Shiva Nataraja: Multiple Meanings of an Icon

Kaimal, Padma

doi:10.1002/9781444396355.ch19

Cited by 2 publications

(3 citation statements)

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“…Keberadaan Linga sebagai simbol pemujaan Siwa dikenal luas dan diterima oleh para pemujanya (Titib, 2004). Nataraja menjadi sumber inspirasi dalam penciptaan Tari (kesenian) (Kaimal, 2011). Secara umum perkembangan perubahan bahan dalam pembuatan patung Siwa Nataraja dimulai dari berbahan kayu kemudian beralih berbahan logam, selanjutnya menggunakan perunggu hingga akhirnya ada yang dibuat berbahan batu (Srinivasan, 2004).…”

Section: Mengenal Filosofi Siwa Natarajaunclassified

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Siwa Nataraja Sebagai Landasan Filosofis Dalam Penciptaan Karya Seni Tari

Oktaviani¹,

Rudiarta²

2023

JWS

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This study aims to describe the vital position of Shiva Nataraja as a source of inspiration in the creation of dance artworks. Referring to the phenomenon that many dance artworks, especially Balinese dances are staged in the implementation of a religious ceremony, it indicates that there is a spiritual aspect that animates a dance, and the cosmic dance of Lord Shiva, known as Shiva Nataraja, is seen as the source of his inspiration. This research was conducted qualitatively with the method of literature study. Data was collected through various literatures which were then analyzed through data collection, condensation, presentation, and data verification. The results of the analysis provide research findings that the philosophy of creating dance artworks originates from the concept of pancakrtya as the five activities of God and consists of srihti, sthiti, samhara, tirabhava and anugraha. These five activities that take place repeatedly lead to the emergence of basic standards in Balinese dance such as agem, tandang, tangkis, tangkep and others.

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Section: Mengenal Filosofi Siwa Natarajaunclassified

“…Gambar 1. Patung Siwa Nataraja dan Permaisurinya yang ditemukan di Karaiviram, India (Sumber: courtesy of Lalit Kala Akademz dalamKaimal, 2011) …”

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Siwa Nataraja Sebagai Landasan Filosofis Dalam Penciptaan Karya Seni Tari

Oktaviani¹,

Rudiarta²

2023

JWS

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“…89 As Chōl ̣a fame increased over the course of the centuries, sculptures of Naṭ arāja were rendered with increasing frequency in the Kāverī delta, which the Chōl ̣as aspired to control. 90 Whether Hevajra, the Heruka-type peripheral, dancing Buddhist deity who gained importance during Jayavarman VII's reign, played a role similar to that of Naṭ arāja is a question worth pursuing. Hevajra is a fierce tantric Buddhist deity first known from one of the major texts of mature Vajrayāna Buddhism called the Hevajra-tantra.…”

Section: Status Of Dancers In Societymentioning

confidence: 99%

Dancing architecture at Angkor: ‘Halls with dancers’ in Jayavarman VII's temples

Chemburkar¹

2015

J. Southeast Asian stud.

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The spiritual power of dance in Cambodia has been valued since pre-Angkorian times, and the plentiful images of dance and music in the bas-reliefs of the great monuments of Angkor suggest that this tradition was markedly enhanced in the reign of Jayavarman VII, as a contemporary Chinese report attests. This article explores the ‘halls with dancers’ of the Ta Prohm, Preah Khan and Bayon temples built by king Jayavarman VII and concludes that here dance became a determinant in some Khmer sacred architecture.

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Shiva Nataraja: Multiple Meanings of an Icon

Cited by 2 publications

References 3 publications

Siwa Nataraja Sebagai Landasan Filosofis Dalam Penciptaan Karya Seni Tari

Siwa Nataraja Sebagai Landasan Filosofis Dalam Penciptaan Karya Seni Tari

Dancing architecture at Angkor: ‘Halls with dancers’ in Jayavarman VII's temples

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