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[Full title: Major Male Divinities (2) Nataraja]

The overwhelming dominancy of sensible sophistication to the product of this great centre of plastic activities have further been exposed with two celebrated sculptures of Lord Nataraja, now conserved in the well shaded structure of the site museum. Nataraja, the emblem of Indian fine arts 68 always have a mind blowing status with his vigorous rhythmic countenance. Generally, in every important Siva Temple a separate place is allotted to Nataraja which is known as Natana Sabha or simply Sabha.69 Thus the image of Nataraja in broader sense of term, generally be 67. 68. t Bardoloi, N.P. : Surya(As), 2000, p. 53. Sastri, S.N. Ghoshal: Element of Indian Aesthetics, Vol. II, 1983,254. 69. Rao, T.A.G: Element of Hindu Iconography, Vol. II.,Part-I, p.229.

96 referred as a special appearance to any temple wheather it may be the temple complex of Madan-Kamdev or others. Leaving aside the generalized view, Nataraja from Madan-Kamdev are famous for their four handed composition-a type not frequently available to norther aesthetic zone. 70 What ever might be the fact-the very idea of Nataraja evolved around the concept of cosmic dance of creation and destruction of Lord Siva who all along worshipped as the tutelary god of dance and aesthetic experience (rasa). In other word the image of Nataraja is an outcome of a brilliant combination of forceful rhythm and intense spiritual introspection.72 In the early 71 and medieval Brahamanical literature Lord Siva is described as the originator and the best exponent of various art form. Among these art forms, dance is generally regarded as the central and dominating one, leaving behind the painting and sculpture only to a subsidiary position. In actuality Dance is the gesture of becoming or manifestation and it is through dance that the Prana of essential principle of all sentiment, forms and awareness of consciousness can best be expressed and communicated.73 Bharata's, Natya Sastra, the pioneering treatise on Indian dramaturgy have simply mention 108 different kind of dance mode without going to their details. The famous south Indian Saiva agamas have further reinstated these 108 different dance modes and described all as being identical to Siva tandava. However, they also debarred themselves Bhattacharjee, A : Icons & Sculptures of early & Medieval Assam, 1978, p. 16. 70. 71. 72. Sastri, S.N. Ghoshal: Op-cit, Vol. II, 1983, p.288. Barpujari, H.K.(ed.) :Comprehensive History of Assam, Vol-I, p.351 73. Mukherjee, R.K.: The Cosmic art of India, p. 137.

97 from explaining all these dance modes, except nine specified dance mode identical to Siva Nataraja. The iconography of Siva tandava or Nataraja can generally be traced in different Puranas and Tantric text. In this connection the south Indian Saiva agamas are more vocal in describing the Nataraja images specially, the Koyil Purana and its successive esoteric literature like, Amsumadbhedagama, Kamikagama Purva, Silparatna, Suprabhedagama etc.74 Accordingly, the Nataraja images describe in the Uttara-kamikagama as four armed, three eyed and having brown and scattered clotted hair hanging over both side and back. Jahnavi is waiting by his right hand side with folded hand. 75 With all these the apasmarapurusha are always there under his feet. Another four handed description of Nataraja is being founded in Purva- Karanagama that he is three eyed, four armed with peacock feather and having chest like that of an osprey and scattered hair locks (Jata). Jahnavi is visible on the right top of his Jatamukuta. By his left ear, he wears a leaf like ear ring and by the right is a crocodile like ..... his right hand hold the gesture of abhaya, the little drum is on the right hand and the fire pot on the left. 76 On the other hand, the treatise like the Kurma Purana described Nataraja as being a deity of thousand armed. The Matshya Purana on the other hand, described Rudra as an eight armed deity but, while the same god is in the mood of tandava 74. Sastri, S.N. Ghoshal: Op-cit, Vol. II, 1983, 1965, p.295. 75. Ibid, 290. 76. Ibid, 292. 77. Ibid, p.261.

98 dance, the treatise prescribed him as being a ten armed deity.78 Over and above, the description of a two handed Nataraja is being found in Suprabhedagama where the Lord of fine art kept his right hand in abhya mudra and holds a small drum in his left hand.79 Thus, the Nataraja may have the composition of two to eighteen hands, but the most popularly appreciated form of this deity generally have ten arms. 80 Accordingly, the Nataraja images may be of thousand armed, sixteen armed, ten armed four armed and two armed etc. Depending on number of hands there is a sharp difference between north Indian and south Indian Nataraja images. Accordingly the south Indian Nataraja are mainly of four to two arms composition and apasmarapurusha under their feet. 81 On the other hand, the north Indian Nataraja are mostly multi armed ordinarily eight to eighteen and they refuse to have any apasmarapurusha under his feet. 82 Now coming to the point of emblem the Nataraja images are mainly the beholder of dambaru, abhya mudra, fire pot, sankha, sakti, danda, traisula, kapala, naga, khatvanga etc. In this connection it should also be remembered that according to the Matshya Purana the four armed and eight armed Rudra generally have a special appellation of Janana Yogesvara. 83 With these brief discussion, the present condition as well as the iconographical status of the two Nataraja images from Madan-Kamdev are as follows: 78. Ibid., 257. 79. Ibid. 292. 80. Ibid, p.261. 81. Ibid, p. 254. 82. Ibid. 83. Ibid, p.257. 84. Ibid. p. 292.

99 Fig. 5.1 a) Condition: b) Length: c) Leg Posture: d) Pedestal: e) Eye : f) Hands: g) Emblem: i) ii) the age long erosions have caused severe damage on the upper plastic surface of the image. 113 cm Width - 59 cm Nikuttitam - One leg rests firmly on the ground and other resting Upon the toe, stricke the ground with the heel. 85 no apasmarapurusha, but the stage is set with a sitting bull on the right side of the image. three, third eye on the forehead. four Upper right hand - severely damaged, might have hold trisula Lower right hand-Dambaru, the identical instrument of Lord Siva. iii) Upper left hand- Khatavanga iv) Lower hand- damaged, the emblem now in a indistinct state of condition. Fig. 5.2 a)Condition: b) Length: c) Leg Posture: d) Pedestal: e) Eye : f) Hands: eroded, the left leg is broken at the level of knee 78 cm Width 48 cm it is difficult to identify, but still it look to be in same Nikuttitam Posture. no apasmarapurusha, the image stands of full blown lotus three; third eye on the forehead four 85. Rao, T.A.G. : Op-cit, Vol.II, 1914, Part-I, p.263.

g) Emblems: i) Right upper hand- dambaru 100 ii) Right lower hand-placed near the chest, probably in vyakhyana mudra iii) Left upper hand-difficult to identify, but probably holds trisula iv) Lower left hand- totally damaged. h)Peculiarities attempted shade with the help of a Parasol on the head of the image. The iconographical trait of these two sculptures have got further elaboration with the waist gridle of Naramundamala, Jatamukuta, Patra kundala on the left and Nakra-Kundala on the right ear lob, along with other general ornamentation. These all are sufficient enough to confirm these two sculptures as being the true representation of Siva tandava popularly known as Nataraja. Physiognomy : 86 Stressing flesh, elongated torso, disproportionate execution, robust bodily form with vigorous amplitude are some of the characteristic physiognomical feature of Nataraja fig no 5.1 The trunk and limb are pregnant with sub dued vigour and mighty form. Here also wasp curve institute a rounded volume to the sculpture, while its gliding linear outline exposed the classical sensitivity. Chest with nipples and fleshy abdomen have duly instituted a sense of breath on one hand and on the other, a blinking sensuous look to the sculpture. 86. A 10 th century feature- Majumdar, R.C.: Op-cit, 1943, p.542.

101 But, the physiognomy of Nataraja 5.2 of MadanKamdeva is more rhythmic in its countenance. Comparing to earlier one, it is well proportionate in its composition and above all more lighter in volume. Thick smiling pair of lips, bulging eyes with normally curve eyebrows are some of the other characteristic feature of this sculpture. The rhythmic movement of the body however be expressed only with the left side flexion of the head along with the legs, the torso remain straight. Adding with this the Vyakhyana mudra can better be explained as if the lord of dance explaining different dance mood to the pupils or to the audience. The linear projection of hand and leg have left little space to sinuous movement, however the wasp curve still serve the purpose in providing rounded exuberance to this sculptural composition. Thus, coming to the point of chronology- the Nataraja Fig 5.1 of the site museum can clearly be referred as a product of tenth century A.D. while the chronology of second Nataraja Fig 5.2 may be assigned to a period of 11 th/12 th century A.D.