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Elements of Hindu Iconography v2.c16.s7: Nrittamurtis

Elements of Hindu Iconography v2.c16.s7

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English

Nrittamurtis

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SIVA, we have already said, is a great master in the art of dancing. He was often dancing in ecstacy on the burning ground with great glee, accompanied by sweet music in which also he was a great expert. The Bharata-Nātyaśāstra mentions a hundred and eight different kinds of dances and in the Śaivāgamas it is stated that Śiva danced in a hundred and eight modes. Perhaps the one hundred and eight kinds of dances mentioned in the śāstra are identical with the one hundred and eight modes of dances of Śiva. The Nātya-śāstras distinctly mention the necessity of dancing for both males and females; in the case of the former, dancing is said to give a suppleness to the limbs, which is very useful in warfare. It is very curious that all the one hundred and eight kinds of dances are sculptured on either side of a gōpura in the Natarāja temple at Chidambaram with their descriptions in Sanskrit as they are found in the Bharata-Nātya-śāstras engraved below each one of them. These sculptures and the texts are reproduced in the Madras Epigraphist's Annual Report for 1913-14.

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The *Śaivāgamas*, state that Śiva danced in a hundred and eight modes but content themselves with the description of nine modes only as it is very difficult to describe all. Of these the first variety is the one which we see associated with the figure of Naṭarāja, commonly found in all Śaiva temples of importance. According to the *Aṃśumadbhēdāgama* the image of Naṭarāja should be sculptured according to the *Uttama-daśa-tāla* measurement. The front left hand should be held in the *daṇḍahasta* or the *gajahasta* pose across the body, and the back left hand should carry *agni* either in a vessel or upon the palm itself. In either case the *agni* should be at the end, middle or the root of the middle finger. The front right hand should be held in the *abhaya* pose, the top of the middle finger of which should be just touching the *hikkā-sūtra*. On the fore-arm of this hand, there should be the *sarpa-valaya*, a description of which is given on page 23 in the Chapter on Definition and description of terms in Vol. I; it is there called *bhujaṅgavalaya* and means the same thing as *sarpavalaya*. The back right hand should keep a *ḍamaru*. The right leg should be slightly bent and placed upon the back of the Apasmāra-puruṣa and the knee should reach

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the *nābhisūtra*. The left leg should be lifted up, somewhat turned towards the right leg and kept across it. On the head of Śiva there should be the *jaṭāmakuṭa* adorned with flower garlands, *dhurdhura* and *arka* flowers, a snake, jewelled ornaments, a grinning human skull and the crescent moon tied on the left side. From this *jaṭāmakuṭa* should issue on either side five, six, seven or eleven *jaṭās* and stand either horizontally or arranged in a circle. The body of Śiva should be adorned with a *yajñōpavita*, a *urassūtra* (a chest band), rings on all fingers except the middle ones, on all toes except the middle one and anklets on the ankles. The face should be smiling. The chest should be smeared with saffron paste and the rest of the body with ashes. The garment must be made of tiger's skin.

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The Apasmāra-purusha who is trodden on by Śiva should have his head on the right side and his legs on the left side of Śiva. He should be black in colour and be playing with a snake, by keeping all his fingers in a cuplike shape, and resembling the hood of a snake (*nāga-mudrā*).

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On the left of Naṭarāja should be standing his consort Pārvatī, in the manner described in Umā-sahita-Chandraśekharamūrti.

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The measurements of the position of the various limbs of this image are given in Appendix A.

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This is the first mode of dancing of Śiva as found in the *Amśumabhēdāgama*. The *Uttara-Kāmikāgama* gives a somewhat detailed description, of which only those that are not already given above are noticed here. Śiva, according to this authority, should have four arms kept in the poses described and with the objects mentioned above, three eyes and two legs disposed as in the above description. The *jaṭās* should be spread around the *jaṭāmakuṭa*. These *jaṭās* might vary from five to thirty, each one being separated from one another. In the intervals between the *jaṭās* might be the flowers of *dhurdhura*, *arka* and other plants. The colour of these *jaṭās* should be brownish red. In the *jaṭās* on the right side there should be the figure of Gaṅgā with the upper half shaped in the form of a woman and the lower half like running water, standing with hands in the *añjali* pose; on the *jaṭās* on the left side there should be the crescent moon. Round the neck of Śiva there should be necklaces of different sorts; one should be made of pearls, another should be of snakes, a third of *vakuḷa* flowers and a fourth composed of sea-shells, boar's tusks, tiger's claws and beads, with a pendant of a tortoise shell. On his left shoulder there should be an upper garment made of tiger's skin, a deer's skin, or a very fine-textured cotton cloth. On his left earlobe there should be a patra-kuṇḍala and on the right one a nakra-kuṇḍala; on the ankles, anklets made of tiny bells and another set composed of ornamental designs. The colour of Śiva-Naṭarāja should be milky-white. The rest of the description is exactly that given in the Amśumadbhēdāgama.

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The Apasmāra should be made in the chatus-tāla measurement, with two arms, two eyes, with the face downcast or looking up and should be holding in his left hand a cobra with uplifted hood.

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The height of Gaṅgā should be equal to that of the face of Śiva. She should have three (?) eyes, two arms held in the añjali pose, adorned with the karaṇḍa-makuṭa and all other ornaments.

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On the right side of Naṭarāja there should be either the ṛishi Bhṛiṅgi or Bhadrakālī.

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This dance, it is said, is known as Bhujanga-trāsa. If the foot of the uplifted leg is kept higher than the knee of the standing leg, the dance is said to be Bhujanga-lalita.

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In the Nātya-Śāstra however that particular dance which is known by the name of bhujangatrāsa is defined as follows: one leg being bent in a triangular fashion and lifted up while the body about the hip and knee being slightly turned on one side, is called *bhujangatrāsa*. Abhinavaguptāchārya, the commentator of the *Bharata-Nāṭya-śāstra*, explains the term *bhujangatrāsa* in his *Nāṭya-vēda-vivṛiti*, thus: ‘This kind of dance is called *bhujangatrāsa*, because in it the dancer suddenly lifts up his leg as though he discovered a snake very near him, and appears to be of an unsteady gait. In this, one arm should be in the *dōla-hasta* pose and the other in the *kaṭaka* pose; * and the *dōla-hasta* pose is defined in the *Bharata-Nāṭya-śāstra* thus:— If the hand hangs down freely from the somewhat drooping shoulder, in the form of the *patākā-hasta*, it is called *dōla-hasta* pose. †

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The *Śilparatna* adds to the foregoing descriptions of the Nṛittamūrti the fact that surrounding

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* कुञ्चितं पादमुक्षिप्य त्रश्रभूू विवर्तयेत् ।
कटिजानुविवत्तौ च भुजङ्गत्रासितं भवेत् ॥
नृत्तस्यानादिसिद्धत्वात्करणमिदमुक्तरूपम् । असं कितदृष्टनिकटत्ससर्पत्रा-
साविष्टस्येव गतिसंर्वते भुजङ्गत्रासितम् । क . . . . . दवशाद्वा वर्तित-
परिवर्तितौ भवतः । क्रमेणैको दोलहस्तः परं खटकाख्य इति करणम् । एत-
त्सादृश्यातु भुजङ्गत्रासिता वारिवक्ष्यते । एवं करणतुल्यनामा सर्वचारिषु वाच्यम्॥
(नाट्यवेदविवृतिः ॥)

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† अंसौ प्रशिथिलौ मुक्तौ पताकौ तु प्रलम्बितौ ।
यदा भवेतां करणे स दोल इति संज्ञितः ॥

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the figure of the dancing Śiva there should be a *prabhāmaṇḍala* resembling the orb of the sun; and the *Pūrva-Kāraṇāgama* states that the eyes of Śiva should resemble the shape of the bird *kurari*, that in the right ear of Śiva there should be the *nakra-kuṇḍala* and in the left ear *patrakuṇḍala*, that the garment of Śiva should be a tiger's skin, that the *agni* in the left hand should have three tongues or flames and that between the two left hands there should be a piece of tiger's skin to serve as the upper garment. It further adds that the figure of Apasmāra-purusha should be made in the *chatustāla* measurement and should have three bends in its body.

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The descriptions given above of the first form of the Nṛittamūrti, refer to the figures of Naṭarāja commonly occurring everywhere in Southern India. In all Śiva temples of importance a separate place is allotted to Naṭarāja which is known as the *Naṭana-Sabhā* or simply *Sabhā*. The most important of these *Sabhās* is that at Chidambaram. From the earliest times Chidambaram has been held very sacred by the Śaivas who call it "the temple". In the days of Tirujñānasambandha, the Śaiva saint, that is, in the middle of the seventh century A. D., it was already very famous. Further from time immemorial the god in the temple at Chidambaram had been the family deity of the Chōḷas who were strongly Śaiva in their persuasions. They had covered the Sabhā with gold and hence it came to be known as the Kanakasabhā (or the golden hall) and the image of Naṭarāja as Kanakasabhāpati. The Sabhā at Madura, the capital of the Pāṇḍyas, had a covering of silver and was known as the Rajatasabhā. The Chōḷas might have desired to out-do the Pāṇḍyas in their regard for their family deity and hence covered the Sabhā, not with silver as the Pāṇḍyas had done, but with gold; and in the days of the king Parāntaka Chōḷa I, the roof of the Sabhā was regilt. (A.D. 908-948). At the present day the Nāṭṭukkōṭṭaicheṭṭis have once again covered the temple with gold. Chidambaram has maintaining its importance from the earliest times and has always been the seat of activity of several Śaiva scholars. For instance, the Periyapurāṇam describing the lives of the sixty-three Śaiva saints was written and published by Śēkkiḷār in this temple; many a work on Śaiva Siddhānta was written and published there. The saint Māṇikkavāchaka spent the evening of his life in Chidambaram and such great Śaiva saints as Jñānasambandha, Nanda and others are said to have been absorbed in the figure of Śiva at Chidambaram. On account of such holy associations, the temple at Chidambaram is clothed

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NṚTTAMŪRTIS.

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with extraordinary sanctity and mysticism, and a good deal of philosophical significance is attributed to the dancing immage of Siva that graces the *Sabhā* in the temple.

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The significance of the mystic dance is explained in several ways. The same materials which were gathered by me for the purpose of explaining the mystic nature of the dance of Siva have been turmed to account by Dr. A. K. Anandakumarasvami in writing independently a very beautiful article which he contributed to the *Siddhānta-Dipikā* (Vol. XIII, July 1912). Since the work has already been done by him and if I may respectfully say so, in quite a splendid manner, my task is lightened and I have much pleasure in reproducing with his kind permission, the whole of the article here.

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THE DANCE OF ŚIVA.

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“THE Lord of Tillai’s Court a mystic dance
performs: what’s that, my dear?”—
*Tiruvāchagam*, XII, 14.

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A great master-of-dancing (Naṭarāja) is Śiva! The cosmos is His theatre, there are many different steps in His repertory, He himself is actor and audience—

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When the Actor beateth the drum, Everybody cometh to see the show: When the Actor collecteth the stage properties, He abideth alone in His happiness.

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How many various dances of Śiva are known to His worshippers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy: Śiva is the Eros Protogonos of Lucian, when he wrote:

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It would seem that dancing came into being at the beginning of all things, and was brought to light together with Eros, that ancient one, for we see this primeval dancing clearly set forth in the choral dance of the constellations, and in the planets and fixed stars, their interweaving and interchange and orderly harmony.

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I do not mean to say that the most profound interpretation of Śiva's dance was present in the minds of those who first danced in frantic, and perhaps intoxicated energy, in honour of the pre-Aryan hill-god, afterwards merged in Śiva. A great motif in religion or art, any great symbol, becomes all things to all men; age after age it yields to men such treasure as they find in their own hearts.

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Whatever the origins of Śiva's dance, it became in time the noblest image of activity of God which any art or religion can boast of. Of the various dances of Śiva I shall only speak of three, one of them alone forming the main subject of interpretation. One is an evening dance in the Himālayas, with a divine chorus, described as follows in the Śiva Pradōsha Stōtra—

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“Placing the Mother of the Three Worlds upon a golden throne, studded with precious gems, Śūlapāṇi dances on the heights of Kailās, and all the gods gather round Him :”

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“Sarasvatī plays on the vīṇā, Indra on the flute, Brahmā holds the time-marking cymbals, Lakshmī begins a song, Vishṇu plays on a drum, and all the gods stand round about :”

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“Gandharvas, Yakshas, Patagas, Uragas, Siddhas, Sādhyas, Vidhyādharas, Amaras, Apsaras and all the beings dwelling in the three worlds assemble there to witness the celestial dance and hear the music of the divine choir at the hour of twilight.”

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This evening dance is also referred to in the invocation preceding the Kathā Sarit Sāgara.

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In the pictures of this dance, Śiva is two-handed, and the co-operation of the gods is clearly indicated in their position of chorus. There is no prostrate Asura trampled under Śiva’s feet. So far as I know, no special interpretations of this dance occur in Śaiva literature.*

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The second well-known dance of Śiva is called the Tāṇḍava, and belongs to His tamasic aspect as Bhairava or Vīrabhadra. It is performed in cemeteries and burning grounds, where Śiva, usually in ten-armed form, dances wildly with Dēvī, accompanied by troops of capering imps. Representations of this dance are common amongst ancient sculptures, as at Ellora, Elephanta, and also at Bhuvanēśvara. This tāṇḍava dance is in origin that of a pre-aryan divinity, half-god, half-demon, who holds his midnight revels in the burning ground. In later times, this dance in the cremation ground, sometimes of Śiva, sometimes of Dēvī, is interpreted in Śaiva and Śākta literature in a most touching and profound sense.

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Thirdly, we have the Nādānta dance of Naṭarāja before the assembly (sabhā) in the golden hall of

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∗ It is not known upon what authorities the varieties of dances referred to here and the descriptions of images made in these dancing postures, are based. I am not aware of any texts which mention a two handed figure of Śiva employed in the act of dancing. (T.A.G.).

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Chidambaram or Tillai, the centre of the Universe, first revealed to gods and *rishis* after the submission of the latter in the forest of Tāraka, as related in the *Kōyil-Purāṇam*. The legend, which has after all, no very direct connection with the meaning of the dance, may be summarised as follows :

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In the forest of Tāraka dwelt multitudes of heretical *rishis*, followers of the Mīmāmsa. Thither proceeded Śiva to confute them, accompanied by Viṣṇu disguised as a beautiful woman, and Ādi-Śēsha. The *rishis* were at first led to violent dispute amongst themselves, but their anger was soon directed against Śiva, and they endeavoured to destroy Him by means of incantations. A fierce tiger was created in sacrificial fires, and rushed upon Him; but smiling gently, He seized it and, with the nail of His little finger stripped off its skin, and wrapped it about Himself like a silken cloth.* Undiscouraged by failure, the sages renewed their offerings, and produced a monstrous serpent, which, however, Śiva seized and wreathed about His neck like a garland. Then He began to dance; but there rushed upon Him at last a monster in the shape of a malignant dwarf, Muyalaka (the Apasmārapurusha). Upon him the God pressed the tip of His foot, and broke the creature’s back, so that it writhed upon the ground; and so, His last foe prostrate, Śiva resumed the dance, witnessed by gods and rishis.

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Then Ādi Śēsha worshipped Śiva, and prayed above all things for the boon, once more to behold this mystic dance; Śiva promised that he should behold the dance again in sacred Tillai, the centre of the Universe. The dance of Śiva in Chidambaram or Tillai forms the motif of the South Indian copper images of Śri Naṭarāja, the Lord of the Dance. These images vary amongst themselves in minor details, but all express one fundamental conception. Before proceeding to enquire what these may be, it will be necessary to describe the image of Śri Naṭarāja as typically represented. The images then, represent Śiva dancing, having four hands, with braided and jewelled hair of which the lower locks are whirling in the dance. In his hair may be seen a wreathing cobra, a skull, and the mermaid figure of Gaṅgā; upon it rests the crescent moon, and it is crowned with a wreath of cassia leaves. In His right ear He wears a man’s ear-ring, a woman’s in the left; He is adorned with necklaces and armlets, a jewelled belt, anklets, bracelets, finger and toe-rings. The chief part of His dress consists of

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tightly fitting breeches, and He wears also a fluttering scarf (*angavastram*) and a sacred thread. One right hand holds a drum (*ḍamāru*, *uḍukkai*), the other is uplifted in *abhaya mudrā* (do not fear): one left hand holds fire, the other points downward to the lifted foot. The right foot is pressed down upon the *asura* Muyalaka, a dwarf holding a cobra; the left foot is raised. There is a lotus pedestal, from which springs an encircling arch of glory, (*tiruvāśi*), fringed with flame, and touched within by the hands holding drum and fire. The images are of all sizes, rarely if ever exceeding four feet in total height.

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Even without reliance upon literary references, the interpretation of this dance would not be difficult. Fortunately, however, we have the assistance of a copious contemporary literature, which enables us to fully explain not only the general significance of the dance, but equally, the details of its concrete symbolism. Some of the peculiarities of the Naṭarāja images, of course, belong to the conception of Śiva generally, and not to the dance in particular. Such are the braided locks, as of a *yōgi*: the cassia garland: the skull of Brahmā: the figure of Gaṅga, the Ganges fallen from heaven and lost in Śiva’s hair: the cobras: the different ear-rings, betokening the dual nature of Mahādēva, ‘whose half is Umā’: the four arms. The drum also, is a general attribute of Śiva, belonging to his character of yōgi, though in the dance, it has further a special significance. What then is the meaning of Śiva’s dance, as understood by Śaivas? The dance is called Nādānta. Its essential significance is given in texts such as the following:

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“Our Lord is the Dancer, who, like the heat latent in firewood, diffuses His power in mind and matter, and makes them dance in their turn.”*†

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† Kadavul Māmunivar’s Tiruvātāvūrār Purānam Puttaraivātil-venra-śarukkam, stanza 75, translated by Nallasvāmi Pillai, Śivajñānabōdham, p.

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The dance, in fact, represents His five activities (Pañchakritya), viz., Srishti (overlooking, creation, evolution), Sthiti (preservation, support), Samhāra (destruction, evolution), Tirōbhava (veiling, embodiment, illusion, and also, giving rest,) Anugraha (release, salvation, grace). These, separately considered, are the activities of the deities Brahmā, Vishnu, Rudra, Mahēśvara and Sadāśiva.

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∗ காட்ட அனல்போல் உடல் கலந்து உயிரையெல்லாம் ஆட்டுவிக்கும் நட்டுவன் நம்மண்ண லெனவெண்ணாய்.

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⁷⁴ This could also be rendered; Like heat latent in firewood, he fills all bodies: Our Father dances, moving all souls into action, know ye! Compare Eckhart, “Just as the fire infuses the essence and clearness into the dry wood, so has God done with man.”

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This cosmic activity is the central motif of the dance. Further quotations will illustrate and explain the more detailed symbolisms. *Uṇmāi Viḷakkam*, verse 36, tells us:

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"Creation arises from the drum: protection proceeds from the hand of hope: from fire proceeds destruction: the foot held aloft gives *mukti*." Here *mukti* is the same as *anugraha*, release. It will be observed that the fourth hand points to this lifted foot, the refuge of the soul.

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We have also the following from *Chidambara Mummaṇi Kōvai*.

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"O my Lord, Thy hand holding the sacred drum has made and ordered the heavens and earth and other worlds and innumerable souls. Thy lifted hand protects the *Chētana* and *Achētana Prapañcha* which Thou hast created. All these worlds are changed by Thy hand bearing fire. Thy sacred foot, planted on the ground, gives an abode to the tired soul, struggling in the toils of *karma*. It is Thy lifted foot that grants eternal bliss to those that approach Thee. These Five-Actions are indeed Thy handiwork."

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The following verses from the *Tirukūttu Darśana* (Vision of the Sacred Dance), forming the ninth tantra of Tirumūlar’s Tirumantram, expand the central motif further:

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“His form is everywhere: all-pervading is His Śiva-Śakti:
Chidambaram is everywhere, everywhere His dance:
As Śiva is all and omnipresent,
Everywhere is Śiva’s gracious dance made manifest.
“His five-fold dances are in sakaḷa and nishkaḷa form,
His five-fold dances are His Pañchakṛitya:
With His grace He performs the five acts,
This is the sacred dance of Umā-Sahāya.
“He dances with Water, Fire, Wind and Ether,
Thus our Lord dances ever in the court[†]
“Visible to those who pass over Māyā and Mahāmāyā,

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[^ *]: ஆனநடமைந்தகளசகளத்த ரானநடமாடியங்கருமத்தாக வானதொழிலருளாலைந்தொழிற்செய்தே தேன்மொழிபாகன் றிருநடமாகுமே. [^ †]: காளியோடாடிக் கனகாசலத்தாடிக் கூளியோடாடிக் குவலயத்தேயாடி நீடியநீர்தீகால்நீள் வானிடையாடி நாளுறவம்பலத்தே யாடுநாதனே.

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Our Lord dances His eternal dance.* “ The form of the Śakti is all bliss (*ānanda*)— This united bliss is Umā’s body : This form of Śakti arising in *sakala* And uniting the twain is the dance ”† “ His body is Ākāś, the dark cloud therein is Muyalaka, The eight quarters are His eight arms, The three lights are His three eyes, Thus becoming, He dances in our body as the assembly (*sabhā*) ”.‡

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This is His dance. Its deepest significance is felt when it is realised that it takes place within the heart and the self: the kingdom of God is within. Everywhere is God: that Everywhere is the heart. Thus also we find another verse:

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∗ தீமுதலைந்துந் திசையெட்டுங்கீழ்மேலு மாயுமறிவினுக் கப்புறமானந்த மாயைமாமாயை கடந்துநின்றார்காண நாயகனின்று நடஞ்செய்யும் வாறே. † சத்திவடிவுசகலவானந்தமு மொத்தவானந்தமுமையவள்மேனியாஞ் சத்திவடிவுசகலத்தெழுந்திரண் டொத்தவானந்தமொருநடமாமே. ‡ ஆகாசமுடலங்கார்முயலக னேகாசமாந்திசையெட்டுந்திருக்கைகண் மோகாயமுக்கண்கள் மூன்றொளிதானாக மாகாயன்மன்றுள்நடஞ்செய்கிறாளே.

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"The dancing foot, the sound of the tinkling bells, The songs that are sung and the varying steps, The forms assumed by our Dancing Guru-para— Find out these within yourself, then shall your fetters fall away."*

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To this end, all else but the thought of God must be cast out of the heart, that He alone may abide and dance therein. In *Uṇmai Viḷakkam*, we find:

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"The silent *jñānis* destroying the threefold bond are established where their selves are destroyed. There they behold the sacred and are filled with bliss. This is the dance of the Lord of the assembly, "whose very form is Grace."†

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† மோனந்த மாமுனிவர் மும்மலத்தை மோசித்துத் தானந்த மானிடத்தே தங்கியிடு—மானந்த மொண்டருந்தி நின்றூடல் காணுமன்று மூர்த்தியாய்க் கொண்டதிரு வம்பலத்தான் கூத்து.

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With this reference to the 'silent *jñānis*' compare the beautiful words of Tirumūlar:

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∗ ஆடியகாலுமதிற்சிலம்போசையும் பாடியபாட்டும்பலவானட்டமுங் கூடியகோலங்குருபரன்கொண்டாடத் தேடியுளேகண்டுதீர்ந்தற்றவாறே.

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“When resting there they (the *yōgis* who attain the highest place of peace) lose themselves and become idle.... Where the idlers dwell is the pure Space. Where the idlers sport is the Light. What the idlers know is the Vēdānta. What the idlers find is the deep sleep therein”.*

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Siva is a destroyer and loves the burning ground. But what does He destroy? Not merely the heavens and earth at the end of a *kalpa*, but the fetters that bind each separate soul. Where and what is the burning ground? It is not the place where our earthly bodies are cremated, but the heart of the *bhakta*, the devotee, laid waste and desolate. He brings not peace but a sword. The place where their selves are destroyed signifies the place or state where their egoity or illusion and deeds are burnt away: that is the crematorium, the burning-ground where Śrī Naṭarāja dances, and whence He is named Suḍalaiyāḍi, Dancer of

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* இருந்தார் சிவமாகி யெங்குந்தாமாகி
இருந்தார் சிவன் செயலியாவையு நோக்கி
இருந்தார் முக்காலத்தியல்பைக் குறித்தங்
கிருந்தாரிழவு தெய்திய சோம்பே.
சோம்பர் இருப்பது சுத்த வெளியிலே
சோம்பர் கிடப்பது சுத்த வொளியிலே
சோம்பர் உணர்வது சுருதி முடிந் திடம்
சோம்பர் கண்டார்ச் சுருதிக்கட் கேக்கமே.

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∗ இருந்தார் சிவமாகி யெங்குந்தாமாகி இருந்தார் சிவன் செயலியாவையு நோக்கி இருந்தார் முக்காலத்தியல்பைக் குறித்தங் கிருந்தாரிழவு தெய்திய சோம்பே. சோம்பர் இருப்பது சுத்த வெளியிலே சோம்பர் கிடப்பது சுத்த வொளியிலே சோம்பர் உணர்வது சுருதி முடிந் திடம் சோம்பர் கண்டார்ச் சுருதிக்கட் கேக்கமே.

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the burning-ground. In this simile, we recognize the historical connection between Śiva’s gracious dance as Naṭarāja, and His wild dance as the demon of the cemetery.

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This conception of the dance is current also amongst Śāktas especially in Bengal, where the Mother rather than the Father-aspect of Siva is adored. Kālī* is here the dancer, for whose entrance the heart must be purified by fire, made empty by renunciation. A Bengali Hymn to Kālī voices this prayer:

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"Because Thou lovest the Burning-ground,
I have made a Burning-ground of my heart—
That Thou, Dark One, haunter of the Burning-ground,
Mayest dance Thy eternal dance."†

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"Nought else is within my heart, O Mother:
Day and night blazes the funeral pyre:
The ashes of the dead, strewn all about,
I have preserved against Thy coming,
With death conquering Mahākāla neath Thy feet

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∗ Vide article on "What is Kālī?" in, S.D. Vol. III, p. 13,—Ed. S.D. † உலகமே யுருவமாக யோனிகளுறுப்பதாக விலகுபேரிச்சா ஞானக்கிரியையுட்கரணமாக வலகிலா உயிர்க்கெல்லா மிருபயனாக வைந்து நலமிகு தொழில்களோடு நாடக நடிப்பன் நாதன்.

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Do Thou enter in, dancing Thy rhythmic dance,
That I may behold Thee with closed eyes”.

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Returning to the South, we find that in other Tamil texts the purpose of Śiva’s dance is explained. In *Śivajñāna Siddhiyār*, Supaksha, Sūtra v. 5, we find,

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“For the purpose of securing both kinds of fruit to the countless souls, our Lord, with actions five, dances His dance”. Both kinds of fruit, that is *Iham*, reward in this world, and *Param*, bliss in Mukti.

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Again, *Uṇmai Viḷakkam*, vv. 32, 37, 39 inform us

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“The Supreme Intelligence dances in the soul ........for the purpose of removing our sins. By these means, our Father scatters the darkness of *Māyā*, burns the thread of *Karma*, stamps down Mala (*aṇava, avidyā*), showers Grace, and lovingly plunges the soul in the ocean of bliss (*Ānanda*). They never see rebirths, who behold this mystic dance”.*

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∗ *எட்டு மிரண்டுமுருவானவி லிங்கத்தே நட்டம் புதல்வா நவிலக்கேள்—சிட்டன் சிவாயநம வென்னுந் திருவெழுத்தஞ்சாலே யவாய மற நின்றருவோன். மாயை தனையுதறி வல்வினையைச் சுட்டு மலஞ் சாயவ முக்கியருதானெடுத்து—நேயத்தால்*

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The conception of *Līlā*, the world-process as the Lord's sport or amusement, is also prominent in the Śaiva scriptures; thus, Tirumūlar writes: “The Perpetual Dance becomes His Play”.

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This aspect of His activity appears to have given rise to the objection that He dances as do those who seek to please the eyes of mortals; to which the answer is given that He dances to maintain the life of the cosmos and to give release to those who seek Him.

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In another way, more arbitrary, the Dance of Śiva is identified with the Pañchākshara, the five syllables Śi-vā-ya-na-ma, which have a peculiar and special significance in Śaiva symbolism. In *Uṇmai Viḷakkam*, vv. 33-35 they are identified in the dance as follows:

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“In His feet is *na*; in His naval is *ma*; in His shoulders is *Śi*; in His face is *vā*; in His head is *ya*”.*

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ஆநந்தவாரிதி யிலான்மாவத்தா னழுத்தல் தானெந்தையார் பாதந்தான். உரையுணர்வுக் கெட்டா வொருவன் மிபெஞ்சாக் கரத்தால் வரைமகடான்பாதி—பனையிடமாய்க் காணும்படியே கருணாயுருக் கொண்டாடல் பேணுமவர்க்குண்டோ பிறப்பு.

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∗ ஆடும்படிகேள் நல்லம்பலத்தா னையனே நாடுந் திருவடியிலே நகரம்—கூடு மகரம்முதரம் வளர்தோள் சிகரம் பகருமுகம் வாமுடியப்பார்.

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A second way of contemplating the Pañchākshara is also given, as follows:

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“The hand holding the Drum is *śi*; the hand held out is *vā*; the hand holding out protection (*abhaya*) is *ya*; the hand holding fire is *na*; the foot holding down Muyalaka is *ma*”.*

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The text continues:

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“The meanings of the five letters respectively are God, Śakti, Soul, Tirōbhava and Mala....If this beautiful Five-Letters be meditated upon, the soul will reach the land where there is neither light nor darkness, and there Sakti will make it One with Sivam”.†

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† ஈசன் அருள் ஆவி யெழிலார் திரோதமலம் மாசிலெழுத்தஞ்சினடைவாம். அண்ணல் முதலாயழகா ரெழுத்தைந்து மண்ணிலிராப் பகலற்பின்பத்தே—நண்ணி யருளானது சிவத்தே யாக்குமணுவை யிருளானது தீரவின்று.

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Another verse of Uṇmai Viḷakkam explains the fiery arch (*tiruvāsi*): The Pañchākshara and the Dance are identified with the mystic syllable Ōm, the arch being the *kombu* or hook of the ideograph of the written symbol : “ The arch over Srī Naṭarāja is Ōmkāra; and the akshara which is never separate from the Ōmkāra is the contained splendour. This is the Dance of the Lord of Chidambaram”.*

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∗ சேர்க்கும் துடிசிகரம் சிக்கனவாவீசுகரம் ஆர்க்கும் யகரமயகரம்—பாக்கிலிறைக் கங்கி நகரமடிக்கீழ் முயலகனார் தங்கு மகரமது தான்.

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The Tiru-Aruḷ-Payan, however, (Ch. ix. 3) explains the tiruvāsi more naturally as representing the dance of Nature, contrasted with Siva’s dance of wisdom.

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“ The dance of matter (Prakṛiti) proceeds on one side : the jñāna dance on the other. Fix your mind in the centre of the latter”.†

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† ஊன நட னொருபா லொருபாலா ஞான நடந்தானாகு.

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I am indebted to Mr. Nallasvāmi Piḷḷai for a commentary on this:

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The first dance is the action of matter—material and individual energy. This is the arch, tiruvāsi, Omkāra, the dance of Kāḷi. The other is the Dance of Śiva—the akshara inseparable from the Omkāra—called ardhamātra or the fourth letter of the Praṇava, Chaturtam and Turīyam. The first dance is not possible unless Śiva wills it and dances Himself.

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∗ ஓங்காரமே நற்றிருவாசி யுற்றதனின் நீங்காவெழுத்தே நிறை சுடராம்—ஆங்காரம் அற்றார் அறிவாரணி யம்பலத்தானலிது பெற்றார் பிறப்பற்றார் பின்.

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The general result of this interpretation of the arch is, then, that it represents matter, nature, prakṛiti; the contained splendour, Śiva dancing within and touching the arch with head, hands and feet, is the universal omnipresent Purusha. Between these stands the soul, as ya is between Śi-va and na-ma.

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Now to summarise the whole interpretation, we find that The Essential Significance of Śiva’s Dance is threefold: First, it is the image of his Rhythmic Activity as the Source of all Movement within the Cosmos, which is represented by the Arch: Secondly, the Purpose of his Dance is to Release the Countless souls of men from the Snare of Illusion: Thirdly the Place of the Dance, Chidambaram, the Centre of the Universe, is within the Heart.

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In these notes I expressly refrain from all æsthetic criticism and have endeavoured only to translate the central thought of the conception of Śiva’s dance from plastic to verbal expression, without reference to the beauty or imperfection of individual works. In conclusion, it may not be out of place to call attention to the grandeur of this conception itself as a synthesis of science, religion and art. How amazing the range of thought and sympathy of those rishi-artists who first conceived such a type as this, affording an image of reality, a key to the complex tissue of life, a theory of nature, not merely satisfactory to a single clique or race, nor acceptable to the thinkers of one century only, but universal in its appeal to the Philosopher, the Bhakta, and the artist of all ages and all countries. In these days of specialisation, we are not accustomed to such a synthesis of thought; but for those who ‘saw’ such images as this, there could have been no division of life and thought into water-tight compartments. Nor do we always realise, when we criticise the merits of individual works, the full extent of the creative power which, to borrow a musical analogy, could discover a rāga so expressive of fundamental rhythms and so profoundly significant and inevitable.

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Every part of such an image as this is directly expressive, not of any mere superstition or dogma, but of evident facts. No artist of to-day, however great, could more exactly or more wisely create an image of that Energy which science must postulate behind all phenomena. If we would reconcile Time with Eternity, we can scarcely do so otherwise than by the conception of alternations of phase extending over vast regions of space and great tracts of time.∗

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∗ Oliver Lodge, Hibbert Journal, Vol. X, No. 2, 1911.

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Especially significant, then, is the phase alternation implied by the drum, and the fire which ‘changes,’ not destroys. These are but visual symbols of the theory of the day and night of Brahma!

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In the night of Brahma, Nature is inert, and cannot dance till Śiva wills it: He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sound, and lo! matter also dances, appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fulness of time, still dancing, he destroys all forms and names by fire and gives new rest. This is poetry: but none the less, the truest science.

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Again, this Naṭarāja is not only Truth, but Love: for the purpose of His Dance is Grace, the giving of freedom to countless individual souls. Lastly, also, how supremely great in power and grace this dancing image must appear to all those who as artists have striven in plastic forms to give expression to their intuition of Life!

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It is not strange that the figure of Naṭarāja has commanded the adoration of so many generations past: we, familiar with all scepticisms, expert in tracing all beliefs to primitive superstitions, explorers of the infinitely great and infinitely small, are worshippers of Śri Naṭarāja still. A. K. C.”

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Five photographs are given in illustration of the Bhujaṅgatrāsa mode of dance of Śiva. The first, Pl. LVI, is that of the beautiful figure of Naṭarāja discovered at Tiruvālaṅgāḍu and now preserved in the Madras Museum. It is one of the finest specimens of bronze casting in South India and extorts our admiration for the excellence of its design and execution. The prabhāmaṇḍala, the jaṭas, the upper cloth tied round the chest and the ḍamaru are broken and lost. The head is ornamented with peacock feathers, the dhurdhura flowers, a skull, a cobra and the crescent moon. The second photograph, Pl. LVII, the original of which was found buried in earth at Kōṭṭappaḍi and is at present kept in pūjā in the temple at that village. As required by the āgamas, the Dēvī is sculptured as standing near Naṭarāja, but on a separate pedestal. There are five jaṭas on each side and between each pair of them are worked out flowers and the figure of Gaṅgā. The Dēvī is standing in the tribhaṅga posture and has her left hand let down and the right arm bent and held in the kaṭaka pose. The illustration, fig. 1, LVIII, comes from Rāmēsvaram. The image has not got

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Naṭarāja; Bronze: Madras Museum.

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Naṭarāja with Dēvī : Bronze : Kōṭṭappāḍi.

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Fig 1. Naṭarāja : Bronze : Rāmēśvaram.

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Fig 2. Naṭarāja Ivory : Trivandram.

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Naṭarāja with Devi: Bronze: Paṭṭīśvaram.

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the jaṭās round the head; the head is adorned with a kirīṭa like jaṭāmakuta and the back hands are not fully stretched out as in the previous illustrations. The work lacks the vigour of action which is well portrayed in the other instances, and does not appear to be altogether a commendable piece of art. Fig. 2 on the same plate is a piece of ivory carving executed in the School of Arts, Trivandram, which is made in utter disregard of the agāmic rules. Pl. LIX is a pretty piece of sculpture belonging to the temple at Paṭṭīśvaram.

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The second, the third and the fourth varieties of Nṛtta are not very different from the first. In the second form of dance, the Aṃśumadbhēdāgama states, there should be the figure of Gaṅgā standing on the jaṭās flowing on the right side of Śiva with hands held in the añjali pose; and that the height of this figure of the river Gaṅgā should be sixteen aṅgulas, an aṅgula being a hundred and twentieth part of the total height of the figure of Śiva. In the third kind of dance it is stated that the left foot of the Nṛttamūrti should be placed on the body of the Apasmāra-purusha and the right leg lifted up. A jaṭābhāra or jaṭāmaṇḍala spread round the crowned head of the figure of Śiva in the form of a circular disc is required in the fourth form of Nṛtta or dance.

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The fifth form of the dance of Śiva is somewhat different from the previous ones. In this the right leg is to be lifted straight up to the crown of the head and the left leg, somewhat bent, should be resting upon the Apasmāra-purusha; Śiva in this aspect has eight arms; in three out of the four right hands are to be seen the śūla, the pāśa, and the ḍamaru, while the last one should be kept in the abhaya pose; one of the left hands is to be held crosswise, from left to right in the gajahasta pose, and the three other hands are to carry the kapāla, the vessel of fire and a bell (ghaṇṭa).

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In the sixth variety of dance, the legs of the figure of Śiva should be as in the case of the fifth variety described above; but Śiva is to be represented here as having sixteen arms; one of the right hands is required to be held in the abhaya pose and the remaining right ones to carry the ḍamaru, vajra, śūla, pāśa, ṭaṅka, daṇḍa (hasta?) and a snake; or, abhaya, śūla, pāśa khaḍga, ḍamaru, dhvaja (patāka-hasta?), vētāla and the sūchī pose. One of the left arms should be held in the gajahasta pose, being held across the body from left to right, while the remaining ones carrying either agni, mithuna (a double headed instrument like the vajra?), valaya (quoit),

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Naṭarāja : Stone : Teṅkāśi.

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a banner,* ghaṇṭā, kheṭaka and kapāla; or agni, gajahasta, kheṭaka, the vismaya pose, ghaṇṭā, kapāla, khaḍga and the sūchī pose.

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To the left of the dancing Śiva should be standing his consort, carrying in her left arm Skanda and keeping her hands in the añjali pose, while the child Skanda should, out of fear at the sight of the ecstatic dance of his father, be catching hold of the breast and abdomen of his mother, the Dēvī. On the face of the Dēvī the emotions of fear and wonder and yet a friendly feeling should be brought out by the skilful artist.

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The photograph reproduced on Pl. LX, in illustration of the sixth mode of dance belongs to a series of well-carved life-size stone images in the Śiva temple at Teṅkāśi. In this, one of the left hands is shown as carrying a dhvaja with the bull, the characteristic totem of Śiva’s banner, sculptured on it. To the right and left of the figure of Śiva are the rishis Vyāghrapāda and Patañjali respectively with hands folded on their chests in the añjali pose. This piece of sculpture is one of the best specimens of the later Pāṇḍya period and is in an excellent state of preservation.

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∗ Here the word may be understood to mean a banner or the hand held in the form of a banner, patāka-hasta. In fact, these two different senses are taken and sculptures executed accordingly. See the description of the illustrations to the sixth nṛitta.

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In the seventh form of *nṛitta*, the image of Śiva is required to possess eight arms, three eyes and an out-spreading *jaṭāmaṇḍala*; the left leg of Śiva should be placed upon the Apasmāra-purusha and the right leg lifted up fully stretched, as far as the head. One of the right hands should be held in the *abhaya* pose, the others carrying the *śūla*, the *pāśa* and the *ḍamaru*. Two of the left arms should be kept in the *gajahasta* and the *vismaya* poses, respectively; the remaining two carrying a *kapāla*, and an *agnipātra* (or vessel of fire). There should be a bend in the body of ten *aṅgulas* from the medial line (*madhya sūtra*). To the left of the dancing figure of Śiva should stand that of the Dēvī.

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If in the seventh mode of dance there be substituted six hands in the place of eight, we get the eighth form of the Nṛittamūrti. In this, one of the right hands ought to be held in the *abhaya* pose and the remaining ones to carry the *ḍamaru* and the *śūla*; and one of the left arms is to be kept in the *gajahasta* pose, another in the *vismaya* pose and the third should carry a *kapāla*.

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Here it must be particularly noted that the images of the fifth and sixth forms of the

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Nṛittamūrti : Stone : Tiruchchengāṭṭaṅguḍi.

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Nṛttamūrtis should possess only two eyes, whereas all the rest, described hitherto and hereafter, should have three eyes.

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The ninth form of Nṛttamūrti is described as follows:—The image of Śiva should have four arms, three eyes and a jaṭāmakuṭa on the head. One of the right hands is to be held in the abhaya pose and the other should carry a ḍamaru, whereas one of the left arms is to be held in the gajahasta pose and the other hand ought to carry fire in it. In this particular dance, Śiva's left foot should not be placed upon the back of the Apasmāra-puruṣa but rest upon a pīṭha and should be somewhat bent. The great toe of the right foot should also rest upon the pīṭha. A photograph, Pl. LXI, the original of which is found in the Śiva temple at Tiruchcheṅgāṭṭaṅguḍi, is reproduced here in illustration of this, the ninth dance of Śiva. There is a very close adherence to the description in the making of this image and the work is well executed.

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From a study of the so-called nine different forms of the Nṛttamūrtis it becomes patent that these do not really represent nine varieties of dances as described in the Nāṭya-śāstra. We find the dance of the common form of Naṭarāja to be what is technically known as the bhujaṅgatrāsa mode of dancing. Besides these nine varieties of the Nṛittamūrtis described in the Aṁśumadbhēdāgama, we meet with several different images of Naṭanamūrtis in actual sculpture. Some of them do, as a matter of fact, represent a few of the modes of dance whose descriptions are found in the Bharata Nāṭya-śāstra. Since the art of dancing, which was very popular till so recently as twenty years ago, is fast going out of fashion owing to the notion of a large section of the English-educated people of India that nautch ought to be discouraged owing to its association in practice with dancing girls who have, quite contrary to the original lofty ideals of the institution, degenerated into professional prostitutes, the study and practice of one of the Fine Arts of India is gradually dying out and is least understood by the educated classes at the present day. The works dealing with the science have almost perished for want of appreciation, and it is very difficult to meet a scholar who is really well versed with the Nāṭya-śāstra in its theoretical and practical aspects. Consequently the explanations of the few modes of dance of Śiva met with in actual sculpture which are attempted below are, it is feared, likely to be somewhat inaccurate, but endeavour is made, with the help of the only commentary on the subject written by the great

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Kaṭisama mode of Dance of Śiva : Stone Panel : Ellora.

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Abhinavaguptācārya,* to describe them as correctly as possible.

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Plate LXII exhibits a mode of dance which is called the Kaṭisamam in the Nāṭya-śāstra. In this mode, according to the text of the Nāṭya-śāstra, the legs are required to be in the pose known as the svastikāpasritam, while one of the hands should be near the navel and the other on the hip; and the pelvis should be in the udvāhita pose. The term svastikāpasritam is explained in the Nāṭya śāstra;

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स्वस्तिकापसृतः पादः करौ नाभिकटिस्थितौ ।
पार्श्वमुद्वाहितं चैव करणं तत् कटीसमम् ॥
स्वस्तिकादनन्तरं . . . . . इत्येनाक्षिप्राया अनन्तरमुपक्रान्तायाः प्रयोगमाह—चकारेण करौ च स्वस्तिकौ अवधृतौ । तत एका नाभिस्थः कनक एव मपटः कर्ष्यामधर्धचन्द्रः । तदेव पार्श्वं व्यानतमपरमुद्वाहितं द्वितीयेनाङ्गेनाकुञ्चितं पादमुत्क्षिप्य व्याक्षिप्यत्वं चितं न्यसेत् “जङ्घा स्वस्तिक-संयुक्ता प्रक्षिपता नाम सा स्मृता” “उत्क्षिप्य चक्रा तु यदानामिका सा कनीयसी । अस्यैव तु कपित्थस्य तदसौ कटकामुखं” “यस्याङ्गुलेन चापवत्सोऽर्धचन्द्रः” “ऊर्ध्वाहितमूर्ध्वकृतमुरो ज्ञेयं प्रयोक्तृभिः” इति । पार्श्वमप्युद्वाहितं वैष्णवं चात्र स्थानकं कटिलभ्यते ॥

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(नाट्यवेदविवृतौ ॥)

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∗ There is only one copy of this rare work hitherto discovered and this one also is here and there damaged. It is now in the custody of the Curator of the Sanskrit Manuscripts in Trivandram. If other copies are found, the work deserves being published by a competent scholar of the Nāṭya-śāstra.

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† Katisama dance.

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but it is easier to make out the meaning of the term from a number of sculptures and from the etymology of the term. Two legs kept crossing each other is known as the *svastika* pose; in this pose if the legs are kept a little apart from each other, that is, without touching each other, they are said to be *svastikāpasrita* pose. Again, if the hands are kept as described in the text quoted above, the pose is, according to the *Nāṭya-vēda-vivṛiti*, the commentary on the *Bharata-nāṭya śāstra* by Abhinavaguptāchārya, is known as the *svastika* pose. In this pose, Abhinavaguptāchārya says, the hand that is near the navel should be kept in the *kaṭaka-hasta* pose and the other hand in what is known as the *arddha-chandra* pose: in the latter pose the thumb and the other fingers should be kept so as to resemble a bow. Again, *udvāhita* pose of the pelvis is that in which one side of it is raised and the other lowered proportionately. The mode of standing in the *kaṭisama* dance is technically known as the *vaishṇavasthānam*, which Abhinavaguptāchārya describes as follows: In the *vaishṇavasthāna* one leg should be resting firmly on the ground and the other bent and placed across the first at a distance of two and a half *aṅgulas*. This sort of posture is prescribed for men when they are conversing with other or throwing the discus.

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In the illustration given on Pl. LXII, Śiva has eight arms. Of these, one of the right hands is carrying a ḍamaru; another is held near the navel in the kaṭaka pose, a third is lowered down and on it is thrown a fine cloth, the upper garment of Śiva, and the fourth is broken. One of the left arms is raised in the tripatāka pose, another is resting on the thigh, and the hands of the third and fourth are broken. The legs are in the svastikāpasrita pose. The head is adorned with an extremely well executed jaṭāmakuṭa and is surrounded with a prabhāmaṇḍala. The upper arms wear beautiful spiral bands resembling snakes. On the chest and around the neck hangs a necklace of rare beauty and a yajñopavīta is seen lying across the chest. Besides these, there are the udarabandha and kaṭisūtra on the abdomen and the loins. The under-wear of Śiva is silk and tiger's skin, the latter of which is sculptured very distinctly and accurately. Pārvatī is seen standing to the left of Śiva with the baby Skanda in her arms. Between her and her lord are two female musicians playing upon two musical instruments. Behind Pārvatī stands a man with a big jaṭābhāra bearing on its front a fillet and has a pair of long moustaches; perhaps he is one of the attendants of Śiva. Over his head are the four Dikpālas, Yama, Indra, Nirṛuti and Agni. To the right of Śiva are three or four male musicians of whom one is playing upon the flute, another is sounding the drum. The head of the elephant-headed Gaṇeśa, the first son of Śiva, is peering through from the background. Over his head are the remaining Dikpālas. This is also one of the finest pieces of sculpture of its period.

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The next mode of dance is technically called Lalitam.* In this, the left arm should be held in the gajahasta pose and the right in the pravartita pose. The former has already been described and should be familiar to those who have studied the first volume of this treatise. According to the Nāṭyā-śastras, gajahasta is a combination-pose in which both hands are employed to produce the required effect and this is described thus : in the case of a human

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* करिहस्तो भवेद् वामो दक्षिणश्च प्रवर्तितः ।
[बहुशःकुट्टितःपादो] ज्ञेयं तल्ललितं बुधैः ॥
समुन्नतो लता . . . . . यो दक्षिणं विविधं कृत्वा
बहुशो वर्तितस्ते “ बाहुशीर्षाद् विनिष्क्रान्तौ नितम्बौ,” “ केशदेशाद् विनि-
ष्क्रान्तौ परिपार्श्वस्थितौ सदा । तथा विज्ञेयौ केशबन्धौ” इत्येवं प्रकारनृत्त-
हस्तयोजनया वर्तितः चकाराद् वनान्ते पताको वरः कर्ण इति करिहस्ता पादश्च
हस्तवस्तानुसारेण निकुट्टितः पुन . . . . . ब्रिसंविद्वासवृत्तविषय-
मेतदन्त एव ललिताम्नामकणरम् ॥
(नाट्यवेदविवृतौ ॥)

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∗ Lalita dance.

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Lalita mode of dance of Siva : Stone Panel : Ellora.

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being who has only two arms, if one hand is stretched right across the chest towards the other shoulder and if the other arm is bent thrice in the *tripatāka* pose, that is, the upper arm lifted up as high as the shoulder horizontally and the forearm held at right angles to it vertically and the palm of the hand bent at right angles to the forearm and facing upwards, the double-hand pose is called *gajahasta* according to the *Nāṭyaśāstra*. This definition is, no doubt, different from the explanation found in Volume I of this treatise, but the one given here is applicable to the combination-pose of both the arms. *Pravartita hasta* simply means uplifted arm. The leg pose required for the *Lalita* dance is technically called *kuṭṭitam*, which is described in the *Nāṭya-vēdavivriti* thus: if one leg rests firmly on the ground and the other, resting upon the toe, strikes the ground with the heel, the leg pose is called *nikuṭṭitam*.

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In the illustration, Pl. LXIII, Śiva is represented as dancing in a vigorous manner. The trunk of his body is thrown on one side and to the back, with the left side of the pelvis lifted and the right side depressed. His left leg is standing on the ground and the right resting on the toe is stamping the ground with the heel. One of the right hands carries the *ḍamaru*, another the *paraśu*, a third is broken and the fourth is held in the *gajahasta* pose; while one arm is kept in the *tripatāka* pose, another in the ordinary *patāka* or streamer pose (in which it is kept stretched horizontally, away from the shoulder), the third appears to be held in the *tarjanī* pose and the last in the *sūchī* pose. A pretty *jaṭāmakuṭa* adorns the head while the ears are ornamented with *kuṇḍalas*. There is the *yajñōpavīta*, the *hāra*, the *udarabandha* and a snake employed as *kaṭisūtra*. On either side are groups of four Dikpālas. To the left of Śiva is Pārvatī holding in her right hand the hand of her boy Skanda, while with her left hand she holds a portion of her garment. Near her to her left is standing a *gaṇa*. To the right of Śiva is Nandi sounding the drum, another playing on the flute and a third doing something which is not clear. On the seat on which Śiva dances, there is the famished figure of Kālī seated in an easy pose and witnessing the dance of her lord. This panel is remarkable for its vigorous action. This one and the previous panel, belong to the rock temples at Ellora.

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