Friday, November 30, 2012

Mahalakshmi Temple, Kolhapur, Maharashtra


The Shri Mahalakshmi Temple of Kolhapur in Maharashtra, India, is one of the Shakti Peethas listed in various puranas of Hinduism. According to these writings, a Shakti Peetha is a place associated with Shakti, the goddess of power. The Kolhapur Shakti Peetha is of special religious significance being one of the six places where it is believed that one can either obtain salvation from desires or have them fulfilled. The temple takes its name from Mahalakshmi, the consort of Vishnu, and it is believed that the divine couple reside in the area.
mahalakshmi-temple
The temple belongs architecturally to the Kannada Chalukya empire and may have been first built in circa 700 AD. Mounted on a stone platform, the image of the four armed and crowned goddess is made of gemstone and weighs about 40 kilograms. The image of Mahalakshmi carved in black stone is 3 feet in height. The Shri Yantra is carved on one of the walls in the temple. A stone lion, the vahana of the goddess, stands behind the statue. The crown contains an image of the Sheshnag — the serpent of Vishnu. In Her four hands, the deity of Mahalakshmi holds objects of symbolic value. The lower right hand holds a mhalunga (a citrus fruit), in the upper right, a large mace (kaumodaki) with its head touching the ground, in the upper left a shield (khetaka), and in the lower left, a bowl (panpatra). Unlike most Hindu sacred images, which face north or east, the image of this deity looks west (Pashchim). There is a small open window on the western wall, through which the light of the setting sun falls on the face of the image for three days around the 21st of each March and September. There are a number of other shrines in the courtyard to the Navagrahas, Surya, Mahishasuramardini, Vitthal-Rakhmai, Shiva, Vishnu, Tulja Bhavani and others. Some of these images date back to the 11th century, while some are of recent origin. Also located in the courtyard is the temple tank Manikarnika Kund, on whose bank is a shrine to Visweshwar Mahadev.
Mahalaksmi-Kolhapur
Worship Structure: Five worship services are offered each day. The first one is at 5 am, and it involves the waking of the deity with a Kakada - torch, to the accompaniment of hymns. The second worship service at 8 am involves the offeirng of the Shodashopachara pooja consisting of 16 elements. The afternoon and evening services and the Shejaarati pooja constitute the three other services.

View Larger Map Special Events: A festival image of the deity is taken out in procession around the temple courtyard each Friday, and on full moon days.


History

It is said that Man created God in his own image. How true! Man has attributed all the features of a human body to the Gods and Goddesses. He has also gone further to attribute several other characteristics to the divinities that are not found in human beings. It is fascinating to learn how Man created idols and statues of Gods and Goddesses. It is a process that started from a belief in Shakti (infinite energy) and culminated in the idol worship that conferred various forms to that infinite energy.
In early days, this Shakti was witnessed in the form of five basic elements of Prithvi (earth), Aap (water), Tej (light), Vayu (wind), Akash (space). When Man pondered over his birth and the person responsible for it, he realized that mother is at the root of the genesis, and it is she who embodies the Shakti . He aspired to give a finite structure to the infinite energy. In the process he first named that finite structure as Matruka (representation of energy in the form of a divine mother). Then he granted a shape to the Matruka. The earliest form was of Pashan1 or Tandula2 (stone) and Varula (ant hill).
The main places where such Mahamatruka (the great divine mother) were established came to be known as Mahamantrukasthan (abode of the great divine mother). Such sites were discovered all over India. In Maharashtra they were identified in Kolhapur, Tuljapur, Mahur and Vani.  All the four were thus called the Shaktipeeths (seat of the Goddesses that embodies energy). These places then became popular as pilgrimage sites.
The finite form of the Goddess was further refined by Man. The birth of the universe and in turn his own birth had intrigued him. He wished to give a better representation to the Shakti. Therefore the mere stone representation was improvised to the form of Lajjagauri (female figure with a prominent womb). Lajjagauri was intially a two dimensional figure.
As years passed Shakti that was represented by Paravati3 and Durga4 was also manifested in three different forms namely Mahalakshmi, Mahakali and Mahasaraswati. “The framing narrative of Devi Mahatmya Presents a dispossessed king, a merchant betrayed by his family, and a sage whose teachings lead them both beyond existential suffering. The sage instructs by recounting three different epic battles between the Devi (Goddess) and various demonic adversaries the three tales being governed by, respectively, Mahakali, Mahalakshmi and Mahasaraswati. Goddess Mahalakshmi is the presiding Goddess of the middle episode. Here she is depicted as Devi in her universal form as Shakti. The world was under attack by  Mahishasura the most evil demon in the world, who took many different forms, including that of a buffalo. The male Gods, fearing total annihilation endowed Durga with their powers. The Goddess is described as eighteen- armed bearing string of beads, battle axe, maze, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield, conch, bell, wine-cup, trident, noose and the discus sudarsana. She has a complexion of coral and is seated on a lotus. She is known as Ashta Dasa Bhuja Mahalakshmi. Riding a lion into battle, she slew the buffalo by cutting off its head and then she destroyed the spirit of the demon as it emerged from the buffalo’s severed neck. It is through this act that order was established in the world”. Eventually the abovementioned description of Goddess Mahalakshmi was manifested in the form of idols. The evolution was gradual. The two dimensional concept of Lajjagauri developed in to a three dimensional form when art of idol making was initiated. Thus the statues of Goddesses in various avataras8 of Durga were created.
From  500 B.C. to 300 A. D. Buddhism and Jainism had a major influence on the Indian population. This was the era when cave architecture, cave paintings and cave sculptures flourished. Monks, merchants and travelers in that era preferred the safety of the caves, that were pre-dominantly on hills and mountains to protect themselves from wild beasts and other natural forces. It was during the Buddhist period that idol making saw the light of the day. Yet not many temples were found in those times. Later as human settlements mushroomed rapidly along rivers and seaside, Vedic culture9 was given a boost by the political heads of that era and temples came into being.
From2nd to 5th century A. D. foreign rulers like Shaka, Kshatrap and Nag Dynasty held sway in some parts of India. These forces were destroyed by Kings Samudragupta, Chandraputa II Vikramaditya, Kumargupta, Skandhgupta of the Gupta Dynasty. In fact, King Shrigupta married a lady from Lichchavi Dynasty and kicked off the Gupta Rule in India. Further on Vikramaditya defeated the foreign rulers like Shaka and Kshatrap to establish local independent rule. This change in political leadership revived the Vedic culture. India by then was united under one political head who revered Lord Vishnu. This era that lasted from 300 to 500 A. D. saw the dawn and rise of Bhagwat Cult in India. This Cult entails worship of Vishnu and his consort Lakshmi. This was also the phase when temples began to be contracted in India.
The Vedic culture encouraged religious literature and establishment of pilgrimage sites Through the religious literature we can understand the form Of Mahalakshmi as it is seen today Legend says that Gods and demons churned the ocean and certain jewels were born. Lakshmi was one among them. As soon as she emerged she became the consort of Lord Vishnu who is one of the three Gods that form the Holy Trinity (Bramha, Vishnu, Mahesh). This Goddess with unparallel beauty was a female representation of Universal wealth. Eight forms of Goddesses dwell within her, Dhanalakshmi (provides wealth), Dhaanyalakshim (provides crops), Dhairyalakshmji (provides courage), Shauryalakshmi (provides valour), Kirtilakshmi (provides fame), Vinayalakshmi (instills modesty), Raajyalakshmi (provides kingdom) and Santaanlakshmi (provides children). She signifies property, happiness, radiance and fame.
It is believed that the first mention of Goddess Mahalakshmi was found in 250 B. C., and the first form of Goddess Mahalakshmi is that of Gajalakshmi, Lakshmi bedecked with jewellery seated on lotus and flanked by two white elephants, seen on stupas constructed by Emperor Ashoka in Sanchi and Bodh Gaya. Some scholars opine that his form was derived from figures of Goddess Mayavati in Budhdhist caves and figures of Goddess Padmavati in Jain caves and temple that come in to being in 1st century A.D.
The Gupta kings, known to be devotees of Vishnu and Lakshmi have depicted Lakshmi on their coins in various poses. Several coins of this era show Lakshmi and Garud (the eagle which is Vishnu’s vehicle), Lakshmi bedecked with jewellery astride a lion, Lakshmi astride a peacock, Lakshmi seated on an expanded lotus, Lakshmi seated on a throne etc. The Gupta Dynasty accepted Lakshmi in the form of Raajlakshmi (who blesses the kingdom) and Vaibhavlakshmi (who brings about prosperity). One of the descriptions of the coin states, “Halo around the goddess head, her pearl diadem, ear-pendants, necklace, bangles & armlets clearly to be seen, she holds noose in her extended r. hand and lotus seat prominent, Symbol on l. Legend on r.partly damaged”. 
After the Gupta Kings, Goddess Mahalakshmi received royal patronage by Chalukya, Rashtrakuta, Shilahara and Yadava Dynasties.
Goddess Mahalakshmi was consecrated in various temples during 4th and 5th century A.D. The temple of Goddess Mahalakshmi in Kolhapur which was first constructed in the Chlukya Era has an idol of the deity that has been sculpted with four arms, wearing a saree in Karnataka style. Worship of Mahalakshmi continued over several centuries. Swami Chakradhar of Mahanubhav Sect wandered all over India in 12th Century A.D. In his notes, he mentions that there were 27 temples of Mahalakshmi in that era. The idols in these temples seem to be of the same style as that found in Kolhapur. It was in this epoch that temples of Mahalakshmi were built in Anhilwada in Gujarat, In Dogadvallis in Karnataka and Anantpur in Telangana. King kadamba of Goa also worshipped Goddess Mahalakshmi.
In several inscriptions names like Ramaa, Bhavani and Lakshmi have been used for Mahalakshmi. A stone inscription dated 24 December, 1049 found in Shirur Taluka in Maharashtra mentions that the grants were given by King Marasingh Prabhu descendent of Prabhu Rajaverman, Devotee of Goddess Mahalakshmi of Kolhapur. The inscription describes Goddess Mahalakshmi of Kolhapur as Sinhavahini (Goddess astride a lion) and Rudraardhangotsanga Nivasini, (Shiva’s consort).” Little wonder that Goddess mahalakshmi is considered as second avatar of Durga.

Inside Temples


Upper Temple

Over the sanctum sanctorum rises a superstructure. It has an “upper temple” that houses an icon of Ganapati with a decorated stone frame behind the idol sporting a Kirtimukh in the centre. In front of the Ganapati Idol is a rectangular Shivalinga better known as Matulinga (Shivalinga atop the Goddess idol) and outside this chamber lies a bull, vehicle of Lord Shiva. A staircase to the left of Goddess Mahalakshmi’s shrine leads to this storey of the temple.
It is said that the Matulinga was installed during the Yadava Period in 12th century as the devotees are not able to see the Shivalinga that is carved on the crown of Goddess Mahalakshmi since it remains covered. With the installation of Matuling devotees could worship it as the supreme from of genesis.
Nandi Ganapati & Shivalinga

 

 

Two Additional Shrines

King Gandaraditya, also of the Shilahara Dynasty, embellished and completed the construction of Kolhapur temple of Goddess Mahalakshmi in 11th century A.D. He built the path on which the circumambulation is done around Goddess Mahalakshmi. He also added two sancta Sanctorum where Goddess Mahakali and Mahasaraswati were consecrated. On the left side of the main shrine is the temple of Mahasaraswati and on the right is the Mahakali temple. This temple houses the Shree Yantra (geometrical depiction of the Goddess) and in one niche in the wall lies and idol of Ganapati.
Two shrines-goddes_mahasaraswati-goddes_mahakali

 

First Archway Or The Main Shrine's Doorway

A few feet from this archway in the sanctum lies another arch-like gateway made up of black stone which is considered to be the manifestation of Shiva and Shakti. The weight of the entire temple rests on this frame work. Lalat Bindu, which is the centre point of the frame has Ganesh idol installed on it. This part is usually called the Ganesh pattika, plinth moulding of rectangular cross section having Ganesh depiction. Three consecutive frames are found along with this plinth moulding. The door jambs have sculpted designs on them.
First archway

 

Darshan And Kurma Mandap

The first mandap or hall called rangamandap that starts from the place where first archway is built is octagonal in shape. This part of the temple is divided into two. The part immediately after the first archway was traditionally called Darshan Mandap as from there the idol of the Goddess can be viewed at the closest (Darshan = view, mandap=hall). The ceiling of this hall is made up of octagonal layers.
Then comes another hall called Kurma mandap. It is called so as it has a Kurma (tortoise) installed in the centre. This Mandap is now called Shankha Tirtha Mandap because the holy water called Tirtha is sprinkled on the devotees from the Shankha (conch) in this hall. The ceiling of this hall is intricately carved. Both the halls have several pillars with sculpted patterns. For this, black Kaddapah stone, Basalt, Karnataka stones were used.
Darshan and Kurma mandap

 

Second Archway

These halls have a stone archway almost similar to the earlier one that leads to the Ganapati chowk. However this archway has decorative grilled screen walls on both the sides. Next to these screens are two idols of Dwarpals (the doorkeepers), called Jay and Vijay on either side. The legend states that Jay-Vijay built the temple of Mahalakshmi in one night. To justify this, images of spade and hoe are found close to the doorkeepers.
Second archway

 

Ganpati Chowk

This hall is third from the sanctum sanctorum. It has a Ganapati Shrine in the centre. To the either side of the shrine are statues of Sage Agasti and his wife Lopamudra. On the outer side of the northern wall of this hall is a beautiful sculpture of Uma Maheshwar (Loard Shiva with Goddess Paravati) and statue of Lord Venkatesh as well as an idol of Goddess Katyayani in a niche in East. Kurma Mandap and Ganapti Chowk were built by King Singhan of the Yadava Dynasty.
The part of the temple from the sanctum sanctorum of Goddess Mahalakshmi up to Ganapati chowk is made up of black stone. There is a sharp contrast in the construction of the temple till the Ganapati chowk and the part thereafter which was constructed in wood during the Maratha reign.
Ganapati

 

Garud Mandap

The outermost hall which is called Garud Mandap was added during the administration of Daji Pandit between 1838 and 184318. Daji Krishna Pandit was placed at the head of the regency of Kolhapur by Mr. Townsend, the Political Agent Southern Maratha Country during the British rule in India and Shortly after he was made sole minister of the State after the death of Shahaji Chhatrapati also called Baba Saheb Maharaja.
Garud Mandap

 

Outer Side Of The Main Temple

The outside of the three sancta is embellished with exquisite carvings. Besides the geometrical and floral patterns there are niches all along the wall. Each niche has beautiful sculptures of Surasundaris (musician ladies) and dancing Apsaras19 popularly called Chaushastha (for64) Yoginis20.
Spires And Demos
The five spires and demos of this temple are said to have
been added by Shankaracharya of Sankeshvar (1879-1967). An aerial view shows that they form a cross. There is one dome in the center and four other that lie in four cardinal directions of North, South, East and West. Under the tallest dome on the east lies the sanctum of Goddess Mahalakshmi. Below the one in the center is the hall called Kurma Mandap and under the one on the west side is a small Ganapati temple and a hall called Ganapati Chowk. On the north and south are two domes having below them respectively Goddess Mahakali and Mahasaraswati’s sancta.
As all the five domes are built relatively recent times the structure of the domes is a modern one which has triangular step like shape. They are currently cream coloured with orange and yellow spires.
These domes and spires can be accessed from the superstructure of the upper temple
Temple wall with decorative niches
Temple wall

 

mahalakshmi_temple_Intricately sculpted rear side of the temple

 

Rear view of the temple_mahalakshmi-temple

Sculpture on outer side of the mahalakshmi temple wall kolhapur

Navagraha Temple (Temple Of Nine Planets)

On entering in the temple complex from the Ghati Darwaja is the Navagraha temple on the left side. In 1941, Shirmant Jahagirdar Babasaheb Ghatge got the idols of nine planets installed in this temple. On a raised stone platform there are statues of nine planets including the Sun God in his chariot, Shivalingas and Ashtabhuja Mahishasurmardini. A small open hall like structure in front of the Navagraha temple dates back to the Yadava Period. Made of black stone it has sculptures of nine planets, Lord Vishnu reclining on the mystic serpent Shesha and Ashta Dikpal (guardians of eight directions.)
Along the southern gate called Vidyapeeth Darwaja are shrines of various gods and goddesses namely Radhakrishna, Kalbhairav, Siddhivinayak, Sinhavahini, Tuljabhavani, Lakshmi-Narayana, Annapurna, Indrasabha, Rameshwar, Narayanswami Maharaj. In the temple complex besides the main temple there are a number of other aforementioned small temples of which Navagraha and Sheshashahi temples are of special interest due to their intricate art sculptures.
A canon is located near the northern entrance which is fired on specific days. The litter of the Goddess receives one canon ball salute. This tradition was started by Queen Tarabai, daughter-in-law of the Maratha Regent Chattrapati Shivaji.
There were two ponds of holy water called Kasi and Manikarnika. The images and Veergal (the hero stones) that lined up these ponds have been removed and some of them have been placed in the Town Hall Museum. A garden has been developed in the place of Manikarnika pond.
Navagraha Temple_in_mahalakshmi temple kolhapur

 

Parts of the aforementioned decorative roof

 

Sheshashahi Temple (Vishnu Temple)

On the side of the eastern entrance lies an intricately carved Sheshashahi temple, octagonal in shape. Inside the dome of this temple are two tiers of exquisite art. The topmost tier has 6 Petals of a flower and the lower tier has 16 petals of flowers sculpted on it. At the edge of the dome touching the main walls of the temple are 60 statues of Jain Tirthankaras. It is believed that this temples is of a Jain Tirthankara called Neminath. However the sanctum has an idol of Lord Vishnu reclining on the mystic serpent Shesha.
To the north lies the Ghati Darwaja sporting a huge bell installed by Rajarshi Shahu Maharaj (1874 to 1922). On the bell is mentioned “J.W. BENSON LIM.CLOCK MAKERS, LUDGATEHILL, LONDON E.C. 1902”. The gong of the bell is heard at specific times in the day. The earlier bell is now kept in the Town Hall Museum of Kolhapur. Inscribed on this bell there is a sentence in Portuguese: AVE MARIA GRATIA DOMINUS TECUM IHS (Hail Mary full of grace! The Lord is with thee). It is believed that this bell was brought to Kolhapur by Chhatrapati Sambhaji after the battle in Goa in 1683. The inner side of this gate has a lovely sculpture of Kirtimukh. Along the northern door are the temples of Navagraha, Viththal and Rakhumai.
Sheshashahi temple

 

Boundary Wall, Entrances And The Complex

The main temple is surrounded by an almost pentagonal shaped stone wall which serves as the boundary of the complex. The open space between the wall and the main building is paved with stone slabs. The boundary wall has four entrances on four sides. The Mahadwar, the main entrance is on the west side of the complex. From this entrance the idol of the Goddess is easily visible. Adjoining the Mahadwar is the Nagarkhana at an elevation. It is a wooden structure having the musical instruments of Soanai23 Chowgada24 that are played during Aarti25 time and other major occasions. It is said that these two structures along with the Kacheri (Office) were built by Shankaracharya of Shringeri who also gave donation so that the musical instruments would be played everyday. Above the drum-chamber is the holy kitchen where meals of the Goddess were prepared. The current kitchen is at the ground level next to the Nagarkhana.
The entrance on the eastern side called Purva Darwaja (Purva=East, Darwaja=Door) has an inscription dating back to the Maratha period of 18th century stating that it was renovated by Army chiefs, Trimbak Dabhade26, Yashwantrao Dabhade as well as Bhairavjirao Gaikwad and Bhagwanrao Gaikwad.
Mahadwar_mahalakshmi temple_kolhapur
Deepmalas_of_mahalakshmi-temple

 

Festivals

 

  • Navratra Mahotsav

Navratra (nine nights) festival is celebrated for ten days during the Hindu months of Ashwin (around October). The daily routine of the temple is modified during this period. At 8.30 a.m. and 11.30 a.m. Abhishek is performed followed by Mahanaivedya and Aarti. Later at 2.00 p.m. the deity is decorated with all the ornaments. On all ten days at 9.30 p.m. the litter of the Goddess is decorated in different forms with flowers and lights and is taken out in procession in the temple complex. Government sponsored police and military band is played at the head of the procession. The event culminates at 10.30 p.m. when the litter returns to the Garud Mandap and is placed on a special pedestal. The Goddess then receives one canon salute. Various cultural programmes are organized by the Mahalakshim Temple Trust in these ten days.
Navaratra_mahalakshmi-temple_1
Lalita Panchami (Fifth day of the Navratra Festival)
At 7.00 a.m. and 10.00 a.m. Abhishek  is performed along with the other routine rituals. At 10.00 a.m. the litter of the Goddess is given one canon salute and it leaves the temple premises to visit Goddess Tryambuli's temple which is at a short distance from the main temple in Kolhapur. En route it halts at Shahu Mill and Takala for Puja and Aarti. The procession reaches Goddess Tryambuli's temple by noon. The Chhatrapati (the local royal ruler) performs Kushmandabali (breaking a pumpion gourd into two with a sword. This represents killing of the enemy) in the presence of an unmarried girl from the Patil family from Kasba Bavda, near Kolhapur. The litter returns to the temple at 2.00 p.m. later an Aarti is done. In the evening the litter is carried in procession around the temple itself.

 

Ashtami (Eighth day of the Navratra Festival)
At 8.30 a.m. and 11.30 a.m. Abhishek is performed on the deity along with the other usual rituals followed by Alankar Puja. The silver representation of the Goddess is placed in the Garud Mandap from 7.00 p.m. to 9.30 p.m. At 9.45 p.m. the Goddess then receives one canon salute. The silver representation is placed on a throne and is taken around the town in procession from Mahadwar road, Gujri-Bhausinghji road, Bhavani Mandap (where the goddess is honoured with betel leaves and betel nut by distinguished people. She is also offered Oti (comprising golden bordered blouse piece, coconut, bangles, sweets and token money), Gurumaharajwada, Shri Binkhanbi Ganesh (where Lord Ganesh is worshipped) and back to the Mahadwar Road and to the temple. Again an Aarti is done followed by sacrificial fire Puja that continues till wee hours of next morning. It ends with the Purnahuti (culmination Puja).
Navami (Ninth day of the Navratra Festival)
As usual the rituals are done at 8.30 a.m., 11.30 a.m. and 9.30 p.m. along with the ones done throughout the year.

 

  • Kirnotsav

Kirnotsav (festival of Sun rays) is celebrated when the sun rays fall directly on the deity's idol at the time of sunset on the following days :
31st January & 9th November : Sun rays fall directly on the feet of the deity.
1st February & 10th November : Sun rays fall directly on the chest of the deity.
2nd February & 11th November : Sun rays fall directly on the entire body of the deity.

 

 

  • Rathotsav

Rathotsav (chariot festival) is organized in April. The chariot bearing the silver representation of the Goddess is decorated with flowers and lights. It is taken out in a procession in the evening from 7.30 p.m. to 9.30 p.m. The devotees can pay their respects to the Goddess when the procession arrives at the main entrance of the temple. At 9.30 p.m. one canon salute is given to the Goddess and the procession is taken outside the temple. It moves in the city and returns to the temple. The procession is accompanied by military or police band. Huge Rangoli (floor paintings) are drawn along the path of the procession and fireworks add to the festivities. Several devotees flock to participate in this event.
mahalakshmi-temple-old
old-mahalakshmi-ambabai-temple
old-mahalakshmi-temple
old-mahalakshmi-temple-4

Treasury at Mahalaxmi Temple of Kolhapur opened after 40 years

Kolhapur, 9 June 2012: Historic treasury at Mahalaxmi Temple of Kolhapur which was unopened from 40 years was opened and calculated.
treasure-of-mahalakshmi-temple
Since Last 1300 years various citizens, appraisers, devotees do offerings to Mahalaxmi Devi at Kolhapur and the traditional and historic treasury is been enriched. Being a traditional aspect from many centuries, this safe or treasury was opened by the temple committee and the jewelry which it contained was cleaned and calculated.
The jewelry of first safe was analyzed and was of the times of Shivaji and Muslim period. Sources said that these historic jewelry was of 8 Crore, 29 Lakh and 8 Thousand Rupees as evaluated by Goldsmith Purushottam Kale. It was again cleaned and maintained. It will take time of 8 more days to complete evaluation of all the treasuries. Temple Committee Secretary Hanumant Suryavanshi informed that this evaluation is done for the first time.
Evening, Temple In-charge President District Collector Lakshmikant Deshmukh visited the evaluation place. Every year lakhs of devotees visit the Mahalaxmi temple and do offerings and take blessings of the Devi. Also, ‘Yatras’ are also organized every year. The treasuries are stored with donations by the devotees.
These treasuries were not opened form 40 years. Here, South Maharashtra Devasthan Samitti Secretary Hanumant Suryavanshi, Balasahev Kupekar, Members Padmaja Tivle, Pramod Patil, Hiroji Parab, Pratapsinh Jadhav, Shivaji Salvi, Mahadev Khandekar, Mahesh Khandekar, Suresh Gaikwad and many other important people were present.

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Wednesday, November 28, 2012

Karthik Month Rituals and Pujas

 
Kartik Masam
Karthik Month Rituals and Pujas
Karthika Masam or Kartik month is the most auspicious month amongst all 12 Hindu months. According to Hindus, pujas, rituals, other auspicious and prosperous celebrations during Kartik Month give them great pleasure and happiness in life because this is the most favorite month for both of the Supreme Gods Lord Vishnu and Shiva. They believe that praying to Lord during Kartik maas fetches them Moksha (salvation).
In 2010, Kartika Month begins on November 7th and ends on December 5th as per Andhra Pradesh Calendars.
The pujas, all other rituals, rules and code during the month are called as Kartika Masa Vratam. There are certain rules and codes to perform Kartika Masa vrata. The Karthika Purana details the rituals and customs to be performed during the month of Karthik. Various Hindu sacred texts have mentioned the list of basic rituals and customs of Kartika masam.
Importance of Karthika masam
Lord Vishnu goes to sleep on Ashadha suddha ekadashi and wakes-up on Karthika suddha ekadashi.
Lord Shiva kílled Tripurasuras on Karthika pournami and protected the world.
In this month Ganga (Godess of river Ganges) enters in to all rivers, canals, ponds and wells and makes them as pious as Ganga.
Ayyappa deeksha is also taken in Karthika masam and is continued up to Makara Sankranthi (Jan 15th)
River Bath ( Nadi Snanam)
As per the Medical reports also in Kaarthika Masam Water will gain more Magnetic Power from Earth and will be stored in water before the Sunrise.
As stated in Magnetic Therapy also bath taking on Kaarhika Somavaram (Monday) in any Flowing Water for 15mts  human being  will get relief from STOMACH DISORDERS, LEVER DISORDERS, GENERAL HEALTH DISORDERS, ENEMIC CONDITIONS etc.,
POOJA (Deity)
Main Deity in the Kaarthika Masam is certainly SIVA, VISHNU and TULASI
He who performs daily SIVA POOJA will reach ZENITH point in life and after life also he will attain SLAVATION according to SIVAPURANA verses.
Those who cannot spare daily timing for Pooja and rituals they can perform MANASIKA POOJA by enchanting SIVA PANCHAKSRI Mantra as and when TIME PERMITS. This is month where SIVA and VISHU DEVATHA will be treated with equal importance. More over on SUKLA DWADASI known as CHILUKA DWADASI / KSHRABDI DWADASI

Light (Deepam Parmjyoti Swaroopam)
He who Lights up a Deepam in Kaarthika Masam will have the blessings of PITRUDEVATHALU (who are our ancestors) and also the blessings of SIVA and VISHNU.
Deepam should be lighted up only in Mud Plate (Mati Pramida) and daily we should use new one. If by any chance non availability of Mud Plates kindly use Silver Articles only.
At any point of time don’t use Steel Articles for Deepam (usage of Steel Articles for Pooja and Deepam increases our Poverty).
Use Cow Ghee or Gingelly Oil  ( Til oil, Nuvvula oil)
Do not use Mustard Oil, for Deepam.
Karthika puranam
the most important aspect of Karthika masam is hearing Karthika puranam. It is called as Karthika vratham. It normally includes the following rules
Waking up early in Brahmi muhartham (4.00A.M)
Taking bath in rivers or ponds remembering Ganga
Shiva puja / Damodara (Vishnu) puja
Lighting Akasha deepam on sun-set
Understanding Karthika puranam
Rituals and Rules During Karthika Masam
Devotees should not eat non vegetarian food for whole month of Karthik. Eating non vegetarian food is considered as Brahma Hathya (Killing Lord Brahma).
Devotees follow Nakabhukta or Ekabhuktam during the whole month of Kartik. They take meal only once a day. Some people take fruits or milk in the evening time after performing Puja. If devotees are not able to do so, they follow these customs at least on auspicious days like Karthik Somavar and
Karthika Pournami etc.
Here I am giving the basic rituals we should follow for this month.
  1. Should not eat non Vegetarian food for the whole month.
  2. Do not eat Brinjal, Onions and Garlics Food in Kaarthika Masam. Take any vegetarian Food.
  3. Must take meal only once per day for the 30 days, we can eat breakfast at nights or at least we must
  4. If possible Feed Cows.
  5. follow this on auspicious days like mondays, karthika poornima, koti somavaram etc
  6. Devotees take ceremonial or spiritual bath everyday for the whole month (Including Hair).
  7. Must light (deepam) every evening and  evening do God Shiva Pooja.
  8. Read or Listen Shiva Puranam Book (Possible) ever day evening.
  9. Read one chapter in Karthika Puranam book every day
  10. Prepare prasadam on karthika poornima,  koti somavaram and remaining days you can even keep some fruit as prasadam.

kartikamasam
















Saturday, November 24, 2012

Padmanabhaswamy Temple , Kerala


Padmanabhaswamy Temple , Kerala
Sree Padmanabhaswamy temple  is a Hindu temple dedicated to Lord Vishnu located in Thiruvananthapuram, India. The shrine is currently run by a trust headed by the royal family of Travancore.The Maharajahs of Travancore are Cheras and descendants of the great saint Kulashekhara Alwar. The temple is one of 108 Divya Desams (Holy Abodes of Vishnu) – principal centres of worship of the deity in Vaishnavism. Lord Balarama, according to Srimad Bhagavatam (10.79.18), visited Phalgunam (now known as Thiruvananthapuram) as part of his teerthyatra, took bath in Panchapsaras (Padmatirtham) and made a gift of ten thousand cows to holy men. The temple is glorified in the Divya Prabandha, the early medieval Tamil literature canon of the Tamil Alvar saints (6th–9th centuries CE), with structural additions to it made throughout the 16th century CE, when its ornate Gopuram was constructed.The Temple is a replica of the famous Sri Adikesavaperumal Temple at Thiruvattar.Sri Padmanabhaswamy Temple gave its name to Kerala’s state capital Thiruvananthapuram. ‘Thiru’ ‘Anantha’ ‘Puram’ means Sacred Abode of Lord Anantha Padmanabha. The city is also known as Anandapuram (City of Bliss) and Syananduram (Where Bliss is not far off). Ananda refers to Sree Padmanabha Himself. Hindu scriptures refer to the Supreme Being as 'Sachidananda' (Absolute Truth, Absolute Consciousness and Absolute Bliss).
padmanabhaswamy
The Principal Deity, Padmanabhaswamy, is enshrined in the "Anantha-sayanam" posture (in the eternal sleep of Yoga-nidra on the serpent Anantha).The Maharajah of Travancore bears the title, "Sree Padmanabhadasa’ (Servant of Lord Padmanabha).

View Larger Map In line with the Temple Entry Proclamation, only those who profess the Hindu faith are permitted entry to the temple. Devotees have to strictly follow the dress code
 

 

Legend And History

Padmanabhaswamy_History
The origin of the Temple of Sree Padmanabhaswamy is lost in antiquity. It is not possible to determine with any exactitude, from any reliable historical documents or other sources as to when and by whom the original idol of Sree Padmanabhaswamy was consecrated. The Temple has references in Epics and Puranas. Srimad Bhagavatha says that Balarama visited this Temple, bathed in Padmatheertham and made several offerings. Nammalwar, 9th century poet and one among the 12 Vaishnavite saints of the Alvar tradition, has composed ten hymns in praise of Lord Padmanabha. Some well known scholars, writers and historians, like the late Dr. L.A.Ravi Varma of Travancore, have expressed the view that this Temple was established on the first day of Kali Yuga (which is over 5000 years ago). The legends of the Temple are handed down through the centuries. One such legend which finds a place in the old palm leaf records of the Temple, as also in the famous grantha entitled “Ananthasayana Mahatmya”, mentions that it was consecrated by a Tulu Brahmin hermit named Divakara Muni. On the 950th year of Kali Yuga a reinstallation of the idol was done. In the 960th Kali year King Kotha Marthandan built the Abhisravana Mandapam.
The story as narrated in the Ananthasayana Mahatmya goes as follows.
Divakara Muni was a great Vishnu Bhaktha. While at ‘Aanarthadesa’, he performed deep tapas. One day Maha Vishnu appeared before the sage as a lovely child. The charming child attracted the attention of the sage. He requested the God-child to stay with him. The child made his stay conditional. Accordingly, the Sanyasi should treat him with respect. On failing to do so, he would vanish at once. This was accepted and the child stayed with him. The hermit gave him great care and tolerated the childish pranks. One day, when the sanyasi was in deep meditation at his prayers, the chills took the ‘salagram’ which the sanyasi was using for worship and put it into his mouth and made such a nuisance of himself that Divakara Mini was greatly angered and could tolerate it no further. He thereupon chastised the child. In accordance with the earlier agreement, immediately the child ran away and disappeared from the spot. While going he said, “If you wish to see me again, you will find me again in Ananthankaadu”. It was only then that Divakara Muni realized who his erstwhile child guest had been. The hermit was stricken with inconsolable grief and for many days followed what, he believed was the route taken by the child foregoing food, rest and sleep in the process.
lnh2
Finally he reached a wooded area near the sea coast, caught a glimpse of the child disappearing into a huge ‘Ilappa’ tree. Immediately the tree fell into the ground and it assumed the form of Sree Maha Vishnu. The divine form had its head at ‘Thiruvallam’(a place about 3 miles from East Fort at where the Temple of Sree Padmanabha Swamy is located) and its feet at ‘Trippapur’ (5 miles away towards the north). Overawed by the majesty and the size of the divine form, which manifested before him, the Sanyasi prayed to the Lord to condense Himself in size so that he could behold Him. There upon the image of the Lord shrank to a size, three times the length of the Sanyasy’s Yoga Dand. His prayers had been granted. He immediately offered a raw mango in a coconut shell(still this offering continues). The Lord ordained that, poojas to Him should be conducted by Tulu Brahmins. To this day half the number of poojaris(priests) in this Temple represent Tulu region.
Another generally accepted version about the origin of the Temple relates it to the famous Namboothiri sanyasi Vilvamangalathu Swamiyar, whose name is linked with the histories of several temples in Southern India. This Swamiyar was also a Vishnu bhaktha. The legend is almost identical with that of Divakara Muni referred above. It is said that, when Sree Maha Vishnu presented himself in the Ananthasayana rupa (in the form of reclining on Anantha) before the sage at Ananthankaadu, the latter had nothing worthwhile to offer Him. From a mango tree standing nearby he plucked a few unripe mangoes and placed them in a coconut shell lying there and in all humility offered it as ‘nivedyam’ to the Lord. Even today salted mango forms a major offering. The original coconut shell has been encased in gold. It has also been the practice in the Temple for the past several centuries that the morning ‘pushpanjali’ is to be performed by a Namboothiri Brahmin sanyasi (designated Pushpanjaly Swamiyar) specially commissioned for this purpose.

These traditional customs coupled with the fact that the Pushpanjali Swamiyar holds a position of importance in the ‘Ettara Yogam’ (a committee which, at one time in the distant past, was the governing body of the Temple but has, over the years, become a ceremonial and advisory panel) lend substance and some measures of credence to the theory that this Temple was founded by Vilvamangalathu Swamiyar. On the other hand the legend of the Divakara Muni can be substantiated by the presence of a large number of Tulu Brahmins. Besides being represented in the ‘Yogam’, the Namboothiri Brahmins also have a position of eminence in the rituals and ceremonies of theTtemple . The Tantries(high priests) have always been from the Tharananalloor family belonging to this community. It is also believed that the small Sree Krishna Swamy Temple, located near the Western Swamiyar Madham (residence of one of the two Pushpanjali Swamiyars of the Temple) has been built over the Samadhi of Vilvamangalathu Swamiyar.
Some historians and researchers hold the view that the Thiruvambadi shrine of Sree Krishna Swamy is older than the shrine of Sree Padmanabhaswamy. According to legend the Sree Narasimhaswamy and Sree Sastha shrines were established after the installation of the idol of Lord Sree Padmanabhaswamy. There is mention in the ‘Bhagavatha Purana’ (canto 10, chapter 79) that Sree Balarama visited “Syanandoorapuram” or “Ananthasayam” (Thiruvananthapuram) in the course of His pilgrimage. Similarly in the ‘Brahmanda Purana’ also there is a reference to “Syanandoorapura”. These references show that this Temple is of great antiquity and has been held in veneration over the centuries as an important seat of Sree Maha Vishnu. The compositions of Nammalvar, the great Vaishnavite saint, in praise of Sree Maha Vishnu of this city, prove beyond doubt that this Temple existed in the ninth century of this era. In the year 1050A.D.(225ME), the Temple was reconstructed and the management re-organized by the then ruler.
The next important recorded events relate to the period between 1335 A.D. and 1384 A.D. when Venad was ruled by a powerful and wise king named Veera Marthanda Varma. He gradually established his authority completely over the management and administration of the Temple. There are records to indicate that in the year 1375 A.D. the Alpasi Utsavam (ten days festival held in October-November) was conducted in the Temple. Some of the important events relating to the Temple which took place after the demise of this ruler until 1729 A.D. are given below.

Between 1459 A.D. and 1460 A.D. the idol of Sree Padmanabhaswamy was removed to a ‘Balalaya’ for the purpose of re-construction of the roof of the sanctum sanctorum.

In 1461 A.D. the idol was re installed and an Ottakkal Mandapam (Single granite stone slab abutting the sanctum sanctorum) was put up.

In 1566 A.D. the foundation was laid for the Gopuram (pagoda) over the main eastern entrance.

In 1686 A.D. the Temple was almost fully destroyed in a major fire accident. Work on the re- construction of the Temple was started only in 1724.

In 1728 A.D. propitiatory ceremonies, connected with the serious fire of 1686, were conducted.
It was in the year 1729 that the great ruler Marthanda Varma became the king of Travancore. He took the steps to renovate the Temple. In 1730 the idol was again moved to ‘Balalaya’ prior to the renovation and reconstruction of the sanctum sanctorum. It took two years for completion. The old wooden idol was replaced by the one that we see today. Made of highly complex amalgam known as Katusarkarayogam, it contains 12008 Salagrams within it. Most of what is seen today within the walls of the temple were constructed. It is recorded that 4000 sculptors, 6000 labourers and 100 elephants worked for a period of 6 months to finish the construction of the sreebalippura (the oblong corridor). This magnificent rectangular corridor built of solid stones protects the Deities during seeveli on rainy days. The gopuram for which the foundation had been laid in 1566, was built during this period. Similarly the flag-staff in front of the main shrine was also erected at this time. Teak wood of required size was brought from the forest for this purpose and transported to the Temple in such a way that no part of the wood touched the ground. The pole was then covered completely with gold sheets. The renovation of the Temple tank, the Padmatheertham, including the flight steps and its completion in the form we see it today was also undertaken during this great ruler’s time.
Fifth Makaram 925ME, 19th or 20th January 1750AD, stood witness to the act of a sublime dedication and the ultimate offering possible for a crowned head – the Thrippadi Danam. After the completion of certain religious ceremonies Maharaja Anizham Thirunal Marthanda Varma arrived in the Temple along with the male family members, his trusted Diwan and other officials. In presence of the Swamiyar, members of the Yogam and Brahmins the Maharaja submitted to Sree Padmanabha Prajapati, his entire State of Travancore along with his total right on it thereof by placing the Crown, the royal umbrella, the twin white Chauries (fans), the Manikandha – which were all symbols of royalty, along with some thulasi leaves on the Mandapam. Last but most significant, he placed his famous sword (the unquestioned insignia of sovereign authority which the King valued the most and which had lashed its unleashed velour in countless battle fields) in the steps of the Ottakkal Mandapam. Even before this, that the male members of the royal family, at the age of one, ware laid on the Ottakkal mandapam and surrendered to Sree Padmanabhaswamy as His own, gaining the supreme title ‘Sree Padmanabha Dasa’.
In 1758, during the reign of Sree Karthika Thirunal Rama Varma, the fabulous Kulasekhara Mandapam was build. It is a marvelous and fantastic architectural work on stone. It is also known as Aayiramkal Mandapam and Sapthaswara Mandapam. It is supported by 28 balustrades of pillars. The pillars on the four corners can produce musical notes when taped.
In 1820 a very big mural mirroring the Ananthasayanam, which is termed as the biggest in the temple murals of Kerala, was drawn during the period of Rani Goury Parvathi Bayi.
Among the rulers of the erstwhile Travancore Maharaja Sree Chithira Thirunal Rama Varma ranks as one among the most illustrious royal personalities, who ruled in his dual capacity as Dasa and Ruler. He ruled as a Sage among Kings. The Kshethra Praveshan Vilambram or the Temple Entry Proclamation was in 1936 which was the epoch-making event of the Maharaja’s religious and political life. This Proclamation, issued on the eve of his twenty forth birthday, has been considered by evaluators as the most socially progressive and religiously liberal ordinance enacted in India. It was a revolutionary and courageous action initiated for the first time in the country towards the eradication of untouchability. The rest of India followed his footsteps.
Both the Thrippadi Danam and the Kshethrapraveshana Vilambaram made history and stand out by themselves as lasting tributes to the vastness of heart and sublimity of conception of those who visualized them.
In 1991, after the demise of Sree Padmanabha Dasa Chithira Thirunal Rama Varma, Sree Uthradam Thirunal Marthanda Varma assumed charge of the Sree Padmanabhaswamy Temple. In compliance with the sanction already accorded by Sree Chithira Thirunal, Sree Uthradam Thirunal conducted the Kodi Archana in the Sree Padmanabhaswamy Temple. In 1992, Maharaja Sree Chithira Thirunal’s personal worship idols were installed inside the Temple premises.
The mass chanting of Sahasranama was newly introduced on public request. The gold covering of the main Balikkal which was started two years before was completed in 1993. Playing of the percussion instrument known as ‘Edakka’ re-introduced in 1994. Another important work of that year was the gold work in the narrow window-like part at the feet of the Lord on the northern side of the outer wall of the sanctum. The Murajapam and Lakshadeepam were also conducted in the Temple in the grand manner which occurs once in six years. The last Lakshadeepam celebrated in 2008 and the next falls on 2014.

Deities

Sree Padmanabhaswamy
sree-padmanabhaswamy-temple-thiruvananthapuram
The marvelous idol of Sree Padmanabhaswamy is seen reclined on the mighty five hooded serpent Anantha. The supreme God is in conscious cosmic slumber with the head positioned to the south and the feet to the north. Anantha (or the endless) spreads its hoods above the head of the Idol. The three coils represent the three characteristics of mankind Sattva, Rajas and Tamas and its five hoods indicate the Panchendriyas(five senses) or the five elements(Panchabhootas). From the navel of the Lord emerges a lotus on which Lord Brahma, the Creator, is seated. Just below the stretched right arm of the Lord is the Shiva Linga of the Destroyer. Brahma, Vishnu(Padmanabha) and Shiva represent the ‘Srushti, Stithi and Samharam’.
The residing potency was drawn from the original Idol which was made of Iluppa wood and infused into the present Idol by certain complicated religious ritualistic processes. The Idol is made up of a highly complex amalgam termed Katusarkarayogam and contains within it 12008 Salagramas collected from the bed of the River Gandaki in Nepal. It is believed that Salagramas represent Lord Vishnu. Twelve Salagramas when worshipped together gain the potency of a Mahakshetram(Great Temple). Thus the mighty Ananthasayana Moorthy here gains the greatness and sanctity of a thousand Mahakshetrams.
The sanctum sanctorum has three entrances representing the three stages of times. It is only through those doors that we can observe the Deity.
Vishwaksenan
This idol in sitting posture, facing the South, is given great prominence as Vishwaksenan is Mahavishnu’s Nirmalya moorthy.
Sree Ramaswamy with His consort Seetha and brother Lekshmanan
We can see two sets of idols of Sree Ramaswamy with Seetha and Lekshmanan. Of these, one set of idols are in the regal style while the other represent the Lord’s tenure at Dandakaranyam(Forest). The image of Sree Hanuman is there as an orderly to Lord Rama. Idols of an eight armed Ganapathy with a Devi seated on His lap and a small Kaliyamardana Krishna are also present.
Sree Yoga Narasimha Moorthi
The shrine for Sree Narasimha Swamy is located to the South of the main sanctum. Sree Narasimha Moorthy is the fourth incarnation of Lord Maha Vishnu and assumes the form of Man and Lion. The image is in the ‘Ugra roopam’, hence powerful. To pacify Him, Ramayana is being recited throughout the time when the Temple doors are open. This idol, made of Panchaloham, faces the East. This is the second major deity of this Temple.
Sree Veda Vyasar and Ashwathama
The shrine of Sage Veda Vyasar (who gave life to the great Epic Mahabharatha and other religious texts) with Ashwathama is located on the north of the cheruchuttu. This shrine faces the West. Veda Vyasa shrines are rare in India. Both idols are made of Panchaloham.
Thiruvambadi Sreekrishnaswamy
The Thiruvambadi Temple enjoys the status of an independent temple within this Temple complex. This shrine has a Namaskara Mandapam with fine display of carvings in wood, a Balikkal and a silver flag pole. The image of Sree Krishna as Parthasarathy is of medium built and is in stone. He is the third major Deity of Sree Padmanabha Swamy Temple.
Kshethrapaalakan
The idol of Kshethrapaalakan in the sitting posture faces the East. His shrine is located on the Northern side of the Temple. Kshethrapaalakan is considered as one of the eight Bhairavas of Shiva who perform the role of protector to temples. There is also an idol of Lord Ganesha, in this shrine.
Agrashaala Ganapathi
This idol is installed in the cooking area of the Temple. The belief is that Lord Ganesh witnesses and oversees the Annadanam(offering of free food) organized by the Temple.
Hanuman Swamy, Ashtanaga Garuda Swamy and the Maha Meru Chakram
Near the golden flag pole we see the towering image of Sree Hanuman Swamy in full relief. To His left is Sree Ashtanaga Garuda Swamy. On the ceiling between these images is the Maha Meru Chakram complete with the Bindu or the central point which is engraved in clear focus. This cosmic wheel enhances the spiritual strength of Sree Hanuman.
Sree Dharma Sastha
The Swayambhu Dharma Sastha in Yogasanam or Yogic posture on the South side of the Temple is an independent shrine. This idol is made of granite and faces the East.


  Darshan Timing


Morning
03.30 am to 04.45 am (Nirmalya Darshanam)
06.30 am to 07.00 am
08.30 am to 10.00 am
10.30 am to 11.10 am
11.45 am to 12.00 Noon
Evening
05.00 pm to 06.15 pm
06.45 pm to 07.20 pm
The above-indicated time schedule is subject to changes during festivals and other special occasions. During the festival occasions the darshan time is reduced in order to performing the special poojas.

 LIVE TRAIN ENQUIRY


Festivals

Chingam 1st
Malayalam New Year Day attracts many devotees here.
Vinayaka Chathurthi
This event comes on the Chathurthi tithi on Karuthapaksham(New Moon) of Chingam. Special offerings and deeparadhana are conducted for the Ganesh idol in the Sree Rama Shrine. ‘Chirappu’ is observed for the Agrashala Ganapathi. The Valiya Thampuran (eldest male member of the royal family) worships here only on this day and witnesses the deeparadhana.
Thiruvonam
This is one among the most major celebrations of this Temple by virtue of the fact that it is the Thirunal (Birthday) of Sree Padmanabhaswamy. The Temple celebrates this day in the manner laid down long ago. Of special note is the submission of the Onavillu to the Deities. It has a tradition of centuries behind it.
Ashtami Rohini
Sree Krishnaswamy’s birth day is celebrated all over India in the month of Chingam when the asterism Rohini and the thithi Ashtami coincide. In this Temple special decorations and offerings mark this day. The Temple opens early in the noon by 2 pm. At 2.30pm abhishekam of milk is performed to Sree Krishna. On this day an exquisitely decorated ivory cradle is placed on the Abhisravana Mandapam and number of images of Lord Krishna are kept inside for the devotees to view. It is believed that if prayer is offered to them by childless couples, they will be blessed with infants.
Navarathri Pooja
In connection with the Navarathri festival Sree Saraswathi Amman is brought from Padmanabhapuram Palace in Kanyakumari District and worshipped traditionally in the Navarathri Mandapam at the Valiya Kottaram complex. Huge crowds throng for darshan. Sree Kumaraswamy from Kumarakovil and Sree Muthuttee Nanga from Suchindram also accompany Her in grand procession.
Valiya Ganapathi Homam
This is carried out for twelve days starting two days before the commencement of the Navarathri Festival, by the Tharananalloor Namboodiripads who are Tantries of the Temple.
Alpasi Ulsavam
Sree Padmanabhaswamy Temple celebrates bi-annual festivals in the months of Thulam (Alppasi) and Meenam(Painkuni). A function is conducted for according formal sanction to conduct the Ulsavam(festival). This is known as Anujna. Other functions include Mannuneeru Koral, Mula Pooja, Kalasam, etc. The festival starts with Kodiyettu(flag hoisting) at Sree Padmanabhaswamy’s gold and Sree Krishnaswamy’s silver flag poles. The festival is of ten days duration culminating in the spectacular Palliveta and Arat processions on the 9th and 10th days respectively. Kalasams also known as Ulsava Kalasams take place in addition to the routine rituals. Special Sreebalies (Processions) are conducted twice a day, in the evening 4.30 pm and at night 8.30pm.Exception is there on the first day when there is only night Sreebali.
Once during the reign of Sree Anizhom Thirunal Marthanda Varma, an elephant ran amock. Since then, the practice of using elephants to carry the idols in the procession was given up and Vahanas (vehicles) carried on the shoulder by a number of priests came into vogue. Six different kinds of beautiful conveyances are used for these processions. They are the Simhasana Vahanam(Throne), Anantha Vahanam(Serpant), Kamala Vahanam(Lotus), Pallakku Vahanam(Palanquin), Garuda Vahanam(Garuda) and Indra Vahanam(Gopuram). Of these the Pallakku and Garuda Vahanas are repeated twice and four times respectively. The Garuda Vahanam is considered as the favorite conveyance of the Lord. The different days on which the various Vahanams are taken out for the procession are as follows.
1st day of Utsavam Simhasana Vahanam
2nd day of Utsavam Anantha Vahanam
3rd day of Utsavam Kamala Vahanam
4th day of Utsavam Pallakku Vahanam
5th day of Utsavam Garuda Vahanam
6th day of Utsavam Indra Vahanam
7th day of Utsavam Pallakku Vahanam
8th day of Utsavam Garuda Vahanam
9th day of Utsavam Garuda Vahanam
10th day of Utsavam Garuda Vahanam
Sree Padmanabhaswamy’s Vahanam is in gold while those of Narasimha Swamy and Krishna Swamy are in silver. The Vahanams are richly decorated with colourful flowers.
The eighth Utsavam has significance in the sense that ‘Valiya Kanikka’ is offered. During the night Sreebali the Swamiyar offers the first Kanikka followed by the Valia Thampuran(the eldest male member of the Royal Family).
The ninth day festival is called Pallivetta. Pallivetta signifies a royal hunt. As the Ruler of the land, the Swamy ventures to hunt down and annihilate all the ills. In a temporarily erected grove, the Maharaja as the representative of the Lord, aims an arrow on a tender coconut which symbolizes evil. The Valiya Thampuran and other male members of the Royal Family array outside with swords and shields, and accompany the procession.
The difference in the Garuda Vahanam used for the Pallivetta and Aarat is that the Anki (outer covering) of the image of Lord Padmanabhaswamy holds a bow and an arrow in the hands.
On the tenth day is the Aarat. After two circumambulations, all the Vahanams are taken out through the Western entrance. The Valiya Thampuran and other male members of the Royal Family escort the Deities with drawn swords and shields.
The Aarat procession slowly proceeds with pomp and pageantry, colour and music, men carrying divine emblems and insignias of royalty. History and heritage are re-lived. The procession reaches the Sanghumugham beach and the Vahanams are positioned in the Aarat Mandapam. Poojas are performed to the idols by the Tantri (Tantri is of the Tharanalloor Illam. This Illam has held the position of Tantri for centuries) and the holy immersion in the sea takes place. After this, the procession returns to the Temple.
Mandala Chirappu
The celebration for the Sastha begins on the first of Vrischikam. Mandalachirappu falls on the 41st day.
Swargavathil Ekadasi
This is an auspicious day for the devotees of Maha Vishnu. On this day people throng the Temple. Special poojas, offerings and night Siveli take place. The Temple remains open for longer duration.
Bhadradeepam
Bhadradeepam is observed on the summer and winter solstices. On these day Bhadradeepappura is opened and special poojas are made.
Kalabham
This is conducted for seven days commencing from the last six days of Dhanu and Midhunam. The ablution with sandal paste on the idols is the highlight of the function.
Makara Sreebali
A night Sreebali observed on winter solstice (Utharayanam).
Sivarathri
This is a day celebrated all over India as important for Sree Parameswara. On this day special Abhishekam is done to the Shiva residing in the Sanctum.
Painkuni Utsavam
All the rituals and functions which take place for this Utsavam are same as for Alpasi Festival, the difference being the asterism. While prominence is given to the star Thiruvonam under which alone the Arat takes place for Alpasi, for Painkuni the emphasis is on the day of Kodiyettu (flag hoisting) on which the asterism is Rohini. In connection with this festival the massive figures of Pandavas are erected at the Eastern entrance of the Temple.
Sree Rama Navami
Special poojas are performed on this day for Sree Rama.
Vishu
Vishu is an extremely auspicious day for Malayalees. Vishukani is arranged inside the sanctum of all shrines in this Temple complex. The Temple opens an hour earlier for Vishukkani Darshanam.
Karkataka Sreebali
On the first day of the Malayalam month Karkkitakam solstice (Dakshinayanam) the Karkkitaka Sreebali takes place. Its procedure is same as the Makara Sreebali.
Sree Veda Vyasa Jayanthi
Sree VedaVyasa Jayanthi is celebrated on the full moon day of Karkkitakam in honour of the great sage Vyasa who resides in his separate shrine. Sree Veda Vyasa consecrations are rare.
Niraputhari
On the day of Niraputhari sheaves of grain are ceremoniously brought to the Temple. The chief priest removes some sheaves from the bundle after performing pooja to the same and takes them inside the sanctum of Sree Padmanabha Swamy and submits them. Some sheaves are spread out on the Ottakkal Mandapam. This procedure takes place in all the other shrines of this Temple complex.
Murajapam
The very term reveals its meaning. ‘Mura’ means turn and ‘Japam’ means chanting. This prayer lays tremendous stress on the chanting of Vedas and the Vishnu Sahasranamam( thousand names of Maha Vishnu). It is celebrated once in six years. It comprises 56 days of Veda chanting, Sahasranama Japam and rituals.
Lakshadeepam
Lakshadeepam literally translates as one lakh lamps. The entire Temple is adorned with lamps. The Sreebali (Procession) conducted with illumination on the concluding day of Murajapam is known as Lakshadeepam. The maiden Lakshadeepam was celebrated on the 1st of Makaram 925 ME / 14th or 15th of January 1750 AD. The festival was conducted with much pomp and fanfare, in the grandest manner possible by King Marthanda Varma. The latest Lakshadeepam was celebrated in 2008. The next one is due in 2014. It still continues as an immensely grand festival and visual magnitude attracting staggering numbers to the doors of this great Temple.
Legendary Padmanabhaswamy Temple was greatly administrated by Great Travancore King family
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Tresure of Padmanabhaswamy
The temple and its assets belong to Lord Padmanabhaswamy, and are controlled by a trust run by the Royal family.T P Sundara Rajan's litigations changed the way the world looked at the Temple. The Kerala High Court ordered the temple and its assets be managed by the State on 31 January 2011. As trustees of the temple, the Travancore Royal family have challenged the Kerala High Court's decision in the Supreme Court of India.
In June 2011, the Supreme Court directed the authorities from the archaeology department and fire services to open the secret chambers of the temple for inspection of the items kept inside.The temple has 6 vaults (Kallaras), labeled as A to F for book keeping purpose by the Court. While vaults A and B have been unopened over the past many years, vaults C to F have been opened from time to time. The two priests of the temple, the 'Periya Nambi' and the 'Thekkedathu Nambi', are the custodians of the four vaults, C to F, which are opened periodically. The Supreme Court had directed that "the existing practices, procedures and rituals" of the temple be followed while opening vaults C to F and using the articles inside. Vaults A and B shall be opened only for the purpose of making an inventory of the articles and then closed.
The review of the temple's underground vaults was undertaken by a seven-member panel appointed by the Supreme Court of India to generate an inventory, leading to the enumeration of a vast collection of articles that are traditionally kept under lock and key. A detailed inventory of the temple assets, consisting of gold, jewels, and other valuables was made. Several 18th century Napoleonic era coins were found,as well as a three-and-a-half feet tall gold idol of Mahavishnu studded with rubies and emeralds, and ceremonial attire for adorning the deity in the form of 16-part gold anki weighing almost 30 kilograms (66 lb) together with gold coconut shells, one studded with rubies and emeralds.
This revelation has solidified the status of the Padmanabhaswamy temple as one of the wealthiest temples in India and with the final estimate of the wealth, it might overtake the Tirumala Venkateswara Temple—hitherto thought to be the wealthiest temple—having some INR32,000 crore or INR  320 billion (US$5.82 billion) in gold, coins and other assets.It is estimated that the value of the monumental items is close to INR1.2 lakh crore or INR1.2 trillion (US$21.84 billion), making it the richest temple in the world. If the antique value is taken into account, these assets could be worth ten times the current market price.
The valuables are thought to have been in the temple for hundreds of years, having been put there by the Maharajahs of Travancore. While some historians have suggested that a major chunk of the stored riches reached the kings in the form of tax, gifts, as well as conquered wealth of states and offerings stocked in the temple for safekeeping. But it has to be remembered that in Travancore a distinction was always made among Government Treasury (Karuvelam), Temple Treasury (Thiruvara Bhandaram or Sri Bhandaram) and the Royal Treasury (Chellam). During the reign of Maharani Gowri Lakshmi Bayi, hundreds of temples that were mismanaged were brought under the Government. The excess ornaments in these temples were transferred to the Vaults of Sri Padmanabhaswamy Temple. Instead the funds of Sri Padmanabha Temple were utilised for the daily upkeep of these temples.
On 4 July 2011 the seven-member expert team tasked with taking stock of the temple assets decided to postpone opening of the chamber marked 'B'. This chamber is sealed with an iron door with the image of a cobra on it and it has not been opened, due to the belief opening it would result in much misfortune. The royal family said that many legends were attached to the temple and that chamber B has a model of a snake on the main door and opening it could be a bad omen. Seven-member team will consult with some more experts on 8 July 2011 and then they may take the final decision on opening of chamber ‘B’. An Ashtamangala Devaprasnam conducted in the Temple to discern the will of the Lord revealed that any attempts to open the Chamber B would cause Divine displeasure and that the holy articles in the other chambers were defiled in the inventorying process.
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