buried. Temple as a Social Institution Chola temples became the arena of social celebrations and functioned as social institutions. They became the hub of societal space in organising social, political, economic and cultural activities. The prime temple officials were koyirramar, koyilkanakku (temple accountant), deva-kanmi (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, Dancing woman accompanied by musician, Brihadishvarar temple Siva was the preeminent god for the Cholas and he was represented in two forms. The iconic form of Siva was Lingodhbhava, and the Nataraja idol was the human form.
A trace of the locations of temple centres in Kavery delta could provide us the map of an agrarian- political geography spatially and temporally. The repeated representation of Tripurantaka (the destroyer of three mythical cities of asura) form of Siva in sculpture and painting gave him a warrior aspect and helped in gaining legitimacy for the ruler. The representation of Nataraja or Adal Vallan (king of dance) in the form of idol was the motif of Tamil music, dance and drama with hymns composed by Nayanmars, the Saiva saints. These hymns sang the praise of Siva and extolled the deeds of god.
They held great appeal to the devotees from different social sections. The Saiva canon, the Thirumurai, was codified after it was recovered by Nambi Andar Nambi. Oduvars and Padikam Paduvars were appointed to sing in the temples to recite Thirumurai daily in the temple premises. The singers of hymns were known as vinnappamseivar.
The players of percussion instruments also were appointed. Girls were dedicated for the service of god. Musicians and dance masters also were appointed to train them. A highly evolved philosophical system called Saiva Siddhanta was founded during this period.
The foundational text of this philosophy, Sivagnana Bodham, was composed by Meikandar. Fourteen texts, collectively called Saiva Siddhantha Sastram, form the core of this philosophy.In later times, many Saiva monasteries emerged and expounded