In Saivite traditions, (governed by 28 primary Siva Agamas under Saiva Siddhanta) focus heavily on the central Sivalinga as the primary formless-cum-formed symbol, they utilize separate Utsava Vigrahas (processional bronzes like Nataraja and Somaskanda) for processions.
In vaishnavite traditions, a deity is referred to as Beram in a temple parlance. All offering cannot be offered to the same deity for various reasons. Vaikhanasa Agama and Pancharatra Agama follows an exact Pancha Beram(Five forms of deity) nomenclature system for this purpose. They are:
1) Dhruva Beram/Mula Beram/Mula vrit which is the deity in the sanctum sanctorum, which is the main, stationary or primary image fixed in the sanctum sanctorum representing the core cosmic energy.
2) Kautuka Beram is usually a small metal replica placed near the main idol and used for daily close-up worship and ekantha seva.
3) Snapana Beram, usually a metal idol, used specifically for holy ablutions, ritual bathing (abhishekam), and periodic anointed festivals.
4) Bali Beram is the deity who is the supervising image used inside the temple for offering daily food and food oblations (bali) to guardian, attendant deities and secondary Gods/Goddesses.
5) Utsava Beram is the deity taken outside as processional metal icon on mounts (vahanas) during festivals and public celebrations.
In Kumara traditions, heavily structured by texts like the Kumara Tantra and sub-sections of the Kamika / Karana Agamas—the division of labour among the five forms is precisely defined:
Dhruva Beram (Moolavar): Represents the unmoving mountain of spiritual power. In major shrines, this is Lord Murugan standing alone as a brahmachari (ascetic) or warrior, holding his sacred lance (Vel).
Kautuka Beram: This smaller metal icon receives the intricate, daily, time-bound worship (Kaala Pujas), offerings of continuous food cooking (Naivedyam), and night-time closure routines.
Snapana Beram: Used explicitly for large-scale public ablutions (Abhishekam). Pouring heavy milk, sandalwood, and panchamritam directly onto ancient stone main images can degrade the rock over centuries. The Snapana form absorbs this structural wear-and-tear during major planetary transits or specific lunar phases.t
Utsava Beram: The processional manifestation. Unlike the solitary warrior Moolavar in the sanctum, the Utsavar is usually accompanied by his twin consorts, Valli and Deivanai, representing the integration of iccha-shakti (willpower) and kriya-shakti (action).
Bali Beram: This form is brought out during daily morning and evening circumambulations to distribute energy and food offerings to the auxiliary directional deities guarding the courtyard walls (Prakarams).
To witness this agamic division of labor clearly, the Arulmigu Dhandayuthapani Swamy Temple in Palani, Tamil Nadu, serves as an exceptional architectural example.
[GARBHA GRIHA / SANCTUM]
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Dhruva Beram (Moolavar) Kautuka / Bhoga Beram
(Navapashanam Ascetic Form) (Chinna Kumarar - Metal)
(Untouched by Liquids) (Receives Abhishekam & Public Processions)
Preserved via Agamic Law Maintains Continuity of Rituals
Shakta traditions focuses on the supreme reality as the Divine Mother (Devi or Shakti), structuralizing its temples around cosmic energy, esoteric anatomy, and Tantric transformation rather than standard civic operational procedures. Unlike other streams, a true Shakta shrine often bypasses rigid anthropomorphic image divisions in favor of energetic focal points, geographical anchoring, and highly specialized text streams. It center primarily on the non-dual worship of the Goddess through Mantra, Yantra, and Tantra and begin with Shakthi as Brahman itself. Eg. SriVidya division of Shakta tradition, central deity is Lalita Maha Tripurasundari, worshipped primarily through her geometric form, the Sri Chakra (Sri Yantra) and her Mantra. There is a daily ritual structure called the Navavarna Puja with the Esoteric Ritual Components on internalizing external actions through specific Tantric tools like nyasa, mudra, bhavana etc.
