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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. <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.
Maitreya (Sanskrit), Metteyya (Pāli), Maithree (Sinhala), or Jampa (Tibetan) is a bodhisattva who in the Buddhist tradition is to appear on Earth, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor of the historic Śakyamuni Buddha.<br/><br/> The prophecy of the arrival of Maitreya references a time when the Dharma will have been forgotten on Jambudvipa. It is found in the canonical literature of all Buddhist sects (Theravada, Mahayana, Vajrayana), and is accepted by most Buddhists as a statement about an event that will take place when the Dharma will have been forgotten on Earth.
Siddhārtha Gautama (Sanskrit: सिद्धार्थ गौतम; Pali: Siddhattha Gotama) was a spiritual teacher from ancient India who founded Buddhism. In most Buddhist traditions, he is regarded as the Supreme Buddha (P. sammāsambuddha, S. samyaksaṃbuddha) of our age, 'Buddha' meaning 'awakened one' or 'enlightened one'.<br/><br/> The time of his birth and death are uncertain: most early 20th-century historians dated his lifetime as c. 563 BCE to 483 BCE, but more recent opinion dates his death to between 486 and 483 BCE or, according to some, between 411 and 400 BCE. By tradition, Gautama is said to have been born in the small state of Kapilavastu, in what is now Nepal, and later to have taught primarily throughout regions of eastern India such as Magadha and Kośala.<br/><br/> Gautama, also known as Śākyamuni ('Sage of the Śākyas'), is the primary figure in Buddhism, and accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition, and first committed to writing about 400 years later.<br/><br/> He is also regarded as a god or prophet in other world religions or denominations, including Hinduism, Ahmadiyya Islam, and the Bahá'í faith.
A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'.<br/><br/> The dakini, in all her varied forms, is an important figure in Tibetan Buddhism. She is so central to the requirements for a practitioner to attain full enlightenment as a Buddha that she appears in a tantric formulation of the Buddhist Three Jewels refuge formula known as the Three Roots. Most commonly she appears as the protector, alongside a guru and yidam (enlightened being).<br/><br/> Although dakini figures appear in Hinduism and in the Bön tradition, dakini are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse for spiritual practice.<br/><br/> Dakini are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.
Vajrayoginī (Sanskrit: Vajrayoginī; Tibetan: Dorje Naljorma, Wylie: Rdo rje rnal ’byor ma; Mongolian: Огторгуйд Одогч, Нархажид, Chinese: 瑜伽空行母 Yújiā kōngxíngmǔ) is the Vajra yoginī, literally 'the diamond female yogi'.<br/><br/> She is a Highest Yoga Tantra Yidam (Skt. Iṣṭha-deva), and her practice includes methods for preventing ordinary death, intermediate state (bardo) and rebirth (by transforming them into paths to enlightenment), and for transforming all mundane daily experiences into higher spiritual paths.<br/><br/> Vajrayoginī is a generic female yidam and although she is sometimes visualized as simply Vajrayoginī, in a collection of her sādhanas she is visualized in an alternate form in over two thirds of the practices. Her other forms include Vajravārāhī (Tibetan: Dorje Pakmo, Wylie: rdo-rje phag-mo; English: the Vajra Sow) and Krodikali (alt. Krodhakali, Kālikā, Krodheśvarī, Krishna Krodhini, Sanskrit; Tibetan:Troma Nagmo; Wylie:khros ma nag mo; English: 'the Wrathful Lady' or 'the Fierce Black One' ).<br/><br/> Vajrayoginī is a ḍākiṇī and a Vajrayāna Buddhist meditation deity. As such she is considered to be a female Buddha.
A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'.<br/><br/> The dakini, in all her varied forms, is an important figure in Tibetan Buddhism. She is so central to the requirements for a practitioner to attain full enlightenment as a Buddha that she appears in a tantric formulation of the Buddhist Three Jewels refuge formula known as the Three Roots. Most commonly she appears as the protector, alongside a guru and yidam (enlightened being).<br/><br/> Although dakini figures appear in Hinduism and in the Bön tradition, dakini are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse for spiritual practice.<br/><br/> Dakini are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.
A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'.<br/><br/> The dakini, in all her varied forms, is an important figure in Tibetan Buddhism. She is so central to the requirements for a practitioner to attain full enlightenment as a Buddha that she appears in a tantric formulation of the Buddhist Three Jewels refuge formula known as the Three Roots. Most commonly she appears as the protector, alongside a guru and yidam (enlightened being).<br/><br/> Although dakini figures appear in Hinduism and in the Bön tradition, dakini are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse for spiritual practice.<br/><br/> Dakini are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.
Yeshe Tsogyel, also known in the Nyingma tradition as the Great Bliss Queen, is a semi-mythical female deity or figure of enlightenment (dakini) in Tibetan Buddhism. She lived from 757 to 817, and is most identified as the mystic spiritual Yab-Yum consort of the great Indian tantric teacher Padmasambhava ('the Lotus-Born One'), who was invited to Tibet by the Emperor Trisong Detsen.<br/><br/> A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'.
A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'.<br/><br/> The dakini, in all her varied forms, is an important figure in Tibetan Buddhism. She is so central to the requirements for a practitioner to attain full enlightenment as a Buddha that she appears in a tantric formulation of the Buddhist Three Jewels refuge formula known as the Three Roots. Most commonly she appears as the protector, alongside a guru and yidam (enlightened being).<br/><br/> Although dakini figures appear in Hinduism and in the Bön tradition, dakini are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse for spiritual practice.<br/><br/> Dakini are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.
A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'.<br/><br/> The dakini, in all her varied forms, is an important figure in Tibetan Buddhism. She is so central to the requirements for a practitioner to attain full enlightenment as a Buddha that she appears in a tantric formulation of the Buddhist Three Jewels refuge formula known as the Three Roots. Most commonly she appears as the protector, alongside a guru and yidam (enlightened being).<br/><br/> Although dakini figures appear in Hinduism and in the Bön tradition, dakini are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse for spiritual practice.<br/><br/> Dakini are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.
Khafajah was occupied during the Early Dynastic Period, through the Sargonid Period, then came under the control of Eshnunna after the fall of the Ur III Empire. Later, after Eshnunna was captured by Babylon, a fort was built at the site by Samsu-iluna of the First Babylonian Dynasty and named Dur-Samsuiluna.<br/><br/> The history of Khafajah is known in somewhat more detail for a period of several decades as a result of the discovery of 112 tablets in a temple of the god Sin. The tablets constitute part of an official archive and include mostly loan and legal documents.
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.
Wat Chalong in Phuket's Chalong District is delicated to two highly venerable monks, Luang Pho Chaem and Luang Pho Chuang, who were famous for their work in herbal medicine and tending to the ill. During the Phuket tin miners’ rebellion of 1876, they mobilized aid for the injured on both sides. They also mediated in the rebellion, bringing the warring parties together to resolve their dispute. Statues honouring them stand in the sermon hall (viharn) of Wat Chalong.
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'.
A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'.<br/><br/> The dakini, in all her varied forms, is an important figure in Tibetan Buddhism. She is so central to the requirements for a practitioner to attain full enlightenment as a Buddha that she appears in a tantric formulation of the Buddhist Three Jewels refuge formula known as the Three Roots. Most commonly she appears as the protector, alongside a guru and yidam (enlightened being).<br/><br/> Although dakini figures appear in Hinduism and in the Bön tradition, dakini are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse for spiritual practice.<br/><br/> Dakini are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.
Dakshinamurthy or Jnana Dakshinamurti(Tamil: டக்ஷினமுர்த்தி, Sanskrit: दक्षिणामूर्ति ((Dakṣiṇāmūrti)) is an aspect of Shiva as a guru (teacher) of all types of knowledge, particularly the jnana. This aspect of Shiva is his personification as the supreme or the ultimate awareness, understanding and knowledge.<br/><br/> This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom, and giving exposition on the shastras. He is worshipped as the god of wisdom, complete and rewarding meditation. This form of Shiva is popular in the southern states of India especially Tamil Nadu.
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.
Mañjuśrī (Skt: मञ्जुश्री) is a bodhisattva associated with transcendent wisdom (Skt. prajñā) in Mahāyāna Buddhism. In Esoteric Buddhism he is also taken as a meditational deity. The Sanskrit name Mañjuśrī can be translated as 'Gentle Glory'. Mañjuśrī is also known by the fuller Sanskrit name of Mañjuśrīkumārabhūta.
Yemen is one of the oldest centers of civilization in the Near East. Its relatively fertile land and adequate rainfall in a moister climate helped sustain a stable population, a feature recognized by the ancient Greek geographer Ptolemy, who described Yemen as Eudaimon Arabia (better known in its Latin translation, Arabia Felix) meaning 'Fortunate Arabia' or Happy Arabia.<br/><br/> Between the 12th century BCE and the 6th century CE, it was dominated by six successive civilizations which rivaled each other, or were allied with each other and controlled the lucrative spice trade: Ma'in, Qataban, Hadhramaut, Awsan, Saba and Himyarite. Islam arrived in 630 CE, and Yemen became part of the Muslim World.
Qataban was an ancient Yemeni kingdom. Its heartland was located in the Baihan Valley. Like some other Southern Arabian kingdoms it gained great wealth from the trade of frankincense and myrrh incense which were burned at altars. The capital of Qataban was named Timna and was located on the trade route which passed through the other kingdoms of Hadramaut, Sheba and Ma'in. The chief deity of the Qatabanians was Amm, or 'Uncle' and the people called themselves the 'children of Amm'.<br/><br/> Qataban was the most prominent Yemeni kingdom in the 2nd half of the 1st millennium BCE.
South Arabia as a general term refers to several regions as currently recognized, in chief the Republic of Yemen; yet it has historically also included Najran, Jizan, and 'Asir which are presently in Saudi Arabia, and Dhofar presently in Oman. The frontiers of South Arabia as linguistically conceived would include the historic peoples speaking the related South Arabian languages as well as neighboring dialects of Arabic, and their descendants. Anciently there was a South Arabian alphabet, which was borrowed by Ethiopia. South Arabia as generally conceived would include the lands inhabited by peoples partaking of its distinctive traditions and culture, which overlap recently demarcated political boundaries.<br/><br/> Yemen or al-yaman means 'the south'. One etymology derives Yemen from yamin the 'right side' as the south is on the right when facing the sunrise; yet this etymology is considered suspect. Another derives Yemen from yumn meaning 'felicity' as the region is fertile; indeed the Romans called it Arabia Felix. In an ancient, traditional Arabian genealogy, the people of the peninsula are divided between north and south, those of the north descending from Ishmael and Adnan (from whom Muhammad descended), and those of South Arabia being the descendants of Qahtan or Joktan (Yoqtan) and Jokshan.<br/><br/> Three thousand years ago several different state entities occupied the region of South Arabia, including M'ain, Qataban, Hadhramaut and Saba.In those ancient times South Arabia claimed several notable features, e.g., the famous dam at Marib, the cosmopolitan incense trade, as well as the legendary Queen of Sheba. Two thousand years ago the Himyarites became the masters of South Arabia, remaining for several centuries until displaced by the armies of Axum which landed from nearby Ethiopia; rule by the Ethiopians was followed by that of Persia under the Sassanids, who also arrived by sea. A half-century later, in the year 638, the region became Muslim.
South Arabia as a general term refers to several regions as currently recognized, in chief the Republic of Yemen; yet it has historically also included Najran, Jizan, and 'Asir which are presently in Saudi Arabia, and Dhofar presently in Oman. The frontiers of South Arabia as linguistically conceived would include the historic peoples speaking the related South Arabian languages as well as neighboring dialects of Arabic, and their descendants. Anciently there was a South Arabian alphabet, which was borrowed by Ethiopia. South Arabia as generally conceived would include the lands inhabited by peoples partaking of its distinctive traditions and culture, which overlap recently demarcated political boundaries.<br/><br/> Yemen or al-yaman means 'the south'. One etymology derives Yemen from yamin the 'right side' as the south is on the right when facing the sunrise; yet this etymology is considered suspect. Another derives Yemen from yumn meaning 'felicity' as the region is fertile; indeed the Romans called it Arabia Felix. In an ancient, traditional Arabian genealogy, the people of the peninsula are divided between north and south, those of the north descending from Ishmael and Adnan (from whom Muhammad descended), and those of South Arabia being the descendants of Qahtan or Joktan (Yoqtan) and Jokshan.<br/><br/> Three thousand years ago several different state entities occupied the region of South Arabia, including M'ain, Qataban, Hadhramaut and Saba.In those ancient times South Arabia claimed several notable features, e.g., the famous dam at Marib, the cosmopolitan incense trade, as well as the legendary Queen of Sheba. Two thousand years ago the Himyarites became the masters of South Arabia, remaining for several centuries until displaced by the armies of Axum which landed from nearby Ethiopia; rule by the Ethiopians was followed by that of Persia under the Sassanids, who also arrived by sea. A half-century later, in the year 638, the region became Muslim.
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.