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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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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Venkatadhri was born in Arasanippalai, a village near Kanchipuram. This remarkable scholar in the Vedas and satras lived in the 17^th century and is said to be a descendent of Appullar, the acharya of Vedanta Desika. Among his creative works are Lakshmi Saharam and Hastigiri Champu. Viswagunadarsa is more than a ninda stuti. It is also a social document of his times.

The outline of the work is simple enough. The gandharvas travel to various parts of the country. Krisanu is a pessimist and sees only the darker side; Viswawasu, the optimist restores the balance with his pious and clear outlook. We being the journey at Badrikashram and conclude at Rameshwaram. While travelling in their aerial chariot, the two gandharvas go past Karnataka. Suddenly there appears before them the high mountain of venkata. Viswawasu is delighted,folds his palms in salutations and sings:

   “Surrender unto this Seshasaila, the abode for the pleasant games of Srinivasa, who guards his servitors. This mountain has scent-spreading Sal trees, Mango groves, teak and other greenery.

Great sages pray that they be born on this mountain as snakes or trees, birds, big tigers, or as deer, as stones or creepers or caves or water falls that rush down. May my mind for every rest in my Lord who is the essence of scriptures, The one guardian of the world, the player on sesha hill, one who holds Lakshmi close to his heart, he who is near the mind of devotees, the immense, the unchanging, the eternal. ”

                                       Viswaswasu waxes eloquent while looking down from the aerial chariot for it appears an inexplicable wonderment that the brilliance of Vaikunta has left that heavenly abode to stay here with lakshmi. As he tries to meditate upon Venkateswara who is seen with lakshmi and gives shoreless. Joy to the good people of the world, Krisanu makes fun of him, and we get the full force of a ninda stuti addressed to the Lord.

“Alas!   Why do you meditate upon this Lord who always has his eye on money?

People pray to him: ‘Fulfill our wishes. We will make offerings’. In case their desires are fulfilled and they forget to make the promised offering, this god frightens them and gets his money along with interest!

Oh dear, people praise this Lord as the world’s guardian though in truth he felt thirsty once and asked someone for water. Another time someone dug a lake on the hill, and this god went about carrying the mud. Someone made a garland of mud and this god put it on his head. Yet, people meditate upon this Lord”.

Viswawasu is irritated. But instead of getting angry, he replies with great calm that the Lord involves himself in ordinary work like carrying baskets of mud and asking for a tumbler of water to make men follow his ways of utter simplicity. A true Vaishnava should not stand upon status! As for the matter regarding offerings, this is the same as Krishna accepting a handful of puffed rice from kuchela. The offering is a token of love and faith. Kuchela gave a token and received illimitable wealth. How can Venkateswara be money-mad when he lacks northing?

                                       “Venkateswara’s wife is Lakshmi herself. His residence is the thousand-rayed sun, verily the rays of wealth; his brother-in-law is the moon; his father-in-law is the ocean which is the treasure-trove of gems. You better understand that his taking money is to give it back in manifold terms”.

                                       Viswawasu waxes eloquent as he enumerates the glorious qualities of Srinivasa. He is the one who can destroy all our sinful past. As an ocean of all-auspicious qualities, how can he be described in mere human terms?

“Sri venkatesa is the resting place of noble qualities. The throne of greatness; the lake into which pours the stream of brilliances he is the dawn for lotuses of goodness; the ocean of waves that symbolize compassion; erily the vast ground where human capabilities and charity are in play. Where is the human being who does not get tired listing the Lord’s glories (as one can never complete such a list)’.

Further on, Viswawasu says that Venkateswara has the quality of saulabhya (generosity of understanding) which is verily like the scent of a golden lotus. Srinivasa is indeed the ornament of the Venkata hill. Here contraries merge and human retardation’s cease to be. This is the place where the dumb can recite prayers and are listened to by the deaf. One who has no hands yet writes down the verses with great sincerity. The blind person watches this wonder with great astonishment. The lame person speedily walks up to the crest of the hill, such is his aspiration and anxiety! The childless women becomes a mother too and there is happiness every where!

As the aerial chariot hangs in the air from above, the vast forests of venkatadri inspires Viswawasu to poetic eloquence. When Krisanu indicates his fright regarding the dark caves in the mountain ranges, Viswawasu calms him down. Of course nature is red in tooth and claw but that is part of the terribilita of the Lord whose glory encompasses everything which finally leads to unbound joy. It is inexplicable, but there it is:

“Look upon the good things in these forests. With absolutely no effort, one gets fruits that can do honor to a royal feast. Without engaging in any toil, one can gather flowers that please even queens Wonder! Here are houses built of stone that have never seen the sun, because of the thick foliage. The good fortune of those who live in these woods is beyond description.

In this Seshachala, the lions that are in the caves tear apart the forehead of elephants. One can see pearls from the torn foreheads of elephants strewn all over the place. Women decorate themselves with the pearls. The hunters live happily with these women”.

As they watch the forest ranges, the aerial chariot is on the move and presently it goes towards the Narasimha temple of Ghatikachalam. But the two gandharvas remain very much in our consciousness. Viswawasu for his devotion laden clarity of outlook and krisanu for his critical acumen. Yes, criticism is also welcome for Lord. Had he not withstood innumerable barbs down the ages? But the Lord has always smiled enigmatically, played his flute in the gardens of Brindavan and spread his magnificent smile while looking at us standing under the Ananda Vimana in Tirumala. The land where he has come to stay is blessed. So are we, who have been permitted to draw close to him through personal worship, poetry, and utsavas that proclaim the Nithya kalyana of Alarmelmanga Thayar and Sri Venkateswara.

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Ganesha is the eldest son of lord siva and mother parvati. He is invoked at the commencement of all pujas and functions as he is the god of wisdom. His benevolence is necessary in the god of wisdom. His benevolence is necessary in the fulfillment of human desires. Also, he is deemed to protect his devotees from any vighnam(obstacle);hence the name ‘vighneswara’ .He is also known as ‘ganapati’ as he was made the chief of the ganas by siva and parvati. Sage Vyasa worshipped ganesa by reciting his sixteen names before commencing Skandam. They are: ‘Sumukhan, Ekadantan, Kapilan, Gajakarnan, Lambodaran, vikatan, Vighnarajan, Vinayakan, Dhumaketu, Ganadhyakshan, Phalachandran, Gajanan, Vakratundan, Surpakarnan, Heramban,and SkandaPurvajan.’

Sri Ganesha is having shrines even in the remote villages of South India .He is also having a Sannidhi (place of worship) in Vaishnavite temples also. In most of the images of Ganesha, the trunk is turned towards the left side .He is usually represented as a stout, short figure and his mount is ‘Mushika’(bandicoot) belonging to the rat family.

According to the South Indian tradition, Ganesha is represented as a celibate, but is shown in the company of the consorts in the north. They are Siddhi personification of success and Buddhi .He is worshipped in 32 forms out of which, six forms are having consorts. A short summary of the 32 forms is given at the end. It is said that all the 32 forms are embodied in the Navasakti Vinayaka consecrated in the Ganesa Temple, situated in the bustling Luz corner at Mylapore in Madras. In other words,he gives darshan in 32 forms.

Large images of ganesha are found at Madurai were he is called by the name ‘Mukkurunippillayar’ and at the chidambaram temple in south Arcot district. The biggest images of ganesha can be seen at Basavangudi, Banglore, where he is having a separate temple. ‘Abhishekam’(sacred bath) is being performed on the huge image by standing on a platform.The worship of Ganapati has become very popular now-a-days. Ganesha puja is being celebrated with great devotion and enthusiasm by the children throughout India. The temples dedicated to the deity are brilliantly lit, attracting large crowds. Images of the deity are also seen under banyan trees, on the banks of tanks and rivers. It may be mentioned that ‘Vinayaka chaturthi’ festival (birthday) will be celebrated with great éclat throughout India in the month of August this year.

The Madras Museum is having rare collection of Ganesha in stone, metals and wood. Metal images from Kodiakkadu, Velankanni, Tiruvalangadu, Nellore and Settipulam are also available.

The popularity of Ganesha extends to Nepal, China, Java, Bali, and Borneo, while his worship was familiar in Tibet,Burma, China, Campuchea and Japan. He is worshiped in foreign countries also under the following names: “mahapani” in Burma, “Dhotkar” in Mangolia, “Tsokprak” in Tibet, “prahganesh” in Campuchea, “Kwanshitiyik” in China amd “Vinayakshaw” in Japan. According to legends, Ganesha himself wrote the great Epic ‘Maha bharata’ to the dictation of saga Vyasa. It is reported that there was an understanding between them in that regard.

The 32 forms of lord Ganesa are:-

1. Bala Ganapati – He is having four hands and seated on a lotus. His form is like the rising sun.

2. Taruna Ganapati – He is in a sitting pose with eight hands and shines like the midday sun.

3. Bhakta Ganapati – He is having four hands and shining likes the white hued moon.

4. Vira Ganapati – He is in a standing pose with 16 hands. His color is red.

5. Sakti Ganapati – He is having four hands. He is in sitting pose with a consort on his left thigh. His color is red like the setting sun and he allays all fears.

6. Dvija Ganapati – He is having four elephant heads and four hands, his color is like that of the white moon and he is adorned with ornaments in his hands.

7. siddi Ganapati – Having five hands. He is seated on a lotus. His color is golden yellow and he is flanked by two consorts.

8. ucchista Ganapati – His color is blue and he is having six hands. He is very much inclined towards Vedanta philosophy.

9. Vighna Ganapati – Having eight hands, he is adorned with ornaments.

10. Kshipra Ganapati – having four hands, he is in a standing pose and shines like the flower called “Pantookam”.

11. Heramba Ganapati – His color is yellow and seated on a lion. He is having five elephant heads with ten hands.

12. lakshmi Ganapati – Having eight hands, he is flanked by two consorts with the Nilotpala flowers in their hands. His color white and he grants all boons.

13. Maha Ganapati – He is like the rising sun, having three eyes and two hands. He is having his consort seated on his left thigh and the moon on his head.

14. Vijaya Ganapati – He is robust and red in color. He is having four hands and mounted on a bandicoot (Mushika).

15. Nitta Ganapati – He is having six hands and yellow in color. He is in a dancing pose under the ‘Karpaga tree’, with his right leg lifted up.

16. Urdhva Ganapati – He is having six hands and of golden hue. His consort is seated on his left thigh.

17. Ekakshara Ganapati – He is having four hands and three eyes. He is seated on a lotus. He is adorned with red dress, flowers and sandal paste and having serpents as ornaments.

18. Varada Ganapti – Having four hands and three eyes, he is of golden hue. He is flanked by a consort named ‘Pushti devi’ and holds a vessel containing all nidhis (wealth).

19. Tryankshara Ganapati – He is of golden hue and having four hands . He is the embodiment of the scared syllable OM.

20. Kshipraprasada Ganapati – He is having six hands and three eyes. He is of red color and adorned by ornaments and lotus flowers.

21. Haridra Ganapati – He is having four hands. He is of yellow color and protects his devotees.

23. Ekadanta Ganapati – He is of blue color and has got four hands.

24. Uddanda GAnapati – He has ten hands and of red hue. He is having his consort seated on the left thigh.

25. Rinamochana Ganapati – He has four hands. He is of crystal color and dressed in red.

26. Dvimukha ganapati – He has two heads and four hands. He is of blue color and adorned in red dress.

27. Thundi Ganapati – He is having four hands and in a standing pose. He is the remover of all obstacles.

28. Mummuksha Ganapati – He is having three heads and six hands. He is seated on a golden lotus and of red hue.

29. Simha Ganapati – He is having the face of a lion and seated on a lion. He has eight hands, he is of white hue and adorned by bright dress.

30. Yoga Ganapati – He is having four hands. He is of red hue and adorned with blue dress. He sits in yogic pose.

31. Durga Ganapati – Having eight hands, he is of golden hue and adorned with red dress. He is also holding weapons in some of his hands.

32.  Sankatahara Ganapati – He is having four hands. He is adorned with bright ornaments and blue dress and a young consort is seated on his left thigh. The forms of this Ganapati are immeasurable. Devotees should adore him by twenty one names as this number is specially suited to him. I ll come up with next article with ganesh chaturthi and kanipakam vinayaka temple. Jai Bolo Ganesh Maharaj Ki ….

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Legend

Once devatas come to kumara swamy to save them from the atrocities of demon tarakasura. Karthikeya who was born for the purpose of killing the demon tarakasura and other demons, prayed his father parameswara to give him powerful weapons. Mahewsara directed his son too to malathi vanam on the east cost, erect a siva linga and prey him for his wants. On the adviseof his father kumar swamy went down to malathi vanam on the wast cost, errected siva linga and provided a pond for abhishekam to the linga and began penance without any hinderence. Maheswara, who was pleased with the penance of his son, came out from the linga gave him all the astras and sastras, which are needed to kill tarakasura and asked him whether he need any other boons. Karthikeya requested his father to bless that the linga which was erected by him and from which he came out must be there till the end of kaliyua and bless the people, and the pushkarini till the end of this yuga. Lord siva agreed for his requests and decided to stay there at malathi vanam.

According to tradition, this part of country was know tondainadu and it was ruled by todaiman kings as the subordinates of pallavas and cholas from their capital city narayanam, which is now in chittor district, Andhra Pradesh. Tondaiman chakravarthi was the important ruler in the tondaiman dynasty. he constructed many temples in his territory including sri venkateswara swamy temple at tirumala. king tondaiman come to know that there are precious beams of erukku wood with his enemy ruler brothers kuruban and kantan who belonged to tribal community and ruling from their hill fortresses polli. Tondaiman (according to anther legend chola emperor kullotunga) marched with a huge army against polli fort but the tribal army defeated tondaiman and he began toran from the battle find on his elephant into the forest. At one spot the elephant entangled into a thorn bush. The elephant was not in a position to pull back its leg the king got down and slashed the thick buck with his sword, it struck to a stone and blood began to flow. The king shocked, cleaned the bush and save a siva linga and the blood oozing from his head. The king was deeply worried and with fear, began to pray the god to pardon him for the crime committed by him the god who was pleased with mercy by him the god who was pleased with mercy by the prayers of the king,come out from linga, consoled the king and told him in-spite of the blood from my head . I am pure when the king told the lord how he was defeated by the tribals, swamy took pity on him called nandi who was facing towards east asked him to carry his army to the battle field along with the king. Nandi and his army marched into the battle filed defeated the kuraban and kantan brothers, looted their fort and brought the entire wealth including the erukku beams. It seems nandi brought the principal deity of the tribalism bhairava along with him. Tondaiman chakravarthi praised lord siva as masilamanishwarar, Aklanka ratna swara, nirmala eswara, even today in the temple, The nandi is seen looking towards west instead of looking towards his master, as if he was obeying his master.

The Temple

The temple of masalamaneesearar is unique in many aspects. For example, the existence of raja gopura on south ,the gajaprusta vimana, instead of a tier having 3tires, containing more than one entrance into the temple. The principal deities changing their places and the existence of two lion head based pillar vinayaka mandapa and above allthe two hugu erukku pillars in the sanctum. The Masilamanishwarar temple is constructed in vast area. Around the temple there is a tall compound, there is a tall raja gopura of seven storied with an entrance on the south. On the 4 cosmers of the compound. There are seated nandis. The raja gopuram is full of saivita sculptures like Siva ganas, Parivava, Devatas, Lions, Nandis, Nataraja, Sekthivel, Bhairava, Siva Puranas, Erotica etc. over the gopuravimana there are 9 kalasas. The gopura is imposing and attractive with colorful paints, opposite to the entrance gate inside the temple there is big Aseena ganapathi in a small pavilion. The peculiarity of this pavilion is on either side of it there are two lion head based pillars. This found only in the pallava temple . Hence on the basis of these pillars one can come to conclusion that the original temple was in existence even during the period of pallavas of kanchipuram. In side the temple, There is a vast courtyard between the main shrine and the compound. Inside yhe compound on the west, There is a small shine for devi. It consists of garbhagriha, antharala and these pillars are also on the model of pallava architecture. In the garbhagriha, there is the image of devi on the name of tiruvuvudai amman. The devi is in sthanaka posture. Over the garabagriha there is in sthanaka posture. Over the garabhagiha there is a goods vagan shaped vimana and 3 kalasas over it. The gopura is also contains various saiva sculptures. On the western side of the temple , There are vahana mandapaas. on the northern side, There is the shine of karthikeya. This shrine of karthikeya. This shrine faces east. Inside the garbhagriha there is valli, Devayani sametha subrahmanya. In fornt of the deities in the mandapa, there is peacock, The vehicle of swamy. One the northern side itself there are two small siva lingas in these shrines are called cholapureeswara and kusalapurees. On the narth east corner of the temple, There is yagasala. On the east, There are manadapas for kalabairaya, bairaya, surya bhikshatanamurthi, nandikeswara etc.

Main temple

In between the compound and pradakshina, the main temples of swamy and devi exists. On the southern side, there is a narrow entrance into these temple.on the southern side there is the shrine of lord siva. It consists of Garbhagiriha, Antarala, Mukhamandapa for both swamy and devi shrines. In the garabagriha there is a beautiful siva linga on the name of masilamanishwara or akalanka eeswara or nirmala manieesmara the linga is on a high pedestal. The swamy is swayambhu. Over the linga there is five hooded nagaraja. As the swamy is wounded by the sword of tondaiman, There is no abhhithi abhisekams are considered as treatment for the wound. Around garbhagriha, there is a colonnade (pillared) pradakshina. The pillars are round in shape(chola). On the outer walls of garbhagriha on the south, There are the icons of vinayaka and dakshinamurthi. On the back wall there is brahma and durga. Opposite to these gods, there are metal images of nayanmars. On the south and on the west, there are vinayaka, manikavachakar, siva swamyammal, valli, devayaani sametha subrahmanya vrishabha nayanar perumal and siva lingas are there. the entire circumference is decorated with the pictures of sivapuranam.

Over the garbhagriha,there is an attractive gajaprusta vimana with 3 tires and 5 kalasas over it.The vimana contains different types of sculptures like nataraja, vinayaka, kalabhairava, nandi parivara devatas, siva gangas, miniature shrines with different gods and also many erotic figures. This vimana is the main attraction not in this temple but also in this area.on four sides of the vimana there is antarala. Here there are number of metal images and processional deities. In front of the antarala, There is mukha mandapa, on either side of this mandapa there are two tall and tardy celotropis gigantic(wooden) pillars are there supporting the roof since centuries together. It is a wonder how these heavy wooden pillars are found to that of a small tree family.on either side.The pillars of the mukha mandapa are dwarapaias and also there are vinayaka and subrahmanya on either side,the pillars of the mukha mandapa are carved finely with different gods of different faiths. In the middle of the mandapa there is nandi, who is looking towards west as if he was going away to the battle field by the orders of his master. In front of the maha mandapa, opposite to swamy’s shrine there are dwajasthamba, balipita and nandi mandapa.

The devi shrine is a master piece of architecture. The swamy and devi shrines are interchanged their positions according to legend, when swamy hurriedly rushed to the forest to console the tondaiman without informing even to devi she also followed him and stood on his left side. so her shrine is on the left to swamy. In the garbhagriha the devi is in sthanaka pose and she is 4 feet in height and so attractive she wears all types of ornaments like ear rings, kantaharas, anklets and a kirita over her her head. Behind her there ismakara thorana. The name of the devi is kodiyidai nayaki or lathamadhyambika. It sees while, Tondaiman chakravarthi digging the ground to construct the swamy temple, by the side of swamy . over the garbhagriha there is a typical deities of devi. The pillars are finely carved with both saivaite and  Vaishnava sculptures.

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WHAT IS SUDARSANAM:

‘Sudarsanam’, a bar coded wrist band token, is tied to the right hand wrist. It provides reporting time and date of Lord Venkateswara darshan to the pilgrims. Now wrist band token is changed with biometric token, where thumb impression of the pilgrims along with digital photograph is used and a token is offered with reporting day and time of Lord Venkateswara darshan.Pilgrim’s thumb impression will be verified at Vaikuntam Queue Complicated-1. In circumstance, it does not tally with the thumb effect granted at the counter, the pilgrim will not be authorized for darshan of tirumala darshan tickets online.

BIOMETRIC / SUDARSANAM TOKEN:

Presently, biometric tokens are issued for paid out darshan in all counters positioned at Tirumala and Thirupathi. For free of charge darshan, equally biometrics tokens and Sudarshanam tokens are issued. Gradually wrist band technique will be replaced by biometric program. When electric power failure is program failure occurs, Sudarshan tokens are obtainable at Tirupati only.

Safeguards TO BE Taken :

• Sudarshanam/biometric tokens are issued at the TTD Darshan Tickets counters only. These tokens are not avilable somewhere else in Tirupati and Tirumala.

• Sudarshanam (wrist band tokens) shall not be eradicated until Lord Venkateswara darshan is concluded.

• Sudarshan/biometric tokens are unable to be exchanged with others.

• Eventhough Sudarshanam (wrist band token) gets damp through bathtub ect. It will not be spoiled. It must not be taken off and tied once more. As soon as it is taken off it will grow to be invalid, mainly because the bar code will get ruined and will not tally at Vaikuntam Queue Advanced-1 at the time of entry into the temple.

• Tokens are issued for every single and just about every pilgrim and not for teams. Children, who are below twelve decades require not put on sudarshan. They are allowed totally free for darshan.

• Do not rely on dalalies. For further data, please contect ‘TTD On-line Darshan Tickets Facts Heart ‘ close to by for assist and aid.

 SUDARSHANAM CENTERS:

Location : Tirupati

1. 1^st Choultry, opp.Railway station, Tirupati
2. RTC Complex, (Balaji link Bus Station) Opp. Railway station, Tirupati
3. Srinivasam Complex
4. Alipiri Toll-gate
5. Alipiri foot-path
6. Alipiri Bus-stand
7. Renigunta (near Railway station)
8. 2^nd New Choultry (behind Railway station)

LOCATION : TIRUMALA

1.  Rambagicha Guest House ( near bus station)
2. PAC – I (PAID)

Paid Sudarshan- biometric tokens are available for Rs.50/ (two laddus free after darsan).

ONLINE BIOMETRIC TOKEN BASED SUDARSAN

The TTD have released on-line Sudarshan-biometric tokens outsaid Tirupathi and Tirumala.Pilgrims coming from considerably-off places want not wait at Thirupathi for darsan date and time slot for Lord Venkateswara darshan.Pilgrims can take biometric tokens at their centers from 3 times to 60 days in progress. Pilgrims can pick darshan day and time subject to availability. Pilgrims who want to have Tirupati Balaji darshan can pay out Rs.fifty/- (two laddus cost-free)and take biometric token. Every pilgrim has to occur and acquire the biometric token. It is not issued for 1 personal representing the total friends and family or teams.

Exactly where TO REPORT FOR Lord Venkateswara DARSHAN:

Paid Sudarshanam/biometric token holders have to report at Vaikuntam Queue Complicated-I 1 hour prior to darshan time allotted to them.

Free Sudarshanam/biometric token holders haveto report at ‘Supadham’ That is between Vaikuntam Queue Complicated-I and Hatiramji Mutt.

DARSHAN With no SUDARSANAM/BIOMETRIC TOKENS:

Pilgrims without Sudarsanam/biometric token can go to Vaikuntam Queue Complex-II for darshan. Their achievable darshan time is displayed at the entrance gate itself.

In next article we could get the information about E Sudarsanam Tickets from Bangalore and TTD Online Darshan Booking from Chennai.

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Practically nothing was known about annamacharya till 1949. Even a knowledge musicologist like subbarama Dikshitar wrote only a short account in1904 about one tallapakam chinnayya, a Telugu Brahmin of tirupati who founded the utsava sampradata tradition. This chinnayya was in fact tallapakam chinnanna, the grandson of annamacharya , who wrote the ” Annamacharya Charitham” in Telugu in the Dvipadi Metre.

Annamacharya was born in the village of tallapakam in the rajampet taluk of cuddapah district under the vaishaka constellation in the month of vaishaka which incidentally happens to be the birth day of nammalvar. He belonged to the nandavarika sect of smartha brahmins.

His original name appears to have been annamaya and he became annamacharya after he was converted to sri vaishnavism at tirupati by a jeeyar who belonged to the vadagalai sect.

It is said he had a momentary vision of lord venkateswara in his sixteenth year and commenced his composing career with a song “ippudi kalaganti”. soon after, he left house without the knowledge of his parents and climbed the tirumala hills describing their enchanting beauty in many kriti he had married twi wives and after leading the life of a householder leading the life of a house holder for some years, he renounced the world and proceeded to ahobilam where he spent most of his time studying visishtadvaita at the feet of adivan sathakopa yatindra, the founder of the ahobila mutt. he also studied divya prabhandham in depth. the pasurams of alvars had considerably influenced the kiritis of annamayya and many of his sankirtanas echo the devotional sentiments expressed by these twelve minstrels of tamilnadu.

At the request of saluva narasimh, annamacharya visited vijayanagar. the ruler appreciated the rapturous rendering of his compositions and hailed the saint composer as a reincarnation of tumbura and narada. however, when annamaya refused to indite a poem in praise of the king, he got angry and sent him to prison. the king later repented his rash act and released the saint.

According to tradition, annamacharya returned to tallapakka but became a victim of the political turmoil in the area. It was during this tumultuous period, he lost the idols this tumultuous period, he lost the idols so dear to him and expressed his anguish in the song ‘Indira ramanunchi. In-spite of his unsettled life, Annamacharya made significant contributions to music, poetry and bhajan sampradaya. among his poetical works, mention may be made of the dvipadi ramayana in the dvipadimetre, 12 satakams in Telugu and ‘venkatachala mahatmayam’ in Sanskrit. As a composer, he wrote 32,000 kirtanas ranging from classical pieces to fold songs . He was hailed in his own life-time as ‘padakavita pitamaha’, Sankirtanachary’ and ‘harikirtanacharya’

The sankirtanas of annamaya fall under two categories. Srinagara sankirtaanas and adhyatma sankirtanas . He sanjirtanas with the nayaka nayaki motif coupled with the lilavibhuti of lord venkateswara elucidate the path ways to salvation. the adhyatma sankirtanas on ther hand, Extol the glory of bhakti in a style that is both sublime and elegant.

“srinagara manajari’ of annamaya is a telugu dvipada poetry composed in manjari metre. the work which depicts the love stories of lord venkateswara is sweet in respect of its language and emotic quality. It is said annamacharya had the Gracie blessings of the lord after the completion of this work.

“sri venkateswara satakam’ composed by tallapaka annamacharya contains one hundred poems set in utpalamala and champakamala meters, According to the vaikhansa tradition , Sri and sreesa cannot be differentiated. the entire the validity of this divine principle.

Apart of the classical compositions of the saint poet, he has also indited several hymns in folk style which are remarkable for their rustic charm, simplicity and his creative genius in conveying even the most subtle metaphysical ideas in language which is graceful and sonorous, There are a number of compositions based on folk traditions like suvi dampulla, ela kolattam, jejara and drawn from other folk dance forms. his songs are full of literary eauties like yati, prasa, sabdalankara and yamaka as well as homely similes, metaphors and proverbs, There is no bhajan which annamacharya had not mastered. He made several bhajans that can be sung by one and all.

Though annamacharya was proficient in using highly classical style, yet he preferred to adopt colloquial style in his padas. some of the words used by annamayya are not in vogue now.

Annamacharya Philosophy :

For annamacharya brahman is no bare entity devoid of attributes. Like Ramnuja, he strongly believes that god is the center of all auspicious qualities. he also refutes the theory of advaitins hat Brahmans is formless on empirical grounds. In one song annamayaa pokes fun at the advaitins thus God is offered adoration and yet is believed to have no eyes to see the act of adoration. He is offered prayers and yet is thought to have no ears to hear them, He is offered anything as naivedayam and yet is believed to have no mouth to eat it and He is offered incense and yet is said to have no nose to smell it .

Annamayya’s description of brahman’s all-pervasive virat form is characterized by anthropomorphism in that Brahman is spoken as having physical body various organs as it is done with reference to human being. Annamacharya believes Brahman to be the conscious supporter of all things, all quarters and the whole universal egg is supported by it speaking of everything physical and conscious static and dynamic celestial and moral as having its supported in god. The saint say, In the alone is everything. Though art the supporter all these. To know thee is equal to knowing everything. To worship, thee is equal to pleasing all these.

The supreme quality of the god head i.e, easy accessibility is reiterated in many of his compositions annamacharya often extols god as dayanidhi, karunanilaya, karunabharana, karunarasa and kripasagara. While exalting the glory of the lord he attributes the characteristic of not being crooked(akutila mahimala anantudu ) and while glorifying god’s nature of grace, he ascribes to it the characteristic of being taint less (akajanjamaina dayanidhi). The lord protects his devotees, pardons their mistakes and showers his unlimited grace on then owing to his being self-sufficient (avipta sakala kama),

According to annamacharya, the basic of bondage is ignorance which lies in forgetting the supremacy of god and mistaking that the material world for final goal of life. It is ignorance that makes man do all sorts of karma and pulls him into the interminable cycle of transmigration. In one of his sankirthanas, annamacharya clearly distinguishs ignorance from knowledge that man should accept either knowledge or ignorance,

Annamacharya worships the lord in his various attributes and forms. The saint extols god as having no equal respect of beauty, richness, prowess, manliness, antiquity and generosity. The lord of tirumala is invested with inexhaustible and incomprehensible glory. He is the import of all mantras when annamayya dwells upon his magnificence, he is awestruck by his over-powering personality and grandeur.

The saint composer feels himself the humblest of the humble while describing the lord. We are dasas,kinkaras, children of hari, he says in one of his sankirtanas. He piously acknowledges that he cannot give anything in return to what god has graciously bestowed on him. The mystic yearnings of the poet are best reflected in his sringara sankirtanas where the union of the supreme soul with the jiva is emphasized in the most lyrical way. Annamayya love is not the infatuation of a finite human being but the timeless love of the soul towards god which leads to blessedness.

Click Here For  Annamayya Movie  Songs

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