Shiva Nataraja: Chola Bronzes of the 12th Century

According to art historian Marilyn Stokstad, "No sculpture is more representative of Chola bronzes than the statues of Shiva Nataraja" (355). I would agree with Stokstad, and I surmise there is not a single image in Indian art that inspires a more mystifying enchantment within. In my mind, the bronze Shiva is an artistic masterpiece that represents religious and spiritual thought to the extreme. It is the perfect, representational image of a spiritual process eternally subject to change. Nevertheless, I feel to truly appreciate what the Shiva Nataraja is trying to express, a person must peer into the symbolism of the sculpture itself and take the time to examine the Hindu way of thinking, as well. Here, I will attempt to do both.

To begin, we will start with the beliefs of the Hindu faith. This is not a simple undertaking. In fact, trying to understand Hinduism can be a downright maddening experience for a western mind. The imagery found in Hindu tradition is nearly as infinite as the timeless truth it attempts to communicate. Nonetheless, despite the religion's many aspects, there are two, justifiable statements I can make about Hinduism. I feel both remain loyal to its truth-seeking principles: 1) Just as in most religions, Hinduism does maintain there is an ultimate reality that is ever-present. This reality is known as Brahman. As the totality of all things, Brahman cannot be expressed in a finite sense. 2) Hinduism personifies the divine as multiple deities (Shiva, Vishnu, Devi, etc.), but these personifications are not meant to be taken as Brahman itself. In other words, their gods and goddesses are thought of as adequate portrayals of the fundamental essences of such pertinent realities as death, joy, and creation; yet, these realities are only expressions of the singular aspects of what the sum of Brahman embodies. Consequently, the roles of these otherworldly beings are to function merely as bridges, or spiritual guides, to something greater.

The Shiva Nataraja I examined was a bronze sculpture constructed during the 12^th century CE. While it is not sizeable in physical height, the religious ambiance the statue imparts effortlessly transcends the material space it occupies. Just as all religious images of this type, the message conveyed to the viewer does not simply rest in the icon itself. The formal use of shape and form is meant to inspire a divine unity, or connectivity, in the observer. When perceived this way, the Shiva Nataraja takes on a whole, new light. Notice, Stokstad states the dance of Shiva is a dance of "cosmic proportions [...] a dance for each individual, signifying the liberation of the believer through Shiva's compassion" (355).This does not imply the iconic Shiva image is secondary. In fact, it implies there is a religious connection the observer might find through it.

Undoubtedly, one of the most striking qualities of this Nataraja would be its four arms. It has been observed in India "multiple arms are regarded as a simple and effective way of portraying the immense power of the deity [who can] achieve many tasks simultaneously" (Dehejia 140). If this is assessment is correct, poor Shiva must have a terrible time with the countless responsibilities that encompass being a supreme being. In this regard, two, extra arms are not only helpful, but necessary. Still, the many upper-limbs of the Shiva Nataraja sculpture could suggest something else to us, as well. The early artist may be communicating Shiva is not only a being of multiple tasks, but one whose essential purpose entails the tremendous duty of setting into motion the all-pervading forces that govern life and death. Likewise, I think it would be appropriate to say the many arms of Shiva portray the forces of causation--in a sense, the world of earthly movement--and, in this wild interchange, human beings are caught in it and spellbound. Seemingly, the added appendages of the sculpture do seem to generate sense of uneasiness. This creates a dizzying effect which may well be necessary for a proper understanding of what the Naturaja is. In any case, it would make good sense to pay proper homage to Shiva. After all, Shiva has been deemed the creator and the destroyer of all, and, imaginably, it is beneficial to know that what is set in motion, can just as easily be destroyed. Certainly, for a dutiful Hindu, choosing to ignore Shiva would not be wise, given that ignorance in maya is great and even more difficult to overcome.

This multi-armed Shiva does possess other interesting characteristics. A wheel of fire, for instance, encircles the dance. The symbolism of the wheel entails the "idea of movement, becoming, and passing way" (Herder Dictionary of Symbols 213). Indeed, the fire would signify destruction and the purification of both the world and the ignorance of humankind. We also see a tiny drum which is hit by a singular, right hand. Its rhythms invoke the universal idea of cadenced sound heralding change. In Shiva's case, this change would be driving the universe forward to destruction, then calling it back to seek life again. One could surely admit it is a little frightening to set eyes on the way the god silently smiles in his destruction and authority--his eyes closed forward, and his body in perfect balance. He behaves as if he did not have a care in the world.

Finally, it must be recognized Shiva is not without kindness. I have noticed this is displayed two areas: 1) We see this in the left foot that rests upon Apasmaru--a persona likened to ignorance and confusion. 2) We also see kindness in a simple gesture. In time of need, a Hindu can set her/his eyes on the "have no fear" mudra. This silent, yet benevolent, signal from Shiva speaks to the devout there is hope for those who can trust the mysterious ways of life and death.

To conclude, I have attempted to analyze a Nataraga sculpture in an endeavor to identify with not only the symbolic nature of the sculpture itself, but hopefully gain a little more insight into the Hindu faith. They do go hand-in-hand. Nonetheless, it must be realized there is so much western minds do not understand. Undoubtedly, it would take a very long life (perhaps, many lives) to completely work out what is meant to exonerate a dancing god that celebrates death, yet is just as willing to offer life to a universe of constant fear and change.

Works Cited
Dehejia, Vidya. Indian Art. London: Phaidon Press Limited, 1997.
The Herder Dictionary of Symbols. Trans. Boris Mathews. Wilmette: Chiron Publications, 1993.
Stokstad, Marilyn. Art History: Revised Second Edition. Volume One. Upper Saddle River: Pearson/Prentice Hall, 2005.