A Dance of Cosmic Proportions
By Dr. Sudha Seshayyan
(Eloquent, erudite and multifaceted scholar)

The iconic image of Nataraja — the dancing form of Lord Siva — is not only a profound symbol in Hinduism but also a fascinating representation of cosmic principles that resonate deeply with the laws of physics. Let us delve into the intricate connections between the dance of Nataraja and the fundamental concepts of physics, offering an inspirational and informative exploration of this timeless symbol.

1. The Cosmic Dance

Nataraja’s dance, known as the tandava, symbolizes the cosmic cycles of creation, preservation, and destruction. This cyclical nature mirrors the principles of thermodynamics, particularly the second law, which states that systems evolve towards a state of entropy or disorder. The dance of Nataraja represents the dynamic equilibrium of the universe, constantly moving between order and chaos. This dance is not just a mere representation but a profound reminder of the perpetual motion and transformation that governs all existence. It inspires us to recognize the beauty in change and the inevitability of transformation, urging us to embrace the flow of life with grace and understanding.

2. The Circle of Fire

Nataraja is often depicted within a circle of fire, which represents the continuous cycle of time. In physics, this can be related to the concept of spacetime in Einstein’s theory of General Relativity. The circle signifies the curvature of spacetime around massive objects, illustrating how time and space are intertwined in the fabric of the universe. This fiery circle is a powerful symbol of the eternal and unending nature of the cosmos, inspiring us to see beyond the immediate and comprehend the vast, interconnected web of existence. It encourages us to appreciate the infinite possibilities that lie within the bounds of time and space.

3. The Drum of Creation

In one of his right hands, Nataraja holds a drum (damaru), symbolizing the sound of creation. This can be likened to the Big Bang theory, where the universe began from a singularity and expanded. The rhythmic beats of the drum can be seen as the oscillations of quantum fields that give rise to particles and, consequently, matter. The drum’s sound is a call to the creative forces within us, urging us to tap into our potential and contribute to the ongoing creation of the universe. It reminds us that every beat, every action, and every thought has the power to shape reality, inspiring us to create with intention and purpose.

4. The Flame of Destruction

In another hand, Nataraja holds a flame, representing destruction. This aligns with the concept of entropy and the eventual heat death of the universe, where all energy is uniformly distributed, and no work can be performed. The flame also signifies the transformative power of energy, as described by the first law of thermodynamics, which states that energy cannot be created or destroyed, only transformed. This flame is a beacon of transformation, reminding us that destruction is not an end but a necessary phase in the cycle of renewal. It inspires us to let go of the old and embrace the new, understanding that through destruction, we pave the way for new beginnings and growth.

5. The Abhaya Mudra

Nataraja’s raised hand, showing the abhaya mudra (gesture of fearlessness), signifies protection and the dispelling of fear. This can be interpreted through the lens of quantum mechanics, where particles exhibit wave-particle duality and uncertainty. Despite the inherent uncertainties, the universe maintains a balance, providing a sense of stability and order. This gesture is a powerful reminder of the strength and courage within us, inspiring us to face the uncertainties of life with confidence and resilience. It encourages us to trust in the inherent balance of the universe and to move forward fearlessly, knowing that we are protected and supported.

6. The Dwarf of Ignorance

Under Nataraja’s feet lies the dwarf Apasmara, symbolizing ignorance. This represents the suppression of ignorance through knowledge. In physics, this can be seen as the pursuit of understanding the fundamental laws of nature, overcoming the ignorance of the unknown through scientific inquiry and discovery. This act of subduing ignorance is a call to enlightenment, inspiring us to seek knowledge and wisdom. It reminds us that through learning and understanding, we can overcome the darkness of ignorance and illuminate our path with the light of truth.

7. The Dynamic Equilibrium

Nataraja’s dance is a perfect example of dynamic equilibrium, where opposing forces are balanced. This concept is prevalent in various physical systems, from the equilibrium of forces in classical mechanics to the balance of matter and antimatter in particle physics. The dance of Nataraja embodies the harmony of these forces, maintaining the stability of the cosmos. This balance is a testament to the intricate and delicate nature of existence, inspiring us to find harmony within ourselves and our surroundings.

The Dance of Nataraja has kindled several thoughts in several minds.

Ananda Coomaraswamy observed: The essential significance of Siva’s dance is threefold: First, it is the image of his rhythmic play as the source of all movement within the cosmos, which is represented by the arch. Secondly, the purpose of his dance is to release the countless souls of men from the snare of Illusion. Thirdly, the place of the dance, Chidambaram, the centre of the universe, is within the heart. According to this great scholar, the image, apart from being a representation of energy, also symbolises alternation of phase over vast regions of space and great tracts of time. The damaru and fire are visual symbols of day and night.

Fritjof Capra drew a comparison: “Hundreds of years ago, Indian artists created visual images of dancing Siva in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.” This quote is in the plaque next to the statue of Nataraja in the front lawn in CERN, the European Council for Nuclear Research, in Geneva in Switzerland – it is the European Laboratory for Particle Physics.

Leaving the dance and the dancer aside, let us try to focus on the activities (?!) of the universe. Let us imagine an individual sitting at the centre of a vacant area. He is still; no movement of hands, feet, fingers, toes or eyelids. Absolutely still. The cells, the intercellular substance, the blood, the blood cells and components are all, nevertheless, in small and large movements inside his body. The heart is beating; the brain, the kidneys, the liver, the pancreas and all others are in work and activity. The lungs are pulling in and pushing out with bluntly clear movements. The air, the space, the mud and all elements around him are also in activity and motion. Take for example, the air around him. The atoms and molecules of its components are obviously moving and moving; moving and mixing in various permutations to recreate a different set of atoms and molecules. They join and re-join; fall apart and merge; mix and match; move and move. The earth on which the individual sits, is moving; it revolves; the atmosphere around also rotates. High energy particles move in the cosmic rays that reach the atmosphere. These particles mix and match with the air molecules of the atmosphere. It is a long play of hit, run, clash, collision, breaking and reforming. It is a perennial story of conjoining and disjoining. It is a permanent play of new appearances amidst old disappearances. It is the style of movement – movement, movement and movement.

It is easy to understand that the entire cosmos is replete with intricate movements that are not explicitly revealed or perceived. In other words, ‘movements’ appear to be in some kind of ‘meditation’. Meditation can focus on movements and be done while in motion. Siva, as Nataraja, is all of these and more. As He meditates while dancing, He, no doubt, is the personification of ‘movement in meditation’.

The colossus in physics, Robert Oppenheimer, while studying collisions between electrons and atoms, pointed out that the incident electron can exchange with the atomic electron. This concept changed the way physicists looked at things. Oppenheimer’s statement on the electrons is apt to be quoted here: “If we ask, for instance, whether the position of the electron remains the same, we must say ‘no’; if we ask whether the electron’s position changes with time, we must say ‘no’; if we ask whether the electron is at rest, we must say ‘no’; if we ask whether it is in motion, we must say ‘no’.” It would not be inappropriate to compare Oppenheimer with the Isa Upanishad in this statement.

Tadejati tannaijati tad doore tadvantike

Tadantarasya sarvasya tadu sarvasyaasya baahyataha (IsA – 5)

The meaning of the sloka is as follows: That moves, that does not move; that is far off, that is very near; that is inside all this, that is also outside all of this. In his exposition, Adi Sankara explains the ‘ejati-naejati’ phenomenon — in Itself It is motionless, but It seems to move; It is motionless because It is all pervasive and It moves because It is inside everything; It is continuous and without interstices.

As much as the small Isa Upanishad of a mere eighteen verses proclaims the divinity of man and nature and the spiritual oneness of all existence, the intellectual, scientific and spiritual and philosophical oneness of Oppenheimer’s observation, Capra’s inference and Nataraja’s Dance cannot be disputed.

Matter and Force are the two sides of the same coin. Matter is explicit sometimes; and force at others. If motionless Siva is the material, the ever-moving Sakti is the force.

Matter sometimes is particulate; and wave-like at others. If the stances of dance can be defined as ‘particulate’ positions, movements of dance are the ‘waves’.

And Nataraja makes Oppenheimer’s observation true and true and truer than ever. If we ask, for instance, whether the position of Nataraja remains the same, we must say ‘no’ (and ‘yes’); if we ask whether Nataraja’s position changes with time, we must say ‘no’ (and ‘yes’); if we ask whether Nataraja is at rest, we must say ‘no’ (and ‘yes’); if we ask whether Nataraja is in motion, we must say ‘no’ (and ‘yes’).

Sub-atomic particles have been studied in recent and modern times. The more they have been researched upon, the more revealing they have been. And the more difficult to define too. When subatomic particles are made to collide with each other, they exchange (Remember, Oppenheimer said this!). They exchange energy, exchange form; though what emerges (appears outside) may be something different (in form, shape, and appearance), what has gone inside is the same. The essence, nevertheless, is that ‘Nothing is new’ and ‘Nothing is lost’. In other words, the same is manifested and the same is drawn in; the same is seen in one form and the same is seen in another form; the same is moving and the same is unmoving; the same is merging and the same is re-emerging.

The Dance of Nataraja is of course, all the same, the very same of sub-atomic physics. Fritjof Capra summarized the same: According to quantum field theory, the dance of creation and destruction is the basis of very existence of matter. ….Modern Physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter. ….Modern Physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. For the modern physicists then, Siva’s dance is the dance of subatomic matter, the basis of all existence and of all natural phenomena.

And so, Siva dances at Geneva, in the European Centre for Research in Particle Physics and Siva dances at Chidambaram. Siva dances in the nano-cosm, in the micro-cosm and in the macro-cosm.