Temple Travelogues - Pullamangai

 

 

Pullamangai, a small hamlet on the outskirts of Pasupathi Koil of Papanasam Taluk, which is located around 20 kms from Tanjore. This place can be reached either way from Kumbakonam or from Tanjore as it lies in the middle of Kumbakonam - Tanjore route.

 

I was referred to this temple by one of my good friend and I would never forget him for having me told about this very small temple but rich in Chola heritage and sculptors. Also I must admit and thank him for having me educated on this fantastic archeological splendor and grandeur. I was simply amazed by the art exhibited in the stone. I took two trips to this temple and I am sure there will be more. There have been too many articles that speaks about the Chola sculptures, but this one is a marvel, simply because of the size in which all this been depicted. I would really like to think this as three dimensional painting done on stone, so smooth, so flawless, so much in details done by our ancestors. The temple is so rich with the epic stories depicted on the stone panels around the outer walls of Gopuram. To quote some - episodes of Ramayana, Vishnu Purana, Shiva puran, Bramha mudi, shiva’s pose as ardhanari, Krishna suckling milk and shiva killing Gajamuhasura. There is also a Durgai’s statue on the side walls of the temple.

 

This temple is a live example or a specimen to the geniusness and creativity of the sculptors of our ancestors especially from the Chola age.

 

History of the Temple :

 

Going by the inscriptions and other archealogical evidences, it is surmised that this temple might have been built during the early years of Chola king Parantaka Choladeva-I (907-953 AD).

 

During Parantaka’s reign, the kingdom was at war many a times, but still the pious act of converting early Saivite brick temples to granite structures continued without many setbacks. This temple came under the royal attention of Parantaka during his reign who subsequently reconstructed it in stone.

 

Sthalapuranam :

 

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  The local history is that this town was known as Pullamangai and the temple name was known as “Alandhurai”. However, in present days the town name has become Pasupathi Koil.
  
  
  
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  This temple is located in the banks of Kudamuruti River. Since this temple Thala Vriksham is “Ala Maram” hence it is called as “Alandhurai”, some people say this too.
  
  
  
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  The actual story for this place is, when Devas were trying get nectar by churning the milky ocean, the snake they were using spewed poison, and it is said the God abode here took that poison and settled here.  Hence the name Alandurai or Alanthurai.
  
  
  
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  Also there is a legend that Parvati is said to have taken the form of a Chakravaha bird and worshipped Shiva here, hence the name Pullamangai.
  
  
  
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  Some sources say that the name Pullamangai is sourced from the Kites that live in the Temple Tower.
  

 Location of the temple:

 

The place is nothing more than a simple village as of today, located on the southern bank of river Cauvery (kudamuruti) - surrounded by paddy fields & coconut trees.

 

We found this hamlet with great difficulty, it was surprising that even the taxi drivers at Papanasam who ferry pilgrims to various temples around this area was not aware of this temple. It was sheer co-incidence and luck we stopped and asked a roadside mechanic at Pashupati koil who guided us to the temple as well to the Gurukkal’s(main priest) home.

 

Thirumurai references:

 

For this I had to seek my father’s help who had done some stint in HR&CE department. As per him this sthalam is mentioned in the Panniru Thirumurai (Twelve holy scriptures) and by Saivite Saint Thirugnana Sambandar. Thirugnana Sambandar was a child prodigy who lived during early part of Seventh century AD who sang the fllowing song :

 

Palunthuru thiralayina paramanpira manthan

Polunthira lavarvazhtharu pozhilchuzhpula mangaik

Kalanthira larachchadiya kadavullidang karuthil

Alanthurai thozuvarthamai yadaiwavinai thane.

 

And so on goes another 10 or so songs.

 

It is fairly right to say that this temple did not come into major prominence till 8th Century AD, this is going by the evidence that there is no other song by contemporaries of Sambandar (Saint Thirunavukarasar and Saint Sundarar).

 

I will be writing about Thirunavukarasar as a separate post.

 

About the Temple:

 

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  This temple grabha graham and artha mandapams were building during King Parantaka.
  
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  Around garbagriham a moat runs, a small one about 3 ft deep and two feet wide.
  
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  Nandhi sits with Navagrahams in this temple.
  
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  Durgai statue in this temple is very special. The Durgai is depicted here as Mahishasura Marthini with a stone umbrella standing on the head of a Buffallo. If you have closer look you will find Durgai having multiple weapons in her 8 hands and there are two additional statues of a deer and a lion. It is said that this Durgai is very powerfull and even it is compared with Durgai at Patteeswaram and Thirunageswaram.
  
  
  

Panels and statues found in the temple.

 

There were just too many miniature panels and every one of them were so eye catching with its finesse and details. You have to see it to believe why they are so overwhelming to see it. Some of them were the size of my Nokia Mobile phone. The whole panel can be hidden by using your both palms, in such a size bringing out the details definitely calls for mastery and proficiency.

 

Some of my favourite panels are enumerated below :

 

Ardhanareeswarar:- This was one of the best. This form of Shiva which great saints have praised and sung quite often in their songs and in padhigams. You can see how artfully the sculptor had brought out different looks in one statute. From top to bottom. A single face with multiple expressions. On one side, to be more precise, on the left side where Parvathi resides, it glimmers with softness and kindness, typical of a female. On the other side, that is on the right side, the complete opposite of left, it portrays gallant male look. And if you go part by part, take the head gear, its different, take the ornaments worn in hand, the details are so telling. The best is the hip curvature, you can see how slender curved the Parvathi side has been depicted while the male side is not that much. Its very difficult to miss the artistic details that has been achieved by the sculptor.

 

Had it been sculpted separately, it would look like a picture straight from their wedding album. I mean, the way Parvathi looks in the left half is such a gracefulness and beauty, I am sure most city woman would die to have such a beauty and shape. On right side, like a typical male, Shiva has placed his hand on his vehicle, which is Rishabham and looks like real bride groom giving a pose, with his broad shoulders up and straight. There are two statues one on the Main Vimana and the other one is on the West side of the Garbhagriham. The second one is such as small one, it must be of 8 inches by 3 inches. See both the pictures below :

 

Battle with Gajamukasura :- Legend says that once upon a time there lived a Asura (demon) called Gajamukasura. Gajamukasuran was in the form of an elephant. As all Asuras do, he was bad and evil and ill treated all the good people including the devotees of shiva. Lord Shiva got so annoyed and angry at the treatment meted out to good people, he decided to put an end to this and with his trident had a furious battle with the elephant bodied demon. The battle was so fierce and intense that Shiva was filled with rage and he caught the head of the elephant, crushed it with his foot and skinned him right there and wore it as his garment.

 

Now if you have a closer look at the picture, all the characters in this battle are visible. You can see Shiva in his fierce at the same time with graceful dancing pose on the elephant skin. We can see the elephant’s head down to the left of the sculpture. A closer look will tell you the posture here shiva has taken, which is a slight twist of the torso emphasising the effort he is putting to peel off the skin and don it as a coat. Just under the Shiva’s trident you can see a Shiva Ghana showing faces at the defeated asura.

 

If you move slightly to the right side, we can see a lady, presumably his wife Parvathi holding a baby, again presumably Lord Muruga, not wanting to see what is happening to the Asura or the child to see it. The scared expression of the Parvathi and the Lord Murga is given in such a detail, cudos to our sculptors. Lord Muruga’s fear can be determined by the way he is trying to jump into another lady’s arms by extending his hands, as if trying to run away from Lord Shiva as well from Parvathi. I think the whole effort has been done here to depict the fearsome expression of the whole act of killing Gajamukasuran. You can see the bigger statue of the same in Vazhudhur at Gajasamhara Murthy Temple, near Mayeeladuthurai. 

 

Gajasamhara Murthi is one of the forms of Lord Siva’s 25 Maheshwara murtis.

 

 

Panels of Ramayana : Following were the panels which I found aroun the Garbhagraham.

1.  Ram being trained on Archery
2. Birth of Janaki
3. Thadakai Vadham
4. Sita Kalayana
5. Ram helped by Kugan to cross Ganga
6. Mareechan hunting
7. Ravan Kidnaps Sita
8. Jadayu and Ravan fight it out
9. Jadayu getting his Moksham
10. Vali Sugreevan Fight
11. Vali on his death bed
12. Crowning of Vibhishnan

It is said we can see the continuation of these panels in Nageswaran Temple at Kumbakonam.

 

 

Panels of Shiva Puranam :- Following are the panels which depicted some of the Shiva Puranam parts.

1. Gajasamharamurthy (see the picture)

2. Manmadhan Dhaganam

3. Oorthuva thandavam

4. Chandesha Anugraham (see the picture)

5. Lingodhbhawar with Brahma mudi story

6. Bikshadanar with Parvathy
7. Shiva and Parvathi dancing (while manmadhan and rathi watching it)

 

Other Panels :

 

1. We can see Poovaraha Moorthy fetching Bhoodev

2. Hiranya Vatam

3. Perumal in Parkadal Sayanam.

4. Durgai killing an asuran

5. Krishna suckling milk (is it Yashodha or Boothagi – not sure)

 

 

 

When you go around the temple, you can see the way the Bhootha ganas have been used in this temple to create an ambience. Most of the ganas here are having a musical instrument in their hands or playing them or dancing to some tunes with various “bhavas” (facial expressions).

 

I was astonished to see the detail of a human riding a Yalli coming out through another Yalli’s mouth. Similarly I saw few other Yallis with their mouths open and some human form coming out of them.

 

This temple is a must see for all those lovers of art and sculpture.

 

Facts about the temple :

 

God : Brahmapureeswarar, Alandhurai Nathar, Pasupatheeswarar

Goddess : Alliangodhai Nachiar, Soundhara Nayagi

Tree : Aala Maram (Banyan Tree)

Theertham : A pond opposite to the temple ( It doesn’t exist anymore)

Name of the abode : Alandhurai (as mentioned in Thirumurai)

Saints Visited : Thriugnyana Sambandhar

 

For more pictures of Pullamangai please go to this links :

 

My Pullamangai Pictures

Temple Travelogues - Thiruvaiyaru

Thiruvaiyaru Temple

Most of us who know Thiruvaiyaru - connect it with Thyagaraja Swamigal Samathi and Thyagarajar Utsavam where musicians from various fields of art come and perform to pay obeisance to Swami Thyagaiyar.

There is one more good reason why you must visit Thiruvaiyaru and this being to see the Iyyarappan with Goddess Aram Valartha Nayagi.

Thiruvaiyaru in Tamil means the holy land of five rivers is about 15 Kms from Thanjavur. The five rivers are the tributaries of the Kaveri and form a sort of network around this town, thus this town got this name. The main temple here is to the lord who shares the name with the town – Panchanadeeswarar in Sanskrit, or Iyyarappan in Tamil

The vast temple in this town is also known as "Dakshina Kailasam" (Southern abode of Shiva). The name Dakshina Kailasam came into being because Lord Shiva and Parvathi presented themselves in front of Appar Swamigal who was determined to see the Lord in Kailasam. Appar Swamigal one of the most important Nayanmars had dedicated a pathigam for this temple. Please see the related story below.

This temple is also famous for Nandhi’s Marriage, Dakshinamoorthy as well there is another sthalapuranam that goes about saying how the Kaveri gave way to Sundarar and Cheraman Peruman to worship Lord Jeppesan a.k.o Iyyarappan.

This temple is built in an area of approximately 60000 square meters, have 5 'pragarams' (outer precincts used for religious purposes) and many 'mandapams' (great halls).

Several inscriptions in the temple affiliate the temple to the major Kings of Chola and Pandyas dynasty apart from few other rulers who came later. Some of the inscriptions talk about Karikala Chola, Rajaraja the Great, Jatavarman Sundara Pandyan and Krishna Devarayar.

History of the Temple :

There is an interesting story about how this temple came into being. During 1st BC, the Chola king Karikal Peruvalathan who was ruling the Chola Kingdom was travelling in this region. When he was crossing Thiruvaiyaru his chariot got stuck at a particular spot. With all the horse pulling it and soldiers pushing it, still the Chariot did not move an inch.

He immediately ordered his soldiers to start digging that place, thinking it has to be some sort of divine thing that is stopping his chariot. When they dug few feet down, they got a lingam. When they dug further they found the idols of Goddess Dharma Samvardhini, Vinayakar, Murugar and also a Nandhi. When they dug further, they found a Siddhar (saint) named Niyamesar performing penance with his long hairs spread across the earth. The king immediately prostrated before the Siddhar, fearing that he has disturbed his penance, but the Siddhar with all the kind heart blessed the king and instructed the king to build a temple for the Lord and Ambal. He also told the king that he will get all the wealth needed to build the temple will be available under the Nandhi’s statue found buried few feet away.

The local legend that it was Iyyarappan himself who came and blessed the king and asked him to build the temple for him. There is still this belief that it was Lord Himself who had come as Siddhar with all his Jadai Mudi spread across the temple area. Because of this belief, even today no one is allowed to come around the Garbagriham to perform “pradikshanam” as they think the Iyarappan’s hair is spread across in that area.

The current day’s temple is an expansion of what King Karikal Peruvalathan had built. The original temple just housed the Garbagriham for the Lord and Ambal. The Artha Mandapam and Mukha Mandapam and other Mandapams were built during the period of Raja Raja Cholan and Paranthaka Cholan.

We can find even British soldiers carved in the pillars of the Ambal Sannadhi outer pragarams. This Mandapam in Ambal sannadhi was built much later.


STHALA PURANAM :

This temple like any typical Shiva temple has multiple sthalapuranams we will see one by one.

Appar Swamigal Story :

Thirunavukarasar also known as Appar was born at Thiruvamur near Panruti. He was born to Pukazhanar and mother Madhanivar whose main profession was farming and agriculture. They were the most humblest family who were devote Saivites. Thirunavukarasar’s birth name was Maruneekiyar ( meaning – remover of Illusion). The name Appar was given to him later by none other than another great saint Thirugnyana Sambandhar. Without not getting in to the details how he was brought up and educated and groomed and how he turned from devote Jain to a much more devote Saivite, I will get into the story of how appar is connected with Thiruvaiyaru.

On his voyage of paying obeisance to Lord Shiva, he traveled towards Thiruvannamalai to rejoice in the worship of Lord Shiva. After praying at Thiruvannamalai went to other Saivite shrines of Siva in and around the Pallava Kingdom. Then he moved on to salute the Golden haired Lord’s abode Sri Kalahasti which is where Lord Shiva showed the greatness of hunter devotee Kannappa Nayanar.

After having darshaned Him at Kalahasti, Appar yearned to see the utmost beautiful and holy most abode of our Lord Kailasam (Mount Kailash), he continued his journey towards north. After prostrating to Lord at Sri Sailam and few other places in Maharashtra and Madhya Pradesh he arrived at Varanasi where he prostrated before Lord who had taken abode at the banks of River Ganga having her in His matted hair. He then proceeded to travel towards north further to mount Kailash. In those days where no means of transport was available for such travel, Appar proceeded to he Himalayan forests where even Devas would be scared to get in.

Not worrying about all those rough terrain, mountainous terrain and the dense forests and the wildest and scary animals which were living inside that thick jungle, he proceeded his journey towards Mount Kailash singing and chanting the name of Lord Shiva. Waking day and night not worrying about any of the above he had two things on his mind. First being his determination to see Lord Shiva and Parvathi at Mount Kailasam (known as Kailasa Darshan) and devotion towards Lord. He had both these things as big as the Mount Everest which made him to continue to his journey towards mount Kailash even after his lotus feet were worn and burnt because of the harsh terrain and continuous walk of 1000s of Kilometers.

Walking day and night through that tough and rough terrain his feet were worn out and severely injured because of his continuous walking, but his devotion to worship the Lord with His Consort on the mount was not an inch faded. When his legs were no more good to walk, he started crawling using his hand and knees but after some distance even his hand and knees became so bad that he started using his chest to move forward. His chest bones broke after distance and the flesh and wounds started bleeding he was not able to move an inch anymore even at this situation he not giving up his determination started to roll towards the mount Kailash.

At this point of time, Lord himself came in front of Appar in the form of a sage and asked Appar why he was toiling like that when he could happily darshaned Lord at Varanasi itself like any other place. Further he told that to worship Lord at Mount Kailash no human form can reach only Devas and angels and other Gods can reach Mount Kailash to have darshan but not him and asked Appar to return back.

But appar peruman was much more firm than the rock of Mount Kailash and he said he would not return without seeing Lord at Kailasam. Having heard all those beautiful hymns of Appar, Lord who was there in the form of sage disappeared in the horizon and raised the voice, “Ohh great king of words!. Raise! Have a dip in the pond in front of you and see us in the form we are at Kailasam raising from the pond in Thiruvaiyaru”.

Appar listening to this “Asariri” took a dip in the pond in front of him somewhere in the foothills of Himalayas and when he got out of the pond all his wounds were gone and to the surprise of the entire world, by the grace that cannot be measured by any one, he reappeared in one of the ponds in the town of Thiruvaiyaru.

What he saw was the most momentous and unforgettable darshan of Shiva and Parvathi in his own words. Appar’s happiness was unfathamomable and immeasurable. He saw everything in Thiruvaiyaru which was reflecting the principle of Shiva and Shakthi. The whole temple appeared as Mount Kailash and he was able to see the praise of Vishnu, Brahma, Indra and other Devas and Ganas who were paying obeisance to Lord Almighty. What he also saw was Daemons, great sages about whom he has only read or heard and gandharvas like Ramba and Urvashi performing in front of Lord Shiva and all the holy rivers including Ganga worshiping Him. Shiva’s prime assistant/servant Nandhi Devar standing like a real guard – guarding the abode. Hence, Thiruvaiyaru is also called as Dakshina Kailasam.

Appar having seen such a wonderful scene by himself, was enthralled and having such a hair rising experience cried out of sheer joy and extreme happiness. At this moment only he sung the hymn “Madhar Pirai Kanniyanai” which explains the whole unparalleled scene of Mount Kailash as seen by him through this song.

I am reproducing two songs which he sung immediately after seeing Lord

மாதர் பிறைக் கண்ணியானை மலையான் மகளொடும் என்னும்
கோதறு தண் தமிழ்ச் சொல்லால் குலவு திருப்பதிகங்கள்
வேத முதல்வர் ஐயாற்றில் விரவும் சராசரம் எல்லாம்
காதல் துணை ஒடும் கூடக் கண்டேன் எனப் பாடி நின்றார்.

கண்டு தொழுது வணங்கிக் கண் நுதலார் தமைப் போற்றிக்
கொண்ட திருத் தாண்டகங்கள் குறுந்தொகை நேரிசை அன்பின்
மண்டு விருத்தங்கள் பாடி வணங்கித் திருத்தொண்டு செய்தே
அண்டர் பிரான் திருவையாறு அமர்ந்தனர் நாவுக்கு அரசர்

Another Song about how Shiva and Parvathi looked at the Kailasam as Appar saw it :

Velli Verpinmel Maragathak Kodivudan Vilangum
Thellu Perolip Pavala Verpena Idap Pagam
Kollu Mamalaiyaludan Koodaveet rirundha
Valla laraimun Kanadarn Vakkin Mannavanar.

Sundarar and Cheraman Story :

The Chera Emperor Perumakodhaiyar who ruled the then Chera Kingdom was one of the strongest devotee of Lord Shiva came to know about the devotional singing of Sundarar. With a zeal to meet this devotee he traveled all the way to Tiruvarur where not only he paid his obeisance to the Arooran (main deity at Tiruvarur) but met Sundarar and their mutual unified inclination towards the red matted haired Lord brought them very close to each other. Their friendship became so famous, thus Sundarar became to be known as Cheraman Thozhar (Friend of Chera).

To make the story short, Cheraman Thozhar and Sundarar sang lot of songs and praised the Lord with lot of hymns visiting one shrine after another and prostrating before the Lord at each place. Sundarar wanted to worship the Lord at Madurai and other abodes in and around Madurai in the Pandya Kingdom. Cheraman who was zealous to salute the Lord of Madurai and unwilling to leave Sundarar joined him in his pilgrimage. When Sundarar and Cheraman reached Madurai they were joined by the Chola and Pandya King who were keen to listen to the devotional hymns of Sundarar. Saluting the various abodes in the temple town Madurai Sundarar worshiped Lord along with the three emperors at Thirupuvanam, Thiruvapanur, Thiruvedakam, and Thiruparankundram.

When the other two kings took leave Cheraman and Sundarar continued their holy journey in the Pandya Kingdom and after finishing certain abodes here they reached back at the Chola Kingdom where lot many abodes waited to be seen.

Cheraman and Sundarar who after reaching Tiruvarur again prayed the abode of Shiva here and then continued their journey towards Kerala. While traveling both were enthralled at the thought of worshipping Lord Panchanadeeswarar at Dakshina Kailasam. When they reached outskirts of Thiruvaiyaru they were shocked to see the Kaveri river running to brim of its banks. Sundarar not batting an eyelid, immediately sang a Pathigam on Iyyarappan, who stopped the flow of Kaveri River. Thus the river which was flowing from west to east just stopped creating mountainous water wall on the western side so that Cheraman and Sundarar could walk across river and reach His abode and pay their obeisance. The river started flowing back to normal mode when they crossed back to the other bank. The Pathigam goes as below (there are 11 songs but I am reproducing the first only here), The local legend says that when Sundarar sang this pathigam the Ganesh moorthy who was present on the other side of the bank shouted “oolam”, “Oolam” so as to guide both the devotees thus they can cross safely. Hence this Ganesh was called as “Oolamittta Vinayakar”.:

Paravum Parisondrariyen Naan Pande yummai Payeelathen
Iravum Pagalum Ninaithaul meitha Ninaiya Mattenaan
Karavi laruvi Kamukunnath Thengang Kulaikkeezh Karumbalai
Aravan Thiraik Kavirik Kottath aiyarudundiya

Story of Nandhi Devar :

Once upon a time a great saivite saint Siladha Munivar lived around Thiruvaiyaru. A complete devotee of Lord Iyarappan was much worried about not having been blessed with a son or daughter. Being a believer he went on to pray Lord Iyarappan and started his gruel penance. Iyarappan seeing the devotion of his devotee blessed him and asked him to perform a Puththira Kameti Yagam and after performing this Yagam, plough the field where this yagna was performed. There he will find a child in a wooden box which will live for 16 years.

Siladha Munivar immediately performed the Yagna as Lord has ordered him and ploughed the field where the yagna was performed. While ploughing they got a box when they opened the box there was a small idol which had four hands and three eyes. Suddenly there was a booming voice from the sky which said ”Siladha, close the box and open again”. Siladha Munivar closed the box and opened it found a beautiful young baby boy inside that box.

Siladha Munivar and his wife were so happy to see the baby boy, at that point of time Lord’s statement of that boy will live for 16 years did not look like a big thing. They took the boy home and named the boy as ”Jeppesasn” and started grooming him as a bright child with experitise on all Vedas and Sasthras. By the time the boy was 14 he was an expert in almost everything.

Now, on his 14th birthday, Siladha and his wife started worrying about the boys life. The parents were litterally crying every day that they have to lose this boy in another two years time as per Lord’s condition. The boy Jeppesan saw the state of his parents, resolved himself that he would alleviate their worry. He immediately went to Lord Iyarappan’s temple and prayed Lord at his Sannadhi and got into the Ayanari Pond which was close by the temple and started his penance under the water, towards Lord Shiva with utmost devotion. Being under the water, that too for so many days, the firsh and other living organs ofthewater world started eating Jeppesan’s skin and bones.

Lord Shiva seeing the utmost devotion of his devotee was so pleased wiht his bakthi, he came down to earth and blessed him with all the wealth and health. It is said, having been under the water and having his skin and bones eaten away the by fish, they boy looked so frail and sick. Lord poured on the boy a mixture of five waters (Ganges water, Brahmas Kamandala water, Ambals breast milk, Kondal water and cow’s (his vaganam) froth). The moment water touched the body of this boy, his body became purified with no scars or wounds. This is also said to be reason why the God here is called as Jeppesan.

Jeppesan later on got married to the grand daughter of Vashishta Munivar, for this marriage lord himself came and blessed the couple and also it is said the marriage took place at Thirumazhapadi near Thiruvaiyaru, and shiva took his devotee around these seven temples as part of the Sapthapadi. Every year, this occasion is celebrated in April/May with the ido of the Lord starting out in a beautifully decorated glass encrused palanquin from Thiruvaiyaru and taking a round othe following seven villages. At each village he is recieved at one boundary by the Lord of that village and accompanies him to the next village where he is received by the next one.

Following are the seven temples or villages he visits :

Thiruvaiyaru

Thirchotruthurai

Thiruvedikudi

Thirupponduruthi

Thilaisthanam

Kandiyur

Thiruppazhanam

Facts about the Tmeple :

God : Iyyarappar, Panchapakesar, Chempor Chodhi Nathar, Panchanadeeswarar, Pranatharthiharar, Mahadeva Pandarakarar (as written in the inscriptions), Jeppesar and Kaiylaya Nathar.

Goddess : Aram Valartha Nayagi, Dharma Samvardhini, Tiripurasundari, Ulagudiya Nachiar and Thiruka Kottathu Aludiya Nachiar (as in inscriptions).

Theertham : Kaviri, Surya Theertham, Nandhi Theertham, Samudra Theertham, Devamridha Theertham.

Tree : Vilvam

Name of the abode : Kavirikottam, Thiruvaiyaru, Panchanatham, Dakshina Kailasam, Iyaru, Jeevan Mukthi Puram and Jeppesal.

Great saints visited : Nandhi Devar, Sambandhar, Appar, Sundarar, Cheraman Peruman, Manika Vasakar, Pattinathadigalar and Arunagiri Nathar.

The temple’s front Gopuram has beautiful statues built on it. On one side you could see Siva puranam stories being depicted and the other side you can see statues of all dasavathara moorthies.

The more prominent one on the front gopuram is Ravanan Lifting the Kailasam on his head with Siva and Parvathi sitting abode. Dancing competition statue of Shiva and Parvathi. Killing of Gajamuka sooran. See the pictures attached.
Inside the temple pragaram(the interior pragaram) around the mukha mandapam you can see wall paintings done during the Chalukyas period. They are still wonderfully maintained.
The temple has a mandapam just beside the Iyyarappan Sannadhi which is known as “Mukthi Mandapam” where it is said Nandhi Devar, Maha Vishnu, Agathiyar got advice (Upadesam) from Lord himself and attained Mukthi. It is further said, if you sit here and recite Panchakshara Jabam, each recital is equivalent to 100,000 recitals of the same and will also benefit the person who recites it.
The temple is so huge and beautiful with four pragaram, even these pragarams were so wide and big.
The temple has two distinct divisions called “Uttira Kailasam” and “Dakshina Kailasam”. Uttira Kailasam was built by Raja Raja Cholan’s queen in the late 10th Century who also made several other endowments. Dakshina Kailasam was renovated by Rajendra Cholan’s queen.
Appar one of the important Nayanmar was closely associated with this shrine and dedicated one of the songs in “Thevaram” to this temple.
There is a back entrance to this temple where you can see a shrine of Alkondar. Alkondar is another form of Shiva. This Alkondar deity is most fearsome deity wearing garland of scorpions and other poisonous creatures. There is a story behind this avatar of Shiva. It is said shiva took this form to punish Yama.
In front of Alkondar shrine there is a huge pit where Kungiliam (Benzoin) is burnt as an offering. It is believed the smoke from the Benzoin removes the fear of death also wards away death due to the bite of poisonous creatures.
I will do a separate post for Thiyagayyar. I am not the write person but