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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 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 ...
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 ...
Michelangelo however, felt that the torso was the powerhouse of the male body, and therefore warranted significant attention and mass in his art pieces. [32] [failed verification] Thus, the torso in the Study represents an idealization of the male form, "symbolic of the perfection of God's creation before the fall". [29]
[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]
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Mārīcī is typically depicted with multiple arms, riding a charging boar or sow, or on a fiery chariot pulled by seven horses or seven boars. She has either one head or between three and six, with one shaped like a boar. In parts of East Asia, in her fiercest forms, she may wear a necklace of skulls. In some representations, she sits upon a ...
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