Shiva as the Lord of Dance: Large Nataraja | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai (Shipped by Sea)

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In the “Tirumantiram”, one of the many texts evoking the forms of Shiva in Tamil bhakti tradition, this roopa of Shiva is described as “Shivananda kuttu” or Shiva’s dance of delight. Expressed through the Lord’s limbs balanced in the air, his Jata (matted hair) flowing like the numerous streams that course to unite with the ocean, his tilted head and the expression of meditative pleasure on his face, the supreme joy of Shiva in ananda-tandava (dance of bliss) is riveting to behold in this Panchaloha bronze Nataraja statue. The ring or circle of fire that frames the dancing Shiva’s aura represents time and space- its ends sprout from the mouths of Makara (celestial creatures who symbolize divinity and royalty) and its external part is lined with flaming motifs. A miniature Kirtimukha (face of glory) hangs from the center of the bronze ring, ending just above Shiva’s elaborate Jatamukuta (crown of matted hair).

The details of Shiva’s crown are curious and require singular attention- a bunch of crane feathers is tucked in the front of Shiva’s head, embellished with a tiny skull, and crescent moon and tied with a snake. On the lower section of the hairdo is a row of jeweled chains framing the glorious forehead of Shiva. A lyrical symmetry is created by Shiva’s locks that flow on his sides, the space between each lock interspersed with flowers. A miniature figure of goddess Ganga with her hands joined in reverence (on Shiva’s right) and a serpent (on his left) are nestled in the mesh of his locks, witnessing the supreme dancer in awe. The four-armed Nataraja carries a drum (symbol of creation), fire (destruction), the gesture of fearlessness, and his left hand in the Gajahastha mudra, pointing to his raised foot. Heavenly ornaments- Makara-kundala (earrings shaped like mythical Makara, symbolic of the god’s divinity and royalty), beaded necklaces, Skandhaabhushana (shoulder ornaments), armlets, Udarbandha (belly belt), girdle, Nupur (anklet) adorn the dancing Shiva, highlighting the beauty of dynamism in his every limb. Apsamara, the demon of darkness, also known as Mushalgan in Tamil Shaiva traditions with his minuscule body huddled up on the lotus pedestal, gazes in astonishment at the effortlessness of the strength of his annihilator.

Panchaloha bronzes of Swamimalai are a living tradition nourished by the Sthapati (craftsmen) of the temple town of Swamimalai. Pristine-quality bronze is melted and poured into the cast. Wax is added to the mud model which is heated to strengthen the casing of mud while removing the wax (thus the name lost wax), leaving a hollow frame behind. In the case of large idols like this Nataraja bronze, smaller parts of the whole are cast and later assembled. The entire process requires a skilled knowledge of technique and Hindu tradition, which is the basis of the iconography of these bronzes. Going through these tedious steps, the makers of this Panchaloha icon successfully instilled the solid icon with the divine essence of Shiva.

The holes on the rectangular platform on which the Nataraja icon stands are reminders of the Tamil temple tradition of taking the religious idols on ceremonial processions. Numerous devotees gathered in the sprawling halls of the shrines to carry the palanquins of their beloved Shiva. Balancing the mammoth idols of Nataraja, who balances creation and destruction, life and death, movement and activity in his attributes, the Shaiva bhakta (devotees) danced with the Lord of Dance.

Sculpting Dreams in Metal: The Enigmatic Alchemy of Panchaloha Bronze Masterpieces

Bronze statues and sculptures are known for their exquisite beauty and the divinity that they emit all around the space. Bronze is considered an excellent metal alloy, composed primarily of copper and tin. Many properties make it suitable for sculpting even the most intricate and complex structures. There was a period in history, known as the “Bronze Age'', in which most sculptors preferred to work with Bronze as it was considered the hardest metal. Bronze is especially appreciated for its durability, ductility, and corrosion-resistance properties. India is especially known for its elegant workmanship of skills working with Bronze. The artisans of a town named Swamimalai in South India have been following a tradition of bronze murti making for ages. They use a special material known as Panchaloha bronze to make fascinating icons of Hindu Gods and Goddesses. All of us are allured by the beauty of bronze statues and sculptures but there goes a tough hand in casting those masterpieces with little or no imperfections. Since it is an extremely elaborate process, a sculptor needs to be highly skilled in making bronze antiques. The most common technique for casting bronze sculptures that has been followed since ancient times is the “Lost-wax” process which involves many steps:

1. Clay model making

The making of a bronze statue or sculpture starts with preparing a full-sized clay (usually Plasticine) model of the sculpture. This allows the artist to have an idea about the overall shape and form of the desired sculpture before working with bronze, a much more expensive and difficult-to-work-with material.

2. Mould making

Once the clay model is ready, a mould of the original sculpture is made. This is done by carefully covering the clay model with plaster strips. This step is carried out in such a way that no air bubbles are formed. It takes up to 24 hours for the plaster to dry. Once dried, the plaster is then gently removed from the clay model. The removal happens easily because the inner mould is usually made of materials such as polyurethane rubber or silicone.

3. Wax filling and removal

In this step, molten bronze or wax is poured or filled into the mould in such a way that it gets even into the finest details. The mould is then turned upside down and left to cool and harden. When the wax has hardened, it is removed from the mould.

4. Chasing

Chasing is the process in which the artist refines the surface of the bronze statue using various tools to achieve fine details. This smoothens the surface and gives the statue a finished look. If some parts of the statue were moulded separately, they are now heated and attached.

5. Applying a patina

Bronze sculptures are known for their unique look or sheen on the surface. This may take several years to achieve naturally. Applying patina to bronze sculptures is an important step to make them appear attractive. Working with clay, plaster mould, and molten wax can be messy and therefore sculptors wear old clothes and remain careful. The entire process of making a bronze statue takes several months to complete. Bronze sculptures last for many centuries because of the high durability of the material. Many centuries down the line, these sculptures continue to be appreciated for their majestic beauty.