Dance and Destruction

Hinduism art during the 11th century was filled a variety of divine aspects of philosophy and the worship of many gods. The most mysterious form of art from Hindu culture that caught my attention was that of the dancing Shiva. Shiva the Destroyer has many faces in Hindu culture but the one that I will focus on in this discussion is Shiva Nataraja. The dancing Shiva is one of the most classic and loved symbols that captured the essence of Hindu culture and still remains timeless. To understand why the dancing Shiva is iconic art form we will look at the history and properties that make the Shiva Nataraja symbolic. The word Nataraja refers to the dancing form of Shiva due to the fact that Shiva has many forms. Nataraja meaning Lord of Dance or King of Dancers refers to the specific representation of the four armed dancing Shiva surrounded by a ring of fire. Trying to understand the dancing Shiva is not easy concept because Shiva after all is the god of Destruction. The best way to understand this concept of Shiva Nataraja is not to think of him as a destroyer but as a transformer. The appealing aspect of this Nataraja is that explains a story about the transformation of life. In Hindu religion and culture we know that things must be created, preserved and destroyed, and they are represented by gods. The same can be said about energy or life itself and this is why it is such an interesting and appealing as art and as science. The dance of Shiva can be compared to the ring of fire that surrounds it, very destructive but beautiful to watch like looking at dancing flames. The statues of Shiva Nataraja have very unique properties and this is why they look very similar and give it a very classic style. The most popular depiction of Shiva Nataraja comes from the tenth and twelfth centuries showing very clear characteristics that define it. According to Kumar these following properties can distinguish Shiva Nataraja as being a symbolic representation (Kumar, 2001). Dancing in an arch of flames is known as the Dance of Bliss (anandatandava). The four arms of Shiva Nataraja represent the four cardinal directions. The hands are always shown each with their own specific meaning holding and object or making a gesture. Natraja, Shiva as King of Dance South India, Chola period, 11th century, Bronze
• The upper right hand is shown holding an hour-glass drum representing the correlation of how time has a beat or a pulse. This pulse is like music and is the beat that Shiva dances to.
• The upper left hand is holding a tongue of flames that represent an element of destruction. The balance of the two hands illustrates creation and destruction.
• The second right hand shows Shiva as a protector and the open palm is said to be a sign of being without fear.
• The lower left hand is pointing to the uplifted foot and imitates that of a trunk of an elephant. The left hand pointed at the uplifted foot also represents the release from the cycle of birth and death. The stance of Shiva is shown as having the left leg raised towards the right leg and reaches across it. The right leg is shown standing on a body of a dwarf or demon (Apasmara-purusha). This body of the dwarf represents the ignorance and laziness of all mankind. The message that the art sends is that creation of art itself as dance can only start if the obstacles of human weakness can be overcome. The arch of fire and light combined with time and destruction represent the universe. The pedestal represents the heart of consciousness of each person. The entire image of Nataraja is a metaphor of the dance of balance with the universe and the obstacles of life that everyone must overcome. The long hair of Nataraja is also very similar and common in most figures. The sensuous long hair shown to like magic waves that go wild and free and give motion to the frenzied dance. It is said the uncut hair gives him power and strength much like that of the story of Samson (Kumar, 2001). Shiva Nataraja 13th Century, Late Chola Dynasty

These unique properties are shown here in this representation of the dance of Shiva Nataraja from the 13th century show that the representation of the classic concept has carried on throughout the ages. According to Rodrigues there are as many as 108 different dances of Shiva (Rodrigues, 2010). These poses are sculpted on either side of the east and west gopurams (ornate, monumental towers) of the Nataraja temple at Chidambaram (Rodrigues). This symbolic pose of Shiva is the most popular to Westerners and to world art historians (Stromer, R, Ph.D. (n.d.)). According to Gaston from the article that Shiva can be found in South India in a variety of different poses, and there this statue is just one among the other different stances and dances of Shiva (Stromer). The worship of Shiva has been confined largely to south India and this is where the only temple dedicated solely to Shiva Nataraja is located (Stromer). The central bronze image of Nataraja in the main temple can be found at Chidambaram and shows the central representation of Shiva as Lord of the Dance (Stromer). This representation shows the dance of destruction offering salvation to the worshipful observer who can truly appreciate a dance that is the creation and destruction of the cosmos (Stromer). As stated Shiva worship today, mainly comes from south India because the temples there offer a greater understanding of the paradox of the statues. The concept of Shiva however has been shared through art throughout the world. It takes a great deal of time to understand the legend and myths that surround such a symbolic figure. The way the world views art is by taking one set image or focus that explains history and focusing on this representation. For Shiva this representation that has carried on is that of this statue of Shiva Nataraja. The reason that this certain image has been considered classic is the same reason that I chose to discuss this particular piece of art work. It is a very mysterious and complex piece of Art that will catch everyone’s attention and tells a story of the balance of life. This story shows that balance needs; creation and destruction, order and chaos or life and death. Learning about the Shiva has let me uncover some of the mysterious that surround this interesting piece of art. I am glad that I go to learn about the Asian Arts and this has opened new windows and gives me a new perspective on the way to look at all forms of art in the future.

Works Cited

Kumar, N. (January, 2001). Exotic India. In Shiva as Nataraja - Dance and Destruction In Indian Art. Retrieved March 5, 2012, from http://www.exoticindiaart.com/nataraja.htm.

Nataraja. (2012, February 27). In Wikipedia, The Free Encyclopedia. Retrieved 08:48, March 13, 2012, from http://en.wikipedia.org/w/index.php?title=Nataraja&oldid=479094129

Rodrigues, H. (January 26, 2010). Mahavidya.ca. In Nataraja Lord of Dance. Retrieved March 6, 2012, from http://www.mahavidya.ca/hindu-deities-and-puranic-mythology/saiva-deities-iconography-myths-and-festivals/nataraja-lord-of-the-dance/.

Stromer, R, Ph.D. (n.d.). Soulmyths. In Shiva Nataraja: A Study in Myth, Iconography,and the Meaning of a Sacred Symbol. Retrieved March 6, 2012, from http://www.soulmyths.com/shivanataraja.pdf.

For more information on Shiva Nataraja I encourage you to visit: http://www.exoticindiaart.com/nataraja.htm.