Architecture and Art of the Richest Temple in the World

Indo Nordic Author’s Collective
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PART II
ART & ARCHITECTURE
OF THE RICHEST & MOST FAMOUS TEMPLE IN THE WORLD

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Dr. Uday Dokras
B.Sc., B.A. (managerial economics) LL.B. Nagpur University, INDIA
Graduate Studies, Queen’s University, Kingston, CANADA
MBA CALSATATE USA
Graduate Diploma in Law, Stockholm University, SWEDEN
ART & ARCHITECTURE
OF THE RICHEST & MOST FAMOUS TEMPLE IN THE WORLD

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CONTENTS
Introduction 5
The features of the Dravidian Style of Architecture: 11
Synopsis of architectural morphology of the Tirupati Temple 30
Hair tonsure 50
Hundi 50
Ornaments 58
Replica of Tirumala temple to be built at Amaravati-Amrutha Vasireddy 69
The design of the proposed arch at the GNC toll gate in Tirumala. 71
Dravidian Temple Architecture 91
General features of a Chola temple (Dravidian style) 99
IDOLS Venkateswara, an avatar of Vishnu 109
Elephants Saluting Lord Venkateshwara at Tirumala 115
Some rare architectural facts about Tirupati ,Tirumala and Lord Venkateswara 116
Annaprasadam 127
Laddu Prasadamn 128-29
Staircase 130

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INTRODUCTION
For those who are only interested in the Architecture of the Tirumala Temple itself, please
directly go to page 25.

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For a devout Hindu, a personal visit to Tirumala fulfils a life’s spiritual aspiration. The religious
sanctuary attracts thousands of Hindus from all over the world seeking divine blessings, on a
daily basis.
Tirumala Through Time
In line with Vaishnava tradition in Hindu mythology, Tirumala is believed to be the only
Vaikuntha on this planet and home to the revered Lord Venkateshwara, Lord Balaji, Lord
Narayana and Lord Srinivasa.
Tirumala is surrounded by seven hills said to represent the Seven Hoods of Adi Sesha.
References to Tirumala, known as Thrivengadam at the time, go back to ancient Tamil texts of
the period between 500 B.C and 300 A.D. The Tirumala Balaji temple is said to be one of the
108 sacred shrines of the Vaishnava sect.
The temples were further nurtured by rulers belonging to the Chola, Pandya and Pallava
kingdoms. They were devout followers of the Vaishnava tradition and contributed to the
management of the temples and propagation of the Hindu philosophy.
The temple continued to prosper with more followers visiting the temple complex under the
Vijayanagara rulers, and subsequently the Maratha General Raghoji Bhonsle. Later, the
management came under the British, who handed over the management to Tirupati Tirumala
Devasthanam (TTD) in 1933. Ever since, TTD has been managing the temple complex and
undertaking several social welfare activities in and around Tirupati.
For the devout, a visit to Tirumala goes far beyond a holy visit, it’s a deep spiritual journey to
experience the divine. Each pilgrim experiences a personal connect with the Lord as he or she
enters the holy sanctum for a personal ‘Darshan’.
So strong is the pull that over 70,000 pilgrims happen to visit Tirumala on a daily basis, with
numbers more than doubling on special occasions.

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Humble Submission to the Lord
Pilgrims reach Tirumala with humility and part of that humbling process is donation to the Lord.
Parting with one’s precious assets and earnings by way of cash or jewellery, has been part of a
long tradition through time. So much so, that last year alone, TTD set an all-time record by
receiving Rs 1,065 crore from Hundi collections.
Tirupati Tirumala temple is said to be the second richest temple in the world, in addition to
receiving the second largest number of pilgrims.
Given the large number of people visiting daily, TTD has streamlined the process of various
Darshans through the day. Pilgrims who wish to visit Tirumala for Darshan need to buy the
tickets that are available online, as a well as through physical counters. Tickets can be purchased
3 days in advance and upto a maximum period of 90 days in advance.
The Darshan / Sewa includes:
 Archananthara Darshanam
 Suprabhatham
 Nilapada Darshanam
 Archana Sewa
 Visesha Pooja
 Thomala Sewa
 Tirupavada Sewa
 Astadala Pada Padmaradhanamu Sewa
 Kalyanotsavam
 Sahasra Kalabhishekam
The Spiritual Walk to the Sanctum Sanctorum
Pilgrims wishing to walk from Tirupati to Tirumala have several facilities extended to them.
They can hand over their luggage to TTD management against a receipt and collect the same as
they reach the temple complex at the top of the hill.
For many, walking to the hill top is part of a vow they have taken and for them the spiritual
experience begins as they make their way through the 9-km-long stone-laid paths,
Sopanamargas.
Any mention of a visit to Tirumala would be incomplete without mentioning the much sought
after Prasadam. The famous Tirupati Ladoo is specially made by automatic German machines
and remains popular among pilgrims to take back home, post their visit.
Pilgrims are offered free Prasadam along the route, as they meander through the Sopanamargas;
they are given free food by way of Prasadam when they complete the Darshan. Fifteen thousand
people are fed everyday.
For the faithful, a visit to Tirumala is incomplete without tonsuring one’s hair as a submission to
the Lord. Such is the belief that the sheer volume of hair collected every day is actually
processed and exported overseas. The collection from sale of hair goes towards welfare activities
and related social causes.
Dravida Style of Architecture is one of the types of Temple architecture
Temple Architecture in India-and its impact on the design of the Tirumala at Tirupati

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The temple is considered one of the eight Swayambhu Kshetras of Vishnu where the presiding
deity is believed to have manifested on its own. There are different Seven other temples in the
line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, and Vanamamalai
Perumal Temple in South India. Swayambhu Kshetras is a self risen temple or idol- hence no one
ir ready to take credit for the design leaving it all to the Lord.
History Of Venkatadri:-
Sri Venkateswara Temple which is the most ancient Prligrim Center in India is on Tirumala Hill.
This Temple is in the geographical limits of Tirupathi in Chittoor District. The Tirumala Hill
forms the southern end of the Eastern Ghats in Andhra Pradesh. It rises to a maximum height of
1104 metres above the sea level and consists of seven peaks or ridges, hence the name Sapthagiri
or Seven Hills. It covers an area of about 250 Sq Km and resembles a massive Serpent, giving it
the name Seshadri or the Hill of Snake. The head of the Serpent is Tirumala, the body is
Ahobilam to the North & the tail is Srisailam, even further North. Lord Venkateswara Temple is
on Venkatadri which is one of the Seven hills. Tiru means ‘Holy’ or ‘Sacred’ and mala means
hills/mountain in Dravidian languages. Therefore it translates as Holy mountains.
•Seshadri – Hill of Sesha,the dasa of Lord Vishnu
•Vrushabhadri — Hill of Nandi, the vahanaof Lord Shiva
•Anjanadri — Hill of Lord Hanuman
•Neeladri — Hill of Neela Devi
•Garudadri — Hill of Garuda, the Vehicle of Lord Vishnu
•Naraynadri — Hill of Narada Muni
•Venkatadri — Hill of Lord Venkateswara
He is also called Srinivasa, Tirumalesa, Tirumalappa, Timmappa. This temple has acquired a
special sanctity in the Hindu religion. The benefits that accrue by a pilgrimage to this holy town
is mentioned in the Vedas and Puranas. Hindus all over the world believe that in Kali Yuga it’s
possible to attain mukti by worshiping Lord Venkateswara. There are footsteps leading to the hill
with two separate serpentine roads to reach the shrine. According to legend, God Vishnu
revealed himself earlier in the previous incarnations as Varahaswamy on the banks of the present
temple tank.. This manifestation of the white boar (Sveta Varaham) is enshrined in the Adi
Varahaswany temple situated on the northeastern banks of the tank. “Ven” means “sin” and
“Kata” means”destroyed” Therefore Venkata means, a person who worships there will get
cleansed of all sins. Around 50,000 pilgrims visit the temple every day.

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Medieval history:-
Tirumala is known to have a history that goes back to the age of the Sangam Literature that
lasted from 500 B.C. to 300 A.D. The reference of the famous shrine in Tirupati can be found in
the literature of IIango Vadigal’s Silapadikarm and Satanar’s Manimeghalai Bear. The Tirumala
hills are known to be world’s second oldest rock mountain. Thondaiman, ruler of ancient Tondai
Nadu is believed to have first built the temple after visualizing Lord Vishnu in a dream. He built
the Gopuram and the Prakhara, and arranged for regular prayers to be conducted in the temple.
Later on, the Chola Dynasty (300 BC–1279) vastly improved the temple and gave rich
endowments.
Some of the earliest rulers of Tirumala are the Kings of Pallav kingdom which is known to be
there around the 4th century AD. The temple is known to have been brought to limelight by the
Alvars or Vaishnava saints, who were the followers of Vishnu and sung praises of the Lord, in
the 5th century. Tirupati has been ruled by various kings belonging to different dynasties, like
Cholas, Hoysalas and Vijaynagar rulers. All the kings have played an important role in the
expansion of the temple structure. Tirumala was a subject to Muslim invasion around the 12th
century and it was during this time that the deity of Srirangapatna was brought to Tirupati for
safety.
In 1517 Vijayanagara ruler Sri Krishna Deva Raya, on one of his many visits to the temple,
donated gold and jewels, enabling the Vimana (inner shrine) roofing to be golded. Statues of Sri
Krishna Deva Raya and his spouse stand in the premises of the temple. After the decline of
Vijayanagara Empire, kings from states such as Mysore and Gadwal worshiped as pilgrims and
gave ornaments and valuables to the temple. Maratha general Raghoji I Bhonsle (died 1755)
visited the temple and set up a permanent administration for the conduct of worship in the
temple. There is an idol of Raja Todar Mal who was the revenue minister of Akbar, greeting
pilgrims in the premises of the temple.
Sri venkateswara Temple will be in accordance with Vaishnava Sampradaya. Sri Venkateswara
Swamy who is on the Tirumala hill got the fame of being the most sacred even before 18th
Century. Let us make our lives meaningfull by visiting Venkateswara Swamy who made his
presence in the central part of the Temple. We can see Mandapas statues and doors which were
carved and designed in a beautiful way in the premises of the Temple, which should be visited
and known in the premises of the Temple.
Epigraphical records:-
There is ample literary and epigraphic testimony to the antiquity of the temple of Lord Sri
Venkateswara.
Sri KrishnadevarayaAll the great dynasties of rulers of the southern peninsula have paid homage
to Lord Sri Venkateswara in this ancient shrine. The Pallavas of Kancheepuram (9th century
AD), the Cholas of Thanjavur (a century later), the Pandyas of Madurai, and the kings and
chieftains of Vijayanagar (14th – 15th century AD) were devotees of the Lord and they
competed with one another in endowing the temple with rich offerings and contributions.
It was during the rule of the Vijayanagar dynasty that the contributions to the temple increased.
Sri Krishnadevaraya had statues of himself and his consorts installed at the portals of the temple,
and these statues can be seen to this day. There is also a statue of Venkatapati Raya in the main
temple.

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After the decline of the Vijayanagar dynasty, nobles and chieftains from all parts of the country
continued to pay their homage and offer gifts to the temple. The Maratha general, Raghoji
Bhonsle, visited the temple and set up a permanent endowment for the conduct of worship in the
temple. He also presented valuable jewels to the Lord, including a large emerald which is still
preserved in a box named after the General. Among the later rulers who have endowed large
amounts are the rulers of Mysore and Gadwal.
After the fall of the Hindu kingdoms, the Muslim rulers of Karnataka and then the Britishers
took over, and many of the temples came under their supervisory and protective control.
In 1843 AD, the East India Company divested itself of the direct management of non-Christian
places of worship and native religious institutions. The administration of the shrine of Sri
Venkateswara and a number of estates were then entrusted to Sri Seva Dossji of the Hatiramji
Mutt at Tirumala, and the temple remained under the administration of the Mahants for nearly a
century, till 1933 AD.
Modern history:-
In 1933, the Madras Legislature passed a special act, which empowered the Tirumala Tirupati
Devasthanams(TTD) Committee to control and administer a fixed group of temples in the
Tirumala-Tirupati area, through a Commissioner appointed by the Government of Madras.
In 1951, the Act of 1933 was replaced by an enactment whereby the administration of TTD was
entrusted to a Board of Trustees, and an Executive Officer was appointed by the Government .
The provisions of the Act of 1951 were retained by Charitable and Religious Endowments Act,
1966.
The Legend:-
Sri Venkatachala Mahatmya is referred to in several Puranas, of which the most important are
the Varaha Purana and the Bhavishyottara Purana. The printed work contains extracts from the
Varaha Purana, Padma Purana, Garuda Purana, Brahmanda Purana, Markandeya Purana,
Harivamsa, Vamana Purana, Brahma Purana, Brahmottara Purana, Aditya Purana, Skanda
Purana and Bhavishyottara Purana. Most of these extracts describe the sanctity and antiquity of
the hills around Tirumala and the numerous teerthams situated on 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, while Vishnu in the form of
Venkateswara came to reside on the southern bank of the Swami Pushkarini. One day,
Rangadasa, a staunch devotee of Vishnu, in the course of his pilgrimage, joined Vaikhanasa
Gopinatha, who was going up the Tirumala Hill for the daily worship of Lord Venkateswara.
After bathing in the Swami Pushkarini, he beheld the lotus-eyed and blue-bodied Vishnu beneath
a tamarind tree. Vishnu was exposed to the sun, wind and rain and was only protected by the
extended wings of Garuda.Rangadasa was astounded by the wonderful sight. He raised a rough
wall of stones around the deity, and started supplying flowers faithfully to Gopinatha everyday
for Vishnu's worship. One day, Rangadasa was distracted by a Gandharva king and his ladies.
Consequently, he forgot to supply flowers to Gopinatha for Vishnu's worship. The Lord then
revealed Himself and told Rangadasa that He had been testing the latter's continence, but
Rangadasa had not been steadfast and had succumbed to temptation.
However, the Lord accepted and appreciated Rangadasa's devoted service to Him till then, and

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blessed Rangadasa that he would be reborn as an affluent ruler of a province and would enjoy the
earthly pleasures. He would continue to serve the Lord, construct a beautiful temple with a
vimana and high surrounding walls, and thereby earn eternal glory. Rangadasa was reborn as
Tondaman, the son of the royal couple, Suvira and Nandini. Tondaman enjoyed a pleasurable life
as a young man. One day, he set out on a hunting expedition on the Tirumala Hill, and with the
help of a forester, saw Vishnu under the tamarind tree. Tondaman returned home, deeply
affected by the vision of Vishnu. Tondaman later inherited his father's kingdom,
Tondamandalam. In accordance with the directions given by Adi Varaha to a forester, Tondaman
constructed a prakaram and dvara gopura, and arranged for regular worship of the Lord
(according to Vaikhanasa Agama). In the Kali Yuga, Akasaraja came to rule over
Tondamandalam. His daughter Padmavathi was married to Venkateswara. The marriage,
officiated by Brahma, was celebrated with great pomp and splendour.
The provisions of the Act of 1951 were retained by Charitable and Religious Endowments Act,
1966.
The features of the Dravidian Style of Architecture are mentioned below:
 The temple is enclosed within a compound wall.
 Gopuram: The entrance gateway in the centre of the front wall.
 Vimana: The shape of the main temple tower. It is a stepped pyramid that rises up
geometrically (unlike the Nagara style Shikhara that is curving).
 In the Dravida style, shikhara is the word used for the crowning element at the top of the
temple (which is shaped like a stupika or octagonal cupola).
 At the entrance to the garbhagriha, there would be sculptures of
fierce dvarapalas guarding the temple.
 Generally, there is a temple tank within the compound.
 Subsidiary shrines could be found wither within the main tower or beside the main
tower.

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 In many temples, the garbhagriha is located in the smallest tower. It is also the oldest.
With the passage of time and the rise of the population of the temple-town, additional
boundary walls were added. The newest structure would mostly have the tallest gopuram.
 Example in the Sriranganathar Temple at Srirangam, Tiruchirappally, there are 7
concentric rectangular enclosure walls each having gopurams. The tower at the centre has
the garbhagriha.
 Famous temple towns of Tamil Nadu: Kanchipuram, Thanjavur (Tanjore), Madurai and
Kumbakonam.
 In the 8th to 12th centuries – temples were not confined to being religious centres but
became administrative centres as well with large swathes of land.
Dravidian Architecture – Subdivisions of Dravida Style
1. Kuta or Caturasra: square-shaped
2. Shala or Ayatasra: rectangular-shaped
3. Gaja-prishta or vrittayata or elephant-backed: elliptical
4. Vritta: circular
5. Ashtasra: octagonal
Pallava Architecture
 The Pallava dynasty was ruling in the Andhra region from the 2nd century AD onwards.
They then moved southwards to Tamil Nadu.
 They built many monuments and temples during the 6th to the 8th centuries.
 Although they were mostly Shaivite, some Vaishnava monuments are also seen. Their
architecture was also influenced by the Buddhist heritage of the Deccan.
 Their early buildings were rock-cut whereas the later were structural.
 The early buildings were built during the reign of Mahendravarman I, a contemporary of
the Chalukya king Pulakeshin II of Karnataka.
 His son Narasimhavarman I, also known as Mamalla, was a great patron of the arts.
Most buildings in Mahabalipuram (also called Mamallapuram in his honour) are
attributed to him.
 In Mahabalipuram, there are exquisite monolithic rathas and mandapas. The five rathas
are known as Panchapandava Rathas.
Dravidian Temple Architecture – Shore Temple – Mahabalipuram
 Built during the reign of Pallava king Narasimhavarman II, also known as Rajasimha
(700 – 728 AD).
 It has three shrines – one Shiva shrine facing east, one Shiva shrine facing west, a middle
shrine to Vishnu in Anantashayana pose. The presence of three main shrines is unique.

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 It is probable that the shrines were not all built at the same time but were added later.
 There is evidence of a water reservoir and a gopuram.
 There are sculptures of Nandi the bull (Shiva’s mount) along the walls of the temple.
There are several carvings as well.
Dravidian Temple Architecture – Brihadiswara Temple – Tanjore
 Shiva temple, also called Rajarajeswara Temple.
 Completed around 1009 AD. Built by Rajaraja Chola.
 It is the largest and tallest of all Indian temples. This Chola temple is bigger than any of
the previous Pallava, Chalukya or Pandya structures.
 More than 100 temples of the Chola Period are preserved. A lot of temples were
constructed during the Chola period.
 Its pyramidal multi-storied vimana is almost 70 metres high.
 There is a monolithic shikhara atop the vimana.
 The shikhara is a dome-shaped octagonal stupika. It has two large elaborately sculptured
gopuras. On the shikhara, there are large Nandi images.
 The kalasha on top of the shikhara is 3m and 8cm tall.
 There are hundreds of stucco figures on the vimana. Many might have been added later
on in the Maratha period.
 The main deity of Shiva is portrayed as a huge lingam set in a double-storied sanctum.
 The surrounding walls of the sanctum are adorned with painted murals and sculptures of
mythological stories.
Architecture in the Deccan
 A hybridised style mixing elements from both Nagara and Dravida styles emerge as a
distinct style during the middle of the 7th century in regions like Karnataka.
 This is referred to as Vesara in some ancient texts.
 Some of the temples are either completely nagara or dravida. Not all temples in the
Deccan are in vesara style.
 Kailashnath Temple, Ellora

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
 Completely in Dravida style.
 Main deity is Lord Shiva.
 There is also a Nandi shrine.
 Vimana rises 30 m.
 This temple was carved out of a portion of a hill.
 The temple is grand and imposing.
 Built during the Rashtrakuta phase at Ellora.
Chalukya Architecture
 Western Chalukya kingdom was established by Pulakesin I when he took control of the
land around Badami in 543 AD.
 Early western Chalukyas ruled the region till around the mid-8th century.
 Early activities are rock-cut caves while structural temples were built later on.
 Ravana Phadi cave at Aihole
 Important structure at this site: Nataraja
 This image is surrounded on the right by four large saptamatrikas and on the left
by three large ones.
 The figures have slim, graceful bodies. They have long oval faces. They wear
short pleated dhotis and tall cylindrical crowns.
Distinct feature of Chalukya architecture: mixing and incorporation of several styles.
Temples at Pattadakkal, Karnataka
 Pattadakkal is a UNESCO World Heritage Site.
 There are 10 temples. Four are in Dravida style, four are in Nagara style, one
(Papanatha Temple) is a fusion of both and one is a Jain temple.
 Jain Narayana temple – built by Rashtrakutas in the 9th century.
 Virupaksha Temple – built by the chief queen of Chalukya king Vikramaditya II
(733 – 44), Loka Mahadevi. Best example of Dravida style.
Durga Temple, Aihole

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 Apsidal shrine resembling a Buddhist Chaitya hall.
 Surrounded by a veranda.
 Shikhara is like a nagara one.
The Lad Khan temple at Aihole
 Located south of the Durga temple. Built in the 5th century.
 Inspired by the wooden-roofed temples of the hills, but is made out of stone.
 Built in the Panchayatana style.
 So named because a person named Lad Khan had used it as his residence for
some time.
Hoysalas Temple Architecture
 Hoysalas grew into prominence in South India after the Chola and the Pandya power
declined.
 Centred at Mysore.
 Chief temples are at Belur, Somnathapuram and Halebid.
 These temples have a plan called the stellate plan. This is because the plan which
emerged from being a straightforward square to a complex one with many projecting
angles began to resemble a star.
 The star-like ground plan is a distinct feature of Hoysala architecture.
 Style is Vesara.
 Made of soapstone which is relatively soft. This enabled artists to carve intricate details
like jewellery.
 Hoysaleshvara Temple, Halebid

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
 Made of dark schist stone in 1150.
 Dedicated to Nataraja (Shiva).
 It is a double building with a large hall for the mandapa.
 A Nandi pavilion is in front of each building.
 The temple’s tower fell a long time back. The structure of the temple is evident
from the detailed miniature ones at the temple’s entrance.
 Very intricate and detailed carvings.
Vijayanagara Architecture
 City of Vijayanagara (City of victory) founded in 1336.
 Visited by international travellers like Niccolo di Conti, Domingo Paes, Duarte Barbosa,
Abd, al-Razzaq, etc. who have given vivid accounts of the place.
 Synthesizes the Dravida style with Islamic styles of the neighbouring sultanates.
 The sculpture tries to recreate the Chola tradition but the foreign influence is also seen.
Dravidian architecture or the South Indian temple style is an architectural idiom in Hindu
temple architecture that emerged in the southern part of the Indian subcontinent or South
India and in Sri Lanka, reaching its final form by the sixteenth century. It is seen in Hindu
temples, and the most distinctive difference from north Indian styles is the use of a shorter and
more pyramidal tower over the garbhagriha or sanctuary called a vimana, where the north has
taller towers, usually bending inwards as they rise, called shikharas. However, for modern
visitors to larger temples the dominating feature is the high gopura or gatehouse at the edge of
the compound; large temples have several, dwarfing the vimana; these are a much more recent
development. There are numerous other distinct features.
Mentioned as one of three styles of temple building in the ancient book Vastu shastra, the
majority of the existing structures are located in the Southern Indian states of Andhra
Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana. Various kingdoms and empires such as
the Cholas, the Chera, the Kakatiyas, the Pandyas, the Pallavas, the Gangas, the Kadambas,
the Rashtrakutas, the Chalukyas, the Hoysalas, and Vijayanagara Empire among others have
made substantial contribution to the evolution of the Dravida architecture.
Texts: Mayamata and Manasara shilpa texts estimated to be in circulation by 5th to 7th
century AD, is a guidebook on Dravidian style of Vastu Shastra design, construction, sculpture
and joinery technique. Isanasivagurudeva paddhati is another text from the 9th century
describing the art of building in India in south and central India. In north India, Brihat-
samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century describing
the design and construction of Nagara style of Hindu temples. Traditional Dravidian architecture

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and symbolism are also based on Agamas. The Agamas are non-vedic in origin and have been
dated either as post-vedic texts or as pre-vedic compositions.[9]
The Agamas are a collection
of Tamil and Sanskrit scriptures chiefly constituting the methods of temple construction and
creation of murti, worship means of deities, philosophical doctrines, meditative practices,
attainment of sixfold desires and four kinds of yoga.
Composition and structure
Chola style temples consist almost invariably of the three following parts, arranged in differing
manners, but differing in themselves only according to the age in which they were executed:[11]
1. The porches or Mandapas, which always cover and precede the door leading to the cell.
2. Gate-pyramids, Gopuras, which are the principal features in the quadrangular enclosures
that surround the more notable temples. Gopuras are very common in Dravidian temples.
3. Pillared halls (Chaultris or Chawadis) are used for many purposes and are the invariable
accompaniments of these temples.
Besides these, a South Indian temple usually has a tank called the Kalyani or Pushkarni – to be
used for sacred purposes or the convenience of the priests – dwellings for all the grades of the
priesthood are attached to it, and other buildings for state or convenience.
An aerial view of the Meenakshi Temple, Tamil Nadu, from the top of the southern gopuram,
looking north.
Stone vel on a brick platform at the entrance to the Murugan Temple, Saluvankuppam, Tamil
Nadu, 300 BCE-300 CE

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In Southern India seven kingdoms and empires stamped their influence on architecture during
different times.:
Sangam period
From 300 BCE - 300 CE, the greatest accomplishments of the kingdoms of the early
Chola, Chera and the Pandyan kingdoms included brick shrines to
deities Kartikeya, Shiva, Amman and Vishnu. Several of these have been unearthed
near Adichanallur, Kaveripoompuharpattinam and Mahabalipuram, and the construction plans of
these sites of worship were shared to some detail in various poems of Sangam literature. One
such temple, the Saluvannkuppan Murukan temple, unearthed in 2005, consists of three layers.
The lowest layer, consisting of a brick shrine, is one of the oldest of its kind in South India, and
is the oldest shrine found dedicated to Murukan. It is one of only two brick shrine pre Pallava
Hindu temples to be found in the state, the other being the Veetrirundha Perumal Temple at
Veppathur dedicated to Lord Vishnu. The dynasties of early medieval Tamilakkam expanded
and erected structural additions to many of these brick shrines. Sculptures of erotic art, nature
and deities from the Meenakshi Temple, and Ranganathaswamy Temple date from the Sangam
period.
Pallavas
The rock-cut Shore Temple of the temples in Mahabalipuram, Tamil Nadu, 700-728
The Pallavas ruled from AD (275–900) and their greatest constructed accomplishments are the
single rock temples in Mahabalipuram and their capital Kanchipuram, now located in Tamil
Nadu.
The earliest examples of Pallava constructions are rock-cut temples dating from 610 – 690 CE
and structural temples between 690 – 900 CE. The greatest accomplishments of the Pallava
architecture are the rock-cut Group of Monuments at Mahabalipuram at Mahabalipuram, a
UNESCO World Heritage Site, including the Shore Temple. This group includes both excavated
pillared halls, with no external roof except the natural rock, and monolithic shrines where the
natural rock is entirely cut away and carved to give an external roof. Early temples were mostly
dedicated to Shiva. The Kailasanatha temple also called Rajasimha Pallaveswaram
in Kanchipuram built by Narasimhavarman II also known as Rajasimha is a fine example of the
Pallava style temple.
Contrary to popular impression about the succeeding empire of the Cholas pioneering in building
large temple complexes, it was the Pallavas who actually pioneered not only in making large
temples after starting construction of rock cut temples without using mortar, bricks etc.(**)

19
Examples of such temples are the Thiruppadagam and Thiruooragam temples that have 28 and
35 feet (11 m) high images of Lord Vishnu in his manifestation as Pandavadhoothar and
Trivikraman forms of himself. In comparison, the Siva Lingams in the Royal Temples of the
Cholas at Thanjavur and Gangaikonda Cholapurams are 17 and 18 feet (5.5 m) high. Considering
that the Kanchi Kailasanatha Temple built by Rajasimha Pallava was the inspiration for Raja
Raja Chola's Brihadeeswara at Thanjavur, it can be safely concluded that the Pallavas were
among the first emperors in India to build both large temple complexes and very large deities and
idols(**) Many Siva and Vishnu temples at Kanchi built by the great Pallava emperors and
indeed their incomparable Rathas and the Arjuna's penance Bas Relief (also called descent of the
Ganga) are proposed UNESCO World Heritage Sites. The continuous Chola, Pallava and
Pandiyan belt temples (along with those of the Adigaimans near Karur and Namakkal), as well as
the Sethupathy temple group between Pudukottai and Rameswaram uniformly represent the
pinnacle of the South Indian Style of Architecture that surpasses any other form of architecture
prevalent between the Deccan Plateau and Kaniyakumari. In the Telugu country the style was
more or less uniformly conforming to the South Indian or Dravidian idiom of architecture.
Badami Chalukyas
Virupaksha Temple, Pattadakal, Karnataka built in 740/The rock-cut Kailash Temple at Ellora
The Badami Chalukyas also called the Early Chalukyas, ruled from Badami, Karnataka in the
period 543 – 753 CE and spawned the Vesara style called Badami Chalukya Architecture. The
finest examples of their art are seen in Pattadakal, Aihole and Badami in northern Karnataka.
Over 150 temples remain in the Malaprabha basin.
The most enduring legacy of the Chalukya dynasty is the architecture and art that they left
behind. More than one hundred and fifty monuments attributed to the Badami Chalukya, and
built between 450 and 700, remain in the Malaprabha basin in Karnataka.
The rock-cut temples of Pattadakal, a UNESCO World Heritage
Site, Badami, Aihole and Mahakuta are their most celebrated monuments. Two of the famous
paintings at Ajanta cave no. 1, "The Temptation of the Buddha" and "The Persian Embassy" are
attributed to them.[15][16]
This is the beginning of Chalukya style of architecture and a
consolidation of South Indian style.

20
Rashtrakutas
The Rashtrakutas who ruled the Deccan from Manyakheta, Karnataka in the period 753 – 973
CE built some of the finest Dravidian monuments at Ellora (the Kailasanatha temple), in the
rock-cut architecture idiom, with a style showing influences from both north and south India.
Some other fine monuments are the Jaina Narayana temple at Pattadakal and the Navalinga
temples at Kuknur in Karnataka.
The Rashtrakuta contributions to art and architecture are reflected in the splendid rock-cut
shrines at Ellora and Elephanta, situated in present-day Maharashtra. It is said that they
altogether constructed 34 rock-cut shrines, but most extensive and sumptuous of them all is the
Kailasanatha temple at Ellora. The temple is a splendid achievement of Dravidian art. The walls
of the temple have marvellous sculptures from Hindu
mythology including Ravana, Shiva and Parvathi while the ceilings have paintings.
These projects were commissioned by King Krishna I after the Rashtrakuta rule had spread into
South India from the Deccan. The architectural style used was partly Dravidian. They do not
contain any of the shikharas common to the Nagara style and were built on the same lines as the
Virupaksha temple at Pattadakal in Karnataka.
Western Chalukyas
Doddabasappa Temple, Dambal, Gadag district, Karnataka
The Western Chalukyas also called the Kalyani Chalukyas or Later Chalukyas ruled the deccan
from 973 – 1180 CE from their capital Kalyani in modern Karnataka and further refined the
Chalukyan style, called the Western Chalukya architecture. Over 50 temples exist in the Krishna
River-Tungabhadra doab in central Karnataka. The Kasi Vishveshvara at Lakkundi, Mallikarjuna
at Kuruvatii, Kalleshwara temple at Bagali and Mahadeva at Itagi are the finest examples
produced by the Later Chalukya architects.The reign of Western Chalukya dynasty was an
important period in the development of architecture in the Deccan. Their architectural
developments acted as a conceptual link between the Badami Chalukya Architecture of the 8th
century and the Hoysala architecture popularised in the 13th century. The art of Western ghats.

21
Chalukyas is sometimes called the "Gadag style" after the number of ornate temples they built in
the Tungabhadra – Krishna River doab region of present-day Gadag district in
Karnataka.[20]
Their temple building reached its maturity and culmination in the 12th century,
with over a hundred temples built across the deccan, more than half of them in present-day
Karnataka. Apart from temples they are also well known for ornate stepped wells (Pushkarni)
which served as ritual bathing places, many of which are well preserved in Lakkundi. Their
stepped well designs were later incorporated by the Hoysalas and the Vijayanagara empire in the
coming centuries.
Pandya
Srivilliputtur Andal CHOLA at RIGHT Detail of the main vimanam (tower) of the Thanjavur Temple-Tamil
Nadu
Srivilliputhur Andal temple Rajagopuram is the official symbol of the Government of Tamil
Nadu. It is said to have been built by Periyaazhvar, the father-in-law of the Lord, with a purse of
gold that he won in debates held in the palace of Pandya King Vallabhadeva.
The primary landmark of Srivilliputtur is 12-tiered tower structure dedicated to the Lord of
Srivilliputtur, known as Vatapatrasayee. The tower of this temple rises 192 feet (59 m) high and
is the official symbol of the Government of Tamil Nadu. Other significant temples of the
Pandyas include the famous Meenakshi temple in Madurai.

22
Cholas
Tirupati Layout plan
The Chola kings ruled from AD (848–1280) and included Rajaraja Chola I and his son Rajendra
Chola who built temples such as the Brihadeshvara Temple of Thanjavur and Brihadeshvara
Temple of Gangaikonda Cholapuram, the Airavatesvara Temple of Darasuram and
the Sarabeswara (Shiva )Temple, also called the Kampahareswarar Temple at Thirubhuvanam,
the last two temples being located near Kumbakonam. The first three among the above four
temples are titled Great Living Chola Temples among the UNESCO World Heritage Sites.
The Cholas were prolific temple builders right from the times of the first king Vijayalaya
Chola after whom the eclectic chain of Vijayalaya Chozhisvaram temple near Narttamalai exists.
These are the earliest specimen of Dravidian temples under the Cholas. His son Aditya I built
several temples around the Kanchi and Kumbakonam regions.
Temple building received great impetus from the conquests and the genius of Aditya
I Parantaka I, Sundara Chola, Rajaraja Chola and his son Rajendra Chola I.Rajendra
Chola 1 built the Rajaraja Temple at Thanjur after his own name. The maturity and
grandeur to which the Chola architecture had evolved found expression in the two temples of
Tanjavur and Gangaikondacholapuram. He also proclaimed himself as Gangaikonda. In a small
portion of the Kaveri belt between Tiruchy-Tanjore-Kumbakonam, at the height of their power,
the Cholas have left over 2300 temples, with the Tiruchy-Thanjavur belt itself boasting of more
than 1500 temples. The magnificent Siva temple of Thanjavur built by Raja Raja I in 1009 as
well as the Brihadisvara Temple of Gangaikonda Cholapuram, completed around 1030, are both
fitting

23
Wooden Model of Tirupati
memorials to the material and military achievements of the time of the two Chola emperors. The
largest and tallest of all Indian temples of its time, the Tanjore Brihadisvara is at the apex of
South Indian architecture. In fact, two succeeding Chola kings Raja Raja II and Kulothunga III
built the Airavatesvara Temple at Darasuram and the Kampahareswarar Siva Temple at
Tribhuvanam respectively, both temples being on the outskirts of Kumbakonam around AD 1160
and AD 1200. All the four temples were built over a period of nearly 200 years reflecting the
glory, prosperity and stability under the Chola emperors.
Contrary to popular impression, the Chola emperors patronized and promoted construction of a
large number of temples that were spread over most parts of the Chola empire. These include 40
of the 108 Vaishnava Divya Desams out of which 77 are found spread most of South India and
others in Andhra and North India. In fact, the Sri Ranganathaswamy Temple in Srirangam,
which is the biggest temple in India (**) and the Chidambaram Natarajar Temple (though
originally built by the Pallavas but possibly seized from the Cholas of the pre-Christian era when
they ruled from Kanchi) were two of the most important temples patronized and expanded by the

24
Cholas and from the times of the second Chola King Aditya I, these two temples have been
hailed in inscriptions as the tutelary deities of the Chola Kings.
The Brihadeeswarar Temple (11th century), Tanjore has a vimana tower that is 216 ft (66 m)
high, a classical example of Dravidian architecture. and The sikhara, a cupolic dome (25 tons), is
octagonal and rests on a single block of granite, weighing 80 tons.
Temple shrine on the Koneswaram temple promontory extremity and the Ketheeswaram
temple and Munneswaram temple compounds contained tall gopuram towers by Chola rule
of Trincomalee, Mannar, Puttalam and Chidambaram's expansion that escalated the building of
those syncretic latter styles of Dravidian architecture seen across the continent pictured.
Of course, the two Brihadisvara Temples at Thanjavur and Gangaikonda Cholapuram as well as
the other two Siva temples, namely the Airavatesvara Temple of Darasuram and
the Sarabeswara (Shiva )Temple which is also popular as the Kampahareswarar Temple
at Thirubhuvanam, both on the outskirts of Kumbakonam were the royal temples of the Cholas to
commemorate their innumerable conquests and subjugation of their rivals from other parts of
South India, Deccan Ilangai or Sri Lanka and the Narmada-Mahanadi-Gangetic belts (**). But
the Chola emperors underlined their non-partisan approach to religious iconography and faith by
treating the presiding deities of their other two peerless creations, namely the Ranganathaswamy
Temple dedicated to Lord Vishnu at Srirangam and the Nataraja Temple at Chidambaram which
actually is home to the twin deities of Siva and Vishnu (as the reclining Govindarajar) to be their
'Kuladheivams' or tutelary (or family) deities. The Cholas also preferred to call only these two
temples which home their tutelary or family deities as Koil or the 'Temple', which denotes the
most important places of worship for them, underlining their eq. The above-named temples are
being proposed to be included among the UNESCO World Heritage Sites, which will elevate
them to the exacting and exalting standards of the Great Living Chola Temples.

25
The temple of Gangaikondacholapuram, the creation of Rajendra Chola I, was intended to
exceed its predecessor in every way. Completed around 1030, only two decades after the temple
at Thanjavur and in much the same style, the greater elaboration in its appearance attests the
more affluent state of the Chola Empire under Rajendra.[28]
This temple has a larger Siva linga
than the one at Thanjavur but the Vimana of this temple is smaller in height than
the Thanjavur vimana.
The Chola period is also remarkable for its sculptures and bronzes all over the world. Among the
existing specimens in museums around the world and in the temples of South India may be seen
many fine figures of Siva in various forms, such as Vishnu and his consort Lakshmi, and the
Siva saints. Though conforming generally to the iconographic conventions established by long
tradition, the sculptors worked with great freedom in the 11th and the 12th centuries to achieve a
classic grace and grandeur. The best example of this can be seen in the form of Nataraja the
Divine Dancer
Hoysalas
Symmetrical architecture on Jagati, Somanathapura, Karnataka
The Hoysala kings ruled southern India during the period (1100–1343 CE) from their
capital Belur and later Halebidu in Karnataka and developed a unique idiom of architecture
called the Hoysala architecture in Karnataka state. The finest examples of their architecture are
the Chennakesava Temple in Belur, Hoysaleswara temple in Halebidu, and the Kesava
Temple in Somanathapura.
The modern interest in the Hoysalas is due to their patronage of art and architecture rather than
their military conquests. The brisk temple building throughout the kingdom was accomplished
despite constant threats from the Pandyas to the south and the Seunas Yadavas to the north. Their
architectural style, an offshoot of the Western Chalukya style, shows distinct Dravidian
influences. The Hoysala architecture style is described as Karnata Dravida as distinguished from
the traditional Dravida, and is considered an independent architectural tradition with many
unique features.

26
Vijayanagara
Virupaksha Temple at Hampi, Karnataka
Hills around the temple
The whole of South India was ruled by Vijayanagara Empire from (1343–1565 CE), who
built a number of temples and monuments in their hybrid style in their capital Vijayanagara in
Karnataka. Their style was a combination of the styles developed in South India in the previous

27
centuries. In addition, the Yali columns (pillar with charging horse), balustrades (parapets) and
ornate pillared manatapa are their unique contribution. King Krishna Deva Raya and others built
many famous temples all over South India in Vijayanagara Architecture style.
Vijayanagara architecture is a vibrant combination of
the Chalukya, Hoysala, Pandya and Chola styles, idioms that prospered in previous centuries. Its
legacy of sculpture, architecture and painting influenced the development of the arts long after
the empire came to an end. Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage
hall), Vasanthamantapa (open pillared halls) and the Rayagopura (tower). Artisans used the
locally available hard granite because of its durability since the kingdom was under constant
threat of invasion. While the empire's monuments are spread over the whole of Southern India,
nothing surpasses the vast open-air theatre of monuments at its capital at Vijayanagara, a
UNESCO World Heritage Site.
In the 14th century the kings continued to build Vesara or Deccan style monuments but later
incorporated dravida-style gopurams to meet their ritualistic needs. The Prasanna Virupaksha
temple (underground temple) of Bukka Raya I and the Hazare Rama temple of Deva Raya I are
examples of Deccan architecture. The varied and intricate ornamentation of the pillars is a mark
of their work. At Hampi, though the Vitthala temple is the best example of their
pillared Kalyanamantapa style, the Hazara Ramaswamy temple is a modest but perfectly
finished example. A visible aspect of their style is their return to the simplistic and serene art
developed by the Chalukya dynasty. A grand specimen of Vijayanagara art, the Vitthala temple,
took several decades to complete during the reign of the Tuluva kings. Kerala.
The version of Dravidian architecture found in Kerala in the far south-west is significantly
different. Very large temples are rare, and sloping roofs with projecting eaves dominate the
outline, often arranged in a number of tiers. As in Bengal, this is an adaption to the
heavy monsoon rainfall. There is usually a stone core below a timber superstructure.
The architecture of Kerala goes back to the Chera dynasty in the 12th century, and a variety of
ground plans have been used, including circular ones. The development of multi-building
complexes came relatively late.
Kodungallur Bhagavathy Temple/Chera dynasty Style temple Layout

28
Vadakkunnathan Temple/Thirunelli Temple front view
Nallur Kandaswamy temple front entrance//Kandiyoor Sree Mahadeva Temple
Jaffna
The culture of a region is recognizable in architecture. Jaffna was close to South India and the
majority of the inhabitants of Jaffna have a Dravidian origin. In former royal city of Nallur, there
are architectural ruins of Jaffna kingdom.
Raja Gopuram of Nainativu Nagapooshani Amman Temple.

29
Yamuna Eri, a 15th century pond in Nallur.Corridor of Naguleswaram Temple/Mantri Manai,
the remains of the minister's quarters of Jaffna Kingdom. It is build in a Euro-Dravidian style.
Queue Management System(described elsewhere)
Architecture of Tirumala Venkateswara Temple

30
Synopsis of architectural morphology of the Tirupati Temple
See
https://issuu.com/suryanaidus9/docs/tirumala_temple_history/9
For full pictures of every chamber and idol at the Tirupati Temple
Lord Sri Venkateswara, also known as Srinivasa, Balaji, and Veṅkaṭachalapati, made Tirumala
his abode five thousand years ago. Even before him, it was Lord Varahaswami who had made
Tirumala his abode. Since then, many devotees have continued to construct grand entrances on
the ramparts of the temple over generations. The temple complex is spread over 16.2 acres of
land.
Broadly, there are a total three Dwarams (entrances) which lead to the Garbhagriha from
outside. The Mahadwaram also is known as padikavali is the first entrance which is provided
through Mahaprakaram (which is the outer compound wall). The 50 feet, five-
storied Gopuram (Temple Tower) is constructed over this Mahadwaram with seven Kalasams at
its apex. Vendivakili (Silver Entrance) also known as Nadimipadikavali is the second entrance
and is provided through Sampangi-Prakaram (Inner compound wall).
The three-storied Gopuram is constructed over Vendivakili with seven Kalasams at its apex.
Bangaruvakili (Golden Entrance) is the third entrance which will lead to Garbhagriha. There are
the two tall copper images of the Dvarapalakas Jaya-Vijaya on either side of this door. There is
the thick wooden door is covered with gold gilt plates depicting
the Dasavathaaram of Vishnu History:
THE DIVINE STRUCTURE OF THE TIRUMALA MAIN TEMPLE
Lord Sri Venkateswara, also known as Srinivasa, Balaji, and Veṅkaṭachalapati, made Tirumala
his abode five thousand years ago. Even before him, it was Lord Varahaswami who had made
Tirumala his abode. Since then, many devotees have continued to construct grand entrances on
the ramparts of the temple over generations. The temple complex is spread over 16.2 acres of
land.
SRI BHU-VARAHA SWAMI TEMPLE
In Tirumala, the East facing Sri Varahaswami temple is located in the northwest corner of the
temple tank - Swami Pushkarini. As per the temple legend, Lord Srinivasa sought a gift of land
from Sri Varahaswami, which he readily granted.

31
In return, Srinivasa provided him with an agreement deed assuring that he would be paid the first
darshan, worship, and offerings by all the devotees visiting the temple. This tradition is in
practice to this day at Tirumala and Lord Varahaswami continues to receive the age-old
traditional worship. Even today, all offerings are first made to Lord Varahaswami and then to
Lord Sri Venkateswara.
MAHA DWARAM
The height of the main entrance has been increased periodically since 13th century by successive
construction attempts sponsored by Rulers. Its present height is fifty feet. This entrance has other
names such as ‘Padivaakili’ and ‘Simhadwaram’.In Tamil it is called ‘Periya Thiruvasal’. On
either side of this main entrance there are two feet high statues made of alloy metal (Pancha
loha). They are Sankanidhi and Padmanidhi who are the guardians of ‘Navanidhi’, the treasure of
Lord Sri Venkateswara.
The Maha Dwaram comprises three consecutive entrances – the first is a brass one, while the
second is a silver one. The third entrance is a golden one.
SHANKHANIDHI – PADMANIDHI

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These are the two angels guarding the wealth and treasure of Lord Sri Venkateswara. As per the
tradition, these are installed at the third entrance of the temple. One enters the holy shrine after
saluting the first protection threshold - Sankha Nidhi and Padma Nidhi. According to history,
these statues were consecrated by Vijayanagara emperor Achyutha Rayalu, the younger brother
of Sri Krishna Deva Rayalu.
KRISHNADEVARAYALA MANDAPAM
After passing through the Padi Kavali Mahadwaram you will land in an open mandapam called
the Krishna Deva Raya Mandapam or Pratima Mandapam. This mandapam gets its name from
the pratimas or bronze portrait icons of the Vijayanagara emperor Krishnadevaraya and his two
consorts, Tirumaladevi and Chinnadevi. It also hosts a statue of Venkatapathi Raya and
Achyutha Raya, who succeeded Krishna Deva Raya to the throne, and his wife Varadajiamma.
The Mandapam has beautiful wall pictures of the Vijayanagara period like, Sri Rama breaking
the bow, Sri Rama Pattabhishekam and Krishna Leela. Sri Vaishnava symbols or the
Urdhvapundras flanked by a conch and disc were carved at the top of the two main pillars of the
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 become famous 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 the 1570s and donated many valuable gifts to the deity.

33
ADDALA MANDAPAM
Twelve feet to the north of Sri Krishnadevarayalu Mandapam, there is a glass porch. Every day
at 2 p.m., a paid service called”Dolotsavam” is performed for the Lord in this glass porch.
Historical evidence proves that this Seva program began to be performed in 1831.
About Addala Mandapam (Mirror Mandapam)
RANGANAYAKA MANDAPAM
Just opposite 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 safekeeping. 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 the pilgrim rush, currently, daily Kalyanothsavams are performed in
Sampangi Pradakshinam. About Ranganayaka Mandapam or Ranga Mandapam

34
This Mandapam was constructed in 1310- 1320 A.D. by Ranganatha Yadava Raya. the idol of
Sri Ranganatha in Sri Rangam was offered worship here from 1320 – 1360 A.D.
The devotees who go for Srivari darsan across a big mantapam called Ranganayaka
Mandapam which is south of Krishnadevaraya mantapam standing on a high basement. There is
a small shrine about 12 sq. feet which is kept closed. During Muslim invasions between 1320
and 1369 A.D. the idols of Lord Ranganadha of Srirangapatnam were shifted to Sri
Venkateshwara temple, Tirumala and kept here for more than 40 years. 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 Sri Rangam. Yet this place is called Ranganayakula Mandapam
to this day.
This mandapam is said to have been build by the king of Tirupathi, named Ranganadha Yadava
Rayalu. It is in this mandapam Kalyanothsvams were performed to the Lord. But, due to the
increase in pilgrim rush, daily Kalyanothsvams are performed in Sampangi Pradakshinam.The
shrine of Sri Rangantha is now closed. Various vaahanams like Hanumantha Vaahanam, Gaja
Vaahanam, Sesha Vaahanam, Garuda Vaahanam etc are kept here. This mandapam was build by
the king of Tirupati, Ranganadha Yadava RayaluWhen president of nation, national leaders, and
VIPs visit Tirumala for lord’s darshan, they are offered prasadams and blessings of the temple

35
priests in this Mandapam.
TIRUMALARAYA MANDAPAM
Adjoining the Ranga Mandapam on the western side, and facing the
Dhvajasthambha Mandapam is a spacious complex of pavilions known as the
Tirumala Raya Mandapam or Anna Unjal Mandapam. It consists of two different
levels, the front at a lower level and the rear at a higher. The southern or inner
portion of this Mandapam was constructed by Saluva Narasimha in 1473 AD to
celebrate a festival for Sri Venkateswara called Anna Unjal Tirunal. This structure
was extended to its present size by Araviti Bukkaraya Ramaraja, Sriranga Raja and
Tirumala Raja. It is in this Mandapam, that the utsava murthi Malayappan, holds his
annual darbar or Asthanam during the hoisting of the Garudadhwaja on
Dhwajastambham to mark the commencement of Brahmotsavam. Incidentally, the
prasadam distributed on this occasion is still called Tirumalarayan Pongal. The
Mandapam has a typical complex of pillars in the Vijayanagara style, with a central
pillar surrounded by smaller pillars, some of which emit musical notes when struck
with a stone. The main pillars have rearing horses with warriors mounted on them. Some
of the best sculptures of the temple are found in bold relief in the Mandapam. The bronze statues
of Todermallu, his mother Matha Mohana Devi and wife Pitha Bibi, are kept in a corner of the
Mandapam. It is 10 feet to the south of the flagstaff and was built by Saluvanarasimharayalu, the
emperor of Vijayanagara, to express his gratitude to the Lord for the help extended towards his
victories.A detailed description of the Kalyanautsavam is mentioned separately under Arjitha
Sevas. The devotees who go in Special darsanam have to go straight via Dwajasthambam and
they miss to see all the above. But if there is heavy crowd, the devotees would be allowed to go
via the route described above.

36
Every year, for five days, in the month of June and July, the Lord and his two consorts are placed
on a rocking cradle in this mandapam. This ritual which used to enthrall the devotees. This
ceremony is now discontinued.
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.

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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.
At about a 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 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.
You can see three copper statues of devotees, facing Lord venkateswara swamy and saluting the
lord with folded hands, near the flagstaff. They are Raja Thondaramallu, his mother Mata
Mohana Devi, his wife wife Pita Bibi. Lala Khemarumu is a kshatriya popularly known as Raja
Thodaramallu. He courageously protected Tirumala both from the invasions of Muslims and the
British during the seventeenth century.

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Mata Mohana Devi Pita Bibi Raja Thondaramallu Tirumala
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 a 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.
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.

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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.
Bali Peetam is inside Shri Lord Venkateswara Swamy temple Which is covered with a gold plate
and maintained by Tirumala Tirupati Devasthanams.Abutting the flag staff is the Bali Peetam or
altar. After offering food (Prasadam) 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. After saluting the dwajasthamba and Balipeetam let
us move to ‘Kshetrapalaka’ sila by chanting Govinda… Govinda…, the name of the Lord who is
the repository of Dharm.

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KSHETRA PALAKA SILA (BIG ROUND STONE)
To the northeast 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

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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 the western side are now being used as
storehouses. 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 storehouse. 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 on the route of Sampangi Pradakshinam. This kitchen is referred to
as ‘Padi potu’. Sweets and savories 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’.
PULA BAVI (WELL OF FLOWERS)
Just opposite and to the north of the flower 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 the Vagapadi
chamber. Offerings to the deity are prepared here thrice a day.
VENDI VAKILI-SILVER ENTRANCE

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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
around the temple as a religious vow). Hence, it is also called Angapradakshina marg. In this
pathway, one can witness Sri Ranganadha just opposite the silver entrance, Sri Varadaraja
Swami temple, main kitchen, golden well, Ankurarpana Mandapam, Yagasala, Nanala (coins)
Parakamani, Note (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 pathway 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

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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 symbolizes 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 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 evidence says 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 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

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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, the 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.

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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 are, 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 a 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 the Lord so that he will have a glimpse of divine beauty every day! Hence, this threshold
was named after him.
SANCTUM SANCTORUM

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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
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 a presiding deity since the main deity is huge
and immovable.

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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 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 sunrise.
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 the 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 a granite 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

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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 is ‘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 peephole 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

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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 for 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 was
performed 50 years ago. Due to the 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 sandalwood. 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

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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
signboard 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 on Tallapaka shelf. It is said that all
hymns originally were written on Palmyra leaves and later on transcribed on copper plates by his
son Tirumalacharya.
The king of the 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 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

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(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 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 someplace 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 a meditating
posture that 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 the 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 an 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.

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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 sidewall. It is believed that Goddess
Varalakshmi grants a lot of wealth to all the devotees who fulfill their vows.
KATAHA THEERTHAM
To the left side of the exit of the 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 the 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. These days, this passage is kept open from midnight to midnight. The
doors of this passage are called ‘Vaikunta Dwaram’. Mukkoti Pradakshinam is an enclosed
pathway for circumambulation that runs around the sanctum and the porch in front of it. In
Dravidian terminology, mukkoti means the vratham had on this day is equal to three crores
time of vrathams followed on any Ekadasi day. The Pradakshinam has walls on three sides
only, with the eastern wall missing. Mukkoti Pradakshinam is opened to pilgrims only twice a
year during Mukkoti Ekadasi (in the month of Pausha, Dhanurmasa) and Mukkoti Dvadasi (the
following day). The doors are opened on the night of the eleventh day morning (early hours)
after Thiruppavai and closed on the night of the twelfth day (called Margali-tiru-dvadasi).
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 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 refuses to take his help.

54
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 realized, the
boy was none other than the Lord himself.
He realized 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.
Prasadam:-

55
Laddu is the world famous prasadam given at Tirumala Temple recently the Trust has taken copy
right of Laddu prasaddam, hence, no one can prepare the same Laddu. Many other delicious
prasadams are also available including curd rice, pulihora (tamarind rice), vada and chakkera-
pongal (sweet pongal). Free meals are given daily to the pilgrims, and on Thursdays, the
Tirupavadai seva occurs, where food items are kept for naivedyam to Lord Srinivasa.
Hair tonsuring:-
Many devotees also have their head tonsured as an offer. The daily amount of hair collected is
over a ton. The hair thus gathered is sold by the temple organization a few times a year by public
auction to international buyers for use as hair extensions and in cosmetics, bringing over $6M to
the temple's treasury[citation needed] .As per puranas hair given by devotees is to coverup the
lost hair(it is a very small portion) of lord venkateshwara swamy.
Hundi (donation pot):-
It is believed that Srinivasa had to make arrangements for his wedding. Lord Kubera credited
money to Lord Venkateswara (a form of the god Vishnu) for his marriage with Padmavathi.
Srinivasa sought a loan of one crore and 11.4 million (11,400,000) coins of gold from Kubera
and had Viswakarma, the divine architect, create heavenly surroundings in the Seshadri hills.
Together, Srinivasa and Padmavathi lived for all eternity while Goddess Lakshmi, understanding
the commitments of Lord Vishnu, chose to live in his heart forever.[citation needed] In
remembrance of this, devotees go to Tirupati to donate money in Venkateswara's hundi
(donation pot) so that he can pay it back to Kubera. The hundi collections go as high as 22.5
million INR a day.[3] Devotees offer gold as a token of their love for God. Temple sources said
that in April 2010 the temple deposited 3,000 kg of gold with SBI as gold offerings in the temple
hundi by devotees, which had accumulated for the last several years.
Thulabharam:-
One of the most important offering in this temple, is the 'thulabharam.' In the Thulabaram ritual,
a devotee sits on a pan of a weighing balance and the other pan is filled with materials greater
than the weight of the devotee. Devotees usually offer sugar, jaggery, tulsi leaves, banana, gold,

56
coins. This is mostly performed with newborn babies or children
Tirumala possibly has the most elaborate arrangement in India to sequence and guide the visiting
devotees through the holy shrine. Because of the ever increasing daily rush of devotees, the
temple authorities have set up a virtual queue system, where the devotees are given a specific
time, only after which they will be allowed into the queue complex. This has resulted in a steep
drop (by a factor of five) in the time that devotees need to spend within the Queue Complex
leading to the main temple.
General Facilities In Tirumala:-
Free Meals:-
Wholesome free meals will be provided to the devotees in the TTDs Annadanam Complex from
9 a.m. to 11 p.m. continuously .
Free Medical Aid:-
Pilgrims are given free medicine aid at Aswini Hospital and Vaikuntam 'Q' complex I & II. In
case of emergency, the patients will be rushed to the Ruia Hospital, SVIMS or BIRRD for
treatment.
Free Bus: Free buses are operated at Tirumala for the benefit of pilgrims. It covers cottages,
choultries, temple and other places.
Free Local Buses In Tirumala:-
The sacred temple of Lord Sri Venkateswara Swamy in Tirumala hills is easily accessible by free
buses around tirumala. Every 10 mins free buses will move .
How To Reach Tirumala Tirupati:-
The sacred temple of Lord Sri Venkateswara Swamy in Tirumala hills is easily accessible by all
modes of transport. After reaching Tirupati, one can easily travel to Tirumala by road or on foot.
By Road:-
Tirumala has direct bus services from Tirupati with a frequency of a bus in every 2 minutes. It
also has direct buses from Chennai, Bengaluru and Vellore. Paid taxis and private bus operators
also ply buses from nearby cities such as Chennai, Hyderabad, Visakapatnam and Bangalore to
Tirupati.
Automobile Clinic - In case of vehicle breakdowns on the ghat roads, TTD offers service through
its automobile clinic levying certain charges on case to case basis. The pilgrims can either report
at Toll Gates of Alipiri or GNC in Tirumala or contact 0877-2263636 for immediate help. A
mechanic will be sent in a mobile van equipped with spares, to attend to the problem by TTD
transport department.

57
Buses and other transport are banned on ghat road from Tirupati to Tirumala between 12 AM
and 3 AM.
By Rail :-
Tirumala does not have its own railway station. The nearest railway station is in Tirupati, which
is about 26 km from Tirumala. Tirupati railway station is a major railway station and is well
equipped with five platforms and an escalator. It is well connected to major cities across India.
By Air :-
The nearest airport to Tirumala is near Renigunta about 15 km from Tirupati. This domestic
airport has direct flights to Hyderabad, Visakapatnam, Chennai, New Delhi and Bangalore and is
now being upgraded to an International airport.
On Foot :-
Many devotees climb the hills to Tirumala on foot to fulfil a vow. There are two well-laid stone
footpaths leading to Tirumala. These paths are called sopanamargas. The most ancient of the two
sopanamargas starts from Alipiri at the foot of the hills. This footpath is 11 km in length and is
the commonly used route. The other sopanamarga (Srivari mettu) starts from Chandragiri and is
only about 6 km in length.
TTD provides and maintains rest houses, security, canteen, toilets, drinking water, medical help,
piped devotional music throughout the footpaths. TTD also provides luggage transfer facility,
free of cost for the devotees opting to climb the hills on foot to Tirumala.
Dress code to The Devotees:-
According to this code, a woman devotee can wear saree or a chudidar with chunni, whereas a
male devotee can wear dhoti or lungi with uttareeyam or kurta-pyjama. "A simple shirt and
trousers are also allowed, but it would be ideal if men wear dhoti and uttariyam. Other than these
traditional dresses, no other outfits like bermudas, T-shirts, jeans, shorts and other Western-style
dresses are permitted," a TTD official said.
Other Places In Tirumala:-
Besides the sacred Vaishnavite iconic temple of Lord Sri Venkateswara Swamy which is a
marvel and a masterpiece of Dravidian architecture, there are many other places to visit and
things to admire on the Tirumala hills. Some of the must visit places in Tirumala are Swami
Pushkarini, Sri Bhu Varaha Swamy temple, Sri Hathiramjee Mutt, Sri Bedi Anjaneya Swamy
temple, Srivari Sikhara Darshanam, Sila Thoranam, Dharmagiri, Narayangiri, Papavinasanam,
Akasa Ganga water falls, Temple Museum, Asthana Mandapams and Gogarbham Gardens.
Theeerthams
There are several teerthams in Tirumala, some of them are Pandava Teertham, Kumaradhara
Teertham, Tumbhuru Teertham, Ramakrishna Teertham, Chakra Teertham, Vaikuntha Teertham,

58
Sesha Teertham, Sitamma Teertham, Pasupu Teertham, Jupali Teertham, Sanaka Sanandana
Teertham. Important festivals that are held at the teerthams are -Kumaradhara Magha Pournami,
Ramakrishna Pushya Pournami Tumbhuru Phalguna Pournami, Chakra Karthika Masa –
Ksheerabdhi Dwadasi.
Where Are Ornaments Donated By Krishna Devaraya In 16th Century To
Tirupati Temple, Asks CIC
Information Commissioner Sridhar Acharyulu in a stern order also asked the Prime Minister's
Office to make public the action contemplated by the Union government to declare Tirumala
temples as national monuments and to enforce international obligation to protect the world
heritage structures and ornaments.
The commission was hearing the plea of one BKSR Ayyangar who had sought to know from the
Prime Minister's Office the action taken by the government on his representation for declaration
of TTD Tirumala Temples as historical and as national heritage monuments.
The query was transferred to various authorities but no satisfactory response was provided to
Ayyangar who then approached the commission, highest appellate authority in the RTI matters,
seeking directions for disclosure in the matter.
During the hearing he alleged TTD, a trust body, was not protecting the 1500-year-old structures
in Tirupati as it shelved a 2011 proposal to declare the temple and temples around as ancient
monuments under the provisions of Ancient Monument and Archaeological Sites and Remains
Act, 1958.
Citing a report of Director of Archaeology and Museums, Hyderabad in 2011, the information
commissioner pointed out a 20-member team had found that inscriptions engraved on the walls
of the Lord Venkateshvara Temple at Tirumala mention ornaments donated by Vijayanagara
King Sri Krishna Devaraya.
The report, however, says "no ornament" with the temple tallied with any of those donated by the
king, the commissioner noted."It is not a wild allegation of the appellant, but a major finding by
the director of the Ministry of Culture, which was not acted upon since 2011," he said.
Acharylu said the TTD had appointed a self-appraisal committee under former Supreme Court
justices DP Wadhwa and Justice Jagannadha Rao.The panel also noted the 'Tiruvabharanam'
register, being maintained in Tirumala temple since 1952, had no mention of any temple
ornaments received from Vijayanagara emperor Sri Krishna Devaraya and concluded all the
items were intact, he said.
"The report pointed out that there was no register for the ornaments in the temple before 1952,
except the information of handing over the jewels by a priest in 1939," he noted.
He said it was not known whether all valuable ornaments were recorded in any document and
what kind of system was followed to document all old and new valuable ornaments, he said.

59
The team had also recommended surprise verifications of ornaments and valuables by a special
team and also by a team of 'archakas' of the main deity as others are not allowed to enter sanctum
sanctorum, he said.
Acharyulu said the TTD had not published any action taken report on the recommendations of
the Justice Wadhwa committee report.
While hearing the 2009 PIL, the Andhra Pradesh High Court had wondered why the temple
administration was reluctant to make a comprehensive inventory of the
jewellery, he said.
The petitioner, Ayyangar, also alleged Veyi Kalla Mandapam (Thousand pillared 'Mandapam') in
front of 'Mahadwaram' (main entrance of Lord Venkateswara Temple, Tirumala) built by 15th
century king Saluva Malladevera Maharaj was demolished by TTD in 2003 without any reason.
He claimed Mandapam was used to offer quiet space for pilgrims to sit, relax, and chant the
name of the God in front of the Mahadwaram, read the inscriptions on the stone walls of temples
and enjoy the sculptures on the pillars.
Venkateswara Temple is an important Vaishnavite temple situated in the hill town
of Tirumala in Chittoor district of Andhra Pradesh, India. The Temple is dedicated to
Lord Venkateswara, an incarnation of Vishnu, who is believed to be appeared here to save
mankind from trials and troubles of Kali Yuga. The temple is situated at a height of 853 meters
on Tirumala Hills which are part of Seshachalam Hills and is constructed in Dravidian
Architectural Style.

Architecture and Art of the Richest Temple in the World

Architecture and Art of the Richest Temple in the World

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