Brihadisvara Temple

Additions, renovations and repairs

The main temple, as well as the gopurams around it, dates from the early 11th century. Over the next 1,000 years, the temple underwent several expansions, restorations, and repairs. Raids and conflicts, especially between Muslim Sultans in power of Madurai and Hindu monarchs in power of Thanjavur, wreaked havoc. Hindu kingdoms that recovered authority were able to restore them. The rulers attempted to renovate the temple with faded paintings by ordering new murals to be placed on top of the old ones in some cases. They even supported the installation of shrines in some situations. The important sanctuaries of Kartikeya (Murugan), Parvati (Amman), and Nandi date from the Nayaka era of the 16th and 17th centuries. In the same way, the Dakshinamurti temple was built.

Architecture

The main temple, as well as the gopurams around it, dates from the early 11th century. Over the next 1,000 years, the temple underwent several expansions, restorations, and repairs. Raids and conflicts, especially between Muslim Sultans in power of Madurai and Hindu monarchs in power of Thanjavur, wreaked havoc. Hindu kingdoms that recovered authority were able to restore them. The rulers attempted to renovate the temple with faded paintings by ordering new murals to be placed on top of the old ones in some cases. They even supported the installation of shrines in some situations. The important sanctuaries of Kartikeya (Murugan), Parvati (Amman), and Nandi date from the Nayaka era of the 16th and 17th centuries. In the same way, the Dakshinamurti temple was built.
The temple complex has a massive pillared and covered porch (prakara) in its huge courtyard, which has a circumambulation perimeter of roughly 450 metres (1,480 feet). Outside the pillared porch, there are two enclosure walls, the outer one being defensive and adding gun-holes in 1777 CE by the French colonial forces, with the temple functioning as an armoury. They built a high outside wall to isolate the temple compound. The original principal gopuram or gateway, which is barrel vaulted, is located on the east end. It is just about half the size of the vimana of the main temple. After the 11th century, additional constructions were erected to the original temple, such as a mandapa in the northeast corner. Some of the temples and monuments were built before the colonial era, during the Pandya, Nayaka, Vijayanagara, and Maratha periods, and these builders followed the original designs and symmetry requirements. Two prominent shrines, one for Kartikeya and the other for Parvati, remain located within the original temple courtyard, with the main sanctuary and Nandi-mandapam. There are many minor shrines throughout the compound.
By embracing architectural and ornamental aspects, the Brihadisvara temple perpetuated the Hindu temple traditions of South India, but its magnitude much outstripped those of temples built before the 11th century. The Chola era architects and artisans innovated the expertise to scale up and build, particularly with heavy stone and to accomplish the 63.4 metres (208 ft) high towering vimana. 
Nandi mandapam and the entrance gopurams, northeast view from courtyard.

Another view of the entrance.

The temple faces east and was once surrounded by a water moat. This has been occupied. This moat is now surrounded by a defensive wall. The gopurams, or elaborate gates, are found on both sides of the walls. These are composed of stone and have entablature on them. On the east side, the primary entrances are located. The first is known as the Keralantakan tiruvasal, which translates to "Keralantakan sacred gate." The name Keralantakan comes from the surname of the monarch who erected it, Rajaraja. The inner courtyard gopuram known as the Rajarajan tiruvasal is about 100 metres (330 feet) ahead. The adhishthanam relief work recounting stories from the Puranas and other Hindu literature is more ornate than the Keralantakan tiruvasal. The inner eastern gopuram leads to a large courtyard with shrines arranged according to the cardinal directions of east–west and north–west. The complex can be approached on one axis by a five-story gopuram or on the other axis by a smaller free-standing gopuram that leads straight to the massive main square. The vimana's gopuram is 30 metres tall, while the main entrance's gopuram is 30 metres tall. 
This courtyard contains the primary temple-related structures as well as the big tower. Smaller shrines, the majority of which are lined axially, surround the main Shiva temple. These are dedicated to Parvati, his spouse, Subrahmanya and Ganesha, Nandi, Varahi, and Karuvur deva (the master). A monolithic sitting bull faces the sanctuary in the Nandi mandapam. Between them are steps that lead to a columned portico and community meeting hall, followed by an inner mandapa that connects to the pradakshina patha, or circumambulation path. The mukh-Nandi mandapam's (bull) weights roughly 25 tonnes. It stands around 2 metres tall, 6 metres long, and 2.5 metres wide and is formed of a single stone. Nandi's picture is monolithic and one of the most famous in the country.
Sanctum and the Sri-vimana

Different views of the Sri-vimana.

The sanctum is located at the western square's middle. It is encircled by enormous walls with broad bays and recesses that are separated into levels by finely carved sculptures and pilasters. A bay with symbolism may be seen on each side of the sanctuary. The principal god, Shiva, is shown as a massive stone linga in the sanctum sanctorum's interior. It's named Karuvarai, which means "womb chamber" in Tamil. In other regions of India, this area is known as garbha griha. This innermost room is only accessible to priests. The sanctuary is designed in the Dravida style to resemble a tiny vimana. The inner and outer walls come together to form a circumambulation route around the sanctuary (pradakshina). The entryway is lavishly embellished. The sanctum sanctorum, which holds the brihad linga, is on the interior.
The main Vimana (Shikhara) is a colossal 16-story structure with tapering squares on 13 of the floors. The main quadrangle is dominated by it. It's perched on a 30.18 metre (99.0 ft) square. The tower is ornately articulated with Pilaster, piers (a raised structure), and linked columns that are arranged in a rhythmic pattern throughout the vimana's whole surface.
Deities and Natya Sastra dance mudras 
The Thanjavur bronze Nataraja design, which can be found in numerous museums, was commissioned for the sanctuary of this temple.
The temple is devoted to Shiva, who is represented by a massive linga, an abstract aniconic image of Shiva. It stands 8.7 metres (29 feet) tall and takes up two stories of the sanctuary. It's one of India's biggest monolithic linga statues. 
The sikhara is an octagonal cupolic dome (25 tonnes) that rests on a single 80-ton granite block.
By including the primary deities of the Vaishnavism and Shaktism traditions in the main temple's great mandapa, the Shaivism temple honours all major Hindu traditions. Except for the east entry side, where the door and walkway are located, the distribution of the deities is typically symmetric. Each side has dvarapalas (guardians) and many additional sculptures in addition to the primary deities. Three elaborately carved stone statues and fresco paintings adorn the entrance. The following sculptures can be seen on the sanctuary walls on the ground floor:
• East wall: Lingodbhava, standing Shiva, Pashupata-murti, plus two dvarapalas flanking the pathway from ardha-mandapam
• South wall: Bhikshatana, Virabhadra, Dakshinamurti, Kalantaka, Nataraja plus two dvarapalas
• West wall: Harihara (half Shiva, half Vishnu), Lingodbhava, Chandrashekhara without prabhavali, Chandrashekhara with prabhavali, plus two dvarapalas
• North wall: Ardhanarishvara (half Shiva, half Parvati), Gangadhara without Parvati, Pashupata-murti, Shiva-alingana-murti, plus two dvarapalas
One of the 81 dancing locations carved into the top level corridor wall's outside wall.
On the second floor, Shiva's Tripurantaka form is shown in various positions in relation to the sculptures. The sri-vimana, which is thirteen stories high, looms over these floors (talas). A single square piece of granite, weighing 80 tonnes and measuring 7.77 metres (25.5 feet) in length, stands above these levels. Nandi pairs of about 1.98 metres (6 ft 6 in) by 1.68 metres (5 ft 6 in) each stand on top of this block in its corners. The griva, sikhara, and finial (stupi) of Tamil Hindu temple architecture rise above the centre of this granite block. This stupi stands 3.81 metres (12.5 feet) tall and was ornately carved. The kutas and salas adorn each storey of this structure. This temple's decreasing squares tower architecture varies from those of the Chola temple at Gangaikondasolisvaram in that it is straight, whereas the latter is curved. The sri-vimana enormity of the temple has made it a colossal landmark for the city. The aditala's top level corridor wall is engraved with 81 of Natya Sastra's 108 dancing karanas - poses. The Bharathanatyam, Tamil Nadu's traditional dance, is based on this literature. The 27 karanas that aren't depicted are blank stone blocks, and it's unclear why they weren't engraved. By the early 11th century, the 81 poses etched reflect the importance of this traditional Indian dancing genre.
The garbhagriha is a square structure that stands on a plinth. This is 0.5 m (1 ft 8 in) thick and moulded. It is made up of upapitham and adhishthanam, which are 140 cm and 360 cm thick, respectively.

Mandapa

The two mandapa constructions, maha-mandapa and mukha-mandapa, are axially oriented square plan constructions between the sanctuary and the Nandi mandapa. On either side of the maha-mandapa, there are six pillars. There is artwork on this as well. The bronze statues of Vitankar and Rajaraja I are there, though they were added considerably later. Two massive stone dvarapalas surround the maha-mandapa. Stairs connect it to the mukha-mandapa. Dvarapalas may also be seen at the mukha-entrance. mandapa's Eight miniature shrines for dikpalas, or guardian deities of each direction, such as Agni, Indra, Varuna, Kubera, and others, are located alongside the mandapa. During the reign of Chola king Rajendra I, they were installed. Other imagery from major Hindu traditions was present in this location during the Chola dynasty, according to inscriptions, but it is now vanished. Surya (the sun deity), Saptamatrikas (seven mothers), Ganesha, Kartikeya, Jyeshtha, Chandra (the moon deity), Chandeshvara, and Bhairava were among the initial eight sanctuaries. Similarly, there was a gigantic granite Ganesha in the western wall cella created during Rajaraja I's reign, but now discovered in the tiruch-churru-maligai (southern veranda). Only Varahi, one of the seven Shaktism moms, exists in a damaged state. Her ashes are currently housed in a modest modern-era brick "Varahi shrine" on the courtyard's southern side. 

Murals

A mural of Rajaraja I and his guru.
Nayaka dynasty ceiling mural in the Nandi shrine.
Ceiling mural from the Nayaka dynasty in the Nandi sanctuary.
On the sanctuary walls and along the circumambulatory walkway, the temple features an underlayer of Chola paintings. S. K. Govindasami of Anamalai University found these frescoes, which span the whole wall from floor to ceiling, in 1931. Natural hues were injected into the wet limestone layer as it set in by the artists. The Shaivism motifs were prevalent in the Chola frescoes. In the 2000s, they were repaired. The overall Chola fresco area is approximately 670 square metres (7,200 square feet), of which 112 square metres (1,210 square feet) have been uncovered as of 2010, using a process devised by Archaeological Surveillance that protects both paintings. The majority of the murals, according to Balasubrahmanyam, are dedicated to Shiva, but the Chola paintings of the 11th century also depict Vishnu, Durga, and other gods, as well as scenes of Chola monarchy, courtly life, and everyday life.
Nandi mandapa, Brihadeeswara temple, murals on the ceiling
The quantity of natural light within the temple was reduced as a result of successive buildings, expansions, and renovations. The frescoes were therefore photographed and interpreted in a restricted fashion. A comprehensive imaging using superior photographic technology, according to Sriraman, reveals that these earlier interpretations were wrong. For example, a painting once thought to depict Dakshinamurti Shiva is really a secular picture depicting a royal guru meditating under a banyan tree. Peacocks, birds, monkeys, squirrels, and owls, as well as a cobra, are shown on the tree. The animals and birds seemed to be concerned about the cobra, with those closest to the snake appearing to be more concerned. In other areas of the panel, a court is shown listening to a saint. Other images depict ladies in various outfits performing various dance mudras.
Because of the soot that had formed on them in the past, several of the paintings in the sanctum sanctorum and the walls in the corridor had been destroyed. Certain areas of the Chola murals on the circumambulatory passage walls have been significantly damaged over centuries due to continual exposure to smoke and soot from the lamps and the burning of camphor in the sanctum sanctorum. For the first time in the world, the Archaeological Survey of India utilised its innovative de-stucco technology to restore 16 Nayak paintings that were placed on 1000-year-old Chola murals. These 400-year-old paintings are on show in a separate pavilion, placed on fibre glass boards.

Inscriptions

Thanjavur's Tamil Inscriptions Brahadeeshwara Temple was built about a thousand years ago.
Numerous inscriptions in Tamil and Grantha scripts can be seen on the temple walls. Many of them begin with a traditional Sanskrit and Tamil historical introduction to the king who permitted it, and the vast majority of them describe presents to the temple or temple employees, and in certain cases, city citizens. Sixty-four Rajaraja Chola I inscriptions, twenty-nine Rajendra Chola I inscriptions, one each of Vikrama Chola, Kulottunga I, and Rajendradeva (Rajendra Chola II), three Pandyan kings, and two Vijayanagara rulers, Achyutappa Nayaka and Mallapa Nayaka, can be found in the temple complex. 
 
ஸ்வஸ்திஸ்ரீ் திருமகள் போல பெருநில
 
பெருநிலச் செல்வியுந் தனக்கேயுரிமை
 
கேயுரிமை பூண்டமை மனக்கொளக்
 
காந்தளூர்ச் சாலைக் களமறூத்தருளி வேங்கை
உடையார் ஸ்ரீராஜராஜ சோழன்
Excerpts of Rajaraja's inscription from Brihadeeswara Temple in Thanjavur (first line in every image)
The Brihadishwara Temple has Tamil and Sanskrit inscriptions from the 11th century.

Temple personnel

An inscription on the north wall of the enclosure, dated 1011 CE, lists the persons who worked for and were sponsored by the temple. Their salary, positions, and names are all listed on the inscription. Priests, lamplighters, washermen, tailors, jewellers, potters, carpenters, holy parasol carriers, dance gurus, dancing girls, singers, male and female musicians, superintendents of performing artists, accountants, and others are among the 600 names on the list. Because they were paid in land parcels, their temple work was most likely part-time.
The temple hired devadasis, who were devotional song singers and dancers. There are regular presents that indicate, "to give for prayer, for sustenance to the assembly of sannyasis (monks or ascetics), and for repairs" among its various inscriptions. In its history, the Thanjavur temple, according to George Michell, was a notable charitable organisation. On a daily basis, it serves a free supper to pilgrims, worshippers, and wayfarers. These dinners were particularly extravagant on the days of Hindu festivals, when brahmins were especially invited and nourished.
Millennium commemoration
1,000-year-old Thanjavur Brihadeeshwara Temple - view at sunrise.
To honour it, dancers congregated at Brihadishwara Temple.
The Big Temple at Thanjavur was built in 1010 CE by Raja Raja Chola and is generally known as the Big Temple. In September 2010, it celebrated its 1000th birthday. The state government and the municipality staged several cultural activities to commemorate the great structure's 1000th anniversary. It was to commemorate the final consecration of the vimana, the 59.82-meter tall tower above the sanctuary, on the 275th day of his 25th royal year (1010 CE), when Raja Raja Chola (985–1014 CE) handed over a gold-plated kalasam (copper pot or finial) for the final consecration.

Bharathanatyam Yajna

The state government commemorated the event by hosting a Bharathanatyam Yajna, a traditional dance performance with Padma Subramaniam, a well-known dancer. The Association of Bharatanatyam Artistes of India (ABHAI) and the Brhan Natyanjali Trust, Thanjavur, collaborated on the event. 1000 dancers from New Delhi, Mumbai, Pune, Tamil Nadu, Andhra Pradesh, Karnataka, Kerala, Singapore, Malaysia, and the United States performed in concert to the recorded 11 verses of divine music Thiruvisaippa (ninth volume of Thirumurai) composed by Karuvur deva to commemorate the building's 1000th anniversary (the guru of Raja Raja Chola). Beginning September 26, 2010, the sleepy village was transformed into a cultural hotspot for two days as street performers and musicians performed.

Commemorative stamps and coins

A commemorative 5-postage stamp showing the 216-foot tall enormous Raja Gopuram was published by India Post on September 26, 2010 (Big Temple's fifth day of millennium celebrations).
The Reserve Bank of India celebrated the occasion by issuing a five-rupee currency with a temple model imprinted on it. G K Vasan, Cabinet Minister of Shipping, was the first to receive the prestigious Brihadeeswarar temple special stamp, which was released by A Raja, Cabinet Minister of Communications and Information Technology. The Mumbai Mint released a Rs 1000 Commemorative Coin that featured the same image as the Rs 5 coin. It was the first 1000 rupee coin in the Republic of India's currency. This coin was a Legal Tender that was not circulated (NCLT).
The Reserve Bank of India issued a 1000 currency note with a panoramic image of the Brihadeeswar temple on April 1, 1954, to commemorate the temple's cultural significance. In an effort to combat illegal money, Prime Minister Indira Gandhi's administration demonetised all 1,000 rupee notes in 1975. Collectors are now interested in these notes.
M Karunanidhi, the then-chief minister of Tamil Nadu, dubbed Semmai Rice, a high-yielding rice variety, in 2010. 

Deity

Shiva

Celebration/Festivals

1) ChithraiBramothsavam April-May Chithirai – 18 Days
2) Shivarathiri February Maasi – 1 Day
3) Navarathiri September -October Purattasi – 9 Days
4) AaruthraDarsanam December-January Margali – 1 Day
5) Sathayavizha October Aypasi – 2 Days
6) Pradosham Once in fortnight
7) Panchami Abhishekam for Goddess Varahi Every Panchami in a Fortnight
8) Asada Navarathiri for varahi – 12 Days
9) AstamiAbhishekam for Lord Bairavar Every Asthami in a fortnight
10) Girivalam Every full Moon day
11) Aadi pooram,
12) ChithraiBrahmothsavam,
13) Thanoormadha Pooja

Visitor Guide

BY AIR

The nearest airport to Brihadeeshwar Temple is the Tiruchirapalli Airport (65 kms).

BY RAIL

Thanjavur is the nearest railhead tothis temple.

BY ROAD

Thanjavur can be easily accessed from the nearby cities through bus. There are frequent government and private buses running to Thanjavur throughout the day.

Nearby Temples

Nearby Tourist Places

Airavateswara Temple

Rajaraja Chola II erected this temple in the 12th century. Airavateswara, a UNESCO World Heritage monument, is the smallest but most beautiful of the three Great Living Chola temples. The temple, which is dedicated to Shiva, also incorporates Vaishnavism and Shaktism traditions. This temple was eventually demolished. Its original inner courtyard, as well as the Nandi mandapa and stambha (pillar) towering tall outside it, are still standing today. The beautiful Dravidian architecture on display at Airavateswara is known as Karakkoil, a style influenced by temple chariots used in festival processions. The chariot wheels are made up of morning and evening sun dials.The reliefs, like the main temple, are carved with stories about the 63 Bhakti saints. The statues of the river goddesses and the 108 DevaraOthuvars—musicians who sang at the royal court—are also beautiful. The shrine is named after Lord Indra's elephant, Airavata. After bathing in the temple tank, Airavata's pristine, white complexion was restored, according to mythology. This narrative is even engraved onto a sanctuary stone. The Bali Pitham, a set of peculiar steps with complex carvings and balusters that emit musical notes when walked on, are known as the "singing stairs."

Timings: 6 am to 12 pm, 4 pm to 9 pm

Ramaswamy Temple

Nayakkar monarchs constructed this 16th-century shrine dedicated to Lord Rama. This temple in Thanjavur is built in the Nayak style of temple construction. Within the walls is a three-tiered gopuram. Each of the 64 magnificent pillars is carved out of a single stone and depicts episodes from the epic Ramayana. In the sanctum sanctorum, Rama is sitting with his consort Sita. While Hanuman worships, his brothers Lakshmana, Bharatha, and Chatruguna stand by him. The Chitra Ramayana - a visual rendition of Ramayana — stands out in the outside gates. The famed Mahamaham festival is also held at this important Kumbakonamtemple.
Timings: 6 am to 12 pm, 4 pm to 9 pm

Kampaheswarar Temple

The Kampaheswarar temple is dedicated to Lord Shiva, who is said to have cured a monarch of his tremors (kampa). This temple's vimana is exceptionally tall, which is not typical of its Dravidian architectural style. According to inscriptions on the temple wall, it was erected by a Chola monarch in the 12th century. The temple's principal deity is a Shiva lingam. Lord Sarabeswarar, a half-lion, half-beast god, has a shrine at the temple. Narasimha is seen straining beneath his feet in his four-armed and three-legged sculpture. This temple houses one of the oldest Chola art renderings of the mythological monster Yali.
Timings: 6 am to 11 am, 5 pm to 8 pm

Swetha Vinayagar Temple or VellaiVinayakarKoil

At the Swetha Vinayagar temple, Vinayagar, a form of LordGanesha, is one of the SapthaVigrahaMoorthi (seven main consorts) in all Shiva temples. The temple was built during the Chola period and is known for its white Ganesh shrine constructed of sea foam. The temple also houses palahani, a stone window pane with beautiful latticework. The presiding deities are Lord Shiva in the guise of Kapardiswarar and his spouse Brihannayaki. The sage Herandar, who is credited with delivering the Cauveri river to Thiruvalanchuzhi, is shown in the temple. The presence of Buddhist imagery in the temple demonstrates that Buddhism has had an effect.
Timings: 6 am to 12 pm, 4 pm to 8 pm

SwamimalaiSwaminathaswamy Temple

The Swamimalai temple is thought to have been built in the 2nd century BC. The temple is an arupadaiveedu, one of Lord Murugan's six holy shrines. Murugan received the name Swaminathaswamy after praising the meaning of Pranava Mantra (Aum) to his father Lord Shiva at this location, according to tradition. The temple of Murugan, which is adorned with a diamond spear and gilded crowns and armours, is situated on a mound, while the shrines of his parents, Shiva and Parvati, are situated downwards. The exquisite Thanjavur temple is one of just two sites in the world where the elephant is still shown as Murugan's original steed.
Timings: 6 am to 12 pm, 4 pm to 10 pm

Aiyarappar Temple

This 9th century temple is often credited as one of the largest temples in India. A Shiva lingam is worshiped in the form of Moolanathar, and his consort Parvati as Kondi. The presiding deity is the sacred 7th century Saiva text Tevaram – recognized as a Paadal Petra Sthalam. Built in Dravidian architectural style, the temple has innumerable shrines and halls. The main shrines are of Vanmikinathar (Shiva) and Thyagaraja. The temple was an important center for Jainism and the Golakimatha during the 13th and 14th century. It owns the largest chariot in Tamil Nadu and is known for ajapathanam – a dance by the deity performed without music. Some unique features of this temple are, a standing Nandi bull facing the presiding deity, the gigantic Kamalalayam tank, and sundials to observe stars. The complex also features nine planetary deities as navagrahas, and pathiri (trumpet flower) as the temple tree.
Timings: 6 am to 11 pm, 4 pm to 8:30 pm

Thyagaraja Temple

This temple, built in the ninth century, is considered one of India's biggest. In the form of Moolanathar, a Shiva lingam is worshipped, while his spouse Parvati is adored as Kondi. The ancient 7th century Saiva book Tevaram – acknowledged as a Paadal Petra Sthalam – is the ruling god. The temple, which was built in the Dravidian architectural style, features several shrines and rooms. Vanmikinathar (Shiva) and Thyagaraja are the most important sanctuaries. During the 13th and 14th centuries, the temple was a major centre for Jainism and the Golakimatha. It boasts Tamil Nadu's largest chariot and is famous for ajapathanam, a deity-led dance done without music. This temple has certain distinctive characteristics, such as a standing Na
Timings: 5 am to 12 pm, 4 pm to 9 pm

Chakrapani Temple

This temple is devoted to Lord Vishnu as Chakrapani, who represents the chakra, Vishnu's most potent weapon, the discus. Granite walls surround the shrines, and a five-tiered gopuram is supported by magnificent pillars. In the sanctum sanctorum, the presiding god sits atop an elevated edifice. Chakrapani, who has eight arms and a third eye on his forehead, wields a weapon in each hand. In the outside precincts, there is a five-faced (panchamukha) Hanuman. The famed Chakra Padithurai ghat runs along to the temple. The amount of smoke emitted by the burning corpses at the ghat, indicating the chakra (c), corresponds to the gifts to the goddess (neivethanam).Another oddity is the vilvaarchana rite, which is usually conducted at Shiva temples. The Mahamaham festival, which takes place every 12 years in Kumbakonam, is held at this temple.
Timings: 7 am to 12 pm, 4 pm to 8 pm

Neelamega Perumal or Thanjai Mamani Temple

Thanjai Mamani Koil, also known as Neelamega Perumal, is a complex of three temples located on the banks of the Vennaaru River. The principal deity of the temple is Vishnu, who is revered as Veera Narsimhar. His idol is a wonderfully crafted elephant with his hand on it. Saint Parasarar mediated with Lord Vishnu at the temple's location. This temple is a divyadesam, meaning it is one of the 108 Vishnu temples that the 12alwars venerate (poet saints). Unlike other divyadesams, which only mention one shrine, all ofNeelamega Perumal's shrines are referenced in all of the alwars' paasurams (poems). Thanjai'sThirumangai Alvar, Nammalvar, and Bhoothathalvarpaasurams are all in the Thirumangai Alvar, Nammalvar, and Bhoothathalvarpaasurams.

Daily Routine	Morning: 6.00 AM to 12:30 PM Evening: 4.00 PM to 9.00 PM Main deity and the inner sanctum closed between 12:30 P.M. to 4.00 P.M. On Sundays and on Shiva festival huge crowd will be there.
Aarti	Morning Pooja: 8:30 AM Kala Sandhi Mid Noon Pooja: 12:00 Noon Utchi Kalam Evening Pooja: 5:30 PM Sayaratchai Night Pooja: 8:30 PM Artha Jamam