Tirumala Hills (Seven Hills) are popularly known as the abode of Lord Sri Venkateswara. These hills are known as Kaliyuga Vaikuntha bestowing and showering the divine grace of Lord Srinivasa upon the devotees uninterruptedly.
Tirumala Hills are popularly known as the abode of Lord Sri Venkateswara. These hills are known as Kaliyuga Vaikuntha bestowing and showering the divine grace of Lord Srinivasa upon the devotees uninterruptedly.
The Geographical, Pauranic and Divine significance of these hills earn a perpetually grand place among all the mountains and mountain ranges of Great Bharat. Geographically these Tirumala hills are situated at Tirupati in the Chittoor District of Andhra Pradesh and are a part Seshachalam hills range of Eastern Ghats.
Eastern Ghats
The extent of Eastern Ghats covers the states of Odisha, Andhra Pradesh, Tamil Nadu and some of the parts of Karnataka along the eastern coast of Bharat. As described in the Grand Epic Srimad Ramayana of Valmiki these were known by the name Mahendra Giri, a grand and continuous range of mountains with one thousand peaks.
At the time of the marvellous leap of Hanuman across the ocean from Rameswaram to Lanka, these hills were broken into discrete sections of hills scattered in the said regions of Bharat having been pressed under the strong feet of the gigantic form of him. In these partitioned parts the great rivers Mahanadi, Godavari, Krishna and Kaveri, adding picturesque beauty to nature, have been perennially flowing through these regions.
These Hills of Tirumala, being a part of Eastern ghats, have the inherited richness of flora and fauna, rare minerals and stones like limestone, bauxite and iron of these ghats.
Though the Tirumala Hills are presently said to have been covering 10.33 miles (26.75 km) in area the original extent of these hills as found in the Brahma Purana is 30 yojanas in length and 3 yojanas in width. A yojana is equal to 9 miles. So the length of the Seshachalam Hills range is 270 miles and the width is 27 miles.
Seven Hills
It is popularly known as the area of seven peaks namely
Seshadri,
Neeladri,
Garudadri,
Anjanadri,
Vrushabhadri,
Narayanadri and
Venkatadri.
Hence the temple of Lord Srinivasa on the top of these hills is known as the Temple of Seven Hills.
The Seven Hills collection is just the visible part of this holy place. But as has been mentioned earlier this is a very long range of hills of 270 miles in length.
These hills have several other names like
Anjanadri,
Vrishadri,
Seshadri,
Garudachala,
Tirthadri,
Srinivasadri,
Chintamani Giri,
Vrushabhadri,
Varahadri,
Jnanadri,
Kanakachala,
Anandadri,
Niladri,
Sumeru Sikharachala,
Simhachala,
Vaikunthadri and
Pushkaradri,
Each of these names has its pauranic importance in the history of Tirumala Hills.
Vrushadri or Dharmagiri
As Anjana Devi, the mother of Anjaneya, did penance on these hills to obtain him as her son this mountain is called Anjanadri. The word Vrusha means Dharma. As this is the abode of Dharma this region is known as Vrushadri or Dharmagiri.
Seshadri / Seshachalam
Seshadri is a very significant name for several reasons. Sesha the great serpent has been serving Sri Mahavishnu in many ways. He became the bed of Vishnu in the Milky Ocean. With one hood he is fanning the God. With one hood, he held all the weapons of Vishnu. One of the hoods became the head pillow of the Great God. One hood became the pillow below the feet of Srinatha.
With several hoods, he is providing shadow to Sri Jagatpati. Still, he is not satisfied. Hence he told Vishnu that he wanted to become a Hill and requested Him to dwell upon him. Sripathi nodded his head acquired the form of Sri Venkateswara and settled on the top of it which is known as Anadanilaya.
Hence the main mountain peak of this range is known as Seshadri and the entire range of the mountains is also called Seshachalam.
Garudadri / Garudachalam
One of the peaks is called Garudadri for the reason that it, the sports mountain (Krida Parvataa) of Srinatha from the Vaikuntha, has been brought by Garuda to this hill range placed it here. The other name of Garudadri is Garudachala. Sixty-five thousand Tirthas (holy streams of water) flow on the peaks of these hills along the 270-mile length of this Seshachalam. Hence this is called Tirthadri.
As this is the abode of Srinivasa, the incarnation of Vishnu, this is called Srinivasadri.
Chintamani Giri / Vrishabhadri
Chintamani Giri is one of the divine names of this mountain just for the reason this fulfils all the desires of the devotees who ever visit Lord Srinivasa on this mountain. Chintamani is the divine Gem in the control of Indra which yields all kinds of fulfilment just by praying to it.
Hence this mountain is known by Chintamani Giri for its resemblance with the gem Chintamani in fulfilling the desires of the devotees. This is also called Vrishabhadri.
Vrushabhadri
Dharma in the form of Vrushabha (A Divine Bull) moves in this region. Hence this is called Vrushabhadri. Before the advent of Lord Srinivasa, this hill range was under the rule of The Svetha Varaha incarnation of Lord Vishnu. Lord Srinivasa requested Varaha Swami to permit him to stay there. Varaha Swamipermitted Him to stay forever. Hence this is called Varahadri.
Ananda Nilayam – Tirumala
Jnanadri
Jnanadri is the name attained by the Ananda Nilaya part of these hills for the reason that the devotees who visit these hills with great devotion attain the essential knowledge for ultimate Moksha. Once this mountain was full of gold. Hence this is called Kanakachala.
This is the place of inexplicable bliss and an eternal source of salvation. Hence this is called Anandadri. As Srinivasa Swami was served by Niladevi on this mountain back this is called Niladri. Once a Brahmin named Narayana did a great penance on this mountain. So this is called Narayanadri.
Sumeru Sikharachala – Venkata Giri
Sumeru Sikharachala is a very significant one of all names of this mountain range. According to the scriptures and Brahma Purana, Venkata, the son of Sumeru was brought here by Garuda. The word Venkata, being the dwelling place of Lord Sri Venkateswara, became meaningful in two ways.
Vem- Sins Kata – annihilates. As this annihilates all the sins of the devotees this is called Venkata Giri.
Vem is the syllable of Nectar (Eternality). Kata is the suffix representing Wealth.
This mountain is the source of Nectar (Eternality) and Wealth called Venkata Giri. As this mountain is the offspring of Sumeru this is called Sumeru Sikharachala. Having been brought by Garuda this is placed on the banks of the river Suvarnamukhi.
Simhachala or Simhasaila
Simhachala or Simhasaila is another name for this mountain because Lord Nrusimha swami made this his abode for some time while gracing Prahlada after the slaughter of Hiranyakasipu.
Kaliyuga Vaikunta / Vaikuntadri
Vaikunthadri is one of the finest names of this mountain. According to this, Lord Srinivasa or Sri Venkateswara Swami or Balaji the incarnation of Sri Mahavishnu took a vow to permanently stay here till the end of Kaliyuga having left his original home Vaikuntha.
Hence this Tirumala is known as Kaliyuga Vaikunta or Vaikuntadri. One who gets the Darshan of Lord Sri Venkateswara and who takes a holy dip in the Swamipushkarini is assured to have a permanent place in Vaikuntha.
Final Word
In this manner, this great range of mountains which is not a small one has been worshipped with great devotion by all devotees as the very form of lord Sri Venkateswara. Every devotee needs to visit the Large range of mountains as depicted in the Brahma Purana.
Some temples are situated on the banks of rivers. Some can be seen in the forests. Some others are on the mountain tops and others are in caves. The temple of Sri Venkateswara is in a mountainous forest area.
Both the Hill and the river have become sacred on account of Swami’s presence. Swami said to Siva, “Anantoham Mahadeva Sthasyami Giri Rupadhrut Mahadeva! “Mahadeva”! I am in the form of a Hill though I am infinite and eulogized greatly about the Hill.
Reach the Hill that touches the top of the sky and then worship God. Climbing the tower of Venkatagiri, take shelter at the Feet of Bhagawan standing on the cliff, and subsit always at the feet of Bhagawan.
Annamcharya Keerthanas
Annamacharya sang many keertans on the Glory of the mountain mixing them with the feelings of Alwars and the legendary matters.
“Festoons all along the way with the creepers in lengthy way vinjamaras and hand fans Full of umbrellas is this hill.”
The peacocks, the groups of kokilalu (the nightingale), different races of birds, and the trees that offered aspiring fruits were easily available for the pilgrims in those days.
In the same way, there were monasteries and towers as the resting places for the pilgrims.
Now we say that Tirumala is a garland of Seven Hills, but in Krutayuga it was called ‘Vrushabhadri’.
In Tretayuga it was called Anjanadri.
In Dwapara it was called Seshachalam.
According to another version, it was called Anjanachalam in Krutayuga and Venkatachalam in Tretayuga.
That’s why Annamayya vividly described the area of this Hill.
‘Ade chudu Venkatadri Nalagu yugamulandu Velugondi prabha miraganu? “Look at Tiruvenkatadri shining forth in four yugas.”
Tirumala Hill Names (Seven Hills)
There is a reference about the Seven Hills in Suprabhatam and Sreenivasa Gadyam. Sri Parvatam, Seshasailam, Garudachalam, Venkatadri, Narayanadri, and Vrushadri are the Seven Hills.
In addition to these, some other Hills like
Chintamani,
Gnanadri,
Teerthadri,
Pushkaradri,
Kanakadri,
Simhachalam,
Anjanadri,
Varahadri,
Neeladri,
Sreenivasagiri,
Anandadri, and
Sumeru sikharam were mentioned in legends.
Kannada Haridasa mentioned the Hills also as Sugandha parvata vasa, Saptagiri vasa, Kondalagiriya vasa along with these names.
Varaha Kshetra
It is quite natural that the people go up the Hills when any Natural Calamity takes place. Swami is there on the Hill inviting the devotees who are deeply immersed in the ocean of samsara and getting disappointed, whatever it may be, it is worthy to note that Tamilians call swami “Tiru Vengada mudaiyan”. This Hill is called Varaha Kshetra because of the story of Varaha Swami.But over time the name ‘Venkatadri’ is fully established.
Giri Sikhara Darshanam
In some of the temples a visit to the temple – tower is important. It is called “Giri Sikhara Darshanam”. Vijayadasa, Kannada Vaggeyakara sang two lengthy keertans on ‘Giri Sikhara Darshan’.
They are
‘Giriya Sikharavakande’
‘Giriya Sikharavanodi”.
As soon as the pilgrims reach Tirupati, they look at the temple – tower, bow their heads, fold their hands, and prostrate before the tower with all their devotion. They suminate this experience repeatedly and go forward. This scene is beautifully described by Vijayadasa.
He said that those who don’t have Bhakti sadhans are denied the opportunity of visiting the Hill, one step in Tirumala is enough to uplift his entire race. Uragadri Vittaladasa said that until and unless one has punya pakam (results of virtues) one cannot get Giri Darshan. Vedanta Desika in his “Daya satakam” sang about the Hill.
“Prapadye tam Girim prayah Sreenivasanukampaya Ikshu sarasravantyava yanmurtya sarkarayitam”.
Tiruvenkatachala parvatam
That the mercy of Sreenivasa flowed like the flood of sugarcane juice and got solidified and transformed into Sugar Hill called ‘Tiruvenkatachala parvatam’. Paramasiva taught Sanakada Maharshis that the visit of Venkatachala would not be available without the devotional practice in the innumerable births of aeons past. This legendary matter is as follows in the words of Vijayadasa.
The main Deity famously known as Tirupati Balaji is also termed mula virat (Moola Virat), Dhruva Murthy, Dhruva Beram, and Mula beram. (moola beram). This idol of Salagrama stone self-manifestation of the Lord wearing a disc and conch in the sanctum sanctorum of Ananda Nilaya. It is about 8 feet high.
The Dhruvabera of Lord Venkateswara and the complementary bronzes, with the Utsava murtis of Sri Rama and Sri Krishna, make up the pantheon of Tirumala.
The idol of Lord Venkateswara at Tirumala is seen to be a standing one which makes it fall only under the sthanaka type. Hence a sthanaka image, according to the Agamas, can be of the Yoga, Bhoga, Vira, or Abhicharika type, each of which would have three sub-types namely Uttama, Madhyama, and Adhama murtis. (Check the heading – “The Agamic rule for making a deity for details).
The Idol of Lord Venkateswara and other murtis in the Tirumala Temple
A Hindu temple is always conceived as a miniature universe revolving around the creator who is represented by the presiding deity within the garbhagriha. Hence the temple precincts normally display all the various facets of the universe like the animals, trees and planets, human beings and their various forms, demi gods, kinnaras, gandharvas, the nadi devatas, the vana devatas, etc.
Hence in a Hindu temple, almost all the aspects of the panorama of life with its variegated changing patterns are represented in the sculptured panels. The temple of Tirumala is no exception to this rule. Since in a Vishnu temple, the major theme is the various forms and avatars of Lord Vishnu, these have repeatedly been shown in the sculptures of this temple.
Various forms of Narasimha, well-known scenes from the Ramayana, the Krishna Leela scenes, scenes from the legends connected with the Dashavataras, and a host of other connected Vaishnava themes and legends, are all represented in the sculptures of the various pillars of the Tirumala temple.
Among the various forms of Vishnu, Narasimha, and Varaha became extremely popular under the Guptas, the Cholas, the Pallavas, and other dynasties and this tradition has continued right till today. Hence at the Tirumala temple, there is a separate shrine for the Varaha avatar, which is also called Gnanappiran by the great Vaishnavite Alvar teachers.
There are separate shrines for Yoga Narasimha at Tirumala and for Laxmi Narasimha at Alvar Tirtham. These forms are also repeatedly found as vimana devatas and gopura devatas per the rules laid down in the Agamas.
Similarly, the Ramayana story which has influenced Indian life and culture for well over 2000 years, is also well represented in this temple. There are separate shrines for the utsava murtis of Rama, Laxmana, and Sita at Tirumala. During the Vijayanagara period, bhakti towards Hanuman reached a new height. This Lord became so popular that he came to be worshipped as Panchamukha Hanuman and these are also represented in the sculptures of the Govindarajaswamy temple.
If any one particular Vaishnavite theme or legend can be said to be the most dominating and popular in the Tirumala temple, it is the story of Krishna as depicted in the Bhagavata. The legends connected with the Krishna avatar provide as much scope for the sculptor as for the poet. Rural scenes like the living quarters of the shepherds, the day-to-day life of gopikas, the milking of cow or churning of buttermilk, and playful scenes of the Lord as a child, are all depicted true to the popular Indian tradition and culture of a rural atmosphere.
Other agamic aspects of Lord Vishnu, such as Hayagriva, Adimurti, Varadaraja, and Srinivasa are also well represented. The holy weapon of the Lord, Chakra is worshipped in a separate shrine as Sudarshana chakra, and some powerful representations of this are found at Tirumala.
Also per Sri Vaishnava tenets, great importance is given to Sri or Laxmi in this temple. According to Ramanuja who laid down the basic tenets of Vaishnava worship, which are known as Sri Vaishnavism or Sri Sampradaya, Sri or Laxmi is the Supreme goddess who pleads like a mother with the Lord of the universe to shower his grace on his devotees, since she being the universal mother, is the very embodiment of compassion.
This aspect of the mother, and the reverence and affection with which she is held by the devotees, is brought out in the well-known suprabhatham of which one verse is given below:
“O’ Mother of all the worlds! You dwell permanently at the Vaksha-sthala of Lord Vishnu who destroyed the demons Madhu and Kaitapa; you are the beloved of supreme Lord Venkateswara; You with effulgent divine beauty are our eternal mother; You grant all the wishes of your devotees; O’ supreme consort of the supreme Lord Venkateswara, may the awakening (suprabhatam) be an auspicious one to you.”
Another peculiarity of Sri Vaishnava temples is the existence of a separate place of worship and honor for the alvars and the acharyas of whom the famous saint Andal is one. There is a temple of Andal in the Govindaraja Swamy temple.
The Amuktamalyada of Krishnadevaraya pays special homage to her. Her soul-stirring compositions of Tiruppavai are still sung every day in the shrine of Tirumala. Her divine marriage with the Lord of the universe is an important festival held on Panguniuttiram day.
Divya Suris – Divya Prabhandas
The saints of Sri Vaishnava tradition are called divya suris. Their compositions are divyaprabhandas and the places prescribed by them are divya desas. Tirumala is a divyadesa since all the saints have poured out the devotion of their hearts in exquisite poetry to the Lord of Vengadam.
In the Tirumala temple, though there are no separate shrines to them, they are all represented by sculptures on the pillars, and their hymns are also regularly sung. In consonance with the tradition of the Ramanuja school of thought, there is in the temple of Tirumala a shrine for Ramanuja the apostle of Sri Vaishnavism.
Another special feature of Sri Vishnu temples is the importance given to Vishvaksena, Ananta, and Garuda. Vishvaksena whom the Sri Vaishnavites call by the name Senaiyarkon is the custodian of the household of the Lord and occupies an important place in the Acharya parampara line. His icon is found in the temple of Tirumala.
Similarly, Ananta the divine couch of the Lord, and Garuda the divine vahana are constant attendants of the Lord. Sculptures of Garuda can be seen almost everywhere in the temple.
Similarly, sculptures of the ashtadikpalakas like Indra, Varuna, Kubera, Agni etc., vidyadharas, apsaras etc., shankhanidhi and padmanidhi two of the navanidhis of Kubera the Lord of Wealth, kamadhenu, gajendra, simha, hamsa, kalpalatika etc., are all seen in the Tirumala temple.
The sanctity of the temple is so great that it is said that Siddhas and Yogis and Rishis who have attained great spiritual heights, as well as emperors and ordinary folk are present in the temple premises waiting to worship the Lord.
These ideas have been fully brought out in this famous verse of Tiruppan Alvar.
THE DHRUVABERA OF THE IDOL OF LORD VENKATESWARA
Tradition of a self-manifested idol
The Dhruvabera of Lord Venkateswara and the complementary bronzes, with the Utsava murtis of Sri Rama and Sri Krishna, make up the pantheon of Tirumala. Tradition has it that the Druvabera of Lord Venkateswara was not wrought by the hand of man and that the supreme Lord manifested himself in a form that could easily be comprehended by human beings.
Thus we have Nammalvar’s assurances that Param has come down to Tirumala from his Divya Loka out of his own choice for our spiritual benefit. All the earlier alvars have also stated that the devas headed by Brahma daily worship Sri Venkateswara on this hill as we do even now. Sri Ramanuja the great Vaishnava teacher in his mangala sloka of his great work “Sribhashya” lays stress on the great solace of the Lord for the salvation of mankind, and equals Brahma with Srinivasa.
Hence traditional belief is that Sri Venkateswara is self-manifested Brahma come to Tirumala for our salvation.
The Agamic rule for making a deity
The agamas like vaikhanasa agama, the pancharatra agama, the tantras, and vishnu dharmottara, are the basic texts which lay down in precise detail the rules regarding the construction of a temple and the installation of murtis therein. In agamas, the relative proportions of the idol, the posture of the body, the hands, the weapons to be borne by it, and the jewelry to be adorned on it, are all laid down.
If there is the slightest defect in execution or even a minute variation from the prescribed rule, that image would be considered unsuitable for consecration or worship and not used. According to Sukraniti, an image is ideal only when it elevates the lookers onto a higher plane of action and meditation.
The eyes of images have particular appeal to the devotee, and as such the eyes should be perfect, be speaking satisfaction, and should neither be directed upwards, downwards, or remain closed. According to the Pratima Mana Lakshna, the mouth should be ‘slightly smiling, pleasant and possessed of all good signs’.
The mouth should also not be sculptured as one that is ‘passionate, impetuous, wrathful, sour, bitter or circular’. Again, according to the Pratima Mana Lakshna, the head sculptured like an umbrella brings prosperity. Eternal prosperity is assured by an image with beautiful lines of eyebrows and forehead.
The neck has to be conch-like, the body in the posture of a lion, the arms like the trunk of an elephant, and the thighs like the plantain tree.
A beautiful belly and beautiful feet are symptoms of excellence in any idol.
Sukraniti also lays down that images should be beautiful.
Considerable freedom was however given in many cases to silpis (a creator of great skill in the manual arts)to carve images while at the same time following the Sastraic principles. They had however to keep in mind that ‘the characteristic of an image is its power of helping forward contemplation and yoga’ while making idols and images.
The agama Maricha Samhita broadly defines the Vishnu image into three types:
Sthanaka (standing),
Asana (sitting), and
Sayana (lying) poses.
Each of these is again divided into four classes depending on the physical and other attitudes of the Lord.
These are
Yoga,
Bhoga,
Vira and
Abhicharika.
The environment and purpose for which a murti is installed, decide the kind of idol which should be used. If for example, the devotee prefers to follow the yoga marga, a yoga murti would be selected. Such a murti should be installed outside a village, amid forests, on mountain and hilltops, or at the confluence of rivers and on river banks.
It should not be constructed in the heart of a town or village, as such a murti would bring about the destruction of the place.
A Bhoga Murti should invariably be installed in the heart of a town or village.
A Vira Murti should be on the outskirts of a village.
An Abhicharika Murti would be installed in forests, mountains, and fortresses, at the outer limits of a Rashtra, and facing the enemy country.
The Tirumala temple is on a hill and in the midst of forests. It does not appear that at any time there was a fortress or a village there. It might perhaps have been politically the boundary line between one country and another. The kind of image chosen would therefore be either Yoga or Abhicharika, and not Vira. Bhoga would be out of consideration. The features of the Murti for each situation and type are also prescribed in the Agamas.
There are three grades of temples depending on the complementary deities.
These are called
Utthama,
Madhyama and
Adhama (best, middling, and low type).
In the Utthama temple, the Murti would be associated with the complimentary deities, Brahma, Sankara, Markandeya, Bhrigu, Sanaka, Sanandana, Sanatkumara, etc.
In the Madhyama type Markandeya etc. would be omitted but Brahma and Siva retained.
In the lowest type Brahma and Siva also would be omitted, leaving the Murti to stand alone.
The above rule governs the installation of Yoga, Bhoga, and Vira Murtis alike. In the case of an Abhicharika Murti. However, there is only one type, the Adhama type, and therefore, the principal Murti alone would be installed.
Further, in the former types the temple would have Vimanams and the consecration would be on an all-auspicious day in Sthira Lagna (at any rate not in a chara lagna). For the Abhicharika Murti, the installation should be at an inauspicious moment and in Chara Lagna. The temple should not have a Vimanam.
General features of an idol of Vishnu
Vishnu images have usually four arms, the ayudhas or weapons held in the hands are the Chakra, Sankha or conch, the Bow and arrows, and the Gada or club. The other weapons of Vishnu include the khetaka or the shield, the katari or the sword, the parasu or the battle-axe, hala or the plough, and sometimes the whip (for Gopi-Krishna) images.
The hands are usually in the abhaya, varada or katyavalambita poses. It is however relevant to note here that the Yogasastra recognises twenty-five kinds of mudras in images. The Abhaya pose is the one in which the Lord holds his hand aloft, with the right palm facing the devotee with all the fingers of the hand pointing upwards. This is a pose in which the Lord assures his protection to the devotee-relieving him from fear i.e., Bhaya.
The Varada hasta is the pose in which the Lord holds his hand with the palm facing the devotee with all the fingers of the hand pointing downwards. This pose signifies that the Lord is a giver of boons.
According to the Maya sastram however, “When the tip of the thumb is placed at the end of the breast, it is the attitude of abhaya or protection of God. If the hand is on the waist, it is said to be the attitude of giving vara or boon”. The Katyavalambita hasta pose is the one in which the Lord keeps his hand (left hand) on the kati or waist.
This is a pose that indicates that the Lord’s protection and grace are available to those worshipping him with constant devotion. According to another interpretation, it indicates that Samsara is knee-deep only to those devoted to the Lord’s feet.
Vishnu images are shown to carry several ornaments such as
the Padma or the lotus,
Kirita or the crown,
Makara Kundalas or crocodile ear ornaments,
Keyura or armlets,
Kankanas or wristlets,
Udarabandhas or ornaments around the waist,
Katibandhas or ornaments around the waist and the hips,
the sacred thread etc.
There is usually a mole on the right chest called the Srivatsa, and a garland reaching up to the knees called the Vaijayantimala. Sri Kaustubam is a gem-studded jewel on the chest which is sacred to Lakshmi. The consort of the Lord is usually carved or exhibited near the Srivatsa and the Sri Kousthubam.
The Yoga murtis are depicted generally in the yoga mudra, and the sthanaka pose. The Lord has four arms with Sankha and Chakra in the upper two hands. The other two hands are in the abhaya and katyavalambita poses.
Yoga sitting idol is described in the Gherandasamhita as follows:-
“While squatting turn the feet upwards; place them on the knees; then place the hands on the asana with the palm turned upwards; inspire and fix the gaze on the tip of the nose.”
A fine example of this pose is Sri Badrinarayana of Badrinath.
The Sayana or reclining Yoga murti has only two hands of which the right is placed near the pillow under the head.
The typical yogasana sayana murti is the image of Sri Ranganatha of Srirangam in South India.
The Bhoga image of Lord Vishnu has also four arms with the Sankha and Chakra in the sthanaka pose.
The hands are usually in the Abhaya, Varada, or Katyavalambita poses.
As a Sayana murti, the Bhoga form is sculptured as seated in the sukhasana, in which the right leg hangs down and the left leg is folded to touch the right thigh.
The reclining Bhoga murti has two or four arms and a well-built body.
In this type Laxmi is depicted as seated near the shoulder of the Lord; Brahma near the naval of the main idol; and Bhudevi near the feet of the Lord.
The Vira type of Vishnu image in the sthanaka pose is practically similar to that of the sthanaka yoga murti except that he stands alone or is surrounded by the sun, the moon, Brahma, and Siva.
The sitting Vira murti is seated on a simhasana, with the left leg bent and the right leg extended in front.
The reclining Vira murti has four arms of which one is used as a pillow and the other holds the Chakra with one of the left hands stretched out parallel to the reclining murti and the second left hand holding the Sankha.
The Abhicharika variety is usually dark complexioned and the sculpture shows the angry pose to exhibit ugra rasa.
The sthanaka image has two or four arms; the seated image has either two or four arms and is on an unornamented plain pedestal; the reclining idol is shown lying on the floor with two or four arms.
The consorts of the Lord are not in attendance in this type of image, but the rishis and the demons Madhu and Kaitaba are shown in the act of supplication.
Thus we have in the agamas, three types, the sthanaka, asana, and sayana forms of the idol, each of which is divided into four classes namely Yoga, Bhoga, Vira and Abhicharika, each of which has also three grades of temples like Uttama, Madhyama, and Adhama. Thus there are 36 different types of Vishnu images out of which any particular image has to be specifically identified.
Seven Hills – Tirumala
Since the Lord is situated on a hill and in a forest where there was no village or fortresses in the earliest days, it should be either a Yoga Adhama sthanaka or Abhicharika sthanaka or Vira Adhama sthanaka murti. It is not likely to have been a Bhoga murti in those days. Since the temple has only one murti, it is an Adhama type.
The Yoga Adhama sthanaka type should have four hands with the two upper hands having the Chakra and Sankha, the right lower hand in the Abhaya posture, and the left lower hand in the Katyavalambita posture. The presence of Sri Devi on the chest is not mentioned in the Agamas.
The idol of the Lord Sri Devi is carved on the right breast as an integral part of the image and not one subsequently invested as a detachable addition. As against this rule, the lower right hand of the idol of the Lord is in the Varada Hastha and not in Abhaya Hastha while the Sankha and Chakra on the two upper arms are detachable and are not integral to the image. The image is therefore according to the agamic rules, not a Yoga Adhama sthanaka murti.
An Abhicharika sthanaka murti whether Uttama, Madhyama, or Adhama, might have two or four hands but without any of the divine weapons. The posture of the hands whether Abhaya, Varada, or Katyavalambita, is not laid down in the Agamas. Hence the image of the Lord could be of the Abhicharika sthanaka type but for certain other disabilities.
The Abhicharika murti should have a shrunken chin, and lean angas, that is, the hands, legs, and body are to be shown as lean and it should also have upturned eyes exhibiting thamoguna. The idol of the Lord at Tirumala is however an extremely lovely figure, having well-formed and well-proportioned angas and with all the divine ornaments associated with the description of paravasudeva and with Sri Devi, the eternal mother as an integral part of the image.
The image is therefore obviously not an Abhicharika sthanaka whether of the Uttama, Madhyama, or Adhama sub-divisions. The vira type of image should have a Sankha and Chakra permanently and Sri Devi is not mentioned as part of the idol.
Though the posture in the lower arms namely Varada or Abhaya is not specified, the presence of Sri Devi and Sankha and Chakra not being an integral part of the image, rule out this possibility also. As regards the Bhoga type of image, here also the Sankha and Chakra should be permanent and Sri Devi and Bhu Devi should both be permanently on the breast. The other hand should also be in the Katyavalambita simhakarana posture which is not seen in the image of the Lord. The only ingredient specified in this type of image is the Varada hastha position of the right lower arm.
Except that the Lord is Shyama or dark in color and has four arms of which two are detachable, the application of the Agamic rules establishes that the idol of Sri Venkateswara does not fall under any of the types which the Agamas prescribe for installing a Dhruva murti.
It only remains now to examine whether the Lord confirms the type of the Parabrahma or Para Vasudeva.
Different Samhitas describe Him differently in His Divyaloka. A short one given in Bhrigu Samhita (33rd Adhyaya) shows that
He has four hands, and
is invested with the five weapons or ayudhas;
the two halves of His body are symmetrical and beautifully shaped;
that He is full of all the Kalyana gunas and wanting in none, and that He shines with His six gunas (Shadguna).
This description is not a detailed one. The weapons (divya ayudhas) are not in Sri Venkateswara’s hands. The mention of the Shadgunas is worth noting. The Pancharatra Agamas describe Para Vasudeva in different terms, mostly as being seated on Ananta, the Divine Serpent. They are all out of place for a consideration of the problem here.
In the seventh chapter,
sixth amsa of Vishnupurana there is a description given of the Murta Rupa of Vishnu for purposes of meditation. Four stages of meditation are mentioned. In the lowest, the Murti is meditated upon as having all the weapons, all the bhushanas (ornaments), and with eight or four hands. In the next higher stage the meditation is upon the Murti, dropping out the divine weapons; in the next higher even the bhushanas or ornaments are also left out.
In the next higher only the principal angas such as the body, two hands, etc., are presumed to be seen.
This description states that the Murti has a
Prasanna (spotless and brilliant) face, beautiful eyes shaped like the petals of the lotus flower,
beautiful temples, broad forehead,
Kundalas (ear ornaments hanging down the even earlobes),
the kantham (or neck) shaped like the right-handed Sankham (Chank),
broad chest with Sri Devi seated on the Srivatsa marks,
Udara (or belly) in three folds as it were, a deep seated navel,
long hands eight or four in number, well-knit and symmetrically shaped thighs,
spotless pitambara clothing with ornaments such as Kiritam (crown),
Haram (necklace) Keyuram (shoulder ornaments),
Katakam etc., rings on the fingers and toes.
The ayudhams (weapons ‘in his hands) are Sarngam (bow), Sankham (conch), Gada (mace), Khadgam (sword), Chakram (disc). Akshamala (garland of beads) is in the sixth hand; of the remaining two hands one is in the Abhaya posture and the other in Varada posture.
When only four hands are meditated upon Sankham, Chakram, Gada and the lotus flower adorn them. The above description in full is of the form for the lowest stage of meditation. This description does not apply to the form of Sri Venkateswara.
In the next higher stage all the weapons are left out and the four hands would therefore be free. All the bhushanamas or ornaments however remain on the Murti. This description would apply to the Murti form of Sri Venkateswara in a general way. The lower hands have however a definite posture, the right Varada and the left Katyavalambita, and corresponds to a Murti for meditation in the second stage.
The idol of the Lord at Tirumala does not correspond to these rules also. From a detailed examination of the agamic rules, one can therefore only come to any of the two following conclusions.
(a) The idol of the Lord at Tirumala was conceived and executed at a time before the Agamas were codified and came into being, or
(b) The image is a class by itself and from the earliest days, has been so conceived and made by the sculptor, as to drive home the point that the Lord is self-manifest or Swayambhu.
The Seven Hills of Tirumala in total is being called ‘Varaha Kshetram‘. Sri Venkateswara Swami and Sri Varaha Swami temples are located here.
Having the first darshan of Lord Varaha Swami, the darshan of Sri Venkateswara Swami later by the devotees has been a practice for several years and is the specialty of this Kshetram. Then only fruitful results will be obtained for their visit to the Sacred Tirumala hills.
Sthala Puranam
The sthala mahatmyam of the temple of Sri Venkateswara is called ‘Sri Venkatachala Mahatmyam’. This is mentioned in several puranas like Varaha, Padma, Garuda, Brahma, Markandeya, Vamana, Brahmottara, Skanda, Aditya, Bhavishyottara and Harivamsa. Out of these, the most important are Varaha and Bhavishyottara puranas.
Sveta Varaha Kalpa
The 33rd Chapter of “Sri Varaha Purana” describing Sveta-Varaha’s slaying Hiranyaksha forms the first Chapter of “Sri Venkatachala Mahatmyam”. The sthala purana mentions a conference of all rishis, and munis at Naimisaranya, where Suta, the apara vedavyasa was asked to describe to the assembled saints about the pre-eminent kshetras sacred to Sri Mahavishnu.
The 36th Chapter of “Sri Varaha Purana” describes the divine grandeur of Sri Sveta Varaha Swami, who chose his abode on the Kridadri and forms the 4th Chapter of “Sri Venkatachala Mahatmyam”.
In as much as the hill is dearer to God and is encircled by the sacred crest, here lies the certainty of fructification of human efforts in the different spiritual fields, such as Mantra, Tapas, Yagna, Kamya and other siddhis (acquisitions) and no obstacles intervene. Even small deeds on this hill tend to the attainment of the desired objects. All holy tirthas abound on this hill.
A constant worshipper with faith and devotion, who desires knowledge obtains knowledge; who longs for riches acquires much gold; who desires children begets sons; who covets kingdom secures a state; who wishes for the removal of bodily deformity derives a perfect and lovely physique; and likewise whatever men may desire that they shall obtain.
Through various causes, the kridadri have different names for their significance and they are as follows:-
Chintamani,
Gnanadri,
Tirthadri,
Pushkaradri,
Vrishadri or Dharmadri,
Kanakadri,
Narayanadri,
Vaikuntadri,
Simhachala,
Anjanadri,
Varahadri (for its being Varaha kshetra in it),
Nilagiri,
Venkatadri,
Srinivasagiri,
Anandadri,
Sri-saila.
It possesses also admirable powers as multitudinous as God himself.
Its mahima is indescribable even by the four-faced Brahma, the six-faced Subrahmanya, the thousand-eyed Indra, or the thousand-hooded Adisesha. The rishis of Naimisaranya expressed their curiosity to Suta to know more. In addition to this, some engraved inscriptions on the pillars were found in the Tirumala temple.
There are other innumerable collections of legends and stories about Tirumala and the presiding God Sri Venkateswara or Srinivasa. Most of the incidents in the sthalapurana describe the sanctity and the greatness of the Hills of Tirumalaand the numerous tirthas situated on them.
According to Legend…
Hiranyaksha was filled with pride, He once met Narada Maharshi and asked him “Is there anyone stronger than me”, then Narada replied, “Yes, There exists Lord Vishnu, who is stronger than you”. Hiranyaksha started searching for Lord Vishnu everywhere, but he couldn’t find him. He searched the whole earth and went underwater to Paatal Loka also for Lord Vishnu.
All the Gods were worried and rushed to Lord Vishnu for help. Oh! Lord! Please save us, Hiranyaksha has taken the earth and disappeared”. The Lord replied “Don’t worry, I know Hiranyaksha has taken the earth to paatal Loka. I’ll soon get the earth back to its position”. Then Lord Vishnu took the form of SwetaVaraha, a white boar with two curved tusks.
Lord then went to paatal loka. There was darkness in the depths in which the Earth was submerged. There, He found the earth hidden under seven underground worlds. Sri Varaha Swami fought and challenged Hiranyaksha. Hiranyaksha used many weapons, but it did not affect Lord Vishnu. Finally, Lord Vishnu directed his Chakra to Hiranyaksha, Chakra separated his head from the body. Hiranyaksha died then and there. Thus, Lord Vishnu relieved him from his curse.
Balancing the earth between the snout and the curved tusks, Lord Varaha brought Bhu Devi (earth) out of the depths of darkness and out of the deadly waters. As he rose out of the waters with the earth safe, those who witnessed the event praised God with gratitude. Then, the Varaha Swami placed her in the middle of the seas and supported her with his power.
Lord Sri Venkateswara took up residence in Tirumala,with the permission of Sri Varaha swami, and granted Lord Varaha, the privilege of first view (Darshan), and first Naivedyam. According to the legend, Tirumala was originally the Adi Varahakshetra. According to Brahma Purana, Naivedyam should first be offered to Sri Varaha swami. Pilgrims should visit Sri Adi Varahaswami temple before Sri Venkateswara Swami temple.
According to Atri Samhita, Varaha Avatara is worshipped in three ways
Adi Varaha,
Pralaya Varaha, and
Yajna Varaha.
SRI VARAHASWAMI TEMPLE AT TIRUMALA
It is located to the north of the Sri Venkateswara Swami temple on the banks of Swami Pushkarini. The presiding deity is Sri Varaha Swami, an incarnation of Lord Vishnu in the form of a Svetha Varaha (white boar) that was staying on the hills when the Lord Mahavishnu descended to earth.
The Bhuvarahaswami in the Sanctum holds Chakra and Sankha in his hands seated on the surface of 2’ height and faces north having Bhudevi in his left-hand side.
In addition to this idols of 1’ in height Panchaloha Varaha and Sri Srinivasa, some salagrams can be seen. Further 1’ height copper plated yantra, which is in chaturasrakara shape. This is in brahmi script and may be a danapatram written by Sri Venkateswara Swami. While entering the temple’s Garbhagriha we come across Lord Vishvaksena and Ramanujacharya. We can observe Vishvaksena’s Idol on the right side of the temple’s Garbhagriha and Ramanujacharya Idol to the left of temple’s Garbhagriha.
There is no dwajasthambam in this temple. As such daily poojas archana, an offering of naivedyam three times a day is being conducted as per Vaikhanasa Agama. The annaprasadams are prepared in the kitchen of Sri Venkateswara Swami temple, first to Sri Varaha Swami and later to Lord Srinivasa.
In the year 1982 from April 21 to 26 Mahasamprokshanam was conducted. The height of the dias of the presiding deity was increased. Golden makara thoranam to Swamivaru was arranged. A big golden vimana, kalasa pratistaphana programmes were performed grandly.
The Varaha Swami temple was well constructed as per agama and vastu sastras. It was divided into four parts viz., mukha mandapam antaralayam and Garbha griha. The sanctity and
the beauty of the temple attracts Pilgrims.
On the last day of every year of ‘Srivari Brahmotsavams’ i.e. Sravana star day on the eve of chakra snanam Sri Venkateswara Swami along with Sridevi and Bhudevi and Chakrattalwar come to Mukha mandapam of Sri Varaha Swami temple in a procession. After panchamrutha snapana tirumanjanam, chakrasnanam will be performed in the sacred waters of Swami pushkarini to the processional deities.
Chakra Snanam during Brahmotsavams in Swamy Vari Pushkarini – Beside Varaha Swamy temple – Tirumala
The archakas, vedaparayanadars, mathadhipathis, higher officials of TTD., employees, men, women, and children devotees in large numbers take baths in the waters. Similarly, on Rathasapthami and Mukkoti dwadasi days only Chakrattalwar will come to this Mukhamandapam. After the abhishekham, the bath will be performed in the sacred waters of Swamipushkarini.
Have the blessings of Lord Sweta-Varahaswami and Sri Srinivasa residing on Sacred Tirumala Hills
Possessing a high-strength body, the killer of demon Hiranyaksha, who snatched away Bhudevi, the saver of bhumi (Earth) with his curved tusks, we always pray Sweta-Varahaswami and Lord Srinivasa!!
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