Tirupati Balaji Temple

Tirupati Balaji Temple

The ancient and sacred temple of Sri Venkateswara is located on the seventh peak, Venkatachala (Venkata Hill) of the Tirupati Hill, and lies on the southern banks of Sri Swami Pushkarini.It is by the Lord's presidency over Venkatachala, that He has received the appellation, Venkateswara (Lord of the Venkata Hill). He is also called the Lord of the Seven Hills.

The temple of Sri Venkateswara has acquired unique sanctity in Indian religious lore. The Sastras, Puranas, Sthala Mahatyams and Alwar hymns unequivocally declare that, in the Kali Yuga, one can attain mukti, only by worshipping Venkata Nayaka or Sri Venkateswara.

The benefits acquired by a pilgrimage to Venkatachala are mentioned in the Rig Veda and Asthadasa Puranas. In these epics, Sri Venkateswara is described as the great bestowed of boons. There are several legends associated with the manifestation of the Lord at Tirumala.

There is ample literary and epigraphic testimony to the antiquity of the temple of Lord Sri Venkateswara. All the great dynasties of rulers of the southern peninsula have paid homage to Lord Sri Venkateswara in this ancient shrine. The Pallavas of Kancheepuram (9th century AD), the Cholas of Thanjavur (a century later), the Pandyas of Madurai, and the kings and chieftains of Vijayanagar (14th - 15th century AD) were devotees of the Lord and they competed with one another in endowing the temple with rich offerings and contributions.

It was during the rule of the Vijayanagar dynasty that the contributions to the temple increased. Sri Krishnadevaraya had statues of himself and his consorts installed at the portals of the temple, and these statues can be seen to this day. There is also a statue of Venkatapati Raya in the main temple.

Sri Venkatachala Mahatmya is referred to in several Puranas, of which the most important are the Varaha Purana and the Bhavishyottara Purana. The printed work contains extracts from the Varaha Purana, Padma Purana, Garuda Purana, Brahmanda Purana, Markandeya Purana, Harivamsa, Vamana Purana, Brahma Purana, Brahmottara Purana, Aditya Purana, Skanda Purana and Bhavishyottara Purana. Most of these extracts describe the sanctity and antiquity of the hills around Tirumala and the numerous teerthams situated on them.

The legends taken from the Venkatachala Mahatmya and the Varaha Purana, pertaining to the manifestation of the Lord at Tirumala, are of particular interest.

According to the Varaha Purana, Adi Varaha manifested Himself on the western bank of the Swami Pushkarini, while Vishnu in the form of Venkateswara came to reside on the southern bank of the Swami Pushkarini.

Padi Kavali Maha Dwara
The Padi Kavali Maha Dwara or Outer Gopuram stands on a quadrangular base. Its architecture is that of the later Chola period. The inscriptions on the gopuram belong to 13th century. There are a number of stucco figures of Vaishnava gods like Hanuman, Kevale Narasimha and Lakshmi Narasimha on the gopuram.

Sampangi Pradakshinam
The path for circumnavigating the temple is called a pradakshinam. The main temple has three prakarams. Between the outermost and middle prakarams is the second pathway for circumambulation known as the Sampangi Pradakshinam. Currently, this pathway is closed to pilgrims. The Sampangi Pradakshinam contains several interesting mandapams like the Pratima Mandapam, Ranga Mandapam, Tirumala Raya Mandapam, Saluva Narasimha Mandapam, Aina Mahal and Dhvajasthambha Mandapam.

Ranga Mandapam 
Ranga Mandapam, also called the Ranganayakula Mandapam, is located in the south-eastern corner of the Sampangi Pradakshinam. The shrine within it is believed to be the place where the utsava murti of Lord Ranganadha of Srirangam was kept during the 14th century, when Srirangam was occupied by Muslim rulers. It is said to have been constructed between 1320 and 1360 AD by the Yadava ruler Sri Ranganadha Yadava Raya. It is constructed according to the Vijayanagara style of architecture.

Tirumala Raya Mandapam
Adjoining the Ranga Mandapam on the western side, and facing the Dhvajasthambha Mandapam is a spacious complex of pavilions known as the Tirumala Raya Mandapam or Anna Unjal Mandapam.

It consists of two different levels, the front at a lower level and the rear at a higher. The southern or inner portion of this Mandapam was constructed by Saluva Narasimha in 1473 AD to celebrate a festival for Sri Venkateswara called Anna Unjal Tirunal. This structure was extended to its present size by Araviti Bukkaraya Ramaraja, Sriranga Raja and Tirumala Raja.

It is in this Mandapam, that the utsava murthi Malayappan, holds His annual darbar or Asthanam during the hoisting of the Garudadhwaja on Dhwajastambham to mark the commencement of Brahmotsavam. Incidentally, the prasadam distributed on this occasion is still called Tirumalarayan Pongal.

Tirumala Raya Mandapam
The Mandapam has a typical complex of pillars in the Vijayanagara style, with a central pillar surrounded by smaller pillars, some of which emit musical notes when struck with a stone. The main pillars have rearing horses with warriors mounted on them. Some of the best sculptures of the temple are found in bold relief in the Mandapam. The bronze statues of Todermallu, his mother Matha Mohana Devi and wife Pitha Bibi, are kept in a corner of the Mandapam.

The Aina Mahal
The Aina Mahal is on the northern side of the Tirumala Raya Mandapam. It consists of two parts - an open mandapam in the front consisting of six rows comprising six pillars each, and a shrine behind it consisting of an Antarala and Garbhagriha. It has large mirrors which reflect images in an infinite series. There is an unjal in the middle of the room in which the Lord is seated and festivals conducted.

The daily program starts with 'Suprabhatam' (awakening the Lord) at three in the morning and end with the 'Ekanta Seva' (putting the Lord to sleep) at one in the night. Daily, Weekly and Periodical 'Sevas' and 'Utsavams' are performed to the Lord. Interested pilgrims can choose from the list and pay to get the Sevas or Utsavams done on their name. Devotees offer their gifts and donations in the "Hundi", which is the main source of income.

Everyday is a day of festivity at Tirumala. The most famous is the annual festival called 'Brahmotsavam', which is celebrated on grand scale for nine days in September, attracting pilgrims and tourists from all parts of the country. The fifth and ninth days of the festival are especially significant in as much as Garudostavam and Rathotavam takes place on those days.

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Thousand Pillar Temple

Thousand Pillar Temple

About 150 kms. from Hyderabad lies the ancient city of Warangal. Noted today for its beautiful lakes, magnificent temples and wildlife, Warangal possess the marvelous thousand pillared temple, built by King Rudra Deva in the 12th century. The famous Thousand Pillar Temple, built in 1163 AD, by king Rudra Deva is an important monument situated near the Hanamkonda-Warangal highway. One thousand richly carved pillars and a magnificent black basalt Nandi bull are unique to this temple which is dedicated to Lords Shiva, Vishnu and Surya.

The temple is in shape of a star and has three shrines dedicated to Lord Shiva, Vishnu and Surya. The temple is built on a 1m high platform on the slopes of the Hanumakonda hill, and has a majestic monolithic Nandi. The black basalt Nandi, a monolith, has a lovely polished finish. There are many small lingam shrines surrounding the gardens. The temple is famous for its richly carved pillars, screens and detailed sculpture.

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The Sun Temple

The Sun Temple

Built in 1026 A.D. during the reign of King Bhimdev I of the Solanki dynasty, the Sun temple is dedicated to the Sun God. This temple, though ravaged by Mehmud of Gazni, still retains enough of it's original structure to convey the grandeur of its conception and the superb artistry of execution. Every inch of the edifice, both outside and inside is carved magnificently with motifs of gods and goddesses, birds, beasts and flowers. Modhera is now the site of several dance and cultural festivals. The sun temple and the ambiance here provide a majestic backdrop for the exhibition of performing arts.

Even in its ruined state, the sun temple at Modhera is magnificent. The first view of the sun temple is breathtaking, with the pillared portico of the sabhamandap reflected in the massive tank. The weathered golden brown stone of the edifice has an overpowering grandeur. There is no worship offered here now. There is no shikhara either. The temple has a sanctum, a pradakshina patha and a sabha mandap in front. The exterior of the sanctum has many carved images of the Sun God, portrayed as wearing a belt and long shoes. The mandapa in front of the sanctum has beautifully carved pillars with exquisite toranas adorning the entrances. The exterior of this temple is intricately carved. This temple has been designed such that the sun's rays illuminate the sanctum at dawn.

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Shankracharya Temple

Shankracharya Temple

Kashmir has produced a galaxy of great saints, seers and savants who have enriched, elevated and refined life and helped the people at large in distress. This is perfectly showcased in the Shankracharya Temple. The temple shows the early Kashmiri style. It tries to introduce the early Sihara style and has still one-storeyed gable pediment which is evident even now. Here we find the early specimen of the horse shoe arch, prominent in the final stages of this architecture, as, for example, in Martand.

It was first built by Jalauka, the son of great Emperor Ashoka, about 200 B.C. The temple was later rebuilt and dedicated to Jyesthesvara by Gopaditya, who ruled from 253 A.D. to 328. The hill was called Gopadri and the village at its foot on the south is still called Gopkar. It is also said that once Shankaracharya, a famous Hindu saint, came to Kashmir from South India to revive Hinduism. He stayed on the top of the hill for sometime and the hill thus came to be known as Shankaracharya hill.

This temple stands on a solid rock and consists of an octagonal basement of 13 layers. Each of the four sides has two projections which terminate in pediment and agable, the latter intersecting the main roof half way up its slope. The body of the temple is surrounded by a terrace enclosed by a stone wall or parapet, 3.5 feet high. This in following the outline of the basement, preserves its octagonal shape. From the terrace another flight often steps leads to the door of the temple. The interior is a chamber, circular in plan, with a basin containing a lingam. The whole of the building is of stone, which is laid throughout in horizontal courses, no cement appearing to have been used.

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Sabarimala Temple

Sabarimala Temple

Perhaps the best known pilgrimage destination in Kerala, Sabarimala is situated high up in the Sahyadri Mountains. Sabarimala Sri Dharmasastha Temple is the most famous and prominent among all the Sastha Temples. It is believed that "Parasurama Maharshi" who uplifted Kerala from the sea by throwing his axe, installed the idol of Ayyappa at Sabarimala to worship Lord Ayyappa. The temple attracts pilgrims not only from the southern states of India, but also from other parts of the country and abroad.

Various legends explain the birth of Ayyappa, among them that he was born to battle the demons of Kerala's hill tribes. Brought up by a childless tribal king, Ayyappa performs many miracles. After fulfilling the purpose of his incarnation, Ayyappa entered the inner sanctum of the ancient temple upon sacred Mt Sabari and disappeared. During his life, Ayyappa reportedly kept the company of tigers and leopards.

The Sabarimala temple attracts the maximum pilgrims on the first day of the 'Makharam' month on January 17, when a celestial light appears on top of a nearby hill. Thousands arrive just to see the light, which is considered sacred. All the devotees, after taking a holy dip in the river, trek to the hilltop temple. Before beginning the pilgrimage to Sabarimala, pilgrims prepare themselves with 41 days of rigorous fasting, celibacy, meditation and prayer. The standard items that are carried to the temple include a coconut filled with ghee and two other coconuts that are broken in front of the temple.

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Sai Baba Temple

Sai Baba Temple

Shree Shirdi Saibaba Temple is located at Shirdi, Maharashtra, India appeal to millions of devotees of every caste, creed and religion. The Saibaba temple is a lovely shrine. Shrine was built above the Samadhi of the Shri Saibaba.

The Shirdi is a small village into Kopargam taluk into Ahmad nagar district of Maharashtra State. The Saibaba was physically there on the age of 20 into Shirdi. Shirdi was a small village of the 80 thatched houses among mud walls. Nowadays, Shirdi is a large town by modern shops and buildings.

Thursday is day of Saibaba is specifically worshipped. At Thursday devotees as of every above India visit of the Shirdi Saibaba Darshan. The Shirdi Saibaba temple opens for the devotees on 5.15 a.m. for Kakad Aarti and stays open till end of the Shejarti.

The headman of a Chandbhai was called Dhoopkhede. He had given permission to Saibaba for staying in village. Sai baba was called fakir by some people. For his entire life Saibaba preached at Shirdi and performed number of miracles to persuade people that god exists. Baba said that god is one but called by various names. Saibaba said follow up your individual religion and seek of the truth.

Temple places

Dwarkamai

With a marriage procession, Baba came to shirdhi. Saibaba stayed at dwarkamai till the end of his life. The dwarkamai is located at the right of entrance of the Samadhi mandir. Baba solved the problems of people, cured their worries and sickness at this place. Baba came into dwarkamai and showed that god is one. The 1st level of Dwarkamai has a picture of the Sai Baba and a large stone on baba used to sit. The first level has two rooms. The first room has chariot and second room contain palkhi. Chariot is small temple. The 2nd level of the Dwarkamai has made of square stool stone. Baba used this stone for taking the bath. The major attraction of the dwarkamai place is an oil painting of the Saibaba sitting in a sliced wooden shrine.

Samadhi Mandir

The Samadhi Mandir of the Shri Saibaba was really owned with a millionaire as of Nagpur, well-known Saibaba devotees Shreemant Gopalrao. The Shreemant Gopalrao wanted to protect a god of the Murlidhar here. However, Baba him self become Murlidhar and the Mandir become the Samadhi Mandir of the Saibaba. The Saibaba mandir is developed by stones and Baba's Samadhi mandir is developed by white marbles stones.

A railing is developed into marble around the Samadhi mandir and is complete of ornamental decorations. The Samadhi mandir fronts are 2 silver pillars complete of decorative designs. This god was made with the late of Shri Balaji Vasant.

The every day routine of the mandir starts on 5 o'clock in the morning by Bhoopali for a morning song and closes on 10 o'clock into the night behind the Shejarati is a sung. Simply at 3 occasions the mandir is reserved open during the night that is at Dassera, Ramnavmi and Gurupoornima. All Thursday and at every festival a Palakhi by Saibaba's photo is taken out as of the mandir.

Khandoba Temple

The Shriddi Saibaba temple is located on the main road. In frontage of this temple Saibaba was welcomed with Poojari Mhalsapati of the Khandoba temple. In Shirdi Saibaba temple there are icons of Mhalsai, Banai and Khandoba.

Top Gurusthan

The Saibaba 1st came to Shirdi into the type of the Bal Yogi means a child ascetic. Saibaba was 1st seated spot below a Neem tree. The Neem tree place came to be known as the Gurusthan. The Gurusthan was modernized at 30th September; 1941. There is a little shrine into Gurusthan. A large portrait of The Sai Baba is placed on raised platform of the shrine. At the side there is a marble statue of the Baba. The front portraits are a Nandi and Shivling. In this temple, 12 photos of jyotirlings are peresent. The Neem tree branches have come out through the roof of the Mandhir. At a small distance there is a Baba's Chavadi. The Saibaba used to sleep chavadi all alternate day. The Chavadi is separated into two parts. The Chavadi has a wide portrait of the Saibaba along with a white chair and a wooden bed belonging to him.

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Naina Devi Temple

Naina Devi Temple

The Goddess Naina Devi is worshipped as a single selfborn pindi. There is another pindi of Ganesha and a third established by the Pandavas. This is believed to be the 'shakti pita' where Sati's eye fell. Naina means eye. The temple is also known as Mahishapitha because of it's association with Mahishasur.

This area was the capital of Mahishasur. Mahishasur was given a boon by Brahma, the creator, that he could only be defeated by a maiden. His story is a major section in the Devi Mahatmya and can be found in greater detail in the Devi Bhagavata Purana. He enslaved the Gods and made life impossible for the righteous people of that time. To save themselves the Deva's got together and combined their shakti's (Goddess power within them) to create a new Devi powerful enough to defeat him. She stationed Herself on a nearby hill called Mahishapith. Hearing of Her unearthly beauty Mahishasur wanted to marry the Divine maiden. She agreed to the marriage on the condition that he could defeat Her in battle. She defeated his armies and finally Mahishasur himself. She plucked out both his eyes and gave his skull to Brahma. The Gods showered Her with flowers and cried out "Jay Naina" and hence Her name.

Another story claims that a cowherd named Naina, found a cow dripping milk onto a pindi with eyes on it. That night Devi Ma appeared to the cowherd in a dream and told him that the pindi was Her own form. He was told that he should build a temple there and worship the pindi. He did so and later a larger temple was built.

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Omkareshwar Temple

Omkareshwar Temple

Situated on the banks of the Narmada, Omkareshwar is one of the 12 revered Jyotirlinga shrines of Shiva. It is located at a distance of about 12 miles from Mortakka in Madhya Pradesh. The river Narmada spits into two and forms an island Mandhata or Shivapuri in the center. The shape of the island resembles that of the visual representation of the Omkara sound, Om. There are two temples here, one to Omkareshwar and one to Amareshwar. Legend has it that the Vindhya mountain prayed to Shiva - Omkareshwara and was blessed here. Legend also has it that upon the request of the Devas, the Shivalinga split into two, one half being Omkareshwara and the other Amaleshwara or Amareshwar. King Mandhatha of the Ishvaku clan is believed to have worshiped Shiva here. The Omkareshawar temple is built in the North Indian style of architecture, with high spires. Devotees consider worship to Panchamuga Ganesha, to be very auspicious.

Shri Omkar Mandhata
The main temple with detailed carving in soap stone stands on a mile long and half mile island.

Siddhnath Temple
A frieze of elephants carved on a stone slab is the main draw of this example of early medieval Branmhatic architecture.

24 Avataras
A cluster of Hindu and Jain temples in varied architecture modes.

Satmatrika Temple
A group of 10th century temples.

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Mukteswara Temple

Mukteswara Temple

Built in the year of AD 950, Mukteswara temple is dedicated to Lord Shiva, and is carved with figures of ascetics in several poses of meditation. The highlight of the temple, is the magnificent torana - the decorative gateway, an arched masterpiece, reminiscent of Buddhist influence in Orissa.

This temple is considered to be the gem of Orissan architecture. The sculptured gateway, the Jagamohana with diamond shaped latticed windows and decorated interiors and the plethora of sculptural work all deserve mention in this temple dedicated to Shiva Although it is only a small monument rising to a height of 35 feet. Literally every inch of its surface is carved. This temple has also been described as a dream realized in sandstone and it is a monument where it is said sculpture and architecture are in complete harmony with one another. This temple dates back to the 10th century.

The sculptural decoration of the Mukteswara is exquisitely executed. The beautiful sculptures eloquently speak of the sense of proportion and perspective of the sculptor and their unique ability in the exact depiction of the minutest objects. The builders of Mukteswara Temple introduced new architectural designs, new art motifs and new conceptions about the icnography of the cult images. There are a number of depictions of skeletal ascetics among the sculptural images, most of them shown in teaching or meditation poses, which seems appropriate as the name Mukteswara means "Lord who gives freedom through Yoga".

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Meenakshi Temple

Meenakshi Temple

No text can do justice to the Meenakshi temple. The gigantic temple complex, the statues exploring the entire range of human emotions, everything here is larger than life. The Meenakshi temple complex is a city temple - one of the largest and certainly one of the most ancient. According to legend Madurai is the actual site where the wedding between Shiva and Meenakshi took place. The soaring and exquisitely carved towers enclose the temple dedicated to Meenakashi. The south gateway contains the twin temples of Shiva and Meenakshi and is about nine storeys high.

The Sri Meenakshi Sundareswara temple and Madurai city originated together. According to tradition, Indra once committed sin when he killed a demon, who was then performing penance. He could find no relief from remorse in his own kingdom. He came down to earth. While passing through a forest of Kadamba trees in Pandya land, he felt relieved of his burden. His servitors told him that there was a Shivalinga under a Kadamba tree and beside a lake. Certain that it was the Linga that had helped him; he worshipped it and built a small temple around it. It is believed that it is this Linga, which is till under worship in the Madurai temple. The shrine is called the "Indra Vimana".

Once Dhananjaya, a merchant of Manavur, where the Pandyas had arrived after the second deluge in Kumari Kandam, having been overtaken by nightfall in Kadamba forest, spent the night in the Indra Vimana. When next morning he woke up, he was surprised to see signs of worship. Thinking that it must be the work of the Devas, he told the Pandya, Kulasekhara, in Manavur, of this. Meanwhile Lord Shiva had instructed Pandya in a dream to build a temple and a city at the spot Dhananjaya would indicate. Kulasekhara did so. Thus originated the temple and city.

Paranjothi Munivar wrote the Tiruviayadal Puranam in the sixteenth century. It is regarded as the temple's Sthalapurana. An earlier work adds a few celestial sports not included in the latter. These are, or rather were painted on the walls around the Golden Lily Tank. Some of the painted wooden panels are in the Temple Museum.

The earliest references available to any structure in this temple is a hymn of Sambhandar's, in the seventh century, which refers to the "Kapali Madil". The present inner walls of the Lords shrine bear this name today. In the early times the entire temple must have been confined to the area between these walls, and the structures must have been of brick and mortar.

In the 14th century an invasion by Malik Kafur damaged the temple. In the same century Madurai was under Muslim rule for nearly fifty years. The temple authorities closed the sanctum, covered up the Linga, and set up another in the Ardhamandapa. When the city was liberated, the sanctum was opened, and, tradition says the flower garlands and the sandalwood paste placed on the Linga were as fresh as on the first day, and two oil lamps were still burning.

Ashta Sakthi Mandapa is a convention in this temple, different from that followed in others, that the devotee offers worship first to Goddess Meenakshi. Therefore, while there are four other entrances into the temple, under huge Gopuras in the four cardinal directions, it is customary to enter not through any of them but through a Mandapa, with no tower above it. This entrance leads directly to the shrine of the Goddess.

This Mandapa is an impressive structure, with a hemispherical ceiling. It is 14m long and 5.5m wide. There are bas-reliefs all over the place. Over the entrance one of them depicts the marriage of Goddess Meenakshi with Lord Somasundara. The Mandapa derives its name, the "Ashta Sakthi", from the fact it contains sculptures of the eight Sakthis (also spelt as Shakti). Those of the four principal Nyanmars were added during renovation of the temple in 1960-63.

A smaller Mandapa connects the large one with another large one with another large hall, called the "Samagam Meenakshi Naicker Mandapa", after its builder, a minister of Vijayaranga Chokkanatha (1706-32), who erected in 1707. In former times the temple's elephants camels and bulls used to be stabled here. A brass "Tiruvatchi" holding a thousand and eight lamps stands here, 7.6m high. Marudu Pandya, one of the early opponents of the growing British power, installed it.

The Meenakshi Naicker Mandapa is a huge hall, 42.9m long and 33.5m wide. It contains 110 stone columns, each 6.7m high. There are yalis in the capital and delicate reliefs below. Some of the carvings are unfinished.

The Mudali Pillai Mandapa follows the Chitra Gopura. Added in 1613, it is 183m long and 7.6m wide. On its wall are many puranic scenes. It used to be without any natural light, but windows were added in the last renovation.

The lovely and historic Golden Lily tank then comes into view. It is from its banks that most popular photographic views of the temple are taken, showing the gigantic south outer Gopura. The northern corridor leads directly to the shrine of the Goddess. On its pillars are the images of some of the Sangam poets, of Kulasekhara Pandya, the first builder of the temple, and of Dhananjaya, who figures in the traditional story of its origin. There is no fish in the tank.

The corridors around the tank are rightly called the "Chitra Mandapa", for the walls carry paintings of the divine sports of the Lord, as narrated in the "Tiruvilayadal Puranam". They have been renewed from time to time. A short while ago there were paintings on wooden panels affixed over an older series. They have since been removed to the Temple Museum in the thousand-pillared Mandapa, leaving some dilapidated murals to view. It is impossible to ascertain the date of these.

It was in the sixteenth century that the corridors and the steps leading down to the tank were constructed; the northern corridor and steps in 1562, those on the east in 1573, and those on the south five years later.

Two Mandapas, the Unjal and the Kilikatti, stand on the farther way to the shrine of the Goddess. On their ceilings are more paintings. A celebrated mural, opposite to the entrance of the shrine, depicts the marriage of Goddess Meenakshi. The Kilikatti Mandapa derives its name from the fact that there are parrots in a cage here. On its walls are carvings of the divine sports. The most ornamental of the temple's Mandapas, it was built in 1623.

A Gopura of three tiers stands over the entrance from this Mandapa into the shrine of the Goddess. Built in 1227 by Vambathura Ananda Tandava Nambi, it is named the Vambuthurar Gopura after him. The shrine consists of a square sanctum, an Ardhamandapa and a Mukhamandapa. In the niches on the walls of the shrine are images of Iccasakthi in the south, Kriyasakthi in the west, and Jnanasakthi in the north. There are shrines of Vinayaka and Subramanya in the outer Prakara. They probably belong to the fifteenth century.

There are a number of historic shrines in the Prakaras. Opposite to an entrance into the first from the Mahamandapa there is one of Lord Sabhapathi. This is the famous Velliambalam where one of the Lord's divine sports took place when, at the request of the sages, Patanjali and Vyagrapadha, He danced as Lord Nataraja.

In the second Prakara a shrine, now called that of the Sangam poets, contains images of many of them. In the same Prakara there is a shrine apparently dedicated to Kariyamanikka Perumal, but now empty. Also in the same Prakara there is a row of fourteen small shrines, called the "isvarams". Many of them contain Lingas.

The famous festivals held at Madurai, include Teppam festival, the annual Float Festival, wherein the images of Sri Meenakshi and Lord Sundareswara (also spelt as Sundreshwara) are mounted on floats, and taken to Mariamman Teppakkulam Tank, where for several days they are pulled back and forth across the water in the middle of the tank, on an illuminated raft embellished with flowers, before being taken back to the main temple.

The annual solemnization of the marriage of Meenakshi with Lord Sundareshwar (Shiva) is one of the most spectacular temple festivals at Madurai's famous Meenakshi temple in Tamil Nadu. Car processions of the goddess and the god are some of the colourful features of this festival.

Meenaskhi Kalyanam, the wedding festival of Goddess Meenakshi and Lord Sundareshwar is celebrated for twelve days from the second day of the lunar month (i.e. two days after the new moon). This is a spectacular festival celebrated in the month of Chaitra (April-May).

The festival is characterized with royal decorated umbrellas, fans and traditional instrumental music. Scenes from mythology are enacted and the deities of Lord Shiva, Goddess Shakti and Goddess Meenakshi are taken out in a colourful procession. Thousands of devotees from all over the country gather in the city of Madurai on this occasion.

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