Shiva-Parvati (Iconography)
author: Thomas Eugene Donaldson
edition: 2007, D. K. Printworld Pvt. Ltd.
pages: 1201
ISBN-10: 8124603596
ISBN-13: 9788124603598
Topic: Shilpashastra
Format (D); Duplicate Pose with Both Legs Crossed or Folded
This chapter describes Format (D); Duplicate Pose with Both Legs Crossed or Folded located on page 437 in the book Shiva-Parvati and Allied Images (Their Iconography and Body Language). This book deals with the study of sculptures of Shiva-Parvati and other images such as the Murtis of Anugraha, Umamaheshvara and Umasahita as well as the mythological background of the deities represents by those sculptures. The two volumes contain over 700 images dedicated to the study of postures and body language of various sculptures, the sculptor’s technique.. This chapter is part of the collection Iconography and Images of Umamahesvara-murti.
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You can look up the meaning of the phrase “Format (D); Duplicate Pose with Both Legs Crossed or Folded” according to 182 books dealing with Hinduism. The following list shows a short preview of potential definitions.
The Religion and Philosophy of Tevaram (Thevaram) [by M. A. Dorai Rangaswamy]
The legs in the sculpture are as required. The right hand is on the chest in vismaya pose and the left hand is bent and near, the waist in jnanamudra pose. Many figures stand on one leg lifting up the other leg. This is the urdhvajanu karana, the 25th karana described in verse 86. Utksipya: Here the bent leg is lifted up and kept on a level with the breast whilst the hands are free to be used as the dancer pleases....
Read full contents: Chapter 4.3 - (c) Sculptures of Shiva and Dance
Manasara (English translation) [by Prasanna Kumar Acharya]
Their right leg should be in the svastika (cross-like) pose, and the left leg bent. 13. One hand should hold up the chowries, etc., and the other should keep touching the ground. 14. These are the features of the Yakshas. The Vidyadharas should be made nt the sitting posture. 15. Their two legs should resemble the plough shape, and be kept extended turned from the front towards the back. 16. Their two bands should be kept touching the knee and raised towards the gateway. 17....
Read full contents: Chapter 58 - The images of Yakshas, Vidyadharas, and other mythical beings
Gati in Theory and Practice [by Dr. Sujatha Mohan]
The pose, preparation for jumping, and forward movement is asvavadivu. When a peacock is going to attack its enemies, it spreads its feathers, raises its neck, and dances by steadying itself on one leg. Then it shifts to the other leg and attacks by jumping and flying. The capability of doing this attack is known as mayuravadivu. A snake attacks its enemy by standing up; however, its tail remains on the ground without movement....
Read full contents: Gait identified in the martial arts of India
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[Shiva-Parvati (Iconography): index]
[About the Author (Thomas Eugene Donaldson)]
[Introduction]