There are several ways to serve the Lord however the most important among them is remembrance of his names. Chanting his names is remembrance. When it is recited aloud, it becomes kirtanam. Both are acceptable, but what is important in divine service is dedicating everything to the lord with the feeling that whatever one has in life is due to his abundant grace.

One’s daily routine should begin with remembrance of god, you must get even as the lord is awakened.

Kausalya supraja rama

Purva sandhya pravartate

Uttishta narasardula

Kartavyam daiva mahnikam.

(Oh Sri Ramachandra, the son of kausalya, it is day-break. You woke up and perform morning ablutions)

Everyday we must think of Sri Hari in whatever work we perform, see him in every person we meet and make our whole life filled with him.

Asinamsyamdisan tishthan

Bhumjanah paryatan piban

Chinta mano hrshikesam

Apasyattanmayam jagat.

While you sit, look, stand, eat and drink and roam, think of Hrishikesa and all world is being pervaded by him. Srinivasa must always be looked upon as the abode of Sri. That is we must always think of the goddess, also as she is ever abides inn his bosom.

Isanam jagatosya venkatapater

Vishnoh param preyasim

Tadvakshahsthaiah nityavasarasikam

Tatkshanti samvardhinim

Padmalankrta pani pallavayugam

Padmasanastham sriyam

Vatsalyadi gunojjvalam bhagavatim

Vande jaganmataram.

O Lakshmi! Thou art the queen of the universe and its ordainer, thou art the most beloved of Vishnu, the lord venkatachala. Thou dost fondly cherish to make his bosom thy eternal abode. Thou dost forester and intensify his patience, tolerance and forgiveness. How grateful dost thou look in the steady posture seated on a full-blown lotus, with thy slender arms, like tender shoots, holding lotuses as ornaments in both thy palms! Thou dost beam forth with thy loving concern and considerate solicitousness other glorious qualities. Salutations to thee, O spouse divine and mother of the universe!

Remembering srinivasa always means to think of him in all situations, whether you are happy or sad.

When you are taking food, do it with a feeling that the lord is accepting it.

Aham vaisvanaro bhutva

Praninam deha masritah

Pranapanasamayuktah

Pachamyannam chaturvidham.

(Become the fire of life in the bodies of living creatures and mingling with the upward and downward breaths, I digest the four kinds of food)

Whether one is pure or impure, one should always think of the lord.

Apavitrah pavitro vah

Sarvavasthangato-api va

Yah smaret pundarikaksham

Sabhahyabhyantaras suchi.

(Whatever conditions one is in, one who meditates on srinivasa becomes pure)

Ultimately even a sick person should think of Sri Hari while taking medicines.

Sarire  jarjari bhute

Vyadhigraste kalebare

Aushadham jahnavi toyam

Vaidyo narayano harih.

(The ganga water is the excellent medicine for the sickly, decrepit body. Lord Sriman Narayana is the supreme physician). According to the Sages, we must pray to Govinda before going to sleep to avoid nightmares

Achyutam kesavam visnum

Harim somam janardhanam

Hamsam narayanam krishnam

Jape dussvapnasantaye

While going on a journey, omens are seen. But the moment we think of Sri Hari. Whatever may be the omens, the success is ours. The divine weapons of the lord ensure our victory.

Vanamali gadi sarngi

Sankhi chakricha nandaki

Sriman narayano vishuh

Vasudevo bhirakshatose.

There is no defeat for those in whose hearts janardana dwells.

Labhastesham jayastesham

Kutastesham parabhavah

Yesham indivarasyamo

Hridayastho janaradanah.

Sri Govinda is the embodiment of all auspiciousness. Everything goes well always when he is meditated upon.

Mangalam bhogavan Vishnu

Mangalam garudadhvajah

Mangalam pundarikakshoh

Mangalayatanam harth.

Besides, Sri Hari who abides at all places is the same. Everywhere he protects us.

Jale rakshatu varahah sthale rakshatu vamanam

Atavyam narasimhasca sarvatah patu kesavah.

As varahasvami in the water (just as rescuing the earth), as vamana on earth (because he overruns the three worlds), as Narasimha in the forest (just as the lion in the forest) kesava (who is all pervading) saves us all. Therefore, we should offer prayers to him thus.

Vina venkatesam na natho nanathah

Sada venkatesam smarami smarami

Hare venkatesam prasida prasida

Priyam venkatesam prayaccha prayaccha

(O lord! We do not have any other refuge but you. We always meditate on you, grant us your blessings!)

This kind of service to the lord is called sarangati. When there are so many gods, in what form Srinivasa should be worshipped? To this question, Sri Ramanuja replies thus.

Akhilabhuvana janmasthema bhangadilile

Vinata vividha bhuta vrata rakshaika diksh

Srutisirasi vidipte brahmanisrinivase

Bhavatu mama parasmin semushibhakti rupa.

May my devotion to Lord Srinivasa who is the substratum (source) of creation and dissolution in the entire universe, who is committed to protect all the beings, who is the embodiment of the Vedic principles, the supreme brahan reach its culmination

The bhagavatam also explains the concept of Sri hari in a similar manner. All the beings in the universe human, animals and birds meditate on this highest principle.

Evvaniche janimchu jaga

Mevvani iopalanunda linamai

Evvaniyandu dindu

Paramesvaruduevvadu mulakaranam

Jevvadavadi Madhya layudeppudu

Sarvamu danayainava

Devvadu vani natmabhavu

Nisvarunne saranambu vedadas.

Surrender unto that god who creates, sustains and dissolves and who is beyond birth and death!

Ajnanina maya doshan aseshan vihitan hare

Kshamasvatvam kshamasvatvam

Seshasaila-sikhamane.

Oh lord! I have committed innumerable sins out of ignorance. O merciful lord of seshasaila forgive my sins and make me pure.

This is not all. Dedicating all our thoughts to the lord, we must seek his grace. The acharyas call it bharanyasa.

Aham madrakshanabharah

Madrakshanaphalam tatha

Na mama sripate reve

Tyatmanam nikshipet budhah.

(Lord! the responsibility of my protection and the fruit of my protection are not for me. I surrender all unto you).

Our anger and passion will be destroyed when we serve the lord thus. Mind becomes calm and equipoise. We develop patience and forbearance.

Chetulavanga sivuni pujimpadeni     

Noru novvanga harikiri maduvadeni,

Dayayu satyambu lonuga dalapadeni

Kaluganetiki tallulakadupu chetu.

(Worship Siva ! Praise Hari. This will help to cultivate noble qualities like compassion, truth, purity and righteousness).

Srinivasa is the ideal God for such noble people. A bee whichever way it turns, acquires the essential character of an insect. Similarly a bhagavata (devotee) imbibes the qualities of God. At that time he experiences that everything in the world is pervaded by Vishnu.

Govinda

Vasanadvasu devasya vasitam te jagat trayam

 sarvabhutanivaso si vasudeva namostu te.

(As he abides everthing he becomes vasudeva. He shines in all beings)

Therefore, we praise Srinivasa chanting vasudevaya namah and narayanaya namah.

Karacharanakritam va kayajam karmajam va

Sravananayanajam va manasam vaparadham

Vidita manditam va sarvametat kshamasva

Jaya jaya karunabde he prabho srinivasa!

(O lord! Srinivasa, kindly forgive me for the sins committed knowingly and unknowingly through my senses of knowledge and senses of action Grant me salvation. Hail victory to thee!

Bhaja govindam bhaja govindam

Govindam bhaja mudamate

Samprapte sannihite kale

Nahi nahi rakshati dukrinkarane.

Worship Govinda. Worship Govinda

Worship Govinda, O foolish one

Rules of Grammar are of no avail

Once the hour of death draws nigh.

Sankara bhagavatpada thus exhorted us annamacharya who exultantly praises lord srinivasa sings thus.

Sarvopayamula jagati nakitade

Urvidharudu purushottamu ditade

Sakalagangadi tirtha snanaphalamulivi

Swamipushkarini jalame naku

Sakalapunyakshetra avasayatra livi

Sari venkatachalaviharamidiye.

The means for everything in this world, to me is the supporter of the entire universe the supreme person, is he –A holy bath in the swami pushkarini is like a bath in the ganga and other sacred rivers. A trip on the Venkatachala is like a pilgrimage to sacred places). Talapu gala yogambulandu sri vaishnavula tagala samvasa sahayogambu

(Among the desirable yogas is associated with sri vaishnavas) Govinda

Alaruna sampadalu itani pattappurani

Alarmelu manga kadakanti choopu.

(An ever growing wealth, of mine is his reigning queen,(an ever growing alarmelumangas kindly side glace)

Chelagi itu devata prarthanimtayu naku

Sri Venkateswaruni saranagati

(Performance of saranagati to sri venkateswara for me is worship of all devas.)

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Kolaramma temple in Kolar dates back to the early centuries of Christian era. Though the exact date has been obliterated in the dark age of history, it is a product of ganga devotion, the clan that ruled this part of the country in 6th, 7th and 8th centuries. In the beginning they ruled from Kuvalala-(The present name is Kolar). They shifted their capital to Talakadu of Mysore country and then moved to the northern parts of Andhra Pradesh; when they were overrun by Cholas in 9th and 10th centuries. The early temples sprouted in these parts amply illustrate the unique Ganga style of art and architecture.

Kolar dist is the city situated in the southeast part of Karnataka. The temple is in the south east end of the city. It is some 70kms, from Bangalore. Though the temple is a small one, when compared to the other temples of Vijayanagar period, is unique in many ways.

The temple is on the northern banks of Kolarammana Kere, the big tank otherwise called Amanikere. The town itself is known as Kuvalala, Kolahapura, Kolar and the Goddess – kolaramma-Chamundeswari killing Mahishasura – is called Pidariamman in the inscriptions found in the temple.

Pidari- the word is a corrupt form of Peedahari a Sanskrit term which means remover of bad omens and balagrahas. It is a folk deity associated with saptha Matrikas.(seven mother Goddesses) also known as Akkagarulu- elder sisters of the male God. In S.I.I vol2 para 41 Venkaiah in his foot note on the subject of Pidari has this to say- Pidari is seen in sitting pose expressing her wrath with fire flowing out from all parts of her body. There is a crown on her head. She has Vibhuthi on her forehead and ornaments hanging down from the earlobes. In her four hands she has trident, skull, drum with serpent, elephant hook. Her seat is Yagnavedhi. There are eighteen generals of her army. On the whole Chamundi is depicted as representing Pidari Devi. But Chamundi will be standing on Mahishasura. It is said that she killed Mahishusura with the Shanka and Chakra (conch and discus) of Vishnu. Two of her four hands hold Shanka and Chakra. In her Vibhuthi there will be the mark of half moon. When she has six hands – bracelet, sword, Trident, hook and skull etc; will be the armaments. When so ever the departed souls by suicide or dreadful cause became evil powers, Pidari Devatha controls them.

The Goddess enshirined in Kanya Kumari is also called Pidari Devi. Gopinatha rao- while explaining the meaning of the pillar inscription of kanya Kumari says that Pidari Devi is Kanya Kumari. The original lines (from 433 to 444 E.I Volume edited by H.Krishna Sastry) are – “Raja Raja Pandia Nattu Kumari Kanniya Pidariyarku Vendum Nithya nimandanangalukku Chakkaravarthi Sri Veera Rajendra Devar Kudutta ..”(…as per charities endowed by Chakravarthi Sri Vira Rajendra deva to Pidariar Kanyakumari of RajaRaja Pandya country….) we can safely conclude that Pidari Devi was very famous Goddess in the south India sub-continent and in the course of time she came to be known as Chamundi- Chamundeswary Devi.

Kolar Temple

In the early days before the advent of Agamas when Mantrokta Aradhana was scarce, the Gods and Goddesses were generally believed to be evil spirits or wrathful and vindictive super powers and were worshipped to be graceful and to ward off evil effects in ones life. While the time passed they were associated with good natured, graceful male Gods and they too became benevolent and good natured and were called Mother Goddesses and they were many-six, seven, eight, even sixteen. But all were filtered down to seven and were invariably associated with their male counter parts. Only varahi and Chamundi have got individual existence.

Mahabharata narrates the story of saptha matrikas, in its 225th Adhyaya of Vanaparva. Afterwars they came to be counted as seven in number. They are Brahmi, Maheswari, Koumari, Vaishnavi. Varahi, Indrani, Chamundi. The very names suggest the male counterparts. The vehicles used for their conveyance are also the same used by their male counter parts. Vehicles, like Hamsa for Brahmi, Nandi for Maheswari, Mayura for Koumari, Garuda for Vaishnavi, male buffalo for Varahi, elephant for Indrani, lion for chamundi, here also one can see the difference in Varahi and Chamundi.

Anyway our goddess Kolaramma is having eight hands and with a trident she is seen killing Mahisha rakshasa, with her left foot firmly holding Asura to the ground. Simha Vahanam can be seen clearly in the background. She is facing south with her back to the northern wall of the Girbha Griha. Other six Matrikas are on the adhistana- near the western wall facing east. Ganapathi and Veerabhadra are also placed here. There is a Sri Chakra in the middile of the sanctum; which seems to be a new addition to the old pantheon. In order to house these idols Garbha Griha has become oblong. The unique feature is that one will not be able to see the Goddess by standing in the eastern doorway. To accommodate a full view of Chamundeswari Devi, a big mirror is installed in the south west corner of the sanctum. Another mirror is hanged to the North east pillar in the Mukha mandapa. One can see the image of Kolaramma in this mirrior also, which is a reflection twice removed from the original.
To the left of this Garbha Griha there is another along structure at right angle which is another Garbha Griha housing the clay images (marter images- Sudha Vigrahas) of Saptha Matrikas. While in the first sanctuary all the idols are made of stone; here they are of marter. This room is more than twice the size of the first one, and has a horizontal wall separating the inner yard housing the deities and the outer mantapa where the devotees stand to have a glimpse of the idols. But here too one will not be able to get a full view of Saptha matrikas along with Ganapathi and Veerabhadra. Added to this oblong nature of placement of Vigrahas, the processional deity of Chamundeswari is at the entrance of this Garbhagriha facing north, which prevents a full view. In the outer section, to the left of the door, facing the north wall is the life size statue of Mooka Nachchiyar popularly known as Cheluramma. Tradition says she is nude, but a cloth is covering her body. Though she has no pooja of any sort, devotees prostrate at her feet where the image of a scorpion made of silver is at her feet. They say it is a pit of scorpions and as such the deity is called Cheluramma. The two parts of this Garbha griha has got eight pillars supporting the roof, four to each side of the dividing wall in between.

This Mukha Mantapa is having doors in the north and east. Devotees entering the temple by the north door depart from the east door, which leads to an outer Ranga Mandapa. Infront, to the east, there is an adhistana- a podium on the two sides of the entrance. Inside the temple entrance there is Balipita.there is a Dhwaja stamba ib the outer court yard.

Kolar Temple

In the10th century A.D. when the temple was a brick structure it received many charities for lamps and worship, gold ornaments and Naivedyams. Jakkiyabbe the daughter of Thribhuvanaiah erected this mantapa in c.1030 A.D. in 1033 on the orders of rajendra Chola Devar, Senapathi Arumoli maharayaru constructed the temple in stone which was brick structure earlier. The shilpi who constructed the temple at the instance of Arumolidevan was one Brahmin of Kattumanapakkam, shilpi Tiruppori ambalattadi. During the period of imperial cholas the temple had its golden age having one utsavam in every four days. There was an annual Thirukkodi Tirunnal called “Panguni Tiruvila” conducted in the month of Panguni. Dhwajarohanam being done on the day of Uttara Phalguni Nakshatra. This Dhwaja- flag was of 18 feet approximately. The artist who painted this flag was getting some honorarium also. The temple of Pidariyal used to have animal sacrifice also. There used to be twenty four dancing girls serving the Goddess. There was a Vyakarna panditha and a Jyothisthi. Young damsels were worshiped in Kanyapooja. Intoxicants were also used and all the festivals are explained in detail in the inscription found on the walls of the temple.

Slowly after some time – say during 13th century, when Chola hegemony was declining, the temple was neglected and dilapidated, in AD 1280 Vettumarabanan renovated the temple adding the Mukhamantapa and reissuing orders for renewal of the charities of the old times. By this time the old practice of worship was also given up and as such there are no details on any aspect of renewal. By this time, one can assume, the Goddess was accustomed to Vaidika Agama Puja Paddhathi. This is followed even today. But it has seen more than one negligence and more than two renovations. This is evident from the inscription of Achutharayas time (Vijayanagar period) and the Mahadwaram constructed during the later Vijayanagara period.

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The Temple of Angkor wat was dedicated to the Hindu God Vishnu by king Suryavarman2, who reigned between AD 1131 and 1150. The temple consists of five towers and is believed to represent the five peaks of Mount Meru, the home of Gods and center of the Hindu Universe. Angkor wat features the longest continuous bas-relief in the world, which runs along the outer gallery walls, narrating stories from Hindu Mythology. The Dashavataram was carved on the walls of Angkorwat.

The ten incarnations of lord Vishnu is a Hindu theological concept in Puranic history. Lord Vishnu exists as the creator and also within every being as our soul, our Supreme. He also enters or descend to our world in the form of Avataar whenever his presence is needed-Avataar is described by Lord Krishna – whenever there is a decline of righteousness, and a rise of irreligious, I incarnate myself. To protect the good, to destroy the wicked, and to re-establish religious principles, I appear in every age – (Bhagavad Gita). The Ten Avataars or Dasha Avataar of Vishnu are important and very interesting as you can see that he incarnates progressively from fish to human form.

Dasavathamram

1. Matsya Avataar – The Fish
2. Kurma Avataar – The Tortoise
3. Varaha Avataar – The Boar
4. Narasimha Avataar – The Man-Lion
5. Vamana Avataar – The Dwarf
6. Parashurama Avataar – The Warrior
7. Shri Ram Avaatar – The King
8. Shri Krishna Avataar – The Cowherd
9. Buddha Avataar – The Teacher
10. Kalki Avataar – The Slayer

The statue of Lord Vishnu would have been sculpted with royal jewelers and clothing according to Khmer tradition.

The temple is considered in the image of Cosmic Purusha, on whose body is displayed all creation in its materiality and movement. Paradoxically, the space of the Purusha is (Rig-Veda 10.90), in the sanctuary only ten angers wide, although he pervades the earth. The temple construction begins with the Vastupurusha mandala, which is mostly divided into 64(8/8) or 81(9/9) squares, which are the seats of 45 divinities.

Angkor Wat is the supreme masterpiece of Khmer art. The description of the temple fall far short of communicating its great size, the perfect proportions, and the astoundingly beautiful sculpture that everywhere presents itself to the viewer. Its architecture is majestic and its representation of form and movement from Indian mythology has astonishing grace and power. The inner galleries of the temple have depiction of the battle of Kurukshetra, procession of King Suryavarma and his ministers, scenes from heavens and hells, churning of the sea of milk, the battle of Vishnu and the asuras, victory of Krishna over Bana, battle of the Devas and Asuras, Ravana shaking Kailasa with Siva and Parvati atop, and the battle of Lanka between Rama and Ravana. These and others scenes are drawn with great artistic beauty. No wonder, the temple ranks amongst the greatest creations of human imagination. As an aside, it should be mentioned that some European scholars tended to date Angkor Wat as being after the 14th century. The Hindu temple, as a conception of the astronomical frame of the universe, serves the same purpose as the Vedic altar, which reconciled the motions of the sun and the moon. Lord Vishnu carries a very powerful golden chakra called Sudarshan Chakra with enormous killing power and emanating golden rays in his first finger. This is why perhaps it is more aimed on solar correlations as compared to lunar. This indicates the relation of Lord Vishnu and sun God. This represents how Hinduism has deepened its roots in Angkorwat.

Everyone must see this at least once in a life. The prominence of the Hindu God and Lord Vishnu (Dasavatharam) entered into Cambodia-Khmer Angkorwat in the early ages of ancient Asian history. An extremely spectacular and stunning showcase of ancient knowledge and carvings of the great epic events of the Ramayana and Mahabharata challenging the latest technology today.

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1. Matsavataram (Lord Vishnu in the form of fish),
2. Kurmavataram (Sri Vishnu as Tortoise),
3. Varahavataram (the Lord as Boar-the present form),
4. Narashimhavataram (the God as Lion),
5. Vamanavataram (Vishnu as dwarf in the said name),
6. Ramavataram (the Lord as Sri Rama),
7.  Bala Ramavataram (Vishnu as Bala Rama),
8.  Krishnavataram (the Bhagvan as Sri Krishna),
9. Kalkyavataram (Mahavishnu as Kalki Bhagavan forth coming incarnation).

The existing god, Varaha Narasimha Moorthy of Simhachalam temple in vizag is the most reputed deity who, immediately responds to the sincere calls of His stanch devotees of all types irrespective of time like our world acclaimed temple towns – Tirumala, Tirupati Parameswara Sri Venkateswara in this Kaliyuga for which He is named “Kaliyuga daivam” (God of this age) by His bhaktas (Annamayya, Hatiram Bavaji). This Narasimha Murthy deals not solely with the victimization of the vicious but also with the protection of the virtuous and yet with the omnipresence of the Supreme Being. The avataram also discloses the Lord’s form with some strange fury. Some Vedic Pandits consider the form (avatar) the juxtaposition of the Vaishnava and Shaiva Philsophy. If Sri Vishnu is the cause of the creation of the material world, Shiva is the cause of its destruction and the most furious and strange form of the three eyed almighty / omnipotent deity. The forms of the said two Lords of Vishnu and Shiva have obviously paved a way here unitedly to the profound single form of the Bhagavan Narasimha. This is what a few Puranic Pandits presume. The most sublime and favourite Lord Narasimha flourished there in the tiny temple town of Simhachalam in the form of Varaha Narasimha. Some other Vedic Scholars fancy thar He (God) symbolizes a yogic way for anahata for the solar region and for the sudarshana Chakra in the great world of divinity (Swarga/heaven).

The pilgrim town of Simhachalam stands at the height of eight hundred feet from the sea level of the Bay of Bengal in the Eastern Valley amidst the splendor. It is alleged that Mahavishni slain a demon / rakshasa called Hiranyaksha in the avatar of Boar for his evil doings and later killed mercilessly and terribly his brother demon-king in the incarnation of lion. As the child devotee Prahlada desired, the Lord Varaha Narasimha Swamy flourished here in Vaisakha on the auspicious Thadia. Since then, He is being adord as “Simhadri Appanna” by all Local people even though He is regarded as Varaha Narasimha. During the period of Bhaktha Prahlad’s service to the God itself Brahma together with Shiva and Indra and with other angels called on Simhachalam ( Simhagiri ) and conducted Bhagavan’s Brahmotsavams. This is what our Hindu Puranas point out. This tale is akin to the Aeon of Krita (Krita yugam).

Thereafter no poojas took place for Varaha Narasimha Murthy for some decades for which the shrine,remained partially in ruins. Besides the august pristine idol lied covered with an anthole and stood in visible. Moreover, the partial ruins /debs of the temple step by step paved a way for the growth of shrubs and weeds. When a few years rolled by then an auspices of occasion, unawares luckily came. Then the emperor Pururava, one of the most reputed shat Chakravathi (Six emperors) chanced to call and the shrined ruined and deserted and moved to tears. But being devout he came forward and strained himself for its renovation and yet arranged for the removal of the arthole etc. Afterwards he performed Abhisheka for the unearthened stone idol of the Lord from the big anthole with some flow from the thousand Ganga water filled in Kalasas and Panchamruthams. Thus runs anecdote which the orthodox men cannot deny. Apart from this as per the wish of the Lord, the same quantity of sandal powder equal to the clay / earth which was dug from the and hole was rightly placed in the dug spot. A purana akin to the place vents in a vivid way.

Soon after the demise of the demon-king, Hiranyakasipu, the angels smeared sandal paste to the scared idol of the Bhagavan Vugra Narasimha ( the Lord in countenance of fury) in order to cool Him down as per the belief of Bhakthas. Almost all staunch devotees of the said supreme Lord are of the same belief. The sandal paste smeared to the stony image of the Bhagavan through out the year will be removed in the month of Vaishakha on the holy day of Suddha Thadia so as to display the real form of the God to all devotees regardless caste, creed and religion. Later on the archakas smear afresh once again sandal paste weighing three mounds in first  installment. Thereafter, they dedicate three mounds of Sandal paste a poornima, during the days of three poornimas like Vaisakha poornima, Jesta Poornima and Ashada Poornima. Pooja system (Moral obligation of worship) totally refers, as per Agama Shastras, to Pancharatra Agamanam. Above this, our Indian History pin points that the shrine was redeveloped by Thurpu Gangaraju Narasimhadeva, the then ruler and later safeguarded by a Vedic Pandit, Madhvacharya Naraharatirthulu during thirteenth century.

Moreover, in addition to the aforesaid historical aspects, it is portrayed that a pillar on which a figure of frog is carved for which it is regarded as “Frog Pillar” inside the temple. This so called aged old pillar unhesitatingly reveals a sort of efficacy. This Pillar is yet installed on a great Santhana Gopala Machine in the temple premises. Even today people believe that those who embrace the pillar will be blessed with children in nearing future and will also gain all kinds of happiness. This frog engraved Pillar is so strange that it cannot be forgotten and is also worth seeing.

As regards the Vastu Shastra, the Varaha Narasimha Murthy shrine stands unequal. Whenever a staunch devotee calls on the temple, he is sure to come across with keen observation the juxtaposition of the Odre and the Dravidian customs and traditions in a clear cut way. Not only are this, but also the inner part of the temple and the Entrance Mantapam architected according to the Odre Vastu Shastram. Of all, the five headed aeroplane that is there on the Sanctum is also constructed in the method of the Dravidian Vastu Shastram. It is, in fact, too charming to keep in our minds. Moreover, when we go through the temple walls, we can find obviously, the inscriptions of the kings, Chalukhyas and Gangaraju. Still the triumphant tour of the great king of the Vijayanagara Empire Sri Krishnadevarayalu is also noticeable in three inscriptions engraved on the temple walls inside in a legible manner even this day.

The state-acclaimed shrine of Varaha narasimha Swamy thus, depicts its sculptural beauty along with divine greatness in the midst of the said Eastern valley in a pleasant and congenial atmosphere coupled with sylvan beauty of simhachalam temple in vizag. It also feasts a devotee’s eyes with both fine sculptural skill and nature beauty. The moment, we call on the shrine, the profound, popular consecrated idol of the Lord attracts us and a kind of piety emerges, unawares out of our minds and hearts.

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Sri Venkateswara swamy temple is a famous Hindu temple of Lord Vishnu located in the hill town Tirumala near Tirupati in Chittor district of Andhra Pradesh, India. Sri Venkatewara Swamy temple is situated on Venkatadri, (lies on the southern banks of Sri Swami Pushkarini) one of the seven hills of Tirumala, and hence is also called as the temple of seven hills. The Tirumala hill comprises seven peaks, the seven hoods of Adisesha, thus earning the name Seshachalam. The seven peaks are called Seshadri, Neeladri, Garudadri, Anjanadri, Vrushabhadri, Narayanadri and Venkatadri. Sri Venkateswara swami is also known by other names Srinivasa, govinda and Balaji. According to legends temple has a self-manifested murti (deity) of Sri Venkateswara Swami believed to have resided there for the entire kali yuga. In Sri Vaishnava tradition, the temple is considered one of the hundred and eight divya desams. Sri venkateswara temple is believed to be the richest of all the temples in the world.

Sri Venkateswara Swamy

Thondaman, the ruler of the ancient Thondai mandalam ( Kanchipuram) is believed to have first built Tirumala Sri venkateswara temple after visualizing Lord Vishnu in his dream. He built the Gopuram and prakara, and arranged for regular prayers to be conducted in the temple. Later on the local kings vastly improved the temple and gave rich endowments. It was under the regime of the Vijayanagara emperors that the temple attained the majority of its current wealth and size, with the donation diamonds and gold. The coronation ceremonies of the emperors were also held near Sri Venkateswara temple at Tirumala near Tirupati. In fifteen hundred and seventeen, Sri Krishnadevaraya, emperor of Vijayanagara, on one of his many visits to the Sri Venkateswara temple in Tirumala, donated gold and jewels. The Maratha general Raghoji Bhonsle visited Sri Venkateswara temple and set up a box jewel for the conduct of worship in the temple. Among the later rulers who endowed large benefactors were the rulers of Mysore and Godwel.

In the year eighteen hundred and forty three East-India Company, entrusted Sri Venkateswara temple entrusted to seva Dossji of the Hattiramji Mutt at Tirumala as Vicaranakartao Mahants ruled Devasthanams for nearly a century until nineteen hundred and thirty two when Tirumala Tirupati Devasthanams was established as a result of the Tirumala Tirupati Devasthanams Act, Nineteen hundred and thirty two. Tirumala Tirupati Devasthanam is operated by a board of trustees and has increased in size through adoption of various Acts. The daily operations and management of Tirumala Tirupati devasthanam is the responsibility of an Executive Officer who is appointed by the Government of Andhra Pradesh. Sri venkateswara temple attracts approximately sixty thousand devotees every day. Devotees give donations to Sri venkateswara temple in various forms which run into the millions.

Sri Venkateswara Swamy Suprabhatham, the morning recital of prayers and songs of awakening is written by prativadi Bhayankaram Annan of Kanchipuram and sung by famous singer M.S Subbalakshmi. Several composers composed beautiful kirtans about Sri Venkateswara Swamy. Thallapaka Annamacharyulu, father of Padakavitha in telugu literature, had written and composed thousands of excellent, exemplary, devotional and lovely songs on Sri Venkateswara swamy. Thallapaka Annamacharyulu is a legendary devotee of Sri Venkateswara Swamy. The post and saint Thyagaraja had written and composed beautiful and devotional two Kirtans about Sri Venkateswara Swamy. Tharigonda Vengamamba, Bhakti poetess in Telugu, had written books about the greatness of si venkateswara Swamy with devotional manner. Thallapaka Pedda Tirumacharyulu wrote number of philosophical and devotional songs on Sri Venkateswara Swamy as deep devotional poet and devotee. More recently Chakravarthi Rajagopalachari, former Governor General of India, wrote the bhakti song ‘Kurai onrum illai’, describing about glory of Sri Venkateswara swamy at Tirumala.

Many saints have visited Sri Venkateswara swami temple and worshiped with deep devotion, surrender and dedication. Notable among them is the foremost Jaghadguru Adi sankaracharya, who came to Tirumala and placed the Sri Chakra at the feet of Sri Venkateswara swami. He sang the song “Sri Vishnu paadadi keshanta sloka”, in which the Jagadguru describes the beauty of the lord from crown to the toes. It is also believed that when the Jagadguru reched Tirupati hills, he found that it looked like saligrama. Ramanujacharya visited Tirumala and installed chakra and conch on the deity, Sri Venkateswara Swamy. Countless number of devotees, religious leaders and heads of states visited Sri Venkateswara Swamy temple in Tirumala and received divine blessings to get relief, happiness and bliss.

Sri Venkateswara Swamy temple is a place called Kali Yuga vaikuntam. The Brahmostavam festival is one of the most important and auspicious function of Sri Venkateswara Swamy temple in Tirumala. Brahmotsavam origin leads to Brahma, the creator God, who first conducted this festival to Sri Venkateswara Swami at Tirumala. Brahma worshipped Sri Venkareswara Swamy on the banks of the holy pushkarini in Tirumala to thank the Lord for protection of mankind from evil forces. This festival thus carries this name “Brahmotsavam” meaning “Brahma’s utsavam”. It is celebrated over a period of nine days. Sri Venkateswara Swamy devotees enjoy celebrates in Tirumala and gets happiness in Tirupati Brahmotsavam. They experience the heavenly pleasantness and bliss in Bramhostavam.

Devotees receive the blessings of Sri venkateswara Swamy in Brahmotsavam. Before the start of the first day, the rite of sowing of the seeds to signify fertility, prosperity and abundance is performed. On the first day, the main activity is the ‘Dhvajarohana’, the hoisting of the Garuda flag at the Dhvajastambham. This signifies the commencement of the Tirupati Brahmotsavam. During the nine days of Tirupati Brahmotsavam festival daily homas and processions are seen in the car streets of Sri Venkateswara Swami temple. The concluding day is the Janma Nakshatra of Sri venkateswara Swami, which is celebrated in a grand way with Avabhritha ustava. The celebration ends with ‘Dhvajavarohanam’ – the lowering of the Garuda flag. Millions of devotees witness Sri Venkateswara Swamy Bramotsavam in Tirumala every year with great devotion, happiness and bliss to get liberation from sorrow and conflict in life.

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Vengadam or Tirupati is frequently mentioned in the poems of the early Alvars. Although they often refer to the God in general terms as Vishnu, still from the way in which they refer to the God we may conclude that they have unmistakably the God at Tirumala in their mind. Poygai Alvar says that the God at Vengadam is in a standing posture; he further says that God Vishnu is in the heaven on earth in Vengadam. Again he says that the great snake, Adisesha, serves Vishnu as an umbrella when he walks, athrone when he sits, as sandals when he stands, as bed when he lies down. He also serves as a fine silk vestment or pillow in bed. Bhutatta Alvar similarly describes Tirupati as a place where Vishnu appears in a standing posture. Pey Alvar refers to the God at Vengadam as being the Lotus-born (Lakshmi) on his chest. These Alvars identify the God at Vengadam with other incarnations of Vishnu, like Varaha, Trivikrama, rama and Krishna. They describe him as a young boy and call him ilamkumaran, Gopalaka(Govinda). This last statement is significant and will be referred to again later on.

The Puranas say that God Vishnu, by his own choice, came to live in seclusion on the hall of Tirupati in his loneliness caused by the departure of goddness Sri from his side, owing to the insult caused to her by the touch of the foot of Sage Brigu. After some time, he assumed the form of Srinivasa for showing himself to a devotee who had been performing penance for him. While Srinivasa laid concealed in an anthill, a cow of the king of the locality, going to graze on the hill, emptied her udder on the anthill daily and returned home dry. The king got information of the phenomenon and discovered God after digging the anthill. He built a temple for God at the spot and Srinivasa condescended to stay in it.

The ancient tamil work, Silappadikaram, refers to Tirumala and the God in the temple there. The statement in the work must carry weight for contemporary history, especially as it was written by a non-Hindu. It describes the God at Tirumala as standing majestically on the high hill of Vengadam, which is full of streams, like a blue cloud, with red eyes and dressed in flower garlands, holding the fearful discus in one hand and the milk-white conch in the other.

Tirumalisai Alvar was a contemporary of the first three Alvars. In his poems he several times refers to Tirupati and god on the hill there. He says that both Brahman and Siva were among the worshippers of Vengadam and that the hill at Vengadam was full of streams. He also says that the celebrations of the Onam festival are a regular feature of Vengadam. We know that the festival on the day of this asterism is peculiar to Tirupati. This Alvar also refers to the God at Tirupati as a young one (Kumara).

Nammalvar and Periya Alvar, no doubt, refer to Tirupati but their references are more or less of a general character and give us no details of a realistic character as we find in the early Alvars. The same remarks apply equally well to the work of Alvar, a ruler of Chera country, has written some poems on the god at tirumala but he does give any specific details in them, in relation either to Lord or the worship in the tirumala temple. He longs to render devoted service at the holy shrine of Tirupati and would wish to be anything on the hill-a-water-bird, a fish, a menial servant, the champaka tree, or a door-step. From the words of the Alvar we may infer that Tirupati in his time occupied such a high place among the holy places of Vishnu as a royal monarch should aspire to be at least a doorstep in it. Tiruppan Alvar refers to Vengadam twice in his poems. Although these references too are of a general nature, they still indicate that the image enshrined in Tirupati is Vishnu. Tirumangai Alvar, in his poems, makes reference to the God at Vengadam more than a dozen times, but most of them are of a general nature. In one place, he refers to God as teaching the secret mantra of the worship of Vishnu to Tondaman chakravarti. There is another reference in which God at Tiruvengadam is said to be Krishna, who helped the Pandavas.

Two inscriptions of the Pallava period relate to gifts by some lady. She made many presents and endowments and desired that their management should be put under the direction of the sri vaishnavas. Another inscription of the period relates to the gift of some land for the purpose of the festival on Margalidvadasi i.e., the 12th day of the bright fortnight in the Margali month (December-January). One inscription of the time of Rajendra chola1 dated 1018 A.D.refers to an official enquiry conducted in regard to the arrangements for carrying on the worship in the temple of God at tiruvengadam. After relating the place and nature of the enquiry, the inscription records the decision of the officer who conducted the enquiry and concluded with the remark that the decision was accepted by the Sri Vaishnavas, one of the inscriptions of the reign of kulottunga 1. (1070-1148A.D.), which refers to the gift of milk and curds to God by a lady, refers to the god in the temple as tiruvayppadi tirumalai Alvar, which means “the lord of the cowherd village on the hill”. This is a clear evidence of the fact that, in the time of kulottunga1, the god was regarded as an aspect of Krishna (Vishnu) as by the Alvars.

We thus see that the temple of Tirupati is a very ancient one and there has been a continuous tradition that the shrine in vengadam is dedicated to Vishnu.the sangam literature, the Puranas and geographically records support the tradition. The fact that the Tirupati temple is not included in the thousand famous Saiva temples and that no saiva saint. Refers to it, also supports the Vaishnava tradition.
Notwithstanding the continued tradition and the literary and geographically evidence in support of it, doubts are still entertained in some quarters regarding the original vaishnava nature of the icon or the masculine form of the archa. It may be worthwhile to examine some of the arguments urged by the dissenters and expose their futility.

In the month of Margali, every day, early in the morning God is worshiped with the tender shoots of the Bilva tree. No doubt Bilva-shoots are usually made of in the worship of siva and they are said to be dear of him. That does not mean that they should not be used in the worship of Vishnu. There are lots of flowers used in the worship of both the gods. On the other hand, worship with Bilva shoots is expressly enjoined for Vishnu in the Dharmasastra in the month of Margali Resemblance of the shoot to the three eyes of the God.
Similarly the represents of god as having matted hair not prove that it should be that of Siva. As a matter of fact the icon of srinivasa has no matted hair but only disheveled hair. Again matted hair is not an invariable attribute of Siva a certain style of the icons of Vishnu always included matted hair in it.
In all the portraits of the Gods, whether drawn or painted, the hair is always represented in loose locks expect those of Siva. Loose or untied hair does not necessarily mean matted hair. Want of acquaintance with the sastra leads to misinterpretation of facts.
Among the various names of the hill on which the temple is situated, there is one by name Vrishabhachala. Vrishabha(Nandi) happens to be the vehicle of Siva. It does not follow ipso facto that everything that has that name should be the vehicle of Siva, and any temple on the hill with that name should necessarily be of Siva. Though Vrishabha is connected with Siva as a vehicle, it is also connected with Vishnu Siva as a vehicle; it is also connected with Vishnu as his enemy. Vishnu killed a demon named Vrishabha on this hill and in compliance with his request dibbed the hill as Vrishabhachala. The circumstances under which the hill acquired the name are described in detail in the Purnas.

There are ornaments in the form of snakes on the upper arms of the idol of Srinivasa on the hill. If is true that Siva wears snakes on his body but this does not mean that no other God should have ornaments in the form of snakes. It is common with females of many castes and creeds to wear ear-ornaments in the form of snakes. Further, Vishnu has every right to wear ornaments in the form of snakes as the snake, Adisesha, serves him in various forms. If it can serve as his upper garments, I do not see any reason why it should not serve as an ornament. But in fact the actual icon of Srinivas has no snake-ornaments on its arms.

Aayaanthu nityanuditaa janathaa bhavantu
Raashtre sthiraaseha vilasantu sadaiva lakshmyah II
Saraswathidevi blessed him as follows-

“My son!
May all your adversities be removed!
May the sinful desires be destroyed!
May you get immense happiness!
May your people be happy!
May the wealth remain steadfast in your kingdom! ”
And then disappeared.

Meanwhile the sun has risen. People awoke. The maids in the palace thought that Padmaleela has come back from heavens again. They were very pleased and embraced her. The people in the kingdom started informing each other that Padmaleela had attained spiritual powers and with them, she brought the king back to life again and also brought another wife to him. Many such similar stories had started to spread amongst them.

King Padma, who was reborn, is still in confusion. He started to understand the happenings through others Pleased that he was reborn again. Did all the rituals prescribed for such an event. His ministers, subjects, the other rulers under him – all gathered together again to perform another coronation ceremony to him as their king, with much gaiety and happiness.

In the company of his two wives, the king gradually becomes a realized soul and these three realized souls spent their time in self-analysis, while in the external life, the king ruled for several years to the satisfaction of everybody and ultimately all the three attained total liberation

Yadudayavasadam vidagdha mugdam
Samuchita maatmahitam cha pesalam cha
Tadakhila janatoshadam swaraajyam
Chiramanupaalaya sudampati vimuktau

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How does one see Lord Sri Ganesh? He is seen with the head of an elephant, a broken tusk, and twisted trunk with four limbs adorned with Sankha, Chakra and Modaka (a ball shaped conical pudding), pot-bellied, rat borne, snake-girdled; in a wonderful form with such a combination. For all these symbolic formations legends are the only testimony and they are indeed very interesting.
This universally adorned God is known by different names Vakratunda( of twisted trunk) Ekadanta(of one tusk), vinayaka (remover of obstacles), Ganapati (leader of ganas), Herambha(all protector),Gajanana(elephant faced), Lambodara(pot-bellied), mushaka vahana (rate borne). Lord Sri Ganesh is not only praised as the remover of obstacles but also as the Lord of obstacles. He is the Patron of learning. No Hindu would risk beginning any work with out first invoking the benignity of Sri Genesh Presumably therefore Sage Vyasa accepted Ganesha as his scribe to write down the Mahabharata as the sloka flowed out of his mouth.

Historically, Lord Sri Ganesh starts from about the fifth or sixth century. His origin is not distinct since he has been worshipped for thousands of years as one of rustic stone images under the wide shade Aswatha trees, mostly as God of the harvest. Gradually he has been exhilarated from demon god (Gana) to the god of the demons (Ganapati) one of the retinue of siva, and finally as one of the sons of Lord Siva. Ganesh consolidated his position so greatly that he displaced Siva and became the foremost to be adored, the Majestic God.

There is much mythological evidence about the origin of Ganesh. The Varaha purana mentions him as the son of Siva and Parvati. He was created by Lord Siva out of his mind as the Lord of Obstacles to guard, and lay obstacles in the path of those undeserving ones who wished to worship the incarnated Siva at someshwara shrine where only the devas held the prerogative of worship, when an all-endowed child was so reared by Siva by his thought, Parvati became displeased that the boy was not born of her will, and immediately cursed Ganesh that his head should resemble that of an elephant with a huge belly. Though Siva felt keenly about this, he accepted the curse and blessed his son that he should be known by the names, Ganesh, Vinayaka and Vighneswara and he should be foremost God to be worshiped on all occasions, as otherwise the devotees should fail to achieve their object.

Another interesting legend states that Siva Parvati once retired into the forest when the elephants making themselves happy. This sight excited passion in them and they transformed themselves into elephants and delighted themselves. The child born of this union is Ganesh with the elephant-face.
According to ‘Matsya Purana’, Siva used to delight himself by testing Parvati whenever she was at her bath. She in turn erected Ganesh and made him guard the entrance. Siva was surprised to find his way barred, became enraged and with his spear cut off the head of Ganesh. But he felt deeply and instantly ordered his aides that the first head which they came across facing south, should be brought. This unfortunately happened to be the head of an elephant. This huge head was clapped on to the human from and he was restored to life and Ganesh thus became ‘Gajanana’ (elephant faced).
Ganesh is represented as rat-borne, as having one whole tusk while the other is broken. How came he to own a rat as Vahana (vehicle) and how he broke his tusk are told in legends. There was a giant demon, Gajamukhasura, who was invincible to Gods and men. Ganesh was sent to overpower him. In the fight Ganesh lost his tusk. He took the broken tusk and flung it at the demon. The latter became afraid and transformed himself into a rat and ganesh took him as his vehicle. He thus came to be known as Mushika Vahana.

Ganesh is figured always with a ‘Modaka’ a ball shaped conical pudding, which he is said to relish greatly. ‘Modaka’ is regarded as symbolizing ‘Buddhi’ or wisdom and those learned in the esoteric lore believe it as the germ of life. The huge paunch is likened into the universe in which are imbedded numerous modakas, the germs of life. Lord Sri Ganesh is also represented with a snake en-girdling his huge belly. Sri Ganesh had a special liking for modakas and the worshippers offered them in large quantities. Thus his belly grew up to the point of bursting. He then mounted on his ‘Vahana’ and trotted off to his abode. On the way a snake crossed his path, and the rat in fear violently trembled and Ganesh lost his balance and rolled to the ground. The huge belly burst and all the modakas fell out. He then killed the snake, gathered the scattered modakas and stuffed them again into his belly and tied it up with the snake. The waxing moon from above saw the wonderful performance and began to roar in laughter. Ganesh became infuriated at once broke his tusk and threw it at the moon. The moon having thus been hit and covered up, darkness prevailed and all the Gods began to pray to Sri Ganesh to cool down his anger and free the moon. Ganesh then withdrew the broken tusk left the curse that the Moon should wax and wane in every month. Therefore on the night of Ganesh Chaturthi Hindus do not see the cursed moon for fear their prayers for success may be thwarted, but they see it only after throwing at it a few grains of rice colored with saffron.

The influence of Lord Siva Ganesh is unique. No divinity in Hinduism has so great a popularity as Sri Ganesh. Bhadrapada-sukla-chathurthi in the Hindu calendar is the exalted day for Sri Ganesh and this invariably falls in the month of September. On this day people of all creeds worship him with consummate faith and devotion by installing idols of Sri Ganesa in clay and color by offering flowers, fruits, puddings etc. Legend tells us that when Kumara asked Siva for a ‘Vart’ by which means could easily gain their desires in this word Siva spoke to him of the Ganesh vrata. The observance of this ritual was explained by sage suta to Dharmaraja. The Pandava Prince in exile who instructed him to perform it, saying that by that worship Rama overcame Ravana and regained Sita, Sri Krishna recurred yamantakamani and Damayanti attained her husband Nala. By performing this Vrata Dharmaraja regained his prosperity by overcoming the Kauravas.

Let us without any feeling of prejudice fold our hands and bow down to devotion before this age long venerated deity, lord Sri ganesh for the good of all humanity.

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According to tradition, the festival was originally introduced by Lord Brahma to propitiate the Lord. The Brahmotsavam continues to retain its grandeur and majesty. The processions with the Lord on the splendidly decorated Vahanas cast an irresistible spell on devotees.

It is a rare occasion when the celestial and the immortals descend on the holly hills to behold Lord Srinivasa in his resplendent form and seek his blessings.

This year, the annual (salakatla) Brahmotsavam will be celebrated from 17-09-2012 to 26-09-2012 with traditional pomp and gaiety. A glimpse of the Lord in all his plenitude and splendor during the festival days will make the life of every devotee blesses forever.

Thousands of pilgrims visit to Tirumala during the period of Brahmotsavam transforming the picturesque hillock into a miniature ‘Vaikunta’, to where even sages and saints flocked to seek refuge of him. Beginning with the Dhwajarohanam the festival ends with Chakrasnanam in Swamy Pushkarini. Brahma celebrated the utsava of Sri Srinivasa according to Vaikhanasa Agama Sastra.

This ten-day festival starts with Ankurarpanam as per our Vedic tradition. In the evening Vishwaksena, the commander of the army of the Lord Sri Venkateswara is taken around the four Mada (car) streets to collect the sacred mud for Ankurarpana (sowing seeds) in the Yagnasala, where Homa is performed. It is done to propitiate the celestials and all the Gods.

The actual festival commences next day. In the morning Sri Malayappa swamy and his consorts are brought to the Bangaru vakili after daily puja to the God in Sanctum. The utsavamurti is thus taken on a procession round the temple along with Viswaksena, Anantha and Garuda following in separate Tiruchis. At the fixed auspicious hour, with the accompaniment of vedic chanting and the auspicious nadaswaram music, the flag of Vishnu called “Garudadhwajam” is hoisted on the dwajastambham by the presiding Archaka. The Mudgannam offered as Naivedyam to Garuda is then distributed. An interesting feature of the Brahmotsavam is that a well decorated chariot which is empty and called ‘Brahma ratha’ is being dragged every day before the Vahanam procession of Sri Malayappa Swamy. This is to signify that Brahma, who is believed to have initiated the festival, though invisible, is actually present on all Brahmotsavam days to supervise the conduct of festival.

ABOUT VAHANAMS

On the first day, the deity will be carried on Pedda Sesha (seven hooded serpent vehicle) and on the second day morning on china Sesha (five hooded serpent vehicle) Vahanams. In the night of second day, Swamy is taken on Hamsa Vahanam. Simha Vahanam will be used in the third day morning procession while pearl Mandapam (Muthyapu Pandiri vahanam) will be vahanam on that night. On the fourth day kalpavriksham will be the vahanam which regarded as wish fulfilling tree. That night swamy adorns an attractive gold gilded vimanam called Sarva Bhupala Vahanam. Sarvabhupala means a king. The Lord of Tirumala is the King of Kings and rules over all the beings.

The aspect of Bhagavan distributing the divine nector, Mohini avataram will be the special decoration of Lord on the fifth day morning. Lord Srnivasa appears on his favorite mount Garuda on the night of fifth day and showers his Grace on his devotees. Garuda seva plays a vital role in nine day Brahmotsavam. On this sacred day, the Lord is seated on the Garuda vahanam decked with the rarest of the temple jewels like Lakshmi Haram, Makarakanti etc.which are the ornaments of Mulvar- the presiding deity- Lord Venkateswara.

On the sixth day morning, the Lord goes on a procession round the temple on the Hanumantha Vahanam. In the Rama Avatara of the Lord, Hanuman popularly known as Anjaneya was the most ardent follower of Sri Rama who takes the Lord to the war field on his shoulders. In the afternoon, Sri Malayappa Swamy with his consorts proceeds to the Vasanta mandapam and have Vasanthotsavam. On the night of that day he graces on the elephant (gaja) vahanam. On the seventh day the Lord adorns Suryaprabha and Chandraprabha Vahanams. This implies that he resides in the orbs of the Sun and the Moon. On the eight day morning Sri Malayappa swamy along with Sri Devi and Bhu Devi set out for the car festival. After rituals he mounts the car (ratham) which is pulled by hundreds of devotees filled with unsurpassed Bhankti. That night the procession is on Aswa (horse) Vahanam.

On the last day of the Brahmotsavam, the Lord is taken in procession on the Tiruchi Vahanam. After chunabhishekam he again goes in a procession round the four mada streets and retires to the shrine of Varaha swamy on the banks of Pushkarini. Sri Sudarsana swamy takes his bath in the Pushkarini to mark the successful culmination of the festival and a fitting finale is given when innumerable number of pilgrims dips themselves in the sacred tank as ‘Avabhrita snanam’. On the night of that day the Lord along with his consorts are beautifully decorated and go on a procession round the mada streets on the Tiruchi Vahanam. The procession returns to the Dhwajasthambam as on the previous day in the presence of the Lord and then the Garudadhawaja is lowered thus marking the happy conclusion of another annual Brahmotsavam.

Tirumala Brahmotsavam

In this Kaliyuga, the Lord in his archa form is reckoned to be the bed-rock of love and sole refuge to those who are immersed in desolation of distress.

“Vina Venkatesam na natho na nathah

Sada Venkatesam Smarami Smarami,

Hare! Venkatesa! Prasida Prasida

Priyam Venkatesa! Prayaccha Prayaccha”

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BADRINATH-BADRIKASHRAM

“Bahooni Santi Teertani – Divi Boomau Rasasu cha

Badri sadrusam Teertam na booto na bhavihyati”

                                                                                                      In Uttaranchal State (India), in between the beautiful mountain ranges, on the lap of Nara, Narayana and on the banks of the river Alaknanda, the two great shrines of Badrinath and Kedarnath are located. Even in the olden days, people from different parts of India with a pious hope of getting the grace and blessings of Badrinarayana flocked the temple. In olden days the pilgrimage to Badrinath was regarded by the devotees as almost, the last great journey in their life on earth. The journey is still very ennobling, out of the world experience.

                                                                                                     In Uttaranchal, Badrinath, Kedarnath, Gangotri (the origin point of the river Ganges) and Yamunotri (the origin point of the river Yamuna) are called the divine “Char-Dhams”. Of all, Badrinath is considered to be the pre-eminent shrine and other-wise fondly referred as “Deva-bhoomi”.

                                                                                                         According to Skandapuranam, during Satya Yuga (the first Yuga) God himself descended to Earth according to the wishes to his ardent devotees in “Archaroopa” at Badrinath (Uttarakhand –Chamoli district). It is about 300 km from Rishikesh (Bus route). Badri is about 10,350 ft above sea level. Of the108 Divyakshetrams sung by Azhwars, three of the kshetras are located in the Himalayan ranges of Uttaranchal. They are :

1. Badrinath – Badrikashrammam.

2. Thirupiridhi (Joshi Mutt)

3. Thirukandan Kadinagar (Devaprayag)

In the North India, the numbers of Divyakshetrams sung by Azhwars are:

1. Uttaranchal (three)
2. Uttarpradesh (four)
3. Gujarat (one)
4. Nepal (one)

THE TEMPLES OF BADRINATH:

                                               Uttaranchal which was once a part of Uttar Pradesh, became a separate state with 9

districts in November 2000 .Area 50,000 sq.km, population 6Million(60 lakhs). Expecting two districts, all other districts are located on mountain ranges.

                                               The magnificent sight of the wide valley with the lustrous golden towered temple with two heaven kissing mountains on either side, lifts the minds of the pilgrim to an eternal plane. The temple itself reflects Dharma with purity and Divinity. The Nara and Narayana mountains zealously guard the temple and have an overpowering presence at badrinath. The Nara Parvat (also called as Kubera Bhandar) is situated on the eastern bank of river Alakananda, beauty of which is indescribable. While Narayana Parvat in the west bank, the towering Neelakanta Peak (21,600ft) is clearly visible behind the Narayana peak as a backdrop.

                                               It is believed that a mere visit to Badrinath would cleanse even the most heinous crime of any sinner. So it is called as “Mukti-kshetram”.

                                              In the Srimadh Bhagavatam , Lord Krishna’s words:” Badri is my own Ashram” and directed his dear friend Uddhava to go Badri, to get glorified as the river Alakananda washes his feet at Badri.

                                             Here the temple, the holy water and Bagavath Purusha (sages) of the past are considered to be Divine. It is believed that the pilgrimage to Himalayas and a visit to various shrines and holy rivers will help attain salvation and is believed that the holy saints of the past still reside there and their vibrations remain in subtle form. The temples of Badri invoke the spirituality not only for the people of India, but for the whole mankind.

                                            It is strongly believed that in this region of Nara, Narayana Parvat, Lord Narayan himself taught the “Ashtakshara Moola Mantram” to Nara (human) and accordingly named Ashtakshara-Kshetram.

                                            Saint Vedavyas, lived in a cave in the forest near Badrinath, who gave to the world the Vedas and Puranas. Just below from where Vedavyas lived, is another place called “Ganesha Guha” where Lord Ganesha wrote Mahabharatha as directed by Vedavyas.

DYANA SLOKA OF MAHABHARATAM

“Narayanam Namaskrutya Naram chaiva Narothamam Deiveem Saraswateem Vyasam Thato jayam Udheera”.

 (Prostrating Nara Narayana Rishis who are the Amsavathara of Lord Vishnu, Saraswathi and Sri Vedvyas, read the Mahabharatha which comforts the souls and lead to eternal bliss)

                           The nine Jungles that are referred to in Puranams:

1. Dandakaranyam
2. Champakaranyam
3. Badrikaranyam
4. Kamikaranyam
5. Kadalikaranyam
6. Dhrashukaranyam
7. Naimisharanyam
8. Nahusharanyam
9. Jambukaranyam

                             The badari (jujube) trees grow in large numbers in the jungles of Badri (badrikaranyam), which could withstand very low temperature and cold climate. The sublime and spiritual powers of sages are continuously radiated in Badri through numerous caves where they lived, waterfalls, rivers and Pushkaranis that are named after the sages of the past.

                             As described in Puranas, Nara and Narayana meditated in Badrinath for the purpose of human upliftment. One can feel the concentration of spiritual vibration in Badri. It is believed that in every Yuga, Sri Vishnu Bhagawan takes various avatharas (descends to earth) with a supreme purpose of rejuvenating Dharma and warding off the evil forces.

                            In Puranas, Badrinath is described as one of the Swayam-Vyaka Kshetra (self manifested) of Lord Narayana. In one of the earlier Yugas, Lord Vishnu emerged as Nara Narayana and after that as Lord Krishna. At the request of Bramha and Devarishis, Lord Vishnu assured through incorporeal voice – “In kaliyuga humans (who become mean minded) cannot have a Pratyaksha (directly perceivable) darsan. But for those with noble hearts I am available as  salagrama moorthy near the Narada kund of river alakananda”. Accordingly, Lord brahma and other sages discovered the Salagrama moorthy and installed it at Badrikashram. The moorthy pooja started there, from that time onwards.

                         After several years, during the period of Gautama Buddha, Buddhism gained popularity. They were against idol work ship, so the Buddhist monks in India removed the idol of lord Vishnu and threw it in the Narada Kund of river Alakananda.

Few years later, Jagatguru sri Adi Sankaracharya was born in kaladi, (Kerala state) South India. Sri Sankaracharya went on a Pilgrimage (going to shines and holy places on foot) in his way of spreading Sanathana Dharma and he ultimately reached Badrinath. While Kaladi is located in southern end of India , Badrinath is in the Northern of India.

                     In the Badri Mahatmiya, it is said Lord Bramha created the Vedads and Lord Vishnu is the propagator. Nara Narayana began penance at Badri in “Padmasana” (lotus pose in Yoga or simply said to sit cross legged). As Narayana sat for a long time, Goddess Lakshmi spread herself like Jujube tree(badri tree) to protect her husband from sun and rain. Hence the idol is workshipped as “Badrinarayana” and the place as “Badrikashramam”.

                   Badri Narayana is the rare “Salagrama moorty” found by Adi Sankara from the Naradakund. Adi sankara’s Spiritual powers could visualize the presence of the Salagrama moorty in Naradakund and accordingly badri is named as Naradeeyak-Setram also.

                 Sri Adi Sankara installed the Salagrama moorty (Badrinarayana moorty) at the Garuda Shila near the Taptakund (hot water spring). According to information of the present Srimad Andavan Swamigal of Srirangam, once Sri Varadachariar swamy of Kancheepuram , helped to shift and install the Idol of Badrinarayana, to the present place and construct the temple.

                                                                                         Till today the Nithya(daily) poojas are performed by Namboodiri bramins of Keala, a tradition started by Adi Sankara. To all this we should thankful to Sankaracharya swamigal as we have regained the Darsan of Lord Vishnu.

Badrinarayana temple is located atop the Taptakund on the Urvasi Peetham. Pilgrims first take a holy dip in the Tapa Kund, a hot water spring, surely a geological marvel at cold temperature. Later pilgrims pray to Garuda Bhagavan at Simha Dwara (Main entrence) and proceed to the Darshan of BAdri  Narayan. The hot water spring (Taptakund) is a boon to all the pilgrims from God, who come over a Badri to have a Darshan and pray Badrinarayana defying cold weather conditions prevailing over the place.

Badrinath Temple

DIVYA MANGAL VIGRAHAM

                     The Divya Mangala Vigraham inside the Sanctum Sanctorum is Lord Narayana. The Idol is a self manifested statue of the Lord Narayana. Everyday at dawn (just before sunrise) Namboodiri Brahmins perform Abhishekam and Aarti and desvribe the legendary details also.

In Badrikashrama Puranam, five Badris are mentioned:

1. Yoga Badri
2. Vruda Badri
3. Dhyana Badri
4. Tapo Badri
5. Bhavishya Badri

Badri Bhagavan (Main Deity – Salagrama Idol) is seen with jatas(hair in clustered form), kambugreeva(3 lines in the neck) and of four hands, two hands are in Suryopasana mudra and other two in Yogamudra(pose). Vishnu is seated in Padmasana giving the impression of a Tapasvi in deep meditation. With four hands (Chathurbhujam), conch/chakra, and Srivastsam (Sri lakshmi as a pendant) on his chest, Badri Narayana is none other than Lord maha Vishnu himself.

Apart from the main idol of Badri Narayana, we can also get darsan of the idols of Lord Kubera, Garuda, Devarishi Narada, Nara, Sudarsana Chakram and Padukas on the right side while on the left side, there is a Nanda lamp (Akhanda deepam) burning and will be still burning when the temple opens again at the end of the winter season.

Through the Simha-dwara (Main entrance) of the temple, we enter the Madapam in front of the Garbha Gruha. In the Dakshina Mandapam (South side), after the Hanuman Sannidhi, Goddess Mahalakshmi (divine consort of Lord Narayana) is housed in a separate Sannidhi. Goddess is named Aravindavalli Thayar.

The temple reopens in the month of May, after winter (month of chitiral according to Dravidan Calender) on the next day after the Akshayatritiya. From that day onwards Nitya-Aradhana, Abishekam and other poojas are performed daily enabling the Bhaktas to other poojas are performed daily enabling the Bhaktas to get Darsan and blessings of lord till the day of Diwali in the month of November (Iypasi month of Tamil), During this period when the temple is closed, the Idol of goddess Mahalakshmi is placed inside the Sanctum Sanctorum of Lord Badri Narayana. Later in the month of May when the temple reopens the Idol of sri Mahalakshmi is placed in the Thayar sannidhi of the temples as usual. Nithyaaradhana is resumed from this day. There is separate sannidhi for Adhi Sankara with his moorty (vigraha) in the praharam.

We enter by the main entrance and can reach the Sanctum of Lord Badri Narayana through Shoba and Darsana mandapam and can get a good darsan of Badri narayana. We can have the darsan of the Badrinath and Tirumanjanam(Holy bath with various perfumed herbs etc) and Arati(a ghee lamp on plate or burning Camphor) of Lord Badrinarayana by Purchasing a ticket for admission in the early morning darsan of Abhishekam.

The temple remains closed for about six months on account of heavy snowfall starting from the second week of November. So the uthsava idols are ceremoniously shifted to Pandukesvapur near Joshimutt where worship is continued as per parampara. The temple again reopens in the second week of May (Chittirai in Tamil) next day of Akshayatirtiya day. It is believed that during the above period, the worship of the God is taken over and performed by devas with Narada as the head priest. From the second week of May to second week of November pilgrims from all over India visit Badri and worship Lord Badrinath.

DARSAN TIMINGS:

Early morning: 5.00 to 6.00 am IST

Thirumanjanam (Holy bath) and Darsan

 9.00 am –Bala Bogh(Morning pooja)

 12.00 noon –Raja Bogh (Uchi kalam(noon))

Till 3 pm Garba gruha is closed

3.00 pm to 9.00 pm – Regular darsan

9.00 pm Shayana Arati

After Bala Bogh, Veda parayanam and Bhagavat geetha parayanam is performed. During darsan time, devotees can buy darsan tickets for the above, karpoora aarati, Sahasranama parayanam and Archana and have Badri narayan’s darsan. The deepa Aaradhana and Rajata(silver) arati in the eveninis is divine to the soul and sparkling to the eyes.

BADRINATH – THIRU BADRRIKASHRAMAM

Moolavar               –     Badrinarayana(sitting –facing east,padmasanam,tapasvi roopam)

Consort                   —       Aravindavalli/Mahalakshmi

Teertham              —       Taptakund

Vimanam             —       Tapta kanchana Vimanam

Sthala Vriksham   —        Jujube tree (Badari)

Pratyaksham        —        Nara

Speciality               —        Swayam Vyakta Kshetram

MANGALA SASANAM BY AZHWARS:

1. Thirumangai azhwar    -   21 Pasurams(Tamil)
2. Periyazhwar                 -   1Pasuram(Tamil)

Here in Badrinath convenient lodging facilities are available for pilgrims run by the temple devasthanam. One of the important features of Badri is offering oblations to the departed souls. It is being told that offering oblations in Badri has greater efficacy than offering at Gaya. On the banks of the river Alaknanda,a little north of Badrinath shrine, a rock Brahmakapalam is the place for this offerings oblations.

Pilgrims procure Prasad (cooked rice) from the temple (only place where temple Prasad is offered during oblation) to perform ceremonies. For performing the Pinda pradanam ceremonies in the Brahmakapalam and Tarpanam on the banks of the river Alaknanda pandas (persons well versed with in vedic mantras for such ceremonies) are availableThis place is considered a sacred spot of Lord Brahma. One can offer oblations for himself also (Atma panda) though alive to ensure divine abode (moksha).

“JAYA BADRI VISHAL”

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The beginning of the month of Adi August marks the commencement of a series of poojas and the Varalakshmi Pooja or Varalakshmi Vartam marks the beginning of them. It is a well known one and is of great importance and significance to the Hindu women folk.

Godess invoked at the pooja is Sri Lakshmi, the Goddess of wealth and happiness. Hindu women of South Indian especially have an emotional approach to this varalakshmi vratham or pooja.

Varalakshmi Vratham has a Puranic back ground. The goddess parvati has been sent a number of times to earth to be born as a mortal and through penance made to attain her Lord.

On one occasion she was born as Charumati as the legend goes and as usual began her penance to get the boon from her Lord. Lord Vishnu appeared before her and advised her to invoke Goddess Lakshmi. The goddess pleased with her penance appeared before her in all her grandeur.  In the  end the goddess instructed her to paint the image of her face on to a vessel and perform vratham to that Charumati did as was instructed her to paint the image of her face on to a vessel and perform pooja to that Charumati did as was instructed and attained her Lord. This paved the way for the later generation of women who began to adorn the vessel and perform the varalakshmi vratham pooja.

On the day of the varalakshmi vratham, the whole house is white washed and kept clean. Decorations are made with green mango leaves festoons. Various designs of Rangolis-Kolams-are drawn with red and white lines and special dishes are prepared on that day.

The lady of the household prepares the vessel called Kalasam for the varalakshmi pooja. It is filled with rice and over this is placed a coconut. In some houses the face of Lakshmi is painted on the wall. The family custom is strictly followed and not changed. The kalasam is taken to the altar for the pooja with a particular song” Lakshmi Rave Ma Inteeki” in Telugu which means “Lakshmi come to our home”. Ladies belonging to other sects sing in their Mother tongue. In the same way different songs are sung. The family purohit assists the lady of the house in performing the varalakshmi pooja.

The varalakshmi vratham pooja takes about half an hour and large quantities of flowers are used for Archana and decoration. The picture of Goddess Lakshmi is also kept in the back ground of Goddess Lakshmi and the Mandasanam (Altar) is richly illuminated.

After the varalakshmi vratham, the lady of the house has a thread tied around her wrist. This yellow thread is placed under the kalasam while the pooja progresses. Similarly many threads are kept below the kalasam and the younger women and girls in the house get the threads tied around their wrists by the eldest lady of the house.

For the newly wedded girl Varalakshmi vratam is important and she will be initiated by her mother, mother-in-law or grand mother. The pooja will come to a close with every one praying for peace and prosperity.

In the evening there will be the illumination and the Arathi will be performed to the deity for which the women folk in the neighborhood will be invited.

Though simple and short Varalakshmi vratham pooja is of a great significance and importance to Hindu women whenever they are.

In Karnataka, Gowri Habba is celebrated on a grand scale by women who coincide with Ganesh pooja in the month of September. It is similar to Varalakshmi pooja.

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