Page 33 - Stone and Bronze, Indian art of the Chola Dynasty, Metropolitan Museum, NYC

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-FIR33 Dakshinm. N i Im t ,
FIGURE 33 Dakshinamurti, c. 950. Naltunai Isvaram temple, Punjai

ber that Buddhism (and Jainism) had swept over south IV. SIVA NATARAJA
India before the Hindu revival that began in the seventh
century. When we look at the beautiful Dakshinamurti We have seen above that, from very early times, Siva
(Figure 33) on the Punjai temple (c. 950), we recognize and his cult were associated with the dance. This led to
the heritage of the seated Brahma and, especially, of the the concept of Natesa or of Nataraja, Siva as Lord of
teaching Buddha. The god is seated under a sacred tree, the Dance, to which we owe some of the most beautiful
recalling the Tree of Wisdom; he has the matted hair images ever created by man.
of a yogi. His front hands are in the attitude ofexpound- The symbolic significance of Siva's dance has been el-
ing the truth (right) and of bestowing a boon (left); the oquently expounded by Ananda K. Coomaraswamy.68
back hands hold rosary (right) and lotus (left). At one Coomaraswamy discusses three of the numerous
side of his foot is a resting deer and at the other a writh- dances of the god: the twilight dance in the Hima-
ing serpent. Flanking the central niche, two listening layas, with a chorus of gods who play musical instru-
sages accompanied by their disciples raise their right ments and sing, before the host of demigods; the wild,
hands in the same gesture as the lord; their small scale
in relation to that of the god underlines his greatness. 68. A. K. Coomaraswamy, The Dance of Siva (New York, 1918).

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