The earliest mentions of Sati are found in the time of the Ramayana and the Mahabharata, but details of her story appear in the Puranas.

[1] In Hinduism, both Sati and Parvati, successively play the role of bringing Shiva away from ascetic isolation into creative participation with the world.

[2] Sati's story plays an important part in shaping the traditions of two of the most prominent sects of Hinduism — Shaivism and Shaktism.

After Sati's death, Shiva carried her body around the world and started performing Tandava, the celestial dance of destruction.

As he did so, the other deities requested Vishnu to stop this and he did so by using his Sudarshana Chakra which divided Sati's body parts falling on the ground at 51 different places.

[6] According to scholars William J. Winkins and David R. Kinsley, the Vedic scriptures (2nd millennium BCE) do not mention Sati-Parvati but hint to two goddesses associated with Rudra — Rudrani and Ambika.

[note 2][7][8] Both the archeological and the textual sources indicate that the first major appearances of Sati-Parvati were during the period of the Ramayana and the Mahabharata (1st millennium BCE).

[9][10] The Mahabharata mentions the destruction of Daksha yajna, the birth of Kartikeya, defeat the Asura Taraka as well as some plays between Shiva and Uma (Parvati).

[14][15][16] According to the Shakta (goddess-oriented) texts including Devi Bhagavata and the Mahabhagavata Purana, before her birth, Brahma advised Daksha to meditate upon the Great goddess and convince her to take an avatar as their daughter (Sati).

[24][25] According to the legend, Sati left the luxuries of her father's palace and retired to a forest to devote herself to austerities of a hermetic life and the worship of Shiva.

[19] In the 18th century Svathani Katha, when Shiva asked Sati's hand in marriage, Daksha refused, claiming him unsuitable.

Wanting to visit her relatives, Sati sought to rationalize this omission and reasoned that as family, such formality was unnecessary.

Shortly after Sati's marriage, Daksha polluted a sacred flower garland and as a result, he was cursed to hate his beloved daughter.

[18] At the sacrificial place, after Daksha discarded Sati's gifts and humiliated her, she used her cosmic powers and burnt her body.

[33] Some texts suggest that before Sati's death, Shakti promised that she will be reborn to a father who merits her respect and remarry Shiva.

Shakta pithas are shrines of the Mother Goddess, believed to have enshrined with the presence of Shakti due to the falling of body parts of the corpse of Sati.

Besides main Shakta pithas, some small peethas like Bindudham came into existence which are due to Sati's fallen blood drops.

A depressed Shiva returned to his ascetic world while Sati was reborn as Parvati, daughter of Himavat, king of the mountains and personification of the Himalayas, and his wife, Mena.

[21][44] The legend of Daksha Yajna and Sati's self-immolation had immense significance in shaping the ancient Sanskrit literature and even had impact on the culture of India.

It is an important incident in Shaivism resulting in the emergence of goddess Parvati in the place of Sati and making Shiva a grihastashrami (house holder) leading to the origin of Ganesha and Kartikeya.

Next to temple's swayambhu linga is the Ammarakallu(അമ്മാറക്കല്ല്), a raised platform with a natural rock structure surrounded by a circular stone boundary, with a brass lamp placed under a traditional palm leaf umbrella.