Role of Devadasis in the Evolution of Temple Architecture.

Rekha Rao

1. Introduction

Devadasi, the servant of the deity, was a maiden married to a deity before puberty and thus was
the human bride of the celestial God. It refers to a system of religious practice of dedicating a
young girl to be the bride of the deity that was prevalent in ancient India. While every deity in
Hindu mythology is indeed associated with a consort, the offering of Devadasis as the bride of
the god was not meant to replace or supplant the role of the god's consort. Instead, it was seen as
a way of honoring and offering comfort to the deity uniquely and memorably to God, and she
was permitted to enter the garbhagriha of the temple.
It is interesting to know why and how devadasis were groomed in temples. This article focuses
on the vital role of devadasis in influencing India's temple architecture. Also, it covers some
contributions of Devadasis in preserving the traditional and classical art of dance and heralding
the cultural elements of Bharat. Pictures from the Hoysala temples of Karnataka and the Konark
temple of Odisha are chosen for the case study.
The topics discussed in this article are as follows.
Agenda:
1. Who are Devadasis
2. Representation of Devadasis in medieval temples.
3. Historical reference of Devadasis in temple inscriptions.
4. The training of devadasis and their duties.
5. Identification of Devadasi figure in a temple
6. Significance of dance and the compilation of Natyashastra
7. Exploring the evolution of temple architecture, from the Angabhoga to Rangabhoga temples
8. The Dancing platform in front of Garbhagriha.
9. The Devadasis after the Mughal and British invasions
10. Conclusion and Contributions of Devadasis.

1. Who are Devadasis?

Devadasi, the servant of the deity, was a maiden married to a deity before puberty and thus was
the human bride of the celestial God and not marrying a human. She lived on the temple
premises as a dedicated caretaker and performed their religious duties of singing and dancing to
please the deity. Devaditi, Matangi, Kalavantini, Patra, and Mahari were the other terms for a
devadasi and her assistants. Since they were married to a deity, Devadasis were revered as
Sumangalis who never suffered from widowhood.
The Devadasi system was not a community or caste-based system. It was a religious practice and
a cultural tradition associated with Hindu temples in India to honor a particular deity or to ensure
blessings from the gods. The dedicated young girls were trained in various forms of classical
dance, music, and other performing arts. These girls were known as Devadasis. The Devadasi
system was a social practice that transcended caste boundaries and was prevalent in many parts
of India. In other cases, it was a way for families to ensure the future welfare of their daughters,
as the temple provided a stable environment and access to education. In some cases, it was to
avoid a threat or abuse to the lives of young girls, and dedicating them to temples was a way to
protect them.

According to temple worship rules, or Agamas, Music, and dance have been integral to worship
sessions and a longstanding tradition in India. It is believed that the devadasi system developed
when Hindu temples began to employ women to perform dance and music as part of worship
sessions and religious duties. They performed in front of the deity and were witnessed by royalty
and masses in the pillared hall of the temple. Over time, these women who rendered the service
of dance to the deity in a temple came to be known as devadasis, which brought blessings and
prosperity to the land.
Devadasis in Odisha were associated with auspiciousness and good luck to ward off the evil eye.
They were called Radha Dasis, symbolizing the highest degree of pure and selfless love towards
Jagannath, who is Lord Krishna Himself. The Dasi, by her submission, exercises proximity with
Him dealing directly with Him.
They were supposed to be charming women and were regular invitees to functions celebrated in
the royal court, requiring her auspicious presence as a blessing.

2. Representation of Devadasis in medieval temples.

Fig. 1 has two pictures.

Picture 1 is from the Belur temple of Hoysala architecture of 11-13th cen. CE.
Picture.2. is from the Konark temple of Odisha of 13th Cen. CE.

Fig. 1. Representation of Devadasis in medieval temples.

In the temples of the medieval period, we can see the sculptures of Devadasis often showcasing
their grace, beauty, and skill in performing a classical dance and playing an instrument following
all the techniques prescribed in Natyashastra. These sculptures, popularly called shilabaalika
(meaning a stone doll), can be found in many ancient Hindu temples throughout India, such as
the Belur Chennakeshava temple, the Konark Sun Temple in Odisha, Brihadeeswarar Temple in
Thanjavur, and the Khajuraho temples in Madhya Pradesh. The figures of dancers also adorned
the pillars or wall decorations, adding aesthetic beauty. In architectural representations of
temples, they were depicted as young dancers as beautiful as apsara figures, well adorned with
ornaments, charming looks, and ideal physical proportions as Nitya Sundaris. In some temples,
they were placed on a stone slab; in some, they were placed on a lotus base because they were
the brides of gods and above the commoners in their knowledge, insight into fine arts, and
dedication.
These sculptures also serve as a reminder of the vital role that devadasis played in ancient Indian
society as custodians of the temple arts and culture because They perfected all aspects of dance
and had an in-depth knowledge of the puranic and mythological episodes. They had acquired a
perfect sense of rhythm and music and could sing well, also. These are depicted in sculptures by
their dancing to the rhythm of varieties of percussion instruments. Singing got defined as playing
cymbals along with the melody instrument flute. They played the lead role in enacting a puranic
episode and were called a “Patra” in the medieval period. Many inscriptions mention the term
Paatra, and their remuneration in temples was high.

3. Historical reference of Devadasis in temple inscriptions:

Fig. 2. Devadasi’s decoration and recitals in temples

Our ancient scriptures Vedas refer to music and dance in religious ceremonies and rituals. Vedas
mention Apsaras and Gandharvas, who were well-versed in the art of dance and music, but there
was no mention of the term devadasi in Vedic texts. Sanskrit scriptures like Bhagavata Purana
and other Puranic literature mention the 16000 Gopikas, who were the devotees of Lord Krishna
and married Krishna, which was probably the early concept of Devadasis.
Going through the historical proofs of their statement:
* The earliest reference to Devadasi is found in the Ramagarh hill cave inscription of Madhya
Pradesh of 1st century A.D. states about a Devadasi (dancing girl) named Sutanuka.
* The practice of Devadasi existed mainly in the Siva Temple of Odisha during the Somavamsi
(9th -12th cen. CE) and Ganga periods. The Brahmesvara Siva Temple inscription of Somavamsi
king Udyota Keshari mentioned that his mother Kalavati erected the Shiva temple and his mother
dedicated beautiful dancing girls as Devadasis, adorned with ornaments set in gems.
* The Sobhanesvara Mahadev temple, Niyali inscription of 12th cen.CE in Cuttack district
records that the king named Vaidyanatha offered Siva beautiful damsels like the fairies of heaven
who were fully adorned.
* The Bhanja nagara Plate of 9th Cen CE suggests that the existence of the institution of
Devadasi was prevalent in Odisha during the time of Bhanjas. Seven hundred Darika or dancer
families were attached to the temple during that period.
* During the Ganga period, particularly under the support of Ananta Verman Chodaganga Deva,
the system of Devadasi extended to Vaishnava temples.
*The Korni Copper Plate grant of Chodaganga mentions that the Devadasi in the Srikurmam
temple offered the service of singing music, playing instruments, blowing the conch, and making
garlands to the Nrusimha. An entire village Chudanga Sahi was founded exclusively for the
devadasis of Puri Jagannatha temple. They were to perform, in addition to the singing and
dancing, all the routine duties in the temple. They were looked upon with respect. Some of them
could also make grants for the maintenance of the temple.
*The Madhavesvara temple inscription of the time of Chodaganga refers to a donation made by a
Devadasi herself to God.
We find a sculptural representation of female dancers playing flutes or drums in the Sun temple
of Konark, the Lingaraj temple, the Rajarani temple, Muktesvara, and Brahmesvar temples of
Bhubaneswar.
* The Hoysala Queen Shantala was a Paatra before marrying King Vishnuvardhana. The Belur
temple inscription describes Shantaladevi as “Vichitra nartana pravartana ,paatra
shikhamaniyum, Sangita sangata sarasvatiyum”.
During the Chalukya and Hoysala eras, the lead temple dancer was called a Patra.

4. The training of devadasis in a temple and their duties.

Fig. 3. The dance and music recitals of Devadasis.

Fig.3. has four pictures. The first one depicts a devadasi playing a stringed instrument.
The second one is her dance with accompanying instrumentalists.
The third picture shows her playing a percussion instrument.
and the fourth figure shows her singing and playing cymbals.

To be a Devadasi of the Lord, the young girl was betrothed to the Lord, and the ritual had all the
characteristics of a marriage. Immediately after the ceremonies, the girl's training starts with
dance lessons that continue for six or seven years or even longer. Lessons in Devotional songs
and the Puranas were imparted by her adoptive mother and her spiritual guru in the presence of
the Lord. This was to connect the young girl with the Lord. Her dress, except for seva at the
temple, was sober and devoid of worldly interests or luxuries. Later, she was well-trained in
dance and studied the intricacies of rhythm and abhinaya (Expressive part of sentiments). They
were also trained in music and playing many instruments. They were educated in Sanskrit and all
Puranic episodes. Since they stayed in temples, got educated, and trained in temples, their art
recitals were the key attractions in temple activities.
Devadasis were in two categories. One was called Patra, who danced inside the temple on the
dance platform in the Navaranga hall. The other type was who accompanied the deity in
processions, sang, and danced on the road. The former, Patra, was considered superior as she was
highly learned and was privileged to be with the Lord in His private apartments every night
before he went to sleep.
Only a Devadasi who stayed faithful to her Lord until the end had the privilege of having her
body, after death, covered with the same sari she received during her marriage with the Lord and
having the embers for the cremation brought from the temple for her pyre. A Devadasi enjoyed
the highest status in the temple and had the privilege of receiving the Prasada first.
Devadasi was called Mahari, meaning Mahanari in the Temples of Odisha.
Among the 36 services (seva) were offered to the Lord in the rituals performed by Maharis.
Devadasis was the only category where women were allowed to serve Lord Jagannath. Many
historians assert that this is the only Vishnu Temple in the country where women could perform
specific rituals other than dancing and singing.
Along with music, the Mahari dance form was introduced in the temple before lord Jagannatha
retired to bed at night, where the devadasi danced for the deity’s satisfaction.
The prestigious position of the main devadasi in temples was not hierarchical. Only talented
young and beautiful girls were chosen locally or outside and trained in dance. Paatra Devadasi
didn't need to be in service permanently but had the freedom to stay if she willed.
The co-artists who gave instrumental support to Devadasi’s dance were, Maddalekara, who
played percussion instruments; Vamshiga who played on flute; Nati, who was a co-dancer;
Gayaka, a male singer; and Savagani, who played cymbals. All these instrumentalists are always
presented as dwarf figures in panels of a devadasi in dance.
5. Identification of Devadasi figure in a temple

How to understand devadasis in sculptures. How are they different from shalabhanjikas or
another group of well-adorned divyanganas that look very similar in dress code.
It is important to note that divyanganas, apsaras, and devadasis were integral to Indian temple
culture and depicted as beautiful dancers. In temples, devadasis are depicted in Srinagar bhava as
decorating themselves before performing in front of the deity or a recital with co-artists and
instrumentalists. They are primarily defined as looking at a mirror held in their hand.
Apsaras and Devadasis are two distinct concepts that appear in all temples of India.
They are associated with distinct concepts and should not be confused with each other. Apsaras
are mythological concepts, celestial in nature, and are associated with dance, pleasure, and
temptation. In Hindu mythology, apsaras are believed to be the wives of the Gandharans, the
celestial musicians. They are seen as flying Gandharva couples, signifying their abode of the
upper world.

Fig.4. Well-adorned female figures in different activities.

While Devadasi or Devaditi is a human representation dedicated to serving the deity in a

particular temple, heralding the culture of arts, and being respected members of society.
Devadasis were trained from a young age in music, dance, and other duties, of temple rituals.
Of course, not all devadasis were the prime dancers. They were also shown as playing an
instrument which is already discussed. Some were co-dancers and co-singers, and many were in
the temples' duties of fanning, cleaning, and flower decorations. Temple authorities sponsored
their salaries according to their status, and donations were offered in ritual sessions. In ancient
times, the devadasis who engaged in jobs other than the fine arts were called “Sule,” meaning an
assistant in a temple. The terms mentioned in inscriptions like Kambada sule, and Chamara sule .

Correlating the activities that are depicted in pictures in Fig.4:

1. Picture 1 is Kambada Sule, who is in front of a pillar and since she is also holding a chamara,
in her right hand, she is also the Chamara Sule. We can notice that her jewelry is less. It means
she is a devadasi who stood by the side of a post and fanned the deity.
2. Picture 2 is Alankara Sule was also to make garlands for gods. She holds a garland in her
hand that she has made for the gods.
3. The third picture is a different theme. Many well-adorned beauties in temples also depict
themes related to tantric perspective. She represents a tantric topic of chakra positions hinting at
the positions of the first and the last of chakras with the chakra tool. The right hand above the
head shows a ball in hand, and the other ball is at the mid-pelvic position. The ball she holds has
marks like an acu ball, which is used in activating the marma points of the thumb tip.
It is not Kandukakride, a lady playing with a ball, as nobody plays with a ball balancing it
between the pelvic region and pillar.
4. Fourth figure is a Shalabhanjika. Shalabhanjikas are also well adorned, but they always hold
the branch of a tree.
The first two pictures are in the lower category of Devadasis. The 3rd and 4th pictures are not
devadasis. We have already seen the dancing Patra Devadasi pictures before.

In ancient times the devadasis were divided into seven categories viz: Dutta, (gifted) Hruta,
(free-spirited), Bhrutya (servant), Alankara (decoration, aesthetics), Gopika, and Rudraganika
(the protectors, or defenders), and Vikrita (affected with passions). Such categories reveal the
origin and status of the devadasis.
6. Significance of dance and the compilation of Natyashastra

Fig.5. Patra as temple dancers

There are three pictures in this slide.

1. The first picture highlights the interpretative dance. The Costume, accessories, and
adornments used by the paatra are defined here. She is depicting an episode or a role, related to
the dance of Bhairavi. The maddalekaras are giving the rhythm support.
2. The second picture shows her talent in handling Chitika tala in her right hand, a small
percussion instrument like the damaru or budubuduke in her left hand. She exhibits her skill and
capacity to play two instruments while dancing. And maddalekaras are giving louder rhythm
support. She stands in a mandala sthana dancing posture where the distance between two feet is
less than one span.
3. The third picture highlights the beautiful costume, of the dancers, holding some objects like a
lamp in one hand and a pot in the other hand and dancing. She stands in Vaisakha sthana where
the distance between the feet is over 3 spans. All these postures, ornaments, and dress codes are
prescribed in Natyashastra, which the devadasis followed.
Analyzing what dance is, in the basic sense, and why it was adopted as part of worship
sessions:
The art of dance was the most appreciated form of cultural activity because it was audio-visual
art. Fundamentally Dance is an involuntary movement of body organs when the mind and
intellect are one with sound vibrations, which could be rhythmic or melodious. The physical
body participates automatically with movements when the mind harmonizes with the musical
vibrations. Even babies respond to music in their way, which no one guides. Physical movement
is the fundamental activity called dance. Later the movements were structured as a set of body
movements in a stylized frame that gave rise to classical dance.
Dance has come to use simply because it creates beauty, grace, enthusiasm, and attraction. Dance
is naturally loved almost by all people. It is eulogized as auspicious and a source of amusement
on the occasions like general festivity, attainment of prosperity, marriage, childbirth, etc. Dance
adds grace, attraction, and enthusiasm to an event making it more interesting.
From a philosophical view, dance is an expression of joy. It is the sway and harmony of mind
and body in response to the nature of melodious, rhythmic, or musical vibrations. It sets the
performer and the onlooker into a movement of spirituality. Hence, the sacred art of dance and
music became part of temple worship sessions. For this reason of promoting spirituality through
cultural activities, Devadasis were trained only as dancers and singers.
The two great treatises the temple architects followed were Natyashastra and Shilpashastra.
Natyashastra was a compilation of the art of dance, dramatics, and music. Shilpashastra, was on
the rules of architecture, an umbrella term for numerous texts on temple art and architecture.
They were the manuals and knowledge source for creating the uniqueness of Indian temple
architecture. Commentaries on Natyashastra were so elaborate that the many kings who
sponsored temple building activity and the Vishwakarma, sthapatis who excelled in carvings,
were well versed in the intricacies of Natyashastra involved.
The jewelry and hairstyles added grandeur of aesthetic value to temple architecture.
Temples were a conglomerate of art and science: engineering techniques, geology, and human
anatomy. Sculptors knew the pure dance movements and interpretative dance as Navarasa.
Natyashastra amalgamated with iconography and Shilpa Shastra. It was used as a “sutra”- a base
or foundation on which sculptures of cultural, social, mythological, and philosophical aspects
manifested. Stone was used as a permanent medium to express the thought process, be it in the
fine arts field or philosophy. The graceful dance postures became the inspiration for sculptors
who were successful in carving the best dance sculptures in the temples of India. The sculptors
tried to capture and freeze the delightful postures of the heritage art by devadasis and the
instruments they played in a stone medium. The sculptors were inspired to carve the best dancing
devadasis figure in temples, and Devadasis probably supported this work by being the models
while sketching the dance posture. Through the combined effort of these two, we now see the
style of classical art and various types of instruments that were in vogue in the medieval period.
The Adoption of Live performances of Dance and Music in Temple Sculptures.
A fact that intrigues the tourists and devotees while studying a medieval temple is why the
temples were studded with so many young women in dancing postures. Sage Bharata (the
compiler of Natyashastra) answers that there is no specific need for occasion dance.
The dancer's oneness with music and rhythm becomes a joyous art when the theme and her spirit
harmonize. The joy experienced by the artist becomes contagious, making the viewers also
experience the happy movements and respond to them in their own way, forgetting the mundane
or bothering problems of life. Dance was thus an activity to enhance the enthusiasm for social
events and part of big celebrations like the birth of a royal heir, the coronation of the king, or
domestic rituals like marriage, childbirth, etc. The inclusion of Dancers in temple architecture
increased the scope for sculptors. The curves of the physical body fully adorned were the
primary form they used to depict a dancing sculpture.
To quote the words of Dr.S.R Rao,
“Karnataka has a long tradition of royal patronage for art and literature and shared the common
heritage of monumental culture of the Indian subcontinent. According to Kaavyamimaamsa of
Raajasekhara, the King was himself expected to be a poet and artist, not for parading his intellect
or aesthetic qualities, but for adjudging the literary equipment and artistic skill of his subjects
and the need for preserving and enriching the monumental culture of the Kingdom.”

7. Exploring the evolution of temple architecture, from the Angabhoga to Rangabhoga

temples.
As per Hindu beliefs and inscriptional evidence, God is Live and is to be revered with different
rituals and offerings. The earlier temples of India were of the Angabhoga type, (see the top
picture of Fig.6) which evolved gradually into the Rangabhoga type (see the bottom picture of
Fig.6). Angabhoga was a service rendered to the main deity, which included bathing, change of
cloth, change of the sacred thread, application of sandal paste, lighting oil lamps, and offering
food as a token of respect. Adoration to the deity embodied in an image or icon was offered.
These services, which comforted the deity's body, were performed in privacy like daily worship
rituals according to the Agama texts. These temples were not very large and ornate.

Fig.6. Rangabhoga temple of Ittagi Mahadeva temple, Karnataka, of Kalyani Chalukyas

The Rangabhoga, which included, in addition to daily worship rituals, the offering of Gita and
Vaadya through music, dance, and recitation of puranic episodes, was meant to please God.
“Rangaseva” the music and dance as part of worship were open to the public in temples. The
devotees who promoted Rangabhoga temples belonged to the promoters of fine arts. This was
achieved when Rangabhoga services were introduced in temples. After that, dance and music
became integral to daily worship, with dancers meeting expectations by drawing a huge crowd. A
good-looking young dancer with all her attributes and talent had always been sought after by the
audience, who were attracted to temples to listen to music even before they entered them.
Temples thus promoted cultural activities too.

8. The Dancing platform in front of Garbhagriha.

Fig. 7. Dancing platform in front of Garbhagriha

Where did these Devadasis perform in a temple?

Temples that offered rangabhoga service had to be large enough with a big circular dancing
platform in the Navaranga pillared hall in front of the garbhagriha. It was for the devadasis to
give their recitals. The pillared hall was large to accommodate the audience. The temples were
built bigger accommodating bigger halls. The temple premises also had to have an attached
residence called Sulegeri, where dancers, mentors called Sulevala and other artists who offered
services to God could reside. It involved massive money as these artists could not do other jobs
for their livelihood. Chalukyan rulers believed that the dance rendered by young and beautiful
girls attracted many devotees, which probably helped maintain harmony in cultural and religious
heritage. King Vikramaditya the VI, built the Mahadeva temple at Ittagi in Karnataka and
donated a modest place and money to care for the dancers employed in the temple. (Epigraphia
Indica, XIII, page 56).
Later, the same reverence of Pleasing the mind of God was extended to the King, as he
represented God on earth as Naradevata. The worship rituals that were offered to God were also
extended to Kings. Dancers performed puranic themes, a way for the king to understand puranic
episodes. Both king and the common public got educated in religious history through Devadasi’s
recitals.

Fig.8. Temple architecture, from the Brahmeshwara temple of Bhuvneshwar.

In the temples of Odisha, the practice of dedicating dancing girls to the temple prevailed in India
during the very early period. The temples were in the unique Kalinga style of architecture.
In front of the main sanctum Garbhagriha, separate structures known as Jagamohan the assembly
hall with a pyramidal roof, and Natamandir, the place for art recitals where Devadasis danced,
and another hall Bhogamandir for offerings were added, enlarging the temple structure in a
stylized way.

9. The Devadasis after the Mughal and British invasions

Devadasis were expected to dance in the temple daily and during various religious rituals along
with the orchestral music of percussionists, flute players, cymbals, and so on as part of their
service. (Picture 1 of Fig. 9). In the later period, after the Mughal and British invasions,
Devadasis lost their support from temples and were supported by the royal families. Their social
status declined as they danced for the king or wealthy merchants and were forced into
prostitution. They were sheltered as palace artists at royal courts over time. (Pictures 2 and 3 of
Fig.9). The music compositions also changed from eulogizing the deity to the kings. The songs
called Padams had God as a hero. Later, music compositions called Javalis got popularized
where the king was eulogized, and the songs were composed on love themes. The well-
accomplished Devadasis guardians of the classical music and dance styles were turned into
courtesans and not associated with temple service any longer.

Fig. 9. The Devadasis after the Mughal and British invasions

Over time, the Devadasi system became corrupted, and the practice of offering young girls as
brides of the deity were misused for the personal benefit of temple priests and other influential
individuals. This led to exploitation, abuse, and other mistreatment of the Devadasis. The
practice was eventually outlawed in India in the mid-20th century, and their societal role changed
significantly.
Appreciating their learning and perseverance, they got recognized with an altered status in the
post-independence period and were recognized as Asthana Vidushis. Many great legendary
artists like Smt. Rukmini Devi Arundale, Balasarasvati, M.S.Subbalakshmi, and Kishori
Amonkar, (See pictures 4 and 5 of Fig.9) who belonged to the Devadasi families, put much effort
into evolving the declining phase of classical dance and music into a stage art and established
prestigious institutions where to this day, many artists are getting trained. The 20th century saw
Classical dance and music performed outside the temple premises and evolved into stage recitals.

10. Conclusion: Contributions of Devadasis.

It is important to note that the Devadasi system is controversial and complex. Opinions on it vary
widely. While some saw it as a form of religious dedication, others viewed it as a form of
exploitation and forced prostitution.

Fig.10.Contributions of devadasis:

The Devadasi’s contributions to preserving the traditional and classical art of dance, the
conventional embellishments, dress code, and social life are significant. Some facts all Indians
remember regarding the role of Devadasis in heralding the cultural heritage of India can be
summarized into the following points.

1. Were young girls not trained in dance and served in temples as artists, the various types of
instruments which are obsolete now would not have come to our understanding.
2. Temples were also centers of cultural art. Devadasis played a crucial role in the propagation
of Indian classical dance. The donations by the queen and other dignitaries to the maintenance of
artists are detailed in many temple inscriptions.
3. The glorious contribution of devadasis was that they pursued the heritage art of dance and
music and served in temples without getting into family life. Recognizing their dedicated
services, their figures got depicted on temple walls in a permanent stone medium.
4. Devadasi's glorious life was one of the primary reasons for changes in Indian temple
architecture. The Temple plan underwent a shift, extending with a dancing platform and a large,
pillared hall for art recitals. The outer walls were decorated extensively with exquisite dancers
and the figures of deities, giving a unique identity to the Indian temples.
5. Since Devadasis were skilled artists, the sculptors could carve figures playing the instruments
in their hands. The inclusion of Devadasi figures enhanced the Scope for artists and sculptors.
People could understand and appreciate the classical art of our land with an enhanced patriotic
spirit. Temple figures have been like a documentary on various musical instruments used in the
medieval period. Literary explanations exist, but the sculptures give a better visual impact and
understanding of the musical instruments.
6. Because of devadasis, temples became centers to propagate classical art.
Religious episodes were enacted by them that educated commoners in understanding
mythologies. The flow of devotees increased as they could enjoy art forms, and the appreciation
and income from temples also increased, which were devoted to various social reforms.
7. The dedicated service of Devadasis in Indian temples was complimented by making their
representations in the temples of India. Though the devadasi system got abolished in the 20th
century, their contributions for 20 centuries in heralding and stabilizing the heritage cultural arts
of India remain as permanent records in our temples. Though modern times saw the decline of
the Devadasi tradition, The dancing platform built exclusively for the performances of Devadasis
stays as a major component of the temple architecture.

Reference:

*https://odishabytes.com/devadasis-lord-jagannath-lost-tradition-divine-romance/
Devadasis Of Lord Jagannath: A Lost Tradition Of Divine Romance
By Charudutta Panigrahi

*http://magazines.odisha.gov.in/Orissareview/2012/June/engpdf/127-128.pdfThe Reference
of Devadasi in the Inscription by Bharati Pal
* Apsaras in Hoysala art - A new dimension, By Rekha Rao, Published by Aryan Books
International, 2009, ISBN- 978-81-7305-379-5
*The Glory of Hoysala Queens. Belur Chennakeshava Temple, 2019, By Rekha Rao
*Kalyana Chakukya Devalayagalu Ondu Samskrutika Adhyayana”, H.S.Gopal Rao,1993).