[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [South Indian Bronzes: A Historical Survey of South Indian Sculpture with Iconographical Notes Based on Original Sources](https://indike.org/pramana/ins.art.gangoly-1915) › c8.113 # South Indian Bronzes: A Historical Survey of South Indian Sculpture with Iconographical Notes Based on Original Sources c8.113 South Indian Bronzes: A Historical Survey of South Indian Sculpture with Iconographical Notes Based on Original Sources c8.113 - **Language:** English ### [c8.113](https://indike.org/pramana/ins.art.gangoly-1915.c8.113) The \*samavanga\* pose is very well illustrated in the figures in plates (XVII, XXV & LIII). The wonderful static quality of such figures as Kārtikeya, and Chandrasekhara owes its beauty to the \*samavanga\* pose which was probably devised to symbolise tranquillity and repose. The examples of the \*āvanga\* pose will be found in plates (XV, XVI, XXXIII and the frontispiece). The difference in the attitude of the two legs suggested in the \*avanga\* pose recalls the attitude of the Greek Diadumenos which was invariably conceived as resting its weight on one leg (\*uno crure insistere\*). The text of the \*Kāsyapīya\* runs thus:—" \*dakhinam susthitam pādam bāma pādancha hunchitam\*," i.e., the right leg is upright and the left leg is drawn up or bent. One of the differences between the \*samavanga\* and \*āvanga\* poses is indicated in the relative distances of the toes in the two attitudes, laid down in \*Kāsyapīya\*: " \*Pādāngusta dwayāshaibam byantaram (?) Sodasāngulam āvangam tad-bijaniyāt . . . . . . astāngulam dasanchaiba samabhangamiti smritam . . . . . binsatyangula-mākhyatamātibhanga—mitismritam.\*" In the case of \*avanga\*, the distance between the toes should be 16 angulas, in \*samavanga\* 18 angulas and in \*atibhanga\* 20 angulas. “\*Tad-trivagaikantu vagantu parshno stu dwan-taram bhabet.\*” The relative distance between the ankles in each pose shall be one-third of the distance between the toes, \*i.e.\*, 5⅓ angulas, 6 angulas and 6⅔ angulas respectively. In such violent actions of the \*atibhanga\* pose as illustrated in the \*Nataraja\* and the \*Gajahamurti\*, this rule does not seem to apply. The plumb-line of the \*avanga\* pose is thus enunciated — - [Previous: c8.112](https://indike.org/pramana/ins.art.gangoly-1915.c8.112) - [Next: c8.114](https://indike.org/pramana/ins.art.gangoly-1915.c8.114) - [Up: c8](https://indike.org/pramana/ins.art.gangoly-1915.c8) ## Cites (1) - [Kāśyapīya](https://indike.org/pramana/in.art.silpa.pracina.kasyapiya) — Kaśyapa, Sanskrit --- Source: [https://indike.org/pramana/ins.art.gangoly-1915.c8.113](https://indike.org/pramana/ins.art.gangoly-1915.c8.113) · Pramāṇa