File:Shri Bala Ji.JPG

Shri Tirumala Balaji  

This word Tirumala is composite word consisting of Tiru + mala. ‘Tiru’ means 'Holy' or 'Sacred' and mala means hills. Therefore, it translates as Holy Mountains. The Tirumala Hill is 853m above sea level and is about 10.33 square miles (27 km2) in area. The Architecture of Tirumala Bala Ji Temple is commonly known as ''Sthapatya’. ''

The Tirumala ranges show the face of Lord Balaji. ''This comprises seven peaks, representing the seven heads of Adisesha, thus earning the name Seshachalam. The seven peaks are called Seshadri, Neeladri, Garudadri, Anjanadri, Vrushabhadri, Narayanadri and Venkatadri. The temple is on Venkatadri or Venkatachala or Venkata Hill, the seventh peak, and is also known as the "Temple of Seven Hills"  also called Saptagir representing the      (seven sages). The Garuda Hill in Tirumala, the abode of Lord Venkateswara, features a natural rock formation that is in the form of Garuda (the eagle). Incidentally, Garuda is also the vehicle of Lord Venkateswara. Scriptures say that the hill existed prior to the time of Kruta Yuga. ''

The presiding     <span style="text-indent:0.5in;font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">of the temple is Lord Venkateswara, an incarnation of lord Vishnu. In  <span style="text-indent:0.5in;font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">,  Ven-kata-eswara means this: 'vem' = all the links with one's own sins, 'kata' = will be cut off in total to the one who surrenders to him, 'Eswara' = Supreme God

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"> Venkateswara is known by other names: Balaji, Govinda, and Srinivasa. The temple lies on the southern banks of Sri Swami Pushkarini, a holy water tank.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"> <span style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:-0.25in;">This idol, called the Mulaberam, is believed to be self-manifested. As there does no known sculptor possess the capability to sculpt idols of god so proportionately. Further, no human being is known to have installed it in the shrine.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">This is the rarest Stri Purusha Shilaah'''. '''This manifested on the earth in Satya Yuga 8.64 billion years ago at Tirumala as Bala Ji from Shaligram and is evident from Silathoranam, resembles the hood of Sarpa a  <span style="font-size:11pt;line-height:115%;font-family:Calibri,sans-serif;"> <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">. This rock arch or ‘rock garland’ <span style="font-size:12.0pt;line-height:115%; font-family:"TimesNewRoman","serif";mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin;mso-ansi-language:EN-US;mso-fareast-language: EN-US;mso-bidi-language:AR-SA">  <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">hanging decorations of <span style="font-size:11pt;line-height:115%;font-family:Calibri,sans-serif;"> <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">, a  <span style="font-size:11pt;line-height:115%;font-family:Calibri,sans-serif;"> <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">, Gada, a mace  <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">; Chakra, a  <span style="font-size:11pt;line-height:115%;font-family:Calibri,sans-serif;"> <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">   <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">( <span style="font-size:11pt;line-height:115%;font-family:Calibri,sans-serif;"> <span style="font-size:12pt;line-height:115%;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">) and Padma arranged in a particular order. These symbols of worship considered to be the source of the Idol of Bala Ji.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">This is a Natural Arch at Tirumala hills a distinctive geological wonder and is located 1 km (0.6 mi) north of the Tirumala hills temple, near the Chakra Teertham. The arch measures 8 m (26.2 ft) in width and 3 m (9.8 ft) in height, and the beam is simply supported at both ends. This is strung over a threshold, connecting two vertical columns or an ‘arch’. This beam is simply supported at both ends and has no bending moment and shear reaction loads. It develops internal forces in response to the external force so that equilibrium is maintained. It is a beautiful place with an innate rock configuration that is a geological marvel. <span style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:-0.25in;">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:-0.25in;">The main stone deity of Lord Venkateswara is called Dhruva Beram ( beram<span class="apple-converted-space" style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:-0.25in;">  <span style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:-0.25in;">means "deity", and <span class="apple-converted-space" style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:-0.25in;">  Dhruva <span style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:-0.25in;">means "pole star" or "fixed"). The deity is about 8 feet (2.4 m) from the toes to the top of the crown and is considered the main source of energy for the temple.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="text-indent:0.75in;font-size:12pt;font-family:'TimesNewRoman',serif;">The Idol <span style="text-indent:0.75in;font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">itself is not exactly standing in the tribhanga pose, the body near and below the waist has taken a slight tilt to the left and the knee themselves are bent and open slightly outwards giving the idol peculiar grace and charm.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The Idol of Balaji is adorned with ‘Pachai Karpooram’, from  Cinnamomum camphora, which is a highly volatile substance, daily. <span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">This is a mild acid which may cause itching. <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"; mso-no-proof:yes">If applied to a stone, it will form Cracks. But this is not so in Lord Balaji’s case. 

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">There is no mark of the Chisel in the Idol. 

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The facial expression with long and dark eyes in 'Sama dristi' and with an eternal smile is extraordinarily tranquil and beautiful, reflecting a sense of complete love and serenity that envelopes all living creatures in its benevolence..

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes"> The face looks charming like that of a young girl and the waist is slightly tilted onto a side which is typical of the female deities. The Vaishnava Naama covers the entire face and even during nija roopa darshan never removed

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The nose is delicately carved and is neither prominent nor flat. The mouth of Lord is also exquisitely shaped.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The chin and the ears are carved proportionately.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The ears have beautiful ear ornaments.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The chest or the Lord is magnificent in cut and size and should if measured be between 36 to 40 inches in width. While the waist would be between 24 to 27 inches.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The neck is conch like and the body in the posture of a lion and exquisitely shaped. The belly is also beautifully modeled.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The Idol has 4 arms; the upper 2 being carved to hold the chakra and the conch, the chakra and the conch are not integral parts of the main idol.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The upper right arm holds the Sudarsana Chakra, the upper left arm holds the Panchajanya, the conch of Lord Vishnu which is blown by him in times of war.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The lower right hand of the Idol in the Varada Hasta pose, while the lower left hand is in the Katyavalambita pose.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">Actually the fingers of the left hand rest on the left thigh, with the thumb of the hand almost parallel to the waistline. While this idol itself is not exactly standing in the tribhanga pose the body near and below the waist has taken a slight tilt to the left and the knee themselves are bent and open slightly outwards giving the idol peculiar grace and charm

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The Yagnopaveetham and a set of 4 necklaces or ornaments of the neck can also be clearly made out on the idol. <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">Texts such as Harita Dharmasutras, Asvalayana Grhya Sutra and Yama smriti suggest women could begin Vedic studies after the Upanayana rite of passage. Girls who decided to become a student underwent the Upanayana rite of passage, at the age of 8, and thereafter called Brahmavadini. They wore a thread or upper garment over their left shoulder. Those girls who chose not to go to a Gurukul were called Sadyovadhu (literally, one who marries straight). However, the Sadyovadhu too underwent a step during the wedding rituals, where she would complete Upanayana, and thereafter wear her upper garment (Saree) over her left shoulder. This interim symbolic Upanayana rite of passage for a girl, prior to her wedding, is described in multiple texts such as the Gobhila Gryha Sutra verse 2.1.19 and various Dharmasutras. So only we see the sacred tread on this idol.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">    <span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The arms have armlets. The figure is depicted as wearing a dhoti from the waist downwards, while the upper portion is not covered by any dress or vastra. <span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">There is however a Katibandham or waistband and this waistband is about 2 inches thick. <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-no-proof: yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The legs and feet of the Lord are beautifully shaped, strong and lissome. Both the knees are bent and open slightly outwards, giving the stately figure, charm and grace. The feet are models of perfection and have ornaments near the anklets. <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-no-proof: yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The hair of the Idol never tangles and is silky smooth always. 

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif"">The lamps lighting in front of lord don't go off. These were lighted some crores of years ago. Nobody knows from how long they are on.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">Every day a new and sacred Dhoti (bottom) and Saree (top) are used to decorate the Idol.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The inner garments (Ul-Pavadai) of Lord Balaji’s are made of cotton at a place called Kathwaal. The weavers of this garment belong to the Chenchu Tribes and they prepare it with utmost devotion. Since this innergarment touches the body of the Goddess, the weavers take bath thrice daily during the preparation of this dress. They also do not touch liquor or any non-vegetarian foods during this period. <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-no-proof: yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The Idol is always at 110 Degree F, despite being bathed in Water, Milk at the early hours, 4.30am. After bathing the Deity Sweat forms every day and it is wiped off. No matter how many times, the back of the Idol is dried, it remains wet always.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">One can carefully keep ear and listen against Idol’s back, sound of an ocean is heard.  <span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">All the flowers used in the garbha gudi are in no condition brought out. <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">There is a water fall in the earth back of the lord. <span style="background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">All flowers are thrown in this water fall without seeing back.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">All these flowers can be seen coming out at a place called Verpedu, 20 km from Tirupati on way to Kalahaasti. 

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">Lord Balaji is worshiped as Goddess Bala Tripurasundari, the divine form of Shakti Uma on four days, as Vishnu for two days and Shiva on Friday in a week with Bilva leaves for Archana. <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif""> Similarly the same Bilva leaves are used during archanas from 15th Dec. to 15 Jan.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif"">In the Friday Abhisheka, Firstly, the idol of Balaji is applied with Punugu Tailam (Civet) and then wiped with a pure cotton towel. At this stage one can see the idol without any ornaments, vasthrams (except the hands holding Chakra and Sankham) which is really once in a lifetime experience

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">The fact that special Pujas are performed on Fridays by bathing the deity in Turmeric worship as Bala Tripura Sundari Devi and Abhisheka is done on Fridays, a 21-cubit Sari vastra with turmeric water, and Brahmotsava during Navaratri are conducted. The Abhisheka is done by pouring out water in a measure of 51 porringers. The number 51 refers to the count of Shakti Pithas.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"> This Sacred Bath includes saffron is from Spain, Kasturi (wastage from the body of musk deers) from Nepal, Punugu (wastage from the body of civic cats) from China, and certain fragrance materials do include Aghil (a scented wood) resembling sandalwood, Sandalwood, Amber, Thakkolam, Lavangam, Kumkumam, Thamalam, Niryasam etc. These items are used to be mixed with sandal paste prepared on a golden plate. 51 small kalasams of milk are offered in the Abhisheka. Then they apply Kasturi and Punugu to the idol.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.75in;line-height:normal"><span style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:0.5in;">On all Fridays in the early morning, a special worship is performed before the commencement of Abhisheka. During this special worship the Idol is without any dress or flower decorations. Camphor is lighted and shown to the Lord as Arathi. Then the worship in the Thenkalai Sampradhayam is performed. Then Neivedhyam is offered to the Lord. Once again a Karpooram Arathi is performed. The idol of Lord Balaji at that time would be shining beautifully and is a treat to the eyes.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The temple authorities buy a mud pot daily in which curd rice is offered to the Lord. Except curd rice, no other cooked or prepared food items would ever cross the Kulasekaran Steps (the name of the steps at the entrance of the sanctum sanctorum of Lord Balaji). <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-no-proof: yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">Many devotees have their head tonsured as "Mokku", an offering to God. The daily amount of hair collected is over a ton. <span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">One of the most important offering in this temple is the 'Thulabharam.' In the Thulabharam ritual, a devotee sits on a pan of a weighing balance and the other pan is filled with materials greater than the weight of the devotee. Devotees usually offer sugar, jiggery, Tulasi leaves, banana, gold, coins. This is mostly performed with newborn babies or children. <span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">Devotees offer gold as a token of their love for God in Hundi <span style="font-size:12.0pt; font-family:"TimesNewRoman","serif";mso-no-proof:yes">

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif"">Pilgrims can view and participate (in a limited fashion) in the various sevas performed to Dhruva bera (main idol), Bhoga Srinivasa, Sri Malayappa swami and other idols in the temple. When pilgrims purchase arjitha seva tickets, they get the opportunity to see a seva performed to the Lord, obtain Prasada in the form of vastra  (clothes),  akshantalu (sacred and blessed rice) and food articles (laddus, vadas, dosas, pongal, rice items) and a darshan of the utsava murti

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-fareast-font-family: "TimesNewRoman"">The devout poet, Thalappakkam Annamayya had sung kritis in praise of Lord Balaji, portraying the Lord as Parabrahma, Ishwara, or an amsa of Lord Siva and also as Shakti Swarup (the consort of Lord Siva) which are still available engraved on copper plates.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-fareast-font-family: "TimesNewRoman"">Tamil poet laureate Arunagirinathar (known for his devotional songs on Lord Skantha, the Thirupugazh) had visited Tirupati.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-fareast-font-family: "TimesNewRoman"">Muthuswami Dikshidhar, (One of the trinities of Carnatic Music) was a well known Srividhya Upasakar and was well versed in mantra Shastras. He had sung songs in praise of hundreds of Hindu deities/gods. In particular he had sung a song in the Carnatic raga Varali in praise of Lord Balaji beginning with the words Seshaahala Namam.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif"">Lions engraved on stones wherever there is worship of Shakti, either on the Gopura or at the entrance of the sanctum sanctorum or both. Even in Tirumala, you find so many lions carved on the Gopura and somewhere near the entrance also, which is very rare in temples of Vishnu.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">As per Shilpa Shastra this height of 8 feet is the standard measure of a female form of deity. This a female form of deity.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif"">  <span style="text-indent:0.5in;font-size:12pt;font-family:'TimesNewRoman',serif;">Coming back to the issue of acoustics in the stones, the Shilpis   displayed a remarkable skill and ingenuity in crafting “musical “pillars, which when struck at right points produce sonorous octaves. <span style="text-indent:0.5in;font-size:12pt;font-family:'TimesNewRoman',serif;"> Since every unit of time vibration produces a corresponding unit of space measure, Vastu science derives that time is equal to space. This rhythm of time and space vibrations is quantified as eight and multiples of eight, the fundamental and universal unit of measure in the Vastu shilpa tradition. This theory carries over to the fundamental adi talam (eight beats) of classical Indian <span style="font-size:12pt;font-family:'TimesNewRoman',serif;color:windowtext;">music <span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">  <span style="text-indent:0.5in;font-size:12pt;font-family:'TimesNewRoman',serif;">and  <span style="font-size:12pt;font-family:'TimesNewRoman',serif;color:windowtext;">dance<span style="text-indent:0.5in;font-size:12pt;font-family:'TimesNewRoman',serif;">. Applying this in the creation of a human form, it is found that a human form is also composed of rhythmic spatial units. According to the Vastu Shastras, at the subtle level the human form is a structure of eight spatial units devoid of the minor parts like the hair, neck, kneecap and feet, each of which measures one-quarter of the basic measure of the body and, when added on to the body's eight units, increases the height of the total form to nine units. Traditionally these nine units are applied in making sculptures of Gods. <span style="background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">Male deities are made from male stones and their bases are from female type stones. For Female deities all parts are made from female type stones. The Stone shall be completely SOLID, and homogeneous. Images should confirm to the prescribed types when they are to be contemplated in the spirit of worship.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">A perfectly' built figure, faultless in its details, is one of the rarest things in the world ; and in spite of general resemblances of features and form, between man and man, it is impossible to take any particular figure as a standard or ideal for all. Features, like hands, feet, e3'es or ears, are given to all men in pairs, and, roughly speaking, these are structurally the same in one man as in another. But, our intimate acquaintance with the human race, and our habit of pa3'ing close attention to the details of a man's features, make us so actual}' conscious of minute differences of physiognomy that the choice of the test helically' ideal figure becomes a matter of serious difficulty for the artist.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12pt;font-family:'TimesNewRoman',serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The whole figure of a Male Deity is divided into 9 equal parts, which are called Talas and Female deity is of 8 Talas.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-weight:bold">The heights or vertical lengths of the various parts of a figure made according to this Tala arc—middle of forehead to chin 1 Tala, collar-bone to chest 1 Tala, chest to navel 1 Tala, navel to hips 1 Tala, hips to knees 2 talas, knees to insteps 2 talas, forehead to crown of the head 1 amsa, neck 1 amsa, knee-caps 1 amsa, feet 1 amsa. The widths or horizontal measures are as follows, — Head 1 Tala, neck 2^/'2 amsas shoulder to shoulder 3 talas, chest 6 amsas, waist 5 amsas, hips 2 talas, knees 2 amsas, ankles 1 amsa, feet 5 amsas. The hands and their parts are as follows. — Lengths : shoulders to elbows 2 talas, elbows to wrists 6 amsas, palms 1 Tala ; widths near armpits 2 amsas, elbows IV2 amsas, wrists 1 amsa.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The face of the figure is divided into three equal portions, — middle of forehead to middle of pupils, pupils to tip of the Nose, tip of the nose to chin.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif""> From the crown of the head to the lower fringe of hair 3 angula is in width; Forehead 4 angulas, Nose - from tip of nose to chin 4 angulas, and neck 4 Reticules in height; eye-brows 4 angulas long and half an angula in width, eyes 3 angulas in length and two in width; pupils one- third the size of the eyes; Bars 4^ angulas in height and 3 in width. Thus, the height of the ears is made equal to the length of the Eye brows. Palms 7 angulas long, the middle finger 6 angulas, and the thumb 3^ angulas, extending to the first phalauA: of the index finger. The thumb has two joints or sections only-, while the other fingers have three equal. The ring finger is smaller than the middle finger by half a section and the little finger smaller than the ring finger by one section, while the index finger is one section short of the middle. The feet should be 14 angulas long, the big toe 2 angulas, the first toe 2^^ or 2 angulas, the middle toe 1^2 angula the third toe l^ angula and the little toe l^/^ angula.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The Forehead is described as having the form of a bow. The space between the eye-brows and the fringe of hair in front shows the arched crescent form of a slightly drawn bow. The Eyebrows are described as being "like the leaves of a Neem tree or like a bow." Both these forms have found favor with our artists, the first being used chiefly for figures of men and the latter for female figures.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The various emotions, of pleasure or fear or anger, Sick, are to be shown by raising, lowering, contracting or otherwise rounding the eye-brow like a leaf disturbed I)}- the wind or a bow under different degrees of tension.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The eyes of women are by their very nature restless. The forms and expressions of eyes have peculiar to different types The Eyes have been described as "fish-shaped." The eyes have been compared among other things to the common wagtail, a small bird with a lively dancing gait; the eyes of the deer; the water-lily ; the lotus leaf and the little safari/ fish. Of these the first two are used chiefly in painted figures of women, while the other three are to be seen in the stone or metal images of gods as well as goddesses choosing three such restless animals as the deer, the khanjana and the safari for their similes.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The Ears arc directed to be made "like the letter “?". Some resemblance can no doubt be traced between the ear and the letter “?” to indicate the structure of the ears. The sole reason for this seems to be that the ears are so much obscured by ornaments and decorations in the images of goddesses and elaborate head-gear by roughly indicating the general character of the eyes.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The nose has the shape of the sesame flower and the nostrils are like the seed of the long bean. Noses shaped like the sesame flowers to be seen chiefly in the images of goddesses and in paintings of women. In this form, the nose extends in one simple line from between the eyebrows downwards, while the nostrils are slightly inflated and convexes like a flower petal. Parrot-noses are found chiefly in the images of gods and in male figures. In this type the nose, starting from between the eyebrows rapidly gains in height and extends in one sweeping curve towards the tip, which is pointed, while the nostrils are drawn up towards the corners of the eyes. Parrot-noses are invariably associated with heroes and great men, while, amongst female figures, they are to be seen only in the images of Shakti.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">Lips being smooth and moist, and red in color, lips have been appropriately compared to the Bimba fruit. The Bandhuh flower is admirably adapted to express the formation of the lower and upper lips.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The Chin has the form of the mango-stone. It is readily' seen that in comparison with the eyebrows, the nostrils, the eyes or the lips, the chin is more or less inert  being scarcest affected the various changes of emotion which are so vividly reflected in the other features. It has therefore been purposely compared to the inert stone of a fruit, while the others have had living objects like flowers, leaves, fish, etc., for similes. The ear is also a comparatively inert portion of our face, and there is therefore a certain fitness in comparing it to the letter“?”

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The Neck is supposed to exhibit the form of a conch, the spiral turns at the top of a conch being often well simulated by the folds of the neck. Besides, as the throat is the seat of the voice the analogy of the conch is well suited to express the function, as well as the form of the neck.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The Trunk, from just below the neck to the abdomen, is directed to be formed like the head of the cow. This is certainly an excellent way of suggesting the strength of the chest and tail comparative slimness of the waist as well as the loose and folded character of the skin folding near the abdomen. The middle of the body has also been compared to the damaru and the lion's body; while the rigid Strength of a heroic chest has been well described b}^ comparison with a fastened door, but none of these can approach the first of these similes, in the beautiful completeness with which it conveys an idea of the form as well as the character of the trunk.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The resemblance of our shoulders to the head of the elephant is undeniable. The human shoulder and arms on the lines of the head and trunk of an elephant have the functional resemblance between the two is also pretty evident. Comparisons with snakes or creepers, given by our poets, serve merely to express the pliant, clinging or clasping character of the hands as well as that constant seeking of a support which characterizes the creeper and the snake. But the elephant's trunk suggests all these as well as the form and the various characteristic movements of the hands.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif""> The Forearms from the elbows to the base of the palms, arc to be modeled like the trunk of a young plantain tree. This emphasizes the supple symmetry as well as the firmness of the arms. The comparisons of the fingers with beans or pea-pods give more useful indication of the formation of the fingers than the champak flower-buds.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">The human thigh, in male as well as in female figures, has long been fashioned after the trunk of the plantain tree by our artists. The trunk of the young elephant is also, occasionally, a favorite model— especially for images of goddesses. The upper portion of the body above the hips or the limbs below are thrown to right or left, back- wards or forwards, like a tree caught in a storm. This type is usually seen in such representations as Siva's dance of destruction and fighting gods and demons.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:12.0pt;font-family:"TimesNewRoman","serif"">As every proportion, measurement of height, length, width, and other iconographic element was so strictly fixed; one might conclude that the Indian artist was so confined by these rules that there was no scope left for individual interpretation and imagination. In other words: did the artist still have any artistic freedom? Even from just the works illustrated in this book it can be seen that the sculptors allowed themselves considerable freedom, within the restraints of the rules—rather as with the basic notion of raga in classical Indian music. A raga has a well-defined structure: a tonal scale wherein the choice of given ascending and descending notes, the rhythm and the tempo are laid down and determine the raga’s individual character. But within those parameters the musician is free to improvise, so that each performance of the same raga is always a different interpretation.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif"">The Idol of Tirumala is not a mere sectarian God, though the outward form is undoubtedly that of Lord Vishnu, but it is of Shri Bala Tripurasundari Devi!

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif"">All the upacharas or the services rendered to this idol are in effect rendered to the eternal Goddess. This is the real secret of the Lord of seven hills. She is worshipped as Vishnu, Siva, Rudra, Brahma, Maheswari, Mahakali, Mahalakshmi, Mahasaraswati, Skanda or any other form to any devotee who conceives of the Lord in that aspect

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:12.0pt; font-family:"TimesNewRoman","serif""><span style="font-family:'TimesNewRoman',serif;font-size:12pt;text-indent:0.5in;">Read Kingdom of Shiva and refresh your knowledge on Agama Shastra, Silpa Shastra and Vastu Shastra...as well on the need of worship Kanya or Virgin, who is the form of Shri Bala Tripurasundari Devi .Sivkishen, Author, Kingdom of Shiva