Periya Puranam is the poetic portrayal of those who exemplified devotion to Siva. Periya Puranam describes the lives of 63 Tamil saints known as Nāyanmārs. It is a saga of devotion, dedication and detachment. Great sages and even ordinary devotees were inspired by the dispassion and discipline shown by Nayanmars. According to Sekkizhar, the author of Periya Puranam, the highest aim of a devotee is not a seat in heaven, not even liberation (Mukti), but admission to the galaxy of devotees. He held the view that admission to the galaxy of devotees itself was liberation. When King Kulothunga Chozha requested Sekkizhar to compose the works of Siva devotees he wondered how he could portray truthfully such a magnificent account. He then meditated on Śiva and solicited His blessings. Then he heard a voice from space that sounded: “Ulagelām” (all over the universe). Sekkizhar got the signal and composed the first song with the word Ulagelām. Taking inspiration from the works of Sri Sundaramurthi Swamigal (Tiruttoṇḍar Thogai) and Sri Nambi Andar Nambi (Tiruttoṇḍar Tiruvantādi], Sekkizhar completed his devotional work. The ‘Puranam’ covered a period of 700 years and comprised over 4,253 songs. The songs composed by Tirujñāna Sambandhar, Appar and Sundarar are known as the Tevaram, those by Mānikkavacakar known as the Tiruvachakam and those by Tirumular as the Tirumandiram. Some songs hailed the glory of God and His qualities of love and compassion while some extolled the importance of the Five Letter Mantra (Pancākṣara, Om Namaḥ Śivāya)
Since service to Śiva and to Śiva devotees was their aim, Sekkizhar addressed them as ‘Servitors’ (toṇḍar). Perhaps never before had devotion, literature, history and poetry blended as beautifully as in the Periya Puranam. Sekkizhar also explained the qualities of a servitor. Though they came from all castes, classes, professions and both sexes, they were all united in their devotion towards Śiva. They expressed their devotion in different ways; by being a companion to God (Sundarar), by being the son of God (Tirujñāna Sambandhar), by being God’s servant (Appar) and by being a cowherd (Tirumūlar). The sacred ash was smeared over their foreheads and the chains of Rudrākṣa beads adorned their necks. They did not find joy in wealth or sorrow in poverty. They had no other aim in life than serving God. They were engaged in their duties and yet they remained unattached to the results of their actions. They remained ever contented and made total surrender to God. They held the view that the world of form and images was a mere illusion and they could attain eternal bliss and immortality only by reaching Śiva.
Tirujñāna Sambandhar, the son of Bhagavati Ammal and Śivapada Hridayar, born at Sirkazhi, near Chidambaram, is one among the 63 saints (Nāyanmārs). As his name suggests, he was an embodiment of jñāna (highest wisdom). His aim was to extol Saiva Siddhantam, the doctrine of disciplined and dispassionate Śiva worship. Sambandhar was one among the few who attained realization by means of devotion and surrender.
Sambandhar was only three years old when his parents carried him to the temple at Sirkazhi. After leaving the child at the steps, the parents went away to the tank for bath. Finding himself alone, the little child started crying. It is said, none other than Goddess Parvati came, consoled the child and fed her milk to him. When his father returned and saw the little boy smiling with streaks of milk around his lips, he wanted to know what had happened. The little boy gave reply by way of a song in a babbling way. It soon became evident that the boy had been fed not ordinary mother’s milk but the milk of wisdom (jñānappāl).
At the age of three, when children are not even able to speak or walk properly, Sambandar started visiting temples and singing songs in praise of the Lord. While addressing Lord Śiva, the Ardhanareeswara (Śiva as Half-Woman), he saw the earring on the left side of Śiva’s body, which belonged to Parvati. Sambandar then composed a song describing Śiva as one who wears an ear- ring: “He whose ear is adorned by the [ear] ring and who rides the bull, whose head is adorned with the crescent moon, whose body is smeared with white-ash from the cremation ground, he who has stolen my heart, who has his abode at Brahmapuram, I worship the Lord of such magnificence,” he said in his song “Thodudaya Sivan. Sambandar set out on his pilgrimage to different places. On reaching Tiru Araiyanainallur, he composed songs on Arunachala and his consort Unnamulaiyar and prayed for guidance on how to reach Arunachalam. Exactly then an old man appeared there to guide him. After they walked together for some distance and came near Tiruvannamalai, when the young sage looked back, he could not see the old man. However, Jñāna Sambandar and his team continued walking and easily reached their destination, the abode of Arunachala. The very sight of the Hill moved Sambandar immensely. He rolled on the ground in devotion and shed tears while reciting the names of Arunachala. “The Hill fascinates my heart,” he said. He described Arunachala Hill as the manifestation of Eternal Reality, the Brahman.
Among the four Saivite Servitors (nālvar) in the forefront, Tirunāvukkarasar (king of the sacred tongue), also known as Appar, was one. His voluminous works known as Kurunthogai and Tiruthānḍakam, are unique for their devotional and literary appeal. “My duty is to remain always in service,” Appar used to say. While other devotees used to worship the deity and return, Appar would look around; attend to some work like helping the priest, cleaning the precincts and giving some help to the needy. Appar says: “True worship is performed when you shed loving tears before God and repent for your mistakes. Worship should be made with unshakeable faith and humility. There should be eagerness in correcting one’s weaknesses and Vāsanās. One should cultivate the qualities of love, humility and devotion to be able to reach God. As you continue to worship God-with form, gradually you will experience the formless God within you. Once you experience God within, you will enjoy Him as directly as you enjoy a fruit.” Appar said.
Appar was the contemporary of Sambhandar. Sambhandar was also continuing his pilgrimage, seated on the palanquin and when he reached Tirukkadavur, he remembered Appar, who belonged to this region. For long he was aspiring to see Appar, who was an embodiment of devotion. Having learnt that Appar was residing at a place called Tiruppūnturutti, Sambandhar proceeded in that direction. On reaching the town, he asked one of the carriers of palanquin to enquire and find out where Appar’s residence was. Then he heard a voice from below: “I am here. Because I have done great Tapas earlier, I got the privilege of being a carrier of your palanquin.” Appar spoke while holding the pole that formed the base of the palanquin. Apparently, when Appar had seen the palanquin approaching Tiruppūnturutti, he went towards it and asked one of the bearers to leave and took over the sacred task of carrying the palanquin on his shoulder. The moment Sambandar heard Appar speak, he got down, prostrated before him and said that it was not proper for Appar to do this. Appar said that it was his privilege and honour.
While Appar was leading the pilgrimage and Sambandar was following, an event happened that revealed the divine relation between the two. They reached a place called Tirumaṟaikkāḍu (today’s Vedāraṇyam). They were surprised to see that the main doors leading to the sanctum sanctorum of the temple were closed. They learned that ever since the practice of reciting Vedic hymns was discontinued, the doors here got shut. Devotees had to use a side door to enter for worship. When Sambandar suggested that Appar should pray for the opening of the main doors, Appar started singing, with the opening lines “Paṇṇiner Mozhiyāḷ………..Tiṇṇamāgat Tiṟandaruḷ.” He continued with his songs of prayer for hours together and at last the doors were opened. Then Appar requested Jnana Sambhandar to sing a song of prayer for the closure of the doors, so that doors can be opened and closed daily without hindrance. As Jnana Sambandar started rendering a Pathigam (poem of ten stanzas in praise of a deity) starting with “Chathuram Maṟaitān thuthi seithu Vaṇaṅgum,” the response was immediate and doors were closed. However, he continued singing. Later, while resting, Appar expressed his feelings to Sambandar. “Only when I rendered the songs continuously for hours together, the doors were opened whereas the moment you started singing for closure, the doors were closed. I think my devotion is not full-fledged. In all humility, Sambhandar said “While you were singing, the doors were not opened because God was enjoying your song which means your devotion is complete and pure. Perhaps when I started singing, God felt it was enough which means my devotion is not complete.”
Sundaramurthi Nayanar: The word ‘Sundar’ means beauty. True to his name, he was an embodiment of beauty. He wanted to highlight the beauty of the heart of Siva devotees. He then weaved a beautiful garland ‘Thiru Thonda Thokai’ and adored them. While describing the beauty of Lord Siva, he added beauty to the Tamil literature by composing excellent verses. Not many could get the privilege of having Siva as companion as he had. Though born on earth, his real home was Kailash. While others on land aspired to go to Kailash, he descended from Kailash to reach the sacred land and serve. He was Sundaramurthi Nayanar who was privileged to have Siva as friend, guide and philosopher.
Known as Nambiaroorar, he was not only handsome but also brilliant. As he attained marriageable age, his parents looked for a good alliance and finalized his marriage with the daughter of Puthur Sivacharyar. The stage was set for the sacred occasion. While Pundits were chanting mantras and invitees waiting to witness the event, the auspicious moment of tying the nuptial knot came. Then a saint appeared from nowhere in particular and said that the wedding could not go on. He said Nambiaroorar being his servant cannot enter into marriage without his consent. He clarified that the ancestors of Nambiaroorar who were in the service of his forefathers, had pledged their service for generations and he even produced some documentary evidence. Though Nambiaroorar described this saint as lunatic, (Pithan), he was persuaded to accompany the saint to the village Tiruvennainallur to which he belonged. There the saint, who was none other than Siva, said: “I have come to remind you of your real mission. Sing songs hailing the glory of Mine”. Nambiaroorar said having forgotten, he has now realized his identity and asked: “How can I begin my song?” “You called me ‘Pitha”. Start your songs with this word.” Then Sundarar, as he was known, poured out his devotion: “Oh crazy Lord, the embodiment of compassion, who wears the image of moon on his locks of thick air, you ever remain in my heart”. That marked the beginning of many compositions Sundarar composed on Siva. The ‘Thiruth-thondar-thogai’ which he composed hailed all those doing service to Lord Siva in different ways.
Vasana means latent tendency, inclination or attachment towards a particular object which is normally carried from previous birth. The impression of the mind known as Vasana may be good or bad. However, a person can attain his spiritual goal only if he becomes free from Vasana. By virtue of his Vasana, Sundarar was attracted by the feminine charm but his devotion towards Siva was overwhelming and he succeeded in focusing his mind to Siva alone. In the struggle between Vasana and devotion, the devotion won and the path towards Siva became free.
Cheraman Peruman, the king of the neighbouring Chera region was a true devotee of Siva. The time he spent on devotion was more than the time he spent on administration. Having heard about the divine qualities of Sundarar, he came to Tiruvarur, met the saint, stayed with him for few days and even became friends. Travelling together they visited many temples. Once, while worshipping Lord Siva, Sundarar heard the divine call of Siva. The Lord had sent Airavatha (white elephant) for the transport of Sundarar to Kailash. While mounting the elephant, Sundarar composed a song marking his departure from the world of attachment. On arriving at Kailash, he was warmly received. Cheraman came to know this by intuition and decided to join his friend. As he mounted his horse and uttered the name of Siva in its ears, the horse galloped and reached Kailash. He told the gate keepers that Sundarar was his Guru and he wanted to follow him. He then rendered ‘Thiru Adhi Ula’ in the presence of Lord Siva. By virtue of being the disciple of Sundarar, Cheraman too got the privilege of liberation. Among the many songs of Sundarar, the ‘Thiruthondar Thogai” is considered as powerful form of prayer. It is said that Sundarar descended to earth to strengthen the tree of devotion in Tamil Nadu.