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Thanjavur Maratha Palace - Nataraja Hall, Tamil Nadu, India

The Thanjavur Maratha Palace, known locally as Aranmanai, today is the official residence of the Bhonsle family that ruled Tanjore from 1674 to 1855. It is located in Thanjavur, Tamil Nadu, India.

The palace complex consists of the Sadar Mahal Palace, the queen's courtyard and the Durbar Hall. The Royal Palace Museum contains a splendid collection of Chola bronzes.

An Entrance of the palace

Bell tower

Palace pyramidal tower

Entrance to the Nataraja Hall

Nataraja, the Cosmic Dancer

  • How was Nataraja created? Created during the Chola dynasty (9th-13th centuries CE) using the lost-wax casting method, showcasing ancient India's advanced metallurgical skills.
  • When did Nataraja become prominent? Rose to prominence in the 10th century during the Chola period, a golden age of Tamil culture and art.
  • Who? Nataraja depicts Lord Shiva, the "Lord of Dance," performing the Tandava, symbolizing the cycle of creation, preservation, and destruction.
  • What is Nataraja? Nataraja embodies the dynamic universe. His dance sets the cosmos in motion, symbolizing time and the cosmic rhythms.
  • Why is Nataraja important? Nataraja symbolizes the cosmic dance of the universe, blending art, spirituality and science. It's a profound representation of the interconnectedness of all things and the continuous cycle of life and time.
  • Which elements are key? The drum, flame, and the circle of fire are crucial, each symbolizing creation, destruction, and the cycle of the cosmos.
  • Did you know?
    • The Chidambaram Temple houses the "Chidambara Rahasya,” symbolizing cosmic consciousness.
    • A Nataraja statue is displayed at CERN, representing the cosmic dance of particles.
    • The lost-wax casting technique used for Nataraja is over 2,000 years old and still practiced in India.

Nataraja, the Lord of Dance

  • Damaru: its a small drum held by Shiva, symbolizing the cosmic sound of creation and the rhythm of the universe. This drum represents the cyclical nature of time and the ongoing process of creation, preservation, and destruction.
  • Crescent moon: its in Shiva's hair symbolizes the passage of time and the cyclical nature of life. It represents immortality and the waxing and waning of the moon, signifying the balance between creation and destruction.
  • Abhaya mudra: its a hand gesture symbolizing protection, reassurance, and fearlessness. This mudra represents Shiva's power to dispel fear and offer safety to his devotees.
  • Agni: its the flame held by Shiva, symbolizing the destructive power that clears the way for renewal and transformation. This fire represents the purifying force that burns away ignorance and impurities.
  • Gaja Hasta: its a hand gesture symbolizing an elephant's trunk, representing Shiva's power to overcome obstacles and destroy evil. This mudra is often associated with the defeat of the elephant demon, Gajasura.
  • Apasmara Purusha: its the dwarf demon trampled under Shiva's right foot, symbolizing ignorance and illusion. This act represents Shiva's triumph over darkness and the suppression of ignorance to reveal truth and enlightenment.
  • "Nataraj, Nataraja, yai Shiva Shankgra Nataraja. Shivaraj, Shivaraja, Shambho Shankgzra Shivaraja".

25. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 147.3 cms without peedam: 121.9 cms. Date of acquisition: 1950-51. Period: 19th Century CE.

  • Stands trampling the stretched form of Muyalaka (demon) over a rectangular base with lotus design.
  • Prabavali is an oval ring, fringed with 19 flames.
  • Face is round, Nose is well set.
  • Right ear lobe is empty.
  • Left wears a patrakundala.
  • Kettle drum is held vertically between the thumb and the middle finger of the right upper hand.
  • Flame is carried in a vessel between the tip of the thumb and the fore finger of the left upper hand.

41. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 122 cms without pedestal: 109 cms. Date of acquisition: 1950-51. Period: 12-13th Century CE.

  • Ananda Tandava pose era crouching dwarf.
  • Elbows are angular.
  • Two Rudraksha beads of rosaries.
  • Five stranded Yajnopavita (thread).
  • Fifth short strand passes underd-neath the right armpit.
  • Udarabandha with an ornate makara clasp-Fan like jatabhara with their interspaces filled with flowers.
  • Prabhavali with forty two flames of fire in circular type with Makara mouldings at lower ends. Two of the flames are found broken.

42. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 109.2 cms without pedestal: 101.6 cms. Date of acquisition: 1950-51. Period: 11th Century CE.

  • Dancing Ananda Tandava pose, Lift of the left is much more elevated upto navel and thrown more forward.
  • The upper part of the body including the head is throw a little backward Central eye, eye-brows, eye-lids and eye-balls are clearly marked out.
  • Flying jatabaras are eight in number on each side in wavy lines.
  • Mermaid Ganga is perched on right between third and fifth jatas in Anjali pose facein the god, Sitaschakra is fringed with a ring.
  • Twelve ringlets of hair are in semicircular array on the nape of the neck.
  • Two stranded yajnopavita (thread).
  • Udarabanda (towel) of ratnas nipples are marked in three circles around them.
  • A hooded cobra entwines the abhaya hand.
  • Right leg bears bringipada.
  • Muyalaka (demon) is holding a hooded cobra facing him.
  • The prabhavali contains 36 flames of fire.
  • The image is joined to the prabhavali ring at the top.

55. Sivakami
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 91.4 cms without pedestal: 81.3 cms. Date of acquisition: 1950-52. Period: 11-12th Century CE.

  • Stands in tribhanga on a padmapeedam attached to a plate.
  • Head tilts to left Karandamakuta with Siraschakra.
  • Eleven ringlets of locks of hair in semi-circular array on the back, yajnopavita (thread) of cloth.
  • Triveli mark indicated, close fitting under-garment.
  • Three mekhalas-Makara clasp.

63. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 71.1 cms. without peedam: 63.5 cms. Date of acquisition: 1950-52. Period: 11-12th Century CE.

  • Dancing on a crouching Muyalaka whose hands are engaged in dealing with a cobra.
  • Circular prabavali containing 46 flames.
  • Elegant padasaras.
  • Two anklets on each leg.
  • Flain ardhoraka with kaccha clearly shown behind.
  • Broad ribbed Udarabandha.
  • Broad yajnopavita of five strands.
  • Makarakundala in the right ear and patrakundala in the left.
  • Kesabandha with chandrakala on the right.
  • Upper right hand holds kettle.
  • Drum and left holds five flames on the naked palm.

69. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 63.5 cms without peedam: 51.8 cms. Date of acquisition: 1950-52. Period: 19th Century CE.

  • Dancing on a recumbent form of muyalaka (demon) lying on a two tier stenciled padmapeedam attached to a rectangular two tier stencil bhadrapeedam.
  • Standing within a circular prabavali containing twenty seven flames.
  • Braded hair at the top is welded with the prabavali for support.
  • Uthiriyas (towel) on the left splitted into two at the end and joined with the prabavali.
  • Five spreading jatas, on each side with a siraschakra behind.
  • Mermaid Ganga seen on the right side and the crescent moon on the left side jatas and with open usual iconographic details.

71. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 76.2 cms. Date of acquisition: 1950-52. Period: 12th Century CE.

  • Dancing on a childish Muyalaka (demon) crawling on all fours.
  • All the hair-locks hanging down over the back.
  • Usual iconographic details.
  • Flame of fire is held in a cup in the upper left hand.
  • Armlet Vanki, bahibandha and three valayals decorate the arms.
  • Thick yajnopavita (thread) broad rudra, kanthi and two small neck-laces adorn the torso.
  • Mermaid Ganga in Anjali pose on his right and a hissing cobra on his left.

72. Parvathi
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 55.9 cms without pedestal: 50.8 cms. Date of acquisition: 1950-52.

  • Stands in abhanga on a padmapeedam.
  • Close fitting under-garment of wavy lines with long side tassels - waist girdle with a pravala clasp.
  • Four lines on the abdomen.
  • Two stranded thick yajnopavita (thread), Makarakundalas on the ears.
  • High Kesabanda with Siraschakra.
  • One Armlet and one wristlet of simple nature adorn the hands.

78. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 94 cms without peedam: 84 cms. Date of acquisition: 1950-52. Period: 12th Century CE.

  • Dancing on a Muyalaka (demon) with usual iconographic details.
  • Inter-space between the flowing locks of hair filled with flowers.
  • Top of the head crowned with a braid of feathers with central skull.
  • No second uttariya (towel).
  • Flame (Broken-Net available) is held in a cup in the left hand.
  • Hood of the cobra entwining the right abhaya hand found broken and missing.
  • Muyalaka (demon) is ugly and per bellied.

98. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 83.8 cms without peedam: 73.6 cms. Date of acquisition: 1951-53. Period: 11th Century CE.

  • Dancing pose with usual iconographic details and ornaments.
  • Slightly oval-shape prabavali fringed with an ornamental additional ring with forty one flames of fire.
  • Six hair locks spread out wing-like and joined to the prabavil.
  • Interspace in jatas filled with wreath of flowers.
  • Head dress presents flowers on the sides.
  • Yajnopavita (thread) of four strands.
  • Muyalaka is given a fightened expression locking straight at the worshipper.

107. Parvathi
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 61 cms without peedam: 47 cms. Date of acquisition: 1950-52. Period: 12th Century CE.

  • Standing in abhanga on a padmapeedam attached to a bhadrapeedam.
  • Right leg firm.
  • Left slightly bent forward.
  • High Karandamakuta with Siraschakra (broken and not available).
  • A row of twelve locks of hair in ringlets flowing on the nape of the neck.
  • Righ hand in kataka (bangel) and left in govala (cow’s tail hair) with nagabandha, bajibandha and bangles of patli variety.
  • Three stranded yajnopavita (thread).
  • Triveli marks on the adomen.
  • Nabhi indicated as a circle.
  • Close fitting undergarment, the left side of the garment being drawn up above the knee.

110. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 86.3 cms without peedam: 72.2 cms. Date of acquisition: 1950-52. Period: 10-11th Century CE.

  • Dancing pose enclosed by a slightly oval shaped prabavali fringed with twenty three flames of fire.
  • Eleven locks of hair spread like wings.
  • Seven ringlets of hair on the nape of the neck, yajnopavita of 3 strands.
  • Tirger’s skin shorts.
  • The elevation of the left karihastha and the raised feet are slightly higher than usual.
  • Anklets in both legs in addition to usual padasaras (payal).

157. Parvathi
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 83.8 cms without peedam: 63.5 cms. Date of acquisition: 4-3-1969. Period: 12-13th Century CE.

  • Stands in abhanga on a circular padmapeedam attached to square bhadrapeedam with right leg firm, right hip and left leg slightly bont.
  • High jatamakuta with Siraschakra.
  • Makarakundalas in ears.
  • Triveli marks on the narrow waist-cup like breat with circle like nipples, close fitting undergarment in wavy lines, schematic fold with median loops and double padasaras (payal) on the legs.
  • Fingers with clear marks of nails.
  • Angadas in triangular back ground wrisrlets of patli type on the arms.
  • Right hand in karaka.
  • Left in govala (cow’s tail hair) long and pointed nose.
  • Pleats indicated both in front and back.

216. Natarajar with Tiru-vatchi and peedam
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 166.4 cms. without peedam: 102.8 cms. Date of acquisition: 25-3-74. Period: 11th Century CE.

  • Tiruvatchi is a separate detachable frame.
  • Nataraja is standing on the support and balance of one leg.
  • The Uttarayas (towel) flow the waist belt and stand as a support on either side of Muyalaka (demon) at the bottom.
  • Padampeedam and bhadrapeedam are separate pieces with suitable arrangements to hold them together prabhavali in horse shoe shape with forty six flames.
  • Face is well set with broad features with a beaming nose.
  • Makarakundala in the right ear and patrajundala in the left.
  • Eyes and eyelids are modelled softly.
  • Four hands in the usual pose with their contents.
  • Flame is held on the makekd palm.
  • Short Ardhoraka is held in position by five sashes.
  • A thick anklet and padasaras (payal) with bells attached decorate the legs.

217. Sivakami
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 110.5 cms without peedam: 91.4 cms. Date of acquisition: 25-3-74. Period: 11th Century CE.

  • Stands in tribhanga.
  • Right hand in Kataka.
  • Left in govala (cow’s tail hair).
  • Karandamakuta of seven tiers adorns the head with Siraschakra behind.
  • Under garment stenciled with lines and circles.
  • Three waist sash belts with makara clasp in front.

220. Parvathi
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 28’’ without peedam: 24’’. Date of acquisition: 25-3-1974. Period: 11-12th Century CE.

  • Standing in abhanga on a padmapeedam attached to a bhadrapeedam.
  • Kesabandha with Siraschakra.
  • Makarakundalas in ears.
  • Single streamer on each shoulder.
  • Right hand in kataka (bangel) and the left in govala (cow’s tail hair) close fitting Tiru on the neck besides three neck-laces and another.
  • Channavira neck-laces.
  • Bajibandha (cow’s tail hail) three wristlets, adorn the hands.
  • Ankleets waist girdle with loops close fitting undergarment with designs covers the right leg and above the knee on the left leg.
  • Central tassel between the legs and at the sides.
  • Padasaras on the legs.

226. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.). Date of acquisition: 18-3-75. Period: 14-15th Century CE.

  • Contains all the iconographic details of ‘Nataraja’.
  • Tiruvatchi consists of three big concentic circular rings, a large place below for the Makaras and the ornamental works.
  • Prabavali contains forthy six flames.
  • Face of Nataraja is chubby with the nose beaked up beyond proportions.
  • Ornaments of latest type of makara-kanthi neck-laces, loop, tudis etc.

227. Sivakami
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 29’’ without peedam: 25’’. Date of acquisition: 18-3-75. Period: 14-15th Century CE.

  • Stands in abhanga on a padmapeedam attached to a plate.
  • Heat adorned with kesabanda.
  • Siraschakra present.
  • Makarakundalas in ears.
  • Palli-typed wristlets.
  • Prominent Trivelli mark in the abdomen.
  • Wavy lined undergarment up to the anklets.
  • Padasaras (payal) adorn the legs.

229. Parvathi
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 22’’ Without peedam: 18.5’’. Date of acquisition: 18-3-1975. Period: 12-13th Century CE.

  • Standing with right foot front over a high padmapeedam Karandamakuta with Central Chudamani.
  • Siraschakra broken.
  • Beaked nose.
  • Hanging waist girdle with loops.
  • Cup like breasts with prominent nipples.
  • Right hand in Kataka (bangle), Left in govala (cow taail’s hair).

265. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 3’11’’. Date of acquisition: 30-6-81. Period: 11th Century CE.

  • Dancing over a crouching demon holding a cobra, on a two tier padmapeedam attached to a plate for insertion over a two tier rectangular separate bhadrapeedam with four rings on all sides to keep the entire image intact.
  • Square rings in the back on either side for attachment as additional suppert.
  • Advanced initial stage of momentum.
  • Five hair locks out of 15 lecks spread out fanwise no either side of the head joined on the ends.
  • Right side jata carries mermaid Ganga prominently and the left side contains cobra.
  • In the Jatamakuta serpent is on the right, skull at the centre within a circle and datura flower and crescent moon at left.
  • Braided feathers at the head of the Jatamakuta joined with the prabavali at the centre.
  • Single neck-lace with a flower shaped pendant and a small pondant hanging on the right side.
  • Makarakundala in the right ear and patrakundala in the left.
  • Oval shaped prabhavali with a single ring.
  • Lower part welded With flames, Makara clasp at both ends of the prabhavali.
  • Right upper hand holds damaru in horizontal position.
  • Left upper hand holds fire in a cup.
  • The other two hands are in usual position.
  • The flying uthiriya (towel) hangs over the shoulders between the two hands on the left.
  • Usual cobra on the right lower hand. Head broken.
  • All the four hands carry wristlet and armlet usual udharabanda (belly belt).
  • An ornamented Ardheraka, waists girdle with yali-muga clasp.
  • Three stranded yajnopavita (thread).
  • Bringipada on the right leg-Padasaras (payal) with small bells.
  • Toe rings except second and tird fingers in the middle.

266. Sivakami
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 3’ 1’’. Date of acquisition: 30-6-1981. Period: 11th Century CE.

  • Standing in abhanga on a two tier padmapeedam on a bhadrapeedam having heles for attachment.
  • Karandamakuta with chudamani in front and sides and with a wheel like siraschakra with central hangings.
  • Broad fillet on the fore-head.
  • Eye brows marked.
  • Ear labes long with Makarakundalas.
  • Single streamer of beads on either shoulders.
  • Two necklaces of Tiru and Karai.
  • Two stranded Yajnepavita (thread) continued in the back alse Tri-veli marks on the abdomen shown.
  • Ornamented stiff belt over the Undergarment with a median leep and hanging on the thighs.
  • Undergarment stencilled, centains central and side foldings.
  • Nipples marked, single stiff armlet and wristlet of kolusu type adern the arms.
  • Right hand in kataka (bangel) and left in govala (cow’s tail hair).
  • Twelve ringlets of hair-locks in semi circular array on the nape of the neck-kachcha pleats shown behind.

286. Amman
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 62 cms. Date of acquisition: 19-1-91. Period: 12th Century CE.

  • Stands in abhanga on a padmapeedam attached to a simple square bhadrapeedam having rings for attachment.
  • Karandamakuta with chudamani in front and sides and with a Padma design siraschakra with central hangings.
  • Eight ringlets of hair. locks in semi circular array on the nape of The neck.
  • Makarakundales in ears.
  • Bahulamala (pearls garland) over the shoulders.
  • Four necklaces including Tiru.
  • One necklace continued in the back with a broad muhappu on both sides.
  • Last one of the necklace carries a pendant-Buxom breasts with nipples.
  • Two stranded yajnopavita (thread) passes over the sash belt. One is thick and the other is thin and continued in the back-Right hand in kataka (bangel) and left in govala-Bajibanda (cow’s tail hair), one armlet and three wristlets adorn the hands.
  • Under garment engraved with circular flower designs.
  • Padasaras (payal) in three strings adorn the legs.

288. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 38.1 cms without pedestal: 29.2 cms. Date of acquisition: 4-12-72. Period: 19-20th Century CE.

  • Image of modern making-complete with all iconographic details prescribed for ‘Natarajar’.

289. Amman
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 58 cms. Date of acquisition: 19-11-91. Period: 12th Century CE.

  • Standings in abhanga on a padmapeedam attached to a Square bhadrapeedam having two holes for attachment karandamakuta with chudamani in the front and sides and with a siraschakra having central hangings.
  • Eight ringlets of hair-locks in semicircular array on the nape.
  • Makarakundalas in ears.
  • Ornamented fillet on the fore-head.
  • Bahulamalas (pearl garland) and streamers on either shoulders.
  • Four neck-laces, three stranded yajnopavita (thread) with a bramabanda knot continued in the back.
  • Right hand in kataka (bangel) and left in govala Bajibanda (cow’s tail hair), armlet and patli type wristlet adorn the arms.
  • Thin hip with hollow mabhi-Undergarment held in position by a waist belt with an ordinary muhappu-Pleats shown on the left thigh besides Square tassels.
  • Flowing cloth flap shown at right thigh alone-Single padasaras (payal) adorns the legs.

298. Natarajar
Stone/Metal sculpture: Bronze. Measurement (in C. Ms.): 75 cms. without peedam: 64 cms. Date of acquisition: 27-9-93. Period: 12-13th Century CE.

  • The Lord is dancing placing His right leg firmly on the back Of Muyalaka (demon) over a oval padampeedam having holes at the centre at the lower tier.
  • Left leg is in kunchita pose.
  • Has four hands.
  • Right front hand is encircled with a cobra and the middle finger is broken.
  • Left front hand is hanging in slanting position and is broken at the wrist. The broken part is not available.
  • Right rear hand holds ‘Damaru’.
  • Left rear hand holds fire and the middle finger is broken.
  • The siraschakra available at the back, is broken and convered with mud.
  • Prabhavali not available.
  • Spreading jatas are also not available.

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Location

Location: Maratha Palace, Rajakrisnapuram, Thanjavur, Tamil Nadu 613001, India