^ 'A comprehensive description of the 275 Shivastalams glorified by the Tevaram hymns'. ^ Shiva: Stories and Teachings from the Shiva Mahapurana, Vanamali, Publisher Inner Traditions, Bear & Co, 2013. ^ Hymns of the Tamil Śaivite saints, page 11. ^ 'Hindu Tamil Saints: Alwars and Nayanmars of South India'. 
^ The History and Culture of the Indian People: The classical age, page 330.
^ Encyclopaedia of Jainism, Volume 1, page 5468. 'A New Pandya Record and the Dates of Nayanmars and Alvars'. In 1921, an English translation of Sambandhar's hymns was done by Francis Kingsbury and GE Phillips, both of United Theological College, Bangalore (Edited by Fred Goodwill) and published in a book as Hymns of the Tamil Śaivite Saints, by the Oxford University Press Notes The fervor of utterances, the appeals to God by the Tamils do not find clear expression in other part of India. Manikkavasagar, like Sundarar and Sambandar before him does not mince words while criticising the misinformation campaign of Sramana (Buddhist and Jain) communal creeds and in many places of Tiruvasagam calls them senseless, duplicitous, deceitful and falseful (poy samayattar). According to Aiyangar, Manickavasagar's Tiruvackam partakes the characters of Tevaram hymners before him and express more intense form of devotion. Sambandar is clear about his hatred for the evil and duplicity of the obscure communal creeds and the same opinion is expressed in the works of other divine incarnates of that period of both saiva and vaishnava pathways. This is only expected as we know from accounts as to how the saint was got incarnate out to destroy the excessive wickedness and duplicity perpetrated by rogue creeds. There is strong dose of anti-Jain, anti-Buddhist and in general an anti-communal polemic in Tevaram poetry of Sambandar. These terms are of very ancient origin and traceable to even early sangam times. the temple hymn service workers were known as uvacchar and marars. This is briefed by a 15th-century, chidambaram temple inscription. was finished, and the temples became only denominated, voluntary, charitable places. The charitable establishments that ran on philanthropy of individuals and merchant caravans had come to be because after the 13th century, the time of ancient nation states viz. From the 13th century, the texts were passed on to the Odhuvars by the Adheenams or charitable establishments. There are records from Kulothunga Chola III from Nallanyanar temple in South Arcot indicating singing of Tiruvempavai and Tiruvalam of Manickavasagar during special occasion in the temple. A record belonging to Rajendra I mentions Tevaranayakan, the supervisor of Tevaram and shows the institutionalisation of Tevaram with the establishment of a department. 
A few earlier records give details about the gifts rendered to the singers of Tevaram from Parantaka I of the 8th century. Rajaraja deputed 48 pidarars and made liberal provisions for their maintenance and successors. The singers of these hymns were referred as Tirupadiyam Vinnapam seyvar or Pidarar, from the inscriptions of Nandivarman III in the Tiruvallam Bilavaneswara temple records. The singing of Tevaram was followed by musicals from the music pillars in such temples like Madurai Meenakshi Amman Temple, Nellaiappar Temple and Suchindram. These are usually carried out as chorus programme soon after the divine offering. Odhuvars, Sthanikars, or Kattalaiyars offer musical programmes in Shiva temples of Tamil Nadu by singing Tevaram after the daily rituals. Though these two systems are overlapping, Agamic tradition ensures the perpetuation of the Vedic religion's emphasis on the efficacy of ritual as per Davis. Tirumurai was one of the sole reasons for converting Vedic ritual to followed in Shiva temples.
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