With devotion in his heart, the worshipper begins by sprinkling both himself and the sacred objects of the ritual, carefully sanctifying each in turn. He then marks out a square boundary around the altar, purifying the space with arghya water. In each corner, starting from the southeast, he touches the four limbs, beginning with the heart, invoking purity and protection. With reverence, he establishes the three root sections, focusing their supporting power at the very center of the square. Having set in place the three-footed seat of the deity, he proceeds to worship with the prescribed mantras. At the edge of the vessel, he announces, “This is the arghya for so-and-so,” his heart steady and pure. He then takes an arrow, purifies it with his own mantra, and places it upon the altar, offering worship once more. The mystical syllable ‘phaṭ’ becomes the armor, the heart is consecrated for Pāñcajanya, and the mantra’s essence is seated in the heart. Again, at the vessel’s edge, he repeats, “This is the arghya for so-and-so,” bowing deeply, uttering the three-syllabled sacred letter. With pure water, he recites the letters in reverse order, purifying the root of the ritual. He chants, “Om, to the circle of Soma,” honoring the one whose essence is the sixteen phases of the Moon, and there he worships all sixteen lunar aspects. He then transforms the gomudra gesture into nectar and covers it with the matsya-mudra, sealing the sanctity of the space. Meditating on the chosen deity, he displays the sacred mudras, showing first the Mahāmudrā and then the Yonimudrā, as wisdom prescribes. With fragrance, flowers, and other offerings, he worships the deity, keeping the divine form ever in his mind. On the southern side of the conch, he sets aside a vessel for sprinkling, and with deep reverence, he offers salutations to the essence of the self with ‘hṛṃ,’ and to the essence of knowledge. He sprinkles the maṇḍala with flowers and grains of rice, following the proper rite. For the rituals of pādya, arghya, ācamana, and madhuparka, he prepares the necessary offerings: pādya water with śyāmāka, dūrvā grass, lotus, and viṣṇukrānta; arghya with fragrance and dūrvā leaves; pure water for ācamana; and madhuparka, a mixture of honey, ghee, and curd. For the worship of Śaṅkara and the Sun, a conch vessel is especially recommended. He meditates upon the seat powers as adorned in red garments, holding the gesture of fearlessness, and worships the image that has been ritually established. If the image is auspiciously made at home, it is to be worshipped daily; but if it is unclear or defective in any way, it should not be worshipped. Having envisioned the deity’s form with the root mantra, he meditates as instructed in the sacred texts. When the image has been installed at Śālagrāma, during the invocation and dismissal of the deity, he takes a handful of flowers, meditates, and recites the mantra, inviting the divine presence into the image just as offerings are invoked in the forest. With devotion as his guide, he establishes the deity, saying, “Drawn by devotion alone, I establish you, like a lamp, in this place.” For the indweller of the sun, he prepares a pure seat, praying, “O Supreme One, grant your presence here, you who bestow grace upon devotees. Even if the procedure is incomplete, still, be favorably disposed. O Great Lord, remain in the image for the completion of the sacrifice. May you be swiftly enveloped on all sides by your own radiance.” With heartfelt welcome, he offers his salutations to the Supreme Lord, rejoicing, “To that Supreme Lord, I offer welcome, I offer welcome indeed. The Lord of gods has arrived; may this coming be joyful once again.