Tirupati Temple Part II

Indo Nordic Author’s Collective
PART II
ART & ARCHITECTURE

OF THE RICHEST & MOST FAMOUS TEMPLE IN THE WORLD
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Dr. Uday Dokras

B.Sc., B.A. (managerial economics) LL.B. Nagpur University, INDIA
Graduate Studies, Queen’s University, Kingston, CANADA
MBA CALSATATE USA
Graduate Diploma in Law, Stockholm University, SWEDEN
ART & ARCHITECTURE
OF THE RICHEST & MOST FAMOUS TEMPLE IN THE WORLD
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CONTENTS
Introduction 5
The features of the Dravidian Style of Architecture: 11
Synopsis of architectural morphology of the Tirupati Temple 30
Hair tonsure 50
Hundi 50
Ornaments 58
Replica of Tirumala temple to be built at Amaravati-Amrutha Vasireddy 69
The design of the proposed arch at the GNC toll gate in Tirumala. 71
Dravidian Temple Architecture 91
General features of a Chola temple (Dravidian style) 99
IDOLS Venkateswara, an avatar of Vishnu 109
Elephants Saluting Lord Venkateshwara at Tirumala 115
Some rare architectural facts about Tirupati ,Tirumala and Lord Venkateswara 116
Annaprasadam 127
Laddu Prasadamn 128-29
Staircase 130
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INTRODUCTION
For those who are only interested in the Architecture of the Tirumala Temple itself, please
directly go to page 25.
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For a devout Hindu, a personal visit to Tirumala fulfils a life’s spiritual aspiration. The religious
sanctuary attracts thousands of Hindus from all over the world seeking divine blessings, on a
daily basis.
Tirumala Through Time
In line with Vaishnava tradition in Hindu mythology, Tirumala is believed to be the only
Vaikuntha on this planet and home to the revered Lord Venkateshwara, Lord Balaji, Lord
Narayana and Lord Srinivasa.
Tirumala is surrounded by seven hills said to represent the Seven Hoods of Adi Sesha.
References to Tirumala, known as Thrivengadam at the time, go back to ancient Tamil texts of
the period between 500 B.C and 300 A.D. The Tirumala Balaji temple is said to be one of the
108 sacred shrines of the Vaishnava sect.
The temples were further nurtured by rulers belonging to the Chola, Pandya and Pallava
kingdoms. They were devout followers of the Vaishnava tradition and contributed to the
management of the temples and propagation of the Hindu philosophy.
The temple continued to prosper with more followers visiting the temple complex under the
Vijayanagara rulers, and subsequently the Maratha General Raghoji Bhonsle. Later, the
management came under the British, who handed over the management to Tirupati Tirumala
Devasthanam (TTD) in 1933. Ever since, TTD has been managing the temple complex and
undertaking several social welfare activities in and around Tirupati.
For the devout, a visit to Tirumala goes far beyond a holy visit, it’s a deep spiritual journey to
experience the divine. Each pilgrim experiences a personal connect with the Lord as he or she
enters the holy sanctum for a personal ‘Darshan’.
So strong is the pull that over 70,000 pilgrims happen to visit Tirumala on a daily basis, with
numbers more than doubling on special occasions.
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Humble Submission to the Lord
Pilgrims reach Tirumala with humility and part of that humbling process is donation to the Lord.
Parting with one’s precious assets and earnings by way of cash or jewellery, has been part of a
long tradition through time. So much so, that last year alone, TTD set an all-time record by
receiving Rs 1,065 crore from Hundi collections.
Tirupati Tirumala temple is said to be the second richest temple in the world, in addition to
receiving the second largest number of pilgrims.
Given the large number of people visiting daily, TTD has streamlined the process of various
Darshans through the day. Pilgrims who wish to visit Tirumala for Darshan need to buy the
tickets that are available online, as a well as through physical counters. Tickets can be purchased
3 days in advance and upto a maximum period of 90 days in advance.
The Darshan / Sewa includes:

 Archananthara Darshanam
 Suprabhatham
 Nilapada Darshanam
 Archana Sewa
 Visesha Pooja
 Thomala Sewa
 Tirupavada Sewa
 Astadala Pada Padmaradhanamu Sewa
 Kalyanotsavam
 Sahasra Kalabhishekam
The Spiritual Walk to the Sanctum Sanctorum

Pilgrims wishing to walk from Tirupati to Tirumala have several facilities extended to them.
They can hand over their luggage to TTD management against a receipt and collect the same as
they reach the temple complex at the top of the hill.
For many, walking to the hill top is part of a vow they have taken and for them the spiritual
experience begins as they make their way through the 9-km-long stone-laid paths,
Sopanamargas.
Any mention of a visit to Tirumala would be incomplete without mentioning the much sought
after Prasadam. The famous Tirupati Ladoo is specially made by automatic German machines
and remains popular among pilgrims to take back home, post their visit.
Pilgrims are offered free Prasadam along the route, as they meander through the Sopanamargas;
they are given free food by way of Prasadam when they complete the Darshan. Fifteen thousand
people are fed everyday.
For the faithful, a visit to Tirumala is incomplete without tonsuring one’s hair as a submission to
the Lord. Such is the belief that the sheer volume of hair collected every day is actually
processed and exported overseas. The collection from sale of hair goes towards welfare activities
and related social causes.
Dravida Style of Architecture is one of the types of Temple architecture
Temple Architecture in India-and its impact on the design of the Tirumala at Tirupati
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The temple is considered one of the eight Swayambhu Kshetras of Vishnu where the presiding
deity is believed to have manifested on its own. There are different Seven other temples in the
line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, and Vanamamalai
Perumal Temple in South India. Swayambhu Kshetras is a self risen temple or idol- hence no one
ir ready to take credit for the design leaving it all to the Lord.
History Of Venkatadri:-
Sri Venkateswara Temple which is the most ancient Prligrim Center in India is on Tirumala Hill.
This Temple is in the geographical limits of Tirupathi in Chittoor District. The Tirumala Hill
forms the southern end of the Eastern Ghats in Andhra Pradesh. It rises to a maximum height of
1104 metres above the sea level and consists of seven peaks or ridges, hence the name Sapthagiri
or Seven Hills. It covers an area of about 250 Sq Km and resembles a massive Serpent, giving it
the name Seshadri or the Hill of Snake. The head of the Serpent is Tirumala, the body is
Ahobilam to the North & the tail is Srisailam, even further North. Lord Venkateswara Temple is
on Venkatadri which is one of the Seven hills. Tiru means ‘Holy’ or ‘Sacred’ and mala means
hills/mountain in Dravidian languages. Therefore it translates as Holy mountains.
•Seshadri – Hill of Sesha,the dasa of Lord Vishnu
•Vrushabhadri — Hill of Nandi, the vahanaof Lord Shiva
•Anjanadri — Hill of Lord Hanuman
•Neeladri — Hill of Neela Devi
•Garudadri — Hill of Garuda, the Vehicle of Lord Vishnu
•Naraynadri — Hill of Narada Muni
•Venkatadri — Hill of Lord Venkateswara
He is also called Srinivasa, Tirumalesa, Tirumalappa, Timmappa. This temple has acquired a
special sanctity in the Hindu religion. The benefits that accrue by a pilgrimage to this holy town
is mentioned in the Vedas and Puranas. Hindus all over the world believe that in Kali Yuga it’s
possible to attain mukti by worshiping Lord Venkateswara. There are footsteps leading to the hill
with two separate serpentine roads to reach the shrine. According to legend, God Vishnu
revealed himself earlier in the previous incarnations as Varahaswamy on the banks of the present
temple tank.. This manifestation of the white boar (Sveta Varaham) is enshrined in the Adi
Varahaswany temple situated on the northeastern banks of the tank. “Ven” means “sin” and
“Kata” means”destroyed” Therefore Venkata means, a person who worships there will get
cleansed of all sins. Around 50,000 pilgrims visit the temple every day.
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Medieval history:-
Tirumala is known to have a history that goes back to the age of the Sangam Literature that
lasted from 500 B.C. to 300 A.D. The reference of the famous shrine in Tirupati can be found in
the literature of IIango Vadigal’s Silapadikarm and Satanar’s Manimeghalai Bear. The Tirumala
hills are known to be world’s second oldest rock mountain. Thondaiman, ruler of ancient Tondai
Nadu is believed to have first built the temple after visualizing Lord Vishnu in a dream. He built
the Gopuram and the Prakhara, and arranged for regular prayers to be conducted in the temple.
Later on, the Chola Dynasty (300 BC–1279) vastly improved the temple and gave rich
endowments.
Some of the earliest rulers of Tirumala are the Kings of Pallav kingdom which is known to be
there around the 4th century AD. The temple is known to have been brought to limelight by the
Alvars or Vaishnava saints, who were the followers of Vishnu and sung praises of the Lord, in
the 5th century. Tirupati has been ruled by various kings belonging to different dynasties, like
Cholas, Hoysalas and Vijaynagar rulers. All the kings have played an important role in the
expansion of the temple structure. Tirumala was a subject to Muslim invasion around the 12th
century and it was during this time that the deity of Srirangapatna was brought to Tirupati for
safety.
In 1517 Vijayanagara ruler Sri Krishna Deva Raya, on one of his many visits to the temple,
donated gold and jewels, enabling the Vimana (inner shrine) roofing to be golded. Statues of Sri
Krishna Deva Raya and his spouse stand in the premises of the temple. After the decline of
Vijayanagara Empire, kings from states such as Mysore and Gadwal worshiped as pilgrims and
gave ornaments and valuables to the temple. Maratha general Raghoji I Bhonsle (died 1755)
visited the temple and set up a permanent administration for the conduct of worship in the
temple. There is an idol of Raja Todar Mal who was the revenue minister of Akbar, greeting
pilgrims in the premises of the temple.
Sri venkateswara Temple will be in accordance with Vaishnava Sampradaya. Sri Venkateswara
Swamy who is on the Tirumala hill got the fame of being the most sacred even before 18th
Century. Let us make our lives meaningfull by visiting Venkateswara Swamy who made his
presence in the central part of the Temple. We can see Mandapas statues and doors which were
carved and designed in a beautiful way in the premises of the Temple, which should be visited
and known in the premises of the Temple.
Epigraphical records:-
There is ample literary and epigraphic testimony to the antiquity of the temple of Lord Sri
Venkateswara.
Sri KrishnadevarayaAll the great dynasties of rulers of the southern peninsula have paid homage
to Lord Sri Venkateswara in this ancient shrine. The Pallavas of Kancheepuram (9th century
AD), the Cholas of Thanjavur (a century later), the Pandyas of Madurai, and the kings and
chieftains of Vijayanagar (14th – 15th century AD) were devotees of the Lord and they
competed with one another in endowing the temple with rich offerings and contributions.
It was during the rule of the Vijayanagar dynasty that the contributions to the temple increased.
Sri Krishnadevaraya had statues of himself and his consorts installed at the portals of the temple,
and these statues can be seen to this day. There is also a statue of Venkatapati Raya in the main
temple.
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After the decline of the Vijayanagar dynasty, nobles and chieftains from all parts of the country
continued to pay their homage and offer gifts to the temple. The Maratha general, Raghoji
Bhonsle, visited the temple and set up a permanent endowment for the conduct of worship in the
temple. He also presented valuable jewels to the Lord, including a large emerald which is still
preserved in a box named after the General. Among the later rulers who have endowed large
amounts are the rulers of Mysore and Gadwal.
After the fall of the Hindu kingdoms, the Muslim rulers of Karnataka and then the Britishers
took over, and many of the temples came under their supervisory and protective control.
In 1843 AD, the East India Company divested itself of the direct management of non-Christian
places of worship and native religious institutions. The administration of the shrine of Sri
Venkateswara and a number of estates were then entrusted to Sri Seva Dossji of the Hatiramji
Mutt at Tirumala, and the temple remained under the administration of the Mahants for nearly a
century, till 1933 AD.
Modern history:-
In 1933, the Madras Legislature passed a special act, which empowered the Tirumala Tirupati
Devasthanams(TTD) Committee to control and administer a fixed group of temples in the
Tirumala-Tirupati area, through a Commissioner appointed by the Government of Madras.
In 1951, the Act of 1933 was replaced by an enactment whereby the administration of TTD was
entrusted to a Board of Trustees, and an Executive Officer was appointed by the Government .
The provisions of the Act of 1951 were retained by Charitable and Religious Endowments Act,
1966.
The Legend:-
Sri Venkatachala Mahatmya is referred to in several Puranas, of which the most important are
the Varaha Purana and the Bhavishyottara Purana. The printed work contains extracts from the
Varaha Purana, Padma Purana, Garuda Purana, Brahmanda Purana, Markandeya Purana,
Harivamsa, Vamana Purana, Brahma Purana, Brahmottara Purana, Aditya Purana, Skanda
Purana and Bhavishyottara Purana. Most of these extracts describe the sanctity and antiquity of
the hills around Tirumala and the numerous teerthams situated on them. The legends taken from
the Venkatachala Mahatmya and the Varaha Purana, pertaining to the manifestation of the Lord
at Tirumala, are of particular interest. According to the Varaha Purana, Adi Varaha manifested
Himself on the western bank of the Swami Pushkarini, while Vishnu in the form of
Venkateswara came to reside on the southern bank of the Swami Pushkarini. One day,
Rangadasa, a staunch devotee of Vishnu, in the course of his pilgrimage, joined Vaikhanasa
Gopinatha, who was going up the Tirumala Hill for the daily worship of Lord Venkateswara.
After bathing in the Swami Pushkarini, he beheld the lotus-eyed and blue-bodied Vishnu beneath
a tamarind tree. Vishnu was exposed to the sun, wind and rain and was only protected by the
extended wings of Garuda.Rangadasa was astounded by the wonderful sight. He raised a rough
wall of stones around the deity, and started supplying flowers faithfully to Gopinatha everyday
for Vishnu's worship. One day, Rangadasa was distracted by a Gandharva king and his ladies.
Consequently, he forgot to supply flowers to Gopinatha for Vishnu's worship. The Lord then
revealed Himself and told Rangadasa that He had been testing the latter's continence, but
Rangadasa had not been steadfast and had succumbed to temptation.
However, the Lord accepted and appreciated Rangadasa's devoted service to Him till then, and
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blessed Rangadasa that he would be reborn as an affluent ruler of a province and would enjoy the
earthly pleasures. He would continue to serve the Lord, construct a beautiful temple with a
vimana and high surrounding walls, and thereby earn eternal glory. Rangadasa was reborn as
Tondaman, the son of the royal couple, Suvira and Nandini. Tondaman enjoyed a pleasurable life
as a young man. One day, he set out on a hunting expedition on the Tirumala Hill, and with the
help of a forester, saw Vishnu under the tamarind tree. Tondaman returned home, deeply
affected by the vision of Vishnu. Tondaman later inherited his father's kingdom,
Tondamandalam. In accordance with the directions given by Adi Varaha to a forester, Tondaman
constructed a prakaram and dvara gopura, and arranged for regular worship of the Lord
(according to Vaikhanasa Agama). In the Kali Yuga, Akasaraja came to rule over
Tondamandalam. His daughter Padmavathi was married to Venkateswara. The marriage,
officiated by Brahma, was celebrated with great pomp and splendour.
The provisions of the Act of 1951 were retained by Charitable and Religious Endowments Act,
1966.
The features of the Dravidian Style of Architecture are mentioned below:
 The temple is enclosed within a compound wall.

 Gopuram: The entrance gateway in the centre of the front wall.
 Vimana: The shape of the main temple tower. It is a stepped pyramid that rises up
geometrically (unlike the Nagara style Shikhara that is curving).
 In the Dravida style, shikhara is the word used for the crowning element at the top of the
temple (which is shaped like a stupika or octagonal cupola).
 At the entrance to the garbhagriha, there would be sculptures of
fierce dvarapalas guarding the temple.
 Generally, there is a temple tank within the compound.
 Subsidiary shrines could be found wither within the main tower or beside the main
tower.
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 In many temples, the garbhagriha is located in the smallest tower. It is also the oldest.
With the passage of time and the rise of the population of the temple-town, additional
boundary walls were added. The newest structure would mostly have the tallest gopuram.
 Example in the Sriranganathar Temple at Srirangam, Tiruchirappally, there are 7
concentric rectangular enclosure walls each having gopurams. The tower at the centre has
the garbhagriha.
 Famous temple towns of Tamil Nadu: Kanchipuram, Thanjavur (Tanjore), Madurai and
Kumbakonam.
 In the 8th to 12th centuries – temples were not confined to being religious centres but
became administrative centres as well with large swathes of land.
Dravidian Architecture – Subdivisions of Dravida Style
1. Kuta or Caturasra: square-shaped
2. Shala or Ayatasra: rectangular-shaped
3. Gaja-prishta or vrittayata or elephant-backed: elliptical
4. Vritta: circular
5. Ashtasra: octagonal
Pallava Architecture
 The Pallava dynasty was ruling in the Andhra region from the 2nd century AD onwards.
They then moved southwards to Tamil Nadu.
 They built many monuments and temples during the 6th to the 8th centuries.
 Although they were mostly Shaivite, some Vaishnava monuments are also seen. Their
architecture was also influenced by the Buddhist heritage of the Deccan.
 Their early buildings were rock-cut whereas the later were structural.
 The early buildings were built during the reign of Mahendravarman I, a contemporary of
the Chalukya king Pulakeshin II of Karnataka.
 His son Narasimhavarman I, also known as Mamalla, was a great patron of the arts.
Most buildings in Mahabalipuram (also called Mamallapuram in his honour) are
attributed to him.
 In Mahabalipuram, there are exquisite monolithic rathas and mandapas. The five rathas
are known as Panchapandava Rathas.
Dravidian Temple Architecture – Shore Temple – Mahabalipuram
 Built during the reign of Pallava king Narasimhavarman II, also known as Rajasimha
(700 – 728 AD).
 It has three shrines – one Shiva shrine facing east, one Shiva shrine facing west, a middle
shrine to Vishnu in Anantashayana pose. The presence of three main shrines is unique.
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 It is probable that the shrines were not all built at the same time but were added later.
 There is evidence of a water reservoir and a gopuram.
 There are sculptures of Nandi the bull (Shiva’s mount) along the walls of the temple.
There are several carvings as well.
Dravidian Temple Architecture – Brihadiswara Temple – Tanjore
 Shiva temple, also called Rajarajeswara Temple.

 Completed around 1009 AD. Built by Rajaraja Chola.
 It is the largest and tallest of all Indian temples. This Chola temple is bigger than any of
the previous Pallava, Chalukya or Pandya structures.
 More than 100 temples of the Chola Period are preserved. A lot of temples were
constructed during the Chola period.
 Its pyramidal multi-storied vimana is almost 70 metres high.
 There is a monolithic shikhara atop the vimana.
 The shikhara is a dome-shaped octagonal stupika. It has two large elaborately sculptured
gopuras. On the shikhara, there are large Nandi images.
 The kalasha on top of the shikhara is 3m and 8cm tall.
 There are hundreds of stucco figures on the vimana. Many might have been added later
on in the Maratha period.
 The main deity of Shiva is portrayed as a huge lingam set in a double-storied sanctum.
 The surrounding walls of the sanctum are adorned with painted murals and sculptures of
mythological stories.
Architecture in the Deccan
 A hybridised style mixing elements from both Nagara and Dravida styles emerge as a
distinct style during the middle of the 7th century in regions like Karnataka.
 This is referred to as Vesara in some ancient texts.
 Some of the temples are either completely nagara or dravida. Not all temples in the
Deccan are in vesara style.
 Kailashnath Temple, Ellora
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
 Completely in Dravida style.
 Main deity is Lord Shiva.
 There is also a Nandi shrine.
 Vimana rises 30 m.
 This temple was carved out of a portion of a hill.
 The temple is grand and imposing.
 Built during the Rashtrakuta phase at Ellora.
Chalukya Architecture
 Western Chalukya kingdom was established by Pulakesin I when he took control of the
land around Badami in 543 AD.
 Early western Chalukyas ruled the region till around the mid-8th century.
 Early activities are rock-cut caves while structural temples were built later on.
 Ravana Phadi cave at Aihole
 Important structure at this site: Nataraja
 This image is surrounded on the right by four large saptamatrikas and on the left
by three large ones.
 The figures have slim, graceful bodies. They have long oval faces. They wear
short pleated dhotis and tall cylindrical crowns.
Distinct feature of Chalukya architecture: mixing and incorporation of several styles.
Temples at Pattadakkal, Karnataka
 Pattadakkal is a UNESCO World Heritage Site.
 There are 10 temples. Four are in Dravida style, four are in Nagara style, one
(Papanatha Temple) is a fusion of both and one is a Jain temple.
 Jain Narayana temple – built by Rashtrakutas in the 9th century.
 Virupaksha Temple – built by the chief queen of Chalukya king Vikramaditya II
(733 – 44), Loka Mahadevi. Best example of Dravida style.
Durga Temple, Aihole
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 Apsidal shrine resembling a Buddhist Chaitya hall.

 Surrounded by a veranda.
 Shikhara is like a nagara one.
The Lad Khan temple at Aihole
 Located south of the Durga temple. Built in the 5th century.

 Inspired by the wooden-roofed temples of the hills, but is made out of stone.
 Built in the Panchayatana style.
 So named because a person named Lad Khan had used it as his residence for
some time.
Hoysalas Temple Architecture
 Hoysalas grew into prominence in South India after the Chola and the Pandya power
declined.
 Centred at Mysore.
 Chief temples are at Belur, Somnathapuram and Halebid.
 These temples have a plan called the stellate plan. This is because the plan which
emerged from being a straightforward square to a complex one with many projecting
angles began to resemble a star.
 The star-like ground plan is a distinct feature of Hoysala architecture.
 Style is Vesara.
 Made of soapstone which is relatively soft. This enabled artists to carve intricate details
like jewellery.
 Hoysaleshvara Temple, Halebid
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
 Made of dark schist stone in 1150.
 Dedicated to Nataraja (Shiva).
 It is a double building with a large hall for the mandapa.
 A Nandi pavilion is in front of each building.
 The temple’s tower fell a long time back. The structure of the temple is evident
from the detailed miniature ones at the temple’s entrance.
 Very intricate and detailed carvings.
Vijayanagara Architecture
 City of Vijayanagara (City of victory) founded in 1336.
 Visited by international travellers like Niccolo di Conti, Domingo Paes, Duarte Barbosa,
Abd, al-Razzaq, etc. who have given vivid accounts of the place.
 Synthesizes the Dravida style with Islamic styles of the neighbouring sultanates.
 The sculpture tries to recreate the Chola tradition but the foreign influence is also seen.
Dravidian architecture or the South Indian temple style is an architectural idiom in Hindu
temple architecture that emerged in the southern part of the Indian subcontinent or South
India and in Sri Lanka, reaching its final form by the sixteenth century. It is seen in Hindu
temples, and the most distinctive difference from north Indian styles is the use of a shorter and
more pyramidal tower over the garbhagriha or sanctuary called a vimana, where the north has
taller towers, usually bending inwards as they rise, called shikharas. However, for modern
visitors to larger temples the dominating feature is the high gopura or gatehouse at the edge of
the compound; large temples have several, dwarfing the vimana; these are a much more recent
development. There are numerous other distinct features.
Mentioned as one of three styles of temple building in the ancient book Vastu shastra, the
majority of the existing structures are located in the Southern Indian states of Andhra
Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana. Various kingdoms and empires such as
the Cholas, the Chera, the Kakatiyas, the Pandyas, the Pallavas, the Gangas, the Kadambas,
the Rashtrakutas, the Chalukyas, the Hoysalas, and Vijayanagara Empire among others have
made substantial contribution to the evolution of the Dravida architecture.
Texts: Mayamata and Manasara shilpa texts estimated to be in circulation by 5th to 7th
century AD, is a guidebook on Dravidian style of Vastu Shastra design, construction, sculpture
and joinery technique. Isanasivagurudeva paddhati is another text from the 9th century
describing the art of building in India in south and central India. In north India, Brihat-
samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century describing
the design and construction of Nagara style of Hindu temples. Traditional Dravidian architecture
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and symbolism are also based on Agamas. The Agamas are non-vedic in origin and have been
dated either as post-vedic texts or as pre-vedic compositions.[9] The Agamas are a collection
of Tamil and Sanskrit scriptures chiefly constituting the methods of temple construction and
creation of murti, worship means of deities, philosophical doctrines, meditative practices,
attainment of sixfold desires and four kinds of yoga.
Composition and structure

Chola style temples consist almost invariably of the three following parts, arranged in differing
manners, but differing in themselves only according to the age in which they were executed:[11]
1. The porches or Mandapas, which always cover and precede the door leading to the cell.
2. Gate-pyramids, Gopuras, which are the principal features in the quadrangular enclosures
that surround the more notable temples. Gopuras are very common in Dravidian temples.
3. Pillared halls (Chaultris or Chawadis) are used for many purposes and are the invariable
accompaniments of these temples.
Besides these, a South Indian temple usually has a tank called the Kalyani or Pushkarni – to be
used for sacred purposes or the convenience of the priests – dwellings for all the grades of the
priesthood are attached to it, and other buildings for state or convenience.
An aerial view of the Meenakshi Temple, Tamil Nadu, from the top of the southern gopuram,
looking north.
Stone vel on a brick platform at the entrance to the Murugan Temple, Saluvankuppam, Tamil
Nadu, 300 BCE-300 CE
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In Southern India seven kingdoms and empires stamped their influence on architecture during
different times.:
Sangam period
From 300 BCE - 300 CE, the greatest accomplishments of the kingdoms of the early
Chola, Chera and the Pandyan kingdoms included brick shrines to
deities Kartikeya, Shiva, Amman and Vishnu. Several of these have been unearthed
near Adichanallur, Kaveripoompuharpattinam and Mahabalipuram, and the construction plans of
these sites of worship were shared to some detail in various poems of Sangam literature. One
such temple, the Saluvannkuppan Murukan temple, unearthed in 2005, consists of three layers.
The lowest layer, consisting of a brick shrine, is one of the oldest of its kind in South India, and
is the oldest shrine found dedicated to Murukan. It is one of only two brick shrine pre Pallava
Hindu temples to be found in the state, the other being the Veetrirundha Perumal Temple at
Veppathur dedicated to Lord Vishnu. The dynasties of early medieval Tamilakkam expanded
and erected structural additions to many of these brick shrines. Sculptures of erotic art, nature
and deities from the Meenakshi Temple, and Ranganathaswamy Temple date from the Sangam
period.
Pallavas
The rock-cut Shore Temple of the temples in Mahabalipuram, Tamil Nadu, 700-728
The Pallavas ruled from AD (275–900) and their greatest constructed accomplishments are the
single rock temples in Mahabalipuram and their capital Kanchipuram, now located in Tamil
Nadu.
The earliest examples of Pallava constructions are rock-cut temples dating from 610 – 690 CE
and structural temples between 690 – 900 CE. The greatest accomplishments of the Pallava
architecture are the rock-cut Group of Monuments at Mahabalipuram at Mahabalipuram, a
UNESCO World Heritage Site, including the Shore Temple. This group includes both excavated
pillared halls, with no external roof except the natural rock, and monolithic shrines where the
natural rock is entirely cut away and carved to give an external roof. Early temples were mostly
dedicated to Shiva. The Kailasanatha temple also called Rajasimha Pallaveswaram
in Kanchipuram built by Narasimhavarman II also known as Rajasimha is a fine example of the
Pallava style temple.
Contrary to popular impression about the succeeding empire of the Cholas pioneering in building
large temple complexes, it was the Pallavas who actually pioneered not only in making large
temples after starting construction of rock cut temples without using mortar, bricks etc.(**)
18
Examples of such temples are the Thiruppadagam and Thiruooragam temples that have 28 and
35 feet (11 m) high images of Lord Vishnu in his manifestation as Pandavadhoothar and
Trivikraman forms of himself. In comparison, the Siva Lingams in the Royal Temples of the
Cholas at Thanjavur and Gangaikonda Cholapurams are 17 and 18 feet (5.5 m) high. Considering
that the Kanchi Kailasanatha Temple built by Rajasimha Pallava was the inspiration for Raja
Raja Chola's Brihadeeswara at Thanjavur, it can be safely concluded that the Pallavas were
among the first emperors in India to build both large temple complexes and very large deities and
idols(**) Many Siva and Vishnu temples at Kanchi built by the great Pallava emperors and
indeed their incomparable Rathas and the Arjuna's penance Bas Relief (also called descent of the
Ganga) are proposed UNESCO World Heritage Sites. The continuous Chola, Pallava and
Pandiyan belt temples (along with those of the Adigaimans near Karur and Namakkal), as well as
the Sethupathy temple group between Pudukottai and Rameswaram uniformly represent the
pinnacle of the South Indian Style of Architecture that surpasses any other form of architecture
prevalent between the Deccan Plateau and Kaniyakumari. In the Telugu country the style was
more or less uniformly conforming to the South Indian or Dravidian idiom of architecture.
Badami Chalukyas
Virupaksha Temple, Pattadakal, Karnataka built in 740/The rock-cut Kailash Temple at Ellora
The Badami Chalukyas also called the Early Chalukyas, ruled from Badami, Karnataka in the
period 543 – 753 CE and spawned the Vesara style called Badami Chalukya Architecture. The
finest examples of their art are seen in Pattadakal, Aihole and Badami in northern Karnataka.
Over 150 temples remain in the Malaprabha basin.
The most enduring legacy of the Chalukya dynasty is the architecture and art that they left
behind. More than one hundred and fifty monuments attributed to the Badami Chalukya, and
built between 450 and 700, remain in the Malaprabha basin in Karnataka.
The rock-cut temples of Pattadakal, a UNESCO World Heritage
Site, Badami, Aihole and Mahakuta are their most celebrated monuments. Two of the famous
paintings at Ajanta cave no. 1, "The Temptation of the Buddha" and "The Persian Embassy" are
attributed to them.[15][16] This is the beginning of Chalukya style of architecture and a
consolidation of South Indian style.
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Rashtrakutas
The Rashtrakutas who ruled the Deccan from Manyakheta, Karnataka in the period 753 – 973
CE built some of the finest Dravidian monuments at Ellora (the Kailasanatha temple), in the
rock-cut architecture idiom, with a style showing influences from both north and south India.
Some other fine monuments are the Jaina Narayana temple at Pattadakal and the Navalinga
temples at Kuknur in Karnataka.
The Rashtrakuta contributions to art and architecture are reflected in the splendid rock-cut
shrines at Ellora and Elephanta, situated in present-day Maharashtra. It is said that they
altogether constructed 34 rock-cut shrines, but most extensive and sumptuous of them all is the
Kailasanatha temple at Ellora. The temple is a splendid achievement of Dravidian art. The walls
of the temple have marvellous sculptures from Hindu
mythology including Ravana, Shiva and Parvathi while the ceilings have paintings.
These projects were commissioned by King Krishna I after the Rashtrakuta rule had spread into
South India from the Deccan. The architectural style used was partly Dravidian. They do not
contain any of the shikharas common to the Nagara style and were built on the same lines as the
Virupaksha temple at Pattadakal in Karnataka.
Western Chalukyas
Doddabasappa Temple, Dambal, Gadag district, Karnataka
The Western Chalukyas also called the Kalyani Chalukyas or Later Chalukyas ruled the deccan
from 973 – 1180 CE from their capital Kalyani in modern Karnataka and further refined the
Chalukyan style, called the Western Chalukya architecture. Over 50 temples exist in the Krishna
River-Tungabhadra doab in central Karnataka. The Kasi Vishveshvara at Lakkundi, Mallikarjuna
at Kuruvatii, Kalleshwara temple at Bagali and Mahadeva at Itagi are the finest examples
produced by the Later Chalukya architects.The reign of Western Chalukya dynasty was an
important period in the development of architecture in the Deccan. Their architectural
developments acted as a conceptual link between the Badami Chalukya Architecture of the 8th
century and the Hoysala architecture popularised in the 13th century. The art of Western ghats.
20
Chalukyas is sometimes called the "Gadag style" after the number of ornate temples they built in
the Tungabhadra – Krishna River doab region of present-day Gadag district in
[20]
Karnataka. Their temple building reached its maturity and culmination in the 12th century,
with over a hundred temples built across the deccan, more than half of them in present-day
Karnataka. Apart from temples they are also well known for ornate stepped wells (Pushkarni)
which served as ritual bathing places, many of which are well preserved in Lakkundi. Their
stepped well designs were later incorporated by the Hoysalas and the Vijayanagara empire in the
coming centuries.
Pandya
Srivilliputtur Andal CHOLA at RIGHT Detail of the main vimanam (tower) of the Thanjavur Temple-Tamil
Nadu
Srivilliputhur Andal temple Rajagopuram is the official symbol of the Government of Tamil
Nadu. It is said to have been built by Periyaazhvar, the father-in-law of the Lord, with a purse of
gold that he won in debates held in the palace of Pandya King Vallabhadeva.
The primary landmark of Srivilliputtur is 12-tiered tower structure dedicated to the Lord of
Srivilliputtur, known as Vatapatrasayee. The tower of this temple rises 192 feet (59 m) high and
is the official symbol of the Government of Tamil Nadu. Other significant temples of the
Pandyas include the famous Meenakshi temple in Madurai.
21
Cholas
Tirupati Layout plan
The Chola kings ruled from AD (848–1280) and included Rajaraja Chola I and his son Rajendra
Chola who built temples such as the Brihadeshvara Temple of Thanjavur and Brihadeshvara
Temple of Gangaikonda Cholapuram, the Airavatesvara Temple of Darasuram and
the Sarabeswara (Shiva )Temple, also called the Kampahareswarar Temple at Thirubhuvanam,
the last two temples being located near Kumbakonam. The first three among the above four
temples are titled Great Living Chola Temples among the UNESCO World Heritage Sites.
The Cholas were prolific temple builders right from the times of the first king Vijayalaya
Chola after whom the eclectic chain of Vijayalaya Chozhisvaram temple near Narttamalai exists.
These are the earliest specimen of Dravidian temples under the Cholas. His son Aditya I built
several temples around the Kanchi and Kumbakonam regions.
Temple building received great impetus from the conquests and the genius of Aditya
I Parantaka I, Sundara Chola, Rajaraja Chola and his son Rajendra Chola I.Rajendra
Chola 1 built the Rajaraja Temple at Thanjur after his own name. The maturity and
grandeur to which the Chola architecture had evolved found expression in the two temples of
Tanjavur and Gangaikondacholapuram. He also proclaimed himself as Gangaikonda. In a small
portion of the Kaveri belt between Tiruchy-Tanjore-Kumbakonam, at the height of their power,
the Cholas have left over 2300 temples, with the Tiruchy-Thanjavur belt itself boasting of more
than 1500 temples. The magnificent Siva temple of Thanjavur built by Raja Raja I in 1009 as
well as the Brihadisvara Temple of Gangaikonda Cholapuram, completed around 1030, are both
fitting
22
Wooden Model of Tirupati
memorials to the material and military achievements of the time of the two Chola emperors. The
largest and tallest of all Indian temples of its time, the Tanjore Brihadisvara is at the apex of
South Indian architecture. In fact, two succeeding Chola kings Raja Raja II and Kulothunga III
built the Airavatesvara Temple at Darasuram and the Kampahareswarar Siva Temple at
Tribhuvanam respectively, both temples being on the outskirts of Kumbakonam around AD 1160
and AD 1200. All the four temples were built over a period of nearly 200 years reflecting the
glory, prosperity and stability under the Chola emperors.
Contrary to popular impression, the Chola emperors patronized and promoted construction of a
large number of temples that were spread over most parts of the Chola empire. These include 40
of the 108 Vaishnava Divya Desams out of which 77 are found spread most of South India and
others in Andhra and North India. In fact, the Sri Ranganathaswamy Temple in Srirangam,
which is the biggest temple in India (**) and the Chidambaram Natarajar Temple (though
originally built by the Pallavas but possibly seized from the Cholas of the pre-Christian era when
they ruled from Kanchi) were two of the most important temples patronized and expanded by the
23
Cholas and from the times of the second Chola King Aditya I, these two temples have been
hailed in inscriptions as the tutelary deities of the Chola Kings.
The Brihadeeswarar Temple (11th century), Tanjore has a vimana tower that is 216 ft (66 m)
high, a classical example of Dravidian architecture. and The sikhara, a cupolic dome (25 tons), is
octagonal and rests on a single block of granite, weighing 80 tons.
Temple shrine on the Koneswaram temple promontory extremity and the Ketheeswaram
temple and Munneswaram temple compounds contained tall gopuram towers by Chola rule
of Trincomalee, Mannar, Puttalam and Chidambaram's expansion that escalated the building of
those syncretic latter styles of Dravidian architecture seen across the continent pictured.
Of course, the two Brihadisvara Temples at Thanjavur and Gangaikonda Cholapuram as well as
the other two Siva temples, namely the Airavatesvara Temple of Darasuram and
the Sarabeswara (Shiva )Temple which is also popular as the Kampahareswarar Temple
at Thirubhuvanam, both on the outskirts of Kumbakonam were the royal temples of the Cholas to
commemorate their innumerable conquests and subjugation of their rivals from other parts of
South India, Deccan Ilangai or Sri Lanka and the Narmada-Mahanadi-Gangetic belts (**). But
the Chola emperors underlined their non-partisan approach to religious iconography and faith by
treating the presiding deities of their other two peerless creations, namely the Ranganathaswamy
Temple dedicated to Lord Vishnu at Srirangam and the Nataraja Temple at Chidambaram which
actually is home to the twin deities of Siva and Vishnu (as the reclining Govindarajar) to be their
'Kuladheivams' or tutelary (or family) deities. The Cholas also preferred to call only these two
temples which home their tutelary or family deities as Koil or the 'Temple', which denotes the
most important places of worship for them, underlining their eq. The above-named temples are
being proposed to be included among the UNESCO World Heritage Sites, which will elevate
them to the exacting and exalting standards of the Great Living Chola Temples.
24
The temple of Gangaikondacholapuram, the creation of Rajendra Chola I, was intended to
exceed its predecessor in every way. Completed around 1030, only two decades after the temple
at Thanjavur and in much the same style, the greater elaboration in its appearance attests the
more affluent state of the Chola Empire under Rajendra.[28] This temple has a larger Siva linga
than the one at Thanjavur but the Vimana of this temple is smaller in height than
the Thanjavur vimana.
The Chola period is also remarkable for its sculptures and bronzes all over the world. Among the
existing specimens in museums around the world and in the temples of South India may be seen
many fine figures of Siva in various forms, such as Vishnu and his consort Lakshmi, and the
Siva saints. Though conforming generally to the iconographic conventions established by long
tradition, the sculptors worked with great freedom in the 11th and the 12th centuries to achieve a
classic grace and grandeur. The best example of this can be seen in the form of Nataraja the
Divine Dancer
Hoysalas
Symmetrical architecture on Jagati, Somanathapura, Karnataka
The Hoysala kings ruled southern India during the period (1100–1343 CE) from their
capital Belur and later Halebidu in Karnataka and developed a unique idiom of architecture
called the Hoysala architecture in Karnataka state. The finest examples of their architecture are
the Chennakesava Temple in Belur, Hoysaleswara temple in Halebidu, and the Kesava
Temple in Somanathapura.
The modern interest in the Hoysalas is due to their patronage of art and architecture rather than
their military conquests. The brisk temple building throughout the kingdom was accomplished
despite constant threats from the Pandyas to the south and the Seunas Yadavas to the north. Their
architectural style, an offshoot of the Western Chalukya style, shows distinct Dravidian
influences. The Hoysala architecture style is described as Karnata Dravida as distinguished from
the traditional Dravida, and is considered an independent architectural tradition with many
unique features.
25
Vijayanagara
Virupaksha Temple at Hampi, Karnataka
Hills around the temple
The whole of South India was ruled by Vijayanagara Empire from (1343–1565 CE), who
built a number of temples and monuments in their hybrid style in their capital Vijayanagara in
Karnataka. Their style was a combination of the styles developed in South India in the previous
26
centuries. In addition, the Yali columns (pillar with charging horse), balustrades (parapets) and
ornate pillared manatapa are their unique contribution. King Krishna Deva Raya and others built
many famous temples all over South India in Vijayanagara Architecture style.
Vijayanagara architecture is a vibrant combination of

the Chalukya, Hoysala, Pandya and Chola styles, idioms that prospered in previous centuries. Its
legacy of sculpture, architecture and painting influenced the development of the arts long after
the empire came to an end. Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage
hall), Vasanthamantapa (open pillared halls) and the Rayagopura (tower). Artisans used the
locally available hard granite because of its durability since the kingdom was under constant
threat of invasion. While the empire's monuments are spread over the whole of Southern India,
nothing surpasses the vast open-air theatre of monuments at its capital at Vijayanagara, a
UNESCO World Heritage Site.
In the 14th century the kings continued to build Vesara or Deccan style monuments but later
incorporated dravida-style gopurams to meet their ritualistic needs. The Prasanna Virupaksha
temple (underground temple) of Bukka Raya I and the Hazare Rama temple of Deva Raya I are
examples of Deccan architecture. The varied and intricate ornamentation of the pillars is a mark
of their work. At Hampi, though the Vitthala temple is the best example of their
pillared Kalyanamantapa style, the Hazara Ramaswamy temple is a modest but perfectly
finished example. A visible aspect of their style is their return to the simplistic and serene art
developed by the Chalukya dynasty. A grand specimen of Vijayanagara art, the Vitthala temple,
took several decades to complete during the reign of the Tuluva kings. Kerala.
The version of Dravidian architecture found in Kerala in the far south-west is significantly
different. Very large temples are rare, and sloping roofs with projecting eaves dominate the
outline, often arranged in a number of tiers. As in Bengal, this is an adaption to the
heavy monsoon rainfall. There is usually a stone core below a timber superstructure.
The architecture of Kerala goes back to the Chera dynasty in the 12th century, and a variety of
ground plans have been used, including circular ones. The development of multi-building
complexes came relatively late.
Kodungallur Bhagavathy Temple/Chera dynasty Style temple Layout
27
Vadakkunnathan Temple/Thirunelli Temple front view
Nallur Kandaswamy temple front entrance//Kandiyoor Sree Mahadeva Temple

Jaffna
The culture of a region is recognizable in architecture. Jaffna was close to South India and the
majority of the inhabitants of Jaffna have a Dravidian origin. In former royal city of Nallur, there
are architectural ruins of Jaffna kingdom.
Raja Gopuram of Nainativu Nagapooshani Amman Temple.
28
Yamuna Eri, a 15th century pond in Nallur.Corridor of Naguleswaram Temple/Mantri Manai,
the remains of the minister's quarters of Jaffna Kingdom. It is build in a Euro-Dravidian style.
Queue Management System(described elsewhere)

Architecture of Tirumala Venkateswara Temple
29
Synopsis of architectural morphology of the Tirupati Temple

See
https://issuu.com/suryanaidus9/docs/tirumala_temple_history/9
For full pictures of every chamber and idol at the Tirupati Temple
Lord Sri Venkateswara, also known as Srinivasa, Balaji, and Veṅkaṭachalapati, made Tirumala
his abode five thousand years ago. Even before him, it was Lord Varahaswami who had made
Tirumala his abode. Since then, many devotees have continued to construct grand entrances on
the ramparts of the temple over generations. The temple complex is spread over 16.2 acres of
land.
Broadly, there are a total three Dwarams (entrances) which lead to the Garbhagriha from
outside. The Mahadwaram also is known as padikavali is the first entrance which is provided
through Mahaprakaram (which is the outer compound wall). The 50 feet, five-
storied Gopuram (Temple Tower) is constructed over this Mahadwaram with seven Kalasams at
its apex. Vendivakili (Silver Entrance) also known as Nadimipadikavali is the second entrance
and is provided through Sampangi-Prakaram (Inner compound wall).
The three-storied Gopuram is constructed over Vendivakili with seven Kalasams at its apex.
Bangaruvakili (Golden Entrance) is the third entrance which will lead to Garbhagriha. There are
the two tall copper images of the Dvarapalakas Jaya-Vijaya on either side of this door. There is
the thick wooden door is covered with gold gilt plates depicting
the Dasavathaaram of Vishnu History:
THE DIVINE STRUCTURE OF THE TIRUMALA MAIN TEMPLE

Lord Sri Venkateswara, also known as Srinivasa, Balaji, and Veṅkaṭachalapati, made Tirumala
his abode five thousand years ago. Even before him, it was Lord Varahaswami who had made
Tirumala his abode. Since then, many devotees have continued to construct grand entrances on
the ramparts of the temple over generations. The temple complex is spread over 16.2 acres of
land.
SRI BHU-VARAHA SWAMI TEMPLE

In Tirumala, the East facing Sri Varahaswami temple is located in the northwest corner of the
temple tank - Swami Pushkarini. As per the temple legend, Lord Srinivasa sought a gift of land
from Sri Varahaswami, which he readily granted.
30
In return, Srinivasa provided him with an agreement deed assuring that he would be paid the first
darshan, worship, and offerings by all the devotees visiting the temple. This tradition is in
practice to this day at Tirumala and Lord Varahaswami continues to receive the age-old
traditional worship. Even today, all offerings are first made to Lord Varahaswami and then to
Lord Sri Venkateswara.
MAHA DWARAM
The height of the main entrance has been increased periodically since 13th century by successive
construction attempts sponsored by Rulers. Its present height is fifty feet. This entrance has other
names such as ‘Padivaakili’ and ‘Simhadwaram’.In Tamil it is called ‘Periya Thiruvasal’. On
either side of this main entrance there are two feet high statues made of alloy metal (Pancha
loha). They are Sankanidhi and Padmanidhi who are the guardians of ‘Navanidhi’, the treasure of
Lord Sri Venkateswara.
The Maha Dwaram comprises three consecutive entrances – the first is a brass one, while the
second is a silver one. The third entrance is a golden one.
SHANKHANIDHI – PADMANIDHI
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These are the two angels guarding the wealth and treasure of Lord Sri Venkateswara. As per the
tradition, these are installed at the third entrance of the temple. One enters the holy shrine after
saluting the first protection threshold - Sankha Nidhi and Padma Nidhi. According to history,
these statues were consecrated by Vijayanagara emperor Achyutha Rayalu, the younger brother
of Sri Krishna Deva Rayalu.
KRISHNADEVARAYALA MANDAPAM
After passing through the Padi Kavali Mahadwaram you will land in an open mandapam called
the Krishna Deva Raya Mandapam or Pratima Mandapam. This mandapam gets its name from
the pratimas or bronze portrait icons of the Vijayanagara emperor Krishnadevaraya and his two
consorts, Tirumaladevi and Chinnadevi. It also hosts a statue of Venkatapathi Raya and
Achyutha Raya, who succeeded Krishna Deva Raya to the throne, and his wife Varadajiamma.
The Mandapam has beautiful wall pictures of the Vijayanagara period like, Sri Rama breaking
the bow, Sri Rama Pattabhishekam and Krishna Leela. Sri Vaishnava symbols or the
Urdhvapundras flanked by a conch and disc were carved at the top of the two main pillars of the
Mandapam.
Abutting the Mahadwara and to its right, there is a high-rise mandapam (Porch). This is called
Krishnadevarayalu Mandapam or Pratima Mandapam. This mandapam has been constructed in
Vijayanagara architectural style. To the right side of this porch, one can find tall copper statues
of the emperor of Vijayanagara kingdom, Sri Krishnadevarayalu, and his two consorts, Tirumala
Devi and Chinnadevi.
These three statues placed in front of Lord Sri Venkateswara express their devotion to him. It is
said that Sri Krishnadevarayalu himself installed these statues on 2nd January 1517 A.D. and
then onwards this mandapam has become famous as the Krishnadevarayalu mandapam. Their
names are inscribed on the shoulder badges of these statues.
VENKATAPATI RAYALU
By the left side of the main entrance or Mahadwaram there is a tall copper statue with folded
hands. This is the statue of Venkatapatirayalu, the king of Chandragiri. He was a generous king
who ruled Chandragiri during the 1570s and donated many valuable gifts to the deity.
32
ADDALA MANDAPAM
Twelve feet to the north of Sri Krishnadevarayalu Mandapam, there is a glass porch. Every day
at 2 p.m., a paid service called”Dolotsavam” is performed for the Lord in this glass porch.
Historical evidence proves that this Seva program began to be performed in 1831.
About Addala Mandapam (Mirror Mandapam)
RANGANAYAKA MANDAPAM
Just opposite the glass porch, there is another high rise mandapam called Ranganayakula
Mandapam. Due to the Muslim invasions between 1320 and 1369 A.D., the idols of Lord
Ranganadha of Srirangapatnam were shifted to Tirumala for safekeeping. Daily prayers and
poojas were offered to him in this Mandapam. After the cessation of the Muslim invasions, these
statues were once again shifted back to Srirangam. Yet this place has retained the name of
Ranganayakula Mandapam to this day.
This mandapam is said to have been built by the king of Tirupathi, named Ranganadha Yadava
Rayalu. It is in this mandapam that Kalyanothsavams were performed for the Lord. However,
due to the increase in the pilgrim rush, currently, daily Kalyanothsavams are performed in
Sampangi Pradakshinam. About Ranganayaka Mandapam or Ranga Mandapam
33
This Mandapam was constructed in 1310- 1320 A.D. by Ranganatha Yadava Raya. the idol of
Sri Ranganatha in Sri Rangam was offered worship here from 1320 – 1360 A.D.
The devotees who go for Srivari darsan across a big mantapam called Ranganayaka
Mandapam which is south of Krishnadevaraya mantapam standing on a high basement. There is
a small shrine about 12 sq. feet which is kept closed. During Muslim invasions between 1320
and 1369 A.D. the idols of Lord Ranganadha of Srirangapatnam were shifted to Sri
Venkateshwara temple, Tirumala and kept here for more than 40 years. Daily prayers and poojas
were offered to him in this Mandapam. After the cessation of the Muslim invasions, these statues
were once again shifted back to Sri Rangam. Yet this place is called Ranganayakula Mandapam
to this day.
This mandapam is said to have been build by the king of Tirupathi, named Ranganadha Yadava
Rayalu. It is in this mandapam Kalyanothsvams were performed to the Lord. But, due to the
increase in pilgrim rush, daily Kalyanothsvams are performed in Sampangi Pradakshinam.The
shrine of Sri Rangantha is now closed. Various vaahanams like Hanumantha Vaahanam, Gaja
Vaahanam, Sesha Vaahanam, Garuda Vaahanam etc are kept here. This mandapam was build by
the king of Tirupati, Ranganadha Yadava RayaluWhen president of nation, national leaders, and
VIPs visit Tirumala for lord’s darshan, they are offered prasadams and blessings of the temple
34
priests in this Mandapam.
TIRUMALARAYA MANDAPAM
Adjoining the Ranga Mandapam on the western side, and facing the
Dhvajasthambha Mandapam is a spacious complex of pavilions known as the
Tirumala Raya Mandapam or Anna Unjal Mandapam. It consists of two different
levels, the front at a lower level and the rear at a higher. The southern or inner
portion of this Mandapam was constructed by Saluva Narasimha in 1473 AD to
celebrate a festival for Sri Venkateswara called Anna Unjal Tirunal. This structure
was extended to its present size by Araviti Bukkaraya Ramaraja, Sriranga Raja and
Tirumala Raja. It is in this Mandapam, that the utsava murthi Malayappan, holds his
annual darbar or Asthanam during the hoisting of the Garudadhwaja on
Dhwajastambham to mark the commencement of Brahmotsavam. Incidentally, the
prasadam distributed on this occasion is still called Tirumalarayan Pongal. The
Mandapam has a typical complex of pillars in the Vijayanagara style, with a central
pillar surrounded by smaller pillars, some of which emit musical notes when struck
with a stone. The main pillars have rearing horses with warriors mounted on them. Some
of the best sculptures of the temple are found in bold relief in the Mandapam. The bronze statues
of Todermallu, his mother Matha Mohana Devi and wife Pitha Bibi, are kept in a corner of the
Mandapam. It is 10 feet to the south of the flagstaff and was built by Saluvanarasimharayalu, the
emperor of Vijayanagara, to express his gratitude to the Lord for the help extended towards his
victories.A detailed description of the Kalyanautsavam is mentioned separately under Arjitha
Sevas. The devotees who go in Special darsanam have to go straight via Dwajasthambam and
they miss to see all the above. But if there is heavy crowd, the devotees would be allowed to go
via the route described above.
35
Every year, for five days, in the month of June and July, the Lord and his two consorts are placed
on a rocking cradle in this mandapam. This ritual which used to enthrall the devotees. This
ceremony is now discontinued.
TULABHARAM
All couples begetting children with the blessings of the Lord, offer money in the form of coins,
silver, candy, and camphor equivalent to the weight of their children, as avowed by them. Even
the patients, who are cured of their diseases, express their gratitude similarly. This Tulabharam is
arranged in front of the Ranganayakalu Mandapam.
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RAJA THODARAMALLU
At about hundred feet from the flagstaff, there are three copper statues of devotees, facing the
Lord and saluting him with folded hands. One is that of Lala khemaramu, the other is that of his
mother Mata Mohana Devi and the third one is that of his wife Pita Bibi. Lala Khemarumu is a
kshatriya known as Raja Todaramallu. He courageously protected Tirumala both from the
invasions of Muslims and the British during the seventeenth century. The Lord blessed this
family and bestowed them with a place in His temple.
At about a hundred feet from the flagstaff, there are three copper statues of devotees, facing the
Lord and saluting him with folded hands. One is that of Lala khemaramu, the other is that of his
mother Mata Mohana Devi and the third one is that of his wife Pita Bibi. Lala Khemarumu is a
kshatriya known as Raja Todaramallu. He courageously protected Tirumala from the invasions
of Muslims and the British during the seventeenth century. The Lord blessed this family and
bestowed them with a place in His temple.
You can see three copper statues of devotees, facing Lord venkateswara swamy and saluting the
lord with folded hands, near the flagstaff. They are Raja Thondaramallu, his mother Mata
Mohana Devi, his wife wife Pita Bibi. Lala Khemarumu is a kshatriya popularly known as Raja
Thodaramallu. He courageously protected Tirumala both from the invasions of Muslims and the
British during the seventeenth century.
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Mata Mohana Devi Pita Bibi Raja Thondaramallu Tirumala
DWAJASTHAMBHA MANDAPAM
Dwajasthambham, -the golden flagstaff is located in the middle of a twenty-pillared square
pavilion. To the east of the flagstaff, there is an altar and to the northeast, there is a granite stone
called ‘Kshetrapalakasila’. This pavilion is said to have been constructed in the fifteenth century.
During Brahmotsavams, a flag with Garuda’s imprint is hoisted on this flagstaff for extending an
invitation to gods and goddesses (Yaksha, Kinnera, and Gandharva), to attend this festival.
Those wishing to take pooja material or other things into the sanctum, have to perform
circumambulation along dwajasthamba including the Lord whenever he is taken outside or
returned to the main temple.
FLOWER CHAMBER
The flower chamber was earlier located in the ‘Sampangi Pradakshinam’. All the flowers used
for the service of the Lord and other deities are supplied from this flower chamber, which is
called ‘Yamunottarai’. This ‘flower chamber’ now stands shifted to ‘Vimana Pradakshinam’.
Every morning and evening the Jiyyangars collect the flower garlands prepared in the flower
chamber and carry them over their heads to the Lord, after circumambulating the flagstaff amidst
blowing trumpets and umbrellas for shading. These flower garlands are presented to the Sanctum
for performing the various rituals and poojas to the Lord.
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BALI PEETAM (ALTAR)

Adjoining the flagstaff is the Bali Peetam or altar. After offering Naivedyam to the Lord and
other deities and after exiting through the silver gate, the Prasadam is kept on this altar. It is
believed that this food offering is accepted by deities, the angles, and the elemental forces.
Bali Peetam is inside Shri Lord Venkateswara Swamy temple Which is covered with a gold plate
and maintained by Tirumala Tirupati Devasthanams.Abutting the flag staff is the Bali Peetam or
altar. After offering food (Prasadam) to the Lord and other deities and after exiting through the
silver gate, the Prasadam is kept on this altar.It is believed that this food offering is accepted by
deities, the angles and the elemental forces. After saluting the dwajasthamba and Balipeetam let
us move to ‘Kshetrapalaka’ sila by chanting Govinda… Govinda…, the name of the Lord who is
the repository of Dharm.
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KSHETRA PALAKA SILA (BIG ROUND STONE)

To the northeast corner of the altar, under the flagstaff porch, there is a one and half feet high
stone slab. This is called ‘Kshetrapalaka Sila’. It is said that this stone slab marched around the
temple for providing security to the Shrine at night.
Priests used to keep the keys of the temple on this stone slab every night after closing the temple
and collect them to open the temple in the morning, after saluting it.
SAMPANGI PRADAKSHINAM
On entering the precincts of the temple, one first encounters the circumambulation passage called
‘Sampangi Pradakshinam’. The grand circumambulation passage outside the temple is not
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considered for this purpose. Therefore ‘Sampangi Pradakshinam’ is considered to be the primary
one. Earlier Sampangi flower plants (gold flowers, Michelia Champaka) were grown in this
pathway for decorating the Lord and hence, the name.
FOUR PILLAR MANDAPAM

Four pavilions in the four corners of ‘Sampangi Pradakshinam’ were built by Saluva Narasimha
Raya in 1470 A.D. in the names of himself, his wife, and his two sons.
KALYANOTSAVA MANDAPAM
Earlier all wedding festivities of the Lord were celebrated at the pavilion in the ‘Vimana
Pradakshinam’. With the increase in the number of the devotees attending the events, these
festivities started being held for some time in Ranganayaka Mandapam. Now, the celestial
wedding is performed in this Kalyanotsava Mandapam.
UGRANAM (STORE HOUSE)

‘Ugranam’ means Godown. All the pavilions on the western side are now being used as
storehouses. The material used for the Lord’s ‘Puja’ and other rituals is now stored in the North-
West corner of the ‘Sampangi Pradakshina’.
VIRAJA RIVER (PROHIBITED AREA)

As per the legend, Viraja, a sacred river of Vaikuntam flows below the lotus feet of the Lord.
The well of water in the temple complex is believed to be a part of that holy river. This well is
located in front of the Ugranam or storehouse. Idols are sculpted on the stones used for the inner
walls of this well. Hence this well is called ‘toy well’ or ‘Bommala Baavi’.
PADI POTU
The temple kitchen is located on the route of Sampangi Pradakshinam. This kitchen is referred to
as ‘Padi potu’. Sweets and savories like laddoo, vada, appam, dosa, poli, sukhiya, jilebi, and so
on, which are offered to the Lord are prepared here in large quantities. To the East of this kitchen
is the ‘Flower Chamber’.
PULA BAVI (WELL OF FLOWERS)

Just opposite and to the north of the flower chamber is the ‘Pula Bavi-flower well’. All the
flowers used for the worship of the Lord are deposited in this well.
VAGAPADI CHAMBER
The long porch on the eastern side and adjacent to the ‘flower chamber’ is the Vagapadi
chamber. Offerings to the deity are prepared here thrice a day.
VENDI VAKILI-SILVER ENTRANCE
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The threshold opposite to the flagstaff is called the ‘silver entrance’. This is also known as
‘Nadimipadi Kavali’. This is the second entrance leading to the Sanctum Sanctorum. Inscriptions
say that the construction of the fortifications of this second entrance was started in the 12th
century and completed in the 13th century. The doors of this entrance were silver plated on
October 1st, 1929 A.D. by Sriram Dwarakadas Pharabhani, belonging to Nizam estate.
Inscriptions in Hindi and English are found on this entrance.
VIMANA PRADAKSHINAM
Beyond the silver door, the path which circumambulates the main gopura of Ananda Nilaya is
known as ‘Vimana Pradakshina’. Early, at the pre-dawn hour, while Suprabhata Seva is
performed to the Lord, devotees make Anga Pradakshina (rolling one’s body in humility all
around the temple as a religious vow). Hence, it is also called Angapradakshina marg. In this
pathway, one can witness Sri Ranganadha just opposite the silver entrance, Sri Varadaraja
Swami temple, main kitchen, golden well, Ankurarpana Mandapam, Yagasala, Nanala (coins)
Parakamani, Note (Paper notes) Parkamani, Almyrah of Sandal Sreeranganathudu Vendi Vakili
paste (Chandanapu ara) darshan of Vimana Venkateswara, cell of records, Sannidhi
Bhashyakarulu - the seat of Sri Ramanuja, the temple of Yoganarasimhaswami, Lords’s hundi
and the seat of Vishvaksena. All the small temples in this pathway are called ‘Chutttu
Gullu’(Sub-shrines encircling the main shrine).
SRI RANGANADHA
As soon as we enter the temple through the silver door, we can witness Sri Ranganadha kneeling
on Adisesha (serpent). There are small gold plated idols of Sri Varadaraja Swami and Lord Sri
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Venkateswara Swami on the upper and lower sides of Sri Ranganadha. The angapradakshina
commences from here, moves round the Vimana Pradakshinam, and comes to an end here. It is
said that the Lord loves the devotees doing ‘Porlu dandalu’ and grants them their wishes.
SRI VARADARAJA SWAMI TEMPLE

In the Vimana Pradakshina pathway and at a distance of nine feet to the south of the silver door,
is the Varadarajaswami temple. The idol is five feet high with a single pagoda over the shrine.
Devotes have to go round this temple on their way to the Lord’s Darshan. The period in which
this idol was installed is not known. It symbolizes the glory of Varadaraja who is ever merciful
and grants boons to the devotees!
GHANTA MANDAPAM
Lord Brahma, the Deva Ganas and Maharshis like SanakaSanandanaSanatkumara wait for the
darshan of Lord Sri Venkateswara at the golden gate. Opposite to the golden gate, there is
Garuda Mandapam. The pavilion that links the golden gate and the Garuda Mandapam is called
‘Ghanta Mandapam’ or ‘Mahamani Mandapam’.
It was constructed in 1461 A.D. by Mallanna, a native of Chandragiri, and minister in the
Vijayanagara empire. ‘Garudalwar Mandir’ is also located just opposite the golden gate in this
Mandapam.
To the south of the golden gate in this mandap, two big bells are suspended from a wooden log
using iron chains. The Brahmin who rings this bell is called ‘Ghantapani’. The ringing of this
bell denotes that it is time for the Lord to have his meal.
Historical evidence says that whenever the emperor of Vijayanagara Empire camps at
Chandragiri, the bell sounds are relayed to Chandragiri through intermediary bell porches for
enabling the emperor to have his food thereafter. Because of these bells, this porch has become
famous as ‘GhantaMandapam’. Keeping the legacy live, even today in Tirumala, many devotees
have their food only after the bell stops ringing.
GARUDA MANDAPAM
Just opposite the golden gate and facing the Lord there is a six feet high statue of Garuda saluting
the Lord with folded hands. Every day at the pre-dawn hour, Suprabhatham is recited in the place
between the golden gate and the statue of Garuda. The Lord sitting on the golden throne in this
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mandapam, listens to the recital of almanac and the submissions of receipt and expenditure
account of the previous day.
JAYA-VIJAYA
On either side of the golden gate, there are Jaya and Vijaya, the chief guards of the Lord, holding
a conch, a disc, and a mace respectively. There is a ten feet high wooden grill around these
statues. These two devout servants guard the sanctum sanctorum of the Lord round the clock.
BANGARU VAKILI (GOLDEN DOOR)

The most important entrance for going into the sanctum sanctorum is this golden gate. Here, the
stone frame of the entrance and the porches of Jaya - Vijaya on either side are gold plated and
hence this name.
At night these doors are closed methodically in a pre-conceived fashion. In the same way, they
open this bolt from outside, in the morning. The pristine beauty of the Lord can be witnessed
from this point.
SNAPANA MANDAPAM
The pavilion that you notice after crossing the golden gate is known as ‘Snapana Mandapam’.
Every day after Thomala Seva, the idol of Koluvu Srinivasa Murthy is brought here and placed
on the golden throne and his court is held. During this court, the almanac is recited; the affairs of
the day, the details of income, and the expenditure of the previous day are reverentially presented
to the Lord. The golden throne that is used during this court is stored in the adjacent grilled
chamber.
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There are two rooms on either side of the golden door. In the right side room, the Hundi
collections are kept. In the left side room, the Lord’s jewels that are, the crown, the conch, the
chakra, necklaces made of diamonds, gems, rubies, emeralds, sapphires, topazes, and so on are
kept.
LORD RAMA’S MANSION (RAMULAVARI MEDA)

Immediately crossing Snapana Mandapam, there is a very narrow passage, which is known as
Lord Rama’s mansion. There are two raised platforms on either side of this passage. Earlier,
idols were kept on these platforms. At present these idols are placed inside the room. Yet the
name has remained the same.
SAYANA MANDAPAM
In this room, there is a golden cot with a silk mattress hung by silver chains on which the Lord’s
idol is seen relaxing, hence the name ‘Sayana Mandapam’. In this room, the offerings are kept in
front of the Lord. These offerings are never taken beyond this threshold of the Sanctum.
KULASEKHARA PADI
The threshold in front of the Lord is called Kulasekhara Padi. Kulasekhara was a Vaishnava
devotee. He had made a humble request to the Lord, to transform him to a stone threshold in
front of the Lord so that he will have a glimpse of divine beauty every day! Hence, this threshold
was named after him.
SANCTUM SANCTORUM
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The spot where Lord Sri Venkateswara’s self-inducted statue is located in the Sanctum
Sanctorum is called Ananda Nilayam. Earlier there used to be a Pradakshina (circumambulation)
passage around this Ananda Nilayam. A wall was built around this sanctum and the Vimanam
between 1244 A.D. – 1250 A.D. Over a period of time, with the construction of Ananda
Nilayam, Sayana Mandapam, and Lord Rama’s Mansion, this passage around the Sanctum was
closed.
BHOGA SRINIVASA MURTHY

In Ananda Nilayam, the ever beautiful idol is that of Bhoga Srinivasa Murthy. This silver idol
was presented to the temple by a Pallava queen ‘Saama Vaayi’ (Perundevi) in 614 A.D. She
rejoiced in decorating the idol with many ornaments. During the ‘Ekanta Seva’ at the end of the
day, it is the privilege of Bhoga Srinivasa to go to bed on a silk mattress. During ‘Suprabhata
Seva’ in the morning, this idol is removed from the silk mattress and kept at the foot of the main
deity. That means Bhoga Srinivasa Murthy acts as a presiding deity since the main deity is huge
and immovable.
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KOLUVU SRINIVASA MURTHY

Every morning Koluvu Sreenivasa Murthy is seated on the golden throne in Snapana Mandapam
and almanac (Panchangam) is read out to him. All the details of the day like tithi, nakshatra,
yoga, and the information about different sevas are given to him. Then the treasury clerk humbly
presents to him, the income and expenditure account of the previous day. This is done is Snapana
Mandapam before dusk and it is done in Ghanta Mandapam after dawn.
UGRA SREENIVASA MURTHY

In the bygone days, the processional deity of Ugra Sreenivasa Murthywas taken out for
procession during festivals. When this idol was taken in a procession on a particular day, strange,
unusual, and alarming incidents took place. After these incidents, procession with this idol was
stalled from 1330 A.D.
However, today, the procession with Ugra Sreenivasa Murthy takes place in Tirumala only
during Kaisika Dwadasi day before sunrise.
MALAYAPPA SWAMI
There is a popular anecdote regarding Malayappa Swami being made a processional deity in
place of Ugra Sreenivasa Murthy.
During the 13th century when Ugra Srinivasa Murthy was being taken in a procession, strange
and disturbing incidents took place. Then all the devotees prayed to the Lord and sought his
protection. Then the Lord voiced his words through a devotee and advised them not to use these
idols for processions in the future and told them to use other idols, which are available at a place
called ‘Malayappa-Kona’. The priests searched that place and brought the idol of the Lord. As
the idol was found in Malayappa Kona, the deity was called Malayappa Swami. While the idol of
Lord Sri Venkateswara is a granite Swayambhu, Malayappa Swami’s idol is made of metal alloy
- Panchaloha.
After the main deity, Malayappa Swami has a special place of pride as he is considered as the
processional diety - Utsava Murthy, of Lord Sri Venkateswara. It is a great feast to the eyes to
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see Malayappa Swami along with his consorts, Sreedevi and Bhudevi during processions,
festivals, and all Sevas.
SRI SUDARSHANA CHAKRA TALWAR

In Tirumala, we witness Sri Sudarshana Bhagwan’s presence in the right hand of the Lord in the
varied forms of light and processional deity. The important role played by Sudarshana Bhagavan,
in punishing the evil and protecting the devotees of the Lord, is commendable. He takes the
responsibility of protecting the devotees coming to Tirumala as well as their safe passage.
SEETARAMALAKSHMANULU
It is said that while Lord Sri Rama was in exile in Threthayuga, he and Lakshmana came to
Tirumala in search of Seeta. As a mark of their visit, their statues are kept in the temple. As they
were in exile, their statues reflect their simplicity and are devoid of any ornaments.
RUKMINI KRISHNULU
Mythology endorses that Lord Sri Venkateswara is none other than Lord Sri Krishna of
Dwaparayuga. In the month of (Dhanurmasa) January, while Ekantaseva is performed, Lord
Krishna is made to sleep on the silk mattresses in place of Bhoga Srinivasa Murthy. During this
month, Suprabhatham is not recited. Thiruppavai Pasurams related to Sri Krishna (penned by
Andal Sri Goda Devi) alone are sung for waking up the Lord.
SALAGRAMALU
Salagramas are black spherical stones, usually found in the sacred river Gandaki. What makes
them so sacred is that they have lines ingrained on them, which resemble the shape of Sankhu
and Chakra. These are worshipped by Vaishnavites as a form of Vishnu.
In Ananda Nilayam apart from the Lord, four big special Salagramas and several small
Salagramas receive abhishekam and Archana every day. All these Salagramas are placed in a
silver vessel worshipped at the foot of the deity.
PRADHANA VANTASHALA –POTU (MAIN KITCHEN)
This kitchen is a very ancient one. All prasadams offered to the Lord are prepared here with pure
ghee. Nowhere in the world is ‘Prasadams’ of this magnitude prepared.
VAKULA DEVI
It is believed that Vakuladevi, the Foster mother of Lord Srinivasa, supervises the preparation of
food relished by her son. To this day, she continues to supervise the preparation of all the
prasadams for the Lord. So a peephole is made in the wall for her to oversee the preparations in
the kitchen.
BANGARU BAVI
The well beside the main kitchen is known as ‘Bangaru bavi’. The water from this well is used
for Abhishekam, Archana, and cooking food for the Lord.
ANKURARPANA MANDAPAM
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To the south of ‘Bangaru Bavi’ and opposite to the main kitchen is located ‘Ankurpana
Mandapam’. Ankurapanam means the sprouting of nine varieties of grains usually called
‘Navadhanyam’ before every festivity and every celebration.
The idols of Anantha, Garuda, Vishwaksena (Lord’s army chief) and the idols of Lord Sri
Rama’s attendant deities Sugreeva, Angada and Anjaneya are kept in this Mandapam and priests
offer Teertham (holy water) to the devotees in this place.
YAGASALA
The room adjacent to Ankurarpana mandapam is the Yagasala, where all yagas and homams
(sacrificial fire) have been performed for ages. But at present, they are performed in the Kalyana
mandapam located in Sampangi Pradakshina. However, during Brahmotsavams these rituals are
performed in the Yagasala.
NANALA PARAKAMANI (COINS COUNTING ROOM)

This was gradually constructed over a period of time by the representative of Vijayanagara
Empire named Chennappa in 1586 A.D. Actually, this was the place where Kalyanotsavams was
performed 50 years ago. Due to the pilgrim rush, this has been shifted to ‘Sampangi
Pradakshinam’.
NOTLA PARAKAMANI (COUNTING ROOM FOR PAPER CURRENCY)

The present location where the counting process was carried out was earlier used for several
purposes. At present, this mandapam is used for counting currency notes. Transparent glasses are
arranged around this place for the pilgrims to witness the process of counting.
CHANDANAPU ARA
The sandal paste required for daily usage of the Lord is prepared here. Large stones are arranged
here for making sandal paste from sandalwood. The sandal paste required for various festivals
throughout the year is prepared here.
ANANDA NILAYA VIMANAM

The golden abode of the Lord of the universe is Ananda Nilaya. It is the sacred place where the
Lord Sri Venkateswara receives his ‘Poojas’ and ‘Archanas’. The golden gopuram on this
Ananda Nilaya is the ‘Ananda Nilaya Vimana’, which is also known as Bangaru Gopura
Vimanam. As per mythology, Garuthmantha (Vehicle of Sri Vishnu) brought this Ananda Nilaya
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Vimanam from Vaikuntam (the celestial abode of Vishnu) and consecrated it in this sacred place
as desired by Lord Sri Vishnu. This Golden Gopuram carries 64 images of various deities of
Hindu mythology.
VIMANA VENKATESWARA SWAMI

Lord Sri Venkateswara ingrained on Ananda Nilaya Vimanam is said to be as powerful and
sacred as the main deity in the sanctum. Even if devotees fail to have the darshan of the Lord,
they could have a glimpse of Vimana Venkateswara and derive the same benefits usually
associated with the darshan of the main deity in the Sanctum.
RECORD ROOM
Close to the place from where Vimana Venkateswara is seen, is the record room with a
signboard fixed atop. In this room, all records and files pertaining to the ornaments of the main
and processional deity are kept. All details of the weight and value of the silverware and gold
ornaments are recorded in the ledgers.
RECITAL OF VEDAS
Beginning from the record room, Veda pundits seated there, melodiously recite the slokas from
the Vedas.
SABHA ARA (SHELF)

All the articles such as the golden umbrellas, silver torches, camphor plates, and silk robes used
in Lord’s processions are kept here. The golden cot with silk mattress used for the Ekanta Seva
of the Lord is also stored here.
SANKEERTANA BHAANDARAM (TREASURY OF SANKEERTANAS)

Adjacent to the Sabha Ara, there is the treasury of Sankeertanas. There are two statues on either
side of this room. One is of the great Saint Poet Sri Tallapaka Annamacharya, who has penned
over 32,000 songs in praise of the Lord Sri Venkateswara, while the other one is of his elder son
Tallapaka Peda Tirumalacharyulu, who had also paid literary tribute to Lord Sri Venkateswara.
All these songs were inscribed on copper plates and kept in safe custody in this place.
During 1525-30 A.D. the construction of the trove was completed and all the works of Tallapaka
family were inscribed on copper plates and safely kept on Tallapaka shelf. It is said that all
hymns originally were written on Palmyra leaves and later on transcribed on copper plates by his
son Tirumalacharya.
The king of the Vijayanagara dynasty, Achyutarayalu, helped in constructing this treasure trove
and preserved the great works of Annamayya. The corpus of Tallapaka came to light when great
scholar, epigraphist Sri Sadu Subramanya Sastri, who worked in different posts in TTD from
1919 to 1946 A.D., sighted the inscriptions.
Due to his efforts, today nearly eleven thousand Annamacharya Sankeertans have seen the light
of day and TTD has been composing the music for these musical notations with eminent
musicians and released many CDs and DVDs in recent times.
SANNIDHI BHASHYAKARULU
Just beside Tallapaka treasure trove, there is a pavilion called ‘Sannidhi Bhashyakarulu’. There
is a granite statue of Sri Ramanuja in this pavilion. Sri Ramanuja in his long life of 120 years
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(1017 – 1137 A.D.) visited Tirumala thrice. In those days, very reluctant to trample the holy hills
with his feet, he climbed the seven hills on his knees. It is said that he took rest at a point now
known as ‘Mokali Mitta’. In his memory, a temple was constructed here. He has rendered
Yeoman service to the Lord at Tirumala.
Sri Ramanuja streamlined the rituals of the temple as per Vaikhanasa Agama and handed it over
to posterity.
YOGA NARASIMHASWAMI SANNIDHI

It is said to have been built between1330 A.D. – 1360 A.D. The abandoned statue of Yoga
Narasimha Swami, lying at someplace on Tirumala hills was brought by Sri Ramanujacharya to
the temple and was consecrated inside the shrine. Lord Narasimha Swami is usually an
aggressive Half-Man and Half-Animal form of the Lord. He is seen sitting in a meditating
posture that is unique to this temple. It is also said that while sitting in front of this statue,
Annamayya had written some hymns on the Lord.
SANKUSTHAPANA STHAMBHAM
King Thondamanu laid the foundation at this place before the commencement of the construction
of Ananda Nilaya Gopuram and other associated works.
PARIMALAM ARA (SHELF OF FRAGRANCE)

The fragrant shelf is seen on the way from Sankusthapana Stambam. The perfumes and
aromatics used for the Lord are sent from this place. Devotees believe that their wish will be
fulfilled if they write their wish on this sacred stone.
SRIVARI HUNDI
After having the darshan of the Lord, the devotees deposit their offerings to the Lord in this
Hundi. The temple complex was modified many times for creating an easy passage to the
devotees. But the hundi was never shifted from this place as it is believed that “Sri Chakra
Yantra” (the holy instrument which invokes all riches)lies underneath the main hundi.
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BANGARU VARALAKSHMI
For the benefit of devotees depositing their offerings in the hundi, a tall statue of Bangaru
Varalakshmi (Golden Varalakshmi) is arranged on the left sidewall. It is believed that Goddess
Varalakshmi grants a lot of wealth to all the devotees who fulfill their vows.
KATAHA THEERTHAM
To the left side of the exit of the Hundi room and opposite to Annamacharya treasure trove there
is ‘Kataha Theertham’, a tub like structure. This is where the Abhisheka theertham (holy water)
emanating from the feet of the Lord is collected.
VISHWAKSENA
After coming out from the hundi enclosure, one can see the small temple of Vishwaksena on the
left side. He is the army chief of Lord Sri Venkateswara. The processional statue of
Vishwaksena, which plays an important role during festivals, is at present placed in Ankurarpana
mandapam.
MUKKOTI PRADAKSHINAM
Mukkoti Pradakshinam begins at Lord Rama’s mansion that is beyond Ghanta Mandapam in the
pathway of Vimana Pradakshina. This is kept open every year on the days of Vaikunta Ekadasi
and Vaikuntha Dwadasi. These days, this passage is kept open from midnight to midnight. The
doors of this passage are called ‘Vaikunta Dwaram’. Mukkoti Pradakshinam is an enclosed
pathway for circumambulation that runs around the sanctum and the porch in front of it. In
Dravidian terminology, mukkoti means the vratham had on this day is equal to three crores
time of vrathams followed on any Ekadasi day. The Pradakshinam has walls on three sides
only, with the eastern wall missing. Mukkoti Pradakshinam is opened to pilgrims only twice a
year during Mukkoti Ekadasi (in the month of Pausha, Dhanurmasa) and Mukkoti Dvadasi (the
following day). The doors are opened on the night of the eleventh day morning (early hours)
after Thiruppavai and closed on the night of the twelfth day (called Margali-tiru-dvadasi).
ANANTALWAR CROWBAR
Anantalwar, one of the chief disciples of Sri Ramanujacharya, pioneered “Pushpa Kainkaryam”
in Tirumala and became one of the prominent and ardent devotees of Lord Sri Venkateswara.
However, to examine his devotion, the Lord went on to test him. In this interesting story, Sri
Ramanujacharya, the great Acharyapurusha who revived the rituals in Tirumala temple, while
teaching his disciples about the greatness of Tirumala told them that, the Lord was very fond of
adorning himself with flowers as he is “Alankarapriya”. He asked if anyone of them was capable
of growing a garden in Tirumala braving the chill climate and insects, to present flowers to the
Lord. Anantalwar, said he is prepared to do that and went to Tirumala with his wife.
In a bid to develop a beautiful garden for the Pushpakainkaryam of the Lord, Anantalwar initially
wanted to dig a pond to water the plants. He wanted to do this task without taking help from
outsiders. The Lord felt happy about the couple’s dedication and decided to help them. He
approached the couple as a 12-year old boy but Anantalwar refuses to take his help.
53
On a fine day, the boy helped Anantalwar’s wife who was a full-term pregnant and this gesture
of the boy enraged Anantalwar. Out of anguish, he threw a crowbar upon the boy. It hit the chin
of the boy and blood oozed and dripped off his chin. When Anantalwar went to the temple to
worship the Lord, he saw blood oozing out from the chin of the Lord and then he realized, the
boy was none other than the Lord himself.
He realized his mistake and immediately applied camphor to the Lord’s chin. Lord was pleased
with his devotion and said that the scar will remain forever and camphor will be applied to cover
the mark. This ritual is carried out even today.
The crowbar used by Anantalwar is also displayed on the Northern Wall of the main entrance.
Prasadam:-
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Laddu is the world famous prasadam given at Tirumala Temple recently the Trust has taken copy
right of Laddu prasaddam, hence, no one can prepare the same Laddu. Many other delicious
prasadams are also available including curd rice, pulihora (tamarind rice), vada and chakkera-
pongal (sweet pongal). Free meals are given daily to the pilgrims, and on Thursdays, the
Tirupavadai seva occurs, where food items are kept for naivedyam to Lord Srinivasa.
Hair tonsuring:-
Many devotees also have their head tonsured as an offer. The daily amount of hair collected is
over a ton. The hair thus gathered is sold by the temple organization a few times a year by public
auction to international buyers for use as hair extensions and in cosmetics, bringing over $6M to
the temple's treasury[citation needed] .As per puranas hair given by devotees is to coverup the
lost hair(it is a very small portion) of lord venkateshwara swamy.
Hundi (donation pot):-
It is believed that Srinivasa had to make arrangements for his wedding. Lord Kubera credited
money to Lord Venkateswara (a form of the god Vishnu) for his marriage with Padmavathi.
Srinivasa sought a loan of one crore and 11.4 million (11,400,000) coins of gold from Kubera
and had Viswakarma, the divine architect, create heavenly surroundings in the Seshadri hills.
Together, Srinivasa and Padmavathi lived for all eternity while Goddess Lakshmi, understanding
the commitments of Lord Vishnu, chose to live in his heart forever.[citation needed] In
remembrance of this, devotees go to Tirupati to donate money in Venkateswara's hundi
(donation pot) so that he can pay it back to Kubera. The hundi collections go as high as 22.5
million INR a day.[3] Devotees offer gold as a token of their love for God. Temple sources said
that in April 2010 the temple deposited 3,000 kg of gold with SBI as gold offerings in the temple
hundi by devotees, which had accumulated for the last several years.
Thulabharam:-
One of the most important offering in this temple, is the 'thulabharam.' In the Thulabaram ritual,
a devotee sits on a pan of a weighing balance and the other pan is filled with materials greater
than the weight of the devotee. Devotees usually offer sugar, jaggery, tulsi leaves, banana, gold,
55
coins. This is mostly performed with newborn babies or children
Tirumala possibly has the most elaborate arrangement in India to sequence and guide the visiting
devotees through the holy shrine. Because of the ever increasing daily rush of devotees, the
temple authorities have set up a virtual queue system, where the devotees are given a specific
time, only after which they will be allowed into the queue complex. This has resulted in a steep
drop (by a factor of five) in the time that devotees need to spend within the Queue Complex
leading to the main temple.
General Facilities In Tirumala:-
Free Meals:-
Wholesome free meals will be provided to the devotees in the TTDs Annadanam Complex from
9 a.m. to 11 p.m. continuously .
Free Medical Aid:-
Pilgrims are given free medicine aid at Aswini Hospital and Vaikuntam 'Q' complex I & II. In
case of emergency, the patients will be rushed to the Ruia Hospital, SVIMS or BIRRD for
treatment.
Free Bus: Free buses are operated at Tirumala for the benefit of pilgrims. It covers cottages,
choultries, temple and other places.
Free Local Buses In Tirumala:-
The sacred temple of Lord Sri Venkateswara Swamy in Tirumala hills is easily accessible by free
buses around tirumala. Every 10 mins free buses will move .
How To Reach Tirumala Tirupati:-
The sacred temple of Lord Sri Venkateswara Swamy in Tirumala hills is easily accessible by all
modes of transport. After reaching Tirupati, one can easily travel to Tirumala by road or on foot.
By Road:-
Tirumala has direct bus services from Tirupati with a frequency of a bus in every 2 minutes. It
also has direct buses from Chennai, Bengaluru and Vellore. Paid taxis and private bus operators
also ply buses from nearby cities such as Chennai, Hyderabad, Visakapatnam and Bangalore to
Tirupati.
Automobile Clinic - In case of vehicle breakdowns on the ghat roads, TTD offers service through
its automobile clinic levying certain charges on case to case basis. The pilgrims can either report
at Toll Gates of Alipiri or GNC in Tirumala or contact 0877-2263636 for immediate help. A
mechanic will be sent in a mobile van equipped with spares, to attend to the problem by TTD
transport department.
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Buses and other transport are banned on ghat road from Tirupati to Tirumala between 12 AM
and 3 AM.
By Rail :-
Tirumala does not have its own railway station. The nearest railway station is in Tirupati, which
is about 26 km from Tirumala. Tirupati railway station is a major railway station and is well
equipped with five platforms and an escalator. It is well connected to major cities across India.
By Air :-
The nearest airport to Tirumala is near Renigunta about 15 km from Tirupati. This domestic
airport has direct flights to Hyderabad, Visakapatnam, Chennai, New Delhi and Bangalore and is
now being upgraded to an International airport.
On Foot :-
Many devotees climb the hills to Tirumala on foot to fulfil a vow. There are two well-laid stone
footpaths leading to Tirumala. These paths are called sopanamargas. The most ancient of the two
sopanamargas starts from Alipiri at the foot of the hills. This footpath is 11 km in length and is
the commonly used route. The other sopanamarga (Srivari mettu) starts from Chandragiri and is
only about 6 km in length.
TTD provides and maintains rest houses, security, canteen, toilets, drinking water, medical help,
piped devotional music throughout the footpaths. TTD also provides luggage transfer facility,
free of cost for the devotees opting to climb the hills on foot to Tirumala.
Dress code to The Devotees:-
According to this code, a woman devotee can wear saree or a chudidar with chunni, whereas a
male devotee can wear dhoti or lungi with uttareeyam or kurta-pyjama. "A simple shirt and
trousers are also allowed, but it would be ideal if men wear dhoti and uttariyam. Other than these
traditional dresses, no other outfits like bermudas, T-shirts, jeans, shorts and other Western-style
dresses are permitted," a TTD official said.
Other Places In Tirumala:-
Besides the sacred Vaishnavite iconic temple of Lord Sri Venkateswara Swamy which is a
marvel and a masterpiece of Dravidian architecture, there are many other places to visit and
things to admire on the Tirumala hills. Some of the must visit places in Tirumala are Swami
Pushkarini, Sri Bhu Varaha Swamy temple, Sri Hathiramjee Mutt, Sri Bedi Anjaneya Swamy
temple, Srivari Sikhara Darshanam, Sila Thoranam, Dharmagiri, Narayangiri, Papavinasanam,
Akasa Ganga water falls, Temple Museum, Asthana Mandapams and Gogarbham Gardens.
Theeerthams
There are several teerthams in Tirumala, some of them are Pandava Teertham, Kumaradhara
Teertham, Tumbhuru Teertham, Ramakrishna Teertham, Chakra Teertham, Vaikuntha Teertham,
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Sesha Teertham, Sitamma Teertham, Pasupu Teertham, Jupali Teertham, Sanaka Sanandana
Teertham. Important festivals that are held at the teerthams are -Kumaradhara Magha Pournami,
Ramakrishna Pushya Pournami Tumbhuru Phalguna Pournami, Chakra Karthika Masa –
Ksheerabdhi Dwadasi.
Where Are Ornaments Donated By Krishna Devaraya In 16th Century To

Tirupati Temple, Asks CIC
Information Commissioner Sridhar Acharyulu in a stern order also asked the Prime Minister's
Office to make public the action contemplated by the Union government to declare Tirumala
temples as national monuments and to enforce international obligation to protect the world
heritage structures and ornaments.
The commission was hearing the plea of one BKSR Ayyangar who had sought to know from the
Prime Minister's Office the action taken by the government on his representation for declaration
of TTD Tirumala Temples as historical and as national heritage monuments.
The query was transferred to various authorities but no satisfactory response was provided to
Ayyangar who then approached the commission, highest appellate authority in the RTI matters,
seeking directions for disclosure in the matter.
During the hearing he alleged TTD, a trust body, was not protecting the 1500-year-old structures
in Tirupati as it shelved a 2011 proposal to declare the temple and temples around as ancient
monuments under the provisions of Ancient Monument and Archaeological Sites and Remains
Act, 1958.
Citing a report of Director of Archaeology and Museums, Hyderabad in 2011, the information
commissioner pointed out a 20-member team had found that inscriptions engraved on the walls
of the Lord Venkateshvara Temple at Tirumala mention ornaments donated by Vijayanagara
King Sri Krishna Devaraya.
The report, however, says "no ornament" with the temple tallied with any of those donated by the
king, the commissioner noted."It is not a wild allegation of the appellant, but a major finding by
the director of the Ministry of Culture, which was not acted upon since 2011," he said.
Acharylu said the TTD had appointed a self-appraisal committee under former Supreme Court
justices DP Wadhwa and Justice Jagannadha Rao.The panel also noted the 'Tiruvabharanam'
register, being maintained in Tirumala temple since 1952, had no mention of any temple
ornaments received from Vijayanagara emperor Sri Krishna Devaraya and concluded all the
items were intact, he said.
"The report pointed out that there was no register for the ornaments in the temple before 1952,
except the information of handing over the jewels by a priest in 1939," he noted.
He said it was not known whether all valuable ornaments were recorded in any document and
what kind of system was followed to document all old and new valuable ornaments, he said.
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The team had also recommended surprise verifications of ornaments and valuables by a special
team and also by a team of 'archakas' of the main deity as others are not allowed to enter sanctum
sanctorum, he said.
Acharyulu said the TTD had not published any action taken report on the recommendations of
the Justice Wadhwa committee report.
While hearing the 2009 PIL, the Andhra Pradesh High Court had wondered why the temple
administration was reluctant to make a comprehensive inventory of the
jewellery, he said.
The petitioner, Ayyangar, also alleged Veyi Kalla Mandapam (Thousand pillared 'Mandapam') in
front of 'Mahadwaram' (main entrance of Lord Venkateswara Temple, Tirumala) built by 15th
century king Saluva Malladevera Maharaj was demolished by TTD in 2003 without any reason.
He claimed Mandapam was used to offer quiet space for pilgrims to sit, relax, and chant the
name of the God in front of the Mahadwaram, read the inscriptions on the stone walls of temples
and enjoy the sculptures on the pillars.
Venkateswara Temple is an important Vaishnavite temple situated in the hill town

of Tirumala in Chittoor district of Andhra Pradesh, India. The Temple is dedicated to
Lord Venkateswara, an incarnation of Vishnu, who is believed to be appeared here to save
mankind from trials and troubles of Kali Yuga. The temple is situated at a height of 853 meters
on Tirumala Hills which are part of Seshachalam Hills and is constructed in Dravidian
Architectural Style.
59
Maha Dwaram is the main entrance of the Temple. It provides access from outside of temple to
Sampangi Pradakshinam which are separated by outer compound wall(Maha Prakaram). A five
storied gopuram(Temple Tower) of 50 feet was built on this entrance with seven Kalasams at its
apex. It is also known as ‘Padikavali’ or ‘SimhaDwaram’. On either side of this entrance there
are two panchaloha(metal) statues dedicated for Sankanidhi and Padmanidhi who are believed to
be guardians of navanidhi(Treasures of Lord Venkateswara).
The area which circumambulates the outer and inner compound walls is called Sampangi
Pradakshinam. In olden days Magnolia champaca Flowers (Telugu:Sampangi) were grown in
this area hence it got the name Sampangi Pradakshinam. Sampangi Pradakshinam includes
Krishnadevarayala Mandapam(Pratima Mandapam), Addala Mandapam, Ranganayaka
Mandapam, Tirumalaraya Mandapam, Dwajasthambha Mandapam, Kalyanotsava Mandapam,
Ugranam (Store house), Balipetam(Altar), Kshetra palaka sila, Tulabharam. It also includes idols
of Vijayanagara Kings Sri Krishnadevarayalu and his two consorts, Tirumala Devi and
Chinnadevi, Venkatapatirayalu, Lala khemaramu, Lala’s mother Mata Mohana Devi and Lala’s
wife Pita Bibi. Dwajastambam- the golden flagstaff is found in between Maha dwaram and
Vendi vakili in Dwajastambha mandapam. While entering or leavingInner sanctorum one has to
encircumbulate Dwajastambam including Lord Venkateswara. During Sri Venkateswara
Brahmotsavams the imprint of garuda is hoisted on this flagstaff inviting all Gods and Goddesses
to the festival. During the invasion of Srirangam by Malik Kafur in 1310–11 AD, the
Ranganayaka Mandapam of the temple served as the shelter for the presiding deity of
Srirangam, Ranganatha Swamy. Even though tThe outer pradakshinam for the temple
(pradakshinam which lies in between the outer and inner gopuram) is known as Sempangi
Pradakshinam. The main temple has three praakarams. Between the outermost and middle
praakarams is the second pathway for Pradakshinam.As this area was full of Sempangi trees, this
came to be known as Sampangi Pradakshinam. he Sampangi Pradakshinam contains several
interesting mandapams like the Pratima Mandapam, Ranga Mandapam, Tirumala Raya
Mandapam, Saluva Narasimha Mandapam, Aina Mahal and Dhvajasthambha Mandapam.While
doing this pradakshinam, you will come across Pratima Mandapam, Ranga Mandapam, Tirumala
Raya Mandapam, Saluva Narasimha Mandapam, Aina Mahal, Dhvajasthambha Mandapam and
Thulab
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haram. Currently, this path is closed for pilgrims.
Vendi Vakili (Silver Entrance in Telugu) is the second entrance of the temple which is provided
through inner compound wall and leads to Vimana Pradakhinam. This entrance is also known as
'Nadimipadikavali'. The inner compound wall separates Sampangi Pradakshinam and Vimana
Pradakshinam. The doors of this entrance are plated with Silver and hence the name. A three
storied Gopuram was built over this entrance with seven kalisams during the twelfth and
thirteenth centuries.
Vendivakili leads to Vimana Pradakshinam. Vimana Pradakshinam is the area which
circumambulates Ananda Nilayam Vimana Gopuram or Sanctum sanctorum or Main Shrine.
Angapradakshina Seva will be performed in this area and hence this path is also called Anga
pradakshina Margam. Just after entering the Vimana pradakshinam opposite to Vendivakili and
behind the Garuda Mandapam there are small idols of Sri Varadaraja Swamy, Sri Ranganatha
Swamu in sleeping posture over Adisesha and Sri Venkateswara Swamy plated in gold. Vimana
Pradakshina includes small shrines dedicated to Varadaraja Swamy Temple to the right of Vendi
vakili facing towards west and Yoga Narasimha Swamy Temple to the left of Vendi vakili also
facing west. Other Rooms include Potu(main kitchen), Bangaru Bavi(golden well), Ankurarpana
Mandapam, Yagasala, Nanala (coins) and Notla (Paper notes) Parkamani, Almyrah of Sandal
paste (Chandanapu ara), cell of records, Sannidhi Bhashyakarulu - the seat of Sri Ramanuja,
Lords’s hundi and the seat of Vishvaksena. Devotees will have darshan of ‘Vimana
Venkateswara Swamy’ residing on Ananda Nilayam from Sampangi Pradakshinam. All the
small temples in this path way are called ‘Chutttu Gullu’(Sub-shrines encircling the main shrine).
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Tirumala Temple and Vaikuntam Queue Complex (semicircular building in the foreground) as
seen from Srivari Padalu on Narayanagiri hill
The Ananda Nilayam is a monumental tower with a golden roof. Its inner temple
or vimanam houses the main deity, Lord Sri Venkateswara. The deity stands directly beneath a
gilt dome called the Ananda Nilaya Divya Vimana. This exquisitely wrought deity, called
the Mulaberam, is believed to be self-manifested, and no human being is known to have installed
it in the shrine. The Lord wears a gold crown with a large emerald embedded in the front. On
special occasions, he is adorned with a diamond crown. The Lord has a thick double tilaka drawn
on his forehead, which screens his eyes. His ears are decorated with golden earrings. The right
hand is pointing to his lotus feet. His left hand is akimbo. His body is dressed with yellow
clothing tied with gold string and a gold belt with gold bells. He has a yajnopavita (sacred
thread) flowing down crosswise from his left shoulder. He bears Lakshmi Devi on his right chest
and Padmavathi Devi on his left chest. His feet are covered with gold frames and decked with
gold anklets. A curved gold belt encompasses his legs. The Ananda Nilaya Divya Vimana was
covered with gilt copper plates and surmounted with a golden vase in the 13th century, during
the reign of the Vijayanagara king Yadava Raya.The ancient and sacred temple of Sri
Venkateswara is located on the seventh peak, Venkatachala (Venkata Hill) of the Tirupati Hill,
and lies on the southern banks of Sri Swami Pushkarini. It is by the Lord's presidency over
Venkatachala, that He has received the appellation, Venkateswara (Lord of the Venkata Hill). He
is also called the Lord of the Seven Hills. Ananda Nilayam means (Abode of Happiness) is the
glittering gold-plated gopuram of the Sanctum Sanctorum of the Tirumala Venkateswara
Temple. According to Vaishnava philosophy, gopurams of the sanctum sanctorum are
named:Ananda Nilayam
Tirumamani Mandapam is the mandapam in front of bangaru vakili and is constructed in the
year 1417 AD by madhavadasar. From the Tirumamani Mandapam, one can enter the Bangaru
vakili (translates to Golden Entrance) to reach the inner sanctum sanctorum. There are two tall
copper images of the dwarapalakas Jaya and Vijaya on either side of the door. The thick wooden
door is covered with gilt plates depicting the dasavataram of Sri Maha Vishnu. The doorway is
directly in line with the Padi Kavali and the Vendi Vakili(Meaning Silver Corridor in Telugu). It
62
admits pilgrims to the Snapana Mandapam. Suprabhatam is sung in front of this door.
A replica of Sanctum Sanctorum(Garba Griha) of Tirumala Venkateswara Temple depicting

SriDevi BhuDevi Sametha Malayappa Swamy-Left, Lord Venkateswara Main Deity(Dhruva
beram)-Center, Bhoga Srinivasa-Center bottom, Ugra Srinivasa, Sita Lakshmana Sametha Sri
Rama, Sri Krishna, Rukhmini- Right
The Garbhagruha or sanctum sanctorum is where the idol of Lord Sri Venkateswara is placed.
The idol stands majestically in the Garbha Gruha, directly beneath a gilt-dome called the
"Ananda Nilaya Divya Vimana". This idol, called the Mulaberam, is believed to be self-
manifested. As there is no known sculptor possessing the capability to sculpt idols of god so
proportionately. Further, no human being is known to have installed it in the shrine.[4]
The idol of the Lord wears a gold crown (Kiritam), which has a large emerald embedded on its
front. On special occasions, it is replaced with a diamond kiritam. On the forehead of the idol,
two thick patches of tilak drawn with refined camphor, almost covers the eyes of the idol. In
between the two white patches is a Kasturitilakam made of saffron.
Golden makara kundalas hang on the ears of the idol. The palm of its raised right hand is
embedded with a gem-set Sudarshana Chakra and the left palm with the Holy Cone. The slightly
outstretched front right hand, has its fingers pointing toward the feet, as if the Lord is the only
recourse to his devotees to dissolve in him and enjoy eternal bliss. The akimbo of the front left
hand implies lord's protection to devotees and to show that the Samsara Sagara (Ocean of Life) is
never deeper than to hip's height, if they seek his refuge.
The body of the Idol is spun with a Gold-stringed-Pitambaram, with a belt of golden-bells. The
idol is decorated with precious ornaments. It has a sacred thread flowing down, crossing from the
left shoulder. It bears Goddess Lakshmi on the right chest and Sri Padmavathi Devi on the left.
Nagaabharanam ornaments are on both shoulders of the idol. The lotus feet are covered with
gold frames and decked with clinging gold anklets. A strong curved belt of gold encompasses the
legs. During abhishekam, we can have darshan of Goddess Lakshmi.
The Ananda Nilaya Divya Vimana was covered with gilt copper plates and covered with a
golden vase, in the thirteenth century, during the reign of the Vijayanagara king, Yadava Raya.
Pilgrims are not allowed to enter the Garbha Gruha (beyond Kulasekhara padi (path)).
Swami Pushkarni is the temple pond located on the northern side of the main temple. The pond
which is spread over 1.5 acres is believed to be brought by Garuda from Vaikuntham to Tirumala
Hills and hence considered most sacred. The tank had a mandapam at its centre which was
constructed by Saluva King Narasimha Raya in 1468. A harathi will be given to the Pushkarni
63
daily during evening by Temple priests. Every year Sri Venkateswara Annual Theppotsavam
(Float festival) is conducted in this pond, where the processional deities of the temple are taken
float over the pond. Chakrasnanam- a celestial bath to Chakrathalwar, Malayappa and his
concerts- is conducted at this pond during the last day of Srivari Brahmotsavams.[5]
Akhilandam also known as Akhandam is the area in front of main temple where huge
lamps are installed. Devotees will offer karpuram(camphor) and coconuts to Venkateswara at
this place after darshan. From this point one can have a complete view of the temple. Akhandam
has huge lamps, two iron rails to break coconuts and two huge coconut hundis where devotees
can offer the coconuts.
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65
Model of Tirumala temple at fourth World Telugu Conference (YS).j
66
DWARAMS OF SRIVARI TEMPLE AT TIRUMALA
The 13th century temple complex of Lord Venkateswara at Tirumala has been extended,
renovated and refurbished over several centuries.
The Mahadwaram popularly referred to as the Padi Kavali Maha Dwara or Outer Gopuram
stands out as a spectacular specimen of tall structures of all Hindu temple shrines in the country.
Standing on a quadrangular base its architecture belongs to the later Chola period. The grand
gopuram comprised of several Tamil inscriptions of the 13th century and speak of the glory of
the rulers and the richness of the culture and society of those days.
There are a number of stucco figures of Vaishnava gods like Hanuman, Kevale Narasimha and
Lakshmi Narasimha on the gopuram indicating the prevalence of the Vaishnavite cult of worship
in the region.
“The TTD has a special wing set up to take care of maintenance and repairs of all the
structures in the Main shrine which include several sub temples, Mandapams and Dwarams
(Gopurams)” says the Temple Dy.E.O Sri Chinnamgari Ramana.
A dedicated team of 55 personnel headed by an D.E and two assistant engineer take up regular
works in the Srivari Temple including all electrical, air conditioning and structural repairs.
The task and enormity of cleaning the main shrine has often raised several challenges as it has to
be done as per the Vaikhanasa Agama practices and modern ingredients and utensils are not put
to use.
The floors are swept on a regular basis for at least six to eight times a day. Inside the sanctum
sanctorum it is cleaned with soft cloth and a broom made of green leaves and grass. Out side also
only leaves from shrubs and grass is used to clean the temple.
“Cleaning inside the temple is being done since ages as per Agama practices to retain the divine
charm and the unparallel mystic powers of the deity and the temple”, says Sri MG Gopal,
Executive Officer of the TTD.
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Since the gopuram of the Mahadwaram is exposed to harsh light and heavy winds it is painted
with lime soot. Standing in the middle of the Tirumala valley the outer Gopuram and the dwaram
were built by the Vijayanagara emperor Srikrishna Devaraya.
Below the Mahadwaram entry is a rock mandapam named after him and also has bronze statues
of Sri Krishna Devaraya along with his consorts. All the devotees for darshan of Lord
Venkateswara have to pass through this mandapam which housed utilities like Thulabharam etc.
Nadimi Padi Kavali
The Nadimi Padi Kavali or Inner Gopuram is the inner entrance to the temple, which is reached
through the Dhvajasthambha Mandapam. Its wooden doors are now silver plated and therefore it
is also referred to as the Vendi Vakili.
The doors are smaller than that of the Outer Gopuram and the door is in the middle of the
Sampangi prakaram. The prakaram houses several sub temples,Sabera (ward robe of lord),
Parakamani (money counting centre).
An elevated wooden ramp sits in the door to facilitate the movement of devotees into the
prakaram of the Main shrine. On the gopuram there are numerous inscriptions on the inside
walls, the earliest relating to the Pandyan monarch, Jata Varma Sundarapandya of 1251 AD.
Bangaru Vakili ( Golden door )
This is the entrance into the Sanctum Sanctorum of Lord Venkateswara across the Tirumamani
Mandapam. There are two tall copper images of the dwarapalakas Jaya and Vijaya on either side
of the door. The thick wooden door is covered with gilt plates depicting the dasavataram of Sri
Maha Vishnu.
The doorway is directly in line with the Padi Kavali and the Vendi Vakili. It admits pilgrims to
the Snapana Mandapam. Suprabhatam is sung in front of this door every day. Not only the doors
but also the frontal exteriors and all the pillars of the Mandapam are gold plated.
For all devotees the reflection of gold all around as they enter the mandapam and presented an
ecstatic experience. Devotees keep chanting Govinda, Govinda from this point as they
inch towards the deity. They are not discouraged even as they are dragged and sent out within
seconds of their darshan for which they spend hours in queues and also penance for months.
Commenting on the importantance of the Vendi and Bangaru Vakili Arpita Krishnan, a devotee a
software engineer said‘ It is really amazing as when enter these portals we get peace of mind
and dissolve ourselves in prayers of Lord Venkateswara
Vaikunta Dwaram :
Vaikunta dwaram is located on the left side of the Main shrine and faces east. This door is
opened only on the Day of Vaikunta Ekadasi and Dwadasi i.e only on two days a year.
This Dwaram does not have any special gopuram of its own and is also devoid of any elaborate
decorations etc. But the entry into the main shrine through this entry (and not the Bangaru
Vakili) is considered as one of the most revered and auspicious achievements for all devotees.
As legend put it entry through door is said to bring some extraordinary blessings of the Lord
Venkateswara which were normally meant for the Gods who live in Vaikuntam.
Bangaru Bavi
In front of the Srivari Potu and the Vakula Devi temple on the southern side of the Sampangi
Prakaram is a well called the Bangaru Bavi.
The well dug during the Vijayanagara period is also decorated with gold plate and its water is
used for all rituals and practices inside the Sanctum though every day water is brought from
Akasha Ganga specially for rituals as prescribed in the Agamas.
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ISSUED BY THE PUBLIC RELATIONS OFFICER, TTDs, TIRUPATI

Replica of Tirumala temple to be built at Amaravati-Amrutha Vasireddy | Samayam
Telugu | Aug 24, 2018, 12:29 IST
AMARAVATI: TTD is going to construct a replica of Tirumala Venkateswara temple in AP

capital Amaravati soon. This temple is going to be built with the same architecture of Tirumala
and will be built completely with stone on the shores of Krishna river in 25 acres of land.
The TTD officials have given the temple design to CM Chandrababu on Thursday and he
formally approved the design. The temple will be built in two years. Naidu suggested that the
inside and outside structures in the temple should have an ancient look.
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The designs for new temple have been made as per Agama and Vastu sastras. The temple
consisting of Garbhalayam with Vimana or Sikhara, named as ‘Prasada’ by Agamas and Vastu
sastras is worshipped as a symbolic form of God. The officials said that they designed the temple
by taking inspiration from the Pallava, Chola, Chalukya and Vijayanagara style of Pallava The
architecture and sculptures of the proposed temple plans have been prepared in accordance with
the Kasyapa Silpasastram, Mayamathamu and Maanasaramu.
Kailasanatha and the Vaikunta Perumal temples were built as per the Pallava architecture, where
as Tanjore and Gangaikonda Cholapuram in Tiruchurapalle district,were built as per Chola
architecture. The Chalukya architecture include Lord Vishnu temple in Badami, A ihole and
the Vijayanagara architecture includes the great temples of Hazararama and Vittala at Hampi,
built in the Krishnadevaraya reign of 1509-50 AD.
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Tirumala to wear new look, get more spacious
With an increase in the number of pedestrians, besides the buses, cars and taxis headed to
Tirumala, congestion is a frequent problem in the region.
The design of the proposed arch at the GNC toll gate in Tirumala. (Photo | EPS)
By B Murali
Express News Service
TIRUPATI: Tirumala will soon get a new welcome arch and a four-lane road with
separate bays for two-wheelers. These will be built by the Tirumala Tirupati
Devasthanams (TTD) as part of its efforts to make the temple township’s core area
traffic-free and more spacious for devotees. Tirumala to wear new look, get more spacious
With an increase in the number of pedestrians, besides the buses, cars and taxis headed to
Tirumala, congestion is a frequent problem in the region.
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Inscriptions on a mandala located near Dwaraka Tirumala temple
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The Gateway’s Tower
The Main gateway is known as ‘Padikavali’ or “Mukha Dwaram” or “Simha Dwaram”. In Tamil
they address this gateway as Periya Thiruvasali i.e., the big gate.
During day time one can see the dazzling seven kalasas (the gild ornament on the pinnacle of the
tower). The tower stands 50 feet above the ground level.
There is a Prakara (High raised stone wall) uniting the gateway. It is known as “Maha Prakara”.
This 30 feet high stone wall has width of 4 feet.
The devotees who come for Swamy Darshanam before entering into main gateway have to pass
through vaikuntam ‘Q’ complex.
While entering through main gateway people loudly chant the holy name of Lord Venkateswara
as
“Edukondalawada, Venkata Ramana - Govinda! Govinda!! Govinda!!!”
Sankha Nidhi – Padma Nidhi
While passing through the main gateway, you will find Two Panchaloha (Alloy of Five metals)
idols of 2 feet high.
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They are the two celestial security guards of Lord Venkateswara.
The guard Standing on the Southern side i.e., to your right has two large sized shells in his two
hands. He is Sankhu Nidhi.
Similarly to your left i.e., on the northern direction there stands the second guard. He holds two
lotus flowers in his two hands. He is named as Padma (Lotus) Nidhi. These two celestial security
guards are there to protect lord Venkateswara’s Treasury full of nine gems.
Near the feet of these celestial guards you will see six inches long idol of king standing with
folded hands. He is the Vijayanagara king by name Achyuta Deva Raya.
As per Agamashastra (the Temple Architecture) the statues of such security guards are installed
on the two sides.
This installation at the main entry gate of the temple proves the fact that the First enclosure
(Avarana) indicates Mukkoti Pradakshana , the second enclosure as Vimana Pradakshnam and
the third as the Sampangi Pradakshanam.
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Darshan of Swami
There may be so many idols in temple. But the attraction and beauty of srinivasa idol is not there
for the other idols. Even in Suprabhatam the whole body of Swami is described as “Sarvavayava
Soundarya”.
The elders say that we must see Swami from feet to head.
The head of swami is decorated with a golden crown studded with gems with a glow of
innumerable suns. His face is a beautiful face with gentle Smile like rays of Moon light.
 His forehead is decorated with Kasturi Tilakam and Kasturi.
 His ear ornaments are the precious Makarakundalalu studded with gems, pearls and gold.
His throat is bedecked with the Kastubhabharanam.
 He is Vikramaseeli, bearer of sudarshan disc, srivatsalanchanudu.
 He is garlanded with the gold and gems, padaka, mautikahara, kalhara.
 His standing Posture indicates that his foot is the only resort for the people, who are
immersed in the ocean of difficulties.
There are panchaberas inside the temple. Among them Dhruva murthy is important. It is
Impossible to describe swami through words. He appears new in each and every kainkarya.
Especially swami on Friday is the center of attraction for all the three worlds.
Tallapaka poet described swami very beautifully

“Kanti sukravaramu gadiya ledinta - Anti Alamelu Manga andanunde Swamini”
“We saw him early in the morning - With His consort Alamelmanga”
Golden Lakshmi
After offering their offerings to Lord Venkateswara devotees come out.
When they look to their left on the prakara they will find a life size carved statue of Goddess
Lakshmi.
She is showering not only wealth but also her choicest blessings on her devotees.
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Sri Krishna Devaraya
Abutting the main gateway i.e., inside you can see life size copper idols.
The male statue is that the famous Vijayanagaram emperor Sri Krishna Deva Raya. He is
standing in the midst of his two consorts Tirumala Devi and China Devi.
As per the available records he visited temple for seven times.
When he visited the temple on 02.01.1517 with his two consorts, it is believed that he himself
carried out the installation of copper statues.
King Todarmal
To the North West corner of Tirumala Raya mandapam in the midst of 4 pillared portico you will
find three life size copper statues with folded hands.
One statue bears the name of Lal Khem Ram next to him we will find his mother Mata Mohan
Devi’s statue. On the other side his wife Pita Bibis statue is there. The turbaned person is known
as Todarmal.
In 17th century when Muslims and English people invaded Tirumala he bravely fought against
them and successfully protected Tirumala Temple.
Weighing place (Tulabharam)
The balance is seen near the Tirumalaraya mandapam. In Sanskrit the balance is called “Tula”.
In olden days the kings used to perform “Tulapurushasanam”.
The devotees pay money as they wishes to offer when their diseased are cured, and are blessed
with children. The Money equivalent to their weight or to their children’s weight is weighed and
submitted to swami. If needed, T.T.D will provide the coins.
The main purpose of temple entry is to maintain equanimity of mind. “Equanimity of mind is the
sun and substance of all Vedas”.
Balipeetam
Abuting Dhwajasthambam on the eastern side an altar known as Balipeetam, can be seen.
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Let us now try to know about the importance of this Balipeetam, the altar. The food is first
offered to the Lord and other deities in the premises of the temple.
After this, the food is placed on 8 different places also known as Balipeetam in eight different
directions along with Vimana circumambulation path. Finally the Archakas (Priests) bring the
food and place it on the Balipeetam right in front of Dhwajasthambam.
This is Vedic ritual. The food offered while chanting veda mantras, is meant for the different
celestial beings who rule the four directions and four corners.
Vendi vakili/Silver Door
The door that appears with covering of silver is called ‘Vendivakili’.
At the door there are images of Mahant Babaji and Sri Venkateswara swami playing the game of
dice.
On the doors are the figures of Dasavatara the, ten incarnations of the Lord. The silver door
indicates that the devotees must enter the temple with a perfect purity of heart.
Ranganatha Swami
Soon after crossing the silver door and entering the temple, Ranganatha swami appears lying on
Adisesha. Above and below Ranganatha swami appears the idols of Sri Varada Rajaswami and
Sri venkateswara swami Respectively.
Every day, early in the Morning the devotees circumambulate the temple( Angapradakshina)
from this Sri Ranganatha Swami’s Place. Even after Darshan they prostrate before Swami in this
place.
Varada Raja Swami
Sri Varada Rajaswami temple is on the south-east corner of Vimana Pradakshina Marg. The idol
of Varda Raja Swami of about 4 feet height was installed here.
Every day three times Nivedanas are held for swami. Every year on the birth day (Jayanti) of
Varada Raja, Abhishekam, Archana are conducted on grand scale.
Mukkoti Pradakshanam
Adjacent to sanctum Santorum’s prakara on southern side there is dwaram i.e., door. Through
this door we have to enter in to Mukkoti pradakshana Margam i.e., path. We have to come out
through the path that is next to Hundi
This path is situated in between sanctum Santorum’s prakara and inner prakara of vimana
pradakshana path. Only on Vykuntta Ekadasi day this door will be opened. To be more precise,
this door will be kept opened from the mid night of Dasami to Dwadasi.
On the other days they keep this door closed. This circumambulation path is very close to the
Chief Idol of Lord Venkateswara.
Sanku Sthapana Sthambham
Towards north east corner of Yoga Narasimha Swamy temple, at center you can see a pillar. At
the behest of Lord Venkateswara, Thondaman Chakravarthy (emperor), it is said, had laid
foundation at this particular spot for construction of Ananda Nilaya’s tower and Prakaras
(rampant). This may not be true.
Perhaps it may be a pillar erected for the foundation laying ceremony of Yoga Narasimha
Swamy Temple. On the four sides of this pillar you can find carved figure of Anjaneya.
It is firmly believed that whoever circumambulates this pillar with sincere devotion may succeed
in having a house of their own.
Jaya Vijayulu
Jaya and Vijaya are in the form of stone idols in vaishnava temples, they appear in Tirumala in
metal form. Vaikhanasulu speak of these idols as ‘Chanda Prachanda’.
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The specialty of these idols is that they symbolize and say that devotees’ should enter the temple
in perfect purity.
Garuda Mandiram
In front of the Golden door, there is a mandapam facing the idol of Sri Venkateswara a statue of
garuda, with folded hands and fully stretched wings, is installed. This is a life size statue.
The Garuda Mandapam’s mention is found in the 1512 A.D inscriptions. The tower constructed
above the Mandapam has three golden Kalasams. One will see this tower while entering through
the golden door. The three sides of Garuda temple are gold plated.
Sri Vari Prasadam
After prostrating before Sri Ranganatha swamy , Pilgrims have to come out through silver door
towards north of silver door you will see priests distributing prasadam to devotees.
Distribution of Teerham - Sathari
Some time back, Teertha sathari were given to the devotees near kulasekharapadi.
This ritual was held at sayana mandapam for some time. Owing to heavy crowd of pilgrims, this
facility was arranged on the up stair from which the pilgrims come out after the darshan of
Vakulamata.
The Retinue of Rama i.e., Angada, hanumanta, Sugriva idols can be found here. Elders say
that these idols were presented to Ramanuja by a devotee.
Hundi
The place where the devotees offer coins and gifts is called ‘Hundi’.
This is in the shape of ‘Dhamarukam’. Below the hundi is a huge vessel, a cauldron (gangalam)
and it is tied tightly with the cloth above the Hundi.
It is quite natural for Andhrites to submit different kinds of gifts addressing swamy as “Vaddi
Kasulavada! Aapada Mokkulavada!”
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It is also customary to submit the gold crowns, ornaments.
Bangaru Bavi (Golden Well)

There is a well by the side of Lord’s chief Kitchen. This well is known as Bangaru Bavvi.
When devotees come out through Golden door after having the darshan, there is a path leading to
the chief kitchen opposite to the golden door. Adjacent to the steps leading to the kitchen you
will find a well.
This well has circular ring of stones from ground level. This stone construction has gold plating.
Because of this gold platting people call it as Bangaru Bavvi. It has two other names: ‘Sri
Theertam’ and ‘ sundara swamy bavvi’.
Sandalwood Room
To the north of currency counting center, in the North West corner there is a room with a grilled
door. This is known as ‘Chandanapu Ara’ i.e., ‘Sandal wood Room’.
Sandal wood paste that is required for the daily use of the temple is prepared in this room. Here
you will see big white stones placed on a raised platform. On these white stone, sandalwood
paste is prepared.
Vakula Maatha
After having darshanam of swami the pilgrims see the big bells on the way, and come across the
compound observe the golden well, climb the steps and reach the kitchen house of vakulamalika.
She has many names Such as pachana lakshmi, ‘Vakuladevi’, ’Vakulamalika’.
Yasoda who brought up Sri Krishna in Dwaparayuga regretted that she had not performed his
marriage and she felt unhappy.
Sri Krishna consoled her and granted a boon that she would perform his marriage in kaliyuga
when he descends as sreenivasa and she as Vakulamatta. Yasoda of that day is now Vakula Devi.
As per Agama sastra she is called “Pakalakshmi”.
Sri Yoga Narasimha Swamy Sannidhi
On Vimana Pradakshana path, in North-East direction there is west facing Yoga Narasimha
swamy temple.
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Though daily pooja is not offered to this Yoga Narasimha, Naivedyams are offered daily. Every
Saturday Abhishekam is performed to yoga Narasimha. This will be followed by pooja and
Naivedyam.
.
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
Tirupati Temple
Fast Facts
Location: Chittoor, Andhra Pradesh, India
Built By: King Thondaiman
Architectural Style: Dravidian
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Dedicated To: Lord Venkateswara
Tradition: Vaishnavism
Major Festivals: Brahmotsavam, Vaikunta Ekadasi
Lord Venkateswara Temple at Tirumala (Tirupati) is one of the most famous temples in
India. With more than 35 million pilgrims visiting the temple every year, it is one of the
most visited holy places and also one of the richest temples in the world. Built on the
Venkata Hill, which is a part of the famous Seshachalam Hills, Tirupati Temple is
considered as one of the holiest shrines by the Hindus. According to a legend, Lord
Vishnu assumed the form of Sri Venkateswara to save mankind from the adversities of
Kali Yuga.
Lord Venkateswara Temple at Tirumala (Tirupati) is one of the most famous temples in
India. With more than 35 million pilgrims visiting the temple every year, it is one of the most
visited holy places and also one of the richest temples in the world. Built on the Venkata Hill,
which is a part of the famous Seshachalam Hills, Tirupati Temple is considered as one of the
holiest shrines by the Hindus. According to a legend, Lord Vishnu assumed the form of Sri
Venkateswara to save mankind from the adversities of Kali Yuga. History & Legends
Associated with the Temple
There are many legends associated with the origin of this age-old temple. The larger than life
statue of the main deity is said to have formed on its own, making it one of the eight
‘Swayambhu Kshetras’ (self-manifested image) of Lord Vishnu. Many ancient texts,
including the Rig Veda mention the existence and prominence of the temple. Written texts,
which are dated back to the Mauryan and Gupta era, refer the temple as ‘Aadhi Varaha
Kshetra’. In fact, many other texts and theories link the history of Tirupati Temple to Lord
Varaha, one of the ten avatars of Lord Vishnu. According to a legend, Lord Varaha created
the entire Seshachalam Hills so that Adisesha, the seven-headed snake on which Vishnu rests,
could rest on earth. Interestingly, Seshachalam Hills has seven peaks, which are said to be the
representation of the heads of Adisesha.
As far as the construction of the temple is concerned, King Thondaiman of Tondaimandalam
kingdom constructed the precincts and the towering gateway (Gopuram) of the temple. He
also made sure his subjects worshipped the Lord regularly.
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Image Credit:
The construction of the temple too has many legends associated with it. One such legend has
it that Lord Vishnu appeared in King Thondaiman’s dream and asked him to construct the
temple. The temple was later expanded by various kings and emperors who ruled over the
place. Starting from 300 AD, the Tirupati Temple was built over a period of time. One of the
earliest recorded evidences state the generosity of Pallava queen Samavai; she had donated
precious jewels and 23 acres of land for celebrating the major festivals of the temple. During
the Chola dynasty, the temple was developed further as many Chola Kings embellished it
with riches. When the Vijayanagara Empire took over, diamonds and gold were donated to
the temple. Krishnadevaraya, one of the famous Emperors of Vijayanagara, visited the temple
on multiple occasions and contributed to the construction of the temple.
After the decline of the Vijayanagara Empire, the temple was patronised by several kings
until the advent of the East India Company. When the British took over the temple, they
leased it for various purposes to different tenants. The East India Company then bestowed the
administration of the temple to the chief priest of Hathiramji Muth. The Hathiramji Muth
administered the temple until 1933, after which the ‘Tirumala Tirupati Devasthanam’ (TTD)
took over the administration of the temple. In 1966, a court order transferred the
administration of the temple to the government of Andhra Pradesh. This order was rolled
back in 1979, when the administration of the temple was vested to the members of TTD. A
committee, including a couple of members representing the government of Andhra Pradesh,
was formed for running the day-to-day administration.
Architecture
Built in accordance with the Dravidian style of architecture, the temple has three entrances,
which lead to the sanctum sanctorum. The first entrance is called as ‘Mahadwaram.’ A
towering gateway (Gopuram), measuring 50 feet high, is placed right in front of the first
entrance. The temple has two circumambulation paths. While the first path houses many
pillared halls, flagstaffs and a dedicated area to distribute the offertories, the second path has
many sub-shrines, main kitchen, main hundi and many other important edifices. Guest houses
and various food counters have been recently constructed for the benefit of the pilgrims. A
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gold-plated tower inside the main shrine is called ‘Ananda Nilayam’ and is the most
important part of the temple. The inner temple of ‘Ananda Nilayam’ houses the main deity
and was constructed around the 12th Century A.D. It was later reconstructed throughout late
the 1950s to 1960s. The temple also has a holy pond called Swami Pushkarni, located
towards the northern side. Pushkarni, which covers a huge area of 1.5 acres, is one of the
most sacred places of the temple. A legend has it that the pond was carried to the hills all the
way from Vaikuntham (Lord Vishnu's abode) by Garuda. Saluva King Narasimha Raya
constructed a pillared hall at the center of the pond in 1468.
Image Credit:
Deities
There are shrines of many deities within the complex of the temple. One of them is the shrine
of Lord Ram, Sita, Lakshmana and Hanuman. The temple also has shrines dedicated to Lord
Krishna, along with his consort Rukmini, Vishvaksena, Sugriva and Angad. While Sugriva
and Angad are prominent figures from the Hindu epic Ramayanam, Vishvaksena is Lord
Vishnu’s attendant who oversees the Lord's wealth. Apart from these deities, there are five
principal deities and they are mentioned below:
 Tirumala Dhruva Bera – Dhruva Bera is the main deity and is considered a source of
energy. The idol of Lord Venkateswara is fixed and is believed to be a Swayambhu
(self-manifested image). It is said that Lord Vishnu reincarnated on earth and assumed
the form of Srinivasa (human form). During his stay on earth, he married princess
Padmavati. When Goddess Lakshmi got to know about her husband’s second marriage,
she went in search of him. When confronted by both Mahalakshmi and Padmavati,
Lord Vishnu, who had assumed the form of Srinivasa, turns into stone.
 Bhoga Srinivasa – This is a small silver idol of the Lord which is always placed near the
left foot of the main deity. This idol was donated to the temple by Queen Samavai of
the Pallava dynasty in 614 A.D. The idol is usually swayed in a silver cradle and is
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made to sleep in a golden cot. Since the idol experiences all the worldly pleasures, it is
called as Bhoga Srinivasa.
Image Credit:
 Ugra Srinivasa – The idol of Ugra Srinivasa is kept inside the sanctum sanctorum and is
cleansed everyday with holy water, milk, ghee, curd, etc. Originally, the idol was used
in the processions, but was later replaced by Utsava Beram. It is said that whenever the
idol of Ugra Srinivasa was taken out for processions, fire accidents would take place
inevitably. Hence, this idol was considered as the fierce from of Lord Venkateswara.
 Utsava Beram – When the devotees could no longer use the idol of Ugra Srinivasa for
processions, they offered their prayers to the Lord, requesting Him to suggest them an
alternative. The Lord then appeared in one of His devotees’ dream and told him about
another idol that can be used for processions. The devotees then found the idol of
Utsava Beram in the hills of Seshachalam. The same idol is being used for processions
to date.
 Koluvu Srinivasa – Made from a combination of five metals, Koluvu Srinivasa is
considered as the guardian deity who supervises all the activities, including the
finances of the temple. The idol closely resembles Dhruva Bera and is also called Bali
Beram.
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Image Credit:
Festivals
The Tirupati Temple celebrates a staggering 433 festivals in a year, practically turning every
day into a festival. Out of all those festivals, 'Brahmotsavam' is the most famous festival of
Tirupati. 'Brahmotsavam' is celebrated in a grand style over a period of nine days. The
festival attracts pilgrims and tourists from all over the country. According to a legend, Lord
Brahma descends to earth every year in order to perform this festival and hence it is called
‘Brahmotsavam’ which literally translates to ‘the festival performed by Brahma’. Another
important festival which is celebrated in the temple is called ‘Vaikunta Ekadashi.’ It is
believed that the gates of heaven (Lord Vishnu’s abode) will remain open on this particular
day. Hence the festival holds great significance. Other important festivals celebrated in the
temple include ‘Rathasapthami’, ‘Rama Navami’, ‘Janmashtami’, ‘Vasanthotsavam’, ‘Pushpa
yagam’ and ‘Teppotsavam.’
Significance
Sri Venkateswara Temple at Tirumala (Tirupati) is really significant to the Hindus from a
religious point of view. Every year, the temple attracts tourists and devotees from all over the
world. According to the legend, Sri Venkateswara is a benefactor of boons in the Dark Age
(Kaliyuga), and people come here to seek the blessings of the Lord. Legend has it that the
main deity of the temple has stood through epochs (Yugas). Since it is believed that Lord
Vishnu turned Himself into stone in order to help mankind in the Dark Age, devotees often
experience a state of bliss after visiting the temple. The temple also plays a vital role in the
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economy of the local people in general and the government of Andhra Pradesh in particular.
Being the world’s richest temple, it creates job opportunities for thousands and is the only
source of income to many.
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Pic showing evolution of the Pallavan Order
DRAVIDIAN
TEMPLE ARCHITECTURE
"The following works of art ...are among the most remarkable contributions of the Tamil
creative genius to the world's cultural treasure and should be familiar to the whole world and
admired and beloved by all in the same way as ... the cathedrals of France and the sculptures
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of Greece ...... Dravidian temple architecture, of which the chief representatives are perhaps
the temples of Tanjore, Chidambaram and Madurai....." Tamil Contribution to World
Civilisation - Czech Professor Dr. Kamil Zvelebil in Tamil Culture - Vol. V, No. 4. October,
1956
"...The plan of a temple closely resembles the plan of a human body in which the Sanctum
Sanctorum (garbha gudi) is the head and the outer gate is the lower limb. The spine
(gopuram) on the outer gate is the foot of the Lord. Even if a visitor does not enter the
temple, he can as well contemplate on the gopuram and derive the benefit of a darshan.
Temple architecture developed in two streams, Saiva style and Vaishnava style. Silpa is the
architecture and Agama is the mode of worship. Agama of the Saivas is different from that of
the Vaishnavas. The Vaishnava worship is again in two different styles, the Vaikasana and
the Pancharatra. .." Architecture of a Hindu Temple - Sthapathi
"Before sketching in outline the evolution of architecture it is necessary to acquaint ourselves
with the major types of extant structures. These basic shapes are fivefold, viz., square (caturasra),
rectangular (ayatasra), elliptical (vrittayata), circular (vritta) and octagonal (astasra). Generally
speaking the plan of the temple was conditioned by the nature of the consecrated deity. The
shrine of the reclining Ranganatha, for example, can only be rectangular. The basic shapes are
amply reflected in the superstructure of the vimas . Though square and rectangular shrines are
frequently met with, circular and octagonal shapes are very rare. However these forms are
represented in the sikhara of the vimana. The apsidal form, a derivative from Buddhist
architecture, was popular up to the 10th century in the Tondaimandalam, after which it declined
in usage.
Mention should also be made here of the temples which have more than one shrine in the vertical
order. This is to be found in a handful of Vaisnava temples as those
at Kanchipuram, Uttiramerur, Madurai, Tirukkostiyur etc. Three shrines, one above the other, are
found in these and are intended for the seated, standing and reclining forms of Visnu.
Unlike other parts of India the architectural history of the Tamil country starts only with the
beginning of the seventh century A.D., the monuments built before that period having perished.
In early Tamil literature we hear of such structures as koyil, maddam, nagaram, palli, pali. etc.,
which are apparently references to temples or religious edifices. Presumably they were built of
impermanent materials which have succumbed to the ravages of time.
The earliest extant monuments in the Tamil country are the rock-cut caves scooped out under the
Pallavas, and following them by the Pandyas, Muttaraiyars, and Atiyas. In his inscription in the
cave of Laksitayatana at Mandagappattu, South Arcot district, Mahendravarman I (610-630
A.D.) declares that he caused the construction of the temple for Siva, Visnu and Brahma without
the use of conventional building materials like brick, timber, metal and mortar; and the tenor of
the language has been taken to indicate that the king was introducing a new mode of architecture
by scooping out the cave.
Many other cave temples are definitely attributable to Mahendravarman on the authority of his
inscriptions in them. These include the excavations at Pallavaram, Mahendravadi, Mamandur,
Tiruchirapalli, Slyamangalam and Dalavanur. The Vasantesvaram at Vallam was also excavated
in Mahendravaraman's reign by a feudatory of his.
Besides these caves of definite authorship, those at Kuranganilmuttam, Vilappakkam,
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Aragandanallur and the Rudravahsvara cave at Mamandur are stylistically attributable to the
period of Mahendravarman. These caves of Mahendra are simple in plan and consist of a
mandapa with one or a few shrines. The sculptural decoration of the caves is inconspicuous. The
pillars in them are equidistant and have square sections both on base and top with the portion in
between chamfered octagonally. In the square section are seen delicate carvings of lotus
medallions. The pillars and pilasters carry on top massive corbels with beams.
This 'Mahendra style' was continued by his son and successor Mamalla, the famous
Narasimhavarman I, who, however, introduced certain variations in some of his caves. In these
the entablature is almost completely finished, unlike in those of the Mahendra variety. Besides
kudu arches in the cornice, it carries salas, karnakutas and alpanasikas. The pillars in Mamalla's
caves are not only taller but also more slender than those of his father. The strutting figure of a
lion ro vyala as the base of the pillar is a notable feature. Again in Mamalla's caves one can also
find large bas-reliefs on walls in striking contrast to their plain nature in all but one of
Mahendra's caves. The Konerimandapam, Varahamandapam, Mahisamardanimandapam,
Trimurti cave, Adivaraha cave, Ramanujamand. apam, etc. - all at Mahabalipuram - are typical
examples of the Mamalla types of rock architecture.
The Pandyas, who were ruling in the extreme south of the Tamil country, appear to have soon
adopted the rock-cut technique and developed certain interesting variations in their excavations.
It is possible that the cave at Pillaiyarpatti is one of the earliest Pandya attempts in the rock
medium as evidenced by the archaic palaegraphy of the inscription in Vatteluttu characters in it.
The Siva cave shrine at Malaiyadikurichi is assignable on the basis of an inscription to the
second half of the seventh century and the Narasimha cave at Anamalai and the Subrahmanya
cave at Tirupparankunram are on the same ground datable respectively to 770 to 773 A.D.
At Tiruttangal, Piranmalai, Kudumiyamalai and Sittannavasal are to be found other caves of the
Pandyas. Though similar to Pallava caves in plan and design, the Pandya examples differ from
them in their adoption of certain Calukyan features such as the introduction of the rock-cut linga
and Nandi and sculptural representations of Ganesa and Saptamatrkas. The pillars are large and
reminiscent of those of the Mahendra variety with corbels generally with a plain level.
In this movement of scooping out live rocks for divine abodes minor dynasties like the Atiyas
and Muttaraiyars also participated, though stylistically their excavations are much akin to those
of their political master. The cave at Namakkal is evidently an Atiya enterprise while Muttaraiya
involvement may be seen at Tiruvellarai, Narttamalai, Kunrlandarkoil etc.
Under Narasimhavarma I, Pallava rock-architecture took a new turn. besides cutting into rocks
for caves, attempts were made to cut out monoliths from rocks. The rudiments of this practice are
to be found in the carved-out stupas in the caves of Western India and the vimana-form in the
Tawa cave at Udayagiri but it was at Mahabalipuram under the Pallavas that it found a full and
eloquent expression.
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Architecturally they depict the external aspects of contemporary brick and timber structures.
There are as many as nine monoliths at Mahabalipuram of which the five, named after the
Pandavas and Draupadi, are a well-known assemblage of contiguous excavations, the other
examples are the Ganesa ratha, Valayankuttai ratha and the two Pidari rathas. As they represent
varying architectural designs they are of primary importance for any study of the plan and
different zones and the details of the Yima-nas.
The Dharmaraja-ratha is three-storeyed with a square viguana and an octagonal dome. Though
the Arjunaratha is similar to this it is two-storeyed. The Bhimaratha has a wagon-top roof and is
single-storeyed unlike the Ganesa ratha, another example of wagon top roof, which is double-
storeyed. The Draupadiratha is hut-shaped and is square in plan and its roof is domical.
The Sahadevaratha represents the apsidal form with its back resembling that of an elephant, a
feature high-lighted by the carving of a huge elephant by the side of the monolith.
The only non-Pallava monolith in the Tamil country is Kalugumalai which was cut-out under the
Pandyas. This has been cut out, like the Rastrakuta monoliths in the Deccan, by entrenching all
round and not by free cutting of standing rocks as in the Pallava domain.
Though the rock medium appears to have continued for some more time it was soon replaced by
structural temples. This movement, as available evidences indicate, appears to have first started
under Narasimhavarman I's grand-son Paramesvaravarman (669-691 A.D.), though it is not
unlikely that the practice was still older. A few pillars in the typical Mahendra style, one of them
with an inscription of Mahendravarman I, found in the Eltamranatha temple
at Kanchipuram seem to suggest that even at the beginning of the seventh century structural
mandapas were built. The presence of Pallava pillars at Sivanvayil, Kuram, Vayalur, Tirupporur
etc., is enough to confirm this.
The Vidyavimta Pallavesvaragriha at Kuram built by Paramesvaravarman I is an early structural
edifice. The provision of a series of vertical and horizontal slabs instead of a full bAitti is an
interesting and early feature in this temple. While this is a small temple and reflects the modest
nature of the enterprise, the temples of the next reign are large in size, elaborate in plan and rich
in architectural and sculptural decorations. With the accession of Narasimhavarman II Rajasimha
the history of Pallava architecture enters upon a new and eventful phase.
While the temples of Kailasanatha at Kanchipuram, Talagirlsvara at Panamalai and the Shore
temple at Mahabalipuram are indisputably assignable to his reign on epigraphical grounds, a
large number of other smaller temples are also stylistically akin to them. The temples of
Vaikuntanatha, Muktesvara and Matangesvara at Kanchipuram are said to be slightly later and
belong to the reign of Nandivarman Pallavamalla.
The Kailasanatha is four-storeyed and is an example of sandharaprasada containing two walls
providing an ambulatory.
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The storeys are decorated with architectural designs like kutas, kostas and panjaras. The pillars in
structural temples are with rampant lions generally and with elephants, nagas and bhulas at
times. Niches are to be seen in both the rock-cut and structural temples and have a makaratorana
decoration on their top, the makaras in them having floriated tails overflowing on the sides. The
corbels are generally curved in profile with the taranga (wave moulding) ornament and a median
band. The gopuras are absent in these early temples.
In the Kailasanatha at Kanchi and the Shore Temple at Mahabalipuram there are faint but
unmistakable suggestions of gopuradhvaras which were to evolve into towers. Another feature of
these early structural temples is the almost prodigal sculptural embellishment of the exterior
walls. The carvings are invariably those of deities, a few of which appear to be fresh inceptions
from the Calukyan area.
The Colas who supplanted the Pallavas about the middle of the ninth century as a political force
continued the latter's artistic activities. For about five centuries a large part of the Tamil country
besides peripheral regions in contiguous areas in Andhra, Karnataka and Kerala were under their
sway which they studded with hundreds of temples. On the basis of certain accepted notions
regarding the evolution of temple architecture and on the authority of numerous inscriptions it is
now fairly possible to determine the dates of most of the Chola monuments. Though the
periodisation of South Indian art-history is even now a subject of debate it is conceded by most
scholars that the Chola temples are broadly divisible into three groups:
the first group belonging to the period from the accession of Vijayalaya to the accession of
Rajaraja I (i.e., 850-985 A.D.);
the second group assignable to the period from the accession of Rajaraja I to the accession of
Kulottunga (985-1070 A.D.); and
the third group comprising the period from the accession of Kulottunga I to the decline and fall
of the Chola empire under Rajaraja III and Rajendra III (1070-1270 A.D .).
The temples of the first group are many which in stylistic characteristics break away from the
structural temples of the Pallavas. In the Pallava temples the lowermost tier of the vimana is
extended to the vestibule in front of the shrine, while this is not found in early Chola temples, the
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only exception being the Vijayalayacolisvaram at Narttamalai
[see also Takeo Kamiya - Architecture of the Indian Sub Continent] which according to recent
researches is not a Chola but a Muttaraiya edifice. The torus moulding in the basement which is
chamfered in Pallava temples continues to be so in the Chola period for sometime but soon gets a
rounded shape. The cornice in Chola temples is no longer a projecting tier as it is in Pallava
monuments but gets a flexed shape. The old lion and vyala motifs in pillars are also dispensed
with, though they linger for sometime in a few temples. Further, the corbels in pillars get an
angular profile and are bevelled, resulting in a triangular, tenon-like projection. The absence of
extravagant sculptural decoration on the exterior of the shrine walls is another distinguishing
feature.
Though typical early Chola examples are numerous, special mention must be made of those at
Kilaiyur, Srinivasanallur (Koranganatha), Kumbhakonam, Erumbur, Pullamangai, Punjai and
Kodumbalur. The introduction of sub shrines for attendant divinities (parivara-devatas) noticed
in these temples reveals elaboration and development of the temple complex.
In fact the beginnings of this practice are to be discerned even in the latter Pallava temple of
Virattanesvara at Tiruttani built under Aparajita. This temple, though Pallava in name, is Chola
in design and style and chronologically almost coeval with some of the Chola monuments
enumerated above. The parivdra shrines, usually eight in number, were meant for attendant
deities like Ganesa, Subrahmartya, Surya, Candra, Saptamatrkas, Jyestha, Candikesvara and
Nandi. The gopuras of this period continue to be inconspicuous, the vimanas, dominating the
temple complex.
Generally speaking, temples built under Aditya and Parantaka contained only three niches in the
shrine walls, one on each wall, and two niches in the walls of the ardhamandapa, again one on
each wall. While the niches in the southern and northern walls of the ardhamandapa carried
respectively carvings of Ganesha and Durga, those of the main shrine were intended for Daksin
amurti and Brahma. The niche in the rear wall offered scope for variation, the enshrined deity
being either Lingodhbhava or Visnu, Harihara or Ardhanarisvara.
But even in two very early temples - those at Srinivasanallur and Kumbhakonam - the tendency
to multiply the niches is found, the additional niches carrying what looks like portraits. This
tendency has been developed in the temples built by Sembiyan Mahadevi, mother of Uttamacola
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at such places as Tirukkodikkaval, Sembiyan Mahadevi, Anangur, Aduturai, Tirunaraiyur,

Kuttalam, etc., where the additional niches carry such iconographic types as Nataraja, Bhiksatana
and Ardhanri besides Agastya.
These early Chola architectural traditions are carried to those of the later Chola period by the
temples built under the illustrious Rajaraja and his son Rajendra. Many are the extant examples
assignable to this middle phase, the most famous among them being
the Brihadisvara temple at Tanjore and Gangaikondacolapuram.
Other temples of this period are those at Tiruvaji, Malpadi,
Tiruvalajuli, Tirumalavadi, Tiruvarangulam, Dadapuram, etc. In
most of these temples the basement is ornamented with pilasters
which carry a cornice. The walls have a greater number of niches
and a semi-circular arch (tiruvacci) the centre of which is identical
with that of the kadu which appears beneath the architrave and over
the niche. The introduction of the kumbhapaajara in between the niches is another feature.
The Tanjore temple is undoubtedly the grandest achievement of the age.
It was more a monument of triumph than a strict example of temple architecture. It is in this
temple that one notices for the first time two gopuras oriented in the same direction. They are
architecturally coeval with the main vimana and are referred to in inscriptions as Rajarajan
tiruvasal and Keralantakan tiruvasal In spite of the massive size of the gopuras the vimana, rising
majestically to a height of 190 feet, continues to dominate and it is only in the subsequent period
that a change in the gradation of magnitude takes place.
The multiplication of parivara shrines and the introduction of a separate shrine for the goddess
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are the two significant changes in the temple complex effected during this period. Even in the
Tanjore temple the Devi shrine is not contemporaneous with the main cella but was built later.
The earliest Devi shrine which appears to be definitely chronologically coeval with the main
shrine is the one at Gangaikondacolapuram.
The Devi shrines, known as Tirukkdmakkottams, were thus largely a feature from the reign of
Rajndra. In the temples representing the final phase of Chola architecture a discernible maturity
of style is evident.
Notable examples of them are to be found at Drsuram, Tribhuvanam, Chidambaram and
Jambukesvaram. Of the stylistic improvements made in these temples mention must be made of
the torus moulding in the basement which is rounded and has a smooth surface, though in a few
cases it is ornamented with vertical grooves or ribs. The makaratoranas become tall with narrow
reverse curves on each side; the kumbhapanjaras are also developed and carry on top over the
abacus the superstructure of a panjara. The phalaka in the pillars are thinner than those of earlier
periods and the padma below it, which is inverted and smooth in early temples, now has petals.
The pillars in the mandapas have attached pilasters on their sides, known as Aniyottikal.
Perhaps the most distinguishing feature of the temples of the late Chola phase is the increased
height of the gopuras. The five-storeyed gopuras at Tiruvenkadu, Uyyakondan-Tirumalai,
Tiruccengattangudi and Kumbhakonam must belong to this phase. Besides the gopura, pillared
mandapas were also built within the temple complex, some of them being shaped in the form of a
chariot by the addition of wheels and horses and elephants.
Generally speaking, the characteristics of the early and late Chola temples are shared by Pandya
monuments of the respective periods, though minor variations are present in them.
The next stage of development is, however, seen only in the temples built under the Vijayanagar
rulers. The Vijayanagar kings not only built many new edifices, but made many additions to the
already existing temples. Such additions are to be found in many places, the most noteworthy
among them being Kanchipuram, Tiruvannmalai, Chidambaram,
Kumbhakonam, Madurai, Srirangam, Vellore, etc.
The mandapas become large and conspicuous adjuncts during this period due to the
multiplication and elaboration of religious rituals and ceremonial observances. The
Kalynamandapa, Sopnatmandapa, Davanamandapa, Sndpanamandapa, Alakramandapa, etc., are
the usual mandapas in addition to the ardha, mukha and maha mandapas of earlier times.
Some of these mandapas are, however, not entirely unknown under the late Colas. A few of them
were built outside the temple circuit but not much away from it. These mandapas are essentially
pillared halls, open or closed, and contain either a shrine or a raised platform over a huge tortoise
either in the centre or behind. They are also notable for their pillars which are rich in sculptural
work and to which are attached riders on horse or lion or li. The fluted type of simple pillars
becomes rare and huge and monolithic ones are often seen. They have ornamental brackets
forming their capitals, below each of which is a pendant. This pendant has been in many
examples elaborated into a volute which terminates as an inverted lotus bud.
The niches in the walls are not surmounted by toranas as in Pallava and Chola temples but have a
simple panjara design over them. What is more, the niches are empty, without any image in
them. Their old functional character has been lost and they remain a simple ornamental design on
the exterior of the wall. The increase in the height of the gopuras and in the number of prakaras
is yet another feature. The gopuras are generally seven storeyed and are large and tall, especially
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in the Pandya region. The most typical gopuras of this period are to be found
at Kanchipuram, Srirangam, Chidambaram and Tiruvannamalai. These are rich with architectural
designs like salas, karnakutas and alpanasikas rather than sculptural decoration.
The Vijayanagar mode of architecture was continued by the Nayak rulers of Madurai. In the
temples renovated or rebuilt by them, as the ones at Madurai, Ramesvaram and Tirunelveli, the
corbels in the pillars show at their ends a plantain-flower-like motif. The gopuras continue to be
slender and tall, the typical example being the Vatapatrasayi gopura at Srivilliputtur which is
eleven-storeyed. The corridors in these temples, unlike those of earlier periods, are provided with
ceilings which are at times painted.
General features of a Chola temple (Dravidian style)

"The two major temple styles of ancient India, namely the Nagara and Dravida, was formalised
and crystallised during the fifth and sixth centuries A.D. The Dravidian style of construction
was initiated largely by the Pallavas in a more permanent medium during the sixth century
A.D. which reached its culmination under the Cholas.
The development of this style could be discernible from the examples

at Mahabalipuram and Kanchipuram which were the major Pallava centres of art and commerce.
The Kailasanatha temple at Kanchipuram is an example of a complete temple complex,
consisting of a garbhagriha, antarala, mandapa enclosed by a cloistered enclosure wall with an
entrance gopura. The sikhara of a Dravidian temple is square on plan and pyramidal on elevation
unlike that of a Nagara temple which is square on plan and curvilinear on elevation. The sikhara
is divided into various tiers or storeys by the arrangement of miniature shrines of three types,
namely, the sala (rectangular), kuta (square) and panjara (apsidal). The arrangement of the pillar
elements improvise from their Pallava examples in terms of elaboration and additional elements.
The Dravidian order of temples attained its zenith under the Cholas and ultimately under
Rajaraja I, which is reflected in the Brihadisvara Temple.
The main shrine is the most dominant feature of the Chola temples, and in the Brihadisvara
temple, it reaches the highest watermark. The sikhara of the Brihadisvara temple is the tallest
among all the temples of south India. The construction of the entrance gopura also crystallises
during this period which is reflected in the first entrance gopura of the temple. "
99
Temples of India: Pallava (600-900 AD), Chola (900-1250 AD), Pandyas (1100-1350 AD),
Hoysala (1100-1350 AD), Vijayanagara (1350-1565 AD), Nayaks (1600 AD) - Sibashis
Nanda
" ...The south Indian style of temple architecture is very distinct from that of the rest of India.
The sikhara of a Dravida temple is a tower that ascends in ever-shrinking tiers. The base of these
sikharas can be rectangular, hexagonal, or octagonal. The tiered structure creates a strong
presence of horizontal lines which is absent on the vimana and mandapa. The height of sikharas
varied, but by the peak of the Dravida style (during the Chola dynasty), they reached almost 200
feet above the ground. It is convenient to resolve South Indian types of architecture into four
periods corresponding to the principal kingdoms that ruled in southern India down the centuries
i.e. the Pallavas, Cholas, Pandyas and the Vijayanagara rulers.
Pallava (600-900 AD)
The earliest examples of temples in the Dravidan style belong to the Pallava period. The temple
architecture of the Pallavas is divided into two groups: rock-cut (610-690 AD) and structural
(690-900 AD). The greatest accomplishments of the Pallava architecture are the rock-cut temples
at Mahabalipuram. These temples are further divided into excavated pillared halls or mandapas
and monolithic shrines known as rathas. The five rathas were built by Narasimhavarman I (625-
645 AD) and are named after Draupadi, Arjuna, Bhima, Dharmaraja and Sahadeva. The
Dharmarajaratha is the longest and most complete of these rathas. The famous Kailasanatha and
the Vanikunthaperumal temples at Kanchipuram are the best specimens of the structural temples
of the Pallavas. The temple complex consists of a sanctum, preceded by a mandapa and an
incipient entrance gateway. Early temples were mostly dedicated to Shiva, and were sparsely
adorned in the interiors.
Chola (900-1250 AD)
The Chola art is a continuation of that of Pallava times. The Cholas had built several hundreds of
temples, the earlier examples of which were modest in size while the later ones were huge and
large with the Vimanas or gopuras dominating the landscape. Mention must be made of
the Brihadeeswarar Temple in Tanjavur, the capital established by the Chola ruler Rajaraja-I.
The 55 metres long main structure of the temple had a 58 metres feet tall pyramidal tower or
shikhara. The temple is composed of several structures combined axially, such as a Nandi
pavilion, a pillared portico and a large assembly hall, all aligned in the centre of a spacious
walled enclosure.
The temples at Thanjavur, Chidambaram, Sri Rangam, Gangaikonda-Cholapuram, Darasuram
and Tribhuvanam amply illustrate the style of architecture that characterised the monuments in
southern India between the 11th-13th centuries. The Chola style of architecture also had a
considerable influence on the architecture of temples of Ceylon (Sri Lanka) and those of the
Southeast Asian kingdoms like Sri Vijaya (Sumatra) and Chavakam (Java).
Pandyas (1100-1350 AD)
The Pandyas mostly concentrated on the Gopurams, the main entrance. A typical gopuram
consists of a building oblong in plan, rising up into a tapering tower and entered by a rectangular
100
doorway in the centre of its long side. The Sundara Pandya gopuram, added to the temple of
Jambukesvara around 1250 AD and the gopuram of the great temple at Kumbakoman (1350 AD)
are the best examples of the gopurams of the Pandyan times.
Hoysala (1100-1350 AD)
Temples erected during the Hoysala kings have complicated plans with numerous angled
projections. Carved surfaces are executed with remarkable precision, usually in chlorite. Temples
from the Hoysala period can be seen at Belur, Halebid and Sringeri. After the reign of the
Hoysalas, architectural traditions were interrupted by Muslim raids at the end of the 13th
century. Monumental temple building resumed later under the Vijayanagara Empire.
Vijayanagara (1350-1565 AD)
By the 16th century almost all of southern India was part of the Vijayanagara Empire. The main
contributions of the Vijayanagar period were the tall massive gopurams and the multiple
mandapas. Unlike the Chola style, where the entire temple structure was usually a unified whole,
there were numerous mandapas, pillared halls, shrines to minor deities, etc. Another major
feature is the carved pillars - with the rearing simhas (lions), yalis (lions with elephant trunks.
The Temple of Pampapati, the Hazararama temple and the Vittalaswami temple are the best
examples of the Vijayanagar architecture. The ruins of Buggala Ramalingeswara at Tadpatri also
depict the Vijayanagar architecture at its best.
Nayaks (1600 AD)
The Dravidian style of architecture assumed its final form under the Nayaks and lasted almost
until the modern times. The style developed by these rulers is described as the 'Madura style' and
is most evident in the Meenakshi temple at Madurai. The Meenakshi temple (17th century) is a
double temple, as it has two separate sanctuaries, one dedicated to Sundareshwara (Shiva) and
the other to his consort Meenakshi (Parvati).
The total number of pillars in the temple exceeds two thousand. The art of constructing
gopurams also reached its maturity during the Nayaka period. The temples at Srirangam,
Jambukesvara, Rameshwaram and Chidambaram are other notable examples of the
Nayaka architecture..." https://tamilnation.org/culture/architecture/temple.htm
101
Hindu Temple Tirumala Venkateswara Temple BELOW
paper presented at Second International Conference Seminar of Tamil Studies, January 1968 by
T.V.Mahalingam, Professor of Ancient History and Archaeology, University of Madras on Tamil
Art & Architecture
102
IIII DDDD OOOO LLLL SSSS

Venkateswara, an avatar of Vishnu is the presiding deity of the Tirupati temple. It is believed
that the Moolavirat is Swayambhu (self manifested.Explained later) Malayappa swami is the
current utsava murti (presiding deity) in Tirumala Venkateswara Temple, Tirumala. Malayappa
swami is worshipped during religious ceremonies and processions wherein it would be
inappropriate to use the main deity (for example one which requires the deity to be carried or
moved). The two deities are worshipped equally and believed to be non-different in personality.
The presiding deity Lord Venkateswara is represented with five deities including the main deity
(moolavirat) and other deities known as Pancha Beramulu. Besides Lord Venkateshwara, the
temple also abodes the deities of Krishna and Rukmini,
Chakrathalvaar, Rama, Sita, Lakshmana, Hanuman,
Vishwaksena, Sugriva, Angada and Salagramulu.
Panch Beramalu
A replica of Garbhagriha of Tirumala Venkateswara Temple depicting Left-SriDevi BhuDevi

Sametha Malayappa Swamy, Center-Lord Venkateswara Main Deity (Dhruva beram),Center
bottom-Bhoga Srinivasa, Right- Ugra Srinivasa, Sita Lakshmana Sametha Sri Rama, Sri
Krishna, Rukhmini
Moolavirat or Dhruva Beram

The main stone deity of Lord Venkateshwara is called Dhruva Beram (beram means "deity",
and dhruva means "pole star" or "fixed"). The deity is about 8 feet (2.4 m) from the toes to the
top of the crown and is considered the main source of energy for the temple.
Kautuka Beram or Bhoga Srinivasa

This is a tiny one-foot (0.3 m) silver deity, which was given to the temple in 614 AD by Pallava
Queen Samavai Perindevi, and has never been removed from the temple from the day it was
installed. This deity is popularly known as Bhoga Srinivasa, because it enjoys all
the Bhoga (worldly pleasures) which the Moolavirat has. This deity sleeps in a golden cot every
night and receives Sahasra Kalashabishekam every Wednesday. This deity is always placed near
the left foot of Moolavirat and is always connected to the main deity by a holy Sambandha
Kroocha. The deity is always faced at an angle of 45 degrees towards the devotees, because it
holds a Prayoga ("ready to strike") Chakra.
103
Snapana Beram or Ugra Srinivasa
Main article: Ugra Srinivasa

This idol of the Lord represents the anger part of Lord Venkateswara. He remains inside the
sanctum sanctorum, and comes out on only one day each year: on Kaishika Dwadasi, before the
sunrise. Snapana means "cleansing". The idol is cleansed daily with holy waters, milk, curd,
ghee, sandalwood paste, turmeric, and so on.
Utsava Beram
Malayappa swami along with his consorts Sridevi and Bhudevi during the
annual Vasanthotsavam ceremony
This is the form of the Lord which comes out of the temple to see the devotees. This deity is also
called Malayappa, and its consorts are Sridevi and Bhudevi. These three deities were found in a
cave called Malayappan Konai in the holy Tirumala Hills. Originally Ugra Srinivasa was the
Utsava Beram (the procession deity), and frequently disastrous fires were happening whenever
the deity was taken out for processions. People prayed to the Lord for a solution. The Lord
appeared in dreams, and ordered the people to find a suitable set of idols hidden in the holy
Tirumala hills for the Utsavas (procession). The hunt began, and the villagers found the idol.
They called it Malayappa, which means "King of the Hills". After these idols were brought to
the temple, the number of programmes increased including Nitya Kalyanaotsavam, Sahasra
Deepalankara Seva, Arjita Brahmotsavam, Nithyotsavam, Dolotsavam, and others. Jewels worth
millions of rupees have been donated as offerings to these idols.
Bali Beram or Koluvu Srinivasa

This panchaloha idol resembles the main deity, and represents the presiding officer for all
activities and rituals in the temple. The idol is also called Bali Beram. Koluvu Srinivasa is
regarded as the guardian deity of the temple that presides over its financial and economic affairs.
Daily offerings are made to the deity, with a presentation of accounts known as Koluvu Seva.
Tirumala Rama Idol

The temple hosts the panchaloha deities of Lord Rama along with his consort Sita and
brother Lakshmana. The idol of Lord Rama in Tirumala is referred to as Sri Raghunatha, Lord of
Raghu (clan). Lord Rama is seen in a stanaka (standing pose) and is described as being in the
madhyama tala and tribhanga pose The left arm of the idol is raised to hold his bow and the right
104
arm slopes downwards to hold the arrow. The face is tilted to the right side slightly and is capped
by a crown that accentuates the tilt. The feet are set wide on a lotus pedestal with the left foot
overshooting it. The idol is usually seen with a bow in the left hand of the Lord and an arrow in
the right arm.
The idol of Sita is always seen on the right hand side of Lord Rama. The idol rests on a lotus
pedestal and has the right arm by the side and the left arm holding a lotus bud. The idol of Sita
does not have a crown. The idol of Lakshmana is always placed on the left hand side of Rama.
The idol is a smaller but mostly the similar replica of Lord Rama. While the posture (madhyama
tala and tribhanga pose) is similar to his elder brother, the idol differs from Lord Rama in a few
ways. The deity of Hanuman is usually kept sideways on to the right side of Lord Rama. The
right hand is bent at the elbow and touches the mouth in a posture that conveys Hanuman's mark
of respect for Rama. The left hand is in the Katyavalambita pose (left palm closed and resting on
the waist and the outer side of the palm is seen to the onlookers)
Idols of Krishna and his wife Rukmini in the Tirumala Venkateswara Temple as seen
during Vasanthotsavam festival
Tirumala Krishna Idol

There are idols of Krishna an incarnation of Vishnu and his consort Rukmini in the Garbhagriha.
The idol of Lord Krishna is seen in the navanitha nritya (celestial dance) pose of a child. The
lord is seen in the dancing pose with his left hand stretched out in a dancing pose and the left leg
placed on the pedestal. The right leg is bent at the knee and doesn't rest on the pedestal. The right
hand holds a dollop of butter. The idol of Rukmini devi has a lotus in the left hand while the
right hand is in the blessing pose. The idol is on a lotus pedestal. The details of the exact date
when the idol was consecrated, the history of the idol and whether it was found/made along with
the Krishna idol is not known.
Vishwaksena is a trusted attendant of Lord Vishnu and is believed to be Vishnu's attendant

who is in-charge of the Lord's wealth. Vishwaksena is considered to be very powerful with the
abilities to create and destroy life with his thought. Vishwaksena is also considered as the
commander-in-chief of Lord Vishnu's army.
The Deity of Vishwaksena in the TTD temple used to be placed in the Ramar Medai (Elevated
platform for Rama) and is currently seen in the temple space outside the sanctum sanctorum. The
deity is seen in the seated position with the right leg bent at the knee and the resting freely from
his seat but not touching the ground. The left leg is folded and goes beneath the right leg. The
arms of the deity is in the exact replica of Dhruva Bera (main deity)- the upper two holding a
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sankha and chakra, the right lower in Avgana hastam (blessing posture), and the left lower hand
is in Gada hastam (palm resting on the hip).
The exact date of installation of the deity is not known or recorded in the temple epigraphs.
The deity receives the share of the daily worship in the temple. The deity is included in the
weekly Sahasra Kalashabhishekam along with Sri Malayappa Swami and his consorts and the
main deity. The day prior to the start of the annual Brahmotsavam, the Vishwaksena deity
(Lord's commander-in-chief) in the company of other deities related to Vishnu - Ananta (Lord's
Conch and war announcing instrument), Garuda (Eagle and Lord's vehicle)
and Sudarsana (Lord's weapon), are taken to the Vasanta mandapam (Spring hall) and oversee
the Ankurarpana ceremony (sowing nine types of seeds for germination in decorated earthen
plates). After the ceremony, Vishwaksena is taken in a procession when he is believed to inspect
the correctness of all the arrangements made for the festival. After the procession Vishwaksena
is honoured by an Asthanam (seat) in Tirumala-raya mandapam. After recital of holy chants, he
goes to Ankurarpana mandapam with Ananta, Garuda and Sudarsana and stays there during the
entire Brahmotsavam period.
In the temple complex, on the north-east corner, there is a separate temple with an installed deity
for Vishwaksena. The temple is called Sri Vishwaksena Temple and daily prayers are offered to
the deity as per the Vaikhanasa Agamam. The deity in this temple is adorned with the garland
adorned on the main deity, the previous day.
The Deity of Sugriva, the monkey-king and friend of Lord Rama, is seen with folded hands in a
stance resembling prayer to the Lord. According to the temple legend, the Deity is seen in a
scene of the Hindu epic Ramayana. Sugriva is seen with folded hands after he prays to Lord
Rama, not to grant protection to Vibishana.
The exact date of consecration of the Deity is unknown though it is believed to have been
installed along with the deities of Rama, Sita and Lakshmana. The deities of Hanuman
and Angada are also believed to have been installed at the same time in the Ramar
medai (Elevated platform of Lord Rama). When the deities of Rama, Sita and Lakshmana were
moved inside the garba griha, the Deity of Sugriva was moved briefly as well. In the mid-1990s,
Sugriva's Deity along with other deities were moved to a room outside the sanctum sanctorum,
where pilgrims are provided with blessings and thirtam (holy consecrated water). In the ancient
Hindu epic Ramayana, Sugriva (Sanskrit: सुग्रीव, sugrīva, lit. 'beautiful necked') was younger
brother of Vali, whom he succeeded as ruler of the vanara kingdom of Kishkindha. Rumā was
his wife. He was son of Surya, the Hindu deity of sun, and Vriksharaja (when he was a female,
Surya gave her/him blessings for have a successor). As the king of vanara, Sugriva
aided Rama in his quest to liberate his wife Sita from captivity at the hands of
the Rakshasa king Ravana. This aid is referred to as Sugrivajne.
He is also known as Javanese: Sugriwa, RTGS: Su-
khrip, Lao: Sugeep, Khmer: Sukhreeb, Creole: Soogrim, Lao: Sangkip, Tamil: Cukkirivan, Burm
ese: Thugyeik, Sugreeva or Sugreev.
The story of Sugriva is part of Ramayana and in an abbreviated version, is also present in
the Mahabharata.
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Sugriva and Vali Have A Disagreement
Rama Meets Sugreeva
Vali ruled the kingdom of Kishkindha; his subjects were the vanaras. Tara was his wife. One
day, a raging demon by the name of Maayaavi came to the gates of the capital and challenged
Vali to a fight. Vali accepted the challenge, but when he sallied forth, the demon fled in terror
into a deep cave. Vali entered the cave in pursuit of the demon, telling Sugriva to wait outside.
When Vali did not return and upon hearing demonic shouts in the cave and seeing blood oozing
from its mouth, Sugriva concluded that his brother had been killed. With a heavy heart, Sugriva
rolled a boulder to seal the cave's opening, returned to Kishkindha and assumed kingship over
the vanaras. Vali, however, ultimately prevailed in his combat with the demon and returned
home. Seeing Sugriva acting as king, he concluded that his brother had betrayed him. Though
Sugriva humbly attempted to explain himself, Vali would not listen. As a result, Sugriva was
ostracized from the kingdom, Vali forcibly took Sugriva's wife Rumā and the brothers became
bitter enemies. Sugriva then goes on to live on Rishyamukh as it is the only place on earth that
Vali cannot tread on. Vali was previously cursed by Sage Matang and hence cannot lay a foot on
this piece of land. Doing so would cause his death.
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Sugriva Makes An Alliance
Rama and Lakshmana Meet Sugriva at Matanga's Hermitage

In exile, Sugriva made the acquaintance of Rama, the Avatar of Vishnu, who was on a quest to
rescue his wife Sita from the demon Ravana, king of the Rakshasas. Rama promised Sugriva that
he would kill Vali and would reinstate Sugriva as the king of the vanaras. Sugriva, in turn,
promised to help Rama with his quest.
Rama Kills Vali and hands over the kingdom to Sugriva

Together, Sugriva and Rama went to seek out Vali. While Rama stood back, Sugriva shouted a
challenge and dared him to battle. The brothers rushed at each other, fighting with trees and
stones, with fists, nails and teeth. They were evenly matched and indistinguishable to the
observer, until Sugriva's counsellor Hanuman stepped forward and placed a garland of flowers
around Sugriva's neck. It was then that Rama emerged with his bow and drove an arrow through
Vali's heart. After Vali’s death, Sugriva reclaimed the vanara kingdom, took back his
wife, Rumā and took over Vali's main wife, Tara, who became empress and her son by Vali,
Angada, who became crown prince.
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Sugriva fight with Ravana///Killing of Vali vanara

On Lakshmana's request and after Guru Vasistha's approval, Rama plans to
do Ashvamedha Yagya. At this auspicious occasion he calls Sugriva along with Angada, Nala,
Neela, Jambavantha and Hanuman to come to Ayodhya. Rama greets and hugs Sugriva,
Jambavantha and others on their arrival to Ayodhya.
The Yagya horse was captured by Lava and Kusha brothers. In the Rama's army the news
spreads that two muni kumara's has captured the Yagya's horse. Shatrughana walks and fights
with Lava and he was defeated by Lava. Then Lakshamana comes and he was also defeated by
Lava. Then Bharata asks Rama to give him the permission to go to set horse free from both muni
Kumara. Sugriva and Hanuman also request Rama to permit them to go along with Bharata in
the battle. Lava and Kusha defeat Bharata and Sugriva and take Hanuman as a prisoner.
Hanuman was the only one who knew that Lava and Kush were sons of his master & Sita and
thus allowed himself to be imprisoned by his master's sons.[4]
When Rama decided to depart from the world and took samadhi in the Saryu River, Sugriva also
retired from earth and went with his father Surya.
The Deity of Angada, the monkey-prince and son of Vali and Tara and the nephew of Sugriva,
is seen with the right hand pointed out. According to the temple legend, the Deity is seen in a
scene from the Hindu epic Ramayana when Angada is pointing towards the southern sky to
indicate the arrival of Vibishana as Sugriva prays to Lord Rama, not to grant protection to
Vibishana - the brother of demon-king Ravana. Angada lit. donor of limbs/bracelet) is
a vanara who helped Rama find his wife Sita and fight her abductor, Ravana, in Ramayana. He
later crowned as king of Kishkindha.
Angad was son of powerful vanara king Vali and his wife Tara. He was nephew of Sugriva.
After death of his father Angada joins Rama's forces to rescue Sita from Ravana's captivity.
Angada and Tara are instrumental in reconciling Rama and his brother, Lakshmana,
with Sugriva after Sugriva fails to fulfill his promise to help Rama find and rescue his wife.
Together they are able to convince Sugriva to honor his pledge to Rama instead of spending his
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time carousing and drinking. Sugriva then arranges for vanaras to help Rama and organises the
monkey army that will battle Ravana's demonic host. Angada led the particular search party
which consisted of Hanuman and Jambavant and was able to find Sita, Rama's wife.[4]
Angada in Ravanas's court

A legend goes by that no one could move Angada's leg. Just before the war, Rama sent Angada
to Ravana's court as peace messenger and give him one last chance to send Sita back to him and
stop the war. Angada went to Ravana's court and gave him a last warning but Ravana offered
him to join him stating that his father Bali, was his friend. Angada however rejected Ravana's
advances and said that there was nothing as good as serving Shri Rama and then he made fun of
Ravana in front of the entire court. He then challenged them that if anyone could move his leg he
on behalf of Shri Rama would take the entire army back and forget about rescuing Mata Sita.
Everyone thought it was very easy and took turns to move his leg, but failed to even give it a
budge, including Indrajit, the most powerful son of Ravana. Seeing Indrajit defeated, Ravana got
up and was about to touch his leg when Angada moved it's leg out of the way and Ravana's
crown fell off. He took the crown and said, 'O, foolish Ravana, why do you touch my leg, if you
want to touch somebody's leg then go and touch the Lord Shri Rama's leg, where you will be
forgiven of your sins. ' He then threw the crown and it went straight and landed in Shri Rama's
feet and then flew away before Ravana could seize him. Lord Rama was very pleased of
Angada.[5]
In the Ramayana war that took place, Angada killed many great warriors from Lanka,
including, Ravana's son Narantaka and chief general of Ravana's army Mahaparshva.[6]
Angada was married to the eldest daughter of the Vanara Mainda, and had a son, Dhruva.[7]
Personality
Angada is portrayed as a virtuous character and a brave warrior.
The Malayappa deity is classed as a Swayambhu and was discovered in 1339 AD. Initial
records state his original name as Malai Kuniya Ninra Perumal (Lord stood on the hill which
bowed low to Him). Ugra Srinivasa is one of the idols in the Tirumala Venkateswara
Temple at Tirumala, Andhra Pradesh. Ugra means anger and the idol which was originally
called Venkatatturaivar is supposed to represent the anger aspect of Lord Venkateswara. He is
also known as Snapana Murti.Swayambhu is a Sanskrit word that means "self-manifested",
"self-existing", or "that is created by its own accord".
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Often, the word swayambhu is used to describe a self manifested image of a deity, which was not
made by human hands, but instead is naturally arisen, or generated by nature.
The word etymology of swayambhu is 'Svayam' (स्वयम्) which means 'self' or 'on its own' and
'bhu' (भू) which means 'to take birth' or 'arising'. This is applicable to the physical and tangible
idols of Gods that we see or to the intangible yet existing God whom we cannot see. For
example, the jyotirlingas are considered swayambhu- the idol of Venkateshwara at Tirumala and
some other ones are considered Swayambu- which means they are not installed by any person
but they exist on their own. The word Swayambhu is also applicable to Gods- for example-
Brahma is described as swayambhu in Ramayana, Vishnu is called swayambhu in Matsya
purana.
Ganesha Swayambhu, Baltimore, MD

Based on details in Bhagavata Purana and Matsya Purana, Narayana or Krishna is said to be the
self-manifested svayambhu form of Brahman as the first cause of creation. (See Hiranyagarbha)
Legend has it that fire broke out in the village destroying houses during Brahmotsavam at
Tirumala in the 14th century A.D. When prayers were offered to the God, a vision appeared to a
devotee with a message from Lord Srinivasa himself. With the change in times, the Ugra
Srinivasa idol could no longer remain the procession idol and a new idol would be found
as utsava murti (Malayappa swami). The Ugra Srinivasa idol is no longer brought out of the
temple after sunrise and it is believed that sunrays touching the idol would spark fire in the
temple complex.
Apart from Dhruva Bera, the idol of Ugra Srinivasa is the oldest idol in the temple. The date
when the idol was consecrated is unknown though records indicate that the idol existed much
before the Bhoga Srinivasa was presented in the 10th century AD. Records show that the idol
was used as utsava murti till the 14th century when Malayappa swami was found and used as
utsava murti.
The name Venkatatturaivar means 'resident Godhead of Venkatam' in Tamil language.[2]

The idol is about 18 inches long and has a base pedestal 7 inches high. The chakra in the hand of
the Lord is called prayoga chakra as it is in a slightly tilted condition as if ready for
use.[1] Bhudevi and Sridevi are also found as standing figures.
The worship is proportioned solely to this idol on three occasions in a year - Uttana
Ekadasi, Mukkoti Dvadasi and Dvadasaradhana.[1] The idol is bought in procession at wee hours
only on Kaisika Dvadasi (also known as Mukkoti Dvadasi)[3][4] while the idol is worshipped
inside the temple complex on the remaining two occasions.[2]
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Relevance of Kaisika Dwadasi

Sri Vaishnavas called Prabodhotsava or Uttana Dvadasi as Kaisika Dvadasi. On the Uttana
Dvadasi, preparations are made for waking Lord Vishnu, who went to sleep on Ashada Sukla
Ekadasi (Vishnu Sayana Ekadasi). Among Sri Vaishnavas, this dvadasi is known as Kaisika
dvadasi named after the ragam of a song which was used last in praise of the Lordby devotee
Chandala Bhakta Nambaduvan. Bhakta Nambaduvan kept his word and returned to
a Rakshasa (demon) to offer his body to be devoured as food by the hungry Rakshasa. The
reading of the Kaisika Puranam, which is specially composed in a dialect which is a mixture
(manipravalam) of Sanskrit and Tamil or Telugu interspersed with Sanskrit quotations and
vernacular explanations is the special feature of the early hours of the morning before day break
History: Ugra Srinivasa was the first utsava murti at Tirumala temple. In the 14th century AD, it
is said that during the procession, fire broke out in the village and destroyed most of the houses.
A vision appeared to a devotee stating that Ugra Srinivasa needs to be replaced by a new murthi
that would be discovered in the glades of the mountain.
The murthi was found in the place mentioned, a place where the hills appeared to bow very low
and hence he was initially known as Malai Kuniya Ninra Perumal. Over the course of time, his
name was shortened to Malayappan or Malayappa swami. The location where he was found is
still known as Malayyappan Konai (Malayappa's corner).
Malayappa swami is seen in the standing pose and is a replica of Dhruva bera. The two upper
arms hold the sankhu and chakram, while the two lower arms are in yoga poses. The right arm is
in the Varada hasta pose (boon giving) and the lower left arm is in the Katyavalambita pose
(palm perpendicular to the ground and resting on the hip). The idol stands about three feet tall on
a platform of about 14 inches height.
Along with the idol, his consorts - Sridevi and Bhudevi were also found and accepted
as Swayambhu idols.
The idol of Sridevi: Goddess Sridevi is one of the numerous forms of Goddess
Lakshmi worshipped in Hindu religion. Legend has it that Goddess Laxmi appeared in the form
of Sridevi during the Samudra Manthan or the churning of the ocean. This is mentioned in the
Vishnu Purana. This idol is always placed on the right-hand side of Sri Malayappa swami. The
idol is 26 inches in height and stands on a 4-inch pedestal. The panchaloha idol is seen with the
left hand in the Kataka hasta pose. In this pose, the fingers are partially closed, as if holding a
lotus. The right hand hangs loosely on the side and the fingers are held in the Gajakarna pose.
The idol of Bhudevi is always seen on the left-hand side of Lord Malayappa swami. The idol is
very similar to the idol of Sridevi to signify that Sridevi and Bhudevi represent the two equal
spirits of Goddess Lakshmi, the consort of Vishnu.[2] The only difference in the idols is the swap
in the hand poses. The idol of Bhudevi has her right hand in Kataka hasta pose and the left
in Gajakarna pose. Bhūmi, also known as Bhudevi and Bhūma-Devī, is the Hindu
goddess representing Mother Earth. She is known by various names such as Bhuvati, Bhuvaani,
Bhuvaneshwari, Avni, Prithvi, Varahi, Dharti, Dhaatri, Dharani, Vasudha, Vasundhara,
Vaishnavi, Kashyapi, Urvi, Ira, Mahi, Ela, Vasumati, Dhanshika, Hema and Hiranmaya. Bhumi
is the consort of Varaha, boar-avatar of the god Vishnu. She was also the mother
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of Narakasura and Mangala. Goddess Sita was born from the earth, thus she was Bhumi's
spiritual daughter.
Statue of Bhumi
Bhudevi is depicted as seated on a platform which rests on the back of four elephants,
representing the four directions of the world. She is usually depicted with four arms, respectively
holding a pomegranate, a water vessel, a bowl containing healing herbs, and another bowl
containing vegetables. She is also sometimes depicted with two hands, the right hand holding a
blue lotus known as Kumuda or Utpala, the night lotus, while the left hand may be in
the Abhayamudra, the fearlessness or the Lolahasta Mudra, which is an aesthetic pose meant to
mimic the tail of a horse.
Bhudevi seated on Varaha's lap./Sita entering the Earth
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Bhudevi is the consort of the boar god Varaha, an avatar of Vishnu. In Satya Yuga, the
demon Hiranyaksha kidnapped the earth and hid her in the primordial waters, Vishnu appeared
as Varaha to rescue her. Varaha slew the demon and retrieved the Earth from the ocean, lifting it
on his tusks, and restored Bhudevi to her place in the universe and married her. Mangala was son
of Varaha and Bhumi.
Narakasura was the first born of Bhudevi. There are two stories about Narakasura's birth. In the
first one, he was the first son of Bhumi and Varaha. He was born when Bhūmi requested Varaha
for a son. Narakasura later did a penance to received a boon that only his mother would be able
to kill him. In the second one, Narakasura's father is Hiranyaksha and was born when
Hiranyaksha's horns touched Bhumi.
Devi Sita emerged from the earth, thus Bhumi is her spiritual mother. Once, there was drought
in Mithila, hometown of Devi Sita. Janaka, father of Sita was ploughing the ground. Under his
plough , he found a baby girl (Sita). After which, rain showered and Janaka and wife, Sunaina,
decided to adopt the girl. As Sita was born from the earth, she was also known as Bhumija.
: Satyabhama
After receiving the boon, Narakasura became arrogant and proud of his power. He started
capturing women and made them his wives forcefully. He captured nearly 16 thousand women.
He took the control of heaven from Indra and no one was able to defeat him because of his boon.
Narakasura even took Indra's mother, Aditi and gave it to his mother, Bhumi. Bhūmi was
requested to kill him. She took an avatar as Satyabhama, daughter of Satrajit. Satyabhama
married Krishna and they killed Narakasura.
Order
The order that represents the lord - Dhruva Bera, Bhoga Srinivasa, Malayappa swami with
consorts, Ugra Srinivasa with consorts and Koluvu Srinivasa. Thus Kautaka Bera (Bhoga
Srinivasa) should be consecrated directly from Dhruva Bera and the Utsava Bera (Malayappa
swami) from the Kautaka Bera. The order continues downwards to the Snapana Bera (Ugra
Srinivasa) and Bali Bera (Koluvu Srinivasa).
Daily worship
Malayappa swami is used as the utsava murti and marriage to his consorts and post-marriage
rituals are performed to the idol every day. Srivari Kalyanotsavam (Lord's marriage festival) is
conducted with Sridevi and Bhudevi. After the marriage ceremony, the lord and his consorts are
seated on various vahanams (Vehicle) as part of the Arjitha Brahmotsavam. Dolotsavam seva
has the Lord seated in the Addala mandapam (Mirror hall) and entertained with vedic hyms. This
is followed by serving the Lord with perfumeries, scents and sandal paste to the vedic hyms
of Purusha suktam and Sri Suktam and is followed with Abhishekam as part of the Arjitha
Vasanthotsavam celebrations. Arjitha Brahmotsavam and Vasanthotsavam functions are the
abridged versions of the Brahmotsavam (9 days) and Vasanthotsavam (3 days) festivals
respectively.
In the evening, the Lord and consorts are taken outside the temple as part of the Sahasra
Deepalankarana Seva where he is entertained with vedic hyms and annamaya sankirtanas. This is
followed by procession on the 4 mada streets surrounding the temple before the lord is taken
back into the temple, in time for the ratripuja (night puja).
Weekly sevas
Visesha Puja is performed on Mondays when the 'Chaturdasa kalasa visesha puja' (14 kalasas
special puja) is performed to the Lord through the utsava murti. During the Sahasra
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Kalabhishekam puja, abhishekam is performed to Bhoga Srinivasa, Malayappa swami and
Visvaksena.
Annual sevas
Elephants Saluting Lord Venkateshwara at Tirumala

During Teppotsavam, the utsava murti along with his consorts are worshipped in the Swami
Pushkarini (holy lake adjoining the temple) when the Lord is taken to a float constructed in the
lake and worshipped during Phalguna Pournami. Abhideyaka Abhishekam is performed every
year in the month of Jyesta (July) to protect the utsava deities from damage during processions
and other events. The festival lasts for three days with the deities
adorned Vajrakavacham (armour studded with diamonds), Muthyalakavacham (armour studded
with pearls) and svarnakavacham (armour of gold) for these days. During Padmavathi
Parainayam celebrated in May, the wedding of Lord Srinivasa and the Goddess Padmavathi is
celebrated in the Narayanagiri gardens for three days. During the three days, Malayappa swami
arrives on Gaja (Elephant), Asva (Horse) and Garuda (Eagle) vehicles while Sridevi and
Bhudevi arrive in separate palanquins. After the kalyanotsavam and cultural performances, the
lord and consorts are taken back to the temple. Pushpa Pallaki festival is celebrated in July at the
start of financial year for the lord with the utsava murtis taken in procession on a richly
decorated floral palanquin. R A M A N I S B L O G O N 2 2 F E B 2 0 1 4
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Some rare architectural facts about Tirupati ,Tirumala and Lord Venkateswara
There are several legends associated with the manifestation of the Lord in Tirumala. According
to one legend, the temple has a murti (deity) of Lord Venkateswara, which it is believed shall
remain here for the entire duration of the present Kali Yuga.
First and Foremost- Venkateswara Swamy Temple is a landmark Vaishnavite temple situated
in the hill town of Tirumala at Tirupati in Chittoor district of Andhra Pradesh, India. The Temple
is dedicated to Lord Venkateswara, an incarnation of Vishnu, who is believed to have appeared
here to save mankind from trials and troubles of Kali Yuga. Hence the place has also got the
name Kaliyuga Vaikuntham and Lord here is referred to as Kaliyuga Prathyaksha Daivam. The
temple is also known by other names like Tirumala Temple, Tirupati Temple, Tirupati Balaji
Temple. Venkateswara is known by many other names: Balaji, Govinda, and Srinivasa.
The Tirumala Hills are part of Seshachalam Hills range. The hills are 853 metres (2,799 ft) above
sea level. The Hills comprises seven peaks, representing the seven heads of Adisesha. The seven
peaks are called Seshadri, Neeladri, Garudadri, Anjanadri, Vrushabhadri, Narayanadri and
Venkatadri. The temple lies on the seventh peak -Venkatadri, on the southern banks of Sri
Swami Pushkarini, a holy water tank. Hence the temple is also referred to as “Temple of Seven
Hills”. Tirumala town covers about 10.33 sq mi (26.75 km2) in area.
The Temple is constructed in Dravidian architecture and is believed to be constructed over a

period of time starting from 300 AD. The Garbagriha(Sanctum Sanctorum) is called
AnandaNilayam. The preciding deity, Venkateswara, is in standing posture and faces east in
Garbha griha. The temple follows Vaikhanasa Agama tradition of worship. The temple is one of
the eight Vishnu Swayambhu Kshetras and is listed as 106th and the last earthly Divya Desam.
The Temple premises had two modern Queue complex buildings to organize the pilgrim rush,
Tarigonda Venkamamba Annaprasadam complex for free meals to Pilgrims, hair tonsure
buildings and a number of pilgrim lodging sites.
It is the richest temple in the world in terms of donations received and wealth. The temple is
visited by about 50,000 to 100,000 pilgrims daily (30 to 40 million people annually on average),
while on special occasions and festivals, like the annual Brahmotsavam, the number of pilgrims
shoots up to 500,000, making it the most-visited holy place in the world.It is around 435 km
(270.3 mi) from Vijayawada, 571.9 km (355.4 mi) from Hyderabad, 138 km (85.7 mi) from
Chennai, 291 km (180.8 mi) from Bangalore, and 781.2 km (485.4 mi) from Visakhapatnam
Tirumala Tirupati Devasthanams (TTD) is the trust board (of Tirupati Balaji Temple) which
oversees and manages the operations of Tirumala Venkateswara Temple. It is operated by a
Board of Trustees that has increased in size from five (1951) to eighteen (2015) through the
adoption of Acts. The daily operation and management of TTD is the responsibility of an
executive officer who is appointed by the Government of Andhra Pradesh.
The temple attracts approximately 75,000 pilgrims every day.The annual budget, estimated at
INR 2530.10 Crores for the financial year 2015-16, runs charitable trusts whose funds are
derived from the budget and donations from the devotees. The popularity of the temple can be
judged by its annual budget. The annual income is estimated at INR 10 billion in 2008. Most of
116
its income is derived from the donations in SriVari Hundi. Devotees donate to the TTD, which
runs into millions of rupees. TTD, the organisation running the welfare of the temple, runs
various charitable trusts, whose funds are derived from the budget and donations from the
devotees.
The Tirumala Hill is 853m above sea level and is about 10.33 square miles (27 km2) in area. It
comprises seven peaks, representing the seven heads of Adisesha thus earning the name
Seshachalam. The seven peaks are called Seshadri, Neeladri, Garudadri, Anjanadri,
Vrushabhadri, Narayanadri and Venkatadri.
Situated in the Chittoor district of Andhra Pradesh, The Tirupati Balaji temple is one of the most
sacred sites of Hindus, It is truly believed that life of a Hindu is not fulfilled until he visits this
temple once in his Lifetime.Famous celebrities like Amitabh Bachchan and others have visited
this temple very often. People are often found wearing Tirupati Balaji bracelets as a symbol of
Lord Venkateswara. The jewelry related to this temple is said to be holy and blissful.This temple
holds immense significance for people belonging to Hinduism. According to Hinduism, there is a
total of 8 Vishnu Swayambhu Kshetras and The Tirupati Balaji Temple is one of them. It is also
regarded as one of the 106 Divya Desam or Vishnu Temples (mentioned by Tamil Azhwar
saints) that are located within the earthly realms.
1.The Arch at the entrance of Tirumala Hills is unique in the world.
Lord Balaji‘s Face in the Hills

Natural Arch, Tirumala hills is a distinctive geological wonder located 1 km (0.6 mi) North of
the Tirumala hills temple, near the Chakra Teertham in the state of Andhra Pradesh, India. The
Arch is also called Silathoranam in local language (Telugu language: “Sila” means ‘rock’ and
“thoranam” means a garland strung over a threshold, connecting two vertical columns or an
‘arch’ as in this case). The arch measures 8 m (26.2 ft) in width and 3 m (9.8 ft) in height, and is
117
naturally formed in the quartzites of Cuddapah Supergroup of Middle to
Upper Proterozoic (1600 to 570 Ma) due to natural erosive forces.
The arch is one of the few natural arches or bridges in Asia. But there are many others in
other continents, such as the Rainbow Bridge (Arch) andArches National
Park in Utah, USA which depicts 2000 sandstone arches, the Durdle Door arch in Dorset and the
Arch of Cut Through in UK, Pravčická brána in Bohemian Switzerland, in Czech Republic, Pont
d’Arc in Southern France, Rainbow cave arch in the Galilee Israel, El Arco de Cabo San
Lucasin Mexico and London Arch in Australia(wiki)
The Arch at the entrance of Tirumala Hills, which resembles the hood of a serpent is considered
unique in the world. It is said that main deity in Tirumala temple is of the same height as the
height of the Arch. Lord Vishnu is said to have put his first foot down at a place called Padalu,
which is the highest point of Tirumala hills, Second step at the location of the arch and the next
step is stated to have been placed where his idol is now worshipped in the temple at Tirumala.
The seven hills, also called Saptagiri, represent the Saptarishi (seven sages). They sometimes
called the Sapathagiri. Hence the Lord is named Saptagirinivasa. The following are the seven
hills:
 Vrushabhadri – Hill of Nandi, the vahana of Lord Shiva)
 Anjanadri – Hill of Lord Hanuman. it is said to be birthplace of lord Hanuman.
 Neeladri – Hill of Neela Devi – It is believed that hair offered by the devotees is accepted by
Neela Devi. It is because of boon granted by Lord Venkateswara to Neela Devi.
 Garudadri or Garudachalam – Hill of Garuda, the vahana of Lord Vishnu
 Seshadri or Seshachalam – Hill of Sesha, the dasa of Lord Vishnu
 Naraynadri– Hill of Narada Muni
 Venkatadri – Hill of Lord Venkateswara
Sapthagiri which is also called Tirumala Hill is situated in hill town of Tirumala, near Tirupati in
the Chittoor district of Andhra Pradesh, India. This hill is 853 m above sea level and is about
10.33 square miles (27 km2) in area. It comprises seven peaks, representing the seven heads
of Adisesha, thus earning the name Seshachalam. The seven peaks are called Seshadri, Neeladri,
118
Garudadri, Anjanadri, Vrushabhadri, Narayanadri, and Venkatadri. The hill is famous for the
famous and one of the richest Hindu deity Venketeswaraswamy temple. The temple is
on Venkatadri (also known as Venkatachala or Venkata Hill), the seventh peak, and is also
known as the "Temple of Seven Hills". The presiding deity of the temple is Lord Venkateswara,
a form of the Hindu god Vishnu. Venkateswara is known by other names: Balaji, Govinda, and
Srinivasa. The temple lies on the southern banks of Sri Swami Pushkarini, a holy water tank. The
temple complex comprises a traditional temple building, with a number of modern queue and
pilgrim lodging sites.
The Garuda Hill in Tirumala, the abode of Lord Venkateswara, features a natural rock formation
that is in the form of Garuda (the eagle),Incidentally, it turns out that Garuda is also the vehicle
of Lord Venkateswara.
5.Lord Balaji is worshiped as Goddess Uma (Ambal) on four days , as Vishnu for two days and
Shiva as One day in a week. Bilva Leaves, a must for worship of Lord Siva are used during
archana (worship by various names of the Lord) to Lord Balaji on all Fridays. Similarly the
same Bilva leaves are used during archanas in the month of Marghazhi.( 15th Dec. to 15 Jan).
119
MUDRAS: “AmbAL Amsa are seen on Lord VenkateshvarA’s image, in the Simha LalATam,
Yoga MudrA, Bhoga MudrA, Varada MudrA, Kattiya Vilambita MudrA, the meTTi, kolusu,
taNDai (toe-rings and anklet) on the feet. All these are the marks of Sri
AlarmElu Mangai. The Kattiya Vilambita Hastam belongs only to AmbAL, not to
VishNu. The Vilambita Hasta MudrA can be seen on the images of Kanchi Kamakshi,
TiruvidaiMarudur Mookambika, Kanyakumari Bhagavati Amman, Tiruvaiyaru
Dharmasamvardini, and Mayiladuturai Mookambikai. The image of Bhagavati Amman on
the banks of the BharatapapuzhA river, Kerala, has an exact resemblance of Lord
VenkateshvarA.No one can deny or hide these female AMsas on the Lord’s body. We can see
them with our own eyes. Certain pujas too resemble those done in AmbAL temples. To
VenkateshvarA, abhiShekam is done on Fridays, a
21-cubit sari vastram, abhiShekam with turmeric water, and Brahmotsava during Navaratri are
conducted. The abhiShekam is done by
pouring out water in a measure of 51 porringers. The number 51 refers to the
count of Shakti PiThas.
Every Friday, bilva leaves, which belong to
Shiva, are used for Archana. Now it is used in the Archana done in Margazhi
month.
On the day of ShivarAtri, an utsavam called kShetra PAlikA
is done. On that day, the utsava mUrti is adorned with diamond streaks of
VibhUti and the deity is taken on the streets on procession.
*The Tirumala temple is an EkamUrti Alayam. There is no Sannidhi for any other deity. But
then there is a woman deity known as Tirupati GangammA. The festival called GangammA
JAtra is held once in a year. In those days, goats and chicken were sacrified
during this time. This Gangamma is a ShivagaNa, Yogini.
There is also an aitihyam (legendary account) that during the abhiShekam, the Lord opens his
third eye. In those days, the ArchakAs agreed with this belief.
The VishNu image at Srirangam has a streak resembling a beam of light on its forehead, which is
the general identity seen in ancient VishNu images. On the sacred body of the Lord of Tirupati or
his miniature image, there is no such mark. The broad nAmam was fixed up only since the last
150 or 200 years. As against the VishNu SahasranAmam chanted at Archana in other
VishNu temples, only the Venkatesha SahasranAmam is chanted here. The first line
of this composition is VenkateshAya namaH and the next line is VirUpAkShAya
namaH. VirUpAkShA is Shiva’s name. Lord Venkateshvara is adored in the
Shaiva Tirumurais and in Tirumandiram. A sage-poet named TALLapAkkam AnnamaiyyA
adored the Lord in his songs as ParaBrahmam and the Ishvara with ShivAMsam and
wrote his songs on copper plates. Around 350 years ago, some ArchakAs who did
not appreciate it, melted those plates and made them into copper vessles and
plates.” On Maha Sivaratri day which is considered sacred for the worship of Lord Siva a
festival called Kshetra Palika is celebrated at Tirupati. On that day the Urchava Idol is decorated
with a flat diamond studded ornament resembling the three streaks of vibhuthi (sacred ash
applied on foreheads in three lines by worshipers of Lord Siva) and taken out in procession on
the streets.
Idol:Lord Vishnu is worshiped six times a day as per the Vaikhanasa traditions. The six
Aradhana’s are known are UshaKala, Prathakala, Madhyanika, Aparahana, SandhyaKala and
120
Ardharatri Aradhana.The Suprabhataham, the chantimg to wake up the Lord is not played in the
temple during the month of Margazhi.( Dec-January) as He never sleeps.The Idol of Balaji is
adorned with ‘Pachai Karpooram’, from Cinnamomum camphora, which is a highly volatile
substance,daily.If applied to a stone, it will form Cracks.But not so in Lord Balaji’s case.The Idol
is always at 110 Degree F, despite being bathed in Water, Milk at the early hours, 4.30am.After
bathing the Deity Sweat forms every day and it is wiped off. There is no mark of the Chisel in
the Idol. The Idol of Balaji is adorned with ‘Pachai Karpooram’, from Cinnamomum camphora,
which is a highly volatile substance,daily. If applied to a stone, it will form Cracks. But not so
in Lord Balaji’s case. Lord Venkateshwara idol appears to be standing at the center of the Garba
Gudi. But actually, Lord Vishnu stands at the right side corner of the Garba Gudi. This can be
noticed from standing outside.In 1800, the temple was said to be closed for 12 years. One King is
said to have punished. 12 people (who committed some crime) by killing them and hanging them
on the walls of the temple. They say that, it was at this time that Vimana Venkateshwara Swamy
appeared..!
It remains a miracle that there is real hair on the main idol of Venkateswara Swamy. The
authorities say that this hair never tangles and is silky smooth always. The flowers used in the
sanctum will be never brought out of the sanctum. These flowers are leaved(facing forward and
leaving behind) in an small water fall that exists behind the idol of the swamy.
Oil lamps are used in worshipping Lord Balaji. These oil lamps are placed in front of the idol of
the lord. The amazing thing is that these lamps never get put off. No one knows the time when
these lamps were lit up for the first time. It seems that these were lit up thousands of years ago
and will remain the same forever.
121
Tirupathi laddu has a GI Patent making it arguably the first offering at a place of worship
anywhere in the world to be recognized as an intellectual property (IP)—in this case, of the
Tirumala Tirupati Devasthanams (TTD), a trust that manages the temple at Tirupati. The GI
status is granted to identify a product as having a specific provenance, and with a certain quality
or reputation associated with that origin. Kashmir pashmina, Darjeeling tea and Kancheepuram
silk have all been granted GIs.
Richest in the world: Tirupati Sri Venkateswara Swamy Temple, the world’s richest Hindu
temple managed by the Tirumala Tirupati Devasthanams (TTD) board/trust, will earn
approximately Rs. 2,600 crore in revenues for this year (2016–17).
122
There are about 1180 stone engravings in the temple at the Seven Hills.Of these 236 belongs to
the regime periods of the kings of Pallava/Chola/Pandias, 169 belongs to the Chalukya Kings
dynasty, 229 belongs to the period of King Kishna Deva Rayar, 251 belongs to the Achchutha
Rayar period,147 belongs to the Sadasiva Rayar, 139 belongs to the period of kings of Kondoi
Veedu Right from the period of Pallava king Nandivarman that is from the year 830 AD to 1909
AD .
Design Elements of Flower Garlands of Sri Venkateswara in Tirumala
Eight special garlands for Lord Venkateswara every day

Garlands of 100 feet long adorn deity
27 varities of flowers, 7 types of aromic leafs
50-100 kgs of fresh flowers every day
Garlands and flowers play a significant role and each one have a specific identity in the legends
and lores of the Temple of Lord Venkateswara of Tirumala. It is mentioned in the ‘Tiruvai
Mulhi’, a local purana that the celestial ruler of the seven hills was known for his love of flowers
and flowery decorations at his abode throughout the year. Temple chief priest Sri Ramana
Dikshitulu says that on any single day the majestic idol of the deity in the Srivari Temple is
decorated with nearly 100 feet length of flower garlands. The chief priest said the garlands were
made from specially cut flowers of nearly 27 varieties, and six types of aromic leafs from the
123
gardens of the Lord Venkateswara in Tirumala. The prominent garlands adorning the deity are –
Shikhamani, Saligrama Mala, Kanthasari, Vruksha Sthala Lakshmi, Shanku Chakram, Kathari
saram, Tavalamulu .
Shikhamani : The flower garland that covered the crown and along the shoulders and is about
12 feet in length in bright flowers – rose, jamine and marigold etc.
Kantha sari : Flower garlands which fall from the shoulders in both right and left directions.
Saligrama Mala : These are garlands with heavily scented flowers like roses, jasmines all along
the long Saligrama necklaces that are worn by the deity from neck upto waist level . Each of the
garlands are above 12 feet in length .
Vurksha Sthala Lakshmi : Flower garlands aorning the Bhudevi and Sri Devi who reside in the
navel of the Lord
Shanka chakran :The flower decoration on the celestial emblems of Lord Venkateswara –
Shanka and Chakram
Kthariha Saram : The flower decked belt along the waist to fit in the sword
Tavalamulu are the three long garlands that hang down from the top to bottom on the sides in
three stresses. along the hands .
124
TTD maintained gardens over hundreds of acres at Tirumala to raise special rose,jasmine and
marigold flowers spefcially for decoration of the main deity of Lord Venkateswara. Special
aromic leafs like tulasi etc were also raised in the same gardens. An average of 525-50 kgs of
gold are flowers and 5 kgs of scented leafs are used in the making of garlands and flower
decorations of the the main deity and also the sanctum of Srivari temple in Tirumala from TTD
gardens. Atleast 20 women make the garlands for the diety every day which is kept in air
conditioned chambers in the temple complex for decoration of the deity and also the utsava idols
during the festivals and rituals.
ANNAPRASADAM
Anna Prasadam-Free food for Devotees
Sri Vekateswara Annaprasadam is unique among all donation trusts that are being run by TTD.
‘Annam Para Brahma Swarupam’.
Food only can support the body to attain Dharma, Artha, Kama, Moksha.
The person, who participates in this sacred Annadanam, by giving generous donations, will
be blessed by divine Gods.
125
Tarigonda Vengamamba
Tarigonda Vengamamba was born in 1730 in the village of Tarigonda. She was a divine lady
who was in the grace of Lord Venkateswara at all times.
More about Tarigonda Vengamamba
Timings
Breakfast: 9.00 AM TO 11.00 AM
Lunch: 11.00 AM TO 4:00 PM
Dinner: 5:00 PM TO 11:00 PM
Venkateswara Nithya Annadanam Endowment Scheme was started by T.T.Devasthanams on 6-

4-1985 with serving of free food to 2,000 pilgrims per day at Tirumala by the then Hon’ble Chief
Minister of A.P. Sri Nandamuri Taraka Ramarao garu.
The scheme was transformed into an independent trust by name “SRI VENKATESWARA
NITHYA ANNADANAM TRUST” with effect from 1-4-1994.The Executive Officer, T.T.D is
the Chairman to the Trust. The name of the Trust has been changed as “SRI VENKATESWARA
ANNAPRASADAM TRUST” w.e.f. 1-04-2014.
126
This trust is being run with the donations received from Devotees / Donors from all over the
world. The trust deposited all the donations in nationalized banks and the interest accrued on it is
being utilized to meet the expenditure of the trust.
Acknowledgement, Income Tax Exemption Certificate under {80(G) 50%} & Donor pass
books will be issued to the eligible donors.
Prior to June, 2008, Tokens are being issued to the pilgrims in side Sri Vari Tirumala Temple
who had darshan for taking Annaprasadams
ANNAPRASADAM TO HAVE CENTRALISED KITCHEN IN TIRUMALA
TIRUMALA, MARCH 26: The prestigeous Annaprasadam scheme of Tirumala Tirupati

Devasthanams (TTD) is soon get a structural revamp in Tirumala to order to serve wider range of
visiting pilgrims.
Reviewing the activities of Annaprasadam Trust in SVETA building in Tirupati on Wednesday,
TTD EO and Chairman of the Trust Sri MG Gopal felt the need to have a centralised kitchen for
the convenience of cooking and serving food to devotees in a much better way. He said, since the
pilgrims across the globe as well in the country believed that the Sri Venkateswara
Annaprasadam Trust is doing commendable service to the visiting pilgrims by serving food with
out any restriction. “As a result the donations to this Trust have considerably increased from 60cr
(2012-13) to 71cr (2013-14) for this financial year”, he said.
JEOs who are also the Trustees of the Trust Sri KS Sreenivasa Raju, Sri P Bhaskar, Additional
FACAO Sri O Balaji, Annaprasadam Dy EO Sri Venugopal and others were also present.
Since March 28, a community kitchen in the temple city has been providing food to nearly
80,000 people twice every day.
It began when Bhumana Abhinay Reddy, a local YSRC youth-wing leader appealed to
the Tirumala Tirupati Devasthanams that he wanted to cook and provide free meals to the poor
and the destitute in Tirupati. After the TTD management readily agreed to extend its support,
about 40 like-minded people joined hands with Abhinay Reddy. These 40 youngsters, who come
from diverse fields — from entrepreneurs to small-time traders — along with TTD support have
distributed more than 14 lakh food packets, 70,000-80,000 food packets everyday, so far.
Leaving behind their corporate boardrooms and comfort zones, these youngsters, who work in
two shifts between 7 am - 2 pm and 4 pm - 9 pm every day at TTD’s Srinivasam Complex in the
city, ensure that not a single person in the city starves during this crisis.
Speaking to TOI, Abhinay Reddy said there are about 42 slums spread across 50 wards under the
municipal corporation limits. “Before we started the free food distribution, people, including
children and elderly, residing in these slums were starving as all shops are closed. But today,
with TTD’s support, the poor have access to free food twice a day,” he said.
“There were several challenges when we first started. While TTD has the resources to cook food,
identifying the needy and distributing them at the doorsteps is challenging. To overcome these
challenges, we roped in nearly 400 odd YSRC youth-wing workers who know the city well.
Today, free food is being distributed in a systematic manner every single day”, added the YSRC
youth wing leader.
127
Abhinay Reddy thanked Tirupati MLA B Karunakar Reddy, TTD chairman YV Subba Reddy,
his set of 40-odd friends and the YSRC activists for coming together to ensure the needy have
access to two square meals a day free of cost.
128
Tirupati Laddu or SriVari Laddu is the laddu sweet offered

as Naivedhyam to Venkateswara at Tirumala Venkateswara Temple in Tirupati, Chittoor
District, Andhra Pradesh, India. The laddu is given as prasadam to devotees after having the
darshan in the temple. The laddu prasadam is prepared within the temple kitchen known as 'Potu'
by the temple board Tirumala Tirupati Devasthanams. Tirupati Laddu received Geographical
indication tag which entitles that only Tirumala Tirupati Devasthanams can make and sell it.
History: The practice of offering laddu to Venkateswara at Tirumala Venkateswara
Temple started on 2 August 1715.
To prevent black marketing of Tirupati Laddus, in 2008, the Tirumala Tirupati
Devasthanams registered for a Geographical indication tag. In 2009, Tirupati Laddu was
registered as Geographical Indications under the category foodstuff under the GI Act 1999. This
has prevented others from preparing or naming the sweet with same name.
Laddu Potu
Laddu Potu is the kitchen where Tirupati Laddus are prepared. It lies inside the Sampangi
pradakshinam of the temple. The Potu is equipped with three conveyor belts used for carrying
ingredients into the potu and finished Laddus to the selling counters from Potu.[7] Out of three
conveyor belts the first one installed during 2007 can transfer only laddus and the second
installed in the year 2010 can transfer both laddus and boondi. The third conveyor belt was
installed in 2014 as a backup for the two conveyor belts should they malfunction.[8] In olden days
only fire wood was used to cook laddus, which was replaced by LPG in the year 1984.
Tirumala Tirupati Devasthanams prepare an average of 2.8 lakh laddus a day in Laddu potu. At
present, the potu is equipped has a capacity to make 800,000 a day.
Dittam
Dittam is the list of ingredients and its proportions used in making of Tirupati Laddu. To meet
the increasing demand for laddus, changes were made to Dittam six times in its history.[5] At
present the ingredients include Gram flour, cashew nuts, cardamom, ghee, sugar, sugar
candy and raisins Per day it uses about 10 tonnes of Gram flour, 10 tonnes of sugar, 700 kg of
cashew nuts, 150 kg of cardamom, 300 to 500 litres of ghee, 500 kg of sugar candy and 540 kg
of raisins used to prepare laddu. TTD procures all these based on tenders on yearly basis
Potu karmikulu
Around 620 cooks work in the laddu potu to make laddus. These workers are referred to as potu
karmikulu. Around 150 Potu Workers are regular employees, while more than 350 work on
Contract Basis. 247 are chef out of 620.
Proktham Laddu
This laddu is regularly distributed to all the common pilgrims visiting the temple. It is small in
size and weighs 175 grams. These laddus are prepared in large numbers.
129
Asthanam Laddu[
This laddu is prepared only on special festive occasions. It is large in size and weighs 750 grams.
It is prepared with more cashews, almonds and saffron strands
Kalyanotsavam Laddu
This laddu is distributed to devotees who participate in Kalyanotsavam and in a few of Arjitha sevas.
There is huge demand for these laddus. These are prepared in very few numbers when compared to
the Proktham Laddu.[Shelf Life of the laddu is about to 15 days with the advanced packaging system
implemented _________________________________________________________
Tirupati stairs- Starting place for trekking to Tirumala Venkateswara Temple on foot.The
Devotees to fulfil their Vow to Lord Venkateswara will take this path to reach Tirumala on foot
from Tirupati. It consists of a total 3550 Steps which makes a distance of 12 km. There are four
Gopurams(Temple Towers) on the way. Alipiri Padala Mandapam or Alipiri is the place at
foot of seven hills in Tirupati, the pilgrim city of Sri Venkateswara Swami, in the state of Andhra
Pradesh, India. One Footstep way and two road ways, one up and one down, leading
to Tirumala through seven hills starts from Alipiri and hence it got the name "The Gate Way
to Tirumala Venkateswara Temple.
In older days pilgrims used to climb all the seven hills only through the stepped way on foot, as
there was no other option. Hence the pilgrims came from long distances used to take rest for
some time there, cooked their food, eat there. After taking rest they started to climb the steps.
Nowadays all the stepped way is covered with roof to protect the pilgrims from sun light and
rain. The lights are also provided. Special privilege is provided to the pilgrims who came on foot
for the visit of the god At Alipiri, a security zone was established, in 2009, to screen vehicles and
pilgrims entering Tirumala, to safeguard the hills from terrorists and anti-social elements.
130
Dr UDAY DOKRAS
B.Sc., B.A. (managerial economics) LL.B. Nagpur University, INDIA
Graduate Studies, Queen’s University, Kingston, CANADA
MBA CALSATATE USA
Graduate Diploma in Law, Stockholm University, SWEDEN
Ph.D. Stockholm University, SWEDEN
CONSULTANT ASTROLOGY,HOROSCOPE SCIENCES & GEMMOLOY
131

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ART & ARCHITECTURE

Dr. Uday Dokras

Synopsis of architectural morphology of the Tirupati Temple 30

Replica of Tirumala temple to be built at Amaravati-Amrutha Vasireddy 69

Dravidian Temple Architecture 91

General features of a Chola temple (Dravidian style) 99

IDOLS Venkateswara, an avatar of Vishnu 109

Elephants Saluting Lord Venkateshwara at Tirumala 115

Laddu Prasadamn 128-29

The Darshan / Sewa includes:

The Spiritual Walk to the Sanctum Sanctorum

Dravida Style of Architecture is one of the types of Temple architecture

The features of the Dravidian Style of Architecture are mentioned below:

 The temple is enclosed within a compound wall.

 Shiva temple, also called Rajarajeswara Temple.

 Apsidal shrine resembling a Buddhist Chaitya hall.

 Located south of the Durga temple. Built in the 5th century.

Composition and structure

Doddabasappa Temple, Dambal, Gadag district, Karnataka

Tirupati Layout plan

Wooden Model of Tirupati

Symmetrical architecture on Jagati, Somanathapura, Karnataka

Virupaksha Temple at Hampi, Karnataka

Hills around the temple

Vijayanagara architecture is a vibrant combination of

Kodungallur Bhagavathy Temple/Chera dynasty Style temple Layout

Vadakkunnathan Temple/Thirunelli Temple front view

Nallur Kandaswamy temple front entrance//Kandiyoor Sree Mahadeva Temple

Raja Gopuram of Nainativu Nagapooshani Amman Temple.

Queue Management System(described elsewhere)

Synopsis of architectural morphology of the Tirupati Temple

THE DIVINE STRUCTURE OF THE TIRUMALA MAIN TEMPLE

SRI BHU-VARAHA SWAMI TEMPLE

About Addala Mandapam (Mirror Mandapam)

Mata Mohana Devi Pita Bibi Raja Thondaramallu Tirumala

BALI PEETAM (ALTAR)

KSHETRA PALAKA SILA (BIG ROUND STONE)

FOUR PILLAR MANDAPAM

UGRANAM (STORE HOUSE)

VIRAJA RIVER (PROHIBITED AREA)

PULA BAVI (WELL OF FLOWERS)

VENDI VAKILI-SILVER ENTRANCE

SRI VARADARAJA SWAMI TEMPLE

BANGARU VAKILI (GOLDEN DOOR)

LORD RAMA’S MANSION (RAMULAVARI MEDA)

BHOGA SRINIVASA MURTHY

KOLUVU SRINIVASA MURTHY

UGRA SREENIVASA MURTHY

SRI SUDARSHANA CHAKRA TALWAR

NANALA PARAKAMANI (COINS COUNTING ROOM)

NOTLA PARAKAMANI (COUNTING ROOM FOR PAPER CURRENCY)

ANANDA NILAYA VIMANAM

VIMANA VENKATESWARA SWAMI

SABHA ARA (SHELF)

SANKEERTANA BHAANDARAM (TREASURY OF SANKEERTANAS)

YOGA NARASIMHASWAMI SANNIDHI

PARIMALAM ARA (SHELF OF FRAGRANCE)

Hundi (donation pot):-

General Facilities In Tirumala:-

Free Medical Aid:-

Free Local Buses In Tirumala:-

How To Reach Tirumala Tirupati:-