poses of gods

people and body







Page 8.

 

poses of people and body builds

 

Dynamic poses and constant types of body builds.
The eighth page gives information about methods for visual identification of constant types of body builds and dynamic poses of human physical figures.
As examples ancient sculptures of mythological gods are shown.
Also eighth page gives information about gallery of symbolical images according to which poses of people are compared to symbols of Chinese canon of changes i-jing.

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Visual identification of positions of physical figures.
Poses of people and body builds.

Any person should feel straining and relaxation of muscles to realize and identify poses of own body. Because human consciousness perceives movements and poses of own body by means of proprioceptive feeling or otherwise to tell physical sense of muscular strength.
But human consciousness cannot perceive muscular strength of other person, and consequently visual identification of body poses according to which formal levels of physical figure can deviate from vertical of balance as a result of straining or relaxation of muscles is necessary. It is difficult task if movements of body levels are insignificant, namely if poses of people are caused by minor changes of muscular strengths. But if formal levels of human bodies considerably deviate from vertical of balance then poses of people can be identified visually.
During visual identification it is necessary to consider that each person has individual constitution or type of body build, and consequently it is necessary to distinguish constant shapes of physical figure and dynamic poses. Because type of constitution can have much expressed or unexpressed constant body shapes which can be perceived as deviations of formal levels of physical figure from vertical of balance.
For example, if type of constitution has expressed buttocks then visually can seem that thigh deviates backward, but actually it is necessary to observe and distinguish muscular strength to identify body pose of person.
Or if type of constitution has expressed abdomen then can seem that abdominal muscles are relaxed and formal level of physical body figure deviates forward. But actually expressed abdomen can be strained.
To distinguish constant shapes of constitutions and dynamic deviations of body levels from vertical of balance of physical figure it is possible to consider geometrical ratios which are shown on the chart.

visual identification of positions of physical figures Points B and F designate back and breast at formal level of trunk.
Points C and D designate buttocks and forward muscles of legs at formal level of thigh.
If trunk and thigh have medial positions, namely without deviations from vertical of balance, then lines BD and FC are crossed in point O which corresponds with waist, also with physical centre of gravity and golden section of human body, that is symbolized by central symbolical figure on the chart.
If trunk or thigh deviate from vertical of balance then crossing point of lines BD and FC does not coincide with physical centre of gravity and golden section of human body, that left and right symbolical figures symbolize on the chart.
Left symbolical body figure.
Trunk has medial position and does not deviate from vertical of balance, but thigh has backward deviation, and consequently lines BD and FC are crossed in spatial point which does not coincide with centre of gravity.
Right symbolical body figure.
Thigh has medial position and does not deviate from vertical of balance, but trunk has backward deviation, and consequently lines BD and FC have crossing point which does not coincide with spatial centre of body gravity.
It is necessary to consider that point O corresponds with spatial centre of gravity if physical parameters of constitution are correctly balanced or in other words have ideal proportions of body build. But in some cases spatial centre of gravity can be located below or above waist, that is necessary to consider during visual identification of dynamic deviations of formal body levels from vertical of balance.

Deviations of trunk and thigh from vertical of balance are most complex for visual identification, because these formal levels are connected with physical parameters of constitutional body builds.
Also movements of abdomen are connected with physical parameters of human constitutional body builds.
Movements of head crown - chin - knees in poses of people are not connected with physical parameters of body builds.
Look information about correlation of symbols of canon i-jing with types of human physical shapes or builds on pages of this website in section which is named as constitutions of body.
As examples for visual identification of constant shapes of body builds and dynamic poses I bring to your attention some photos of ancient sculptures of mythological gods.
Sculptures on photos are shown in frontal face-to-face projections. But according to face-to-face projections it is possible to identify poses and to assume about constant shapes of body builds in lateral projections.

sculptural image of Roman goddess Diana or Greek Artemis Sculpture of goddess Diana.
Wide shoulders and bones of pelvis in combination with narrow hips and waist correspond with seventh type of constitutional body build according to face-to-face projection of physical figure.
Lateral or half-face projection is unknown, but it is possible to assume that all formal levels are not expressed, that corresponds with first type of constitutional body build.
Dynamic positions of body levels form thirty ninth pose which corresponds with 39th hexagram of canon i-jing.
Crown of head - movement forward.
Chin - movement backward.
Trunk - movement forward.
Abdomen - movement backward.
Thigh - movement forward.
Knees - movement forward.
Roman goddess Diana is similar to Greek Artemis who has short and massive morphological modification of body build. But the shown sculptural image has tall height and slight weight of morphological modification of body build, because sculptors compared Artemis to Apollo, and Diana with Dionysus. Namely with images of mythological gods which have tall height and slight weight of body shapes.
Look information about morphological modifications of human physical shapes on pages of this website in section which is named as constitutions of bodies.

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Two sculptures of winged goddess Nike or Victoria.
Nike in Greek mythology is goddess of victory, also divine satellite of Zeus and Athena.
First photo shows ancient Greek sculpture which was created in honor of victory over Spartans on 425 B.C.
Second photo shows antique sculpture which has been created in Roman empire on 2 century of new era.

body builds and poses on photos of ancient sculptures of mythological gods
 
Wide shoulders and waist in combination with narrow bones of pelvis and hips correspond to fourth type of constitutional body build according to face-to-face projection of physical shapes.
Lateral or half-face projection is unknown, but it is possible to assume that breast is expressed and other formal levels of physical shapes are unexpressed, that corresponds with fourteenth type of constitutional body build.
Body pose of the shown Greek sculpture cannot be identified, because head was not kept, but positions of torso and knees are visible.
Trunk - movement forward.
Abdomen - movement backward.
Thigh - movement forward.
Knees - movement forward.
 
sculptures of winged goddess Nike or Victoria and law of terrestrial gravity Narrow shoulders and waist in combination with wide bones of pelvis and hips correspond with thirteenth type of constitutional shapes according to face-to-face projection of body build.
Lateral or half-face projection is unknown, but assumption is possible that back, abdomen and buttocks are expressed, but breast, waist and forward muscles of legs are unexpressed, that corresponds to seventeenth type of constitutional body build.
Dynamic positions of body levels form forty fifth pose.
Crown of head - movement forward.
Chin - movement backward.
Trunk - movement backward.
Abdomen - movement forward.
Thigh - movement forward.
Knees - movement forward.

Two shown sculptures slightly touch with ground, because goddess of victory Nike is winged and soars in air. Also knees deviate from vertical of balance forward, that symbolizes flight above surface of ground, namely body pose is sculptural symbol of movement which does not depend on law of terrestrial gravity or gravitation of physical matter.
First sculpture has wide shoulders and narrow hips.
Second sculpture has wide hips and narrow shoulders.
According to different shapes of bodies it is possible to assume that sculptors perceived various mythological image of goddess Nike. In one case Nike has been represented by Greek sculptor as satellite of Zeus and symbol of male power. And in second case Nike has been represented by Roman sculptor as satellite of goddess Minerva who is personification female domination and divine analogue of Greek Athena
Or it is possible to assume that second sculpture is image of goddess Bia who together with Nike, also with Zelos and Kratos forms divine group of winged deities in Greek mythology.

Two sculptures of goddess of love Aphrodite or Venus.
First sculpture is Greek image.
Second sculpture is Roman copy.

distinction of sculptures and conceptions about beauty of goddess of love shapes of constitution and sculptural forms as fancy artistic image
 
Two sculptures have identical types of body builds, but poses are different.
Wide shoulders, bones of pelvis and hips in combination with narrow waist correspond to second type of constitutional body builds according to face-to-face projections of physical shapes.
Lateral or half-face projections are unknown, but assumption is possible that back and buttocks are expressed, but breast, waist, abdomen and forward muscles of legs are unexpressed, that corresponds with forty ninth type of body build.
Dynamic positions of body levels of Greek sculpture form thirty second pose.
Crown of head - movement forward.
Chin - movement forward.
Thrunk - movement backward.
Abdomen - movement backward.
Thigh - movement backward.
Knees - movement forward.
Dynamic positions of body levels of Roman sculpture form forty sixth pose.
Crown of head - movement forward.
Chin - movement forward.
Trunk - movement forward.
Abdomen - movement backward.
Thigh - movement backward.
Knees - movement forward.
Distinction of two sculptures consists that Greeks and Romans had different conceptions about beauty of goddess of love.
Forward movement of trunk in Roman sculpture symbolizes vigorous aspirations and purposeful intentions, that is characteristic for outlook of Romans. And Greek goddess of love conceals aspirations and intentions, that is more characteristic for conception of Greeks.
 
goddess of love or deity of Vedic mythology as bewitching maiden or apsara Sculpture of Vedic goddess of love.
Constant shapes of constitution of the shown sculpture according to face-to-face and lateral projections cannot be identified, because sculptural forms are fancy artistic image which differs from natural proportions and physical parameters of human body builds.
Dynamic positions of body levels of Vedic sculpture form twelfth pose.
Crown of head - movement backward.
Chin - movement backward.
Truck - movement backward.
Abdomen - movement forward.
Thigh - movement forward.
Knees - movement forward.
The shown deity in Vedic mythology is bewitching maiden or apsara, that in myths of Ancient Greece has similarity with charming and graceful charites which are divine satellites at goddesses of love Aphrodite.
Movements of abdomen and thigh in sculpture of Vedic goddess of love are directed forward, that was considered as attractive in the context of old Indian culture. But movements of abdomen and thigh in Greek and Roman sculptures of mythological goddess of love are directed backward, that was considered as beautiful and attractive from the view point of Greeks and Romans.

In a similar way not only constitutional types of body builds and poses of mythological gods can be identified but also people.
If poses of people are identified and compared to symbols of the Chinese canon i-jing then corresponding symbolical images can be found in gallery.
Also in gallery it is possible to find information about values of emotional conditions which are displayed in positional movements and poses of human bodies.

poses in gallery

Poses in gallery are systematized according to six formal body levels by means of 64 hexagrams of the Chinese canon i-jing, also with comparison to 32 pentagrams which are combinations of 4 digrams and 8 trigrams, that is shown in the table.

poses and symbols of Chinese canon i-jing as symbolical images in gallery

Four digrams correspond to positions of head crown and chin.
Eight trigrams correspond to positions of three formal levels of torso, namely trunk - abdomen - thigh.
Thirty two pentagrams are combinations of four digrams and eight trigrams, that corresponds to poses which are formed by positions of three levels of torso in combination with head crown and chin.
Sixty four hexagrams correspond to poses which are formed by positions of three levels of torso in combination with head crown and chin, also knees.
To correlate poses of people with symbols of canon i-jing and symbolical images in gallery it is possible to use the auxiliary table.

serial number of hexagram and ymbolical image of human body pose in gallery Positions of head crown and chin define serial number of digram.
Positions of three levels of torso define serial number of trigram.
Serial numbers of digram and trigram define pentagram.
Positions of knees define serial number of hexagram.
According to serial number of hexagram it is possible to find symbolical image of human body pose in gallery.
By means of white commonplace pattern at the left it is possible to designate positions of formal body levels. Namely zigzag line can connects dark points which correspond to deviations of six levels of physical figure of human body from vertical of balance forward or backward.
Backward deviations of body levels correspond with unary lines in symbols of canon i-jing.
Forward deviations of body levels correspond with binary lines in symbols of canon i-jing.

Following page shows poses of people as mantic signs according to which it is possible to see preconditions of events and tendencies of future actions.

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