Temples as seat of learning

An art in ancient India could perhaps be called temple art, not because they were necessarily a part of the temple, but their aim was perfection and spiritual identification. Apart from the spiritual symbolism of God being the supreme artist or the supernatural power, temples were the seats of learning. Temples of Tamilnadu, Andhra, and Orissa and so on, became seats for the learning of the Nāṭyaśāstra also apart from being great centres for propagation of performing arts.

The dance forms that exist in India today are mostly temple dance. However, they are not confined to the four walls of a temple, for the simple reason that the environment and facilities have changed the seats of learning, but in certain parts of India, especially Kerala, temples still serve as theatres. The cākkyārkūthu, kūḍiāṭṭa, kṛśnanāṭṭa, and few old traditions are still being performed in the temple kūthambala.

The sadir or chinnamela now known as bharatanāṭya had been a regular feature of southern temples. This dance form is based on the sculptures seen in South Indian temples such as Thanjavur and Cidambaram. Odissi form of dance had its origin in temples only. There are many sculptures seen in temples of Orissa on which these dance movements are based. Vilāsinināṭya is a form evolved from the temple dance of Andra. Dance dramas like bhāgavatamela, and kuchipudi were performed in temple by bhāgavatas but now they are also being performed in theatres. In due course of its development, the temple theatre built up its own system and considerably deviated from the norms let down in the Nāṭyaśāstra, though we have kuthambalams constructed as per the measurements given in the Nāṭyaśāstra. While the theatre of the Royal court cultivated sophistication and elegance, temple theatre reached the masses. It is true that temple theatre rose to its zenith in all over India.