indian art online resource Iconography

Shiva Nataraja depicts the Hindu Shiva as “ of the Dance,” engaged in the dynamic, victorious “dance of bliss” (ananda ) he performed after defeating arrogant sages in the forest. In representations of the deity, such as this tenth-century bronze in the Freer’s collection, every feature reveals important details.

“Ta-dum, ta-dum, ta-dum…” beats game, with the universe plunging the drum in Nataraja’s hand, as into darkness as a result. To bring he shakes it, giving rhythm to his light back to the universe, Shiva dancing feet and sound to his created his . image. Shiva, the auspicious one, multiple arms is manifest here as the lord of the In art of the Hindu tradition, dance, a form he has taken not deities are depicted with multiple to entertain but perform cosmic arms to illustrate divine power. work. Shiva Nataraja is crushing Shiva Nataraja’s four arms each ignorance, presented by the sculp- take a different position or hold tor as a demon under his feet who symbolic objects, showing his looks up benevolently at the god, strength and constellation of skills. even as his own ruin is in progress. clothing Nataraja is one of the most Shiva wears an article of clothing important, visually thrilling forms around his waist called a veshti in of the Hindu god Shiva. Artists in south . This garment is also the Tamil region of southern India worn by Hindu . Across his began to make this form of Shiva torso is the sacred thread of the in the early tenth century, with the priestly class. patronage of kings, inspired by poetry written by ardent devotees earrings and using skills in metal craft On Shiva’s right ear is an earring developed over hundreds of years. depicting a , a mythical Once made and brought to life water creature. His left ear is through ritual, Nataraja lived in adorned with a circular earring the temple, moving out daily and during festivals, gracing his devo- tees within the temple and in the streets, as he processed through the town with song and ritual.

Appearing more than a thousand worn by women. The pair years ago, Nataraja’s importance represents Shiva’s male and has endured as a god and a popu- female aspects. He is sometimes lar icon. Today he is worshipped depicted with his consort in major temples and circulates (Uma) as a half-male, half-female in public life. Nataraja represents form, illustrating the cosmic Indian tradition, cosmic principles, balance of male and female Tamil identity, and classical dance. ring of cosmic fire energies. Artists use his image to sell prod- The oval ring around the figure left hand ucts, critique society, and present of Shiva Nataraja represents the The left hand points downward to philosophical concepts. Nataraja cosmic fire he uses to destroy indicate sanctuary for the soul of is truly a god for all time. the universe as part of the cycle the devotee. of destruction and creation. Each third eye flame has three points. In the Shiva’s third eye represents his right hand Shiva Nataraja eleventh and twelfth centuries, a cosmic knowledge. In one of the The open palm of Shiva’s right ca. 990, India round circle of fire with flames of ’s hymns to Shiva, hand forms the abhaya , or Bronze five points became typical for the he sings of Parvati (Uma), cover- hand gesture, signifying that the H: 70.8 W: 53.3 D: 24.6 cm Shiva Nataraja image. ing Shiva’s two eyes in a flirtatious worshipper need have no fear.

Freer Gallery of Art and Arthur M. Sackler Gallery www.asia.si.edu online resource Shiva Nataraja Iconography

drum It is with this hourglass-shaped drum that Shiva beats a rhythm that brings the universe into creation. As both the creator and despite his defeat. In the story destroyer, of the Chidambaram forest, this Shiva and his demon was one of the weapons drumming the sages launched against Shiva, play an essential role in the cycle who handily crushes the demon, of the universe. thereby declaring his triumph over ignorance. The story of Shiva’s triumph in the lotus base forest near Chidambaram The lotus flower, indigenous to recounts the snake as one of the South and , repre- malicious forces hurled at the sents purity in the Hindu, Jain, and Buddhist traditions. The flower grows from the depths of muddy water to emerge above its surface, pristinely beautiful. This pedestal deity by the enraged sages of the is a double lotus, with petals point- forest. Shiva takes the snake and ing upward and downward. coils it around himself, thereby head-wheel (back) neutralizing it as a weapon. This small halo-like ornament was flame of destruction created to cover the knot that secures a headband. Poised in one of Shiva’s hands is a flame of the cosmic fire he uses to end the universe in its cycle of creation and destruction. matted locks (jatas) Matted locks or jatas are worn For more information online: by religious ascetics. These locks asia.si.edu/explore/indianart/ reflect Shiva’s role as a left foot who sometimes meditates for The tiny figure perched in Shiva’s Shiva’s left foot is lifted as part hundreds of years high in the hair is the River Ganga () in of the “dance of bliss,” raised in Himalayan mountains. The lower the form of a . In response elegant strength across his body. half of Shiva’s jatas fly out toward to devastating Like a member of royalty, his the halo of fire as he performs his drought, ankles, arms, chest, and ears are dynamic dance. Ganga agreed adorned with jewelry. to descend to demon of ignorance crescent moon Earth, where The demon of ignorance is shown Shiva is associated with the moon Shiva received here pinned down tightly by Shi- in a number of different narratives her in his matted locks to soften va’s right foot. He looks blissfully and wears the crescent moon in the impact of her landing. his locks. up at the conquering Lord Shiva,

Freer Gallery of Art and Arthur M. Sackler Gallery www.asia.si.edu