Shiva's Twilight Dance

This artwork is attributed to Mahadev Vishwanath Dhurandhar. One of the finest artists of colonial India, he became the first Indian Director of the Sir J. J. School of Art in Mumbai in 1930. He was often commissioned by the British Indian government to paint murals. Some regard Dhurandhar as the most popular Indian artist after Raja Ravi Varma of the nineteenth century. His artworks consist of drawings, portraits, landscapes, depictions of mythological and historical subjects, murals, illustrations, book covers, advertisements, calendars and much more. His created figures are known for their striking poses and emotive faces. This artwork titled Shiva’s twilight dance painting is a brilliant example of the artist’s mastery over depiction of figures and landscapes. Dated to 1934, it shows a gathering of several Hindu deities. In the centre of the composition, Lord Shiva is depicted performing the tandava (dance), clothed in tiger skin. Shiva’s twilight dance, known as Sandhya Tandava is a serene and graceful art form. This dance celebrates the transition between light and darkness and is symbolic of the eternal cycle of creation and the balance. During this tandava, Shiva is depicted with four arms. The lower right hand is in the abhaya mudra, which is the gesture of fearlessness and divine protection. The upper right hand holds the damaru (small drum) which represents the primordial sound of creation. The upper left hand is in the vismaya mudra, the gesture of wonder and amazement which depicts the nature of divine creation and transcendental knowledge. The lower left hand holds peacock feathers, symbolizing the transformation of ego and negative qualities. This tandava takes place before a congregation of deities. Lord Vishnu and Goddess Lakshmi are depicted standing behind him. While Lakshmi looks at him in admiration, Vishnu looks perplexed. On the right, Goddess Saraswati is shown playing the veena looking at Lord Shiva in surprise and shock. Lord Ganesha, depicted as a child, seems entertained as if he wants to join his father. Depicted alongside is his mother and Shiva’s consort Goddess Parvati looking at him lovingly. Several other attendants are shown in the background. While some look in awe, some appear puzzled, some are depicted playing instruments like the tabla, conch, etc. The landscape is equally beautifully portrayed. The snow-clad mountains and the lively trees enhance the joyous mood of the artwork. A temple-like structure is also depicted in the background. This artwork was commissioned by Maharawal Natwarsinhji Chauhan for his personal collection after he saw the frescoes in Vatican. What stands out in this painting are the vibrant hues, the details and the emotive faces. The emotions of each figure in the painting are quite realistically depicted which adds to the life of the artwork. Dhurandhar has also paid careful attention to the details, be it the intricately detailed sarees of the women, the dhotis of the men, the beautiful garlands, necklaces, anklets, headgears (mukut) and other jewelry. Even the animals including the snake, peacock, which may be symbolic for Shiva’s son Kartikeya (as it is his mount) and the bull or Nandi are realistically painted. Overall, the painting evokes feelings of joy and merry. Dhurandhar’s portrayal of a congregation of several Hindu deities is remarkable and a pinnacle of 20th century Indian art.