The theological idea that ritual reassembles Prajapati's scattered body finds its most literal and elaborate expression in the Agnicayana, the construction of a monumental fire altar built in the shape of a great bird, one of the most complex and ancient rituals preserved from the Vedic tradition, requiring the careful placement of many hundreds of specially made bricks over an extended period, each brick consecrated and positioned according to detailed textual instruction, with the completed altar itself explicitly identified in the accompanying liturgy as a reconstruction of Prajapati's own dismembered form, rebuilt piece by piece through the sacrificer's ritual labour.
Performances of the Agnicayana are exceedingly rare given its expense, duration and required training, but a landmark 1975 performance in Kerala, organized with the scholar Frits Staal and extensively documented on film, brought unprecedented modern attention to a rite previously known mostly through textual description, letting researchers study how traditionally trained priests carried out a ritual whose core theological logic, rebuilding the creator's own body through precise, repeated action, had been set down in texts more than two thousand years earlier. The 1975 Agnicayana remains one of the most thoroughly documented instances of a major Vedic ritual performed according to traditional specifications in the modern period, and it gives concrete, observable form to what would otherwise remain a purely textual claim about Prajapati: that the elaborate physical work of Vedic ritual is understood, by those who perform it, as the literal, ongoing repair of the creator's own dismembered self.