Naṭarāja: Pādādikeśa Varṇanam (Description from Toe to Head) — Dr. R. Nagaswamy
Acknowledgment: Kindly transcribed by Ganeśan Sir Ji (@vezhamukhan)
Transcript of a conversation between Padma Bhushan Dr. R. Nagaswamy and Sanskritist and Indologist Dr. V. Ramanathan of IIT BHU, Chennai on ‘Naṭarāja – Pādādikēśa-Varṇanam’ (i.e., ‘The King of Dance’ - toe to head description of the dancing form of Bhagavan Śiva) held under the auspices of ‘Atharva Forum’, an online repository of Sanatāna Dharma.
Dr. V. Ramanathan: Today, we have the honor of speaking with Padma Bhushan Dr. R. Nagaswamy. To begin, I would like to recite an invocation Śloka (hymn) in Sanskrit on ‘Naṭarāja’, composed by the ancient Sage Patanjali. This hymn flows like rhythmic beats to the dance of Naṭarāja, as Patañjali himself is an immediate witness to Śiva’s dance!
Invocation:Naṭarājaसदञ्चित-मुदञ्चित निकुञ्चितपदं झलझलञ्चलित मञ्जुकटकं पतञ्जलि दृगञ्जन-मनञ्जनं अचञ्चलपदं जनन भञ्जनकरम् । कदम्बरुचि-मम्बरवसं परम-मम्बुद कदम्बक विडम्बक गलं चिदम्बुदमणिं बुध हृदम्बुजरविं पर चिदम्बर नटं हृदि भज ||
Dr. R. Nagaswamy: Thank you, Dr. Ramanathan. Naṭarāja is not just a static image as we see in the bronzes. It is a dynamic one - a cosmic movement of everything in the world, beautifully captured by the artists of the Cōḻa age. It is a creation, which we generally think of as a figure with a lifted left foot, four arms, a ‘damarukam’ in one hand, and an ‘abhaya-hasta’ and ‘kari-hasta’ in the other hands. This is generally called Naṭarāja. Any form of Śiva is referred to as ‘Nadamādum Vēndaṉ' or the ‘King of Dance’ by Saint-poet Jñāṉasambandar in his 7th-century ‘Tēvāram’ hymns at ‘Pūm-Pukali’, his birthplace. From that time onwards, he is always referred to as the ‘King of Dance’ or ‘Naṭarāja’.
As it is generally portrayed in bronzes, sculptures, and poetry, Śiva is dancing on the back of a demon called ‘Muyalakaṉ', who lies on a lotus pedestal issuing a halo from the mouth of a crocodile or ‘makara’, forming a circular halo called ‘tiruvāci’. At the edge of the ‘tiruvāci’ are numerous flames. In the center of the ‘halo’, Śiva dances as ‘Naṭarāja’.
He has planted his right leg on Muyalakaṉ, a dwarf lying on his back. Śiva‘s right leg is planted on him, and his left leg is lifted up and thrown across the body to his right. He has four arms: his right arm holds the ‘damaruka’ - a little drum, and his left hand holds a ‘fire’. The front right arm shows an ‘abhaya-hasta’ or a symbol indicating ‘do not fear’. The left hand is thrown across, called the ‘kari’ or ‘Gaja-hasta’, which is a swinging movement, capturing only a part of the dance. It is a continuous process of dance and song. He has flowing ‘jaṭa’ (tresses of hair) on both sides - five on one side and four on the other. These locks of hair have philosophical meanings, representing the physical descriptions based on the metaphysical aspects of Lord Śiva’s dance. This is not just an art but an image that inspires you in your heart of hearts - a divine, cosmic movement, as described by the greatest exponent Anand C. Coomaraswamy on Lord ‘Naṭarāja’.
Dr. V. Ramanathan: What does it all represent?
Dr. R. Nagaswamy: The lotus pedestal represents the Earth, ‘bhūmi’. The ‘makara’ form from which the ‘halo’ emerges represents the ocean, the oceanic place from where ‘Naṭarāja’ emerges. It is like the rising Sun or the early morning rising Sun. Around the halo, generally, 27 or 28 flames are shown, representing the ‘nakṣatras’ - 28 stars in that tide.
In his head, he has Gaṅga shown as a flowing river with half a body beneath the flowing river, and the waist above shown as a feminine form with her hands folded adoring Lord Śiva. That is the celestial grace coming down. Then you have a crescent Moon, ‘the candra-kalā'. Candra represents knowledge ‘sarva-jñata’ - growing knowledge represented by the crescent Moon. He has three eyes: the Sun, the Moon, and the Fire.
In his neck, he has a chain with tiger‘s claws and a wild boar, as he is also visualized as a hunter. One such thing is the shell of an ‘āmai’ (Tamil word for turtle) worn as an ornament. He has on the right ear ‘makara’ and on the left ear a rolled leaf called ‘tōdu’ (Tamil for earring). Sage Jñāṉasambandar called him ‘tōdudaiya ceviyaṉ’ (Tamil for one who is wearing a ‘tōdu’ in his ear). This represents that one side of Śiva is the male form, and his left side is ‘Pārvati’ (Uma, Hymavathi - the daughter of Himavān or the Himālayas). These are the physical features of Naṭarāja in bronze images represented in the images under worship in temples.
But the physical features are only an introduction to the metaphysical features, which are beyond. Look at the vast expanse of the sky above you - you have so many celestial images - the planets, stars, the Sun, the Moon, and every individual or collective body that revolves. They keep revolving by themselves and also revolve around the Sun. This movement - the constant movement of the sky, the Sun, Moon, and other planets - is represented by night and day. The circular halo where Śiva dances within embodies the 'ākāśa’ - the dance is not ordinary walking but a rhythmic walk - a dancing step visualized into the image of Naṭarāja.
In the Vedic tradition, the rising Sun represents Naṭarāja. As we see the rising early morning Sun, it is red early in the morning, gradually becoming ‘tāmra’ - copperish red, then yellow, and finally white. The Śatarudrīya in the Vedas describes this as “अ॒सौ यस्ता॒म्रो अ॑रु॒ण उ॒त ब॒भ्रुः सु॑म॒ङ्गल॑:” (Behold this aruṇa, the rising Sun who is crimson like copper, then brownish as well as auspicious yellow). It is thrilling to stand in a temple early morning and hear the great Vedic priests, holding their hands above their heads before the Sun, chanting. So who is he? He is the same ‘Savita’ (‘Savitru’ in Sanskrit, a synonym for the Sun), who rises and removes darkness, and is portrayed as Śiva.
The right eye of Śiva is ‘Surya’ or the Sun. The left eye is the Moon. On his forehead, he has ‘Agni’ or Fire. So, he is ‘Trinetra’ – three-eyed. All these concepts are introduced and visualized - when we see an image of Naṭarāja, we do not just see the physical form of Naṭarāja. This is the philosophical culmination of the country from the time of the Vedas in the Himālayās that has been visualized. The more you know about it, the more you understand Naṭarāja. There are tens of thousands of poems both in Tamil and Sanskrit on the form of Naṭarāja.
When one goes into a temple, one is reminded of this Tēvāram by Appar (Thirunāvukkarasar):
குனித்த புருவமும், கொவ்வைச் செவ்வாயில் குமிண்சிரிப்பும், பனித்த சடையும், பவளம் போல் மேனியில் பால்வெண் நீறும், இனித்தம் உடைய எடுத்த பொன்பாதமும் காணப்பெற்றால் மனி(த்)தப் பிறவியும் வேண்டுவதே, இந்த மாநிலத்தே!
This is one more of the beautiful poems giving the description of Naṭarāja. And when one sights the image of Naṭarāja, one is transported to sheer ecstasy:
காத லாகிக் கசிந்துகண் ணீர்மல்கி ஓது வார்தமை நன்னெறிக் குய்ப்பது வேதம் நான்கினும் மெய்ப்பொரு ளாவது நாதன் நாமம் நமச்சி வாயவே.
Dr. R. Nagaswamy: The representation of ‘Na-Ma-Śi-Vā-Ya Pañchākṣara’: நாதன் நாமம் நமச்சி வாயவே - on the Nāthan‘s (Śiva‘s) name is beautifully explained in this verse. All your five great senses, such as eyes, ears, nose, tongue, and skin, are concentrated in the eyes of Naṭarāja: “ஐந்து பேரறிவும் கண்களே கொள்ள”. Sundaramūrthy Nāyanar‘s experience is unique when he went to Chidambaram, where he saw the whole human body tuned to Naṭarāja:
ஐந்துபே ரறிவுங் கண்களே கொள்ளவளப்பருங் கரணங்க ணான்குஞ்சிந்தையே யாகக் குணமொரு மூன்றுந்திருந்துசாத் துவிகமே யாகஇந்துவாழ் சடையா னாடு மானந்தவெல்லையி றனிப்பெருங் கூத்தின்வந்தபேரின்ப வெள்ளத்துட் டிளைத்துமாறிலா மகிழ்ச்சியின் மலர்ந்தார்.
And then, there is Sēkkiḻar, who was the minister of Kulōthuṅga Chōḻa-II in the 12th century. He describes Naṭarāja in the following words:
ஆதியாய் நடுவு மாகிஅளவிலா அளவும் ஆகிச்சோதியா யுணர்வு மாகித்தோன்றிய பொருளு மாகிப்பேதியா ஏக மாகிப்பெண்ணுமாய் ஆணு மாகிப்போதியா நிற்குந் தில்லைப்பொதுநடம் போற்றி போற்றி
He says: ஆதியாய் நடுவு மாகி அளவிலா அளவும் ஆகிச் - he is the beginning, he is the middle, and the end - the end cannot be measured, so he is the endless end.
சோதியா யுணர்வு மாகித் தோன்றிய பொருளு மாகிப்: He emanates as ‘jyoti’--‘parañjyoti’. He remains one - inseparable one. Look at the flame, the fire. The fire has heat energy on one side, and the same fire is light energy on the other side, inseparable.
பேதியா ஏக மாகிப் பெண்ணுமாய் ஆணு மாகிப் போதியா நிற்குந் தில்லைப் பொதுநடம் (பூங்கழல்) போற்றி போற்றி
This poem of Sēkkiḻar sums up the Lord‘s ‘Sandhya Tāṇḍavam’ (Dance at dusk), which Śiva dances in the Himalayas.
On the Himālayas, he keeps Pārvati, Uma, Hymavati seated by Himavān on a Ratna-Piṭha:
कैलासशैलभुवने त्रिजगज्जनित्रीं गौरीं निवेश्य कनकाचितरत्नपीठे ।नृत्यं विधातुममिवाञ्चति शूलपाणौ देवाः प्रदोषसमये नु भजन्ति सर्वे ॥४॥वाग्देवी धृतवल्लकी शतमुखो वेणुं दधत्पद्मजस्तालोन्निद्रकरो रमा भगवती गेयप्रयोगान्विता ।विष्णुः सान्द्रमॄदङ्गवादनपटुर्देवाः समन्तात्स्थिताः सेवन्ते तमनु प्रदोषसमये देवं मृडानीपतिम् ॥५॥
When Śiva wanted to dance in the evening during “Pradōsha” (the holy period for Śiva‘s dance for 1/12 hours’ time in the evening before dusk), Pārvati (his consort) is by his side. Śiva - the dancing Naṭarāja is always accompanied by Devi, Uma by his side, and not in isolation. She is the universal spectator, and she is seated, and Śiva is the dancer. And during the dance, who plays on the musical instruments? ‘Vāgdēvi’ (Sarasvati) plays the Vīna, ‘Satamakha’ (Indra) plays the flute, Padmaja (the lotus-born Brahma) keeps the ‘taḷa’, while Ramā (Lakṣmi) provides the song, and Viṣṇu plays the ‘mṛdanga’.
It is not a dance for a conglomeration of sounds, but a rhythmic sound. ‘Pradoṣa Samaye’ - the evening dance. In Bharata’s ‘Nātya Śāstra’, it is described that Śiva says: “I want to dance in the evening,” and then he asks Pārvati to speak to Nandikēśvara, who then taught it to Bharata, the author of ‘Nātya Śāstra’ (science of dance). This evening dance– ‘Sandhya Tāṇḍava’ dance is also represented as part of the whole legend of Śiva‘s dance. The 108 poses - ‘Karaṇās’ or poses of dance are called ‘Chokka Nṛttam’ - Nṛttam is only the dance of the physical movements of the body, it doesn‘t have the ‘bhava’ (mood) and is called ‘nritta’. When ‘bhāva’ is added to it, it is ‘nṛtya’, and when a story element is added to it, it is called ‘nātya’.
Dr. V. Ramanathan: That is very beautiful. You have given us the introduction that Naṭarāja is not just a physical form but the culmination of the highest form of spirituality. When you speak of the 108 ‘karaṇas’ of Naṭarāja, one is curious to know if this iconographic ‘murti’ (form of Naṭarāja) is confined only to Tamil Nadu, or beyond?
Dr. R. Nagaswamy: One of the 108 poses is called ‘Naṭarāja bhujaṅga-trāsita’ (one lifts a leg in fear when one sees a snake, suddenly). To show this leg pose, we have a sculpture from about the 7th century CE at Siṅgavaram village near Kāñchipuram. We have a pillar of this where only the left hand is ‘lōlā-hasta’, not across the body, and beneath the leg of ‘Naṭarāja’ it is not ‘Muyalakaṉ' but a ‘Bhujaṅga’ or a snake to represent the ‘bhujaṅga-trāsita nṛitta’ - one of the 108 poses. This pose only captures a fragment of the movement of Naṭarāja. But this pose has become very popular all over Tamil Nadu as it is the main deity at ‘Chidambaram’ - Chit (consciousness), ‘Ambaram’ (Stage) where inner conscience ‘Ānanda’ takes place, which is experienced in the heart. आनन्दो ब्रह्मेति व्यजानात् - ‘Ānandam brahmēti vyajanāt’ says the Veda (Experience the divine bliss in your heart, the ‘Brahman’ Itself).
We have ‘Pērambalam’ – in the outside world, when there is contact between the two, there is universal joy. It is not independent. So, we have the cultural portrayal, the भुजङ्ग-त्रासित-नृत्य ‘bhujanga-trāsita-nritya’ - the dance, beneath the lifted leg of Śiva, and the ‘bhujaṅga’ - the snake beneath the lifted leg.
You also have the ‘damaruka’, the little drum in his right hand which, when Śiva plays it, gives out 14 sūtras. These 14 sūtras (Cryptic grammar formulae) are called the ‘Māhēśvara Sūtrāni’, and the entire Sanskrit literature is based on the grammar treatise, Aṣtādhyāyī, which itself is based on these ‘Māhēśvara Sūtras’.
These sutras are:
अ इ उ ण्,
ऋ ऌ क्,
ए ओ ङ्,
ऐ औ च्,
ह य व र ट्,
ल ण्,
ञ म ङ ण न म्,
झ भ ञ्
घ ढ ध ष्
ज ब ग ड द श्
ख फ छ ठ थ च ट त व्
क प य्
श ष स र्
ह ल्
As Śiva dances and plays on the drum, he creates these fourteen sounds, syllables, words, and poetry. The little drum is thus symbolic of creation.
The fourteen sūtras contain all the letters of the Sanskrit ‘varnamāla’ (the alphabet) - the svaras (vowels) a, i, u, R^i, R^i, e, ai, o, au and all the ‘vyanjanas’ (consonants).
The little drum is thus symbolic of creation. As Śiva dances, he plays on the drum and these sūtras emanate - they form the syllables, and when one mixes these syllables into two, three, four, etc., one creates words, and from the words, poetry, and from the poetry, images.
Dr. R. Nagaswamy:
नृत्तवासेन नटराज -- राजो ननाद ठक्कां नव पञ्चवारम् | उध्द्तुर्कामः सनकादीसिध्दान् एतद्विमर्शो शिवसूत्रजालम् ||
The second one, the fire in his left hand, is the ‘samhāra’ aspect. The little drum in the right hand is the creative aspect, and the left hand is the ‘samhāra’ aspect. The right hand that Śiva is showing ‘abhaya hasta ’ (refuge) - i.e., whoever concentrates on the ‘abhaya-hasta’ need not fear - they are beyond fear of rebirth or grief.
The fourth hand is actually a swinging arm, not a static one - that shows the lifted foot, ‘edutha pādam’, which is solace to humanity.
The leg on the ‘Muyalakaṉ' - ‘Muyalakaṉ' is a personification of ignorance or dark knowledge. Śiva-Tāṇḍava takes place in your consciousness and removes the dark knowledge - one becomes an enlightened personality, ‘Jñāna-svarūpa’. The right leg planted on the dwarf ‘Muyalakaṉ' represents ‘Tirōdhāna’ - the mode of removal of ignorance. The whole Śiva dance is thus: creation, sustenance, dissolution, protection, and removal of ignorance - all these are ‘the pañcakṛtyas’ (the five aspects or acts) represented in the Naṭarāja form.
Dr. Ramanathan: Thank you, Sir. This is what you are referring to: Śiva‘s planting his right foot in the backbone of Muyalaka, and that is where he is pressing or controlling the ignorance, and when that realization dawns on us, it illuminates us. Is this what is also symbolically referred to as ‘Chidambara - rahasya’?
Dr. R. Nagaswamy: Chidambara Rahasya is not just one idea. All ideas connected with the various aspects of the philosophy of Śaivism, Śiva’s dance, and Śiva‘s manifestation - all these are rolled into one as ‘Chidambara-rahasya’. When you go to Chidambaram temple, there is an empty space by the side of where Naṭarāja dances, and there they will show you a ‘chakra’ referred to as 'Ākāśa-Chakra’ - a mystic, divine drawing that represents ‘Ākāśa-Chakra’. In the daily worship, the first worship is Śakti - Śrīvidya. Over this Chakra is ‘Śiva-Chakra’, which is ‘Pañchākṣara’, and over this is the dancing Śiva - this is ‘Trividyas’. Śakti is the base - energy required by all living beings. Unless you have Śakti, you cannot move, act, or live. Śakti is the embodiment of Pārvati, and then you have Śiva himself. This is the worship of 'Śiva Taṇḍava’ on the 'Śakti Pīṭha’ and then 'Śiva-Pīṭha’. You have a vertical axis in which Śiva is visualized. Even in the Liṅga in the temple garbha-griha, you see Brahma, Viṣṇu, and Śiva at the bottom, the middle is Viṣṇu, the circular part is Rudra Bhaga, and over that are Mahēśa and Sadāśiva.
But in the case of what you call ‘Naṭarāja’, you have nine tattvas called ‘nava tattvas’, which are: Brahma, Viṣṇu, Śiva, Rudra, Mahēśa, Parabindu, Paranātha, Parāśakti, and Paraśiva. These are the nine tattvas over which Śiva dances - that is ‘Sadā Nṛtta’ doing an 'Ānanda Tānḍava’, the Supreme Dance. Ānanda Tānḍava has many forms. One is Tānḍava, and the other one is ‘Jñāna-ānanda Tāṇḍava’ - the joy of knowledge or joy of universal realization! This can come only through the practice of Yoga. So they call it Yoga-Ānanda-Tāṇḍava. In the evening/night when they do ‘Pūja’, they call it ‘Yoga-Ānanda-Tānḍava’. All these are there in ‘Chidambara Rahasya’ - that is, therefore, not one small idea. The understanding of ‘na-ma-śi-vā-ya’ - ‘Pañchākṣara’ - the meaning of it is also Śiva-Rahasya. Rahasya means the inner meaning, not an unknown thing.
There is another aspect. At the horizontal level, the five mūrtis of Śiva rolled into one in the Liṅga part - ‘Tatpuruṣa (facing the East), Aghora (facing the South), Sadyōjāta (on the West), Vāmadēva (facing the North) and Īśana (on top) - that is Iśāna-Vidya ('Īśāna-sarva-vidyānām’, ‘Īśvara-sarva-bhūtānām’) which is a Vedic idea. You see Brahma, Viṣṇu, and Śiva are all seen in visual forms. But the five put together is called ‘Sada-Śiva-Mūrti’, which is a representation of mere sound, ‘nada’, and that is ‘Nāda Brahma’.
Dr. V. Ramanathan: Thank you, Sir. That was a nice explanation of Chidambara Rahasya. Could you please comment on the small installation of Naṭarāja in the Kāsi Viśvanātha Temple (at Vāranasi)? That is something unique to have a Naṭarāja installation in the Kasi Viśvanātha Temple.
Dr. R. Nagaswamy: You see, Naṭarāja is not just one form. Śiva can be portrayed in many forms. The cosmic dance of Śiva takes place in the Space - ‘Akāsae - आकाश-शरीरं ब्रह्म' (‘akāśa sarīram brahma’), the ultimate reality is the vast expansive sky. This dance takes place in ākaśa. In order to show this, you see that in Chalukyan temples, in the front maṇḍapa ceiling, Śiva-dance is portrayed to show that it takes place in the ‘ākāśa’. In Tañjāvūr temple, one hundred and eight dance poses are portrayed on the first floor over the ‘garbha-gṛha’ (the inner sanctum) to represent the 108 forms of dance occurring in the Space. Bharata‘s 108 Nāṭya poses in his ‘Nātya-Śāstrā' are portrayed on the first floor. Similarly, in many North Indian temples, the ‘sukha-nasi’ front portion (vimana- the prasada or mahāprasada) displays 'Śiva Tāṇḍava’ or ‘Chatura Tānḍava’ in the front of Vimāna - the same dancing form of Naṭarāja in the North Indian temples. It represents that as Śiva is the Sun rising in the morning, the Sun’s rays fall on the Vimāna, showing Naṭarāja as the Sun Himself dancing.
Similarly, in the Viśvanātha temple (at Varanasi) - which is a modern temple rebuilt about 200/300 years back after the destruction of the main old temple - there is an image of Naṭarāja above the ‘Yōni Pīṭha’. Interestingly, Naṭarāja is always considered the primordial deity of the Ūrdhva Śaivas.
There are several branches of Saivam practiced, and one of them is ‘Ūrdhva-Śaivam’ (out of the seven branches of Śaivism). The Dīkiṣitars at Chidambaram have a top knot - their tuft knotted on top of their head as ‘Ūrdhva Saivas’, and they have an ‘Āgama’ called the ‘Makuta Āgama’ - the scripture which prescribes how to worship Lord Naṭarāja.
Śiva facing the South is ‘Dakṣiṇabhimukha’ - all Nṛtta Mūrtis of Śiva - Naṭarāja will be facing the South. They follow the prescriptions in Makuta Āgama. So, I am told that this is followed in the Kasi Viśvanātha temple, where the ‘Nṛtta Mūrtī' (the dancing form) is representative. You have the bronze mūrtis of Pālas and Senas of Bengal, dancing even on the ‘(Riṣabha)’ bull - of dancing Śiva. They follow ‘Makuṭa-Āgama’, and so I am told in the Kasi Viśvanātha temple.
But Chidambaram has preserved through the centuries the same form, and it is portrayed as such in all the major Śiva temples. The South is Aghora Mūrtī, which means न घोरः इति अघोरः ‘na ghoraha ithi agoraha’ (meaning not at all wild or terrible, ugly, or awkward to behold). So that direction imparts the right knowledge. We have the story of the Dārukāvana, where Śiva wanted to test the Ṛṣis who were addicted to rituals. Śiva wanted to teach them that ‘Jñāna’ - inner meaning (realized true knowledge) - is more important than rituals. He went about as a naked beggar, and the wives of the sages - the Ṛṣi-patnis - went behind him! According to the legend, the Ṛṣis got wild. The Ṛṣis performed a ‘yajña’ from which great snakes, an elephant, and a tiger came out, which Śiva took as his ornaments. They wanted to destroy Śiva with these, but he took them as his ornaments. The Ṛṣis then went up to Brahma, the Creator. Brahma told them He was the same as the one they were worshipping - the great Lord Himself in their yajña! “You see before you the Lord you are doing Yajña upon, go back!” And then they went back home, where they saw Śiva playing a beautiful ‘vīna’ and singing the Sāma Veda - ‘Chandogāna Sāma’ - which is portrayed in Cōḻa temples. First, you see Śiva as ‘Bhikṣāṭana’ (Begging Śiva) with a vīna or alone, with Ṛṣi-patnis around him, which you see on the southern side.
Then you go beyond and see ‘Dakṣiṇāmūrti’ seated beneath the ‘āla vṛkṣha’ (the banyan tree) with four Ṛṣis at his legs. There are two groups portrayed there - one is: vṛkṣa with four Ṛṣis - Vedic sages - ‘Sananta, Sanata, Sanandana, Sanātana and Sanatkumara’ to whom Śiva taught ‘Vedas and Vedāṅgas’ and Dharma. The second group are the seven Ṛṣis: Kaṣyapa, Bharadvāja, Kauṣika, Gautama, Atri, Āṅgīrasa, Pulaha, Krātu, Pulastya and Vasiṣṭha, to whom Śiva taught Āgamas. He is therefore called ‘Aramuraitha Bhaṭṭaṉ’ (the exponent of the right code of righteousness).
Above this ‘Dakṣiṇāmūrti’ in many Cōḻa temples, you see Naṭarāja - what is now called Naṭarāja with a lifted leg. That is the ultimate meaning, not the rituals but the ‘Jñana’ - ‘Jñāna Ānanda’, the ultimate meaning. ‘Dakṣiṇāmūrti’ teaches you the knowledge. So as a bronze image, Naṭarāja is always facing the South in temples, particularly in Tamil Nadu. And he is taken out in procession. He is given abhiṣēka on the ‘Ardra’ star of Śiva - Rudra-Śiva or ‘Tiruvādhirai’ in Tamil is a great festival of Naṭarāja, taken out in procession and/or is not just placed in a niche as Naṭarāja or facing the South in a separate small shrine. आर्द्रा नक्षत्रं भवति or in a shrine. (‘ardra nakṣatram bhavati’)
This representation is the whole philosophy of Śaivas through the centuries. We have about 20,000 poems in Tamil Nadu, 2,000 poems sung from the 7th century until modern times by the greatest thinkers and noble persons, tapasvins. The earliest were: Appar, Sambandar, Sundarar, Māṇikkavāchakar, Sēkkiḻār, and all the 63 Saiva-saints (Nāyaṉmārs) and 3,000 ‘Thillai-vaḻ Antaṇar’ (3,000 resident brahmins of Chidambaram–Thillai, where the grand temple of Naṭarāja is situated), who regularly do 'Ātma Pūja’ (Self-worship) and ‘Parārtha-pūja’ (worship for the sake of others), and they represent the understanding of ‘jnana’.
There is one point that generally people miss. People from ancient times did not discriminate between 'Śaivism’ and ‘Vaiṣṇavism’. To the right of Naṭarāja in Chidambaram, we have ‘Nārāyaṇa’, the ‘Anantha-Nārāyaṇa’ lying on his serpent bed. Now they try to distinguish between Nārāyaṇa and Śiva. In the fundamental understanding of Naṭarāja, Nārāyaṇa is in ‘Yōga-Nidra’ (Yogic sleep). According to Patañjali‘s ‘Aṣṭāṅga-Yoga’, Yoga Nidra is ‘Samādhi’ in which the flame of knowledge or joy of knowledge comes from within - both are together here, just as Dēvi is required for 'Śiva Tāṇḍava’, so also Viṣṇu is required. There is no Nārāyaṇa without Naṭarāja and vice versa.
There is thus no such thing as deep separation or any sectarian difference. They are identical and come from the same flame, heat, and light - deeper and inseparable. One is Śiva and the other is Śakti. Patañjali calls it ‘Samādhi’ in which knowledge - both are together here, just as Dēvi is required for 'Śiva Tāṇḍava’.
There is thus no sectarian difference. They come from the same light and fire - inseparable - ‘Hari-Hara
Dr. Ramanathan: There is thus no sectarian difference. They come from the same light and fire - inseparable - ‘Hari-Hara rūpa’ or form - Śiva-Ardhanāri - all this is in the concept of Naṭarāja.
Dr. Ramanathan: That is really amazing, a beautiful explanation you have brought about talking about the Gōvīndharāja Perumāḷ reclining beside the Naṭarāja.
Dr. Nagaswamy: This anthropomorphic form of Śiva Naṭarāja is ‘Tyagarāja’ in Tiruvaiyāru. Here again, you see the synchronization between the Śaivite and the Vaiṣṇavaites. Behind the ‘Ajapathana murti’ of Tyagaraja murthy, there is an iconography of Viṣṇu.
Śiva is said to have performed several dances as Samhāramūrti (‘the annihilator’ of demons like Jalandharavadha). Śiva is said to have performed various forms of dances as Samhāramūrthi (Jalandara, Tripurāsura-samharam, Andhakasura-mardana, Brahmasura Cheda, and so on), ‘Aṣṭha-Vīraṭṭāṇa’ (the eight sacred places in Tamil Nadu, where Śiva is said to have performed victory dances, as mentioned in the Tamil epic ‘Cilappadhikāram’ as Bharati Vṛtti). After each victory (over evil forces), he performs a dance. These dances are localized in Tiruvārūr. Tyagaraja. ‘Tyāgarāja’ is said to be the dance form which is uninterrupted in your heart ‘Ajabhā Naṭaṉam’. The dance of your knowledge in your heart of divine consciousness is visualized as Śiva - ‘Tyāgarāja’. There are other dances ‘Kukkuṭa Naṭaṉam’, ‘Bhriṅgi Naṭanam’ - these are local legends and we include them in our discussion.
Dr. Ramanathan: Another curiosity is that since it is included in our discussion. Since you are a scholar on Dance and Music, being from Tiruvārūr town, how did the Saint composer Tyāgarāja omit ‘Naṭarāja’ in his compositions?
Dr. Nagaswamy: That is not correct. Abhinava Gupta (a poet from Kashmira) in his commentary on ‘Nātya Śastra.' Saraṅga Deva, a descendant of Abhinava Gupta wrote the ‘Sangīta Ratnākara’ about ‘Nāda Tanu’ (the embodiment of musical notes). So Naṭarāja is called ‘nadamsa-deva’. ‘Nāda -Tanum-aniśam’ – wrote Sāraṅga Dēva in his first prayer sings: Sambandhe nādatanum’ where Naṭarāja – the dancing Śiva- is extolled as an image of dancing nāda – what you hear, what you experience as poetry comes from inner consciousness is ‘nāda-tanu’ (body) of Naṭarāja. Tyagaraja has sung the essence of it as ‘Nada tanum-aniśam’ (‘I sing the glory of the One who is the embodiment of musical notes, day and night’). It is a poetic experience in your conscience as ‘nāda’ ‘tanu’ (body) of Naṭarāja.
The essence of it is not only the physical body. First mentioned in the ‘Sangīta Ratnākara’, the saint poet Tyāgarāja adopted it, mentioning it in ‘Saptaswaras’. He also says ‘sa-ri-ga-ma-pa-da-ni’ as the origin of music. With dance, poetry, or literature - all these put together make an experience.
I have once been to Bhubanēśwar. On an early morning, I went to a temple called ‘Pañchabrahma’- the ‘Sapta Māta’ temple’ - of Chāmuṇḍa. The priest there was then reciting ‘Sata Rudrīya’. What an experience! On the Vimāna of the temple, at the lower level, the rising Sun comes up on the sculpture and falls on the dancing Śiva. He is a representation of knowledge. What is ‘Gayatri Mantra’?
There is one prayer in the whole world, which has been sung in India by thousands of Indians over 4,000 years, and is still sung to this day!
धियो यो नः प्रचोदयात् ॥
Which means – ‘Hey universal being, Give me the critical/aesthetic intellect.’
Appar Swāmigaḷ in the 7th Century says:
கலையாகி, கலை ஞானம் தானே ஆகி kalaiyāgi, kalaijñānam thānē āgi
“You are art, you are the knowledge of experiencing art.”
It is not just physical representation. It goes beyond the physical aspect. Physical is the initial stage, a stepping stone.
Ananda Coomaraswami wrote that time, science, history, and art are all combined in one form, Naṭarāja. Another great man, Dr. Śivarama Murthy, a former Director of the National Museum - read his books. In all court documents, royal documents, and inscriptions - he has presented Naṭarāja as a dynamic form, cosmic form - not as a static form.
Dr. Ramanathan: Definitely. We cannot apply the reductionist approach in compartmentalizing the iconography of Naṭarāja.
Dr. Ramanathan: Is there a reductionist approach and competitive as Western scholars have dissected it pointed out?
Dr. Nagaswamy: There is one point. What is the purpose or intention of this art form - not inference, there is one ‘Sat’ in Śaiva-Siddhānta system. ‘Understand the truth when you suppress ‘Ahaṅkāra’ (ego). You have to understand the intention of the creator and that is the aesthetic joy - ‘paramānanda’.
Dr. Ramanathan: That is very much agreeable. Are these your passing comments that Naṭarāja is a humble way for Śiva to take rest, and this is why they are symmetrically opposite postures?
Dr. Nagaswamy: There is a beautiful legend - popular and lovely festivals, like the ‘ardra’ festival. In the Pāṇḍyāṉ country, he wanted to create something that is different. He created ‘kāl māri ādi’ - an idea why don’t you change your raised leg - as mentioned in ‘Tiruvilaiyādal Purāṇam’ of Madurai Chokkanātha. In dance, you change legs, forward and backward, and complete a circle or a ‘maṇḍala’ - a full circle. Here the Pāṇḍyāṉ King seems to have been behind the concept - ‘kāl māri ādiya pāda.’ There is a legend behind it. You will appreciate and enjoy the simplicity of the thinking that the Lord has been dancing on one leg for a long time, and that he has now changed it.
Dr. Ramanathan: Is that the only legend? Or, is there any other legend of the Madurai Pāṇḍyā Naṭarāja?
Dr. Nagaswamy: If you are imaginative enough, with every imagination you can create a legend. In musical compositions - the notes one sings ‘sa’ to ‘ni’ and then comes back ‘ni to sa’, and the musical compositions go forward and backward on these basic musical notes. There are so many types of compositions. It is not just one, forward and backward. It is called a ‘cakram’ (a circle) in Bharata’s Nātṭya Śastra. Like that, in sculptural art, they want to change, aesthetically create, creative energy and give rise to variations. That comes from human creativity. But the inner core is ‘Knowledge Supreme’. i.e., ‘Savita’. Tell me one prayer which has continued for 4,000 years without any break - asking for ‘critical intellect’ - not any wealth, property, or any other enjoyment but ‘critical intellect’ - that iss the Naṭarāja representation.
Dr. Ramanathan: Thank you. That is a nice way of saying that the Madurai Naṭarāja is an extension of imagination. What are your parting comments on Vyāgrapāda and Patañjali, who are also accompanied by Naṭarāja? Can you please shed some more light on them?
Dr. Nagaswamy: Sage Patañjali is generally represented as half-snake and half-man with a beard. He has written the ‘Yoga Sūtras’ containing the eight ‘Aṅgas’: yama, niyama, āsana, prāṇayama, pratyahāra, dhāraṇa, dhyana and samadhi.
Dr. Nagaswamy: This is the most scientific aspect of exercise given to human beings to achieve the greatest enjoyment of life, and that can be done by following the eightfold path of Yoga.
Yama - personal purification,
Niyama - prescribed code of conduct (taking bath, etc.),
Āsana - internal purification,
Prāṇayama - breathing techniques,
Pratyahāra - holding or withdrawal,
Dharaṇa - concentration,
Dhyana - meditation, and
Samadhi - absorption.
Patañjali’s Yoga Sūtra codified in simple language and have become the universal scripture. It is not related to any religion, but every field of the Indian religious system has integrated this universal yoga system for attaining a clear mind and clear exterior. Every religion has adopted this to enjoy its beauty. He also mentions Kundalini Śakti - a coiled snake that comes up through your ‘sakti’ in your body. Patañjali also wrote a ‘bhaṣya’ (commentary) on Pāṇini Vyākaraṇa.
Vyāgrapāda is a different concept. He is said to have been a person with a tiger‘s leg. He used to climb up ‘Tarni’ trees to pluck fresh flowers for his daily worship. This is the personification of getting over mundane difficulties to collect fresh flowers or fresh ideas to offer to God.
Dr. Ramanathan: Thank you very much for this nice exposition on Naṭarāja. The Śloka I chanted in the beginning was of Patañjali, which is bereft of long vowels and shriṅga. When Patañjali wanted to witness the Śiva taṇḍava, he was blocked by Nandi, and in order to prove his credentials, Patañjali recited this Śloka!
Dr. Nagaswamy: One small point. In the context of Tamil Nadu, we had a great sage Agastya. He came from Northern India, Himālayas, to the South to witness the ‘kalyaṇa’ - the wedding of Śiva with Pārvati. Agastya contacted a Pāṇḍyāṉ King and made him establish the city of Madurai and taught him Tamil and Sanskrit. According to a copper plate of the 8th Century, the Pāṇḍyā king was consecrated by the sage Agastya for the first time with ‘Atharvaṇa Veda’. It is interesting that the Pāṇḍyā King is consecrated with Atharvaṇa Veda. I am therefore glad that the ‘Atharva’ academy has sponsored this.
