Some of the devotees of Lord Siva used to sing a few lines of the Thevarams that they know of. Raja Raja Cholan who was known as Abayakulasekara was was inspired by the idea of winning back the lost hyms. Thirumurai Kanda Puranam by Saint Umapathi Sivam explains in detail of how these works were found. The twelve Thirumurais were compiled as such in different stages and st different times, but the hyms of St Sambanthar, Appar and Sundarar ( first seven Thirumurais) were collected by Nambiandar Nambigal at the Chidambaram Nadaraja temple. The fact that the arrangement is not chronological, reveals that they were arranged as and when a gap was felt by the Saivite world getting to know in stages the significance of the Saivite works not included in the earlier compilation. Her hyms were included only in the 11th Thirumurai, whereas the 1st, 2nd and 3rd Thirumurais was formed ignoring the chronological order. Karaikkal Ammaiyar, great devotee of Lord Siva, lived before the period of St Thirunganasambantar.
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Special halls called ‘Thirukkai Kotti’ because of keeping time with hands, were built for recitation of these hyms and arrangements were made for feeding people who recited the hyms. Facilities were made in the temple premises by Chola emperorsfor the recitation of hyms. The practice of singing saiva hyms was an important item of temple worship during the period Bakthi movement. Thus this is also better known as Stotram as it is in overall directs the inner meaning of the work towards Lord Siva. But in common it is acknowledged as Literary work or Nuul.
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The term ‘Murai’ means antiquity ( Thonmai ), providence or destiny ( Uul), collection ( Kooddu), discipline or orderliness (Olunggu), literary work ( Nuul) etc.