(Unfortunately, this blog will not allow me to display large photos, so I have just posted links. Sorry.)
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Full picture of the piece.
The “Shiva Nataraja” statue (South India, 16th-17th c., bronze, 1940.1079) was gifted to the Cincinnati Art Museum in memory of Elsie Homes Warrington by George Warrington. It stands 33 13/16 in. tall, 23 ¼ in. wide and 12 in. deep. [1] The piece features many of the iconographic motifs associated with the god, such as a third eye, hints of long locks of hair that drape on his shoulders like dew rolling off of a leaf, a bare chest, a drum, a stylized lick of flame, the dancing posture of flailing arms and a raised knee, and a cobra garland (in this case an arm adornment). The name Shiva Nataraja means “King of Dancers.” According to Heinrich Zimmer, “Shiva is the Cosmic Dancer; in his ‘Dancing Manifestation’ (nṛitya-mūrti) he embodies in himself and simultaneously gives manifestation to Eternal Energy. The forces gathered and projected in his frantic, ever-enduring gyration, are the powers of the evolution, maintenance, and dissolution of the world.” [2] As the Cosmic Dancer, the posture of the statue, the position of the hands, and the objects within them all have meaning. The drum in the upper right hand not only signifies the very instrument that is used to beat out the rhythm of the dance, but it also represents the rhythm of time, as well as the Indian element of ether. It is from ether that all of the other elements (air, fire, water, and earth) are produced. Therefore, the drum is ultimately a symbol for the creative powers of the universe. [3] The stylized flame in the upper left hand represents the fire that destroys the universe at the end of time. These objects are therefore representative of the dual nature of the creative and destructive cosmic processes. [4]
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The symbols of the drum and fire in the upper hands.
The symbols of the drum and fire in the upper hands.
The open palm and slightly forward bent index finger of the lower right hand, the adhaya-mudrā, tells the viewer to “fear not.” The lower left arm that sweeps across the chest, with the hand bent at the wrist, is, as Zimmer points out, “the outstretched trunk or ‘hand’ of the elephant (gaja-hast-mudrā), reminding us of Ganesha, the son of Shiva, the Remover of Obstacles.” [5] The statue itself represents the interplay between masculine and feminine energy. The large gage (embedded earring) on the left ear and the full, rounded left hip recalls the polar nature of Shiva’s half-man-half-woman aspect known as Shiva Ardhanarishvara (a coupling of Shiva and his consort Pavarti).
The lower arms forming dual mudras. The feminine hip is visible.
The cobra clinging to his lower right arm refers to his aspect as the “Lord of Beasts.” [6] His raised leg is a symbol for “release” and the promised protection of those who worship him. The dwarf that he is standing on is called Apasmāra Purusha (Demon of Heedlessness), and it stands for “ignorance.” [7] The demon is looking up at Shiva, almost like he is praising him. So, the statue is in effect stamping out man’s ignorance, while simultaneously giving refuge to Shaivites and symbolically creating and destroying the cosmos. In addition, the composition of both the raised arms and the supporting leg creates a triangle shape, which is representative of Shiva’s religious symbol of the phallus-like Lingam (sign). However, the lingam triangle is usually portrayed pointing upwards. A downturned triangle represents the Yoni (vagina), an accompanying symbol, denoting the female energy of the great goddess Shakti, whom Parvati is an aspect of. [8] Therefore, this again is a play on the dual male and female nature of the piece. Overall, the statue is well balanced, as can be seen from the imaginary line that could be drawn from the neck, through the elbow of the lower left arm, the raised knee, and down to the heel of the right leg.
The alignment and balance of the piece.
The statue was commissioned during the 16th or 17th century, but it is based on a series of 10th-12th century bronzes produced by the ancient South Indian Chola dynasty (9th-14th c.). The Cholas came to power in 850 CE after a brief period of dominance that ended around 200 CE. [9] They were great patrons of Hinduism and adherents of Shiva. They built and refurbished a large number of temples, the largest of which was built in the name of Shiva by the Chola King Rajaraja in 1010 CE. [10] Vidya Dehejia points out that it was during the reign of his mother Queen Semyiban Mahadevi “that the characteristic image of Shiva Nataraja became established in stone and bronze.” [11] The bronzes were created using the “Lost Wax Process.” This is when bees wax and resin are mixed together to create a medium malleable enough to mold with the hands and tools, but hard enough to hold its shape. After molding was finished, the wax/resin figure was then covered in two layers of clay. When fired, the wax would melt, leaving a hollow cavity for the molten bronze to be poured into. The hard clay then had to be broken away to reveal the bronze positive. [12] This is most likely how this statue was created. Since the base is comprised of two separate pieces, it took three separate castings to complete this entire statue.
A 10th century Chola example of Shiva Nataraja.
Elements of the piece are present in pre-Hindu culture. Archaeologists found in the ancient Indus Valley settlement of Harappa (c. 2600 BCE) “a grey stone torso of a dancing male with one leg raised and with shoulders twisting around.” [13] This points to just how far back the importance of the dancing figure held in the Indian culture. Dancing continues to be an important aspect of the Shaivite religion. Religious dancers have been accorded great honors throughout history, even provided food and housing so that they could focus on their responsibilities to the temple. According to Dehejia, “[W]ithout their dance, the worship of the Lord was considered incomplete and lacking in rasa [emotion].” [14]
Notes
[1] “Renovation of the Schmidlapp Gallery, Cincinnati Art Museum,” AEQAI, http://aeqai.com/main/2011/11/renovation-of-the-schmidlapp-gallery-cincinnati-art-museum/ (accessed November 27, 2011).
[2] Heinrich Zimmer, Myths and Symbols in Indian Art and Civilization (Princeton: Princeton University Press, 1992), 152.
[3] Ibid.
[4] Ibid, 153.
[5] Ibid.
[6] Vidya Dehejia, Indian Art (New York: Phaidon Press Inc., 2010), 30.
[7] Zimmer, 153.
[8] Ibid, 147.
[9] Dehejia, 208.
[10] Ibid, 207.
[11] Ibid, 209.
[12] Ibid, 218-219.
[13] Ibid, 32.
[14] Ibid, 221.
Bibliography
Dehejia,Vidya. Indian Art. New York: Phaidon Press Inc., 2010.
“Renovation of the Schmidlapp Gallery, Cincinnati Art Museum.” AEQAI. http://aeqai.com/main/2011/11/renovation-of-the-schmidlapp-gallery-cincinnati-art-museum/ (accessed November 27, 2011)
Zimmer, Heinrich. Myths and Symbols in Indian Art and Civilization. Princeton: Princeton University Press, 1992.
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