In the sacred tradition, there are auspicious times and methods prescribed for the lighting of the ceremonial lamp. The most favorable period to begin this holy act is during the months of Māgha and Phālguna. One should especially choose days marked by the nakṣatras Hasta, Uttara, Aśvini, Raudra, Puṣya, Vaiṣṇava, and Vāyu. Additionally, the ends of certain times—such as Vyatīpāta, Dhṛti, and Vṛddhi—are considered propitious, as are other auspicious occasions. It is important to ensure that the chosen Karaṇa is free from Viṣṭi, and that the lighting takes place during eclipses or at the rising of Arddhodayā and similar moments. Of all these, a particularly blessed time is the seventh day of the bright fortnight in the month of Kārtika, especially if it is performed at midnight. Yet, when there is an urgent matter of great importance, strict adherence to the months and other ritualistic timings may be set aside, and no special purification is required. When the time comes, one should rise early, bathe, and prepare a purified space by smearing the ground with cow dung and water. Upon this sanctified area, a hexagon should be drawn using red sandalwood and rice grains. This hexagon is then encircled with nine kinds of grains, and around that, a triangle is drawn. The lamp itself is placed in a vessel, ideally made of gold or silver; if these are not available, copper may be used. For rituals seeking peace, a vessel of mung flour is appropriate, while at ritual junctions, a vessel of wheat flour is chosen. The vessel should be of ample size: one that can hold ten thousand palas of clarified butter is prescribed. If using sugar, the vessel should accommodate three thousand palas of ghee. For the juice of the akṣa fruit and similar substances, a vessel of one hundred palas is used. Once the vessel is established, the next step is to place the wicks, which are made from cotton threads. The number of threads is determined by the count of tithis—traditionally, a thousand threads are prepared. Of the thousand palas, a tenth part is taken for the weight required for the task; if necessary, half of that amount, or even half again, may be used, ensuring the wick has a fine tip and a thick base. To the south of the vessel, four balls of gulā are placed, and it is here that the lamp is to be lit, but not before invoking and remembering Lord Ganesha. Alternatively, the lamp may be set upon an eight-petaled arrangement of rice, with the dhūṭa placed properly at its center. With water and akṣatā, the lamp is then consecrated. The ritual continues with the utterance of sacred syllables and mantras: the praṇava, the noose, māyā, śikhā, and kartā letters. At the conclusion of the syllable ‘bāhave,’ the thousand-petaled mantra is recited. Following this, at the end of the words ‘Ātreya,’ ‘Anusūyā,’ and ‘garbharatna,’ the supreme mantra is invoked. The lamp is then taken up, and the mantra ‘amukaṃ’ is recited, followed by the invocation ‘protect, protect’ and the appropriate mantra. Prayers are offered for the destruction of enemies and the dispelling of the two māyās, with the syllable ‘tāra,’ one’s own seed, and ‘ātmabhūḥ’ all being uttered. Facing the lamp, ‘amukaṃ’ is again recited, and at its end, the words ‘granting boons’ are pronounced. The ritual continues with the invocation of the Vedas, one’s desires, and the goddess Cāmuṇḍā, along with the utterance of ‘svāhā’ and the syllables ‘pūsa’ and ‘bindu.’ It is proclaimed that Dattātreya is the seer of the garland-mantra. With Cāmuṇḍā, the six limbs of the ritual are performed, using the six long syllables. The names Govinda, Halī, Sendu, and the seed of Cāmuṇḍā are all declared. The syllable ‘tāra’ is said to be endless, joined with bindu, māyā, and one’s own, and is illuminated by the eye of Vāmana. The seer, the meter Anuṣṭubh, and the other ritual elements are as previously stated. By performing the lamp offering in this manner, the devotee is assured of attaining all that is desired. Certain omens at the time of the ritual are also described. The sight of a brāhmaṇa is considered auspicious, while seeing a crow or an owl is inauspicious. By contrast, the presence of a cow or a horse brings happiness. Sounds that are bright and pleasing are regarded as favorable for the performer, while frightening noises are not. If, during the making of the lamp, the vessel intended for the deity is found to be broken, it is considered a bad sign. Similarly, if the wick is made too thick, the accomplishment of the task will be delayed. Thus, by observing these sacred prescriptions, one ensures the ritual of lamp-lighting is performed in the most auspicious and effective manner.