{"id":3048,"date":"2025-05-31T13:03:36","date_gmt":"2025-05-31T13:03:36","guid":{"rendered":"https:\/\/alevato.xyz\/?p=3048"},"modified":"2025-07-30T19:11:09","modified_gmt":"2025-07-30T19:11:09","slug":"thillai-nataraja","status":"publish","type":"post","link":"https:\/\/alevato.xyz\/portugues\/thillai-nataraja\/","title":{"rendered":"Thillai Nataraja: o templo do deus Shiva dan\u00e7ante"},"content":{"rendered":"
\"\"
Nataraja o templo do deus Shiva dan\u00e7ante<\/figcaption><\/figure>\n\n\n\n

As atividades aqui relatadas fazem parte da pesquisa de doutorado da autora no Programa de P\u00f3s-Gradua\u00e7\u00e3o em Arqueologia do Museu Nacional\/UFRJ e contaram com o apoio do Laborat\u00f3rio de Processamento de Imagem Digital (LAPID), tamb\u00e9m sediado no Museu Nacional, bem como investimento de bolsa CAPES.<\/p>\n\n\n\n

Thillai Nataraja est\u00e1 localizado na cidade de Chidambaram, que faz parte do distrito de Cuddalore no estado de Tamil Nadu na regi\u00e3o sul do subcontinente Indiano. A cidade fica a 245 km de Chennai (capital do estado). O templo faz parte da hist\u00f3ria da regi\u00e3o sul indiana, ele \u00e9 testemunha material das disputas religiosas, disputas de poder e de discursos pol\u00edticos. Evid\u00eancias liter\u00e1rias, tanto de origem s\u00e2nscrita, com o Chidambara M\u0101h\u0101tmya, quanto tamil, com o Kovil Pur\u0101\u0146am, apontam que santidade do santu\u00e1rio remete \u00e0 \u00e9poca de Pata\u00f1jali, o autor do Yoga Su\u0304tra do s\u00e9culo II AEC. O trabalho po\u00e9tico tamil Tirumandiram, do s\u00e9culo II EC, localiza a antiguidade do santu\u00e1rio no s\u00e9culo V AEC. Mas ao analisarmos as estruturas que se encontram presentes atualmente no complexo templ\u00e1rio, nenhuma delas pode ser datada antes do per\u00edodo tardio dos Cholas (1070-1279 EC).<\/p>\n\n\n\n

\"\"
Complexo templ\u00e1rio Thillai Nataraja<\/figcaption><\/figure>\n\n\n\n

Atualmente, o complexo templ\u00e1rio ocupa um espa\u00e7o de 50 acres (aprox. 202.343 m2), sendo toda sua extens\u00e3o cercada e havendo quatro grande port\u00f5es em formato piramidal (gopura), cada um constru\u00eddo voltado em um ponto cardeal, separando os espa\u00e7os religiosos do cotidianos. A monumentalidade e as cores de um gopura s\u00e3o algo que se destacam entre as casas e pr\u00e9dios do estado de Tamil Nadu. Os pr\u00e9dios baixos e as vias largas constroem a paisagem que integra o colorido dos port\u00f5es (gopuras).<\/p>\n\n\n\n

Sendo um dos principais elementos dos templos do sul indiano, os gopuras s\u00e3o caracterizados como estilo arquitet\u00f4nico Dravidiano. Trata-se de um portal e seu tamanho pode chegar a propor\u00e7\u00f5es monumentais. Eles costumam ser constru\u00eddos com uma base de pedra e estruturas de tijolo com pilastra dando sustenta\u00e7\u00e3o. Usualmente, seu formato \u00e9 piramidal e no seu topo, apresenta uma ab\u00f3bada. As paredes externas s\u00e3o revestidas de esculturas que podem ser coloridas ou n\u00e3o.<\/p>\n\n\n\n

Na presente pesquisa, nos voltamos para as representa\u00e7\u00f5es dos 108 passos de dan\u00e7a (Kara\u1e47as) da dan\u00e7a Tandava do deus Shiva que se encontram nas paredes internas dos portais (gopuras). Tais passos s\u00e3o descritos no N\u0101tya\u015b\u0101stra, reconhecido como o codex das artes perform\u00e1ticas indianas, datado entre os s\u00e9culos II AEC e II EC.<\/p>\n\n\n\n

No in\u00edcio do cap\u00edtulo IV \u201cT\u0101n\u0323d\u0323ava N\u1e5btya (Descri\u00e7\u00e3o da dan\u00e7a T\u0101n\u0323d\u0323ava)\u201d, Bharata Muni (autor do N\u0101tya\u015b\u0101stra) nos conta de que forma a dan\u00e7a foi inclu\u00edda no repert\u00f3rio de n\u0101\u1e6dya (arte c\u00eanica que compreende a m\u00fasica, dan\u00e7a e drama de forma integral). Assim que o deus Brahma terminou de compor a primeira pe\u00e7a de n\u0101\u1e6dya (arte c\u00eanica que compreende a m\u00fasica, dan\u00e7a e drama de forma integral), intitulada Am\u1e5bta-manthana (A agita\u00e7\u00e3o do oceano), ele pediu que Bharata a preparasse para ser performada perante o deus Shiva. A apresenta\u00e7\u00e3o aconteceu na regi\u00e3o dos Himalaias e contou com a presen\u00e7a de diversos seres celestiais na plat\u00e9ia. No final da noite, Shiva ficou muito satisfeito com tudo que viu. Ele disse que se lembrou de sua dan\u00e7a e pediu que o s\u00e1bio Tan\u0323d\u0323u a ensinasse \u00e0 Bharata para que ele a incluisse no repert\u00f3rio das artes perform\u00e1ticas. A partir da\u00ed, o cap\u00edtulo prossegue descrevendo os detalhes dessa dan\u00e7a. Somos apresentados aos 108 Kara\u1e47as (movimentos de dan\u00e7a), 32 A\u1e45gah\u0101ras (sequ\u00eancias coreogr\u00e1ficas) e outros elementos relevantes para a pr\u00e1tica e apresenta\u00e7\u00e3o de dan\u00e7a. Os Kara\u1e47as (movimentos de dan\u00e7a) s\u00e3o definidos na obra como: hastap\u0101dasam\u0101yogo n\u1e5btyasya Kara\u1e47a\u1e43 bhavet | \u015bl 4.31.<\/p>\n\n\n\n

Numa tradu\u00e7\u00e3o nossa para o portugu\u00eas a combina\u00e7\u00e3o dos movimentos das m\u00e3os e dos p\u00e9s em uma dan\u00e7a \u00e9 chamado Karana.<\/p>\n\n\n\n

\"\"
Gopura piramidal oeste em Thillai Nataraja<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Karanas na parede interna do Gopura leste<\/figcaption><\/figure>\n\n\n\n
\"\"
Karanas (K96-Nivesa; K47-Vrscika; K60-Dolapada; K87-Karihasta)<\/figcaption><\/figure>\n\n\n\n

Entre setembro de 2023 e novembro 2023, como pesquisa de campo, realizamos a captura 3D de algumas das representa\u00e7\u00f5es com o prop\u00f3sito de estudo e constru\u00e7\u00e3o de objetos digitais. Utilizamos o aplicativo Polycam em um celular Samsung modelo A54. Observamos que a possibilidade de utilizar o telefone como principal equipamento facilita tanto na mobilidade quanto na aceita\u00e7\u00e3o para o desenvolvimento do trabalho. Sendo renderizado de maneira virtual, \u00e9 poss\u00edvel analisar o resultado da captura em quest\u00f5es de minutos. A\u00e7\u00f5es podem ser tomadas diretamente em campo, economizando tempo e proporcionando uma melhor qualidade do material final. Como pontos de aten\u00e7\u00e3o temos as limita\u00e7\u00f5es espaciais, no nosso caso as esculturas localizadas em alturas muito elevadas n\u00e3o eram poss\u00edveis de serem acessadas facilmente, e quest\u00f5es tecnol\u00f3gicas como acesso a internet e consumo da bateria do aparelho. Neste campo, o templo tinha cobertura em apenas certos pontos. Como estrat\u00e9gia, realizamos a captura de tr\u00eas a quatro est\u00e1tuas e nos deslocamos para o ponto onde poder\u00edamos enviar para o processamento. Isso acabava por consumir muita bateria, o que facilmente foi resolvido com um powerbank. Realizamos esse mesmo trabalho em outros templos de Tamil Nadu, aplicando o mesmo m\u00e9todo, o que se mostrou extremamente eficiente.<\/p>\n\n\n\n

\"\"
Digitaliza\u00e7\u00e3o 3D de Karanas (K60-Dolapada; K93-Talasanghattita; K87-Karihasta; K2-Vartita; K1-Talapuspaputa; K106-Nagapasarpita; \nK23-Ancita; K47-Vrscika)<\/figcaption><\/figure>\n\n\n\n

O material aqui obtido, al\u00e9m de integrar a pesquisa da tese de doutorado da autora, poder\u00e1 ser inclu\u00eddo em materiais de difus\u00e3o cient\u00edfica em m\u00eddias alternativas coordenadas pelo LAPID.<\/p>\n\n\n\n

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The activities reported here are part of the author\u2019s doctoral research in the Post graduate program in Archaeology at the National Museum\/UFRJ and were supported by the Digital Image Processing Laboratory (LAPID), also based at the National Museum, as well as funding from a CAPES scholarship. Thillai Nataraja is located in the city of Chidambaram, […]<\/p>\n","protected":false},"author":18,"featured_media":3613,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[78],"tags":[],"coauthors":[51],"class_list":["post-3048","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-heritage"],"blocksy_meta":[],"yoast_head":"\nTHILLAI NATARAJA: THE TEMPLE OF THE DANCING GOD SHIVA - EXPANDED REALITY<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/alevato.xyz\/portugues\/thillai-nataraja\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THILLAI NATARAJA: THE TEMPLE OF THE DANCING GOD SHIVA - EXPANDED REALITY\" \/>\n<meta property=\"og:description\" content=\"The activities reported here are part of the author\u2019s doctoral research in the Post graduate program in Archaeology at the National Museum\/UFRJ and were supported by the Digital Image Processing Laboratory (LAPID), also based at the National Museum, as well as funding from a CAPES scholarship. 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