ब्राह्मप्रतिकाविद्यानटराजस्य (brāhmapratikāvidyānaṭarājasya – sacred iconography of dance-king)

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  தில்லை  சிதம்பர நடராஜர்  (tilla cidambara naṭarājar). 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 – blissful dance) depicts the emotions of  आनन्द  / शिव  (ānanda / śiva – happiness or bliss).  Structurally, upper part of the icon represents the आनन्दमय (ānandamaya - blissful) aspect of the கூத்து (kūttu – dance), whereas the lower part of the icon wherein His right foot forcefully crushes अपस्मारपुरुष / முயலகன் (apasmārapuruṣa / muyalagan) symbolizes its ताण्डव (tāṇḍava – frantic / wild) aspect.

For example,  the philosophy behind the ஐம்பெருந்தொழில்கள் / पञ्चमहाकृत्यानि  (aimperuntozhilgaL / pañcamahākṛtyāni – five-fold cosmic act) is one of the most important themes depicted by this iconography of ஸ்ரீ  நடராஜமூர்த்தி  தத்துவம் (srī naṭarājamūrtti tattuvam – philosophy underlying “king of dance” iconography). For more details on पञ्चमहाकृत्यानि (pañcamahākṛtyāni – five cosmic acts), please refer my (on left pane menu) discussions under the page titled

"ब्रह्मपिण्डसंसुतिविज्ञान गुर्वर्थत्व (brahmapiṇḍasaṃsutivijñāna gurvarthatva - Macro and Micro Cosmological significance) "   

The next important point to understand is the  close correspondence between the आनन्दताण्डव श्री नटराजस्य (ānandatāṇḍava śrī naṭarājasya – blissful dance of Noble Dance King) and the esoteric aspects of चिताकाश (citākāśa – gnostic vacuum) is highlighted in the छान्दोग्योपनिषद् (chāndogyopaniṣad) as part of the पञ्चाग्निविद्या (pañcāgnividyā – science of five fires) where it is stated thus:

Original	Transliteration	Translation
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|| 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
Sanskrit Reference: छान्दोग्योपनिषद् (chāndogyopaniṣad)  (4.10.4,5)

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

Original	Transliteration	Translation
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
Sanskrit Reference: छान्दोग्योपनिषद् शंकर भाष्य (chāndogyopaniṣad 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 आनन्दताण्डव श्री नटराज मूर्तेः (ānandatāṇḍava śrī naṭarāja mūrteḥ – blissful dance iconography of lord of dance).

Interestingly, the motif of शिव ताण्डव (śiva tāṇḍava - 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

Original	Transliteration	Translation
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	mārgahi tiraināḻin munivarellām vandutaḍam paḍindapodu vanaṅgi vāhttip pārtagumā tohutanṛār munnamenṛu pannamuni mannavanīr payiṛṛumindac sīrtarumā dinamennat tillai vāhum tiruvuḍaiyan daṇarendai tirunāḻenṛu sārtarumā navatīrtta nīttaṅgkoṇḍu tanjanamanjana vihavutaguvittārgaḻ
Tamil Reference: கோயிற்புராணம் (kOyurpuraaNam)

According to orthodox legends, it is widely believed that such ताण्डव (tāṇḍava - dance) was originally witnessed by श्री पार्वतीदेवी (śrī pārvatīdevī) - His Divine Consort, and also by many ऋषि मुन्यः (ṛṣi munyaḥ - seer sages) along with their धर्म पत्न्यः (dharma patnyaḥ - divine consorts) in the sacred forests दारुवन (dāruvana – pine forest), as explained in the திருப்பத்தூர்  புராணம் (tirupattūr purāṇam)

Original	Transliteration	Translation
இருடிகட்கா எழில் மன்றில் ஆசாரிய நடம் பையின்ற நாதன்	iruḍikaṭkā ezhil manṛil ācāriya naṭam paiyinṛa nādan	The Lord who performed the Dance of Wonder for the sake of the repentant sages of Daruka
Tamil Reference: 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 the sacred shrine.  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 சிதம்பரம் (chidambaram) and pray to परमशिव (paramaśiva) 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,

 

Original	Transliteration	Translation
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)
Sanskrit Reference: 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:

Original	Transliteration	Translation
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.
Sanskrit Reference: पतञ्जलिचरित (patañjalicarita - story of patanjali)

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 सगुणब्रह्मन् (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). Moreover, the विग्रह (vigraha - idol) consecrated in a temple, basically represents the latter form. Again, 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)

This fact is explained by शुद्धाद्वैत शैव सिद्धान्त दर्शन (śuddhādvaita śaiva siddhānta darśana – philosophy  of pure nondualstic final auspicious accomplishment).  The परमेश्वर तत्त्व  (parameśvara tattva – supreme lordship principle) which is the सगुण ब्रह्मन् / शकलशिव (saguṇa brahman / śakalaśiva – divinity having qualities / fractional god) is manifested in dual modes viz. 

• आत्म रूप  (ātma rūpa – subtle/ spiritual form) and 

• பூத உருவம் / भूतरूप (bhUtha uruvam / bhūtarūpa – physical form). 

The 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)

Original	Transliteration	Translation
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 tarittu koṇḍadu enṛalum uru iṛanda arumEni aduvum kaṇḍOm aru-uru ānabhOdu tirumEni ubhayam peṛṛOm seppiya mūnṛum nandam kazhumEni kazhikka vanda karuṇaiyin vaḍivu kāṇE	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
Tamil Reference: சிவஞானசித்தியார் சுபக்கம் (sivajñānasiddiyār subakkam) (75)

नवविधबेधाः / நவந்தரு பேதங்கள் (navavidhabedhāḥ / navantharu nilaigaL– ninefold differences) 

Again, in Saivism, these structural forms exists in नवविधबेधाः / நவந்தரு பேதங்கள் (navavidhabedhāḥ / navantharu nilaigaL– ninefold differences)  viz.  परमशिव  (paramaśiva – supreme aupisciousness), पराशक्ति (parāśaktii – supreme energy), परनाद (paranāda – supreme wave), परबिन्दु (parabindu – supreme particle), मन्त्रमहेश्वर / सदाशिव  (mantramaheśvara/sadāśiva - theosonic eternal auspisciousness), मन्त्रेश्वर /महेश्वर (mantreśvara/maheśvara - theosonic supreme divinity), ब्रह्म /सृष्टिकर्तृ  (brahma/ sṛṣṭikartṛ–  brahma / creator), विष्णु / रक्षक  (viṣṇu /rakṣaka – Vishnu / protector), रुद्र  / हर (rudra / hara – rudra / destroyer), as testified by saint திருமூலர்  (tirumūlar) in the following verses 

Original	Transliteration	Translation
மலர்ந்த அயன் மால் உருதிரன் மகேசன் பலந்தரும் ஐமுகன் பரவிந்து நாதம் நலந்தரும் சக்தி சிவன் வடிவாகிப் பலந்தரு லிங்கம் பரானந்தி யாமே.	malarnda ayan māl urutiran makEsan palantarum aimugan paravindu nādam nalantarum sakti sivan vaḍivāgip palantaru liṅgam parānandi yāmE	Brahma, Vishnu, Rudra, Mahesha, The five-faced SadaSiva, Bindu and Nada, Shakti and Shiva – all these are Linga His Blessings grants. He is but Nandi, that is Para Supreme. -Translation by B. Natarajan
Tamil Reference: 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

Original	Transliteration	Translation
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||
Sanskrit Reference: 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. अकाशतत्त्व (ākāśatattva – vacuum principle), स्फ्टिकलिङ्ग (sphaṭika liṅga) & நடராஜர் (nadaraajar) respectively. 

The table below summarizes the नवविधबेधाः / நவந்தரு பேதங்கள் (navavidhabedhāḥ / navantharu nilaigaL– ninefold differences) depicted above

உருவ  வகைகள் (uruva vagaigaL - structural forms)	நவந்தரு பேதங்கள் ( navantharu bedhangaL– ninefold differences)	உருவ  வகைகள் (uruva vagaigaL - structural forms) at சிதம்பரம் (Chitambaram)
अव्यक्  / निष्कलं / அருவம் (avyakta  / niṣkalaṁ / aruvam - formless/ abstract)	1.  परमशिव / பரமசிவன் (paramaśiva / paramasivan – supreme auspiciousness)  2.  पराशक्ति /பராசக்தி (parāśakti /parāsakti – supreme energy) 3. परनाद  / பரநாதம்(paranāda / paranādam – supreme wave) 4. परबिन्दु / பரபிந்து (parabindu / parabindhu – supreme particle)	अकाश तत्त्व (ākāśa tattva – vacuum principle)
व्यक्ताव्यक्त  / शकल निष्कलं / அருவுருவம் (vyaktāvyakta  / śakalaniṣkalaṁ /aruvuruvam – formless/non anthromorphic form) &	5.      मन्त्रमहेश्वर / सदाशिवलिङ्ग /மந்திரமகேஷ்வர  சதாசிவலிங்கம் (mantramaheśvara/sadāśivaliṅga / mantira mageśvaran / sadhāśiva lingam - theosonic eternal auspiciousness)	स्फटिक लिङ्ग (sphaṭika liṅga)
व्यक्त  / शकल / உருவம் (vyakta  / śakala / uruvam – anthromorphic form)	6. मन्त्रेश्वर /महेश्वर  / மந்திரேவரன் / மகேஷ்வரன்(mantreśvara/maheśvara / mantireśvaran /mageśvaran  - Supreme Lord)  7. ब्रह्म /सृष्टिकर्तृ  /பிரமன் / படைப்பவன் (brahma/ sṛṣṭikartṛ / biraman / paḍaiipavan –  creator) 8. विष्णु / रक्षक  / விஷ்ணு / காப்பவன் (viṣṇu /rakṣaka / viṣṇu kāppavan –  protector),  9. रुद्र  / हर  / ருத்திரன் / ஹரன்(rudra / hara / ruddhiran / haran –  destroyer)	நடராஜர் (nadaraajar)

नवविधबेधाः / நவந்தரு பேதங்கள் (navavidhabedhāḥ / navantharu nilaigaL– ninefold differences) 

This is also why, தில்லை சிதம்பர நடராஜர் கோயில் (tillai cidambara naṭarājar kOyil) is given the highest importance even among all the தேவார பாடல் பெற்ற ஸ்தலங்கள் (dEvāra pāḍal peṛṛa stalangaḻ). In fact, according to orthodox convention the very term கோயில் (KOyil - temple) is used as a synonym for தில்லை சிதம்பர நடராஜர் கோயில் (tillai cidambara naṭarājar kOyil) by default. The prominence given to this shrine can be understood from the following verses from சிதம்பர செய்யுட் கோவை (cidambara seiyut kOvai) written by the revered saint தவத்திரு குமரகுருபர அடிகளார் (tavattiru kumaragurubara aḍigaḻār)

Original	Transliteration	Translation
தீர்தமென்பது சிவ கங்கையே ஏத்தருந்தலம் எழிர் புலியூரே மூர்த்தி அம்பலக் கூத்தன துருவே	thIrthamenbadhu siva gangaiyE Eththarunthalam ezhir puliyUrE mUrththi ambalak kUththana thuruvE
Tamil Reference: சிதம்பர செய்யுட் கோவை (cidambara seiyut kOvai)

Similarly, திருஅருட்பிரகாச இரமாலிங்க வள்ளலார் (tiru aruṭpirakāsa iramāliṅga vaḻḻalār) also in his mystic ecstasy, goes to the extent of singing thus,

Original	Transliteration	Translation
நடராச பாட்டே நறும்பாட்டு ஞாலத்தார் பாட்டெல்லாம் வெறும் பாட்டு சிதம்பர பாட்டே திருப்பாட்டு ஜீவர்கள் பாட்டெல்லாம் தெருப்பாட்டு	naḍarāsa pāṭṭE naṛumpāṭṭu gnālattār pāṭṭellāṃ veṛum pāṭṭu sidambara pāṭṭE tiruppāṭṭu jīvargaḻ pāṭṭellām teruppāṭṭu
Tamil Reference: திருஅருட்பா (tiru aruṭpā)

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

Original	Transliteration	Translation
வருமாந் தளிர்மேனி மாதோர் பாகமாந் திருமாந் தில்லையுட் சிற்றம் பலமேய கருமா னுரியாடை    க் கறைசேர் கண்டத்தெம் பெருமான் கழலல்லாற் பேணா துள்ளமே.	varu maanthaLir mEni maadhOr baagamaan thirumaanthillaiyuL siRRambala mEyE karumaan uriyaadaik kaRai sEr kaNdadhem perumaan kazhalallaal pENaadhuLLamE.	Uma has a tender body like the tender shoot of a mango tree. Siva has Uma as his one half. He wears the elephant skin. He has a blue throat. He dwells in citRamabalm in the rich town of Thillai (Chidambaram). My heart does not desire anything except His feet. Translation: V. Subramaniam,
Tamil Reference: சம்பந்தர் தேவாரம் (sambandhar dhEvaaram) (1.80.6)

In the beautiful பதிகம் (padhikam – canto) called பெரிய திருத்தாண்டகம் (periya thiruththaaNdagam), the noble saint திரு நாவுகரசர் (thiru naavukarasar), very categorically declares, பெரும்பற்றுபுலியூரானைப் பேசாத நாளெல்லாம் பிறவா நாளே (perumpaṛṛupuliyūrānaip pEsāda nāḻellām piṛavā nāḻE - Unlived indeed are the days unspent in praise of Lord  Perumppatrapuliyur). The beginning verses of the same is quoted here

Original	Transliteration	Translation
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: T.N. Ramachandran
Tamil Reference: அப்பர் தேவாரம் (appar dhEvaaram) (1.1)

சிதம்பரமும் திருவரங்கமும் (cidambaramum thiruvaraṅgamum)

Interestingly, in line with the शैवसंप्रदाय (śaivasaṃpradāya – saivaite tradition) discussed above, in the श्री वैष्णव संप्रदाय (śrī vaiṣṇava saṃpradāya) also, the term கோயில் (KOyil - temple), by default, refers to திருவரங்கம் (tiruvarangam - Srirangam) - which is considered to be the foremost temples among the 108 दिव्यदेशाः (divyadeśāḥ - Divine Spaces). Just as the former, this temple has been highly glorified by திவ்ய பிரபந்த பாசுரங்கள் (divya pirabanda pāsuraṅgaḻ) composed by the ஆழ்வார்கள் (āzhvārgaḻ). For example, the revered saint திருபானாழ்வார் (tirupānāzhvār) in his famous masterpiece அமலனாதிபிரான் (amalādhipirān), sings thus,

Original	Transliteration	Translation
கொண்டல் வண்ணனைக் கோவாலனாய் வெண்ணெய் உண்டவாயன் என் ஊள்ளம் கவர்ந்தானை அண்டர்கோன் அணியரங்கன் என் அமுதினைக் கண்ட கண்கள் மற்றொன்றினை காணாவே	koṇḍal vaṇṇanaik kOvālanāi veṇṇei uṇḍavāyan en ūḻḻam kavarndānai aṇḍarkOn aṇiyaraṅgan en amudinaik kaṇḍa kaṇgaḻ maṛṛonṛinai kāṇāvE	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
Tamil Reference: அமலனாதிபிரான் (amalaadhipiraan) (10)

Again, the famous verses by saint தொண்டரடிப்பொடி ஆழ்வார் (toṇḍaraḍippoḍiyāzhvār) in his famous பாசுரம் (pāsuram) called திருமாலை (thirumālai – sacred garland) sings thus,

Original	Transliteration	Translation
பச்சைமா மலை போல் மேனி பவளவாய் கமலச்செங்கண் அச்சுதா! அமரர் எறே! ஆயர்தம் கொழுந்தே என்னும் இச்சுவை தவிர யான் போய் இந்திர லோகம் ஆளும் அச்சுவை பெறினும் வேண்டேன் அரங்கமா நகருளானே	paccaimā malai pOl mEni pavaḻavāi kamalaccenkaṇ accudā! amarar eṛE! āyartam kozhundE ennum iccuvai tavira yān pOi indira lOkam āḻum accuvai peṛinum vEnḍEn araṅgamā nagaruḻānE।
Tamil Reference: திருமாலை (thirumaalai – sacred garland) (2)

In fact, the term திருவரங்கம் (tiruvaraṅgam), is derived from the terms திரு (tiru – divine) & அரங்கம் (araṅgam- stage). Moreover, the chief presiding deity महा विश्णु (mahā viśṇu) is called அரங்கனாதன் (araṅganātan – lord of stage), exactly corresponding to the Saivite term சபாபதி (sabāpati –  lord of hall). While, at திருவரங்கம் (tiruvaraṅgam), 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 (kūttapirān -  dancing god). Thus, fundamentally, in principle, both वैष्णव च शैव संप्रदायौ (vaiṣṇava ca śaiva saṃpradāyau – saivaite and Vaishnavaite traditions) share a common theme with respect to the underlying philosophy of temples.

Interestingly, the கோவிந்தராஜ பெருமாள் (govindarāja perumāḻ) at the திருசித்திரகூடம் திருகோயில் (tiru cittirakūḍam tirukkOyil) within the campus of தில்லை சிதம்பர நடராஜர் கோயில் (tillai cidambaram naṭarājar kOyil), also represents the சயன / கிடந்த கோலம் (sayana / kiḍanda kOlam – sleeping pose) of Lord महाविष्णु (mahāviṣṇu), similar to the அரங்கனாதன் (araṅganātan) at திருவரங்கம் (tiruvaraṅgam).  In fact, திருசித்திரகூடம் திருகோயில் (tiru cittirakūḍam tirukkOyil) is also one of among the 108 திவ்ய தேசங்கள் (divya dEsaṅgaḻ - sacred spaces) on which the திருமங்கை ஆழ்வார் (tirumaṅgai āzhvār), as well as, குலசேகராழ்வார் (kulasEkarāhvār) 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 திருகோயில் (tiru cittirakūḍam tirukkOyil) the competitive dance between the divine couple viz. परमशिव (paramaśiva) and his beloved 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 (tiruvālaṅgādu) where परमशिव (paramaśiva) had performed the ऊर्ध्व ताण्डव (ūrdhva tāṇḍava) on the இரத்தின சபை (iratna 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 (poṛsabai – golden hall) at சிதம்பரம் (cidambaram) as witnessed by கோவிந்தராஜ பெருமாள் (govindarāja perumāḻ).

This திருசித்திரகூடம் சன்னிதி (tiru cittirakūḍam 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 (naṭarājarājar – 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 honourable Tamil Siddha saint சிவவாக்கியர் (sivavākkiyar) also very strongly reiterates this point by singing thus,

Original	Transliteration	Translation
அம்பலத்தை அம்புகொண்டு அசங்கென்றால் அசங்குமோ கம்பமற்ற பார்கடல் கலங்கென்றால் கலங்குமோ இன்பமற்ற யோகியை இருளும் வந்து அணுகுமோ செம்பொன் அம்பலத்துளே சிவாயமே   இடது கண்கள் சந்திரன் வலதுகண்கள் சூரியன் இடக்கை சங்கு சக்கரம் வலக்கைசூல மான்மழு எடுத்தபாத நீள்முடி அண்திசைக்கும் அப்புறம் உடல்கலந்த நின்ற மாயம் யாவர்காண வல்லரோ.   நாழி அப்பு நாழு உப்பு நாழியான வாறுபோல் ஆழியோனும் இசனும் அமர்ந்து வாழ்ந்திருந்திடும் எருதில் ஏறும் ஈசனும் இயங்குசக்ர தரனையும் வேறு வேறு பேசுவார் வீழ்வர் வீன் நரகிலே   தில்லை நாயகனும் அவன் திருவரங்கனும் அவன் எல்லையான் புவனமும் ஏக முத்தியும் அவன் பல்லுநாவும் உள்ளபேர் பகுந்து கூறி மகிழ்வார் வல்லபங்கள் பேசுவார் வாய்புழுத்து மால்வரே.   எத்திசைக்கும் எவ்வுயிற்க்கும் எங்கள் அப்பன் எம்பொய்ரான் சத்தியான வித்துளே முளைத்தெழும் தவச்சுடர் சித்தமும் தெளிந்து வேத கோயிலும் திறந்தப்பின் அத்தன் ஆடல் கண்டப்பின் அடங்கள் ஆடல் காணுமே.	ambalattai ambukoṇṭu acaṅkeṉṟāl acaṅkumō kampamaṟṟa pārkaṭal kalaṅkeṉṟāl kalaṅkumō iṉpamaṟṟa yōkiyai iruḷum vantu aṇukumō cempoṉ ampalattuḷē civāyamē.   iṭatu kaṇkaḷ cantiraṉ valatukaṇkaḷ cūriyaṉ iṭakkai caṅku cakkaram valakkaicūla māṉmaḻu eṭuttapāta nīḷmuṭi aṇticaikkum appuṟam uṭalkalanta niṉṟa māyam yāvarkāṇa vallarō.   nāḻi appu nāḻu uppu nāḻiyāṉa vāṟupōl āḻiyōṉum icaṉum amarntu vāḻntiruntiṭum erutil ēṟum īcaṉum iyaṅkucakra taraṉaiyum vēṟu vēṟu pēcuvār vīḻvar vīṉ narakilē   tillai nāyakaṉum avaṉ tiruvaraṅkaṉum avaṉ ellaiyāṉ puvaṉamum ēka muttiyum avaṉ pallunāvum uḷḷapēr pakuntu kūṟi makiḻvār vallapaṅkaḷ pēcuvār vāypuḻuttu mālvarē.   etticaikkum evvuyiṟkkum eṅkaḷ appaṉ empoyrāṉ cattiyāṉa vittuḷē muḷaitteḻum tavaccuṭar cittamum teḷintu vēta kōyilum tiṟantappiṉ attaṉ āṭal kaṇṭappiṉ aṭaṅkaḷ āṭal kāṇumē	Will the arena shake if bid so with an arrow? Will the motionless milky ocean become turbid if bid to be so? Will darkness approach a yogin who is free from pleasures. That which is clear in the supreme golden space is only Sivayam.   Left eyes are the moon, right eyes are the sun, conch and disc in th left-hand trident, deer and battle-axe in the right, Lifted foot, long tresses, beyond the eight directions, Who is capable of seeing the magic that remains tringled with the body.   Like a measure of water and a measure of salt becoming one measure It is a place where the possessor of the disc and Isha remained The Lord who mounts the bull and the one with the disc Those who speak of them as different will fall in misreable hell.   He is the Lord of Thillai, He is the one who resides in Thiruvarangam He is the limited world and supreme liberation Those with teeth and tongue will enjoy talking about them as different, Those who speak of the exploit so, will die with their mouths putrefying.   For any direction and life form our Lord is the father. The flame of austerity that emerges from the seed, the Shakti, With a clear mind and after the opening of the temple of knowledge After seeing the dance of the father, composure will dance. -translation by T.N. Ganapathy & Geeta Anand
Tamil Reference: சிவவாக்கியர் பாடல்கள் (sivavaakkiyar paadalgaL)

Interestingly, similar examples highlighting the சைவ-வைணவ ஐக்கியம் (saivavaiṇava aikkiyam) is a common theme in the conceptual design of many ancient शिवालय (śivālaya – Shiva temples) including the ancient சித்திரம் (sittiram – painting) on the தெற்க்கு சுவர் (teṛkku suvar – south wall) of ஆடகேசுவர சபை (āḍakEsuvara 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 (tiyāgEsar – Lord of Sacrifice) at the famous திருவாரூர் திருகோயில் (tiruvārūr tirukOyil). Besides this, महाविष्णु (mahāviṣṇu) in His நின்ற திரு கோலம் (ninṛa tiru kOlam –sacred standing pose), is also consecrated on the north-facing back wall of தியாகேசர் சன்னிதி (tiyaagEsar sannidhi – shrine of Lord of Sacrifice) in the same temple. Incidentally, the nature of திருகூத்து (tirukkūttu – 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 (tiruveṇkāḍu / svedāraṇya) popularly glorified as ஆதி சிதம்பரம் (ādi chidambaram) 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 (pāḍal peṛṛa sivālayaṅgaḻ) particularly those wherein நடராஜர் சன்னிதி (naṭarājar sannidi)). is special, such concept of சைவ வைணவ ஐக்கியம் (saivavaiṇava aikkiyam) has become an integral part of temple design. From a metaphysical point of view, this is because, in principle, the நடராஜர் தத்துவம் (naṭarājar tattuvam – concept of naṭarājar) itself implies such a synergy. It beautifully depicts the synergy between the கூத்தன் (kūttan - dancer) and His கூத்து (kūttu - 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 (ponvannattu antāti) sung by the mystic saint poet சேரமான் பெருமாள் நாயனார் (sEramān perumāḻ nāyanār)

Original	Transliteration	Translation
இடமால் வலம் தான் இடப்பால் துழாய் வலப்பால் ஒண்கொன்றை வடமால் இடந்துகில் தோல் வலம் ஆழி இடம் வலம்மான் இடமால் கரிதால் வலஞ்சே திவனுக் கெழில்னலஞ்சேர் குடமால் இடம்வலங்கொக்கரை யாம் எங்கல் கூத்தனுக்கே	iḍamāl valam tān iḍappāl tuāy valappāl oṇkonṛai vaḍamāl iḍantugil tOl valam āi iḍam valammān iḍamāl karitāl valanjE tivanuk kehilnalanjEr kuḍamāl iḍamvalaṅgokkarai yām eṅgal kūttanukkE	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
Tamil Reference: பொன்வன்னத்து அந்தாதி (ponvannaththu anthaathi) (1)

Interestingly, with respect to நடராஜர் தத்துவம் (naṭarājar tattuvam – concept of nataraja) the roles between these two deities viz. शिव (śiva)& विष्णु (viṣṇu) 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) & विष्णु (viṣṇu) 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 विष्णौ (guṇa viṣṇau – aspect of Vishnu). 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,

Original	Transliteration	Translation
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.
Sanskrit Reference: 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 severely 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 (kūttan–dancer) theologized as शिव (śiva), the actual கூத்து (kūttu- dance) theologized as शक्ति (śakti) and the காண்பவன் / சாட்சி (kāṇbavan / sātci - 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 (aṛpuda tiruvandādi) sung by the mystic saint poet, holy mother காரைக்கால் அம்மையார் (kāraikāl ammaiyār)

Original	Transliteration	Translation
அறிவானுன் தானே அறிவிப்பன் தானே அறிவாய் அறிகின்றான் தானே அறிகின்ற மெய்பொருளுன் தானே விரிசுடர்பார் ஆகாயம் அப்பொருளுன் தானே அவன்.	aṛivānun tānE aṛivippan tānE aṛivāi aṛiginṛān tānE aṛiginṛa meiporuḻun tānE virisuḍarpār āgāyam apporuḻun tānE 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
Tamil Reference: அற்புத திருவந்தாதி (aṛpuda tiruvandādi) (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 ब्राह्मप्रतिकाविद्यानटराजस्य (brāhmapratikāvidyānaṭarājasya – sacred iconography of dance-king) 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 नटराजमूर्ति (naṭarājamūrti 0 – lord of dance iconography) and try to understand its underlying esoteric meanings. By its very design, every स्वरूपस्यभाग (svarūpasyabhāga– part of its 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 आनन्दताण्डव श्री नटराजस्य (ānandatāṇḍava śrī naṭarājasya – blissful dance of Lord Nataraja) symbolizes a cosmological dance is very categorically testified by saint திருமூலர்(tirumūlar) in the following verses

Original	Transliteration	Translation
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	aṇḍaṅgaḻ Ehinikku appuṛattu appāl uṇḍenṛa satti sadasivattu uccimEl gaṇḍam kariyān karuṇai tiruvuruk koṇḍu aṅgu umaikāṇak kūttu ugan dānE। paramāṇḍattu ūḍE parāsakti pādam prmāṇḍattu ūḍE paḍaroḻi īsan paramāṇḍattu ūḍE paḍartaru nādam paramāṇḍattu ūḍE paran naḍam āḍumE	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
Tamil Reference: திருமந்திரம் (thirumandhiram) (2732,2734)

तत्त्वविद्या नाट्यस्य (tattvavidyā nāṭyasya – philosophy of dance)

Thus, we can notice that the symbology of नाट्य (nāṭya – dance) has become an integral part of not only the शैव ज्ञानपाद संप्रदाय (śaiva jñānapāda saṃpradāya – Shaiva wisdom-path tradition) but can in fact be observed across the length and breath of Indian spiritual tradition. The important point to recongnize is that this symbology has deeper occult yogic significance, about which we shall quickly take a bird’s eye-view particularly taking भरतनाट्यम् (bharatanāṭyam) one of the most ancient forms of classical dances in the Indian soil having deep spiritual connects especially in the context of the நடராஜ தத்துவம் (naṭarāja tattuvam – dance-king philosophy), that we have been discussing about.  

According to भरतनाट्यशास्त्र (bharatanāṭyaśāstra – dance scripture of bharata) which was originally revealed by श्री नटराज (śrī naṭarāja) Himself to the noble sage श्री भरतमुनि (śrī bharatamuni) through नन्दिकेश्वर (nandikeśvara) who is also identified as तण्डु महऋषि (taṇḍu mahaṛṣi) by many subject matter experts including आचार्य श्री अभिनवगुप्त (ācārya śrī abhinavagupta), who, for example, in his अभिनवभारती (abhinavabhāratī) which is his famous भाष्य (bhāṣya - commentary) on the above text, very categorically declares:

Original	Transliteration	Translation
तण्डु मुनिशब्दौ नन्दि भरतयोः अपरनामनी।	taṇḍu muniśabdau nandi bharatayoḥ aparanāmanī।
Sanskrit Reference :अभिनवभारती (abhinavabhāratī)

भावम् /பாவம் (bhāvam - expression), रागम् /ராகம் (rāgam - tune) & तालम् /தாளம் (tālam / tāḷam - beat) constitute the three indispensable parts of भरतनाट्य (bharatanāṭya) and according to some subject matter experts the term भरत /பரத (bharata) is actually an acromym by taking the குறில் வடிவம் (kuṟil vaṭivam – short form) of the first syllables from each of these three terms viz. ‘भ/ப (ba)’, ‘’र/ர (ra)’ & ‘त/த (ta)’ respectively.  Philosophically, this is a very important concept for us to understand in order to better appreciate the role of dance in spirituality. Please be noted that sometimes रसम् /ரசம் (rasam – flavor / sentiment) replaces रागम्/ராகம் (rāgam - tune) when it comes to mapping ‘’र/ர (ra)’ in the acronym भरत /பரத (bharata).  For example,

Similarly, the technical aspect of the term नाट्य (nāṭya) is also important for us to understand. In the context of भरतनाट्य (bharatanāṭya), the term नाट्य (nāṭya) is used in a wider sense to holistically include all the three similar but not the same aspects of नृत्य (nṛtya - gesticulation), नृत्त (nṛtta – dancing / acting) & नाट्यनाटक (nāṭyanāṭaka – dance-drama) into a holistically integrated form of fine art. Let us understand the subtle technicaly differences between these terms, as highlighted by subject matter experts. नृत्त (nṛtta – dancing / acting), according to experts like श्री धनञ्जय (śrī dhanañjaya) who has written the famous treatise on Indian Dramaturgy called दशरूपक (daśarūpaka), is based on तालम् /தாளம் (tālam / tāḷam - beat) & लयम् /லயம் (layam - repose), while नृत्य (nṛtya - gesticulation) which is etymologically derived from नृत् (nṛt – to throw) and  here in this context is interpreted with गात्रविक्षेप (gātravikṣepa – throwing of limbs) in tune with some भावम् /பாவம் (bhāvam – mood / emotion) & रसम् /ரசம் (rasam – flavor / sentiment). Similarly, both the terms नाट्य (nāṭya) & नाटक (nāṭaka – drama) are etymologically derived from the same root ‘नट (naṭa – to quiver)’ which is kind of a अवस्पन्दन / किञ्चित्चलन (avaspandana / kiñcitcalana – mild vibration / throb). In a nutshell, the term नाट्य (nāṭya) assumed a wider role to include नाटक (nāṭaka – drama) as well and these terms are no longer water-tight in their practical usage. For example, श्री भरतमुनि (śrī bharatamuni) in his नाट्यशास्त्र (nāṭyaśāstra – dance scripture) which is sometimes eulogized as नाट्यवेद (nāṭyaveda) lists out almost 11 key ingredients making up नाट्य (nāṭya)

Original	Transliteration	Translation
रसा भावा ह्यभिनयाः धर्मी वृत्तिप्रवृत्त्यः। सिद्धः स्वरास्तथातोद्यं गानं रङ्गश्च संग्रहः॥	rasā bhāvā hyabhinayāḥ dharmī vṛttipravṛttyaḥ। siddhaḥ svarāstathātodyaṃ gānaṃ raṅgaśca saṃgrahaḥ॥	The digest [of the nāṭyaveda treats] the sentiments (rasa), the states (bhava), the histrionic representation (abhinaya), the practice (dharmi), the styles (vṛtti), the success (siddhi), the notes (svara), the instrumental music (ātodya), songs (gāṇa) and the stage (raṅga). -translation by Manmohan Gosh
Sanskrit Reference :भरतनाट्यशास्त्र (bharatanāṭyaśāstra) (6.10)

With this basic understanding about the art and science of नाट्य (nāṭya - dance), we shall next try to understand the esoteric philosophy underlying the same नाट्य (nāṭya - dance) which involves an harmonic synchronization not only between different forms of fine arts including இயல் (iyal - poetics), இசை (isai - music) & நாடகம் (nāṭakam - drama) and that is why these three are considered three inseparable parts of the Tamil Language.

As shown in the above picture, in the evolution of human spiritual intelligence, नाट्य / நாட்டியம் (nāṭya / nāṭṭiyam - dance) is considered to be highest expression of artistic genius is a holistic balancing act evoving from absolute silence to poetic musical expression of artistic नाट्यनाटक (nāṭyanāṭaka – dance-drama) and whose highest theologization is the प्रतिकाविद्या नटराजस्य (pratikāvidyā naṭarājasya – iconography of Nataraja).   This fact is very beautifully expressed by ஸ்ரீ சாத்தனார் (srī sāttaṉār) in his famous poetic treatise கூத்தநூல் (kūttanūl – dance scripture)  

Original	Transliteration	Translation
மோனத்து இருந்த முன்னோன் கூத்தில் உடுக்கையில் பிறந்தது ஓசையின் சுழலே ஓசையில் பிறந்தது இசையின் உயிர்ப்பே இசையில் பிறந்தது ஆட்டத்தின் இயல்பே ஆட்டம் பிறந்தது கூத்தினது அமைவே கூத்தில் பிறந்த்து நாட்டிய கோப்பே நாட்டியம் பிறந்தது நாடக வகையே.	mōṉattu irunda muṉṉōṉ kūttil uḍukkaiyil piṟandadu ōsaiyiṉ suḻalē ōsaiyil piṟandadu isaiyiṉ uyirppē isaiyil piṟandadu āṭṭattiṉ iyalbē āṭṭam piṟandadu kūttiṉadu amaivē kūttil piṟandadu nāṭṭiya kōppē nāṭṭiyam piṟandadu nāṭaka vakaiyē.
Tamil Reference : கூத்தநூல் (kūttanūl) (2.1)

In the picture below, I have attempted to provide a visual summary of the above listed stages in the evolution of creative fine arts and its epitome of excellence perfecting in the conception of  प्रतिकाविद्या नटराजस्य (pratikāvidyā naṭarājasya – iconography of Nataraja).

The important point to remember is that இயல் (iyal - poetics), இசை (isai - music) & நாடகம் (nāṭakam - drama) form an integral foundation for नाट्य (nāṭya - dance) which we can loosely map to भावम् / பாவம் (bhāvam - expression), रागम् /ராகம் (rāgam - tune) & तालम् /தாளம் (tālam / tāḷam - beat) respectively, which as we discussed earlier forms the essence of भरतनाट्य (bharatanāṭya). Similarly, according to कर्नाटक सङ्गीतम् (karnāṭaka saṅgītam – Carnatic music), there is a similar Holy Trinity viz. पल्लवि (pallavi – thematic line), रागम् /ராகம் (rāgam - tune) & तालम् /தாளம் (tālam / tāḷam - beat) respectively. In fact, they are like the three spatial dimensions viz. length, width and height, corresponding to any physical object.

 

#	Category	प्रथम विमा (prathama vimā – first dimension)	द्वितीय विमा (dvitīya vimā – second dimension)	तृतीय विमा (tṛtīya vimā – third dimension)
1	தமிழ் இலக்கியம் (tamiḻ ilakkiyam – Tamil literature)	நாடகம் (nāṭakam - drama)	இசை (isai - music)	இயல் (iyal - poetics)
2	भरतनाट्य (bharatanāṭya)	तालम् /தாளம் (tālam / tāḷam - beat) नृत्य  / ஆட்டம் (nṛtya / āṭṭam - dance)	रसम् /ரசம் (rasam – flavor / sentiment) सङ्गीत / பாட்டம் (saṅgīta/ pāṭṭam - song)	भावम् /பாவம் (bhāvam – mood / emotion) अभिनय / அவிநயம் (abhinaya / avinayam - expression)
3	कर्नाटक सङ्गीतम् (karnāṭaka saṅgītam – Carnatic music)	तालम् /தாளம் (tālam / tāḷam - beat)	रागम् /ராகம் /பண் (rāgam / paṇ - tune)	पल्लवि (pallavi – thematic line)
4	இயல் (iyal - poetics)	वर्ण (varṇa - letter)	रसम् /ரசம் (rasam – flavor / sentiment)	पद /अर्थ (pada / artha – word / meaning)
5	प्रणवमन्त्र / பிரணவமந்திரம் (praṇavamantra/ piraṇavamantiram)	अ / அ (a)	उ / உ (u)	म् /ம் (m)
6	परब्रह्म (parabrahma – absolute divinity)	सत् (sat - existence)	चित् (cit -consciousness)	आनन्द (ānanda - bliss)

 

Tne essential synergies between these त्रयह् विमाः नाट्यस्य (trayah vimāḥ nāṭyasya - three dimensions of dance) is very clearly explained by ஸ்ரீ சாத்தனார் (srī sāttaṉār) in the தொகை நூல் (togai nūl) section of the கூத்தநூல் (kūttanūl – dance scripture)

Original	Transliteration	Translation
ஆட்டம் கூத்தின் அடிவா ரம்மே. ஆட்டம் பாட்டம் அவிநயம் என்ன மூவகைன் என்பர் கூத்தின் மூறைமை. ஆட்டம் பிறந்தது பாட்டம்; பாட்டம் அதனிடைப் பிறந்தது அவிநய கூத்தே. தனிமை துணைமை இணைமை பன்மை கதைக்களி காப்பியம் கூத்து அறு வகையே. ஆட்டம் தட்டாம்; பாட்டம் பண்ணாம்; யாப்பு கூத்தின் அவிநயம் என்ப. ஆட்டம் அகமாம்ல் பாட்டம் சுவையாம்; கூத்து இழை என்னர் கொண்டனர் புலவர். ஆட்டம் உடலாம்;; பாட்டம் முகமாம்; கை அவினயமாக் காட்டினர் ஆமே. முன்னது வேராம் பின்னது கனியாம்; நடுவது மரமாம் நாடினர் முன்னோர்	āṭṭam kūttiṉ aṭivā ram'mē. āṭṭam pāṭṭam avinayam eṉṉa mūvakaiṉ eṉpar kūttiṉ mūṟaimai. āṭṭam piṟantatu pāṭṭam; pāṭṭam ataṉiṭaip piṟantatu avinaya kūttē. taṉimai tuṇaimai iṇaimai paṉmai kataikkaḷi kāppiyam kūttu aṟu vakaiyē. āṭṭam taṭṭām; pāṭṭam paṇṇām; yāppu kūttiṉ avinayam eṉpa. āṭṭam akamāml pāṭṭam cuvaiyām; kūttu iḻai eṉṉar koṇṭaṉar pulavar. āṭṭam uṭalām; pāṭṭam mukamām; kai aviṉayamāk kāṭṭiṉar āmē. muṉṉatu vērām piṉṉatu kaṉiyām; naṭuvatu maramām nāṭiṉar muṉṉōr
Tamil Reference : கூத்தநூல் (kūttanūl) (3.1)

In other words, these त्रयह् विमाः नाट्यस्य (trayah vimāḥ nāṭyasya - three dimensions of dance) correspond to the त्रयह् देशविमाः (trayah deśavimāḥ - three spatial dimensions) viz. length, width & height that make up the नाट्यारङ्ग /नटनसभा (nāṭyāraṅga / naṭanasabhā – dance stage/hall) wherein the नाट्य (nāṭya - dance) is performed by the नर्तक (nartaka - dancer).

 

Please note that according to experts the term ‘पल्लवि (pallavi – thematic line)’ is a thematic line of a poetic verse that is repetedly rendred to the tune of a song. Technically speaking the term is actually an acronym denoting the following concepts:

 

#	Acronym	Expansion
1	प (pa)	पदम् (padam - phrase)
2	ल्ल (lla)	लयम् (layam - tempo)
3	वि (vi)	विन्यासम् (vinyāsam - configuration)

 

 

Thus, these are inseparable ingredients for any form of dance. For example, take the famous शिवताण्डव श्री नटराजस्य (śivatāṇḍava śrī naṭarājasya – auspiscious dance of dance-king) wherein music forms an indispensable part the act. The noble saint-poet திரு நாவுக்கரச நாயனார்  (tiru nāvukkaraca nāyaṉār) in his soul-melting verses of mystical poetry rendered at திரு அதிகை வீரட்டானம் (tiru atikai vīraṭṭāṉam), describes the dance thus:

Original	Transliteration	Translation
பாடுமே யொழியாமே நால்வே தம்மும் படர்சடைமேல் ஒளிதிகழப் பனிவெண் டிங்கள் சூடுமே அரைதிகழத் தோலும் பாம்புஞ் சுற்றுமே தொண்டைவாய் உமையோர் பாகங் கூடுமே குடமுழவம் வீணை தாளங் குறுநடைய சிறுபூதம் முழக்க மாக்கூத் தாடுமே அந்தடக்கை அனலேந் தும்மே அவனாகில் அதிகைவீ ரட்ட னாமே. குழலோடு கொக்கரைகைத் தாளம் மொந்தை குறட்பூதம் முன்பாடத் தான்ஆ டும்மே கழலாடு திருவிரலாற் கரணஞ் செய்து கனவின்கண் திருவுருவந் தான்காட் டும்மே எழிலாருந் தோள்வீசி நடமா டும்மே ஈமப்பு றங்காட்டில் ஏமந் தோறும் அழலாடு மேஅட்ட மூர்த்தி யாமே அவனாகில் அதிகைவீ ரட்ட னாமே.	pāṭumē yoḻiyāmē nālvē tam'mum paṭarcaṭaimēl oḷitikaḻap paṉiveṇ ṭiṅkaḷ cūṭumē araitikaḻat tōlum pāmpuñ cuṟṟumē toṇṭaivāy umaiyōr pākaṅ kūṭumē kuṭamuḻavam vīṇai tāḷaṅ kuṟunaṭaiya ciṟupūtam muḻakka mākkūt tāṭumē antaṭakkai aṉalēn tum'mē avaṉākil atikaivī raṭṭa ṉāmē. kuḻalōṭu kokkaraikait tāḷam montai kuṟaṭpūtam muṉpāṭat tāṉā ṭum'mē kaḻalāṭu tiruviralāṟ karaṇañ ceytu kaṉaviṉkaṇ tiruvuruvan tāṉkāṭ ṭum'mē eḻilārun tōḷvīci naṭamā ṭum'mē īmappu ṟaṅkāṭṭil ēman tōṟum aḻalāṭu mē'aṭṭa mūrtti yāmē avaṉākil atikaivī raṭṭa ṉāmē	Does He ceaselessly sing the four Vedas? Does He wear on His spreading matted hair a bright and moist and white moon? Is His bright waist girt with (tiger) skin and snake? Does red-lipped Uma form part of His person? Does He enact the great dance to the playing of kudamuzhavam. vina and cymbals by the little Bhootas that walk in small steps? If it be so, He is, for sure, Atikai Virattan. Does He dance to the singing, to the piping of flute, to the blaring of kikkarai, to the clanging of cymbals and to the beating of montai by the small Bhootas? Does He make movements of dance with comely toes above which He wears anklets, and thus reveals His form in the dream? Does He dance flexing His beauteous shoulders? Does He dance during each midnight in the funeral pyre of the crematory? Is He Ashtamoorti? If it be so, He is, for sure, Atikai Virattan. -translation by T.N. Ramachandran
Tamil Reference : அப்பர் தேவாரம் (appar tēvāram) (6.4.5,7)

In fact, according to mythological accounts, all the gods including ब्रह्मा (brahmā), विष्णु (viṣṇu), सरस्वती (sarasvatī), पार्वती (pārvatī) & इन्द्र (indra) not only witnessed the शिवताण्डव श्री नटराजस्य (śivatāṇḍava śrī naṭarājasya – auspiscious dance of dance-king), but they also actively participated in the event by playing different musical instruments वीणा (vīṇā - lute), मृदङ्ग (mṛdaṅga - drum), मुरली (muralī - flute), etc., as part of the वाद्यवृन्द (vādyavṛnda - orchestra).

Interestingly, श्री रामभद्रदीक्षित (śrī rāmabhadradīkṣita) in his famous treatiseपतञ्जलिचरित (patañjalicarita) gives a very visually immersive account narrating the whole event thus explaining as to how 

Original	Transliteration	Translation
तत्र शंकरकटाक्षचोदितस् चारुमर्दलम् अवादयद्धानिः यः पयोद इति पुश्कराश्रितो नीलकण्ठनटनोचितध्वनिः कामजिन्नटनकारणेन वा भारतिकुचयुगभ्रमेण वा तत्र तालयुगलीम् अथाददे पाणिपङ्कजयुगेन पद्मभूः रम्भया हृतरसे रदच्छदे वम्शनालम् अवसज्य वासवः वादनाद् अपि विमोहयन् जनान् आददे किल न वासवस्थितम् वादय द्रुतम् इतीव शम्सता स्फातिकाक्शवलयेन दक्षिने आश्रिता श्रवसि चारुवल्लकीवादनम् व्यतनुते प्रिया विधेः आयतेन फणिना जटाभरम् मध्यभागम् इभचर्मकक्श्यया बध्नतः प्रियतमस्य नर्तितुम् वीक्ष्य संभ्रमम् उमा स्मितम् व्यदात् वीक्षणोचितम् आपम्स्चक्षुशा नर्तनोत्सवम् अवेक्क्षितुम् निजम् शम्बुना सकलदेहिनाम् तदा दिव्यम् अक्शि दिदिशे दयालुना सकलदेहिनाम् तदा दिव्यम् अक्शि दिद्शे दयालुना सन्ददर्श सपदिभ्रमज्जटाडितोडुपुटलम् तदा जनः व्यालनूपुराणत्पदापणन्यञ्तिचक्शिति नटेशनर्तनम्।	tatra śaṃkarakaṭākṣacoditas cārumardalam avādayaddhāniḥ yaḥ payoda iti puśkarāśrito nīlakaṇṭhanaṭanocitadhvaniḥ kāmajinnaṭanakāraṇena vā bhāratikucayugabhrameṇa vā tatra tālayugalīm athādade pāṇipaṅkajayugena padmabhūḥ rambhayā hṛtarase radacchade vamśanālam avasajya vāsavaḥ vādanād api vimohayan janān ādade kila na vāsavasthitam vādaya drutam itīva śamsatā sphātikākśavalayena dakṣine āśritā śravasi cāruvallakīvādanam vyatanute priyā vidheḥ āyatena phaṇinā jaṭābharam madhyabhāgam ibhacarmakakśyayā badhnataḥ priyatamasya nartitum vīkṣya saṃbhramam umā smitam vyadāt vīkṣaṇocitam āpamscakṣuśā nartanotsavam avekkṣitum nijam śambunā sakaladehinām tadā divyam akśi didiśe dayālunā sakaladehinām tadā divyam akśi didśe dayālunā sandadarśa sapadibhramajjaṭāḍitoḍupuṭalam tadā janaḥ vyālanūpurāṇatpadāpaṇanyañticakśiti naṭeśanartanam।
Sanskrit Reference :पतञ्जलिचरित (patañjalicarita) (4.61-67)

Sri C. Sivaramamurti, the eminent research scholar and author, in his famous book ‘Nataraja in art, theology and Literature’, further explains thus citing the above narrative of श्री रामभद्रदीक्षित (śrī rāmabhadradīkṣita): 

“It is not only these great gods and goddesses, the creators in each his or her own important way, that are the witnesses to applaud the dance of Śiva, but they enthusiastically also join in creating the orchestra for him, by playing the musical instruments. At the very sign of his brow, Viṣṇu takes up the drum mardala, which, with its noble rumbling notes, like the cloud inspiring the blue-throated peacock to dance started the musical sound. With his lotus-hands, Brahmā takes up a pair of cymbals, ostensibly to keep time to the dance, of the victor of Kāma, but really because they allow his mistaking them for the breasts of his consort, Sarasvatī. Indra places the bamboo flute on his lip, the honey of which was lovingly tasted by the celestial nymph, Rambhā, and even by the excellence of his playing, which keeps the worlds spell-bound, Indra makes himself conspisious in his high station. Sarasvatī, the consort of Brahmā, beautifully plays the lute with the rosary placed on her left ear, as if to suggest a faster pace in the musical play. Pārvatī smiles at the impatience of her beloved one (Śiva) to dance, as he gets ready by tying up his locks with the long snake coil and his waist with the elephant hide. Śambhu, the kind-hearted, knowing that his dance festival was not to be comprehended by the mortal eye, graciously bestows the divine sight for those who lack it. Then the whole concourse witnesses the dance of Śiva, with the locks whirling around and lashing clusters of stars, as his feet with the serpent anklet, jingling at his thread, pushes down the earth.”

वैज्ञानिककला नटराज प्रतिकाविद्यायाः (vaijñānikakalā naṭarāja pratikāvidyāyāḥ - scientific art of the dance-king iconography)

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 narration of revered scientist and author Fritjoff Capra, who beautifully summarizes 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 left 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 maintenance, 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”.

The next important point to understand is that नाट्य (nāṭya - dance) is yogic in nature as it demands perfect synchornization even at bio-psychic levels, in terms of coordinated synergies between different organs of the body viz. हस्ताः (hastāḥ - hands), टङ्गाः (ṭaṅgāḥ - legs), नेत्राः (netrāḥ - eyes), मुख (mukha - face) and the in fact, सर्वाङ्गाः (sarvāṅgāḥ - all organs) in a seamless synchronization between the त्रयह् विमाः नाट्यस्य (trayah vimāḥ nāṭyasya - three dimensions of dance) viz.  नृत्य /ஆட்டம் (nṛtya / āṭṭam - dance), सङ्गीत / பாட்டம் (saṅgīta/ pāṭṭam - song) & अभिनय /அவிநயம் (abhinaya / avinayam - expression).

The salient features of योग नाट्यस्य (yoga nāṭyasya- yoga of dance) is very clearly explained by श्रीमति मीनाक्षिदेवी (śrīmati mīnākṣidevī – Smt Meenakshi Devi), the eminent subject matter expert as a practising dancer as well as a yogi and has been awarded by the prestigious கலைமாமணி விருது (kalaimāmaṇi virudu – expert-artist award). According to her:

“Bharatanatyam is a Yoga, if Yoga means union. For surely this ancient art is one of the most beautiful and satisfying ways of expressing the human longing for union with the Divine. As an art form, Bharatanatyam demands conscious understanding of body, mind and emotions. The sincere dancer must understand the nature of Bhakti and Jnana and the innate longing in all living creatures for Samadhi or cosmic consciousness. The ‘Divine dance of energy’ in the universe, so graphically and beautifully represented by Lord Nataraja, the lord of dance is the source of inspiration for all Bharatanatyam artists who understand the deeper aspects of their art. Especially for the youth, this Divine art is a boon for it shapes the body into graceful controlled beauty, the mind into alertness and sensitivity and the emotions into controlled and purified receptors for the deepest inner longings of humankind. Lord Shiva himself blesses those young people, who take to this art, offering their profound interest, their love and their discipline as Dakshina. Such true Sadhaks then find that Satyam, Shivam and Sundaram – truth, goodness and beauty do flower in their lives, boons granted gladly by the lord of dance to his ardent devotees.”

 Interestingly, मुद्राः (mudrāḥ - gestures) & करणाः (karaṇāḥ- poses) are integral to योग नाट्यस्य (yoga nāṭyasya- yoga of dance) just as in the case of traditional हट योगसाधन (haṭa yogasādhana). For example, in the case of former, हस्त मुद्राः (hasta mudrāḥ - hand gestures) there are recognized to be around द्वादश प्राण लक्षणानि (dvādaśa prāṇa lakṣaṇāni – twelve vital charecteristics) which are further classified into various types each of which could be either सम्युथ हस्थ मुद्र (samyutha hastha mudra – in-conjuction hand gesture) involving both hands or असम्युथ हस्थ मुद्र (asamyutha hastha mudra – not-in-conjuction hand gesture).  

Similarly, नाट्य करणाः (nāṭya karaṇāḥ - hand movements) represent synchronous movements of the body organs especially it is a coordinated movement between हस्ताः (hastāḥ - hands) & टङ्गाः (ṭaṅgāḥ - legs).  And combination of द्वकरणे (dvakaraṇe – two movements) constitute a मातृका (mātṛkā – expressive unit); and the permutation-combination of two or more मातृकाः (mātṛkāḥ – expressive units) form what is called as अङ्गहाराः (aṅgahārāḥ - gesticulation)

Original	Transliteration	Translation
हस्तपादसमयोगो नृत्यस्य करणम् भवेत्॥ द्वे नृत्त्वकरणे चैव भवतो नृत्तमातृका। द्वाभ्यां त्रिभिश्चतुर्भिर्वाप्यङ्गजारस्तु मातृभिः॥ त्रिभिः कलापकं चैव चतुर्भिः षण्डकं भवेत्। पञ्चैव करणानि सङ्घातक इति समृतः॥ षड्भिर्वा सप्तभिर्वपि अष्टभिर्नवभिस्तथा। करणईरिह संयुक्ता अङ्गहाराः प्रकीर्ताः॥ एतेषामेव वक्ष्यामि हस्तपादविकल्पनम्।	hastapādasamayogo nṛtyasya karaṇam bhavet॥ dve nṛttvakaraṇe caiva bhavato nṛttamātṛkā। dvābhyāṃ tribhiścaturbhirvāpyaṅgajārastu mātṛbhiḥ॥ tribhiḥ kalāpakaṃ caiva caturbhiḥ ṣaṇḍakaṃ bhavet। pañcaiva karaṇāni saṅghātaka iti samṛtaḥ॥ ṣaḍbhirvā saptabhirvapi aṣṭabhirnavabhistathā। karaṇaīriha saṃyuktā aṅgahārāḥ prakīrtāḥ॥ eteṣāmeva vakṣyāmi hastapādavikalpanam।	The combined [movement of] hands and feet in dance is called the Karaṇa: Two Karaṇas will make one Mātṛkā, and two, three, or four Mātṛkās will make up one Aṅgahāra. Three Karaṇas will make a Kalāpaka, four a Śaṇḍaka, and five a Saṃghātaka. Thus the Aṅgahāras consist of six, seven, eight or nine Karaṇas. I shall now speak of the hand and feet movements making up these (Karaṇas). -translation by Manmohan Gosh
Sanskrit Reference :भरतनाट्यशास्त्र (bharatanāṭyaśāstra) (4.30-34)

There are around the अष्टोत्तरशत नाट्य करणाः (aṣṭottaraśata nāṭya karaṇāḥ - hundred and eight dance poses) that are defined by श्री भरतमुनि (śrī bharatamuni) as part of the ताण्डवलक्षण (tāṇḍavalakṣaṇa – frantic dance charecteristics) in his magnum opus masterpiece – the भरतनाट्यशास्त्र (bharatanāṭyaśāstra).

For example, श्री भरतमुनि (śrī bharatamuni) in his नाट्यशास्त्र (nāṭyaśāstra – dance scripture) lists the following as the अष्टोत्तरशत नाट्य करणाः (aṣṭottaraśata nāṭya karaṇāḥ - hundred and eight dance poses)

Original	Transliteration	Translation
तलपुष्पपुटं पूर्वं वर्तितं वलितोरु च ॥ अपविद्धं समनखं लीनं स्वस्तिकरेचितम् । मण्डलस्वस्तिकं चैव निकुट्टकमथापि च ॥ तथैवार्धनिकुट्टं च कटिच्छिन्नं तथैव च । अर्धरेचितकं चैव वक्षःस्वस्तिकमेव च ॥ उन्मत्तं स्वस्तिकं चैव पृष्ठस्वस्तिकमेव च । दिक्स्वस्तिकमलातं च तथैव च कटीसमम् ॥ आक्षिप्तरेचितं चैव विक्षिप्ताक्षिप्तकं तथा । अर्धस्वस्तिकमुद्दिष्टमञ्चितं च तथापरम् ॥ भुजङ्गत्रासितं प्रोक्तमूर्ध्वजानु तथैव च । निकुञ्चितं च मत्तल्लि त्वर्धमत्तल्लि चैव हि ॥ स्याद्रेचकनिक्कुट्टं च तथा पादापविद्धकम् । वलितं घूर्णितं चैव ललितं च तथापरम् ॥ दण्डपक्षं तथा चैव भुजङ्गत्रस्तरेचितम् । नूपुरं चैव सम्प्रोक्तं तथा वैशाखरेचितम् ॥ भ्रमरं चतुरं चैव भुजङ्गाञ्चितमेव च । दण्डरेचितकं चैव तथा वृश्चिककुट्टितम् ॥ कटिभ्रान्तं तथा चैव लतावृश्चिकमेव च । छिन्नं च करणं प्रोक्तं तथा वृश्चिकरेचितम् ॥ वृश्चिकं व्यंसितं चैव तथा पार्श्वनिकुट्टकम् । ललाटतिलकं क्रान्तं कुञ्चितं चक्रमण्डलम् ॥ उरोमण्डलमाक्षिप्तं तथा तलविलासितम् । अर्गलं चाथ विक्षिप्तमावृत्तं दोलपादकम् ॥ विवृत्तं विनिवृत्तं च पार्श्वक्रान्तं निशुम्भितम् । विद्युत्भ्रान्तमतिक्रान्तं विवर्तितकमेव च ॥ गजक्रीडितकं चैव तलसंस्फोटितं तथा । गरुडप्लुतकं चैव गण्डसूचि तथापरम् ॥ परिवृत्तं समुद्दिष्टं पार्श्वजानु तथैव च । गृध्रावलीनकं चैव सन्नतं सूच्यथापि च ॥ अर्धसूचीति करणं सूचिविद्धं तथैव च । अपक्रान्तं च सम्प्रोक्तं मयूरललितं तथा ॥ सर्पितं दण्डपादं च हरिणप्लुतमेव च । प्रेङ्खोलितं नितम्बं च स्खलितं करिहस्तकम् ॥ प्रसर्पितकमुद्दिष्टं सिंहविक्रीडतं तथा । सिंहाकर्षितमुद्वृत्तं तथोपसृतमेव च ॥ तलसंघट्टितं चैव जनितं चावहित्थकम् । निवेशमेलकाक्रीडमूरूद्वृत्तं तथैव च ॥ मदस्खलितकं चैव विष्णुक्रान्तमथापि च । सम्भ्रान्तमथ विष्कम्भमुद्घट्टितमथापि च ॥ वृषभक्रीडितं चैव लोलितं च तथापरम् । नागापसर्पितं चैव शकटास्यं तथैव च ॥ गङ्गावतरणं चैवेत्युक्तमष्टाधिकं शतम् । अष्टोत्तरशतं ह्येतत्करणानां मयोदितम् ॥	talapuṣpapuṭaṃ pūrvaṃ vartitaṃ valitoru ca // apaviddhaṃ samanakhaṃ līnaṃ svastikarecitam / maṇḍalasvastikaṃ caiva nikuṭṭakamathāpi ca // tathaivārdhanikuṭṭaṃ ca kaṭiccinnaṃ tathaiva ca / ardharecitakaṃ caiva vakṣaḥsvastikameva ca // unmattaṃ svastikaṃ caiva pṛṣṭhasvastikameva ca / diksvastikamalātaṃ ca tathaiva ca kaṭīsamam // ākṣiptarecitaṃ caiva vikṣiptākṣiptakaṃ tathā / ardhasvastikamuddiṣṭamañcitaṃ ca tathāparam // bhujaṅgatrāsitaṃ proktamūrdhvajānu tathaiva ca / nikuñcitaṃ ca mattalli tvardhamattalli caiva hi // syādrecakanikkuṭṭaṃ ca tathā pādāpaviddhakam / valitaṃ ghūrṇitaṃ caiva lalitaṃ ca tathāparam // daṇḍapakṣaṃ tathā caiva bhujaṅgatrastarecitam / nūpuraṃ caiva samproktaṃ tathā vaiśākharecitam // bhramaraṃ caturaṃ caiva bhujaṅgāñcitameva ca / daṇḍarecitakaṃ caiva tathā vṛścikakuṭṭitam // kaṭibhrāntaṃ tathā caiva latāvṛścikameva ca / cinnaṃ ca karaṇaṃ proktaṃ tathā vṛścikarecitam // vṛścikaṃ vyaṃsitaṃ caiva tathā pārśvanikuṭṭakam / lalāṭatilakaṃ krāntaṃ kuñcitaṃ cakramaṇḍalam // uromaṇḍalamākṣiptaṃ tathā talavilāsitam / argalaṃ cātha vikṣiptamāvṛttaṃ dolapādakam // vivṛttaṃ vinivṛttaṃ ca pārśvakrāntaṃ niśumbhitam / vidyutbhrāntamatikrāntaṃ vivartitakameva ca // gajakrīḍitakaṃ caiva talasaṃsphoṭitaṃ tathā / garuḍaplutakaṃ caiva gaṇḍasūci tathāparam // parivṛttaṃ samuddiṣṭaṃ pārśvajānu tathaiva ca / gṛdhrāvalīnakaṃ caiva sannataṃ sūcyathāpi ca // ardhasūcīti karaṇaṃ sūcividdhaṃ tathaiva ca / apakrāntaṃ ca samproktaṃ mayūralalitaṃ tathā // sarpitaṃ daṇḍapādaṃ ca hariṇaplutameva ca / preṅkholitaṃ nitambaṃ ca skhalitaṃ karihastakam // prasarpitakamuddiṣṭaṃ siṃhavikrīḍataṃ tathā / siṃhākarṣitamudvṛttaṃ tathopasṛtameva ca // talasaṃghaṭṭitaṃ caiva janitaṃ cāvahitthakam / niveśamelakākrīḍamūrūdvṛttaṃ tathaiva ca // madaskhalitakaṃ caiva viṣṇukrāntamathāpi ca / sambhrāntamatha viṣkambhamudghaṭṭitamathāpi ca // vṛṣabhakrīḍitaṃ caiva lolitaṃ ca tathāparam / nāgāpasarpitaṃ caiva śakaṭāsyaṃ tathaiva ca // gaṅgāvataraṇaṃ caivetyuktamaṣṭādhikaṃ śatam / aṣṭottaraśataṃ hyetatkaraṇānāṃ mayoditam //	The Karaṇas are one hundred and eight in number and they are as follows: Talapuṣpapuṭa Vartita, Valitoru, Apaviddha, Samanakha, Līna, Svastikarecita, Maṇḍalasvastika, Nikuṭṭaka, Ardhanikuṭṭaka, Kaṭicchinna, Ardharecita, Vakṣaḥsvastika, Unmatta, Svastika, Pṛṣṭhasvastika, Diksvastika, Alāta, Kaṭisama, Ākṣiptarecita, Vikṣiptākṣipta, Ardhasvastika, Añcita, Bhujaṅgatrāsita, Ūrdhvajānu, Nikuñcita, Matalli, Ardhamatalli, Recakanikuṭṭita (Recita-), Padāpaviddhaka, Valita, Ghūrṇita, Lalita, Daṇḍapakṣa, Bhujaṅgatrastarecita, Nūpura, Vaiśākharecita, Bhramaraka, Catura, Bhujaṅgāñcita (ka), Daṇḍakarecita, Vṛścikakuṭṭita, Kaṭibhrānta, Latāvṛścika, Chinna, Vṛścikarecita, Vṛścika, Vyaṃsita, Pārśvanikuṭṭana(-kuṭṭaka), Latāṭatilaka, Krāntaka, Kuñcita, Cakramaṇḍala, Uromaṇḍala, Ākṣipta, Talavilāsita, Argala, Vikṣipta, Āvṛtta (Āvarta), Dolapāda, Nivṛtta, Vinivṛtta, Parśvakrānta, Niśumbhita, Vidyudbhrānta, Ātikrānta, Vivartitaka, Gajakrīḍita, Talasaṃsphoṭita, Garuḍaplutaka, Gaṇḍasūcī, Parivṛtta, Pārśvajānu, Gṛdhrāvalīnaka, Saṃnata (Sannata) Sūcī, Ardhasūci, Sūcīviddha, Apakrānta, Mayūralalita, Sarpita, Daṇḍapāda, Hariṇapluta, Preṅkholita, Nitamba, Skhalita, Karihasta, Prasarpita (-pitaka), Siṃhāvikrīḍita, Siṃhākarṣita, Udvṛtta, Upasṛta, Talasaṃghaṭṭita, Janita, Avahitthaka, Niveśa, Elakākrīḍita, Urūdvṛtta, Madaskhalita, Viṣṇukrānta, Saṃbhrānta, Viṣkambha, Udghaṭṭita (Udghaṭṭa), Vṛṣabhakrīḍita, Lolitaka (Lolita), Nāgāpasarpita, Śakaṭāsya, Gaṅgāvataraṇa.
Sanskrit Reference :भरतनाट्यशास्त्र (bharatanāṭyaśāstra) (4.31-55)

Interestingly these अष्टोत्तरशत नाट्य करणाः (aṣṭottaraśata nāṭya karaṇāḥ - hundred and eight dance poses) can be found as artistically crafted sculptural wonders on the walls of many Hindu temple structures including but not limited to the following major ones. In fact, Dr. Padma Subramaniyam, the eminent dancer and subject matter expert did a major research titled “Karaṇa in Indian Sculpture” 

 

#	Temple	Temple-Town
1	சிதம்பரேஷ்வரர் /चिदम्बरेश्वर् (citamparēṣvarar / cidambareśvar)	சிதம்பரம் / चिदम्बरम् (cidambaram / cidambaram)
2	அருணாச்சலேஸ்வரர் / अरुणाचलेश्वर्  (aruṇācaleśvar / aruṇācalesvarar)	திரு அண்ணாமலை / श्री अरुणगिरि  (tiru aṇṇāmalai / śrī aruṇagiri)
3	சாரங்கபாணி / सारङ्गपाणि  (sāraṅgapāṇi / sāraṅgapāṇi)	கும்பகோணம் / कुंभकोण (kumpakōṇam /kuṃbhakoṇa)
4	விருதகிரீஸ்வரர்/ वृद्धगिरीश्वर् (virutakirīsvarar / vṛddhagirīśvar)	விருதாசலம் / वृद्धाचल (virutācalam / vṛddhācala)

 

For instance, the अष्टोत्तरशत नाट्य करणाः (aṣṭottaraśata nāṭya karaṇāḥ - hundred and eight dance poses) are inscribed on the प्राच्य च पूर्वेतर गोपुर द्वाराः चिदम्बरक्षेत्रस्य (prācya ca pūrvetara gopura dvārāḥ cidambarakṣetrasya - eastern and western tower gates of Chidambaram Temple).

Although high importance is given to all the अष्टोत्तरशत नाट्य करणाः (aṣṭottaraśata nāṭya karaṇāḥ - hundred and eight dance poses), yet according to, yet 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)

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). 

#	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).  

 In கூத்தநூல் (kūttanūl), the following pairs of द्वादश नाट्यकरणाः (dvādaśa nāṭyakaraṇāḥ - twelve dance movements) are given special importance in terms of प्रतिकाविद्या नटराजस्य (pratikāvidyā naṭarājasya – iconography of Nataraja). The following verse testifies the same: 

Original	Transliteration	Translation
நோக்கிய நூற்றெட்டு அதனுள் முன்னது பன்னிரெண்டு என்பர்; அதன் வழிப் பரவும் பன்னிரு கூத்தின் வகை எனப் பகர்வர் அல்லியம் எல்லியம் பல்லியம் உள்ளம் நுதல்விழி நுதல்கால் னோக்கம் நுணுக்கம் கால்வரி பேய்வரி களிற்று உரி நச்சம் பன்னிரெண்டு அவை வழிப் ப்ன்னிரு கூத்தே. பண்டரம் குஞ்சரம் முப்புரம் சங்கரம் சந்தியம் காமமும் கந்தரம் விந்தரம் கொட்டமும் கொட்டியும் சுட்டியும் ஒட்டரம் பன்னிரெண்டு என்னும் ஓர் பாட்டமும் உண்டே..	nōkkiya nūṟṟeṭṭu ataṉuḷ muṉṉatu paṉṉireṇṭu eṉpar; ataṉ vaḻip paravum paṉṉiru kūttiṉ vakai eṉap pakarvar alliyam elliyam palliyam uḷḷam nutalviḻi nutalkāl ṉōkkam nuṇukkam kālvari pēyvari kaḷiṟṟu uri naccam paṉṉireṇṭu avai vaḻip pṉṉiru kūttē. paṇṭaram kuñcaram muppuram caṅkaram cantiyam kāmamum kantaram vintaram koṭṭamum koṭṭiyum cuṭṭiyum oṭṭaram paṉṉireṇṭu eṉṉum ōr pāṭṭamum uṇṭē.	Out of hundred and eight movements the first twelve are important. From these twelve movements twelve main dances are derived. The twelve main movements are: 1) alliyam, 2) elliyam, 3) palliyam, 4) uḷḷam, 5) nutalviḻi, 6) nutalkāl, 7) ṉōkkam, 8) nuṇukkam, 9) kālvari, 10) pēyvari, 11) kaḷiṟṟu, 12) naccam.
Tamil Reference : கூத்தநூல் (kūttanūl) (3.40-42)

As summarized in the table below, these द्वादश नाट्यकरणाः (dvādaśa nāṭyakaraṇāḥ - twelve dance movements) can be mapped to the द्वादश ताण्डवाः नटराजस्य (dvādaśa tāṇḍavāḥ naṭarājasya – twelve dances of dance-king) mentioned in the शैवागम शास्त्र (śaivāgama śāstra).

 

#	नाट्यकरण (nāṭyakaraṇa  - dance act)		ताण्डव /தாண்டவம் (tāṇḍava / tāṇḍavam - dance)
	List -1 as per verse 41	List -2 as per verse 42
1	அல்லியம் (alliyam)	கொட்டம் (koṭṭam)	आनन्द ताण्डव /ஆனந்தத் தாண்டவம் (ānanda tāṇḍava / āṉandat tāṇḍavam)
2	எல்லியம் (elliyam)	சந்தி (sandi)	सन्ध्या ताण्डव /சந்த்யா தாண்டவம் (sandhyā tāṇḍava / santyā tāṇḍavam)
3	பல்லியம் (palliyam)	ஒட்டரம் (oṭṭaram)	शुद्ध ताण्डव / சுத்த தாண்டவம் (śuddha tāṇḍava / sudda tāṇḍavam)
4	உள்ளம் (uḷḷam)	காமம் (kāmam)	शृङ्कार ताण्डव / ஸ்ருங்கார தாண்டவம் (śṛṅkāra tāṇḍava / sruṅgāra tāṇḍavam)
5	நுதல் விழி (nutal viḻi)	முப்புரம் (muppuram)	त्रिपुर ताण्डव / திரிபுர தாண்டவம் (tripura tāṇḍava / tiripura tāṇḍavam)
6	நுதல் கால் (nutal kāl)	சுட்டி (cuṭṭi)	ऊर्धव ताण्डव / ஊர்தவ தாண்டவம் (ūrdhava tāṇḍava / ūrdava tāṇḍavam)
7	நோக்கம் (nōkkam)	விந்தரம் (vintaram)	मुनि ताण्डव / முனி தாண்டவம் (muni tāṇḍava / muṉi tāṇḍavam)
8	நுணுக்கம் (nuṇukkam)	சங்கரம் (caṅkaram)	संहार ताण्डव / சம்ஹார தாண்டவம் (saṃhāra tāṇḍava / samhāra tāṇḍavam)
9	கால் வரி (kāl vari)	கொட்டி (koṭṭi)	प्रलय ताण्डव / பிரளய தாண்டவம் (pralaya tāṇḍava / piraḷaya tāṇḍavam)
10	பேய் வரி (pēy vari)	பண்டரம் (paṇṭaram)	भूत ताण्डव / பூத தாண்டவம் (bhūta tāṇḍava / pūta tāṇḍavam)
11	களிற்று உரி (kaḷiṟṟu uri)	குஞ்சரம் (kuñcaram)	उर्ग्र ताण्डव / உக்கிர தாண்டவம் (urgra tāṇḍava / ukkira tāṇḍavam)
12	நச்சம் (naccam)	கந்தரம் (kantaram)	भुजङ्ग ताण्डव /புஜங்க தாண்டவம் (bhujaṅga tāṇḍava / bujaṅga tāṇḍavam)

 

Thus far, we have been looking into the physical aspects of harmony in dance, we shall next quickly look at the emotional synergies as well. To this end, let’s start with रस (rasa - sentiment) one of the fundamental building blocks of emotions.  Accordig to classical definition, there are  अष्टविध रसाः (aṣṭavidha rasāḥ - eightfold sentiments) including the four primary ones viz. शृङ्गार /காமம் (śṛṅgāra / kāmam - erotic), रौद्र/இழிப்பு (raudra / iḻippu – furious /contention),वीर /விறல் (vīra / viṟal - heroic) & बीभत्स / வெறுப்பு (bībhatsa / veṟuppu - odious), as well as their corresponding derivatives viz. अस्य /நகை (asya / nagai - comic), करुण /இரக்கம் (karuṇa / irakkam – compassionate / pathetic), अद्भुत /வியப்பு (adbhuta - marvel) & भय/அச்சம் (bhaya / accam – terrible / fear) respectively, as enumerated by श्री भरतमुनि (śrī bharatamuni) in the following verses:

Original	Transliteration	Translation
यथा बीजाद्भवेद्वृक्षो वृक्षात्पुष्पं फलं यथा। तथा मूलं रसाः सर्वे तेभ्यो भावा व्यवस्थिताः॥ तदेषं रसानामुत्पत्तिवर्णदैवतनिदर्शनान्यभिव्याख्यास्यामः। येषामुत्पत्तिहेत्वश्चत्वारो रसाः। तद्यथा - शृङ्गारो रौद्रो वीरो भीतस्य इति। अत्र शृङ्गाराद्धि भवेद्धास्यो रौद्राञ्च करणो रसः। वीराञ्चैवाद्भुतोत्पत्तिर्बीभसाञ्च भानकः॥ - भरतनाट्यशास्त्र (6.38,39)	yathā bījādbhavedvṛkṣo vṛkṣātpuṣpaṃ phalaṃ yathā। tathā mūlaṃ rasāḥ sarve tebhyo bhāvā vyavasthitāḥ॥ tadeṣaṃ rasānāmutpattivarṇadaivatanidarśanānyabhivyākhyāsyāmaḥ। yeṣāmutpattihetvaścatvāro rasāḥ। tadyathā - śṛṅgāro raudro vīro bhītasya iti। atra śṛṅgārāddhi bhaveddhāsyo raudrāñca karaṇo rasaḥ। vīrāñcaivādbhutotpattirbībhasāñca bhānakaḥ॥	Just as a tree grows from a seed, and flowers and fruits [including the seed] from a tree, so the Sentiments are the source (lit. root) of all the States, and likewise the States exist [as the source of all the Sentiments]. The eight Sentiments from the four original ones. Now we shall describe the origins, the colours, the [presiding] deities, and examples of these sentiments. Sources of these [eight] sentiments are the four [original] sentiments e.g. Erotic, Furious, Heroic and Odious. -translation by Manmohan Gosh
Sanskrit Reference :भरतनाट्यशास्त्र (bharatanāṭyaśāstra) (6.38,39)

Sometimes शान्ति /நடுவுநிலை (śānti / naṭuvunilai - tranquility) is added to these अष्टविध रसाः (aṣṭavidha rasāḥ - eightfold sentiments) by experts and commentators including परमाचार्य श्री अभिनवगुप्त (paramācārya śrī abhinavagupta), thereby making them नवरसाः (navarasāḥ - nine sentiments). Similarly, in the கூத்தநூல் (kūttanūl – dance scripture) written by ஸ்ரீ சாத்தனார் (srī sāttaṉār) provides the following சுவைதொகை (suvaitogai – sentiment list) in the section சுவைநூல் (suvainūl – sentiment book): 

Original	Transliteration	Translation
நடுவுநிலை காமம் வியப்புத்திறலே விறல்நகை அச்சம் இரக்கம் வெறுப்பே ஒன்பதும் சுவையாய் உறத்தினர் முன்னோர்..	naṭuvunilai kāmam viyapputtiṟalē viṟalnakai accam irakkam veṟuppē oṉpatum cuvaiyāy uṟattiṉar muṉṉōr
Tamil Reference : கூத்தநூல் (kūttanūl) (2.28)

Now these नवरसाः (navarasāḥ - nine sentiments) eventually leads to various kinds of भावा /பாவம் (bhāvam – mood / emotion) including the corresponding नवभावाः (navabhāvāḥ - nine moods). For example, this table maps the two based on the mappings in the भरतनाट्यशास्त्र (bharatanāṭyaśāstra) & கூத்தநூல் (kūttanūl)

 

#	रस /ரசம் (rasa / rasam - sentiment)	भावा /பாவம் (bhāvam – mood / emotion)
1	शृङ्गार /காமம் (śṛṅgāra / kāmam - erotic)	रति / ஊக்கம் (rati - delight)
2	अस्य /நகை (asya / nagai - comic)	हस / குறுக்கம் (hasa / kuṟukkam - laughter)
3	करुण / இரக்கம் (karuṇa / irakkam – compassionate / pathetic)	शोक / தேப்பம் (śoka / tēppam - sorrow)
4	रौद्र / இழிப்பு (raudra / iḻippu – furious /contention)	क्रोध / சினப்பிடை (krodha / ciṉappiṭai - hatred)
5	वीर /விறல் (vīra / viṟal - heroic)	उत्सह  / இச்சை (utsaha / iccai - zeal)
6	भय /அச்சம் (bhaya / accam – terrible / fear)	भय / மயக்கம்  (bhaya / mayakkam - fear)
7	अद्भुत /வியப்பு (adbhuta - marvel)	विस्मय /ஒடுக்கம் (vismaya / oṭukkam - wonder)
8	बीभत्स /வெறுப்பு (bībhatsa / veṟuppu - odious)	जुगुप्सा /திணக்கம் (jugupsā / tiṇakkam - disgust)
9	शान्ति /நடுவுநிலை (śānti / naṭuvunilai - tranquility)	शान्ति /அமைதி (śānti / amaidi naṭuvunilai - peace)

 

Of course, this is not an exhaustive list of all possible human emotions. However, this list is highly representing of most important emotions expressed by humans. The important point to understand is the psychological relation between रस /ரசம் (rasa / rasam - sentiment) & भावा /பாவம் (bhāvam – mood / emotion).  According to subject matter experts, the former is an atomic instance of the latter. In other words, रस /ரசம் (rasa / rasam - sentiment) is an emotion of a person during a particular instance of time, whereas a भावा /பாவம் (bhāvam – mood) reflects the sustained impact of the same emotion carried on for a longer time frame. Thus, former is considered as a बिज (bija - seed) which when sustained and nurtured, grows into a larger वृक्षक (vṛkṣaka - plant) called भावा /பாவம் (bhāvam – mood). Please not that the கூத்தநூல் (kūttanūl – dance scripture) formally refers भावा /பாவம் (bhāvam – mood) by the term ‘அகம் (agam)’ and explains its nature of synergies between रस /ரசம் (rasa / rasam - sentiment) and both these are physical coordination of different parts of the dancer’s body during dance performance. 

अभिनय (abhinaya – histrionic expression) is the next important aspect in the कला नाट्यस्य (kalā nāṭyasya – art of dance) and in the lines of भावा /பாவம் (bhāvam – mood) & रस /ரசம் (rasa / rasam - sentiment) that we just touched upon. Well, but what exactly is अभिनय (abhinaya – histrionic expression)?  श्री भरतमुनि (śrī bharatamuni) defines it thus, deriving from its etymological roots in the following verses:

Original	Transliteration	Translation
अभिपूर्वस्तु णीञ् धातुराभिमुख्यार्थनिर्णये । यस्मात्पदार्थन्न्यति तस्मादभिनयः स्मृतः॥ विभाअवयति यस्माञ्च नानार्थान् हि प्रयोगतः। शाखाङ्गोपाङ्गसंयुक्तस्तस्मादभिनयः स्मृतः॥	abhipūrvastu ṇīñ dhāturābhimukhyārthanirṇaye। yasmātpadārthannyati tasmādabhinayaḥ smṛtaḥ॥ vibhāavayati yasmāñca nānārthān hi prayogataḥ। śākhāṅgopāṅgasaṃyuktastasmādabhinayaḥ smṛtaḥ॥	As the root nī preceded by abhi means 'carrying the performances (prayoga) of a play [to the point of direct] ascertainment. of its meaning,' so [the word made out of them] becomes abhinaya (carrying towards). Abhinaya is so called because in the performonce [of a play] it together with the śāka, the aṅga and the upāṅga explains the meaning of different [things]. -translation by Manmohan Gosh
Sanskrit Reference :भरतनाट्यशास्त्र (bharatanāṭyaśāstra) (6.38,39)

Here, in the above definition, the term ‘शाखा (śākhā - limb)’ referes to the करवर्तना (karavartanā – hand gesticulation), while अङ्ग (aṅga - organ) corresponds to head, hands, breast, sides, waist and feet, and उपाङ्ग (upāṅga – sub-organ) corresponds to eyes, eyebrows, nose, lips and chin.  

Hence नाट्य (nāṭya - dance), in this sense, is a योग यज्ञसाधन (yoga yajñasādhana - yogic sacrificial rite) synchronizing the different organs in the भूत देह (bhūta deha – material body), मनस् (manas - mind) and the आत्मन् (ātman - soul). This fact is very beautifully expressed by ஸ்ரீ சாத்தனார் (srī sāttaṉār) in his famous poetic treatise கூத்தநூல் (kūttanūl – dance scripture)

Original	Transliteration	Translation
அகம் அது உண்மை; அது பாய்ந்து உள்ளே நிறைவது சுவை ஆம்; சுவையது நிரம்பி மெய்வழி வழிதல் மெய்ப்பாடு ஆமே. உள்ளது அகமே உயிர்ப்பது சுவையே; உயிர்ப்பு இடை துள்ளி உகள்வது இழையே இழைவழி உடலம் இயல்வது தீது. அகமது கண்ணே; சுவையது முகனே இழையது கையே; கைவழி உடலே காலது தாளம் காட்டினர் முன்னோர். பண் வழி நடக்கும் பாட்டின் போக்கு; பாட்டின் வழியே தாளம் பயிலும் தாள வ்ழியே காலஅடி தட்டும் தட்டின் வழியே கையது தழைக்கும் கைவழிபோகும் கண்கடை நோக்கு. கண்வழி முகனே; முகவழி மெய்யே; மெய்வழிக் கையே; கைவழி பண்ணே; பண்வழித் தட்டே; தட்டு இதழ் காலே; கால்வழிப் போக்கே; போக்கது கூத்து. அகம் உயிராகச் சுவை உளம் ஆக இழை உடல் ஆக இயல்வது கூத்து. பண் உயிராகச் சொல் உளமாகத் தட்டு உடல் ஆகத் தழைவது பாட்டு. கண் உயிர் ஆக மெய் உளம் ஆகக் கால் உடல் ஆகக் காட்டக் தண்டுவம் என்னப் பல்வகை உயிர்க்கு உடல் போலப் பின்னிச் செய்வது கூத்தின் பெருமை.	agam atu uṇmai; atu pāyntu uḷḷē niṟaivatu cuvai ām; cuvaiyatu nirampi meyvaḻi vaḻital meyppāṭu āmē. uḷḷatu agamē uyirppatu cuvaiyē; uyirppu iṭai tuḷḷi ukaḷvatu iḻaiyē iḻaivaḻi uṭalam iyalvatu tītu. akamatu kaṇṇē; cuvaiyatu mukaṉē iḻaiyatu kaiyē; kaivaḻi uṭalē kālatu tāḷam kāṭṭiṉar muṉṉōr. paṇ vaḻi naṭakkum pāṭṭiṉ pōkku; pāṭṭiṉ vaḻiyē tāḷam payilum tāḷa vḻiyē kāla'aṭi taṭṭum taṭṭiṉ vaḻiyē kaiyatu taḻaikkum kaivaḻipōkum kaṇkaṭai nōkku. kaṇvaḻi mukaṉē; mukavaḻi meyyē; meyvaḻik kaiyē; kaivaḻi paṇṇē; paṇvaḻit taṭṭē; taṭṭu itaḻ kālē; kālvaḻip pōkkē; pōkkatu kūttu. akam uyirākac cuvai uḷam āka iḻai uṭal āka iyalvatu kūttu. paṇ uyirākac col uḷamākat taṭṭu uṭal āgat taḻaivatu pāṭṭu. kaṇ uyir āga mey uḷam ākak kāl uṭal āgak kāṭṭak taṇṭuvam eṉṉap palvakai uyirkku uṭal pōlap piṉṉic ceyvatu kūttiṉ perumai.
Tamil Reference : கூத்தநூல் (kūttanūl) (2.13-22)

Again, this is why Dr. Sri Kapila Vatsyayan, the eminent scholar and subject matter expert explains the synergies between them thus:

 “The dramatic spectacle [nāṭya], like the yajña, has a moral and ethical purpose. It will conduce moral duty (dharma), wealth economic well-being (artha), refme sensibilities (kāma) and lead to liberation (mokṣa). The arts are thus an alternate, if not a parallel, path for the avowed goals of a culture which move concurrently on the three levels of the adhibhautika (material), adhyatmika (individual soul and self) and adhidaivika (metaphysical divine). The multidimentional nature is evident, even if not explicitly stated”.

Continued...

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