The following are the philosophy, mythological vision and aesthetic features of the sculpture,
by name “the dance of Nataraja”, created by artist Joseph Palackal.
ON SIVA: - Lord Siva is the most primitive and powerful of all Gods in Indian mythology. He has the entire universe as his body. He is the originator and master of all arts, including dance and music. Recent researches in nuclear physics reveal the astounding fact that the configuration of electrons is in the shape of the dancing Nataraja.
(B) ON THE DANCE OF NATARAJA: - According to Anandakumaraswamy, the international exponent of dance, there are three forms of the dance of Siva- such as twilight- dance, funeral- dance, and the “nadantha nrutham”. Of the above, the third sort of dance is called “the dance of Nataraja”. There is a mythological story attached to this dance. A group of hermits were doing penance in the “Tharaka” forest. Then Siva and another God of his equal stature by name Vishnu came in disguise to visit them. The hermits, angry that their penance was disturbed, created a tiger from the fire of penance. Siva calmly killed the tiger and wore the tiger-skin around his waist. And he tamed a serpent that came to kill him, and put it around his neck. Then the hermits created a strange giant, called “Muyalakan”. But Siva danced on the back of the fallen Muyalakan. The serpent Adisesha requested him to let him to see that dance again. In obeisance to that request, Siva did the same dance again at the sacred court at Chithambaram, the place that is considered as center of the universe. It is this dance, which is famous as “the dance of Nataraja”. The magnificent face of “Nataraja” evokes bliss, and also tranquility. The rear side of dancing Siva exudes the charm of dancing movement. The right eye of the figure symbolizes the sun, the left eye the moon. The third eye on his forehead represents knowledge. As knowledge is like flames, the third eye is directed upwards. This eye is said to eradicate lust. The figure has four hands. The curly hair adorned with “Konna Flowers” keeps on vacillating in harmony with the rhythm of dance. Goddess Ganga devi resides on the matted hair of the dancing Siva along with a scull and a serpent. Ganga devi, who is the river Ganga in truth, falls down from his head as holy shower of nectar-like water to give solace and joy to thousands of suffering souls. The serpent waves its hood in dancing delight.
There are necklaces on the neck and girdles on the waist. Siva who has worn the sacred thread, is dressed in light waistcloth and fluttering loincloth. There is a drum on the raised right hand. And for counter balance, there are flames on the left hand. The right hand shows the sign of offering refuge. The right leg is trampling on “Muyalakan”. Twenty-one lamps, starting from the seat of lotus and arranged in circular style, spread sacred light and ethereal beauty around the image of Siva. The images of dancing Siva, which is longer than four feet, are rare. This figure, which is fourteen feet long, symbolizes that Siva is the master of all the fourteen worlds. The skull and serpent on the figure’s head are reminders of various events associated with Siva. The “Ganga” on the matted hair is reminiscent of the endless flow of life. The figure is based on the concept of semi-feminine masculinity. This is why the figure is endowed with four arms and two types of earrings. The crescent moon on the matted hair is symbolic of rises and falls in life. The drum (“damarukam”), which is the home of origin of “omkara”, denotes energy. The annihilation of Muyalakan is symbolic of ruin to the wicked. The right hand of the figure is ready for protection and the left hand for showering blessings. The feet which is raised against the chest is expected to deliver salvation. The circular form of the figure represents the endlessness of life. It declares that Siva himself is the time, the terminator of time, the past, present and future. All the five elements of nature dwell in Nataraja. The dance is a language. Movements are its words. The fingers, the feet, the eyes, the lips, and the lean waist of the dancer are such words. In his presence you can physically feel ‘shakti’ (power) exploding from every inch of his body and every hair on his head, which is reminiscent of the splendour of the Chola kings for whom these fabulous dance form were once commissioned. As a whole, the dance of Siva beautifully symbolizes the dance of the heavenly joy of life and the beauty of serene tranquility.
(C) ON THE SCULPTURE: - Siva and Karna are the two mythological heroes whom I adore since my childhood. They are unforgettable to me, owing to their personality, tolerance, bravery, and magnanimity. It was my long cherished ambition to create a sculptured figure of Siva in its inestimable magnificence and elegance. And hence I set out for the creation of Siva through a figure in rosewood at the length of 14 feet. I had remembered that Parvathi had to do fierce penance under a Devadaru tree to propitiate Siva. As getting Devadaru was not practicable I chose rosewood, which was next in aesthetic quality to Devadaru. Leaving the conventional “bronze-style” of contemporary Siva statues, deriving inspiration from the “Ajanta and Ravivarma” styles, I evolved my own style for creation of Nataraja.
“Why did you plunge in to such a colossal creation without ensuring the marketing?” This question was hurled on me during the creation of Nataraja. But, seeing the joy of creation as superior to any other gain for me, I plunged myself in to the penance of creation which lasted for over three years. And I am now brimful of belief and confidence that my sculpture has flawlessly recaptured the infinite grace and greatness of Nataraja more than any other creation. It radiates the glory of the Lord, who plays the dance of joy for the sustenance of universe and who infuses the spirit of delight to every creature.
Art is the language of beauty with a message. In the present day- world, the man-woman relationships are drowning in the vortex of selfishness. This statue comes with the consolatory message that man and woman are equally interdependent like Siva and Parvathi in the “Ardhanareeshwara” cult. Parvathi is the source of strength for Siva. Parvathi has no existence without Siva. Siva is imperfect without Parvathi.Where else can we find such a mature philosophy of man-woman relationship?
four hands. The curly hair adorned with “Konna Flowers” keeps on vacillating in harmony with the rhythm of dance. Goddess Ganga devi resides on the matted hair of the dancing Siva along with a scull and a serpent. Ganga devi, who is the river Ganga in truth, falls down from his head as holy shower of nectar-like water to give solace and joy to thousands of suffering souls. The serpent waves its hood in dancing delight. 
The figure is based on the concept of semi-feminine masculinity. This is why the figure is endowed with four arms and two types of earrings. The crescent moon on the matted hair is symbolic of rises and falls in life. The drum (“damarukam”), which is the home of origin of “omkara”, denotes energy. The annihilation of Muyalakan is symbolic of ruin to the wicked. The right hand of the figure is ready for protection and the left hand for showering blessings. The feet which is raised against the chest is expected to deliver salvation. The circular form of the figure represents the endlessness of life. It declares that Siva himself is the time, the terminator of time, the past, present and future. All the five elements of nature dwell in Nataraja. The dance is a language. Movements are its words. The fingers, the feet, the eyes, the lips, and the lean waist of the dancer are such words. In his presence you can physically feel ‘shakti’ (power) exploding from every inch of his body and every hair on his head, which is reminiscent of the splendour of the Chola kings for whom these fabulous dance form were once commissioned. As a whole, the dance of Siva beautifully symbolizes the dance of the heavenly joy of life and the beauty of serene tranquility.
They are unforgettable to me, owing to their personality, tolerance, bravery, and magnanimity. It was my long cherished ambition to create a sculptured figure of Siva in its inestimable magnificence and elegance. And hence I set out for the creation of Siva through a figure in rosewood at the length of 14 feet. I had remembered that Parvathi had to do fierce penance under a Devadaru tree to propitiate Siva. As getting Devadaru was not practicable I chose rosewood, which was next in aesthetic quality to Devadaru. Leaving the conventional “bronze-style” of contemporary Siva statues, deriving inspiration from the “Ajanta and Ravivarma” styles, I evolved my own style for creation of Nataraja.