Thiru Kameswarar temple: A Living Heritage Reawakens

It was a Pradosham evening. Around 5 pm, we parked our car at the temple entrance. The first act, as always, was to offer our respects to Surya Pillayar—a magnificent, towering form of Ganesha, striking in both scale and presence right at the entrance. From there, we walked barefoot into the ancient Kaameswarar Temple at Madavilagam, Kalkulam village, carefully watching our steps on the rough terrain.

Kalkulam is our ancestral village. Senthil’s thatha and paati lived here, and every visit stirs a deep yearning in my heart—that someday, this temple must be restored. That long-held wish has now been answered. Restoration work has finally begun.

This quiet village lies off the ECR, beyond Kalpakkam. After crossing the Paalar bridge, one turns right at Kathaankadai and drives via Anaicut for about 12 kilometres. Google Maps leads you without fuss. Alternatively, one may approach via the Chengalpattu–Madurantakam National Highway, turning left at Padalam and driving about 27 kilometres through Thachur, Karuppur, and Nelvoy.

The temple makes for an easy day trip from Chennai and can be combined with visits to nearby sacred sites such as Natham Champakeswara Temple, Parameswaramangalam Kailasanathar Temple on the banks of the Paalar, the Vijayanagar-period Vittala Temple on the ECR, and the Thiruvidanthai Nitya Kalyana Perumal Temple, one of the 108 Divya Desams. En route, devotees can also visit Sthala Sayana Perumal at Mamallapuram, another Divya Desam.

As we entered the temple, five villagers sat in a circle in the stone-pillared mandapam. There was an easy camaraderie among them—light-hearted banter, shared laughter—while their hands worked diligently, cutting fruits for the sacred Panchamirtham, to be used in the Pradosha Abhishekam for Lord Shiva and his devoted Nandi. Before the rituals began, I completed a quiet pradakshinam.

Stone inscriptions within the temple grounds stand as testimony to its Pallava origins, dating back over 1,300 years. While the temple retains its Pallava architectural core, later Chola and Nayak contributions are evident in several additions. Stucco figures of celestial beings and a metal bell from the British period add further historical layers to this sacred space.

Standing before Lord Kameswarar in Shiva Lingam form, I then walked through the praharam, admiring the sculpted pillars—likely Nayak additions. Kariya Manikka Perumal, facing west with Sridevi and Bhoodevi, stood majestically. His orientation is unusual, suggesting that He might have been added later from somewhere else. The Lord holds the Sudarshana Chakra as a Prayoga Chakram, poised in divine readiness to protect devotees and destroy evil.

Moving ahead, my eyes rested on the divine line up —Lord Ganesha followed by the Naalvar saints: Appar, Sundarar, Manikkavasagar, and Thirugnanasambandar. Nearby stood the Saptha Maathrikas, whose symbolism I was reminded of through a recent discourse—seven manifestations of Shakti, each corresponding to an endocrine centre/the chakras in the human body, a remarkable convergence of spirituality and ancient wisdom.These Saptha Maathrikas as well as the Naalvar saints are a common feature in several temples. My mind voice was chanting Parashaktih paranishtha pragyana ghanarupini Madhvi panalasa matta matruka varnarupini.

One of the temple’s most striking features is the life-sized Vyagrapadhar (Puli Kaal Munivar). Legend says he worshipped Lord Kameswarar with Vilva leaves at several temples in Thondai Naadu, and this murthy is believed to be the largest of its kind in India. Standing before him, I realised this alone makes the temple uniquely significant.

After offering prayers to Dakshinamurthy, serene in yellow and seated in deep meditation, I proceeded to the Murugan sannidhi in the north-east corner crossing the Vishnu Murthy at the Goshta/Niche behind the garbagriham.

With six faces and twelve hands, astride his peacock and flanked by Valli and Devasena, the Lord radiated grace. Vaikasi Visagam is especially sacred here, drawing villagers who fill the long stone corridors with chants of “Vetrivel Muruganukku… Arohara!”

Sunlight streamed in through small windows lining the praharam. Through one, I glimpsed the temple tank, brimful with water, while another tank at the front lay dry. The floor was adorned with beautiful kolams drawn by village women. After worshipping Durga and Chandikeswarar in the goshtas, I bowed to the south-facing Kaala Bhairavar before returning to the mandapam.

By then, the temple had come alive. Devotees arrived carrying milk in steel thookus, flowers, and coconuts. Panchamirtham awaited its sacred purpose, water vessels were arranged, and archanai trays placed around Nandi and the wooden kodimaram. Children ran freely, joyfully—so unlike city children searching for entertainment via devices. Teenage girls wore bright churidhars; a newly married woman, visiting her maternal home, was surrounded by friends her age enquiring about her new life. A pregnant woman, in post valaikaapu state, sat comfortably against a pillar, her mother watching over her. Her glass bangles tinkled while she basked in all the attention.

The  electric drums thundered signalling that the Abhishekam was about to begin. As devotees lined up, bronze utsava murthis gleamed in the background. My eyes lingered on Nataraja and his Thookiya Thiruvadi—utterly mesmerizing. Tore my eyes away to witness the Sandhana Abhishekam on the moolavar/main deity.

After the Abhishekam for Kameswarar, Nandi’s Abhishekam followed. Kokilambaal, adorned in a radiant orange sari, appeared resplendent—small in stature, immense in grace. It is said that both Kameswarar and Kokilambaal fulfil devotees’ wishes, and it showed in the many villagers named Kokila and Kamesh.

Temple restoration is now underway—perhaps after centuries. Once the stone walls were cleaned, countless sculptures revealed themselves in the inner praharam. The Pallava core, Chola expansions, and Nayak artistry now stand visible once again. Inscriptions on the rear of the main sannidhi await scholarly deciphering, holding untold stories of devotion and patronage.

Be a Part of This Thiruppani

Devotees who wish to contribute to the ongoing restoration may do so through:

• Bank: HDFC Bank
• Branch: Shenoy Nagar
• Account Name: Samskaara Trust
• Account No: 50100857137732
• IFSC Code: HDFC0001587

May this ancient temple stand renewed, its grandeur restored, its single-kaalam pooja blossoming into three-kaalam worship, drawing devotees and sustaining the Gurukkal who serve here.
May Vyagrapadhar samedha Kameswarar and Kokilambaal continue to bless all who enter this sacred space.