I. The Dancing Siva- Nataraja literally means “Lord/King of Dance.” Dancing
images of Lord Siva known as nrtta Murti (dancing gods)
a.
Name ‘Nataraja’
comes around 13th century, much later than the creation of the image;
Nataraja used almost unanimously now.
b.
Utsavamurti- Bronze images that are small scale, metal sculptures that act on
behalf (proxy) of the immovable
images in the main sanctums. Typically used for home pujas,
festivals, smaller shrines.
c.
Dress Set: images are usually
dressed and part of a set of the deity, consort, attendants, etc…
II. Chidambaram- Bronze murti of the Nataraja is the presiding deity, the only
known temple to have the Nataraja
as the focus of the main shrine. Temple associated mainly with Chola
dynasty, 9th and 10th centuries, along with the majority
of bronze Nataraja’s.
III. Panchaloha – 5 metals: Copper & tin (bronze), lead, silver and gold that
compose a murti. Solid body.
IV. Coomaraswamy’s 3: Importance of Nataraja as a Saivite
image
a.
Depicts rhythmic play as the
foundation for all movement/energy in the universe.
b.
The purpose of the Ananda Tandava is to release the
souls of mankind from the snare of the illusory, maya.
c.
“the
place of the dance, Chidambaram (centre of the universe), is in the heart” of
the devotee.
V. Origins- Precursor to
Bronze Nataraja found circa late 6th and early 7th C.E in
caves.
a.
Story of Siva fighting sages/rishis – Not paying homage to Siva so he gets Visnu to appear as Mohini
(Seductive dancer) to distract rishis. Siva as sadhu who takes
their wives off into the forest… Sages seek to destroy him through a sacrifice
i.
3 traditional elements are
brought forth from sacrifice: ATiger, a Serpent, A dwarf
(Apasmara).
ii.
These elements represent all
the aspects the rishis had to overcome. Devotee has
to overcome these things like the rishi/sages
b.
Variety in the Nataraja’s
i.
Multiple forms/versions but
most contain certain characteristics sometimes with both feet
on ground, more arms, trident, etc…
VI. Characteristics of the Nataraja
a.
In the Dance form known as Ananda Tandava (The
dance of bliss) or “nadanta” though there are different classifications by different
scholars.
b.
Arms and Legs: Each arm holds
an object or mudra characteristic of Lord Siva
i.
Upper left hand: hold either a
vessel of fire or the fire in his hand which symbolizes destruction and
cleansing of the soul/universe.
ii.
Upper right hand: holds a drum
(Damaru)
symbolizing creation
iii.
Lower left hand: points
towards foot across the body where salvation can be found. Resembles an
elephant trunk suggesting tie to Ganesha.
iv.
Lower right hand: Abhaya mudra “no
fear gesture.” Protection
v.
Left leg- Lifted up and turned
towards right left, signifying refuge and liberation from the cycles of samsara.
vi.
Right leg- bent slightly and
placed upon the back of Apasmara, the dwarf. (Almost
always depicted with only 1 foot touching the dwarf)
c.
Apasmara (Muyalaka)- dwarf
being crushed by lord Siva. Traditionally represents the gnorance/illusion/darkness
d.
Prabha Mandala (mandorla) – Ring/Arch of fire surrounding Siva signifies illusion
and the cycles of the universe
e. Base of Lotus flower: represents emergence of form from formlessness. Represents the heart of the universe which rests within the devotee.
f.
Face: Serene, Absorbed in bliss, with smile. Complete
equipoise of face contrasted to the
motion of the hair, flames and body. Portrays the ultimate reality that
transcends all.
VII.
Five Aspects- traditionally
linked with Brahma, Vishnu, Rudra, Mahesvara, Sadasiva
A.
Creation – symbolized by the drum; primordial sound described in the vedas
B.
Preservation/protection- Comes from the abhaya mudra, or no-fear gesture
C.
Destruction – symbolized by the fire Siva holds, cleansing of universe/spirit
D.
Refuge –
A rhythmic cycle of creation and destruction; beyond
which is the one, pervasive divinity. Wild motion/perfect serenity. The two together make
up the dynamic quality of the Nataraja image.