- Museum number
Opaque watercolour painting of Śiva is as Nataraja, Lord of the Dance. He is here shown dancing, one foot firmly placed on the wriggling Apasmára purusha (personification of ignorance), and the other lifted and elegantly curved. In his upper right hand Nataraja carries the damaru (hourglass shaped drum) and in his upper left the flame. His lower right hand points upwards while the lower left points downwards to Apasmára purusha, who is depicted with reddish hair and dark complexion. He is clad in a short lower garment and carries a cobra in his hands. The river goddess Ganga peeps out from Nataraja’s topknot, and his dreadlocks whirl around him in the frenzy of the dance. On Nataraja’s left stands Śivakami, his green-complexioned consort, carrying a flower in her right hand.
- Production date
- 1830 (circa)
Height: 22.60 centimetres
Width: 17.60 centimetres
- Curator's comments
- Dallapiccola 2010:
In this aspect he is venerated at Chidambaram. Generally, in nineteenth-century paintings, the classic version of the Nataraja tableau includes Vyaghrapada and Patanjali as well as Shivakami
This painting is part of an album of ninety-one paintings (1962,1231,0.13.1–91) illustrating gods, goddesses, saints and scenes from Hindu mythology. One of the most interesting features of the album are the eight major temple sites included: Srirangam, Tiruvallur, Rameswaram, Tirunelveli, Palani, Madurai, Thiruvanaikoil (Tiruvanaikka or Jambukeshvara) and Tiruchchirappalli. Furthermore, included in this series are some of the most important murtis enshrined in temples such as Venkatachalapati of Tirumala, Vitthala of Pandharpur and Thyagarajasvami of Tiruvarur. The geographical area covered by the paintings encompasses the totality of the former Madras Presidency and extends into the former Bombay Presidency, giving an insight into the most revered pilgrimage sites in early nineteenth-century southern India.
The drawings were first done in pencil, traces of which are still visible. In the course of his work the artist has sometimes changed his mind, as for instance in the positioning of the arms and feet of the figures. Slight shading has been consistently applied to the faces, arms and legs of the figures to suggest three-dimensionality. The vibrant colours and the delicacy of the drawings make the figures stand out from the pages.
The pages are numbered in reverse order from the back, on paper water marked ‘1820’. Occasionally, a brief note is pencilled in English, probably by a British Museum curator, at the back of some of the temple depictions. An almost identical work, albeit containing a hundred drawings, each with bilingual inscriptions in Telugu and English, is in the collection of the Victoria and Albert Museum, London (IM 355-1923 to 454-1923). The sequence of the images is similar to that in this album.
- On display (G33/dc66b/s3)
- Exhibition history
- Acquisition date
- Acquisition notes
- Transferred from the Department of Oriental Manuscripts and Printed Books (OMPB) in 1962.
- Registration number
- Additional IDs
Miscellaneous number: 1167 (Egerton number)