LORD NATARAJA - Cosmic Dancer
Shiva Nataraj, King of Dancers, symbolizes the alchemy of Yoga. Nataraja's dance activates dormant vital energy (kundalini shakti) and becomes an act of both creations, symbolized by the upper right hand holding a drum, and destruction, represented by the flame held by the upper left hand. The lower right hand is in the abhaya mudra position, bestowing peace and protection. The second left-hand points downward to the uplifted left foot, signifying release. The right foot, planted on the prostrate body of Apasmara Purusha, the demon of forgetfulness, symbolizes human ignorance of our divine nature. A ring of flames and light arises from and surrounds the dancer, representing the purifying power of the dance. Nataraja's face, meanwhile, remains calm, quietly witnessing the tremendous display of his own energy with just the hint of a smile.
NATARAJA, the dance of Lord Siva, is symbolic of dynamic aspects of ultimate reality. The foremost temple that comes in for praise is that of Chidambaram Temple in Tamil Nadu. It is one of the Pancha Bootha Stalams, the holiest Shiva temples each representing one of the five great elements; the Panca Maha Bhootha. They are ‘kshiti or bhumi’ – earth; ‘jala’ – water; agni –fire; pavan- air and akasha – aether or void. Chidambaram represents akasha. Hinduism states that the Creator used akasha which is the most subtle element to create the remaining four traditional elements associated with the five senses. Upon death the human body dissolves into these five elements to balance the cycle of nature.
Lord Siva is adored as the embodiment of the four Vedas and the six Angas. It is said that the Vedas praise Siva’s real nature. Among the four Vedas, the ‘Saturdriya’ also called Rudram, a part of the Krishnayajurveda is held to be the hymn par excellence, on Siva. The God of Chidambaram is the Dancing God, Siva Nataraja rooted in the Vedas.
Lord Siva’s in His cosmic rhythm movements is affectionately called ‘Tillai Ambalaja Nadaraja’ and the presiding deity is ‘Thillai Koothan’. The physical movement of this ‘Ananda Thandavam’ or Dance of Grace reflects the creative and destructive expressions of the whole universe. It symbolizes the five divine activities: 1. Sristi – Creation and evolution; 2. Sthiti – Preservation, and sustenance; 3. Samhara – Destruction, and dissolution; 4. Tridhana – Concealment, Illusion that indicates bondage, and 5. Anugraha – Grace indicating Release or Moksha.
The Damaru or Damru held in the rear right arm represents Creation. Damru vibration is indicative of the alternation of consciousness between the manifest – the universe and the unmanifest – absolute. The Damaruka gives rise to the seven musical notes, sa-ri-ga-ma-pa-tha-ni-sa, and eleven ‘mahesvara sutras’ which is the foundation of all grammar of the language. These vibrational notes are the concluding strokes the Lord made on the Damaru as He stopped dancing. The ‘Abhaya Hasta’ is represented by the front right hand with raised palm as a gesture of protection.
The rear left hand which holds the pot of fire is indicative of ‘samhara’ or destruction. The front left hand extends across the chest, in a majestic sweep, its fingers pointing graciously and beautifully to the tip of the left leg, which is raised in a dancing posture. The front left-hand shows the ‘Gaja-hasta’ meaning elephant’s trunk. It is ‘Varada-hasta’ or the boon granting hand. Pointing to the uplifted left foot, it indicates ultimate release or Moksha. In the Chidambaram Temple, Nataraja’s left-hand fingers point exactly to the tip of the left leg. During ‘abhisheka’ or ritual bathing of the deity milk poured on the left hand drops exactly at the tip of the raised foot.
The left leg is called Kunchita-pada. ‘Kunchita means raised, lifted, or bent. In the Tamil language, it is called ‘Thookiya tiruvadai’. The right foot is ‘Undriya tiruvadai’ meaning 'the placed foot' that presses and suppresses evil – ‘Apasmara Purusha’. This evil is personified as a dwarf called Muyalakan. The suppression of Muyalakan is the suppression of ego, ignorance or concealment. Muyalakan is conceived as ‘maha maya’ the cause for all births and deaths and the three states of consciousness – waking, dreaming, and sleeping. The Lord raises his foot indicating the fourth state beyond these three and that is why it is indicated by His own left index finger of the right hand as the only refuge.
The Lord whirls around on the one right leg. This is depicted by the matted jata or hair flying on both sides of the head in waves one above the other and by a piece of cloth, partly around the waist and partly thrown over the left shoulder also flying in the air. This indicates the ecstatic and vibrant nature of the cosmic dance. The Lord dances in a circle of Agni showing destruction or annihilation. Agni is also twice-born indicating creation after destruction. Of the Cosmic Nataraja Dance, Ananda remarks how amazing is the range of thought of the rishi-artists who brought forth the image of this reality, a key to the complex tissue of life, a theory of nature, universal in appeal to the philosopher, the lover, the artist of all ages and of all countries! Here is perpetual movement, perpetually poised-- the rhythm of the spirit. There cannot be a more exact or more wise creation of the image of that Energy which Science must postulate behind all phenomena. If we would reconcile Time with Eternity, we can scarcely do so otherwise than by the conception of the alternations implied by the drum and by the fire In the night of Brahma, Nature is inert and cannot dance till Siva wills it. He rises from his rapture, and, dancing, sends through inert matter pulsing waves of awakening sound, and lo! matter also dances appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fulness of time, still dancing, he destroys all forms and names by fire and gives new rest. This is poetry, but none the less, science! Om Namah Shivaya.
NATARAJA, the dance of Lord Siva, is symbolic of dynamic aspects of ultimate reality. The foremost temple that comes in for praise is that of Chidambaram Temple in Tamil Nadu. It is one of the Pancha Bootha Stalams, the holiest Shiva temples each representing one of the five great elements; the Panca Maha Bhootha. They are ‘kshiti or bhumi’ – earth; ‘jala’ – water; agni –fire; pavan- air and akasha – aether or void. Chidambaram represents akasha. Hinduism states that the Creator used akasha which is the most subtle element to create the remaining four traditional elements associated with the five senses. Upon death the human body dissolves into these five elements to balance the cycle of nature.
Lord Siva is adored as the embodiment of the four Vedas and the six Angas. It is said that the Vedas praise Siva’s real nature. Among the four Vedas, the ‘Saturdriya’ also called Rudram, a part of the Krishnayajurveda is held to be the hymn par excellence, on Siva. The God of Chidambaram is the Dancing God, Siva Nataraja rooted in the Vedas.
Lord Siva’s in His cosmic rhythm movements is affectionately called ‘Tillai Ambalaja Nadaraja’ and the presiding deity is ‘Thillai Koothan’. The physical movement of this ‘Ananda Thandavam’ or Dance of Grace reflects the creative and destructive expressions of the whole universe. It symbolizes the five divine activities: 1. Sristi – Creation and evolution; 2. Sthiti – Preservation, and sustenance; 3. Samhara – Destruction, and dissolution; 4. Tridhana – Concealment, Illusion that indicates bondage, and 5. Anugraha – Grace indicating Release or Moksha.
The Damaru or Damru held in the rear right arm represents Creation. Damru vibration is indicative of the alternation of consciousness between the manifest – the universe and the unmanifest – absolute. The Damaruka gives rise to the seven musical notes, sa-ri-ga-ma-pa-tha-ni-sa, and eleven ‘mahesvara sutras’ which is the foundation of all grammar of the language. These vibrational notes are the concluding strokes the Lord made on the Damaru as He stopped dancing. The ‘Abhaya Hasta’ is represented by the front right hand with raised palm as a gesture of protection.
The rear left hand which holds the pot of fire is indicative of ‘samhara’ or destruction. The front left hand extends across the chest, in a majestic sweep, its fingers pointing graciously and beautifully to the tip of the left leg, which is raised in a dancing posture. The front left-hand shows the ‘Gaja-hasta’ meaning elephant’s trunk. It is ‘Varada-hasta’ or the boon granting hand. Pointing to the uplifted left foot, it indicates ultimate release or Moksha. In the Chidambaram Temple, Nataraja’s left-hand fingers point exactly to the tip of the left leg. During ‘abhisheka’ or ritual bathing of the deity milk poured on the left hand drops exactly at the tip of the raised foot.
The left leg is called Kunchita-pada. ‘Kunchita means raised, lifted, or bent. In the Tamil language, it is called ‘Thookiya tiruvadai’. The right foot is ‘Undriya tiruvadai’ meaning 'the placed foot' that presses and suppresses evil – ‘Apasmara Purusha’. This evil is personified as a dwarf called Muyalakan. The suppression of Muyalakan is the suppression of ego, ignorance or concealment. Muyalakan is conceived as ‘maha maya’ the cause for all births and deaths and the three states of consciousness – waking, dreaming, and sleeping. The Lord raises his foot indicating the fourth state beyond these three and that is why it is indicated by His own left index finger of the right hand as the only refuge.
The Lord whirls around on the one right leg. This is depicted by the matted jata or hair flying on both sides of the head in waves one above the other and by a piece of cloth, partly around the waist and partly thrown over the left shoulder also flying in the air. This indicates the ecstatic and vibrant nature of the cosmic dance. The Lord dances in a circle of Agni showing destruction or annihilation. Agni is also twice-born indicating creation after destruction. Of the Cosmic Nataraja Dance, Ananda remarks how amazing is the range of thought of the rishi-artists who brought forth the image of this reality, a key to the complex tissue of life, a theory of nature, universal in appeal to the philosopher, the lover, the artist of all ages and of all countries! Here is perpetual movement, perpetually poised-- the rhythm of the spirit. There cannot be a more exact or more wise creation of the image of that Energy which Science must postulate behind all phenomena. If we would reconcile Time with Eternity, we can scarcely do so otherwise than by the conception of the alternations implied by the drum and by the fire In the night of Brahma, Nature is inert and cannot dance till Siva wills it. He rises from his rapture, and, dancing, sends through inert matter pulsing waves of awakening sound, and lo! matter also dances appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fulness of time, still dancing, he destroys all forms and names by fire and gives new rest. This is poetry, but none the less, science! Om Namah Shivaya.
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