The Sanskrit terms Pratiṣṭhāvidhanā and Pratiṣṭhāvidhāna can be transliterated into English as Pratisthavidhana or Pratishthavidhana, using the IAST transliteration scheme (?).

In Hinduism

Pancaratra (worship of Nārāyaṇa)

Source: archive.org: Catalogue of Pancaratra Agama Texts

1) Pratiṣṭhāvidhanā (प्रतिष्ठाविधना) (lit. “the procedures of sanctification ceremonies”) is the name of the eighteenth chapter of the Īśvarasaṃhitā (printed edition), a Pāñcarātra work in 8200 verses and 24 chapters dealing with topics such as routines of temple worship, major and minor festivals, temple-building and initiation.

Description of the chapter [pratiṣṭhāvidhanā]: For the consecration of all idols with mantras, elaborate preparations are necessary: a special maṇḍapa is to be constructed (2-68a) and the idol to be consecrated (or its substitute) is to be brought to the maṇḍapa in a chariot and there made ready for its consecration bath (68b-84). The bath of consecration is called “jalādhivāsa”, and the rites connected with this may take from one to three to five days; how jalādhivāsa is done for a wood, metal and stone icon is told (85-131, 152b-167), and how it is done by a method called “chāyādhivāsana” when icons cannot be immersed in water is also told (132-149, 159). The next step after jalādhivāsa concerns the placement of the icon on a bed of grains, and it is called “dhānyādhivāsa” (168-339a)-and connected with it are many homas (236 ff., 305 ff.) and saṃprokṣaṇas (220 ff.) and other activities, the most important of which is investing the icon with various “powers” and “weapons” [mantranyāsa] (273 ff.).

After sleeping next to the idol and expiating for any bad dreams, the yajamāna directs the Ācārya to proceed with installing the icon [sthāpana] (344a). To do this, the Ācārya goes to the place where the idol is to be installed, measures with strings, digs a pit in a spot marked off as “Brahmā” (347-357), places the pedestal on top a cache of deposited articles (358-380), and brings the prepared idols of the Lord and His consorts to the spot from their bed of grains (381-398). When all has been prepared, the icon is fixed on the pedestal and mantras are repeated (399-402). Thereupon, the icon is washed with water which has been reserved, and after this regular worship may be commenced (403-411).

A variation on the above is given with different mantras (412-428).

The other idols of the Lord (i.e., the karmabera-icons) are then to be consecrated in their appropriate ways, and offerings are to be made (429-453). Agnikārya is done, whereupon other items like the vāhanas are sprinkled, balidāna is offered, and the ācārya's tasks for the next three days are duly to be concluded with pūrṇāhuti. On the fourth day, after pūrṇāhuti, the closing rites are performed with homas and mantras, and the Sādhaka himself takes a bath with the sanctified water (454-480).

The rewards [phala] for such a pratiṣṭhā ceremony are listed (481-487). Pūjā should henceforth be done. When pratiṣṭhā is to be done for the Goddess, for Cakra and for saints’ icons, the same rules as already outlined above apply they are merely to be placed in other sections of the temple. The job, however, is considerably simplified if it can be arranged to do their sanctification ceremonies at the same time as the pratiṣṭhā-sanctification for the main image. Some special instructions for the consecration of these other icons are given (488-516).

Ornaments of the idols and instruments of pūjā should all also be consecrated, and this should be attended to in particular ways (517-532a). The reasons for attending so carefully to these consecrations are given the main reason being that, in the end, such care will give pleasure [bhoga] to God (532b-560).

2) Pratiṣṭhāvidhāna (प्रतिष्ठाविधान) (lit. “rules for sanctification ceremonies”) is the name of the twentieth chapter of the Jayākhyasaṃhitā: a Pāñcarātra Āgama text composed of 4500 verses in 33 chapters dealing with topics such as mantra (formulas), japa (repetitions), dhyāna (meditations), mudrā (gesticulations), nyāsa (concentrations) etc.

Description of the chapter [pratiṣṭhāvidhāna]:—Nārada recalls that Śrībhagavān advised one aspiring to mastery in mantra-disciplines to practise his discipline using a bimba-icon as an aid to his worship; therefore he wants to know about the construction and consecration of such icons (1-2). He is told that while there are different uses to which images may be put, and different ways of painting, drawing or modelling these, nonetheless, there are certain canons of measurement that must be maintained in preparing these figures (3-66a). While various choices exist for making icons (66b-67), extreme care should be exercised in selecting the material, particularly if the icon is to be used in the house (68-69).

Then follow some instructions regarding pīṭha-pedestals for icons (70-92), as well as some general remarks about the foundations and basements for temple structures (93-99). Indeed, moving to temple-structures themselves, various types are named according to their shape; rules for the appropriate basements (100-124), for doors (125-127), for a maṇḍapa (128-1312) of the kaustubha-type of temple are given.

(Returning to the subject of images), it is pointed out that all images are to be consecrated prior to being enstated in regular worship. The time for this is suggested, and the various preparations which must precede the actual rites are outlined (131b-138a). The steps of the pratiṣṭhā-rites—snapana (138 ff.), netronmīlana (161b ff.), kautukamocana (168 ff.), mantranyāsa (180 ff.), etc.—are given up to the point where first worship of the icon is done (184b-187).

The pīṭha-pedestal is then prepared (188-190) and, after the icon has been carried through the village (191 ff.), is “put to rest” (śayanādhivāsa) (193-203a) and later given various honors and further invested with mental powers by the Ācārya (2036-251a). Thereupon worship is given the Lord in the presence of Brahmins (251b-306). These things done, “ratnanyāsa” is accomplished, the pedestal placed, and the icon fastened to it (307-330).

Thus does the icon come to be the locus of all realities—the tattvas, all mantras, etc. (331-342)—and thereby justify all the ritual attentions thereafter given it and the praises directed to it (343-352). Certain concluding rites, covering the next four days, are enjoined (353-364a). This is followed by a mahotsava (382b-386). Images that are made on canvas, as well as those made of wood, are to be consecrated in much the same way—with only a few steps omitted from the usual liturgy (364b-368a). As for repairing icons and pedestals once they have been sanctified and also then broken, certain rules must be followed for mending them (368b-376a).

The chapter closes by giving certain options about mantras to be used in the pratiṣṭhā-rites (376b-379a), and saying that a properly-installed icon should be carefully protected against the ravages of war and natural disasters, etc. (379b-382a).

3) Pratiṣṭhāvidhāna (प्रतिष्ठाविधान) (lit. “rules for consecration ceremonies”) is the name of chapter 15 (Kriyākāṇḍa) of the Pārameśvarasaṃhitā: an important Pāñcarātra text of 8700 verses followed closely by the Ranganathaswamy temple at Srirangam—dealing with priestly concerns such as their daily routines, occasional liturgies and expiatory services.

Description of the chapter [pratiṣṭhāvidhāna]: Sanaka asks about the consecration ceremonies for a temple-structure. Śāṇḍilya commences by pointing out that there are seven types of consecration ceremonies according to the mantras used (2-52), or eight types according to the posture of the icon being installed (53-56), or 5 types according to the number of icons to be used in the temple (57-67). Notes are then given on the proper modes of preparing the yāgaśālā (68-156), purifications of the precincts, the preparations of the pots to be used, etc. (157-177).

Then, turning to the icon, the Ācārya—if it is possible-moves it to where the services are to take place (178-210). The jaladhivāsa-immersion period is attended to with specifications that all attention be given to the details of placement, to utterance of mantras, to considerations of the propriety of total immersion in water according to the material out of which the icon is made, to all other available utilities, to the placement of the maṇḍala, etc. (211-326). Nayanonmīlana-rites of “opening the icon’s eyes” are next attended to once the jalādhivāsa-period is over, starting with the right eye being touched with honey applied to a wooden splinter and followed by the left eye being touched with another splinter soaked in ghee (327-351). The next major step by the Ācārya in the sanctification is observed with the āvāhana-invocations of the Lord in all His Power and Presence to enter into the icon (352-374). Thereupon the icon is given a ride through the village on a ratha-chariot and taken in splendor to the yagaśālā-pavilion of the temple. There He is laid to rest on a pedestal, His head toward the east (375-385).

During the time of this śayanādhivāsa-period, the pots which have been assembled in the yāgaśālā-pavilion are charged with the power of mantras, to the accompaniment of appropriate homa-rites. Thus, all the cosmic energies will be present in the pots (386-596).

The exact location which is to be occupied by the icon once it is taken into the sanctuary is determined by dividing the area of the room into sections. These sections are determined in accordance with several considerations-the number of doors (2, 4, or 1) giving access to the chamber, their size, their relation to the pīṭha-pedestal to be used there for the icon, the size of the chamber itself, etc. Certain parts of the grid so planned are considered better than others for final placement of the icon within the sanctuary (991-1083).

After making the proper ritual and architectural preparations in the sanctuary, the recumbant icon of the Lord is “awakened,” and, along with the kumbha, He is brought into the sanctuary and placed on the pīṭha-pedestal. There, the waters from the kumbha-pot are sprinkled all around—thus sanctifying all the constituent buildings of the compound—and the Lord is requested to remain there (781-847).

The pratiṣṭhā-installation of other, subsidiary deities is then to be attended to (848-852). The concluding ceremonies for pratiṣṭhā-rites are then turned to ending with the extinguishing of the fire (853-870).

During the course of the entire proceedings certain behavior is required (871-901) and at the conclusion of the activities all, including the ācārya and the spectators, take a ritual bath together [avabhṛthasnāna] (902). All who participate in any way in the installation of an icon—no matter who he is or what part he plays in the proceedings—is blessed by great merit. The various benefits to be realized are listed (903-911).

Once an icon is installed, it should be worshipped according to a traditional routine which should not be altered (912-933). When an icon or a temple- building falls into disrepair, then it should be immediately attended to, and re- sanctified according to certain rules (934-990). Similarly, instruments of worship are to be treated reverently because they are full of holy power-and in this regard there is a protracted discussion of nirājana-lights and ceremonies connected therewith (991-1083).

4) Pratiṣṭhāvidhāna (प्रतिष्ठाविधान) (lit. “rules for the consecration ceremonies”) is the name of chapter 14 of the Mārkaṇḍeyasaṃhitā: a Pāñcarātra text comprising some 2200 Sanskrit verses mainly dealing with temple-building, iconography, pūjā (worship procedures), utsava (festivities) and prāyaścitta (expiatory measures).—

Description of chapter [pratiṣṭhāvidhāna]: The chapter concerns itself with the consecration of the main idol in a temple. A maṇḍapa-pavilion-containing a dais [vedikā] (2-3a), an appropriate number of fire-pits (3b-11), festooned toraṇas (12-17), pillars (18-25a), and an entrance (26-31)-is to be built. Once a proper time has been selected for the ceremonies (32-47a), the idol is fist bathed in milk (47b), then installed in a bālālaya (52), and after this, placed in water [jalādhivāsa] (55). Pots are then filled with sacred contents for further usage (56-72). Śāntihoma is done (73-75a), after which the icon is brought forward, the artisans dismissed (78), and the subsidiary icons (twenty-four mūrtis, ten avatāras) are also consecrated (151-153a)—with jalādhivāsa etc., after which when all Brahmins participating have been satisfied (155a), Viṣṇu Himself is “established” [pratiṣṭhāpayet] (155a) and finally sprinkled with water.

[There is inserted in this chapter, an important and enlightening description of Viṣṇu, His powers, etc., for meditation (79-137), followed by a passage relating to the relevance these descriptions have to iconography (137-150).]

5) Pratiṣṭhāvidhāna (प्रतिष्ठाविधान) (lit. “rules for installation procedures”) is the name of chapter 49 of the Lakṣmītantra: a Pāñcarātra text comprising some 3600 Sanskrit verses exclusively devoted to Goddess Lakṣmī or Śrī (the consort of Viṣṇu) besides dealing with cosmology and practical regarding Vaishnava priests and temple-building programs.

Description of the chapter [pratiṣṭhāvidhāna]: The opening part of this chapter deals with the worships of Māyā in a maṇḍala (1-27)—much as before-with a listing of rewards given for this particular kind of discipline (24-58a). Then, to Indra’s question, Lakṣmī tells how she may be worshipped in iconic form, revealed as seated on Viṣṇu's lap (58b-62). Then she tells how to do the sanctification ceremonies for such an icon—including the usual preliminary cleansings of the icon to the accompaniment of mantras, the overnight adhivāsa, the netronmīlana-rites, snapana, abhiṣeka, nyāsa, homa, etc. (63-149, including a short digression towards the end on sound). Most of the foregoing applies to the installation for a moveable icon; for the rules applicable to an immovable icon, she refers to the Sattvatasaṃhitā.

context information

Pancaratra (पाञ्चरात्र, pāñcarātra) represents a tradition of Hinduism where Narayana is revered and worshipped. Closeley related to Vaishnavism, the Pancaratra literature includes various Agamas and tantras incorporating many Vaishnava philosophies.

See also (Relevant definitions)

Partial matches: Pratishtha, Vidhana.

Full-text: Kautukamocana, Nayana, Unmilana, Pratishtha, Avabhrithasnana, Karmabera, Shayanadhivasa, Nayanonmilana, Mantranyasa, Sayana, Jaladhivasa.

Relevant text

Search found 1 books and stories containing Pratishthavidhana, Pratiṣṭhāvidhanā, Pratistha-vidhana, Pratisthavidhana, Pratiṣṭhā-vidhanā, Pratiṣṭhā-vidhāna, Pratiṣṭhāvidhāna, Pratishtha-vidhana; (plurals include: Pratishthavidhanas, Pratiṣṭhāvidhanās, vidhanas, Pratisthavidhanas, vidhanās, vidhānas, Pratiṣṭhāvidhānas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Notices of Sanskrit Manuscripts (by Rajendralala Mitra)

Page 111 < [Volume 1 (1871)]

Page 295 < [Volume 4 (1877)]

show preview