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referred as a special appearance to any temple wheather it may be
the temple complex of Madan-Kamdeva or others. Leaving aside
the generalized view, Nataraja from Madan-Kamdeva 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.