Sri Taliah Gutta Gangamma Devastanam ------ SHAKTHI

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Sri Taliah Gutta Gangamma Devastanam

 

History of the Temple in Brief

Sri Gangamma took birth in the village of Avaleela of Tirupati in Chittoor

District to take revenge on the Pallegadu who was once ruling the region.

Pallegadu used to spoil the young girls sexually and there was none to stop

this inhuman treatment. Sri Gangamma who is considered to be a Shakti

Swaroopini pursued the "Pallegadu" vigorously changing her appearance with

different designs and made him to come out from the hiding place and killed

him. From that day the people of the region celebrate Jatra in her name for one

week emulating her different roles. Before the start of Jatara the authorities

of Tatiahgutta Gangamma Devasthanam bring turmeric powder and kukum from

Avaleela, the birth place of Sri Gangamma. The week long Jatara attracts

thousands of people from different places.

 

Gangamma Temple

Shakthi

Idols :

Gangamma

Description :

The temple is dedicated to a female goddess Sri Gangamma who is considered to be

the Shakthi Swaroopini in the human form. She is believed to be a powerful

goddess who was born in the village of Avaleela to take revenge on Pallegadu

who was the ruler of the region. Local lore is that Pallegadu was once ruling

Avaleela. He was so mean that he spoiled the young girls sexually and there was

none to stop this. To put this inhuman behaviour to an end Gangamma, with great

fury chased Pallegadu. She took different forms and made him to come out from

the hiding place and killed him. To commemorate this event the people of the

region celebrate this festival for one week as Jatara. Thousands of people are

attracted to this temple during the festival day of Jatara. The different roles

of goddess Gangamma is depicted on all these days of the Jatara.

Location :

Avaleela,AndhraPradesh

Transportation :

Gangamma temple is situated in the village of Avaleela of Tirupati in Chittoor District.

Near by Temples :

Siddhivinayaka swamy shrine at Kanipakkam and Sri Gangamma Ammavaru near Madanapalle.

 

 

Tappeta Gullu is a virile folk dance confined to the three north-coastal

districts of Srikakulam, Vizianagaram and Visakhapatnam. Originally performed

by cowherds and shepherds as a ritualistic dance to propitiate the

Rain-Goddess, Gangamma, it has evolved into a major procession and festival

dance, performed during the festivals of village Gods and Goddesses in these

districts. The performers orginally belonged to the Yadava community; but today

industrial and agricultural workers also learn and perform this dance.

The Gangamma festivals are celebrated from Bhishma Ekadasi to the

end of the mouth of Vaisakha. The ritual itself is a sacred occasion in which

the entire village participates. During the ritual, Gangamma is propitiated to

the place of the ritual by singing songs in praise of her. The eldest son of

the family which takes an oath to celebrate the festival brings milk and the

wife of the youngest son brings rice. These are offered to the deity (the

entire celebration is called gavu pattadam). The rice and the milk coupled with

cow ghee is cooked and distributed a sprasadam. After the ritual follows the

performance of Tappeta Gullu in a pandal. Before this, singers of Hari Hari

padalu sing songs in

praise of Lord Vishnu. These songs are also called Pandiri patalu.

'Tappeta Gundu' is a small drum, closed on either side. Made of

clay or, as it is done today, with thick tin plate, and covered with a lamb's

skin on the outer side and with clay or tin on the other and looking like a

wide-moouthed pot, the instrument is hung around the neck or hung down the left

shoulder. The circumference of the outer end on which the artists play will be

one foot and at the other end which touches the chest it will be 1/2 foot. The

width of the instrument will be 8 inches.

Popularly called 'gundu', it must have got its name because it

resembles a small tappeta, and looks like a gundu - a solid metal piece. There

is a misnomer, especially among researchers, that its name might originally be

'gunde tappetlu', meaning 'tappetlu' hung on the chest. But tappeta gullu is

the name in use for the last 400 years, as the artists and their gurus affirm.

 

 

India Travel Guide >> States >> Andhra Pradesh >> Cities >> Cuddapah

Andhra Pradesh Guide

CUDDAPAH

Location: South-Central Part Of Andhra PradeshName Derived A Telugu Word

Called Kadapa ("Gate")Nearby Attractions: Puspagiri, Vomtimitta, Jyothi

Cuddapah is situated in the south-central part of the Andhra Pradesh State.

Located 8-km south of the Penner River, the city is surrounded on three sides

by the Nallamalai and Palkonda hills. The name Cuddapah is derived from the

Telugu word 'Kadapa' ("gate"). The city is so named because it is the gateway

from the north to the sacred hill-'Pagoda' of Shri Venkateshvara (also spelt as

Venkateswara) of Tirupati .It lies sprawling along the "Bugga" or "Ralla Vanka"

in a hollow bordered on the south by the main Palkondas and on the east by a

strip of the same hills projecting north towards the Lankamalas on the other

side of the Penneru. The portion of the hollow occupied by the town is only

about 400ft to 450ft above the sea level, while some of the nearer points of

the hills rise even to 1,000ft.An Ancient

TownCuddapah city was a part of the Chola empire from 11th -15th century.

Muslims conquered it in 1565, and then the British took control of it in the

1800. Although the town is an ancient one, it was probably extended by Neknam

Khan, the famous Qutub Shahi commander, who called the extension "Neknamabad".

It is not probable that Nekanamabad was the name given to the whole town. In

any case it fell into disuse and the records of the 18th century refer to the

Mayana rulers not as Nawabs of Nekanamabad but the Nawabs of Cuddapah. Except

for some years in the beginning, Cuddapah was the seat of the Mayana Nawabs in

the 18th century. With the British occupation of the tract in A.D 1800, it

became the headquarters of one of the four Subordinate Collectors under

Principal Collector, Major Munro. In Cuddapah, are the relics of the rule of

the Cuddapah Nawabs. Most prominent among these are two towers and the dargahs.

It also has got three churches and numerous

temples.PRIME ATTRACTIONSGandikota Or The Gorge FortGandikota or 'The Gorge

Fort' is situated about 6 miles to the west of Jammalamadugu in Cuddapah

district. The width within the fort is at its broadest, about five and a half

furlongs from west to east and almost a mile from northwest to

southeast.Masjid-e-AzamThis beautiful mosque is located near the George fort

and was built in 1691 AD during the reign of Aurangzeb.Chand Phira GumbadhChand

Phira Gumbadh is the mausoleum of Syed Shah Mohammed Hussian. It is located in a

square building with large dome in the centre, surrounded by tall walls, in the

heart of the city.EXCURSIONSPushpagiriA place very close to Cuddapah, where

there are few temples that attract tourists the largest and the best known of

them is the Chennakesava Temple, which has a lofty gopuram, sculptures

depicting scenes from the epics, floral motifs and elaborately engraved

pillars.

JyothiThe sculptured mandapam with 32 pillars, the inner chamber and the sanctum

make it a most impressive temple.FAIRSGangamma Jatra, an annual Jatra of the

Shrine of Gangamma is an important event in Anantapuram, Cuddapah district.HOW

TO GET THEREAir:The nearest airport is at Renigunta and Chennai .Rail:Cuddapah

has a railway station on the Chennai-Guntakal line. Tourist will find no

difficulty in moving around this place.Road:Cuddapah being the headquarters of

the district, is well connected with all the places within the state and other

parts of the country also. The state transport corporation and private

operators run buses to all the important tourist places in the town.WHERE TO

STAYAccommodation is

avaiable in the various hotels of Cuddapah district and the choice vary from

luxury hotels to budget hotels.Hospital:Amar Hospitals Ltd, Proddatur Road,

Vinayaka NagarCuddapahGENERAL INFORMATIONClimate: TropicalTemperature Range:

Summer: 30°C. - 44°C. (81.56F - 119.6F Approx.)Winter: 21°C. - 30°C. (57F -

81.56F Approx.)Rainfall: 695 mm (Seasonal) Clothing: Light CottonsSTD Code:

08562NEARBY CITIESPushpagiri: 16-kmRenigunta: 131-kmTirupati : 132-km

 

 

TAPPETA GULLU

Andhra Pradesh boasts of rich and varied folk dance forms, numbering more than

sixty, related to specific regions and communities within the state. For

several centuries now, these folk arts have become the main recreational focus

for both the performers and spectators. These dance forms have been categorized

as narrative or ballads, theater, folk skills and ritualistic performances.

The narrative form is a means of propagating the beliefs of a society based on

religious ideologies. Tappetagullu is one such lively narrative form performed

by the men folk. Confined to the three north coastal districts of Srikakulam,

Vizianagaram and Visakhapatnam, Tappetagullu was originally performed by and

shepherds as a ritualistic dance to propitiate the Rain Goddess, Gangamma.

Eventually, it evolved into a major festival and processional dance form.

Although it was predominant in the Yadava community, agricultural and

industrial workers also learnt to perform and continue the tradition.

The Gangamma festival commences on the Bhishma Ekadasi day and continues till

the end of the month of Vaisakha. The entire village participates in this

sacred ritual. Milk and rice are offered to appease the deity and songs are

rendered in her praise. After the ritual, the performance of Tappetagullu

follows.

Tappetagullu is actually performed on different occasions. It is performed as a

ritualistic dance to invoke the blessings of goddess Gangamma. The ritualistic

pot or "ghatam" is carried by a man around the village in a procession, while

the Tappetagullu performers stand ahead dancing and singing in praise of

Gangamma. The second time it is performed during the night of the jatara

(festival of the village goddess).

Tappetagullu dance is also performed during the Dasavatara festival when Lord

Vishnu is worshipped. The dancers sing in praise of the Lord with fervor and

devotion describing in a ballad form, the Dasavatara stories (the ten

incarnations of Lord Vishnu).

 

The dancers usually have a drum about 8 inches in size tied around their neck.

"Tappeta gundu" is a small drum closed on either side. Made of thick tin plate,

it is covered with lamb's skin on the sides. In the days of yore, the metal part

of the drum was made of clay.

About 15 to 30 dancers are seen mostly during village festivals and family

rituals. The dancers are dressed in a quaint colorful attire. This includes a

tight half shirt, a half trouser, a cloth turban, a long waist cloth with a

part hanging down, three layers of bells stitched to the trouser and bells tied

to the anklets. The tappeta (drum) hangs around their neck, touching the chest.

With the rhythmic beat of the drum coupled with the tinkling music of the bells,

the performers sing and dance to enthrall thousands of villagers. The lyrics of

the song of the Tappetagullu performers usually contain a narrative taken from

the Bhagvatha and Ramayana. Sometimes local legends also serve as narratives.

Some innovative performers compose humorous songs too, to highlight some common

social themes.

The performance usually begins with an invocation to God. Each episode of the

narrative is danced in a particular tala. Within each tala, the tone and pace

go on increasing the tempo of singing and dancing. Each song and dance sequence

ends with a logical conclusion. The dancers also exhibit exceptional acrobatics

and skills. They do the balancing act well by standing one on the other to form

a human tree or dancing on a pot. Sometimes they skillfully display the dance

2-3 pots full of water on their heads!

The Tappetagullu form is thus a combined performance of entertainment and

devotion. This vigorous dance form has also come to be the most popular ballad

being performed at important cultural festivals in Andhra Pradesh and

elsewhere.

 

 

 

The ancient and sacred temple of Sri Venkateswara is located on the seventh

peak, Venkatachala (Venkata Hill) of the Tirupati Hill, and lies on the

southern banks of Sri Swami Pushkarini.

It is by the Lord’s presidency over Venkatachala, that He has received the

appellation, Venkateswara (Lord of the Venkata Hill). He is also called the

Lord of the Seven Hills.

The temple of Sri Venkateswara has acquired unique sanctity in Indian religious

lore. The Sastras, Puranas, Sthala Mahatyams and Alwar hymns unequivocally

declare that, in the Kali Yuga, one can attain mukti, only by worshipping

Venkata Nayaka or Sri Venkateswara.

The benefits acquired by a pilgrimage to Venkatachala are mentioned in Rig veda

and Asthadasa Puranas. In these epics, Sri Venkateswara is described as the

great bestower of boons. There are several legends associated with the

manifestation of the Lord at Tirumala.

The temple has its origins in Vaishnavism an ancient religion which advocates

the principles of equality and love, and prohibits animal sacrifice.

The sanctum sanctorum which houses the awe-inspiring idol of the Lord of the

Seven Hills is situated in the main temple complex of Tirumala.

About the Temple of Sri Venkateswara

According to the Varaha Purana, Audi Varaha manifested Himself on the west bank

of the Swami Pushkarini, while Vishnu in the form of Venkateswara came to

reside on the south bank of the Swami Pushkarini. One day, Rangadasa, a staunch

devotee of Vishnu, in the course of his pilgrimage, joined Vaikhanasa Gopinatha,

who was going up the Tirumala Hill for the daily worship of Lord Venkateswara.

After bathing in the Swami Pushkarini, he beheld the lotus-eyed and blue-bodied

Vishnu beneath a tamarind tree. Vishnu was exposed to the sun, wind and rain and

was only protected by the extended wings of Garuda.

 

Rangadasa was astounded by the wonderful sight. He raised a rough wall of stones

around the deity, and started supplying flowers faithfully to Gopinatha everyday

for Vishnu's worship.

One day, Rangadasa was distracted by a Gandharva king and his ladies.

Consequently, he forgot to supply flowers to Gopinatha for Vishnu's worship.

The Lord then revealed Himself and told Rangadasa that He had been testing the

latter's continence, but Rangadasa had not been steadfast and had succumbed to

temptation.

 

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However, the Lord accepted and appreciated Rangadasa's devoted service to Him

till then, and blessed Rangadasa that he would be reborn as an affluent ruler

of a province and would enjoy the earthly pleasures. He would continue to serve

the Lord, construct a beautiful temple with a vimana and high surrounding walls,

and thereby earn eternal glory.

Rangadasa was reborn as Tondaman, the son of the royal couple, Suvira and

Nandini. Tondaman enjoyed a pleasurable life as a young man. One day, he set

out on a hunting expedition on the Tirumala Hill, and with the help of a

forester, saw Vishnu under the tamarind tree. Tondaman returned home, deeply

affected by the vision of Vishnu.

Tondaman later inherited his father's kingdom, Tondamandalam. In accordance with

the directions given by Audi Varaha to a forester, Tondaman constructed a

prakaram and dvara gopura, and arranged for regular worship of the Lord

(according to Vaikhanasa Agama).

In the Kali Yuga, Akasaraja came to rule over Tondamandalam. His daughter

Padmavathi was married to Venkateswara. The marriage, officiated by Brahma, was

celebrated with great pomp.

 

History

 

There is ample literary and epigraphic testimony to the antiquity of the temple

of Lord Sri Venkateswara. All the great dynasties of rulers of the southern

peninsula have paid homage to Lord Sri Venkateswara in this ancient shrine. The

Pallavas of Kancheepuram (9th century AD), the Cholas of Thanjavur (a century

later), the Pandyas of Madurai, and the kings and chieftains of Vijayanagar

(14th - 15th century AD) were devotees of the Lord and they competed with one

another in endowing the temple with rich offerings and contributions.

 

It was during the rule of the Vijayanagar dynasty that the contributions to the

temple increased. Krishnadevaraya had statues of himself and his consorts

installed at the portals of the temple, and these statues can be seen to this

day. There is also a statue of Venkatapati Raya in the main temple.

After the decline of the Vijayanagar dynasty, nobles and chieftains from all

parts of the country continued to pay their homage and offer gifts to the

temple. The Maratha general, Raghoji Bhonsle, visited the temple and set up a

permanent endowment for the conduct of worship in the temple. He also presented

valuable jewels to the Lord, including a large emerald which is still preserved

in a box named after the General. Among the later rulers who have endowed large

amounts are the rulers of Mysore and Gadwal.

After the fall of the Hindu kingdoms, the Muslim rulers of Karnataka and then

the Britishers took over, and many of the temples came under their supervisory

and protective control.

In 1843 AD, the East India Company divested itself of the direct management of

non-Christian places of worship and native religious institutions. The

administration of the shrine of Sri Venkateswara and a number of estates were

then entrusted to Sri Seva Dossji of the Hatiramji Mutt at Tirumala, and the

temple remained under the administration of the Mahants for nearly a century,

till 1933 AD.

In 1933, the Madras Legislature passed a special act, which empowered the

Tirumala Tirupati Devasthanams (TTD) Committee to control and administer a

fixed group of temples in the Tirumala-Tirupati area, through a Commissioner

appointed by the Government of Madras.

In 1951, the Act of 1933 was replaced by an enactment whereby the administration

of TTD was entrusted to a Board of Trustees, and an Executive Officer was

appointed by the Government .

The provisions of the Act of 1951 were retained by Charitable and Religious Endowments Act, 1966.

 

Sri Kalyana Venkateswaraswami Temple, NarayanavanamSri Kalyana Venkateswaraswami

temple at Narayanavanam is 40 km away from Tirupati. Lord Sri Venkateswaraswami

and Sri Padmavathi Ammavaru, daughter of Akasa Maharaja were married here. Sri

Kalyana Venkateswaraswami is the main deity here.

 

There are four sub-temples:

Sri Padmavathi Ammavari temple

Sri Andal Ammavari temple

Sri Sita Lakshmana Sameta Ramulavari temple

Sri Ranganayakula Swami temple

In addition, there are five other temples attached to Sri Kalyana Venkateswaraswami temple:

Sri Parasareswara Swami temple

Sri Veerabhadra Swami temple

Sri Sakti Vinayaka Swami temple

Sri Agastheeswara Swami temple

Sri Avanakshamma temple

The annual Brahmotsavams are conducted every year in the main temple, Sri

Veerabhadraswami temple and Sri Avanakshamma temple. Navarathri festival is

also celebrated at the Sri Avanakshamma temple every year.

Giri Pradakshina (Konda Chuttu Thirunallu) is one of the important festivals

conducted during the end of Sankranthi, once a year, with the utsava murthis of

Sri Parasareswaraswami and Sri Champakavalli Ammavaru, and Sri

Agastheeswaraswami and Sri Markathavalli Ammavaru.

The other festivals conducted here are:

Andal Neeratotsavam

Panguni Uttarotsavam

Varalakshmi Vratham

Float festival

Anivara Asthanam

Ratha Sapthami

Ugadi Asthanam

Sreerama Navami

Chaitra Pournami

Andal Thiruvadipuram Utsavam

Deepavali Asthanam

Vaikunta Ekadasi & Dwadasi

Karthika Deepam and Dhanurmasam

Sri Kalyana Venkateswaraswami Temple, Srinivasa MangapuramSri Kalyana

Venkateswaraswami temple is at Srinivasa Mangapuram, 12 km to the west of

Tirupati.

According to legend, Lord Venkateswara stayed here after his marriage with Sri

Padmavathi Devi, before proceeding to Tirumala. Annual Brahmotsavam and

Sakshatkara Vaibhavam are celebrated in grand manner.

THE LIVING IMAGE OF GOD

The temple of Venkateswara, high on an escarpment overlooking the town of

Tirupati, is the center of a phenomenon of Hindu devotion. Over 8 million

people pass through the gates every year, easily surpassing the 2 million who

make the Haj to Mecca, or the 5 million who pray at St. Peter's in Rome. In a

country which has an annual per capita income of $340.00, donations alone

average almost $15 million. The temple is the largest landholder in the state,

and has cash reserves of almost $70 million (Radhakrishna 62).

VISHNU AS VENKATESWARA The presiding deity who attracts such veneration is

considered to be a living form of Vishnu himself. After the last deluge,

according to the Varaha Purana, when in the form of a giant boar Vishnu rescued

the goddess Earth from the bottom of the ocean, he was beseeched by the gods not

to depart back to Vaikuntam, his celestial abode. It was the beginning of the

Dark Age, the Kali Yuga, and if he didn't stay to provide salvation through the

grace of his mere presence, they implored him, the degenerate human race would

all perish in hell. That he granted their request came to be regarded as not

only an indication of his compassion, but also of his generosity. Vishnu, who

here became Venkateswara, is given to say in the Purana: "Those who worship me

after a holy bath in this Pushkarini [the temple tank] shall have their desires

fulfilled without fail" (Sitapati 146). Whether for spiritual or material

advancement, it was a promise which, understandably, attracted pilgrims. For

500 years they have filled the temple coffers with offerings. Another story

that is related at the temple to account for its fantastic revenue concerns the

marriage of Venkateswara. To secure the dowry for his bride Padmavati (Bhu, the

Earth goddess, after her rebirth from a lotus flower), he is said to have

borrowed heavily from Kubera, the god of wealth. The loan must be repaid in

full, with interest, by the end of this yuga, and it is the responsibility (and

privilege) of the devotee to give generously to help him repay it. The hill

on which the Lord resides is known as Venkata, from the Sanskrit sacred

syllable Vem, a "seed-sound of divine ambrosia", and Kataha, which means

"fortune". It is the traditional northern boundary of the Tamil lands, and the

southern extremity of the Nallamallai Range. The Nallamallais (in the Prakrit

language "Sacred Mountains"), are perceived to wind northward in the form of a

basking cobra. The tail of this great snake - identified as Vishnu's serpent

Sesha - begins at Nagarjunakonda. The seven hills of Tirupati are its seven

hoods, and Sri Kalahasti, 28 km east, is the mouth. According to the

Mahabarata, the monkey army of Rama stopped here on their way to Lanka to

battle the demon Ravana. When a small group of monkey soldiers decided to go

exploring, they discovered a cave, and proceeding inside were amazed to find

that it opened onto a magnificent golden city. In the heart of a golden temple

they saw Vishnu himself, seated on a throne flanked by his queens, Bhu and

Laksmi. Then a host of celestial beings detected the interloping monkeys, and

chased them

out. The encounter they had stumbled on, with no effort, by accident, was the

goal for which the ascetics in the surrounding forest subjected themselves to a

lifetime of austerities. There is no explanation why such an honour was given

to the monkeys, except that it is lila, the play, or fancy, or humour of the

Lord. The tireless sage Shankara visited Tirupati in the 6th century C.E.,

and did his part to help the temple. He fashioned two mystical diagrams, and

installed them under the image of Venkateswara. One was the Sri Chakra, the

design of interlocking triangles which is sacred to the goddess, and which gave

it her power (shakti). The other was the dhana akarshana yantra, a magical

diagram with the power to attract riches. By the time the Vaisnava reformer

Ramanuja took sanctuary here, driven out of the Chola kingdom by the

Shiva-worshipping King Kuttolunga II in the 12th century C.E., Tirupati was

already a

famous place of pilgrimage. It was not until 300 years later, however, when

Venkateswara was adopted as the household god of the Saluva dynasty of

Vijayanagara, that Tirupati achieved a position of pre-eminence. The

legendary wealth of the temple captured the imagination of the Portuguese

colony at Goa, who referred to it as the "Rome of the Gentiles". In 1543,

hoping to take advantage of the upheaval in the Vijayanagara kingdom following

the death of their greatest leader, Krishnadeva I, the governor of Goa embarked

on his "Pagoda expedition". With 2,500 men and 200 horses, his ambition was to

sack Tirupati and become the Pizzaro of South India. Strong winds stalled his

galleons in the Palk Strait, however, and the council of the Portuguese mission

in Sao Tome (modern Madras) that his band would be defeated by the overwhelming

number of the Hindus, even if they were only armed "with clods of earth" caused

him to turn back. He

ransacked a temple in Kollam on the Mallabar coast instead, taking a small

amount of booty.* On the day that the might of Vijayanagara was destroyed by

a Muslim confederacy in 1565, a caravan of elephants is said to have carried

away the imperial treasure from their capital of Hampi to Tirupati. The last

capital of that once-great line of kings was at Chandragiri, only eight

kilometers away. Aware of the outrage that would result in the Hindu

population if they looted the temple, the subsequent Muslim, French and British

overlords were content to use it as a cash cow, taxing heavily the enormous

pilgrim traffic. The wealth of Venkateswara is still a tempting target to

fund-strapped administrations. In 1995, in fact, the former Chief Minister of

Andhra Pradesh, N.T. Rama Rao, proposed setting up Tirupati as an autonomous

district. The purpose, he claimed, would be to protect its assets from the

state. NTR offered

himself as the working president; the chairman of the board, he said, would be

the deity, Venkateswara. * The new Vijayanagara ruler, Aravidu Rama Raya,

never forgave this insolence, and in 1559 attacked Sao Tome, carrying back to

Hampi their most valued treasure: the bones of St. Thomas the Apostle, who

according to legend was martyred there. TIRUMALA An entire town dedicated to

servicing the needs of the god and his worshippers has grown up on the

escarpment, 14 km on a steep road from Tirupati. In Tirumala, the pilgrim

culture has acquired a modern veneer - electric lights and plastic souvenirs -

but otherwise can have changed little over the

centuries. People from every corner of India need to be housed and fed, of

course, but much of the business in the town is of a religious nature. Of

special importance here are the pilgrims' organizations, in which a family

priest called a purohit will record in a ledger the name of every clan member

who has made the journey to receive the blessing of Venkateswara. The offices

of the purohits are ranged along the avenue approaching the temple, along with

shops stocked with devotional supplies. Their inventories include coconuts,

flowers, and incense for making offerings; gold and silver reproductions of

body parts that will get gilded into the temple, thus providing a remedy for

the afflicted area; and a fantastic array of products bearing the black-faced

likeness of the god, from watches to strobe-lights. In fulfilment of a vow or

as a mark of devotion, many families shave their heads in Tirumala, and offer

their hair to the Lord. The

ceremony is conducted in the Shami Vari, a building containing two stories of

barbers. If you come on a quiet day the queue to get into the shrine still

takes at least an hour. During the quarterly Brahmotsavam festivals, the

largest of the year, 200,000 people may arrive, and stand in line for more than

24 hours.* From the temple's east gate, where people jostle to get close to a

sacred fire lit from a flame in the sanctuary, turn right, passing the Swami

Pushkarini, the holy tank. It was beside this pool, the legend says, that

Rama's monkeys found their cave, and where the self-generated image of Vishnu,

now in the temple sanctum, was discovered under a tamarind tree. There are

stands to leave your shoes on the north side, before the entrance.

* The most important takes place for 10 days before the full moons of Chaitra

(April/May), and Bhadrapada (Sept./Oct.).

THE TEMPLE OF SRI VENKATESWARA Huge concrete chambers divided with barriers

are designed to marshal the press of people who descend on the temple during

festivals. The barriers extend around the entire circumference of the outer

wall, separating those who have paid for the viewing and those who will wait

longer, and enter for free. Both lines converge at the eastern gopuram

(gateway). Although the base of the gopuram is stone, and bears an inscription

from the 13th century, its superstructure is modern; among the concrete figures

on the tower is Mahatma Gandhi. You step over a gilded threshold and enter

into the great inner square which is divided into various halls (mandapas),

and is almost completely covered. The first mandapa on the left is the

Ranganayakula. It contains a shrine for Sri Ranganatha, the deity of Srirangam

temple near Tiruchi, who was brought here for safety when that temple was sacked

by the insane Sultan of Delhi, Mohammed bin Tughlaq, in the 14th century. On

the left are bronze statues of two of the Vijayanagara kings, Venkanta I and

Achutaraya, who regarded the temple as conferring such prestige that they chose

to have their coronations here. Continuing through the Pratima mandapa you

pass, on the north wall, the famous bronzes of Krishnadeva, the king of

Vijayanagara at its apex, and his queens Tirumaladevi and Chinnadevi. The

sheer fabric of the queens' bodices, which they hold away from their bodies

with hands clasped in the attitude of prayer, is in this more prudent age

perhaps thought too revealing, since the figures are usually draped with modern

saris. The dhvajastambha is

the flagpole emblem of Vishnu, which rises through the roof of the second

mandapa after the entrance. It is a timber pole covered with copper, which,

like everything else in this hall, is gilded. Notice on the pillars small

carvings of amorous couples enjoying each other, called mithunas. To the

south of the dhvajastambha is the Tirumalaraya mandapa, named after the first

ruler of the rump kingdom of Vijayanagara after its defeat in 1565. In its

center is a small shrine with four pillars. They are each intricately carved

into four 16-facetted mini-pillars, which produce musical notes when tapped.

There is an inner gopuram at this point, through which the queue enters if the

crowd is not too large. Otherwise it makes a long circuit around the outer

cloister. Inside, to the left, is a shrine for Varadaraja. This is another

case where the presiding deity of a great temple - this time in Kancipuram

- was brought to Tirupati for safe-keeping.* The press of worshippers becomes

intense as the Garuda temple is rounded, and the entrance made to the

Tirumamani mandapa, from which is caught the first glimpse of the inner shrine.

Vishnu's vehicle, the man-eagle Garuda, can be seen in the attitude of prayer

on the right, facing his master. The crowd squeezes around the Tirumamani

hall, past the Hundi, the collection box, towards the Bangaru Vakili (Golden

Gate), eager to see the Lord.

* In the early 14th century, two Muslim expeditions cut a swathe through South

India, one led by Malik Kafur, the General of Sultan Alla-ud-Din, and the

other by Mohammed bin Tughlaq.

THE INNER SANCTUM On either side of the gate are the guardians Jaya and

Vijaya, made of solid copper. They hold the attributes of Vishnu in their

upper hands. Of the lower, one hand is in the suchi hasti, a mudra warning

pilgrims to be clean in mind and body before entering the sanctum; the other

holds a club. On the golden door itself are depicted the five forms of Vishnu

(as recognized by the Srivaisnavas, the sect which controls the temple). It

will be impossible to find time to study them, since at this point the line is

compressed to single file, and many people are simply carried off their feet.

Besides Vishnu as the All-Pervading, whose body is the universe, however,

they are: 1) Para, the Supreme, who is seen only in Heaven; 2) Vyuha, the

Creator, Preserver, and Destroyer, represented by Anantasayin; 3) the 10

Avatars; 4) the Inner Controller (antaryamin), who dwells in the human heart;

and 5) the Arca, the "live" image found in the temple, who has descended into

the physical world, yet is wholly and completely God (Narayanan 54).

THE ARCA During this age, the Kali Yuga, the Srivaisnavas hold that the arca

form is most important, since through it salvation is most easily obtained.

They believe that grace is conferred merely from taking the darshan, the

presence, of such a being. The image in this temple, they say, is the most

powerful arca in India. The line moves quickly: only 2.5 seconds is allotted

for each darshan, and two burly temple employees enforce the rule. Far away,

it seems, at the back of the garbha-griha ("womb-chamber") is the image of

Venkateswara. His features, difficult to distinguish in the haste of the

moment, are in any case well-known from the innumerable reproductions which

plaster South India. He is standing, and including his podium and crown is

close to 10 feet

tall. Except for Fridays, when he is changed and bathed with civet oil, he is

covered with wreathes of flowers and garlands of gold and precious jewels; one

of his ornaments is the "Meru Paccha" emerald, at three inches in diameter

possibly the largest in the world. Around his waist is a golden belt bearing

images of the ten avatars, and on his breast are the medallions of the

goddesses Padmavati and Laksmi. The thick white mark on his forehead is

unique; it corresponds to neither the "Y" or the "U" of the two Srivaisnava

sects, the Tengalai and the Vadagalai. The white spot on his chin is applied

with the same paste, and is said to be the wound where an unsuspecting but

devoted gardener hit him with a shovel. It is an image unlike any other in

India, and even in the days of Ramanuja was the subject of considerable

controversy. The legend holds that it is swayambhu (self-generated), and thus

not subject to standard rules of

iconography, allowing room for Saivas and even Shaktas to claim it as their own.

It has four arms, but no attributes. The prominent conch and chakra above its

shoulders are not actually in its hands; they were chosen, the story goes, by

the god himself from an assortment placed in front of him by Ramanuja, who

wanted to prove that the statue really was Vishnu. The lower right hand is

displaying varada (boon-giving), and the lower left is in katyavalambika, which

signifies either protection and grace, or the assurance that for a believer

samsara is only knee-deep. The controversy over the image's identity comes

from the equivocal nature of its iconic elements, and the strange mixture of

temple rituals associated with it. Venkateswara has, for instance, several

distinctively Shaiva qualities: the japa, the matted locks; a crescent moon in

his hair; snake bracelets; and he is worshipped with leaves of the bilva plant,

which is sacred to

Shiva. The Shaktas contend that he actually represents the goddess, since much

of the temple ritual, including the Sri Chakra placed below his feet by

Shankara, is unaccountably goddess oriented. They also point out that the

protective statues on the vimana are the lions of Shakti, not the Garuda of

Vishnu, and that the name by which Venkateswara is known in the north, Balaji,

comes from Bala, which means "girl". There are several other deities present

in the garba-griha, which, except for procedural purposes, are overshadowed by

the adoration accorded to Venkateswara. Ugra Srinivasa is said to be the

oldest, a small statue 1/2 feet high displaying the attributes of divine anger.

According to the custodians of the chamber he is kept permanently in the dark,

since if the sun ever touches his face, the world will end. He is only taken

out on procession once a year, in the early morning, and returned before

sunrise. Another

image sits on a silver chair beneath a golden umbrella. He is Bali Beram, and

an account of all revenue and expenditure is read to him daily. The silver

image beside him is Bhoga Srinivasa. Bhoga means "material enjoyment", and it

is to him that all the income of the temple is presented. He is connected to

Venkateswara by gold and silver "power lines".

THE INNER CIRCUIT After the 2.5 second darshan is taken, you are ushered out

to make a circuit of the inner cloister. The first chamber, in the S.E.

corner, is the "Potu room", the kitchen where the offerings of food for

Venkateswara are prepared. The statue by the entrance is Sri Vakuladevi, the

Lord's foster mother, who is in charge of the cooking. The corridor along

the south wall is partitioned with plexi-glass. Behind it a long row of

accountants, seated on the floor, sort through piles of offerings; it is an

effective demonstration of the Lord's material power, complementing the

experience of his grace received in the sanctum. On the west side of the

corridor

is the Kalyani mandapa, a 16th century hall which features more musical pillars.

This is the wedding hall, and on request, for a fee of 2,000 rupees, a devotee

can witness the nuptial ceremony between Venkateswara and his consort. It is

an almost daily event, and usually takes place in the afternoon.* Along the

west wall more money is counted behind glass. Along the north corridor are

storage rooms for Venkateswara's personal effects, such as his wardrobe, his

palanquin, and the cot that is brought into the sanctum every night for his

repose. At the end is the shrine for Ramanuja, the Srivaisnava saint, although

according to temple custom no worship is to be offered him. Before leaving

the inner courtyard, most pilgrims partake of the food (prasad) cooked in the

Potu room and offered to the Lord. It is blessed merely from being in his

presence. Being a deity, he only consumes the odour. At

night gold and silver vessels containing flavoured water are set in the

garbha-griha when it is closed, for the use of the gods and celestials who come

to worship him; this water is considered especially sacred, and is sold to those

who can afford it. You leave the inner courtyard by a door in the north wall.

From the outer cloister you can see the tower of the vimana; like the inner

gopuram and the eaves of the temple, it is covered with gold. At the N.E.

corner of the cloister a staircase descends to the Poola Bhavi, the Flower

Well. 312 acres of land around Tirumala is set aside for growing flowers for

temple ritual; after they are used, they are discarded into this well. Beside

the well is the Hall of Mirrors. All the pillars and the ceiling are inset

with mirrors, and the effect of being surrounded by sequins is heightened by

the volume of electric lights in the room.

* The Lord is subject to a daily routine of feeding, bathing and dressing,

beginning with wake-up hymns sung outside his door at 4:30 a.m., and ending

with a bed-time proccession at midnight.

GOVINDA RAJA TEMPLE The most prominent temple in the town of Tirupati is the

Govinda Raja, founded by Ramanuja in the 12th century. According to one

variation of the story, the presiding deity, who is Venkateswara's elder

brother, lent him the money for his dowry, and not Kubera.

GANGAMMA SHRINE At the crossroad of the southern and western highways is the

shrine of Gangamma. She was purported to be a ferocious spirit in the form of

an old hag, who devoured people and terrorized the surrounding villages. When

Ramanuja arrived in the 12th century, he used his saintly power to tame her, so

much so that she turned into a 10 year old child. She was still an outcaste,

however, and when he brought her into town he left her at this street corner,

among the weavers and shepherds. At the time the overlord of Tirupati was a

cruel baron who took pleasure in despoiling lower caste brides on the night

before their wedding. Riding through the village, he caught sight of Gangamma,

and began to lust for

her. She decided to teach him a lesson. Taking the form of a foreign prince,

she entered his palace and interrupted him from a dice game. In the ensuing

fight she cut off his head. She wasn't, however, finished with him. Changing

back into her true, original nature, she revived the baron and told him: "Look!

This is what a woman really is!" Then she slew him again, saying he was

incorrigible, and didn't deserve to live. Gangamma is now worshipped as the

aniconic stone beneath the banyan tree, with the two large white eyes painted

on it. On "Telugu Tuesdays", the fourth Tuesday after Pongal, the Tamil new

year (mid-January), she is taken on procession to Tirumala, where she is

referred to as Venkateswara's sister.

CHANDRAGIRI Eight km west of Tirupati is the fort of Chandragiri, where the

last kings of Vijayanagara ruled until the 17th century. Like their imperial

capital in Hampi, it is a place of hills and strangely balanced rocks. Huge

fortifications now protect only a shanty settlement within the walls; it is two

km from the gates to the remains of the palace. When King Aravidu

Venkatapatirya moved here from Penukonda in 1592, he reinforced the hill with

72 bastions, and built the palace in the "Indo-Saracen" style. Although his

power and prestige were severely reduced, he is still said to have had, among

other things, three large chests of diamonds. A series of weak successors

spelt the end of the dynasty; in 1639 the

declaration ceding Madras to the British - their first possession on the

Subcontinent - was signed here, and by 1646 Chandragiri was in the hands of the

Sultan of Golconda. In the palace museum is an extremely rare and mysterious

linga. It was unearthed from a ruined temple not far away, and is very similar

to the famous Gudimallam linga, still worshipped in the Guntur district town of

that name. It is thought to be from the 2nd century B.C.E., and so the oldest

such carving in India. It is a five foot high explicitly erect phallus, with a

figure of Shiva standing on the shaft, on the shoulders of a crouching goblin.

 

 

 

Please Visit The Following Websites for More Information :-

 

http://www.tirumala.org/

 

http://www.tirupati.org/

 

http://www.aptourism.com/

 

http://www.andhratourism.com/

 

http://www.andhrapradesh.com/

 

http://www.balaji.net/

 

LordVenkateshwara/

 

GoddessDurga/

 

GoddessPadmavathi

 

GoddessSriLakshmi

 

LordVishnu

 

GoddessKali

 

AllDeitiesGodsandGoddessess

 

http://www.balajikenya.org/history.html

 

http://travel-agents.indiantravelportal.com/

 

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