British Museum blog

London, a world city in 20 objects: Shiva Nataraja, the god Shiva dancing in a ring of flames

Shiva NatarajaRichard Blurton, British Museum

Shiva Nataraja

Shiva Nataraja

Fine bronze sculptures of the gods of Hinduism were produced in the Chola period in southern India for use as processional images. These portable representations of the gods could be taken from the temple, dressed and decked with garlands, and then paraded through the streets, enabling all to have a beneficial view of them. Within the temple itself, images of the Hindu deities, such as Vishnu, Shiva and Durga, were venerated in images of stone and these never left the sanctuary. However, bronze images, such as this one of Shiva, Lord of the Dance, could easily be carried on platforms and paraded through the streets by devotees. Processions carrying such images and with many thousands of participants, are still a feature of south Indian temple festivals in towns such as Madurai and Chidambaram.

Lord Shiva is depicted in this famous dance form as the deity at the extremes of time, the lord who crushes ignorance underfoot and who ushers out one cycle of existence and dances in a new one. In Indian lore, time is cyclical and made up of endless iterations and this image shows the god at the end of one cycle and the beginning of the next.

The dance of Shiva at this moment of dissolution and of creation, is conceived of as full of wild movement. The dreadlocks of the god (usually discreetly tied up on top of his head) fly out unchecked around him, providing some indication of the fury of his circular dance – though one foot is, nevertheless held up for his devotees to shelter beneath. The flame he holds in his upper left hand represents the destruction at the end of one cycle, while the sound of the drum in his upper right brings in the new cycle. Not for nothing has this image of the god, full of cosmic symbolism, become the one that people internationally associate with Hinduism.

This was first published in the London Evening Standard on 22 November 2012.

The Shiva Nataraja is on display in Room 33: China, South Asia and Southeast Asia

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Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum
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