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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).
Elsewhere it is said; His colour resembles the glossy brilliant blue (lapis-
lazuli). His blue is described as the colour of clear blue sky reflected in a
tranquil pool of transparent water. Varuna is depicted with four faces, a
slightly prominent belly and four arms holding in his: upper right hand
a noose, upper left hand a conch, lower left hand a jewel box, and in his
lower right hand a lotus.
72.3.2. As per the Varuna Dhyana sloka, Varuna is smiling, gentle colour of
snow, lotus or moon. Varuna is wearing white garment; and is well adorned
with ornaments and rows of pearl necklaces .He is seated on a magnificent
throne along with his two queens (Ganga and Yamuna) . A white umbrella
named Abhoga mounted atop the throne is spread over his head.
Incidentally, that white umbrella emerged from churning of the ocean and
was given to Varuna. White umbrella (sveta chattra) is a royal insignia. His
emblem Makara the mythical creature is placed to his left. Varuna, in most
cases is depicted as a highly respected king.
72. 4.2. Pushkara samhitha (4.153) describes Varuna as the lord of waters
who is strong and well built (bhimam). His complexion glows like a fresh
pearl (muktha-phala dyuthi samam) . He is ever surrounded by thousands
of Naga nymphs (naga kanya sahasradyam). He rides a Makara.
72.4.3. In contrast to that, Padma Samhita (22.60) and Haya shirsha
Samhitha (Adi.25.8) present Varuna as dark complexioned (varunam
shyamalam). Of his two hands he holds in the left a noose (pasa) and with
his right he gestures assurance (abhaya pradam) and blessings. He is
resplendent with his sparkling earrings in the shape of Makara (makara
kundala) and in his bright crown modest sized crown (karandi makuta).