TIRUMALA (Tirupati, A.P) is a universally acclaimed pilgrim center of India. Here at Tirumala, we find the ‘Swayam Vyaktha’ or ‘Swayambhoo’ (self-formed or self emerged form) image of Lord Venkateswara who is called Tirupati Balaji
That is why, the devotees continuously stream to Tirumala hills for a glimpse of the Lord who is like gold in the fist. Some choose to participate in the early morning ‘Waking up Service’ (Suprabhata Seva) of the Lord, and offer worship (Archana) and naivedyam (food).
Some participate in the daily ritual of the Lord’s marriage to witness the glory. (Kalyanotsavam)
Some participate in Poolangi Seva (Garlanding Service) andTiruppavada Seva(offering of huge heaps of tamarind rice and other prasadas to the main deity as a veil between the deity and the devotees on Thursday), while some others participate in Abhisheka Darshan (ablutions) of the Lord on Friday and go into raptures.
Thus devotees participate in kalyanotsavas, Brahmotsavas, Vasanthotsavas and other ceremonies to receive the grace of the Lord.
In this context, the devotees, however, get a genuine doubt. Is the deity of Lord Srinivasa the same in all these utsavas or different? If different, how many deities are there? How distinctly are the services offered to each of them? Let us look into the details to dispel these doubts, to some extent.
The self-manifested deity of Lord Sri Venkateshwara in Tirumala shrine receives rituals of worship and offerings as per the most ancient Vaikhanasa Agama. Devotees attribute to God whatever is relevant to them and follow a prescribed method of worship (Upasana). That is why, we conduct services of bathing (abhishekam), worship (archana), feeding (naivedyam), the procession (ooregimpu), going to bed (Panpu seva), etc. to God.
Pancha Berams (Beram means an idol or deity)
Since the presiding deity is stationary, we can’t offer all the services, especially taking it in a procession or laying it in bed. Hence, the Agama science has allowed five kinds deities (Pancha Beras) for this purpose.
They are
Dhruva Beram (Presiding Deity),
Kautuka Beram (Sri Bhoga Srinivasa Murthy used for daily worship),
Snapana Beram (Sri Ugra Srinivasa Murthy used for ablutions),
Bali Beram (Sri Koluvu Srinivasa Murthy, the supervising deity for offering oblation to the secondary gods and goddesses of the temple, and
Utsava Beram (Sri Malayappa Swamy, the Processional Deity).
The five-idol system of the Vaikhanasa Agama is followed in the Tirumala shrine. Utsavas are performed for different idols here.
DHRUVA BERAM
The presiding deity or main deity is also termed mula virat, dhruva murthy, or mula beram. This idol of Salagrama stone is a self-manifestation of the Lord wearing a disc and conch in the sanctum sanctorum of Ananda Nilayam. It is about 8 feet high. There will be mainly tomala seva (garlanding service) twice and archana (brief worship) and naivedyam (food) thrice for this deity.
Devotees queue up to see this deity every day.
Every Tuesday as part of the second archana, this main deity with Sri Maha Lakshmi on his chest is offered Ashtadala Pada Padmaaraadhana with 108 gold lotuses. Every Thursday there will be Tiruppavada seva and Netra darshana (glimpse of Lord’s eyes) in the morning, and Poolangi seva (garlanding service) in the evening. In the early hours of every Friday, there will be Abhishekam (bathing with holy waters) to this deity with spices.
This deity is called Bhoga Srinivasa Murthy or Manavalapperumal. The deity with four hands and disc and conch is a small replica of the main deity by all means. It appears this silver idol of 1.5 feet high was presented by Pallava Queen Samavai in 614 AD. It is always kept at the feet of the main deity of Lord Venkateshwara.
It is bathed with the holy waters of Akasha Ganga every day and with one thousand and eight silver vessels (Sahsra Kalashabhishekam) before the golden entrance every Wednesday morning. There will be Ekantha Seva or Pavalimpu Seva (Going to bed in privacy) every night for the deity. During Dhanurmasa (period of Tiruppavai vratham of Andaal), however, the deity is replaced with that of Lord Krishna with butter in his hand for this seva.
BALI BERAM
This idol is known as Koluvu Srinivasa Murthy or Lekhana Srinivasa Murthy. It is made of five precious metals and resembles the silver idol of Bhoga Srinivasa Murthy. A court (Koluvu) is held in the Snapana Mandapam on the golden throne supported by sculptured lions every day after Tomala Seva before the Archana.
In this court, Koluvu Srinivasa Murthy is offered royal felicitations with chatra (the royal umbrella) and chamara (a fly-flap) befitting an emperor. The particulars of tithi (the number of the day in a month), vaara (weekday) and nakshatra (the presiding star) of the day are read from the Hindu Calendar (Panchanga Shravanam) along with the income and expenditure statement of the earlier day to this deity.
Koluvu Srinivasa Murthy is the supervising authority of the temple’s income and expenditure.
SNAPANA BERAM / Ugra Srinivasa Murthy
The Snapana Beram is also known as Ugra Srinivasa Murthy, Venkatatturaivar or Snapana Murthy. It is 25 inches high. The idols of Ugra Srinivasa Murthy along with Sri Devi and Bhu Devi are made of five precious metals.
They were used for the utsavas in the past. This practice was dispensed with in the 14th century as some untoward incidents occurred in one of the Brahmotsavas. On Kaisika Dwadasi however, the procession of this deity is taken out from the temple early in the morning which ends much before sunrise.
UTSAVA BERAM
It is known as Malayappa Swamy or Utsava Srinivasa Murthy. There is a reference to it in 1339 AD.
This deity appears to the devotees in all the utsavas held outside the temple such as
Nityotsavas (daily ceremonies),
Varotsavas (weekly ceremonies),
Masotsavas (monthly ceremonies) and
Varshikotsavas (annual ceremonies).
It is also made of five precious metals and its height is about 30 inches. Since the idol was found in the Malayappa kona (a recess of Malayappa hill), it is called Malayappa Swami.
Besides the above idols, there are many other idols in the Ananda Nilayam such as –
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.
As you enter through Golden doors you come across, not very much illuminated, a 27 feet quadrangular mandapam. This (Snapana Mandapam) has four pillars in the middle portion. Sculptured figures of Balakrishna, Yoga Narasimha, Sri Krishna Kaliya Mardhana, etc., can be seen on these pillars. It is known as “Tiruvilan Koil”, a Tamil word for Sanskrit Bala Aalayam.
Whenever repairs or renovation or reconstruction work of Sanctum Sanctorum, either inside or outside is taken up they will have a shift to temple Bala Aalayam. The potency (tejas) of the Lord will be induced or transferred into another idol.
Bhoga Srinivasa Murthy
In the year 614 A.D., it is said a Pallava queen by name ‘Samavayi’ (Perundevi) had offered a silver replica of Manvaala Perumal i.e., Bhoga Srinivasa Moorthy, to the temple. She oversaw the installation of the silver idol. Not only this, she made necessary arrangements to perform poojas as well as holy ablutions to Lord Venkateswara by granting necessary funds.
Bhoga Srinivasa murthy
Researchers think that at the time of the installation of the Silver replica of Bhoga Srinivasa Moorthy, the priests would have made use of this Snapana Mandapam i.e., mandapam for holy ablutions.
Sri Bhandaram
In this Snapana Mandapam on both sides of the door, there are two rooms known as Sri Bhandaram. In the room to the right of the golden door they store the offerings collected from the “Hundi”. Everyday night after “Theermanam” (end of seva’s for the day) which follows Ekantha seva (service offered to the Lord in solitude), ‘Hundi’ is opened and then sealed firmly.
Well and firmly sealed Hundi then be taken to the “Bhandaram” (storehouse) which is to the north of Golden Door. Because of this, the rooms get the name of Kaanuka (gift or offering) Bhandaram.
Samarpanam
There is one more room to the south of the Golden Door. Here the costly jewelry of Lord Venkateswara is stored. The decoration of the Lord’s idol with costly precious jewelry is considered a special service. This service is known as ‘Samarpanam’.
There are three ways in which this samarpanam is carried out.
They are known as
Sadaa (daily) samarpanam,
Visesha (special) samarpanam and
Mojaati (jewelry of historical importance) samarpanam.
All these expensive jewelry, precious stones, diamonds, etc. are stored in the store room which is to the south of the golden door.
Jewelry for decorating Shrine
Sadaa (daily) samarpanam
Ornaments meant for daily adornment come under consideration for sada samarpanam. They include a Golden crown, a Golden hip hand (kati hastham), a blessing hand, a sword, an alligator-shaped necklace, and Lakshmi garlands, etc., These are ornaments made of gold. These will be in the custody of archakas i.e., purohits. These things adorn the Lord daily. They are valued at more than 1 crore.
Visesha Samarpanam
On special occasions, like the visit of the Prime Minister or President or any other dignitary, etc., and on important festival days very valuable things like a Diamond crown, diamond-studded Sankhu and Chakra, Vykuntta Hip Hands, etc., adorn the idol of Lord Venkateswara.
The aforesaid ornaments are studded with costly as well as very costly precious stones. These things will be under the custody of one special officer who is known as ‘Paarupattedaaru’. These things are worth more than two crores.
Mojaati Samarpanam
During Brahmothsavams, and other paid utsavas or special courts organized for Lord Venkateswara very old and precious ornaments of historical value donated by kings and emperors of bygone days (belonging to an earlier time.), as well as Kings and Zamindars of yester years adorn the Lord.
Being very valuable things they are kept safely in T.T.D.’s treasury. Before the Utsavams they will be taken from the treasury and will be returned after the Utsavams. Sada (Daily) Samarpanam ornaments or jewelry will be in the custody of priests. They keep these things in lockers of Samarpana mandiram.
Paarupattedaaru (A special officer in charge of the temple or a man in authority) will be overall in charge of the Lord’s Ornaments and Jewels.
Magha Shukla Sapthami is celebrated as Rathasapthami from ancient days in our land of Vedic culture. Lord Surya’s worship is as ancient as human life on the earth. Our sacred texts proclaim Surya-Sun God as ‘Karma Sakshee Divakarah’, Surya is an eyewitness to whatever we humans do since his rays enter everywhere.
He is also termed ‘Surya Narayana’ since Lord Mahavishnu has bestowed special powers on him, without whose presence we would not have seen the light of a day!
The Vedas praise lord Surya deva as Savitur, in Soura Suktam of Rigveda. ‘Udutyam jatavedasam devam vahanti ketavah’ says the Suktam dedicated to the Sun god.
He is also called ‘Sooryaaya Vishva chakshase’ (the eye of the Universe). Worshipping the Sun as the deity has been a common practice since ancient days in our country. Even a farmer in a village home or a worker, unaware of any particular prayer, looks at the rising Sun and does namaskaram with folded hands, as soon as he looks at the Sun rising in the east.
Sapthami, the 7th day of every Telugu month, is very significant to Surya Deva. He is the lord of planets- grahanam jyotiradityah duritakshaya karakah’, – Sun gives his luminosity to other planets and also wards off their evil effects on humans, according to Shastras.
Magha Sukla Sapthami is the day when the Sun god is worshipped as the main deity. Each year, we get, 2 days in a month, and hence 24 Sapthami days, of which Magha Shukla Sapthami is a very auspicious day. On this day, the Sun changes its path towards the North.
On this Rathasapthami day, early in the morning people take a bath in sacred rivers, wells, ponds, and pilgrim centers keeping Arka leaves on both shoulders signifying the Sun as protector. This day is named ‘Rathasapthami’.
Women prepare special Payasam of broken wheat/rice, and jaggery with ghee and offer it to the Sun God in an earthen pot and offer red flowers to him. This is considered auspicious and pleasing to the Sun god.
‘Arogyam bhaskarad icchet’ – one has to pray to the Sun God for good health shastras say.
Lord Sri Ramachandra, an incarnation of Lord Vishnu was initiated by Agastya rishi to recite ‘Aditya Hrudayam’ in Ramayana, when he found Ravana, very powerful to defeat and kill. Aditya Hridayam is a very powerful stothram which is to be recited every day to ward off all evil effects of planets in bad dashas for blessing us with good health and prosperity.
Aditya Hrudaya Stotram is very powerful which gives us victory, good health and prosperity, longevity, and much more, says the Stotram. Lord Surya is remembered as ‘Namaskarapriyah’ one who is easily pleased by offering Surya Namaskaras to Him.
Surya grahana tulya sa Shukla mahasya Sapthamee | Arunodaya velayam snanam tatra mahaphalam ||
Says Bhavishya Puranam. This means ‘Magha Shukla Sapthami’ is equal to the day of the Solar eclipse – a Parvakalam, a very auspicious occasion to offer our prayers to the Sun god. One has to have a bath before the Sun rises and offer Arghyam to Lord Suryanarayana.
Procession of Surya Prabha Vahana on Tirumala Mada Streets
Rathasaptami In Tirumala
Rathasapthami, popularly known as ‘Surya Jayanthi’. On this holy day, Lord Malayappaswami takes a ride on seven celestial vahanams and hence it is also called “One-day Brahmotsavam”. On Rathasapthami day, One-day Brahmotsavam begins with Suryaprabha Vahanam and concludes with Chandraprabha Vahanam. It is a rare glimpse for the devotees to witness all seven vahanams on a single day in Tirumala on this auspicious occasion.
Procession of Chandra Prabha Vahanam on Tirumala Mada Streets
List of Vahanams being taken on Rathasapthami Day in Tirumala
The article “Swami Pushkarini – The Path for Salvation” published in Sapthagiri Magazine by “Sri M.R.K. Sateesh Babu”
Swami Pushkarini
Swami Pushkarini is a sacred lake located on Venkatachala Mountain adjacent to Ananda Nilayam where the deity resided after he arrived from heaven on his divine vehicle. Of the seven lakes in Trilokas,
Swami Pushkarini is the most significant and prominent lake that lies on the northeast side of Sri Venkateswara Swami temple. It is one of the iconic places on earth that has the divine and angelic power to bless the devotees with materialistic and worldly comforts.
In many of the Puranas and mythological books, the glory and significance of Pushkarini are cited clearly.
Vamana Purana
In the ancient age, there was a sage called Markandeya. He performed penance to propitiate Brahma to get blessed with a boon from him. Convinced with his austerity, Brahma appeared before Markandeya to bless his deep-delved desire.
Sage Markandeya requested Brahma to give him the energy to visit all heavenly lakes in Trilokas to offer prayers and to do service with devotion. Brahma answered Markandeya that it was impossible to visit all seven lakes, but suggested Markandeya visit ‘Swami Pushkarini’ where he could gain the fruit of his burning desire with a single dip in the lake’s water on Dwadasi Day in Dhanurmasa at dawn when all heavenly lakes enter the Pushkarini (12th day, the day that comes before full moon day in December.
PC – Sapthagiri Magazine, Article on “Swami Pushkarini – The Path for Salvation” by “Sri M.R.K. Sateesh Babu”
As suggested, Markandeya visited Swami Pushkarini, performed his services, and offered prayers with devotion. The inborn desire of the sage was fulfilled.
Varaha Purana
Once upon a time, there was a king called ‘Sanka’. He was a great devotee and also a great warrior. He used to rule the kingdom on the four wheels of Dharma. Unfortunately, the kings of his neighboring kingdoms felt jealous of his prosperity, and allied to defeat the king by hook or by crook. The news was like a bolt in the blue to ‘Sanka’.
Despite his undaunted endeavor, the king was unable to protect his kingdom. It had become a herculean task to protect himself from them. They seized his kingdom and made ‘Sanka’ to run for his life. Escaping from his enemies, Sanka reached his teacher. Pitied with his condition, the teacher suggested ‘Sanka’ to visit Swami Pushkarini to offer prayers after having a bath in it.
PC – Sapthagiri Magazine, Article on “Swami Pushkarini – The Path for Salvation” by “Sri M.R.K. Sateesh Babu”
Understanding the greatness of Pushkarini, Sanka took a bath in Pushkarini and offered prayers to God with dedication. While he was still in the lake offering prayers, God appeared before Sanka and blessed him with his lost prosperity. The coalition that was formed by his enemies failed and they returned to his kingdom. ‘Sanka’ had become a sovereign king with the blessing he received from God on his visit to Swami Pushkarini.
Swami Pushkarini is at the forefront of all sacred lakes. It has the power to fulfill the inborn desires and also to bless the Devotees with all prosperity.
Skanda Purana
Once there was a king named Nandu in Chandravamsa. He had a son called Dharmagupta. He was brought up by the king with utmost care. After he had attained the age to rule the kingdom, the king assigned the responsibilities of his kingdom to his young son and left for the forest. He ruled the kingdom with ease. One day, Dharma Gupta went to a forest. Even before he had returned from the forest, it became night.
Suddenly, a lion chased him. To escape from a lion, the king climbed a tree where he found a bear. It was there on the tree, protecting itself from the lion. On seeing the bear, the king was shocked with fear. The bear observed the king’s anxiety and communicated with the king in human language. It told the king not to get afraid of it and also suggested the king take a rest for a few hours as he was very exhausted.
Convinced by the bear’s conversation, the king had slept without hesitation. While the king was sleeping, the lion tried to convince the bear with pleasing words and asked the bear to push the king from the top of the tree. Though the bear was an animal, it tried to keep its promise. It refused to betray the king. It said that if he does so, there will not be redemption from sin. It suggested the lion leave its greediness.
PC – Sapthagiri Magazine, Article on “Swami Pushkarini – The Path for Salvation” by “Sri M.R.K. Sateesh Babu”
After the king had woken up from sleep, the bear took a rest. The lion played the same trick that it had done before. The king, who was convinced by the lion’s words, left his promise and pushed the bear from the top of the tree. The bear opened its eyes and balanced itself without falling. It cursed the king for his ingratitude to become a lunatic. From then onwards, the king had become a mad person wandering all the places.
Some of his followers recognized him and took him to his father who was in the forest performing austerity. The old king felt sad. On the suggestion of the Sage Gemini, he took his lunatic son to Swami Pushkarini. He dipped in Pushkarini along with his son.
The very next minute, Dharmagupta, his son recovered from his curse and regained his previous intelligence. From this, it is evident that Swami Pushkarini has the power to redeem from the all-time sin.
Brahma Purana
Once Goddess Saraswathi, with a desire to gain more veneration and fame than any other river including Ganga, formed as a river. Sage Pulasthya visited the place where Goddess Saraswathi formed a river. He felt that the Goddess had not shown reverence to him. With anger, he cursed Goddess Saraswathi that her desire would not come true.
Goddess Saraswathi felt humiliated by this curse. She cursed Pulasthya that his sons would become monsters and fight against Mahavishnu. Realizing his mistake, the sage requested the Goddess to take back her curse. As it was not possible to do it, she blessed Pulasthya that his last son Vibhisana would become the devotee of Sri Mahavishnu and bring a good name to his family.
PC – Sapthagiri Magazine, Article on “Swami Pushkarini – The Path for Salvation” by “Sri M.R.K. Sateesh Babu”
After this incident, Goddess Saraswathi, who desired to flow as the sacred river, did penance to fulfill her desire. Sri Mahavishnu appeared and said that he could not erase the curse but he could bless her to be the lake that is as mighty as the Ganges to erase the sins of the devotees who will take a dip in her water. From then onwards, Goddess Saraswathi has become ‘Swami Pushkarini’ (the sacred lake).
Bhavishath Purana
It is said that Sri Rama visited Swami Pushkarini, while he was in search of Sita. Ravana abducted Sita. To trace out Sita, Rama crossed the mountains and reached the place where Hanuma resided. He met Hanuma and thereby helped Sugreeva in killing Vali.
While they were about to move in search of Sita, Anjana Devi, mother of Hanuma, requested Rama to visit her hermitage. Though Rama said that he would come later, Hanuma compelled Rama to come over there.
PC – Sapthagiri Magazine, Article on “Swami Pushkarini – The Path for Salvation” by “Sri M.R.K. Sateesh Babu”
On his request, he visited her hermitage, blessed the sages, and visited Swami Pushkarini. He dipped in the water and offered obeisance. It is said in Purana that Rama could trace out Sita only after taking a bath in Swami Pushkarini.
Sri Swami Pushkarini Theertham
To take a bath in a sacred pond ‘Sri Swami Pushkarini’ –
To serve with devotion ‘a teacher,
To offer prayers to God on ‘Ekadasi’, ……….. is magnificent, marvelous, and memorable.
Likewise, To take birth as a human being,
To lead life successfully on earth and
To take a bath in ‘Swami Pushkarini’….
……….. is good, great, glorious.
Of all sacred lakes (theerthas) ‘Swami Pushkarini’ is the most pious and virtuous lake. It is situated in the sacred premises of ‘Tirumala Temple’, the abode of Kaliyuga – Lord Venkateswara. It is said in Puranas that this sacred lake was brought by Garuda, the vehicle of Sri Mahavishnu on onto the mountain at the command of Sri Mahavishnu.
So it is called ‘Swami Pushkarini’. It is also mentioned in the Puranas that a single dip in the sacred water of a lake would wash away the sins of an individual and bestow temporal prosperity.
Every year, on Vaikunta Ekadasi of the bright fortnight in Dhanurmasa (November/ December) all the three & half crore holy Theerthas enter this Swami Pushkarini. In connection with this auspicious occasion, the event of Divine Chakra Snana Ceremony (sacred bath) is performed on the bank of Swami Pushkarini soon after the early morning rituals to Sri Venkateswara Swami in the Sanctum Sanctorum in Tirumala Temple.
Chakra Snanam – Holy Dip of Chakra in Swami Pushkarini – Tirumala
From Ananda Nilyam, after the morning rituals ‘Sudharshana Chakrathalwar’ was moved in the streets in procession and brought to the sacred lake for a bath. After the sacred bath in the holy lake, ‘Chakrathalwar’ is decorated with jewels and gems and taken back to its original place. All the Devotees avail this opportunity to participate in the Chakra Snana Ceremony and take a holy dip in Swami Pushkarini after the ceremony is performed.
The word “Vimana” means to house the lofty image of the Supreme being. In the word “Vimanam”, the alphabet ‘ma’ means an object which is measured or made in various ways. The prefix ‘vi’ denotes “vishesha” which signifies the image. So, the word itself, from its etymological aspects carries a noble and elevating significance.
Several Puranas have umpteen references to Vimana with different meanings.
But, in Tirumala, the second among the l08 divya desas, the Supreme being is stationed in the sanctum sanctorum called Ananda Nilaya Vimana. In Sri Padma Puranam, chapter 10, it is described that, the appearance of a new and unblemished Vimana which gladdens the hearts of the viewers, on the western side of the sacred tank.
It is said in Vamana Purana Chapter 40/21, there is an account of Brahma and other gods having obtained a view of the deity in the divine Vimana of this temple. On that occasion, Vishnu is said to have appeared to human beings as the image of Srinivasa in the Sanctum built by man.
Ananda Nilaya Vimana indicates the abode of Mulavirat of the sacred Seven Hills.
It is said that Thondaman Chakravarti, a great King of the Thondamandalam area ordered to build Lord Srinivasa Temple and a Vimana as described in Bhavishyothara Purana. Even in Tiruvenkata Puranam’s eleventh chapter, the same was told in Tamil.
In the Puranic age, it is said that Vamana Purana refers that on the banks of Swami Pushkarani, great sages headed by Agasthya along with King Sanaka, visualized the Lord when he manifested himself in his divine Ananda Nilaya Vimana, which was conical, studded with precious stones and decked with garlands of pearls.
In Vamana Purana, Agastya says that in the Kali age which was yet to come, a holy Vimana will destroy all sins of viewers, which by its auspicious nature will gladden the hearts of all viewers, which will be worshipped by celestial beings, gandharvas etc., which will have unique good features, in which the Lord will be ever resident, is going to be designed and constructed by the devotees of Vishnu.
The Vimana was directly transported from the world of Bliss i.e. Sri Vaikunta.
It is also the abode of Ananda – the blissful Supreme being in archa form, the Vimana over the abode of Sri Srinivasa was named Ananda Nilaya Vimana. Even in the Ashtotharam of Sri Venkateswara, it is said :
Om Vaikuntaagatha Sadhema vimaana antargataaya Namaha!!
It is also said that Vimana was created by the Supreme being Himself out of his own Maya as stated: Om Maayaa gooda Vimaanaaya Namaha!!
According to the most authentic source of Tirumala rituals, Tirumalai Ozhugu, in one of the 3 visits of Sriman Ramanuja set aside the disputes about “Who the God is?” and confirmed with indisputable facts that the Lord on Seven Hills is Lord Narayana only.
During that time Sriman Ramanuja consecrated the deity by adorning Mulavirat with Conch and Discus and performed a full-scale Samprokshanam as per the rules of Vaikhanasa Agama by installing the images of Varaha, Narasimha, Vaikuntanatha and Srinivasa on four sides of the Vimana.
In Tirumala, Lord Narasimha is housed in the north of Swami Pushkarani. Intending to reduce his fierceness, Sriman Ramanuja shifted the deity from that place to the northeast of Ananda Nilaya Vimana and established him facing the Vimana.
Great Art
The significance of Vimana is that it is a three-storeyed Vimana constructed to the maximum height. The square base is 27’4″ and the height is 37’8″, which includes Kalasa over the present terrace of sanctum sanctorum.
The first two tiers are rectangular and the third is circular in plan. There are no figures sculpted in the first tier. There are forty figures in the second and the third or topmost story is placed with good space left out at the four corners.
During the Samprokshanam, two lions with a lotus in between them were installed. It is said that about 12 tons of copper and 12000 tolas of gold were used in the construction of the Kavacham for the Ananda Nilayam. It is said that the outstanding feature of the Vimana is a blend of traditional design and artistic skill, modern techniques of manufacture and finishing, not to speak of elaborate attention paid to every small detail of the work.
It will be of great interest to know from the TTD inscriptions about the growth and development of Ananda Nilaya Vimana, since Pandya King. It is said that Sundara Pandya was the first to make a gold Kalasa and fixed it in 1262 A.D.. Vira Narasimha of Vijayanagara King performed his Tulabhara ceremony and presented the gold to the temple for guiding the Vimana and other structures.
Renovations
Saluva Mangideva, a general under Kumara Kampana Udaiyar, fixed a golden Sikhara on the Vimana in 1359 A.D..
Amatyasekhara Mallana, a Minister under Devaraya-II in 1417 A.D. renovated Ananda Nilaya Vimana.
In 1518, Sri Krishnadevaraya, Vijayanagara King, during his fifth visit presented 30,000 gold varahas for guilding of the Vimana.
Again in 1630 A.D. Kotikanyakadanam Taachariar of Kancheepuram, arranged gold guilding of the Vimana.
Later in 1908, Adhikari Ramalakshmanadasa, one of the brother disciples of Sri Mahant Prayagdasa fixed gold Kalasa over the Vimana. Thus, Ananda Nilaya Vimana was covered with gold gilted plates in different times.
Krite Varadarajastu Tretayam Ranganayakah! Dwapare Tu Jagannathah Kalov Venkatanayakah!!
The Seven Hills of Tirumala are as sacred as the Vedas. The holy Vedic hymns are their stones. The root of the footpath leading to the top of these hills, Alipiri, is the pedestal of the seven hills. A pilgrim takes the first step of the journey to the holy abode of the lord here only.
It looks as if Lord Venkateswara, to climb his holy hills took his first step here and left the imprints of his sacred feet at Alipiri. This spot is immortalized as ‘Padala mandapam’.
In 1628 A.D. Matla Kumara Anantharaya of Devachoda family built a mandapam at Alipiri renowned as padala mandapam. It is under the tamarind tree here that Tirumala Nambi taught the secrets of Ramayana to his disciple the divine Ramanuja.
It is believed that the holy footprints of Lord Venkateswara appeared at this spot as narrated in Sri Venkatachala ithi hasamala.
Sri Vari Padalu (Srivari Paadaalu)- Compact temple set on a leafy hilltop, housing a relic of Lord Venkateswara’s footprints – Located in Tirumala
Footprints of Lord Venkateswara
Pilgrims coming by foot to Tirumala first worship these sacred footprints of Lord Venkateswara. Those who cannot climb the hills prostrate to the holy footprints and express all their prayers there itself. All the devout pilgrims thus begin the pilgrimage after first worshipping Sri Venkateswara’s holy footprints.
There is a popular legend connected with this mandapam. Sri Kalahasti is in the northeastern corner of Tondai Mandapam, Kanchipuram is in the South.
During the sacred Sravana Saturdays, two Dalit Vaishnava Devotees after observing the fast prepared with flour and ghee lamps of worship (Pindi Taligha). In the flour sediment of each lamp, the footprints of the left and the right feet of the Lord appeared separately.
The Dalit devotees, strangers to each other, measured each imprint of the holy feet and prepared two sandals. They kept them in the Padala Mandapam.
Though each sandal was prepared independently without any idea of the other, the sandals formed into a perfect pair.
At this spot in August 2001, the idol of Lord Venkateswara was re-installed along with the Footprints and Dwarapalakas. Before climbing the hills, every devout pilgrim keeps these sandals on their head and goes around the mandapam for salvation.
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.
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