தமிழர் சமயம்

20.4. Sambandar
Sēkkiḻār begins the narration of Jñana-sambandar’s life with the statement that Sambandar was born for the full growth of the Vedic tradition with all its branches. (vēda-neṟi-taḻaittu-ōṅga). There was no wavering in the mind of Sēkkiḻār that the Śaivam of the Tamiḻs as propounded by Sambandar was Vedic. Any suggestion that it was opposed to the Vedic tradition is a distortion of facts, unsustainable, and deserves to be dumped as unhistorical, and far from truth. Sambandar was born in the village of Sīrkaḻi where there were many groves echoing the teachings of various branches of the Vedas. Obviously the teaching of the Vedas to young boys was carried in natural environments, surrounded by trees and groves. The smoke emanating from the Vedic sacrifices performed by the Vedic Brāhmaṇas engulfed the sky.
In his descriptions of the village, Sēkkiḻār draws heavily from the Vedic tradition and likens even nature filled with Vedic sounds and sacrifices. There were red lotuses jutting from ponds near the fields, resembling the glowing sacrificial fires of the yaga-sālās. Nearby there were mango trees with full of ripe fruits. The mango juice from the fruits dripped as streams of ghee, falling on the leaves which in turn poured them over the red lotuses which looked like Brāhmaṇas pouring ghee over the glowing fires of the Vedic yāga-kuṇḍas. Sēkkiḻār says even the trees of Sīrkaḻi were performing Vedic homas pouring juices like madhu in the Vedic altars. It suggests not only the Vedic Brāhmaṇas but also the trees, fruits, and flowers were steeped in Vedic traditions. The humming of the bees is likened to Vedic Sāma chants. This is a pointer to the veneration the saint had towards the Vedas and Vedic sacrifices and it is impossible to comprehend the suggestion that Sēkkiḻār postulated anti Vedic tradition.
The Vedic Brāhmaṇas carried flowers, grass, and threads in their hands and wore sacred ash on their forehead and bodies. They chanted the Sāma Veda with their eyes filled with tears in deep devotion. Similar were the bees hovering around flowers carrying bits of petals of the flowers, grass sticking on to the wings and feet, and their bodies covered with pollen powder resembling sacred ash. Their humming sounded like chanting Sāma Vedas by the Brahmins, and seemed to imitate the Vedic Brahmins and their chants.
nāṉ maṟaiyiṉ taṉi uruvam
Sēkkiḻār tells us that from the birth to the very end of marriage, Sambandar followed the Vedic customs. Sambandar is called the very singular embodiment of the four Vedas. (nāṉ maṟaiyiṉ taṉi uruvai), the noble of the Vedic family (maṟaik kulattu vaḷḷal), the Vedic child (maṟaik kaḷiru), the protector of the Vedic system (vēda pālaka), one who patronized the Vedas (maṟai vaḷar puhaḻcelvar), protector of the Vedas (vēdap-puravalar) and as one who follows the Vedic path. Some of his titles like vaidika-sikhāmaṇi, crest jewel of the Vedic Brāhmaṇas, vaidika-cūḷāmaṇi i.e., the jewel on the crown of the Vedic people, and vaidika-śekhara, the head of the Vedic Brāhmaṇas, and maṟaiyōr talaivar, the leader of the Vedic Brāhmaṇas, etc., depict Sambandar, the first and foremost savant of Tamiḻ Śaivism as patron and follower of vaidika system. His commitment to developing the Vedic path is referred to again and again. Tamiḻ Śaivism is so intrinsically entwined with Vedic thoughts that it cannot be properly comprehended without recourse to the Vedas. Sambandar tops the list of propagators of Tamiḻ Śaivism and is the first of Tēvāram trios. There could be no doubt his Śaivism was Vedic Śaivism. Any attempt to separate Tamiḻ Śaivism from Vedic studies betrays ignorance or willful preconceived notions rather than commitment to facts.
When Jñana-sambandar arrived in Chidambaram, the atmosphere was filled with the smoke rising from the sacrificial oblations (yāga āhuti) performed by the Vedic Dīkṣitars (tillai maṟaiyavar payil vēḷvi āhutikaḷiṉ cellum puhai). These offerings bestowed Śivam (śivam tarum payaṉ). Sēkkiḻār states here that the sacrifices of the Tillai Dīkṣitars were intended for the worship of Śiva. The Brahmins (of Tamiḻnāṭu) believed that Vedic sacrifices were meant as adoration of Śiva. The Vedic Brahmins of Tillai received Sambandar on his arrival with honours like pūrnṇa kalasa, and Vedic chants (vēda, nāda and maṅgala chants). Jñana-sambandar entered Chidamabaram through the southern entrance of the village and first entered through the market streets and later, the streets of the Vedic Brahmins. He then entered the seven-storied gopuram of the temple (nilai eḻu gopuram). Inside the enclosure, he circumambulated the golden cloistered pavilion (cempoṉ māḷikai) and reached the pērambalam, the Great hall, and reached the presence of the Lord, dancing to the accompaniment of Vedic chants. He adored the inner entrance (tiru aṇukkaṉ tiruvāyil) where the retinue of the Dancing God, like Nandikeśvara stood in adoration. He realized visually the dancing hall of Śiva as embodiment of knowledge in his own mind, and that the great dance of Supreme bliss, took place in that knowledge (jñānttu eḻum ānanda tanip perum kūttu kāṇṇin mun puṟam kaṇḍu). He adored the hall as the sacred mountain of dance (punitar ādiya porpu). Sambandar praised the Dancing God for bestowing on him the Śiva experience, fully and visually in his form of dance in his inner feeling (uṇarvin kaṇ nēr pera varum civa bōgattai oḻiviṉri uruviṉ kaṇ aṇaiyum aimpori aḷaviṉum eḻivara aruḷiṉai). There is a clear reference to the concept of Naṭarājā that it stands for the ānanda taṉip perum kūttu. Here is the pointed reference to the dance of Śiva as ānanda tāṇḍava. Sambandar sang here the great hymn that begins with kaṟṟu āngu ēṟi ōmpi, which eulogizes the Brahmins who were learned, performers Vedic sacrifices and who adored the dancing Lord. Sēkkiḻār thus specifically mentions that Chidambaram was identical with ciṟṟamabalam (chid+ambaram), the hall of consciousness, and that the great hall was the mēru mountain, and Śiva’s dance therein was ānanda tāṇḍava, and that the Chidambaram Dīkṣītars were worshippers of Naṭarāja through the Vedas. It is in the constant environment of recitation of the Vedas and Vedic sacrifices that prevailed throughout day and night that all the concepts that arose and associated with the dance of Śiva emanated. This was the view about the position of the Vedas and their association with Chidambaram in the time of Sambandar according to Sēkkiḻār in the 12th century.
However this needs to be viewed in the light of Sambandar’s own Tēvāram hymns in the middle of 7th century.

Sambandar sings the Vedas and Vedic nature of Śiva in every Tēvāram hymn. Śiva taught the four Vedas and the six aṅgas (aṅgam ōr ārum arumaṟai nānkum aruḷ ceydu, 1-100-2). Śiva sat under the banyan tree and taught the four Vedas that contain the dharma (aṟam kiḷarum nāl vēdam āliṉ kiḻ amarntu aruḷi, 1-131-7).
There are hundreds of verses where the Vedic Brahmins are specifically mentioned adoring Śiva through the Vedas. The Vedic Brahmins who recite the Vedas and aṅgas, worship him daily (angamum vēdamum ōtum nāvar, antaṇar nālum aṭi parava, 1-6-1); Śiva is adored by Vedic Brahmins who were the sentinels of the three Vedic sacrifices offering ghee as oblation adoring Śiva (ney taval mū ēri ōmpum nēr puri nūl maṟaiyāḷar ētta); the caturvedins (nāl-maṟaiyōr) who perform incessantly Vedic sacrifices with śṛutis worshipping Śiva (namaru kēḷviyar vēḷvi ōva nālmaṟaiyōr vaḻipādu ceyya, 1-6-4); the Vedic Brahmins, whose hands were always tending sacrificial fires, worshipped Śiva (punal aḻal ōmpum kai antaṇāḻar poṉ aṭi nāḷ tōrum paraval, 1-6-6); the Brahmins who recited Vedic mantras adored him (mantira vēdaṅgaḷ ōtum nāvar, 1-6-6).
Those who learned the samhitas of the śṛutis, with the six aṅgas (kalai ārōṭu śruti tokai kaṟṟōr 1-9-7); the Vedic Brahmins who knew the Vedas by heart (maṟai uṇar maṟaiyavar, 1-20-1); the Vedic Brahmins who follow the path of Vedas (maṟai taru vaḻi mali manitars, 1-21-7); the place, where the chants of Vedas constantly reverberated, recited by the Vedic Brahmins, who never went astray from the Vedic injunctions (vidhi vaḻi vaḻuva vēdiyar veḷvi ceytavar oṭṭu oli ōva patil,- 32-5); worshipped by those who adored Śiva with jñāna in order to dispel their darkness of vision (ullattu iruḷ niṅgita veṇḍi jñānap poruḷ koṇḍu aṭi pēṇum 1-38.3); the great men who recited without faltering, the Vedas and the six aṅgas that were rooted in their hearts, in order that the effects of their past actions might get wiped out (vitai ar uḷḷam naṅku eḻu nāvil viṉai kēṭṭa vēdam āru aṅgam piḻaiyā vaṇṇam paṅṅiya āṟṟal periyōr ēttum perumāḷ, 1-42-7); and adored by saints who worshipped him reciting Vedas (maṟaiayiṉa colli muṉivarkaḷ toḻum). Śiva according to Sambandar is the embodiment of the Vedas and one who taught the Vedas. He is the sound of the Vedas. Śiva is the ancient, residing in the heart-lotus of those who have taken refuge in knowledge, who have conquered the five senses and six inner enemies and who are full of devotion in their minds. (aham amarnta aṉbinārāy, aru pakai ceṟṟu, aimpulaṉum aṭakki, jñānap pukaḻ utaiyor, tam uḷḷap puṇḍarikattu irukkum purāṇar, 1-132.6). This is interesting as it uses the Vedic terminology of aham, jñānam, purāṇar, puṇḍarika and the ideas enshrined in the Vedas revealing the impact of Vedantic doctrines on Śaivism of 7th century. It is a direct pointer to the dahara vidya of the Upaniṣads. This must also be read with another citation. Śiva established the noble path that showered light on the inner meaning of the four Vedas (neri ar nāl maṟaipporuḷai oli cēr neri aḷittōṉ). Sambandar specifically mentions that Chidambaram Dikṣitas were Vedic followers performing Vedic sacrifices in altars that resembled Garuda (parappai), an obvious reference to garuda citi. (kaṟṟu āngu eri ōmpi kaḻiyai vārāme ceṟṟar, parappai paṭuttu pacu vettu eri ōmpi and so on). These citations would show that with the Vedas and Vedāṅgas, reverberating always in the worship of Śiva, the concepts connected with the Naṭarājā cult were Vedic in nature from the time of Sambandar.
There is also the detailed description of Sambandar’s marriage that shows that it was performed as enjoined in the Vedic gṛhya sūtras. Jñana-sambandar was told that he should marry, as it was the custom of the great Vedic followers. Sambandar agreed in order that the Vedas might prosper and the traditions of the Vedic Brāhmaṇas will be upheld. Sambandar’s family decided that the family suited to enter into marriage alliance was that of Nambāṇḍar Nambi among the Brahmanas. The Vedic Brāhmaṇas were particular that family of the bride should belong to appropriate gotra and lineage among the Brāhmaṇas. They used to send suitable persons to ascertain the willingness of the bride’s family. The bridegroom’s father accompanied by Brahmins and others went to Tirunallūr perumaṇam and was received by the bride’s parent with pūrṇa kumbha, lamp, aruka grass. The discussion and agreemanent at this stage was called makaḷ pēcal. It was the custom to seek the hand of the girl by the boy’s family. The girl’s parents and relatives should agree to this request affirming that they were willing to give the girl named so and so in marriage to the bride groom so and so. Sambandar’s father followed this custom and returned to his place with the acceptance and prepared for the marriage. An auspicious day when the star was in appropriate position was determined by the astronomers (gaṇita-nūl vallunar). The marriage day was called kalyaṇat-tiruṇāḷ, a usage prevalent to this day among the Brahmins. The time of the marriage depended on the auspicious star of the day, a custom very scrupulously followed to this day. The marriage invitation was got ready and the sprouting rite performed. The entire village of the bridegroom was decorated with full vase - pūrṇa kumbha, lamps, makara tōraṇa, festoons etc.
Sambandar’s parents sent the invtation to the girl’s family. The relatives of the girl arrived at her village and performed the sprouting rite. The houses were decorated, and suitably painted. Tōraṇa festoons, like floral garlands were hung. The platforms were smeared with sandal paste and the marriage pavilion was erected. From the day of the sprouting rite, the streets, the front yards of the houses and entrances remained decorated with full vases, lamps, flower garlands and fragrance. There were men engaged in collecting the requirements for the marriage, as enjoined in the Vedic texts (tū maṟai nal upakaraṇaṅgal samaippa). Vedic Brāhmaṇas invoked sacred hymns in the full vases - pūrṅa kalasas, which goes by the term puṇyāha-vācana, and sprinkled the place with the sanctified water from the vases.
A day before the marriage, Vedic Brahmaņas started the rite of fastening the protective thread in the hand of sambandar. Sekkilar says that the protective thread was tied in order that obligatory rites prescribed in the Vedic texts will be perpetuated and worldly married life will prosper. Vedic Brahmins, poets, women and others took out the protective thread in procession around the village. The thread made of gold was brought to the mandapa where Sambandar was seated. He had already completed the Samavartana rites as per Vedic tradition. The thread was placed in a golden receptacle and placed on a spread of paddy. A full vase, leaves of Arasa tree, darbha grass and lamps that brightened the surrounding were in the maṇḍapa. The thread that was placed in front of them was now tied on the hand of Sambandar to the accompaniment of Vedic recitations and auspicious music. The sacrificial fire was kindled and started glowing even as the Brahmins started offering Vedic oblations - āhutis. Sambandar rose for proceeding in procession on a palanquin for the marriage (tirumaṇa eḻuci), accompanied by the sounding of the following musical instruments dundhubhi (little drum), maṅgala iyam, saṅkham (conch), tārai long (pipes), kālam (small pipes), tāḷam (cymbals), vaṅgyam (flute) and other Vedic instruments. Vedic music, nāda-maṅgaḷa music and vipañci vīṇa music followed. Young boys who were learning the Vedas followed their teachers reciting different branches of the Vedas. The Vedic Brahmins were regularly tending the three vedic fires (gārhapatya, āhavanīya and dakṣināgni). They carried the gārhapatya fire with them when Sambandar’s procession went to the village of the bride. Padigam singers (Tamiḻ songs) and devotees followed them.
Sambandar went to the local temple, on reaching the village of the bride, offered worship to the lord and stayed in a nearby maṭha. The Brahmins requested him to dress himself for the marriage. He was given the sanctified tiru-mañjanam bath, and white silken garments to wear. He smeared his body with sandal paste, adorned himself with jewels and wore the sacred ash on his forehead and other parts of the body, reciting the sacred syllables. He also wore a crown of pearls and the marriage garland. He came in procession for the marriage accompanied by music. Vedic Brahmins recited nāda maṇgaḷam.
The protective thread was tied to the bride and preliminary rites were performed for her. She was decked with jewels of gold, a golden vāsi, and attractive chains. The Vedic Brahmins sprinkled sanctified water from the golden vase reciting Ṛk hymn. Sambandar arrived at the marriage pavilion on a palanquin, descended and walked over a carpet spread with turmeric powder. Sumaṅgalis, married women received Sambandar with golden vases with water, fragrant flowers, sounding bells, lamps, dhūpas (incense) and receptacles with the sprouted grains. Sambandar was seated on a decorated seat. Young and beautiful women sang sweet auspicious music, circumambulated Sambandar pouring water from water vessels, mentioned as Vedic tradition vidi. After this reception Sambandar entered the marriage hall in the ground floor and got seated on an appropriate seat. The father and mother of the bride washed the feet of Sambandar with milk and water. As the mother of the girl poured the milk, the father of her washed the feet of the bride groom visualizing him as Śiva, the Paramēśvara. Then the parents of the girl sprinkled the washed water on their head and on all those assembled in the hall. The bridegroom is visualized as Śiva himself and the girl considered Pārvati. The rite only recalls the divine nature of the marriage. The next rite is handing over the girl to the bridegroom. The father of the girl held the hand of the girl, over the hand of the bride groom, as the mother of the bride poured water over her hand, as a symbol entrusting the girl with the bridegroom. This is called the kanyā dāna i.e., the giving away of the girl in marriage. As the parent of the girl presented the hand of the girl, her father pronounced his gotra, kula and lineage and announced the name of the girl he was giving in marriage to Jñana-sambandar. This is an announcement to the audience that the marriage is accomplished. The parents of the bridegroom and his relatives thronged to the side of the boy to witness this auspicious event. The bride was now seated to the left of the boy as the assembled blessed the couple. Vedic chants were recited, and auspicious music was sounded. The girl then offered corn flakes in the fire to the chanting of the Vedas (known as lāja homa). The newly married couple then circumambulated the sacrificial fire. When Sambandar circumambulated the fire with the girl, he visualized the fire as the very embodiment of Śiva. The circumambulation was accompanied by Vedic hymns. Then Sambandar and his wife went to the local temple and offered prayers to lord Śiva. This detailed description of the marriage of Sambandar may be compared with the marriage of Saint Sundarar which is also described by Sēkkiḻār.
20.5. Sundarar
Sundarar belonged to an Ādi Śaiva family. Mentioning Sundarar’s family as Ādiśaiva - a family of Vaidikas, who served Śiva perpetually vaḻi vaḻi adimai ceyyum vēdiyar kulam. It is known that he hailed from the village Nāvalūr, a Brahmin settlement where the Brahmins were known for adherence to truth. (vāymai kunṟa tiru maṟaiyavarkal nidum tiru nāvalur). Sundarar was brought up in his own family tradition, at the same time as a fond child of the local king Narasiṅga-munai-aṟaiayaṉ. At the appropriate age, he was endowed with the sacred thread pūṇūl- and learned different branches of ancient knowledge. When he reached the age of marriage, his parents sent words to ṣadaṅgavi maṟaiyōṉ of Puttūr who belonged to the family of Śiva Brāhmaṇas, seeking the hand of his daughter for Sundarar in marriage. This proposal was duly examined and accepted by elders who had knowledge about the family lineage and the gotra traditions - (gotra and kula). The delighted Sundarar’s family fixed an auspicious date for the marriage and sent the invitation to the bride’s family. Men and women carried this invitation to Puttūr, who were received by the bride’s family with happiness and honours. They performed the rites connected with the erection of the marriage pavilion (pandar nihasci) and started with the sprouting rites (nil mulai caāttal)
A day prior to the marriage, a golden protective thread was tied on the hand of Sundarar as per Vedic injunction (vidhiyināle paimpoṉ nāṇ kāppu cērttar). This was accompanied by the sounding of auspicious drums. All the marriage rites as enjoined in the Vedas were performed with out omission (maṟai vidhi vaḻāmal maṇatturai kaṭaṅkal āṟṟi) and in the early morning the sacred Vedic chants were recited. The morning rites were performed and Sundarar entered the bathing hall adorned with floral garlands. Sēkkiḻār divides this narration into two main parts the first dealing with the marriage rites of Sundara and the second the dispute that was brought by Śiva as an old man.

The bridegroom was seated on a decorated seat and given sacred bath with fragrant oil and pure water. He was then given silken garments to wear, scented with akil. His hair was dried with soft towels and body smeared with scented sandal paste. He was bedecked with anklets, bracelets, and garlands; he was given the sacred ash to wear on his body. He was then taken on horse back in procession to Puttūr, the bride’s village. The procession was accompanied by instrumental music; songs of praise, women’s long live songs, Vedic chants and followed by vehicles and men. The procession reached the village of the bride accompanied by the Vedic chants, youngsters carrying festoons, and young ladies, beautifully decked accompanying the procession. The bride’s party went and received them with pūrṇa kumbha, (nirai kuṭam), dhūpa, dīpa, pālikai, flower garlands, arukam pul grass, turmeric powder and sandal pastes. Sprinkling fragrant water, the bridegroom was received. Sēkkiḻār calls the marriage rite a vēḷvi - the Vedic sacrifice.

The detailed description as given above by Sēkkiḻār is of great significance. It is seen Sēkkiḻār describes the marriage of two of the Tēvāram saints Samabandar and Sundarar, the first a Vedic Brāhmaṇa, and the other a Śiva Brāhmaṇa. Vedic recitations and sacrificial offerings in the altars are mentioned in both the cases, with the Vedas playing major role in the rites. In both the instances the marriage rites were identical, based on Vedic tradition. There was no difference between the Vedic Brahmins and Ādi Śaiva Brahmins in their marriage customs. One can not diverse the social milieu in which the saints grew up. Their songs fully reflect the Vedic concepts in Śaiva faith that was echoing at every stage of their life. A point of great interest is that both the Vedic and the Ādi Śaiva Brahmins follow meticulously the same system in their marriages to this day. Sēkkiḻār’s description may be seen as a live commentary of Brahmin marriages as stipulated in Vedic tradition.
20.6. Śaiva path is the Vedic path
Sēkkiḻār sings the vedic tradition in a number of other villages and also the state of Vedic followers. He says in the life of Idaṅkaḻi Nāyaṉār that the Śaiva path is the Vedic path (śaiva neri vaidikattin dharma neri c.54.5)
In the town of Kāñchipuram there were many yāga-śālās, sacrificial halls in the colonies of the Vedic Brāhmaṇas. The Vedic sacrificial hall yāga-śālās emitted smoke from Vedic oblations, ahutis when the Brahmins offered havir bhaga to all the devas inviting them through chants. That brought all the devas to receive their ahutis. The devas stationed themselves in the gopuras adoring Śiva. The agriculturists of the town cultivated lands and produced wealth for the protection and growth of the Vedic learning.
There are atleast 13 Brāhmaṇa devotees among the 63 Saivite saints listed by Saint Sundaramurti in the 8th century and elaborated by Sēkkiḻār. Nine of them were Vaidika Brāhmaṇas whom we may identify with the now called Smartha Brahmanas. The other four were Śiva Brāhmaṇas. Sēkkiḻār makes clear-cut distinction between Vedic Brāhmaṇas and Śiva Brāhmaṇas whose profession was to do puja in Śiva temples. While describing the Vedic Brāhmaṇas, he always mentions the purity of their lineage, the sanctity of the Vedic sacrifices in fire altars, and at the same time stating that these sacrifices were meant for adoring Śiva. While describing the Śaiva Brāhmaṇas, he calls them Ādi Śaivas but taking care to invariably mention their mastery over the Vedas. They were also called Vediyas-Brāhmaṇas following the Vedas. At one place he says that temple worship was their prerogative, a fact corroborated by inscriptions and Āgamas. At another place Sekkilär says that the path of temple worship was as per Vedas and Āgamas. It emerges that there was no question of temple worship without the Vedas and Āgamas (nīla-nakkar purāṇam Ch. 26. V.6). It is called veda-āgama nūl vidhi, the injunctions as directed by Vedas and Āgamas, which are mandatory and not optional.
20.7. Rudra-Pasupati
Rudram also known as Śatarudrīyam hymn plays an important role in the Vedic religion as it is recited in most of the rituals. It occurs in the middle of the Kṛṣṇa-yajur-veda. A slightly variant version also occurs in the Śukla-yajur-veda. It is more intimately associated with the Śaiva religion as the five syllables Nama Śivāya, sacred to Śaivas appears in this Vedic hymn. It is considered the heart or the centre of the Yajur-veda. Sēkkiḻār’s work illustrates the influnce it had in Tamiḻnāṭu prior to 7th century.
Saint Sundarar lists Rudra Pasupati Nāyaṉār, who lived long before his time, among the 63 Śaiva saints. Sēkkiḻār gives the biography of this saint in his periya-purāṇam. Pasupati hailed from Tiru-talai-yūr in the Cōḻā country. The village was a Vedic Brahmin settlement, where Vedic Brāhmaṇas performed regularly Vedic sacrifices. The villagers were known for their righteous life of religious persuasion (dharma-niti) virtuosity and great fame. Pasupati was born in the family of high Vedic Brahmin lineage devoted to the worship of Śiva. Pasupati worshipped Śiva with the Rudram of the Vedic Brāhmaṇas. He entered the village pond, and standing neck deep in waters with hands raised above the head in adoration, recited the Rudram day and night without any break. Śiva pleased with his devotion, conferred on him sainthood. Ever since he came to be called Rudra Pasupati. Sēkkiḻār presents us with a glimpse of how the Vedas and Vedic Brāhmaṇas were held in veneration, in the pre 7th century, and the place of Rudram in Śiva worship in his narration. The Vedic Brahmins families were mentioned as high Vedic lineage of the sacred Vedas (arumaṟai - vāymai - tuṅga vēdiyar kulam). These Vedic Brahmins should be distinguished from Ādi Śaiva Brahmins performing Pūja in Śiva temples. The Vedic Brahmins of the pre 7th century Tamiḻakam were great worshippers of Śiva. The Rudram (śatarudrīya) is referred to as Vedic Rudram of Brahmins an “antaṇar arumaṟai rudram” and this is called śruti of unbroken tradition. Todarbinil idaiyara śruti. Pasupati recited Rudram by concentrating on its inner meaning. Rudram is also referred to as the very essence of the Vedas, arumaṟai payanāya rudram. Śiva blessed the saint for reciting Rudram in the true tradition as enjoined for the vedic mantras, vēda-mantra-niyati.
The Vedic Rudram is the foremost hymn used in the worship of Śiva even to this day. The five sacred syllables, ‘Namaśivāya’, so dear to the Śaivas, is found in the middle of this hymn. Scrupulous adherence to the traditional chanting is adored in this episode.
20.8. Candeśvara
Candeśvara was born in the village Ceyjñalūr, a Brahmin settlement said to have been gifted by Cendaṉ, Subrahmaṇya. The Brahmins were called dvijas (iraṇtu piṟappiṉ cirappar). They tended three fires (gārhapatya, āhavanīya, and dakṣināgni), duly learned the four Vedas, conquered the five senses and were famous in all the seven worlds. They wore the sacred threads with deer’s skin on their chests and had tuft of hair on their head. The Brahmacārins were learning recitations aided by Upādhyāya, like the moon surrounded by the stars. The village echoed the sound of the Vedic recitations. The Vedic Brāhmaṇas offered havir bhaga (shares of sacrificial food) to the celestials in all the yāga-śālās. There were altars laid out like a Garuda and yūpa sthambas looking like poles used for tying Airavata, the elephant of Indra. There were many cows in the village meant for providing milk for the sacrifices in the altars which were called homa dhenus. Some of the Brahmins recited the Sāmaveda, keeping a count of the hymns by using samit, sacrificial kindling. The Brahmin women frequently took bath in the ponds. By the side of the habitation, there were cultivated fields with raised grounds nearby where there were yāga-śālās, decorated with coconut and palm festoons. On completion of the vrata the yajamānas - sacrificing priests ascended their chariots, as if they were riding towards heaven. Vedic Brahmanas from five villages including the Ceyjnalur had the privileged right of crowning the Cōḻā kings. The villagers held that Vedas culminate in Śaivam and meditation of the pañcākṣara.
Vicarāsarman, the boyhood name of Candeśa, was taught the six aṅgas (ṣad-aṅgas) when he completed the 7th year of his age. He was initiated into the sacred thread, (upanayana perunūl caṭaṅgu) after which he was taught the Vedas. The teachers held that Vedas, the end of the endless arts, denoted the sacred feet of the Dancing God. (aḻakil kalai in poruḷkku ellai ādum kaḻal). Vicarasarman learned that his God was the lord of dance. All branches of knowledge emanate from Āgamas that spread into the world through the Vedas. Candeśvara was a Vedic boy (brahmacāri) but acted as a cowherd to tend the cows of the village. Sēkkiḻār mentions Candeśa carried the thread and stick usually carried by the brahmacāris in hand, was clad in a piece of rag. He had a tuft on his head and wore the sacred thread and deer’s skin on his breast The boy took the cows to the grazing ground wherever there was green grass, at appropriate time, fed them with good drinking water, protected them from dangers, and rested them in the shades.
When the cows were returned to their respective homes they yielded large quantity of milk happily. In addition to tending the cows, the boy observed the routines of a Vedic student like taking bath in the early morning and attending to Vedic sacrifices with palasa twigs. No one objected to the Vedic boy doing the work of a cowherd. On the contrary, the Brahmins of the village were happy that the cows yielded plenty of milk for their Vedic sacrifices.
Candeśvara later worshipped Śiva in the form of a liṅga made of sand and used the cow’s milk for the worship. It is the Vedic boy who as the devotee of Śiva was given the prime position in Śiva’s retinue that deserves to be recalled.
20.9. Somāsi-Māṟa Nāyaṇār
Somasi Māṟa Nāyaṉār, one of the 63 saints was born in the family of Vedic Brāhmaṇas in the village of Ambar in the Cōḻā country. The families are mentioned as pure and sacred Brāhmaṇas studying the Vedas (tūya vāymai vēdam payilum maṟaiyāḷar) The term Somāsi is a Prākṛt form for Somayāji meaning one who performs Somayāga. Sēkkiḻār says that Somayāga was in fact adoration of Śiva as Ardhanari. A proper conduct of this yāga would please the entire world and the performer would achieve the aims of his life. Somāsi māṟar recited daily and constantly, the five sacred syllables Namaśivāya, that bestowed on him clear mind. (cittam teḷiya śivam añceḻuttu vāymai nīttal niyamam). This makes it clear that the Vedic Brahmins of Tamiḻnāṭu performed Somayāga as an offering to lord Śiva which they considered capable of bestowing pleasantness of mind and that was the good path (naṉṉeṟi) that also helped them to get over the five senses and eliminate six blemishes. By performing the Somayāga, Somāsi-māṟan became a great friend of Saint Sundarar.
20.10. Sirappuli
Tiru-akkūr in the Cōḻā country was a Brahmin settlement even before the time of Jñanasambandar as he praises the Vedic Brahmins of this village in his hymn as those who helped all people with gifts. The village echoed with Vedic chants in all the gardens and palatial buildings. Sirappuli belonged to the Vedic Brahmin family famous for its lineage. He recited the five sacred syllables Namasśivāya, performed the five sacrifices called the pañca-mahā-yajñas (deva, ṛṣi, pitṛ, manuṣa and bhūta yañjas offering food to all these categories of lives) and other Vedic sacrifices as worship of Śiva Naṭarājā. He also served the Śaiva devotees. Sēkkiḻār mentions the Vedic sacrifices as homa, vēḷvic-cālai, āhuti, and dhūpa.
20.11. Gaṇanāthar
Another devotee of Śiva among the 63, Gaṇanāthar, belonged to the family of Vedic Brāhmaṇas and hailed from Sīrkāḻi, the native village of Saint Jñānasambandar. He used to do service in the local Śiva temple and taught the young boys of the village, the arts of rearing flower gardens, plucking flowers, making floral garlands, fetching pure water for the oblation of the deity, and sweeping and besmearing the ground with cow dung. He virtually created a generation of temple devotees who could look after the temple services. He taught these arts to those who approached him, led a sacred house holders life and was called toṇḍarukku aṟivaḷittavar i.e., a teacher of the devotees.
20.12. Puhal-tuṇai-nāyaṉār
Puhal-tuṇai Nāyaṉār, another Śaiva saint belonged to a Śiva Brāhmaṇa family, śiva-maṟaiyor-kulam, which according to Sēkkiḻār was distinct from Vedic Brāhmaṇas (ch. 56.1). His duty was to do Pūja in the temple as temple servant (ahattu cey mey-aṭimai-toḻil)
20.13. Muppōdum tirumēni tīṇṭuvār
Sēkkiḻār gives an isnight into the lives of Śiva Brāhmaṇas in the chapter on those who touch the deity on three times a day and perform worship. They were called Ādiśaivas, performing “arccanā” in temples on all the three sandhis, times of the day, with devotion hereditarily. They grew in number by the grace of Śiva, performed worship without deviating from the stipulations found in jñana-mārga of śiva-jñāna. It also seems to indicate that it refers to Śaiva-siddhānta i.e. Āgamas (ch.62.1). They were also called munivar, a term generally translated as sanyasins. This rendering is not correct. Ādiśaivas can worship in the temple only when they lead the life of householders. Munivars are therefore living with their families and worshipping with devotion and are equal to the dikṣitars. Sēkkiḻār also says that performing ritual worship in temples was solely reserved for the families of the Śiva Vediyas (now called Ādi-Śaiva Gurukkaḷ).
20.14. Pūsalār Pūsalar was born in Tiru-niṉṟavūr in Toṇḍaimaṇḍalam, which was a Vedic Brahmin settlement. (nāṉmaṟai viḷaṅgu mūtūr, ch. 65). The Vedic Brahmins emphasized adherence to righteous path by holding right conduct as the treasure of the family (kula mudal silam). The Vedic Brahmins of this village served for the development of Vedic tradition and all that meant dedication to the sacred feet of lord Siva. The temple is called cintai ālayam or mental temple. There is a Vedic hymn describing how a Vedic altar was constructed mentally.

20.15. Kuṅkiliyak kalayar
Kalayar was a Vedic Brāhmaṇa from Tiruk-kaṭaiyūr who supplied kumkuliyam (incense), for the local Śiva temple as Service regularly. Once there was a severe drought in the village. Kalayar could not supply kumkuliyam as he had no money to buy. His wife gave her sacred tāli and asked him to sell it and get the required money for buying the kumkuliyam. The most sacred object for married Hindu woman was her sacred tāli tied by her husband at the time of marriage. It is not only a symbol of marriage but also the most auspicious for her and the family. It could be removed only when the husband dies. Kalayar, a Brahmin sold the tāli of his wife just to fetch kumkiliyam for the temple of Śiva, an extraordinary act in his time.
20.16. Muruga Nāyaṉār
Muruga Nāyaṉar was one the 63 saints who hailed from Pūmhpuhalūr in the Cōḻā country. He was born in high Brahmin family (māna maṟaiyōr kula maṟabu) He was greatly devoted to Śiva in the Vedantic system (muntai maṟai mutalvar jñana varampin talai niṉṟār). He used to take bath in early morning, pluck flowers of the different varieties such as mountain flowers, field flowers, aqua flowers, flowers from creepers and lotuses that he sorted them separately and stored in flower baskets and used to fasten into different floral garlands as kovai, curukku, mālai, kanni, punaiyal, and todaiyal. He performed the arccana-worship of Vardhamaneśvara taking up turns as per Āgamic tradition. He also became a friend of Jñāna-sambandar, who eulogized him in Tēvāram hymn.
20.17. Tiru-nīla-nakkar
Tiru-nila-nakkar was born in Sattamaṅgai, a caturvēdi-maṅgalam - Brahmin village, in Cōḻā-naṭu, which imparted many branches of Vedic learning (pan maṟaikkiṭai) including the study of Sāmaveda. There were many Brahmins - dvijas (iru pirappāḷar) who tended the three fires (gārhapatya, āhavanīya and dakṣināgni). They were known for their upright conduct and held the sacred ashes in great veneration. They followed the profession of expounding the meaning of the Vedas (nan maṟai poruḷ viḷakkiya nalattar). Such exponents were called bhaṭṭas the exponent of Śāstras, in epigraphs. A great devotee of Śiva, Nīla-nakkar hailed from a family that held that the true meaning of the Vedas (vēda uḷḷuṟai) lay in worshipping of the sacred feet of Śiva (arccana). Nīla-nakkar engaged himself in this service. He worshipped Śiva daily as Veda-kāraṇa (the cause of the Vedas) as stipulated in the Āgamas (āgama vidhi) and feeding Śiva’s devotees.
Nīla-nakkar performed Śiva pūja on a Tiruvātirai day and then went to a nearby village, Ayavanti and performed Puja in the temple. Completing the puja and circumambulating the temple he sat before the liṅga and started reciting the five sacred syllables as japa. At that moment a spider fell on the liṅga. His wife who was standing nearby blew it off with her mouth. Nīla-nakkar who saw this felt that his wife has done as unholy act as her saliva would have fallen on the liṅga. Angered by her action he decided to severe his relation with her and abandoned her in the temple and returned to his residence. Śiva appeared before him in his dream in the night and showed him that excepting the part where she gusted off the spider all other parts of his body were swollen indicating that what his wife did was not a desecration but the one that pleased Śiva. Nīla-nakkar realized his folly and rushed to the temple and brought back his wife.
Another episode that is mentioned in his life by Sēkkiḻār relates to Sambandar’s visit to his house. When Sambandar arrived in the village Nīla-nakkar invited him to his house. Sambandar was accompanied by Nīla-kaṇṭa-yāḻ-pāṇar, who belonged to an outcaste. But Sambandar asked Nīla-nakkar to provide a resting place for Nīla-kaṇṭa-yāḻ-pāṇar for the night. Nīla-nakkar with out any hesitation invited the yāḻ-pāṇar into his house and gave him a space near his Vedic sacrificial altar. Sēkkiḻār has a word of praise for this gesture of Nīla-nakkar. Jñānasambandar was so happy that he sang in his Tēvāram hymn, Nīla-nakkar who could get an out caste near his sacrificial fire.
In the first episode Nila-nakkar as Vedic Brahman was a strict stickler to the observance of pollution and purity, while in the later episode we find him going beyond the mechanics of pollution and inviting even an outcaste to come near his sacrificial fire inside his house. It is also seen that Nila-nakkar first performed Puja in his house and later went to the nearby temple of Ayavandi and worshipped Śivalinga as per agamic code. This must be viewed against Sekkilar’s specific statement Nīla-nakkar was a Vedic Brahman. It looks as though certain temples in Tamiḻnāṭu had Vedic Brāhmaṇas to do worship. Sēkkiḻār mentions the worship performed by Nīla-nakkar, as arccanã meaning worship as per Āgamas. Some Āgamas like makuṭāgama emphasize the Vedic nature of temple worship and also the presense of different sects among temple worshippers.
20.18. Nami-nandi-Aṭigaḷ
Nami-nandi-aṭigaḷ, another Śaiva saint, hailed from Emapperūr a Brahmin village in the Cōḻā country. The fame of the village was well known in the world for the upright conduct of the Brahmins who followed the Vedic system (poy tīr vāymai ārumaṟai nūl puṟinta sīlar). The village always resounded in Vedic recitations in the morning. White smoke rising from the Vedic altars engulfed the sky like dark clouds. The Vedic Brāhmaṇas performed regularly homas in the Vedic yāga-sālās.
Nami-nandi was born in a Brahmin family in the village devoted to the worship of Śiva. He resembled the pure Vedic fire by his conduct following the sacred Vedas (vāymai maṟai nūl sīlar) Nami-nandi delighted in adoring the sacred feet of Śiva the Singer of Sāma Vedic hymns. He used to visit Tiruvārūr and worship Vānmika-nātha. He went to the nearby temple Tiru-aṟaneri-īśvara temple and decided to burn lamps there. He went to a nearby house and requested oil for burning lamps. It happened to be a jaina house. The jain inhabitant ridiculed Nami-nandi for his request stating that his God who carried fire in his hand needed no light. The jaina refused to give Nami-nandi oil and told Nami-nandi that he could burn the lamps by pouring water instead of oil. Nami-nandi was broken hearted by the insult and prayed to God. Śiva appeared in his dream and persuaded him to burn the lamps with water. To his astonishment Nandi saw the lamps were burning.
The Cōḻā king who came to know of the miracle rushed to Tiruvārūr, saluted Nami-nandi and made endowments to the temple for the worship of the God. The endowment had many clauses. The foremost one was that it was to be utilized for the devlopment of the Vedas and Āgamas so that temple worship may be conducted properly (vēda-āgama nūl viti). Nami-nandi’s greatness was rooted in his Vedic tratition. Nami-nandi was also given some other privileges and rights in the festival of paṅguni uttiram in the Tiruvārūr temple (the annual festival) and served virtually as the representative of the king in the temple.
The second episode mentioned in his life relates to his concept of pollution. Once he went to the festival in which the deity was taken out in procession to the nearby village where a large gathering of devotees belonging to all castes congregated. Nami-nandi mingled with them freely as a devote. At the end of the festival he returned home and felt that he was impure owing to mixing with people of all castes. His wife requested him to enter the house, but he refused and wanted to take bath before entering. He fell asleep and in his dream Śiva appeared before him and told him that all his devotees enjoy the same status and there was no high or low among them. Nami-nandi was woken up by this revelation, realized his folly and ever since spent his life in serving Śaiva devotees. Tirunāvukkarasar praised his services in his Tēvarām hymns. The episode does show that the Vedic Brahmins believed in the concept of pollution but Śaivism held all devotees alike with no distinction of lower or untouchables among them.
20.19. Saint Māṇikkavācakar
There are four Śaiva saints Appar, Sambandar, Sundarar and Māṇikkavācakar, who are immortalized for their devotional poems and generally as Nāyaṉmār Nālvar, “the four Śaiva saints”. Māṇikkavācakar’s tiruvācakam are held in great veneration and it is customary to keep the metal image of Māṇikkavācakar always by the side of Naṭarājā in major temples. All the Tamiḻ Śaivites sing his Tiruvācakam songs. He is dated fairly securely to 9th century, to the time of Pāṇḍyā Varaguṇa II. According to traditions he attained salvation at Chidambaram by merging with the light of Naṭarājā. His verses are of utmost importance for understanding the concepts of Naṭarājā. He calls the Veda, māmaṟai, the great Vedas and Śiva as maṟaiyoṉ, a Vedic Brāhmaṇa. Śiva is called a nān-maṟaiyōṉ, caturvedin (kīrti tiru ahaval). Śiva is the lord of the ageless Vedas; mūva nānmaṟai mutalōṉ (tiruc-cālal). Whatever Śiva utters is the Veda, pecuvatu maṟai. He called the village of Tirup-perun-turai, where he received knowledge from Śiva, a Vedic settlement. Māṇikkavācaka says that Śiva sat in the shades of banyan tree and taught the Vedas and its Dharma to the four ṛṣis. Śiva assumes the path of Vedic Brāhmaṇas, maṟaiyōr kōla neṟi (poṟṟi tiru ahaval). Śiva reflects on the meaning of the Vedas tuṇṇu poruḷ maṟai naṅku (tiruc cālal). Finally Śiva is Vedas and the meaning of Vedas maṟaiyum āy maṟiyiṉ poruḷum āy (koyil patikam). About Chidambaram Manikkavācaka says The Vedas adore Tillai - vēdaṅgaḷ toḻutu ēttum tillai (kantap pattu). Vedic Brāhmaṇas worshipped Naṭarājā, maṟaiyavarkaḷ vaṇaṅgum (koiyil patikam) whose lifted leg gave him solace -thirup padam kāttuvittu. Also he says at another place that the Vedic Brāhmaṇas worshipped Śiva at Chidambaram, tillainagar tiruc ciṟṟamabalam mannu maṟaiyavarum vānavarum vaṇaṅgiṭa (kanta pattu). He also refers to cid inner consciousness as the Space where the dance of Śiva takes place and that the dance confers limitless ānanda, a direct reference to ānanda tāṇḍava ellai illā ānandam anikoḷ tillai kaṇṭēṉē (kanta pattu). Mānikkavācaka refers to Dancing Śiva as ānanda kūttaṉ (tol-nokkam, (Tiru vārtai).
20.20. The Vedic Nature of Śiva Naṭarājā
The Śaiva system of Tamiḻnāṭu is based on the lives of the 63 Śaiva saints as told by Sēkkiḻār. The account of Sēkkiḻār is based on Saint Sundaramūrti’s tirut-toṇḍat-tokai followed by Nambi-āndar-nambi’s tiru-antāti. Sundarar sang the tiru-toṇḍar-tokai at tiru-vārūr and according to Sēkkiḻār the first line tillai vāḻ antaṇar, was revealed to Sundarar by lord Śiva of Tiruvārūr. Narrating this account Sēkkiḻār says Śiva taught these words by the same mouth that taught the Vedas to Sundarar. It is a poetic way of suggesting that the tiru-toṇḍar-tokai has the same validity as the Vedas. This hymn consists of eleven verses. We have seen that at every stage, Sēkkiḻār who also connects Vedas with the tiru-toṇḍar-tokai mentions the role of Vedas. The most sacred part of the Veda, containing the pañcakṣara-mamaśivāya is found in Śri-rudram - the Śatarudriya hymn. The Śatarudriya hymn consists of eleven verses, called anuvakas. It is in all probability that influenced Sundarar to sing the tiru-toṇḍar-tokai also in eleven verses. The identical number could not be considered accidental. The Tamiḻ Śaivam, which has been dynamic, through out, is based on the Vedas and the Vedic tradition and is therefore rightly claimed by all the saints as Vaidika Śaivam. The foremost temple that comes in for praise in this system is Tillai - Chidambaram and the worshippers of Chidambaram are the Dīkṣitars, the followers of the Vedas. The God of Chidambaram is the Dancing God. Tamiḻ Śaivam and Śiva Naṭarājā are identical and that the concepts of Śiva Naṭarājā are rooted in the Vedas.