THE DESCRIPTION OF THE TIRUMALA TEMPLE
(i) General
The Sri Venkatesvara temple of Tirumala has been undergoing several additions and changes during the centuries. Perhaps at the time it was originally constructed, it must have been a simple structure with a Garbhagriha and a Mukhamandapa together with an antarala and pradakshina surrounding it. Inscriptions found in the temple give plenty of references to its renovation and rebuilding and addition of later structures. Curiously the earliest mention of Sri Venkatesvara in the epigraphs is found in Tiruchokinur or modern Tiruchanur and not in association with the Tirumala temple on top of the Venkatadri hill, till we reach the date of the consecration of the Manavalapperumal in the Tiruvengadam temple itself. This earliest inscription found in Tiruchchokinur was made in the 51st regnal year of Ko-Vijaya Dantivikraman (826 A.D.) and tells in distinct terms that a proxy or Tiruvengadatupperumanadigal existed in Tiruvilan Koil of Tiruchokinur. The phraseology of the inscription makes it clear that he was another Lord in Tiruchokinur representing the Lord at Tiruvengadam, as we have now a number of Venkatesvara temples in various places. The renovation made in the 13th century at Tirumala was so done, as to overlap the walls of the original sanctum. It is therefore not possible now to examine the outer side of the original walls of the garbhagriha and determine how the temple might have stood originally.
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The present temple is composed of a number of structures, gopurams and prakarams and it is essential for a proper study of the temple, to understand the details of the general layout of the temple and the distribution of the structures and sculptures within.
This temple as already mentioned sprawls over an area of a few acres, and is 415 ft. long and 263 ft. wide. It has three prakaras or enclosures centering around the holy sanctum of Lord Venkatesvara. The innermost prakara called Mukkoti pradakshina, has passages on the south, west and north only and is also open to the public only on Vaikunta Ekadasi or Mukkoti Ekadasi day, which generally falls in the month of January.
(ii) Structures outside the temple
When one ascends to the temple on top of the hill by foot, by the old pathway, there is an old unfinished or mondi Gopuram facing south. The short paved roadway towards north leads to another small gopuram and portal which is a rather older construction. After crossing this gateway, one arrives at the Sannadhi street running East to west straight to the main gateway and gopuram of the Tirumala temple. This gopuram is known as the Mukhadwara" or the “Periya Tiruvasal” and is now called “Padi-kavali gopuram." At the eastern end of this street is the temple of Hanuman and to the left is the thousand pillared mantapa. To the north of the road lies the Periyajiyar Matam and at the western end and in front of the gopuram is a small but tall four pillared mantapam, which was being used during festivals in olden times. From this mantapa there is a flight of steps to the full width of the street, descending to meet the east mada street running north to south in front of the main gateway of the temple.
As one faces the temple, enclosed near the north prakaram wall of the temple, is a small pond called “Swami Pushkarani” or Tirukoneri" in Tamil. On the north-western shore of this pushkarni and near the middle of the north mada street, is the temple of Sri Varahaswamy.
The north and south mada streets measure about 800 ft. each in length and the west is about 900 feet. The east mada street running in front of the main temple and along the east side of the pushkarni, is about 750 feet. The ground slopes from west to east and the entire area bounded by these streets is much lower in level than the outlying country.
Out of the total area of 16 acres bounded by the mada streets, the temple proper covers 2.2 acres, the swamy pushkarni 1.5 acres, and the patha pushkarni which is now a flower garden, 2.5 acres. The remaining 10 acres are covered by a number of houses, matams etc. In the mada streets are matams and choultries that were built during the centuries by royal patrons.
(iii) The Thousand Pillar Mantapam
The Thousand Pillar Mantapam is rectangular in shape and is bounded on the west by the east mada street, on the north by the Sannadhi street, on the east by a pathway from a newly renovated gopuram and on the south by the street in front of Sri Hathiramji Matam. This Mantapam was built out of the annual income of the village of Durgasamudram which Saluva Narasimha of Vijayanagara endowed to the Lord in 1472 A.D. for the specific purpose of building gopurams, mantapam and prakarams to the temple. This mantapam is now partly used as a ‘Sadas hall’ and partly as ‘Kalyanakatta’ where the offering of hair is made to the Lord.
(iv) Sri Hathiramji matam
This matam is still an important landmark in the Tirumala temple precincts. This contains the Samadhi of the various pithadhipatis of this matam and also some shrines where exquisite sculptures of Dasavatara etc., are displayed. There is, here also, an antique painting showing the playing of chess by Lord Venkatesvara with one of the persons connected with the matam.
(v) Prakarams and Pradakshinas
The temple is surrounded on all sides by three compound walls known as prakarams or avaranams. The narrowest of these three is the one between the Garbhagriha wall and the first prakaram and the widest is between the outer and middle prakarams. These pradakshinas are known as:
(a) Mukkoti pradakshina, nearest to the Garbhagriha (which is open only on the three sides excepting the east and to which access to the public is given only on Vaikunta Ekadasi day).
(b) Vimana pradakshina which is now the main pradakshina, used by the pilgrims and from the northern side of which vimana darshana is had, and
(c) Sampangi pradakshina, which is generally not used by the public.
The place is now being used mainly as a store room etc.
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The space enclosed between each set of prakarams is called a pradakshinam or antarmandalam.
From the maha Pradakshina outside the temples, one arrives at the main gateway of the temple or periya gopura vasal or padikavali. At a distance of about 120 feet from this gateway is the inner gopuram. From these gopurams, project high compound walls, about four feet in thickness, which completely enclose the ground covered by the temple.
(vi) The Outer Gopuram
The outer gopuram stands on a quadrangular base, 38 feet south to north and 32 feet east to west. The mukhadwara or tiruvasal in the middle of it is 11 feet wide. There are two cut stone door frames symmetrically placed from either end. The door jambs, the sills and soffits of these are made of thick cut stone. The front door-way has folding doors hung or pivots and made of stout lattice wood work, backed with thick battens, and fastened together by stout iron nails having artistic heads. There is a trap door on the left side door. The compound walls emanating from the outer gopuram measure 414 feet east to west and 263 feet west to north.
There is fine architectural work in the plinth and pilaster of the gopurams. The plinth mouldings of the gopura and the style of the pilasters on its outer wall indicate a clear later Chola time of architecture. There is an inscription on the right side front of the door jamb wall of the pradakshina dated the 12th regnal year of Tribhuvana Chakravarthigal Sri Yadava Raya Vira Narasingadeva, whose queen Yadavaraya Nachchiyar had gifted 62 cows and two breeding bulls for daily supply of ghee for lighting two perpetual lamps or nandavilakku. The date will correspond to 1217 A.D. There are a few more inscriptions on the gopuram basement belonging to the 13th century.
The adhishtana of the gopura is built in two bhumis each supported by a cluster of pilasters with no devakoshtas or sculptures on the walls. The corbels on the capitals are bell shaped which is the style prevalent in the 12th-13th century A.D. The super-structure of the gopura is of brick and mortar and rises to 50 feet above ground level. It has five talas each having a small doorway flanked by the dwarapalakas. Each side of the gopura has a number of miniature shrines like the shalas and panjaras. The top of the gopura is covered by a large shala roof with kirthimukha ends.
There are quite a number of stucco figures of Vaishnava gods like Hanuman, Kevale Narasimha, Laxmi Narasimha etc. etc., on the gopura
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This gopuram has been renovated in recent years by the T.T.D. authorities and the figures are covered by white cement and now look crude with ugly modern colour paintings on them.
(vii) The Outer pradakshina or the Sampangi pradakshina
Passing through the entrance of the main gopura one enters the outer court-yard of the temple. Immediately adjacent to and touching the gopura is a small mantapa with two wings one on each side and a pathway in the centre. This is the outer prakara within the temple complex. This enclosure has a large number of mantapas meant for various rituals and other functions connected with the temple.
(viii) Pratima Mantapa or Krishnaraya Mantapa
Immediately adjacent to the gopura is a small mantapa with two wings one on each side. Each wing has two rows of four pillars. The pillars in the outer row are plain and contain a salakoshta at the base. The pillars in the inner row contain an animal bracket having a lion with a rider on, standing with its hind legs resting on a makara.
This is commonly referred to as the pratima mantapa because the pratimas or portrait bronzes of the Vijayanagara Emperor Krishnadevaraya and his two consorts Tirumaladevi and Chinnadevi and also those of Venkatapat. etc., are kept here.
From the style of the pillars this mantapa may be taken to have been built in later Vijayanagara times say about the early half of the 16th century. This mantapa is in exquisite style and is full of beautiful sculptures of the Vijayanagara period like, Rama breaking the bow, Rama Pattabhisekha, Hanuman meeting Sita in the Asokavana, Krishna leela scenes etc. On the top of two pillars, the Sri Vaishnava symbols or the Urdhvapundras flanked by shankha and Chakra are carved. The tall pillars of this mantapa show interesting variety in corbel design, some showing vyali, some showing simha, and some others with ganas looking at the onlooker.
(ix) Rangamantapa
In the south-east corner of the court-yard is a big mantapa popularly known as the Rangamandapa. This stands on a high basement, and measures about 60 feet east to west and 108 feet north to south. At its southern end, is a small shrine about 12 feet square which has been kept permanently locked.
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This is also called the Ranganayakula mandapa because the shrine within it is supposed to be the place where the utsavamurty of Lord Ranganadha of Srirangam was kept during the 14th century when Srirangam was occupied by the Muslim army of Malik Kafur.
This mandapa is said to have been constructed between 1320 and 1360 A.D. by the Yadava ruler Sri Ranganadha Yadava Raya though there is no direct epigraphical evidence in support of it. However, stylistically the mandapa does not belong to the 14th century but appears to be later as it is clearly in typical Vijayanagara style. The composite pillars in bold dimensions with fine sculptures of galloping horses, lions and vyalis and a pumunai corbel in the pillar capitals would clearly indicate a Vijayanagara period of architecture. The Vijayanagara royal crest of Varaha is also found carved on the pillars, which leaves no doubt in the matter. In the ceiling are some panels depicting the Rama Ravana fight etc. Some good pieces of sculptures in miniatures like those of Mahabalı, Vamana, Rama and Laxmana are also found. The Ranga mandapa both architecturally and sculpturally belongs to mature Vijayanagara period of temple architecture say the middle 15th-16th century AD
The entablature above the pillars is interrupted at intervals by a second capital. The intervening spaces contain two pattas with a kapota or cornice above. Above the kapota are two rows of fine sculptures depicting dances and scenes from Vaishnava mythology.
At the southern end of the mandapa is a shrine and a pavilion. The pavilion is of black granite but is now coloured all over and is now used to house a vahana. The shrine is a fine structure with a garbhagriha and an antarala, with its walls on the sides being decorated with pilaster, kumbha panjara, salakoshta etc. The front portion of the shrine consists of an entrance flanked by a salakoshta on either side. A kapota decorated with nasikas surmounted by simhalalatas surmounts the entire front.
(x) The Tirumala Raya or Anna Unjal mantapam
Next to the Rangamantapam and at a distance of 12 feet from the east prakaram wall of the inner gopuram, is another mantapa measuring 40 feet east to west and about 80 feet north to south. This is known as Tirumala Raya mandapa or Anna Unjal mandapa. This consists of two parts constructed at different periods, the front part being at lower level and the back at a higher. The southern or inner portion measuring 10 ft. — 45 ft, has a more elevated basement than the front one and is traditionally attributed to Saluva Narasimha [[P8]] of 1473 A.D. for celebrating the Anna Unjal Tirunal instituted by him in that year. This structure was renovated and extended to its present size and shape by Araviti Bukkaraya Ramaraja, Sriranga Raja, Tirumala Raja in the last quarter of the 16th century. In this mandapa other festivals like the vasanta utsava were celebrated during the time of Tirumala raja. It is in this mandapa that the processional deity malayappan, holds his annual darbar of asthana on the hoisting of the garuda dhvaja on the top of the dhvajastambam to mark the commencement of the Brahmotsavam. In fact the prasadam distribution on this occasion is still called Tirumalarayan pongal, although the endowment made by that emperor has long ago disappeared. This mantapam practically touches the dhvajastamba mantapam.
Saluva Narasimha who constructed the southern portion of this mantapam and who saved the kingdom from anarchy soon after the assasination of Virupaksha-II and who gave stability to the kingdom for nearly 40 years, was a great warrior. As a devout Vaishnava he has given many important benefactions to the temple. He had the full assistance and support of Kandadi Ramanuja Ayyangar who figures frequently in the inscriptions of Saluva Narasimha, and who in addition to being a patron of poets like Ranganatha Dindima, was himself a well known author and has a book Ramabhyudaya to his credit. His queen Sriranga Devi and other members of the royal family also gave several endowments to the temple. In 1485 A.D. he built a shrine for Laxmi Narasimha on the pathway to the Seshadri hills (GT-273).
This mantapa has a typical Vijayanagara complex of pillars, with a central pillar surrounded by smaller pillarets, some of which emit musical sounds when struck with a stone. The main pillars have rearing horses with mounted warriors. Some of the best sculptures of the temple are found in bold relief in this mandapa.
The pillars in the two outer rows are plain while those in the interior have animal brackets. In the back part of the mandapa also there are two rows of four pillars each on each side. The pavilion in black granite in the middle of the mandapa has in the corners four pillars each with three pillarets projecting.
In one corner of the Tirumalaraya Mandapa are kept the bronze statues of Todaramalla, his mother Matha Mohana De and wife Pitha Bibi. As in the case of Krishnadevaraya bronzes, the names are inscribed on their shoulders. Todarmalla was in charge of the Karnatak area on behalf of the Nawabs of Golconda in the beginning years of the 18th century. He was a general under the Nawabs of Karnatak.
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THE DESCRIPTION OF THE TIRUMALA TEMPLE
(xi) Ainamahal
On the northern side of the Tirumalaraya mandapa, there is another mantapa about 42 feet square with an enclosed room of about the same size in continuation. This room is called the ainamahal, and is decidedly of later origin. This is in two parts, an open mantapa in the front consisting of six rows of six pillars each, and a shrine behind it consisting of an antarala and garbhagriha. It now has large mirrors which reflect images in an infinite series. There is an unjal in the middle of the room in which the Lord is seated and festivals conducted. This is about the only mandapam in the Tirumala temple, where the name is not found in any of the inscriptions. In an article contributed to the Asiatic Journal of 1831 by the highest revenue officer of the district, it is stated that addala festival was being celebrated, most likely in the room in this mantapa, the walls being lined with huge mirrors.
(xii) The Periphery of the Sampangi Prakara
All round the periphery of the sampangi prakara, there are typical Vijayanagara carved pillars bearing sculptures of well known themes like devatas, Hanuman etc The craftsmanship of the sculpture is not of good quality.
In the open court-yard of the Sampangi pradakshina there are four small but graceful mandapas in the four different corners meant for stationing the processional deity on festive occasions. These were constructed by Saluva Narasimha about 1470 A.D. in the name of himself, his queen and his two sons. It was arranged by him that on all festival occasions, the Utsavamurty should be seated at each of these and prasadam offered and distributed to the pilgrims. Now they serve that purpose only during the 40 days of the vasantotsava soon after the Ugadi day. This pradakshinam is called in the epigraphs as Sambaga chchurra, the word sambagam being the Tamil equivalent of Sampangi or Champaka. Perhaps there might have been several champaka trees here, the fragrance of whose flowers is well known, and which were being offered to the deity in the Nitya puja.
Though at present these four mandapas are not particularly noted for their sculptures, they show good architectural designs and graceful finish
The long corridor in the periphery of the Sampangi prakara has now been partitioned with ugly iron grills at various places to convert them into rooms for storing Ugrana articles like jaggery etc; for storing pattadi (the silk clothes of the Lord), for the Ramanujakutam where free food is distributed to the pilgrims; padipotu where sweets are prepared for the Lord; Yamunai-Turai [[P89]] where flower garlands are made to the Lord according to the specifications etc. etc. The name Yamuna-Turai can be traced to the times of Sri Yamunacharya or Sri Alavandar who is said to have given a start to this kind of work in his days. There is also another room now where the articles required for the Teppotsavam are stored. Originally these corridors might have been intended for the procession of Utsavamurty round the pradakshinas on rainy days, when street procession was impracticable and also to afford shelter to the pilgrims during inclement weather. Now these are being used as store rooms.
(xiii) Dhvajastamba mantapa
The next important structure in this prakara is the mantapa built around the Dhvajastamba. This is a narrow mandapa in the western part of the court-yard touching the second or inner gopura. It has on the north and south two rows of five pillars each, those in the inner row having one pillaret projecting. In the centre of the mandapa are the Dhvajastamba and the Balipita.
There are interesting sculptures in each of the pillars the most important being Yoga Narasimha, Matsya, Hanuman, Krishna kılling bakasura, Srinivasa Kalyana scenes etc etc. On the Dhvajastamba itself small sculptures of Krishna as Kalıyamardana etc, can be seen.
There is one peculiar feature about these structures noted by Sri T.K.T. Viraraghavacharya namely that they are found outside the inner gopuram, and in the space known as the third avaranavam, that is between the second and the third prakaras. The agama rule and the practice, is to locate, garuda, dhvajastamba, and balipita, in the first avaranam itself, with the garuda being close to the Vimanam, the dhvajastamba being the next (both in the second quarter of the first avarana) and the balipitam being in the third quarter. This is the practice if a temple has only one avaranam. If there is a second avaranam to the temple, the garuda would be placed in the second quarter of the avaranam, and the dhvajastamba and balipita would go to the third quarter. The second avaranam of Tirumala temple was built by about 1190 A.D. Garuda, the dhvajastamba and the balipita would therefore have been within the second avaranam at that time, till the Tirumamanı mantapa was built in 1417 A.D. As there could have been little space left for the dhvajastamba and balipita then, they must have been shifted to the third avaranam. The Vaikhanasa Agama recognises such an arrangement also as a last resort, but the agamic rule is that they should be in the third quarter, and not in the first where we find them now.
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(xiv) Inner Gopuram
The inner of second enclosure has to be reached through an only entrance guarded by the second gopuram. The inner gopuram measures at its base 24 feet east to west and 36 feet south to north, the width of the gateway being 9 feet. In design it is similar to the outer gopuram.The compound or prakaram walls emanating from this gopuram measure from outside 235 feet cast to west and 160 feet north to south.
There are a number of inscriptions on the outer walls. The walls are otherwise plain with no sculptures except a prominent Sri Vaishnava mark at the top of the entrance door jamb. The sculptured balustrades at the entrance of the doorway are beautifully carved. The earliest inscription on the walls belongs to the 16th regnal year of Sri Ranganadha Yadava Raya (1354-55). Generally the older inscriptions are on the basement of walls of the gopurams, the next in point of time being those in the inner face of the prakaram walls. The Outer faces of these walls contam inscriptions of the 15th and 16th centuries.
(xv) Vimana Pradakshina
This is a quadrangular space enclosed between the walls of the second prakara, the inner gopuram, and the walls of the first prakaram which surround the sanctum The open space of this pradakshina between the gateway of the inner gopuram and the Tirumamani mandapam to its west or Mukhamandapam, is hardly 18 feet In addition to the structures composing the main Vimana, there are a number of large cut stone structures, shrines and mantapams within the Vimana pradakshina These leave a comparatively narrow width of open space surrounding the main temple. It is this open spaces that is now known as Vimana pradakshina. Pilgrims who have taken a vow of anga pradakshina perform it only in this court-yard.
The polished corridor which runs along the periphery of the Vimana pradakshina contains typical Vijayanagara pillars and has some interesting sculptures like monkey and snake, lady with the bow, Kamsa, puthaki, Krishna tied to a stone, Ranganadha etc. On the western varandah of this corridor veda parayana is carried on every day. This verandah is also divided into a number of rooms like deepala room (room of lights), gammikar’s room (works), kaikolas room, pallakı room etc. Particularly interesting is a room in the northern wing called the Sangita Bhandaram where hundreds of copper plates on which were inscribed the songs of the famous music composer Annamacharya were kept. A fine portrait sculpture of this great music composer is also carved on the walls.
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THE TIRUMALA temple
(xvi) Sri Varadaraja shrine
Immediately to the left of the gopuram entrance, there is a small shrine dedicated to Varadaraja, at a distance of 7 feet to the south from the inner gopuram, and 2 feet from the east prakaram wall. It is 20 feet in length and 15 feet in width. It consists of a high adhishtana, an antarala, a garbhagriha and a vimana of the Vesara type. The walls of the garbhagriha are decorated with four pilasters; the doorway is flanked by a pilaster on either side and surmounted by a kapota decorated with nasika surmounted by simhalalata.
(xvii) Potu room
To the south of the Varadaraja shrine is the main kitchen known as Potu which is 61 ft. x 30 feet and stands on a basement 24 feet high. The cooking of all naivedya articles is done here. Even now only earthen pots are used for this. There is a small shrine inside enclosed to the doorway of the kitchen dedicated to Madapalli Nachiyar, also known as Vakuladevi. She is popularly believed to be the mother of Srinivasa and is supposed to keep a watchful eye over the doings of the cooks.
(xviii) Bangaru Bavi
In front of the potu and adjoining the corridor which runs to the west, is a well known as Bangaru Bavi from which all the water required for the temple and the kitchen is drawn through stone pipes. This well is considered to be a holy one The site of it is as directed in the Agamas. The system of water supply here recalls a similar arrangement at Hampi city by the Vijayanagara kings. This is a very rare and interesting extant specimen of Vijayanagara style of well and method of drawing water from it.
(xix) Kalyana Mandapam
On the south-western corner of the Vimana pradakshina is a spacious Kalyana Mandapam noted for its exquisite sculptures. It is 80 feet × 36 feen Architecturally it is similar to the Tirumalaraya mandapam. At its western cnd is situated a small shrine of black granite containing four pillars cach with three pillarets projecting. Behind this shrine is a raised portion called the Yagasala.
The pillars show a variety of patterns some with alternate square and octogonal sections and some with very intricately chiseled tops having heavy capitals. The four pillared central sub-mandapa built of polished black
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THE DESCRIPTION OF THE TIRUMALA TEMPLE
granite has extremely beautiful florid workmanship. Its side walls are decorated with the series, pilaster, pilaster kumbha panjara, pilaster, salakoshta, pilaster, kumbha panjara and pilaster. The array of female dancers that crowd the inner fringes of the roof and the exquisite miniature sculptures that adorn all faces of the pillars lend a touch of delicacy and charm to the structure. Perhaps this intricate workmanship is taken over from the art of ivory carving for which the Hoyasala art is so famous.
The Kalyana mandapa and its sub-mandapa contain numerous has relief sculptures on their pillars like Trivikrama sudarshana, sixteen-armed Narasimha, Laxmi Narasimha, Hayagriva etc. etc.
From the day of the Dhvajarohanam of the Brahmotsavam, to the Dipavali day, Lord Malayappan resides here and not in the sanctum sanctorum. Similarly for a period of twenty three days, in December in connection with the adbyayanotsavam also the asthanams take place in this mandapa only.
(xx) Sri Ramanuja shrine
Next to the Sangita Bhandaram in the northern corridor of the Vimana pradakshina is a shrine of Sri Ramanuja the great Vaishnava Acharya, No independent puja is done to this acharya but a portion of all the prasadam offered to the Lord is first transmitted to this shrine to be offered to the great acharya. Special honours are also shown on certain festival occasions as Sri Ramanuja was mainly responsible for placing the worship and other affairs of this temple on a sound working basis
The shrine proper seems to have been built in the 13th century as can be guessed from its architectural design. The Pandyan emblem namely two fish and hook are carved on the wall next to the entrance door. Perhaps this shrine could have been built in the 13th century when Yadava Raya was serving under the authority of the Pandyas. The mukha mantapa in front of the shrine however would appear to have been added a couple of centuries later during the Vijayanagara times. The deification of Ramanuja and construction of a separate shrine for him in the temple was done in recognition of his great services to Tirumala and Tirupati. According to tradition, the shrine of Ramanuja in Tirumala and Tirupati were constructed more or less at the same time soon after the passing away of the great teacher. Ramanuja’s Pancharatra form of worship did not stand in the way of the recognition of his shrine by the Vaikhanasa Archakas who serve him every day with holy tirtham and prasadam.
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THE TIRUMALA TEMPLE
(xxi) Sri Narasimhaswamy temple
This shrine is in the north-east corner of the court-yard built in a pillared varandah touching the eastern wall of the prakara. This is surrounded by a polished mandapa and built probably in the 15th century. We see some interesting dance poses in the pillared sculptures.
The earliest reference to this god who is popularly known as alagiyasingar, is found in an inscription, dated 1469 A.D., which refers to an offering made to him (70-A T.T.). Another record mentions offerings made on the thirty days of the Dhanurmasa-puja, on Vasantapanchami and Sri Ramanavami days and on the 7th day of each of the Tirukkodi-tirunal (280 T.T.). Another refers to offerings made on the Vasantapanchami day (599 T.T.). Kandadai Ramanuja-ayyangar provided for the tirumanjanam of this god and for offerings to be made to him on the Panguni-amavasya and Vasantapurnima days (T.T. 70).
Originally there were two other rooms like the Chandana room and the Parimala room where sandal paste and perfumery articles were being kept. But these have now been removed.
(xxii) The structural complex of the main shrine
The main shrine which contains the Garbhagriha is a complex of structures. It starts with the Tirumamani mandapa at the eastern and end goes on to the Bangaru Vakili, the Snapana mantapa, the Ramar Meda, the Sayana mandapa and the Garbhagriha in that order. Part of this area, ending with the northern and southern wings of the mukkoti pradakshinam inside, is enclosed by a thick stone wall which is plain. The northern wall of the mukkoti pradakshina is longer and covers a longer distance. The Tirumamanı mandapa and the Snapana mandapa project to the east from the front wall between the two side wings of the pradakshinam. Thus the main shrine appears to be in three sections if looked at from the north.
(xxiii) Tirumamani mandapa
This is an open pillared hall whose northern and southern walls are in three sections, the central section being wider then the other two. The front and back sections stand on an adhishtana which contains upana, a broad and a narrow patta, padma, gala, tripatta, fluted horizontal all over, another gala cut into compartments by short pilasters, and kapota decorated with
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THE DESCRIPTION OF THE TIRUMALA TEMPLE
nasikas surmounted by simhalalatas. In the central section an alingapattika and a row of makaras are found above the kapota. The walls of the central section are adorned by a salakoshta between two pilasters.
At the eastern extremity of this mandapa is the garuda shrine (facing the Lord. On the outer wall of this shrine is the figure of Lord Vishnu) in the Sayana pose. The garuda shrine is a crudely built structure opposite the Bangaru Vakili of the gate of gold which forms the western end of the Tirumamani mandapam.
The mandapa is 43 ft. x 40 ft. and contains 16 pillars with an overhanging kapota. The Hundi is kept at the north-west corner of this mandapa. At the south-west corner are located two huge bells of the temple which are inscribed and which give the name Tirumamanı to the mandapa. The pillars of the mandapa on the outer edge are of the complex type resting on lionss A unique bas relief on one of the pictures is the figure of Vishnu with four arms seated on an elephant. This is a rare sculpture of Vishnu seated on a Gajavahana.
This 16 pillared mandapa was built by one Mallanna also called Madhavadasa of Chandragiri in 1417 A.D. The mandapa with its graceful pillars and their stylish corbels and kodungus (eves) and sculptures is a very elegent example of early Vijayanagara style.
(xxiv) Bangaru Vakili
From Tirumamanı mandapa one enters the Bangaru Vakılı to go to the Inner sanctum sanctorum. We find two tall images of dvarapalakas Jaya and Vijaya on either side made of copper. The door which is covered by a resplendent gold plate, from which the name Bangaru Vakili is derived displays small figures of Vishnu in different forms. It is significant to note here that the suprabhatam is sung in front of this golden door in which Vishnu is depicted in his five forms para, vyuha, vibhava, antaryami and archa, and not before the archa form only obtaining in the Garbhagrıha.
(xxv) Snapana mandapa
Crossing the Bangaru Vakili one enters a semi dark room called Snapana mandapa or Tiruvilankovil. This contains four central pillars. The front part of this mandapa has been converted into two rooms one on either side. The Snapana mandapa in its present form can be ascribed to Vijayanagara times. The pillars have good bas reliefs and are in typical Vijayanagara
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THE TIRUMALA TEMPLE
style. They bear sculptures like those of Bala Krishna, Yoga Narasimha, Kaliamardana etc. A particularly impressive bas relief is that of Maha Vishnu in the seated pose. He has four arms, the upper arms holding the Chakra and the Shankha. The Lord’s consorts are also shown seated in the sukhasana pose on the right and left.
(xxvi) Ramar Meda
Crossing the Snapana mandapa we enter the Ramar Medai. Originally the Ramar Meda and the three pathways of the first pradakshina path, viz., the mukkoti pradakshina must have formed one continuous circumambulatory passage. This passage seems to have been closed by about 1262-1265 A.D. and the Ramar Meda converted into a closed room. The Ramar Meda now has two small platforms on which figures of Angada, Hanuma etc., are exhibited. There is also a figure of Paricharaka holding the lights. One particularly interesting bronze is that of a vanara god holding his right forefinger on the tip of his nose in a pose of complete wonderment. This has been correctly Identified by Dr. C. Sivarama Murthy, the noted art historian as the image of Sugriva the brother of Vali and the king of the Vanara Sena. This bronze is identical in technique and style with the bronzes image of Hanuman from Vadakkupaniyur village of Thanjavur district which are now housed in the Madras Museum. This would take these bronzes to the early Chola period.
(xxvii) The Mukkoti Pradakshina
The Mukkoti pradakshina is the first circumambulatory path around the original central shrine comprising of the garbhagriha and its mukha mandapa called Sayana mandapa. This pradakshina is open in the temple only one day in a year that is on Vaikunta Ekadasi day. The pradakshina is open only at the north, south and western portions. This is a pillared varandah in three sections. The southern section has a row of six pillars, the western section four, and the northern two rows of seven pillars each. All the pillars are round and have Chola capitols with the broad faces fluted and with a circle in the centre. There is a shrine of Vishvaksena (Senai Mudaliyar) on the northern side. The walls on the northern side have some sculptures and ornamental niches.
(xxviii) Sayana mandapam
Further to the west is the Sayana mandapa which must have been the original antarala. This is a room about 18’-6" square. This mandapa
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THE DESCRIPTION OF THE TIRUMALA TEMPLE
is devoid of any note-worthy sculptures or structures. The Lord is put to sleep in this mandapa during the Ekantaseva at night.
(xxix) The Garbha griha griha
To the west of the Sayana mandapa is the Garbha-griha. The stone step between the Sayana mandapa and the Garbhagriha is called the Kulasekharapadi in honour of Kulasekhara Alvar. Devotees are not allowed to step on this or enter the Garbhagriha of the Lord.
The Garbhagriha is almost a square shaped structure 12 feet square. Its walls as well as the walls of Sayana mandapa are really double structures, with two separate sets of walls enclosing some air space between them. The walls of the Garbhagriha as they exist at present are made of cut stones and may belong to the 8th or 9th century A.D. The temple type consisting of a Garbhagriha with a mukha mandapa and pradakshina got established in South India by about 8th century A.D.
(xxx) Architectural features of the main shrine complex
The architectural features found on the outer walls of the sayana mandapa, the antarala and the garbhagriha walls are different. The walls in the north and south are in four sections from west to east. The two central sections are wider. Sections 1, 2 & 4 stand on a high adhishtana which contains upana, patta, ardhapadma, two pattas, gala, patta, tripatta, urdhvapadma, patta, gala, kapota adorned with nasikas surmounted by simhalalatas, and a patta containing a row of makaras. The decoration of the walls of these three sections is also different. The walls of section 1, contain the series— salakoshta, two pilasters and kuta-panjara. The walls of section 2 contain the series-pilaster, kumbhapanjara between two pilasters, kutapanjara, pilaster and kumbhapanjara. The walls of section 3 are adorned with a sala-koshta between two pilasters. The walls of section 4 are decorated with the serieskumbhapanjara, pilaster, kutapanjara, pilaster, kumbhapanjara, pilaster and pilaster. The back wall of the Garbhagriha is in three sections, the central one projecting a little to the west. The southern section contains the series— pilaster, pilaster, kumbhapanjara, pilaster, kutapanjara, pilaster and kumbhapanjara. The central section contains a sala-koshta between two pilasters. The northern section contains the series-pilaster, kumbhapanjara, pilaster, kutapanjara, pilaster, kumbhapanjara, pilaster and pilaster.
The garbhagriha and the antarala are square in shape and many architectural features are noticed on the outer walls.
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The effective thickness of the walls of the Garbhagriham is found to be about seven feet two inches. This overall thickness is about five * hasthams." The inner measurement of the Garbhagriham is about 12 feet 9 inches square; or nine hasthams (chaturasram sama vrittam) square. This is the largest size mentioned in the agamas, and is adopted for this temple as the Dhruva Beram is very tall. The extraordinary thickness of the walls shows, as already mentioned, that there are two walls with some air space in between. Renovations have always taken place in temples and Tirumala is no exception. 17-TT refers to such a renovation by Sri Vira Narasimha Yadavaraya in his 40th regnal year. Hence it would be correct to presume that the existing garbhagriha was preceded in olden days by structures which did not last long and which were renovated and replaced subsequently. This double wall on the Garbhagriha thus presents an interesting problem in the history of the evolution of the architecture of the temple. This is being discussed in full elsewhere.
The sanctum houses only one mula murthi and the Tirumala temple is thus uniqué, in that it is the only Vaishnava temple in the country which is an eka-murthi temple.