CHAPTER – IV

MURUGAN WORSHIP IN KANDAPURANAM

Murugan, the native and indigenous deity had his own form of worship

and that worship was prominent in the Tamil country even from the Sangam

age onwards. Murugan was treated as a God of Kurinji region. While

Tokappiyam the earliest Tamil grammatical extant had referred to this God as

Seyon of Maivarai ulagam750, the Tamil deity was also known as Velan in

various Sangam classics751. Though he was an identical was God equal to

northern Skanda Karthikeya752, who war known by names such as Skanda,

Kumara, Subrahmania, Devasenapathy, etc., Murugan was an indigenous Tamil

God called otherwise as Kadamban, Sevvel, Kumaran, Sendan. While the

northern Skanda Karthikeya was a composite God Tamil Murugan was a single

God of beauty753. Under such circumstances Kachchiyappar, who lived in the

later half of the 11th century and in the early half of the 12th century754 produced

his Kandapuranam to revive the glory of the Tamil Murugan which had

deteriorated and was in an eclipse stage. He had endeavoured to elevate its

status by adopting the Tradition in northern Skandam. Such a treatment of

Murugan cult by Kachchiyappar stresses one to have an analysis of Murugan

750.
Tolkappiyam, Porul, 5.
751.
Ahananurru, 1:3, 59:11, 96:10, 156:15, Aingurunur, 129:2, Paripadal 5:50,
8:81, Porunararruppadai, 131, Purananuru16:12, 23:4, 299:6,
Tirumurugarrupadal, 269.
752.
Zvelebiu, Kami, T. The Poets of the Powers, London, 1973, p.150.
753.
M. Gandhi Dasan Tamilagathil Muruga Valipadu, Madruai, 1988, p.4.
754.
Kandapuranam, Kasimadam Padippu, Introduciton, p.13.
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 worship as depicted by him in his Kandapurnam. Such a study will enable one

to have comparative analysis of the same deities and also the status and worship

of the Tamil deity at that time.

By citing various reasons he had called Skandan as Kangeyan and

Saravanabhavan755, Karthikeyan and Kandan756. Further on par with the features

mentioned by Sri Tathuvanidhi757 Kachchiyappar has assigned importance to

the names of Murugan without any deviation from the northern works and had

adopted the narrations of north Indian works such as Kumara Tantra758. He was

aware of the Somaskanda panel of Murugan, emerged and attained popularity

during the Pallava period759. The panel attests the value of family of Siva

because Murugan is associated with Siva and Parvathi as his parent760. In the

same way Kachchiyappar had referred to Skanda seated on the lap of his mother

Uma who is along with her partner Siva761. This panel is available in the Siva

temples of Pallava period762. It is evident that with the emergence of the

Bhakthi Movement, there occurred transformations in the Bhakthi literature763.

Ibid., Tiruvilayattu Padalam, 14:16:1-4.

755.

756. Ibid., 14:117:1-4.

757. Raja Sri Krishna Raja Malaraja, Sri Tattuvanidhi, Part I, Tanjore, 1963, pp.320-331.

758. A.K. Chatterjee, The Cult of Skanda Karthikeya in Ancient India, 1970, p.128.

759. K.R. Venkatraman, Skanda cult in South India, Cultural Heritage of India, Vol. IV,
p.304.
760. N.R. Murugavel, Deiva Thiru Uruvangal, Madras, 1974, p73.

761. Kandapuranam, 1:13:26.

762.
R. Nagasamy, ‘Varalarril Muruga Peruman’, Kalaimagal Deepavali Malar, 1965,
p.27.
763. T. Zvelebil, Kamil, The Smile of Murugan in Tamil Literature of South India,
Leiden, Netherlands, 1973, p.30.
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 Such aspects widened the scope in describing the qualities of the deity

Murugan in various forms. Further Murugan worship offered an opportunity

for the Saiva Nayanmars to elevate Saivism. To amalgamate the two deities of

identical nature and qualities with each other764 Kachchiyappar, had called

Murugan as Somaskandan in his work. It was mainly to revive gone down the

Murugan cult in Tamil Nadu765. In the same way on par with Thanigai

Puranam766 and Kanchipuranam767, Kachchiyappar has treated Murugan as

Bramma Sastha768. As pointed out by the Sangam classics769 and other northern

works770, Kachchiyappar too had treated Murugan as a war God. He had

referred to his wars with Asuras in many places in his work771. As pointed out

by Nakkirar772, Kachchiyappar also had described Murugan as a hunter773. He

had even portrayed Murugan with his wives Valli and Devaseana in many

places774. Such descriptions reveal that Kachchiyappar unhesitatingly had

utilised the different legendary stories associated with Murugan. As pointed out

by Arunagiri at a later date in his Kamdaralangaram775, Kachchiyappar even

much earlier had attached significance to the philosophic attributes of

764. Veronica Sons, Indian Mythology, New York, 1975, p.12.

765
. Kandapuranam, 5:2:223
766
. Kachchiyappa Munivar, Thangaipuranam, p.428
767
. Sivagnana, Yogihal, Kanchipuranam, Kumarakotta Padalam, Madras, 1938,
p.24.
768
. Kandapuranam, 1:16:17
769
. Ahananuru, 1:3, 158:16, Purananuru, 16:12, 56:14, Porunararrupadai, 131
770
. E.W. Hopkins, Epic Mythology, Delhi, 1968, p.227.
771
. Kandapuranam, 1:20:126, 4:3:234, 4:13:46, etc.
772
. Tirumurugarruppadai, 208
773
. Kandapuranam, 6:24:66
774
. Ibid., 1:24:256, 257:258, 259
775
. Kandapuranam, 55
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 Murugan776. Kumaraguruparar in his Muthu Kumaraswamy Pillai Tamil too had

adopted his attribute777. As rightly observed by other scholars, Kachchiyappar,

while describing the different appearances of Murugan, had paid attention to the

iconographic features. In all his contributions had endeavoured to elevate

Murugan worship778. While calling Murugan as Kumaravel779 and the ancient

God beyond imagination780 it is appropriate to estimate that Kachchiyappar had

attempted to highlight Murugan as an archaic deity and worth worshipping

Kachchiyappar’s descriptions about the different festivals associated with

Murugan such as Masimagam, Panguni Uddiram, Kadnda Shasti and Karthigai

assist to note that Kachchiyappar had done an yeoman service in promoting

Murugan worship in his own unique way. His efforts had produced indelible

impression over the Tamils and the Tamils are adopting these traditions still.

His Agattiyapadalam, points out his endeavours to relate the dwarf sage

Agastya with Murugan. On par with the northern Sanskrit tradition, when he

hails Murugan781 it is obvious that Murugan worship was bestowed with a fresh

dimension during his period.

The period of Kachchiyappar was one of developed religious tolerance.

Kachchiyappar had taken Murugan as primary deity of worship. In the same

776
. Kandapuranam, 3:12:132, 134 etc.
777
. KUmaraguruparar Prabanda Thirattu, 1:58-59.
778
. N. Ramalingam, Kandapurana Araichchi, Madurai, 1988, pp.245-246.
779
. Kandapuranam, 1:15:19:1.
780
. Ibid., 1:20:127:4
781
. Ibid., 1:4:82:1-4.
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 way he had never bagged behind in offering importance and elaborate treatment

of other deities. That in turn highlight the fact that he felt that only the

development of associated deities alone would offer a chance for promoting

Murugan worship. Through the mouth of Siva, when Kachchiyappar had

spoken out the different names of Murugan based on various reasons I,t is

obvious that Kachchiyappar had attempted in multiple ways to elevate the status

of Murugan as the son of Siva who was a familiar, superior and popular deity

then. Calling of Murugan’s names as Kangeyan782, Karthikeyan and Kandan783

and the consequences of his worship784 etc. are mentioned by Kachchiyappar to

achieve his objective of enhancing Murugan worship. Being a Murugan devotee

it was his primary duty to elevate the status of Murugan.

In Tirumurgarruppadai when Murugan is mentioned as the son of the six

celestials along with Siva, Malaimagal, Korravai and Palayol785 it is clear that

Murugan was a child associated with different mothers. As Uma or Parvathi,

was the wife of Siva she was treated as the mother of Murugan. The references

such as Umai Murugan786, Gowri than Kumaran787, Imayathaval Sey788 etc. had

encouraged Kachchiyappar to utilise it as a factor for the syncretism of the

northern God Skanda with Tamil Murugan who was known for his distinctive
782
. Ibid., 1:14:17
783
. Ibid., 1:14:16
784
. Ibid., 1:14:19, 1:14:20, 1:14:21
785
. Tirumurugarruppadai, 255-259
786
. Kandapuranam, 1:11:99
787
. Ibid., 1:11:99
788
. Ibid., 1:31:21
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 but identical qualities Kachchiyappar, who encouraged the tradition of

worshipping Vinayaka for successful completion of any work.789, was a

sympathiser of Siva and Saivism of his period. He had commenced the work on

Murugan with an invocation to Vinayaka. Further he had associated Vinayaka

with Murugan, while the latter wanted to marry Valli the lady of the hunter

clan790. Vinayaka himself informed Naradha to undertake a fasting in favour of

Murugan for 12 years791. Such facts indicate that it was custom among the

Tamils to link various deities by human relationship. It was also a tradition

available in Tamil Nadu. For instance Murugan is treated as the son of Siva

and Uma son in law of Vishnu, brother of Vinayaka etc.

Triumal associated with Murugan worship by Kachchiyappar as his son

in law was a tradition available even in the Paripadal period itself. Tirumal, the

protective deity of Hindu pantheon asserts the valorous qualities of Murugan to

the celesetials.792 Tirumal too had hailed Murugan as the one who destroyed

Subranman793. In the same way he had connected Brahmma, i.e., Nanmuhan

with Murugan. Brahmma was so happy to hail the qualities of Murugan for

having relieved him from his evils and converted the effects of his Karma into

noble ones794. Brahmma was also much pleased to appreciate the act of killing

789
. Ibid., 6:14:152
790
. Ibid., 6:24:113
791
. Ibid., 6:23:10
792
. Ibid., 6:13:74:280, 281
793
. Ibid., 4:14:3,6,7
794
Ibid., 1:17:34
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 of Subramman by Murugan795. Indra, the king of celestials was also linked with

Murugan by Kachchiyappar. Indra, whose familiarity was degraded after sixth

century A.D., in Tamil Nadu796, is mentioned in various places in

Kandapuranam797. Indra had served as the vehicle for Murugan during his war

with Surabanman798. He had even hailed Murugan799. It is estimate to note that

every God was associated with gods and Kachchiyiappr also did not deviate

from that tradition.

The above facts indicate that Kachchiyappar had endeavoured to elevate

the position of Murugan of associating him with the other deities. Such facts

prove that unification of deities was a way adopted for the promotion of

Murugan cult. Irrespective of any disparity among the divinities Kachchiyappar

had made all attempts to bring a unison among all the Tamil as well as pan

Indian deities. By employing the traditional approaches as found in the Sangam

classics Kachchiyappar had followed his own measures. He had even proved

that he was so firm in making Murugan and succeeded in making Murugan as a

Tamil deity. Only because of that Kachchiyappar adopted a technique in

promoting Murugan by making him to be appreciated by all the Gods without

any exemption. This also was a venture employed by Kachchiyappar in

795
. Ibid., 1:21:25-29
796
. Ibid., S. Vidhyanandhan Tamilar Salsu, Madras, 1971, p.147.
797
. Kandapuranam, 1:14:82, 104, 105, 106
798
. Ibid., 4:13:380
799
. Ibid., 4:13:381, 4:14:8, etc.
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 promoting the worship of a renowned and indigenous Tamil deity Murugan.

Through his earnest endeavours to elevate position of Murugan Kachchiyappar

had connected Murugan with the northern Skandan, who was a war God and

had none of the traditional qualities of Tamil Murugan.

In addition to that Kachchiyappar, had brought to light various qualities

of Murugan and in many respects they seem to be superior to those of the traits

of northern Skanda. It is customary practice among the poets and devotees of

different languages to highlight their Gods as superior enabled them to impose

the virtues and qualities of the ordinary human beings800. In almost all the Tamil

as well as northern epics one can witness such approaches. In Kandapuranam of

Kachchiyappar, without any excepting such as epic qualities are utilised in an

apt and appropriate way. In this regard a detailed analysis of the work suggests

the distinctive qualities of Murugan described in revealed in various places in

Kandapuranam. In general being a warrior Murugan’s qualities of valour is

different contexts801. Probably it should be for equating Murugan with northern

war God Skanda. His calling of Murugan by the alliterations such as Veludai

Kumaran802, Veeravel803, the head of the army of the celestials804, etc. exhibit

800
. C.M. Bowra, Heroic Poetry, London, 1966, p.94.
801
. Kandapurnam, 1:13:27, 1:14:88, 91,111, 1:15:1, 1:20; 148, 1:25:26, 1:26:18,
3:19:4, 3:21, 40, 3:12:111, 4:11:5, 4:12:68, 297, 303, 462, 4:13:110, 502, 507,
4:13:100, 218, 325, 502, 507, 4:5:216 etc.
802
. Ibid., 4:13:502
803
. Ibid., 1:14:111
804
. Ibid., 5:4:4
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 the warlike virtues of Murugan. Even Kandan had brought out his valour805.

Thus Murugan is depicted as a war God. He is shown as a God known for his

grace806, love and affection807. As Vedas treat the deities having six different

qualities808 as narrted by Nakkirar in his Thirumurugarruappadai. Murugan is

also having six faces which express his six qualities. So one can clearly

understand that Kachchiyappar had succeeded in his attempt in making

Murugan as a primary deity by reviving his part glories.

In addition to that one must know how Kachchiyappar had employed the

aspects of Murugan as mentioned in earlier Tamil works. For the sake of

estimating the qualities of Murugan as pointed by Kachchiyappar without

deviating from the traditional approach one should have such a comparative

analysis. Among the various distinctive qualities, Velan Veriyadal is a

significant aspect. This frenzied dance was executed to gain power809. That

primitive form of dance stands testimony not only to the individual quality

included in Murugan worship but also to the tribal but worship associated with

it810. This custom of Veriyadal was executed mainly for relieving the love

805
. Ibid., 4:13:448
806
. Ibid., 3:21:126
807
. Ibid., 1:14:119:, 3:112:22, 4:7:39, 6:24:266
808
. Ibid., K. Vajravel Mudaliyar, Saivamum Vainavmum, Saivam, Madras, 1976,
p.58
809
. K. A. Kailsapathy, Palantamilar Valium Valipadum, Madras, 1966, pp.16-17.
810
. K.A. Nilakanta Sastri, The Culture and History of the Tamils, Calcutta,
1966, p167.
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 sickness and distresses of women811. It was also executed by Velan, the priest of

Murugan known as to appease the wrath of Murugan812. As this frenzied dance

was carried out by the priest of Murugan, called Velan, with the spear in his

hand this was known as Velan Veriyadal, Velanadal813. Maduraikanchi814 and

Ahananuru815 contain details about the ways in which the veriyadal was

executed. Tirumurugarruppadai had offered a vivid account about this816. While

the earlier tribal form of worship centred mostly around belief and faith, one

can witness a change in this tradition during the period of Kandapuranam. This

was carried out in a joyous mood after obtaining a baby817. But the older

tradition of knowing the cause for the sorrows of lady had also continued. In

this regard for knowing the distresses of Valli818 this veriyadal was carried out

by Velan, the Murugan priest819. Thus in Kandapurnam highlights he

harmonious blending of old and new traditions along with the arrival of new

necessary dimensions. Thus the distinctive qualities assisted the maintenance of

the individualism of the deities.

811
. Kuruntogai,, 360:1, Ahananuru, 22:5-11, 98:15-19, 242:7-112, 382, 3-7 etc.
812
. K.A. Nilakanta Satri, Development of Religion in South India, Madras,
1963, p.33.
813
. Tamil Lexicon, p.3638.
814
. Maduraikkanchi, 610-617.
815
. Ahananuru, 22:8
816
. Tirumurugarruppadai, 227-247.
817
. Kandapuranam, 6:24:40
818
. Ibid., 6:24:155
819
. Ibid., 6:24:156
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 In general the worship of a deity centred around the belief that the deity

would fulfill all the requirements of the devotees. But the request should be

placed in an appropriate form and manner. This was a common trait of the

Murugan worship of Sangam Age. During the period Murugan was worshipped

by the offering of Kadamba flower820. Though Murugan worship was

undertaken mainly to get his grace during the age of Kachchiyappar, a different

way was adopted. This belief oriented form of worship was mainly for gaining

the grace of Murugan821. He wais hailed as a God who protected his devotees

from the effects of Karma and felt that Murugan would set aide the terror and

fear of his devotees822. He was treated as a God who could even convert the evil

and wicked minded people into of virtues and noble deeds823. This

transformation in Murugan worship emerged mainly due to the fact that

Murugan could ill be the true God in showering his grace on all his devotees.

Further the impact of the devotionalism or Bhakthi had its own role to play in

this regard. It also cannot be denied that primitive form of worship had been

transformed into an elite one. Further the inclusion of the philosophy of

surrender and the introduction of the epic qualities too had their own echo over

the worship of Murugan during the days of Kachchiyappar. Above all as

Kachchiyappar’s motive was to enrich Murugan worship on that line

820
. Perumbanarruppadai, 75, Maduraikkanchi 613-614. Ahananuru, 8:32-33,
Narrinai, 34:8, Paripadal, 8:126, Aingurunuru, 3:6, 359:2-3
821
. Kandapuranm, 4:11:154
822
. Ibid., 3:10:4-11
823
. Ibid., 4:13:496
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 Kachchiyappar had employed his own techniques and he had attached values to

the earlier traditions prevailed in Tamil Nadu. This prime concern was more

beneficial for achieving his end and objective.

The name Kandan available in Gnanasambandar’s Devaram824, the name

Subramanian in the Tiruvisaippa of the eleventh Tirumarai and many other

names in the earlier Tirumurais except the tenth, indicate that Kachchiyappar

too had described Murugan by more than 100 names based on his distinctive

qualities. These facts expose the method employed by Kachchiyappar to

reinstate Murugan as the son of Siva and Uma, as the husband of Valli and

Devasena, as the brother of Vinayaka, as six faced God (Arumugam), as the

leader of the forces which used spear, as red coloured God, as youthful God and

as Kumaran (son). They are appealing and prominent. Kachchiyappar, by

elucidating the distinctive qualities had described his names with such

attributes. This was an unique method employed to make Murugan worship as a

promising and prominent one.

After hearing about the Kannanur Balasubramanya temple constructed by

Adhitya I, the Chola ruler of Vijayalaya line we have the name of the specific

Murugan temple of Kumarakottam in Kandapurnam825. It is revealed that a

separate temple was ascribed to Murugan at Kanchipuram in the name of

824
. Tirugnanasambandar Devaram, 371:1
825
. Kandapurnam, Tirunattu Padalam, 6:104:4
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 Kumarakkottam. It is believed that Kachchiyappar released his Kandapurnama

at Kumarakottam.

Beyond the above measures Kachchiyappar had endeavoured to elevate

Murugan even through the mouth of Siva826 in various places. In his

Kandapuranam while depicting Murugan he had followed the footsteps of the

Saiva Nayanmars who endeavoured to elevate Siva as the father of Murugan,

(Kumaran, tan, tadai, Kolikodiyon tadai, Nalvelan tadai etc.) Kachchiyappar

due to the need of the hour had adopted the same technique in a different way

by calling Murugan as the son of Siva in various places. For instance Murugan

is portrayed as Mukkananmahan827, i.e., the son of the three eyed god, aran

mahan828 (son of aran who was Siva), ala middrrannal Sey829 (the son of the

stained necked god), erudai mudalvan Maindan830 (the son of the god who is

having a bull (mount), Sankaran Kumaran831, Sivanmahan832, Paraman

Maindan833 etc. All such facts insist that Murugan being the son of the

renowned God Siva worshipped. In this regard it must be remembered that

Murugan is mentioned the son of Siva in 127 places and the different names of

Siva are given as seen above.

826
. Ibid., 1:14:14 to 21
827
. Ibid., 4:13:347
828
. Ibid., 3:21:10, 4:12:346
829
. Ibid., 1:17:1
830
. Ibid., 4: 13:237
831
. Ibid., 1:11:109
832
. Ibid., 1:11:1121, 1:19:18, 1:20:116, 3:12:54, 4:3:344 etc.
833
. Ibid., 1:22:36, 3:21:2
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 On par with the calling of Murugan as Sey in Sangam classics834.

Kachchiyappar too had called Murugan as Sey in many places in his work835.

This aspect compels one to note that Kachchiyappar without deviating from the

ancient Tamil tradition, had considered Murugan as baby or Sey. By these

techniques had elevated Murugan’s position. He had even treated Murugan as

ancient God of the Tamils.

Though Tamil Murugan had attained the status of son of Siva and

Parivara Devata, and subsequently as Gopuradevada the author Kachchiyappr

had tried to make him as the primary God through the mouths of the various

characters of his epic. Anyhow it is obvious that he had never achieved

success in making Murugan as the primary deity of Hinduism. Because in the

16th century St. Arunagiri had made further attempts to revive and enhance the

status and position of Murugan through his literary works such as Thiruppugal,

Kandar Alangaram, Kandar Anubhudhi etc. But it cannot be denied that

Kachchiyappar contributed a lot in reviving and promoting the Murugan cult in

Tamil Nadu. The eclipse nature of Murugan cult and the important places

obtained by Saivism and Vaishnavism compelled Kachchiyappar to carry out a

new venture in promoting the status and position of the original Tamil deity

834
. Malaipadukadam, 493, Kurunjipattu, 51, Perumbanarruppadai, 456, Kuruntogai,
1:3, Ahananuru, 266:21, Purananuru, 125:19-20, 200:19, Tirumurgarruppadai,
271, Paripadal, 5:54, 21:53
835
. Kandapuranam, 1:3:35, 1:5:23, 1:11:94, 102, 110, 124, !:12:36, 1:13:2, 20, 1:24:75,
3:21:26, 4:11,12
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 Murugan. Particularly by his Tamil work Kandapurnam in an epic from he had

made all sincere efforts in promoting Murugan worship which had attained a

lower position. As seen Murugan, the once popular Tamil deity attained the

position of a Parivara devata or Gopura devata. Further the impact of Sanskrit

too played its role. Only on that line Murugan was called as Subramanyan,

Skandan, Karthikeyan etc. Many Sanskritic traditions, customs rituals were also

imposed on him. By making Murugan as a member of the family of Siva, his

calling of son, son-in-law, brother etc. too gained prominence. The Tamil deity

Murugan was a treated means for maintaining a relationship between Saivism

and Vaishnavism. This was also a technique employed by Kachchiyappar but

without any success. The glory of Murugan continued to survive even in a dark

background. Only after the 16th century i.e., after, Arunagirinathar, the author of

Thiruppugal Murugan revivalism actually commenced. Many Murugan shrines

and literature on Murugan came up after the 17th century. This could very well

be treated as an impact of the efforts of Kachchiyappr, the author of

Kandapuranam. Though Kachchiyappar could not have immediate result for

his endeavours. He was able to inculcate the faith over Murugan. On the basis

of the efforts of Kachchiyappar, many Tamil works an Murugan emerged.

Pillai Tamil form, Talavaralaru etc. came up on Murugan and Murugan shrines.

Anyhow Kachchiyappar was a cause for effecting transition in the Murugan cult

in Tamil Nadu.

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