RajaRajesvaRa temple inscRiptions: a

patRonage to dance by RajaRaja i.

intRoduction
This project is over the Râjarâjeśvara temple inscription in which we
will find evidence of patronage given to dance and music by Râjarâja I,
who was one of the powerful rulers of the Chola dynasty. The
inscriptions are engraved on the wall of this temple. In this project,
through the inscriptions, we will emphasize the culture of dance and
music and also will discuss the status of dance and music in society
means how people at that time think about dance and music. This
project will also throw light on the cultural interest of king Râjarâja I
and how he patronizes dance and music. We can answer these
questions through three types of sources (1) Inscriptions that are
engraved in a large amount over the wall of the temple (2) Sculptures
that are made on the wall of the Garvagraha (3) and fresco paintings on
the same wall of Garvagraha. But in this project, we will give more
emphasis on the inscription of this temple.
Râjarâjeśvara temple, also known as Brihadishvara temple, is a
Dravidian-styled temple situated on the south bank of the Kaveri river
in Thanjavur (the capital of Imperial Chola from Vijyalaya to Râjarâja I)
in Tamil Nadu. This temple was built by Râjarâja I. This temple is
dedicated to Lord Shiva. This temple is also listed as ‘Great Living Chola
Temples’ in UNESCO world heritage site.1
Râjarâja I have known in his early years as Rajaraja Arulmozhi
Varman was the son of Paranthaka II Sunder Chola and Vanavan
Mahadevi. He ascended the throne in 985 CE. and rule for thirty years.
He was famous for recording the details of his administrative work, art
and architecture, religion, and literature. He was well known for his
great contribution to making the Râjarâjeśvara temple in Thanjavur
which was listed as a UNESCO world heritage site. This temple is proof
of his economic prosperity and his cultural interest. In this temple, he
patronizes a large number of dancers, singers, musicians, and artists.
He also brought from many temples and gave patronage to a large
number of dancers, musicians, singers, dramatists, and artisans in the
Râjarâjeśvara temple. He provided food, shelter, and salary to these
artists.

1
https://en.bharatpedia.org.in/wiki/Rajarajeshwara_Temple
 The inscriptions engraved on the wall of the temple are
inscribed in the Tamil language and Brahmi script. This large amount of
inscription tells us about the appointment of more than four hundred
dancers, some Nattamarayans and Vediyamarayans.2 Inscriptions also
tell us about Talaikoli, the title given to the best dancers in any temple,
and Râjarâja I brought these Talaikoli to the Râjarâjeśvara temple. The
dancers were generally known as Talicherry Pendugal in which Cherry
adjoined to the temple complex and this term has been used since the
time of the Sangam age. Silappadikaram, which was written by Ilango
Adigal, mentioned the nature, status, and qualification of dancers. It
also describes that the best dancer was owned by the offering of

2
South Indian Inscription, vol.II page no.66
Talaikol and was known as Talaikoli.3

Nattuvamacheyar (dance masters) were also employed in

the Râjarâjeśvara temple who were direct those dancing girls. The
music system was supported by many artists, four-person for the vocal
song, five persons were for the playback vocal song, two persons for
playing the Uddukai, three persons for singing the Ariyam, two persons
for playing the Kotimattalam, four persons for playing the Tamil song,
two persons for playing the Veena, two persons for playing the
Vangiam, three persons for playing Muttirai Changu (conch), twenty-
five persons for the playback to change were employed. Two were
employed as Nayagamceyvar (superintendent), who supervise the
dancers, and Kandravikal (musicians). In addition to this, four persons
were employed as enacting the Drama and sixty persons for beating the
Cakadai (drum). 4

3
Silappadikaram, line 56-57
4
South Indian inscription, vol. II page no. 66
 Thus, Râjarâja I gave patronage to the dance i.e.
Bharathanatyam in the Râjarâjeśvara temple in Thanjavur. And the
dance was becoming the part and parcel of the religious rituals at that
time. People voluntarily give daily service to the temple and for dance.
They Called themselves Devaradiras, i.e. servants of God, and Patililar,
one who hails from no village and no husband. Devaradiras were
stamped with Trisula (trident) mark on the shoulder if they were
attached to the Shiva temples.5
For the appointment of dancers, musicians, artists, etc. a separate
committee was set up and some rules and principles were laid down.

Principles regarding the appointment of the dancers are given below 6

 Those, who have the title of Talakoli, were brought to the big
temple of Thanjavur from whichever temple she belongs
 If any dancer goes to another country or dies then the next dancer
who heir at his/her place of that dancer can get his/her share of
land
 If the next heir is not a truthful person, then the committee of
justice had to heir some person at her/his place and land share
allotted to her
Some dancers were economically in a better position they owned land
and were able to donate it to the temple and for public purposes. The
dancers of the Râjarâjeśvara temple had given 100 kalams per head in
a year. A dancer named Nakkan Thiruvilan Koli Alias Thirukkar
Uttittaalai had received a lamp in memory of her brother Neyyadiappar
of Thillaisthanam. Another dancer named Nakkan Urimai Alziya
Perumal Talakoli had consecrated Subramania Pillaiyr at Thirunelvel

5
South Indian inscription, vol. V, page no. 520
6
South Indian inscription, vol. II page no. 66
udaiya Thirumevelli.7 So, these were the evidence of special privileges
acquired in temple service.
The inscriptions engraved on the wall of the Râjarâjeśvara
temple contained detail like the name of the dancers, their native
places, the temple from where they had been brought to the
Râjarâjeśvara temple in Thanjavur, what was the house number, and
the street number they had been allotted as a residence. The amount
of land granted to dancers and their location and measurement of land
are also mentioned in the inscription. The total number of dancers was
four hundred and seven which was mentioned in the wall inscription of
the temple in which some were shown through a table given below 8

This table shows that dancers (talaikoli) were brought from different
temples and were kept under a single umbrella. Four hundred and
7
South Indian inscription, vol. II page no. 66

8
Proceeding of the Indian History Congress, page 240-45
seven dancers and seventy-one other musicians, singers, artists, and
superintendents were mentioned in the inscription. The artists,
dancers, musicians, etc. got remuneration according to their work, and
cadre-like dancers got one veli of land and a house in Tallicherry near
the temple, singers and musicians got one and a half veli of land, and
the superintendent got two veli of land.

conclusion
The Râjarâjeśvara temple inscription gives detail about the patronage
to dance particularly Bharatnatyam. These inscriptions were evidence
of the cultural interest of Râjarâja I. He gave patronage to a large
number of dancers, musicians, and artists from lower to higher
categories and provide them with food, shelter, and salary which shows
the prosperity of the kingdom of Râjarâja I.
The evidence of patrons giving to dance
shows that dance was accepted as part and parcel of the daily religious
life of society at that time. Dance activities were organized during
religious ceremonies or when the king visited the temple. The evidence
of dance inside the temple somewhere reflects that dance was the
medium of worshiping God or a way to connect with God at that time.
It means that the culture of dance seemed like a sacred activity rather
than a medium of entertainment. Many people like Devaradiars also
provide volunteer labour to the temple and the dancers. Which depicts
the purity of dance at that time.
Dancers and musicians were appointed in the big and
important temples in connection with festivals and temple services.
Dancing was also associated with music and that’s why a large number
of other artists like musicians, singers, artists, superintendents, etc.
were recruited which shows that a large number of people earned their
livelihoods through these cultural activities.
So, finally, we can say that Râjarâja I patronize the
dance, particularly Bharatnatyam during his reign in Râjarâjeśvara
temple, and in another small temple. He accumulated many best
dancers in the Râjarâjeśvara temple who have the title of Talaikoli. So,
Thanjavur became the cultural centre at that time and after his reign,
his successor did not give much importance to dance because we
cannot see any such evidence of patronization of dance given by the
successor of Râjarâja I. and this is happened because of the frequent
change in capital and the Pandyas invasion.9

bibliogRaphy
 South Indian Inscriptions, Volume II
 https://en.bharatpedia.org.in/wiki/Rajarajeshwara_Temple
 South Indian Inscriptions, Volume V
 Sastri, K. A. Nilakanta, ‘The Colas’, University of Madras, 2013 th edition
 Proceeding of the Indian History Congress, 2011, Vol. 72 part-I(2011)

9
K A Nilkanta Sastri, the colas, page no.