Ramanujacharya and Srirangam

Srirangam is a living temple whose history goes back almost a thousand years, attracting countless Pilgrims and preserving local traditions for posterity. It is amongst the Tamils that theism reached its fullest expression, a devotion a respect towards a deity, a faithful adoration towards a deity who's equal love for the devotee was experienced by one who showed limitless intensity of love to God.
The Vaishnavism movement was founded by Nathamuni some time in the 8 or 9 century and was continued by his disciple Sri Ramanujacharya in the 11th century. Ramanujacharya  actually taught in the temple of Sri Rangam and fundamentally reformed its organisation. He preached the need to observe ritual, salvation through devotion to Vishnu, in which the worshipper comes to the realisation that he is part of God and entirely dependent on him, self surrender into the hands of the God and to his will, and the confident expectation of his divine favour. Sri Ramanuja taught that the God is a personal God, full of love and grace and that he needs man as man needs him, the individual soul created by the god from his own essence, returns to the god and lives eternally in full communion with him, while remaining distinct from him.
Ramanuja's doctrine which deeply influenced the whole of India and produced countless school of thought is still today the basis of Vaishnava theology as conceived and practised in the temple of Srirangam.
The temples of south India were not only religious, but also cultural centres where knowledge was taught. they occupied an important place in social and artistic life, and played a considerable role in the evolution of Hindu thought. To promote their development and carry out their mission, it was necessary for them to call on the services of a great variety of people, some voluntary and others paid, whose joint action helped to spread teaching, ensure the smooth running of all parts of the administrative machinery, keeping the temple prosperous, manage the various estates donated to the temple, and superintend the work, welfare and education of all different employees. this involved administrative problems of all kinds. What was necessary was a real managerial system, often complex calling for outstanding skills, at all levels including the highest in the service of the god of gods venerated in the sanctuary and the shrines. The system covered not only the personnel on the spot, but pilgrims, priests those officially in charge and others, servants, artisans, musicians, singers and actors attached to the sanctuary.
The administration of the Srirangam temple supplies a perfect example of administration in ancient times i.e. before the reformer Ramanuja (Udayavar)  set a systematic code to follow. This is being followed even today in all the Vishnu temples. Before there were only five categories of temple officials. Ramanuja increased them to ten. their functions are described in detail in the chronicle of the temple.
The first category that of Tirupattiyar, pilgrims who chose Ramanuja as their spiritual master and they were responsible for the ministry of the sanctuary. Their leader carried a mace, and kept himself informed of the running of the temple. Like all the temple staff, these servants began their duty at dawn, after the ritual bath. As soon as the gate of the sanctuary was unbolted, they swept and cleaned the chamber the copper door way, and the enclosure used as an ambulatory. they looked after all the lamps used in worship, refilling them with oil, cleaning or replacing the wicks and adding clarified butter ghee supplied by their assistants (ekangis). They lit the lamps and presented them to the priest holding the service puja. they also carried the torches whenever the priest performed a sacrifice homa. they offered incense, distributed parched grains among the devotees, and received and carried the various offerings intended for the God. they later became responsible also to recite hymns on special occasions.
The second category that of the water bearers or Tiruppani saivar. whose duties were very important since water was very sacred and had a ceremonial role. they were only five in no chosen on the hereditary basis from the descendants of spiritual masters and ascetics who became saints. Their duty was to sprinkle water on the holy places, pour water whenever the umbrella was held near the God during festivals and processions, and to splash water scented with camphor high into the air for the wind to carry the scent to the god. they also inspect the streets of the temple. which had to be watered before each passage of the god. They were entitled to hold the umbrella in front of the hymn singers and to lead processions, to receive on behalf of the temple offerings from devotees. It was also their duty to convene worshippers who wished to discuss the religious code, or any matter concerning the temple, and to act as arbitrators in their discussions.
next are the brahmans or nambis recognised as a group by Ramanuja. They are directly assigned to the service of the god and his worship and to that of a number of minor gods dwelling in the third enclosure. Everyday during the puja celebrated in the sanctuary, they offer incense to the god, prepare and change his jewels, and receive the offerings to be made to the God, of sweet drinks areca nut, betel fruits and coconuts. they carry the lamp used in worshipping god during the god's daily and ceremonial bath. they attend him by offering the articles required for each ceremony. it is also their duty to install the flag on the flag staff. When the God travels for example in processions, it is their duty to seat him on his shrine, his vehicle or his car. they decorate him with garlands of fresh flowers, and give the faded ones, sanctified by contact with the God, to the administrative head of the temple. they are entitled to recite stanzas in honour of the gods vehicles, and a passage from
the vedas. the oldest and wisest among them initiate students.
Next came the priests born in Srirangam Ullurar disciples of ramanuja attached to the service of the god and the processional statue. they were responsible for guarding and handling the objects used for worship, the sacred vessels the garments of the God the mirror the whisks, the fans the umbrellas the jewels and the ornaments of the God, the mace the cushions the box holding the betel which accompanied the god in all his processions and the curved sword. every day and at all ceremonies travels and processions, they presented the god with sandal paste, ritual cakes and dishes of sweet food. they added scent to his bathing water, fanned him and washed his feet. they offered betel before the sacred vaishnava mark was put on his forehead. they brought the offerings from the kitchen and presented them to the God for his meal. they also offered him sandal paste, newly washed garments and garlands of basil. they set before the hymn singers coconut milk in a new vessel. at the end of the gods meal they changed the sacred lamps.
When the God and goddesses met once a year they formed a guard of honour and fanned them. they honoured the head administrator and presented him the objects used in worship. and conducted the services on his behalf and offered him the prasad.
the fifth category comprised the hymn singers and musicians or vinnappam saivar. they were responsible for playing the veena, reciting chanting and singing in the presence of the God on all occasions and played a very large part in the service.. they ranked very high in the scale of ceremonial values. they were entitled to special honours. 

The sacred water bearers also formed the sixth category (Tirukkaragak Kalyar) they were directly and primarily associated with the worship of the god. It was their duty at dawn to take the water pots from the strong room adjoining the store house, fill them in the Kaveri to provide water for two days, and return with them on the back of an elephant. They then had to fill the five sacred vessels used in all the pujas for that day. They held the water pots during the ceremonies of washing the teeth and the mouth of the God, every day at dawn  and after the offering of betel; also the water pots washing the gods feet. Originally it was their duty to pour water on the hands of the officials responsible for preparing the arch of flowers for festivals, and to prepare the garlands of flowers and necklaces of scented seeds for the God.

The seventh category was that of the administrators (Stanattar) whose duties as regards worship were all concerned with the God, particularly when he moved from one place to another. Carrying the God to his palanquin or mount (except the elephant) holding the umbrella over the sacred water during processions staying besides the palanquin to prevent any outward movement. to these were added prerogatives such as offering the god milk and curds. giving away certain offerings to officials, and garlands to the head administrator, affixing the garuda seal to the chest containing the jewels. after the muslim occupation, they continued to be responsible for directing processions and distributing offerings, later they parted with some of their rights to the nambis in particular. the use of Garuda seal passed to the officials in charge of the temple of the Goddess Nachiyar.

Next came the independent Brahmans (Bhattar) who form a separate group responsible for reciting daily at pujas in the sanctuary the sacred texts listed in the chronicle of the temple. they are present at all daily and special ceremonies and receive offerings like silk and cotton,sandal paste, single garlands, betel) after Ramanuja's reform each of them was entrusted with tasks which had previously been assumed by a single nambi, the head of the priests of the temple of Srirangam. 
The next category consisted of Brahmans (Aryabhattal) whose chief function was to keep constant watch over both God and temple. they were posted at the northern and southern entries of the third enclosure, supervised all movements day and night to and from the first two enclosures and held the rear end of the poles of the palanquin when it was carried in procession on both the inward and outward journeys. At night they slept on the verandas near the gateways and at dawn opened the gates to the pilgrims (tirupattiyar) who came to worship. They were the depositors of the royal seal, the purpose of which was to protect them while they performed their duties.
The last category consisted of the group of Dasanambis, descended from an earlier group which provided the temple flowers. they laid out flower gardens for the God. held torches in the presence inside and outside the sanctuary, decorated his palanquin with flowers and prepared it for the procession along the seven enclosures and made all kinds of garlands for ceremonial processions. They also served in the sanctuaries of the Alvars and of Ramanuja, and received great honours.
to these ten categories of temple servants, all Brahmans, Ramanuja added four assistants (Ekangis) who were assigned to guarding the sanctuary at the door and the screen which hid the god at special times from the sight of devotees; it was their duty to refuse entry day and night to un authorised persons. they also guarded the stores of condiments, perfumes and all produce used for daily and special ceremonies.
Ramanuja also appointed eight Vaishnava ascetics (Sattadamudalis) responsible for carrying the standards, the gold and silver torches, and Ramanuja's sword, and serving as guard for the priests. Next came the mace bearers (Vettirapanis). It was their duty to ensure order during processions and when the God was exposed outside his sanctuary. They acclaimed the god at the beginning of ceremonial processions, imposed silence before the recitals of sacred texts, and cleared the way for the hymn singers appointed for divine worship.
In addition to these groups, all Brahmans, Ramanuja appointed non brahmins (Vellalas) from the farming class (Sudras). first came those who measured the grain stored in the temple, including that required for daily consumption; then the guards of the first enclosure and the accountants, whose prerogatives seems to have been much disputed. It was agreed that the office of chief treasurer should be held by a sudra. Later, according to the chronicle, ramanuja established another post which he assigned to a brahman, but this resulted in frequent disputes until finally the post was occupied by a single non brahmin treasurer.
Many other minor posts were entrusted to non brahman, making up a second group whose duties were all concerned with the handling and storing of objects required for worship, the preparation of powders (salt and curry) and clay for sealing the locks of doors.
the third group contained the sacred dancers (devadasis) an institution known to have existed in Thanjavur in the eleventh century(which had nearly400 of them with houses provided and many other facilities) onwards and was abolished in the nineteenth century. their duties were all related to the god and to the most sacred of ceremonies. The devadasis are given a place of honour in the koil olugu which records that one of them set a noble example by saving the temple at the time of the muslim occupation in 1323.
The next group consisted of the guardians of the temple and its outlying buildings, the sculptors and artisans responsible for painting banners and modelling or carving holy images, the goldsmith who worked for the god, designing new jewels, repairing and polishing old ones and carrying out all work in connexion with the ornaments of the god, the copper smiths, who made or repaired copper objects used in worship and the metal founders, who made bells, gongs, standing lamps, and coverings for pedestals and stairs.
The sixth group included artisans such as tailors, who pieced together sewed and embroidered the draperies to be hung from ceilings and pillars, the clothes of the god, and the pennons, the carpenters responsible for making umbrellas, huge fans, insignia, and the tops palanquins, the weavers who used silk thread to make garlands, whisks and tassels.
The seventh group consisted of washerman who washed and dried the garments of the god, cleaned the pieces of cloth covering the plates used in worship, and dyed the cloth decorating the ceiling of the mandapams. this guild is recorded a place of honour in the koil olugu for it is expressly recorded that the image of the god carried off to Delhi by the muslims and rediscovered by chance in 1371 was identified by a washerman of the temple.
next came the potters, forming the eighth group, whose duty was to make fresh vessels each day for the temple kitchen, which were then broken after use.
The ninth group consisted of the boatman, who rowed the milk and provisions for the temple across river Kaveri and carried them to the kitchen.
The musicians and the dancing masters made up the tenth group. they took part in all important ceremonies.
These groups or categories, upwards of a score, formed a large and highly complex community calling for co-ordinated management. But the koil olugu makes no reference to any such governing assembly or committee found elsewhere. It records that the management was in the hands of an administrator general and draws up a list of functions.
Each day at dawn, it was the administrator's duty to go to the temple and meet his closest colleagues. After his ritual bath, he would proceed to the foot of the sacred flag staff (dvajastambha) in the second enclosure, he then went to inspect the kitchen area and the stores of provision and the perfumes required for worship and for the brahmanas; he assigned the servants the duties for the day. next he visited the flower garden to choose the variety of flowers which would be used during the day, depending on the ceremony. thereafter he would proceed to worship the god. Next he presided on a meeting of all the representatives of the temple servants, exhorting them to carry out their tasks diligently; he then supervised the arrangements for the puja.
After the offering of the mid day meal to the god, he was entitled to retire to his house and take food himself. In the afternoon he conducted the various festivities until the evening. when the offering of milk and rice kasaya was made to the god. When homage had been paid to him, he would retire for the day.
His duties included organising every festivity and supervising it to ensure that it was carried out properly. he had the right of jurisdiction, except as regards the nambis and the brahmanas. it was also his duty to affix his seal to all articles deposited with the treasury. all the heads of service of the temple came directly under his orders, and he had his own serving priest (Ekangi). the highest honours were paid to him.
Four other officials deputies to the head administrator, were responsible for the administration of the temple and its outlying buildings. The head store keeper began work every day at dawn by inspecting the kitchen, where he saw to the delivery of a set quantity of carefully cleaned rice, curd, wheat and other cereals, vegetables, coconuts fruits and all the food stuff for the god's meal. every day different kinds of paddy, tamarinds and other produce from the temple lands were brought to the temple storehouse, or in case of oil seeds to oil room where they were pressed or grounded. The head store keeper also looked after the equipment and personnel required for processions, including a thousand coolies to carry umbrellas and pennons. He organised the fireworks for festivals at night, for which the thousand coolies were paid in kind. He supervised the care of the elephants, horses, cows pigeons and pigeon - cotes, deer, wild cows peacocks and parrots belonging to the temple. It was also his duty to supervise the milking of the cows in the presence of the chief cowherd, and to handover the milk to the servants responsible for it. each stable was looked after by a cowman who saw that it was kept clean and supervised the milking twice daily.
A temple superintendent gave orders every day for the removal of parasitic plants from the walls and gopuras. He directed repairs and reconstruction works. decided how tapestries and hangings should be displayed, and saw to the decorations and erection of pandals for the daily and special festivities. two ekangis were assigned to him.
It was the duties of the keeper of the various stores to look after the flower gardens which were to the east and west of the sanctuary and protect and tend the fragrant flowers chosen according to the season to ornament the sanctuary and the gods. He also picked the vegetables, cut the cane sugar and juicy plants and had them delivered to the kitchens. it was also his duty to preserve order in the store houses by rewards and punishments.
The superintendent of the temple lands looked after the seasonal sowing of seeds, and sent to the temple store house all the produce from the land including gleanings. He supplied staff recruited in the villages belonging to the temple. A fourth ekangi a vedic scholar was assigned to him as an assistant.
all this continued until the muslim invasion in the first quarter of the fourteenth century after which the temple was subject to the authority of muslim governors. and their influence is described in the koil olugu as having affected the ritual example the statue of the god was clothed for the bath with a garment of the kind worn by muslims Kaili, also his breakfast became thick pancakes chappathis with butter and curds served to him on a dampened cloth, and the quids of betel were coated with lime on the inside, instead of on the outside as was the hindu tradition. 

Happiness as an ornament.

1. Angam hare pulaka bhooshanamasrayanthi, Bhringanganeva mukulabharanam thamalam,

Angikrithakhila vibhuthirapanga leela, Mangalyadasthu mama mangala devathayaha.

To Lord Hari, who wears supreme happiness as an Ornament, The Goddess Lakshmi is attracted,

like the black bees getting attracted to the unopened buds of black Tamala tree.

Let Her, who is the Goddess of all good things, grant me a glance that will bring prosperity.

2. Mugdha muhurvidhadhadathi vadane Murare, Premathrapa pranihithani gathagathani,

Mala dhrishotmadhukareeva mahoth paleya, Sa ne sriyam dhisathu sagarasambhavaya.

Again and again return, those glances, Filled with hesitation and love, Of her who is born to the ocean of

milk,

To the face of Murari, Like the honey bees to the pretty blue lotus, And let those glances shower me with

wealth.

3. Ameelithaksha madhigamya mudha Mukundam Ananda kandamanimeshamananga

thanthram, Akekara stiththakani nika pashma nethram, Bhoothyai bhaveth mama bhujanga

shayananganaya.

With half closed eyes stares she on Mukunda, Filled with happiness , shyness and the science of love,

On the ecstasy filled face with closed eyes of her Lord, And let her , who is the wife of Him who sleeps on

the snake,

Shower me with wealth.

4. Bahwanthare madhujitha srithakausthube ya, Haravaleeva nari neela mayi vibhathi,

Kamapradha bhagavatho api kadaksha mala, Kalyanamavahathu me kamalalayaya

He who has won over Madhu, Wears the Kousthuba as ornament, And also the garland of glances, of

blue Indraneela,

Filled with love to protect and grant wishes to Him, Of her who lives on the lotus, And let those also fall

on me,

And grant me all that is good.

5. Kalambudhaalithorasi kaida bhare, Dharaadhare sphurathi yaa thadinganeva,

Mathu samastha jagatham mahaneeya murthy, Badrani me dhisathu bhargava nandanaya

Like the streak of lightning in black dark cloud, She is shining on the dark , broad chest, Of He who killed

Kaidaba, And let the eyes of the great mother of all universe, Who is the daughter of Sage Bharghava,

Fallon me lightly and bring me prosperity.

6. Praptham padam pradhamatha khalu yat prabhavath, Mangalyabhaji madhu madhini

manamathena, Mayyapadetha mathara meekshanardham, Manthalasam cha makaralaya

kanyakaya.

The God of love could only reach , The killer of Madhu, Through the power of her kind glances,

Loaded with love and blessing and let that side glance , Which is auspicious and indolent, Fall on me.

7. Viswamarendra padhavee bramadhana dhaksham, Ananda hethu radhikam madhu vishwoapi,

Eshanna sheedhathu mayi kshanameekshanartham, Indhivarodhara sahodharamidhiraya

Capable of making one as king of Devas in this world, Her side long glance of a moment, Made Indra

(King of Gods) regain his kingdom, And is making Him who killed Madhu [11] supremely happy. And let

her with her blue lotus eyes set her glance me a little.

8. Ishta visishtamathayopi yaya dhayardhra, Dhrishtya thravishta papadam sulabham labhanthe,

Hrishtim prahrushta kamlodhara deepthirishtam, Pushtim krishishta mama pushkravishtaraya.

To her devotees and those who are great, Grants she a place in heaven which is difficult to attain, Just

by a glance of her compassion filled eyes, Let her sparkling eyes which are like the fully opened lotus,

Fall on me and grant me all my desires.

9. Dhadyaddhayanupavanopi dravinambhudaraam, Asminna kinchina vihanga sisou vishanne,

Dhushkaramagarmmapaneeya chiraya dhooram, Narayana pranayinee nayanambhuvaha.

Please send your mercy which is like wind, And shower the rain of wealth on this parched land, And

quench the thirst of this little chataka bird, And likewise ,drive away afar my load of sins, Oh, darling of

Narayana, By the glance from your cloud like dark eyes.

10. Gheerdhevathethi garuda dwaja sundarithi, Sakambhareethi sasi shekara vallebhethi,

Srishti sthithi pralaya kelishu samsthitha ya, Thasyai namas thribhvanai ka guros tharunyai.

She is the goddess of Knowledge, She is the darling of Him who has Garuda as flag, She is the power

that causes of death at time of deluge, And she is the wife of Him who has the crescent, And she does

the creation , upkeep and destruction at various times, And my salutations to this lady who is worshipped

by all the three worlds.

11. Sruthyai namosthu shubha karma phala prasoothyai, Rathyai namosthu ramaneeya

gunarnavayai, Shakthyai namosthu satha pathra nikethanayai, Pushtayi namosthu

purushotthama vallabhayai.

Salutations to you as Vedas which give rise to good actions, Salutation to you as Rathi for giving the

most beautiful qualities, Salutation to you as Shakthi ,who lives in the hundred petalled lotus, And

salutations to you who is Goddess of plenty, And is the consort of Purushottama.

12. Namosthu naleekha nibhananai,Namosthu dhugdhogdhadhi janma bhoomayai,

Namosthu somamrutha sodharayai, Namosthu narayana vallabhayai.

Salutations to her who is as pretty. As the lotus in full bloom, Salutations to her who is born from ocean

of milk,

Salutations to the sister of nectar and the moon, Salutations to the consort of Narayana.

13. Namosthu hemambhuja peetikayai, Namosthu bhoo mandala nayikayai,

Namosthu devathi dhaya prayai, Namosthu Sarngayudha vallabhayai.

Salutations to her who has the golden lotus as seat, Salutations to her who is the leader of the universe,

Salutations to her who showers mercy on devas, And salutations to the consort of Him who has the bow

called Saranga.

14. Namosthu devyai bhrugu nandanayai, Namosthu vishnorurasi sthithayai,

Namosthu lakshmyai kamalalayai, Namosthu dhamodhra vallabhayai.

Salutations to her who is daughter of Bhrigu, Salutations to her lives on the holy chest of Vishnu,

Salutations to Goddess Lakshmi who lives in a lotus, And saluations to her who is the consort of

Damodhara.

15. Namosthu Kanthyai kamalekshanayai, Namosthu bhoothyai bhuvanaprasoothyai,

Namosthu devadhibhir archithayai, Namosthu nandhathmaja vallabhayai.

Salutations to her who is light living in Lotus flower, Salutations to her who is the earth and also mother

of earth,

Salutations to her who is worshipped by Devas, And salutations to her who is the consort of the son of

Nanda.

16. Sampath karaani sakalendriya nandanani, Samrajya dhana vibhavani saroruhakshi,

Twad vandanani dhuritha haranodhythani, Mamev matharanisam kalayanthu manye.

Giver of wealth, giver of pleasures to all senses, Giver of the right to rule kingdoms, She who has lotus

like eyes,

She to whom Salutations remove all miseries fast, And my mother to you are my salutations.

17. Yath Kadaksha samupasana vidhi, Sevakasya sakalartha sapadha,

Santhanodhi vachananga manasai, Twaam murari hridayeswareem bhaje

He who worships your sidelong glances, Is blessed by all known wealth and prosperity,

And so my salutations by word, thought and deed, To the queen of the heart of my Lord Murari.

18. Sarasija nilaye saroja hasthe, Dhavalathamamsuka gandha maya shobhe,

Bhagavathi hari vallabhe manogne, Tribhuvana bhoothikari praseeda mahye

She who sits on the Lotus, She who has lotus in her hands, She who is dressed in dazzling white,

She who shines in garlands and sandal paste, The Goddess who is the consort of Hari, She who gladdens

the mind,

And she who confers prosperity on the three worlds, Be pleased to show compassion to me.

19. Dhiggasthibhi kanaka kumbha mukha vasrushta, Sarvahini vimala charu jalaapluthangim,

Prathar namami jagathaam janani masesha, Lokadhinatha grahini mamrithabhi puthreem.

Those eight elephants from all the diverse directions, Pour from out from golden vessels, The water from

the Ganga which flows in heaven, For your holy purifying bath, And my salutations in the morn to you ,

Who is the mother of all worlds, Who is the house wife of the Lord of the worlds, And who is the

daughter of the ocean which gave nectar.

20. Kamale Kamalaksha vallabhe twam, Karuna poora tharingithaira pangai,

Avalokaya mamakinchananam, Prathamam pathamakrithrimam dhyaya

She who is the Lotus, She who is the consort, Of the Lord with Lotus like eyes, She who has glances

filled with mercy,

Please turn your glance on me, Who is the poorest among the poor, And first make me the vessel , To

receive your pity and compassion.

21. Sthuvanthi ye sthuthibhirameeranwaham, Thrayeemayim thribhuvanamatharam ramam,

Gunadhika guruthara bhagya bhagina, Bhavanthi the bhuvi budha bhavithasayo.

He who recites these prayers daily, On her who is personification of Vedas, On her who is the mother of

the three worlds, On her who is Goddess Rama, Will be blessed without doubt, With all good graceful

qualities,

With all the great fortunes that one can get, And would live in the world, With great recognition from

even the learned.

"Sarve Janah Sukhino Bhavanthu, Loka Samastha Sukh

Srirangam more details.(JA)

The Temple of Sri Ranganatha is situated on an Island formed by two arms of the river Kaveri in its lowest reaches. the northern arm called Colroon was created artificially to protect the temple from annual river floods. The temple consists of seven concentric rectangular enclosures round the sanctuary of the Lord. The enclosing walls (prakaras) are breached by monumental gates (gopuras) placed in theory in the center of each wall, In the axis of the sanctuary and facing one of the cardinal points. The main entry faces south. this is exceptional the normal is facing east. The temple covers a vast area of about 631,000 sq. m or 156 acres in a perimeter of 8 Kms.
This is the only temple in India with seven enclosures, a sacred symbolical number which for present day Vaishnava believers represents either the concrete expression of the seven centres of yoga, or a reference to the seven elements dhatu making up the human body, in the centre of which dwells the soul atma. the whole corresponding to the cosmic body and the universal self. The enclosures or courts are counted outwards from the central sanctuary (vimana) which is surmounted by a low golden dome crowned with four golden vases (Kalasa).
Outside the temple, a road running along the southern, western and northern sides gives access to a large square lotus covered tank, built near the western gopura and near the coconut plantations and fields cultivated for the temple.
The three outer courts are filled with shops, booths and dwelling houses forming a town inside the territory. The gopuram of the seventh enclosure the height of which is 236 ft. The highest temple gopura in the world. It is called Raja Gopuram. The devotee advancing from one prakara to the next towards the sanctuary (garbhagriha) must be increasingly absorbed in the expectation of contemplation of the God leaving behind deceptive human appearances until he reaches the area where the God dwells in his retreat of peace and mystery.
The sixth enclosure (Chittirai) has four gopuras the processional carts are kept in this enclosure.

The fifth Court Uttara is also inhabited it also contains a shrine for Manavala Mamuni.

Beyond this enclosure begins the sacred part of the temple foot wear is not allowed beyond this point. The south entry or Rangavasal. it has in its southern wing a most beautiful Venugopala Krishna temple. The outside walls are decorated with beautiful scluptures. this enclosure also contains a museum which has a fine collection of ivory scluptures, bronzes and copper plates engraved on them the endowments and coins. the hall of a thousand pillars whose 953 granite columns form long cloisters leading to a shrine in the north east corner of the enclosure. in the centre of this gigantic mandapa there is a resting place in the form of a processional car on which the statues of God Goddesses, alvars and acharyas are set out during the 21 days 10 preceding and 10 following the Vaikunta ekadasi. In this courtyard further on from facade of the hall of thousand pillars a huge pandal is set up for the festival with 47 coconut tree trunks. In the western wing is the sanctuary of Chakrattalvar, the Vasantha mandapam where the teppom is held. In the north west corner the temple of the goddesses Nachiyar, the consort of Ranganatha is situated.

One enters the third enclosure by the Karttikai gopuram. In the center of the southern wall aligned with its gate stretches a huge Garuda mandapam leading to the sanctuary dedicated to the sacred mount of Vishnu (vahana) entered from the north. This Garuda mantapam consists of 14 rows of sixteen pillars except for the two central rows which have only ten pillars, making a total of 212 pillars this is the most beautiful mantapam in the temple. the western wing is taken up by the kitchen and store houses. the western part of the northern wing contain several sanctuaries dedicated to Vasudeva Vishnu, Mudalavar dhanavantri. In the centre of the southern prakara can be seen the paramapada vasal gopuram. In the eastern part of this wing is the sacred tank Chandra puskarini, in the form of the circle, this tank is surrounded by small shrines dedicated to Krishna, Tondaradipadi alwar, Vishnu reclining on the serpant anantha. To the south east corner is the surya puskarini.

To reach the second enclosure (kulashekaran) one has to go through the southern Aryabattal gopura the dwajasthambha or flag pole is seen. It is here that the devotee begins by presenting himself at the service of the god before proceeding to the sanctuary.

The whole of the second enclosure is rather narrow and strikes the visitor by half light due to the almost unbroken series of mantapas dedicated to the Vishnu Dasamurthis goddesses Saraswathi, Hayagrivar. 
The western wing of the second enclosure is divided lengthwise into halves. The part abutting on the inner side of the wall of the second prakara is taken up by a high platform supporting a series of rooms opening on a common varenda. below the platform is the free space in the form of a narrow corridor with two rows of pillars. The corridor leads to a larger mandapa standing on a square raised platform containing two pavilions, one inside the other. This grop of buildings is called Dorai mantapa, and adjoins another mandapa Ul Kodai to the north west corner of the enclosure. Towards the north east corner are the kitchen premises of the God. The distribution of milk and food to pilgrims was done from here, in the past. The eastern wing also has edifices of the similar nature on a raised platform.
The devotee or visitor at last reaches the first enclosure (Rajamahendra Prakara) to which like the second there is only one entry by a gate in its southern part, the Nazhikettan gopura, standing slightly to the east of the axis of the sanctuary. The outer face of the gate has nitches on either side containing the guardians (Dwarapalakas) Bhadra and Subhadra, while the inner face turned towards the sanctuary has on either sides images called Sankhanidhi and Padmanidhi, the conch and the lotus respectively. Here the darkness is even more pronounced, as the first court is almost entirely covered over, the ceiling comes half way down and one has to climb up to the roof to see the super structure of the gopura. To the south and west of this enclosure are platforms raised on which store rooms have been fitted up, Large mirrors are placed at the corners to reflect the statue of the God when it issues from the sanctuary. The western platform has glass showcases containing life size painted ivory statues portraying the donor Vijayaranga chokkanatha Nayaka, his wife, son and daughter in law. The south west corner contains the strongroom in which are placed jewels, flags and procession items. In the north west corner are the yagasala and the Tondaiman mandapa. In the north east corner a small courtyard opens to the sky containing the sanctuary of Vishvaksena. In the chronicles this sanctuary is attributed to Jatavarman sundarapandian.

The eastern part of the same enclosure contains two mantapa, the northern the higher one is Arjun mandapa the southern part of the mandapa has in it a sheet of glided copper let into paving. Where one may perceive the Vimana and thus have the darshan of the God. To the south is the kili mandapa.

Now the heart of the temple is reached. The round sanctuary the Mulasthanam is surrounded on the west north and east by circumambulation a square ambulatory (Tiruvunnali) in which the pradakshina or ritual circumambulation may be made.

The most sacred statues the Mulavar or archalamurti, Sri Ranganathaswami, reclining on his right side on the serpent of Eternity Adisesha. This is a huge 21 ft long blackened and polished by annual anointings with a special ointment which is the cause of the good state of preservation of the idol. At the feet of the God which rests on the pink lotus blossom are Vibhishana. And near him is the statue of Tirruvaranga, the replica statue of Sri Ranganatha which was used in worship throughout the muslim period when the  original could not be found. In front near the threshold of the sanctuary is the golden statue of Utsavamurthy or Alagiyamanavalar (The handsome groom) who the people call Namperumal. On either side of the God are the goddesses Bhu Devi and Sri Devi who accompany him in all the ceremonial processions.

Above the sanctuary rises the golden Vimana which covers a circular cellar but is itself oval. Its dome roofed with tiles like scalesis crowned by a row of four golden vases (kalasa) rising from the corolla of the lotus. On each side of the vimana a blind dormer window framed by a makara arch contains a form of the God Vishnu: To the south Paravasudeva, to the west Achyuta, to the north Ananta and to the east Venugopala or Krishna, Govinda.

The temple has got nine punya thirthams. The Chandra Puskarani is situated in the centre of all these sacred theerthams and the other eight are situated in the eight directions around. the Kadamba Theertham to the North, the ahamara Theertham to the North East,

Vilva theertham to the east, Jamba theertham to the south east, the Asvatha theertham to the south, the Palasa theertham to the south west, the Punnaga theertham to the west and Vakula theertham to the North west.

So Chudamu ra re Sri Rangasayini, Sriranga pati ni, choodamura re.

Srirangam the majestic Palace.

Present day tradition at Srirangam temple.

The rites built up in ancient times have been preserved at Srirangam ; in both the form of worship, and ceremonies which are still followed very closely as per the instructions recorded in the temple Chronicles.

Every day the Temple opens at 6;15 a.m. The priest in charge and the personnel begin their duty. The cow and the temple elephant are brought near the sanctuary and made to stand in such a way that they face each other while looking toward the holy Lord. The supply of sacred water drawn from the Koleran is carried by two of the temple priests, is poured into the five ritual vessels. The door of the sanctuary padlocked at night is then opened, the premises carefully cleaned, the lamps are fitted with wick and oil. The curtain (there) remains drawn and the officials responsible to render the music playing the veena wakes the Lord. At a given signal the curtain is raised. This darshan is called viswaroopa darshanam. The curtain is drawn again the elephant and the cow are led away and next the astronomer stands before the Lord reading aloud the astronomical signs for that day and the next.
The day begins with the Bhattair washing symbolically the God's teeth, hands and feet, then a mirror is presented and then the consecrated bath is given to the God. with hot water; he is anointed with ghee and dried with saffron powder. Sandal paste is applied to the statues brest and feet. On Fridays and at certain seasons oil mixed with camphor is used. The bath is either given publically or secretly in the sanctuary depending on the circumstances. the God is then clothed in clean dry garments and the sacred sign applied to his forhead. he s decked with jewels and garlands of fresh flowers while the musicians plays the veena.
When the God is ready, the curtain in the sanctuary is again raised, the devotees are allowed darshan of the God for about an hour.
Next comes the presentation of the God's meal which come from the temple kitchen placed in baskets, this is offered to the Lord  and then quids of betel nut and areca nut is offered and his mouth is again washed symbolically. Mean time torches are lit. Then follows various offerings on behalf of the devotees,  incense, small butter lamps, leaves of basil or tulasi, flowers which is accompanied by recitations these mark the end of the puja, at which the devotees are not generally entitled to be present but in which they take part through their offerings. Then they may freely enjoy the Darshan of the God.

322 festivals and ceremonies some weekly monthly and yearly are commemorated along side these daily rites. the most famous of these is the Vaikuntha Ekadasi which lasts 21 days in Dec Jan of every year. Preparations for this begins by end October with the erection of the first pillar (a coconut tree trunk) of the pandal built for the occasion, which will on completion have 47 pillars. this pandal is erected in the north east court of the third enclosure; before the hall of a thousand pillars. The God is brought there in procession, passing through the northern gate of the second enclosure, which is opened only for this occasion. (this gate otherwise remains closed all year round.) the statues of the Alwars and acharyas are brought one by one and are set out near the God under the mandapam in the centre of this hall. throughout the festival 10 days followed by Vaikunta Ekadasi day and ten nights the four thousand hymns are chanted and recited in the presence of the Lord. the Lord is decked in various ways depicting his various appearances and roles played in his various appearances. He enjoys the recitation (there are stories connected to this particular festivities that for a year in ancient times on the request of the lord this recitation was carried out continuously for a year and all other pujas were stopped ) being a part even a small one of these festival gives one a purpose and satisfaction of life well spent.
Twice a year in January and April the God is carried in a processional car Ratham in the midst of a great throng of people. witnessing this and being a part of this is what one should not miss in life. every thing centers round the Lord. No time frames are maintained. in fact the temple remains shut the Lord has come to his people and they make the best of this occassion no one knows any other details of when this should culminate and when the temple will open etc. they say the god is here amongst us in the Ratham. today we will enjoy him here. this Ratha is taken one round in the four mada streets crores of people assemble and they literally pull the cart which is stopped now and again and offerings are made blessings given and the cart moves on they say this function which begins at day break culminates only at night when the Lord enters the temple when he is taken to the Thayar Sanidhi Tirumanjanam is performed for him there and only after that the temple opens to the public it may be as late as 8 or 9 at night. You can ask any one you will get only a standard reply god decides when the temple will open for the day Moolavar darshanam.
In March a water festival by night  Teppam takes place in the tank outside the temple to the west of the seventh enclosure. The God and the two Goddesses are placed in an illuminated barge and towed to the stone pavillion in the centre of the tank where they attend puja. this is wonderful to watch the very well decked Lord coming as if towards you. it gives one a great feeling.
Once a year during March April the God proceeds to the temple of Sri Nachiyar at Woraiyur, to meet his consort. this festival lasts nine days. Irt comprises several ceremonial processions and many rites by day and night, including the royal anointing and a quarrel between the god and the goddess mimed and sung by two answering group of priests. All these festivals  bear witness to the extraordinary vitality of the srivaishnavas and vishnu worshipers which has remained to the present day full of activity and rich tradition of which India should be proud.

Upanishad classified.

Veda	Samhita	Brahmana	Aranyaka	Upanishad
Rk	Shakala	Aitareya		Aitareya, Kaushitake, NadaBindu, Atma Bodha, Nirvana
Veda	Bashkala	Kausitaki	Aitareya	Mudgala, Ashamalika, tripura, soubhagya Bahvicha.
Sama	Gauthama	Tandamaha		Kena, chandogya, Aruni, Maitrayana, Maitreyi,
Veda	Jaiminia	sadvimsa	jaimineya	vajrasuchika, yoga chudamani, Vasudeva,
		Jaimineya		Mahatsanyasa Avyakta, Kaundika, savitri, rudraksha
				Jabala, Darsana Jabali.
Krishna	Taittriya			Katha, taittriya, Brahma, Sverasvatara, garbha,
Yajur	Kata	Taittriya	taittriya	Narayana, Amritabindu,Atrita nanda, Kalagnirudra,
Veda	Kataka			Kshurika, sarvasara, Sukarahasya, Tejo bindu,
	Maitrayaneya			Dhyana bindu, Brahma vidya, Yoga tattva,
				Dakshinamurti, Skanda, Sariraka, Sikha, Ekakshara,
				Akshi, Avadhuta, Kara, Rudrahridaya, Yoga kundalini,
				Panchabrahma, Pranaagnihotra, varaha, Kalisantarana,
				Sarasvatirahasya.
Sukla	Mahayandina	Satapata		Isa, Brhadaranyaka, Jabala, Hamsa, Subala, Mantrika
Yajur	Kanwa			Niralamba, trisikhi Brahmana, mandala Brahmana Adwya,
Veda				Taraka, Paingala, Bhikshu, Triyatita, Adhyatma, Tarasara,
				Yajnavalkya satyayani, Muktika
Atharva	Paiplaya	Gopatha		Prasna, Mundaka, Mandukya, Atharvasira, Ataravasikha
Veda	Sownaka			Brhtjabala, Nrsimhatapani, Narada Parivrajaka, sita,
				Sarabha, Mahanarayana, Ramarahasya, Ramatapani,
				Sandilya, Paramahamsa, Parivrajaka, annapurna surya,
				Atma, Pasupata, Parabrahma, Tripuratapani, Devi,
				Bhavana, Bhasmajabala, Ganapati, Mahakavya,
				gopalatapani, Krshna, Hayagriva, dattatreya, garuda.