South-Indian Images of Gods and Goddesses c12.s2.71

c12.s2.71

Postures. The postures, symbols and weapons of images differ according to the image is conceived to be either in a fighting attitude or as bestowing bliss and knowledge on its worshipers. Sometimes, even though the weapons of war are exhibited in the hands of an image, it may yet be considered peaceful if it only shows the positions of the hands known as *abhaya* and *varada*. The posture, *sukhāsana*, in a seated image (Plate I, No. 14) and the posture *samapādasthānaka* in a standing image (Plate II, No. 4) are generally adopted in conferring bliss, just as the position of the hands *abhaya* (Plate IV, No. 7) and *varada* (Plate III, No. 23) indicate the same. The *ālidha*² (Plate II, Nos. 5 and 6) and the *utkatika*³ postures (Plate I, No. 15) denote respectively the heroic attitude in actual fighting and the angry mood that immediately follows it. The *padmāsana* (Plate I, No. 16) and the *yōgāsana* (Plate II, No. 1) postures show either the meditative or the teaching attitude. The position of the legs (Plate II, Nos. 2 and 3) adopted in the case of the standing images of Gōpāla and Natarāja show not only a graceful and artistic attitude but, evidently, also indicate the ecstasy of joy. It may be noted that in all figures of gods and goddesses standing in any position, the ideal beauty is recognized to consist in the three *bhangas* (bends) which according to the *Silpasangraha* are *ābhanga* (slight bend), *samabhanga* (medium bend) and *atibhanga* (great bend). Each of these three bends may be found separately or together in one and the same image.⁴