Analysis of shiva nataraja art

The origin of this art work can be traced to the Chola Dynasty of the late 11th century (Stromer, 5). However, some historians have alluded that the Shiva sculpture could have appeared as early as the fifth century (Stromer, 5). Shiva Nataraja portrays the Hindu god Shiva as the lord of dance involved in the dynamic, victorious dance of bliss known as “ananda tandava” that he performed following the victory over the arrogant sages in the Chidamabaram forest (Stromer, 7). Each of the parts of the god represented in the sepulture have unique symbolism majority of which are about his powers as god. For example, the flame of destruction that is shown in one of Shiva’s hands represents the flame of the cosmic fire that he uses to end the universe in its cycle of creation and destruction.

Therefore, while Shiva does not expressly symbolize a matriarchal society, the art work symbolizes the unique cosmic balance between the energies of the male and female. This is because the art is considered half-male half female given the nature of its earrings. On the right ear, Shiva has an earring that depicts a mythical water creator and on the left ear it has a circular earring that is adorned by women. This pair represents both male and female aspects. Based on the history of Shiva Nataraja it is appropriate to conclude that art can be politicized and in most cases the gender of the art matters based on the societies’ perception of the position, roles and responsibilities of men and women in the society.