The dwarf also represents darkness which Shiva keeps at bay. His other foot suppresses a demon-dwarf figure, the ego that must be suppressed for deeper realisation. His other hand intriguingly points to his left foot which is raised, the big toe pointing towards the sky, to mukti-salvation, the ultimate objective of human existence. One hand in the abhaya mudra of benediction places Shiva both at the threshold and vortex of salvation. This acceptance of change, which is central to human existence, is to be accomplished with equanimity. Nataraja implies that change is life''s only eternal philosophy to create one has to destroy and from destruction alone can emerge the seeds of renewed creation. Human existence is played out between these twin polarities of creation and destruction. Nataraja''s body forms the central axis which balances his outstretched arms carrying symbols of creation and destruction: The damru, the drum of creation, and agni or fire that can singe and destroy. He is precariously balanced on one foot yet a faint smile hovers on his lips, as if he is pronouncing that life must be faced boldly and enjoyed within moral and spiritual boundaries. At Chidambaram, Tamil Nadu, Shiva, as Nataraja, king of dancers, is portrayed doing the ecstasy-dance, the ananda tandavam.
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