10 Minutes With Shantha : Chapter 13 Summary - Karanas

This chapter delves into the significance of dance imagery in Bharatanatyam, focusing on the 108 Karanas, the foundational dance movements described in the Natya Shastra. These Karanas, created by Lord Shiva in his cosmic dance form, are believed to lead practitioners toward spiritual liberation.

The chapter explores the sacred origins of the Karanas, their role in purifying the soul, and their physical components, including specific arm, leg, and body movements. The chapter emphasizes the deeper spiritual and ritual meanings of dance sculptures in South Indian temples, particularly those with 108 Karana depictions, such as in Thanjavur and Chidambaram.

These sculptures are shown to symbolize ritual, transformation, and meditation, integral to Hindu worship.

Episode Transcript

(00:00):
The chapter 13 focuses on the theme of dance imagery in Bhartanathim, particularly on the

(00:09):
108 Karnas, which are fundamental dance movements described in the Natishastra.
These Karnas, believed to be created by Nataraja, are said to guide practitioners towards spiritual
liberation.
This chapter is the longest and more elaborately photographed to present all the 108 poses

(00:30):
of the Karnas through the crime courtesy of four professional dance practitioners of Bhartanathim.
Natishastra and Karnas, according to the Natishastra, performing the Karnas correctly purifies the
soul leading the dancer closer to the deity Nataraja.
The 108 Karnas consist of specific leg, hip, body and arm movements combined with hand

(00:56):
gestures.
Temple sculptures and dance, the significance of dance in South Indian temples is reflected
in numerous sculptures, dance pavilions, dhutamanta pass and the presence of temple dancers.
The misconceptions are, dance sculptures are often seen as decorative but the chapter

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argues that they have deeper meanings connected to Hindu rituals and spirituality.
The key temples with 108 Karnas sculptures are Rajaraja temple, Tanjavur, 985-2015 CE,
the central shrine displays the 108 Karnas reliefs.

(01:38):
Sanangapani temple at Kumbakonam, a 12th to 13th century, the outer east Gopura features
the 108 Karnas.
Nataraja temple at Chidambaram, 12th to 16th CE, sculptures are located on the inner passageway
of the outermost Gopura.
Arunachaleshwara temple in Tiruvannamalai, 16th CE is similar arrangement to Chidambaram.

(02:05):
Riddhagirishwara temple at Riddhachalam, 16th to 17th CE, the 108 Karnas are present on
the outer Gopuras.
The function and meaning of dance imagery, core aspects of worship, the 108 Karnas represent
ritual transformation and meditation, essential elements of Hindu worship.

(02:28):
These sculptures are not just decorations but visual representations of dance movements
integral to Hindu spiritual practices.
Analysis and interpretations, Natishasra in chapter 4, the chapter provides explanations
and notations for each Karna offering a detailed analysis.

(02:49):
By examining the Karnas, the chapter challenges the idea that dance sculptures lack significance
emphasizing their role in depicting essential aspects of Hindu rituals.
In conclusion, the chapter highlights the importance of understanding the 108 Karnas
beyond their aesthetic value recognizing their spiritual and ritual significance in Hindu

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temples.
Through detailed analysis, it reinforces the notion that these dance movements are vital
components of Hindu worship and cultural heritage.