The document discusses principles of design and sacred geometry as seen in the Nataraja icon of Hinduism. It summarizes that the Nataraja icon depicts Shiva in a cosmic dance expressing the rhythm and harmony of life through creation, preservation and destruction. The icon's geometry follows principles like symmetry, balance, and proportion. Elements like circles and triangles are used to represent the mandala and sacred geometry concepts seen in nature. Hand gestures in classical Indian dance forms like Bharatanatyam also demonstrate mathematical concepts and sacred geometry principles.

1. Decoding the Principles of Design and Sacred Geometry
Presented by
Jaikumar Ranganathan, Industrial designer
India

2. Elements and Principles of Design
Elements
Dot
Line
Shape
Form
Colour
Texture
Principles
Symmetry
Balance
Rhythm
Repetition
Scale and Proportion
Harmony
Unity in Variety
Emphasis
Hierarchy
Direction
Pattern

3. The Nataraja icon is a unified and
dynamic composition expressing the
rhythm and harmony of life. This
cosmic dance of Shiva is called
'Ananda Tandava,' the Dance of
Delight, it signifies the cosmic cycles
of creation, preservation and
destruction, as well as the daily
rhythm of birth and death.

4. Nataraja iconography symbolises the creation with Damaru in one hand
and Dissolution by holding a fire in other hand there by maintaining the
Balance of nature and cycle of life. One of the hand shows Abaya Hasta
Which denotes protection and other hand stretched diagonally across the
Body by pointing out his raised feet for ultimate surrender to the Divine

5. Line path of a point
Shape perceivable area
Value relative light and darkness
Color color theory basics
Space
(2D) height, width and the
illusion of depth
Texture actual or simulated tactile quality
Elements of Design

6. Scale overall size
Proportion relative size within the work
Unity
repetition > rhythm > pattern
> unity
Balance
equalizing the visual weight
of elements
Direction visual path
Emphasis focal point
Principles of Design

7. The Nataraja Icon is inscribed within a circle and two congruent triangles

8. Courtesy to: Prof. Kiriti Trivedi
(IDC IIT Bombay)
A mandala (emphasis on first
syllable; Sanskrit मUडल, maṇḍala
– literally "circle")

9. The basic form of most mandalasis a square with four gates
containing a circle with a center point. Each gate is in the general
shape of a T. Mandalasoften have radial balance.

10. Mandala (Geometric Diagram)
Mandala (Geometric Diagram)
Talamana – Proportion System
Golden Proportion System

11. The Golden proportion1:1.618is Omni Present in Divine form, Human form, Nature following Fibonacci series
The goldenRatio:
a/b= (a+b)/a=1.61803.
The world Patronise Nataraja Iconography for proportion system and Indian Studentsstudy the proportion
system of Vitruvian man, but not Nataraja which is popularin the world for its sacred geometry
which exist in nature in the form of golden ratio

12. Courtesy to: Prof. Kiriti Trivedi (IDC IIT Bombay)

13. Courtesy to: Prof. Kiriti Trivedi (IDC IIT Bombay)

14. Courtesy to: Prof. Kiriti Trivedi (IDC IIT Bombay)

15. Expression of Vertical, Horizontal and Diagonal Lines

16. The Talamana Proportion System of India:
A Measure for the Cosmic Order and the Cosmic Rhythm
Courtesy to: Prof. Kiriti Trivedi (IDC IIT Bombay)
10 Tala 9 Tala 8 Tala
Proportion refers to the relative
size and scale of the various
elements in a design.

17. “Bha” = bhava – emotion
“Ra” = raga – melody
“Ta” = tala – rhythm
“Natyam” = dance
Bharatanatyam
Bharatanatyamconsists of
3 basicelements:
nritta (pure dance),
nritya (expression),
natya (combinationof
nritta and nritya to further
dramatizethe thematic
content and storytelling)

18. Aramandalam – The Basic Geometric Pose in Bharatanatyam
Mandalam is a geometric Diagram

19. 1 2 3
1 Thanakam–standingPosture
2 Aramandalam– Half seated Posture forming geometry of square
3 Muzhumandalam– fully seated posture

20. 4 5
1 – Namaskaram to the divine, 2- Namaskaram to Guru &elders, 3 Namastaram to the audience
4- Namaskaram to Divine and 5 – Touching the floor to show the surrender state to God
1 2 3

21. Namaskaram
Touchingthe floor to Seek Blessing and
Forgiveness to Bhuma Devi-Goddessof earth
Before dancingover the mother earth
After touchingthe feet of mother earth
The dance Hands touchingthe closed eyes
in reverence

22. There is an incredible relation between bharatanatyam
and mathematics. Every movements in bharatanatyam
uses the numbers 3 (Thishram), 4 (Chaturashram),
5 (Khandam), 7 (Mishram) and 9 (Sangeernam) in
various permutations and combinations for any of the
dance compositions. The postures are characterized by
linear formations and circular patterns. Certain
postures create a wonderful symmetry in the body as
in geometry that adds to the beauty of the
performance. So it’s very important to understand the
straight line patterns, circular movements and about
the symmetry formation. A technical excellence in all
these aspects could be achieved with years of practice.
A combination of good posture, balance, centering
symmetry and the geometric correctness gives you
‘Angasudhi ‘. More importantly all these efforts to
perfection should be unconsciously executed by the
dancer to make the performance impressive.
Theory of Straight Lines, Circles and Parallels

23. Angasudhi

32. Symmetry is when elements are arranged in the same way on both sides of an axis. Perfect
symmetry is when elements are mirrored over the axis and exactly the same on both sides.
Asymmetry lack of equality or equivalence between parts or aspects of something; lack of
symmetry.
Symmetry Asymmetry
Created by
Mudras

33. Balance is denoted by visual equilibrium whereby does not consist of equal elements
distributed symmetrically about a centre of gravity, but of unequal elements distributed
asymmetrically and yet remaining balanced.
visual weight. This is the perceived weight of a visual element. It’s a measure of
how much anything on the page attracts the eye of the viewer.

34. Harmony is the sense that all of the elements of design fit together.
Unity refers to the repetition of particular elements throughout
the design .These principles are used to create a sense of cohesion in
the space.

35. Rhythm can be described as
timed movement through space;
an easy, connected path along
which the eye follows a regular
arrangement of motifs. The
presence of rhythm creates
predictability and order in a
composition. Repetition involves
the use of patterning to achieve
timed movement and a visual
"beat".
Pattern – arises through the repetition of a particular
motif. The repetition of motif must follow some
principle, ie must obey a certain rhythm. Pattern can
be described as a repeating unit of shape or form, but
it can also be thought of as the "skeleton" that
organizes the parts of a composition.

36. Repetition simply means
the reusing of the same or
similar elements throughout
your design. Repetition of
certain design elements in
a design will bring a clear sense
of unity, consistency, and
cohesiveness.
Order -the arrangement or
disposition of elements of design in
relation to each other according to a
particular sequence, pattern, or
method. Order: It is a state where
every element in the composition
refers to an alignment or layout
which is clearly visible just by
looking at the composition.

37. Visual hierarchy refers to the arrangement or presentation of elements in a way
that implies importance. In other words, visual hierarchy influences the order in
which the human eye perceives what it sees. This order is created by the visual
contrast between forms in a field of perception.

38. EMPHASIS: A principle of design, it refers to a way of. combining the design
elements to stress the differences between those elements and to create one or
more centers of interest in a work of design. Often, contrasting elements are used
to direct and focus attention on the most important parts of the composition.

39. Direction - Utilizing movement to create the visual illusion of displacement.

40. Semiotics of Bharatanatyam
ASAMAYUKTA HASTAS OR SINGLE HAND GESTURES
IN BHARATANATYAM

41. Semiotics of Bharatanatyam
SAMAYUKTA HASTAS OR DOUBLE HAND GESTURES IN BHARATANATYAM

42. Figure depicting Krishna with flute and Krishna lifting the Gowardan mountain

43. “Yatho Hasta thatho Drishti, Yatho Drishti thatho Manah
Yatho Manah thatho Bhaava, Yatho Bhaava thatho Rasa”
"Where the hands(hasta) are, go the eyes (drishti); where
the eyes are, goes the mind (manah); where the mind goes,
there is an expression of inner feeling (bhaava) and where
there is bhaava, mood or sentiment (rasa) is evoked."
Courtesy to: Bharat Muni, All the Great Dance Gurus, Dancers and Photographers
Source of images : Google images retrieved on 16.3.2019

44. Jaikumar Ranganathan, Industrial designer
India