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Sri Sailam hyderabad

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Sri Sailam hyderabad

The current principle sanctuary is a gigantic complex comprising of independent sanctuaries of Mallikarjuna and Bhramaramba ,a few sub holy places, pillared lobbies, mandapas, springs and so on., This whole intricate is invigorated by the most great Prakaram mass of huge stones. The Prakaram divider contains four Dwaras ( central entryways) at four cardinals surmounted by the Gopuras. The eastern passageway is the Mahadwaram.

The focal point of the sanctuary complex comprises of a fenced in area howl the dimension of the important entryways of the cardinals. This walled in area has Salamandapas at the northern and southern sides. The space between the internal fenced in area and external Prakaras dividers was kept up nurseries in days of yore.

In the inward patio there are Nandimandapa, Veerasiromandapa , the sanctuary of Mallikarjuna, the sanctuary of Bhramaramba and all are in succession from east to west. A portion of the minor holy places, for example, the sanctuary of Vriddha Mallikarjuna, Sahasra Lingeswara, Arthanariswara, Veerabhadra, Uma Maheswara and a gathering of five sanctuaries named as Pandava Prathista sanctuaries and a line of nine sanctuaries called as Navabrahma sanctuaries and so on., are additionally situated in the inward yard.

Nandimandapa

This enormous estimated pillared Mandapa is arranged quickly past the Mahadwaram. It is fit as a fiddle and has yards anticipated toward the east, south and northern sides. Among the 42 mainstays of this mandapa, the two columns on each side of eastern yard and the focal four columns are of resplendent structuring and the rest of the columns are in straightforward kind. The raised Adhistana of this mandapa is partitioned into compartments and the upper compartment is enriched with parade of elephants entomb divided by lotus emblems, fishes and swans and so on., The Dwarapalakas are additionally cut at the upper compartment of the Adhistana on each side of the eastern yard. Every one of these enrichments are unmistakably of Vijayanagara period. The focal segment of the mandapa is somewhat raised and where an enormous Nandi ( Divine bull) of 20' by 10' estimate lies confronting the hallowed place of Mallikarjuna. The focal bit of the roof has the figure of Nandiswara murthi( Siva and Parvathi riding on the bull ) encompassed by Dikpalakas on their individual Vahanas. The chiseling of Dikpalas on the roof is an uncommon component .

Veerasiromandapa

This significant structure is arranged quickly toward the west of the Nandimandapa, worked by the Reddi King Anavema Reddi in the year 1378 AD. As per an engraving, this mandapa was built to offer of their own heads, hands and tongue to the God by the Veerasaivas and this one of a kind practice was named as Veeracharam. At present this open mandapa has 16 columns and the low Adhistana is a straightforward structure. The focal space of the mandapa is somewhat raised and contain a hover in a square. The lower some portion of the stone roof has twofold shatkona in which a lotus set was cut. The engraving which relates the development of this mandapa states that it was 38 pillared structure with a roomy focal lobby having angled thorana and flanked by dwarapalaka picture. The engraving additionally portrays the roof as a designed one with lotus emblems. Lamentably these design components are distorted including the quantity of columns and the structure is completely adjusted.

The Mallikarjuna Temple

The sanctuary of God Mallikarjuna is arranged in the focal point of internal yard and countenances toward the east. This sanctuary comprises of Mukhamandapa, Antarala and Garbhagriha.

Mukhamandapa

The Mukhamandapa is arranged toward the west of the Veerasiromandapa. It is an expounded shut lobby comprising of 16 columns. This mandapa is likewise named as Mahamandapa and was worked by the Vijayanagara ruler, Harihararaya – II in the year 1405 AD. There are three passageway entryways with pillared yards on the east, south and north. All are these have enhanced entryways and secured by the silver ornamented sheets at present. The Mandpa is broadened 41.2 feet long and 41.4 in width.

The base of this mandapa is a plain structure and the outside dividers above it are designed with Devakosthas. These Kosthas are limited and are not having any pictures. There are additionally latticed windows on either side of the yards. The inside of the mandapa has four lines of four columns each. The focal columns are remaining on a square which is somewhat raised. The lower some portion of the roof is isolated into compartments and a major lotus was cut in the focal one.

At the south – west of this mandapa there is four given situated Vinayaka made of fine red stone and named as Ratnagarbha Ganapathi. Where as in the north – west, forty gave Veerabhadra holded with different weapons and four gave Bhadrakali are set ,both of these are made with dark stone and are in standing stance. This Veerabhadra is called as Sudarshana Veerabhadra. At the east of this mandapa there is a Nandi of dark stone appearances to oneself radiated Jyothirlinga of Mallikarjuna.

Antharala

In contrast to the Mukhamandapa, the antharala is basic and plain structure. Despite the fact that the mukamandapa and antharala are not isolated by a particular passageway, it contains a two pillared passage like structure. The front bit of the columns are embellished with a silver covering having dwarapalakas on either side and a few types of Siva, for example, Chandrasekaramurthy, Arthanareeswaramurthy, Gangadaramurthy, Lingodpowermurthy, Somaskandamurthy, Nandikeswaramurthy and Nataraja one over the other. The antharala is approximately hundred square feet measurement in degree.

Garbhagriha

The Garbalaya with sixty square feet structure is having a fancy passage. On the lower level pillar, a purnakumba alongside a female divinity holding a lotus bud is delineated where as on the top Gajalakshmi is appeared On the two vertical supports, foliage is in all respects imaginatively portrayed. At the focal point of the structure is found oneself radiated Jothirlinga on a Panavattam. This Panavattam gives off an impression of being a last expansion around the Sivalinga which is around 25 cms. in stature. The inside segment of the Sikhara of the Sanctum Sanctorum is plain with no imaginative beautifications.

The Vimana

This structure talks about the overall artifact of the sanctuary appropriate. These as a ventured pyramidal structure containing nine levels step by step subsiding towards the top. A sum of nine levels are obvious and at the focal bit on all sides each pair of retreating levels are united with Simhalalata models. Just underneath the apex, on every one of the four sides, four Nandi figures are masterminded. Underneath the purnakumba on the best, an eight pettalled lotus is engraved. This sort of ventured pyramidal structures wound up prominent amid the western Chalukyan period and proceeding in the succeeding times of Kalyani Chalukyas and Kakatiyas in Andhra Pradesh.

The Chaya Someswara sanctuary at Paanagal in Nalgonda District, the Swayambu sanctuary in Warangal fortress, and the vast majority of the trikuta sanctuaries of the Kakatya time frame, have these sorts of super structure. In light of these likenesses, students of history, for example, M. Ramarao, are of the conclusion that, the Srisailam sanctuary may have been built in tenth century A.D. Be that as it may, based on the Bayyaram Tank engraving of the Kakatya times. Dr. P. V.P Sastry have accurately distinguished that the present Garbagraha was built by the Kakatya ruler Mailamamba in 1220-30 A.D. This ruler, who was the sister of Kakati Ganapathi Deva, in the previously mentioned engraving radiantly announces that, she built a sanctuary for Siva, which resembles virtual Kailasa. Based on her donative developments at different spots like Kolanupaka , Tripurantakam and so forth. It very well may be securely be assumed that, the present Garbhagraha of the Srisailam was built by her in thirteenth century. At present this Vimana Gopuram was overlaid with Gold plates.

The Antiquity Of The Temple Complex

The Antiquity of Srisailam is connected with convention. It is consequently troublesome is recognize the date of sanctuary and the Gods revered therin. Anyway an endeavor can be made with accessible sources. In spite of the fact that, the puranas and other scholarly works talks about the brilliance vestige of Saisailam, the equivalent can't be bore witness to on archeological and authentic grounds. The Nasik engraving of Queen Naganika of the Satavahana dyanasty, while referencing their degree of their kingdom, notice Sirithana as one of the significant places in the eastern augmentation of the realm. This is related to the scope of slopes, by and by known as Sriparvatha, which are the Nallamalai slope ranges reaching out from Srisailam up to Nagarjuna Konda.

In first century A.D., Nagarjuna Konda isn't known as a chronicled spot and subsequently the Sirithana of this engraving is compared with Sriparvatha or Srisailam. The most punctual engraving found at Srisailam found as of late is a mark engraving in 6th century A.D., Brahmi characters perusing "Sarasa Paramathma" which is distinguished to show the name of a Siddha at this spot, which demonstrate this spot is known to be a Siddhakshetra by 6th century A.D.The Harsha Charita of an equivalent period likewise terms Srisaila as a Siddhakshetra.

Despite the fact that there are several engravings dated 1206 and 1298 A.D., found at HataKeshwaram and Bheemasankaramatham individually. They don't contain any unmistakable verifiable references. Along these lines somewhere in the range of seventh and thirteenth hundreds of years, shockingly there are no chronicled records accessible at Srisailam.

The principal generally critical engraving found at Srisailam has a place with Pradaba Rudra of 1313 A.D., The nonattendance of any engravings before the said one involves articulate disillusionment.;. In spite of all these authentic holes, in following out the development of the Srisailam sanctuary complex, it tends to be inferred that the disclosure of early sanctuary development action datable to the main century A.D. at the unimportant spots like Virapuram in Kurnool region, we can say with a level of conviction that that the Srisailam sanctuary likewise may have been built amid a similar period or before it.

The Temple Of Bhramaramba

The sanctuary of Bhramaramba is countenances toward the east and situated in the back patio of the principle complex at a raised dimension and is exceptionally close toward the western Gopuram of primary prakaram. The sanctuary is encompassed by a walled in area with varamandapas at the innersides.

The method for this sanctuary begins at the rear of Mallikarjuna Temple with wide advances, prompting the entryway of the nook. This entryway is having a Mandapa Dwaram with Gopuram on it. This sanctuary is comprises of Garbhalaya and Mukhamandapa. The Mukha Mandapa was included by a 24 pillered Pradakshana Mandapa in 1964 – 65. Among the mainstays of this mandapa, 14 columns are perfectly designed and remaining 10 columns are resplendent. It appears that the Mukhamandapa is additionally a later option and it has doors on the east, south and north. The outside lower mass of the Mukhamandapa has help models if moving young ladies and muscians and these are obviously of Vijayanagara Style.

At the inside focal point of the Mukhamandapa confronting the passageway of the sanctum sanctorum, the stone Srichakra is introduced to which every day revere is being advertised. A story safeguarded in the old stories portrays that, Adisankara, saw the rough type of Bhramaramba ?Devi and to lessen her brutal influence, introduced Srichakra before the Garbhagriha. There is additionally a Padmasila at the east of the Srichakra.

Garbhalaya

The garbhalaya is a square structure and its external dividers are portrayed with scenes of Ramayana and they are plainly of Vijayanagara style. The doorjambs are cut with lotus foliage structures and where as on the highest point of support there a type of Sakthi as Lalatabimba . At present the doorjamb is overlaid with silver plates. The picture of Brahmaramba in the sanctum sanctorum is as Mahishasura Mardini in a standing stance, with eight hands. She is keeping the evil spirit Mahisha with her left leg and holding his face with the left hand and puncturing it with the trisula of right hand. In her grasp, she is demonstrated holding a blade, mace, sword, a bow, a shield and Parigha.. On the correct shoulder of the divinity a bolt holder is likewise delineated.

The Vimana

The Vimana Gopuram of Bhramaramba sanctuary demonstrates early design highlights. It is Dvitala vimana of Dravidian style and displays the pictures of Sakthi frames, female Bhuthaganas, lions and so forth., The cardinal Koshtas houses the pictures of Durga in the east, Vaishnavi in the west, and Brahmi in the north. The Vimana Sikhara is topped by Rekhadalapadma. This super structure appears to have been developed in fourteenth fifteenth hundreds of years.

The Antiquity Of Bhramaramba Temple

As indicated by our puranas Goddess Bhramaramba is one of the Eighteen Mahasakthis and it is said this is where the neck part of Sathi Devi was set amid Daksha Yagna scene.

The puranic relic of Goddess Bhramaramba again remains in confounding position because of the absence of verifiable and epigraphical confirmations. None of the engravings before fifteenth century bear witness to the presence of the Sakti sanctuary at this spot. In any case, writing, authenticates its reality as Adi Sankara have kept in touch with a portion of the ballads in his Sivananada Lahari in recognition of goddess Brahmaramba. The love of the female component is the most punctual type of religion in the whole world. The Linga venerate alongside the Mother goddess adore is known appropriate from the Indus Valley times. Thusly, the presence of a Siva sanctuary at Srisailam surmises a Sakti sanctuary as right on time as first century A.D. thus Goddess Bhramaramba is certainly not a late development, as certain researchers might suspect.

The Mastya Purana expresses that Srisailam is the seat of Mother Goddess Madhavi. A portion of the students of history are opined that the Puranas, for example, Mastya Purana and so forth., trusted the have been ordered amid the time of Gupthas i.e before the center of the fifth Century A.D.

A tantric work Matangi Tantra datable to fifteenth century A.D., talks about a Matangi sanctuary at Srisailam. This in course of time may have subsided away from plain sight to return into lime light on amid fifteenth century. An engraving dated 1492 A.D., at Srisailam makes reference to that one Udayagiri Appanayya developed a trip of ventures from the southern passageway of the Malikarjuna sanctuary up to the Brahmaramba sanctuary. In another engraving dated 1531 A.D, engraved on mainstay of Virasiro mandapa states that one Maalappa Naidu gave fans to Lord Malikarjuna and silk sarees to Goddess Brahmaramba Devi. The famous artist Srinatha of fifteenth century greatly depicts the goddess Brahmaramba of Srisailam. The Maratha King Sivaji is said to have gotten the sword from the goddess Brahmaramba for the protection of the Hindu Dharma. The nearby custom credits the development of the Northern Gopura was brought about by him.