Arulmigu Marundeeswarar Temple

Overview

Tiruvanmiyur which owes its name to Sage Valmiki forms the southern limit of the city of Chennai. It is the 150th division of the Corporation of Chennai. The postal index code allotted to it is 600041. The temple here is located by the side of the highway leading to Mamallapuram. The place is well served by an efficient public transport system.

Geographical location

In olden days the place was covered with dense forests and pasture fields. The influx of rural population to urban centres has necessitated the expansion of cities. Under these circumstances, a number of colonies have cropped up in and around Tiruvanmiyur. All the modern amenities necessary for city life are available here. However, the area around the temple still bears the traces of rural life. The presiding deity of the temple is popularly known as Marundeeswara or the Lord of Medicines. It is in the fitness of things that Tiruvanmiyur abounds in herbs. A hospital run by the Indian Medical Practitioner's Association, wherein all the indigenous systems of medicine are practiced, is located in Tiruvanmiyur. Kalakshetra, a cultural institution of international renown, which fosters dance, music and fine arts flourishes in Tiruvanmiyur. It has attracted students even from abroad. Dr. U.V. Swaminatha Iyer Library, a repository of ancient palm leaf manuscripts and valuable books is situated nearby.

About the Temple

It is believed that among the Saivite shrines, those sanctified by the three sacred elements, viz., Deity or Murthy, Place of Sthala and Sacred Tank of Theertha are specially sanctimonious. Tiruvanmiyur, fortunately, endowed with all these three attributes. It received its name from the reputed sage Valmiki who performed an arduous penance and received the benefactions of Lord Siva. Five drops of water trickled out of the forelocks of Lord Siva who appeared in his resplendent form before the votary. These drops took the form of five Theerthas, The presiding deity of Tiruvanmiyur was propitiated by Kamadhenu, the divine cow of plenty by offer of her own milk. The Lord was subject to frequent bath with Kamadhenu's milk as a result of which he turned white in colour. He was named Palvannanatha or the 'White – coloured Lord.' He is also known as 'Marundeeswara, the Lord of medicines. A number of rulers, sages and official have patronised the temple. Celebrities like Tirugnana Sambandar, Tirunavukkarasar and Arunagirinathar have dedicated a numerous devotional hymns upon the sacred place.

The temple occupies an area of about one acre. Two excellent colourful fiver-tier gopurams, embellished by exquisite stucco images representing the various deities of the Hindu pantheon grace the eastern and the western entrances. The temple comprises of two separate structures besides the outer corridors. A clean and well laid path enables the devotees to circumambulate the outer prakara. The Dwajasthamba, Bali-peeta and Nandi are fouund in front of the western tower. The main temple consists of two spacious mantaps – the Theagaraja mantap and the Marundeeswara mahamantap, both of which are supported by sturdy and gracious granite pillars.

THEAGARAJA MANTAP

Thirty six massive pillars, embellished by elegant figures of deities and by charming designs adorn the Theagaraja mantap. It contains a shrine which accommodates the Somaskanda idol popularly referred to as Theagaraja. Thegaraja sits on a bhadrapita with his left leg bent and resting upon the seat, reminiscent of a rajayogi. The right leg hangs below. The mrigu and parasu adorn two of his hands while the other two offer the varada and the abhaya poses. Jatamakuta, kundalas, serpent shaped bracelets and yajnopavitha, besides a number of other ornaments enhance his pulchritude. On his left is seated the Amman with her left hand resting on the seat while a lotus flower graces her right hand. Her left leg hangs down from the seat while the other leg is bent and leans on the seat. The seated Devi reaches to the shoulder of the Lord. A simple-clad, small image of Subramanya belongs to this group.On festive and auspicious occasions, musical performances, discourses and special poojas are organised in this mantap. A small gateway leads to the mahamantap which houses the presiding deity and the parivara devathas. Two dwarapalas endowed with graceful features guard the sanctum. The temple of the divine consort, Tripurasundari Amman comprises of two mantaps of substantial dimesnions. The mahamantap accommodates the palliarai and the shrine of Sukravara Amman, the festival idol, A pillar in the front mantap is graced by the image of Kamakshi Amman. A panoramic view of the towers and the vimanas of the temple can be had from a corner situated between the Sthala Vriksha and the Yagasalai.

About the Deity

PRESIDING DEITY

Marundeeswara, the presiding deity manifests Himself in the form of a Swayambu linga who is about ½ feet tall. He is believed to possess the scar inflicted by the hooves of Kamadhenu, the divine cow when she tried to make good her escape from the clutches of the soldiers. He is known by various names.He is referred to as Marundeeswara or Oushadees wara for having initated sage Agastya into the mysteries of the herbal world. He is known as Valmikanatha for having gratified the wishes of sage Valmiki who had earnestly performed a penance here. Kamadhenu was in the habit of anointing the linga with milk regularly. The linga became white in colour thereby earning the sobriquet Palvannanatha (The white – coloured Lord).

GODDESS

The Shrine of the goddess presents the look of a separate temple. The nomenclature of the goddess is Tripurasundari or Chockanayaki. The charming figure possesses four arms, two of which reveal the abhaya and the varada poses. She holds Angusa and Pasa in her upper hands. On auspicious days she presents a charming sight as she is bedecked with gorgeous garments and opulent ornaments in addition to turmeric or sandal paste. Women throng this shrine on Tuesdays and Fridays, in addition to certain auspicious occasions.

SUBRAMANYA

Adjacent to the shrine of Vijaya Ganapathy, is located a spacious shrine wherein Lord Subramanya blesses the devotees in the august company of Valli and Deivayanai. A flag on which his emblem, the cock is portrayed and his puissant weapon, the Vel are placed over his hands. He grasps the shakti and the vajra in his upper hands while the lower hands offer the varada and the abhaya mudras. Variegated ornaments like the keyura and hara adorn his person. Valli stands with her right leg entrenched firmly on the ground while the left leg is slightly bent and placed on it. Her left hand grasps a padma flower while the other hand hangs by her side. Deivayanai stands with her left leg leaning on the ground while the other leg is bent a little. Her right hand clutches on to a nilotpala flower while the other hand hangs down. Valli, Deivayanai and Vel stand for Iccha Shakti, Shakti and Gnana Shakti respectively. His marriage Valli embodies emotion in its purest form. The marriage with Deivayanai indicates the inborn power of action him. In front of the shrine peacock, the vehicle of Subramanya has found a place.A smaller image of Subramanya is lodged in the mahamantap of the main shrine with Valli and Devasena standing on either side. He is known as Muthukumara swamy. He stands near the peacock offering the abhaya and the varada mudras.Veerabahu who served as the generalissimo of the celestial forces when they launched in expedition to exterminate the asura forces of Soorapadma presents himself nearby, armed with the sword and the shield. On the other side Arunagirinatha who has lauded the qualities of Subramanya in many a verse, reveals himself in a humble pose with his hands held in anjalihasta.

VINAYAKA

Although the temple has accommodated images of Vinayaka in it various parts, the shrine of Vijayaganapathy constructed on the eve of the maha kumbhabhishekham of 1985 has attained a position of eminence.Vijaya Ganapathy sits with his left leg folded and resting on a seat while the right leg is crossed and rests on the seat. The proboscis of this two-eyed deity which turned to the left holds a modaka (An eatable). A snake entwined round his chest serves as the yajnopavitha, while another snake serving as the belt (udhara bhanda) encircles his belly. He holds the ankusa and the pasa in two of his hands. The other two hands offer the varada and abhaya mudras. He also grasps the broken tusk which serves as a pen. The figure is characterised by an evenness of symmetry and natural proportion. Miniature images of Ganapathy in his various manifestations which adorn the upper portion of this shrine present an enthralling sight. The shrine of Sri Vinayaka, occupying a forlorn corner houses three images of Vigneswara. Each images is different from the other in its features and dimensions. An artistic image of Kamala Vinayaka occupies a prominent position in front of the shrine of Subramanya. Another image of Kamala Vinayaka has been accommodated in the Theagaraja mantap. The Sthala Vinayaka known as Tirumudi Vinayaka was at the outset placed near the entrance. He is believed to have blessed saint Arunagirinathar when he visited this temple. It is also stated that Tipu Sultan inflicted a wound with the sword during his invasions. Now he occupies a less conspicuous shrine found to the south of the temple under the name 'Ondi Mara Pillayar'.

PARIVARA DEVATHAS

The Silpasastras have prescribed the establishment of various Parivara Devathas or Subsidiary deities in specific parts of Saivite temples. Accordingly, the Marundeeswara temple too has accommodated the subsidiary deities.

NAYANMARS

The sixty three servitors of Lord Siva popularly known as the 'Nayanmars' and the nine constellation of devotees referred to as 'Thogai Adiyars' heralded the resurgence of Saivism which had receded to the background during the Kalabhra interregnum. No doubt these devotees are accorded an honourable place in the interior parts of the Saivite temple. The mahamantap of the main shrine houses the images of the servitors in the usual order. Most of them are in a state of supplication with their hands folded. The visitor could never fail to admire the sublime beauty and the artistic merit of these images.

NAMBI ANDAR NAMBI AND SEKKILAR

The palm leaf manuscripts containing the devotional outpourings of the Nayanmars were treasured in the Sabanayagar temple. In the tenth century Rajaraja Chola, with the able guidance of a savant named Nambi andar Nambi collected he scattered literature and classified them into groups called 'Tirumurais'.But for their defatigable efforts these treasures would have sunk into oblivion. Sekkilar, the astute minister of Anabhaya Chola gave eternal life to the Nayanmars by composing their hagiography known as 'Tiruthondar Puranam'. Popularly referred to as 'Periapuranam', this monumental work, written in chaste Tamil, describes the services rendered by the savants. As a token of respect for their meritorius deeds, the sculptures of Nami Andar Nambi and Sekkilar are placed next to the Nayanmars.

OTHERS

Sri Vinayaka presents himself at the western corner with the Nagalingas on either side. The excuisite life-size images of the Saivite quartet-Tirugnana Sambandar, Tirunavukkarasar, Sundarar and Manickavachagar, holding their hands in the customary oses present an enthralling sight.

GAJALAKSHMI

Jewelled makara-kundalas and variegated opulent ornaments adorn the person of Gajalakshmi who grasps two lotus flowers in her hands. Two of herhands offer the abhaya and the varada mudras. Two elephants standing behind her on either side seem to offer a ceremonial bath with pure water. A magnificent prabhai or halo surrounds the image which is cast in a single block of stone.

NATARAJA

Adjoining the enclosure which accommodates the festival images, is located the Nataraja Sabha. Nataraja is sculptured with his right leg lifted straight while the slightly- bent left leg restson Apasmara, the epitome of iniquity. Articles like damaru and a vessel of fire adorn his hands. One of the left hands offers the Gajahasta – pose (crosswise from left to right) while another left hand offers the abhaya mudra. The figure is surrounded by a prabhai. On his left is found his consort Sivagamasundari. Manickavachagar clad in a shor dhoti carries a manuscript on which the five – lettered mantra – Om Namasivaya is written. The 108-Sivalingas of smaller dimensions are fixed adjacent to the shrine of Nataraja in twelve rows of nine each.

KALABHAIRAVA

The fiery deity who severed the fifth head of the contumacious Brahma is endowed with three eyes and luminous teeth. He holds weapons like trisula, kapala, damaru and serpent in his hands. Kundalas lend charm to his ears. Dog, the vehicle of Bhairava hasnot found a place here.

PANCHALINGAS

Huge shaped Panchalingas occupy the eastern part of the mantap. Kedareswara who comes first in the list is propitiated by devotees who practice kedaragowri vrata. Arunachaleswara, the presiding deity of Tiruvannamalai and his consort Apeetha Kuchambika are also found in this group.

SURYA

At the end of the corrdior Surya and Vinayaka make their presence felt, Normally Sun and Moon are accommodated on either side of the entrance to the mahamantap. In Tiruvanmiyur Moon is conspicuous by his absence. The small image of Surya is endowed with a krita and an udarabhanda. He holds half-blossomed lotus flowers in his hands.A lovely tiruvasi or halo lotus flowers in his hands. A lovely tiruvasi or halo surrounds the image. The Navagrahas who are normally accommodated in Siva temples donot find a place in this temple. It is felt that Marundeeswara being a Swayambulinga performs the duties assigned to the Navagrahas and so a need for installing the Navagrahas in the temple did not arise.

DEVA-GOSHTAS

The practice of embellishing the niches on the outer walls of the sanctum of temples with certain specific images of Parivara Devathas was initiated by the Pallavas in the Sixth Century A.D. This practice was continued with certain modifications by their successors. A survey of the images manning the devagoshtas or niches is given:

DURGA

The goshta on the northern side accommodates the graceful figure of Durga Mahishasura mardini who wears a karanda makuta and lovely ornaments. Her front right hand reveals the abhaya pose while the front left hand is in a kataka pose. In her other arms sankha and chakra are seen. She stands on the head of the buffalo demon. She signals the triumph of righteousness.

BRAHMA

The adjoining niche houses the figure of Brahma who is adorned by articles like jatamakuta, yajnopavitha and katisutra. He holds a kamandala and an akshamala in his hands. The other two hands offer abhaya pose and the katyavalambita mudra.

MAHAVISHNU

The goshta on the east houses the figure of the standing Mahavishnu. He grips Panjajanya and the Sudarshana in the back hands. The front left hand rests on his hip thus forming Katyavalambita mudra. The front right hands reveals the abhayamudra.

DAKSHINAMURTHY

The figure of Dakshinamurthy manning the south goshta sits under a banyan tree on a seat fashioned by a tiger's skin in a veerasana pose (right leg hangs below the seat while the left leg is bent and rests on the right leg.) He wears a patrakundala and an anakrakundala in his ears, a yajnopavitha across his chest, and a necklace of rudraksha beads. The front right hand reveals chinmudra. The front left hand holds a pustaka which rests on his left knee. The back hands hold a serpent and Agni. A well-designed jatamakuta adorns his crown.Siva who lives in all forms and in all places reaches the finale in the form of Dakshinamurthy. The banyan which symbolises the phenomenal life serves as canopy. Although his status as a guru stands for ripeness of age, Dakshinamurthy in whom the universe is absorbed time and again remains an epitome of youthfulness. The conquest of one's self which is the greatest of victories that one can hope to accomplish is denoted by the pose of veerasana assumed by him. He reveals the chinmudra by touching the lower part of his thumb with a forefinger of of the right hand while the other three fingers are left apart. The thumb represent the Lord and the forefinger the individual self. The other three fingers stand for the three-fold dross of delusion, toil and egoism. His white complexion stands for purity. The pustaka and the akshamala adorning his hands indicate the path towards true knowledge or gnana. The amirthakalasa confirms his status as a boon – giver. To assert his victory over the iniquitous he wears the tiger's skin and places his right foot on the demon Muyalakha. Dakshinamurthy is housed in a small mantap supported by lion faced pillars. He initiates the Sanathkumaras into the mysterious of the Vedas. Vinayaka, possessing normal featurers, occupies an adjoining niche.

CHANDESWARA OR CHANDIKESWARA

A tiny shrine located near Durga's image houses the figure of Chandeswara, who sits facing the main deity. While the other Parivara Devathas originated as subsidiary deities from their inception, Chandeswara was elevated from the position of a mere mortal by dint of unflagging zeal and zest. Seated near the gomukhi which lets out the abhisheka theertha, he accepts the offerings made by the devotees to Lord Siva and grants them fulfilment of worship. It is believed that without his blessings the worship of Siva is incomplete. He sits with his leg hanging below the seat while the left leg is placed on the seat. A tanka adorns his right hand while the other hand offers the varada mudra.Another image with identical features is found a little away. He places his left hand on his knees. The right hand possesses a tanka. The archaeologists feel that it is a representation of Chandeswara of the Pallava age. However some archakas tend to identify it as the image of Appiah Dikshitar who is believed to have visited this temple.

STHALAVRIKSHA

In bygone days when a larger chunk of land was encompassed by thickets and jungles, lingas, either Swayambu or installed, were placed beneath trees. In course of time an aura of sanctity was attached to these trees. When the jungles gave way to habitations, atleast one tree of the earlier specimen was preserved. This is the origin of the worship of sthala vrikshas or the sacred tree. In the Marundeeswara temple, the Vanni tree occupying a prominent position near the western entrance serve as the sthala vrikha. A raised platform embellished by miniature images of Nandis has been constructed to enable the devotees to circumambulate the tree.

SACRED THEERTHAS

The dawn of the earlier civilisations occurred on river banks. Rivers became an integral part of human life supplying water for cultivation. A halo of reverence bordering on worship began to develop towards the rivers. With the spread of habitations sources of water like rivers, tanks, wells and ponds continued to receive the respect of people. Sacred theerthas came to be considered as part and parcel of every hallowed kshetra. A dip in these theerthas was considered a panacea for all ills.The Tiruvanmiyur Sthalapurana narrates how five drops of water that trickled out of Lord Siva's forelocks generated five sacred theertha – Janmanasani, Kamanasani, Papanasani, Gnandhayini and Mokshadhayini. Janmanasani which had relieved Indra and Ratshasu of their curses is located in front of the eastern entrance. It is popularly known as Chithrai Kulam. Kamanasani which enabled Chandra to regain his lustre and luminousness is in the form of a well in the madapalli. The mammoth tank found a little away from the eastern tower is eulogised as Papanasani in the Sthalapurana. The well situated near the madapalli was revered as Mokhadhayini. Its water is utilised for anointing the main deity. Gnanadhayini has ceased to exist. Near the eastern tower a spacious shrine accommodates a linga known as Ramanatheswarar. A massive unfinished tower resembling a skeleton exists in front of the eastern tower.

MARUNDEESWARA, THE LORD OF MEDICINES - Sage Agastya entered the portals of the temple and worshipped the Lord fervently. The Lord appeared before the ardent devotee. The sapient sage wanted to have a thorough knowledge of the various types of ailments that afflict human beings and the remedies for such diseases. Lord Siva initated Agastya into the mysteries of the herbal world. “Dear! The health of human beings is conditioned by the deeds, good or bad that they perform. NO less than 4448 diseases exist. They are cured by a judicious combination of various part of the plants and tress such as root, bark, leaf, fruit, seed, stem and juice. The foremost requirements of an ideal physician are veracity and honesty. He must possess qualities of head and heart. He must be sagacious enough to diagnose the nature of the ailment by feeling his pulse and by applying eight types of tests prescribed in medicinal works. By studying his feeding habits and by enquiring about his physical conditions, the physician will be able to diagnose the malady and prescribe the sutiable herb.” “The Devas and the Asuras churned the Ocean of Milk (patkadal) to obtain the nectar, purported to confer athanasis upon the persons who costume it. A few drops of the ambrosia sprinkled on the shores of the sea. Nine rare species of herbs blossomed forth at that place. In course of time they multipled in numbers and variety. Such is the genesis of the life-saving herbs. I shall furnish you a thorough knowledge of their nature and use. Using your skill and insight, you will discover more and more herbs so that mortals are curd of all types of illness”.Agastya was extremely pleased with the immense gift provided by the Lord. Lord Siva received the epithet Marundeeswara or Oushadeeswara (The Lord of medicines) by which name he is popularly known now. Agastya sojourned at Tiruvanmiyur with his disciples invoking Lord Marundeeswara.

HISTORY OF THE MARUNDEESWARA TEMPLE

The Hindu temples and other places of worship originated out of man's realisation of the presence of an Omnipotent. At the onset, forces of nature, with which man had direct contact, were vested with supreme powers and an aura of divinity began to surround various phenomena of nature. Each phenomena was assigned special functions and specific spheres of actions. In course of time the hero-stones and the sepulchres began to be revered as objects of worship. The trees under which villagers assembled to discuss their affairs began to trees became the nucleus of the temple. Similarly women who had earned respect on account of their chaste and upright nature began to acquire divine status after their death. All these factors facilitated the evolution of the temple.Worship of god, commenced as early as the Stone Age with the veneration of the “Formless One”. Later the worship of the spirit, characterised by the propitiation of the lings developed. In its later stages worship of the icons blossomed into a cult with a wide range of divine figures. Saiva Siddhantha has referred to these three forms as Aruvam, Aruvuruvam and Uruvam. However, it is impossible to state the exact form of the temple and the deities that existed at this early stage.Mr. K.A., Nilakanta Sastri, a pioneer of South Indian history has aptly compared South Indian history to a vast mansion possessing a number of rooms each of which is lit in varying degrees of intensity; None of the rooms is adequately illuminated to enable the visitor to study its contents throughly. This illustration amply explains the paucity of sources for a detailed historical study of South India. The same example holds good for the study of temples too. Whenever temples were renovated, the historical evidences were either partially or totally historical evidences were either partially or totally obliterated. It is impossible to construct a continuous and coherent history of the Tiruvanmiyur temple, like all other temples. A hypothetical narration based on the available bits of information is only possible.The literature of the Sangam Age contains ample references to temples and to the deities. The temples of the Sngam Age were constructed with perishable materials like timber, clay, wood and bricks. As a result no remains of those temples have survived the test of time. Hence it would be impossible to delineate the architectural features of the Sangam Age. Therefore no information is available about the temple of Tiruvanmiyur during the Sangam Age.

THE RESURGENCE OF THE PALLAVAS AND THE PANDYAS

The Sixth Century A.D. Witnessed the overthrow of the Kalabhras and the ascent of two dynasties – the Pallavas in northern Tamilnadu and the Pandyas in the south. This age witnessed a great renaissance in all spheres. This age witnessed a great renaissance in all spheres. This age witnessed a great renaissance in all spheres. The Saivite servitors (Nayanmars) and the Vaishnavite zealots(Alwars) heralded a great upsurge and mass awakening culminating in the enrichment of the spiritual and moral standards of life. The temple was the nucleus of this new efflorescence. From the outpourings of the Alwars and Nayanmars, we learn that the Tamil country was studded with more than 300 Saiva temples and 60 Vaishnavite temples. The architecture and sculpture of this period constitute a brilliant chapter in South Indian art, bridging the transition from rock architecture to structural stone temples. During this age the use of perishable materials was eschewed. The eariest specimens extant even today belong to this period.In the absence of any evidence, we do not have any clue as to the shape of the temple of Tiruvanmiyur in this age. However, Tirugnanasambandar and Tirunavukkarasar, the two contemporary Saivite saints who belonged to the seventh century A.D. Have visited this temple. They have paid a fitting tribute to the glory of the temple of Tiruvanmiyur.

DATE OF TIRUGNANA SAMBANDAR AND TIRUNAVUKKARASAR

DATE OF TIRUGNANA SAMBANDAR

The child-saint, inspired by the nectar given by Parvathi, began to trudge from shrine to shrine, elicting the admiration of the devotees and performing miracles when needed. At that time the Pandya ruler, nicknamed as 'Koolan Pandian' or the Hunchback ruler, envinced a keen interest in Jainism, as a result of which he neglected the religion of his forefathers. Mangayarkarasiyar, his queens and Kulachirayar, his minister invited Tirugnana Sambandar to Madurai with a request to bring the ruler back to the Saiva association. By performing numerous miracles, Tirugnana Sambandar surmounted the obstacles created by the scheming Jains. The Pandya ruler became an unflinching votary of Saivism and earned a place among the sixty three Nayanmars under the name of Ninrasir Nedumaran. It is the identification of this Pandya ruler that enables us to fix the date of Tirugnana Sambandar. Different dates have been assigned to Tirugnana Sambandar by scholars but some of the theories are the outcome of superficial study of the facts. These theories are not corroborated by historical facts. P. Sundaram Pillai, the author of the renowned Tamil drama Manonmiyam states that Sambandar lived in the sixth-seventh centuries A.D. Adi Sankara who has been assigned the seventh century A.D. Refers to Tirugnana Sambandar as 'Dravida Sisu' or a child of Dravidian origin. (Soundarya Lahari, Sloga 76). The influence of the hymns of Tirugnana Sambandar are clearly noticeable in the Saiva literature of the post-Sankara age. Therefore Sambandar must have lived before Adi Sankara. Sambandar refers to Kochenganan, the Chola ruler who has been assigned to the third century A.D. With a great amount of reverence. Therefore he must have lived much later than the third century A.D. Sundaramurthy Nayanar's Tiruthondar Thogai states that Ninrasir Nedumaran, the Pandya ruler turned Saiva votary, scored a signal victory over his antagonists at a place named Nelveli. Nedumaran was a contemporary of Sambhandar. Scholars like K.V.S. Aiyar, T.V. Sadasiva Pandarathar and M.Raghava Aiyangar have identified this ruler with Maravarman Rajasimha(640-690 A.D.). Dr. R. Nagaswamy, former Director, Archaeological department of Tamilnadu, has identified Nedumaran with Arikesari Maravarman who lived in the second half of the seventh Century A.D. This view appears plausible This view, basaed on the Vaigai bed Inscriptions is published in the 'Kalvettu', a quarterly published by the State department of Archaeology, Tamilnadu (PandyaArikesari and the dates of the Saivite and Vaishnavite Saints, Kalvettu, Issue No. 9.p.7).E. Venkayya, an eminent archaeologist of the first half of the twentieth century has discovered a vital fact found in Periapuranam. The Pallavas were engulfed in a protracted war with the Western Chalukyas of Vatapi. The Chalukya ruler Pulakesin II (610-642 A.D. ) even routed the troops of the Pallava ruler Mahendravarman I (600-630 A.D.). Narasimhavarman I (630-668 A.D.) the son and successor of Mahendravarman not only repulsed the Chalukyan invasion, but also chased the antagonists upto their capital Vatapi and burnt it to ashes. During this campaign the generalissimo of the Pallavas was Paranjyothi. Like Ashoka he felt remorse at the destructioin wrought by the war, and underwent a metamorphosis. He renounced his office, returned to his native village of Tiruchenkattankudi and turned a new leaf. He became a dedicated votary of Lord Siva and assumed the cognomen of Siruthondar. The battle of Vatapi took place in 642 A.D. Sekkilar's Tiruthondar Puranam narrates the meeting of Tirugnana Sambandar and Siruthondar. All these facts prove that Tirugnana Sambandar lived in the seventh Century A.D.

DATE OF TIRUNAVUKKARASAR

History credits Tirunavukkarasar with the conversion of a Pallava ruler to Saivism. Tirunavukkarasar, in his earlier days, was attracted towards Jainism. He became a Jain votary under the name of Dharmasena. His sister Thilagavathy implored Lord Siva to bring her brother to Saivism. Dharmasena, afflicted by a stomach ailment, came to his sister. She took him to the temple of Tiruvadigai where the Lord cured his ailment. Tirunavukkarasar turned a new leaf and began to compose hymns lauding Lord Siva. The jealous jains induced the Pallava ruler, referred to as Gunabhara, to punish Tirunavaukkarasar who had deserted their faith. The Pallava ruler perpetrated untold cruelties upon the Saivite seer who tided over the ordeals by the grace of the Lord. He also cured the ruler of his colic as a result of which he embraced Saivism. The Pallava ruler demolised a Jain basti at Pataliputra and constructed a temple named 'Gunabharaveeswaram' at Tiruvadigai. The title of Gunabhara is borne by the Pallava ruler Mahendravarman I (600-630 A.D.). An epigraph traced at the cave temple of Trichirapalli states that Gunabhara was turned away from vipaksh vrithi or contrary path to becone a staunch adherent of linga worship. Periapuranam describes the meeting of Tirugnanasam bandar and Tirunavukkarasar. They visited many Saivite hallowed shrines. A combined perusal of all these facts prove that both Tirugnanasambandar and Tirunavukkarasar lived in the seventh century A.D.

THE CHOLA PERIOD

The period of Imperial Cholas extending over four centuries, constitutes a remarkable chapter in the evolution of Indian culture. The towering majesty of their magnificent temples which reflect the intense force of their understanding of beauty and the remarkable strides made in religious, metaphysical sphees single out the rulers of the Imperial Chola dynasty for their individuality, distinction, greatness and farsightedness. In the golden prime of the Chola rule, new temples were constructed and old ones were renovated. Munificent endowments were provided and the grants were engraved in temples. These inscriptions provide valuable information on the state of the temple in the Chola age. Copious references to the Tiruvanmiyur temple are found in the inscriptions traced in the temple itself and in other temples found in different parts of Chennai.

INSCRIPTIONS FOUND IN TIRUVANMIYUR

The Government epigraphist has registered seven inscriptions found on the outer walls of the Tripurasundari Amman shrine. In the fourteenth regnal year of Parakesarivarman alias Udayar Sri Rajendra Choladeva (1011-43 A.D) sheep was gifted for burning a lamp in the temple of Mahadeva located in Tiruvanmiyur. It records that Tiruvanmiyur was a devadana of Kotturnadu which was a subdivision of Puliyurkottam situated in Jayamkonda Cholamandalam. A gift for providing garland on a regular basis is registered by an inscription of the same ruler, found on the eastern wall of the Amman shrine. An incomplete record of the same ruler registers a gift of money for offerings like paddy. Two more inscriptions have been traced, but they are either incomplete or badly mutilated.An inscription of the reign of Udayar Sri Rajadhiraja I (1018-1052 A.D.). although incomplete, refers to a gift of land to the temple. An inscription incised in the eleventh yea of Parakesarivarman alias Udayar Sri Rajendradeva (1050-63) A.D. Alludes to the Siva Brahmins of Tiruvanmiyur. These seven inscriptions thus reveal the interest evinced by the Chola rulers in the temple of Tiruvanmiyur.Inscriptions traced in other temples found in Chennai also furnish valuable information about the contributions that were made to the Tiruvanmiyur temple in the days of the Chola rulers. An inscription assigned to Virarajendra (1063-1069 A.D.) an located on the northern wall of the Virupaksheeswara temple, Mylapore records the gift of two milchows by a person named Kumarandaidevan to Ulagaludaya Nayanar. An inscription written in the days of Vikramacholadeva (1115-1135 A.D.) registers a gift made by the Sivabrahmins for burning a perpetual lamp to Tiruvanmiyur Udayar. This inscription is engraved the upper portion of the Mahamantap of Karaneeswara temple, Mylapore. Another inscription belonging to the same age and found on the southern wall of the ardhamantap of the same temple records the grant made by one Kumarandai devan for lighting a sandhi lamp at the temple of Ulagaludaya Nayanar of PuliyurKottam i.e., Tiruvanmiyur. A person named Neydhal Vayiludayaralias Vamanadevan Malayapirajan hailing from Jayamkondacholanallur located in the Sembur Kottamof Jayamkonda Cholamandalam, gifted thirty two cows and one bull for lighting a perpetual lamp for Puliyur kottam Aludayar Tiruvanmiyur Udayar Marundandar. An inscription traced in the interior portion of the eastern wall of the sanctum of the kapaleeswara temple, Mylapore and assignable to the twelfth century refers to the gift made by a person named Idayan Marudhu. A multilated epigraph belonging to the same period and found on the floor of the inner courtyard of the Parthasarathy temple, Triplicance seems to record a gift of cow and others. Annadananangai alias Alavandapillai gifted three cows and four calves to Ulagaludaya Nayanar of Tiruvanmiyur situated in Kotturnadu. This epigraph, incised in the reign of Kulothunga III (1178-1216 A.D.) is found on the northern wall of the prakara of Karaneeswara temple, Mylapore. A philanthropist named Alagiya Madhavan alias Kadakkan Kondan granted thrity cows and one bull for lighting a perpetual lamp to Ulagaludaya Nayanar, the deity of Tiruvanmiyur. This information is furnished by an inscription inscribed on the floor in the southern part of the inner prakara of the Parthasarathy temple, century A.D. And engraved on a stone fixed on the floor of the front mantap of the Parthasarathy temple of Triplicane records the gift of 26 sheep for burning a perpetual lamp by some persons, probably sons of Dandipidikon. Another identical epigraph registers a gift for poojas and renovation activities by a person named Nallurdaiyan Araiyan Malaikinya Nindran. An inscription probably belonging to the thirteenth century and engraved on a stone at the Gangadheeswara temple Purasawalkam records the gift by Siyana Neelagangaraiyan to Ulagaludaya Nayanar of Tiruvanmiyur located in Puliyurnadu of Jayamkonda Cholamandalam. A thirteenth century epigraph found on the floor of the northern part of the prakara of the Parthasarathy temple, Triplicane refers to the grant made with the aid of the new and worthy coins received from one Kalumalavoorar. Another gift of thiry-two cows and one bull for burning a perpetual lamp to the Lord of Tiruvanmiyur, located n Kotturnadu, is recorded on the southern wall of the sanctum of Kapaleeswara temple, Mylapore. From a record probably belonging to the days of the Pallava feudatory Koperunjinga, located on the outer wall of the Valeeswara temple, Mylapore, we learn that one Ottri Arasan, probably a local chief gifted a perpetual lamp to the temple of Ulagaludaya Nayanar. Another gift of three kasus, made by one Malikizhan Vaduganathan Thillainayagam which was handed over to the Sivabrahmins for burning a lamp at the shrine of Ulagaludaya Nayanar of Tiruvanmiyur is engraved on the lower portion of the eastern wall of the same temple. It also belongs to the same reign. A native of Mylapore named Danidpikon donated twnety two sheep which was utilised for burning two perpetual lamps to Ulagaludaya Nayanar. This fact is supplied by a thirteenth century inscription found on the inner wall of the sanctum of Karpagambal Amman. An incomplete inscription of the thirteenth century, traced at the mantap of the Parthasarathy temple, Triplicane records the gift of land for worship and renovation activities at the temple of Tiruvanmiyur Udaya Nayanar. An incomplete inscription belonging to the Parthasarathy temple, Triplicane refers Tiruvanmiyur which formed a part of Kottunadu. A fourteenth century inscription belonging to the reign of a ruler named Peruma, whose identity is yet to be established, is traced on the southern wall of the main sanctum of the Valeeswara temple, Mylapore. It states that Tiruvanmiyur formed a part of Kotturnadu which was a subdivision of Kulothungavalanadu and was situated in Puliyurkottam. A mutt named Vadavirasayidhikkaran functioned at Tiruvanmiyur. This fact is recorded by an inscription assigned to the thirteenth century A.D. And found on the northern outer wall of the main shrine of the Virupaksheeswara temple located in Mylapore. This mutt was constructed at the instance of a devotee named Sedhi Arayan alias Pudhi Mangalavan Araiyan Atkonda Nayagan who hailed from Valivalam Kootram, found in Arulmozhideva Valanadu. This grant was made for performing functions like parijaraham. An epigraph found on the northern wall of the main sanctum of the Dandeeswara temple, Velachery records a land gift made by a philanthropist named Sedhiraya devan in favour of a mutt named after Tirunavukkarasar and located at Tiruvanmiyur. The land thus gifted was situated in Jinachinthamani Chaturvedimangalam also known as Velichery. This inscription was written in the twentyfifth regnal year of Tribhuvanachakravarthy Kulothunga Choladeva III, who conquered Madura and severed the head of the Pandya ruler. A study of these inscriptions reveal the significant place enjoyed by the Tiruvanmiyur temple in the days of the Chola sovereigns. The earliest inscription belongs to the period of Rajendra Chola I. It has been opined that the original temple must have been made of bricks and that it was recast in granite in the days of Rajendra I. An oral tradition states that Rajendra I, who was afflicted by an incurable malady, visited Tiruvanmiyur in the closing stages of his reign and that he was cured by the grace of the deity as Udaya Mahadevar of Tiruvanmiyur, the healing qualities of the Lord are revealed by references like Marunthandan and Marundhu denoting medicine. The hymns of Sambandar and Tirunavukkarasar considered him as the reliever of mortals from the malady of birth and death. Though the name of Marundeeswara was only a later occurrence, his association with medicines is indirectly borne out by such references. The location of epigraphical references in temples located far away from Tiruvanmiyur, like the Dandeeswara temple of Velachery and the Gangadeeswara temple of Purasawalkam testify to the wide extent of the popularity of the temple of Tiruvanmiyur. Historians have established the fact that at the onset, the temples had only shrines for the main deity and his consort was probably accommodated in the main shrine itself. It was only from the rule of the Later Cholas that we have references to separate shrines for the consort. Strangely the inscriptions belonging to the reign of Rajendra I and his immediate successors appear on the walls of the shrine of Tripurasundari Amman and none of the inscriptions have made any references to the shrine of the consort. The only possible explanation for this strange formation is that during the subsequent renovations, the shrines were reshaped and rearranged. Otherwise the stones of the old structure were utilised in the renovated structures. I would be impossible to arrive at any conclusion regarding the structure that existed in the Chola age on the basis of the epigraphs alone.

SEKKILAR

Sekkilar's Tiruthondar Puranam otherwise known as Periapuranam composed in the halcy on days of the Cholas is a hagiography of the sixty-three servitors and the nine bnd of devotees named Thogai Adiyars, written in the epic pattern.

DATE OF SEKKILAR

A number of theories have been putforth by scholars regarding the date of Sekkilar. A scholar has regarded Sekkilar as a contemporary of Rajendra Chola I, basing his view on an inscription found at the Siva temple at Muthur in Coimbatore district, which has been written in the reign of Vira Rajendra Chola. However, the author has by mistake identified a Kongu Chola Chief with the ruler of the main Chola line. R. Raghava Aiyangar has refuted this theory in his work named “Sasana Tamil Kavi Charitham”.A. Gopinatha Rao has stated that Sekkilar belonged to the reign of Kulothunga. I (1070-1122 A.D.). Sekkilar has stated that he had written the Tiruthondar Puranam at the instance of his patron, the Chola monarch whom he refers as Anabhaya. A Gopinath Rao, the author of “Chola Vamsa Charithra Churukkam” has identified Anabhaya with Kulothunga – I.Scholars like M. Raghava Aiyangar and M. Rajamanickanar have identified Anabhayan with Kulothunga II (1133-1150 A.D.). Sekkilar has praised his patron Anabhayan at ten instances in the Tiruthondar Puranam. The information provided by Sekkilar about his patron, corresponds to the description given by Otta Koothar, (the author of Moovarula) about Kulothunga II. A chief referred to as Kundrathur Sekkilan Madevadigal Ramdev alias Uthama Chola Pallavarayan has made grants to the Siva temple of Tirumazhapadi in the seventeenth year of Rajendra-II (1052-63 A.D.).This chief has been identifed with Sekkilar. Sekkilar's brother named Balavaraya, who was awarded the title of Tondaiman served as the minister of Kulothunga II. This fact is revealed by inscriptions found in some temples. This theory is widely accepted by historians. T.V. Sadasiva Pandarathar, the author of Pitkala Cholar Charithram, Vol-II, has stated that Kulothunga III (1178-1218 A.D.) was the patron of Sekkilar. The Chola rulers were associated with the names of their predecessors. In this manner Kulothunga III was referred to as Abhaya and Anabhaya, the titles borne by his predecessors Sekkilar has credited his patron with the act of adorning the vimana of the Sabanayakar temple of Chidambaram with gold. This deed was performed in the reign of Kulothunga III, as revealed by inscriptions Kulothunga III was known by the title of 'Perambalam Ponveintha Korajaparakesari'. Sekkilar had constructed a Siva temple at Kunrathur, hisnative place on the model of the Nageswaraswami temple of Tirunageswaram. It was named Vadanageswaram. The earliest inscription found in this temple belongs to the reign of Kulothunga III. Sekkilar Puranam written by Kottrankudi Umapathy Sivam states that Sekkilar's Periapuranam was enacted at the thousand-pillared hall at Chidambaram. Inscriptions have proved that this hall was constructed by Kulothunga III. After studying these theories Prof. K. Vellaivaranan has concluded that Sekkilar must have began his career in the closing years of Kulothunga II.He served his successors Rajaraja II. Sekkilar had even lived in the first part of the reign of Kulothunga III (K. Vellaivaranan – Panniru Tirumurai Varalaru). Sekkilar devotes six songs to describe Tirugnana Sambandar's visit to Tiruvanmiyur. He refers to the lofty tower that crowned the entrance which was an object of veneration for Sambandar and his adherents. After circumambulating the temple they offered obeisance to Lord Siva whose august head was adorned by a flower, the crescent moon, the refreshing Ganges and reddish tresses of hair. A solitary poem describes Tirunavukkarasar's visit. It states that Tirunavukkarasar worshipped the Lord and dedicated hymns to him. From Periapuranam we can surmise that in the twelfth century, the Tiruvanmiyur temple had a huge tower.

VIJAYANAGAR PERIOD

After the Cholas, the temple finds references in the days of the Vijayanagar dynasty. An inscription found on the western wall of the inner circumambulatory of the Karpagambal shrine, Kapaleeswara temple Mylapore, refers to a gift made to the Sripandaram of Ulagaludaya Nayanar temple, Tiruvanmiyur. It belongs to the reign of the Vijayanagar ruler Pratapadeva Maharaja. An incomplete epigraph assigned to the fifteenth or the sixteenth century, A.D. Found on the walls of the Porkodiamman shrine, Karaneeswara temple, Mylapore makes a reference to Tiruvanmiyur. Another inscription inscribed on the walls of the mahamantap the same temple and belonging to the same age refers to the sale of land in the Tamil month of Thai. This epigraph refers to Ulagaludaya Nayanar of Tiruvanmiyur.

DATE OF ARUNAGIRINATHAR

Arunagirinathar, who composed a large number of poems of Lord Subramanya belonged to the Vijayanagar period, probably the first half of the fifteenth century A.D. The approximate date of Arunagirinathar can be fixed on the basis of evidences furnished by the Tiruppugazh composed by him. The life sketch of Arunagirinathar furnished in a work named Pulavar Puranam written by Dhandapani Swamigal is filled with legends and hence its historical value is limited. Arunagirinathar has mentioned the name of Kalisai Sevaka who was his boon companion. Kalisai sevaka is credited with the installation of the image of Palani Andavar at a place named Veerai. Arunagirinathar has made references to a Sivacharya named Somanatha and to his mutt in Tiruppugazh. An inscription found in the temple of Puthur states that this temple was handed over to Somanatha in 1370 A.D. Arunagirinathar has also paid tributes to a ruler named Prabhudevaraya who has been identified with the Vijayanagara ruler, Devaraja II who ruled from 1422-1446 A.D. Arunagirinathar is also credited with a victory over the headstrong poer Srivilliputhur Alwar who has been assigned the 15th Century AD. Madurai Sivaprakasar quotes a poem from Tiruppugazh (1488 A.D.). So Arunagirinathar must have lived earlier to 1488 A.D. Arunagirinathar has also made a reference to Poet Kalamegham who lived in the first half of the fifteenth century A.D. And who was patronised by a ruler named Tirumalairaya (1453-1468 A.D.). Literary sources prove that Arunagirinathar was a contemporary of the twin poets who lived in the closing stages of the 14th century A,D, or the early part of the fifteenth century A.D.A thorough scrutiny of all these facts fixes the age of Arunagirinathar in the first half of the fifteenth century A.D.Arunagirinathar's solitary hymn makes a passing reference to Tiruvanmiyur which abounded in lofty mansions and beautiful houses. Though no historical information is furnished by Arunagirinathar, his visit to this hallowed shrine proves that Tiruvanmiyur continued to enjoy the reputation of a sacred shrine in the fifteenth century.

APPAIAH DIKSHITAR

A tradition associates Appaiah Dikshitar (1554-1626 A.D.) with the Tiruvanmiyur temple. Born in Adaippalam near Arni, he masteed the sacred literature at a very young age. He wrote a commentary on Sri Kandar's Bhasyam. He also wrote condensed versions of the Ramayana and the Mahabharatha. He was a highly dedicated votary of Lord Siva. No doubt he ventured to prove that Lord Siva was the supreme force, in his works. The same ideals are setforth even in his versions of the Ramayana and the Mahabharatha. Chinna Bomma Nayakar, who founded the Nayakship of Vellore in 1549 A.D. And who ruled over the neighbourhood of Vellore as the Viceroy of the Vijayanagar monarch Sadasiva Ramaraya, honoured Appaiah Dikshitar with Kanakhabhishekam. A tradition also states that Appaiah Dikshitar sojourned at a place named Vedasireni (now known as Velachery) to perform an arduous penance.He used to visit Tiruvanmiyur every evening to pay obeisance to the Lord of Tiruvanmiyur. The tradition also states that the presiding deity of Tiruvanmiyur has taken up a west-facing position to enable Appaiah Dikshitar, who was staying at Velachery, located to the west of Tiruvanmiyur, to worship him. It is believed that the images of Appaiah Dikshitar and his wife adorn the pillars of the mantaps of the temple, although they have not been identified the isolated statue located very near that of Brahma in the inner prakara of the main shrine as that of Appaiah Dikshitar. The tradition which associates Appiah Dikshitar with Tiruvanmiyur only proves that Tiruvanmiyur continued to enjoy the reputation of a holy centre in the sixteenth and the seventeenth centuries.

BRITISH PERIOD

From the seventeenth century onwards a scramble arose among the European powers for securing control over parts of India. The British secured a stronghold in Madras Kuppam, which became the nucleus of the city of Madras. As the focus began to shift to Madras, temples like the Parthasarathy temple of Triplicane, the Kapaleeswara temple of Mylapore and the Chenna Kesava and the Chenna Malleeswara temples of Georgetown gained importance. Tiruvanmiyur which lay far away from the city remained in isolation, away from the mainstream as a mere local temple, In this period sages like Vannacharabham Dhandapani Swamigal and Pamban Kumaragurudas Swamigal visited Tiruvanmiyur and composed hymns in its praise. In the eighteenth century, Tiruvanmiyur temple was under the control of private individuals who acted as the Trustees.Muthukumarappa Chetty whose family was known as the Tiruppasur family, is the earliest known Trustee of the temple. It is recorded that at that time Tiruvanmiyur was so overgrown with aloes and shrubs that it looked like a dense forest.Chinnamuthu Chetty and his ancestors had spent a substantial sum of money in reclaiming Tiruvanmiyur. They cast a number of festival images and idols of the deities without touching the main deity who was a self-manifest linga. They also constructed corridors and mantaps inside the temple and in the agraharam. These construction activities and the maintenance cost of the temple was estimated at three lakhs of pagodas which was their personal earning. Tiruvanmiyur recorded a 'Shrothreeyam Tiruvanmiyur Village,' was granted in the name of Chinnamuthu Chetty, Dubash of Mr. Robert Clarke and the son of Muthukumarappa Chetty and his heirs to maintain permanently and in perpetuity Sri Marundeeswara temple in 1794 by the British Governor, Obert Sanders Balowfield and his council. The British Government subsequently constituted the Marundeeswara Devasthanam. The Devasthanam Committee instituted by the Government under Act XX of 1863 had no control over the Tiruvanmiyur temple for which the Tiruppasur family served as the hereditary Trustees. Chinnamuthu Chetty who had no male issue, adopted Masilamani, the son of his younger brother Mari Chetty as his son. On the death of Chinnamuthu Chetty, his brother Mari Chetty acted as the Trustee till 1818 when he breathed his last. Masilamani, the adopted son of Chinnamuthu was a victim of vices. Therefore Sadayammal, the widow of Chinnamuthu Chetty handed over the Trust to Murugaswami Chetty, the son of Mari Chetty and a younger brother of Masilamani. Murugaswami had no male issue and so he adopted Subburaya Chetty, the son of the daughter of Chinnamuthu Chetty. Subburaya Chetty was recognised as the Hereditary Trustee by the British Collector. Hence Subburaya Chetty served in the capacity of a Trustee for 23 years i.e. from 1845 to 1868 A.D.Subburaya Chetty had no male issue. After his demise, his wife handed over the Trusteeship of the Tiruvanmiyur temple to Woothukadu subburaya Chetty, son of Muthubala Chetty, the elder brotehr of her father. As a result of this decree, the Woothukadu family took over the hereditary Trusteeship from the Tiruppasur family. The claim of Woothukadu Subburaya Chetty for Hereditary Trusteeship was recognised by the Saidapet Temple committee, constituted by the British Government under Act XX of 1863.On 25th December, 1868 Tiruppasur Subburaya Chetty had given the village of Tiruvanmiyur on lease to Kamaluddin Saheb, probably an agent of Nawab Karunnissa Begum, the Sirkar Nizam for a period of 15 fuslis from fusli 1273 to fusli 1287 on a rent of Rs. 450 for each fusli. The Nawab Saheb undertook to clear certain dues and to settle the dues that the devasthanam owed to various parties. Kamaluddin sub-let the village to one Sundara Mudaly for Rs. 700/- in 1881 A.D. Woothukadu Subburaya Chetty and his son Namasivaya Chetty redeemed the village from the son of Sundara Mudaly by paying Rs. 700/- from their family funds.When Woothukadu Subburaya Chetty died, his sons T.W. Namasivaya Chetty and T.W.Kandaswamy Chetty became the Trustees of the temple. Namasivaya Chetty was succeeded by his brother Kandaswamy Chetty who became the sole Trustee. Kandaswamy Chetty died on Tenth, March, 1911 and was succeeded by his son T.W. Subburaya Chetty as the sole hereditary trustee.In 1912, S. Subramania Iyer, the President of the Dharma Rakshana Sabha of the temple committee and T. Doraiswami Iyer, Karnam of the village of Tiruvanmiyur filed a suit for the removal of T.W. Subburaya Chetty on allegations like misappropriation of funds belonging to the temple and irregularities in the maintenance of temple accounts. The judgement delivered by Mr. Venkatramaiah Pantulu Garu, Temporary Subordinate Judge in December 1916, dismissed these allegations as baseless and accepted the rights of T.W. Subburaya Chetty to the post of hereditary Trustee. However for the efficient administration of temple the judge constituted a Board of Trustees consisting of three persons; a hereditary Trustees consisting of three persons; a hereditary Trustee holding office for life and belonging to the family of T.W.Subburaya Chetty, a Smartha Brahmin Trustee and a Non-Brahmin Hindu Trustee. The last two would be appointed by the Court. T.W. Subburaya Chetty appealed against the judgement of the subordinate judge in 1916. A modified judgement was delivered by Sir John Wallis,Chief Justice and Mr. Justice Spencer on 18.4.1918 T.W. Subburaya Chetty was confirmed as the Hereditary Trustee of the temple. An order executed by the Hindu Religious Endowments Board on 3.7.1928 confirmed the status of the temple as an excepted temple. Tiruvanmiyur village was treated as an Inam Estate. Exactly a month later, the temple was taken over by the Government. It was mentioned in the order of the court of Additional Assistant Settlement Officer. Tiruvallur, dated 31st March 1956, that “the landholder for the village of Tiruvanmiyur is the Marundeeswara temple and the temple is the only landholder for the entire village.” The lands were never cultivated in the name of the temple, but were leased out to ryots on an annual basis under some stipulations.T.W. Subburaya Chetty who had no male issue died on 13th January, 1949. The Government appointed M. Balakrishna Pillai as the interim Trustee. M.Balakrishna Pillai held the post of interim Trustee till 14th April 1951. He was succeeded by J.N. Umapathy Desikar as Executive Officer of the temple on Ninth July, 1951.The temple had faced various vicissitudes of fortune over the years. It had enjoyed a prosperous period in the early part of this century. Festivals like the Brahmotsava and the dance of Theagar had attracted a large congregation of devotees and were celebrated in a grand and pious manner. In the second half of this century, the fortunes of the temple received an eclipse. It is stated that on some days the archakas used to go from house to house to collect rice for offering the nivedanams to the Lord. The income of the temple dwindled to such a great extent that the temple was treated as a sub-temple of the Kapaleeswara temple of Mylapore by the Hindu Religion and Endowments Department. With the development of residential colonies in and around Tiruvanmiyurthe position of the temple has improved considerably. Now the temple enjoys the status of one of the significant shrines of chennai.It will be clear from the foregoing account that the Marundeeswara temple has enjoyed a chequered history from very early times and that it has remained a reputed sacred centre, drawing devotees in large numbers in al ages. The account also reveals that the Marundeeswara temple after facing certain lean periods, now draws a large number of votaries.

INSCRIPTIONS BELONGING TO THE TWENTIETH CENTURY

Five inscriptions belonging to the twentieth century and found in the front mantap of the Tirupurasundari Amman shrine record the donations made by a few devotees to the temple.
1. Members of the Sengunthar community had made certain grants for the supply of certain articles during the Dwajarohana conducted at the temple on the eve of the Brahmotsava. They had constructed a chathram for the benefit of devotees. Pavazha Murugesan and Pavazha Raju belonging to the Sengunthar community had revived some of the grants made by their ancestors. (Inscription dated 1-5-1933.)
2. Pachiappan, son of Kathavarayan, a descendant of Janma Maharishi gifted his house and vacant lot located in Mowbrays Road, Alwarpet. The income these lands was aordained to be utilised for the conduct of the Pradosha Utsava. (sate; Salivahana sahaptham. 1822).
3. Land and house purchased with the aid of the offerings made by certain timber merchants were gifted to the temple. The income was used to defray expenses on the tenth day of the Brahmotsava.(Date. 25.11.1904).
4. T. Murugappa Chettiar, T. Arumuga Chettiar and Mrs. Pachiammal gifted land and building located Egmore for the conduct of the ardhajama worship in favour of Lord Theagaraja. (Date. 18-7-1887)
5. In accordance with the wishes of Mrs. Shakuntala, wife of M. Sambanda Mudaliar, a sum of Rs. 6000/-was handed over to Srimad. Thoppa Swamigal Paripalana Sangam. The interest earned by the deposit was earmarked for special worship conducted on all Krithigai days and for the procession of Lord Subramanya and his consorts. (1-8-1970).

INSCRIPTION FOUND AT PILLAYAR KOIL STREET

A Stone slab bearing the image of Vinayaka at the top portion, contains a valuable inscription. It records the gift made by the residents of Tiruvanmiyur for construction of a Vinayaka temple, a nandavanam and a chathram. The boundaries of the land and the signatories of the deed are also clearly written. This inscription, dated 5-12-1776, refers to the Papanasa theertha as Kailasa Tirukulam and to the consort of Lord Marundeeswara as Chockanayaki Amman. It states that Tiruvanmiyur formed a part of Kottur in Puliyur Kottam in Poonamalle Sirmai in Kanchidesam.

TIRUVANMIYUR STHALA PURANA

STHALA PURANA

The word Purana denotes anything that is ancient. The term is used to indicate ancient history with special emphasis on its ecclesiastical aspect. Among the vast collection of holy literature, the Puranas occupy a position of eminence next to the Vedas and the epics. In Sanskrit no less than 18 Puranas and 18 Upa-Puranas (sub-Puranas) exist.Sthalapuranas which normally elucidate the significance of a particular kshetra or hallowed spot could be regarded as a classification of the Upa-Purana.The efflorescence of Sthala Puranas was fraught with numerous benefits to the society. They infused confidence into the hearts of the devotees and reinvigorated the social fabric. The temples and the places where they were located came to gain security. Penitents who had a dip in the holy theerthas and proffered worship in the temples were absolved of their sins, even if they were heinous. People were assured of forgiveness if they repented for their sins earnestly. This gave them self-confidence to face their problems. The Sthala puranas furnishadequate information on the place, the period, the ruler and the saints who lived at that age. They facilitate the construction of the social history of the country. The Sthala puranas also inculcated highly philosophical ideas in the form of parables and short stories even to the common man. They paved the way for the moral regeneration of the society.

TIRUVANMIYUR STHALAPURANA

The Tiruvanmiyur Sthalapurana was originally composed in Sanskrit. It was composed in Tamil by Ashtavadanam Poovai Kalyanasundarar. It comprises of 1022 poems which are classified into 19 chapters. The work was printed in 1895 at the Hindu Union Press, Madras. Only a few mutilated copies of the original work are now available. The work commences with devotional hymns dedicated to the different divinities. The first chapter entitled 'Tirunattu Padalam' gives a fascinating account of Tondaimandalam. The second chapter named “Thirunagarappadalam” furnishes a detailed description of Tiruvanmiyur. It states that the place where the sages live in peace houses Marundeeswara who is capable of relieving the mortals of their desires and attachment to worldly affairs. Death at Kasi, birth at Tiruvarur, sight of Chidambaram and thought of Tiruvannamalai are believed to confer release from re-birth to the devotees. Not only birth and death, but event the every sight and thought of Tiruvanmiyur which abounds in festivals, This chapter further elucidates the various components of the town, the different streets and its inhabitants, the habitations of the soldiers, the compound walls, the mutts, the educational institutions, chathram and the water pandals that exist at Tiruvanmiyur. Finally, it devotes a few poems to the temple. “The compound wall of the temple is sturdy and lofty. The tower is majestic and lofty as though it would touch the sky. The holy dwajasthamba invites the devotees to enter the temple and seek the blessings of Lord Marundeeswara.” “The Vimana of the temple glitters like the peak of Mount Kailas. As the Adi Saivas recite the Vedas, the devotees offer obeisance to the Lord who resides in a majestic temple and offers his benefactions to them.”The rest of the work enumerates the various episodes associated with this Kshetra. In the third chapter sage Sooda describes in detail the greatness of this Sthala to a group of sages. The ensuing chapters provide these details.

SAGE VALMIKI OBTAINS DIVINE GRACE

Sage Valmiki has immortalised himself by creating the monumental work Ramayana. The early life of this scholarly devotee was fraught with evil ways. He was the son of Prachedasa rishi, a direct descendant of Brahma. In his youth hunters of unworthy and dubious character influenced his ways. He was never ashamed of harassing the wayfarers, who meagre belongings he appropriated by coercive means. Once a strange sight met his eys. A sapient sage was steeped in penance with his head resting on the floor. The vice hunter who detested the sight of holy men bent his bow and unleashed a few darts designed to decapitate the sage. The arrows made no impact upon the sage. The hunter was stupefied with horror.He awaited the conclusion of the penance with his eyes aghast.The sage being a clairvoyant foresaw that a bright future awaited the hunter. The hunter also realised that his antagonists was no mere human being. Slowly his better senses began to assert themselves. The sage taught him the ways and means of conquering his senses and initiated him into spiritualdom. A remarkable metamorphosis occurred in him. The hunter established an ashram on the banks of the Ganges amidst sylvan surroundings and indulged in an assiduous penance. Meanwhile Brahma had enlightened his son Narada on the significance of Ramayana. Four monkeys endowed with divine attributes were in the habit of propitiating Lord Siva before taking their evening food. One day a few Saivite zealots were engrossed in discussions about the merits of performing pooja on Sivarathri. The monkeys who overheard the discussions resolved to perform the poojas on Sivarathri. With this avowed intention they progressed towards the adjoining Siva temple, on the Sivarathri day. Sage Pulastya had meanwhile locked himself within the precincts of the temple; he propitiated the Lord, adhering punctiliously to the Agamic injunctions. The monkeys waited for a long time till their patience was exhausted. The exasperated monkeys broke open the door forcibly. Sage Pulastya was cut to the quick by their effrontery. He doomed them to die instantaneously. Before their death, the monkeys vowed to take revenge on the sage in their next existence. Pulastya was reborn as Ravana. The four monkeys, who regarded as Vali, Sugriva, Hanuman and Angad, had their sweet revenge. The hunter was so deeply engrossed in penance that an ant-hill developed over him. Sage Narada came to the ant-hill and narrated the deeds of Rama, with a request to compose an epic on him. Through the unflinching efforts of the hunter, the magnificent epic of Ramayana is created. The hunter on account of his association with the ant-hill was renamed Valmiki (Vanmiki).Having completed the monumental epic Valmiki breathed a sigh of relief. He came across sage Markandeya and boasted of his achievement. The ever sixteen aged sage retorted that the outcome of composing the stupendous work could be attained by less arduous means: by proffering worship to Lord Siva for one day. Valmiki sought the guidance of sage Markandeya for worshipping Lord Siva. Markandeya advised him to visit the various hallowed shrines of Lord Siva, till he received the Lord's benefaction. Accordingly, Valmiki embarked upon a pilgrimage to the numerous shrines situated throughout the length and the breadth of the country. After an arduous journey he reached the eastern coast where he heard a divine voice proclaiming the divine presence thus: “I am here”. The sage was delirious with delight when he discovered a linga which was embedded in the earth beneath a Vanni tree. In obedience to Markandeya's commandments he worshipped the linga earnestly. His endeavours bore fruit. Lord Siva appeared with Parvathi and other celestials in his train to bless the devotee. He consented to fulfil the wishes of the sage. Valmiki was overcome by ecstatic convulsions. He offered his obeisance to the Lord in a trembling voice, “O Lord! Forgive me for all the offences that I might have committed inadvertently. Be gracious enough to permit me to worship your lotus-feet forever. Kindly grace this hallowed kshetra in the august company of the Devi and bless your devotees”. From that day onwards this area abounding in Vanni trees received the name Tiruvanmiyur in honour of the sage. The presiding deity was referred to as “Vanmikanatha”. A permanent structure was created to house the linga. Five drops of water trickled out of the forelocks of Lord Siva to take the form of five sacred theerthas. A small shrine dedicated to sage Valmiki is located by the side of the highway. It is believed that he stays here worshipping Lord Siva even today. This incident is commemorated on the tenth day of the Brahmotsava conducted at the temple in April-May.This incident is narrated in the Sthalapurana written on the Siva temple of Tiruvotriyur found at the northern of chennai. Sage Valmiki yearned to propitiate Lord Padampakkanatha, the presiding deity of Tiruvotriyur with his own hands. The Lord stated that only the celestials and the sages had obtained such a boon. Instead the lord directed him to Tiruvanmiyur. In accordance with the behests of the Lord Valmiki performs a penance at Tiruvanmiyur even today.

RATSHASU REGAINS HIS FORM

Ratshasu, a monkey-faced celestial was a direct descendant of Lord Brahma. He was peregrinating in Satyalokha, the abode of Brahma when his eyes witnessed a lake of scintillating charm. It was known as Kalyana theertha. In order to preserve its sanctity, Brahma had ordained that any male who had a dip in that lake would be transformed into a female. Unaware of this curse Ratshasu jumped into the lake. To his bewilderment he became a female. Ratshasu was thoroughly ashamed of this transformation and left Satyalokha. Narada pitied the plight of Ratshasu. He directed Ratshasu to travel to the east coast and offer worship to the Swayambu linga found there. Ratshasu earnestly obeyed the commands and journeyed to Tiruvanmiyur. He sighted the theertha named Janma Nasani and had a dip in it. Later he visited the temple and propitiated the Lord earnestly. Lord Siva respected his sincerity and relieved him of the curse. Having regained his pristine form he returned to the abode of Lord Brahma. This incident is reenacted on the sixth day of the annual festival.

PARTHASARATHY PROPITIATES THE LINGA

Lord Krishna serving Arjuna as his charioteer engineered the Mahabharata war in such a way that human population would be decimated. The sight of his kith and kin pitted against him in battle made Arjuna shudder. He refused to bend his bow against his dear and near ones. Krishna advised him to do his duty without setting his heart upon the consequences. This is the genesis of Bhagavat Gita which every Hindu treats with reverence. The battle culminated in eighteen days. The object of Lord Krishna was accomplished. One day Krishna Paramatma met his mentor Upamanya rishi and offered his salutations. Thus said the sagacious sage, “O Paramathma! The Mahabharata war was engineered to reduce the burden of Bhudevi. Although it heralded the triumph of righteousness the means employed were totally unfair. Your role in this war is by no means negligible. You must atone for having abetted such unfair means. In order to spur Arjuna to action you had laid emphasis on karma marga. In the process the Vedic precepts had to take a backseat. The significance of Siva worship was disregarded. Although the ultimate goal was laudable these lapses have to be atoned. Kindly travel to the east coast and offer worship to the Swayambu linga. Your sin will be washed away by the grace of Lord Siva” Although Parthasarathy was an embodiment of Mahavishnu he had taken a human form to accomplish a mission. He had to atone for the evil deeds performed in his human form. In accordance with Upamanyu's counsel he repaired to the Swayambu Kshetra and had a dip in the theertha known as Papanasani. He proceeded to the temple to propitiate the Swayambu linga. By the grace of the presiding deity he was absolved of his sin. Lord Siva bade him, to reside eternally in the form of Parthasarathy and bless the devotees. He also revealed to the world the oneness of Siva and Vishnu. The temple of Parthasarathy is located at Triplicane at a distance of 5 kilometres from Tiruvanmiyur. This incident is recapitulated on the third day of the Brahmotsava.

CHANDRA IS GRANTED PARDON

Chandra (Moon incarnate), the son of Athri rishi had his apprenticeship under Brihaspathi, the guru of the celestials. His behaviour during the guru's absence was totally unbecoming of a man of his learning and wisdom. The exasperated guru cursed that a mortal disease would afflict him. He began to lose his luster and charm. Totally disheartened, Chandra began to wander here and there like a penitent seeking mercy. Narada came to his rescue. He delivered a sermon emphasising the need for control of one's senses. He also enjoined Chandar to surrender at the feet of Lord Siva. Chandra established an ashram on the east coast and invoked Lord Siva after having a holy dip in the theertha named Kamanasani. Lord Siva was appeased by the worship and relieved him of his sins. Having regained his radiance, Chandra returned to his abode. This event is enacted on the fourth day of the annual festival.

SURYA IS RELIEVED OF HIS DISTRESS

Normally Surya, the Sun-God brightens the world with his rays and energies it with his warmth. His ascent on the Udayagiri hills situated on the east was retarded by vice demons of an island called Mandeka. Surya was unable to discharge the duties to the best of his abilities. He was urged to invoke the Swayambu linga stationed on the east coast. Surya deputed his brother Asani (thunder) to worship Lord Siva on his behalf. Later Surya himself proceeded to Tiruvanmiyur, engendered a tank called Surya theertha and offered obeisance to the Lord. By the blessings of the Almighty Surya was relieved of his problems. It is stated that the presiding deity faces west to enable Surya to worship him in the evening. On the third day of the Brahmotsava, Chandrasekhara mounted on a vimana embellished by rubies blesses Surya.

INDRA IS ABSOLVED OF SIN

An iniquitous demon named Ahidhavushtra had divested Indra of his possessions and drove him into wilderness. Indra found asylum in the hermitage of sage Bhrigu. Flouting all norms of decency, Indra who let prurience get better of his sense, misbehaved with the daughter of Bhrigu. The infuriated sage doomed him to wander in the jungles like phrenetic. Cursing his fate Indra wandered about in the thicket. Sasidevi, Indra's consort beseeched Brahma to restore Indra to normalcy. Acting under Brahma's injunctions, Narada went in search of Indra and accompanied him to Tiruvanmiyur. He coaxed Indra to have a dip in the theertha called Janma Nasini. The healing touch of the water restituted his memories. Indra propitiated the Lord, stationed under the Vanni tree and sought salvation. By the mercy of the Lord he regained his status. This incident is reenacted on the evening of the sixth day of the Brahmotsava.

BRAHMA CREATES THE TEMPLE

The life-time of Brahma, the Demiurge lasts till the end of each kalpa. At the drawn of a new kalpa he is reborn. Towards the fag end of one kalpa, Brahma wanted to ensure that his assignment of creation is carried on without any impediments in the next kalpa. Acting on the advice of Mahavishnu, he journeyed to Tiruvanmiyur. He took a dip in the theerthas, smeared his person with vibhuti and worshipped the linga. Lord Siva appeared in the majestic company of Parvathi and the rishis and blessed Brahma. Brahma engendered a lake named after him. He enjoined the Devasthapathi to construct a mammoth temple to house the Lord, embellished by numerous subsidiary shrines and garnished by numerous subsidiary shrines and garnished by a towering gopuram. A cluster of houses was erected near the temple to settle pious Saivites. Arrangements were made to conduct the poojas adhering meticulously to the injunctions laid down in the Kamika Agama. Brahma organised a festival lasting for 10 days commencing on the Pournami day of Panguni. Panchamurtis mounted on different vahanas, were taken round to the accompaniment of pulsating music. Recitation of Vedas and the chant of devotional hymns this grand spectacle. Brahma decreed that in future this festival would be conducted every year. IT is the precursor of the Panguni festival that is conducted now on a grandiose scale. On the seventh day of this festival Lord Siva blesses Brahma.

VEDAS ATTAIN PURIFICATION

A reprobate demon called Somuka had secured boons of a varying nature that rendered him invincible. Fortified by these boons he swooped down upon Satyalokha and denuded Brahma of his valuable possession – the four Vedas, He surreptitiously hid them in the mundane waters, of the sea. Mahavishnu transfigured as the gigantic Matsya chastised the demon and retrieved the Vedas. The Vedas felt remorse that the touch of the depraved Asura had defiled them. They wanted to purify themselves. As directed by Brahma they reached Tiruvanmiyur and offered their obeisance to the Lord. Pleased with their steadfastness, Lord Siva decreed that the stigma attached to them would vanish. Thus cleansed the Vedas returned to Satyalokha. This event is commemorated on the morning of the eight day of the Brahmotsava.

KAMADHENU ANOINTS THE DEITY WITH MILK

Sage Vasishta yearned to propitiate Kasi Vishnwanatha, in all earnestness. He entreated Indra to send Kamadhenu, the divine cow to his ashram till the poojas were duly completed. Indra acceded to the request forthwith. The rishi was able to conduct the abhishekhas with the help of the milk supplied by the cow. One day Kamadhenu wandered around the hillslopes. The sylvan surroundings of the Himalayan ranges made her pulsate with joy. Unmindful of her duties, she spent the whole day enjoying the bounties of nature. Vasishta's ritual was affected by her absence. The indignant sage condemned Kamadhenu to lose her divinity. Kamadhenu lamented bitterly that her fortunes had suffered a setback. She roamed about in the jungles and ultimately reached Tiruvanmiyur. The salubrious environment that prevailed at the Vanni forest kindled in her a sense of devotion. She sighted the Swayambu linga and began to proffer worship by anointing him with the milk that trickled out of her udders. Meanwhile Sadhayu, the ruler of Sadhayupuri (probably the present Saidapet) launched a hunting expedition to extirpate certain wild beasts that harassed the inhabitants. A hefty and ferocious lion had eluded his arrows. The fleeing lion encountered Kamadhenu and tried to devour her. Flushed with the strength, she tore the lion by pieces with her incisive horns. King Sadhayu was bewildered by this unusual occurrence. When kamadhenu made good her escape from the soldiers, her hooves treaded the Swayambu linga, thereby causing bleeding injury. Kamadhenu sniveled that she had injured the linga inadvertently. Lord Siva pitying the tender-hearted cow consoled her with soothing words, “Dear! Do not fear; you have done no harm; the feel of your hooves was as tender as the touch of Subramanya's feet. You anointed me with milk, thereby rendering my colour white. I shall hereafter accept the name of Palvannanathar (The White-hued Lord). You will regain your divine status. Now return to Amaravathi, the abode of Indra”. Kamadhenu returned to Indralokha with her hear throbbing with delight. The morning of the second day of the Brahmotsava witnesses a reenactment of this incident. King Sadhayu received tidings of this event. He renounced his throne in favor of his son and devoted himself steadfastly to the development of the temple. The temple constructed at the instance of Brahma was in a dilapidated condition and the colonies had vanished. Sadhayu renovated the temple and re-established a colony of pious adherents. He also made munificent contributions of dress and ornaments for decorating the Lord on festive occasions. He also granted endowments for the regular conduct of poojas and festivals. After serving the Lord in various capacities for some time, he reached the abode of God.

YAMA ATONES FOR HIS DEEDS

Lord Siva chastised Yama, the god of Death who had the temerity to lay hands on his ardent devotee Markandeya. The Lord was so highly gratified by the votary's intense faith that he granted him immortality. Yama realised the intensity of his folly – He wanted to atone for the heinous sin. He sojourned at a place called Vedasireni (now Velachery), carved out a theertha with his spear and installed a linga. The linga was referred to as Dhandiswara. He also travelled to Tiruvanmiyur and propitiated the Swayambu linga regularly. By the grace of the Almighty, he was absolved of the sin of tormenting a zealot of Lord Siva. The temple of Dhandiswara is found today at Velachery. On the fifth day of the annual festival this incident is commemorated.

RAMA PROFFERS WORSHIP

Rama moved from place to place with a heavy heart in search of Sita who had been abducted by Ravana. During his wanderings, he visited various hallowed spots like Kalahasti, Tirupathi, Tiruthani, Coovum, Tiruvotriyur, Tirumullaivasal and Mylapore. The serene atmosphere prevalent at Tiruvanmiyur lured him. He had a dip in the sacred theerthas. He worshipped the Swayambulinga by submitting various objects like honey, fruits, sugar-candy, ghee, milk, spices and incense. Lord Siva assuaged his fears and assured him that he would be reunited with his consort soon. This incident is remembered on the fifth day of the Brahmotsava.

AGASTYA HAS A VISION OF THE DIVINE MARRIAGE

The divine wedding of Parameswara and Parvathi was conducted at Mount Kailas on a grandiose scale. An enormous congregation of enthusiasts had thronged the venue, thereby tilting the equilibrium of the earth. Unable to withstand the weight, the northern portion sank to a lower level. To redress the scale, Lord Siva directed sage Agastya to move to the south and tilt the scale, with his divine power. Agastya felt disconsolate that he could not witness the grand spectacle and pageantry. Lord Siva assured him that he could have a glimpse of the wedding whenever he so desired. Agastya humbled the pride of the Vindhyas and redressed the scale. The short statured sage visited numerous kshetras and had a hearty darshan of the divine wedding at a number of sthalas. The charming temple of Tiruvanmiyur evoked his admiration. Agastya yearned to watch the divine wedding here also. Lord Siva obliged his devotee instantaneously. He appeared in all splendour beneath the Vanni tree. Parvathi, bedecked with variegated ornaments and clothed in dazzling robes, was the cynosure of all eyes. The celestials rained fragrant flowers, while the pandits recited Vedic hymns. Melodious music emanating from musical instruments added flavour. Agastya was ectastic at the rare sight. On the ninth day of the Panguni utsava, the Lord mounted on a vahana, appears before Agastya near the Vanni tree to bless him.

BHRINGI AND THE SAGES ATTAIN BLISS

Bhrigni, a devoted sage had established his ashram by the side of Mount Kailas. He was convinced that Lord Siva alone is Omnipotent, as a result of which he neglected other divinities. He would visit Mount Kailas and propitiate Lord Siva alone, ignoring the presence of Parvathi Devi. Parvathi was nonplussed at this strange behaviour. In consonance with her wishes, Lord Siva appeared as Ardhanariswara before the sage. Bhringi would not relent from his avowed intention. He transformed himself into a tiny bee, forced his way by forming a wedge between the two aspects of Ardhanariswara and circumambulated the male aspect alone, chanting his name. Parvathi was enraged at this insolent behaviour. She cursed the sage to become defile. So potent was the curse that Bhringi could not even move his person. Lord Siva out of compassion provided him with an additional leg which did not improve the sage's plight. Lord Siva pointed out his folly of disregarding the female aspect of divinity personified by Parvathi. Bhringi realised his mistake and desired to atone for it. He embarked upon a pilgrimage to the various Saivite shrines. Ultimately he chose Tiruvanmiyur as the most suitable place for his penance. He established a hermitage at a place called Bhringi hill (now Parangi hill) and commenced an arduous penance. The enlightened rishis of Naimisaranya had lend their cars to Sooda rishi's expositions on the spiritual significance of Tiruvanmiyur. They also travelled to Tiruvanmiyur and participated in the rituals conducted by Bhringi. All the sages visited the temple and had a hearty darshan of the Omniscient Lord. On the fourth day of the annual festival Lord Chandrasekhara blesses sage Bhringi in commemoration of this event. In accordance with the usual custom, the concluding portion of the Sthalapurana catalogues the benefits that accrue to the bhaktas who have studied this sacred work.

THE 108 SIVALINGAS

Sage Agastya swallowed an Ocean to enable Indra to trace Vridhasura. In the process he had caused the death of a large number of creatures living in the sea. As a result he was afflicted by a colic. Agastya was ordained by Lord Subramanya of Tirupathi to perform a penance. He fashioned a river with the help of Darba grass (Kosasthalai river) in Tondainad. He and his disciples installed 108 Sivalingas on its banks and propitiated them. Later he came to Tiruvanmiyur and installed exact replicas of those 108 lingas. These lingas are found in the main mantap of the Marundeeswara temple. (Source: Sivamanjari. Part IV. PP. 579-580) by Poosai Arunavasanthan).

ART, ARCHITECTURE AND SCULPTURE

Art is an experience, whether worldly or spiritual expressed in a specific form. Our ancestors had a high regard for the spiritual aspects of life and as a result all aspects of Hindu culture are marked by a tinge of spiritualism. Their wish to depict this spiritual experience in visual forms found expression in art and sculpture. The tamils realised quite early that art is fundamentally in nature and hence it could be used as the best form of spiritual expression. Even when its proximate object was the gratification of the sense, its ultimate function was the sublimation of man's physical urges and linking them to his spiritual in content and religious in oreintation, and became inseparable from temples. Fittingly, the temples became the repositories of art as well as it cradle.The fame of some of our temples rests in their artistic splendour. The various components of the temple are compared to human limbs and this phenomenon has been explicitly defined in Visvakarma-Vastu sastra.The upapitha or the basement corresponds to the foot, the adhishtana or the base to the knee, padavarga or wall with pilasters to the arms, kumbhapanjara or pot-motif to belly and navel parts, prasthara or roof to the shoulder, kantha or dado the neck, sikhara or dome to the head, usnisa or finial to the knotted hair, mahanasika or larger window motifs to the nose and ksudranaskikas or smaller window motifs to the eyes. This description corresponds to the human being in his standing form. The lay out along the central axis and in a symmetrical form is utilised to describe the parts of a human being in the recumbent pose. An agamic work named Sarvajnanottragama which architects of Tamilnadu follow meticulously compares the gopuram to the bhutatma. The other parts of the temple are compared to the different aspects of the Atma – ie. Bali peeta represents Antaratman, the dwajasthamba stands for Tattvatma, the linga is equated with Jivatma, the guru corresponds to Mantaratma and the presiding deity represents Paramatma. Thus it would be crystal clear that the architectural components of the temple have a close affinity to the parts of the human body.The Tiruvanmiyur temple is a specimen of Dravidian architecture which has its distinctive features and which is a product of gradual evolution. Though it is impossible to delineate the progress that the Tiruvanmiyur temple underwent during the patrons hailing from different royal houses definitely shaped the parts according to the stylistic patterns of their ages. In the Pallavan age, the temple might have remained a small structure, housing the main deity. The Cholas might have expanded the temple by creating additional shrines. The vimana of the temple bears the features of the Chola age. S Vijayaraghavachari regards this temple as a specimen of early Chola architecture, “The main entrance with floral and scroll designs carved on either side of the door way is a typical example of the gopuram of the eleventh century A.D. The pattern of the pilasaters of the outer walls of the main garbagriha recalls the essential characterstics of Chola architecture. The kudu or ornamental semicircular arches cut around the vimana, bearing the lion's head at the top and the human face in the centre is a distinct feature of the Chola age. The architecture which combines simplicity with elegance, bears the style so commonly employed here in the days of the Cholas.” The monolithic pillars which are huddled together in a corner bear evidences to the genius of an age of temple building activity hardly surpassed by any in the history of South Indian architecture. It is viewed that the image of Nataraja bears features of the Chola age. The front mantap of the Amman's shrine bears sculptures of the leaping horses and yalis. These architectural features were introduced by the Vijayanagar rulers and their successors, the Nayak rulers.However, no evidence is available to substantiate the point that these pillars were cast in the Vijayanagar or the Nayak periods. The family of Tiruppasur Chettys completely renovated the temple and its surroundings. They casat the images of all the deities except the main deity who is a Swayambu Linga. Most of the mantaps were renovated under the auspices of Raman Chettiar at the beginning of this century. Thus the Marundeeswara temple bears modern features also.

THE TOWERS AND THE MANTAPS

Two towers, endowed with five tiers and seven kalasams are perched over both the eastern and the western entrances of the temple. A small four-pillar mantap and a Bali peeta are found near the well and opposite to the shrine of Tirupurasundari Amman. The Theagaraja mantap is supported by 34 pillars in three rows of ten each with four pillars at the end. The main mantap of Marundeeswara's shrine is supported by fifty one pillars. Among them twenty six pillars adorn the first half of the mantap and twenty five pillars are found in the second half. Only four pillars support the front mantap of Subramanya's pillars. The main mantap of Amman's shrine has 28 pillars in two rows of eight pillars while four more are found in the first half and four more in the rear half. The main garbagriha is supported by the adhishtana which is comprised of a combination of components like upana, jagadi, kumudam, padmam, andhari, vijanam and pattikai. The next portion is named kal or wall or suvar. It is never left barren, and is enriched by embellishments like pilaster, goshtas, palagai, podigai or corbel, etc. The closing portion or the roof is known as prashtara and is composed of three parts namely, bhutavari, kodungai or cornice and Yalivari. The crowning portion is named vimana and consists of components like griva and sikhara. The finial is named as stupi. The same formation is seen in the shrine of Amman also. The goshtas of Amman's shrine are left blank, but the goshtas of the main shrine contain the customary figures of Durga, Brahma, Mahavishnu, Dakshinamurthy and Vigneswara.

SCULPTURES

The Tiruvanmiyur temple is adorned by a myriad of sculptures. The ardent devotee who circumambulates the inner prakara could never fail to admire the well-chiselled images of the subsidiary deities. It is impossible to ascertain their age. But the aesthetic beauty and sublime grace that mark the sculptures deserve to be complimented. The relatively smaller sculptures that embellish the pillars of the various mantaps may normally escape the attention of the casual visitor. An attempt is made to enlighten the readers on the salient features of these sculptures also.

DWARAPALAS

The magnificent images of the dwarapalas who guard the main sanctum are awe-inspiring. They stand with faces full-front and resting on massive clubs entwined by a serpent. One of them bears a trident and a serpent in his hands. The other one holds the ankusa and the pasa. The possession of weapons in their hands portray them as warriors.

THEAGARAJA MANTAP

The sculptures manning the pillars of the different mantaps are worthy of attention. Most of the pillars of the Theagaraja mantap are adorned by modern designs which were probably intended to enhance the beauty of the mantap. The two pillars at the entrance of the mantap and the outet wall of the main mantap have accommodated the miniature images of Vinayaka, seated on the mushika vahana and that of Subramanya, seated on the peacock.

KANNAPPAR

The most remarkable sculpture in this mantap portrays the life of Kannappa Nayanar. Thinnappan as he was named at birth, was a brutish creature born of brutish parentage. He was suddenly transformed into a mellowed votary of Kudumithevar, the Lord of the Kalahasti hills. He used to offer strange articles like wild flowers, creepers and meat roasted and tasted by himself to the Lord. The orthodox Sivachariar who was shocked at these sacrilegious deeds kept cleaning the temple every morning while the unsacred worship of Thinnappan continued at night. Lord decided that the time was propitious for the world to recognise the devotion of the brutish votary. As blood trickled out of the eyes of the linga, the hunter with a bleeding heart gouged out one of his eyes with his arrow and applied it on the affected eye of the linga. While bleeding stopped, the other eye began to bleed. When the hunter was about to repeat the act by removing his other eye also, the Lord intervened, proclaimed him as Kannappar and blessed him. The sculpture, adorning a pillar of the Theagaraja mantap, portrays Kannappar who stands with one foot raised to touch the second eye so that he can identify it even when he becomes blind; his arms carries the arrow which touches his eye. The benevolent arm of the Lord surges out of the linga which is depicted with eyes and nose, to stop the devotee from piercing his eyes. The arm is partially broken.

ANJANEYA

Another pillar depicts the standing Anjaneya, who is an object of adoration. Devotees offer butter and garlands of paper with the word Sri Ramajeyam written on it.

PALANIANDAVAR

On the opposite pillar is portrayed the figure of Lord Subramanya in the form of Palaniandavar. Subramanya and Ganesa were ordained to circumambulate the world with the promise of the prize of a rare fruit to the victor. Subramanya who was discomfited in the contest, felt that he had been duped.He relinquished the family to don the garb of a mendicant. Among the sixteen forms of Karthikeya described in detail in Agamic works like Sritatvanidhi and Kumara Thantra, the form of Palaniandavar corresponds to that of Kandaswamy. He wears only the lion-cloth. His right hand grips a danda while the other hand rests upon the hip to form the katyavalmbita posture. The sculpture accommodated in a pillar of the Theagaraja mantap corresponds to this description.

OTHERS

A sage with a prominent beard holds his hands in supplication. He has been identified with sage Valmiki. Figures of linga with a garland placed over it, of another linga over which a serpent is entwined to form an umbrella and of a five-hooded naga guarding a linga are portrayed on some pillars. An equestrian, seated on a well-caparisoned horse and another with an attendant nearby are also noticeable. Figures of parrots, lions and deer’s with their body and face turned towards the tail are also seen.

MANTAP OF THE MAIN SHRINE

The mantap in which the main shrine is situated, possesses some interesting sculptures. The figure of Kamadhenu offering milk abhishekha to a linga and of another cow with its face turned inwards and anointing the linga with milk are worthy specimens. A devotee places his hands upon a linga in a reverential attitude while a maiden watches him with her hands held in supplication. A linga placed under a tree, two serpents with their bodies entwined to anoint a linga, a leaping tiger, two pairs of parrots, deer, fish, and a pot with leaves projecting out are the significant sculptures found on the pillars of this mantap.

SUBRAMANYA SHRINE

The pillars of the front mantap of Subramanya's shrine also possess a few charming sculptures. The standing Brahma, the seated Vinayaka, a female deity in a standing pose, and a few maidens in dancing postures are depicted here. Another sculpture depicts Rishaba vahanamurthy. Here Siva and Parvathi are seated on the vehicle of rishaba. Another figure portrays Subramanya as Sikhivahana whose back hands carry shakti and vajra while the other tow hands offer the abhaya and the varada mudras. He is seated on a peacock with his left leg bent and resting on it, while the other leg hangs down.

AMMAN SHRINE

The front mantap of the Amman shrine which resembles a kalyana mantap serves as a veritable treasure house of sculptures. The construction of the kalyana mantaps is an innovation of the Vijayanagar rulers. The mantap of the Amman shrine is adorned by a number of pillars whose central portion is covered by a number of pillars whose central portion is covered by a number of sculptures. The pillar at the entrance, characterized by leaping horses, is a notable innovation of the Vijayanagar rulers. This pattern was imitated by the Nayak rulers. The formation of the pillars with leaping horses could lead to the inference that the mantap was either fashioned in the days of the Vijayanagar and the Nayak rulers. Or else they could have been constructed at a later dance adopting their style. Two pillars depict soldiers, seated on a leaping horse, whose mane is well ornamented and decorated. A few soldiers are depicted below holding the rope by its end and carrying weapons. The ornaments are intricately portrayed. Four pillars are embellished by the figures of lions carrying a pole-like projection in their mouth. On either side, soldiers carry tridents in their hands.

VINAYAKA

The figure of Vinayaka dancing on a serpent is an exemplary specimen. He holds the tusk, the noose and the modaka in his hands. The features of the serpent with its raised hood are delicately portrayed. Durga with anuska, and pasa gracing two of her hands, one hand offering abhaya mudra and the other a katyavalambita pose, wears a kritamakuta, a garland and a garment around aher hip. She stands on the buffalo-demon.Umasahitamurthy, with damaru and trident in two of his hands places his other two hands round Parvathi who is seated on his lap. The fear-evoking Kali dances with articles like khetaka, damaru, ankusa and pasa in her hands. Her apparel is in plaits. The lovely sculptures of Dakshinamurthy and Nataraja occupy two of the pillars.

NARASIMHA

An entire pillar is devoted to Lord Narasimha. On one side is depicted an irate Hiranyaka, who kicks the pillar to find out the Omni-presence of Mahavishnu. At another part Narasimha, the half-lion and the half-man, is involved in a furious duel with Hiranyaka. This figure of Narasimha is brought out in an elegant and cleary way. He carries the sankha, the gada, the chakra and the padma in four hands; two others are depicted as tearing open the belly of the vanquished asura; the other two hands hld the entrails of the fallen victim like a garland. On another side, Prahlada with a serene and pacific countenance, offers his hands in a supplicatory pose as though he is entreating Narasimha to eschew his violent demeanor. Prahlada is clad in dhoti and wears a kritamakuta.

SARABHESWARA

The rear side of this pillar presents the rare image of Sarabhamurthy with the twin-faces of birds, carrying the deer and the parasu in his hands. He has pinioned Narasimha by laying him on his lap to subdue his ferocity. Narasimha who was simmering with rage at the resistance offered by Hiranya became so frenzied that even the celestials trembled at his sight. They sought succour from Lord Siva. Transfigured as the quaint looking Sarabheswara, Lord Siva tamed the fury of Narasimha. The description of Sarabheswara furnished is agamic works is analogous to the description of Simhagnamoorthy, one of the sixty four forms of Lord Siva, found in a work named Sivaparakrama.

OTHERS

The image of Nagaraja is depicted with two of his hands holding the trident and the pasa and seated on a bed fashioned by a serpent. Another serpent is curled over his head as though it forms a head-dress. It is a remarkable specimen. Mahavishnu in the form of Matsya, which he assumed to recover the Vedas from the sub terranean world, is portrayed on a pillar. Mahavishnu in both seated and standing postures, with the conch and the disc in his hands, Lord Krishna as the performer of a pretty dance to subdue Kaliya, the vain serpent-ruler, Brahma in his customary standing pose, Goddess Uma in the act of embracing a Sivalinga, Lord Vinayaka seated on a fully represented mushika, female deities in both standing and sitting postures, Goddess Kamakshi engrossed in a penance, the humble Anjaneya, and the seated Gaulisvara are some of the divine sculptures that are portrayed on pillars. Subramanya is portrayed in different postures, as seated on a peacock with different weapons including the bow and arrows. He is seated on an elephant and even on a goat and carries weapon like bow and arrows. Figures of sages sporting beards and performing acts of devotion, musicians playing upon instruments like mridangam, flute, lute, and bugle, dancers in different poses, a woman looking at the mirror, a woman holding a veena, a woman holding a lotus by its stalk, a soldier with sword and shield in his hands, a chauri-bearer, a woman catching a parrot in her hands, animals like lion and monkey and Boothaganas are also depicted at various places, in the mantap.

MAIN MANTAP

The main mantap enshrining the sanctum of Tripurasundari is also embellished by many such miniature sculptures. Tirugnana Sambandar in a standing posture, Krishna playing the flute, Vigneswara in a dancing pose, Ganesa seated on a mushika vahana, Rama with bow and arrows, the awesome Bhadrakali, Brahma in a standing pose, Siva seated on a rishaba vahana, Amman in a dancing pose, Devi in seated and standing postures, equestrians leaping on horseback, dancing women in varying poses, devotees worshipping the deities, and representatives of the animal kingdom are some of the specimens worthy of note.

BAS-RELIEFS

A few bas-reliefs adorning the upper portions of the outer and the main mantap of the Amman's shrine are worthy of attention. Looking at the upper part of the mantap, one can see a circular formation in which sixteen figures of Amman are portrayed in standing and sitting posturers. At the centre, a nine-petalled flower, marked by three triangles, accommodates a seated Amman. At the corners, sages, celestials and Lord Vinayaka are portrayed. At another place, two devotees proffer abhisheka to a Sivalinga. A host of sages are watching the event with reverence. At another place dancing apsaras and musicians playing upon various musical instruments are surrounded by sages, celestials and others.The upper parts of the main mantap of the Amman shrine possess the exquisite scene depicting the churning of the Patkadal. The Mandhara Mountain serves as the churning rod. The puissant snake named Vasuki acts as the churning rope. The celestials and the daityas, who are portrayed with monkey-faces, perform the act of churning the Ocean, grasping the head and the tail of the snake. A number of sages and celestials witness this event with keenness. The sculpture of a person holding his hands in supplication lies partly buried in front of the Amman's shrine. The identity of this sculpture is unknown.

STUCCO IMAGES

Coloured images made of stucco, are provided in the vimana and the gopurams. Around the vimana of Vijayaganapathy's shrine, miniature stucco images portray the different forms of vinayaka. Agamic works have mentioned no less than thirty two varieties of Ganapathy. However, in the vimana, only seventeen varieties have been accommodated. They are Bala Ganapathy, Taruna Ganapathy, Pingala Ganapathy, Uchchishtha Ganapathy, Vijaya Ganapathy, Kshipra Ganapathy, Urddhava Ganapathy, Nritta Ganapathy, Maha Ganapathy, Lakshmi Ganapathy, Heramba Ganapathy, Bhakta Ganapathy, Veera Ganapathy, Shakti Ganapathy, Dhwija Ganapathy and Kshipra Ganapathy.

UPPER PART OF THE MANTAP

Colourful stucco images also adorn the upper portion of the entrance to the main mantapof the Amman shrine, the entrance to the Theagaraja Mantap and the western entrance to the main shrine, which remains closed.The upper part of the main mantap of the Amman's shrine is graced by stucco figures of two lions on either side. Vigneswara is portrayed in a standing pose. The three consorts of the Trimurthis- Saraswathi, Lakshmi and Durga, are depicted in a seated posture. Subramanya stands with one leg resting on peacock, his vehicle. The graceful images of Parvathi and Paramasiva, seated on the bellicose rishaba, with their sons Ganapathi and Subramanya on either sider lend charm to the entrance of the Theagaraja mantap. Identical stucco images are found on the upper portion of the western entrance of the main shrine.

VIMANAS

The vimana of Vijayaganapathy's shrine is adorned on three sides by the colourful images of the seated Vinayaka in a padmasana pose. In the upper part of Subramanya's shrine, the colourful figure of Muruga offers darshan in a standing posture, with Valli and Devasena on either side. In front are placed the Vel, his favourite weapon and the flag adorned by the figures of the Dwarapalas and some of the Navaveeras at the appropriate places. At one place Muruga is seated on his favourite vehicle, the peacock, with his two consorts seated on either side. On one side is depicted the scene of Subramanya's marriage with Devasena. She is also represented as seated under the shade of a tree with Subramanya standing nearer at another place. On the other side Subramanya's marriage with Valli is portrayed. Here Valli guards the paddy fields and Subramanya is represented both as a hunter and as a decreipt pantaloon in whose guise, he attempted to woo Valli. In both the marriages Brahma, serving as the purohita, sits near Agni. On either side of the divine couple are positioned Siva and Mahavishnu.The vimana of the Amman's shrine possesses no images. The vimana of the main shrine as embellished by images like Mahavishnu and his consorts, Brahma and his consort, Saraswathi, Lord Siva in his various manifestations and a few Boothaganas. A number of rishabas are placed at the corners of the vimanas and on the compound wall. The vimana, perched over the shrine of Theagaraja possesses images like Dakshinamurthy, Brahma, Mahavishnu and Boothaganas. The small vimana adorning the shrine of Nataraja is devoid of any sculptures of the divinities.

GOPURAM

The gopurams, adorning the eastern and the western entrances are garnished by lovely and colourful stucco images. The eastern gopuram has dwarapalas on either side of the central portion in all of the five tiers while a number of Boothaganas are placed at the corners. On either side Dakshinamurthy and Brahma are placed in all the five tiers. The different manifestations of Lord Siva viz., Bhairava, Chandrasekhara, Uma alinganamurthy, Umasahitamurthi, Chandesanugrahamurthy, Bhikhatana and Somaskanda are sculptured in this gopuram. The images of Subramanya, Vinayaka, sages and Kamadhenu are also portrayed. Mahavishnu offers Parvathi in marriage to Siva at one place while Subramanya seeks enlightenment from a sage. The western gopuram too possesses stucco images like Nataraja, Urdhvathandava, Kannappar who offers his eyes to the Lord and Kalyanasundara.Dwarapalas are placed on either side of the central part while Boothaganas are accommodated at the corners. Different types of the images of Dakshinamurthy and Brahma are placed at the two sides. Thus the temple abounds in stucco images, all of which are suitably coloured. These images are intended to attract the eye of the visitor and to cater to their aesthetic sense.

FESTIVAL IMAGES

Tiruvanmiyur, like any other important temple possesses metal icons cast in an alloy of five metals known as pachaloka. The metal icons named as festival images or utsava vigrahas, are carried on in varius vahanas during the festivals. They act as the representatives of the main deities. The Marundeeswara temple of Tiruvanmiyur possesses forty one utsava images which have been registered with the State department of Archaeology. An account of the utsava images is given in the ensuing portion.

PALLIARAI IMAGES

The Palliarai images which are normally kept in the Palliarai, situated by the side of the outer mantap of the shrine of Tripurasundari Amman, include the two and half feet tall image of Lord Siva, the one feet tall image of His consort and the Palliarai Sripadam. Both the Lord and his consort are seated in a sukhasana pose. Lord Siva carries the parasu and the deer in two of his hands while the other two hands offer the abhaya and the varada poses. The Amman carries flower in one hand while the other hand rests on the peeta. The two images are seated, on two separate peetas.

SUKRAVARA AMMAN

Sukravara Amman who represents Tripurasundari Amman during the Navarathri festival and the Friday prakara utsava is a two and a half feet tall icon who stands on a pedestal holding the ankusa and the pasa in her hands.

NATARAJA

The magnificent image of Nataraja, who is four feet tall, is accompanied by Sivakamasundari who is two feet tall and Manickavasagar who is one and a half feet tall. This image of Nataraja is taken around the car streets in a procession on the Tiruvadirai day in Markazhi.

THEAGARAJA

The Somaskanda group of images includes the idols of Theagaraja who is fifteen inches tall, Amman who is one feet tall and Balasubramanya who is half feet tall. Both Thegaraja and the Amman are seated in Sukhasana pose and carry the same articles that the Palliarai images possess. In addition, a separate image of the Amman known as Thani Amman belongs to the Theagar group. She is three feet tall and stands holding a flower in her hands.

PRADOSHA IDOLS

The Pradosha idols comprise of Pradosha Nayakar, who is twelve inches tall, his consort who is nine inches tall and a prabhai surrounding these two idols. These images are subject to abhishekha on the occasion of Pradosha after which they are carried in a rishaba vahana with full decorations three times round the prakara.

SUBRAMANYA AND HIS CONSORTS

The Subramanya group of idols includes Subramanya who is two feet and three inches tall, his consorts Valli and Devasana who are twentyone inches tall and a prabhai. Subramanya carries the shakti and the kukkuta in two of his hands while the other two hands offer the abhaya and the varada mudras. His consorts carry flowers in one hand and place the other hand by the side.

CHANDRASEKHARA

This group consists of Chandrasekhara who is two feet and nine inches tall and Uma who is two and a half feet tall. Both the images stand on separate pedestals. Uma with three bends in her body holds the nilotpala flower in her hands. A parasau with its end turned away from the deity and a deer with its faceturned towards the Lord are held in the hands of the Lord. The other two hands offer the abhaya and the varada poses.

OTHERS

The two feet and nine inches tall image of Mahavishnu carrying conch and disc in two of his hands and clutching on to a pot in his other hand is represented in a standing posture. Brahma who is twelve inches tall, sits with the kamandala and akshamala in two hands while the other hands grasp a vessel. A prabhamandala surrounds Vinayaka who is sculptured in a standing pose. He is two feet tall. Chockanatha and Kalyanasundara with their consorts are also found in the group of sculptures. Among the Nayanmars, Tirugnana Sambandar, is seen holding a pair of cymbals in his hands, Athipathar, Thillai Vazh Andanar, Kanampullar, Iyatpagaiyar, Karaikal Ammaiyar and Tiruneelakantar are also found in this group. Astradeva who is represented by a trisula, is twenty one inches tall. Other utsavars include Chandikesvarar, Valmiki, Manickavasagar, Mahalakshmi, Meenakshi, Pavai Vilakku, Seliamman and Bhogashakthi Amman. These idols ae utilised in the various festivals conducted periodically in the temple.The Tirvuvanmiyur temple thus adheres to the architectural patterns associated with all the Saivite temples. It houses all the deities that are normally found in the Saivite temple. The temple abounds in sculptures which is a treat to the aesthetist. The representation, given to forms of Mahavishnu in the sculptures betrokens to the catholicity of outlook of the architects of the temple.

6.LITERATURE ON THE TEMPLE

Literary sources, both Indian and foreign, form a valuable source of history. Temple legends like Madura Talavaralaru and Srirangam Koil Ozhugu are nothing more than a farrago of legends, replete with distortions and inaccuracies that they by themselves cannot be used as sources without corroborative testimonies from other sources. But the indirect value of literary sources cannot be underrated.They enable historians to portray the social and religious milieu in which the characters of history lived, moved and acted. The prologues, epilogues and colophons appended to the literary works embody valuable data on the lineage and achievements of the authors of the works and the royal patrons, which eke out the scrappy information drawn from inscriptions. They also reflect the blend of the Aryan and the Dravidian cultures which are clearly visible in the devotional literature.Literature constitutes one of the most fruitful sources or the study of the history of Tiruvanmiyur temple. The rising tide of Hindu reaction to the Jain and Buddhist influence found expression in the production of a vast mass of religious literature. The reaction against the growing influence of Buddhism and Jainism found expression in the widespread Bhakti movement. The outpourings of the Alwars and the Nayanmars in the course of their propagandist peregrinations constitute the most priceless treasure in Tamil literature. This great volume of popular devotional literature couched in simple diction and catchy tunes, when set to music ravished the hearts of the commoner also. The hymns, composed by Tirugnana Sambandar, Tirunavukkarasar and Sundarar, the three pillars of the edifice of Saivism, collectively known as Thevaram constitute the earliest form of devotional literature available.The outpourings of the Saivite savants, popularly known as the “Samaya Kuruvars”, left an indelible impression on the hearts of the people to such an extent that their successors too followed their path by composing a large number of hymns. At a later age, under the influence of Sanskrit scholars, a passion arose for glorifying the sacred places, which culminated in the emergence of Sthala Puranas. Similarly, a new form of literature known as Prabhandas or miner literature gained prominence. Marundeeswara temple is fortunate that a vast number of religious literatures has been written on it by men of saintly disposition. A study of the compositions of such holy men would be of immense value.

TIRUGNANASAMBANDAR

The sage whose name is very much adored by the Tamil society is Tirugnanasambandar. Sivapada Hirudaiyar and Bhagawathi Ammal, a staunch Saivite couple yearned for a son who would destroy the citadel of alien religions and reduce them to ashes. On the auspicious day of the Athirai asterism was ushered into this world, the Son of God who was destined to rid Tamils of the proselytising Jains and to reestablish the supremacy of Saivism and Vedantism. Like all children born after assiduous penances, this child Tiruganasambandhar was petted and fondled as he blossomed from infancy to toddletom. He accompanied his father to the temple tank at Srikazhi. Leaving the child on its bank, Sivapada Hirudaiyar dived into the tank to have a bath. The absence of his father rendered the child apprehensive. His eyes brimmed with tears which slowly trickled down and simmered like dew on his body. In a helpless voice he called out his parents. The Lord, mounted on the bellicose bull and accompanied by the willowy dame of the hills appeared before the wailing child. Parvathi, fed him with milk blended with the sweet ambrosia of inconceivablegnosis of Lord Siva.Sivapada Hirudaiyar finding traces of milk drooling from the boy's mouth, asked him in a threatening voice the source of the milk. The child, barely three years old, with one finger pointed up and one foot raised symbolically delivered a decad of no less than -11- songs composed on the spur of the moment, confirming to the rigid rules on Tamil grammar and set to the ancient classical Tamil tune, to the audience of his bewildered father. It was a red letter day in the annals of Saivism. Tamil literature which had touched the brink of an abyss began to soar to dizzy heights. The first step in this steeply inclined rise was heralded by the hyper-lexic, Tirugnasambandar. He toured throughout Tamilnadu, threw down Jainism from the tyrannical pedastal it had climbed and spread the gospel of Lord Siva. In all, he made six tours, each a wider circle than the previous one returning each time to Srikazhi, the place of his birth. He had bequethed a legacy of -388- decads comprising of -4230- stanzas of devotional hymns which he had composed at the -219- shrines that he visited. His marriage was conducted when he was -16- years old at a khetra called Nallur Perumanam (Achalpuram). When he went round the ceremonial fire with his little finger entwined in the little finger of the bride, the fire grew into an effulgence. All the persons present at the wedding entered the effulgence and reached the heaven of the Lord. Tirugnanasambandar has composed two decads, lauding Tiruvanmiyur and deity housed in this temple. The first decad forms a part of the second Tirumurai and is set to a tune named Indhalam. The second decad, set to the Kausiaga raga is included in the Third Tirumurai. They present a rosy picture of the hallowed place in no unequivocal terms. The reverberating was waves of the sea dash against the shore with a clamour and deposit the riches carried by the seven seas including white pebbles. Small rivulets, always washed by these waves allow different types of fish to live. Lively pastures and gardens filled with well-blossomed flowers which are colourful and fragrant, entince the humming bees to sit upon them. Groves filled with different varieties of creepers and plants enhance the grace of Tiruvanmiyur. The lofty mansions where even the clouds seem to rest, sturdy walls revealing workmanship of a very high order and encompassing the city on all the sides and well – formed streets that facilitate the movement of the ratha lend grandeur to the place. Dedicated votaries propitiate the Lord by a generous use of the fragnant sandal paste, abhishekha theertha and ahill. Vedic scholars chant the Vedic mantras while the ardent devotees pronounce the sacred name of the Lord. Chaste women are steeped in veneration of the Lord.In accordance with the usual custom, Sambandar has attributed the benign and the valiant deeds of Lord Siva to the presiding deity of Tiruvanmiyur. His crown is adorned by the gold coloured crescent moon, the pure Ganges, the fragrant Kondrai flower and the setting sun and the fire. The albescent vibhuti and the graceful yajnopavita lend charm to his person. Gripping the axe in one hand, he mounts the rishaba which clasps like thunder. He possesses the third eye which is generally invisible. He wears graceful anklets. To safeguard the world, he dances at night in the mayana. To protect the innocent, he deposited the alakala poison in his throat and earned the name of Neelakanta. In the guise of Bhikshatana, he carried the Brahma kapala in his hands. As Dakshinamurthy, he enlightened the rishis named Sanath Kumaras under the shade of the Kallala tree. Though undeserving, the ten – headed Ravana was the recipient of this grace; when he strove to lift the peak of Kailas in a contumacious frame of mind, Siva pressed the peaks of the Kailas so that the arms od the Asura were caught in the hill. When the repentent Asura produced the Lord's favourite raga from his veena, the Lord blessed him. He demolished the three flying fortresses owned by the three reprobate demons viz., Vidyunmali, Kamalaksha and Vimalaksha. The recumbent Mahavishnu who reclines on the dotted Adisesha and Brahma who sits on a lotus flower could not fathom his feet which touched the underworld and his head which went beyond the skies respectively. He had offered an equal status to his consort Parvathi by accommodating her in his person. He had worn the skin of Gajasura after conquering the elephant-shaped demon. He had mastered the four Vedas. Such characterics of the Lord of Tiruvanmiyur are gleaned from the two decads composed by Sambandar. The last hymns in both the decads reveal the greatness of Sirkazhi, the birthplace of Sambandar. The decads conclude by enumerating the benefits that reach a person who earnestly chants the two decads.

TIRUNAVUKKARASAR

Appar or Tirunavukkarasar who conquered divine love by Bhakti was a contemporary of Tirugnanasambandar. Appar was born at Tiruamur. Pukazhanar and Maathiniar, a couple who professed agriculture as their vocation were his parents. His original name was Marulneekiar. Having lost his parents at a tender age, he grew under the tutelage of his sister Thilagavathiar. He entered the arena of religion and was lured by Jainism which was from day to day waxing in power. Whether he was apostate or a novice, no one can say but he was interested in Jainism. Thilagavathi was constantly praying to Lord Siva to guide her beloved brother on the right path. Marulneekiar was afflicted by a terrible colic which defied all the ministrations of the Jain monks. Ultimately, he sought solace from his sister who haled him before the Lord of Tiruvadigai. The sacred vibhuti served as a panacea for all ills and relieved him of his distress. Tirunavukkarasar began to deliver hymn after hymn lauding the gracious Lord.The Pallava ruler, egged on by the vile Jain monks, endeavoured to prosecute the apostle who was a renegade in their eyes. Fortified by the courageousness aroused by implicit faith in Lord Siva, Appar stoically withstood the ordeals and emerged triumphant. The rest of his life was devoted to the spread of Saivism. Like sambandar, he too visited numerous shrines, singing the Lord's praise. On three occasions, he had the pleasure of meeting Tirugnanasambandar. During his last days, he sent his heart upon a visit to Mount Kailas, the abode of Lord Siva. When he was unable to walk anymor, he crawled and finally he edged himself forward inch by inch on chest till it was a bleeding mass of shredded flesh and bared ribcaage. At this juncture, Lord Siva directed him to go to Tiruvaiyaru. Here the vision of Lord Siva and Parvathi in the kaleidoscopic variety (Viswaroopa), was bestowed upon him. He shuffled off this mortal coil at Tirupugalur at a ripe age of eighty.Appar's songs reached the common man more easily as they reveal a hear burdened with love and humility. As a very humble servitor, he always carried a hoe in his hand to riod the precincts of the temples of weeds, thorny shurbs, flints and stones. Appar personified service in a humble way. Some of his verses like the Tiru-Angamalai in which ever part of his person is dedicated to the Lord, are marked by simplicity, intelligible even to the children. On the other hand, Tiruthandagams which are pregnant with philosophic thought, testify to the composer's erudition. In the whole vast library of devotional works, there is none to compare with the Tiruthandagams of Appar.Tirunavukkarasar's lone decad on Tiruvanmiyur is included in the fifth Tirumurai. The lone reference to the fertility of Tiruvanmiyur is found in the first hymn which states that the rich meadows and fields of Tiruvanmiyur are habitated by bees seeking nectar. He gives an account of the greatness of the Lord of Tiruvanmiyur in his hymns. The Lord of Tiruvanmiyur is the Master of the World. The snake which raises its hood and the moon are worn by him in the form of ornaments. The river Ganges hides in the tresses of his hair. Lord Siva has offered a half of his person to his consort Uma who is bedecked with garlands and who possesses a delicate feet. The Omniscient Brahma and Mahavishnu are unable to comprehend his qualities. Lord Siva is manifest as the first and the foremost of the Trimurthis. He is the creator and the protector of the Universe. He presents himself in the form of Ardhanariswara. He chastised the contumacious Ravana when the latter tried to lift the Kailasa mountains. The Lord pressed the mountains and the Asura's hands were caught in its midst. The Lord blessed the Asura when the latter, in a penitent state, sang his praise.Tirunavukkarasar emphasises the benevolent qualities of the Lord of Tiruvanmiyur whom he lauds as a veritable boon-giver. The devotees who surrender at his blossomy feet and proffer fragrant flowers will be relieved of their sins. He redeems the mortals who suffer on account of their attachment to worldly desires and mundane pleasures. Devotees who purge themselves of their ignorance and seek the blessings of Siva, the personification of benignance, are assured of his personal blessings. The Lord confers his beneficence only upon the sincere and dedicated votaries; unrighteous persons can never receive his benefactions. Devotees who shed their ego and chant the name of the Lord with dedication are assured of his blessings. Appar emphasises the necessity of control of the five senses as a pre-requisite for attaining the blessings of the Lord. He implores the votaries to worship the Lord before the human self, characterized as a dilapidated mansion which possesses nine entrances, is charred at the burial ground. Thus the Thevaram hymns present a rosy picture of Tiruvanmiyur and its presiding deity.

3.SEEKILAR'S TIRUTHONDAR PURANAM (PERIAPURANAM)

Sekkilar's masterpiece is a landmark in the history of Saivism. He was born in a Vellala family at Kundrathur near Madras. Having entered the service of the Chola monarch Anabhaya, he rose to the exalted position of the chief minister, earning the epithet “Uttamasola Pallavarayan”. Deeply offended by the ruler's interest in Jivakachintamani, a Jain epic he exhorted the king to abandon the pursuit of the impious erotic literature and to turn to the lives of the sixty-three Saivite saints. The king there upon ordained Sekkilar to expound their accomplishments. Being greatly fascinated by the theme the ruler ordained that Sekkilar should indite an epic narrating the accomplishments of the Saivite seers. Seekilar repaired to Chidambaram and by divine grace completed the monumental work. The monarch listened to the poet's exposition of the work and honoured Sekkilar by carrying him on a well-caparisoned royal elephant. Hailed universally as a veritable fifth Veda in Tamil, it was included in the Saivite canon as the twelfth Tirumurai. It is a worthy commemoration of the age of Imperial Cholas and their unstinted devotion to Saivism. The servitors whose lives form the theme of this work lived for Him and adored Him in delightfully distinct ways. “These prophets and practitioner's of God-love, these adepts and laureates of Bhakti, these servitors, these children; these comrades of Siva, these devotees of the Divine's exemplars, these darlings of Infinity, as they make their appearance and leap into scintillating life in Sekkilar's poetice universe, they acquire a 'criticality' that engineers their prolonging themselves permanently in our and in the earth's consciousness. (K.R. Srinivasa Iyengar). Sekkilar has described Sambandar's visit to Tiruvanmiyur in six chaste poems. After biding adieu to the Saivite zealots of Mylapore, Sambandar visited a number of shrines, on his way to Tiruvanmiyur. The ardent devotees of Lord Siva who reside at Tiruvanmiyur, accorded him a fitting reception holding auspicious ornaments in their hands.He went to the temple which possessed a lofty tower, to propitiate the Lord who confers his blessings on the votaries. Having saluted the lofty tower, he circumambulated the temple and worshipped the Lord, whose reddish tresses of hair are adorned by the crescent moon and the Ganges. Tirugnana Sambandar submitted a decad of hymns which resembled a 'garland of the choiset flowers' at the feet of Lord Siva.Tirugnanasambandar's eyes were moistened by tears of ectasy. Bristles appearing all over his person revealed a joyful state. Tirugnana Sambandar, who had inculcated a liking for that place decided to sojourn at Tiruvanmiyur, whose shores are battered by the waves of the sea. During this period he dedicated hymns possessing a distinctly literary style and set to a mellifluous tune at the feet of the Lord.A lone hymn found in Tiruthondar Puranam makes a passing reference to the visit of Tirunavukkarasar to Tiruvanmiyur. Tirunavukkarasar worshipped the Lord of Tiruvanmiyur and submitted Tamil hymns, which are pregnant with philosophical thought at his feet.As already stated, Sekkilar has testified to the existence of a lofty tower at the entrance. He has referred, to the Lord of Tiruvanmiyur by the epithet 'Marundhu' which could be an indirect reference to the name of Marundeeswara by which name he is popularly known.

4. ARUNAGIRINATHAR'S TIRUPPUGAZH

A web of legend has been woven around the life of the great votary of Subramanya. Although it is uphill task to discentagle the kernel of truth from the husk of popular fables, a study of his poems reveal that for a time he led a life of libertine which he afterwards regretted. When he attempted to jump down from the soaring gopuram of Tiruvannamalai, Lord Subramanya offered his benefactions. The poet turned a new leaf as devotional songs poured in torrents from his mouth. Having accepted Subramany as the Supreme Lord, he visited more than 200 shrines dedicated to Lord Muruga. In philosophy,he was influenced by the Saiva Siddhantha system. The Tiruppugazh is a stupendous work comprising over 1360 songs. In it various metres are handled with utmost skill and is characterized by a unique lilt. The diction is highly Sanskritized and the imagery is vivid. The poet's comprehensive knowledge of the sacred lore of Hinduism is evident in every song. His works include Tiruppugazh, Kandar Alankaram, Kandar Anubhuti and Tiruvaghuppu.Arunagirinathar has dedicated a solitary hymn to Lord Subramanya housed in the temple of Tiruvanmiyur. The first part of this hymn, gives a graphic description of the features of women who lure weak-willed men by their voluptuous grace. The remaining part is devoted to Lord Subramanya. Arunagirinathar has stated that Tiruvanmiyur possesses massive mansions and towering buildings. He lauds Subramanya as the son of Amudesar who is held in reverence by Brahma, Mahavishnu and Indra, the Lord of the celestials. The name of Amudesar is attributed to the Lord in the Tiruvanmiyur Sthala Purana. Lord Subramanya is also referred to as the son-in-law of Mahavishnu and as the extirpator of the demons. Arunagirinathar beseeches the Lord to offer his blessings and to save him from the clutches of the women of illrepute. Arunagirinathar, having wasted his youth in such frivolous pursuits, always prays that the Lord give him fortitude to keep away from the lures of charming women.

VANNACHARABHAM DHANDAPANI SWAMIGAL (1839-98)

A dedicated couple, Senthilnayagam Pillai and Pechimuthu Ammal, belonging to the Tirunelveli district, begot a son named Sankaralingam. Being a precocious child, he began to compose poems at a tender age, Having acquired a knowledge of propitiating Vel, the favourite weapon of Subramanya from a devotee named Sitarama Naicker, he relinquished worldly pleasures and donned the saffron grab of the mendicant. He spent a considerable time at Tirumalai seeking the darshan of Subramanya. Finding the Lord unresponsive, he jumped down from the hilltop. By the grace of the Lord he escaped with negligible injuries. His last days were spent at Tiruvamathur, near Villupuram in social and spiritual service. By his earnest endeavours he put an end to animal sacrifices: He blessed a blind brahmin with eyesight; His samadhi is situated at Tiruvamathur. He has composed a number of prabhanda forms of literature like Andhadhi, Pillaikavi, Malai, Kalambakam, Alankaram, Vaguppu and Satakam on hallowed shrines like Palani and Kandakottam. As he adopted the tilting metre employed by Arunagirinathar in his songs, he was called Tiruppugazh Swamigal. Dhandapani Swamigal has composed a decad on Tiruvanmiyur which was published in the Siddhantha, a Saivite monthly, in April 1966.In his decad, Dhandapani Swamigal has enlisted the valorous and the benevolent attributes of Lord Siva. He entreats the Lord of Tiruvanmiyur to relieve him of his distress and to confer his blessings upon him. He describes the Lord of Tiruvanmiyur thus “He is revered by even Sridhara; He wears tiger's skin,kondrai flower and crescent moon. He consumed the alakala poison. He had mastered the Vedas, including the Rig Veda and taught the same to Sanatkumaras in the form of Dakshinamurthy. He had plucked the head of Brahma; His feet are inaccessible to even Mahavishnu. He rendered the Tripuras to ashes by his mere smile, although he held the mighty mountain as the bow; He granted the Pasupatha asthra to Arjuna in the guise of a hunter; He has two divine sons in Vinayaka and Subramanya.

PAMBAN KUMARAGURUDASA SWAMIGAL

Pamban Swamigal, whose life was full of mystical experiences and instructions shone in the firmament of religion and philosophy as the most effulgent luminary. His parents were Sathappa Pillai and Senkamala Ammal. A prodigy of learning, he envinced divine inquision and propensity at an early age. One day while visiting the coconut grooves, an impulse stimulated him to compose hymns on Subramanya, reminiscent of Arunagirinathar. He supplicated the Lord to favour him with such flow of efficacious words as was possessed by Arunagirinathar. An afflatus dawned on him and words gushed out of his mouth spontaneously. He began to indite one verse every day. His entire life was dedicated to pilgrimages and to the composition of various types of religious and philosophical works. On numerous occasions, he was the recipient of divine favours in various forms. The samadhi of this great preceptor is located at a distance of one kilometre from the Marundeeswara temple of Tiruvanmiyur. The Mayura vahana sevana conducted here in the mounth of Margazhi to commemorate the date on which the Swamigal had divine vision of peacock is a grand affair. Congregation of devotees throng the samadhi on full moon days and other auspicious occasions. At present the samadhi is being reconstructed with granite stones. Kumaragurudasar the great preceptor, had composed on the whole 6666 verses which are grouped into six sections known as Mandalas. He has also penned 32 treatises most of which are in the form of interlocution between a guru and a disciple. Sri Subramanya Vyasam (A treatise on Lord Subramanya) Vedattaik Kuritha vyasam ( a manual on the Vedas) and Suddhatvita Nirnayam are some of the noteworthy prose works. “Kumaragurudasar was the first preceptor to blazon the significant concept of Lord Guha based on the Agamas, the Vedas, and the Upanishads. His works are to be considered as the repositories and repertories in which a reader can find a great confluence of Vedic and Agamic streams” (Dr. S.P.Sabarathinam).Pamban Swamigal's decad consisting of ten virudha poems emphasises his concept that the feet of Lord Subramanya, housed at Tiruvanmiyur alone can confer mukthi or redemption from rebirth. This fact has been repeated in the closing line of each hymn. His hymns present a hyperbolic account of the fertility and greatness of Tiruvanmiyur. Tiruvanmiyur possesses a hallowed Vedapita where the celestials of fame reside. This probably is an indirect reference to the worship performed by the Vedas as a result of which the place received the name of Vedapuri. It is endowed with lofty mansions and streets formed for the easy movement of the ratha. It abounds in flower gardens, filled with the hub of the buzzing bees, shade yielding trees, lotus filled ponds and groves, full of a variety of trees, like naval, plantain, coconut, arecanut, banyan, jack, iluppai, vilva and mango, Water-filled ponds invite the storks with their abundant stock of fish. The sea, a store-house of twinkling fish, sends its waves to lash the coast. Dogs, cats and vultures take shelter on the sandy banks. Bulls, cows and sheep raise a volume of dust as they move in herds. Black coloured monkeys squeeze the various types of fruits, thereby spilling their juice all over. This is the picture of Tiruvanmiyur painted by Pamban Swamigal.Pamban Swamigal lauds Lord Guha as the possessor of the puissant Gnanavel. He has the sacred peacock as his vehicle. He is endowed with a reddish complexion. He is the ruler of the earth and the heaven; he is the son of Palvannanathar, a name attibuted to the Lord of Tiruvanmiyur in the Sthalapurana. The righteous and the pious who are pastmasters of the sacred scriptures and who have a thorough knowledge of the Pranava Mantra always revere the blessed feet of Lord Subramanya who alone can confer bliss upon the dedicated.

ABUTKAVI SETHURAMAN (SRI SADHURAM SWAMIGAL)

A pious couple S. Venkatasubba Iyer and Dharmambal, hailing from a village in Tanjore district had settled down at George Town in Chennai. On 3.2.1937, a son was ushered into this world and was named Sethuraman. Even as a youth he had a flair for religious texts. At the age of seven he came under the influence of Vallimalai Sachidananda Swamigal, who strove to popularise Tiruppugazh not only in Tamilnadu but also in North India and Sri Lanka. For six years (1944-50) Sethuraman mastered Tiruppugazh under the tutelage of Vallilmalai Swamigal. Having classified Tiruppugazh into twelve groups, the Swamigal had evolved a novel and unique method of singing those hymns. Sri. S.V. Sehturaman and his brother Sri. S.V. Subramanian devoted their energies to spread Tiruppugazh. Their indefatigable efforts earned for them the epithet 'the Tiruppugazh brothers' at the hands of Satguru Sri Chandrasekharendra Swamigal of Kanchi.In 1948 Sethuraman embarked on a pilgrimage. At Mahalingapuram, while he was asleep he had a vision of Vallimalai Swamigal directing him to proceed to Tiruporur. At Tiruporur Lord Subramanya inspired him in the form of an elderly saint by providing a piece of paper on which the magic words “Hara Hara Hara” were written 108 times. An inspired Arutkavi was regenerated who could deliver hymns extempore with every syllable in its place, not violating a single rule of prosody, set to the appropriate raga with proper thala. Whenever he sang a hymn it was literary flow, a lyrical wonder, a musical feast, a divine garland, true prayer soaring to the Heavens. In all he has composed more than 15000 hymns, dedicated to the presiding deities housed in various Kshetras. On 15.2.1969, he embraced ascetism and donned the saffron robes at the shrine of Goddess Vaishnavi at Tirumullaivasal , under the name Sri Sadhuram Swamigal. He continued the good work initiated by his preceptor Vallimalai Swamigal till his death in 2000 A.D.Tiruvanmiyur Arutpugazh, a decad of twelve songs composed by Arutkavi Sethuraman at the shrine of Lord Marundeeswara on 29.5.1955. They laud the qualities of the deity thus: “The presiding deity of Tiruvanmiyur has sheltered the clouds in his tresses of hair. He is the antagonist of Yama and Manmatha. With the world serving as the chariot, he rendered the Tripuras to ashes. He is the presiding deity of various hallowed shrines like Kasi, Srikazhi, Kanchi, Avinashi, etc. He has been worshipped by servitors like Kazhatsingar, Kannappar, Kulachirayar and Mangaiarakarsiyar. He has vanquished Kali and Manmatha. He possesses golden locks of hair. He had plucked the head of the contumacious Brahma. He has plucked the head of the contumacious Brahma. He has even given room to the scorpion in his head. He had initated the Sanath Kumaras into the Vedas under the Kallala Tree. In response to the entreaties of the celestials, he had protected sage Manickavasagar. He is the master of the five elements of nature. He has given a half of his person to Uma. Devotees who offer worship at the feet of Palvannar and Marundeeswara of Tiruvanmiyur will attain his benefactions. The occasional accounts that Sethuraman has furnished about Tiruvanmiyur very much resemble the description given in the Thevaram hymns”.

ASHTAVADHANAM POOVAI KALYANA SUNDARA MUDALIAR

Poovai Kalyana Sundarar was ushered into the world on the tenth of May, 1854. His parents were Annaswamy Mudaliar and Unnamalai Ammal. His elementary education was completed at Poonamallee, a suburb of Madras. Under the able tutelage of worhty scholars he mastered Tamil and English. He resided at George Town and even held an administrative post for a brief period.Finding the job not gratifying, he resigned it and spent his time in serving Saivism and Tamil language. In 1918, he even published a monthly called Siddhantham. Later he accepted Gnanaprakasa Swamigal of Meykanta Peetam, (located at kanchipuram) as his mentor.Under his able guidance he relinquished the pleasures of the world and donned the saffron robes of the mendicant.As a fitting tribute to his proficiency in various subjects, the title of 'Ashtavadanam' was conferred upon him. His yeoman services to Saivism and Saiva Siddhantha earned for him the sobriquet 'Siddhantha Sarabam'. He founded the Saiva devotee's association and the Sthala Yathra Sangam. He has written Tamil works like Tiruporur Puranam, Kaladhasti Puranam, Sekkilar Sarithram, Suddhantha Dasa Kattalai, Siddhanta Sadhana Kattalai and Siddhanta Vasana Bhushanam, besides a simple work on poetics. The Sthalapurana of Tiruvanmiyur commands a lucid style and literary charm. This Saivite pandit breathed his last on the 28th, December 1918.The Tiruvanmiyur Sthala Purana which forms a part of the Kshetra Kanda of the Kanda Purana was originally composed in Sanskrit. Later, it was rendered in Tamil by Ashtavadanam Poovai Kalyana Sundarar. It comprises of 1022 hymns classified under – 19 – chapters of Padalams. It was printed for the first time in 1895 at the Hindu Union Press, Madras.

CONTEMPORARY TAMIL LITERATURE

In addition to these devotional works composed by holymen of renown, a number of eminent men of letters have indited different types of prabhandas on Tiruvanmiyur. One Periamettu Mosur Munuswamy Mudaliar has composed a collection of poems on the Sivakshetras of Tondainad. Songs in this collection are devoted to Tiruvanmiyur. They pay high tributes to the Lord of Tiruvanmiyur. E S Varadaraja Iyer has composed the Tiruvanmiyur Kalithurai Anthathi consisting of 100 verses. This work gives a vivid description of Tiruvanmiyur and the presiding deity who is housed her. A. Arumugha Naicker has devoted fifty songs in his work named Mylai Pathi Vanmiyur pathi Kalithurai Anthathi to the presiding deity of the Tiruvanmiyur temple. A noted scholar named Sabapathy Mudaliar hailing from Kanchipuram has dedicated a work named Marundeesar Satakam and a few Kirthanas to the Lord of Tiruvanmiyur. All these prabhandas laud the qualities of Marundeeswara, the Lord of Tiruvanmiyur.Umapathy Sivachariar makes a passing reference to Tiruvanmiyur in his Sivakshetra Sivanama Kalivenba, Thevara Sivasthala Venba composed by T.S. Veluswamy Pillai, contains a poem on Tiruvanmiyur. It invites the devotees to seek the blossomy feet of Marundeeswara before Yama, the god of death snatches away their lives. A solitary poem preserved in the Palm Leaves collection at the Dr. U.V. Swaminatha Iyer Library, Tiruvanmiyur named Chockanayaki Amman Virudham pays glowing tribute to the Goddess of Thiruvanmiyur. The name of its author is not known. The Late M.P. Periaswamy Thooran, a noted Tamil writer has composed poems paying encomiums to Lord Marundeeswara and Tripurasundari Amman. Dr. T. Amirdhalingam, the author of Tirukoil, a magazine published on behlaf of the Hindu Religious Endowments Department, has written a poem on the Marundeeswara temple. A poet of the modern times named N.S.Chidambaram has composed poems on Thirumudi Vinayaka, Marundeeswara, Tripurasundari and Lord Muruga of Tiruvanmiyur. The vast mass of religious literature described in details reveals the reputation that the Marundeeswara temple enjoyed from the seventh century A.D. To the modern days. A study of these devotional literatures proves that the fame of this place as a pilgrim centre is not a recent phenomenon. These works also provide a feast to the lovers of Tamil literature.

Pooja Timings

Morning 5.00 A.M to Noon 12.00 P.M
Evening 4.00 P.M to 9.00 P.M

DAILY WORSHIP AND FESTIVALS

The Agamas are the authoritative texts which provide precise information regarding the rules and the reulgations pertaining to all aspects connected with temples. They serve as the best and the most reliable source for an investigation into the religious practices. Also known as Thantras of Samhitas, they reveal three varieties namely Saiva, Vaishnava and Shakta. The Saiva Agamas are four fold viz. Kapala, Kalamukha, Pasupatha and Saiva. The last variety is divided into two groups viz Kashmir Saiva, which is widely prevalent in the north and Siddhantha Saiva. It is believed that Lord Siva while creating the world, let out true knowledge through his five faces namely – Tatpurusha, Vamadeva, Aghora, Satyojata and Isana for the benefit of humanity and that they took the form of twenty eight Agamas. The ideas enuciated in the Agamas differ from one another. The Agama on the basis of which worship and rituals are conducted at the Marundeeswara temple. Tiruvanmiyur is named Kamika. The Agamas have prescribed eleven types of worship but the most significant are only two namely Atmartha and Paratha. The pooja that is performed at home is called Atmartha pooja. Worship organised in temples to the lingas or images is called Paratha pooja. Worship in temples falls into two categories viz., daily poojas and the poojas conducted on auspicious occasions like Ashtami, Krithigai, etc. Nithya pooja or daily worship falls into eight categories viz. Uthamothamam, Uthamama dhyamam, Uthamadhamam, Madhyamothamam, Madhyamadhyamam, Madhyamadhamam, Adhamothamam and Adhamamadhyamam. Tiruvanmiyur temple, where poojas are conducted four times a day belongs to the Madhyamadhyamam category.The scriptures and Agamas have prescribed elaborate rituals to the archakas who perform the daily poojas. At the beginning, the Sripadam of the Palliarai Utsavars are taken from the Palliarai to the main shrine and the Kalasandhi pooja commences. Worship is first offered to Surya who is rearded as the Sakala form of Lord Siva (who himself has taken up the Nishkala form). Vinayaka is offered worship as a next step. Theagaraja, the Somaskanda image and Kamala Vinayaka receive poojas after which abhishekhas and aradhanas are offered to all the parivara devathas. The principal deity is offered abhisheka, aradhana, deeparadhana and nivedhana. The same process of abhishekha, alankara and deeparadhana are performed at the shrine of the Amman. Kalasandhi pooja is normally conducted between 7.30 a.m. and 8.30 a.m. The Uchikala pooja takes place between 10.30 a.m. and 11.30 a.m. Both the main deity and his consort are subjected to abhishekha, alankara and nivedhanas. With the conclusion of the Uchikala pooja, the portals of the sanctum are closed. The shrines are opened at about four p.m. And the deities are anointed. The evening pooja commences at the shrine of Theagaraja and the routine abhishekha, decorations and nivedhanas take place. The offering of different varieites of deepa is of utmost importance in this pooja which takes place between 5 p.m. and 6 p.m. After the Ardhajama pooja which takes place at about 8.30 p.m., the palliyarai utsavars are taken to the Sayanalayam situated as a separate shrine in the mahamantap of Tripurasundari Amman's shirne. The poojas are consummated with the worship of Chandesa. The Agamic injunctions regarding the use of articles for abhishekha, types of ceremonial water, the varieites of flowers and ornaments to adorn the deities and the types of food offered as nivedhanas govern the rituals of the temple. They are adhred to within the limitations imposed by the income of the temple and the time available.Normally each pooja is preceded by the ceremonial bath of the images with specified materials like honey, curd, and milk. Materials like gorojana, kumkuma, sandal paste, vilva, lotus and camphor are also offered as and when possible. Vamana Purana, Dharmasamhita and Sanatkumara samhita have furnished all the details regarding these rites. After the abhishekha, the images are clothed in new garments and a variety of ornaments including the kavacham. The deeparadhana or the waving of different kinds of lamps in front of the deity is followed by the recitation of devotional hymns by the Oduvar which complete the ceremony. After this, archanas are performed by the archakas at the request of devotees.Abhishekhas are performed to the deities everyday at the time of the regular poojas. Lord Marundeeswara is the recipient of abhishekhas on four occasions everday. Tripurasundari is anointed on three occasions, with the exception of the Ardhajama pooja. Vinayaka and Subramanya are anointed once in the morning and once in the evening. All the other parivara devas are honoured with abhishekhas in the morning alone. Lord Nataraja receives abhishekha on six auspicious occasions every year. Theagaraja is anointed on all full moon days. It is an established custom that Lord Marundeeswara is anointed on his corwn with milk and tender coconut alone. The worship with milk abhishekhas performed by Kamadheny must have influenced this custom. The use of oil for anointing the deity is totally forbidden. Abhishekhas with articles like honey, ghee, pachamirtham, curd and oil are performed to the avudayar alone. Only the Adhi Saivas are ordained to perform the sacerdotal functions at the Saiva temples by the Agamas. According to the existing tradition, the archakas belonging to the Bharatwaja gotra and those belonging to the Kasyappa gotra perform the religious duties in turns of twenty days each.

PERIODIC FUNCTIONS

Naimithika Pooja

Special worship conducted on auspicious occasions fall under this category. Worship organised on days like Krithigai, Chathurthi, Shasti and the first days of all months can be classified under theis head. Kumara Thanthra, an Agamic work classifies this type into three categories-weekly utsava,monthly utsava and patcha utsava.

Weekly worship

Worship conducted in favour of any particular deity on any specific day of a week belongs to this class. Special poojas are conducted in favour of Triupurasundari Amman on Fridays, Dakshinamurthy on Thursdays and Durga on Tuesdays; the Rahu-kala worship conducted on Tuesdays at about 3 P.M. is attended by a large congregation of women.

WORSHIP CONDUCTED ONCE IN FIFTEEN DAYS

PRADOSHA

Among the periodic functions, Pradosha deserves special attention. When the celestials and the demons churned Patkadal or the Ocean of milk using the Mandhara mountain and the potent snake Vasuki, the deadly poison emitted by the serpent and the sea combined to form the much feared alakala posion which threatened to destroy the world. Lord Siva allayed the fears of the celestials by swallowing the venom and placing it in his throat, thereby earning the sobriquet of Neelakanta. This incident happened on the evening of the Ekadasi day. At the Lord's behests, the celestials continued to churn the ocean for one full night without consuming and food. The ambrosia which appeared on the ensuing morning, (i.e,) Dwadasi, was consumed by the devas who spent the day in revelry. On the next day (i.e,) Thriodasi, the devas who realised that they had not propitiated Lord Siva before embarking on the venture, beseeched his forgiveness. Lord Siva with the damaru adorning his hands performed the Sandyanritta, standing in between the two horns of Nandideva so that Goddess Parvathi could watch the dance in ectasy. This period, comprising of three and a half nazhigai before and after sunset i.e. 4.30 p.m. To 7.00 p.m., is known as the Pradosha period. It occurs once in fifteen days, once during the phase of the waning moon and the other during the phase of the waning moon and the other during the phase of the waxing moon. The occurrence of Pradosha on a Saturday is regarded as specially propitious. The Pradosha pooja is celebrated in a grand manner in most of the Siva temples.At the Tiruvanmiyur temple, the utsava images known as Pradosha Nayakar and his consort are subject to eloborate abhishekhas and rituals during this period. Nandideva is also offered worship. At the completion of the rituals Pradosha Nayakar and his consort are carried on a Rishaba vahana, with due decorations of flower garlands, around the inner prakara of the temple thrice, to the accompaniment of nadaswaram and melam. After this he is taken to the main shrine where archanas are performed.

MONTHLY FESTIVALS

It is customary to celebrate festivals on different occasions. Their duration and significance are governed by the local customs. Normally temples located near seashores base their festivals on the formation of the full moon while other temples conduct the festivals on the basis of the stars. No doubt the days of certain festivals conducted at the Tiruvanmiyur temple differ from those conducted at other important temples. The dances performed by Theagaraja is mostly conducted on full moon days. The monthly festivals are conducted in a fitting manner at this temple.

Chitirai

The Tamil New year begins when Surya enters Mesha rasi. On this day Brahma is believed to have created this world. On the same day Manmatha is believed to unleash his flower darts, thus heralding the Vasantha period. On the Tamil New Year day Lord Marundeeswara is anointed with milk carried in 108 vessels. The Full moon day that occurs in this month is celebrated as Chithra Pournami. It is hailed as an auspicious day for propitiating Chithragupta, the accountant of Yamadharma, the God of Death. On this day Theagaraja is carried around the Mada streets at night and special poojas are offered.

Vasantha Utsavam

The eleven-day festival celebrated in the Tamil month of Vaikasi has been revived after a lapse of about 25 years. On the first ten days, Theagaraja is carried in a procession within the temple. On the last day he performs the dance near the shrine of Valmiki. The temple is gorgeously decorated at night and cultural programmes are organised on all days.

Vaikasi Visakham

It was on this day that Lord Subramanya was ushered into this world and so he is propitiated with abhishekhas. The utsavar of Lord Subramanya is carried in a vahana in the evening.Tripurasundari Amman is propitiated with special poojas on the Pooram day of the Tamil month of Adi. Sukravara Amman mounts the Kamadhenu vahana on that evening. On the occasion of Avani Avittam, certain individuals join together to perform the rites and to wear a new yajnopavitha. Vinayaka is the recipient of special poojas with abhishekhas and archanas on the Vinayaka Chathurthi day which normally falls on the fourth day of the waxing moon in month of Avani.Purattasi month witnesses the Navarathri utsava which lasts for nine days. On these days, Sukravara Amman, gorgeously decorated with apparel and ornaments is placed in the front mantap where special poojas are offered. In the month of Aippasi, Anna abhishekha is marked by offering of a huge ball of rice to the Lord. Special poojas mark the Deepavali festival followed by the Kedara Gowri vrata. Highly incensed at the attitude of Bhringi rishi, who would worship only Lord Siva to the utter disregard of his consort, Parvathi desired that all the devotees of Lord Siva should worship her also. With this avowed object she propitiated Kedareswara for 21 days to attain the fulfilment of her desire. This is the genesis of Kedaragowri vrata. The participants of this vrata offer worship to Kedareswara who is found near the image of Kalabhairava. Skanda Shasti is celebrated for six days at the temple. It was on this day that Lord Subramanya's potent spear pierced the mammoth tree in which form Soorapadma appeared during the war. The tree fell into two halves. One half was transformed into the peacock and the other half took the form of a cock. The festival signals the triumph of gnana, over iniquity.In the month of Karthigai, the Deepam festival is celebrated by lighting a large number of oil lamps and by offering special worship to Lord Subramanya. This festival is celebrated to remember how Lord Siva appeared as a huge column of fire before the headstrong Brahma and Mahavishnu, whose endeavour to fathom the head and the foot of the Lord ended in a fiasco. The four Mondays of this month are held in reverence as Somavara when some devotees observe the vrata. On these days, Lord Siva is anointed with sacred water stored in 108 conches. The 108 conches are kept in an orderly manner in 12 batches of nine, each representing one rasi.. Eight important conches are kept in such a way as to face the eight cardinal directions. Two conches, one valampuri and the other idampuri represent the Lord and his consort. Abhishekha is performed adhering to the rituals meticulously.Arudra darshan is celebrated on a grand scale in the month of Markazhi. The idol of Nataraja is offered special worship early in the morning and is taken in a procession around the Mada streets in a grand manner. In the month of Thai, Pongal is celebrated with special poojas. Thai poosam is celebrated on the full moon day to appease Brihaspathi. Special poojas to Lord Siva mark the Masi Makam day. Mahasivarathri is performed in all earnestness at the temple and is marked by abhishekha on four occasions at night. Puranas like Sivapurana, Lingapurana, Skandapurana and Padmapurana have given a detailed account of the significance of the Mahasivarathri festival and of the rites that are performed on such occasions.

DANCE OF THEAGARAJA

The dance performed by Theagaraja, the Somaskanda image found in the temple is yet another special feature. The Somaskanda group of icons consist of three images made of panchaloka viz., Theagaraja, Sivakami Amman and Balasubramaya in addition to a Thani Amman. The dance performed by Theagaraja is known as Ajaba. It consists of eighteen types that the Lord had performed in the presence of sage Valmiki under the sacred Vanni tree. On this occasion ancient musical instruments like Brahmathalam and Poori alongwith the nadaswaram and melam are played. This special type of dance, known as Thegar Bhavani, is performed on four days during the Brahmotsava at the Bhavanimedai, located a little away from the main temple. It is performed on ten days in a year. On full moon days, the Theagar dance consisting of three types of dance is enacted.Normally this idol is taken out in a procession only at night. The various types of dances are also displayed at night. The idol is placed on a specially designed device called Theagarkanai and taken out. Normally the Lord enacts the act of blessing sage Valmiki near the western entrance. On the fourth, fifth and sixth days of the Brahmotsava, Theagar Bhavani is celebrated. 18 types of dances are conducted on the tenth day of the Brahmotsava near the sixteen pillared mantap. The same incident is organised on the 11th day of the Brahmotsava and during the Tiruvadirai festival in fornt of the Amman shrine. During the dances the foot movements of the persons carrying the idol and the music emanting from the various musical instruments are admirable. This incident is exemplary, luring multitudes of devotees who enjoy watching it.Mahavishnu who was cursed by Parvathi for slighting her, created a Somaskanda idol comprising of Siva, Uma and Skanda. He housed the idol in his chest and offered his obeisance. The celestials who were harassed by a demon named Vatkali, sought refuge with Mahavishnu. The Lord handed over the Somaskanda idol with instructions to instal it at Amaravathi, the capital of Devas. At a later time Valan, a reprobate demon who had obtained a boon that he would be killed only by a mortal, attacked the land of the celestials. In accordance with the behests of Lord Siva, Indra sought succour at the hands of Muchukunda, the mighty and righteous ruler of Cholanad. With the able assistance of the Chola ruler, Indra repulsed the invasion of Valasura. The grateful Indra promised to give any boon that Muchukunda required.Lord Siva yearned to reside at Tiruvarur in the Somaskanda form. Under his instructions Muchukunda requested Indra to part with the idol of Swarna Theagaraja, a proud possession of Indra. Although Indra was unwilling to part with the exquisite image that he worshipped intensely, he could not offer a blunt refusal. He created replicas of the Swarna Theagar and presented them to Muchukunda. The ruler was too astute to be duped. Them same tale was repeated a number of times, at the the end of which Indra came to possess numerous replicas of the original idol. Utterly frustrated, Indra ate the humble pie are surrendered not only the pristine idol of Swarna Theagaraja, but also the replicas to Muchukunda. Muchunkunda installed the original idol at Tiruvarur. Six of the replica images were installed at six hallowed shrines, situated around Tiruvarur – Tirunallaru, Nagapattinam, Tirukaravasal, Tirukuvalai, Tiruvoimur and Vedaranyam. These Sthalas are referred to as Saptha Vidanga Sthalas. Some of the devotees who couldnot travel to the Chola country desired to worship Theagaraja at their home towns. The Lord too fulfilled their desires. As a result of the image of the Theagaraja has found place in a number of sthalas. In order to fulfill the desire of Nandhi, Mahavishnu and Valmiki, Theagaraja has appeared at the following places – Tiruvotriyur, Tirukachur and Tiruvanmiyur, respectively. These three kshetras are known as Ubhaya Vidanga Kshetras. On the second day of the Brahmotsava held in Tiruvanmiyur, Lord Theagaraja offers benefactions to king Muchukunda.

BRAHMOTSAVA

Among the festivals conducted at the Marundeeswara Temple, the Brahmotsava conducted in the Tamil month of Panguni (March – April) is a grand affair.Elaborate instructions regarding the conduct of the Mahotsava or the Brahmotsava are furnished by the Agamas. The treatises on Saiva rituals state that the Mahotsava commences with rites as vasthu shanti, vrichangriha and ankurapana followed by the dwajarohana or the hoisting of the flag. Though the normal duration of these festivals is ten days, they could also last for 18 to 27 days. At Tiruvanmiyur the festival is started in such a way that the last day falls on either a New moon day or a Full moon day. After worshipping Lord Ganesa such rites as Vastushanthi, vrichangriha and ankurarpana are completed. For the dwajarohana, a dwajapata containing the figures of god and the emblem is prepared and taken in a procession to the flagstaff. A yagasala established at the north – eastern corner receives poojas daily. Balls of rice are offered as bali at the cardinal points known as nava sandhis. The utsavar images, mounted on different vahanas, are taken round the temple in the morning and in the evening. The Rathotsava which normally takes place on the seventh day is a grand event. The Karanagama furnishes the elaborate rituals governing this rathotsava. The churnotsava takes place on the ninth day. Turmeric mixed with many articles are poured in a vessel, which symbolically represents the universe. The paste is offered to the devotees after ther performance of the abhishekha. The dwaja avarohana marks the culmination of the festival. The Vaivahya utsava, representing the divine wedding of Lord Siva and Goddess Parvathi, is celebrated at the end either before or after the dwaja avarohana. It is marked by the usual rites and the recitation of the Vedic hymns. The Shantihoma or the Utsavashanti is conducted at a later date to establish a peaceful atmosphere and to expiate for any shortcomings that might have happened during this utsava. Karanagama has prescribed the various prayaschitha rites and their mode of performance. Tiruvanmiyur Sthalapurana states that Brahma commenced the annual utsava on a grand scale and that king Sadhayu revived the practice after a lapse of many years. The annual Brahmotsava commences in the Tamil month of Panguni ie. March-April. The dwajarohana is preceded by the prakara-ula of Vinayaka and that of the village deity – Selliamman on the previous two evenings. The flag hoisting is followed by the yagasala – pooja and the Panchamurthi ula. The actual festival commemorates the various incidents enlisted in the Sthalapurana. During the Brahmotsava, images of Theagaraja and Chandrasekhara are carried in various vahanas.The festival is organised in a grand manner. Individual donors bear the expenses of particular event. Some groups of persons have been sponsoring the festival over the years. Musical and literary discourses and clutural activities mark the last few days of the festival. In recent years individual groups have been sponsoring special poojas to mark auspicious occasions.

THE FRIDAY FESTIVAL COMMITTEE

This group was formed in the year 1968 under the name of Sukravara Amman Kuzhu. After some years, it was reconstituted as Friday festival committee. Initially, it was conducting the procession of the Sukravara amman on Fridays, the -108- lamp worship in the Tamil month of Thai and the seventh day festival of the Brahmotsava. In course of time it had expanded its activities in an enormous manner. It has played an eminent role in the renovation activities. Mr. S. Rajappan of the Friday festival committee has contributed his mite to the development of the temple. The committee sponsors the 108-lamp worship in the Tamil months of Thai and Adi. It also conducts Veda Parayana, the recitation of Lalitha Sahasranama and the ceremonial bath of the deities on select occasions.

TAMILNADU ODUVAMURTHIGAL SANGAM

Worship is conducted on the third Sunday of every month under the auspices of the Tamilnadu Oduva Murthigal Sangam. The Oduvars recite the Thevaram hymns in the Theagaraja Mantap. Abhishekhas are conducted to all the deities. On the fourth Sundays worship is organised in a simple manner.

ADYAR FRIENDS SHASTI WORSHIP MANRAM

This organisation conducts abhishekhas to Subramanya and other deities on the Shasti day of the waxing moon.

TIRUPPUGAZH DEVOTEES FORUM

This group conducts the recitation of Tiruppugazh hymnsin the forenoon session on the day of the Visakha asterism everymonth.

THE NAGARATHAR DEVOTEES MANRAM

They sponsor abhishekhas to Lord Subramanya on the day of Krithigai asterism every month. It s followed by the procession of the Utsavars – Subramanya, Valli and Deivayanai around the Mada streets.

ARULMIGU MARUNDEESWARA TIRUKOIL DEVOTEES PRADOSHA TIRUMURAI VAZHIPATTU KUZHU

This forum has been playing an active role in the Pradosha worship. They have released a book containing devotional hymns for the benefit of devotees. A huge Rishaba danda made of copper is taken in front during the Pradosha procession. Some devotees conduct special worship including abhishekhasa to Kalabhairava on the Ashtami day every month. A group of devotees are conducting special poojas to the image of Sarabheswara on all Sundays at about 5 p.m. The Saivite quartet and some of the Nayanmars are honoured with Guru poojas on the days on which they attained mukti.Thus in the Marundeeswara temple all auspicious days are celebrated in a fitting manner.

Nearby Temples

Kapaleeswarar Temple (Mylapore) Karaneeswarar Temple (Saidapet), Dhandeeswarar Temple (Velacheri), Kamakshi Amman Temple (Mangadu). Kandaswamy Temple (Tiruporur) and Nityakalyana Perumal Temple (Tiruvidanthai) are located closeby. All these temples can be easily reached by bus. The four corners of the Mada streets of Tiruvanmiyur house small temples dedicated to Vigneswara. Village deities like Puthrankanni Amman and Selliamman are situated near the Tiruvanmiyur temple. To the north east of this temple is found a small temple dedicated to Valmiki. The tomb of Pamban Swamigal is situated in between Kalashetra and Dr. Swaminatha Iyer library. A shrine for Subramanya has been erected over his mortal remains. Throngs of devotees pour in on Fridays and on Full Moon Days to offer their obeisance to the sage. At the north-eastern corner of Tiruvanmiyur is located the Ashtalakshmi temple which draws thousands of devotees. Kasi Viswanathar temple, is situated near the sea shore. Replicas of the six famous temple (Padai Veedu) of Lord Subramania are being constructed nearly.

Address

Arulmigu Marundeeswarar Temple,
Thiruvanmiyur
Chennai - 600 041