Vamana and Visnu

Vamana and Visnu [vamanah visnusca] / By Sri B. N. Sharma ; National Museum, New Delhi / 246-258

[ bhagavatah visnoravatarabhutasya vamanatrivikramasya caritam purana- kavya-silalekhadisu nitaram prasiddhamasti | vede'pi trivikramasya varnanam vidyate | nibandhe'smin puranakavyadisu upalabdhasya vamanavrttantasya samksiptam paricayam dattva vibhinnamandiresu samgrahalayesu copalabdhanam trivikramasya pratimanam vivaranam prastutam | vibhinnapradesesu upalabdhanam tattanmurtinam svarupesu bhavabhangimasu ca kvacid vibhedo'pi drsyate | ima murtayah guptakale taduttarakale ca nirmita asan | vibhinnasila lekhesu utkirnasya vamanakhyanasyapi atra ullekho vartate tasya vivaranam ca prastutam | lekhaka mahodayena veda-purana-sahitya-kala-murti- silalekhadi- namadharena bhagavato vamanasya vibhinnamurttinam vivaranam pradattam | ] The ideology underlying avataravada is beautifully expressed in the following verses of the Bhagavadgita :Yada yada hi dharmasya glanir bhavati bharata | abhyutthanam adharmasya tad atmanam srijamyaham || paritranaya sadhunam vinasaya ca duskrtam | dharma-samsthapanarthaya sambhavami yuge yuge || Ch. IV vv. 7-8. Lord Visnu had twice before helped the sons of Aditi (gods) against the tyrannical sons of Diti, Hiranyaksa and Hiranyakasipu. Thus we had Visnu's avataras as Varaha and Nrsimha. But Hiranyakasipu's great-grandson, Bali once again drove out the gods from svarga (heaven) and Visnu had to incarnate himself again to free the world from the clutches of the Daityas and to restore the sovereignty of svarga to Indra, the king of Devas. Vamana-Trivikrama has a clearly Vedic origin.' Visnu who is a solar deity in the Rg Veda, is mentioned as having 1. Yasy orusu trisu vikramanesv adhiksayanti bhuvanani visva | Ya idam dirgham prayatam sadhastham eko vimame tribhir it padebhih || Tasya tri purna madhuna padany aksiyamana svadhaya madanti | Ya u tri dhatu prthivim uta dyam eko dadhara bhuvanani visva || Rg Veda, 1, 154, 2-4

July, 1966] VAMANA AND VISNU 247 traversed all the worlds with his three steps, and consequently rightly described as urukrama, urugaya (he of the great strides) or trivikrama (he of the three great strides). According to the Vedic commentator, Aurnavabha these three strides signified the progress of the Sun through the firmament." And through some such interpretations developed the myth of Vamana-Trivikrama, of the great god who seemingly mild and weak in the beginning soon eugulfs the whole world with his effulgence and banishes the demon of darkness to the nether world. Vamana is also repeatedly mentioned in Valmiki's Ramayana." But the detailed story of the incarnation can be had only from the Vamana, the Bhagavata, the Brahma, the Padma, the Skanda, and the Harivamsa Purana. According to these Bali, the son of Virocana and grandson of Prahlada, conquered Indra, and drove him out of his celestial kingdom. Indra's mother Aditi, therefore, prayed to Lord Visnu that He should be born to her as son and after conquering the demons re establish Indra as the lord of his kingdom. Accordingly, Visnu was born to her as Indra's younger brother. We further learn that once when king Bali was conducting a great sacrifice, Visnu in the disguise of Vamana (i. e. a dwarf) reached the yajnasala of the daitya king, to put an end to his glory : vidhaya murtim kapatena Vamanim svayam Bali-dhvamsi-vidambinimayam Naisadha Carita, 1,124. The Vamana incarnation has also been mentioned in the Taittiriya-Samhita (2, 1, 3, 1), Sata-patha Brahmana (1, 2, 5, 5), Taittiriya-Brahmana (1, 7, 17), Aitareya-Brahmana (6, 3, 7), etc. 2. There are also other interpretations. The Satapatha Brahmana identified Vamana with Yajna. Sayana thought triple time or gunas. 2a. Bala-kanda, sarga, 29, 2-18. atha Visnur mahateja adityam samajayata | Vamanam rupam asthaya Vairocanim upagamat || trinpadan atha bhiksitva pratigrihya ca medinim / akramya lokaml lok atma sarva loka hite ratah || Mahendraya punah pradan niyamya Balim ojasa | trailokyam sa maha-tejas cakre Sakra-vasam punah || Ibid, vv. 19-21.

248 puranam - PURANA Sukracarya, the Guru of the asuras, who [Vol. VIII, No. 2 already knew that the dwarf was none else but the God Hari Himself warned Bali and asked him not to fulfil even the least request of Vamana. He said, "O son of Virocana, He (the dwarf) is the self-same divine Lord and eternal Visnu. With a view to accomplishing the object of the gods, He has been begotten by Prajapati Kasyapa on Aditi. Not seeing through the impending calamity, thou hast promised to, grant the land to Him. Methinks there is no wellbeing for the Daityas, as a great disaster is approaching them. Taking from thee thy kingdom, wealth, effulgence, energy, fame, learning and all, He will confer them on Sakra (Indra). He is the self-same Hari under the guise of a dwarf Brahmana boy by virtue of His illusory powers. Having the Universe for His body, He shall occupy all the worlds with three foot-steps. Having conferred thy all on Visnu, O fool, where shalt thou live? With one foot He shall occupy the Earth, with another the Heavens and covering the firmament with His body, where shalt He place His third foot³ ?" Bali, who was irreverential enough not to carry out his guru's command, was cursed by Sukracarya,-"Thou art ignorant and proud of thy learning so let thy prosperity soon wither away." Bali still pleaded in favour of his sacrificial oath and told the preceptor, that if anyone asked for his head at the time of the performance of the sacrifice, he would not hesitate to offer that 3. esa Vairocane saksad bhagvan Visnur avyayah | Kasyapad aditer jato devanam karya-sadhakah || pratisrutam tvay etasmai yad-anartham ajanata | na sadhu manye daityanam mahan upagato'nayah || esa te sthanam aisvaryam sriyam tejo yasah srutam | dasyaty acchidya Sakraya maya manavako Harih || tri-vikramai rimaml lokan visvakayah kramisyati | sarvasvam Visnave datva mudha vartisyase katham || kramato gam pad aikena dvitiyena divam vibhoh | kham ca kayena mahata tartiyasya kuto gatih || J. M. Sanyal, Srimad-Bhagavatam, 8, 19, 30-34. 4. evam asraddhitam sisyam anadesakaram guruh | sasapa daiva-prahitah satya-sandham manasvinam || Bhagavata Purana, 8, 20, 14

July, 1966] VAMANA AND VISNU 249 even. How could he refuse Govinda's request, when he had not refused to give dana even to ordinary supplicants: yajne'smin yadi yajieso yacate mam Janardanah | nija-murddhanam ap yasmai dasyam ev avicaritam || me vaksyati dehiti Govindah kim ato'dhikam | nastiti yan maya n oktm anyesam api yacatam || Vamana Purana, 31, 23-25. And the king further asserted that if the seed of this gift was received by Visnu, the most deserving one, there remained nothing unattained by him: etad bija-varam danam bijam patati ced gural Janardane maha-patre kim na praptas tato maya || Vamana Purana, 31, 30. Bali seeing Vamana in his yajnasala welcomed Him wholeheartedly and requested Him to have anything from him as a scrificial gift. Vamana asked for nothing, but a piece of land which he could cover with His three steps, and advised the king to give gold, villages and jewels to his supplicants: tasmat tvatto mahim sad vrne'ham varad arsabhat padani trini daity endra sammitani pada mama || Bhagavata Purana, 8, 19, 26. mam agni-saranarthaya dehi rajan pada-trayam | suvarna-grama-ratnadi tad arthibhyah pradiyatam || Vamana Purana, 33, 49. Bali agreed to it. But as soon as he poured the sacrificial water in the hands of Vamana to confirm his gift, Vamana suddenly transformed himself into a colossus : panau tu patite toye Vamano hud avamanah | sarva-deva-mayam rupam darsayamasa tat-ksanat || Vamana Purana, 31, 53. 5. Cf Balino baaband he cojjamniu paadanto | surasattha-kaanando Vamanaruvo Hari jaai || 6. Vamanad anutamad anu jiyas tvam Gatha-Saptasati, V. 6Trivikramam tanu-bhrta-dik kah | Naisadha Carita, 21, 95.

250 puranam - PURANA [Vol. VIII, No. 2 Thereupon, His first pace occupied the whole Earth, His body the Sky', and His two arms the quarters. His second pace was accomodated by Heaven; but no spacc was left for the third : ksitim pad aikena Baler vica krame nabhah sarirena disas ca bahubhih || padad dvitiyat kramatas tri vista pam na vai trtiyaya tadiyam anv api | Bhagavata Purana, 8, 20, 33 Thus the simple Bali, giving away all his riches, made himself a prisoner : 10!! dattva sarvam dhanam mugdho bandhanam labdhavan Balih || Naisadha Carita. 17, 81. and was bound by the noose so tightly, that he was now unable to move ami adya yavad api yena nibaddhau u na prabhu vicalitum Bali-vindhyau | Naisadha Carita, 5, 100. behned Thereupon, Rksapati Jambavan announced the festival on all sides by the sound of a bugle : Jambavan rksa rajas tu bheri-sabdair manojavahh | vijayam diksu sarvasu mahotsvam aghosayat || Bhagavata Purana, 8, 21, 8. Bali (seeing no other alternative) offered his head to the Almighty for measuring out His third step: Yadyuttama sloka bhavan mameritam vaco vyalikam suravaryya manyate | karomyrtam tanna bhavet pralmbhanam 32: 1 padam trtiyam kuru sirsni me nijam || Bhagavata Purana, 8, 22, 2. Trivikrama (the Lord of three strides) became extremely pleased with Bali; and after placing His third step on his head. He sent him to the Patalaloka, as the king of all the asuras. 7. Harer yad-akrami pad-aikakena kham | Naisadha Carita, 1, 70.

July, 1966] VAMANA AND VISNU 251 Thus God Visnu gave the three worlds to Indra (and also pleased his mother Aditi): jitva loka-trayam krtsnam hatva casura-pungavan | Purandaraya trai-lokym dadau Visnur urukramah || Vamana Purana, 31,70. The story described above has repeatedly been shown by the Indian Silasris (i. e. one who imparts beauty to stones) in sculptures. The whole theme is depicted in two scenes and in two types of images. Firstly we have Visnu in the form of Vamana (Maya-vatu) i. e. as a dwarf Brahmacharin holding various Vaisnavite attributes in his four hands. He stands in the samabhanga pose and is flanked by accessory figures on both sides. Secondly, 8a he is shown as Trivikrama (Visvarupa) with one of the legs thrown upwards in the attitude of measuring the sky. 10 Below the uplifted foot of the god is king Bali pouring the ceremonial water from the vessel into the hands of Vamana to confirm the gift. Vamana holds an umbrella. We have probably no definite evidence of Trivikrama image going back to any date earlier than the Gupta period. The Gupta images of Trivikrama are found from Mathura (U.P.) as well as Pawaya (M.P.). The two images from Mathura, now in the local museum, show the deity measuring the universe with his outstretched left leg. Jambavan is shown sounding some instrument." 8. Cf. Epigraphia Indica, XXXI, p. 85. 8a. According to the authorities cited by Sri Gopi Nath Rao in his Elements of Hindu Iconography, I, i, p. 161, the Vamanavatara of Visnu should be fifty-six angulas in height, and should carry an umbrella and a Kamandalu (water-vessel). The Vaikhanasagama mentions him as a deformed dwarf in the form of an ill-shaped man with a hunched back, protruding joints of bones and having a big belly. 9. B.N. Sharma, Some Mediaeval Sculptures from Rajasthan in the National Museum, Roapa-Lekha, New Delhi, XXXV (1966), No. I. 10. brhac chariro vimimana rkvabhir yuva kumarah pratyety ahavam | -Rg. Veda, 1, 155, 6. Vamana iti Trivikram abhidad hati das-avatara-vidah | - Arya-Saptasati, v. 60. sthalesu maya-vatur Vamano 'vyat Trivikramah khe' vatu visvarupah | -Bhagavata Purana, 6, 8,13. 11. Dr. V. S. Agrawal, A Catalogue of the Brahmanical Images in the Mathura Art, 1951, pp. 8, 12-13; Annual Report of the Mathura Museum, 1936-37, pl. II, fig. 2.

252 puranam - PURANA [Vol. VIII, No. 2 The Pawaya image is badly damaged, but its finished execution and majestic serenity of expression leave no doubt of its being a Gupta production. On the right side of the image is carved the scene of dana given by Bali to Vamana. The figure of the monkey at the top has yet to be identified. In the image, as it originally stood, probably Trivikrama might have been shown as measuring the sky with his left leg, now lost. The deity from Rajim, Raipur belongs to the early part of the 8th century A.D. Its pecularity consists in representing Ananta, the King of Serpents and Lord of Nether-Regions, as paying obeisance to the Great Lord by putting his hands in the anjali-pose. The idea symbolised perhaps is that of eternal time bowing down to the Great Lord, the Supreme Victor. The perfect artistic mastery of the gifted sculptor is revealed in this great masterpiece. An image of Trivikrama from Ghusai (M. P.), assignable to the 9th century A. D., is also a good example of such sculptures. The scene of dana here is depicted on the lower side. Though it is a departure from Gupta idiom, it still keeps the spectator spellbound by the heightened aesthetic qualities of its classical ideal. The eight-armed god who holds a sword, shield, bow along with his usual weapons, presents the vigorous attitude of a mighty conquerer. A beautiful epigraphic description of such an image is the following:helalalitaloka palamu kutasrenilasat kotayo lilalambitahetijalavilasaddi kehakravalantarah | akalpam kalayantu vo Balimahe vyajrmbhamana Hares sreyamsi tridasesanilasikhari renisriyo bahavah || Epigraphia Indica, XV, pp. 58-59. Osian, 'Khajuraho of Rajasthan', has several images of Trivikrama carved on the walls of its magnificent temples.13 A 12. Quoted from Sri C. Sivaramamurti's Iconographic Gleanings from Epigraphy, Arts Asiatiques, Paris, IV, 1957, p. 39. 13. Annual Report of Archaeolagical Survey of India, 1908-09, p. 113. For more Trivikrama images from Rajasthan see, Ibid, 1909-10, p. 97; Progress Report of Archaeological Survey of India 1905; Annual Report Rajaputana Museum, Ajmer, 1923, p. 2; ibid, 1922-23, p. 5. etc.

July, 1966] VAMANA AND VISNU 253 four-armed beautiful image of the deity is executed on the back wall of the Visnu temple. Another finely carved sculpture can be seen on the famous Mata-ka-Mandir. But the image carved on the sun temple I at Osian datable to the early mediaeval period¹4 is superb and the best among them. Though enclosed by decorated bars from three sides, it carries no idea of restriction. The dynamic movement of the figure has freed the deity from the weight of mass and elevated Him to a state of supreme bliss and boundless joy. The dignity of His pose and attitude has probably no parallel in the history of Indian art. The sacrificial horse is shown on the right of the main figure. Demon Namuchi is holding the right leg of the deity in great reverence :tri-bhuvana-bhavana-stambho nab has tal ambhodhi-setur aghadahanah | brahmanda-mandal-ambuja danda rucir jayati Hari-caranah || Epigraphia Indica, IX, p. 252. Another vigorously modelled sculpture of Trivikrama is at Kumbhasvami temple at Chittorgadh in Rajasthan. In its figure the sastric conventions have been observed, but it does not have the beauty of its predecessors. An image of Trivikrama is also available at Modhera (Gujarat), where the deity is shown taking the decisive third step. Though badly damaged, its facial expression and graceful pose show fine chiselling.15 In a Visnu temple at Kasara in the same State, we find a sculpture carved inside a niche along with the images of Laksmi-Narayana and Varaha etc. Its design and execution are perfect. It is a good specimen of mediaeval Indian sculpture.16 14. The eight arms of Trivikrama are more frequent in early images, but four arms become more and more popular in the images of the mediaeval period. See Sri C. Sivaramamurti Geographical and Chronological Factors in Indian Iconography, Ancient India, No. 6, Jan. 1950, p. 41. 15. Burgess, Archaeological Survey of India Report, Western Circle, IX, pl. lvi, fig. I. 16. Dr. A. K. Majumdar, Chaulukyas of Gujarat, p. 381.

254 puranam - PURANA [Vol. VIII, No. 2 Another image of Trivikrama has been found at Kuruksetra (Punjab). Here the deity stands with his ayudha-purusas holding cakra and sankha. Below the main image are shown Laksmi and Bhumi (the two consorts of the deity); while in the corners, we find the figures of a Naga and his consort. Behind the head of Trivikrama, are carved the miniature images of Brahma, Siva and Indra. At the top the seven sages (sapta-rsis) are seated in a row. A remarkable sculpture from Kasipur (U. P.) represents the high water-mark of the later phase of the Gurjara-Pratihara art of the 10th-11th centuries A. D. The sculpture fashioned according to the Silparatna has a flickering smile on his lips and its elegant contours have been delightfully rendered. He holds a padma (lotus), gada (club) and a cakra (disc) in his hands. The lower left hand, which is now lost probably held a sankha (conch).18 The subject treated in the lower part is in two sections. Firstly, the crowned Bali is shown pouring ceremonial water on the right hand of Vamana. In the centre, Sukracarya stand somewhat annoyed with this act of Bali. His face is turned to the left. In the second scene, behind Vamana again, Bali is shown tied with a pasa (noose) the ends of which are tightly held by a male figure. The sculpture is now in the National Museum, New Delhi. A beautifully sculptured image of Trivikrama is carved inside a niche on the north side wall of the Ananta-Vasudeva temple at Bhubneswar (Orissa) 19. Depiction of the deity can also be seen on one of the subsidiary shrines surrounding the great Lingaraja temple along with the figures of other gods and goddesses 20. An image of Visnu-Trivikrama found at Dinajpur (Bengal) quite interesting. Here the deity is carved standing under the 17. Archaeological Survey of India Report, 1922-23, p. 89. 18. Cf. padmam kaumodakim cakram samkham dhatte Trivikramah | See also Rupamandana (Ch. III, v, 15 and Devatamurti prakarana (Ch. V, v. 11). 19. The Orissa Historical Journal, 1962, X, No. 4, p. 71. 20. Dr. R. D. Banerjea, History of Orissa, II, p. 364.

July, 1966] VAMANA AND VISNU 255 canopy of a seven-hooded serpent. The gada (club) and cakra (disc) are shown on full-blown lotus flowers. Dr. J.N. Banerjee is of the opinion that this image has got Mahayana features, as the mode of placing the ayudhas (attributes) on lotus is similar to that of Manjusri and Simhanada". In some images of Trivikrama, we generally notice a grinning face above the upraised foot of the deity. Long ago, T. G. Rao, while quoting from the Varaha Purana had said, "that when the foot of Trivikrama was lifted up to measure the Heaven world, the Brahmanda burst and cosmic water began to pour down through the clefts of the broken Brahmanda. This face is perhaps meant to represent the Brahmanda in that condition"". But afterwards, S. Kramrisch, J.N. Banerjee and C. Sivaramamurti expressed, the view that this face stands for Rahu, who is often shown in mediaeval Indian art in this manner. A beautiful description of this is given by Sriharsa in his Naisadhacarita, which is as follows:mam Trivikrama punihi pade te kim lagannajani Rahur upanat*| kim pradaksinana-krd bhrami pasam Jambavana dita te Balibandhe H Naisadha Carita, 21, 96. Some early images of Trivikrama from South India are found at Badami (latter half of the 6th century A.D.), Mahabalipuram (7th century A. D.) and at Ellora (8th century A. D.). Among these, the scene carved inside the Varaha-mandapa at Mahabalipuram undoubtedly shows a wonderfully remarkable degree of mastery over the lithic medium. The perpendicular figure of the deity dominates the whole scene like a 'pillar of 21. Dr. R. C. Majumdar, History of Bengal, I, pp. 433-34, pl. I, fig. 4.- 22. Elements of Hindu Iconography, I, i, p. 167. 23. The Hindu Temple, II, pp. 403-04. 24. The Development of Hindu Iconography, p. 419. 25. The representation of Rahu above the upraised foot of Trivikrama, however, is not only found in the mediaeval sculptures, but also in early sculptures, belonging to the Gupta period. Cf: Dr. V. S. Agrawal, A Catalogue of the Brahmanical Image in the Mathura Art, 1951, pp. 8, 12-13. * The black Rahu consisting of a severed head is here likened to a shoe.

256 puranam - PURANA [Vol. VIII, No. 2 victory'. His out-thrashing left leg appears like a roaring column of fire, driving the chaos to cosmos. But inspite of all this great fury that surround Him, one one can mark His eternal peace and happiness: Brahmanda cchatra-dandah satadhrti-bhavan-ambhoruho naladandah ksauni-nau kupa-dandah-ksarad-amara-sarit-pattika-ketu dandah | jyotis-cakraksa-dandas tri-bhuvana vijaya-stambha-dando nghridandah sreyas trai-vikramas te vitaratu vibudha-dvesinam kala-dandah || Dasakumaracarita, I, 1.26 One of the most remarkable and rare examples in bronze of Pallava work of the 8th century A. D. represents Trivikrama as measuring the sky with his left leg. The dignity of its bearing, deeply spiritual expression and graceful modelling testify to the artist's great skill. The image is under worship in a temple at Singnallur, Coimbotore."7 Trivikrama images are also found on the famous Hoyasale- svara temple at Halebid in Mysore. Above the raised right leg of the deity is the figure of Brahma, who is shown seated and washing the foot of Trivikrama with the sacred water of the Ganges. The artist has beautifully carved the figures of fishes and tortoises to give it the shape of a river-a technique which has been followed in India through the ages. It recalls a beautiful panel from Sanchi and a medallion from Barhut (C. 2nd century B. C.), where the artist while illustrating the story of MahakapiJataka has given the same affect, which we have in the present Hoyasala piece. Garuda, the celestial mount of the deity, is depicted below his raised leg. The deity standing below the 26. Quoted from Sri C. Sivaramamurti's Epigraphical Echoes of Kalidasa, Madras, p. 14. 27. Cf. Sri C. Sivaramamurti, South Indian Bronzes, p. 71, fig. 15 a. 28. This idea finds beautiful expression also in the verse from Khajuraho inscription quoted below. 29. Cf: Marshall and Foucher, Sanchi, II, pl. LXIV, fig. a; and Cunningham, Barhut, pl. 33, 4.

July, 1966] VAMANA AND VISNU 257 creepers, may be the kalpavrksa. The beautiful sculpture is almost perfect in every detail. In the Pala and Sena sculptures of Eastern India, we occassionaly get the image of Trivikrama with one of his legs raised 30 but in general the deity is shown in the samabhanga pose. He has the proper attributes and is accompanied by his consorts, Laksmi and Sarasvati, and other figures. These sculptures are quite different from those found in other parts of India, in respect of their poses, decoration and the attending figures. Besides, the literary and sculptural evidences, there are several epigraphs which supply ample data to prove that like Varaha and Nrsimha incarnations, Visnu-Trivikrama form was also quite popular in ancient India. In the Khajuraho stone inscription of Candella king Yasovarman dated V. S. 1011 (A. D. 954), the three strides which Hari took while cheating Bali are invoked to protect the three worlds: payasur vva (bba)livanca (ca)na-vyatikare devasya vikrantayah sadyo vismita-deva-danava-nutas tisra strilokim Hareh | ya su vra (bra) hma-vitirnnamargha-satilam pad-aravinda-cyutam dhatte' dy api jagatra (t tra) yaika-janakah punyam sa murddhna Harah || 'Wonder-struck the Devas and Danavas bowed down their heads in salutation. And to this day the holy Hara, the sole creator of three world, holds on his head the waters that flowed off His steps as Brahma offered them as argha.33 30. Dr. S. Kramrisch, Pala and Sena Sculptures, Rupam, No. 40, Oct. 1929, pl. 27 N. K. Bhattasali, Iconography of Buddhist and Brahmanical Sculptures in the Dacca Muscum, p. 105, pl. XXXVIII; R. D. Banerjea, Eastern Indian School of Mediaeval Sculptures, pl. XLVI. 31. Sometimes, Trivikrama is also shown flanked by his ayudha-purusas (personified weapons) in place of his consorts. Cf: Journal of Bihar Research Society, 1954, XXXX, 14, pp. 413 f. 32. Epigraphia Indica, I, pp. 123- 33. The reference is to Ganga, which is believed to have originated from the holy water which Brahma poured at the feet of Trivikrama.

258 puranam - PURANA [Vol. VIII, No. 2 The Calukya king Mularaja in his Anhilavada copper plate grant dated V. S. 1043 (A. D. 968) is compared with Trivikrama in treading over the whole earth by virtue of his prowess³: Siddha Raj-avali-purvvam || raja-hamsa iva vimal obhaya-paksah | kamalayonir.iva vitata-kamal asrayah | Visnur iva vikram-akranta-bhutalah || The Silimpur stone inscription of the time of Jayapaladeva (C. 11th century A. D,) records that a Brahmana named Prahasa, besides performing other meritorious deeds, installed (an image) of Trivikrama for the spiritual benefit of his parents 35: bhagnam punar nutanam atra krtva grame ca dev-ayatana-dvayam yah | pitus-tatha 'rthena cakara matus trivikramam puskaranim iman ca || In th Fyzabad copper plate of the Gahadavala king Jayachandra of V. S. 1243 (A. D. 1186) the king's fame has been compared to three steps of Trivikrama, because both delighted in traversing or overcoming the three worlds, the majesty of both was described by Kavi (Sukra and other poets) and both caused fear to RajaBali and powerful rulers.³ loka tray-akramana keli-visrnkhalani prakhyata-kirtti-kavi-varnita-vaibhavani | yasya (tri)-vikaama-pada-krama-bhanji bhanti pro (ddyo) taya (nti) Baliraja-bhayam yasamsi || 34. Indian Antiquary, VI, p. 191. 35. Epigraphia Indica, XIII, pp. 222 ff. 36. Indian Antiquary, XV, p. 11. Kavi means There is double entendre in the words Kavi and Bali. Sukra as well as poets. Bali-raja has the meaning of king Bali as well as 'powerful rulers'. There is a reference also to Trivikrama in the 9th verse of Gwalior inscription of Mihira Bhoja (C. 835-C. 888 A. D.), which is poetically appropriate, though not very complimentary to Trivikrama.see Epigraphia Indica, XVIII, pp. 107-14. For this reference, the writer is highly obliged to his respected teacher Dr. Dasharatha Sharma.