VERHANDELINGEN DER KONINKLIJKE NEDERLANDSE AKADEMIE VAN WETENSCHAPPEN, AFD. LETTERKUNDE NIEUWE REEKS DEEL LXXII No. 3 SURYA-SEVANA THE WAY TO GOD OF A BALINESE ŚIVA PRIEST C. HOOYKAAS N.V. NOORD-HOLLANDSCHE UITGEVERS MAATSCHAPPIJ AMSTERDAM-1966 [[001]] Aan de nagedachtenis van mijn Vrouw [[002]] TABLE OF CONTENTS Preface; Spelling; Acknowledgements 5 I. INTRODUCTION 1. The title and its limitations 9 2. Previous Research 10 3. Words spoken and manuscripts used 13 4. Three of the most frequent repetitions 20 a) Astra-mantra 21 b) Sańkěpi 24 c) Śivi-karaņa 28 5. Gestures made, and the manuscripts 31 a) symbolic actions and gestures 31 b) astra-mantra kabèh 32 c) mudrās to the points of the compass 33 6. Way of presentation of the text 34 7. Summary of Sürya-sevana - Table 35 II. TEXT, TRANSLATION AND NOTES A-Z a-SURYA-SEVANA/a-KARYA TOYA 44 A’-Q’; Z"b THE SENDING OFF AGAIN OF THE GOD 100 R’-X’; Z"b EXTENDED RITUAL for EXORCISM. 112 R’; T"-Y"; Z"b EXTENDED RITUAL for OTHER PURPOSES 118 III. A BALINESE PRIEST’S DETAILED COMMENT IV. A COMPARISON OF SAIVA RITUAL IN SOUTH INDIA AND BALI V. APPENDICES 131 141 A-Z Appendix 1: Bhasma and Bhūsana - Ashes and Adorning 158 (A)-(Z) Appendix 2: Śiva-Linga-pūjā - worship of Śiva-Linga Appendix 3: Litanies for full moon and new moon days. Appendix 4: Pūjā/Veda Ksatriya - warriors’ worship Appendix 5: Tinkah in agavé toya paśucyan/pabrsihan MANUSCRIPTS REFERRED TO 170 176 182 186 187 192 225 (A’-Z"b) between pp. 128-129 INDEX to AGAMA TIRTHA and SURYA SEVANA LIST of ILLUSTRATIONS TABLE of a-SURYA-SEVANA/a-KARYA TOYA (Aa-Zb) between pp. 32-33 [[003]] AANGEBODEN IN DE VERGADERING VAN 13 DECEMBER 1965 [[004]]
PREFACE
This book has been written primarily for those interested in (Hindu) religion and ritual, and from the reviews to be written by the scholars among them, I hope to learn with which part of the Indian subcontinent and with which century of Indian history this ritual is associated. Though Indology is not my strong point, I do have a unique collection of Balinese MSS. in my possession and I feel it is desirable to publish material as soon as it has been given shape and to entrust most of the linking up to my colleagues. The last chapter has been written to stimulate them. My second aim is to encourage those who consider working on Balinese MSS., especially the MSS. in the Gedong Kirtya at Singaradja (Bali) which have not yet been described properly and which may even be insufficiently known. One cannot expect them to be faultless, but several of them are remarkably good and prove to have been copied carefully. This collection, which is, of course, not yet complete is, nevertheless, varied and rich. These MSS. can exasperate one, but they can also give one the satisfaction not only of finding what one is seeking, but other things also. They should be studied, they are valuable, even indispensable. Although, in the first place, this book is intended for the scholarly, I cannot help fostering the hope that it may reach some representatives of widely divergent groups. The first is that of Christians, for many of whom the way to God seems to present no problem - but whose churches become emptier. The second is that of the Hindus in Bali, who might be interested in having in clear print before their eyes the ritual by which their priests worship their God, and by which they prepare their Holy Water. Hitherto, as far as I know, this ritual has not been too easily accessible to them, for the greater part due to the languages in which it was written 1). I hope they will be patient where I have misunderstood 1) Just as this book was about to go to the printers, Professor Dr. J. Ensink of the University of Groningen gave me the pamphlet entitled WEDA SANGGRAHA, according to its preface called WEDA-SANGHITA. It consists of 42 pages in excellent Balinese script. It is published by the Parisada Dharma Hindu Bali (congregation of brahman priests) and was printed at Denpasar on the occasion of the huge Eka- Daśa-Rudra ceremony in the National Sanctuary, Pura Besakih, in March-April 1963. The contents are: Catur Weda, Pūjā Parikrama and Buddha Weda, and - apart from six pages of misprints-it is a faithful transliteration of Sylvain Lévi’s book ‘Sanskrit Texts from Bali’, sections I and III, evaluated in 1.2 infra, and throughout this book (my book deals with I). In this Pūjā Parikrama, the rubric section is rather short, and since no translation of the Sanskrit is given, this pamphlet cannot yet satisfy the need for elucidation. In the ‘WEDA PARIKRAMA’, selected by Narendra Dev Pandit and translated into Indonesian by I Gusti Madé Tamba (clearly printed in Roman script, Bhuvana Sarasvati Publications, Denpasar, Bali, 1953), notwithstanding its promising title, it is only in its seventh and last section, Mantra-mantra Sanskrit dari Bali, pages 263-300, that there are any ślokas with translation. There are 35 of them, a dozen of them being relevant to the ritual dealt with in this book. No further attempt has been undertaken in this direction, as far as I know [[005]] 6 SŪRYA-SEVANA the tendency of their MSS., and that they will be co-operative and give me their criticisms. I thank them for the trust with which they confided their precious MSS. to me and also to the public library of palm leaf Mss., the Gědong Kirtya at Singaradja. SPELLING I know that even peaceful minds are prone to become overheated in the matter of the spelling of the mother tongue. In this respect, I beg for the reader’s indulgence for the way I have resolved the difficulties with which I saw myself confronted. In Indological works ‘Veda’ is the usual spelling for the word which in Indonesia is spelt ‘Weda’, and, with the exception of the preceding note, I have clung to the v spelling. But then some of my MSS not only alternate ‘Varuna’ with ‘Baruna’, but also may vary the correct ‘bodhana’ with the ‘hypercorrect’ (i.e. mistaken) ‘vodhana’. As it is not worth while stating all the divergencies of spelling in the writings of a society where a spelling system is a twentieth century innovation, and this only with regard to the Roman script, I have, as a rule, been systematizing and ‘Sanskritizing’, even in Old-Javanese and Balinese. The use of too many capitals makes printed pages look ugly, but I could not avoid using them frequently. Constantly dealing with holy subjects as I am, usage, apart from necessity, is my justification for doing so. In Dutch, when writing of God, it is customary to use capitals in ‘God Who’ and ‘God Whose’ and ‘His Only Son’. Indonesians, mainly during this century, have been educated along Dutch lines, and so one may find in Indonesian ‘Putera-Nja jang Esa’. Narendra Dev Pandit in his ‘Weda Parikrama’ prints ‘hamba-Mu’, ‘Your servant’. In the Roman Catholic ‘Pengadjah Sang Kristus’, a cathechism in Roman script but without mention of publisher, place or date (provided with an imprimatur dated 2-10-‘57), all holy persons, holy ideas and even ‘Gěni Něraka’ have a capital initial letter; such words may even be printed entirely in capitals. The other day French Protestants and Roman Catholics agreed on printing ‘Mal’ in the Lord’s Prayer. In Bali, Protestant missionary books are only printed in the indigenous script, as far as I know. Presumably because the Devanagari script has no capitals, there is a strong tendency among Sanskritists, in transliteration, to deny themselves these useful auxiliaries. Finding myself between the devil and the deep sea, I have used capitals for the essential words of a caption, but initial capitals only for all holy persons and for personifications. In this way I have endeavoured to be fair to Believers, to those who like subdivisions, and to those who have an eye for layout. For the benefit of the last category, and also to avoid a surfeit of capitals, ‘MSS’ will be written ‘mss’ throughout. I have used circumflexes and hyphens freely in the transliteration of Sanskrit, as an aid to lucidity. Moreover, in the hope of being helpful [[006]] PREFACE 7 to those Sanskritists who may be ignorant of Indonesian languages, I have also put a hyphen between a Sanskrit word and its Indonesian accretion. Italics have been used for non-English words, and in order to draw extra attention to the small but important words IDEP/DHYANA, which precede an explanation to the worshipper as an instruction to him to THINK, I have used capitals. I have also sometimes spaced a word or words, with the same idea. Often I had to make my own choice between using a comma or a semi- colon and a semi-colon or a full stop; I may not have been consistent but then neither were my mss. Dashes are mine; they are not found in the mss. It is inevitable that this book will, by its very nature, demand the reader’s concentration, and so, from the outset, I have tried to present it in a readable and surveyable manner.
ACKNOWLEDGMENTS
I am indebted to Dr. T. Goudriaan of the University of Utrecht who drew my attention to the existence of Fausta Nowotny’s paper, and to Professor Dr. J. Ensink of the University of Groningen who gave me a copy of the Weda Sanggraha and who went through a considerable part of my ms. With his better knowledge of Sanskrit and Indology generally speaking, he was able to give me much help. This work has fewer flaws as a result of the aid this scholar has continually given me. I wish to thank Miss Jeune Scott-Kemball, known for her faithful and elegant translations who, without hesitation, took upon herself the un- enviable task of correcting my English and making my meaning clear; not only is the author but any reader should be grateful to her. I must also thank Miss Winifred T. Large of the School of Oriental and African Studies, London, who arranged for the photographs of the new drawings to be made, and Mr. A. M. Verheggen of the Royal Academy, Amsterdam, for the photographs from ‘Mudrās’ by Tyra de Kleen, which thanks to the courtesy of Messrs. Kegan Paul of London the publisher was permitted to reproduce. This book could not have been written without the never failing help of my friend I Gusti Ngurah Ketut Sangka of Krambitan (Tabanan, Bali), who provided me with not only my best ms but also with the meticulous drawings he had made of mudrā. Writing to me about his numerous consultations with padandas and collecting all the material, which he put at my disposal for the furtherance of the understanding of his religion, must have taken him much time; I owe him my deepest gratitude. [[007]]
[[008]]
I. INTRODUCTION
- THE TITLE AND ITS LIMITATION Some explanation is required here; the first is the term ‘Balinese’. Balinese princes from Karangasem, the most eastern part of Bali, ruled over Lombok, the adjacent island to the east, between 1744-1894. They built their capital Cakra-nagara in the most western part of that island. There a Balinese court flourished with its brahman priests and their learning. It was there that the Nāgara-kṛtāgama, the most epoch making ms of the Hindu-Javanese past, was found.
So, when in this book, a ms originating from Lombok is mentioned, it belongs to this Balinese world. With the exception of some seventeen brahman Buddha priests, padanda Buddha as they are called, all Balinese padanda are considered to be priests of Śiva. This book deals with the brahman padanda Śiva, in some treatises called ‘high priest’, and not with the pamanku, temple or village priest, who are more numerous and whose mediatory activities are, in the main, directed towards other deities and who as a rule do not belong to the trivansa (upper three castes: brāhmaṇa-ksatriya-vaiśya) but are outside of them (jaba; a class of out castes is unknown in Balinese Hinduism).
‘The Way to God’ is an imperfect term for the detailed rendering of a ritual, the first half of which, indeed, consists of all the preparations to make it possible for the priest’s soul to achieve unity with God, but the second half of which, the preparation of Holy Water by God, Who directs the priest’s hands (kara, i.e. do-er), may be the more important. The Balinese were in the habit of calling their creed, the agama tirtha, after this Holy Water, tirtha or toya or amrta (rendered by me as ‘ambrosia’, though I know that it should be ’nectar’). Only recently has the term āgama tirtha given way to one with a more international element in it: āgama Hindu Bali. A complete ritual will be dealt with in this book, though it is only the basis and is enlarged considerably for a variety of grand occasions: from incinerations to Eka-Daśa-Rudra, but these fall outside the scope of this book. Finally by saying ‘a’ and not ’the’ Balinese priest, the intention is to show that in this religion and in this island there may exist differences, in detail and perhaps even in essence. This subject is as interesting and important as the subject of this book but is not within its field. These explanations were felt to be necessary in this field of research because every visitor to Bali is immediately struck by the enormous number of temples and offering places and on the first day of his visit may learn about the great variety of gods worshipped and of the worship- [[009]] ping of different groups. He may be shown the difference between the Śaiva and the Bauddha brahman and the (slightly Vaiṣṇava) sēnguhu (exorcist) with his extra cult objects, while all three are squatting down during their ritual and can hardly be distinguished. He himself will notice that the ubiquitous pamanku, temple or village priest, who is constantly moving about, is clad in white and has a white head covering, but he will need to have some knowledge to draw the conclusion that the dalan, puppeteer of the shadow theatre, vayań kulit, may, for part of his activities, be reckoned as being an exorcist priest.
It is only to be expected that with this variety of places of worship, of occasions for worship and of priests worshipping, there are a considerable number of rituals to be performed. Of all these, the Balinese have only reproduced the basic ritual of the pamanku (mimeographed; available in Balinese script and in Roman script) under the title ‘KUSUMA-DEVA’ (here I must repeat that the GAGELARAN PEMANKU, mimeographed, foolscap, ‘dikeluarkan oléh dinas agama otonoom daérah Bali’, Denpasar, 9-7-‘58 contains essentially the same ritual, with the addition, however, of some inserted mention of Buddha and Tri-ratna).
2. PREVIOUS RESEARCH
Hitherto three attempts have been made by Europeans to penetrate into the world of the Śaiva brahman. This priest, who plays a role in all elaborate ceremonies, festivities and spectacles, but who keeps himself completely aloof, and who, after an hour of murmuring and of making gestures, during which time he concentrates exclusively on himself, of throwing flowers and rice grains, of bell ringing and gesturing with the fingers, and holding cult objects above the priests’ lamp (fire) and the smouldering frankincense, of splashing water which is in small containers and sprinkling it in drops, then returns home again, respected, sought out as one who prepares Holy Water, but not as one who is regarded as a leader nor followed or listened to as a preacher; as one who is unheeded and not understood. All these things are of no concern to him.
First by birth, subsequently by education and finally by initiation he becomes twice-born, dvi-jāti; by study and consecration he changes from an ulaka (Skr. valaka, balaka, child; in Bali: a theological student who has not yet been consecrated) and becomes an ordained priest who is permitted, and has the ability to, project his soul from his body, to burn his sins away, to introduce the Śiva Soul into his pure body, to have the god Śiva Himself prepare the Holy Water, to make the God return again to the celestial abode. He does not have to ask for Holy Water or to invite the God to appear-his words and works accomplish the God’s descent and His preparing of Holy Water. This basic ritual enables the priest to take care of the dead, to consecrate the ruler for the sake of the world of Bali, jagat Bali, and to ward off calamities. Without the worship of [[010]] INTRODUCTION 11 Śiva as the God of the Sun or God Sun (Sūrya, Āditya) and its immediate result, the obtaining of Holy Water, nothing can be done. It is perfectly understandable that my predecessors should start the study of Balinese religion by delving into the Śaiva ritual, but due to several circumstances the work has not yet been completed. In the early ’twenties, the Swedish artist Tyra (de) Kleen was attracted to the mudrā, gestures, of brahman priests and made drawings of the hand movements of Bauddha and Śaiva priests. She had the willing co- operation of the Balinese ruler of Gianjar, of Controleur P. de Kat Angelino, the Dutch Resident Magistrate, and of some padandas who were prepared to explain the meaning of several of their mudrā for which the Balinese term is pa-tañan-an, hand movements, gestures. On their information, de Kat Angelino was able to write a text to Tyra de Kleen’s fifty drawings; he dealt mainly with the Śaiva ritual. The work was published in Dutch and translated into German, but in the Anglo-American edi- tion, a new introduction was substituted for De Kat’s text. As De Kat’s field of activities was elsewhere, and because he was neither a student of Sanskrit (for the priest’s words) nor of Old-Javanese (for the priest’s actions, the rubric), this valuable work must be regarded as pioneering. It stimulated R. Goris, who hád studied both Sanskrit and Old-Javanese, to approach the subject from the philological side when writing his Ph. D. thesis (Leiden) ‘A contribution to the knowledge of Old-Javanese and Balinese theology’. Unfortunately the Leiden mss. with which Goris had to work were too concise, written too much for the ‘bon entendeur à qui demi-mot suffit’ in Bali, to admit of the construction of a ritual. His interest in the theological side of the ritual made him look towards India and the Purāṇas; in the Tantric field, the publication of books and texts had only been started. Consequently Goris’ explo- ration was not entirely succesful, but his far-reaching investigations inspired Zieseniss’ valuable work on Śaiva-Siddhānta treatises, Sanskrit and Old-Javanese (recently published by the International Academy of Indian Culture, New-Delhi). In the meantime, still in the late twenties, the famous French Indologist Sylvain Lévi visited Bali and there collected the materials for his book ‘Sanskrit Texts from Bali’. Lévi, as a leading Sanskritist, was welcomed by the colonial Government and helped as a distinguished visitor and made good use of the facilities accorded him. Day after day padandas from several self-governing provinces were given transport in order to meet and talk with him, and by reciting to them ślokas which they knew, he gained their confidence. They consulted him about their difficulties with texts and started copying them for his perusal. When the texts were published, five years later (1933), in the Gaekwad Oriental Series, Baroda, no specific details about them were given and after Lévi’s death, and the war, they were not to be found in Paris. One is inclined to presume, without knowing it as a fact, that non-brahman scribes in a government office [[011]] 12 SŪRYA-SEVANA were used to type out for Lévi what the padandas had written in the Balinese script, being the self-evident vehicle for this subject and this language. Lévi had sometimes felt the need to emend his texts to a not inconsiderable degree-a fact apparent now that scores of the mss have come to the light. In most cases this was an improvement on the mss, though in some it was not so (specially in the stotras). Hardly anywhere in his book does he state what he has found, but then, had he done so, it might have been swollen to twice its size, without making us much the wiser. Between Lévi and his published book it may be assumed that there was in Baroda a brahman scribe, a pandita or śāstri, who trans- literated the typewritten or the emended sheets into the Deva-nāgari script, and to him I am inclined to ascribe the Old-Javanese and Balinese rubric which was not recognized as such and hence was printed in Deva- nāgari instead of in Roman script. Apart from the scribes’ errors, irritating and misleading though they are, Lévi, working with an interpreter ignorant of Balinese, has misconceived the character of both the rituals contained in his book:
Buddha Veda is not the daily but the death ritual of the Bauddha priest, and Veda Parikrama is not the simplest ritual of the Saiva priest. Nevertheless, Lévi was fortunate in being helped as perhaps nobody before, or since and such help he deserved; but his enthusiastic helpers who gave him the richest collection of stotras I have ever seen, also furnish- ed him with a ritual richer in points and in dislocation of sequence than any of the score of mss I have examined. It was only in the ’thirties that an abundance of good material on ritual was made available to the library of palm leaf mss, now called Gedong Kirtya, in Singaradja, mentioned by Lévi. This was due to the fact that most of the ten subdivisions of Bali and Lombok on its Board were represented by padandas, for centuries the literati. In the absence of a directing authority or the standardization that occurs through the use of textbooks, mss are the material one has to rely upon, and working with them has influenced the shape of this book. But before writing about them, three more authors who have thrown a side-light upon Balinese Saiva brahman ritual must be mentioned. To begin with Carl Gustav Diehl, in whose Instrument and Purpose; Studies on Rites and Rituals in South India’ (Gleerups, Lund, 1956) it became abundantly clear that Old-Javanese brahman ritual, as surviving in Bali, may largely be ‘constructed’ from the same ‘building materials’, though it has a rather different aspect-n’en déplaise Lévi. Most buildings have a number of building materials in common; the buildings also have the common purpose of keeping out the rain, sunshine, cold and thieves; they are subject to the law of gravitation, etc., but the purpose for which they were built are widely divergent. The structure of the Indian worship for the God-ever-present-in-the-temple shares many of its materials with that of the God-in-the-sky, Who has always to be conducted down [[012]] INTRODUCTION 13 from the sky to His worshipper for a period of some twenty minutes, Whose presence by His worshippers is felt exclusively through the Holy Water which He Himself has just prepared through His priest and which He bestows upon mankind. The purpose of this book is to try to under- stand the way in which this mystery is realized. In the second place, Fausta Nowotny, in her paper ‘Das Pūjāvidhini- rūpaņa des Trimalla’ (Indo-Iranian Journal I/2, 1957, 109-54), does not refer to Diehl’s book, which is almost contemporary with her paper, but in her introduction she mentions frequently the book on Mudrās by Tyra de Kleen and De Kat Angelino. Several of her remarks are to the point, but, due to the provisional character of her information on Bali, others are less so. The main value of her paper is its Sanskrit text, the translation and the notes. The brief ritual has certainly several points in common with the Balinese one, but it will be apparent from my book that the divergencies are also conspicuous; unavoidably prepossessed by ‘my’ ritual, I am even inclined to consider it as being largely different. Finally, there is Hélène Brunner-Lachaux’s ‘Le rituel quotidien dans la tradition śivaite de l’Inde du Sud selon Somaśambhu’; the long title continues with ‘Somaśambhupaddhati, Première Partie, [Texte], Traduc- tion, Introduction et Notes’, being No. 25 of the Publications de l’Institut Français d’Indologie, Pondichéry, 1963. This rather bulky book (400 pp.), throughout more detailed than Diehl’s, and much more so than Fausta Nowotny’s paper, again deals with a South Indian ritual which is con- siderably closer to the Indian ones than to the Balinese Saiva ritual. From the treatises dealt with supra, Madame Brunner mentions only Diehl, but this XIth century text and her elaborate introduction are extremely helpful for the understanding of details in the Balinese ritual. As far as I can see, the two are essentially different, even though they have several subdivisions in common. To both of them apply Madame Brunner’s words of appreciation (p. xl top): ‘La voie du rituel śaiva se présente comme une voie saine et équilibrée, où les facultés de l’être sont utilisées et dirigées, ses besoins fondamentaux satisfaits et peu à peu transformés. Elle est, nous le croyons, digne d’intérêt et même d’admira- tion’. 3. WORDS SPOKEN AND MANUSCRIPTS USED Some remarks for philologists must be made about the mss; those more interested in the results than in the work which produced them need only glance through these paragraphs and absorb a few of the statements. In this field, it is only to be expected that the Balinese mss on ritual are written by those nourris dans la griya, the brahman priest’s compound, on behalf of those who are also reared there; they try neither to convince nor to explain, they only state and describe, and more often than not very briefly. In many cases, eight, six or only four syllables are sufficient to [[013]] 14 SŪRYA-SEVANA denote a song in praise of God (cf. Te Deum); the one syllable saṁ represents the whole section of saṁkēpi (cf. sub 4 b), Lévi’s No. 77, the printing of which takes half of his page 10, closing with the vague words mudrā saka-vēnań, ‘with appropriate gestures’ (in Deva-nāgarī script). Another difficulty is, that ritual continually deals with the triad bāyu śabda-idēp: action-word-thought, of which the mantras, words, as they preponderate in these manuals, are never omitted, however concise they may be. The accompanying mudrā, however, and the taking up, flicking or casting away and dropping of a flower, and most of all the sprinkling of Holy Water, may be mentioned before the mantra or after it, or perhaps not at all. Here, one cannot be grateful enough for a slightly more circum- stantial copy. Lastly, the element IDEP or DHYANA, i.e. what the worshipper has to be aware of and what he has to imagine during the action made by his hands and by his mouth, is represented too seldom in the Balinese mss on ritual, much less so than in the South Indian paddhati, manuals (on ritual), where the author continually presents this element as the natural and not as the exceptional third. This is the reason why during the presentation of the ritualistic text, as often as possible passages are intercalated in small print. As a rule they originate from mss which did not contribute to the constituting of the text, but in some way or other dealt with these materials and threw a sidelight on them. Therefore, attention is also drawn to those passages by the use of capitals for the introductory words. Due to a variety of circumstances, both in Bali and Baroda, I only had a limited number of hours in which to consult my Śivaite informants and even then I could only go through Lévi’s text with them. Therefore, the text presented in this book is my construction, but based on the mss. The main divisions and the subdivisions are my own, though it was the nature of the mss that suggested them to me. The fact that my faithful helper submitted my reconstituted text to the judgement of a padanda friend and that this priest made no objections to it, does not relieve me of the obligation of stating that it has been reconstituted. The mss; preceding notes. K means: originating from the Kirtya library; the numbers go from 1-2,500. L means: originating from the Library of the University of Leiden; the numbers start at about 3,000 and go to approximately 5,000; these mss have been described by Dr. H. H. Juynboll in his ‘Supplement op den Catalogus van de Javaansche en Madoereesche Handschriften der Leidsche Universiteits-Bibliotheek’, I-II, 1907-11, Brill, Leiden. As the K mss never reach a number higher than somewhere in the third thousand, and the L mss always have a number above 3,000, the K and L distinctions, once made here, hardly need to be used. In this book each ms or even constituent part of a ms is denoted by its particular capital. MSS ABGHIKR belong to my private collection and are destined eventually for the Leiden library. [[014]] INTRODUCTION 15 Mss K 69, K 87, K 1186 and L 5163 deal with more than one subject, so that their titles cover only part of their contents. From ms 69 I have used the part called S; ms 87 had to be split up into XYC; from ms 1186, I have used the middle fragment, quoted as P, and I have split ms 5163 into F and Q. I. ARGHA-PATRA, I’. ARGHA-PATRA, I". ARGHA-PATRA, II. PARIKRAMA, The mss; six main groups. III. TOYA PAŚUCYAN/ PABRSIHAN, IV. V. VI. PŪJA/VEDA KŞATRIYA, Uttama or full ritual; basic for major ceremonies. The 4 mss which actually contain the enlargement of the priest’s bhūṣaņa, adornments, and of Śiva- Linga worship. The other 5 mss which have not been enriched by these elaborations, for the rest, contain ex- actly the same ritual. Madhyama or restricted basic ritual, the uttama ritual minus a certain number of actions; 6 mss. dealing only with roughly the last quarter of the I ritual. My letter T-end; 2 mss only. Mss suffering from too many lacunae and dislo- cations of sequence to be used for the constituting of the course of a ritual, but because of their detail not to be despised, or useful only for the constituting of the extension dealing with the worship of Siva-Linga. Mss occasionally quoted when they happen to throw light on the text to be constituted and on its meaning. essentially belonging to the II group, but because of the Vaisnava character of their mantras better treated separately, even though they present the same sequence of activities as the purely Saiva mss. GROUP I Uttama Ritual. I-ARGHA-PATRA T-ARGHA-PATRA (Griya Kadampal, Krambitan, Tabanan), 31 typewritten sheets; the most detailed ms on this ritual hitherto examined; contains not only mudrās but also explanations and paraphrases. (Abiansěmal, Badung), K 3, lempir 1-17a, type- written copy. S-ARGHA-PATRA (Sanur, Badung), K 69", being 11. 34a-51b in KAJAN PUJA PITR (ritual for the dead), 81 lëmpir, typewritten. H-ARGHA-PATRA (Krambitan, Tabanan), 12 typewritten pages, foolscap, fine print. These 4 mss belong together, [[015]] SURYA-SEVANA not only because the words and actions are in exactly the same sequence, and because they have the same Old-Javanese rubric, but also because they share the same internal extensions on Bhūsana and worship of Śiva-Linga, and the final ritual (my S’-Z") after the ceremonial send- off of Śiva-Surya. X-ARGHA-PATRA K-ARGHA-PATRA (origin?), K 87’, 11. 1-12b, typewritten. This ms continues with 87" (my Y) PARIKRAMA and ends with 87" (my C) ASTRA-MANTRA. (Griya Anjar, Sibang Kadja, Badung), 14 type- written sheets. G-ARGHA-PATRA (‘Bonbiu, Gianjar), the first 25 pages being closely- written on paper from an exercise book, Balinese script. G stands for GAGELARAN PUJA n GEDE BHUJANGA, i.e. Exposé of the worship of the exorcist priest. Before reciting his own litany, called Pūrva Bhūmi, which belongs exclusively to his type of priests, and taking up the cult objects characteristic of his exorcistic rites - all of them preceded by the generic name bajra, thunderbolt-the sěnguhu priest worships Śiva- Sūrya and prepares Holy Water just like the Saiva priest. Hence, for the first part of his ritual, his manual is equivalent to the Saiva ritual. The nabé, teacher, of this exorcist priest was the purohita, court priest, of the ruler of Gianjar, who resided in the griya Sadawa and was the informant to Sylvain Lévi and presumably also a few years earlier of Tyra de Kleen and P. de Kat Angelino. This ms mentions repeatedly mantra and mudra that are not to be found in the preceding six mss. ARGHA-PATRA (origin?) K 83, 11. 21, Balinese script; only 11. 1b-12a deal with the ritual. My subdivisions C, Nm, P, Te, P’ are missing here; after Mb there is another Prāņāyāma (my I) intercalated. U-VEDA bvat SAURA (Kadiri, Tabanan or West Lombok), K 321, i.e. brahman ritual for the worshipper of Sūrya; written on 28 pp. of an exercise book, Balinese script, the first ten dealing with the ritual itself, the rest containing stotras. Its contents place this ms in this group. The script is not too good, the spelling is atrocious; the ms becomes sketchy once the Holy Water has been prepared (my Z). [[016]] GROUP II Mādhyama ritual. L=VEDA-PARIKRAMA (origin?), being pp. 7-32 in Lévi’s ‘Sanskrit Texts from Bali’. None of the preceding texts has so many items out of their proper order, none of them has so many extra points of ritual and none has a cardinal section either completely out of sequence or seriously truncated or even com- pletely ignored. None, of course, has such good Sanskrit and such amputated and misspelt rubrics. P=PARIKRAMA (Singaradja, Bulèlèng), K 1186", being 11. 15a- 26b from K 1186, Pūjā Pañca Bali Krama, 38 lempir, typewritten. F=(ASTRA-MANTRA) (Lombok), L 5163′, 11. 4b-23b, very clear Ba- linese script; for obvious reasons no name and not evaluated in catalogues. V=(ASTRA-MANTRA) (Lombok), L 5141, 11. 1-12b; the Balinese script is clear enough; no name and not evaluated in catalogues. A=ASTRA-MANTRA (Bandjar Buruan, Giri Apsara,…), typewritten; followed by 1. 9a some final ritual, 11. 9b-14b other ritualia. Y=TINKAH in AGAVÉ TOYA PASOCAN (origin?), being 11. 13a-21b in K 87, Arghapātra As to their contents, these mss form a unity, clearly distinguished from the other groups. But Y shares its name with the third group. GROUP III Nişţa ritual. C=TINKAH in AGAVÉ PABRĚSIHAN (origin?), being lempir 22a-26a (finis) in K 87, Argha-patra, which in this way first deals with Uttama ritual, next with Madhyama and finally with Nista. Q=TINKAH in AGAVÉ TOYA PASUCYAN (Lombok), being lempir 24a-33b (finis) in L 5163, Astra-mantra; as in the preceding case the exposé of Madhyama ritual precedes that of the Nista. N.B. As to these mss, only two of them, and slightly diverging at that, contain the last quarter of the ritual, and do not contribute anything different; there is no reason to quote them often; they are dealt with in Appendix V. [[017]] 18 SŪRYA-SEVANA GROUP IV - Mss useful for details but less so for constituting the framework D-VEDA E-PITR-PUJĀ J-DVIJENDRA Bh-BHASMA M-KALĒPASAN of the ritual. (origin?). This ms L 4673, 76 pages foolscap in Balinese script (67 in Juynboll II 334 is a mis- print) contains several rituals, none of them complete or coherent, but its details are useful. It was one of Goris’ pillars and may have been the cause of his failing to reconstruct a complete course of the ritual. (Kěsiman, Badung), K 1423, ‘Cult of the Dead’, has its lempir 1a-10a in common with (indik ma-)Ligya, K 71, lempir 5b-13b. 11a-b deal with the ritual in the (priest’s house) temple; so do 12a-b; 13a-b deal with the ceremonial first hair cutting of a child and purification of the soil, bhūmi-śuddha; 14a-15a again with hair cutting, 16a-17b with the worship of Śiva-linga. (Pèdjèng, Gianjar), K 189, ‘Twice-born’, 1b-28b, consists of songs in praise of the Hindu gods and contains the Śiva-linga-stava preceded by concise directions for the worship of Śiva-linga. (Blahbatu, Gianjar), K 475, ‘Ashes’, 1b-14b, derives its name from the mantras used with the application of bhasma, in its beginning; on 2b-3b deals with the worship of Śiva-Linga; 3b-4b deals with bhūṣaṇa, my Appendix I, but in a manner rather different from the other mss dealing with the subject; for the rest it deals rather succinctly with several other ritualia. (Duda, Karangasem), K 1441, ‘Liberation, Res- cue’, 64 lëmpir, in its 25a-36a contains the ritual of interest here. This ms, with its rather general title, i.a. deals with the ritual of Śiva-rātri, cf. my ‘Agama Tirtha’. These four mss help to build up the picture of the worship of Śiva-Linga. GROUP V - Somewhat Explanatory MSS. N-ARGHADHYAT- MIKA (Sanur, Badung), K 73, ‘The Deeper Meaning of Argha (-pātra)’, 1b-9b, in its four first lempir uses IDEP six times and DHYANA six times as the introductory word, ‘Imagine, visualize’, for what the worshipper has to bear in mind at several of the main points during his worship [[018]] INTRODUCTION 19 O-ANUSTHANA bvat SAURA and in doing so it sheds a valuable light on Balinese Hinduism. Most mss rarely use IDEP and do not contain DHYANA at all; it looks as if Lévi’s ms did not have either of these words, like the majority of mss. These passages, consti- tuting so many contributions to the right under- standing of our text, have been incorporated in it, be it in small print. (Kěsiman, Badung), K 298, ‘Observance for the Worshipper of Sürya’, 1b-7b, still slightly shorter than the preceding ms, contains ‘imagine’ or ‘visualise’ eight times, expressed by IDEP, and nine times expressed by some derivation of /DHYA; it is therefore as important as its prede- cessor. GROUP VI VEDA KSATRIYA OF PRAGOLAN. Mss dealing with the ritual for ksatriyas and ulakas; the general course of the worship is that of the second group, but its Vaisnava substitutions and additions in the mantras are so numerous, and the internal divergencies and the deficiencies (especially in ms A) are so numerous, that they are dealt with together in Appendix 4. W VEDA KSATRIYA PŪJĀ KSATRIYA A PŪJĀ KSATRIYA K 961, origin unknown, 214 typewritten lines. K 1334, origin unknown, 89 lines Balinese script. Krambitan, Tabanan, 275 typewritten lines. B PŪJĀ KSATRIYA Panarukan, Tabanan, 105 typewritten lines. R PŪJĀ KSATRIYA Tabanan, 298 typewritten lines. PŪJĀ KSATRIYA Puri Anjar’, Tabanan, 249 typewritten lines. PŪJĀ KSATRIYA Puri Anjar", Tabanan, 217 typewritten lines. Though these seven mss deal apparently with the same ritual, they are somewhat divergent in contents and sequence and hardly permit one to get a clear and final picture of the worship of noblemen, at least into the details. The mss: virtues and vicissitudes. To begin with, the mss are not only documents but also monum.nts to the careful learning by heart and the faithful handing down over many centuries. The results of close comparison of a number of mss must, in [[019]] 20 SŪRYA-SEVANA the first place, fill one with admiration for this pious devotion, the more so as analytical understanding of the Sanskrit body of the ritual had of necessity decreased considerably, whereas the garb of letters, which correspond closely with those of the Deva-nāgarī alphabet, was exactly twice that needed for expressing the ordinary Balinese language in script. Inde lacrimae. Summing up and explaining practical facts and general rules of mis- readings and odd spelling in Balinese mss, especially in connection with Sanskrit texts, has never to my knowledge been attempted hitherto, at least not in detail. It would not have been displaced in this book, but a) thanks are due to Lévi for having corrected much, and b) it will be needed much more in a planned collection of stotras, several of which are only represented in a few mss or even in a single one. Anyhow, here a warning must be repeated against Lévi’s rash statement, that the Balinese ‘do not understand one word of the Sanskrit texts which they write, read and chant’ (his p. X). What has been lost, is the ability to analyze gram- matically; for the rest the padandas, helped by their paraphrases, have a knowledge of their texts which ranges between a rough idea and 100 % understanding. 4. THREE OF THE MOST FREQUENT REPETITIONS The ritual of the Saiva priest is rich in repetitions and it might be good to deal with this subject from the outset. Some of them are only short formulas, as e.g. the Kūṭa-mantra, consisting of the few words om hrām hrim sah Parama-Śiv-Ādityāya namaḥ. The South Indian style of the paddhatis, ritual handbooks, call this the mūla-mantra, the fundamental formula, for the adoration of Śiva in His capacity as the God of the Sun or the God Sun. Unaccompanied by a mudrā it is used in my Ea 10-11, Kb 3, Mb 2, Nn 1, Q 6, E’b, K’ 6, L’ 5, P’ & T’ 7. Thrice repeated, but only one line of print, and similarly unaccompanied by a gesture, is the formula called either śrī ambha and śrī ambhavantu after its initial two words, or try-antu after the ending which is repeated thrice. The formula reads: śreyo bhavatu, sukham bhavatu, pūrṇam bhavatu, may there be good fortune, may there be fullness (or: fulfilment), may there be happiness-the words with which the pamanku, temple priest, of Batu Karu in Tabanan once welcomed my wife and me into the precincts under his care-a formula for which, after this translation, omne quod felix, faustum fortunatumque sit might be substituted. It is somewhat less frequently used, cf. my B 10, Cb 18, H 9, Mb 15, Yc 18, Zb 3, T"a 8. It should be noted here that this formula, according to the closely related I & K mss, is not spoken by the worshipper, but by the God Who is worshipped, Who shows His benevolence towards the worshipper. The other mss do not mention this explanation. The Sthiti formula is hardly any longer: om Sa-Ba-Ta-A-I, om na- [[020]] INTRODUCTION 21 ma-Si-vā-ya, om Am-Um-Mam, to be found in B 4, Q 7, Vc, F’ 2, Χ" (Ν.Β.), (Η). The variant of this formula, and always preceding it, is Utpatti and runs as follows: om I-Ba-Ta-Sa-A, om ya-na-ma-Si-vā, om Mam-Um- Am; it occurs only in B 3, Q 3, F’, X" and (E). (Pralina, reading om A-Ta-Sa-Ba-I, om vā-Si-ma-na-yā, от Ат- Um-Mam, and the third of this kind, obviously not to be repeated, is found in my X’a, X" and Z"a). Deva-pratisthā-mantra, reading om Deva-pratisthāyai namaḥ, is accom- panied by pratistha mudrā; it occurs in my Nm, Q 4, Ub and E’a. These one line formulas need no discussion here, because they are simply short repetitions; the same applies to the much longer set of formulas, accompanied by mudrās, beginning with upahrdaya-mantra and best known as Udakāñjali, cf. my O, Vb, J’ and P’. These parts of the ritual have been repeated, not only for the reader’s ease, but also because, in the mss, they continually show small differences, or at least less com- pleteness in their repetition. This repetition was, moreover, unavoidable in the case of Sivi-karana Brahmānga-Śivānga, long as this set of five mantras and mudrās followed by an equal set of six (the Indian sakali-karaņa or kara-nyāsa anga-nyāsa) may be, in view of the differences. Five times does my ritual deal with this set, in my Ca, Ma, Na, Nh, H’; one other time does it occur in the fragmentary ms Bhasma (designated by Bh), K 475. The Comparative Table is to be found under c) infra, pages 26 and 27 bottom. Only sańkëpi, dealt with under b) infra, has not been repeated in my text, partly because the mss hardly ever repeat it, partly because it is so long and occurs so frequently. a. ASTRA-MANTRA, at its shortest shape consists of only: OM HUM RAH PHAT ASTRAYA NAMAH, homage be to the Brand. This formula, too, is known outside the world of the padandas, for it is found passim in DHARMA PAVAYANAN, the Eternal Law for the Shadow Play, the short metaphysical treatise which must be studied by a dalaň, puppeteer, who wishes to become an amańku dalan and to be invited to stage the more specific exorcistic performances. Judging from the situations in which the astra-mantra is used, this expression of homage to (Śiva’s) missile, and from the general character of Hindu ritual in Bali (continuous averting of malevolent influences and the invocating of benevolent powers) one can say that several stages of the priest’s mystical dealing with the Unfathomable are concluded by his invocating of Śiva’s brand in order that the action just finished may not be undone (avighnam astu). Astra-mantra is followed not unfrequently by the following words Om ātma-tattvātma śuddha mām svāhā, om om Kşamā-sampūrṇāya namaḥ svāhā, om Śri Paśupataye namah, i.e. Purify me, oh! Soul of Deepest [[021]] Reality! Homage to Him Who displays perfect forgiveness! Homage be to Paśupati! Lévi 13 reads (without initial om and omitting a second om): ātma- tattvāya namaḥ, om sodhaya mām svāhā, om Ks. etc. Here Lévi continues with the śri ambha mantra mentioned above; only the ‘ksatriya mss’ do the same; it might be optional here. In all the mss these words conclude with patañanan mudrā, which, in a score of cases during this ritual, is mentioned as a conclusion (and not as a start as in Lévi’s 14). Patañanan as a mark of caesura in the ritual, will be discussed infra; here we must go on with a still more extended form of astra-mantra. ASTRA-MANTRA KABEH (=all, complete), Lévi’s 14, is a formula some- times to be found in the mss, though not in this connection. Here, only the YRW mss repeat Astra-mantra, and the Y ms contains the element Om Śrī Pasupataye namaḥ, which is absent in Lévi. Lévi continues with Nārāca-mudrāya namaḥ, homage be to the mudrā called ‘arrow’, and with this honour bestowed upon the priest’s mudrā as if it were a god, no: because now it is a divine power, we are in the sphere analysed by Diehl who, more than once in the course of his book, points to this divine power of mantra and mudrā. In this context it is necessary to refer to the Y ms lectio: nārācāstrāya namaḥ, which is, unfortunately, not corroborated, but is no mere mistake, and represents the equalisation mudrā=astra. Lévi goes on: Bam netra (this should have been printed as a rubric), bam Netra-trayāya namaḥ. It is not uncommon in this ritual (cf. my Nh 13, H’ 12-13) to draw attention to the human, priest’s eye preceded by the bijaksara bhām; Lévi’s comma does not occur in my mss, which here read om bhām netra [:] Netrāya namaḥ. The triad is not found in the mss I have examined. The ‘ksatriya mss’, more suo beginning with om bhām Nārāyaņa, continue, like the Y ms, with bhām Netrāya namaḥ, followed by the Balinese figure for 2, thus proving that their attention is directed to the priest’s two eyes. Still more explicit are the mss mention- ing mudrās; they speak of left eye, with a mudrā directed towards the North, and right eye, with a mudrā directed towards the South, which tallies with the priest facing the East. Lévi then says: om [h]um rah phat Astrāya namaḥ, the third Astra- mantra in the course of a minute, followed by amrta-(sa)mudrā-hrdayāya namah, om Agni-Rudrāya namaḥ, and for once makes it clear that his ms contained homage to a sea of ambrosia, amrta-samudra, and that in this context he prefers the gesture, amṛta-mudrā. Hrdaya, heart, is only found in the Y ms, which has no third Astra-mantra: om am Padma-Hrdayāya namaḥ. Amrta definitely occurs in the ksatriya-mss and perhaps mudrā= astra (cf. supra) in the formula om hum rah phat Astrâmṛtāya namaḥ. Each of the words is well known to the priest and has an elevated meaning, but so long as only a trickle is forthcoming from our sources and that varying in substance, it is not possible to decide what was meant here. Lévi completes his No 14 (my B 16) with four final namas-kāras: om [[022]] INTRODUCTION 23 Sādhyāya namaḥ, hrum Kavacāya namaḥ, [om] Sa[m]nidhyāya namaḥ, om Agni-Rudrāya namaḥ, none of them occurs in this connection in the two dozen mss examined for this book, but all of them are used repeatedly in other contexts, in Lévi as well as in all the other mss (cf. Cb 7,12-14), and taken together making it clear that Lévi’s ms wished to stress the caesura in his ritual, or that his informant was explaining to him. The first item of this tetrad is not easy to identify, as the character of Balinese tradition also permits the reading Sadya, the usual abbrevi- ation for Sadyojāta, one of Śiva’s five aspects, passim to be met with in the course of this ritual. The entry sādhya in Monier-Williams offers a considerable choice, but in our text, its situation provides no clue, so that no endeavour at translation can be undertaken before comparison with materials from India. Hrūm Kavacāya namaḥ, homage to the cuirass or coat, the Kavaca- mantra is met repeatedly in this ritual, and, though apparently directed towards the body of the officiating priest, which is the coarse envelopping substance and the carrier of the personal seats of power, it must be directed towards the ‘coat’ of mantras which the priest has built up around himself. Thirdly the priest seems to pay homage to The Manifestation or The Presence (of God); in doing so, running ahead of his ritual. He ends by paying homage to Śiva in His awe-inspiring aspect of Agni- Rudra, located in the South-West (klod-kauh in Balinese), opposite the North-East, the seat of Iśāna, hence called Aiśānya (Ersanya in Balinese). All of this is a vivid reality to the Balinese, so much so, that in their mss they do not dare to write Agni-Rudra but always write Ani-Rudra. To sum up this detailed investigation into the shape and the meaning of the different types of Astra-mantra in Balinese ritual as expressed in Balinese mss, the following can be distinguished: a) a short formula paying homage to -, and in doing so invoking protection from Śiva’s (Paśupati’s) brand; it is perhaps permissible to call this the nista shape; b) the same formula enlarged by a prayer for purification and forgiveness; concluded by the Sri ambha-the madhyama shape; c) an uttama shape, Astra- mantra kabèh, noticeably longer, hence more important and powerful, but not adding an essential new element to the two already expressed in a) and b). The Anusthāna bvat Saura ms, K 298, my O ms, when dealing with the six mantras following the heading Śivânga, of which Astra-mantra in its shortest shape is the sixth, says in 1. 4a: Ana pva San Hyan Astra, kadi pa-samūha-n kilat Ivirnya, katakut déniň masalit masiyuń, i.e. Holy Brand Formula should be visualised as a collection of lightning, feared by bhūtas and kālas. The code word Astra-mantra is of frequent occurrence in my texts, more often than not followed by the words which are to be used. Consulting many mss provides the solution, which of the three possibilities is meant. [[023]] 24 SŪRYA-SEVANA In studying a mādhyama ritual one can expect the mādhyama Astra-mantra to be used; and it is only after reading the additional code word kabèh that one would expect the officiating priest to use the fullest form. The mss definitely do not suggest there is any rigidity here, such as is found in other parts of the ritual, where the sequence and the wording of the actions are strictly observed, without exception in every ms. The fact that none of my mss uses the introductory formula Astra-mantra kabèh, in this stage of the ritual, and that only the ksatriya mss have om hum rah phat Astrâmṛtāya namaḥ, seems to suggest that the author of Lévi’s ms, far from actually using this item here, only mentioned it for com- pleteness’ sake, after all the priest knew he was explaining to Sylvain Lévi. b. SANKEPI(N) & ΝΑΝΚΕΡΙ (N) is a code word, meaning ’taking all to- gether, acting with the complete set’; the related word jankěp means ‘complete’. These are ‘all’ to be found enumerated in Lévi’s No. 77: gandha-(a)kşata-puspa-dhūpa-dīpa, and it is seen that the officiating priest addresses himself to all his perishable and imperishable cult objects, in doing so making it perfectly clear that he has terminated the preceding action or chain of actions. The difficulty-for me, here working only with the mss-is, that this termination is used very frequently, we might say passim, and the number of formulae so considerable, that often the mss simply say saňkěpi kadin uni (i.e. as before), or, sankěpi Astra-mantra (Lévi 146) and all too often restrict themselves to saňkěpi, or even sań. only; in many cases, though it cannot be said to be general, followed by patañanan or only pat. As, moreover, some mss present variations, this seems to be the place to examine them. Finally the Indologist Lévi mis- understood the code word which he rendered by ‘mixing’ - imagine the mixture of sandalwood, rice grains, flower petals, frankincense and the priest’s lamp! And the ‘Controleur’ De Kat Angelino, did not, in his book, go into the meaning of sankěp/jańkěp: he was more impressed by the final bell ringing than by the preceding formulas and manipulations. - Here follow text and translation: Lévi 77 Lévi 42 SANKĚPI: gandhakşata-puspa-dhūpa-dipa. Aturakěna gandhakşata, gandha: om Sri Gandhėśvaryai amrtebhyo namaḥ svāhā; om gandha-śuci-nirmalāya namaḥ; akşata: om kum Kumāra-bijāya namaḥ svāhā; puspa: om Puspa-dantāya namaḥ svāhā; om kum Kumāra-bījāya namaḥ; om Puspa-dantāya namah; dhūpa: om Agnir-Agnir Jyotir Jyotiḥ svāhā; om dhūpam samarpayāmi svāhā; om dhūpam samarpayāmi namaḥ svāhā; dīpa: om Sürya Jyotir Jyotiḥ svāhā; Mudrā sakavěnaň. om dipam samarpayāmi svāhā; om dipam samarpayāmi namaḥ svāhā; Acting with the complete set of cult objects, perishable and imperishable, viz. aromatics, unbroken rice grains, flowers, frankincense, [Siva’s] lamp; [[024]] INTRODUCTION 25 aromatics: homage be to the Goddess of aromatics and to the different kinds of ambrosia; rice grains: homage be to Him Whose seed produced Kumāra (Śiva); flowers: homage be to Him Whose teeth are like flowers; frankincense: homage be to Fire-Fire Light-Light; I offer frankincense; homage; [Siva’s] lamp: homage be to the Sun Light-Light; I offer [Śiva’s] lamp; homage; gestures according to what is appropriate. SANKEPI ASTRA-MANTRA (found in the WAR group of mss of VEDA KSATRIYA) sums up the same material constituents, and then goes on with the mantra: on hrim Gandhāya svāhā; om hum phat Bījāya namaḥ, on hrum (or hrim) Puspāya namaḥ, om hrèm Dhūpāstrāya namaḥ, concluding with: patañanan kadin uni, gestures as before. Apart from the untranslatable seed syllables, four times, homage be to the aromatics, (unbroken) rice grains, flowers and the God Who has (a brazier with) frankincense as His weapon or attribute, viz. Agni in the South-East. Now follows the madhyama Astra-mantra, running: om hum rah phat Astrāya namaḥ, om Atma-Tattvāya śuddha mām svāhā; om Kşamā- sampūrṇāya namaḥ, om Śri Paśupataye hum phat as before. The w ms, not unexpectedly, continues with om Nara-Hari-Mudrāya namaḥ, om bhām Nārāyana-netrāya namaḥ 2; the Ams reads: om Nārāca-mudra om bhām Netrāya namaḥ. They finish with om hum rah phat Astrāya Anantāya namaḥ, om Astrāmṛta-mudrāya namaḥ svāhā resp.; in partial translation: homage be to Vişnu in three different aspects, to the gestures of arrow, and of ambrosia (protected by astra?). Whatever may have been the original shape of these mantras and the history of their transfigurations in the course of the centuries, it is evident that the first sankěpi concentrates on homage to the material auxiliaries of the ritual, whereas the sańkěpi astra-mantra after having paid the shortest possible homage to them, asks for purification, forgiveness and twice for (protection from) the brand. When a copyist writes the first sankěpi complete, he may still omit the two sentences ending with samarpayāmi, and he may also leave out all three sentences ending with namaḥ svāhā and namah and pronounce as his mantra: om toyam (resp. gandham, (a)kşatam, puşpam) samarpayāmi, concluding with the Agnir& Sürya-formulas, but not followed by the samarpayāmi-second-halves; both shapes of sankěpi(n) are found in the same ms. G. The first ends with the words om am kham Khaşolkāya namaḥ, homage be to (Śiva) Khasolka; followed by salahakěna taň dīpa ghantā, ‘put down lamp and bell’; patananan. The other may take this for granted, but has an enlargement in the caption that is worthy of attention: sankěpin rin śarīra-nta, ‘with regard to your own person’. This is not the only locus in the mss where sankěpin and siratin, sprinkling, alternate. The aim of this sprinkling, naturally with Holy Water, can be expected to be self-purification as well as self-protection. [[025]] 26 SŪRYA-SEVANA So long as the officiating priest is only preparing his environment and himself for the arrival of the God, kūṭa-mantra and śrī ambha are deemed sufficient to mark subdivisions of the ritual; however, as soon as he has saturated himself with supernatural powers by the concatenation of a dozen nyāsa, and in doing so has acquired the ability to get into contact with God, then sańkěpin is found almost exclusively. Even Lévi, who was clearly more interested in Sanskrit than in ritual, who gave no Javano-Balinese rubrics at all in BUDDHA-VEDA, and scarcely a bare minimum in his version of VEDA-PARIKRAMA, nevertheless in the course of this last does mention sańkěpi a dozen times (his Nos 38, 41, 43, 45, 77, 83, 87, 92, 126, 134, 136 & 146). Using more mss, more than doubles Ca, Ma, Na, Bh, H’, (For mudra ef. plates 26-27) om Im (Iśānāya) namaḥ om Tam (Tatpuruṣāya) namaḥ om Am (Aghorāya) namaḥ om Bām (Bāmadevāya) namaḥ om Sam (Sady(ojat)āya) n. om ham Hrdayāya namaḥ om rm Kāya-Sirase namaḥ om Bhūr-Bhuvah-(Svah)-Svare Jvālinī-Śikhaye namaḥ om hrům Kavacāya namaḥ om bhām Netrāya n. (těněn) om bhām Netrāya n. (kiva) om hum rah phat Astrāya n. Ca and Ma KARA-SODHANA -ni jarijinta; usapi kěmbań; K BRAHMANGA karuhun, sthana San Hyan Pañca-Maha-Bhūta; jariji těněn karihin: angustha tarjinī madhy(amik)ā hṛdaya anāmikā bhaga/‘pastha kanisthā pāda-dvaya Samalih, marin kiva: K: patēmu nin Na SIVI-KARANA BRAHMANGA-NYASA: mūrdh[n]i mürdh[n]i padma-mudra P rahi/mukha rahi/vaktra bajra-mudra Q ati/hrdaya danda-mudra R guhya/ cakra-mudra S ‘pastha pāda-dvaya pāśa-mudra T Tumūt tan SIVANGA-NYASA: hrdaya hṛdaya śankha-mudra U śirah/rambut triśūla-mudrā V tuntun in byoma-mudra W’ rambut śikhā-mudra W" punuk/tungir kavaca-mudra X nétra těněn vışada-mudra Y’ nétra kiva cakra-mudra Y" Brahmanga/SIVANGA angustha madhyamikā śirah anāmikā sinhěl kanişth(ik)ā ri lěpa-lěpa ni tananta kalih, těněn karuhun; ms O: Isyakën ikań sěkar ri lepa-lépa ni tananta kalih, patalańkupakëna pva ruhur in Siva-dvāra. tarjini bahu kalih astra-mudra Z =śaro-mudrā [[026]] ruşāya Aghorāya Bāmadevāya Sādyāya n. om am kham Khasolkāya Iśānāya Tatpu- INTRODUCTION 27 this number; and this frequency of sankěpi considerably helped me in subdividing the ritual into 80 parts. There are a few loci in the Balinese mss where sankěpi alternates with sirati, sprinkle, an action which is as often practised by the Saiva priest as by his Bauddha colleague; the manual of the latter, however, never fails to mention its pakětis pasirat in detail: to Whom and in which point of the compass. Therefore the Saiva sankěpin might be considered as the counterpart of the Bauddha pakětis, sprinkling of holy water as an act of homage to the benevolent powers or as a placating act towards the malevolent ones. Tumūt San Hyan BRAHMANGA-NYASA, Nh Bhasma H’ SIVI-KARANA ‘Nustha- nakěna (I: dé nin Pañcâsya) BRAHMANGA jro nin gili-gili rin råga Śivanga mvan Aiśānyā K: Madhya Śiva-dvāra padma-mudra Śiva-dvāra mūrdhi/śirah tarjini P Baduhur, Pūrva rahi/mukha bajra-mudra rahi rahi kanişṭhikā Q Dakşina hṛdaya danda-mudrā hṛdi hṛdaya/ati anāmikā R Uttara bhaga/purus cakra-mudra bahu těněn bhaga/kupina/ madhyamikā S ‘pastha Paścima. cokor/suku pāśa-mudrā bahu kiva suku angustha T Tumūt San Hyan SIVANGA-NYASA Agneya hrdaya/ati hrdaya-mudra ati Aiśānya śirah triśūla-mudrā śirah hṛdaya rambut hrdaya-mudra U triśūla-mudra V Nairrtya sakala anga byoma-mudra tuntun in tuntun in byoma-mudra W’ (0: śikhā) śikhā-mudra rambut rambut śikhā-mudra W" Vāyavya punuk/tungir kavaca-mudra tungir punuk kavaca-mudra X Dakşiņa Uttara nétra těněn vrşada-mudrā mūla- nétra těněn vrşada-mudra Y’ nétra kiva cakra-mudra kantha nétra kiva cakra-mudra Y" jro nin gili-gili, ri tuntun in asta-dala astra-mudra karna kalih bahu kalih astra-mudra Z =śaro-mudra -śaro-mudrā [[027]] 28 SŪRYA-SEVANA c. SIVI-KARANA (cf. Table). This occurs as frequently in this ritual as Sri ambha (6 x), but less often than Küta-mantra, Astra-mantra and Sankěpi; it is not so much a caesura as a set of formulas to be discussed. It consists of 5+6=11 mantras, the order and direction (power to which it is directed) of which do not admit of the slightest change, even though the priest in the first pentad once uses bijakşaras only, uses full names four times preceded by their bījakşaras, and once extends them. The rubrics form internally coherent but different sets; points of the compass and the gestures may be added or not. As to the caption, Sivi-karaņa could perhaps be used for the whole set of eleven, as the mss do in Na and H’; the first set of five is called (San Hyan) Brahmanga(-nyāsa) (in South India according to Diehl Brahma-mantras used for kara-nyāsa), the second set (San Hyan) Śivânga (-nyāsa) in CaMaNaNhH’. The caption in CaMa runs Kara-śodhana, i.e. cleansing of the hands, which is ap- propriate for the five first formulas, and as the mss not unfrequently have their captions preceded by the enclitic word ta-, i.e. you (or: you should effectuate), in the book on mudrās we find the caption for some of the sixty clear drawings is tatkara-sodhana. Only the words of the first five mantras, however, apparently deserve the caption kara-śodhana; the following set of six deals with the limbs, anga, also called sad-anga Astra-mantra, to be translated by: the six limb-mantras of which Astra- mantra is the sixth. South Indian ritual, according to Diehl, distinguishes a five fold kara-nyāsa followed by a six fold anga-nyāsa (pp. 75-79); in the Balinese mss we find Brahmânga [-nyāsa] is used for the first set of five, Sivânga-[nyāsa] for the second set of six (CMNaNh). Diehl, p. 75 explains: ‘Hand (kara)-nyāsa brings the divinities and their powers into the hands of the worshipper. Thereby his hands are fit to perform the limb (anga)-nyāsa, i.e. assigning the gods to other parts of the body’. The caption for the two sets of mantras, Sivi-karana, grammatically speaking, is on one line with K dagdhi-karaņa and L mrti-karana. When Lévi, in his No. 56, deals with my M, he has the interesting caption: Śivi-kěrani sang hyang asta tëri sangkala, followed by this transliteration in Deva-nāgarī: Śivī-karani, śrī hasta, tri-san(s)kāra? As Diehl, p. 81 n. 3, tells us that Skr. sakali-karana, is the technical term for performing kara-nyāsa followed by anga-nyāsa, this Sakali seems to be the word represented by sankala: the three s are pronounced similarly in Bali; prenasalisation can be added, or dropped, and it is usual to find amrta/ amrti, dagdha dagdhi-, Śiva/Śivi-, so that sakala/sakali is not too far- fetched. Tri might find its explanation in the fact that Lévi’s ms has three sets of formulas: Brahmanga, Tri-tattva and Sivânga, in this sequence, something which is not found elsewhere. Finally Śivi-karana, ‘Śiva-making’, ‘Deification’, a term not found in Diehl, is precisely what this author states on p. 75: ‘In the end the offici- ating priest has become Śiva’; p. 139: ‘The Acariyar has by the Niyācam ceremony made himself into Śiva’; p. 104: ‘Here ends the first part during [[028]] which the A. has prepared himself for the worship of Śiva-by making himself Śiva’. Diehl, p. 81 n. 3, borrows from the Nittiya Karumaviti: ‘Through this ceremony divinity is assigned to the worshipper. He assumes the form of Śiva using eleven mantras’. Once this is realized, it is under- standable why the anga-section of Śiva-making in Java or Bali evokes the technical term Śivānga, and how the Brahma-mantras-though dealing with the kara-(hand) section-got the caption Brahmanga. In South India, śakali-karana is repeated several times during the ritual (Diehl, pp. 100/102, 103, 104, 105, 106, 107, 109), just as Śivi-karana in Bali. Its importance will be clear. The differences and deviations must now be considered. In Ca and Ma only the bijāksaras are used; Nh runs: om am kham Khaşolkāya İśānāya namaḥ, om am kham Khaşolkāya Īsānāya Tatpuruṣāya namaḥ, etc. In the W line of my graph there is Bhūr-Bhuvah- Svah, Bhūr-Bhuvah-Svare and Bhūr-Bhuvah-Svah-Svare. In the Y line the plural netrebhyo (directed towards Śiva’s three eyes) as in South India, is never found, but always the singular netrāya, once repeated for the second eye (directed towards the priest’s eyes). After the Y line the O ms mentions: Tělas [,] isyakën ikaň sěkar ri lepa-lēpa ni tananta kalih, patalańkupakěna pva ruhur in Śiva-dvāra, ‘after that, take a flower between the palms of your hands and in reverse position hold it over your fonte- nelle’; this gesture illustrates the adoration for the God Śiva assigned into the priest’s person. The mudrās from the K ms are revealing, but nevertheless present difficulties, when they are compared with the two sets of nine which Sang Rěsi Agung Pinatih Wangbang made for the Autonomous Bureau of Religious Affairs, Denpasar and exhibited there. Both sets correspond with the eight points of the compass centre; the first set is directed towards bhuvana agun, the material world, the second towards bhuvana alit, the immaterial world. The five first mantras, dealing with kara-śodhana, cleansing of the hands, as might be expected, prove to belong to the material world and are correctly directed towards Centre, East, etc. The six mantras of the second set are expressed by eight mudrās, as in the Y lines two gestures are made for the two eyes, and as in the W lines the first dative Earth-Sky-Heaven corresponds with Byoma-(heaven)-mudrā, the second dative jvālinī-śikhaye with śikhā-mudrā. Of these eight mudrās, four correspond with the set as drawn by Rěsi Pinatih, to be directed towards the immaterial world, as would be anticipated here. In the U line, however, the Na sankha-mudrā belongs to the material world, whereas Nh hrdaya-mudra, though belonging to the immaterial world, is directed towards the East, whereas the caption reads Agneya, South- East-but these slight deviations have been stated when dealing with catur-aiśvarya sinhāsana in my book ‘Agama Tirtha’. In the V line Na and Nh agree in prescribing triśūla-mudrā and Aiśānyā, North-East, which is correct… for the material world. The immaterial world, too, has a triśūla-mudrā, but directed towards the West, almost the opposite, [[029]] 30 SŪRYA-SEVANA For the W’ line, there is no byoma-mudrā in the Rěsi Pinatih’s two sets, whereas in the Y" line cakra-mudrā does belong to the North, but in the material world. Nevertheless, though details require a solution, it will be evident that kara-śodhana/kara-nyāsa Brahmanga [-nyāsa] deals with the material world, anga-nyāsa Śivanga [-nyāsa] with the immaterial world. The comment found in ms O/4a is illuminating: Ika ta kabèh DHYANA-nta kapva rakta-varņa, kapva somya-rūpa, sankěp rin sarva-bhūşana, mavèh anugrahèn hasta těněn, kivan mava padma; mańkana ka-DHYANA-n in Śivanga, i.e. With Sivânga one should imagine that He is completely red, that He has a benevolent appearance, that He wears all adornments, that His right hand shows the gift-giving gesture, whereas the left hand holds a lotus. There is no difficulty with the variation of terms for head in the P line śirah/mūrdh[n]i, and the specification Śiva-dvāra in Nh, and rahi/mukha for the face; in the S line with upastha/bhaga/k[a]upina for the sexual organs; in the T line with the synonyms cokor/suku/pāda-dvaya for the (two) feet; in the R and U lines hrdi/hrdaya (heart) and ati (liver), as the seat of ātman, are frequently mixed up; in the V line Bh śirah, head, might be considered as a loose term for rambut, hair. But even then Bh deviates in the STYZ lines; it is only clear that the application of bhasma, ashes, remains restricted to the supra-umbilical regions of the body. From Diehl, p. 79, one learns: ‘Nyāsa with reading of these eleven Mantras occurs very often in the ritual and is called śakali-karaņa. The Mantras are the gods and through Nyasa they are assigned to a ‘form’ (Mūrti), a sacred pot or the body of the officiating priest. This is done in the order of creation, beginning with the thumb and ending with the little finger, in the order of maintenance, beginning with the middle finger and ending with the index finger and in the order of destruction, beginning with the little finger and ending with the thumb. The order of creation is for the Brahma-cāri (the religious student), of maintenance for the householder and of destruction for the Vanaprastha (the hermit)’ - in Ca and Ma this order of creation is spoken by the officiating priest, but what the author of the Argha-patra K wished to express in H’ escapes me. It might not be superfluous to point to the fact that in Nh the sequence of the main directions of the compass mentioned is E/S/N/W, that of the intermediary directions SE/NE/SW/NW, neither pradakşiņā nor prasavyā. Deviating sequences are more frequently to be found, all mss agreeing in them, with the only exception of L… It will by now have become evident that while, on the one hand, Ca and Ma actually start with five mantras of hand cleansing, kara-śodhana, and then in the following six mantras use the purified fingers and hands for auto-deification, in NaNhBhH’, on the other hand only various parts of the priest’s body are assigned with divine power, the infra-umbilical private parts and feet always being the two last items of the first set. [[030]] INTRODUCTION 5. GESTURES MADE AND THE MSS. 31 Without the words chanted, spoken, murmured, and those which are inaudible, all of which are found in the mss, it would be impossible to visualize the ritual as it has been conceived structurally. But without the gestures and actions of the priest also, alternating with his words or accompanying them, the picture would be far from complete and would even lack a dimension. Unfortunately, the mss as a rule are very unsatis- factory in this respect, the only exceptions being the I and K mss. As no films exist, and if they did could not be added to this book, for the time being, this vital part of the priest’s ritual, inevitably, must be in- adequately described (cf. the plates). The priest’s actions with his hands or fingers, for convenience, can be divided into three groups: a. the actions and gestures which are described in OJ, Balinese or Sanskrit in the rubric part of the text; these are generally mentioned immediately after the heading and before the mantra (plates 5-8; 28; 30); b. eight mudrās accompanying the Astra-mantra, which is very frequent, often, moreover, forming part of the Sankěpi, which is even more frequent (plates 1-4; 29). C. a group of two sets of nine mudrās which are related to the eight points of the compass and the centre; these are, without exception, in Sanskrit and are nearly always mentioned immediately after the accompanying words (plates 26-27). In addition to this, one comes across trāsini-mudrā, which however is almost the same as cakra-mudra, which is found in other mss, and go-mudrā. a. SYMBOLIC ACTIONS & GESTURES. Whereas the mss-apart from scribes’ errors-never omit a mantra or veda which the priest has to pronounce or has to have in mind (though a heading or initial word or syllable may be used instead of (again) writing down the complete text), the preceding action (e.g. making añjali/sěmbah, with or without a flower, picking up a flower, taking up bell) and the ensuing action (e.g. dropping the flower, putting down the bell) could in many a case be definitely stated after an examination of a considerable number of mss. But even though, in this respect, the printed text might, by comparison with the mss on which it is based, appear to be flattered, the rubric given here, brief as it is, offers, in general, an understandable picture of what it is the intention to describe. Moreover, the numerous books on Balinese culture, especially that by Tyra (de) Kleen and P. de Kat Angelino, are helpful for getting an idea of what is going on and what are the sur- roundings. Right at the beginning, however, a word of warning should be spoken about this book, not so much on the grounds that it is incom- [[031]] 32 SŪRYA-SEVANA plete (there are several more mudrās than the ones drawn here and some have no caption) but because certain details are wrong (e.g. in 38 the priest should not wear a mitre, but in 42 he should wear one). Walter Spies may have been harsh in his criticism of another book of hers, ‘The Temple Dances in Bali’ (Djawa 19/6, 1939), but this fault-finding by the man on the spot was not entirely undeserved. Nevertheless, most of her drawings are clear and in the main sound, and have the great advantage that a full front view and a full profile of the priest is presented in each case. 1) Thus we find such important actions as: ñańkěpi, omnia, 30; passim in my text; with mitre, however, only after my Z; dust cover front and plates 9 and 25. prāṇāyāma, regulating the breath, 44; my I; plate 10-11. nili/nuntun, conducting, 48; either my J, P, A’ dealing with Āditya/ Sūrya, or my Va dealing with Dèvi Gangā and my W dealing with Bhagavān Gangā; plate 12-13. na-stava, singing praise, 34, my Xa; plate 14-15. sirat, sprinkling, 34; my Zb, U’b, X’b, T"a, U"b, Z"b; plate 16-17. punu or mamunu, awakening, 32; my G’ and G"; plate 18-19. tri-tattva, three elements, 36; my H, Nb, I’; plate 20-21. mutěr ganitri, handling the rosary, 42; my V’ and V"; plate 22-23. nicip toya, sipping of Holy Water, 46; my Z"b; plate 24. kara-śodhana, cleansing of hands, 38; my H & Nb without mitre, I’ with mitre. nanhāra ghantā, terminating manipulation of the bell, 56/57 top; my Z" 6; plate 32. b. ASTRA MANTRA KABEH. A few pages supra the ritual’s most frequent- ly repeated formula has been examined as to its wording; during the few seconds taken to pronounce it and in the few lines it takes of print, there are a considerable number of mudrās which do not occur even in the most elaborate of the mss examined - the Argha-pātra belonging to the Griya Kadampal (Tabanan), my ms I, a copy of which was given to me by I Gusti Ngurah Ketut Sangka of Krambitan. He also gave me the names of the mudras used here, and drawings of them, which he discussed with several of his padanda friends. His information is of the highest value as it is absolutely lucid, and has been checked and covers a very con- siderable portion of all the mudrās made during the whole of the ritual. For Astra-mantra, apart from its being used by itself, forms part of that formula used with the greatest frequency, the ñankëpin. The eight Sanskrit names of the mudrās, occurring here, in alphabetical order, are as follows: ākāśa, astra, cakra, hrdaya, nārāca, pṛthivī, vrşada, vyoma (or byoma) (plates 1-3, 29, 31). 1) There is a slight difference in the numbers of the drawings of the Saiva priest in the Dutch and German editions in comparison with the English/American edition. [[032]] a-SURYA-SEVANA/8-KARYA TOYA Aa Masisig, makurah, marahup, madyus, mavastra Ab Adyus, akampuh, asabuk Ac Avasěh pāda, avasěh hasta, maśīla dèn-apěněd B Unkab sagvan, Astra-mantra, Astra-mantra Ca Kara-śodhana Brahmanga-Sivânga Cb Sembahakěna sarva-mantra; Try-antu mantra D Kara-śuddhi rahasya Ea Tri-pāda; inter alia Tri-mandala-mantra Eb Argha/Sivambha Fa Gurit ikań vé; Tri-puruşa-mantra. Fb Mahā-padma rin argha/Sivambha; Kūța-mantra Ga Siro-vista-ni tėkań Sivambha Gb Tri-mandala rin argha/Sivambha H Tri-tattva-mantra, Try-antu-ma., astra-mantra I Prāņâyāma J Nuntun/nili ātmā rin/sakin padma-hrdaya Ka Dagdhi-karaņa sa-mala ni śarīra-nta Kb Padomi; sirat śarīra-nta toya; Try-antu-mantra La Amrti-karana; Lb Sirat śarira-nta toya Śivanga-Brahmânga Ma Kara-śodhana Brahmanga-Śivanga. Mb Sembahakěna sarva-mantra; Try-antu-mantra Na Śivi-karaņa Brahmanga-Śivânga Nb Tri-tattva-mantra Ne Anantâsana Nd Catur-aiśvarya (Simhasana) Ne Padmasana; Deva-pratistha Nf Svara-vyañjana Ng Nava-Śakti-nyāsa Nh [Sivi-karana) Brahmanga-Śivanga Ni Pitr-adi-nyāsa Nj Catur-Sandhyā-nyāsa Nk Soma-adi-āvararaņa-nyāsa NI Try-akşara-nyāsa; Tri-samaya-nyāsa Nm Deva-pratisthā. Nn Küța-mantra-nyāsa O Upahrdaya-mantra/Udakâñjali P Nuntun/nili/turunakěn San Hyań Śiva-ātmā Q Tulisi Om-kara-akşara in vé; Utpatti; Sthiti R Tri-Ganga-Devi-stava S Naskāra ghanta Ta Na-kşama Mahā-Deva Tb Apsu Deva Te Pañca-akşaram. Ua Naskāra vé: i-a-ka-sa-ma-ra-la-va-ya-un Ub Deva-pratisthā Uc Kūța-mantra Va Nuntun Dèvi Ganga: Sapta-tirtha-mantra Vb Upahrdaya-mantra/Udakâñjali Ve Sthiti W Tuntun Bhagavān Ganga; Sapta-OM-kara-mantra Xa Stava Bhatara; Gangā (1x); Gangā (śārdūla) Xb Sad-Gangā-stava (viśva-bhāminī) Xe Catur-Gangā-stava (śita-); vināśa-yamaka Ya Mrtyuñjaya: i-a-ka-sa-ma-ra-la-va-ya-un Yb Dirghayur-stava (śārdūla-vikrīditā) Ye Mṛtyuñjaya-stava; sapta-vṛddhi Possibility Śiva-Linga-Pūjā; Bhasma-Bhūsana Za Tlas in a-Sūrya-Sevana Tlas in a-Karya Toya Zb Sirati S. H. Sūrya toya; Astra-tryantu-mantra [[033]] Plate 1. ASTRA-MANTRA. 1. om, ākāśa-mudrā; 2. hum, prthivi-mudrā; 3. rah phat, ’takep tanan’. [[034]] Plate 2. ASTRA-MANTRA (continued). 1. Astrāya, nusap tanan, make a wiping gesture with the hands; 2. namaḥ, nusap tanan, make a wiping gesture with the hands; 3. om Atma Tattvâtma śuddha mam svāhā, kěpok, kěpok mudrā; 4. om om Kşamă-Sampūrņaya namah, pětik, pětik mudrā. [[035]] Plate 3. ASTRA-MANTRA (Concluded). 1. Nārāca-mudrāya namaḥ, nārāca mudrā; 2. om bhâm Netrāya namaḥ, vrşada-mudrā; 3. om bhâm Netrāya namaḥ, cakra-mudrā; 4. om hum rah phat, Vyoma-mudrā; 5. Astrāya namaḥ, Astra-mudrā; 6. Amṛta-mudra-hrdayāya namaḥ, Hrdaya-mudrā. [[036]] Plate 4. KALPIKA. A kalpika is used for the conducting of a soul. 1. dark (green) leaf of pucuk (Rosa sinensis L.) 2. red flower of same (vulgo: këmban sěpatu) 3. white flower of jepun (kamboja, Plumeria acutifolia Poir.) 4. leaf of pucuk. [[037]] Plate 5. 1-3. ’takěp tanan’, hands fully extended, palms and fingers of both hands touching. 4. (left) movement of transition from 3 to 5. 5. madu-mukha-mudra, hands in opposite directions, fingers of each hand close together, tips touching the palms. (used for Om-kāra sumunsan and Om-kāra naděg). [[038]] Plate 6. VYOMA-MUDRA (initial gestures). N.B. Some padanda prefer to begin by making the gesture 1 at the top instead of 2 and 3. [[039]] Plate 7. VYOMA-MUDRA. concluding gestures. [[040]] 1. 33 stalks of lalan, grass, Imperata cylindrica, cut off evenly. - 2. The same 33 stalks, but knotted together in threes, into eleven small bundles. 3. padma. 4. dhvaja. 5. śirovişta. 6. fruit of pinan, Areca catechu L.; top, bottom & contents removed, acting as a sheath for the lalan. 7. cakra. 8. triśūla. 9. flower of the jepun/kemboja, Plumeria acutifolia Poir., attached by way of an embellishment. 10. body of the Śiva- Linga, consisting of the 33 stalks of lalań. 11. three feet, each of them consisting of 11 stalks. Plate 8. SIVA-LINGA used at mamukur, 28-12-1965 Puri Anjar, Krambitan (Tab.) N.B. The drawing could not be completed; the Siva-Linga is in fact equipped with the full set of senjata, weapons/emblems of the gods of the nava-saña, in the 8 points of the compass and the centre, and not just 3, 4, 7, 8. [[041]] INTRODUCTION 33 C. MUDRAS TO THE POINTS OF THE COMPASS. These two sets of eight points of the compass, plus the centre, are used frequently during the ritual as a complete set as presented infra, or only in part (plates 26-27). The captions run as follows: JRO=interior; BHUVANA ALIT=the immaterial world name of mudrā paraśu=axe hrdaya=heart Saroarrow or astra brand vrsad(h?)a=? śikhā=top point of the compass pakënanya use, effect aišānya NE panulak vighna to ward off frustration; pūrva E ātma-śuddha purification of the soul; agneya SE pańilaňakën duhkha annihilation of sorrow; daksina S panulak visa to ward off poison; nairrtya SW Vindu-Rudra=(probably to avert) an aspect of Rudra; trisūla=threedent paścima W kavaca armour vāyavya NW dhanu bow uttara N muşțika/or pratistha madhya C S. H. Baruņa dharaņa rin prāņa kabèh (to ward off the Lord of the sea, bearer of all winds; panulak visa to ward off poison; mavědi sarva-krūra to deter all cruelty; patěmun in ātmā lavan Déva meeting of soul and God. JABA exterior; BHUVANA AGUN=the material world name of mudrā point of the compass donya: mavèh sukha ri S. H. (exc. NE, SW, NW & N) aim: to give happiness to the Divine: trisula threedent aiśānya NE Tri-tattva; panulak durmangala; Three Elements; to avert the inauspicious; Brahmā mvan (and) San Hyan Dharma; Geni-Mukha the Fiery-Faced God; (nāga-)pāśa=bond paścima W Varuna God of the sea; vajra=thunderbolt pūrva E sankha conch agneya SE danda=club daksiņa S Mrtyu God of Death; khadga sword nairrtya SW pamariśuddha ātmā purification of the soul; dhvaja-banner vāyavya NW Vāyu; panulak sarva-visa-to avert all kinds of poison; cakrawheel uttara by impurity); padma-lotus madhya C N Kāla; pamariśuddha vighna=to purify the frustrations (sc. caused Sakra; sukha nin ātma rin hyrdaya Śiva, and giving happiness to the soul in the heart. Finally, it must be repeated that the gestures are the weak spot in these mss. In examining all sankěpi passages, it appears that patañanan is mentioned in only 44% of the cases where one might expect it. Almost without exception, moreover, one has to be satisfied with this short term, for this word patañanan after sankěpi, for which no explanation is given regarding which mudrā mudrās is/are to be made, is all that there is. According to my informant, Astra-mantra kabèh should be used. Sometimes one comes across patañanan saka-věruh-ta, ‘gestures as far as you know them’, or p. saka-věnań or p. saka-buatan, ‘appropriate gestures’. All of this gives the impression that the mss as a whole are not so much concerned with mudrā as with mantra. This is not to suggest that the officiating priests do not care about mudrās. [[042]] 34 SŪRYA-SEVANA Diehl, in his book on South India ritual, points to the frequency with which mudrās accompany nyāsa, ‘mental appropriation or assignment of various parts of the body to tutelary deities (MW)’, my Na-Nn. It cannot be accidental that the list of mudrās which I received from the padanda Sarasiddhi covers exactly the same stage in the Balinese ritual, and that the I and K mss, which seem to be exhaustive on this aspect of the priest’s activities, show a corresponding completeness in the same con- nection. Though corroboration from the other mss, which on mudrās are reticent and only occasionally mention patañanan after sańkěpi, would have been very welcome, the degree of harmony between the preceding texts encouraged me to present their mudrās. 6. WAY OF PRESENTATION OF THE TEXT It is true to say that, in view of the abundance of mss available, I had little hesitation in deciding that nothing could be won, and only the reader’s patience would be lost, by perpetuating, in an ‘apparatus criticus’, obvious clerical errors. It would be wrong, however, to assume that the working out of the system of division and subdivision, which I finally adopted, did not give me a great deal of trouble and did not require considerable thought. And difficult the decisions were. What should I incorporate in the text and what should I put in small print under the line? Each of my predecessors in the same or a related field had used a different system of making subdivisions in the Saiva ritual. Lévi, dealing with a Balinese ms without any division, divided it into 146 sections, and in doing so more or less precluded the use of Arabic numbers. Diehl, basing himself upon printed texts, gave a number to a group of the South Indian worshipper’s actions. Lastly, Madame Brunner subdivided the paddhati’s divisions and added captions to the new subdivisions, in this way illuminating considerably the course of her ritual. Lévi probably worked with only one ms; Diehl worked with printed books; Madame Brunner based her text on two editions of a printed book, consulting, in addition, all relevant material. My edition is based on the numerous mss described in § 3; in A-Z the worship of the God (of the) Sun, resulting in His own preparation of Holy Water, is divided into some 70 parts; to the powerful string of Nyāsa (already dealt with in my ‘Agama Tirtha’ and there drawn as ‘Lingodbhava’) the letters Na-Nn have been given. A’-Q’ deal with the ceremonial sending-off of the God (Litanies for new moon and full moon days have been dealt with in Ap- pendix 3). The fact that the ritual has been concluded is expressed in Z"b (by nicip toya, sipping of Holy Water by the priest). If, however, the officiating priest is required to use the newly prepared Holy Water for an important ceremony, he immediately follows his ritual activities by begging Jagat-nātha for forgiveness (my R’) and after that [[043]] INTRODUCTION 35 uses one of two subsidiary rituals. In either case Śivāditya is once more invited to take up His abode in the priest’s heart, and there He is dissolved, pralina, with the nicip toya of Z"b as the visual expression that the ritual has been completed and that the priest himself is the first person to profit from the bliss bestowed by Śiva, using the priest’s mouth and hands. Finally, I suggest that A-NI might be considered as utpatti and O-Z as sthiti, whereas A’-Q’, S’-X’ or S"-X" ultimately lead to pralina, but though these terms are well known and used in this sequence (cf. X"), these major divisions are not found (and are not to be expected) in any of the mss available to me. But these subdivisions and this hypothesis concerning the whole of the priest’s ritual may become more lucid and more convincing after perusal of the next paragraph, the summary of Sürya-sevana. 7. SUMMARY OF SURYA-SEVANA, WITH TABLE The Balinese manuals on the Saiva priest’s ritual never, as in India, run into hundreds of printed pages, but, without exception, consist at the most of only a few dozen of long, prepared palm leaf strips, which are covered on both sides with three or four lines of script; the typewritten Roman transliteration consists similarly of a few dozen pages. Only exceptionally do the mss start with the description of the priest’s ablutions in his bathing chamber (Aa). Most manuals begin with the moment of the priest’s arrival (Ab) at the square pavilion, balé pa-véda-an, which is open on all sides but has a roof, usually a yard above the ground, where he is going to conduct his worship. He approaches this balé from the west side. On the mat he finds two neatly folded and freshly washed rectangular pieces of white cloth into which he changes (Ab). He sits on the edge of the balé, his face still turned towards the west, his feet hanging down. He washes his feet (Ac) and hands and rinses his mouth. Then, outwardly clean, he turns round completely and sits down, facing the east and the trays on which are his cult objects, perishable (flowers, unblemished rice grains, frankincense) and imperishable (lamp, bell, brazier, water vessels). This is the position (sila) in which he performs his acts of worship and in which he remains until the end of the ritual. He lifts the cover which protects the perishable cult objects (B) and utters various formulas over them. Next he takes a flower and symbolically cleanses his hands with it, kara-śodhana (Ca). He cleanses one finger after the other, the right hand, then the left hand, and the palms of his hands. He goes on with the purifying of his whole body and with the throwing of flowers (Cb). This picking up of a flower, praying with it and throwing it away again, either in the appropriate direction or simply dropping it, goes on continually, but the mss mention it only sporadically, presumably because it is obvious. It is not repeated in this summary. The priest’s [[044]] 36 SŪRYA-SEVANA clean hands, provided with a fresh flower, symbolically purify all his limbs (sarvânga) by a wiping action with the flower. He asks for forgiveness (D) and again symbolically cleanses his hands. Next he cleanses the tripod, tripāda (Ea), bearing the vessel destined for Holy Water, sivambha or argha, and then the vessel itself (Eb), by means of dhūpa-dīpa, brazier and lamp, i.e. by holding them above the brazier of smouldering frankincense and above the lighted lamp which represents the fire (Agni) of Śiva. He pours clean water from its container into the svamba (the pronunciation of sivamba or sivambha) in which, during the course of the ritual, it will be changed into Holy Water, and writes Am-Um-Mam on its surface in honour of Brahmā-Vişnu-Iśvara, (Fa), concluding this part of the ritual with Omnia & Gestures, which are not repeated (apart from six lines further on, last line of Fb, again in connection with Holy Water) before the priest is well on into the second half of his ritual and the Śiva Soul has been conducted into his heart. From then on Omnia & Gestures are frequent and form the conclusion of roughly half of the priest’s actions. Finally the eight goddesses of the eight points of the compass are invoked in order to take a seat on the brim of the Holy Water vessel (Fb). To make it clear that the vessel has now been prepared to be the re- ceptacle for the God, a blade of holy grass is tied around it (siro-vistha, Ga); the Three Sphere formula puts the vessel in a cosmic relation (Gb). The Three Element formula (H) relates the vessel to another triad, which is encountered more often (Nb, I’). The acts with the water vessel come to an end; they are longer than the preceding ones with the ‘agents’ and much longer than those with the cult objects, but then the preparation of Holy Water is synonymous with the cult of the Sun (cf. Za) and its vessel is the focal point of the ritual. During the whole sequence of as- signments, to be dealt with in Na-Nn, all the powers of the Universe will be gathered round the priest and the water vessel. A wish for good fortune, followed by the brand formula, concludes this part of the ritual (E-H). After the cult objects and the two ‘agents’ and the final receptacle have been cleansed and prepared for the holy act, the officiating priest must strengthen his own internal powers by breath control (I). This is considered to be very important, and it appears from the mss that more than one method can be followed which will produce the same result. This remark also applies to other important activities: the following J (conducting the soul upwards), P (conducting the Śiva Soul downwards), G’ & G" (a- wakening the Śiva Soul). The priest now conducts his own soul upwards, through the fontenelle, to a distance of twelve fingers’ breadth, dvādaśa-angula, above his head (J), and then proceeds to burn away all corporeal impurities (Ka) which might remain and which might form an impediment to the Siva-Soul’s taking residence in the priest’s heart, hrdaya. The invisible fire is ex- [[045]] INTRODUCTION 37 tinguished by Ambrosia (Kb) from the sky, and the priest’s body is then immaculate, his soul is unharmed. The first preparation of Holy Water (L), amrti-karana, can, as a consequence, now take place. Once more the priest goes through the complete ritual of the cleansing of the hands (Ma), again followed by all its various accompanying formulas (Mb), before he undertakes the whole series of nyāsa (Na-Nn), assignments, by which he addresses all the cosmological forces and invites, if not compels them to come into his immediate neighbourhood or into himself. In this way he neutralizes temporarily any injurious influence that may possibly exert itself and assures himself of the benevolent co-operation of the cosmological forces towards the final aim of this series: the unifi- cation of his own soul with the Siva Soul. Two remarks should be made in connection with this sequence of as- signments. In the first place, none of my mss omits any of them or changes their order or fails to give their wording in its entirety. In the second - at least according to the interrelated I & K mss and the notes by Padanda Sarasiddhi - the pronouncing or the muttering of all formulas is accompa- nied by their appropriate gestures. A kind of pause, offered by Omnia & Gestures, only occurs after the union of the priest’s soul with the Siva Soul has taken place, and after the different kinds of water have been offered to the Honoured Guest (the Siva Soul), udakañjali (O), water to which any guest and certainly He is entitled. The priest begins (Na) by once more (cf. Ca, Ma) adressing the five faces/aspects of Śiva, Brahmanga followed by Sivânga, this time calling his action Deification or Śiva making, Śivi-karaņa. Svīkāra or svi-karaņa, appropriation, might have been a possible term for the first of the nyāsa. He goes on (Nb) with invoking and assigning the Three Elements (cf. H). With Anantasana (Nc), Seat of the Endless One, his thoughts dwell on creation and the coarse elements; with Catur-Aiśvarya or Simhasana (Lion throne, Nd) the priest concentrates on the world of mankind and how to conquer it spiritually, so that he reaches Padmasana, Lotus Seat i.e. the divine sphere (Ne). Whilst the fingers move clockwise thrice around the brim of the svambha, i.e. in pradaksiņā, continually adding petals, the priest murmurs all the vowels, diphthongs and consonants of the Deva-nāgari alphabet, svara- vyañjana (Nf), never failing to add namah, homage, after mentioning two or three of them; in this way he assigns their place to them. In doing so, he aims at protecting his ritual, or himself, against any evil influence emanating from any formula whatsoever, for any formula can only consist of a combination of these three categories, and of strengthening himself. He continues by assigning, i.e. collecting and binding, the power of the Nava-śakti (Ng), the ’nine goddesses’ (eight points of the compass plus the centre: the always recurring nava-saña). [[046]] 38 SŪRYA-SEVANA Once more he repeats s(i)vi-karana (cf. Ca, Ma, Na), assigns a tetrad beginning with the Gods (Catur-déva, Ni) and a tetrad consisting of the ‘goddesses’ of the four main points of the compass (Catur-Sandhyā, Nj). He goes on with Nava-graha, ’nine planets’ (Nk); he pronounces the seed syllables, bijāksaras, Am-Um-Mam, of the three main Gods (NI), and only then reverentially invokes them by their names-but the God is then present (Nm), and the pinnacle formula in honour of Śiva the God (of the) Sun concludes this whole series of invocations and assignments and strengthens their result and the priest. This result-according to the words inscribed on a drawing made by a Balinese priest-artist, the Lingodbhava, which shows a Śiva-Linga, consisting of as many padmas as the nyāsas just summed up, on the top of Anantasana, Catur-Aiśvarya/ Simhasana and Padmasana, with the petals inscribed with their formulas - ’this is the unification of the human soul with God’ (drawing reproduced in my ‘Agama Tirtha’). By the Upahṛdaya formula, forgiveness is implored from Him Who has just arrived; in Udakâñjali, ‘respectful offering of water’, pādya, arghya and [ā]cāmanīya are offered to Him, and this section of the ritual (O), expressing the arrival of the Highest Imaginable Guest, is concluded by Omnia & Gestures. The Siva Soul, Śivātmā, is now conducted downward, turunakën (P), by Sapta-Omkāra-ātmā-mantra, through Śiva-dvāra, the ‘Siva-door’, the (place of the skull where a baby child still shows the) fontenelle, toward the heart, hrdaya, of the priest, where it stays. The syllable OM is made in the Holy Water vessel by means of a blade of holy grass (Q). The vessel is to serve as a seat for the divinity, and the Divine Presence, in the heart as well as in the Water, is announced and confirmed by the mantras Utpatti for the God’s arising, Deva-pratisthā for His presence and the pinnacle formula for His adoration; Sthiti, ‘abode’ for consolidation with Omnia as a conclusion. When the officiating priest was a simple officiant, he could prepare a Holy Water of a kind which enabled him to purify his body and his soul and to change his fragile and mortal body into an abode worthy to be the receptacle of the Siva Soul. Now it is this Śiva Soul Which directs the priest’s hands and tongue in order to prepare Holy Water of a superior quality, in which ritual He proceeds in the same way as the priest did, by writing OM on the surface of the water in the svamba. The recitation of the same mantras Utpatti, Deva-pratisthā and Kūța, Sthiti and Omnia, in the same sequence, confirm the divine character of the Holy Water, which has been prepared by the Siva Soul using the body of the priest who had started the ritual. A hymn is sung in honour of the newly prepared Holy Water (R) and concluded with Omnia and since henceforth the priest’s bell will be rung continuously, this cult object has first to be consecrated (S); this action is concluded by Omnia and Gestures. [[047]] Forgiveness is invoked (T); the ensuing actions, formulas and litanies concern the Holy Water, which in Its turn is consecrated (ñaskāra= sańskāra, Ua), and by Deva-pratisthā (Ub) is proclaimed to be a deity -the priest should meditate upon its being (caused by the union of) Ardha-narêśvari. In honour of Devi Ganga, the Sapta-Tirtha or Sapta- Gangā (Va) is recited, and to Her the humble and ceremonial welcome for guests is offered by Udakâñjali and pādya-arghya-ācamanīya (Vb). Sthiti with Omnia & Gestures conclude this section of the ritual. The Sapta-Om-kāra-ātma-mantra, by means of which the Śiva Soul had been prevailed upon to move downward to the priest’s heart, is recited once more to mark the descent of Venerable Gangā (W). Several litanies in honour of Śiva and the Holy Water (X) alternate, concluded with Omnia & Gestures. Finally, the ritual stresses the fact that the Holy Water, tirtha or toya, is a-mrta, ambrosia, and that, because It gives dīrgha-āyur, long life, its preparation is mrtyun-jaya, victory over death. The formula accompanying the consecration of Holy Water is then recited again (Y). This is the climax and the end of the preparation of the Holy Water and is stressed by the latter part of the well known Brand formula and by Sevenfold Growth formula and Long Life formula and by the Omne quod felix etc., all four of which aim at one’s own welfare, and finally with Omnia & Gestures. After this unique accumulation of what are in the main, con- cluding formulas, the mss state that this is the end of the preparation of the Holy Water, the end of the worship of the Sun (Za). The priest sprinkles himself with the Holy Water, and the sprinkling of the Holy Water in the air in an easterly direction is meant for Śiva (Zb). Omne quod felix, etc. If the aim of the priest’s ritual is a ceremony of expiation, prāyaś-citta, Lévi 112, or the worship of Siva-Linga, as in my mss ITSH, cf. App. II, he should perform the ritual for the one or the other at this stage of the ritual. One ms, called Bhasma, ‘Sacred Ashes’, K 475, understandably, says that the priest (after the recitation of the thought concentrating formula Dharmajāti, my Y") first undertakes the applying of the bhasma (App. I), then knots the sacred grass around his head, siro-vistha, as a token of the Divine Presence (as he did before, my G, when the svamba was prepared to receive It) and only after this proceeds with the worship of Śiva-Linga. And at this stage the priest might don the sampět, a black silken sash which is passed over his left shoulder, across his chest and back and meets again above the right hip, as well as a number of other adornments, bhūşaņa, fourteen in all, catur-daśa, each of which is accompanied by its own formula; there may be a connection between this number and the Catur-dasa-Śiva formula concluding this section (App. I). The rest of this ritual consists of the ceremonial leave-taking of the Śiva Soul, the Divine Guest, the Preparer of Holy Water, and of making [[048]] 40 SŪRYA-SEVANA His return to His celestial abode dignified. The two words in Lévi 122: Pūjā simpěn, ‘worship of storing’, as might be expected, cover a whole series of actions. Saha citta nir-mala, ‘with a spotlessly pure mind’, the priest again conducts (tuntun, A’) the Śiva Soul upwards from his heart to the dvādaśa- angula, a point twelve fingers’ breadth above the fontenelle, Śiva-dvāra, by means of the Sapta-OM-kāra formula-but without the sevenfold repetition of ātmā, soul-which, as Sapta-OM-kāra-ātma-mantra, was used in full when the Śiva soul (and the priest’s soul?) was/were led downward (turunakěn, P). A second brief reminder of a preceding part of the ritual is found in the repetition of Anantāsana-Catur-Aiśvarya Simhāsana - Padmāsana, Deva-Pratisthā, Kūța-mantra, Utpatti, Sthiti-mantras (B’-F’) which then follow, and which is concluded by the usual Omnia & Gestures. The first thing that must then be done is the Awakening of the Śiva Soul (punu or pavuňu or pamunu, G’ & G"). To effect this, the Balinese Śaiva brahmans use one of two sets of fairly long formulas. The one set (G’) contains a tiksna, i.e. sharp, penetrating, formula, and a vodhana (for bodhana, awakening) formula, which tells the priest to concentrate on Śiva’s awakening. The other (G") uses the words ghrim-mantra eight times and is therefore called Asta-pājā, eightfold worship. It goes on with two more ślokas and finishes with the caption Sipta-pājā, standing for Iti Samkşipta-pājā, ‘This is Concise Worship’. Both sets end with Omnia; only the mss dealing with the second set mention its complement, Gestures. Then again, for adoration and self-protection, follows the natural sequence of ritual acts consisting of $(i)vi-karana (H’) and Tri-Tattva (I’) and Upahrdaya Udâkañjali (J’) followed by Pādya-arghya-ācamaniya and concluded with Omnia & Gestures. Finally, there is one sloka of adoration addressed to the Sun (K’); this is followed by the Pinnacle formula. This is repeated in one other sloka (Ehi, Sūrya; L’), also followed by the Pinnacle formula. Then comes the act by which Victory over Death, Mrtyun-jaya, was fought and by which Long Life, Dirgha-ayur, was obtained as a result of amrti-karana, the preparation of Holy Water-this act must be restored to its natural status-quo-ante. The powers that were invoked and assigned by nyāsa during the introductory or building-up section of the ritual which culmi- nated in the unification of the worshipper’s soul with the Śiva Soul, are again invoked, in order to placate or satisfy, tarpana; they are sprinkled with Holy Water and released (M’, N’). To stress the result obtained by the ritual, the priest then pronounces the eightfold Śiva-Ambrosia formula (O’), an extended version of the sixfold formula in my L 14-19; this section is again concluded with Omnia & Gestures. The conclusion of the ritual (Q’) consists of the priest’s praise to Bhațāra Sūrya, effected by means of a fairly long stava composed in an unusual [[049]] INTRODUCTION 41 metre, the Stambha Meru, and completed by the Pinnacle formula, Omnia & Gestures. The ritual is over; the officiating priest, temporarily the receptacle of Śiva Soul, is a private person again, and the first to sip from the newly prepared Holy Water. His act of worship is called Sürya-sevana, adoration of the Sun, or Karya Toya, preparation of Holy Water, and before his religion acquired its more recent name, Agama Hindu Bali, the Balinese version of traditional Hindu belief, it was called Agama Tirtha, the doctrine of Holy Water. The ritual described hitherto clearly falls into two unequal parts: one, A-Z, deals with the preparation of the priest’s person and his cult objects, with the invoking of the God and with His preparation of Holy Water; the other, A’-Q’, with the ceremonial send-off of the God. During this sequence of ritual activities utpatti, ‘rise’, and sthiti, ‘abode, duration’ occur repeatedly, whereas pratisthā, from the same root sthā, seems to be regarded as being synonymous with this last term. Hindu (and generally speaking: human) thought operates with the triad utpatti-sthiti-pralina, ‘dissolution’, and this last term might be applied to the whole of a series of ritual actions to be found only in the Uttama group. The Śiva Soul, released from the priest’s body, and supposed to reside at a distance of twelve fingers’ breadth above the fontenelle, is once more brought down into the priest’s heart and there dissolved, pralina. Depending on the aim of the ceremony, two rather similar methods, synoptically summarised infra, are followed. R’ For pańlukatan, exorcism, the priest should ask Jagat-nātha, Ruler of the World, for forgiveness and speak a prayer addressed to S’ implore His anugraha, favour, concluding with Omnia & Gestures. T’ Then he should T"a For the way through ‘Pañca-giri’, after reciting the plea to Jagat-nātha, Astra-mantra followed by the Śri ambha and concluding with Omnia & Gestures; Am-kāra-tarpana with Omnia and Nam-kāra-tarpana with Omnia & G. (cf. G’). T"b After the ceremonial Cleansing of the Hands, T"c homage is paid to the Pañca-Giri, ‘Five Mountains’, and the Lord of the Mountains, Giripati, with Omnia and Gestures. the God of the Sun in the Sky; concluding with the Pinnacle formula. U’ & U" Using the ‘flower-conductor’ and once more using the Seven Om syllable cum Soul formula, the priest conducts the Soul of Siva the Sun downwards and reinstalls Him in his own heart, as he did previously. V’ & V" By using the Rosary formula, the priest reminds himself of japa, dhyāna & yoga; this done, with another formula he puts the rosary down. [[050]] 42 SŪRYA-SEVANA W’ The priest addresses a song W" The priest stresses God’s Oneness of praise to the Heart (and the Sun in it) in a series of syllables; concluding with Omnia and Gestures. X’ Śiva-Āditya is now dissol- ved in the heart. in the one lotus flower, His being hidden and His power to forgive; again the Oneness of Īśāna and Ani-Rudra, of Śiva and Śakti (Dampati, Ardha-nareśvari). Om- nia and Gestures. (Divergence between mss here obscures slightly the picture of the ritual) X" After muttering the formulas ‘X" The priest uses the Six Syllable for- for Utpatti, Sthiti & Pralina, the priest stresses Oneness, & Y" with Dharma-Jāti-mantra, sings the praise of Parama- Śiva; both are concluded with Omnia. mula and extolls the sacrificial cord; concluding with Omnia and Gestures. ‘Y" He uses the formula of W’, conclu- des with Omnia and Gestures, fol- lowed by the Vişnu-mantra con- cluded with Omnia and Gestures. Z" By the formula of pralina Śiva-Āditya is now dissolved in the heart (X’). [[051]]
II. TEXT, TRANSLATION AND NOTES [[052]]
Aa Masisig: om Śri Devi Bhatrimsa-Yogini namaḥ. 2 Makurah [Astra-mantra]: om hum phat Astrāya namaḥ. 3 Marahup: om om Vaktra pariśuddha mām svāhā. 4 Madyus: om Ganga-Amrta-śarīra śuddha mām svāhā. 5 Mavastra mvan akampuh: 6 Kaupina Brahmā-samyuktaḥ, mekhalā Vişnu-samsmrtah; 7 antarvaséśvaro devah, bandham astu Sadā-Śiva. Ab Ri huvus sirádyus, akampuh: om am Siva-sthiti ya namah. 2 3 Asabuk: om tam Mahādeva ya namaḥ. Asabuk: om um Vişnu ya namah. Ac Ta-LUNGUH, vasěh pādâdi: om am kham Khasolkāya Iśvarāya namaḥ svāhā. 2 Ta-vaseh hasta [Astra-mantra]: om rah phat Astrāya namaḥ. 3 Ta-kěmuh-kemuh [Astra-mantra]: om hum rah phat Astrāya namaḥ. 4 (IK: Iděr kiva mayat in alunguh), maśīla dèn apěněd (IK: suku těněn 5 tumumpań i suku kiva) ta narěpakën sva-pakarana [pa saguanta kabèh: 6 om om Padmasanāya namaḥ. 7 Mantrani śarīra: Om am Prasāda-Sthiti-śarīra-Śiva-Suci-Nirmalāya namaḥ. 8 (IK: Mantrani dhūpa-dipa: om am Dhūpa-Dipa-Astrāya namaḥ) Aa based exclusively upon mss IK. 1 The translation is based solely upon the paraphrase in ms I: sajñā (=om) Devi Bhatrimsa, mvan Devi Yogini. 3 The translation again based solely upon the paraphrase in ms I: sâjñā Bhatāri, gumavé pari- śuddha. ms I again uses makurah, as in 2; text according to ms K and mantra. 6-7 Archipelago-Sanskrit; in 6a kupina changed into kaupina, in 7d bandhi santu into bandham astu. The paraphrase in ms I runs: Brahmā navastrani, Vişnu amětěti, Iśvara nampuhi, Sada- Siva añavěti, i.e. Brahma gives the vastra, Vişnu the sabuk, Iśvara the kampuh, Sada-Siva the loincloth. Formula and paraphrase do not correspond sufficiantly; neither do formulas or para- phrases tally with those in the other mss, which, moreover, can by no means be made to harmonize between themselves. Ab Not in the mss IK, but based upon TSHXULG; first words only in TSH. L, in this mantra, has masabuk instead of akampuh; G has Śiva-Sampūrṇāya namah instead of Siva-sthiti-ya namah. 2 L has this mantra preceded by the rubric mavastra, mentioned moreover as the first item. 3 UL have the divergent rubric makampuh; L Vişnu-Sadā-Sivāya namaḥ; G Vişnu-Vaisnavāya n. Four of the seven mss used full stop here; three add a fourth item: X: kamběn: om am kham Khaşolkāya Iśvarāya namaḥ. U: masabuk: om am kham Khaşolkāya Iśvarāya namaḥ. L: masantog: om mam Iśvara-Parama-Śivāya namaḥ. Ac Based upon both sets of mss, from now onwards these are used together. KGL mention line 3 before line 2. [[053]] TEXT, TRANSLATION AND NOTES 45 Aa While polishing the teeth: homage to the goddesses Bhatrinsa and Yogini. 2 While rinsing the mouth [brand formula]: Om hum phat homage to the Brand. 3 While washing the face: Oh, Goddess, cleanse my face! 4 While bathing: Oh, Ambrosia from the Gangā, cleanse my body! 5 While applying under cloth and over cloth: 6 Brahmā has to do with the cover of the private parts, Viṣṇu is mentioned in connection with the belt; 7 Iśvara is the god who has to do with the under cloth, Sadā-Śiva should be the binding element. Ab After bathing, while busy with the over cloth: om am homage to Śiva’s abode. 2 While busy with the under cloth: om tam homage to Mahādeva. 3 While busy with the under cloth: om um homage to Viṣṇu. Ac Sit with legs hanging down (and face still turned to the west); to begin with wash your feet: om homage to the Shining Flame Iśvara. 2 Wash your hands [brand formula]: om rah phat homage to the Brand. 3 Rinse your mouth [brand formula]: om hum rah phat homage to the Brand. 4 Turn to the left before sitting down; carefully sit down in a reverential 5 attitude, with the right foot placed over the left foot, facing your cult objects and all that is on the tray under the lid: 6 om om homage to the reverential way of sitting down called ’lotus’. 7 Formula for the body: homage to the pure immaculate Śiva, Whose body is grace and permanence. 8 Formula for brazier and lamp: om am homage to the Brand of Brazier and the Lamp. 3 Not all mss have rah. 6 mantra and 7 caption borrowed from L, the only source to produce them. 8 L 12 runs: Mantrani asep, formula to the brazier: om am Brahma-Amrta-Dīpāya namaḥ; om um Viṣṇu-Amrta-Dipāya namaḥ; om [m]am Linga-Puruṣāya namah a mantra which needs confirmation, if not emendation. Aa-Ac Somewhat enlarged and differently dealt with in G, as follows: Mavastra (cloth): om Śiva-śarira-sūksma-yoga (perhaps: homage to the effort of the invisible body of Śiva). Now follows my Ab 2. Akampuh (over cloth): om Śiva-sampūrṇāya namaḥ (homage to Siva the Perfect One). Now follows my Ab 3, but: Om um Viṣṇu-Vaisnavāya namaḥ. Nabdab lunguh (preparing to sit): om om Śiva-sampūrṇāya n. (cf. supra), om Īsānāya n. (homage to Iśāna), om um Vaisnaveya namah (cf. supra). Raris anusap pataraņa pin tiga (wiping the platform, three times), alunguh marěp Paścima (sitting turned towards the West), akurah: om hum rah phat (cf. my Ac 3). Next comes my line Ac 2. Muşti palingih (while sitting down fold the hands in añjali/sěmbah without using a flower): mantra my Ac 7 minus am and Śiva. [[054]] 46 SŪRYA-SEVANA Vasuh pāda (my Ac minus am and svāhā). Malih amuşti: om (again, cf. supra). IDĚP arņava têkaň rāt, śarīra juga kari dèvèk, umor in San Hyan Kirana (=Kāraṇa); IMAGINE that the world consists of an ocean, and that you remain isolated, united with the Creator. Marěp Pūrva vasuh tanan (turn towards the east, wash your hands), namèt tankub (take the cover), ukupin meñan (hold it over the incense): om mam Iśvarāya namaḥ (om mam homage to Iśvara). B UNKAB SAGUAN: om im Iśvara-Pratistha-Jñāna-Līlāya namaḥ svāhā. 2 (K: Ta yoga). Pahěnin buddhi-nta ayva kapalan (IK: saha Utpatti-Sthiti:) 3 (IK: [Utpatti] om I-Ba-Sa-Ta-A, om ya-na-ma-Si-vā, om Mam-Um-Am) 4 (IK: Sthiti; om Sa-Ba-Ta-A-I, om na-ma-Si-vā-ya, om Am-Um-Mam) 5 Sambut tan puspa (K: saha gandhakşata, dhūpa-ni); 6 Astra-mantra: om hum raḥ phat Astrāya namaḥ; 7 8 9 om Atmā Tattvātmā śuddha mām svāhā; om om Kṣamā-Sampūrṇāya namaḥ svāhā; om Śrī Paśupataye hum phat. 10 (LPDRW: om sréyo bhavatu, om sukham bhavatu, om pūrņam bhavatu) 11 (Kat: Lěkětikan buña; R: salahakěna ń puspa; W: tuntuń sěkar) PATAÑANAN. 12 (L: Astra-mantra kabèh) IKL: om hum rah phat Astrāya namaḥ; 13 om Atma-Tattvātmā śuddha mām svāhā (plates 1-3) 14 om om Kşamā Sampūrṇāya namaḥ, Nārāca mudrāya namaḥ; 15 om bhām Nétrāya namaḥ (těněn); om bhām Nétrāya namaḥ (kiva); 16 om hum rah phat Astrāya namaḥ, Amrta-mudrā (L ins. hrdayā-)ya namaḥ; 17 (L: om Sadyāya namaḥ, hrūm Kavacāya namaḥ, 18 [om] Samnidhyāya namaḥ, om Agni-Rudrāya namaḥ.) 19 (G: Nambut sěkar saha gandhâkşata, mantrani pasaguanta kabèh:) 20 TXGU: om ghrim vausat [Ksama-Karaņāya] (U: namo) namaḥ svāhā. 21 GTX: PATAÑANAN. B In G, there is sahab instead of saguan, large cover, plaited, bulging or convex, made of pandanus leaves which protects the perishable cult objects: flowers, incense, unblemished rice grains. The Gms moreover substitutes sthiti for pratistha-an incongruity that happens more often-and is also found in line 4, and after līlā it inserts suci nirmala, pure and stainless, the state in which the perishable items have been maintained due to the sahab. 1 The combination of the words jñāna and līlā is also known from another source. Goris, in his paper on Pura Besakih (DJAWA 17, 1937) says that in the Raja-Purāņa Pura Besakih (which is probably not as old as it pretends to be: 929 Śāka/1007 A.D.) there is the following passage: lila-jñāna is the name of padmasana’. The question presents itself, whether jñāna-lilā or līlā- jñāna cf. the ease with which in L’M’ tarpaņa toya and toya-tarpana are interchangeable - might be connected with padmasana in the preceding line Ac 6. 2 X: Pahénak dhyāna-nta, has the same meaning as pahěniň buddhi-nta and is followed by sakarananya, the meaning of which is not perfectly clear to me. 4/5 K is the only ms here to insert the complete Dharma-jāti-mantra, cf. Y". 10 It is dubious whether it is applicable here. I & K, when using the Sri ambha formula, invariably precede it by the rubric Lin Bhațara or Lin San Sinëmbah, i.e. Words of God, or: Words of Him Who is being worshipped. [[055]] TEXT, TRANSLATION AND NOTES 47 Pasan tankub (put down the cover): om Hisnurāya (?) namah, om (A)Mrta-devāya namaḥ (homage to the God of the Ambrosia), om Deva-Devi (homage to God and Goddess), om om Puspa-Sūkṣmāyai namaḥ (om homage to Her Who is as immaterial as a flower). Malih amuşti: om AM (our Ac 7). After Ac 8 in 4675 we find: Ta akakasan: Om am tam ya namaḥ svāhā, to be used when the priest takes on his lap the square piece of cloth to be seen in plate 12 sqq. B UNCOVER (the tray with) PERISHABLE ESSENTIALS (for the offering): 1 om im homage to the expression of the face of the knowledge present in Īśvara. 2 Exert yourself. Purify your mind so that it cannot be hindered, with Utpatti-Sthiti. 3 Coming forth: om Iśvara-Vāmadéva-Sadyojāta-Tatpuruşa-Aghora, om ya-na-ma-Si-vā, om Śiva-Vişnu-Brahmā. 4 Abode: om Sadyojāta-Vāmadéva-Tatpuruşa-Aghora-Īśāna, om homage to Śiva, om Brahma-Vişnu-Śiva. 5 Take a flower, incense and unblemished rice grains; keep them over the brazier; 6 Brand formula om hum rah phat homage to the Brand; 7 8 9 Oh, Thou Whose atma is the ātmā tattva, purify me! om om homage to Him Who is perfect in forbearance; om hum phat homage to Śrī Paśupati. 10 Omne quod felix, faustum fortunatumque sit. 11 Drop the flower GESTURES 12 The complete Brand Formula: om hum rah phat homage to the Brand; 13 Oh, Thou Whose atman is the ātmā tattva, purify me! 14 om om homage to Him Who is Perfect in forbearance; homage to the Arrow gesture; 15 om bhām homage to the [right] Eye, om bhām homage to the [left] Eye; 16 om hum rah phat homage to the Brand, homage to the Ambrosia gesture (and to the Heart); 17 om homage to Sadyojāta, om hrüm homage to the Coat, 18 om homage to the Presence, om homage to Agni-Rudra. 19 Take a flower, incense and unblemished rice grains; speak this formula over all the perishable essentials: 20 om ghrim vauşat honour and homage be to Him Who is the agent of forbearance. 21 GESTURES 12-19 This is neglected in most mss. 14 Bhâm nétra is the rubric for the mantra: om bhām Nétrāya namah. Though the mss give only the rubric, the mantra also has been printed. Lévi’s om ban Netra-trayāya, homage to Him with three eyes, i.e. Śiva, does not find support in any of my mss, and it seems to be out of the question here where right and left are mentioned, as is usual, and therefore has been added here between square brackets. 20 It is surprising not to find a name mentioned between the introduction of the mantra and the final words. The hyphenated word which has been added between square brackets, is based on the Upahrdaya-mantra O, Vb, J’ and P’, where Lévi 22 presents the less probable Sama- Kiraņāya. [[056]] Ca (IK: Amèt tan kalpika, saha vija gandha) (plate 4), 2 ta-KARA-SODHANA-(SH)-ni jarijinta; usapi kěmbań, 3 (IK: Brahmânga karuhun, sthāna San Hyan Pañca-Mahā-Bhūta, 4 jariji) těněn karihin: 5 om Im namaḥ, 6 om Tam namah, 7 om Am namah, tarjini, (I: téja angustha, (I: ākāśa-tattva) rin mūrdhi; ) rin mukha; madhyamikā (I: bāyu anāmikā, , (I: apah kanisthā, ) rin hṛdaya; ) bhāga ‘pastha; (I: pṛthivī ) rin pāda-dvaya. (I: rin hṛdaya-sthāna); (I: rin sirah ); 8 on Bam namah, 9 on Sam namah, 10 Samalih, marin kiva (IK: patěmu nin Brahmanga-Śivânga): 11 om ham Hrdayāya namaḥ, angustha, 12 om rm Kāya-Śirasé namaḥ, madhyamikā, 13 om Bhür-Bhuvah-Svaré 14 Jvālinī-śikhayé namaḥ, anāmikā, 15 om hrūm Kavacāya namaḥ, kanisth(ik)ā, (I: kavati pañjara na., ri sinhěl); 16 om bhâm Nétrāya namaḥ (twice), ri lepa ni taňanta kalih, těněn karuhun. 17 (0: Isyakën ikan sěkar ri lepa-lěpa ni taňanta kalih, 18 patalańkupakěna pva ruhur in Śiva-dvāra:) 19 [Astra-mantra:] om hum rah phat Astrāya namaḥ, rin tarjini. Ca Goris deals at length with Ca in his Ph. D. thesis. The kalpika plate 4 consists of three petals: one red, originating from pucuk/këmbań sepatu, one blue-black, from buna tělěn, and one white, from këmboja jepun, thus symbolizing the Tri-mürti Brahma-Vişnu-Iśvara. Cb Sembahakěna (K: ri San Hyań Śiva-Aditya, rin sikhagra hinan in sembah) 2 (L: Kūța-mantra) om hrām hrim sah Parama-Śiva-Adityāya namaḥ 3 (I: rin Aiśānya-désa). 4 Salahakěna taň sěkar (I: rin Nairṛtya-déśa) rin krodha-déśa 5 (S: klodkauh sankê kita): om com Candiśāya namaḥ. 6 Tańkěpakën taňanta kalih rin kisapvan, ikan kèri anlumah, 7 ikan kanan kuměrěb: om Sady (RW: ojat)āya namaḥ. 8 Pinluhurakën tananta kalih vavên Śiva-dvāra, amrta-mudra-sādhana: 9 om hrām hrim sah Parama-Śiva-Amṛtāya namaḥ. (de Kat: turunan) 10 (I: Ri sampun mijil tikan Amṛta sakên Nāda) 11 Usapakěn i sarvânga-nta kabèh, těka nin pāda kalih: 12 [Kavaca-mantra:] om hrüm Kavacāya namaḥ (rin kavaca) (IK: kavaca-mudrā); 13 (de Kat: Takěpan) om Samnidhyāya namah (I: rin hrdaya; K: hrdaya-mudra); 14 (de Kat: Pustian) om A.ni-Rudrāya n. (I: rin bhrū-madhya; K: pratistha-mudra); 15 SHPVZ: Tělas. 16 (de Kat/RW) Sambut sěkar gandha-vija-ni. 17 (1: Lin Sań Sinëmbah/K: Lin Bhatāra:) 18 om śrī ambhavantu, om pūrņam bhavantu, om sukham bhavantu. 19 (de Kat Angelino: Lëkětikan sěkar) (V: PATAÑANAN) [[057]] Plate 9. SANKEPI (passim). [[058]] T. Kin Plate 10. PRANAYAMA (I). [[059]] Plate 11. PRANAYAMA (I). [[060]] Plate 12. TUNTUN/NILI (Va, W). [[061]] TK Plate 13. TUNTUN/NILI (Va, W). [[062]] T.K Plate 14. PADANDA ISTRI NA-STAVA (X). [[063]] Plate 15. PADANDA ISTRI NA-STAVA (X). [[064]] Plate 16. SIRAT (Zb, Z"b). [[065]] Plate 17. SIRAT (Zb, Z"b). [[066]] Plate 18. PUNU (G’, G"). [[067]] Plate 19. PUNU (G’, G"). [[068]] T-KN Plate 20. TRI-TATTVA (I’). [[069]] TKN Plate 21. TRI-TATTVA (I’). [[070]] Plate 22. GANITRI (V’, V"). (The priest should have been provided with his mitre.) [[071]] TK Plate 23. GANITRI (V’, V"). (The priest should have been provided with his mitre.) [[072]] T. KN Plate 24. NICIP TOYA (Z"b). [[073]] TEXT, TRANSLATION AND NOTES Ca Take the kalpika, together with rice grains and incense; 2 effect the CLEANSING of the HANDS, one finger after the other, by making a wiping movement along them with a flower; 3 first Brahmanga, the seat of the Five Coarse Elements, 4 the fingers of the right hand first: 5 om homage to Iśāna, thumb, Sky Element; head; 6 om homage to Tatpuruşa, fore finger, Heat Element; face; 7 om homage to Aghora, middle finger, Wind Element; heart; 8 om homage to Vāmadéva, ring finger, Water Element; private parts; 9 om homage to Sadyojāta, little finger, Earth Element; both feet. 10 Next, to the left, the meeting of Brahmanga with Śivânga: 11 om ham homage to the Heart, thumb, heart; 12 om rm h. to the Trunk and Head, middle finger, head; 13 om homage to Earth-Sky-Heaven, 14 to the Tongue of the Flame, ring finger, 15 om hrüm homage to the Coat, little finger, knot of cloth; 16 om bhām homage to the Eye (twice), making a wiping movement over the surfaces of both hands, right hand first. 17 After that, take the flower between both the palms of the hands, 18 upside down above the fontenelle : 19 [Brand formula] om hum rah phat homage to the Brand, forefinger. Cb Pray to the God Śiva-Sun, hands as high as the hair on your head: 2 Pinnacle formula: om hrām hrim sah homage to the Supreme Śiva-Sun, 3 in a north-easterly direction. 4 Throw the flower away to the south westerly direction, the direction of wrath, 5 south west from us: om com homage to the Lord of Candi. 6 Put both your hands together on your lap, the left one turned upwards, 7 the right one turned downwards: om homage to Sadyojāta. 8 Lift both hands towards the fontenelle, making the ambrosia gesture: 9 om hrām hrim sah homage to Supreme Śiva-Ambrosia. Drop both hands. 10 After the Ambrosia has emanated from the Nada, 11 wipe all your limbs, down to both feet (i.e. symbolically, with a flower): 12 (coat-formula:) om homage to the Coat, to the body, coat gesture. 13 Put the hands together: om homage to the Presence, heart, heart gesture; 14 Make an añjali with bare hands, om homage to Agni-Rudra, between the brows, 15 Finished. [pratistha-mudrā. 16 Take a flower between the thumbs, and use rice grains and incense. 17 The Lord speaks: Omne quod felix faustum fortunatumque sit. 19 Drop the flower. GESTURES. [[074]] 50 SURYA-SEVANA Cb The 4675 ms: Sekar inagěm (take a flower), sembahakěna etc. The I & K mss are the only ones to make it clear that the benediction emanates from the Lord Who is being worshipped here, and in Hand Mb; this rubric, however, is used as well as an introduction to some more formulas: Y, Z (twice), in the last case, in alternation with Lin San Amūjā, i.e. words of the worshipper. D Sambut tan sěkar tibakěnên Aiśānya-déśa: 2 om ghrim vausat (L: Ksama-karaņāya) namaḥ svāhā. 3 KARA-SUDDHI RAHASYA rin catur-angula (S: těněn karihin): 4 om Sam namah, 5 om Am namah, 6 Om-kārāya namaḥ, tarjini, (I: Lakśmi-devī hyannya); hyannya); madhyamikā, (I: Sarasvati anāmikā, (I: Upeksā devī hyannya); 7 om hum raḥ phat Astrāya n., kanisth(ik)ā, (I: Karunā-devī hyannya); 8 Angustha dé niň mañanakěn; kanan kèri tungal mantra. 9 (I: Mvah rin kiva; K: Gumanti rin kiva:) Pasan Catur-Śakti-mantra: 10 om A namaḥ, tarjinī, (I: Muditā-devi hyannya); 11 om Sa namaḥ, madhyamikā, (I: Śāntā-devi hyannya); 12 om Ka namaḥ, anāmikā, (I: Prajñā-devī hyannya); 13 om Va namaḥ, kanisth(ik)ā, (I: Parimitā-devi hyannya). D 4675 adds: ta-saji argha, dhūpa, dipa, ghanța: offer water for guests, frankincense, lamp and bell. 2 4675 adds: mantra sa-prakāra kabèh: the whole set of formulas; PATANANAN: GESTURES. As printed, this is the second half of the Upahrdaya-mantra, cf. O, Vb, J’, P’, and the fact offers a justification for suggesting this emendation. The same must have been meant with Lévi 22, samākiraņāya. Lévi 22, however, immediately precedes my section E and gives the impression of being in the wrong place. Lévi 22 has the rubric followed by the words: mantrani saprakāra kabèh, i.e. utter a formula over all things, and that formula might have been meant for the Ea Pasañana tan kalpika pinara-volu sor in suku niň TRI-PĀDA, 2 rin madhya; tancēbana tunjuń valulvan; Daśa-akşara-mantra: 3 om Sam namaḥ, pūrvā; om Bam namaḥ, daksiņā; 4 om Tam namaḥ, paścimā; om Am namaḥ, uttarā; 5 om Im namaḥ, madhyā; 6 om Nam namaḥ, āgneyā; om Mam namaḥ, nairrtyā; 7 om Sim namaḥ, vāyavyā; om Vam namah, aiśānyā; 8 om Yam namaḥ, madhyā. 9 Sambut tan tripāda (Try-akşara-mantra), (I: Try-antah-karaņa naranya) 10 (L: Am-Um-Mam). 11 Sembahakěna rin śikhāgra, dé nin Kūța-mantra: 12 om hrām hrim sah Parama-Śiva-Adityāya namaḥ. 13 Turunakěna tripāda, tumpahana luhur in kalpika (X: Pasan Deva-pratistha): 14 om om Deva-pratisthāya namah; pratisthā-mudrā (plate 27). 15 Tibani sěkar saha gandha ‘kşata. 16 Mantrani suku niň tripāda; amèt tan kalpika pinaka-sendi: [[075]] TEXT, TRANSLATION AND NOTES 51 4-5 The flower, reverentially offered to the God, with both hands (plate 28), near the tip of the nose (plate 28), forthwith is lowered and held in the left hand. The priest, while officiating, faces the east; his left hand throws the flower away to the right behind his back. 7 4675 after om inserts sam. 9 4675 Parama-Siva-Amrta-Mudrāya namaḥ. D Take a flower, to be dropped in a north-easterly direction: 2 om ghrim vauşat honour and homage to the Agent of Forbearance. 3 SECRET (symbolical) HAND CLEANING of the four fingers; right hand first: 4 Om homage to Sadyojāta, fore finger, Goddess: Lakśmi-devi; 5 om homage to Aghora, middle finger, Goddess: Sarasvati; 6 homage to the Syllable Om, ring finger, Goddess: Upekşā-devī; 7 om hum rah phat h. to the Brand, little finger, Goddess: Karunā-devī. 8 The thumbs are the means of carrying out the ritual gestures; use the same formulas for the left hand as well as for the right hand fingers. 9 And to the left: Apply (Assign) the Four Power Formula : 10 om homage to Aghora, fore finger, Goddess: Muditā-devi; 11 om homage to Sadyojāta, middle finger, Goddess: Šāntā-devi; 12 om homage to Om-kāra, ring finger, Goddess: Prajñā-devī; 13 om homage to Vajra (Thunderbolt), little finger, Goddess: Parimitā-devi. perishable and imperishable cult objects. In that case this item would be the end of my Cb and not the beginning of D. The materials at my disposal do not admit of a decision. 4/5 and 10/11 A and Sa interchange; but not the fingers; why? 4-7, 10-13 the Goddesses are unexpected; it is beyond me to offer an explanation. 7 Astra-mantra is not found in all mss; T has VA like 13 and X in 6; X has ON-kārāya like T in 12. 10-13 I am not sure of my exegesis of A-Sa-KA-Va. 13 TSH instead of kanisthikā have angustha, which seems contrary to lines 8 & 7. Ea Put a kalpika, torn into eight parts, under the legs of the TRIPOD, 2 in the middle; fix the stalk of the hibiscus, using the Ten-Syllable-Formula : 3 om homage to Sadyojāta, East; om homage to Vāmadéva, South; 4 om homage to Tatpuruşa, West; om homage to Aghora, North; 5 om homage to Iśāna, Centre; 6 om homage to Nam, South-East; om homage to Mam, South-West; 7 om homage to Sim, North-West; om homage to Vām, North-East; 8 om homage to Yam, Centre; 9 Take the tripod, using the Three Syllable Formula, called the Three End Maker: 10 Am-Um-Mam. 11 Lift it in adoration to the tips of your hair, using the Pinnacle Formula : 12 om hrām hrim sah homage to the Supreme Śiva-Sun. 13 Put the tripod down over the kalpika, using the Deva-Pratistha Formula: 14 om om homage to God’s Presence, using the presence gesture. 15 Drop the flower with the incense and the unblemished rice grains on it. 16 Take a kalpika to be used as a basis; use this formula for the legs of the tripod: [[076]] SŪRYA-SEVANA 17 om Am Sūrya-mandala-Brahma-Adhipatayé namaḥ, (X: suku) daksiņa; 18 om Um Nava-vidyā-Soma-mandala-Vişnu-Adhipatayé namaḥ, (X: suku) uttara; 19 om Mam Agni-mandala-Rudra-Adhipatayé namaḥ, (X: suku) pūrva. I: om Mam namah, Iśvara, tuntun; om Um namah, Vişnu, madhya; om Am namaḥ, Brahmā, buňkahnya; 20 XK: om Mam namah; om Um namah; om Am namaḥ. 21 IK: Tibani sěkar sovań-sovan pūrva-uttara-daksiņa. 22 (L: PATAÑANAN, Astra-mantra kabèh; cf. B 10-13) (Ś.I.: nārāca mudrā). Eb Ungahakěna ń ARGHA (5 mss)|SIVAMBHA (4 mss), pradaksiņa pin pitu 2 ri (I: suku ni)ň tripāda: om Om namah. 3 (L 30: Naskāra; [Astra-mantra:] om hum rah phat Astrāya namaḥ) 4 Tan dva kuměrěbakěna ń argha (L: rin padipan), (IK: Akāśa-tattva): 5 om om ākāśa-Byoma-Śiva-Tattvāya namaḥ. 6 (L 32: Idërkěna ń argha rin padīpan pin pitu: om om Parama-Śivāya namaḥ, 7 om om Sadā-śivāya n., om om Sadā-Rudrāya n., om om Mahādevāya 8 om mam Iśvarāya namaḥ, om um Vişnave namah, om am Brahmāya namaḥ. 9 (L 34: Těrapakěna rin tripāda) Lumahakěna ń argha (IK: prthivi-tattva): 10 om om Prthivi-Prabhāvati-(L: Devi-tattvā)ya namaḥ. 11 Kurah-kurahana (I: rin) vai [Astra-mantra]: om hum rah phat Astrāya namaḥ. 12 Ukupi měñan: om mam Iśvarāya namaḥ; těkén Daśa-akşara-mantra: 13 [cf. Sthiti] Sam-Bam-Tam-Am-Im, nam-mam-Sim-vām yam (L: Am-Um-Mam), 14 dadi pamupulan in Pañca-Mahā-Bhūta (I: mvan Pañca-Tan-Mātra) katattvanya. 15 Tutupi lyannya (G: dé nin tanan kalih): 16 [Kavaca-mantra:] om hrüm Kavacāya namaḥ (K: kavaca-mudra-sādhana). 17 (L 36: Unkab tutupe riya: Am-Um-Mam Am-Ah) 18 Isyani vai dèn apūrṇa: 19 om hrâm hrim sah Parama-Śiva-Ganga-Amrta-Samplavāya namaḥ. 20 G: Isyanin Nava-Gangā U: Asta-Tirtha; om sam Narmadāya n, om sam Sindhuye n., 21 om sam Gangāyai namah, om sam Sarasvatyeya namah, om sam Eravatyeya namaḥ, 22 om sam Nadi-śresthaye n., om sam Nadi-sutaye n., om sam Garbhodaye namaḥ. 23 Kūța-mantra: om hrām hrim sah Parama-Śiva-Adityāya namaḥ. 24 (L 38: SANKËPI saha gandha ‘kşata puspa: om Śiva-Amṛtāya namaḥ svāhā) (plates 9 & 25). Eb 10/11 U ins. Iděrin padhūpan, pin 7, narasanya (?): om om namah. 15 U rubric: Tungal tri-bhuja. 19 U: Jaya-Sūkṣmāya instead of Amrta-Samplavāya. Fa Těhěr GURIT ikan vé dé nin sěkar: [Tri-puruşa-mantra] 2 om Am namaḥ, dakšiņa; om Um namah, uttara; om Am namah, madhya. 3a Im malan Lor Kidul; 3b om Im namah; 3c Bajra(n)kāra ka-IDĚP-annya. [[077]] 17 om Am h. to the Brahma-Lord of the Sun-sphere, S. leg; 18 om Um h. to the Ninefold-Knowing Visnu-Lord of the Moon-sphere, N. leg; 19 om Mam h to the Rudra-Lord of the Fire-sphere, E. leg. 20 om h. to Mam, Īśvara, top; om h. to Um, Vişnu, middle; om h. to Am, Brahmā, its bottom. 21 Drop a flower for each of them separately East North South 22 GESTURE; the complete Brand Formula (cf. B 12-16); arrow gesture. Ea Text according to the G ms; other mss: ri sor in argha, madhyanya. 13 SU pasañakěna tripāda; L 26 pasań tripāda; K hënahakěna. 17-19 G: Agneya/Uttara/Nairrtya. Eb Lift the HOLY WATER VESSEL from the tripod, moving it around clockwise, 2 seven times, above its legs: om homage to Om. 3 L: Consecration; the Brand formula: om rah hum phat homage to the Brand. 4 Next keep it upside down over the lamp (Sky Element): 5 om homage to the Śiva elements Atmosphere and Sky. 6 Turn the vessel round seven times over the lamp: om om homage to Parama-Śiva; 7 om om h. to Sada-Śiva; om om h. to Sadā-Rudra; om om h. to Mahādeva; 8 om mam h. to Iśvara; om um h. to Vişnu; om am h. to Brahmā. 9 Put the vessel down on the tripod, upside down (Earth element): 10 om homage to the Uma elements Earth and Radiance. 11 Rinse it with water; the Brand formula: om hum rah phat homage to the Brand. 12 Keep it over the incense: om mam homage to Iśvara, and the Ten Syllable formula: 13 Sadyojāta-Vāmadeva-Tatpurusa-Aghora-Iśāna, ho-m/mage-m/to-m/Si-m/va-m, Brahmā-Vişnu-Śiva; 14 its essence is the collecting of the Five Coarse Elements (and the Five Tan-Mātras) 15 Cover the open side with both hands: 16 (Coat formula:) om hrum homage to the Coat, making the coat gesture. 17 Take off the lid: Brahma-Vişnu-Iśvara Life-Death. 18 Fill it to the brim with water: om hrăm hrim sah 19 homage be to the Inundation of the Supreme Śiva River with Ambrosia. 20 G: Fill it, using the Nine-Ganga (U: Eight-Ambrosia) formula: om sam h. to Narmadā, 21 om sam homage to Sindhu, om sam homage to Ganga, to Sarasvati, to Eravati, 22 to Nadi-śresthā, om sam homage to Nadi-sutā, om om homage to Garbhoda. 23 G: The Pinnacle formula: om hrām hrim sah homage to the Supreme Siva Sun. 24 L Omnia by means of perfume, unblemished rice grains, flowers: honour and homage to Śiva’s Ambrosia. Fa Write over [the surface of] the water with a flower: 2 Am in the South; Um in the North; Mam in the Centre; om homage to Brahmā; om homage to Vişņu; om homage to Iśvara. 3 [write] Im crossing [from] the N [to] the S: om homage to Iśvara; (while doing so) IMAGINE the transverse lines of ‘Thunderbolt-Making’. [[078]] SURYA-SEVANA 4a Putěr ikan vé, 4b iděr těněn, pin tiga: 5 om hrām hrim sah Parama-Śiva-Amrta-Samplavāya namaḥ. 6 SANKĒPI puspa gandha ‘ksata dhūpa dīpa; PATAÑANAN Fb IK: Gelari lava aşta dala ri lambé nin sivambha, dé nin sěkar gandha vīja: 2 TSHL: Gelari tan argha MAHĀ-PADMA saha gandha ‘kşata: 3 om Brahmi vicet svāhā, pūrva; om Maheśvari vicet svāhā; dakşiņa; 4 om Kaumārī vicet svāhā, uttara; om Vaisnavi vicet svāhā; paścima; 5 om Vārāhī vicet svāhā, āgneya; om Indrāņi vicet svāhā; aisānya; 6 om Camundi vicet svāhā, nairrtya; om Gaņêndri vicet svāhā; vāyavya. 7 Kūța-mantra: om hrām hrīm sah Parama-Śiva-Adityāya namaḥ svāhā. 8 Iti Amrta-anusthāna. Ga ŚIRO-VISTA-ni têkań ŚIVAMBHA: 2 Śiro-vistam mahā-divyam, pavitram pāpa-nāśanam; 3 nityam kuśagram tişthati, sidantam pratigrhņati. 4 [Astra-mantra:] om hum rah phat Astrāya namaḥ. Gb Sambut (X: Pasan) tan TRI-MANDALA: 2 Om im hrim śrim kprèm aśra hum Dvādaśa-Kalātmané 3 sattva RAJO-adhipataye namah, OM AGNI-mandalāya svāhā, 4 [nabhi] (IK: cakra-mudra) dasar in argha, AGNI-tattva [Brahmā]; 5 om im hrim śrim kprèm aśra hum Dvādaśa-Kalātmané 6 sattva TAMO-adhipataye namaḥ, om SURYA-mandalāya svāhā, 7 [dada] (IK: padma-mudra) madhya nin argha, SURYA-tattva [Iśvara]; 8 om im hrim śrim kprèm aśra hum Dvādaśa-Kalātmané 9 sattva SATTVA-adhipataye namaḥ, om SOMA-mandalāya svāhā, 10 [bhrū-madhya] (IK: triśūla-mudrā) luhur in argha, SOMA-tattva [Vişnu]. [[079]] TEXT, TRANSLATION AND NOTES 55 4 Turn [your finger over the surface of] the water, clockwise, three times: 5 om hrām hrim sah homage to the inundation of Supreme Siva with Ambrosia. 6 OMNIA: flower, incense, unblemished rice grains, incense, lamp, GESTURES. Fb Apply eight petals to the brim of the Holy Water vessel; incense and rice grains. 2 Apply incense and rice grains, draw a big lotus [consisting of the usual eight petals] for the assignment of the [eight powers to be named in the formula, around the water vessel; formulas for the petals: 3 om Brahmi may become manifest, E; om Mahādevi may become manifest, S; 4 om Kaumārī may become manifest, N; om Vaisnavi may become manifest, W; 5 om Vārāhi may become manifest, SE; om Indrāņi may become manifest, NE; 6 om Camundi may become manifest, SW; om Ganendri may become manifest, NW; 7 Pinnacle formula: Om hram hrim sah vauşat homage be to the Supreme Siva Sun. 8 This is Ambrosia Worship. Fa/Fb L 41 inserts an eightfold formula, to be repeated in O’ and in that position is corroborated by ms U which, in adding a final item, changes it into a complete ninefold Śiva-Amrta-Mantra. The following threefold invocation of Śiva to purify the officiating priest and his concluding Ambrosia formula are also included in the text sub O’. L 42 continues with Aturana gandhâkşata, ‘offer incense and rice grains’, a version of sankëpi, dealt with in the Introduction § 4b. L 43 concludes its addition with Sańkěpi Astra-mantra, saha Patañanan; nowhere in the mss do two variants of sankěpi follow one another immediately; Lévi’s informant may have been expatiating on Sańkëpi, irrespective of the course of the ritual. 2/3 SHX: Lava, ‘petals’; GU: mantra nin lava, ‘formulas to be spoken over the petals’, 5 IK is the only correct ms; TSHXGUL: Maheśvarī is repeated instead of Vārāhī. Ga Provide the HOLY WATER VESSEL with the KNOTTED KUŠA GRASS: 2 The knotted grass is Divine, purifying and destroying evil; 3 the kusa tip is steadfast, supporting him who sits down out of heart. 4 Brand formula: om hum rah phat homage to the Brand. Gb Assign the THREE SPHERES (to the Holy Water vessel): 2 Om im hrim aśra hum homage to the Lord of sattva and RAJAS, 3 consisting of twelve kalās, om homage to the FIRE Sphere; 4 navel, wheel gesture, basis of the water vessel, FIRE reality, Brahmā; 5 om im hrim aśra hum homage to the Lord of sattva and TAMAS, 6 consisting of twelve kalās, om homage to the sun sphere; 7 breast, lotus gesture, middle of the water vessel, SUN reality, Iśvara; 8 om im hrim aśra hum homage to the Lord of sattva and SATTVA, 9 consisting of twelve kalās, om homage to the MOON sphere; 10 between brows, trident gesture, top of water vessel, MOON reality, Vişnu. sapotra-potrim rdis-ca, bandhavaś-ca sukha nityam. Without too much arbitrariness perhaps to be emended into: Svasti me sarvato dadhyād, deyam rah ron ca (?) nirbhayam; saputra-pautri ṛddhiś-ca, bāndhavāś ca sukhā nityam. [[080]] 56 SŪRYA-SEVANA The translation-apart from the three syllables-would then run: From all sides it may procure bliss to me, and may give absence of fear …. welfare with children and grandchildren included, and even the relatives will always be happy. Gb Without exception the mss write three formulas only, by repeated om to a certain extent divided into two parts, concluded by namaḥ svāhā. In Baroda I was told that the first part should be concluded by namah, the second by svāhā. There also the places of assignment (4 nabhi, 7 dada, H Gelar tikan TRI-TATTVA: 2 om om Śiva-tattvāya namaḥ, rin mūrdhi (I: tri-śikhā-mudrā, cf. I'4); 3 (I: patěmu nin Śiva Ardhanarêśvarī; tuntuň in sembah); 4 om om Vidyā-tattvāya namaḥ, rin śikhagra; 5 (I: patěmu nin jñāna lavan iděp; madhya nin sembah); 6 om om Atmā-tattvāya namaḥ, rin hṛdaya; 7 (I: patěmu nin ātmā lavan déva; bunkah in sembah). 8 (I: Lin Sań Siněmbah/K: Lin Bhatara:) 9 om śrī ambhavantu, om pūrņam bhavantu, om sukham bhavantu. PATAÑANAN. 10 (I: kottama dé san pandita, asin kaharas kagaměl dé nira, salvir in 11 sinangah campur, matěmahan śuddha nirmala, mańkana kājaranira) 12 Astra-mantra: om hum rah phat Astrāya namaḥ, 13 14 om Atmā Tattvâtmā! śuddha mām svāhā! om Kşamā-Sampūrṇāya namaḥ svāhā. H Gelar from O, which, moreover, has Tri-Śiva-Tattva. 2 IK murdhi, G śirah, head, O vunvunan, skull. 4 I śikhagra; G rahi, front; 0: jihvā, tongue, 9 G first gives Astra-mantra, followed by the śri ambha; but Lévi 47, lacking Tri-tattva, gives Sańkěpi, Patañanan, Astra-mantra. As they are the only two mss to mention Astra-mantra, the sequence is not established. 9 Here Sankěpi should precede patañanan according to Lévi 47. This text gives a unique accumulation I PRANAYAMA. This is one of the most important activities of the officiating priest and is not omitted in any ms. It is described in different ways in the mss, and performed differently in present day Bali (plates 10-11). First in this book comes the concensus of fourteen of the mss used, followed by three divergent formulas. Next the importance attached to breath-control is explained by including four fragments from the N ms. Finally varying methods will be adduced from O, R & W mss. 1 Isěpěn bāyu-nta sakê (lyan ni iruń těněn: om Am (L: KUMBHAKA) ban varna-nira; 2 vijilakën bāyu-nta saké [lyań ni] irun kiva: om Um (IK: PŪRAKA) irën varna-nira; 3 pěgën bāyu-nta sa-ka-vaša om Mam KUMBHAKA 4 vijilakën bāyu-nta sakė [lyań ni] iruń kalih: om Mam RECAKA na. 5 putih varna-nira; PATAÑANAN. 6 5160/42a: Om, ri(n) Śiva-dvāra; Am, ri(n) irun těněn; Um, ri(n) iru(n) kiva; Mam ri(n) tuntun iruń. 7 N/lb: om Am Brahmāya namaḥ RECAKA; om Um Vişnavé n. PŪRAKA; om Mam Iśvarāya n. KUMBHAKA; 8 om Sadā-Śivatmané namaḥ, ātma-samyoga (cf. infra; 1. 18). 9 N/Ib: Vijilakën ta ń bāyu-nta ma-avanên Śiva-dvāra: om Am Ah Atma-pariśuddhe namah; 10 Isěp bāyu-nta vèh ibēka śarīra-nta: om hram hrim sah Parama-Śiva-Amṛtāya namaḥ. 11 IDĚP: San Hyań Amrta kumucur saken Byoma-Śiva, andělakën ri Sań Hyan Atmā. 12 Samalih větvakěn bāyu-nta ma-avanên ghrānågra: [[081]] TEXT, TRANSLATION AND NOTES 57 10 bhrū-madhya) were given to me, and the names of the Gods (Brahmā, Vişnu, Iśvara); as my additions, both categories have been put between [ ]. In 3, 6 & 9 instead of sattva followed by RAJO, TAMO & SATTVA, one would have expected RAJO-guna, TAMO-guna & SATTVA-guna. 9 Without exception, the mss have soma instead of the expected sattva; five of them in the last words have soma, four have the equivalent candra. H The assignment of the THREE ELEMENTS: 2 om om homage to the Śiva-element, 3 4 5 6 7 union of Siva Ardhanareśvarī, om om homage to the Knowledge-element, union of Wisdom and Thought, om om homage to the Soul-element, union of the soul with God, 8 Words of the God Who is being worshipped: head; three times top gesture; top of worship; top of the hair; middle of worship; heart; bottom of worship. 9 Omne quod felix, faustum fortunatumque sit. GESTURES 10 What the priest estimates as being the height of goodness: everything he has 11 touched and held, all things (previously) to be considered as impure, in the end have become spotlessly pure; that is his doctrine. 12 Brand formula: om hum rah phat homage to the Brand; 13 14 Oh, Thou Whose ātman is the atman tattva! om om homage to Him Who is perfect in forbearance. of sanképi in 38, 41, 42, 43, here 47, the justification for which I mistrust. On the other hand, it would seem to be corroborated by: a) L’s Astra-mantra; b) my Saivite informant’s adding: daginin gandha ‘kşata puspa rin sivambha, i.e. put incense, rice grains, flowers in the Holy Water vessel; c) then follows the patañanan in six mss; d) the fact that this is a real caesura. Nevertheless, as the text printed by Lévi is the weakest bead in my rosary of mss, I decided to drop this sańkëpi, merely discussing it in the notes. 1 Inhale from the right nostril, om Am; 2 Exhale from the left nostril, om Um; (L: KUMBHAKA), its colour: red; (IK PŪRAKA), its colour: black; 3 Coerce by all means (power), om Mam; this is called KUMBHAKA; 4 Exhale from both nostrils, om Mam; this is called RECAKA; its colour: white. 5 GESTURES 6 5160/42a: Om to the fontenelle; Am to the right nostril; Um to the left nostril; Mam to the tip of the nose. 7 N/1b: om Am homage to Brahmā, RECAKA; om Um homage to Vişnu, PŪRAKA; om Mam homage to Iśvara, KUMBHAКА 8 om homage to the Soul of Sada-Śiva-this is the soul-union (cf. infra; 1. 18). 9 N/1b: Exhale through the fontenelle: om Am Ah homage to the Purification of the Soul; 10 Inhale, letting your breath fill your body: om hram hrim sah homage to the Supreme Śiva-Ambrosia; 11 12 IMAGINE: Holy Ambrosia flows from Siva-in-the-Sky, consolidating the Holy Soul: Next: Exhale through the top of the nose: om homage to Am Kham Ah, [[082]] 58 SŪRYA-SEVANA 13 om Am Kam Ah, om Am Jivita-Paripūrṇāya namaḥ svāhā. 14 Tadahi tañan kalih, usapakěn ri avakta, nirvighna phala-nya. 15 N/3b: Japa paña(n)děg San Hyan Urip, yan mahyun měsata sańkêń śarīra, ma-prāṇāyāma-ādi: 16 om Am Atmāya namaḥ, RECAKA; om Um Antarātmāya namaḥ, PŪRAKA; 17 om Mam Paramâtmāya n., KUMBHAKA; om Um Parama-Ardha-Narėśvariya n. svāhā. 18 Samyoga-mantra iki (cf. supra, 1. 11), mahā-viśesa; 19 N/3b: Nihan San Hyan Mahā-Prāyaścitta; kramanya: ma-prāṇâyāma-ādi: 20 om Hram namah, PURAKA; om Hrim namah, KUMBHAKA; om Sam n., RECАКА; 21 Samalih, sambun mantra: om hrẫm hrim sah Parama-Śiva-Atmané namaḥ svāhā. 22 N/4ab: PRĀŅĀYĀMA: om Am Atmāya Brahma-mūrtyai namaḥ, RECAKA; 23 om Um Antar-Atmāya Vişnu-mūrtyai namaḥ, PŪRAKA; 24 om Mam Parama-Atmaya Īśvara-mūrtyai namaḥ, KUMBHAKA; 25 Samalih: Vijilakěn ayva sarag: om hum rah phat Astrāya n., sarva-pāpa-vināśāya svāhā. 26 0/7a & U/p. 1: 27 Isěpěn bāyu-nta sakė irun tënën: om Am n., dên tëkën prāņa nin ati, ia KUMBHAKA naranya; 28 Pëgěň sakavaśa (pěgën ayva vinèh mijila), om Um n., dèn tutug tëkën ampru, ia PŪRAKA na; 29 Větvakěn [=vijilakěn] sakė ghrāņa kiva, om Mam namah; 30 (0: yan tan větvakěnên ghrāņa kiva; kunan yan kavaśa:) śūnyakěn pusuh, ia RECAKA na. 31 O/1b: Pañjinakěn ikan bāyu-nta ma-avanền lyan ni irun kiva, ayva madrës, 32 yathā-śakti dè-nta mañjiňakën ri sira: om Um namaḥ, sira PŪRAKA naranya; 33 pěgěň ayva vinèh mijila: om Mam namaḥ, sira KUMBHAKA naranya; 34 vijilakën ma-avana lyan ni irun těněn: om Am namaḥ, sira RECAKA naranya. 35 The ksatriya mss R & W, before the final patananan, contain the elucidating rubric: 36 Usapakěnền mukha mvan (or: těkên) sarvânga kabèh tëkën suku, i.e. 37 Wipe (symbolically, by using a flower) your face and all your limbs including your feet. I Lévi gives the shortest presentation hitherto encountered; it runs: om Am namah, KUMBHAKA; om Um namah, PURAKA; om Mam namah, RECAKA; (the middle formula was printed as om instead of um, perhaps due to a scribal error, as in Balinese script initial u and o are rather similar). 1-4 Only XKLYO add namah, the other ten mss do not. The brevity of the mss makes them continually use irun těněn, ‘right nose’, and irun kiva or ghrāņa kiva, ’left nose’, and even iruń kalih, both noses’, but as the Oms uses lyań nin irun, ’nostril’, it was clear that Javano-Balinese technical language admits of both versions, so that the longer one was preferred here. Likewise, repetition of bayu-nta seemed preferable. It is remarkable that a dozen mss with different names fail without exception to mention the colour J TUNTUN (or: NILI) ATMA, the priest’s method of conducting his soul to a place outside his body, at twelve fingers’ breadth above the fontenelle, is done in two different ways. Here, the shorter version, that in the GUL mss, is given first; then, the system as given in the Oms, and then the action according to the ITSHXK and Gmss; X presents both methods, the shorter first, the longer next (with the formula in reverse order, perhaps for the way back). 1 TUNTUN SAN HYAN ĀTMĀ ri hṛdaya-nta, (U: tananta těněn) vavên Śiva-dvāra, 2 (IG: rin dvādaśângula) dé ni mpu ni tananta kalih marěp rin sor: 3 om am Śiva-ātmakāya namah. [[083]] TEXT, TRANSLATION AND NOTES 59 13 homage to Am of the Perfect in Life. 14 Keep both hands with their palms turned upwards, make a wiping movement over your body; the result will be absence of frustration. 15 N/3b: Muttering to make Holy Life stay when It wishes to escape from the body, by way of breath-control: 16 om Am h. to the Soul, RECAKA; 17 om Um h. to the Interior Soul, PŪRAКА; 18 om Mam h. to the Supreme Soul, KUMBHAKA; om Om h. to the Supreme Ardhanarėśvari. This is the formula for the Union of the Soul (cf. supra); it is very powerful. 19 N/3b: Next: here follows the Holy Great Expiation; 20 it is accomplished to begin with by observing breath control: om homage to Hram, PŪRAKA; om homage to Hrim, KUMBHAKA; om homage to Sah, RECAKA; om hram hrim sah homage to the Supreme Śiva Soul. 21 next: Combine [the elements of] the mantra: 22 N/4ab: PRĀŅĀYĀMA: om Am homage to the 23 om 24 25 Soul, the manifestation of Brahmā, RECAKA; PŪRAKA; Um homage to the Internal Soul, the manifestation of Vişnu, on Mam homage to the Supreme Soul, the manifestation of Iśvara, KUMBHAKA; Next: exhale gently: om hum rah phat homage to the Brand, homage to the Destruction of all Evils. 26 O/7a & U/p. 1: Inhale through the right nostril: om homage to Am; 27 28 29 30 take care that the breath reaches the liver; this is called KUMBHAKA; Hold it by all power (hold it and do not permit exhalation): om homage to Um, right unto the bile; this is called PŪRAKA; Exhale through the left nostril: om h. to Mam (if you do not exhale through the left nostril, but if you are able to do so) empty (the breath) in the liver: RECAKA. 31 O/1b: Inhale through the left nostril, gently, according to your ability: 32 33 34 om homage to Um, this is called PŪRAKA; Hold it without permitting exhalation: om homage to Mam, this is called KUMBHAKA; Exhale through the right nostril: om homage to Am, this is called RECAKA. in 3, and fail to give the name of the action in 1 & 2; as a result the whole technical term Pūraka might have disappeared but for one or two mss maintaining it. In accordance with L 48, the XY mss have Am (Um, Mam) namah; according to my Madras informant the use of namah is unusual there; it might only be exceptional in Bali.-XY also have Tēlas instead of patañanan, this time mentioned in all mss except N & O, which give no regular course of the ritual, but to a considerable extent pay attention to what the priest has to concentrate upon, what he has to imagine, and what his actions mean. Just as in Malay dari, from, is not always used and clearly distinguished from di, in, at, (frequent examples in J. Rusconi, Sja’ir Kompěni Wělanda běpěrang děngan Tjina, Ph. D. thesis Utrecht 1935, Veenman, Wageningen, 1935), so here saka insa(n)kin, sankén, from, is not always used for the breath exhalated from a nostril, and in may be used; saké(n) is uniformly printed. J CONDUCT the Holy SOUL from the lotus of your heart, with the right hand, 2 to the fontenelle, to twelve fingers’ breadth above it, using your 3 thumbs turned downwards: om am homage to the Siva soul. [[084]] O/2b: DHYĀYI ta kita, IDĚP San Hyan Atmā minduhur añantin ruhur nin Śiva -dvāra, rva-vělas angula dohnira sakén Śiva-dvāra; pratistha-mudrā sādhana-nta: om ham Hrdayāya namaḥ; IDĚP sphațika rūpa-nira. Vus mańkana, TUNTUN tan ĀTMĀ rin padma-hṛdaya, maka-sādhana sēkar tunjuń; yan tan anaň tuñjun, kalpika věnań, maka-sādhana angustha karo, dé nin Sapta-Om-kāra-ātmā-mantra, vrşada-mudra-sādhana: om Am Brahmā-ātmané namah (X: nabhi); om Um Visņu-antar-ātmané namah (X: hrdaya); om Mam Iśvara-parama-ātmané namah (X: pusuh-pusuh); om Om Mahādeva-nir-ātmané namah (X: tālu); om Om Sadā-Rudra-ati-ātmané namah (X: bhrū-madhya); om Om Sadā-Śiva-niskala-ātmané namah (X: Śiva-dvāra); om Om Parama-Śiva-śūnya-ātmané namah (X: tuntun rambut); tëkën dvā daśa-angula: om am Atmané namaḥ. K: Mam-Um-Am namah; I: STHITI-akěna; I: ikan [sěkar] panuntun hěnahakěna Lor in sivambha. KG: turunan sěkar (panuntun) ika, gěnahakěna Dakşina (I: Lor) nin argha. Ka Vus mańkana, DAGDHĪ sa-mala ni śarīra-nta kabèh (ITSHK mss); IK: ma-sādhana sěkar vari ban, agěm (I:) rin/(K:) dénin vrşada-mudrā; TSHU: maka-sādhana mpu ni tananta kalih, pada marěp rin sor. G: Sambut taň sěkar baň, sādhana nin an-DAGDHĪ (;) ta nagěm dé nin mpu ni tañan kalih, marěp rin sor, aměněr in nabhi. IDĚP agni nin kunda rahasya: om Am, iniliran dé nin bāyu, sake(n) lyan nin ghrāna kalih. IDĚP tibakěnên nabhi : [om] Ah. IDĚP murub dumilah San Hyan Agni, kadi sinyokan in miñak salvir in vighna, marëp ta kanta (?), sor daśa-vikāra, pāpa nin bapêbu, ‘sin kapañan kênum, pinaka-pacarvanta ri San Hyan Agni, ikan vighna. IDĚP hinanam (?), tiba, kënền Agni, lěbvan in samit, śuddha-jñāna nirmala-nta. XGUL: an-DAGDHI-KARANA; G: ya větu japa: ITSHXKGL: Śarīrań kundam ity uktam, Try-antah-karaņam indhanam; Sapt(a)-OM-kāra-mayo bahnir, bhojananta udindhitaḥ. Q 33: Tinkah in an-DAGDHI-KARANA, ikan Agni rin Sapta-Pātāla, binatěk min- duhur, paranti rin nabhi, maka-dalan Nadi Suşumņā, akşaranya: Am ika. IDĚP angěsën pāpa-klésa nin avak, ika saji-tadahanira San Hyan Agni. IDĚP ika pāpa-kléśa bhasmi-bhūta, matěmahan avu. [[085]] TEXT, TRANSLATION AND NOTES 61 4 CONCENTRATE; IMAGINE that the Holy Soul has moved upwards and is warting 5 above the fontenelle, at a distance of twelve fingers’ breadth from it; 6 while making the presence-gesture, say: om am homage to the Heart; IMAGINE it looking like crystal. 7 After having done this, CONDUCT the SOUL from the lotus of the heart, 8 by means of a white lotus; failing this, a kalpika will do; using both thumbs: 9 using the Seven Om syllable cum Soul formula; vrşada-gesture: Soul, navel; internal Soul, heart; supreme Soul, liver; Mahadeva, the God without a Soul, palate; 10 om Am homage to 11 om Um homage to 12 om Mam homage to Brahma, the Vişnu, the Iśvara, the 13 om Om homage to 14 om Om homage to Sada-Rudra, the 15 om Om homage to Sada-Śiva, the 16 om Om homage to Supreme Siva, the transcendent Soul, between eyebrows; undivided Soul, fontenelle; void Soul, tips of the hair; 17 up to the point in the air at twelve fingers’ breadth above the fontenelle : om am homage to the Soul. 18 Homage to Īśvara-Vişnu-Brahmā. Perform ABODE with the soul. 19/20 Drop the flower which has served as a conductor North South of the vessel. (Eng. ed. 52, Dutch & German ed. 51) might suggest that nili ātmā is used specially for the moving upwards, nuntun ātmā for the movement downwards. This, however, might not be general practice; it looks as if the terms are used indiscriminately. 1 In the Gms Śiva-ātmā is suspected. Ka When this has been done, BURN AWAY all corporeal impurities, 2 by using a red hibiscus flower, practising vrşada-gesture, 3 by turning downwards both your thumbs. 4 Take a red hibiscus flower, as a means of BURNING AWAY, use the thumbs of 5 both your hands, turned downwards, at the level of the navel. IMAGINE 6 fire in the invisible fire-pit: om Am, swept away by the wind, from both 7 your nostrils. IMAGINE that you drop it into your navel: (om) AH. IMAGINE that the Holy Fire flames up brightly, as if oil had been poured down 8 into it; all hindrances in front of you have disappeared (?), vanquished 9 are the ten disorders, the evil done towards the parents, (wrong) things eaten or drunk, those hindrances serve as an offering of food to the Holy Fire. 10 IMAGINE that they are destroyed (?), fallen, consumed by Fire, belonging to fuel, while you have pure knowledge and are stainless. 11 During the action of BURNING AWAY the following words are recited: 12 13 The body has been called a fire pit, the fuel is the threefold inner organ; the fire, consisting of seven Om-kāra has flared up in the fuel. 14 Method of BURNING AWAY: all the fire of the seven underworlds, going 15 upwards, through the inward channel Suşumnā; the appropriate syllable is Am. 16 IMAGINE that it burns away the sins and impurities of the body, which are presented to the Holy Fire and swallowed by it. 17 IMAGINE that evil and impurity have finally turned into ashes. [[086]] 62 SŪRYA-SEVANA 18 XOD’: IDÉP San Hyan Kāla-Agni-Rudra mijil sakin pādângustha dakšiņa-nta: 19 ITSHXKGUL: om am (D’: om hum rah phat) Astra-Kāla-Agni-Rudrāya namaḥ. 20 D’: IDĚP (O: murub) guměsěň i mala-traya ni śarīra-nta (O: kabèh); 21 XOD’: bhasmi-bhūta (atëmahan avu) dénta śuddha sphațika linga-rūpa. Kb ITHXK: PADĚM-i (IK: ikan agni rahasya) 2 (X: sādhana Amrta-mudrā, saha puşpa gandha ‘kşata. 3 IK: Kūța mantra-nya: [om hram hrim sah Parama-Śiva-Ādityāya namaḥ]. 4 ITSHXKGULO: [Astra-mantra:] om hum rah phat Astrāya namaḥ. 5 IK: ma-sādhana kalpika; siratakěnên sivambha. 6 X: Salahakěna taň sěkar rin kisapvan. 7 D’ IDÉP San Hyan Amrta mijil sańkê tuntun niň OM-kāra, 8 D’ sumuńsań umili marên bhasma ni śarīra-nta, 9 O [Astra-mantra:] om hum rah phat Astrāya namaḥ. 10 O Kunan San Hyan Atmā nirvikāra, tar ilu gësěň sira. 11 O Tēlas ta nagěm sěkar sasiki, vavên ruhur nin Śiva-dvāra, 12 O Amrta-mudrā: [om hrām hrim sah Parama-Śiva-Amṛtāya namaḥ]. 13 O Kūța-mantra: [om hram hrim sah Parama-Śiva-Adityāya namaḥ]. 14 O IDĚP kundi manik, mêsi Amṛta sakền San Hyan Vyoma-Śiva, kumucur i 15 O bhasma ni śarīra-nta: om hrăm hrim sah Parama-Śiva-Amṛtāya namaḥ. 16 O Mvah: om ām Śiva-ātmané namaḥ. Samalih: 17 O IDÉP śarīra-nta paripūrṇa lěvih sańkê pinaka-rūpanya nuni. In the G, X and L mss only, this action is concluded by sprinkling with Holy Water in three different ways: 18 Ga) SIRAT-i sarira-nta toya, pin tiga: b) om śrī ambhavantu, om pūrņam etc. 19 X: 18a); om om Śiva-Amṛtāya namaḥ, om om Sadā-Ś-A, n., om om Parama-S-A. n. 20 X: Malih nambut sěkar: om hrām hrim sah vauşat Parama-Śiva-Amṛtāya namaḥ. 21 X: om ām Śiva-Amṛtāya namaḥ, om am Sadā-ś.-A. n., om ām Parama-Ś.A. namaḥ. 22 X: S.H.Śiva-ātmā, dvā daśa-angula (kara) dohnya sańkê tuntun in rambut, 23 tan vikāra sira. 24 X IDÉP: kundi manik mêsi Amṛta, sakên Byoma-Śiva (cf. 14 supra) 25 Lévi 51: SIRAT marin kunda rahasya: line 21, om am Ksamā-Sampūrṇāya namaḥ. The formulas in lines 19 & 21 are repeated in my L b 1-6 infra, respectively by six and five mss, and there, after AMRTI-KARANA, appear to be in a more logical context. La ITSHKGUL Vus mankana AMRTI-KARANA. 2 ŇAgëm kalpika dé niň mpu ni tañan kalih, (I: marěp rin sor) 3 sedan amrta (IK: śankha)-mudra-sādhana, aměněri vunvunan. 4 G: IDÉP sankha maņik mêsi ‘Mrta rin Byoma-Śiva, 5 anirami bhasmi ni śarīra-nta. [[087]] TEXT, TRANSLATION AND NOTES 18 IMAGINE that Holy Kāla-Agni-Rudra comes from your right toe: 19 63 om am (om hum rah phat) homage to Missile Kāla-Agni-Rudra. 20 IMAGINE that [the Fire] flares up and burns away your threefold bodily impurity (completely). 21 IMAGINE that [the bodily defilements] have turned to ashes and that you have become as pure as a crystal linga. КЬ EXTINGUISH the invisible fire, by using the Ambrosia-gesture, with flower, incense and unblemished rice grains, 3 the Pinnacle is the Formula: om hrām hrim sah homage to the Supreme Śiva Sun. 4 Brand formula: om hum rah phat homage to the Brand, 5 by using a kalpika; sprinkle it with water from the Holy Water vessel; 6 throw the flowers into your lap. 7 IMAGINE that Holy Ambrosia emerges from the top of the Syllable Oм, 8 flowing freely down towards the ashes of your body [’s impurities]: 9 Brand formula: om hum rah phat homage to the Brand. 10 But the Holy Soul is undisturbed; it did not participate in the conflagration. 11 After that, take a flower, lift it to the fontenelle: 12 Ambrosia gesture: om hrām hrim sah homage to the Supreme Siva-Ambrosia. 13 Pinnacle formula: om hrām hrim sah homage to the Supreme Śiva-Sun. 14 IMAGINE a crystal phial, filled with Ambrosia emanating from Holy Śiva-in-the-Sky, 15 flowing over your body’s ashes: om hram hrīm sah homage to the Supreme 16 Śiva Ambrosia. And also: om âm homage to the Siva Soul. 17 IMAGINE that your body has become perfect, superior in comparison with its appearance before. 18 a) SPRINKLE your body with holy water, three times: b) Omne quod felix etc. 19 18a. om om h. to Śiva-Ambrosia, om om h. to Sadā-Ś.A., om om h. to the Supreme S.A. 20 Again take a flower: om hrām hrim sah vausat, homage to the Supreme-Śiva-Ambrosia. 21 om am homage to the Śiva-Ambrosia, om ām homage to the Sadā-Śiva-Ambrosia, om am homage to the Supreme Śiva-Ambrosia. 22 The Holy Śiva soul, at twelve fingers’ breadth distance from the tips of the hairs, is undisturbed. 23 24 IMAGINE a crystal phial filled with Ambrosia emanating from Holy Siva-in-the-Sky. 25 SPRINKLE towards the hidden fire place (i.e. the priest’s body). K The ritualistic mss, as a rule sparing in explanation, in this apparently important situation, go out of their way to clarify it. They are not easily to be harmonised in their wordings, and some repetition was unavoidable. La Next, PREPARATION of AMBROSIA. 2 Take a kalpika with both your thumbs, turned downwards, 3 using the ambrosia conch gesture, at the level of your skull. 4 IMAGINE that a crystal conch contains Ambrosia from Śiva-in-the-Sky, 5 flowing down to your throat while extinguishing the ashes of your body. [[088]] ON-kāraḥ parama-jñānam, amṛta-dam adho-mukham; śańkha-sphatika-varņan-ca, kantha-mūle ca sannyasyet; Amrtam varşaté tasmāt, sarvānga-sandhişu yataḥ; Dampatyoh sangato jātam, jīvitam parikīrtitam; Agnih Prakrtir vijñéyah, Bāyuḥ Puruşa eva ca; Samyogo Jivitam vāpi, Maraņañ ca Viyogataḥ. Mvan Kūta mantra-nya: om hram hrim sah Parama-Śiva-Amṛtāya (sic) namaḥ. G: IDÉP San Hyan Amrta ri Byoma-Śiva kumucuri bhasma ni śarīra-nta (Kb 14-15), kadi téja nin Aditya, téjanira; těhěr turunakën ta ‘Mrta-mudrā, sěkar inagěm ta nuni. Lb SIRAT rin Śivanga śarīra-nta toya, 3x: om om Śiva-Amṛtāya namaḥ, om om Sadā-Śiva-Amṛtāya namaḥ; om om Parama-Śiva-Amṛtāya namaḥ. Mvah rin Brahmáńga rin sor sirat, 3x: om âm Śiva-Amṛtāya namaḥ, om âm Sadā-Śiva-Amṛtāya namaḥ; om ām Parama-Śiva-Amṛtāya namaḥ. (G: SAŃKĚPIN) Q33b: Vus mańkana (=vus DAGDHI-KARANA), glis dulurana’MRTA-KARANA, asādhana ikan amrta, sakin Byoma-Śiva, akşara-nya: Am. Minsor adalan nadı Suşumņā, maka-pañiram agni. Yan vus paripūrņa PADEM ikan agni, avu nin pāpa-kleśa, inañut dèn těkên lavana-sagara na, ungvan in mūtra. Ikahin (?), Om-kāra śuddhi na., maka-pamratistha rin tanan: Sim namah, rin tarjini; Vam namah, rin madhya; Om-kārāya n., rin anāmikā; om hum raḥ phat Astrāya n., rin kanisthā. Dulurana sinabèhan: Am ri kara-tala těněn; Ah ri kara-tala kiva. Tělas. Mańkana kramanya. La 3 TSHGU amrta; IK śankha. Texts: sadyaset. 6-9 in ITSHKGUL; 10-11 in IKGL; G only adds a fourth śloka: Amrta[m] varşayed eyam (read: varşayaty ayam), śuddhâmṛta-mayah smrtah; ji[h] vâgre samsthito nityam, amṛtam varsayet sadā. The Sanskrit is not correct; the meaning may have been intended to be: It (sc. the Om-kāra), styled ‘consisting of pure ambrosia’, pours down Ambrosia; It is forever at the tip of my tongue; It may always rain down Ambrosia. If these translations are right, it would appear that there are two positions for Om-kāra according to two different traditions: Om-kāra resides in the kanthā-mūla, and Om-kāra resides in the jihvågra. Ma Tumuluy kalpika ika pinaka KARA-ŚODHANA-nta MUVAH (Lévi: Brahmanga) (Cf. C), (0: ikan sekar arasakěn) ri (O: angustha ni tananta) těněn rumuhun: om Im namaḥ, angustha (I: ākāśa-tattva, rin murdhi); om Tam namaḥ, tarjini (I: teja-[tattva], rin rahi); [[089]] TEXT, TRANSLATION AND NOTES 65 6 Om-kāra is the Supreme Knowledge, It gives Ambrosia and is turned downwards; 7 it has the colour of mother of pearl and rock crystal, He should place it at the root of the throat. 8 because from there it sheds Ambrosia, on the joints of all the limbs. 9 What is born from the union of Husband and Wife, is known as Life: 10 One should know that Agni is Prakrti, and that Vāyu is Puruşa; 11 their Union produces Life, Death comes through Separation. 12 And Pinnacle is its Formula: om hrām hrim sah h. to Supreme Śiva Ambrosia. 13 IMAGINE that Holy Ambrosia from Śiva-in-the-Sky flows 14 over your body’s ashes radiant like the Sun; 15 drop your hands and make the Ambrosia gesture, use the same flower. Lb SPRINKLE your body with Holy Water Śivanga, 3x: om om h. to om om h. to om om h. to Supreme-Śiva-A. Śiva-A.; 2 Sada-Śiva-A. 3 4 & sprinkle downwards Brahmanga, three times: om ām h. to Śiva-A., 5 om ām h. to Sadā-Śiva-A., om ām h. to Supreme-Śiva-A. 6 7 ΟΜΝΙΑ 8 After BURNING AWAY, follow this up with PREPARATION of AMBROSIA, using 9 Ambrosia-from-Śiva-in-the-Sky; syllable: Am. Downwards through Suşumņā, 10 using It to extinguish the fire. When the fire is completely EXTINGUISHED 11 and sins and defilements have been reduced completely to ashes, they are 12 drained away to the salty sea, the receptacle of urine. Then use Om-syllable, 13 called Pure, as a means of causing the Divine Presence in your hands : homage to Sim, fore finger; homage to Vam, middle finger; homage to Om, 14 ring finger; om hum rah phat homage to the Brand, little finger. 15 Combine all together: Am, palm of the right hand; Ah, palm of the left hand. 16 Full stop. That is how it should be done. 12 Kuta in IK only, and unexpected; one would expect Amrta-mantra or Amrta-mudrā. However, in Lévi No. 20, p. 9, it is the other way round: Sembah Amrta-mudrā: om hrăm hrim sah Parama-Śiva-Adityāya namaḥ. Moreover, the Ums actually uses Kūța-mantra, and Lévi No. 52, at the end, complicates the matter by using Amrta-mantra first, followed by Om hrâm hrim sah Parama-Śiva-Aditya- Tejaḥ śarīrāya namaḥ. La/Lb My Śivaite informant says here verbatim: ‘Mrta sakền ākāśa rauh ka prthivi, Holy Water from the sky descends towards the earth. Lb Sivânga and 4 Brahmânga only in the IK mss. Ma The kalpika is used for your SECOND CLEANSING of the HANDS 2 (Brahmanga), 3 first touch the thumb of your right hand with the flower: 4 om homage to Iśāna, thumb, (Sky Element, head); 5 om homage to Tatpuruşa, fore finger, (Heat Element, face); [[090]] 6 om Am namaḥ, madhyamikā (I: bāyu-[tattva], rin hṛdaya); 7 om Bãm namaḥ, anāmikā (I: āpah-[tattva], bhaga ‘pastha); 8 on Sam namaḥ, kanisthikā (I: pṛthivī-[tattva], rin suku); 9 Samalih marin kiva (IK: gumanti rin kiva; X: gumanti tañan) (Lévi: Śivānga). 10 O Tělas nalihakěn taň sěkar ri jarijinta kiva, kadi krama mvań mantra ñuni: 11 om ham Hrdayāya namaḥ, angustha (I: kūta hṛdaya naranya); 12 om rm Kāya-śirasé namaḥ, madhyamikā (I: kūța Śivānga naranya); 13 om Bhür-Bhuvah-Svaré 14 Jvālinī-Śikhayé namaḥ, anāmikā (I: saha byoma-mudrā mvań śikhā-mudrā); 15 om hrům Kavacāya namaḥ, kanisthikā (I: kavati tattva iké). 16 O: Samalih, tutulakěn taň sěkar ri lēpa ni tañan kalih, těněn karuhun: 17 om bhām Nétrāya namah (2x) ri lepa ni tañan kalih (I: ri nétra karo; 18 I: trāsini mudrā kiva-těněn; Sürya-Candra ka-IDĚP-anya). 19 (0: Tělas [,] isyakěn ikan sekar ri lēpa-lēpa ni tananta kalih, 20 (0: patalańkupakěna pva ruhur in Śiva-dvāra. 21 [Astra-mantra:] om hum rah phat Astrāya namaḥ, rin tarjini. Mb Sembahakěna (IK: ri San Hyan Aditya) (G: sěmbahakěna śikhā) 2 (U: Kūța-mantra:) om hrām hrim sah Parama-Śiva-Adityāya namaḥ; 3 tibakěn/aryakěn/cantuń/salahakěna taň sěkar rin Aiśānya deśa sanke kita. 4 Samalih: om com Candiśāya namaḥ; 5 salahakěna (U: ulihanta) tan sěkar marin krodha-déśa. 6 Tańkěpakěn tañanta rin kisapvan, ikan kèri anlumah, 7 kanan kumurěb: om sam Sādyāya namah. (U adds Kūța-mantra). 8 [Amrta-mantra:] om hrâm hrim sah Parama-Śiva-Amrta-Mudrāya namaḥ. 9 Pinluhurakěn taňanta kalih, vavên Śiva-dvāra, amṛta-mudra-sādhana: 10 (I: Vijil in Amrta sańken rambut). 11 Usapakěn in sarvānga (XG: kabèh) (těkên pāda kalih): 12 om hrům Kavacāya namah, [rin kavaca), kavaca-mudrā; 13 om Samnidhyāya namah, rin hrdaya-sthāna, hrdaya-mudrā; 14 om A. ni-Rudrāya namah, rin bhrū-madhya, [pratistha-mudrā]. (TA: Tělas) 15a 1: Lin San Siněmbah 15b K: Lồn Bhatāra } om śrī ambhavantu, om pürņam bhavantu, om sukham bhavantu. Ma The differences with my C will prove to be small. IK kalpika; other mss are less precise: sěkar. 13 U: om Bhür-Bhuvah-Svah-Svaré etc. Na ŚIVI-KARANA (TH: Bhatāra) (I: San Hyan Pañcâsya) (UY: Brahmanga): 2 om im Iśānāya namaḥ, (U: angustha sādhana-nta) rin murdhi K 3 om tam Tatpuruṣāya n., (U: anāmikā sādhana-nta) riň rahi vaktra 4 om am Aghorāya namaḥ, (U: calilinan sādhana-nta) hṛdaya/ati dada (padma- (bajra- (danda- [[091]] TEXT, TRANSLATION AND NOTES 6 om homage to Aghora, middle finger, (Wind Element, heart); 7 om homage to Bāmadéva, ring finger, (Water Element, private parts); 8 om homage to Sadyojāta, little finger, (Earth Element, feet); 9 Then, to the left (Śivanga): After that, 10 change the flower over to the left fingers: method & formulas as before: 11 om ham homage to the Heart, thumb, called: heart-pinnacle; 12 om rm homage to the Trunk & Head, middle finger, called pinnacle of Śivânga; 13 om homage to Earth-Sky-Heaven, ring finger, 14 to the Tongue of the Flame, with sky gesture and top gesture; 15 om hrum homage to the Coat, little finger, that is the coat element; 16 Next, touch both the palms of the hands with the flower, first to the right: 17 om bhām homage to the Eye (2x), in both palms of the hands, both eyes; 18 trāsini gesture to the left & to the right; IMAGINE Sun and Moon. 19 After that, lift the flower between both palms of the hands, 20 upside down above the fontenelle. 21 [Astra-mantra:] om hum rah phat homage to the Brand, fore finger. Mb Pray to the God Śiva Sun, (hands as high as the) tips (of your hair): 2 Pinnacle formula: om hrām hrīm sah homage to the Supreme Śiva Sun; 3 drop the flower in a north-easterly direction from your position. 4 Next: om com homage to the Lord of Candi. 5 drop the flower in the direction of wrath (i.e. the South-West). 6 Put both your hands together on your lap, the left one turned upwards, 7 the right one turned downwards: om homage to Sadyojāta (U adds Kūta-m.). 8 Lift both hands towards the fontenelle, making the Ambrosia gesture: 9 Ambrosia-formula: om hrām hrīm sah homage to Supreme Śiva-Ambrosia. 10 Ambrosia emanates from the (God’s) hair. 11 Make a wiping movement over all your limbs, down to both feet 12 om hrūm homage to the Coat, to the body, (symbolically, with a flower). 13 om homage to the Presence, to the heart, coat gesture; 14 om homage to Agni-Rudra, between the brows, (Presence gesture); The End. 15 Words of the Lord: Omne quod felix, faustum fortunatumque sit. Mb 3/4 I ms: Sthananya rin Aišānya-désa San Hyań Candra. 12-14 Mudrā scarcely mentioned; in 12 according to IKL, in 13 according to the K ms, in 14 added by me in accordance with the similar situation in Cb. Na DEIFICATION (Divine Five-Faced One; Brahmanga) (cf. Ca, Ma, Nh, B’, M’). by means of the 2 om im homage to Iśāna, thumb, head, lotus gesture; 3 om tam homage to Tatpuruşa, ring finger, face, thunderbolt gesture; 4 om am homage to Aghora, little finger, heart/liver, club gesture; [[092]] 68 SŪRYA-SEVANA K 5 om bām Bāmadévāya namaḥ, (U: tarjinī sādhana-nta) guhya ‘pastha (cakra- 6 om sam Sādyāya n., (U: angustha s.; L: madhyamangula) pāda-dvaya pāśa-mudrā). 8 Gumanti tanan kiva | tumút (tan or Śrī or) San Hyań Śivanga-NYĀSA: 9 om ham Hrdayāya namaḥ, hrdaya (sankha mudrā); 10 om rm Kāya-Sirasé namah, śirah/rambut/kéśâgra, (triśūlamudrā); 11 om Bhür-Bhuvah-Svah-Svaré (byomamudrā); 12 Jvālinī Śikhayé namaḥ, tuntun in rambut, (śikhāmudrā) 13 om hrüm Kavacāya namaḥ, punuk/tungir, (kavacamudrā); 14 om bhām Nétrāya namaḥ, nétra [těněn] (vrşadamudrā); 15 om bhâm Nétrāya namaḥ, kalih, nétra [kiva] (cakramudrā); 16 om hum rah phat Astrāya namaḥ, bahu kalih, (astra/saro-mudrā). Na U: rin padma-mukha, ‘on the face of the lotus’, before Brahmânga. L: Sivikěrani sang hyang asta tëri sangkala; not clear, but cf. p. 28. 2-6 The Y ms has five times om kham Khasolkāya instead of im-tam-am-bam-saт. Nb (IK: Mvah) (L: NYASA San Hyan) TRI-TATTVA (cf. H, I’). 2 om om Śiva-tattvāya n., rin sirah (I: Śivamandala na., tuntun in sembah); 3 om om Vidyā-tattvāya n., rin rahi (I: Vişnumandala ña., madhyanin sembah); 4 om om Atmā-tattvāya n., hrdaya (I: Brahmā-mandala ña., bunkah in sembah). Nb After 4, the Gms adds the śri ambha formula; the Ums has [sth]āpana-mudra-sādhana-nta, ‘by your using the gesture sthāpana’, which presumably is the equivalent of pratistha, ‘presence’; Ne ta GAVE ANANTĀSANA (ULYNO: rin toya; YN: pisanakěna tëkên/U: rańkěpakëna 2 ri/śarīra-nta) (I: sańkê bunkah in nabhi-nta, tungalakěna rin Argha): 3 om om Anantasanāya namaḥ (K: pāśa-mudrā). 4 I: mapranamya ri San Hyan Anantabhoga, sira pinaka-lěňkěr, untutnya rin jro, 5 mukhanya rin yava rin arěpta. 60: Tělas [.] gělar ta PRABHUTA rin toya, prabhūta naranya Anantasana-krama. 7 NO: IDÉP San Hyan Anantabhoga, mańlëkër ikunira rin jro; 8 těndas nira rin yava umarěp Vètan, somya vulat nira. No Lévi has gělari ń instead of (t)a gavé, IK have sambut tan mantra. Gělar=gavényāsa. Ri toya and rin śarīra are repeated in my Nd in mss G & P; these indications may be considered as essential, belonging to [a faultless version of] the rubric. The meaning must be this, that by this series of nyāsa the officiating priest prepares the vessel with water and his own body at the same time to become the recipients worthy of the Siva-ātmā, Śiva’s Soul. Nd NYĀSA S. H. CATUR-AIŚVARYA, ri padu nin Anantāsana: [SINHASANA]: 2 om rm Dharmāya simha-rūpāya śvéta-varņāya namaḥ, Agneya, 3 om im Jñānāya simha-rūpāya rakta-varņāya namaḥ, Nairrrtya, astra-mudrā; śikhā-mudrā; [[093]] om bam homage to Bama-déva, fore finger, private parts, om sam homage to Sadyojāta, thumb, both feet, Changing over to the left Next the Holy Śivanga-assignment: om ham homage to the Heart, heart, om rm homage to the Trunk & Head, head/hair, om homage to Earth-Sky-Heaven, tips of hair, to the Tongue of the Flame, om hrüm homage to the Coat, upper back, om bhām homage to the Eye, (right) eye, om bhām homage to the Eye, (left) eye, om hum rah phat homage to the Brand, both arms, The I ms has bhaga kupina instead of upastha or guhya. The Ums has pagělaňan in suku, ankle rings instead of pada-dvaya. The R & Umss have karna dva, both ears instead of bahu kalih, Nb Next, the ASSIGNMENT of the THREE ELEMENTS: om om homage to the Siva Element, head, Śiva circle, top of adoration; om om homage to the Knowledge Element, face, Vişnu circle, middle of adoration; om om homage to the Soul Element, heart, Brahmā circle, bottom of adoration; both are completed by patananan; and Y even has nakşamā roń pāda (my T), tulis ikan vé Om- kāra (my Q) and naskāra vé (my U). NYASA, in Lévi, is corroborated by kënaken in the N ms and gelar in the Oms. Ne You make ANANTĀSANA, into the Holy Water, and at the same time in your own body, from the bottom, in your navel; combined with the Holy Water: Om om homage to the Seat of the Endless One; serpent bond gesture. Paying homage to Anantabhoga, Who engirdles, His tail turned inward, His face turned outward looking at you. Next, assign PRABHŪTA to the Holy Water; prabhūta means doing Anantasana. IMAGINE that Divine Anantabhoga curls His tail to the interior, with His head to the outside turned to the east, looking benevolent. It seems worthwhile to point to the technical term prabhūta, immediately followed by its para- phrase Anantasana-krama; just as in the South Indian manual the need was felt to have this (apparently antiquated) technical term paraphrased. Another technical term deserves attention: āvahana, invocation, to be found four times in 0/3a-4a, passim in Diehl, serving as an introduction before nyāsa, and in the I ms subdivision M. Nd the ASSIGNMENT of the DIVINE FOUR at the corners of the Seat of the Endless One: om rm homage to Law Eternal, lion-shaped, white-colored, SE, om m homage to Knowledge, lion-shaped, red-colored, SW, [[094]] 4 om Im Vairāgyāya simha-rūpāya pīta-varņāya namaḥ, Vāyavya, kavaca-mudrā; 5 om Im Aiśvaryāya simha-rūpāya krsna-varņāya namaḥ, Aiśānya, paraśu-mudrā. Nd The translation ‘Divine Four’ is an abbreviation of ‘Divine Four of which Lordship is the last to be mentioned and thus the most important, and the goal’; there is some justification for it in the rubric in ms U, being: pacatur San Hyan Catur-Aiśvarya. Ne (IK: Tumpañana mantra, padma-mudra-sādhana) 2 Ta gavé (XY: Pasan) PADMASANA (XY: těkên hṛdaya-nta) 3 (GP: rin toya, mvah rin sarira): om om Padmasanāya namaḥ (I: svāhā), 4 (I: rin vartulanya, Bhațāra Śiva devatānya). 5 (not in LFVA:) om om Padma-hrdayāya namaḥ (I: hrdaya-mudrā). 6 (I: vartulê jro, San Hyan Sadā-Śiva devatānya). 7 IDẾP San Hyan Padmāsana tumumpaň rin San Hyan Catur-Aiśvarya; 8 ikan Catur-Aišvarya tumumpan in Anantāsana. 9 N IDĚP padma suměkar, NYĀSA San Hyan Catur-Daśākṣara, Ivirnya : 10 11 Sa-Ba-Ta-A-I, na-ma-Si-vā-ya, A-U-Ma-Om namah, om om Padmasanāya namaḥ. Ne Padma-mudrā also in ms D: p.m. manasthānakěn. Padanda Sarasiddhi confirms this mudrā. 5 Here might belong Lévi 59: Pasan padma-hrdaya sa-prakāra nin padma (placing the padma- hṛdaya on the padma) sa-ba-ta-a-i an un man on, with due allowance to clerical brevity in Lévi’s ms. In my ‘Agama Tirtha’ there was an opportunity of printing two drawings by Saiva priests depicting a fragment and a subdivision of the Saiva ritual. Both have been discussed at length; here should only be pointed to the fact that both of them contain padma-hrdaya at the right place, in the larger drawing enclosed by the two parts of the hyphenated word padma-sana.- Our ritual more than once deals with Brahmanga-Sivânga (Ca, Ma, Na, Nh, B’, M’) but in no ms in any of these six contexts it is ever interrupted by Tri-tattva (our H, Nb, D’, N’) like Lévi’s Nf NYASA tan SVARA-VYAÑJANA, rin aşta-dala-madhya: 2 IK: pinaka-rekha lava nin padma rin jaba, těkên mudrānya sovan-sovań : 3 om Am Am n., pūrva (IK: Am S. Η. Ιśvara, Am Sri Bhagavatī; bajra-mudra); 4 om Im Im n., āgneya (IK: Im S. H. Maheśvara, Im Uma-dèvi; śańkha-mudrā); 5 om Um Um n., dakşina (IK: Um S. H. Brahmā, Um Dèvi Śri; danda-mudra); 6 om Rm Rm n., nairrtya (IK: Rm S. H. Rudra, Rm=Dèvi Raudri; khadga-mudra); 7 om Lm Lm n., paścima (IK: Im S. H. Mahā-dèva, Im Śri Ganga Dèvi; pāśa-mudrā); 8 om Em Aim n., vāyavya (IK: Em S. H. Sankara, Aim=Śrī Dèvati; dhvaja-mudra); 9 om Om Aum n., uttara (IK: Om S. H. Vişnu, Aum=Śrī Dèvi; cakra-mudra); 10 om Âm Ah n., aisānya (IK: Am S. H. Sambhu, Ah-Pranata-dèvi; triśūla-mudra); 11 VYANJANA (XY: the other mss: Muah SVARA ka JRO): 12 om Kam Kham Gam namaḥ, pūrva, (I: bahu kanan, IK: bajra -mudra); 13 om………. Gham Nam Cam…. …. namah, agneya, (I: bahu kèri, IK: śańkha-mudra); 14 om …. Cham Jam Jham namaḥ, daksina, (I: tur kanan, IK: danda mudrā); 15 om …. …. Nam Tam Tham: namah, nairrtya, (I: tur kèri, IK: khadga-mudrā); [[095]] TEXT, TRANSLATION AND NOTES 4 om Im homage to Freedom from 5 om Im homage to Lordship, all worldly desires, lion-shaped, yellow-colored, NW, coat gesture; lion-shaped, black-colored, NE, hatchet gesture. 1 I: tumpañana ri San Hyan Catur-Aiśvarya; K: Tumpañana mantra San Hyan Catur-Aiśvarya, i.e. pronounce the formula Divine Four one tier higher up. 2-5 The D ms has pūrva-daksina-paścima-uttara in strict accordance with the colours. 2-5 Only the D & L mss have namaḥ svāhā instead of namaḥ. Ne Pronounce the following formula, one tier higher up; use lotus gesture, 2 do ASSIGNMENT of LOTUS SEAT, including your own heart: 3 in the Holy Water and in your own body: om om homage to the Lotus Seat, 4 in the circle, the Godhead is Bhatāra Śiva. 5 om om homage to the Lotus of the Heart, using the heart gesture, 6 in the inner circle, the Godhead is San Hyan Sadā-Śiva. 7 IMAGINE that the Divine Lotus Seat ranks higher than the Divine Four, 8 and that the Divine Four of rank higher than Seat the Endless One. 9 IMAGINE that the Lotus has Its petals deployed, to serve for the assignment of the fourteen syllables, to wit: 10 homage to Sadyojāta-Bāmadéva-Tatpurusa-Aghora-Īśāna; 11 ho-mage-to-Si-va; homage to Brahmā-Visņu-Iśvara, h. to Om; h. to the Lotus Seat. No. 57 does between 56 Brahmânga and 58 Śivânga; something must have (mis) happened here. - Likewise Lévi’s 59 padma-hrdaya seems bound to be a displaced item. As a consequence we feel not too sure about the context of L 60 (which should be read, after elimination of mistakes:) Turunakën San Hyan Atma-Pundarika-nta rin sthāna-nirền uni (bringing the lotus-soul down to its previous place, i.e. in the heart) etc. This passage might belong to our P, where, remarkably, Lévi is reticent. Nf the ASSIGNMENT of VOWELS & CONSONANTS on the surface of the 8 petals: 2 making grooves at the tips of the lotus petals, together with the gestures of each: 3 om homage to Am Am, E; Am=Iśvara, Am Śri Bhagavati, gesture: 4 om homage to Im Im, S-E; Im-Maheśvara, Im Uma-dèvi, thunderbolt; 5 om homage to Um Um, S; Um Brahmā, Ūm=Dèvi Śri, conch; 6 om homage to Rm Rm, S-W; Rm-Rudra, Rm-Dèvi Raudri, club; 7 om homage to Lm Lm, W; Lm Mahā-deva, ImŚri Ganga-dèvi, sword; 8 om homage to Em Aim, N-W; Em=Sankara, Aim Śrī Dévatī, snare; 9 om homage to Om Aum, N; Om Vişnu, Aum=Śrī Dèvī, streamer; 10 om homage to Am Ah, N-E; Am Sambhu, Ah-Pranata-dèvī, trident. 11 CONSONANTS (‘VOWELS to the INTERIOR): 12 om homage to Kam Kham Gam E, right arm, thunderbolt gesture; 13 om homage to …… Gham Nam S-E, left arm, conch gesture; 14 om homage to… Cham Jam Jham S, right knee, club gesture; 15 om homage to Nam Tam Tham S-W, left knee, sword gesture; [[096]] 72 SŪRYA-SEVANA 16 om …. Dam Dham Nam namah, paścima, (I: dada, 17 om Tam Tham Dam …. namah, vāyavya, (I: gigir, 18 om …. Dham Nam …. namah, uttara, 19 om …. Pham Bam Bham … namaḥ, aiśānya, 20 Iki namětvakën sópakāra nin jagat, akvèh yan vuvusën. 21 PASAN Ya-Ra-La-Va ri jro nin kūta IK: pāśa-mudrā); IK: dhvaja-mudra); (I: lambuń těněn, IK: cakra-mudrā); (I: lambuń kiva, IK: triśūla-mudrā); 22 (I: kavijilanira San Hyan Aşta-Devi, San Hyan Hyan in guduha): 23 om Mam namah, pūrva, (I: rambut in ulu kabèh, 24 om Yam namah, agneya, (I: kulit, 25 om Ram namah, daksiņa, (I: rudhira, 26 om Lam namah, nairrtya, (I: mansa, 27 om Vam namah, paścima, (I: valuń, 28 om Sam namah, vāyavya, (I: jajah, 29 om Şam namah, Uttara, (I: rasa, 30 om Şam namah, Aiśānya, (I: ākāśa, Dèvi Jaya-siddhi, hrdaya-mudra); Mahā-krodhi-dèvi, śaro-mudrā); Catur-āśini-dèvi, vrşada-mudra); Uma-dèvi, śikhā-mudra); Camunda-dèvi, triśūla-mudrā); Durga-dèvi, kavaca-mudra); Mahasini-dèvi, dhanu-mudra); Vighna-dèvi, paraśu-mudrā); 31 om Am Ah namah, i jro nin gili-gili (I: mahā-prāna, alpa-prāna, 32 advayatmaka sira, Smrti Sūrya-Sadā-Candra, 33 patěmu nin Atmā lavan Dèva; pratistha-mudra). Nf XY mss unyakěn, ‘pronounce’, instead of nyāsa, ‘assignment’. 1-2 Both rubrics need explanation; the idea is that the svara, ‘vowels and diphthongs’, in a first pradakşiņā are cut in the outside (at the tips) of the imaginary lotus-petals, actually stuck to the brim of the Holy Water vessel. Next, in a second pradakşiņā, follow the vyañjana, ‘consonants’, grooved in the middle of the lotus-petals, actually stuck more on the inside of the Holy Water vessel. Finally, in a third pradaksiņā, the remainder-where ha becomes ah, preceded by its counterpart ām-is assigned around the centre; in this way three pradaksiņā have been completed, one of two syllables in each case; next, one of three in each case and the last one of only one (plus a final ah for the centre, in the true nava-saña style). Ng Tumût San Hyan NAVA-SAKTI-NYĀSA rin dala-mūla: I ms: 2 om ram Diptāyai namaḥ, Pūrva, 3 om rim Sükşmāyai namaḥ, Agneya, nétra těněn, nétra kiva, Indra Agni hṛdaya-mudrā; astra-mudrā; 4 om rum Jayāyai namaḥ, Daksina, tutuk, Yama vrşada-mudrā; 5 om rũm Bhadrāyai namaḥ, Nairrtya, rin hṛdayaSürya śikhā-mudrā; pundarika, 6 om rèm Vibhūtyai namaḥ, Paścima, iruń těněn, Baruna triśūla-mudrā; 7 om raim Vimalāyai namaḥ, Vāyavya, iruń kiva, Bayu kavaca-mudrā; 8 om rom Amoghāyai namaḥ, Uttara, karna těněn, Kuvera dhanu-mudrā; 9 om raum Vidyutāyai namaḥ, Aiśānya, karna kiva, Soma paraśu-mudrā; 10 om ram Sarvato mukhinyai namaḥ, i jro nin ri guhya niň Smara bhaga ‘pastha, devanya; pratistha-mudrā; 11 gili-gili, sěla nin Aisānya mvań Uttara. 12 0/3a: Ika ta kabèh DHYANA-n kadi urub niň damar ikan mungv in kéśara-madhya. Ng XYP: only Nava-Śakti. 2-10 The mss vary with regard to the bijaksaras, but the South Indian sequence followed here agrees almost completely with Lévi 66 and is in sufficient harmony with the mss. [[097]] TEXT, TRANSLATION AND NOTES 73 16 om homage to 17 om homage to Tam Tham Dam… 18 om homage to Pam … Dam Dham Nam, W, breast, bond gesture; N-W, throat, streamer gesture; Dham Nam N, right side, discus gesture; 19 om homage to … Pham Bam Bham ….. N-E, left side, trident gesture; 20 This produces all the assistance of the world, too much to be related. 21 ASSIGN Ya-Ra-La-Va to the interior of the Pinnacle; 22 appearance of the Eight Goddesses, of the Gods of the Rosary: 23 om homage to Mam, E, all body hair, Dèvi Jaya-siddhi, heart gesture; 24 om homage to Yam, S-E, skin, Mahā-krodha-Dèvi, arrow gesture; 25 om homage to Ram, S, blood, Catur-āśini-Dēvi, vrşada gesture; 26 om homage to Lam, S-W, flesh, Uma-Devi, tip gesture; 27 om homage to Vam, W, bones, Camundā-Dēvi, trident gesture; 28 om homage to Sam, N-W, marrow, Durga-Devi, coat gesture; 29 om homage to Sam, N, taste, Mahāśini-Devi, bow gesture; 30 om homage to Sam, N-E, sky, Vighna-Devi, hatchet gesture; 31 om homage to Am Ah, absolute centre (great breath, small breath, 32 33 having the soul of non-duality, Smrti Sūrya-Sada- Candra, the union of the soul and God; 11 Popular parlance must have led to svara instead of vyañjana. presence gesture. 2-10, 12-19 My faithful informant and great friend I Gusti Ngurah Ketut Sangka of Krambitan found an opportunity of consulting Padanda Madé of Griya Dlod-pěkěn, Sanur, a highly esteemed authority. He explained to him that the mudrā bhuvana aguň mudrā padma ka-jro correspond with svara ka-jro, and mudrā bhuvana alit/mudrā padma ka-jaba correspond with svara ka-jaba (my Ng 22-29; 2-10), in this way confirming the IK mss. Padanda Sarasiddhi agrees with these mudrās. Ng Now follows the ASSIGNMENT of the NINE POWERS, at the roots of the petals: 2 om ram h. to the Shining One, E, right eye, Indra, heart gesture; 3 om rim h. to the Subtle One, SE, left eye, Agni, arrow gesture; 4 om rum h. to the Victorious One, S, mouth, Yama, vrşada gesture; 5 om rüm h. to the Benevolent One, SW, heart lotus, Sürya, tip gesture; 6 om rèm h. to the Powerful One, W, right nostril, Varuna, trident gesture; 7 om raim h. to the Spotless One, NW, left nostril, Bāyu, coat gesture; 8 om rom h. to the Unfailing One, N, right ear, Kuvéra, bow gesture; 9 om raum h. to the Flashing One, NE, left ear, Soma, hatchet gesture; 10 om ram h. to the One with faces private parts, Smara, presence gesture; 11 in all (8) points of the compass, in the absolute centre between the NE & the E. 12 All of them should be IMAGINED as having the resplendence of a flame at the centre of the stamens. 10 Padanda Sarasiddhi while confirming the preceding mudrās uses pratistha mudrā, IK have padma- mudrā, belonging to the padma ka-jaba, bhuvana alit. According to Padanda Madé, griya Lod- pěkěn, Sanur, who for the rest agrees with the I ms, here is found mustika-mudrā. [[098]] 74 SŪRYA-SEVANA 10 There is no doubt about mukhinyai, though South-India has sukhinyai. 12 In the O ms. this line is preceded by a slightly diverging fragment. After Padmasana (Ne) it goes on: Tělas[,] āvahana pratistha ri San Hyan Nava-Sakti, Tala-bhédana 3, [Kěpok] pětik 3, Nh [ŚIVI-KARANA] Tumût San Hyan BRAHMANGA-NYĀSA. 2 om am kham Khasolkāya Īsānāya namaḥ, ikan jro niň gili-gili mvan Aiśānya, 3 om am kham Khasolkāya Tatpuruṣāya n., Pūrva, 4 om am kham Khasolkāya Aghorāya namaḥ, Daksiņa, hrdaya, 5 om am kham Khasolkāya Bāma-dévāya n., Uttara, bhaga-purus, 6 om am kham Khasolkāya Sādyāya namaḥ, Paścima, cokor/suku, 7 Tumút San Hyań ŚIVÂNGA-NYĀSA: 8 om ham Hrdayāya namaḥ, 9 om rm Kāya-śirasé namaḥ, 10 11 om Bhür-Bhuvah-Svah-Svaré Jvālinī-śikhayé namaḥ, 12 om hrům Kavacāya namaḥ, 13 om bhām Nétrāya namaḥ, 14 om bhâm Nétrāya namaḥ, 15 16 Śiva-dvāra, rahi/mukha, padma-mudrā; bajra-mudrā; danda mudrā; cakra-mudrā; pāśa-mudrā. Agnéya, hṛdaya/ati, hrdaya mudrā; Aišānya, sirah, triśūla-mudrā; sakala anga byoma-mudrā; Nairrtya, (O: śikhā), śikhā-mudrā; Daksiņa, nétra těňën, vrşada-mudrā; Uttara, nétra kiva, cakra-mudrā; Vāyavya, punuk/tungir, kavaca-mudrā; jro nin gili anapit, om hum rah phat Astrāya n., ri tuntun in asta-dala, saro/astra-mudrā. 17 0/4a Ika ta kabèh DHYANA-nta rakta-varna, kapva somya-rūpa, sańkep in 18 sarva-bhūṣaņa, mavèh anugrahén hasta těněn, kiva mavan padma; 19 mańkana ka-DHYANA-n in Sivânga. Ana pva San Hyan Astra, 20 kadi pa-samūha-n in kilat lvirnya, katakut dé nin masalit masyun. 21 0/6a: Věkasan IDĚP śarīra-nta pâvak Bhatāra Śiva Aditya Japa kūta. 22 Uvus mańkana sań hļāra Bhațāra Śiva Aditya: om ham Hṛdayāya namaḥ. 23 Iti Ravi-arcana-anusthāna. Nh Sivi-karana is my caption for Brahmânga plus Śivanga, borrowed from Na & M’; the O ms has Mvah manin āvahana, ‘Again invocation of God’, The available texts, sixteen in all, present one major divergence and several minor ones. The major point is that IKGOD here follow the sequence Sa-Ba-A-Ta-I, whereas the majority has the reversed order I-Ta-A-Ba-Sa. The places of assignment on the human body, borrowed from ms I and Padanda Sarasiddhi (who agrees with the mudra), tally; for the mudra, the K ms adds the same set, and IK agree in ascribing triśūla-mudrā to Śiva-dvāra and the centre, which is astonishing, because in the bhuvana agun/jaba/exterior set, triśūla belongs to Aiśānya/NE, and in the bhuvana alit/jro/interior set, it belongs to Paścima/West. Lévi and the G ms locate Bama-déva in Paścima, Sadyojāta in Uttara-in this way following the usual course of the points of the compass in pradaksiņā: E-S-W-N. Some mss repeat Īsānāya in lines 3-6. 2 Padanda Sarasiddhi uses Madhya baduhur, ‘Centre Upwards’, instead of ikan jro, etc. 6 The Gms, after having dealt with Sadya in W, Bamadéva in N, Aghora in S and Tatpuruşa in E, adds dalâgra, ’tips of the petals’, before mentioning Iśāna in the Centre. If the Gms had been intended to be faultless, it should have mentioned dalágra after each of the three preceding asyas, ‘faces of Iśāna. [[099]] 75 TEXT, TRANSLATION AND NOTES saha nārāca-mudra, astra-mantra kabèh. Mvah maniň avahana: om am kham Khasolkāya Sādyāya namah (Nh). Tělas, pratistha San Hyan Nava-Śakti kéśara rin padma (Ng). The technical term āvahana, invocation, is used twice followed by pratistha (of. Nc 6). Nh [DEIFICATION] Then follows the Divine BRAHMANGA-ASSIGNMENT. 2 homage to am kham Khasolka Iśāna, absolute centre of the lotus, to the NE, fontenelle, 3 homage to am kham Khasolka Tatpurusa, East, face, 4 homage to am kham Khasolka Aghora, South, heart, 5 homage to am kham Khasolka Vāma-déva, North, private parts, 6 homage to am kham Khașşolka Sadyojāta, West, feet, 7 Then follows the Divine ŚIVÂNGA ASSIGNMENT: 8 om ham homage to the Heart, South-East, heart, 9 om rm homage to the Trunk & Head, North-East, head, 10 om homage to Earth-Sky-Heaven. to all limbs, 11 the Tongue of the Flame, South-West (hair) tips, 12 om hrüm homage to the Coat, North-West back, 13 om bhām homage to the Eye, South right eye, 14 om bhām homage to the Eye, North left eye, 15 in the very centre; between the two. 16 om hum rah phat homage to the Brand, tips of the 8 petals, arrow gesture. 17 One should IMAGINE that He has a red face, but looks benevolent, and 18 is wearing all His adornments; that His right hand has assumed the gift 19 -giving gesture while He has a lotus in His left hand - in that way one 20 should IMAGINE Śivanga. With regard to the Brand, it is like a bundle of lightning, inspiring fear to those with (protruding) fangs and cutting teeth. 21 In the end IMAGINE that your body is the embodiment of Bhatāra Śiva Aditya, Pinnacle of Formulas. 22 After that, dissolution of Bhatāra Siva-Sun: on an homage to the Heart. 23 This is the method of worship of the Sun. 7-15 Śivânga displays discrepancies. The mss agree in the formulas, with the exception of IKP which have Svah-Svaré. The parts of the body are only given in the mss O & I and in notes by Padanda Sarasiddhi; hence the differences in 10/11. In 12, the O ms has śarīra. The mudrās derive from the same sources IK and O only; in 8, IK have śańkha-mudrā instead of hrdaya-; in 12, the Oms has amṛta-mudrā instead of kavaca-mudrā; in 13, K has been printed in the text, I has trāsiņi-mudrā kiva těněn, and O: nétra-mudrā. The first insoluble difficulty is, that hrdaya-mudra belongs to Pūrva and not Agneya; and though sankha-mudra of the IK mss does belong to Agneya, it forms part of the set ka-jro, bhuvana agun, dealt with in lines 1-6, Brahmanga. Agneya, in fact, corresponds with saroor astra-mudrā, line 16. The second difficulty is that triśūla-mudrā (Aiśānya) belongs to the set ka-jro, bhuvana agun, whereas the triśūla-mudra belonging to the ka-jaba set of Śivânga, is directed towards Paścima. And though cakra-mudra points to Uttara, it belongs to the set of bhuvana agun, ka-jro, Brahmanga and not Śivânga. For Sivânga the dhanu-mudra (cf. my Ng 8) might have been expected. Finally in lines 13 & 14 the Padanda Sarasiddhi prefers to use trasini mudrā, known from South Indian ritual, photographed in Madame Brunner’s book (No. 34) and described as follows: lotus gesture; thunderbolt gesture; club gesture; wheel gesture; snare gesture; heart gesture; trident gesture; sky gesture; top gesture; coat gesture; vrşada gesture; wheel gesture; [[100]] Ni Tumūt San Hyan PITR-ĀDI-NYĀSA rin catur-deśa: 2 om am Sarva-Dévébhyo namaḥ svāhā, Pūrva, (I: anga), bajra-mudrā; 3 om am (Sapta)-Rsibhyo namaḥ svāhā, Daksina, (I: mukha), danda mudrā; 4 om ām Pitrbhyo namaḥ svāhā, Uttara, (I: hrdaya), cakra-mudrā; 5 om am Sarasvatyai (bhyo) namaḥ svāhā, Paścima, (I: jihvā), (nāga) pāśa-mudrā; 6 0/5b: Uvus mańkana [.] ta siratakën ἡ vai 7 marin těněn, 3x; om ām Sapta-Rsibhyo namaḥ; 8 tumuluy marin kiva, 3x; om am Sapta-Pitrbhyo namaḥ; 9 tumuluy marin těnah pisan, [3x]: om am Sarva-Dévébhyo namaḥ.
Nj Tumūt San Hyan CATUR-SANDHYA (Lévi:-NYĀSA): Padanda Sarasiddhi I I IK 2 om am Suklyai namaḥ, Pūr., bhaga-purus, bajraAgn. pāda-dvaya, šańkha- 3 om ām Bhaktyai n., Dak., tañan, dandaNai. kara-dvaya, khadga- 4 om ām Kṛṣṇāyai n., Paś., cankěm, pāśa Vāy. cankěm, dhvaja- 5 om am Jambikāyai n., Utt., sěla nin lalață, cakraAis. murdhi, I: śikhā- K: triśūla- 6 (I: Mvah mantra:) 7 om am kham Khasolkāya rin 8 Śiva-garbha-hrdayāya namaḥ, hrdaya hṛdayapunda hṛdaya, K: pratistha- 9 (garbha na. jro), Madhya, mudrā-rika mudrā, 10 rin jro I: sikhā-mudrā.
Nk Tumút San Hyan SOMA-ADI-AVARANA-NYĀSA, Asta-graha naranira vanèh. 2 om sam Somāya śveta-varņāya namaḥ, pūrva, bajra-mudrā; [[101]] TEXT, TRANSLATION AND NOTES 77 before Astra-mantra, and jro nin gili-gili twice after it; in the P ms it is written twice and must be a mistake. Just as for Brahmanga-nyāsa, the G ms uses dalāgra, referring to the preceding set of four formulas, so here ri tuntun in aşta-dala will refer to lines 8-12. Ni Next the ASSIGNMENT of the HOLY SPIRITS etc. in the four points of the compass: 2 om am homage to all the Gods, East, (I: limbs), 3 om am homage to the (seven) Sages South, (I: face), 4 om am homage to the Spirits, North, (I: heart), 5 om am homage to (the) Sarasvati(s), West, (I: tongue), 6/7 Next, SPRINKLE to the South, three times: om am homage to the Seven Sages; 8 then to the North, three times: om am homage to the Seven Spirits; 9 then to the Centre, three times: om am homage to All the Gods. thunderbolt gesture; club gesture; wheel gesture; serpent-snare gesture. Sarasvati in Bali may have crept in at the expense of ātmā. Finally Sarasvati in the West instead of in the South is unexpected, to say the least of it. 2 A smaller irregularity is formed by the fact that after the caption pitr-ādi, one would expect to find the pitr mentioned first. 2-4 The points of the compass, too, diverge: in 2, U has Agneya; in 3, P has Uttara; in 4 L has Paścima, UP have Dakşina; in 6, L has Uttara, U has Dakşina. 3-4 Sapta-rşibhyo only in the GU mss; G even Sapta-Pitrbhyo, which seems an obvious mistake. 2-5 Padanda Sarasiddhi gives the same set of mudrā. Nj Then follows the ASSIGNMENT of the FOUR SANDHYĀS: om am homage to the: (Padanda Sarasiddhi) (I) (I) (IK) 2 Bright Goddess, E., sexual organs, thunderbolt SE, both feet, conch 3 Devotion Goddess, S., hands, club SW, both hands, sword 4 Dark Goddess, W., mouth, snare NW, mouth, streamer 5 ? Goddess, N., spot between wheel NE, head/tips top the eyebrows, gesture, of the hair, trident 6 One more formula: 7 om am kham homage to Khasolka, the Heart containing the germ of Śiva, 8 9 10 C., heart, heart gesture; heart; lotus in interior; presence gesture of the body, in lines 2 and 5, are different. What is more difficult, is śikhā-(mudrā) in line 5, given by the I ms, for this mudra points to Nairrtya and belongs to the set of bhuvana alit, ka jaba, used for the last formula. But even if it is assumed that the words śikhā-mudrā do belong to line 10 (the text has been enlarged upon by commentary and a few words might have become dislodged), where the I ms fails to give a mudra, though one would be expected, the K ms’ pratistha-mudra-mustika-mudrā seems preferable (cf. also I ms in Ng 10). Nk Then follows the ASSIGNMENT of the PLANETS in a CIRCLE, or ‘EIGHT PLANETS’. 2 om sam homage to the white-coloured Moon, East, thunderbolt gesture; [[102]] 78 3 om bam Budhāya 4 om vẹm Vṛhaspatayé 5 om bhām Bhargavāya 6 om am Angārāya 7 om sam Sanaiścarāya 8 om ram Rahavéya 9 om kam Kétavéya 10 0/4b: Uvus mańkana, pūjā-nta ń graha ri yava niň prativaraņa, āvahana 11 rumuhun (as supra). Kunań ka-DHYANA-nira: Soma śvéta-varņa, etc. 12 Tananira kiva anën pupu ri těněnan man-abhaya pada dvi-bhuja Sira sańkëp 13 rin sarva-bhūsana. Kunan ikan Sanaiścara katakut dénin [masalit ma-syuń. 14 Ana pva Rahu mabaň mukha-nika, marěňut ika alisnira, satěňah tëkávaknika 15 mañañjali rin Bhatāra Śiva-Aditya. Mańkana têka ka-DHYANA-nira San Hyan 16 Asta-Graha. Kunań mudrā-nira ka-vvalu namaskāra-mudrā; pūjā-nta sira kabèh 17 rin pādyâdi, saha gandhakşata-puspa-dhūpa-dīpâdi; Upahrdaya-mantra: 18 om am kham Khasolkāya namaḥ; japa-nta San Hyan Nava-Graha. Nk GP: Pasan tan aşta graha ka jaba, sakên svara; ndya ta? This initial word pasań corroborates Lévi’s NYĀSA, which is not found in any other ms: the Tumumpan SOMA in XY recalls the tumumpan which occurred in relation to Anantasana, Catur-Aiśvarya Sinhasana and Padmasana, and actually the object of worship is one tier (or: one lotus) higher up in the drawing of Lingod- bhava reproduced in ‘Agama Tirtha’. Avarana, according to Diehl, p. 136, ‘consists in worshipping gods in the eight quarters beginning in the East and ending… in the NE by means of the seed-syllables’. Though the formulas are fuller in our texts by their giving complete names after the seed-syllables an, ban, etc., it is evident that avarana is the Sanskrit technical term for the more colloquial but less significant pa-ider-an. For SOMA-ADI cf. Pitrādi (my Ni). Sanskrit graha, planet, is pronounced in Balinese grěhě or grěhö; Sanskrit grha, house, would be pronounced in the same way (though in the past as griya it has been borrowed, brahman priest’s compound). 2-9 Padanda Sarasiddhi agrees with the mudra. 10 prativāraņa means ‘keeping off, warding off’; the meaning of sakên svara might be: as distinct from the svara of my Nf, which themselves constituted the most outward circle of assignments. SURYA-SEVANA camika-varņāya namaḥ, daksina, danda-mudrā; pita-varņāya namaḥ, paścima, nāga-pāśa-mudrā; śyāma-varņāya namaḥ, uttara, cakra-mudrā; rakta-varņāya namaḥ, āgneya, śańkha-mudrā; krsna-varņāya namaḥ, nairrtya, khadga-mudra; rājāva [r]ta-varņāya namaḥ, vāyavya, dhvaja-mudrā; dhūmra-varņāya namaḥ, aiśānya, triśūla-mudrā. NI Muvah TRY-AKSARA-mantra: 2 om Mam namaḥ, triśūla-mudrā (IK; Padanda Sarasiddhi: ruhur; bajra-mudrā); 3 (I: rasa, nāda, vijil in ghantā; tuntun); 4 om Um namah, cakra-mudra (IK; Padanda Sarasiddhi: madhya, cakra-mudrā; 5 (I: raśmi, vindu, vijil in sankha; madhya); 6 om Am namaḥ, padma-mudrā (IK; Padanda Sarasiddhi: sor, danda-mudrā); 7 (I: sparsa, ardha-candra, vijil in dipa; i sor). 8 Tumût San Hyan TRI-SAMAYA-NYĀSA: i sor, in madhya mvan i ruhur: 9 om am Brahmane namaḥ, danda-mudrā (I: vijil in kalpika mvan sěkar); 10 om um Vişnave namaḥ, cakra-mudrā (I: vijil in ‘ksata); 11 om mam Iśvarāya namaḥ, bajra-mudrā (I: vijil in gandha). NI Triśūla-mudrā for Iśāna, residing in Aiśānya, the N-E, is quite normal; so is vajra for the East and His abode there. 6 Padma-mudra for Am, Brahma, in the South, is unexpected; but all mudrā in the Nl section do belong to the same set. 8 The word NYASA is in the LUA mss only. [[103]] TEXT, TRANSLATION AND NOTES 79 3 om bam homage to the red-coloured Mercury, S, club gesture; 4 om vrm homage to the yellow-coloured Jupiter, W, snare gesture; 5 om bham homage to the black-coloured Venus, N, wheel gesture; 6 om am homage to the red-coloured Mars, SE, conch gesture; 7 om sam homage to the black-coloured Saturn, SW, sword gesture; 8 om ram homage to the diamond-coloured ‘Seizer’, NW, streamer gesture; 9 om kam homage to the smokey-coloured Kétu, NE, trident gesture; 10 After that, worship the planets at the outside of the ‘fence’; the right course 11 consists first of an invocation (as supra). IMAGINE that the Moon is 12 white, etc. Keep your left hand on your thigh, to the right side, in the gesture of fearlessness. All of them have two arms and are completely 13 adorned. Sanaiścara is kept in fear by the evil demons; Rahu has 14 a red face and bushy brows, has only half a body, worshipping 15 God Śiva the Sun. In that way one should IMAGINE the Eight Planets. With 16 regard to the gestures, for the eight of them it should be the gesture of 17 simple worship; the worship for all of them should consist of water for the feet etc., with incense, rice grains, flowers, frankincense, 18 lamp, etc. Use the Upahrdaya formula; om am kham homage to Khasolka. Your muttering is the Holy Nine-Planet formula. It appears that the planets are to be kept outside the vessel for Holy water, at a distance from (I)śvara. T interchanges Bhargava with Vrhaspati, L interchanges the complete 8-9 with 6-7, and U makes only one pradaksiņā, beginning in the NE and ending in the W. Mention of the colours is found in my ms D, which was used by Goris, and quoted by Lévi, and in O. D is the only source for svāhā after namah, when it is repeated eight times. Sanaiścara’s black colour in the SW defies explanation; Rahu’s being multi-coloured-which he shares with the Sun-God in the Centre-must be ascribed to the divine soma which made him immortal. The change from Asta-graha (Eight Planets) to Nava-graha (Nine Planets) may be caused by Khasolka (in the Centre). NI Next, the THREE-SYLLABLE formula: 2 om homage to Īśvara, trident gesture (thunderbolt gesture); 3 nāda, appearance of the bell; top; 4 om homage to Vişnu, 5 wheel gesture; bindu; 6 om homage to Brahmā, lotus gesture appearance of the conch; middle; (club gesture) 7 ardha-candra; appearance of the lamp; bottom. 8 Then follows the ASSIGNMENT of the MEETING of the Divine THREE: 9 bottom: om am h. to Brahmā, 10 middle: om um h. to Vişnu, 11 top: om mam h. to Iśvara, club gesture; appearance of kalpika & flowers; wheel gesture; appearance of ricegrains; thunderbolt gesture; appearance of incense. 9-11 Lévi and the Ums deviate, in harmony, in the following way, after their common nyāsa (U:) rin sor, rin madhya mvan rin ruhur: (LU): om um Vişnave namaḥ; (U:) ka těnah, dé nin ajñāna mvaň apt(?) rin Paścima, (LU): om mam Iśvarāya namaḥ; (U:) ka těñah, (LU): om am Brahmane; (UVA:) ka těnah, dé nin Aišānya mvan Astra Vètan. [[104]] 80 SŪRYA-SEVANA Nm Muvah DEVA-PRATISTHA-mantra: 2 (G: IDÉP San Hyan Sāradhyātmika umunguh rin padma): 3 om am Déva-pratisthāya namaḥ; pratistha-mudrā; 4 (I: Patěmvan in ātmā lavan Déva, matēmahan Lingődbhava, 5 manaděg mañjělag ri arěpta, ya sańkan-paran in Déva[-arcana], 6 sthāna San Siněmbah). Nn Tumût San Hyan KŪTA-MANTRA-NYĀSA: 2 om hrâm hrim sah (U: vaușat) Parama-Siva-Adityāya namaḥ. 3 UFVZ: ri madhya nin gili-gili, sira San Hyan Sāradhyātmika naranira. 4 DHYĀNA vyāpaka ri San Hyan mungu ri padma kabèh, 5 sira San Hyan Kūța-mantra. Nm 5 The big drawing of Lingodbhava in ‘Agama Tirtha’ has sembah in its caption instead of déva, which seems preferable; hence my emendation. O (IK: Upahrdaya-mantra) UDAKANJALI (cf. Vb, J’, P’) 2 om am kham Khasolkāya namaḥ, 3 om ghrim Kṣamā-karanāya (IKHPA add: namu) namaḥ svāhā. 4 (IKO: Udakâñjali: sirati tīrtha rin sivambha) 5 Aturana pan-PĀDYA-ARGHA-ĀCAMANĪYA-ĀDI-krama: 6 om pam Pādyāya namaḥ, 7 om am Argha-dvayāya namaḥ, 8 om jam Jihva-śuddhāya namaḥ 9 om cam ‘Camanīyāya namaḥ, 10 om grim Śiva-grīvāya namaḥ, (I: bhakti aňaturakěn) vasuh suku/cokor pāda; (I: naturakěn) vasuh tanan kalih; (I: naturaken) toya kurah-kurah kěmuh; (I: naturaken) toya rahup; (I: naturakěn) kajamas. 11 0/3b DHYANA-nta Sirâtéja višéşa rakta-varņa Sva-rūpa-nira, makasana n 12 śvéta-padma, listu-hayu sańkěp rin sarva-bhūşaņa, rva bhuja-Nira, 13 těhěr éka-vaktra, somya rūpa-Nira, mańgěgö pańkaja, 14 mungu in těnah nin bartula raśmi-vimba, masalimpět rakta-varņa 15 mańkana ka-DHYANA-n Bhatāra Śiva-Aditya. 16 SANKĚPI (L: gandhakşata-puşpa-dhūpa-dipa): 17 (I: naturakën 5x) Śāstranya: 18 gandha: om Śri Gandhêśvari-Amrtébhyo namaḥ svāhā, bhaga ‘pastha; Im; 19 akşatāḥ/vīja: om kum Kumāra-vijāya namah, rin hṛdaya; 20 puspa: om Puspa-dantāya namah, rin suku; Um; Am; 21 dhūpa: om Agnir-Agnir Jyotir-Jyotir namaḥ svāhā, 22 om dhūpam samarpayāmi (I: ya) svāhā, nétra těněn; Em; 23 dipa: om Sūrya Jyotir-Jyotir namaḥ svāhā, 24 om dipam samarpayāmi (I: ya) svāhā, nétra kiva; Aim. 25 (PU) PATAÑANAN. [[105]] TEXT, TRANSLATION AND NOTES 81 Nm Next, formula for the GOD’S PRESENCE: 2 IMAGINE that The Unfathomable Essence resides in the Lotus: 3 Hail to the God’s Presence. 4 The union of the priest’s soul with the God, taking the shape of Lingodbhava, 5 Which at once appears standing before your eyes, the origin and method of 6 [worship of the God, the abode of The Worshipped One. Nn Now follows the ASSIGNMENT of the PINNACLE FORMULA: 2 om hrām hrim sah (vausat) homage to the Supreme Śiva Sun, 3 in the absolute centre of the lotus; He is called Divine Unfathomable Essence. 4 IMAGINE that the Pinnacle formula penetrates to the God residing in all lotuses. Nn 4 padma kabèh refers to the lotuses constituting Lingôdbhava, cf. ‘Agama Tirtha’. O the Upahrdaya formula, RESPECTFUL OFFERING of WATER: 2 om am kham homage to Khasolka. 3 om ghrim homage to Him Who is the Agent of Forbearance. 4 Respectful offering of water; sprinkle water from the sivambha. 5 Worship by way of offering the water for the FEET, HANDS, SIPPING etc. in due order when respectfully offering water: 6 om pam homage to the water for the feet, 7 om am homage to the two kinds of water used to wash at the respectful welcoming (of This Guest), to wash 8 om jam homage to Him Who has a pure tongue, to rinse 9 om cam homage to the acamaniya water, 10 om ghrim homage to the throat of Śiva, the feet; the hands; the mouth; to moisten the face; to moisten the hair. 11 One should IMAGINE that He has an extraordinary splendour, and that His 12 appearance has a red colour, that He is seated on a white lotus, that He 13 is very beautiful and equipped with a complete set of ornaments, that He has two arms and one face, that He looks benevolent, that He has a lotus 14 in the one hand, that His position is in the centre of a radiant nimbus, 15 that He wears a sash and is red-faced-in that way one should IMAGINE the God Siva the Sun. 16 OMNIA (perfume, unblemished rice grains, flowers, frankincense, lamp) 17 when respectfully offering 18 perfume: om homage to the Ambrosias of the Lady of Perfume, private parts; 19 rice grains: om homage to Him Whose seed became Kumāra, 20 flowers: om homage to Him Whose teeth are like flowers, 21 frankincense: om Fire Fire Glow Glow homage and honour, the heart; the feet; 22 om respectfully I offer frankincense, right hand; 23 lamp: om Sun Glow Glow homage and honour, 24 om respectfully I offer the lamp, left hand. [[106]] 82 SŪRYA-SEVANA O The IK mss here and in Vb, J’ & P’ consistently start with the rubric Upahrdaya-mantra. 5 Aturana is only in Lévi; O has pūjā-nta; LYO only argha; LO only ācamaniya; O only adikrama. Most mss have the simple rubric pan-pādya or even no rubric at all. 16 The mss agree about sankěpi; the details are only given in IKLFV. But G has śrī ambha. In IKLFVAW there is patañanan, in KW followed by kadin uni, ‘as before’, in LFV by saka- věnań, ‘as is fitting’. LAW continue with the complete Astra-mantra; after the second line the I ms adds: kěpok ta ń kara-tala-nta pin 3, and after the third line: pětik ta ń dik daśa-désa jarijinta kabèh. For this technical term kěpok-pětik, not unfrequently occurring in the handbooks on ritual as an abbreviation or summing up, there is an illustration in Kat/Kleen, Engl. ed. 53 bottom, Dutch/German ed. 52 bottom. An Indonesian description runs: Bër-turut ujung těluñjuk, ujung jari tengah, ujung jari manis, ujung kělingking bērtēmu děngan ujung ibu jari. Masing sěsudah běrtěmu lalu dipěntilkan. Jadi yang bertemu paling achir dengan ujung ibu jari adalah ujung kelingking dan dipěntilkan. Jari tangan kiri berbuat untuk tangan kiri, yang tangan kanan berbuat untuk tangan kanan. Tujuannya ngaskāra sepuluh pěñjuru daśa-déša, i.e. One by one the tips of fore-, middle, ring and little finger (in that order) touch the tip of the thumb of that hand. Aim: consecration of the ten points of the compass. Cf. plate 2. P Turunakën San Hyań Śiva-Atma, ‘conducting downwards the Divine Śiva-Soul’ is done in three different ways in my mss. For the Ums it is a matter of two words only; for G of thirteen formulas and five final ones, my Pc 16-18, a feature this ms shares with ITSHXK. A real difficulty is that Lévi shares G’s first formula, which has Śiva-ātmā, though Lévi’s rubric speaks about ātmā and occurs as his No. 60 after Amrtī-karana (his No. 52, my L) and before Anantāsana (his No. 61, my Ne) - but then the Lévi tradition is inscrutable. These three methods are given here: Pa U Tělas mańkana, TURUNAKĚNA San Hyań ŚIVA-ĀTMĀ marin hṛdaya-nta, : puşpa nuni sādhana-nta (cf. line Pe 1): [om] Adityāya namaḥ, 3 ri madhya nin gili-gili; sira Sań Hyań Śiva. SAŃKËPI. Pb G (L 60): TURUNAKĚNA tań ŚIVA-ĀTMĀ (L: San Hyan ĀTMĀ-pundarika-nta) 2 vavên hṛdaya-nta muvah (cf. Pa 1) (L: rin sthāna-nirên uni, cf. Pc 2) 3 GL: om amah Siva-ātmā-sthiti-hṛdayāya namaḥ (cf. Pc 13) (L: om am Hrdayāya n.) 4 G: Gelar in sva(anu)sthāna dé nin Pañca-Śiva [-mantra] (cf. Pc 14-18). 5 G: [Tri-tattva:] om am Atmā-tattvāya namaḥ, ati; 6 7 Pe om âm Vidyā-tattvāya namaḥ, rahi; om am Śiva-tattvāya namaḥ, vunvunan. [Nava-śakti:] om am Deva-Saktiya namaḥ, [bahu] těněn; om um Vimba-Śaktiya namaḥ, [bahu] kiva; Tri-Śaktiya namaḥ, kanthā; 2 3 om mam 4 om am Brahmāya namaḥ, [irun těněn]; 5 om um Vişnuya namaḥ, [irun kiva]; 6 om mam Iśvarāya namaḥ, [mūrdhi-śikhā]; 7 8 om Bhūta-tarpaņāya 9 om Bhūta-nātha-pataye namaḥ, [lambun] těněn; om [Bhūta ?] Japanāya namaḥ, [rin arěp]. (G joins ITSHXK.) Pd IK: Amèt tan tunjuń panuntun lor in sivambha; 2 ITSHK: TURUNAKĚNA San Hyań ŚIVA-ĀTMĀ vavên sthāna-nirên uni, namaḥ, [lambun] kiva; [[107]] TEXT, TRANSLATION AND NOTES 83 I & Kare the only mss to insert: Astavakěn padma agun, ‘singing the praise of the great lotus’. This stava runs as follows: Iśvara Mahā-devin-ca, bajra-mudrā; Maheśvara Lakşmi-devi, śańkha-mudrā; Brahmā Sarasvati-devi, danda-mudrā; Rudra Santani-devin-ca, khadga-mudrā; Mahā-deva Śaci-devi, pāśa-mudrā; Sankara Mahā-devin-ca, dhvaja-mudrā; Vişnu Bhațări Śri-devi, cakra-mudrā; Sambhu-déva Umā-devi, triśūla-mudrā; Madhya Savitri Gayatri, Uma-tattva Mahā-devi; Om Am Um Am Um Am Um Om, Śri-devī ya namah svāhā. om am um Savitri; am um am Gayatri; um om Uma-devi. In her paper ‘The Dikpalakas in Ancient Java’ (BKI 111/4, 1955, pp. 356-84), Prof. Dr. J. E. van Lohuizen-de Leeuw examines several mahā-padma at length. I might like to add that Balinese ritual continually uses mahā-padma, in prose as well as in the metrical shape of sloka; several specimina will find their way into the collection of songs in honour of the Gods, a book with which Dr. T. Goudriaan Ph. D., of the University of Utrecht, is now helping me. The most elaborate enumeration in prose I hitherto met is found in the beginning of K 851, MAHA-PADMA, where eleven times mention of the point of the compass is followed by that of 1. the God, 2. the Goddess, 3. the sañjata, (weapon, attribute), 4. ‘sana (seat), 5. śabda (one, two or three syllables), 6. mantra (monosyllables preceded by om), 7. manik (precious stone), 8. sědahan (’treasurer’?), 9. vāhana (mount) and 10. prabhāva (power over, sc. different natural phenomena). SANKËPI (I: kadin uni) (K: PATAÑANAN) (Cf. Section III, A Balinese priest’s detailed comment, sub G’c). This specimen of Archipelago Sanskrit seems to belong to death ritual and to lustration ritual, witness Kajań Pūjā Pitr K 69/13b, Ligya K 71/14b, Sangaran K 488/3a, Pūjā Pañca Bali Krama K 1186/2a and Pūjā Padudus Agun K 1457/2b. Pa After that, CONDUCT the Divine ŚIVA-SOUL DOWNWARDS to your heart, 2 by means of the flower you used before: om homage to the Sun, 3 in the absolute heart of the lotus; He is the God Śiva. OMNIA. Pb CONDUCT the ŚIVA-SOUL (your lotus soul) DOWNWARDS, 2 back towards your heart (to its previous place): 3 om am homage to the Heart, the abode of the Siva-Soul (homage to the Heart). 4 (assignment to its own place to be effected by the Fivefold-Siva-mantra) 5 Three Element formula: om am homage to the Soul-Element, liver; 6 om am homage to the Knowledge-Element, face; 7 om am homage to the Śiva-Element, head; Pc Nine Power formula: om am homage to the Divine Power, right arm; 2 om um h. to the Power of the Vişnu disc, left arm; 3 om mam homage to the Threefold Power, neck; 4 om am homage to Brahmā, right nostril; 5 om um homage to Vişnu, left nostril; 6 om mam homage to Iśvara, top of the head; 7 om homage to the Lord of the Demon Kings, South; 8 om homage to the Satisfying of the Demons, North; 9 om homage to the Pronouncing of formulas to the Demons, East. Pd Take the conductor lotus (from where it was left) North of the Holy Water vessel; 2 CONDUCT the Divine ŚIVA-SOUL DOWNWARDS to Its previous place, [[108]] 84 SŪRYA-SEVANA 3 I: saniraken tan tunjun ri hṛdaya-nta (cf. Pa 1); 4 ITSH: atiśaya rūpa San Hyan Ātmā, I: lëvih sankê rūpa-nira nuni, 5 ITSH: sutéja umiběki rāt; dé nin SAPTA-OM-KĀRA-ĀTMĀ-mantra: 6 ITSHXK: om om Parama-Śiva-Śūnya-Atmané namaḥ [tuntun rambut]; 7 om om Sada-Śiva-Niṣkala-Atmané namaḥ [Śiva-dvāra]; 8 om om Sadā-Rudra-Ati-Atmané namaḥ [bhrū-madhya]; 9 om om Mahā-Déva-Nir-Atmané namaḥ [tālu]; 10 om mam Iśvara-Parama-Atmané namaḥ [pusuh-pusuh]; 11 om um Viṣṇu-Antar-Atmaně namaḥ [hṛdaya]; 12 TSHX om am Brahma-Atmané namaḥ [nabhi]; 13 ITSHK om am ah Śiva-(IK: ātmā-) sthiti-hṛdayāya namaḥ. Pe ITSH: STHITI dé nin mantra PAÑCA-ŚIVA; 2 angustha ri těněn patuduhanta: 3 (L 122: Pūjā simpěn): om om Śivāya namaḥ, tutuk; rahi; 4 om om Sadā-śivāya namaḥ, nabhi; om om Parama-Śivāya namaḥ, 5 om ah Sunya-Śivāya namaḥh, sirah; om phat Vindu-Dévatāya namaḥ, hrdaya. 6 SANKĚPI Pa 2 The flower used before’ i.e. in section J. Pb 4 anusthāna, is an unfrequent word, presumably used instead of sthāna. Pc completed between square brackets according to E’. Pd 2 The X ms has NUNTUN and then proceeds with the formula. 4 Instead of atiśaya, TSH have lěvih. 6-12 completed between square brackets, according to J. Pe 3 5-6 Cf. slight differences with X. PATAÑANAN. The X ms, lacking 13-Pe 2, has the formula introduced by the rubric: sivi Pañca-Śiva. G here inserts the following yamaka: Agni-madhye Raviś caiva, Ravi-madhye tu Candramā; Candra-madhye bhavet Sukla, Sukla-madhye sthito Śivah. Q TULISI OM-KĀRA-AKSARA ikan vé dé nin alalaň vēl minmań. 2 [Śiva-amrta-mantra:] om hrām hrim sah vausat Parama-Śiva-Amṛtāya namaḥ. 3 UTPATTI: om I-Ba-Sa-Ta-A; om ya-na-ma-Si-vā; om Mam-Um-Am namaḥ. 4 [DEVA-PRATISTHA:] om om Déva-pratisthāya namaḥ; pratistha-mudrā. 6 Kūța-mantra: om hrām hrim sah Parama-Śiva-Adityāya namaḥ. 5 M/25b: Ikan Déva pratistha IDĚP-ën Ardha-narêśvari. 7 STHITI: om Sa-Ba-Ta-A-I; om na-ma-Si-vā-ya; om Am-Um-Mam namaḥ. PATAÑANAN 8 SAŃKÉPI kadin uni. Q Lévi 78: Tulisi dé nin věl minman vé (or: yèh), writing on water with a triangle of sacred grass; G: Tulis tan vé om-kārâkşara dé nin tuntun in kuśa, tiga katih, věl minman, using the tops of three blades of alan-alan grass-one more example of resemblence of Lévi and the G ms. [[109]] (wipe over your heart with the lotus, (the appearance of the Divine Soul is extraordinary, superior to its previous appearance; (its radiance fills the world) using the Seven OM syllable-cum-Soul formula: om om homage to Parama-Śiva, the void Soul, tips of the hair; om om homage to Sada-Śiva, the undivided Soul, fontenelle; om om homage to Sadā-Rudra, the transcendent Soul, between the eyebrows; om om homage to Mahā-Deva, the One without a Soul, palate; om mam homage to Iśvara, the supreme Soul, liver; om um homage to Visnu, the eternal Soul, heart; om am homage to Brahma, the Soul, navel. om Life Death homage to the Heart which is the abode of Śiva. Pe ABODE by means of the Fivefold Śiva formula; use the thumb of your right hand to designate the places. (Lévi 122: ritual of putting away) om om homage to om om homage to Sada-Śiva, navel; om om homage to Void-Śiva, head; ΟΜΝΙΑ Śiva, mouth; om om homage to Parama-Śiva, face; om phat h. to the God of the Drop, heart. GESTURES. In the centre of the Fire there is the Sun, in the centre of the Sun there is the Moon; in the centre of the Moon there is a Purity, in Purity’s centre is standing God Śiva. In the Ums, only Śiva-ātmā is mentioned. Though the Gms deals with Śiva-ātmā, the words ‘back to your heart’ make it clear that the union of Siva-ātmā and the officiant’s ātmā is meant, after the patěmu nin ātmā lavan Déva. Lévi with the words San Hian Atmā-pundarika-nta, i.e. your Divine lotus soul, to be conducted rin sthāna-nirên uni, ’to its previous place’, leaves no doubt, but unfortunately he fails to mention the Siva-atmā, unless one is prepared to surmise that San Hyan could only be used in the case of the union of the two souls. The ITSHXK rubric starts with Siva-ātmā, to be returned to Its previous place; as in the Gms (and U ms) this must be meant to be Śiva-ātmā united with the officiant’s ātmā; this duality is extolled in Pe 4 and Po 5, and above all in Pc 6-12 (13). QINSCRIBE over the water the SYLLABLE OM, using a blade of alan-alan, Śiva-Amrta-formula: om hrām hrim sah vauşat homage to Supreme Śiva-Ambrosia. ARISING: om I(śāna)-Vā(madéva)-Sa(dyojāta)-Ta(tpurusa)-A(ghora); om ya-na-ma-Si-vā; om homage to Iśvara-Visņu-Brahmā. GOD’S PRESENCE: om om homage to the God’s Presence; presence gesture. IMAGINE the united God Siva and the Goddess Umā at God’s presence. Sivaite informant: at this moment Śiva descends into the Holy Water vessel. Pinnacle formula: om hrām hrim sah homage to the Supreme Śiva-Sun. ABODE: om Sa(dyojāta)-Vā(madéva)-Ta(tpurusa)-A(ghora)-I(śāna); om ho-mage-to-Si-va; om homage to Brahma-Vişņu-Iśvara. OMNIA as before. GESTURES. [[110]] 86 SŪRYA-SEVANA R (K: Sambut tan puspa, gandha ‘kşata; dhūpani) 2 (I: Ta němbah) (K: saha GANGĀ-DEVĪ) amrta-mudra-sādhana: Gangā-devi mahā-punye, Gangā SALAN-CA medini; Gangā-kalaśa-samyukte, Gangā-devi namo ‘stu te. (1) 4 Om Sri Ganga-mahā-devi, anūkşmâmṛtañ-jīvani; 5 Om-kārākşara-bhuvanam, pādâmṛta-manohara. (2) 6 Utpattika surasāś-ca, Utpatti ta va go raś ca; 7 Utpatti Sa-Ba-I-Tâ-ñ-ca, Utpatti vā śrī-vāhinam. (3) 8 9 Tibakěn tan sěkar rin sivamba. 10 SAŃKĚPI PATAÑANAN. R The FV mss call the stava: Ganga-devi-mahā; the AR mss Ganga-devi-mahā-punyam; but as there exists another ode to the Ganga, beginning with the same line (6 slokas with the Saivites, 12 with the Buddhists), and as in the case of the ode called Ganga-soma a word from the second pāda has been used as the definitive, perhaps Gangā salañca might have its advantages. Or, as the Buddhist priests distinguish their odes to the river Ganga and to Ganga Holy Water, according to their number of slokas, by speaking about Tri-, Pañca-, Saptaand Nava-Ganga, and use this Tri-Ganga in their daily ritual (Pūrvaka Veda Buddha) and ritual for the dead (Buddha Veda), their name has most advantages. 3 Sahasra-vedhini, proposed by Goris, in a note to his No. 85 p. 20, mentioned by Lévi, and existing in Richard Schmidt’s Nachträge zum Petersburger Wörterbuch 362a, has the disadvantage of not being given in a single one of the 16 mss available to me for this ode. Salañ, water, according to Apte III 1657b, is not unexpected, but one would need to be better informed about the folklore concerning the Ganga to be in a position to decide whether the idea that the Ganges represents water as well as earth, is genuinely Indian. 5 Anūksma, if anything, must be the Javano-Balinese active form of Sanskrit sūkṣma. Amṛtañjīvanī is well known in Old-Javanese writings, cf. Dr. J. Gonda, ‘Amrtasañjīvani’ in BKI 89, 1932, 291-96. 7 Surasa in Sanskrit means ‘well-flavoured, juicy, savoury, sweet, lovely’ in themselves meanings which tally very well with the water of the Ganga. However, in view of the fact that this yamaka deals with utpatti, once Sa-Ba-Ta-A-I standing for sthiti and once pralina, the Javano-Balinese technical term for related (pra)laya, might be the meaning which the Modern-Javanese S Sambut tan GHANTA [dé niň tañan kiva, aměněhi dada; rin arěp; 2 tañan těněn nagëm kalpika, ri buri ni taňan kivané]; 3 NASKĀRA GHANTĀ; sirati toya tan ghantā, pin tiga. 4 Ukupi tan ghantā ri pa-dhūpa-nta: om am Dhūpa-Astrāya namaḥ. 5 (Agëm tan sěkar) (Lévi 86: Nastava ghanta :) 6 om OM-kārah Sada-Śiva-sthah, Jagat-nātha-hitańkaraḥ; 7 abhivāda-vādaniyah, ghantā-śabdah prakāśyaté. (1) 8 Ghantā-śabdah mahā-śresthah, OM-kāraḥ parikīrtitaḥ, 9 candrardha-bindu-nādântam, sphulinga Śiva-tattvan-ca. (2) [[111]] TEXT, TRANSLATION AND NOTES 87 R Take a flower, perfume, unblemished rice grains; hold above the brazier. 2 Do worship by reciting GANGĀ-DEVĪ, using the Ambrosia-gesture: 3 Oh, Goddess Ganga of great merit! Oh, Thou Who bringest gifts and offerings, 4 Oh, Thou Who art united with the water jars, Gangā is both water and earth. 5 Respected Great Goddess of the Ganga, Thou art the immaterial life-giving ambrosia, 6 the world of the syllable Om, captivating by ambrosia from Thy feet; 7 Arising and the meanings(?), 8 Arising Arising Arising fortune bearing. GESTURES. 9 Drop the flower into the Holy Water vessel. 10 ΟΜΝΙΑ language (since how many centuries?) attaches to this word. Gericke-Roorda translate by: ‘zin, beteekenis, de geest (van een brief)’, Pigeaud by ‘bedoeling, betekenis’, i.e. ‘meaning, gist’. To use utpatti ka m.c. for utpatti is no sin in Sanskrit; nevertheless a construction like: ‘as to utpatti, its meanings are…’ is Javanese and not Sanskrit… but so is anūkṣma. 8 As Lévi probably had only one ms to work with, he is not to be blamed for his reading sarva- hitam, but it is not corroborated by any of my 16 mss. The Pūrvaka Veda Buddha by giving (according to pronunciation) Ut-pti Sa-Ba-Ta-A-I-ñca clearly suggests the five first syllables of the Sthiti-formula (to be followed by na-ma[h]-Si-va-ya), and therefore the corresponding pāda in Buddha Veda can be read as Utpatti Sa-Ba-Ta-I-ñca, with contraction of Ta and A. This triad utpatti-sthiti-praliņa, tallies very well with the surasās, meanings but it is exclusively Bauddha; the Saiva mss without exception read: Utpatti Sa-Ba-I-Tâ-ñca, a sequence of bijákşara which I cannot yet explain, pralīna being A-Ta-Sa-Ba-I, and Utpatti being I-Ba-Sa-Ta-A. Moreover, the indispensable element pralina is only to be found in Pūrvaka Veda Buddha; the Buddha Veda ends the pada with sariran devam, and all the Saiva mss have śrī-vāhinam, which agrees very well with the quality ascribed to the water of the Ganga but less so with Utpatti and Sthiti and leaving the preceding remarks floating in thin air, even though accompanied by Pūrvaka Veda Buddha. And so it is to be hoped that a colleague working along the directives drawn by André Padoux in his ‘Recherches sur la Symbolique et l’Energie de la Parole dans certains textes tantriques’, Publications de l’Institut de civilisation Indienne, fascicule 21, Boccard, Paris, 1963, may find the solution. 9 Originating from K 1334, Pūjā Kşatriya, cf. Introduction and Appendix 4. S Take the BELL, with the left hand; keep it at the height of the breast, 2 in front of you; take a kalpika in the right hand, behind the left hand. 3 CONSECRATE THE BELL: sprinkle it three times with Holy Water. 4 Keep it over your brazier : om om homage to the Brand consisting of frankincense. 5 Keep the flower; sing in praise of the bell: 6 7 The syllable OM is resting in Eternal Śiva, accomplishing the benefit of the Lord of the World; it is manifested as the sound of the bell, to be rung in reverential salutation. 8 9 The sound of the bell is the utmost good, it is loudly proclaimed as being the syllable OM; it represents ardha-candra, bindu, [nāda and] nādânta, it is a spark of fire and it has the quality of Śiva. [[112]] om Ghanțâyur pūjyaté devaḥ, a-bhav(y)a-bhav(y)a-karmasu; vara-dah labdha-sandheyah, vara-siddhir nihsanśayam. (3) (G: Ukupan in dhūpa tan ghantā vềhi běk, cumańkuvannya) G: Pěntil valaň nin ghantā, pin tiga; vèh aghāşa lavan lambénya. Onékěna tan ghanță, pin tiga: Om Om Om; IK: Mam Um Am. Dulurana Upahṛdaya-mantra: om am kham Khaşolkāya namaḥ. [Tañan těněn kuměrěb rin paha tëñën] SANKËPI kadin uni. [Usan naňkěpin, ghantā punika kagěnahaň rin gěnahipun] PATAÑANAN S Naskāra from Sanskrit sańskāra through sañaskāra; apparently naskāra with its initial nasal is felt as an active verb. The hero of the Javano-Balinese poem Plutuk or Mpu Lutuk (cf. W. Kern, ‘Oudjavaansche en Balische Hellevoorstellingen’, Ph. D. thesis Leiden, 1934) is called San Askāra; by virtue of his consecration he knows exactly what to do in the here-after; he placates the monsters he meets, explodes the cauldron of hell and even vanquishes Yama, the Judge of the Dead. Lévi’s informant in this connection used the term: nastava ghanță (his 86), not inappropri. Ta na-KŞAMA (L: rin Bhatāra/G and Saivite informant, ka toya): 2 Sambut taň sēkar saha gandha ‘kşata (S: mvan ghantā, U: dhūpani): 3 om Kşamasva mām, Mahā-deva! sarva-prāņi-hitań-kara! mām moca sarva-pāpebhyaḥ, pālayasva Sadā-Śiva! (1) 5 Papo ‘ham pāpa-karmâham, pāpātmā pāpa-sambhavaḥ, 6 7 8 trāhi mām sarva-pāpebhyaḥ, kenacin mâm ca raksatu. Kşāntavyāḥ kāyikā doṣāḥ, kṣāntavyā vācikā mama, kşāntavyā mānasā doşās, tat prasīda kşamasva mām. (3) (2) 9 10 Hiņakşaram hiņa-padam, hīņa-bhaktim hīņa-vṛddhim, 11 om Mantra-hiņam kriyā-hiņam, 12 yat pūjitam Mahā-deva! hiņa-mantram tathaiva ca, Sada-Śiva! namo ‘stu te. bhakti-hiņam Maheśvara! paripūrņam tad astu me. (4) (5) (G: SAŃKĚPI) Tb (G: Muvah nambut ghantā puspa; APSU DEVA:) (figs. 40, 41, 50 bottom) 2 om Apsu deva-pavitrāņi. 3 4 5 6 om Śri-kare sa pa hut ka re, 7 8 9 sarva-kleśa-vināśanam, Sarva-pāpa-vināśini! sarva-kleśa-vināśanam, Śiva-logam ma ha yas te, Sindyan tri-sandhya sapala, Śivâmṛta mangalan-ca, Gangā-devi namo ‘stu te; toyena pariśuddhyate. sarva-roga-vimocane; sarva-bhogam avāpnuyāt. roga-dosa-vināśanam; (1) (2) mantre manaḥ pāpa ke lah. (3) sakala-mala-malahar; nadīnindam namah Sivāya. (4) 10 (G: tibakěna taň sěkar in sivambha) [[113]] TEXT, TRANSLATION AND NOTES 89 10, The life of the bell is (deserves to be?) worshipped like a god(?), in the case of works that will be done or will not be done; 11 the granter of boons who has obtained what is to be united, without doubt [the bell] is the accomplishment of the boon. 12 Keep the bell over the brazier so that its hollow is filled with fumes: 13 Take the tongue of the bell [between the thumb of the right hand, the forefinger and the middle finger and make it brush past the brim. 14 Ring the bell three times: Om Om Om Mam Um Am, 15 followed by the Upahrdaya formula: om am kham homage to Khasolka. 16 (the right hand covering the right thigh). 17 OMNIA as before. 18 (After OMNIA the bell is put down in its place, i.e. to the left) GESTURES. ately; the padanda Gědé Djumpung, Griya Djumpung, Sandan, Wanasari, Tabanan, used this same term when discussing this detail of the ritual with my informant, I Gusti Ngurah Kětut Sangka. 1, 2, 16, 18 the words between square brackets come from the same informant. Ta IMPLORE FORGIVENESS, to the God in the Water. 2 Take a flower, perfume, unblemished rice grains and the bell; hold them over the brazier. 3 Great Gods, bestow forgiveness upon me, Thou Who givest happiness to all creatures; 4 deliver me from all kinds of evil, give protection, Eternal Śiva! 5 Bad I am and bad is what I do, bad is my soul, bad of origin; 6 protect me from all evil deeds and protect me by some means or other. 7 Forgive the sins committed by my body, forgive the sins committed by my speech; 8 forgive the sins committed by my mind, I hope Thou art satisfied with me; then forgive me, 10 who fails in love, who fails in growth, Sadā-Śiva! homage to Thee! 9 who has omitted syllables and feet, and has even omitted some formulas; 11 Superior Lord, though I have failed in the formulas, in the actions and in devotion, 12 that for which I have worshipped Thee, Mighty Lord, may it be granted to me in its fulness. OMNIA. Tb Again take the bell (in the left hand) and a flower (in the right hand): APSU DEVA: 2 The Gods in the waters are the purifying agents; oh, Goddess of the Ganga, homage to Thee! 3 [Thou art] the destruction of all impurity; it is cleansed by Holy Water. 4 Oh, Thou Who destroyest all evils! Oh, Thou Who freeest from all suffering. 5 [through Thee] one may obtain the power to destroy all impurity, 6 obtain all that is enjoyable. 7 destruction of illness and sin, 8 9 10 Drop the flower into the Holy Water vessel. [[114]] 90 SŪRYA-SEVANA Te (G: malih nambut ghanță puspa:) 2 om PANCAKSARAM mahā-tirtham, 3 pāpa-koți-sahasrāņām, 4 om Pañcâkşaram para-brahman, mantrântam parama-jñānam, 5 Namaḥ śivāya ity evam, 6 para-śaktiḥ pañca-divah, 7 A-kāraś-ca U-kāraś-ca, 8 Pañcâkşaram mayā proktam, 9 10 Putěr tan toya iděr těněn pin tiga: 11 om Bhür-Bhuvah-Svaḥ svāhā Mahā-Gangāyai tirtha-pavitrāņi svāhā. 12 SAŇKĚPIN kadin uni pavitram pāpa-nāśanam, agadam bhavet sāgaram. pavitram pāpa-nāśanam, Śiva-loka-pratham śubham. (2) para-Brahmâtmane van[d]am, pañca-rsyam(!) bhaved Agni. (3) MA-kāro vindu-nādakam; OM-kāra (sic) Agni-mantrake (4). PATAÑANAN. Ta This poem known as Panakşamā Veda is to be distinguished from the equally well-known Kşamasva mām Jagat (sic) natha. 4 Mâm moca for mama ca in all mss; emendation by Lévi p. 20 n. 8 and Narendra Dev Pandit in his Weda Parikrama, Denpasar, 1953, p. 274. 6 mâm ca raksatu for mama rakşatu in the mss. Tb 6 Sri-kara according to Petersburger Wörterbuch a name for Vişnu. Ua NASKĀRA VÉ (G: nambut sěkar): 2 om hrām hrim saḥ kṣmum Am-Um-Mam Om svasti-svasti 3 kşiń-kşrin ya-va-Si-ma-na I-Ba-Sa-Ta-A bhūtih-bhūtih 4 Bhür-Bhuvah-Svaḥ svāhā Om Am-Im-Um vyon-man-vyan-pin-nèn 5 Om-Om I-A-KA-SA-MA-RA-LA-VA-YA-UM namo namaḥ svāhā 6 Om-Om A-RA-KA-SA-MA-RA-LA-VA-YA-UM namo namaḥ svāhā. Ub [DÉVA-PRATIȘTHA-mantra:] om om Déva-pratisthāya namaḥ. 2 IDĚP-ěn: Ardha-narêśvari Sira. Uc Kuta-mantra: om hrām hrim sah Parama-Śiva-Adityāya namaḥ. 2 N/2a: Nihan SAN [K]ŞIPTA-PŪJĀ kramanya: ta PRĀŅĀYĀMA karuhun; 3 samalih PAHËNIN DHYANA-nta; NYĀSA-nta BHATĀRA rin bhrū-madhya: om om I-A-KA-SA-MA-RA-LA-VA-YA-UM namo namaḥ svāhā. 4 DHYANA Bhatāra pañca-śirah, tri-nayana rin sanulu-sañulu, Sira daśa-bhuja, sankěp ikan 5 bhūşaņa, [ma makūta, ma-karna-bharana, ma-kalun-kaluń, masalimut lunsir, masavit-nāga, 6 mavědihan bvat Klin, ma-kirat bahu, ma-gělań suku, somya vulat Nira, sarvāstra inagem-Nira, 7 sangustha gön-Nira, śuddha varņa-Nira, sutėja, manělěhi tri-mandala, umarěp Vètan. 8 N/2b: Piduduk Bhațara PRATISTHAKĚN in hrdaya-pundarika, maka-sādhana AMRTA-MUDRĀ, kěnakěnta San Hyan Mantra Visésa: om om A-RA-KA-SA-MA-RA-LA-VA-YA-UM namo namah svāhā; 9 10 sira San Hyan Daśâkşara pañalpana Bhațāra Sūksma-Śiva; [[115]] TEXT, TRANSLATION AND NOTES 91 Te Once more take the bell and the flower(s) (PAÑCĀKŞARAM) (FIVE SYLLABLES): 2 The Five Syllables are powerful Holy Water, purifying and destroying evil; 3 it is a medicine like an ocean against thousands of millions of sins. 4 The Five Syllables are Supreme Brahmā, purification, the destruction of evil; 5 the sum total of the formulas, superior knowledge; it extends over the whole Śiva-world and is beautiful; 6 With the words “Homage to Śiva” I praise Thee, highest Brahmā-soul; 7 Agni has superior power, is five-fold divine and consists of the Pañca-Rși. 8 The syllables A, U and MA, the bindu and the nada, called Pāñcâkşara, I have explained to Thee; 9 the syllable OM in the Agni formula. 10 Stir the water three times in a clockwise direction: 11 om Earth-Sky-Heaven homage to Maha-Gangā; 12 OMNIA as before homage to the purifying agents in the tirthas. GESTURES. Tb 6-9 could better be dealt with in Chapter III, a Balinese priest’s detailed comment. Te 7 These Pañca-Rși constitute one more argument for considering the whole Pañcâkşaram as having been made in Indonesia. Ua CONSECRATION of WATER. Take a flower: 2 om hrām hrim saḥ kṣmum Am-Um-Mam OM luck luck kşiń-kşriń 3 va-Si-to-mage-ho I-Ba-Sa-Ta-A welfare welfare 4 Earth-Sky-Heaven-Hail OM Am-Im-Um sky penetrating 5 Om Om I-A-KA-SA-MA-RA-LA-VA-YA-UM namo namah svāhā; 6 Om Om A-RA-KA-SA-MA-RA-LA-VA-YA-UM namo namah svāhā; Ub Formula of DIVINE PRESENCE: om om homage to God’s Presence. 2 IMAGINE: The Deity is Half Lord-Lady/Śiva-Pārvati. Uc Pinnacle formula: om hrăm hrim sah homage to the Supreme Śiva Sun. 2 This is CONCISE WORSHIP; the method: first perform BREATH-CONTROL; 3 perform ASSIGNMENT of the Lord between the eyebrows: 4 next PURIFY the MIND; Om Om I-A-KA-SA-MA-RA-LA-VA-YA-UM namo namah svāhā. IMAGINE the Lord as having five heads, three eyes in every venerable head, 5 ten arms and having complete ornaments, a crown and ear pendants, necklaces, a silk garment, 6 a snake around His neck,… made in India, arm rings, finger rings, ankle rings, with a 7 benevolent face though manipulating all His weapons, not bigger than a thumb, of a spotless appearance, radiating, illuminating the Three Spheres, looking towards the east. 8 Perform the PRESENCE of the Lord in the lotus of your heart, using the AMBROSIA GESTURE, 9 apply the Divine Extraordinary Formula: Om Om homage homage hail to A-RA-KA-SA-MA-RA-LA-VA-YA-Um 10 that is the Divine Ten Syllable creating the Lord Immaterial Śiva; it is evident that He is [[116]] SURYA-SEVANA 11 byakta ana Bhațāra Śiva Sūkşma rin hṛdaya-pundarika. 12 Samalih ta PRANAYAMA, kaměnanta NYĀSA-kěna, San Hyan Dasa-Ni[h śvāsa-kūta, japa; 13 ikan nāda-vindu-ardhacandra, nyāsakěn in śikhā; ikan MŪLA-MANTRA, nyāsakěn in Śiva-dvāra. 14 Nã ń kramanya: OM sikhā; OM - Śiva-dvāra; I - śirah; A - lalāța; KA - mukha; SA - jihvā; 15 MA kantha; RA hṛdaya; LA udara; VA nabhi; YA upastha; UM - pāda kalih. 16 Samalih: rěgëp ta vì DHYANA paramôttama, ikań śarīra-nta IDĚP nara mahā-śuddha paripūrņa, 17 ya ta Déva-nira andělakěna, maka-sādhana Namaskara-mudrā; 18 OM OM-A-KA-SA-MA-RA-LA-VA-YA-UM namo namaḥ svāhā, japakēna, pisanakěna lavan ātmā-nta, 19 sira ālekhyā naranira; japa muah rin DAŚA-NI[H]ŚVĀSA-UPAŃSU [upânga?]. 20 N/4a: OM OM I-A-KA-SA-MA-RA-LA-VA-YA-UM - Utpatti; 21 22 OM OM MA-SA-KA-RA-A-RA-LA-VA-YA-UM - Sthiti; OM OM U-YA-VA-RA-BA-MA-SA-KA-RA-AM Pralina; 23 Iti Utpatti-Sthiti-Pralina San Hyań Dašákşara, sira DAŚA-NI[H]ŚVĀSA, Va (IK: TUNTUN DEVĪ GANGA) (I: rin Brahmanga, ri tělěň in padma 2 kamandalu, dé nin mantra) SAPTA-TIRTHA SAPTA-GANGĀ (plates 12-13, 30): 3 (IK: ma-sādhana sěkar tunjuń; K: kalpika věnań) 4 [Sapta-Tirtha-mantra:] om am Gangāyai namaḥ, om am Sarasvatyai namaḥ, 5 om am Sindhave namah, om âm Vipāśāyai namaḥ, om âm Kauśikyai namaḥ, 6 om am Yamunāyai namaḥ, om am Sarayave namaḥ; 7 (IK: ěnahakěnền sivambha) Vb (IK: Upahrdaya-mantra) UDAKANJALI: (cf. O, J’ & P’) 2 om am kham Khasolkāya namaḥ; 3 om ghrim Kṣamā-karaņāya namu namaḥ svāhā. 4 (I: masirat) pam-pādya (XY add argha): 5 om pam Pādyāya namaḥ, vasuh suku; 6 om am Argha-dvayāya namaḥ, vasuh tanan; 7 om jam Jihvā-śuddhāya namaḥ, akurah; 8 om cam ‘Camanīyāya namaḥ, rahup; 9 om grim Śiva-Grīvāya namaḥ, kajamas. 10 SAŃKÉPI (F: kadin uni) Ve STHITI: PATAÑANAN. 2 (XY: om Sa-Ba-Ta-A-I, om na-ma-Si-vā-ya) om Am-Um-Mam namah. 3 SAŃKÉPI (kadin uni) PATAÑANAN. W TUNTUN BHAGAVĀN GANGA (I: turunakěna sakêň sapta śūnya, rin kéśágra, 2 hinanya) (IK: dé nin tuñjun) pasan tan SAPTA-ON-KĀRA-ĀTMĀ-mantra: [[117]] TEXT, TRANSLATION AND NOTES 93 11 present in your heart lotus. 12 Next, BREATH CONTROL before doing the ASSIGNMENT, Ten Breath Kernel Formula; whisper: 13 with regard to the nasal drop crescent: perform the assignment in the hairtuft; with regard to the Basic Formula: perform the assignment in the fontenelle; 14 the method is as follows: Om hairtuft; Om fontenelle; I head; A forehead; KA face; 15 SA tongue; MA neck; RA heart; LA stomach; VA navel; YA private parts; [Um both feet. 16 Next, CONCENTRATE on the Supreme Loftiest, IMAGINE that 17 your body is that of a completely purified human being; consolidate the God, using… gesture, 18 Om Om homage homage hail to A-KA-SA-MA-RA-LA-VA-YA-Um; whisper it, create union with 19 your own soul, this is called… Whisper again TEN-BREATH-SUBDIVISION (?) 20 Om Om I-A-KA-SA-MA-RA-LA-VA-YA-Um Arising; 21 Om Om MA-SA-KA-RA-A-RA-LA-VA-YA-Um Abode; 22 Om Om U-YA-VA-RA-BA-MA-SA-KA-RA-Am Dissolution. 23 This was Arising-Abode-Death of the Divine Ten Syllables; that is the Ten Breaths. Va CONDUCT the GODDESS GANGĀ, Brahmanga, to the depth of the 2 lotus water vessel, using the SEVEN HOLY WATERS formula, 3 by means of a white lotus flower; (failing this) a kalpika will do: 4 om am homage to the Gangā; om am homage to the Sarasvatī; 5 om am homage to the Sindhu; om am homage to the Vipāśā; 6 om am homage to the Kauśikī; om am homage to the Yamunā; om am homage to the Sarayū. 7 Drop the flower into the Holy Water vessel. Vb Upahrdaya formula; RESPECTFUL OFFERING of WATER: 2 om am kham homage to Khasolka; 3 om ghrim homage to Him Who is the Agent of Forbearance. 4 Sprinkle; Pan-pādya-argha formulas: 5 om homage to the water for the feet, to wash the feet; 6 om homage to the two kinds of water used at the respectful welcoming of The Guest, to wash the hands; 7 om homage to Him Who has a pure tongue, to rinse the mouth; 8 om homage to the ācamanīya water, to moisten the face; 9 om homage to the Throat of Śiva, to moisten the hair. 10 OMNIA as before GESTURES. Ve ABODE: 2 om Sa(dyojāta)-Vā(madeva)-Ta(tpurusa)-A(ghora)-I(śāna), om homage to Śiva, om homage to Brahma-Viṣṇu-Īśvara. 3 OMNIA as before GESTURES. W CONDUCT the VENERABLE GANGĀ, making Her descend from the Seven Voids, 2 right down to the tips of the hair, using a white lotus flower; apply the SEVEN OM SYLLABLE-cum-ĀT MĀ formula: [[118]] 94 SŪRYA-SEVANA 3 om om Parama-Śiva-Śūnya-Ātmane (G adds: Amṛtāya) namaḥ; 4 om om Sadā-Śiva-Niṣkala-Ātmane (G adds: Amṛtāya) namaḥ; 5 om om Sadā-Rudra-Ati-Ātmane (G adds: Amṛtāya) namaḥ; 6 om om Mahā-deva-Nir-Ātmane (G adds: Amṛtāya) namaḥ; 7 om mam Īśvara-Parama-Ātmane (G adds: Amṛtāya) namaḥ; 8 om um Viṣṇu-Antar-Ātmane (G adds: Amṛtāya) namaḥ; 9 om am Brahma-Ātmane (G adds: Amṛtāya) namaḥ. 10 SĀṄKEPI kadin uni PATAÑANAN. Xa Unyakěn STAVA BHATARA. Sambut puspa (I: i [tañan] těněn, 2 saha gandha vija dhūpani, tañan kiva nagěm (IKG: ghaṇṭā) měněri hṛdaya) (plates 14-15; 28): 3 om Praṇamya Bhāskaram Devam, sarva-kleśa-vināśanam, 4 pranamyāditya-sevārtham, bhukti-mukti-vara-pradam. 5 6 om Gaṅgā-Sarasvatī-Sindhu, Yamunā mahā-śreṣṭhā, Vipāśā-Kauśikī-nadī, Sarayūś ca mahā-nadī. 7 om Gaṅgā Sindhu Sarasvatī su-Yamunā Godāvarī Narmadā, 8 9 Kāverī Sarayūḥ Mahendra-tanayā Carmaṇvatī Veṇukā, Bhadrā Netravatī Mahāsura-nadī khyātā ca yā Gaṇḍakī, 10 Puṇyāḥ pūrṇa-jalāḥ samudra-sahitāḥ kurvantu te maṅgalam. Xa 4 Instead of sevārtham, K 1257/6b (Aji Sarasvatī) has sarva-gam, ‘going everywhere’. 7-10 Śārdūla-vikrīḍita metre. Xb [SAD-GAṄGĀ] om Gaṅgā-devī mahā-puṇye, namas te Viśva-bhāminī; 2 Yamune parama-puṇye, namas te Parameśvarī; (1) 3 Narmade ca devī puṇye, namas te Loka-rañjinī; 4 5 dharanyai mala-hāriṇyai, Daiviko daivikajas tvam, namas tubhyam Maheśvarī. (2) 6 Nairañjane jagat-kleśa- Śivī-piṣṭa namo ‘stu te; hāriṇyai te namo namaḥ. (3) 7 Maṇḍākinī sura-devī, namas te mala-hāriṇī. 8 Jāmbu-śaṅkhe mahā-devī, devi-deva-niyogataḥ, (4) 9 Meru-pradakṣiṇām kṛtvā, kleśān, Nārāyaṇa-priye, 10 Parvatāśva-mukhe puṇye, śiśu-kleśān vināśaya. (5) 11 12 Kṣīrêkṣuś ca dadhi ghṛtam, kṣura-yakṣīva-nirmalam; Pātu naḥ kleśa-nāśanam, yuşmabhyam tu namo namaḥ. (6) Xb The Buddhist priests add six more ślokas. 4 Neither Dharani nor an orthographic variant found as the name of a river in MW, PW, Apte, [[119]] om homage to Parama-Śiva, the void Atmā (Ambrosia); om homage to Sada-Śiva, the undivided Atmā (Ambrosia); om homage to Sada-Rudra, the transcendent ātmā (Ambrosia); om homage to Maha-deva, the One without Atmā (Ambrosia); om mam homage to Iśvara, the Supreme Atma (Ambrosia); om um homage to Vişnu, the Eternal Atma (Ambrosia); am homage to Brahma, the Atmā (Ambrosia). GESTURES. ΟΜΝΙΑ as before. N.B. When I was reading the Lévi text to my Saivite informant, he made the spontaneous remark: Klès sakin rāga, malingih rin argha, pulan rin toya, i.e. (The God Śiva) leaves the priest’s body, takes residence in the water, mixes with the Holy Water. Xa Pronounce HOMAGE to the LORD. Take a flower in your right hand, with incense and unblemished rice grains; keep above the incenser; in your left hand keep the bell at the height of your heart: To the God of the Shining Sun I bow down; Thou art the destruction of impurities; I bow down for the sake of worship to the Sun, Who bestoweth happiness here and redemption yonder as boons. Gangā, Sarasvati, Sindhu, streams Vipāśā, Kausiki, Yamuna the greatest and best, and the great river Sarayū. Gangā, Sindhu, Sarasvati, best Yamunā, Godavari, Narmadā, Kāverī, Sarayū, daughter of Mahendra, Carmanvati, Veņukā, Lovely Netravati and Gandaki known as the River of the Great Gods, Pure, full of water, together with the sea, may bestow prosperity upon thee. Xb [SIX-strophe hymn to GANGĀ] Goddess of Ganga of great merit, homage to Thee, shining everywhere, Yamuna of supreme purity, homage to Thee, Supreme Lady, And Narmadā, pure goddess, homage to Thee Who charms mankind, supporting, taking away impurity, homage to Thee, oh Great Goddess! Thou art divine, born from the divine, oh, Śivipiştā, homage to Thee, Who takest away the world’s filth, homage to Thee, Nairañjanā! Mandakini! oh, goddess for the gods, homage to Thee Who takest away filth; Oh, Thou Who bearest a golden conch, Great Goddess, spoken of by goddesses and gods, Having made pradakşiņā around the Meru, the illnesses, Thou, dear to Nārāyaņa! Thou Who hast the face of a mountain horse, oh, pure one, destroy the infants’ illnesses! Sugar cane and milk, sour milk, clarified butter, Protect us, [give power] to destroy impurities to all of Thee be homage done. Dikshitar’s Purāņa Index or Sörensen’s MBh Index. Kirfel’s Kosmographie p. 196 quotes a lake Dharani from the Digha-Nikāya, also to be found in Malalasekara’s Dict. of Pali proper names. [[120]] 96 SŪRYA-SEVANA Since this stava is the common property of Saiva and Bauddha priests, a Buddhist origin should not be ruled out. More probable, however, seems to be to try to connect dharani either with Pṛthivi or to ascribe the supporting function to Narmadā. 5 Śivi-pişța, according to the PW, a name for Śiva-Rudra, is an effort at an emendation for what is found in the mss: 13 times Śiva-prst(h)a, once Śiva-prāpta, once Śiva-amṛta. As a consequence, then, Dharani, the (Goddess of the) Earth, might occur in line 4. Xe [CATUR-GANGA] om Namas te Bhagavad Ganga, namas te śītalambv api, 2 salilam vimalam toyam, svayambhū-tirtha-bhājanam. (1) 3 om Subhiksā hasta-hastāya, dosa-kilbisa-nāśane, 4 pavitre su-mahā-tīrthe, Gangâthâpi mahôdadhiḥ. (2) 5 om Vajra-pāņi mahā-tīrthe, pāpa-śoka-vināśane, 6 nadi-puspâlaye nityam, nadī tīrtha-tayā priye. (3) 7 om Tirtha-nadi ta kumbhaś-ca, varņa-deha mahâtmanam, 8 muninām mangala-sthan ca, ye vāpi ca divaukasaḥ. 9 (IK: Lin Bhatāra :) 10 om Sarva-vighnā vinaśyantu, sarvaḥ kleśo vinaśyatu: 11 sarva-duḥkha-vināśāya, sarva-pāpam vināśaya; namo namaḥ svāhā. 12 SANKĚPI kadin uni PATAÑANAN. Xe All mss have bhagavan Ganga; similarly they always have Jagat-nātha. (4) 7 All mss in syllables 1-2 varna; in 3 once ne, once ike, in 4 kat once, ha(t) 3 times; in 6 hat twice; in 8 nam 3 times, kah twice. After 11, Lévi inserts his 105 Ganga-soma (5 ślokas), 106 Jala-siddhyai (2) and 107 Ganga-gauri; Ya (GQRW) MRTYUNJAYA. Sambut tan tuñjun valulvan; 2 yan tan tuñjun[,] kalpika këmban vani (L: kěmban putih) kunań; 3 saha gandha ‘kşata, dhūpa dipa (K: -ni). 4 om om I-A-KA-SA-MA-RA-LA-VA-YA-UM namo namaḥ svāhā, 5 om om Kurmedha-jaya! jīvat-śarīra-rakşan dadāsi me, 6 om mjum sah vausat Mṛtyuñjayāya namaḥ. 7 Tibakěnên sivambha. Ya 4/5 Lévi 108 here inserts AR KA SA YA om namaḥ svāhā; at this same place the Ums has om om HA-RA-KA-SA-MA-RA-LA-VA-YA-UN/namo namaḥ svāhā. 8/9 The I & K mss here insert three slokas, hitherto only found in Pūja-stava, K 1673/2a: Yb Samalih (G: nambut ganthā puşpa; XY: nambut sěkar): 2 om DIRGHAYUR-bala-vrddha-śakti-karaņam Mrtyuñjayam śāsvatam, [[121]] TEXT, TRANSLATION AND NOTES 97 8-10 Jambu-śańkhā is unknown in dictionaries accessible to me; the circumambulation of Mount Meru (9) by Śri (the most probable goddess to be called Nārāyana-priyā) at the behest of the gods, is unknown to me. Special healing qualities of Śrī in relation with children are unknown. 10 The Pürvaka Veda Buddha has sarva-tattva instead of lectio arduor parvatâśva; the passage remains obscure. Xe [FOUR-strophe hymn to GANGA:] 1 Homage to Thee, Venerable Ganga, homage to Thee of the cool water; 2 Thy water waves, free from impurity, a vessel of Svayambhu’s water. 3 Prosperous for one hand and the other, Oh, Thou Who destroyest faults and impurities! 4 Oh, Purifying One! oh, perfect Holy Water, [Thou art] the Ganga and the ocean. 5 Thou Who hast the thunderbolt in Thy hand, great purifier, Who destroyest sin and grief, 6 River, constant abode of river flowers, Oh, river, dear because thou art Holy Water! 7 River of Holy Water as well as receptacle, 8 9 The Lord speaks: 10 May all hindrances be destroyed, may all faults be destroyed, 11 for the annihilation of all sorrow, destroy all sin. honour and homage. 12 OMNIA as before GESTURES. my ritualistic mss do not give them for this ritual. L 106 is only found in K 1196 Roga-samhara- bhūmi/36a as Jalan idhi in Apah/Varuna/Samudra-stava; L 107, hitherto I have never found anywhere. My Śivaite informant told me that the officiating priest is at liberty, at this stage of the ritual, to add as many relevant stava as he knows (saka-vruh) and likes. Ya VICTORY over DEATH. Take the white night lotus flower; 2 failing the lotus, a kalpika or a fragrant flower or a white flower will do; 3 together with incense and rice grains; hold them over brazier and lamp: 4 om om honour and homage to I-A-KA-SA-MA-RA-LA-VA-YA-UM. 5 Oh, Thou Who art victorious in the Lotus (??), 6 Thou givest me protection for my living body. om mjum sah vausat homage to Him Who is Victory over Death. 7 Drop the flower into the Holy Water vessel. om Sankha-pāņi pramaņantam, Deva-samsthita-yogantam, Śiva-pūjasya mantrasya, Brahmânga marcchate yuktam, Padma-bhuvana-tattvan-ca Śiva padmagra-samyuktam, nagarasya munivantam; Brahma-Vişņu-Maheśvara. Try-akşara-mantrakôddhṛtam; Sivânga mantram ātmakam. aşța-deva-dalam bhavet; gandhâkşara Sadā-Šiva. Yb Once more take the bell [in the left hand] and a flower [in the right]: 2 I praise the Eternal Victor over Death, Who causeth longevity, force, fully developed power, [[122]] 98 3 4 5 6 7 8 9 10 11 12 13 SURYA-SEVANA rogâdi-kşaya-kustha-dusta-kalusam candra-prabhā-bhāsvaram, hrim-mantram ca catur-bhujam tri-nayana-vyālopavītam Śivam, śvetañ câmṛta-madhyagam sukha-karañ jīva-kşaya-vyańsakam, (1) Śvetâmbhoruha-karņikoparigatam devâsuraiḥ pūjitam, mrtyu-krodha-balam mahā-krti-mayam karpūra-reņu-prabham, Tvām vande varadāya bhakti-śaraņam prāpyam mahā-prastumaih, śāntam sarva-gatam nirantam abhavam bhūtâtmakam nirguņam, (2) Śrāddha-bhakti-kṛtām vimukti-karaņam vyāptam jagat-dhāraņam, mauli-bandha-kirita-kundala-dharan caitanya-duşta-kşayam, vande mṛtyu-jitam sajapya maraho mantrâdi-devo Harih, mukta tvam jagat tvam samādhi-satatan caitanya-dusta-ksayam. (3) Ye (KI: Lin Bhattāra:) 2 om Mrtyuñjayasya Devasya, yo nāmāny anukirtayet, 3 dīrghayuşyam avāpnoti, sangrāma-vijayi bhavet. 4 (IK: Lin san amūjā:) 5 om ātmā Tattvâtmā śuddha mām svāhā, 6 7 8 om prathama [m] śuddha, dvitīya [m] śuddha, trtiya [m] śuddha śuddha, caturtham śuddha, śuddha śuddha vari vastu. 10 om Ayur-vṛddhir yaśo-vṛddhiḥ, vṛddhiḥ prajñā-sukha-śriyām, 11 9 [Lin Bhattāra] [SAPTA-VRDDHI] dharma-santāna-vṛddhiḥ syāt, santu te sapta-vṛddhayah. 12 (IK: muvah lin saň amājā :) 13 om Yavan Merau sthito Devaḥ, yāvad Gangā mahi-tale, 14 candrârko gagane yāvat, tāvad vā vijayi bhavet. 15 (IK: Lin Bhattāra :) om Dirghayur astu tathâstu; 16 17 om Avighnam astu tathâstu; om Subham astu tathâstu; 18 om sukham bhavatu, om pūrņam bhavatu, om śreyo bhavatu; Sapta-vrddhir astu (L adds: tad astu astu svāhā). 19 20 I: Iti MRTYUNJAYA-STAVA. 21 SAŃKËPI kadin uni. PATAÑANAN. Ye 2 The second pada is Lévi’s emendation; without exception the mss have: yo namāmyami. 3 All mss agree in avāpnoti, which has been maintained n’en déplaise Lévi’s emendation into avāpnotu; preceded by the rubric Lin Bhațara the words state a fact and are not hybris, so that they do not need to be emended. [[123]] TEXT, TRANSLATION AND NOTES 3 Who by disease and similar decay, by leprosy, damageth impurity, Who shineth with the splendour of the moon, 4 Who art hrim-mantra, hath four arms, three eyes and a snake as a sacred cord, 5 Who art white and hath gone into the Ambrosia, Who causeth happiness and wardeth off decay of life, 6 Who art worshipped by Gods and demons and rises above the pericarp of a white lotus, 7 Who hath the force of the anger of Death, Who hath an imposing appearance, Who hath the lustre of pollen of camphor, 8 I salute Thee, granter of boons, refuge for devotion, to be reached by great eulogies, 9 Who art calm, omnipresent, endless, without personal existence, essence of the elements, devoid of qualities, 10 Who art omnipresent and maintaineth the world, Who causeth freedom for those who perform devotions and have faith, 11 Who destroyeth the evils of the spirit, Who weareth earrings, a tiara and a diadem, 12 I praise Thee Who hath vanquished Death. 13 Thou art emancipated, Thou art the world, Thou art in continued concentration, Thou destroyest the evils of the spirit. Yc Words of the God: 2 Whosoever recites these homages of the God Who is victory over Death, 3 obtains longevity, and in a conflict will be victorious. 4 Words of the worshipper: 5 Oh, Soul, Soul of the realities, purify me, hail; 6 om purified for the first time, purified for the second time, 7 purified for the third time, purified for the fourth time, 8 purified, purified, purified, may Water be! 9 Words of the God: 10 Growth in life and growth in fame, growth of wisdom, joy and bliss, 11 growth in Law Eternal and offspring sevenfold growth may be your share. 12 Again the words of the worshipper: 13 As long as God resides on Mount Meru, as long as the Ganga flows over the earth, 14 as long as Sun and Moon stay in the sky, so long one may be victorious. 15 Words of the God: Enjoy longevity, so be it; 16 Enjoy freedom from hindrance, so be it; 17 Enjoy virtue, so be it; 18 Omne quod felix, faustum fortunatumque sit. 19 The Seven Growths be there, so be it. 20 This is the song in praise VICTORY over DEATH. 21 OMNIA as before. GESTURES. 20/21 After Sapta-vyddhir in L Nos. 111-126 deviate considerably from all mss accessible to me. They do not contain L 111 nor L 112. [[124]] Za TĚLAS in a-KARYA TOYA (PFVZ) TĚLAS a-SURYA-SEVANA (XY). This is the culmination of the ritual and its turning point. For the simple form of the ritual, the only thing that remains to be done is the ceremonial send-off of the God. Where the ritual serves special purposes, these are then accomplished. And it is at this point, before they end with the same send-off, that my mss diverge. The ITSH mss continue with a) LINGA-PUJA, b) BHASMA, C) BHUSANA; the KGBLPFV mss deal only with BHASMA; L 112 mentions Prāyaścitta, expiation for (minor) sins; the AXY mention none of these possibilities and continue. It seemed preferable here to give the simple ritual and deal with the extras in appendices. 2 SIRAT-i ŚARĪRA-nta TOYA, Astra-mantra-sādhana (plates 16-17): 3 om hum rah phat Astrāya namaḥ; 4 om Atma Tattvâtma śuddha mām svāhā; 5 om om Kşamā-Sampūrṇāya namaḥ svāhā; 6 om Śrī Paśupataye hum phat. 7 SANKĚPI kadin uni. PATAÑANAN. Zb Tělas mańkana, SIRAT-i S. H. SURYA ADITYA toya tirtha rin avan² gagana. 2 Astra-mantra-sādhana, kadi niń śarīra sakadi nin arěp. 3 [Lin Bhatāra:] om śrī ambhavatu, om pūrņam bhavatu, om sukham bhavatu. 4 SANKĚPI PATAÑANAN. A’ Sambut taň sěkar, TUNTUN ŠIVA-ADITYA (IK: sakên guhya pundarika), 2 saha citta nirmala, dé nin SAPTA-OM-KARA-tanpa-ātmā-mantra, 3 vavên Śiva-dvāra (G adds dvā daśa-angula kadohanira sakền tuntun in rambut). 4 IK: ma-sādhana sěkar tuñjun; kalpika věnań: 5 om am Brahmané namaḥ (XY: nabhi, I: hrt ); 6 om um Vişnuyé namaḥ (XY: hrdaya, I: tikta ); 7 om mam Iśvarāya namaḥ (XY: pusuh-pusuh, I: tulika ); 8 om om Mahā-Dévāya namaḥ (XY: tālu, I: mukha padma); 9 om om Sadā-Rudrāya namaḥ (XY: bhrū-madhya, I: rin uşnişa ); 10 om om Sadā-śivāya 11 om om Parama-Śivāya namaḥ (XY: tuntun rambut, I: riň vunvunan); namaḥ (XY: Śiva-dvāra, I: rin pani désa); 12 (IK) Hěnahakěna (I) sěkar (in) panuntun (IK) Vètan in sivambha. A’ Instead of tuntun, the XYZ mss have nili. - Most mss have Śiva-Aditya, but X has Śiva-ātmā, G has Surya, U has Śiva-Surya. 3 L 127 has marin sangar, ’towards the chapel’, preceded by sangar in 124 and followed by sangar in 129. B’ Agavé ANANTASANA: om om Anantasanāya namaḥ (cf. Nc). [[125]] TEXT, TRANSLATION AND NOTES 101 Za THE END of the PREPARATION of HOLY WATER THE END of SUN WORSHIP. 2 SPRINKLE your BODY with Holy Water, using the Brand formula : 3 om hum rah phat homage to the Brand; 4 Oh, Thou Whose ātman is the ātmā tattva, purify me. 5 om om homage be to Him Who is Perfect in Forbearance; 6 om hum phat homage to Śrī Paśupati. 7 OMNIA as before. GESTURES. Zb After that, SPRINKLE Holy Water in the direction of the SUN-GOD, in the air, 2 using the Brand formula, as with one’s own body as before. 3 [Words of God:] Omne quod felix, faustum fortunatumque sit. 4 OMNIA GESTURES. Za 2 XKPFVAY use sirat; TSHPFV after the ’enlargement’ (seen from the point of view of the progressing ritual) use sankěpi, in the case of PFV followed by the complete explanation which, in the text, has been summarised in kadin uni. 6/7 XY-after all only representing one ms-puts the sri ambha formula here, contrary to all other mss, Zb Sürya in F, Aditya in V; avan² in KGU, gagana in ITSHP. 2 Kadi nin śarīra in ms K, sakadi niň arep in ms I; after the ’enlargement’, however, all mss go to the complete extent for line 2 & 3. 3/4 Lévi 125 inserts Prāņâyāma, as all the mss have before the first tuntun (cf. my IJ). A’ Take the flower, CONDUCT the ŚIVA SUN from your interior heart lotus, 2 with pure thoughts, by the SEVEN OM SYLLABLE without soul formula, 3 to the fontenelle at a distance of twelve fingers’ breadth above the tip 4 of your hair, using a white lotus flower; a kalpika is permitted: 5 om am homage to Brahmā, (navel | heart); 6 om um homage to Vişnu, (heart | bile); 7 om mam homage to Iśvara, (liver | 8 om om homage to Mahā-Déva, (palate | front of the lotus); 9 om om homage to Eternal-Rudra, (spot between the brows / front diadem); 10 om om homage to Eternal Śiva, (fontenelle / 11 om om homage to Supreme Śiva, (tips of the hair | skull); 12 Place the conductor-flower to the east of the Holy Water vessel. 2, 5-11 The G ms gives the atma-formulas; L has the same set of Gods, each name followed by Sūryāya, and in reversed sequence. B’ Make ANANTASANA: om om homage to the Seat of the Endless One. [[126]] C’ (G: CATUR-AIŚVARYA (Sinhasana) ri padu nin Anantasana (ef Nd): 2 om rm Dharmāya simha-rūpāya śvéta-varņāya namaḥ, Agnéya; 3 om im Jñānāya simha-rūpāya rakta-varņāya namaḥ, Nairrtya; 4 om Im Vairāgyāya simha-rūpāya pita-varņāya namaḥ, Vāyavya; 5 om Im Aiśvaryāya simha-rūpāya krsna-varņāya namaḥ, Aisānya). D’ Agavé PADMASANA rin Déva: om om Padmāsanāya namaḥ svāhā (cf Ne). E’a DEVA-PRATISTHA: om om Déva-pratisthāyai namaḥ (cf Nm). Eb KŪTA-MANTRA: om hrām hrim sah Parama-Śiva-Adityāya namaḥ. F’ UTPATTI: om I-Ba-Ta-Sa-A, om ya-na-ma-Si-vā, om Mam-Um-Am namaḥ. 2 STHITI: om Sa-Ba-Ta-A-I, om na-ma-Si-vā-ya, om Am-Um-Mam namaḥ. 3 SANKĚPI PATAÑANAN. G’a PUNU (G: San Hyan ADITYA) dé nìn BHAIRAVA-MANTRA (plates 18-19). 2 Sambut tan padīpan (TH: padhūpan) saha ganthā. 3 IDĚP Bhatāra Ardha-nareśvari, supta aturu (I: ri madhya n) in Padmasana, 4 paścima jönnira, dumagakëna ri kita san amājā. 5 Tělas[,] aturana Sira mantra CATUR-SANDHYĀ; ndya ta? 6 Brahmā-sandhyā, Vişnu-sandhyā, Īśvara-sandhyā, Rudra-sandhyā: 7 HUM-kārâdy-anta-sanruddham, guhya-śakti-pradīpanam; 8 dīpanam sarva-pūjanam, 9 sarva-siddhi-karam smrtam; namaḥ svāhā. 10 om HUM HUM/am-um-mam/gmum/mam-um-am/HUM HUM om/namah svāhā. 11. Vyaktinirêki, sandé tattva-nira rin sarva-pājā, (G: BRAHMA-SANDHYĀ), 12 pandilah nin sarvādeva-pājā mvaň sarva pinūjā tattva-nira. G’b Tělas[,] pasan tan VIŞŅU-SANDHYĀ TĪKSŅA-MANTRA; ndya ta? 2 NAM-kārâdy-anta-samruddham, NAM-kāreņa vidarbhitam, 3 amāli-karaņa-mantram, 4 sarva-mantreșu siddhîdam; 5 om NAM/hum NAM/gmum/NAM hum/NAM om/namaḥ svāhā. 6 Vyaktinirêki, asahan tattva-nira, panlandëp nin sarva-mantra sira. namaḥ svāhā. [[127]] TEXT, TRANSLATION AND NOTES 103 C’ FOUR-LORDSHIP (Lion throne) at the corners of the Seat of the Endless One. 2 om rm homage to Law Eternal, lion-shaped, white-colored, South-East; 3 on ṛm homage to Knowledge, lion-shaped, red-colored, South-West; 4 on Įm homage to Freedom from all worldly desires, lion-shaped, yellow-colored, North-West; 5 on Im homage to Lordship, lion-shaped, black-colored, North-East. D’ Make the LOTUS-SEAT for the GOD: om om honour and homage to the Lotus Seat. D’ The IK mss add: padma-mudra-sādhana. E’a The GOD’S PRESENCE: om om homage to the God’s Presence. E’ PINNACLE FORMULA: om hrām hrim sah homage to the Supreme Siva Sun. F’ ARISING: om homage to Īsāna-Vamadeva-Sadyojāta-Tatpurusa-Aghora, 2 ABODE: om to-ho-mage-Śi-va, om Īśvara-Vişnu-Brahmā. om homage to Sadyojāta-Vamadéva-Tatpuruşa-Aghora, om ho-mage-to-Si-va, om Brahmā-Vişnu-Iśvara. 3 ΟΜΝΙΑ GESTURES. G’a AWAKEN the Divine SUN using the BHAIRAVA formulas. 2 Take the lamp/brazier and the bell. 3 IMAGINE the Divine Being as Śiva-Parvati Lord-Lady, asleep on the Lotus Seat, 4 Their feet at the West, with you (the worshipper) at Their Feet. 5 Next, offer Him the FOUR SANDHYA formula, 6 i.e. Brahmā-sandhyā, Vişnu-sandhyā, Īśvara-sandhyā and Rudra-sandhyā. 7 [The syllable GMUM] enclosed by the syllable HUM in the beginning and at the end [of the formula], is the explanation of hidden power, 8 an explanation of all worships; it is stated in tradition to give fulfilment to everything; honour and homage; 9 om HUM HUM/am-um-mam/gmum/mam-um-am/HUM HUM om/namah svāhā. 10 That means that the essential being of this sandhyā (BRAHMA-SANDHYĀ) for 11 all worshippers is a torch for all those who worship and to the gods who are worshipped. G’b Next, apply the VISNU-SANDHYĀ SHARP formula, viz. 2 [The syllable GMUM] enclosed by the syllable NAM in the beginning and at the end [of the formula], but it has been ‘set free’ by the syllable NAM, 3 is the formula which makes one spotless; it produces success in 4 all formulas; honour and homage; om NAM/hum NAM/gmum/NAM hum/NĂM om/namaḥ svāhā. 5 That means that its essential being is a grindstone, a means of making all formulas more sharp (i.e. effective). [[128]] 104 SŪRYA-SEVANA G’c Tělas, këna-kěna ń VODHANA-MANTRA; ndya ta? 2 HUM-kārâdy-anta-samruddham, HUM-kāreņa vidarbhitam; 3 etat suptasya devasya bodhanam paramam smrtam; namaḥ svāhā. 5 om/HUM HUM/gmum/HUM HUM/om/namaḥ svāhā. 6 om ghrim Devârcanāya namo namas svāhā. 7 IDĚP mavunu Bhațāra dé ni pūjā-nta. 8 IDĚP-ta Sira lot-ati (I: rumenō) pinūjā-nta. 9 SAŃKËPI kadin uni. PATAÑANAN. G’ In our ritual Catur-sandhyā does not deserve its name, as it consists of three sections instead of four. Neither does San kişipta pūjā, ‘Concise Worship’ in G", for between initial and final caption the number of syllables is the same as in G’ when complete in its four sections, not to mention the three sections used in my ritual. In death ritual, the spirits of the dead, potentially malevolent, after having been awakened, must be satisfied immediately by tarpana-mantra in order to avert calamities; this could not be supposed in relation to Śiva-Aditya, so that the tarpaņa-śloka is not borrowed from the death ritual and the text ends fittingly with arca(na), ‘adoration, worship’ -but why should the Siva-ātmā have to be awakened, after having spoken as recently as in section Y? and even if this awakening of the Siva-atma is conceived as urgent, then why with Bhairava-mantra? On the one hand, the fourfold formula begins like AN-kāran dhyātvā hṛccandre from the Vajra- Sarasvati, Sadhana-mala 1/168, ‘having concentrated the mind upon the moon of the heart’. On the other the absence of declension in all four slokas points in the direction of their being Archipelago Sanskrit, a circumstance which does not facilitate the understanding of their composer’s intention. In any case, when more than ten mss agree with one another, and disagree with Lévi, there is a strong case for assuming that they represent the Balinese tradition, and that L 133 deviates and is even suspect in that a pāda, as on p. 30 1.15, 1.24 consists of 9 syllables. The mss leave no doubt about AM and NAM. The majority of them suggests (H)UM in the first pāda, and for devârca(na) OM might have been expected but is only found in one ms as against five reading UM-but in Balinese script un and on are not always easily to be distinguished. As we are used to Am for Brahma and Um for Vişnu, Mam for Iśvara, it looks as if the bijákşaras here must be attributed to Bhairava-language. 1 Both punu and pamunu are derived from the verbal root (v)unu, and Lévi’s informant may have said paüngva, in his No. 133. 2 pa-dipa-n (though usually: dipa) being the symbol of Siva, seems preferable. G’ was based upon the mss ITSHKGUL, as before; on top of that, on: K 69, Kajań Pūjā pitr, K 71, Ligya or Indik Maligya, K 1168, Sava-vidhāna, K 1423, Pitr-pūjā, K 1843, Astava Mantra, The shroud for the worship of the dead; About final care of the dead called ligya; Care of the dead; Worship of the dead; Texts (& paraphrases) of songs in honour of the Gods. In K 71 (twice), K 1168 and my ms U we find the fourth of the CATUR-Sandhya with its conclusion by Sankěpi; it runs as follows: AN-kārady-anta-samruddham, AN-kāreņa vidarbhitam; TARPANAM sarva-pūjānām, priti-dānām tu siddhidam; namaḥ svāhā. om/AM hum AM/gmum/AM hum AM/om/SAŃKÉPI, preceded by the words: om gram Deva-TARPANAYA namaḥ svāhā. [[129]] TEXT, TRANSLATION AND NOTES 105 G’c Next, apply the AWAKENING FORMULA, viz. 2 [The syllable GMUM] enclosed by the syllable HUM in the beginning and the end [of the formula], but it has been ‘set free’ by the syllable HUM, 3 that is stated in tradition to be a supreme awakening of the God Who is asleep; honour and homage; 4 om/HUM HUM/gmum/HUM HUM/om/namah svāhā. 5 om ghrim honour and homage to the worship of God. 6 IMAGINE that the God is awakened by your worship. 7 IMAGINE that He is forbearing, hearing that He is worshipped by you. 8 OMNIA as before. GESTURES. 3 In supta aturu, we find the same short explanatory juxtaposition of a Sanskrit word and its Indonesian translation as in nava saña, ’nine’ and the Malay atha maka, ’next’, to be imagined between those brackets of explanation which are needed but which did not develop in Javanese and Arabic script; failing that, the second explanatory word is often followed by na., i.e. naranya, ‘its name is, that is to say, viz., i.e. 4 Dumagakěna ri kita sań amūjā (5 mss) might be the paraphrase of paścima (which is Sanskrit) jön (Old-Javanese; 3 mss). 5 Between one topic and another there is often a concluding tělas, ’the end, full stop, finished, exhausted, completed’, and generally speaking my copyists were in the habit of putting it at the end of a paragraph; one imagines its being pronounced with a sinking voice. However, repeatedly I find it separated by full stop from the preceding words, followed or not followed by a comma, just like ‘vus mankana’, ‘hisce feliciter peractis’, as an introduction to the following topic; the pronunciation would be expected to be in a raised voice. 7 Lévi’s emendations seem untenable, but my endeavours to translation of the text as found should be only provisional; vidarbhita is scarcely Sanskrit. 9 K 71 and K 1423: namaḥ svadhā; in G’b 4 and G’e 4 namaḥ svāhā only in UL. 11 Conform with the completely agreeing ITSH and K 1843; I do not take sandé as the equivalent to vandé, vuruń, ‘frustrated, not going on its course’ but as standing for sandhyā. The last word, which, in another context, might have been sarva-pūjā, ‘all kinds of worship’, here taken as sarva apājā, ‘all those occupied with worship’. Brahmā-sandhyā is not only in G but also in Κ 71, Κ 1423; all mss continue: pandilah nin sarva; TS: deva; G, K 71, K 1423 and K 1843: pūjā; Gand K 1423: mvan sarva; TSH and K 1423: pinūjā; G, K 71 and K 1423: tattva; T, G, K 71 and K 1423 nira or San Hyan and K 1843: sira. The divergence in the mss makes the text and translation shaky. G’c 2 Here and in line 7 my typewritten copies of mss give no decision whether to read UM or HUM. G’c 3 devasya, according to K 1168/2a; the other mss have mantrasya. bodhanam here correct, ef. vodhanam in line 17; cf. also vimba pro bimba in my O line 14. 8 At this stage, my Saivite informant made the remark: usan pesan, ‘completely finished’. [The syllable GMUM) enclosed by the syllable AM in the beginning and the end [of the formula], but also loosened by the syllable AM, is the satiating of all worship, and it gives the accomplishment of all [formulas?] that give satisfaction. Next the mss KUPA and K 69 offer the following PUNU, about which my Saivite informant gave this comment: jaran; yan in tan angé TRI-(sic!)-Sandhyā, ’exceptional; when TRI-Sandhya is not used’. Note that he speaks, quite realistically, about TRI-Sandhyā; it can be seen, moreover, that in the mss KU this PUNU is mentioned as a second possibility, and in the mss PA appears to be the only one. [[130]] G" (PA:) PUNU. (K:) Sambut taň puspa ghantā, pūjā San-(Hyan)-[K]ȘIPTA-PUJĀ: 2 HUM-kāro dipana-mantram, NAM-kāras tīkşņam eva ca; 3 Devârca HUM-kāra-mantram, AM-karo deva-tarpaņam. 4 Devârcanam ca GHRIM-mantram, GHRIM-mantram tarpaņam tathā; 5 Bhoktr-lakşaņam GHRIM-mantram, GHRIM-mantram tṛpti-kāraņam. 6 Kşamā-karaņam GHRIM-mantram, GHRIM-mantram anugrahakam; 7 Antyestiś caiva GHRIM-mantram, GHRIM-mantram deva-samhāraḥ AŞTA-PUJĀ. 8 (U: namaḥ svāhā). 9 10 Tumü VĀHYA-PŪJĀ mvah rin SAN[K]ŞIPTA-PŪJĀ: 11 Om GHRIM-mantram sarva-karmāņām, GHRIM-mantram japam ārabhet; 12 13 14 gandhaksatan-ca GHRIM-mantram, GHRIM-mantram puspa-dhūpakam. MANO gandham MANAH puspam, MANO dhūpam MANAH kriyam; Suddha-cittam MANO mamyam, dadya Tvayi mahā-prabham 15 (U: namaḥ svāhā) 16 [Iti SANK] ȘIPTA-PŪJĀ. G" The five slokas are to be found in KUPA, K 69/13a, K 69/28a. It is easy enough to translate sańkşipta pūjā by ‘concise worship’, but the full worship dealt with earlier is not any longer. 6 Cf. B 14, D 2, H 14, Z 5, O 3, Vb 3 & 9, J’ 3 & 9, P’ 7. 12-13 It is conceivable that a mystic expresses the idea that worship of the God can be done as well without the help of the perishable and imperishable cult objects, and that being possessed by the God makes up for good deeds and makes the thoughts pure, and that this is expressed in the sloka-but how does this tally with ‘External Worship’? 14 More and better mss are needed; dadi looks Indonesian. H’ ŚIVI-KARAŅA (I: dé nin Pañcâsya) (ITSH: Brahmånga Sivânga): 2 om im Iśānāya namaḥ, riň mūrdhi/sirah, 3 om tam Tatpuruṣāya namaḥ, rin rahi, 4 om am Aghorāya namaḥ, rìn hṛdaya/ati, tarjini; kanisthikā; anāmikā; 5 om băm Bāmadevāya namaḥ, rin bhaga/kupina ‘pastha, madhyamikā; 6 om sam Sādyāya 7 om ham Hrdayāya 8 om rm Kāya-Sirase namaḥ, rin suku, 9 om Bhür-Bhuvah-Svah-Svare 10 Jvālinī-Śikhaye 11 om hrüm Kavacāya 12 om bhām Netraya 13 om bhām Netrāya angustha; namaḥ, (IK: hrdaya-mudra) hṛdaya; namaḥ, (IK: triśūla-mudrā) keśågra rambut; (IK: byoma-mudrā) namah, (IK: śikhā-mudra) tuntun in rambut; namaḥ, (IK: kavaca-mudra) punuk; namaḥ, (IK: vrsada-mudrā) nétra těněn; namaḥ, (IK: cakra-mudra) nétra kiva; śaro-mudrā) bahu kalih. 14 om hum rah phat Astrāya namaḥ, (IK: [[131]] TEXT, TRANSLATION AND NOTES 107 G" AWAKEN: take the flower and the bell; the worship is called CONCISE WORSHIP: 2 The Syllable HUM is an illuminating formula, and 3 the syllable NAM is sharp (effective); the syllable HUM serves for the worship of the Gods, 4 the syllable AM denotes the satisfying of the Gods. GHRIM-formula serves to worship the Gods, 5 GHRIM-formula serves as well to satisfy Them; GHRIM-formula is the characteristic of The Enjoyer, 6 GHRIM-formula is a cause of satisfaction. GHRIM-formula represents the Agent of Forbearance, 7 GHRIM-formula represents the bestowing of favour; GHRIM-formula serves for funeral sacrifices, 8 GHRIM-formula marks the contraction of the God. EIGHT-FOLD WORSHIP. namah svāhā. 9 10 Then follows EXTERNAL WORSHIP and CONCISE WORSHIP. 11 GHRIM-formula belongs to all rituals, with GHRIM-formula one should start to mutter one’s formulas; 12 GHRIM-formula represents incense and unblemished rice grains, GHRIM-formula represents the flowers and incense. 13 Incense represents MANAS and the flowers represent MANAS, frankincense represents MANAS and the action represents MANAS; 14 MANAS makes my mind pure, so that in Thee it is of great lustre. 15 16 This is CONCISE WORSHIP. namah svāhā. H’ DEIFICATION by means of Śiva’s Five Aspects; Brahmânga Śivânga : 2 om im homage to Iśāna, head, fore finger; 3 om tam homage to Tatpuruşa, forehead, little finger; 4 om am homage to Aghora, heart/liver, ring finger; 5 om am homage to Vāmadeva, private parts, middle finger; 6 om sam homage to Sadyojāta, feet. thumb; 7 om ham homage to the Heart, heart gesture, heart; 8 om rm homage to the Trunk & Head, trident gesture, (tip of the) hair; 9 om homage to Earth-Sky-Heaven, sky gesture, 10 to the Tongue of the Flame, top of hair gesture, tip of the hair; 11 om hrüm homage to the Coat, coat gesture, back/neck; 12 om bhām homage to the [right] Eye, vrşada gesture, right eye; 13 om bhām homage to the [left] Eye, wheel gesture, left eye; 14 om hum rah phat homage to the Brand, arrow gesture, both arms. [[132]] H’ The I ms has kūta Brahmånga after line 7; after line 8: kūța Śivânga. 12-13 The I ms uses träsini-mudrā kanan kiri; then adds: Nai., Gné., Ai, Bā., in 14 to be concluded by Pūr., Da., Pa., Ut. It may have been the intention to connect lines 7-10 with the SW, SE, NE and NW, and 11-14 with the E, S, W and N, in this way accomplishing a prasavyā followed by a pradaksiņā. I’ Muvah TRI-TATTVA (cf. H, Nb) (plates 20-21): 2 om om Śiva-Tattvāya namaḥ, mūrdhi śirah; 3 om om Vidyā-Tattvāya namaḥ, nāsikāgra|rahi; 4 om om Atmā-Tattvāya namaḥ, hrdaya; (IK: tri-śikhā-mudrā cf. H2). I’ In Lévi this I’ is followed by a repetition of four subdivisions, all of them known from elsewhere, though none of them is found in this connection in any ms on this ritual accessible to me, viz. L 136 Sańkěpi kadin uni; L 137 Utpatti; L 138 Déva-pratisthā, L 139 Sthiti. J’ (IK: Upahṛdaya-mantra)|UDAKANJALI: (cf. O, Vb and J’) 2 om am kham Khasolkāya (G adds: Iśānāya) namaḥ; 3 om ghrim Kşama-karaņāya (GP add: namo) namahḥ svāhā. 4 (IK: Udakâñjali) (L: Aturana) pań-Pādya (XYL: Argha) (L: ācamaniya): 5 om pam Pādyāya namah, 6 om am Argha-dvayāya namaḥ, 7 om jam Jihvā-śuddhāya namaḥ vasuh jön, rin suku; vasuh tanan, hasta karo; kěmuh-kěmuh, rin lidah; rahup, rin rahi; rin Śiva-dvāra. PATAÑANAN. 8 om cam ‘Camaniyāya namah, 9 om ghrim Śiva-grīvāya n. (G adds svāhā), kajamas, 10 SAŃKËPI kadin uni. K’ [ĀDITYA-STAVA] M: Añañjali ri jön Bhatāra Śiva-Aditya, 2 M: dé nin këmban vani saha puspa gandha ‘kşata dhūpani: 3 4 om Adityasyâpara-jyoti, rakta-teja namo ‘stu te. śveta-pańkaja-madhya-stha, Bhāskarāya namo ‘stu te. 5 Salahakěna taň sěkar mvah němbah: 6 Kūța-mantra: om hrām hrim sah Parama-Śiva-Adityāya namaḥ. K’ Most rubrics are considerably shorter: ITSHK: ta; ITSHXKPY: anëmbah/CFVZ: sembah; GP: ka Surya. L’ TOYA-TARPAŅA. ITSHXKG: Muvah němbah/FVM: Anaturaken toya : 2 om om Ehi Sūrya sahasreșu, Tejo-rase! Jagat-pate! 3 anukampayā bhaktiyā, grhyamāno Divākara! (GXP: ya) namah namah te. 4 Salahakěna ń sēkar. 5 Kūța-mantra: om hrām hrim sah Parama-Śiva-Adityāya namaḥ. L’ After L’ 4 the ms Pūjā apa? inserts the following sloka: Adityasya namaskāram, yo kurvanti dine-dine, janmântara-sahasreşu, daridra[m] tasya na jāyate. [[133]] TEXT, TRANSLATION AND NOTES 109 After H’, only the G ms contains a Catur-daśa-Śiva-mantra, as follows: (fourteen times om om) Šūnya-(Śivāya namaḥ fourteen times), Parama-, Sadā, Sükşma-, Parama-Sükşma, Ati- Sükşma, Süksma-tama-, Sükşma-tara, Kāla-kūta, Adi-Kala-, Anta-kāla, Prasāda-Kala-, Asthiti-Kala-, Mahā-śūnya-(Śivāya namaḥ.) Cf. App. I. U 2-18. I’ Next the THREE ELEMENT formula: 2 om om homage to the Śiva-Element, head; 3 om om homage to the Knowledge-Element, tip of the nose/forehead; 4 om om homage to the Soul-Element, heart; three times top gesture. J’ Upahrdaya mantra; RESPECTFUL OFFERING of WATER: 2 om am kham homage to Khasolka Iśāna; 3 om ghrim homage to Him Who is the Agent of Forbearance. 4 Respectful offering of water. Offer water for the feet, hands, sipping it: 5 om pam homage to the water for the feet, feet-washing, to the feet; 6 om am homage to the two kinds of water used 7 om at the respectful welcoming of a guest, hand-washing, to both hands; jam homage to Him Who has a pure tongue, mouth-rinsing, to the tongue; 8 om cam homage to the acamaniya-water, face-moistening, to the forehead; 9 om ghrim homage to the throat of Śiva, hair-moistening, to the fontenelle. 10 OMNIA as before. GESTURES. J’ In the XY mss J’ is followed by Sirat Toya: om hram hrim vauşat Parama-Śiva-Amṛtāya namaḥ, homage to the Supreme Śiva’s Ambrosia. K’[SUN SONG] Pay homage to the feet of the God Śiva-Sun, 2 with a fragrant flower with flowers, incense, rice grains, over the brazier: 3 Oh, the extraordinary splendour of the Sun! 4 Oh, Thou of red splendour, homage to Thee! Oh, Thou Who stayest in the centre of the lotus! homage be to the Maker of Splendour! 5 Drop the flower and offer the prayer: 6 Pinnacle-formula: om hrām hrim sah homage to the Supreme Śiva-Sun. L’ SATISFYING with WATER. Once more pray; offer Holy Water: 2 om om Come, oh, Thou with a thousand arrows! 3 Mass of splendour, Lord of the World! Oh, Maker of the Day, Who art in the grip of compassion and devotion! honour and homage to Thee. 4 Drop the flower. 5 Pinnacle formula: om hrām hrim sah homage to the Supreme Śiva-Sun. Whosoever, day after day, performs the worship of the Sun, in thousands of rebirths never will taste poverty. [[134]] 110 SŪRYA-SEVANA M’ ITSH: Tumūt tan TOYA-TARPANA. F: Aturi/FVZM: TARPANA 2 3 FVZM: San Hyan Śiva-Āditya, ITSHFVM: sakabvatan; 4 K: Sirat tirtha saken sivambha: XLPY: TARPANA TOYA. 5 om am Suklyai 6 om am Bhaktyai 7 om am Kasnyai namah, (I: rin bhaga ‘pastha); namaḥ, (I: rin tëñěn); namaḥ, (I: rin kiva); 8 om am Jambikāyai namaḥ, (I: rin uri). 9 IKU: CATUR-TARPANA naranya. (cf. Nj) N’ XY: DEVA-[ĀDI]-TARPANA: 2 om am Sarva-devebhyo 3 om am (G ins. Sasta-) Rşibhyo 4 om am (G ins. Sapta-) Pitrbhyo namaḥ svāhā (I: rin dada); namaḥ svāhā (I: rin tënën); namaḥ svāhā (I: rin kiva); 5 om am Sarasvatyai (GXPYM: bhyo) namaḥ svāhā (I: rin vuri). 6 IKU: CATUR-DEVA-[ĀDI] naranya. N’ Apparently the author or a copyist of the G ms inserted his mnemo-technical help into his text. O’ (Lévi 41/144: ŚIVA-AMṚTA-MANTRA :) 2 om om Śiva-Amṛtāya namaḥ, (I: rin tutuk); 3 om om Sadā-Śiva-Amṛtāya namaḥ, (I: rin bhrū-madhya); 4 om om Parama-Śiva-Amṛtāya namaḥ, (I: rin mūrdhi); 5 om kşmum Śiva-Amṛtāya namaḥ, (I: karna těněn); 6 om kşmum Sadā-Śiva-Amṛtāya namaḥ, (I: karna kiva); 7 om kşmum Parama-Śiva-Amṛtāya namaḥ, (I: rin Śiva-dvāra); 8 om om Gaṅga-Amṛtāya namaḥ, (I: nétra těněn); 9 om om Candra-Amṛtāya namaḥ, (I: nétra kiva); 10 om Śiva śuddha mām svāhā (I: rin lalāța); 11 om śuddha mām svāhā (I: hasta těněn); 12 om svasti śuddha mām svāhā (I: hasta kiva). 13 (XY: ‘Mrti-karana:) om hram hrim sah Parama-Śiva-Amṛtāya namaḥ. 14 SANKĚPI kadin uni. PATAÑANAN. P’ Malih němbah Kūța-mantra: 2 om hrăm hrim sah Parama-Śiva-Ādityāya (G adds: Ardha-narêśvarīya) namaḥ. 3 (G adds: svāhā). 4 (IK:) Upahṛdaya-mantra (TSH:) UDAKAÑJALI (not elaborated in any ms.; 5 cf. O, Vb, J’): 6 (IK:) om am kham Khasolkāya namaḥ; 7 (IKTSHGQ:) om ghrim Kşamā-Karaņāya (TSH add: namo) namaḥ svāhā. 8 G: SANKĚPIN. (FVZM: PATAÑANAN). [[135]] TEXT, TRANSLATION AND NOTES 111 M’ Next, SATISFYING by using HOLY WATER. Offer SATISFYING WATER; 2 to the Divine Siva-Sun, to the best of your ability; 3 sprinkle Holy Water from the Holy Water vessel: 4 om am homage to the Bright Goddess, to the private parts; 5 om am homage to the Devotion Goddess, to the right, 6 om am homage to the Dark Goddess, to the left, 7 om am homage to the (?) Goddess, to the back; 8 This is called the SATISFYING of the FOUR [SANDHYĀS]. N’ the SATISFYING of the GODS [to begin with]: 2 om am honour and homage to All the Gods, to the breast; 3 om am honour and homage to the Sages (No. 6), to the right; 4 om am honour and homage to the Ancestors (No. 7), to the left; 5 om am honour and homage to (the) Sarasvati(s), to the back; 6 This is called: The FOUR [to begin with the] GODS. O’ the ŚIVA AMBROSIA formula : 2 om om homage to the Ambrosia of Śiva, to the mouth; 3 om om homage to the Ambrosia of Eternal Śiva, to the spot between the brows; 4 om om homage to the Ambrosia of Supreme Śiva, to the head; 5 om kșmum homage to the Ambrosia of Śiva, to the right ear; 6 om kşmum homage to the Ambrosia of Eternal Śiva, to the left ear; 7 om kşmum homage to the Ambrosia of Supreme Siva, to the fontenelle; 8 om om homage to the Ambrosia of the Ganges, to the right eye; 9 om om homage to the Ambrosia of the Moon, to the left eye; 10 om Śiva, purify me, to the forehead; 11 om purify me, to the right hand; 12 om hail, purify me, to the left hand. 13 making Ambrosia: om hrām hrīm sah homage to the Ambrosia of Supreme Siva. 14 OMNIA as before. GESTURES. P’ Once more pray with the Pinnacle Formula: 2 om hrām hrīm sah homage to the Supreme Siva Sun Ardha-narêśvari. 4 Upahrdaya mantra/Respectful Offering of Water: 6 om am kham homage to Khasolka; 7 om ghrim honour and homage to the Agent of Forbearance. 8 ΟΜΝΙΑ. GESTURES. P’ The TSH mss have their ‘Udakâñjali (actually the second line of the Upahrdaya-mantra, according to the IK mss) after Kūța-mantra, the IK mss before it and even before the preceding Sankěpin (Ο’ 13-14). [[136]] 112 SŪRYA-SEVANA Q’na-STAVA BHATĀRA SŪRYA. 2 Sambut tan sěkar, saha gandhākṣata mvan ghanță: 3 Om stambha-Meru-parivarta-samasta-loka, Bimbādhi-deva nicitāya vajīkarāya, Jambor ativa-gagaņāya, samasta-netra, ambāra-bindu-śaraṇāya namo namas te. 4 5 6 7 Divyānsu mūrti Parameśvara-bhāskarāņām, 8 Jyotih, samudra-parirakșita-nāthanāya, 9 10 (1) bhū-sapta-loka-bhuvana-traya-sarva-netra, Aditya, deva-śaraṇāya namo namas te. (2) 11 Kālāya, kāstha, Ravi, Bhāskara, Bāladeva, bhaktiya-mūrti-parivarta-su-nişkutāya, ratnāya, ratna-mani-bhūșita-samyutāya, 12 13 14 15 SAŃKËPI kadin uni trailokya-nātha-śaraṇāya namo namas te. (3) PATAÑANAN. Q’ Between P’ and Q’, the K ms inserts [Bhairava-mantral Sań Hyan [Sańk] Sipta-Pūjā, cf. G". 2 The rubric is somewhat divergent and short in the fourteen mss. FVZ mention: unyakěn stava Bhatāra, ‘pronounce the Song in praise of the Lord’, and this might point in the direction of intended audibility. 3 Whether these three stanzas in the vasanta-tilakā metre have been composed ad hoc or form part of a longer stava/stuti/stotra is a problem still to be solved. 4 Six out of thirteen mss have nici p ta instead of nicita; all mss have initial b in vaji. 7 All mss have divyampa instead of divyānsu. K: Yan makarya PANLUKATAN, iriki makarya paňlukatan. R’ (JAPA GANITRI; SAŃKĚPI) 2 Muvah na-KŞAMĀ JAGAT-NATHA: 3 om Kşamasva mām Jagat-nātha! sarva-pāpa-nirantaram; 4 sarva-kārya-siddham dehi, praņamāmi Sureśvaram. (1) 5 6 Tvam Sūryah Tvam śivakaraḥ, Tvam hi sarvāgatākāraḥ, 7 Kşamasva mām Mahāśakte, 8 Nāśayet satatam pāpam, Tvam Rudro bahni-laksanah; mama kārya(m) prajāyate. hy astaiśvarya-gunâtmakaḥ; sarvam āloka-darpaņam. (2) (3) R’ Though this rubric is found in TSH, it is not followed by the wording, contrary to standing practice and logic. Japa ganitri only follows in V’, and here, after the rubric has been given in SHI, S & I give the wording. As, moreover, my informant told me that this formula would not be in its place here, the rubric is placed between brackets. 8 The two prayers for forgiveness in R’ and S’ are both accessible in two dozen mss. The Sanskrit of the last pada is open to doubt, the translation a guess. [[137]] TEXT, TRANSLATION AND NOTES 113 Q’ SING PRAISE in honour of the GOD of the SUN. 2 Take a flower, incense, unblemished rice grains and the bell: 3 Om homage to Thee going round the whole world with Meru as Thy support, 4 the God Who dwells in an orb, Who art full [of riches], a bringer of wealth, 5 the eye of all residing in the sky beyond Jambu-dvipa, 6 the abode of the drop in the sky - homage and honour to Thee. (1) 7 Om homage to Thee, oh, light from Parameśvara’s sources of light, having 8 the shape of the Sun, 9 Who hast an eye upon all: earth, the seven worlds, the three-world, 10 in order to govern that which is guarded by the encircling ocean, 11 Om homage to Thee Who art the protector and king of the threefold world, 12 Who art a pearl adorned and beautified with jewels and miraculous pearls, 13 Who hast Thy pleasure ground in the circumambulation [of the Meru] 14 in the shape of a worshipper, 15 OMNIA as before. GESTURES. 14/15 The K ms inserts Sūrya-stava: om Rakta-varna mahā-teja, etc. (Lévi No. 35, p. 65); the KY mss insert Sürya-stava: om Sürya saloka-nāthasya, etc. (cf. K 1843 p. 18); the XG mss insert Kūļa-mantra. 15 Lévi is the only source for Sańkěpi astra-mantra; kadin uni in the FV mss.; gandha-vija- puşpa-dīpa in the Z ms, toya-gandha-‘kşata-puspa-dhupa in the Q ms. When the priest’s ritual is meant as an act of exorcism, this should be done now. R’ (Formula for the ROSARY, concluding with OMNIA) 2 Next, the asking of FORGIVENESS to the PROTECTOR of the WORLD: 3 Oh! Protector of the World, bestow forbearance upon me, 4 constantly involved in all kinds of evil! Give power to all [my] deeds, 5 I worship the Lord of the Gods. Thou art the Sun, Thou art of benevolent appearance, 6 Thou art Rudra, characterised by fire; Because Thy form pervadeth everything, 7 may my ritual be a succesful one. Bestow forbearance upon me, Thou of great power, 8 for Thou art the incorporation of the eight powers; [this octad] may annihilate the continual evil, being wholly a mirror of light. After 8 Six mss mention saikěpi, four patañanan, too many of them to ignore, too few to be perfectly sure of the matter. [[138]] S’ ta MINTA ‘NUGRAHA rih Bhattāra: 2 om Anugraha manohara, deva-dattânugrāhaka; 3 hy arcanam sarva-pūjānām, namaḥ sarvânugrāhaka. (1) 4 Deva-Devi-mahā-siddhi, yajñi katam mulat midam (?); 5 Lakṣmī siddhiś ca dīrghayuḥ, nirvighna-sukha-vṛddhitaḥ, (2) 6 om Ghrim anugrah’ ARCANAYA namo namaḥ svāhā; 7 om Ghrim anugraha-MANOHARAYA namo namaḥ svāhā; 8 om Ghrim (anugraha) PARAMANTYESTYAI namo namaḥ svāhā. 9 om Antyestih paramam pindam, Antyestih deva-miśritā; 10 sarvestih eka-sthāne vā, sarva-deva-sukha-pradā, ya namo namaḥ svāhā. 11 SANKĚPI PATAÑANAN. S’ 2-5 look like Archipelago Sanskrit and not of the best quality. 2 Most mss end all four pādas in -am (always a beloved ending), but the translation is based upon the few mss reading Manohara. 8 Anugraha only in 3 out of 19 loci. T’ TSHK: Muvah NĚMBAH (G) nambut sěkar, bhakti ri San Hyan Sürya rin avan. 2 Ari om Süryaś-ca(,) mamanaś-ca, mana-pates-ca, mana-krtebhyo, 3 pāpebhyo, pāpa-rasântam, pāpa-karasya; sasne murdaleyah, kiñci(t) dhuritam, 4 mahijami satyam, Sürya-jyotih(,) paramatma-rūpam joham bhūmi svāhā. 5 (K: kevala patañanan) 6 (P: Vişnu-Vişnu) 7 Muvah němbah, Kūta-mantra: Om hrām hrim sah Parama-Śiva-Adityāya namaḥ. 8 SANKĚPI. U’a Samalih, TURUNAKĚNA San Hyań Śiva-Aditya, vavên hṛdaya-pundarika, 2 sthānanirên uni, dé nin SAPTA-ON-KĀRA-ATMA-mantra: 3 om Om Parama-Śiva-śūnya-ātmane namaḥ (U": tuntun rambut); 4 om Om Sadā-Śiva-nişkala-ātmane namaḥ (U": Śiva-dvāra); 5 om Om Sadā-Rudra-ati-ātmane namaḥ (U": bhrū-madhya); 6 om Om Mahādeva-nir-atmane namah (U": tālu); 7 om Mam Iśvara-parama-ātmane namah (U": pusuh-pusuh); 8 om Um Visnu-antar-ātmane namah (U": hrdaya); 9 om Am Brahma-ātmane namaḥ (U": nabhi). 10 [U": Anuli kadut] (plates 12-15, 18, 23). 11 Muvah mantra: Om hrām hrim sah vausat, Parama-Śiva-Aditya-Hrdayāya, 12 Tri-ņayanāya, Catur-bhujāya, Brahma-rūpāya, Akāśa-sthānāya namaḥ svāhā. 13 Om hrām hrim sah Aditya-Hrdayāya namaḥ. [[139]] TEXT, TRANSLATION AND NOTES S’ One should ask the God for a BOON: 115 2 Om Thou Who art delighting by Thy favours, bestowing boons given by the Gods; 3 adoration of all worships, homage to Thee Who bestowest all boons. 4 Great success for Gods and Goddesses 5 Fortune, success and long life resulting from unimpeded and prosperous growth. 6 om ghrim homage and honour be given to the Worship of Boons; 7 om ghrim homage and honour be given to Him Who is delighting by His Boons; 8 om ghrim homage and honour be given to The most excellent Funeral Ceremony. 9 Antyestih is the most excellent offering of rice balls; Antyestih is respected by the Gods; 10 It is all offerings taken together, bestowing happiness to all Gods. 11 OMNIA Homage and honour. GESTURES. T’ PRAY once more, flower held in hands, in adoration of the Sun God in the Sky: 2-4 5 (Gestures only) 6 ([The formula] Vişnu-Visnu (cf. infra, ‘Y"b) 7 Pray once more, Pinnacle-formula: om hrām hrim sah h. to the Supreme Siva-Sun. 8 OMNIA. T’ 2-4 The mss are fairly consistent in their punctuation; (,) and (t) here means: found only in one ms. 5 The meaning might be: no OMNIA. 6 When a Balinese scribe makes a mistake, only too often he does not make his syllable or word inreadable; it might be that the ‘Vişnu-Vişnu’ does not belong here, cf. ‘Y"b. U’a After that, CONDUCT the Divine ŚIVA SUN DOWNWARDS to your heart lotus, 2 its previous place, using the SEVEN OM SYLLABLE cum SOUL formula: 3 om Om homage to Parama-Śiva, the void Soul, tips of the hair; 4 om Om homage to Sadā-Śiva, the undivided Soul, fontenelle; 5 om Om homage to Sadā-Rudra, the transcendent Soul, between the eyebrows; 6 om Om homage to Mahā-Deva, the One without a Soul, palate; 7 om Mam homage to Iśvara, the supreme Soul, liver; 8 om Um homage to Visņu, the eternal Soul, heart; 9 om Am homage to Brahma, the Soul, navel. 10 Put the flower (not mentioned, tacitly presupposed) in the breast sash. 11 One more formula: Om hrām hrim sah vauşat, homage and honour to the 12 Heart containing the Supreme Śiva-Sun, Who has three eyes, four arms, the shape of Brahma and Who has His abode in the Sky. 13 Om hrām hrīm sah homage to the Sun and the Heart. [[140]] 116 SŪRYA-SEVANA U’b SIRATI TIRTHA [Śiva-amṛta-mantra:] 2 Om hrām hrim sah Parama-Śiva-Amṛtāya namaḥ. 3 SAŃKĚPI PATAÑANAN. U’ In V ms tuntun instead of turunakěna. Hrdaya-pundarika and Patañanan only in V ms. V’ JAPA GANITRI: om hrām ma [ma] japam grhnīsva(hā); sat-prayojanam dehi; 2 (plates 22-23) om hrām ma [ma] dhyānam grhnişva(hā); sat-prayojanam dehi; om hrām ma [ma] yogam grhnisva (hā); sat-prayojanam dehi. 3 4 SANKĚPI. 5 I tělas ta naturakën solih ta japa rin Bhațāra, salahakěna taň gaņitri: 6 Om ai bhrum hasta-siddhi karotu. V’ Lines 5-6 occur only in the I ms, but in V" infra they are the natural end of this formula. All the mss have sõlih, i.e. sa-ulih, ‘all that has been obtained’ (by japa-dhyāna-yoga presumably), whereas sõlah, i.e. sa-ulah, ‘playing with, performance of might have been expected in view of mudrās. 6 Another difficulty is hasta-siddhi, the I ms here gives the paraphrase ka-siddhy-an in hasta karo, ’the performance (or: supernatural power) of both hands’. Still this happens to be the ms where Japa ganitri is immediately preceded by an enumeration of asta-devi, the eight goddesses, the first of them being Jaya-siddhi, so that calling them ‘asta-siddhi’ is not too far fetched (cf. Pañca-Korsika, ’the five of whom Korsika is the first to be named’ and Catur-aiśvarya, ’the tetrad of which aiśvarya is the last to be mentioned’). The I ms ends this passage by saying: W’a TSH: Muvah a-STAVA rin HRDAYA/I: RADITYA-HRDAYA-STAVA 2 Z: MANTRADHYATMA-STAVA, 3 SH: saha ghanță: Om Angastāya nide-nide madhure-madhure, baja-baja ai tu- 4 rangini, hari nitva yań kṛtva (R ins. jñāna mamantya), kaka-kaka samagame 5 ala-ala idam smare, guru-guru, curu-curu, daha-daha, paca-paca, nati-nati, 6 cirini namo ‘stu svodha. 7 SAŃKĚPI A: PATAÑANAN. W’b (of my set of mss, T is the only one to present the formula that follows. However, the mss dealing with pūjā ksatriya A, U and Puri Anjar Tabanan do contain it, and so do D and F. These mss insert frequent commas in the long lines, sometimes splitting them up in seven syllable pieces; actually this formula has been cast in the unusual shape of the sragdharā metre. The texts are exceptionally well preserved-all reasons for incorporating this small poem in the text). W’b OM-kārātmāna-mantram hrdaya-sunilayam siddha-yogiśvarānām, 2 hrām hrim sah mantra-mūrtim dhrta-jalaja-karam rakta-varņa-pradīptam, 3 bhāvesu vyāpinam hrt-sarasija-bhavanam sarva-tattvāvakāśam, 4 Śri-nātham parvatesam sakala-guņa-nidhim sarva-dam tam namāmi (cf. 14). (1) 5 Bhavyam tam svarga-nāśa-sthiti-karam acalam sarva-lokaika-nātham, 6 śuddha-jyotis-svarūpam suvimala-manasā yogibhiś cintyamānam, [[141]] TEXT, TRANSLATION AND NOTES U’b Sprinkle Holy Water: 2 Om hrām hrim sah homage to the Holy Water of Supreme Siva. 3 OMNIA GESTURES. V’ ROSARY Formula: Om hrām, take my offering of hymns and prayers, grant an intention which is good; Om hrām, take my offering of concentration, grant an intention which is good; Om hrām, take my offering of zeal and meditation, grant an intention which is good. 4 OMNIA 5 After that, the worshipper has to offer all that he has acquired by his hymns to the God; he should then lay down the rosary: 6 Om ai bhrum He should work power of the hands. Nirdon san pandita, amutër gaņitri, yan tan analahakěn aşța-devī, ikan añadoni ala mvan ayu, prihěn ilañan in ala, ‘frustrated is the worshipper in his turning [the beads of] his rosary if he has not conquered the eight goddesses who aim at good and evil; he should try to annihilate the evil’. In the text and translation the Balinese point of view is given; notes are there for criticisms. W’a Next, HYMN to the HEART|VENERABLE SUN HEART HYMN|HYMN to the SUPREME SOUL, 3 using the bell: 3-6 7 OMNIA GESTURES. W’b I pay homage to that Formula of Which the being is the syllable OM, of Which the excellent abode is in the heart of perfect lords of yoga, 2 of Which the mantra HRAM HRIM SAH is the shape, Which in Its hand bears the lotus, Which is radiant by Its red colour, 3 Which penetrates into the existencies, Which has Its abode in the lotus of the heart, Which (still) has room for all tattvas (elements of reality, 4 the Protector of Śrī, the Lord of the Mountain, the Treasure house of all gunas (qualities), Who bestoweth everything, 5 Him, the Excellent One, Who causeth Heaven’s existence and annihilation, the Immovable, the One Lord of the whole world, 6 Whose own shape is a pure lustre, meditated upon by the yogis with their completely pure minds, [[142]] mantrāņām siddhi-nātham sukha-guna-jananam svarga-nirbāna-hetum, yoge yogīśvarāņām stimita-manasi va niścalam dṛśyamānam. kşań kşin kşen kşuń jayādibhir anugata-tanum tumburu-tryakṣarāńgam, ākāśam tvan di na dyah-kramaņa-suracitam sarva-varņa-svarūpam, sthūlam sūkṣmam param Kham Siva-maya-manasam nada-vindv-indu-mūrtam, śūnyam śūnyānta-mantam visaya-virahite śuddha-citte prayuktam. Hrt-mūlam sac-ca sūkṣmam satatam anucitam yoga-yogānta-nātham, Sri-nātham parvateśam sakala-guņa-nidhim sarva-dam tam namāmi (cf. 4), T: Japa ganitri/R: om om Jñāna-līlāya namaḥ svāhā TRA: SANKĚPI, RA: PATAÑANAN. W’b 3 sarva-jñāna-prakāśam once. 4 śri bhavam; sarva-śatru-vināśanam both once. 6 all mss cintamānam. 8 all mss yoga, stamita and drkşamānam. 9 tvan four times, vvan once; dra once, di five times; ni once, na five times, ra once; dyah six times. 10 Final syllables māraṇa-vināśanam once. 12 citte emended from dihte twice, tite twice, dite once, site once. X’a Tělas mańkana, PRALĪNAKĚNA San Hyań Śiva-Aditya rin hṛdaya: 2 Om A-Ta-Sa-Ba-I, om va-Si-ma-na-ya, om Am-Um-Mam namaḥ. 3 SH: Vus, naňhāra T: pěntil ghantā, pin tiga. X’b S: SIRAT SARĪRA-nta, saha nicip toya, mvan arahup pin tiga. TH: Tělas. V: mantra nicip toya: om Kürmedha-jaye - tutugakěna. Xb 2 om om Kürmedha-jaya! jīvat-śarīra-rakşan dadāsi me, om mjum sah vauşat Mrtyuñjayāya namaḥ (cf. Ya 5-6). Oh! Thou Who art victorious in the Lotus (??) T"a Kunan yan a-MAÑCA-GIRI, ri vus ni na-KŞAMĀ JAGAT-NATHA, 2 SIRAT (X: toya) rin avan-avan (X: pisanakěna těkềń śarīra-nta) 3 Astra-mantra-sādhana: 4 Om hum rah phat Astrāya namaḥ, 5 Om Atma Tattvâtma śuddha mām svāhā, 6 Om om Kşamā-Sampūrṇāya namaḥ svāhā, 7 Om Śrī Paśupataye hum phat. 8 Sriyambhavan: Om śreyo bhavatu, om pūrņam bhavatu, om sukham bhavatu. 9 SANKĚPI Z: PATAÑANAN. [[143]] TEXT, TRANSLATION AND NOTES 7 the Protector of the result of the formulas, the Creator of happiness and virtue, the cause of heaven and nirvāņa, 119 8 Who is seen as immovable in yoga, in the fixed minds of the lords of yoga, 9 Whose body is followed by [the syllables] kşam kim kşem ksum and [the excla- mation] Victory and so forth, Whose body consists of the three syllables tum-bu-ru, 10 Who hath all shapes and colours, Whose course of Sky has been well-constructed, 11 Who art material as well as spiritual, Who art the highest Sky, Who art the spirit of those equal to Śiva, Who art incorporated in nāda, bindu and ardha-candra, 12 Who art a void, Who art the utmost void, practised in a pure mind, liberated from the objects of the senses, 13 Whose root is the heart, being the Subtle Reality, the Eternal, the Exceptional, the Protector of yoga and the utmost of yoga, 14 the Protector of Sri, the Lord of the Mountain, the Treasure-house of all gunas (qualities), Who bestoweth everything. 15 Formula of the rosary; homage to the face expression of the knowledge (cf. Bl); 16 ΟΜΝΙΑ; GESTURES. X’a This completed, DISSOLVE the Holy Śiva Sun in the heart: 2 Om homage to A-Ta-Sa-Ba-I, om va-Si-ma-na-ya, om Am-Um-Mam. 3 This done, silence the bell three times by holding the tongue. X’b SPRINKLE your BODY, sip Holy Water and make a wiping movement over your 2 sipping formula: Om Kürmedha-jaye - to the end. [face with It, 3x. Finish. Thou givest me protection for my living body. om mjum sah vauşat homage to Him Who is Victory over Death. T"a But [when you follow the ritual] using the FIVE MOUNTAIN [formula], after reciting [the hymn beginning with the words] ‘Oh, Lord of the World, bestow forbearance upon me! (my R’)’, 2 SPRINKLE water in the air [as well as] on your own person, 3 using the Brand-formula: 4 Om hum rah phat homage to the Brand, 5 Oh, Thou Whose ātmā is the ātmā tattva, purify me! 6 om om homage to Him Who is perfect in forbearance, 7 om hum phat homage to Śri Paśupati. 8 Śri ambhavan: Omne quod felix, faustum fortunatumque sit. 9 ΟΜΝΙΑ GESTURES [[144]] 120 SŪRYA-SEVANA T"b Sambut tan AM-KĀRA-TARPANA; ñambut pa-dipa-n mvan ghanta : 2 AM-kārādy-anta-samruddham, AM-kāreņa vidarbhitam; 3 tarpaņam sarva-pūjānām, prasiddhānām tu siddhîdam, namaḥ svāhā. 4 Om Am Hum Am gmum Am Hum Am Om 5 SAŃKĚPI T"c Ta nucurakěna n toyền/K: Niratakěn tirtha saken sivamba pin tiga: 2 [Śiva-amrta-mantra:] Om hrăm hrim sah Parama-Śiva-Amṛtāya namaḥ. T"d Muvah NAM-KĀRA; 2 K: Sambut tan pa-dipa-n mvan ghanta X: Vişnu-sandhyā, maka-sādhana dhūpan: 3 NAM-kārādy-anta-samruddham, NAM-kāreņa vidarbhitam; 4 amali-karana-mantram, sarva-mantresu siddhîdam; namaḥ svāhā. 5 Om Nam Hum Nam gmum Nam Hum Nam Om. 6 XG: SANKĚPI X: PATAÑΑΝΑΝ. T"e TSHK: ta KARA-ŚUDDHI (S: RAHASYA/K: kadin uni) (rest S only): 2 om Sam namah 3 om Am namah 4 Om-kārāya namaḥ tarjini; madhyamikā; anāmikā; 5 om hum rah phat Astrāya namaḥ, kanisthā; 6 Muvah rin kiva: 7 om A namaḥ, tarjinī; 8 om Sa namaḥ, madhyā; 9 om Ka namaḥ, anāmikā; 10 om Va namah, kanisthā. 11 PATAÑANAN. T"f Sambut tan kalpika, TSH: pūrva/K: ri sor in argha/K 71: sivamba; 2 PAÑCA-GIRI: om um Udayāya om kaim Kailāśāya 3 4 om gam Gandha-madanāya 5 om mam Mālyavate 6 om mam Maha-Meruve namaḥ, Pūrvā; namaḥ, Daksinā; namah, Paścimā: namah, Uttarā; namaḥ, Madhyā. [[145]] TEXT, TRANSLATION AND NOTES 121 T"b Proceed with the formula for SATISFYING beginning with the SYLLABLE AM; take the lamp [in your right hand] and the bell [in the left;] 2 The syllable AM, the beginning and the end grown together, by the syllable AM the [knot in the] darbha grass has been ‘set free’; 3 it is a means of satisfying (the gods as well as) complete worship, this is accomplishment as well as praiseworthiness; this is the attainment of the accomplished ones. 4 Om Am Hum Am gmum Am Hum Am Om. 5 OMNIA homage and honour. T"c Sprinkle Holy Water from the Holy Water vessel, three times: 2 [Śiva-Ambrosia-formula] Om hrām hrim sah homage to Supreme Śiva Ambrosia. T"d Next the formula beginning with the SYLLABLE NAM; 2 take the lamp and the bell Vişnu-sandhyā (G’b) using frankincense: 3 The syllable NAM, the beginning and the end grown together, by the syllable NAM the [knot in the] darbha-grass has been ‘set free’; 4 it is the formula which is an immaculate instrument; this one syllable takes effect in all formulas; homage and honour. 5 Om Nam Hum Nam gmum Nam Hum Nam Om. 6 ΟΜΝΙΑ GESTURES T’e SECRET (symbolical) HAND CLEANING, as before (cf. D) 2 om homage to Sadyojāta, fore finger; 3 om homage to Aghora, middle finger; 4 om homage to the Syllable OM, ring finger; 5 om hum rah phat homage to the Brand, little finger; 6 And to the left: 7 om homage to Aghora, fore finger; 8 om homage to Sadyojāta, middle finger; 9 om homage to the Syllable OM, ring finger; 10 om homage to the Vajra (thunderbolt), little finger. 11 GESTURES. T’f The kalpika take it, East, under the Holy Water vessel; FIVE-MOUNTAIN-formula: 2 om um homage to the Sunrise Mountain, East; 3 om kaim homage to the Kailāsa Mountains, South; 4 om gam homage to the mountains which madden by their fragrance, West; 5 om mam homage to the mountain rich in flower wreaths, North; 6 om mam homage to the Great Méru Mountain, Centre. [[146]] 122 SŪRYA-SEVANA 7 K: Sambut tan puspa ghaņțā; H: ta nastava; TG: SAMHĀRA-mantra/XI: -pūjā : 8 om Am am GIRIPATI[M] vande, Loka-nāthan Jagat-pati[m], 9 dhanesan traņa-kāraņam, sarva-guņam mahodyatam. 10 om Mahā-Rudram mahā-śuddham, sarva-roga-vināśanam; 11 Śivam paramam samyuktam, Mahā-Bhairavi-kāraņam. 12 (K 1168/43b, K 1843/40a and ‘Pūjā apa?’ in priv. coll: Iti SAMHĀRA-mantra) 13 om Pūrvā Brahma-Mahā-devī, Agneyasya Maheśvari; 14 Dakşiņā Kauveri-devī, Nairrti Vaisnavi-devī. 15 Paścimā Vārāhī-devī, Bāyabyā(m) Raudri-tri-devī, 16 Uttarā Camundi-devī, Aiśānyām Gayatri-devī. 17 Madhyā Sāvitrī Gayatri, Uma-tattvā Mahā-devī, 18 om am um am um am um om, Śrī-devi-SAMHARA svāhā. 19 om ghrim Deva-samhārāya namaḥ svāhā. 20 SANKĚPI PATAÑANAN. T"g Muvah kumpulakěna tań kalpika ri sor in argha, pinara-tiga, 2 TRI-PURUŞA (X: -TATTVA) mantra: 3 X: om AM namaḥ, Dakşiņā; om UM namaḥ, Uttarā; om MAM namaḥ, Pūrvā. 4 SANKĚPI ghantā. Tf 9 all mss dane-sastrana. Jñāna according to K 71/23a; the other mss -jatam. T* 19-20 Only K 991, Paśupati-mantra, goes on with two ślokas, two stanzas of 4 times 12 syllable stanzas and a mantra in bījaksara; according to the kolophon, the whole set is called Mantranira Bhattara Tuhan. The first śloka runs as follows: Maha-giri-pati-devam, lokāśrayam catur-bhujam; mahā-padman namasya mam, utpatti-sthiti-LĪNAKAM. U"a Sambut tań TUNJUŇ PANUNTUN, parěňakěn in tuñjun dasar in argha, 2 SIRAT toya, Astra-mantra-sādhana, saha gandhakşata (X: dhūpa-dipani); 3 TURUNakěna Sań Hyań ŚIVA-ĀDITYA (Y: -ĀTMĀ), vavên hṛdaya (P: -pundarika) 4 sthāna-nira nuni, dé nin SAPTA-OM-KĀRA-ĀTMĀ-mantra: 5 om om Parama-Śiva-śūnya-ātmane namaḥ, tuntun rambut; 6 om om Sadā-Śiva-niskala-ātmane namaḥ, Śiva-dvāra; 7 om om Sada-Rudra-aty-atmane namaḥ, bhrū-madhya; 8 om om Mahā-deva-nir-ātmane namaḥ, tālu; 9 om mam Iśvara-parama-ātmane namaḥ, pusuh-pusuh; 10 om um Vişnu-antar-atmane namaḥ, hrdaya; 11 om am Brahmā-ātmane namah, nabhi. 12 K: Anuli kadut: om hrām hrim sah vauşat Parama-Siva-Aditya-Hrdayāya, 13 [Tri-nayanāya] Catur-bhujāya, Brahma-rūpāya, ākāśa-sthānāya namaḥ svāhā. 14 Om hrām hrim sah Aditya-Hrdayāya namaḥ. [[147]] TEXT, TRANSLATION AND NOTES 123 7 Take the flower and the bell (plate 28 bottom)/sing hymn/CONTRACTION formula/worship: 8 Am am I praise the Lord of the Mountains, Lord of the Universe, Lord of the World, 9 Lord of wealth, Who is the cause of protection, Who is all gunas and makes a great effort. 10 the Great Rudra, the Great Pure One, annihilating all kinds of illnesses; 11 Śiva, the Supreme, united [with Uma], the cause of the Great Frightful Goddess. 12 [Such is the CONTRACTION-formula] 13 In the East is Brahmā-Mahādevi, in the South-East Maheśvarī; 14 in the South is Kauveri-devī, 15 In the West is Vārāhi-devi, 16 in the North is Camundi-devī, in the South-West Vaisnavi-devi; in the North-West Raudri-tridevi; in the North-East Gayatri-devi; 18 om am hum am hum am hum om, contraction of Sri-devi, hail; 17 In the centre the Gayatri Sāvitrī, and Mahā-devi, the true nature of Uma. 19 om ghrim homage and honour to the Divine CONTRACTION. 20 ΟΜΝΙΑ GESTURES T"g Next pick up the kalpika which is under the Holy Water Vessel; divide it into 3 parts: 2 TRI-PURUŞA formula: 3 homage to Brahma, South; homage to Visnu, North; homage to Iśvara, East. 4 ΟΜΝΙΑ with bell. The composer may have meant: I worship the God Who is the Great Lord of the Mountain, Who is a refuge for people and has four arms, Who resides in the great lotus, in His apparition, continuation and dissolution. Throughout T" it looks as if it is Archipelago Sanskrit. U" Take the CONDUCTOR-LOTUS, together with the lotus under the Holy Water vessel, 2 SPRINKLE with Holy Water, use the Brand formula, with incense and rice grains, X: hold them above the brazier with the frankincense and the lamp; 3 CONDUCT the Divine ŚIVA-SUN (-SOUL) DOWNWARDS, to your heart lotus, 4 where it stayed previously, using the SEVEN OM SYLLABLE cum ĀTMĀ formula: void soul, tips of the hair; 5 om om homage to Parama-Śiva, the 6 om om homage to Sada-Śiva, the undivided soul, fontenelle; 7 om om homage to Sadā-Rudra, the transcendent soul, between the eyebrows; 8 om om homage to Mahā-Deva, the One without a soul, palate; 9 om mam homage to Iśvara, the supreme soul, liver; 10 om um homage to Visņu, the eternal soul, heart; 11 om am homage to Brahma, the soul, navel. 12 Put the flower in the sash across the breast: om hram hrim sah vauşat homage 13 to the Heart containing the Supreme Siva-Sun, Who has three eyes, four arms, the shape of Brahma and Who has His abode in the Sky. 14 om hrām hrim sah homage to the Sun and the Heart. [[148]] 124 SŪRYA-SEVANA U"b SIRATI tirtha [Śiva-amṛta-mantra] om hrām hrim sah Parama-Śiva-Amṛtāya n. 2 Muvah mantra: om am ah Śiva-ātmā-sthiti-hrdayāya namaḥ. 3 SAŃKËPI ri (TK) śarīra-nta/ (SH) hrdaya. U"a Parěňakěn in in SH; K: mvan; T: pasanakěn in. 2 In no ms in full text. V" JAPA GANITRI: 2 om hrām ma[ma] japam grhnīṣva(hā), sat-prayojanam dehi; japa naranya; 3 om hrăm ma[ma] dhyānam grhnīsva(hā), sat-prayojanam dehi; dhyānam naranya; 4 om hrām ma[ma] yogam grhnīśva(hā), sat-prayojanam dehi; yoga naranya; 5 Tēlas ta kita naturaken solih tâjapa ri Bhatāra, salahakën tan ganitri: 6 om ai bhrum hasta-siddhim karotu. W" Kumpulakëna ň kalpika sor in sivambha, 2 IDĚP Bhattāra EKAtvakën rin padma-mudra: 3 om Eka-puspañ-ca nirmal(y)am, padma-samyoga-samsthitam; 4 Eka-puspam Śiva tvañ-ca, paścāt śarīra-samsthitam; namo namaḥ svāhā. 5 TSH: Pūjāněn Sira rin jro GUHYA / K: Astava rin padma: 6 om Guhyâtiguhya-goptā tvam, grhyam pāpam krtam mama; 7 siddhir bhavatu tasyeha, tad-vikāram kśamasva me. 8 Mvah mantra: om Iśānāya namaḥ, Īsāna naranya. 9 om A. ni-Rodrāya namaḥ, A. ni-Rodra naranya. 10 Mvah mantra: om Śri Dampati PRALĪYANTI, mama hṛdaye svāhā; 11 om am Ardhanareśvariyāya svāhā. 12 K: SAŃKËPI mvan PATAÑANAN X" & Y". Ν.Β. The THS mss, during the ritual characterised by their dealing with LINGA-PŪJĀ and BHUSAHA, diverge from the K ms in ‘X", from K & Gin ‘Y" as far as the first OMNIA and GESTURES, and from KGP to the end of ‘Y". The Final PRALINA in Z is again common to all mss, though it is sketchy in some of them. X" Om Ya-Va-Si-Ma-Na, om I-Ba-Sa-Ta-A, om Ma-U-A - UTPATTI; 2 om Si-Va-Ma-Na-Ya, om Sa-Ba-Ta-A-I, om U-Ma-A - STHITI, 3 om Na-Ma-Si-Va-Ya, om A-Ta-Sa-Ba-I, om A-U-Ma - PRALINA. [[149]] TEXT, TRANSLATION AND NOTES 125 U"b SPRINKLE Holy Water: om hrām hrim sah h. to the Holy Water of Supreme Śiva. 2 Again a formula: om Life Death homage to the Heart, the Abode of the Siva Soul. 3 SPRINKLING towards your own person towards the heart. U"b 3 The K & X mss here have the Eka-puspa-śloka, which the TSH/X/G mss have in W". V" ROSARY FORMULA: 2 om hram accept my offering of hymns and prayers, grant an intention which is good; i.e. hymns and prayers; 3 om hrām accept my offering of concentration, grant an intention which is good; i.e. concentration; 4 om hram accept my offering of zeal & meditation, grant an intention which is good; i.e. zeal & meditation. 5 After that, the worshipper has to offer all that he has acquired by his hymns and prayers to the God, he should then lay down the rosary: 6 om ai bhrum He should work power of the hands. W" Collect (the parts of) the kalpika which is under the Holy Water vessel; 2 CONCENTRATE on the God’s ONEness, in the lotus gesture: 3 [Thou art] one flower of stainless purity, in a position of union with the lotus; 4 and Thou, Siva, art one flower, [the ritual] having position in my body; homage and honour. 5 He must be worshipped in His HIDING place/sing a hymn to the lotus: 6 Thou art a hidden, a quite hidden, protector; my evil deeds should be removed; 7 perfection should be reached for the man here(?); forgive one his passion(?) for that. 8 Again a formula: om homage to Iśāna, that is Īsāna; 9 om homage to Ani-Rudra, that is Ani-Rudra. 10 Again a formula: om Husband-and-Wife are DISSOLVED, in my heart; homage; 11 om am homage to Ardhanareśvari. 12 ΟΜΝΙΑ and GESTURES. X" COMING FORTH: Om Ya-Va-Si-Ma-Na, om I-Ba-Sa-Ta-A, om Ma-U-A; 2 DURATION: 3 DISSOLUTION: Om Si-Va-Ma-Na-Ya, om Sa-Ba-Ta-A-I, om U-Ma-A; Om Na-Ma-Si-Va-Ya, om A-Ta-Sa-Ba-I. om A-U-Ma, [[150]] 4 Muvah mantra (Y: vavên hṛdaya): 5 om EKÂKŞARAM mahā-mantram, Hrdi-stham paramam śubham; 6 sarvâtmā sarva-devānām, Ekatvam Parama-Śivah; namo namaḥ svāhā. 7 S: SAŃKĚPI X" 6 second half in X ms: mahā-pātaka-nāšanam, svāhā. 7 T ms only the rubric: Japa ganitri. Y" Muvah mantra, ayo umuń, DHARMA-JĀTI-MANTRA, iti: 2 Om am Pradhāna-Purusa-samyogāya, 3 Vindu-devāya, Bhoktr-Jagat-nāthāya, 4 Deva-Devi-adi-samyogāya, 5 Parama-Śivāya namaḥ svāhā. 6 SAŃKĚPI ‘X" Sambut tan puspa ghanta : 2 Om SAD-AKSARAM mahā-japyam, guhyam parama-sādhakam; 3 Sadā-Sivângam ity uktam, mahā-pātaka-nāśanam. 4 Om Śiva-sūtram yajñopavit(r)am, paramam pavitram, Prajāpati-jyog-āyusyam, 5 balam astu tejo, param guhyanam, tri-gaņam tri-ganatmakam. (cf. p. 180) 6 Ari om koți-Sūrya-prakāśam, Candra-koti-hrdayam iti, VEDA-MANTRA-GAYATRI, 7 matra-matra SAD-AKSARE, sarva-deva-pitā Svayambhū, bhārgo devasya dhīmahi. 8 SAŃKĚPI mvan PATAÑANAN ‘X’ Other mss, dealing with death ritual, present another pair of slokas in their section on pralina. ‘Y"a Om ANGASTAYA dine-dine (G: nide-nide), madhure-madhure, baja-baja, 2 he turangini, carini tva yam krtvā, kaka-kaka samagame, ala-ala idam 3 smare, guru-guru, curu-curu, daha-daha, pañca-pañca, nata-nata, cirini 4 namo ‘stu svodha. P: vastuněn dentâmūjā. 5 SANKĚPI mvan PATAÑANAN ‘Y"b Om VISNU-VISNU rahade tryade, Śrī-Vişņu-Prājāpate kșetre, 2 varāha-kalpe, prathama-carane, Kala-yuge, Kala-mā(n)se, Kālâtīte, 3 yoga-nakşatra-nītāya, Vedokti-phala(m)-prāpti-kāmanāya, 4 sarva-prāyaścittam(,) karişye(,) sobhāgyam(,) astu, tat astu astu svāhā, 5 SANKĚPI mvan PATAÑANAN [[151]] TEXT, TRANSLATION AND NOTES 4 Again a formula, to the heart: 127 5 The one syllable is a powerful formula, based in the heart, the supreme beauty; 6 He is the complete soul of all the gods; Supreme Śiva is Oneness. 7 homage and honour. OMNIA Y" Again a formula, silently, DHARMA-JĀTI-MANTRA, as follows (App. I C 3): 2 Om Am homage and honour to the Union of Pradhāna and Puruşa, 3 to the God of the Drop, to the Enjoyer and Ruler of the world, 4 to the original Union of the God and the Goddess, (to Him Who from the beginning is united with the God and the Goddess), 5 to Supreme Śiva. 6 OMNIA “X” Take a flower (in the right hand) and the bell (in the left hand): 2 om The Six Syllables are a great formula, 3 secret and supremely useful; according to tradition: part of Sadā-Śiva, 4 annihilating the greatest sins. om The Śiva thread, the sacrificial cord, is a supreme means of purification, 5 Prajāpati’s longevity; strength must be splendour; the highest of mysteries; it consists of the triad of groups (or: of guna = qualities) as its self. 6-7 [H]ari om, the Vedic formula Gayatri, which has the lustre of ten million Suns, which is the heart of ten million Moons, metre-metre in the Six Syllable Formula, the Self-Existent, father of all Gods; we meditate upon the splendour of God. 8 OMNIA and GESTURES ‘Y"a 1-3 4 Homage be. It may be realised by your worship. 5 OMNIA and GESTURES ‘Y"b om Vişnu Vişnu…, in the field belonging to Vişnu Prajāpati, in the era of the boar-incarnation, in the first course (of asterisms), in the era of Kala (or: Kali), in the time of Kala, in the past of Kala, to Him Who is ardently desirous of obtaining the fruits of pronouncing the Veda, I will do atonement for everything; good fortune must be, must be, must be, svāhā. 5 OMNIA and GESTURES [[152]] 128 SŪRYA-SEVANA Z"a PRALĪNA, T: Sań Hyań Śiva-Āditya riń hṛdaya/K: Sań pinūjā-nta ń uni: 2 3 { T: om na-ma-Śi-vā-ya, om A-Ta-Sa-Ba-I, om A-U-Ma (as in X" supra); K: om va-Śi-ma-na-ya, om A-Ta-Sa-Ba-I, om U-A-Ma. 4 K: Mvah pūjā pralina: om om Kṣama-Sampūrṇāya namaḥ svāhā; 5 K: om Bhūḥ svāhā, om Bhuvaḥ svāhā. 6 TH: Nanhāra ghanṭā pin tiga (plate 32) 7 XY: Ukupi tan ghanṭā/SKXY: pēlēninakën tan ghanṭā pin tiga: 8 K: A-U-Ma; SAṄKEPI mvan PATAÑANAN/TSHX: Tělas/G: Uvusan. Z"b / T: SIRATakěna kaň toya riń Śiva-dvāra pin tiga. 2 { K: MASIRAT tirtha riń śarīra pin tiga; Astra-mantra. 3 XY: Anicip toya riń sivambha/TK: Inum pin tiga, rahup pin tiga (plate 24). 4 K: Om Gaṅgā-Amṛtāya namaḥ, om Candra-Amṛtāya namaḥ; 5 om Śiva śuddha mām svāhā. 6 K: Mvah masirat pin tiga: om Ātma-Tattvāya namaḥ, 7 om Vidyā-tattvāya namaḥ, om Śiva-tattvāya namaḥ. 8 K: Asěkar: om Śrī Smarāya namaḥ. T: Tělas. K: Tělas vusan. [[153]] a-SURYA-SEVANA/a-KARYA TOYA A’ Nuntun/nili Śiva-Aditya vavēń Śiva-dvāra B’ Antantāsana C’ Catur-Aiśvarya (Simhasana) D’ Padmasana E’a Déva-pratisthā E’b Kūța-mantra F Utpatti; Sthiti G’a Punu: HUN-kārâdy-anta; Brahma-sandhyā G’b Punu: NAŃ-kārady-anta; Vişnu-sandhyā G’e Punu: HUN-kārady-anta; Bodhana-mantra G" Punu (alternative) H’ Śivi-karaņa Brahmanga Śivânga I’ Tri-tattva-mantra J’ Upahrdaya-mantra/Udakâñjali K’ Sūrya-stava (Adityasyâparan); Kūța-mantra L’ Toya-tarpaņa; Kūța-mantra M’ Catur-[Sandhyā]-tarpana. N’ Déva-[ādi ]-tarpaņa O’ Śiva-amrta-mantra P’ Kūța-mantra; Upahrdaya-mantra/Udakâñjali Q’ na-Stava Bhattāra Sūrya (vasanta-tilakā) I T S H X K G U L P F V Z Y 12 1 5 1 1 3 12 6 9 16 14 4 10 6 5 9 6 14 8 15 X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X [[154]] TEXT, TRANSLATION AND NOTES 129 Z"a DISSOLUTION of the Siva-Sun in the heart of the God worshipped hitherto: 2 3 { T: om na-ma-Śi-vā-ya, om A-Ta-Sa-Ba-I, om A-U-Ma (as in X" supra); K: om va-Śi-ma-na-ya, om A-Ta-Sa-Ba-I, om U-A-Ma. 4 And worship of dissolution: homage & honour to Him Who is perfect in Forbearance. 5 Homage to the Earth, homage to the Sky. 6 Three times ‘contraction’ of the bell. 7 Hold the bell over the brazier, make it sound three times. 8 Brahmā-Vişnu-Iśvara. OMNIA and GESTURES Z"b { SPRINKLE Holy Water on your fontenelle, three times; 2 SPRINKLE Holy Water on your body; three times; use Astra-mantra. 3 Sip Holy Water from Its vessel drink Holy Water & make a wiping movement over your face with It, both three times. 4 Om homage to the Holy Water of the Gangā and of Candra; 5 om Śiva purify me! 6 And sprinkle three times: Homage to the Śiva Element. 7 homage to the Knowledge Element, homage to the Soul Element. 8 Adorn yourself with a flower: Homage to the God of Love. FINIS FINIS. [[155]]
[[156]]
III. A BALINESE PRIEST’S DETAILED COMMENT
In the last paragraph of the Introduction, I have endeavoured to give a summary of the ritual dealt with in this monograph, and the table added there represents the backbone of my interpretation. In doing so, I reached my aim of presenting the Javano-Balinese materials in a shape so that they can be used by my colleagues who feel themselves better at home in the Indian field than I do, I do hope that Dr. Diehl and Madame Brunner, who added excellent indices to their books, and their successors in the future, who are interested in Sankhya, Saiva-Siddhānta and Tantra, will feel attracted to the task of comparing it which would take me too far from the Balinese Pit which I consider it my privilege and duty to reconnoitre. Apart from the remark that PUNU, the awakening of the God, dealt with in G’ & G", which also occurs in the death ritual, at the present state of my understanding, or failure to understand, seems, in my eyes to be better there then in the ritual presented here, and the fact that the major Śaiva or Sāńkhya manuals in Sanskrit cum Old- Javanese, originating from Bali and still alive there, have not yet been published, I thought it premature to go systematically into explanatory details. But when the major part of this monograph had been written and the first type written copy made, I was presented with the Argha-pātra ms from the griya Kadampal (Tabanan), my I. This proved to be a ms not only as good as the T, S & H mss, but also the only one currently comment- ing on the priest’s actions and, more often than not, paraphrasing his words. By its amplification of rubric it clarified many a situation con- siderably, so that the whole Text, Translation and Notes profited from it and had to be rewritten. Still, I had a considerable period of hesitation before the decision was taken to embody a large part of its comments and some paraphrases into this monograph. In the first place, after working for years with hundreds of Balinese mss and comparing sets of them as much as possible, the idea of working with only one did not appeal to me. Secondly several of its paraphrases are superfluous because the Sanskrit is sufficiently clear, whereas I am a little fearful that some of the comments may prove to be less valid. From the philologist’s point of view this might be detrimental, but not to the social anthropologist, who may be more interested in the meaning now attached to actions and words than to the meaning they may have had in the dim past. The most remarkable feature of the I ms (supported by K, but that originates from practically the same place and proves to be closely related) might be this, that it puts consistently the śrī ambha or triyantu formula (Omne quod felix, faustum fortunatumque sit) into the mouth of the God, in this way predicting happiness and good fortune to His faithful worship- [[157]] 132 SŪRYA-SEVANA per. At the very end of the ritual, my Yc, this even leads to a kind of short dialogue between the God and His worshipper. I was hesitant about including these short rubrics in my text rather than in the notes, and I am still not quite sure that I have done the right thing, but I felt it was better to be criticised for doing it than the rubric be overlooked in the notes. The intercalation of this third chapter, moreover, produces a certain balance in this book. No longer is it only the foreign non-Hindu student who imposes his views: he is counterbalanced by the authority of the Śaiva priest himself. It must not be expected that the Balinese priest will give an analysis or a synthesis; he comments upon his text and paraphrases its language. So, it will be evident that for the comments reproduced (and translated) in the text and in this chapter, the griya Kadampal only can be held responsible, and that they are not necessarily shared in full by all the padandas Śiva in Bali. In this respect, however, my experience suggests a far-reaching consensus, as might be expected from a small island, which it is easy to travel over, and from a group of a few hundred families, which frequently intermarry. Finally, for simple reasons of space, it appeared inadvisable, after having given a text with a full translation of the ritual, to repeat parts of it, with the paraphrase or comment and the translations, when they offered no more than a mere repetition of what already had been dealt with. (4-5 means: inserted in lines 4 and 5; 4/5 means: added between 4 and 5) (words from the main text in ordinary print; I’s comment/paraphrase in italics) (paraphrases to the metrical parts are generally ignored; the exception: Puñu G’) Aa 1 Bhatrinsa is the goddess of the comb, Yogini that of tooth-rubbing. 2 Om hum phat Astrāya namaḥ: S. H. Prāṇa Bāyu jro nin Vindu (Divine Breath in the Drop). Astra: namijilakěn (producing); ya namah: ya siněmbah (He is worshipped). Ac 1 Om am kham Khasolkāya Īśvarāya namaḥ svāhā: panungal in Akāśa lavan Prthivi (unification of Sky and Earth). 2 Om rah phat Astrāya namaḥ pañékan in Vindu, namijilakěn pūrṇa nin San Siněmbah (proclamation of the uniqueness of the Drop, producing its being filled by the God Who is worshipped). 7 Om am Prasāda-Sthiti-Sarira-Śiva-Śuci-Nirmalāya namah: S. H. Mahā-pradhāna, maka-linga sthiti S. H. Mahā-Méru, makānga Śiva- Suci-Nirmala, donya siněmbah (the object of worship is Mahā- Pradhana, of Which the permanence of Divine Mahā-Méru is the token, and Who is embodied in Pure Immaculate Śiva). 8 Om am Dhūpa-Dipa-Astrāya namah: vijil in dhūpa sakin Viśva, dīpa sakên Ardha-candra; landěpi sembah (appearance of the frankin- cense from the Universum, and of the lamp from the Half-Moon; sharpness (great effect) of/sharpen (intensify) the worship (cf. G" 2). [[158]] B Om im Iśvara-Pratistha-Jñāna-Lilāya namaḥ svāhā: Sājñā S. H. Iśvara, sthiti ri tělěň in jñāna-śuddha, Kita kasiddhyan in sembah (At Thy command, Iśvara! Abode in the depth of purity by know- ledge; Thou art the attainment of worship). 6 hum: prakrti lavan (with) puruşa; raḥ phat: panungal (unification of). 7 Suddha mam svāhā: putus in kasiddhyan (complete attainment). 8 Om om Kşamā-Sampūrṇāya: muvah matēmu, tělas in somya paripūrṇa (and when meeting, summum of complete benevolence). 9 Om Śrī Pasu-pataye hum phat: mijil San Hyań OM-kāra Paśupati, mahavan Prāņa Bāyu, sakền jro nin Vindu (appearance of the Syllable Om Pasupati through Prāņa Bāyu, from the interior of the Drop). 12 Om hum: Brahmā Vişnu; raḥ phat, mětu. Astra, mětu (appearing). 13 Om atma tattvâtma: maśarīra ātmā vāhyādhyātmika (soul embodied materially and spiritually; or: embodied in the material/external and individual/internal soul). 14 Om om: Brahmā puruşa, Vişņu pradhāna; kṣamā sampūrņa: němvakën dik daśa-déśa (bringing together the ten regions); nārāca; nā: Brahmā; -rā-: Vişnu; ca: mětu San Hyan Iśvara (appearance of Divine Iśvara); mudrā: sakên igěl in devatā (originating from the dance of the Gods). 15 Bhām netra × 2: atěmah Sürya-Candra (becoming Sun and Moon). 16 Om hum: Bhatāra mvan (with) Bhațārī; raḥ phat: muvah atěmu (next meet one another); astra: ana mětu (appearance indeed); amṛta-mudra: mijil tań amrta sakên patañanan (ambrosia originating from the gesture). Ca 1 Kalpika: mijil sakên (originating from) Brahmā; vīja: sakên Vişnu; gandha: sakên Iśvara. 13 Om: śarīra (body); Bhür: gandha (incense); Bhuvah: rasa (taste); Svah: sparśa (feeling); Svare: śabda (sound); jvālinī: rūpa (shape); śikhaye: śikhågra (tip of the tuft of hair; or: tip of the flame). 15 Kavaca: kavati pañjara ri sinhěl (the enclosure of the vest, in the sash); hrum: kahilanan in śatru dénya (annihilation of enemies, be- cause of that). 19 Astra-mantra: patěmu nin Agni lavan Bayu (union of fire and breath). Cb 2 Hram: sipat (straight line); hrim: siku (elbow); sah: patitis (ar- ticulate). 5 Com: soma; Candiśāya: Candra-mandala (orb of the Moon); Candi: pěgat (topped); śāya: sālā (hut); sthānanya rin Aiśānya-desa San Hyan Candra (situated north east of the Divine Moon). 6 Tańkěpakěn taňanta kalih rin kisapvan, kèri ańlumah, kanan ku- měrěb: patěmu nin catur-anga: āvahana, rin pāda-dvaya, lumaku pakěnanya; pratisthā, rin jaghana, alunguh pakěnanya; etc. (union of the four-fold: ‘invitation’, to both feet with the aim that they should go; ‘presence’, to the buttocks with the aim that they should sit). [[159]] 134 SURYA-SEVANA 12 Kavaca-mantra-mudra: S. H. Baruna němit śarīra-n-ta (Divine V. protects you). 13 Kāvya-jñāna phalanya; buňkah in sembah (its result is knowledge of the Old-Javanese court poems in Sanskrit metres; basis of adoration). 14 Somya-rūpa; vruh in Dharma phalanya (of benevolent appearance; the result is knowledge of the Law Eternal). D 2 Vausat: Sadā-Śiva. Ea 9 Try-antah-karana: si manah buddhi âṁkāra (the three interior senses: mind-intellect-sense of self). 12 Hrām: buňkah in sembah (base of worship); hrīm: madhya nin sembah (centre, middle); sah: tuntun in sembah, rin San Hyań Śiva-Aditya (top, directed towards the Divine Śiva Sun). 14 San Hyan A-dvaya pinaka-linga nin Déva sań siněmbah (the Divine Undivided One is the token for the God Who is worshipped). Eb 1 Ungahakěna ń śivambha: sankha mijil sańkê Vindu nin OM-kāra mula (the conch emanates from the Drop of the original Om syllable). 2 Om om namah: patěmu nin Smara Ratih, matěmahan sarva-sat (union of Smara and Ratih, resulting in all that exists). 11 Astra-mantra: pasuk-větu nin amṛta ri jro nin Vindu (in and out of the ambrosia inside the Drop). 13 S. H. Iśvara, Agni-tattva Sira, san siněmbah (the Agni-element of Iśvara is worshipped). 19 Instead of 19, the I ms has: Om Parama-Śiva-Gangāya namah, vijilakën taň Šivânga sankê tuntun in nāda-n-ta (produce śivânga from the top of your nada). Fa 3a IM, malań Lor Kidul: paridhi S. H. Īsāna ika (that is the fire frame of S.H.Ι.). 4a Putěrakěna three times: Tri-Vindu kahiděpanya, prayoga S. H. Dapur Tiga na., bhūmi nin āpah-teja-bāyu ika (one should imagine the Threefold Drop, the device of the so-called Divine Three Hearths, base for Water-Fire-Wind). 5 Samplava: gumavan (bright). Fb 3-6 Vic(ch)et, na: kaliñanya (is called); svāhā: magělar (positioned). 7 After sah, I inserts vausat: sari nin Vindu (essence of the Drop). Ga 3b Siddhāntam pratigrhnati: prasiddha san siddhanta-brata gumavé sukha nin rat (he who has reached the end of his vows is effecting the happiness of the world). Gb Tri-mandala: ikan śastra śāstra volu, kūta nin dik-vidik naranya, matěmaham dvādaśa sěňkër, sarva rajah (resp. tama, śaśa) prabhunyên- kana, yan rin agni(resp. sūrya-, soma-) mandala (the eight weapons or: the eight syllables, which is so-called seed syllables of the eight points of the compass, becoming the twelve spokes; of all rajas (tamas, moon) the lord over there, with regard to fire (sun, moon) region). Kb 9 Om hum rah: tīrtha mijil sakin tuntun in roma (holy water emanating [[160]] A BALINESE PRIEST’S DETAILED COMMENT 135 from the tips of the hair); hum phat astra: nampuh urub in agni, kşaņa somya (falling down upon the flames of the fire, which becomes benevolent instantaneously). L 6a Ana OM-kāra mětu sakên lěnit i jñāna (the syllable OM is really appearing from the depth of knowledge). 6b ya bhūmi nin amṛta sumunsan (that is the place for the inverted ambrosia). 7b anền kantha-mūlê kucur in nadanya (in the Adam’s apple in the outlet of the nada); s(y)et: śarīra (body). 8a matěmahan udan amrta (finally becoming a downpour of ambrosia). 8b mahayva, vayava těkêň sarva-sandhi (in order to benefit the limbs and all joints). 9a sârdha-narêśvarī ri jro niň garbha (with Ardha-narêśvari inside the womb). 9b gumavé langen in jīvita (effectuating the continuance of life). Na 11 Bhūr: Sūrya-mandala; Bhuvah: Candra-mandala; Svah: tārakā (stars m.) 16 Astra-mantra: patěmu nin Bāyu rin bahu kanan kèri, vijil in sembah (union of the Breath with the right and left arms, appearance of the gesture of worship). Nd To the four lines is added: Dévi Gangā (Sarasvati, Durgā-dévi, Umā- dévi resp.) Hyannya, ika san Catur Sanak, vruhên dharma (śānta- jñāna, sinhitên bhoga, vibhuh in upabhoga resp.) (these are the four goddesses belonging to these regions, the Four Sisters, knowing the Law Eternal; serene of knowledge; devoted to pleasure; magnificent in enjoyment. Ng 10 To the generally known aim of the mudrā (mavèh sukha ri Sań Hyań Śakra, delighting the God Sakra) the I ms adds: Krětu (or: Kratu), and then continues: mvan S. H. Atmā ri tělěň in padma hṛdaya, mvan S. H. Gana Kumāra (and the divine soul in the lotus of the heart, and the gods G. and K.) Nh 13-16 The I ms, after the first bhām netra, inserts Nandiśvara, after the second, Mahā-Kāla, followed by trasini-mudrā kiva těněn (trāsini- mudra for the left and right eye), pinaka-lavan kalih (functioning as two entrance doors). 16 payogan in bāyu mětu (concentration of breath emanates) preceding ri tuntun in aşta-dala. Ni 2 Pūrvā: pasañcayan in Devati (assembly of goddesses). Nj 5 Jambi: madulur (accompanied); kāyai: ulah rahayu (good behaviour). 10 rin jro, patëmun in Pṛthivī lavan Akāśa (unification of Earth and Heaven). Ana Pañca-Rși nα. (there exist the so-called Five [Pri- mordial] Seers): Sań Kusika rin kulit (in the skin), San Garga rin rah dagin (in blood and flesh), San Métri rin otot (in the sinews), San Kuruşya rin valun (in the bones), San Prtañjala rin sumsum (in the marrow). [[161]] 136 SŪRYA-SEVANA Nk 7 katatakut asiyun (to be held in awe by those provided with tusks). 8 krūra-rūpa (of terrifying shape) asiyun. 9 add. San Rāhu mvan Sań Kétu, matěmu rin San Budha, gavakěna rin madhya, dadi Try-akşara; patungalanya, dadi OM-kāra (R and K together with B, brought to the centre, form the Three Syllables; unified they become the syllable OM). Ikan Lima Sanak, matēmahan Pañcakşara; patungalanya, dadi Try-Aksara, matěmahan Déva Tri- samaya (the Five Brothers become the Five Syllables; unified, they become the Three Syllables). NI 8 add. Tri-Viśva na., vijil in dhūpa (the So-called Three-All, ap- pearance of frankincense). Nn 2 add. Om: puruşa (man); hrām: pitā (father); hrīm: prapitā (fore- father); sah: mahā-pitā (grandfather); ri S. H. Parama-Śiva-Aditya pasañcayan in sembah (a collection of worship for Parama Siva Aditya). O 2 add. prayogan in ākāśa lavan pṛthivi; kucup in sembah (formula of ether and earth; the closing together of the fingers for the gesture of worship). 3 ghrim: prayogan in agni lavan bāyu rin avan-avan (formula of fire and breath in the atmosphere) maka-hétu, kşamākěna panamas- kārańkvi pāda Bhatāra (resulting in the bestowing of forgiveness on my worshipping at the God’s feet). 18-23 The following comments are to be found after the following words: 18 gandha: saké Śrī Gaņādhipa (originating from Sri Gana); 19 vīja: sakê S. H. Kumāra (originating from Divine Kumāra); 20 puspa: sakė S. H. Smara (originating from Divine Smara); 21 dhūpa: mětu sakên Agni (emanating from the God of Fire); 23 dīpa: mětu sakên Sūrya (emanating from the God of the Sun). 22/24 Samarpa: pada inarpanakěn (offering all); yāmi: pinasukakěn (intro- ducing); ya svāha: pada sampūrņa (all perfect). 24 The I ms continues with a complete patañanan Astra-mantra; it concludes with: Ika kavruhakěna katattvan in PADMA AGUN (know the essence of the Great Lotus) (cf. O notes), yan Brahmā Vidhi muşti nin iděp, Vāg-Īśvari pañhyañan in padma (when thought is concentrated upon Brahmā (scilicet: in the function of) Vidhi, Vāg- Īśvarī, i.e. Sarasvati, is the Godhead of the Lotus). - This is repeated three times with Vaisnava/Savitri, Byoma-Śiva/Prabhāvati, Sadā- Śiva/Bhatāri Gayatri. Pradhāna tattva nin padma-bhuvana, ayva salah arěp, a-mājā mājā, tan vruh ri kaliñan in pinūjā (pradhāna is the element of the padma-bhuvana; have no false anticipation, during your worship, being ignorant about the names/meanings of the Gods worshipped). - Now follows the Great Lotus. S 4/5 Kuta-Agni-Pāśupata-Astra ika (that is called the seed syllable of the Agni-Pāśupata-Brand). 5/6 Ghanță mijil sakê nāda, mantra mijil sakê try-antah-karana (the bell [[162]] A BALINESE PRIEST’S DETAILED COMMENT 137 emanates from the nāda, the formula from the threefold internal organ). 16/17 Añiběki vindvan in ākāśa; těkên pṛthivī svaranya (filling the drop- shaped firmament; its sound reaches the earth). 17/18 Puspa, mijil sakên catur-daśakşara (flowers, emanating from the fourteen syllables (of the Sthiti mantra)). Tb 6-9, left untranslated; Archipelago Sanskrit; some elucidation here and in K 1843, Astava-mantra. 6a Śri-kare, oh, Thou Who causest welfare/splendour; sa-pa-hut(?)-kare, ayvakěn sa-dinaměl-ku ‘Thou Who makest righteous all my activities; perhaps śāpa-Hum-kāra, who annihilates curses by using the syllable hum?? 6b roga-dosa-vināśanam, destruction of illness and sin. 7a Śiva-logam mahayaste, kita makânga Śiva-loka donya lěvih kapūjyanta. Correct Sanskrit is maheste; the need to use four syllables may have led to mahāyaşte, as iya and aya in Balinese frequently lead to e. Reading Śiva-loke, the meaning might be: oh, Thou Who art greatly adored in the heaven of Śiva. 7b mantre manaḥ pāpakelah; ma-śarīra mantra Kita, mańlukati manah pāpa, Thou Who art incorporated in the formulas, Who destroyest the evil of the mind (as the Sanskrit is unrecognisable, the endeavour to translation is made in accordance with the paraphrase). 8a Siddhyā trisandhyā-saphalā(?), inayap dé san viku trisandhyā sakab- vatan, by Thy supernatural power Thou givest result to the worship at dawn, at noon and at sunset. 8b Sakala-mala-kalahar (last three syllables not Sanskrit but Javanese), vāhya ikan mala, matēmahan air, all stains are washed away power- fully and are absorbed in the waters. 9a Thou art ambrosia of Śiva, Thou art of good omen. 9b nadi-nadah namah Sivāya, Thou art a male river and a female river [at the same time], homage to Śiva. 1843/4b: Lavan ta n an[d]adi makañaran na(n)dī mvan na(n)da, ya ta pada maśarīra Bhațārī mvaň ikań śāstra pañcâkşara, na-ma-Si-vā-ya; I: ikan dadi (ma) n[a]dī mvaň na(n)da sākṣāt pasuk-větu nin sěmbah, dé sań Śivāgama. Tc 1/2 Tri-vindu kahiděpanya (Imagine the Tri-vindu). Ua 2 Om hrām hrim sah: ana bāyu puruşa mijil sakên dapur tiga (there exists the bayu puruşa emanating from the threefold hearth); hrām: bhūmi nin āpah (site/base of water); hrim: bhūmi nin téja (heat); sah: bhūmi nin bāyu (breath); kşmum: kūta nin bāyu ri catur-dvāra (seed syllable of breath at the four door openings, mouth, nose, eyes, ears); Am: tutuk (mouth), si bāyu nairika; Um: nāsikā, (nose), si bāyu gāndhārī; Mam: nétra (eyes), si bāyu mūrtika; OM: karna (ears), si (āyu prapañcaka (Gandhārī is one of the ten nadi; the ten prāņa bāyu bear other names). svasti: rěsěp anrěsěpakěn phalanya (tasting and causing to taste is their result). [[163]] ksim kerim: kūta nin bāyu rin saptānda (? or: saptadhā?) rin brah- manga (kernel syllable of the winds in the sevenfold egg (?) of brah- mânga). Ua 3 ya-va-Si-ma-na, I-BA-SA-TA-A: kūta nin dik-daśa-désa, rin brahmanga (kernel syllables for the ten points of the compass mention- ed in Brahmānga and Śivānga); bhutih: ya urip manuripi (living and causing to live); Ua 4 bhūr-bhuvah-svah: kūta nin tri-mandala ika: Ida-Pingalā-Suşumnā; svāhā: magělar (positioned); Om: nādi pīta na., avan in Agni, pittānala(na) nήα.; (in altered order: .) (OM: (a)nala(na) na., nādi pīta, avan in Agni, Am: (ap)āna-vaha na., nādī rakta, avan in skul, rin tënën; Im: p(r)āņa-vaha na., nādi putih, avan in bāyu, rìn těňah; Um: rasa-vaha na., nādi irěn, avan in toya, rin kiva; (yellow/red/white/black channels, ways for fire/prepared rice/food)/ wind/water, to the right/centre/left); Vyom-Mam-Vyam-Pa (recte: i)m-Nè (better: i)m: kūta nin pañca- bāyu lavan pañca-ātmā (kernel syllables for Five-Breathand Five- Soul-Formulas); Ua 5 Om om: sankan paran (origin & aim); I: Śiva-dvāra (fontenelle); HA: lalāța (forehead); KA: tutuk (mouth); SA: pulun rasa (MA: tulika (…. RA: hrdaya (heart); LA: antra (bowels); VA: nabhi skanda (navel whole?); YA: bhaga ‘pastha (private parts); HUM: pāda-dvaya (both feet); Ika Daśa-Bāyu, rinakět in Daśa-śīla (they are the Ten Breath formula, close to the Ten Virtue formula). Ua 6 Pasuk-větu nin bāyu, inirin in Dašêndriya (entrance and departure of breath, accompanied by the Ten Senses; Professor Ensink here points to Chandogya Upaniṣad 5.1.6-12). Namo namaḥ svāhā: Kita siněmbah riň sva-deha (Thou art worshipped in Thy Own body). Uc Om: puruşa (man); Hrām: Guru (Śiva); Hrim: Sadā-Śiva; Sah: Parameşti-Guru; panungalanya, rin San Hyan Parama-Śiva-Aditya bhakti-n-ta (your worship should be directed towards their unification in the Supreme-Śiva the Sun). Va 6/7 Mahavan (through) Sapta-Vindu. Vb 2/3 San Hyan Ardha-naréśvarī, kucup in sembah-ta (the closing to- gether of the fingers for the gesture of worship towards San Hyan Ardha-narêśvarī). 3/4 Pañakşamā-n-ku ginělar, maka-hetu němbah ri Kita (my prayer for forgiveness is positioned, serving as the cause for my worship to Thee). Ya 4/5 Ika Daśa-Bayu nāma-nya, si vrāņa (sic) -udāna-samāna-apāna- byāna-nāga-kūrma (-ra, under the influence of:) -krkara-devadatta- [[164]] dhananjaya (they are the so-called Ten-Breaths, viz.:). 6 Om mjum: kūta-mantra-n-ta (Om mjum is Thy kernel formula); sah vauşat: San Hyan Amrta śarīra-n-ta (Divine Holy Water is Thy Body). E’a Karuhun padma-mudra, mvan pratistha-mudra (first perform the two m.). Ika sthāna S. H. Sūrya, mvan Dèvi Sajñā patni-nira, Dèvi Prabhāvati nāma-nira vanèh (that is the abode of the Divine Sun with His Spouse Dèvi Sajñā or Dèvi Prabhāvati by another name). F’ Utpatti: Om I-Ba-Sa-Ta-A, Om ya-na-ma-Si-vā: ika dadi padma- guhya rin Brahmanga-nira (this is the lotus mystery in its Brahmanga (stage)); Om Mam-Um-Am namah: Om dadi Pitha; Mam dadi Suşumnā; Um dadi Pingalā; Am dadi Idã. 2 OM: Brahmânga; SA: suku (feet); BA: bhaga-kaupīna (private parts); TA: vaktra (face); A: hrdaya (heart); I: Siva-dvāra (fontenelle); OM: Sivānga; na: gandha (smell); ma: rasa (taste); Si: sparśa (touch); vā: rūpa (shape); ya: śabda (speech); Om Am-Um-Mam namah; Om: talina (ear); Am: tutuk (mouth); Um: nāsikā (nose); Mam: nétra (eye). Mańkana rekhā vayava Bhațāra; ayva kitāněmbah Déva, yan turun ginēlar in Utpatti-Sthiti (such are the lines of the limbs of Bhatara; do not worship the God before Utpatti and Sthiti have been po- sitioned). G’a 7 HUM-kārâdyanta-samruddham: yêki HUM-kāra-mantra, pūrvân- tanya, pańrudda ri Kita (this is the formula of the syllable HUM, its beginning and its end, an endeavour to withhold Thee); 10 Om hum hum: patěmun in mahā-prāna mvan alpa-prāna (combination of the slightly aspirated sounds with the heavily aspirated ones); AM-UM-MAM: gumavé jāgra San Hyan Tri-Pramāna (causing the awakening of the Divine Threefold Measure); GMUM Ganapati Hyannya (Gaņésa rules it); MAM-UM-AM: makârādhāna San Hyan Tryantah-karana (pro- pitiating the Divine Threefold Inner Organ); hum hum om: patěmun in alpa-prāna mvan mahā-prāņa (cf. supra). G’b 2 NAM-kāreņa vidarbhitam: NAM-kāra-mantra yêki, maka-śayana- n-Ta (this is the formula of the syllable Nam, purporting to be Thy couch) (cf. G’c 2 infra). G’b 3 Amalik-karaņa-mantram: maka-panulak salvir in mantra donya (being a means of reversal to all kinds of formulas is its aim); 5 Om NAM: Brahma-sandhyā, rin tutuk (mouth); HUM NAM: Vişnu-sandhyā, rin nāsikā (nose); NAM HUM: Iśvara-sandhyā, rin nétra (eyes); NAM OM: Rudra-sandhyā, rin talina (ears); Ika S. H. Catur-Sandhyā na., anền Śivânga; rin catur-dvāra sthānanya (those were the four sandhyās, used during Śivânga; they are located in the four apertures of the body). [[165]] 140 SŪRYA-SEVANA G’c 2 HUM-kāreņa vidarbhitam: HUM-kāra-mantra yêki, maka-kalasā- n-Ta (this is the formula of the syllable HUM, purporting to be Thy resting-place (cf. G’b 2 supra) 5 Om-Om na. panungalanya (the so-called unification of Om and Om); Hum hum-hum hum: kūta nin bāyu rin catur-dvāra (the seed syllables of breath in the four apertures of the body); Gmum: kūta S. H. Ganapati, anên agra-nāsikā (the seed syllable of Ganêsa, in the tip of the nose); 6 Ghrim-mantra panasta [va]ňku, maněmbah ri jön Bhatāra (the ghrim mantra is my means of singing praise during my adoration at Bhatāra’s feet). G’c HI are the only mss to include here the following elaboration (cf. O 16-25): Sirati toya: Om toyam samarpayāmi, ri lěbu carana-dvaya, JAM kūțanya sekar: Om puspam samarpayāmi, rin suku kalih, gandha: Om gandham samarpayāmi, rin bhaga ‘pastha, cakşu těněn, cakṣu kiva, AM kūțanya IM kūtanya UM kūțanya EM kūțanya AIM kūțanya vija: Om ‘kşatam samarpayāmi, rin hṛdaya dhūpa: Om dhūpam samarpayāmi, dipa: Om dipam samarpayāmi, (Sprinkle water, offer flowers/perfume/unblemished rice grains/ frankincense/lamp with the words ‘I offer..6.. to the dust of Thy two feet/legs/private parts/heart/right eye/left eye, with the kernel- syllables Jam/Am/Im/Um/Em/Aim). H’ 2 Added Puruşa hyannya (is the God); 3. Mahādéva h.; 4. Vişnu; 5. Brahmā; 6. Pradhana. 9-10 Bhūr: ghrānêndriya (smelling); Bhuvah: jihvendriya (tasting); Svah: tvak-indriya (touching); svaré: karņêndriya (hearing); jvālinī: cakşv- indriya (seeing). 12-13 trāsini-mudrā (terrifying gesture) kanan kèri (to the right and to the left), Nairrtya (SW), Agnéya (SE), Paścima (W), Uttara (N) (in that order); 14 śaro-mudrā (arrow-gesture) Pūrva (E), Daksina (S), Paścima (W), Uttara (N) (in that order). I’ After 4: marěp-muńkur tañanta ri těněn añanté kiva naňasinta (perhaps: na-nāsikā-n-ta?) ri tënën (forwards and backwards, your right hand…) It will be evident that these paraphrases (of which only a small per- centage has been given, that of the slokas having been omitted in general) are not always helpful, that the additional rubric, generally incorporated in the text, was of considerable help for visualising and understanding the ritual, and that the comments, whether they represent the intentions of the composer of the ritual and its renovators, or represent a more recent trend of intrepretation, deserve to be studied. [[166]] IV. A COMPARISON OF ŚAIVA RITUAL IN SOUTH INDIA AND BALI. In 1928, Sylvain Lévi had the opportunity of visiting Bali for a few weeks, and while he was there he collected the material for his ‘Sanskrit Texts from Bali’; in this work (published in 1933 in the GOS LXVII) he wrote (pp. IX & X): ‘If the traveller happens to be admitted into the house of a local priest, of a pědanda as they call him, he will witness the same worship that is practised all over India, a regular Sandhya sevana; he will hear Sanskrit mantras recited in the Indian fashion, with the regular Indian accompa- niment of mystic gestures, mudrās’. A few lines earlier Lévi had explained the aim he had in mind when collecting his material and in composing his book: ‘The prime and chief interest of the documents I am editing here lies in the fact that they are a kind of holy relics of the time, long passed away, when Indian civilization had spread over the Indian Archipelago’. Now, a third of a century after Lévi’s book was published, it is possible to go into more detail. On the South Indian side, there are the following publications, all of which have appeared during the last ten years: 1956 Carl Gustav Diehl, ‘Instrument and Purpose, Studies on Rites and Rituals in South India’, Gleerups, Lund; 1957 Fausta Nowotny, ‘Das Pūjāvidhinirūpaņa des Trimalla’, Indo- Iranian Journal 1 pp. 109-154. 1961 N. R. Bhatt, ‘Rauravāgama Volume I’, Publications de l’Institut Français d’Indologie No. 18, Pondichéry (Maisonneuve, Paris VIe); 1963 Hélène Brunner-Lachaux, ‘Le Rituel quotidien śivaite de l’Inde du Sud selon SOMASAMBHU’, same Publications, No. 25. For the Muslim period in Indonesian history, one’s attention is no longer directed exclusively, or even mainly, to Gujerat, but for the Hindu period there is sufficient proof that it was mainly from the Southern part of India that Indians spread their culture, inter alia to Indonesia, and, I feel inclined to surmise that it was to this part of India that students from the Indonesian Archipelago went on pilgrimage, and even to stay for a period of study. In any case, a priori, no objections can be made to an endeavour to compare Śaiva ritual in South India and Bali; on the contrary, this seems the natural thing to do. I, who perforce reside in the outskirts of London, have not witnessed ‘worship as it is practised all over India’. And, as far as my reading about it is concerned, I have restricted that to the books mentioned above, which I considered to be sufficient for my present purpose as I have at my disposal copies of the palm leaf mss of the Gedong Kirtya, Singaradja, and also have easy access to the collection of Oriental mss of the University [[167]] 142 SURYA-SEVANA of Leiden. On these last were based Dr. R. Goris’ Leiden Ph. D. thesis ‘Bijdrage tot de Kennis der Oud-Javaansche en Balineesche Theologie’ (Contribution to the knowledge of…), Vros, Leiden, 1926, as well as Dr. A. Zieseniss’ studies on Old-Javanese Śaiva-Siddhānta in the BKI (98, 1939, pp. 75-224) and in the series of the International Academy of Indian Culture, New Delhi (cf. also my ‘S-S. in Java & Bali, some remarks on its recent study’, BKI 118/3, 1962, pp. 309-27). When Sylvain Lévi published his book, he based his Sandhyā-sevana apparently on one ms, adding notes from various readings in Goris’ Ph. D. thesis; for my book, by contrast, a score of mss was at my disposal. Undeniably, the Balinese side could, in this way, be better represented than before; nevertheless it is the Balinese head of the bridge that has to be constructed between South India and Bali that is the weaker, for South India can boast of printed paddhati of considerable length and of commentaries, whereas for Bali there are only the manuals of the brahman priests, each of which runs to a score of pages (an exception is the trans- literation into Balinese script of Lévi’s Veda-parikrama, a limited number of copies of which were printed; this was done in 1963 on the occasion of the vast centenary festival called the Eka-daśa-Rudra ceremony). In making the comparison that follows, I felt it could be confined to a limited number of main points and that a considerable amount of material could be ignored. There are five main categories: A. Some principal thoughts and some repeated actions, both of which are common to the South Indian priest and his Balinese Saiva colleague; B. A critical examination of these thoughts and actions, their form & meaning; C. Some constituents of the Balinese ritual which are either absent in South India or are much less developed; D. Some constituents of the South Indian ritual which are either absent in Bali or are much less developed; E. Some essential points of difference between South Indian and Balinese Saiva ritual; F. Conclusion. Abbreviations used. Lévi followed by number: the number refers to his numbers on pp. 7-32; Diehl followed by number: the number refers to his pages; (Aghora-Śiva); SoSa followed by number: Soma-Sambhu-paddhati; reference to śloka in section I, II etc. SuSe followed by letter: my Sürya-Sevana; reference to the subdi- visions. [[168]] A COMPARISON OF ŚAIVA RITUAL IN SOUTH INDIA AND BALI 143 A. Some principal thoughts and some repeated actions, both of which are common to the South Indian priest and his Balinese Śaiva colleague. 1. The first concern of the priest is bodily cleanliness at the beginning of the ritual; the next point is spiritual purity; this is constantly main- tained by the reiteration of certain sets of formulas. 2. The triad srsti/utpatti-sthiti-pralaya/pralīņa/samhāra, i.e. creation/ coming forth-existence-dissolution, occurs repeatedly. 3. There is a distinct awareness of the active triad: action-word- thought; many of the actions consist of mudrā; the words are mantra and bija; the thought element, is frequently expressed by a form derived from the root dhyā (In the Javano-Balinese rubric of the ritual the word idep, think, thought, may be used). 4. Tri-mandala consists of Sūrya-mandala, Soma-mandala and Agni- mandala, the spheres of Sun, Moon and the Fire. Although the eight points of the compass are protected by eight Loka- pāla, the worshipper, time and again during his worship, has to ward off the influence of the evil powers in the universe which constantly threaten to frustrate his endeavours. In order to control them, be it only temporarily, he performs dig-bandhana, fettering of the points of the compass. The most dreaded point is the South West; its opposite, the North East, called Aiśānya after Iśāna, the Lord, is a favoured point, as are also the East, and above all, the Centre. 5. The means used to fortify the worshipper’s power consist of nyāsa, assignment; by invoking respectfully the cosmological forces, the worship- per controls them and uses them either to augment his own power, or he neutralizes them, thus preventing them frustrating the aim of his activities. In this connection, mention must be made of final tarpana, ‘satisfying, giving satisfaction’ by the sprinkling of Holy Water. 6. A triad to which tarpana is offered, consists of deva-rsi-pitr, gods -anchorites-manes; a tetrad is formed by the catur-sandhyā. 7. The God Śiva has five aspects, pañcāsya, viz.: Sadyojāta or Sādya, Vāmadeva, Tatpuruşa, Aghora and Īsāna. Apart from Śiva-Sūrya (India) or Śiva-Aditya (Bali), a distinction is made between Śiva, Sadā-Śiva & Parama-Śiva. 8. Diehl, in the course of his book, points more than once to the fact that homage is made to a mantra and to a mudrā, which are obviously considered as leading an existence of their own. SoSa-for its first three main parts consisting only of 73+23+103 sloka and a number of mantra, and judging from Appendice II, Mantra utilisés pendant le culte de Sürya, and Appendice III, Mantra utilisés pendant le culte de Śiva, pp. 326-27- in this respect apparently lacks corroborative material, but in Bali the same -mantrāya namaḥ and mudrāya (sic) namah are found. 9. The most used mantra might be the Astra-mantra: om hum rah phat Astrāya namaḥ, and the Müla-mantra (for the worship of the Sun): [[169]] 144 SŪRYA-SEVANA om hrām hrim sah Śiva-Sūryāya namaḥ. Common to both countries is the Tri-Tattva mantra, which runs: om Śiva-tattvāya namaḥ, om Vidyā- tattvāya namaḥ, om Ātma-tattvāya namaḥ. 10. Considerable importance is attached to Prāṇāyāma, restraining of breath. 11. A gradual way upward is followed in the sequence Anantāsana- Simhāsana-Padmāsana, and that expressed in Nava-śakti-Asta-graha. (What is remarkable in the Balinese mss, is the use of the technical term prabhūta, found once only, and followed immediately by its paraphrase: Anantāsana. The same word, but as prabhūta-āsana, is found once in the SoSa II 5, p. 76, in the same ritual situation. The Balinese tradition has apparently solved the problem felt by Mme. Brunner). 12. A set of at least five consecutive mantra, followed immediately by another set of at least six, has been specially printed by Diehl on his pages 78 and 79, and by Mme. Brunner in her Appendice I on pp. 323-25. The same sets of mantra (but not with the same bija) serve the same purpose in Bali where, similarly, they are used repeatedly during the course of the ritual. They deal with kara-śodhana and anga-śodhana, with kara-nyāsa and anga-nyāsa; together they are known as sakali-karaņa (which seems preferable to Diehl’s śakali-karana); in Bali they are also known as Śivi-karana (which might be preferable to svī-karana, though one can never be sure of the Sanskrit s-s-s, all three being pronounced in Bali as s; sivambha and svambha, Holy Water vessel, alternate in the mss). 13. The worshipper is able to withdraw his soul from its abode in the hrdaya-pundarika before the annihilation of the last impurities of the body, moving it upward through the Siva-dvāra, fontanelle, and po- sitioning it at dvādaśa fingers’ breadth upwards from it. 14. The worshipper performs the unification of his own soul with that of the God, Which subsequently descends into his heart; in doing so he makes the God take possession of his person and become the agent of his own ensuing act. 15. Amṛti-karana, the preparation of Holy Water, is a recurrent technical term. N.B. Mudrā are a vital constituent of Saiva ritual in South India as well as in Bali; the names of the mudra are partly the same, but partly different. I have made no attempt to compare the mudrā: a film, or a system of notation is the only way in which the complicated movements could be recorded. Moreover, the mantra offer sufficiant points for com- parison. [[170]]
A COMPARISON OF SAIVA RITUAL IN SOUTH INDIA AND BALI
145 B. A critical examination of these thoughts and actions, their form and meaning. 1. Reading Diehl’s report on the worshipper’s preparations for the daily rites, one is struck by the fact that eight pages are used for the morning ablutions etc. (67-75) and seven only (75-82) for the ritual itself. The SoSa devotes 73 śloka to its prātar-dhyānādi-krama (I), only 23 to Sūrya-pūjā (II), and 103 to Śiva-pūjā (III). For Bali, the percentage of printed lines awarded to this sub division is only about 2% (A). There is not the slightest reason to presume that the Balinese priest is less convinced of the need for corporeal cleanliness and of the mental purification necessary for his task, but his attention does seem to be directed mainly towards his cult instruments (B-G). He is far from neg- lectful of his morning ablutions. After performing them, he uncovers the tray on which are the perishable essentials for his worship, speaking the while a considerable number of mantra (B). Then he cleanses his hands, kara, ‘doers’, by kara-śodhana, using the set of five mantra mentioned above sub 12, followed by the set of six for anga, the limbs, the rest of the body (Ca). After reciting more mantra, part of them meant to keep at bay evil influences (Cb), he performs kara-śuddhi rahasya, symbolical cleansing of the hands (D). Then he cleanses the tri-pāda, tripod, the bearer of the vessel containing the water that is to be transsubstantiated into Holy Water (Ea) and then the vessel itself (Eb). He writes OM on the surface of the water (Fa) and then makes a mahā-padma on it (Fb). Knowing that as a result of coming acts the vessel will contain Holy Water, he prepares it for its purpose by knotting kuśa grass around it (śiro-vista), just as he will knot kuśa grass round his own head (śiras, siro-) when the Śiva Soul descends into his body (Ga). Finally he performs the assignment of tri-mandala on to the water vessel (Gb). From this summary it will be evident, that though both priests bathe themselves, clothe themselves in two pieces of (plain white, Ab) cloth (Diehl 73) and turn to the East for their worship, the points of difference in their ritual are considerable. 2. Srsti, creation, has hitherto been found neither in Balinese ritu- alistic mss nor in Gonda’s ‘Sanskrit in Indonesia’ nor in Ensink & Van Buitenen’s ‘Glossary of Sanskrit from Indonesia’. Utpatti, apparition, has another (though related) meaning and is always followed by sthiti, so that it must be mentioned in this connection. A third term in Balinese manuals mentioned in this respect is Deva-pratisthā, and I am under the impression that both terms have approximately the same meaning. In my X", the formulas for utpatti, sthiti and pralina (pralaya is not used in the ritualistic manuals) are given, following immediately on each other in that order. Pralina San Hyan Aditya rin hrdaya, dissolution of Holy Śiva Sun in the heart, is the rubric at the end of two kinds of extended worship (Z"a). Samhāra as a technical term, is not unknown in Bali, but [[171]] 146 SŪRYA-SEVANA has a special form and meaning, viz. the nasalized verbal form, namhāra, which is used for that gesture of the fingers by which, at the end of the ritual, the sound of that important cult object, ghaṇṭā, the bell, is silenced. When the bell is picked up, it should first be consecrated by saṃskāra (some mss), or a stava, song in praise of it (other mss), should be sung (my S; this is only a matter of a different rubric, for the words spoken are the same). From these details it will be evident that, though a com- parison can, and should, be made, there are considerable differences in the choice of technical terms and in the ritual situations where they are used. 3. In reading Diehl and the Sośa, one gets the inescapable impression that all the bīja are given, and all the mantra are given, or hinted at, sufficiently clearly for those interested in the field, as well as all mudrā that have to be made. Moreover, the worshipper is continually being taught or reminded of the meaning of what he is doing and saying. The bīja are not omitted in the Balinese mss; the mantra are given in extenso, in the beginning of the ms; later on, they are often only hinted at. The mudrā (the Balinese rubric, derived from the word taran, hand, is pa- tanan-an) are often omitted in the mss. Sometimes the word mudrā in the rubric is followed by the word: saka-vēnań (‘as is appropriate’, or: ‘as you are able’, sc. to make them), saka-bvatan (as must be done, cf. Lévi 55) and saka-věruh (‘as you know them’ - which might mean: as far as you know them cf. ib.). Finally, in Balinese mss, the explaining element preceded by V dhyā, ’think, imagine’, is rarely expressed. Some do not contain it at all, e.g, the ms given to Lévi, and several others; in other mss it is only mentioned a few times. From the translated pages of SuSe one might get a distinct impression of the frequency of the dhyā iděp element in the Balinese mss, but such is not the case; the situation is clarified in the pages in the text, where it will be seen that all too often the indication of what has to be thought of in a specific situation is given in only one ms, and in several, not at all. Summing up this paragraph, one can only conclude that while com- parison is possible, there are definite divergences. 4. The Tri-mandala-mantra might seem to be unknown in South India, judging from the Appendices II and III to Mme Brunner’s book and the Indices to both books. From Diehl’s text (104, 108), however, it appears that the three formulas directed towards the Sun, the Moon and the Fire are used in Aghora-Śiva’s ritual, and from Mme Brunner’s notes on pp. 106, 134 and 170, it appears that the commentaries to the Soma- Śambhu likewise deal with this triad. In the two first loci the Tri-mandala- mantra is associated with the annihilation of the priest’s body and is directed towards the pericarp of the lotus of the heart; in the third locus, the three mantra (followed by śakti-mandala, directed towards the centre of the pericarp) are directed to three regions around this centre. In Bali, this threefold formula is applied in the first instance to the tripod (Ea) [[172]] A COMPARISON OF SAIVA RITUAL IN SOUTH INDIA AND BALI 147 and in the second, to the water in the vessel on the tripod (Gb); the different application is noteworthy. 5. To the writer of the SoSa, the principal thought of nyāsa was far from unknown, as appears from his IV 28 and V 11, but in the earlier part of his ritual he confines himself to the karaand anga-nyāsa. In the Balinese ritual this thought of nyāsa is more detailed and the emphasis on it is greater. Just as kara-śodhana and prāṇāyāma are not omitted in any ms, so no single item of an uninterrupted series of twelve nyāsa (Na-Nn), crowned by Deva-pratistha, the God’s Presence, is ignored in any ms. The drawing of this dozen nyāsa presents a Śiva-Linga, its base being Ananta and Kürma, consisting of eleven lotuses (eka-daśa-Rudra?), as a rule one on top of the other, with the caption: om om Deva-pratisthā, patěmu nin ātmā lavan Déva; ya sańkanparan in sembah, matěmah Lin- godbhava (Agama Tirtha fig. 23, pp. 158-67), i.e. homage to God’s Presence; this is the union between one’s own soul/self with God, which is the starting point and the aim of the worship. The difference between South India and Bali is not a major one, but it does nevertheless exist. 6. Sprinkling with water is mentioned more than once in the Balinese mss. Those dealing with the ritual of the padanda Bauddha contain no stuti that is not followed by a number of acts of sprinkling, for which act the technical term pa-kětis is used. The Saiva mss, after a stuti, never mention an act of sprinkling; their technical term is sirat, and the instru- ment with which the sprinkling is done is called pa-sirat (cf. ‘Agama Tirtha’ pp. 148-50). Sirat is done to the God Surya at the end of Surya- sevana (Z); tarpaņa, by sprinkling, is done to the Catuh-Sandhyā (M’), known to the SoSa but without the sprinkling, and to the triad Gods- Anchorites-Pitr (N’). The Sosa, on the other hand, has not only more categories, but enumerates one after the other eight Gods, seven Anchorites and nine Pitr, each of them with a complete formula. Here it should be remarked that, with one exception, the Balinese mss add Sarasvatyai namah or even Sarasvatibhyo (sic) namah to this triad. It is, moreover, true to say that these tarpaņa are performed at the end of the Balinese ritual, i.e. not at the end of the preparations, as in the Sosa, but at the end of the ceremonial sending-off of the God, shortly before the final pralina (M’N’). And tarpana, though at the end, is not the end itself as in the SoSa, for it is followed by Śiva-amrta-mantra (O’, 14 lines), Kūța- mantra, a complete Udakāñjali (pādya, arghya, ācamanīya etc., P’) and a stava directed to the God Surya in the unusual vasanta-tilakā metre (Q’; 15 lines). The final sprinkling, expressed by the word sirat, is done to Śiva, still immanent in the worshipper (Z), or to the Siva-dvāra of the priest into whose heart Śiva has again been conducted down (Z"b). Com- parability is obvious, but the differences are important. 7 and 8 invite no comment. 9. It may not be of great importance that, though the word mūla is known in Bali, the Balinese technical term kūța-mantra is preferred to [[173]] the South Indian mūla-mantra. In Bali the word Sürya is also used, for, during a temple festival, as soon as the Holy Water has been prepared by the padanda, with the words ka Sürya rihin, It is offered first to the padmāsana, which is in that corner of the temple yard backing (with the worshipper facing) the Great Mountain, Gunung Agung. In the majority of temples this coincides with the point of the compass called Aiśānya (NE), but there are several where the situation of the Mountain and Aiśānya do not coincide and where the Mountain takes precedence. The word Aditya, however, seems to have won in the Javano-Balinese world. Sun-day in Modern-Javanese is rědité ráditya (rabeing an honorific prefix) and the mula-mantra for Sūrya, characterized by its r in the bija hram hrim, in Bali is a kūta-mantra for Aditya. The Astra-mantra, of equally frequent use in Balinese ritual, is not confined to the one bija used by SoSa, where it reads: om rah Astrāya namah. In Bali, the first time homage is paid to the Missile, the formula reads: om rah phat Astrāya namaḥ, but immediately after that, it runs: om hum rah phat Astraya namah, and that is the form in which it is used during the rest of the ritual. This formula is also known to that puppeteer of the fourth caste, the dalan, of the shadow theatre, vayań, who has received metaphysical instruction as laid down in the manual Dharma Pa-vayan-an, followed by a dīkṣā, consecration, so that from that moment onwards he is an exorcist priest of a kind called amanku dalaň. Apart from the relatively simple Astra-mantra, there exists the Astra- mantra kabèh (i.e. all, complete). After the first line it reads: om Atma Tattvātmā śuddha mām svāhā; om om Kşamā-Sampūrṇāya namaḥ; Nārāca-mudrāya (sic) namah; om bhām Netrāya namaḥ (right); om bhām Netrāya namaḥ (left); om hum rah phat Astrāya namaḥ, Amrta-mudrāya namaḥ. For this last line, Lévi’s informant gave him Amrta-mudra-hrdayāya namah; three of my mss insert at the beginning om Śrī Paśupataye namaḥ. In addition, the pronouncing of these formulas is accompanied by a number of mudrā (plate 1-3), so that the simple Astra-mantra of the SoSa, in its Balinese form, has been elaborated so far as the bija and mantra are concerned and has acquired a third dimension by its use of mudrā. The Tri-Tattva-mantra is found neither in the SoSa nor in the Index, but it is dealt with in the Introduction on p. XIX and p. XXXIV; during Śiva-pūjā, III p. 170 and p. 173, the majority of texts link ātmā-tattva with the Surya-mandala, vidyā-tattva with Soma-mandala and Śiva-tattva with Agni-mandala. In the Balinese manuals, the Tri-Tattva-mantra is used three times (H, Nb, I’). The first, immediately after the Tri-mandala formulas have been applied (if not assigned) to the Holy Water vessel, the I ms (the only one to give explanations) has the following lines: patěmu nin Śiva [lavan?] Ardhanaréśvarī, patěmu niň jñāna lavan iděp, patěmu nin ātmā lavan Déva, i.e. meeting/union of Siva [with?] Ardhana- réśvarī, of knowledge with thought, of the soul with the God. The second [[174]] A COMPARISON OF SAIVA RITUAL IN SOUTH INDIA AND BALI 149 time, tri-tattva is the second item in the long series of nyāsa; in the I ms Siva-tattva is followed by the words Śiva-mandala, vidyā-tattva by Vişnu- mandala, ātmā-tattva by Brahmā-mandala. The I ms makes no comment when the Tri-tattva formulas are used for the third time. 10. Prāņâyāma is performed twice in the SoSa in the sections compared here, the first time at the end of the worshipper’s preparations (I 69-70), only in the SuSe (I), dealt with so briefly, and the second, in the same ritual environment as in the SuSe (III 12-15; my I). In the SoSa 9-10 the worshipper, desiring to safeguard his jīva (SuSe uses ātmā) before the purification of the corporeal elements, bhūta-śuddhi (SuSe uses mala nin śarīra, stains of the body), extracts his soul from his body and po- sitions it at dvādaśānta, at twelve fingers’ breadth above his fontanelle. This is the first important ritual act after the preceding preparatory cleansing of cult objects, and has as its result the immediate unification of the worshipper’s soul with Śiva. The SuSe likewise has its prāṇāyāma (I), mentioned in all mss, after its elaborate cleansing of the cult objects (E-G); it precedes the extracting of the soul (J) and the annihilation of impure elements (dagdhi-karana, Ka, deliberately followed by Kb, paděmi, extinguishing the fire, by Amrta from the Sky, La). But in Balinese ritual, prāṇāyāma is not followed immediately by union; in the SuSe, this supreme stage is only reached as the result of the whole series of a dozen nyāsa (Nm). This is a point of considerable difference. 11. After what has been said in the preceding remarks, this point needs no further comment. 12. Diehl’s five Brahma-mantra and six Limb mantra correspond completely with what is found in Bali (cf. SuSe table on pp. 23-24), whereas, at first sight, his Niyācam Table (78-79) is different from that produced by Mme Brunner in her first Appendice. There is, however, no real difference, for both are based upon Aghora-Śiva; the explanation is, that Diehl prints his mantra only once, ending by distinguishing between ‘opening ceremonies’ and ‘closing ceremonies’, whereas Mme Brunner prints her formulas twice. For the rest, it is only reasonable to surmise that in the case of deviations, the most recent publication comes nearest to what is meant by Aghora-Śiva. The Balinese sets of five and six mantra show the following points of divergence: a) There is only one set of five kara-mantra followed by six anga- mantra, at least, as a rule. b) Vidyā-deha is unknown in Balinese ritual and to Balinese philoso- phy. This judgment is based on the Kavi-Balinese Dictionary, on Gonda and on Ensink-Van Buitenen, and on my own memory and my habit of inserting newly-found words. c) The mantra now following, addressed to Śiva’s three eyes, is not found anywhere in the Balinese mss I have consulted (but cf. Uc 4). [[175]] 150 SŪRYA-SEVANA d) Diehl continues with a mūla-mantra, which is found neither in the SoSa nor is it mentioned in the notes. e) Then come the anga-mantra for the heart, the head, the tuft of hair, the breast; and only then are found the formulas for (the priest’s) right eye (the priest faces the East; the accompanying mudrā is directed towards the South) and left eye (mudrā directed towards the North), expressis verbis. Finally this set is concluded with Astra-mantra. f) As appears, in general from the SuSe, mudrā are almost ignored in most mss. It is exceptional for a mantra to be omitted, and Old-Javanese rubric is dealt with rather arbitrarily Even when the Balinese priest pronounces correctly: kşamasva mām, ‘forgive me’, during his ritual, he may write svambak svambam in the rubric; and when, instead of Brahma-mantra and anga-mantra, he uses the terms Brahmānga and Sivānga, this must be accepted as standard practice (though the last term remains obscure). But he might be right in beginning with the rubric kara-śodhana, which is also found in the opening ceremony in Aghora-Śiva. This authority first gives a complete sodhana, cleansing, consisting of the (a few more than) eleven formulas, followed by the same complete nyāsa, assignment, on the fingers and limbs then cleansed and in a condition to receive this nyāsa and worthy to receive it The third note on p. 324 of the SoSa, reads: ‘on place maintenant les mantra’, which derived either from actual witnessing it or from information: this remark seems to corroborate my interpretation. The Balinese priest, however, seems to act differently. The manuals, without exception, mention only one set of five mantra followed by six (table p. 23-24). It looks as if the Balinese priest performs śodhana and nyāsa at the same time. One might, however, point to one place in the SuSe where kara-śodhana Brahmānga-Śivānga (Ma) is separated by eight formulas from the following Śivi-karana Brahmānga-Sivānga- nyāsa (Na). There is no paraphrase in the I ms or clause preceded by iděp/dhyāna to clarify this point. The differences are notable. 13. The SoSa, in the beginning of III, Sūrya-pūjā, devotes not less than its sloka 8-14 to the safeguarding of and removal of the priest’s soul, which then unites immediately with Śiva. The formulas that must be used are unspecified; then comes the mantra: om hām ātma-mūrtaye namah with samhāra-mudra, concluding with prāṇāyāma. The SuSe shares the principal thought of the safeguarding of and removing of the soul, the burning away of its impurities, but precedes it with prāṇāyāma. Union with the God is not accomplished before the entire series of nyāsa has been performed. Moreover, the means of conducting the soul are entirely different, for the SuSe uses the Sapta-OM-kāra-ātmā-formula, carefully indicating the mudra and the flowers to be used (J). When the Śiva Soul is conducted towards the priest’s heart, either these formulas or the Tri-tattva, followed by the Nava-Śakti formulas, are used (P), and for the descent of Devi Ganga, the worshipper uses the Sapta-tirtha formulas (Va). The Sapta-OM-kāra-ātmā-formulas are again used for the [[176]] A COMPARISON OF SAIVA RITUAL IN SOUTH INDIA AND BALI 151 descent of Bhagavān Gangā (W) and a third or fourth time as the first step of the God’s being seen off (A’) - but then the order of the formulas is reversed and the ātmā is omitted. To use Diehl’s terminology: Com- parison shows that the purpose is the same, but the instruments are com- pletely different. 14. The unification of the worshipper’s soul with the Siva Soul is mentioned passim in Diehl’s book. The SoSa, III 15, lets the worshipper achieve this aim at the beginning of the Sūrya-pūjā, by prāṇāyāma. In Sūrya-pūjā, II 9 and Śiva-pūjā, III 61-66, the invocation of the God, āvahana, are followed by offering of pādya, arghya and ācamaniya to the Divine Guest. In the Suse, the God’s appearance, Deva-pratisthā (Nm), occurs as a result of the preceding series of nyāsa and is confirmed by Kuta-mantra, which is also followed by the same set of formulas (O). The I ms provides the missing link by stating: patěmvan in ātmā lavan Déva, matěmahan Lingodbhava, ’the unification of one’s own soul with the God, being the (caption and top of) Lingodbhava’, as shown in the drawing of ‘Agama Tirtha’. The Balinese comment and the Balinese drawing corroborate the explanation of these passus in the Sosa, that the invoking of the God not only leads to His Presence but also to His union with the worshipper’s soul. 15. This Presence-of-Śiva/union-with-Śiva inspires the SoSa to some śloka of dhyāna and also creates daily a feeling of supreme happiness in the worshippers, but from the point of view of the ritual, this part is of no consequence-at least in South India. In Bali, the unification of the worshipper’s soul with the Siva Soul is the culmination of the ritual, and in the drawing, the top of the Lingodbhava. Then the Siva Soul is con- ducted downwards (P) to the priest’s heart and to the water vessel prepared for it and which has become the vessel containing the Holy Water. Homage is paid to It (Q) and a stuti is sung in Its honour. The worship is directed towards the Holy Water and the praise, expressed in numerous stuti consisting of several sloka, is addressed to It (S-Y), and that is the end of what is called Sürya-Sevana, worship of the Sun (Z); in the mss this is just as frequently called Karya Toya, preparation of Holy Water. Diehl, in his Index, gives six loci for Amrti-karana. Though he has overlooked it on his p. 107 and p. 115, one is grateful for his reference to amrta on p. 101 in a situation where the Balinese rubric wrongly speaks of amrti karanam (La). There is no preparation of Holy Water in this connection, but Holy Water, emanating from Śiva-in-the-Sky, either spontaneously or by His will descends and extinguishes the flames which have consumed the priest’s corporeal impurities. So the Suse, apart from that one caption, which is an error, has only one amrti-karana (PQ)- though there it does not use this technical term. The SoSa mentions amrti-karana eleven times; here too this transsubstantiation is not the supreme act from which the whole religion takes its name, as in Bali, viz. āgama tirtha, but a more common procedure. [[177]] 152 SŪRYA-SEVANA The difference between the Śaiva rituals, as given in the manuals, is considerable in this most important respect. C. Some constituents of the Balinese ritual which are either absent in South India or are much less developed. Some of the items to be examined under this heading have already been discussed, viz.:
a) The attention paid to the cult objects and their consecration (B-G, S); b) The uninterrupted series of nyāsa (Na-Nl), culminating in the God’s Presence and His union with the worshipper’s soul (Nm-Nn);
c) In the last paragraph of the preceding summing up in B, the new element stuti/stava was mentioned. This element is apparently non-existent in these South Indian manuals, but is an indispensable one in the Balinese manuals. Several collections of stava exist, with or without paraphrase. Frequently several stava constitute as many appendices to a manual, and often during the course of a ritual, the one ms inserts one stuti here, the other, one there, in addition to the numerous stuti all mss share. Under certain circumstances, the full number of śloka does not appear to be sung, for not infrequently the manuals in their rubric say: tutugakěna, ’to be completed’. Sometimes a ms of the SuSe gives an additional śloka. Lévi’s informant was the most prone to note stava: Lévi even prints one which hitherto was unknown to me.
d) Twice, both times in connection with the Holy Water, a ten syllabic bīja formula is used (Ua, Ya), called Daśa-Bāyu or Daśa-Nihśvāsa. The Balinese padanda attach such importance to these syllables that in their drawing of the Liṅgodbhava they allocate the centres of ten of the eleven padma to them. Their meaning is still unexplained. In my ‘Agama Tirtha’ I drew attention to them and added loci from Bauddha ritual where they are also used. They are not found in the South Indian manuals I have examined.
e) Whatever blessings the South Indian priests may expect from their worship - Diehl has something to say on this subject-they do not express their expectations during their worship. The Balinese, however, do so, openly (in Sanskrit), and repeatedly (try-antu-mantra Cb, H, Kb, Mb; sapta-vrddhi Yc); the I and K mss even going so far as saying in their rubric: Liṅ Bhatāra or Liṅ San P-in-ūjā, i.e. words of God, or: words of The One Who is worshipped. These mss, in their rubric, even create a kind of dialogue between the priest conducting the worship and the boon-bestowing God.
f) Neither at the end of III, Śiva-pūjā, nor at that of IV, Agni- kārya, is there a ceremonial sending-off or a reverential leave-taking of the God; this is in direct contrast to the situation in Balinese ritual where this part is circumstantial (A’-Q’, Z"). [[178]] A COMPARISON OF ŚAIVA RITUAL IN SOUTH INDIA AND BALI 153
g) At home, worshipping in his domestic shrine, the Balinese Saiva priest does not, to the best of my knowledge, put on special attire. He puts siro-vista, knotted grass, around his forehead as a token that he is the vessel in which the Śiva Soul has deigned to take up Its abode. In their manuals, however, the priests refer to this fact only after they have dealt with bhasma; it is followed by the enumeration of the bhūsana, which are not to be put on during daily ritual at home but at ceremonies of more importance, out of doors. When the padanda Śiva is invited to prepare the Holy Water at a place outside his own home, and if he considers the occasion of sufficient importance, he will demonstrate that Śiva- Aditya is present in his physical body and will guide his tongue and his hands, by putting on fourteen different ornaments, bhūṣaņa. This part of the ritual has had the full attention of the creator of the ritual; no subdivision is dealt with briefly. Each of the fourteen ornaments is ad- dressed by the reciting of a formula in prose or a sloka, and after the worshipper, who is the embodiment of the Worshipped One, has dressed Him with the ornaments befitting Him, he concludes this part of the ritual by the recitation of the fourteen-fold Catur-daśa-Śiva formula. That Śiva resides in him is beyond doubt during this part of the worship, but, since this is an uttama occasion, it is proclaimed as such by the wearing of the magnificent mitre and other ornaments. Worldly rulers likewise exercise their power continually, but wear their crowns only on supreme occasions. The application of the ashes, bhasma, is described in detail in the mss; several mantra are used. The manuals on ritual mention bhasma before siro-vista, as the first item perhaps in the series bhasma-bhūsana, dealt with in Appendix I. Drawings and photographs, which are better than words, demonstrate ad oculos the majesty of the officiating priest-this material expression of the priest’s being the incorporation of the God is peculiar to Bali, at least in comparison with South India. D. Some constituents of the South Indian ritual which are either absent in Bali or are much less developed. a) After what has been said in the preceding paragraphs, there is no need to dwell on the fact that, in comparison with the South Indian manuals, the prātar-dhyāna hardly exists in Balinese mss. b) Neither does it need to be said again that Linga-pūjā is no part of the daily ritual. If, however, Linga-pūjā is undertaken (App. 2), the worshipper pays great attention to it. c) The way the South Indian worshipper tries to approach his God is comparable to the way in which a subject tries to be admitted to the presence of his ruler. There is a dvāra, door, and the dvara-pala; the omnipresent homo ludens (J. Huizinga, translated by R. F. C. Hull, London, [[179]] 154 SŪRYA-SEVANA Routledge & Kegan Paul, 1949), emerging even in manuals on ritual, provides the door with a righteous and an unrighteous doorkeeper. His Majesty does not grant a private audience, but is surrounded by groups of courtiers, even having His sons and His heir close to Him, etc. There is nothing of this kind in Balinese ritual. d) Bhatt, in his ‘Rauravāgama Vol. I’, devotes his Appendix II to Sūrya-pūjā, and explains that in South India two schools of ritual or thought can be distinguished, the one considers Sūrya-pūjā as an integral part of daily worship (to be followed immediately by the much more elaborate Śiva-pūjā), whereas the other considers this as optional and not belonging to daily worship. Of Bali it can be said, first, that there is only one form of worship, which is directed towards the Sürya-aspect of Siva, Śiva-Aditya; secondly, an extensive Śiva-Linga-pūjā may be intercalated after a complete daily worship and before its elaborate ceremonial ending; but this is optional. The subject has been dealt with in my ‘Agama Tirtha’. e) In the temple worship of India, the anthropomorphic tenor pointed out in c) is continued by the ritual for the God’s awakening, for His bathing, His anointing and His being given regal apparel, food and drink, ete. This thought is entirely absent in the padanda’s daily worship. The ceremonial offering of pādya, arghya and ācamaniya to the Divine Guest, be it Śiva-Aditya (O) or Dèvi Gangā (Vb), is hardly comparable. (This absence in the daily ritual, however, does not mean that it does not occur in Balinese ritual, but it is restricted to the death ritual. But this is not a matter of one hour, but of a thousand days and in its uttama form, even of some twenty years).
E. Some essential points of difference between South Indian and Balinese Saiva ritual.
a) The Balinese brahman priest, both Bauddha and Saiva, may have functioned at one of the former courts, but he is not connected with any particular temple.
b) Daily, shortly after daybreak, in his domestic pavilion, open on four sides the padanda Śiva performs Sürya-sevana. The result of this is Holy Water that has been prepared by Śiva Himself, Who has descended into the priest.
c) The Bauddha priest calls his worship yoga, his worship pavilion balé pa-yoga-an and himself yogiśvara (the use of this word at the end of the Old-Javanese Rāmāyaņa should be noted).
d) The padanda Śiva’s worship pavilion is called balé pa-véda-an, after the veda, i.e. the stuti he chants in honour of the gods. Those exceptional individuals who receive the same religious and ritual instruction as do young brahmans and who undergo the final dīkṣā, are called rọi.
e) The South Indian temple is the property of the ever-present God and is administered for Him by His priests.
The Balinese temples are the [[180]] 155 property of communities of worshippers. They are entrusted to the care of (as a rule) śūdra temple priests, called pamańku.
f) As a rule, a Balinese temple is not inhabited, either by Gods or human beings. But, for example once in the Balinese year, on the occasion of the temple’s anniversary, a temple festival is held and the Holy Water is prepared. g) Though the temple priest is able to collect a kind of holy water from a spring, or may put water on the unroofed padmasana, the throne of Surya, in the hope that by his prayers Sūrya may be induced to change this water into His Holy Water, the community worshipping at a temple will, as a rule, invite a Saiva priest to prepare Holy Water. The priest arrives at the hour appointed, performs his kārya toya and then departs. h) In the South Indian temple, the God is always present, but His attention must be invoked by āvahana. In the Balinese temple, the God is never present, except for the half an hour during which He, Who is vyoma-vyāpī, as a result of the priest’s acts, takes possession of the priest who is worshipping Him.
F. Conclusion.
In addition to the padanda Śiva and the padanda Buddha, the pamańku and the senguhu or rși bhujanga (a śūdra exorcist priest), there is the amańku dalań, the puppeteer of the shadow theatre. Performances with the shadow puppets can take place during the day, when they last only an hour or so and are exorcistic in aim, and at night, when they continue through the night, and are generally regarded as entertainment though, partly, they serve the same aim. The witch doctor, balyan, to some extent dealt with by Wolfgang Weck in his ‘Heilkunde und Volkstum auf Bali’ (Enke, Stuttgart, 1937) cannot be omitted from this list. The trance element should not be lost sight of, the more so since it is acknowledged (as well as assisted) by both pamanku and padanda (Jane Belo, ‘Trance in Bali’, Columbia University Press, 1960). The care of the dead is associated with the most spectacular side of religion in Bali and there is an undeniable relation with potlatch; this field is largely dominated by the padanda. Numerous papers and two monographs have been devoted to this subject which is so vast that it cannot yet be considered to have been dealt with exhaustively. Much is known, but more remains to be investigated and to be examined in detail.
From the preceding pages it will have become evident that Saiva ritual in India, particularly in South India, ought to link up with the Saiva ritual as practised in Bali, with its mantra in Sanskrit and pseudo-Sanskrit, its mudrā in Sanskrit and in the vernacular, and with its rubric in Old- Javanese larded with Sanskrit technical terms. A comparison which though detailed, is far from comprehensive, shows that there is a close, [[181]] 156 SŪRYA-SEVANA relationship; it also shows that there are considerable differences. But neither Aghora-Śiva nor Soma-Śambhu, for all their similarities, have been shown to be closely related. The detailed research, necessary when trying to link a ritual in Bali with a ritual in India, leads one along the devious byways of associated fields of study. Perhaps in literature, in the Old-Javanese Rāmāyaņa, for example, notwithstanding the difference of language between the Indonesian product and its Indian example, the strongest relationship might be found. Research in architecture has shown the influence of Indian śilpa-śāstra. There might, therefore, be found to exist between Balinese and Indian ritual, the close relationship that thus is between Old-Javanese candi and Indian sacral buildings, though perhaps the rituals, being subject to alterations in the course of time, have drifted further apart. To my mind, the Balinese ritual is less complicated than the Indian. The Indian ritual reminds me of an Indian toraņa; perhaps it can be equated with Western baroque style, whereas the Balinese ritual seems to me to tend towards the simplicity of Roman architecture. It may be that this book will contribute to a better insight into the genesis of South Indian ritual. It seems certain that more critical editions of South Indian āgama will shed light not only on the development of South Indian ritual but also on the period when the present-day Balinese ritual was borrowed. The whole subject, of which Diehl attempted to do a survey, and which Filliozat, with the aid of his helpers, pursued so energetically, may have some importance not only for students of the history of religion but also for students of history itself. This was Sylvain Lévi’s approach. And though I have criticized him on details, I have nevertheless followed his line of thought. [[182]]
V. APPENDICES [[183]]
A BHASMA.
Nihan mantra nin a-bhasma. (G adds: Ukupin, sirat in toya). 2 Kunań kaměnantâbhasma (I: maka-sādhana go-mudra-ntên kiva, 3 ěnahakěna ri lěpa-lěpa ni kara-n-ta), gha(r)șa ri tuntun nin anāmika, 4 (K: namantrani bhasma) (plate 32): 5 Om Idam bhasmam param guhyam, sarva-pāpa-vināśanam; 6 sarva-roga-praśamanam, sarva-kalusa-nāśanam B Mantra nin anagēm bhasma: Om (G: bam) Bāma-devāya namaḥ. 2 Mantra nin anrěměk bhasma: Om Sam-Bam-Tam-Am-Im, 3 (G completes the Sthiti-formula: nam-mam-Sim-vam-yam, Om [Am]-Um-Mam) 4 (Bh: Deva-pratistha [Deva-pratisthāya namaḥ]). 5 Kūța-mantra [Om hrām hrim sah Parama-Śiva-Adityāya namaḥ]. C Ajèr muvah (IK: putěr pin tiga, iděr těněn): Om Bhür-Bhuvah-Svah. 2 Nandělakën bhasma (K: těmvakën anāmika-n-ta kiva lavan těñën): 3 Dharma-jāti-mantra: Om am Pradhāna-Purusa-samyogāya, 4 Vindu-Devaya, Bhoktr-Jagat-Nāthāya, 5 Deva-Devy-Adi-Samyogāya, 6 Parama-Śivāya namaḥ svāhā. D Kunań krama niň a-bhasma (I: San Hyań Pañcâsya gēlarakěn) 2 (P: Śivi-karaņa, Brahmânga Bh: rin rāga) (cf. Ca, Ma, Na, Nh, Bh, H’): 3 Om (G adds: om) Iśānāya namah, sirah/GBh: Śiva-dvāra; 4 Om (GU add: tam) Tatpuruṣāya namaḥ, rahi/G: sěla nin lalāța ; 5 Om (GU add: am) Aghorāya namah, ati/hrdi/G: pahludan; 6 Om (GU add: bam) Bāma-devāya namaḥ, bahu těněn; 7 Om (G adds: sam) Sādyāya namah, bahu kiva. [[184]] APPENDIX 1 ASHES and ADORNING A ASHES. As follows are the formulas to be used when ashes are applied. 2 Keep the ashes over the frank-incense, sprinkle them with holy water. 3 But before you apply ashes (using the cow gesture to the left), 3 put them in the palms of your hands, rubbing with the tip of your ringfinger; 4 pronounce the following formula over the ashes: 5 6 These ashes are a supreme mystery, annihilating all evils; healing all illnesses, destroying everything that is unclean. A 3 second half, in Bh to be found between my lines B4 and C1. 5 second half in the G ms: pavitram pāpa-nāśanam; in the Bh ms: klésa-vināśanam. 6 G ms sarva-roga-saganaś ca, sarva-kali-kaluşaņam. B Formula for the taking at hand of the ashes: Homage be to (vam) Vamadéva. 2 Formula for pulverising the ashes: Homage be to Sa-Ba-Ta-A-I; 3 homage be to Śiva, homage be to Brahma-Vişnu-Śiva. 4 Hail be to the God’s Presence; 5 the Pinnacle formula. B 1-2 It is unusual that half of the mss have the rubric before the mantra, half of them after. C Once more pulverising the ashes, three times, clockwise: Hail to Earth-Sky-Upper Sky. 2 Application of the ashes; meeting of the left ringfinger with the right one. 3 DHARMA-JĀTI-formula (cf. Y"): 4 5 6 Om am homage and honour to the Union of Pradhana and Purusa, to the God of the Drop, to the Enjoyer and Ruler of the world, to the Original Union of God and Goddess homage to Paramount Śiva svāhā. (to Him Who from the beginning is united with the God and the Goddess), C3L (119 ‘consolidating’) has Om Śiva-rūpāya namaḥ instead of Dharma-jāti-mantra. This formula is not in its place here, but is the 14th or last of the Bhusana-mantras, beginning with Siro- vista, E-T, Lévi’s 118, and is followed immediately by an appropriate Catur-dasa-Śiva-mantra, cf. U. Lévi’s 120 here has Tri-tattva, supported by Bh, but not in any other ms in this connection, which in its turn is followed by W (Lévi’s 121), Śivi-karaņa Déva-śakti. Lévi then goes on with 122 Pūjā simpěn, the winding up or ceremonious sending off of the God, my A’ Nili/tuntun Śiva- Aditya vavên Śiva-dvāra, Lévi’s 127, Tuntun sang hyang sivaditya maring sangar. It will be evident from a comparison with all the other mss that Lévi’s Om Siva-rūpāya namaḥ is only a forgotten remnant, probably from the enumeration. D Regarding the method of applying ashes, assign the Fivefold Aspect formula on them; 2 DEIFICATION, Brahmanga, to the parts of the body: 3 Om om homage be to Iśāna, head/fontenelle; 4 Om tam homage be to Tatpuruşa, forehead between eyebrows; 5 Om am homage be to Aghora, heart; 6 Om vâm homage be to Vāmadéva, right arm; 7 Om sam homage be to Sadya, left arm; [[185]] 160 8 [Śivanga:] om ham Hrdayāya 9 om rm Kāya-Sirase 10 om Bhür-Bhuvah-Svah- 11 Jvālini-Sikhaye 12 om hrüm Kavacāya 13 om bham Netrāya [pin kalih] 14 om hum [rah] phat Astrāya 15 SURYA-SEVANA namaḥ, hrdaya/ati; namaḥ, śirah; namaḥ, tuntun in rambut; namah, tungir/G: punuk; namaḥ, mūla kantha/G: kunit; namaḥ, rin karņa rva kalih; (Bh: mvan sarvânga). E (LBh: Mantra nin) ŚIRO-VISTA (cf. Ga) 2 Siro-vistam mahā-divyam, pavitram pāpa-nāśanam; 3 nityam kuśâgra tişthati, sīdantam pratigrhnati. 4 [Astra-mantra] Hum raḥ phat Astrāya namaḥ. F (G: sirat in toya; ukupin) ta-SAMPET: 2 Om Sampět nirbandhanam nityam, Mahā-deva tu lakşaņam; 3 saha-devati-devānām, sarva-śatru-vināśanam. G H: Mantra/S: Japa tan-pa-ganitri/Bh: Mantra n pa-bhūṣaṇa : 2 Angulir-agra-parveņa kriyate jāyate sadā; 3 Meroḥ pradakşiņā nityam, mahā-pātaka-nāśanam. H ITSH: ta-KARA-ŚUDDHI RAHASYA (I: rumuhun) (cf. D), 2 ri kamena-n-ta anambut guduha mvan bhūşana, 3 (T: anāmikā dé nin mañanakěn; těněn karihin): 4 Om Sam namaḥ, tarjinī; 5 Om Am namaḥ, madhyamikā: 6 OM-kārāya namaḥ, anāmikā; 7 Om hum rah phat Astrāya namaḥ, kanisthā. [[186]] T.KN Plate 25. SANKEPI (passim). [[187]] Plate 26. MUDRA ka JABA, BHUVANA AGUN, to the Exterior, to the Material World. NE, Aiśānya, triśūla. N, Uttara, cakra. E, Půrva, vajra. C, Madhya, padma. SE, Agneya, śańkha. S, Dakşiņa, danda. NW, Vayavya, dhvaja. W, Paścima, (nāga) pāśa. SW, Nairrtya, khadga. [[188]] Mudrā ka JRO, BHUVANA ALIT, to the Interior, to the Immaterial World. NE, Aisanya, paraśu. E. Pūrva, hrdaya. N, Uttara, dhanu. C. Madhya, mustika/pratistha. S, Daksiņa, vrşada. NW, Vāyavya, kavaca, W, Paścima, triśūla. SE, Agneya, śaro/astra. SW, Nairrtya, śikhā. Plate 27. [[189]] Plate 28. top. nagěm sěkar. bottom. nagěm sěkar mivah ghantā. [[190]] Plate 29. top. prthivi-mudrā; bottom. ākāşa-mudrā. [[191]] Plate 30. top. nuntun/nili ātmā; bottom. mulan sěkar panuntun. [[192]] Plate 31. AM BHAM NETRAYA NAMAH. top. first time; bottom. second time. [[193]] Plate 32. top. bhasma; bottom. něnhāra ghanță. [[194]] APPENDIX 1 161 8 Om ham homage be to the Heart, heart; 9 Om rm homage be to the Trunk and Head, head; 10 Om homage be to Earth-Sky-Upper Sky, 11 to the Tongue of the Flame, tips of the hair; 12 Om hrüm homage be to the Coat, upper back; 13 Om bham homage to the Eye, [twice] Adam’s apple; 14 Om hum rah phat homage be to the Brand, both ears and all limbs. D It should be noted, that none of the mss give any indication of any mudra that has to be made. As none of my mss has Kara-śodhana/Brahmanga-Śivânga/Śivī-karana ever followed by Kuta- mantra, Lévi’s 117, this must be put in the notes, though to some extent it is supported by comparable Astra-mantra in ms O, for this can also be considered as a kind of conclusion. E Formula for the [grass] HEAD BIND: 2 The knotted grass is divine, purifying and destroying evil; 3 the tip of the grass is steadfast, supporting him who sits down out of heart. 4 Brand formula: Om hum rah phat homage to the Brand. F After sprinkling it with Holy Water and keeping it for a moment over the brazier, DON [the broad] SASH [from left shoulder to right hip, plates 10-25]: 2 The sash means perseverance, it is characteristic of Mahādéva; 3 included goddesses and gods, it is annihilation of all enemies. F 2-3 The Bh ms has this śloka preceded by another one, Aa 6-7. My ms Pūjā apa?, after giving this sloka, continues with the slokas O and P. The G ms, hitherto used, though not mentioning any more ornaments, prescribes a completely written out sańkěpin after kara-vista and sampět have been donned, to be concluded by putting down of the lamp and the bell.-The Bh ms follows a slightly different order of summing up the bhūsana; the following ten bhūsana, as in I-R, are based upon the concordant ITSH mss; the last two items, S & T, are only mentioned in the I and Bh mss. G Formula for the adornments before donning the rosary: 2 By tips and knots of the fingers is always accomplished and generated a 3 Continued Circumambulation of Mount Méru, while keeping It at the right hand, which results in the annihilation of mortal sins. G According to the HSBh mss only; Bh goes on with: a-SAVIT: om Śiva-rūpāya namaḥ, the formula already discussed in the notes to 0 3. H First of all SECRET (symbolical) HAND CLEANING, 2 before handling the sash and adornments, 3 the ring fingers are the means and carry out the ritual gestures; 4 right first: Om homage to Sadyojāta, fore finger; 5 Om homage to Aghora, middle finger; 6 Om homage to the Syllable OM, ring finger; 7 Om hum rah phat homage to the Brand, little finger; [[195]] 162 SŪRYA-SEVANA 8 IS: Mvah marin kiva; T: Japa-śakti/H: Catur-śakti: 9 Om A namaḥ, tarjini; Om Sa namah, madhyamikā; 10 Om Ka namaḥ, anāmikā; Om Va namah, kanisthā. I Sambut tan GUDUHA BHUSANA: Om Kşam Om Am namah. 2 Sembahakěna, Kūța-mantra: Om hrām hrim sah Parama-Śiva-Adityāya namaḥ. 3 Muvah: Om om Parama-Śiva-sthāna-Īsāna-rūpāya namaḥ. J MODRE: Lingam Agnim Vidhim Devim, dhyāna-yoga-sthānam tathā, 2 Mudrā-mantram tyajet sarvam, sa eva paramârthavit. K KESA-BHARANA: Om Śiva-Rudrāya namaḥ. L VAKTRA-BHARANA: Om Sarasvatyai namaḥ. M ms. I: ANTIN-ANTIN: Om Vira-Lingāya namaḥ. 2 ms. I: KARNA-BHARANA/TSH: KARŅIKA: 3 ITSH: Om Idam Rudraksa-(karņa)-viştayoḥ, sarva-pāpa vinaśya(n)ti. 4 Nama Sıvāya. Om śriyam(bhavantu? cf. Cb). N ATMA-BHARANA: Om am Sarva-Śiva(sic)bhyo namaḥ. O KANTHA-‘BHARANA: Akşa-mālā bhavet Brahmā, kanthake Rudram eva ca; 2 rekhayā Indra-devāya, Candrâditya cakșus san. [[196]] APPENDIX 1 163 8 And to the left, Powerful Muttering Powerful Tetrad: 9 Om homage to Aghora, fore finger; Om homage to Sadyojāta, middle finger; 10 Om h. to the Syllable Om, ring finger; Om h. to the Thunderbolt, little finger; H The I ms, the one to introduce the eight goddesses supra in D, Lakşmi to begin with, here presents this explanation: (a) Kavruhakëna (d) Sań Hyan Aşta-Laksmi, Sań Hyan Hyan in kara-śuddhi- n-ta, pañalah in Aşta-devī kalinanya. (c) Nirdon saň viku amūjā, yan tan mañalahakěn Sań Hyan Aşta Devi. (b) Ikan ganitri satus volu kvèhnya; ikan satus pinaka-jinah, ikan volu pinaka-sthāna San Hyan Asta-Devi, nitya-kāla amighna manah-buddhi-n-ta. (e) Yêka don-ta ma-kara-śuddhi; gelaran-ta rumuhun. Another sequence of sentences has been preferred in the following translation: (a) One should know (b) that the rosary consists of 108 beads, 100 of them to be considered as cash, 8 of them as the seats of the Asta-dèvi, 8 Goddesses, who are perpetually frustrating your mind and thought. (c) The priest’s worship is useless unless he conquers the Aşța-dèvi. (d) Now the eightfold Laksmi of the Kara-śuddhi (rahasya subdivision of the ritual] vanquishes the Asta- dèvi. (e) That is the use of Kara-śuddhi, to be done before the rosary is taken in hand. I Take the SASH-ORNAMENT: Homage to Kșa, homage to A. 2 Offer the Pinnacle formula: Om hrām hrim sah homage to the Supreme Śiva-Sun. 3 Next: Homage to Īsāna incorporated in the seat of the Supreme Śiva. I Kşam-Am; without final-m in reversed order the word Akşa in akşa-mālā, the reversed order being meant in accordance with the explanation offered in the I ms supra-to neutralise or vanquish the power of evil inherent in those eight beads. J NOB of the ROSARY: Whosoever abandons mudra and mantra, Linga and Agni, 2 Creator and Goddess, concentration and positions of yoga-he knows The Supreme Good. J This formula one would not expect from the mouth of an officiating brahman priest; it expresses the credo of a tyāgi (abandoning, rejecting, dismissing, renouncing, scilicet the worldly pleasures, and here more specially: the usual spiritual values). It is a curious thing to find in a ritual and even more in an enumeration of visual apparel; it might prove to be a key to the ritual’s origin. But it might also point to the priest’s being aware of the essence of his ritual. K HAIR-ORNAMENT: Om homage be to Śiva-Rudra. L FACE-ORNAMENT: Om homage be to Sarasvati. MEAR ORNAMENTS: Om homage be to the Hero’s Linga. 2 These two earrings, made from beads (and in their name and function consecrating 3 just like kara-vista and siro-vista) destroy all evils. Homage to Śiva. 4 Omne quod felix, faustum fortunatumque sit. N SOUL ORNAMENT: Om am homage to all Śivas. O NECK ORNAMENT: Brahmā is in the rosary, Rudra is in the necklace; 2 the (frontal?) streaks are the God Indra, the eyes are the Sun & the Moon. O The rekha, by which in India e.g. Saivites are to be distinguished from Vaisnavas, though mentioned here, to the best of my knowledge, do not/no longer exist in Bali. [[197]] 164 SŪRYA-SEVANA P SAVIT: Kleda(?) Gapapati-devam, vivaram Bāyur eva ca; sūtram Nāga-rājaś caiva, asta-devā iti smṛtāḥ. 2 Q HASTA-BHARAŅA: Om, namāmi Ra Śrī-Śriyam, Loka-nāthan Jagat-patim; śaktimantam mahā-vīryam, nila-varnañ catur-bhujam. 2 R ANGUSTHA-BHARAŅA: Om Śiva-rūpāya namaḥ. S IBh: ma-BHAVA: Valkalaň ca mahā-divyam, pavitram pāpa-nāśanam; 2 3 SAŃKĚPI Akāśa-tattva-bhūtañ ca, (L:) varadam pratisthayantam; (Bh:) varanagam pratisthitam. PATAÑANAN T Amèt PAJAPAN; japa ganitri (cf. V’=V"): 2 Om hrām ma[ma] japam grhnīsva(hā); sat-prayojanam dehi; japa naranya; 3 Om hrām ma[ma] dhyānam grhnīsva(hā); sat-prayojanam dehi; dhyāna naranya; 4 Om hrām ma[ma] yogam grhnīsva(hā); sat-prayojanam dehi; yoga naranya; 5 I tělas ta naturaken solih ta japa rin Bhatāra, salahakěna taň gaņitri: 6 Om ai bhrum hasta-siddhim karotu. 7 Bh: Kuta-mantra [: om hrām hrim sah Parama-Śiva-Adityāya namaḥ]. U Kunaň ri tēlas in sa-[pra kāra ni(n) śarīra-n-ta kabèh, 2 ANUȘTHANA SAN HYAN CATUR-DAŚA-STAVA; wirnya: 3 I: Kunań san viku, yan turu(n) mapasan Linga, ayva gumělarakěn San Hyan 4 Catur-daśa-Śiva: kopadrava de S. H. Asta-Linga; sa-vipatha nin brahma-hatyā. 5 Om am Prasāda-Kala- Śivāya namaḥ, pāda těnën; 6 Om am Sthiti-Kala- Śivāya namaḥ, pāda suku kiva; 7 Om am Kāla-kūta-Śivāya namaḥ, kukşi ; 8 Om am Mahā-Sūksma- Śivāya namaḥ, nabhi; 9 Om am Sūksma- Śivāya namaḥ, hrdaya; 10 Om am Anta-Kala- Śivāya namaḥ, kara těněn; [[198]] APPENDIX 1 165 P SACRIFICIAL CORD: … is the God Gaņēśa, and fissure thus is the God Bayu, 2 the cord is the King of the snakes, they are called the eight Gods(?). Q HAND ORNAMENT: I worship Venerable Śri and the Lord-Protector of the world, 2 Who has great power and courage, Who(se throat) is black, Who has four arms. R THUMB ORNAMENT: Om homage to Śiva taking shape. R This formula, the only one of the whole series found in Lévi, and erroneously attributed to his 119 Andělakěn, would certainly not have been misplaced at the end of the whole series of adornments, as its conclusion. Actually the following mitre-donning and japa ganitri are only mentioned in the I & Bh mss. S DONNING the MITRE: Bark cloth is very divine, it purifies and destroys evil; 2 it is the ether reality; positioned, it bestows boon(?). 3 ΟΜΝΙΑ GESTURES. S The bark-cloth, which is quite different from the magnificent mitres by means of which the Balinese Śiva brahmins achieve a vivid impression, is definitely reminiscent of tyāgīs in the solitude of the mountain-forests. T When taking at hand the ROSARY, pronounce these formulas: 2 Om hram, accept my offering of hymns and prayers, grant an intention which is right; i.e. hymns and prayers; 3 Om hram, accept my offering of concentration, grant an intention which is right; i.e. concentration; 4 Om hram, accept my offering of zeal and meditation, grant an intention which is right; i.e. zeal and meditation. 5 After that, the worshipper has to offer all that he has acquired by his hymns and prayers to the God, he should then lay down the rosary: 6 Om ai bhrum He should work power of the hands. 7 Pinnacle formula: Om hram hrim sah homage to the Supreme Śiva Sun. U After having completed the adornment of your own person, 2 perform homage to the FOURTEEN-FOLD ŚIVA, to wit: 3 When the priest has not yet positioned the Linga, he should not pronounce 4 Holy Fourteen-fold Śiva: Holy Eightfold Linga would harm him grievously, his deviation would be as serious as that of killing a brahmin. 5 Om am homage to Prasāda-KalaSiva, right foot; 6 Om am homage to Sthiti-KalaSiva, left foot; 7 Om am homage to Kāla-kūta-Śiva, belly; 8 Om am homage to Mahā-SūksmaŚiva, navel; 9 Om am homage to SūksmaŚiva, heart; 10 Om am homage to Anta-KalaŚiva, right hand; [[199]] 166 SŪRYA-SEVANA 11 Om am Ādi-Kāla- Śivāya namaḥ, kara kiva; 12 Om am Parama-Śiva-Sūkṣmāya namaḥ, nétra těněn; 13 Om am Ati-Sūkṣma- Śivāya namaḥ, nétra kiva; 14 Om am Sūkṣma-tara- Śivāya namaḥ, karna těněn; 15 Om am Sūkṣma-tama- Śivāya namaḥ, karna kiva; 16 Om am Sadā-Śivāya namaḥ, bhrū-madhya; 17 Om am Parama-Śivāya namaḥ, nāsikágra ; 18 Om am Śūnya-Śivāya namaḥ, śikhágra. 19 I: Ika San Hyan Catur-daśa-Śiva naranya, makânga dé san pandita; 20 ya ta donira manguhakën kasaubhāgyan aněn rat. I: Kunan yan apasań LINGA, katiga sthānanya věnaň: a) Yan rin arěp b) Yan turun a-bhasma (A-B), uvus in Dirghāyur (Yb-Ye) c) Yan uvus sankěp in bhūsana (C or D-R), uvus in manandan yajña- sūtra (D), lvaé savita (N), lvirnya, mantra ma-bhasma (A-B), masampět (D), maganitri (GT), těkên ambulunan, ika yan amasan Liṅga. V ITSH: Muvah (S:) Sambut tan kalpika (L 120: TRI-TATTVA): 2 Om Am Atma-tattvāya namaḥ, ati/hrdi/hrdaya; 3 Om Um Vidyā-tattvāya namaḥ, rahi/vaktra/K: sěla nin alis; 4 Om Mam Śiva-tattvāya namaḥ, vunvunan/K: Śiva-dvāra. W ŚIVI-KARANA-ni śarīra-n-ta/L 121: Ś.k. Desa (recte: Deva) śakti: 2 Om Am Deva-śaktyai 3 Om Um Visņu-vimba-śaktyai 4 Om Mam Tri-śaktyai 5 Om Am Brahmane/K: Brahmane namaḥ, irun těněn; 6 Om Um Visṇavé 7 Om Mam Iśvarāya 8 Om Bhūta-nātha-pataye 9 Om Bhūta-tarpaņāya 10 Om Bhūta-japanāya namaḥ, bāhu těněn/K: pala těněn; namaḥ, bāhu kiva/K: pala kiva; namaḥ, kāntha/K: dada; namaḥ, irun kiva; namaḥ, mūrdhi śikhā/K: tuntun irun; namaḥ, (K: bāhu) těněn; namah, (K: bāhu) kiva; namaḥ, rin arěp/K: dada. Nistha; Madhya[ma]; Uttama; X (L 122: PUJA SIMPEN)/KBh: Anusthāna San Hyan Pañca-Śiva/ 2 Bh: Anusthāna rin śarīra: 3 PANCA-ŚIVA-mantra: Om om śivāya namaḥ, tutuk; 4 Om hum Sadā-śivāya namaḥ, nabhi; 5 Om hom Parama-Śivāya namaḥ, rahi; 6 Om ah Śūnya-Śivāya namaḥ, śirah/Śiva-dvāra; 7 Om phat Vindu-Devāya namaḥ, hrdaya. 8 SANKEPI śarīra-n-ta, těkên PATAÑANAN [[200]] APPENDIX 1 167 11 Om am homage to Ādi-Kāla- Śiva, left hand; 12 Om am homage to Parama-Śiva-Sūkşma, right eye; 13 Om am homage to Ati-Sūksma- Śiva, left eye; 14 Om am homage to Sūksma-tara- Śiva, right ear; 15 Om am homage to Sūksma-tama- Śiva, left ear; 16 Om am homage to Sadā-Śiva, between brows; 17 Om am homage to Parama-Śiva, tip of the nose; 18 Om am homage to Śūnya-Śiva, tip of the hairs. 19 This is the Fourteen-fold Śiva formula, to be applied to the parts of the priest’s body; 20 its purpose is happiness in the world. Now when [the priest] positions a Linga, this is at three stages allowed: a) In the preceding (stage of the ritual) b) Before ASHES (AB), after DĪRGHĀYUR (Y) c) After completion of ORNAMENTS (C or D-R), after application of the sacrificial cord (D), the formulas for ASHES (A-B), SASH (D), ROSARY (GT), up to ambulungan(?) when (the priest) positions a Linga. V Next take the kalpika; THREE-ELEMENT-formula: 2 Om AM homage to the soul element, heart; ordinary order; better order; viz. that is the best order, 3 Om Um homage to the knowledge element, face/between the eyebrows; 4 Om Mam homage to the Śiva element, head fontenelle. W DEIFICATION of your body, by using the Deva-śakti formula: 2 Om Am homage to Déva-śakti, 3 Om Um homage to Vişnu-bimba-śakti, right arm or shoulder; 4 Om Mam homage to Tri-śakti, 5 Om Am homage to Brahmā, 6 Om Um homage to Vişnu, 7 Om Mam homage to Iśvara, 8 Om homage to the Lord of Demon kings, 9 Om homage to the Satisfying of the Demons, 10 Om left arm or shoulder; throat/breast; right nostril; left nostril; tip of the nose or head; right shoulder; left shoulder; homage to the Muttered Spells of the Demons, front/breast. X SENDING OFF CULT of FIVE-FOLD ŚIVA, Bh: to the body: 2 FIVE-FOLD-ŚIVA formula: Om om homage to Śiva, mouth; 3 Om hum homage to 4 Sadā-Śiva, navel; om hom homage to Parama-Śiva, front; 5 om ah homage to Śūnya-Śiva, head/fontenelle; 6 om phat homage to Vindu-Déva, heart. 7 OMNIA with regard to your body and GESTURES. [[201]] 168 SŪRYA-SEVANA Y Vus mańkana, ta NIRAT-aken tīrtha rin gagana, ASTRA-MANTRA, Z tëkên TRIYANTU: Om śreyo bhavatu, Om pūrnam bhavatu, Om sukham bhavatu. Plate 33. [[202]] APPENDIX 1 Y After that, SPRINKLE holy water into the air, using ASTRA-MANTRA. Z and TRIYANTU: Omne quod felix, faustum fortunatumque sit. Plate 33. Sirovişţa (drawing I Gusti Ngurah Ketut Sangka) 1. Tiga udjung/muntjuk daun alang2. 2. Sari (stamper) bunga putjuk. 3. Daun bunga (kroonblad) bunga djepun. 4. Daun alang2 3 helai bunga djepun. 5. Tangkai daun alang2. 6. Dua helai daun alang2 membalut (njëhět) sari bunga putjuk dan daun 7. Satu helai daun alang2 merupakan lingkaran, melingkari sasěhětan itu. 1. three ends of blades of alan-alan grass (Imperata cylindrica Beauv. =Imperata arundinacea Cyrilli). 2. pistil of a pucuk flower (Hibiscus Rosa sinensis L.). 3. petal from corolla of a jěpun/kam- boja (Plumeria acutifolia Poir.). 4. three blades of alan-alan grass. 5. blades of alan-alan. 6. two blades of alan-alan wrapped round 2 & 3 and tied. 7. one blade of alan-alan wrapped round the fastening, 6. 169 [[203]]
APPENDIX 2 SIVA-LINGA-PŪJĀ
The description of this non-obligatory ritual is based upon the mss ITSHEJBh. The I ms, after dealing with Bhasma-Bhūşaņa, interrupts the course of its ritual by making the statement printed supra in Appendix 1 between U and V explaining the right time during the priest’s ritual, when the Śiva-Linga worship should be intercalated. According to the point chosen in the ritual the Siva-Linga worship is considered to be ordinary, better or best. Nobody, as far as I know, has ever tried to examine the distinction in these three categories. This problem has intricacies, as it has to do with the official four castes (Hindus being unequal from conception to redemption), presumably with the non-Hindu endogamous groups such SLP (A) E: Ri vus naskāra vé, pasan Linga; 2 I: Sambut tan Linga đẻ nìn hasta kiva, sasirat rin hasta ténén: 3 Bh:… mvan gandhakşata, puspa, dhūpa, dīpa: 4 TSH: dhūpa-dīpani, těhër minuşti: 5 6 Om Śivāya Śiva-Lingāya, Śivaḥ śarvo Maheśvaraḥ; namaḥ śivāya Devāya, Sadā-Śiva! namo namah. 7 Om am Dhūpâstrāya namaḥ. 8 (I: kūta San Hyan Agni-Pāśupata-Astra ika) SS/AT 216 (B) Andělakėna/I: Lagy atémvakēna Sań Hyan Dharma-jāti-mantra 2 (which is completed by:) Om b(h)am Sarva-prahavāya namaḥ. Y" 149 (C) Pradaksiņā pin tiga, ri lambé nin argha: Om hrūm Kavacāya namaḥ. 2 (Śiv. inf.: Linga) Ungahakěn (Ś.I.: lingihan) in argha : Cb 11 3 Om im Iśānāya namaḥ. 4 Try-akşara-mantra ri buńkah in Linga: Om Am-Um-Mam namah. 214 [[204]] APPENDIX 2 SIVA-LINGA-PŪJĀ as Pandé Wěsi, Pasěk etc., and certainly with wealth. In any case I have never felt attracted towards the problems and casuistry presenting them- selves here and must leave the matter to social anthropologists. Nearly all the constituents of Śiva-Linga-Pūjā have been dealt with at length in the main body of this monograph and in ‘Agama Tirtha’, so that there is no need to repeat the whole development. Therefore, in this appendix, it seemed possible and even preferable to quote only the extras at length, and the explanatory rubrics, while referring to the letters of Sūrya-Sevana (SS) in the main text; the numbers of my ‘Agama Tirtha’ (AT), our Śiva-Linga-Pūjā (SLP) being subdivided into the sections (A)-(Z) for the sake of reference. SLP (A) After the consecration of the water, position a Linga: 2 Take the Linga in the left hand, the sprinkler in the right hand: 3 together with incense, unblemished rice grains, flowers, frankincense, lamp; 4 hold (the Linga) over the frankincense and the lamp; keep It in the fist: 5 Om, Praise to Śiva, to Śiva-Linga, Śiva is Sarva, the Upper Lord; 6 praise to Siva, to the God, Oh, Sada-Śiva, praise to Thee! 7 Om am homage be to the God Who has the frankincense as His weapon/emblem. 8 This is the Pinnacle Essence of the Holy Agni-Pāśupata-Brand. (A) Before (B), the Jms inserts: Om Am-Um-Mam namah, bunkah in Linga; Utpatti-Sthiti, luhur in Linga; Om om Lingadhipataye namah, om Linga-mūrtiyé namah (ef. notes to (C)). (B) Apply the Holy Dharma-jāti formula (to the Linga), (augmented by) 2 Om b(h)am homage be to Him Who carries along everything(?). (C) (Move the forefinger(?)) three times clockwise around the rim of the Holy Water vessel, accompanied by the formula: Om hrūm homage to the Coat. 2-3 Lift Put (the Linga) in the holy water vessel: Om im homage to Iśāna. 4 Three-Syllable formula to the basis of the Linga: om Am-Um-Mam. (C) Before (D) the Bh ms adds: Om Am Ah namaḥ; Om Linga-mūrtiyé namaḥ. Salahakěna rin sivamba. Nambut sekar: Om om Siva-Lingāya namaḥ; Om om Sada-Śiva-Lingāya namaḥ. Utpatti-Sthiti ri luhur in Linga a-kara dvā daśângula sakin rika; ndya ta? [[205]] (D) Irika san amūjā, man-eka-citta muvah, IDĚP ékârnava tan rāt, 2 rěp mijil San Hyan (I: Asta-)Linga, mañjēlag ri arēpta. 149 (E) Utpatti-n-ta: Om Mam Um Am namaḥ. Q (F) Déva pratistha: Om om Deva-pratisthāya namaḥ (I: pratistha-mudra) Nm (G) Kūța-mantra: Om hrăm hrim sah Parama-Siv (N.B.) āya namaḥ. Fb (H) Muvah Sthiti: Om Am Um Mam namaḥ. Q (I) E: Tri-samaya: Om am Brahmane namaḥ; Om um Visnave namaḥ; NI 2 Om Mam Iśvarāya namaḥ; Om Am Ah namaḥ. 3 tibani taň sivambha Linga. (J) Samalih, sambut tan sěkar: om om Śiva-Lingāya namaḥ; 149 2 om om Sada-Śiva-Lingāya namaḥ; om om Parama-Śiva-Lingāya namaḥ; 3 om om Lingodbhavāya namah/Bh: om om Linga- Lingâdhipataye namah; 4 om om Linga-mürtyai namah; om im Iśānāya namaḥ. 5 1: Ika San Hyań Śiva-Linga, maka-pratistha San Hyan Īsāna. (K) Muvah: Om Brahmā-Vişnv-Lśvaro devaḥ, sarva-jñaḥ Parameśvaraḥ; 2 216 Linga-deva! namo namah. utpatti-sthiti-līnañ ca; 3 (I: Sira San Hyan Tiga-Śakti) pańěnin Linga-tattva. (L) Samalih Kara-sodhana-ni San Hyan Linga. Ca (M)-(R) [Sarva-mantra]; concluded by śrī ambhavantu/triyantu Cb (S) Šivi-karana ri San Hyan Linga Na [[206]] SLP APPENDIX 2 173 (D) At this stage the worshipper must once more concentrate his thoughts; 2 he should IMAGINE that the world consists of one immense ocean, and there at once the Divine (Eightfold) Linga appears before him. (E) You must pronounce the Utpatti formula: homage be to Mam-Um-Am. (F) The God’s Presence: Om om homage be to the God’s Presence; presence gesture. (G) Pinnacle formula: Om hrām hrim sah homage be to the Supreme Śiva. (H) Next: Abode formula (ending with): Om homage to Am-Um-Mam. (I) Meeting of the Divine Three: Om am homage to Brahmā, 2 Om um homage to Visnu, Om mam homage to Iśvara, Om homage to Am Ah. 3 Drop your flowers into the holy water vessel and on to the Linga. (J) Then, take the flower/Siv. informant: sprinkler: Om om homage to Śiva-Linga; 2 Om om homage to Sadā-Śiva-Linga; Om om homage to Parama-Śiva-Linga; 3 Om om homage to The Erected Linga; Om om homage to the Upper Lord of Linga; 4 Om om homage to Him in Linga-shape; Om im homage to Iśāna. 5 That is Holy Śiva-Linga, materialising the Presence of the Divine Iśāna. (J) All six mss agree on sěkar, but my Śaivite informant maintained that it should be read sasirat; therefore he concludes the (J) section with the words: genahan sasirat rin sivambha, put the sprinkler [back] into the holy water vessel. 3/4 The J ms intercalates a whole series of well-known actions, viz.: Nambut sekar: Astra-mantra, śrī ambha/triyantu. Patañanan. Anantasana Ne, Padmasana Ne, Déva pratistha Nm, Kūța-mantra Nn, Utpatti-Sthiti Q, Sankěpi, Śivī-karaņa Na, Tritattva Nb, Udakāñjali Vb, Sankěpi. But then this ms does not contain my (L)-(X), and for (Y) has the rubric: Pasan sañjata nin Linga. (K) Next: The Omniscient Parameśvara is the God Who comprises Brahmā, 2 He is origin, existence and termination; praise and glory to Linga-déva. 3 They are the Three Great Powers. Elucidation on the essence of the Linga. (L) After that, the Purification of Divine Linga. (M)-(R) A set of formulas, concluded by Omne Quod felix… (S) the Deification of Divine Linga. [[207]] 174 SŪRYA-SEVANA SLP (T) Tri-tattva (Śiva-vidyā-ātmā) SS/AT Nb (U) Upahrdaya-mantra, Udakāñjali J’/O (V) San Hyan Catur-Sandhyā-nyāsa/I: Tarpana Toya M’/Nj (W) San Hyan Pitr-ādi-nyāsa/I: Catur-Deva N’/Ni (X) Mrti-karana: Om hram hrim sah Parama-Śiva-Amṛtāya namaḥ O’/La (Y) I: Stava San Hyan Asta-Liṅga/Muvah mantra nin sañjata 2 SAŃKĚPI 153 mvan PATAÑANAN (Z) TSH: Samalih sambut taň sěkar saha gandhâkşata ID: LIŃGA-STAVA 2 EJ: ña-STAVA LIŃGA; J: saha ghantā puspa 3 SAŃKĚPI 150 151 PATAÑANAN 154 mvan [[208]] APPENDIX 2 175 SLP (T) the Three Element formula. (U) Offering of (different kinds of) water (to the Guest Who has just arrived). (V) the Assignment Satisfying of the Holy Four Sandhyā Goddesses. (W) the Assignment Satisfying of the Holy Pitr, Déva, etc. (X) the Preparation of Holy Water called Amrta; its formulas. (Y) Song in praise of the Divine Eightfold Linga and the weapons emblems. 2 ΟΜΝΙΑ and GESTURES. Y Before (Z) the D ms inserts: Japa-śakti sa-prakāra, my H 8-10; the E ms intercalates Sańkşipta- pūjā, my G 10-14, concluding with the Sankěpi of (Y2). In the I ms, after two ślokas occurs the comment: Iki kūtanya, San Hyan Asta-Linga rin asta- dala: ha, ka, ca, ta, ta, pa, ya, sa. The author of this commentary means to say that on the eight petals of this mahā-padma there are: 1. the syllables; 2. the ka-kha-ga-gha-na-series; 3-6 the ca-pa-series; 7. ya-ra-la-va; 8. śa. șa, sa. This is clearly a variant on the svara-vyañjana in Nf, performed in three stages. - This author is the only one to present this additional explanation to this mahā-padma. (Z) Next take a flower, incense and unblemished rice grains, 2 and while ringing the bell sing the praise of the Siva-Linga. 3 ΟΜΝΙΑ and GESTURES. [[209]]
APPENDIX 3 LITANIES FOR FULL MOON AND NEW MOON DAYS.
On the days of full moon and new moon the padanda Śiva should add the recital of Sanskrit prose to his ritual. If the mss mention these litanies at all, it is done between the song in praise of God Sun (my Q’) and panlukatan, exorcism (my R’); only the KTU mss mention them, not adding a single word of rubric. The litanies consist of Rg-, Yajur-, Sama- and Atharva-Veda-Siras; the first three of them are easily accessible in Nārāyan Ram Acharya’s ‘Iśādi-viṁśottara-śatopaniṣadah (A Compilation of 120 well-known Upanisads)’, Bombay: Nirnaya Sāgara Press, periodi- cally reprinted); they are the paragraphs 1-3 of the Nārāyaņātharva- śira-upaniṣad, No. 18 of the ‘Compilation’, p. 151. Only my K ms adds the few lines 39-44 infra, dealt with at length by Dr. R. Goris in his ‘Bijdrage tot de kennis der Oud-Javaansche en Balineesche Theologie’, Leiden, Vros, 1926). The Kirtya ms 1891, Artha-Veda-mantra, starts with these lines, and then goes on with and is concluded by eleven non- relevant sloka. In printing these texts I follow the example given by Lévi in presenting the Sanskrit as well as the Balinese versions of the three first litanies. I do not, however, print them side by side, as Lévi did, but with the Balinese recension under the fuller Sanskrit one, and I add the translation (the GOS presents mere texts). It will be evident that between 30% and 50% of the syllables has got lost in the case of the first three litanies and with them the greater part of the intelligibility. Sanskrit BaKaKTU Om Sanskrit BaKaKTU Atha puruso ha vai Nārāyaṇo ‘kāmayata prajāḥ sṛjeyeti; Nārāyaņāt prāņo jāyate manaḥ sarvendriyāņi ca, Sanskrit kham vāyur jyotir āpaḥ pṛthivī viśvasya dhāraņi, BaKaKTU Sanskrit BaKaKTU Nārāyaņād Brahmā jāyate, Nārāyaņāt Rudro jāyate, Nārāyaņāt Indro jāyate, Nārāyaņāt Prajāpati prajāyate. Nārāyanād…. dvādaśādityā Rudrā Vasavaḥ sarvāņi chandāmsi; ..etäh vasavasa sadeva Nārāyaņād eva samudpadyante, N. pravartante, Nārāyaņe praliyante; Sanskrit BaKaKTU Sanskrit etad RG-VEDA-SIRO ‘dhite. BaKaKTU 1 2 3 4 5 6 7 [[210]] The fourth Vedaśiras (Lévi p. 5), Atharvaśiras-or, as they say in Bali, Arthavedaśiras-is quite different from the Atharvaśiras given in the Upaniṣad. There are many discrepancies between the text as I heard it at Den Pasar and the text I have heard at Karang-asem and Bangli’. He prints the two recensions opposite each other. My K ms, Arghapātra, originating from Griya Anjar, Sibang Kadja (Badung, the province of which Denpasar is the capital), apart from a very few minor differences, runs just like the Karang-asěm and Bangli recensions. Again, I have preferred to print them one under the other. Both recensions mention Nārāyaņa, who is not found in B. Tubini’s edition (and translation) of the Atharvaśira Upaniṣad (Paris: Maisonneuve, 1952). The longer version has less than 300 syllables, the Sanskrit about 3,600, and there is practi- cally no word which they share. Like Lévi I have refrained from printing the Sanskrit, which is easily accessible and which is probably entirely different except in the name. I have decided, though with regret, not to hazard a translation of the recognisable, though disconnected, and quite possibly misplaced, words: I do not think the results would justify the effort. In the following presentation of texts my chief aim has been to show punctuation, omissions, accretions and occasional dislocations of the Bali- nese texts; minor scribal discrepancies have, as a rule, been ignored, and in the notes attention has been drawn mainly to the rather extraordinary aberrations. Ba stands for Lévi’s Bangli informant, Ka (in his notes) refers to variant readings given to him in Karangasem; K, Tand U are the mss at my disposal, described in the Introduction. 1 Then Nārāyaņa, as a man/male, fostered the wish: may I create creatures; 2 from Nārāyaņa breath is created, mind and all senses, 3 the sky, wind, fire, the waters and the earth, the bearer of all; 4 from Nārāyaņa Brahmā is born, Rudra, Indra and Prajāpati, 5 from Nārāyaņa the twelve Aditya, the Rudra and the Vasu are born and all metres; 6 they originate from N., they borrow their activity from N., they dissolve in N.; 7 thus the RG-VEDA-HEAD has been studied. [[211]] SŪRYA-SEVANA Atha nityo Nārāyaṇaḥ, Brahmā N., Śivaśca N., Śa-k-raśca N., 8 Śańkaraśca N., Kālaś ca N., Diśaś ca N., Vidiśaś ca N., Urdhvam ca N., Adhaś ca N. 9 Ditik Kuhuś Antarbahiś ca N.; N. evedam sarvam yad bhūtam yac ca bhavyam; 10 béso vedevaya niş-kalańko nir-añjano nir-vikalpo nir-ākhyātaḥ, śuddho deva eko Nārāyaņe na dvitīyo ‘sti kaścit, nive ko cit (cf. line 20) ańko tattva-mṛtyam, Prajāpati Prājāpatyam gopatyam tattva-mṛtyam, yah evam veda sa Vişnur eva bhavati. Vişnv iti ya etad YAJUR-VEDA-SIRO ‘dhite. Om ity agre vyāharet, NAMA iti paścāt, NARAYANAYety upariştāt 16 Ari mitajñānam, vipare ma,, Om ity ekākşaram, NAMA iti dve akşare,…. NARAYANAYeti pañcākṣarā 17 nive Etad vai Nārāyaņasyāstākşaram padam; yo ha vai Nārāyaṇasya astākşaram padam abhyeti, anapabruvaḥ sarvam āyur padyetu, apam ,, a Vişnv vindate prājāpatyam rāyasposam gopatyam tato ‘mṛtatvam aśnute. i prājāpatyam Etat SAMA-VEDA-SIRO ‘dhite. tattva tyam Vişnv eti. Om Vedevam nityam mandalam vīryam Aruņam atari Udayam rakta-teja 22 ng, adri mukta-kleśa 23 manasam lari madyanam ākāśam. anta-kālāgni rakta-tejasā -alasa samval samandalam Siva Sūrya Gotamam Agnim tajvam rantvam kotyam vari Sūrya-prakāśam sakalam 24 muktańgalam sakétvam ūrdha kotyasagaram 25 antakālāgni Rudra satya ..alasa mily anasar alāyu tarpa-śeşam OM ….. Sūryam titam nirmalam sak na m o…. Śiva satatam 26 [[212]] APPENDIX 3 179 8 Nārāyaņa is eternal, N. is Brahmā, N. is Śiva, N. is Sakra, N. is Kāla, 9 N. is the points of the compass and the points between, N. is zenith and 10 nadir, interior and exterior, N. is this all: what has come into existence and all that will come into existence, 11 free from stain, free from smear, free from change or differences, undescribable, 12 pure is the one godhead in Nārāyaņa; there is no second one feasible; 13 cf. line 20. 14 he who has come to know this, becomes Vişnu. 15 thus the YAJUR-VEDA-HEAD has been studied. 16 [The worshipper] should pronounce OM at the outset, then HOMAGE and finally TO NARAYANA; 17 OM consists of one syllable, HOMAGE of two and TO NARAYANA of five syllables. 18 This is Nārāyana’s eight-syllabic home; whoever makes his way to Nārāyana’s 19 eight-syllabic abode, will be safe from curse during the whole course of his life, 20 he reaches the status of Prajāpati, accumulation of wealth, ownership 21 thus the SAMA-VEDA-HEAD has been studied. of cattle and reaches immortality; 8 Ba has Ari vam -, Ka Ari han, K Ari om atah, Taram om atah, U om am ri věm hata nityam. Only Lévi and Ka have Sakras, the BaKTU mss have Sańkaras. 9 Ba has Ditis; Ba has Kuhus, U kuvun, KT have hukus; none of these words is found in the dictionaries. 10 Ba has vedebyo instead of evedam; Ka has badyanti instead of bhavyanti/bhavyam. 11 U has nir-ajya, ko instead of nir-añjano. 12 U has loko instead of eko, and nań instead of na; T has né. It is possible that the a of deva and the e of Narayané have changed places in Java/Bali, and that nivé or niva stands for diva or déva; but of. line 17. 13 Ba has ango instead of anko; this ms might omit the comma. U omits Prajāpati, for which the KT mss have Prājāpatyam, in K followed by Prajā-hatyam and in T by an omission; U goes as far as Praja-tattvam, perhaps caused by preceding and following tattva-. 14 U has vivesti instead of Vişnur eva in the Ba ms or Vişnur iti and Vişnu éti in the KT mss. 15 U has atah instead of ya étad. 16 Ka has Ari ham, Ba has Ari vam, U has Om ari vim. 17 K has pañcâkşa Nārāyaņa, U has pañcâkşarana, apan. 19 Ba has padyatam, Ka padyatum. Ba has ayur apa pṛthivī viśvaś ca Nārāyaņa éka, cf. lines 3 and 12; U has apan mayura vidvèşti. 22 K has agré, cf. line 16. 24 K omits samval; K has kotamam instead of Gotamam; Komits rantvam. 25 K has mukta-kāla instead of muktangalam. 26 The few words before Om are not Sanskrit but Javano-Balinese and might be part of a paraphrase. K has citta instead of titam. [[213]] candra-mrtvat sakalam jan-ra-mrto Sada-Siva sa-Sūryam idapyam 27 parańkam teyo jagat tvam Brahmā-Sūrya-Sūrya-prabhavam Maheśvara(m) Mahādevam Sambhu 28 Śańkaraśca Śiva(m) Sada-Śiva(m) Parama-Śiva(m) Taya-Sūkşmam Param Kham 29 Taya Tayi sa-Sūrya(m) Padma-nābha(m) Nārāyana-Indra(m) Sūrya-prakāśam 30 catur-bhūmam samam vrsasam rstvam sukham sa-janam 31 sthāvara-jangamam latā-vrksa saruravam mrga-uragādhipati 32 Om Śiva(m) ūrya-sakala(m) maragam nāda-bindvam Hari go. satatam Bhaskaram 33 ańkaram ekākşaram Kālāgni sasūryam try akşara angam Pañca- aro ngo Brahmam dvâkşaram 34 Nārāyaņa. 35 ,,,,,,,, Indra-Sūrya-prakāśam ‘svaro catur-bhūmyam samṛtvo rakta sukha sajanam latā vṛkṣa jangama mrga-uragādhipati,,,,,,,,, sa état Prajāpati-sangata Ganapati-Kumāraśca Śiva - Śūryasahatvat. 37 Hari Sūrya. 36 sahita -sahita …..sahita Sada-Śiva-sahita. ARTHA-VEDA-SIRO ‘dhite. Om Śiva-sūtram yajñopavit(r)am, paramam pavitram, Prajāpatijo ayuşyam, balam astu tejo, parań guhyanam, trigaņam trigaņātmanam, 40 Ari Om koți Sūrya-prakāśam, Candra-koți hṛdayam iti, VEDA-mantra 41 GAYATRI, mātra-mātra şad-aksare, sarva-deva-pitā Svayambhū, 42 Bhargo-devasya dhīmahi. (cf. p. 126) SANKËPI. 43 [[214]] APPENDIX 3 181 27 K has mětvakën instead of mrtvat, a Javano-Balinese word again; janra might stand for jarā. K has hanapya (hana pra?) instead of the equally obscure idapyam. 28 Komits Brahma and omits the following four (m). 30 Komits Tayi and adds the two (m); the m variants are not indicated in subsequent notes. 31 K has am vrstyam instead of vrşasam rstvam; Komits sthāvara-jangamam. 32 K has sa-sukham instead of saruravam. 34 K has cékarom instead of aro/ańkaram. 35 After Nārāyaņa, K adds sa ékat. 37 K has savitat instead of sahita/samgata. 42. These six syllables, neither specified nor located in ‘X" on p. 126, but only extolled in one sloka, are specified and located in two sloka in a ms, during proof reading received from the Gerya Anjar, Sibang Kadja, Abiansemal, Badung, and concluded by that sloka just mentioned. Apart from correcting a few endings (am-ah-o, sandhi) and adding the obvious r of padayor, only in 2e the unintelligible udotu has been changed, be it not without hesitance, into udantam, which gives sense but is Vedic, as Professor Ensink kindly writes me when helping me with this passage. Goris in his Ph.D. thesis pp. 44 & 46 wrestled with the same difficulty; Edgerton in his Buddhist Hybrid Sanskrit Dictionary s.v. şad-akşarī on p. 538 gives the explanation om mani padme hùm based upon KARANDA-VYUHA 76.6, but we should not overlook the fact that the sad-aksara is only four bīja short of the daśa-bayu or daśa-niḥśvāsa (Bauddha/Saiva, cf. ‘Agama Tirtha’ pp. 167-73 and this book my Ua and Ya), for the rest maintaining the same sequence of bija: om-a-(ka-)sa-ma-(ra-la-va-)ya-um. The two śloka run as follows: Om-kāraḥ śirasi sthāpyah, Sa-kāro vakşasi jñeyah, Ya-kāraś codare nyastah, udantam padayor vyāpī A-kāraḥ kantha-bāhuke; Ma-kāro hrdaye sthitaḥ. nābhāv U-kāraḥ samsthitaḥ, sādhakānām na samśayaḥ. The syllable OM should be located on the heart, the syllable A on the neck and on the shoulders; the syllable Sa/Sa is on the chest, as one should know, the syllable Ma is on the heart. The syllable Ya is put on to the belly, the syllable U has its abode on the navel, downward reaching as far as both feet; [these nyāsa apply to] serious students, no doubt about that; or: with the worship- pers/serious students there is no doubt about that. Finally, perhaps the bija of Kara-śuddhi rahasya, my D and T"e, might have to be incorporated into the same problem. [[215]]
APPENDIX 4 PUJA/VEDA KSATRIYA
A number of seven mss has been consulted continually and used some- times for the constitution of the text in the main part of this book and therefore deserves discussion. They also merit attention for their own sake because of the function they have in religious life, for the Pūjā Ksatriya which originates from Panarukan states: věnań sira sań brāhmaṇa saduruń madīkṣā, mvaň saň ksatriya saduruń madīkṣā nangé iki, i.e. ’those belonging to the castes of the brahmans and of the noblemen are allowed to follow this ritual before their consecration’. From close examination of these mss it becomes clear that on the one hand, this ritual follows essentially the same leading thought, expressed in the same order as the Śiva ritual in this book, and that it consists of the same items, though not all of them - the omissions being noteworthy - and on the other, several times a name of Vişnu is added to that of Śiva, or one of Vişnu’s numerous designations is substituted for Śiva/Khasolka/ Aditya/Śūrya etc. There can be no doubt that this ritual, destined for those who have not yet been admitted to the final consecration, is not so much directed towards another deity as to a less exalted one, the second of the triad Brahmā-Vişnu-Iśvara, who constitutes The Lord, Iśa or Iśāna. Recently, Professor Bosch pointed to the Agni-Brahmā features in the character of the Old-Javanese King Angrok (De mythische achtergrond van de Kèn Angrok-legende, MKNAW, AL, NR 27/8, 1964). In this connection it is remarkable to read in an eye-witness report of a bukur ceremony in Karang Asěm (also called ligya, maligya, śrāddha), in 1937 written by Mrs. K. Mershon (known for her co-operation on Jane Belo’s ‘Trance in Bali’, preface by Margaret Mead) that the then ‘king’, just like his distant predecessor Hayam Vuruk of Majapahit in 1365, himself acted as a dancer at the śraddha ceremony, in this way continuing the tradition. This modern ruler on this occasion brought an offering to Brahmā, explaining that He was the Godhead Who especially took care of the ksatriyas in this way too, also continuing a tradition? It might be that after a minor dīkṣā, consecration, a ksatriya is allowed to address himself directly, without further priestly help, to the God Visņu, sharing this privilege with brahmins who have not yet been ordained and who at this stage are designated as being ulaka, i.e. balaka, ‘child’. Only after their final consecration are they allowed (and obliged) to address themselves to Śiva, the third of the triad and the completion of it, so that at the same time they worship the Supreme Lord, Iśa, Iśāna, Iśvara. [[216]] APPENDIX 4 PUJA KSATRIYA compared with ARGHA-PATRA (Astra-mantra all texts have in common). mavastra. unkab saguan. kara-śodhana. nakşamā Mahā-Déva prāṇāyāma. kara-śodhana. gurit ikań vé. nakşamā Mahā-Déva. nili/nuntun ātmā. dagdhi-karaņa; sirat. amrti-karaņa. kara-śodhana. tri-tattva, anantâsana. padma, svara-vyañjana. pitr-sandhyā-nyāsa. try-aksara. deva-pratistha, Kūța-m. udakāñjali. nili/nuntun. tulisi on-kāra. tri-ganga-stava. kşamā/apsu/pañcâkşaram. ńaskāra/deva-prat./k.m. nuntun dèvi Ganga/ udaka/sthiti. Bhagavān Gangā. Stava Bh. & Gangā mṛtyuñjaya/dīrghāyur. tělas tâgavé toya. nili/nuntun Śiva Aditya. anantasana. padmasana. déva-pratistha, kūta-m. utpatti; sthiti. puňu. śivi-karaņa. tri-tattva. udakâñjali. sūrya-stava; kūța-m. toya-tarpaņa. catur-sandhyā-tarpaņa. déva-tarpaņa. Śiva-amrta-mantra. Sūrya-stava. [[217]] 184 SŪRYA-SEVANA The seven mss at my disposal are (the five last ones in my private collection) a) K 961 W VEDA KSATRIYA, origin unknown 214 typewritten lines. b) K 1334 PUJA KSATRIYA, origin unknown, 11. 1-5, 89 lines Balinese script, c) A PUJA KSATRIYA, Krambitan, Tabanan, 275 typewritten lines. d) B PUJA KSATRIYA, Panarukan, Tabanan, 105 typewritten lines. e) R PUJA KSATRIYA, Tabanan, 298 typewritten lines. f) PUJA KSATRIYA Puri Anjar’ Tabanan, 249 typewritten lines. g) PUJA KSATRIYA Puri Anjar" Tabanan, 217 typewritten lines. Considered by themselves, one by one, the rubric portions of these texts are condensed to such a degree as to be unintelligible to those who do not have access to the more explanatory texts with their much fuller rubric and occasional IDEP. To make bad things even worse, moreover, they give the impression of consisting mainly of lacunae, though they may in their last page include new accessory materials. The slender bodies of these texts, do not, for the time being, yet admit of the recon- struction of a satisfactory Pūjā Kṣatriya. The table (p. 183) of their contents will show their character and their deficiences; it is partly given as a challenge in order that a more complete ritual may be brought to light. The last items of the table can not be determinated with certainty: they belong to the first (lukat) set. After this ‘inventory’, attention will be given to the Vaisnava character of these texts, in the same order of ritual events/subdivisions. The Vişnu elements in K 1334 hardly command attention; apart from: asabuk: om um Vişnuya namah, and: Om um Visnu-antarâtmane namah, the only other passage (perhaps meant to be a kind of counterpart to the Dharma-jāti-mantra, Y") runs as follows: Om namo Devâdi- sthānāya, sarva-[vyā]pine Śivāya, padmâsana-eka-pratisthāya, Ardha- narêśvarīya namo namah, Am Um Mam Śrī Devāya Janārdanāya namah. B: Om Nara-Hari-mudrāya namaḥ; Om bham Nārāyana-netrāya namaḥ. C: Vişnv-anga: Om am Hari-hrdaye namah; Om bhūr-bhuvaḥ-Lokeśvara-[jvāli]ni-śikhaye n.; Om hrům Vişnu-kavacāya namaḥ; Om bham Nārāyana-netrāya namaḥ; [Astra-mantra] Om hum rah phat Astra-Anantāya namaḥ; [Kûta-mantra] Om hrām hrim sah Śiva-Sūr(yā)ya-Vaisnave n. Ta (between C and I) Pālayasva Janārdana. Nb: Om om Hari-tattvāya namaḥ. Xa: Stava Bhațāra: Janardana Mahā-vira Vipāśa-Vaisnavi-nadī namas te Keśava-deva, sarva-tirtha-Janārdana. [[218]] APPENDIX 4 During BHASMA homage is given to Khageśvara; sprinkling of Holy Water is done in the direction of Bhațara Sürya Nārāyaņa. A’ Tuntun San Hyań Sūrya Nārāyaņa. L’ The words ehi Sūrya are followed by Nārāyaņa. M’ Śuklyai etc. are preceded by Harimūrtaye Jagatpataye. N’ Devebhyo etc. are preceded by Harimūrtaye Jagatpataye. These Visnu-features are common to the mss; in the R ms the Anugraha manoharam ślokas of S’b are called Vişnu-vijaya; and here the Vişnu- Paśupati runs as follows: Om namas te bhagavan Visņu, namas te bhagavan Hari; namas te bhagavan Krsna, Jagat-raksa! namo ‘stu te. The Puri" ms mentions: turunakën San Hyań Sūrya Nārāyana in U’a/ U"a, and the praise of Ganga-devi-viśva-bhāmini in Xb has a pada which reads: Nārāyanâ di-argha-pasthi. Finally, the A ms speaks about kṣatriya-kula Vaisnava-pakşa, and quotes a few words which might have been borrowed recently from the Bhagavad-Gitā - I mean one of the Sanskrit-cum-English editions, which are for sale in Balinese bookshops. This ms ends a section with the sur- prising words: Bvat ksatriya, ayva véra, iti pavèhira Dan Hyan Paraśu- Rāma Sarasvati, i.e. This is destined for noblemen; do not divulge it; it is a favour (one would have expected the Sanskrit/Balinese word: anugraha) from Paraśu-Rāma (and) Sarasvati. [[219]]
APPENDIX 5 TINKAH in AGAVÉ TOYA PAŚUCYAN/PABRSIHAN.
Astra-mantra The mss dealt with in this section, are L 5163’ and C I Na-NI Nn 0 Q-R T-Y 5163′ 5141 Bhasma Z Z Bhasma A’-B’ D’-E’ H’ I’ J’-Q’ S’ W’ Y’ U’a L 5141. These two mss, which proved to be independant of each other, without addition or omission followed exactly the same course of a ritual for the preparation of purifying water. The slight divergence in sequence in the case of bhasma also occurs in the preceding appendix. Innumerable Balinese mss are enriched at the end by additions related to the main topic but not belonging to the original writing. They are extra notes destined for the copyist/owner of the ms. What is of more importance is the question of which parts of the ritual dealt with in this book have been omitted and hence must be considered as not being relevant for the purpose aimed at here. A & B may have been left out as being too obvious a routine to mention, but it is not accidental and can only be ascribed to intent that D-H, J-M, Nm, P above all, and S, are not included in this ritual. Hence it will be evident from this comparison that, for different purposes, the Saiva priest prepares different kinds of holy water, but that the procedures of preparation only differ in length and intensity, not in the use of other ritual materials. [[220]]
MANUSCRIPTS REFERRED TO
in the ‘Agama Tirtha’ and in this book (preceded by S) 2358 Adiparva Parikan 111. 1875 Aji Brata 29, 202, 206-36. 27 Aji Janantaka 185. 200 (S.H.) Aji Krèkèt or Kaputusan Pañji Alit 39. 319 Aji Kunań-kunań 185. 197 Aji Nusup 39. 2047 Aji Pūrva-Bhāşita-Krama 29, 39. Aji Sarasvati, included in 1197 Tutur Sayukti 22, 25. 1257 (Lin) Aji Sarasvati 22-27. 88 (Tutur) Aji Sarasvati 22, 25. 745 (Tutur) Aji Sarasvati 22, 25. 1979 (Tutur) Aji Sarasvati 22, 25. 2289 (Tutur) Aji Sarasvati 22, 25. 2 Anda Kacacar 79-82. 1601 Anda Kacacar 79-82. 2253 Anda Kacacar 79-82. 298 Anuşthāna bvat Saura 99, 129, 160-69; S 19, 23, passim; my ms O. 73 Arghādhyātmika 74, 89-90, 104, 129-30, 167; S 18 passim; my ms N. priv Argha-patra, being first and main part of Gagelaran pūjā n Gědé Bhujanga S 15-16 passim; my ms G. priv Argha-patra (Krambitan) 130, 149, 164-73; S 15, 39 passim; my ms H. priv Argha-patra (griya Kadampal, Krambitan) S 15, 31-32, 34, 37, 39, 131, passim; my ms I. priv Argha-pătra S 16, 30-31, 34, 37, 105, 131, passim; my ms K. Argha-patra, forming part of 69 Kajań Pūjā Pitr S 15, passim; my ms S. 87 Argha-patra S 15 passim, my ms X. 3 Argha-pātra 48, 129, 149, 151, 164-73; S 15, 39 passim, my ms т. 87 Argha-patra 48, 129, 164-73; S 15, 17 passim; my mss C and Y. 715 (Babad) Arya Tabanan 78-79, 188-89. 1792 (Babad) Arya Tabanan 78-79, 188. 74 Astaka-mantra 27, 232. 998 Aştaka-mantra 27. 5315a Astaka-mantra/Durgā-stuti 27. 1843 Astava-mantra 29, 31, 46-50, 151, 228-35; S 104, 105, 137. 84 Astra-mantra 13, 48, 129, 164- 73; S 17 passim; my ms Z. 5141 Astra-mantra S 17 passim; my ms V. 5163 Astra-mantra S 17 passim; my ms F. 556 Astupuńku Nava-ratna 185. 506 Asvasa/Kalavasan Põtak 506. 278 (Babad Senguhu) Asvasa 185- 200. 1063 (Babad Senguhu) Asvasa 185. 1110 (Babad Sěnguhu) Asvasa 185. 1605 Atma-rakşa 54. 883 (Mantra) Atma-raksa 54. 85 Atma-rakşa parimbon 54. 715 Babad Arya Tabanan 78-79, 188-89. 1792 Babad Arya Tabanan 78-79, 188. 1103 Babad Brahmana Buddha 45. 1109 Babad Brāhmaņa Śiva 45. 43 Babad Dalem; Śiva-Linga on p. 49; 184. 1855 Babad Ki Gusti Pasěk Gèlgèl 185. Babad Ki Gusti Pasěk Gelgèl Kayu Putih 185. Babad Pandé Ban 186. 2261 1230 1443 1061 963 Babad Pasěk 185. Babad [Pandé] Tusan 186. Babad Pandé Věsi 186. 965 Babad Pasěk 185. 955 Babad Pasěk Gelgèl 185. 2261 Babad Pasěk Kayu Putih Kayu Sělěm 185. 1027 Babad Pasěk Kayu Sělěm 185. 1134 Babad Pinatih 184. 850 Babad Ratu Tabanan 188. 273 Babad San Brahmana Catur 186. 278 Babad Sěnguhu Asvasa 185, 200. 1063 Babad Sěnguhu Asvasa 185. 1110 Babad Sěnguhu Asvasa 185. 1443 Babad Tusan 186. 86 Badavań Nala 115. 1817 Bañcanah Bandésa 185. [[221]] 188 139 Bañcanah Senguhu 185. 8 Batur Kalavasan Pěțak 65, 185. 475 Bhasma 149; S 18, 21, 39, 159; my ms Bh. 1912 Bhauma-kāvya Parikan 114. priv (Gagelaran Pūjā n Gědé) Bhu- janga 130; S 16 passim, my ms G. 1486 (Krta) Bhujanga 185. 363 (Tutur San Hyan) Bhuvana Maréka 39. 2406 Bhuvana Purāņa 65, 185. 1103 (Babad) Brahmana Buddha 45. 273 (Babad Sań) Brahmana Catur 186. 1109 (Babad) Brāhmaņa Śiva 45. 294 Buda Kěcapi Cěměn 55, 67. (Kaputusan San Hyan) Buddha, at 2253 the end of Anda Kacacar 79-82. priv (Pūrvaka Veda) Buddha 26, 29- 32, 44-50, 55-66, 71, 100-01, 104, 132, 148, 234-36. 1103 (Babad Brāhmaņa) Buddha 45. 2255 Buddha Veda 6, 30, 39, 44-48, 55-56, 59, 62, 65, 99, 129, 167- 73, 234; S 86-87. 1875 (Aji) Brata 29, 202, 206-36. 448 (Kaputusan San Hyan) Candi Kunin 235. 389 Cantaka Parva 103. 1545 Cantin Kunin 62. 504 Capa (Sapa?) Kāla 186. 186 (Kanda nin) Catur Bhūmi 39. 1471 Dharma Kahuripan 71-92. 106 Dharma Pavayańan 26, 82, 207; S 21. 369 Dharma Pavayanan 26, 82, 207; S 21. 1151 Dharma Pavayańan 26, 82, 207; S 21. 1610 Dharma Pavayanan 26, 79-80, 207; S 21. 5315a Durgastuti/Astaka-mantra 27. 189 Dvijéndra 29, 48, 149, 151, 230, 233; S 18 passim; my ms D. 28 Eta-éto 39. priv Gagělaran Pemangku (Kusuma Déva), ed. by Autonomous Bu- reau of Religious Affairs Dèn- pasar 14, 121. priv Gagělaran Pūjā n Gědé Bhu- janga 130, 132, 162; S 16 passim; my ms G. 5227 Gana-stava 230. 71 Indik Maligya 29-30, 47-48, 50, 60-63, 230-35; S 18, 83, 104-5, 27 (Aji) Janantaka 185. 161 Janma Pravṛtti 72. 328 (Surat) Kajań 116. 69 Kajań Pūjā Pitr 29-31, 46, 48, 129, 149, 151, 164-73, 223-36; S 15, 39, 83, 104, 106 passim; my ms S. 989 Kakavin Sarasvati 22. 504 (Capa [Sapa?]) Kāla 186. 506 Kalavasan Pětak or Asvasa 185, 200. 2407 (Batur) Kalavasan Pětak 185. 1441 Kalěpasan 168-73, 207-36; S 18 passim; my ms M. 186 Kanda nin Catur Bhūmi, 39. 200 Kaputusan Pañji Alit/(San Hyan) Aji Krèkèt 39. Kaputusan Sań Hyan Buddha, at the 2253 end of Anda Kacacar 79-82. 448 Kaputusan San Hyan Candi Kunin 235. 1590 Kaviśéşan 77. 1078 Kavitan Pasěk Gèlgèl 185. Weck (Tutur) Krakah Durdakah 38. Weck (Tutur Kāņda nin śarīra) Krakah Sarasvati 38. 748 Krama nin sembah 48. 200 (San Hyań Aji) Krèkèt/Kaputu- san Pañji Alit 39. 1486 Kṛta Bhujanga 185. 8 Krta Bhujanga in Batur Kala- vasan 185. priv (Pūjā) Kşatriya (Krambitan) 69, 133, 136, 139, 168-73; S 19, 184; my ms A. priv (Pūjā) Ksatriya (Panarukan) 69, 133, 136, 139, 168-73; S 19, 184; my ms B. priv (Pūjā) Ksatriya (Tabanan) 69, 133, 136, 139, 168-73, 235; S 19, 180; my ms R. 1961 (Veda) Ksatriya 69, 133-36, 139, 168-73; S 19, 180; my ms W. 5429 Kumāra-stava 228-30. 653 Kuna-drsta 72. 319 (Aji) Kunan-kunań 185. 1804 Kusuma-deva/Tinkah in Pamanku 121, 186. 1920 Kusuma-deva/Tinkah in Pamańku 121. [[222]] SÜRYA-SEVANA 189 226 Kusuma-deva-puräna 46, 121. priv Kusuma-deva (mimeographed) S 10. 71 Ligya/Indik Maligya 29-30, 47- 48, 50, 60-63, 230-35; S 18, 83, 104, 105. 1257 LÜl Aji Sarasvati 22, 25, 27. 33 (Püjä) Mamukur 175. 1478 (PamaiicaIiah) Manik Ailkeran 184. 883 Mantra Atmllr-raa 54. 1596 Mantra Pamugpug 77, 84, 223. 166 Marisuddha Gumi IIr-napuh napuh 185. 1478 Mpu BekuIi. 184. 862 Mpu Lutuk 115; S 88. 2178 (Püjä) Narpal.la Sava 45, 104-05, 129-30. 1478 (PamancaIiah) Nurah Sideml:ln 184. 197 (Aji) Nusup 39. 1363 Odalan Sarasvati 23. 1484 Odalan Sarasvati 23. 1457 (Püjä) Padudus Aguri 46. 902 Pamalik Sumpah 85. 1478 PamancaIiah Manik AIikl:lran 184. 1478 PamaiicaIiah Nurah Sidl:lml:ln 184. 960 PamancaIiah Pèdèl 186. 840 PamancaIiah Tabanan 188. 950 4560 1804 1920 1596 1186 1171 2404 1230 1170 1133 1034 1033 l443 1061 200 516 Pamancanah Tabanan 188. (Tii:tkah Ül) PamaIiku 121. (TÜlkah Ül) Pamanku/Kusuma deva 121. (TÜlkah Ül) PamaIi.ku/Kusumllr deva 121. (Mantra) Pamugpug 77, 84, 223. (Püjä) Panca Bali Krama 30, 46, 60-64, 129, 168-73, 230, 234-36. (Prasasti) Pandé 186. (Prasasti) Pandé 186. (Babad) Pandé Ban 186. (Prasasti) Pandé CapuIi. 186. (Prasasti) Pandé Vesi 186. (Prasasti) Pandé (bandjar Am bI:Ingan) 186. (Prasasti) Pandé (désa Tondja) 186. (Babad) Pandé Tusan 186. (Babad) Pandé Vl:Isi 186. (Kaputusan) Panji Alit/(San HyaIi) (Aji) Krèkèt 39. Paillukatan 67. 256 Parikal.lQ.a n Pasêk Gèlgèl 185. priv Parikrama S 15-17 passim; my InS P. 963 (Babad) Pasl:lk 185. 965 (Babad) Pasek 185. 955 (Babad) Pasek Gèlgèl 185. 1855 (Babad) (Ki Gusti) Pasl:lk Gèlgèl 185. 2261 (Babad) Pasl:lk Kayu Putih Kayu Sell:lm 185. 1027 (Babad) Pasek Kayu Sell:lm 185. 1078 (Kavitan) Pasek Gèlgèl 185. 256 (Parikäl.lQ.a n) Pasek Gèlgèl 185. 965 (Prasasti) Pasl:lk 185. 1096 (Prasasti) Pasl:lk Gèlgèl 185. 991 Paéupatimantra 232; S 122. 960 (Pamancailah) Pèdèl 186. 818 Piagem Pinatih 184. 1134 (Babad) Pinatih 184. 818 (Piagem) Pinatih 184. 69 (KajaIi) (Püjä) Pitr 29-31, 46, 48, 129, 149, 151, 164-73, 223- 36; S 15,39,83,104,106 passim; my InS S. 102 Pitr Kinaranan 50, 66. 36 Pitr-Püjä 48,66-67,227,234-35. S 18, 105-06 passim; my InS E. 1423 Pitr-Püjä 149, 151; S 104. 862 Plutuk 115; S 88. 1260 Prakrti Säsana 185. 1171 Prasasti Pandé 186. 2404 Prasasti Pandé 186. 1170 Prasasti Pandé CapuIi. 186. 1133 Prasasti Pandé Vl:Isi 186. 1034 Prasasti Pandé (bandjar Am bI:Ingan) 186. 1033 PrasastiPandé (désa Tondja) 186. 965 Prasasti Pasek 185. 1096 Prasasti Pasl:lk Gèlgèl 185. 1040 Prasasti SailgÜl 186. priv Püj ä Apa? S 161. 35 Püjä Daha (Püjädhara?) 121. 1020 Püjä Daha 121. priv Püjä Daha 121. 1334 Püjä atriya (Tabanan) 69, 133,139, 168-73,235; S 19, 184 ; my ms R. [[223]] 190 SŪRYA-SEVANA priv Pūjā Kşatriya Puri Anjar’ Tabanan S 19, 184. priv Pūjā Ksatriya Puri Anjar" Tabanan S 19, 184. 33 Pūjā Mamukur 175. 2178 Pūja Narpaņa Sava 45, 104-05, 129-30. priv (Gagelaran) Pūjā n Gědé Bhu- jangga 130, 132, 162; S 16 passim; my ms G. 1457 Pūjā Padudus Aguń 30-31, 230, 234; S 83. 1186 Pūjā Pañca Bali Krama 30, 50, 60-64, 129, 168-73, 230-36; S 15, 17, 83, 105-06, passim; my ms P. 5360 Pūjā Pūrva Bhūmi 80. 453 Pūjā Pūrvaka 45. 1673 Pūjāstava 29, 48, 151, 230-34; S 96. priv Pūrva Bhūmi 185; § 16. priv Pūrva Bhūmi Kamūlan 62, 90, 185. 5360 Pūrva Bhūmi Kamūlan 62, 90, 185. priv Pūrva Bhūmi Tua 185. 2047 (Aji) Pūrva-bhāṣita-krama 26, 39. priv Pūrvaka Veda Buddha 26, 29-32, 44-50, 55-66, 71, 100-04, 132, 148, 234-36; S 86-87, 97. 453 (Pūjā) Pūrvaka 45. 2193 (Véda) Pūrvaka 44-45, 48, 50, 66-71, 85. Rāja Purāņa Pura Besakih 178; S 46. 1052 Rāmāyaņa Parikan 112. 148 (Tutur) Raré Anon 55. 850 (Babad) Ratu Tabanan 188. 2405 Rěşi Vaisnava 65, 185. 1196 Roga-samhāra-bhūmi S 97. 1600 Rudra Kavaca 232. 273 (Babad) San Brāhmaņa Catur 186. 488 Sangaran S 83. 1040 (Prasasti) Sangin 186. 200 San Hyań Aji Krèkèt/Kaputusan Pañji Alit 39. 363 (Tutur) San Hyan Bhuvana Maréka 39. 448 (Kaputusan) Sań Hyan Candi Kunin 235. 5357b Sań Hyan Yama Rāja 91. 5338 San Hyan Yama Rāja 91. 420 Sankul Putih/Sevaka Dharma 46. 1430 Sara-samuccaya-kakavin 26. 2364 Sara-samuccaya-parikan 114. (Aji) Sarasvati, 11. 43b-51b in 1197 Tutur Sayukti 22. 1257 (Lin Aji) Sarasvati 22. 1979 (Tutur) (Aji) Sarasvati 22. 989 (Kakavin) Sarasvati 22. 1363 (Odalan) Sarasvati 22. 1484 (Odalan) Sarasvati 22. 142 (Tutur) Sarasvati 22. 88 (Tutur) (Aji) Sarasvati 22. 745 (Tutur) (Aji) Sarasvati 22. 2289 (Tutur Aji) Sarasvati 22. Weck (Tutur kāņda nin Sarira Krakah) Sarasvati 38. Weck (Tutur Krakah Durdakah) Sarasvati 38. 1924 (Tutur Sükşma nin) Śāstra 222. 298 (Anusthāna bvat) Saura 99, 129, 160, 162, 165, 169; S 19; my ms O. 321 (Veda bvat) Saura 151, 162-73, 224-35; 8 16 passim; my ms U. 2178 (Pūjā) (Narpana) Šava 45, 104-05, 129-30. 464 Sava-vidhāna 44, S 105-06. 1168 Śava-vidhāna 31, 45, 151, 234-35; S 76, 104. 1197 (Tutur) Sayukti 22, 25. 748 (Krama nin) Sembah 48. 946 (Veda) Senguhu 80, 185. 278 (Babad) Senguhu Asvasa 185, 200. 1063 (Babad) Sõnguhu Asvasa 185. 1110 (Babad) Senguhu Asvasa 185. 420 Sevaka Dharma/Sankul Putih 420. 1109 (Babad Brāhmaņa) Śiva 45. 5429 Śiva-ratri 207-36. 1424 Śiva-samüha 48, 233. 2149 Smaradahana-parikan 38. 1924 (Tutur) Sükşma niń Śāstra 222. 328 Surat Kajań 116, 212. 2219 Sürya-sevana 207-36. 1792 (Babad Arya) Tabanan 78-79, 82, 188. 850 (Babad) (Ratu) Tabanan 188. 840 (Pamañcanah) Tabanan 188. 950 (Pamañcanah) Tabanan 188. 378 Tantri Parikan 69, 99-101. 87 Tinkah in agavé pabrěsihan S 17 passim; my ms C. 87 Tinkah in agavé toya paśocan S 17 passim; my ms Y. [[224]] SŪRYA-SEVANA 5163 Tinkah in agavé toya paśucyan S 15, 17 passim; my ms Q. 1804 Tinkah in Pamańku/Kusuma- deva 121. 1920 Tinkah in Pamańku/Kusuma- deva 121. 4560 Tinkah in Pamańku 121. 1443 (Babad) [Pandé] Tusan 186. 88 Tutur Aji Sarasvati 22, 25. 1979 Tutur Aji Sarasvati 22, 25. 2289 Tutur Aji Sarasvati 22, 25. 506 Tutur Asvasa 200. Weck Tutur Kända nin Sarira Krakah Sarasvati 38. Weck Tutur Krakah Durdakah 38. 148 Tutur Raré Anon 55. 363 Tutur San Hyan Bhuvana Ma- réka 39. 1197 Tutur Sayukti 22; lěmpir 43b- 51b containing Aji Sarasvati 22. 142 Tutur Sarasvati 22. 1924 Tutur Sükşma nin Śāstra 222. 2405 (Rěşi) Vaisnava 65, 185. 191 4673 Veda 129, 151, 168-73, 233-35; S 18 passim; my ms D. priv (Pūrvaka) Veda Buddha 26-32, 44-50, 55-66, 71, 100-04, 132, 148, 234-36. 321 Veda bvat Saura 151, 162-73, 224, 235; S 16, 105-06 passim; my ms U. 961 Veda Ksatriya 69, 133-36; 139, 168-73; S 19, 184, my ms W. Lévi Veda-parikrama S 17 passim; my ms L. 2193 Veda Pūrvaka 44-45, 48, 50, 66, 71, 85. 946 Veda Senguhu 80, 185. 2255 (Buddha) Veda 6, 30, 39, 44-48, 55-56, 59, 62, 65, 99, 129, 167, 234. 1918 Yajña Prakrti 233. 37 Yama (Pūrva) Tattva 115. 1139 Yama Pūrva Tattva 183. 5338 (San Hyań) Yama Rāja 91 5357b (San Hyań) Yama Rāja 91. [[225]]atriya S 19, 87, 180. priv Püjä Katriya (Krambitan) 69, 133,136, 139, 168-73; S 19, 105- 06, 184; my ms A. priv Püjä Ki;latriya (Panarukan) 69, 133, 136, 139, 168-73; S 19, 184; my ms B. priv Püjä K
INDEX TO ‘AGAMA TIRTHA’ AND ‘SURYA-SEVANA’
It seems to be the opinion of colleagues and friends that ‘AGAMA TIRTHA’ is insufficiently indexed. When writing the book I was not blind to their future needs, but hoped that it would be sufficient to give: 3. Rather specified Contents, 237. [Alphabetical] List of Abbreviations, 238-45. Printed & mimeographed references, in alphabetical (and chronological) sequence, 246-49. Manuscripts referred to (according to their numbers), 250-52. Manuscripts referred to (in alphabetical sequence), 253. List of illustrations. Apparently, this was not sufficient, so that I made an Index to both volumes. Like the student of medicine who, when he was finally ‘passed’, was reputed to have put on his plate: “For serious cases, consult my neighbour Dr. X”, I would recommend those who wish to make serious use of this Index to interleave it from the start: my printers dissuaded me from having one column only on a page. Big as the new index is, not all the words one might expect to find are listed; for example the points of the compass have been left out, being used passim, and so is Lévi also. Sometimes words have been omitted simply because I overlooked them. Buddhism, Śivaism, Tantrism etc. have not been included, but I have endeavoured to include Sanskrit words that are not found in ‘Glossary of Sanskrit from Indonesia’ by J. Ensink and J. A. B. van Buitenen, in VĀK number 6, December 1964, Deccan College, Poona (printed in italics) hence the preponderance of Sanskrit. For the reader’s convenience only one index has been made; the order of the words follows the Latin alphabet. A stands for Agama Tirtha, S for Sürya-sevana. A A ms. S 19, 183. abhagyapara? A 89. abhaya [-mudrā] A 165, S 78. abhişeka A 121, 139. abhyāsa A 74. Abiansemal A 158, S 15. (International) Academy of Indian culture A 8, S 11. (a)camaniya S 38-40, 80, 82, 92, 108, 147, 151, 154. ācār(i)ya(r) A 120, S 28. Acintya A 39, 117. adat-istiadat A 72. adhara/ādhāra A 121. ādhāra-śakti A 119, 121. a-dharma A 119, 128. a-dharma-palaka A 119, 123. adhipati A 52, 67. adhyātmā S 116. adhyātmika S 18, 133. ādi S 58, 76. Adi-Kala-Siva S 109, 166. ādi-krama S 82. Adi-parva A 75, 110-11. Adi-parva parikan A 111. Aditya A 123, S 11, 32, 64, 66, 82, 94, 100, 101-02, 108, 114, 122, 148, 182. Aditya-stava S 108. a-dréya A 87. a-dvaya S 134. advaya-jñāna A 28. advayatmaka S 72. āgama A 72, S 156. āgama Hindu Bali S 9, 41. agama tirtha A 139, 148, 172, S 9, 29, 34, 38, 41, 70, 78, 80-81, 147, 151-52, 154, 171, 181. Agastya-parva A 103, 105, 111. agem S 50, 60-64, 86, 90, 94, 158, plates 4 & 28. Aghora A 37, 59-61, 159-60, 195, S 26, 47, 51-53, 66-67, 74, 85, 93, 106, 143, 158. [[226]] INDEX TO ‘AGAMA TIRTHA’ AND ‘SURYA-SEVANA’ 193 Aghora-Sivācārya A 118 sqq, S 142 sqq. agni A 103, 109, 123, S 36, 60-64, 72, 80, 84, 90, 136, 170, 178, 182. Agni-jaya A 183. Agni-kārya S 152. Agni-mandala A 123, S 52-54, 134, 143, 148. Ag(e)ni-mukha S 33. agni(-)rahasya S 62. A(g)ni-Rudra A 110, 153, 210, S 23, 42, 46-48, 66, 124. Agni-tattva S 54, 134. agra-nāsika A 97, 225, S 140. Agung A 15, S 83. ah A 37. aiśvarya A 120, S 70, 116. ajèr S 158. Aji Kaprajayan A 54. a-jñāna A 122, 128. (Y)Ajur-veda A 45, S 176-79. a-kampuh S 44-45. a-kāra S 90. a-ka-sa-ma-ra-la-va-ya-un A 169- 70, S 90-96. ākāśa A 116, 139, S 65, 72, 135-37, 164. ākāśa-mudrā S 32, plates 1 & 29. ākāśa-śānta A 49. ākāśa-sthāna S 114, 122. ākāśa-tattva S 48, 52, 64. akşa-mālā S 162. akşara A 37-38, 134, 136, 159, 160, S 54, 60, 64, 84-86. a-kşata A 154, 204, 216, S 24-27, 46, 50-57, 62, 78-80, 88, 106-08, 112, 122, 140, 170, 174. A-kşobhya A 31, 38, 58-59. alang-alang S 54, 84-85. alekhya A 170. alis S 166. aloka-darpana S 112. alpa-prāna S 72, 139. alpa-siddhi A 90. alulukatan A 73, cf. lukat. am A 14, 37. am ah A 67. amalik (sumpah) A 81, 84-85, 139. amañca-bali-krama A 30, 47, 60, 85, 208, 235, S 83. amañca-sanak A 85. amańku dalan S 21, 148, 155. ambara-marga A 187. Amitābha A 31, 38, 58-59, 62. am-kāra-tarpana S 41, 120. Amogha A 125, 160, S 72. Amogha-siddhi A 31, 38, 49, 58-59. ampèl A 77. ampilan A 145. ampru S 58. amrta A 153, S 9, 22, 39, 48, 52-56, 62-66, 86, 94, 116, 134-35, 149, 151. amrta-anusthāna S 54. amrta-deva S 47. amrta-dipa S 45. amrta-karani A 139, S 64. amrta-mantra A 24, S 65-66. amrta-mudra A 24, 170, S 22, 46-48, 51, 62-66, 75, 86, 90, 148. amṛtâñjīvani S 86. amria-sañjīvanī S 86. amrtâtmaka A 216. amrti-karana A 153, S 28, 37, 40, 62, 64, 82, 110, 144, 151, 183. amūjā A 172, cf. pūjā. (a)muşți S 45-48, 170. amvit A 208. an-aiśvarya A 123, 128. anak-anak-an in mata A 156. anala A 103. anāmikā S 26, 46, 50, 66, 106, 120, 158, 160, 162. Anand Swarup Gupta A 32. ananda-kara A 229. Ananga-bāyu-sūtra A 43-44, 49. [An]anga-śakti A 78. Ananta A 120 sqq. 170, S 25, 183-84. Ananta[-bhoga] A 103, 105, 108, 112, 130, 137, 178, S 68, 147. Ananta-padmasana-pūjā A 127. Anantasana A 104, 120, 159, 170, 214 sqq. figs. 12-14, S 37-38, 40, 68, 70, 78, 82, 100, 102, 144, 173, 183. ancestor A 76, 144, 174-89. anda kacacar A 79-82. Andarayami A 56. anděl (aken) S 56, 92, 158, 165, 170. anga S 28, 76, 145, 166. anga-mantra S 149-50. anga-nyāsa S 21, 28-30, 144, 147. Angāra A 164, S 78. anga-śodhana S 144. Angasta(?) S 116, 126. Angelino, de Kat A 6, 16, 35, 43, 48, 56, 65, 81, 118, 184, S 11, 13, 16, 31, 48, 60. angula S 36, 40, 58, 60, 62, 68. angustha A 170, S 26, 46, 50-51, 60-68, 84, 90, 106; cf. also ěmpu. [[227]] arghya A 119, S 38, 147, 151, 154. angusthâbharana S 164. animan A 87. A.ni-Rudra. cf. Agni-Rudra. añjali A 209, S 31, 45, 78, 108. an-kāra S 104, 106. an-kāra (aham-kāra) S 134. ankuśāstra A 52. Anom A 15, 22, 117, 156, figs. 1, 5, 22. Anta-Kala-Śiva S 109, 164. -anta(ra) A 58, 101. antarâtman A 173, S 58, 60, 84, 94, 114, 122, 184. antar-hrdaya A 216. antarvasa S 44. antin-antin S 162. antyeştis S 106, 114. an-ucita S 118. anugraha A 30, 41, 74, 106, 114, 185, anulepana A 30. anusthāna A 99-100, 226, S 74, 82, 84, 164-66. anustubh A 50, 55. apah A 49, 116, S 66, 97, 134, 137, 176. apah-tattva S 48. apāna A 56. apara-teja-svarūpa A 166. a-pratima A 229. apsu deva S 88, 183. Apte S 86, 94. a-ra-ka-sa-ma-ra-la-va-ya-uń A 170, S 90. aras (aken, kaharas), S 56, 64. arcana A 121, S 74, 80, 104, 114. Archaeological Service A 102, 189, fig. 7. Archipelago Sanskrit A 25, 33, 36, 45, 53, 55, 71, 153, 202, 228, 230-31, 234, S 83. ardha-candra A 100, S 78, 86-87, 92, 132. Ardha-narêśvara A 97-98, S 39, 42, 102. Ardha-narêśvarī A 69, 102, 139-40, 168, S 56, 58, 84, 90, 110, 124, 135, 138, 148, 184. Argapura A 144. argha A 104, 196, S 18, 36, 39-40, 50-54, 60, 68, 82, 92, 95, 108, 120, 122, 170. argha-dvaya S 80, 92, 108. argha-mantra A 196. argha-patra A 104, 200, S 18, 131, 183. aripra A 49. arit(a) A 49. Arjuna A 103. Arjuna-vijaya A 114. Arjuna-vivāha A 75, 97, 139. arnava A 155, S 46. Artha (Atharva-) veda S 176-81. ārūdha A 58. Arya Bělog A 186. aryakěn S 66, cf. salahakěn. Arya Pinatih A 179, 183-84. a-sabuk S 44, cf. sabuk 184. asahan S 102. āsana A 105, 118 sqq., S 80. āsana-mūrti-mantra A 120. āsana-pūjā A 3, 118-37. a-sasañcara(?) A 87. asěp S 45, cf. dhūpa. asta-brata A 136. aşta-dala A 134, 161, S 27, 54, 70, 74, 75, 77, 175. asta-deva S 164. asta-devi S 72, 116, 163. asta-gina (-guna) A 86-88. asta-graha A 164-66, S 76, 78-79, 144. aştaiśvarya A 87, S 112. Aştaka-mantra A 27, 54. Astaka-nara-simha A 54. Aştaka-yuddha A 54. aşta Laksmi S 163. asta-Linga S 164, 172, 174-75. asta pūjā S 40, 106. asta-śakti A 123. asta-siddhi A 87, 116, 123. asta-tirtha S 52. asta tuşti A 123. ati-atman S 60, 84, 94, 114, 122. astava, cf. stava. astra A 52-53, 136, 156, S 74. astra-mantra A 37, 119, 161, 170, 227, S 21-24, 31-33, 41, 44, 46, 48, 50, 52, 54-58, 62-68, 74, 77, 82, 100, 106, 118, 122, 136, 143, 148, 150, 160-61, 168, 173, 183-84, 186. astrâmṛta S 22, 24. astrâmṛta-mudrā S 25. astra-mudra A 131, S 26-27, 32-33, 68, 70, 72, 74-75, 140, plates 3 & 27. aśuci-sarva-pavitram A 231. aśva-medha A 3, 108, 193, 200-01. āsya S 74. Atharva-veda S 176-81. [[228]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ ati S 26, 58, 66, 74, 82, 106, 158-60, 166. atideva A 151. atiguhya S 124. atirodra A 114. Ati-Sūkşma-Śiva S 109, 166. ātmā A 225, S 40, 56, 58, 60-62, 71, 76-77, 82, 84-85, 92, 94, 100, 114, 122, 148-49, 151, 183. ātmābharaṇa S 162. atma-linga A 205, 208-09, 216-17, 225. ātma-mūrti S 150. ātma-pariśuddha S 56. ātma-pratistha A 137. ātma-pundarika S 71, 82, 85. ātma-rakşa A 52, 54. atma-samyoga S 56. ātma-śuddha S 33. atma-tattva S 56, 68, 82, 108, 128, 144, 148-9, 166. atur (-akěn, -ana) S 108, 116, 124, 164. atyātmā S 60, 84, 94, 114, 122. Auboyer, A 95, 124, fig. 7. Aurva A 107, 110-16. Aurvâgni A 110. Autonomous Bureau of Religious Affairs A 16, 48, 105, 129, 137, 193, 228, S 29. āvahana A 121, 159, 161, 165, 173, S 69, 74, 78, 133, 151, 155. avahana-mudra A 161. āvahanâsana A 124. a-vairāgya A 123, 128. avak S 58, 60, 74, 78, cf. śarīra. avakaromaya A 87. Avalon A 124. avan-avań S 101, 118, 136. āvarana A 159, 164, S 76, 78. (a)vayava S 135, 139. a-větôn A 73. a-vighna(m astu) S 21, 163. avu S 62, 64, cf. bhasmi. a-vyakta A 123. (H)Ayam Vuruk A 139, S 182. B B ms. S 19, 179, 183. badava A 107. Badavă-mukha A 107. badavan A 95, 96, 103-06, 108-09. 195 badavânala A 109. badavan ’nala A 3, 11, 96, 100, 103- 06. Badjra A 15, 175, cf. vajra. Badung A 158, 174, 177, 179, S 15-16, 18-19. Baduy A 80. bahni-lakşaņa S 112. bahu kalih S 26-27, 68-69, 90, 106. bahu kanan/těněn S 27, 70, 82, 135, 158, 166. bahu kèri/kiva S 27, 70, 82, 135, 158, 166. bajra/vajra A 44, 56, 59, 65, 112, 148, 184, 223, S 16, 51. bajra-jñāna A 36. bajra-mudra S 26-27, 33, 66-70, 74- 78, 83, plate 26. Bajrânala A 57-59, 64, 68. bajra(n)kara S 52. Bajra-pati A 55, 116, 213, 223. bāla-candra A 231. balaka A 184, S 10, 182. Bala-pramathani A 123. Bala-vikaraņi A 123. balé pa-veda-an S 35, 154. balé pa-yoga-an A 46, S 154. balé pělik A 180. bali A 208, S 83, cf. bantěn. Bali museum A 16, 22, 34, 74. balik A 81, 84-85, cf. (a)malik. balun S 72. balyan A 38, 79-80, 82, 86-87, S 155. Bāma-deva A 37, 59-61, 64, 108, 159-60, S 26, 66, 68-69, 74, 106, 143, 158. ban S 60, 78, cf. rakta. bañcinah A 179. bandésa adat A 158. bandhana-mukta A 32. Bandjar Buruan S 17. Bandjar Tegal A 117. Banerjea A 32, 229. Bangli A 110, 174, 177, 180, 187. bantěn A 208-09, cf. bali. bantěn sumur A 210, 212. B(a)ratan A 183. Baroda A 9, 37, 139, S 11-12, 14, 56. Barong A 5. bartula/vartula S 70, 80. Baruņa/Varuna A 29, 48, 108, 123, S 33, 72, 97, 103, 134. basah A 78-79, 100. [[229]] 196 basěn A 212, 223. Bastin A 10. Basuki(h) A 108, 183-84. Batuan A 117. Batu Kaü/Vatu Karu A 3, 11, 15, 106, 144, 175-76, 185-90, map V, S 20. Batu Maděg A 174, 183-86, figs. 18- 19, map III. Batur A 6. bāyu/vāyu-A 26-27, 49, 81-82, 123, 131, S 14, 33, 56-60, 66, 72, 134-40, 164, 176. bāyu-tattva S 48. (bě) bhūta A 49, 71, 161, 165, 184, S 23. Belo A 5, 21, 23, 121, S 155, 182. běnavań gěni A 109, cf. badavan ’nala. Běnyah A 187. Berg A 28, 140. Besakih A 3, 7, 11, 15, 95, 137, 174- 86, 200, 223, figs. 16-20, maps I-IV, S 5, 46. Bh ms. S 18, 21, 159 sqq. Bhadra A 112. Bhadra A 125, 160, S 72. bhaga S 27, 48, 66, 69, 72, 74, 76, 80, 106, 138-40. Bhagavad-gitā S 185. bhagavān A 111. Bhagavān Ganga S 32, 92. bhagavanta A 35. Bhagavata A 70. Bhagavati A 32, S 70. bhāgya A 212. Bhairava - A 167, 167, S 102, 104, 112. Bhairavi A 56, 67, S 122. bhakşya A 202. bhakti A 12, 46, 208-09, S 80, 114, 138. Bhakti A 163, 166, 208-09, S 76, 110. Bhargava A 164, S 78-79. Bhaskara -S 94. bhasma S 30, 39, 62, 64, 100, 158-61, 166, 170, 183, 185-86, plate 32. bhasmi S 62, cf. avu. bhasmi-bhūta S 60-62. Bhatrimsa (?) - S 44. Bhatt A 15, 118, 123, S 141 sqq. Bhattacharyya - A 32. Bhattara Bagus Botoh A 180, 184. Bhattara Guru - A 39. Bhauma A 156. SŪRYA-SEVANA Bhauma-kāvya - A 114. b(h)ava S 164. Bhavabhava A 58, 68. Bheramya A 56. B(h)ima A 7, 13. Bhima-stava A 44. bhoga S 135. bhoktr S 106, 158. Bhoma/Bhauma A 156. Bhoma-kāvya parikan A 114. Bhrgu - A 107, 111-16, 164. bhṛtya A 54. bhrū-madhya – A 170, S 48, 54, 57, 60, 66, 80, 84, 90, 100, 110, 114, 122, 166. bhujanga A 10, 30, 46-47, 56, 60, 62, 65, 122, 148, 184. bhujântânghry-ādi A 58. bhujântrady-anga A 58. bhūmi A 156, S 134-35. bhūmi-kona A 91. bhūmi létěh A 73. bhūmi-śuddha S 18. bhür-bhuvah-svah/svaré A 50, 168, S 29, 48, 54, 66, 68, 74, 90, 106, 158, 160. bhūşana A 148, S 15-16, 18, 39, 90, 100, 124, 152, 158-70. bhūta A 49, 71, 161, 165, 184, S 23. bhūta-japana S 82, 166. bhūta-nātha-pati S 82, 166. bhūta-rājā A 71. bhūta-stava A 49-50, 67. bhūta-śuddhi S 149. bhūta-tarpana S 82, 166. bhūta-yajña A 30, 55, 57, 71, 201, 208. bhuvana S 86. bhuvana agun - A 98, 105, S 29-30, 33, 73-74, plate 26. bhuvana alitA 98, 106, S 29-30, 33, 73-74, plate 27. bīja/vīja A 104, S 48, 54, 94, 136, 140, 143-52. bijakşara A 37, 136, 159, 164, 169, 225, S 22, 28-29, 38, 72, 87, 104, 122. bilva/vilva A 196 sqq. 207 sqq. Bimasoetji A 55. bindu S 86-87. bipartition A 8. black magic A 62, 84. blacksmith A 178. Blahbatu - S 18. Bod(h)a K(ě)ling A 15, 35, 44, 72, 102, 104. [[230]] INDEX TO ‘AGAMA TIRTHA’ AND ‘SURYA-SEVANA’ bodhana/vodhana S 40, 104. bodhyagri A 49. Bodmer A 15, 180, figs. 16-20. Böhtlingk A 13, 115. Bonbiu A 16, S 16. Borneo/Kalimanten A 76. Bosch A 13, 15, 22, 43-44, 46, 56, 59, 143, 144, 147, 156, 174, 181, 199, 210, fig. 15, § 182. Bottoms A 15. Bousquet A 7. Brahma A 23, 27, 32, 36, 39, 47, 52, 59, 62, 66, 73, 81-83, 95, 102, 120-21, 155-59, 163, 165, 173, 178, 194, 203- 04, 206, 210, S 33, 36, 45, 48, 52-61, 70, 78, 82-85, 93-94, 100, 140, 162, 172, 176, 178, 182. Brahma-gāyatrī A 54. Brahma-kavaca A 54. Brahma-mandala S 68, 149. Brahma-mantra S 28, 149-50. Brahma-mūrti S 58. Brahmanga (-nyāsa) A 91, 160, 170, S 21, 26-30, 37, 48, 64-74, 77, 92, 106-11, 138, 150, 158-60. Brahmanya A 229. Brahma-śakti A 78. Brahma-samyukta S 44. Brahma-sandhyā S 102, 115, 139. Brahma-śila-simhasana A 127. Brahma-stava A 46, 235. Brahmi S 54. Brandes A 12, 34, 38, 44, 99, 198. brata A 202. B(a)ratan A 183. British Museum A 15, figs. 2, 4, 21. Brunner-Lachaux S 13, 34, 75, 131, 141 sqq. bubur pirata A 78. Buddha A 56, 66-68, 79-92, 102, 223. Buddha’s spouse A 81. Buddhalaya A 79. Buddha-loka A 82. Buddhâtmaka A 79. Buddha Veda A 6, S 5, 12, 26, 86-87. buddhi S 46, 134, 163. buddhology A 29-32, 41-92. Budha A 164, S 78, 136. van Buitenen S 145, 149. Bukit Pulěs Sahi A 188. bukur S 192. Bulèlèng A 44, 177, 188, S 17. bulus A 103. buna tělěn S 48. bunkah S 52, 56, 68, 134, 170. Bureau of Information (in Bali) A 9. Bureau of Religious Affairs A 16, 48, 105, 129, 139, 193, 228. buta-bala A 71, cf. bhūta. buta-raja A 71, ef. bhūta. buvaya A 76. bvat S 90, 185. byoma S 52, ef. vyoma byoma-mudrā A 161, S 26-29, 32-33, 66-68, 74, 106, plates 3, 6-7. Byoma(Vyoma-) Śiva S 56, 62, 64, 136. C C ms. S 17, 186. cakra A 75, 156. cakra-madhya A 57. cakra-mudrā S 26-27, 30-33, 54, 68- 79, 83. cakra-nagara S 9. cakra-tanda A 231. cakşu S 140, 162, cf. netra. cakşv-indriya S 140. calamity A 30. calilinan S 66, cf. kanişth(ik)ā. Callenfels A 76. camara A 212, 223. Cambridge A 36. Camerling A 5. camika[ra?] A 164, S 78. campaka A 212. Campbell A 7. campur S 56. Camundi S 54, 72. candana A 214. candi A 188, 156. Candiśa A 153, S 48, 66. Candi Sukuh A 175. Candra S 57, 66, 84, 86. Candrâdityau S 162. candrâmṛta S 110, 128. candra-koți-hrdaya S 126, 160. Candrama S 84. Candra(Soma-) mandala A 123, S 52-55, 133-35, 143, 148. candrârdha S 86. caniga A 212, 223. cańkěm S 76, cf. tutuk. Cantaka-parva A 103. cantun S 66. [[231]] SURYA-SEVANA 198 carana-dvaya S 140, cf. suku kalih. carik A 233. carita A 26. Carita Parahyanan A 122. caru A 88-89, 208, 216; pa-carv-an S 60. de Casparis A 15, 46, 57. caste A 179. catuh-sandhyā S 147. catur A 122, 222. catur-aiśvarya A 104, 118 sqq., 159, 164, fig. 12, S 29, 37-38, 40, 68, 70- 71, 78, 102, 116, catur-anga S 133. catur-angula S 50. catur-asini devi S 82. catur-bhuja S 122-23, 164. catur-daśa S 39. catur-daśakşara A 37, 170, S 70, 137. catur-daśa-Śiva(-mantra) S 39, 109, 153, 159, 164, 166. catur-daśa-stava S 164. catur-deśa A 65, 162, S 76. catur-deva S 38, 110, 174. catur-dvāra S 137, 139-40. Catur-Ganga S 96. catur-pranava-sükşma-Buddha A 101. catur-śakti-mantra S 50, 160. Catur sânak S 135. catur-sandhyā A 153, 162, 166, S 38, 76, 102-04, 139, 143, 174, 184. catur-tarpaņa A 28, S 110, 154, 183. catur-varna A 214, 224. catur-veda S 5. catur-veda-śruti A 29, 31. cavět S 44. cěcak A 23. cěnděk A 209, 216, 227. chandala A 196. changeling A 9, 78. cindaga A 212, 223. cintāmani A 88. ‘Cintya A 39. Citragopta A 218, 225. citta A 204, S 40, 100. de Clecq-Gresshoff A 213 clockwise S 55, 91, cf. pradakşiņā. cokor S 27, 74, 80. cokorda A 176, 186. cor A 85, 90 cosmic order A 62. Covarrubias A 33, 95, 98, 117. cowherd A 9. creation A 30. cremation, cf. dead/death. Crueq A 6, 44. Cuisinier A 76. ‘cults and customs’ A 5, 148. cumańkuvan S 88. cupu A 88. D D ms. S 18. dada S 54, 56, 66, 86, 110, 166. dagdhi S 60, cf. gěsěń 62. dagdhi-karana A 188, S 28, 60, 64, 149, 183. dagin(-in) S 57, 135, cf. isi. daha A 121. daksiņā A 65, 125 sqq. dalâgra S 74, 77. dala-mula S 72. dalan A 7, 10, 26, 110, 207, 226-27, S 10, 21, 148, 155. Dalěm Puri A 178, 188. Damais A 146. dampar A 145. dampati A 139, 140, S 42, 64, 124. Damsté A 136. danda A 156. danda-mudra S 26-27, 33, 66, 70, 74-78, 83, plate 26. dandâstra A 52. Dangin Krětěg A 178, 180, 186-87. dapdap A 223. dapur S 134, 137. dara/daha A 121. dari A 81. darśana A 52-55, S 76. daśa-akşara A 37, 60, 74, 159, 169, 172, S 50, 52. daśa-bāyu A 37, 56, 168, S 138, 152, 181. daśa-bhuja A 170, S 90. daśa-deśa S 82, 133, 138. daśakşara A 37, 60, 74, 159, 169, 172, S 50, 52, 90, 92. Daśa-mukha A 110. daśa-nihśvāsa A 169, S 92, 152, 181. daśa-Rudra A 67. daśa-śīla 138. daśa-Śiva A 67. daśa-vikāra S 60. daśéndriya S 138. dead/death A 5-6, 8, 44-46, 55-56, 68, 105, 109, 115-16, 226, 235, S 12, 18. [[232]] INDEX TO ‘AGAMA TIRTHA’ AND ‘SURYA-SEVANA’ deha-śuddhi - A 100. děněn A 211, 214, 221, 224-25. Denpasar A 9, 12, 21, 34, 72, 90, 102, 105. dèsti A 78, 84-86. destruction S 30. Deussen A 56. deva A 223, S 80, 85, 148. deva-[adi]-tarpana S 110, 184. Deva Agung A 177, 183, 186. deva-dattâdi-sthāna S 114. deva-datta A 56. deva-dattânugrahaka S 114. devâdi-sthāna S 184. deva-gana A 132-33, 173. deva-miśrita S 114. deva-nagari A 37, 125, 129, S 6, 12, 20, 37. Deva Nańka A 180, 185. deva-pratistha A 37, 104, 121, 130, 136, 138, 140, 159, 165, 168, 214 sqq., fig. 2, S 21, 38-40, 50, 80, 84, 90, 102, 108, 145, 147, 151, 158, 172-73, 183. deva-pūjā - S 102. deva-purna - А 231. devârcana S 80, 105, 106. deva-rūpa A 151. deva-śakti S 82, 159, 166. devâsana A 104, 121, 138, 140. devatā S 70. deva-tarpaņa – 8 70, 76, 104, 106, 110, 143, 183. devati A 32, 151, S 70. deva-yajña - A 71, 201. Devi A 69, S 70. Devi Ganga S 32, 39, 92. devi-tattva - S 52. Dhananjaya A 56. dhanarthin - A 231. dhanêsa S 122. dhanu-mudra S 33, 72, 75, plate 27. dharana S 33. dharani S 94-95, 177. dharma A 26, 120 sqq. Dharma A 101, S 33, 68, (701), 134- 35. Dharma Dalem Sukawati A 186. dharma-jāti-mantra A 149, S 39, 42, 46, 126, 158, 170, 184. dharma-pālaka A 119, 123. Dharma Pavayanan A 26, 79-82, 207, S 148. dharmarthin A 232. Dharma-vanśa A 156. Dhrta-rāstra - А 155, 201. dhūmra A 62. dhūmra-varna A 231, S 78. 199 dhūpa & padhūpan A 65-66, 216, S 24, 36, 44, 46, 50, 52, 54, 78, 80, 86, 88, 94, 102, 106, 108, 120, 122, 136, 140, 170. dhūpastra - A 52, 149, S 44, 86, 170. dhvaja A 49, 65. dhvaja-mudra S 33, 70, 72, 76, 78, 83, plate 26. dhvaja-pūjita - A 229. dhvajâstra A 52. dhyā(na) A 160-61, 165-66, 170, 226, S 14, 18-19, 30, 42, 46, 72, 74, 78, 80, 90, 92, 116, 124, 143, 146, 150- 51, 164. Dhyani-Buddha A 31, 43, 58-59. dhyayi S 60. dibya-bala A 97. dibya-cakşu A 97. dibya-darśana-dūra A 97. dibya-teja A 97. Diehl A 118 sqq., 164, S 12-13, 28- 30, 34, 69, 78, 131, 141 sqq. dig-bandhana - S 143. Digha-Nikāya - S 95. dik S 82, 138. dik/g-daśa-deśa - S 133. dik-pālaka A 26, 77, 136. dikşā S 148, 154, 182. Dikshitar S 95. dik-vidik - A 161, 170, S 134. Dinas Purbakala dsb. A 15. dipa & padipan A 65-66, 148, 216, S 24, 36, 44, 50, 52, 54, 78, 80, 102, 104, 120, 122, 136, 140, 170. dipana S 106. dipâstra S 44. Dipta A 125, 159, S 72. dirghayur A 168, S 39-40, 96, 166, 183. Djakarta A 12, 34. Dj(e)lantik A 15, 72-73, 102, 104, 228. Djokjakarta A 3, 12, 36, 143-47, 176, 188. do ut abeas A 71, 208, do ut des A 208. dogma A 7. don-nya A 49, 54, 57. Dowson A 32, 107. Draupadi A 88. Drewes A 136. [[233]] 200 Dronkers A 5, 33, 98. Duda S 18. dudus & padudusan A 30, 47, 57, 230, S 83. duḥkha S 33. dukuh A 200. dukut drěman A 214, 224. dumagakěn S 102, 105. dūra-darśana A 87. dūra-drsti A 87. dūra-grahana A 87. (dura-) sarva-jña - A 87. dūra-śravana - A 87. dūra-vedha A 87. Durga A 22, 27, 49-50, 67-68, 77, 81-82, 188, S 72, 135. Durgā-śakti – A 78. Durga-stava A 54. dur-mangala - S 33. dvā daśa (angula) S 36, 40, 58, 60, 62, 100, 144. dvādaśa-kalātmā S 54. dvādaśânta S 149. dvādaśa sěnkěr S 134. dvāra S 153, cf. Siva-dvāra. dvāra-pāla(ka) A 119, S 153. dvi-bhuja A 165, S 78. dvija-ghna A 198. dvi-jāti A 73, S 10. (ma)dyus S 44. E E ms. S 18, 166 sqq. van Eck - A 78. Edgerton A 58, S 181. van Eerde A 23. eka-daństra A 231. eka-daśa A 231. Eka-daśa-Rudra A 70, 73, 228, 235, S 5, 9, 142, 147. Eka-daśa-Śiva - A 70. ekákşara S 126, 178. Eka-nātha S 116. eka-pratistha - S 184. eka-puspa S 124-25. ekârnava - A 149, S 172. eka-sthāna - S 114. eka-vaktra S 80. Eka-Yama-Rājā - A 50. Eka-Yama-Rājā-stava A 66. ělis A 148. ěmpas A 103. ěmpu S 58, 60, 62, cf. angustha. SŪRYA-SEVANA (g)enah (-an, -aken) S 53, 60, 88, 92, 158, 173. énak S 46. ěnin S 46. Ensink -A 16, S 5, 7, 145, 149, 181. Erāvati/Airāvati - S 52. van Erp A 16, 95, figs, 8-11. exorcism A 10, 46, 207. F Fms. S 17. Filliozat A 76, 118, S 156. Friederich A 33, 114. G Gms. S 15. gadā A 75. gadastra A 52. Gadjah Mada A 36. gagana S 101. Gagelaran Pemańku S 10. Gajendra-mukha-pati A 210. Galiran A 7. Galuñan A 22. gaměl S 56. Gana A 75, 206, 210 sqq., S 135-36. Gana-pati - A 119, S 139-40, 164, 180. Gana-pati-tattva A 74-75, 119, 210. Gana-pranata - A 231. Gaņa-stava A 226. gandha A 65, 154, 204, 216, S 24-27, 46-57, 62, 78-80, 88, 94, 106-08, 112, 122, 136, 139-40, 170, 174. Gand(h)a-mayu A 76. gandhari - S 137. GandheśvariS 24, 80. Gaņêndri S 54. Ganesa A 37, 210. Gaņeśvara A 231. Ganga A 26, 48, S 38, 52, 70, 86, 92, 135, 150-51, 154. Ganga-deviS 86, 88, 94, 183, 185. Gañgādevi mahā - S 86, 94. Ganga-gauri - S 96. Gangâmṛta S 110, 128. Ganga… salañca - S 86. Ganga… soma S 86, 96. ganitri A 153, S 32, 112, 116, 118, 124, 126, 160, 163-66, plates 22/23. garbha S 76, 135. Garbhoda S 52. garěbeg A 143-47. [[234]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ Garga A 59, 64, 122, S 135. Garuda A 80. gati A 231. Gauri A 123. Gauri-putra A 231. gavé S 68-70, 102, 135, 183, 186. Gāyatrī S 83, 126, 136, 180. gědon-gědon A 72, 228. Geertz A 73, 75. gegő S 60, 80. Geise A 80. gelan S 90. gelar A 73, 90, 159, 172, S 54, 56, 68-69, 82, 134, 138-39, 158, 163-64. gelar saña A 212, 222. Gèlgèl A 177. (g)ěnah (-an, aken) S 53, 60, 88, 92, 158, 173. gění A 103, 109, cf. agni. [A]g(ě)ni-mukha S 33. gentorag/ghanță urag A 185. Gericke-Roorda S 87. gěsěň S 60, 62, cf. dagdhi. ghanța A 56, 216, S 32, 50, 78, 86-90, 94-96, 102, 106, 112, 116-22, 126- 28, 136, 146, 174. ghanță urag A 185. gha(r)şa S 88, 158. ghrāna S 58, 60. ghrānágra S 56. ghrāņendriya S 140. ghrim S 80, 92. ghrim-mantra S 40, 106. ghrim-śloka A 154. Gianjar A 7, 16, 48, 71, 133, 139, 177, 193, S 16, 18. gili-gili A 135, 160-61, 166, S 27, 72-77, 80-82. giri A 183. giri apsara S 17. Giri-nātha A 36. Girîndra-tanayā A 198. Giri-pati S 41, 122. Giripati deva-deva A 50, 226, 228, 233-35. Giri-putri A 206. god-kingship A 3, 138-40. go-mudrā S 31, 158. Gonda A 58, 86, 103, 111, 137, 184, S 86, 145, 149. Goris A 5, 7, 21-22, 33-35, 44-45, 56, 60, 98, 118, 129, 148-49, 154, 176-79, 184, 186, 200, 223, S 11, 18, 46, 48, 79, 86, 142, 176, 181. Goslings A 136. Goudriaan S 7. go-vrasa(?) A 162. Grader A 7. graha S 78. gravida A 78-79. Greater India A 37, 167. griya A 9, 35, 44, 48, 60, 73, 90, 105, 139, 193, S 18, 78. Griya Anjar, Sibang Kadja S 16, 181. Griya Batantijing, Krambitan A 158. Griya Djumpung, Sandan, Wanasari (Tab.) S 89. Griya Dlodpěkěn, Sanur S 73. Griya Kadampal, Krambitan A 16, 133, S 15, 32, 131-32. Griya Sadawa, Gianjar S 16. Griya Sanur, Pèdjèng A 16. Griya Sibang, Abiansemal S 16. Groneman A 145. guduha S 72, 160, 162. guest, divine A 8, S 154. guhya S 26, 68-69, 72, 100, 124, 126. guhyanam S 126, 180. guhya-pundarīka S 100. gumi A 86. guna A 123. gunâtmaka S 112. gunun A 49. gunun-an A 146. Gunung Agung A 44, 177 sqq., 184, S 148. gurit S 52, 54, 183. guru A 47, 181. Guru A 39, 47, 52-53, 59, 67-68, 188, 203, S 138. Guru-graha A 214, 224. guru-loka A 185. guru-paduka A 220, 226. Guru Réka A 3, 25, 27, 38-39. Guru-stava A 235. Gusti Bendul A 186. H H ms. 15. Hadrya A 114. ha-ka-sa-ma-ra-la-va-ya-un A 158- 59, 167-73, S 90-93. hand pose/mudrā A 6, 43, 49, 81, 118, 130-31, 133-34, 148, 159, 167-68, 193, 225, S 29, 31-34, passim, nearly all plates. Hanuman A 113. [[235]] 202 Hara A 196. Hardjowirogo A 99. Hari-hrdaya S 184. Hari-mūrti S 185. harita A 49. Hari-tattva S 184. hasta S 44, 74, 108, 110, 170, ef. bahu. hastâbharana S 164. hasta karo/kalih S 116. hasta kiva/kèri S 110. hasta-siddhi S 116, 164, hasta těněn S 110. Hastiy-anana A 231. Hayam Vuruk A 139, S 182. Haya-śiras A 107. Hazeu A 88, 210. Heliodorus A 69. hěnah (-an, akěn) S 53, 60. hěnin S 46, 90, 172. hetu-bhūta A 57. hitań-kara S 86, 88. Hooykaas, C. A 7, 9-10, 25-26, 35, 47, 87, 98-99, 123, 187. Hooykaas, E. M. A 16. Hooykaas, Jacoba A 8-9, 17, 21, 78, 82-85, 88-89, 148, 156, 176, 184, 222, 224. Hooykaas, Jan A 16, maps I-V. Hopkins A 32, 107-08, 229. hrd(aya) A 120, 225, S 22, 26, 36, 38, 46, 48, 56, 58, 60, 66, 68, 70, 72, 74, 76, 78, 80, 82, 84, 90, 92, 94, 100, 106, 108, 114, 116, 118, 122, 124, 126, 135, 138-40, 145, 158-60, 164, 166, 181. hrdaya-mantra A 161, S 26, 33, 48, 66, 68, 74. hṛdaya-mudra S 26, 29, 32-34, 48, 66, 68, 70, 72, 74-76, 106, plates 3 & 27. hṛdaya-padma S 60. hrdaya-pundarika S 72, 90, 92, 114, 116, 122, 144. hrdaya-sthāna S 48, 66, 76. Huizinga S 153. hun-kāra S 102-06, 139-40. I I ms. S 15. i-a-ka-sa-ma-ra-la-va-ya-un A 168-71, S 90-93. iběk S 56, 84, 88. Ida S 138-39. SŪRYA-SEVANA iděp A 26-27, 131, 168, 170, 212, 223, S 14, 18-19, 46, 52, 56, 60, 62, 64, 66, 68, 70, 74, 80, 84, 90, 92, 102, 104, 124, 134, 137, 143, 146, 148, 150, 172, 184. iděr (-in, -kěn, pa-iděr-an) S 52, 54, 78, 90, 158. igěl S 133. ihatra A 153. incantation A 8, 62, 185. Indra A 29, 123, 223, S 72, 162, 176, 180. Indrāņi S 54. Indra-vajra A 229. iron smith A 7, 186. irun kiva S 56-59, 72, 82, 166. iruń těněn S 56-59, 72, 82, 166. Īsa A 204. Īsāna A 37, 59-61, 156, 159-60, 195, 205, S 23, 26, 49, 51, 53, 65-67, 74, 85, 93, 106, 108, 134, 143, 158, 170, 172. Isana-purāņa A 155. Īśāna-Sanhita A 194. isěp S 56, 58. isi (-akěn, ani, mêsi) 48, 52, 62, 66. iśitva A 87. Isora A 66, cf. Iśvara. istârthi A 232. isuh-isuh A 212, 223. Iśvara A 28, 32, 36, 39, 47, 62, 66, 69, 81-83, 159, 163, 165, 173, 175- 76, 203, 206, 210, S 36, 44, 46, 48, 52, 54, 56-61, 70, 78, 82-85, 93-94, 100, 114, 172. Iśvara-mūrti S 58. Iśvara-sandhyā 102, 139. J J ms. S 18. jaba A 35, 86, 112, 179, 185, 200, S 33, 70, 74-78. jagarana A 197, cf. jaghana. Jagat-nātha A 212, 213, S 34, 41, 86, 96, 112, 118, 158. Jagat-pati S 185. jagat-pitha A 231. Jagat-rakşa S 185. jaghana S 133, cf. jagarana. jajah S 72. jala-ja S 116. jala-nidhi S 97. jala-siddhyai S 96. [[236]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ Jambika A 163, 166, S 76, 80. jambu-sańkhā - S 97. Janardana S 184. jańkép S 24, cf. sańkép. japa A 170, 196, S 42, 58, 60, 74, 78, 92, 106, 112, 116, 118, 124, 126, 164-65. japa ganitri A 216, S 112, 116, 164, plates 22/23. japana S 82. japa-śakti S 160, 175. jariji S 48, 66, 82. jāti-mūla A 89. Java-Instituut A 12. Jayā A 125, 160, S 72. Jaya-siddhi - S 72, 116. jaya-sükşma S 52. jayavati A 233. jěpun S 48, cf. kamboja. jihvā S 56, 76, 92. jihvågra S 64. jihvā-śuddha S 80, 92, 108. jihvendriya - S 140. jiva S 149. jīvat-śarīra-rakşa S 96. jīvitam S 64, 135. jīvita-paripūrna S 58. jñāna A 43, 49, 120, S 46, 56, 68, 70, 118, 135, 148. jñāna-śuddha - S 133. jñeya S 181. Jogya/Djokja-karta A 3, 12, 36, 143- 47, 176, 188. jön S 108, 140, cf. cokor, suku. Jrmbhaka A 229. Jro A 21, S 33, 70, 74-76. Jro Banbań -A 188. judge A 71, 115. Juynboll A 6, 9, 12, 34, 38, 43-44, 74-75, 79, 83, 85, 98, 103, 110, 112- 14, 121, 198, S 14, 18. Jvālinī A 91, S 26, 48, 66, 68, 74, 106, 160. jvālinī-sikhā-mantra S 26, 48, 66, 68, 74, 106, 160. Jyestha A 123. jyoti S 80, 176. K K ms. S 16. Kaaden, van der A 7. Kaba-kaba - A 186. kabbalistic A 3, 46-70. kacacar A 79-82. kadalī A 203. Kadampal-A 16, 133, S 15, 32, 131-32. Kadiri S 16. kadut, S 114, 122, plates 12-15, 18, 23. ka jaba A 159, S 33, plate 26. kajamas S 80, 92, 108. kajań A 116, fig. 14. ka jro A 159, S 33, plate 27. kakavin A 3, 24-25, 33, 36, 38, 96, 110-14, 138, 174, 193, 198-99, 229. Kalā A 123. Kāla A 68, 76-77, 184, 188, S 23, 33, 178. Kala-Agni-Rudra A 188, S 62. Kāla-kūța-Śiva S 109. Kāla-rājâstra-mantra A 56. kalaša S 86. Kala-śakti A 78. Kālâstra-jaya A 54. Kala-Wrtta - A 105. Kāla-ma(n)sa - S 126. Kālâtīta S 126. Kala-yuga S 126. kalěvi A 212, 223. Kali A 123. Kalimantan/Borneo A 76. Kalpa Buddha -A 44, 59. kalpana A 72-74, 170, S 90. kalpika S 48, 50, 60-67, 78, 86, 92, 96, 100, 120-25, 166, plate 4. kaluń S 90. Kama - A 36, cf. Smara. Ka-Mahāyāna-n Mantranaya A 43. Ka-Mahāyānika-n A 28, 43, 56, 75. kāmana S 126. kamandalu S 92. Kamasan A 73. kāmāvasāyitva A 87. kamběn S 44. Kaměnuh A 114. Kāmēśvara A 138. kampuh S 44-45. kanan S 48, 50, 64, 66, 70, 108, cf. těněn. Kañcana A 200. kānda A 38. Kanishka A 69. kanişth(ik)ā - S 26, 46, 50-51, 66, 106, 120, 160, 162. kant(h)a A 102, S 82, 92, 160, 166. kanthabharaņa - S 162. kanthaka S 162. kantha-mula - S 64, 135, 160. [[237]] 204 kanyā A 231. kanyarthin A 231. kaputusan A 79-82. kara S 62, 116, 145, 158, 164, cf. tanan. kara-dvaya S 76. kāraka A 38. kara-mantra S 149. Karanagama A 121, 123, 124. Karanda-vyūha S 181. Karang Asem A 15, 35, 44, 46, 72- 73, 104, 177, 180, 187, S 9, 18. karanguli A 170. kara-nyāsa S 21, 28-30, 144, 147. kara-śodhana A 153, 204, S 26-30, 32, 35, 48, 64, 144-45, 147, 150, 161, 172, 183. kara-śuddhi S 50, 120, 145, 160, 163, 181. kara-tala S 64, 82. kara-vista 54, 161. karda A 64, 68. karna S 166. karņâbharaņa A 170, S 90, 162. karņa kalih/rva/dva S 27, 69, 160. karņa kiva S 72, 110. karņa těněn S 72, 110. karnéndriya S 140. karnikā A 140, S 162. karnika-madhya A 165. Karuņā-devi S 50. kārya A 76, 77, S 41, 100. kārya toya S 100, 151, 155. kasan S 47. Kasna/Krsņā S 80, 110. de Kat Angelino A 6, 16, 35, 43, 48, 56,65, 81, 184, S 11, 13, 16, 31, 48, 60. katipluk A 185. Kats A 28, 43, 75. Kaumārī S 54. kaupina S 27, 44, 69, 106, 139. Kauravâśrama A 8, 97, 103, 109, 111, 144, 155, 201. Kauśika A 59, 122, S 135, ef. Ko(r) śika. Kausiki S 92. kavaca-mantra A 153, 161, S 23, 26, 46, 48, 52, 66, 68, 74, 106, 160, 170. kavaca-mudrā A 131, 153, S 26-27, 33, 48, 52, 62, 66, 68, 70, 72, 74-75, 106, plate 27. kavaśa S 58. kavati S 48. kavi A 33, 36. SŪRYA-SEVANA kavindra A 38. ka-viśesa-n A 77. Kaviśvara A 3, 25, 27, 38-39. kāvya A 33, 96, 229, cf. kakavin. kāvya-jñāna S 134. kawi A 33, 36. kāya-śirah-mantra S 26, 46, 66, 68, 74, 106, 160. kědas A 86. kembań S 48, 108, cf. puşpa, sěkar. këmbań sepatu S 48. kěmbań vani S 108. kěmboja S 48, cf. jěpun. Kempers A 6. kěmuh-kěmuh S 44, 80, 108. kěna S 104, kěnakěn S 69, 90. kěpok S 74, 82, plate 2. kěpus puńsěd A 72. kěpus uděl A 72. kèri/kiri/kiva S 50, 66, 70, 108. Kern A 28, 43, 112, 116, S 88. Kersten A 12. keśabharana S 162. keśagra S 68, 92, 106. keśara A 121, 160, S 75. keśara-madhya S 72. Keśava S 184. Kěsiman S 18-19. Ketavi A 164, S 78. Kětěwėl A 185. Ketu A 164, S 78, 136. kha S 176. khadga A 64-65. khadga-mudrā S 33, 70, 76, 78, 83, plate 26. Khadga-Ravana A 54. khageśvara S 185. Khasolka A 132, 160, 163, S 25, 30, 44, 68, 74, 76, 78-80, 88, 92, 108, 182. kilat S 74. van Kinsbergen A 175. kirat S 90. Kirfel S 95. kiri/kèri/kiva S 50, 66, 70, 108. kirim A 78. Kirtya A 10-12, 16, 21-22, 29, 33- 34, 38, 44, 79, 88, 99, 102-03, 112, 129, 226, S 5-6, 12, 14. kisapvan S 48, 62, 66. kitiran A 188. kiva/kiri/kèri S 46, 48, 50, 56, 58, 66, 70, 72, 76, 78, 80, 86, 94, 108, 110, 135, 158-60, 164, 166, 170. [[238]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ de Kleen A 6, 16, 43, 56, 65, 81, 118, 184, 224, S 7, 11, 13, 16, 31, 60, plates 9-25; dust covers. kleśa-vināśana S 159. Klin S 90. klod-kauh S 23, 48. Klungkung A 73, 177, 179, 183-84, 186. koņa A 88. Korawâçrama A 8, 97, 103, 109, 111, 144, 155, 201. Korn A 35, 177, 200. Körner A 5. Ko(r)sika A 59, 122, S 135, cf. K(a)usika. krakah A 38. koți-Sūrya-prakāśa S 126, 180. krama S 58, 64, 66, 68-69, 83, 90, 92, 158. kramaņa S 118. Krambitan A 16-17, 35, 74, 79, 105- 06, 133, 158, 189, S 7, 19, 32, 73, 184. Kratu S 135. Krauñcâcala-dāraņa A 229. kris A 146, 176. kriyā S 106. kriyā-śakti A 87. krkara A 56. krodha A 4, 31, 44, 59, 62, 67, 68. krodha-deśa S 48, 66. krodhadhipati A 67. krodhânala A 111. Krom A 28, 143, 181. krsna A 164. Krsna A 55, 69, S 185. Krsņā A 163, 166, S 76, 110. krsna-varna A 164, S 78. kṛta-ghna A 198. Krti-dhara A 77-78. krura-rūpa S 136. kşama S 88, 112, 118, 136, 138, 183. kşamā-karana S 46, 50, 80, 92, 106, 108, 110. kşamā-sampūrņa S 46, 56, 100, 118, 128, 148. kşamasva mām Jagat-nātha A 47, S 90, 112, 150. kşamasva mam Mahā-deva A 47, S 88. kşatriya A 44-45, 69, 133, 135, 200, S 22, 24, 58, 182, 185. kşetra-pāla A 119. kşiti A 155. 205 Kubera/Kuvera A 29, 123, S 72. kukkuța A 229. kukşi S 164. Kukub A 7. Kula-putra A 91. Kula-putri A 91. kulit S 72, 135. kulkul A 178. Kumāra A 32, 37, 48, 172, 206, 210, 226, S 81, 135-36, 180. Kumāra-bija S 24, 80. Kumāra-matr A 32. Kumāra-stava A 226-30. kumbhaka S 56-59. Kumbha-karņa A 113. kumpul (-akěn) S 122-24. kumurub/kuměrěb S 48, 52, 66, 88. kumuda-jaya A 168. kunda S 60, 62. kunda rahasya A 223, S 60. kundi S 62. Kuninan A 22. kuñit S 160. Kuñjara-karņa A 43. k[a]upina S 27, 44, 69, 106, 139. kurah S 44-45, 52, 80, 92. kūrma A 56, 138, S 147. kūrmågni A 103-04, 107, 172. kūrma-rāja A 172. kūrmâsana A 120, fig. 138. kūrma-śilasana A 127. kūrmâvatāra A 103. Kürma Vyangi A 103. kurmedha-jaya S 96, 118. Ku(r)şika/Ko(r)sika A 59, 122, S 135. Kuruşya A 59, 122, S 135. kuśa S 54, 84, 145. Kushāna A 69. Kusuma-deva A 121. kusuma-vicitra A 113. kūta S 74, 108, 134, 137-38, 140, 170, 175. Kūța-mantra A 37, 104, 119, 123, 138, 149, 153, 166, 168, 225, 227, S 20, 26, 38, 40, 48, 62-66, 80, 84, 90, 102, 108-10, 114, 139, 147-48, 151, 158- 64, 172-73, 183-84. Kuvera/Kubera A 29, 123, S 72. L L ms. S 17. labhanam A 231. laghiman A 87. [[239]] SURYA-SEVANA 206 Lake B(a)ratan A 187. Lake Buyan A 187. Lake Tamblingan A 187. Lakşmi (-devī) S 50, 83, 114, 163. lalāta S 76, 92, 110, 138, 158. lambé S 54, 170. lambun S 82. lampadan A 214, 224. Lańkā A 113. Large A 16, S 7. lava S 54-55, 70. lavana-sāgara A 111, S 64. Lawu A 187-88. learning A 3, 21-39. Leiden A. 9, 12, 34, 49, 80, 91, S 14. lěkětik S 46, 48, cf. aryakěn, salaha- kěn. Lekkerkerker A 5. lõmpir A 47, 77, 91. Lempuyań A 183. lepa-lěpa S 26, 48, 66, 158. lepas aön A 73. van Leur A 200. lidah S 108, cf. jihvā. Liefrinck A 21, 44, 129, 133. (ma)ligya A 46-47, 60, S 182. lila S 46, 118. lin Bhattāra/lin San Siněmbah, - S 46, 48, 56, 66, 96, 98, 152. lin San P-in-ūjā, same as supra. lin sań amūjā S 50, 98. lina A 149, 216, S 122-23, 172. Linga A 120, 130, 143, 172, 176, 191- 236, S 132, 134, 164-65, 170, 172. Linga-deva A 149, S 172. Lingadhipati A 207 sqq., S 171-72. Linga-Ganga A 48. Lingakāra A 153. Linga-mūrti A 149, S 171-72. Linga-pūjā S 100, 124, 153. Linga-puruşa S 45. Linga-rūpa A 151, S 62. Linga sanctuaries A 174. Linga-stava S 174. Linga-tattva S 172. Linga worship A 3, 143, 174, 206-25. lingih/lunguh A 176, S 45, 95, 170. Lingodbhava A 15-16, 37, 104, 143- 44, 155-74, 194, figs. 15, 21-23, S 34, 38, 78, 80-81, 147, 151-52, 172. lis A 148, 212, 222. literature A 21-22, 33-35. van Lohuizen A 26, 77, 136. loka-pāla A 69, 136, 138, S 143. lokáśraya S 122. Lokéśvara S 184. Lombok A 9, 35, 103, 129, 187, S 9, 16-17. Lord of the Soil A 187. Lubdhaka A 3, 174, 193, 198-99. luhur/ruhur S 48, 66, 78, 171. lukat A 73, S 41, 112, 176, 184. lumah (-akěn) S 52, 66. lunguh/lingih A 176, S 45, 95, 170. lyan S 56, 58, 60. M M ms. S 18. maban S 78. ma-basah A 78-79. Macdonald A 184. ma-colon A 83. madayanti A 113. madé A 188, S 73, cf. madhya. Madènan A 8. ma-deva A 79. madhu-parka A 193, 202-06. madhya A 46-47, 73, 125 sqq., 230, S 50-53, 56, 66, 70, 74, 76, 78, 80, 82, 84, 134, 136. madhyabhimukha A 57-58. madhyama S 15, 17, 23-25, 68, 166. madhyamika S 26, 46, 50, 66, 106, 120, 160, 162. ma-diksā A 73, S 148, 154, 182. Madras A 28, 96, 118, S 59. madu-mukha-mudra S plate 5. Maduvé Karang A 8. ma-dyus S 44. ma-gědon-gědon-an A 72, 228. Magelang A 146. Magha A 194. ma-gombèt A 73. Maha-bali-puram A 124. Maha-Bhairava A 67-68. Maha-Bhairavikāraņa S 122. maha-bhara A 229. Maha-Bharata A 111, 115. Maha-deva A 28, 47, 52-53, 59, 62, 66, 81-83, 163, 183, 203, S 44, 52, 60, 70, 83-84, 94, 100, 114, 122, 140, 160, 180, 183. Mahā-devi A 32, S 83. Maha-Ganga S 90. mahā-japya S 126. Mahā-jñāna A 119. Maha-Kala S 135. [[240]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ Mahā-krodhi-devi S 72. Mahā-Lakşmi A 119. Mahā-Linga A 151. Mahā-Meru A 80, 112, S 132. mahā-padma S 54, 83, 122-23, 136, 145, 175. mahā-pandita A 115. mahā-pataka-nāśana S 126, 160. mahā-pradhāna S 132. mahā-prāņa S 72, 139. mahā-prāyaścitta S 58. mahā-rājā A 66. mahā-rāņi A 66. maharşi A 201. Mahā-Rudra S 122. mahā-siddhi S 114. Mahāsini S 72. Mahā-Sūkşma-Śiva S 164. Mahā-śūnya-Śiva S 109. mahā-tirtha S 90. mahā-vira S 184. mahā-viśeşa S 58. mahā-yati A 66. Maheśvara A 36, 52, 64, 196, S 85, 170, 180. Maheśvarī S 54, 70. mahiman A 87. mahôdyata S 122. Maitri A 59, 122, S 135. maja A 220, 223. Maja-pahit A 146, 177, 186, S 182. Majumdar A 10. Majun A 16, 74, 114. ma-kampuh A 44. ma-kāra S 90, 181. Makassarese A 80. ma-kětus A 73. ma-kirim A 78. ma-kurah S 44. makuța S 90. mala S 60, 149. mālā A 30. Malacca A 36. Malalasekara S 95. malasan (?) S 229. mala-traya S 62. Malay A 74, 76. maligai A 60. maligya A 46-47, 60, S 182. mālin A 30. ma-linga A 183. mamsa S 72. ma-mukur A 175. Manābhava A 58. 207 manah/manas-mano S 106, 134, 163, 176. man-bhakti A 209. mandala A 121. mandapa A 121, 125. mangala A 3, 25, 36. mangku/pamangku A 21. manik A 87, S 62. Manik Ankeran A 180, 184. Maņik Galanń A 183. Manik Gumayan A 183. manohara S 86, 114, 185. mano-śloka A 154. (San Hyan) Manon A 54. Manonmani A 123. mantra-mūrti S 116. mantra-śuddhi A 120. mantra viśeşa A 170. Manuäba A 16, 158. māņuşa-śakti A 78. māņuşa yajña 71-72, 90, 201, 228. ma-pahayu bobotan A 72. ma-pasah A 78. ma-podgala A 73. ma-rahup A 44. marana S 64. marriage A 8. mariśuddha makurěn A 72. ma-sabuk S 44. masah A 78. ma-sakap-an A 72. ma-salimpět S 80. ma-salit A 161, 165, S 74, 78. ma-sanih A 73. ma-santog S 44. ma-sepuh A 73. ma-śila S 44. ma-sisig S 44. ma-siyun A 161, 165, S 74, 78. Mataram A 187. ma-tatah A 73. matr A 195. mātrka-nyāsa A 195. matsyasana A 139. Matthana A 57-59, 64. ma-vastra S 44-45, 183. ma-vintěn A 73. ma-vunu S 104. McPhee A 7. Mead A 5, S 182. medicine A 82. mekhalā S 44. Mémé A 81. Menakā-giri A 110. [[241]] 208 SŪRYA-SEVANA měñan S 46, 52. Měngwi A 177, 186. Měrapi A 188. Mershon S 182. Meru S 95, 97. Metri Maitri - A 59, 122, S 135. Middelkoop A 5. Middle Javanese A 75. mijil/vijil S 48, 56, 58, 62, 66, 78, 134-35, 137. modré S 162. Moens A 223. mohana A 229. Monier Williams A 58, 74, 83, 87, 94, 101-02, 105, 121, 160, 202, 208, S 96. Moojen A 95. mouse A 8-9. ‘Mpu Běkuń A 184. ‘Mpu Lutuk S 88. ‘mpu pandé A 186. ‘mrti-karana S 28, 174. Mrtyu S 33. mrtyun-jaya A 168, S 39-40, 96, 98, 118, 183. Muditā-devi S 50. mudrā A 43, 49, 81, 118, 130-31, 133- 34, 148, 159, 167-68, 193, 225, S passim, nearly all plates. mudrā ka-jaba S plate 26. mudrā ka-jěro S plate 27. mudrā sa-ka-věnan S 14. mukha S 26, 46, 58, 68, 74, 76, 92, 100, cf. tutuk, rahi. mukha padma S 100. Mukha Vadava A 110. mūla A 126, S 72, 134, 147, 160. mūla jadi A 89. mūla kantha S 27. mula-mantra A 89, 104, 119-20, 123, 138, 170, S 20, 92, 148, 150. mulań (sekar panuntun) S plate 30. Munshi A 10. Mur A 79, 82. mūrdh[n]i S 26, 48, 56, 64, 66, 76, 82, 106, 108, 110, 166, cf. mukha, rahi, vaktra. Mūrti A 56, 104, 120, 125, 132, 138, 149, 173. mūrtika S 137. Mūrti-pakşa A 104, 132, mu(k)sala A 64. musalastra - A 52. muşti/puşți S 45-48, 170, mustika-mudrā S 33 (48, 50, 60, 66, 68, 72), 73 (76), 77, (84, 139), plate 27, cf. pratistha-mudra. mutěr S 32. mystical syllable A 3, 36-38. N N ms. S 18. nabé A 47, S 16. nābhi S 54-56, 60, 68, 84, 92, 100, 114, 122, 138, 164, 166, 181. nada A 170, S 48, 78, 86-87, 90-92, 134-36, 180. nādânta S 86-87. nadi S 60, 64, 137. nādi S 137-38. Nadi-śrestha S 52. nadi-sūta S 52. nāga A 56, 103, 105. Nāga-bāyu-sūtra A 43-44, 49-59, cf. An-anga-b.–. nāga-kūrma A 105. nāga-pāśa A 56, 77-78, 130. [nāga-] pāśa-mudrā A 130, S 26-27, 33, 78, 83, plate 26. nāga rājā A 172, S 164. Nāgara-krtagama A 28, S 9. nāga-sari A 8. ňagëm (cf. agem) kalpika S plate 4. ňagëm sěkar (mivah ghanță) - S plate 28. nairika S 137. naivedya A 121, 216, 224. nakşama (ef. kşamā) S 88, 183. (a)nala A 100, 105. Nama-bhava - Α 57, 59, 68, cf. Bhava- bhava. namah/namo A 54, 91 passim, S 37 passim. na-ma-Si-va-yaA 37, 60, 64, 68, 86, 159 passim. namāmy aham A 71. namas-kāra A 105, 195, S 22, 78, 92, 136. namas te Bhagavan Agne A 50. nambut, cf. sambut. namhara S 32, 146, plate 32, cf. sam- hara. nam-kāra S 102, 106, 120. nam-kara-tarpaņa S 41. namo Buddhaya - A 47. Nandiśvara S 135. nańkěpi(n) -S 24-27, 32, cf. sankěpi(n). nańluk měrana A 7. [[242]] INDEX TO ‘AGAMA TIRTHA’ AND ‘SURYA-SEVANA’ nanten A 72. nārāca-mudrā A 204, S 22, 25, 32, 46, 52, 52, 74, 148, plate 3. nārācâstra S 22. Nara-Hari-mudrā S 25, 184. Nara-simha-stuti - A 59. Nārāyan Ram Acharya S 176. Nārāyana A 50, S 22, 176-81, 185. Nārāyaṇa-netra S 25, 184. Nārāyana-priyā - S 97. Nārāyaņi A 50. Narmada A 26, S 52, 96. nāsikā S 137, 139. nāsikágra S 108, 166. ńaskāra A 167, S 39, 52, 69, 86, 88, 90, 170, 183. na-stava S 88, plate 14/15. nava-devatā A 68. Nava-Ganga A 26, 48, 55, S 52, 86. nava-graha A 38, 78-79. Nava-kanda A 85. navama A 231. nava-śakti-A 126, 135, 159-60, S 37, 72, 74-75, 82, 144, 150, 166. nava-sana-A 64, 77, 136, 160, S 37, 105. Nava-vidyā S 52. Nawaruci A 55. nělu bulanin A 48, 72, 228. němpugin A 73. něm sasih A 73. nendagin A 73.. něnhara S 32, 146, plate 12, cf. sam- hara. ñěpi - A 184. netra S 26, 46-48, 66-68, 72-75, 80, 106, 110, 137-39, 148, 160, 166. netra kalih/karo S 66, 160. netra kiva S 26, 72, 74, 80, 106, 110. netra-mantra A 161, S 26, 46, 48, 66, 68, 74, 106. netra-mudrā S 75. netra těněn S 26, 72, 74, 80, 106, 110. Netra-traya S 22, 47. ‘Ngakan A 186. Ngëndjung 16, 48, 139, 193. nicip toya S 32, 34-35, 118, 128, plate 24. Nieuwenhuys - A 99. Nieuwenkamp A 65, fig. 6. nigan sasihin A 48, 72, 228. nihśvāsa A 169, S 92. nijakta/nijapta (?) A 87. nila A 28. Nilakanta Sastri A 124. nila-māla A 30. nīlâmbara-dhara A 29. nila-vastra A 29. nili/nuntun S 32, 58-61, 84, 100, 159, 183, plate 4, 12/13, 30. Nini Towong - A 88. nirantara S 112. nir-ātman S 60, 84, 94, 114, 122. nir-bandhana S 160. Nirgudkar A 15. nir-mala S 40, 44, 46, 56, 100. nir-mālyam A 119. nir-vighna S 58, 114. nir-vikāra A 91, S 62. Nişāda-parvata-stha A 218. nişkala-ātman S 60, 84, 94, 114, 122. nistha A 32, 47, 78, S 17, 23, 166. nitala A 113. Niti-śāstra A 88. Nittiya Karumaviti - S 29. nitya-kāla S 163. nividya/naivedya A 121, 216, 224. niyati A 123. Noorduyn A 80, 122, Nowotny S 7, 13, 141. nrurah A 187. nucur (-akěn) S 120. nuntun/nili S 32, 58-61, 84, 100, 159, 183, plate 4, 12/13, 30. Nurah Siděměn A 179-80, 183-84. nusa A 103. Nusa Penida 8. nusap tanan S plate 2. [a]nusthāna - A 99-100, 226, S 74, 82, 84, 164, 166. nyāsa A 120, 130, 134-38, 159-66, 170, 173, 195, S 26-30, 34, 37-40, 68-81, 90-92, 143, 147, 149-51. nyasta S 181. 0 Oms. S 19. odalan A 7, 22-23, 25, 36. Om-kāra S 38-40, 51, 60, 62, 64, 69, 84-86, 90-92, 134-36, 181. Omkara-ātmana-mantra S 116. van Ossenbruggen A 76, 82. otot A 135. P Pms. S 17. pabajanan A 78. pabayiän A 78. [[243]] pabrěsihan S 17, 186. pa-caru-an A 88-89, 208, 216, S 60. pāda A 112, 187, S 46, 48, 66, 80, 92, 164, 181. pādâdi S 44. pāda-dvaya-S 26, 48, 68-69, 76, 133, 138, cf. cokor, suku. pada lavan - A 49. pāda-nda A 3, 9, 26-27, 29-30, 33, 35-36, 44-45, 72-74, 78, 100, 110, 121-22, 133-35, 148, 151, 160, 169, 184, 187, 200, 222, 229, S 7, 11-12, 14, 20-21, 32, 34, 37, 73-78, 85, 89, 95, 105, 112 etc. padanda Buddha S 9, 86. Padanda Gědé Djumpung, S 89. Padanda Gědé Njoman Djělantik A 15, 72-73, 102, 104, 228. Padanda Madé S 73. Padanda Sara-siddhi A 131, S 34, 37, 70, 73-78. Padanda Singharsa A 158. Padanda Wajan Ngëndjung A 16, 48, 139, 193. pādângustha S 62. padań lěpas A 224. paddhati A 125, S 14, 20, 34, 143. paděm(i) S 62, 64, 149. pa-dhūpa-n-S 52, 86, 102, cf. dhūpa. pa-dipa-n S 32, 102, 104, 120, cf. dīpa. padma A 101, 120, 136, S 30, 38, 70, 74-75, 80, 92, 100, 124, 135-36, 152. padma agun/mahā-padma S 54, 83, 122-3, 136, 145, 175. padma anlayań A 212, 222, fig. 24. padma-bhuvana S 136. padma-guhya A 138, 140, S 139. padma-hrdaya A 137, 159, 170, S 60, 70, 71. padma-mudraA 131, S 26-27, 33, 54, 66-70, 73-74, 78, 124, 139, plate 26. padma-mukha S 68. padma-rāga A 52, 65. padma-samyoga-samsthita S 124. padmasana A 3, 11, 93-140, 158-59, 212-21, figs. 7-13, S 37-40, 44, 46, 70, 74, 78, 102, 144, 148, 155, 173, 183. padmastra A 52. Padma-yoni A 156. Padoux S 87. padudusan agun A 30, 47, 57, 230, S 83. pādya S 38-40, 78, 80, 82, 92, 108, 147, 151, 154. pādyârgha A 226. pa-gětěp bok A 73. Pagorsi A 22. paha S 88. pahénak/pahěnin S 46. pahibon A 211, 221, 225. pahludan S 158. pahiděran A 53, 60, cf. iděr. pa-japa-n S 164, cf. japa. Pakěrisan A 174. pa-kětis-27-30, 32, 49-51, 54-59, 64, 66, 236, S 27, 147. pakşa A 173. Paku Bhuwana A 188. pa-lingih-an A 176, S 45, cf. lingih/ lunguh. pamandyanan A 65. pamańku A 3, 5, 21, 34-36, 46, 72, 91, 121-22, 148, 187, 222, S 10, 155. pamapag raré ěmbas A 72. pamariśuddha S 33. Paměrěgan A 230. pamiyosan A 214, 224. pamrajan A 223. pamunu/pavunu/punu S 32, 40, 102, 104, 106, 131, 183, plates 18/19. pamupulan S 52. pan-adan-adań A 115. panaděg S 58. panakşama A 47, 56, S 90, 183, cf. kşamā. pañalpana A 74, 170, S 90. pan-anon-anon A 115. Panarukan A 158, S 19, 182. pañastava A 49, cf. stava. Panata ‘gama A 145. panataran agun A 179, fig. 16. pañavak A 85. pañca-ātmā S 138. pañca-bali-krama A 30, 47, 60, 85, 208, 235, S 83. pañca-bāyu A 56, S 138. pañca-brahma A 37, 60, 64, 68, 160. pañca-daśa-rasa-stuti A 55. pañca-daśa-vajra-devatā-stuti A 55. pañca-deśa A 90. pañca-diva S 90. Pañca-Gangaā A 48, 55, 8 86. Pañca-giri S 41, 118, 120. Pañca-Ko(r)sika/K(a)u(r)sika A 62, 116, 123. pañcâkşara S 90, 136-37, 178, 183. [[244]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ pañca-mahā-bhūta - A 116, S 26, 48, 52. pañca-mahā-yajña A 208. Pañca-Nara-simha-stuti A 49. pañca-ranga A 83. pañca-rasa A 55-56. pañca-rsi A 62, 122, S 90-91, 135. pañca-sânak A 85. Pañca-Sarasvati A 27-28, 30-31. pañca-sirah A 170, S 90. Pañca-Śiva S 82, 84, 86. pañcāsya S 66, 106, 143, 158. pañca-tan-mātra S 52. Pañca-tantra A 69. Pañca Tathagata - A 29-31, 43, 49, 59. pañca-tirtha A 37, 60, 64. pañcôpacāra A 214, 224. Pandava - A 103. pandé věsi A 7, 180, 186, S 171. pan-dilah S 102. (Narendra Dev) Pandit S 5-6, 90. pandita S 12, 56, 117, 166. Pandv-ātmaja A 114. pañěňkěr A 77. pan-hyan-an S 136. pani deśa (?) - S 100. pan-ilan-akěn S 33. pañiram S 64. pan-irin A 76. pañjara S 48. Panjirang A 8. pañjin(akěn) S 58. pańka-ja S 80. Pankaja-deva A 50. pan-landěp S 102. pan-lukat-an-S 41, 112, 176, cf. lukat. pań-rampad pras A 46. panulak S 33, 139. panuntun 60, 82, 100, 122, plate 30, cf. nuntun. panuvuk A 85. păpa S 60. pāpa-kleśa S 60, 64. pāpa-nāšana - A 203, S 54, 90, 159, 164. pa-parik-an A 38. Para-Brahman S 90. para-loka A 153. Parama-Buddha A 101. Parama-Buddha-Sūrya-Candra - A 104. parama-dhyāna S 64. Parama-Guru A 220. parama-jñāna S 64, 90. paramantyeşti - S 114. paramantyeşti-guru - A 220. paramârtha-vit S 162. 211 parama-sādhaka S 126. Parama-Śiva AS passim, cf. kūṭa- mantra. Parama-Śiva-Aditya AS passim, ef. kūṭa-mantra. Parama-Śiva-Amrta S 109, 116. Parama-Śiva-ātman S 58. Parama-Siva-Ganga S 134. Parama-Śiva-Linga S 172. Parama-Śiva-Sūksma S 166. Parama-Sūksma-Śiva - S 109. paramatman A 24, S 58, 60, 84, 94, 114. Paramêşti-guru A 36, 226, S 138. Paraméśvara S 172. paramottama A 170, S 92. paraśu-mudrā A 131, S 33, 70, 72, plate 27. Paraśu-Rāma S 185. parěkan A 76. parěń (-akěn) - S 122-24. paridhi S 134. pārijāta A 212, 223. parikan A 69, 99-101, 111-12, 114. ‘Parimita-deviS 50. paripurna S 58, 62, 64, 92, 133. Parisada Dharma Hindu Bali S 5. Paruman Agun A 174. parva A 111-12. Pārvata-rāja-deva - A 36. parvatásva S 96-97. parvatêsa S 116. Parvati A 32, 123, 196, 198. par-yan-an-A 49. [nāga-] pāśa A 56, 77-78, 130. [nāga-] pāśa-mudrā A 130, S 26, 68, 70, 72, 74, 76, plate 26. [pa]sagvan S 44, 46. pasah A 78-79. pasan A 130, 134, 159, S 47, 50, 53- 54, 70, 78, 92, 102, 124, 166, 170, 173. pāśāstra A 52. Pasek A 185-86, S 171. Pasěk Kětèwèl A 180, 185. pa-/sa-siratA 236, S 27, 147. ‘pastha S 26, 48, 66, 68-69, 72, 80, 92, 106, 138, 140. pa-śuci-an S 17, 186, cf. śuci. Paśu-pati A 176, 196, S 22-23, 100, 118, 122, 148. pa-tanan-an A 65, 168, S 11, passim. Pa-/Pr-tañjala A 59, 122, S 135. pataraņa S 45. [[245]] 212 pa-těmu-n(in ātmā lavan Déva) A 158, S 33, 48, 56, 72, 80, 84. pa-tuduh S 84. (Kegan) Paul - S 7. paval(a) A 52-53. pa-vayan-an S 21. pa-veda-anS 154. pavitra - S 90, 159, 164, 180. pa-yoga-an S 135, 154. Pèdjèng A 7, 16, 48, 139, 174, 183, 193, S 18. pěgěn S 56, 58. pěněk A 214, 224. Pengadjah Sang Kristus S 6. pěntil S 88, 118. pěňu A 103. Pětanu A 174. pě-tavur A 85. Petersburger Wörterbuch S 86, 90, 94, 96. pětik S 74, 82, plate 2. phala A 75-91, S 58. Phālguna A 56, 194. Pidada A 16. Pigeaud A 17, 28, 109, S 87. Pinatih A 102, 179-80, 183-84, 200, S 29. Pingalā S 138-39. pita A 29, S 138. pīta-māla A 30. pītâmbara-dhara - A 29. pita-varna A 164, S 78. pita-vastra A 29. pitara A 49. pitha A 214, 244, S 139. pitr-A 28, 172, S 76, 83, 147, 174, of. pitr. pitr-ādi S 77, 174. pitr-ādi-nyāsa - 8 76, 174. pitr-āsana A 105. pitr-sandhyā – A 163, 183. pitr-tarpaņa A 153, S 143. pitr-yajña A 55, 57, 71, 201. pitu - S 52. plava A 212, 222. Pleyte A 80. plutuk - 88. Poerbatjaraka A 9, 35-36, 38, 75, 88, 96-99, 198. Poerwadarminta A 109. potlatch S 155. Potrakasunu A 79, 189. Pott A 53, 59, 74, 137. Prabhāvati S 52, 136, 139. prabhūta A 125, S 68-69, 144. SURYA-SEVANA pradaksiņā - A 28, 37, 74, 133, 136-37, 158, 160, 164, 204, S 30, 37, 52, 72, 74, 79, 95, 108, 170. pradhāna S 133, 136, 140, 158. Pradyota A 56. Pragolan S 19. Prahasta A 113. prajā A 51, 55. Prajā pati A 116, 212, 223, S 126, 176, 178, 180. Prajñā-deviS 50. Prajnapāramitā A 31-32. prākāmya A 87. prakarana S 44. Prākṛt A 53. Prakrta A 56. prakrti S 133. pralaya A 112, S 86, 143, 145. pralina A 37, 169, 224, S 21, 35, 41- 42, 86-87, 92, 118, 124, 126, 128, 143, 145, 147. pramāņa A 77, 81, 84, 112. Pramod Chandra A 70. prāņa - A 56, 81, S 58, 132-33, 137, 176. pranamya S 68, 94. Praņata-deviS 70. pranava-bheda-stuti A 49. Pranava-Sükşma-Buddha A 101. prāņâyāma A 170, 216, S 16, 32, 56- 59, 90-92, 101, 144, 147, 149, 150- 51, 183, plates 10 & 11. Prapañcaka A 56, S 137. prarahi A 212, 222. pras - A 46, 212-222. prasāda S 44. Prasāda-Kala-Śiva S 109, 164. prasavyā A 28, 29, 31, S 30, 108. P(r)atañjala A 59, 122, S 135. prātar-dhyānadi-krama - S 145, 153. pratha S 90. prathama-carana S 126. pratidina A 111. pratima A 55. prati-santana - A 189. pratisthā A 137, 160, 206, S 33, 38- 41, 46, 48, 50, 60, 64, 66, 68, 72-77, 80, 84, 90, 139. pratistha mudrā S 33, 48, 50, 60, 66, 68, 72-73, 76-77, 84, 139, plate 27. prati-vāraņa A 164, S 78. pravāha A 149. prāya A 212. prāyaścitta S 39, 58, 100. prayoga A 226, S 134, 136. [[246]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ 213 prěkutut A 189. preta-vāhana A 57. Prijohoetomo A 55. Prthivi A 49, 80, 103, 112, 116, 139, 156, 167, 169, S 65, 96, 176. prthivi-mudra S 32-33, 52, 66, 135- 37, plates 1 & 29. prthivi-tattva S 48. pucuk S 48. pūjā A 12, 91, 98, 101, 121, 172-73, 208-09, 226, S 50, 78, 82, 84, 90, 104, 106, 124, 128. Pūjā daha A 121. pūjā ksatriya - S 15, 19, 87, 116, 182-85. pūjā-parikrama S 5. pūjā pitr S 83. pūjā simpěn S 40, 84, 159, 166. Pūjā-vidhi-nirūpaņa S 13. pula gèmbal - A 212, 222. pulan - A 90. pundarika A 170, S 71-72, 76, 82, 85, 90, 92, 100, 114. Pungakan A 186. puñu/pavunu/pamunu S 32, 40, 102, 104, 106, 131, 183, plates 18/19. punuk S 26, 66, 74, 106, 160. puppeteer (dalan) A 7, 10, 207. pupu S 78. pura A 36. Pura Bangun Sakti A 137. Pura Batu Kaü/Vatu Karu - A 11, 15, 175-76, 185-90, map V, S 20. Pura Batu Maděg - A 183-86, map III. Pura Besakih A 3, 7, 11, 15, 95, 137, 174-86, 200, 223, 228, figs. 16-20, maps I-IV, S 5, 46. pura dalěm A 7, 188. [pura] dalěm puri A 178. Pura Dangin Krětěg A 178, 180, 186- 87, map I, fig. 20. Pura Gelap - A 178, 180, 186-87, map I, fig. 20. Puri Anjar, Tabanan S 19, 116. purification A 9, 17, 89. pūrņa S 52. purohita A 35, 44, 48, 59, 92, 143, 146, 175, 210, S 16. purus S 27, 74, 76, cf. (u)pastha. puruşa S 133, 136-37, 140, 158. pūrvânta S 139. puşpa A 65, 175, 223, S 24-27, 46, 52, 54, 57, 62, 78, 80, 82, 88, 90, 94, 96, 106, 108, 120, 122, 126, 136-7, 140, 170, 174, cf. sekar. Puspa-danta - S 24, 80. puspa-linga A 175. Puspa-maya A 77-78. puşpa-śarīra A 175. Puspa-sūkṣma - S. 47. puști/muşti S 45-48, 170. pusuh-pusuh S 58, 60, 84, 100, 114, 122. putěr (-akěn) S 54, 90, 134, 158. puüh A 81. Ω Q ms. S 17. R R ms. S 19. Râditya S 116. rāga S 95, 158. rāga-kusuma A 88. Raghavan A 17, 118, 122. Raghu Vira A 12, 59, 114-15, 137. rah S 135. rahasya S 50, 62, 120, 160. Rāhava A 164, S 78. rahi S 26, 56, 66, 68, 74, 82, 84, 106, 108, 158, 166. Rahu A 164, S 78-79, 136. rahup S 44, 80, 92, 108, 118, 128. rainbow A 8. rājā A 52, 200. Rājā Bhairava A 54. rāja-parvata - Α 112. Rāja-Purāņa Pura Besakih S 46. rajas/rajah A 123, S 54, 134. rajasvala A 73. rāj(y)ava[r]ta A 164, S 78. Raka A 9. rakata A 102. Pura Kěhěn A 187. pura luhur A 106. pura pěnyaüm A 188. pura pusěr A 7. pura tugu A 145. Pura Watu Karu A 11, 15, 175-76, 185-90, map V, S 20. pūraka S 56-59. Purāņa A 32, 70, 107, 110, 155, 199, S 11. purāņaka A 28. puri A 176. [[247]] 214 SURYA-SEVANA rakta A 29. rakta-māla A 30. raktámbara-dhara A 29. rakta-varna A 164, S 78, 80. rakta-vastra A 29. Rāma A 113. Rāma-kavaca A 54. Rāmāyana A 46, 112, 139, S 156. Rāmāyaņa Parikan A 112. rambut S 26, 60, 62, 66, 68, 72, 84, 100, 106, 114, 122, 160. raņa-madhya A 91. raņa-yajña - A 229. ranângana A 113. Rangda A 5. rāņi A 66. rasa S 72, 78, 139. raśmi S 78. raśmi-vimba - S 80. Rassers A 146. Ratih A 48, S 134. Ratna-pati A 91. Ratna-sambhava A 31, 38, 58-59. Ratu Pandé A 186. Raudri A 123, S 70. Raurava A 113. Rauravågama A 17, 118-40, S 141, 154. Rāvana A 113. Ravi S 84. Ravi-arcana S 74. Rawi A 34. recaka S 56-59. Rěca pada A 187. Rěgeg A 73, 185, 228. rěgěp S 92. réka A 3, 25, 27, 38-39, S 70. rekha S 70, 139, 162-63. rěměk S 158. Renjani A 187. rēsi/rşi A 10, 28, 30, 46-47, 56, 60, 62, 65, 122, 148, 172, 184, 200-01, 228, S 78, 154. Rěsi Gědé A 16, 133. Rěsi Pinatih A 102, S 29-30. Resink A 17. Rg-veda A 45, S 176. ri(n) jro A 159. ri(n) jaba A 159. rites de passage A 35, 71. ritual A 7, 9, 10. roga-dośa-vināśana S 88. Roolvink A 10. roras rahina A 72. rşi/rěsi A 10, 28, 30, 46-47, 56, 60, 62, 65, 122, 148, 172, 184, 200-01, 228, S 78, 154. rşi bhujanga S 155. rşi-tarpaņa S 143. rsi yajña A 71, 201. rudhira S 72. Rudra A 52, 66, 121, 123, 196, 203, S 46, 52, 62, 70, 83, 112, 162, 176, 178. Rudra-bahni A 113. Rudra-kavaca A 54, 232. rudrâkşa A 196. rudrâkşa-vista - S 162. Rudra-loka A 152. Rudra-patnī A 233. Rudra-sandhyā S 102, 139. Rudrâtmaka A 229. ruhur/luhur A 48, 66, 78, 171. rukma A 114. rūpa S 139. Rusconi A 81, S 59. S S ms. S 15. śabda A 26-27, 131, 204, S 14, 139. śabdalańkāra A 46. sabuk A 44, 184. Śaci-deviS 83. Şad-Agneya A 229. şad-akşara S 126, 180. şad-akşari S 181. şad-anana A 229. şad-anga (astra-mantra) S 28. Sada-Candra S 72. Sada-Rudra S 52, 60, 84, 94, 100, 114, 122. Sada-Śiva S 44, 52, 56, 60, 62, 64, 70, 84, 86, 88, 94, 100, 109, 114, 122, 134, 136, 138, 143, 166, 172, 180. Sadā-Siva-Linga - S 171-72. Sadawa A 16. Şad-Ganga S 94. sādhaka S 181. Sadhana-māla S 104. Sādhya, ef. Sādya. sadodyama A 67. Sadomeya/Sadumaya A 66-68, 90-92. Sādya A 160, S 23, 46-48, 66-68, 74, 106, 143, 158. Sadyojāta A 37, 59-61, 159, 196, S 23, 26, 47, 49, 51, 53, 67, 69, 85, 93, 143, cf. Sādya. [[248]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ saganten A 208. sagara A 49, 208, 212. sagavu A 212, 223. sagvan S 44, 46, 183. saha A 80-81. sahab S 46. sahasra-vedhini S 86. Saiva A 10. Saiva-samaya-neri A 124. Saiva-siddhānta A 8, 118, S 11, 131, 142. sa-ka-bvat-an S 33, 110, 146. sakala-anga S 27, 74. sakala-guna-nidhi S 116. sakali-karaṇa S 21, 28-30, 144. Sa-kāra S 181. sa-ka-vaśa S 58. sa-ka-věnan S 33, 82, 146. sa-ka-věruh S 33, 97, 146. Sakra 33, 135, 179. sakşi A 208, 212. śakti A 49, 81, 86, 109, 119, 137-38, 140, 163, 195, S 42. śakti-mandala S 146. śakti-pūjā A 125. salahakën S 46, 48, 62, 66, 108, 116, 124, 164, 171. salan(ca) S 86. salimpět S 80. salimut S 90. salit S 74, 78. sama/pada tavan A 49. samana A 56. samanta A 49. Sama-veda S 176-79. Sambandham A 118, 125, 130, 132. Sambhu A 52-53, 66, 152, 203, S 70, 83, 180. sambut/nambut S 46, 48, 50, 54, 60, 62, 68, 86, 88, 90, 94, 96, 102, 106, 112, 114, 120, 122, 160, 170-71, 173- 74. samhāra S 32, 74, 106, 118, 122, 128, 143, 145, 150, namhāra plate 32. samit S 60. Sa[m]jñā S 139. samnidhya A 153, S 23, 46, 48, 66. sampět S 39, 160-61, 166. samplava S 52-54. sampūrņa 44-45, 136. samsam A 81. samśaya S 181. samskāra/san(-)askāra S 39, 88, 146. samsmrta S 44. samsthita S 181. Samudra A 37, 48, S 97. samūha A 161, S 74. Samvartaka A 107-08, 110. samyoga S 56, 58, 64, 158. samyukta S 122. Sanaiścara A 164, S 78-79. sań-askāra/sańskāra A 166, S 88. sandé S 102, 105. sandhyā S 77, 105. sandhyā-sevana S 142. sangah ka-mūla-n A 86. sangar/sangah A 211, 226, S 100, 159. sangar tavan A 71, 212, 222. Sangka A 15, 17, 35, 74, 133, 158, S 7, 32, 73, 89, 169, plates 1-8, 26- 27, 33. sañjata A 53, 153, 156, 159. Sang Rěsi Agung Pinatih Wangbang - S 29. sanir (-akěn) S 84. San Janur Kunin A 148. Sankara A 52-53, 66, 85, 196, 235, S 70, 83, 178, 180. sańkěp/jańkép S 24, 30, 74, 78, 80, 90. sańkěpi(n) A 168, S 21, 24-27, 31, 33, 52-57, 64, 80-101, 108-129, 173, plates 9, 25. śankha A 185, S 62, 64, 78, 134. sankha-mudra S 26-29, 33, 62, 68-71, 75-79, 83, plate 26. sankhya A 87, 123, S 131. San S-in-embah/San P-in-ūjā S 46, 48, 56, 66, 96, 98, 134, 152. san[k]şipta A 170, 172, 226, S 40, 90, 104, 106, 112, 175. Sāntā-devi S 50. śānta-jñāna S 135. Santani S 83. santěn A 208. śānti A 10, 56, 65-66, fig. 6. santog S 44. Sanur A 16, 48, 90-91, 139, 185, 193, S 15, 18, 73. sa-prakāra S 50, 70. Sapta-Ganga A 26, 48, 55, S 39, 86, 92. Sapta-OM-kara-ātmā-mantra S 38- 40, 60, 84, 92, 114, 122, 150. Sapta-OM-kara-mantra S 40, 92, 100. sapta-pātāla S 60. sapta-pitr A 162, 166, S 76-77. sapta-rşi A 162, 166, S 76-77. [[249]] 216 sapta-śūnya S 92. sapta-tirtha S 39, 92, 150. sapta-vindu S 138. sapta-vrddhi S 98-99, 152. Sārâdhyatmika - S 80. Sārâdhyatmika-mantra A 166. Sara-janma A 226. Sara-samuccaya A 59, 114-15. Sara-siddhi A 131, S 34, 37, 70. sarasi-ja S 116. Sarasvati -A 3, 19-39, 162-63, 172, 228, 253, figs. 1-4, S 50, 52, 76-77, 83, 92, 104, 110, 135, 147, 162, 185. Sarayū S 92. śārdūla-vikrīditā - S 96. sari A 27, 208. śarīra A 223, S 44-46, 56, 58, 60, 62, 64, 68, 70, 74, 92, 100-01, 118, 124, 139, 149, 164, 166. śarīra-rakşa A 168, S 96, 118. śarīra-samsthita - S 124. Saro-mudrā - A 131, S 26-27, 32-33, 68, 72, 74-75, 140, plates 3, 27. sarpis A 203. sarva-bhoga S 88. sarva-bhūşaņa A 161, 165, S 30, 74, 78, 80. sarva-bhūta-damana A 123. sarva-da S 116. sarva-deva A 166, S 76. sarva-devati-stuti A 32. sarva-dosa A 91. sarva-duḥkha-vināśa S 96. sarva-durgati-pariśodhana - A 58. sarvāgatākāra S 112. sarva-guna S 122. sarva-hita S 87. sarva-jña A 87. sarva-kali-kaluşana S 159. sarva-kalusa-nāšanam S 158. sarva-kāma A 231. sarva-kara-verôpetah A 49. sarva-karma A 231, S 106. sarva-kleša-vināšanam S 88, 94. sarva-krūra S 33. sarva-mala A 229. sarva-māra-pramardaka A 57. sarvânga - A 57, S 36, 48, 58, 65, 66, 160. sarvânga-sandhi - A 139. sarvânugrahaka S 114. sarva-pāpa S 88, 162. sarva-pāpa-vināśa(na) A 204, S 58, 158. sarva-prāṇī S 88. SŪRYA-SEVANA sarva-prāyaścitta - S 126. sarva-pūjā A 91, 114. sarva-roga-praśamana sarva-roga-vimocana S 88. sarva-roga-vināšana S 122. sarva-sandhi S 64, 135. sarva-Sarasvati A 162, S 76. sarva(-)sat S 134. sarva-śatru-vināšana S 160. sarva-Siva S 162. sarvastra A 170, S 90. sarva tattva S 97. sarva-tirtha S 184. sarvato-mukhini A 160, S 72. Sarvato-sukhini A 125, S 74. sarva-vighna A 91, 96. sarva-visaS 33. sarva-vyāpin S 184. sarvendriyāņi S 176. sarvêşti S 114. sarvôpadrava-tahin (?) A 32. Sasak A 103. sasayut katututan A 212, 222. sasirat A 148, S 170, ef. sirat. sasirěp A 79. sasontèň pras A 46. sastha A 231. Sasthi priyā – A 229. śastra S 134. śāstra S 80, 134, 137. śāstri -S 12. şat-Krtika A 229. sat-prayojanam S 116, 124, 164. sattva A 123, S 54, 57. Sava A 104-05. savit S 90, 161, 164, 166. Savitri A 83, 136. Schmidt S 86. Schwartz A 12, 71. Scott-Kemball - S 7. sects A 7. sedah voh A 224. sěkar S 46, 48, 50, 52, 54, 60, 62, 64, 66, 78, 86, 88, 92, 96, 108, 112, 114. 140, 171-74, cf. puspa, kemban. sekar panuntun S plate 30. sěkul bira A 214, 224. sěla S 72, 76, 158, 166. Sělat A 7. Sell A 79. sěma A 49. sembah (-akěn) - A 208-09, S 31, 45, 50, 56, 65-66, 68, 80, 96, 98, 108, 114, 139. [[250]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ 217 Sěméru/Su-Meru - A 187. senā-pati A 229. sêndra-patna A 138-39. senguhu A 6, 16, 30, 34, 47, 56, 65, 80, 90-91, 105, 122, 148, 180, 184-86, 200, 228, S 10, 16, 155. sěrimpi (recte: bědaya kětavan) - A 140. sétra A 86, 98. seva S 94. sevaka A 75-76. shadow play A 7, 76, 80, 207. Sharada Rani A 37, 74-75, 136, 167. Shastri A 15. Sibang A 158. Sibang Kadja S 16. siddhanta S 54, 134. siddha-yogiśvara S 116. siddhi A 87, S 133. siddhi-nātha S 118. śikhā S 66, 74, 82, 92, 166. śikhågra S 48, 50, 56, 166. śikhā-mantra A 161, 184. śikhāmudrā A 131, S 26-27, 29, 33, 56, 66, 68, 70, 72, 74, 76-77, 106, 108, plate 27. śikhi-dhvaja A 226, 229. śilā A 204, S 35, 44. Silandjana A 188. Silburn A 225. śilpa-śāstra S 156. simhasana, cf. sinhasana. Simha-vāha(na) A 57-59. simpěn S 40, 159. Sindhu S 52, 92. Singaradja A 16, 44, 80, 99, 102, 121, 129, 226, S 17. Singhal A 74. Singharsa A 158. sinha-pāda A 122. sinhâsana A 104, 118-32, figs. 12, 13, S 29, 37-38, 40, 68, 78, 102, 144. sinhěl S 26, 48. sinom A 38. sipta-pūjā S 40, cf. sańkşipta. śirah S 26, 48, 56, 68, 74, 84, 92, 106, 108, 145, 158-60, 166, 181. siram/anirami/pañiram S 62, 64. Sira Mpu A 186. sirat A 148, S 25, 27, 32, 62, 64, 76, 80, 86, 92, 100-01, 109, 110, 116, 118, 120, 122, 124, 128, 140, 147, 158, 160, 168, 170, 173, 183, plates 16 & 17. śiro-mantra A 161. śiro-vista S 36, 39, 54, 145, 153, 159- 60, plate 33. sisig S 44. śişya A 10. śitalambu S 96. sitingil A 145. Śiva A 53, 55, 149, 193-98, S 45, 59. Śivaditya A 96, 98, 104, 165, 212, 227, S 42, 48, 52, 54, 62, 66, 74, 78, 80, 84, 90, 100, 104, 108, 110, 114, 118, 122, 128, 134, 143, 154, 159, 184, ef. Kūța-mantra. Sivagama S 137. Sivakara S 112. Śivalaya A 198. Śivamb(h)a A 204, S 36, 52, 54, 57, 60, 62, 80, 82, 86, 88, 92, 96, 100, 110, 120, 124, 144, 171-73. Śivamha A 65. Śivâmṛta A 166, S 40, 48, 52, 55-56, 62, 64, 84, 88, 110, 116, 120, 124, 147, 183, 171-73. Śivanga A 91, 159-62, 170, S 21, 23, 26-30, 37, 48, 64-71, 74-75, 106-10, 134, 138-39, 150, 160-61. Šivasana A 127. Sivātmā(ka) S 38, 40, 58, 62, 68, 82, 85, 100, 104, 122. Siva-bodhi A 49. Siva-dvāra A 166, S 26-29, 38-40, 48, 56-62, 66, 74, 84, 92, 100, 108- 10, 114, 122, 128, 138-39, 144, 147, 158-59, 166. Siva-garbha-hrdaya A 16, 43, S 76. Siva-grīva S 80, 92, 108. Śiva-Linga A 3, 15, 37, 141-236, figs. 16-22, S 15-16, 18, 38, 147, 170-72, plate 8. Śiva-Linga-pūjā A 141-236, S 154, 170-75. Śiva-Linga-stava A 3, 143, 151-54, S 18, 39. Śiva-mandala S 68, 149. Šiva nirmala A 235. Śiva-pūjā S 145, 148, 150, 152, 154. Śiva-purāņa A 196. Śiva-rātri A 3, 16, 130, 143, 174, 191- 236, S 18. Siva-Rudra S 162. Śiva-rūpa S 159, 161, 164. Śiva-sampūrņa S 44. Śiva-sarva-maheśvara A 148. Siva-sthiti S 44. Siva-śuci-nirmala S 132. [[251]] 218 SŪRYA-SEVANA Siva-Sūrya A 226, S 100, 143. Śiva-sutra S 126, 180. Siva-tattva-S 52, 56, 68, 82, 86, 108, 128, 144, 148-49, 166. śivi S 84. śivi-karana - A 153, 226, S 21, 26-30, 37-38, 40, 48, 64-66, 68, 74, 106, 110, 144, 150, 158-59, 161, 166, 172-73, 183. sivi-pişta S 96. 136. A 28. siyuń $ 74, 78, Slamět Muljana Ślokântara A 37, 136, 167. smallpox A 82. Smara A 48, S 72, 128, 134, 136. Smara-dahana A 36, 38, 96, 138-40. śmasāna A 91. smith A 7, 186, maps I-III. smrti A 226, S 72. snāna A 124. Sneeuwjagt A 187. S.O.A.S. A 17, 57. śodhana S 150. sôlah S 116. sôlih S 116, 124, 164. Soma A 123, 164, S 56-57, 72, 76, 78-79. Somádi-āvarana A 164, S 76. Soma-mandala A 123, S 52, 54, 133- 35, 143, 148. Soma-Sambhu S 13, 142 sqq. Somasta-graha A 164. Soma-tattva - S 54. somya/saumya S 68, 74, 80, 90, 133- 35. sõpacāra A 79. Sörensen 95. sparśa S 78, 139. speech magicA 8, 36-38. sphati(ka) - A 52-53, 155, S 60, 62, 64. sphulinga S 86. Spies A 6, S 32. sprinkler - 148-50. śrāddha S 182. srag-dhara S 116. srana A 88. Śri-A 22-23, 69, 167, 169, 178, S 70, 83, 97. śrī-ambha [vantu]/tri-antu - S 20, 23, 26, 41, 46-48, 56, 62, 66-68, 82, 98- 101, 118-20, 131, 152, 168, 173. Śri-kara S 88, 90. Sri-vahin S 86. srști S 143, 145. Staal A 17. stambha-Meru A 48, S 41, 112. stava A 23, 33, 36, 47, 49, 143, 148, 153, 193, 208, S 83, 86, 88, 94, 116, 120, 122, 124, 146-47, 152, 174, plates 14 & 15. stava Bhattāra S 94, 112, 183. sthāna S 48, 80, 82, 84-85, 122, 139, 163, 166. sthāna-mukhya - A 56. sthāna-nidhi - A 83. sthapana-mudrā S 68. sthiti A 139, 149, 169, 206, 216, 220, S 20-21, 35, 38-46, 52, 60, 82-87, 92, 102, 108, 122-24, 139, 143-45, 158, 168, 171-73, 183. Sthiti-Kala-Siva stimita S 118. Stöhr A 5. stone throne S 109, 164. A 8. stotra A 23, 33, 36, 47, 208, S 12, 20. stuti A 3, 23-24, 27-33, 36, 46-49, 55-58, 151, 208, 226-36, S 147, 151- 54. Stutterheim A 6, 22, 144, 146, 174- 76, 222. subak A 35. Su-brahmanya A 206. Sudamala (śuddha-mala) A 76, 85. śuci S 44, 46. Sudarshana Devi A 87, cf. Singhal. śuddha A 171, S 56, 62, 90. śuddha-citta - S 106. śuddha-jñāna-nirmala śuddha-jyotis S 116. śuddhi -S 50, 64. S 60. śūdra A 35, 116, 121, 185, 200, S 155. Sugriwa sü-kara A 28, 34, 185-86. A 155. sukha S 33, 134. Suklā A 163, 166, S 76, 84, 110, 185. Sukrata Sūkşma-Śiva - A 170, S 90-92, 109, A 105. sūkşma A 100, 125, 160, S 45, 72, 86, 92. 164. Sūksma-tama-Siva S 109, 167. S 109, 167. Sükşma-tara-Śiva suku S 27, 50, 52, 58, 66, 69, 74, 80, 90, 92, 106, 108, 139-40, 164, cf. pāda, cokor. Śūla-pāņi A 196. Sultan A 143-47, 176. Sumanasantaka A 75. [[252]] INDEX TO ‘AGAMA TIRTHA’ AND ‘SURYA-SEVANA’ Sumeru/S(ě)meru A 187. sumpah A 85. sumsum S 195. sumur A 206, 214. s(um)unsan S 62, 135. su-nilaya S 116. śūnya S 58, 92. śūnyatman S 60, 84, 94, 114, 122. Sūnya-Siva - S 84, 109, 166. Sunya-Śiva-Linga - A 209. Su-prabedhagama - A 124. supta S 102, 104-05. su-racita S 118. surádi A 32. Surakarta A 146, 188. Sura-nadi A 187. su-rasa S 86-87. surat A 75, 116, fig. 14. Suréśvara S 112. Sūrya A 96, 98-99, 104, 123, 148, 158, 210, S 11, 16, 32, 40, 66, 72, 80, 100-01, 108, 112, 114, 136, 139, 147- 48, 178, 180, 182, 185. Surya-jyoti S 114. Sūrya-mandalaA 123, S 52, 54, 134- 35, 143, 148. Sūrya-prakāśa S 180. Sūrya-pūjā - A 126, S 145, 150-51, 154. Sūrya-sevana A 167, 193, 200, 204, 208-09, 224, 226, S 41, 100, 147, 151, 154. Sūrya-stava A 46, S 112, 183. Sūrya-tattva S 54. Suşumnā S 60, 64, 138-39. Suta Inten A 156. su-teja S 84, 90. sūtra A 49, 118, S 164, 166. su-vadana - A 97. su-vimala S 116. sva S 80, 82. svamb(h)aA 65, S 36-39, 144, cf. Śivamb(h)a. svambak svambam/kşamasva mām A 31, S 150. svânusthāna S 82. sva-pakarana 8 44. svara A 37, S 70, 72-73, 78. svara ka jaba S 73. svara ka jěro S 73. svara-vyañjana A 134, 159, S 37, 70, 175, 183. svarga A 43. sva-rūpa S 80, 116. śveta A 29. śveta-padma S 80. Sveta Vairocana jñeyah A 47. śveta-māla A 30. śvetâmbara-dhara A 29. śveta-varņa S 76. śveta-vastra A 29. svi-kāra/-karaņa - S 37-38. Swellengrebel 7, 62, 71, 75, 95, 97, 111-12, 147, 155, 201. śyāma A 65, 164, S 78. syllable, mystical A 3, 36-38, 158-73. T Tms. S 15. Tabanan 15, 35, 74, 79, 105-06, 131, 133, 158, 175-77, 189-89, S 7, 15-16, 19-20, 32. tadah S 58, 60. tagěl siku A 95. takěp (tanan) - S 48, plates 1 & 5. Takşyana/Takşaka A 172. tala-bhedana A 204, S 74. talankup S 48, 66. talina S 139. tālu S 60, 84, 100, 114, 122. tama(s) A 123, S 54, 134. Tamba S 5. Tamil/Tamoul A 60, 124. tamra-nayana A 57. tanan S 46, 48, 52, 58, 60, 62, 64, 66, 76, 78, 80, 86, 88, 92, 94, 108, 146. Tanaya Komala A 156. tañcěb S 50. tańkëp (-akěn) S 48, 66. tańkub S 46-47. tantra S 28-29, 58, 199, S 131. Tantri A 69, 75, 98, 103. Tantri děmun A 98-102. Tantri Kamandaka A 69, 98. Tantri Parikan A 69, 99-101. tantric A 37, 54, 67, 81, 167, 225, S 11, 160. tarjani/tarjini S 26, 46, 50, 66, 68, 106, 120, 162. tarka A 28. tarpaņa A 45, 104-05, 153, 226, S 40, 46, 104, 106, 108, 110, 143, 147, 174. Tathagata A 29-30, 43, 49. tat-kāla A 212. tat-kara-śodhana S 28. tat-para A 100-101. [[253]] Tatpuruṣa A 37, 59-61, 66, 159-60, S 26, 47, 49, 51, 53, 66-67, 74, 85, 93, 106, 143, 158. tattva A 26, 123, 198, S 52, 54, 56, 102, 136, cf. ātma, Śiva& vidyā- tattva. tattva carita A 26. tattva-jñāna A 119. tattva-parāyaņa A 231. Taxila A 69. Taya A 39, 116, 156, S 180. Teeuw A 114. teja(s) A 49, 109, 116, S 64, 80, 134, 137, 180. tělas S 105. temple festival A 5. těmu S 158, 170. madhya S 76, 78, 80, cf. těnah. těněn 46, 48, 50, 54, 56, 58, 64, 66, 72, 74, 76, 78, 80, 84, 86, 88, 90, 94, 110, 135, 158, 160, 164-66.170. těpun tavar A 212, 223, theft A 86, 88. těrap (-akěn) - S 52. tiba (-kěn) S 50, 52, 60, 66, 86, 88, 96, 172, cf. aryaken, salahakěn. Tibeto-Mongolian A 37, 54, 136, 167. tiga - A 54, 84, 86, 88, 90, ef. tri-. tiga-jñāna A 26. tiga-śakti S 172. tiksna-mantra S 40, 102, 106. tikta S 100. tinkah S 60, 186. tinkah anggarbhinī A 72. tinkah in pamanku. Tintya (A-cintya) A 39, 117. Tirtaamidjaja A 17. Tirta Ganga A 15, 187. tirtha 64, 98, 208-09, S 9, 39, 56, 80, 90, 92, 100, 116, 120, 124, 128, 134, 168. tirtha-pavitra S 90. Tirtokoesoemo A 145. tithi A 194. tiwa(h) A 6. Togog A 117. Toh-pati A 44. tokei A 23. torana S 156. toya A 98, 218, S 9, 35, 39, 41, 46, 62, 64, 68, 70, 80, 86, 88, 90, 95, 100, 109, 118, 120, 122, 128, 140, 158, 160, 174, 183, 186. toya pa-bersih-an S 15, 186. toya pa-śuci-an S 15, 186. toya-tarpana S 108, 110, 174, 183. trāna-kāraṇa S 122. trance A 5. trāsānī (trāsiņī)-mudraA 162, S 31, 66, 75-76, 108, 135, 140. tri A 32. tri-aksara A 36, 149, 165, S 50, 78, 136, 170, 183. tri-aksara-mūrti A 165, S 118. tri-antah-karana S 50, 60, 134, 136, 139. tri-antu/śri ambha [vantu] S 20-23, 26, 41, 46-48, 56, 62, 66-68, 82, 98- 101, 118,-20, 131, 152, 168, 173. Tri-bhuvana A 39. Tribhuvanéśvara A 152. Tri-daśa pañca-rasa A 55. tri-ganatmaka S 126, 180. Tri-Ganga A 26, 48, 55, S 86, 183. tri-katuka A 83, 88-89. Triloka-vijaya A 54. tri-lokéśvara A 152. Trimalla S 13. tri-mandala A 170, S 54, 90, 138, 143, 145-46, 148. tri-mūrti A 62, fig. 10, S 48. tri-nayana A 170, S 90, 114, 122. tri-pāda S 36, 50, 52-53, 145. tri-pramāna S 139. Tri-puruşa A 156, S 52, 122. tri-śakti A 32, A 82, 166. tri-śakti-(a) stava A 32. tri-samaya A 165, S 78, 136, 172. tri-sandhya A 163, S 88, 105. tri-śikhā-mudra S 108. tri-Siva-tattva S 56. tristubh A 71, 229. tri-śūla A 65. triśūla-mudraS 26-27, 29, 33, 54, 68, 70, 72, 74-76, 78, 83, 106, plates 26 & 27. tri-śūlāstra A 52. tri-tattva-A 91, 153, 159, S 28, 32-33, 40, 56, 68, 70, 82, 108, 122, 144, 148- 50, 159, 166, 173-74, 183, plates 20/ 21. tri-vansa A 116, 200. tri-vindu S 134, 137. tri-viśva S 136. triyantu cf. tri-antu. trpti S 106. Trunjan A 6. Tubini S 177. [[254]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ tugu A 3, 143-47, 155. Tuhan S 122. tulak A 84. tulika S 100, 138. tulis A 75-92, S 69, 84, 183. tumburu S 118. tumpan A 133. tumpan sôlas A 107. t-um-umpan A 133, S 70. tungir A 26, 68, 74, 160. tunjuń S 50, 60, 82, 84, 92, 96, 100, 122. tuntun/nili S 40, 58, 60, 82, 84, 92, 100, 116, 122, 159, 183, 185, plates 4, 12/13 & 30. tuntun S 46, 52, 54, 56, 60, 62, 68, 74, 77-78, 106, 114, 122, 134, 158- 60, 166. tur/tud/entud S 70. turangini S 116, 126. turun (-akěn, ań) S 38, 40, 48, 50, 60, 64, 71, 82, 92, 114, 116, 122, 185. tuști A 32. tuști-kāraṇa A 31. tutug (-akěn) A 224, S 48, 152. tutug sasihan A 72. tutuk S 72, 84, 110, 137-39, 166. tutul (-akěn) S 66. tutup (-i) S 52. tutur A 25-26, 33-34, 38-39, 110, 114-16, 198. van der Tuuk A 21, 23, 34, 38-39, 44, 53, 69, 74, 80, 83, 85, 87, 91, 96, 99, 103, 109, 129, 136, 176, 186, 199, 223. tvak-indriya S 140. twins A 5. tyāgi S 163, 165. U U ms. 16. Ubud A 15, 117, 156, 176, 186. ucur (-akěn) S 120. udaka A 226, S 181. udakâñjali A 153, 209, S 21, 37-40, 80, 92, 108, 110, 147, 173-74, 183. udāna A 56. udansu A 155. udantam S 181. udara A 170, S 92. udotu S 181. ujunan in punti A 73. u-kāra S 90. ukup (-in) S 46, 52, 86, 88, 158-60. ulaka A 184, S 10, 182. ulih (-a-n-ta) S 66. Ulu Vatu 108. Uma A 27, 32, 37, 67-69, 102, 139, 188, 194-96, 198, 226, S 70, 72, 83, 135. Uma-stava A 226, 233. Uma-tattva S 83. undagi A 158. underworld A 71. ungah (-akěn) S 52, 170. Universitas Udayana A 21. unkab S 46, 52, 183. upabhoga S 135. upacara A 145. upadrava A 32, 160-61, S 164. upadraya/upahrdaya A 160, S 21, 38, 40, 47, 50, 78, 80, 82, 88, 92, 108, 110, 174. upakşamā A 100. upalaksana A 90. Upanishad A 56. upańsu (?) A 170, S 92. upastha S 26, 48, 66, 68-69, 72, 80, 92, 106, 138, 140. upavāsa A 214. Upekşā-devi S 50. upêndra-vajra A 229. Upper Being A 59, 71. urip S 58. usap (-akěn) S 45, 48, 58, 66, plate 2. uşnişa S 100. utpatti 37, 138, 149, 169, 206, S 21, 35, 38, 40, 42, 46, 84, 86-87, 92, 102, 108, 122-24, 139, 143, 145, 168, 171- 73, 183. Utrecht A 37. uttama A 47, 55, 73, 230, S 15, 17, 23, 56, 153, 166. uttara A 65. V V ms. 17. vaca A 100. vadah A 98. Vadavágni A 107. Vadava-mukha A 107, 110-16. Vadava-mukhanala A 107, 110-16. vadavanala A 3, 96, 107-17. Vādava-tirtha A 108. Vadavā-vaktra A 108. vaduri A 216, 224. vadva A 76. 221 [[255]] 222 Vāg-Iśvari S 136. vāhana A 43. vāhya S 106, 133. vairāgya A 120-28, S 70. Vairambhana - A 56. Vairocana A 31, 38, 49, 58-59, 68. Vaisnava A 10, 96, 139, 200, 228, S 10, 136, 184-85. Vaisnavi S 54, 184. vaiśya A 44-45, 184. vajra/bajra A 44, 56, 59, 65, 112, 148, 184, 223, S 16, 51. vajra-devatā - A 56, 58. vajra-jvalânala-kāvyam A 56. vajra-mudraS 26-27, 33, 66-78, 83, plate 26. vajrânala - A 57-59, 64, 68. Vajrânala-stuti A 55, 57-58, 64. vajra(n)kāra - S 52. vajra-pati - A 55, 116, 213, 223. Vajra-Sarasvati S 104. vajrâstra A 52. vakşas S 181. vaktra S 26, 66, 139, 166, cf. mukha. vaktrabharana S 162. valaka/balaka A 184, S 10. valik/(a)malik A 81, 84-85. valkala S 164. valulvan S 50, 96. valuń/balun S 135. valuy A 83, cf. balik. Vāmā A 123. Vama-deva A 108, 195, S 47, 49, 51, 53, 85, 93, 143. vămânga - A 57. vana-prastha - S 30. vani S 108. vańśa-patra-patita A 113. Vara-da A 24, S 88. varāha A 155-56. varāha-kalpa S 126. Varahasana A 139. Vārāhī S 54. vari S 60. variga A 22, 33. vartula/bartula S 70, 80. Varuņa A 29, 48, 108, 123, S 33, 72, 97, 103, 134. vasanta tilakā A 113, S 112, 147. vasěh/vasuh S 44, 46, 80, 92, 108. vašitva A 87. vastra S 44, 183. Vasu-deva A 69-70. Vasu-deva A 52, 55, 69-70. SŪRYA-SEVANA vasuh/vasěh S 44, 46, 80, 92, 108. Vāsuki A 108, 183-84. Vatsala A 57-59, 64. Vatu Karu/Batu Kaü A 3, 11, 15, 106, 144, 175-76, 185-90, map V, S 20. vayahan A 188. vayań (kulit) A 7, 26, 76, S 10, 148. [a]vayava S 135, 139. Vāyu/Bāyu-A 26-27, 49, 81-82, 123, 131, $ 14, 33, 56-60, 66, 72, 134-40, 164, 176. Veda A 28-29, 36, 44-45, 56, 71, 100, 131, 208, S 31, 90, 154. veda ksatriya S 15, 19, 182-85. Vedanta A 74, 77. Veda-parikrama A 39, 129, S 5-6, 12, 26, 90, 142. vědihan - S 90. vedôkti S 126. věl minman S 54, 84. Verheggen A 17, S 7. veśya/vaiśya A 44-45, 184. Vesya Punakan - A 186. větu (-akěn)/vijil, S 48, 56, 58, 62, 66, 78, 134-37. Vibhisana A 113. vibhu A 135. Vibhūtā A 160, S 72. vibhūti A 87, 125. vidarbhita S 102, 105. vidhi A 175, S 136. vidhi-śāstra A 229. vidhi-vidhāna - A 229. vidyā-deha S 149. vidyarthin A 231. vidyā-tattva S 56, 68, 82, 108, 128, 144, 148-49, 166. vidyā-vara-da - A 230. vidyêśa - A 123. Vidyutā A 125, 160, S 72. vighna - S 33, 60. Vighna-devi8 72. vighna-rājendra - A 231. vija/bija A 104, S 48, 54, 94, 136, 140, 143-52. vijil (-akěn)/mijil/větu A 48, 56, 58, 62, 66, 78, 134-37. vikāra S 62. viku S 163-64. vilva/bilva A 196 sqq., S 207 sqq. Vimalā -A 125, 138, 160, S 72. vimalasana A 121, 123, 132, 138, 140, fig. 13.. [[256]] INDEX TO ‘ĀGAMA TĪRTHA’ AND ‘SŪRYA-SEVANA’ 223 vimba-śakti S 82. vimuktatma A 152. vindu A 100, 170, S 78, 90, 92, 132- 36, 158, 180. vindu-devatā S 84, 166. Vindu-Rudra - S 33. Vipāśā S 92, 184. vipatha S 164. Vira-Linga - S 162. Vira-mantra A 54. viryaka A 229. vişa S 33. visarja [na] - A 203. viśeşa A 90-91, S 80, 90. Vişnu - A 27-28, 32, 36, 47, 52-53, 55, 59, 66, 69-70, 81-83, 95, 121, 139, 155-59, 163, 165, 173, 178, 184, 194, 203-06, 210, S 36, 44-45, 48, 52-56, 59-61, 70, 78, 82-85, 90, 93-94, 100, 140, 172, 178, 182-85. Vişnu-anga S 184. Vişnu-kavaca A 54, 184. Vişnu-mandala S 68, 149. Vişnu-mantra S 42, 115. Vişnu-mūrti A 54, S 58. Vişnu-pañjara - A 54, 62. Vişnu-Pasupati - S 185. Vişnu-Prajāpati S 126. Vişnu-sandhya S 102, 120, 139. Vişnu-vijaya - 8 185. Vişnu-vimba-śakti S 166. Vişnu-Vişnu S 126. viśva A 30, 49, S 132. viśva-bhāmini S 94, 185. viśva-jit A 201. viśva-māla A 30. viśvâmbara-dhara A 30. viśva-puşpa A 30. viyoga S 64. vodhana/bodhana S 40, 104. Voorhoeve A 9, 35, 99. Vreede A 34. de Vreese A 17. Vrhaspati A 164, S 78-79. Vrhaspati-tattva A 8, 87, 119. vrşada-mudra-S 26-27, 32-33, 60, 68, 72, 74, 106, plates 3, 27 & 31. vunu S 104, cf. puñu. vunvunan S 56, 62, 82, 100, 166. vyākaraṇa A 28. vyakta A 57. vyāna A 56. vyañjana A 37, S 70, 72-73. vyāpaka S 80. vyāpin A 32, S 116, 155, 181. vyoma S 52. vyoma-mudraA 161, S 26-29, 32-33, 66, 68, 74, 106, plates 3, 6-7. Vyoma-Siva-S 56, 62, 64, 136. vyoma-vyāpi S 155. W W ms. S 19. Waanders A 184. wadwa A 76. Watu Karu/Batu Kaü A 3, 11, 14, 106, 144, 175-76, 185-90, map V, S 20. Weck-A 37-38, 60, 62, 83, 136, S 155. Weda-parikrama A 39, 129, S 5-6, 12, 26, 90, 142. Weda-sanggraha S 5, 7. Weda-Sanghita S 5. white magic A 77. Widow, Rangda A 5. Wilken A 23, 76. Wilkinson A 36. (Monier) Williams A 58, 74, 83, 87, 94, 101-02, 105, 121, 160, 202, 208, S 96. Wilson A 32, 155, 194-98, 200. Winstedt A 10. Wirz 5, 45, 78, 83, 98, 222, 230. Woodroffe A 124. Wrhaspati-tattwa A 87, cf. Vr-. Wright A 17. Wulff A 43. van Wylick A 5. X X ms. S 16. Y Y ms. S 17. yaga-mandapa A 118-19, 125, fig. 13. yajña A 201, cf. bhūta, deva-, manusa, rşi-y. yajña-sūtra S 166. yajñôpavīta S 126, 180. Yajur-veda A 45, S 176-79. ya-kāra S 181. yakşa - A 57, 161, 165. yakşi A 64, 66. Yama A 29, 115, 123, 197-98, S 72, 84, 88. [[257]] 224 yamaka A 67, S 86. Yama-nin-rat A 183. Yama-rājā A 3, 41-92, fig. 5. Yama-rāja-mantra A 3, 71-92, 172. Yama-rāja-stava A 3, 15, 46-70. Yama-rāņi A 63-67. Yamuna A 26, S 92. yantra A 8, 53, 59, 75, 118, 124, 137, 145, 167. yathā-śakti S 58. yava/jaba A 112, S 78. yoga A 39, 46-47, 53, 59, 74-75, 124, 137, 145, 184, S 42, 45-46, 116, 124, 135, 154, 164. SŪRYA-SEVANA yogasana A 120-24, 131, 138, fig. 13. yoga-sthāna S 162. yogin A 35-36. Yogini S 44. yogiśvara A 35, 38-39, 65, S 118, 154. yoni A 66-67, 175. Yudhisthira A 155-56, 201. Z Z ms. 17. Zieseniss A 8, 87, 118, 149, S 11. Zoetmulder A 36. [[258]]
LIST OF ILLUSTRATIONS
Dust cover front: Sańkěpi (Omnia, passim). Dust cover back: Priest giving Holy Water. Plate 1. 1. ākāśa-mudrā; 2. pṛthivi-mudrā (both cf. 29); 3. takěp taňan. 2. 1 & 2. nusap tańan; 3. kěpok (-mudrā); 4. pětik (mudrā). 3. 1. nārāca-mudrā; 2 vrşada-mudrā; 3. cakra-mudrā (both cf. 26/27, 31); 4. vyoma-mudra (cf. plates 6 & 7); 5. astra-mudrā; 6. hṛdaya-mudrā. 4. 1. nagěm kalpika, for nuntun/nili ātmā (cf. 12/13, 30); 2. kalpika. 5. 1-3. takěp tanan (cf. plate 1); 4. transition to 5. madu-mukha- mudrā. 6. 1-3. vyoma-mudrā (initial gestures, cf. plate 3, figure 4). 7. 1-4. vyoma-mudra (concluding gestures). 8. 1-2. Śiva-Linga (cf. Appendix 2) as used at occasion of mamukur. 9. sańkěpi (omnia; passim; cf. 25 and dust cover front). 10/11. prāṇāyāma (cf. text/translation sub I). 12/13. tuntun/nili (cf. text/translation sub Va, W; cf. also 4, 30). 14/15. padanda istri na-stava (cf. text/translation sub X). 16/17. sirat (cf. text/translation sub Zb, Z"b). 18/19. punu (cf. text/translation sub G’ & G"). 20/21. tri-tattva (cf. text/translation sub I’). 22/23. gaņitri (cf. text/translation sub V’ & V"). 24. nicip toya (cf. text/translation sub Z"b). 25. sańkěpi (omnia, cf. text/translation passim; 9, dust cover). 26. mudrā ka-jaba, to the Exterior, to the Material World: 1. triśūla-mudrā; 2. vajra-mudrā; 3. śańkha-mudrā; 8. cakra-mudrā; 9. padma-mudrā. 4. danda-mudrā; 7. dhvaja-mudrā; 6. (nāga-) pāśa-mudrā; 5. khadga-mudrā; 27. mudrā ka-jero, to the Interior; to the Immaterial World: 1. paraśu-mu.; 2. hṛdaya-mu.; 3. śaro-/astra-mu.; 8. dhanu-mu.; 9. mustika-pratistha-mu. 4. vrşada-mu.; 7. kavaca-mu.; 6. triśūla-mu.; 5. śikhā-mu.; 28. 1. nagěm sěkar; 2. nagěm sěkar mivah ghantā. 29. 1. pṛthivī-mudrā; 2. ākāśa-mudrā (cf. plate 1). 30. 1. nuntun/nili ātmā (ef. 4, 12/13); 2. mulań sěkar panuntun. 31. om bhām Netrāya namaḥ; 1. vrsada-mudrā; 2. cakra-mudra (cf. 3, 26/27). 32. 1. bhasma (cf. Appendix 1); 2. nanhāra ghantā (text/translation Z"). 33. Śiro-vista, head bind (text/translation E, App. I) pp. 168-69. [[259]]
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