Polycleitos was a Greek sculptor of heroic bronze figures during the 5th and early 4th century

BCE. There is a canon of figurative proportions which is attributed to him, and is seen by art
historians to have made a tremendous influence on future figurative art in Greece and Rome,
and arguably, on modern classical techniques taught in traditional art schools. The Polykleiton
Canon often seems like an archaeological myth, since no workshop manual has been found and
no original sculptures made by Polykleitos survive. The existence of the canon has been
inferred by studying Roman copies of the Polykleiton originals, in particularly the statue of the
Doryphoros, or Spear Bearer which is also often simply called the Canon since it seems to
exemplify the methodological canon of proportions attributed to Polyklietos. Historical evidence
for the Canon is also found in the writings of Galen. The Doryphoros is an exemplar of classical
contrapposto, where one side of the pelvis is tilted upward on the weight bearing leg, giving a
sense of movement and tension. Although I did not find contrapposto mentioned in relation to
Indian figure sculpture, there are figures that emulate a similar pose.

The Doryphoros
Scholars havent been able to agree on the exact proportional measurements used by
Polykleitos, though there is strong evidence for the influence of the Egyptian Canon of
Proportions on 4th and 5th Century Greek sculpture and there is more exacting information on
this canon (Mark 1995). The so-called Second Canon which was used in Egypt during the 7th
century BCE up until the Roman period dictates the height of a figure using a squared grid. The
convention was 19 squares to the shoulders and 22.5 squares to the crown of the head
proportions that were used by the Greeks Theodoros and Telekles (Iverson 1975).

The Iconography of Varuna is highly varied. The variations are generally

two-fold. One, the depiction of his image depends upon the stage of his
career at which he is being discussed. For instance, in the context of the
early Rig Veda Varuna is a sublime , gracious and a very handsome
deity who is the lord of all existence . But , in the Brahmanas he is
depicted as a severe looking stern judge holding the punitive noose and
riding a fearsome mythical monster Makara. And again, when he is
portrayed as a water-god the attributes symbolizing water element are
stressed; and, when he is shown as Dikpala the guardian of the west he is
shown in the air riding his mount in the sky; and so on.
And the other is that the various texts of Shilpa Shastra and the Puranas
each project its own version of Varuna image; and, they differ in details.
Thus the Iconography of Varuna is not uniform; it is spread across a whole
spectrum of varied notions of Varuna. In the iconographic sense there is
not one but several Varunas. It might not therefore be possible to discuss
the whole range of Varuna features. We may pick up just a few instances.
70.1. Before looking at few instances of his form, lets glance at his
features in a summary fashion by putting together his descriptions
scattered across several texts.
71.1. Most of the descriptions of Varuna celebrate him as the lord of the
waters; and some (e.g. Aparajita pruccha) hail him as the lord of the west.
But, his original attributes, mentioned in Rig Veda, of being the lord of the
sky or the governor of Rta are not stressed in the texts dealing with his
Iconography. They are completely glossed over. That is understandable,
because the Shilpa texts and the Puranas are far removed in time from the
age of the Rig Veda; and these texts came into being centuries after the
Vedic period. By then, Varunas decline and his demotion into a mere
water-god had been complete.
: Varuna is shown either in standing posture (sthanaka) or as seated
(aasana) or as riding his vahana. But he is not shown in reclining position
(shayana). He is shown either alone (kevala) or with his consort/s.
:-The Varuna iconography sometimes describes him as having four
heads (Vishnudharmottara) and four arms (in Rupamandana,
Vishnudharmottara and Aparajita pruccha) ; but, generally he is described
with one head and two or four arms.
: Varuna is usually presented as a bright looking, well built god of
peaceful and benign disposition. But he is also shown with a potbelly (a
characteristic of lunar gods) . The Brahmana texts show him as an obscure
(jambaka) ugly looking, white-spotted (shukla), a rather deformed bald
headed fat man with protruding teeth (vikidha) and yellow or brownish
eyes (pingaksha).
:- His complexion too varies across the texts. In most of the texts he is
described as of fair complexion radiant like a conch or a sparkling crystal
(spatika). But he is also described as having glossy sky-blue complexion
(Rig Veda, Vishnudharmottara); or lustrous golden complexion (Kashyapa
shilpa), or dark complexion (Padma samhitha).
:- Varuna usually favours white colour; his garments, ornaments, garlands
and necklaces are of white. But, in some instances he is adorned in red
garments (kashyapa shilpa) or yellow garments (Shilparatna).
:- He is either seated or is riding a Makara (a mythical monster of which we
shall talk a little later); but he is also mentioned as riding a crocodile (Rupa
mandana) or seated on a swan or seated on a dog or a Makara with a dog-
head (Mathsya Purana).In some older texts (Vishnudharmottara) his chariot
is drawn by a set of seven swans. And, at times he is shown sitting by a
waterfowl.
: The Ayudhas or the objects he holds usually are: the pasa (noose),
lotus, a jewel box, and a snake. At times he is depicted with water pot
(kamandalu) or a mace (musala) or a conch (shankha).
: Varunas abode as mentioned in the early Vedic texts is the atmosphere.
In the later texts, his abode is in the waters or a region in the ocean
(pastatsu) in a multi-pillared mansion. He is also said to have palaces in
hilly regions near the Meru on the Pushpagiri hills. Mahabharata mentions
that Varuni (also called as Gauri), Vriddhi and Jesta (daughter of
Shuklacharya) are his queens. He rides across the heavens in his glittering
chariot. He has at his service thousands of spies who report to him on all
that the men do or do not do.
Particulars of Varuna Iconography as in:
Rig Veda

72.1. Rig Veda describes Varunas appearance in glowing terms: as the

most resplendent god of glowing- sky-blue complexion, with Agni in his
face and Surya in his eye. He is far sighted (uru-chaksasa). He is the eye of
all the worlds (jagath-chakshu- RV.1.25.5). He has soft and beautiful hands
(supani) in which he holds lotuses and an auspicious noose . He is
splendidly adorned in golden mantel (drapi) and a shining robe. His chariot
dazzles brilliantly like sunrays (ghabasti suro nadyauth
RV.1.122.15).Varuna and Mitra ride the golden chariot like floating clouds
in the blue sky, drawn by well yoked steeds. (RV.5.62.7). in the midst of
vast heavens urukhaya (RV. 1.2.9) he is seated on a splendid throne
placed in his golden palace of thousand pavilions, thousand columns
(RV. 2.41.5) and thousand doors (RV. 7.88.5). From his glittering throne,
the monarch (samrajnya) watches over the deeds of all men and gods
(pastyasu) (RV .1.22.11-12).
Brahmanas