Tirupoonthuruthy derives its name from its unique geographical setting, as it lies nestled between two rivers—Cauveri and Kudamurutty—earning the local designation 'Thuruthy' for such settlements. This village is distinctly divided into two parts: Mela-Poonthuruthy and Keezha-Poonthuruthy. The temple is located in Mela-Poonthuruthy, reinforcing the area's character within this river-embraced landscape.
The Tirupoonthuruthy temple features an east-facing Rajagopuram with five tiers, opening into the Pancha Murthy Mandap. Uniquely, there is no Dwajasthambam at this entrance, though a Nandi and Balipeetam are present, with Nandi notably positioned off-axis from the main sanctum and slightly sunken. Within the outer prakaram, the south-facing shrine of the Goddess lies to the right. Passing through the second gateway, visitors enter the Vasanth Mandap, in front of which a second Dwajasthambam, Balipeetam, and another misaligned Nandi are found. According to the sThala Puranam, this unusual placement is tied to a legend where the presiding deity asked Nandi to step aside so that TiruGyanaSambandhar could have a clear view of the deity from outside, who was afraid of stepping onto temple grounds once cleaned by Tirunavukkarasar during his 'Uzhavara Pani'—a sacred act of devotion. The temple’s inner sanctum includes the Somaskandha Mandap and Nataraja Sabha to the south, with shrines for Vinayaka, Saptha Matha, and the four main Nayanmars situated within the inner prakaram. Flanking the sanctum are the South and North Kailai temples. Beyond the Maha Mandapam and Artha Mandapam lies the sanctum of Pushpavana Nathar. Notable among the Goshta idols are the Veena-dhara Dakshinamoorthy, Arthanareeswarar, a penitent Durga, Tirunavukkarasar seated in meditation, and Sundarar with his consorts, Paravai Nachiyar and Sangili Nachiyar. The idol of Poonduruthi Kadavanambi and an ancient idol preserved in the Goddess's shrine also add to the temple’s rich iconography and spiritual depth.
Tirupoonthuruthy stands as the sixth among the revered Saptha Sthanam temples of Thiruvaiyaru, known for its spiritual heritage. The temple's legend narrates that the sage Kashyapa brought the sacred waters of Ganges to its well to anoint the deity. Lord Muruga, honored in Arunagirinathar’s Thiruppukazh, is enshrined here with one face, four hands, and flanked by his two consorts, facing east. Outside the temple, a 'Thirumadam' built by Appar serves as a historical monument where he stayed and composed several 'Thandakams' and 'Kurun-thogai' Pathigams, (forms of tamil poetry). This site also holds a touching moment of humility and mutual reverence when Appar carried the palanquin of Gnanasambandar, who, upon realizing it, stepped down to honor Appar. The saints' deep respect for one another was further expressed as they stayed together in the Madam, strengthening the temple’s legacy of devotion and unity.
Tirunavukkarasar, also known as Appar, composed three specific hymns dedicated to the presiding deity of Tirupoonthuruthy and an additional fifteen general hymns during his stay at this sacred site. One of his most notable compositions begins with "Nilladha Neer Sadai Mel Nirpithanai", where he eloquently reflects on the profound blessings he received upon beholding the deity at this temple. Among his works, the hymn Angamalai stands out for its poetic beauty and depth. In it, Appar emphasizes that every part of the human body—head, ears, eyes, nose, tongue, legs, hands, and chest—is purposefully created to praise the divine.
Rajagopuram
Nandi
Nandi Mandap, Bali Peedam
2'nd Entrance
Goddess Sanctum - as a separate temple
Appar, Sundarar with his two spouses
Adi Vinayaka
Muruga With his consorts
Artha-Nareeswarar - Western wall around the sanctum
Artha-Nareeswarar - on temple wall