janmanam), not needing any other initiatory rites or diksha during their lives to

make them Vishnu-devotees. The sacramental rites that are prevalent in a

Vaikhanasa household include a symbolic ceremony, unique to this community,
known

as

Vishnu-Bali

(or

garbha-chakra-samskaram).

Prescribed

to

be

performed during the bright half of the eighth month of pregnancy

(garbhadhadyashtame masyeva sukla pakshe) in order to protect the individual
within the womb of the prospective mother (asyah garbha-samrakshanartham).

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Vishnu-bali
Vishnu-bali is a sacrament which follows 'seemantha' (the ritual before child
birth). The significance of this ritual is that an offering (Bali) is made to Vishnu
(Vishnu-devatako balih upahriyate asmin); and even inside the mother's womb,
the foetus acquires the status of a Vishnu-devotee (garbhastha sisoh garbha
vaishnavatva siddhyartham). The ceremony involves a fire-ritual and offering to
the pregnant lady, the sacrificial sweet rice-pudding (pAyasa) in which the
emblems of Vishnu (Chakra and Sankha) has previously been dipped and a part
offered to the fire. While the woman is drinking the remainder of the rice25

pudding, the following mantra is recited.

tvatsutO bhAgyavAn dhanyO garbhavaishnava sangnita: |
aprAkrutO mahAtmAsau garbhachakrENa lAnchita: ||
(Sri Vaikhanasa Kalpa Sutram)
The belief is that Vishnu himself will brand on the arms of the individual to be
born the marks of the conch and discus, which He carries in His own hands.
Thus the person is a Vaishnava, even when he is born, and he is regarded as the
offspring of Vishnu viz., Vaikhanasa. The practical import of this ceremony is
that the child born as a Vaikhansa is already sanctified and initiated by Vishnu

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himself and does not need any other sacrament or initiatory rite to make him a
Vishnu-devotee or a qualified priest. He acquires the right to be a priest by his
very birth. This is in contradistinction to the priests of other communities (as
for eg. The Pancharathrins), for whom during the boyhood a formal ceremony of
branding the arms with heated metallic images of Vishnu's conch and discus
(tapta-mudrankana or samAsrayanam) is conducted. A Vaikhanasa not only does
not require this external imprint ceremony, but is prohibited from going
through it at any cost. If he does this ritual, due to ignorance or out of greed,
under duress or force, he ceases to be a priest and must undergo
prayaschittam rites. Without the prayaschittam he is not eligible to touch the
Dhruva-bera in the temple.

VAIKHANASA IDEOLOGY
The characteristic Vaikhanasa viewpoint is that the pathway to final
emancipation is not devotion alone, but iconic worship (samUrtArchana) done
with devotion (bhakti). It does not equate 'bhakti' with 'upasana', but points
out that 'upasana', which is synonymous with 'yajana' (worship as a sacrifice),
signifies a different, and in fact a superior approach. Worship (BhagavatsamUrta-yajana) is held to be more effective than even the wisdom concerning
Brahman (brahma-vidya) as shown by Srinivasa-makhin in his excellent work
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'Uttama-Brahma-Vidya-saaram'. The Tamil songs of the Alvars indirectly

suggest the superior merit of iconic worship in temples. The Vaikhanasas may
thus

be

credited

with

having

institutionalized

the

iconic

worship

(samUrtArchana) of Vishnu, who was essentially a Vedic god. It is not

surprising, therefore, that in the Vishnu temples in ancient shrines like
Tirumala,

Tirupati,

Dharmavaram,

Mahabalipuram,

Srikakulam,

Chola-simhapuram,

Amaravati,

Vijayanagaram,

Vedadri,

Tirucchirapalli,

Ramanathapuram, Pithapuram, Kakinada, Vinukonda, Khadri, Uttaramerur,

Tanjavur,

Tirukkurungudi,

Madurai,

Darbhasayanam,

Kondavidu,

Nellore,

Tirumazhisai, Senji, Vellore, Venkatagiri and Karveti nagaram (Puttur,AP), the

worship is done according to Vaikhanasa Bhagavat Sastram.
The Vaikhanasas carry on their worship entirely with Vedic Mantras and are
Taittiriya Brahmana texts (from Krishna Yajurveda). The belief that Vikhanasa
Maharshi not only taught the Kalpa-sutra, which deals with householder's
religious duties and responsibilities, but also taught the Daivika-sutram, which
deals with iconic worship, and which was amplified by his four disciples Atri,
Bhrigu, Marichi and Kasyapa refers to the equal importance that the
Vaikhanasas give to the Vedic sacraments and rituals on the one hand, and
worship of idols in home and temple on the other. In their view, the two are
complimentary to each other. This was not the view of Saiva or of the
Panacharatra sects. They recognized that the Agama approach was at variance
with VedAs. The VaikhAnasa Agama was meant exclusively for temple-worship
and addressed the need of the times when Vedic culture was fast becoming
obsolete. The very expression 'Agama' seems to have been named to distinguish
this approach from 'Nigama' (which was the term for the Veda). It is to be
noted that the Vaikhanasa texts do not generally adapt the expression
'Agama', although in more recent years the term 'Vaikhanasagama' is being
used to distinguish it from Saivagama, Pacharatragama and Sakteyagama. The
Vaikhanasa know their scripture only as 'Bhavagachhastra'; their implicit
acceptance of Vedic authority was well known even to the ancient smriti-karas

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also strict with their adherence to the Vedic sacraments as ordained by the

like Baudhayana, idol worship was not for them a substitute for the Vedic
ritual, but was itself in their view, a Vedic ritual. Hence the sutra prescription,
tasmAdagnau nityahOmAntE vishnurnityArchA gruhE dEvAyatanE bhaktyA
bhagavantam nArAyanamarchayEt ||
There is an intriguing verse in Vishnu-Purana, which has been cited and
explained by Srinivasa-Deekshita in his Tatparya-Chintamani (Uttama brahma
vidya saram),
yajvabhiryagnapurushO vAsudEvaSva sAtvatau: |

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vEdAntavEdibhirvishnu: prOchyatE yO natOsmi tam ||

Godhead

here

is

described

as

what

the

sacrificers (viz. the Vedic ritualists) worship as

Yajna-Purusha
sacrifice),

(viz.
the

the

personification

Sattvatas

(viz,

of
the

Pancharathras) regards as Vasudeva, and the

knowers of the final import of the Veda (viz.
the Vaikhanasas) as Vishnu. Srinivasa-Deekshita
(or Srinivasa-Makhin) distinguishes between the
'sacrificers' (viz. the knowers of the Veda,
'vEda vidbhih Vaikhanasaih' also a group among
the Vaikhanasas, devoted to the idol less rituals
prescribed in the Veda, 'amUrtArchanam') and
the knowers of Vedanta (viz. worshippers of idol
representations of Vishnu, 'samUrta-bhagavadyajanam'), who are also Vaikhanasas.

Yajna purusha

The distinction between the two groups of Vaikhanasas, the fire-ritualists and
the idol-worshippers, made by Srinivasa-Deekshita probably refers to the
evolution of the Vaikhanasa community from the Kalpa-sutra stage to the
'Bhagavachhastra' stage. The texts recognize that Godhead may be worshipped

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on:

an altar (sthandila),

in water (salila),

in the solar orbit (surya-mandala) or

in ones own heart (hridi).

The worship may take the form of offerings to:

the fire (huta),

repetition of the sacred mantras (japa) and

contemplation (dhyana).

But superior to all these is worshipping an idol form (archanam), because it

involves special devotion (bhakti) in addition to the offerings (as in huta),
repetitions (as in japa) and meditation (as in dhyana). It is also better suited to
the common folks. That's why the Vaikhanasa moved from the first stage
(Veda) to the second (Vedanta) of Vedic culture. They continue to perform
Vedic rituals (prescribed in the Smarta section rather than in the Srauta), but
valued idol worship more. Their scene of activity shifted from sacrificial hall
(yagasala) to the temple.

SRI VAIKHANASA KALPASUTRAM

The Kalpa sutrams consist of 32 chapters. Among them are 7 gruhya sutrams, 3
dharma sutrams, 21 Sroutha sutrams and 1 Pravara sutram.
The worship of Vishnu was tantamount to the performance of a great Vedic
sacrifice. The Vaikhanasa-kalpa-sutras, therefore, prescribe the worship of
Vishnu in the household as well as in the temple, along with the Vedic rituals
that were necessary and sufficient. It is not surprising that the Vedic rituals

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were gradually subordinated to the worship of Vishnu; but the Vedic rituals
were never entirely given up.
The Vaikhanasas are probably the only group of Agama adherents who rely
heavily on Kalpa-sutra. The Vaikhanasa kalpa-sutra, has four distinct divisions:
1. Srauta,
2. Smarta (Grihya),
3. Pravara and
4. Dharma, with the Sulba-sutra prescriptions accommodated in the first two

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divisions.
It is directly preached by Sri Vikhanasa Maharshi as Sri Vaikhanasa Kalpa
sutram with 4 parts and 32 prasnas.

SroutaSutram
The first division Srouta Sutra begins with the settling up of the ritual fire
(agnyadhana) and goes on till the ritual known as Soma samstha. It includes
rituals like daily (nitya) and occasional (naimittika) and also prayaschittas for
these. In all it contains 21 rites and expiations for:

Sapta Havir Yagnas,

Sapta Soma Yagnas and

Sapta Paka Yagnas.

However they are not valued high as it is motivated by selfish desires.

According to Vaikhanasa creed it is imperative to suppress the selfish desires
and religious conduct must be resorted to for its own sake. So to preserve the
Vedic affiliation the Grihya sutras were highlighted.

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GrihyaSutram
The second one Grihya Sutras consists of 7 Prasnas with details ranging from
Ashtadasa Sariraka Samskaras, Sandhyavandana Vidhi, Punyaaham, Agni
Pratishta, Aaghaaram, Antha Homam, Vaastu Homam, Varsha Vardhanam, Rites
for Nitya, Paaka, Havir Yagnas, Soma Yagnas, Griharcha Methods, Funeral rites,
and expiatory rites for Astadasa Sariraka Samskaraas. The Grihya sutras
relate to life in the household and deal with 18 sacramental rites (Ashtadasa
Samskaaras) for the individual which are meant to cleanse the physical body
and render it fit for spiritual progress. They range from:
1. NishEka - Impregnation and the ceremony connected with it
2. Rutu-sangamana Coming in to contact with the husband at a specific time

4. Pumsavana - Male-production rite, performed in the fifth month of

gestation and before the period of quickening of the foetus
5. Seemantha A ritual in the 8th month of pregnancy
6. Vishnu bali Ritual in connection with receiving the holy emblems of Vishnu,
Chakra and Sankham in the Mother's womb itself and is believed to be made
by Lord Vishnu himself. This ritual is carried out during Seemantham. (In
contrast to the other Sutras, where, the Samasrayanam or Pancha
Samskaram is performed after the child is born so as to become a
'Vaishnava', Vikhanasa Maharshi, specified this Samskaram, which is special
to Vaikhanasa Kalpa Sutram, where in, the child will become a Vaishnava by
getting the holy marks of Vishnu in the Mother's womb itself, thereby
becoming a 'garbha Vaishnava'.)
7. Jaata karma Ritual connected with the new born. This is a special
Samskaram in which the Father of the new born child will create the Agni
for his child's Nityagni Anushtanams and till the child is given the
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3. Garbhadana Auspicious time for Satsantana Sankalpam

Upanayana Samskaram (i.e. when he gets the eligibility to perform

sacrifices), that Agni created for the new born will be maintained by the
child's Father, till the Upanyanam of the new born, He will perform the Agni
Anushtanams on behalf of this child.
8. Utthana Transferring the Mother (who gave birth to the new child) from
'sUtikA griham' (Maternity Hospital) to Home
9. Naamakarana Naming ceremony
10. Anna prasanam Ceremony of Feeding the food (rice) for the first time
11. Pravasagamana Ritual in which the child is taken to 'Guha' (Guha is the

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original word used in Vaikhanasa Kalpa Sutram, 'Guha' meaning Kumara

Swamy) to perform some holy rites. By performing this Samskaram, the
child is said to get the Strength and Health. Kumaraswamy is routinely
invoked in VaikhAnasa Aaradhana kramam ("bhUshaNE-ShaNmukham
AavAhayAmi") . KumAraswamy is a member of the parivAram of VishNu , the
Supreme godhead of VaikhAnasAs and has specific assigned duties.
12. Pindavardhanam After the above Samskaram, It is indicated that a
religious food treat is arranged and the Vaikhanasa will have this meal with
other Vaikhanasa Brahmins. Also called as 'kumAra bhOjanam' performed
during Upanayanam.
13. Chaulam Pancha Sikha and Tonsuring (Sometimes Piercing the Ears is also
performed usually during Chaulam.)
14. Upanayana Wearing the Sacred thread ceremony
15. Paraayana Vratabandha Visarga Study of Vedic corpus
16. Upakarma Observing of a rite in continuation of the above
17. Samaavartana Return from Study

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18. Pani grahana Marriage

So the Vaikhanasas have the rites beginning with those connected with birth
and ending with the rites regarding death and cremation ('JatakadiSmasanantham'). Among the sacraments included is Vishnu-Bali which is unique
for the Vaikhanasas. The texts also deal with the installation and worship of
the icons at home (Griharcha-bimba-pratishta, archana) and other details
pertaining to religious observances (like seven-fold Paaka yagnas). These are
regarded as the divine sacraments (daivika) in contradistinction to the eighteen
samskaras which are meant only to provide the twice-born status to the
individual (brahmana).

DharmaSutram

religious life and conduct of different groups and castes of people,

responsibilities and duties in different states of life (asrama dharmas), the
characteristic conducts of hermits, renunciants and such matter. There are
also details concerning the eight-fold technique of yoga and other spiritual
practices.

PravaraSutram
The Pravara Sutra concerns itself with the lineage of several rishis with special
reference to the Vaikhanasa community. It contains one chapter.
In essence, the Vaikhanasa Kalpa sutra provides the essential code of conduct
for a Vaikhanasa in his personal, familial and social settings. The test is
intended to enable him to discharge his duties and responsibilities with ability
and wisdom, which are occasioned by the association of relevant Vedic mantras
with all corresponding kriyas.

VISHNU THE SUPREME GODHEAD OF VAIKHANASAS

The Vaikhanasas are distinguished by their uncompromising devotion to Vishnu
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The Dharma Sutras which are complete in three chapters (prasnas) deal with

as the Vedic God par excellence. The Grihya Sutra prescribes that after the
customary offerings are made to the sacred fire (Agni), Lord Vishnu must be
worshipped to the effect that the fire-god (Agni) is the lowest of the gods
while Vishnu is the highest; and that in between them, all other gods are

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accommodated.

"Vishnu - The Supreme Godhead!" - Tirupathi

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athagnau nityahOmantE vishnOrnityArchA sarvadEvArchA bhavathi |

(Vimanarchana Kalpam)
agnirvaidEvAnAmavamO vishnu: paramastadantarEna sarvA anya dEvatA iti
brAhmaNam |
(Aitareya Brahmana. 1,1,1)
The Vaikhanasa school retained Vishnu in his Vedic context and advocated the
worship of Vishnu with the six Vedic hymns addressed to Vishnu (shadVaishnavam). The books also admit that Narayana and Vasudeva are expressions
which are synonyms with Vishnu, but prefer to retain the expression Vishnu, as
it is the only expression recognized in the Vedic corpus. Consider this for
fire is made, the proper announcement would be 'Agnaye Svaha' and not
'Vahnaye Svaha'.
According to Vaikhanasas, worship of gods is of two kinds: iconic (sa-mUrta)
and aniconic (amUrta). The latter consists of oblations in fire, while the former
is the worship offered to Vishnu in an idol installed at home or temple. The two
according to Atri Maharshi, have marked correspondences. The setting up of
the fire (Agnyadhana) is like unto the installation/consecration of the idol
(Pratishta); and the several sequences in the sacrifice are like the sequences in
the idol worship.
The view of the ancient sages like Bhrigu, that by worshipping Vishnu, the god
of gods, in ceremonial splendor again and again, one would achieve the benefits
normally derived from the performance of sacrifices,
utsavE devadEvEsam yam sEvantE tE sarvE padE padE |
yagnaphalam labhEranniti bhrugvAdayO vadanti ||
A statement from the Vaikhanasa kalpasutra to the effect that all Vedic rites,

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instance, 'Agni' and 'Vahni' both mean the fire-god, but when the offering in

austerities and sacrifices prescribed in the Vedas are only variant form of
worship of Vishnu,
athatOnushtAnakalpam vyaKhyAsyAma: |
sarvE vaidikAchArAstapOyagnaSva vishNupUjAvidhErbhEdA: |
iti vaikhAnasa sUtram ||
The ancient lawgivers knew that in the worship of Vishnu the Vaikhanasas were
only following the lead given by the great sages of yore like Vasishta, the
ascetics like Sanaka, and by the section of the ancient followers of the Vedic
tradition who were the adherents of the cult Vishnu. (Vriddha-Haritha-

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Samhitha).
Although the Vaikhansas texts align themselves against the Tantrik tradition,
there is atleast one particular detail of worship which they share in common
with the latter, and that is the assumed identification of the devotee with the
deity during worship. The Tantrik position rejects as impossible the communion
of the human with the divine, unless the worshipper identifies himself with the
worshipped. The worshipper is said to pass through three phases:

he regards himself as wholly belonging to the deity, without however a

direct encounter with the deity ('tasyaivAham');

then, an encounter does occur and the devotee can confide with the deity: 'I
am thine' ('tavevAham'); and finally

the culmination of the encounter results in the feeling that the worshipper
himself is the deity. And thus the deity does not exist apart from him
('tvamevAham').

In the Vaikhanasa texts, it is prescribed for purposes of invocation (AvAhana)

that after the worship of the enclosure-deities (Avarana-pUja) and the worship
of the door-guardians (dvAra-pAla-pUja), the priest should station himself in

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front of the idol (behind the screen), and reciting the 'Atma-sUktham', should
enter into a state of meditative absorption, when he will become in fact Vishnu
himself. Then follows the sequence of symbolic and ritual 'placement' (nyAsa),
after this identity of self with Vishnu is transferred to the main idol. Derived
from this facility with which the priest can identify himself with the Deity
during a worship sequence is the notion that the priest has an enduring divine
presence within him. We read, for instance, in Bhrigu's Kriyadhikara that
Vishnu has two forms: the Idol and the Priest. The idol acquires divinity after
invocation (AvAhana), while divinity abides always in the priest. He is therefore
to be regarded as a mobile god viz., saakshat Vishnu rupi.
rUpadvayam hare: prOkta bimbamarchaka Eva cha |

archakastu hari: sAkshAtchhara rUpi na samsaya: |

The Atma-Sukta (Sri Vaikhanasa Mantra Prasna, 5-49; Sri Vishnuvarchana Sara
Sangraham and KAsyapa's Achara-Kanda) is a collection of nine verses in the
trishtubh metre. Its employment is peculiar to the Vaikhanasa worship. It is
recited while invoking the form of Vishnu in his cosmic aspect (sa-kala), and it is
meant to enlarge the consciousness of the worshipper to cosmic dimensions so
that his own constitution may accommodate Vishnu's 'sakala' form. It is a
procedure by means of which the priest's self identifies itself with the highest
of selves, viz., Vishnu. The hymn is called Atma-Sukta not only because it begins
with the words 'AtmAtma', but also because it concerns itself with
transforming the individual self into the cosmic spirit.

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bimbam tvAvAhanAdUrdhvam sadA sannihitOarchaka ||

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"Self of the Self"

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ATMA-SUKTAM
AtmAtmA paramAntarAtmA mahyantarAtmA |
yaschAdirAtmA sat u nOntarAtmA |
vyAvEshti vishvam sakalam bibharti |
yO vyaktapunya: sat u na: pradhAna: || 1 ||
Meaning:
That which is the self of the self, the supreme self, the inner self, the inner
self of the earth, and the primordial self, is indeed our inmost self; It pervades
the universe and sustains all things. As if the merit manifests itself, it is our

prANA: praNIti: sa udAna Adi

vraradO varAhO vyAnaSva mE syAt |
tapasAm cha mUrti: kapilO munIndrO |
yaSvApAnO hayasIshA na: || 2 ||
Meaning:
The outward breath (prAna) is our guide (praniti); the upward breath (udAna) is
the primordial and boon-bestowing boar (varAha); the spreading breath (vyAna)
is the form of Kapila, the sage who is the personification of penance; the
downward breath (apAna) is the horse-headed deity, Hayagriva.
Yatsava akshnAtyajara: samagram |
Sriyam Urjayuktam sat u mE samAna: |
Balam Asuram yatsatatam nihantA |

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chief.

brahmA buddhim gOpa ISvara: || 3 ||

Meaning:
My digestive breath (samAna) is that which devours everything, even goddess
of prosperity (Sri) with her energy; my strength vanquished at all times evil
forces, and my intellect is verily Brahma, and Isvara is my protector.
savitA cha vIya induSva dhAtu |
rasayutam bhUtA bhUtA: udaram nabhO vA |
bhUmiryathAmGrirvavrudhEsamIsha: || 4 ||

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Meaning:
Savitri (the aspect of Sun-god) is my sex energy, the moon is the watery
ingredients in my body; the five basic elements (bhutas: earth, water, fire, air
and akasa) are the constituents of my body; the sky is my head, the mid-region
is my belly; and the spreading earth constitutes my feet; I am indeed the ruler
of all things.
asthINi mE syuratha parvatAKhyA |
bhujagaSva kashA divi yE charanta: |
dyoU nEtrarUpoU pruthuprushnimuKhyoU |
rudhiram cha sAram sakalam cha tOyam || 5 ||
Meaning:
My bones should verily be called the mountains; my hairs are the serpents that
move about in the heavens; my two eyes are the wide earth and the high sky;
and my blood is the essential watery content of the universe.
snAyavO mE AsannadIrbhrugum hridayamastu |

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sava anyE munayAgabhUtA: |

vEdA mE Asyam jihvA mE saraswatI |
dantA maruta upajihvA upasruti: || 6 ||
Meaning:
My sinews are the rivers on the earth, my heart is Bhrigu himself (the
Vaikhanasa Sage) and my limbs are all the other sages; my mouth represents
the Vedic lore and my tongue is the goddess of speech, Sarasvati; the windgods (maruts) are my teeth, and my epiglottis is the revelation of the sacred
texts.

AntrA mE vEdA: SrutismrutI mEdhAdhAraNE |

svEdam mE vasha mUtrakOsham samudram |
purIsham kAnchanam || 7 ||
Meaning:
My testicles are the twin gods, Mitra and Varuna, my sex organ is the creator,
Prajapati; my entrails are the Vedic hymns; my intellect (medha) and retention
(dharana) are the revealed texts (sruti) and the texts subsidiary to them
(smriti); my perspiration is indeed the rains, and my bladder is the ocean itself;
my fecal matter is gold.
sAvitrI gAyatrI maryAdA vEdI |
hrutpuNdarIka vimalE pravishTa: |
sakala: salakshmI: savibhUtikAngO |
yatsava puNyam mayyadhishTAnamastu || 8 ||

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vrushaNau mitrAvaruNAvupasthA: prajApati: |

Meaning:
The hymn in the gayatri metre addressed to the sun-god (Savitri) is the sacred
precincts and the altar; and into the pure lotus of my heart has entered Vishnu
in His cosmic aspect (sakala), along with the goddess of wealth (srI), in all His
glory; may all that is filled with merit in me provide for Him a foothold.
savashAm dEvAnAmAtmaka: |
savashAm munInAmAtmaka: stapOmUrtiriha puNyamUrtirAsan || 9 ||

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Meaning:
"May I contain in myself the essence of all the gods and all the sages, may I be
a personification of austerities (tapo-murti) and of all merit (punya-murti)".
The purpose of the ritual of invocation (AvAhana) of the supreme,
transcendental and all-pervading Vishnu (the etymological meaning of the word
Vishnu is 'pervader') in the heart of the devotee or in an idol is to facilitate
contemplation of the deity in one place; even as the fire which spreads all over
the forest blazes forth especially in some places. Invoked by appropriate
mantras in the idol, or meditated intensely and devotedly in the heart, Vishnu
makes his presence felt in the idol or in the heart, and receives the worship
offered (Kriyadhikaram).
Vaikhanasa worship is essentially Vishnu-oriented, but Vishnu is worshipped in
his comprehensive and pervasive aspect (in accordance with the root meaning of
the word 'vishi vyApatau'); and when Vishnu is invoked for worship, his
presence includes the presence of all the other gods as his retinue (saparivara). Hence worship of Vishnu means worship of all the gods ('vishNOr
nityArcha sarva-dEvArchAbhavati').
A ritualistic application of the comprehensive and pervasive character of Vishnu

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can be seen in the custom prevalent in the Vaikhanasa temples of having three
idols in addition to the main and immovable stone idol in the sanctum (DhruvaBimbam). The main idol represents in reality Vishnu, possessed of all the powers
of divinity and properly installed as a deity (archA). Even as the Veda speaks of
'the three strides' that Vishnu took ('trIni padA vichakramE Vishnuh'), the
main idol in the temple also makes three strides represented by three other
idols, thus making for pervasion and comprehension:
1. "kautuka-beram" which receives all daily worship (nityArchana);
2. "snapana-beram" used for the occasional rituals (naimittikArchana) and
3. "autsava-beram", used for the sake of people who are motivated by worldly
desires (kAmyArchana).

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snApana beram - SrI ugra SrInivAsa mUrthy - Tirupathi

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The symbolism of the four idols (chatur-murti) is interesting. The main idol is
Vishnu, who is being all-pervasive, does not move about. When the presence of
Vishnu crystallizes itself for the sake of receiving worship from the devotees,
the spirit of the main idol moves out into kautuka-beram, which rests on the
seat of worship (archA-pItha). This is the first stride. Then, as the sequence
of worship necessitates such rites as administering a bath, the spirit of the
main idol moves into the 'snapana-beram', which is placed in the enclosure for
bath (snapana-mandapam) which is outside the sanctum. This is the second
stride. And the third stride is represented when the 'autsava-beram' is taken
out in procession (utsava) along the corridors of the temple-enclosures or on
the streets of the township. The spirit of the main idol now reaches beyond the

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confines of the temple. To these three is usually added another idol known as
'bali-beram', for the sake of distributing food daily to the attendant deities
located in the enclosures.

Bali beram - Koluvu SrInivAsa mUrthy - Tirupathi

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Idol worship is the royal road to emancipation from the worldly bondage of
misery and emancipation consists of the individual soul directly experiencing
the presence of the supreme self viz., Vishnu. The individual soul (jIva), when it
frees itself from phenomenal fetters, enters into the sphere of Vishnu (known
as 'VaishnavAnDa') in four successive stages, each stage being designated a
plane of Vishnu-experience (Vishnu-loka).
1. The lowest of the stages is 'AmOda', where the presiding aspect of
Godhead is called Vishnu; and the individual soul experiences the pleasure of
residing with Godhead in the same plane (sAlOkya).
2. The next stage is 'pramOda', where Maha-Vishnu presides; and the
individual soul experiences the great delight of residing in close proximity

3. The stage higher than this is 'sammOda', where the presiding aspect is
Sadaa-Vishnu, and where the individual soul experiences the joy of obtaining
the same form (roopam) as that of the Godhead (sArUpya).
4. The highest stage is 'Vaikunta-lOka', where 'vyApi-nArAyaNa' presides, and
where the individual soul experiences the union with the Godhead (sAyujya).
The four aspects of Vishnu with reference to these four planes of 'Vishnu's
sphere' are designated as Purusha, Satya, Achyuta and Aniruddha respectively.
These are distinguished by their dominant and divine traits which these aspects
reveal in each plane and which the individual soul shares:
1. virtue (dharma) in the first,
2. wisdom (jnana) in the second,
3. sovereignty (aiswarya) in the third, and
4. dispassion (vairagya) in the fourth.
The four planes of the Vishnu's world are regarded as the four quarters of
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with the Godhead (sAmIpya).

Brahman:
1. 'AmOda' represents one quarter of Brahman,
2. 'pramOda' one half
3. 'sammOda' three quarters, and
4. Vaikunta-loka is the full Brahman symbolizing the 'highest foothold of
Vishnu' ('tad vishnOh paramam padam') which is reached when Vishnu (the
first plane) 'makes three strides' ('trIni padA vi-chakramE vishnuh').
In temple worship of the Vaikhanasa system, the four aspects of Vishnu are

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visualized as four forms located around Vishnu in the immediate enclosure

('prAgAdi chatur-dikshu'):
1. Purusha to the east,
2. Satya to the south,
3. Achyuta to the west and
4. Aniruddha to the north.
The forms are also differently conceived.
1. Vishnu in the centre is dark-colored and wears golden colored garments. He
is well bedecked with all auspicious ornaments and is adorned with the Srivatsa mark on his right chest. He is four armed, carrying conch and discus in
his upper hands and showing the gesture of protection in his right lower
hand, the corresponding left hand holding the hip (katyavalambita). He has
goddess Sri on his right side and the goddess Bhu on his left. All the other
aspects are four-armed and carry conch and discus.
2. Purusha who is shown to the east of Vishnu faces the eastern direction
(PrAngmuKha); He is fair-complexioned, wearing yellow garments. The

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variant forms Sri and Medini (Bhu) are on his sides.

3. Satya who is shown to the south of Vishnu faces the southern direction
(dakshinAbhimuKha), and is collyrium-hued; He wears red garments and is
flanked by Dhriti and Paushni.
4. Achyuta is located to the west of Vishnu, and He faces west. He is golden
colored and wears dark blue colored garments. He is accompanied by Pavitri
and KshoNi.
5. Aniruddha is to the north of Vishnu, and He faces the northern direction.
His body-color is like that of coral, and He is seated upon the coils of a
serpent with five, seven or nine hoods. His consorts are called Pramodayini
and Mahi.

sanctum (dhruva-bimba) which represents Vishnu.

Purusha is symbolized by the kautuka-idol,

Satya by the autsava idol, Achyuta by the snapana idol and

Aniruddha by the bali idol.

During actual worship, however, Aniruddha is omitted, and the dhruva, kautuka,
autsava, and snapana images are taken to represent Vishnu, Purusha, Satya and
Achyuta respectively. The aspect of Aniruddha is imagined to be present in the
bali-altar (maha bali peetham), in the sacrificial fire-pot (Nityagni-kunda), in
the temple (vimana) and in the priest (Archaka).
In spite of the conception of Vishnu as having aspects (murti) and idol forms
(bera), as accompanied by consorts (devis) and as surrounded by a retinue of
gods (parivara), the Vaikhanasa outlook is in the real sense idealistic. It holds
Godhead to be inscrutable, immutable, indefinable, without qualities or aspects,
and supporting all things. It pervades everything even as butter in milk, oil in

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The four forms correspond to the four iconic variants of the main images in the

the gingelly seed, fragrance in a flower, juice in a fruit, or fire in wood. He

must be conjured up in mind, and must be invoked within the heart. Even as the
fire blazes forth by the friction of the arani-sticks, Vishnu appears in the
heart of the devotee by constant contemplation. This is his 'sa-kala' form, the
absolute materializing itself by the devotion and visualization of the devotee.
sarvAdhAram sanAtanamapramEyamachintyam nirguNam nishkalam ksheerE
sarpistilE tailam pushpE gandham phalE rasam kashTE agnimiva sarvavyApinam
paramAtmAnam

manasA

samkalpyAvAhamEdAvAhanamridvAsanam

vishnOrayuktam mitratyathA hyAraNyAm vyAsE vahnirmathanAtsannihitO

bhavati tathaiva tathaiva dhyAnamathanEna bhaktasya hridi vishNu: sannihitO

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bhavati |
(Vimanarchana Kalpam, 31st patala)
kAshTEagnirmathanAdujjvalanniva nishkaLAtmakO
vishNurdhyAnamathanEna bhaktyA sankalpanAtsakalO bhavati |
(Vimanarchana Kalpam, 80th patala)
It is in order to facilitate contemplation that idols are to be worshipped.
Saunaka, the author of Rig vidhana is credited with the following counsel: "A
beautiful image of Vishnu, with a smiling countenance and graceful looks, must
be prepared in metal; the image must be delightful to the devotee. Then it must
be worshipped and meditated upon. By this means, the devotee, freed from
defects, will enter that very form of Brahman".
sarUpAm pratimAm vishNO: prasannavadanEkshaNAm |
krutvAtmAna: prItikarIm suvarNarajatAdibhi: ||
tAmarchayEttAm praNamEttAm bhajEttAm vichintayEt |
vishatyapAstadOshastu tAmEva brahmarUpiNIm ||

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"delightful to the devotee"

utsava beram - SrI Malayappa Swami - Tirupathi

SRI VAIKHANASA BHAGAVACCHASTRAM

We read in the concluding portion of Sage Marichi's Vimanarchana Kalpa, 100th
patala:
Even as Vishnu became the primordial source from which emanated the forms

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Purusha, Satya, Achyuta and Aniruddha, He transformed His Vedic nature in to

the sage called 'Vikhanasa Maharshi'. And even as Purusha, Satya, Achyuta and
Aniruddha are only His variant forms albeit derived, the Sages Bhrigu, Marichi,
Atri and Kasyapa, were the variant forms of the first sage Vikhanasa Maharshi.
To Vikhanas, Vishnu taught at the very beginning of creation the doctrine
subsequently celebrated as 'Vaikhanasa Kalpa-Sutram', which comprehends all
the Vedas and contains the secret teaching of the Vedic lore. And Vikhanasa
Maharshi in his turn briefly communicated this doctrine to the four sages
(Bhrigu and others). What Vikhanasa Maharshi taught was in extent of one and
a half crores of granthas (a grantha being thirty-two letters of a verse in
anushtubh metre). The four sages in their turn prepared their own treatises,

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known as:
1. 'Adhikaras' by Bhrigu,
2. 'Samhithas' by Marichi,
3. 'Tantras' by Atri and
4. 'Kaandaas' by Kasyapa,
altogether extending to four lakh granthas.
No doubt the Vaikhanasa Kapla Sutram is an ancient one, and what is more
important, it is comprehensive, dealing as it does with all respects of
'Kalpa' (Srauta, Smarta or Grihya, Dharma and Sulba). By common consent, this
text is held to be the source for all the later Vaikhanasa texts and manuals.
The texts ascribed to the four sages who were disciples of Vikhanasa Maharshi
have unfortunately not survived in their entirety. There are some prose and
poetical works in the names of Marichi and Bhrigu, which are popularly studied
and frequently printed (like Marichi's Vimanarchana Kalpam and Bhrigu's
Kriyadhikara and Prakirnadhikara), while most of the other texts are known only
through citations and extracts from them by later commentators and
glossators like Nrisimha-Vajapeya-Yajin and Srinivasa-Dikshitulu.

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There is truth in the traditional view that the Kalpa-sutras of Vikhanasa

Maharshi provided not only inspiration but also material for the later
Vaikhanasa writings. A distinction is thus drawn between the Sutra (by
Vikhanas) and the Sastra (by his disciples).
mUlamasyApi SAstrasya sArthakOtipramANata: |
upAdiSatsa bhagavAn asmabhyam naimishE vane ||
iti samkshEpata: prOktam mahatvam sUtraSAstrayE: |
(Prakirnadhikara, 30, 93-34)
A Kalpa Sutra is different in its orientation and approach from the Agama
texts, and when the Vaikhanasa Bhagavachhastram was constituted, it had to
contain the details which the Kalpa Sutra did not contain, or elaborate the
Bhagavachhastram appear to have necessitated the composition of Sastratexts by the four sages, Bhrigu and others, in addition to the Kalpa Sutra by
their master, Vikhanasa Maharshi. For instance, the entire Vaikhanasa
literature of the post-kalpa-sutra period may be said to have stemmed out of a
statement in the Sutra-text of Vikhanasa Maharshi:
tam

yagnapurusham

dhyAyan

purushasUktEna

samstUya

praNAmam

kuryasyagnEshu vihInam tatsampUrNam bhavatIti Sruti: | dvijAtiratindritO

nityam

gruhE

dEvAyatanE

vA

bhaktyA

bhagavantam

nArAyaNam

archayEttadvishNO: paramam padam gachhatIti vignAyatE ||

(Sri Vaikhanasa Grihya Sutram, 4, 12, 8-11)
One who does not perform the great sacrifices would compensate for this
omission, according to scriptural authority, by contemplating upon Vishnu, who is
the very personification of the great sacrifices, eulogizing him with hymns like
Purusha-Sukta,

and

by

worshipping

him.

Therefore,

the

twice-

born one must worship day and night with devotion, in his own home or in a
temple, Vishnu, the great god. Nrisimha-Vajapeyi-Yaji explains that sacrifice
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details which were only suggested in the Kalpa Sutra. The requirements of

(yajna) which involves only offerings into fire and tending the ritual fire, is
actually worship of God without an icon (amUrtarchanam) and has its rewards,
which are alternately obtained by worshipping Vishnu in an idol, and by
meditating upon him as having a perceptible form. Godhead is in reality only
existence, consciousness and bliss. But He can be obtained by sacrifice as well
as by iconic worship.
The text also mentions that the daily worship of Vishnu would mean in effect
the worship of all the gods (who are eulogized and fed in the sacrifices,
through the fire-god Agni):

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athAgnau nityahOmAntE vishNOrnityArcha sarvadEvArcha bhavati |

" the highest god!"

Agni is the lowest of the gods, being only a messenger (dUta) of the other gods,
and Vishnu is the highest, being the very spirit of the sacrifice (yajna-purusha)
and the inner lord of all. The tending of the sacred fire (homa), which is to be
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