Nartana-vinayaka, Nartana-vināyaka: 1 definition

Introduction

Nartana-vinayaka means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.

In Hinduism

Shilpashastra (iconography)

[«previous (N) next»] — Nartana-vinayaka in Shilpashastra glossary
Source: Shodhganga: The significance of the mūla-beras (śilpa)

Nartana-vināyaka is the name of a deity depicted in the Thillai Nataraja Temple in Cidambaram (Chidambaram) which is one of the Pañcasabhā or “five halls where Śiva is said to have danced”.—Nartana Vināyaka is the dancing posture of Vināyaka. Vināyaka’s right leg is firmly placed on the ground and the left leg is raised. Vināyaka is found with three pairs of hands. The upper left hand is stretched out to the level of the eye known as prasārita-hasta. The upper left hand is in kartarīmukha-hasta. The next upper left hand holds pāśa and the next upper right hand is in its usual position holding aṅkuśa in kaṭaka-hasta. The lower right hand holds the broken tusk in kaṭaka-hasta and the lower left hand holds modaka in vismaya or siṃhakarṇa-hasta. While representing in dance, Nartana Vināyaka is found seated in araimandi in aindra-maṇḍala. The upper left hand is in dolā stretched upwards and the upper right hand is in kapittha near the right ear. The lower left hand is in kuvi patāka/alapadma and the lower right hand is in kapittha near the chest/belly.

Nartana-vināyaka is also depicted in the Meenakshi Temple in Madurai (or Madura), which represents a sacred place for the worship of The Goddess (Devī).—The dancing posture of Vināyaka is seen as if the lord is dancing at a fast tempo. Vināyaka’s right leg is firmly placed on the ground and the left leg is raised. The upper left hand is stretched out to the level of the eye known as prasārita-hasta. The upper left hand holds the pāśa. The upper right hand is in its usual position holding the aṅkuśa in kaṭaka-hasta. The lower right hand holds the broken tusk in kaṭaka-hasta and the lower left hand holds the modaka in vismaya or siṃhakarṇa-hasta. While representing in dance, Nartana Vināyaka is found seated in araimandi in aindra-maṇḍala. The upper left hand is in dolā stretched upwards and the upper right hand is in kapittha near the right ear. The lower left hand is in kuvi- patāka/alapadma and the lower right hand is in kapittha near the chest/belly level. Murukan is represented with six pairs of hands, seated on the peacock. The details of the hand positions are described earlier. As the devotee moves towards the temple, the golden lilly tank is seen. There are stone steps that lead almost to the bottom. In the left corner of the golden lilly tank from the devotee’s direction, there is the image of Amman.

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Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.

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