The Bronze Statue Shiva as Lord of Dance

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The Bronze Statue Shiva as Lord of Dance

Table of Contents

Introduction
Description of the Piece
Purpose of the Figures Featured
Relative Size and Placement
Characteristics of the Time Period & Culture
Symbols
Religious Message
Conclusion
Works Cited

Introduction

Shaivism is one of the two main branches of Hinduism and is named after the main deity Shiva. The origins of the mythological image of Shiva go back to the proto-Indian Harappan civilization that existed in the 3rd-2nd millennium BC (Hedges 160). The bronze statue of Shiva as Lord of Dance (Nataraja) refers to this time period of the origin of Shaivism. The pieces title is Shiva as Lord of Dance (Nataraja). The artwork is located in The Cleveland Museum of Art. It is known for an impressive collection of oriental art, numbering more than 43,000 exhibits from around the world) (Kanaka and Mohan 371). Among them is the Indian statue of Shiva as Lord of Dance (Nataraja).

Although the author of the work is unknown, scientists were able to determine the approximate time of the figures manufacture. The statue was created around the year 1000, which corresponds to the Chola Period in India (Kanaka and Mohan 368). At this time, there was a popularization of temple construction and the establishment of regular temple worship. Temples became places of pilgrimage, numerous calendar and festive rites were performed in them. Hymn-making has become an important manifestation of cult practice; therefore, a huge corpus of poetic texts in local Indian languages is associated with this religious trend. To date, Shiva remains one of the main deities of the pantheon, as a result of which Shaivism is not a belief system, but a set of Shiva cults.

Description of the Piece

Cast in bronze, the statue depicts a dancing Shiva. HE has long dark hair twisted on top of his head in a bun called Jetta (Kanaka and Mohan 372). The neck of the God, his legs and wrists are decorated with unusual ornaments snakes that are wrapped around Shiva. They are considered a symbol of unity with nature and the militant courage of God (Kanaka and Mohan 372). In addition, snakes coiled in a ring are associated with time, namely, the flow of time from the past to the future. Shiva resembles an ascetic; his clothes are made of tiger or elephant skin. The forehead of the God is decorated with symbolic signs. The image of the third eye is inscribed on it, as well as three lines that Shiva applies with the ashes left over from the burning of corpses (Thakur and Begum 6663). Such a paint is the identification of Shiva with the almighty deity that reigns in different worlds, reminds us of unity with ancestors and the past.

Purpose of the Figures Featured

According to Hindu mythology, the tandava dance of Shiva is an energetic dance that is the source of the creation-preservation-destruction cycle (Hedges 168). The Brahma deity creates the world, then falls asleep. The cycle is continued by the guardian deity Vishnu, who supports the life of the world. When Shiva wakes up and starts his dance, the world dies, falls asleep and collapses. Then Shiva falls asleep, Brahma wakes up and the cycle resumes. Thus, the dancing figure of the deity symbolizes the final cycle of the existence of the world.

Relative Size and Placement

The figure of Shiva has a length of 115 centimeters, a width of 100 centimeters and a height of 30 centimeters (Hedges 172). The stand on which the dancing deity stands has a width of 35 centimeters and a height of 30 centimeters (Hedges 172). The weight of the bronze figure is 117 kilograms (Hedges 172). Most of the composition is occupied by the figure of God, and a small space around him is taken by a frame that determines the position of the deity in space.

Characteristics of the Time Period & Culture

This statue was created during the reign of the Chola dynasty in India. At this time, the formation of Shaivism and the emergence of the cult of Shiva began. At the beginning of the first half of the first millennium, when the statue was made, two trends emerged in Hinduism Vishnuism and Shaivism (Hedges 160). The characteristics that can be attributed to the time period can be the traditional attributes with which God is depicted. They are features of the earliest period of Shaivism. The right hand of God gives blessing and wisdom, it also destroys evil and ignorance. Since the period of the Chola dynasty was the heyday in India, this meaning is symbolic and reflects the economic and cultural progress of the era.

Indian culture is largely based on the traditions of Shaivism, which is also reflected in the statue. In his hands the deity holds a damaru drum, symbolizing the rhythm of the universe, which is one of the characteristic features of the culture of the Indian people (Kanaka and Mohan 368). On his other hand he carries the sacred flame of Agni, an attribute of purification and the recreation of the world. In this way, characteristic ideas about death and the universe are transmitted. The figure of Shiva is encircled by snakes, the perception of which is also specific to this culture (Hedges 164). The image of a snake is often used in the works of Indian sculptors and artists as a symbol of wisdom.

Symbols

The main symbol that this statue depicts is the dance of tandava, which is guessed by a specific pose. The movement of the arms and legs of the Lord of Dance (Nataraja) has a certain symbolic meaning. The bent right-hand takes the ascetics and followers of Shiva under his protection, with the fingers of the left-hand god pointing to the feet as the main refuge of the suffering (Kanaka and Mohan 368). The right main hand holds the Damaru, a drum whose rhythms contribute to the birth of a new universe (Thakur and Begum 6664). The left main hand of the deity holds fire, symbolizing the destruction of ignorance.

Religious Message

This piece conveys a strong religious message demonstrating that Shaivism is more of a deity cult than a belief system. The statue has one of the most important attributes of Shiva lingam, which has become the most important object of worship in Shaivism (Kanaka and Mohan 372). In temples, the number of stone lingams sometimes reaches many hundreds (Thakur and Begum 6667). The fact that the deity is depicted as the sole and central figure is also proof of his extraordinary importance to Indian religion.

Conclusion

Visiting the museum left me with very vivid impressions. Attending The Cleveland Museum of Art allowed me to get acquainted with the true heritage of the ancient Indian civilization. I was very impressed by the ancient relics of the Harappan Empire, fine jewelry, miniature paintings, medieval wood carvings, textiles, and musical instruments. A sightseeing tour with an audio guide allowed me to learn more about the religion of Shaivism, which is the basis of modern Indian culture. The statue of Shiva as Lord of Dance (Nataraja) is the embodiment of the cult of the main deity, affecting all spheres of life of the people of India.

Works Cited

Hedges, Paul. Lived Religion as Hermeneutical Comparative Theology: Employing Shiva Nataraja (Lord of the Dance) Imagery in Christian Art and Musi. CrossCurrents, vol. 71, no. 2, 2021, pp. 156-174.

Kanaka, Sanimaya, and Sujatha Mohan. Spirituality, Happiness and Classical Dance: Their Linkage as Portrayed in The Tirumurai. Journal of Critical Reviews, vol. 7, no. 1, 2020, pp. 368-372.

Thakur, Richa, and Shabina Begum. The Sculptures of Lord Shiva in The Historic Temple of Bhoramdev in Chhattisgarh (with Reference to Dance). Ilkogretim Online, vol. 20, no. 5, 2021, pp. 6662-6667.