Natraj

Ranveer Singh will soon be seen in Kabir Khan’s next, 83. When Ranveer first shared his look as Kapil Dev from the film, Twiterrati was confused. From the hair to mannerisms, Ranveer Singh got everything about the character on point. This image below is Ranveer Singh pulling off Kapil Dev’s famous shot - The Natraj. Ever since this news started doing the rounds, the interest in this pull shot has been on the minds of many. From cricket lovers to those who know nothing about the sport (like myself), tried to break down what ‘The Natraj’ was all about. Broadly speaking, Natraj shot is the name of a hook shot played by Kapil Dev. But the difference between a hook shot and a Natraj shot is that a hook shot is mostly played above the head and a Natraj shot is mostly played around the shoulder area. Brian Lara and Dwayne Bravo are the other cricketers to have played it. Kapil Dev played this iconic shot first at the Nevill Ground at Tunbridge Wells in England in a match against Zimbabwe. That match still remains one of the most important matches for and for Kapil Dev. He scored a massive 175 runs. When the cricketer arrived on the pitch, India was at nine runs for four wickets. India won by 31 runs.

Nataraja, (Sanskrit: “Lord of the Dance”) the In the most common type of image, Shiva is shown with four arms and flying locks dancing on the figure of a dwarf, who is sometimes identified as Apasmara (a symbol of human ignorance; apasmara means “forgetfulness” or “heedlessness”). Shiva’s back right hand holds the damaru (hourglass-shaped drum); the front right hand is in the abhaya gajahasta (elephant-trunk) pose, with wrist limp and fingers pointed downward toward the uplifted left foot. The locks of Shiva’s hair stand out in several strands interspersed with flowers, a skull, a crescent moon, and the figure of Ganga (the prabhamandala. In classic bhujungatrasa (“trembling of the snake”). In the Nataraja sculpture, Shiva is shown as the source of all movement within the cosmos and as the god whose doomsday dance, represented by the arch of flames, accompanies the dissolution of the panchakritya): creation (symbolized by the drum), protection (by the “fear-not” pose of the hand), destruction (by the fire), Other dances of Shiva seen in sculpture and painting are the wild tandava, which he performs on cremation grounds in the company of his consort Devi, and the graceful lasya, an evening dance performed on Mount Kailas before the assembly of gods, some of whom accompany him on various instruments. This article was most recently revised and updated by

Nataraja or Nataraj, the dancing form of nata = dance; raja = king). In the words of Ananda K. Coomaraswamy, Nataraj is the "clearest image of the activity of God which any art or religion can boast of…A more fluid and energetic representation of a moving figure than the dancing figure of Shiva can scarcely be found anywhere," ( The Dance of Shiva) The Origin of the Nataraj Form An extraordinary iconographic representation of the rich and diverse cultural heritage of India, it was developed in southern India by 9th and 10th-century artists during the Chola period (880-1279 CE) in a series of beautiful bronze sculptures. By the 12th century AD, it achieved canonical stature and soon the Chola Nataraja became the supreme statement of Hindu art. The Vital Form and Symbolism In a marvelously unified and dynamic composition expressing the rhythm and harmony of life, Nataraj is shown with four hands represent the cardinal directions. He is dancing, with his left foot elegantly raised and the right foot on a prostrate figure—'Apasmara Purusha', the personification of illusion and ignorance over whom Shiva triumphs. The upper left-hand holds a flame, the lower left-hand points down to the dwarf, who is shown holding a cobra. The upper right-hand holds an hourglass drum or 'dumroo' that stands for the male-female vital principle, the lower shows the gesture of assertion: "Be without fear." A Scientific Metaphor Fritzof Capra in his article "The Dance of Shiva: The Hindu View of Mat...

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FAMILY OWNED & OPERATED SINCE 1991 ​ Founded in 1991, with its first location in Laguna Hills, CA,Natraj has since become Southern California's leader in Indian Restaurants and Catering. Featuring two different restaurantconcepts, fine dining and fast casual, in addition to being the largest Indian catererin the area, Natraj offers something different for everyone to enjoy. ​ Now with atotal of6 restaurant locations throughoutOrange County, includingNina's Indian & British Groceries, Natraj has truly become the benchmarkfor Indian Cuisine. ​ We look forward to serving you!

The art of medieval India, like the art of medieval Europe, was primarily in the service of religion. The devotee’s spiritual experience was enhanced by meditation inspired by works of art and architecture. Just as the luminous upper chapel of the Sainte Chapelle dazzled and overwhelmed worshipers in France, the looming bronze statues of Shiva and Parvati in, for example, the inner halls of the Meenakshi Temple in Madurai, in south India would have awed a Hindu devotee. Its important to keep in mind that the bronze Shiva as Lord of the Dance (“Nataraja”—nata meaning dance or performance, and raja meaning king or lord), is a sacred object that has been taken out of its original context—in fact, we don't even know where this particular sculpture was originally venerated. In the intimate spaces of the Florence and Herbert Irving South Asian Galleries in the Metropolitan Museum of Art, the Shiva Nataraja is surrounded by other metal statues of Hindu gods including the Lords Vishnu, Parvati, and Hanuman. It is easy to become absorbed in the dark quiet of these galleries with its remarkable collection of divine figures, but it is important to remember that this particular statue was intended to be movable, which explains its moderate size and sizeable circular base, ideal for lifting and hoisting onto a shoulder. From the 11th century and onwards, Hindu devotees carried these statues in processional parades as priests followed chanting prayers and bestowing blessings on people g...

The idea of dancing before a corpse wasn’t new to me. Yet, discovering a god who could be the source of a cool t-shirt slogan in it was stunning. Even decades of tripping on koothu, a dance form popular among cinema-lovers of southern India, had not prepared me for it. Yet, here I was one September day in 2018, searching for hints of lord Nataraja, the mythical fountainhead of most Indian classical dance forms, in this most unruly of performances called Saavukoothu, “the death dance.” A street dance practised by a section of Tamils while accompanying the departed to their final resting place, Saavukoothu doesn’t demand any of the refinement of Indian classical dance traditions like Bharatanatyam or Kathak. There is only one rule: Let go completely. I’d been reading up on Nataraja, the dancing version of the feral Hindu god Shiva, for weeks, hoping to trace his origins and evolution over a period of nearly five millennia. The tranquil-yet-ferocious one is said to reside on Mount Kailasa, now in the Tibetan Himalayas, according to Hindu mythology. The third pillar of the pantheon—Brahma and Vishnu being the others—is believed to be easy to please, yet supremely destructive. My search took me to Chennai, the capital of the southern Indian state of Tamil Nadu and home to perhaps one of the greatest collections of ancient Nataraja statues under one roof. It is at the Government Museum in the city’s Egmore locality that one expert hinted that even something as raw as Saavukoothu...