Medieval Indian Metal Sculpture
In the early medieval period, a great relationship of adoration and love was developed between devotees and the deities worshipped in the Brahmanical traditions. The human form of deities made it easy for the devotees to relate themselves to them. This led to the creation of the divine families, so that the people were able to easily engage themselves with their deities through their everyday lives.
Utsava Murtis Tradition of South India
According to the ritual texts, there are two kinds of utsavas. First is that take place as a regular part of worship, in which the deity may make a circumambulatory tour of the temple. Second is that which occurs once a week, month or year. The most important are the grand celebrations called maha-utsavas, that occur as annual celebrations.
The importance of these Utsavas is that the deity leaves the sanctum sanctorum and becomes approachable to all.
In the medieval period, a great tradition of utsava murtis, or festival images began. The deity, in many manifestations of the human form, comes out onto the streets. Sometimes the deity performs a journey to a place of pilgrimage or may be taken for a ritual bath or even to the seashore to enjoy the breeze.
Taalamana System with reference to Bronze sculpture in Tamil Nadu
In the 8th century, the Utsava Murthis were made in Bronze in Tamil Nadu. This tradition of Bronze sculpture reaches its zenith during the Chola period. The themes of the images are eternal.
In those times, a very different tradition of modelling was followed in India and particularly in the South Indian bronzes. Unlike the European tradition of using models, the images were all made using mnemonic techniques, whereby the craftsmen were meant to memorise dhyana shlokas which describe the attributes of various goddesses and gods and they used the taalamana system of measurement to essentially visualise the image and then sculpt it out of their own imagination rather than using models. Taalamana is a complex system of iconography derived from the Shilpa Shashtra. Shilpa shastra normally employ divisions on a scale of one (eka tala) to ten (dasa tala). Each tala is subdivided into 12 angulas. It is called Taalamana paddathi or Taalamana system, the system of measurements by Tala, the palm of hand.
Nataraja Image
The most magnificent image in the bronzes is Nataraja, Siva in his cosmic dance. In this dance, he creates and destroys the world. The richness of symbolic meaning in the Nataraja image makes it one of the greatest icons created by man.
The important features of this image have been described below:
Ring of Cosmic Fire
There is an oval ring around the original figure of Shiva Nataraja. It represents the cosmic fire he uses to destroy the universe as part of the cycle of destruction and creation. Each flame has three points.
In the eleventh and twelfth centuries, a round circle of fire with flames of five points became typical for the Shiva Nataraja image.
Third Eye
Shiva’s third eye represents his cosmic knowledge.
Multiple Arms
The Hindu deities are depicted with multiple arms to illustrate divine power. Shiva Nataraja’s four arms each take a different position or hold symbolic objects, showing his strength and constellation of skills.
Cloths
Shiva wears a veshti around his waist. Across his torso is the Yagyopveet (Janeu in Hindi) the sacred thread of the Brahmin priestly class.
Earrings
On Shiva’s right ear is an earring depicting a makara, a mythical water creature. His left ear is adorned with a circular earring worn by women. The pair represents Shiva’s male and female aspects (Ardhnarishwar). He is sometimes depicted with his consort Parvati (Uma) as a half-male, half-female form, illustrating the cosmic balance of male and female energies.
Hands, Damaru, Snake, Cosmic Fire, Jata, Moon and Ganga
The left hand points downward to indicate sanctuary for the soul of the devotee. The open palm of Shiva’s right hand forms the abhayamudra, or hand gesture, signifying that the worshipper need have no fear. In one hands, he has Damaru, that Shiva beats a rhythm that brings the universe into creation.
Shiva takes the snake and coils it around himself, thereby neutralizing it as a weapon. Poised in one of Shiva’s hands is a flame of the cosmic fire he uses to end the universe in its cycle of creation and destruction. Metted locks of Jata reflect Shiva’s role as a yogi who sometimes meditates for hundreds of years high in the Himalayan mountains.
Shiva is associated with the moon in a number of different narratives and wears the crescent moon in his locks. The tiny figure perched in Shiva’s hair is the River Ganga (Ganges) in the form of a goddess. In response to devastating drought, Ganga agreed to descend to Earth, where Shiva received her in his matted locks to soften the impact of her landing.
Feet and Apasmara
Nataraja has been shown balancing himself on his right leg and suppressing the apasmara, the demon of ignorance or forgetfulness, with the foot of the same leg. At the same time he raises his left leg in bhujangatrasita stance, which represents tirobhava that is kicking away the veil of maya or illusion from the devotee’s mind. He looks blissfully up at the conquering Lord Shiva.
