text: The tradition of female artists in temples is said to have developed during the 3rd century CE. A reference to such dancers is found in the Meghadūta of Kālidāsa, a classical poet and Sanskrit writer of the Gupta Empire. An example of reference to a Devadasi in the 3rd century CE in South India is Madhavi found in the Silappadikaram. Other sources include the works of authors such as Xuanzang, a Chinese traveller, and Kalhana, a Kashmiri historian. An inscription dated to the 11th century suggests that there were 400 Devadasis attached to the Thanjavur temple in South India. Similarly, there were 500 Devadasis at the Someshvara shrine of Gujarat. Between the 6th and 13th centuries, Devadasis had a high rank and dignity in society and were exceptionally affluent as they were seen as the protectors of the arts. During this period royal patrons provided them with gifts of land, property, and jewellery.
  Devdasis in South India and the Chola Empire and Vijayanagara Empire
  The Chola empire supported the Devadasi system; in Tamil Devadasis were known as Devar Adigalar ("Deva" means "Divine" and "Adigalar" "Servants", i.e. "Servants of the Divine"). Both male and female Devadasas and Devadasis were dedicated to the service of Hindu temples and their deities. The Chola empire developed the tradition of music and dance employed during temple festivals.
  Inscriptions indicate that 400 dancers, along with their gurus and orchestras, were maintained by the Brihadisvara temple, Thanjavur, with munificent grants including the daily disbursement of oil, turmeric, betel leaves, and nuts. Nattuvanars were the male accompanists of the Devadasis during their performances. The Nattuvanars conducted the orchestra while the Devadasi performed her service. Inscriptions indicate that Nattuvanars taught the Chola queen and princess Kundavai.