9rows (9 + 9 = 18) * CHAPTER ! ELEVEN VRTTA-BIMBA-LAKSANA (VS. 1 to 12) Pauskara said : The description of the motifs (of the Navatma- maodala); circular etc (vrttadi) is not known by me kindly explain this to me, Oh, Lord of the world I if you are gracious to me. Sr! Bhagavan said : Having erased the area for the altars of various distinct magdalas as per description, the group of motifs at the centre of the magdalas is drawn there¬ after. In the magdala at the centre of the area which is already explained (in ch- 10), a circle should he drawn in an area measuring eight units having left out the remaining half The six parts denoting six divine qualities : jnana etc. should be coloured in the given order (i e- jnana-> bala-> ais'varya-> v!rya-> .s'akti-> tejas) with the following colours : 1-white (sita) 2-ora¬ nge red (aruga-rakta) 3-golden (jabmunada-nibha) 4-black (nrpa-saila) 5-coral red (pravala) 6-bluc (nllopama). This is the main feature of the pada (plthakorja?)- When the altar etc- are of equal measurements 201 then the outer periphery is of circular shape having four corners and four entrances but devoid of the off¬ sets- Having fixed the cord at the central point (Brah- made.s'a and spreading it along the circle around it should be brought to the pedastal of the doors. Having further stretched the cord upto the door a circle may he drawn as before- The intermediate space between i he circles are meant for the corners* The corners are to be adorned outside the entrances and adjacent to the doors. This is how is manifested the circular maij- dala which I had mentioned before. This is called the central Vyuha. If one has to worship without the Vyuha, one may draw a second (diagram?). The area is then divided fourteenfold. It should be coloured white and should be worshipped with white flowers. Herein, a deep white lotus accor¬ ding to specification should be drawn at the centre, sketched thus one may worship the prowess named after the lord Vasudeva. Thus concludes the eleventh chapter named ‘Vrttabimba Lakasrja’ of the Pau?kara Samhita of the of the great Upanisad called Pancaratra. CHAPTER : TWELVE PANCAPADMA-CAKRAB1MBA-LAKSANA Having drawn at the centre. Oh Brahman, tin- motif called J) Vrtta, i.e* circular, the motif compri sing 2) a garland of lotuses should be drawn insult the marjdala on the eastern direction- The motif of t hr shape of a disc (cakra^ is to b* drawn in the magd.ilit in the south-east corner and the motif of the sun (-shape) in the southern quarter* Thereafter a motif of the shape of hemispheric digit of the moon may hr drawn inside the magdala in the south-west corner- Then in the western direction may be dfawn the mol 1 1 named triskandha (triangular shape). Then in the north west maqdala the motif of the shape of a tortoise may be drawn* [Thereafter the motif of the shape of a conch may be dfawn inside the mapdala in the north and u motif of the shape of a pitcher (kumbha) may be drawn in the north eastern corner]- Who so ever performs lilt- worship of all the deities in these maijdalas for a period of one year, six months, three months, one month, half a month or nine days woiild get gradual result* aforesaid. Now listen, O Brahman, to the procedure of sketching these motifs. First of all I shall explain to yoil the formulation of the motif consisting of five lotuses- 203 2 Paficapadma-bimba : Sketching Whatever area has been prescribed for the motif inside the magdala should be divided twenty-four fold (caturviihs'adha). Having then divided circularwise up- to the limit of the lotuses a centre should be drawn for each circle in the middle of the cord demarking the altar, measuring eleventh part (11/24) one unit should be left outside the lotus- Thereafter having taken the eighteen parts by drawing two (concentric) circles; the remaining part of the twentyfour units may be left out in the nearhood of the altar. In this way each lotus should be designed with five petals (panca-patrakam), the mode of which I shall explain in brief, O Lotusborn! The pair of circles which were drawn in the middle should be divided fivefold (pahcadha)- The first mark should be in the east and the rest four should be cal¬ culated there from. From that mark onwards four other marks should be made so that at the end of the fifth mark there would be fivefold division* Having placed the cord at those marks making five parts one should rotate the cord as in the previous case for accomplish¬ ment of the lotuses. Thus would form the area for the five lotuses made of five petals each- The central lotus would be white in colour and the five(?) lotuses would be bright white. The pericarp of all the lotuses should be white and the filaments should be red- There should 204 be three filaments per petal of the lotuses- Of the three circles drawn earlier for shaping the lotuses, the cen¬ tral are should be filled with the colour resembling the blue gem (indranlla) The stalk of the lotus bed and the interspaces of the petals of all the lotuses beginning from the centre should also be blue in colour. The end-parts of the lotus area (kaetranta) should be filled with the colour resembling the shining royal stone (black) The encircling circles need not be drawn for all the lotuses unlike the central one. Having created (visualised) the lord of the motif inside the central lotus. He may be worshipped, so also He may be worshipped inside the pericarps of all the lotuses- The group of five gods beginning with Purusa etc. which is worshipped in the eastern lotus on the petals from east to north-east. The Elements : Earth etc- (ksma- dyam) are to be assigned to these petals in the clock¬ wise manner. Having completed the assignment thus the Lord in the form of (Samkaraaija) Ananta who is known as Vanamali should be worshipped with the offerings ! water for washing the feet (padya), the water for sipping (arghya), flowers, incense and un¬ guents CAKRABJMBA (VS. 22 to 28) The third motif of the navatma maridala is of shape of a wheel (cakra), to be sketched in the central 205 place of the magdala drawn in the south-eastern (agn- cya) direction. The circular motif may be drawn with ns many spokes as desired. However the best pattern would be of twelve spokes* This pattern is already narrated to you and the spokes are deemed to de¬ note the divisions of time. Various components of time (kala), with subtle and gross divisions are assigned lo six parts of the wheel ending with rim which I shall ixplain to you. i ) Situated at the axle (akga-sthita), is the praoa* !) Vinadika (small unit of time) would be assigned to siddha (?). 1) On the spokes (svaragata: sutara) are assigned. ..(?) H On the periphery (pradhi), is situated the time lement known as month (m&sa). ) On the rim portion (nemi-bhaga) are assigned the years ) . ? This is the gross division of time. Listen to the subtle division of time now after le description of the gross division. These are •• ) Upogtaka 2) nimega 3) truti 4' lava 5) lak- lna 6) kastha which are situated above pakga etc- In lis wheel of time (kalacakra) performing twofold fun- lion; promoting (pravartaka) and demoting (nivartaka) 206 the devotee should offer worship to Lord Pradyumna designed as seated in the lotus, with elaborate procedure. Thus concludes the twelth chapter name! ‘Pancapadmacakrabimba - lak?aoa’ of the Pau$knra Samhita of the great Upaniaad called Pancaratra. CHAPTER : THIRTEEN SURYA-BIMBA-LAKSANA (24x24 = 576) (VS. I to 13) » Now listen to the description of the motif of the sun full of scorching rays shining like the God of Death. The sun is situated in the heart of a lotus and He is saluted by the lords of gods and demons (sura- surendra namita). The division of the area as was made in the case of the accomplishment of the motif com¬ prising five lotuses, earlier, should be followed here for the sake of achieving the design of the sun-motif. This is to say the area left inside the pitha of the magdala in the southern direction should be divided twentyfour fold. A lotus may be drawn inside a square measuring twelve (12x12=144) units. Thereafter one unit on either side may be left out outside the lotus (.2 +- 1 + 1 = 14 rows)* Thereafter two circles may be drawn sur¬ rounding this area by dividing the remaining ten sur¬ rounding rows into two equal divisions of fivel Thus three circles would be drawn at the end of fourteenth, ninteenth and twentyfourth rows respectively. The sun motif with blazing rays should be drawn inside the second circle and the third circle may be alotted for the shaping of the rays or the beems. The corner por¬ tion may be left out between the cluster of rays and the surrounding altar- The cords may be stretched out for the alignment of the spectrum of rays For the sake 208 of shaping of the rays a set of five cords may be stret¬ ched out- The cords may be stretched in such a way as would resemble the sun (in the sky) This motif may be filled with colours which would make the motif shin” like the actual sun The central motif of the sun may be coloured with red orange (raktarupa) lustre- *Thc motif should then glow like the exact complexion of the resplendant orb of the sun The mass of the fine lines (of the rays) may assume the whitish orange hue These lines should stretch upto the outer periphery of the wheel (circle-cakra) and resemble the bunch of hairs stretching out of the tail of a cow. As for the colour to be given to the space in between and beyond the cluster of rays, these should be covered with the colour resembling the cloudless sky (vighanambara- rupa), i.e. deep sky blue- A lotus design with well defined characteristics should be drawn thereafter like one in the previous motif. Whosoever worships. Lord Aniruddha seated inside the lotus, with utmost devotion would enter, very soon the highest Brahman which is without birth and decay. The devotees who reach It (parabrahma) never return again to this cage of worldly life Thus concludes the thirteenth chapter named ‘Siiryabimbalaksaija’ of the Pauslcara Samhita of the great Upani?ad called Paitcaratra- CHAPTER * FOURTEEN CANDRA-BIMBA-LAKSANA (V.S. 1 to 16) A motif of the moon having the spokes (rays) full of the juice of nector (sudharasa\ and re-embling a dense mass of snow, and a garland (of white flowers) shines with charm all around. I shall now explain to you at your instance, the details of this motif (of moon). The ground-area should fce demarcated south to north with eight divisions, i-e- nine lines. Similarly the east- west demarcation may be made with similar lines Two more lines from among the area and then three lines along east-west* Counted from the east etc* the third division should be divided into four and stretched upto the central point (brahmasthana). It should be marked with three clear points. Having then left out one fourth part like two on the eastern side, a line may be drawn inside them in this manner* Having then spread out the sutras (lines) denoted as Rk, yajus and sama the cord should be stretched upto the seventh point. It should then be marked and carried forward to the south. Similarly two pairs of sutras should be stretched upto the points in the north. In this way the central mark resembling the moon is drawn first. For the sake of formation of the half-moon the method is further explained The line should be drawn from fourth point calculated from the shoulder. The line should be stretched from one shoulder point to another demarcating thereby the two cresent tips of the moon Having thus delineated the said border lines the shape of the half cresent of the moon is formed I shall now explain as to how this figure is to be filled with colours The interior of these lines should be filled with whitish yellow near the two tips and white at the central re gion. A lotus may be drawn at the cenre of the moon shaped figure. For this sake a circular line may lx: drawn near the central point (brahmasthana) to accom* modate the lotus. Lord Narayaija having eyes as wide as the lotus-petal, seated at the heart of the cresent ol moon and destroying the worldly bondages and bes towing prosperity and supreme bliss. Thus concludes the fourteenth chapter named ‘Candra bimba laksapa” of the Pauskara Samhita ol the great Upanigad called Pancaratra- CHAPTER : FIFTEEN TRISKANDHA-LAKSANA - YAGA • ♦ TRIKONA-BIMBA-LAKSANA (16x16 = 256) (V- 1 to 35) Description of the Triangular-Design Oh Brahman, I shall now explain to you the ritual design (yaga Bimba) of triangular shape. One should first take a square area (and with the geomet¬ rical process, there arise two hundred fiftysix equila¬ teral triangular units. Then, in the pair of outer rows, three corners, three entrances alongwith (flanked by) decorative parts (s'obha) are formulated, oh Paugkarat Inside this pair of rows having left one row for the passage and one for the altar, the innermost row along with one triangular unit (sams'a-panktya) at the cen¬ tre should be allotted for the lotus design. Having done this sketching, the intermediate linemarks should be erased. 1) On all the three sides at the centre, ten units each should be allotted for accomplishment of entrances* Of these ten, seven should be taken from the outer row and three from the inner one. Of the seven triangular units in the outer row, four will be of the shape of llame of the fire and three of the shape of female organ On the inner row two units will be of the shape 212 of yoni and one of the shape of fire-flame. This is Lhow ten units (7+3) are to be rubbed for the sake of for¬ mation of the entrances 2) Similarly, on both the sides of the entrance, two offsets (.v'obha) should be formed by taking one unit from outside and five from the inner row. The outer unit will resemble the shape of the yoni and out of the five units in the inner row three will be of the shape of the flame and two of the shape of yoni. 3) On both the sides of offsets two additional door* should be formed. For the formation of each of them, ten units would be rubbed as in the case of main entrance- - 4) The remaining units (ten) should be erased from two rows (6 +- 4) for the formation of the corners (three). The three corners would together have thirty units distributed over the two outer rows. 5) One row is assigned for paving the passage. 6) An altar of fine shape should then be drawn in the interior row of the passage. (a) Five trangles each should be erased on all the sides (i.e. three) for the formation of side-parts. Out of these five, three will be of the shape of the flame and two of yoni (as viewed from outside) 213 6b) A group of six units each should be assigned, Oh Brahman, for the sake of each corner 7) A lotus should be drawn at the central triangle inside the altar with remaining sixteen units. This magdala diagram should be sketched with above mentioned characteristics for the sake of separate ritual of worship- If, however this diagram goes by way of an ancillary component of the federal maijdala of nine components (maha :hya-navanabha), this diagram should be fashioned by omission of the passage (lupta- vlthi) but endowed with all other components doors etc (dvaradi-paribhu§itam). This should then form part of the square diagram marked with three periphe¬ ral bordering strips- The present triangular diagram is then to be drawn inside the square area allotted for it in the federal structure, by fourteenfold division of the area (1 -2 (rows of the passage) - 14 rows). The num¬ ber of units thus formed will be (196) one hundred and nintysix- The entrances and the offsets should be formed with aforesaid number of units- The altar should he formed with three corners made of six units each and the remaining units (5) for the sideparts. The lotus should be formed with the remaining units inside the pitha- Alternatively this diagram may be drawn with¬ out altar or without altar and passage. Triskandha-Laksaija-yaga B-Colouring 1) The doors should be filled with intense white. 214 2) The offsets (i'obha) should be made whitish red (pagdu-rakta) 3) The side-doors should be white 4) The corners should be made black. 5) The passage should be reddish orange. 6a) Ti e altar-sides should bj black- 6b) The altar-corners should be white. The triad of the Vedas : Rk, Yajus and samu should be assigned to three directions of the triangular diagram, east, south and north* Having accomplished the sketching and colouring of the maodala, the sup¬ reme principle (Brahma-tatva) should then be invoked, to be surrounded by the retinue deities* Having then offered with oblations etc. the devotee should surren¬ der his mind alongwith his speech- Thus he attains auspicious cherished objects and one who desires the supreme bliss (mokaarthi) shall attain the abode par excellence. Thus concludes the fifteenth chapter named ‘Triskandha Lakaarja Yaga : Trikona Bimba Lakaaria’ of the Pauskara Samhita of the great Upaniaad called Pancaratra. 215 Trikoga-bimba Total area : 16x16 = 256 triang-units No* Part Measurement 1 Padmakgetra 4x4= 16 2a Pltha-gatra 5units (3 + 2) 2b Pltha-koga 6units (3 + 3) 3 Vlthi 1 row colours Asita (black) Sita (white) Raktaruga (Reddish orange) 4 Dvara 10 units (7 + 3) 'I Susita (intense Kagtha 3 units (2+1) y white) Upa-kagtha 7 units (4 + 3) J 5 S'obha 6units(l+5) Piigdu-rakta (whitish red) 6 Upadvara 10units(7 + 3)^ Susita Kagtha 3 units(2 + 1 ) (intense white) Upakagtha 7 units(4 + 3) J 7 Koga lOunits (4 + 6) Asita (black) Note : Unlike the conventional order of parts in the Padmodara magdalas (1 to 25), this triangular design adopts an order from outside to inside for calculation of its parts* The triangles are counted according to their erect or inverse position technically termed as Agni- ouree and Yoni consequently, these triangular units ire viewed from outside for the determination of their hapes erect or inverse. A CHAPTER s SIXTEEN KURMA-BIMBA-LAKSANA (10x10=100) (VS. i to 48) O Brahman! Listen, I shall explain to you the yaga (mapdala design) having a tortoise at the centre (kurmodaraV This is the seventh maijdala of the com¬ posite diagram of nine magdalas designed for the wor¬ ship of Visiju. The wheel (circle; meant for the tortoise design should always be drawn in the north-east cor¬ ner (?) (ais'anyam di*'i). It should also be coloured variously in various parts Having divided the area ten¬ fold. the cord should be stretched in such a way as to get as many as hundred square-divisions, O Brahman Thereafter one row of units situated in the eastern direction should be washed off beginning from the north-west and reaching the north east.(?). Having placed the cord at the central point and having stret¬ ched it gradually respectively to the third point on north and south and upto the vicinity of the cord(?)- The intersecting point should be marked in the northern side at the fourth and the fifth division. In this way the demarcation of the back of the tortoise (pr?tha-lanc- hana) is achieved. Then at the joining point of the seventh and the central line, a cord should be placed and the marks are joined- Having then stretched the lines the shape of the tail (langula) would be formed Half of the length of the tail should be measured for 217 the arms measuring from fifth to eighth divisions. I laving stretched the three arms in the form of three Vedas Rk, Yajus and Sama, the seventh line may be touched and having marked it, the fourth division from the centre may be joined Then a line should be drawn beg nning with the end of the tail (pucchagraka) upto the fourth division from the centre and eighth from the arm Having done this, a mark should be made at the ear-region. ..(15 to 18)- This is how the formation of the ears (karna-siddhi) is achieved Now listen to formation of the legs. ..(19 to 24). The knees are for¬ med bv taking half the measurement of the legs The legs are to be drawn in the squares below the knees. (25 to 30) The formation of the legs and the knees is explained and now listen to the description of the mouth of the tortoise (31 to 35). The mouth-portion is drawn in the upward re¬ gion, by drawing semicircular arcs* The teeth, the tongue and the gums etc- are also to be drawn with the help of geometrical lines- The eyes are to be drawn with the help 1/4 lines- Beyond the eyes is the place for the ears The details of the limbs are to be drawn meticulously. For instances, the nails of the feet and the alignment of the beautiful teeth, the length of the tongue-not much long nor too short, are to be obser¬ ved carefully- The ears should resemble the leaf of the Badari-tree Having completed the shape of the tortoise, a lotus may be drawn inside the shape of the tortoise at the central place. The area may be washed off omit¬ ting the limbs- This diagram should be filled with various colours- The residual areas upto the border may be coloured with whitish-red colour. This should be filled with lines bearing brighter colours- The interspaces between the semi-circular arcs of the moon should be filled with white and black c(yupa) and the second from the south-north line; Having 'made the coin - munion-it Should be stretched to touch the tenth point from the middle. That line should resemble the fish- mark* Then at the ninth point from the middle and and third from the arm (?) (V» 25) a mark may be made at the joint- In this way the mouth of the pitcher taken shape (V. 25) Then the neck of the pitcher takes shape by taking the line on the conjunction of ninth point from the column and seventh point from the arm (stu- mbhat navama dnd bahu saptama) and touching the fifth point from the middle. Similarly at the ninth and the third point from the arm may be joined and fish- mark may be rnadr# The neck of the pitcher would thus be clearly visible with an eye (sala-locana)- The water channel (ambuvaha) of this pitcher may be drawn in the south-east corner by taking the th'rtythird point from the arm and seventeenth from the middle. Having then drawn the line On the joint and taking it upto the fourteenth from the middle and tenth from the joint- The markings then may be started, by taking seven¬ teenth line from the column and seventh from the arm. Having then drawn the line to join the points it should 227 be, stretched upto the communion (sangama). Then at the third point of the arm and seventeenth from the middle (dhruva) the spot would be arrived by demar* cation after joining the stretc'ied cord. This is the first mark and second is to be told now. By taking the mid¬ dle point of the above mentioned cord and eighth from the unit (amsa?) the line may be taken from the joint upto the second point (?) (V. 35 not clear). When the two marks are ready in this manner the outlet for waier (jala-nirgama) resembling the trunk of an ele¬ phant belonging to the mouth of the water-pot takes shape (V- 36)* A circular shape may be drawn above that in the upward part. This may be done with (reci¬ tation of) rucimantra or astra or the group of all the mantras V. 8 not clear) By the chanting of these mantras the aggressors upto the seven nether regions (sapta patala) are destroyed. This diagram of the water- pitcher is to be drawn here for the pacifition of all the defects in the ritual and this motif is not to be worship¬ ped here (?) (V-40). The pair of lines situated in the mouth of the pot, south to north should be washed for the first ground (bhuvam)* From the east side up to the other end. to circular lines may be drawn for the formation of the neck lines (kagthasutra). At the centre of this diagram of the waterpot a lotus with eight petals may be drawn in a square measuring four- hundred ('0x20) units. The remaining portion may be rubbed out. The outer parts: entrances etc* may be 228 drawn in three outer rows as in the case of the s ahk ha- diagram. For that purpose, two four and six units muy be taken respectively for kagtha, upakagtha and adhani of the entrances- Then for the offsets and recesses, one three and five units may be rubbed. Then the group of offsets near the corners and adjacent to the inverse offsets is thus formed- All the parts are then filled with colours excluding the east- west-doors in the manner as follows. 1) The emblems with circumcircles and the petuls should be filled with bright red colour (ujjvala-raktu varga). (2) 7 he interior should be smeared with golden hue (hemabhena tadantaram). (3) The circular line* marked the neck of the pitcher (kagthastha) should he filled respectively with black like royal stone, orange (aruga), and white (sita) (4) The circle above (outer) the lotus (jala-jata) should be coloured like cor.tl (vidruma), i-e red orange- Having coloured all the parts thus, lord VarAhii should be worshipped at the centre of the square, by one who is desirous of the sovereignty of seven islands, or ore who is desireless (niskama) but afiTorcling (S'aktiman)- The designing of the motifs : circular etc (vri tadi) at the centre (of nine mngdalas), is without the 229 nine altars but with the squares allotted for the for¬ mation of the lotuses* If however the circles etc* should be designed in one place, . then the group of lotuses should be thereafter drawn inside those circles, O Brahman! Thereafter having taken note of the smallest motif, ie- the lotus without encirclement (nirvrti-pan- kaja\ remaining set of lotuses may be drawn with equal (same) measurement- () lotus eyed one (Aravindak§a)! I have explained to you all this since you have urged me so- This pattern of ritual comprising nine magdalas at the centre (nava-marjdala-garbha) and comparable 10 a city endowed with nine gates is certainly beneficial to the devotees desirous of spiritual ascendance- Not¬ hing else is superior to this. This is the prime of all the rituals of worship- It should be told to non-devotees, robs and one’s enemies, aetheists, sinners and followers of alien convictions and those who have abandonned the prescribed ritual activities and haters of the Brah¬ min caste- This (path) should however be explained to others excluding the above mentioned ones, O Lord of me creatures (PrajapatP, namely the procedure of ritual pattern (yaga) comprising of nine constutents, i.e. maodjlas prescribed in the *'astras. Whosoever wor¬ ships this pattern after duly sketching it, in accordance w th his own capacity and financial ability, attains fruits alongwith prosperity hen* and hereafter- One who recites this achieves affluence of speech, forever- Whosoever happens to see this great ritual being wor- sh pped only once his sins accummulated over hundred embodiments whithers away. He attains bliss in due course at the end of his life. Therefore this y3ga, i e. Navanabha-magdala should be worshipped as per capa¬ city or else witnessed without personally worshipping- The good acruring from this yaga would O Brahman en¬ dow the fruit of attainment of Brahman (Brahmaprapti.) Thus concludes the eighteenth chapter named *Kalasa bimba lakaarja” of the Pauakara Samhita of the great Upanigad called Paficaratra- CHAPTER j NINTEEN WORSHIP OF NINE-NAVEL-DIAGRAM (VS- 1 to 140) The Lotus-Born queried : O Lord of Lakgml, kindly explain to me why very firm devotion in you diminishes? Lord replied Having resorted to whom (Lak?mi) either by fraud or by sport, when my worthy abode is seen or worshipped or saluted from a distance, then. Lordship is attained over sovereign kings, O Lotus-Born, by de¬ sirous people and also the Lord, the Brahman, Nar&- yarja incarnate is attained by them without right devotion and worship. O wise One, without much delay, such devotees become respectable to God (4c obscure)* The Lord worshipped by those with devotional accom¬ plish and propitiated in fire, they are also initiated with great devotion and they reach the status of reve¬ rence in this world. (1-5) As long as a man, who has performed due wor¬ ship of the deities * Brahma, Sun, Rudra and also of the series of Siddhas, continues to dwell in his body, till then he gets its fruit and also listen to me about lis achievement after liberation of soul (from the body). During life, he gets full span of life being free from 232 immature or accidental death. He remains free from disease, happy and contented, mighty and free from enemies; he gets affluence par excellance and lordship for all time- He obtains sons, wife and relatives and iN endowed with servants, army and conveyance. He is bestowed with discrimination and dutifulness and goes to prosperity, from moment to moment. He performs great (magdala) ritual just with contemplation. He gels wide fame and prospers with benevolent deeds (6-U). Whatever inauspicious deed is accumulated to him through action, contemplation or speech, since the time of his childhood, goes to destruction instantly; what to talk of a person who is well-set on the right- ous path and who is aiming at the fruit of the group of four life- missions (Dharma, Artha, Kama and Mok^a) and who is expert in all respect the members of his en¬ tire family, foregone, existing and the forthcoming, go to the world of Brahma, even though they arc doomed to hell (11-13). After discarding the mortal body, this great soul endowed with (divinel body, has movement at free will, everywhere, like the Lord- He moves in aircrafts res¬ plendent like moon and illuminating all the ten direc¬ tions; he is being praised by the Gandharvas and is being sung by the Kinnaras and is being fanned by the nymphs on all sides with chowries After having enjoyed 233 the accomplishments like atomic diminution (agima) etc , he may voluntarily descend (on the earth) once again* Then, having resorted to sublimation of birth, on account of the influence of his past deeds is born in a family of saints and in the region of accomplished souls, which is marked by benevolence and is therefore auspicious, becomes endowed with wealth and talent and rightous valour. He is compassionate for the souls destined to worldly life and he enjoys unobjectionable worldly pleasures for the sake of welfare of others* He is always engrossed in the activity for knowledge, with his right reasoning : with his mind well-pleased, he remains in this worldly life, as long as he desires, his mind being free from attachment. In the end, having abandoned the body made of elements, stays like Lord Vasudeva (14-20). The Lord, even when worshipped only once in the prime magdala with nine lotuses, and when the mantric power is generated and the pure lore is created, there appears the cosmic soul bearing the form of truth and bliss of the particular image with the help of the mantras which are not transmitted and which are free from impurities and which are illuminating the Brahman* For such a soul, who is endowed w’th the definite liberation from initial desire, (there is no re¬ birth in this world full of fear) (21-23). 234 The Lotus Born said T want to know from you, O Lord, the charac¬ teristics of the mantras, called lore (Vidya\ belonging to the images which I have properly understood earlier. I want also to know the characteristics of the mantras which are illuminative of the Brahman and by which the formation of the lotuses is to be made and after the said formation of the lotuses is made, by which the worship in the great maodala-ritual with nine lotuses is deemed to be solemnzed* The venerable Lord said In the central lotus, a group of nine words is prescribed * 1. named as bestower of all desires 2- re¬ sembling the stream of desires 3. having the majesty of great group 4. of the form of resort made of the sacred place 5. having principles as embrio 6. the seed of the world 7. great soul (ksarate ka... obscure) 8 • of the nature of the lore 9 all that is unmanifest* The verbal Brahman is indeed incomprehensible It is the Lord (. . ?) (in the second lotus?) (24-28)- In the third lotus, O Lotus-Born, the step on the staircase of Brahman is the multiform Nature with primordial matter (pradhana as the substratum) ( 9). In the fourth lotus which is full of Cosmic Illu¬ sion, the set of words prescribed is : the object of the 235 accomplishment of intention, and then the illuminator of the objects in the universe, beyond destruction of great wisdom, from whom the eightfold manifestations emenating from the Vyuhas take place. In the fifth i.e. the next lotus Lotus-Born, the epithets to be inscribed are Secret One, directly perceptible, formless, support of all, abode of happiness, guardian of creatures, ar¬ mour of the souls, the group of eight (senses) in the subtle body, and all- surpassing (30-32). In the sixth lotus (spagte = ?aste? , the following are the names to be written : uprise of rightousness, full filler of all desires (Purakah = ?puraka), (cosmic) measurement, of the cosmic form* In the next. i.e. seventh lotus, the assigned epithets are : eternal, yet incomplete, auspicious, resort of the fortune of all, (sarvabhagaspada), having multiple forms beginning with verbal ones: then O Lotus-Born, the source and the sentiant Brahman* In the eighth lotus the epithets are in the serial order : manifest and unmanifest, De¬ lusion, lore, enhancer of the manifest (world), having unbroken continuity from the beginning- In the last, i-e* ninth lotus the epithets are* past, continuing and prospe¬ ctive expanded in measurement, marked by great sphere and great cyclonic rotations and ultimately bestowerof the fruit of the accomplishment for the accomplisher. Thus is explained or revealed, the nature of the phrases )f the mantric course of lores (33-37). Now listen to he characteristics of the seat of Brahman : divided 236 only once, existant Brahman, firmly established, un¬ beaten, greatly ornamented, bliss, holding the letter om’, unborn, complete with six attributes, incompre¬ hensible, marvalous, pure and simple, omnopotent, not scattered, suprapacific, the doyen ofpersonofied beings, eternal unagitated, lord of all, beyond modifications, be¬ yond attachment, of one’s own nature, of the nature of exis tance and lustre, waveless, marked by three petal led lotus (?), receptable, unparalleed, marked with pro- fused light, unsteady, immortal, bevond comprehension, infinite, of the form of consciousness, swan, (hansa = so' ham, i e. It is I) and then immutable, beyond logic, residing in secret, unsoiled, without yonder limit* exis¬ ting and augmenting, manifest through space and time and within the cognizable range of the intellect of sen¬ tient reason; (43 a misfit* Hence exchanged with 32b describing fifth lotus*) having the eyes like the white Jotus, who has attained total knowledge, perfect free from the (three) attributes (sattva, rajas, tamas) (38-43). Spotless, having no desires, object of knowledge having unlimited support, ever in bliss, free from cala ■ mities (apatihlni = ?apattihlna), the seed-destroyer (bljahan), having no escape beyond (apalayana), infi¬ nite, all-confining, knowledge, object of knowledge* ever-continuing* marked by enhancement, yakga?, bliss par excellance, resplendent, having motion at own free will* lustre* ever-contented, free from attachment) (nirabjaja r niraiijana), the lord of the world, one who 237 cannot be located, supra-pacific, the great master, non- vibrating, beyond alternative (primordial) waters, great rightousness, great thought; thus are revealed the characteristics of the terms of Brahman, by remem¬ bering or worshipping Or comprehending (va taih = iriataih?! which a man attains Brahman (44-47J). The Lotus -Born asked (O Lord) some images are said earlier to have lost fruit-yielding faculty- Now what is the purpose- serving significance of these two sets of mantras in this context? The venerable Lord replied : - Of the image, which is installed after ploughing the land etc , and equipped with the technological knowledge, or alternatively of the image arising out of mere lotus-diagram, the accomplishment of the know¬ ledge is by ritual principles unaccompanied by aspira¬ tion for fruit- The aspirant may attain the abode of the Lord after laying down the mortal body (48-50)* The ritual action is twofold : of activation and of renunciation, O Lotus-Born- Those who are given to material pleasures alone get achievement through the conduct of activation and then being satiated with sensual enjoyments, they do their conduct through re¬ nunciation- One ever attains success with the fruition of mastery over six divine attributes (sadgutjaL'varya- !).iala)- Those fruits are always with those O Lotus- 238 Born, having pure devotion and who have purified their devotion with the mantras belonging to the lores (per¬ taining to lotuses) and those pertaining to sublime Brahman. The mantras are yielding activational fruit, with which the lores are ritualised (tapacaryate r 7 tupacaryate); but one who desires fruit with pure action alone, in his case listen to as to how it is to be perfor¬ med after constructing the substratum and the object assuming the substratum. k?) Having designed the series of lotuses with the help of feet (stalks?) entitled ‘best- ower of all desires’ etc. and having formed pericarps etc- (56 obscure), and having designed the set of nine feet or pedastals on the platform (?) at the centre, one may thereafter assign nine lotuses in each design eight surrounding the central beginning with the lotus in the east and ending with done in the north east. Each set of nine lotuses with the pericarps etc. is drawn on the footing, corresponding to the presiding deity. Having thus always drawn the lotus design permeated with the mantric code called Vidya, for the worship of deity intended for material enjoyment and spiritual libera¬ tion. the deity is worshipped, presently for the ritual meant for material fruit, in the order of worship of the square footings, with the units designating the existant Brahman, having division once only, with the help of offering of water and flowers etc- accompanied by the uttering of the mantras beginning with ‘om’ and ending in salutation (51-60). 239 Now its nature is being explained in serial order from the beginning. Having assigned the eastern base after the completion of the central lotus drawn in the centre. Thereafter the lotus-petal situated in the south¬ east is to be worshipped. The mode of changing over is not exactly similar to the rotational mode explained earlier (?) (61-62) Herein also one should take resort to the eastern portion which is ever-accomplished, for the sake of the best worship always of the lotuses and the lotus petals- Thereafter having invoked the deity to descend and having worshipped the images of one’s own preference* single image, twin images or triplet-images, one may commence the worship by allotment of the mantric principles, beginning with the lotus at the centre and continuing upto the lotus in the north east corner* The assignment of the mantras beginning with 'omkara* and ending with ‘svaha’, commencing from the central lotus onwards and beginning with the pericarp and then proceeding with the petal in front of the image and then continuing from east in the clockwise direc¬ tion, it should cover the group of eight lotuses in this very manner* O Lotus-Born (63-6?). One should complete outer design according to the central lotus diagram- One should contemplate the central image as all pervasive and having eyes and faces on all sides, it may be suitably placed somewhere 240 in the centre* The other images should be invoked and placed facing it. Thereafter, when the time of worship occurs, one should perform the rite called pro- orien¬ tation (sammukhlkararta) alongwith the self, O Lotus- Born, in order of each respective image (68—70) (The ritual involves invocation of the central image to faco the particular image in east, southeast etc* at the time of their respective worships). Thus is explained the mantric assignment and worship prescribed for the motivated devotees. But the aspirant who desires for supreme beatitude (kaivalya* should perform the ritual with the phrases and man¬ tras which are called lore (vidya); for that he should design the images embodied in the lotuses arranged in jhe order of (cosmic) involution, leading to the path of liberation. Then one should duly perform the wor¬ ship and also offer adorations to the host of images- Again one should do the worship accompanied with the Brahmic (set ofjmantras beginning with the central lotus But with the rotation marked by involution (reverse order?)* Now listen to its characteristic mode; O Lotus-Born, one should take up the entire aforesaid set of procedure with all details but in reverse order (71-741). The Lotus-Born asked *- The best type of mandalas : the nine- lotus mandala alongwith its motif was earlier explained to 241 be meant for the worship of nine images-- Vasudeva etc. Now please instruct me as to how the worship of the nine lotuses is to be conducted, when there are one, two, three, four and five images of the fire which is carried and placed inside the diagram as per prescrip¬ tion The Venerable Lord explained Whatever has been explained to you the nine lotus marjdala-design accompanied with the motifs, altars etc , the nine images alongwith their subordinates and surrounding deities are to be installed in those diagrams each by turn. Having sketched a magdala with nine lotuses coextensive with one’s monetary affording capacity, embellished with motifs, altars, entrances, nine in number, (?) encircled with a circle having l:nes cf demarcation or else without any of these parts (if one cannot afford), it should be wor¬ shipped with both the categories of mantras, namely, Vidya and Brahma The lotus is the support for the images of the categories of single image etc., O Twice- Born; the same is to be extended over for the august installation especially of the nine images* The Lotus Bom asked I have known before and herein, the fixation of the nine images and the rest from single imaie upto sight images. Now tell me, C Universal Lord, the issignment of mantras (j75-51J). 242 The Venerable Lord said «- In the case of mono-iconic images, the image should be assigned to the pericarps of all the nine lotuses and its six limbs should be assigned to the petals of the nine lotuses respectively Then in the case of bi-iconic images, the first should be set in the peri ¬ carp of the central lotus and the second image should be set respectively in all the rest of the eight lotus- pericarps (the limbs are presumed to be assigned to petals). Then, in respect of the tri iconic images, (ihc- first having been assigned in the central lotus,) the second one having been placed in the (lotuses in^ four directions, the third image should be set in the four sub-directions- The assignment regarding the quadri- iconic images, should be as follows : (the first image being presumed to be set in the central lotus ) the se¬ cond one should be assigned to the lotuses in the east- west-directional lotuses. The third image should bo placed in the south-north- directional lotuses and the fourth (caturdha = ? caturtham) should be placed in the (four) corners- In respect of the penta-iconic image- pattern, (the first image having been placed in the cen¬ tral lotus,) the second one should be placed in the pair of lotuses in east and south-east, the third one should be sei in the southern southwestern lotuses and the fourth in the west and north-west and the fifth in the northern and north-eastern lotus respectively (82- 6). In respect of hexa- iconic pattern, (after th" 243 placing of first image in the central lotus,) the second one should be placed in the north-eastern lotus and then the third one is to be placed on the lotuses in the cast and the north and (the fourth in the south-eastern and north-western lotuses. The fifth image should occupy (the lotuses inN west and south and the sixth image should occupy (the lotus in) the south-west. In the case of septa-iconic paitern, (the first image to be placed in the central lotus and then) the second one is to be placed in the lotuses situated in the north-east and east. The third one should be assigned to (the lotus in) the south-east region and the fourth one in the southern lotus. The fifth one is to be assigned, O Lotus-born, to the lotuses in the south-west and west. The remaining (two) images (mtirtih = ? murti) should be placed in north-western and northern lotuses res¬ pectively. Thereafter in the octa-iconic pattern* O Lotus-born, (having placed the first image in the cen¬ tral lotus, t the second, third and the fourth) should respectively be placed in north-eastern, eastern and south-eastern lotuses and the (fifth, sixth and seventh) should be placed in (the lotuses in'! south-west, west and north-west respectively, (dvaye’nile... obscure) The eighth image should then be placed in north and south- Having adopted the assignment of squares said herein which is twofold, one may worship the mantra which is assigned through meditation and accompani d with its pervasive scope- One attains Brahman (s'a/i?) one’s own favoured (svadugtat - ?svad-istat) desideratum. 244 This is narrated in brief, the adoration of images in general. Now I shall explain the special assignment (of images) in the maqdala diagram of nine constituents (navatvaniz? navatmni) separated by sacred corridors (87-932). O Lotus-Born, having assigned the premier image in the centre on the top of the pericarp (kotara = hollow = pericarp?), one may place the group of subsidiaries of Him in their own places (petals?). Thereafter the deities Sankarsapa etc. should be respec¬ tively worshipped in the eight lotuses (patra = ?padma > One may worship Lord Sankarsapa on the top of the pericarp (svordhva?) of the eastern lotus, O Twice- Born- Then the rest of the septad of images should be so arranged to begin with Vasudeva and should be worshipped in the eight lotuses (patragtaka = padma- ataka) in the enclosure (the eight lotuses include the one alotted to Saiikaragaija). The group of (seven! images should be respectively worshipped to conclude with Varaha (94-97)* However having placed the first image of that mantric incarnation of the magnanimous Soul cumu¬ latively like the banner of the palm-tree, one may place the group of nine images (kotaraya, va.v'a, occhc etc obscure) For the sake of the obtaining of the fruit of all desires in the case of those who are scared by the fear of worldly life (samsarabhayabhltan-tu r 245 tanam?), the worship of the deities should be in reverse order of the squares, of whatever is prescribed earlier, i.e. beginning from Varaha and reaching Vasudeva It is as per the fruit aspired for (98-100)* This being the common course (gagana = ? gamana) of the images of the fundamental mantra, the body-assignment of the images is to be obtained as per the group of limbs- In the case of the uncommon or special arrangement of these images the assignment of the garlands (of lotuses) is to be done first and then five, seven, and three (trtiya = ? trtaya) having been placed, twentytwo, five and seven should be placed(7). Therein, the first embodies lustre, and has formed and it is supreme and denotated by name and (form fit for) meditation- The other one which is in one’s own indi¬ vidual self-lotus marked by singular petal (ekapadma? ekapatra) O Lotus-Born- This is to be alternatively placed and worshipped while being visualised by various meditations through the employment of the assignment of lo'us in which the petals are not obvious. The assignment of the mantric Lord endowed with limbs and the image for assignment of evolution, mainte¬ nance and disolution, is visualised twofold- The first one is for the permanent fruition of the rituals begin¬ ning with worship- The assignment of the image is pre¬ scribed first from the principal and subsidiary group, from which they are yielding fruit of six divine attribu¬ tes (jnana etc ), to the connaisseurs of mantras. They 246 grant to the magnanimous souls, the auxiliary fri beginning with atomicity (aijiman) etc* Whatever fi which is arising out of the attributes of the Lord mantras tut indistinct from the images is bestowed their limbs which is again indistinct, O Lotus-Bo The exteriority, at times resorted by the images for i sake of existance is meant for the sake of favour to I devotees aspiring for the material prosperity and sj ritual liberation- However the interiority is self-adop in the case of the devotees involved in mundane life, Wise One, for the sakt of tranquilisation of their I in flux- Having thus made the assignment and havi performed the worship piloted by devotion, now list to me while I am narrating the special worship (K 1I1L). One may worship with offerings made of go silver and pure golden lotuses embellished with t gems like luby, saphire, diamond, cat’s eye ger classical coral, the great pearl etc (santicch = ?santai and then with other very auspicious flowers blossomi in respective seasons* Thereafter, one may worship t Lord seated in the heart of the nine lotuses, with su lime devotion by offering Him various perfumes havi the fragrance of snow (tugara = ? camphor) salt antf (?), the orange- red (sandal?) of the Malaya mounta sweet incenses rich garments, cosmetics, (ornamei like; armlets, braceltes, ornate crowns and bangles Uso very precious and shining garlands, rings a 247 anklets. One may also adore Lord Hari with (such off¬ erings as) fans chowries, parasols, mirrors, beddines. banners bells tagged with tinny bells and white umbrellas and canopies, multicolour banners, crescents, fine foun¬ tains, bulls, horses, elephants and carriages in large number with plenty of decorations, pedestals with steps ( = pratigraha?) sandals and shoes and with non- intermittant big lamps fuelled with ghee (11 — i 19). Worship should be offered to the Lord who is unborn and undecaying, with mind purified by faith, with (offerings * ) white flower-garlands and then with offering of honey, with divine dishes made of holy fruits arising in all the six seasons, with drinks which are holy, cool, sweet and fragrant with twin smells(?), so also with several eatables mixed with pieces of gur, ghee and milk-preparations, mango-juices and boiled milk (1 20- 122). Having thereafter placed flat vessles made of gold, silver and copper filled with gold ■•?), sesamum, quality-rice, and other tasty cereal, and completely filled with fruits, one may offer beetle richly fragrant with clove, takkola, cardimum, bark (tvac?) camphor, jati and beetle nut, in the end with salutation to the Lord of the universe (123-125). One may lead the lotus- eyed eternal Lord to full contentment with musical tunes on various special 248 instruments and with dance and songs and ballads. One should prepare (for god) whatever is cherished the most, and pleasure-giving to mind and whichever is not averse to it 026-127)- (one may pray to god as under :) 'O Lord Jan3- rdana, manifested in the form of mantra and residing in the midst of the water-jar and the mystic diagram, now for the sake of thy propitiation, I worship you with gifts of gold etc.* (16#). One may worship accordingly with pure inner self in this nine-lotus-mapdala diagram embodying every thing from Brahman to the world etc. (129). ( 1 30— 1'31 obscure...) O Twice-Born, the circles sanctified with the mantras far from it (diagram) above the boon-besto¬ wing mandala named Klrtinatha, the accomplished souls go over alongw.th all the mantric lords. So also all the celetial globes and the lords of the globes, having bowed down and having praised the Lord, accompa¬ nied by other lords ;?), the deities, the Vasus, the sadhyas, the fires and the winds and the ancillaries like kutya (?), the Time- incorporating past, future and present, the stars and the planets, the constellations and all the planets, the suns the offsprings of the wind, the Rudras, the mortals, the twin Alvina deities, the Vi.s'vadevas, the seven sages star, the manes, the sages 249 as also the Gandharvas, the nymphs* the Kinnaras and Caracas and the snakes, the gods, the lores, the Manus, the oblatory invocation, the wife of Fire, the accom¬ plished souls, the oblation meant for the manes, the stationary stars, the rightousness. the goddess of lear¬ ning, the Soma* the heaven, the protectors of creatures, the epochs, the Vedic hymns incorporating rks and samans, the celetial globs and the ten directions, the islands* the rivers* (tadasthitva?) Jhe earth surrounded by oceans, the mountains, the trees, the creepers, all the liquids and vegetations* all the sacred places and shrines, several yogic seats (yogapithani). the cows milking nector, and whatever is movable and immova¬ ble should all be propitiated, one by one, in due order, with proclamation of own name and accompanied by inclusion of Omkara and salutation for the sake of obtaining material enjoyment and spiritual absoluteness (132-140). Thus concludes the ninteenth chapter named the ‘worship of nine-navel-diagram’ of the Pauskara Samhita of the great Upanisad called Pancaratra- CHAPTER : TWENTY WORSHIP OF VISVAKSENA (VS. 1 to 121) Revered Lord said : When the Mantras are worshipped and specially propitiated, and those are assigned to the given abodes, then, Oh doyen of the Twice-born, having completed the worship of the group-leader named Visvaksena, with whatever procedure is observed in the canons, and having Him propitiated and bid farewell, then one may partake from the holy pot for water*offering (arghya)* for the sake of the fullfil.ment of one's cherished ob¬ jects alongwith the livelihood (Vrtti?). The Lotus- born said =- O Lord! why did you call Lord Vi?vaksena to be the root-cause of annihilation of the chiefs of calami¬ ties and how is he to be worshipped? Lord (Viaou) has resorted to the Serpent-bed (during the four months of the rainy season conventionally called Caturmasya\ and (tell me) as to what favour, he would do when so propitiated (1-5). The Lord said There are several obstacles creating hurdles for the pious duties of the house-holders which push away, 251 I think, the good merit of the ritual of Maijdala-wor- ship. Those obstacles which are barriers for the high enthusiasum when the Mapdala worship commences, all whither away, being fear-stricken, by the flames of the (Sudars'ana) wheel. And there is no scope for them during the course of ritual due to the assaulting power of (Sudar*'ana> Where is then the flaw and also where is the scope for Vinayaka, the Lord of obstacles? The petty obstacles intent upon creating breaches in the routine of the ritual they are waiting for the time of fruition while they are conquered from outside or outworldly (6-9). O Twice-born, one gets one’s own alotted fruit of multiple character presently due to the deeds accum¬ ulated in the past as a follow up afterwards. In order to give protection to it one has to offer worship to Lord Visvaksena immediately at the time of conclusion of Macidala-worship on the second day thereafter* One has to offer the worship for obtaining the fruit, having made one’s mind unperturbed, with the help of the remnants of the ritual of Magdala-worship like offering of the seat, by offering the water and containing all the courses like costumes etc , with the food-offering like honey etc. offered to the main deity and then by the residual offering after giving to the Brahmins and thereafter shared by oneself, similarly by the food-offe¬ ring with another menu offered next day embellished by heating by addition of sweets and ghee. Having 252 offered all these (to the deity) inside the Maijdala-dia- gram, O Lotus-Born, one may contemplate the group of five or nine divinities embodying Dharma etc- upto Ananta the primordial serpent (Sesa) or else one muy contemplate upon the primordial lotus covered by the quality of Satva, the pure conciousness. One may there¬ after duly worship the Lord Visvaksena in the north¬ east or northern direction or the square-diagram berclt of . entrances and offsets, at the same adorned by the triple lines (surrounding the diagram) situated in the lotus endowed with eight petals contained in half arch of the moon, the Lord who is commissioned (for dis¬ pelling) of the obstacles, by Lord Acyuta Himself (10-18). ‘ ' The aspirant whosoever worships Him duly, having taken bath earlier, utilising the relevant mantras. One may then having washed hands and feet and having sipped water, should do the assignment of mantras alongw'th their presiding deities on one’s body* through tranquillisation of senses (19-20), and thereby having i ’ ' purified one’s body. Then again, having assigned the mantras on the six limbs of one’s body and on the fingers as well, and thereafter* having impelled the Lord, the abode of bliss, to descend as before, and having worshipped him in the heart- lotus, in the con¬ templative impartite form, He should thereupon be worshipped externally, having contemplated to have gone out He should be visualised as follows : having 253 the complexion of tender Dfirva grass and bearing a slight yellowish lustre; having four moulers, four arms, four testicles and four gaits (?)• He is seen to be full- fledged-bodied with lion-shoulders and broad chest- region; He is adorned with the navel-cavity having clockwise depression. He should be visualised as having knee long arms, bearing charm and having the matted hair like tawney flam’s- He (i-e- Vi?vaksena) is to be seen as having eyes and the chin glowing like molten gold and having broad nose (21-25). He is seen adorned with a row of white and long nails and with curved brows; He is to have a garland of pearls with embelishment of magniflcient jewel at the centre He should be made to have the auspicious emblem of S'rlvatsa on the right half of His body; and at the centre of it, a lotus -pond (? 27B obscure) He should have His twin sacred thread, going round the navel in clockwise way He should have enlarged cheeks and face- His entire body should be covered with hair resembling reddish orange Kiim'uka flower- He should be endowed with a pair of ears enriched with rings of ruby and which are charmingi long, broad and tall- He should be adorned with a lofty crown and necklaces etc (26-30). He should have His glances slightly raised and obliquely cast- He has the teeth resembling the Jasmine (flower) and the moon; and his face is bearing a light 254 smile* He should be mild by temparament and turned reddish due to mock-anger even though pure bynature. He is in a standing posture with one of his foot in a gra¬ ceful stepping out gesture. He is meditating upon the Sup¬ reme Resort at His own inner self- He is seento be ben» ding the three creeperlike fingers upto the little finger by the thumb and holding one errect and placed on the nose. He should be accompanied with this fingure-gesturc causing fear to calamities faced by the good people. He is holding in his hands* wheel (a part of acharriot) and a conch and also a club in a hanging position; He has His fourth hand in a daunting gesture at the same time, placed on the plank of the hip- One may worship the god bearing such a form and of miraculous valour, visualising Him to be present in the midst of the peri¬ carp of a lotus (31-37). The meditation on the subordinate deities, like the series of mantras from that of the heart to that of the mouth, should be done on the interior of the lotus- petals, excepting the divine lustre of the source (i e. tha of Vi9vaksena), and bearing the complexion: white etc. (red, yellow and black)- The first quadruple is : 1* The Elephant-faced God, 2. Jayatsena or the army- conquerer, • Hari-vaktra or Lion-faced and powerful God and 4. The God entitled Kalaprakrti or of the nature of the Death, O Lolus-born! AH these four, regal chieftains are endowed with gigantic bodies and 255 ever attentive of His orders and bearing the white chowries aloft (35-40)i One may place, those who are the chief lords of the calamities such as Vinityaka etc, on the north-east etc. corners outside the lotus-area assigned to the above group-chieftains. They should look towards their Lord and should take up position akin to him, i.e. standing posture. They should the same weapons in hands but not the same gesture* The meditative body-forms are, however, apart which please listen to. Gajanana is fearful, assuming the mouth 'trunk) of the elephant, having four molars and three eyes, having conchlike neck, four arms and lustre of million full moons (41—44''* Adorned with garland, ancklets, armlets, girdle and a necklace, embellished with various garlands, per* fumes and dresses, and having unparalelled valour; Gajana or the elephant headed god should be thus meditated upon. Jayatsena should then be memorised as having great horse*head and having the lustre of mountain of red lotus colour, having eyes resembling the moulten gold and possessing the multiple marve- lous valour. Thereafter, one may meditate upon the ion*headed god with his head strewn over with manes, laving the complexion of intensely heated gold, and laving dreadfully roaring resonance; he should bear he contenance of the king of beasts i e. lion and he 256 should exhibit the velocity of the wind blowing at the time of the epoch end- The attendant named Kalapra- krti should be imagined as resembling the mountain of collyrium having his mouth dreadfully exhibiting molars and having tawney beard and eyes; wearing fish shaped earrings and having fishlike tapering nose. All these regal chieftains of groups of attendants are en¬ dowed with qualities of great persons completely from feet upto the neck Whatever ornamental iiem is left out should be imagined for the rest of the three as de¬ scribed in the case of the first (46-5 1 )• The adoration of all these should be conducted, O Lotus-bom! with a mantra incorporating the name of the particular deity, at the same time beginning with 'om’kara and ending in the term ‘namah* indicating obeissance, for attainment of various spiritual masteries (52). The Lotus-born interrogated Who is this god wielding unparalelled prowess, scared by whom, the hurdles capable of uprooting the three worlds, flee away from a distance just by His winking of the eye? • The Lord responded He is that very manifestation of the Lord with fourfold Self (or in the fourth or trance-state) named 257 as Kala-Vais'vanara or the ‘epoch-ending fire’ widely reputed O Twice-born! as God Visvaksena. He is pre¬ sent with the performers of the Vedic sacrifices* in different roles = Ahavanlya etc. (i.e. the three sacred fires including Garhapatya and Treta who satiates the whole by consuming the oblation fallen (in fire) or sanctified by Rgvedic chants Thus having obtained the mantra-sanctified oblation offered to Fire-god, from the sacrifice which is pure* Brahmanic and full of chants. He apportions the oblations instantly amongst the uninvoked gods residing in all the worlds, with a desire to procure their favour ^53-57). The Lotus-Born interrogated O Lord! Of all the mantric images, you have prescribed one single image as the principal and par excellence called Vasudeva, and also prescribed the worship of Visvaksena out of the material remaining after offering to Vasudeva, Now O Lord! do explain to me as to whether separate/separate worship in the case of the images is efficatious- Alternatively, should the worship of the group of mantras (yantra? mantra) may be conducted as per the distinction of Lord’s fourfold manifestation into Vyuhas and depending on nutual subserviences, as per time-schedule, one may :onduct the worship with flowers etc. offered to any )f the three mantric images* 258 The Venerable Lord Replied :* At all places and at all times, the supremacy o! the mantric Lord who is the giver of supreme beat t i- tude, who precedes all and is so adorable, and is at the centre, of loud utterance of mantras, is established due to His chief position in the matter of rituals and also due to the apportionment of the divine presence and of the functional obligations The high exalted state of the mantras, the mantric images and the quadruple manifestations, O Lotus-Born, and also of the princi¬ ples (=25) is merely attributive, as exemplified (in philosophy). None is supreme in real connotation (58-64). Leavihg aside Lcrd Vasudeva form, the threo other forms ending with the Cosmic Superintendent i e« Aniruddha, which is ever-active is rather different from the Highest Truth; the quadruple manifestation of that which is characterised by the function of Cos¬ mic creation and dissolution* exhibits equality in spite of distinction which is like a leaf, envelopped under the superintendence of the Brahman, forever (65-66). In your mind, (O Lotus-bom), which is charac¬ terised by entire set of six qualities ( =jnana, bala, ai.s'varya, vlrya, s'akti and tejas) wherever there is scope for obstacles right from the time of commence¬ ment (of the creation) upto the time of assimilation (?), it is never a true lore* Wherein the entire pantheon 259 of Vibhava-deities stays aloof at the time of the wor¬ ship, there over, what is to be talked of Indraand other deities? (...?) By rule there exists an inherent link which grants ‘be- attitude* which is without being desired, and which is fundamentally affixed in Brahman and totally free from all other (objects), no worship is prescribed for that highest divine manifestation, O Twice-born! This worship has slight attachment to lores and hardly to deities (?) Similarly it is with Vi?vaksena surroun¬ ded by a troup of attendants- The ever-alert worship is fetching all accomplishments from this more sublime and subtle manifestation which is endowed with image form. In case, a single (Vyuha) deity is, or twin or triple is worshipped for the attainment of cherished objects like emancipation with a notion of distinction, O Twice-born! There will not accrue the accomplish¬ ment in the absence of the ritual items like assignment of mantras and ending in the worship of the enemy of calamities, (ie. Vigvaksena), the accomplishment which is achievable only by epoch-long Vedic sacrifice (67-74) The Lotus-born said I desire to know from you now the difference eternal, arisen etc. of the triplet of the Vyuha-mani- festations which is perennial (75). The Venerable Lord said The first form of the Vyuha triad is what could 260 be described as unparalleled and supra sensory and of the nature of tranquil bliss par excellence and ever arisen* It possesses the lustre of a million full moons coupled with a pile of lightning and suns and fires. The second manifestation is called subtle which arises and sets* All these manifestations are separate from each other in respect of emblems* garments complexions etc- They are free from the impurities like diseases etc ; their fulfilment is time-bound; they are characterised by birth or origination and destined disappearance and merger in to the highest abode of quietude in the sky of non-creation- The Lotus-born said You have told about the worship of Vigvaksena etc. .. the deities which destroy the calamities (76-90)* Therefore one who gives to others or consumes himself or one a wretched person disregards (the offe¬ rings to Viavaksena), that wretched one is destined to hell His retinue is also to be worshipped along with their Lord, O Lotus-born, according to the adnrnis- trative convention of ritual offered with devotion of Him who is having multiple forms especially with re¬ gard to the food mixed with curds end which is explai¬ ned herewith The Lotus- born said O Lord, what is said to be the material offered to God ana what is the food offered to the attendent 261 deities and what is prohibited for the devotees, O affectionate for devotees? (81-84). The Venerable Lord said :- whatever exists in the store including leaves and and ornaments etc- which is The Venerable Lord said The property belonging to the deity covers whatever is contained in the store (room or store-house of a temple) including leaf-ornaments (of gold etc*)* and which is attached to the installed idol (sBhava~ murli) or whatever is present in its (i.e- of the temple) shop at some distance, owing to My grace (approval), which please note. Besides the cows, elephants etc. within the range of the boundries of the town or the city (owned by the deity?) and the paddy crop, sugar¬ cane* flowers etc- and maid servants and male servants, family members and relatives including sons as well as domesticated cattle and the trade connected with all these characterise the property of the deity (85-87). In case some appropriation is in contravention of the above, then it may impose sin even to the acco¬ mplished souls Hence it should be meticulously avoided even when offered (to the deity) by oneself or by others. It not only incurs sin, but in fact, it leads to unending hell* Therefore, whatever accumulation has commenced earlier, and allixed in the temple-enshrinement, should 262 be meticulously, so that would enhance. A king obtains very great blame by failing to continue whatever (cha¬ rity) has already begun in Vaigijava temples. However, a king attains wide fame in his kingdom and also un¬ decaying happiness, by maintenance of the tradition commenced early- The Lotus- born enquired :- O Lord of the world. You have prescribed ear¬ lier partaking as well as distribution of the food offered to God; how come its prohibition is being proclaimed now? (88-92). The Venerable Lord explained The *food of the deity’ is said to be so which is first prepared for the sake of ritual of worship of the deities, deliberately, till the time of its (actual offering- Its otherwise consumption, if done by temptation or delusion, O Twice-born, then the purification of that man is achieved only by full performance of hundred atonements. Its consumption, however, at the conclu¬ sion of the offering with appropriate mantras by the worshipers free from the sense of ego, becomes, O ex¬ cellent amongst worshipers* all-purifier, holy, merito¬ rious, endowing purity and enhancement of wealth and welfare. Even though the partaking of the offered food is always permitted for preceptors and other de¬ votees, in principle, O Lotus-born, yet it is prohibited 263 for the aspirants without offering salutation, during routine and occasional worship, excepting (of course) the garment The Lotus* born queried O Lord, T have a great doubt as to why the off- erring sanctified by mantras is prohibited for the as¬ pirant; for what reason is it so? (93-98). The Venerable Lord explained •- Not even a flower should be ever taken without being prayed for; it should however be accepted with a mantra (•••?) The preceptor should offer prayers again and aga:n to the Led of the mantras in respect of all the offerings and the items offered with devotion (99-100). He (the preceptor) is not liable for blame due to his being i'ndependant in all respects just as a mini¬ ster is, in respect of all interim assignments, since he is deputed for a perticiilar service upfo materialisation of the result In the same way the Lord of the mantras does not see any objection in the case of a preceptor (101-102). He ought not make any request to the king, even for petty desires, since he would give, of His own, if he is pleased and satisfied* Likewise the devotee who is wise, should accept the gift as devine favour felicita- 264 ting it with bowed head and should not deem it as his right inabhikuryat = nadhikuryat?), being earnest on a greater cherished fruit* In this way an aspirant who is devoted to the vow of the mantra and who practices it, attain accomplishment soon, due to the favour of the mantric idol (103-105)* The Lotus- Born asked - The apportionment of the offering made to the adorable mantric deity is understood xby me), O Lord of the Cosmos However what is the distribution of the remainder ?(106) The Venerable Lord said - Whatever is offered to the presiding deity of various parts of the magdalas including the powers presiding over the outer supports and also whatever is offered to the preceptor and to the Lord of Time, according to one’s affording capacity, should be distri¬ buted to the bachalor students and to the dedicated devotees- Then whatever is offered to the deities of the mantras, pertaining to the limbs, beginning from heart and ending with eyes and also whatever is offered to the consort-deities like S'rl etc- and also to the mantric images of the fourfold manifestation of Vi?gu is allot¬ ted to the disciples belonging to the class of foster- sons (Pautraka', always during the ritual of donation. Thereafter, whatever is offered to the class of devine 265 weapons : disc etc. and also to the mantric implements brought in the place of offering; similarly whatever is said to be offered to the group of attendants the deities of the quarters, the deities of the missiles and the attendant-deities flanking the doors and the to the locational deities, all that should be distributed amongst the Vaispavas belonging to the perticular sacred place* This is prescribed* O Lotus-Born prior to bidding farewell to the mantric deity; it is prohibited for all, when the group of mantric deities are offered send off? It is because thereafter the spirits come aiong in groups of crores and O Lotus-Born, the sanctity of the offering made to the deities belonging to the retinue of Vi?riu does no longer remain and the spirits through their power adorn the offerings by roaming about, due to the compassion of the acquatic creatures and their families (107-114). All that is remaining after distribution of the offerings and whatever is non-perishable or non-dis- pensable should be taken along and should be meticu- K usly cleansed and emersed in deep waters Thereafter the distribution of whatever is offered to the mantras clinging to the installed image is prescribed as donation to the dependants, the servants as well as the attendants engaged in dance and music and the devotees offerings prayers and the residents of the Agrahara or the Brah¬ min-village (115-1 17). For all this, the offering which is sanctified by the Lord of mantras is holy par excellance and makes the purification of the body and through that purifica¬ tion, accrues the lightness of the body (kayalaghava ?)• It brings immediate auspicious fruit to the devotees who are freed from the impurity of earnings Even though it is so, great merit of it, O Lotus-Born the sacrifice of earnings is preferable to the donation or conveyance afterwards since thereby no greed would accrue to the concerned people over and above the defect. For those persons who are totally rid of the temptation of accepting (the offerings) the heart will be extremely innocent and one who knows it to be a deed yielding eternal fruit (118-121). Thus concludes the twentyeth chapter named ‘Worship of Viavaksena*’ of the Paugkara Samhita ol the great Upanisad called Pancaratra. CHAPTER i TWENTYONE CHARACTERISTICS OF RETINUE (DEITIES) (VS 1-23) The Lotus- born said O God, you have earlier told comprehensively, the class of (divine) prowesses (feminine deities). I now wish to listen to its characteristics alongwith the mode of assignment. The Venerable Lord said :- (These prowesses or goddesses are :) The goddess Lakgml which is bestower of all prosperity and goddess Pusti which is bestower of great success; Kanti or complexion, Prabha or lustre, Mati or talent, S'akti or might, Kriya or action, Tccha or will, Mahima or mag¬ nanimity, Unnati or elevation, Svadha or oblation of¬ fered to manes, Vidya or learning, Agima or atomic diminution, Maya or cosmic delusion, Murti or mani¬ festation, Hri or modesty, Sri or majesty, Kala or art, Dyuti or glitter, Ni?tha or faith, Rjvi or upright, Ruci or shining, Cegta or effort, S'obha or ornamentation, Suddhi or purity, Vibhuti or magnificence, and then Vrtti or existance, Vyapti or pervasion, Gati or motion, Supti or slumber, Bhaga or fortune, Vagls'varl or the mistress of speech, Rati or eros. Siddhi or accomplish¬ ment, Nati or humbleness, PI uti or overflow, Krida or 26X sport, Sampat or affluence, Kirti or fame, S'ikha or crest, and Mali or reason, Gayatri or Vedic metre and Marvada or etiquette and Srsti or creation, O Lotus- born, (5B to be transposed to 64-) The entire universe is totally permeated by these (prowesses), forever in unmanifest form. This is the association in general of the sphere of prowesses (goddesses). O Lotus-Born. One should then first memorise in mind, the mantric body through self-attribution, (5B transposed to 6 + ) alongwith the group of mantras. Now the special de» tails are being told : the main deity which is unpropi- tiated should be placed in south-north direction (1-7) One should place the pair called Lakgmi and Pugti to take resort in avakara (?duster or broom)* The group of eight (goddesses) should then be placed in eight directions, beginning with the tips of the lotus filaments in the order known before, inside the petals, inside or outside one's heart or outside according to the expectation of achievement. The supreme destina¬ tion should be assigned in the main portion of these (goddesses). The devotee attains enjoyment, whatever is cherished for, whichever is outside the attachment to the body (?). The deities are to go arround in u clockwise manner seated on the lotuses beyond the remaining circular space, faciug the supreme Lord In the case of mantras which are descending on the sepa¬ rate maijdalas, the group of eight prowesses should be placed in the same manner but omitting the pair : Lakeml and Pu?ti. The arrangement of the remaining pannel of the deities of faith should be circular* excep¬ ting the eight-petal -lotus, in each lotus at the bottom of the expanse of the filaments so that it reaches the group of eight pericarps (?) (8— 13> In this way, the placement with regard to the deities should be in all the mandala diagrams, except, O Lotus-Born, one mixed-wheel-design belonging to goddess cf learning named Sarada- Therein, the eight deities are to be placed in the lotus in the remaining wheel like the outer empty space- Now O Brahman, I shall explain, in order, the meditative spell as it is situated* The goddess Lak§mi has the complexion re¬ sembling the red lotus and having eyes resembling blue lotus. Goddess Pugti Is fair like the stream of milk and has a face budding with joy (14-16). The group of eight prowesses beginning from Kanti and ending with Unnati (enumerated in verse 2 supra) should be pure like crystal O wise-one, the group of thirtyfour prowesses with auspicious marks should be meditated upon with association, leaving gaps in between, and resembling gold, and red lotus somewhat endowed with unparallelled attributes (17-18). All these deities have pleasing eyes, and pleasing faces like lotuses; they are matching to each other by beauty of their forms and auspicious- nessf All of them are wearing costumes and garlands and are decorated with all ornaments. They are marked by fans made of hair resembling the rays of the moon, held in left hands- One should meditate upon them as having their hands other, than left ones (i e- right' bestowing cherished desires. They are acting upon the order as per mantras and bestowing all fruits accor¬ dingly. They cast their glances on all directions, in compassion about the devotees, at the time of the great ritual cf worship, having resorted to omnipresence. O Lord, the worship accompanied by mantras is exter¬ nally thus pervasive. The placement, worship and meditation is mantrically accomplished by the god¬ desses (19-23)* Thus concludes the twentyfirst chapter named ‘Characteristics of retinue (deities) of the Pauskara Samhita of the great Upanisad called Pancaratra* CHAPTER : TWENTY TWO CHARACTERISTICS OF THE SUPPORT AND THE SEAT (VS 1 to 75) The Lotus-Born said O Lord, who is worshipped .by the gods, I wish to properly understand from you, the characteristics of the supports and the seats of you (tadadhyarahi- casanam = ?tvadaharam tathasanam), alongwith the secret and with precision as it is construed and situated. The Venerable Lord replied •*- The object to be contained (i*e. the universe) is woven, of its own, O Lotus-born, in the Self which is immutable and of the form of the self, from the begi- ning till the end as are woven* the seads in the thread* He is present in the form of the support, in the first instance and then in the shape of the universe, through various mantric forms though he is principally without vibration on the surface level* He is so for the sake of the tranquilisation of the deeds to the credit of the souls involved in action and who have frequency of precipatates of longings and for the accomplishment of the worldly enjoyments and spiritual absoluteness (1-4). 272 The limit of those who are engulfed in the be- giningless nescience, in the reality is this much. It is not above that nor upto the unseen (adr?tlnam = ? adratanam) factual objects, O Lotus-Born. The prowess of Lord Viagu which is obscured in characteristics by the specialised ambiguity, which is neither oblique or prior to Brahman nor alternate of omittable object, is described as the substratum. She is also called by the name of the tortoise which has at present, withdrawn its limbs; she is of the form of manifest-unmanifest like the orb (kadamba) of the sun which has contained the seed in the form of the power of the seat as earlier, voluntarily and having the multitude of cosmic seeds bearing the attribute of potential expansion* In the end He burns down the entire universe, assuming the form of the dreadful fire, whose deity is the lord tortoise- incarnate worshipped by the world- As the tortoise raises up His neck withdrawn in Himself, so the Lord, not having abundon the strength of the lordly prowess shoots up the inexhaustible cosmic embryo which is infinite and accompanied by alternatives (5-11). O Brahman, of magnanimous mind, the deity having a hood and called as S'esa is sung as Anantu and it is the shelter of the four who have formed the seed. The branch bearing its smell obviates from it as in the previous case. Therein the Lord is the earth incarnate and its deity is called ego. Therefrom, is manifest a fruit full of juice which 273 resembles the nector* whose superintendent form is the imperishable milky ocean* From it is manifest a lotus having the lustre of the outcome of infinite juwels, O Lotus-Born, whose eternal prowess is characterised by fire (12-15). Please know it to be white, divine fully bloomed and having infinite (number of ) petals and having the distinction of front and rear and layered in single, double and triple folds, and having stayed with the en¬ hancing eight modifications, O Lotus-Born. Therein the verbal modifications •• rk etc* (i e* the four Vedas) are present in the form of deities and also the four modifications of time beginning with krta etc. (i*e* krta, Treta, Dvapara and Kali). Therein the form of all is remembered to be marked by mere existance- The other one, i.e. the third one is called egotism marked by the bodies of the deities endowed with limbs and caused to be manifest through meditation. Thereafter arises from it the form presided over by the god= wind and having the form of the subtle element of touch, whose vivid manifestation has arisen in the form of various wheel-components. Therefrom has arisen, O Lotus- Born, the sound (subtle element) having either as its presiding deity, whose pure body is the wheel-manifes¬ tation folding all the limbs (16-21). It is sung (said) to be the abode of the lotus of primordial matter in the form of spherical ether (in the 274 form of circular space circumscribing the main lotus- design in the matjdala), in which all the creatures are incorporated and in which the entire (universe) is fir¬ mly established* From that proceeds the extension of time making distinction in all the objects with the phase of blooming, to start with and culminating in the great deluge- The supreme resort belongs to the group of six divine attributes of the four faced Brahma* which is distinct just due to verbal appellations but non-distinct in principle, due to ever emenating, eternal and per¬ vasive nature. ‘The ‘time’ is not accessible within the range of sense perception due to perfection and being composed of six attributes (23-25). From the ‘sound’ arises ‘egotism* having sun as the presiding deity, O Brahman of the magnani¬ mous mind- Thereafter is generated the mind and the egotism having the presiding deity sun (line repeated?). This is remembered to be the manifested image com¬ posed of attributes, of the primordial (-matter-) lotus beginning from the petals and culminating in the peri - carp and which is the fashioning of sun etc., of the Lord involving the manifested bliss, the creation which is presided over by intellectual illumination as presi¬ ding deity. Whatever is the imperishable cause of the (twentyfive) principles : intellect etc., called the Un¬ manifest, which bears the manifestation of indiscernible attributes, proceeds* O Highly Talented One, by supre ssing the self-attributes, having firm self-support- From 275 that emenate all the objects O Doyen of the Twice- Born, having withdrawn all the faculties in the heart and characterised as self-same (26-30)* This is the supreme lotus from which all the universal creatures go to annihilation, in which the abode of the self which is suo-potent, characterised by the container and the thing contained and the network of the rays (digits) of the sun in the form of conscious ness, is transmitted. The digits are the prowesses called Vimala i.e. the state of being free from blemish, Jfiata or the faculty of knowledge and the prowess called Prabhava or prevalence, O Lotus-Born and the prowess called Satya or reality* The prowess called Nitya is the eternity and the one called Prakas'a is the illumination; similarly the digit called Ananta is the eternity O Lotus-Born and it is followed by the prowess Anugra- has'akti which is indeed the supreme faculty to be known as ‘grace** Thus the group of eight (lit. twice- four) digits which exists with auto -foundation proceeds forth and then recedes back again. These digits are said to be of the sentient self of which the infinitude is the highest, O Lotus-Born, and which are worshipped by the division of the superior and the inferior grades In this way the un manifest lotus stays to be pure and absolute, for a fraction of time, O Twice-Born, having established with one’s own power and by the nature of one’s own nature, the form of the container and the 276 object to be contained. He is one who becomes ordi¬ narily for the present the prowesses in the form of digits. O Twice- Born, having properly eradicated (sam- yangirasya = ? samyannirasya), one’s (svikam - ?svakam) own attribute characterised by egoism, there arises an unparalleled bliss which is self-luminous and uncom¬ parable on its eradication- One should desire for that imperishable mantra or spell. The digital power which is existing in light and the space is divisible by direc¬ tions etc. (31-40). Thereafter O Lotus-Born, having made that di¬ gital image take shelter (the diagram) leaving out the central region beyond the luminous space and then having seated comfortably on one’s seat made of cou¬ rage and might one may paint that form which is the cluster of bliss which is sorted out with the help of the subtle mantric body resembling the elemental body by the practical view-point approved by Sastras (41-43). One may see the seities arisen in good hearted friends etc, to be well-placed in the knowledge through the support of one’s own marked by the deities (?). One may visualise the emblems and ornaments to adorn respective places like heart etc. as they are placeable on the idol (44-45). Thereafter one may worship (the Lord) as per the S'astric procedure. Similarly, while offering the 277 seat (to the cieity) the series af the highest principles (tenets) which is arisen should 'be caused to desolution into the instrument assumed by it. Thereafter when the object of human life is renounced, one may remember the host of mantras, situated within and without, O Lotus-Born, to be gradually being merged in the Lord of the mantras and then one may lead the mantric power to passification (or extinction) through the power of one’s resolve- Thereafter one may cause to merge one’s own image in the form of lore alongwith one’s power of resolve into one’s imagination (svakal- pasu = ? svakalasu) or one’s own digit and then the network of digits into one’s self (46-49). The flood of bliss becomes well-nourished as in previous case. Thereafter the substratum as aforesaid being withdrawn in the process of creation, the natures svabhavat = ? svabhavah) of the knowers and the con- naisseurs of the truth are dropped out. O Highly In- tilligent One, in the case of those (realised souls) who are free from digits and are culminating in virtuous ueeds, there arises and develops the form of truthful emenations which has universe as its substratum and which is held by non-slippery power and covered also by the presence of the Lord Acyuta . Similar is the case of others who are devoted to the eternal form and de¬ dicated to (he ritual of mantras and who have equi¬ poised their self through multitude (5C-53). 278 That (truthful) form is held firm by the omni¬ present Lord and pervaded though by one’s own stre¬ ngth, all the same it is the habitat of the souls which form His body* It is present through multiferious forms made of various mantras in that body having invaded it, O Highly Talented One, in the case of those who are favoured through one's might- It becomes liable to be suplimented for those who have not completed their ritual and for the accomplishment of their object, it does not abandon its nature through the deeds of devotees with meagre talent (54-56!) (57.. .obscure) The mantra which is prone to bestow grace, is thus non-failing, O Lotus-Born, not abandoning one’s existence marked by the attributes: knowledge etc. till the attainment of the summum bonum by the time- bound aspirants- At the time of the end of the final distribution (of grace) they also go to the merger into Lord Vasudeva. In this way the highest pervasive mnn- lra iparo mantro vibhuh) which pertains to the Lord of the universe is set for the liberation of other creatu¬ res destined to rebirth, and for the passification of their worldly involvement, besides imposition of self- knowledge on the realised souls (for their mere sport (58-61). The Lotus-Born said .- O Lord, how is the individuality (viviktaT'* 279 viviktva) through the assumption of mantric form is justified in the case of the immutable, omnipresent, undecaying actionless Sslf? (62). The Venerable Lord replied *- As a woman applies one's energy in the accep¬ tance of bleds of grass as also in the culturing of the Pusyaraga gem, so does the cluster of the power of man¬ tras pertaining to the supreme Self, Lord Vigiju, pro¬ ceed, having taken the law of karmic involvement and it recedes thereafter- She is called the great immutable power cf tranquit consciousness (63-65). This is the status of the law of Karmic involve¬ ment nourished by the secret (mantric) lore and awa¬ kened in the powers latent m the sense-organs and their objects. As a well-trained person seated in a rafter filled with wind floats over (water) having his senses suffocated, likewise in the ocean of life which is purter- bed, O Lotus-Bom, of a person who is trained in truth the mind remains above after suppressing the faculties of disturbed mind* Similarly, the potencies within the sense organ of a person who is properly en¬ lightened are capable of the rituals pertaining to mean¬ ingful mantras and he can supress (mental disturbances), and he remains full of pure consciousness and waveless like an ocean One should worship one’s own self which is effervescent with bliss emenating from ignorance. having super-imposed with the powers of knowledge. This is thus the nature of the best substratum stationed on the earth* By its knowledge there arises the annihi¬ lation of the involving action of those who are bound with mundane action. One may enter through the cen¬ tral passage after covering it (?), the central region of the images of the mantras (Vayu?) forever through the ritual of internal worship having immutable arisen state (66-73). (74-75) partially obscure; however the gist is:) One may engage in the external worship until there is continuing instruction although one has the realisation of the vivid inner-self explained earlier (74-75). Thus Concludes the twentysecond chapter named the ‘Characteristics of the support and the seat' of the Pau^kara Samhita of the great Upanisad called Pahcaratra. CHAPTER i TWENTYTHREE ASSIGNMENT OF SEAT-DEITIES (1-71) The Venerable Lord said Having made the settlement of supports thus* one may thereafter assign the presiding deities thereto in accordance with the substratum and the substrate, beginning from the lotus area and reaching the entrance ground, and as per expectation or convention on the main and subordinate direction (1-2)- On the east, theje is the assignment of Lord S iva, then of Puruga and then Prajapati the patron of cre¬ atures. The first of these is wholesome for those who are keen on liberation etc. It is remembered to be the abode of all owing to its being the means of the achievement of it (i e- liberation, etc )• It goes to assume the state of subservience of mast rs of the mantras and also the non-masters of the mantras* The third one (i.e. Prajapatya) is well-known O pure-visioned one!, to be beneficial for those who are desirous of material prosperity (siddha - ?siddhi), which is said to be pres¬ cribed for accomplishment of the cordial (i.e* inner) form of ritual-worship (3-5). One’s own mantra, carried to manifestation and kept ever-facing the Supreme Reality, bears fruit in¬ stantly due to factuality of conciousness coupled with 282 senses of the power-incarnate of the beings, for the sake of the knower of the mantra of uneven nature (?) I become captive due to the prevalence of devotion and faith (6-7). Thus the first resolve of those (devotees) who have singularly resorted to the mantra alone *and who are of ever-determined mind, which is resplendent with the mantric solar rays, is beneficial for external form of worship. That is memorised (= known) to belong to Purusa, which is situated to the north of the sub¬ stratum, and on which the cluster of rays fall from within or without. It is indeed He who is the Lord of the past and future (bhava = ?bhavya) worshippers of the deities of the Self (8-10). And His (casu = ?casya) attributes are multifarious as for example, the governance : inner and outer. What¬ ever has been defined earlier, o great mind! to be the well-established third one, (i e. PrajSpatya), pertaining to His character, due to its fine accomplishment. The directional position should be effected in accordance with Dharma and others during the procedure of as¬ signment of deities in the shrines facing the shining direction (i e. east?) and also of the devotees and of the divine beds composed of the S'e?a-cobra (S'esadis? S'egahi). The position of Indra and other guardians of the world and of the Vedic sacrifice etc. is also like¬ wise (11-14)- 283 In this very way, the worship of the lord of the globe, present in the water-container or fire-pit or the mystic diagram for adoration, should be done by the devotees of mantric core (manda = ?mantra) (15> O Lotus-born! the firm establishment of the mantras, in the purview of instant mantras (sama = ? sadya), for the sake of rule of law of those whose self is dedicated to the righteousness of the world, in such places on the earth as: dense forests, interior of the sacred mountain-caves or earthly households or places of sacrificial oblations, O wise one! The conduct of the knower of mantras should be just like that of one ig¬ norant of mantras, O Lotus-born! (16-18)* Having well-understood, the assignment of the main and subdireclion of the towns and residences on ill sides, now listen to the mode of how the assignment ot mystic diagrams (maodalas) is to be achieved, acco¬ rding to the proper eligibility of the inner faculties of ineself 09-20). The pair gross and subtle, is always present in he self-embodying truth, through energy-form, O vise one!; likewise, the group of manifest energies con- ir.ues to exist in the subtle self alongwith the essence if truth. Similarly, the essence of the beings of subtle iodies associated with the form known as the state of xistence, is always present in the 'gross embodiments. 2f4 O Lotus-born! Even though it has been prescribed herein under discussion even then, the bilateral assign¬ ment is to be made near the lotus -ground in expectancy of inner and outer aspects. The form embodying exis¬ tence is twofold; and all the form, as such, is truth alone Mutual assumption of colours is twofold, even though there exists gross form for all, during the ritual of the (mantric) assignment prescribed nearby the site of the Maridala-worship (21-25). O Lotus-born! since there is a twofold arrange¬ ment of the motifs of the corners and the sides of the altars of the mapdala diagrams, one is not very clear while the other one is quite vivid, one may carry out the placement of the boundaries of the mapdalas* as betore, having grasped this well* O clear-visioned one! The mantra pertaining to one’s own deity should un¬ failingly be set inside the interspaces (obvious through sound alone) in the lotus-petals and the surrounding space In the case of the magdalas without altars, the assignment should be in the space beyond the circular space, in the corners beginning with the south-east (26-29) The images of the nature of the four epochs as well as the four images : Dharma etc. as also the inset group of (four) qualified by reversion alongwith the group beginning with Rk (Rgveda) and accompanied by temporal division (Krta, Treta, Dvapara and Kali) 285 should be assigned to the region of the altars and allied areas 130-31). One may set the sky in the form of sound res* plendent with the quintessence of the lustre of the autumnal moon* in fourfold division. In the case of the altars having eight motifs, the quadruple: Righteous¬ ness, knowledge. Detachment and Rulership (Dharma, Jnana, Vairagya and isvarya'* one may assign in four corners, beginning with south-east and culminating in north-east, in clockwise rightward direction- Likewise, one may assign Non-righteousness, ignorance, Non¬ detachment and Non-rulership (the anti-gods) in the four main directions beginning with east and ending in north, o pure-visioned one! on the altar with four sec¬ tions, in simple form, as aforesaid one may assign the group beginning with Dharma and ending in Aisvarya. as per the order of prescription, as also on the surrou¬ nding sub-, altar demarcated by the ex-space-region, and the four parts, beginning with the circle (and en¬ ding in the sub-altar), including the altars with side- parts with single motifs (i e. the assignment of Dharma etc ), O Lotus-born! In the case of the altar-corners with two motifs, the group of inversed deities (anti¬ gods), alongwith the groud:Dharma etc* may be set on the inner epcloure of motifs* Therealtar the epochs: Krta etc. i.e the four (Krta, Treta, Dvapara and Kali) may be assigned on the side-parts beyond the altar iVedi) i.e. on the side-parts of the sub-altars v.?)* in the 286 due order, alongwith the corners, starting from the centre of the motifs of the side parts. Dharma should thereafter be set in the exterior part in the south-east and on the eastern and western motifs, in the prior and posterior order (?) Similarly, Ais'varya {■= lordship), granting strength, may be 'assigned, O Twice- born, on the south and north sides. Then, on the north-south- directions, the (deity or anti-god called) Non-righte¬ ousness, assuming form may be placed (32—41)* On the two other directions, beginning with east one may assign the Non-rightness with duel-self (?) and the epoch called Krta may be assigned on one*s (?) south-north-direction: and Treta on the earst-west ends on the south* and Ignorance on the south-north. Then, one may the twofold Non-detachment on east- west direction* Then, one may set Dvapara on the north-south direction; and then on the north, he may assign the Non-rulership, extending upto two direc¬ tions beginning with south (42-44), On he motifs of the altars* however, beginning from the east, one may assign the cornless bud (vidha- nvakalika?). In the case of in altar, however, having tri-motif-corners and penta-motif-sides, the Righte¬ ousness should be on the inner side of the corners and in the outer parts of the sides, the Kita and other (epoch)s, alongwith their supports and in subtle form, may be assigned (42-46). 287 On the side-parts of the altars. Non- righteous¬ ness and others are to be assigned, being characterised by the concrete form. Now. you should listen to the mode of how the Righteousness etc., with vivid charac¬ teristics, are to be placed on their respective regions, attentively- The Non- righteousness etc. are likewise to be assigned on the side-parts from within; and O Lotus- born!, on its left and right motifs, the single (image of) Rgveda in twofold subtle form, should be place Then, the Krta epoch, of the existencial form, on its side- flanks (47-50). Similarly, the Yajus (= Yajurveda) accompanied by Tretayuga should be assigned on the region of the southern direction; and on the west-east, one may set the Dvapara epoch accompanied by the (sama) Veda, and on the north, Kali epoch accompanied by Athar- /an may be set. Now listen to the as'ignment of the altar corners having two motifs and the altar-sides living two motifs, O Lotus born! On the central motifs >f the altar-corners, the Righteousness etc-, having ublime ( = subtle?) form and the epochs: Krta etc , laving very gross form, should be placed and Righte- >usness etc having sublime form, may again be placed •n the central motifs of the altar-sides* On their either anks, the group of the four Vedas, having two forms gross and subtle) each, may be set. In the case of the ltars having corn: rs with two motifs and the other art (ie. altar-side) having five motifs, Righteousness: 288 etc- are to be assigned in their respective places in the differentiation of sublime and gross (51-551). Thereafter, Non-righteousness etc., in the gross from, may be placed on the altar-sides at the centre- Then, Rgveda and others are to be placed, on either sides of the central motif, and adjacent to the lotus- area, in twofold existential forms- Then on the altars having corners with four motifs, alone, the epochs having form, may be placed with tripple or double form, outside to both of these as in the prior case, as also, others having form (?), O magnanimous psyche! Now. the order of assignment, in the case of others with five motifs, is being narrated. Therein, Righteousness and others, having sublime and subtle forms, may be placed the internal and external sides of all, in respective places each one in due order. Then in the gross forms, once again, those (Dharma etc.) as also the epochs may be assigned in the cluster of pairs* so that there will be eight forms out of the four (56-611). The embodiment of Non-righ'eousness is to be set at the centre of the altar-sides- (6i 1 12) (62B&63A obscure) Thereafter, Rgveda and others, in threefold and twofold states, may be placed (63)- Now listen to, attentively, to the way as to how the assignment is to be made, O Lotus-born!, in the case of the altars having sides with eight motifs and the corners with four motifs. In the case of the corners, [he Righteousness etc., with the division of sublime ind subtle, are to be placed on parts beginning with nner motifs and ending in the outer ones, in respec- ive order (64-65). There itself, on the flanking regions, the epochs; Krta etc.* accompanied with the pairs (?), and marked forms* having been placed (66B partially obscure), the Righteousness etc (Svadharma = Dharma) may be placed* it the centre of the altar-sides; and the same, in subtle ind sublime forms, may be placed on the position out- ide the centre of the motifs Then Rgveda alone, in ts entire gross form may be placed on either sides, in )ifurcation. Again, it may be set on its subordinate lanks, in its subtle aspect (65-98). The Elements (Bhutas) may be placed meticu- ojsly, O Wise One! on th° corners situated outside it- 49 partially obscure . In this way. the Yajurveda and •thers may be set upto the Atharveda, O Best of the 'wice-born!, from the region of the southern direction nd extending upto the northern direction The position f the sense-organs: eyes, ears, (etc &) hands and feet, longwith the sense-organ of touch, speech etc- in the aspect of assignment is likewise (70-71). (The chapter apparently ends abruptly) Thus ends the twentythird chapter, of the Pauskara amhita of the great Secret called Paflcaratra, named ;; the assignment of the presiding deities of the seats. * CHAPTER i TWENTY FOUR CHARACTERISTICS OF THE DEITIES OF SUPPORTS AND SEATS (1-57) The Venerable Lord said :- One may assign the (two attendant ) deities : Suparria and Satyavikrama on the pair of doors on eastern and western sides, on the rear side of Vi?pu the Lord (presiding deity), in all cases having golden staff slightly attached to the door of the shrine- placing it on the ground at the entrance, and facing each other with folded hands (the two attendants have to place the golden staff touching the ground and adjacent to the door frame; at the same time they hold their palms in folded position for salute) fl-2). O Lotus Born! the club and the disc (in the per¬ sonified form), having blazing appearance should be placed (vinyaste = ? vinyastavye) on the two doors situated respectively on the southern and the northern portions- facing the Lord* The position of the eight at¬ tendant-deities mentioned earlier i Caijda etc., is res pectively on the four entrances- Their positions are on the ground as revealed in the maijdalas meant for wor¬ ship. (text partially obscure) This group of eight deities have their positions, respectively on eight offsets (s'obhas of the maridalas). Whatever is the assignment of the at- Tendants : Vajranabha etc-, in the ma^dala having eight 291 offsets, the same is the assignment for the eight man¬ dates having eight inverted offsets (i e re-entrants)*. 0 Twice-Born! the third group of eight deities is to . be assigned as per order (3-6). The deities Lohitakga, Mahavlrya, Aprameya, Su^obhana, Vlraha, Vikrama, Bhlma and S'atavarta, the eighth one. This third group (?) is pertaining to the offsets which are additional ones (numbering eight) adjacent to the main offsets, O Twice-Born; Therein the following group i.e. the fourth one of eight (atten¬ dants) should be placed in order: Anivartln, Mahavarta Nagahan, Sarvajit, Sthira, Jayanta, Bhaya and Kurmadi, the eighth one, O Lotus-Born* This series of sixteen (attendant-deities) is to be assigned, in due order, on the side entrances of the matjdalas (numbering eight), in the rightward (i e clockwise) direction, having two- two attendants liki Canda and Pracapdi on the eastern flank, followed by Drdhavrata, Bahm'iras, Mahakaya, Mahabala Jitakrodha. Duradharsa, Mahotsaha and Trivikrama: and then Anila, Dugtahan, Arcigman, Sar- vadrk, Duratikrama Visama, Gahana, Medha* These are the sixteen (deities) narrated by me (7-12)* The following group of four (attendant-deities) is to be placed on the four corners : beginning with south-east and ending in north-east (thereby passing through south-west and north-west) of the mandates in respective order Urjita, Amritanga, Sarvanga, and 292 Sarvatomukha. This is said. O Lotus-eyed One!, about the corner- designs having single motifs* In the case of the corner-designs, with motifs, another group of four should be assigned outside the earlier ones at the time of assignment, O Best of the Twice-Born! They arc: S'ubhanga, Varada, Vagina and S'abdavikrama. Know them to be the special types of the conches who are subtle and gross in due order (13-16). I have said this as intended in the case of mag- dalas explained earlier in respect of the array of the supp rt-deities (adhara-devata-vyiiha) accompanied by the host of altar-deities# The devotee should perform the adoration of all the deities following the worship of the attendant-dieties (17-18; 11a obscure). In the case of the oblation-ritual (homa-karman) the mantras to be utilised should comprise of one’s own personal name, preceded by the syllable ‘om’ and en¬ ding in the word “names’ as well as the phrase ‘atmana’ ending in ‘svaha’ and characterised by the two catego¬ ries : gross and subtle should be employed, for the sake of the achievement of the conquest of the inner sense- organs with their supports (gross senses?), O Lotus- Born! One should memorise in due order of all with mind purified by the meditational course of yogic pra¬ ctice. thereby tranquilised by abandonment of its re¬ mainder, and poised in an introversion-state, the Lord known as having the support in the shape delineated 293 by the object contained (meaning not clear). One should memorise the tortoise (in personified form) holding a conch and a lotus* and standing in a svastika- posture and having the face of the tortoise, exhibiting the finger-gesture of tortoise shape, bearing the lustre of fully heated gold. Thereafter one may memorise or contemplate upon the Serpant-Ananta ( = S'ega?), who is resembling infinite moons, who is remitting incess- ent lustre from his body which is horrifying and acute* One should contemplate his support which is obliquely erect (support = hood?), which is* blazing like the gar¬ land of flames. One should also remember him as en¬ dowed with a series of thousand hoods and ornate with those thousand hoods. He is to be contemplated upon as having his body decorated with his own beau¬ tiful fold of hands, holding white lotus, conch, the garland of beads and the disc, as wel. as conferring fearlessness on the entire world beginning with the Brahman as if assuring the devotee who is afraid of downfall and therefore having fearful mind, with the words, ‘Be not scared’ ( 1 9— 26i ) - One may thereafter contemplate upon the god¬ dess Earth seated on the lotus seat, having folded hands, wearing the lustre which is absolutely reddish golden and bright like the beauty of rainy season (-ablution). Thereafter the devotee should contemplate upon the personified water reservoir (i.e. ocean) who his the complexion of bloomed jasmin flowers, wearing 294 white and glossy matted hair, meditating upon white'’ conch, ornamented with the garland of pearls, having all his limbs extremely specious, having both his thighs stretched asunder as wetl as having his knees and feet cast asunder- Thereafter one may visualise by memo¬ risation the, personified Lotus-deity having very long feet, exhibiting the finger-gesture of the shape of lotus, having the palms of the hands and the bottoms of the feet reflecting the darkish lustre of the yellow fruit of the mango> having red eyes, as also having face with bright complexion and dishevelled hair and seated in the lotus-posture and engrossed in the rosary of beeds, O Wise Onel |27-31J) The four deities preceded by Dharma and jnana are to be visualised as having the lustre of snow, white stone (marble?), pure pearl or moon, having the face and shoulders of the lion: The tour other deities pre¬ ceded by other Adharma should be visualised as having the splendour of lotus, coral, and quality-pomegranate- fruit, laiden with compassion at heart resembling the sovereign king of the age of sixteen years- The Vedas are to be memorised with all human characteristics but having the face of a horse, and having the lustre of gold, Campaka flower, shininginsector the glitter-bee (khadyota) or the haritala-petals (32-35)» In the same way, O Brahman, the epochs1 Krta etc- 'i e- Krta, Treta, Dvapara and Kali) are to be 295 visualised as having the faces of the king of balls i(Nandl?), having the lu.tre of fully ripened ■ mango, linseed flower, blue lotus or parrot- All of them are endowed with fine clothes, fine flowers, and fine orna¬ ments- All are holding conch and lotus (in their hands) and having (other) hands exhibiting boon-giving and protection-promising finger-gestures. They are con¬ templated upon as having bent their heads before the wheel (of time) to be sustained by them and who have dedicated their heart for attainment of the self through materialisation of the sublime mantra (36-38). One may contemplate upon the Regent-disc: Sudar#'ana, situated at the centre of the space-circle resembling the sun and the fire ending the epoches, with his hand engrossed in the finger-gesture of self¬ shape, i.e disc and roaring* One should contemplate upon the Unmanifest-Iotus which is resplendent with sncw, gold and fire, which is quite having eight arms, gentle and seated in svastika-posture. One may medi¬ tate upon the formless consciousness-sun (cit*Prabha- kara) who is having the complexion of crystal, having the lustre of the cloud in the form of consciousness, who is immutable and who is the abode of omni¬ potence (39-41) The majesty of that cosmic person is said to be present inside all beings through the self-support of he Lord, which is shinning by its own existanCe, which 296 . .is1 the truth or the beatitude called ‘sattva* tohich is dif¬ ferent from the ‘sattva’ of the three guuas (sa’ttva, rajas •and tamas); O Chief of the Wise Ones, know it to be the majesty which is the stream of flames of the tortoise incarnate and which is the body of the lord of serpents (S'esa?) which resembles the heated gold, which is the essence of the nector-divine, which is the majesty of the fluid of the milky ocean, accompanied by the streams of waves and which is to be known as imperishable, which is the socket of lotus-seeds rich with filaments and accompanied bv petals, which is assuming the illusory majesty of forms of the energy-functions of the Self and which is marked by the network of the digits-- Vimala etc. One should offer worship to the Self, kno¬ wing Him thus to be the majesty of the supreme Lord Visriu, which is endowed with the essence of the euergy of the Self, which is the group of several mantras eme- nating from the lord of mantras, and which is the greatness of the lord of mantras, adored by rest of the gods, O Lotus-Bom! Now. O Doyen of the Twice-Born! listen about the meditation upon the attendant deities: Lohitakga and others who are stationed outside the main altersphere, which are told earlier. The eight deities : Lohitaksa etc- are, by complexion bright like gold. They are holding blazing axe in their hands and who are habitually of pleasant mind- The fourth group which is followed by the followers, you should know to be yielding prosperity forever- All those Drdhavr.Ua etc are sixteen subordinate entrance-guards. Thev are 297 holding big piked mallet (mudgara), marked by the lustre of their shelter, they are resplendant, beautifull and holding the pounding staff (musala) by complexion they are characterised by corner-region (?), O Lotus- Born! (42-52 2) All of them are endowed with charming dresses and they have two arms and have charming ear-rings. They are having pleasing contenance and are gentle, still, capable of uplifting all the three worlds. They are endowed with the lustre of the shinning of the arms (dos'cchavi) decked with garland* anklets and the arm- lets. They are awaiting His orders* who are yielding the pacification of the mischief of the wickeds. With their great prowess they have thrown away the gods, the asuras and the great cobras. They are unique heroes without accompaniment and are capable of revolving the entire universe from Brahman to the earth, sporti¬ vely, without effort and permanently. I have already narrated in due course about the assignment of the club, Garuda. the king of birds and the cosmic wheel and about the attendants * Cagda etc., O Magnani¬ mous Mind! Now what is the utility of repetition! (53-57). Thus ends the twentyfourth chapter* of the Pauskara Samhita of the great Secret called; the Paftcaratra, named as characteristics of the deities of the supports and the seats. * CHAPTER ; TWENTY FIVE THE DESCRIPTION OF SUPPORT (l-4l) The Lotus-born said : O Lord! I wish to listen, presently, from ybu, about the scope of conduct (for offerring worship! prescribed for the devotees absorbed themselves, in your precepts, for the sake of their welfare (I). The prescribed adorable objects of worship are : the manifestations of the Supreme Being, with vari¬ ations, accompanied with other forms, as also the in¬ cidental manifestations* O Doyen of the 'twice-born!, excepting the' extended incidental manifestations (non- vai?oavi?)- However, whatever pertains’td other (non- vaifjgava) deities, as also ( of the Elements, the earlier group of three (?) which is, of common characteristics (non- sectarian?); so is the altar with mobile and immobile division, just the Earth- element alone The same is the case about the utencils made of gold and other metals and also of clay, . wood and stones ; ar.d also of the water-pots made of bones (svangasthea?) in the similar way. ti.e. having universal use) (6-10). The water which is strained through auspicious leaf-folds; and well “-set tied. Then the fire which is fully kindled, in the hearths on the ground (sthala-mallaka) or the fire-pits, of the nature of static or mobile nature, and which is free from smoke but equipped with fuel (11-111/2). 300 The ritual (of worship of Lord Vi?rju) is approved by places like: on tha auspicious (symmetrical) altar, which is made of the material of categories described earlier, and characterised by shapes: square etc , or on simple altars, preferably having lotus etci at its centre, on the altars with such dimentions, O Lotus-born;, or of lesser scales, or having supports lacking in scales (aprapa!e3u = apramanesu) in various ways (the worship is approved)- The seat also may be made of big coral or a precious jewel or a large pearl or a cluster oi small pearls, i< these items are available* O Lotus-born! or else, it (worship) may be conducted on a seat made of silk or cotton piece of cloth (lit. net', which is white and unwashed, (lit. unbeaten = new) or on the skin of an antelope, or on a blanket spread- on the ground, or on a Kutapa, O lotus-born! or a separate sheet spread on the ground (12-16). In the mandala, known as- Caitya, having seven girdles, and streched over with fruit and roots, cooked vegitables and their pieces food- items placed on ground or invessels, consting of honey, milk, curds and other eatables with rice corns, grown in the country-side, or all the catagories of sylvain rice, as also with fra¬ grant pastes1 of sandal etc- pasted and mixed with vari¬ ous perfumes, duely smeared and also fumigated with various gross fragrant powders, as well as the interiors (of the altars) decked with flowers, leaves and sprouts, and also separately adorned with white, red and other colours, without intervening lines, the altar may be decorated (17-20)* But one should not install (the image or emblem of Visnu on places such as : four horns (?) or a fallus fof Siva?) or the interior of a goad or a lance or the pinnacestips or on the fruits (? obscure)! Similarly, one should not have it on non-adorable fruits like Karanja etc and others, O Lotus-born! So also one should not have the assignment on flowers like Unmattaka etc., and especially those which are unknown. Likewise, one should not do the assignment on despised varieties of leaves* One may then do the assignment in water con¬ tained in a sacred water-jar; or in a fire-place, or in a mapdala-diagram, excepting the cut-piece of a conch or a mother of pearls, or a piece of a skull or a leaf polluted by the touch of hands (21-24). It should not as well be assigned on a polluted altar, by blood-stains. Thus the gods: having fourfold manifestations are to be worshipped (25)* It is not easily accessible for yout worship* by the devotees who are men having now substatum (to visualise you)* with the help of contemplation of spe¬ cialised lotuses encircled by the (abstract) cordial lotuses (hrc-cakra kamala). Therefore it is for the wel¬ fare of those who seek benefit, to take resort to sub- 302 stratum or form* Since, the embodyment of mantra* gives instant favourable result, O Brahmanl for the cake of ritualists desirous of material fruits, by their conduct (vrtta-va/at), which may be either common or uncommon but marked by miraculousness (26-28). O Lotus-Born! as the obtainment of showers arises out of large reservoir of water megre : showers but lifelong, like that the attainment of immutable fruit or the attainment of imperishable wealth, or that which is of the nature of modifications ui which is marked by movement is assured (29-30). Permanent freedom from disease (i-e- sound healthl is achieved by the practitioner of mantra by fire ritual. O Lotus-Bom! a practioners of mantras assigned on the altars made of gold etc-, may obtain the best of series of favours from the kings. The devotee obtains splendid means of livelihood with the help of the supports or altars made of corals etc- The devotee obtains, by permanent adoration of the adorable deities. O Lotus eyed One!, great courage, prosperity and honour through the seat made of the layer of rich cloth. He obtains great fortune through the altar made of fragrant substances and through the seats or altars m-tde ol his own body (kula?) the devotee gets great happyness. Similarly the mantra*regent bestows unpa¬ ralleled mental satisfaction, O Pure-eyed One, by the worship conducted on the back of kus'agrass etc. A mantra placed on the seat of colours bestows excellent 3G3 and unapposed enjoyment, accompanied by wealth (on the devotees)* The worship of the lord of mantrs, on the substrata of all sorts made of honey, milk, ghee etc., bestows long life (on the devotees) as also wide fame capable cf determination of rightousness (or sup- ression of unrightousness?)(3l-3p)’ (> Lotus-Born! these are the fruits of the sources (i.e. materials making the altars). O great mind! these supports bear indeed various motives by ritual. In the case of the great souls having firm faith, the site, the time and the substance, in respect of greatness etc., goes to assume subservience of the fruit of emancipa¬ tion as also always in the case of the devotees having self- dedication, who are liberated during life-time (39-40!,)* Thus concludes the twentyfifth chapter,, named the description of support, of the Paugkara Samhita of the great secret lore the venerable Paficaratra* CHAPTER I TWENTY SIX DETAILS OF THE OFFERINGS (1-60) The Venerable Lord said : Having devotionally offered the whole set of offerings, with faith, which is designated as accompanied by apparc and ornaments and which is (offered) withut break as per prescription in accordance with the place and time, for ritual-purpose and which is secred and enhancing satis¬ faction and which is preceded by the water-offering and concluded by the (respective) mantras, the actual offering prescribed, O Lotus-Born, is to be quantified to the food taken by one person, which is accompa¬ nied by condiments, which is consisting of rice boiled in sweet milk as the main food, for attainment of great prosperity (1-3). The cfTeiing is also prescribed to be made of pure rice accompanied by drink the condiment to be licked and that which is to be chewed (peya, lehya, and cosya)- There is multiple variety of each offering served with devotion and faith and which is secred and made of six flavours (sweet, sour* salt, pungent, astringent and bitter) duly added, in the case of special worship or routine worship if it can be afforded- One should first assimilate the essence of offering (bhogas'akti) which is non-perishable contained in the food items 305 which is manifest later on and consumed through the mouths of the preceptor etc. (acting as proxy for the god). Hereafter the characteristics of the offerings of the ritual service in respect of partaking of the food is prescribed. In this ritual of routine and occassional worship, the courses are to be submitted* one by one for the sake of obtaining the enjoyment and satisfaction of the Lord of the universe, O Lotus-Born, with mind purified by faith. Therein, one may worship the Lord present in the manifested form (i.e. the image) by the offerings of seat etc. (4-9). The offerings should be made in the proper or¬ der with sixteen (twice eight), as in the case of the king, remembering His body pervaded by mantras in¬ side the maijdala diagrams etc. or elsewhere- Having placed the symbolic manifestation of the offerings to be employed for the concrete items imbibed with mind, those items alongwith water offering, garland, sandle- paste, and the like unguents and ornaments excepting the eye-band, all these are to be set upon the pericarp, O Brahman (Vibho - Vidhe?). In the case of the other type of ritual the offering should be consigned in the midst of the secred fire alongwith the fuel-sticks at all times, outside the site alotted for the oblation, O Twice-Born! (10-13). In the case of the fumigation ritual marked by one lakh frequency all the species of food, as well as 3C6 whatever are sandlepaste etc- accompanied by tooth¬ brush and betel excepting pungent salts are to be of¬ fered, also omitting whatever are the seats etc. and sweet and saline drinking water as well as bitter oil (14-15). Having performed the ritual worship as per pre- scriptional technique and having first performed the worship (of the Lord present) in sacred fire, the same may be satiated thereafter with ghee and fruits along- with sesamum seeds dipped in ghee- One may worship the Lord of the mantras as per one’s desire inside the waters contained in well, pool, river or the natural mountain-hollow (i e. tank) etc. with fruit, garland, water-offering and perfume and also with handful of water- O Twice-Born! Alternatively having stored water, procured earlier in a pot or ajar etc. the Lord may be worshipped therein as in the rhandala diagrams with devotion and the same be placed outside after offering the clothes, ornaments etc (netra = eyes . mis¬ fitting the context). One may drop in thereupon various bunches of flowers laiden with safron, agallochum and the powder of camphor and sandal (16-20). One may worship the Lord, either on the altars decorated with lotus-motifs or the wheel-motifs, ard made of metal, stone, clay, wood, gjms or timber (re¬ petition?), O Lotus-born, or both accompanied by en¬ trances, corners, corridors etc , over and above (the 307 lotus and wheel). In such symmetrical altars (Bhadca- pitha) assuming various shapes : square etc. which are alternatively simple, (motif-less), O Twice-Born, the worship is to be conducted. The Lord should be simi¬ larly worshipped (as dwelling) inside the solar orb or the heart-lotus with offerings created out of mind (i-e. abstract). Now, listen to its specialities, while I am explaining. When there arises unavailability of the materials produced out of various, elements (earth, water etc.) th? worship is conducted with materials arising out of imagin l'ion- Having meditated upon the form of the Lord in the image or a mantric one, em¬ bodying effulgence marked by sentient bliss devoid of any characteristics, and which is the doner of the mate¬ rialisation of desires tsahkalpa-siddhi), one may repeat the twofold mantra, (?) accompanied by the offerings made of the congregation of sentient bliss whenever possible, with vary pure mind. One may worship Him with abstract offerings characterised by sound (alone) (21-28). One may memorise it (offering) being augmented with the help of those which are visualised* (i-e* the mantric sounds) in due order; one may thereafter assi¬ milate the Self with the internal organs which are put to disappearance after causing the merger of the mind into the intellect and causing its further merger, along- with it (i.e* mind) into the highest Self, after completion 308 of the worship with the distinction of the meditator and the object of meditation (29-30)- One may thereafter sort out with volition, once again one’s own consciousness into the triad beginning with Mahat, (i-e. intellector Mahat and cosmic ego and mind ?) which is marked by independance and a state of trans-agitation, slowly and gradually, O Lotus- Born, with the help of His human form specified by consciousness, and consisting of omnipotence and the form which is absolute (31-32)- Thereafter, for the sake of accomplishment of the external form of worship and for the frmt of eternal enjoyment so also for the sake of achievement of the masteries like atomicity etc- (the eight conventional masteries : atomicity, lightness, heaviness- greatness, pervasion, control captivity, inshrul filling etc.) and also the achievement of the mantric Self, having remembe¬ red Him to bt endowed with the shape as stated before, and the offerings of mega-dimensions and in large quantity and marked by the best characteristics and arising out of all the seven (celestial) globes having worshipped Him by accompaniment of offerings follo¬ wed by dance, songs, instrumental music embellished by ‘victory’-announcements’ (jaya-s'abda)- He, the Lord of the mantras is to be visualised as reflected in the substratum of one’s own choice which is adored and repeatedly memorised externally, inside the orb of the surface of a mirror (33-i6). This is what is the meditational object of a de¬ vout worshipper, which is to be merged in proper ob* ject marked by charming attributes. One may thereafter set in one's own heart* one’s own mantra which is the treasure of lustre, at heart, by dragging it through left¬ ward (apasavya) course ^through the accompanyment of the signifier and the object signified (i.e. the word and the meaning?). O Lotus-Born, one may memorise the Lord of the mantras arising out of that unaccom¬ panied by that (tangible object?), in a place of idol of good characteristics seated on a pedestal enshrined properly, with the help of inhaling of breath, for the sake of concretisation (37-392)* Having dissolved, the Lord, assuming the mani¬ fest shape and accompanied with the subordinates and surroundings, O Twice-Born, in the order of the wor¬ ship-ritual, as in the previous case and then having made one’s intellect to be followed through the buy wind situated in one’s own body, in the order of en¬ trance of all simultaneously, and then O Lotus-Born, having permanently dragged the Self stationed in the intellect, through the central path one may set the Self at rest inside the open space enclosed by the heart- lotus* In this way the threefold ritual of worship is explained as within the heart (40-43). Thereafter the third type of ritual is marked by the objects characterised by consciousness and resem- 310 bling firstly both sentient and insentient objects which are difficult to obtain, and which are well-shinning, are megre, well annointed, and placed outside, by con* templation of their procurement in due order* The cordial ritual is that in which the worshipper attains liberation by the communion of the offerings with the Lord, (bhoges'a-samyoga) the external manifestation of the ritual bestows on the persons renouncing action as well as those engageed in action the fruit of material cn joyrrent as well as the liberation (44—46)* Since the Lord of the mantras when invoked face to faca, would enter the arena, therefore in prior expectation of Him one should complete the assignment of Dharma and others. Since the supreme Lord assu¬ mes a facing position His seat is made of consciousness and which is ever ready with the self-conveyance the worship should be made to commence from one’s own eastern direction carried to the north-west in the posi¬ tions in the mapdalas etc* aiming at the site of the altar, of the deities beginning with the Lord of the calamities (Vighnes'a) (50a oqscure). This method should be fol¬ lowed over the corridor in the case of the mapdala dia¬ grams having the corridors (47-50)- O Magnanimous Mind, there is no fault in con¬ ducting the worship of the outer boundary lines which are free and not bound (with the magdala diagrams)* The same should be done in the case of the south- 311 western comer controlled by the southern direction, for worship of the deities like the Lord of death (Kala- natha) and others. The worship of the deities assigned to the altars is to commence from the deities at the en¬ trances* The worship also should be offered to th em¬ blems, the consorts like Lak?mi etc., the presiding deities of the eight directions since their position is stable due to their guardianship of the directions since the beginning of the creation. O Magnanimous Mind, they salute the infinite mantric images of the Lord from their own respective places and offer worship, mutter the names as well as properly serve them with the offerings of flag etc* They (the mantric deities) protect the devotees for the materialisation of their emancipation, forever with their several followers and bestow on them the strength and energy. They inces¬ santly ward of them the calamities of the worshippers of the mantras and protect their enhancing distinct mantric fruit (51-57). They grant the beginningless power which is inherent with the majesty of the Lord of the universe* Therefore one should achieve the winning over of the direction comprising of ten members. In the case of confusion of determination of proper orientation ex¬ ternally one may do it inside the abode of the heart, with proper worship offered to them. Thus having completed the propiciation of the directional region it is benevolent to do the routine adoration of Lord Visvaksena with special services (58-60). Thus concludes the twentysixth chapter named the details of the offerings, of the Paugkara Samhita of the great secret : the venerable Pahcarttra* 1 Sarvatobhadra (5.21-23) (7x7 = 43) 2 Aghanirmochanam (b. 29-32* (8x8r04) i1”' ll1" *■ . . ‘ 3 Satiadiivam (5-J3-39) (9 x 9 s 1 1 ) 4 Dbarmakiiyam (5.40-46') (10 x ( 0=100) 11 5 Vasugarbha (5.47-56) (11x11 = 121) 6 Sarvakauiuprada (5.57-62) (12 XU- 144) Ill 7 Amitraghna (5-63-70) (13x13= n 69) 8 Ayusya (5.71-73) (14x14= IS 6)* b_EH3? tv 9 Balabhadra (5*7 P-86) 15x15 = 725) V 10 Paustika (5.87-97) (16x16 = 256) VI 11 Arogyaka (5.98-106) (17x17 = 289) Vll *-i P rJ f* I - 1 — 1 - v4 •*> .* ~L r rJ f^il • r 1_ r T_ 7- 12 Viveka (5-107-117) (18x18 = 324) Vlll 13 Vagis'a (15-1 18-12/) (19x19 = 361) TrZ"? h rJ S _-Li r1 H H h H H I 525lE~5S5 14 Manasa (5.128-138) (20x20=400) r ~L_ r iZ ~L ? h r1 h r1 h 55 n "L < i Z ^ El H r1 4x1 15 Jayakhya (5*139-150) (21 x - 441s) 1- J> _r H S H h r1 S r1 h 1 U, 1 TJ r~ [ j 2 L n _ r *\ c mPm \7 < L L J [ J nz lH ~L ■ : ■■ 3ft :4 - : - *C? - ' - r1 S r1 .h./ h r1 r 16 Svastika (5.151-177) (22 *2? r 484) xii XV xvlii 23 Guoakara (5-278-298) f29*29=84l) xix 25 Psramananda (5.324-843) (Reconstructed conjecturally) (3ix31r961) Trikogabimba (Triangular Magdala design) (1C x 16 = 256 triangular units') xxi TT n Tzzr r t Navatma-Maijdala (composite design of nine constituent maijdalas) (96 *96 = 9216) Ch. 10 (Vs* 1 to 34) ^ta: 1) qTSJUn^-- 1| qroft^r^ il << < frqq < injiT*i HW*i : s. qqHt qrmqt u ?*?«rWT fq^fT ($) (M) *R TOT...tK55I*f * TOT*,,*’T^5Tq V oraj®n*J V9 ^5TS«T ■qjisq (?) <* V3 ST< m (?) 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(0 (?qqt) w q?i^4i qsifqH w qiiq'qift w ** ?%^0qT f^qT Ry faxgjifa (?, ?%t *& T& ^*V» ft* \V6 ^us'^i^n f!0355T5^«T Rfc' *irsrqj?r : \%o W (^ XII gffelTST^: isNs II qT55RT?» II q : »p«fl gwr find Vk* Q9 m* W ' <;r JIT^T cwm R^S <^ RRe c» iIW : »iisw : (#i) RRc ?°S 5W5 5 ^ovs stout «TT0T Rs wi R4T6»HK! II qT3^ft^»l II %\ frflt!... toft* qq qft q«ft fog: faraT f*«m: frfcRT (^rwcq y»R Sflfat W ffTmcrrfao SFTTcCrgtRT vs <^lgPi-c9T^ ERRATA I (English Section) Page Line Word Corrected Entry No. No- No. 1 1 2 m 2 8 5 m 2 9 1 u 2 12 5 d 2 21 8 • 3 4 3 S 4 9 1 t 4 26 3 • 5 17 8 - 6 6 1 y 6 20 7 7 20 2 44 9 8 6 a 9 9 4 « 12 13 6 a 12 17 4 17 14 14 5 ta 15 2 5 a 15 2 6 i 15 6 10 - 15 11 4 - 15 11 8 - 16 11 6 - 16 16 7 a 11 Poge Line Word Corrected Entry No. No* No. 16 19 5 w 16 22 9 a 16 25 3,4 space 17 1 8 m 17 11 10 n V 29 10+11 11th sun 18 3 3 - 18 3 4 - 18 4 7 - 19 6 9 n 19 7 9+ a13 19 13 10 a 19 25 11 n 20 8 1 a-01 20 17 8 31-36 23 3 3 9x9 24 6 3 1 25 17 3 a 25 16 7-8 y 26 26 2 (cobra) 27 l 6 11 27 23 2 Apsarasah 28 7 2 NE 28 7 l L'anya 29 9 2-3 a-: 30 15 11 delit iii Page No. Line No¬ Word No. Corrected entry 31 ll 2 kala 32 4 4-5 a-and 32 16 8 r 32 25 1 follows 33 7 7 9 34 23 4 m 34 n 1 Settled 36 7 8 a-Sudhananda 36 18 4 Svastika 36 18 5 Rama 36 20 4 Naga 36 21 4 adhasthitam 37 6 2 annextures 37 6-7 9-10 Twice-born 37 21 8 a, 38 1 6 embellished 3X 3-27 - delit 39 1-23 - delit 41 16 9 mortar 41 24 6 a-and 41 27 1 pillar 42 26-27 9-1 accompanied 43 21 8 a-a 43 22 9 94-102 44 3 8 clay 44 7 5 a- be IV Page NN. Line No- Word No.' Corrected entry 44 8 3 at 45 14 1 portion 45 17 7 folia 45 18 1-2 space 46 1 5-6 space 46 1 6 welth 46 7 1 a-, 46 7 6-7 a-that of 46 14 6 knowers 47 1 2 crowning 47 24 9 similar 48 1 1 motifs 48 18 2 Bhutas 48 22 1 dhama 49 2 8 a-, 47 4 2-3 a-deity 49 8 4 presiding 49 U 9 Naga 49 21 7 eyes 49 24 3 deity 50 3 4-5 tirm-holding 50 6 7-8 a-be 50 9 6 principle 50 il 1-2 a-ornaments 51 1x2 l should 51 5 9 creeper V Poge No. Line No- Word No. Corrected Enl 51 6 4-5 a-have 51 10 5-6 a-dress 51 17 3 enraged 51 18 1 capda 51 27 1 attendents 52 5 4 1/3-174 53 1 9-10 a-of 53 4 1 each 53 14 5 besmeared 53 21 2 bloomed 54 4 4-5 a- (-) 54 1l 5 holding 54 17 5 beans 55 22 2 supplemented 55 28 8 roots 57 2 9 there- 57 18 7 situated 57 19 8 demarcation 58 7 3 Vyoma 59 1 7 outside 89 2 5-6 a-1 61 9 6&7 hundred units 61 15 1&2 bisceting 61 17 2 roving 62 4 5 be VI Page Line Word Corrected entry No. No- No. 62 16 1 62 16 3 63 17 3 64 9 6 65 11 7-8 66 2 5 67 10 2-3 70 3 8 70 8 5 70 8 6 73 4 3 73 15 1 73 19 1 74 9 6 75 16 9 78 12 7 78 17 4 80 7 2 81 14 7 81 22 y 82 18 id 82 21 1 82 21 2 83 3 6 86 19 6 87 2 1 cord (sitadya) (dvadas'adha) a-(-) hinkulika a = kantopaga Dharma Dharmakhyamandala Pandurakta Daksiija Agneya Pandurakta a- (-) pita Syarraloijvala (i.e. deep -red) pista S'jama alter-sides a(.) Then each a-(.) a-]) vii Page NN. Line No- Word No. Corrected entry 89 1 5 (dvadas'a-dha) 91 6 1 hue 91 6 6 (vaidurya) 91 6 7 (brownish shade) 9t 15 4 (anya.s-'obha) 91 18 2 the 93 1 6 32 94 14 5 d a 96 4 1 emerald green 96 i3 3 (emerald green) 98 4 8 12 98 28 11 on 99 3 I a-(.) 100 7 9 a-(-) 100 l6 3 north-east 103 l 7 Pagdariruija 106 5 9-i0 delete 106 21 5 a-(.) 107 ll l a-(;) l08 l 6 Praphullakims'uka lC9 6 8 a-(.) 109 12 8 a-;,) 109 16 2 a -(,) 109 21 5 a-( ) 109 26 1 (kanthadith) 1 10 24 6 jatihinkulika VIII Page No. Line No- Word No. Corrected Entry Ill 12 9 a-(-) 113 7 4 area 114 1 11 a-(-) 114 15 5 components 115 19 3 a-(.) 115 20 8 a-(-) 117 10 3 bahyavat 117 18 2 collyrium 118 2 3 (224-436) 119 19 3 a-(-) 120 22 i a-() 122 12 4 Supratiatha 122 20 1 (2 + 2) 123 13 5 a-(.) 123 21 6 a (•) 128 21 ’ 6 mandala 131 8 5 a-(]) 131 12 1 [ptha-pada] 132 4 1 [bright-red] 132 11 1 [emerald -green] 134 8 8 (outermost) 134 16 6 a*(*) 135 14 9 (pithagatra) 139 9 5 one by 15 8 [Vyomas'ri] 139 19 8 (beyond) ix Page Line Word No. No- No. 140 1 3 141 1 6 141 15 4 142 10 3 146 22 2 150 4 3 150 4 8 151 22 4 151 26 6 152 9 4 152 12 6 15 2 24 9 153 4 4 153 0 1 154 16 8 155 21 4 156 3 1 156 11 2 156 24 1 157 6 4 157 10 5 15/ 11 1 157 19 4 157 20 1 158 19 2 Corrected Entry (dvara) a-(-) a-(.) praphulla (2x4 = 8 nail) a-(.) in Matsya-cihna) a-(.) a-(f) (mekhala) (hema-ratna) tatva (sthula) (agnipuras) design 16 ff the sixteen 22 ff I a (=) (cubit = hasta = tara) 26 ff the etc. 29 ff Having N-B,- 41-173 stanzas transmissing Pagfe Line Word Corrected Entry No. No- No. • 160 17 5 Serially 161 3 9 ' axle 161 4 10 So also 161 24 9 allotted 161 25 7 axle 162 2 5 (ratnaja) 162 5 1 axle 162 18 8 Sapphire 162 22 5 (rajopala) 164 11 1 44 ff 165 20 7 low 165 23 1 (lean! yottama) 167 3 1 63 ff 71 167 18 1 72 169 7 6 N.B:- trans of stanzas 79-212 missing 172 4 1 (10-16) 173 2e 2 demarcated 175 14 2 (yavodaro) 175 26 2 (2 ayana) 178 2 9 delit be 178 9 2-3 a-be 181 5 2 embellishment 182 3 2 (96-98 182 7 5 (mudra) 183 18 4 (Sankhya-) Page No. Line No- Word No. Corrected Entry 190 9 8 Paugk&ra 192 5 8 al-36ff i 193 17 1 a-46 ff 190 1 1 a 57 ff 207 2 3 Lakgana 212 21 2 triangles 213 9 3 Mahakhya 219 2 1 SANK.HA 219 4 8 3 O 220 12 6 point 221 9 2 (bahyabhantara) 229 l 1 a 52 ff 231 15 6 Gods 231 17 1 accomplishment 23a 18 2 Sentient 236 4 2 marvelous 236 4 6 omnipotent 238 15 3 central one 298 16 9 a-(.) 298 22 5 permitted 299 5 6 universal 301 21 7 your 301 22 8 substratum 302 27 7 km'a grass 303 2 9 mantra 304 6 7 without Page No. Line No- Word No. Corrected Entry 301 21 7 your 331 19 6 gods 301 22 8 Substratum 302 1 5 embodiment 302 25 1 happiness 303 1 2 unopposed 303 9 1 Supports 50 3 2 9 mantra 302 27 7 Kus'a-grass 305 24 5 allotted 307 14 7 donor 309 6 5 accompaniment The present critical edition of Pauskara Samhitft Parti divi¬ ded into twentysix chapters runs as a dialogue between Paugkara and Bhag^van on the technique of marshalling the maijdala-de- signs and their significance. This Samhita is acknowledged as one of the three gems of the Pafica- ratra canon a critical edition of which was a longfelt desideratum and the present publication fulfil* the same. The unique importance of this edition lies in incorpora¬ tion of ancient design patterns reconstructed by the editor based on the faithful interpretation ol the text. The ancient insight j about art and architecture which remained hidden in this Sanskrit text for over 1500 years have been brought cut by the present editor. He has thereby opened a new avenue for critical-appreciation by research scholars in the field of art^nd architecture. It is hoped that the present edition will go a long way to whet the appetite of the students of temple religion in general and Vaiijnavism in parti¬ cular. About the author The author who holds a masters degree in Sanskrit and law and a doctorate in Agamas, is specially quali¬ fied to edit the text* in view of his qualifications, training and experience in the field of his specialisation-ie Agamashastra. He has worked for three years in the Agama Kosha wing of the Tirupati Vidyapeetha* He has not only attended several Agama conferences, and national and inter- 4 national conferences but also presented several original papers on various aspects of Agamas. He has to his credit several research papers published in renowned Indological journals He holds at present the position of Editor of the Encyclopaedic Dictionary of Sanskrit on Historical Principles of the Deccan College, Pune.