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male deties are made with reference to the standard height called Daśa Tāla (10 spans) and female deities have Nava Tala. Idols of Rişis, of Vinayaka, of Kinnaras, of birds etc. are of lower talas. The length in height, breadth and depth of each feature is described in angulas or 1/12 of a Tāla, and yavas or of an angula with reference to the standard height of that category. We have some 300 measurements for each category of idols. This proportion is the very soul of sclupture and every craftsman gets a thorough knowledge of the proportions of the deity in which his family is working and can reproduce it for any required height of the deity big or small by mere deftness of hand and eye without actual measurement.
The various bhāvas or emotional aspects of idols are generally learnt from Nățya Sastra, the science of Visual representation of ideas emotions and graceful poses which branch of study is made compulsory for every sculptor as a pre-requisite of the practice of his profession. After all that have been written in the text, the art is a handicraft and earlier models and traditional craftmanship alone count for the perfection of the art. The contemplation of deities is as important for the sculptor as for the most devoted devotee and Achārya or priest in the temple.
The next two chapters deal generally with the different forms of Siva and Vişnu. The names of the forms are mentioned with slight details about their weapons etc, 16 forms for Saiva Mürtis, 10 different varieties of Lingas and 21 forms of Vișnumurtis are given.
The names of the forms are :- Saiva Mirtis :- Natēša, Chandrasekhara, Kirāta (the hunter), Mștyunjaya (subduing Yama), Pasunāyaka, Gajăsura Samhāra. Jațădhāri, Gowri Kārtikēyöpētaparamasiva (Sõmāskanda), Bhairava, Dakşiņā. mürti, Kailasanātha, Vrșa Vāhana, Haryardha Dēva Bhāga Dēva (Sankaranārāyaṇa). Tripurāntaka, and the deity according to the local Sthala Purāņa.