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[English Summary of the thirty-three chapters of the Kriya-Pada (part 2) of the Isanasivagurudeva-paddhati]

Volume IV Patala 31 :- This Patala also deals with the different stages of temple construction like the foundations, pillars (Sthambha), rafters, other ancillary parts constituting the superstructure, etc. In the delineation of this Patala and its four constituents, Adhisthanadhikara, Sthambhalankara, Uttaralaksana, Prastaradhyadhikara and Dvaralaksna, the author relates on the 14 types of basements prescribed by Maya and two types of basements decreed by Parasara. Other authorities limit basements to three general types. The author also relates studies on certain sub-divisions to the adhikaras, detailing different types of pillars, columns, arrangements and fixing of rafters and their measurements, the method of fixing the roof and the ceiling, etc,. Patala 32 :- This Patala is a detailed and exhaustive analysis of six laksanas pertaining to temples, palaces and residences. The laksanas are Thoranadi laksana, Sikharalaksana, Sopanalaksana, Nalalaksana, Mandapalaksana and Prapalaksana. The Patala as a whole 123

is a description of three types of kamanas (arches) - Makara, Citra and Patra. Makara is meant for temples and residences of Brahmins and palaces; Citra and Patra kamanas are confined to the residences of Vaisyas and Sudras. The Kamanas have to be beautified and embellished with different types of engravements of flowers, creepers and sculptures. Separate technical terms and measurements are prescribed for each one of these engravements. The detailed description of the roofs of squares, the seven types of pinnacles belonging to the general classification Kalinga, Kasmira etc., four different types of sopanas, and five types of Jalapaddhatis for the evacuation of water from the Garbhagrha are described. In this background the different genders of stones (Strisila, Purusasila and Napumsakasila) and other materials for the above constructions depending on their quality and suitability are described. They include different varieties of wood, limestones, mortars, etc. This Patala is an amalgam of detailed descriptions of different shades of Mandapas (Caturasra, Vrtta, Dirghacatura, Konas, etc.), the sculptures of Devatas to be provided in each direction of the mandapas, and the construction of reservoirs for uninterrupted supply of water to the temples, palaces and residential houses 58. Patala 33 :- This Patala provides details for the selection of components and ingredients that play the role of materials for the 124

construction of temples and palaces. Six different types of Vidhis are described for the process of selection of materials for construction. They are Daruniyama, Darusvikarana, Isthaka, Isthakalosthakarana, Sudhadhikara, Stambhasandhi and Sandhivisesa. Of these, Daruniyama and Darusvikarana vidhi deserve special mention because they provide details for determining the suitability of a tree for construction, from the direction it leans to and other laksnas; the most auspicious time at which the trees have to be felled, which again, is done according to laksanas and Nimittas, and the Vidhis for Pujas to be performed before felling trees. The main purpose of these Pujas is to seek permission from the tree itself and the receipt of the same from it before it is felled. The unit Isthakadhikara deals with the manufacture of mud bricks, their different measurements, mode of making them, and the right materials to be used. Sudhadhikara exclusively deals with the process of mixing the mortar 59. Patala 34 ;Stupavinyasa, Kumbhavinyasa, Vimanapratisthadhikara and Hrtpratisthadhikara are the topics discussed in this Patala. The first three units deal respectively with the placing of stupas, Kumbhagopuras/ Pinnacles and Vimanas. The first unit also provides details of the laws, rules and regulations governing the selection of the Stapati or Silpi. Kumbhavinyasa is concerned with the installation of Kumbha on the top of the temples, their measurements, laksanas, 125

the Vidhis for their installation like Vastubali, the listing of metals for making of pinnacles and the process of making them, etc, Hrtpratisthadhikara delves deep into the study of the various rites for the installation of the idol in the temple and the attendant ceremonies. They include the purificatory rites, the selection of the most appropriate and mature priest for installation rites, the fixing of the most auspicious muhurta, the accompanying kalasa ceremony and other related rites, all of which are to be performed in perfect harmony with one another and without the slightest hitch, as the installation of the idol is by far the most important function in a temple 60. The installation of the idol is dealt with in detail in Hrtpratisthadhikara. Patala 35 :- This again centres round subjects related to temple architecture, the only difference being renovation and not construction of temple. The constituent units are Anukarmavidhana, Atbhutasamana, Prakaralaksana, Parivaradevatasthana and Gopuravidhi. The elaborate expiatory rites for the damage caused to Prasadas, for the defects in construction and for other dosas are described in this Patala. It also gives descriptions of the Pancaprakaras of the temples, with all their resplendent embellishments, adding fresh details to those already given in the previous Patalas. Other salient features of this Patala are the description given of the stambhas of the main entrance to the temple, their mode of construction, their 126

architectural designs, construction upto seven storeys; eight types of gopuras, other multi-storeyed gopuras, the construction of residential houses in the neighbourhood of temples, etc.6 61 Patala 36 :- Lingopadanadhikara, Ksanikalingavidhi, Lingapithopadanadhikara, Sakunanimitta and Silagrahanavidhi are the constituent divisions of this Patala. In dealing with the making of idols for worship, the author specifies the metals, precious stones, woods and stones to be used. Three types of idols, Niskala, Sakala and Misra, their features, and the difference between them are mentioned by the author. Ksanikalingas or temporary idols made of cow dung and butter are also listed in this context. Different metals are prescribed for different murtis. The author emphasises the importance of the Silpi possessing wide and sufficient knowledge in idol making, especially in the choice of wood and cloth for the purpose, the related sakunas and laksanas, and the good or bad results that can be predicted on the basis of the laksanas or omens. The metals listed are supposed to grant favourable results to the Sadhaka, depending on whether they are gold, silver, jewels, stones, etc. It may be mentioned here that apart from Saivagama texts, the author must have widely interacted with the masons and Silpis of temples before arriving at his conclusions regarding the Vidhis prescribed 62. Patala 37 :- Based on the authority of such great works as Mava Brhat tantra, Pingala, Manjari, etc, the author prescribes the 127

methods for the examination and selection of silas for the engraving of idols for the purpose of worship. The rules, their application, measurements, etc., are revealed through the three units of this Patala, viz., Siladosa jnanopaya (method of determining the defects of stones), Lingavikalpadhikara and Manusasilalingalaksana. The author warns that disasters and natural calamities will visit the king and subjects of a country where the idols made of defective stones with faulty measurements are installed. Such errors can even lead to the death of the king and the destruction of the country, says the author. Only an experienced and expert Silpi will be able to discern the natural defects in the materials used for making idols. This book is an excellent guide to them 63. Patala 38 :- Patala 38 furnishes further minute and elaborate details on the measurements and other technicalities of making idols which are given through Arsadilingabheda and Laksanodharadhikara. Here, the author relies heavily on the authority of Maya and Yogasiva and also mentions Nagara, Dravida and Vesara schools of architecture. On the strength of this authority and also taking into account the differing opinions of other authorities on the concerned subject, the author makes a reappraisal of the whole concept of idol making. The author thus classifies the idols into four categories, decrees their related rituals, and points out the minor variations between these rites. In this 128

connection, he emphasises the extreme importance of the strict and uncompromising adherence to the rules, and the dangers involved in breaking them. All the above details are included in each and every Sloka of this Patala. Patala 39 :- Through the units Samanyapithavidhi, Nagaraditrayapitha, Merusundaradidvadasapitha, Nalavidhi and Padasilalaksana, the author engages in the study of such subjects as the Pitha for the installation of the idols, how to install them, the materials to be used, identifying features of Adhisthanasilas falling into twelve categories, their measurements, etc,. In adopting the measurements in tune with the nature of the idol to be installed and the system of evacuation of water from the Pitha or Jalapaddhati, the author unhesitatingly borrows from Maya and Parasara as well as the Nagara, Dravida and Vesara schools of architecture. Relevant details can be found in Slokas 1, 2,9, 18 and 44. Patala 40 :- This Patala is in fact an extension of the previous Patalas in that it provides further details on the special Vidhis of idol making like Mukhalingavidhi, Sphatikalingavidhi, Ratnalingadhikara, Lauhalinga and Daravalingavidhi, the basis again being Parasara, Maya and Yogasiva concepts. In doing so, the author harmoniously correlates the ideas and concepts expressed in the previous Patalas on idol making. Mukhalingavidhi deals with multi-faced idols, and Sphatikalingavidhi 129

pertains to idols made of Sphatika. Ratnalingadhikara pertains to idols made of different types of precious stones. Lauhalingadhikara is about idols made of gold, brass and other metals; and Dravalingavidhi provides details on idols made of wood. The proportion of the idols, their peculiarities, modes of making them are elaboratily dealt with in this Patala. Patala 41:- This Patala consisting of only one unit, Uttamadasatalapurusamanavidhi, disensses movable and immovable idols or Cala and Acala, as well as the combination of both and their mode of making, materials to be used, their varying categorisations, differing measurements in tune with the differing sizes of the Garbhagrha, their peculiarities, explanations regarding the concept of the Devata in the form of mural designs on the walls, the six types of measurements of the idols and their proportions, the peculiarities and the differences between the idols of Devas, Devis and their measurements categorized into Pancatala, Astatala and Dastala vidhanas. The Patala as a whole gives prominence to idols of Devas as against Devis 64. Patala 42 :- Patala 42 again is an extension of the previous Patala where the Madhyama type of idols, their measurements and mode of making are described. The main features remain the same with minor modifications in size and measurements in the limbs of the Murti conceived in the idols. The constituent units are 130

Madhyamadasatalastrimana, Madhymadasatalapurusamana and Kanisthadasatalastrimana 65. Patala 43 :- This Patala consists of as many as 21 units all of which are devoted to the description of the 16 aspects of Lord Siva, the arms for each, their decorations and embellishments; the vahana vrisabha (Nandi); the figure of Ganesa and its detailed descriptions 66. Patala 44 - Raksoghna- Vastuhomavidhi is the content of this Patala. It deals with the post - installation rites of idols like Suddhikarmas or purificatory rites, decoration of the temple, placing of Kumbha and the lamps and other auspicious objects and their proper arrangement. The most important features of this Patala are Raksoghnasantikriya and Vastuhoma, the details of which are provided, citing vedic Mantras 67. Patala 45:- This Patala is an exclusive description of the most important ceremony in temple worship, viz., installation of idol or Pratisthavidhi. The Patala explains five different types of installation of idols; reinstallation of existing idols after proper rites and replacement of old idols with new ones which are performed as part of the renovation of temples. The mode of determining the most auspicious Muhurta, the detailed description of decorating the temples and its premises, other purificatory rites, the Lekhanavidhis of Tantricyantras and 131

Homamantravidhis, the propitiatory Vidhis for the Devata after installtion, the restrictions to be imposed on the Sadhaka and Yajamana are explained in this Patala Slokas. 1, 5, 117, 430 and others provide the relevant details on the above kriyas (pp.421 - 440). Patala 46 :- This Patala consists of three units Snapanavidhis, Nyasavidhis of Tattvatattvesvaramurti and Homajapadividhi. It describes a series of rites performed prior to invocation of life (Prana) into the idol and the special Kalasabhisekas accompanying each Adhivasapuja performed on the idol. This is followed by special Tattvanyasapujas, worshipping of holy waters brought from Ganga, Yamuna, Kaveri, Gomati, Krisnaveni, Sarayu, Sindhu, Tungabhadra, Vegavati, etc., and ushering in the idol into the ceremonial bed specially prepared with special materials for the purpose. In this context, the author quotes in detail from Prayogamanjari, the widely accepted text for Tantric rites. This is followed by the listing of Naivedyas or oblations in the form of flowers, cooked food, and other holy objects 68. Patala 47 :- This Patala consists of units two units, Sivamadhyadhikara and Sivapratisthadhikara. It details various Kriyavidhis, related Mantras, the benefits to be obtained from them, the authorities relied upon for the postulations of the Vidhis, etc, for the installation of the Siva idol. 132

Patala 48 - This Patala is divided into three units, viz., Nityotsavadhikara, Sibikadhiara and Rathadiyanasayanadhikara, which pertain to the rites for daily worship, Tarpanavidhis, Sibika-RathaParyanka measurements. Other details include Nityanaivedyavidhis (oblations to the main deity and subsidiary deities), the materials to be used for the purpose; the musical and percussion instruments that should accompany them; the rites for waking up the deity early in the morning; the rules and regulations and other details for usual festivals and special festivals and related decorations. The author specifically mentions that all the above rites should be on apar with the festivities and honours oferred to kings and emperors. The author quotes Prayogamanjari as the authority in the compilation of this Patala. Patala 49:- This Patala is a description of the procedures to be followed in festivals. They are given in the order of precedence in Dhvajoccayadhikara, Alayalamkarapujayatradividhi, Svastimantras, Balidana and their Mantras, Devatabalis and Utsava avabhrtadhikara. From the initial rite of raising the Dhvaja (Tall Wooden Column), decoration of temple, procession carrying the Vigraha (Idol or J Sribalibimba) and their rites including the chanting of Svasti mantras, Balidana and their prescribed Mantras, Devatabali, or sacrificial rites, to the concluding rite of Arrattu or the ceremonial immersion of the idol in holy water, the Patala is a very minute description of each and every 133

aspect of temple festivals, leaving no detail untouched. The conduct of seasonal festival and annual festival also forms the subjects of this chapter. The varied musical instruments to be used during the festive seasons, especially in temples of Kerala, deserve special mention. The use of the typically Keralite percussion instrument' Timila' needs to be noted here, showing the author's close acquaintance with Kerala traditions. All the Slokas of this Patala are important for the description of the details relating to temple festivals. But Slokas 1, 6, 47 and 238 stand out as the most important (pp 458 - 481): Patala 50 :- This Patala consists of 16 units pertaining to Adhikaras of Kalasapuja. In detailing the multi - modes of Kalasavidhis, the author mentions Kalasapujas consisting of 9, 25, 77, 81, 108, 200, 300, 700 and 1000 Kalasas filled with sanctified water. These Pujas range from one day to six days. The Patala provides related details like the diagrams or Padmas on which the Kalasa is to be ceremoniously placed, their measurements and mode of drawing them; the number and names of flowers to be used and the lists of precious objects to be placed inside the pot. The description of Kriyaghosa in connection with Kalasabhiseka provides additional details. Here again, we find in this Patala mention of Timila, the native percussion instrument of Kerala 69. Patala 51 :- This Patala consisting of three constituent units, Suryapratisthadhikara, Suryanityotsavavidhi and Mahotsavavidhi, deals 134

with Surya and other attendant Gods. The first unit is about the installation of Surya idol, and rites and Vidhis to be followed. Suryanityotsavavidhi pertains to the daily Pujavidhis for the sun and other Gods. Mahotsavavidhi encompasses the grand ceremonial festivals and their elaborate details. All the above details are included in Slokas 1, 52, 58, 64 and 70 of the Patala pp 510-515. Patala 52 :- This Patala is an exclusive delineation of the installation of the idol, Pujas and festivals of Lord Ganesa. The units are Ganesapratisthadhikara and Ganesotsavavidhi and the Patala concludes with Sloka 46 (p. 519). Patala 53 :- This Patala centres round the rules, regulations and Vidhis concerning the installation of Skanda idol, daily rituals and Pujas and special rites for Lord Subrahmanya. These explanations are given in the same order as in the previous Patala concerning Lord Ganesa. Patala 54 :- This Patala relates to the Pratistha, Puja and other rites performed for the Sankara Narayana concept of worship. Sankara Narayana, as the name itself signifies, is the divine conceptualization of Lord Sankara and Narayana (Siva and Visnu or Hara and Hari). The Puja rites, rituals and ceremonies are based on authoritative texts like Brhat Tantra and Devodbhava and are a 135

harmonious blending of Saiva and Vaisnava traditions. It may be specially mentioned that this Patala provides minute and complex details regarding Utsavabalikriyas or sacrificial rites during festivals. Patala 55:- This part deals with another important deity, namely, Goddess Durga. The Pujavidhis in accordance with the basic tenets of authoritative texts are detailed in this Patala for the worship of Goddess Durga and attendant Devatas. In addition, various aspects of Goddess Durga and the installation rites for each of them are the added peculiarities of this Patala. Patala 56:- This Patala pertains to the installation ceremony and Utsavavidhis for Gauri conceived as Bhagavati. The two parts of this Patala provide descriptions on not only the main deity Gauri but also her 96 attendant deities of Parivaradevats. These descriptions owe a their authority to the Tantric texts Lalitagama and Bhanutantra. The concerned units are named Gauripratisthadhikara and Gauryutsavavidhi. Patala 57 :- As the names of the units of this Patala Sarasvatipratisthadhikara and Sarasvatyutsavavidhi denote, they furnish details on the installation of Sarasvati idols and festivals and rites and ceremonies pertaining to Goddess Sarasvati, which include daily as well as festive rites 70. 136

Patala 58:- The speciality of this Patala is that it deals with the installation and rites of worship of Lord Sasta conceived as 'Sribhutanatha. Lord Sasta's Bhutanatha aspect of worship is of special importance to the people of Kerala. The concerned units are Bhutanathamantroddhara Chikara, Bhutanathapratistha Chikara and Sasturutsavavidhi. The measurements of Sastha idols, the many aspects of Sasta and their descriptions, the vahanas of Sasta, etc, are described on the authority of the Tantric text Devodbhava. Another peculiarity of this Patala is the mention of Sastha residing along with his concort Prabha and eight-year-old son Satyaka. A beautiful description of the Lord is also provided in this context 71. Patala 59:- Although the concept of Saptamatrs or the seven divine mothers is not confined to Kerala, the prevalence of worship of Saptamatrs in elaborate details is typical to Kerala. Through the units Matr mantroddharadhikara, Matr pratisthadhikara, Matrinityotsavadhikara and Mahasantividhi, the author provides detailed illustration of the Saptamatr:: temples, the oblations for divine mothers, their names in the respective order of precedence, the daily Pujas and special Pujas prescribed for them, their Vahanas, weapons, etc 72. Patala 60 - Conceiving a protection for the temple is an accepted Tantric tradition. Hence the concept of Ksetrapala in the right front side of the temple. This Patala is set apart for the descriptions of 137

the position of the Ksetrapala idol, its mode of installation, the description of the idol, the flag of insignia, vehicle or Vahana, the posture of meditation including arms (Ayudha), the decorations and embellishments, special Puja rites, etc. The constituent units are Ksetrapalapratisthadhikara and Ksetrapalautsavavidhi 7³. Patala 61 :- The main subject of discussion in this Patala is the Navanaivedyadhikara pertaining toharvest offering to God as a mark of gratitude to good harvest; and Dipotsavavidhis. The right corn - laden stalks of plants including rice, wheat, cereals, etc, are uprooted and taken round the village in a procession to the accompaniment of musical instruments and finally brought to the temple and the seeds of these plants are collected and various dishes are cooked and offered as oblations to God. Later, these Prasadas are shared by the devotees. The whole procession is performed along with designated rituals, the purpose of which is prosperity to the community as a whole and as pointer to abundant harvest in future. Several festivals of light are described in Dipotsavavidhi, but the main one is Karttika Vilakku, which falls on the full moon day of the month of Karttika. The associated rites are the Ankurarpana, worship of Siva, Dipastambhastapana, Homavidhis, festive procession and other rites, which are described here. Another important aspect that deserves to be noted is the practice in Kerala of offering 'Niraputtari' in a bunch 138

of stalks to the God, which is an adaptation of the Kriyas described in Navanaivedyadhikara. Patala 62 :- The four units of this Patala, viz., Antyesthiyadhikara, Ekoddisthavidhi, Sapindikaranadhikara and Astakasraddhavidhi are concerned with ablutions performed on the dead before cremation, Balitarpanakriyas for the dead, funeral rites, and annual Sraddha functions for remembering the dead respectively. All these performances are meant for the Gurus or preceptors and other Brahmins. The funeral rites can be performed in the residences, riverbanks or outside the village in accordance with Dharmasastras, Purnas and Smrti. The author describes various types of Balitarpanas. Patala 63 - This Patala is divided into four units, Alpaprayascitta, Mahadosaprayascitta, Astrayagadhikara and Balivikiranavidhi - all dealing with expiatory rites for the omissions and commissions of Sadhakas and also for the wrongs done to temples knowingly or unknowingly. Depending upon the nature and degree of dosas or wrongs committed, specific atonement rites are decreed. Devapriti, Brahmanapriti, Atbhutasanti, etc, are some of the expiatory rites for propitiating the wronged. Patala 64 :- This Patala, named Jirnodharavidhi, marks the conclusion of the third Pada of Isanasivagurudeva-paddhati, and deals with renovation of 139

temples in a state of dilapidation; and replacement of damaged idols. When the idols of deities or temples get damaged due to age or due to neglect or lack of proper maintenance, renovation/replacement becomes necessary. As expiatory measure, urgent renovation is to be undertaken in temples. As part of atonement the initial rite is removal of the idol to Balalaya (temporary abode) and continuance of the rites of worship in the newfound seat of the Devata with Nityapujas until the completion of the renovation of the temple. If the idol kept in Balalaya itself needs replacement due to damage, a new idol has to be made as per prescribed rules and Vidhis and on completion of the renovation work of the temple, it has to be installed in Mulalaya and the old idol is to be discarded, observing the prescribed Prayascitta karmas 74.