(with the serpent-body, fig. 51) and Vyaghrapada (with tiger's

feet, fig. 52) worshipping on either side and the goddess ParvatI standing on the left.

The Agamas speak of seven dancing postures of Siva. The first, called Ananda-tandava or the joyous dance, has been described above.

The second is his evening dance Sandhya-tandava. 1 In this form the demon Apasmara is absent and the symbols in the two left arms are the peacock-feathers and the pose of wonder called vismaya.

The third is the Uma-tandava, i.e., dance with his consort Uma. In this Siva has two more arms, the additional right hand holding the trident (trisula) and the three left hands exhibiting the skull, vismaya, and the gaja-hasta. The left leg is placed on Apasmara and the right leg is stretched towards the left, and the goddess Uma stands on the left side.

The fourth, Gaurl-tandava, is almost similar to the first, but in one of the left hands of the god is held a serpent. Nandi stands on the right side and Gaurl (Parvati) is on the left. 2

In the fifth form, called Kalika-tandava,the god has only two eyes, but eight arms. Three of the right arms hold the trident, noose and kettle-drum and the corresponding left hold the skull, fire-pot and the bell ; the two remaining arms exhibit the abhayaon the right and gaja-hasta on the left (fig. 53). 8

The dance of Siva, with sixteen arms and as many symbols, having Gaurl and Skanda on the left and right sides respect- ively, 4 receives the name Tripura-tandava.

The last dance called Samhara-tandava " the death-dance " shows the god with three eyes and eight arms. The left leg is placed on Apasmara and the right leg is raised. In the right

P- 33)' This description closely agrees with the figure of Patanjali on the eastern gopura of the Nataraja temple at Chidambaram. On the same gopura is the image of Vyaghrapada in which the sage is represented as having tiger's claws on both his hands and feet. The sage is carrying on his right shoulder a hook and a flower basket.

1 According to the SilfasangraAa and the Mayamata, the dance is performed under the vata or the banyan tree.

2 This same dance is described in the Mayamata as Bhitjangalalita in which by quick changes in the position of the legs, the fire in the hand is blown into a blaze, and the braided locks are spread out into five, seven or nine. On the left side stands Vishnu in place of Gaurl, and on the right Nandi.

3 In the illustrations the weapons and symbols are seen just as they are mentioned in the Agamas. The position of the legs in the one, and the abhaya and the gaja-hasia poses in the other, are, however, reversed.

4 The Silparatnd says that Skanda stands on the same side as Gaurl holding her by the hand, and shows fear, love and wonder in his face.