International Relations Prelims Question

The Cholas built and patronised innumerable temples. The royal’s temples in Thanjavur, Gangaikonda Cholapuram and Darasuram are the repositories of architecture, sculpture, paintings and iconography of the Chola arts. The temples became the hub of social, economic, cultural and political activities. The paraphernalia of the temples including temple officials, dancers, musicians, singers, players of musical instruments and their masters headed by the priests worshipping the gods reflect the royal court. In the initial stages, architecturally, the Chola temples are simple and modest. Sepulchral temples (Pallip-Padai) also were built where the kings were buried.
They became the hub of societal space in organising social, political, economic and cultural activities. The prime temple officials were Koyirramar, Koyilkanakku (temple accountant), Devakanmi (agent of god), Srivaisnavar, Cantesar (temple manager) and others. They promoted the development of learning, dance, music, painting and drama. A play called Rajarajanatakam, based on the life of Rajaraja I, was performed in the Thanjavur temple. The festivals of Chithirai Tiruvizha, Kartigai and Aippasivizha were celebrated. It is said that singing hymns in temple premises promoted oral literacy.
Traditional dance items like Kudak-Kuthu and Sakkaik-Kuthu were portrayed in the form of sculptures and paintings in the temples in Kilapalivur, Tiruvorriyur. Nirutya and Karna poses are shown in sculptural forms in the Thanjavur big temple. Traditional Tamil musical instruments also were portrayed in this way.
The pastoral group, as a mark of devotion, donated livestock of specified number to the temples, so as to maintain the perpetual lamp to be lit in the temple. To record their gift, their names were engraved in the inscriptions of royal temple. Thus, they earned royal affinity. The oil pressers, called Sankarapadiyar, supplied oil to the temple and became part of the functionaries of the temples. In times of famine, some of them sold themselves to the temple as servants.
The temples functioned as banks by advancing loans, and by purchasing and receiving endowments and donations. They also became educational centres, as training was imparted in Vedas, music and arts. Sculpture and metal work too were promoted.

The Cholas built and patronised innumerable temples. The royal’s temples in Thanjavur, Gangaikonda Cholapuram and Darasuram are the repositories of architecture, sculpture, paintings and iconography of the Chola arts. The temples became the hub of social, economic, cultural and political activities. The paraphernalia of the temples including temple officials, dancers, musicians, singers, players of musical instruments and their masters headed by the priests worshipping the gods reflect the royal court. In the initial stages, architecturally, the Chola temples are simple and modest. Sepulchral temples (Pallip-Padai) also were built where the kings were buried.
They became the hub of societal space in organising social, political, economic and cultural activities. The prime temple officials were Koyirramar, Koyilkanakku (temple accountant), Devakanmi (agent of god), Srivaisnavar, Cantesar (temple manager) and others. They promoted the development of learning, dance, music, painting and drama. A play called Rajarajanatakam, based on the life of Rajaraja I, was performed in the Thanjavur temple. The festivals of Chithirai Tiruvizha, Kartigai and Aippasivizha were celebrated. It is said that singing hymns in temple premises promoted oral literacy.
Traditional dance items like Kudak-Kuthu and Sakkaik-Kuthu were portrayed in the form of sculptures and paintings in the temples in Kilapalivur, Tiruvorriyur. Nirutya and Karna poses are shown in sculptural forms in the Thanjavur big temple. Traditional Tamil musical instruments also were portrayed in this way.
The pastoral group, as a mark of devotion, donated livestock of specified number to the temples, so as to maintain the perpetual lamp to be lit in the temple. To record their gift, their names were engraved in the inscriptions of royal temple. Thus, they earned royal affinity. The oil pressers, called Sankarapadiyar, supplied oil to the temple and became part of the functionaries of the temples. In times of famine, some of them sold themselves to the temple as servants.
The temples functioned as banks by advancing loans, and by purchasing and receiving endowments and donations. They also became educational centres, as training was imparted in Vedas, music and arts. Sculpture and metal work too were promoted.

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