Below is a simple, authentic Shvetāmbara Mūrtipūjak (idol‑worship) sequence you can follow. I am keeping it practical and in order, with the exact core sutras where appropriate. Some steps slightly vary by sangh or region; this is the most commonly observed flow.

1) Basic preparation

• Be clean, wear simple, modest clothes.
• Remove leather items and footwear outside.
• Wash hands and mouth. Keep a clean cloth/muhpattī if available.

2) Entering the derāsar: Nissihi (three times)

• 1st Nissihi: at the outer threshold. Quietly say “Nissihi” to renounce worldly thoughts.
• 2nd Nissihi: at the inner mandap/near the garbhagriha. Say “Nissihi” to drop distracting religious/social thoughts.
• 3rd Nissihi: just before beginning pūjā/chaityavandan. Say “Nissihi” to focus only on the Lord’s worship and your inner purity.

3) First salutation (pravesh/pranām)

• At a respectful distance, fold hands, bow your head, and do pañchāng/pañchakāy pranām (touching the floor with forehead and five points if you’re able), with the basic Navkār Mantra.
• Navkār Mantra:

“Namo Arihantāṇam Namo Siddhāṇam Namo Āyariyāṇam Namo Uvajjhāyāṇam Namo Loe Savva-Sāhūṇam.” Meaning (very short): I bow to Arihants, Siddhas, Āchāryas, Upādhyāyas, and all Sādhus.

4) Ask forgiveness to sit: Icchāmi Khamāsanam

• Before sitting on the āsan (or kneeling), softly say three times:

“Icchāmi Khamāsanam.” Meaning: With humility, I ask permission/forgiveness to assume this posture for worship/meditation.

5) Dev-vandana (short stuti before dravya-pūjā)

• Recite Navkār Mantra again with focus.
• If you know them, you may add:

- Logassa Sutra (Chaturviṃśatistava) – praise of the 24 Tīrthaṅkaras. - Namutthunam (short homage to Jinas and gaṇadharas). If you don’t know these yet, just do Navkār with true bhāv; that is acceptable.

6) Dravya-pūjā (8-dravya pūjā; do what is available) Offer each gently, without touching the main mūrti if your derāsar follows that rule. While offering each dravya, you may chant the Navkār or simply bow silently with the right bhāv (reflection). The common order and bhāv:

• Jal (water): purity and washing away karmic dirt; cultivate inner coolness and equanimity.
• Chandan (sandal): coolness and peace; may my conduct be soothing and virtuous.
• Pushpa (flower): purity and non-violence; may my character blossom with virtues.
• Dhoop (incense): fragrance of good conduct spreading everywhere; removal of delusion.
• Deepak (lamp): light of right faith, right knowledge, right conduct.
• Akshat (rice): steadfastness in vows; rice doesn’t sprout—signifying non‑attachment to worldly growth.
• Naivedya (sweet/food, if your temple permits): renunciation of taste‑attachment; offering the best to the Highest ideal.
• Phal (fruit): fruition of spiritual effort; wish for liberation-fruit (moksha).

Note:

• In many temples today, only Akshat (rice) is offered by the laity; the other dravyas may be offered by the pujari. Follow your derāsar’s local niyam (rule).

7) Rice (akshat) maṇḍal/offerings

• If only rice is allowed, offer a small akshat at the prescribed place/plate or near the pedestal as per local practice. Keep bhāv of the 24 Tīrthaṅkaras and the Pañcha-Parameṣṭhī.

8) Chaityavandan (the core dev-vandan) Chaityavandan is a devotional vandan to Jina at the temple. The simple way for beginners:

• Sit in a clean, steady posture (khamāsana or padmāsana).
• Recite:

- Navkār Mantra (with full concentration). - Logassa Sutra (if memorized). - Namutthunam (if memorized). - Any brief Jina-stuti you know (e.g., “Jaya Vīra, Prabhu!” type stavans are fine if allowed there).

• Perform three meaningful prostrations (pañchāng pranām) during/after these recitations, keeping in mind:

1) I bow to Arihant (perfect beings who teach), 2) I bow to Siddha (liberated ones), 3) I bow to the path they revealed through Saṅgha (Āchārya, Upādhyāya, Sādhu).

• Do short prārthanā for samyaktva (right faith), vinay (humility), aparigraha (non‑possessiveness), and kṣamā (forgiveness). You may softly say: “Micchāmi Dukkaḍaṃ” from the heart to all beings.

Note:

• Full Chaityavandan has fixed Shvetāmbara Mūrtipūjak sutras and prostration counts. As you learn the full text from your local paṭhaśālā/pandit, just slot the exact sutras in this same place. Until then, the above “short Chaityavandan” with Navkār + Logassa + Namutthunam and three prostrations is a proper start.

9) Optional aarti and maṅgal dīvo (if scheduled)

• Join the temple’s collective Ārti and Maṅgal Dīvo respectfully, keeping silence and devotion.

10) Concluding kshamā and departure

• Stand, fold hands, and do a final pranām.
• Mentally ask forgiveness for any lapses: “Micchāmi Dukkaḍaṃ.”
• Step back calmly, maintaining the sanctity until you exit.

A few clarifications to the phrases you mentioned

• “Ichhāmi Khamāsanam”: This is correct for asking forgiveness to sit for worship.
• “Ichakkarenam Sandhisaha Bhagawān”: What you’ve heard is likely a regional/phonetic way of asking permission with devotion. In standard Shvetāmbara practice, “Icchāmi Khamāsanam” before sitting and the stutis (Logassa/Namutthunam) during vandan cover the respectful “permission” and homage to Bhagavān.
• If your derāsar has a posted niyam (e.g., where to place rice, touching/not touching the mūrti, which stutis are recited aloud), always follow that.

Small daily beginner’s checklist (memory aid)

• 3 Nissihi (outer door, inner mandap, before pūjā).
• Navkār + pranām.
• Icchāmi Khamāsanam (then sit).
• If allowed: Akshat offering (or the 8-dravya as per temple).
• Chaityavandan: Navkār → Logassa → Namutthunam → three pranāms.
• Optional Ārti/Maṅgal Dīvo.
• “Micchāmi Dukkaḍaṃ” and depart.

Differences across traditions

• This outline is for Shvetāmbara Mūrtipūjak derāsars. Sthānakvāsī/Terapanthi do not perform dravya‑pūjā or idol‑worship; their vandan is purely bhāv‑based without offerings.

If you wish to memorize the full Shvetāmbara Chaityavandan sutras in the canonical order and learn the exact prostration counts and gestures, request the text from your local paṭhaśālā/derāsar; learning from a qualified guru ensures correct pronunciation and sequence.