Archive for May, 2013

Sri Vari Suprabhatha Seva – An Insight

Contributed by: Tallakapaka CN Raju, Sannidhi Kainkaryam dar, Sri T.T Temple, Tirumala

Shri T.T Temple – Tirumala: Sri Vari Arjitha Sevas Description: Suprabhatha Seva: Tallakapaka CN Raju. Sri T.T, Tirumala.

Original sketch of Lord (1)

Nethra darshnam with Tulasi

Details of daily worship at Tirumala Temple:

The worship in Tirumala temple is done strictly according to the Vaikhanasa Agama. According to the Bhavisthyottara purana, Vaikhanasa Rishi is said to have admired the playful leelas of Lord Krishna in Dwapara Yuga and did Tapascharya to obtain darshan of Lord Krishna. The legend goes that Lord Krishna appeared before him and instructed him to worship the Lord as Srinivasa who manifested himself in a hill on Venkatachala and that one Rangadasa will help him to locate and worship the Lord. Vaikhanasa Rishi then proceeded to Tirumala and is said to have found the Lord with the help of Rangadasa and worshipped him. Thus Vaikhanasa Rishi, according to the legend, is the first person to worship the Lord at Tirumala. Hence in this temple, to this day, worship is conducted according to the Vaikhanasa agama. Having known about the leelas of the Lord let us go in detail about the different prayers offered to the Lord of Tirumala in a day.
The temple is virtually open throughout the day and in the night with only a gap of an hour or two in the night between the Ekantha seva and the early morning Suprabhatham.

Suprabhata Seva: (3am -3.30am)

Performers: Tallapaka Annamacharya Family + Hathiramji Mutt + Jiyengar Mutt + Vedaparayana dars + Sannidhi Tirumaliga Archaka’s + Sanndhi Golla + Devotees.

Early in the morning at a fixed time like 2:00 AM, the previous day itself ‘golla’ (cowherd : Remember in Srinivasa History who has beaten Lord and gave shapa to him. Now his family continues and they are the one who will have first darshan of Lord at Sanctum Sanctorium).will go to the residence of the archakas & collect them who have been allotted the duty in the sanctum sanctorum that day. The archaka would have by that time had his morning bath, completed his Nitya-karmanusthanas and wearing Urdva Pundras. He will then do pranama to the key of the sanctum & proceed to the temple holding the key on his head, accompanied by paricharaikas, temple paraphethedar and music. The ‘golla’ would be holding a fireband in his hand when the priest has reached the main entrance of the temple. The cowherd would go back and bring the HH Jiyyangar from Mutt or his representative- Ekangi to the temple. The Jiyyangar or Ekangi will come carrying on their head a box, which contains one key (duplicate) and seals etc.

Meantime, the temple administration representative would have come there with one key. The system is triplicate lock system with archaka,, Jiyyangar and temple authorities having one key each. The archaka will first symbolically place his key in the hand of the Dvarapalaka on the right of the Bangaru Vakili. The priest will do pranama to dvarapalakadevathaas near the Bangaru Vakili. Then he will take the key from the dvarapalaka and seal is broken and the doors of golden vakili will be opened uttering suitable mantras. Here the speciality of the Keys is : It is called Kunche Kola..and Archaka will open the inside lock from outside. this is being secret and will be revealed to only Anuvamsika Archaka’s. The Sannidhi ‘golla’, Annamacharya Family, the paricaraka, jeeyar & arhcaka will go in and the Bangaru Vakili doors will be closed from inside.
Bangaru Vakili is a telugu word which means ‘golden doorway’. Here the two doors are massive and covered with gold plate. One should not miss studying these two doors in detail as they depict religious facts. On one door all the ten avataras (incarnations) of the Lord are depicted. The other door depicts the dwadasanama devatas viz. Kesava, Narayana, Madhava. Meantime in the Mukhamantapa the devotees for the Suprabhata seva would have assembled. There will be priests outside who will start reciting suprabhatam, stotra, prapatti. Mangalasasana verses composed by Sri Pratiradibhayankaram Annan. While inside the Bangaru Vakili the antarala the golla with his fireband (torch) would have lighted all the lamps. The ekangi would have lighted the Brahmakhanda and sara lamps.
The next ritual is to remove Bhoga Srinivasa. Who acted as Sayanabera the previous night. When he was ceremonially put to sleep in a cot during Ekantaseva. He will be lifted from that cot and will be taken back to the sanctum to rest near the feet of the Dhruvabera on the left side. That place is known as Sthirasthana. The height of the icon gifted by Samarai, the Pallava Princess does not reach even the anklet of the Dhruvabera. But all worship in the sanctum is done to this idol. At this stage Annamacharya famly use to render wake-up songs (” Meluko Sringara raya”,” Vinnapaalu Vinavale Vinta vinthalu”, “Medini jivula gava meluko vayya”.. and so on),

The vaikhanasa practice is to establish a connection between the Dhruvabera and the Kantukabera through a sambandhakurca during worship. This sambandhakurca is a bunch of 32 blades of darbha (grass) tied by a knot in a rightward direction. The knot will be about 2 inches (angular) in length and will be in the middle thus having about 4 inches (angular) of darbha (grass) fire in the front. The front portion is set to represent Brahma, the knot Vishnu and rest Rudra. This sambandhakurca is placed in the space between the Dhruvabera and the kantukabera with the front portion of the kurca towards the kautkabera. The belief is that the sanctum is water, while dhruvabera is the earth below and the kautukabera is the flower that is nourished by the earth and water. The sambandhakurca is likened to the stalk of the flower, which is connecting link between earth and flower through water. After that Lord will be offered Naivedyam with Hathiramji Mutt Navaneetham(Butter) + Tamboola. So lord of seven hills first will have Navaneetam as Naivedyam. This clearly shows is he is Small child Krishna.

After restoring the kautukabera to Jivasthana, the sayana mantapa is cleared of the cot and other articles used for Ekantaseva the previous night. The doors are open and by that time the reciters outside would have completed the mangalasasana. In the sanctum, the jiyyangar will light the camphor on a plate and give it to archaka who performs Paccha Karpura Harati to the Mula Vigraha. The devotees are then allowed to pass through the Bangaru Vakili and go up to Kulasekharpadi for the Visvarupa / Suprabhata darshan.

The tradition in Tirumala is that Brahma conducts worship every night for the Lord at Tirumala. Actually every night before closing the doors if the Garbhagruha five gold cups of water with the spices specified for puja as per agamas, added to them along with other puja articles are left at the feet of the Lord so that Brahma may use them for the worship of Lord in the night (Brahmaradhana). The devotees who go for Visvarupadarsana get the Tirtha believed to have been used by Brahma & other Gods for the puja offered in the night. Another important feature is that only during Suprabhata-darshana is the devotee able to have a darshan of Lords sacred feet without any gold kavacha on the fact. It is removed during Ekantaseva when Bhoga Srinivasa is put to bed, a half piece (billa in telugu) (half a tablet-like) perfumed sandal paste is placed over his chest, and other piece is placed on the figure of Alamelmanga on the chest if the Mulavigraha, another piece is kept along with puja articles for Brahma to use during his nights worship to the Lord. In addition, another two piecec are placed on Lord’s feet after removing the gold kavacha. These pieces on Lord’s feet are placed there, after wiping off the Civet oil with which his feet are anointed before placing the gold kavacha on them. During the Suprabhata-darshan the devotees are given as prasada a bit from these two sandal paste tablets kept on Lord’s feet in the night and some will be given the small piece of perfumed cloth (Plokta Vastram) with which the Civet oil is wiped off the feet of the Lord, so that they may reverentially press the cloth on their forehead and eyes. The sandal paste is called Sripadachandana and the cloth is called Sripadavastra or Plokta Vastra.

Annamacharya’s Family, Tarigonda’s family, Jiyengar and Venda parayanadars are recipie of Brahma Tamboolam which is the Tambool offerred to Lord and Goddess during night.

Kowsalya supraja Rama poorva sandhya pravarthathe
Uthishta narasardoola karthavyam daivamahnikam

Meaning: Sri Rama! Kausalya’s endearing son! Wake up, dear;You have to do Your day-to-day duties; Do wake up please

Lakshminivasa niravadya gunaika sindo:
Samsarasagara samuththaranaika setho
Vedanta vedya nijavaibhava bhakta bhogya
Sree Venkatachalapathe! thava suprabhatham

Hope you have enjoyed Sri Vari Suprabhatha Seva

Srinivasa Paripoorna Anugrha Siddi Rastu!
Tallakpaka CN Raju.

(This is purely my personal experience – Kindly excuse me if there are any mistakes).

Mantralaya Mutt – Appointment of Successor Seer

I keep visiting the almost regularly. The website is updated almost everyday, and I like to see the pictures posted on several important occasions. I visited it today to see if there were any pictures posted for Sree Narashima Jayanthi. Our beloved Rayaru, is an avatara of Prahaladha right? And Lord Narashima came just for the sake of our Prahalada. The website has amazing pictures of Sree Narashima Jayanthi. Take a look here:

However, the next few links caught my attention. The links which pointed to appointment of successor seer to Mantralaya Mutt Sri Raja.S.Pavamanacharya the present Diwan of Sri Matha. Read more details here:

And you can read about the pattabhishekha rituals here:

ಮಾಧವ ಮಾಮವ ದೇವ – Madhava Mamava Deva Lyrics

Composed by : Narayana Teertha
Lyrics on : Lord Krishna
Contributed by : Ms. Bhavana Damle

ಮಾಧವ ಮಾಮವ ದೇವ
ಯಾದವ ಕೃಷ್ಣ ಯದುಕುಲ ಕೃಷ್ಣ ||ಪ.||
ಸಾಧು ಜನಾಧಾರ ಸರ್ವಭಾವ
ಮಾಧವ ಮಾಮವ ದೇವ ||ಅ.ಪ.||

ಅಂಬುಜಲೋಚನ ಕಂಬು ಶುಭಗ್ರೀವ
ಬಿಂಬಾಧರ ಚಂದ್ರಬಿಂಬಾನನ
ಚಾಂಪೇಯ ನಾಸಾಗ್ರ ಲಗ್ನ ಸುಮೌಕ್ತಿಕ
ಶರದ ಚಂದ್ರ ಜನಿತ ಮದನ ||೧||

ಕಪಟ ಮಾನುಷ ದೇಹ ಕಲ್ಪಿತ
ಜಗದಂಡ ಕೋಟಿ ಮೋಹಿತ ಭಾರತೀ ರಮಣ
ಅಪಗತ ಮೋಹ ತದುದ್ಭವ ನಿಜ ಜನಕ
ಕರುಣಯಾ ಧ್ರುತ ಸ್ನೇಹ ಸುಲಕ್ಷಣ ||೨||

ಕರ್ಣಕುಂಡಲ ರವಿಮಂಡಲ ವಿಕಸಿತ
ನಿಜಜನ ಮಾನಸ ಪಂಕೇರುಹ
ಕರುಣಹಾಸ ಸುಧಾನಿಧಿ ಕಿರಣ
ಶಮಿತ ಭವ ತಾಪಸ ಜನ ಮೋಹ ||೩||

ಮುರಳೀ ಗಾನ ರಸಾಮೃತ ಪೂರಿತ
ವ್ರಜ ಯುವತೀ ಮಾನಸಾರ್ಣವ ಭೋ
ಸರಸ ಗುಣಾರ್ಣವತೀರ್ಣ ಭವಾರ್ಣವ
ಸತತ ಗೀತ ಕೀರ್ತಿ ಮಂಡಲ ಭೋ ||೪||

ಶಂಖ ಚಕ್ರ ಪದ್ಮ ಶಾರ್ಙ್ಗ ಗದಾ ಖಡ್ಗ
ವೈಜಯಂತೀ ಕೌಸ್ತುಭಾದಿ ಭೂಷ
ಸ್ವೀಕೃತ ಬುಧ್ಯಾದಿ ತತ್ವ ಸಮನ್ವಿತ
ದಿವ್ಯ ಮಂಗಳ ಗೋಪಬಾಲಕ ವೇಷ ||೫||

ಆಗಮ ಗಿರಿ ಶಿಖರೋದಿತ ಸತ್ಯ ಚಿದ
ದ್ವಯ ಲಕ್ಷಣ ಸುಖ ಭಾನೊ
ಭೋಗಿ ಕುಲೋತ್ತಮ ಭೋಗ ಶಯನ
ದುಗ್ಧ ಸಾಗರರಾಜ ಲಕ್ಷ್ಮ್ಯಾಢ್ಯ ತನೋ ||೬||

ಇಂದಿರಯಾ ಸಹ ಸುಂದರ ಕೃಷ್ಣ
ಪುರಂದರಾದಿ ವಂದ್ಯ ಪದ ಕಮಲ
ನಂದನಂದನ ಯೋಗಿವರ್ಯ ಧುರಂಧರ
ನಾರಾಯಣ ತೀರ್ಥ ಮತಿ ವಿಹಾರ ||೭||

mAdhava mAmava dEva
yAdava kRuShNa yadukula kRuShNa ||pa.||
sAdhu janAdhAra sarvabhAva mAdhava mAmava dEva ||||

aMbujalOchana kaMbu Subhagreeva
biMbAdhara chaMdrabiMbAnana
chAMpEya nAsAgra lagna sumouktika
Sarada chaMdra janita madana ||1||

kapaTa mAnuSha dEha kalpita
jagadaMDa kOTi mOhita bhAratee ramaNa
apagata mOha tadudbhava nija janaka
karuNayA dhruta snEha sulakShaNa ||2||

karNakuMDala ravimaMDala vikasita
nijajana mAnasa paMkEruha
karuNahAsa sudhAnidhi kiraNa
Samita bhava tApasa jana mOha ||3||

muraLee gAna rasAmRuta poorita
vraja yuvatee mAnasArNava bhO
sarasa guNArNavateerNa bhavArNava
satata geeta keerti maMDala bhO ||4||

SaMkha chakra padma SAr~gga gadA khaDga
vaijayaMtee koustubhAdi bhooSha
sweekRuta budhyAdi tatva samanvita
divya maMgaLa gOpabAlaka vESha ||5||

Agama giri shikharOdita satya chida
dvaya lakShaNa sukha bhAno
bhOgi kulOttama bhOga Sayana
dugdha sAgararAja lakShmyADhya tanO ||6||

iMdirayA saha suMdara kRuShNa
puraMdarAdi vaMdya pada kamala
naMdanaMdana yOgivarya dhuraMdhara
nArAyaNa teertha mati vihAra ||7||

Update: Significance of Akshaya Tritiya

Update: Please check the below link to see Gandhaleepana at Mantralaya:


A very nice article I read about the significance of Akshaya Tritiya on SRSMutt.ORG. Link attached below:

A song appropriate for this event contributed by Ms. Bhavana Damle.

ಮಾಧವ ಮಾಯಾ ಮಾನವ – Madhava Maya Manava Lyrics

Composer: Sri Papanasam Sivan.
Contributed by: Ms. Bhavana Damle
rAga: haMsAnaMdi tALa: Adi

mAdhava mAyA mAnava rUpa vAsudEva mathurApuri nAyaka ||pa.||

yAdava kuladIpa rAdhA manOhara yashOdA tanaya sudhAkara murahara ||1||

naMda kumAra gOviMda dayAkara bRuMdAvanacara kanakAMbaradhara ||2||

dInajanAvana dhRutakara kaMkaNa dEvakI naMdana bhakta parAyaNa ||3||

shrI madhusUdana gOpikAramaNa rAmadAsa vaMdita muraLIdhara ||4||

ರಾಗ: ಹಂಸಾನಂದಿ ತಾಳ: ಆದಿ

ಮಾಧವ ಮಾಯಾ ಮಾನವ ರೂಪ ವಾಸುದೇವ ಮಥುರಾಪುರಿ ನಾಯಕ ||ಪ.||

ಯಾದವ ಕುಲದೀಪ ರಾಧಾ ಮನೋಹರ ಯಶೋದಾ ತನಯ ಸುಧಾಕರ ಮುರಹರ ||೧||

ನಂದ ಕುಮಾರ ಗೋವಿಂದ ದಯಾಕರ ಬೃಂದಾವನಚರ ಕನಕಾಂಬರಧರ ||೨||

ದೀನಜನಾವನ ಧೃತಕರ ಕಂಕಣ ದೇವಕೀ ನಂದನ ಭಕ್ತ ಪರಾಯಣ ||೩||

ಶ್ರೀ ಮಧುಸೂದನ ಗೋಪಿಕಾರಮಣ ರಾಮದಾಸ ವಂದಿತ ಮುರಳೀಧರ ||೪||

ಜಯ ಜಯ ಸ್ವಾಮಿನ್ ಜಯ ಜಯ – Jaya Jaya Swamin Jaya Jaya Lyrics

Composer : Shri NarayaNa Teertha
Lyrics on : Lord Ganesha
Contributed by: Ms. Bhavana Damle
ಜಯ ಜಯ ಸ್ವಾಮಿನ್ ಜಯ ಜಯ
ಜಯ ಜಯ ಸ್ವಾಮಿನ್ ಜಯ ಜಯ |ಪ.|
ಜಯ ಜಯ ಜಿತವೈರಿವರ್ಗಪ್ರಚಂಡ
ಜಯ ಜಯ ಗಜಮುಖ ಜಯ ವಕ್ರತುಂಡ ||ಅ.ಪ.||

ಮೂಷಕವಾಹನ ಮುನಿಜನ ವಂದ್ಯ
ದೋಷರಹಿತ ದಳಿತಾಸುರಬೃಂದ
ಶೇಷಭೂಷಣ ಶೈವ ವಾರಿಧಿ ಚಂದ್ರ
ಪೋಷಿತ ಪರಿಜನ ಪುಣ್ಯೈಕಕಂಧ ||೧||

ಅದ್ರಿಸುತಾಸುತ ಅನವದ್ಯ ಚರಿತ
ಭದ್ರ ಭಕ್ತ ಭವ ಭಯಹರ ಮುದಿತ
ರುದ್ರೋದಿತ ಋಜು ಮಸ್ತಕ ಸಹಿತ
ಸದ್ರೂಪ ಸರಸಿಜ ಸಮುದಿತ ವಿನುತ ||೩||

ಲಂಬೋದರ ಧೀರ ಲಾವಣ್ಯ ಸಾರ
ಕಂಬು ಸುಧಾನಿಧಿ ಕರ್ಪೂರಗೌರ
ಸಾಂಬಸದಾಶಿವ ಸತ್ಕೃತಿ ಚತುರ
ಸಾಮವೇದ ಗೀತ ಸಕಲಾಧಾರ ||೪||

ಶಕ್ರಾದಿ ಸುರಗಣ ಸನ್ನುತ ಚರಣ
ಶಾತಕುಂಭ ಮಣಿ ದಿವ್ಯಾಭರಣ
ಧಿಕೃತ ಘನ ವಿಘ್ನ ತಿಮಿರಾವರಣ
ಧೀರ ನಾರಾಯಣ ತೀರ್ಥ ಸುಕರುಣ ||೫||

jaya jaya swaamin jaya jaya
jaya jaya swaamin jaya jaya |pa.|
jaya jaya jitavairivargaprachaMDa
jaya jaya gajamukha jaya vakratuMDa ||||

mUShakavaahana munijana vaMdya
dOSharahita daLitAsurabRuMda
shEShabhUShaNa shaiva vaaridhi chaMdra
pOShita parijana puNyaikakaMdha ||1||

adrisutAsuta anavadya charita
bhadra bhakta bhava bhayahara mudita
rudrOdita Ruju mastaka sahita
sadrUpa sarasija samudita vinuta ||3||

laMbOdara dhIra laavaNya saara
kaMbu sudhaanidhi karpUragaura
saaMbasadaashiva satkRuti chatura
saamavEda gIta sakalaadhaara ||4||

shakraadi suragaNa sannuta caraNa
shaatakuMbha maNi divyaabharaNa
dhikRuta ghana vighna timiraavaraNa
dhIra naaraayaNa tIrtha sukaruNa ||5||

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