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Nataraja or Nataraj ('The Lord - or King - of Dance'; Tamil: Kooththan) is a depiction of the Hindu god Shiva as the cosmic dancer Koothan who performs his divine dance to destroy a weary universe and make preparations for god Brahma to start the process of creation.<br/><br/> A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as 'Sabesan' in Tamil which means 'The Lord who dances on a dais'. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram.
India: 'Shiva Bearing the Descent of the Ganges River'. Watercolour folio from a Hindi manuscript by the saint Narayan, c. 1740. Shiva bearing the descent of the Ganges River as Parvati and Bhagiratha and the bull Nandi look on. Told and retold in the Ramayana, the Mahabharata and several Puranas, the story begins with a sage, Kapila, whose intense meditation has been disturbed by the sixty thousand sons of King Sagara. Livid at being disturbed, Kapila sears them with his angry gaze, reduces them to ashes, and dispatches them to the netherworld.
Nataraja or Nataraj ('The Lord - or King - of Dance'; Tamil: Kooththan) is a depiction of the Hindu god Shiva as the cosmic dancer Koothan who performs his divine dance to destroy a weary universe and make preparations for god Brahma to start the process of creation. <br/><br/> A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as 'Sabesan' in Tamil which means 'The Lord who dances on a dais'. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram. <br/><br/> The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (and in rare cases, the right leg) and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance. It is a well known sculptural symbol in India and popularly used as a symbol of Indian culture. <br/><br/> The two most common forms of Shiva's dance are the Lasya (the gentle form of dance), associated with the creation of the world, and the Tandava (the violent and dangerous dance), associated with the destruction of weary worldviews - weary perspectives and lifestyles. In essence, the Lasya and the Tandava are just two aspects of Shiva's nature; for he destroys in order to create, tearing down to build again.
Nataraja or Nataraj ('The Lord - or King - of Dance'; Tamil: Kooththan) is a depiction of the Hindu god Shiva as the cosmic dancer Koothan who performs his divine dance to destroy a weary universe and make preparations for god Brahma to start the process of creation.<br/><br/> A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as 'Sabesan' in Tamil which means 'The Lord who dances on a dais'. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram.<br/><br/> The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (and in rare cases, the right leg) and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance. It is a well known sculptural symbol in India and popularly used as a symbol of Indian culture.<br/><br/> The two most common forms of Shiva's dance are the Lasya (the gentle form of dance), associated with the creation of the world, and the Tandava (the violent and dangerous dance), associated with the destruction of weary worldviews - weary perspectives and lifestyles. In essence, the Lasya and the Tandava are just two aspects of Shiva's nature; for he destroys in order to create, tearing down to build again.
Charles Thomas Scowen (11 March 1852 - 24 November 1948) was a British photographer active during the late nineteenth century, primarily from 1871-1890. He worked out of Sri Lanka and British India with his own established studio, Scowen & Co. His first studio was in Kandy, but he had opened a second in Colombo by the 1890s. His photos were famed for their lighting, strong compositional qualities and technically superior printing.
Charles Thomas Scowen (11 March 1852 - 24 November 1948) was a British photographer active during the late nineteenth century, primarily from 1871-1890. He worked out of Sri Lanka and British India with his own established studio, Scowen & Co. His first studio was in Kandy, but he had opened a second in Colombo by the 1890s. His photos were famed for their lighting, strong compositional qualities and technically superior printing.
A dragon (thu‘ban), from a copy of ‘Ajā’ib al-makhlūqāt wa-gharā’ib al-mawjūdāt (Marvels of Things Created and Miraculous Aspects of Things Existing) by al-Qazwīnī (d. 1283/682).<br/><br/> Neither the copyist nor illustrator is named, and the copy is undated. The nature of paper, script, ink, illumination, and illustrations suggest that it was produced in provincial Mughal India, possibly the Punjab, in the 17th century.
This watercolor by Arnold Borret (1848-88) consists of small sketches of different members of society and their various ethnic backgrounds in the Dutch colony of Suriname in the 1880s. Borret was an accomplished amateur artist who was also a lawyer and a Roman Catholic priest. He studied law at the University of Leiden and practiced in Rotterdam before becoming a clerk, in 1878, to the Supreme Court in Paramaribo. He became a priest in 1883, with the intention of working with lepers in Suriname. He died of typhus in 1888.<br/><br/> The smallest country in South America, Suriname's diversity began in the 16th century when French, Spanish and English explorers visited the area. A century later, plantation colonies were established by the Dutch and English along the many rivers in the fertile Guyana plains.<br/><br/> Disputes arose—as ever—between the Dutch and the English. In 1667, the Dutch decided to keep the nascent plantation colony of Suriname from the English, resulting from the Treaty of Breda. The English were left with New Amsterdam, a small trading post in North America, which later became New York City.<br/><br/> As a plantation colony, Surinam was still heavily dependent on manual labor, and to make up for the shortfall, the Dutch brought in contract laborers from the Dutch East Indies (modern Indonesia) and India (through an arrangement with the British). In addition, during the late 19th and early 20th centuries, small numbers of mostly men were brought in from China and the Middle East. Although Suriname's population remains relatively small, because of this unique history it is one of the most ethnically and culturally diverse countries in the world.
The Dutch East India Company, or VOC, was a chartered company granted a monopoly by the Dutch government to carry out colonial activities in Asia. It was the first multinational corporation in the world and the first company to issue stock. It was also arguably the world's first megacorporation, possessing quasi-governmental powers, including the ability to wage war, imprison and execute convicts, negotiate treaties, coin money and establish colonies.<br/><br/> The VOC was set up in 1602 to gain a foothold in the East Indies (Indonesia) for the Dutch in the lucrative spice trade, which until that point was dominated by the Portuguese. It also traded with India and established ports, factories and warehouses there.<br/><br/> Between 1602 and 1796, the VOC sent almost a million Europeans to work in the Asia trade on 4,785 ships, and netted more than 2.5 million tons of Asian trade goods.
India/Portugal: 'Death of Sultan Bahadur in front of Diu during negotiations with the Portuguese, 1537'. Painting from the 'Akbarnama', late 16th century.<br/><br/> Qutb-ud-Din Bahadur Shah (c. 1506-1537), born Bahadur Khan, was a Sultan of the Muzaffarid Dynasty who ruled over the Gujarat Sultanate in India. Fighting off his brothers to succeed his father, he expanded his kingdoms through military expeditions, but came under attack from the growing Mughal Empire. Gujarat fell in 1532, but Bahadur regained his kingdom in 1536 with Portuguese aid. He was subsequently killed by the Portuguese a year later when trying to renege on his alliance, murdered on a Portuguese ship during negotiations.
Mohenjo-daro (lit. Mound of the Dead), situated in the province of Sindh, Pakistan, was one of the largest settlements of the ancient Indus Valley Civilization. Built around 2600 BC, it was one of the world's earliest major urban settlements, existing at the same time as the civilizations of ancient Egypt, Mesopotamia, and Crete. The archaeological ruins of the city are designated a UNESCO World Heritage Site.<br/><br/> In 1927, a seated male figure, 17.5 cm tall, was found in a building with unusually ornamental brickwork and a wall-niche. Though there is no evidence that priests or monarchs ruled the city, archeologists dubbed this dignified figure a 'Priest-King', and, like the 'Dancing Girl', it has become symbolic of the Indus valley civilization.<br/><br/> The bearded sculpture wears a fillet around the head, an armband, and a cloak decorated with trefoil patterns that were originally filled with red pigment.<br/><br/> The two ends of the fillet fall along the back, and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun, as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress.<br/><br/> Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel.<br/><br/> The eyes are deeply incised and may have held inlay. The upper lip is shaved, and a short combed beard frames the face. The large crack in the face may be due to weathering, or it may be a result of the original firing of this object.
Mohenjo-daro (lit. Mound of the Dead), situated in the province of Sindh, Pakistan, was one of the largest settlements of the ancient Indus Valley Civilization. Built around 2600 BC, it was one of the world's earliest major urban settlements, existing at the same time as the civilizations of ancient Egypt, Mesopotamia, and Crete. The archaeological ruins of the city are designated a UNESCO World Heritage Site.<br/><br/> A bronze statuette dubbed the 'Dancing Girl', 10.8 cm high and some 4,500 years old, was found in Mohenjo-daro in 1926. In 1973, British archaeologist Mortimer Wheeler described the item as his favorite statuette:<br/><br/> 'There is her little Balochi-style face with pouting lips and insolent look in the eyes. She's about fifteen years old I should think, not more, but she stands there with bangles all the way up her arm and nothing else on. A girl perfectly, for the moment, perfectly confident of herself and the world. There's nothing like her, I think, in the world'.<br/><br/> John Marshall, another archeologist at Mohenjo-daro, described the figure as 'a young girl, her hand on her hip in a half-impudent posture, and legs slightly forward as she beats time to the music with her legs and feet'.<br/><br/> The archaeologist Gregory Possehl said of the statuette, 'We may not be certain that she was a dancer, but she was good at what she did and she knew it'.
Mohenjo-daro (lit. Mound of the Dead), situated in the province of Sindh, Pakistan, was one of the largest settlements of the ancient Indus Valley Civilization. Built around 2600 BC, it was one of the world's earliest major urban settlements, existing at the same time as the civilizations of ancient Egypt, Mesopotamia, and Crete. The archaeological ruins of the city are designated a UNESCO World Heritage Site.<br/><br/> A bronze statuette dubbed the 'Dancing Girl', 10.8 cm high and some 4,500 years old, was found in Mohenjo-daro in 1926. In 1973, British archaeologist Mortimer Wheeler described the item as his favorite statuette:<br/><br/> 'There is her little Balochi-style face with pouting lips and insolent look in the eyes. She's about fifteen years old I should think, not more, but she stands there with bangles all the way up her arm and nothing else on. A girl perfectly, for the moment, perfectly confident of herself and the world. There's nothing like her, I think, in the world'.<br/><br/> John Marshall, another archeologist at Mohenjo-daro, described the figure as 'a young girl, her hand on her hip in a half-impudent posture, and legs slightly forward as she beats time to the music with her legs and feet'.<br/><br/> The archaeologist Gregory Possehl said of the statuette, 'We may not be certain that she was a dancer, but she was good at what she did and she knew it'.
Nataraja or Nataraj ('The Lord - or King - of Dance'; Tamil: Kooththan) is a depiction of the Hindu god Shiva as the cosmic dancer Koothan who performs his divine dance to destroy a weary universe and make preparations for god Brahma to start the process of creation.<br/><br/> A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as 'Sabesan' in Tamil which means 'The Lord who dances on a dais'. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram.<br/><br/> The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (and in rare cases, the right leg) and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance. It is a well known sculptural symbol in India and popularly used as a symbol of Indian culture.<br/><br/> The two most common forms of Shiva's dance are the Lasya (the gentle form of dance), associated with the creation of the world, and the Tandava (the violent and dangerous dance), associated with the destruction of weary worldviews - weary perspectives and lifestyles. In essence, the Lasya and the Tandava are just two aspects of Shiva's nature; for he destroys in order to create, tearing down to build again.
Nataraja or Nataraj ('The Lord - or King - of Dance'; Tamil: Kooththan) is a depiction of the Hindu god Shiva as the cosmic dancer Koothan who performs his divine dance to destroy a weary universe and make preparations for god Brahma to start the process of creation.<br/><br/> A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as 'Sabesan' in Tamil which means 'The Lord who dances on a dais'. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram.<br/><br/> The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (and in rare cases, the right leg) and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance. It is a well known sculptural symbol in India and popularly used as a symbol of Indian culture.<br/><br/> The two most common forms of Shiva's dance are the Lasya (the gentle form of dance), associated with the creation of the world, and the Tandava (the violent and dangerous dance), associated with the destruction of weary worldviews - weary perspectives and lifestyles. In essence, the Lasya and the Tandava are just two aspects of Shiva's nature; for he destroys in order to create, tearing down to build again.