The Haridasaru movement was ushered in by the Haridasas (literally “servants of Lord Hari”) and took shape during the 13th–14th century CE, prior to and during the early rule of the Vijayanagara Empire. The main objective of this movement was to propagate Dvaita philosophy. The Haridasas, also known as Maladasas and Maladasaras, are a group of devotional singers who perform Harinama Sankirtana and Vaishnava hymns during the month of Dhanurmasam (December–January) in Andhra Pradesh. They visit households chanting the holy names of deities such as Rama, Krishna, and Govinda, and bless the householders who offer alms by saying Ramarpanam, Krishnarpanam, and Bhagavatarpanam.
During Dhanurmasam, the Haridasas wake up early in the morning, take a holy bath, and apply sacred markings such as Nosata Tirumani, Thiru Churnam, and Pattenamas. They dress in traditional attire, including a white or kashaya panche (dhoti), a folded shirt, a waist cloth, anklets, garlands, and a kalash (Akshayapatra) on their head. Carrying a tambura on their right shoulder and chitikelu (small cymbals) in their left hand, they go from house to house singing Harinama Sankirtana. They return home by noon and partake of their meal only after bathing again and completing their daily puja.
The Haridasu (literally “the servant of Hari”), who wanders the streets of Andhra Pradesh and Telangana during Dhanurmasam, is known for dressing in bright saffron attire adorned with garlands and traditional accessories. Their appearance resembles that of Sage Narada, the supreme devotee of Lord Vishnu. According to legend, Lord Vishnu once took this form during Dhanurmasam, which culminates in Sankranti. To honour this belief, the Haridasu dresses in this manner every year and walks through the streets singing praises of the Lord. Playing traditional instruments and carrying a vessel atop his head, the Haridasu sings in pure Telugu and Sanskrit, narrating verses with clarity and melodious intonation.
Unfortunately, due to challenges in the rural economy, the livelihood of the Haridasas has been adversely affected. Their performing arts are not always valued or supported, making it difficult for them to sustain this ancient tradition. As a result, some have been compelled to abandon their ancestral profession. It is important to support and encourage the Haridasas and their devotional art so that this heritage continues and receives the recognition it truly deserves. From this Haridasu tradition, the Vairamudi/Venkadadhri Mudi model may have drawn inspiration, as the vessel they carry on their head symbolically resembles the Akshaya Patra, associated with abundance and fulfilment of desires.
During the Garuda Seva held on the full-moon day of the Vaisaka month in 1858, the distinguished crown was ceremoniously adorned on Sri Varadaraja. This crown, later known as the Sri Venkatadri Crown in honour of its donor, continues to embellish the deity and is revered as the “jewel among jewels.” According to tradition, on the night of this significant event, the divine consorts Sridevi and Bhudevi appeared in Sri Venkatadri Swami’s dream and expressed their desire for similar ornaments. With their divine grace, he accomplished this task effortlessly, and Kanchipuram soon witnessed a resplendent procession of the Lord and His consorts, each adorned with exquisitely crafted diamond and ruby crowns. Comparable crowns can also be found in other major Vaishnava centres such as Tirupati, Melkote, Triplicane, and Srirangam.
In Melkote, it is traditionally believed that the crown now known as Vairamudi was originally referred to as Vainamudi, a name symbolically linked to the sacred feet of Lord Vishnu (Vainam). Over time, this name evolved into its present form. A well-known legend adds further sanctity: Garuda, the divine mount of Vishnu, is said to have tested the crown on various forms of Perumal and found it perfectly suited only to Melkote Selvappillai, upon whom he finally placed it.
The Melkote Vairamudi Seva is celebrated annually in the month of Panguni under the auspicious Pushya star. This ritual commemorates the divine moment when Perumal, mounted on Garuda, is adorned with the Vairamudi brought by Garuda himself.
The Vairamudi Festival transcends its role as a ceremonial adorning of the crown; it stands as a profound testament to centuries-old devotion, ritual continuity, and collective faith. Renowned as one of Karnataka’s most spiritually significant festivals, its highlight is the nocturnal adornment of the sacred diamond crown upon the idol of Lord Cheluvanarayana Swamy. This is followed by a grand night-time procession, witnessed by thousands of devotees who gather to behold the Lord and receive His blessings.
Given its sanctity, the Vairamudi crown is not housed in the temple throughout the year. Instead, it is securely preserved in the government treasury at Mandya. Annually, it is transported to Melkote under stringent security protocols, and even the officiating priests are not permitted to view it during transit. The crown is ceremonially placed on the deity only once a year, during the Vairamudi Festival. Structurally, the Vairamudi closely resembles the Venkadadhri Kondai, sharing distinct aesthetic and iconographic features.
Similar types of crowns can also be observed in both Vishnu and Shiva temples, particularly across the northern regions of Tamil Nadu, indicating a broader iconographic and ritual tradition associated with regal headgear in South Indian temple worship. From the college tradition, we can see that the continuity of this practice still exists today.
--Ramu. Rm.N
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