Temple Architecture: Symbolism, Evolution, and Styles Temple architecture encompasses a diverse range of religious structures dedicated to worship across various cultures and civilizations, showcasing unique design elements, symbolism, and spiritual significance.
Early Temples Brahmanical temples and sacred images became more popular along with the continuous construction of stupas. Each temple featured a principal deity image. The temple shrines came in three types: Sandhara (without Pradikshinapatha) Nirandhara (with Pradikshinapatha) Sarvatobhadra (accessible from all sides) Notable Temples Deogarh in Uttar Pradesh, Eran, Nachna-Kuthara, and Udayagiri near Vidisha in Madhya Pradesh. These temples, characterized by simplicity, typically comprised a veranda, a hall, and a shrine at the rear. Structure of the Hindu Temple Temple architecture Sanctum (Garbhagriha): The sanctum, initially a small cubicle with a single entrance, evolved into a larger chamber over time. It is designed to house the main icon. Entrance (Mandapa): The entrance to the temple, whether a portico or colonnaded hall, serves as a space for accommodating a large number of worshippers. Architectural Elements: In freestanding temples, a mountain-like spire is featured, taking the form of a curving Shikhar in North India and a pyramidal tower known as a vimana in South India. Vahana and Dhvaja: Positioned axially before the sanctum, the vahana represents the mount or vehicle of the main deity, accompanied by a standard pillar, or Dhvaja. Evolution of Temple Architecture Progression: During the Gupta period, there was a gradual progression of temples from flat-roofed monolithic temples in the initial stages to the sculptured shikhara in the later years. Progression can be distinguished into 5 stages: First Stage: The temples were square in shape with a flat roof. The entire structure was built on a low platform. Second Stage: The platforms were higher or upraised. Two-storied temples have been found. An important addition was a covered ambulatory passageway around Garbhagriha called a Pradakshinapath. Example: Parvati temple at Nachnakuthara (Madhya Pradesh) Third Stage: Emergence of Shikharas in place of a flat roof. Panchayatan style of temples was introduced. Fourth Stage: Similar to the third stage, except that the main shrine became more rectangular. Example: Ter temple in Maharashtra. Fifth Stage: Circular temples with shallow rectangular projections were introduced. Example: Maniyar math at Rajgir. Styles of Temple Architecture Two distinct orders of temples prevail Nagara in the north Dravida in the south. Vesara style: They differ in architectural features and spire shapes. Some scholars recognize the Vesara style as an independent form resulting from the selective integration of Nagara and Dravida elements. Key Features of Nagara style temples Platform: Northern temples are often constructed on a raised stone platform. Gateway: Unlike South India, there is typically an absence of elaborate boundary walls or gateways. Panchayatana Style: The temples generally followed the Panchayatana style of temple-making. Figures on Wall: Outside the garbhagriha, there were images of Ganga and Yamuna. Water Tank Absent: There were no water tanks or reservoirs on the temple premises. The vertical end of the shikhara ended in a horizontal fluted disc, known as amalak. On the top of that is a spherical shaped structure called Kalash. Panchayatan style [UPSC 2014] Four subsidiary shrines, along with the temple of the principal deity. Square: The main temple is square in shape with an elongated mandap. Crucified Shape: The subsidiary shrines were placed opposite to each other on either side of the mandap, giving the ground plan a crucified shape. Example: Dashavatara temple at Deogarh (Uttar Pradesh), Durga temple at Aihole (Karnataka). Enroll now for UPSC Online Course Different Types of Temple Towers (Shikhara) Early temples had a single tower (shikhara), but later ones featured multiple towers. Garbhagriha (sanctum): Always situated directly under the tallest tower or shikhara. Latina Type Shikhara This is a simple or basic form of shikhara, famously known as the ‘Latina’ or ‘rekha-prasada’ type. It has a square base and walls that curve or slope inward, culminating in a point at the top. Latina buildings evolved to support many smaller towers, clustered together like rising mountain peaks. Phamsana Type Shikhara These are broader and shorter than the Latina ones. Their roofs consist of several slabs gently rising to a single point. In many North Indian temples, Phamsana design is applied to mandapas (halls), while the main garbhagriha is housed in a latina building. Valabhi Type Building It is characterized by rectangular buildings with a roof rising into a vaulted chamber, often referred to as ‘wagon-vaulted buildings.’ It finds similarities with the ground plan of Buddhist rock-cut chaitya caves. The edge of the vaulted chamber is rounded, resembling ancient bamboo or wooden wagons. Architectural Distinctions of Dravida Temples: New Features:Dravida temples, in contrast to nagara temples, are enclosed within a compound wall. Gopuram: The entrance wall boasts a central gateway known as a gopuram. Structural Changes: The vimana, the main temple tower in Tamil Nadu, takes the form of a geometrically rising stepped pyramid, differing from the curving shikhara of North India. Enroll now for UPSC Online Course Shikhara: Exploring South Indian Temple Architecture Dravida Temple Shikhara: In South Indian temples, the term ‘shikhara’ refers only to the crowning element, usually shaped like a small stupika or an octagonal cupola (equivalent to the amlak and kalasha of North Indian temples). Guards: Entrance sculptures typically depict fierce dvarapalas (door-keepers) guarding the temple. Water Reservoir: Temple complexes often include large water reservoirs or temple tanks. Evolution of Temple Size Differentiating Elements: Unlike North Indian temples with clusters of shikharas, South Indian temples often have the main temple with one of the smallest towers, indicating its historical significance. Huge Gopuram: Over time, as towns expanded, new boundary walls with loftier gopurams were constructed around the temple. Example: Srirangam temple in Tiruchirapalli showcases multiple concentric rectangular enclosure walls, each with gopurams of varying heights. Urbanization and Administrative Centers Main Areas: Temples in TamilNadu, such as those in Kanchipuram, Thanjavur, Madurai, and Kumbakonam, became focal points of urban architecture. Transformation: Temples transformed into rich administrative centers, exerting control over extensive land areas during the eighth to twelfth centuries. Classification of Dravida Temples Dravida temples are categorized into five shapes: Square (kuta or caturasra), Rectangular (shala or ayatasra), Elliptical (gaja-prishta or vrittayata), Circular (vritta), and Octagonal (ashtasra). The choice of temple plan and vimana shape is influenced by the iconographic nature of the consecrated deity. K Rajaram IRS 24725 On Wed, 23 Jul 2025 at 18:52, 'gopala krishnan' via Thatha_Patty < [email protected]> wrote: > SREE SEETHARAMASWAMY TEMPLE,PUSHPAGIRI,TRICHUR,KERALA-COMPILED > > Dear friends, > > The Sree Seetharamaswamy Temple, Pushpagiri, established on 11-06-1899, is > situated Northwest of the mighty Vadakkunnathan Temple. Today my posting is > about this temple. > > Hope a divine reading. > > Gopalakrishnan 23-07-2025. > > Introduction > > The Seetharamaswamy Temple, Pushpagiri enshrines Lord Seetharaman within > the ‘Srikovil’ that boasts a stunning ‘Gajaprashta’ spire that is not > commonly seen in Kerala temple architecture. > > Apart from Sita Rama enshrined in the main sanctum facing west, Hanuman, > Lakshmana, Ganapati, Sri Parvati, Shiva, and Subrahmanya, Dharma Sastha and > Navagrahas are also enshrined in the temple. > > *There is also a Shiva temple a little away from the sanctum sanctorum but > within this temple's premises*. The eminence of various prestigious > temples in the town of Thrissur is a direct reflection of the spiritual > evolution of its inhabitants. > > The temple is now managed by the Temple Managing Committee consisting of > Sri. T.S. Kalyanaraman, Sri. T.A. Balaraman, Sri. T.R. Rajagopalan (Sr. > Advocate), Sr. T.S. Ramakrishnan (Executive Trustee). > > Kalyana Mandapa – Wedding Hall > > The Seetharamaswamy Temple also has its own ‘Kalyana Mandapa’- an > air-conditioned wedding hall that can seat up to 500 people at a time > complete with a dining hall. The Mandapa also has 10 AC rooms attached. > > History of the Temple > > An ardent devotee of Vadakkunnathan, T.R. Ramachandra Iyer used to pay > his respects to the Lord at the Vadakkunnathan temple every day, especially > to attend the final darshan called 'Thrippuka'. He would often be found > spending extra time at the Sri Ram Mandapa, offering his prayers and > chanting his slokas. It was during this time that Sri T*.R. Ramachandra > Iyer was inspired to chant the Ramayana*. The daily prayer to Lord Ram > and his everyday practice of chanting the Ramayana, brought about immense > devotion towards Rama in his heart, making him a fervent devotee of Lord > Ram. *This evolution in his spiritual being brought about the desire to > build a temple dedicated to Lord Ram and Goddess Sita within this > neighbourhood*. > > Sri T.R. Ramachandra Iyer then went on to seek permission and blessings > from the Rama Mandapa at Vadakkunnathan. In response, it is believed that > Lord Rama walked away with him that day, in turn giving him his blessings > to make his desires come true. He could purchase the land from Cochin > king and establish the temple. > > The Seetharamaswamy Temple, Pushpagiri was established in the Malayalam > month of ‘Edavam’ on the ‘Punartham’ star, dedicated to Lord Seetharaman, > who is the ‘Prathishta’ at the centre of this holy temple. *The Ram & > Sita idols have been carved to perfection from ‘Anjanashila’* (a soft > stone granite – very rarely found) by specially trained craftsmen from > Tirunelveli, where Sita Devi sits to the left of Lord Rama. > > Festivals > > Sri Ramanavami is a ten-day festival celebrated at the temple every year. > Apart from that, the Seetharamaswamy Temple also hosts a multitude of > festivities and functions like Vasantholsavam, Navaratri, Visheshal Puja, > Veda Chanting and more. > > Furthermore, the temple also conducts *Visheshal Puja for Sri Rama on > Ekadashi, for Ganapati on Chathurthi, for Lord Subrahmanyan on Shashti and > for Parvati and Shiva on ‘Pradosham’ days.* > > For the occasion of ‘Thaipooyam’, the temple conducts 11 days of > ‘Rudrabhishekam’ and a procession on ‘Mayilvahanam’. > > Another important festival celebrated is the ‘Prathishta Dinam’ - day of > dedication - on the ‘Punardham’ star every year of the ‘Edavam’ month of > the Malayalam calendar. > > Offerings > > Although there are numerous offerings at the Seetharaman Temple every day, > *the > ‘Kalabhabhishekam’ holds the highest prominence.* A multitude of devotees > offer the ‘Kalabhabhishekam’ to the Lord to be blessed with offspring, > wealth, and fulfilment of other desires. > > *The ‘vada-mala’ offering to Lord Hanuman is very famous!* > > The Golden Temple > > The Seetharamaswamy Temple has ‘Thazhika Kudam’ for Lord Rama as well as > Lord Siva. In 2010, during the ‘Kumbhabhishekam’ - the ‘Dwajasthambham’ was > covered in pure gold. The Seetharamaswamy Temple, Pushpagiri is the only > one in Kerala to have a pure gold chariot. Now, the frontier of the > ‘Sreekovils’ of Lord Rama, Lord Siva and Lord Ayyappa are also set to be > covered in pure gold. > > The Tallest Hanuman Statue > > Now, the Seetharamaswamy Temple, Pushpagiri also boasts the tallest > Hanuman Statue situated in front of the temple, facing the Pushpagiri > Agraharam. This classical masterpiece is carved from a single stone and > the Hanuman statue is 55 feet tall. The temple now hosts a mesmerising > light and sound show every Sunday for the devotees wherein the entire > Ramayana tale is depicted via the laser show with a background score of the > Hanuman Chalisa. The entire show is set to run for ten minutes. > > Founder > > It was a renowned Madras High Court Judge - Brahmasri Diwan Bahadur T.R. > Ramachandra Iyer who led the process of building, designing, and dedicating > the Seetharamaswamy Temple to Lord Seetharaman. He was a resident of > Naikkanal, Thrissur, and would often enjoy taking strolls around the > Thrissur Round, in the company of his colleagues, to visit new places. On > one of his such strolls, *he came across the area known as Pushpagiri by > chance. Back then, Pushpagiri was an abandoned land infested with weeds and > plants, where there was little human activity*. > > T.R. Ramachandra Iyer then decided to clean up this area, level it and > build his desired temple along with a neighbouring ‘gramam’ or village that > would later go on to become the Pushpagiri Gramam where Thrissur Brahmins > reside today. He went on to establish the temple, a school, a mill, the > gramam and also a house for himself on this land. > > Address of the temple > > Pushpagiri Agraharam, Harinagar, > > Punkunnam, Thrissur, Kerala 680002, Phone-0487-2386260 > > Donations > > Contact Us0487-2386260 [email protected] > > Temple timings > > Seetha Rama temple > > Temple Opens5.15 AM Jalabhishekam5.30 AM > > Palabhishekam for Hanuman5.45 AM > > Ganapathi Homam6.00 AM Palabhishekam7:30 AM > > Alankaram7.45 AM Sahasranama Archana8.15 AM > > Nivedyam8.45 AM Deeparadhana10.00 AM > > On Kalabham Days > > Palabhishekam 9.15 AM Kalashabhishekam 9.30 AM > > Nivedyam9.45 AM Deeparadhana10.30 AM > > Evening Pooja Timings > > Temple Opens5.30 PM Deeparadhana 6.15 PM > > Nivedyam 7.15 PM Deeparadhana 8.00 PM and Temple Closes > > Shiva Temple > > Temple Opens 5.15 AM Palabhishekam5.30 AM > > Dhara6.30 AM Nivedyapooja8.30 AM > > Deeparadhana8.45 AM Temple Closes 10.00 AM > > On Kalabham Days > > Pooja9.00 AM Kalabhabhishekam9.10 AM > > Temple Closes10.30 AM > > Temple Opens5.15 PMDeeparadhana6.30 PM > > Nivedyam7.00 PM Thrippuka Deeparadhana7.15 PM > > Temple Closes 8.00 PM > > Some Offerings and charges > > Sree Seetharamswamy Temple > > Kalabham (Including Siva Temple) 9,500.00 > > Kalbham (Ram, Seetha, Lakshman, Hanuman) 7,500.00 > > Kalabham (Ram, Seetha) 5,000.00 > > Nithyapooja 500.00 Vadamaala (Hanuman) 400.00 > > Dheepasthampam Theliyikkal 250.00 > > Chandanakaapu (Ram, Seetha) 250.00 > > Ushapooja 150.00 Vaahanapooja 101.00 > > Vellikavacham (Ram, Seetha, Lakshman, Hanuman) 100.00 > > Paalpayasam 90.00Neypaayasam 80.00 > > Ganapathihomam 60.00 > > Maayapodi (Hanuman) 60.00Navagrahapooja 35.00 > > Avilnivedyam 35.00 > > Siva Temple > > Kalabham 2,000.00 Pradhosha Rudhrabhishekam 400.00 > > Palpayasam 90.00Neypayassam 80.00 Nagapooja 50.00 > > Dhara 15.00 > > Sastha Temple > > Paalpayasam 90.00Naipayasam 80.00 > > Maha Kumbhabhishekam > > The last Maha Kumbhabhishekam of the Sree Seetharamaramaswamy Temple was > performed on Thursday, 27th April, 2023. The Karpoorathiri Neevakarana > Kalasam at the Sree Shiva Temple was also performed on Thursday, 27th > April, 2023. > > In Connection with the Maha Kumbhabhishekam, the below-mentioned > renovations were also carried out at the temple. > > Gold covering on the front sides of Sreekovils – Seetharama Swamy, Shiva & > Shastha Temple > > New Sreekovil of Shiva Temple & renovation of front mandapam > > Widening of the Pradakshina vazhi to 6 feet width > > Remodelling of the Sreekovils of Utsava Vigrahams & Navagraha Temple > > New Sreekovil for Sree Krishna Shrine > > Paving new stones inside the temple > > Mural paintings on the side walls and in the Sree Ram Temple Sreekovil > > Remodelling of Sree Anjaneyar, Sree Lakshmana Swamy Sreekovils and > Remodelling Thidapalli. > > Worship methods > > Even though the Hindu worship methods owe their origin to our Vedas and > sastras and are therefore expected to be uniform throughout the country, > there are variations in the details among the different languages and > cultures. Among them, one finds a *happy union of two cultures Malayalam > and Tamil in the Seetharamaswamy Temple*, Pushpagiri during the Sri Rama > Navami Festival - lasting 10 days. > > To start with, the Utsavamurthi's perambulation is an important part of > any festival, which is common to both cultures. So, the Utsava 'Vigraha' of > Sri Rama, Sita, Lakshmana and Hanuman are taken around on all the days of > the festival. > > The difference in this temple is the cultural 'marriage'. As per the > Kerala style, the Utsavamurthi in the form of ‘Chakra' is round the outer > 'prakara', after mounting on a decorated tusker - known as 'Seeveli'. The > Tamil style addition to this is the 'Ratha' (Chariot or car) on which is > mounted the four days of 'Vigraha' duly decorated and the Ratha is taken > round - a form of worship not common in Kerala. Even in the musical > accompaniments to this procession, the element of blending is visible - the > Panchavadyam (Thimila, Mattala, Thalam, and Kombu and Kuzhal, besides > chendai) preceding the Tamil version of Nagaswaram and 'Tavil in the > Carnatic Music style. > > > > Brahmotsavam > > Flag Hoisting > > The festival is heralded by the flag hoisting function, 9 days ahead of > Sree Ramanavami. The cherished ambition of all persons living in every > corner of the globe is to participate in the function. Some people even > time their annual or biennial holiday trip to this event. Attendance at > this function symbolises dedicated participation on all the days of the > festival. > > Utsava Details > > The daily Puja starts around 5 am. Vedic Scholars of all Vedas are invited > for the occasion and recite Vedas daily in the Mandapam. Special Abhishekam > and procession within the Prakara follow. After the second Deeparadhana at > around 11 am, all the devotees are given a festival meal in the adjoining > Uttuppara' (dining hall). Immediately thereafter, special decoration of the > ‘Utsava Vigraha’ commences, and some of the residents and boys have > developed a fine expertise in this art. Special flowers are ordered for > each day and different types of decorations are carried out each day; for > instance, the Lord will incarnate as 'Balakrishna' with a butter pot on the > 6th day. The normally standing Sree Rama will take the 'Anantha Sayanam' > posture on the 7th day! The Utsavamurti of exquisite beauty will shine with > redoubled splendour in each of these forms, particularly with the floral > and ornamental decorations, to which is added the special lighting effect > (carried out by the keen village electrician). On the 7th day, the boys > have an extravagant time, when they spray yellow water on all the > participants - a mini- ''Holi', which comes around the same time. The > entire decoration is carried out by a band of residents - no age > bar-including many school-going, enthusiastic boys. > > Golden chariot > > The golden chariot is 'Steered' and ‘powered' by these boy commanders. At > around 5 pm, the decoration is over, and the Lord with Sree Sita, Lakshmana > and Hanuman board the chariot. (The time of start may vary on different > days). After being taken around the temple prakara, the Lord goes around > the streets of Pushpagiri. The 'chakram', mounted on the decorated > elephant, accompanies. Each household pays its obeisance to the Lord at > their doorstep, with their offerings and a 'Harati'. The boys get some > welcome reward for their hard work in this hot season-the fruits, 'Panakam' > & ‘Sambaram’ offerings from each house are shared among them. The rear side > of the chariot is a covered seat for a free ride by the tiny tots. By the > time the Lord returns to the temple, it will be around 11 pm. Then a simple > Deeparadhana, with Veda and music recital, is conducted, followed by the > distribution of hot and sumptuous ‘sundal' and ‘vada' which can easily > substitute the dinner. > > On the day prior to the Sree Rama Navami, three chariots are taken out, > and the lord and Sree Sita mounted on Hanuman and Annapakshi' respectively. > > Sree Rama Navami Day > > The fervour reaches its peak on the Sreerama Navami day. The morning > starts with 'para' by the elephants, that is, the devotees get a chance to > contribute their share, at their doorstep, in the form of the traditional > measure of paddy known as 'para'. The morning procession on the chariot > inside the 'Prakara' is accompanied by five decorated elephants and > chakram. The full complement of silk umbrellas, peacock feather fans, > 'Chamaram', 'Chandai Melam' etc. makes one wonder if it is a mini 'pooram'. > Thereafter, elaborate Abhishekas are performed to the main deity and the > Utsava 'Vigraha'. By the time the Pujas are over and Deeparadhana is > performed, it will be about 2 pm. The Lord then boards the grand car. This > car needs special mention. It is a tribute to wood sculpture and also > engineering. Even those days the car has been mounted on steel axles, with > a proper steering arrangement (which is never found in Tamil Nadu cars - a > reason for the Herculean effort required to turn those cars) and even a > brake system! The master carpenter has depicted the whole of Ramayana, as > also the other Avataras. Even today it is maintained excellently. The > temple car starts around 5 pm. Three elephants with their dazzling > headgears follow the car, to the accompaniment of ‘panchavadyam’ and > Chendai. But the ‘panchavadyam’ groups and the tuskers stop at many points > en route and entertain the spellbound onlookers with their thrilling > performance, thereby extending the procession to about 4 hours. > > At night > > The beauty of the car is redoubled by an imaginative lighting system and > so, with the Lord in command, the car presents a heavenly sight. It is seen > to be believed. By thecal teach me village limit, a brier cracker session > ensues, without which no Kerala temple function is complete. By the time > the Lord returns to the temple, it will be around midnight. Thereafter the > Lord is brought to the Namaskara Mandapam after a quick round of the > temple, and a detailed Deeparadhana is done. The last event, namely, the > much-awaited ‘prasadam’ distribution will cross into the early hours of the > next day - about 1.30 am. > > Arattu > > Next day, the Arattu takes place. Bathing the Lord (Chakram) is done in a > pond opposite the temple. The boys take this opportunity to jump into the > tank in joy - a chance that they only will not get on other days to do so > within the enclosure. Then the devotees with the chakram, take rounds of > the temple. The next event is the lowering of the temple flag, which is > done ceremoniously in the pleasure of the Lord. This is necessarily > attended by all the residents of the village, who attended the hoisting. > > Sita Kalyanam > > At night 'Sita Kalyanam' is performed in a religious mode. The 'bride' > Sita is exquisitely decorated with special ornaments and flowers. If one > observes the details of decoration, he will feel as if a mother or sister > of a bride is decorating her for the marriage ‘muhurtham’. All the > customary events 'oonjal', Mangalya Dharanam, homam etc. complete with the > bride 'Seeru' (sweets etc) finds a place. > > Anjaneya Utsavam > > The next day, a special ‘abhishekam’ is performed, particularly for > Anjaneya Swami. In the evening, after Lord Anjanaya is taken round the > temple and the village. The festivities will be on a subdued scale - > befitting humility of the Ramadoota – the humility of which he was the > incarnation. > > Outstanding features of this festival > > A few points are noteworthy in the way the festival is organised. Some > basic traits of temple worship in the Hindu culture are truly translated > into practice in this temple. One basic tenet of Hinduism is that the whole > community should involve itself in the temple functions. Everyone should > participate to his ability, both physically and financially; everyone is > equal in the eyes of the Lord, either in respect of His blessings or in > regard to the ‘prasadam’ or feast. Everyone should participate daily. A few > features stand out as below > > All the residents of the village present themselves daily for some or all > events of the day.Each contributes to his ability in monetary terms and > physical labour.An atmosphere of a marriage function prevails - with the > difference, that it is conducted by everyone. > > Some boys and even elders spend all their time these days in the temple > and eat only what is given in the temple. > > Almost all days are 'Sponsored' by able devotees who compete to get a > chance. That is, all expenses for the day. > > *For daily meal serving, no persons are engaged. The entire community > comes to help, irrespective of age, gender or profession*. Graded jobs > are assigned to them, to suit their age and ability. The less experienced > graduate into this ‘Vocation', starting with serving water. The most > experienced turn to 'Payasam' Serving - since it needs cajoling to make the > devotees drink to their heart's content. > > The daily processions and even the Big Car are pulled only by the > residents.Even > the 'Kolam' competition is organised in which all the ladies and girls show > their talent while decorating their house in front of the Lord's arrival. > > At the end of the festival, the place looks like a marriage which > concludes the marriage function. The 'chendai', the Nagaswaram, Veda > Ghosham, and the bell of the Big Car in movement - all echo in the > villagers' ears, who look forward to the next festival - which is far away. > > A small reward comes soon - the Vasanthotsavam providing a feast to the > ears - in May/June. Concerts by renowned musicians are organised in the > temple. > > Vasanthothsavam is a vibrant and colorful festival celebrated annually in > the southern state of Kerala, India. The festival marks the arrival of > spring and the onset of the harvest season. It is a time of joy and > celebration, where people come together to dance, sing, and enjoy > traditional cultural performances. > > At the Sree Seetharamaswamy Temple’s Vasanthothsavam, you can witness the > beautiful and intricate flower arrangements, and an unmatched enthusiasm in > the air. The festival is a perfect showcase of Kerala's rich cultural > heritage and its deep-rooted traditions. > > Donations > > o make donations, please refer to the bank account details below.Temple > Bank Account > > Sree Seetharamaswamy Devaswom > > Account Number : 000400100000012 > > IFSC : DLXB0000004 Swift Code : DLXBINBB > > Bank : Dhanlaxmi Bank Ltd, Pushpagiri Branch, Thrissur > > -- > You received this message because you are subscribed to the Google Groups > "Thatha_Patty" group. > To unsubscribe from this group and stop receiving emails from it, send an > email to [email protected]. > To view this discussion visit > https://groups.google.com/d/msgid/thatha_patty/1417097291.1576853.1753276794860%40mail.yahoo.com > <https://groups.google.com/d/msgid/thatha_patty/1417097291.1576853.1753276794860%40mail.yahoo.com?utm_medium=email&utm_source=footer> > . > -- You received this message because you are subscribed to the Google Groups "Thatha_Patty" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. To view this discussion visit https://groups.google.com/d/msgid/thatha_patty/CAL5XZoqR59fKpMB5pxDTSVw0bg3d1V%2B6oaJgJHJvDU7GCg2rvw%40mail.gmail.com.
