In the sacred ritual, all actions are to be performed with equal reverence at the piṇḍikā and at the beginning, starting with Hara and the other deities. When it is time to awaken the deity, the Sauparṇa hymn is recited. The priest then gently calls out, “Rise!” and lifts the covering from the bed. Upon the bed, invoking the Śrī Sūkta, he makes a division dedicated to Viṣṇu. At the piṇḍikā, the 'Ato Deva' hymn is offered with bows, and again, on the bed, the Śrī Sūkta is recited to honor Viṣṇu. Eight auspicious items are then displayed: the lion, the bull, the serpent, the fan, the water pot, the Vaijayanta flag, the drum, and the lamp. At the feet, the horse is presented with the recitation of the Aśva Sūkta and the chant 'Tripād'. The fire-pan, its lid, the vessel, Ambikā, and the ladle are also provided. The priest offers the pestle, mortar, grinding stone, broom, along with food vessels and household implements. At the head, a pot called 'sleep', adorned with cloth and jewels and filled with pieces of food, is placed—this is remembered as the rite of bathing. Then, the Blessed Lord speaks: “The process of invoking Hari’s presence is called 'adhivāsana.' One must meditate upon oneself as the all-knowing, all-pervading Supreme Person. With the sacred syllable Oṃ, unite the conscious power that is self-identified, establishing the non-duality of self, and merge it into the all-pervading Lord. Begin by joining earth with wind, and kindle it with the seed of fire; dissolve fire with wind, and lead wind into space. Along with the Sādhyas, and the presiding deities of the elements and senses, their subtle forms are created and dissolved in order. Absorb space into the mind, merge the mind into ego, the ego into the great principle, and finally, into the unmanifest. The unmanifest, in the form of knowledge, is called Vāsudeva. Grasping the unmanifest Māyā with the desire to create, the Lord brings forth Saṅkarṣaṇa, the essence of sound. Agitating Māyā, He then creates Pradyumna, the form of light. Next, He creates Aniruddha, the essence of taste, and Brahmā, the form of scent. Aniruddha, as Brahmā, first creates water. Within it, the golden egg is formed from the five elements. When the soul enters, its power is absorbed into itself. The life-breath joined with the soul is called 'active', and the soul, known as vyāhṛti, is considered the internal aspect among the life-breaths. With the life-breaths, intellect arises in eight forms; from intellect comes ego, and from ego, mind. Five objects arise, endowed with intention: sound, touch, form, taste, and smell. With the power of knowledge, the senses are created: skin, ear, nose, eyes, tongue, and intellect. The organs of action are feet, anus, hands, speech, and genitals. The five elements—space, air, fire, water, and earth—produce the gross body, the support of all. The principle of vital breath, represented by the syllable 'bha', is placed with the living being; 'ba' is placed in the heart as the principle of intellect. The syllable 'pha', composed of ego, is placed there too; 'pa', the principle of mind, is placed, arising from intention. The syllable 'na', subtle sound, is placed on the head; 'dha', embodying touch, is placed at the mouth. 'Da', the principle of form, is established in the heart; 'tha', the principle of taste, in the abdomen; 'ta', the principle of smell, in the thighs; 'ṇa' in the ears; 'ḍha' in the skin; 'ḍa' in both eyes; 'ṭha' in the tongue; 'ṭa' in the nose; 'ña' in speech. 'Jha' is placed in the hands as their principle; 'ja' in the feet; 'cha' in the anus; 'ca' in the genitals. The principle of earth, 'ṅa', is placed in both feet; 'gha' in the abdomen; 'ga', the principle of fire, in the heart. 'Kha', the principle of air, is placed in the nose; 'ka', the principle of space, in the head. The syllable 'ya', representing the solar deity, is placed in the heart’s lotus, from which seventy-two thousand channels emerge. 'Ma', joined with sixteen parts, is placed there, and in its midst, the practitioner contemplates the point—the circle of fire. There, the best of gods places the syllable 'ha' with the sacred syllable, reciting: “Om āṃ, for the essence of the Supreme; āṃ, homage to the essence of the Person.” “Om vāṃ, for the essence of withdrawal of mind; homage to the essence of the universe. Om vā, homage to the essence of all.” Thus are spoken the five powers. Each power is applied according to posture: the first for standing, the second for sitting, the third for lying down, and the fourth for drinking actions. On the fifth day of the Gratyarcā ceremony, the five Upaniṣads are remembered. The syllable 'huṅ' is placed in the middle, meditating on Hari as composed of mantra. Wherever an image is to be established, the root mantra is placed: “Om namo bhagavate Vāsudevāya.” On the head, nose, and forehead, then mouth, throat, and heart in order, Keśava is placed on the head; Nārāyaṇa on the mouth; Mādhava on the neck; Govinda on both arms; and Viṣṇu on the heart. Thus, the ritual unfolds, each step imbued with sacred meaning and reverence, drawing the divine presence into the heart and the world.