TheTevaram (Tamil:தேவாரம்,Tēvāram), also spelledThevaram, denotes the first seven volumes of the twelve-volume collectionTirumurai, aShaiva narrative of epic andPuranic heroes, as well as ahagiographic account of early Shaiva saints set in devotional poetry.^[1] TheTevaram volumes contain the works of the three most prominent Shaiva Tamil saints of the 7th and 8th centuries:Sambandar,Appar, andSundarar.^[2][3][4] The three saints were not only involved in portraying their personal devotion toShiva, but also engaged a community of believers through their songs. Their work is an important source for understanding the ShaivaBhakti movement in theearly medieval South India.^[5][6]

In the 10th century, during the reign ofRajaraja I of theChola dynasty, these saints' hymns were collected and arranged byNambiyandar Nambi. Starting with theTevaram along with the rest ofTirumurai and ending with thePeriya Puranam, Tamil Shaivism acquired a canonical set of sacred texts on ritual, philosophy, and theology. This marked its coming of age alongside the expansion and consolidation of Chola imperial power in the 11th century CE.^[7]Tevaram contains 796 hymns made up of 8,284 stanzas.^[8] These hymns continue to be devotionally sung in contemporary times in many Shiva temples ofTamil Nadu.^[9]

The wordTēvāram can be interpreted in two ways. First, as "Tēva" and "Āram" which means "the garland of the lord [Shiva]".^[10] Second, as "Tē" and "Vāram" which means "create love towards the lord".^{[10][note 1]}

Tevaram has also been interpreted as "private ritual worship", with the termvaram appearing in temple inscriptions with the sense of "lord's shrine".^[8]

TheTevaram is attributed to three Tamil Shaiva poet–saints, sometimes referred to as the "Tevaram trio" (Mūvar).^[8] They lived between the 6th and 8th century CE, state Peterson^[12] and Prentiss,^[13] while Champakalakshmi dates them in the 7th to 9th century.^[14] They are among theNayanars (leaders), and considered the "principal saint-leaders" of Tamil Shaivism.^[12] Like the ancient Sanskrit texts of India as well as the Vaishnava bhakti tradition, the early Nayanar poetry was largely anoral tradition through the 10th century, with some evidence of these poems being written on palm leaf manuscripts. The actual compilation into Tevaram was completed in the 11th century, starting around 1000 CE.^[15] The Tevaram trio themselves credit an older tradition and "speak of saints who lived before them", which states Peterson suggests that parts of the Tevaram poetry may have more ancient roots than the 6th century.^[15]

According to Champakalakshmi, there were at least three stages in the evolution ofTevaram: first was the composition of the hymns by the Tevaram trio, then these were adopted in temple rituals and festivals bypatikam singers, and thereafter came a conscious 11th-century structuring of these poems into a canonized text. The last stage was assisted by the pontiffs of themathas (monasteries) who incorporated the hymns into theShaiva Siddhanta canon in the 13th century.^[16]

A palm-leaf folio ofTevaram manuscript copied in a Tamil Shiva temple about 1700 CE. The manuscript, like many Hindu texts found in South India, starts with a contents list. The title of the hymns set is in itscolophon. Theragam (scale) andtalam (beat) are included on the manuscript leaves to guide the singers and musicians. The above set is one of 230Tevaram folios currently preserved in the British Library.

Tevaram text has been called as a Shaiva "Tamil-vētam" (a Tamil Veda) in Volume 4 of the Madras Tamil Lexicon. This equivalence with the ancient Hindu Vedas has been explained by the Tamil Shaiva scholars in that the Tevaram "resembles the Vedic hymns" by being poetry of the "highest order" that also systematically builds the philosophical foundations of Shaivism. It differs from the ancient Vedas in that it focuses on intensebhakti for Shiva.^[17]

The Tevaram helped structure a devotional tradition with its own authoritative canon, and thereby negated the primacy of Vedic orthodoxy andSmartha tradition, states Champakalakshmi.^[18] Yet they extend rather than reject the Vedic tradition. The hymns, states Peterson, directly praise the four Vedas and Sanskrit, adding that devotion to Shiva is same as these. For example, in Appar VI.301.1, the Tevaram states "See him who is Sanskrit of the North, and southern Tamil, and the four Vedas". Such themes appear repeatedly in this text. Thus, Tevaram is not antagonistic to the Vedic tradition, it compliments and redirects the devotee to bhakti through songs and music, for the same spiritual pursuit.^{[19][note 2]}

In their structure and focus, thepatikams (praise poem) of the Tevaram are "closely associated with early Sanskritstrotas" of the types found inBhagavad Gita, theBharavi, some compositions of Kalidasa and some chapters of the epicMahabharata, all dated between about the 2nd century BCE and the 5th century CE, states Peterson.^[20] The melodic prosody, structure and genre that the Tevaram exemplifies has roots and illustrations in theSatarudriya of theYajurveda, an ancient prototypical devotional hymn to Rudra-Shiva.^[21]

According to Sabaratnam, the Tevaram verses were more oriented towards the folk tradition. It used theTamil language and thus set aside the primacy of Sanskrit liturgies in religious matters. Tevaram made the direct devotion to Shiva more easily accessible to the people.^[22]

The first three volumes ofTevaram are bySambandar, the next three byAppar, and the seventh bySundarar. Appar and Sambandar lived around the 7th century, while Sundarar lived in the 8th century.^{[23][note 3]} It is likely that the lives of Appar and Sambandar overlapped sometime between 570 and 670 CE, while Sundarar lived in late 7th or the early 8th century.^[25] All three are among the 63Nayanars (lit. 'hounds of Siva') who are revered poet-saints of Shaivism.[23] During thePallava period these three travelled extensively aroundTamil Nadu, pioneering the tradition of an emotional devotion to Shiva through ritual singing in temples and public places. This was an era where Hindus, Jains and Buddhists were rivals in seeking patronage and influence in royal and urban circles of South India.^[14]

The Tevaram includes 383 or 384^[26] hymns composed by Sambandar over volumes I–III, 313 hymns by Appar over volumes IV–VI, and 100 hymns by Sundarar in volume VII.^[13] Information about Tevaram Trio comes mainly from thePeriya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of theTirumurai. The first two Saints are mentioned in the third poet Sundarar'sTiruttondartokai (lit. The List of the Holy Servants) and other poetry which is generally dated to the 8th century. Other Tamil texts such as theTiruvilaiyatarpuranam provide more extended context for the life stories of the Tevaram trio and other poet-saints. All these texts including thePeriya Puranam were finalized a few centuries later.^[13][27]

The texts about the Tevaram trio are hagiographies full of mythistory where devotion leads to miracles, objects float upstream in a river, cruel Jains of the Chola kingdom repeatedly scheme to hurt and kill peaceful Shaiva saints in the Pandya kingdom, the Shiva devotees survive and thrive through divine interventions, magic cures people's diseases, stone statues spring to life to help the kind and gentle Shaiva people suffering persecution, gigantic forms of living animals such as cruel elephants become small peaceful stone statues, and other such events happen in the context of loving and intense devotion to Shiva.^{[28][29][note 4]} This myth-filled context has created much controversy and speculations on their reliability, even the centuries in which these saints lived.^[33][34]

Thirugnana Sambandar, sometimes spelled as Campantar or Ñāṉacampantar, was born into a family of ShaivaBrahmins inSirkazhi nearMayiladuthurai inMayiladuthurai District. Little is known with any certainty about Sambandar actual life. The last hymns of Tevaram volume III provide some information. ThePeriya Puranam and Sundarar'sTiruttondartokai are additional early records and provide a comprehensive hagiography on him.^[35] Other sources are theNambiyandar Nambi'sTiru Tondar Tiruvandadi and a few inscriptions in Tamil Shiva temples aboutpatikam singers that can be dated around the 9th century.^[36]

In thePeriya Puranam, Sambandar is said to have been a child prodigy, one who began composing hymns as soon as he started speaking as a baby and who mastered the Vedas by age three. His gifts were attributed to being breastfed by the Shakti goddessUmadevi.^[37] As a child poet-saint, he attracted throngs of audiences, travelled through Tamil lands to Shiva temples accompanied by musician Tirunilakantayalppanar, composing melodious hymns in complex meters and rhythms.^[37] The hymn III.345 ofTevaram depicts Jain monks persecuting him and trying to burn a palm-leaf manuscript of his hymn, but the fire does not burn it.^[38]

On the request of queenMangayarkkarasiyar, Sambandar went toMadurai to counter the Jain monks inher husband's court. There the Jain monks allegedly attempt to burn the house he was staying in, but he remains unharmed.^[13][39] Then he is challenged to a debate by the Jain monks with the condition that the losing side convert to the winning side, or commit suicide by impaling themselves to death. Sambandar defeats the monks in debate, thePandya king and some Jains convert to Shaivism. Other Jain monksdie in Madurai of impalement in the aftermath.^[29][40] Sambandar died around 655 CE at the age of 16, on the day of his wedding when Shiva met him and took his relatives and him to his abode.

The first three volumes of theTirumurai contain 383 poems (some editions 384), composed of 4,181 stanzas, attributed to Sambandar, which are all that survive out of a reputedoeuvre of 16,000 hymns.^[26] His verses were set to tune onyal or lute by Sambandar's constant companionTiru Nilakanta Yazhpanar (Nilakantaperumanar).^[26]

Appar, also known as Tirunavukkaracar, was born in the late 6th century or the early 7th century in a Vellala peasant family.^[41] From the ShaivaShudra caste, he was an orphan raised by his sister.^{[42][note 5]} He spent his childhood in Tiruvamur village near Atikai by most accounts. His childhood name was Marunikkiyar (Marulneekiar).^[44][26] Zvelebil dates his birth to between 570–596 CE.^[26] Details of Appar's life are found in his own hymns and in Sekkizhar'sPeriya Puranam. His sister Thilagavathiar was betrothed to a military commander who died in war. She devoted herself to Shaivism.^[44]

Unlike his sister, Appar turned to Jainism. He left home, joined a Jain monastery, where he was renamed Dharmasena (Tarumacenar). He studied Jainism and became the head of the Jain monastery in Tiruppatirippuliyur.^[44][45] After a while, afflicted by a painful stomach illness, Dharmasena returned home.^[46] His sister gave himTirunuru (sacred ash) and the five syllable mantra "namaccivaya" (Namah Shivaya). Then together they went together to a Shiva temple in Atikai, where he spontaneously composed his first hymn of Tevaram. As he sang the second verse, he was miraculously cured of his stomach illness. Thereafter, he came to be known as Navukkaracar (from Skt: Vagisa, "king of speech") or more popularly just Appar. He had thus left Jainism, and become a devout Shaiva.^[44]

Appar's hymn are intimately devotional to Shiva, but occasionally include verses where he repents the Jain period of his life.^[44] In Tevaram hymn IV.39 and others, he criticizes the Jain monastic practice of not brushing teeth, the lack of body hygiene, their barbaric ascetic practices, the doctrine ofpallurai (anekantavada) as self-contradictory relativism, the hypocrisy of running away from the world and work yet begging for food in that same world, and others.^[47]

The Tamil hagiographies allege that Jain monks approached thePallava kingMahendravarman to take revenge on Appar for his desertion.^[48] Appar is summoned to the court and allegedly tortured. Appar remains in good spirit despite the persecution. Thus, Appar persuaded Mahendravarman of the folly in Jainism, and converted the king to Shaivism.^[49][50]

Appar was a dedicated pilgrim, who travelled to distant Shiva shrines. Of particular note are Shiva temples sites that were important turning points to his life and these remain important to contemporary Tamil Shaivas.^[51] These include Tunkanaimatam, Chidambaram, Sirkazhi where he met the child poet-saint Sambandar who lovingly called him Appar (transl. father).[52] Other Appar destinations mentioned in the Tevaram include Nallur, Tinkalur, Tiruvarur, Tiruvavatuturai where he described the Tiruvatirai festival, Maraikkatu, Vaymur, Tiruvaiyaru, and mount Kailash in the Himalayan north.^[51] This was also a period of resurrection of the smaller Shiva temples. Appar sanctified all these temples with his verses and was also involved in cleaning of the dilapidated temples in a ritual known asuzhavaarappani.^[50] Appar is believed to have died around the age of 81 in Tirupugalur.^[52] He extolled Shiva in 4,900 stanzas, out of which 3,130 have survived. These are compiled in the fourth, fifth, and sixth volumes of theTirumurai.

Sundarar, also known as Nampi Arurar or Cuntaramurtti or Cuntarar,^[53] is the third of the Tevaram trio. His Tevaram hymns provide more biographical specifics than the hymns of Sambandar and Appar.^[53] Sundarar was born in Tirunavalur in a Shaiva Brahmin family toSadaiya Nayanar andIsaignaniyar towards the end of the 7th century.^[52] He was adopted by the Pallava feudatory family of Naracinka Munaiyaraiyar, an adoption that gave him a luxurious childhood and the last name "Arurar" after Shiva in Tiruvarur. As he grew into an adult in Tiruvarur, he was called "Sundarar" meaning "the handsome lord".^[53]

His life and his hymns in the Tevaram are broadly grouped in four stages. First, his cancelled arranged marriage through the intervention of Shiva in the form of a mad petitioner and his conversion into a Shaiva devotee.^[53] Second, his double marriage to temple dancers Paravai and Cankali with their stay together in Tiruvarur.^[52] Third, his blindness and then return of his sight. Finally, his reflections on wealth and material goods.^[53]

In the first part of his life, the arranged marriage of Sundarar is cancelled after a mad old man mysteriously appears and produces a palm leaf document. The document stated that Sundarar was bonded to serve him, his master. A court of elders then reviews the document and finds it authentic, demands Sundarar to serve the petitioner, who then mysteriously vanishes into Shiva shrine. Sundarar views this as a command to serve Shiva in the Tiruvarur temple.^[54] Later he meets dancer Paravai, they marry, and together they serve the Shaiva pilgrims and take care of the temple duties. He goes to visit Tiruvorriyur, meets and is enamoured with Cankali. With the help of Shiva, this leads to Sundarar's second marriage, but only after his wedding vows include never leaving Cankali and Tiruvorriyur.^[54] Sundarar misses his first wife Paravai, does not keep his word, and leaves for Tiruvarur. The broken vow causes him to go blind before he reaches Tiruvarur. His suffering thereafter are part of several Tevaram hymns.^[55] As a blind man, he visits many Shiva shrines and sings there. Slowly in stages, he becomes closer to Shiva and recovers his sight.^[56]

Sundarar with restored eyesight then lives with his two wives. In his later hymns, he presents his spiritual discussions with Shiva on how to achieve both spiritual succor and material wealth in life. He seeks the latter to provide for his family and to pay for the charitable temple kitchen that fed hundreds of Shaiva pilgrims. Shiva becomes his patron king, grants him grain, gold and a flashing sword. This is embedded symbolism to inspire regional kings and wealthy patrons to support the spiritual and charitable works at Shiva temples.^[57]

Sundarar is the author of 1,026 poems compiled as theTirumurai's seventh volume.^[52]

Tirumurai
The twelve volumes ofTamilŚaiva hymns of the sixty-threeNayanars
Parts	Name	Author
1,2,3	(Tevaram) Thirukkadaik Kaappu	Sambandar
4,5,6	Tevaram	Thirunavukkarasar
7	(Tevaram) Thiruppattu	Sundarar
8	Thiruvasakam & Thirukkovaiyar	Manickavasagar
9	Thiruvisaippa & Thirupallandu	Various
10	Thirumandhiram	Thirumular
11	Saiva Prabandham	Various
12	Periya Puranam	Sekkizhar
Paadal Petra Sthalam
Paadal Petra Sthalam
Rajaraja I
Nambiyandar Nambi

TheTevaram has 796 hymns. Each hymn containspathikam (Tamil:பதிகம்), also spelledpatikam (from Sanskritpadya, verses). Predominantly all hymns of Tevaram contain ten or eleven verses. Each verse is a four line melodic stanza with an embedded refrain.^[58] The hymns of Sambandar and Sundarar also embed a signature or coda in the last verse, where the poet-saint shares some personal information, or the benefits of listening to or singing that hymn, or the context of that hymn.^[58] The hymns of Appar too include a signature or coda in the last verse, but they characteristically are linked to theRamayana through Ravana's mythical devotion before he lost his way and turned evil.^[58]

The hymns are set to music denoted bypanns with aragam andtalam. The traditional manuscripts arrange the hymns according to musical modes, orpanmurai.^[58] The Tevaram hymns are set to 23 of the 103 pan scale modes ofAncient Tamil music, and they are meant to be sung while accompanied with a stringed musical instrument such as the Tamilyal.^[58] Professional singing of the Tevaram hymns at large Shiva temples has been a Tamil tradition since at least the 11th century.^[58]

Several of these poems refer to historic references pointing to the saints own life, voice of devotee persona, using interior language of the mystic.^[59] Of the three, Sambandar's life is better interpreted by his verses.^[59] According to Zvelebil, the child-prodigy Sambandar's lyrics are characterized by egocentricism, by militancy and great ardour, by a warm feeling for the greatness and beauty of Tamil language with scholarly experimentation in meters showing familiarity with Sanskrit forms.^[60] Zvelebil quotes a current Tamil saying, "My Appar sang of me, Sambandar sang of himself, Sundarar sang of women".^[60] The lyrical beauty of the original Tamil verses is often untranslatable into English.^[60]

Sisir Kumar Das regards this poem by Sambandar as exemplifying the structural and thematic distinctiveness of bhakti poetry:^[61]

In the temple where he is throned, who bids us not lose heart
In the hour when our senses grow confused, the way grows dim,
Our wisdom fails, and mucus chokes our struggling breath,
In Tiruvaiyar, where the girls dance around, and the drumbeats sound,
The monkeys fear the rain, run up the trees, and scan the clouds.
– Sambandar

Appar's poems are emotional, very personal form of Shiva worship.^[60] The metaphors used in the poems have deep agrarian influence that is considered one of the striking chords for common people to get accustomed to the verse.^[62] The quote below is a popular song of Appar glorifying Shiva in simple diction:^[61]

Like Sambandar, there is a call for self-independence, militancy or pressing for one's rights, without fearing anyone in Appar compositions:

To none are we subject! Death we do not fear!
We do not grieve in hell.
No tremblings know we, and no illnesses.
It's joy for us, joy day by day, for we are His.
Forever His, His; who does reign, our Sankara, in bliss.
– Appar (Translator: Zvelebil)

Sundarar's hymns had a touch of humour. In one of the verses, he playfully draws an analogy between Shiva and himself, both having two wives and the needs of nagging wives:^[63]

Thou art half woman. Thyself
Ganga is in thy long hair,
Full well canst thou comprehend
Burden of woman so fair
– Sundarar

Early Shaiva Siddhanta

The hymns provide a window into the types of Shiva temples in the 7th century CE, artwork and the iconography prevalent then. They confirm that the iconography of Nataraja – the dancing form of Shiva, and the Shiva linga, were already well established by the time of Sambandar, complementing each other in large Shiva temples. These hymns also provide evidence of the Shaiva poet-saints cherishing the Vedic heritage.^[64]

His house is resplendent with five walls,
with gleaming gopuras in each direction to the number of the Vedas,
with five halls, which are the sheaths of the Brahman,
food and the others with the holy waters,
and with the shrines of the Blessed Mulasthana,
Devi, Visnu, Elephant-faced Vinayaka and Skanda,
Him who constantly performs His dance, there is Sheath of Bliss,
Whose foot is curved, I worship.
– Sambandar (Translator: Smith)

The Tevaram hymns celebrate charitable giving (danam), food to pilgrims (anna), devotional singing at temples. The inscriptions found in stone temples of Shiva over the centuries, confirm that this became a lasting historic practice by at least the 8th century CE. For example, states Dorai Rangaswamy, theNandivarman II (Pallavamalla) inscription of the 8th century confirms Tevaram hymns singing at a Shiva temple. Another inscription attributed to Vijayanandi Vikramavarma from the 9th century makes provision for singers of Patiyams in the temple.^[65] Similarly, two 10th-century donor inscription of Uttama Cola, who preceded Rajaraja, mentions Shaiva hymn singers.^{[66][note 6]}

Pilgrimage sites

The Tevaram hymns incorporate names of Shiva temple pilgrimage sites. The poems also involved glorifying the feat of Shiva in the particular location.^[68] These hymns helped create a sacred geography of Tamil Shaivism, interconnecting this regional Shaiva community within and to the broader Shaivism across the Indian subcontinent.^[69][70] The poems do not represent social space as a contested space, rather they were spaces for sharing of religious ideas, movement and social service to pilgrims. According to Prentiss, the hymns show that the hymnists were free to wander and to offer their praise of Shiva.^[71] The emotional intensity of the hymns represent spontaneous expression of thought as an emotional responses to God.^[71]

ThePaadal Petra Sthalams are 275 temples that are revered in the verses ofTevaram and are amongst the greatestShiva temples of the continent, while theVaippu Sthalam are places that are mentioned casually in the hymns.^[72] The focus of the hymns suggestsdarshan (seeing and being seen by God) within thepuja (worship) offering.^[71] Both human structures and natural places find a mention inTevaram: in addition to temples, the hymnists make classificatory lists of places likekatu (forest),turai (port or refuge),kulam (water tank) andkalam (field).^[71]

Raja Raja Chola I (985-1013 CE) embarked on a mission to recover the hymns after hearing short excerpts ofTevaram in his court.^[73] He sought the help of Nambi Andar Nambi, who was a priest in a temple.^[74][7] It is believed that by divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten by white ants in a chamber inside the second precinct of theChidambaram Nataraja temple.^[7][73] Thebrahmanas (Dikshitars) in the temple opposed the mission, but Rajaraja intervened by consecrating the images of the saints through the streets of Chidambaram.^[73][75] Rajaraja thus became known asTirumurai Kanda Cholan meaning "one who saved theTirumurai".^[75] Thus far Shiva temples only had images of god forms, but after the advent of Rajaraja, the images of the Nayanar saints were also placed inside the temple.^[75]

Nambi arranged the hymns of three saints Sambandar, Appar and Sundarar as the first seven books,Manikkavacakar'sTirukovayar andTiruvacakam as the eighth book, the 28 hymns of nine other saints as the ninth book, theTirumandiram ofTirumular as the tenth book, and 40 hymns by 12 other saints,Tirutotanar Tiruvanthathi–the sacredanthathi of the labours of the 63 Nayanar saints–and Nambi's own hymns as the eleventh book.^[76] The first seven books were later called asTevaram, and the whole Shaiva canon, which came to includeSekkizhar'sPeriya Puranam (1135 CE) as the twelfth volume, is wholly known asTirumurai, "the holy book". Thus Shaiva literature which covers about 600 years of religious, philosophical and literary development.^[76]

Nambi was also involved in setting musical modes forTevaram.^[77] He accomplished this by visiting the native village ofTiru Nilakanta Yazhpanar, where he met a woman of theTamil Panar caste who learned the mode of divine revelation. She returned to Chidambaram with Nambi, where she sang and danced for Shiva.^[77]

In 1918, 11 more songs were found engraved in stone temple in Tiruvidavayil in a village close toNannilam, and it was the first instance found whereTevaram verses were found in inscriptions.^[78]

Tevaram was one of the sole reasons for converting Vedic ritual to Agamicpuja followed in Shiva temples.^[79] Though these two systems are overlapping, theAgamic tradition ensures the perpetuation of the Vedic religion's emphasis on the efficacy of ritual as per Davis.^[79]

The earliest singers ofTevaram hymns were referred to aspidarars, and were among theTirupadiyam Vinnapam Seyvar thatNandivarman III provided for in Tiruvallam Bilavaneswara temple records dating from the 8th century.^[80][75] A few earlier records also give details about the gifts rendered to the singers ofTevaram fromParantaka I.^[75]Rajaraja deputed 48pidarars and made liberal provisions for their maintenance and successors.^[75] A record belonging toRajendra I mentionsTevaranayakan, the supervisor ofTevaram and shows the institutionalisation ofTevaram with the establishment of a department.^{[75][failed verification]} There are records fromKulothunga Chola III from Nallanyanar temple in South Arcot indicating singing ofTiruvempavai andTiruvalam of Manikkavacakar during special occasion in the temple.^[75] From the 13th century, the texts were passed on to theodhuvars by theadheenams and there was no more control by the kings or thebrahmanas.^[16] Theodhuvars were from thevellala community and were trained in ritual singing inTevaram schools.^[16]

Today,odhuvars,sthanikars, orkattalaiyars offer musical programmes in Shiva temples of Tamil Nadu by singingTevaram after the daily rituals.^[81] These are usually carried out as a chorus programme soon after the divine offering. The singing ofTevaram is followed by musicals from the music pillars in such temples likeMadurai Meenakshi Amman Temple,Nellaiappar Temple andThanumalayan Temple.^[82]

Periya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of theTirumurai, primarily had references only toTevaram and subsequently expanded to 12 parts.^[83] One of the first anthologies of Sambandar, Appar, and Sundarar's hymns, theTevara Arulmuraitirattu, is linked to TamilShaiva Siddhantha philosophy by grouping ninety-nine verses into 10 categories.^[83] The category headings are God, soul, bond, grace, guru, methodology, enlightenment, bliss, mantra and liberation–corresponding toUmapathi Shivachariyar's workTiruvarutpayan.^[84]Tirumurai Kanda Puranam is another anthology forTirumurai as a whole, but primarily focuses onTevaram. It is the first of the works to refer the collection of volumes asTirumurai.^[84]

• "Karnatak music".Encyclopædia Britannica. 1 April 2020.
• Orr, Leslie C. (2010)."Cholas, Pandyas, and 'Imperial Temple Culture' in Medieval Tamilnadu"(PDF). In Ray, Himanshu Prabha (ed.).Archeology and Text: The Temple in South Asia. Shivdasani Conference 2007, 20–21 October. Oxford: Oxford University Press. pp. 85–106.
• Shulman, David Dean (1990).Songs of the Harsh Devotee: The Tēvāram of Cuntaramūrttināyan̲ār. Philadelphia: Dept. of South Asia Regional Studies, University of Pennsylvania.ISBN 9780936115078.OCLC 21227471.

• The Authenticity of Sthala Puranas, an excerpt ofJagadguru Shri Chandrasekharendra Saraswati Swamigal'sHindu Dharma translated into English
• DigitalTevaram, byFrench Institute of Pondicherry, contains an English translation of the entireTevaram
• Project Madurai, a repository of ancient Tamil literature in PDFs
• Tevaram songs, audio files of hymns available at Shaivam.org
• Thevaaram.org,Dharmapuram Adheenam's web site giving the transliteration & translation of theTirumurai

• Tamil-language literature
• Tamil music
• Texts related to Nayanar saints
• Tamil Hindu literature

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