maṟiyār karatt-entai y-am-māt-umaiyōṭum piṟiyāta pem mānṉ Uṟaiyum Iṭam enṉpar poṟi vāy vari vaṇṭu tanṉ pūm pe ⌈ṭai pulki veṟiyār malar iṟṟuyilum viṭaivāyē . Ov-vāta v-e nṉpē y-iḻaiyā v-oḷi meḷali-c cevvānṉ mati vaittavar cērv-iṭam enṉpar Ev- vāyilum EĒṭ-alar kōṭal am-pōtu vev-vāy aravam malarum viṭaivā yē . karaiyār kaṭal nañc-amut- uṇṭavar kaṅkai-t tiraiyār caṭai-t tīvaṇṇar cērv-iṭam enṉpar kuraiyār maṇiyuṅ kuḷir cantamum koṇṭu viraiyār punṉal vant-iḻiyum viṭaivāyē . cūca-t taḻal pōlaviḻiyā varu cūṟṟai-p pācattōṭum vīḻa Utaittavar paṟṟām vāca-kkatir-c cāli veṇ-cāmaraiyē pōl vīca-k kaḷi Annṉṉa malkum viṭaivāyē . tiriyum pura-mūṉṟaiyum centaḻal uṇṇā E ri y-amp-eyta kunṉṟa villi Iṭam enṉpar kiriyun taru māḷikai-c cūḻi kaitanṉ mēl viriyuṅ koṭi vānṉ viḷicēy viṭaivāyē 5 kiḷḷai moḻiyāḷai Ikaḻnatavanṉ muttī-t taḷḷi-t talai takkaṉaik koṇṭavar cārvām vaḷḷi maruṅkul neruṅkum mulai-c cevvā y veḷḷai nnnakaiyār naṭañcey viṭaivāyē 6 pātatt-oli pāriṭam pāṭa naṭañcey nātatt-oliyar navilummm iṭam enṉpar kīitatt-oliyum keḻumum muḻavōṭu vētatt-oliyum payilum viṭaivāyē 7 Eṇṇāta v-arakkanṉ Urattai nerittu-p paṇṇār taru pāṭal ukantavar paṟṟām kaṇ ār viḻaviṟ kaṭiviītikaḷ tōṟum viṇṇōrkaḷumvant-iṟaiñcum viṭaivāyē 8 puḷ vāy ypiḷantānṉ Ayanṉ pū-muṭi pātam oḷvānilan tēṭum Oruvaṟk-iṭamām teḷ vār punaṟ ceṅkaḻunīr mukai tannṉṉil viḷ vāy naṟav-uṇṭu vaṇṭār-viṭaivāyē 9 Uṭai y-ētum ilār tuvār āṭai Uṭuppōr kiṭaiyānṉeṟiyānṉ keḻumiummm iṭam enṉpar Aṭaiyār puram vēva muūvaṟk-aruḷ ceyta viṭaiyār koṭiyānṉ aḻakār viṭaivāyē 10 Āṟum matiyum poti vēṇiya ṉ ūrām āṟil peruñ celva mali viṭai vāyai nāṟum poḻiṟ kāḻiyar ñānṉa-campantanṉ cūṟun tamiḻ vallavar kuṟ ṟam aṟṟōyēy

Viṭaivāy, where the male bee which has dots and lines embraces its beautiful female bee and sleeps in the fragrant flower, people say that it is the place where our father who holds a young deer in his hand and who is not separated from Umai, the beautiful lady, dwells.

Viṭaivāy where the mature buds of white species of malabar glory-lily unfold their petals and blossom like hood of the cruel cobra everywhere, people say that this is the place where Civaṉ, after adorning himself with bones, which are not suited to his greatness, placed the crescent rising on the red sky, on his brilliant head.

Viṭaivāy where the fragrant water comes and descends,The water is the floods in the rivulet Pāṇtavāy which is mentioned in the veṇpā by Aiyaṭikaḷ Kāṭavar Kōṉ Nāyaṉār quoted before. carrying precious stones which make sound and cool sandal-wood, people say that this is the place where Civaṉ, who has the colour of fire and a caṭai on which the Kaṅkai with waves, stays, and who consumed the poison which rose in the roaring ocean, just like nectar.

Viṭaivāy, where the mirthful swans stay in the lotus flowers when the fragrant paddy having ears of corn fans like the white yak's tail is the dwelling place of desire of Civaṉ who kicked the god of death Yamā to fall down with his weapon of noose-cord, who came upon the Lord frightening and staring at him as if spitting fire from eyes.

Viṭaivāy where the spread-out flags on the open terrace of the mansions which appear like hills invite celestials to come to the earth, people say that this is the place of Civaṉ who has a bow of a mountain from which he discharged an arrow spitting fire to make it engulf all the three wandering cities.

Viṭaivāy where ladies with waist like the creeper, breasts close to each other, red lips and white teeth, dance is the residence of Civaṉ who removed the head of Takkaṉ, who despised Umai, whose words are like the sweet voice of the parrot, destroying the three fires.

People say that Viṭaivāy is the place where the sound of musical composition accompanied by muḻavu and the chanting of the Vedas are always existing without ceasing, while, when the pūtams sing to the accompaniment of the sound produced by the movement of the feet, Civaṉ produces the sweet musical sound of the dance.

Viṭaivāy where, in every street of splendour during festivals which are feasts to the eyes, the celestials leaving heaven and coming to the earth pay obeisance to Civaṉ, who crushes the chest of the arakkaṉ, who had no sense about the greatness of Civaṉ, is the dwelling place of Civaṉ, who rejoiced at hearing his songs full of music.

Viṭaivāy where the bees, having drunk the honey in the unfolded petals of the buds of the purple indian water-lily which grows in the clear running water, hum loudly, people say that this is the place of the unequalled Civaṉ whose beautiful head and feet Māl, who split the beak of a crane, and Ayaṉ searched in the bright sky and the earth.

The exceedingly beautiful Viṭaivāy of Civaṉ, who has a flag of a bull and granted his grace to three acurar, when the cities of the enemies were burning, people say that it is the place where Civaṉ dwells, he who cannot be approached by camaṇars, who have completely given up dress and by buddhists, who wear a dress soaked in red ochre.

Those who are able to recite the Tamiḻ verses, by Ñāṉacampantaṉ, who is the chief of the residents of Kāḻi, which has fragrant gardens, on Viṭaivāy in which big wealth which does not change That is, which has no equal. is in abundance are definitely without faults.

According to , the inscription is on the south wall of the central shrine, which seems to mean the southern wall of the vimāna. According to (p. 267, fn. 10): One half occupies the southern wall of the ardha-maṇḍapa and the other half the west wall of the mahā-maṇḍapa.

In July 2024, we observed that all the inscribed blocks making this inscription are found on the southern wall of the mahāmaṇḍapa. The temple indeed has been renovated in 1960. This would account for the fact that these blocks are now found on a single wall, while there are no inscribed blocks any more on the vimāna and few only on the ardhamahāmaṇḍapa (southern base), whereas inscribed blocks may have been lost (or built in without showing the inscriptions any more) and most of the remaining inscribed blocks are today displayed in disorder.

Reported in (ARIE/1917-1918/C/1918/8).

Edited in , , . Edited in , based on autopsy (1919-06, 1921-12) and two ASI estampages (26817).

This edition by Renato Dávalos and Emmanuel Francis (2024), based on , autopsy (2024) and photos (2024). This translation adapted from .

ASI transcript and estampage(s), if any, yet to be consulted.

Mūvār Tēvāram 3:126 89 8 C/1918/ 149 xxx lxii