is the most famous scripture of the Chola period
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The period of the imperial Cholas (c. 850 CE - 1250 CE) in South India was an age of continuous improvement and refinement of Dravidian art and architecture. They utilised the wealth earned through their extensive conquests in building long-lasting stone temples and exquisite bronze sculptures, in an almost exclusively Hindu cultural setting.
The Cholas built their temples in the traditional way of the Pallava dynasty, who were themselves influenced by the Amaravati school of architecture. The Chola artists and artisans further drew their influences from other contemporary art and architectural schools and elevated the Dravidian temple design to greater heights.[1] The Chola kings built numerous temples throughout their kingdom, which normally comprised the plains, Central and Northern Tamil Nadu and at times the entire state of Tamil Nadu as also adjoining parts of modern Karnataka and Andhra Pradesh. In the evolution of the Chola temple architecture we can roughly see three major phases, beginning with the early phase, starting with Vijayalaya Chola and continuing till Sundara Chola, the middle phase of Rajaraja Chola and Rajendra Chola when the achievements scaled heights never reached before or since and the final phase during the Chalukya Chola period of Kulottunga Chola I till the demise of the Chola empire.
The Cholas in addition to their temples, also built many buildings such as hospitals, public utility buildings and palaces. Many such buildings find mention in their inscriptions and in contemporary accounts. The golden palace that Aditya Karikala supposedly built for his father Sundara Chola is an example of such a building. However, such buildings were of perishable materials such as timber and fired bricks and have not survived the ravages of time.
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The Chola period is also remarkable for its sculptures and bronzes.[19] Among the existing specimens in the various museums of the world and in the temples of South India, may be seen many fine figures of Siva in various forms accompanied by his consort Parvati and the other gods, demigods and goddesses of the Saivaite pantheon, Vishnu and his consort Lakshmi, the Nayanmars, other Saiva saints and many more.[1] Though conforming generally to the iconographic conventions established by long tradition, the sculptor could also exercise his imagination within the boundaries of the canonical Hindu iconography and worked in greater freedom during the eleventh and the twelfth centuries. As a result, the sculptures and bronzes show classic grace, grandeur and taste. The best example of this can be seen in the form of Nataraja, the Divine Dancer