रूपमण्डन एवं देवमूर्त्ति-प्रकरणम् (मण्डन सूत्रधार - प्राचीन मूर्तिकला एवं देव-प्रतिमा लक्षण सटीक)

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The following section (śl. 36—42) deals with Kārtikeya ; his twelve-handed form (śl. 36—40) ; the two-handed form (śl. 41a) and the four-handed form (śl. 41b, 42) are described. The next section describes (śl. 43—46a) the five different forms of an entirely unknown female deity, Pañcalīlayā (?) with the special characteristics of each particular form (śl. 44—47a). The next section (śl. 47b—58) consists of the group of nine female deities, Navadurgās ; their names (śl. 47b—49a) ; their individual characteristics (śl. 49—58). This is followed by a description of Kṣetrapāla (śl. 59, 60). The next section (śl. 61—78) deals with the Mothers, Mātṛs—who number eight (śl. 61—75), Bhairava (śl. 76), Gaṇeśa (śl. 76) and Vireśvara (śl. 77-78). The next section describes the twelve different forms (śl. 79—85) of Sarasvatī ; their general character (śl. 79) and the particular characteristics of each, individually (śl. 80—85). The eighteen-handed form of Bhadrakālī is described, next (śl. 86—89). The next section describes the twenty-handed form of Caṇḍī (śl. 90—94) and the attendants of Caṇḍī (śl. 95—100). The deity, described next, is Lakṣmī (śl. 101—106). This is followed by Mahālakṣmī (śl. 107, 108). Then, is given, a description of the deity Kātyāyanī, with ten hands (śl. 109—117). The use of postures and gestures (śl. 118) ; and of the move- ments of the hands and eyes for the purpose of (dramatic) expres- sion (śl. 119) ; and the special function of the different parts of the body in Dance (śl. 120)—form the closing part. The last two (śl. 121-122) verses contain the author's apology for preparing the compilation, and the final benediction.