This warm and hospitable, traditional and tranquil and ever fascinating land, is the home of very ancient art and culture.
The most delicious south Indian food, the feast of Carnatic music, traditional dance Bharatha Natiyam, will linger long in the memory of the visitor.
What is in a Name?
This name Thiruvannamalai derives from the word mountain, Annamalai. Malai in Tamil means hill or mountain. This town is also called Arunachala in Sanskrit. Arunachala means 'the unchanging light or dawn'.
Arunachala Puranam:
Shiva has long been identified with Agni- the fire; in the Puranas Shiva appears as a column of fire before before which Brahama and Vishnu must admit defeat, a modified version of the ancient theme of the Kenopanishad, in which Brahman manifests as the supreme divinity before whom Agni and Vayu must bow. Because of this long tradition linking Shiva with fire, and of the five lingas of the elements ( earth at Kanchipuram, water at Tiruvannaikoil, ether at Chidambaram, air at Kalahasti), the fire linga at Thiruvannamalai and it is the religious and geographical symbolism of Tamil Nadu.
History of Thiruvannamalai
The history of this town dates from the early Chola period i.e. the period of Aditya I and Parantaka I (A.D. 871-955) when the Chola empire had expanded northwards to include practically the wholes of Tondaimandalam. After Parantaka I till the reign of Rajendra I, Chola rule over this region is not attested by the Thiruvannamalai inscriptions, possibly on account of the Rashtrakuta invasions and occupation of this area by Krishna III. This is perhaps indicated by a single inscription of Kannaradeva (Krishna III) found in this temple. (475;63). the recovery of this region by the Cholas Was a slow process and reached its successful conclusion only towards the close of Rajaraja I's region i.e. AD 1014, for even Rajaraja is conspicuously absent in the inscriptions of Thiruvannamalai.
While the rule of Rajeddra I and Rajadhiraja I over this area is attested by their inscriptions, once again a fairly long gap of over a hundred years is indicated by the absence of any Chola inscriptions till the beginning of Kulottunga III's region (AD 1183)
Large scales activities in the period of Kulottunga III and Rajaraja III are indicated by a number of records in the temple. Further, the frequent references to a number of Chola feudatories of this period would also show a gradual ascendancy in their power and importance till the final establishment of independence by the Kadavaraya chieftains in the second quarter of the 13th century A.D. In this connection mention may be made of an interesting inscription at Thiruvannamalai, which records the agreement entered into by a number of feudatory chieftains to support one another and swearing allegiance to the ruling Chola king (Kulottunga III-A.D. 1210), pointing to a period of great political tension under the late Cholas. (516;106).
The inscriptions of Kopperunjinga clearly show that by the second quarter of the 13th century, the Kadavarayas had established complete mastery over this region leading to the final decline of Chola power.
A brief period of Pandya supremacy over this region is indicated by the inscriptions of the Pandyas of the second empire such as Jatavaraman Srivallabha and Tribhuvanachakravartin Kulasekhara in the 13th century AD (481,571 etc; 70,162 ect,).
The Hoysalas under Vira Vallaladeva (Ballala III) also exercised sway over this area (459, 509; 89 and 99 - dated AD 1340) indication that the Hoysala power continued to influence Tamil politics even after the Muslim invasions of Malik kafur.
After the Hoysalas, Thiruvannamalai passed into the hands of the Vijayanagar rulers, whose southern invasions under kampana are well known and led to the establishment of Vijayanagar authority over practically the whole of Tamil Nadu.
Vijayanagar inscriptions in this temple are fairly large in number and range from the period of Harihara II to the late Vijayanagar ruler Venkatapatideva Maharaya i.e. late 14th to the 17 th centuries AD Following them, their Kayak feudatories of Tanner, established their independent sway over this region and under the famous Sevvappa Nayaka, carried out large scale renovation and building activities in the temple.
After Nayak rule, this region seems to have gradually passed into British hands except for a brief period of subordination to the Mysore Odeyars (AD 1816).
Geographical Location:
This town Thiruvannamalai is situated in 187 kilometers away from Chennai, formerly known as Madras- Capital of Tamil Nadu and there is a railway station on the villupuram - Katpadi rail route. This town stands on an elevation of 266ft ( 79.80 M ) above sea level.
Town and Temple
Thiruvannamalai is one of the major sacred places of Tamil Nadu, It is impossible to ignore this because of the great area occupied by the Shiva temple, the many processing, and the frequent festivals, especially that of Karttigai, the festival of fire, which more then doubles the population. This influx of pilgrims is received in cboultries or hostels, most of which are situated in the north and south car-street.
Another aspect of the temple which has determined the physical form of the town was the construction of the fourth and fifth enclosures. This important extension caused the relocation of residences, especially of brahmins (gurukkal priests, or smarta brahmins), who usually live around the temple in the square formed by the four car-streets.
At Thiruvannamalai, the west car-street behind the temple has very few houses because the mountain slopes upward almost immediately. The only gurukkal brahmin residences near the temple are those in the north car-street. As for the east and south streets, which follow the main regional highways, they are quite naturally crowded with shops, and also hostels for pilgrims, who thus benefit from the passing processions. For these reasons the smart Brahmin quarter was located relatively far away the temple, almost at the old town limits, around the Ayyan kulam or India Trite Tank.
Besides occupying a large area, the great temple radiates its influence throughout the whole town due to its connections with outlying tanks. The sacred bath which takes place at the close of each of the numerous temple festivals is performed either in one of the two temple tanks, or in one of the outlying tanks: Indra Tirtha, Tamarai Kulam, Agni Tirtha, and Ishanya Tirtha. The last two of these lie at the two extremities of the circumambulatory route around the mountain; that is, at the outer limits of the town, where the cremation grounds lie. For this reason they are used for ablutions after funerals. In Thiruvannamalai the Shiva temple is omnipresent and all-powerful, so that there is no Vishnu temple. Apart from three abandoned Shiva temples, there are about a hundred temples to the goddess or to Ganapati. These are street shrines or community temples, all of which relate to the great Shiva temple. During their festivals the processions from these proceed through the four car-streets of the great temple. The final bath takes place, depending on the location of the temple, either in the Ishanya Tirtha to the north or in the Agni Tirtha to the south.

Mountain
Tiruvannamalai is above all its mountain, which symbolizes the pillar of fire from which Siva emerged. This myth has given rise to two iconographic representations. One of them is well-known: the elingodbhavamurti - Vishnu in the attitude of Worshippers. The other is a later development, specific to Tiruvannamalai, where Siva and Parvati are figured on a stele covered with semi-circular incisions to represent the mountain; the rear face of this stele is a linga, which is visible from the rear miche of the sanctuary. This representation is known locally as adi mudi, the high and the low, after the same words in poems by Sambandar and Sundarar, referring to the directions in which Brahma and Visnu sought the extremities of the pillar of fire.
The mountain itself, a cone standing alone in the midst of the plain, appears on the boundary-slabs of lands dedicated to the Deity of Tiruvannamalai, in the form of a triangle covered with semi-circular incisions, set either above the dynastic emblem of gandabherunda the two-deaded bird, or above the vase of plenty.
The mountain symbolically defines different spaces. It is the wild, uncultivated place (Tamil: Kadu) as opposed to the cultivated area. This contrast is marked in the festival of Tiruvudal, when Siva has his jewels stolen on the mountain in the West, and find them again in the East, in landowners villages on the edge of the town, in the locality where, according to legend, the place of King Ballala used to stand.
At first the opposition between the top and the bottom of the mountain seems to be absent, since there is not, as at certain sites a temple at the bottom for the deity with his consort, and a temple at the top for the deity in his yogic aspect. At Tiruvannamalai the single temple (at the bottom) is identified with the mountain, for which it is the substitute. The opposition is nevertheless marked four times a year by purification ceremonies (prayascitta) for which the priests go up to the summit of the mountain.
First, at the time of the Sivaratri festival, the appearance of the pillar of fire manifests the supremacy of Siva. A few moths later comes the marriage ceremony, the Union of Siva with the Goddess. A few months later again, at the festival of Karttigai, commemorating the appearance of the pillar of fire, there is still, union with the Goddess, as is shown by the procession of the hermaphrodite Siva, Ardhanarisvara. After Karttigai, the fourth and last purification ceremony represents separation from the Goddess and the renewed manifestation of the supremacy of Siva the great Yogi.
Finally, as a symbol of the center, the mountain, like all mystic centers, emanates a apace which is cardinalised in the same way as a mandala. The route of 14 kns around the mountain and centred on its vertical axis, is oriented to the cardinal points by the distriabution of shrines consecrated to the lingas of the directions.
A few Pandya milestones which remain along the route, inscribed with the division to which they belong, have made it possible to reconstruct the division of this circuit into nine stages, each corresponding to one unit of time/distance, the nail (24 minutes), equivalent to 1.4/1.6 kilometers. Besides the shrines of the cardinal points, the pilgrimage route is punctuated by small shrines founded by devoted individuals or groups, herimtages, about sixty sacred ponds, wayside resting places for the deity diuring his tow annual processions, by Nandis, and by footprints (pada) of Siva.
The Mountain's grandeur
The mountain in this Annamalai sthala is full of unequalled grrreatness. In Krita Yuga, the Lord stood in the form of Fire, hence it became the Fire mountain. In Tertha Yuga, it was a mountain of precious gems (Ratna). In Dvapara Yuga it stood in the form of Bronze and now in Kaliyuga it has become a stone hill. This is the substance of runachala Purana.
It is said that while Kailas is a place where Lord Siva resides, this mountain is Siva himself. It is customary to install Nandi in front of Lord Siva. The images of Nandi are found around the hill innumerably. One can see them, while going round the hill.
In the eight cardinal directions, eight Lingas are enshrined in stone edifices, and there is a sacred pool by the side of each. They are named Agni Linga, Yama Linga, Niruti Linga, Vayu Linga, Varuna Linga and Kubera Linga, respectively. Daily worship. Some of them do have a Vimana, Antarala and a Sanctum.
In the eight cardinal directions, eight Lingas are enshrined in stone edifices, and there is a sacred pool by the side of each. They are named Agni Linga, Yama Linga, Niruti Linga, Vayu Linga, Varuna Linga and Kubera Linga, respectively, Daily worship is conducted for some, but many are devoid of any worship. Some of them do have a Vimana, Antarala and a Sanctum.
Circumambulation
One should bath, smear the sarced ash, foot bare, lips muttering the sacred ghymns of this sthala meditaing on Annamalaiyar-this is the ritual for making a circuit of the hill.
When one circumambulates the hill of the Lord who was the Prime cause of a dispute between Brahma and Vishnu who were unable to fathom the beginning or end of Him, it should be borne in mind the Devas and Saints also follow us invisible. Naturally one should have a pure mind and start the circuit form the East.
While thus coming round we see the Indra Lingam at first. Nearby is Indra Tirtha. Next is Agni Lingam with Agni Tirtham closely. Nearby is the Samadhi of Seshadri Swamigal.
Adjacent to this are the Ramana ashram, the places where he sat for penance, the seats he occupied while meditating, are all there.
In the same west street, is the temple of Saint Manickavachaka, whose hymns of Thiruvembavai and 7Thiruvemmanai drip like honeyed nectar into our ears.
Sadasiva Murthi with five faces is enshrined in the north street abutting the hill. Proceeding further we come across Isanya Mutt and Isanya sacred pool. The first seat of Deivasigmani Desika Paramacharay Swamigal, places connected with Guhai Namasivayar, and Guru Namasivayar, Pavazhagiri Nadha and Muttambikai are housed under the slope of the hill.
All round the hill are Lingas, eight Nandis, more that 360 holy tanks, many mandapas and Ashrams.
The mountain rises up with an elevation of 2665 ft. (800 M). The road encircling the hill where devotees circumambulate is 8 1/4 miles (13 kms) long.

Temple
The Shiva Temple is the outcome of a millennium of building, and extension. The original enclosure containing the main shrine its Shiva linga was enlarged eastwards, and gained the name of "second enclosure". What is now known, as the "first enclosure" is in fact the platform around the shrine. This is a theoretical enclosure for ritual purpose, the enclosure being considered as the inner circle of Shiva's divine court, where the sub-shrine of Chandikeshvara (one who maintains accounts), receives the leftovers from Shiva's puja, is located.
The main shrine, made up of a cella and a vestibule, bears tenth-century inscriptions on its base, but above this there has been much remodelling. A square hall in front of the shrine, dating from the
sixteenth century and containing Nandi, the bull, and Surya, the sun-god, is used for the six daily pujas performed in the temple.
The second enclosure, originally without a roof but covered in the nineteenth century, is entered through a gateway know as the Rishi Gopura. Around its perimeter there are several details, either free-standing or in small shrines. First, facing east, comes the temple's second Nandi; then in their obligatory position to the south stand the sixty-three Nayanmars and the seven Mothers. On the west are Ganapati; Somaskanda (group of Shiva, Parvati, and Skanda), a bronze processional image in a small shrine; also in a shrine, Vishnu in the form of Venugopala (Krishna); then Gajalakshmi (goddess of wealth); and last, Subrahmanya with his consorts in a shrine. The south side has in addition to the bronze processional images of the sixty-three Nayanmars, Bhairava (Shiva in his fierce form); the bedchamber of Shiva and his consort; and shrine of a processional bronze Nataraja (dancing Shiva).
Most of these Shrine and images are not original, for rich temples undergo frequent renovations. Thus the original tenth-century Seven Mothers have been replaced by more modern ones; and Jyeshtha, the goddess of misfortune, also an ancient statue, now stands near a shop in the town, ousted from the temple in favour of Gajalakshmi, as has happened in many other temples in Tamil Nadu.
From inscriptions, and from some of its structures-the linga shrines, the pillared hall, and the gateway know as the kili Gopura-the third enclosure can be dated to the twelfth and thirteenth centuries. Together with the buildings and deities of the first and second enclosure, it contains all the fundamental elements enclosures can be considered superfluous from the ritual point of view.
On the east-west axis stands the third Nandi, an altar for offerings, and the mast on which Shiva's flag is raised during the great festivals. The north side is occupied by the shrine of the goddess, on Shiva's left as usual. This shrine was thoroughly renovated in the nineteenth century by the wealthy merchant community of Nattukkottai Chettiars. At the south-eastern corner of the courtyard, the corner of Agni, stand the kitchens where food for the deities is prepared. As usual, in the north-eastern corner stands the sacrificial pavilion used during the thirteenth century onwards, with an opening on each of its four sides as in the Vadic sacrificial pavilions, which were light structures to be burnt after sacrifice was completed.
The modern shrine of Pidari, housing the tenth-century Seven Mothers who originally stood in the second in the second enclosure, is a perfect example of how temple life has changed over the centuries. In fact, when worship of the Seven Mothers declined after the end of the Chloe period, their images were often removed from Shiva temple and installed in small village temples under name of a single deity, padre, who functions as the village, facing north. In this capacity pidari presides over orthodox brahmin temple festivals, giving protection by touring the village before the first day of the festival. The unusual feature at Tiruvannamalai is that pidari is found within the great temple itself, and that new images of the Seven Mothers have been provided for the second enclosure at a later date.
Although construction of the fourth and fifth enclosures and their buildings extended over two hundred years, from the fourteenth to the sixteenth centuries, the asymmetrical placing of the gateway on all four sides of the fourth enclosure indicates that a fifth enclosure was planned from the outset. The Brahma Tirtha Tank, originally outside the temple precincts, as is often the case, was included in the fourth enclosure where two pillared halls were erected on the West Side, as well as one the east, the Puravi Mandapa. Here too are fourth Nandi, and several shrines with lingas. The eastern gateway, the Vallala Gopura, contains within its passage a niche holding a statue of king Ballala which is worshipped twice a year, in commemoration of his and of Shiva's coronation as king.
The fifth enclosure is pierced with four gateways are much then those of the inner enclosures; this composition, of a series of gateways which eleventh century with two gateways at Thanjavur, become a rule for all temples with several enclosures. The two main elements in the fifth courtyard at Tiruvannamalai are the huge thousand-pillared hall and, opposite to it, a tank surrounded by a colonnade, the Shivaganga. Like the courtyards, this one too has its Nandi facing the main shrine.
The other structures here are the results of spontaneous devotion on the part of worshippers, rather then the outcome of deliberate planning determined by ritual requirements. Thus, Gopurattu Ilaiyanar (Subrahmanya of the gateway) is housed in a shrine built around the statue of Subrahmanya in a niche in the eastern face of the Kambattu Ilaiyanar (Subrahmanya of the pillar): the image of Subrahmanya on
one pillar of small pillared hall become the object of such devotion that an imposing shrine was built to shelter the pillar-deity and priests who officiate there. In isolated of Ganapati in the temple gardens, and built a shrine for it in resent years.
The Structure of the Shrine
Saint Sivaprakasa Swamigal in his Thiruveedhi ula has called this temple a poem wrought by seers. Our ancients have sung shrines in be friutful terms and in accordance with silpa canons.
Of the great temples of TamilNadu, Annamalaiar temple is one, it is spread over an extent of 24 acres.
Like all othe temples, this Annamaliar temple too has a Sanctum, Maha mandapa,Corridors, and walls of enclosure.
This temple further has sports pavilions, several circumambulatory passages, subsidiary shrines, Thousand pillared mandapam, Hundred pillared mandapam, Sacred tanks, Gopuras etc..
As renovations occured during several periods, the old structure has been changed a little, yet, the Sanctum retains the old pattern. It must have been a granite structure in old periods. This is corroborated by inscriptions. The 'Kodungai' or the roof edge is formed of Yali friezes and the Vimana is of mortar.
There are six enclosures in this temple:
The number of Gopurams are 9 in all. Of these, four are in the midst of the walls.
Raja gopuram is the name,by which the big tower in the east is called. It has 11 tiers, with a width of 135 ft by 98 ft at the base. The Tanjore Big temple erected by the Chola monarch Raja Raja chola soars 216 ft high. Just to compare and rival that height, one more foot has been added to the elevation of this temple making it 217 ft. And this tower provides the main entrance to the temple.
Ammani ammal gopuram, Thirumanjana gopuram and Pey Gopuram are the names of the north, south and west towers respectively.
As its name erroneously indicates. There is neither pey(ghost)nor devil in it. In olden times, Tamil scholars with literary aspirations
have named this tower as mel gopuram(western tower). But as years passed this name got corrupted into pey gopuram.
The first and second enclosures with their enclosing walls are the oldest. The third enclosure was erected by Kulottunga as evidenced by the epigraphs was erected by Kulottunga as evidenced by the epigraphs in killi gopuram.
The fourth enclosure, the wall abutting it, the fifth enclosure, the thousand pillared hall the Big Nandi, the Sivaganga Tank, the wall enclosing huge structures and the to we, all belong to the 16th century.
The outer Enclosure
The outermost corridor called the outer enclosure has a granite wall. It is not only very high, wide and strong but also links the entrance gopurams.
The massive wall is about 30 ft high. At some places in this wall, portrait images of kings are seen. The inscriptions found in this wall are disjointed and broken.
The Thousand Pillard Hall
On entering the temple through the East tower the big structure one faces in the right is the Thousand pillared Hall. There are indications that it was built by Krishna Deva Raya.
This basement of this mandapa is adornmed with the designs of girls playing Kolattam, warrior's sports etc.
The Mandapam is used for the Deities to be seated for ablutions and worship on Ani Thirumanjanam, and day of Thiruvathirai.
Kambathu Ilayanar
The sannadhi of kambatthu Illayanar is located opposite the Thousand Pillared Hall closely connected with the life of arunagirinadar. This mandapa exhibits the image of Muruga in a pillar in the north.
Puranas proclaim that Muruga gave darshan to Prouda Deva Raja in response to a song of Arunagiri Nadtha.
The Tank - Sivaganga
The sacred pool, Sivaganga, is to the south of the Kambathu Ilayanar mandapam with enclosed corridor. This tank is used for sacred ablutions to the Deities in the temple. The tank, with steps all round present a panoramic view.
Inscriptions reveal that water to this tank was provided by digging a canal called Thirumalai Amman Devi Samudram.
The shrine of Sarvasiddhi Vinayagar
This shrine is in the northern bank of the tank. Sivagangai Vinayagar is another name by which this Vinayagar is known. He is in a seated posture.
The Mandapa encircling the sanctum are filled with various images of the later Naik periods in the roof.
The Big Nandi
Passing scross the Sivaganga Tank, and Vinayaga shrine, we accost the beautiful Mandapa with a big Nandi, the Bull 6 ft long which was erected by Vallala Maharaja.
Ilayanar Koil of the Gopura
The Gopura Ilayanar koil is opposite the Nandi mandapa. It is built in the outer courtyard of the north enclosure.
It is in this place that Lord Muruga gave darshan and belssed the poet Arunagiri. In the sannadhi is God Muruga with his two spouses. There is also a copper image of Arunagiri here. The Mandapa too, is near by and this fact has been expressed by Arunagiri in one of his songs.
The Sannadhi of Kalyana Sundarar
To the south of the Gopura is situated the shrine of Kalyana Sundrar. In this shrine are the Linga, the Devi and the Nandi. In front of the sanctum is a marriage mandapam linked and in this mandapa devotees perform marriages.
Kala Bairava
The Kala Bairava shrine is located in the north enclosure attached to the south wall of the tower of Vallala Maharajah. The Kala Bairava presents a terrific appearance in a standing pose with a halo round his head.
Possessed of eight arms, armed with Udukkai, Kapla, Sword, Shield, Parrot, Bell and Sula spreading his legs He stands. A halo of lamps encircle his head, and tongues of Fire shoot out from that halo. Protruding teeth, anklets, and thir eye complete His appearance.
Brahma Tirtha
This sacred pool with beautiful steps is in front of the Bairavar temple. In this tank too, the sacred ablutions of the Deities are performed.
Puravi Mandapam
The roof of this mandapa exhibit paintings of the Naik period. Most of the murals are in black pigment. The scene of churing the milk ocean are painted in series.
Thirai Konda Vinayagar
Yanai Thirai Konda Vinayaga temple is in the south of the steps of Kili gopura. This Vinayaga shrine has been exquisitely wrought. This God, Vinayaga threatened a King with evil propensities, in dream. The king naturally frightened paid a ransom of several elephants. Hence this Vinayaga came to be known as Yanai Thirai Konda Vinayagar(the Vinayaga who got ransom of elephants).
This shrine is to the right of Kili gopura and to the left is Pichai Ilayanar Sannadhi.
Subsidiary shrines
Next to the Puravi Mandapa is a small Nandi. To the south are Brahmalingam (Mukalinga), Vidyadareswarar, Vinayagar, Naleswarer respectively.
In the shrine of Naleswarar, images of Durgai in exquisite form are in ghosta.

Third Enclosure
On passing through the Kiligopura one accosts the Katchi mandapa first. This mandapa has 16 pillars. It is from this Mandapa, that the Pancha Murthis (five Deities) give darshan on the day of Kartigai. Ardanariswarar too gives darshan from this place. Exactly in front are Bali Peeta, Nandi, and Flag-staff. This is the Third enclosure.
To the south of this Prakara is the place where food is prepared for the Lord. In the north mandapa is the Office for administering temple affairs. To the east and west of this mandapa i.e. at the north end of the kiligopura are Chidambresvarar, Jambukesvarer, Ekambaresvarer, and Pidari shrines.
Pidari
The images of the Sapta mathas chiseled in separate stones, are in the shrine which faces north. Inside, Nidambasudani gives darshan with 8 arms.
In a stone here only the head of Renuka Devi is seen. It is about 2.5 ft. high. (75 cms). It is a beautiful image. The nose is slightly damaged.
In the administrative office, the room for Yagasalai and the sanctum of Kalathiswara to the right are located. The Sacred Bull in the Sannadthi of Kalathiswara is very long and have short horns.
To the south-west in this Prakara is the Thiru Kalyana Mandapam (Marriage Hall). Formed in Vijayanagara art, the pillars have been smoothly polished in subsequent times. This Mandapa is of exquisite beauty. Within this Mandapa is the Bhimeswar Linga and a dais in front. Several paintings of charm adorn this mandapa.
Patala Linga
Ramanda Maharishi stayed in the cave for several year and did penance. Gifted by Tarapore, it was opened by Rajaji.

Sambanda Vinayagar
Sambanda Vinayagar's shrine is located to the north of the Flag staff and Bali peeta. To the south is Palani Andavar.
Sambanda Vinayaga looks crimson smeared with saffron. Of huge size he is in a sitting pose. It is related that this Vinayaga killed a Asura and smeared the body with his blood. And inscription Saka 1262 (1340 A.D) of the reign of Vira Ballala Diva is found here. From this epigraph we learn that one Sambundandar lived in Thiruvannamali. He was also the head of A Mutt. Because this sanndthi was erected by him, it got the name Sambanda Vinayagar.
Second Enclosrue
While circumbulating this prakara on a raised platform can be seen Sanakesvarer, Sanantanesvarar, Sanatkumarar, Kowsikesvarar, Kutcharisvarar, Valmikiswarar, Vamarishisvarar, Agnilinga, Vignesvarar, Visvanadar, Naradesvarar, Kasilingam, Vaisambadanesvarar and sixty three Nayanmars like Sundarar etc. Thumbureswarar also is here.
Adjoining it are Sapta Mathas chiselled in stone. Goutamar (2 ft) and Durvasa (4 ft) are here in a standing pose.
In the West row, are the festival idols of Somaskanda, Venugopla sannadthi and sanctum of Arumuga. To the left are several Lingas. In the north now are the Bhiksadanar, Shanmugar, festival idols of 63 Nayanmars etc.
Kalasankara
The image of Kalasankara 3 ft high arme with Mazhu, Pasa, Sula and Kapala is in the act of killing Yama. This is a very beautiful image.
Bairava
The image of Bhairava of 3 1/2 high (105 cms) is armed with Udukkai, Pasa, Sula and Kapala, The image of Dog is nearby. The fire halo and a necklace are his ornaments.
Sthala Vinayaga
The sanctum of this Vinayaga is in the S.W. corner of the southern end in the west of the second prakara. This was erected by Sembiam Ma Devi wife of Kandaradita Chola.
First Prakara
Glass Lights, pendant Lamps and kuthu Villakku adorn the first and second paraka.
Dakshinamurthi
Dakshinamurthi is enshrined in the ghosta of the sanctum in the first Prakara. This deity is decked with Snake, Fire, Rosary and Book and is in a seated pose. Beneath him are the Muyalakan and the four Sages.
Lingodbavar
Lingodbava is seen with Vishnu in the form of a Boar digging the earth and Brahma as a Swan. Usually the Swan will be seen only in a flying pose. But here, peculiarly it is found seated on His head.
Brahma
Brahma with Rosary, Kamandala in two hands and bestowing Abaya by the other hand is seen standing.
Durga
Durga Devi is standing on the head of a buffalo, Abaya and Katyavilambita are the poses featured by Her hands.

Chandikesvarar
As is found in all other temples Chandikesvara is present in a separate shrine.
Friezes of Buta (Ganas)
The Ganas found in th eVimana are seen some supporting the structure, some playing the flute, some drumming, some dancing, some clapping etc.
Dvarapalakas
The two Dvarapalakas in the first Prakara is 10ft high (3 M). He is adorned with Jata Makuda, Mazhu, Danda, and displays Tharjani, Mudra, leaning on the Danda, The Dvarapalaka on the left has a snake.
The Dvarapalakas in the Sanctum has only 2 hands Holding a snake in his hand, he has a Gadtha and exhibits Tarjani Mudra.
Sanctum
The sactum of the sacred Annamalaiyar is reached by the main entrance in the east. Within the sanctum annamalaiyar, personified, is present in Linga form While the Avudiyar is round, the Rudra baga is covered with gold plate.
None but the initiated Sivachariars could touch the Linga. Nearby is the Meru chakar - the Bed room idol and a bronze idol of Yoga Sakti Amman.
Unnamulai Amman
The Devi Shrine is a separate structure, Opposite this shrine is a big mandapa. Besides these are the Flag staff Nandi and Navagrahas. The Dvarapalakas are armed with Gadha, exhibit Tarjani mudra and has a Crown.
The entire Devi shrine has been renovated last century by Nagarattars and display later day architecture. In the prakara around this sanctum the festival idol of Vinayaga Somalinga, Cheralingam, Brahmi, and Durga are housed.
All round the sanctum and in Antarata are five Sakti Ammans in ghostas, each image is 1 1/2 ft tall.
In the sanctum is enshrined Unnamulai Amman, 3 ft (90 cms) tall, radiating peace. The Mandapa outside the sanctum has beautiful pillars worked with exquisite art. Because of Ashta-Lakshmis here, Mandapa is known as the Ashta Laxmi Mandapam.