Tirumangalam Sama Vedeeswarar Temple

Tirumangalam, a quaint village nestled about 4 kilometers away from Lalgudi town in the Tamil Nadu state of India, holds within its bounds an ancient temple devoted to Lord Shiva. This sacred abode, known as Sama Vedeeswarar, hails from the Chola period and boasts of mesmerizing architecture and a plethora of intricate sculptures. Despite its remarkable attributes, the temple sadly remains in the shadows of obscurity. In this discourse, we shall delve into the enigmatic realms of this temple, unraveling its distinctive features.

Highlights:

• God - Sama Vedeeswarar 
• Goddess - Loka Nayaki
• Teerth (Holy water) - Gaya Phalguni or Parasurama Teerth
• Sthala Vruksha (Holy tree) - Jack 
• The birth place as well as the Mukti Sthalam of Anaya Nayanar.
• Unique sculpture of Shanmukha with four arms.
• Unique sculptures of Valli seated on peacock, whereas her co-wife Devaseana in the standing posture.
• Dakshinamurti with Abhaya mudra.
• Kala Bhairava and Swarna Bhairava are found together.
• Chandikeshwara is unusually found in Ardha Mandapa.

Legend:

This lesser known temple has so many lesser known but interesting tales.

Sama Veda:

Ved Vyasa classified the ancient Vedic hymns into Rig, Yajur, Sama, and Atharva, imparting this knowledge to his four disciples. One of these disciples, Jaimini, meticulously interpreted the Sama Veda, organizing it into verses according to his understanding, within the precincts of this very temple. Consequently, the presiding deity here was christened Sama Vedeeswarar. Remarkably, no other Shiva temple bears a name directly derived from a Veda.

Parasurama:

Parasurama, burdened by the regret of matricide, sought solace at this sacred site. As a result, the temple's holy tank came to be known as Parsurama Teerth, and the village itself earned the appellation Parasurameswaram.

Lakshmi:

Goddess Lakshmi's devotion to Lord Shiva here bestowed the name Tirumangalam upon the village.

Gaya:

Ravikuruva Rishi, a lesser-known sage, yearned for salvation and arrived at this village. Failing to locate a river, he contemplated visiting Gaya and Kasi. However, Lord Shiva intervened, conjuring a river in the village, now known as the Gaya Phalguni River. This spot is deemed equivalent to the revered Gaya and Kasi pilgrimage destinations.

Anaya Nayanar:

Among the 63 Nayanmars, Anaya Nayanar, a devoted cowherd, was born in this village. He played the Panchakshara Mantra on his flute, captivating not just humans but also animals and birds. Even celestial beings and sages converged to listen to his melodies. Overwhelmed by his devotion and music, Lord Shiva and Goddess Uma materialized before him, eventually merging him into the divine entity at this very village.

Chandikeshwara:

Chandikeshwara embarked on a pilgrimage to absolve the guilt of patricide, visiting numerous sacred places. Ultimately, his journey led him to Tirumangalam, where his sins found redemption through worship of Sama Vedeeswarar.

Ravana:

Legend narrates that the temple's principal deity was consecrated by the mighty Ravana himself.

Uthanga Rishi:

Uthanga Rishi's penance was rewarded with the nectar of immortality within these precincts.

History:

Stone inscriptions from the Chola era grace the temple, suggesting a probable construction or renovation during the 11th century CE under Chola patronage.

Temple Layout:

Entrance:

The temple's eastern facade features a three-tiered tower.

The courtyard hosts the flagstaff, bali peetha, and Nandi, all facing the sanctum. This elongated mandapa teems with pillars adorned with intricate sculptures.

Adjacent to the flagstaff is the Kodimara Ganapati icon.

Inner entrance houses the images of Adhikara Nandi with his consort and Agnaya Ganapati.

Sama Vedeeswarar:

The eastern-facing sanctum enshrines the grand Shiva Linga named Sama Vedeeswarar. Maha Mandapa's Nandi gazes upon the sanctum.

Ardha Mandapa features images of Ganesha and Chandikeshwara, where Chandikeshwara earned Shiva's blessings. Uncommonly, Chandikeshwara graces the Ardha Mandapa. 

Loka Nayaki:

In a separate south-facing shrine near the flagstaff, Goddess Loka Nayaki stands, sporting four arms.

Aadal Vallan:

The Nataraj shrine, referred to as Aadal Vallan, resides in the first prakara. It assumes significance due to the presence of Nataraja, Sivakami, and Anaya Nayanar's bronze images. Anaya Nayanar is portrayed playing a flute while seated under a tree amid cattle. A distinctive bronze image of Parasurama stands nearby.

Near the Nataraj's shrine, the sub-shrine of the village deity is located. It enshrines the utsav image of Kali with eight arms.

The images of Shaneeswara, Vishnu Durga, Kala Bhairav, Swarna Bhairav and Navagraha are also located nearby. The specialty is to find Swarna Bhairava and Kala Bhairava together. Shaneeswara's vaahana crow has its head towards the north direction, which is unusual. 

Koshta Murtis:

The Koshta Murtis around the sanctum are very attractive and they appear to be of the Chola period.

Dakshinamurti, Bhikshatana, Shankara Narayana, Brahma and Durga are found as the Koshta deities. 

Dakshinamurti's right arm is in abhaya mudra, which is very rare. In front of Dakshinamurti, a separate image of a sage (Jaimini?) is found seated. This is again unusual.

Durga is found resting not on Mahisasura, but on a lion. 

Other shrines and Icons:

In the prakara, there are few other sub-shrines located such as:

• Maha Ganapati
• Shiv Linga that was worshiped by Parasurama
• Gaja Lakshmi
• Amman who granted mukti to Anaya Nayanar 
• Chandikeshwara

Some idols not located within sub-shrines are also found. They include:

• Anaya Nayanar
• Shiv Linga who granted mukti to Nayanar along with Nandi
• Chandikeshwara
• Baana Linga
• Appar
• Sambandhar

Kalyana Subramanya:

Kalyana Subramanya shrine merits special mention, depicting the Shanmukha form with six heads and four arms, instead of 12 arms. Valli is seated on a peacock, holding her right arm in Varada mudra, while Devasena stands by Subramanya's side, holding a flower. Notably, Subramanya stands, defying the conventional portrayal seated on a peacock.

Happy travelling.