In ancient times it was performed as dasiattam by mandira (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharatnatyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatnatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.
In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti.Bharatnatyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharatnatyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya).
The Tamil country especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharatnatyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatnatyam in Tanjore. Originally, they formed a community by themselves and most of them were Saivite non-Brahmins.
