COSMIC DANCE OF CHIDAMBARAM
From time immemorial
Chidambaram has been
considered the centre of the Universe. Mythology says that Cosmic Dancer
Lord Shiva's dance was witnessed by sage Patanjali, the author of the
science of Yoga here. Indian tradition holds that culturally all the dance
forms of India emanated from Nataraja.
The
Five Important Sabhas
The "Nrityamurtis" (or dancing images) of Shiva are prevalent
in all parts of India and markedly so in Southern India. Ellora and
Chidambaram are superb examples. Five of the foremost 'Sabhas' ('Pancha
Sabhai') are at Chidmbaram (Kanaka Sabhai the hall of gold), Madurai
('Rajata Sabhai' the hall of Silver), Tiruvalangadu near Chennai ('Ratna
Sabhai' the hall of rubies), Tirunelveli ('Tamra Sabhai' the hall of
copper) and Kutralam near Tirunelveli ('Chitra Sabhai' the hall of
pictures). Other dance halls of significance are 'Adri Sabhai' (the
Himalayas), 'Aadi Chit Sabhai' (Tiruvenkaadu near Chidambaram) and 'Perur
Kanaka Sabhai' (Patteeswarar temple at Perur near Coimbatore).
Nataraja was the family deity of the Cholas who had covered the Sabha
with gold and made it the 'Kanaka Sabha' (golden hall); the deity is
called "Kanakasabhapati". The roof of the Chidambaram
Kanakasabha was rebuilt in the days of the King Paraantaka Chola I
(908-948 AD)
The 108 dance postures carved on either side of a Gopuram in the
Chidambaram temple
correspond largely with the 108 dance-modes described by Bharata in his
Natya Shastra. These 108 sculptures, which also contain the descriptions
engraved in Sanskrit as found the Natya Shastra are reproduced in the
Madras Epigraphis's Annual Report for 1913-14. The Saivagamas state that
Shiva danced in a hundred and eight modes, but describe only nine modes.
The most important of these Sabhas is that at Chidambaram. The "Naadaanta"
dance mode of Shiva shows him with his right leg firmly planted on the
back of the wriggling "MuuyaLaka" ("Apsmaarapurusha",
the evil personified), his left leg raised high up in a slant, his front
left hand in the 'Dola' - or 'Gaja-Hasta' pose pointing to the raised
foot, the front right hand in the 'Abhaya' pose, the back right and left
hands carrying a kettle-drum and a ball of fire respectively; the whole
composition is placed on a well-decorated pedestal where the ends of the
circular or elliptical 'Prabhaa' ('Tiruvaasi' in Tamil) meet.
The Tamil text called "Unmai-Vilakkam" explains the symbolism
underlying this cosmic dance of the great god in this manner: "Creation
arises from the drum; protection proceeds from the hand of hope (the
Abhaya pose in the front right one): from fire proceeds destruction: the
foot held aloft gives Mukti"
Thus, all the five-fold activities of the Lord ('Pancakrtyas') are
embraced, the 'Tiruvaasi' round him symbolising the act of obscuration
('Tirobhaava').
Significance Of Naadaanta Dance
The Naadaanta dance of Nataraja before the assembly (Sabha) in the golden
hall of Chidambaram or Thillai, the centre of the Universe, first revealed
to Gods and Rishis after the submission of the latter in the forest of
'Taaraka', as related in the "Koyil-Puranam". The essential
significance of Naadaanta dance is as follows: "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".
The dance represents His five activities ('Pancakritya'), viz., 'Srishti'
(overlooking, creation, evolution), 'Sthiti' (preservation, support),
'Samhaara' (destruction, evolution), 'Tirobhava' (veiling, embodiment,
illusion, and also giving rest), 'Anugraha' (release, salvation, grace).
These are the activities of the deities: Brahma, Vishnu, 'Rudra',
Maheshvara and Sadaashiva. Bronze cast image found at Tiruvelangaadu (Now
in Madras Museum)
The Jatas
The "Prabhaamandala", the Jatas, the upper cloth tied round the
chest and the Damaru are broken and lost in this image. The head is
ornamented with peacock feathers, the 'Dhurdhura' flowers, a skull, a
cobra and the crescent moon 'Kottappaadi' bronze, which is now kept in
Puja at the temple of the village.
There are five Jatas on each side of the Shiva image of Kottappaadi and
between each pair of them are worked out flowers and the figure of Ganga.
The Devi stands nearby on a separate pedestal in the 'Tribhanga' posture
and has her left hand let down and the rights arm bent and held in the
'Kataka' pose.
Tirucchengaattangudi
Nataraja of Tirucchengaattangudi has four arms, three eyes and a
'Jataamakuta' on the head. One of the right hands is held in the Abhaya
pose and the other carries a 'Damaru'. One of the left arms is held in the
'Gajahasta' pose and other hand carries fire in it. The left foot rests
upon a 'Pitha', somewhat bent. The great toe of the right foot rests also
on the 'Pitha'.
This cosmic activity is the central motif of the dance... Chidambara
Mummani Kovai says: "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 'Chetana' (consciousness) and Achetana
Prapanca, which Thou hast created. All these worlds are changed by Thy
had'nt bearing fire. Thy sacred foot, planted on the ground, gives 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."... 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.
Know more about this Package !!!
279/A, Masjid Moth, South Extention - II
New Delhi - 110 049 (INDIA)
Tel : +91-11-4164 3999 / 2626 2004
Fax : +91-11-2625 9695
Email : info@indiainfoweb.com
Home | Attractions | Destinations | Hotels | Tour Packages | Travel Agents | Help DeskDisclaimer | Privacy Policy | Old Site | Feedback / Contact Us
Copyright © 2007 India Infoweb. All Rights Reserved.