Page 137 - Christie's Irving Collection Lacquer Bronse jade and Ink March 2019

The present fgure depicts the deity Shiva in his most dynamic form, 本銅像是有「舞蹈王者」之稱的濕婆神祇舞王濕婆。祂一足站立，一足抬起，雙
that of the Nataraja, or ‘lord of the dance.” Standing with one leg raised and 臂張開，演繹象徵宇宙的創造、維護及毀滅之神聖舞步「宇宙之舞」。舞蹈高潮
his arms extended around him, Shiva performs the ritual tandava dance, 一刻，舞王濕婆引出一圈火環，以聖火消毀天地萬物，泯滅腳下侏儒所象徵的
which in its entirety symbolizes the creation, preservation and destruction of 愚昩無知，準備進入由梵天所啟動的再生循環。 舞王濕婆之形象早於六世紀
the universe. In its climactic moment, depicted in the present bronze, Shiva 在印度南部普及，並於朱羅王朝及毗奢耶那伽羅王朝期間盛極一時。其形象豐
conjures forth a wave of fre to end the world and its ignorance, personifed 富，象徵意義深遠，集創造力與毀滅性於一身，與藝術世界息息相關，甚得當地
by the dwarf he stands on, and prepares it for its rebirth by Brahma. This 帝王推崇。宇宙之舞是濕婆的神聖舞蹈，亦會在南印度廟宇內的濕婆教儀式中
act of renewal is carried out to the sound of music, as demonstrated by the 進行。朱羅王朝及毗奢耶那伽羅王朝的皇帝是寺廟及其他宗教建築的贊助人，
presence of the diminutive musicians at his feet. 同時資助涵蓋宇宙之舞等多種儀式藝術，並且御造各類銅像。本像正具體地展
現出當時皇室對藝術及宗教的不懈支持。 印度清奈政府博物館藏有一例，尺寸
The image of the Shiva Nataraja became prevalent in South India as early 略大，可與本像比擬，見C. Sivaramamurti著，《South Indian Bronzes》，
as the sixth century, but reached its zenith in terms of popularity during 新德里，1963年，圖28b。兩者細節如出一轍，同樣飾以伏地戲蛇的侏儒，撃鼓
the Chola, and later, Vijayanagara periods, from roughly the tenth through 敲鈸的樂師，以及纏繞神像腰間、飄懸半空的繩帶。帕爾博士按照兩者的尺寸及
sixteenth centuries. The image and its symbolism was particularly popular 功能之別，推測清奈博物館藏例疑為本像所參照之對像，見《The Sensuous
among the emperors of those dynasties, both for its projection of strength Immortals》，洛杉磯，1977年，頁137。此外，傳世若干小巧例子，具有近似本
and ferocity, and because of its association with the arts. As well as being 像的圖像格式及美學風格，也有可能一律依照該像所製，當中包括一尊十六世紀
the sacred dance of Shiva, the tandava was also a ritual dance-drama 舞王濕婆銅像，紐約佳士得售出，2013年3月19日，拍品編號254。
performed at Shaivite ceremonies within the temple compounds of South
India. As patrons of the temples and of the religious structure in general,
the Chola and Vijayanagara emperors were also thus patrons of the tandava
dances and other ritual performing arts. Chola and Vijayanagara rulers also
sponsored the production of bronze images, and as such, fgures of Shiva
Nataraja were physical manifestations, and reminders, of imperial patronage
of the arts and religion.
Compare the present fgure with a larger fgure in the Government Museum,
Chennai, illustrated by C. Sivaramamurti in South Indian Bronzes, New
Delhi, 1963, fg. 28b. Both the Chennai example and the present fgure share
almost identical depictions of the diminutive attendant fgures, with the
prostrate dwarf playing with a serpent, and the seated musicians beating
drums and cymbals. The depiction of the chain wrapped around Shiva’s
waist and dynamically sweeping out to the side is also remarkably similar.
Dr. Pal, in The Sensuous Immortals, Los Angeles, 1977, p. 137, postulates that
the Chennai example may have been the model for the present fgure, which,
due to its small size, was likely produced for personal worship. Other small
bronzes with similar iconographic and stylistic depictions, also possibly
based on the example in the Government Museum, are known, including a
sixteenth-century bronze fgure of Shiva Nataraja, sold at Christie’s, New
York, 19 March 2013, lot 254.

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