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Home , Ahobilam, Alvars, Ananda Nilayam, Bhrigu, Eparchaean Unconformity, Gopuram

TIRUMALA

BHOO VAIKUNTAM

ABODE OF VENTESHWARA

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CONTENTS

PREFACE 1

INTRODUCTION 6

GEOGRAPHICAL BASIS 8

THE IDOL OF LORD VENKATESHWARA AND OTHER IN THE TEMPLE 11

A Description Of The Idol Of Lord 14 Bhoga Srinivasa - The Kautuka Bera 16 Ugra Srinivasa Or Snapana Murthi 18 Koluvu Srinivasa Or Bera 19 Sri Malayappan Or Utsava 20 Sri Idol 22 Idols Of , , 23 The Chakrattalvar Or Sudarshana 26

WORSHIP AT TIRUMALA TEMPLE 27

Suprabhatam 28 Suddi (Cleaning) 29 Thomala 30 Kolvu 33 Sahastranamarchana 34 Naivedya 36 Yatrasana 36 Sattumurai 37 Aparanhepuja 37 37 Ekanta Seva Or Pavalimpu Seva 38 Vishesha Pooja 39 Sahastrakalashabhishakam 41 Thrusday Pulangi Seva 43 Friday Abhishakam 45 Sopana Marga Or Flight Of Steps 48 Total Number Of Epigraphs 48 49 Sri 50 Dasarugalu From . 51 Lord Munro 52 Venkamamba 53

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HISTORICAL BACKGROUND 54

Garbha Griha 58 Tirumala During Period - Krishnadevaraya And Achutaraya 59 Tirumala - Under Nawabs, British Rule And Mahants 60 Tirumala Temple Administration After 1932 62

BRAHMOTSAVAM 63

Day One 65 Day Two 67 Day Three 70 Day Four 72 Day Five 74 Day Six 78 Day Seven 80 Day Eight 83 Day Nine 85

CONCLUSION 89

EXCERPTS 93

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PREFACE

India is a land of temples. The is a house of worship like any other but it has certain unique features which elevate it to great spiritual merit and recognition. The orthodox Hindu temple is symbolically designed . Its location construction and rituals are of special significance. They are all designed to indicate the path that man has to take to evolve himself spiritually and reach the goal of Self realisation. Religion is realisation.

The location of the temple at a high altitude signifies that spiritual evolution is above all mundane achievements in this world and to gain spiritual perfection one needs to put a great deal of self-effort.

The very construction of the temple indicates the path of Self-realisation. The idol is in the sanctum sanctorum, a dark room where a small is burning perpetually. Around the sanctum sanctorum is a closed passage on all four sides. Outside this is a wider passage with the roof covered. Beyond the walls a broader passage without a roof over it. The entrance to the temple leads to wide open passage. Thus there are three passages enveloping the shrine, which refer to the gross, subtle and causal bodies of man. Within the three bodies lies the supreme Self, which is unknown dark to him.

If man wants to reach his inner Self he must cross the limitations of his gross, subtle and causal bodies and seek within. The outermost passage indicates the gross body which man identifies himself with his gross body and gets involved in the external world. To regain his spiritual Self, he must first rise above the worldly entanglements and delve deeper into his personality. When he does that he enters the realm of his subtle body consisting of his desires and thoughts, which is the next passage, the closed roof. He must rise above desires and thoughts, and move on to the next passage the causal body and transcend it.

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The causal body is his vasanas, which is the seat of ignorance. He must get rid of this with spiritual before he can come into contact with his real Self, the Paramatma represented in the shrine. In the sanctum sanctorum the oil lamp burning indicates that the Atman is the ever-lasting light of wisdom. The priest lights a piece of camphor from the oil lamp and shows it to the idol, the image brightens. The devotee has his Darshan a of the Lord.

Hinduism appears a strange amalgam of the highest classical literature with and , rituals and festivals, ceremonies and celebrations. There is a general misunderstanding that the Hindu worships innumerable gods and goddesses. The different forms of worship, the number of superstitions and misleading spiritual practices have all contributed to the wrong impression that the are polytheistic. This is far from truth. In fact the Hindu worships one be it directly as or through manifested representations and expressions. Hinduism is like a hospital with many wards, sections, specialists, doctors, and divisions. Each of them has a distinct purpose to attend to particular needs of a particular disease. So too Hinduism have different treatment for different types of individuals to make them whole and realise and achieve the goal in life.

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One cannot stop the mind from its ramblings as long as it possesses desires. To circumvent this great hurdle Hinduism has thoughtfully brought in gods and goddesses, rituals and festivals, ceremonies and celebrations. The master plan of the Hindu sages is to divinise everything in this world since mans attention has always been upon the world. The plan has been drawn logically, scientifically, practically. Everything is divinised from cradle to grave. The idea is to remind his dissipating mind constantly of the purpose of his existence in the world. That is to unfold his Self, to realise the Atma and Paramatma.

The plan of Hinduism is to help the seekers reach the goal of religion, to realise oneself. The Hindu philosophical and spiritual truths conveyed through the and puranic literature have also been ingeniously presented to the masses in the form of symbols. A symbol is a known idol representing the unknown ideal. The art of god-symbolism helps to get an idea of the supreme Truth, maintain the ancient culture and heritage. Understanding of the inner significance of the symbols establishes a greater conviction of the Truth that they represent. Symbolism plays an important role in life. Hinduism has perfected this art.

Hinduism is more a way of life than a religion and the scriptures do not sanction the superstitious and dogmatic fallacies we often indulge in, in the name of the religion. You are free to worship any god in this religion in any way you like. We don’t need to know any particular method to worship the god nor any posture, whatever we do whole-heartedly pleases Him. Whatever we offer Him with devotion, whether it is a leaf, a flower or fruit or water he accepts it happily. But we must do it with faith, with dedication with discipline and devotion.

Following one chosen path in our religion does not mean a sanction to disrespect the other Gods or other paths chosen by others. This narrow out look has been repeatedly rejected by our and seers, religious leaders and scriptures. Devotion makes us become a good human being first and then from it helps us to rise from the narrow considerations of sectarian and myopic perspectives into broader horizons of harmony, equality and respect for others.

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He is what we think of Him.

The life of Hindu is a series of and worship. True prayer is the mental and verbal expression of the highest spiritual ideal. It consists not in trying to get anything from outside, but in unfolding the higher powers that are slumbering within the soul. It is the expression of that determination of the individual soul for reaching the highest goal of life, it is the constant desire or constant aim, or constant thought of attaining to the Highest Spiritual Realisation. It is the expression of that attitude of the human mind which arouses the Divine nature in man and makes it govern the lower, selfish or animal nature by which we are directed in our ordinary life to perform selfish acts. By cultivating intense for God as a Personal Being, the worshipper merges his ego in his ideal. In this path God is often worshipped as a divine .

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IN THE ENTIRE UNIVERSE THERE IS NO PLACE LIKE THERE WAS NO DIETY NOR WILL EVER BE COMPARABLE TO LORD VENKATESHA.

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INTRODUCTION

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Tirumala, the abode of Lord Venkateshwara is the ultimate goal of all devotees from time immemorial. There is a wonderful uniqueness associated with Lord Venkateshwara and His abode Venkatadri.

In Tirumala names Srinivasa, Venkatesha, Venkateshwara, , Govinda, Govinda fills our ears and transforms us to a different world. It brings the feeling of being close to Him and a strange sense of elation of utter happiness and joy of His darshan.

In there are several synonyms to the word hill viz, Adri, Achala, Saila etc. 'ven' means nectar 'kata' means wealth, 'esha' means Lord, King etc.'ven' also means sin, and 'kata' means killer, destroyer etc.'adri' means hill, mountain. The mountain which destroys sin is named as Venkatadri. The king of hill- giver of ambrosia and wealth or destroyer of sin is called Venkateshwara. The combination signifies that the holy place, that removes the sins and confers Mukti and bestows Aishwarya or riches.

'Sree' is the Goddesses of wealth, wife of Maha - mother . 'nivasa' is the permanent abode. Sree connects all glory and power, faculties and strength, to perform creative acts of righteousness. The only place, where imperfections never enter to molest the serene essence is the seat of Eternal Perfection, which is the bosom of the permanent Abode of Lakshmi. Hence Maha Vishnu is indicated as Sreenivasa.

The word 'go' in Sanskrit has four meanings – ‘earth', 'cows', ‘Speech’, and ''. As the earth is the supporter of everything that exists, He who is the supporter of everything within the individual is called Govinda. He who is the protector of cows and played the part of Gopala in Gokula is the very controller of the animal instincts and passions in the bosom of beings is Govinda. One without whom no speech can ever emerge out of any throat- He being the very Life in all creatures. The highest Speech is the declaration of Truth in the Vedas. The Lord Himself is the very theme and Author of the Vedas. One who is to be known (Vid) through the declaration of (go) is Govinda.

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GEOGRAPHICAL BASIS

The Tirumala Hill is 3,200 ft above sea level and is about 10.33 sq. miles in area. The Tirumalai range has seven principal peaks, each of them sacred and each bearing a separate name accounted for by a fable. The mightiest of the seven hills, the Seshachala with its seven elegant peaks resembling the seven hooded Adisesha who in reality was divine of Lord Narayana. It is said that the pilgrim town of Sri Kalahasti is deemed to be the mouth of Adisesha, while its back, with Tirumala as its head and believed as its tail.

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The sacred temple of Sri Venkatesha is located on the seventh peak- Seshachalam. It is also called Venkatadri, Venkatachalam. Names of other peaks are Garudadri, Naraayanadri, Vrishabhadri, Anjaneyadri, and Neeladri.

The Tirumala hills are composed essentially of sedimentary rocks- quartzites with intercalated shales, which are given the geological, stratigraphical nomenclature of Nagari Quartzite. These quartzites rest directly on the granites and which form the lower parts of Tirumala hill ranges. This Nagari Quartzite forms a part of a major geological basin (depositional basin) known as the Cuddapah basin. The basement for the basin are about 2.500 million years old, the oldest formation of the Cuddapah basin are approximately 1, 700 million years old and Nagari quartzites are slightly younger are about 1, 500 million years old. This long gap between the basement and sedimentary rocks is called the .

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Natural rock formation found at Tirumala.

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THE IDOL OF LORD VENKATESHWARA AND OTHER MURTIS IN THE TIRUMALA TEMPLE

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A Hindu temple is always conceived as a miniature universe evolving around the creator who is represented by the presiding within the garbhagriha. Hence the temple precincts normally display all the various facets like the animals, trees and planets, human beings and their various forms, demi gods, , devas etc. etc. Hence in a Hindu temple almost all the aspects of the panorama of life with its variegated changing patterns are represented in the sculptured panels.

The consort of the Lord is usually carved or exhibited near the Srivatsa or Sri Kousthubam. A fine example of pose is Badarinarayana and yoga Shayana pose is Sri of . Thus there are in all 36 types of Vishnu image out of which any particular image has to be specifically identified. Tradition has it that the Dhruvabera (main idol) of Lord Venkatesha was not wrought by the hand of man. The Supreme Lord manifested himself in a form which could easily be comprehended by human beings. That it is a Murthi. The agamas like Vaikhasana agama, the agama, the , and Vishnudharmottars are the basic texts, which lay down in precise detail the rules regarding the construction of a temple and the installation of murtis there in. In agamas the relative proportions of the idol, the posture of the body, the hands, weapons etc are all laid down.

The agama broadly defines the Vishnu image into three types. Sthanaka (standing), (sitting) and Shayana (lying) poses. Each of this is again divided into four classes depending on the physical and other attitudes of the Lord - Yoga, Bhoga, Vira and Abhicharika. The environment and the purpose for which a murti is installed decide the kind of the idol, which should be used. For ex, if the devotee prepares to follow the yoga marga, a yoga murti would be selected. It should be installed outside a village or in the midst of forests, or on the mountain and hill tops or at the confluence of rivers and on the riverbanks. Should not be in the heart of the village or a town. A Bhoga murti should invariably installed in the heart of a town or village. A Vira Murti would be on the outskirts of a village. An Abhicharika Murti would be installed in forests, mountains, fortresses at the outer limits of a Rashtra and facing the enemy country.

The features of the murti for each situation and type are also prescribed in the agamas. There are three grades of temples depending on the complementary . These are called Uttama, Madhyama and Adhama (best, middling and low type). In Uttama temple the Murti would be associated with , Sankara, , , etc. In Madhyama others are omitted and Brahma and Siva are retained. In the lowest type all are omitted leaving the Murti to stand alone. In Uttama and Madhyama type temple will have Vimanam () and consecration would on an auspicious day. For Abhicharika Murti no Vimanam and installation at an inauspicious moment.

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Vishnu images have usually four arms, the ayudhas or weapons held in hands usually being , or conch, Khetaka or the shield, Bow and arrows, or club, katari or the Sword, , whip etc.

Hands are usually in the Abhaya hasta-hand aloft, with the right palm facing the devotee with all the fingers of the hand pointing downwards- Lord assures his protection to the devotee -relieving him from fear- bhaya. Varada hasta- hand with the palm facing the devotee with all fingers of the hand pointing downwards-signifies that the Lord is the giver of boons. The Katyavalambaita hasta pose, hand (left hand) on his kati or waist- protection and grace is available to those worshipping him with constant devotion. Vishnu images are shown to carry several ornaments such as Padma or the lotus, Kirita or the crown, kundala or crocodile ear ornaments, Keyura or armlets, Kankanas or wristlets, Udhara bandhas or ornaments around waist, Katibandhas or ornaments around the waist or hips, the sacred thread etc. There is usually a mole on the right chest called Srivatsa, and a reaching up to the knees called the Vaijayantimala. Sri Kousthubam is a gem-studded jewel on the chest, which is sacred to Lakshmi. At Tirumala as the idle is a standing one, it falls under the Sthanaka type and falls under 12 divisions. After a detailed examination of the rules, it becomes clear that the idol of Lord Venkatesha does not correspond to these rules. Therefore we can come to any of the conclusions.

The idol was conceived and executed at a time before the Agamas were codified and came into being, Or The image is a class by itself and from the earliest days, has been so conceived and made by the sculptor, as to drive home the point that the Lord is Self-manifest or Swayambhu. Or The main deity is Self Manifest and not carved or shaped by a human or celestial sculptor.

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A DESCRIPTION OF THE IDOL OF LORD VENKATESWARA

The idol of the Lord is majestic, beautiful and superbly executed one. The most arresting feature of the Lord is the permeating aura of an overpowering sense of divinity. His facial expression with long and dark eyes is 'sama ', and an eternal smile is extraordinarily tranquil and beautiful, reflecting a sense of complete love and serenity, that envelops all living creatures in its benevolence.

The Lords figure is richly adorned with flowing locks of hair or jatajuta and some of these locks of curly hair rest on the shoulders. The nose is delicately carved and is neither prominent nor flat. The mouth of the Lord is also exquisitely shaped. The chin and ears are carved proportionately. The ears have beautiful ornaments. The chest of the Lord, if measured, is between 36 to 40" in width, while the waist would be between 24 to 27". The neck is conch-like and the body in the posture of a exquisitely shape. The belly is also beautifully modeled.

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The Lords image has 4 arms, the upper two being carved to hold the and the conch - they are not integral parts of the main idol. It can be removed.

The upper right arm holds Sudarshan Chakra; the upper left arm holds , the conch. The lower right hand is in the Varada hasta pose, while the lower left hand Katyavalambita pose. Actually the fingers of the left hand rest on the left thigh, with the thumb of the hand almost parallel to the waist line. The body near and below the waist has taken a slight tilt to the left and the knee themselves are bent and open slightly outwards, giving the idol peculiar grace and charm. Mother Lakshmi is carved on the right chest of the Lord in the sitting pose and an integral part of the mula murti. The yagnopavitam and a set of four necklaces can also be clearly made out of the idol. The arms have armlets. The figure is depicted as wearing a dhoti from the waist downwards, while the upper portion is not covered by any dress or vastram. The nipples are button-like and prominent. There a waist band about 2" thick. The feet models of perfection and have ornaments near the anklets. The Lords image has on the shoulders marks resembling ' scars made by the constant wearing of the bow and a pack of arrows'.

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The idol is a splendid specimen of a divya manohara murti. A darshan is a spiritual experience in itself. Who can describe Him who is beyond speech and time? We in our vanity think of serving him. But whatever we do the love and his ever flowing grace is there, and whatever may or may not be added to a devotee, one thing is certain, that mental peace , joy and a strength to sustain anything which the Lord chooses to give us would be added to us.

BHOGA SRINIVASA - THE KAUTUKA BERA

This idol is made of silver and was consecrated by the donor, the Pallava queen, Samavai in 966 A.D.It is recorded in an epigraph on the wall of the temple, which is perhaps he earliest inscription in the temple. She also presented gold ornaments, lands and provision for lighting of lamps, and daily offering of cooked rice for the Lord.

The idol is a true copy of the mula murti except that the shanka and chakra are permanently fixed. On the peetham and below the feet, is a yantra, as if two equilateral triangles are symmetrically interlaced one being an invert of the other. It is possible that such a yantram might have existed originally in the idol as we see in one of the verses of - composed two centuries earlier than the installation of the Manavalaperumal-name of the Bhoga Srinivasa.

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The Bhoga Srinivasa gets every morning, unlike the moola murti, only on Fridays. At night this deity is put to bed in paryankasana. During daily ekantaseva, this idol is placed in a silver cradle in the mantapa and etc is offered to this Lord with music and songs composed by Annamayya. Sandal wood paste is also applied every night.

One peculiarity of this service is, in dhanurmasa, Ekantaseva is done to the Krishna idol, instead of the Bhoga Srinivasa.

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This idol was intimately connected with the main idol of the Murti by means of a silk cord at the time of the installation. A gold link and a silk cord is still attached to this idol when he is brought outside the sanctum sanctorum for deputising the Dhruva Murti on festive occasions. This device is known as Sambhandha Kurcha, literally a bunch of 32 blades of grass. Therefore all pooja are normally performed to Bhoga Srinivasa and the decorations are made to the main deity.

UGRA SRINIVASA OR SNAPANA MURTHI

This idol was once originally called as Venkatatturaivar and stands for the aspect of the Lord. Apart from the Dhruva Bera, this is perhaps the earliest idol of the temple and in all probability this was used as a processional idol in the very early days. This is about 18" high and stands on a pedestal of about 7" height. The chakra of this image is slightly tilted. Sridevi and Bhudevi both are standing figures are seen. There are now three occasions of which Ugra Srinivasa alone figures, Uttana , Mukkoti Dwadasi and Dwadasaradhana. Legends have it that the rays of the sun should not touch this idol, and if they do, it would bring incalculable harm to the world.

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KOLUVU SRINIVASA OR BALI BERA

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Everyday after the morning tomalaseva, a darbar called Koluvu is held in the Tirumammni mantapam when the Deity is brought and is seated in a silver chair with a gold umbrella above him. This idol officiates for the main idol during this function. Hence his name is Koluvu Srinivasa. He is akin to the guardian deity and supervises the temple household, and keeps himself posted with all the affairs and revenues of the temple. The or the calendar of the day is also read out before him everyday. It is also here that the matradanam of rice, the customary share of the archakas, is made. Though this is known as Bali Bera, he has never been known to have been taken out and offered Bali after the daily pooja is over.

SRI MALAYAPPAN OR UTSAVA MURTI

The first mention of this deity under the name Malai Kuniya Ninra Perumal is found in an epigraph about the year 1339A.D. The idol is in a standing pose and a replica of Dhruva Bera. This image has a very rich treasury of precious gems and jewels made of platinum and gold.

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There is a legend that on one occasion during the Brahmotsava, a procession was going round the streets, when a fire broke out in the village, which destroyed the houses. The archakas and devotees did not know how this disaster happened. When sincere were offered, God spoke through a man, and stated that times have changed, and the old Ugra Srinivasa who was then the Utsava murti should no longer be used as processional deity, and that in the glades of the mountain another murti would be found, and only he should be used for this purpose. Tradition is that the new murti with consorts was found at a place where the hill bowed very low, and hence he was called as Malai Kuninya Ninra Perumal. This long name got shortened into Malayappan in course of time. The glade where he is said to have been found is still known as Malayappan Konai.

The idol is about 3ft height and stands on a lotus pedestal platform about 14" high. To the right is Sridevi and to the left is Bhudevi about 30" ht pedestal being 4".

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SRI KRISHNA IDOL

In the Garbha griha there is a very beautiful idol of Lord Krishna in the navanitha pose along with consort . The Lord is shown as a dancing child on his left foot on a lotus pedestal, the leg gracefully bent at the knee and not resting on the pedestal. The right hand holds , while the left is stretched out gracefully in a dancing pose.

The earliest inscriptional reference to the idol is of 1100 A.D.It is this idol, which receives Ekanta Seva at night in the temple during the Dhanurmasa.

Neither this idol nor Sri Rama idol enjoys daily pooja. They only share nityarchana of Sri Venkatesha. Even naivedyam intended for Sri Rama or Sri Krishna are first offered to Lord Venkatesha only. But in asthanas and processions etc, outside the Garbha griha this particular idol gets offerings direct. This procedure is clearly mentioned in the epigraphs as in the Vijayanagara Inscription dated 12-8-1486.

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IDOLS OF RAMA, SITA, LAKSHMANA

Four copper idols of Sri Rama (known as Sri Raghunatha), Sita, and Lakshmana find place in the sanctum sanctorum. These idols are not mentioned in any inscriptions before 1476 A.D. Most probably when the present Ramarmedai was converted into a room by about 1245 A.D. these idols must have been placed there from which it derives the name Ramarmedai. Idols are in standing pose. The figure of Sugriva is in standing pose with hands folded in an attitude of prayer.

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There are also beautiful copper idols of Angada and exhibited separately in the Ramar Medai platform outside the shrine in the Antarala mantapam. Opposite to them beautiful copper idols of Visvaksena, and are found.

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THE CHAKRATTALVAR OR SUDARSHANA

This deity always precedes the Utsava murti in processions. He however figures in separate procession on the ankurarpanam and on the tirtavari day of the Brahmotsavam on the Pushkarani bund in front of the Swamy temple.

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WORSHIP AT TIRUMALA TEMPLE

The worship at Tirumala temple is done according to the Vaikhasana agama. The legend goes that Lord Krishna appeared in the dream of Vaikaghsana and instructed him to worship the Lord as Srinivasa, who manifested himself in a hill on Venkatachala, with the help of one Rangadasa who will help him to locate and worship the Lord. He is the first person to worship the Lord at Tirumala and to this day worship is conducted according to the Vaikhasana agama. The routine puja in the temple no doubt laid down by Vaikhasana, but there are some small deviations.

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SUPRABHATAM

During this time the ‘Suprabhatam’ (waking the Lord from the sleep), composed by Prativadi Bhayamkara Annan, 'Stotram' (hymns to the Lord),' ‘Prapatti’ ( to the Lord), 'Mangalasana' are recited. Songs of Annamacharya are sung by the descendent of Annamayya. In the devotee earnestly addresses the Lord surrendering his all to Him and entreats His protection. In prapatti, after prayerful adoration to Sri Lakshmi with complete annihilation of his ego, surrenders himself and his all at the feet of the Lord. In the mangalasana, in the verse 9, where the Lord is supposed to indicate his own feet with his own hand as the sole refuge to all human beings. The devotee is enjoined to hope to be present at the behest of the Lord for all times, and to loose his limited soul in the eternal grace of the Lord. After this the Bhoga Srinivasa Murti who was laid to bed at the Sayana mantap is shifted again to the Garbha griha, Navanita(butter) arati and milk, butter and sugar is offered to the Lord. Epigraphs do not give us any evidence as to how the morning was welcomed in the temple before 15th century. This follows Sarva Darshanam, where tirtam left in the five gold cups overnight, which Brahma and other devas are supposed to have worshipped are distributed.

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SUDDI (CLEANING)

Suddi is done and all the previous flower decorations known as Nirmalya Sodhana are thrown into the well constructed by Sri Ramanuja. Water for the puja comes from the Akasha waterfalls, the right to bring which rests with the family of the (no.1) of the Tirumala temple.

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THOMALA SEVA

'Thomala' is a contraction for the Tamil word 'Thoduttamalai', which means a garland of strung flowers. are made in several pieces so as to facilitate the decoration being done in a spectacular manner.

Then Nityarchana begins with the akasha Ganga water being consecrated ritually and with some prescribed herbs and other articles mixed with it. 'Mantrasana' where Lord is offered water for arghya, padya and . 'Santayana'-since abhishekam everyday to Dhruva Beram is not possible, it is done only to the KautukaBeram or Bhoga Srinivasa murti.

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The gold kavacham of the holy feet of the Dhruva Beram is removed in a separate plate and a large number of saligramams are also given the abhishekam. After abhishekam it is restored to its Jivastana. After the Prokshana to the Dhruva Beram the golden link between the two is restored and pushpanyasa is done to the main Lord. All this is done between the chanting of Vedic hymns and proper . 'Pushpanyasa'- -worshipping the Lord with flowers is done. Offering of flower worship to all other devas are deposited at the feet of the Lord only since there is no other idol in the garbha griha. 'Alankarasana', vastra (cloth),

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Bhushana (ornaments) and are put on. The main deity is draped with silk cloth 24-arm lengths veshti and 12 arm lengths of anga vastram.

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KOLVU

Koluvu or Darbar, the idol of Koluvu Srinivasa is brought out and offered a mixture of fried ginger seeds and and then reading of accounts, almanac are done.

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SAHASTRANAMARCHANA

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Lord is worshipped with thousand or so names. One inscription of 1518 A.D first mentions this archana. King Achyutaraya once performed this archana personally asking the archakas to read out the names of the Lord. Commonly in all Vishnu temples, the Vishnu Sahasra Nama is recited but in Tirumala, 1008 names are only appropriated to Lord Venkateshwara.

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NAIVEDYA

Naivedyam or ' first bell’, offering of cooked food is done to the Lord through the recitation of the prabandam by the Jiyangar or his assistants and the Vaishnava Acharya . It is done behind closed doors.

YATRASANA

Archakas go round the pradakshina and offers Bali to , Garuda, Dwaja and Yudhadipa and deposit the balance of the Bali in the stones placed between the Balipitam and the Dwajasthambam.

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SATTUMURAI

It means the recitation of Tamil prabandham of the Alwars in the Manner prescribed and is recited by Sri Vaishnavas headed by Jeer. The custom is mentioned in an epigraph of 1476 A. D.

APARANHEPUJA

Naivedya for a second time is offered by archana of Lords Astotharanama (108 names). Also known as second bell.

RATRI PUJA

This is done at night to the Lord. This is similar to the morning Tomala seva except that there is no snana –bath or sprinkling-abhyukshana. This is strictly a private puja and none, but those who have religious duty to perform, are allowed inside. So also Ardhajamapuja.

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EKANTA SEVA OR PAVALIMPU SEVA

The Bhoga Srinivasa except during the Margasira month is laid down on the cradle in Sayana mantapam. Two bills of perfumed chandanam are placed at the feet of the Dhruva Beram after removing the kavacham covering the feet. Half a bill is placed on the chest, quarter for Lakshmi on the chest. Another quarter is left for the night puja by Brahma.

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VISHESHA POOJA

Vishesha pooja is performed to Utsava Moorthi on Mondays.

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SAHASTRAKALASHABHISHAKAM

Sahastra abhishekam is performed to Bhoga Srinivasa on Fridays.

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THRUSDAY PULANGI SEVA

Netra Darshanam, Pulangi Seva are performed on where the Thiru Namam of the Lord is narrowed so that his eyes are seen. These are called Upashamana sevas to give relief to the God from the strain and stress that we suppose that he undergoes.

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After the midday puja on Thursday, the Lord is dressed in dhoti and uttariyam. The kasturi is also removed leaving only a thin mark. In the evening a laced velvet gown is put on the Lord and the body is decorated fully with garlands and flowers extending from crown to feet. Perhaps this is for the convenience of elaborate abhishekam done on Friday.

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FRIDAY ABHISHAKAM

Abhishekam to Lord is done only on Fridays. On Friday early morning after Suprabhatam chanting, while Tomalaseva and Archanam are conducted privately, everything is made ready for the Lords abhishekam by powdering pachchakarpuram, mixing wetted saffron paste, pressing musk with a few drops of civet oil into a small paste by preparing chandanam, and by extracting civet oil, all of which are collected in suitable silver cups and taken in procession to the accompaniment of music round the sanctum through the Vimana pradakshanam. A ball like paste of civet oil mixed with camphor is placed at the feet of the Lord. After this the Tirumanjanam abhishanam is made to the mula murti. This function takes about an hour and half with chanting of mantras, , , sri sukta, bhu sukta, sukta and the prabhandams. The abhishekam starts with suddhodakam and then alternates with milk, watered chandanam etc. The saffron water flowing down His body is collected in big silver cups. Then the body of the Lord is dried up and civet oil is lightly smeared from crown to feet. A small quantity of the refined camphor powder and the white namam in urdhva pundra with two patches is put on with a powder sprinkling on the face together with the intermediate tapering line of musk. Then Abhishekam to the gold image of Sri Lakshmi hanging in a gold chain of the chest is done with chanting of Sri Suktam. At he end of

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this arati is done. Then the white namam is thickened and broadened and the Lord is dressed in pitambaram bedecked fully with valuable jewels and ornaments.

Devaraya first introduced the use of punagu or civet in 1429 A.D. as per the inscription. That the Friday abhishekam became the usual routine is clear from the inscription of Krishna Raya of 1517 A.D. who set apart the sunkam of 1000 varahas for punugu .

At present the articles used for the abhishekam are--Gambhara-3 1/2- seers. Civet-7 1/2 bags kacha seers or 1 1/2 visas. Saffron-1 1/2 kacha seer or 36 tolas. Kasturi musk-3 kacha seers. Turmeric musk 1/4 kacha seer. One seer is approximately 1 1/2 kg.

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The first use of turmeric paste is seen from an inscription of 1465 A.D. Pachha karpuram or Tirumankapu is mentioned as early as 1380. Kasturi is also mentioned.

Tiruman kappu is put on as soon after the abhishekam is over. After this the decoration of Dhruva Murti takes place.

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SOPANA MARGA OR FLIGHT OF STEPS

Agra gopuram or Gali gopuram, the flight of stone-steps is at present time the only passage leading uphill to Tirumala from Tirupati. This was constructed by Matla Anantaraja. The flight of steps must have been provided in or before Saka 1550 in which year the inscription is dated at the foot of the hill along side the pathway of the hill. He also gave golden horse, Samarbhupala () vahanams, one padma peetam, ratna kireetam and many other things.

TOTAL NUMBER OF EPIGRAPHS

Tirumala temple bears on its walls several epigraphs of various kings, queens, generals, other benefactors and common men who made gifts and endowments to the temple. The systematic collection, decipherment, analysis and publication of the epigraphs of the temple have been due to the untiring efforts of Sri Mahant Prayagdasji, Dewan Peshkar Sri Doraiswamiah garu and others. Sri Subramanya Sastry - epigraphist. There were in all 1180 inscriptions secured by Sri Subramanya Sastri, which were copied between 1920 and 1930. 640 from Sri Venkateshwara temple, 340 from Sri Govindaraja Swamy temple, at Tirupati and remaining from other small temples. Still about 100 to be copied.

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ANNAMACHARYA

Talapakkam Annamachrya was the earliest known musician who composed songs in the praise of Lord Venkateshwara. He was a Telugu Nandavara born in 1408 A.D. and lived up to a ripe old age till 1503 A.D. He wrote more than 32,000 sankirtanas. In the 1920s from a small cell sealed with loose stones in the Vimana Pradakshina of the Tirumala temple about 2590 copper plates were recovered each having three sankirtanas-ms engraved on either side. The rest are lost. His son Pedda Tirumalacharya and grandson Chinna Tirumalacharya also have written songs on Sri Venkatesha. His grand son has written that his grand father wrote more than 32,000 songs of which 12000are available now. Yet to trace the rest of the songs. Even today descendents of Annamachrya render Annamayya songs at the temple daily after a few sevas.

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SRI RAMANUJA

Sri Ramanuja was born in Sriperambudur in 1027A.D. Learnt Vedic learning under Yadavaprakasa of , but could not agree fully with his teacher. Later became a sanyasi settled in Srirangam and acquired full knowledge of the Tiruvaimozhi.

He was a great Vaishnavite and responsible for the large scale reforms in the Tirumala Temple. Love for God and fellow beings was the fundamental text of his religion. Ramanujams connection with Tirumala may be said to begin with Tirumalai Nambi, whose sister was Sri Ramanujams mother. As a Vaishnava teacher he stayed at Tirumala for a year to learn Ramayanam and other cardinal items of learning from his uncle, who was a great scholar. Second time when he went there he introduced many reforms in the worship and festivals of the temple and deputed Anataraya his disciple to look after the affairs. Again he went there at an advanced age, and made improvements on what he already made. He installed the chanting of the Prabandha hymns in the proper form. He repaired the Ananda Nilaya tower, made a gold necklet containing an image of Padmavati and put it round the neck of God and restored the image to its position. He Initiated flower decoration for the Lord on Thursday evening, entrusted the work of Worship to the descendants of the early Vaikhasana priest, cultivated flower garden for the worship of the Lord, enshrining the Alwars in the temple, starting of Adhyayanotsavam.

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HARI DASARUGALU FROM KARNATAKA

Number of from Karnataka has sung innumerable songs on Sri Venkateshwara. To mention a few, Sri Sripadarajaru ,sri Vadirajaru, Sri Vyasarajaru, Sri Purandara Dasaru, Sri Kanaka Dasaru,Sri Jagantha Dasaru.

Among them Sri Vyasarajaru looked after the administration and pooja at Tirumala for twelve years (1486-98) during the time of King Salva of Vijayanagar. Before Salva Narasimha, Virupaksha was the King of the Vijayanagar. During his time, archakas of Tirumala used to miss use the and money belonging to the temple. They went to the extent of using the ornaments meant for the Lord. Salva Narasimha who was the king of could not tolerate the behavior of the archakas and killed all of them and made temporary arrangements for the pooja at the temple. After he became the King of Vijayanagar Empire, he requested Sri Sripadarayaru, who was his to come and stay at Chandragiri to help him in the stately administration. Sri Sripadarayaru sent Sri Vyasarajaru to Chandragiri. Vyasarayaru used to stay at Chandragiri. Every Thursday he used to climb the Tirumala Hill to perform abhisheka on Fridays to the Lord and return on Sunday to Chandragiri as he was the adviser to the king on stately matters. After twelve years he handed over to the boy, one survivor of the archaka family after training him in daily performance of pooja and the administration of the temple.

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LORD MUNRO

Sir Thomas Munro came to Madras in 1780 as a soldier, he was the collector of the Ceded Districts from 1800 to 1807.In the Third Maratha - 18; he commanded a division of the English army. He was the Governor of Madras as General Sir Thomas Munro from 1820 to 27. He was very sympathetic towards the .

It was during his governorship that he entertained a desire to visit Sri Venkateshwara and arrived at Tirupati one day on the night of which God appeared to him in human form and dissuaded him from ascending the Hill he being a non-Hindu. He returned to Madras, but his strong attachment to the God reflected itself in his provision for a food offering to Him each day Permanently from the produce of a piece of land, assigned, as it perhaps, to the Sarkar archaka who was enjoyed to carry on the service. This food offering was made to the deity each day during the time of the first bell, unlike other offerings through charities and arjitam, which are served only during the second bell of the Deity.

He died of cholera in 1827. His sympathy and goodwill towards the Indian people inspired the citizens of Madras to erect his equestrian statue on the Mount Road in 1839.

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VENKAMAMBA

Venkamamba had intense devotion to Lord Venkatesha and on being forced to matrimony by her father, she forsook family life devoted herself entirely to the service of the Lord. Her husband was Injeti Venkatachalapati and hence her surname came to be Injeti.

She probably lived in the second half of the 18th century and the first half of the 19th century. She took to intense yoga and practiced medication in "Tumburukona" amidst the thick forest about 10 miles to the north of the Tirumala temple. It is generally believed that she has visions of God. Her still stands in a garden on the north side of the north street in Tirumala. She offered a mutyala hara () in a silver plate embedded with in the form of one of the dasavataras each night to Bhoga Srinivasa Murti. Daily during Ekanta Seva this is brought by a descendent of the family and arati in this plate is waved before the Lord after offering milk and a few pieces of cashew nuts. This is referred to in the Kankairya Patti prepared by the English East Company in 1890A.D.

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HISTORICAL BACKGROUND

The term' Venkadam' meaning the name of the hill is first found in the ancient Tamil grammar Tolkapium composed by 1st century A.D. Manular, the Sangam poet of the 2nd century A.D. gives a vivid description of the fairs and festivals held there. The famous Tamil 'Silappadigaram' of the 1st century A.D. makes a clear reference of the deity of the hill. who flourished during the later Pallava period by the 8th century A.D. have sung innumerable poems of main Vaishnava shrines of . They have sung songs about the image of the Lord located at Vengadam but do not refer specifically to the temple. As the songs indicate we can assume that an open mantapam and a small enclosure was there. From 8th to 10th century A.D., at an unknown date a regular temple with a regular Garbha Griha came into being. There is clear epigraphical evidence to prove this. The famous detailed inscription of queen Samavai and others stating gift of lands, cows, etc. Chola king Parantaka (945A.D.) and other inscriptions are available. Sri Ramanuja (born in 1017A.D.) planned to enlarge the temple. Besides at this time, the Chola king ordered the image of Sri Govindaraja at to be thrown into the sea. That icon was brought by Sri Ramanuja to lower Tirupati and was installed in a separate shrine erected inside the Sri Parthasarathi temple now called Govindaraja Swamy temple. The lower Tirupati was made to serve as the base to commence the upward pilgrimage.

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The Vimana over the sanctum sanctorum is called as , the abode of joy. It is completely covered with gold gilded plates at six different stages, ever since the process began in 1260 A.D. With passage of time, the Vimanam had lost its brilliance, and the TTD undertook and completed the task of restructuring the Vimanam with new golden plates. Now the total weight is said to be around 150 kilograms.

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The temple consists of three prakarams or enclosures. The first is the Sampangi. Against the prakara, are three beautiful statues of Krishna Devaraya and his two queens, Tirumala and Chinna Devi. On the left side, there is a kalyana mantapam in which vahanams are kept. There is also a copper statue, Lala Khamram of Todarmal, a general of the Nawab of Carnatic Sadatulla Khan who ruled at the beginning of 18th century, with his mother Mathana De and his wife Pita Bibi. The statue of Tirumalaraya, king of (1570A.D.) with his queen and statue of Venkata Emperor of Vijayanagara who was ruling at Chandragiri can also be seen.

One can also find the imposing Tirumalarayas Mandapam specially built by Tirumalaraya of Vijayanagara Empire, The Dhwajasthambham; a pillar covered with gold plate is located in front of the Bali Peetam. In the northwest corner of this Sampangi Pradakshanam there is the river, Viraja. It is said that a sip of this spring water dispels evil spirits.

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The second enclosure is Vimana Pradakshinam. The kitchen, Potu was presided over by the Lords foster mother Vakula Devi. There is also the Bangaru Baavi, the sacred well Yagashala. There are also shrines of Varadaraja, Ramanuja, Senadhipati, Yoga Narasimha and Garuda in this enclosure. ON the northern side from a raised platform, one can have darshan of Vimana Venkateshwara on the Ananda Nilayam. The innermost enclosure is called the Pradakshinam, and is usually kept closed and open to public only on Vaikunta Ekadashi day. The doors of the leading to the sanctum sanctorum are covered with gold plate and the gate gets the name from that, Bangaru Vakili. The Hundi is located on the left side, in a separate enclosure crossing Bangaru Vakili. As one enters the sanapana mandapam, Ramar Medai and then Sayana Mandapam, the pilgrim reaches the Kulashekara Padi, named after devotee King Kulashekara Alvar.

On entering the Sayana mandapam, pilgrims are in the Presence of Lord, a most inspiring and thrilling sight of the main deity, Lord Venkateshwara.

In accordance with Indian Shilpasastra, the Garbha Griha and the antechamber were constructed with minimal space and light, so as to infuse a sense of mystery and a feeling of respect, fear, awe, divine and devotion of God among worshippers.

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GARBHA GRIHA

Garbha griha is 12'-9'and square in shape. Their walls are 71/2feet thicker- (5 hastams), which is unusually thick. After careful examination and mathematical calculation of the Garbha griha and gopuram it clearly proves that there are two walls enclosing the Garbha griha an inner one being the original wall of thickness two hastams and the second wall of about three hastams. An air space of 6" is left between the two walls. Soundings from the walls of Mukkoti Pradakshina (which is opened only once a year during Mukkoti Ekadasi). Such a space is also known to agamic text as antaramandalam or antaralam.

From the epigraphic evidence we can say somewhere during the renovation period between 12th and 13th century. a second wall was built, perhaps to take the wait of the Vimanam, which must have been constructed only then while at the same time the Mukkoti Prakaram was also enclosed on all the four sides to make it the first avarana.

From other inscriptions, it is seen that Sundara pandya the 1st (1250 to 1275A.D.) gold gilded the kalasa of the Vimana and Vira Narasingaraya performed the and weighed himself against gold and made use of that gold to make the temple shine like . (On 2nd July 1517 A>D. King Krishnadevaraya gave 30,000 varahas for gilding Vimanam, which was completed on 9.9.1518.). Thus during 13th century A.D. big renovation work had taken place. Salva Mangideva Maharaja covered the Vimanam or lower tower with gilded copper plate and placed a gilded kalasam over it.

The 16 pillared mukha mantapa which is the eastern most mantapa in front of the Garbha griha was built by Madhyama Dada alias Mallanna of Chandragiri in 1417 A>D. and is in the early Vijayanagara style.

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TIRUMALA DURING VIJAYANAGARA PERIOD - KRISHNADEVARAYA AND ACHUTARAYA

The Tirumala temple achieved its full fame and glory during the Vijayanagara period due to the patronage of the ruling emperors. Names such as , bukkaraya, Mallikarjuna, Devaraya, Saluva Narasimha, Saluva Mallayadeva, Timmaraja udaiyar, Virupaksha etc appear in many inscriptions, stating their contribution, endowments etc. Krishnadevaraya and Achhyutaraya made several pilgrimages to the temple and offered priceless jewellery and also endowed several valuable properties for carrying on the services of the temple on a grand scale.

Krishnadevaraya is represented in 50 inscriptions belonging to himself and his queens, whose statues can be seen even today inside the temple prakaram. They range in date between 1513A.D. and 1524A.D. He made no less than seven visits to the temple. To name a few gifts and endowments he made are, one Navaratna kireetam, the total weight of which was 3308 carats, gold kundalam of 1076 carats, 25 silver plates for offering arati, three stringed necklace containing pearls, manikyam, sapphires with addigas ll weighing 225 carats and one padakam weighing 61 carats, gold cup for offering milk at the Ekanta Seva, weighing 374 carats, swords, shields studded with diamonds, crowns for Utsava Murti etc. On 6th July made kaknakabhishekam with 30,000 gold coins, on 25th October 1515, gave Navaratna Prabhavali or Makara Toranam which contains 10,994 red stones, 754 emeralds, 530 sapphires etc., total weight is 31,124 units, number of villages etc. On 2nd July 1517A.D. gave 30,000 varahas for gilding Vimanam and other endowments. Gold gilding was completed on 9.9.1518A.D.

With the accession of Achyutaraya to the throne Tirupati Temple attained its high water mark of prosperity. Achyutaraya had his coronation in the Temple, where he was bathed in the water poured out of conch in the hand of Lord Venkateshwara. On 31st Jan when he visited the temple with his wife and son, gave a big kapha (garment for the body) fully decked with pearls, rubies, emeralds and diamonds, long string of pearls and other things made of gold beads of different shapes.etc. At that time he also conducted the archana himself to Lord Venkatesha, while the archaka recited the sahastranamam, says an epigraph. He provided steps of granite stone to tirta and renamed it Chakratirtam and constructed mantapams and planted stones bearing the discus of Vishnu at four corners of the pond. Sadasivaraya also gave lot of endowments to the Temple.

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TIRUMALA - UNDER NAWABS, BRITISH RULE AND THE MAHANTS

With the decline of Vijayanagara empire British established themselves in south India. Meantime the region round Tirupati, was only gradually conquered and brought under the rule of Golkonda. In 1740 the Marathas invaded the Carnatic under Raghoji Bhonsle and defeated and killed Nawab Dost Ali and his son in the battle at Damalcheruvu. Then Dost Alis another son Safdar Ali, sued for peace from Vellore fortress and Raghoji Bhonsle agreed to retire on payment of a crore of rupees. During this time he visited the temple and made valuable offerings to the Lord, one string pearls with a pendent of a flat ruby inlaid in a flat emerald etched, values about 33,000 etc. Jewels are still preserved in the temple in "Raghojivari pette"(box).

Sadat-Ulla-Khan was appointed in October 1713 as the Nawab of Deccan and Golkonda countries. He appointed one Todar Mullji, was considered to wield the greatest influence with him. The statue of his with his mother and wife are in the Tirupati temple from which we may infer that he did some real good to the temple during his life time.

A letter written by Audiyappaa to the English on 27th September 1940 is seen that the income from Tirumala temple was being systematically appropriated by the Nawab of Arcot and that a sum of Rs. 50,000 was ordered to be handed over to the vakils of the Marathas as an urgent and partial measure of satisfaction of demands. Out of which, Baji Rao distributed Rs. 20,000 on charities in Tirumala temple.

In another reference, dated 3rd October 1749, one Srinivasachar who was Amaldar of the Tirupati did not pay the stipulated rent and fell in arrears and ran away with-45, 000 pagodas from the landed property etc and rs.52, 000 the amount from the contribution made by the pilgrims. That comes to 2 ! lacs of Rs. annually.

The effect of Carnatic wars was that the Company acquired the portions of Carnatic from the Nawabs of Arcot assigned the revenues from the Tirumala temple to the company. On the close of the fourth Mysore War in 1799A.D., and after the death of Nawab Mohammad Ali in 1795A.D. and his son in 1801A.D., the company came to an agreement with Mohammed Alis second son Azeem-ul-Umara in July 1801A.D. by which the entire political authority over the Carnatic was ceded to the East India Company against a fixed and assumed direct administration of the Temple. Stipendiary allowance to the Nawab. (The dairy of Ananda Ranga Pillai also throws lot of light on these points) Later the English got possession of the Tirumala temple as their property. They continued the practice of farming out of revenues and contended itself with protecting shrine and pilgrims from the attacks of the adventures. On 31st July 1801 the East India Company became the political successor to the

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throne of Carnatic and assumed direct administration of the temple. According to Mackenzie Manuscripts, in 1801A.D. temple owned 187 villages. An article says that the gross income of Tirumala temple as Rs. 1,47,000 for 1822 and Rs. 1,02,000 for 1820 A.D. and the expenditure for the temple as Rs. 20,000. Pilgrims who paid donations or sevas were given preference for darshan. Fees were fixed for sevas-Brahmotsavam Rs. 1, Pulangi seva 50p, addala seva Rs.2 etc.

In the middle of 19th century they desired to relinquish their connection with the religious institutions. The government of Lord Auckland decided to handover the management of the lands and control of funds and affairs of all religious endowments of whatsoever and accordingly on 21.4.1843, Mahant Sri Sevadasa of Sri Hatiramji was designated to carry on the management of temples at Tirupati and Tirumala. Much valuable work was done by the British civilian officers in systematizing the accounts, in regulating the establishment, in ascertaining and registering the lands, grants, money etc.

There remained a balance of 40 lakhs of rupees with the company in 1843. But the government after vague replies denied having any account at all.

Generally speaking the administration of the Tirumala temple by Mahants was satisfactory, improvement in and around temple took place, but there was continuous stifle between the Jiyangars of the temple (who wanted temple distraction to be handed over to them) and Mahants. There were cases of misappropriation of funds, favoritism etc. From 1843 to 1933 six generations of Mahants by discipleship exercised authority.

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TIRUMALA TEMPLE ADMINISTRATION AFTER 1932

The T.T.D. Act of 1932 was passed and it vested the administration to a committee of seven members and a commissioner to supervise the affairs of the temple. The Madras Hindu Religious and Charitable Act of the year 1951 superseded this act and this was replaced by 1966 by and again a new Act of 1979 was passed.

Today, T.T. devasthanams which maintain 12 temples and their sub- shrines is a conglomerate of temples brought under the first schedule of the Act 20 of 1987 enacted by Andhra Pradesh government. It is managed by a Board of Trustees appointed by the state government. The executive Officer is the Chief Executive of the administration. He is assisted by two Joint Executive Officers, Financial Advisor and Chief Vigilance and Security Officer, Conservator of Forests and Chief Engineer in various spheres of activity. Besides there are other officials like Law Officer, Welfare Officer, Public Relations Officer, Marketing Officer, Educational Officer and others to look after several wings of administration.

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BRAHMOTSAVAM

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The term ‘Utsava’ means a festival that raises one beyond the darkness of material life. Festivals elevate us to spiritual consciousness by connecting us with the deity through service. In Sanskrit ‘ut’means, up, rising, excitement wisdom etc. ‘sava’ means generating, producing etc. The word signifies an event that generates happiness, excitement, uplifting, and prosperity. Yet another interpretation gives ‘ut’ means obstacles, impediments and ‘sava’ is throwing out. Thus ‘Utsava’ is an event to eliminate impediments, enables us to cross over all sorrow. Festivals can be conducted only after the daily and customary rituals of worship (nityarchana) are completed in the sanctum. The procedure of worship within the sanctum remains altogether unaltered despite the large number of festivals that are conducted there. Not an extra flower is offered, not a single fresh hymn is recited within the sanctum. All the details of the festival are to be found only outside the sanctum. That is why it is common to find in the temples two varieties of icons: the immoveable main image in the sanctum, which gets daily worship and the moveable icons to which are conducted rituals connected with festivals and hence are called Utsava murthi. The Brahmotsavam of Lord Venkateswara is a melting point of cultures. An annual festival that lasts for ten days, it attracts millions of devotees from length and breadth of the country and abroad. Legend has it that, Brahmotsavam was first observed when the creator, Lord Brahma had performed puja on Lord Venkateshwara along with renowned Rishis and countless devotees of Lord Venkateshwara. The Brahmotsavam of today is the continuation of that. Inscriptional evidence takes back this festival to the period of Pallava, in whose time Samavai, A princess of Pallava line of rulers instituted the performance of Brahmotsavam in 996 AD.

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DAY ONE

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On the first day Dwajarohana is conducted by hoisting the Garudadhwja (flag with the emblem of a black Garuda), near dwajasthambam.

A spectacular procession of the Lord along with His two concerts-Sridevi and Bhoodevi, seated on imposing gold glittering PEDDASHESHA VAHANAM through the four streets of the main temple. The meaning of is “to serve”. Adi Sesha is a thousand headed serpents, on whom Lord Maha Vishnu rests in his abode, Vaikuntam. Tirumala hills is believed to be the manifestation of Adisesha. In commemoration of this event, the Lord is carried in a procession around the temple.

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DAY TWO

On the second day, the Lord is taken around the streets of the temple in CHINNA SHESHA in the morning.

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In the night, the deities are taken to the Uyala Mantapam for the Unjal Seva.

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.

They are taken around the streets of Tirumala on the VAHANA. Hamsa or swan means “pure”. Hamsa is believed to have a high intellectual capability, and can distinguish the good from the bad. It is to remind the devotees of the incarnation of the Lord assuming the form of the swan, In that shape, he assumed the guise of an acharya to Brahma and imparted instructions once again in the Vedas and restored the entire Vedic records to him when they were snatched away by demon (Vedas are believed to have emanated from the soul of Vishnu).

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DAY THREE

On the morning of the third day, the deities are carried on the SIMHA VAHANA. Simha (lion) is a symbol of regality and power. According to , the Lord is the simha among the animals. It is also believed that the Lord assumed the form of Narasimha to kill the demon Hiranyakasipu.

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In the night Unjal Seva is conducted. The deities then ride in the MUTYALAPANDRI VAHANA, which is decorated with a pearl canopy. Mutyam (pearl) is a symbol of purity royalty and grace of His love towards His devotees.

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DAY FOUR

The deities are carried in a VAHANA in the morning. Kalpavriksham is a tree that is believed to grant boons and fulfill devotee’s wishes. This vahanam signifies the Lord Vishnu as the ultimate donor or grant of the boons to the devotees and not the Kalpaka tree. The Kalpaka tree imbibes the capacity and power of conferring boons from Him alone.

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In the night, after the Unjal Seva, the deities are carried in a SARVABHOOPALA VAHAN. Sarvaboopala means “Lord of all the kings of the mother earth”. According to the Hindu religion, kings, like Lord Vishnu, should always protect their people. To thank Lord Vishnu for his ideas and pray him, the kings take the form of the Sarvabhoopala Vahana.

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DAY FIVE

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On the fifth day, AVATAROTHSAVAM is celebrated to commemorate the Lords incarnation as Mohini, in the morning. According to legend, the Devas and Danavas performed Kshreeresagaramadhanam (churning of the ocean) that resulted in amrit and other sacred qualities. The Devas and Demons fought for possession of the amrit. Lord Vishnu then assumed the form of Mohini (a beautiful woman) and produced the Amrit for the Devas. The Lord is dressed like Mohini, and He is taken in a procession in a pallaki (palanquin). Lord Krishna is also taken in the same procession. This is to celebrate the assistance rendered by Lord Vishnu to the Devas during the Kshreerasagaramadhanam.

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After the Unjal Seva in the night, the Lord and his concerts are seated on GARUDA VAHANA. This is prominent among other vahanams. Lord is decorated with Mahakanti, Sahasranaramala and other precious jewels. According to the ancient , Garuda, the king of birds, is a

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replica of the Vedas while Lord Vishnu is the God of Vedas. Therefore the Lord sees himself in Garuda. In the Vaishnava , Garuda is also called periyatiruvadi, meaning the first devotee. A large number of pilgrims visit on this day.

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DAY SIX

On the morning of the sixth day, the deities are carried on a beautifully decorated HANUMAD VAHANA. Hanuman was one of the greatest devotees of Sri Rama, an incarnation of Vishnu. Hanuman served the Lord so faithfully, that even the Lord could not thank Hanuman enough. Devotees believe that they are indeed blessed if they catch a glimpse of the Lord on this day.

Unjal Seva is not performed on sixth day. Instead, Vasantotsavam (spring festival) is celebrated.

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In the night Lord is mounted on the VAHANA. Gajam (elephant) is also called samajam (born from ). It symbolises wealth. It also symbolises the Airavatam- the vehicle of Devendra, the head of the in . It also can be attributed to the elephant in Gajendramoksham (story from the Mahabharatam), which is saved from a crocodile by Lord Vishnu.

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DAY SEVEN

On the morning of the seventh day, the Lord rides on SURYAPRABHA VAHANA (Sun chariot). Processional deity is decorated with “ Kavacham” and stone studded “Makutam”. , the son of , is another form of Lord Vishnu (Surya Narayana). Hindu mythology supports the heliocentric theory, and believes that Lord Vishnu is the centre of the Universe To symbolise this, Lord uses the Suryaprabha (light of the Sun) Vahana.

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Unjal seva in the night.

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After Unjal Seva in the night, the Lord is taken in the CHANDRAPRABHA VAHANA (moon shaped vehicle). means the Moon, which is considered cool and pleasant. According to Hindu mythology, Chandra is the commander of the mind He is also the king of aushadha (medicine). The deity is decorated with precious pearls. The pearls emanate pleasant rays of reflection from the illumination in the vahanam. The reflections soothe the minds of pilgrims and seem to grant them a feeling of composure.

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DAY EIGHT

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On the penultimate day, RATHOTSAVAM is celebrated, in which the Lord along with his two concerts is seated in a ratham (chariot) and taken in a procession in the morning. It is believed that those who witness Rathotsavam will not be reborn. The idols of Dark (the charioteer of Lord Krishna) and the four horses (Saibyam, Sugreevam, Meghapushpam and Valahakam) are placed before the decorated deities of the Lord and his consorts. The chariot is pulled along by devotees, chanting Govinda, Govinda. This is the only opportunity that devotees get to be of service to the Lord during Brahmotsavam.

After the Unjal Seva in the night, the deities are taken in the ASWA (horse) VAHANA. Horses formed one of the four wings (, gaja, turaga and pada) of the military forces in the ancient times. Aswam. A symbol of energy means “one who runs fast”.

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DAY NINE

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On the last day PALLAKI SEVA and CHAKRASNANA MAHOTSAVAM in the morning and Dwajavarohanam are performed in the evening. The Lord goes on a procession to the shrine of Sri Varahaswami on the banks of the Swami Pushkarani. There the processional images are anointed with oil, turmeric powder and other auspicious ingredients and Abhishekam is performed. Sudarshana Chakram is given a bath in the Swami Pushkarani. The Garuda flag is then lowered to mark the conclusion of the Brahmotsavam.

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In the night Malayyappa Swami is decorated as Sri Rama. Rama along with Seeta and are taken around depicting Pattabhishekam of Sri Rama. Rama is a symbol of ideal perfection. In the life of Sri Rama each facet of human personality is seen projected to absolute perfection.

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CONCLUSION

Anyone who has had a darshan of the Lord of the Seven Hills will no longer doubt whether God exists or not. A darshan of Him is an experience in itself. People who go to Him come away after meeting Him, with their eyes full of tears, and their hearts melted down by an unknown but agreeable emotion, not knowing what has come over them. The greatness of the Lord lies in the imperceptible and almost unnoticed changes that he brings about in the inner psyche and being, of anyone who turns to Him, with sincerity and devotion.

A living testimony to a living God is Lord Venkateshwara of Tirumala. All that he requires is sincerity in approach. Those who seek with their whole heart, and with a real determination to find, will discover the secret of the Ultimate from Him. It is a fact and verifiable fact that the Lord guides surely, but subtly and imperceptibly, all who turn to Him with faith. When one surrenders to Him, success is inevitable, and one has only to borne on, to the Ultimate, secure and safe in His refuge. This is not mere theory, but is a matter of personal experience with the Lord.

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We have only to surrender our sinful, lustful and agitated hearts and mind to Him, and in return we get from Him, grace, love, and a taste of divine, which is measureless and invaluable. It is a great fortune of our times that He has chosen to be with us, and we have to blame ourselves, if we do not avail fully of His divine presence and influence. I offer my respects and prayers, to my God who is to me whole life here and hereafter.

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Tava charanaravindayugalam sharanam prapadye

Tvameva matacha pitatvameva Tvameva bhadhusakha tvameva Tvameva vidyadravinamtvameva Tvameva sarvam mamadevadeva

There is no savior other than venkatesha. I will always pray to venkatesha.

O Janardhana!the Lord of Lords!other refuge have I none, you, you are my sole refuge. So by your grace and mercy save, save me oh Lord.

O Hari! The jewel-crest of sheshachala! Pardon me for all the sins committed by me, an ignorant being.

I am not the doer, Hari is the doer. All the actions that I do are His worship.

I offer all that I do to: LORD NARAYANA Whatever I do with my body, Whatever I do with my mind, Whatever I do with my brain, Whatever I do with my soul, and Whatever I do with natures help.

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SRI KRISHNARPANAMASTU

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EXCERPTS

• The Tirumala Temple By Dr. N. Rameshan. M.A; Ph.D; F.R.C.S.( London); I.A.S.

• The Symbolism of Hindu Gods and Rituals By A.Parthasarathy.

• Flowers at His Feet By Dr. Pappu Venugopala Rao

• Web sites

• Newspaper cuttings.

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