“Shiva as Lord of Dance” (ca. 11th Century): Norton Simon Museum Research Paper

Introduction

The artwork chosen for this assignment is “Shiva as Lord of Dance” from the Norton Simon Museum. It is a bronze sculpture of a Hindu deity, which dates back to the beginning of 11th century. Norton Simon Museum is a decades-old art museum in Pasadena, California. It features many different exhibits, including those centered on alternate realities, themes of desire, and abstraction in photography. “Shiva as Lord of Dance” is not currently on display but remains a part of Norton Simon Museum’s catalog on its official website. It has likely been a part of its exhibit “Where Art Meets Science: Ancient Sculpture from the Hindu-Buddhist World.” The main reason as to why I chose this particular piece for this assignment was the feelings of bliss and trance I had felt when observing it. I could sense the creative energy emerging from the sculpture. “Shiva as Lord of Dance” is an embodiment of calmness, which I seem to lack during this pandemic. As for my experience, while I certainly enjoyed the innovative digital exhibitions and observing all the various art pieces, I would much rather see the works in person.

Description

The first thing one can notice while looking at the sculpture is a figure with four arms. The creature seems to be dancing surrounded by a circular halo covered in fire. In his upper right hand, Shiva has a small drum, while the upper left hand produces fire. The lower right hand makes a gesture, and the lower left hand points in the same direction as the left leg raised upwards. Shiva seems to be standing on a dwarf-like creature with his right leg. The deity’s hair is blown away so that it becomes a part of the halo of fire. Although not a lot of material was used in the making of the sculpture, it still takes up a lot of space. This is due to the circular frame, which signifies the halo.

The bronze Shiva is made out of is green but has a yellow metallic tint when a light strikes it. The texture is glossy and rather smooth although the halo is carved with various patterns. In terms of depth and space, the holes surrounding Shiva make the deity stand out by creating negative space. The motion is implied in the halo, which bursts fire. In addition, the dynamics are shown through the pose of Shiva, which makes it clear the icon engages in dancing. It is evident that the emphasis in the sculpture is put on Shiva, acting as a focal point of the piece.

Presentation of Research

India’s cultural heritage is nuanced, complex, and extremely diverse. Despite that, if one had to choose the figure to symbolize the nation’s cultural traditions, it would most probably be Shiva who became synonymous with the icon of Nataraja¹. The image of Shiva is used globally as a distinct representative symbol of Indian heritage. The sculpture of “Shiva as Lord of Dance” emphasizes the complexity of layers the icon is comprised of. Shiva is a part of a triad of powerful divine beings² present in the Hindu faith. Brahma is the creator; Vishnu is deemed the preserver; Shiva is, therefore, the destroyer. Despite the negative connotation destruction often implies, Shiva is not a negative icon but rather a deity of immense and expensive power. After all, the Hindu dogma dictates that everything must go through a natural cycle of birth and death, which makes regeneration possible. Shiva is the agent of such changes, a part of which the sculpture captures.

It is important to point out what it is exactly Shiva is doing in the sculpture. Shiva is portrayed with all the characteristics of perfect physical form. The icon is captured frozen in time although there is still a moving appeal to the sculpture through the dynamic position representing dancing. The deity performs ananda tdndava, “or dance of blissful exhilaration, which symbolizes the processes of creation and destruction, as well as salvation”³. Shiva stands in a position referred to as bhujangatrasita karana⁴, with the left leg raised and extended. The left leg as well as the lower left arm are pointed in a way, which signifies refuge for those in search of meaning.

The dance itself is a cosmic force of creation and destruction, which seem to be inseparable. The drum Shiva holds symbolizes creation, while the fire in the upper left hand stands for destruction⁵. The gesture the deity makes with the lower right hand alleviates fear. Standing with the right leg on the head of a dwarf-like figure, Shiva dispels of ignorance and evil⁶. The icon is captured “granting solace by the crosses left arm (…), while the ring of fire symbolizes cosmic cycles” (Srinivasan). Thus, the Lord engages in the process of destruction and simultaneous destruction through the dance of bliss. The sculpture implies that finding the true meaning, achieving salvation, and destroying the ego comes from believing in and honoring Shiva.

The halo surrounding Shiva seems to demonstrate the nature of the icon’s dance. Simultaneous destruction and creation is captured by the circle of fire. The halo is a representation of cosmos at large⁷, including time, space, and the continuous cycle of regeneration. Life and death seems to be moving to the rhythm of Shiva’s drum and dancing. Nataraja’s dance possesses “an unmistakable attitude of smile and puckish delight”⁸. This encapsulates the Hindu belief that death has to be accepted with joy as part of the cosmos cycle of annihilation and regeneration. Life and death are simultaneous, which is the basis for Shiva’s endless dance. The only way to face the gifts of creation and destruction is to annihilate the ego by becoming a Shiva devotee.

Summary

“Shiva as Lord of Dance” is not simply a beautiful sculpture but a representation of India’s complex cultural heritage and faith. The Hindu deity Shiva is the Lord of destruction, which makes it honorable rather than fearful. The icon is surrounded by a halo of fire, which symbolizes the cycle of annihilation and regeneration. Life and death occur simultaneously, being directed by the moves of Shiva and the rhythm of the deity’s drum. Through the cosmic cycle of destruction and creation captured in the sculpture, it is possible to uncover even more layers to the Hindu faith. Stamping on the demon of ignorance, Shiva demonstrates that the true path of meaning and acceptance implies the destruction of one’s ego. Furthermore, the deity’s arm pointing at the leg signify that every devotee can find a place of refuge in faith. The gesture of Shiva shows that the cosmic cycle of life and death should not be feared but celebrated through blissful dance.

Bibliography

Low, Patrick Kim Cheng, and Balakrishnan Muniapan. “Organisational Development and the Hindu Trinity: Brahma, Vishnu and Shiva on Leadership, Culture and Change.” International Journal of Indian Culture and Business Management 4, no. 5 (2011), 491–505.

Pal, Pratapaditya. “Sculptures from South India in The Art Institute of Chicago.” Art Institute of Chicago Museum Studies 22, no. 1 (1996), 21–36.

Pechilis, Karen. “Siva as the Lord of Dance: What the Poetess Saw.” The Journal of Hindu Studies 6, no. 2 (2013), 131–153.

Srinivasan, Sharada. “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze.” World Archaeology 36, no. 3 (2004), 432–450.

Footnotes

1. Karen Pechilis, “Siva as the Lord of Dance: What the Poetess Saw,” The Journal of Hindu Studies 6, no. 2 (2013), 131–153,
2. Patrick Kim Cheng Low and Balakrishnan Muniapan, “Organisational Development and the Hindu Trinity: Brahma, Vishnu and Shiva on Leadership, Culture and Change,” International Journal of Indian Culture and Business Management 4, no. 5 (2011), 491–505.
3. Pratapaditya Pal, “Sculptures from South India in The Art Institute of Chicago,” Art Institute of Chicago Museum Studies 22, no. 1 (1996), 27,
4. Sharada Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” World Archaeology 36, no. 3 (2004), 432–450.
5. Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 432–450.
6. Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 432–450.
7. Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 432–450.
8. Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 446.