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It exhibits their divine ability to wield multiple articles, such as weapons, and perform numerous activities simultaneously. [ 5 ] Indologist Doris Srinivasan states that in both Vaishnava and Shaiva imagery, the Chaturbhuja form is regarded to be the manifestation of a deity who descends upon the earth and performs auspicious acts for the ...
Early Gupta and post-Gupta sculptors were faced with difficulty of portraying infiniteness and multiple body parts in a feasible way. [20] Arjuna's description of Vishvarupa gave iconographers two options: Vishvarupa as a multi-headed and multi-armed god or all components of the universe displayed in the body of the deity. [21]
The Pashupati seal (also Mahayogi seal, [1] Proto-Śiva seal [2] the adjective "so-called" sometimes applied to "Pashupati"), [3] is a steatite seal which was uncovered in Mohenjo-daro, now in modern day Pakistan, a major urban site of the Indus Valley civilisation ("IVC"), during excavations in 1928 or 1929, when the region was under British rule.
[12] [13] Such multiple body parts represent the divine omnipresence and immanence (ability to be in many places at once and simultaneously exist in all places at once), and thereby the ability to influence many things at once. [12] The specific meanings attributed to the multiple body parts of an image are symbolic, not literal in context. [14]
The art historian Ludwig Heinrich Heydenreich, writing for Encyclopædia Britannica, states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo ('cosmography of the microcosm'). He believed the workings of the human body to be an ...
White, with multiple arms holding many symbols Sahasranetra: Thousand-eyed Often depicted with multiple arms with eyes on the hands Cintāmaṇicakra: Wish Fulfilling Wheel Holds the wish-fulfilling jewel and the wheel Hayagrīva: Horse-necked one Wrathful form; simultaneously bodhisattva and a Wisdom King: Amoghapāśa: Unfailing noose
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The Gupta-era writer Pushpadanta in his Mahimnastava refers to this form as dehardhaghatana ("Thou and She art each the half of one body"). Utpala , commenting on the Brihat Samhita , calls this form Ardha-Gaurishvara ("the Lord whose half is the fair one"; the fair one – Gauri – is an attribute of Parvati ). [ 6 ]