The more recent temples are, the greater the chances of discovering a few historical elements and thus of knowing the conditions of their foundation. This is the case with the Mailam temple, which is not earlier than the beginning of the eighteenth century. The study of this temple enables one to observe interactions between well-known and established mythical traditions and local realities, as well as showing how these two aspects intervene both in the story and in the iconography.
Mailam is located fifteen kilometres from Tindivanam and thirty from Pondicherry. The temple, situated on a small hill (fig.1), is connected with a village on the Coromandel coast, Bomayapalaiyam, very near Pondicherry, where a Vera Saiva mutt is found (fig.2). According to the name, bomma or bomme, derived from bra$hmana.1 This was a village donated to Brahmans, as is confirmed by the sthala pura$na in which Bomayapalaiyam is also named Brahmapuram. The street leading to the mutt is still called agraha$ra.
It is known from the private diary of Ananda Ranga Pillai, the dubash under Dupleix, that Dupleix visited, in 1744, the head of the mutt and offered him a few yards of cloth and bottles of rose water.2 In another passage, dating from 1746, Ananda Ranga Pillai mentions that the swa$mi of the mutt cities three pontiffs during this twenty-four year period. Be that as it may, of interest is what Ananda Ranga Pillai has to say regarding the succession to the swa$mi. First, he states that a certain Turaiyar Pachai Kandappaiyur, who was leading an ascetic life in Palani, was installed as head of the mutt.4 However, four days later, he corrects himself to say that Turaiyur Pachai Kandappaiyur, who had come to install the new pontiff of the mutt, desired to visit Pondicherry before returning to Turaiyur.5 This shows that Palani had control over the mutt. All the heads of the Bomayapalaiyam mutt are named Sivan~a$n\a Ba$la Siddha, which calls clearly to mind that Palani is a hill inhabited by siddha-s and devoted to Murukan\, or more specifically, to Murukan\ in his form of ascetic and young (ba$la) god. These two aspects are generally concomitant, probably on the basis of their connotation of innocence and purity.
According to the sthala pura$n@a of Mailam, it was the duty of S'an^kugan@a, a gan@a in Siva’s following, to stand guard at the grove where Pa$rvati$ was bathing. He failed in this task as he did not prevent Siva from entering and, because of this, he was cursed by Siva, who announced that he would have to fight with Murukan\ and teach the vedasaiva$gama-s for many years.
Having been thus cursed, the gan@a, in the form of a young child named Ba$lasiddha, descended to earth, to the village of Bomayapalaiyam. Knowing that he could be liberated only by Murukan\, and following the advice of Na$rada, he went to Mailam, the hill whose name is linked to the peacock of the god (mayil), for it was there that the asura Su$rapadma assumed the form of a peacock so as to obtain liberation from Murukan\. Despite the intervention of his consorts, Val@l@i and Devasena$, Murukan\ refused to do away with the malediction weighing upon San^kugan@a because it had come from Siva. By way of reprisal, Murukan\’s consorts slipped away from him and became siddha kan\n\i-s (abstinent ascetics), taking refuge in their palace. disguised as a hunter, Murukan\ attempted to enter the palace and confronted San^kugan@a. The guardian very soon recognized the god, who immediately rid him of the curse and asked him to remain on Mailam hill. Murukan\ married Val@l@i and Devasena$, and San^kugan@a, for his part, asked Murukan\ to always remain present at Mailam with his wives in the form of bridegroom (kalya$n@a kolam).
This theme of the separation of consorts is a motif at once aesthetic and religious, which is sometimes expressed in a quite pronounced erotic mode. In Mailam, it appears in the ten-day brahmotsava in the month of Pan^kun\i. The fourth day is devoted to the amorous quarrel, tiruvu$t@al, in the course of which Val@l@i refuses to meet Murukan\. Contrary to the Siva temples where Sundarar is customarily the mediator, in Mailam, it is Brahma$.
According to this account of the sthala pura$n@a, it appears that San^kugan@a is an asura created for the occasion, an asura with neither personality nor consistency, as is clearly shown by his name, san^kha or san^ku, conch. He may simply be one among the numerous gan@a-s blowing conches, as is very common on the wooden chariots. Moreover, his story is borrowed from another one, that of Gan@apati, guardian of Pa$rvati$’s privacy. In fact, this is the classical from of any, asura to whom the god, in his avatara form, accords liberation subsequent to violent combat.
Most important is that San^kugan@a is explicitly said to be Ba$lasiddha. This is the main link which, not withstanding a mythical presentation, shows that the temple was created by a head of the mutt. The conclusion of the sthala pura$n@a is clear in this matter: Ba$lasiddha also asks Murukan\ to remain as Kalya$n@a Kolam in Mailam and in Bomayapalaiyam, in the mutt created by him.
Several features in the iconography of the Mailam temple testify to this duality. The temple possesses two processional chariots that are used for the brahmotsava in Pan^kun\i. They are decorated with sculpted panels representing diverse forms of Siva: Bhiks@a$t@ana, Gajasam@ha$ramu$rti, Kala$ntaka, etc., and Sarasvati$ Ka$ma, Kr@s@n@a, among other deities of the pantheon. The other panels, linked with local history, are of two types. There are, first, panels connected with both Murukan\ and the mutt and, second, panels relating solely to the mutt.
Two panels represent episodes of San^kugan@a fighting against Siva, and then against Murukan\. In the first scene involving Siva, the representation deviates singularly from the story. Siva, bearded and wearing a turban, is in the process of copulating with his consort, while San^kugan@a, the guardian’s club in his hand, reaches up to “save” the latter and pulls her by her hair (fig 3). The second scene is more allusive and the wives of Murukan\ do not appear: only Murukan\ seizes the guardian who joins issue, his arm raised as a sign of combat.
It is certainly because San^kugan@a is reincarnated as a young child that the birth of Murukan\ is represented. This is a rare scene, with the exception of Darasuram where amidst reeds, his place of birth, the baby god is taken by Siva, who returns him to Pa$rvati$. In the next scene, she is giving him her breast (fig. 4).
In Mailam, the kr@ttika$-s hold six small Murukan\’s in their arms, seated on lotuses. On an adjacent panel, at Siva’s side, Pa$rvati$ gathers a long and Nandikesvara as lotus bearing a six-headed Murukan\ (fig5). On a third panel, between Pa$rvati$ and Nandikesvara as worshippers, Siva is standing, bearded and armed with his trident, the kettle-drum and fire, and holds the child Murukan\ on his arm (fig.6).
Another type of representation, also quite rare, is Murukan\ teaching, a form of the god related to his activities as well as those of the head of a mutt. One scene is on Gan@apati’s chariot and another on that of Murukan\. In one case, Murukan\ is seated on a pedestal with a book in his hand, giving a lesson to Siva, who is standing with joined hands (fig.7). In the other, Subrahman@ya, again on a pedestal, is making the gesture of teaching in front of Siva, who stands in respectful attitude of listening, one hand before his mouth (fig.8)
A third representation is the illustration of a passage from the Tamil Skanda Pura$na recounting the incarceration of Brahma$ as a consequence of his inability to recite the Vedas. The prison is a frame spiked with thorns in which Brahma$ is held, kept watch over by a mustached guard, dagger in hand. Next to this, a walking Subrahman@ya is in the process of imprisoning Brahma$ (fig.9).
Five panels bear vi$ra saiva figures. On the first panel, the identity of one of them, who is wearing a tiara and seated on a throne beneath a canopy, is engraved in Tamil on a step of throne: Alamma Prabhu (fig.10). The latter was a spiritual master from the twelfth century known for his ascetic rigour and was contemporaneous with Basava. On the adjacent panel, three men standing with joined hands are certainly worshippers of Alamma Prabhu. The inscription, Praka$s'a Praves@a Velaya, must be the name of the central personage, who is larger than the two others (fig.10).
On the third panel, a sage is seated on a throne beneath a canopy (fig.11). he has a beard and moustache and long hair scattered on his shoulders and wears around his neck a necklace of rudra$ks@a and a linga. One hand is in abhaya-mu$dra and the other holds the linga of the vi$ra saiva-s. Beneath is an inscription: "Ba$la siddha San^kugan@ar", confirming the assimilation of the two personages. Its date is 4245 of the Kali era, that is, 143 AD: this is obviously a mythical date suitable for a founder.
On the fourth panel, a siddha, flanked by two worshippers, is seated with crossed legs on a throne in the form of recumbent lion (fig.12). He has the chignon of an ascetic, a moustache and beard and wears a linga around his neck. The inscription gives his name: Pa$vala Cuva$mi, and the date is 3245 of the Kali era, or 1143 AD, which is more or less the period of Basava and of Alamma Prabhu. As the dates, ten centuries in the past, are similar, it is possible that the second, historical, date had determined the choice of the first.
On the last panel, a figure is standing, dressed in a dhoti, shoulders covered by a large scarf. He has rudra$ks@a-s and a lin^ga around his neck and is wearing the sandals of an ascetic (fig.13). He is holding the staff of the pontiffs and near to him are offerings placed on a low table. The inscription indicates that it is matter of the installation (makut@a abhiseka) of the eighteenth Ba$laya Swa$mi. The date in Arabic numerals is 25.2.28, quite obviously 1928, as it is known from the documents of the mutt that he died in 1965 and that he was succeeded by the present pontiff, the nineteenth, who was installed in 1965.
The Mailam temple, as doubtlessly most temples, is anchored in a very particular cultural idiom that comprises its originality.