Bhadrachalam Temple

  

Lord Sree Sita Ramachandra Swamy Temple in Bhadrachalam is a Hindu temple of Lord Rama located in Telangana, India. The area is called as Bhadrachalam and is the venue of grand celebrations on Rama Navami day, when the wedding anniversary of Lord Rama and his consort Sita takes place with much fanfare.

The temple in Bhadrachalam is closely connected with the life of the 17th-century saint composer Kancharla Gopanna who was known as Bhakta Ramadas. Gopanna was the Tahasildar of Bhadrachalam (second half of the 17th century), is said to have used money from the government treasury to build this temple, and was imprisoned in a dungeon at Golconda. Lord Rama is said to have miraculously given the Sultan the money spent by Gopanna, after which he was released. Gopanna then became Bhadrachala Ramadasa and went on to compose innumerable number of songs in Telugu in praise of Rama.

Bhadrachalam and Vijayanagara are sites said to have been closely associated with the Ramayana. Rama, Sita and Lakshmana are said to have stayed at Parnasala, 35 km away from Bhadrachalam. Rama is said to have crossed the river Godavari on his way to Sri Lanka to rescue Sita, at the spot where the Bhadrachalam temple stands, on the northern bank of the river. Legend has it that the son of Meru and Menaka, Bhadra, performed penances towards Rama here. Kabirdas, a Muslim by birth is also closely associated with this temple. It is believed that the images of the deities miraculously disappeared when Kabir was refused entry into the temple and that they reappeared miraculously upon his being permitted to enter.

Bhadrachalam attracts hundreds of thousands of devotees from all over the world. This hill place that is encircled by Holy River Godavari flowing towards southern direction is the famous shrine Bhadrachalam. The name is derived from Bhadragiri (Mountain of Bhadra: a boon child of Meru and Menaka). The history of this shrine stands for the significance of Ramayana Era, the coherent hill place existed in "Dandakaranya" of Ramayana period where Rama with his consort Sita and brother Lakshmana had spent their vanavasa. The vicinity of the temple had its incongruous mixture in another story which depicts the exigency of "Sri Mahavishnu" to manifest himself as Rama and shuffled again to the mortal coil — long after Ramavatara was to fulfill his promise to his Bhakta Bhadra (a mountain king), a sage who had been continuing the intense penance to get grace of Lord Rama.

For more information about Bhadrachalam Temple, visit the website on Bhadrachalam and Temple

The history depicts that the need emerged the incarnation of Vaikunta Rama was that to fulfill a long desire of his ardent devotee Bhadra. The Saint Bhadra performed penance at the bank of river Godavari in Dandakaranya to get grace of lord Rama and in countenance of his beloved God. The exulted sage implored Rama to be seated on his head, but Rama who was in search of his consort Sita gave promise to his Bhakta that his desire would be fulfilled on his way back, after finding Sita and accomplishing the process of punishing the wicked Ravana and establish ‘Dharma’. Thus the sage had been in continuation of the frightened penance, as Rama could not accomplish the promise in Ramavatara. Then Sri Mahavishnu manifested himself as Vaikunta Rama and rushed to his devotee Bhadra, signaling his arrival by blowing 'Shanku', accompanied by his consort Sita and brother Laxmana, resembling that of 'Gajendra Moksham.' Thus, the deities of Rama (having four hands) — Shanku on the right, Chakra at his left and Dhanurbhana (Bow and Arrow in the other two hands) — Sita had condescended on the left lap of Rama and brother (at Ram’s left) are. And the hill place where the Deities were seated was the head place of Bhadra - Achala (immovable, i.e., hill), thus this shrine was transformed into Bhadrachalam.

Pokala Dhammakka found the deities of Vaikunta Rama, Laxmana and Sita. She was an ardent devotee of Rama lived in the 17th century was inhabitant of Bhadrireddypalem, a mile away from this holy place. One night, she had darshan of Rama in her dream and was told by lord Rama “the saints and sages are worshiping my embodied deity settled on Bhadragiri” and asked her to trace them, perform pooja and attain salvation. On the very next day morning she started searching for the deities - peeped into an anthill and found the deities hidden in it. She poured hundreds of pots of Godavari water on the anthill, which tardily dissolved and gave way to appear the hidden Deities. Since then, she used to perform pooja daily and offer 'nivedyam' with fruits fallen from near palmyra tree and constructed a mandapam with the help of local villagers.

Kancharla Gopanna popularly known as Bhakta Ramadas constructed Bhadrachalarama temple. He was born to Linganna Murthy and Kamamba in Nelakondapalli village of Khammamett Taluk in the 17th century (1630 AD). As Tahasildar he was discharging his official duties earnestly and collecting revenues due to Nawabs in continuation of daily preaches: chanting of 'Ramanama' and the feeding the poor at his house. Ramadasa heard the news that the villagers of palvoncha paragana were proceeding to witness Jatara at Bhadrachalam. He, too, out of curiosity, visited Bhadrachalam. He found the deities in an amazing appearance; Ramadas then asked the villagers to contribute liberally for the construction of the temple. The villagers appealed to him to spend the revenue collections for the construction of the temple with a promise to repay the amount after harvesting the crops. As such Ramadas constructed the temple with Rs 6 Lakhs collected from the land revenues without the permission of the Golconda Nawab.

Parnasala  is a Village situated in the Dummugudem mandal in the Khammam district of Telangana, India. The village is accessible by road and boats and is situated 32 km from the temple town of Bhadrachalam.

According to legend, it is said the "Lord Sri Rama " spent some of the 14 years of exile at this location. The locals believe that Sita, the beloved consort of "Lord Sri Rama" bathed in the stream here and dried her clothes on "Radhagutta" where the imprints are seen even today. The demon king "Ravana" parked his Pushpaka on the hillock on the opposite side of the river and abducted her. An earthen ditch reportedly caused when Ravana removed earth to carry off Sita to Lanka can be seen here. Another Hindu myth names Parnashala as the location where Rama killed Maricha, who came in disguise of a golden deer to deceive Sita.

Parnasala is a significant mythological sightseeing destination of Bhadrachalam. It is also one of the popular villages of Andhra Pradesh known for its ancient tales and beliefs. This village is famous as the place where Lord Rama stayed with his wife and brother during his 14 year exile.

The village has River Godavari flowing at the foot of its elevated land. At this place, there is also a Lord Rama temple. A small hut and foot prints are also seen around the village depicting the traces of incidents of ancient times, when Rama stayed here and his wife Sita was kidnapped by Ravana. There are also hoof marks of the popular golden deer of this mythology along with the wheel marks of the chariot on which Devi Sita was carried away by Ravana. The place which witnessed the sad mood of Lord Rama after this incident is known as Soka Rama.

Papikondalu Hills - a steam boat ride on River Godavari enjoying views of the River and setting sun. Available as a package of one day including 5 to 7 hours of boat ride. Diesel-powered boats start from Sriramagiri, about 60 km from Bhadrachalam. They offer breakfast, tea, lunch and evening snacks on the boat itself, except lunch where they make special arrangements on the way to papikondalu on the shores of Godavari. The taste & hygiene of the food is good. On the way you can also see the perantallapally, a temple of lord shiva ,where you can find a small water fall coming from the thick forests. A sage used to meditate in this forest. You should maintain utmost silence in the temple. You should not offer any thing (like donations etc). The environment is peaceful. If you have the time, you can do meditation here. On the way you can also visit Sriramagiri temple (58 km. from Bhadrachalam). It is always better to take water, fruit and food with you on the steam boat ride. You have to be cautious before planning trip to Papikondalu during summer as the water levels in River Godavari may cancel the boat trips.

Vaishno Devi

While various versions of the origin and legend of Shri Mata Vaishno Devi Ji are prevalent, there seems to be unanimity on the discovery of Shrine around 700 years back by the same Pandit Shridhar, at whose place Mata had helped organize a Bhandaara. When she left amidst the Bhandaara to escape Bhairon Nath, Pandit Shridhar is said to have felt as if he had lost everything in his life. He felt immense grief and gave up the intake of food or even water and closed himself in a room of his house, fervently praying for Vaishnavi to reappear.

It is then that Mata Vaishnavi appeared in his vision (dream) and told him to search for her at the Holy Cave situated amidst the folds of the Trikuta Mountain. She showed him the way to the Holy Cave and insisted him to break his fast. Pandit Shridhar then went on to discover the Holy Cave in the mountains. Every time he seemed to lose the way, the vision of his dreams reappeared before his eyes and finally he reached his destination. Upon entering the Cave he found a rock form with three heads atop it. At that moment Mata Vaishno Devi appeared before him in all her glory (another version says that the Supreme Energies of Mata Maha Saraswati, Mata Maha Lakshmi and Mata Maha Kali appeared in the Holy Cave) and introduced him to the three heads (now known as the Holy Pindies) of the rock form along with various other identification marks in the Holy Cave. She blessed him with a boon of four sons and a right to worship her manifestation and asked him to spread the glory of the Holy Shrine all over. Pandit Shridhar then spent his remaining life in the service of Mata at the Holy Cave

As per the legend, during the period when the Goddess was busy in annihiliting the Asuras, Her three main manifestations viz. Mata Maha Kali, Mata Maha Lakshmi and Mata Maha Saraswati got together one day and pooled their collective Tejas or spiritual strength. A stunningly bright light emanated from the place where the Tejas of the three manifestations coalesced and a beautiful young girl emerged out of this Tejas. The young girl asked them, "Why have I been created?'' The Devis explained to her that they had created her so that she would live on earth and spend her time in upholding righteousness.

The Devis added, "Now, go and take birth in the house of Ratankar and his wife who reside in the southern part of India, and who are great devotees of ours. Live on earth. Uphold righteousness and evolve yourself spiritually so that you reach higher levels of consciousness. Once you have attained the appropriate level of consciousness you will merge into Vishnu and become one with him.'' So saying they blessed the girl. Sometimes later a very beautiful girl child was born to Ratankar and his wife. The couple named the child Vaishnavi. The girl right from her childhood displayed a hunger for knowledge which was like a vortex and which no amount of teaching and learning could sufficiently satiate. Subsequently, Vaishnavi started looking into her inner self for knowledge, and soon learned the art of meditation and realized that meditation and penance only could bring her close to her greater objective. Vaishnavi thus relinquished all household comforts and went deep into the forest for Tapasaya (meditation). Meanwhile, Lord Rama, during his fourteen years of exile happened to visit Vaishnavi who recognized him immediately as no ordinary being but the incarnation of Lord Vishnu, and immediately asked him to merge her into himself so that she could become one with the supreme creator.

However Lord Rama, knowing that it was not the appropriate time, dissuaded her by saying that he would visit her again after the end of his exile, and at that time if she succeeded in recognizing him, he would fulfill her wish. True to his words, Rama visited her again after being victorious in the battle, but this time he did so in the disguise of an old man. Unfortunately, Vaishnavi was unable to recognize him this time and was distraught. Upon this, Lord Rama consoled her that the appropriate time for her being one with the creator had not come, and that time would come eventually in 'Kaliyug' when He (Rama) would be in his incarnation of 'Kalki'. Rama also directed her to meditate, and set up an Ashram at the base of Trikuta hills, to elevate her level of spirituality so as to bless mankind and rid the poor and destitute of their sufferings.Only then would 'Vishnu' merge her into himself. Vaishnavi, immediately set off for the northern part and after immense hardships, reached the foot of the Trikuta Hills. After reaching there she set up her ashram there and began to meditate.

As predicted by Lord Rama, her glory spread far and wide, and people began to flock to her Ashram to seek her blessings. As time passed,  MahaYogi Guru Goraksh Nath ji who had a vision of the episode between Lord Rama and Vaishnavi in the retrospective time frame, became curious to find out whether Vaishnavi has been able to attain a high level of spirituality or not. He, therefore, sent his most able disciple 'Bhairon Nath' to find out the truth. Bhairon Nath on locating the ashram started observing Vaishnavi secretly, and realised that though a 'Sadhvi' she always carried bow and arrows with her, and was always surrounded by langoors (apes) and a ferocious looking lion. Bhairon Nath was enamored by Vaishnavi's extraordinary beauty, and losing all good sense he began to pester Vaishnavi to marry him. Meanwhile a staunch devotee of Vaiashnavi, Mata Sridhar organised a Bhandara (Community meal) in which the whole village and MahaYogi Guru Goraksh Nath ji along with all his followers including Bhairon were invited. During the course of Bhandara Bhairon Nath attempted to grab Vaishnavi but she tried her best to daunt him. On failing to do so, Vaishnavi decided to flee away into the mountains to continue her Tapasaya undisturbed. Bhairon Nath however chased her to her destination.

The goddess after halting at (present day) Banganga, Charan Paduka, and Adhkwari, finally reached the holy cave Shrine. When Bhairon Nath continued to follow her despite the goddess trying to avoid a confrontation, the goddess was compelled to kill him. Bhairon Nath met his ultimate fate when the goddess, just outside the mouth of the cave, beheaded him. The severed head of Bhairon fell with a force at a distant hilltop. Bhairon Nath upon death realised the futility of his mission and prayed to the deity to forgive him. The almighty Mata ( Mother Goddess) had mercy on Bhairon and gave him a boon that every devotee of the goddess would have to have the Darshans of Bhairon after having the Darshans of the Goddess and only then would the yatra of a devotee be complete. Meanwhile, Vaishnavi decided to shed off her human form and assuming the face of a rock she immersed her self into meditation forever. Thus Vaishnavi, in the form of a five and a half feet tall rock with three heads or the Pindies on the top is the ultimate destination of a devotee. These Pindies constitute the Sanctum Sanctorum of the holy cave known as the shrine of Shri Mata Vaishno Devi Ji, which is revered by one and all.

The journey to the Holy Shrine of Shri Mata Vaishno Devi Ji starts with the Call of Mata. It is not only a belief but also a strong experience of one and all that the Divine Mother sends a call to her children. And once a person receives it, wherever he is, is bound to visit the Mother to receive Her unbounded love and blessings. A popular slogan in the local folklore beautifully expresses it- Maan Aap Bulandi - which means that The Mother Herself Calls! It is also a matter of experience by almost all those who visit the Holy Shrine that upon the Call of Mata, a person needs to just take one step and leave the rest to Her and his journey gets completed with Her divine blessings. 

Simultaneously, it is also believed that unless there is a call or Bulawa no one can visit the Shrine or have Her blessings, howsoever high or mighty one may be.The 'Aarti' of the Goddess is performed twice a day first time in the morning just before the sunrise and second time in the evening immediately after the sunset.

The procedure of 'Aarti' is a very sacred and lengthy one. The Pujaris perform 'Aarti' before the holy deity first inside the sanctum- sanctorum and than outside the cave. Before the commencement of 'Aarti', the Pujaris perform 'Aatam pujan' i,e self-purification. Then the Goddess is bathed in water, milk, ghee (Clarified butter), honey and sugar. Thereafter the goddess is dressed-up in a saree, chola and chuni and ornaments are endowed upon her. The whole process takes place amidst the enchantment of various shlokas and Mantras. Thereafter Tilak is placed on the forehead of the deity and Navied (prashad) is offered to her. The Pujaris perform puja of various Gods and Goddesses, as it is a believed that during the Aarti time, all the Gods and Goddesses are present inside the sanctum Sanctorum. The Jyoti (divine lamp) is lightened and then the 'Aarti' of the goddess is performed. After the whole procedure, the thaal which contains the lamp and various other items used in the 'Aarti', is brought outside the mouth of the holy cave, where 'Aarti' of the goddess is performed in the presence of yatris. The yatris who remain seated outside the holy cave during the time when the Aarti is performed inside the Sanctum Sanctorum, keep listening to the Pravachans of head Pandit. After the Aarti outside the holy cave is over, the pujari distributes Prasadam and the charanamrit ( the holy water) to the devotees.

This whole procedure of 'Aarti' takes nearly two hours during which time the darshans remain suspended. All the maintenance works required inside the cave are carried out during this time only.

The Holy Bhawan houses the Sanctum Sanctorum – the Holy cave which is the ultimate destination of the yatries. Inside the Holy Cave the Goddess has revealed herself in the form of Holy Pindies manifesting Mata in her three forms Maha Kali, Maha Lakshmi and Mata Saraswati.

A pilgrim can get the first glimpse of Bhawan around 1.5 Kms before he actually reaches there. The first sight of the Holy Bhawan brings a sudden upsurge of energy and all the tiredness of the strenuous climb evaporates immediately as if by a magic wave of some mystic wand. The fact that the last 1.5 km of the Yatra are either level or gently sloping downwards is a big relief to those tired muscles. The feeling of having almost reached there fills the devotees with extra fervor and devotion. The last 1.5 kms. are then covered on wings, as it were, and in no time, the yatri reaches Bhawan.

It is believed that after leaving the Garbh Joon cave at Adhkawari, where Bhairon Nath had located her, Vaishnavi started ascending uphill till the time She reached the Holy Cave. Bhairon Nath who was pursuing Her, located her again inside the cave and started challenging her. So, finally the Goddess assumed Her Divine Form and severed the head of Bhairon Nath. There was so much power behind the blow of Her sword, that Bhairon Nath's head flew away and fell on another spur of the mountain about One & a half Kilometer away, (the site of modern day Bhairon Temple) while his torso was left lying at the Mouth of the Holy Cave. The Goddess then immersed Herself into deep meditation inside the Sanctum Sanctorum where lies Her manifestation in the petrified form.

Kedarnath Temple

Lord Shiva manifested in the form of Jyotirlingam or the cosmic light. Kedarnath is highest among the 12 Jyotirlingas. This ancient and magnificient temple is located in the Rudra Himalaya range. This temple, over a thousand years old is built of massive stone slabs over a large rectangular platform. Ascending through the large gray steps leading to the holy sanctums we find inscriptions in Pali on the steps. The present temple was built by Adi Shankaracharya.The inner walls of the temple sanctum are adorned with figures of various deities and scenes from mythology. The origin of the revered temple can be found in the great epic - Mahabharata. According to legends, the Pandavas sought the blessings of lord Shiva to atone their sin after the battle of Mahabharata. Lord Shiva eluded them repeatedly and while fleeing took refuge at Kedarnath in the form of a bull. On being followed, he dived into ground leaving behind his hump on the surface. Outside the temple door a large statue of the Nandi Bull stands as guard. A conical rock formation inside the temple is worshipped as Lord Shiva in his Sadashiva form. The temple, believed to be very ancient, has been continually renovated over the centuries. It is situated at an altitude of 3,581 mt. It is a 21 km trek from Sonprayag.

At the approach of winters in the month of November, the holy statue of Lord Shiva, is carried down from Kedarnath to Ukhimath, and is reinstated at Kedarnath, in the first week of May. It is at this time, that the doors of the temple are thrown open to pilgrims, who flock from all parts of India, for a holy pilgrimage. The shrine closes on the first day of Kartik (Oct-Nov) and reopens in Vaishakh (Apr-May) every year. During its closure the shrine is submerged in snow and worship is performed at Ukhimath.

Location

Kedarnath is amongst the holiest pilgrimages for the devout Hindu. It is set amidst the stunning mountainscape of the Garhwal Himalayas at the head of the Mandakini River. Kedar is another name of lord Shiva, the protector and the destroyer. Shiva is considered the embodiment of all passions - love, hatred, fear, death and mysticism which are expressed through his various forms.

The shrine of Kedarnath is very scenically placed, and is surrounded by lofty, snow - covered mountains, and during summer grassy meadows covering the valleys. Immediately behind the temple, is the high Keadardome peak, which can be sighted from great distances. The sight of the temple and the peak with its perpetual snows is simply enthralling.

The Mythological Past

There are more than 200 shrines dedicated to Lord Shiva in Chamoli district itself, the most important one is Kedarnath. According to legend, the Pandavas after having won over the Kauravas in the Kurukshetra war, felt guilty of having killed their own Kith and Kin and sought the blessings of Lord Shiva for redemption. He eluded them repeatedly and while fleeing took refuge at Kedarnath in the form of a bull.

On being followed he dived into the ground, leaving his hump on the surface. The remaining portions of Lord Shiva appeared at four other places and are worshipped there as his manifestations.

The arms appeared at Tungnath, the face at Rudranath, the belly at Madmaheshwar and his locks (hair) with head at Kalpeshwar. Kedarnath and the four above mentioned shrines are treated as Panch Kedar.

An imposing sight, standing in the middle of a wide plateau surrounded by lofty snow covered peaks. The present temple, built in 8th century A.D. by Adi Shankaracharya, stands adjacent to the site of an earlier temple built by the Pandavas. The inner walls of the assembly hall are decorated with figures of various deities and scenes from mythology. Outside the temple door a large statue of the Nandi Bull stands as guard.

Dedicated to Lord Shiva, the exquisitely architectured Kedarnath temple is considered to be more than 1000 years old. Built of extremely large, heavy and evenly cut grey slabs of stones, it evokes wonder as to how these heavy slabs had been handled in the earlier days. The temple has a Garbha Griha for worship and a Mandap, apt for assemblies of pilgrims and visitors. A conical rock formation inside the temple is worshipped as Lord Shiva in his Sadashiva form.

Best Time to visit:-

The ideal time or peak season to go for a Char Dham Yatra is from May to October, except monsoons. This is because; all the four sacred sites are perched in Garhwal Himalayas, which is prone to heavy snowfall. As a result, all the passage leading to the shrines are blocked. Moreover, during the monsoon season, there is undue threat of having landslides, which can further disrupt the journey.

Kapat Opening:- The kapat of Shri Kedarnath Temple was opened on 24th April 2015 at 8:50 AM.

The lingam at Kedarnath, unlike its usual form, is pyramidal and is regarded as one of the 12 Jyotirlings.

The pandavas after having won over the kauravas in the epic war of Kurukshetra, felt guilty of having killed their own kith and kin. They sought the blessings of Lord Shiva for redemption but Shiva eluded them repeatedly. He took refuge at Kedarnath in the form of a bull. On being followed he dived into the ground, leaving his hump on the surface. The remaining portions of Lord Shiva appeared at four places and are worshiped there as his manifestations. The arms appeared at Tunganath, the face at Rudranath, the belly at Madmaheshwar and his locks at Kalpeshwar. Kedarnath including these four shrines is treated as Panch Kedar.

Pilgrims traditionally first visit Yamunotri and Gangotri and bring with them the holy waters from the sources of the rivers Yamuna and Ganga and offer abhishekams to Kedareshwara. The traditional pilgrim route is Haridwar - Rishikesh - Deo Prayag - Tehri - Dharasu - Yamunotri - Uttar Kashi - Gangotri - Triyugnarayan - Gaurikund and Kedarnath. Alternatively, the route to Kedarnath from Rishikesh is via Deo Prayag, Srinagar, Rudra Prayag, Agastmuni, Gupt Kashi and Gaurikund. Near Kedarnath is the source of the river Mandakini. Mandakini joins Alakananda at Rudra Prayag.

The kapat of Shri Badrinath Temple was closed on 19th Nov 2017 & Shri Kedarnath Temple was closed on 21st October 2017.

FESTIVALS

Badarikeshwar Festival

Nothing could be a perfect manifestation of Hindu religion and culture. The Badari Kedar festival is held in the sacred shrines of Badarinath and Kedarnath in the month of June. The festivities go on for a stretch of eight days. The festival makes an attempt to bring under one platform, the greatest artists of the country. What could be a more apt tribute to the rich Indian culture?

Other Festivals

Makar Sankranti (Jan)

Basant Panchmi(Jan-Feb)

Shivaratri (Feb)

Nandasthami (Mar)

Holi (Mar)

Baisakhi (Apr)

Rakshabandhan (Aug)

Mata Murti(Sep)

Lekhpal (Sep)

Shri Krishna Janamashtami (Aug-Sep)

Dussehra (Oct)

Dipawali (Oct-Nov)

Fairs

Nagnath (Feb)

Nanda Devi Nagnath (Mar)

Shivaratri Gopeshwar (Feb-Mar)

Maithan Maithan (March))

Bishwat Sankranti Kamprayag/Nandprayag (Apr)

Bikhot Agastyamuni (Apr)

Nautha AdiBadari (May)

Kaviltha Kaviltha (Jun)

Navmi Jasoli Haryali (Aug)

Nanda Devi Bedni Bugyal (Sep)

Nanda Devi Lata (Sep-Oct)

Krishna Mela Joshimath (Nov)

Gouchar Mela Gauchar (Nov)

Ansi Mela Anusuya Devi (Dec)

Sardotsava Joshimath (Feb)

Sardotsava Chomoli Gopeshwar (Feb-Mar)

Shani Dham Temple

Delhi, the national capital of India is also known for Shree Shani Dham Temple, with the highest Statue of Lord Shani in the world. This temple which is about 8-9 Km away from Mehrauli is situated at Asola, Fatehpur Beri, is equipped with the natural Rock Idol of Lord Shani, as the chief deity. Apart from this, the other fabricated idols are also established since long..

These Idols were being worshipped, adored for long- long times but in last few years i.e. on 31 May 2003 when the largest Radiant Shani Idol was unveiled by ‘Anant Shree Vibhushit Jagat Guru Shankracharya Swami Madhavasharam Ji Maharaj', Since then it has become the center of attraction for the devotees of Lord Shani. Remember, before this unveiling of the radiant Idol of Shani. Shree Sidh Shakti Peeth Shanidham Pithadhishwar Shree  Shree 1008 Mahamadaleshwer Paramhans Daati Ji Maharaj (Nijswaroopanand ji Maharaj) had performed enchanting of Shani Mantras for one hundred Crores and thirty two lakhs (in numbers) on this sacred grove. With a result, the whole environment of the Shani Dham Premises has become so alive that most of the problems of the devotees of Lord Shani are automatically solved, when they happen to reach this temple. Whatever troubles are left behind, they are also solved by their worshiping here and by offering oil (Telabhishek) to Lord Shani. For the welfare of the common man, I had have pleased Lord Shani through his pungent accomplishment and pungent devotion. By the grace of Lord Shani, my only deity, I have been succeeded in establishing Shani Idols at Pali, Rajasthan and at Asola Fatehpur Beri, Delhi. Through the devotion and worship performed here, all the hardest of troubles and problems caused due to the adversity of Shani are extinguished within no time.

The pious site of Shree Shani Dham, Asola, Fatehpur Beri is divided into two parts the eastern and the western. Herein, apart from the highest of Shani Idol, the attractive endowed statues of other gods and goddesses are also erected. By worshipping through these statues, the devotees get their desires fulfilled. Apart from this, there is a big library and a research center, in the Ashram Premises itself wherein many a learned men keep on making research over Lord Shani as well as over other religious view points. Here, all sort of questions related to astrology, Ayurved, Yoga and the Tantra are being answered. Rather Sage Rajasthani ji himself remains available all the times in order to answer such questions to the curious devotees. He also suggests remedial measures thereof.

First of all, I would like to tell you about the eastern part of Shani Dham. On the top of it, the eight metalled largest radiant Shani idol has been erected. This Idol attracts the visitors from far away. The main door of this eastern part falls in the west side. The ‘Vastu’ of this part makes a visitor wonder struck for few moments. As soon as one enters into the main door, he prospects the huge radiate idol of Lord Shani and the Shani rock too. On North and south, both sides there are Shani statues erected, wherein Shani Maharaj ji is riding over his various rides. Prospecting these beautiful radiant Statues of Lord Shani, the visitor is strongly attracted and remains undone. On the left and the right sides of Shani Shila (Rock) the Statues of Bhairav Dev are established. Prospecting these statues the visitors get deprived of their sins, committed by them since the long-long births.

Those who visit the temple for the worship of Lord Shani, they Should enchant the Mantra ‘Om Sham Shanishcharaya Nameh’, ‘Om Pram Preem Prom Se Shanishcharaya Nameh’, ‘Om Sham Shanishcharaya Nameh’ or the plasm (Strotra) by King Dashratha, while circumambulating the ‘Shila Murty’. Thereafter they should offer Poojan Samagri (Pooja Material) at the Statue of Lord Shani. Keeping in view to the convenience of the devotees visiting Shree Shani Dham and maintaining the purity and cleanliness, as also keeping in view, the security norms, under the present changing circumstances Pujan Samagari for Worshipping Lord Shani is made available in the premises of Ashram itself. All of you are requested that any Samagri brought from outside the temple premises should not be taken inside. Please co-operate us to maintain the discipline. Get a Pooja Thali from the room near by, taking these offerings go to the Prime ‘Shani Pratima’ and put each material in the relevant pot meant for this. ‘Swallow-Wort’ (Aak) leaf and Shani yantra be offered at the feet of Lord Shani. Now come down at Shani Shila and lit the lamp and offer ‘dhoop’ also. Besides this, circumambulate Shani Shila for eight times. Black grams, weighing one and a quarter of Kilo must be dipped into water, on the Friday night. After cooking them well and putting salt, chilies and oil over it, these grams may be distributed throughout your way from home to temple. It makes Lord Shani pleased and the devotee gets rid of all his troubles.

In the east side of ‘Shani Shila’, is a big hall, wherein symbolic idols of the twelve 'Jyotirlings' are established. On the top of this hall, the huge eight metals statue of Lord Shani is posted. All the devotees get their desired wishes fulfilled, prospecting Shani Shila and Statue posted in the temple premises. On the eastern side of this hall, arrangements are made to provide “Pujan Samagri”. For security reasons as also to facilitate the devotees such an arrangements have been made. In another room, rare astrological books and material for Shani poojan is made available. Books and magazines published by Shani Dham on various occult sciences are also made available for sale. Near the main gate, there is an enquiry office, reception office and the publication department.

Now, we enter into the western part of the ‘Shani Dham’ wherein western faced huge Shani statues are erected over the buffalo and the vulture. These statues are worshipped and ‘Telabhishek’ is made over here on every Saturday, Monday and Tuesday. In order to join ‘Telabhishek’ for a special purpose i.e. for the fulfillment of some desires or to deprive yourself of the various troubles or in order to perform of ‘Telabhishek’ on ‘Shani Amavasya, one has to obtain such (related) complete information from the organizer, in Shani Dham. Here, embracing and kissing the idol is a traditional ceremony. Offering our footwear’s as shedding off the poverty is another remedial measure. Only prospecting Lord Shani reverently removes the sins of human beings.

On every Saturday and on Shani Amavasya religious performances to pacify Lord Shani are made in this temple. Thousands of devotees get rid of their troubles, caused to them because of the malefic Shani, posted in their birth horoscope.

On the right side of the two Shani Statues, the idol of Lord Hanuman ji is posted there. It is faced towards South. On the left side of this idol, is the oblation pool. Again on the South side of this pool the idols of the nine planets are posted. Exactly Opposite to this, there is an arrangement for the devotees to take a bath. Here the devotees perform worship and Telabhishek (wearing red ‘Lungi’), after bathing and remaining in wet cloths. On every Tuesday, Lord Hanuman ji and Maa Jagdamba are also worshipped besides worshipping Lord Shani. A person ambitious to join this special Pooja on Tuesday can inquire about from the organizer as to what sort of poojan material is required for such performance.

In another cell, on the south side of the hall Jagdamba Maa, the huge ‘Shiv Lingam’ and the oblation pool is posted. On the west side of this hall is again another big hall. In this hall some special religious performances, my own satsang and speeches and the mediation meetings are held. Adjacent to this hall, is my own big hall for my special contemplation. In this big hall facing towards East, is an idol of Ardhanareshwar. I perform Sadhna in this hall. Generally, I meet people in the Ashram premises. Under special circumstances, I meet them in 'Sadguru Cell (Sadguru Prakostha)', at the north side of this hall.

The sacred atmosphere of Shree Shani Dham temple takes away the negativity of each devotee, as soon as he enters into the premises. I keep on performing here huge religions ceremonies. We perform Navratra Poojan, Deepawali Poojan and Special Poojan on Shani Amawasya through meditation campus and through various other adorations as well.

The whole atmosphere and the environment of the temple is getting purified through the vibration of recitation of mantras, through the rays of spiritual accomplishments and through the victorious sounds created by the overjoyed hearts of the devotees, who are blessed by Lord Shani. Under the auspicious atmosphere of the temple, the devotees get cooled down. By the grace of Lord Shani they get inspired and encouraged. Thus, they get totally freshed and energised and get ready to perform their worldly duties. At Shani Dham, each devotee worships Lord Shani directly. He performs circumambulation around his idol himself. There is no Priest, Pandit or a middle-man, between the devotee and Lord Shani. Each devotee is his own priest and the true feelings of him are the true mantras and their results are visible very shortly. The doors of Shani Dham are open to everybody. Each and every devotee of Lord Shani is welcomed here without any favouritism.

Shree Shani Dham Temple

Whatever ‘Poojan samagari’ (the offerings) are submitted for the sake of pacifying Lord Shani, chief of the Lords, it is not being misused. The Oil and the other materials offered as donation over the idol of Lord Shani is sold out and the money so obtained is spent specially for the management and the operation of ‘Cowpens’ and their fodder.

Your house may be decorated with blue cloths, blue curtains and blue bed sheets and colour the walls in blue colour.

The ‘Peethadheeshwar’ of Shani Dham has time and again experienced this fact in his life that whosoever makes misuse of the donation offered to Lord Shani, he runs into various pains and troubles and thus being surrounded of the adverse situations ruins away his life. Therefore, he takes a special care as to no part of the donation money may be misused.

One can very cleverly hide his misdeeds from the eyes of the others, but he can’t hide them from Lord Shani. One, who uses a part of the donation of Lord Shani in a hidden way, he is bound to fall sick, been chronically diseased and thus troubled badly, in many ways. Sometimes, he suffers incurable diseases like leprosy, the cancer, the arthritis etc. He also faces misfortunes one after another.

He goes on suffering chronic diseases. So, be warned! Neither you yourself neither make use of such donated money nor do allow others to do so.

Special Code of Conduct at Shree Shanidam Temple

Whatever ‘Poojan samagari’ (the offerings) are submitted for the sake of pacifying Lord Shani, chief of the Lords, it is not being misused. The Oil and the other materials offered as donation over the idol of Lord Shani is sold out and the money so obtained is spent specially for the management and the operation of ‘Cowpens’ and their fodder.

You have arrived in the temple of Lord Shani, the chief of the Lords; so, keep on enchanting “Om Sham Shanishcharaya Nameh” all the times. Besides this, do not make any sort of discussion.

The temple consists of no priest or a great sage. No one well-versed in Tantra science does reside over here. All of them are the devotees of Lord Shani. So, don’t offer money or any thing else over the idols, nor do you pay money to anyone. If you want to donate in the name of Shani, put your offerings in ‘Shani Dan Patra’ in cash only. This amount is used for the education and for the welfare of the poor & the helpless as well as for the sake of ‘cowpen’

Since no priest, great sage or any man well-versed in tantra science is residing over here, all of them are the devotees of Lord Shani. You are requested that it’s not a proper place for any type of witchcraft or black art or some way removing of evil spirits. It is a holy place for performing religious activities for the sake of getting rid of the troubles that people face because of the adverse circumstances during begetting the results of their own Karmas. Here, you can only perform repentive measures for doing your evil deeds gets undone, in order to please Lord Shani.

At this holy place, you cannot enter into the temple with any of the leather goods like belt, bag or any intoxicating material, like liquor, bidi, cigarette, gutka, tobacoo etc.

Wearing red lungi (after having taken a bath) and remaining wet, bathe the shani idol with oil. Doing so go on enchanting Shani mantra “Om Sham Shanishcharaya Nameh”!

First of all, go to the ‘Shikhar Pratima’ for worship. Thereafter circumambulate around the natural shila form of Lord Shani, offering dhoop and Deepak there. Now, go to the other temple on the opposite side and perform ‘Telabhishek’ at Lord Shani’s idol.

For the sake of the convenience of the devotees, all material relating to pooja (Poojan samagri) has been made available within the premises of ‘Shani Dham’. Please, the holy pooja thali be obtained from the Ashram premises itself, because all arrangements for Pooja samagri are made for devotees. All precautions and care has been taken for the purity and the genuineness of the material i.e. “Poojan samagari”, that is suitable and appropriate for the worship of Lord Shani. It is just to facilitate the devotees of Lord Shani and not for the sake of profit making.

All the devotees, visiting Shani Dham are requested to take care of their valuable goods. Vehicles may be locked and parked properly, at the parking place. With God's grace and great blessing of my deity Lord Shani, we have been able to arrange for a parking place, adjacent to Shani Dham so vehicles may be parked properly at the destined place only.

SRI ANANTHAPADMANABHA SWAMY LAKE TEMPLE

     Sri Ananthapadmanabha Swamy Temple is Vibrant with the spiritual power of Lord Mahavishnu is located near the northern end of Kerala, in Ananthapura near Kumbla in Kasaragod District. The temple is known as the moolasthanam, the original source, of the Sri Anantha Padmanabha Swamy Temple of Thiruvananthapuram, the capital of Kerala State, which is in the far south.

     The Landscape on the way to the temple opens a vast panoramic scene with ranges of sprawling hillocks on the background. An aura of peace and solitude permeater the whole region. On the midst of a vast grass land remains in splendorous charm Sri Anantha Padmanabha Swamy Temple, in the centre of a rectangular lake.

     The piligrim is reminded of the Puranic Symbology of Lord Vishnu, the all-perrading and timeless supreme reality, resting on the serpent Anantha, representing the endless phenomenon of time, and floating in the Ksheera Sagara, the ocean of Milk, representing the endless energy of creation.

     Here, in the Sreekovil, the sanctum sanctorum, of the temple, Sri Anantha Padbhanabha is depicted as seated on the divine serpent Anantha, while in the Sri Padmanabha Swamy Temple of Thiruvananthapuram, the Lord is reclining on Anantha. On both the sides of the Lord are Bhoodevi, the Goddess of Earth and Sreedevi, the Godess of Prosperity. Garuda and Hanuman stand in front of them praying with folded hands. Heavely maidens tan the Lord and his consorts from behind. Jaya and Vijaya, Lord Vishnu’s attendants, stand in guard at the entrance.

     The Sreekovil is surrounded by a rectangular lake. The Gopuram, the temple edifice, and the Sreekovil are connected by a small bridge. On the outer walls of the Sreekovil there are marvellous and ancient mural paintings on Puranic themes. To protect these paintings an outer wall was constructed around the Sreekovil in recent times.

     The Legend about the temple associates it with the great mystic and devotee of Lord Vishnu, Sree Vilvamangalathu Swami, who dominates the ancient spiritual lake of Kerala. In fact, his fame for extends the borders of Kerala. In Bengal he is popular as Bilvamgala. A legend associated with Vilvamangalathu Swami describes the temple as the Moolasthanam of Sri Padmanabha Swamy Temple of Thiruvananthapuram.

     While Sage Vilvamangalthu Swami was doing penance in the holy spot, Lord Krishna used to visit him disguised as a mischivous little boy. One day he did some pranks on him while the swamigal doing his pooja. Swamigal, at his wits end, admonished the child and pushed him with his back hand. The Lord, transformed into a ball of divine aura hastened through the cave. A divne voice echoed “Now if you want to see me, come to Ananthankadu”. Then only Vilvamangalathu Swami realised that the boy was none other than his own lord. It is said that the sage also ran into the cave and going through the passage that formed there he reached the Seashore and from there travelled southwords in search of Ananthankadu, At last the sage reached a place which is the present location of Thiruvanathapuram, the capital of Kerala, where he had the splendrons vision of Lord Vishnu. It was at this holy spot Eventually Sri Anantha Padmanabha Swamy Temple of Thiruvanathapuram came up. On the north-East corner of the lake there is still a big cave with a small pit with a parennial presence of water in it, Which is considered as a sacred Theertham. It is beleivered to be the cave where boy Krishna disappeared.

     Near the south-west corner of the lake there is a shrine housing a very graceful idol of Sreekrishna belived to have been the same idol worshipped by Sri Vilvamangalathu Swamy. Refere the book Sree Padmanabha Swamy Temple written by Smt. Ashwathi Thirunal Gowri Lekshmi Bai of Travancore Royal Family.

Vilvamangalathu Swamiyar and the Namboodiri connection.

     This is the most accepted version regarding the consecration of the Temple and relates to the famous Namboodiri Brahmin sage by name Vilvamangalathu Swamiyar. Three Vilvamangalattu Swamiyars have lived during different times, according to some. Vilvamanagalam I dates to the 9th century and Vilvamangalam III to the  16th century( about 1585 AD) with Vilvamangalam II coming in between. Even if the 9th Century saint is accepted as the Central figure in this Sthala Puranam, anachronism is glaringly obvious. The story basically runs on the same lines as that of Divakara Muni, deviating only at certain points. The location is in North Malabar and the Kasargode Sree Ananthapuram Temple featured in both. Here the child does not stay with the swamiyar but would faithfully appear every day during the Puja time of the sage. The Salagrama episode is the same and here the saint shows his annoyance by pushing back the little one with the back of the hand. (To this day it is deemed inauspicious to push someone away, with the back of the hand). The next difference in the story surfaces a little later on. It is said that the Sage ran after the child but soon lost track of him. The sound of the bells on the anklets adorning those little feet and on the waistband guided him for some more time, then they too ceased. The Sage wandered from place to place, consecrating many renowned temples of today on the way and getting many divine experience. He moved from North Kerala to the South Kerala in his ceaseless quest of the divine Child and Ananthankatu where he would find him. One evening he rested under a tree, physically and mentally weary. From the opposite side where stood the hut of a Pulaya, he heard the raise voice of an angry Pulayi threatening her baby who would not stop crying, that she would throw it into Ananthakatu if it did not stop wailing. The joyous Sages rushed to the hut and in answer to his question, the woman pointed to the near-by forest which was the destination of his long search. After blessing her and taking a single lighted wick from her to aid his progress into darkness in search of the Supreme Light, the Swamiyar entered the forest. Before long, the dearly familiar sound of the waistbells and anklets could be heard. In the pre-dawn hours, suddenly an lluppa tree crashed down with a mighty sound before him  and a great radiance manifested. On reaching the spot he got the Darsanam or Vision of God as Sree Padmanabha Swamy reclining on the serpent chief Ananta. The extent of this form and the subsequent reduction in size in response to the Sage’s prayers are the same as in the story about Divakara Muni. Having nothing else to offer to the Lord, the Swamiyar took a small unripe mango from a nearby  tree and placing it in a dry coconut shell submitted the same to the Lord in an overflow of emotion. The offering of a salted mango in the coconut shell which is reported to be the same one used by the Swamiyar though now covered with gold and gem studded, continues as an important daily Nivedyam to this day. In this connection it merits mention that the wood of this Iluppa tree is believed to have been utilized to carve the figure oh Sree Padmanabha Swamy and till the time of Marthanda Varma the Great, the Idol is seen to be of this wood. The Naduvil  Madhom  Pushpanjali Swamiyar’s  premises lying to the west of Sree Padmanabha Swamy Temple also contains a Sree Krishna Temple which is believed to have been consecrated on the Villvamangalathu Swamiyar’s  Samadhi. This adds much weight to the sage’s link with the Temple.

     The necessary presence of a Namboodiri Brahmin who has embraced  Sanyasam and has become a Sanyasi  renunciate) of a monastic order and who is known as the Pushpanjali Swamiyar  since he performs the daily Pushpanjali (workship with flowers) and holds an important place in Temple affairs, as well as the fact that the traditional Tantri family — the supreme arbitrator in Temple matters – is also of Namboodiri stock – corroborate the ongoing Namboodiri tradition in the Sree Padmanabha Swamy Temple.

     The Sree Anantapuram Temple in kasargode is related to both Divakara Muni and Vilvamangalathu Swamiyar. Kasargode which is today a part of Kerala was once in Tulu country. As such a trend of thought strongly prevails that both these sages were in reality one individual.

     As per these accounts the time slot detailed dates back to some centuries only where as this Temple has gained repeated mention from the time of the undated Puranas and ancient literature. Hence the presence of the anachronism with regard to the popular belief connected with the Sthala Puranam. The one explanation seems to be that while it is an established truth that the Sree Padmanabha Swamy Temple exists enveloped in timelessness, it is possible that this great shrine too faced reversals of fortune at certain phases of evolution necessitating its rediscovery and consequent re-consecration, while the Divinity in the Saguna aspect (that which has a form) continued unaffected. The physical constructions however have undergone alterations and structural renovations at different stages of the spiritually significant march of the Temple down the corridors of ages to emerge on the calendar of centuries with the brilliance of multitudinous suns.

     The idol of Sri Anantha Padmanabha Swamy and other idols are neither metal or stone, but made of a rare combination of more than 108 materials called Kadu-Sarkara-Yogam. Today this rare combination is known only to an aged artisan, Sri Subrahmanyan Achary and family of Vaikom.

Katu-Sarkara-Yogam

     After selecting a good tree from an area where high quality trees like Karinjali  (Acacia Catechu), Devatharu (Cedrios Deodara), Chandanam, (Sandalwood or Santalam Album) etc. grow, it should be cut and brought o the location where the work is to be carried out. In conformity with the specifications of the idol to be fashioned, a Pasam or rope scale should be made. The waist measurement and chest measurement should be demarcated on it. Representing the bones as it  were, as the continuation of the waist in downward trend, at the extremities, the feet measurements are arrived at and in like manner the extremities from the chest area lead to the arms according to a measurement fixed for them, along with the measurements for the entire back. The areas of the palms, feet, ears, and nose should be constructed by tying copper plates of suitable dimensions on to the basic structure. This is known as the Soolam (skeleton) of the idol. Four palams7 (a local unit of weight) of Thiruvatta-pasa (Pinus Roxlrerghir), which is the gum from the comman gum tree, is taken along with three palams of  kundirikkam (Bozwelliz Serrata), five palams of Gulgulu (Commiphora Mukal), one palam of  jiggery, eight palams of  Chenchalyam (resin of Shorea Robusta) and three palams of Kavi earth(red lumber stone or red ochre) and all these six ingredients are powdered well. This powder is put into an earthen pot, mixed with equal portions of oil and ghee and rolled in this medium. The mixture is then cooked over fire till it reaches the consistency of honey. Thereafter it is removed from the fire and it cools, it is applied all over the skeleton idol. Thus after the coating turned Ashtabandhalepanam which bins the frame is carried out in the manner described above, coating of the nerves or Nadi Bandhanam commences. The fine fibre of the hardened coconut husk(husk of Cocos Nucifera) is removed, washed and cleaned well and is twisted from left to right in three spirals and tied on ti this skeletal frame constituting Ida, Pingala and Sushumnam, which are the three vital nerves of the spinal cord along with the four other nerve centres known as Pusha, Yasaswini, shankhini and Kuhu. Collectively they represent the Saptanadies or the seven nerve centres of the body.

Sand from Jangala Desam or barren land, Anoopa Desam or marshly land and from plain land are brought, washed and cleaned seperately. Three different types of concoctions consisting of  (1) a combination if Karinjali (Acacia Catechu) and Maruthu(Terminalia Paniculata), are prepared and boiled together to a thick consistency, (2) Nalpamaram, decotion made out of the bark of the four fig trees viz.Athi,Ithi, Arayalu and Peralu(Ficus Racemosa, Ficus Gibbosa, Ficus Religiosa and Ficus Bengalensis) and 93) decotion of Kolarakku (lac) are prepared. The sand is put in each of these solutions and dried thereafter, it is then put in Thriphala Kashayam for a duration of ten days are redried. Thriphala Kashayam is made of these ingredients, Katukka (Tirmernalia Chebrila), Nellikka (Gooseberry or Embilica Officinalis) and Thannikka (Tirminalia Ballerica). River sand is powederd well and a portion equal to ¼ th of the quantity of each of the three types of previously prepared sand added to it. This mixture of medicinal sands is ground into a  paste using the Thriphala Kashayam as the liquid base. Yavam (Barely-Hordeum Vulgare), wheat and the leaves of Kasavu (Memecylon Edule) are seperately powdered and mixed and 1/8 th of the prepared sand added to it. It is wetted with well the water of the matured coconut and ground daily for ten days to make it into  a composition. Equal powdered  quantities of Thiruvatta-pasa (gum of the common gum tree), Gulgulu, Kundirikkam and Chenchalyam (refer previous text for all above tree) are added in a proportion of 1/4th of the same to the special sand and the mixture ground well adding honey to it. Wqual quantities of Chukku (dried ginger).

Pepper, Turmeric  and Thrippali (long pepper or Piper Longum) are powdered together and 1/24th measure added to the same and unified by mixing honey, milk and ghee and  grinding  them. As the next stage, plavin-pasa (leaf latex-Artocarpus Integrifolia) and the inner substance of the koovala-kayu (Aegla Marmelos) are taken in equal quantities and ground. 1/15th of this substance is added to the sand and re-ground adding a little bit of oil. Kumkumam (composite powder of red colour), chandanam (sandal),  Aritharam (Acacia Pernesiana), Kottam (Sassurea lappa), Karpoora (camphor), Akil  (Indian Cedar) and Gorochana (Benzar-extract from gall region of oxen) are powdered and 1/32nd of the sand is added and ground in an oil got by pounding the leaf of kasavu (refer prior text) to powder. Kasthuri (musk) is added to a slightly powdered mixture of gold, silver, river sand, sand from the crab’s hole, sea sand, sand from the ant hill, sand from the elephant tusks. This mixture is again added to the prepared sand.  This composition is deposited in a kashayam or decoction made from the resin of the Iluppa tree (Bassia Longifolia). The same is boiled and cooked for five days and thereafter ground. A quantity of coconut husk fibre equal to 1/4th of the mixture is cut into small bits and mixed with this  sand to which the gum of Koovalam and gum of Plavu (refer previous text for both ingredients) have been added. The same is pounded for ten days to make it into a composite whole. This composition is applied separately on the different parts of the frame of the idol which acts as its skeleton and on which the Nadi Bandhanam (amalgamating the nerves of the skeleton through special processes) has already been accomplished. It is rubbed well into those parts. This particular method is not to apply this mixture in thick layers but to give a thin coating with the mud paste. Now it is time to introduce the required characterstics of the idol on to the body which covers the frame. Pure silk on which the gum of leaf latex has been smeared is wrapped completely round the different parts of the body over and abovethe silk, equal proportions  of powdered river sand, Kozhippara (a specific rock ground to powder) and black coloured stones found on the river bed, are ground and daily mashed into a paste for the duration of  one month in a decoction of Thriphala, gum of Plavu and gum of Koovalam(refer previous text for all three). A thin coating of the same is applied all over the idol and dried. An application of Sankhu powder (powdered conch) is made on the idol giving  it a whitening effect. Required decorations and ornaments are worked on the surface enhancing  the grandeur of the idol.

      One can see from the ingredients used in the Katu-Sarkara-Yogam for the construction of the idols that they are all medicinal. Just as the human body is protected with a natural medicinal coverage, the same concept is extended to the idol to which a living form is being bestowed.

      This is the process of Katu-sarkara-Yogam in brief. Even this patially insufficient description is enough to project the greatly complicated procedure which goes into the formation of a Katu-Sarkara Idol. As such it is of no surprise that idols of this nature, though a speciality of Kerala, are so rare even in the land of their origin.

A very unusual phenonmenon of this temple is the presence of a single crocodile in the temple lake, named ‘Babia’. By tradition, the lake is inhabited by a single corcodile and in the memory of the very aged men the present crocodile happens to be the third one they have seen. When one crocodile dies another one inevisbly appears in the lake and this continues to be an unexplained phenomenon. There is no river or pond nearby where crocodiles exist. The Crocodile is friendly and harmless to human being. Its presence in the lake around the Mahavishnu temple reminds one of the well-known Gajendra Moksha Stories in the Bhagavatha Puranam.

Ramaswamy Temple

The temple is not only beautiful in structure it is also a great art gallery. This temple has been constructed by King ‘Regunatha Nayakkar’ who ruled Tanjore at CE1620. The temple’s Urchava moorthies (Urchava moorthy means smaller size of idols which are carried around the temple as procession during festivals) are very old and it was found under the earth near to Darasuram town. It’s front hall was constructed with 62 pillars that has beautiful carvings of various gods. Different avatars of Lord Vishnu also carved in this hall. This hall is called as ‘Maha Mandapam’. One of the great Indian Epic Ramayan has been painted in the inner prahara of this temple. More than 200 such paintings are present in the inner prahara makes the temple more beautiful and it demonstrates the depth of art and architecture.

The Temple’s Karpagraha is in the old fashion. Sri Ram and Seeta Devi both are in the sitting position in the karpagraha and his three brothers Laxman, Bharadan, and Sathrukkan are standing nearby them. Lord Hanuman is placed here with ‘Veena’ in his hand (Veena is a indian musical instrument). Hanuman with veena is one of the very rare idols which you find in many temples. Dedicated to Lord Rama, Ramaswamy Temple is placed in Kumbakonam, Tamil Nadu. The temple was constructed during the 16th century by Achutha Ramachandra Nayaka, one of Thanjavur’s rulers. The temple has idols of Lord Rama, his consort Goddess Seeta, Lord Rama’s brother Lakshmana, and Lord Anjaneyaa (Hanuman).Ramaswamy Temple is located right in the centre of the town and faces the north direction.In this temple town, we can see temples constructed for many Gods and Goddesses along with a nearby cluster of temples for nine planetary gods. Ramaswami temple is located on the southeastern side of Porthamarai tank in the heart of the town and is very near to Chakrapani Temple. This temple was constructed by Raghunatha Naikar who ruled Tanjavur from 1614-1640. The king, while trying to dig a tank at Darasuram ( a place near Kumbakonam) discovered the idols of Rama and Sita in the tank. As a staunch devotee of Rama he was overjoyed and asked his Chief minister Govinda dikshitar to construct a temple for Rama and Sita. This temple has a three-tiered gopuram with an outer prakara and a mahamandapam. On the sixty two pillars of this mandapam, stories from Ramayana, Sugreeva Pattabhishekam and Meenakshi Kalyanam are beautifully carved. Statues of Rama, Vamana, Manmadha, and Gopalan are very beautiful to look at. In the Outer prahara there are 219 wall paintings done in Tanjavur style on the whole story of Ramayana. This pictorial presentation ( Chitra Ramayana) in herbal colors is an added attraction and a special feature of this temple. Just by looking at these life-like paintings one can have a clear understanding of the Ramayana. In the inner sanctum one can view Lord Rama seated along with Sita on the pedestal. On his left Satrughna holding a chamara (fan) and Bharata with a royal umbrella are seen. On the right Lakshmana carrying a bow is seen. Lord Hanuman is seen at the feet with a veena in his hand instead of his customary weapon, mace. This type of coronation scene (Rama seen with all his brothers) appears only in Ayodhya and in Ayodhyapattanam in Salem. These idols are said to be made of saligrama, a very sacred stone worshipped as Vishnu. Within the temple premises there are small temples for Lord Srinivasa with his consorts, Sri devi and Bhudevi, Lord Krishna and for Alwars separately.This temple is famous for its 62 pillar artistic mandap(hall). Its really beautiful and you can spend a lot of time admiring this as soon as you enter the temple.

This temple is famous for large 10 feet statue of Rama in coronation robes(unique) flanked by Sita and Lakshaman on either side. On the right of Lakshmana you have Bharata with an umbrella and on the left of Lakshmana you get to see Shatrugana with a Visri(hand fan).All the Gods are close to 10 feet tall and its a divine darshan. 

Surrounding the praharam, the entire Ramayana is depicted as a 3 layered wall painting - mesmerizing. 

This is in the centre of Kumbakonam city and very close to Kumbeshwarar/Sarangapani temple.Five Vishnu temples are connected with Mahamaham festival which happens once in 12 years in Kumbakonam. They are Sarangapani Temple, Chakrapani Temple, Ramaswamy Temple, Rajagopalaswamy Temple and Varahaperumal Temple. This temple, one among them, is situated in the north of Big Street. 

Lord Sri Rama blesses the devotees with all his brothers and Mother Sita. While Sri Hanuman appears with his club in all Vaishnava temples, he is holding a Veena here.

Lord Sri Rama and Mother Sita are seated together in the sanctum sanctorum in wedding posture.  In Other temples they grace from their separate shrines. Devotees believe that praying in this temple would bring them a match with a sacrificial quality for the sake of the other.  Satrugna is on the left of Lord with a Samara fanning his brother, Bharatha holding the Royal Umbrella and Hanuman on the right and Lakshmana appears with his bow as usual.

Sri Anjaneya graces here with a Veena against his usual appearance with a club.  He is free here from the war mind and singing the glory of Lord Rama.  This also shows that Sri Hanuman is not only an erudite scholar but a good musician too.  He is holding the Ramayana epic in one hand.  It is said that He is singing the Ramayana story.  The temple has all the features that Ramayana tells us and is a feast to Rama bhaktas.

The temple has a 3-tiered gopuram surrounded by walls. The central shrine houses the image of Rama in a seated posture with his consort Sita. The other images are of his brothers Lakshmana, Bharatha and Chatruguna in standing posture and Hanuman in worship posture. The pillars in the hall near the gopuram are sculpted with exquisite finesse depicting various episodes of the epic Ramayana. Each pillar is carved out of a single stone and the delicacy is very prominent. Rama in the temple is depicted with Vyakarna Mudra, while Hanuman is depicted holding manuscripts. The other important aspects of the epic like coronation of Vibishana, coronation of Sugriva, relieving Agalya from her curse and Hanuman playing Veena are depicted. The temple is a typical of Nayak style of temples.

Brahmeswara Temple

 Brahmeswara Temple is a famous Hindu temple. It is situated in Bhuvaneshwar town of Khordha district, Odisha. This temple is dedicated to lord Shiva. In the end of 9th century it was built. This temple contains accuracy date by the use of wording that was originally on the temple. They are destroyed unfortunately. The records of this informarion are preserved. In the 18th centuary this was rebuilt by Somavamsi king Udyotakesari with the help of by his Mother Queen Kolavati Devi.

This temple is built in the traditional architecture style by using of stones. The temple is in the pyramid shape. Inside and outside of this temple it contains the sculpture.

The Orissan temple has two connecting buildings. The smaller is the Jagmohana, or assembly hall. Behind it is the Sikhara, the towering sanctuary. The sand stone walls has the symbolic decoration and the god likes figures which helps believer in his meditation.

The door frame contains the beautiful designs are symbolic decorations and the notion of god like figures, holding a trident and a human head, standing on a corpse. Shiva and other deities are also depicted in their horrific aspects.

The Brahmeswara Temple is situated in Bhuvaneshwar, Khordha district, Odisha. This temple is dedicated to Lord Shiva. In the end of the 9th Century, it was constructed, and later, in the 18th Century, it was rebuilt by Somavamsi king Udyotakesari with the help of by his Mother Queen Kolavati Devi.

The temple was built in the style of Panchatanaya temple architecture. By the main temple, there are four more temples built around the corners. This used to depict the power and prosperity of their builders. Though the typical Odishi structure is still noticed, the temple has two major sections. The Vimana and the Jagmohana are built according to the archetypal Kalinga architecture. The Vimana of the temple is around 18.96 m that was built to be the main sanctum sanatorium for Lord Brahmeswar Shiva lingam to consecrate. The Jagmohana is famous for the lion head idols that were first found at the Mukteswar Temple. The sandstone walls and the wooden structures of the interior are worth mentioning.

The temple belongs to the late 11th Century according to an inscription carried to Calcutta from Bhubaneswar. The inscription indicates that the temple was built by Kolavatidevi, the mother of Somavamsi king Udyota Kesari. It was built with four Natyasalas at a place known as Siddhatirtha in Ekamra (modern day Bhubaneswar). The inscription was recorded during the 18th renal year of Udyotha Kesari, corresponding to 1060 CE.

Bhubaneswar can be reached through Airways and is connected to Calcutta, Delhi, Chennai, Mumbai, Vishakapatnam, Hyderabad, and Raipur through regular flights. The Biju Patna Airport is Bhubaneswar is the only major airport in the state. Bhubanewar is directly connected by rail with the important city like Kolkata, Puri, Chennai, Delhi, Mumbai, Bangalore, Guwahati, Hyderabad, Tirupati and Trivandrum. Bhubaneswar is linked Berhampur, Chilka, Cuttack, Konark, Paradip, Puri, Rourkela, Sambalpur, and other places. Inter – State bus services operated daily between Kolkata and Puri via Bhubaneswar and Tatanagar (Jamshedpur). Shlokas

Kailaasarana Shiva Chandramouli Phaneendra Maathaa Mukutee Zalaalee Kaarunya Sindhu Bhava Dukha Haaree Thujaveena Shambho Maja Kona Taaree

Meaning -Oh Lord Shiva who is seated on Mount Kailash, where the moon decorates his forehead and the king of serpents crown his head, who is merciful and removes delusion, You alone can protect me. I surrender to thee.

Aum Trayambakam Yajaamahey Sugandhim Pusti Vardhanam Urvaarukamiva Bandhanaath Mrutyor Muksheeya Maamritaat

Meaning -We worship the fragrant Lord Shiva, who has 3 eyes and who cultivates all beings. May He free me from death, for immortality, as even a cucumber is separated from its bond with the vine.

At a distance of 3 km from Lingaraja Temple and 5 km from Bhubaneswar Railway Station, Brahmeswara Temple is a famous Hindu temple located in the temple city of Bhubaneswar. It is one of the holy places to visit in Bhubaneswar and among the best places of heritage in Orissa.

Dedicated to Lord Shiva, Brahmeswara Temple stands in a courtyard flanked by four smaller temples. The temple belongs to late 11th century according to an inscription carried to Calcutta from Bhubaneswar. The inscription indicates that the temple was built in 1058 AD by King Udyotakesari's mother Kolavati Devi during the Somavamsi king's 18th ruling year. 

The temple is built in the traditional Kalinga architecture style by using of stones. The temple is classified as a panchatanaya temple where four subsidiary shrines situated in the four corners of the main shrine. This pyramid shape temple has two parts namely the Vimana and Jagamohana. The Vimana of the temple is around 18.96 m. It was during the construction of this temple that iron beams were used by the builders. The Jagamohana is famous for the lion head idols that were first found at the Mukteswar Temple. The sandstone walls and the wooden structures of the interior are worth mentioning.

Brahmeswara Temple is renowned for its artistic sculptures, especially for the sculptures in the tower and porch of the temple. Tantric related images are also placed inside this temple. The exterior walls of the temple are adorned with the figures of several gods and goddesses, carvings of birds, animals and some religious scenes. Exquisite of the carvings is Lord Shiva in the form of Nataraja, playing a veena above a bull and voluptuous female figures elaborately bedecked with ornaments.