One of the most dramatic sculptures indicating transformation of boundaries is that of the Dancing Shiva, or Nataraja (Lord of the Dance), from Tamil Nadu (Fig. 22). The Nataraja contains within it a long list of transformed opposites, only one of which is that of finite time and limitless eternity. Shiva holds in his upper right hand, the hourglass-shaped drum which he uses to beat the cosmic and recurring rhythmic cadence of creation and destruction, as well as, the cadence of his own dance. The flame in the corresponding left hand, indicates the inevitable destruction of the universe which can be danced into creation again. With one leg he tramples on the demon of Ignorance and raises his hand in the gesture, palm outward, of "fear not," saying that with the destruction of ignorance, the worshipper can come forward to the god without fear. Above all, Shiva's dance is the dance of time and eternity. It indicates both creation and destruction taking place in an endless rhythm of exchange and balance. The dance takes place in one spot with Shiva as the central dynamic axis of the universe, while he spins simultaneously moving like time, yet immobile like eternity.

The concept of cyclic time and eternity is also dramatically and powerfully visualized in the image of the reclining Vishnu from Cambodia (Fig. 24). Vishnu floats upon the waters of the cosmic ocean in a yogic, trance-like sleep before he creates the universe anew. Here, the snake on which he lies signifies the watery chaos which exits between creations.  Brahma will come forth from a lotus that grows from Vishnu's navel to bring about a new universe, and thus begin the cycle once more.

Fig. 23

Shiva as Lord of Dance (Nataraja), bronze  18th century, 42 x 34 x 14 inches              South India (probably Tamil Nadu)

(Fig.23) Shiva is performing his cosmic dance, that creates the universe after each dissolution, in its endless rhythmic cycles. Shiva dances in an aureole of flames that rises from a lotus pedestal, the symbol of primordial being and creation. The aureole represents the universe and its ultimate destruction by fire, and the drum Shiva holds represents the primordial sound at the creation of the universe. These symbolize the rhythm of destruction and creation. the drum simultaneously provides the rhythm of his own dance. The second right hand makes a gesture of reassurance for the worshiper not to fear him, while the lower hand points to his left foot, refuge of the worshipper's soul, and shows the path of salvation through Shiva. Shiva dances at the center of the universe twirling on an axis which itself does not move. Shiva produces time - creation and destruction - yet is himself unmoving, timeless and eternal.

(Fig. 24) Vishnu is shown here as the preserver. He floats upon the cosmic waters which are represented by two animals, the mythical, crocodile-like makara, and the great snake naga, whose coils drape over the makara's body and whose multiple heads rise behind the makara and Vishnu. Vishnu is in a yogic, trance-like sleep and supports his head on one of his arms. His consort, Lakshmi, massages his leg. Seated in a lotus which grows from Vishnu's navel is Brahma, who will actually recreate the world. As with the dancing Shiva (Fig. 23), this is a cosmogonic scene showing the way in which the cosmos came into being.

Fig. 24

Vishnu Reclining on the Snake

(Anantashayana), buff sandstone              12th - 14th century, 30 x 50 1/2 x 7 inches Thailand