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1. Siva Nataraja by Dr.R.Nagaswamy 2. Nataraja• The concept of Nataraja has always been a fascinating subject among Indologists 3. Tanjore Nataraja• Wasted are the days that are spent• Without singing the beauty of Nataraja of Chidambaram• Who remains in the thoughts of the learned,• Who is the inner meaning of the Vedas,• Whose reality none can fathom,• Who is sweet like the honey and milk 4. Nataraja• Who is the resplendant lumianry,• This Great Lord who envelopes Vishnu and Brahma,• The glowing fire and the blowing Wind,• The roaring waves of the waters• And the Lofty peak of the mountain. 5. Nataraja Parama Yogi• Bhaktanai padamaatten paramane paramayogi• Ettinaar patti ceyken ennai ni ihazhvenda• Muktane mutalva tillai ambalatte adukinra• Attaa un atal kanpan adiyanen vandavaare 6. This form of Dancing Siva is mainly worshipped in Tamilnadu and is calledNataraja in every temple of Siva 7. In most cases this image is in metal and is four armed, dancing in the middle of a circular halo of prabha mandala called Thiruvaci 8. Hands• In this form Nataraja holds a little drum –damaru and fire in the rear pair of arms and abhaya gesture and gaja hasta gesture in the front arms. The left arm thrown across the body swings like the trunk of an elephant and so is called gaja hasta (also called kari hasta kari means elephant) 9. Almost every Siva temple inTamilnadu has a Nataraja image in bronze under worship that is taken out in procession during festivals. Nataraja is always accompanied by the image of Parvathi called Sivakami or Sivakama sundari 10. Nataraja and Sivakami are kept in a separate subshrine and worshipped daily in Siva temples. His Subshrine willalways face southern direction Dakshinabhimukha 11. The Chidambaram temple is the sacred place where thisform is said to have originated for the sake of sage Patanjali.So Chidambaram is considered the holy of holies by all the Saivite people. 12. While in all other temples Sivalinga is the main deity, Nataraja is the main deity in the Chidambaram temple whichfaces south and is in the form of a hut called Amabalam 13. There are five Siva temples askhsetra of one of the five basic elements –Earth, Air, Water, Fire or Akasa (Space) which are called Panca Bhuta Khsetras. Chidambaram is worshipped as the Akasa kshetra as Siva dances here in Akasa. 14. Worship in Chidambaram is done according to Vedictradition said to have beencodified by Sage Patanjali. Siva performs five sacredacts through his dance which are called Pancakrityas 15. Pancakrityas• Srishti – creation• Sthiti – Protection• Samhara – Dissolution• Tirodhana – Concealment and• Anugraha – grace 16. Creation damaruka• The damaruka in the hand of Nataraja represents creation 17. The dissolution Fire • The Fire in the hands of Nataraja is the dissolving fire. • At the end of the Aeons Siva enters the orbit of Sun, Surya mandala, and dissolves the entire world through his scorching rays. • Dissolution of the Universe is the samhara 18. Concealmentignorance• The dwarf below the foot of Siva is darkness of ignorance.• The dance of Siva over the dwarf marks the removal of ignorance• When ignorance is removed Knowledge dawns, the Sri vidya over which the dance takes place 19. Protection (abhaya) andGrace Lifted leg• The abhaya hasta held in the right hand symbolize protection.• The lifted leg bestows Anugraha grace 20. Nataraja• The benign smile 21. • Kovvai cevvaayil kumin cirippum 22. Sivakami• Arumana van mukattal amarntu kana 23. Kunittapuruvam• The dancing eyebrows 24. Siva is benign• Siva Mahadeva is the Creator of the Universe• Siva is the sustainer of the Universe and• Siva dissolves the Universe• Each function is a power called by different name 25. Uma• Uma is the yoga Sakti of Siva• She emanates from Siva and merges with Him, figuratively said to unite with him• Vishnu is also the Yoga Maya of Siva• Nataraja and Govindaraja remain • • •Minor project report on temple architectur Megha Aggarwal 17,137 views Hindu Dharma The Universal Way of Love Sudarshan T N 14,526 views Brahmanism and Hinduism Religious Thought and Life in India 1891 Ajai Singh 4,577 views Hindu and islamic arts dshimkhada 767 views Kanchi Periva Forum Ebook # 19 Supreme Secrets Part 6 kanchiperiva 1,800 views Mahabalipuram Monuments Part 3 (Rathas) swami99 3,673 views Nellaiappartemplesite deepakstemple 680 views Nellaiappartemplesite deepakstemple 615 views Nellaiappartemplesite3 deepakstemple 632 views 15 ll Kalakshetra 274 views Chola sacred bronzes of south east asia Dokka Srinivasu 1,671 views Hindu Images Nolte Vaea Conference stnolte 1,156 views Tourismsouthindia 121023075312phpapp01 Dinesh Kumar 320 views Ajit mookerjee kundalini arousal inner energy Johnny Catalin 1,193 views Indian classical danc style Makarand Patil 1,108 views inseparable. 26. The dance over dwarfish ignorance Udvayam tamasas pari pasyanto jyotir uttamam Veda Nataraja dances over the dwarf. The dwarf represents the darkness of ignorance. Nataraja is Paramjyoti who dances over the dwarfish ignorance. It is a direct extension of a Vedic hymn to Surya 27. Two aspects of Nataraja that are most attractive• The physical dancing pose by itself is charming and attractive and• The metaphysical concepts that are reflected in these poses are far more absorbing. 28. This dancing form appears from the Chola period – 9th cent.The Nataraja form is thus the creation of the Chola genius 29. It was Ananda Coomaraswamythe great Art historian of India who interpreted this form to the Western world most effectively and ever since Nataraja has become an outstanding art of the world. 30. The golden hall of ChidambaramThe cholas adored Nataraja of Chidambaram their family deity – Kula deivamA number of Chola monarchs like Aditya(9th), Parantaka (10th) Rajaraja(11th) Kulotunga II(12th) and Kulottunga III(13th) gilded this super structure with gold 31. Nataraja,Chola 11 cent th 32. Nataraja Tanjore• The lotus seat represents the earth• From the seat issues two makara heads that denote waters• From the makara mouth issue the circle with 27 flames representing the tejomandala; orbit of luminaries (nakshatra, graha and taras)• The fluttering jatas and waist scarf represent the wind• The space between the halo and outside represent the akasa space• They constitute the panca bhutas 33. NATARAJA• By the term Nataraja we generally mean the Metal Image of Dancing Siva with four hands and dancing on the back of a dwarf called Apasmara, mainly in Tamil nadu temples. However Scholars now use this term for all forms of Dancing Siva.• What is this Dance of the Supreme ? 34. • The Sun, Moon, planets and other celestials forces and the earth which remain suspended in the outer space Paramakasa revolve in absolute rhythm which is poetically called the Dance of the Supreme dancer 35. • The place where this Supreme dance takes place is called Chidambaram in Tamilnad which is called the Ambalam by the Saivite. Ambalam means Akasa 36. • The worship of Nataraja carried out according to Vedic Tradition in the Chidambaram temple, clearly indicates the Vedic roots of the concept of Nataraja 37. • This form of Dancing Siva Nataraja is essentially a Procssional deity taken out on festive occassions especially in the month of Mriga sira Margali 38. Though this is essentially a metal image we do come across stone sculptures of this form from the 9th cent 39. • This form has multiple layers of meaning• Poetical• Philosophical• Ritual• Yogic• Physical• Artistic and others 40. • The origin, and development of this theme has fascinated Sages, Poets, Philosophers, artists and art historians down through the centuries 41. • Two most outstanding works on this theme during recent times are by• 1. Ananda Coomaraswamy “The Dance of Siva” and• 2.Sri.C.Sivaramamurthi, “Nataraja in Art, Thought and Literature”It is impossible to surpass these two Masters. 42. This dance is called Ananda tandavaJnanaAnanda TandavamYogaAnanda tandavam Chidambara natam and so on. 43. A detailed description of thisdance is given in the Agamic textKamikagama, which is followed in most Nataraja images. The Kamikagama calls this form Bhujanga trasa Nrittam. 44. The Kamikagama gives three types of Siva’s dance Bhujanga Trasa Bhujanga lalita Bhujanga Bhairava 45. Combining the movements of upperand the lower parts of his body Siva danced in the evening 108 poses that are called Nritta karanas 46. • Bharata’ Natya sastra difines these Nrittakaranas as• Hasta pada samayogah Nrittasya karanam bhavet• By hasta –hand the whole of upper body above the waist is meant• By pada the lower part of the body below the waist is meant says Abhinava gupta 47. • Among the 108 poses of dance one pose is called Bhujanga trasa nritta• The pose is “Fear of Snake”• Dance is of remote antiquity says Abhinava gupta• On seeing a snake by the side of the leg lifting the leg hurriedly and turning away of the body is reflected in this pose and hence the name derived from natural reaction• The position of the lower part of the body (Pada ) has given the name Bhujanga Trasa, 48. • It has been noted that Agamic name for Nataraja is Bhujanga trasa nritta• So the origin of this dance pose is at least two thousand years old.
Siddhalingamadam Thapovanam harry ananth 1,956 views Essence of Ribhu Gita ी रमण मह ष के उपदेश Sri Ramana Maharshi Teachings 1,796 views Shivarathri Quiz 2012 gulabbilimoria 726 views History of India Rahul Sahu 1,686 views Chalukyan architecture aziz khan 6,696 views Kanchi Periva Forum Ebook # 11 Maha Shivaratri Special Edition kanchiperiva 796 views 49. • One of the most remarkable sculpture that portrays this situation very clearly is a 7th cent Pallava sculpture from Siyamangalam• The lower part of the body is exactly in the same position as defined in Natya sastra• A snake is portrayed beneath the leg indicating that it Bhujanga trasa nritta. 50. The following deserve notice• Lalita dance Catura Tandava• Dance of Siva portrayed in the ceilings of mandapas• Dance of Siva portrayed on the sikhara• Dance in Vyoma ranga 51. • Most of the early representations of Nataraja in sculpture and bronze portray the Sandhya tandava or what is called Catura or Bhujanga Lalita form found through out India 52. • The Dance of Siva surrounded by his Mandala –the dikpalas and grahas in squares around is seen in the ceilings of the Mandapa in early Chalukya, Rashtrakuta and Nolamba temples of Western India.• The ceiling is suggestive of Akasa, the Macrocosm, where Siva’s dance takes place 53. • An important portrayal from Cambodia illustrates the point.• Siva is shown dancing in the façade of the temple at Bantai srei built in the 10th cent.• Nataraja Siva here almost leaps into the vast space Akasa to perform beautifully the Sandhya Tandava 54. • Not only the dance portrayal is beautiful but also the placement of the sculputure is wonderful for it just brings vividly the notion of Akasa .• The deliberate placement of sculptures ike this Ravana shaking Kailasa also in the same temple, suggests the art Historian can not afford to ignore place 55. • There is a beautiful sculpture of Siva as Ardhanarisvara dancing on the sikhara of a temple of Ancient Champa Now Vietnam.• The concept that the dance of Siva takes place in the Akasa is figuratively adopted all ober. 56. • Siva dancing on the façade of the Sikhara high up in the air is found in a number of temples in India in the Eastern India, MadhyaPradesh, Western India and Deccan.• Jambukesvara temple Pattadakkal• Surya Brahma temple Alampur• Ramalingesvara temple Satyavolu• Parasuramesvara temple at Bhuvanesvar• Somesvara temple Mukhalingam 57. • An Important point that has escaped the attention of Scholars is the presence of Surya below the Dancing Siva on the Sikhara of the façade.• It indicates the connection between the two concepts Siva Surya• More important is the depiction of this Surya as Hari Hara Hiranya garbha Surya The Trinity in One• Such portarayal may be seen in Vaital Daul Bhuvanesvar,• Udayesvar temple of Udaipur• oscillation of Sun in the Cosmos. He is the Primordial Agnavishnu 58. • The 108 poses of Nritta karanas performed by Siva Nataraja are portrayed in the upper floor of the Great Temple of Tanjore around the garbha graha which is empty representning Akasa.• The poses are created by Siva out of his own bodywhich is Akasa Sariram Brahma 59. • That brings me to a fascinating Sanskrit poem quoted by Abhinavagupta, the great visionary 60. Deities are Forces of Nature• Adi Sankara the Advaita exponent held that• “ the Vedic deities represent personification of forces of Nature and not individual entities ”• Radhakrishnan. S. The Vedanta , p.217, London 1928, 61. Vedic hymnVasordhaaraaThere is a Vedichymn inyajurvedamentioningVasordharaThe Veda itselfasks the questionto whom is thishymnVasordharaaddressed to? 62. Vasordhaaraa Vasor dhaaraam juhoti Vedavaadino vadanti kasyai devataayai juhvad ? 63. Agna VishnuAgnir vasur tasya eshaa dhaaraaVishnur vasuh tasya eshaa dhaaraaAgnaVishnu Arccaa 64. Rudro vaa Esha yad AgnihThe Veda itself gives the answer.This offering is addressed to the Devataa Agnaa Vishnu.The dual Devata is the combined form of Agni and Vishnu.Who is this Agni? He is none other than Rudra 65. • Agni has two inherent inseparable powers• The consuming or destructive power and• Benign heat that shines, pervades, and supports life energy• These two natural phenomenon are called Agna Vishnu or RudraVishnu 66. Rudra is Agni• Rudro va esha yad Agnih• Tasya ete Tanuvau• Ghoraa anyaa Sivaa anyaa• Yaa asya Ghoraa tanuh satarudriyam juhoti tena taam samayati• Yaa asya Sivaa tanuh vasor dharam juhoti tena taam prinati 67. Harihara• It is from this Dual deity AgnaVishnu the form of Harihara emanates• In several verses the Harihara form of Siva is praised in Tevaram hymns• Hari allal Devi illai Ayyan Ayyaaranaarkke• There is no consort for Siva other than Vishnu, sings Saint Appar. 68. Ardhanari• The Saiva saints Appar and Sambandar sing the Ardhanari form of Siva at Thiruvenkadu village in the beginning of their Tevaram hymns. 69. VenkaduArdhanariPan kaatti patiyaya tan pattarkkuKan kaatti kannil ninra mani okkumPen kaatti pirai cenni vaittan tiruVenkaattai ataintu uy mata nencame Appar 70. Uma Haimavati• Uma Haimavati is the Devi of the Lord.• Uma is held identical with Vishnu in some instances as in Ardhanari• She is also held the sister of Vishnu in other cases 71. Surya is Heavenly Agni 72. The RudraSurya is Sivathe Dancer says Kurma PuranaNataraja and Govindaraja areinseparable
and are the totalityHarihara and Ardhanari. 73. Satarudriya is addressed to sunThe Sun is called the Celestial Agni. The Vedasexplicitely state that Surya, the Sun is Rudra. Themost important part of the Veda that is repeatedlyused in all the rituals is the Rudram also calledSatarudriya. This Vedic passage is nothing but theidentification of Sun with Rudra. The various stagesof rising Surya are identified with Rudra and Suryahimself called Nilagriva Vilohita. Asau yo avasarpatinilagrivo vilohita. The one who rises is Nnilagriva andVilohita 74. Namas te Rudra manyave utota ishave namah! Namas te astu Dhanvane bahubhyam uta te namahOh! Rudra the terrific ! I salute you and your arrows and salute Thy bow with hands! 75. Ya ta ishu sivatamaa Sivam babhuva te Dhanus tayaa asmaan visvatah paribbhujaProtect us with thy bow and arrow that are pleasant 76. Sun’s rays are the sharp arrows Ghoraa Sivaascorching heat Benign light 77. Asau yaha tamrahaHe is coppery red 78. ArunahOrange 79. Uta babhruh and Yellow 80. SumangalahAnd auspicious 81. Udvayam tamasapari pasyanto jyotiruttamam They beheld the luminary driving away the darkness 82. Namah Sivaaya ca Sivataraaya casalutations to the Auspicious and more auspicious 83. Kalakala the Great destroyer of time, engulfs and reduces as asweeping forest fire, the entire world to ashes. It is the Supreme LordMahadeva who enters his own body and energizing himself, burnsthis great world. He enters the orbit of the Sun as Suryamandala andburns down this world in his solar form. This act is the Lokasamhara. He throws the sharp rays on all the celestial bodies andthrows them out of existanc like a devastating mountain fire.Theterrifying rays are his thousand eyes or sights, or thousand hands andfeet. Sahasraksha, Sahasra nayana, Sahasra hastas. And Sahasracaranas says the Kurmapurana 84. The earth is submerged in oceanic waters. Thewaters are dried up in fire. The fire is sweptaway by the wind. And the wind is lost inspace. In this process all the elements are driedup. Kurma Purana 85. This Paramesvara drinks the immortal elixir ofbliss, Ananda Yoga Amrita, and dances, glancing athis own power, the Sakti , who stands as the solewitness at the end. That is the revealed poetry – VedicSruti.The Devi having tasted the nectar of dance,Nrtyamrita of her lord, unites with his body in Yoga. Kurma Purana 86. This ultimate destruction is caused by Sankara who is noneother than Rudra. The Mohini Sakti of Sankara is Narayana,who protects the world. His other Power is Hiranyagarbha whocreates this Universe. Brahma, Vishnu and Rudra are Powers,Saktis of the Supreme Sankara. It is the same immutableSupreme power that is called by many names because of itsGreatness. Beyond all these powers is Paramatma.Some people call him Agni. Others call him Narayana, Otherscall him Indra, And yet others call him Prana. The UltimatePower is only one. He enters the World and functions indifferent names. Kurma purana 87. Sage Mankanaka saw the dance of Siva at Saptsaraswat tirtha.As the Lord danced, a beautiful Goddess appeared witnessingthe dance. Siva told the sage She was his own Yogic power, theYoga Sakti, the inherent Maya, identical with PurushottamaNarayana, from whom the world emanated. Siva’s Yogicpower is Narayana. The Creator Brahma, the Sustainer Vishnuand the Destroyer Rudra are one and the same, said Siva. Healso told the Sage that the Goddess he saw was his Vidya Deha,the body of knowledge. This is identical with Supremehappiness, Parama ananda, otherwise called Chinmatraidentical with Akasa. Kurma Purana. 88. While the earthly Agni is seenhere in a limited sphere Surya the heavenly Agni in the Sky rythmically moving and making all other luminarieslike planets, stars, milky way etc revolve beautifully and rhythmically and also continuosly. 89. Surya is likened to dancing god in many poems Surya is called Brahma, Vishnu, Siva and all other gods.He is called Hari hara Hiranyagarbha Esha Brahma ca Vishnusca Sivah Skandhah Prajapatih Ramayana 90. So dance of Siva appears in the sky as Nataraja. Nataraja appears in the Sikhara of the temples representing Akasa. Nataraja is also shown as Ardhanari dancing on the sikhara. 91. It is the movement of the celestial bodies, with Suryaacting as the central force, that are visualized in Nataraja form. That is how Natarajacombines himself Science, Art and Poetry
