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This paper explores the origins of the Nataraja cult in the state of Tamil Nadu in southern India. The trajectory of the dancing Shiva is traced: from the processional worship of metal icons outside the sanctum to the cultic elevation of the Nataraja bronze into the sanctum at Chidambaram. Archaeometallurgical, iconographic and literary evidence discussed shows that the Nataraja bronze, depicting Shiva's anandatandava or 'dance of bliss', was a Pallava innovation (seventh to mid-ninth century), rather than tenth-century Chola as widely believed. That this formulation was informed of 'cosmic' or metaphysical connotations is also argued on the basis of the testimony of the hymns of Tamil saints.

Volym på tamil och engelska utgiven efter världskonferensen i tamil januari 1995 i Tanjavur, Indien. Utgivare och utgivningsort saknas.

Despite its sack in 1565, Vijayanagara remains the best preserved medieval Hindu capital in India. An archaeological investigation of its urban layout and chief monuments is currently being undertaken by both Indian and foreign teams. We are particularly concerned to estimate the morphology of the city plan, as well as the forms of individual elements such as walls, roads, gateways, hydraulic works, residential quarters, palaces, civic buildings, temples and shrines. Interpretation of the meaning of the city poses the greatest challenge. Here, notions about kingship, the formation of states, and the role of the capital have to be coordinated with the material record. We believe that forms and rituals at the capital city promoted the identification of the Vijayanagara king with the god Rama.