THE INCREDIBLE TEMPLES OF INDIA
Brihadeshwara Temple
Built by Raja Raja Chola I in 1010 AD, Brihadeshwara Temple is an ancient temple at Thanjavur in Tamil Nadu. The deity of the temple is Lord Shiva—in his dancing pose—who is called the Nataraj. The temple is also known as Rajeswara Temple, Rajarajeswaram and Periya Kovil. The temple was built, like a fortress on the shores of a river, by the king to grace the Chola Empire. This thousand-year-old temple is now part of the UNESCO World Heritage Site adding to its exceptional historical and cultural value.
The temple is a magnificent architectural construct that will never stop surprising anyone visiting the temple. Built using over 130,000 tons of granite, this fabulous structure shows the architectural prowess and affinity of the South Indian kings.
The major attraction of the temple is the 216-feet-tall tower that is built above the Sanctum of the temple. This flamboyant tower can be seen by anyone entering the city from afar. Another breathtaking thing that will sure stupefy the visitor is the magnificent Nandi statue built at the temple; it is about two meters in height, six meters in length and two-and-half meters in width, and weighs around a whopping 20 tons for a statue built from a single stone. Various postures of the famous classical dance, Barathanatyam, are carved carefully on the exterior walls of the upper storey of the temple.
There are several shrines added to the temple by most of the following rulers such as the Pandyas, the Vijayanagara rulers and the Marathas, too. The temple architecture marvels at housing a myriad of surprises for everyone taking a look at this great temple. Another important architectural feature of the temple is that the shadow of the temple never falls on the ground at noon. The architecture of the temple is done so cleverly that the temple casts no shadow on the ground when the sun is at its peak. This is a phenomenon that attracts thousands of tourists and architectural enthusiasts from across the world to unravel the architectural mystery of the temple.
Brihadeshwara Temple is also the first all-granite temple in the world, and the fact that granites are not available within the 100-mile radius of the temple only makes it all the more astonishing. Granite is as heavy a stone to carry as it is to carve, but none of that seemed to have shied the king from realizing the temple the way he envisaged.
When the temple was built in AD 1010, it was the tallest temple in India hitherto, and it took only seven years to complete. The topmost structure of the temple, called Vimana, weighs around 80 tons, and it is a mystery how the builders got it up there. There are several musical pillars, which make different sounds when taped, at the temple. Upon visiting, anyone can understand that the temple is a brilliant testimonial of the opulence of grand South Indian architecture.
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Sri Padmanabhaswamy Temple,
The temple finds mentions in holy texts like the Puranas namely Skanda Purana, Padma Purana, Brahma Purana, etc. It is considered to be one of the seven Parasurama Kshetras. Between 500 B.C. nd 300 A.D., it has also been a topic of Sangam literature. Legend says that Divakar Muni, who is said to have consecrated the temple, was an ardent Vishnu Bhakta and performed deep tapas for Lord Vishnu.
One day the sage noticed a very charming child and fell deeply for him right away. He didn't ever want the child to leave his sight, and so, he requested the child to stay with him. The child agreed on the condition that Divakar Muni must always treat him with love and respect and if he ever fails to do so, the child would disappear at once, to which the sage readily agreed. The hermit took great care of the child and lovingly tolerated the child's tantrums and mischiefs.
Once, Divakar Muni was in deep meditation when the child started mishandling the salagram that the sage used for Lord Vishnu's worship. The hermit was profoundly enraged, and he yelled at the child for his misconduct. The child, as agreed before, immediately began to run away from the spot. However, before leaving he told the sage, "If you wish to see me again, you will find me again in Ananthankaadu". The hermit soon realised that this was no ordinary child and set out to him while foregoing food, rest and sleep and continued along the route the child had taken.
He spotted the child at a distance disappearing into a tree. Once he got closer, the tree fell down and assumed the form of Shree Maha Vishnu- a divine form which was about 8 miles long! Overawed by the Lord's presence and his enlarged form, Divakar Muni requested the lord to condense himself so that he could behold him. The Lord obliged and shrank to a size which was three times the length of the Sanyasi's Yoga Dand.
The sage immediately offered the lord a raw mango in a coconut shell, which is continued as a tradition in the temple every day. TheLord instructed that prayers and poojas to him must be conducted by Tulu Brahmins, and that is why more than half the poojaris at the temple represent the Tulu region
Sree Padmanabhaswamy Temple stands tall in the Thiruvananthapuram, capital of Kerala in its decadent gold-plated glory. It is one of the 108 Divya Desams, the principal centres of worship in the dharma of Vaishnavism. Divya Desams are the holy abodes of the great Lord Vishnu, and the temple worships Lord Padmanabha- a reincarnation of Lord Vishnu. This divine temple is one of the very few temples in India where the entrance is only granted to people that practice the Hindu faith. The mystery and grandeur of the temple fill the air and leaves you awestruck in its magnanimous beauty. The premises of the temple echo tranquillity and every breath you take under the roof of this holy structure feels like a soul cleansing experience.
Built as a replica of the Adikesavaperumal Temple in Thiruvattar, the Padmanabhaswamy temple is lost in antiquity. Even after detailed research and study, historians and archaeologists are unable to determine the exact age of this ancient temple. With its references in the Biblical Epics and Puranas, we know that the temple holds great importance in the history of Hinduism. The Bhagwad Gita iterates that the great Balarama not only visited this temple but also bathed in Padmatheertham and made several offerings the lord. They say that this temple was established on the first day of Kali Yuga, over 5000 years ago.
The temple is known for its strict rules of worship and has specific dress codes to be followed by its devotees. Despite all of this, devotees gather in large numbers to get a glimpse of the deity and attain some peace of mind. The majestic temple has also been the focus of many media reports and press coverage owing to the incredible discoveries being unearthed. The mystery surrounding Vault B is fascinating and has been contributing to a rise in visitor count since its discovery
Festivals Celebrated at Sri Padmanabhaswamy Temple
The temple joyously celebrates the festival of Thiruvonam, the birthday of Shree Padmanabhaswamy. Traditional aartis and customs are carried out as dictated by the ancestors several generations ago.
The temple celebrates bi-annual festivals of Thulam and Meenam. It's a ten-day festival that celebrates Shree Padmanabhaswamy. Traditionally, they used elephants to carry the festive idols, but after an elephant starting running amuck at one such occasion, this ritual has been discontinued.
Lakshadeepam, a festival of a thousand lamps, is celebrated by decorating the entire temple in burning flames of the numerous lamps. The sight of the temple during this festival is truly mesmerizing.
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Ramanathaswamy Temple
The Ramanathaswamy Temple, like all the other ancient temples in South India, has a high compound wall on all the four sides of the temple premises. The huge compound wall measures about 865 feet furlong from east to west and also one furlong of 657 feet from north to south. The walls have huge towers or Gopurams at the east and west and finished gate towers on the north and the south. The Ramanathaswamy temple, Rameshwaram has really striking long corridors in the interior.
The corridors run between huge columnades on platforms, which are above 5 feet high. The junction of the third corridor on the west and the paved way leading from the western Gopuram to the Setumadhava shrine forms a unique structure in the form of a chess board. It is popularly known as Chokkattan Mandapam. The outer set of the corridors has a reputation of being the longest in the world.
It is 400 feet each in the east and the west and about 640 feet in the north and south. The inner corridors are about 224 feet in east and west and about 352 feet each in north and south. The total length of all these corridors is 3850 feet. There are about 1200 pillars in the outer corridor. The height of the pillars is about 30 feet from the floor to the centre of the roof.
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Sri Ranganatha Swamy Temple
Srirangam is the foremost of the eight self-manifested shrines (Swayam Vyakta Kshetras) of Lord Vishnu . It is also considered the first, foremost and the most important of the 108 main Vishnu temples (Divyadesams). This temple is also known as Thiruvaranga Tirupati, Periyakoil, Bhoologa Vaikundam, Bhogamandabam. In the Vaishnava parlance the term "KOIL" signifies this temple only. The temple is enormous in size. The temple complex is 156 acres in extent. It has seven prakaras or enclosures. These enclosures are formed by thick and huge rampart walls which run round the sanctum. There are 21 magnificent towers in all prakaras providing a unique sight to any visitor. this temple lies on an islet formed by the twin rivers Cauvery and Coleroon.
Sri Ranganathaswamy Temple, also known as Thiruvaranga Tirupati, is one of the most illustrious Vaishnav temples in the country, dedicated to Ranganatha, a reclining form of Hindu deity, Bhagwan (God or Lord) Vishnu. Situated in an ethereal setting on the island of Srirangam that is bounded by the two rivers of Cauvery and Kollidam (a tributary of Cauvery), this living temple and sacred centre of pilgrimage is counted as the first and foremost among the 108 Divya Desams dedicated to Bhagwan Vishnu.
More importantly, it is not just a temple but a temple-town, unique in its Sapta-Prakaram formation, a temple centred settlement pattern that comprises of Sapta (seven) concentric rectangular enclosures or prakarams formed by thick and huge rampart walls that run round the sanctum sanctorum in which the deity presides. While the inner five enclosures of the complex constitute the temple, the outer two enclosures function as the settlement. Thus, the distinction between the temple and the settlement gets blurred and the temple is also referred to as Srirangam many a times. This Temple-Town typology is unique to this part of the world and Sri Ranganathaswamy Temple is an exceptional example of the same.
Constructed in the Dravidian style of architecture, the Temple Complex is massive in scale and spread over 156 acres (63.131 hectares). According to some scholars, this makes Sri Ranganathaswamy Temple the largest Functioning Temple in the World and is often found ranked amongst the largest religious complexes of the world, including the Potala Palace in Lhasa, Tibet, Angkor Wat in Cambodia, Borobodur in Indonesia, Machu Picchu in Peru and the Vatican City.
Apart from the 7 prakarams with massive walls, the Temple Complex has 21 very colourful sculpted gopurams (consecrated gateways with towers), 50 sub shrines, 9 sacred pools, gilded Vimana (dome) over the sanctum sanctorum of the presiding deity, and other interesting features such as fresco paintings. Active interchange of human values was happening between the public and rulers in planning, designing, executing and using the Temple complex. Part of the temple is dedicated to the temple with its regular sevas, festivals and activities of Vaishnav Cult. The other part is vibrant with regular human settlement with all its daily routines and events. The temple is the nucleus and the life of people is centred around it.
Another unique feature of the Srirangam Temple-cum-Township lay-out is that starting with the eastern outer wall of the Sanctuary, there are consecrated mini-Mandapams housing the blessed feet of the Lord in collinear formation through the Seven Enclosures.
The inner three enclosures taken together, with the Arya-bhata and the Parama-pada gates defining the south-north axis, constitute the Inner Court and the entire outer area occupied by the rest of the enclosures is known as the Outer Court.
Evidences prove the origin of the temple in 1st century CE during the Sangam period (3rd Century BCE – 45th Century CE). However, as it stands today, the temple represents an accretion of building activity over centuries, the architectural idioms coming from the several royal dynasties who were captivated by and adored the Temple. Some of these were the early Cholas (1st Century CE) ruling from Uraiyoor situated to the south of Srirangam across the river, later Cholas (13th Century CE) of Pazhaiyaarai and Thanjavur, the Kongu rulers from Tamil west, the Pandyas from south (6th – 10th Centuries CE and 13th – 14th Centuries CE), the Hoysalas (10th – 14th Centuries CE), and the later rulers and viceroys of the celebrated Vijayanagara Empire of Karnataka (16th Century CE). The expansion schemes included addition of functional structures and pavilions of grand temple protocol (like the Mallikarjuna Mandapam) and its growth is a pointer to an antiquity since the time this unique centre of religious devotion had been known to and extolled by a diversity of religious and linguistic groups across the nation periodically surging towards this centre of pilgrimage par excellence.
Description of some significant components is as follows:
1. Mandapams (Halls): There are many mandapams at Sri Ranganathaswamy Temple. One of the finest is the Hall of 1000 pillars (actually 953), an example of a planned theatre-like structure. Made of granite, it was constructed during the Vijayanagaraperiod (1336–1565). The great hall is traversed by one wide aisle in the centre for the whole of its greater length, and intersected by transepts of like dimension running across at right angles. There still remain seven side aisles on each side, in which all the pillars are equally spaced out.
The most artistically interesting of the halls that the Nayaks added to the complex is the Sesharayar Mandapam on the east side of the fourth enclosure. The hall is celebrated for the 40 leaping animals carved on to the piers at its northern end. The Sesharayar mandapam consists of monolithic pillars with sculptures of wild horses bearing riders on their backs, trampling their hoofs upon the heads of rampant tigers and seem only natural and congruous among such weird surroundings.
The Garuda Mandapam (hall of the legendary bird deity of Vishnu, Garuda) located on the south side of the third enclosure is another Nayak addition. Courtly portrait sculptures, reused from an earlier structure, are fixed to the piers lining the central aisle. A free-standing shrine inside the hall contains a large seated figure of Garuda; the eagle-headed God faces north towards the principal sanctum.
The Kili mandapam is located next to the Ranganatha shrine, in the first enclosure of the temple. Elephant balustrades skirt the access steps that ascend to a spacious open area. This is bounded by decorated piers with rearing animals and attached colonettes in the finest 17th-century manner. Four columns in the middle define a raised dais; their shafts are embellished with undulating stalks.
The Ranga Vilasa mandapam is a huge one, where the weary devotee may rest a while and watch others haggle and purchase items for rituals. The Ranga Vilasa mandapa carries the sculptures of Bala Ramayana and exquisité murals.
2. The Kottarams (Granaries): The Kottaram houses the huge Granaries which stand testimony to a systematic food security planning not only to the temple but probably to the entire population of the temple town.
3. Small shrines: The Venugopala shrine in the south-west corner is in the fourth enclosure of the temple with an inscription of 1674 CE. The exterior of the vimana and attached mandapa has finely worked pillars with fluted shafts, double capitals and pendant lotus brackets. Sculptures are placed in the niches of three sides of the sanctuary walls.
4. Gopurams (Temple Towers): There are 21 huge Gopurams. The Rajagopuram is the second tallest Temple tower in the world rising to a height of 72 mts.
5. Inscriptions: Sri Ranganathaswamy Temple is a veritable treasure trove for epigraphists. Over 640 inscriptions have been copied and published from the temple. The Archaeological Survey of India has devoted an entire volume (XXIV) in its South Indian Inscriptions series to record the inscriptions copied from the temple. The Big Temple in Thanjavur is the only other temple in Tamil Nadu to have such an exclusive volume devoted to the inscriptions found in a particular temple.
The inscriptions throw up interesting and valuable light on the history, culture and economy during a period of over a thousand years. The temple abounds in inscriptions dating between the early Chola and late Nayak periods.
The documents, while mentioning the boundaries of the lands, provide useful information on irrigation facilities, land measures, tax structure and the names provided for the lands in the particular village.
Inscriptions also throw light that the Srirangam temple was one among the handful of temples which have had an Arokyasala (Health Centre) that had rendered medical service to the people.
There are about 800-odd inscriptions dating back to the rule of different dynasties, available at various shrines of the temple proclaim the past civilisation, trusts, culture and land donation and even flood relief measures in the form of land reclamation. These inscriptions relate to the period of the Adhithyan-I; Paranthagan-I; Paranthangan-II also known as Sundara Chola; Rajathirajan - I; Athi Rajendran; Kulothungan - I; Vikrama Chola; Kulothungan - II; Rajarajan II; Rajathirajan - II; Kulothungan - III; Rajathirajan - III; and Rajendran - III. The oldest inscription pertains to the period of the Adhithyan-I who was also popularly known as Rajakesari Varman.
6. Fresco & Mural Paintings: The walls of the Temple complex are painted with exquisite paintings using herbal and vegetable dyes. They speak volumes about the culture and tradition followed at those times. The figures of gods and Goddesses tell us stories and teach us morals. The high end technologies used in these paintings ensured a long life for these paintings and poses a tough challenge to reproduce them in these modern days.
The idol of the main deity is unique that it is not made of granite as in many temples, but Stucco (a unique combination of lime, mortar and stones bound together by a special paste (Thailam), made of musk, camphor, honey,Jaggery and sandal).
7. Vahanas: The Vahanas (Vehicles on which The Lord is mounted and carried on the shoulders by devotees) are by themselves excellent pieces of architecture on wood. Wood is carved into the shapes of animals, exotic birds, sun, moon, trees etc and elegant gold or silver plating is done on them.
The Garuda vahana, Simha vahana, Yanai vahana, Kudirai vahana, Hanumantha Vahana, Yazhi vahana, Sesha vahana, Annapakshi Vahana, Otrai and ettai Prabhai vahana are all examples of unmatched beauty. To see Lord Ranganatha mounted on them is a treat to watch especially as he moves along the streets of Srirangam inch by inch amongst a sea of devotees.
An interesting piece of history is the Yanai Vahana. An ordinary eye would describe it as an Elephant, however on a closer look one would observe that it has four tusks. A quick search on the Encarta Encyclopedia will let us know that these four-tusked elephants were known as Mastodontoidea, which are said to have evolved around 38 million years ago and became extinct about 15 million years ago when the shaggy and two tusked Mastodons increased in population.
8. Water Harvesting Systems (Temple Tanks): The Temple complex has 2 large Temple tanks inside it, Chandra Pushkarini and Surya Pushkarini. The Complex has been built in a way that all the water collected flows into the tanks. The capacity of each Pushkarini is around 2 million litres and the water is cleansed by action of fishes in it.
Apart from these there are 10 more Temple Tanks around Srirangam that come under the control and management of the Temple. Open sand beds and Nandavanams (Flower gardens) help in absorbing the rain water.
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Sri Vekateswara Swamy Temple
Bharat, the land of spiritual bliss is strongly believed to be pervaded by the Lords, their deep imprints and a sense of divine presence, eternally available in the environment around.
The presence of deities is often felt in the structures called temples, which are the epitomes of the great, age old, rich Hindu Sanatana Dharma. Among the galaxy of temples, which are also the architectural marvels located in our country, the hill shrine of Tirumala is accredited as being the most visited temple in India and also in the world as a whole. Located on the picturesque Seshachalam Hill Ranges, this temple occupies a unique place in our great land of holy shrines.
The “Temple Legend” is made out of references from a range of ancient scriptures such as Varaha Purana, Padma Purana, Garuda Purana, Brahmanda Purana, Markandeya Purana, Harivamsa Purana, Vamana Purana, Brahma Purana, Brahmottara Purana, Aditya Purana, Skanda Purana and Bhavishyottara Purana.These extracts describe the sanctity and antiquity of the deity, temple and the hills around Tirumala, besides the numerous teerthams, streams and springs that abound them.
The legends taken from the Venkatachala Mahatmya and the Varaha Purana, pertaining to the manifestation of the Lord at Tirumala, are of particular interest.
According to the Varaha Purana, Adi Varaha manifested himself on the western bank of the Swami Pushkarini (temple tank), while Vishnu in the form of Venkateswara came in to reside on the southern bank of the Swami Pushkarini.
KRISHNADEVARAYALA MANDAPAM
Abutting the Mahadwara and to its right, there is a high-rise mandapam (Porch). This is called Krishnadevarayalu Mandapam or Pratima Mandapam. This mandapam has been constructed in Vijayanagara architectural style. To the right side of this porch, one can find tall copper statues of the emperor of Vijayanagara kingdom, Sri Krishnadevarayalu and his two consorts, Tirumala Devi and Chinnadevi.
These three statues placed in front of Lord Sri Venkateswara express their devotion to him. It is said that Sri Krishnadevarayalu himself installed these statues on 2nd January 1517 A.D. and then onwards this mandapam has becomefamous as the Krishnadevarayalu mandapam. Their names are inscribed on the shoulder badges of these statues.
VENKATAPATI RAYALU
By the left side of the main entrance or Mahadwaram there is a tall copper statue with folded hands. This is the statue of Venkatapatirayalu, the king of Chandragiri. He was a generous king who ruled Chandragiri during 1570s and donated many valuable gifts to the deity.
ADDALA MANDAPAM
Twelve feet to the north of Sri Krishnadevarayalu Mandapam, there is a glass porch. Every day at 2 p.m., a service called”Dolotsavam” is performed for the Lord in this glass porch. Historical evidence proves that this seva programme began to be performed in 1831.
RANGANAYAKA MANDAPAM
Just opposite to the glass porch, there is another high rise mandapam called Ranganayakula Mandapam. Due to the Muslim invasions between 1320 and 1369 A.D., the idols of Lord Ranganadha of Srirangapatnam were shifted to Tirumala for safe keeping. Daily prayers and poojas were offered to him in this Mandapam. After the cessation of the Muslim invasions, these statues were once again shifted back to Srirangam. Yet this place has retained the name of Ranganayakula Mandapam to this day.
This mandapam is said to have been built by the king of Tirupathi, named Ranganadha Yadava Rayalu. It is in this mandapam that Kalyanothsavams were performed for the Lord. However, due to the increase in pilgrim rush, currently daily Kalyanothsavams are performed in Sampangi Pradakshinam.
TIRUMALARAYA MANDAPAM
Ten feet to the south of the flagstaff, there is another stone pillared pavilion called Tirumalaraya Mandapam. This was built by Saluvanarasimharayalu, the emperor of Vijayanagara, to express his gratitude to the Lord for the help extended towards his victories.
TULABHARAM
All couples begetting children with the blessings of the Lord, offer money in the form of coins, silver, candy and camphor equivalent to the weight of their children, as avowed by them. Even the patients, who are cured of their diseases, express their gratitude similarly. This Tulabharam is arranged in front of the Ranganayakalu Mandapam.
RAJA THODARAMALLU
At about hundred feet from the flagstaff, there are three copper statues of devotees, facing the Lord and saluting him with folded hands. One is that of Lala khemaramu, the other is that of his mother Mata Mohana Devi and the third one is that of his wife Pita Bibi. Lala Khemarumu is a kshatriya known as Raja Todaramallu. He courageously protected Tirumala both from the invasions of Muslims and the British during the seventeenth century. The Lord blessed this family and bestowed them with a place in His temple.
DWAJASTHAMBHA MANDAPAM
Dwajasthambham, -the golden flagstaff is located in the middle of a twenty-pillared square pavilion. To the east of the flagstaff there is an altar and to the northeast, there is granite stone called ‘Kshetrapalakasila’. This pavilion is said to have been constructed in the fifteenth century.
During Brahmotsavams, a flag with Garuda’s imprint is hoisted on this flagstaff for extending an invitation to gods and goddesses (Yaksha, Kinnera and Gandharva), to attend this festival. Those wishing to take pooja material or other things into the sanctum, have to perform circumambulation along dwajasthamba including the Lord whenever he is taken outside or returned to the main temple.
BALI PEETAM (ALTAR)
Adjoining the flagstaff is the Bali Peetam or altar. After offering Naivedyam to the Lord and other deities and after exiting through the silver gate, the Prasadam is kept on this altar. It is believed that this food offering is accepted by deities, the angles and the elemental forces.
KSHETRA PALAKA SILA (BIG ROUND STONE)
To the north east corner of the altar, under the flagstaff porch, there is a one and half feet high stone slab. This is called ‘Kshetrapalaka Sila’. It is said that this stone slab marched around the temple for providing security to the Shrine at night.
Priests used to keep the keys of the temple on this stone slab every night after closing the temple and collect them to open the temple in the morning, after saluting it.
SAMPANGI PRADAKSHINAM
On entering the precincts of the temple, one first encounters the circumambulation passage called ‘Sampangi Pradakshinam’. The grand circumambulation passage outside the temple is not considered for this purpose. Therefore ‘Sampangi Pradakshinam’ is considered to be the primary one. Earlier Sampangi flower plants (gold flowers, Michelia Champaka) were grown in this pathway for decorating the Lord and hence, the name.
FOUR PILLAR MANDAPAM
Four pavilions in the four corners of ‘Sampangi Pradakshinam’ were built by Saluva Narasimha Raya in 1470 A.D. in the names of himself, his wife and his two sons.
KALYANOTSAVA MANDAPAM
Earlier all wedding festivities of the Lord were celebrated at the pavilion in the ‘Vimana Pradakshinam’. With the increase in the number of the devotees attending the events, these festivities started being held for some time in Ranganayaka Mandapam. Now, the celestial wedding is performed in this Kalyanotsava Mandapam.
UGRANAM (STORE HOUSE)
‘Ugranam’ means Godown. All the pavilions on western side are now being used as store houses. The material used for the Lord’s ‘Puja’ and other rituals is now stored in the North-West corner of the ‘Sampangi Pradakshina’.
VIRAJA RIVER (PROHIBITED AREA)
As per the legend, Viraja, a sacred river of Vaikuntam flows below the lotus feet of the Lord. The well of water in the temple complex is believed to be a part of that holy river. This well is located in front of the Ugranam or store house. Idols are sculpted on the stones used for the inner walls of this well. Hence this well is called ‘toy well’ or ‘Bommala Baavi’.
PADI POTU
The temple kitchen is located in the route of Sampangi Pradakshinam. This kitchen is referred to as ‘Padi potu’. Sweets and savouries like laddoo, vada, appam, dosa, poli, sukhiya, jilebi, and so on, which are offered to the Lord are prepared here in large quantities. To the East of this kitchen is the ‘Flower Chamber’.
FLOWER CHAMBER
The flower chamber was earlier located in the ‘Sampangi Pradakshinam’. All the flowers used for the service of the Lord and other deities are supplied from this flower chamber, which is called ‘Yamunottarai’. This ‘flower chamber’ now stands shifted to ‘Vimana Pradakshinam’. Every morning and evening the Jiyyangars collect the flower garlands prepared in the flower chamber and carry them over their heads to the Lord, after circumambulating the flagstaff amidst blowing trumpets and umbrellas for shading. These flower garlands are presented to the Sanctum for performing the various rituals and poojas to the Lord.
PULA BAVI (WELL OF FLOWERS)
Just opposite and to the north of the flowers chamber is the ‘Pula Bavi-flower well’. All the flowers used for the worship of the Lord are deposited in this well.
VAGAPADI CHAMBER
The long porch on the eastern side and adjacent to the ‘flower chamber’ is Vagapadi chamber. Offerings to the deity are prepared here thrice a day.
VENDI VAKILI-SILVER ENTRANCE
The threshold opposite to the flagstaff is called the ‘silver entrance’. This is also known as ‘Nadimipadi Kavali’. This is the second entrance leading to the Sanctum Sanctorum. Inscriptions say that the construction of the fortifications of this second entrance was started in the 12th century and completed in the 13th century. The doors of this entrance were silver plated on October 1st 1929 A.D. by Sriram Dwarakadas Pharabhani, belonging to Nizam estate. Inscriptions in Hindi and English are found on this entrance.
VIMANA PRADAKSHINAM
Beyond the silver door, the path which circumambulates the main gopura of Ananda Nilaya is known as ‘Vimana Pradakshina’. Early, at the pre-dawn hour, while Suprabhata seva is performed to the Lord, devotees make Anga Pradakshina (rolling one’s body in humility all round the temple as a religious vow). Hence, it is also called Angapradakshina marg. In this pathway one can witness Sri Ranganadha just opposite to the silver entrance, Sri Varadaraja Swami temple, main kitchen, golden well, Ankurarpana Mandapam, Yagasala, Nanala (coins) Parakamani, Notla (Paper notes) Parkamani, Almyrah of Sandal Sreeranganathudu Vendi Vakili paste (Chandanapu ara) darshan of Vimana Venkateswara, cell of records, Sannidhi Bhashyakarulu - the seat of Sri Ramanuja, the temple of Yoganarasimhaswami, Lords’s hundi and the seat of Vishvaksena. All the small temples in this path way are called ‘Chutttu Gullu’(Sub-shrines encircling the main shrine).
SRI RANGANADHA
As soon as we enter the temple through the silver door, we can witness Sri Ranganadha kneeling on Adisesha (serpent). There are small gold plated idols of Sri Varadaraja Swami and Lord Sri Venkateswara Swami on the upper and lower sides of Sri Ranganadha. The angapradakshina commences from here, moves round the Vimana Pradakshinam and comes to an end here. It is said that the Lord loves the devotees doing ‘Porlu dandalu’ and grants them their wishes.
SRI VARADARAJA SWAMI TEMPLE
In the Vimana Pradakshina pathway and at a distance of nine feet to the south of the silver door, is the Varadarajaswami temple. The idol is five feet high with a single pagoda over the shrine. Devotes have to go round this temple on their way to the Lord’s Darshan. The period in which this idol was installed is not known. It symbolises the glory of Varadaraja who is ever merciful and grants boons to the devotees!
GHANTA MANDAPAM
Lord Brahma, the Deva Ganas and Maharshis like SanakaSanandanaSanatkumara wait for the darshan of Lord Sri Venkateswara at the golden gate. Opposite to the golden gate, there is Garuda Mandapam. The pavilion that links the golden gate and the Garuda Mandapam is called ‘Ghanta Mandapam’ or ‘Mahamani Mandapam’.
It was constructed in 1461 A.D. by Mallanna, a native of Chandragiri and minister in the Vijayanagara empire. ‘Garudalwar Mandir’ is also located just opposite to the golden gate in this Mandapam.
To the south of the golden gate in this mandap, two big bells are suspended from a wooden log using iron chains. The Brahmin who rings this bell is called ‘Ghantapani’. The ringing of this bell denotes that it is time for the Lord to have his meal.
Historical evidences say that whenever the emperor of Vijayanagara Empire camps at Chandragiri, the bell sounds are relayed to Chandragiri through intermediary bell porches for enabling the emperor to have his food thereafter. Because of these bells, this porch has become famous as ‘GhantaMandapam’. Keeping the legacy live, even today in Tirumala, many devotees have their food only after the bell stops ringing.
GARUDA MANDAPAM
Just opposite to the golden gate and facing the Lord there is a six feet high statue of Garuda saluting the Lord with folded hands. Every day at the pre-dawn hour, Suprabhatham is recited in the place between the golden gate and the statue of Garuda. The Lord sitting on the golden throne in this mandapam, listens to the recital of almanac and the submissions of receipt and expenditure account of the previous day.
JAYA-VIJAYA
On either side of the golden gate, there are Jaya and Vijaya, the chief guards of the Lord, holding a conch, a disc and a mace respectively. There is a ten feet high wooden grill around these statues. These two devout servants guard the sanctum sanctorum of the Lord round the clock.
BANGARU VAKILI (GOLDEN DOOR)
The most important entrance for going into the sanctum sanctorum is this golden gate. Here, the stone frame of the entrance and the porches of Jaya - Vijaya on either side are gold plated and hence this name.
At night these doors are closed methodically in a pre-conceived fashion. In the same way, they open this bolt from outside, in the morning. The pristine beauty of the Lord can be witnessed from this point.
SNAPANA MANDAPAM
The pavilion that you notice after crossing the golden gate is known as ‘Snapana Mandapam’. Every day after Thomala Seva, the idol of Koluvu Srinivasa Murthy is brought here and placed on the golden throne and his court is held. During this court, almanac is recited; the affairs of the day, the details of income and the expenditure of the previous day are reverentially presented to the Lord. The golden throne that is used during this court is stored in the adjacent grilled chamber.
There are two rooms on either side of the golden door. In the right side room, the Hundi collections are kept. In the left side room, the Lord’s jewels that is, the crown, the conch, the chakra, necklaces made of diamonds, gems, rubies, emeralds, sapphires, topazes and so on are kept.
LORD RAMA’S MANSION (RAMULAVARI MEDA)
Immediately crossing Snapana Mandapam, there is a very narrow passage, which is known as Lord Rama’s mansion. There are two raised platforms on either side of this passage. Earlier, idols were kept on these platforms. At present these idols are placed inside the room. Yet the name has remained the same.
SAYANA MANDAPAM
In this room, there is a golden cot with silk mattress hung by silver chains on which the Lord’s idol is seen relaxing, hence the name ‘Sayana Mandapam’. In this room the offerings are kept in front of the Lord. These offerings are never taken beyond this threshold of the Sanctum.
KULASEKHARA PADI
The threshold in front of the Lord is called Kulasekhara Padi. Kulasekhara was a Vaishnava devotee. He had made a humble request to the Lord, to transform him to a stone threshold in front of Lord so that he will have a glimpse of divine beauty every day! Hence, this threshold was named after him.
SANCTUM SANCTORUM
The spot where Lord Sri Venkateswara’s self-inducted statue is located in the Sanctum Sanctorum is called Ananda Nilayam. Earlier there used to be a Pradakshina (circumambulation) passage around this Ananda Nilayam. A wall was built around this sanctum and the Vimanam in between 1244 A.D. – 1250 A.D. Over a period of time, with the construction of Ananda Nilayam, Sayana Mandapam and Lord Rama’s Mansion, this passage around the Sanctum was closed.
BHOGA SRINIVASA MURTHY
In Ananda Nilayam, the ever beautiful idol is that of Bhoga Srinivasa Murthy. This silver idol was presented to the temple by a Pallava queen ‘Saama Vaayi’ (Perundevi) in 614 A.D. She rejoiced in decorating the idol with many ornaments. During the ‘Ekanta Seva’ at the end of the day, it is the privilege of Bhoga Srinivasa to go to bed on a silk mattress. During ‘Suprabhata Seva’ in the morning, this idol is removed from the silk mattress and kept at the foot of the main deity. That means, Bhoga Srinivasa Murthy acts as presiding deity since the main deity is huge and immovable.
KOLUVU SRINIVASA MURTHY
Every morning Koluvu Sreenivasa Murthy is seated on the golden throne in Snapana Mandapam and almanac (Panchangam) is read out to him. All the details of the day like tithi, nakshatra, yoga and the information about different sevas are given to him. Then the treasury clerk humbly presents to him, the income and expenditure account of the previous day. This is done is Snapana Mandapam before the dusk and it is done in Ghanta Mandapam after dawn.
UGRA SREENIVASA MURTHY
In the bygone days, the processional deity of Ugra Sreenivasa Murthywas taken out for procession during festivals. When this idol was taken in a procession on a particular day, strange, unusual and alarming incidents took place. After these incidents, procession with this idol was stalled from 1330 A.D.
However, today, the procession with Ugra Sreenivasa Murthy takes place in Tirumala only during Kaisika Dwadasi day before sun rise.
MALAYAPPA SWAMI
There is a popular anecdote regarding Malayappa Swami being made a processional deity in place of Ugra Sreenivasa Murthy.
During the 13th century when Ugra Srinivasa Murthy was being taken in a procession, strange and disturbing incidents took place. Then all the devotees prayed to the Lord and sought his protection. Then the Lord voiced his words through a devotee and advised them not to use these idols for processions in future and told them to use other idols, which are available at a place called ‘Malayappa-Kona’. The priests searched that place and brought the idol of the Lord. As the idol was found in Malayappa Kona, the deity was called Malayappa Swami. While the idol of Lord Sri Venkateswara is agranite Swayambhu, Malayappa Swami’s idol is made of metal alloy - Panchaloha.
After the main deity, Malayappa Swami has a special place of pride as he is considered as the processional diety - Utsava Murthy, of Lord Sri Venkateswara. It is a great feast to the eyes to see Malayappa Swami along with his consorts, Sreedevi and Bhudevi during processions, festivals and all Sevas.
SRI SUDARSHANA CHAKRA TALWAR
In Tirumala, we witness Sri Sudarshana Bhagwan’s presence in the right hand of the Lord in the varied forms of light and processional deity. The important role played by Sudarshana Bhagavan, in punishing the evil and protecting the devotees of the Lord, is commendable. He takes the responsibility of protecting the devotees coming to Tirumala as well as their safe passage.
SEETARAMALAKSHMANULU
It is said that while Lord Sri Rama was in exile in Threthayuga, he and Lakshmana came to Tirumala in search of Seeta. As a mark of their visit, their statues are kept in the temple. As they were in exile, their statues reflect their simplicity and are devoid of any ornaments.
RUKMINI KRISHNULU
Mythology endorses that Lord Sri Venkateswara is none other than Lord Sri Krishna of Dwaparayuga. In the month of (Dhanurmasa) January while Ekantaseva is performed, Lord Krishna is made to sleep on the silk mattresses in place of Bhoga Srinivasa Murthy. During this month, Suprabhatham is not recited. Thiruppavai Pasurams related to Sri Krishna (penned by Andal Sri Goda Devi) alone are sung for waking up the Lord.
SALAGRAMALU
Salagramas are black spherical stones, usually found in the sacred river Gandaki. What makes them so sacred is that they have lines ingrained on them, which resemble the shape of Sankhu and Chakra. These are worshipped by Vaishnavites as a form of Vishnu.
In Ananda Nilayam apart from the Lord, four big special Salagramas and several small Salagramas receive abhishekam and archana every day. All these Salagramas are placed in a silver vessel worshipped at the foot of the deity.
PRADHANA VANTASHALA –POTU (MAIN KITCHEN)
This kitchen is a very ancient one. All prasadams offered to the Lord are prepared here with pure ghee. Nowhere in the world are ‘Prasadams’ of this magnitude prepared.
VAKULA DEVI
It is believed that Vakuladevi, the Foster mother of Lord Srinivasa, supervises the preparation of food relished by her son. To this day, she continues to supervise the preparation of all the prasadams for the Lord. So a peep hole is made in the wall for her to oversee the preparations in the kitchen.
BANGARU BAVI
The well beside the main kitchen is known as ‘Bangaru bavi’. The water from this well is used for Abhishekam, Archana and cooking food for the Lord.
ANKURARPANA MANDAPAM
To the south of ‘Bangaru Bavi’ and opposite to the main kitchen is located ‘Ankurpana Mandapam’. Ankurapanam means the sprouting of nine varieties of grains usually called ‘Navadhanyam’ before every festivity and every celebration.
The idols of Anantha, Garuda, Vishwaksena (Lord’s army chief) and the idols of Lord Sri Rama’s attendant deities Sugreeva, Angada and Anjaneya are kept in this Mandapam and priests offer Teertham (holy water) to the devotees in this place.
YAGASALA
The room adjacent to Ankurarpana mandapam is the Yagasala, where all yagas and homams (sacrificial fire) have been performed since ages. But at present they are performed in the Kalyana mandapam located in Sampangi Pradakshina. However, during Brahmotsavams these rituals are performed in the Yagasala.
NANALA PARAKAMANI (COINS COUNTING ROOM)
This was gradually constructed over a period of time by the representative of Vijayanagara Empire named Chennappa in 1586 A.D. Actually, this was the place where Kalyanotsavams were performed 50 years ago. Due to pilgrim rush, this has been shifted to ‘Sampangi Pradakshinam’.
NOTLA PARAKAMANI (COUNTING ROOM FOR PAPER CURRENCY)
The present location where the counting process was carried out was earlier used for several purposes. At present, this mandapam is used for counting currency notes. Transparent glasses are arranged around this place for the pilgrims to witness the process of counting.
CHANDANAPU ARA
The sandal paste required for daily usage of the Lord is prepared here. Large stones are arranged here for making sandal paste from sandal wood. The sandal paste required for various festivals throughout the year is prepared here.
ANANDA NILAYA VIMANAM
The golden abode of the Lord of the universe is Ananda Nilaya. It is the sacred place where the Lord Sri Venkateswara receives his ‘Poojas’ and ‘archanas’. The golden gopuram on this Ananda Nilaya is the ‘Ananda Nilaya Vimana’, which is also known as Bangaru Gopura Vimanam. As per mythology, Garuthmantha (Vehicle of Sri Vishnu) brought this Ananda Nilaya Vimanam from Vaikuntam (the celestial abode of Vishnu) and consecrated it in this sacred place as desired by Lord Sri Vishnu. This Golden Gopuram carries 64 images of various deities of Hindu mythology.
VIMANA VENKATESWARA SWAMI
Lord Sri Venkateswara ingrained on Ananda Nilaya Vimanam is said to be as powerful and sacred as the main deity in the sanctum. Even if devotees fail to have the darshan of the Lord, they could have a glimpse of Vimana Venkateswara and derive the same benefits usually associated with the darshan of the main deity in the Sanctum.
RECORD ROOM
Close to the place from where Vimana Venkateswara is seen, is the record room with a sign board fixed atop. In this room all records and files pertaining to the ornaments of the main and processional deity are kept. All details of the weight and value of the silverware and gold ornaments are recorded in the ledgers.
RECITAL OF VEDAS
Beginning from the record room, Veda pundits seated there, melodiously recite the slokas from the Vedas.
SABHA ARA (SHELF)
All the articles such as the golden umbrellas, silver torches, camphor plates and silk robes used in Lord’s processions are kept here. The golden cot with silk mattress used for the Ekanta Seva of the Lord is also stored here.
SANKEERTANA BHAANDARAM (TREASURY OF SANKEERTANAS)
Adjacent to the Sabha Ara, there is the treasury of Sankeertanas. There are two statues on either side of this room. One is of the great Saint Poet Sri Tallapaka Annamacharya, who has penned over 32,000 songs in praise of the Lord Sri Venkateswara, while the other one is of his elder son Tallapaka Peda Tirumalacharyulu, who had also paid literary tribute to Lord Sri Venkateswara. All these songs were inscribed on copper plates and kept in safe custody in this place.
During 1525-30 A.D. the construction of the trove was completed and all the works of Tallapaka family were inscribed on copper plates and safely kept in Tallapaka shelf. It is said that all hymns originally written were on Palmyra leaves and later on transcribed on copper plates by his son Tirumalacharya.
The king of Vijayanagara dynasty, Achyutarayalu, helped in constructing this treasure trove and preserved the great works of Annamayya. The corpus of Tallapaka came to light when great scholar, epigraphist Sri Sadu Subramanya Sastri, who worked in different posts in TTD from 1919 to 1946 A.D., sighted the inscriptions.
Due to his efforts, today nearly eleven thousand Annamacharya Sankeertans have seen the light of day and TTD has been composing the music for these musical notations with eminent musicians and released many CDs and DVDs in the recent times.
SANNIDHI BHASHYAKARULU
Just beside Tallapaka treasure trove there is a pavilion called ‘Sannidhi Bhashyakarulu’. There is a granite statue of Sri Ramanuja in this pavilion. Sri Ramanuja in his long life of 120 years (1017 – 1137 A.D.) visited Tirumala thrice. In those days, very reluctant to trample the holy hills with his feet, he climbed the seven hills on his knees. It is said that he took rest at a point now known as ‘Mokali Mitta’. In his memory, a temple was constructed here. He has rendered Yeoman service to the Lord at Tirumala.
Sri Ramanuja streamlined the rituals of the temple as per Vaikhanasa Agama and handed it over to the posterity.
YOGA NARASIMHASWAMI SANNIDHI
It is said to have been built between1330 A.D. – 1360 A.D. The abandoned statue of Yoga Narasimha Swami, lying at some place on Tirumala hills was brought by Sri Ramanujacharya to the temple and was consecrated inside the shrine. Lord Narasimha Swami is usually an aggressive Half-Man and Half-Animal form of the Lord. He is seen sitting in meditating posture which is unique to this temple. It is also said that while sitting in front of this statue, Annamayya had written some hymns on the Lord.
SANKUSTHAPANA STHAMBHAM
King Thondamanu laid the foundation at this place before the commencement of construction of Ananda Nilaya Gopuram and other associated works.
PARIMALAM ARA (SHELF OF FRAGRANCE)
The fragrant shelf is seen on the way from Sankusthapana Stambam. The perfumes and aromatics used for the Lord are sent from this place. Devotees believe that their wish will be fulfilled if they write their wish on this sacred stone.
SRIVARI HUNDI
After having the darshan of the Lord, the devotees deposit their offerings to the Lord in this Hundi. The temple complex was modified many times for creating easy passage to the devotees. But the hundi was never shifted from this place as it is believed that “Sri Chakra Yantra” (the holy instrument which invokes all riches)lies underneath the main hundi.
BANGARU VARALAKSHMI
For the benefit of devotees depositing their offerings in the hundi, a tall statue of Bangaru Varalakshmi (Golden Varalakshmi) is arranged on the left side wall. It is believed that Goddess Varalakshmi grants a lot of wealth to all the devotees who fulfil their vows.
KATAHA THEERTHAM
To the left side of the exit of Hundi room and opposite to Annamacharya treasure trove there is ‘Kataha Theertham’, a tub like structure. This is where the Abhisheka theertham (holy water) emanating from the feet of the Lord is collected.
VISHWAKSENA
After coming out from hundi enclosure, one can see the small temple of Vishwaksena on the left side. He is the army chief of Lord Sri Venkateswara. The processional statue of Vishwaksena, which plays an important role during festivals, is at present placed in Ankurarpana mandapam.
MUKKOTI PRADAKSHINAM
Mukkoti Pradakshinam begins at Lord Rama’s mansion that is beyond Ghanta Mandapam in the pathway of Vimana Pradakshina. This is kept open every year on the days of Vaikunta Ekadasi and Vaikuntha Dwadasi. On these days, this passage is kept open from midnight to midnight. The doors of this passage are called ‘Vaikunta Dwaram’.
ANANTALWAR CROWBAR
Anantalwar, one of the chief disciples of Sri Ramanujacharya, pioneered “Pushpa Kainkaryam” in Tirumala and became one of the prominent and ardent devotees of Lord Sri Venkateswara.
However, to examine his devotion, the Lord went on to test him. In this interesting story, Sri Ramanujacharya, the great Acharyapurusha who revived the rituals in Tirumala temple, while teaching his disciples about the greatness of Tirumala told them that, the Lord was very fond of adorning himself with flowers as he is “Alankarapriya”. He asked if anyone of them was capable of growing a garden in Tirumala braving the chill climate and insects, to present flowers to the Lord. Anantalwar, said he is prepared to do that and went to Tirumala with his wife.
In a bid to develop a beautiful garden for the Pushpakainkaryam of the Lord, Anantalwar initially wanted to dig a pond to water the plants. He wanted to do this task without taking the help from outsiders. The Lord felt happy about the couple’s dedication and decided to help them. He approached the couple as a 12-year old boy but Anantalwar refuseds to take his help.
On a fine day, the boy helped Anantalwar’s wife who was a full term pregnant and this gesture of the boy enraged Anantalwar. Out of anguish, he threw a crowbar upon the boy. It hit the chin of the boy and blood oozed and dripped off his chin. When Anantalwar went to the temple to worship the Lord, he saw blood oozing out from the chin of the Lord and then he realised, the boy was none other than the Lord himself.
He realised his mistake and immediately applied camphor to the Lord’s chin. Lord was pleased with his devotion and said that the scar will remain forever and camphor will be applied to cover the mark. This ritual is carried out even today.
The crowbar used by Anantalwar is also displayed on the Northern Wall of the main entrance.
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Chennakeshava Temple, Belur
The old temples of Karnataka’s Hassan district are an architectural wonder. And the town of Belur is home to one of the grandest examples of Hoysala architecture, the Chennakesava Temple (Also Chennakeshava). The temple was built in the early 12th century by the Hoysala ruler, Vishnuvardhana, when the town of Belur was the site for the capital of the Hoysala kingdom.
The Hoysalas ruled the region for more than three centuries and to this day people from all over the region flock to the Chennakesava Temple, Belur to admire the intricate works of art and sculpture and feel the old-world spiritual charm of the site.The Chennakeshava Temple was a centrepiece of the Hoysala kingdom and it is believed to be closely related to the military achievements of the king who commissioned it in 1117 AD, King Vishnuvardhana. The king had fought wars with the Western Chalukyas and had also defeated the Cholas. The temple was built after the land’s best architects and artists were recruited and engaged in producing new designs and styles that would be the hallmark of the complex.
The Main Layout of Chennakeshava Temple, Belur
Just like the other landmarks of Hassan, Chennakeshava Temple, Belur is considered one of the peaks of architectural achievements during the Hoysala period. As one enters this vast complex, a large rajagopura or gate arches above. The centre-piece the temple sits in the centre, facing the east, following the most followed orientation of temple architecture.
On the right of the temple is the Kappe Channigraya temple and a smaller temple dedicated to a Lakshmi reincarnation, the goddess Sowmyanayaki, sits slightly behind the two. On the left of the Chennakeshava temple, one can find the Ranganayaki temple.
Attractions in the temple complex include two ornate pillars, one of the Garuda and one with a lamp. The former was built during the Vijaynagar period and the latter is attributed to the Hoysala period.
Built with soapstone, the Chennakesava temple features a very detailed finish built around a typical Hoysala style blueprint. The temple’s scale is what distinguishes it from many other temples of the Hoysala period and it is considered to be one of the earliest creations of the dynasty. At its highest, the temple stands 37 metres tall. Its outer walls are adorned with finely done artwork, with dancing girls in various postures.
Ornate sanctum door.
The pillars of the temple exhibit some of the best details and finishing of sculpture and art work in the entire complex. The Narasimha pillar is one of the most popular of these temple pillars. There are a total of 48 pillars, all uniquely carved and decorated. The four central pillars were hand chiselled by artisans and feature madanikas or celestial damsels. The madanikas are in different poses and some of the popular ones which gain the attraction of tourists and art enthusiasts include the lady with a parrot and the huntress.
Visitors who are keen to study the details of the wall sculptures at the Temple will find many references and depictions of important events from the Mahabharata and the Ramayana. A careful observation would reveal subtle pieces of eroticism hidden amidst the detailed depictions. Animals that commonly feature in the wall sculptures include horses, elephants and lions.
The doorways of the temple’s mantapa features a Hoysala king slaying what historians believe is either a tiger or lion. It is also believed that this could be a symbolic representation of the defeat of the Cholas, whose royal emblem is a tiger. There are many more important sculptures in the sprawling complex of the Temple. Some of them are the Gajasurasamhara (sculpture of Lord Shiva), a sculpture of Ravana, Durga killing Mahishasura and many others. There are multiple mini shrines too at the entrance of the temple. Another curious feature of these many sculptures is the signatures left by the artists of the period, giving us more insight into the lives and culture during the Hoysala period.
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Minakshi-Sundareshwara Temple
Meenakshi Amman Temple, also known as Minakshi-Sundareshwara Temple, is one of the oldest and most important temples in India. Located in the city of Madurai, the temple has a great mythological and historical significance. It is believed that Lord Shiva assumed the form of Sundareswarar (the handsome one) and married Parvati (Meenakshi) at the site where the temple is currently located. Renowned for its astonishing architecture, Meenakshi Temple was nominated as one of the wonders of the world, but couldn’t make it into the list of ‘Seven Wonders of the World’. However, the temple is definitely one of the ‘Wonders of India’. It is also one of the main attractions of South India with thousands of devotees thronging it every day. During the ‘Tirukalyanam Festival,’ which takes place over a period of 10 days, the temple attracts more than a million devotees. Despite many people visiting it every day, the temple is well-maintained and was named the ‘Best Swachh Iconic Place’ (cleanest iconic place) in India.
According to a legend, Meenakshi emerged out of a ‘Yajna’ (sacred fire) as a three-year-old girl. The ‘Yajna’ was performed by a king named Malayadwaja Pandya along with his wife Kanchanamalai. Since the royal couple had no child, the King offered his prayers to Lord Shiva, requesting him to grant them a son. But to their dismay, a triple-breasted girl emerged from the sacred fire. When Malayadwaja and his wife expressed their concern over the girl’s abnormal appearance, a divine voice ordered them not to fret over the girl’s physical appearance. They were also informed that the girl’s third breast will disappear as soon as she meets her future husband. The relieved King named her Meenakshi and in due course crowned her as his successor.
Meenakshi ruled over the ancient city of Madurai and also went on to capture the neighboring kingdoms. Legend has it that she even captured Indralok, the abode of Lord Indra, and was on her way to capture Kailash, the abode of Lord Shiva, as well. When Shiva appeared before her, Meenakshi’s third breast disappeared and she knew that she had met her better half. Shiva and Meenakshi returned to Madurai where their wedding took place. It is said that the wedding was attended by all the gods and goddesses. Since Parvati herself had assumed the form of Meenakshi, Lord Vishnu, Parvati’s brother, handed her over to Lord Shiva. Even today, the wedding ceremony is celebrated every year as ‘Chithirai Thiruvizha’ which is also known as ‘Tirukalyanam’
The history of Meenakshi Temple dates back to the 1st century C.E with scholars claiming it to be as old as the city itself. It is said that Kulashekarar Pandyan, a king who ruled over the Pandyan dynasty, built the temple as per the instructions given in his dream by Lord Shiva. A few religious texts that belong to the 1st to 4th century C.E talk about the temple and describe it as the central structure of the city. Texts dating back to the early 6th century, describe the temple as a place where scholars met to discuss important topics. The temple as it stands today, however, was rebuilt throughout the 16th century as it was destroyed by the Muslim invaders.
During the 14th century C.E, Malik Kafur, a commander of Delhi Sultanate, led his army into most parts of southern India and looted many temples including the famed Meenakshi Temple. Valuables, such as gold, silver and precious gems were taken to Delhi. Since temples in those days had abundance of valuables, most of the temples were destroyed and were left in ruins. When the Vijayanagar Empire took over Madurai after defeating the Muslim Sultanate, the temple was rebuilt and reopened. The temple was further expanded during the late 16th century and early 17th century by Vishwanatha Nayakar, a king of the Nayaka dynasty. According to researchers, while rebuilding the temple, the rulers of Nayaka dynasty followed the architectural style of ‘Silpa Shastras.’ ‘Silpa Shastras’ are a set of architectural laws found in the ancient texts.
The temple was once again expanded by Thirumalai Nayak who ruled over Madurai from 1623 to 1655. During his reign, many ‘Mandapams’ (pillared halls) were built. The temple was then expanded by many later Nayaka rulers before the advent of the British East India Company. The temple was once again degraded and parts of it were destroyed during the British Rule. In 1959, the restoration work was started by Tamil Hindus by collecting donations and by collaborating with historians and engineers. The temple was completely restored in 1995.
Temple Structure
The temple occupies a huge area in the heart of Madurai as it spreads over 14 acres. The temple is enclosed with huge walls, which were built in response to the invasions. The entire structure, when viewed from above, represents a mandala. A mandala is a structure built according to the laws of symmetry and loci. There are various shrines built within the temple complex. Apart from the two main shrines, which are dedicated to Sundareswarar and Meenakshi, the temple has shrines dedicated to various other deities like Ganesha and Murugan. The temple also houses goddesses Lakshmi, Rukmini, and Saraswati.
The temple also has a consecrated pond named ‘Porthamarai Kulam.’ The term ‘Potramarai Kulam’ is a literal translation of ‘pond with a golden lotus.’ The structure of a golden lotus is placed at the center of the pond. It is said that Lord Shiva blessed this pond and declared that no marine life would grow in it. In the Tamil folklore, the pond is believed to be an evaluator for reviewing the worth of any new literature.
The temple has four main towering gateways (gopurams) that look identical to each other. Apart from the four ‘gopurams,’ the temple also houses many other ‘gopurams’ that serve as gateways to a number of shrines. The temple has a total of 14 towering gateways. Each one of them is a multi-storey structure and displays thousands of mythological stories and several other sculptures. The major ‘gopurams’ of the temple are listed below:
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Kadaka Gopuram – This towering gateway leads to the main shrine that houses Goddess Meenakshi. The gateway was rebuilt by Tumpichi Nayakkar during the mid-16th century. The ‘gopuram’ has five storeys.
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Sundareswarar Shrine Gopuram – This is the oldest ‘gopuram’ of the temple and was built by Kulasekara Pandya. The ‘gopuram’ serves as a gateway to the Sundareswarar (Lord Shiva) shrine.
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Chitra Gopuram – Built by Maravarman Sundara Pandyan II, the gopuram depicts the religious and secular essence of Hinduism.
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Nadukkattu Gopuram – Also called as the ‘Idaikattu Gopuram,’ this gateway leads to the Ganesha shrine. The gateway is placed right in between the two main shrines.
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Mottai Gopuram – This ‘gopuram’ has fewer stucco images when compared to the other gateways. Interestingly, ‘Mottai gopuram’ had no roof for nearly three centuries.
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Nayaka Gopuram – This ‘gopuram’ was built by Visvappa Nayakkar around 1530. The ‘gopuram’ is astonishingly similar to another gateway called ‘Palahai Gopuram.’
The temple also has numerous pillared halls called ‘Mandapams.’ These halls were built by various kings and emperors and they serve as resting places for pilgrims and devotees. Some of the most important ‘mandapams’ are given below:
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Ayirakkal Mandapam – It literally translates to ‘hall with thousand pillars.’ The hall, which was built by Ariyanatha Mudaliar, is a true spectacle as it is supported by 985 pillars. Each and every pillar is sculpted magnificently and has images of Yali, a mythological creature.
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Kilikoondu Mandapam – This ‘mandapam’ was originally built to house hundreds of parrots. The parrots that were kept there in cages were trained to say ‘Meenakshi’. The hall, which is next to the Meenakshi shrine, has sculptures of characters from Mahabharata.
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Ashta Shakthi Mandapam – This hall houses the sculptures of eight goddesses. Built by two queens, the hall is placed in between the main ‘gopuram’ and the gateway that leads to the Meenakshi shrine.
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Nayaka Mandapam – ‘Nayaka Mandapam’ was built by Chinnappa Nayakkar. The hall is supported by 100 pillars and houses a Nataraja statue.
Significance & Worship
Since Meenakshi is the main deity of the temple, the temple signifies the importance of woman in a Tamil Hindu family. The temple also portrays the cordial relationship between Shaivism, Vaishnavism and Shaktism. The Sundareswarar shrine is known as one fifth of ‘Pancha Sabhai’ (five courts) where Lord Shiva is believed to have performed the cosmic dance. Worship mainly involves rituals and processions. One of the rituals involves placing an image of Sundareswarar inside a palanquin which is then moved to the shrine of Meenakshi. The palanquin is taken into the shrine every night and is brought back to the shrine of Sundareswarar every morning. The devotees usually worship Meenakshi before offering their prayers to Sundareswarar.
Festivals
Apart from the main festival, which is basically the wedding ceremony of the deities, a number of other festivals are celebrated in the temple. Some of these include ‘Vasantham festival,’ ‘Unjal festival,’ ‘Mulai-Kottu festival,’ ‘Arudhra Dharsan festival,’ ‘Thai utsavam,’ ‘Kolattam festival,’ etc. Each of these festivals has its own significance and is celebrated during various months throughout the year. The temple also celebrates ‘Navarathri festival.’ During ‘Navarathri’ the temple displays colorful dolls which are collectively called ‘gollu.’ ‘Gollu’ often convey stories from mythological scenes.
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The Konark Sun Temple,
The Sun Temple was constructed towards the end of Odisha's temple-building phase in the 13th century by King Narasimha Deva I of the Eastern Ganga Dynasty (whose great grandfather renovated the Jagannath Temple in Puri). Dedicated to Surya the Sun God, it was made as his colossal cosmic chariot with 12 pairs of wheels pulled by seven horses (sadly, only one of the horses remains).
The temple is believed to celebrate the glory of the Ganga Dynasty and the king's triumph over Muslim rulers of Bengal. Its many sculptures depicting war scenes and the king's activities support this.
However, it remained a mystery as to how the temple was built until the 1960s when an old palm-leaf manuscript was discovered. Its full set of 73 leaves comprehensively chronicled the temple's planning and 12 years of construction (from 1246 to 1258). The information is documented in a book, published in 1972, called New Light on Sun Temple of Konarka by Alice Boner, S. R. Sarma, and R. P. Das.
The Sun temple is situated in the small town of Konark, which is situated in the Puri district of Odisha. This marvel of architecture is dedicated to Lord Sun. And resembling his carriage, the temple has been built in the shape of a chariot, which has twelve wheels and is shown as being dragged by the seven horses.
The temple is believed to be constructed in the 13th century by a king called Narasimhadeva. Like with most things in India, this temple too has connections with a few legends. As per one of the legends, God Krishna cursed, one of his own sons with leprosy. To seek penance, Samba worshiped Lord Sun (Surya) for a period of twelve years. Pleased with his devotion, Surya healed him. Samba made the Sun temple in return to express his gratitude.
The mesmerizing beauty of the place was best summed up by the Rabindranath Tagore through these words: ‘Here the language of stone surpasses the language of man.’
The temple is known for its impressive Kalinga architecture that includes a depiction of a 100 ft high chariot being pulled by horses and wheels carved out of a single stone. The monument portrays the imposing chariot of the sun god. Built of Khondalite rocks, the original temple had 230 ft high sanctum which no longer exists, 128 ft high audience hall, dance hall, dining hall which survive still. There are 24 intricately designed wheels, 12 ft in diametre which are seen drawn by horses. These seven horses represent the week, the wheels stand for the 12 months while the day-cycle is symbolised by the eight spokes in the wheels. And this whole depiction tells how the time is controlled by the sun – being the very illustration of the Surya in the Hindu mythology travelling from the east in his chariot escorted by his charioteer, Aruna.
The entrance leads to the shrine of the deity of Surya made of chlorite stone. The walls of the temple are adorned with reliefs – intricate carvings of various figures including Hindu gods, images of the everyday mortal life, birds, animals and more. The temple also has erotic sculptures on its shikhara belonging to the tantra tradition. The wheels of the temple can be used as sundials and can very well predict the time.
Mayadevi Temple
Discovered in 1909 during the excavations, it lies to the west of the Sun temple. An important temple in the complex this is dedicated to Mayadevi - the wife of Surya, the temple is older than the Sun temple built around the 11th century. Its sanctum houses a Nataraja, and other chambers of the temple have idols of Surya with Vishnu, Vayu, Agni. The temple was considered by some as another temple made to worship sun god but a few believe that it was dedicated to the wife of Surya.
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Somnath Temple
Shree Somnath is first among the twelve Aadi Jyotirlings of India. It has a strategic location on the western coast of India.
Ancient Indian traditions maintain a close relationship of Somnath with release of Chandra (Moon God) from the curse of his father-in-law Daksha Prajapati. Moon was married to Twenty-Seven daughters of Daksha. However, he favoured Rohini and neglected other queens. The aggrieved Daksha cursed Moon and the Moon lost power of light. With the advice of Prajapita Brahma, Moon arrived at the Prabhas Teerth and worshipped Bhagvan Shiva. Pleased with the great penance and devotion of Moon, Bhagvan Shiva blessed him and relieved him from the curse of darkness. Pauranic traditions maintain that Moon had built a golden temple, followed by a silver temple by Ravana, Bhagvan Shree Krishna is believed to have built Somnath temple with Sandalwood.
The research based on ancient Indian classical texts show that first Somnath Jyotirling Pran-Pratistha was done on the auspicious third day of brighter half of Shravan month during the tenth Treta yug of Vaivswat Manvantar. Swami Shri Gajananand Saraswatiji, Chairman of Shrimad Aadhya Jagadguru Shankaracharya Vedic Shodh Sansthan, Varanasi suggested that the said first temple was built 7,99,25,105 years ago as derived from the traditions of Prabhas Khand of Skand Puran. Thus, this temple is a perennial source of inspiration for millions of Hindus since time immemorial.
The Moon God is said to have been relieved from the curse of his father-in-law Daksha Prajapati by the blessings of Bhagvan Somnath. In the Shiva Purana and Nandi Upapurana, Shiva said, `I am always present everywhere but specially in 12 forms and places as the Jyotirlingas`. Somnath is one of these 12 holy places. This is the first among the twelve holy Shiva Jyotirlings.
The later sources of history account for several desecrations by Muslims invaders during eleventh to eighteen century A.D. The temple was rebuilt every time with the reconstructive spirit of the people. The modern temple was reconstructed with the resolve of Sardar Patel who visited the ruins of Somnath temple on November 13 1947. Then President of India, Dr. Rajendra Prasad, did the Pran-Pratistha at the existing temple on 11 May 1951.
Other spots in the temple are Shri Kapardi Vinayak and Shri Hanuman Temple in addition to Vallabhghat. Vallabhghat is a beautiful sunset point. The temple is illuminated every evening. Similarly, the Sound & Light Show “Jay Somnath” is also displayed every night during 8.00 to 9.00, which allows the pilgrims an ethereal experience in the backdrop of grand Somnath temple and the holy wave sounds of the Ocean.
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Sanchi Stupa
The Great Stupa at Sanchi is one of the most important Buddhist monuments reflecting gem of Buddhist art and architecture. Located at Sanchi Town, Madhya Pradesh, India, this Stupa is the oldest stone structure in India that was built during the Mauryan period. Originally commissioned in the third century BCE by Emperor Ashok this huge hemispherical dome with a height of 12.2816.46 m (54.0 ft) consists of a central chamber where the relics of Lord Buddha are placed. Four ornamental gateways facing four directions and a balustrade surrounding the Stupa were later added in the first century BCE. A typical example of a Stupa and an excellent illustration of the development of Buddhist art and sculpture starting from the third century BC through the twelfth century AD, the Sanchi Stupa attracts hundreds of visitors from across the world. Enlisted as a UNESCO World Heritage Site since 1989, it is counted among the best conserved ancient Stupas of central India.
The foundation of the Buddhist vihara at Sanchi that includes the great Sanchi Stupa was laid by one of the greatest Indian Emperors, Ashoka of the Maurya Dynasty who reigned over almost the entire Indian subcontinent from c. 268 to 232 BCE. He commissioned construction of the Stupa here after redistributing the mortal remains of Lord Buddha so as to build several Stupas in different locations across India to spread Buddhism. The present hemispherical edifice is double in diameter of the original brick structure built by Ashoka, consisting of the relics of Lord Buddha. A chatra that is an umbrella like structure made of stone crowned the hemispherical brick structure that was surrounded by a wooden railing. Queen Devi, wife of Ashoka and daughter of a merchant of Vidisha, who was born in Sanchi, supervised the construction of this monument. A sandstone pillar, inscribed with Schism Edict by Ashoka as also with ornate spiral Brahmi characters from the Gupta period resembling conch shells referred as ‘Shankhalipi’ or ‘shell-script’ by scholars, was erected in the site. While the lower portion of it is still grounded, the upper portions are kept under a canopy.
The Senapati or General of the Maurya Empire, Pushyamitra Shunga killed Brihadratha Maurya, the last Mauryan Emperor in the middle of an army review in 185 BCE and laid the foundation of the Shunga Empire in North India. Going by the Indian Sanskrit-language text titled ‘Ashokavadana’ that describes the birth and reign of Ashoka, assumptions crop up that the Stupa was probably destroyed during the second century BCE, an incident which many believe to be associated with the rise of the power of Pushyamitra. Later it was re-constructed by his son, Agnimitra.
During the Shunga dynasty, expansion of the Stupa, nearly double its original size with a more flattened dome was undertaken using stone slabs that entirely covered the actual brick Stupa. Three superimposed umbrella-like structures were built to crown the dome. It symbolised the Wheel of Law or ‘dharma’. A high rounded drum that can be reached through a double staircase became the seat of the dome enabling one to circumambulate the sacred dome.
As perceived from inscriptions, presumably the four intricately decorated torans or gateways facing all four directions and an ornamented balustrade surrounding the stupa were added later in the first century BCE during the Satavahana rule. Various designs and motifs are carved on the railing and the gates of the Stupa. The sculptures on the torans consist of decorative illustrations of events encompassing the life of Lord Buddha as elucidated in the tales of Jataka. Inanimate figures like that of a tree are used here to symbolise Lord Buddha. One of the most striking features regarding the Stupa is that instead of images, Lord Buddha has been depicted symbolically by figures like thrones, wheels and footprints among others.
In 1818, the existence of the Sanchi Stupa was documented in English by a British officer named General Taylor. Till 1881 treasure hunters and Amateur archaeologists caused extensive damage to the Stupa following which appropriate steps were undertaken to restore the ancient monument. Sir John Hubert Marshall, who served as the Director General of the ‘Archaeological Survey of India’ (ASI) from 1902 to 1928 supervised the restoration work of the Stupa between 1912 and 1919.
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Golden Temple
Sri Harmandir Sahib, also known as Sri Darbar Sahib or Golden Temple, (on account of its scenic beauty and golden coating for English speaking world), is named after Hari (God) the temple of God. The Sikhs all over the world, daily wish to pay visit to Sri Amritsar and to pay obeisance at Sri Harmandir Sahib in their Ardas.
Rare Old Photo of Golden Temple
Guru Arjan Sahib, the Fifth Nanak, conceived the idea of creating a central place of worship for the Sikhs and he himself designed the architecture of Sri Harmandir Sahib. Earlier the planning to excavate the holy tank (Amritsar or Amrit Sarovar) was chalked out by Guru Amardas Sahib, the Third Nanak, but it was executed by Guru Ramdas Sahib under the supervision of Baba Budha ji. The land for the site was acquired by the earlier Guru Sahibs on payment or free of cost from the Zamindars (landlords) of native villages. The plan to establish a town settlement was also made. Therefore, the construction work on the Sarovar (the tank) and the town started simultaneously in 1570. The work on both projects completed in 1577 A.D.
The land for the site was bought by the Guru Ram Das Sahib on payment from the Zamindars (landlords) of native villages.
Guru Arjan Sahib got its foundation laid by a muslim saint Hazrat Mian Mir ji of Lahore on 1st of Magh, 1645 Bikrmi Samvat (December, 1588). The construction work was directly supervised by Guru Arjan Sahib himself and he was assisted by the prominent Sikh personalities like Baba Budha ji, Bhai Gurdas ji, Bhai Sahlo ji and many other devoted Sikhs.
Unlike erecting the structure on the higher level (a tradition in Hindu Temple architecture), Guru Arjan Sahib got it built on the lower level and unlike Hindu Temples having only one gate for the entrance and exit, Guru Sahib got it open from four sides. Thus he created a symbol of new faith, Sikhism. Guru Sahib made it accessible to every person without any distinction of Caste, creed, sex and religion.
The building work completed in 1601 A.D. on Bhadoon Sudi 1st, 1661 Bikrmi Samvat (August/September,1604). Guru Arjan Sahib installed newly created Guru Granth Sahib, in Sri Harmandir Sahib and appointed Baba Budha ji as its first Granthi i.e. the reader of Guru Granth Sahib. After this event it attained the status of ‘Ath Sath Tirath’. Now the Sikh Nation had their own Tirath, a pilgrimage center.
Most Rare Pictures Of Golden Temple
Sri Harmandir Sahib, is built on a 67ft. square platform in the centre of the Sarovar (tank). The temple itself is 40.5ft. square. It has a door each on the East, West, North and South. The Darshani Deori (an arch) stands at the shore end of the causeway. The door frame of the arch is about 10ft in height and 8ft 6inches in breath. The door panes are decorated with artistic style. It opens on to the causeway or bridge that leads to the main building of Sri Harmandir Sahib. It is 202 feet in length and 21 feet in width.
The bridge is connected with the 13 feet wide ‘Pardakshna’ (circumambulatory path). It runs round the main shrine and it leads to the ‘Har ki Paure’ (steps of God). On the first floor of "Har Ki Pauri", there is continuous reading of Guru Granth Sahib.
Rare Old and Historical Photograph of The Golden Temple
The main structure of Sri Harmandir Sahib, functionally as well as technically is a three-storied one. The front, which faces the bridge, is decorated with repeated cusped arches and the roof of the first floor is at the height of the 26 feet and 9 inches.
At the top of the first floor 4 feet high parapet rises on all the sides which has also four ‘Mamtees’ on the four corners and exactly on the top of the central hall of the main sanctuary rises the third story. It is a small square room and have three gates. A regular recitation of Guru Granth Sahib is also held there.
On the top of this room stands the low fluted ‘Gumbaz’ (dome) having lotus petal motif in relief at the base inverted lotus at the top which supports the "Kalash" having a beautiful "Chhatri" at the end.
Its architecture represents a unique harmony between the Muslims and the Hindus way of construction work and this is considered the best architectural specimens of the world. It is often quoted that this architecture has created an independent Sikh school of architecture in the history of art in India.
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Lingaraj Temple
All over in Bhubaneshwara, Lingaraj temple is considered to be the most ancient and the largest of all the temples. The followers of the Hindu religion have great regard for this temple and are revered by the Hindu group of people with utmost faith. The temple has been named so, as to denote the king of the Lingam which is in the phallic form of Shiva. It’s known that when the King of Jaipur in 11th century shifted his capital to the Bubaneshawra city, he embarked on the journey of constructing the Lingaraj temple.
Though, it is believed that some parts of the temple was built originally in the 6th century but was renovated and was build in a fully fledged way only in the 11th century. There is also a mention of this temple in the Brahma Purana which is a revered scripture of the Hindu religion. It’s said that while the construction of the temples was on the verge of completion, the jagannath cult started taking its shape and this fact has been testified by the evidence that Lord Shiva and Lord Vishnu are revered here at this temple.
The temple is a one among the oldest structures of India and is believed to be a structure which is around 1000 years old. There is a mythological story associated with the temple which tells us that once Lord Shiva explained to his beloved Parvathi, why he favours the city of Bhubaneshwara more than Banaras. Upon hearing the story, Parvathi embarked on the journey to find out a testimony to the fact. So, she took the form of normal female cattle and went out exploring the city. While she was on her journey, two demons came into her way who wanted to marry her. Even after her continuous refusal, they kept on following her and so in order to keep herself safe, she vanished them and set herself free. After the incidence, Lord Shiva created the Bindu Sara Lake in order to bring in eternity to the space.
The main temple has been divided into four distinct parts which are Yajna Shala, Natya Shala, Garbh Griha and Bhoga Mandap.
Here the Garbh Griha, the Lingam has been believed to have originated on its own and so is called as Swayambhu and people, therefore worship it both as Lord Vishnu and Lord Shiva. While entering the temple, a trident can be seen, which consists of a statue of Lord Shiva and two statues of Lord Vishnu on both the sides of the entrance gate. The temple is the witness to the concord of two sects and so is revered as Hari-Hara which has a hidden meaning. Hari is for Lord Vishnu and Hara is for Lord Shiva, which combine together to become Hari-Hara. The Lingam here is believed top have been built of granite and is worshipped everyday with milk, water and bhanga. The Nata temple here has some evidences of the Devadas tradition and also here the Parsva devata which include, the statues of Lord kartikay, Lord Ganesha and Goddess Parvati are placed in different direction. All the statues have been aesthetically decorated with beautiful draperies and ornaments. The temple depicts the rich culture of India, where a large number of devotees from different parts of the world come to take the get the whiff of the spiritual ecstasy of the temple.
There’s a whiff of the Kalinga style in the structural build of the temple! The temple’s structure is made up of the stone of the darkest shade. The temple is built in vast area in Bhubaneshawara and the height of the temple is around 55meteres. Inside the temple premises are a large number of small shrines dedicated to worshipping several Gods and Goddesses. Beautiful scriptures have been carved onto the walls of the temple and all the shrines over there in the temple are safely built. You can enter into the temple through the lion gate where lions on both the sides of the gate and the lions crushing an elephant have been showcased at the lion entrance. Because of an optical influence the temple looks much larger than what it actually is.