The present communication is the outcome of such an endeavour. ![]() 1988, 1989) wanted me to examine the wooden sculptures in the context of the hymns of Ammaiyār. Parthiban and Raju Kalidos visited and photographed the tēr some five years ago Raju Kalidos (cf. When a team of our scholars, including R.K. The Nāyakas of Maturai gave a fresh impetus to the revival of the bhakti traditions adumbrated by the Āḻvārs and the Nayaṉmār (Parthiban 2016: 1-23). ![]() The tēr on the site is a later medieval work datable to the 16th century CE maybe a contribution of the Nāyakas of Maturai (Aiyer 1924, Rajarajan 2006) who had their metropolis at Tiruccirāppaḷḷi for some time. the Tēvāram) who propagated the bhakti cult during the 7th-8th century. For this purpose we have selected a temple car (Tamil tēr, Sanskrit ratha) from Tirupparāyttuṟai (base of Śrī Rāmakrishṇa Maṭha on the way from Tiruccirāppaḷḷi to Karūr) an important center of Śaivism from the most ancient period onward extolled in the hymns of the Tamil mystics (e.g. ![]() ![]() 500 CE Zvelebil 1974: 91), familiarly known as Ammaiyār (the Mother) in Tamil Śaiva lore and try to find some correspondence between the ideas aired in her poems and the later medieval phase of Śaiva iconography. The aim of this brief communication is to present a summary of the hymns of Kāraikkālammaiyār (c.
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