Shailadi Maha Muni detailed the method of Mandala Puja to Shiva as situated in the Surya Mandala to Sanka Kumara and this was narrated to Devas by Maha Deva himself. As per the Varnaashrama Vidhi, Mandala Puja could be performed by Brahmanas and Kshatriyas but not by Vaishyas and others. Women are also need not be engaged in the Mandala Puja. The Mandala Puja should be initiated by ‘Bahyaantara Shuchi’ or Physical cleanliness and purity from within. A person engaged in the Mandala Puja should first initiate the worship with Shiva Dhyana, concentrating on Surya Deva:
style=Ashta baahum Chaturvaktram Dwaadashaaksham Maha Bhujam,
Artha neereeshwaram Devam Jataamukuta dhaarinam/
Sarvaabharana samyuktam Raktamaalyaanulepanam,
Raktaambara dhram Srishthisthiti Samhaara kaarakam/
Nasya Purvamukham peetam prasannam Purushatmakam,
Aghoram Dakshinam vaktram Nilaanjanachayopamam/
Damshtra Karaalamanyugram Jwaalaamaalaa- masaavritam,
Rakta smashrum Jataayuktam chottarey Vidrumaprabham/
Prasannam Vaama Devaasyam Varadam Vishwarupinam,
Paschmam vadanam tasya Goksheera dhavalam Shubham/
Muktaaphalamayair haaraairbhushitam Tilakojjwalam,
Sadyojaata mukham Divyam Bhaskarasya smaraarinah/
Adityamagrato pashyan Purvavacchaturaaanam,
Bhakaram purato Devam Chaturvaktram ca Purvavat,
Ravimuttaratopashyan Puravacchatiraananam/
Vistaaram Mandaley Purvey Uttaraam Dakshiney sthitaam,
Bodhanim Paschimey bhaagey Mandalasya Prajaapateh/
Adhyaayanim Koubaryaakameka Vaktraam Chaturbhujaam,
Sarvaabharana sampannah Shaktayah Sarv sammitaah/
Brahmaanam dakshiney bhaagey Vishnum vaamey Janaaddanam,
Rukyajursaama maargena Murtitrayam Shivam/
Ishaamam Varadam Devameeshaanam Parameshwaram,
Brahmaasanastham Varadam Dharma Jnaanaasanopari/
Vairaagyaiswarya samyuktey Prabhutey Vimaley tathaa/
Saaram Sarveshwaram Devamaaraadhyam Paramam sukham/
Sita pankaja maddhyastham Deeptaadyairabhi samvrutam,
Deeptaam Deepa shikhaakaaraam Sukshmaam Vidyutprabhaam Shubhaam/
Jayaamagnishim Swaakaaraam Prabhaam Kanaka saprabhaam,
Vibhutim Vidruma prakhyaam Vimalaam Padsmasannibhaam/
Amoghaam Karnikaakaaraam Vidyutam Vishwa varnineem,
Chaturvaktraam Chaturvarnaam Deveem vai Sarvatomukheem/
Somamangaarakam Devam Budham Buddhivataam varam,
Brihaspatim Brihadbuddhim Bhargavam Tejasaam nidhim/
Mandam Manda gatim chaiva Sammataatasya tey sadaa,
Suryah Shivo Jagannaathaahy Somah Saakshaadumaa swayam/
Pancha Bhutaani seshaani tanmayam cha Charaacharam,
Drushtaiva Munayah Sarvey Devadeavamumaapatim/
Krutaanjavi putaah Sarvey Munayo Devataastathaa,
Astu vanvaagbhirishtaaribhir varadam Nilalohtam/
(Shiva Swarupa is described as possessing eight hands, four faces, twelve eyes; was Arthanaareshwara; wearing Jatajuta headgear, fully adorned, had rakta-mala; with chandana applied, wearing Blood red clothes; and famed as the Symbol of Srishti- Sthiti and Samhara. He is also described as facing Eastern Side in yellow colour; Southern side in blue colour as Aghora frightening with ‘Karaala damshtra’, ‘Jwaala maala’ or necklaces of flames and with dreadful moustaches and beard; He faces Northern side with a peaceful and radiant face; western side in milk-white complexion and of his fifth face called Sadyojata with Sun-like magnificence; in fact the Sadyojata Mukha is the most prominent. The accompanying Shaktis are Vistara in the Eastern side, Uttara in the Southern side, Bodha in the western side and Adhyaatani on the Northern side. Shiva faces Brahma in the Southern side, and on his left side he visions Janardana and Munis look at three of his sides the Ruk-Yajur-Sama Vedas. Shiva’s Form is viewed by Soma, Mangala, Budha, Brihaspati, Shukra and Shani. All these Devatas eulogise Shiva as well as Brahma and Vishnu. But the most vociferous among all these Stotras were rendered by Sapta Rishis as follows: Om Namah Shivaya Rudraaya Kadrudraaya prachetasey, Meedhushthaaya Sarvaaya Shipivishthaaya ramhasey/). The Rishis greeted Maha Deva as Shiva-Rudra-Meedyushtanga; the dynamic Shakti, Bhakara, Bhanu, Ravi, Divakara, Uma, Prabha, Pragna, Sandhya,Savitri, Vistaara, Bodhini; we commend that Paramatma who is always worshipped by Devas seeking youin Surya Mandala; you possess Sindura Varna and is elegantly ornamented by gold and jevellery; You are the Cause of Brahma and Narayana; You enjoy rides in Sun-Chariots and you possess and enjoy the ownerships of seven types of Ganas; Balakilya Ganas pray to you as per the changing Ritus or Seasons; Sages always praise you while performing havans on Agni with various kinds of offerings including tila; the Rishis prostrated further to Shiva and said : Namah Shivaaya Devaaya Ishwaraaya Kapardiney, Rudraaya Vishnavey tubhyam Brahmaney Surya murtaye! Suta Muni wound up the Shiva Stuti and confirmed as follows:
Yah Shivam Mandaley Devam sampujyaavam samaahita,
Pratarmaddhyaanney Pathet Satvaramanutthamam,
Ityam Shivena saayujyam labhatey naatra samshahyah/
Significance of Guru in the Mandala Puja:
Having broadly known about the placements of Devas in the Chaturasra Mandala Puja of Maha Deva, the importance of Guru can not be over emphasised. In the olden days, the Term Guru signified a Shivaacharya who not only performed a number of Mandala Pujas himself but was also an adept in teaching the methodology and practice to others interested. A person seeking to perform Mandala Puja should thus locate an appropriate Guru with knowledge of Shruti-Smritis,who would be devoid of ‘lobha’ (greed), Ahamkara or ego and ‘chapalata’ or immaturity of mind,who could inculcate and sustain interest and patience of the Karta and who could guide and teach the Puja Vidhana without being overbearing. At the same time, the expectations of a Karta are perhaps more as his duties and responsibilities are more intensive. The Performer has to follow a stringent regimen of purity, abstinence, deep devotion and other-worldliness. He has to be basically tuned against Asatya, Ahimsa, Asteya, Ahamkara, and Arishad Vargas. He has to follow the Kuladharma of a Brahmana (or as applicable to a good Kshatriya) by observing Sandhyavandanas, Agni Karyas, fastings, sleeping on floor during the Puja days, Daanaas, Vratas and Tirtha Yatras and so on. In fact the major player in the Mandala Puja is the Karta while the Guru has an equal responsibility of the Kriya.
Diksha Vidhi: Suta Maha Muni then described to Sanat Kumara about the selection of the Mandala, placements of Deities and the general arrangements:
Pariksha Bhumim Vidhivad gandhavarna rasaadibhih,
Alankritya Vitaanaadgaurishwaraavaahana kshamaam/
(Test the soil area where the Mandala Puja is contemplated by way of its colour, smell and general acceptability, clean it up, put up a squarish Mandala, decorate it, instal Maha Deva in the Karnika of a petal of the Lotus and Avahya karnikaayaam tu Shivam Paramakaaranam, Archyayetsarva yatnena yathaa vibhavavistaram/ (perform Avahana / invocation and Puja). Later on make the placements on each of the petal-corners with the Siddha Shaktis:
Vaamaa jyeshthaayacha Roudri cha Kaali Vikaranee tathaa,
Balavikarani chaiva Bala Pramathani kramaat/
The Karta then has to do the ‘nyaasa’or depositing the Siddhis like Vaama Deva, Jyeshtha, Roudri, Kaali, Vikarni, Maha Maya and so on. Deposit (Vinyasa) of Pranavaasya Shiva on the Eastren Lotus petal; Aghora akin to Neela Parvata on the Southern side; Vaama Deva like the Java Pushpa on the Northern side and Sadyojata Bhagavan who is white like Shudda Sphatika Mani and like Cow Milk should be placed in Agneya Vidisha. The ‘nyasa’or alignment of the Deity with the Physical Part of the Karta is to be done as follows: Sadyojata-Hridayaaya namah; Nairuti-Shikhaaya namah; Vayavya-Kavachaaya namah and Agni-Shikha Saadrush Sarnaangyangyani namah. Then nyasa is performed to Sada Shiva, Rudra, Vishnu and Brahma; Dhyana to Shiva:
Shivaaya Rudra rupaaya Shantyatitaaya Shambhavey,
Shaantaaya Shantadyaityaaya Namaschandramasey tathaa/
Vedyaaya Vidyaadhaaraaya Vahnavey Vahni varchasey,
Kaalaaya cha pratishthaayai Tarakaayanta kaayacha
Nivrutthyai Dhana devaaya dhaarayai dharanaayacha/
Mantrairetair mahaabhuta Vigraham cha Sadaashivam/
Ishaana mukutam Devam Purushaasyam Puraatanam,
Aghora hridayam hrushtam twashtam Vaamaguhyam Maheswaram/
Sadya Murtim smaraddevam Sadasadvyakti kaaranam kaaramm,
Pancha Vaktram dashabhujamashta trimshat Kalaalayam/
Sadyamashta prakaarena prabhidya cha kalaamayam,
Vaamam trayodashaar -vidhour vibhidya vitatam Prabhum/
Aghoramashtaadhaa krutwaa Kaala rupena Samsthitam,
Purusham cha chaturdhaavai vibhajyacha Kalaamayam/
Ishaanam Panchadhaa krutwa Panchamurtyaa vyavasthitam,
Hamsa Hamseti mantrena Shiva bhaktyaa samanvitam/
Omkaaram, aatramomkaara makaaram Sama rupinam,
AA-YEE-VUU-YE tatha Ambaanu- kramenaatma Rupinam/
Pradhaana sahitam Devam Pralayotpatti Varjitam,
Anoraneeyaamsa –majam Mahatopi Mahattamam/
Urthwaretasameeshaanam Virupaaksham umaapatim,
Sahasrashirasam Devam Sahasraaksham Sanaatanam/
Sahasrasta charanam naadaantam naadavigraham,
Sadyojaata sadyashaakaaram Chandra rekhaakriti Prabhum/
Vidyudvalaya samkaasham Vidyudkoti samaprabham,
Shyaamam raktam Kalaakaaram Shaktitrayakrutaasanam/
Sadaashivam Smaraddevam Tatwatraya samanvitam,
Vidyaamurtimayam Devam pujayeccha yathaa kramaat/
(Bhagavan Shiva is Rudra Rupa, Shanti Rupa, Vidya Sarupa, Vidhyaa dhaarana Swarupa, Agni samaana Teja, Tarakasura vinaashakara, Ishana Deva, Maheswara, Sadya Murti, Sthula Sukshma karana, Pancha Mukha, Dasha Bhuja dhaari; possessor of thirty eight Kalaas; Ambika Swarupa through the Letters Aa, E,Vu Ye and the tiniest and the most colossal. He is also the Possessor of thousand heads, thousand feet, thousand hands, as also the Chandra rekhadhara; he is of the Form of Crores of vidyut rekhaas or lightnings; he is of brown-red Form; the Possessor of Three Shaktis and Three Tatwaas: may I meditate to Him!). After Dhyana as above, Naivedya be served to Maha Deva, of which half is offered as Homa in Agni. The Karta should then consume Pancha Gavya made of Cow’s milk, curd, urine, ghee and dung in equal proportions; he should apply homa bhasma while reciting Vama Deva Mantra and perform Japa of Rudra Gayatri viz. Om taturushaaya vidhmahey Maha Devaaya Dheemahei, Tanno Rudrah Prachodayaat/ After the Japa, Pancha Kalashaas (Vessels) dressed with two new vastraas (Clothes) with ‘Sutras’ or cotton strings around them be given away to Pancha Brahmanas for sthapana or installation and by them cooked rice and ghee be offered to Agni as homa. Some Brahmanas be made to sit on ‘darbhas’ / kusha grass towards the Southern side of the Mandala for performing hundred and eight ‘Ahutis’ or offerings to Agni by reciting Aghora Mantra:
Aghorebhyo thatraghorebhyo ghora ghoratarebhyaha,
Sarvebhya-ssarva Sarvebhyo namastey astu Rudra rupebhyah/
These Brahmanas are required to observe ‘Upavaasa’ or fasting wearing new vastraas and headgears with closed eyes after three parikramas of the Mandala by reciting Rudraadhyaaya or Pranava. These Brahmanas are also required to perform Pushpa Puja to Maha Deva with Mantras and after the conducted Pradakshina are required to enter the Mandala in such a manner that the see the Mandala after oening their eyes.They are made to be seated on Kushaasana and after purifying themselves with Achamana then take up Pratishtha or installation of Dakshina Murti Shiva by executing Anga Nyasa and Havan. The Havan has to be done 108 times along with the recitation of Ishaana Mantra viz.
Ishaanam Sarva Vidyaanaam Ishwarassarva bhutaanaam Brahmaadhipatih Brahmanodhipatih Brahmaa Shivomey astu Sadaa Shivom/
After the havan, the Karta should fill up Tirtha Jala in vessels made of gold, silver or copper and sprinkle as a gesture of purification; the Guru should administer an oath in favour of Shiva and take up Diksha.The Oath at the Diksha Ceremony would be comprehensive and rigorous requiring that the Kartas including the designated Brahmanas should observe fast till Trikaala Pujas, Archanas including Havans, as per the number of Kalaas out of the Shodasha Kalaas as possible and rest of the prescribed ‘Vidhis’ or the do’s and don’ts. The Diksha states:
Varam Paanaparityaagashcchedanam shirasopivaa,
Na twanabhyarchya Bhumjeeyaadbhagavantyam Sadaa Shivam!
(Even ‘Praana parityaaga’ would be preferred if the prescribed Archana to Sadaa Shiva is not executed)!
Shiva Mandala Puja as prescribed:
Shailada Maha Muni quoted to Sanatkumara of what Maha Deva Himself conveyed to Nandi Deva about the formal Archana to him:
Shiva snaanam puraa krutwaa Tatva Shiddhim cha purvakrit,
Pushpa hastam pravishyaaya Pujaa sthaanam samaahitah/
Praanaayaa mantrayam krutwaa aahanaa plaavaanaani cha,
Gandhaadi vaasitaaro Maha Mudraam prainyaset/
(Known as Shiva hasta, the Karthas are to clasp their hands with Chandana and Pushpas and perform Kara Nyasa by concentrating on Maha Deva and purify their Atma Shuddhi or inner conscience, then attempt Pancha Bhuta Shuddi of Prithivya-aapas- tejo- vaayur-aakaashas followed by ‘Saakshaatkaara’or the Vision of Shiva’s Pancha Vaktras of Five Faces as follows:
Pancha Vaktram Dasha Bhujam Sarvaabharana bhushitam,
Prati Vaktram Trinetram cha, Shashaanka kruta Shekharam/
Baddha Padmaasanaseenam Shuddha sphatika sannibham,
Urthwam Vaktram sitam dhyaayetpurvam kumkuma sannibham/
Neelaabham Dakshinam Vaktramatiraktam Tatottharam ,
Goksheera dhavalam Divyam Paschimaam Parameshthinah/
Shulam Parashu khandam cha Vajram Shaktim cha Dakshiney ,
Vaamey Paraamakusham Ghantaam Naagam naaraachamuttamam/
Varadaabhaya hastam vaa sesham Purvavaa Deva tu,
Sarvaabharana samyutam chitraambhara dharam Shivam/
Brahmaanaga vigraham Devam Sarva Devotthamottamam,
Pujayatetsarvabhaavena Brahmaangrair brahmanahpatim/
(The above is the description of the Five Faces of Shiva).
Uktaani Pancha Brahmaani Shivaangaani shrunvamey,
Shakti bhutaanicha tathaa Hrudayaadeeni Suvrata/
Om Ishaanah Sarva Vidyaanaam Hridayaaya Shakti beejaaya namah,
Om Ishwarah Sarva Bhutaanaamamrutaaya shirasey namah/
Om Brahmaadhi pataye Kaalaagni Rupaaya Shikhaayai namah,
Om Brahmanodhi pataye Kaala chanda maarutaaya Kavachaaya namah/
Om Brahmaney Bramhanaaya Jnaana Murtaye Netraaya namah,
Om Shivaaya Sadaa Shivaaya Paashupataastraaya Apratihataaya Phat Phat/
Om Sadyojaataaya bhavey bhavey naati bhavey bhavasyamaam bhavodbhavaaya Shiva Mutrtaye namah, Om Hamsa shikhaaya Vidyaa dehaaya Atmaswarupaaya Paraaparaaya Shivaaya Shivatamaaya namah/
( The above is the description of Maha Deva’s Hridaya, Shiras, Shikha, Kavachaas, Netraas, Pashupataastra, and the totality of Shiva.)
Tatwa Shuddhi: Then the Navaakshara Mantra is recited:
Om Bhuh Om Bhuvah Om Swaha OmMahah Om Janah Om Tapah Om Satyam Om Rutam Om Brahma.
The Mula Mantra is recited:
Om Bhurbhuvaha Swah Tatsaviturvarenyam Bhargo Devasya Dheemahi Dhiyoyonah Prachodayat/
Surya Deva is invoked as
Namah Suryaaya Khakolkaaya namah.
Subsequently, Invocations to Devas are recited:
Om Bhuvah Brahmaney Hridayaaya namah;
Om Bhuvah Vishnavey Shirasey namah;
Om Swah Rudraaya Shikhaayai namah;
Om Bhurbhuvah swah Jwaalaamaalinyai Devaya namah;
Om Mahah Maheshwaraya Kavachaaya namah;
Om Janah Shivaaya netrey bhyo namah;
Om Tapastaapanaaya Astraaya namah/
With the relevant Mantras, Tatwa Shuddi, Atma Shuddhi, Brahma Nyasa to Pancha Mukha are all attempted. By reciting Rudra Gayatri, all the Puja materials are purified including Dravya Shuddhi,and of Gandha-Pushpa-Patra-Jala-Ksheera-Narikela-Phala-Dhupa-Deepa-Vastras . Shiva Murtha should not be left free and all kinds of Puja Dravyas are aranged on the Shiva Mastaka at least by Bhasma in the process of Puja and thereafter lest there should be hindrances of achieving Dharma-Artha-Kama-Mokshas; nor there should be Durbhiksas, Akaalaas, Bhukampanas, battles against enemies and diseases. After Shiva Linga Snaana, clean up the Linga with fresh Vastra; and offer Shodasopachaaraas of Gandha-Pushpa-Deepa-Dhupa-Naivedya-and Alankara with Chandana and Bhasma by reciting the relevant Mantras. Mula Mantra Japa is an essential component and one tenth of the Japa has to be by way of Havan. Brahmanga Japa, Atma Nivedana Stutis, Guru Puja, Vedaadhyaayana, vividha daanaas, and final Ganesha Puja would be the integral part of the Puja. Performance of Puja on the above lines to Shiva Linga for a year would bestow Shiva Sayujya and before the termination of life assure Arogya, Sampatti, Keerti, Putra-Poutras, and Samasta Kaamana Phala.
