Mahalingeswarar Temple

The oldest part of the present structure belongs to the ninth century Chōḷas. The temple was continually expanded through to the sixteenth century Nayak period, and the varied dynastic influences show in the differing styles across the campus. One mandapa's pillars appear Chōḷa, another more Vijayanagara with extended pushpa potikas and crouching yaaḷis, while smaller intermediary mandapas carry Nayak and Maratha style arches. A stone sculpture of King Varaguna Pandya, a devotee of Śiva, stands in a niche.

A feature not to be missed is the Paavai Vilakku, a bronze lamp bearer to the left of the entrance. The standing figure holds a lamp in her palms, wears a neatly tied silk saree with zari, every alternate pleat patterned differently, and is ornamented head to toe: netthi chutti and hair ornaments, jimikki and earrings, a choker and four more necklaces, armlets, rings, bangles, a hip chain, anklets and toe rings, with a parrot on her right shoulder. The raised platform records the sculptor Kannara Aryaputra Patter and the date 4 July 1853. She is identified as the Maratha princess Ammunu Ammini.

There are over a hundred inscriptions in the temple, belonging to the Pāṇḍyas, Chōḷas, Hoysaḷas, Nāyakas and Thanjavur Marathas. Most record donations and grants, revenue surveys and additions, and some describe the devadasi culture, naming specific dances and processions during festivals. One records that land was purchased and donated during the time of Parāntaka Chōḷa for making the dish puttu as an offering to the deity.

The temple is named in the seventh century Tevaram. The saint poets Thirunavukkarasar, Thirugnanasambandar, Sundarar and Manikkavasakar mention it in their verses, and Sambandar devotes five songs to the deity. In one (1.110.5) he sings of Śiva as the seven worlds, who creates the clouds and causes them to pour rain, who gives sorrow but resolves it too, with jewelled feet and an elephant skin cloak, whose city is Idamarudur.