This paper explores the origins of the Nataraja cult in the state of Tamil Nadu in southern India. The trajectory of the dancing Shiva is traced: from the processional worship of metal icons outside the sanctum to the cultic elevation of the Nataraja bronze into the sanctum at Chidambaram. Archaeometallurgical, iconographic and literary evidence discussed shows that the Nataraja bronze, depicting Shiva's anandatandava or 'dance of bliss', was a Pallava innovation (seventh to mid-ninth century), rather than tenth-century Chola as widely believed. That this formulation was informed of 'cosmic' or metaphysical connotations is also argued on the basis of the testimony of the hymns of Tamil saints.
Figure 1 Lead isotope ratio plot of Pb 208/Pb 206 vs. Pb 207/206 for sampled south Indian bronzes with markers indicating dynastic chronology.
The ellipses indicate groups of objects with similar
sources of lead; the ellipse 1a consists mostly of early and high Chola bronzes (late ninth to mideleventh
century). The objects lying close to the line would have lead mixed from two sources; these
are found to be Pallava artefacts.
The author would like to acknowledge the generous guidance of the late Dr Nigel Seeley as past MA tutor in the archaeometallurgy of South Asia at University College London Institute of Archaeology.