The king (‘nata’) of dance (‘nata’) and all performing arts dances on the back of Apasmara, the avidya-roopi (ignorance-personified) creature. The name given to His divinely powerful, all-annihilating dance is tandava; and the stance of Nataraja, caught amidst tandava, is a statement in fearlessness (‘abhaya’) and expression. Such an image strikes fear into the heart of the adharmee with the same fervour that it inspires the truly devoted.Made in the madhuchista vidhana (now known as lost-wax technique) of the Agamas, the composition is replete with a great deal of detail. The adornments of Nataraja and the sashes flying about His rapidly motioning body; the layered circlet of flames that serves as prabhavali (aureole); and the finesse of His handsomely-featured face as well as the slender, distinguished digits of His hands and feet.
