Since according to their belief, the Supreme Deity can assume an elemental form without defiling the skirt of the robe of omnipotence, they first make various idols of gold and other substances to represent this ideal and gradually withdrawing the mind from this material worship, they become meditatively absorbed in the ocean of His mysterious Being. Sixteen ceremonies conduce to this end. After the performance of the Homa and Sandhyá obligations, the devotee sits down facing the east or north, and taking up a little rice and water sprinkles (the idol) with the intention of beginning the worship of God. Then follows the Kalasa-pújá or pitcher-worship. The water of the pitcher which is required for the ceremony is venerated after a special manner.* He next performs the ´Sankha-pújá, wherein the white shell is venerated which is filled with water to be poured over the idol. Next follows the Ghaṅnṭá-pújá, in which the gong is plastered with sandalwood unguent and worshipped. When these are concluded, he sprinkles a little rice with the intention of soliciting the manifestation of the deity. Such is the first of the sixteen ceremonies. (2). The intention is made that the prayer of the supplicant may be accepted. A throne of metal or other substance is placed as a seat for the deity. (3). He pours water into a vessel that he may wash his feet when he comes, it being the custom of the country to wash the feet of superiors when they enter a house. (4). He throws down water thrice on the ground to represent the rinsing of the mouth by that mystical being, as it is also a custom of this country among the more refined classes to offer this service to a superior before meal-time. (5). Sandal, flowers, betel, and rice are thrown into water and thus offered. (6). The idol is lifted up with its seat and carried to another place. With the right hand a white conch-shell is held while with the left a gong is struck and the water is poured over the idol which is then washed. (7). The idol is then dried with a cloth and placed upon its throne and it is dressed in such costly robes as circumstances can furnish. (8). It is then invested with the sacred string. (9). The sectarial mark is next made in twelve places with sandal. (10.) Flowers or leaves are then strewn over it. (11). It is fumigated with perfumes. (12). A lamp is lit with clarified butter. (13). Food according to ability is then placed on a table before the idol, which is then distributed to people as the idol's leavings. (14). Is the Namas-kára which is a posture of supplication. He repeats the praises of God with heart and tongue and falls prostrate with his whole body like a staff. This prostration is called daṇḍa-vat (staff-like); he so prostrates himself that eight of his limbs touch the earth,—the two knees, the two hands, the forehead, the nose, and the right and left cheeks. This is called Sáshṭángá, (eight members). Many perform one of these two obeisances in supplication before the great. (15). Circumambulating the idol several times. (16). Standing like a slave before it, and taking leave.
In each of these ceremonies, prayers are repeated and particular acts are performed. Some consider only five of these ceremonies from the 7th to the 13th, as imperative, others practise more; except a ´Súdra and a Sannyásin, all others perform this worship thrice daily.
Worship is of six kinds: (1). In the heart. (2). Making the sun a means of divine adoration. (3). Causing fire to serve the purpose of spiritual recollection. (4). Worshipping in presence of water. (5). Cleaning a spot of ground as a place for worship. (6). Making an idol a representative object of prayer. They also make images of those who have attained to God and account their veneration as a means of salvation.
The Second kind is—