Critically analyse the sculpture of Shiva as Lord of Dance (Nataraja) Indian (Tamil Nadu) ca. 11th century. Contextualise and describe the object, theoretical framework such as formal analysis; iconography, methodological approaches and own interpretation.Readings: Matthew Harp Allen. 1997. ‘Rewriting the Script for South Indian Dance. The Drama Review 41(3): 63-100. https://doi.org/10.2307/1146609 (reprinted in Soneji, Davesh, ed. 2012. Bharatanatyam: A Reader. New Delhi: Oxford University Press). Davis, Richard H. 1997. Lives of Indian Images.Princeton: Princeton University Press, especially chapters 1 and7. https://www.fulcrum.org/concern/monographs/. rv042t26g. Dehejia, Vidya, ed. 2006. Chola: Sacred Bronzes from Southern India. London – includes translation of Rodin’s essay. Kaimal, Padma. 1999. ‘Shiva Nataraja: Shifting Meanings of an Icon. The Art Bulletin 81 (3):390-419.Lgeret-Manochhaya, Katia. 2014. Rodin et la danse de Civa. Saint-Denis: Presses universitaires de Vincennes. Pal, Pratapaditya. 2004. ‘The Blessed and theBanal: Shiva Nataraja in the 20th Century’.In Chidambaram: Home of Nataraja, edited by Vivek Nanda and George Michell, 128-37.Bombay: Marg. Turner, Sarah Victoria. 2010. ‘The “EssentialQuality of Things”: E.B. Havell, AnandaCoomaraswamy and Indian Sculpture in Britain, c.1910-14’. Journal of Visual Culture in Britain 11(2): 239-64. Wessels-Mevissen, Corinna. 2012. ‘Introducing aGod and His Ideal Form: A.K. Coomaraswamy’s”Dance of Siva”, 1912/1918. Indo-AsiatischeZeitschrift 16: 30-42.
Sample solution
Dante Alighieri played a critical role in the literature world through his poem Divine Comedy that was written in the 14th century. The poem contains Inferno, Purgatorio, and Paradiso. The Inferno is a description of the nine circles of torment that are found on the earth. It depicts the realms of the people that have gone against the spiritual values and who, instead, have chosen bestial appetite, violence, or fraud and malice. The nine circles of hell are limbo, lust, gluttony, greed and wrath. Others are heresy, violence, fraud, and treachery. The purpose of this paper is to examine the Dante’s Inferno in the perspective of its portrayal of God’s image and the justification of hell.
In this epic poem, God is portrayed as a super being guilty of multiple weaknesses including being egotistic, unjust, and hypocritical. Dante, in this poem, depicts God as being more human than divine by challenging God’s omnipotence. Additionally, the manner in which Dante describes Hell is in full contradiction to the morals of God as written in the Bible. When god arranges Hell to flatter Himself, He commits egotism, a sin that is common among human beings (Cheney, 2016). The weakness is depicted in Limbo and on the Gate of Hell where, for instance, God sends those who do not worship Him to Hell. This implies that failure to worship Him is a sin.
God is also depicted as lacking justice in His actions thus removing the godly image. The injustice is portrayed by the manner in which the sodomites and opportunists are treated. The opportunists are subjected to banner chasing in their lives after death followed by being stung by insects and maggots. They are known to having done neither good nor bad during their lifetimes and, therefore, justice could have demanded that they be granted a neutral punishment having lived a neutral life. The sodomites are also punished unfairly by God when Brunetto Lattini is condemned to hell despite being a good leader (Babor, T. F., McGovern, T., & Robaina, K. (2017). While he commited sodomy, God chooses to ignore all the other good deeds that Brunetto did.
Finally, God is also portrayed as being hypocritical in His actions, a sin that further diminishes His godliness and makes Him more human. A case in point is when God condemns the sin of egotism and goes ahead to commit it repeatedly. Proverbs 29:23 states that “arrogance will bring your downfall, but if you are humble, you will be respected.” When Slattery condemns Dante’s human state as being weak, doubtful, and limited, he is proving God’s hypocrisy because He is also human (Verdicchio, 2015). The actions of God in Hell as portrayed by Dante are inconsistent with the Biblical literature. Both Dante and God are prone to making mistakes, something common among human beings thus making God more human.
To wrap it up, Dante portrays God is more human since He commits the same sins that humans commit: egotism, hypocrisy, and injustice. Hell is justified as being a destination for victims of the mistakes committed by God. The Hell is presented as being a totally different place as compared to what is written about it in the Bible. As a result, reading through the text gives an image of God who is prone to the very mistakes common to humans thus ripping Him off His lofty status of divine and, instead, making Him a mere human. Whether or not Dante did it intentionally is subject to debate but one thing is clear in the poem: the misconstrued notion of God is revealed to future generations.
References
Babor, T. F., McGovern, T., & Robaina, K. (2017). Dante’s inferno: Seven deadly sins in scientific publishing and how to avoid them. Addiction Science: A Guide for the Perplexed, 267.
Cheney, L. D. G. (2016). Illustrations for Dante’s Inferno: A Comparative Study of Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Cultural and Religious Studies, 4(8), 487.
Verdicchio, M. (2015). Irony and Desire in Dante’s” Inferno” 27. Italica, 285-297.
Critical Analysis of the Sculpture of Shiva as Lord of Dance (Nataraja)
Introduction
The sculpture of Shiva as Nataraja, dating back to the 11th century and originating from Tamil Nadu, represents one of the most revered and iconic depictions of the Hindu god Shiva in his cosmic form as the Lord of Dance. This analysis will contextualize the object, employing formal analysis, iconography, and methodological approaches while drawing on theoretical frameworks from relevant literature.
Contextual Overview
The 11th-century sculpture of Nataraja embodies the Chola dynasty’s artistic achievements, where bronze casting reached a pinnacle of sophistication. The Chola bronzes were not merely artistic expressions but were deeply imbued with religious significance, reflecting the socio-political and cultural milieu of South India during that period. The sculpture’s dynamic posture and intricate details convey the duality of creation and destruction inherent in Shiva’s nature (Dehejia, 2006).
Formal Analysis
The Nataraja sculpture is characterized by its elaborate design that captures movement and rhythm. Shiva is depicted in a graceful ananda tandava, or dance of bliss, surrounded by a flaming halo that symbolizes the cycle of creation, preservation, and destruction. The figure stands on one leg, with the other raised in a dynamic pose, embodying motion and vitality.
Shiva’s multiple arms (traditionally four) hold various symbolic objects: a drum (damaru) representing creation, a fire (agni) symbolizing destruction, a gesture of blessing (abhaya mudra), and a gesture that denotes protection (varada mudra). The elaborate ornamentation, including jewelry and a serpentine belt, enhances the divine aura of the figure. The use of bronze allows for intricate detailing and facilitates a sense of fluidity that is essential to the representation of dance.
Iconography
In understanding the iconography of Nataraja, it is crucial to consider both the symbolic meanings attributed to each element and how they relate to broader themes in Hindu philosophy. The dance of Nataraja signifies the cosmic cycles of creation and destruction, aligning with the philosophical concept of Lila—the divine play. According to Allen (1997), this interpretation extends into the realm of performance art, particularly Bharatanatyam, echoing the dance’s narrative quality that reflects divine stories.
The figure’s positioning within a circle of flames not only emphasizes the cyclical nature of existence but also serves as a reminder of the impermanence of life. As Davis (1997) notes, images like Nataraja are living entities within their cultural contexts; they breathe life into spiritual concepts through their form and function.
Methodological Approaches
This analysis employs a multi-faceted methodological approach that includes:
1. Art Historical Analysis: Examining the historical context surrounding the Chola dynasty’s patronage of art and how it influenced the creation of sacred images.
2. Iconographic Analysis: Interpreting symbols within the sculpture to understand their broader spiritual significance and cultural implications.
3. Performance Studies: Drawing on Allen’s discourse on dance to explore how Nataraja’s representation intersects with living traditions, particularly in Bharatanatyam.
Interpretation
In interpreting the Nataraja sculpture, it is essential to recognize its role beyond a static object; it functions as a conduit for understanding complex theological concepts. The dynamic posture of Shiva can be seen as an embodiment of life itself—ever-evolving and transforming. This resonates with contemporary interpretations that see Nataraja as not just a divine figure but as an archetype representing human experiences of struggle, creativity, and transcendence.
Additionally, Kaimal (1999) discusses the shifting meanings of Nataraja across time, suggesting that while its form remains largely consistent, societal interpretations evolve based on contemporary needs and contexts. This highlights the adaptability of cultural icons in addressing modern sensibilities while retaining their historical significance.
Conclusion
The sculpture of Shiva as Nataraja from 11th century Tamil Nadu stands as a monumental testament to the Chola dynasty’s artistic mastery and its deep-rooted spiritual significance within Hinduism. Through formal analysis, iconographic interpretation, and contextual understanding, this work transcends mere representation, embodying profound philosophical insights into existence itself.
As explored through various theoretical frameworks and scholarly contributions, Nataraja serves not only as an artistic marvel but also as a living symbol that continues to inspire and inform contemporary cultural practices. The interplay between art and spirituality encapsulated in this sculpture invites ongoing exploration into the transformative power of divine imagery in human consciousness.
References
– Allen, M. H. (1997). Rewriting the Script for South Indian Dance. The Drama Review, 41(3), 63-100.
– Davis, R. H. (1997). Lives of Indian Images. Princeton University Press.
– Dehejia, V. (Ed.). (2006). Chola: Sacred Bronzes from Southern India. London: Thames & Hudson.
– Kaimal, P. (1999). Shiva Nataraja: Shifting Meanings of an Icon. The Art Bulletin, 81(3), 390-419.
– Legeret-Manochhaya, K. (2014). Rodin et la danse de Civa. Saint-Denis: Presses universitaires de Vincennes.
– Pal, P. (2004). The Blessed and the Banal: Shiva Nataraja in the 20th Century. In Chidambaram: Home of Nataraja (pp. 128-137). Bombay: Marg.
– Turner, S. V. (2010). The “Essential Quality of Things”: E.B. Havell, Ananda Coomaraswamy and Indian Sculpture in Britain, c.1910-14. Journal of Visual Culture in Britain, 11(2), 239-264.
– Wessels-Mevissen, C. (2012). Introducing a God and His Ideal Form: A.K. Coomaraswamy’s “Dance of Siva”, 1912/1918. Indo-Asiatische Zeitschrift, 16, 30-42.
This analysis synthesizes various scholarly perspectives while engaging critically with the sculpture’s historical context and theoretical implications.
