Meenakshi temple

 The Meenakshi temple is believed to have been founded by Indra (king of Deva celestial deities) while he was on a pilgrimage to atone for his misdeeds. He felt his burden lifting as he neared the swayambu lingam (self formed lingam, a representation of Shiva used for worship in temples) of Madurai. He ascribed this miracle to the lingam and constructed the temple to enshrine it. Indra worshipped Shiva, who caused golden lotuses to appear in the nearby pool.

      Tamil literature speaks of the temple over the last two millennia. Thirugnanasambandar, the famous Hindu saint of Saiva philosophy, mentioned this temple as early as the 7th century, and described the deity as Aalavai Iraivan. The temple is believed to have been sacked by the infamous Muslim invader Malik Kafur in 1310 and all the ancient elements were destroyed. 

      The initiative to rebuild the structure was taken by first Nayak king of Madurai, Viswanatha Nayak (1559–1600) under the supervision of Ariyanatha Mudaliar, the prime minister of the Nayak Dynasty and the founder of the Poligar System. The original design by Vishwanatha Nayak in 1560 was substantially expanded to the current structure during the reign of Thirumalai Nayak (1623–55). He took considerable interest in erecting many complexes inside the temple. His major contributions are the Vasantha Mandapam for celebrating vasanthorsavam (spring festival) and Kilikoondu Mandapam (corridor of parrots). The corridors of the temple tank and Meenatchi Nayakar Mandapam were built by Rani Mangammal.

      Rous Peter (1786–1828), the Collector of Madurai in 1812, got nickname 'Peter Pandian’ as he respected and treated people of all faiths equally. He donated a set of golden stirrups studded with diamonds and red stones to the temple.Goddess Meenatchi is believed to have saved Rous Peter from a fatal incident. He also wished that after his death, his body be buried in a position that would enable his eyes to face the temple

      According to legend, the sacred Suyambulingam discovered by the king of Gods indira at Kadambavanam, was later enshrined by him in Madurai. The fact that the Lord is seen on the vehicle of Indira in this temple is said to be proof for this.

      Many historical evidences of the temple have been found dating back from early A.D. The temple was almost completely destroyed in the year 1310 following the invasion of the Islamic conqueror Malikkapur.As kings who were followers of Islam were noted for their intolerance towards other religions, the invaders destroyed most of the ancient sculptures of the temple. 

      Thirugnanasambandar the Hindu Saint has mentioned the temple in his songs which go back to early 7th century. The Lord has been described as Alavai Iraivan in his songs.The temple was restored to its pristine glory in the late 14th century when the Hindu Kings came back to power in Madurai.This can also be termed as a new beginning of a new era in the history of the temple, when it was almost rebuilt. The King Thirumalai Naicker played an important role in the construction of the new form of the temple according to records.

      The central shrine of Meenakshi Amman temple and her consort Sundareswarar are surrounded by three enclosures and each of these are protected by four minor towers at the four points of the compass, the outer tower growing larger and reaching higher to the corresponding inner one. The Meenakshi shrine has the emerald-hued black stone image of Meenakshi. 

      The Sundareswarar shrine lies at the centre of the complex, suggesting that the ritual dominance of the goddess developed later. Both the Meenakshi and Sundareswarar shrines have gold plated Vimanam (tower over sanctum).

      The golden top can be seen from a great distance in the west through the apertures of two successive towers. The area covered by the shrine of Sundareswarar is exactly one fourth of the area of the temple and that of Meenakshi is one fourth that of Sundareswarar.

      The tall sculpture of Ganesh carved of single stone located outside the Sundareswarar shrine in the path from Meenashi shrine is called the Mukuruny Vinayakar.

      A large measure of rice measuring 3 kurini (a measure) is shaped into a big ball of sacrifice and hence the Ganesh is called Mukkurni Vinayagar (three kurinis).

      This deity is believed to be found during a 17th-century excavation process to dig the Mariamman temple tank.       The presiding Lord of this sacred shrine was in the times of yore known as Chockanathar, and Chockalinga Perumal.       Now the deity is known as Sundareswarar, Meenakshi Sundarar, Somasundarar, Kalyana Sundarar, Shanbaga Sundarar, Attavai Shevagan, Chockalingam, Adiyarku Nallan, Adhiraveesi, Vilayaduvan, Abhideka Chockar, Azhagiya Chockar, Kadambavana Chockar, Puzhugu Neidhu Chockar, Kadambavaneswarar, Karpoora Chockar, Madureswarar, Irayanar, Peralavayar and other names.
There are about 44 stone inscriptions on the walls of the corridors of the Sundareswarar shrine and that of Meenakshi Amma shrine.

      These inscriptions contain details of lands donated to the temple, the rituals for worship, the list of articles used for performing neivethiyam, the religious status of the people in ancient days, government procedures and social habits. 

      It was in this pond that the Golden Lotus for Indra to perform his pooja bloomed. This pond is also known as Adhi Theertham, Sivaganga and Uthama Theertham. This pond is situated within the temple complex. This theertham was created by Lord Sivaperuman by thrusting his Soolam (three ptonged spear) into the earth in deference to the plea of Nandhi Devar and other deities. It was here, that the plank of Sangam appeared and established greatness of the moral text called Thirukkural. It was here that Chockalingam was found by the grace of the Lord, by the first Guru of Dharmapura Adheenam and Saint Srilasri Guru Gnanasambandar. In keeping with the boons granted by the Lord to a stork, upto this date no fish nor other life is found in this miraculous sacred pond. Since this theertam was created before all other theerthams it is called Adhi Theertham and because it is much greater importance than all other theerthams, it is also called Parama Theertham as Gnana Theertham because it confers prosperity on all who bathe in it. As it grants heavenly abode it is also called Mukthi Theertham and as Sivaganga because the water from Ganga from the head of Lord Siva confluences with it and as Uthama Theertham because of its purity than any other theertham.

      If the devotees bathe in the waters of this pond of Golden Lotus on Amavasya (new moon) day, the first day of the month, days of eclipse and other auspicious days and worship the Lord, they will be blessed with all their aspirations for success.

Ezhu Kadal (Seven seas) :

      According to legend, in deference to the plea of Godess Thadathagai, the Lord summoned the seven seas for Kanchanamala.

Kondazhi:

      This is also called Valaiveesi theppakulam. This is another holy theertham situated at Ellis Nagar.

River Vaigai:

      Legend has it that the Lord ordained River Ganga to flood in the area in order to slake the thirst of Gundodaran. This river is also known as Poompunal Aru, Vaiyai, Poyyakulakodi, Sivagangai, Sivagnana Theertham and Vegavathi.

Kiruthamalai:

      Kiruthumalai, another theertham is a tributary of Vaigai river

Teppakulam (Lake):

      The teppakulam was constructed by Thirumalai Nayakkar in 1645, about three kilometers east of the temple. Every year on the day of Thaipoosam Godess Meenakshi and Lord Sundareswarar are taken in procession on a decorated float on this lake, when they bless the devotees. This is one of the famous festivals of Madurai.

Purathotti Nirmaliya Theertham:

      This is a theertham on the second corridor of the Swamy temple.
 The temple is the geographic and ritual center of the ancient city of Madurai and one of the largest temple complexes in Tamil Nadu. The temple complex is divided into a number of concentric quadrangular enclosures contained by high masonry walls. It is one of the few temples in Tamil Nadu to have four entrances facing four directions. Vishwantha Nayaka allegedly redesigned the city of Madurai in accordance with the principles laid down by Shilpa Shastras relevant to urban planning. The city was laid out in the shape of square with a series of concentric streets culminating from the temple.

      These squares continue to retain their traditional names, Aadi, Chittirai, Avani-moola and Masi streets, corresponding to Tamil month names. Ancient Tamil classics mention that the temple was the center of the city and the streets happened to be radiating out like lotus and its petals. The temple prakarams (outer precincts of a temple) and streets accommodate an elobrate festival calendar in which dramatic processions circumabulate the shrines at varying distances from the centre. The vehicles used in processions are progressively more massive the further they travel from the centre. The complex is in around 45 acres. The temple has four Rajagopurams or majestic towers, there are five towers on top of the sanctum sanctorum of the Lord, three on top of the sanctum sanctorum of the Goddess and two golden towers or gopurams, all which have been exquisitely designed and sculptured. All fourteen towers have been segregated based on the stages they are,.

• Nine tier gopurams - four
• Seven tier, Chittirai gopuram - one
• Five tier gopurams - five
• Three tier gopurams - two
• Golden gopurams - two

1.RAJAGOPURAMS (NINE TIER GOPURAMS)

The tower on top of the sanctum sanctorm of the God (east)

• This tower was constructed by Maravarman Sundarapandian the Pandian King (1216 - 1238)
• The tower is 153.3 feet in height, and the base measurers 111.3 feet by 65.6 feet..
• This bears 1011 episodes from puranams sculptured in it.

2.SOUTH RAJAGOPURAM

• It was constructed in the year 1559 by Siramalai Sevanthi Murthy Chetti.
• It is the tallest of the temple towers measuring 160.9 feet in height, with a base area of 108 feet by 67 feet
• 1511 mythological figures are seen in it.

3. NORTH RAJAGOPURAM (TOWER WITHOUT ROOF)

• Construction of this tower was started by Krishnaveerappanaicker (1564 - 1572) and completed by the family of Amaravathi Pudur Vayinagaram Nagappa Chetti in 1878.
• This gopuram remaied unfinished for a number of years and was therefore called Mottai Gopuram meaning a tower without a roof.
• This is 152 feet in height and the length of the base is 111.6 feet with a width of 66.6 feet..
• This houses 404 carvings depicting mythological stories.

4.THE WEST RAJAGOPURAM.

• This was constructed by King Parakrama Pandian duri ng his reign between 1315 and 1347.
• This has a height of 154.6 feet with a base length of 101 feet and a width of 63.6 feet.
• This tower houses 1124 sculptures of mythological importance.

THE TOWERS OF SWAMI SHRINE

There are five towers above the sanctum of the Lord.

1.Swami shrine gopuram (three tiers).

• Built by King Kulasekarapandian (1168 - 1175).
• Of all the towers of the temple,this is the most ancient.
• This is situated at the entrance to the Swami Sannidhi near the Lords flag staff mandapam.

2.Gopura Nayaka Gopuram, also called Swami Sannidhi gopuram (five tiers).

• It was constructed by a person named Vasuvappan in 1372
• It is situated between the flag post of the Swami Sannidhi and the Thirukalyana Mandapam or marriage hall.
• Standing 66 feet tall, it has a base area of 42 feet x 33 feet.
• It has 280 mythological figures on it.

3. The Mukkuruni Vinayagar gopuram or Nadukkattu gopuram or Idaikattu gopuram (five tier) .

• It was constructed by Siramalai Sevanthi Murthy Chetti in 1559
• It is situated opposite to the shrine of the Mukkuruni vinayagar which is situated in the passage that leads from the Amman sannithi to the Swami Sannithi.
• It is 69 feet in height with a base area of 44 feet x 33 feet. 112 mythological figures are sculptured on it.

4. Wooden gopuram (timber) or the Swami Sannithi west gopuram.

• It was constructed by Mallappan in the year 1374.
• It is situated in west end of the second corridor of the swami sannithi.
• It is 72 feet in height with a base area of 48 feet x 31 feet.
• 340 mythological figures are seen on it.

5.Sinnamottai gopuram (small roofless gopuram) or Swami Sannithi North Gopuram (five tiers).

• It was constructed by Sevanthivellappa Chetti in 1560.
• This tower is also situated on top the second corridor of the Swami Sannithi on the north side near the Kalyanasundareswarar Sannithi.
• There are 184 sculptures on it.

AMMAN SANNITHI GOPURAMS:

There are five towers above the sanctum of the Lord.

1.Amman sannithi gopuram (three tier).

• It was constructed by Anandathandava Nambi between 1227 and 1228.
• It is seen on top of the entrance of the Amman Sannithi at the west end of the Killikoondu mandapam.

2.Kadahagopuram or Amman Sannithi west gopuram

• This was constructed in the year 1570 by a person called Veerathummasi.
• It is seen on top of the first corridor surrounding the Amman sannithi in the west end..
• It is about 64.6 feet tall, with a base area of 50 feet x 28.6 feet.
• There are 228 mythological figures on it.

3.Chittira Gopuram or Amman Sannithi gopuram

• It was constructed by Kallathiappan Mudaliar in the year 1569.
• It is situated inbetween the Meenakshi Naicker mandapam and the Muthupillai mandapam in the Amman sannithi.
• As it contains 730 aesthetic sculptures of exquisite refinement it is also called the Chittira gopuram.
• It 177 feet in height and has a base area of 78 feet x 38 feet.

 The corridor surrounding the sanctum the Meenakshi is called kilikoondu Mandapam ("bird cage corridor"). The space was once used to keep green parrots that were trained to utter the name of Meenakshi. There are two large cages full of squawking green parrots.

      The Kambatadi Mandapam ("Hall of temple tree") with its seated Nandi (sacred bull) has various manifestations of Shiva carved and also contains the famous "Marriage of Meenakshi" sculpture.[20] Sculptures of Shiva and Kali trying to out-dance one another are pelted with balls of ghee by devotees. A golden flagstaff with 32 sections symbolizes the human backbone and is surrounded by various gods, including Durga and Siddar.

      The Puthu Mandapam ("new hall") constructed by Tirumala Nayak contains large number of sculptures. It is situated opposite to the east gopuram.

      The Ashta Shakthi Mandapam ("Hall of eight goddess") is the first hall in the entrance of Meenakshi shrine tower near to East Tower. Ashta indicates eight and Shakthi refers to goddess - the hall has statues of eight goddesses.

      The gopurams (towers) can be viewed from this hall. The passage was named for eight forms of goddess Sakthi carved on its pillars. Other sculptures and paintings depict the Tiruvilayadal (holy games of Shiva). The sculptures of heroes of Mahabharata, the Pancha pandavas can be seen in the Pancha Pandava Mandapam (Hall of Pandavas).

      The Viravasantharaya Mandapam is a large hall with huge corridors. To the south of this hall is the kalyana mandapam, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chithirai Festival in mid-April.

      The golden images of Meenakshi and Sundareswarar are carried into the 16th century oonjal mandapam (swing corridor) and placed on the swing every Friday at 5:30 p.m. The shrine has a 3-storied gopuram guarded by two stern dwarapalakas (guardians) and supported by golden, rectangular columns that bear lotus markings. Along the perimeter of the chamber, granite panels of the divine couple are present. The hall is situated in the western bank of the temple tank.

      The Mudali Pillai Mandapam or Iruttu Mandapam (Dark hall) is a wide and long hall built by Muthu Pillai during 1613. On the pillars of the halls, there are fine sculptures depicting the story of Shiva taking the form of Bikshadanar to teach the sages a lesson.

      The Mangayarkarasi mandapam is a newly built hall situated opposite to the marriage halls and bears the name of saindy queen, Mangayarkarasi who contributed to Saivism and Tamil language. To the south of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu brothers in 1795.

      The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built by Achaya Rayar, the minister of Rani Mangammal in 1635. The Kolu Mandapam is a hall for displaying dolls during the Navarathri festival celebrated during September–October. This hall is situated in the second corridor of the Meenakshi shrine at the western side.

Vadakkunnathan Temple

Vadakkunnathan Temple or Vadakkumnathan Temple is one of the largest and ancient Shiva temples, situated in Thrissur district of Kerala. Also known as Thenkailasam and Vrishabhachalam, the temple stands majestically on an elevated hillock right in the centre of the city. Hindu traditions say that the temple was built by Parasurama, the sixth incarnation of Lord Vishnu and the legend creator of Kerala. Thrissur pooram, which is celebrated here every year in the month of Medam (mid-April to mid-may), witness millions of devotees from all over the land. The temple and the Mural paintings are declared as a National Monument by the Union Government under the Ancient Monuments and Archaeological Sites and Remains Act. 

Vadakkunnathan temple is surrounded by a massive stone wall enclosing an area of nearly 9 acres (36,000 m2). Inside this fortification, there are four gopurams each facing north, south, east and west directions. Apart from these four gopurams, there is a multi-shrined complex in the centre with three principal shrines dedicated to Shiva as Vadakkunnathan, Shankaranarayana and Rama. 

Thrissur town gets it name after this ancient Lord Shiva Temple. The real meaning of the name Thrissur is the 'Town with the name of Lord Shiva’. Vadakkumnathan Temple history dates back to over 1,000 years. The history of the temple is connected with the birth of the great Kerala scholar, Guru Adi Shankaracharya. Shankara was born to the Shivaguru - Aryamba couple of Kalady, in answer to their prayers to God Vadakkunnathan. According to legends, Lord Shiva appeared to both husband and wife in their dream. He offered them a choice that they could have either an ordinary son who would live a long life or an extraordinary son who would die early. The couple chose the second option. They named the son Adi Shankara, in honour of Shiva. It is said that Adi Shankara attained Videha Mukti (Freedom from embodiment) in Vadakkunnathan temple.The statue of Lord Shiva is in the form of a huge lingam. However, the statue is not visible, as it is covered by a mount of ghee, formed by the daily abhishekam (ablution) with ghee over the years. A 16-foot-high mount of ghee, filled with thirteen cascading crescents of gold and three serpent hoods at top is seen in the sanctum. Traditions say that this represents the snow-clad Mount Kailash, the abode of Parvathy and Parameswara.

A remarkable feature is that the ghee does not melt even during tropical climate of summer or due to the heat of numerous oil lamps burning nearby. The scrapings of the solidified ghee are given to devotees as ‘Prasada', which is believed to have medicinal and curative properties. The ghee even does not have any foul odour.The Nalambalam of Vadakkumnathan Temple in Thrissur has a shrine dedicated to Lord Vettekkaran (Shiva in a hunter form). Located outside the nalambalam are the shrines of Lord Krishna, Vrishabha, Parasurama, Simhodara, Dharmasastha (Swamy Ayyappan) and Guru Adi Sankaracharya. On the verandah of the Nalambalam is a large white bullock Nandikeswara or Nandi bull. The two important murals in the temple, Vasukisayana and Nrithanatha, are worshipped regularly.

Inside the temple, the devotees can have darshan of Lord Shiva of Kasi and Lord Chidambaranatha of Chidambaram, Lord Shiva of Rameswaram, Sree Kali of Kodungallur, Urakam Ammathiruvadi, Lord Bharatha (Koodalmanickam) at Irinjalakuda, Sree Vyasa, Sree Hanuman and the serpent gods. The shrine of Lord Ganapathi, called as Venmadacoil, is seen facing the temple kitchen. Offering of Appam (sweetened rice cake fried in ghee) is one of the most important offerings at the temple.Vadakkumnathan Shiva Temple in Thrissur, a classic example of the Kerala style of architecture, is surrounded by an enormous stone wall enclosing an area of about 9 acres. There are four gopurams inside this fortification, each facing north, south, east and west directions. There is a multi-shrine complex called as Nalambalam or Chuttamabalam in the centre, with three main shrines dedicated to Lord Shiva as Vadakkunnathan, Shankaranarayana or Hari-Hara (a combined form of Shiva and Vishu) and Lord Rama.

On the northern side of Vadakkunnathan Temple is a circular structure with the deity facing west. The idol of Goddess Parvati faces east and is behind Lord Shiva in the same shrine. The shrine of Lord Rama is a two-storey rectangular structure, facing west and is located in the south. The circular and double-storey shrine, which is dedicated to Sankaranarayana, faces west and it lies between these two srikovils. In front of all the three central shrines are the mukhamandapams. The outer walls of the shrines have beautiful mural paintings. Scenes from the Mahabharata epic and the Tandava poses of Shiva, depicted in typical Kathakali style, are worth seeing.To the left of the entrance is the theatre hall called “Koothambalam”. This unique and beautiful structure has well-designed sloping roof of copper plates. This Koothambalam is a tall and spacious structure which contains fine vignettes of wood carving and interesting bracket figures. The 41 day special program of "Koothu" (mythological story telling) and "Koodiyattom" (ancient form of dramatic dance) are staged here annually.The temple is known for the rare murals portrayed here that include scenes from Mahabharatha, of which Vasukishayana and Nrithanatha are worshipped daily. Apart from these murals, the temple also houses a museum that showcases ancient paintings, woodcarving and other works of art of ancient times.

The Vadakkumnathan temple is one of the oldest temples in the state. It is a classical example of the Kerala style of architecture and contains many decorative murals and pieces of art. It stands on a beautiful hillock at the center of Trichur overlooking the town. The vast ground around the temple is called Tekkinkadu or forest of teak woods. The massive stonewall enclosing an area of nearly 9 acres forms a strong fortification. The our lofty gopuras around the main shrine indicate the four cardinal directions-North, South, East and West. A complex having three principal shrines dedicated to Siva or Vadakkumnathan, Sankaranarayana and Rama are in the center of this vast enclosure. A striking feature of the temple is the Kuttambalam, which can be seen on the left side as one enters the temple through the western gopuram. This is the theatre hall for staging kuttu, an ancient dramatic form of art famous in Kerala. The temple opens at 3.00 in the morning and closes about 10.30 AM after the morning rites. It opens at 4.00 PM for the evening worship and closes at 8.30 PM at night after the Trippuka, the last rite for the day. 

This is the venue of the world famous Pooram festival celebrated annually in April-May. The fireworks at the Pooram Festival are a spectacular sight. Non-Hindus are not allowed entry into the temple. 

It is noteworthy that the Union Government under the Ancient Monuments and Archaeological Sites and Remains Act has declared the Vadakkumnathan temple a national monument. 

The beautiful city of Thrissur (originally called as Trichur), is one of the oldest in Kerala State and is mainly famous for its ancient shiva temple dedicated to Vadakkunathan, which is situated on an elevated hillock right in the centre of the city. The temple attracts thousands of devotees adn visitors from all over teh land. Like many South Indian Temples, it has a solemn atmosphere, associated with age and centureis of devotion, which we do not find in many of the temples of North India . 

Once the capital of old Cochin State , Thrissur changed hands from the Zamorin of Cochin to Tippu Sultan of Mysore in the 18th century. In the ancient days the place was known as “Tiru Shiva Perur' or the town with the name of Lord Shiva. 

Many years ago, the vast open region around the temple was a beautiful plantation forest of teak treees called ‘Tekkinkadu'. Today, the forest is totally cleared but the tranquil atmosphere of the temple prevails all round. With it is associated the famous Parasurama, the incarnation of Maha Vishnu, who is said to be the founder of this Shiva temple. The name of Parasurama is always with Kerala, as is the naem fo sage Agastya with the Pandyans in Tamilnadu. According to local tradition, it is believed that the great Kerala teacher Adi Shankaracharya was also connected with this temple. Aryamba, the mother of Shankara Worshipped Shiva at this temple to beget a son. It is said that she used to walk to Thrissur from Kalady. 

The first feeling one gets on entering through the gates of the temple is the incredible space and light. The elegant architectural style that is unique to Kerala becomes evident. As a major departure from all other South Indian temples with their towering ‘gopurams', the temples of Kerala are not imposing in appearance. 

One of the largest temples, it contains several shrines surrounded by a large enclosure wall with four gateways, crowned by pyramidal ‘gopurams' with multiple roofs. While the basement of the gateways is made of moulded granite stone, as in Tamilnadu, the ‘Gopurams' are in the typical style, having elaborately ornamented gables. The shrine is circular in forms and the tower has only one tier. The pillars are arranged in an interesting manner. The comparatively low, tiled roofs and teh liberal use fo wood harmonise with teh natural environment. 

Immediately to the left of the entrance is the theatre hall called ‘Kuttambalam'. It si a remarkably beautiful structure with elegant sloping roof of copper plates. Within this is staged the ancient dramatic art form of ‘Chakyar Kuttu'. 

The three principal shrines in the tempel are dedicated to Shiva, the main deity called Vadakkunathan, Vishnu adn Harihara. The architectural plan of these shrines is peculiar, with the ‘Vritta' plan and conical brass plated superstructure over it. The conical roof is distinct architectural idium neccessitated bythe heavy reinfall in the west coast. Shrines with square basements as in Tamilnadu are also here. A separate shrine has been built in the enclosure for the Devi. 

The ‘Sanctum' of the main shrine has a huge ‘Linga' of Shiva. This however, cannot be seen as it is covered by the traditional ‘Abhishekams' with ghee by devotees over the centuries. Over the Linga, generations of devotees have poured ghee by way of offering, which is never removed, has solidified into a pyramid. With continuous ‘Abhishekam' with ghee over the years, it hs the appearance of a mound of ghee almost three metres around th core of the Linga. It is strange that the ghee does nto melt even inthe hot tropical climate of summer or with the heat of the hundreds of bright oil lamps burning nearby. The ghee mound does not get spoilt even though it is a collection of several hundred years. Small scrappings of this solidified ghee are given to devotees as ‘Prasada', which is believed to have medicinal and curative properties of herbal medicines. 

The Harihara shrine, popularly called here as Shankaranarayana temple, is next to the main Shiva temple. This is also circulr in plan and the tower has two tiers. On the other side is the shrine for Vishnu, is also similar to that of Harihara shrine. In addition, there are subsidiary shrines for Ganapathi, Dharma Shasta and also for Parasurama, of the very few of its kind in Kerala. 

Thrissur has several other shrines including Paramekkavu Kshetram at the bottom of the hillock on which the Shiva temple stands. Behind is the Bhagavathi temple. Thiruvembadi temple is a little further away in the heart of the town dedicated to Krishna . 

The tall and spacious Kootambulam is an impressive structure, containing exquisite vignettes of wood carving and interesting bracket figures. While the artists of Tamilnadu showed their skill in stone by carving magnificent and ornamental sculptrues, their counterparts in Kerala had wood as their medium adn produced intricate workmanship. The Koothambulamis the hall where the kootu or expositon fo a religious story by Chakkiyar is performed through dramatic gestures. From about the 9th century, the Kootu developed into an important art associated with the temples of Kerala. 

The outer walls of the shrines are studded with fine mural paintings, the origin of which might date back to 16th century, though retouchings have been done much later. Scenes from the Mahabharata epic and the Tandava poses of Shiva are depicted in typical Kathakali style. The paintings are noted for charm and vigour. 

The only festival celebrated with great pomp and religious fervour is Maha Shivarathri. According to the custom in certian temples in South Indian in general and Kerala in particular, pilgrims and devotees have to take off all tailored clothing and wear only dhoti should be of white color only. 

The temple of Vadakkunathan is noted for its grand annual Pooram festival in Medam (April-May) which attracts a large number of visitors and tourists from far and wide. A procession fo richly caparisoned elephants and magnificent display of fireworks mark the occasion. The organisers vie among themselves in securing thebest elephants in the localtiy, and the most ornamental parasols to decorate the elephants. Commencing early in the morning, the celebrations go on throughout the night and end the next morning. 

As per the normal rituals, the Shiva temple is not directly connected with the Pooram festival. Infact, it is a festival of two Goddesses, Paramekkavi Devi and another Goddess residing in Tiruvambadi. It is said that a rular of Kochi , Saktan Tampiran who reigned from 1790 to 1805 A.D., founded this ritual and organised it into the present form of festival. At a later date, the Raja of Kochi sponsored the ritual. During the recent times, it is organised by the public out of donations collected from business houses and devotees. 

However, the present basis of ‘Pooram' as the assemblage of many divine processions ahs been adopted elsewhere also; for instance in Tiruvaiyaru in Tamilnadu. What makes the Thrissur ‘Pooram' festival distinctive seems to be its elephants, and some perhaps will add, the competitive fireworks. While it is largely made by the elephants, the festival is nothing without Vadakkunathan temple. At present, eight deities assemble for the ceremony; six from the Devi temples including Paramekkavu and Tiruvambadi Devis and two from Sasta temples. 

About fifty elephants participate in the grand procession. These are magnificently caparisoned with the ‘Nettupattam' which covers the forehead. This is a thick cloth int which are sewn about six thousand gold plated glittering metal pieces. Each elephant carries three men; one holds the coloured silken parasol; the other two stand on the back. The ‘Panchavadyam' players precede the procession. As all the deities assemble near the Vadakkunathan temple, there will be a musical feast for two hours. A little later, the umbrellas on the elephant are changed to different colour, known as ‘Kudiakazeh'. As the parasols are unfurled, there is an entrancing spectacle of rich array of mixed bright colours. Generally, there will be ten sets with each party. After the functions, the elephants return to their respective temples. 

Shri Swaminarayan Mandir

• The Swaminarayan Temple of Bhuj is one of the most magnificent temples you will ever come across in this part of the country! Since its first brick installation ceremony on 7 May 2003, it has taken 7 years for its completion. Based on a grand podium, the new temple faces East and is constructed mainly with pure high quality marble.
  Expanding a 35,000 sq. feet area, this Temple has 7 sky touching pinnacles. It consists of one central dome, 25 minor domes and 258 pillars. The peripheries, which are beautifully carved into the icy marble of Makrana and Ambaji, give it heavenly beauty, serenity and the divine approach to the temple.
  The Gujarat Earthquake of January 2001 destroyed much of the city of Bhuj, including the side of the temple facing north which was built by Lord Shree Swaminarayan. Miraculously the divine idols remained as they were, without any damage whatsoever. With the previous temple being destroyed in the earthquake, this newly built temple boasts of massive architecture with beautiful carvings & design. The fact that the entire temple is made of Marble & Gold further adds up to the grandeur of the temple. It also boasts of a wonderful 3D film which depicts the life of Lord Shri Swaminarayan.
  We at kutchtourguide.com are your best choice for planning a visit to the bhuj swaminarayan mandir! Our local guides have rich knowledge of various aspects of the swaminarayan sect & the temple which will enable you not only to view the swaminarayan temple but also to experience it.Lord Shree Swaminarayan was always attracted by the divine attributes of the devotees of Kutch. After his appointment as the spiritual leader of the whole Sampraday, He visited Kutch in the month of Maha Sud 7 Samvat 1860. He spent 30 years of His total lifespan in Gujarat and visited Kutch more than 20 times (His total time spent in Kutch was 7 years). As a result of His frequent visits, a series of inspirational devotees realised that He was none other than the Supreme Purshottam Narayan Himself. 
  
  Such Bhaktos of Kutch included Ladhiba, Sundarji Suthaar, Gangaram Mall from Bhuj, Khaiyo Khatri of Mandvi, Sadaba of Kera, Adabhai, Mulji and Krishnaji all of Manukva, Karniba of Dhamadka, Saamat Sarvaiya of Rapar, Vaghasha of Bhachau and many more. 
  
  Bhuj is one of the six places where Lord Shree Swaminarayan constructed the temple Himself. This divine thought of Bhagwan Shree Swaminarayan alone signifies the vast amount of spirituality the land of Kutch offered not only in the past but even today. The Original Temple 
  
  Senior devotees Gangarambhai, Sundarjibhai and others from the Bhuj went to Gadhada where Lord Shree Swaminarayan was attending the famous fuldol festival. During the festival devotees from Bhuj met Lord Swaminarayan and requested him to construct a temple in Bhuj. 
  
  The Lord was pleased and more than happy to fulfil the wishes of His devotees. So Lord Shree Swaminarayan asked Vaishnavananand Swami to proceed with a team of saints to Bhuj and construct a temple. Vaishnavananand Swami and the accompanying saints went to Bhuj in 1822 and drew up plans for the original Bhuj temple. They executed the plans with every minute detail taken into account and within a short span of one year, on 15th May 1823, the Murti's were installed by Lord Shree Swaminarayan. 
  
  Lord Shree Swaminarayan had graced this temple in the western belt of India and had Himself installed the idols of Narnarayan Dev and Hari-Krishna Maharaj. 
  
  Besides these, manifestations of the Lord at the central dome, under the eastern dome were seated Radha-Krishna Dev, Hari-Krishna Maharaj and under the western dome Ghanshyam Maharaj. Roop Chowki, the main square of the inner temple housed the images of Ganapati bapa and Hanumanji. Bhuj Earthquake - The Divine Vision 
  
  The Gujarat Earthquake of January 2001 destroyed much of the city of Bhuj, including the side of the temple facing north which was built by Lord Shree Swaminarayan. Miraculously the divine idols remained as they were, without any damage whatsoever. 
  
  However after a mutual agreement between Acharya Maharajshree, Saints and the devotees from all corners of the globe and given the circumstances of the irreparable damage to the original temple building, it was decided that the idols would be housed inside a new grand temple. It was collaboratively resolved to construct this new temple a short distance away from the original site. The Uniqueness of the Swaminarayan Fellowship 
  
  Through the inspiration of Bhagwan Shree Swaminarayan, and the power of Bhuj Saints and Bhaktos from all over the world, a magnificent temple has been constructed using traditional Vedic architectural methods, on the banks of Hamirsar Lake. Since its first brick installation ceremony on 7 May 2003, it has taken 7 years for its completion. Based on a grand podium, the new temple faces East and is constructed mainly with pure high quality marble. Expanding a 35,000 sq. feet area, this Temple has 7 sky touching pinnacles. It consists of one central dome, 25 minor domes and 258 pillars. The peripheries, which are beautifully carved into the icy marble of Makrana and Ambaji, give it heavenly beauty, serenity and the divine approach to the temple.

Ulagalantha Perumal Temple

• The Bhagavata Purana describes that Vishnu descended as the Vamana avatar to restore the authority of Indra over the heavens, as it had been taken by Mahabali, a benevolent Asura King. Bali was the grandson of Hiranyakashapu, the son of Prahlada. King Mahabali was generous, and engaged in severe austerities and penance and won the praise of the world. With the praise from his courtiers and others, he regarded himself as the most powerful in the world.  Demon king Mahabali, though belonging to the Asura community, was noted for his good-natured deeds as he was very generous and charitable.  He became proud of his supreme qualities and the reputation it brought him. A genuinely good  person should not give room to pride. The Lord wanted to teach him a lesson. The Lord took the form of Vamana (a dwarf) and approached Mahabali for three feet of land, measured with his feet. The surprised king told the dwarf that three feet by his legs would mean nothing to him. His Guru Sukra found out that, the seeker was not a dwarf, but Lord Vishnu  himself  and warned the king of the consequences, if he yielded to the demand of the dwarf.  Mahabali told the Guru that he would have to lose all the benefits of his charities done till then, if he denied the demand of the dwarf. He promised the demand of the visitor.
  
  The dwarf shockingly grew very tall, touching the sky, measured the earth by one step and the sky by the second leaving no land, either in the sky or earth and demanded the third.  Bali simply said that he could place the third step on his head.  Doing so, the Lord sent him to the world below the earth. Reaching the lower world, Mahabali felt sad that he could not have the luck of seeing the Lord measuring all the worlds in two steps.
  
  Bali began to perform a severe penance on the Lord to see the lord measuring the world. Though the Lord obliged, Bali could not have a complete look of that darshan and repeated his appeal. The Lord gave the darshan as Adisesha again. That place is now called Thiru Ooragam, which is seen on left side of the sanctum sanatorium.
  
  Thiru Ooragam is one of the 108 Divyadesa Vaishnava shrines. The shrine has in itself three more Divyadesas Thiruneeragam, Thirukaragam and Thirukarvanam. This temple thus has 4 Divyadesas in itself. This unique reputation cannot be seen in any other place. Tradition has it that these Divyadesas were in different places earlier but were brought together and installed in this temple later. Thirumangai Azhwar has sung the Mangalasasanam of all these four Divyadesas in a single hymn.
  
  The Lord is too tall here. The Adisesha here is very powerful. He responds to all the prayers of the devotees and blesses them with children.
  
  Inside this sthala, other 3 divyadesas namely, Neeragam, Karagam and Kaaravannam are found. 
  
  In Thai month (mid of January month to mid of febraury month) a very big utsavam is done.
  
  Garuda seva is the special Vahana of this temple.
  
  Doing Thirumanjanam (divine bath to the God or abhishek) for this God by name Ooragathaan is said to cure all sorts of problems.
  
  In giant form, Vamana is known as Trivikrama. The legend is associated with the Thrikkakara temple in Kerala and Ulagalantha Perumal Temple, Tirukoyilur
  
  The shrine is referred to as Peragam in the hymns of Azhwars. The Lord dwells under Sara or Srikara- Vimana in a standing posture facing the west. He is seen pointing two fingers of his right hand showing that he had already measured the earth and the heavens in two steps and pointing onee finger of his left hand as if to ask Mahabali where he would plant his third step.  He keeps his right foot aloft to show that he had already measured the earth and the heavens and his left foot on the head of Mahabali. To enable devotees to have darshan of his full stature, a lamp fixed to a big stick is lit and held aloft. Tirumazhisai Azhwar and Tirumangai Azhwar have sung in praise of this deity as "Peragathan". The consort of this deity is worshipped here, as 'Mother Amruthavalli'. 
  
  In this temple, there are four  Vaishnavite sacred places known as divya desams. 
  They are 
  ( 1 & 2) Peragam and Ooragam always reffered together, 
  (3) Neeragam, 
  (4) Karagam and 
  (5) Karvanam.
  
  In a side room of the Garbagriha of Ulagalanda Perumal, we have the shrine called Ooragam, Where we can have dharshan of Adisesha. Alwars have sung in praise of Peragathan and Oorgathan always together.  Devotees perform special Abisheks and adorn this Oorgathan with “sandana kappu” covering the idol with sandal coating as a parihara to Rahu dosha.  
   Mahabali Chakravarthy, the grandson of Prahaladhan, did a very big yagam (or) homam to get the Devendra logam, which is referred to as "Swargham". But, the lokam belongs to Indiran, who is the King of that lokam. Being a great devotee of Sriman Narayanan, he was capitulated by temptation and deceided to acquire the Devendra Lokam. To make him understand and to punish him, Sriman Narayanan took the Vaamana avathar (dwarf) and asked for 3 feets of his land. On hearing this, Mahabali said that he can take 3 feets of his land. But as a surprise to Mahabali, Sriman Narayanan who came there as Vaamanan (dwarf) grew up in height, and his head touched the sky. Using the first step, he measured the sky and earth and with the second feet or step, he covered the heaven and more tha it. Finally, he asked for the third feet of land. For this, Mahabali surrenders his own head as the third feet and was finally bleassed by Sriman Narayanan.
  
  
  Ooragathaan When his head was stamped by Emperumaan's feet, he could not get the dharshan of Thirivikraman. So, he prayed for his great Ulagalandha dharshan. Since, he could not be given the Thirivikraman darshan, the Parumal gave his seva as Aadhiseshan (Ooragathaan) which can be seen next to Ulagalandha Perumal.
  
  
  The moral that is explained by the Perumal is that all the things that are in exisit in this world belongs to Emperumaan, Sriman Narayanan and this is cleary explained throught the Ulagalandhan (Thirivikrama) Perumal.
  
  
  All the living things (Jeeva raasis) and its Aathmaas belong to the Emperumaan's feet and it is explained through "Thiru Ooragathaan".
  
  
  Mahabali Chakravarthy comes along the family of Bhaktha Prahaladhan, a great devotee of Sri Vishnu. Inspite of coming through that kind of family, he wanted to rule the Deva lokam, which belongs to Indiran. And at the same time, Devendran - Indiran wanted to rule all over the world. So to teach both of them a lesson, he took the Thirivikrama kolam, thereby reducing the leadrship and over head of Mahabali and on the other hand, by raising his feet and measuring over the sky, he states to Devendran that Deva Lokam also belongs to him.
  
  
  Sri Ulagalandha Perumal In this Sthalam, Ulagalandha Perumal, Thirivikraman gave his Prathyaksham for Ooragam, who is the Aadhiseshan. Both Aadiseshan and Thirivikraman are the other ways the Emperumaan giving seva in this sthalam.

Yogmaya Temple

Yogmaya Temple situated at New Delhi near Qutub Minar complex is a temple of the goddess Yogmaya or sister of lord Krishna. This temple also attributes itself to the illusionary power of god also known as Maya. This temple has seen numerous generations and is supposedly one of the five temples left which has witnessed the epic Mahabharata.

The Yogmaya or jog maya temple has withstood a lot of destruction and reconstructions.  As narrated by the resident priests, this temple was initially destroyed by the great ruler Mohammed Ghazni and later by invading Mamluks. But this temple has survived its ancient glory and is still in use. The temple was reconstructed by King Hemu, who was a Rajput ruler. During Aurangzeb’s rule, the temple was reconstructed and he emphasized on Mughal architecture, which is seen in a few rooms as well as on the outer wall of the temple.

The present temple is suppose to be built during the 19th century and has been a victim of repetitive deconstruction and reconstruction by the locals. The surroundings of the temple are not very elaborative but a small water body or johad, named as Anangtal after the king Anangpal which is now encircled by lush green trees.

Set up in a place now called Mehrauli, Yogamata Temple was named Yoginipura in the 12th century. The temple dates back its origin to Mahabharata.  It was constructed by Pandav brothers. Mehrauli forms an integral part of seven ancient cities, which contributed to make up original Delhi city. The first renovator of this temple was Lala Sethmal in 1806-37 under the reign of Mughal Emperor Akbar.

The temple is placed inside Lal kot walls of the Citadel, which covered the city of Delhi. It was constructed by King Anangpal I in AD732 and later stretched out by King Anangpal II in the 11th century.

The temple carries a lot of legends. It has also held tremendous significance in the lives of the locals for many years. It is said that Yogmaya is the sister of lord Krishna, the reincarnation of Lord Vishnu. Yogmaya was replaced as Lord Krishna to save him from being brutally killed by his uncle Kansa. Yogmaya transformed into a goddess and foretold Kansa his fatal end by lord Krishna. She vanished cleverly immediately after predicting Kansa’s death.

Another story links the temple to a close association with Mughals. Distressed from the news of Mughal Emperor Akbar II’s son, his wife dreamt goddess Yogmaya and offered pankhas or fans made of flower every year at her temple. The queen prayed at this temple for safe return of her son. She also offered flower fans to the nearby Qutubuddin shrine. Thus, every year it is celebrated as a festival known as the Phoool Walo Ki Sair.

The temple is surrounded by numerous locals who believe that they were descended from a single ancestral origin and are assigned to the task of taking care of the temple. The tradition of cleaning the temple, distributing Prasad, performing daily rituals and others chores of the temple have become a part of their lives.

Built way back in 1827, construction of Yogmaya Temple has a modern outlook to it. This may be due to repeated constructional variances by different builders. There is an entrance hall and a small chamber where the main idol of Yogmaya has been kept. The idol is made of black stone and positioned in a marble well of around 2 ft. A tower is built on the chamber just above the main idol.

The Yogmaya idol is covered with a red cloth and fresh flowers all over. Two small fans are also placed above the idol. Sood mal was a builder who ordered a whooping twenty two towers to be built to enclose the temple. The original temple was built with red stone but has been replaced with white marble. The main tower of the temple which can be seen from outside is 42 ft high and adorns a copper plated tip.

One of the oldest and the ancient Hindu temple situated in the small village of Mehrauli is the ancient Yogmay Temple. Yogmaya temple is also known as the Jogmaya temple which is dedicated to Goddess Yogmaya, sister of Lord Krishna. It is located in New Delhi near the Qutub Complex, this shrine is believed to be amongst one of the five surviving temples from the Mahabharata period in the city. Mehrauli was the first capital of post-Rajput era and all the rulers ruled from here. This is one of the five temples dedicated to Yogmaya, other 4 being in Barmer, Jodhpur, Vrindavan and Multan. The deity is worshipped as the mother of all beings and is considered one of the personal powers of the divine.

Lord Krishna (who was born at midnight on Ashtami, in the Mathura King Kansa’s prison), as the eighth son of Vasudeva and Devaki, was replaced by a baby girl. Who was born at the same time to Nand and Yashoda in the village of Gokul across the Yamuna. As Vasudeva has exchanged the babies at the very night they were born; in the morning, the guards told Kansa that a baby has born in the night. Vasudeva exchanged the babies, he reached Krishna to Yashoda and brought Yogmaya from there to Devaki,in the jail. On hearing of the birth of the child, Kansa arrived at the prison to kill the infant. But the girl child slipped out of the hands of Kansa, as he was about to bang her head against the prison wall, and went up in the sky. There was an Akashvani (celestial broadcast), which said, ‘O foolish Kansa! Your slayer has been born and is safe in Gokul.’

The baby girl was goddess Yogmaya (divine illusion), according to Shvetashvatar Upnishad. God has many divine powers, such as knowledge, almightiness, action and his most important personal power called Yogmaya or ahladini shakti. The Gods derive power from their female companion. As Shiva is nothing without Shakti, so was Krishna without Yogmaya.

·         According to history, Yogmaya Temple has been built by the Pandavas, at the end of Mahabharata. Mehrauli place is also named as Yoginipura after the temple in the 12th-century Jain scriptures. Mehr- auli is one of the seven ancient cities that make up the present state of Delhi. The temple was first renovated during the rule of Mughal Emperor Akbar II (1806–37) by Lala Sethmal.

·         It is also believed that Krishna and Arjun came to pray here during the Mahabharata war after Abhimanyuwas killed by Jayadrath. Arjun took a vow that he would kill him by next evening. Arjun and Krishna came to this temple to pray at such a time to ask for the blessing from the Goddess. With her magical powers or she created an illusionary eclipse that gave Arjuna the opportunity to kill Jayadrath.

·         This temple had been built in early 19th century and is regarded as an aspect of Maya, the illusionary power of God. The temple is located within the Lal Kot walls constructed by the Gurjar Tanwar chief Anangpal I around AD 731. It was later expanded by Anang Pal II in the 11th century.

·         This temple is said to be destroyed by Ghazni who was the most prominent ruler of the Ghaznavid Empire in the beginning and later it was again destroyed by Mamluks. The temple was renovated and reconstructed by Hemu, the Rajput king. The present structure of the temple was built in the early 19th century.

·         There are about 200 people who have been taking care of the Yogmaya temple voluntarily and amicably. It is believed that there had been one common ancestor at a point in time who, hundreds of years ago started the practice of taking care of the temple by offering prayers to the goddess, making and distributing prasad to the devotees, cleaning the temple and doing the shingar of the goddess yogmaya twice a day.

 The Deity of this temple is Goddess Yogmaya is called as the “Pure Goddess” which is made of black stone and was placed in a well, made of marble. The sanctum of Goddess Yogmaya is leaded with a Vimanam which is 42 feet and dome

·         Two small pankhas (fans) of the same materials are seen suspended over the Idol from the roof. The walled enclosure around the temple is 400 ft (121.9 m) square, with towers at the four corners. Twenty-two towers were built within the temple at the orders of the Sood Mal, the builder.

·         In the past, there was an iron cage of 8 ft (2.4 m) square and10 ft (3.0 m) in height in which two stone tigers are exhibited. Now the cage is been placed in the open wall panel. There is a table of 18 inches square and 9 inches height set in front of the idol in the sanctum floor where the devotees offer flowers and their offerings.

·         In this temple, the Shivalinga is placed slightly above the level at which Goddess is placed. As Goddess is Shakti and Shiva is always above Shakti.