ARAYAR SEVAI

What is the Arayar sevai?

The Arayar sevai is the unique upachara or offering to Vishnu made in three Vaishanava temples in Tamilnadu. Srirangam, Azhvar thirunagar and Sri villiputhur and in the Melkote Thiru Narayana temple in Karnataka, performed by a specific family who hold the hereditary rights to this offering. The Arayar through music and hand gestures expounds the meaning of the Tamil verses composed on Vishnu by the 12 Alwars-saints (who lived in various periods between the 7-8 centuries.) that are found in the Divya prabandham. In addition to this the Arayars also perform two other worship services that have a combination of music and drama called the” Muthukuri sevai” and the “Pallupattu.”

The performance is today done only by one family in Srirangam and two families each in Azhvar thirunagari and Sri villiputhur. In Melkote the Arayar only sings the verses in the ancient panns (equivalents of the Ragams). Here, we will examine briefly the history of the Arayar sevai its different forms with specific reference to the Azhvar thiru nagar temple.

The performance is called Arayar Sevai and the performer who is called an Arayar. There are several explanations for the word; two of the more popular ones are-

Arayar means king and since the Arayar is a master of the verses of the Alwars in the Divya Prabandham and is able to demonstrate their meanings through music and dance to the general public. He is called an Arayar of the Divya Prabandham.

‘To tell’, is also a meaning for Aria and the Arayar who tells of the songs in the Divya Prabandham becomes an Arayar.

The worship (Sevai) offered by the Arayar is there for known as Arayar Sevai and this also referred to as “Kondattam” or celebration of the greatness of Vishnu by the Arayar.

In texts, common parlance and inscriptions Arayars are known by other names as well,

Vinnappam Cheyvar – they speak directly and only to the lord and make their requests only to him.

Nampaduvan- the sing the praises of our lord Nam (Perumal)

Isai ariyum Peruman – Referring to their ability to sing the Prabandham.

Thambiranmar – Roots word are probably than-piran-mar meaning those who belong to the lord and indicative of the Arayar becoming an Azhvar himself when performing the Arayar sevai.

The Arayar is always a male and has to follow a specific dress code and perform a vow before each performance.

The origin of the Arayar Sevai.

In the 10 the century, in a village called Kattumannar Koil (Viranarayanapuram) there lived a person called Nathamuni who was the son of Sri eswara Bhattar. The period he lived in is still not fully agreed up on but, scholars put it at around ACE 825-918.

One day Nathamuni heard a group of pilgrims sing a song of 11 verses on the Sarangapani deity in Kumbakonam. The last word said,

“Sweeter than the melody of the finest flute”.

 This decade from a thousand are by Kurugur’s sadagopan.

His refugees are in the feet of Krishna, 

The lord who sucked the breasts of the ogress.

Recite them to be loved by all those around you.

Thiruvaimozhi 5.8.11.

Entranced by the verse, Nathamuni asks for the rests of the thousand. The pilgrims direct him to Kurugur since the poet is Sadagopan from Kurugur.  When he goes to Thirukurugur, no one seems to know any other verses. He meets a disciple of Madhurakavi who teaches him “Kanninum Sirittaambu”, a song on Sadagopan by Madhurakavi. “Recite this under the same tamerind tree 12000 times, he is told, he does so and receives not only the song he wanted but many others, he compiled them in the 4000 Divya Prabandham and set them to tune and instituted the Arayar sevai.

The 4000 thousand verses are composed by twelve saints who lived between 5 th and 8 th centuries and sung in praise of Vishnu are known as the Azhvars. The verses are revered by Vaishnavites and continue to be recited in temples. They are known as the Tamil Vedas.

The collection consists of four parts of thousand songs each they are,

1.       Mudal Aayiram or first thousand contains 947 songs. It includes

A)Periyaazhvar thirumozhi (473 songs)of periyaazhvar, including Thiru Pallaand.   

B) Thiruppaavai by Andal (30 songs).

c) Naachiyaar Thirumozhi by Andaal (143 songs)

D) Perumaai Thirumozhi by Kulasekhara Azhvar (105 songs)

E) Thiruchanda Virutham by Tirumazhisai Azhvar (120 songa)

F) Tirumaalai by thondaarady Podiazhvar (45 songs).

G) Tiruppalli Ezhuchi by Thondarady Podiazhvar (10 songs)

H) Amalaanathi Piran by Thirupaanazhvar (10 songs)

I) Kanninun siru thaambu by Madhurakavi Azhvar (11 songs)

         2.  Periya Tirumozhi or greater hymns contains 1134 songs. All sung by Tirumangai Azhvar.

                A) Periya Tirumozhi (1084 songs)

B) Thiru kuraan Thaandagam. (20 songs)

 C) Thiru Nedun Thaandagam (30 songs)

3. Thiruvaimozhi by Nammazhwar  (it contains 1102 songs)

4. Iyarpa is the last division in the Divya Prabandham and contains the following

a. Mudal Thiruvandaadhi by Pongai Azhwar (100 songs)

b. Irandaam Thiruvandhaadhi by Bhootath Azhwar (100 songs)

c. Moondraam Thiruvandaadhi by Pey Azhwar (100 songs)

d. Naanmugan Thiruvandaadhi by Thirumazhisai Azhwar (96 songs)

e. Thiru virutham By Nammazhwar (100 songs)

f. Thiru vaasinyam by Nammazhwar (7 songs)

g. Peria Thiru Andaathi  by Nammazhwar (87 songs)

h. Thiruvezukootriru kkai by Thirumangai Azhwar (1 song)

i. Siriya Thirumadal by Thirumangai Azhwar (40 songs)

j. Peria Thirumadal by Thirumangai Azhwar (78 songs)

5. Ramanuja Nootranthaati ( 108 songs) of Amudhanar and it was added to the text compiled by Nathamuni neither is it own Vishnu nor is it by an Azhwar.

Many of these song sing the praises of Lord Vishnu enshrined in various places all over india and Nepal and even the two states of being in heaven. The places referred to are revered as the holy as the “108 Divya Desham.”

Madhurakavi Azhvar is an exception because though he sang only of Nammazhwar but, he too is counted as an Azhwar. Given his devotion for Nammazhwar, no verse by Nammazhwar may be recited without reciting 11 composed by Madhurakavi.

Today they are recited by devotees sitting facing each other in all Vishnu temples. It is only in the three temples in Tamilnadu that they are also sung and danced by the Arayars.

Nathamuni classified the Divyaprabandham in to Iyarpa which was meant to be chanted and Isaippa which was suitable for singing with his nephews Keelai Ahatthu Aazhwan and Melai Ahatthu Aazhwan. Swami Nathamunigal set the Paasurams of Isaippa to tune (pan) and trained his nephews to sing and worship the Prabandhams in front of the Lord at Srirangam. In doing so his intension was to captivate the general public to understand the verses of the Azhwar through music and dance. Nathamuni composed himself two slokas on Nammazhvar and these are recited as a part of the Thaniyan for Nammazhwar’s thiruvaimozhi. Inscriptions in temples and commentaries on the Divya Prabandhams tell us of the Arayar sevai being performed in Kanchi, Thirumaliruncholai also called Azhagar Koil. Triplicane, Thirupathi, Thirukurungudi, Thirukkannapuram and Thiruvananthapuram. None of these temples have Arayars today. In most of these places even old timers cannot recall Arayars in the temple.

An interesting mention on the origin of the Arayar sevai is mentioned in the temples records of Srirangam called the “Kovil Ozhugu”. Here it is mentioned that Thirumangai Azhwar sung and danced his Thirunedunthandakam in front of the Utsav deity of Srirangam and also caused for according the Thiruvaimozhi status on par with the Vedas. The record go on to say that in the Margazhi month, the deity of Nammazhwar was taken from Azhwar Thirunagari was taken to Srirangam. The Thiruvaimozhi verses performed and the deity brought back. We are not sure as to when this practice was stopped.

Two branches of Vaishnavites.

Temples where Arayars perform today in Tamilnadu are administrated by those who belong to the Thenkalai sunsects of Vaishnavites.

The origin of the two sub sects – Vadakalai and Thenkalai is a post 10 th century phenomenon since, these differences are not heard of in saint’s Ramanuja’s times. They are called Vadakalai (Northern) and Thenkalai (Southern) though in reality there is no geographical polarization to justify their nomenclature. They probably emerged in the time sree Vedanta desika whose contemporary was Pillai Lokacharya.

The two key differences between sub sects are that the Vadakalai’s (Who wear the Thiruman as “U”) give equal importance to Perumal and Lakshmi while the Thenkalai’s (who wear the Thiruman somewhat similar to a “Y”) regard Lakshmi as the prime devotee.

The more basic difference is in terms of the attainment of God. Vadakalai tenets say that our relationship to God must be like that of a baby monkey to its mother. The little monkey constantly clings to the mothe, similarly we need to constantly –through a teacher - work towards realization of the supreme and do this through the rituals of “Saranagathi/ Prapathi. Thenkalai tenets compare our relationship with God to that of a kitten and a cat. The kitten is – without much effort on its part, taken by its neck and deposited in a safe place by the cat, similarly they believe by leading a pious life and hope that by attending to the temple rituals and paying allegiance to the pontiff salvation will occur.

In practice, both sub sects have fairly similar rituals in the temples and elsewhere but in the temples. Vadakalai’s tend to give prime importance to Sanskrit texts and Thenkalai’s to Tamil texts. As an extension, generally Vadakalai’s tend to have a greater focus on greater focus on vedic rituals than the Thenkalai’s. Both venerate Ramanuja. The preceptor of Vadakalai’s is Vedanta Desika and for Thenkalai’s it is Manavala Mamunikal and Pillai Lokacharya.

In the 17^th and 18^th century, the sub sects were often in violent disagreement with each other. Fortunately today this is less and both sects have at least learnt to be more appreciative of each other in the future and work towards the common cause of Vaishanavism and Hinduism.

The Arayar sevai.

Being a unique performance for the Lord through music, gestures (Abhinaya) and explanations, the Arayar sevai is more than just a music dance performance. The Arayar both through gestures, and afterwards through words, explains the verses in Manipravalam, a combination of Tamil and Sanskrit words. Arayars therefore need not only knowledge of music and dance but a deep understanding of Vaishnavite philosophy they also need to know the verses of Divya Prabandham and their meaning (both literal and metaphonical) by heart since no recourse may be made to actual texts while the Arayar sevai happens.

The Arayar sevai is an intense form of worship. The Arayar before the performance fasts maintains a vow of silence and deep contemplation of the Lord. Before the performance his ritual attire is unique. He wears a conical crown that has the marks of the Thenkalai’s sub sect of Vaishnavites. Since all Arayars belong to this sect.  The cap signifies eternal bliss for when the Arayar performs he ceases to exist as an individual and instead becomes the Azhwar whose Paasurams he performs. The Karnapatras on either side of kireedam cover his ears and therefore muffle other distracting noises. It is significant to note that only the Arayar during the Arayar sevai is allowed to wear head gear within the temple precincts.

The Arayar also wear a long garland that was worn by the deity and has a Parivattam, an upper garment worn by the deity tied around his head. All these acknowledge the blessing and honor given to him by the deity in his hands he has the cymbals or Kulitalai or Thalam. They are used to keep the beat and their sharp tone assist in focusing attention.

The Arayar sevai is always done inside the temple precincts and in front of the Utsava deity and never in the main deity in the Garbhagriha. However before or after every Arayar sevai , the Arayar reports the same to the main deity in the sanctum.

The Arayar sevai commences with the Arulappattu (Issuance of the gracious commandment by the Lord to the Arayar) through the priest. The Arayar comes forward saying “Aaindhen, Aaindhen”

He then dons his headgear and accepts the Parivattam and Garland from the priest and begins using the Thalam. The Thalam of Nathamuni who created this practice is said to be in Azhwar Thirunagari. He then takes a suitable position a few feet in front of the main deity and begins. Significantly, the Arayar is not required to commence his rendition of the Paasurams after the customary recitation of the Thanians. The tapping of the floor with his right foot and the use of the Thalam consecutively three times signifies the closure of one line/unit respectively. Thanians are short verses preceding the Divya Prabandham verses that pay homage to the Azhwar and other Vaishnavite Acharyas.

Occasion of performance.

The Arayar Sevai is performing during the Pagal pathu Rapathu festival in the three temples. This festival falls in Margazhi. This period falls within the Anadhyayana kaalam or a time when except for the Thiruppavai of Andal no other Divya Prabandham can be recited called the Thiru Adhyayana utsavam. On certain other festival occasions, there is in Srivilliputhur alone, an Arayar sevai Kaiseka Ekadasi is another occasion for the Arayar sevai to be performed.

The Arayar sevai consists of the following:

Kondattam.

Kondattam are short phrases extolling the greatness of Azhwars’s experience of Perumal and Thayar. They are usually followed by a simple song.

Vyakhyanam.

During the Pagal pathu period, the utsava deity is beautifully decorated and the Arayar sevai happens in front of the deity. Depending on the particular day the Arayar will take up a select set of Pasuraams sing them along with the rhythm using the Thalam and perform Abhinayam to convey the import of the Pasuraams with hand gestures, steps using their legs and body/facial gestures. These gestures are not elaborate as seen in the natyam, traditions but, subdued and used sparingly. Also the Arayar may walk a few steps in front or back or sideways.

The explanations of the Paasurams is done with a commentary called the Vyakhyanam. A certain pattern is followed in the choice of Paasurams at Srirangam, Srivilliputhur and Azhwar thirunagari corresponding to the local history and tradition of the temple.

Typically only the first and last verses of the Paasurams are performed but, in that the Arayar brings out the entire import of the song. Some of Nammazhwar’s verses are written as if Nammazhwar is the Nayika pining for her Lord. These are couched in metaphor that the Arayar explains in graceful gestures.

The Rapathu Utsavam happens for 12 days immediately after the Pagalpathu Utsavam and this happens after dusk. Here verses by other Azhwars are chosen.

The dramatization of certain episodes with appropriate Abhinayam is done on selected days at Srirangam, Srivilliputhur and Azhwar thirunagari during the Adyayana utsava. The slaying of Kamsa, the Vamana Avatharam, the churning of the milky ocean and the birth of Sri Andal are enacted on special days.

The Muthukuri sevai.

The Muthukuri sevai is the prediction of future/ good fortune is made by Kattuvaci (soothsayer) to the lovelorn lady (Nayaki) with the help of pearls(Muthu).

Here Arayar sings certain Paasurams and performs Abhinayam simultaneously taking the roll of Nayaki, her mother and the soothsayer. This is performed on the 9^th day of Pagalpathu at Srirangam, 10^th day at Azhwar thirunagari and on 3 occasions at Srivilliputtur.

Before the actual performance of the Muthukuri, the Arayar enacts the Paasurams that talk of the story of how the ocean was churned by the Devas and Asuras for Amrita. This lasts for about an hour and then begins Mutukuri sevai.

Thirumangai Azhwar’s Thirunetunthantakam in this, most verses talk of the Nayakas mother lamenting on the condition of her daughter, who is consumed with a passion for her Lord. The mother calls the Kurathi to predict when her daughter will get over this. The Arayar plays the role of the mother, the daughter and the Kurathi. When the Arayar plays the role of the mother, the garment held in his hand with a knot at the top symbolizes the daughter.

The mother asks the Kurathi, who has caused her daughter this pain and what medicine must be used. She complains that her daughter talks to her pet birds, dreams for someone and cries for no reason. She then calls the Kurathi who first introduces herself and talks of the different lands she has been to.

The Kurathi quickly diagnosis that the Nayika is suffering from the pangs of being separated from her Nayaka, the Lord of Srirangam. She then performs the actual soothsaying called “ kudal ezhaithal”, here rice is spread out on a large platter and the Kurathi draws concentric circles, all the while saying, the names of the Lord in different temples and referring to the Nayika as Ranganayika Nachiar. Each sentence ends with Kuden (will join) and Kudilen (will not join). The Arayar then, to indicate the mother taking her daughter to Srirangam, paces the long Mandapam (in Srirangam, the Arayar does it standing in the same place) and goes closer to the Utsava deity.

Here the Arayar takes on the role of the girl’s mother and complains to the Lord of what he has done to her daughter and asks the Lord for a solution. The Arayar then recites a Paasurams from Periazhwar’s Thirumozhi were the Azhwar takes the role of the mother who comments on her daughter having been taken by the Lord. We thus understand that the Muthukuri sevai ends with the Lord having taken the Nayika. The entire performance with the initial praise of the Lord during the churning of the ocean takes around 3 hours.

Pallu pattu.

The Pallu pattu is sung on the Gajendramoksham festival (Thiruvural Thirunal) and when the Utsava deity is taken back- to the sanctum at the end of each day in Pagal and Rapathu. The symbolism here is the Lord going to the core of the temple and therefore attaining his complete greatness. The Pallu pattu also sung when the feet of the Utsavar is placed on the head of the processional image of Nammazhwar as a representation of Nammazhwar receiving the devine blessings.

When these songs are sung the Arayar uses an Mridangam accompaniment (replaced the Parai an ancient percussion instrument) and only signs them. Significantly these are the only sons sung by the Arayar which are not composed by the Azhwars. There are 13 songs and all of them are in simple Tamil. Some are of the heroine pining away for the Lord and others describe the beauty and greatness of Vishnu. They are only sung and no commentaries are given nor are they danced to when some of these songs are used in the Vyakhyanam. Then they may be accompanied by Abhinayam.

There are legends of how an Arayar who stayed with a lower caste community learned/ sang these songs. Desiring his return to the temple, Lord Vishnu himself is said to have appreciated this song and got them included. We how ever have no clear evidence of how this non-Brahmanical form of singing became included in to the temple ritual.

The Pallu pattu in this context is not related to the Pallu genre of Tamil Poetry.

Pranaya kalakham.

This happens on – it is the staging of a mock quarrel between the Vishnu and Lakshmi where the latter accuses the former of infidelity. How the Arayar intercedes, enlists the support of Nammazhwar and re unites the devine couple is the story.

In doing this, the Arayar intercedes on behalf of the Perumal and singing and performing the different verses of the 4000 Divya Prabandham. The Arayar creates a conversation between Vishnu and Lakshmi, where the latter is suspicious of where the former has been all day and how the former protests his innocence.

It is only in Azhwar thirunagari that this happens in complete form. In Srirangam this happens without the conversations, the Abhinaya and the pacing of the feet by the Arayar.

Padi yetham.

When the processional deity returns to the sanctum, as the deity ascends the steps, the Arayar walks backwards while facing the deity and sings verses. This is done for all processions for Azhwar and for those of Polindu Ninra Piran where he is in procession without the Thayar deities. The custom here is of welcoming back the Lord.
Pradeep Chakravarthy.

References:

Books:

Venkat raman’s Arayarsevai, Tamizh puthagalayam, Madras, 1985.

Bharati, Srirama, “Arayarsevai” – theatre expressions in Sri vaishnavism” , Bhavans foundations, Mumbai.1995.

Ayyangar, Ramaswamy, “Vakula Bharana Satagopar”, Sundram Charities, Madras, 1976.

Resource persons:

Sri Appu Sadagopan, Azhwar thirunagari.

Sri Sreenivasa Arayar, Azhwar thirunagari, Madurai.

Dr, V.V.Srivatsa.

Arayar The descendants of Nathamuni

Arayer Sevai Monuments crumble, manuscripts get moth eaten and traditional fine arts practised for centuries in temples are being forgotten because of long years of neglect. No wonder that the Arayer Sevai, a visual enactment of the passionate expression by Vaishnavite saints which were an integral part of Vishnu worship 1000 years ago, is not confined to a handful of practitioners who themselves are on the threshold of fading away. Who were the arayers? What makes this dramatic form so unusual in the landscape of Indian performance, ritual, religion and theology? The word arayer itself means king. In Tamil, there are two ways to pronounce the letter 'r'. Said without stress like 'arayer' it means king and with stress like 'rr' it means 'speaker' or 'narrator'. In both cases the word fits these temple servants who dedicated their lives towards the worship and glory of Lord Vishnu through song, dance and drama. Vaishnavite temples were the crucibles of the three branches of learning 'iyal' (literature), 'isai' (music) and 'natakam' (drama). Arayer Sevai which means 'the service or offering of the royal priests' falls under the category of drama. The main text for these priestly actors was an impressive volume of verses called the 'Divya Prabandham.' The word means 'divine compilation.' The Prabandham was the cumulative result of 12 saint-poets who lived between the 6th and 9th centuries in Tamil country. These saint-poets were called 'alwars'. The word 'alwar' means 'deepest of the deep'; one who is immersed in the devotion of Lord Vishnu/Narayana. Between the 6th and 9th century, in the Tamil speaking region of South India, these devotees of Vishnu (also known as Tirumal, the dark one) changed and revitalized Hinduism. Along with their counterparts, the Nayanmars, who were devotees of Siva, these saint-poets wandered all over the Tamil countryside, inspiring and converting kings, brahmans, and peasants, affirming in poetry the holiness of hundreds of Tamil places dedicated to Vishnu and Siva. Their pilgrimages, their legends and their hymns, which they sang by the thousands literally mapped a sacred geography of the Tamil regions and fashioned a communal self-image that cut across class and caste. They composed the most important early Bhakti poetry in any Indian language. This is particularly significant when practitioners of dance, dance history and religious studies have a tendency to associate Bhakti/devotional poetry with the later poets like Jayadeva of the 12th century, Chaitanya in Bengal of the 15th century and Annamaya of the 14th century. Even Tulsidas, Kabir, Meera who are popular choices for dancers and singers came much later. Through the poetry of the Prabandham, composed by these 12 Tamil alwars Hindu philosophy spoke for the first time in India, in a language other than Sanskrit. The imperial presence of Sanskrit with its brahminical texts like the Vedas and the Upanishads was the elitist presence against which Bhakti in Tamil defined itself. Also Sanskrit in India of the 6th century was not a people's language, it was not spoken as everyday tongue. Here was poetry, devotional poetry in a people's first language. The concept of bhakti or devotional poetry as we understand today arose, as suggested by scholars from the meshing of Sanskrit mythology and the Tamil conception of women and kings. Almost one thousand years after all the 4000 verses of the Prabandham were composed, a devotee called Natamuni (10th century) gathered and ordered the compositions of the 12 alwars and arranged for their recitation. First he only knew of 10 poems and when he realised there were almost 4000, he travelled to the birthplace of Nammalwar (Alwartirunagari near Tirunelveli) and tried to retrieve them. Failing to do so, he meditated and received a vision of the poet Nammalwar himself who revealed all the 1102 verses to him. Legend goes that he received all the 4000 verses in this way. In order to make the poetry meaningful and alive to the general public, Natamuni arranged for them to be sung and danced on special occasions of Lord Vishnu, particularly in the month of Margazhi which is mid-December to mid-January and in Panguni Chitra which is mid-March to mid-April the end of which marks the Tamil New Year on 14th April. Believing that the songs would live only if many could chant and watch the most special poems danced with gestures and movements, Natamuni is credited to have created a system of ritual performance called Arayer Sevai. The word Arayer literally means Lord or King. The Arayers of today are all direct descendants of Natamuni's family lineage and the practice is held with the male members of the family and not taught to the women. It is devoutly believed that the inspiration for the music and the dance came from Lord Vishnu himself and that it was He who ordained these arayers to perform this unique service for His pleasure. The movement structure of Arayer Sevai is dependent on a regal stature, a stately walk and minute right hand and left hand gestures which weave a complex imagery. The end of every phrase or sentence is marked by a jerky flick of the hand. The feet stamp the ground and the legs are always held in a unique half seated stance. The costume worn by the arayers consists of a cap which is a reproduction of the crown worn by Vishnu as the temple idol. The garland and the cymbals the arayers carry were all believed to have been given by Vishnu himself. The arayers were exalted in the hierarchy of temples. They were as important and sometimes even more highly regarded than the priests themselves. Palm leaf manuscripts of temples like Srirangam and Srivilliputur, state that the arayers were given special treatment and medical care whenever they fell ill. Today all Vishnu temples have the bronze images of the 12 alwars as important figures in their shrines but the art of 'arayer' exists only in four temples, three in Tamilnadu and one in Karnataka. Melkottai in Karnataka does not perform the movements and actions but only the recitation and chanting and commentary. The three temples in Tamilnadu are Srirangam, Alwar Tirunagari and Srivilliputtur. The insistence on maintaining the purity of their tradition is not augmented with a desire to perfect the art of their ancestors rather than just going through the motions once or twice a year. They refuse to teach, allow audio or video recordings of their ritual and thus it will be but a matter of time when the practice which is already a mere shadow of its former self is completely lost. I was able to watch several hours of their performance since I was considered a direct Vaishnav descendent of one of the famous families of Thirukurungudi (the town of the famous arayer temple bell) and as such allowing me to watch or allowing me to learn some of their movements was not considered sacreligious to the high priest.

The royal Arayar.

ARAYAR, The Caste who makes the History of  Tamilnadu, The Imperial clan is one of the three castes which constitute the Mukkulathor confederacy. "a fearless community show many signs of independence and non-submission to any form of subjugation".There are Abundant records pertaining to this clan, where the Peoples ruled from unknown antiquity (Chola, Chera, Pandya.) . Arayars  are found largely in Thanjavur (40 % of Tanjavur Population), Trichy, Pudukkottai, Theni, Madurai, Dindigul, Sivagangai, Karur, kanchipuram, and Ramanathapuram districts of Tamil Nadu.

Surnames

There are over 1000 surnames in use. There are no other Castes in Tamilnadu have this many Surnames. Some of the commonly used Surnames are.

Paluvettaraiyar, Malayaman, Adigaman, Thevar, Mannaiyar, Rajaliyar, Vallavaraiyar, Thanjaraayar, Pallavaraayar, Vandaiyar, Thondaiman, Etrandaar, Vaanavaraayar, Servai, Amballakkarar, Sethurayar, Soma Naicker, Muniyarayar(Munaiyatriyar), Thondamar, Mayrkondar, Kallathil Venrar, , Nattar (not Nadar), Cholagar, kumarandar, Anjathevar, Olivarayar, Sendapiriyar, Alathondamar, Ambalam, Aarsuthiyar, Kaadavaraayar, Kalingarayar, Vandaiyaar, Veeramundar, Sepillaiyar, Vallundar, Chozhangaraayar, Kandiyar, Mazhavaraayar, Kommatti Mootar, Kannakkarar, Irungular, Singilaar, Ponnapoondar, Pullavaraayar, Araimeendar, Vairayar, Ponpethiar, Gopalar, Kandapillai, Vayaadiyar, Vanniar, Vallambar, Alankara Priyar, mavaliyar, Keerudayar, Saaluvar, Manraayar, Onthiriyar, Serumadar, Vambaliar, Thenkondaar, Mankondaar, etc. 

 They are highly conservative and have preserved their customs and traditions to the present day. They are also believed to be the oldest inhabitants of the Tamil country with reports of their presence going back to Tamil literary works of the 4th century B.C. They are found mainly in the districts of Madurai, Dindigul and Theni.


During sangam

Thondaiman
The kings (Araiyars), were ruling Thondai Nadu, There are Hundreds of records pertaining to this dynasty. Thondai in Tamil means Kilay or pirivu, Pallava in Sanskrit defines the same, so Pallavas or Thondaiman are considered as a offshoot of Cholas later become an Prominent rulers.

Malayaman
The kings (Araiyars) ruled Tirukkoyilur during Chola kingdom with the title Malayaman . They were in close relation with Cholas. Sangam literature mentions of Tirumudikari, a Malayaman chief who fought alongside Perunarkilli Chola to defeat Cheral Irumporai (Irumporai Cheras). Vastly, Cholas, Cheras and even Satavahanas controlled the destiny in times.

Adigaman
The kings were ruling Tagadur, present villupuram district, One of The Four kingdoms Mentioned in rock-edict of Ashoka. Adigaman Naduman Anji King of Tagadur is Mentioned  in rock-edict of Ashoka as Satyaputra Inscriptions found from Villuppuram Proves that stating Adigaman as Satyaputra Adhiyan Neduman Anji intha Pali.

Chola (சோழர்)

The Chola Dynasty (Tamil:சோழர் குலம்) was a Tamil dynasty that ruled primarily in southern India until the 13th century the other two royal dynasties were Pandian and Chera. The meaning of chola is Surya vamsi (solar dynasty) in ancient times. Chera, chola and pandian are considered as Siblings.

The dynasty originated in the fertile valley of the Kaveri River. Karikala Chola was the most famous among the early Chola kings, while Aditya I, Parantaka I, Rajaraja Chola I, Rajendra Chola I, Rajadhiraja Chola, Virarajendra Chola, Kulothunga Chola and Kulothunga Chola III were notable emperors of the medieval Cholas.

Chera, Chola and Pandian are commonly called as Thevar to mean they are desendents of Lord Indra. But specially Cholas were called by many Surnames all these surnames (Mel kondar, Chozangar, Thevar etc.)


Lots of marriages takes place between cholas with Malavarayar, Malayaman, Paluvettaraiyar, Melkondar and Vallavaraiyar. They also belong to same community.

Pallavas (பல்லவர்)

The Pallava kingdom (Tamil: பல்லவர்) was an ancient South Indian tamil kingdom. Later they extended their rule to further south and established their capital at Kanchipuram around the 4th century CE. They rose in power during the reign of Mahendravarman I (571 – 630 CE) and Narasimhavarman I (630 – 668 CE) and dominated the Telugu and northern parts of Tamil region for about six hundred years until the end of the 9th century. The word Pallava means branch in Sanskrit. The word is rendered as Tondaiyar in Tamil language. The Pallava kings at several places are called Thondamans or Thondaiyarkon. The territory of the Pallavas was known as Tundaka Visaya or Tundaka Rashtra. The sancrit meaning of pallava is Kilay The tamil Thondai means the same, it proves that pallavas are desendents (Kilay or Pirivu) of chola.

Pathupattu, one of the sangam literatures, reads that the king Thondaiman Ilandirayan ruled this town around 2500 years ago. The pallavas are told as the descendents of Thondaiman Ilandirayan.

They were also called by surnames like sethurayar , pallavarayar , vandarayar, kadurayar,Vallavarayar,vanathirayar,kaliyarayar etc. . proves that Pallavar are Decendents of Chola.

Petty Kings

The Great empires which ruled Tamilnadu were Chera, Chola, Pandian and Pallava, but there were many petty kings and chieftains ruled tamilnadu under chera, chola, pandiya and pallava.

There are lot of records pertaining to this Petty dynasty. Some of the names are seen in Tamil copper-plate inscriptions also.

Most of the Mutharayar  surnames also derived from the place they ruled for example Thanjaiarayar (Means King Who ruled Thanjavur), 

Definition: Thanjai –Thanjavur and Arayar – Raja –King.

Malavarayar(மழவராயர்), Pallavarayar(பல்லவராயர்), Erraandar(ஏற்றாண்டார்)r, Arasandar(அரசாண்டார்), Thanjairayar(தஞ்சைராயர்),  Muniarayar, Vallavarayar (வல்லவரையர்), Muthurayar, Irunkolar, Brahmarayar, Kodumbalur Rayar, Chiratchiyar, Nattar, Devarayar, Vanathirayar.

Warrior

The main occupation of Arayar was Warrior, most of their surnames derived from their victory and bravery shown in Battlefield.

Some Surnames are,
Poril Koluthiyar(போரிற்கொளுத்தி), Kottai Meetar(கோட்டை மீட்டார்), Soma Naicker(சோமநாயக்கர்), Kalathil Vendrar (களத்தில் வென்றார்), Jeyam Kondar(ஜெயம் கொண்டார்), Kodi Kondar, Thanai Thalaivar(தானைத் தலைவர்), Valukkuvelyar, Vijayathevar, Veerakkotaiyar, Valkondar, Ulukkondar, Veerapuliyar, Senathipathi, Viruthurajabayangarar.


Tamil copper-plate inscriptions

The discovery of Indian copper plate inscriptions provided a relative abundance of new evidence for use in evolving a chronicle of India's elusive history.

During chola rule there were many small kings (Araiyar) were Ruling there Respective area under Chola.Some of the names are seen in Tamil copper-plate inscriptions was also mentioned in Ponniyin Selvan (Tamil historical novel written by Kalki Krishnamurthy.

Paluvettaraiyar (பழுவேட்டரையன்)
Malayaman (மலையமான்)
Vallavaraiyar (வல்லவரையன்)
Muniaraiyar
Nilakkilar
Kaliyaraiyar
Puvaraiyar
Velar (வேளார்)
Vanataraiyar
Thondaiman (தொண்டைமான்)

During Vijayanagar Empire

The downfall of the Mukkulathors occurred in 1345 with the fall of Vira Pandyan IV and the subsequent conquest of Madurai by the Delhi Sultanate. However, the southern territories of the Sultanate soon asserted their independence and the Mukkulathors recovered under the Vijayanagar Empire and later under the Nayak dynasty during whose period they served as Polygars or chieftains.


Ambalakarar is the most important Peoples. They were a warlike people who strongly resisted every British attempt to subjugate them. They are found in Madurai and Sivaganga districts. In these districts, each village is headed by an Ambalam (president of an assembly) and the Ambalam took upon themselves the power to adjudicate disputes that arose among the inhabitants in the "NADU", belonging to different castes. They used to hear complaints, hold inquiries and punish the offenders. They wielded considerable powers to intervene in any kind of transaction or transfer of property among the people. No land could be alienated from one man to another without the permission of the Ambalams. The sur-name "Ambalam"is given to them, because of their Administration in their Villages. So they are mostly called as "Ambalam".

Thenpandi Singam by M. Karunanidhi is a book about Ambalakarars and he was also Awarded "Raja Rajan Award" by Tamil University, Thanjavur for that book and it was also been taken as a serial in Sun TV, and music composed by Ilaiyaraaja.

KALACHURI DYNASTY.

There exists two dynasties with the name of Kalachuri who had ruled the dynasties from the 10th-12th century AD, one ruling over areas in Central India (west Madhya Pradesh and Rajasthan ) and were called Chedi or Haihaya (Heyheya) (northern branch) and the other southern Kalachuri who ruled over parts of Karnataka.

The Kalachuri kings were known as Kalachuris of Chedi or Chedis. They established their kingdom in Madhya Pradesh with their capital at Tripuri near Jablapur. The founder of this dynasty was Kokalla I. The Chedis had to face the rulers of Kannauj and Malwa, the Chalukyas and Rashtrakutas. They also had to defend their territory against the Palas and rulers of Kalinga. Gangeyadeva was one of the most important rulers of Kalachuri dynasty. He tried to make the Chedis the paramount power of Northern India. The Kalachuris of Dahala rose to be the greatest political power in India during the 11th century A.D. This was mainly due to the military genius of Gangadeva king.
Gangeyadeva issued coins of different metals, sizes, weights which were in Gold, Base Gold, Silver Gold, Silver, Silvery copper (Billon) and Copper. Perhaps an important factor contributing to his success was the factor that his kingdom escaped the devastating raids of Sultan Mahmud which affected most of the other great powers to its north and north-west. In the token of his great victory he assumed the proud title of Trikalingadhipati, ‘Lord of Trikalinga’. Gangeyadeva assumed the title of Vikramaditya. He died at the sacred city of Prayag (Allahabad). Probably he ascended the throne before 1019 A.D. and died about 1040 A.D.He was succeeded by his son Karandeva. He is said to have defeated a number of people in the south such as the Pallavas, Kungas, Muralas, Pandyas (South) and Kuntalas, (probably the Chalukya King), Somesvara I during A.D. 1048. He was more successful than his father not only in the south but also in the north-west. In 1072 A.D. he abdicated the throne in favor of his son Yasahkarna.The Kalachuris dynasty declined by 1181 AD.
Kalachuri Dynasty- The Kalachuris took the place of the Chalukyas of Kalyana in the early part of the twelfth century, had a relatively short but stormy rule. The period threw up two striking personalities: An energetic and adventurer who flouted the authority of his Chalukya master and achieved the Kalachuri independence - Bijjala. Another figure of eminence was Basaveshvara who marshaled a virile, revolutionary movement of religious and social reform, which goes by the name of Virasaiva Movement.

The Kalachuris, also known as the Haihayas, were an ancient people known from the Epics and Puranas from 249 or 250 A.D. Many Kalachuris were settled in different parts of Northern India. In the later half of 6th century A.D., they ruled over a powerful kingdom comprising Gujarat, northern Maharashtra, and some parts of Malwa. One of the founder of a principality is Sarayupara in the modern Gorakhpur District. The other, which soon became very powerful, ruled in Chedi country in Bundelkhand. The Kalachuris of Chedi also known as kings of Dahalas, had their capital at Tripur, represented by the modern village of Tewar, six miles to the west of Jubulpore.

Northern Kalachuri family ruled in central India with its base at the ancient city of Tripuri (Tewar); it originated in the 8th century, expanded significantly in the 11th century, and declined in the 12th–13th centuries.
Southern Kalachuri Kingdom (Kannada) (1130 - 1184) at their peak ruled parts of the Deccan extending over regions of present day northern Karnataka and parts of Maharashtra. Their rule was short and turbulent, yet very important from the socio-religious movement point of view. A new sect called the Lingayat or Virashaiva sect was founded during these times. A unique and purely native form of Kannada literature-poetry called the Vachanas was also born during this time. The writers of Vachanas were called Vachanakaras (poets).

Coinage

The Southern Kalachuri kings minted coins with Kannada inscriptions on it. Gajasaradula type coins were mostly gold or copper. Some of the common ones were the seated goddess type along with the name of the issuer which is generally prefixed with Srimat and suffixed with Deva.

Legends

According to legends, Kalli meaning long moustache and Churi meaning Sharp knife. Kalanjarapuravaradhisvara- is Lord of Kalanjara. Mount Kalanjara is in north central India, east of the Indus Valley floodplain. This name Haihaya is supposed to be derived from haya (a horse). Other theories also support the source of their dynastic name. They were also referred to as Katachuris (shape of a sharp knife). A prince of the lunar race, and great-grandson of Yadu. A race or tribe of people to whom a Scythian origin has been ascribed. The Vishnu Purana represents them as descendants of Haihaya of the Yadu race, but they are generally associated with borderers and outlying tribes. In the Vayu and other Puranas, five great divisions of the tribe are named as Talajanghas..

KOLI ROYAL KINGS

KOLI KINGS SEPTAL INFORMATION:

Koli Maharajas before the independence of India - the memoranda of the Indian state of Rajput rulers Koli clan based on 1936 List: -

Sr. No. , Name of the ruling place , Name of the ruling class Koli

1. Jawahar - Shrimant Yashwantrao Vikramshahaji Mukne Koli Maharaja
(20 Maharajas of Royal Mukne koli Family, From 1343 up till now)
2. Katosan (?) (clarification needed) - Thakur Keshri singh Makwana Koli
3. Ambil aara - Thakur Jalim singh Khant koli
4. Thodasar - Thakur Fatah singh Dabhi koli
5. Athamma - Thakur Suraj singh Baria koli
6. Khadal - Thakur Fateh Singh Makwana koli
7. Dhaama Thakur Mohan Singh Makwana koli
8. Illol - Thakur Shiv singh Makwana koli
9.Punavra - Thakur Abha singh Makwana koli
10.Gaabar - Thakur Roop singh Makwana koli
11. Raamaas - Thakur Man Singh Makwana koli
12. Bhalusara - Thakur Ratan singh koli
13. Satlasna - Thakur Bhupat singh koli
14. Tajpuri - Thakur Mohbbat singh Makwana koli
15. Timba - Thakur Sardar singh koli
16. Umari - Thakur Jaswant Singh Chauhan koli
17. Batkapur - Thakur Baaje singh Makwana koli
18. Hadol - Thakur Jawan singh Thakor koli
19. Hapa - Thakur Himmat singh Makwana koli
20. Kadoli - Thakur Kuver singh Makwana koli
21. Kondanna- Nag Naik koli
22. Mahabaleshwar - Tanaji Rao Malusare koli
23. Dehradun - Kolya Negi koli Raja
24. Pauri Garhwal - Bhaadwa Singh koli
(Numbers of forts of koli Rajas in pauri Garhwal)
25. South India(Nutshell) - Mudirajas, Tuluva Mudiraj Bunts (Krishnadevaraya family)
,Muthurajas, Mudiraj Bunts , Bedar Valmiki Nayakas,
Cholas, Vellalars, Mutharaiyars,araiyars, Ganagaputra Koliyas.
(Whole south india having numerous forts and Koli Rajas).

Note: - Sub caste of Koli Kshatriya in india : -
1. Mukne, 2. Malusare, 3. Dabhi 4. Parmar, 5. Solanki, 6. Vaghela 7. Makwana, 8. Thakor 9. Baria, 10. 11. Rathod, 12. Chauhan 13.Gohil 14. Khant, 15. Wagdiya, 16. Verma, 17. Divecha, 18. Negi, 19. Patel, 20. Bisht , 21. Shakya, kori , 22. Rawat 23. Mahawar 24. Mahaur 25. Sankhwar 26. Bunkar 27. Kashyap 28. Bhuiyar 29. Kabirpanthi 30. Tantuvay 31. Mahadeo 32. Koli Rajput 33. Mudiraj 34. Muthuraja 35. Arayar 36. Gangaputra 37. Bedar Valmiki Nayaka 38. Valaiyar 39. Vellalar 40. Mudliar
42. Chola 43. Mutharaiyar 44. Mudiraj Pillai 45. Mudiraj Bunts Shetty 46. Mudiraj tuluva bunts.

Pallava Dynasty

Muthiriyars ( Mutharayars = Mudiraj ) are termed to be a set of people having resemblence with pallavas. One section of the Palli or Pallava tribe, called the Muttarasar ( Telugu Muttaracha ) ruled in the Chola country, first as feudatories of Pallavas and then of the Pandya kings, during the eigth century A.D. According to some historians, Mutharayars are the descendants of Pallavas. Palli, Ambalakaran, Muttiriyan and Nattaman belong to one group of people belonging to Muthuraja community.

Alternate people names of Agamudaiyan are Agambadia, Ambalakaram, Maruar, Marumaravar, Mudaliyar, Muppan,Mutracha, Muttiryan, Nattaman, Parkavakulam, Pillaimar, Sanagara, Sekkan, Servaikaran, Udaiyan, and Valaiyan.

It was during this period that Naladyar was composed under the auspices of Muttarasa governers. They are still to be found in the North Arcot district under the name of Talaiyaris, and many poligars of Chittor and other minor rulers of this class. Of such tributaries were the kings of Tanjore, who ruled in the 8th century with vallam, near tanjore, as their capital. Talari / Talaiyari is a surname of Mudiraj and also that of valmikis. We already know that Valmikis are a subsect of Mudiraja / Muthuraja community and Mutharayars are the descendants of Kalabhras.

The ancient Chola kingdom once famous in Tamil literature and in the writings of Greek merchants and geographers faded in to darkness after c 300 C.E. The Tamil country was invaded by a non-Tamil people from the north and north-west. These people – known as Kalabhras – are a mystery to historians. Their origin is unknown. It has been speculated that they were adherers to Jainism and later to Buddhism. Kalabhras subjugated the Tamil country after defeating the ancient Chola, Chera and Pandya kings. There is scant evidence either from literature or from archaeology regarding these people.

The Kalabhras ruled over the entire Ancient Tamil country between the 3rd and the 6th century C.E. in an era of South Indian history called the Kalabhra interregnum. The Kalabhras displaced the kingdoms of the early Cholas, early Pandayan and Chera dynasties.

The Pallava were a Southern Indian dravidian Tamil dynasty who established their capital at Kanchipuram in early the 4th century CE. The Pallavas dominated the northern parts of Tamil region until the end of the 9th century for about six hundred years. The origins of the Pallava still remains a mystery. A number of hypotheses and views have been proposed on the origin and ethnicity of the Pallavas.

Pallavas rose in power during the reign of Mahendravarman I (571 – 630 CE) and Narasimhavarman I (630 – 668 CE) and dominated the Telugu and northern parts of the Tamil region for about six hundred years until the end of the 9th century. The Pallava dynasty ruled northern Tamil Nadu and Andhra Pradesh with their capital at Kanchipuram.

The origin of Pallavas is a subject of speculation. They were perhaps the descendents of the Saka-Pahlava-Kambhoja warriors from Northwest India. They have settled in the Guntur region of Andhra Pradesh. This area is still referred to as Palnadu or Pallava Nadu. Initially, they were the vassals of Satavahana kings. Pallavas gained prominence after the eclipse of Satavahanas. As they grew more powerful, a branch of Pallavas had migrated to the Tamil country and established one of the most cherished kingdoms in Tamil history. Their capital was Kanchi, close to the border between Tamil and Telugu lands.

Pallavas seems to be a section of Thondamans to whom the Kalabras also belong. It seems that Pallavas established their independent dynasty slightly before Kalabhras attacked all the established dynadties - Chola, Chera, Pandya and also Pallava. The Pallava invasion of Cholas country might have prompted Kalabras to undertake their invasion of the entire South India

The Pahladpur inscription (located in Pahladpur village in Uttar Pradesh State) which is datable to first few centuries of our era , is believed to be a record of the Pallavas in the north and they speak Tenugu. This depends upon correct reading of the term "Parthivanikapalah" figuring in the said inscription. This expression has been translated as "the protector of the Parthavas army". It has been pointed out that term Parthava here is equivalent to Sanskrit Pahlava. Though the term Pahlava indicates the name of a tribe and Pallava that of a ruling family, it has been pointed out that a tribal name Pahlava could easily turn itself into Dynasty name Pallava.

Pallavas were Telugu speaking people
Palnadu is the northern region of Guntur District in the Indian state of Andhra Pradesh. Also known as Pallava Nadu, it occupies an important place in Telugu history. This indicates that Pallavas were originally Telugu warrior people. The war of Palnadu was primarily a war of various Kalchuri faction from Andhra and Maharastra, who were matrimonially aliened.

Pallavas could be a branch / variants of Kalabhras
We know that historians are of the opinion that Mutharayars ( Mudiraj) are the descendants of Kalabhras who were in turn are believed to be the descendants of Kalchuris or a variants of Kalchuris. We laso know that one section of the Palli or Pallava tribe was called the Muttarasar ( Telugu Muttaracha ). Along with Chola, Chera and Pandyan dynasties, the Pallava dynasty was also engulfed by Kalabhras, the ancestors of Mutharayars. This leads us to speculate that a section of Kalabhras who later came to be known as Mutharayars might have merged with Pallavas for political reasons.

Kalabhras are believed to basically belong to Vengadam ( Thirupathi). The father of Padmavati and the father-in-law of Balaji is said to be a Tondaman Raja. The Pallava kings at numerous places are termed as Tondamans or Tondaiyarkon. The word Tondan in Tamil means slave, servant, adherent or assistant and can either be suggestive of the subordinate position the Pallavas bore to the Satavahanas or reflect a dominant position pallavas enjoyed at the time of satvahanas. On disintegration of the Satvahana authority, the Pallavas avowed themselves and invaded a large part of Chola province but the soubriquet Tondon stayed and their region also came to be known as Tondamandlam. The word Pallava is a translation of Tamil word Tondaiyar and Tondaman and this discovers corroboration in various copper plate charters that bring in `tender twigs` (pallavams) of some kind in association with the eponymous name Pallava`.

Pallava Aparajita was the grandson of Ganga Muttarasa kings from their daughter Vijaya, who married Pallava Kampavarman. The Pallava copper plate ( earlier than 900 A.D) found at the Village Velanjeri near Thiruttani on the top of Thiruttani hill by the Pallava ruler Aparajitavarman who is portrayed as a great devotee of Lord Subrahmanya. The present Velanjeri copper plate mentions that Aparajita was the son of Pallava ruler Kampavarman through a Ganga Princess whose name is given as Vijaya. This passage further shows that Kampavarman and his son Aparajita had the able support of the Ganga chieftains.

After the decline of the Satavahana dynasty, the Pallavas became independent in Krishna river valley. The region is known as Palnadu in memory of ancient Pallavas. The war of Palnadu in the 12th century is marked in legend and literature as 'Andhra Kurukshetra War'. The war of Palnadu weakened the power of Vengi Chalukyas and paved way for the emergence of Kakatiyas as a great Telugu dynasty.

Mutharayars inspite of their political rivalry mixed very well with Cholas, Pandyas and also Pallavas through matrimonial alliances. Thus we can come across Mutharayar clans such as Chola Mutharayars, Pandya Mutharayars and also Pallava Mutharayars.

Webmaster
Kokolu Anka Rao
Date-13/11/2009
Nagpur, Maharastra, India.

PAZHUVETTARAYAR-MUTHARAYAR KING OF KERALA.

Pazhuvettarayar was sundara chozhan's treasurer, a battle-hardened old warrior, and a powerful nobleman.

During the period of the Chola dynasty, when Uraiyoor was the capital of the Chola kingdom, the Cholas had many local kings who were their supporters. One among them called Pazhavettarayar ( from the Muthurayar community ) was the king of Pazhuvoor. The name of Periya Pazhuvettarayar was Ambalavaanan. It is mentioned in the ASI board kept outside the keezha pazhuvur temple. Paluvettaraiyar Maravan Kandanar is noted as an important general during Uttama Chola reign. He also served under Sundara Chola. We will have lot of difficulties fitting them into the historic pazhuvettaraiyar chronology.

Paluvettarayar = Pzhavettarayar

They were petty chiefs who were ruling present Kila-Paluvur and Mela-Paluvur, in the Udaiyarpalayam taluk of the Tiruchirapalli district, during Chola kingdom with the title Paluvettaraiyar, (which is one of the family name of Kallar community). They were responsible for a number of benefactions to the temples at this place and to have been related to the Chola by marriage. The Kallars are one of the warrior tribes of Mudiraja / Muthuraja community.

Paluvettaraiyar figures largely in the inscriptions copied at Kila-Paaluvur and Mela-Paluvur in the Tiruchchirappalli District. A.R. No. 231 of 1926 dated in the 12th year of Parantaka, that Paluvettaraiyar Kandan Amudanar fought, on behalf of his Chola overlord, a victorious battle at Vellur against the forces of the Pandya king and his Ceylonese ally, in which the Pandya lost his life.

Kilappaluvur is part of the ancient settlement of Perumpaluvur ruled by Paluvettaraiyar chieftains (under the hegemony of the Chola Kings) who had also connections with the Cera clan in the west coast. Kilappaluvur is in Trichi-Ariyalur route leading to the ancient Chola capital of Gangaikondacholapuram.

Acertain Ambalavan Puluvur ( Pazhuvur) Nakkan figures very often in the records of Parakesari and Rajakesari. His Chola overlords were Uttama Chola and Rajaraja - I. Vikrama Chola was a title borne by Uttama Chola and his subordinate Ambalavan Paluvur Nakkan also bore the same title. Similarly when he figures in the records of Rajaraja-I, he is known as Ambalavam Puluvur Nakkan alias Pallavuarayan .

His exact relationship with the main line of Paluvettaraiya mentioned above is not known. In the time of Uttama Chola he figures as one of the noble men of the king's council. He was a devotee of Shiva. In the 10th regnal year of Uttama Chola, Ambalavan Puluvur Nakkan gave sheep for burning a perpetual lamps to the temple of Vijayamangalam. In the 12th year of Uttama Chola also he gave sheep to the same God for four perpetual lamps. His wives were also interested in making donations to the Shiva temples. Aparajita Cheyyavaymani and Singapanman Kanji Akkan the two wives of Ambalavan Paluvur made provision for the burning of perpetual lamps in the temple constructed by their husband.

The Lord Pazluvoor, the elder, - Ambalavan An important and powerful chieftain, - Officer of Taxation, Food Supply and Finance for the Chozla Empire, elder brother of Kalanthaka, Nandini's husband, about 65 years old. The Lord Pazluvoor, the younger, Kalanthaka - Commander of Tanjore Fort, Captain of the Guard Corps.

An important general during Uttama Chola's reign was Paluvettaraiyar Maravan Kandanar, who also served under Sundara Chola. His son Kumaran Maravan also served Uttama Chola. Ambalavan Paluvurnakkan (also known as Vikramasola -Maharajan of Kuvalalam) features during Uttama Chola's rule and continues into Rajaraja I's reign.

Pazhuvettaraiyar mystery ( of Kerala origin ) :
The famed pazhyvettaraiyars immortalised in ponniyinsevan were of kerala origins. But how they came and settled in a chola heartland and managed to survive in very high ranks is a mystery. Their relationships with cheras is not clear. The major chera - chola relationship starts with aditya chola but become more concrete in parantaka's times with his marriage of chera princes.

The king Parantaka married the daughter resembling regal glory incarnate of the Kerala king, who was also called Paluvettarayar. Uthama Chola had among others, a queen named Panchavanmatheviyar who was the daughter of the Chera king Paluvettaraiyar also known as Kandan Sundera Cholan. ( Rajaraja Chola - 1 had a queen known as Panchavanmathevi who was the daughter of Paluvettaraiyar Kandan Maravan the Chera king of Paluvur on the west of Thirutchirappalli bordering Kerala state ?? ) He also had a queen known as panchavanmathevi who was the daughter of Paluvettaraiyar Kandan Maravan the Chera king of Paluvur on the west of Thirutchirappalli bordering Kerala state. It was to this Vanavanmadevi the greatest emperor in the Chola history namely the Rajendra Chola ? 1 was born

Pazhuvettaraiyars enjoyed atleast 1 to 1.5 centuries of royal life - parantaka, arinjaya, kandarathitha and uttma times but completely lose their ground in rajaraja's times - never to appear again.

Like their entry, their exit is also something that cannot be explained. Pazhuvoor Nakkan panchavan mahadevi may have been his queen - but pazhuvettaraiyars almost vanished at the time of rajaraja.

It should be remembered that rajaraja was the first chola king to wage war against cheras breaking several decades of relationship. He ravages kerala.

Paluvettaraiyars, from the region of Thiruchirapalli, closely associated with the Cholas from the time of Parantaka I when he married a Paluvettaraiyar princess, occupying a high position in the Chola administration. They apparently enjoyed full responsibility and administration of the region of Paluvur. Adigal Paluvettaraiyar Kandan Maravan had been one of the names of those feudal chieftains found in inscriptions.

Aditha Chola was succeeded by his son Paranthaha Chola (A.D.907-953) on the Chola throne. He married Udaiya Pirattiyar Kokkilan Adigal daughter of the Chera king Rama Varma of Kulasekara dynasty. He also married the daughter of another Chera king Paluvettaraiyar Kandan Amuthan named Arumoli Nangai ruling from west Paluvur of the present Tirutchirappalli in Tamil Nadu bordering Kerala. He had a further queen by the name Villavan Mathevi probably the daughter of the Venad King of the Chera country, who refer themselves as “Villavar’.

Dr.Kalaikkovan has written a monumental book on Pazhuvettaraiyars called "Pazhuvur Pudhaiyalgal". He traces the genology of Pazhuvettaraiyars with great accuracy - in this book. This is a reseach work on mela pazhuvur and kila pazhuvur temples. Dr.Nalini and Akila did PhD on these temples - I.

Periya pazhuvettaraiyar based on udaiyargudi inscriptions : we need to refer "Pazhuvoor Pudhaiyalgal" by Dr.R.Kalaikkovan before speculating further. The last few pages of the book give a detailed chronology along with years. In the book, there are names like Kumaran Maravan, Maravan Kandan etc - all taken from names mentioned in epigraphs found at Avani gandarpa easwaram temple at pazhuvoors. The person we are talking about was a mutharaiyar chief as evident from title "sozha ( Chola) mutharaiyan". Pazhuvetaraiyars bore the title "Pazhuvetaraiyan kandan maravan" etc.

The twin temples of Agasthiswara and Chiliswara, situated in Kilaiyur, near Keezhapazhuvoor provides us with the following information: " The powerful chieftains of Kilapaluvur, known as Pazhuvettaraiyars were connected by marriage to the Cholas. Parantaka I was married to a daughter of this family. There is a reason to believe from certain inscriptions that they were originally from Kerala. Sambandar the tamil saint-poet also indicates that the family who worshipped the deity at Paluvur were from Kerala."

The Chera king had the title Villavar Kon indicating Villavar clans founded the ancient Chera Kingdom. The Emblem on the flag of Cheras was Bow and Arrow. The Chera kingdom was founded by the integration of various Villvar tribes such as Vanavar, Puraiyar, Velliar and Pazhuvettaraiyars.

The first Lord Pazluvoor, the elder, - Ambalavan An important and powerful chieftain, - Officer of Taxation, Food Supply and Finance for the Chozla Empire, elder brother of Kalanthaka, Nandini's husband, about 65 years old. The second Lord Pazluvoor, the younger, Kalanthaka - Commander of Tanjore Fort, Captain of the Guard Corps.

Chola = Choza

Aditha Chozha was succeeded by his son Paranthaka Chozha in A.D.907 and the latter ruled up to AD 953). He married Udaiya Pirattiyar Kokkizhaan Adigal daughter of the Chera king Rama Varma of Kulasekara dynasty. He also married the daughter of another Chera king Pazhuvettaraiyar Kandan Amuthan named Arumoli Nangai ruling from west Pazhuvur of the present Tirutchirappalli in Tamil Nadu bordering Kerala. Still another of his queens was Villavan MaDevi probably the daughter of the Venad King of the Chera country, who refer themselves as "Villavar'. Paranthaka Chozha-1 had an elder son by Kokizhaanadigal named Rajadithya, a second son by the name Kandaraditha and a younger son by Arulmoli Nangai named Arinjayan. A native of Nandikkaraiputtur of Kerala Country named Velankumaran was the general of the Chozha Prince Rajadithya. This Prince was unfortunate to die very young, while engaging in a war with Thondainadu.

After the demise of Sundara Chozha, his son Rajaraja 1 was of course the legitimate heir to the Chozha throne, but he whole-heartedly gave the throne away to Uthama Chozha (A.D.970-985) the son of Kandarathitha Chola . Uttama was his uncle. Uthama Chozha had among others, a queen named Panchavanmatheviyar who was the daughter of the Chera king Pazhuvettaraiyar known as Kandan Sundara Chozhan.

Uthama Chozha died in the year A.D.985, and was succeeded by the rightful heir Rajaraja Chozha-1{A.D. 985-1014}. One of Rajaraja's queens was Villavanma Devi the daughter of the king of Venadu of Chera country. He also had a queen known as Panchavanmathevi who was the daughter of Pazhuvettaraiyar Kandan Maravan the Chera king of Pazhuvur on the west of Thiruchirappalli bordering Kerala state. It was to this Vanavanmadevi that the greatest emperor in the Chozha history namely Rajendra Chozha 1 was born.

The great honeymoon relation between the Cheras and the Chozhas was soon in peril, because of the expansive ambitions of Rajaraja and his son.

The Pazuvettaraiyar clan has been around since the time of Vijayala Chola's time. Because of their close ties to the royal family and their achievements, the family had the special rights to fly their own clan flag. There were two brothers of which the current elder Pazhuvettariyar held several important positions in the govt. The only one I understood was that he collected tax and dues from the smaller kingdoms that were under the Chola rule. At this point, we know that the current Chola king goes by the name, Sundara Chola.

Ponniyin Selvan Novel
Pazhuvettarayar is one of the important character in Ponniyin Selvan Novel. From the time of Vijayalayan the Pazhuvettarayar clan had enjoyed a tremendous influence in the Chozha empire. Periya Pazhuvettarayar was Sundara Chozhar's chancellor and Chinna Pazhuvettarayar, the Commandant of the Thanjavur fort. Sundara Chozhar trusted them implicitly and wished never to do anything against their wishes.

Ponniyin Selvan" is a fictional saga of epic proportions with a historical background. The Chola king Sundara Chozha is on his death bed and has announced his eldest son Aditya Karikalan as the crown prince. The people of course love the second prince Arul Mozhi Varman and many want him to become the next king.

There's also Nandini, the bewitching beauty, with a mysterious past who wants to take revenge on Sundara Chozha's clan including the two princes and their sister princess Kundavai.

In any story, there is a hero and a heroine. In some stories one of them may be a negative character. Pazhuvoor Illaiya Rani Nandhini is one such character in Ponniyin Selvan. She occupies most part of the story, she is the most beautiful woman in the story, she is talented yet she is the Bad Girl. Now Vandhiyathevan is trapped in her deceitful plot.

The bewitching Nandhini was the wife of Chola chief general Periya Pazhuvettarayar (who was aligned with Madhuranthakar) and unknown to her husband is involved with a group of Pandya conspirators who are plotting to destroy the Chola family.

The Pazhuvettarayars and a number of Chozha princes hated Aditha Karikalan, because of his boorish manner and hasty temper. Karikalan's sister Kundavai Piratti and brother Arulmozhi Varman, had endeared themselves totally to the people of the Chozha country.

Therefore the princes were jealous of them also. Due to these reasons the princes wanted to crown Maduranthaka Thevan as per the law of succession. They resolved to do so, in a secret conclave, which they held in the palace of Kadambur Sambuvaraiyar located in the north bank of the Kollidam. It so happened that the proceedings of the secret conclave came to the notice of the Vana warrior, Vandiyathevan.

As a child Nandini grew up in the house of a temple priest in Pazhayarai and drew Aditha Karikalan's attention. Kundavai however was jealous of her beauty. Even as a child Nandini was sent to the Pandya country as ordered by Sembiyanmadevi. In the final battle with the Pandyas, Aditha Karikalan went in search of Veerapandyan and found him in Nandini's small hut built on the bank of the Vaigai. Nandini pleaded with him to spare Veerapandyan. Unheeding, Karikalan beheaded Veerapandyan.

Later Nandini married the old Periya Pazhuvettarayar. The conspirators Ravidasan, Revadasan, Soman Sambhavan and Kiramavithan, the erstwhile bodyguards of Veerapandyan had sworn to exterminate the Sundara Chozhar clan to a avenge Veerapandyan's death. Nandini helped them secretly.

The novel begins when Aditya Karikalan sends the warrior Vandiya Thevan to Kundavai with a message....... and from then on it is an absorbing ride full of action, drama and palace intrigue. Now, the complete novel is available in English in 5 volumes (six actually since Part V is in two parts). Check out the collection containing all the 6 books.

South Indian Inscriptions - volume XIX - inscriptions of Parakesari Varman

No. 332 : (A.R. No. 165 of 1929): On the west wall of the same shrine - This states that Ambalavan Paluvur-Nakkan alias Vikramasola-Marayan of Kuvalalam (Kolar) the Perundaram of Uttama-Choladeva built of stone the Srivimana of the temple of Vijayamangalatu-Deva at Periya Sri-Vanavanmadevi-chaturvedimangalam.

No. 333 :(A.R. No. 166 of 1929) : On the same wall - This records a gift of 96 sheep for burning a perpetual lamp with an ulakku of ghee everyday in the temple, by Aparayitan Seyyavaymani wife of Ambalavan Paluvur-Nakkan who built this stone temple. This is an inscription of Uttama-Chola.

South Indian Inscriptions - Volume XIII -Chola Inscription
12. A dynasty of chiefs known as the Paluvettaraiyar figures largely in the inscriptions copied at Kila-Paaluvur and Mela-Paluvur in the Tiruchchirappalli District. They seem to have held positions of power and influence under the Cholas from the time of Parantaka I and to have been related to the royal family by marriage. We find it mentioned in A.R. No. 231 of 1926 dated in the 12th year of Parantaka, that Paluvettaraiyar Kandan Amudanar fought, on behalf of his Chola overlord, a victorious battle at Vellur against the forces of the Pandya king and his Ceylonese ally, in which the Pandya lost his life. To commemorate this success the Commander Nakkan Sattan of Paradur made a gift of a perpetual lamp to the temple of Tiruvalandurai-Mahadeva at Siru-Paluvur.

It is perhaps this Amudanar who is referred to in the Anbil Plates of Sundara Chola as a Kerala prince whose daughter was married to Parantaka I and bore him prince Arinjaya (Ep. Ind. Vol. XV, p. 50). By 'Kerala prince' should be meant a relation of the Chera king, since we know that the Chera contemporary of Parantaka I was Vijayaraghavadeva (A.R. No. 169 of 1912), the probable successor of Sthanu-Ravi the friend and ally of Aditya I (S.I.I., Vol. III, No. 89). He must have taken service under the Chola like the Kerala general Vellankumaran under prince Rajaditya (A.R. No. 739 of 1905), and his help of Parantaka might have been suitably recognized by the king by the grant of chief ship over a large tract of land. Tappildarma Pallavaraiyan to whom we were introduced on P. IV as the perundaram of Arinjaya calls himself a Paluvettaraiyan.

A descendant of Kandan Amudanar – probably his son – was Paluvettaraiyar Maravan Kandanar who finds prominent mention in the records of Sundara-Chola and his successor Uttama-Chola. He is represented in this volume by five inscriptions dated between the 10th and 13th years of the reign of the former. Nos. 208, 215 and 344 state that with the permission of this chief, the Nagarattar, the Todapatti-Chettigal and the authorities of the two temples at Paluvur had it engraved on stone that he manrupadu takes payable by them were to be on the same lines as at Nandipuram. It is of interest to note here that the rules obtaining at Nandipuram were regarded as model for some other villages also. An instance of this is to be found in C.P. No. 10 of 1913-14 referred to in para. 10 above, wherein Malavaraiyan Sundarasolan, the same as Kolli-Malavan Orriyuran is stated to have ordered the adoption of the rate prevailing at Nandipuram in collecting the taxes on house-sites, etc., in his region. No. 236 registers an assignment of 24 veli of land at Pasungulam on permanent lease to a private individual with certain obligations to the temple, under the orders of the same Paluvettaraiyar Maravan Kandanar, thus reflecting the chief's high estate.

17. The chiefs of the Paluvettaraiyar family who figured in the inscriptions of Sundara-Chola are mentioned in the records of this reign also, wherein they are referred to in terms of respect implying the high position they were still holding. Nos. 98 and 171, dated in the 4th and 7th years of the king and No. 298 of the 22nd year mention respectively Paluvettaraiyar Kandan Maravan and Paluvettaraiyar Kumaran Maravan. It is not clear whether the two names refer to one and the same person, or to father and son, which seems more probable. From No. 98 we learn that Kandan Maravan had founded the temple of Tiruttottam-Udaiyar at Mannupperumpaluvur in Kunrakkurram, and that he gave all the right of worship therein to a resident of Tiruchchiruvalandai on the representation of the supervisor of the temple, while he was staying at Senapuram in Maladu. No. 298 says that under orders of Kumaran Maravan a certain Vadugan Madhavan of Poygaikkuruvidam reclaimed a portion of devadana land at Uragankudi and gave it to the temple of Avanigandharva-Isvaragarattu-Mahadeva.

Still another member of the Paluvettaraiyar family besides Kumaran Maravan mentioned above, if not identical with him, was Palavettaraiyar Kumaran Kandan figuring in No. 235. By a slight misinterpretation in the text of this record the chief has been taken to be son of Pagaividai-isvarattu-Devanar, whereas the latter's son was correctly Nakkan Pudi, who under orders of Kumaran Kandan brought some fallow lands at Uragankudi under cultivation and presented them to the temple for the maintenance of two lamps. Two daughters of this Devanar of Paluvur are also known one of them being Nakkan Akkaranangai who was married to a Chera prince (No. 153) and the other, Nakkan Panchavanmadevi, a queen of Rajaraja I (A.R. No. 385 of 1924)

Pazhuvoor (Paluvur / Pazluvoor)
Pazhuvoor is a small developing village near Samayapuram in the Trichy Chennai Highways. There is also a place called Pazhuvoor in the Ariyalur District of Tamilnadu. We can find that Karthikeya or Skanda, one of the sub-dieties or Parivbara Devatas, adorning the walls of early Chola period temples at Pazhuvoor on the banks of the river tamiraparini.(Thamraparni).

Melapazhuvur (near KeezhaPazhuvur) where Pazhuvettaraiyar (of Ponniyin selvan fame) belongs to: The Shiva temple is big and in ruins. At Mel Pazhuvur, the AvaniGandharpa Easwaram (mentioned by Gokul)- built by the great Pazhuvettaraiyars at the height of their powers.

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