From Keerthana tarangini.

Thirukoodal Azhagar koil ref:
Keerthana tarangini the Maharashtra Harikatha in Nagari script of four volumes.
Once Sri Krishna noticed Garuda had become very haughty as he was the divine vehicle for Vishnu. so Perumal created a situation which necessiated a duel between Hanuman and Garuda. Garuda was throughly defeated, he got scared of Hanuman and ran from god to god for protection. finally he sought refuge at the feet of Krishna, Lord Krishna assumed the form of Pattabhisekha Ramar and pacified the angry Hanuman. The icon in the azhagar koil is said to represent this scene of compromise between Hanuman and Garuda. Hanuman is standing majestically with half sarcastic smile playing on his lips. Garuda is seen kneeling down by his side in a very humble apologetic pose with hands folded as if he is asking to be excused for hie earlier haughtiness. The bronze image of Garuda is seen as a beautiful male figure with a pair of wings. he is kneeling on both the legs. he is seen wearing ornaments of serpant and sarpa kundalam. this the icographic experts say is in variance with the way normally garuda should be shown. viz kneeling his left knee and the crown should be adorned with snakes and the body like that of a human anjali. similarly also the iconographers say that Hanuman too is not moodled in the conventional manner. here he is shown as a well devloped youth with yagnopavetha and other ornaments, the only garment he is wearing is the waist band. he is seen standing at great ease. His right hand touching the wounded mouth of Garuda, his left hand is holding the upper garment that apparently got loosened during the fight.  he has a monkey face his ears are also like that of a monkey. unlike the usual figure of Hanuman, five jatas are falling down from the head to the neck. this resembles the jatas on the figure of Nataraja. there is also a srivatsa mark on the bronze figure of Hanumar. perhaps the sculptor while sculpting this icon might have marked it on the chest of Hanuman as an indication of the auspicious nature. hanuman is depicted as a stalwart with well developed body and limbs full of energy. the Hanuman image is ten inches tall wheras that of Garudar is half in size. a similar image is also seen in Sriperumbudur on a pillar in front of udaiyavar shrine.

The colours of Ashtaksara.

Darshan given by Lord to Adisesha.
Once Adisesha prayed to the Lord to rid him of all the evil thoughts and evil qualities that are inherent in a serpant. Adisesha wanted to get rid of his tamoguna, which was an inevitable trait of a serpant family. He wished to attain Sathva guna. when he asked god how he could achieve such a transformation, perumal asked him to go and pray at Satya kshetram. God advised him to repeat the Ashtakshara mantram in that kshetram. God also explained that the Ashtakshram mantrams first letter is white in colour, the second is red in colour, the third is black in colour, the fourth is again red, the fifth is of the colour of kum kum, the sixth has a golden colour, the seventh again has the colour of Kajal, i.e. black, the eighth is again a mixture of red and white. Perumal advised him to repeat this Ashtaksara mantram with sincerity and he assured Adisesa that he would be rewarded.

Thiru koodal azhagar koil.

The Moolavar is known as Koodal Azhagar, seen in sitting posture facing east. Thayar is Maduravalli havinga separate sannidhi, her other names are Vakulavalli, Varaguna valli, Margatha vall. the theertham is Hema puskarini, chakra theertham Hruthamala river and Vaigai river. The vimanam is Ashtanga vimanam. god appeared to Brighu Maharishi, Sounaka Maharishi and Perialwar. this is where Perialwar composed the Pallanda Pasurams and sang it before the Lord.
The unique Ashtanga vimana.
usually the vimanas are as per the agama sastras are of 96 types. this is the place under which the Lord resides. of them the Ashtanga vimana are special these types of vimana are seen in Thirugoshtiyoor, Uttara Meru and here. it has eight parts and is said to signify the eight words in the ashtakshara mantra. It is regarded as Sthoola Vadivam. (there are colours to the ashtakshara too will be dealt with separately.) The vimana has three tiers. In the first tier we see Perumal in a sitting posture along with the two thayars. he is refered to as Mallanda Kindolan, the utsava murthy is known as Vyuha Sundararajan. the moolavar with one had is seen inviting the people to come and seek refuge, and the other hand is giving abhayam. so he is known as Ahuya varadan, he invites people and blesses them. the pancha berars and the chakrattalwar are also seen in the tier.
In the second tier the perumal is known as Surya Narayana. he is seen in a standing pose with both the thayars. the idols are painted i.e. varnakalpa thirumeni. the paints are manufactured out of herbs. on the walls are beautiful paintings of Agni, Yama, Nirutti, Varuna, Vayu, Kubera, Shiva, and Indra along with their Vahanams. goat buffallo man makaram deer horse rishabam elephant.
In the third tier we see god in the lying down posture, he is known as Ksheerabdinathan, here too the god is painted. around the garbha griha walls the dasavatara forms are painted. Brighu and Markandeya are seated on the floor near the god.
In the thayar sannidhi there are musical pillars, which speaks volumes of the architectural and sculptural skills of the people at ancient times. the thayar is known as Madhuravalli. The Andal sannidhi has pictures of Tiruppavai are depicted.
Another unique feature which we generally do not see in vaishnavite temples is the sannidhi of Navagraha. another interesting feature is the icon of Garudar and Hanuman. Hanuman is shown bigger and Garudar is seen on bent knees with folded hands. (Garuda garva bangam) as the famous Maharashtrian legend goes here we see compromise between Hanumar and Garudar.

Thirumoghur

Thirumoghur was the Lord that accompanied Nammalwars soul when it went to heaven. 3675. of D P .Nammalwar describes the Lord he says the Divine feet of the Lord is like a beautiful flower. The eyes are like lotuses. The mouth is the colour of the coral. the perumal has four majestic shoulders. He is the supreme, who has the power to annihilate the asuras. He is very beautiful. we came to Thirumoghur where such a perumal resides and we are now fully secure and safe. Just as the rain bearing clouds give the gift of rain to the thirsty land so too the Kaala Megha Perumal it is firmly believed showers his bountiful compassion on his sincere devotee and accompanies him on his last journey.
The Moolavar is Kala mega Perumal seen in a standing pose with right hand in varada hasta and holding a mace in the left hand and facing east. the utsavar is known as Thirumoghur apan. He has all the pancha ayudhams in his hands. the thayar is Moghur valli or Mohana valli and Mega valli. the theertham is Ksheerabdi Puskarini. the Kedaki vimanam and god appeared to Brahma Indra and Rudra. there is also a sannidhi where the Lord is in the lying down pose with Adhisesha for his couch which has a golden kavacham. In krutayugam due to Rishi durvasa's curse Indra lost all his wealth, and the devas lost both power and wealth. the lord promised them help when approached and decided to extract nectar from the ocean and give it to the Devas to regain their wealth and prosperity.
Lord Vishnu advised the devas to churn the milky ocean. the ocean was churned with the Mandara mountain as the churning rod and the serpent as the rope. first emerging out of this exercise was the Kala khoota the Lord Shiva immediately uttered Achuta anantha Govinda and drank the poison retaining it in his neck. next emerged the horseUchchaisravas followed by the Kalpaka Viruksham, Iravatham the elephant, moon, Ahalya, Mahalakshmi and finally the pitcher full of the divine nectar. there was a great comotion since the devas and asuras jostled each other to get at the nectar. Lord Narayana took the form of Mohini a beautiful divine damsel. he then asked the devas and asuras to sit in row so that he could distribute the nectar the asuras were so taken to looking at the beautiful form of Mohini that they completely forgot about the issue of the nectar. meantime the devas were distributed the nectar and they regained their power and defeated the asuras regaining their lost kingdom. the devas requested god to give darshan in his true form and requested that he remain in that form so that people could be blessed as well when they visited the kshetram. thus this kshetram came to be known as Kalamega Katti aruli divya desam Mohana Kshetram. the place is also known as Mohanapuram.
As per Hindu legend, once a demon by name Bhasmasura did penance. Shiva granted him a boon that when he touches anyone's head, the person would turn to ashes. Bhasmasura wanted to test the boon and wanted to touch the head of Shiva. A bewildered Shiva ran to seek the favour of Vishnu, who took the form of damsel Mohini. She lured Bhasmasura with her dance and made Bhasmasura touch his head with his hand. The demon Bhasmasura was thus defeated. The place where Mohini lured (meaning Moham) came to be known as Thirumohur.

Greatness of the poem.

A great poem is required to have seven basic characteristics:
It must be an ornament to the world;
It must be rich in meaning;
It must instil knowledge and foster research;
It must contain expressions dealing with Ahopporul;
It must contain the five uripporul;
(The main aspects pertaining to five physio graphic elements mountain, desert, jungle, field and beach.)
It must contain the beauties of composition;
It must have easy mellifluous flow;

Thiruppavai is so called because of the refrain at the end of each of the thirty hymns. The refrain seeks the help of the divine Kathyayini for whom this nombu is performed for securing a good husband.
Thiruppavai occupies a very honoured place in the devotional literature of India. It provides pure enjoyment to simple folk, at the same time it is a treasure house of fundamental truth to scholars, philosophers and religious leaders. thiru means holy and sacred, pavai means a girl and also a vow taken by a girl. 
At the time when Andal lived Krishnavataram was well known and that the Gopikas were able to attain the Lord through their devotion. she therefore must have thought to re enact the Katyayini Vratham which the Gopikas observed. The Katyayini Vratham was observed to secure abundant rains, for the well being of the country and also for young girls to obtain good husbands and a prosperous life. In totality the basics for good life and happy living.
Is it any wonder that Thiruppavai is gaining so much importance. one should not be surprised if December is renamed Tirruppavai. its the best time to be in Chennai. and we in chennai wish that all the twelve months should be like this one starting tomorrow. what it has already started 15 days ago as there are no slots to accommodate every one who want to be an active part of this music month. its the craziest time of the year but the best ever.

The Golden Bridge

When we have passed beyond knowings, then we shall have knowledge. Reason was the helper; reason is the bar.

When we have passed beyond willings, then we shall have Power.

Effort was the helper; effort is the bar.

When we have passed beyond enjoyings, then we shall have bliss.

Desire was the helper; desire is the bar.

When we have passed beyond individualising, then we shall be real persons. Ego was the helper; ego is the bar.

When we have passed beyond humanity, then we shall be man. The animal was the helper; the animal the bar.

Transform reason into ordered intuition; let all thyself be light. this is thy goal.

Transform effort into an even and sovereign overflowing of the soul strength; let all thyself be conscious force. this is thy goal.

Transform enjoying into an even and objectless ecstasy; let all thyself be bliss. this is thy goal.

Transform the divided individual into the world personality; Let all thyself be divine. this is thy goal.

Transform the animal into the Driver of the Herds; let all thyself be krishna, govinda, hare, murare, keshava, nandana, madhava, This is thy goal.

Impossibility is only a sum of greater unrealised possibles. It veils an advanced stage and yet unaccomplished journey. If you have humanity advance, buffet all preconceived ideas. thoughts thus smitten awakes and becomes creative. otherwise it rests in a mechanical repetition and mistakes that for its right activity.

to rotate on its own axis is not the one movement for the human soul. There is also its wheeling round the sun of an inexhaustible illumination.

Be conscious first of thyself within, then think and act. All living thought is a world in preparation; all real act is a thought manifested. The material world exists, because an Idea began to play in divine self consciousness.

Thought is not essential to existence nor its cause, but it is an instrument for becoming; I become what I see in myself. All that thought suggests to me I can do; all that thought reveals in me I can become. This should be man's unshakable faith in himself, because God dwells in him.

Rig veda and Lord Srinivasa.

The vedas which is acknowledged to have no beginning speaks of this hill as a holy abode of Lord Vishnu.
"Araayi Kaane uikate girim gachcha saddaanve
Sirimbithasya sathvabhihi tebhishtvachatayamasi."
meaning.
Oh human beings even if you are poverty striken, devoid of vision external and internal, afflicted by the three miseries Tapatraya (another word i like.) due to Aadhyathmika, Aadhi bhautika and Aadhi daivika possessing many enemies as a remedy you may go to the hill of Lord Srinivasa, having gone there you may present yourself to the lord with the help of those devotees accompanying you, or you may present to Lord Srinivasa your desires with the help of those devotees who will initiate with intutional devotion the case to the Lord for immediate fulfilment.
Rig veda VIII Adhyaya 8th Anuvaaka 13 Vachana explained by Ramanujacharya in the first stabaka in Sri Venkatachala Ithihasamala.
One has to go accompanied by other devotees to this temple or any temple for that matter.