temples such as the Vishvanatha symbolize constructed mountains
with caves, comparable to the actual cave temples at Elephanta and
other Indian sites. In all cases, the deity manifests himself or herself
within the cave and takes various forms in sculptures. The temple
mountains, however, are not intended to appear natural but rather are
perfect mountains designed using ideal mathematical proportions.
The reliefs of Thanjavur’s Rajarajeshvara Temple are typical of
southern temple decoration, which is generally limited to images
of deities. The exterior walls of Khajuraho’s Vishvanatha Temple are
equally typical of northern temples in the profusion of sculptures
(FIG. 6-24) depicting mortals as well as gods, especially pairs of
men and women (mithunas) embracing or engaged in sexual inter-
course in an extraordinary range of positions. The use of seminude
yakshis and amorous couples as motifs on religious buildings in In-
dia has a very long history, going back to the earliest architectural
traditions, both Hindu and Buddhist (Sanchi,FIG. 6-8,and Karle).
As in the earlier examples, the erotic sculptures of Khajuraho suggest
fertility and the propagation of life and serve as auspicious protec-
tors of the sacred precinct.
SHIVA AS NATARAJA Portable objects also play an important
role in Hinduism. The statuette (FIG. 6-25) of Shiva in the Naltunai
Ishvaram Temple in Punjai, cast in solid bronze around 1000, recalls
the sixth-century relief (FIG. 6-17) in the Badami cave, but it is one of
many examples of moveable images of deities created under the
Chola kings and still used in Hindu rituals today. Here, Shiva dances
as Nataraja (“Lord of the Dance”) by balancing on one leg atop a
dwarf representing ignorance, which the god stamps out as he dances.
Shiva extends all four arms, two of them touching the flaming nimbus
(light of glory) encircling him. These two upper hands also hold a
small drum (at right) and a flame (at left). Shiva creates the universe
to the drumbeat’s rhythm, while the small fire represents destruc-
tion. His lower left hand points to his upraised foot, indicating the
foot as the place where devotees can find refuge and enlightenment.
Shiva’s lower right hand, raised in the abhaya mudra, tells wor-
shipers to come forward without fear. As Shiva spins, his matted hair
comes loose and spreads like a fan on both sides of his head.
At times, worshipers insert poles into the holes on the base of
the Punjai Shiva to carry it, but even when stationary, the statuette
would not appear as it does in FIG. 6-25.Rather, when Hindus wor-
ship the Shiva Nataraja, they dress the image, cover it with jewels,
and garland it with flowers. The only bronze part visible is the face,
marked with colored powders and scented pastes. Considered the
embodiment of the deity, the image is not a symbol of the god but
the god itself. All must treat the image as a living being. Worship of
the deity involves taking care of him as if he were an honored person.
Bathed, clothed, given foods to eat, and taken for outings, the image
also receives such gifts as melodic songs, bright lights (lit oil lamps),India and Pakistan 1736-24Mithuna reliefs, detail of the north side of the Vishvanatha
Temple, Khajuraho, India, ca. 1000.
Northern Hindu temples are usually decorated with reliefs depicting
deities and amorous couples (mithunas). The erotic sculptures suggest
the propagation of life and serve as protectors of the sacred precinct.
6-25Shiva as Nataraja, ca. 1000. Bronze. Naltunai Ishvaram Temple,
Punjai.
One of many portable images of the gods used in Hindu worship, this
solid-bronze statuette of Shiva as Lord of the Dance depicts the god
balancing on one leg atop a dwarf representing ignorance.