“Ta-dum, ta-dum, ta-dum…” beats the ḍamaru in Śiva’s hand, as he shakes it, giving rhythm to his dancing feet and sound to his image. Śiva, the auspicious one, is manifest here as the lord of the dance, the Naṭarāja (naṭa-dancer + rāja-king).
Naṭarāja is the Cosmic Dancer. Nothing remains static in dance, or to that matter of fact, in any performing art. That dynamism is identifiable with naṭana (‘dance’). The ‘dance’ of Śiva, and this dynamism is the manifestation of the entire universe.
The arc of flames or the prabhāmaṇḍala only reinforces the notion of the cyclical prison of the saṃsāra. This circular halo is pockmarked with fire. at its periphery symbolizes the containment of the ātman the material world.
The subtle smile on the dancing Śiva’s face indicates the ultimate tranquillity
of the ātman in the face of the saṃsāric illusion necessary for mukti, it also represents his calmness despite being immersed in the contrasting forces of the universe and his energetic dance.
Multiple arms illustrate the divine power. Naṭarāja’s four arms each take a different position or hold symbolic objects, showing his strength and constellation of skills.
The ḍamaru in the upper right hand signifies the drum of creation as Śiva beats the rhythm that brings the universe into creation. Contrasting, Agni in the upper left hand symbolizes dissolution. The opposing concepts also show the counterpoise nature of life.
The lower left hand is bent downwards at the wrist with the palm facing inward making the “Gaja hasta Mudrā” gesture for the removal of obstacles, and emancipation. It also represents the elephant trunk of Gaṇeśa, who is the remover of obstacles and the son of Śiva. We also note that this arm crosses Naṭarāja’s chest, concealing his heart from view. It represents tirodhāna (occlusion/concealment). A cobra uncoils from his lower right forearm, while his palm shows the Abhaya mudra representing fearlessness suggesting not to fear nearby evil, also gesturing the protection and peace of devotees and followers as they follow the righteousness of dharma.
The limbs are bent at multiple joints signifying constant movement which is a relentless nature of saṃsāric cycle.
Śiva’s left foot is lifted as part of the “dance of bliss,” raised in elegant strength across his body. It is revealing grace, which releases the mature jīva from bondage. it also suggests an energetic dance. His long, matted tresses, are shown to be loose and flying out in thin strands during the dance, spread into a fan behind his head, because of the wildness and ecstasy of the dance.
The Naṭarāja dance itself is an expression of wrath against a dwarf demon apasmāra, the personification of the dichotomy of the ego or ignorance, over which Naṭarāja triumphs as his right foot steps on him. But the etymology of apasmāra is curious “apa “ signifies negation and “smara” literally alludes to anything about memory and recollection so apasmāra could come to signify the negation or annihilation of memory itself, but why? This means it helps sustain an illusion through space and time our memory erases from our psyche is the nature of our true selves as the ātman clinging to a selfish persona or identity brainwashed with its memory in the face of one’s true reality only accentuates one’s suffering.
Naṭarāja’s hair is wild and all over the place indicating the ferocity of his dance. On his head is a human skull which is a symbol of mortality. On his right side, meshed in with one of the flying strands of his hair near his forehead, is typically the river Gaṅgā personified as a goddess for the regeneration of life. On his head rests a crescent moon and a flower identified as that of the entheogenic plant Datura metel.
Different earrings in each ear. On Śiva’s right ear is an earring in the shape of a makara (crocodile), usually worn by males. His left ear is adorned with a circular earring usually worn by women. Together they symbolize the fact that Śiva and Śakti are the same.
The face shows two eyes plus a slightly open third on the forehead representing his cosmic knowledge, The eyes represent the sun, and the moon and the third have been interpreted as the inner eye, or symbol of knowledge (jñāna), urging the viewer to seek inner wisdom, self-realization. The three eyes alternatively symbolize an equilibrium of the three Guṇas, Sattva, Rajas and Tamas.
The lotus flower represents chastity. The flower emerges from the depths of muddy water to unfold above its surface, pristinely beautiful. This pedestal is a double lotus, with petals pointing upward and downward. It also signifies Ōṃ, the sound of the universe.
Naṭarāja as a symbol signifies the destruction of this illusion and that of active memory in a semiotic return to a divine absolution, the dance around the fiery halo of the prabhāmaṇḍala signifies action and impermanence yet it's a complete symbol in itself. The paradox of something impermanent being permanent is brilliantly translated into a singular symbol. That is why the Naṭarāja is a perfect symbol.
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