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This article originally appeared in asianart. The preservation and continuity of the tradition of the Chidambaram Sabhanayaka temple was his life's. Lack of support and sponsorship of the traditional scholarship that formed the foundation of Indian (temple) traditions.

I am forever grateful for the time I was able to spend with him. This. should have been his article. I would also like to express my thanks and appreciation to Raja Deekshithar's son Kandhan Raja Deekshithar and uncle. M. N. Sivaraja Dixitar who have been offering their knowledge and advice through many discussions and communications. The austerity can be understood as intended to prevent distraction from the experience of the art as the centre of attention.

But all the beautiful. Here we are far removed from this context and in this clean space there is nothing that reminds us of the original. As one enters it draws one's eyes and attention. The balance, harmony and. Divine Dancer one of the most recognised Indian icons.

This one is tiny, just 1. But careful observation reveals a few obvious and some less obvious differences. Where the. larger Nataraja's locks are spread sideways from his head, reflecting the sculptor's intention to suggest the wild gyrating movement of his dance, called. Ananda Tandava, Wild Dance of Bliss, the small Nataraja's locks fall on his shoulders and down his back, suggesting a much softer, quieter movement. Two. diminutive figures sit at his feet, accompanying his dance with percussion instruments. The one on the proper right plays on what looks like a pot, the one.

Less obvious differences can be found in the divine dancer's headdress. As Coomaraswamy pointed out in the essay with which he launched the Dancing. Shiva to international fame. This article will examine and clarify some of.

Natarajas. He was offered daily worship and taken in procession once a year. For the worshippers he would have. Nataraja of Chidambaram. All other bronze Natarajas found in temples all over South India have been inspired by the deity of this temple, Nataraja dancing the. Ananda Tandava, the Dance of Bliss. This temple has been the object of many publications and documentaries. His dance is called.

Ananda Tandava, Dance of Bliss. It reflects five cosmic activities, or Pancakritya, Creation, Preservation, Dissolution, Obscuration and Salvation. Dancing. on his right leg, trampling Ignorance in the form of a dwarf called Apasmara, he raises his left in a flowing movement, offering deliverance and bliss to. The hands hold a damaru (small hour- glass drum) and fire, make a gesture of protection and direct the attention to his raised foot. He wears. snakes as jewellery, flowers and feathers in his hair, and his dreadlocks fly away wildly, reflecting the wild gyrating motion of his dance. The crescent. Moon and the river Ganga find refuge in his hair .

It is actually the small Nataraja with the falling locks that is a replica of the Chidambaram Nataraja, not the larger one. The differences between the two Natarajas reflect myth, doctrine and tradition. It recounts how Shiva first danced in the Daruvana, a mythological forest, and. Tillaivana, which was originally a mangrove forest and later came to be known as Chidambaram. In the Chidambaram Mahatmya, the official. Chidambaram temple, this myth takes a definite form and is connected to the mythology of Tillai, the original name of this sacred.

Shiva and Vishnu visit the ashram of the rishis in disguise. In the various versions of this. Some scriptures say it is to test them, some say to teach them devotion and surrender, some say to challenge their. Shiva took the form of a naked mendicant, dancing wild and with abandon, completely confusing the wives and daughters of. Basic Stamp 2 Serial Communication Rs232. Vishnu followed as the dancer Mohini, seducing the rishis and diverting their minds from their spiritual path . From this magical fire they.

Shiva. First a tiger appeared from the flames and jumped on Shiva. Shiva stripped off its skin and tied it around his. Next a ferocious cobra appeared and attacked Shiva, who simply wrapped it around him as an ornament. Lastly a terrible dwarf, Apasmara. With his large toe Shiva crushed its back, and as it lay prostrate and writhing, He stepped on its back and. His dance. The eight corners of the earth shook, and Adishesha, the Worldsnake, and River Ganga trembled with fear . Shiva dances. the Ananda Tandava with his jata or locks flying, decorated with snakes and dressed with a tiger skin.

At this point the rishis realised their mistake and. Supreme Shiva. Ever since the publication of Coomaraswamy's article . It is. often used in all kinds of illustrations and found on movie sets, in hotel lobbies, and is sold as a souvenir to innumerable tourists. It is. to these little recognised and mysterious aspects that this article is intended to direct attention. He asked Vishnu the reason for this.

Vishnu. replied to Adishesha it was due to the happiness he felt at remembering witnessing Shiva's Ananda Tandava during their visit to the Daruvana. Adishesha was. inspired and wished to witness the Cosmic Dance for himself. He started a long and arduous spiritual practice to achieve his goal. Shiva answered his.

Adishesha to Tillai, a mangrove forest with a sacred pond in the heart chakra of the world. This is the only place on earth with the. Shiva's cosmic dance. Adishesha is born on earth as the rishi Patanjali and at long last reaches the. Tillai forest. Here he meets another rishi, Vyaghrapada, the Tiger- Footed, who is also waiting for the arrival of Shiva Nataraja . While they. wait they worship a Shiva Linga which is situated on the southern bank of the sacred pond, the Shivaganga Tirtha.

Vyaghrapada and Patanjali who waited for such a long time are joined by gods and. When five tones sound from Heaven Shiva arrives and commences His Ananda Tandava, the Dance of. Bliss. Overcome with emotion all those present tremble and many fall on the ground. Nataraja asks Vyaghrapada if he has any other desire. Vyaghrapada. answers it is his wish Nataraja should dance here forever for all humanity. The Lord grants this wish and continues to dance his dance in the Golden Hall. For the most part these Natarajas represent the type with the flying hair.

Shiva's Dance is almost invariably. It is therefore assumed by researchers and the general public alike the presiding deity of the. Chidambaram temple, officially named Sabhanayaka, or the Lord of the Hall, reflects the same iconography and attributes. As photography of murtis under worship in the Chidambaram temple is. Nataraja of Chidambaram is portrayed. The common features of these. Nataraja are the position of the body and limbs, four arms with attributes, circle of flames, dwarf under the standing foot, decorations in.

River Ganga, datura flower), long flying sash, and the cobra across the wrist. Both are considered by theology and doctrine. Ananda Tandava, the Dance of Bliss. This may. be the reason why these differences have hardly been noticed. They reflect important theological concepts, and can also be observed in many illustrations. Chidambaram temple .

The differences can be described as. Chidambaram Nataraja . All are used to refer to both the Nataraja with the flying hair and the Nataraja whose hair falls. It is this difference in Shiva's locks that reflects the essential and very significant theological difference between the Nataraja. Chidambaram and other Natarajas. There is one name that can only refer to the Nataraja whose hair falls down, the little used Shanti Kuttu, meaning.

Dance of Peace. Shiva's dance in the Golden Hall of Chidambaram represents the end of the dance, the completion, the perfect stillness, when his hair falls. The doctrine and tradition of the Chidambaram temple explicitly states the Nataraja here represents the conclusion of the. The divine dancer's hair falls down: this is the 1.