CHAPTER II KANDAPURANAM, A BIRD S EYE VIEW. Murugan also known as Kadamban, Kumaran, Seyon etc. was the God of

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1 CHAPTER II KANDAPURANAM, A BIRD S EYE VIEW Murugan also known as Kadamban, Kumaran, Seyon etc. was the God of the Kurinji region of the Tamil country was worshipped even from the Sangam age onwards as Tamil deity 2. Tolkappiyam, the earliest Tamil grammar work too describes Murugan as the God of mountainous region and he is named as Seyon (Seyon meya maivarai ulagamum) 3. As a God, who wielded the vel - i.e. spear the name Velan was assigned to him. The priest of Murugan was also called Velan in Tirumurgarruppadai. So the custom of Velandal or Velan Veriyadal was executed by the priest Velan for propitiating Murugan, the deity for knowing the causes of the distress of women who suffered due to love sickness. The early Tamil Sangam classics call him as Velan 4. This deity, originally called Murugan, had his own individualistic qualities and they stand to prove the indigenous origin of the deity. For instance Velanadal or Velan veriyadal, a frenzied dance associated with Murugan, the treatment of Murugan as God of youth and beauty and the relation between Murugan and flowers like Kadambu, Kandal and Vengai etc., stand to prove Murugan as a 2 Thiru. V.Kalyanasundaranar, Murugan Alladu Alagu (T). Madras, 1971, pp Tolkappiyam, porulathikaram ; 5 4 Ahananuru, 1:3, 59:11, 96:10, 156:16 Aingurunuru, 129:2, Paripadal,5:50, 8:81, Porunararruppadai,

2 Tamil deity 5. Further Murugan alone is associated with red colour as Seyon. While Murugan is treated as a Tamil deity he had his own counterpart in the north, who was called Skanda Karthikeya. Anyhow both the Gods are identical due to their was like qualities and traits. In this regard it should be remembered that Murugan of the Tamil country was having two wives called and Devasena. But the northern Skanda Karthikeya had no such attributes. Chandogya Upanishad had treated Sanatkumara as Skandan. 6 In this regard it is infer that Skanda was a youth God or Kumaran. As rightly observed by John Dowson, the northern Skanda, who was a composite God. 7 He was also treated as ninth aspect of Agni or Rudra. So it is clear that northern Skanda is a God associated mainly with Agni. 8 Further, during the non availability of the name Murugan in any of the northern Sanskritic works of any period the northerners call their deity as Skandan, Kumaran and Karthikeyan in the Maitiyani Samhita. 9 It suggests that the Tamil Murugan and skanda Karthikeya of the north were two different deities but amalgamated in due course, probably after the seventh century A.D. This could be corroborated by the introduction of the Somaskanda panel 5 M.Gandhi Dasan, Tamilagathil Muruga Valipadu, (T) Ennes Publications, Madurai, 1988, p.5. 6 Bohtlingk, c, (Ed) chandogya Upanishad, Leipzig, 1889, VII 26:2 7 Washburn, E.Hopkins, Epic Mythology, Delhi, 1971, p John Dowson, Classical Dictionary of Hindu Mythology and Religion, Geography, History and Literature 9 Von Schroeder (Ed), Maitriyani Samhita 2:9:1:11-12, Leipzic,

3 into the Murugan worship of Tamil Nadu during the Pallava period i.e., after the century A.D. 10 As the Pallavas of the early period were giving importance to and as their capita city Kanchipuram was a prominent Sanskrit centre they had the opportunity to unite the northern Skanda Karthikeya with the identical Tamil deity Murugan by making him as the son of Siva and Uma (Saha + Uma + Skanda). Further in the Taittireya Aranyaka as important devotional work, the name Subrahmanya is assigned to Rudra. 11 As such as rightly observed by A.K. Chatterjee, 12 Skanda, who is called by the names like Shanmugha, Jayantha, Visaka, Subrahmanya Mahasena in Baudhayana Dharmasutra 13 should have emerged as God Rudra and they were in no way connected with the Tamil deity Murugan during the early pre Pallavan period. As an evolutionary process it is right to believe that Skanda Karthikeya was treated as an incarnation of the deity Agni 14. This fact offers an opportunity to treat Skanda as the son of Agni through the six wives of six sages. 15 Such fats indicate that there were differences of opinion regarding the origin of the northern Skanda Karthikeya. 10 M.Gandhi Dasan, op.cit., p M.N.Apte, (Ed), Taithireya Aranyaka, 11:12:58, Poona, A.K.Chatterjee, The Cult of skanda Karthikeya in Ancient India, Punti Pushtak, Calcutta, 1970, p Hultzch, E. (ed.) Baudhayana Dharma Sastra, Leipzig, Veronica Ions, Indian Mythology, Paul Kamlyn Publishers, New York, 1975,p W.J Wilkins, Hindu Mythology, Delhi Book Store, Delhi 1972, p.277.

4 The Tamil Murugan s origin is totally different. The Tamil Murugan, when associated with mountains and called as the God of mountains of ups and downs, 16 the God of sky high mountains, 17 Kunranna, 18 i.e., the God of hillocks, the mountain where Murugan resides, 19 the God of the hills of the Kurinji region 20 etc., it is evident that he was out and out purely a Tamil deity of beauty. The Tamils believe that all the beautiful spots of nature are the abodes of Murugan. So that the hills such as Thirupparankundram, Thirumalirum Solai, Swamy Malai, Thiruthani, Kumaragiri, Kurnrakkudi, Mayilam, Valli Malai, etc., are associated with Murugan the Tamil deity. But his counterpart Skanda Karthikeya is not at all nominated with any mountain in any one of the northern literary pieces. There is no equation between Murugan and Skandan while the worship of the former was centering around the blood sacrifices, while executing the frenzied dance called Velanadal or Velan Veriyadal the Northern Skanda is not having any such traits. Most of the Sangam classics contain vivid accounts about the archaic indigenous tradition called Velanadal Kurinjippattu : 208:9 17 Ahananuru, 348: Aingurunuru, 3:25 :246:6 19 Ibid., 4:31:307:4 20 Tirumurugarruppadai, Ahananuru, 22:9, 242;12, 292:4; Aingurunuru, 3:26:259:4; Aintinai Aimbadu, 20:3-4; Naladiyar, Turavaraviyal : 6:2-4; Narrinai, 47:9-10; Muttollayiram ; 1:1-2, Tinaimalai Nurraimbadu, 12:1-2:

5 Like this there are number of variations in the birthmyths of the Tamil Murugan and his northern counterpart Skanda Karthikeya. Nakkirar in his Tirumurugarruppadai has mentioned Murugan as the son of six celestial women (Aruvar payanda aranar celvan), the son of the God of the banyan tree ( Alanar Kadavul Pudalvan), the son of the lady of the mountains (Malai Magal mahane), the son of the war goddess Korravai (Korravai Ciriva) and son of prestigious Palayol (Polayol Kulavi). 22 Under Such circumstances the war like qualities of God Murugan are traced from various works of the Sangam age of the Tamils. 23 Such facts helped the amalgamation and integration of two different Gods of two different regions at a later date i.e., the commencing years of the Bhakthi movement i.e., the seventh century A.D. From the above facts it is evident that these two identical deities of two different regions i.e., North and South India were amalgamated at a particular point of time and the war like qualities should have been the basis for such an unification Tirumurugarrauppadai, Malaipadukadam,493,Ahananuru,1:3,Purananuru, 120:21 Perumbanarruppadai, Hastings, James (ed)., Encyclopedia of Religion and Ethics, Vol. II, New York 1955, p.807.

6 Under such circumstances no Tamil works on Murugan emerged after Tirumurugarruppadai of Nakkirar except the eleven Paripadal songs belonging to the third century A.D, i.e., the period of the termination of the Third Tamil academy and the arrival of the kalabhras into the Tamil country. While the Guptas were contributing to the worship of Skanda Karthikeya and Kalidasa wrote his Kumarasamhava due to the encouragement given by Chandragupta II, in the Tamil country there was a stagnation eclipse in the worship of Murugan. 25 It was mainly due to the Kalabhra interregnum. But for the introduction of the Somaskanda panel, as an architectural and iconographic development, during the Pallava period, no significant progress took place in the continuation of the Murugan cult. The Somaskanda panel too stresses the northern influence. Here it worth to note that Murugan, the Tamil deity was utilised by Saiva Nayanmars as a means to promote Saivism, when the Tamil deity Murugan is treated as the son of the Siva and the original Tamil God s position is reduced to that of a son of a renowned All India deity Siva. Steps were taken by Saiva Nayanmars and Vaishnava Alwars to promote Saivism and Vaishnavism respectively between the sixth and tenth centuries during the period of the Bhakthi movement. The Pallavas, Pandyas and Cholas were concentrating more on either Saivism or Vaisnavism. But they never did 25 M.Gandhi Dasan, op.cit, p.82.

7 any harm in general to any other religious sects to due to their venerable policy of religious toleration. They even encouraged Jainism without causing any damages. During the early part of the ninth century A.D. no many temples of any major Gods. Such as Siva or Vishnu were available in Tamil Nadu. The Kannanur Balasubramanya temple, was one of the earliest structural temples constructed by Aditya I ( A.D), 26 exclusively for Subramanya, who was none other than Murugan. The Imperial Cholas, who devoted attention to the Temple architecture based on Agama principles, considered Subramanya, (the one who was known for his wisdom, Subrahmanyam) the name assigned to Murugan, as a Parivara Devata or a secondary deity and placed that God in their temples at the north eastern corner or just behind the primary deity in the next prakara. At the same time the Tamil works such as Tiruvirattai Manimalai 27 of Nambiyandar Nambi and Adhiravadigal s Tirumummanikkovai 28 which are included in the 11 th Tirumurai of Saiva canonical works, prove that Vinayaka, the Mutta Pillayar occupied the first place before Murugan as his elder brother. Such facts reveal that the popular Tamil deity of the Sangam age had lost his significance after the termination of the Sangam. Not only that, he was relegated back to the secondary position as the son of Siva. These facts too 26 Personal visit to Kannanur on Eleventh Tirumurai, Vinayager Tiruvirattai Manimalai, 14: Ibid., Tirumummanikkovai, 13.

8 reveal that the Murugan cult lost its value due to the outcome of the Kalabhra interregnum and the Bhakthi movement introduced by the Saiva Nayanmars and Vaisnava Alvars. The development of Saivism too was another cause for his backwardness. Any how the availability of the facts relating to Murugan in smaller forms in the ninth and eleventh Tirumurais suggest that, though Murugan worship met with an eclipsed state that God never disappeared but attained a secondary position next to Siva. There arose a necessity to take up new ventures for Kachchiyappar to revive the qualities and worship of Murugan 29. During a long gap of nearly ten centuries i.e., from the third to the twelfth century there emerged no specific or particular literary work especially on Tamil God Murugan. 30 There arose a need and necessity for reviving that cult. At this critical juncture in the 12 th century Kachchiyappa Sivachariyar, born at Kanchipuram in a Saiva family, produced his Kandapuranam based on the facts about Skandam referred to by Kambar the author of Ramayana and Virasoliyam, a Buddhist work of Buddhamitra in the 12 th century A.D 31. Tamil Kalaikkalanjiyam too acknowledges this fact and approves this period. The complete work of Kandapuranam comprises of six cantos (Kandams). Each canto has it own sub divisions as given below. 29 N.Ramalingam, Kandapurana Araichchi (T) Madurai, 1988, p Idem 31 Kachchiyappar, Kandapuranam, Kasi Mult (Edn) Introduction, Tiruppanandal, 1953, p.13 and K. Subramanian, Ilakkiya Varalaru, Part II, Madras, 1970, p.335.

9 Canto No Title of the Canto Total No. of Subdivisions 1 Urpathi Kandam (origin) 26 2 Asura Kandam (demons) 33 3 Mahendra Kandam 21 4 Porpuri Kandam 16 5 Deva Kandam 5 6 Dakka Kandam 24 Altogether there are 10,345 songs in Vriddham form of Tamil poetry. Being a Tamil poet, Kachchiyappar had given importance to the Sangam traditions associated with Murugan. The Kuravai Dance 32, Velan Veriyadal 33, etc., are all mentioned by him. By that it could be inferred that he had endevoured to rejuvenate and revive the Murugan Cult in Tamil Nadu after a lapse of ten centuries. Being a deity of indigenous origin, even from the days of the Sangam age, Kachchiyappar, a Murugan devotee had adopted a fresh technique of writing a complete work exclusively on Murugan under the title Kandapurnam on par with the northern traditions employed on Skandam. Under such circumstances Kachchiyappar had imposed the distinctive qualities of northern Skanda Karthikeya on Murugan. He, without any hesitation had hailed from him as a God identical to that of the Tamil deity 32 Kandapuranam, Vallimmai Padalm, 39:4 33 Ibid., 40:4

10 Murugan. For instance Murugan is treated as the chief among the Tamil poets 34 and that proves the fact that he tried to enhance the prestige of Murugan as a Tamil deity well read Tamil scholar and God of knowledge and wisdom. So that Murugan gained the name Subrahmanyan. Further as K.R. Venkatraman has informed that Somaskanda Panel, introduced by the Pallavas was a unique and unknown one to the Tamil country. 35 As a scholar known for his knowledge of architecture and sculpture Kachchiyappar haf made mentions about the Murugan who, as a baby seated in between the God Siva associated with bull and Vimalai i.e., Uma. 36 From such observations it is evident that Kachchiyappar was capable of fulfilling his end in promoting the worship of Murugan by narrating the different significant aspects of Murugan which were familiar through the ages. There are sample references to prove that fact. Kachchiyappar by calling of Murugan as the son six wives of the rishis, Korravai, Palayol, Tunagayan Selvi in his Kandapuranam as written in Tirumurugarruppadai had adopted a traditional approach. Kachchiyappar, at different contexts in his Kandapuranam had assigned importance to the different legends associated with the birth of Murugan. 37 Falling in line with the description of Murugan as a six headed and 34 Ibid., Singamuhasuran Vadai Padalam, 456:3 35 K.R. Venkatraman, Skanda cult in South India, The Cultural Heritage of India, Vol. I, Calcutta, 1956, p Kandapuranam, Saravana Padalam, 27:1. 37 Ibid., Meru Padalam, 35:3-4, Tiru Avatara Padalam, 44:3-4 etc.

11 twelve armed deity in Paripadal, a post Sangam work 38 and Tirumurgarruppadai, a Sangam work 39, Kachchiyappar had recognised such aspects and had venerated and employed such local traditional aspects 40. They highlight not only Kachchiyappar s attraction towards the northern traditions but also the infiltration of the Sanskritic traditions into the Tamil country even during the days of Nakkirar the Sangam poet and the author of Tirumurgarruppadai. Even in Tirumurugarruppadai there are number of references about the Sanskritic influences such as the chanting of the Mantra in Tamil in a Sanskritic form, while worshipping Murugan. It is unique to note that Kandapurnama is not merely an epic dealing with the facts about Skandan but also a work which deals with a religious concepts with a harmonious blending of both Sanskritic and Tamil traditions. Most of the earlier facts available in Sangam classics, relating to the worship of Murugan, too find their place in Kandapuranam and that spells out the continuation of a cultural trait. The method Velandal or Velan Veriyadal, mentioned as the one carried out in a specific form 41 during nights. It was executed by Velan, the priest of Murugan with the offering of the blood of goat, rice and rice flake blended with the blood. During that frenzied 38 Paripadal, 5:11, 14:21, 19:97-100, 21:67 etc. 39 Tirumurugarruppadai, 103, 118 etc. 40 Kandapuranam, 1: Payiram, 3, 6:24: Paripadal, 9:44, Ahananuru, 22:8-11, Narrinai, 268:9, Aingurunuru, 248:1, etc.

12 dance blood sacrifices were offered. 42 A noisy drum was beaten along with the an extatic dance and loud music 43 etc., such facts about Veriyadal find place in Kandapuranam too many in places 44. Since the Tamils were always faith and belief oriented people the Kandavirathappadalam of Kandapuranam pinpoints that the deity Murugan was worshipped for obtaining the grace of that deity. 45 Kachchiyappar had attached importance to a traditional approach, which was a feature of the Tamils throughout the ages 46. As pointed out in Tirumurugarruppadai, 47 Kachchiyappar too had mentioned Murugan as a deity who could convert the Asuras of vices and evil practices into honest people 48. In addition to that Kachchiyappar had revealed the grace shown by Murugan to Veerabahu who won the battle against Banugopan 49. Murugan is also hailed as a God, known for his dreadful appearance 50 but it is pointed out that he was the reliever of fears and horrors of others. 51. Thus Kachchiyappar, by showing veneration and highlighting the superior and distinctive the qualities of Murugan in Tamilnadu. 42 Ahananuru, 22:8-11, 242:8-12, 292:2-4, Kurunthogai, 53:4, Tirmurrugarrupadai, 218: Ahananuru, 22:8-11, 242:8-12, 292:2-4, Kurunthogai, 53:4, Tirmurrugarrupadai, 218: Kandapuranam, Valliyammai Tirumana Padalam, 40:1-4 and 156: Ibid., Kandaviratha Padlam, 19: Paripadal, 8: ; 4:78; 82-85; 18: Tirumurugarruppadai, Kandapurnam, Subramman Vadai Padalam, 496: Ibid., Banugopan Vadai Padalam, 151: Ibid., Devargal Porru Padalam 51 Ibid., Jayanthan Kanavu Kan Padalam: 6:1-4

13 In it he had employed a traditional approach. By the employment of many techniques Kachchiyappar had endeavoured to revive the past glories of the ancient, indigenous and renowned Tamil deity Murugan. One should also note that Kachchiyappar did not lag behind in attaching any significance to the descriptions of Murugan on par with the true and real qualities of epic grandeur 52. While Sundarar had called Murugan as the one who appreciates Siva 53. Manickavasagar has introduced Siva as Kumaran tan tadai 54 and Nalvelan Tadai 55 etc. (The father of Kumaran and father of noble Velan). Such facts indisputably reveal that the earlier Saiva Nayanmars utilised the name of the popular Tamil deity Murugan to enhance and popularise Siva on the basis of their relationship as father and son. But it is obvious that Kachchiyappar never employed the name of Siva for promoting Murugan by associating him with Siva, who has already attained a venerable position as a primary deity. This approach of offering recognition only to Murugan, instead of linking him with others, is another significant approach and style adopted by Kachchiyappar in his Kandapuranam alone. It was mainly because of the fact that Murugan was a renowned indigenous deity. In this regard he had devited 52 N. Ramalingam, Op.cit., p Sundarar Devaram, 73:9 54 Tiruvasagam, 14:17 55 Ibid., 9:3

14 from Sundarar and Manickavasagar, the earlier Nayanmars. Gnanasambandar and Thirunavukkarasar too had introduced Siva as the father of Murugan. The references such as Koli Kodiyon tadai, nal velan tadai etc. will attest it. The father of the one who slained the demon earlier (Anru maya sur arutha maintan tadai) 56, the father of the deity who rides on a peacock (mayileravan tadai) 57, the father of Kumaran 58 and Kumaravel (Kumaran tadai and Kumaravel tadai) 59 are the references by Gnanasambandar regarding his calling of Siva. In the same way Navukkarasar alias Appar too had described Siva only by linking him with Murugan. Kadamban tadai 60, the father of Kadamban and the possessor of the cock banner (Koli Kodiyon tadai) 61 are the descriptions available in his Devaram hymns. These facts indicate that even during the Devaram periods Murugan was a popular deity. Such facts compelled the four Saiva Nayanmars to utilise the name of Murugan for enhancing the status of Siva. But Kachchiyappar had not adopted such techniques and only by highlighting the virtuous qualities of Murugan he tried to express the superior status and worship of Murugan. 56 Gnanasambandar Devaram, 2:46:1 57 Ibid., 1:61:3, 2:52:2 58 Ibid., 2:53:6 59 Ibid., 3:10:6 60 Tirunavukkarasar Devaram, 5:196:6 61 Ibid., 6:30:2

15 As in Paripadal 62 and Tirumurugarruppadai 63 which had stressed the importance to the six faces and twelve hands of Murugan, Kandapuranam had assigned importance to many aspects relating to the six faces and twelve hands of Murugan in many places 64. By such descriptions Kachchiyappar had successfully ventured in imposing the northern epic qualities over the native deity Murugan without much difficulty in harmonious way. Further it is evident that Kandapuranam in a different perspective and in a new dimension had explicated the development of Murugan cult in Tamil Nadu in Puranic or Epic style. Further Kachchiyappar being a staunch devotee of Murugan had justified the amalgamation of Tamil Murugan with Skanda Karthikeya by exhibiting the qualities of both the devotees in a compromising way in his own native language Tamil by adopting a Sanskritic method of writing 65. Since the Puranas are also treated as epics in Tamil 66, Kachchiyappar had treated a puranic theme for producing an epic form. In this regard one had to note that Gnanasambandar alone has called Murugan as Kandan for the first time 67. As such Kachchiyappar had offered the name Kandan to Murugan through the mouth of Siva. Siva had given the reason for calling Murugan as 62 Paripadal, 5:11, 14:21, 21:67 63 Tirumurugarruppadai, Kandapuranam 1:14:105, 1:20:18, 1:70:30, 22, 4:13:240, 288, 435:4:12:483, 4:5:210: 4:4:236 4:15:17; 24:5:2:257s, 6:24:234; 5:2:58; 6:28:10; 6:23:25; 6:24:111 4:13:22 etc. refer to Murugan as six faced God!:16:2; 1:20:7:1:25:24, 1:24:83; 3:12:97: 4:4:231, 4:11:3; 4:12:358, 4:13:50, 245, 282, , 5:2:3:241; 6:24:212, 213, 230, 262 etc. point out the various aspects of the12 arms of Murugan. 65 S. Vidhiyanandhan, Tamilar Salbu (T), Madras, 1917 pp K.V. Jegannathan, Tamil Kappiyangal, (T), Madras, 1971, p Gnanasambandar, Devaram, 223:2

16 Kandan because his consort Parvathi had brought the six children into one 68. It is also indicated that the concept of Arumugam (Shanmugham) emerged only because of this story. It is necessary to acknowledge and accept that the term Kandan suggests the unification of six faces into one like bringing together of the cattles to a stump or poll. Thus the bringing of the six children into a single Kandan is associated with the birth myth of Murugan in a puranic form in the Kadapuranam of Kachchiyappar, who endeavoured his best to elevate the status and position of Murugan cult in Tamil Nadu. Kachchiyappar was so much particular and fascinated and had evincing interest in revitalising the Murugan cult by making Murugan as a God equal to Siva. Siva at that time had already attained a primary place among the Hindu Pantheon as well as in the Tamil country. By adhering to such a new technique Kachchiyappar had included the statement that Siva himself found no disparity between himself and his son Murugan 69. It also suggests that Kachchiyappar earnestly attempted to maintain the superior status of Siva, the father without tampering the prestige of the son Murugan. Further Kandapuranam, by adopting a positive approach, treated Murugan as a God equal to Siva though not a superior God than Siva. Kachchiyappar was also aware of the fact that he could not reduce the status 68 Kandapuranam, Tiruvilayattu Padalam, 17: Ibid., 18:1-4 and 16:1-4.

17 and superiority of Siva. So, to maintain the reputation of both Siva and Skanda i.e., the father and son on the same footing Kachchiyappar followed his own technique. It is a doubtful and controversial fact to accept Kandapuranam as a successful venture in making Murugan as a primary deity of Tamil Nadu, because after a gap of nearly four centuries, only in the 16 th century Saint Arunagiri broughtout his works such as Tiruppugal, Kandarlangaram, Kandaranubhudhi, Sevalvirutham and Mayilvirutham etc on Murugan. It was another identical and successful effort to revive the glories of Murugan by Arunagiriyar in the 16 th century. He had also venerated Tamil by employing the different forms of poetic dictions in bringing out his works on Murugan. By his scholarship in Tamil poetry he was capable of hailing the various aspects pertaining to Murugan which were prevalent from the Sangam age through different periods till his arrival 70. So only by estimating the ups and downs in Murugan cult, Kachchiyappar was able to bring out his epic on Skandan. While Murugan informed Indra, the king of the celestials, that the celestials would be his army and himself would be their commander, one could easily infer that Kachchiyappar, without making a black spot to the prestige of Murugan, had brought out the superior virtue of Murugan 71. This fact assist one 70 M. Gandhi Dasan, Op.cti., pp Kandapuranm, Tiruvilayattu Padalam, 106:1-4

18 to estimate that the author had employed the epic qualities by highlighting the heroic qualities of Murugan. This treatment of Kandan is another unique feature employed by Kachchiyappar to widen the popularity of that deity as the Devasenapathy and protector of the celestials. There are scholars who call Murugan as Devasena s Paty or the husband of Devasena, the daughter of Indra. Thus by linking Murugan with other deities by blood relationship, Kachchiyappar tried to uplift Murugan cult. Again, as Siva had attained prominence during that period, Kachchiyappar had even made that Siva to attest that Murugan would also be equal to him in maintaining a primary position 72. This suggests a compromising venture or Kachchiyappar. The celestials, by accepting the highness of Kandan equal to Siva, gave equal veneration and treatment to Kandan and his consort Deivayanai 73. In the same way Vinayaga, the elder brother of Kandan, had influenced Narada to undertake fasting on the day of Karthigai (The asterism Pleades), the day prominent and significant in the worship of Murugan 74. The treatment of Murugan as a God equal to Siva and the consideration of Murugan as a pioneering God will attest the fact that Kachchiyappar through his magnum opus has left no stone unturned for promoting the status of Murugan and also the superior nature of his worship. In the same way from Kandapuranam, the 72 Ibid., Deivayanai Ammai Tirumana Padalam, 255: Ibid., Dakkan Thavam Sei Padalam 74 Ibid., 10:1-2

19 14 th subdivision of the first canto, while narrating the sportive activities of Murugan, one can estimate the tactics adopted by Kachchiyappar in bringing the past glory of that Tamil deity. The appreciation of Murugan by the celestials after his slaying the demon Surabanman will corroborate the above fact 75. The distinctive qualities of Murugan as narrated by Kachchiyappar 76 disclose the prime objective of the author in bringing out the work Kandapuranam. The same ideas are reflected in 22 songs in the evolution of Murugan in the Urpathi Kandam (canto) on the origin of Murugan. As the title of the work, which prompts that it is a work on Kandan, the author, unhesitatingly and repeatedly, had reiterated and highlighted the individual calibre and powers of the hero of his work. Here it must also be remembered that the celestials, worshipped Murgan on par with the form of worship as depicted in Kumara Tantra 77. This too testifies to the Sanskritic knowledge of Kachchiyappar. It also is yet another technique adopted by Kachchiyappar for amalgamating two different deities into a compromisingly single God. The reference about the clouds which offer rain, the king who wields his sceptre, the life led by people with all satisfaction, the recital of the four Vedas, the growth in number of sacrifices and rituals along with the development of 75 Ibid., Devargal Porru Padalam 76 Ibid., 1:26:15-17, 3:11:23, 3:21: etc. 77 J.M. Somasundaram, Cripamum Kalai Valvum, Chidambaram, 1962, p.118 and Ibid., 4:!6:23-24.

20 Saivism 78 indicate that at the time of the period of evolution of Kandapuranam, Saivism was at its peak. So that Kachchiyappar had attempted to revive the Murugan cult by highlighting his personal qualities as the son of Siva. The canto on the origin also attests all these facts in a convincing way without any deviation. They are the facts which reveal the meritorious poetic qualities of Kachchiyappar in employing the epic qualities in a specific form of language. Kandapuranam, being a work on Tamil Murugan, emerged in epic form of Sanskrit language assists the integration of north and south. So devotional or Bhakthi movement reached its culminating point by the writing of Kandapuranam by Kachchiyappar on Tamil Murugan with a Sanskritic style. In this respect Kandapuranam is a matchless one when compared with any other work because no Tamil work is available ini such a form on a religious theme. Kandapuranam was released at the place called Kumarakkottam in Kanchipuram 79. This place is still now treated as a Murugan temple. Kandapuranamt is a conspicuous Tamil work, woth to be considered as an epic, to which the Tamils offer a great veneration 80. From Kandapurnam one is able to obtain the various divine activities of Murugan harmoniously blended with the exhibition of the cultural traits of the families 81. Further the author had 78 Kandapurnam, 1: Payiram, 5 79 Ibid., Cirappu Payiram 80 M. Arunachalam, Tamil Ilakkiya Varalaru, Tiruchitramablam, 1969, p Ratna Navaratnam, Karthikeya the Divine Child, Bombay, 1973, p.165.

21 produced his work in a continuous narrative form by mentioning the different stories related with the life the deity Murugan 82. It is believed that Kachchiyappar commenced writing this work after getting the first line from the mouth of the deity Murugan himself 83. With the invocation song this work ends with the appreciation passage and even in the middle of the narration of the story, Kachchiyappar had expressed his faith over devotionalism through the versions on hailing the qualities of the deities. Further the author had explained the entire story in 24 songs in the introductory passage itself. Such facts enable the student of history to have an idea of the entire story in a nutshell along with method of narration employed by Kachchiyappar. Further it is obvious that the story of Murugan includes a lot of preachings which are the essentials for a successful life in this world 84. From the analysis of the Kasipan Upadesa Padalam (2:4) Mayay Upadesapadalam (2:6) etc. one can specifically notice the adoption of the above fact. All these preachings suggest that Dharma i.e., aram should be the basic principles of the life of every individual. Again they expose the social life of the Tamils of the contemporary period. In the same way Kandapuranam too insists 82 K.T.Tirunavukkarasu, Illakkiya Kolgai; Kandapurnam, Tamil Illakkiya Kolgai -3, Madras, Vamadeva Muruga Pattaragar, Sri Kachchiyappa Sivachariyar Puranam, Chidambaram, 1917, Song No Kandapurnam Kasipan Upadesa Padalam, 23:1-4, Markkandeya Padalam, 49:1-4, 54:1-4 etc.

22 on the essetal need of the wealth for in this world a happy and prosperous life 85. Wealth is treated as a superior virtue which combines the different appreciable qualities such as fame, kingship etc 86. So it will not be wrong to treat Kandapuranam as a social epic. Thus Kandapuranam through a work written for exhibiting be different qualities and aspects of Murugan, the renowned Tamil deity, deals with the different aspects of the people of the contemporary society. Above all the author Kachchiyappar had stressed the fact that Salvation or Mukthi or Moksha should be the aim of life. The facts pertaining to socio-political and religious condition as depicted in this work will be analysed in separate chapters for having an estimate of the work. Generally all the poets will be known for their descriptions and imagination. Kachchiyappar, who was not an exception to this common tradition had employed lot of similes and imaginary expressions. Though the story centres on northern Skandam, only the Tamil tradition is employed in depicting the story in an epic form. As pointed out by the author, he had written the story of Kandan mainly due to the investigation of the learned scholars of Kanchipuram, who were known for their religious wisdom and scholarship Ibid., Mayay Upadesa Padalam, 8: Ibid., 9:1-4, 10:1-4, 11:4 87 Ibid., Opening passages, Avaiyadakkam, song 19

23 When the Murugan cult met with many ups and down from the Sangam age onwards, Kachchiyappar by giving equal status to Siva and Muruga and making Murugan as the primary deity 88, laid the foundation for promoting Murugan cult and to bring it out from the shell which had covered it. To add strength to his efforts Kandan, the youth is hailed as the archaic deity 89. Further Kandan is treated as the basis for the activities of other deities 90.He too had assigned importance to the policy of surrender with deep devotion 91. In this regard Kachchiyappar in his Kandapuranam had adopted the unique techniques employed by the Saiva Nayanmaras and Vaishnava Alwars in highlighting their own respective sects 92. Further he had narrated the consequences of the worship of Kandan and also reiterated the impacts of offering thanks to the graces offered by the God to all this devotees. This work too stresses the importance assigned to curses, rebirth and irony of fate 93. Kachchiyappar had the faith over fate and believed that no one could go against the effects of fate 94. In the same way much significance is assigned to penance which will set aside the irony of fate i.e., Karma 95. These facts indicate that like the earlier Devaram and 88 Ibid., Devayanai Ammai Tirumana Padalam, 255: Ibid., Suran Amaichchiyar Padalam, 144: Ibid., Surabanman Vadai Padalam, 433: Ibid., 444: Kirubananda Variyar, Kandan Karunai, Madras, 1966, p Kandapuranam, 1:3:35 2:8:29; 2:21:31, 3:11:25; 4:!3:443; 5:3:9; 6:10:27 etc. 94 Ibid., Surabanman Vadai Padalam, 295: Ibid., Nagar Puhu Padalam, 84:1-4, Avai Puhu Padalam, 41:1-4

24 Divyaprabandam devotionalist, Kachchiyappar had harmoniously blended devotion with the various other facts of life such as devotion; fate, rebirth, penance etc. So one has to accept the fact that he had fallen in line with traditional ideas associated with life by employing chaste Tamil with all epic grandeur. The religious ideas sprinkled in Kandapuarnam are facts which expose the Saiva Siddhantha Philosophy of Saivism 96. Since the work commences with the appreciation of the Saivism the above facts could be attested 97. Most of those who attached importance to devotionalism emerged from the south 98. It must be remembered here that Tamil language occupied the prime place in producing bhakthi literature 99. Tirumurugarruppadai and Paripadal of the Sangam age. The Devaram hymns and Tiruvasagam of Saiva Nayanmars and Nalayira Divya Prabandam of the Vaishnava Alwars etc., of the period of Bhakthi or devotionalism too will attest the above fact. The devotion is brought to light in Kandapuranam through the months of the different characters employed in it. Indra and other celestials had hailed Murugan by offering importance to his distinctive, remarkable and noble qualities M. Arunachalam, op.cit., p Kandapuranam, Payiram, 5 98 Mariasusai Dhavamony, Love of God according to Saiva Siddhantha, London, 1971, p A.S. Gnanasambandan, Tamilum Samayamum, Proceedings of the world, Tamil conference, 1968, p Kandapuranam 1:4:82; 3:1:49:3:12:46; 4:13:460; 461; 4:!6:27; 6:23:61

25 The adjectives used in eulogy of Murugan 101 too strengthen the above view. So it is evident that Kachchiyappar, by concentrating on devotion, had described Kandan as his father 102, hero 103, King 104 etc. Such facts indicate that Kachchiyappar, without deviating from the traditionalistic approach of devotion, had contributed various techniques in promoting the cult of Murugan with devotion. In this regard Kachchiyappar had unhesitatingly called Murugan as father, leader and protector as mentioned earlier. By such narrations Kachchiyappar had endeavoured to enhance the status of Murugan and his worship. Since worship is a measure for the liberation of the soul 105, the Nayanmars of Saivism attached greater importance to the temples which were the major traditional abodes of worship even from the sixth century onwards 106. Further by the concept of surrender they had explained the ways and means for nearing and reaching the feet of God. The Alvars too had adhered to the same principle. In addition to that the Vaishnavites attached importance to the Dasavatara concept or incarnation of Vishnu. Such measures of populairsing their own deities served as examples for Kachchiayppar to elevate the Murugan cult. In addition to that the Tamil rulers 101 S. Sivapatha Sundaram Kandapurana Vilakkam, Madras, Year not known, p Kandapuranam, Taragan Vadai Padalam, 169: Ibid., Singamugasuran Vadai Padalam, 458: Ibid., 457: S. Sivapatha Sundaram, Saiva Samaya Saram, Trichirappalai, 1957, p G. Sundaramoorthy, Saiva Samayam, Madurai, 1977, pp

26 of different periods, belonging to Pandya, Pallava and Chola dynasties devoted much attention to the religious precepts and constructed temples for different deities. They in turn encouraged arrival of the the concept of devotion and act of pilgrimage. The rituals and festivals also gradually increased in number. They served as catalytic agents of Kachchiayappar. So, as a vehicle for the concentration of mind Kachchiayappar too widened the possibility of worship with devotion in Kandapuranam, the epic centering on a religious theme. The Alvars too had accepted this view. In addition to that the Tamil rulers of different periods, belonging to Pandya, Pallava and Chola dynasties devoted much attention to the construction of temples of different deities. So as a vehicle for the concentration of mind Kachchiyappar too has widened possibility of worship with devotion in Kandapuranam. Kanadapuranam is historically a significant work because it traces the customary practices of life of the Tamils which were prevalent in the Tamil country of the contemporary period of Kachchiayppar. Madalerudal or Madalurdal was a custom among the lover to express his love 107. In Kandapuranam, Murugan informs that he would adhere to that practice of Madaluradal if he was not able to get the hands of his lady love Valli Tolkappiyam, Porul, 60:1-2; Kandapuranam, Valliyammai Tirumana Padalam, 136:3

27 In the same way, while adopting the literary feature employed by Nakkirar, Kachchiyappar had followed the former in adopting a similar theme though not the form of writing 109. Veriyadal was another custom, popular during the Sangam Age and that was executed mainly to notice the love sickness and the distresses of the ladies 110 and to appease the wrath of Murugan 111. This custom of Veriyadal was a belief oriented one. The Tamils, while giving importance to chastity had assigned greater stress to arranged marriages and acknowledged love marriages. 112 It means that Kalavau and Karupu marriages which were popular during the Sangam age continued to survive. Kamil, V Zvelebil had rightly observed this and had pointed it out by showing the difference between Deivayanai, the arranged wife and Valli, the wife taken due to love on the basis of a sculpture at Tanjore 113. Kachchiyappar had also narrated the various customary practices such as tieing the tali 114 seeing the northern star i.e. Aruntadi 115 etc., during the ceremony of arranged marriages. Kachchiyappar being a poet, had faith over monogamy and arranged marriages. He condemned the love marriages carried 109 Ibid., 264: Ahananuru, 242: K.A. Nilakanta Sastri, Development of Religion in South India, p V.Sp. Manickam Tamil Kadal, Madras 1962 p Zvelebil, V. Kamil, A guide to Murukan, Journal of Tamil Studies, Madras, 1978, p Kandapuranam, Deivayani Ammai Tirumana Padalam :247:3 115 Ibid., 253:3

28 out after the first arranged marriage. 116 The above facts not only expose certain Tamil customs but also throws greater light on the fact that Kachchiyappar had estimated the values of customary practices and rituals. Being a proficient Tamil scholar, known for his versatility he had detailed many things about fine arts. 16 kinds of musical notes or pan are described by him. 117 Kuthu, which included both music and acting is described as Nataka nul by him 118 and that suggest his knowledge of fine arts. His reference about Kodiyar, Kalayinar and Kuttar 119 and his mentioning about Desiga Kuthu, Vaduga Kuthu and Singala Kuthu 120 points out the fact that Kachchiayppar was a sociologist and artist and was able to depict that the Tamils were fond of dance and music. It cannot be skipped that a devotional work pertaining to a specific deity will be dealing with fine arts. He was an expert astrologer. The fixation of the aseterism of Panguni uddhiram was an auspicious one 121 and the reference about the time of the birth of Markkandeya indicate not only the wisdom of Kachchiyappar but also the social history of the contemporary period. Metallurgy was a popular science during his period 116 Ibid., Valliyammai Tirumana Padalam, 191 : Ibid., Suran Arasirukkari Padalam : 23: Ibid., Asamuhi Nagar Kan Padalam : 14: Idem 120 Ibid., Pattabhisheka padalam 13: Ibid., Varai Punai Padalam, 35:3

29 Kachchiyappar had described the qualities of gold, 122 silver, 123 and the conversion of iron into gold were in vogue. 124 These facts indicate that Kandapuranam is historically a valuable work and is known for its socio cultural values and it was a period of multidimensional development. Under the Chola rulers of Vijayalaya line religion, art, architecture and iconography developed and their temples are the standing monuments for revealing such aspects. Though Kachchiyappar had adopted the northern Skandam as his pioneering work, he had not drifted away from the Tamil tradition of writing. As a Tamil poet he was fascinated by the worship of the Tamil deity Murugan and had venerated and assigned importance to Tamil language. While describing Kanchi he had hailed that it as the city of cool Tamil. 125 (Tantamil Valanagar). By falling in line with the Tamil tradition he had considered Murugan as a Kurinji God i.e., the God of hillocks 126 also, Nakkirar, and the primary chief poet of the Tamil Sangam. 127 Such descriptions prove beyond doubt that Tamil language was maintaining its fame and glory even during the period of Kachchiyappar as it was in the preceding ages. 122 Ibid., Surabanman Vadai Padalam, 495 : Ibid., Asurar Yaga Padalam, 24:4 124 Ibid.,. Markkandeya Padalam, Ibid., Avai, Ibid., Asurar Yaga Padala, 32 : Ibid., Singa muhasuran Vadai Padalam, 456 : 3-4

30 Thus the above mentioned facts reveal that the work produced by Kachchiyappar is known for its historical perspective. A detailed analysis prompts that the author, though a Murugan devotee, had endeavoured to enhance the eclipsed glory of the Tamil deity (by adopting his own individualistic ways and means, without deviating from the original and indigenous qualities of the local deity ) even by adopting the hitherto existed literary traditions. The native and the northern traditions are harmoniously blended and the Tamil culture had been handled effectively in narrating the story with due respect and importance. He had even carefully avoided the words of Sanskrit and has utilised mostly the equivalent Tamil words and they are used without affecting style and flow of the epics. Though no specific work emerged on Murugan after Tirumurugarruppadai of Nakkirar and till the 13 th century Murugan s name did not disappear totally from the Tamil works which came up in between Tirumurugarruppadai and Kandapuranam. The attention shown to the social and religious life of the Tamils of the contemporary period enables one to specify the historicity of the work Kandapuranam. He has not left out any Tamil tradition associated with Murugan as adopted from the Sangam age to his period. The custom of Velan veriyadal, the treatment Murugan as a Kurinji God, his marriages with Valli and Devasena, his red colour, his association with the Kadamba tree and flower, his warlike qualities etc., are

31 narrated. They will establish not only Kachchiayppar s contribution to the worship of Murugan but also will explicate the socio cultural, historical aspects pertaining to the different qualities of that deity. Under such circumstances the social, political and religious activities as available in Kandapuranam will be analysed separately in the subsequent chapters. It is worth to note that, from the different aspects of the Tamils exposed in Kandapuranam assist the possibility to treat that work as an epic having historical details. The critical analysis of that work further will highlight the work in a historical perspective. As no other work of Tamil literature contains such an aspect it is must to estimate Kachchiayppar s Kandapuranam in historical perspective. Further the distinctive descriptions available in Kandapuranam, though a religious based one, expose the cultural, social and religious traits of the Tamils of the contemporary period. The voluminous size of the work, which is in an epic from also widens the scope for detecting the historical facts available in it. The critical study of Kandapuranam will enable one to have a comparative study of the details about Tamil about Tamils available in other sources. Since historical sources include indigenous and native literary works it is clear that Kandapuranam of Kachchiyappar could also be considered as a native literary source for having facts about the socio-cultural history of Tamil Nadu.