Nataraja: The Cosmic Dancer
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| Title | Nataraja: The Cosmic Dancer |
|---|---|
| Author(s) | Raj Bijalwan |
| Platform | Bharatiya Jnana Sarita |
| Categories | History & Civilization/Itihāsa & Sabhyatā |
| Year | 2026 |
| Type of Article | Repurposed Advanced |
| Difficulty Level | Advanced |
| +-Summary |
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Naṭarāja’s iconography is rooted in his dance involving the universe. As a cosmic dancer, Bhagavān Śiva is depicted crushing the… Naṭarāja’s iconography is rooted in his dance involving the universe. As a cosmic dancer, Bhagavān Śiva is depicted crushing the Apasmārapuruṣa, the symbol of ignorance. Naṭarāja emerges as a symbol of jñāna. In this nṛtya, he isn’t described merely in a dance pose but as a symbol of magnanimity involving the creation, sustenance and destruction of the cosmos. In that sense, Mahādeva as Natarāja also conquers time. Though the iconography has evolved with time, Naṭarāja’s symbol has remained established as timeless, spaceless and attaining the parārūpa or the highest form. The iconography did invoke bhakti and invite understanding of the majesty of Bhagavān Śiva.
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Introduction
Of all the forms of Bhagavān Śiva, his Naṭarāja or the Nṛtyamūrti form amalgamates his majesty with timelessness in the cosmic realms. This form of Bhagavān Śiva emphasizes on his fondness for music and dance. Naṭarāja is more than an icon of the artform and in his embodiment of dance, Bhagavān Śiva personifies the epithets of Nṛtyapriya, Nityanṛtya, Nartana, and Sarvasādhaka from the Śatarudrīya or the hymns of a hundred Rudras.
Bhagavān Śiva resides in Tillai, Chidambaram in the form of Naṭarāja. The Nṛtyamūrti form of Bhagavān Śiva represents the cycle of the creation. As the cosmic dancer, Naṭarāja is fond of music and dance while personifying several epithets from the Śatarudrīya like Nṛtyapriya, Nityanṛtya, Nartana, and Sarvasādhaka.
The Śaivāgamas describe all the hundred and eight different karaṇas from Bharata Munī's Nāṭyaśāstra, that are performed by Bhagavān Śiva. There is a belief that Bhagavān Śiva dances at twilight and not during the day. The effulgence of Naṭarāja, the moon on his hair, the flames of the agni on his hand, the maṇi on the head of the cobras disseminates darkness, symbolising the victory of light over darkness. The imagery provided by the Tevāram saints in Tamil Śaiva literature regarding Bhagavān Śiva’s tāṇḍava at Tillai gives a glimpse of the dances of Śiva in different settings.
Purpose and Scope
The article relates to the Naṭarāja form of Bhagavān Śiva. Bhagavān Śiva as the cosmic dancer is revealed as not merely embodying nṛtya but as a symbol encompassing creation, sustenance and destruction of the cosmos. The article brings forth a detailed account of the iconography of this form and the associated mood with different forms of dances or tāṇḍavas. In the article, Naṭarāja relation with the pañcakṛtya is showcased. The article describes the relevance of the Naṭarāja form of Bhaavān Śiva in the modern days.
Dance or nṛtya holds deep meaning in Śaiva thought. The movements (of Bhagavān Śiva) alone define the existence or destruction of the entire universe [1]. The Āgamas describe seven forms of tāṇḍava performed by Bhagavān Śiva. The first is the Ānanda Tāṇḍava which is evident in the Naṭarāja icon. The second dance is the Sandhyā Tāṇḍava in which Apasmārapuruṣa is absent. Umā Tāṇḍava is the third dance where the icon has six hands and Devī Umā stands to the left of Bhagavān Śiva. The fourth is the Gaurī Tāṇḍava, featuring the serpent held in one of the left hands while Gaurī and Nandī stand on the left and right side of Naṭarāja respectively. The Kālika Tāṇḍava is the fifth dance in which Bhagavān Śiva has two eyes and eight arms. In the sixth dance, the Tripura Tāṇḍava, Naṭarāja has sixteen hands. The seventh form of dance described in the āgamas is the Saṃhāra Tāṇḍava, where Bhagavān Śiva has eight arms and three eyes. This seventh dance represents reabsorption of the cosmos into itself.[2]
Description of the Naṭarāja Icon
The iconography behind the Naṭarāja mūrti is described in the text Aṁśumadbhēdāgama. The icon is presented as Ānanda Tāṇḍava mūrti. Naṭarāja's holds ḍamaru in his upper right hand and displays abhayamudrā in his lower right hand. His upper left hand holds a vessel holding flames of agni and the lower left hand holds daṇḍahasta or gajahasta mudrā. While Naṭarāja stands atop the dwarf demon Apasmārapuruṣa with his bent right leg, the left leg is raised and flexed at the knee, with the foot pointing outward. Apasmārapuruṣa symbolises ignorance and ego which is crushed by Naṭarāja, the epitome of jñāna or vidyā.
The matted hair of Śiva is arranged in a jaṭāmukuṭa in his Naṭarāja form. His hair is decorated with dhattūrā, arka flowers, serpent, a human skull, and the crescent moon. From the jaṭāmukuṭa, numerous jaṭās emerge on either side. Amidst the jaṭās, Devī Gaṅgā is seen in the añjalimudrā. The mudrā alludes to Bhagavān Śiva accepting to bear the downward flowing force of Gaṅgā from svarga after the penance of Bhagīratha. This form is evident in the Śiva Tāṇḍava Stotram believed to be written by Rāvaṇa [1]. It begins with the following lines:
जटाटवी गलज्जल प्रवाह पावितस्थले
गलेवलम्ब्य लम्बितां भुजङ्गतुङ्गमालिकाम् ।
डमड्डमड्डमड्डमन्निनादवड्डमर्वयं
चकार चण्डताण्डवं तनोतु नः शिवः शिवम् ॥ [3]
jaṭāṭavī galajjala pravāha pāvitasthalē
galēvalambya lambitāṁ bhujaṅgatuṅgamālikām
ḍamaḍḍamaḍḍamaḍḍamanninādavaḍḍamarvayaṁ
cakāra caṇḍatāṇḍavaṁ tanōtu naḥ śivaḥ śivam [3]
भगवान शिव की जटाओं से गंगाजल प्रवाहित हो रहा है जो उनके कंठ को भीगा रहा है। उनके गले में सर्प हार की तरह लिपटा हुआ है। उनके हाथों में शोभित डमरु डमट्-डमट्, डमट्-डमट् ध्वनि कर रहा है। भगवान शिव अत्यंत प्रचंड, ऊर्जावान एवं दिव्य तांडव नृत्य कर रहें हैं और अपनी कृपा से सबको सुख समृद्धि प्रदान कर रहें हैं।
From the forest of his matted lock, water flows and wets his neck, on which hangs the greatest of snake-like a garland; And his drum incessantly plays damat, damat, damat, damat. And Śiva is engaged in the very vigorous manly dance, To bless and shower prosperity on all of us. [3]
The Śilparatna treatise directs that the Naṭarāja icon be surrounded by a prabhāmaṇḍala with flames sculpted by the artisans. Behind his head lies the śirascakra. His face, bearing the trinetra is calm while the lips are curved and smiling during his dance of bliss or the Ānanda Tāṇḍava. It seems like Bhagavān Śiva is dancing at the centre of the ring of fire. This dance largely showcases the creation and destruction of the cosmos. Naṭarāja's hairlocks flow wildly and the demon Apasmārapuruṣa is crushed with the right foot. The raised left leg is often associated with granting mokṣa and overcoming Yama, the God of death.
Seemingly, the lost-wax bronze technique was originally used to carve the Naṭarāja icon; later sculptors tried to replicate the same using the stone, but the features of the icon could not be carved as successfully in a stone as they were in a bronze alloy. The iconography of the Naṭarāja mūrti emerges as a result of careful conception, planning, execution, and evolution over a period of time.
The icon of Naṭarāja, developed during the Cōḻa period. Śiva Naṭarāja was considered to be their patronage deity. The depth of Cōḻa's belief with Naṭarāja is understood from the way King Rājarāja emphasised on the significance of Naṭarāja by making him the central processional deity at a temple he commissioned in Thanjavur. Later, at the end of the tenth century, Naṭarāja icon was placed in the emblem of the Cōḻa dynasty.
Ananda Coomaraswamy in his essay, ‘The Dance of Śiva,’ projects the central motif of the Naṭarāja mūrti in relation with the pañcakṛtya. These are sṛṣṭi (creation), stithi (preservation), saṃhāra (destruction), tirobhāva (veiling), and anugraha (grace). All of these are rooted in the philosophy of Śaiva Siddhānta. Coomaraswamy refers to Uṇmai Viḷakkam to further the symbolism of the Naṭarāja icon with creation emerging from drum, protection from the hand, destruction from fire and the foot giving the release. He further adds that the icon presents an amalgamation of art, aesthetic theory and religion.
Bhagavān Śiva personifies several philosophical abstractions in the Naṭarāja form with Śiva as creator and destroyer of the cosmos. Through the nṛtya and nāṭya, the cosmos finds a source of its existence and the reason for its sustenance.
The Pañcakṛtya is also subtly mentioned in the Vedasāra Śiva Stava by Ādi Śaṅkarācārya:
परात्मानमेकं जगद्बीजमाद्यं
निरीहं निराकारमोंकारवेद्यम् ।
यतो जायते पाल्यते येन विश्वं
तमीशं भजे लीयते यत्र विश्वम् ॥ [4]
parātmānamekaṃ jagadbījamādyaṃ
nirīhaṃ nirākāram oṃkāravedyam .
yato jāyate pālyate yena viśvaṃ
tamīśaṃ bhaje līyate yatra viśvam [4]
मैं उनका ध्यान करता हूं जो पूरी सृष्टि का मूल स्रोत है। वह स्वार्थ से रहित हैं और निराकार है। ॐ के ध्यान से ही उनको जाना जा सकता है। उसी से संसार की उत्पत्ति होती, पालन होता है और अंत में संपूर्ण जगत उसी में विलीन होता है। मैं उस प्रभु को प्रणाम करता हूं।
(I meditate on him) who is the one transcendental consciousness which is the primeval seed of the universe, who is without any desire (attaching him to anything) (nirīha), who is without any form (binding him to anything) (nirākāra), and who is known by meditating on the Oṃkāra , from whom is created the universe, by whom is sustained the universe, I worship that lord, in whom finally the whole universe merges. [4]
Bhagavān Śiva's form of Naṭarāja features not just his dance but the cosmic participation and union. This is evident in the stillness in the image of Bhagavān Śiva yet capturing the dynamic domain of the universe.
Kālāntaka Śiva
Bhagavān Śiva as Kālāntaka, the conqueror of time, manifests as Naṭarāja with the raised left foot implying victory over death. C Sivaramamurti in the book, ‘Nataraja in Art, Thought and Literature’, refers to the lore stated in Nilakantha Dikshit's work, Ānandasāgarastava, where Bhagavān Śiva defeats Yama (God of Death). In the similar way, art historian, Kapila Vatsyayyan correlates Naṭarāja mūrti with the imagery in the upaniṣads of navel, centre, spokes and wheel. Figures of Śiva can also be understood through the grid of circle, centre, and spokes remaining constant, like the navel as the center.
Gosvāmī Tulsīdāsa relates to this Kālāntaka form of Śiva in Rudrāṣṭakam:
कलातीतकल्याण कल्पान्तकारी
सदा सज्जनानन्ददाता पुरारी ।
चिदानन्दसंदोह मोहापहारी
प्रसीद प्रसीद प्रभो मन्मथारी ॥ [5]
kalātītakalyāṇa kalpāntakārī
sadā sajjanānandadātā purārī
cidānandasandoha mohāpahārī
prasīda prasīda prabho manmathārī [5]
हे प्रभु, आप काल से ऊपर, अनंत एवं अनादि है। आप कल्याणमूर्ति हैं जो पूरी सृष्टि का आश्रय हैं। त्रिपुरासुर का विनाश करने वाले तथा आनंद प्रदान करने वाले हैं। आप आनंद के दाता हैं और समस्त बंधनों से मुक्ति देने वाले हैं। कामदेव का दमन करने वाले, हे प्रभु मुझ पर कृपा कीजिए। आप ही मेरे हृदय को भावविभोर करतें हैं।
(You, who are) Beyond time, timeless, welfare incarnate, the creation's end, the enemy of Tripura, who gives pleasure and happiness to the worthy; (Oh) Giver of eternal bliss, who removes worldly entanglements, Kāmadeva's destroyer, bless me, you churn my heart. [5]
Bhagavān Śiva as Naṭarāja transcends time and space, while he attains parārūpa. By drawing together myth and movement, Naṭarāja embodies not just time but also timelessness, while impacting the cosmic realms. The majestic image of Śiva that is evident in the mūrti of Naṭarāja is also brought forth in the Vedasāra Śiva Stava by Ādi Śaṅkarācārya:
परात्मानमेकं जगद्बीजमाद्यं
निरीहं निराकारमोंकारवेद्यम् ।
यतो जायते पाल्यते येन विश्वं
तमीशं भजे लीयते यत्र विश्वम् ॥ [4]
parātmānamekaṃ jagadbījamādyaṃ
nirīhaṃ nirākāram oṃkāravedyam .
yato jāyate pālyate yena viśvaṃ
tamīśaṃ bhaje līyate yatra viśvam [4]
मैं उनका ध्यान करता हूं जो पूरी सृष्टि का मूल स्रोत है। वह स्वार्थ से रहित हैं और निराकार है। ॐ के ध्यान से ही उनको जाना जा सकता है। उसी से संसार की उत्पत्ति होती, पालन होता है और अंत में संपूर्ण जगत उसी में विलीन होता है। मैं उस प्रभु को प्रणाम करता हूं।
(I meditate on him) who is the one transcendental consciousness which is the primeval seed of the universe, who is without any desire (attaching him to anything) (nirīha), who is without any form (binding him to anything) (nirākāra), and who is known by meditating on the Oṃkāra, from whom is created the universe, by whom is sustained the universe, I worship that lord, in whom finally the whole universe merges. [4]
The Gaṅgā amidst the jaṭa of Naṭarāja relates to the Gaṅgādhārā that flows, while the moon associates with Bhagavān Śiva’s form of Candraśekhara. The form with earrings featuring masculine and feminine adornment points to his form of Ardhanārīśvara. In this way, Naṭarāja icon emerges as one that encompasses all the forms of Bhagavān Śiva [6]. The icon of Naṭarāja unravels the supremacy and majesty of Bhagavān Śiva and through the magic of the Naṭarāja mūrti, the beholder gets a detailed account of Bhagavān Śiva in his form of a cosmic dancer. The iconology of Naṭarāja, rooted in the āgamas and the Śaiva canon has been evolving for scholars and the devotees. From the paurāṇika references to Bhagavān Śiva's relations with time, the icon of Śiva opens up the threshold of expression and imagination while staying rooted in Śaiva thought and bhakti bhāva.
Conclusion
The Naṭarāja icon is detail-oriented and its variations are complex due to the philosophical concepts associated with it. These may not be easily evident or understood by the devotee especially when the mūrti is decorated with flowers, jewellery, etc. The iconology is rooted in the āgamas, purāṇas, and the Śaiva literary canon. Through the unison of the concept of time with Bhagavān Śiva, the paurāṇika references, and the various forms of artistic interpretation, the image of Bhagavān Śiva unfolds. This is rooted in Śaiva thought and carries immense bhakti bhāva. This asserts the supremacy and majesty of Bhagavān Śiva while conveying the significance hidden in the details to all those who behold him in their eyes and hearts.
References:
Bhandari, Sabindra. (2022). The Cosmic Dance of Lord Shiva: Divulgence of Vedic Cosmogony and Culture in Shiva TandavaStotram. The Outlook: Journal of English Studies. 100-114. 10.3126/ojes.v13i1.46699 https://www.researchgate.net/publication/362042222_The_Cosmic_Dance_of_Lord_Shiva_Divulgence_of_Vedic_Cosmogony_and_Culture_in_Shiva_TandavaStotram
www.wisdomlib.org. (2020, July 20). (b) The seven Tandava Dances of Shiva [Chapter 4.3].https://www.wisdomlib.org/hinduism/book/tevaram-religion-and-philosophy/d/doc421162.html
Shiva Tandava Stotram - In Sanskrit, English with meaning, explanation. (n.d.). Shlokam. https://shlokam.org/shloka/shiva-tandava-stotram.htm
Vedasara Shiva Stava - In Sanskrit, English with meaning, explanation. (n.d.-b). Shlokam. https://shlokam.org/shloka/vedasara-shiva-stava.htm
RudraAshtakam - In Sanskrit, English with meaning, explanation. (n.d.-c). Shlokam. https://shlokam.org/shloka/rudraashtakam.htm
Nataraja in art, thought and literature : Sivaramamurti, C. : Free Download, Borrow, and Streaming : Internet Archive. (1974). Internet Archive. https://archive.org/details/dli.ministry.26509/page/86/mode/2up?q=jata
Original Article Information
- Original Article Link: https://www.brhat.in/dhiti/shivaasnataraja/
- Original Article Details: It is said that Śiva does not dance in the day but rather, at twilight, the darkness is pierced only by his own effulgence and the light emanating from the moon on his head, the licks of the flame in his hand, and the gems on the heads of the cobras that adorn his body.