King Indradyumna felt undone how to worship the log in the form of blue sapphire image as he has seen Lord Neelamadhab. Ananta Maharana, an extremely old man with age stricken bent body and assured to build the statue within twenty one days inside the closed temple. He was carving to reach the unreachable aspect of Kena Upanishad, to precipitate the formless Hiranyagarbha theme of Rig and Yajur Vedas and to materialise the metaphysics of 'Neti Neti' of Brihadaranyaka Upanishad. It was only the artistry of 'Prajnan Brahma' from whom all the techniques of creation originated. 'Ananta' 'Maharana' - these two words mean the artist having neither beginning nor end. The word 'Brahma' means the oldest, the largest, the most magnificent, the grandeurmost etc. after which there is nothing greater. The age stricken oldest body symbolises 'Brahma'. He was compounding Upanishads for structuring the Vigraha. In Swetaswatara Upanishad it is described that Param Brahma is hidden in the hymns of Upanishads.
At first he probably must have built the eye which represent illumination and in that light he would have built the other organs of the statue. All the Upanishads would have sung their own individual magnificence following which He would have continued the process.
Swetaswatar Upanishad would have sung,
He has no leg nor hand. He finds without eye and hears without ear. His hands, feet, head, eyes and face are omnipresent. His knowledge is spread everywhere. Isha Upanishad would have sung,
He walks and does not walk. He keeps away and comes near also. While applying colors,
Swetaswatar Upanishad would have murmured,
the unborn one has three colours, i.e. red, white and black representing the three modes of nature. The Prasna Upanishad would have echoed about His majestic abode,
His abode is pure, dirt free and magnificent Brahmaloka. Mundak Upanishad would have reverberated,