On Rameshvaram island in the south-east corner of India lies one of Hinduism's most important temples—the Rāmanāthasvāmi, one of the four dhams (‘holy abodes’) and the site of two Śiva-liṅgas said to have been consecrated by Rāma himself. A temple has existed here since at least the eleventh century, although most of the present temple dates to the seventeenth and eighteenth centuries when the island was protected by the Setupati rulers of nearby Ramnad. In several of the long corridors and halls for which this temple is famous are brightly painted life-sized standing images of over 100 male figures attached to columns. Though such images are characteristic of many south Indian temples from the seventeenth and eighteenth centuries, there are far more at Rameshvaram than at any other south Indian temple. This article examines the number, location, and significance of these numerous standing images within this temple. By exploring the significance of the temple as a long-standing site for the royal performance of devotion, this article seeks to address whether the great number and identity of the life-sized donor images can be explained by both Purāṇic ideas of kingship and seventeenth- and eighteenth-century Dutch observations of the pan-Indian status of the temple.

From the fourteenth century CE onwards, South Indian states ruled by Hindu kings were strongly influenced by politico-cultural conventions from Muslim-governed areas. This development was, for instance, manifest in the dress and titles of the rulers of the Vijayanagara empire. As has been argued, they bore the title of sultan and on public occasions they appeared in garments fashioned on Persian and Arab clothing. Both adaptations exemplified efforts to connect to the dominant Indo-Islamic world. From Vijayanagara's fragmentation in the sixteenth and seventeenth centuries, new Hindu-ruled kingdoms arose. We may wonder to what extent those succeeding polities continued practices adopted from Islamic courts. With that question in mind, this article discusses royal dress at court audiences in four Vijayanagara successor states, chiefly on the basis of embassy reports of the Dutch East India Company and South Indian works of art. It appears that kings could wear a variety of clothing styles at audiences and that influences on these styles now came from multiple backgrounds, comprising diverse Islamic and other elements. Further, not all successor states followed the same dress codes, as their dynasties modified earlier conventions in different ways, depending on varying political developments.

Beside the records of the Dutch East India Company (or VOC) stored at the Netherlands National Archives in The Hague, there are various VOC collections kept in Asia that pertain to India and Ceylon. Some of these are relatively well-known: the “Dutch Records” in the Tamil Nadu Archives (Chennai); the records of the VOC government of Ceylon in the Sri Lanka National Archives (Colombo); the records of the Dutch Reformed Church of Ceylon at the Wolvendaal Church (Colombo); and the records of the Asian VOC headquarters at Batavia in the National Archives of Indonesia (Jakarta).

Plans of eighteenth-century Indian houses, papers concerning the Dutch hospital at Cochin, Tamil texts inscribed on palm leaves, documents of Dutch institutions in India functioning under British rule, and numerous proclamations each drawn up in Dutch, Portuguese as well as Malayalam, reminding one of hundreds of Rosetta Stones, these are just a few examples of the largely unique documents that are referred to as the Dutch Records and are kept at the Tamil Nadu Archives in the South Indian city of Chennai (formerly known as Madras). These materials seem to comprise virtually all that remains of the archives that were left by the Dutch in India to be taken over by the British. (A large part of the original archives must have been lost in the course of time.) They consist of about 1,800 volumes and a couple of bundles (numbered 1 to 1763), stretch 64 metres, and date from the period between 1643 and 1852. The Dutch Records at Chennai in fact encompass the remnants of the archives of four factories set up by the Verenigde Oostindische Compagnie (VOC, Dutch East India Company), which all functioned as the headquarters of a kantoor (regional establishment): Cochin (headquarters of Malabar, modern-day Kerala), Nagapatnam and later Pulicat (Coromandel, present-day Tamil Nadu and Andhra Pradesh), Surat (Surat, modern-day Gujarat), and Chinsura or Hooghly (Bengal). These four archives have different custodial histories and were apparently put together just because they were all created by VOC institutions and their legal successors.

Two of the former so-called rival empires of trade in the Orient, the Dutch and the British with their respective East India Companies, are today friendly neighbours, closely co-operating both politically and economically. Their erstwhile mercantile rivalry in the East, however, is still reflected in the fact that part of the records of the Dutch East India Company (VOC) is nowadays kept in—of all places—the department of India Office Records at the British Library in London, the very repository of the archives of the British East India Company (EIC).

This article presents an overview of the relatively unknown and unexplored materials derived, copied, or translated from the VOC and stored in that lion's den. Apart from a few miscellaneous papers, three groups of records will be described: the remaining archives of the VOC establishment at Melaka (in Malaysia), VOC documents in the Mackenzie collections, and relevant materials in the archives of the EIC. The bulk of the first group of records and parts of the second and third group are unique. In addition, the few Dutch records from Melaka that still remain in Malaysia will be dealt with in an Appendix.