THE ARCHITECTURE SCULPTURE AND ICONOGRAPHY OF TIRUMALA TEMPLE
I. General.
A
study of the architecture of the Tirumala temple is interesting and throws light on some of the distinctive architectural features prevalent during the Vijayanagar period over a fairly long span of two or three centuries. Architecturally speaking, Tirumala temple does not present that variegated pattern or a mixture of different styles of architecture which we meet with in several other temples of South India. Except probably the sanctum complexes in the temple, when the walls of the Garbha Griha were thickened and a new Vimanam was built and gold-gilted in the 13th Century A.D. under the patronage of the Yadavaraya rulers, and possibly a few other minor shrines, the major part of the temple is built completely in the Vijayanagar style.
Even some of the Gopurams built during the 13th Century as for example, the entrance Gopura at Tirumala, have only retained the original basement whereas the super-structure has been continuously renovated throughout the ages. The Ananda Vimana has also been continuously and periodically renovated and gold-plated with the result that it is difficult to trace any architectural evolution in the structures of the temple.
The temple witnessed unparalleled patronage at the hands of the illustrious Vijayanagar emperors, and the impetus given by those rulers to the development [[P250]] of temple architecture is felt wholly and fully in Tirumala temple. It is, in Tirumala temple, that we can at one spot study the evolution of the different motifs of the temple architecture of that period.
II. General Introduction to Temple Architecture.
To study the architectural features of a temple it is very necessary to study carefully the details which the various architectural motifs have undergone during the ages. The changes in the motifs and the ornamentations have been so characteristic of the architects and the sculptors of the each age, that it is possible to postulate with some measure of accuracy, the period to which any particular feature belongs. In a very broad classifications we may say that the South India temple motifs can be divided into five epochs viz., Pallava, Early Chola, Late Chola, Vijayanagar and Modern times.
To appreciate this architectural analysis it is necessary to bear in mind that one has not only to merely see these features of a temple, but in the fullest term to comprehend them, so that one can evolve some general ideas and discover their underlying principles. In other words, the anatomy and the paleantology of a temple have to be studied in depth.
The above method of study of the evoluation of temple structures, by architectural motifs, is based on the fundamental assumption, that works of art are not made at random from inspiration, but follow some well laid out methods, and principles enunciated in canonical rules. Whatever may be the genius or the originality of the work of art, it is rarely an isolated work, but is always connected with contemporary works and can be explained by links to anterior works. In other words the architect or a sculptor belongs to a school and the work belongs to a style, and there is nothing wholly individual about it. It is possible to distinguish one style from the other and to determine exactly the characters of each. Wherever it is possible these can also be cross-checked by epigraphical evidence.
Temple structures are broadly divisible into five parts viz., the plinth called the upapitha, the basement called the adhistana, the pillar called the stambha, the entablature called the prastara and the top portion called the sikhara.
Each of these has got its own sub-divisions with specific detailed names given to them in the agamas. Fig. 1 given below shows a modern temple with the names given to each architectural feature.
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The following broad factors are to be kept in mind.
(a) The upapitha is sometimes more simple and sometimes more orna-
mental than the one given in the figure above.
(b) In the adhistana the moulding called padma is not indispensable. Similarly the Kumuda sometimes has a blunt corner but sometimes is also represented as a tore.
(c) The pillar or stambha is sometimes square and at other times
octagonal.
The main architectural feature on which the style could be determined is the pillar and the entablature or prastara mentioned above.
Fig. 2 below gives fuller details of a mandapa.
The pillar is always raised by a base asvapada. It is formed of three cubical parts called saduram and of two prismatic parts with facets called rattai. Normally in a modern pillar a little ornament called nagabandha resembling the hood of a cobra is seen.
Fig. 3 below gives the architectural features of a mandapa. The adhistana is identical with that of a temple and the pillars are made of the items mentioned above.
Figs. 4 and 4 (a) below represent two kudus on the top of an edifice, one ornamented and the other simple. The central part of the Fig. 4 (a) is called the Gandharva mukha, which term is self-evident. The central part is surrounded with lotus creepers called kodi. The upper part is adorned with a head of a lion called simhamukha.
Fig. 5 below shows the attic of different kinds of temples. These attics which are at the angles of the temples are called karnakudu. They have a roof of a square or circular section and are surrounded by a single stupi. Those which are placed in the middle are called salai. They have an elongated roof and have three stupis. Between the karnakudu and the salai are found some kind of little windows called panjaram.
There are two kinds of ornamentation of temple walls viz., (i) the gosta panjara which contain images of the subsidiary dieties, done in high relief and (ii) the kumbha panjara which is a pilaster and the role of which is purely decorative. Fig. 6 & 7 below illustrate them.
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III General Introduction to Sculptures and Iconography.
Tirumala temple, like several others of its kind in South India, is a veritable treasure house of varied types of sculptures. They are found in different parts of the temple. The dividing line between iconography and sculpture of South Indian temples is not clear cut, for the sculpture itself is dominated by images of Gods and Goddesses. However, broadly speaking icons can be classified as enshrined images for which puja and offerings are made everyday. We can classify them into two broad groups viz., the Dhruva Berams or fixed images, and Bhoga or Utsava murtis that are used in connection with the ceremonies. Generally speaking, all the Dhruva Berams are made in stone while the Bhogamurtis are made of metal. But there are a good number of exceptions to this rule.
As far as sculptures are concerned they are found embedded in the walls of the various mandapas and that too mostly in their pillars. In other words sculpture is a non-enshrined figure found in the mandapas, gopura dvaras, vimanam, etc., of the temple.
Just like the architectural features of the temple, the spectrum of the sculptures of Tirumala temple presents a very representative cross-section of the Vijayanagar contribution to the development of the art in the Country. Under the Vijayanagar patronage increased importance was given to more and more facilities for public worship not only in Tirumala, but in a number of other places like Kanchi etc. Several ancilliary structures like, kalyana mandapa, Vasanta mandapa, Neerali mandapa etc., came to be built as a central place for congregation for pilgrims and devotees to celebrate the festivals of the Gods. Of particular mention is the concept of the kalyana mandapa to which for various reasons the Vijayanagar kings attached a great deal of importance. In many of the temples kalyana mandapas are found generally in the agneya or the north-eastern corner of the outer court of the temple. In building these mandapas with their massive pillars, though the architectural framework remained more or less the same, the sculptor had a wide range of original motives in which he could exercise his genius and his art. The embellishments on the adhistana mouldings, pillars, etc., became markedly rich during Vijayanagar times, and the artistic excellence of these intricately worked colonnades attained their high watermark. The pillares are tall and monolithic and all the space is sculptured with hunters, yalis etc. The composite columns themselves with cubes alternating with cylinders present a pleasant appearance to the eye. The fine varastile step entrance and some marvellous works in stone add colour to this.
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The various kinds of sculptures in the temple can be classed as those representing (i) natural scenery; (ii) floral designs; (iii) animals and birds; (iv) human figures; (v) portraits of kings and other personalities; (vi) Gods and Goddesses. All these are found in plenty in the kalyana mandapam and other places of the Tirumala Temple.
IV. The entrance Gopura and Mandapa of Tirumala Temple.
(a) Architecture.
This is a solid stone structure and the style of the pilasters on the outer walls indicates the late Chola style. There is an inscription here of the Yadava king of 1217 A.D. in which the queen made a gift of sixty four cows etc., for service to the Lord. There are a few more inscriptions on the Gopura basement belonging to 13th Century A.D. and hence this Gopura must have been built about that period At the moment there are quite a number of stucco figures of Vaishnava Gods like Hanuman, Narasimha, etc., in this. This Gopura has been so heavily rebuilt and renovated till latest times that except for a trained expert the other architectural features are practically not traceable.
(b) Sculptures of the Entrance mandapa.
Plate 1: Putaki Vadha
In the mandapa near the entrance Gopura there is a sculpture of the killing of the Rakshasi Putaki by Lord Krishna as a child. The Rakshasi is said to have lovingly invited the Lord with a smile on her face and offered to feed him with the milk from her breast, thereby trying to kill him. The Lord just like a child went near her and suckled the life out of her. The sculpture shows the Rakshasi with her hair done in artificial lumps, which stick out like a bunch of carrots or bananas in the figure. The smile which the artist has intended to bring out is very stilted and almost makes the figure look ghoulish. The skeleton-like body of the demon is also sought to be brought out. This is a poor specimen of art found here.
Plate 2: Gopi-Vastrapaharana Scene.
At the entrance Gopura mandapa is a sculpture of the Gopi Vastrapaharara scene. This is a famous incident in the Bhagavata purana. The Lord is said to have gathered the dress of the Gopis while they were having their bath and is said to have teased them for sometime. In the sculpture two of the
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Gopis are shown with folded hands praying to the Lord to return their sarees. Krishna is shown on the top of the tree which is carved artificially with rather stylistic features. The tree looks quite unnatural. One of the Gopis is depicted as half-hiding behind a tree probably on account of her bashfulness. This is a typical type, of the representation of one of the famous lilas of Lord Krishna.
Plate 3: The Adimurthi figure of Lord Vishnu.
At the entrance mandapa is also found an interesting sculpture of Vishnu as Adimurthi. He is shown as standing on Adisesha. The body of the sesha is shown coiled in three circles and the five hoods are shown in the form of a prabhavali surrounding the Lord. The right hand of the Lord is in abhaya hasta and the left is in the kati hasta posture. The back two arms hold sankha and chakra.
Normally in icons of Adimurti,Vishnu are shown with the right leg hanging and left one folded and resting upon the seat. One hand normally rests upon the seat and the other on the left knee. In some ancient sculptures Brahma, Siva are also shown. This figure probably in consonance with the iconography of Lord Venkatesvara is shown in a standing posture with the hands in the abhaya and kati hasta postures.
V. Pratima Mandapa of the Tirumala Temple.
(a) Architecture:
The Pratima mandapa is so called because it contains the bronzes of the Vijayanagar King Krishnadeva Raya and his two consorts. The mandapa is in exquisite style and is full of sculptures typical of this period.
(b) Sculpture
Plate 4: A Pillar.
This is a general view of the one of the pillars of this Mandapa showing the Yali designed with the warrior riding on a horse and the typical Vijayanagar cornice and corbel with typical sculptures on pilasters in it.
Plate 5: Bronze of Krishnadeva Raya and his Queens.
This is a bronze statue of the famous Vijayanagar Emperor Krishna Deva Raya (1509-1529) with his two consorts Chinna Devi and Tirumala Devi standing in an Anjali pose before the Lord.
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The bronze shows long cylindrical kirita, two beautiful gem-set haras, jewelled keyuras and jewelled bangles and rings to the King. His antariya is beautifully designed. The kati sutra and the golden belt round the waist are made with marvellous delicacy of style. The queens are dressed in embroided silks. The lower end of the sarees and frilled and made to look like a fan, to appear pleasing to eye though it may appear artifiicial by modern artistic standards. It is interesting to note the type of ornaments which women of the Vijayanagar period wore. The queens are shown with a series of haras, the kanti with gem-steaded pataka and a yagnopavita also. Their head is combed and is tied up with a bun at the back of the head. The simanta or the middle parting line has a central gem-set ornament. They wear ratnakundalas in the ear and beautiful keyuras and costly rings.
The bronzes are well known and the artist has succeeded in showing the deep devotion and humility before the Lord of the Emperor and his queens.
Plate 6: Bronze of Tirumalaraya and his queen.
This is a fine bronze of the Vijayanagar emperor Tirumalaraya (1570 A.D.) and his queen. He was the beginner of the Aravidu dynasty after the battle of Tallikota where Vijayanagar lost its all.
He too has a fine cylindrical kirita like Krishna Deva Raya and several ornaments on his body. Unlike the previous king he wears a short antariya and the queen is dressed with thin silk garments with the hair tied up with a bun practically over the head and with a parting simanta with ornaments upon it.
Plate 7: Bronze of Venkata.
This is a bronze of the Vijayanagar emperor Venkata who was ruling at Chandragiri. He wears a typical long cap and a short antariya. He is also shown as wearing a tulasi mala on the neck and anklets on both the legs.
Plate 8: Bronze of Raja Todarmal, his queen and his mother.
The group of bronzes actually forms part of the Pratima mandapa. He was a general of the Nawab of Carnatic Sadatulla Khan who ruled at the beginning of the 18th Century A.D. His mother was Mata Mohan Dey and his queen was called Pita Bibi. The names of the ladies are inscribed on their shoulders.
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The figures are highly stilted. The garment of Raja Todarmal is more ike a skirt with a number of pearls held in the middle by a belt. His prominent well dressed beard and curling moustache seem to indicate that people had adopted the dress fashion of the muslim nobles at the Nawab’s Court. The mother is shown with a full bloated belly, and the queen with a cylinder waist and prominent breasts and nipples.
The set of three bronzes looks completely artificial and stylised and there is not much of art in this.
Plate 9: Sita in Asoka Vana:
This is a sculpture showing Sita in the Asoka vana. Hanuman is shown in the form of a monkey on the top of the Asoka tree and Sita is depicted in a seated posture. The head is inclined to the left and is being held by her left hand in a very sorrowful posture.
Plate 10: Krishna stealing butter.
This is a sculpture of Krishna mounting a ladder in order to steal butter. This is also a well known episode of the Bhagavata purana. The sculpture is not of much artistic value.
Plate 11: Vishnu on the shoulders of Hanuman.
This is an interesting picture of Vishnu being carried on the shoulders of Hanuman. This might represent Rama being carried by Hanuman, though Rama here is shown with the two hands in the Varada and Abhaya postures and the two left hands holding the Shankha and Chakra. Plates 12 (a), (b), (c), (d), (e), (f), (g), (h), (1), (J), (k), (1).
Erotic sculptures.
These are erotic scenes shown in the sculptures in the Pratima mandapa. Such scenes are not unknown in temples. The sastras lay down that Kama is one of the purusharthas of life and the Vishnudharmottara which is a standard agamic text, specifically states that such erotic scenes should not be depicted in house-holds, but should be exhibited only in temples or in public places like King’s darbars, courts, etc.
The idea in publicly portraying such scenes is based on the theory that for man, erotic ideas, cannot be eliminated from the human mind so long
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as he is limited, and that it is much better to face these temptations and mental fantasies squarely and surmount them and sublimate them, if one has to think of communion with the Lord. Such is the basis for the scenes for the temptaions offered by Mana to Gautama, the Buddha in buddhist sculptures.
As has been aptly stated by Kalidasa—
- Vikara hetan sati vikriyante yesham
na chetansi tha yeva dhiraha’ ¿.e.,
the ‘dhira’ or one whose mind is steady, can be defined as a person who remains immovable even when there is an excuse or provocation for mental disturbance in the mind.
Control over man’s thoughts according to Hindu belief can never be obtained, by concealing what is so patent to human nature, or by shutting one’s eye to it. Quite in consonance with modern principles of psychology, Hindu belief, has always held that it is much better to face a problem however unpleasant it may be, squarely, so that one may meet it headlong and get over it.
This is the basic idea of portraying such erotic scenes, not merely scenes of normal sex, but also scenes showing phantastic perversities also, since human mind limited as it is, always allows its imagination to delve or all possibilities of erotics.
Such sculptures are thus deliberately portrayed in the mandapams of all temples, so that when a devotee goes through them he is reminded of his own mental failings and weaknesses, and one tries to purge and cleanse his inner soul before going to the Lord with a pure heart. It is this purpose which erotic sculptures serve in the temples though this significance of them has been lost sight of in many attempts at explaining these in various other matters.
In consonance with the above which are quite common in all Hindu temples, such scenes are also found in the Pratima mandapa and show erotic scenes of both male and female figures, couples embracing each other, kissing each other in several plays of the love game; and also engaging themselves in normal and abnormal sex.
Of particular interest Plate 12 (f) above, which shows in the same pillar an amarus couple on one face, and a Rishi standing on one leg and his hands raised and doing the penance on the other side, to show that the life is composed of both good and bad and never wholly white or wholly black.
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VI. Dhwajastamba Mandapa of Tirumala Temple.
(a) Architecture.
This is a very narrow mandapa in the western part of the Temple and has two rows of five pillars each in the north and the south. The pitha or base of this mandapa is covered in glittering gold plates. Apart from interesting sculptures in these pillars of this Mandapa, the Dhwajastamba itself carries small sculptures of Krishna as Kaliyamardana etc. Generally speaking it may be stated that this mandapa was built by about 15th Century A.D.
(b) Sculptures.
Plate 13: Matsyavatara.
This is found in one of the pillars and shows Lord Vishnu in the Matsyavatara. The sculpture is found in the second square of a pillar. The bottom portion of the sculpture is found like a fish with its fin turned to the left while the top portion shows the head of the Lord with four hands, the front two hands being in the Varada and Abhaya postures and the back two holding Shankha and Chakra.
Plate 14: Kaliyamardana.
This is also found in one of the pillars of the Dhwajastamba mandapa. Krishna is shown dancing on the serpant Kaliya whose head is inclined to the left. Krishna’s left hand is catching the tail of the serpent. The Lord is depicted as a child with anklets near the feet and a katisutra round the waist and with a yagnopavita and a garland of gems with a pendant hanging from it. Krishna is shown holding the navanita in his right hand. His hair is done artistically with a parting simanta with gems and pendants hanging from it.
Plate 15: Chaturbhuja Venugopala.
This is a rare image of the Lord as Venugopala showing the Lord playing on the flute with his front two hands, and the back two hands holding the Shankha and the Chakra. The Lord is depicted with his right foot hanging and with the left foot bent near the knee. He is shown as wearing a couple of tulasimalas both in the wrist and near the ankle. A typical kirita is also shown. This is a rare form of depicting Venugopala which is normally shown in a standing posture and with the legs crossed,
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Plate 16: Gajendra Moksha.
This is an excellent depiction of Gajendra Moksha with the elephant done in a very artistic manner. Normally Gajendra Moksha depicts the elephant with the trunk upraised in a posture of total surrender to the Lord, and the feet gripped by the jaws of the crocodile. Here what is shown is apparently a later sequence in the story, after the elephant is freed from the crocodile, when it bows before the Lord with its trunk hanging down in devotion. The Lord is shown placing his two hands on the temple of the elephant probably to bless it. The back two arms of the Lord hold the Shankha and the Chakra. Vishnu also wears kiritamakuta in this sculpture.
Plate 17: Lord Srinivasa’s kalyana scene.
This is an interesting sculpture showing the marriage of Lord Srinivasa to Goddess Padmavati. In the top of the sculpture are shown kinnaras, yakshas and gandharvas floating in the atmosphere. The scene actually depicts the kanyadana where the bride is offered with ablutions to the bridegroom.
Plate 18: Mohini.
This is apparently a representation of Vishnu as Mohini. The sculptor has taken some pains to show the figure as seductively as possible. There is an exaggerated attempt at showing the physical charm of the lady. The standing and reclining figure of rishis with coitus erectus is intended to show that even rishis who have controlled their senses by penance are so overcome by the beauty of the celestial damsel when they are attracted by her. Of special interest in this sculpture is the type of dress she is wearing and especially the sandals which appear to be wooden planks supported by stilts.
Plate 19: Lord Vishnu on Garuda.
This is a picture of Lord Vishnu on Garuda. The Lord is shown in a squatting posture with his two feet resting on the arms of Garuda. The right arm is in Varada posture and the left in Abhaya posture. The back two arms hold Shankha and Chakra. There are three umbrella type of embellishments over the head of the Lord and over the Sankha and Chakra.
Plate 20: Gandabberunda.
This is a typical sculpture of the Gandabherunda, which is so well known as an emblem of Vijayanagar kings. The fish like body, the face like eagle,
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and the two elephants being held by the beaks and hanging in the air, which are typical features of a Gandabherunda are clearly depicted in this.
Plate 21: Surya.
This is a small image of Surya which can easily be identified by the two lotuses which he holds in his hands. There is a circular prabha behind the Lord. Only two horses are shown instead of the normal seven.
Plate 22: Narasimha.
This is perhaps a rare image of Narasimha in the urdhva medhaska posture which is found in the Dhwajastamba mandapa. Since however, association with Hiranyakasipu is not found in the sculpture, this may perhaps be identified as a fantasy of the sculptor in showing an animal representation.
Plate 23: A lay figure.
This is figure of a lay citizen showing the tulasi or Rudraksha mala in the neck, the hair in the head being done like a bun and a basket being carried in the front.
Plate 23 (b): Another lay figure.
These are also some lay figures of devotees found in the Dhwajastamba mandapa, their interest being representations on sculptures of the common man during Vijayanagar days.
Plate 24 (a): Hanuman carrying Sanjeevi.
This is a representation of Hanuman carrying the Sanjeevi mountain. Normally such sculptures are shown with Hanuman in a flying pose. But here he is shown with his feet planted on the ground. The gada of the Lord is also missing.
Plate 24 (b): Another pose of Hanuman.
This is another figure of Hanuman probably in the battle field as there are prostrate figures on the ground. Alternatively the figure below may represent Rama and Lakshmana when they fell down unconscious on account of Sammohini and who were revived later when Hanuman brought the Sanjeevi.
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Plate 25: The Lord with Hatiramji.
This is found in the door jamb of the entrance near the Dhwajastamba mandapa and shows Lord Venkatesvara playing chess with Hatiramji. There is an interesting legend about the original Hatiramji (to the custody of whose Mahants the temple was handed over in the beginning of the 19th century by the British Government) as having played chess with the Lord. The sculpture is quite modern.
Plate 26: Srirama pattabhishekam.
This is also found in the door jamb near the Dhwajastamba mandapa. This apparently represents the Rama pattabhishekam scene. Hanuman is shown on his knee in the ground. Sita is shown as seated to the left of the Lord. Only two brothers with bows in their hands are shown on the extreme right.
VII. Tirumalaraya Mandapa.
(a) Architecture.
Originally this Mandapa must have been built by Saluva Narasimha and later extended by Tirumalaraya of the Aravidu dynasty of the 16th century after whom this mandapa is now mentioned. He was the brother of the famous Vijayanagar general Ramaraya who was beheaded in the battle of the Tallikota in 1565. This is also a pillar mandapa built in the typical Vijayanagar style. This has a central pillar surrounded by a smaller once, the main pillar having rearing horses with mounted warriors. There is a pavilion in black granite in the middle of the mandapa. Some of the best sculptures of the Tirumala temple in the finest or Vijayanagar school of sculptures are found in these.
Plate 27: Vishnu as Varaha.
(b) Sculptures.
This is an excellent picture of Vishnu as Bhuvaraha. The karnakudu and the salai at the feet of the Lord are typical. The Goddess is represented as seated in the left lap of the Lord who has a face like the varaha. The righth and of the Lord is in Varada posture and the left two hands holds the Shankha and Chakra. The face of the Lord is turned towards the Devi as prescribed in the Vaikhanasa agama. Some of the snakes are shown as being trampled
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by the Lord to indicate that he rescued the Goddess from the Nagaloka. The Lord here wears a kirita makuta. This is an excellent and rare piece of sculpture of Bhuvaraha.
Plate 28: Kodanda Rama.
This is a beautiful sculpture of Kodandarama showing him with the kodandam held in the left hand and bow of arrows to the back of the right shoulder. The Lord is standing and slightly bent in a tribhanga pose and holds an arrow in his right hand.
Plate 29: Astabhuja Venugopala.
This is an exceedingly interesting sculpture showing the Lord as ashta bhuja venugopala, with his two hands shown as playing a flute. The Lord is shown in a standing posture with bent hips and the right leg bent in the knees crossing over the left. The Dhenu or calf is shown to the left with its head upturned towards the Lord in rapt attention listening to the melodious music. The other ayudhas like Shankha and Chakra, Dhanus etc., are all shown in his various hands. This is a very rare and unique piece since normally Venugopala is depicted only with two hands playing the flute.
Of particular interest is the karnakudu and the salai which are shown in this sculpture also below the feet of the Lord.
Plate 30: Srinivasa.
This is a fine carved image of Lord Srinivasa found in the pillars. The right hand is in Varada posture and the left in the Katyavalambita posture. There is a makara torana on the prabhavali. The vanamala is fairly long and the kirita is also very high. Artistically this is one of the fine sculptures seen in this mandapa.
Plate 31: Hanuman in Anjali.
This is also a rare sculpture of Hanuman in the anjal posture standing in a prabhavali, which is usually found in the Vaishnavite temple. The urdhva pundra is also seen in the forehead of the Lord.
Plate 32: Gaangopala or Venugopala.
This is another figure of Venugopala shown with flute in the two hands and with the left leg bent to the knee and crossing the right. The Dhenu looking up to the Lord in rapt attention is also shown.
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Plate 33 (a): This is a miniature gopura inside the Tirumalaraya Mandapa and shows the delicately carved pillars, basements, mouldings and the stupi in typical Vijayanagar style.
Plate 33 (b): This is the miniature mandapa which is inside the Tirumalaraya Mandapa and the pillars, carvings and lay out are also typical of Vijayanagar style.
Plate 33 (c): This is the present Kalyana Mandapa inside the Tirumalaraya Mandapa which gives a composite idea of the whole Mandapa done in typical characteristic Vijayanagar style,
VIII. Kalyana Mandapa.
(a) Architecture.
The spacious Kalyana Mandapa in the south-west corner of the Vimana Pradakshina is well known and very famous for its exquisite sculptures. Judging from the style of the architecture and some of the sculptures this was perhaps built in the 15th century A.D. The Kalyanotsavams were being performed here till a few years ago.
The
The four pillared central mandapa within the Kalyana Mandapa is a marbel and a masterpiece of artistic skill. It is made of very highly polished black granite and the wealth of details and the exquisite and delicate workmanship here makes it one of the greatest masterpiece of Vijayanagar art. flexible kodungu, the sharply cut pushpabhodika-punumai corbel with its beautiful stoop, the lovely miniature sculptures that adorn all the facets of the pillars lend to it an exquisite charm and delicacy that makes it probably the greatest masterpiece of the Vijayanagar workmanship. In addition this contains many has reliefs showing many interesting scenes.
(b) Sculptures.
Plate No. 34: Yoga Narasimha.
This is a sculpture of Yoga Narasimha sitting with the two feet crossed and in an utkutika posture. A pattika or a piece of cloth is keeping his legs in position. The Lord’s front two hands are hanging down gracefully over his knees. His left two hands hold the Shankha and Chakra. He has a kirita makuta and a stylised mane. He is shown as wearing several garments,
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Plate No. 35: Lakshmi Narasimha
This is another sculpture of Narasimha shown in one of the middle squares of a pillar in the Kalyana Mandapa. Goddess Lakshmi is shown seated on a left lap of the Lord. The right hand of the Lord is in abhaya posture while the left is crossed round the hip of the Goddess in a close embrace. The back two hands show the Shankha and Chakra. He is seated in Padmapita with the right leg hanging down in an ardhaparyanka pose.
Plate No. 36: Narasimha killing Hiranya
This shows the Lord seated with the right leg in ardhaparyanka posture and Hiranya lying on his lap, his front two hands ripping open his belly. The back two hands hold the Shankha and Chakra. The Lord is shown with a stylised mane. The anger or ugrakala is clearly shown in the mouth and the eyes of the Lord. The Lord is shown as having eight hands.
Plate No. 37: Another Narasimha killing Hiranya
This is a rare sculpture showing Ugra Narasimha with sixteen hands. Here the left foot is hanging down in the ardhaparyanka posture and the head of Hiranya is held on the right lap of the Lord. This shows the most ferocious aspect of the Lord. One hand is seen pressing the head of Hiranya and the other his legs. The front two hands are showing his tearing and pulling the entrails of Hiranya while the last two hands show his putting the entrails of Hiranya as a garland, round his head. The hands hold a number of weapons.
Plate No. 38 Narasimha on a lion:
This is a very rare sculpture of Narasimha shown as being seated on a lion. He is shown as having eight hands, the front two being held in the Varada and Abhaya postures and the other four shown as holding several weapons while the last two are holding the Shankha and Chakra. The Lord’s right foot is hanging down in the ardhaparyanka posture. The similarity between the features of the face of the Lord and the lion on which he is seated is remarkable. This is a very rare piece of sculpture showing Narasimba on a lion which is not normally seen anywhere else.
Plate No. 39: Lord Vishnu as Trivikrama
This is an interesting sculpture of Vishnu in the form of a Trivikrama. The Lord is shown as standing on his left foot and the right foot extended
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practically at right angles to it, the garment being fanned out artistically, with horizontal and vertical stripes, as if in a quadrant. The front left hand is kartyavalambita posture while the front right hand has a palm extended upwards as if in the tarjani posture. The back two hands hold Shankha and Chakra. Normally Trivikrama is shown with his right leg pointing heaven-wards, but here his foot is only at right angles to the perpendicular, indicating as it were, that the Lord is measuring the middle world. Such a posture of Trivikrama is also known from Ellora and is also prescribed in the Agamas,
Plate No. 40: Vishnu as Garudarudha
This shows Lord Vishnu as being carried in the two hands of garuda who is in alidasana posture which normally indicates movement. The Lord is shown having six hands holding several weapons. From the context it can be inferred that this represents Vishnu as flying in aid of Gajendra.
Plate No. 41: Lord Vishnu as Seshasai
This represents Vishnu as Seshasai where he reclines over Adisesha with his five hoods spread over the head of the Lord. Sridevi and Bhudevi are shown in attendance near the feet of the Lord. Brahma is shown as shooting from the nabhikamala of Vishnu. The legs of the Lord are not fully stretched out but are crossed one over the other. The Lord is shown as resting on his own hand.
Plate No. 42: Sudarshana
This is a very rare sculpture of Sudarshana. This represents the ayudhapurusha or Sudarshana the chief of the Vishnu weapons personified. Sudarsana is generally shown as standing within a circle of flames. Sometimes he is shown as standing within a circle of flames. Sometimes he is shown on the garuda and topped by adisesha. He generally has five faces and sixteen hands. In this sculpture Sudarshana is shown standing on alidasana with sixteen hands and wearing Karandamakuta and having flames around his head by way of jwalakesa. This is an excellent sculpture showing Sudarshana in one of his most ferocious aspects.
Plate No. 43: Mithuna
This is an exceedingly interesting sculpture of mithuna or amarus couple. The lady and the male figure are sculptured and caught in a graceful movement as if engaged in a dance. The lady has two hands held together as if begging
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the male figure to spare her from further attentions, while the male figure is perhaps teasing her with importunations. The graceful movement and the artistic love ploys would indicate that the sculpture intended to show, in a snap shot as it were, one moment in the love game between the two. The lady has her hair done in a graceful plait while it is curious to observe that the male figure is also shown as having the hair on the head done in the same fashion.
Plate No. 44: Mithuna pose
This represents perhaps a Chenchu and Chenchita since the lady is shown as having a bow in her hand and the male a flute. The lady has her right hand placed firmly over the shoulders of the male in a close embrace but with the face turned away as if to tease him and to egg him on further in the delights of love making.
Plate No. 45 & 45 (a): Rustic figures:
These two show rustic figures. The first is in a dance pose and the other is having a bowl in his left hand. The first figure has a short and pointed beard and the second has a well trimmed beared with bulging eyes. The first figure has a short close fitting funnal-like cap. Both have big eyes Probably these two are caricatures of certain foreign servants who might have been employed in the Vijayanagara court.
Plate No. 46: A typical pillar with the Yali
This is a typical pillar found in the Kalyana Mandapa. The yali is shown as a powerful figure with his fine legs planted firmly on the back of an elephant which is being trampled underneath. The architecture, pillar, the cornice, corbell and other details are typical of Vijayanagara style.
Plate No. 47: Yali shaped balastrade
This is a typical balastrade found at the entrance of the mandapa. The parapet wall is shown as issuing from the mouth of the yali. This is also a powerful sculpture done in typical Vijayanagara style.
Plate No. 48: Kamadhenu
This is a rare sculpture of Kamadhenu shown in a middle square of a pillar. The Dhenu has a human face and is wearing a pointed cap. The left front of the paw is raised upwards. This is a very rare sculpture which is not found in plenty elsewhere.
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Plate No. 49: Floral designs:
This is a typical floral design and natural foliage shown in a middle square of one of the pillars. This is also done in Vijayanagara style.
Plate No. 50: Ornamentation design
This sculpture is found in one of the middle squares of the Kalyana Mandapa pillar. This is purely an ornamentative design which has been sculptured to fill up empty space.
Plate No. 51: Hanuman and Jambavan
This is a rare sculpture showing both Hanuman and Jambavan with their hands held together as if praying to the Lord.
Plate No. 52: Ramayana scenes:
This shows several episodes connected with Lord Vishnu. The top frieze shows Valisugriva yuddha, the middle frieze shows Rama and Lakshmana with another figure probably a devotee praying to the Lord. The lower frieze shows Vishnu flanked by Bhudevi and Sridevi in a typical fashion, The right side of the frieze shows Vishnu as riding on garuda perhaps while going to the rescue of gajendra.
Plate No. 53:
This is an interesting sculpture showing Hanuman and Sita probably the scene depicting anguliapradana. Hanuman is shown in an attitude of devotion, with his mouth closed with his left hand. Sita is shown with full breasts and with her hair done in a bun in the typical Vijayanagara fashion though Valmiki depicts her as with hair loosened on account of her distress.
Plate No. 54:
This is a good sculpture of Lord Vishnu showing right hand in the varada posture and the left near the hip and back two hands holding the Shankha and Chakra. The Prabhavali with Makara on top is also shown.
Plate No. 55: Ranganatha
This is a sculpture of Ranganatha showing the Lord as sleeping on Adisesha and with Sridevi and Bhudevi in attendance near feet, and Brahma coming out of the Nabhikamala.
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Plate Nos. 56 and 56 (a):
These two represent the usual features of the Vijayanagara designs on the pillars done with exquisite florish and design which is as pleasing as it is artistic. Small miniatures of Kodandarama Varadaraja and Vishnu are shown.
Plate No. 57:
This is a representation of a yaksha probably Kubera which is shown in one of the pillars.
Plate Nos. 58 and 58 (a):
These two represent scenes from the Ramayana. The first is probably Valisugrivayudha and the second is Rama blessing either Sugriva or Hanuman.
Plate No. 59: Cow and Calf.
This is a sculpture of a cow and a calf found in one of the pillars of Kalyana Mandapa.
Plate Nos. 60 (a), (b), (c), (d), (e), (f), (g), (h), (i), (j), (k), (1):
These twelve show photographs of the various used in Tirumala temple for the use of the Lord. old and ancient and some of them quite modern. have been so repaired and renovated through the features cannot now be differentiated.
These vahanas are as follows:—
(a) Kalpavruksha vahana
(b) Hamsa vahana
(c) Garuda vahana
(d) Gaja vahana
(e) Uchchaishrava vahana
(f) Another garuda vahana
(g) Adisesha vahana
(h) Simha vahana
(i) Vimana Vahana
(j) The Simhasana of the Lord.
(k) Hanuman vahana
(1) Surya prabha.
vahanas which are now Some of them are very Even the antique ones ages that their original
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IX. Pavitrotsava mantapam.
(a) Architecture.
The architecture of the mandapa is the same as the Kalyana Mandapa and there nothing special about it.
(b) Sculpture.
Plate No. 61: Narasimha
This shows Narasimha in the rajalilasana posture with the back two hands holding Shankha and chakra. The Lord is shown as being fully clad and is draped and ornamented as if for a fight.
Plate No. 62: Lakshminarayana
This shows the Lord seated with his right leg hanging down and with Laxmi seated in his left lap, and the back two hands holding the Shankha and Chakra.
Plate No. 63:
This is a sculpture of Vishnu in a seated posture with Shankha and Chakra in the left two hands and the gada in the right left hand. Such a posture is rather rare in Tirumala temple.
Plate No. 64: (a), (b), (c), (d):
These four show Krishna as a child in various poses:
(a) and (b) show Krishna tied down to the hull by a rope which he drew along upsetting two big trees who were really rakshasas. This is a well known episode in Bhagavata and this is a very rare sculpture found in Tirumala.
(c) and (d) show Krishna and the flute in different postures.
Plate No. 65 (a), (b), (c);
These three are sculptures of dance poses. (a) shows a dancer in an interesting karana with the head tilted to the left in a teasing posture while sitting at her heels. Similarly (b) shows a dancing couple in a typical dance posture. (c) appears to be a seated figure holding the Padma in the hand and the hair done in a bun in the typical Vijayanagara posture.
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X. Vimana Pradakshina Mandapa.
(a) Varadaraja shrine-Architecture:
The Varadaraja shrine is inside the Vimana Pradakshina and immediately to the left of the gopura. The architecture shows a high adhistana, an antarala, a garbhagriha and a Vimana above belonging to the Vesara order. The doorway is flanked by a pilaster on either side surmounted by a Kapota decorated with nasikas with simhalalatas above… Above these there is another kapota over the walls which is similarly decorated, the balastrades containing four steps showing the surul coming out of the mouth of the yali. The pumunai and the details of the corbels and the carnice in the pillars shows that this is done in the Vijayanagara style.
(b) Sculpture.
Plate No. 66:
This is a view of the shrine as a whole.
Plate No. 67 (a) and (b)
These show the Vimana of the Ramanuja shrine and the garuda mandapa. These are modern.
Plate No. 68:
This is a pallaki said to have been presented by the Maharaja of Mysore and it is kept in the Vimana pradakshina mandapa.
Plate No. 69:
This is the garuda vahana kept in the Vimana Pradakshina mandapa.
Plate No. 70:
This shows a step in the Vimana Pradakshina.
XL. Ranga Mandapa.
(a) Architecture.
The Ranga mandapa is in the south-east corner of the court yard with a small portico. The Mandapa proper contains nine pillars. The front part of the shrine consists of an entrance flanked by a salakoshta on either
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side. The kapota decorated with nasikas surmounted by simhalalatas surmount the entire front. On architectural grounds this may be slightly earlier and may be ascribed to the 14th century.
(b) Sculpture.
Plate No. 71:
This is an interesting sculpture showing Lord Vishnu as Vamana receiving the water from Mahabali. Vamana is shown as a person with danda on hand whereas Mahabali is shown wearing a crown.
Plate No. 72:
This shows Rama and Lakshmana with a central figure without any bow in the hands.
Plate No. 73: Lotus design
This is a lotus design shown in the Ranga mandapa.
Plate No. 74: Annamacharya shrines
This shows the annamacharya shrine in the Vimana pradakshina with two figures of the Tallapaka poets flanking the entrance.
Plate No. 75: Bala Krishna
Ornaments like
This is an interesting sculpture of Bala Krishna, near the Annamacharya shrine. The curly hair of the Lord is done up nicely. golusu, tandai, valai, kundalas etc., are clearly shown.
Plate No. 76 (a) and (b):
These two show the figures of Tirumalacharya and Annamacharya the famous Tallapaka poets found near the Annamacharya shrine in the Vimana Pradakshina. Both of them are excellent and exquisite specimens or the ornate and charming style of the Vijayanagara school of art. The antariya, katisutra, the long cap, and the rich jewellery are typical. Of particular interest will be the shape of the tambura which both of them held in hand for sruti while singing. The shape of the tambura is completely different from the modern
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tambura with which we are accustomed. In a modern tambura the big pot is held down on the lap, while the stem is held upwards and the fingers play over the wires near the bottom pot. Here the pot is held near the shoulder and the stem is held down with fingers playing near the top of the tambura. One of the hands is held out as if in vismaya or as if held out, out of sheer joy, showing as it were the mannerisms of musicians when they lose themselves in a song. Their feet show anklets with small bells attached to it. Perhaps in those days, they were accustomed to keep time with the pace of the leg and with the rythmic jungling of the bells.
Plate No. 77: Another view of the tallapaka poets
This is found in a niche on the steps in the Swami Pushkarani tank. The makara torana is beautiful issuing from the mouth of the makara with simhalalata at the top. This shows the tallapaka poets on either side of Lord Srinivasa offering the Lord their music.
Plate No. 78:
This is a Lakshmi Narasimha showing the Lord with Lakshmi.
Plate No. 79:
This is a typical Rama, Lakshmana, and Sita which is found near Annamacharya shrine.
Plate No. 80: Rama
This is found in the corridor mandapa of the Vimana Pradakshina. This shows Sri Rama in a seated posture with one hand in the gnana mudra and the other placed on his thigh. Sita is holding a lotus. Lakshmana is
standing with a bow. This is a rather curious depiction of Rama not generally found elsewhere.
Plate No. 81 (a) and (b): Scenes of Ramayana
(a) shows Rama blessing Hanuman and (b) shows Ramapattabhishekham
scenes.
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XII. Narasimha shrine
Plate No. 82 (a), (b), (c) and (d):
(a) A dancing lady: This shows a beautiful dancing karana in which one leg is bent on the ground and the other held by the right hand taken over the head and the left hand showing a typical natya mudra. This sculpture clearly shows the highly sophisticated dance postures which were developed in Vijayanagara days. The movement of the chest muscles are so clearly shown in the sculpture, that the right and the left breasts of the dancer appear almost vertical. The frieze of the hanging garment in the front held by waist bands is typical. Similarly the hair style, the bun in which the loose hair is tied, the jewellery etc., are all clearly evidences of the highly sophisticated type of dance posture developed during Vijayanagara days.
(b) shows dancing girls doing Kolattam and doing other dance postures.
(c) shows a drummer.
(d) shows a lady mridangini.
Plate No. 83 (a), (b), (d): Saraswathi
These three are different sculptures of Saraswathi shown as riding her vahanas and as playing Vina etc.
Plate No. 84: Bala Krishna
This shows Bala Krishna as dancing on his right foot and sucking his left toe.
Plate No. 85: Alvar
XIII. Miscellaneous sculptures.
This is a seated saint probably Nammalvar with his right hand held in the usual mudra found in the back corridor.
Plate No. 86: Hamsa
This is a beautiful sculpture of Hamsa done in the best Vijayanagara style. This is a relief sculpture found in the back corridor.
Plate No. 87: Vaikuntadwara pillar
This is a pillar shown in the Vaikuntadwara and done in the late Vijayanagara style in black granite. The design and artistic and other details are typical.
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Plate No. 88: Dasavataras
These Dasavataras are shown in a gold plate on the door jamb of the Vaikuntadwara.
Plate No. 89:
This is a view of the Hundi of the Lord.
Plate No. 90 (a) and (b):
These two are the big bells kept in the Tirumamani mandapa. (b) has an inscription of the last century showing that it was presented on that day to the Lord.
Plate No. 91;
This is one of the four mandapas in the Sampangi Pradakshina probably built by Saluva Narasimha.
Plate No. 92:
This is a chain of moghul coins presented to the Lord.
Plate No. 93:
This is an aerial view of the main Vimana and gopura from the back side.