Sripuram Golden Temple

A Mahalakshmi temple called 'Sripuram' and made of more than a tonne of pure gold will glitter and gleam under the sun on August 24 when it is unveiled for consecration by the Sri Narayani Peetam headed by a 31-year-old godman who calls himself Narayani Amma. Devotees hail the temple as 'one of the wonders of the world' and say that it is the only temple covered fully with gold.

More than 400 gold and coppersmiths from the Thirupath Thirumala Devasthanam are said to have worked for six years to craft the Rs 600-crore gold temple located on 55,000 sq ft of land on a 100-acre salubrious stretch in Malaikodi, about 6 km from Vellore in north Tamil Nadu. According to official sources, the gold bars were purchased through RBI in "a transparent manner."

First the coppersmiths set to work creating a copper base on the temple structure with engravings and etchings before the gold, beaten into nine layers of foils, was draped around it. The sanctum sanctorum will hold the deity of Mahalakshmi made of stone granite, but covered with gold kavacham (adornments).

"The Sripuram or Spiritual Park is Amma's dedication to the world and mankind," said P Murali, a trustee of the Peetam, adding that the temple has more gold than the Golden Temple of Amritsar.

Messages by 'Amma' have been laid out along the path to the temple with messages from the Gita, Bible and Quran. "When one enters the Sripuram, their focus is just on the magnificent temple. But when they leave, they cannot do so without taking some messages and gaining some wisdom," according to a booklet detailing the 'services' rendered by the Peetam. "In this quagmire of materialism, Sripuram rises as an inspiration to man to find the divinity within him," adds a brochure.

Murali said arrangements were being made to hire personnel to throw a security cover around the temple. "But the gold sheets have been laid out in such a manner that it would cost more to rip it off than purchase the gold," said a top Vellore district official.

LOCATION

Sripuram is located at Thirumalaikodi in Vellore.

For further information you can dial these numbers:

From outside India

Ground travel arrangements to Peedam can be made by emailing in advance to the appropriate contact mentioned above; all you need to do is arrange for your flight to the Chennai Airport. The contact will arrange with the administration at Peedam for travelers to be picked up at the Chennai Airport and transported to the Peedam. It takes about 3 hours to get to Peedam.

For those who are not comfortable with night driving, arrangements can be made to stay overnight at the Radisson Hotel in Chennai at your own expense. Arrangements will be made to have you picked up the next day from the Radisson and taken to the Peedam. Road transportation to the Peedam costs about 2000/-Indian Rupees.

From Within India

By Car: Drive to the town of Vellore and take the road in the direction of Usoor to Sri Narayani Peedam.

Glittering gift: The new diamond crown for the Thathayagunta Gangamma temple.

TIRUPATI: A diamond-studded golden crown is ready to adorn the deity of Thathayagunta Gangamma, the folk Goddess of Tirupati, who is revered as the younger sister of Lord Venkateswara.

With the annual ‘Ganga Jatara’ just round the corner, the temple management hastened up the process and got ready the Rs.71 lakh crown well ahead of the week-long festival. The crown, made at the TTD’s jewellery section, weighs 5.375 kilograms of gold with 580 diamonds.

Apart from the Rs. 12 lakh borne by the Tirumala Tirupati Devasthanams (TTD), the cost of the diamond was met from voluntary contributions from the public.

The glittering crown was taken in a procession to the Venkateswara temple at Tirumala on Wednesday by the TTD chairman B. Karunakar Reddy, along with executive officer K.V. Ramanacharyspecial officer A.V. Dharma Reddy .

The crown will be consecrated and adorned for the first time to the presiding deity after the traditional ‘Abhishekam’

In all devotion: Draped in neem leaves, a woman devotee enters Thathayagunta Gangamma temple in Tirupati.

TIRUPATI: ‘Gangamma Jatara’, the folk festival of Tirupati came to a colourful end at the Thathayagunta Gangamma temple here on Tuesday midnight. The slaying of the clay idol of Gangamma in the early hours of Wednesday marks the culmination of the annual festival.

As is the practice, local people started pouring into the temple right from Monday night and spent the whole of Tuesday in the temple and its vicinity.

The interesting feature of the final day is the mode of travel to the temple. Though the most preferred way to the temple is on foot, irrespective of the distance from their residence to the temple, the devout take a more strenuous route by performing ‘Sashtaanga Namaskaram’ on the road throughout. They roll a coconut on the road and when it stops, start falling to the ground with stretched hands and legs offering prayers. The process continues till they reach the temple.

Common practice

Another practice in vogue among women is the draping of neem leaves and twigs from the shoulders to the anklets, which serves as a dress. Women, irrespective of age, don the dress and offer prayers at the temple as a fulfilment of vows.

Many Muslim women too paid obeisance at the temple early in the morning, showing that Gangamma is revered irrespective of caste or religion.

The Story of the Saree (a.k.a. Sari, Seere, Sadi)

The Indian Saree (a.k.a. Sari, Seere, Sadi) boasts of oldest existence in the sartorial world. It is more than 5000 years old! It is mentioned in Vedas, the oldest existing (surviving) literature (3000 B.C.) Patterns of dress change throughout the world now and then but, the Sari has survived because it is the main wear of rural India. 75% of the population (now a billion as per official estimate) wear versatile sari. We can certainly call this cloth versatile because it could be worn as shorts, trousers, flowing gown-like or convenient skirt-wise--all without a single stitch!

Saree (original--Chira in Sanskrit, cloth) is of varied length. From 5 yards to 9.5 yards tied loosely, folded and pleated, it could be turned into working dress or party-wear with manual skill. For day today dress of middle class women, 5-6 yard sari is comfortable to manage household chores. Working class tucks the same length above the ankles and if they have to work in water or fields, they would tuck the front pleats between the legs to the back, and tie the upper portion round the waist. This left them free movement of hands and legs.

A nine yard saree used to be a connoisseurs pleasure with embellishments, embroidery and gold designing. At the same time it was as safe a dress as trousers. It was worn in the similar way as working saree. But, some pleats covered the ankles as well. A gold silver or cloth belt was fastened which kept pallu, (upper cover) pleats and folds in tact. Jhansi's Queen Laxmibai, Belawadi Mallamma and Kittur Chennamma fought enemy troops on horseback, wearing saree this way. Tight tucking of the front pleats in the back was called Veeragacche or soldier's tuck.

Generally the climate of Indian subcontinent is warm and humid. Saree and its male counterpart dhoti was most suited for this land. Earlier there was hardly any difference between Saree and dhoti because men also liked to flaunt colorful Sarees with brocaded borders. They could perhaps be interchanged in needy times. Only the upper portion of the saree-length which covers the chest, left shoulder and at times head, is missing in saree for men.

Styles in wearing saree vary from region to region. Gujarat style and Bengali style are different. So are Mangalorean, Kannadiga, Kodava, Tamilian, Malayali, etc. The Saree is worn in at least 10 to 15 styles throughout the India, though the ways of wearing above used to be common. In Maharashtra and North Karnataka region, wearing a nine yard saree (without a petticoat -- long underskirt --which was superfluous) was in vogue till 20th century. My mother who was a good swimmer, used to wear a nine yard saree tightly and swam in Kali river or Arabian sea along with my father. Wearing swimming costume could just not be dreamt of. But the versatile saree was good enough to move through the waves.

Some people think that Indian saree is influenced by Greek or Roman toga which we see on ancient statues. This is not correct. Saree is essentially Indian and designed to suit local conditions. Cotton was cultivated in India centuries before Alexander the Great landed on the borders of India and Indian cloth (chira or Saree) was a wonder to Greek eyes. In fact, Herodotus and other ancient western historians thought there were cloth-growing trees in India!

An old or worn-out saree is equally utilitarian. Grandmothers used to stitch quilts folding soft and worn-out Sarees and putting bright new cloth on cover, for children which kept them warm. Worn-out thicker Sarees were used as bed covers or blankets in the cradle (as the babies wetted it frequently). For village women, folds of Sarees serve as pouches, bags and haversack to carry grocery and at times babies as well. Some used to make a stand-by cradle out of sree length for the baby. Tying the ends to a nearby tree. White Sarees could be turned into towels, napkins, diapers etc., even after they are worn out.

Dhoti is an abridged version of the saree sans pallu (the throw of the saree). Many Hero-stones (memorials for dead heroes) show the dhoti worn like breeches or shorts with Veeragachche; dagger and other weapons were tucked in dhoti folds.

With globalization, the dress of Indians is also getting westernized. But being most utilitarian, and multi-purpose saree is still reigning in rural India and for all rituals and ceremonials it shines supreme to this day. Colorful sarees are worn as pugrees, turbans and tribals flaunt invariably women's sarees in dances. Yakshagana dancers wear saree designed clothes.

The Vedas

The four Vedas, Rigveda, Yajurveda, Samaveda and Athrvaveda, form the fundamental basis of Hindu philosophy and religion. These are the earliest existing texts of mankind. These deal with the knowledge of the Creator, His Creation, and His Creatures. They have provided a national identity to Hindus through the ages. The Vedic mantras are recited on occasions, happy and sad. In spite of myriads of gods worshipped, the basic mantras, about installation, about various rituals, and for common welfare remain the same, throughout the country. The mantras are in archaic Sanskrit.

The word 'Veda' is derived form the root of Sanskrit word ‘vid’ =to know (Vidya is eduaction). Hence veda means pure knowledge. In broader sense, Vedas mean acquiring of knowledge for right thinking, enlightenment and happiness. These basic requirements of human beings are expressed in Vedas in very short and cryptic words known as mantras. Mantras are revelations of visionaries and sages (rishis), expressed by them occasionally. These were learnt orally by the worthy disciples, and passed on to the following generations.

When put down on paper, these mantras and hymns (suktas) are in twenty thousand and odd in numbers. They are in metrical verses and recited in a particular form. Divided into four books of Rig, Yajur, Sama and Atharva Vedas, mantras pertain to all aspects of human activities.

There are 10589 mantras & hymns in Rigveda, 1975 in Yajurveda, 1225 in Samaveda, and 5997 in Atharvaveda. These vedic verses together are usually known as riks. The most ancient and important veda is Rigveda and is mainly knowledge-oriented.

Yajurveda is action oriented because it mainly deals with all rituals connected with yajnas (sacrifices) through which ancient Indians propitiated gods.

Samaveda is sum total of all the above Vedas put into practice.

Mantras which are metrical, originally meant pure thought or food for intellect.

Shruti is another name for four Vedas. As already stated, oral learning was order of the day and knowledge was acquired by shravana or attentive listening. (The root shru = to listen and shruti is imbibed knowledge acquired through careful listening)

The sacred knowledge, preserved in cryptic mantras or sentences is recited in a particular way with proper stress on correct word, which only reveals the right meaning. This is possible only through years of practice under a Guru, who himself would have acquired the knowledge through attentive listening, reciting and remembering from his Guru. Only parts Khandika of Vedas could be mastered over years of dedicated learning in the traditional chanting way.

The priestly class (the Purohits) are specially trained with mantras meant for occasions which help them with their profession. For bigger occasions of sacrifices, services of highly proficient priests are sought. Real vedic scholars are becoming rare.

Sarees from different regions of India

The core of any good saree wardrobe is to have at least one traditional saree from every region from India. In addition, there should be some plain, single coloured sarees, to show off accessories – be it elegant jewellery or a shawl to perfection.

A range of gorgeous sarees come from Gujarat, Rajasthan, Haryana, Western Uttar Pradesh and Western Madhya Pradesh. The dominant characteristic of the saree of these regions is obtained by dyeing rather than weaving techniques. In fact, the three major forms of Indian resist-dyeing – block printing, tie & dye and ikat have evolved here.

Playing with colour, fabric, weave and embellishments can create an exquisite look to the trousseau wardrobe.

Sarees from West India:

1. Bandhani

- These are sarees created by dyeing the cloth in such a manner that many small resist-dyed ‘spots’ produce elaborate patterns over the fabric.

- The traditional bandhani market has shrunk however, because of the rise of low-cost silk-screened imitations and most modern bandhani sarees are made with larger designs and fewer ties than in the past. There are varieties available in two contrasting colours, with borders, end-pieces and one or more large central medallion called a pomcha or padma (lotus flower). Red and black is the most common colour combination but other pairs of colours are also found. For instance, the panetar saree is a Gujarati-Hindu saree of satin weave and Gajji silk with red borders, central medallions and a white body, which may contain regularly spaced red tie-dyed spots.

- Single colour sarees and odhnis with white spots are also common. The most famous of this type is the Gujarati saree called Garchola It is usually red, but occasionally green, and is divided into a network of squares created by rows of white tie-dyed spots or woven bands of zari. The Garchola is a traditional Hindu and Jain wedding saree, which used to be made of cotton, but is now usually in silk. The number of squares in the saree is ritually significant multiples of 9, 12 or 52.

2. Patola

- The most time consuming and elaborate saree created by the western region is the potole (plural patola) which has intricate five colour designs resist-dyed into both warp and weft threads before weaving.

- Double ikat patola saree is a rare and expensive investment. A cheaper alternative to double ikat patola is the silk ikat saree developed in Rajkot (Gujarat), that creates patola and other geometric designs in the weft threads only.

3. Gujarati Brocade

These are extremely expensive and virtually extinct. The main distinguishing characteristics of the Gujarati Brocade Saree:

- Butis (circular designs) woven into the field in the warp direction instead of the weft, resulting in their lying horizontally instead of vertically on the saree when draped.

- Floral designs woven in coloured silk, against a golden (woven zari) ground fabric. Although such ‘inlay’ work is a common feature in many western Deccan silks, the Gujarati work usually has leaves, flowers and stems outlined by a fine dark line.

4. Embroidered Tinsel Sarees

- The western region also has a rich embroidered tradition, made famous by ethnic groups such as rabaris and sodha Rajputs.

- The saree with zardozi, the gold gilt thread embroidery technique, at one time patronised by the Moghul emperors and the aristocracy, is today an inextricable part of a bridal trousseau.

- Balla tinsel and khari work are the cheaper variations available in metallic embroidery, which have also become quite popular.

5. Paithani

- This saree is named after a village near Aurangabad in Maharashtra. Now also woven in the town of Yeola, these sarees use an enormous amount of labour, skill and sheer expanse of material in their creation.

- Distinctive motifs such as parrots, trees and plants are woven into the saree. The shades vary from vivid magenta, peacock greens and purples. In the pallav, the base is in gold and the pattern is done in silk, giving the whole saree an embossed look.

6. Chanderi and Maheshwari

- The Chanderi saree from Madhya Pradesh is light and meant for Indian summers. It is made in silk or fine cotton with patterns taken from the Chanderi temples.

- The Maheshwari sarees are also both in cotton and silk, usually green or purple with a zari border. The traditional block-printed tussar can also be found in contemporary designs nowadays.

- Balla tinsel and khari work are the cheaper variations available in metallic embroidery, which have also become quite popular.

7. Gadwal

- Gadwal saree is made in cotton in a style influenced by the Banarasi weaves. While the ground of the saree is cotton, there is a loosely attached silk border.

- Copper or gold-dipped zari is generally used in these sarees. The motifs of the murrugan (peacock) and the rudraksh are popular.

- Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.

Sarees from North India:

1. Banaras Brocade

- This saree from Banaras is virtually mandatory in the bride’s trousseau. These sarees vary tremendously as weavers create different products to suit different regional markets and changing fashions.

- Most brocades usually have strong Moghul influences in the design, such as intricate intertwining floral and foliate motifs, kalga and bel. A characteristic found along the inner, and sometimes outer, edge of borders is a narrow fringe like pattern that often looks like a string of upright leaves called jhallr. This is almost a signature of Benarasi brocade.

2. Kota Doria

- Kota in Rajasthan, India is the home of the famous Kota Doria saris made in small villages around the Kota city. "Kota Doria" is a super transparent yet stable cotton or cotton/silk weave consisting of varied guages of yarn, creating an almost graph like pattern called khats (squares formed between the different thicknesses of fibers). The intermittent heavier guage yarns give the fabric enough weight and lateral stability to fall very gracefully, yet it is incredibly airy and transparent. Generally, these pieces are worn in the heat of summer.

- The chequered weave of a Kota sari is a prized possession of many women. The gossamer-fine fabric Kota dorias are the finest weaves in India - so fine that they are almost weightless. The spinning, dyeing and weaving are done by skilled artisans and it takes many men hours to do so. The Kota region's craft is exquisite in its perfection. The Kota Doria weave is very special; the warp and the weft use a combination of threads creating a fine chequered pattern where the cotton provides firmness while the silk lends the gossamer finish to the fabric.

- Besides the chequered pattern, there are other weaves in complicated designs in a combination of silk and cotton. The standard Kota doria yardage, in sari width, is always woven in white and later dyed in different colours. Some of the weaves also have a narrow border edged with Zari. In the case of saris with designs, the threads are dyed prior to weaving. Ideal for hot summer, this is a muslin fabric woven with alternating threads of silk and cotton in both warp and weft in an open weave.

3. Other Sarees from this region

- The region is also famous for producing ornate sarees such tanchois, amru brocades, shikargarh brocades and tissues. Abrawans (literally meaning flowing water)- Tissue sarees, usually woven with the finest silk thread are also quite popular. A classy design in Abrawans is tarbana (woven water) with a fine silk warp with a zari weft giving an almost metallic sheen. Kincab or Kinkhwab sarees are the most popular of the brocades and are so covered with the zari patterning that the underlying silk cloth is barely visible.

- Jamawars also come from Uttar Pradesh. These silk sarees are embellished with zari threadwork. The popular theme is a jacquard weave in ‘meena’ colours like orange and green.

- Tanchois (in zari) are another item from of Uttar Pradesh and have different designs, not just Moghul motifs.

Sarees from South India:

1. Kanjeevaram Saree

- No Indian bridal trousseau is complete without the ‘Kanjeewaram’ saree, characterised by gold-dipped silver thread that is woven onto brilliant silk. Kanchipuram is a town in Tamil Nadu with more than 150 years of weaving tradition – completely untouched by fashion fads.

- Kanjeewarams are favoured for their durability. Kanjee silk is thicker than almost all other silks, and is therefore more expensive. The heavier the silk, the better the quality. Peacock and parrot are the most common motifs. Though lightweight kanjee sarees are popular as they are easy to wear and cost very little, the traditional weavers do not like to compromise. While Korean and Chinese silk is suitable for light-weight sarees (machine woven), only mulberry silk produced in Karnataka and few parts of Tamil Nadu, is right for the classic Kanjeewaram.

2. Konrad Saree

- The konrad or the temple saree is also a speciality item from Tamil Nadu. These sarees were original woven for temple deities.

- They are wide bordered sarees and are characterised by wedding related motifs such as elephants and peacocks, symbolising water, fertility and fecundity.

- Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.

3. Others

- Pashmina silk, kota silk, Mysore crepes, pochampallis and puttapakshi sarees are also popular South Indian sarees.

- Typical wedding sarees from Kerala are the nayayanpets and bavanjipets which usually have a gold border on a cream base.

- Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.

Sarees from East India:

1. Baluchari Sarees

- This saree from Bengal is usually five yards in length and 42” wide in flame red, purple and occasionally in deep blue. The field of the saree is covered with small butis and a beautiful floral design runs across the edges. The anchal has the main decoration depicting narrative motifs. Taingals and kanthas are other speciality items from Bengal.

The Golden Day - Akshaya Tritiya

Hindus believe in the theory of "mahurats" or auspicious timings in every step in life - be it to begin a new venture or making an important purchase. Akshaya Tritiya is one such momentous occasion, which is considered one of the most auspicious days of the Vedic Calendar. It is believed, any meaningful activity started on this day would be fruitful.

Akshaya Tritiya falls on the third day of the bright half of Vaishakhmonth (April-May), when the Sun and Moon are in exaltation; they are simultaneously at their peak of brightness, which happens only once every year.

The word, "Akshaya" means one that never diminishes. Hence, starting a new activity or buying valuables on this day is considered to certainly bring luck and success. The religious merit that is acquired by giving gifts on this day becomes inexhaustible. Many buy new gold jewelry on this day. Most Jewel stores stock in new jewelry models for this occasion. "Lakshmi-inscribed" gold coins, diamond jewelery and golden dollars with the pictures of many gods and goddesses.