Bharatiya Murti Kala Me Trivikram

Here is a comprehensive summary in English of the provided Jain text, "Bharatiya Murti Kala me Trivikram" by Brajendranath Sharma:

The text, "Trivikrama in Indian Sculptural Art," by Brajendranath Sharma, explores the representation of Lord Vishnu's Trivikrama (or Vamana) avatar in ancient Indian sculpture. The author begins by referencing Vedic hymns that describe Vishnu's three strides encompassing the universe, highlighting the deep roots of this concept in Indian religious thought.

The Trivikrama Narrative:

Sharma then delves into the mythological story of the Trivikrama avatar as found in various Puranas (Vamana, Bhagavata, Brahma, Skanda, and Harivamsa). The narrative centers on King Bali, the grandson of Prahlada and son of Virochana, who defeats Indra and conquoys the heavens. Aditi, Indra's mother, prays to Vishnu for intervention. Vishnu grants her prayer by taking birth as her son and appearing before Bali as a dwarf Brahmin (Vamana).

The story recounts how Bali, despite the warnings of his guru, Shukracharya, who recognizes Vamana as Vishnu, generously promises to grant Vamana three paces of land. Vamana then assumes a cosmic form, spanning the universe. With his first step, he covers the earth, and with his second, he covers heaven and the intermediate space. Bali, having pledged his all, has no place for Vamana's third step. To fulfill his promise, Bali offers his own head. Pleased with Bali's devotion and adherence to his word, Vishnu places his third step on Bali's head, sending him to the netherworld and restoring Indra to his throne.

Trivikrama in Sculpture:

The core of the text focuses on how this narrative has been depicted in Indian art. Sharma categorizes the sculptural representations into two main types:

1. Maya-Vatu Vamana: Depicting Vishnu as a dwarf Brahmin performing the act of asking for alms.
2. Trivikrama (Vishwaroopa): Showing Vishnu in his cosmic form, with one leg raised to measure the heavens.

The author then details significant sculptural examples across different regions and periods of India:

• Early Examples (Gupta Period): Sharma highlights a fragmented Gupta-period sculpture from Pavaya (Madhya Pradesh) as an important early representation. This sculpture shows the act of offering alms on the right side and an eight-armed Trivikrama measuring the sky with his left foot on the damaged left side. Another eight-armed sculpture from Ghusai (Madhya Pradesh) is also discussed, which includes the offering scene below the Trivikrama figure.
• Medieval Period:
  • Northern India: Sculptures from Mandor (Rajasthan) are mentioned, showing both Vamana and Trivikrama together. A notable sculpture in the Indian Museum, Calcutta, depicts Brahma seated above Trivikrama's raised foot, with other deities and figures. Temples in Osian (Rajasthan) are also noted for their Trivikrama depictions, including one where the demon Namuchi holds Vishnu's right foot.
  • Eastern India: Bhubaneswar (Odisha) features Trivikrama in the Ananta Vasudev and Lingaraj temples.
  • North-Western India: A significant sculpture from Kurukshetra (Punjab) is described, featuring Trivikrama with associated aayudha-purushas (weapon-embodiments), Lakshmi, Bhumi, Brahma, Shiva, Indra, and Saptarishis. A Pratihara-period sculpture from Kashipur (Uttar Pradesh) is elaborately discussed, illustrating the donation scene with Bali and Shukracharya, and Bali being bound with a noose.
  • Eastern India (Bengal-Bihar): Pala and Sena period sculptures are mentioned, with many showing Trivikrama standing on a lotus in a samabhanga posture, rather than the cosmic stride. These sculptures are richly adorned and often include associated deities and decorative elements.
• Southern India:
  • Cave Temples and Early Structures: Trivikrama figures are found in Badami Cave No. 3, Mahabalipuram's Ganesh Ratha, and Ellora. The Mahabalipuram sculpture is particularly significant, depicting an eight-armed Trivikrama with various weapons, and associated figures like Shiva, Brahma, Surya, Chandra, and Jambavan. The demon Namuchi is also shown holding Vishnu's foot.
  • Hoysala Art: The Trivikrama sculpture in the Hoysaleswara Temple at Halebidu (Mysore) is highly praised for its intricate detail and artistic execution. This sculpture depicts Brahma washing Vishnu's raised foot, with a flowing Ganga depicted below.

Iconographic Interpretations and Debates:

Sharma addresses an interesting iconographic feature found in some northern Indian sculptures: a peculiar "grinning face" above Trivikrama's raised foot. He discusses scholarly interpretations, including Gopinath Rao's suggestion that it represents the universe bursting when Vishnu's foot reached the heavens, causing celestial water to flow. Other scholars like Stella Kramrisch, R.D. Banerji, J.N. Banerji, and C. Shivarama Murti interpret this face as Rahu, a celestial entity associated with eclipses, citing scriptural support from the Naishadha Charita.

Prevalence and Significance:

The text concludes by emphasizing the widespread popularity of Vishnu's worship as Trivikrama throughout ancient India, evidenced by numerous sculptures, literary works, and inscriptions. Sharma cites two inscriptions as examples of this prevalence. He also acknowledges the assistance received from his mentors and the institutions that provided the photographs for the article.

In essence, "Trivikrama in Indian Sculptural Art" is a scholarly examination of the artistic manifestations of a crucial avatar of Vishnu, tracing its evolution and regional variations in Indian sculpture and providing insightful analysis of its iconographic details and underlying mythology.