Studies in Indian Art c13.s2.29

c13.s2.29

The next sculpture (*Fig. 139*) is reported to have come from Nachna Kuthara; its height is 13" and breadth across the arms 18½". It depicts Mahānaṭa Śiva in the Tāṇḍava dance, only the upper portion of the bust being now preserved. Fortunately what has remained, viz., the head and the arms, adequately illustrate the action of the cosmic dance undertaken by the deity. The expression on the face bespeaks great majesty and steadfast support to the titanic pulsations of the dance. The released energy is expressed through the upper two arms rhythmically thrown up and artistically framing the head, and also the pair of lower arms, one of which in puissant horizontal extension is partially preserved. The fourth arm and the legs must have been portrayed in a manner to convey adequately the power and rhythm inherent in the performance. The twist of the bust towards the proper left is a very significant feature marking both the direction of the force and the overall restraint exercised in its liberation. Dance is primarily the creation of rhythms, the balancing and equipoising of revolutionary tensions in one restrained harmony. This appears to be the earliest representation of the Tāṇḍava motif so far known in Indian art, and one may at once concede that the artist's effort has been crowned with complete success in the portrayal of the necessary elements of the theme, viz., cosmic power lashing into motion but wedded to eternal poise and rest. The ruffled matted locks, the *chintāmaṇi* jewel on the head, the *ananta-valaya* on the arms and the bangles on the wrists serve as happy items of decoration enhancing the general effect of the subject.