The blissful marriage of creation and destruction has been beautifully captured by the ‘sthapati’ in this bronze sculpture, coming to us from the region of Swamimalai. As witnessed throughout the history of Hindu religion and spirituality, the element of dance or ‘nritya’ has powerfully served as a medium of devotion and jubilation for the benevolence of the god. This Shiva figure, performing his famous ‘anandatandava’ or the dance of bliss, resonates with that same understanding.
The four armed spectacle of Shiva is performing his tandava over the vanquished body of Apasmara, the dwarf that represents ignorance, and in Shiva’s performance, we see the active and dynamic process of relinquishing the vice of ignorance from our dharmic lives. The supreme deity here is inornately presented with austere clothings – the ‘sthapati’ clearly understanding the frugal nature of our wandering ascetic, not tied to showy material bonds. An elaborately tied bun along with a ’prabhamandala’ tops the figure of Shiva, while his upper two hands hold the ‘damru’ and the eternal flame that cleanses the soul of the devotees. In Shiva’s iconography, the lower left hand points to where the devout must bring rest and bring their concerns to the lord, and pay heed to his wisdom.
The decorative nature of the raised pedestal on which Shiva performs his tandava is also reminiscent of the ‘adhishthana’ and ‘jagati,’ or the base and platform of a Hindu Nagara styled temple. Therefore, in perfect execution of the ‘madhuchistavidhana’ sculptural casting of the lost wax technique, this image not only represents the immaculate deity, but also a complete cosmological understanding of Hinduism and its temporal and spiritual affairs.
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