“If you could see the arch of his brow the budding smile on lips red as Kovai fruit cool matted hair, the milk-white ash on coral skin, and the sweet golden foot raised up in dance, then even human birth on this wide earth would become a thing worth having.”
The Tamil Shaiva saint Appar describes the beauty of Shiva dancing in the hall of Chidambaram in this expressive verse, dedicated to Shiva as Nataraja or the Lord of Dance, probably one of the most stirring and popular representations of Shiva in Panchaloha bronzes of Swamimalai (Tamil Nadu).
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.
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