Tiruparaithurai temple, one of the oldest among the 128 Paadal Petra Shivasthalams, is situated along the southern bank of the river Cauvery in an area where the river is particularly wide, earning it the name "Akanda Cauvery". The region surrounding the temple came to be known as Paraithurai due to the abundant growth of parai trees, also known as toothbrush trees or pari trees (scientific name: Salvadora persica). These small to medium-sized trees, native to parts of India, Sri Lanka, and Southeast Asia, hold significant medicinal properties. The leaves are used in treating dysentery, while the milk extracted from the bark is applied to heal cracked heels. According to local legend, individuals suffering from cancer or certain skin ailments can find relief by pouring water on the sacred parai tree located behind the temple's sanctum, lighting a lamp, burning incense, and offering worship. In northern states of India and in Burma, the leaves of the parai tree serve as a substitute for tea, with Ayurvedic medicine claiming that this tea enhances virility. The tree's roots are employed as an antidote for snakebites, and its seeds are utilized in controlling nosebleeds, piles, and dysentery. Thus, the parai tree, designated as the sthala vruksham or sacred tree of Tiruparaithurai temple, plays a vital role in the temple's history.
The Legend - The 'sthala purana' recount a captivating tale of the deity's encounter with the sages of Tharukavana, which serves as a powerful allegory for the perils of arrogance and the importance of humility before the divine. According to the legend, the sages residing in Tharukavana had grown haughty and self-important due to their rigorous penances and sacrificial rites. They believed their spiritual practices to be supreme and thus saw no need to offer praise or reverence to God Shiva himself. In order to subdue their pride and teach them a valuable lesson, Shiva took on the guise of Bikshadanar, a seductive and alluring figure who proceeded to enchant the wives of the sages. Enraged by this affront, the sages summoned forth tigers from their sacrificial fire, intending to unleash them upon Bikshadanar. However, Shiva effortlessly slew the ferocious beasts and donned their skins as his attire. Undeterred, the sages then conjured deer to attack Bikshadanar, but he deftly subdued them and carried them in his left hand. In a final attempt, the sages called forth venomous serpents, but Bikshadanar transformed them into his divine ornaments, demonstrating his ability to transmute even the most dangerous of elements into objects of beauty and grace. Ultimately, the sages summoned the 'Bhuthaganas', but they too were no match for the deity. Realizing the futility of their efforts and recognizing the true identity of Bikshadanar, the sages finally understood the folly of their arrogance and took refuge in God Shiva, who compassionately forgave them and revealed himself as Tharukavaneswar. This sacred site now houses a ceremonial idol of Shiva in his Bikshadanar form within the sanctum, as well as a statue of Bikshadanar in the prakaram, serving as a eternal reminder of the importance of humility, devotion, and the all-encompassing nature of the divine.
Tiruparaithurai has been exalted in the divine hymns of the revered saint poet Arunagirinathar. Muruga is beheld in a captivating manifestation, portrayed with a single radiant face and two divine hands, majestically mounted upon his vahana, the resplendent peacock. Accompanying him are his beloved consorts, Valli and Deivanai. The 'Urchava Idol', the processional deity of the temple, mirrors this mesmerizing iconography, allowing devotees to experience the same beatific vision during festive occasions. Arunagirinathar's Tirupugazh, contains a song exclusively dedicated to Tiruparaithurai. The lyrical composition encapsulates the essence of Muruga's grace and the ineffable bliss that devotees experience in his presence at this sacred site.
The presideing deity of Tharukavaneswarar Temple, in Paraithurai, is a self-manifested 'swayambhu linga', facing east, while the temple's Goddess, known as both Pasumpon Mayilambikai and Hema Varnambikai, faces south in her sannidhi. A striking stone sculpture of 'Rishabaruda' adorns the entrance gate. Just inside the gate to the left lies a tranquil pond for ritual ablutions, while to the right stands an impressive stone mandapam called the Vasantha Mandapam that now houses the Vivekananda Primary School. Across the entrance soars a majestic seven-tiered Rajagopuram gateway tower with a Vinayaka in its facade. Passing through the Rajagopuram, one encounters a resplendent copper-clad dhvaja stambha (flagpole) in a pillared hall along with the main altar and a Nandi, together comprising the Nandi Mandapam. This hall also features reverential images of the revered Nayanar Sambandar, Appar, and Manickavasagar, as well as a likeness of a patron who generously sponsored past temple renovations. The outer courtyard additionally contains sannidhis to Vinayaka and Muruga in his form as Dandapani, the wielder of the staff.
The next tower in the temple complex consists of five levels, with the main sanctum oriented towards the east being immediately visible upon entering. Within the inner prakaram, one can find sannidhis dedicated to Valampuri Vinayaka, Saptakannya, and an impressive array of 63 Nayanmars. Radiating outward from this central area are sannidhis honoring a pantheon of gods including Somaskanda, Maha Ganapati, the Panchabhootha Lingams symbolizing the five elements, Arumukha, Bikshadana, Brahma, Durga, Gajalakshmi, and Shanmukha. Interestingly, among navagrahas, only Shaniswara, is depicted on a crow as his divine vehicle or vahana. A sannidhi to Bhairava, can also be found within this prakaram. The Goshta murthas, or subsidiary deities enshrined in niches along the walls, include Vinayaka, Dakshinamurthy, and in the place typically reserved for Lingothbhava, one instead finds Arthanariswar, the half-male, half-female form of Shiva, alongside Brahma and Durga. Chandeswarar is also present. The intricately carved pillars that feature lions at their base, showcases the remarkable stone and woodworking skills of the artisans. There is a separate sannidhi for Nataraja, the cosmic dancer. After paying respects to the guardian deities known as Dwarapalakas, devotees can proceed to the sanctum to behold the main deity enshrined in a magnificent form. The goddess sanctum faces south, and the pillars in her mandapam or hall are adorned with captivating sculptures - one depicting Shiva performing the Urthuva Tandava, a vigorous dance associated with the destructive aspect of the cosmic cycle, and the other portraying the terrifying goddess Kali.
According to long-held beliefs passed down through generations, the first day of the Tamil month of Aippasi marks a momentous occasion - the holy dip in the Cauvery at this revered temple is considered by elders to be the inaugural cleansing ritual of the season. On this auspicious day, the presiding deities, are reverently brought in a procession to the riverbank, where they bestow sacred water upon the gathered faithful. This time-honored tradition is mirrored on the final day of Aippasi at the Mayiladuthurai temple downstream, where devotees partake in the "final dip". Paraithurai's sanctity is further underscored by the deeply-held conviction that a pilgrimage to this site has the power to absolve one's sins, granting spiritual purification and inner peace to those who seek it with a pure heart and unwavering devotion.
Primary Tower
Second Tower
Saptha Matha
Muruga with Valli and Deivanai
Nandi Mandap
Sthala Vruksham
Urthva Thandava
Nataraja, Shivakami