Part-3

Sacred Iconography of परमनान्द ताण्डव (paramanānda tāṇḍava –frantic dance of supreme bliss) 

The most artistic representation of this supreme truth, however is the sacred iconography of परमनान्द ताण्डव (paramanānda tāṇḍava – ferocious/frantic dance of supreme bliss) performed by ஸ்ரீ  நடராஜர் (srI nataraajar) at தில்லை  சிதம்பரம் (thillai chidambaram). Yes, according to नाट्य शास्त्र (nāṭya śāstra – science of dance), the ताण्डव नृत्य (tāṇḍava nṛtya) is a special form of dance expressing the emotions of साहसिकता / रौद्र (sāhasikatā / raudra – ferocity/violence). However, at the same time the आनन्द  नृत्य (ānanda nṛtya) depicts the emotions of  आनन्द  / शिव  (ānanda / śiva – happiness or bliss).  Structurally, upper part of the icon represents the आनन्द (ānanda - blissful) aspect of the குத்து (kUththu – dance), whereas the lower part of the icon wherein His right foot forcefully crushes अपस्मार पुरुष / முயலகன் (apasmāra puruṣa / muyalagan) symbolizes its ताण्डव (tāṇḍava – frantic / wild) aspect. 
Moreover, the most artistic expression of the philosophy behind the ஐம்பெருந்தொழில் / पञ्चमहा कृत्य (aimperunthozhil / pañcamahā kṛtya – five-fold cosmic act) is depicted by this iconography of ஸ்ரீ  நடராஜமூர்த்தி  தத்துவம் (srI nataraajamUrthi thaththuvam – philosophy underlying “king of dance” iconography).

The close correspondence between the आनन्द ताण्डव(ānanda tāṇḍava – blissful dance) of நடராஜ  மூர்த்தி(nadaraaja mUrththi) and the esoteric aspects of चिताकाश (citākāśa – gnostic vacuum) is highlighted in the छान्दोग्य उपनिषद् (chāndogya upaniṣad) as part of the पञ्चाग्नि विद्या (pañcāgni vidyā)  where it is stated thus

अथ हाग्नयः समूदिरे तप्तो ब्रह्मचारी कुशलं नः पर्यचारीद्धन्तास्मै प्रब्रवामेति तस्मै होचुः प्राणो ब्रह्म कं ब्रह्म खं ब्रह्मेति॥

 अथ हाग्नयः समूदिरे तप्तो ब्रह्मचारी कुशलं नः पर्यचारीद्धन्तास्मै प्रब्रवामेति तस्मै होचुः प्राणो ब्रह्म कं ब्रह्म खं ब्रह्मेति॥  

स होवाच विजानाभ्यहं यत्रप्राणो ब्रह्म कं च तु खं च न विजानामिति ते होचुर्यद्वा कं तदेव खं यदेव खं तदेव कमिति प्राणं च सास्मै तदाकाशं चोचुः॥

(

atha hāgnayaḥ samūdire tapto brahmacārī kuśalaṁ naḥ paryacārīddhantāsmai prabravāmeti tasmai hocuḥ prāṇo brahma kaṁ brahma khaṁ brahmeti||

atha hāgnayaḥ samūdire tapto brahmacārī kuśalaṁ naḥ paryacārīddhantāsmai prabravāmeti tasmai hocuḥ prāṇo brahma kaṁ brahma khaṁ brahmeti||  

sa hovāca vijānābhyahaṁ yatraprāṇo brahma kaṁ ca tu khaṁ ca na vijānāmiti te hocuryadvā kaṁ tadeva khaṁ yadeva khaṁ tadeva kamiti prāṇaṁ ca sāsmai tadākāśaṁ cocuḥ||

Then, the fires said among themselves: ‘ This celibate ascetic has undergone the austerities and has tended us very well. Well, let us instruct him; and they said to him: ‘Prana (vital air) ka is Brahman, kha is brahman’

Upakosala said to them: ‘ I understand that prana is Brahman, but I do not understand ka and kha’. Then they taught to him Prana as also the Akasha that is related to it

 -translation by V. Panoli

) छान्दोग्य उपनिषद् (chāndogya upaniṣad) (4.10.4,5)

As part of his commentary on the above concept, श्री आदि शंकराचर्य भग्वत् पाद (śrī ādi śaṁkarācarya bhagvat pāda) further elucidates the concept thus

तमेव मुक्तवन्तं ब्रह्माचारिणं ते हाग्नय ऊचुः। यद्वाव यदेव वयं कमवोचाम तदेव खमकाशमिति। एवं खेन विशेष्माणं कं विषयेन्द्रियसंयोगजात्सुखान्निवर्तितं स्यान्नीलेनव विशेष्यमाणमुत्पलं रक्तादिभ्यः। यदेव कमित्याकाशमवोचाम तदेव च कं सुखमिति जानिहि। एव च सुखेन विशेष्यमाणं ख भौतिकादचेतनात्खान्निवतितं स्यन्नीलोतप्लव्देदव। सुखमाकाशस्थनेतरल्लौकिकम्। आकाशम् च सुखाश्रयं नेतरद्भौतिकामित्यर्थः।

(

tameva muktavantaṁ brahmācāriṇaṁ te hāgnaya ūcuḥ| yadvāva yadeva vayaṁ kamavocāma tadeva khamakāśamiti| evaṁ khena viśeṣmāṇaṁ kaṁ viṣayendriyasaṁyogajātsukhānnivartitaṁ syānnīlenava viśeṣyamāṇamutpalaṁ raktādibhyaḥ| yadeva kamityākāśamavocāma tadeva ca kaṁ sukhamiti jānihi| eva ca sukhena viśeṣyamāṇaṁ kha bhautikādacetanātkhānnivatitaṁ syannīlotaplavdedava| sukhamākāśasthanetarallaukikam| ākāśam ca sukhāśrayaṁ netaradbhautikāmityarthaḥ|

To the Brahmachaari who spoke thus, the fires said: ‘what is referred as ka, even that is kha i.e., Akasha. Thus Ka (Joy), is qualified by Kha (Akasha), will become free from the joy resulting from the contact with the sensory objects , just as the lotus qualified by blue becomes distinct from those qualified by red. etc. What is referred to as Kha in the sense of Akasha, know you that as ka (joy). Thus Kha that is qualified by 'joy' shall be precluded from kha that is material and non-intelligent, like a blue lotus (as stated above). The joy (bliss) residing in the Akasha is Brahman and not any other worldly happiness. The idea is that the Akasha which is  the substratum of Bliss is Brahman, and not the material Akasha 

-Translation by V. Panoli

)छान्दोग्य उपनिषद् शंकर भाष्य (chāndogya upaniṣad śaṁkara bhāṣya) (4.10.4)

In other words, the कं (kaṁ) symbolizing the sacred आनन्द (ānanda - bliss) has close correspondence with the concept of खं (khaṁ) symbolizing आकाश (ākāśa - space / vacuum) and both of them, in turn, corresponds to ब्रह्म (brahma - god).  This synergy is what is very beautifully depicted in the आनन्द ताण्डव(ānanda tāṇḍava – blissful dance) iconography of நடராஜ  மூர்த்தி(nadaraaja mUrththi).   

Interestingly, the motif of Siva’s Dance, is not only known for its deep metaphysical significance, but is also very widely acknowledged among the scientific community including stalwarts like Carl Sagan, Fritjof Capra etc., for its underlying scientific basis. In fact, the prestigious European Centre for Nuclear Research (CERN), for instance has installed an instance of this sacred icon, in its campus, thereby acknowledging its scientific message

In fact, according to Ananda K. Coomaraswamy, the eminent scholar and subject matter expert on Indian Arts, in his famous essay titled “The Dance of Siva”, glorifies this iconography thus “How many various dances of Shiva are known to His worshipers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of”.

   Thus, this also day is celebrated as the महा अवतार दिन (mahā avatāra dina – grand manifestation day) of  ஸ்ரீ நடராஜர்( sri nataraajar - lord of the cosmic dance) – the dancing form of रुद्र शिव (rudra śiva). ஸ்ரீ  உமாபதி  சிவாச்சாரியார் (sri umaapathi sivaachariyaar) in his magnum opus கோயிற்புராணம் (kOyiRpuraaNam) very categorically states the significance of this event

மார்கழி திரை நாளின் முனிவெரெல்லாம்
வந்துதடம் படிந்து பொது வணங்கி வாழ்த்திப்
பார்துமா தொழுதகன்றார் முன்சென்று
பன்னமுனி மன்னவனீர் பயிற்றுமிந்தச்
சீர்தருமா தினமென்னத் தில்லை வாழும்
திருவடியன் தணரெந்த திருநாளென்று
சார்தருமா நவத்தீர்த்த நித்தங்கொண்டு

தஞ்சனமஞ்சன விழதவுதகுவித்தார்கள்

(

maargazhi thirainaaLin munivarellaam

vandhuthadam padindhapodhu vanangi vaazhththip

paarthagumaa thozhuthanRaar munnamenRu

pannamuni mannavanIr payiRRumindhach

sIrtharumaa dhinamennath thillai vaazhum

thiruvudaiyan dhaNarendhai thirunaaLenRu

saartharumaa navathIrththa nIththangkoNdu

thanjanamanjana vizhavuthaguviththaargaL.

).

-கோயிற்புராணம் (kOyurpuraaNam)

According to orthodox legends, it is widely believed that such ताण्डव (tāṇḍava - dance) was originally witnessed by His Divine Consort பார்வதி (paarvathi) and also the ऋषि (ṛṣi - sages) along with their पत्नी (patnī - wives) in the sacred forests दारुवन (dāruvana – pine forest), as explained in the திருப்பத்தூர்  புராணம் (thirupaththUr puraaNam)

இருடிகட்கா எழில் மன்றில் ஆசாரிய நடம் பையின்ற நாதன்

(

irudikatkaa ezhil manRil aachaariya natam paiyinRa naadhan

The Lord who performed the Dance of Wonder for the sake of the repentant sages of Daruka

) திருப்பத்தூர் புராணம்  (thirupaththUr puraaNam)

The following narration by Kamil V Zvelebil concisely summarizes the episode thus, “In the forest of Dāruvana, “heretic” sages practiced their austerities and sacrifices without truly loving and serving Shiva. Therefore, Shiva in the guise of a young handsome ascetic went there, accompanied by Vishnu whom he ordered to adopt the form of a beautiful courtesan and seduce the rishis – which Vishnu did most successfully, Shiva as the handsome young mendicant, aroused the passion of the wives of the sages, and seduced them one by one. The two gods were then followed by the Rishis and their wives, each apart, and when they met in the midst of the forest, the sages saw their naked impassioned wives and were shocked. They went into cancel and found out that the two seducers were none else than Shiva and Vishnu; and full of hatred against Shiva as the instigator of the plot, the sough to kill him. They prepared a sacrifice out of which emerged first a huge tiger; but Shiva destroyed the beast and wrapped the skin around his waist. Then a trident emerged to kill the god; but Shiva grasped it firmly in his hand. Then a furious antelope emerged to gore him; but Shiva took it in his left arm.Then a great numner of snakes were created to attack him; but he took them into his hair as ornaments. Subsequently a host of demons followed; but he ordered them to be his servants. Next a horrid grinning skull appeared; but Shiva set it into his crown of hair. Then the rshis created a drum (damru, tuti) which they hurled with a deafening sound against the god, but he caught it and held it firmly in one of his hands. Finally, they produced a demoniac dwarf as the embodiment of evil, called Muyalaka alias Apsāmarapuruṣa, ‘The man without memory’, and a scorching flame in addition, but Siva took the fire into his hand, and stepped on the back of the dwarf breaking his neck. And then he began to dance, and the whole universe trembled, because it was vigorous heroic tandava dance. After the dance, the sages, totally converted, fell at the god’s feet, but Shiva left the forest and returned to mount Kailaasha”. This story is elaborately explained in the चितंबर महात्म्य (citambaramahātmya) and also by the revered saint श्री उमापति शिवाचार्य (śrī umāpati śivācārya) in his கோயிற்புராணம்  (koyiRpuraaNam), both of which are considered to be the most authentic स्थल पुराण (sthala purāṇa – temple legend) of சிதம்பரம் தில்லை நடராஜர் கோயில் (chidhambaram thillai nataraajar kOyil). When आदिशेष (ādiśeṣa) heard of the glory of this dance, he also wanted to experience the same and thus prayed to his beloved lord महा विष्णु (mahā viṣṇu) who directed him to go to the sacred city of º¢¾õÀÃõ (chidambaram) and pray to lord Shiva and by महऋषि पतङ्जलि (mahaṛṣi patañjali) & महऋषि व्याघ्रपाद (mahaṛṣi vyaghrapāda) at the holy city of சிதம்பரம் (chidambaram).  The revered Saiva saint श्री उमापति शिवाचार्य (śrī umāpati śivācārya) in his masterpiece कुञ्चिताङ्घ्रि स्तव (kuñcittāñghri stava) eulogizes this event thus,

ब्रह्माण्डं यस्य धेहं रविहदिशि पदो वक्त्तवृन्दान्युदिच्यां

तद्वैराजान्तरङ्गे विलसति ह्र्दयाम्भोरुहं दक्षिणाग्रे।

मध्ये सम्मेलनाख्ये मुनिवरमनसा भाविते यन्त्रराजे

यश्शाक्त्या नृत्यतोशः...

(

brahmāṇḍaṁ yasya dhehaṁ ravihadiśi pado vakttavṛndānyudicyāṁ

tadvairājāntaraṅge vilasati hrdayāmbhoruhaṁ dakṣiṇāgre|

madhye sammelanākhye munivaramanasā bhāvite yantrarāje

yaśśāktyā nṛtyatośaḥ…

I worship the lord Nataraja who dances with His uplifted left leg in the company of His inseparable Shakti in the centre of the excellent yantra called 'Sammelana', and as visualized by the best ancient sages (like Patanjali, and Vyagrapada)…

) कुञ्चिताङ्घ्रि स्तव (kuñcittāñghri stava) (1)

Similarly, श्री रामबद्रदीक्षित(śrī rāmabadradīkṣita) provides the following account in his famous text called  "पतञ्जलिचरित (patañjalicarita - story of patanjali)"  further testifies thus:


मण्डल भ्रमिशु कीर्नजाह्नवीशिकरसनपितचक्रवालकम् बाहुवेग पवनावपूरितक्रन्ददन्तरदिगद्रिकन्दरम् उद्धृतैकचरनाम्बुजप्रभासृज्यमुनपरवेशविग्रहम् उत्पलदरसहोदराम्बिकालोचनान्तवलनैक गोचरम् शाम्बरियवनिकाम् अताक्शिपन् सप्रपञ्चमयनर्तनम् शिवः द्राग्  अदर्शयत गोणिकासुतम्  व्याहरपादम् इतरान् ऋषि अपि तेन ते स्वयम् इदम् जगन् मृशा जानते स्म परमार्थतः पुनः ब्रह्म तत् परम् अनादि सत्चिदानन्द लक्षनम् अनन्तम् अद्वयम्
(
maṇḍala bhramiśu kīrnajāhnavīśikarasanapitacakravālakam bāhuvega pavanāvapūritakrandadantaradigadrikandaram uddhṛtaikacaranāmbujaprabhāsṛjyamunaparaveśavigraham utpaladarasahodarāmbikālocanāntavalanaika gocaram śāmbariyavanikām atākśipan saprapañcamayanartanam śivaḥ drāg    adarśayata goṇikāsutam  vyāharapādam itarān ṛṣi api tena te svayam idam jagan mṛśā jānate sma paramārthataḥ punaḥ brahma tat param anādi satcidānanda lakṣanam anantam advayam.
)

Sri Sivaramamurthi in his famous book - Nataraja in Art, Thought and Literature, explains the above verses thus: "As Siva dances with the Universe as his theme, he almost tets fall the curtain of illusion, mystifying the Samnaea's, when soon he reveals the truth to Patanjali, Vyaharapada and other Rishis. 'This is the illusion of the world as you  see it. here, and you will now know the eternal truth of the Supreme Brahman immanent, beginning-less, eternal , sentient and blissful, unending and monastic." . 

The सगुण ब्रह्मन् (saguṇa brahman – Personal God) is manifested in dual modes viz. आत्म रूप  (ātma rūpa – subtle/ spiritual form) and பூத உருவம் / भूतरूप (bhUtha uruvam / bhūtarūpa – physical form). विग्रह (vigraha - idol) consecrated in a temple, basically represents the latter form. Again, as explained by அருள் நந்தி சிவனார் (aruL nandhi sivanaar) in his சிவ ஞான சித்தியர் (siva gnaana sidhdhiyar), such विग्रह (vigraha - idol), takes one or more of any of these three structural forms viz. निष्कलं/ அருவம் (niṣkalaṁ / aruvam - formless/ abstract), शकल निष्कलं /அருவுருவம் (śakala niṣkalaṁ / aruvuruvam – formless/non anthropomorphic form) &  शकल / உருவம் (śakala / uruvam – anthropomorphic form)

உருமேனி தரித்து கொண்டது என்றலும் உரு இறந்த

அருமேனி அதுவும் கண்டோம் அரு-உரு ஆனபோது

திருமேனி உபயம் பெற்றோம் செப்பிய மூன்றும் நந்தம்

கழுமேனி கழிக்க வந்த கருணையின் வடிவு காணே

(

urumEni thariththu koNdadhu enRalum uru iRandha

arumEni adhuvum kaNdOm aru-uru aanabhOdhu

thirumEni ubhayam peRROm seppiya mUnRum nandham

kazhumEni kazhikka vandha karuNaiyin vadivu kaaNE

Siva has a body-form, which He assumes on His own accord. Forms are twofold: Gross Form and Subtle Form.

Siva who transcends the body-form sports Formless Body. In consideration of these two forms, we know that he has Form-Formles Form (Rupa-Arupa).  Thus Siva has three Forms.  He is of the Form of Compassion and having subtracted the (Maya-born) body, liberated the soul.

Translated  by V.Krishnaraj

)  சிவஞான்சித்தியார்  (siva gnaana sidhdhiyaar) (75)

Again, in Saivism, these structural forms exists in நவந்தரு நிலைகள் (navantharu nilaigaL – ninefold states) as testified by saint திருமூலர்  (thirumUlar) in the following verses

மலர்ந்த அயன் மால் உருதிரன் மகேசன்

பலந்தரும் ஐமுகன் பரவிந்து நாதம்

நலந்தரும் சக்தி சிவன் வடிவாகிப்

பலந்தரு லிங்கம் பரானந்தி யாமே.

(

malarndha ayan maal uruthiran makEsan

palantharum aimugan paravindhu naadham

nalantharum sakthi sivan vadivaagip

palantharu lingam paraanandhi yaamE.

Brahma, Vishnu, Rudra, Mahesha,

The five-faced SadaSiva, Bindh and Nada, Shakti and Shiva – all these are Linga His Blessings grants.

He is but Nandi, that is Para Supreme.

-Translation by B. Natarajan

) திருமந்திரம்  (thirumanthiram (1776)

Again, in the famous वातुलशुद्धागम (vātulaśuddhāgama) the निष्कल शिव (niṣkala śiva – seedless shiva) is referred as परशिव (paraśiva – abstract shiva), शकल निष्कल शिव  śakalaniṣkala śiva –formless form shiva) as सदाशिव (sadāśiva) and the शकल शिव (śakala śiva)  as महेश  / महेश्वर शिव (maheśa maheśvara śiva) respectively.  The following verses from the text testifies the same

शिवः सदाशिवश् चैत महेशः त्रितिधः स्मृतः।

शिनतत्त्नं महासेन निष्कलं नेति कीर्तितं॥

सकलं निष्कलं चैव सधाशिवमिति स्मृतं।

महेशं सकलं विद्यात् त्रिविद्यं तद्भ वेदयया॥

(

śivaḥ sadāśivaś caita maheśaḥ tritidhaḥ smṛtaḥ|

śinatattnaṁ mahāsena niṣkalaṁ neti kīrtitaṁ||

sakalaṁ niṣkalaṁ caiva sadhāśivamiti smṛtaṁ|

maheśaṁ sakalaṁ vidyāt trividyaṁ tadbha vedayayā||

) वातुलशुद्धागम (vātulaśuddhāgama)

Similarly, in the sacred texts like पूर्वकामिकागम (pūrvakāmikāgama), these three are called अव्यक्तं (avyaktaṁ - unclear / unmanifest), व्यक्ताव्यक्तं (vyaktāvyaktaṁ - clear-unclear) & व्यक्तं (vyaktaṁ - clear) respectively. Interestingly, the temple at சிதம்பரம் (chitambaram), portrays all these three forms in the same temple viz. अकाश तत्त्व (ākāśa tattva – vacuum principle), स्फ्टिकलिङ्ग (sphaṭika liṅga) & நடராஜர் (nadaraajar) respectively. The table summarizes these forms

உருவ  வகைகள் (uruva vagaigaL - structural forms)	நவந்தரு நிலைகள் (navantharu nilaigaL – ninefold states)	உருவ  வகைகள் (uruva vagaigaL - structural forms) at சிதம்பரம் (Chitambaram)
अव्यक्  / निष्कलं / அருவம் (avyakta  / niṣkalaṁ / aruvam - formless/ abstract)	1.       நாதம் (naadham) 2.       விந்து (vindhu) 3.       சக்தி (sakthi) 4.       சிவம் (sivam)	अकाश तत्त्व (ākāśa tattva – vacuum principle)
व्यक्ताव्यक्त  / शकल निष्कलं / அருவுருவம் (vyaktāvyakta  / śakalaniṣkalaṁ /aruvuruvam – formless/non anthromorphic form) &	5.       சிவலிங்கம் (sivalingam)	स्फटिक लिङ्ग (sphaṭika liṅga)
व्यक्त  / शकल / உருவம் (vyakta  / śakala / uruvam – anthromorphic form)	6.       பிரமன் (biraman) 7.       திருமால் (thirumaal) 8.       உருதிரன் (uruthiran) 9.       மகேஸ்வரன்(magEsvaran)	நடராஜர் (nadaraajar)

 நவந்தரு நிலைகள் (navantharu nilaigaL – ninefold states)

This is also why, தில்லை சிதம்பர நடராஜர் கோயில் (thillai chidambaram natarajar kOyil) is given the highest importance even among all the தேவார பாடல் பெற்ற சதலங்கள் (dhEvaara paadal peRRa sathalangaL). In fact, according to orthodox convention the very term கோயில் (KOyil - temple) is used as a synonym for தில்லை சிதம்பர நடராஜர் கோயில் (thillai chidambaram natarajar kOyil) by default. The prominence given to this shrine can be understood from the following verses from சிதம்பர செய்யுட் கோவை (sidhambara seiyut kOvai) written by the revered saint தவத்திரு குமரகுருபர அடிகளார் (thavaththiru kumaragurubara adigaLaar)

தீர்தமென்பது சிவ கங்கையே

ஏத்தருந்தலம் எழிர் புலியூரே

மூர்த்தி அம்பலக் கூத்தன துருவே

(

thIrthamenbadhu siva gangaiyE

Eththarunthalam ezhir puliyUrE

mUrththi ambalak kUththana thuruvE

) சிதம்பர செய்யுட் கோவை (sidhambara seiyut kOvai)

Similarly, திருஅருட்பிரகாச இரமாலிங்க வள்ளலார் (thiruarutpirakaasa iramaalinga vaLLalaar) also in his mystic ecstasy, goes to the extent of singing thus,

நடராச பாட்டே நறும்பாட்டு

ஞாலத்தார் பாட்டெல்லாம் வெறும் பாட்டு

சிதம்பர பாட்டே திருப்பாட்டு

ஜீவர்கள் பாட்டெல்லாம் தெருப்பாட்டு

(

nadaraasa paattE naRumpaattu

gnaalaththaar paattellaaM veRum paattu

sidhambara paattE thiruppaattu

jIvargaL paattellaam theruppaattu

) திருஅருட்பா (thiru arutpaa)

Again, the noble child saint poet திருஞானசம்பந்தர் (thiruGnaanasambandhar) very categorically declares that he does not desire anything in this world more than the Holy Feet of Lord தில்லை நடராஜர் (thillai nataraajar)

வரு மாந்தளிர் மாதோர் பாகமான்

திருமாந்தில்லையுள் சிற்றம்பல மேயே

கருமான் உரியாடைக் கறை சேர் கண்டதெம்

பெருமான் கழலல்லால் பேணாதுள்ளமே

(

varu maanthaLir maadhOr baagamaan

thirumaanthillaiyuL siRRambala mEyE

karumaan uriyaadaik kaRai sEr kaNdadhem

perumaan kazhalallaal pENaadhuLLamE.

)  சம்பந்தர் தேவாரம் (sambandhar dhEvaaram)

In the beautiful பதிகம் (padhikam - verses) called பெரிய திருத்தாண்டகம் (periya thiruththaaNdagam), the noble saint திரு நாவுகரசர் (thiru naavukarasar), very categorically declares, பெரும்பற்றுபுலியூரானைப் பேசாத நாளெல்லாம் பிறவா நாளே (perumpaRRupuliyUraanaip pEsaadha naaLellaam piRavaa naaLE- Unlived indeed are the days unspent in praise of Lord  Perumppatrapuliyur). The beginning verses of the same is quoted here

அரியானை அந்தனர் தம் சிந்தையானை

அருபறையின் அகத்தானை அணுவை யாக்குன்

தெரியாத தத்துவனை தேனைப் பாலைத்

திகழ் ஒளியைத் தேவர்கள் தம் கோனை மற்றைக்

கரியானை நான்முகனைக் கனலைக் காற்றைக்

கனைக்கடலைக் குலவரையை கலந்து நின்ற

பெரியானை பெரும்பற்றுபுலியூரானைப்

பேசாத நாளெல்லாம் பிறவா நாளே..

(

ariyaanai andhanar tham sindhaiyaanai

arupaRaiyin agaththaanai aNuvai yaakkun

theriyaadha thaththuvanai thEnaip paalaith

thigazh oLiyaidh dhEvargaL tham kOnai maRRaik

kariyaanai naanmuganaik kanalaik kaaRRaik

kanaikkadalaik kulavaraiyai kalandhu ninRa

periyaanai perumpaRRupuliyUraanaip

pEsaadha naaLellaam piRavaa naaLE.

He is the rare one; He abides in the Chinta of Thillai Brahmins; He is the core of the rare Vedas; He is the Atom; He is the tattva unknown to anyone; He is the honey, the milk, the self luminous light;

He is the king of the celestial Lords;

He is the Dark-one the four faced,

 The Fire, the Air, the roaring Ocean

And the world-supporting mountain.

He, the greatest is of Perumppatrapuliyur.

Unlived indeed are the days unspent in His praise.

-translation by T.N. Ramachandran

)அப்பர் தேவாரம் (appar dhEvaaram) (1.1)

Interestingly, in line with the Saivite beliefs discussed above, in the Vaishnavite theosophy as well, the term கோயில் (KOyil - temple) by default refers to திருவரங்கம் (thiruvarangam - Srirangam) - which is considered to be the foremost temples among the 108 divya desams (Divine Spaces). Just as the former, this temple has been highly glorified by திவ்ய பிரபந்த பாசுரங்கள் (dhivya pirabandha paasurangaL) composed by the ஆழ்வார்கள் (aazhvaargaL). For example, the revered  saint திருபானாழ்வார் (thirupaanaazhvaar) in his famous masterpiece அமலனாதிபிரான் (amalaadhipiraan), sings thus,

கொண்டல் வண்ணனைக் கோவாலனாய் வெண்ணெய்

உண்டவாயன் என் ஊள்ளம் கவர்ந்தானை

அண்டர்கோன் அணியரங்கன் என் அமுதினைக்

கண்ட கண்கள் மற்றொன்றினை காணாவே

(

koNdal vaNNanaik kOvaalanaai veNNei

uNdavaayan en ULLam kavarndhaanai

aNdarkOn aNiyarangan en amudhinaik

kaNda kaNgaL maRRonRinai kaaNaavE.

My eyes which have seen my nectar , Lord

RanganAthan , who has the colour of the clouds ,

whose mouth ate butter when He became a cowherd ,

who stole my heart , who is the ruler over all

the worlds and their residents--those eyes of mine

will not see anything else anymore after seeing Him

Translation by V. Sadagopan

) அமலனாதிபிரான் (amalaadhipiraan) (10)

Again, the famous verses by saint தொண்டரடிப்பொடி ஆழ்வார் (thoNdaradippodi aazhvaar) in his famous பாசுரம் (paasuram) called திருமாலை (thirumaalai – sacred garland) sings thus,

பச்சைமா மலை போல் மேனி பவளவாய் கமலச்செங்கண்

அச்சுதா! அமரர் எறே! ஆயர்தம் கொழுந்தே என்னும்

இச்சுவை தவிர யான் போய் இந்திர லோகம் ஆளும்

அச்சுவை பெறினும் வேண்டேன் அரங்கமா நகருளானே

(

pachchaimaa malai pOl mEni pavaLavaai kamalachchenkaN

achchudhaa! amarar eRE! aayartham kozhundhE ennum

ichchuvai thavira yaan pOi indhira lOkam aaLum

achchuvai peRinum vEndEn arangamaa nagaruLaanE.

) திருமாலை (thirumaalai – sacred garland) (2)

In fact, the term திருவரங்கம் (thiruvarangam), is derived from the terms திரு (thiru – god) & அரங்கம் (arangam - stage). Moreover, the chief presiding deity महा विश्णु (mahā viśṇu) is called அரங்கனாதன் (aranganaathan), which literally means “The Lord of the Stage”, exactly corresponding to the Saivite term சபாபதி (sabaapathi). While, at Srirangam, the static (potential) aspect of Divinity is highlighted by showcasing the God in sleeping position, at சிதம்பரம் (chidambaram) the focus is on the dynamic (kinetic) aspect of Divinity showcased as the கூத்தபிரான் (kUththapiraan - dancing god). Thus, fundamentally, in principle, both Vaishnavism and Saivism share a common theme with respect to the underlying philosophy of temples

Interestingly, the கோவிந்தராஜ பெருமாள் (govindharaaja perumaaL) at the திருசித்திரகூடம் திருகோயில் (thiru chiththirakUdam thirukkOyil) within the campus of தில்லை சிதம்பர நடராஜர் கோயில் (thillai chidambaram natarajar kOyil), also represents the சயன / கிடந்த கோலம் (sayana / kidandha kOlam – sleeping pose) of Lord महाविष्णु (mahāviṣṇu), similar to the அரங்கனாதன் (aranganaathan) at திருவரங்கம் (thiruvarangam). In fact, திருசித்திரகூடம் திருகோயில் (thiru chiththirakUdam thirukkOyil) is also one of among the 108 திவ்ய தேசங்கள் (thivya dhEsangaL) on which the திருமங்கை ஆழ்வார் (thirumangai aazhvaar), as well as, குலசேகராழ்வார் (kulasEkaraazhvaar) have both (independently) performed மங்கலாசசனம் (mangalaasaasanam) by composing around 32 திவ்ய பிரபந்த பாசுரங்கள் (dhivya pirabandha paasurangaL) glorifying the deity.      

According to orthodox legend it was திருசித்திரகூடம் (thiru chiththirakUdam), the competitive dance between the divine couple viz. परमशिव (paramaśiva) and his belowed consort शिवकामी (śivakāmī) was performed, while महाविष्णु (mahāviṣṇu) who was witnessing the same, as a presiding judge. Earlier, a similar competition between this couple was conducted at திருவால்ங்காடு (thiruvaalangaadu) where परमशिव (paramaśiva) had performed the ऊर्ध्व ताण्डव (ūrdhva tāṇḍava) on the இரத்தின சபை (irathna sabai – pearl hall) which was witnessed by Lord ब्रह्म (brahma). However, as ब्रह्म (brahma) said he was unable to decide who was a better dancer between the two, requested महाविष्णु (mahāviṣṇu) to provide the judgement. And accordingly, the competition was conducted once again, but now on the பொற்சபை (poRsabai – golden hall) at சிதம்பரம் (chidhambaram) as witnessed by கோவிந்தராஜ பெருமாள் (govindharaaja perumaaL).

This திருசித்திரகூடம் சன்னிதி (thiru chiththirakUdam sannidhi) is strategically located in the निरृति दिक् / நிருதி திசை (nirṛti dik / niruthi thisai) just in front of the சித்சபை (chit sabai), silently witnessing the परमानन्द ताण्डव (paramānanda tāṇḍava – dance of supreme bliss) performed by கூத்தபிரான் (kUththapiraan - dancing lord) also called as நடராஜ ராஜர் (natarajara raajar – emperor amongst royyal dancers). I strongly feel, these shrines were so designed (located) only to highlight the underlying हरि हर अभेद (hari-hara abheda – nondifference between Hari & Hara). In fact, it is here, the revered saint श्री अप्पय दीक्षित (śrī appayya dīkṣita) sings the famous हरिहर स्तुति (harihara stuti) only to drive home this message of theological harmony underlying these two देवत (devata - deities). Similarly, the honorable Tamil Siddha saint சிவவாக்கியர் (sivavaakkiyar) also very strongly reiterates this point by singing thus,

தில்லை நாயகன் அவன் திருவரங்கனும் அவன்

எல்லையான புவனமும் ஏகமுக்த்தியும் அவன்

பல்லு நாவும் உள்ளபேர் பகுந்துக்கூறி மகிழ்வார்

வல்லபங்கல் பேசுவார் வாய்புழுத்து மாய்வரே.

(

thillai naayagan avan thiruvaranganum avan

ellaiyaana buvanamum Egamukththiyum avan

pallu naavum uLLapEr pagundhukkURi magizhvaar

vallabangal pEsuvaar vaaipuzhuththu maaivarE.

) சிவவாக்கியர் பாடல்கள் (sivavaakkiyar paadalgaL)

Interestingly, similar examples highlighting the சைவ-வைணவ ஐக்கியம் (saivavaiNava aikkiyam) is a common theme in the conceptual design of many ancient शिवालय (śivālaya – Shiva temples) including the ancient சித்திரம் (siththiram – painting) on the தெற்க்கு சுவர் (theRkku suvar – south wall) of ஆடகேசுவர சபை (aadakEsuvara sabai – Lord of Dance Hall), depicting महाविष्णु (mahāviṣṇu) in His சயன / கிடந்த திரு கோலம் (sayana / kidandha thiru kOlam –sacred sleeping pose) in front of the தியாகேசர் (thiyaagEsar – Lord of Sacrifice) at the famous திருவாரூர் திருகோயில் (thiruvaarUr thirukOyil). Besides this, महाविष्णु (mahāviṣṇu) in His நின்ற திரு கோலம் (ninRa thiru kOlam –sacred standing pose), is also consecrated on the north-facing back wall of தியாகேசர் சன்னிதி (thiyaagEsar sannidhi – shrine of Lord of Sacrifice) in the same temple. Incidentally, the nature of திருகூத்து (thirukUththu – sacred dance) performed by the ஆட வல்லான் (aada vallaan – master of dances), this temple is considered as His अजप ताण्डव (ajapa tāṇḍava – dance of unstruck sound). Again, in the sacred city of திருவெண்காடு / स्वेदारण्य (thiruveNkaadu / svedāraṇya) popularly glorified as ஆதி சிதம்பரம் (aadhi chidhambaram) also has महाविष्णु (mahāviṣṇu) posed in His நின்ற திரு கோலம் (ninRa thiru kOlam –sacred standing pose) installed the निरृति दिक् / நிருதி திசை (nirṛti dik / niruthi thisai) of the நடராஜர் சன்னிதி (nataraajar sannidhi)

Thus, we can easily observe that in many பாடல் பெற்ற சிவாலயங்கள் (paadal peRRa sivaalayangaL) particularly those wherein நடராஜர் சன்னிதி (nataraajar sannidhi). is special, such concept of சைவ வைணவ ஐக்கியம் (saivavaiNava aikkiyam) has become an integral part of temple design. From a metaphysical point of view, this is because, in principle, the நடராஜர் தத்துவம் (nataraajar taththuvam – concept of nataraja) itself implies such a synergy. It beautifully depicts the synergy between the கூத்தன் (kUththan -  dancer) and His கூத்து (kUththu -  dance).  In metaphysical terms, the former represents the principle of eternal being, while the latter the eternal becoming. Both are two sides of the same coin – the passive and active principles conventionally theologized as शिव (śiva) & शक्ति (śakti) respectively. According to certain legends, the शक्ति तत्त्व (śakti tattva – kinetic principle) is mapped to the विष्णु तत्त्व (viṣṇu tattva) who had once taken the मोहिनी अवतार (mohinī avatāra – female incarnation), as observed earlier. I am only reminded of the following verses from பொன்வன்னத்து அந்தாதி (ponvannaththu anthaathi) sung by the mystic saint poet சேரமான் பெருமாள் நாயனார் (sEramaan perumaaL naayanaar).

இடமால் வலம் தான் இடப்பால் துழாய் வலப்பால் ஒண்கொன்றை

வடமால் இடந்துகில் தோல் வலம் ஆழி இடம் வலம்மான்

இடமால் கரிதால் வலஞ்சே திவனுக் கெழில்னலஞ்சேர்

குடமால் இடம்வலங்கொக்கரை யாம் எங்கல் கூத்தனுக்கே

(

iDamAl valam thAn iDappAl thuzAy valappAl oNkonRai

vadamaal idanthugil thOl valam aazi idam valammaan

idamaal karithaal valanjE thivanuk kezhilnalanjEr

kudamaal idamvalangokkarai yaam engal kUththanukkE.

Left is viShNu and right is Self, left-side thulasi and

right-side nice konRai, left is cloth and to the right is 

skin, disc to the left and deer in the right, left is

black and right is reddish for Him. Nice and charming,

kuDakkUththu on the left and kokkarai on the right for 

our Dancing Lord !

Translated  by Sri T.N. Ramachandran

) பொன்வன்னத்து அந்தாதி (ponvannaththu anthaathi) (1)

Interestingly, with respect to நடராஜர் தத்துவம் (nataraajar taththuvam – concept of nataraja) the roles between these two deities viz. शिव (śiva) &विश्णु (viśṇu) seems to be reversed. Here, unlike tradition convention, the former represents the dynamic role (who is eternally vibrant as a dancer), while the latter represents the passive role (who is silently witnessing in योग निष्ट (yoga niṣṭa – meditative trance). Probably the two deities decided to swap their roles!

The essential अभेद (abheda – non-difference) between शिव (śiva) & विश्णु (viśṇu) is also testified very emphatically in the sacred scriptures. In the श्री विष्णु सहस्रनाम (śrī viṣṇu sahasranāma), for example, शिव (śiva) is incorporated as one of the नाम (nāma - name) and thereby a गुण (guṇa - aspect) of विश्णु (viśṇu). His holiness, जगत्गुरु श्री आदि शंकराचार्य भगवत् पाद (jagatguru śrī ādi śaṁkarācārya bhagavat pāda) in his famous भाष्यम् (bhāṣyam - commentary) on the above scripture, elaborately deals with this concept by providing various शब्द प्रमाण (śabda pramāṇa - scriptural testimonies).  He, for instance, quotes from the कैवल्य उपणिशद् (kaivalya upaṇiśad) by arguing thus,

निस्त्रैगुणयतया शुद्धत्वात् शिवः ‘स ब्रह्मा स शिवः…’ इत्य बेधोपदेशात् शिवादिनामभिः हरिरेव स्तुयते।

(

nistraiguṇayatayā śuddhatvāt śivaḥ ‘sa brahmā sa śivaḥ…’  itya bedhopadeśāt śivādināmabhiḥ harireva stuyate|

He is the Good, being free of the three qualities.  Vishnu alone is praised by the name ‘Shiva’, and other names, there being no difference between Him and them. So says the shruti  (TA 10.11.12). ‘ He is Brahman, He is Siva’ 

-translation by R. Ananthakrishna Shashtri.

) विष्णु पुराण भाष्यम् (viṣṇu purāṇa bhāṣyam) (27)

He even goes to the extent of saying those sectarians who start-promoting differences between these deities is nothing short of blasphemy and hence will be severly punished for their sin. He quotes from the भविष्य पुराण (bhaviṣya purāṇa). 

The philosophical theme on हरिहर अभेद (harihara abheda) can be further extended to include all the three stakeholders in the dance viz. கூத்தன் (kUththan – dancer) theologized as शिव (śiva), the actual கூத்து (kUththu - dance) theologized as शक्ति (śakti) and the காண்பவன் / சாட்சி (kaaNbavan / saatchi - observer / witness) theologized as विष्णु (viṣṇu). Holistically speaking, all these three entities are part and parcel of the same absolute. I am only reminded of the following verses from அற்புத திருவந்தாதி (aRpudha thiruvandhaadhi) sung by the mystic saint poet, holy mother ¸¡¨Ã측ø «õ¨Á¡÷ (kaaraikaal ammaiyaar)

அறிவானுன் தானே அறிவிப்பன் தானே

அறிவாய் அறிகின்றான் தானே அறிகின்ற

மெய்பொருளுன் தானே விரிசுடர்பார் ஆகாயம்

அப்பொருளுன் தானே அவன்.

(

aRivaanun thaanE aRivippan thaanE

aRivaai aRiginRaan thaanE aRiginRa

meiporuLun thaanE virisudarpaar aagaayam

apporuLun thaanE avan

He s the knower; He is the Paraclete; He is the Buddhi

That understand; He indeed is the reality that is apperceived;

He is sun, (moon), earth, (water, fire, air) and ether; it is 

Indeed He who is all these.

Translated  by T.N. Ramachandran

) அற்புத திருவந்தாதி (aRpudha thiruvandhaadhi) (2.4.20)

Thus far, in the above paragraphs, how the நடராஜர் தத்துவம் (nataraajar taththuvam – concept of nataraja) beautifully synthesizes the parallel मद संप्रदायाः (mada saṁpradāyāḥ - religious traditions) viz. शैव (śaiva), वैष्णव (vaiṣṇava) & शाक्त (śākta) into its core philosophy. Moreover, by making the पञ्च महा कृत्य (pañca mahā kṛtya – five supreme functions) an integral part of its design, it has even more emphasized the underlying अभेद (abheda – non difference) between these theologies.

In fact, the iconography of the ஆனந்த தாண்டவம் (aanandha thaaNdavam) of lord நடராஜர் (nadaraajar) is considered as one of the best expressions of Human scientific and artistic genius as expressed by the eminent scholar Ananda Kentish Coomaraswamy, who declares “How many various dances of Shiva are known to His worshipers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of…  Nataraja is the noblest symbolism of Supreme Power. He is a synthesis of Scence, Religion and Art.How amazing the range of thought and sympathy of those rishi-artists who first conceived such a type as this, affording an image of reality, a key to the complex tissue of life, a theory of nature, not merely satisfactory to a single clique or race, nor acceptable to the thinkers of one century only, but universal in its appeal to the philosopher, the lover, and the artist of all ages and all countries. How supremely great in power and grace this dancing image must appear to all those who have striven in plastic forms to give expression to their intuition of Life!

In these days of specialization, we are not accustomed to such a synthesis of thought; but for those who ‘saw‘ such images as this, there could have been no division of life and thought into water-tight compartments. Not do we always realize, when we criticise the merits of individual works, the full extent of the creative power which, to borrow a musical analogy, could discover a mode so expressive of fundamental rhythms and so profoundly significant and inevitable. Every part of such an image as this is directly expressive, not of any were superstition or dogma, but of evident facts. No artist of today, however great, could more exactly or more wisely create an image of that Energy which science must postulate behind all phenomena.” 

Let us take a closer look at the iconography of ¿¼Ã¡ƒ ã÷ò¾¢ (nadaraaja mUrththi) and try to understand its underlying esoteric meanings. By its very design, every भाग (bhāga – part) of its स्वरूप (svarūpa – natural form) reveals a metaphysical secret.

#	भाग (bhāga – part)	Description
1	மயில் இறகு (mayil thOgai – peacock feathers)	The மயில் இறகு (mayil thOgai – peacock feather) is not only an aesthetic symbol of elegance and beauty but in occult terms, as explained by Dr. Y Dakshinamurthi, it also symbolizes மேல்செல் உயிர் (meLsel – ascending soul) reflecting an ancient spiritual practice.
	கொக்கிறகு (kokkiRagu – egret feather)
	¦¸¡ý¨È ÁÄ÷ (konRai malar - Cassia Fistula / golden shower)
2	जटा (jaṭā – knot of matter hair)
3	यज्ञोपवित (yajñopavita – sacred thread)	It represents the कुण्डलिनी शक्ती (kuṇḍalinī śaktī)
4	गङ्ग (gaṅga – river goddess)	Flow of grace
5	पत्रकुण्डल (patrakuṇḍala - twisted golden palm leaf in the left ear-lobe )	There is a स्त्री कुण्डलम् (strī kuṇḍalam – feamle ring) on the left ear representing the शक्ति तत्त्व (śakti tattva – female principle) of अर्धनारीश्वर(ardhanārīśvara)
6	मकरकुण्डल (makarakuṇḍala – crockodile ear lobe on right ear)	This reperesents the शिव तत्त्व (śiva tattva – male principle) of अर्धनारीश्वर (ardhanārīśvara)
7	þÇõ À¢¨È / इन्दुदल (iLam piRai /  indudala – crescent moon)	The अर्धेन्दु (ardhendu - crescent moon) as on the पञ्चमि तिति (pañcami  titi – fifth lunar day), symbolizing the concept of  time.
8	अर्धचन्द्र हस्त मुद्रा (ardhacandra hasta mudrā – tongue of flame)	The upper left palm holds the தீயகல் (thIyagal – fire light)  representing प्रलयाग्नि (pralayāgni – fire of dissolution) in the shape of अर्धचन्द्र (archachandra – half moon)
9	डमरु हस्त (ḍamaru hasta – hand with drum)	The ÐÊ / डमरु (thudi / ḍamaru – drum)  symbolizes the नाद स्पन्दन / शब्द ब्रह्मन् (nāda spandana  / śabda brahman)
10	अभय हस्त मुद्रा (abhaya hasta mudrā – fear not symbol)	The lower front right arm holds the  अभय मुद्रा (abhaya hasta mudrā – fear not gesture)
11	गज  हस्त मुद्रा (gaja hasta mudrā – elephant hand pose)	Symbolizes Lord गनेश / विग्नेष्वर (ganeśa / vigneṣvara) – the removal of obstacles.
12	கமல பீடம் / पद्म पीठ (kamala pIdam / padma pīṭha – lotus pedestal)
13	உதர பந்தம் (udhara bandham)
14	புலியுரி (puliyuri)
15	திருவாசி சுடர்/ प्रभमण्डल (thiruvaasi sudar / prabhamaṇḍala – ring of flames)	The திருவாசி (thiruvaasi) represents the हिरण्यगर्ब (hiraṇyagarba – golden womb / cosmic egg) or the boundry condition wherein the sacred திருவிலையாடல் (thiruvilaiyaadal - divine game) of महा माया (mahā māyā – cosmic illusion) is enacted. प्रभमण्डल (prabhamaṇḍala – ring of flames) not only forms a ornamental decoration around நடராஜ மூர்த்தி (nataraaja mUrththi) but also symbolizes the ध्वनि / बीज मन्त्र (dhvani /  bīja mantra)

 Organs of Nataraja Murthi

Dr. Ramachandran Nagaswamy the eminent archaeologist , epigraphist and historian in the following video gives a very detailed account of the iconography

The fact that the ஆனந்த தாண்டவம் (aanandha thaaNdavam – blissful dance) of Lord நடராஜர் (nadaraajar) symbolizes a cosmological dance is very categorically testified by saint திருமூலர்(thirumUlar) in the following verses

அண்டங்கள் ஏழினிக்கு அப்புறத்து அப்பால்

உண்டென்ற சத்தி சதசிவத்து உச்சிமேல்

கண்டம் கரியான் கருணை திருவுருக்

கொண்டு அங்கு உமைகாணக் கூத்து உகன் தானே.

பரமாண்டத்து ஊடே பராசக்தி பாதம்

பரமாண்டத்து ஊடே படரொளி ஈசன்

பரமாண்டத்து ஊடே படர்தரு நாதம்

பரமாண்டத்து ஊடே பரன் நடம் ஆடுமே

(

aNdangaL Ezhinikku appuRaththu appaal

uNdenRa saththi sadhasivaththu uchchimEl

gaNdam kariyaan karuNai thiruvuruk

koNdu angu umaikaaNak kUththu ugan dhaanE.

paramaaNdaththu UdE paraasakthi paadham

prmaaNdaththu UdE padaroLi Isan

paramaaNdaththu UdE padartharu naadham

paramaaNdaththu UdE paran nadam aadumE.

Beyond, beyond, the universes seven,

High above Sakti and Sadasiva,

The dark-throated Lord,

As compassion embodied,

Danced in rapture

For Uma there to witness.

At the crest of Cosmos of galaxies vast (Paramandam)

Are the Holy Feet of Parasakti;

At the crest of Cosmos

Is the radiant Light of Isa

Permeating the Cosmos

Is the expansive Nada;

There through the Cosmos vast

Does the Paran dance unceasing.

Translated  by Dr. B .Natarajan

)

திருமந்திரம் (thirumandhiram) (2732,2734)

We can separately deep dive into the cosmological significance of the iconography, separately sometime later, but for now I would like to quote here the naration of reverered scientist and author Fritjoff Capra, who beautifully sumarizes thus, “Indian artists of the tenth and twelfth centuries have represented Shiva’s cosmic dance in magnificent bronze sculptures of dancing figures with four arms whose superbly balanced and yet dynamic gestures express the rhythm and unity of Life. The various meanings of the dance are conveyed by the details of these figures in a complex pictorial allegory. The upper right hand of the god holds a drum to symbolize the primal sound of creation, the upper ieft bears a tongue of flame, the element of destruction. The balance of the two hands represents the dynamic balance of creation and destruction in the world, accentuated further by the Dancer’s calm and detached face in the centre of the two hands, in which the polarity of creation and destruction is dissolved and transcended. The second right hand is raised in the sign of ‘do not fear’, symbolizing maintainance, protection and peace, while the remaining left hand points down to the uplifted foot which symbolizes release from the spell of maya. The god is pictured as dancing on the body of a demon, the symbol of man’s ignorance which has to be conquered before liberation can be attained

Shiva’s dance-in the words of Coomaraswamy- is ‘the clearest image of the activity of Cod which any art or religion can boast of’. As the god is a personification of Brahman, his activity is that of Brahman’s myriad manifestations in the world. The dance of Shiva is the dancing universe; the ceaseless flow of energy going through an infinite variety of patterns that melt into one another. Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter. According to quantum field theory, all interactions between the constituents of matter take place through the emission and absorption of virtual particles. More than that, the dance of creation and destruction is the basis of the very existence of matter, since all material particles ‘self-interact’ by emitting and reabsorbing virtual particles. Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. The patterns of this dance are an essential aspect of each particle’s nature and determine many of its properties. For example, the energy involved in the emission and absorption of virtual particles is equivalent to a certain amount of mass which contributes to the mass of the self-interacting particle. Different particles develop different patterns in their dance, requiring different amounts of energy, and hence have different masses. Virtual particles, finally, are not only an essential part of all particle interactions and of most of the particles’ properties, but are also created and destroyed by the vacuum. Thus, not only matter, but also the void, participates in the cosmic dance, creating and destroying energy patterns without end.

For the modern physicists, then, Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomena. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The bubble-chamber photographs of interacting particles, which bear testimony to the continual rhythm of creation and destruction in the universe, are visual images of the dance of Shiva equalling those of the Indian artists in beauty and profound significance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art, and modern physics. It is indeed, as Coomaraswamy has said, ‘poetry, but none the less science”.

Various literature based on शैव आगम शास्त्र (śaiva āgama śāstra) including शिव पराक्रम (śiva parākrama), शिल्प शास्त्र (śilpa śāstra), मयमदम् (mayamadam), कारणागम (kāraṇāgama), शिल्प रत्न (śilpa ratna), சகளாதிகாரம் (sakalaadhikaaram) etc., have further extended these basic forms of विग्रह (vigraha - idol) to a wider number of variations in their திருகோலங்கள் (thirukOlangaL – Divine poses). The शिल्प शास्त्र (śilpa śāstra), சகளாதிகாரம் (sakalaadhikaaram) & मयमदम् (mayamadam) for example refer to षोदश मूर्ति (ṣodaśa mūrti - sixteen icons) while the कारणागम (kāraṇāgama) extends it to पञ्चविंसति मूर्ति (pañcaviṁsati mūrti – twenty five icons) and शिव पराक्रम (śiva parākrama) extends the list to அஷ்டாஷ்ட மூர்திகள் (ashtaashta mUrthigaL – sixty four icons). 

The iconography of நடராஜர் (nataraajar) for example does not directly occur in the அஷ்டாஷ்ட மூர்திகள் (ashtaashta mUrthigaL – sixty four icons) listing from above table. However, it is mentioned in the listing of the कारणागम (kāraṇāgama). The next important point to understand is that some of these மூர்திகள் (mUrthigaL – icons) further take various forms. According to the शैव आगम शास्त्र (śaiva āgama śāstra) there are सप्त ताण्डव (sapta tāṇḍava – seven fold dances) performed by நடராஜர் (nataraajar)

#	ताण्डव (tāṇḍava - dance)	Associated शिवालय (śivālaya)
1	कालिका ताण्डव (kālikā tāṇḍava)	திருனெல்வேலி தாமிர சபை (thirunelvEli thaamira sabai)
2	गौरी ताण्डव (gaurī tāṇḍava)	திருபத்தூர் சிற்சபை (thirpaththUr siRsabai)
3	सन्ध्या ताण्डव (sandhyā tāṇḍava)	மதுரை வெள்ளி சபை (madhurai veLLi sabai)
4	संहार ताण्डव (saṁhāra tāṇḍava)	திருகடவூர் (thirukadavUr)
5	ऊर्द्व ताण्डव (ūrdva tāṇḍava)	திருவாலங்காடு ரத்தின சபை (thiruvaalangaadu raththina sabai)
6	त्रिपुर ताण्डव (tripura tāṇḍava)	திருகுற்றால சித் சபை  (thirukuRRaala chith sabai)
7	आनन्द ताण्डव (ānanda tāṇḍava)	தில்லை சிற்சபை (thillai ciRsabai)

Some scripture further extends this to द्वदश (dvadaśa – twelvefold) listing which includes the following आनन्द ताण्डव (ānanda tāṇḍava), सन्ध्या ताण्डव (sandhyā tāṇḍava), ऊर्द्व ताण्डव (ūrdva tāṇḍava), कालिका ताण्डव (kālikā tāṇḍava), त्रिपुर ताण्डव (tripura tāṇḍava), संहार ताण्डव (saṁhāra tāṇḍava), स्रिङ्गार ताण्डव (sriṅgāra tāṇḍava), प्रलय ताण्डव (pralaya tāṇḍava), भूत ताण्डव (bhūta tāṇḍava), शुद्ध ताण्डव (śuddha tāṇḍava), उग्र ताण्डव (ugra tāṇḍava), भुजङ्ग ताण्डव (bhujaṅga tāṇḍava).  But this is not exhaustive either as the ताण्डव लक्षन (tāṇḍava lakṣana – dance signs) defined in the ancient science of नाट्य शास्त्र (nāṭya śāstra) by the revered महृषि भरत मुनि (mahṛṣi bharata muni), the form of நடராஜர் (nataraajar), for example, has almost 108 different करन (karana - states) and interestingly all these are beautifully sculpted on both sides the கோபுர வாசல்கள் (gOpura vaasalgaL) at the various temples including

·         தில்லை நடரஜர் திருகோயில் சிதம்பரம் (thillai natarajar thirukOyil chidhambaram)

·         ப்ரிஹதீஸ்வரர் திருக்கோயில் தஞ்சாவூர் (brihadhIsvarar thirukkOyil thanjaavUr)

·         சாரங்கபானி திருக்கோயில் கும்பகோனம் (saarangapaani thirukkOyil kumbakOnam)

· அருணாசலேஷ்வரர் திருக்கோயில் திருவண்ணமலை aruNaachalEshvarar thirukkOyil thiruvaNNamalai)

Continued...

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