Indian Sculptural Art of Trivikrama Images from the Vaisnavite Temples of Prachi Valley of Odisha, Eastern India

International Journal of Advanced Science and Technology Vol. 29, No. 3s, (2020), pp. 1864-1873

INDIAN SCULPTURAL ART OF TRIVIKRAMA IMAGES FROM THE VAISNAVITE TEMPLES OF PRACHI VALLEY OF ODISHA, EASTERN INDIA

Ratnakar Mohapatra, Assistant Professor, Department of History, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India

Abesha Shirko Lambebo, Assistant Professor, Department of History, Wolaita Sodo University, Wolaita Sodo, P.O.Box-138, Wolaita Sodo, Ethiopia

Abstract

The worship of Lord Vishnu is very much popular among the Hindus of Odisha as well as India. Vamana (Trivikrama) is considered to be one of the ten avatars or incarnations of Lord Vishnu. Vaishnavism had deeply influenced the religious life of the people of Prachi Valley of Odisha in Eastern India. In fact, Prachi Valley is an important historical site of Odisha. The Trivikrama worship has been prevailing in the Prachi valley since the Ganga period of Odishan history. In Prachi valley, a good number of Trivikrama images are found to be worshipped as parsvadevatas in some Vaisnavite temples and in a few sites as presiding deity. The extant Trivikrama images of the Vaisnavite temples of Prachi Valley possess the iconographic features of the Odishan classical art of the medieval and early periods. The study of extant Trivikrama images of the Vaisnavite temples of Prachi Valley of Odisha is one of the fascinating aspects of the Indian sculptural art. From the artistic point of view, the Trivikrama images of the Vaisnavite temples of Prachi Valley are very interesting study for the scholars of art history. Really, the Prachi valley is an important centre of sculptural art of Odisha in Eastern India. Keywords: Trivikrama, images, religion, Vishnu , Prachi valley, Odisha, India

I. Introduction

There was a glorious civilization flourished in the Prachi Valley in the past but the remarkable culture prevailed there has not been fully highlighted in any single work. Although the Prachi Valley is small in size, still it preserves a magnificent cultural treasure of the past. The region of Prachi Valley is located in the border areas of the undivided Cuttack and Puri districts of the state of Odisha in India. On the basis of the extant archaeological remains, the Prachi Valley is considered as an incredible cultural-heritage site of Odisha in Eastern India. The Prachi Valley is amusing in findings of four handed images of Trivikrama. The region of Prachi valley preserves numerous Vaisnavite images including the Trivikrama images of outstanding artistic importance. The available Trivikrama images of the Vaisnavite temples of Prachi Valley are interesting study for the scholars as well as art historians. The worship of Trivikrama has been prevailing in the Prachi Valley since the medieval period. Vamana (Trivikrama), is one of the avatar of Lord Visnu. The Hindus consider in the ten incarnations (avatarars) of Lord Visnu such as Matsya, Kurma, Varaha, Narasimha, Vamana, Parshurama, Rama, Balarama, Krisna, Buddha and in modern period study on another avatara i.e. Kalki (Jagannatha).1 In the Hindu religion, Vamana is the fifth avatar of Hindu god Visnu.2 It has been generally accepted by scholars that the Trivikrama image emphasizes the Vedic image of Visnu. The giant form of Vamana is also known as Trivikrama, literally three steps.3 The legend of Lord Visnu covering the universe in three steps, representing the Svarga(heaven),the earth and the Patala (netherworld).4

Vaisnavism had deeply influenced the religious life of the people of Prachi Valley during the Ganga period of Odishan history. The Trivikrama images of different periods noticed in the Prachi Valley are very interesting study for scholars, antiquarians, archaeologists and art historians. The image Trivikrama is usually housed as parsvadevata in the northern side cental niche of the vimana of the Vaisnavite temples of Odisha. As a good number of fine Trivikrama images are available in the Prachi valley and these need proper study by scholars as well as art historians. Hence, the present article attempts

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to highlight the detailed iconographic features of Trivikrama images as documented by the present author from the Vaisnavite temple sites of Prachi valley along with their religious significance.

II. METHODOLOGY Both the primary and secondary sources have been used in the writing of the present piece of research work. The primary data have been collected from original texts, Gazetteers, literatures, inscriptions, reports, practical observations, taking photographs, hearsay accounts of respondents through the interview methods during the period of experimental field survey, etc. The field survey has been undertaken for the collection of data regarding the artistic features of the Trivikrama images of the Prachi Valley of Odisha. For the collection of primary data with regard to the present article, the practical method has been adopted by the present author. The data collected from both the primary and secondary sources are critically examined and interpreted as per the methodological process.

III. DISCUSSION AND RESULT ANALYSIS

3.1. Iconography of Trivikrama (Vamana) Before describing the Trivikrama images of the Prachi Valley of Odisha, here we have to discuss about the general iconographic features of Trivikrama at first. Hindu Iconography refers that the Trivikrama image is carved in three types such as the left foot elevated up to the right knee, or to the bellybutton, or the forehead.5 The Trivikrama images of Odisha are generally carved with uplifted left foot touching the pedestal of an image of Brahma seated in the upper corner of the slab. On early Trivikrama images of Odisha, the major right hand placed in front of chest holds a gada, the left hand holds a conch and the uplifted back hands possess a chakra and a lotus. In the 12th century, the iconography becomes standardized and the most popular alignment depicts the major hands lowered, the right and holding a lotus and the left hand carrying the conch. The uplifted backhands hold the gada and chakra.6 There is a Balidana scene carved beneath the uplifted leg of Trivikrama. In this scene Bali is depicted pouring water to symbolize the gift to Vamana, the latter holding an umbrella, while Sukracharya has raised his hands with dismay.7 Figures of Sridevi and Bhudevi , sometimes Sarasvati are depicted in the sides of the slab. In the later iconographic mode, Trivikarama holds the chakra in the lower right hand , conch in his major uplifted left hand. The back left hand of deity is lowered and rests on a mace while his uplifted back right hand holds a plough.8 The flanking female figures are disappeared in this mode but depiction of Balidana scene beneath the uplifted leg of Trivikarama continues in the art.

3.2. Iconography of Trivikramas of Prachi Valley

In Prachi valley, a good number of Trivikrama images are noticed as parshvadevatas in most of the Vaisnavite temples and in only one temple is haphazardly placed as presiding deity. Here the surveyed Trivikrama images from the different Vaisnavite temple sites of Prachi valley are 1. Madhavananda temple at Madhava, 2. Mudgala-Madhava (Nila-Madhava) temple at Mudgala, 3. Lashmi-Narasimha temple at Nuapatna, 4. Lashmi-Narasimha temple at Kenduvilva Deuli (Kenduli) , 5. Dadhivamana temple at Kuanrpur, 6. Narasimhanatha temple at Paribasudeipur, 7. Gopinatha temple at Varahipur, 8. Madhavananda temple at Narasinghpurhat , 9. Patita Pavana temple at Ottarasasana, 10. Madhavananda temple at Pahanga and 11. Madhavananda temple at Balara. The detailed iconographic features of the Trivikrama images surveyed from the above Vaisnavite temples/ shrines of the Prachi valley are described below.

3.2.1.Trivikrama of Madhava

The temple Lord Madhavananda is situated about 8 kms. from the Niali Bazar on the eastern bank of the river Prachi.9 The central niches of the three sides of the bada of vimana of the Madhavananda temple are housed with the parshvadevata images of Varaha, Narasimha and Trivikrama. Trivikrama is the parshvadevata of the northern side. The four handed image of Trivikrama is depicted in standing posture. His right side leg is decisively installed on the base of pedestal and the left side leg uplifts to heaven for

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touching the image of Brahma. He displays chakra, shankha , padma and gada in his four hands respectively. There is a Balidana scene depicted beneath the uplifted leg of deity. Here the deity wears a garland in his body. This image is also plastered with modern cement. All the original side deities are not found in the central niches. As regards to the parshvadevatas of the main deula, G.S. Das has mentioned that the image appears to be of recent workmanship and very likely older images of the deity was originally placed there which is missing at present.10 Most probably, the original images of the side deities were eroded by nature and these earlier images have been replaced by the present parshvadevatas. All the three side central niches of the bada are decorated with pidha mundis.

3.2.2.Trivikrama of Mudgala

The temple of Mudgala-Madhava (Nila-Madhava) is situated at the village Mudgala in the Astharanga Block of the Puri district. This temple is located at a distance of about 5 kms from Jiunti, on a bifurcation away from the Kakatpur-Astharanga road.11 The central niches of the three sides of the bada of vimana are housed with the parshvadevata images of Varaha, Narasimha and Trivikrama. Trivikrama is the parshvadevata of the northern side (Plate No.1). The four armed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal. The lower part of the pedestal is decorated with scroll work. He holds the stalk of the lotus, chakra, shankha and gada in his four hands. The right leg of deity is depicted on the base of pedestal and the left side uplifted leg touches the pedestal of image of Lord Brahma. There is a Balidana scene depicted beneath the uplifted leg of deity on the pedestal. King Bali swears before Lord Vamana to give an auspicious gift to Him. Here the risi Sukracarya has raised his hands up with dismay. Apsara figure holding garland is exquisitely carved on both side top corners of the slab. The image Trivikrama is made of chlorite stone. Garuda figure is completely absent on the pedestal of the slab. The image Trivikrama measures 33½ X 16 inches. Iconographic features of Trivikrama of Mudgala show the Odishan classical art of the Ganga period. 3.2.3.Trivikrama of Nuapatna The temple of Lashmi-Narasimha is located, about 54 kms from Bhubaneswar on the Nakhara-Madhava road near the river Prachi, at the village Nuapatna in the Nimapara Block of the Puri district.12 The central niches of the three sides of the bada of vimana of the Lashmi-Narasimha temple are housed with the parshvadevata images of Trivikrama, Varaha and Visnu. Trivikrama is the parshvadevata of the southern side (Plate No. 2). The four armed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal. He holds gada, padma, chakra and shankha in his four hands. Sridevi and Bhudevi are flanked on either side of the deity. The right leg of deity is depicted on the base whereas the left leg uplifts towards the top touching Brahma image. He wears a garland of beads in his body. There is a Balidana scene depicted beneath the uplifted leg of the deity. King Bali is swearing to give valuable gifts to Lord Vamana. Here Sukracarya is raising hands up with dismay. Apsara figure is carved on both side top corners of the slab. The image Trivikrama is made of chlorite stone. There is no Garuda figure found on the pedestal of the slab. The slab of deity measures 25 inches x 14 inches. The iconography of the Trivikrama image indicates the artistic features the Odishan classical art of the modern period. 3.4.2. Trivikrama of Kenduvilva-Deuli The temple of Lashmi-Narasimha is one of the Vaisnava shrines of the Prachi Valley in Odisha. It is situated at the village Kenduvilva Deuli (Kenduli) under the Balipatna Police Station of the Khurda district. This village is the birth place of the celebrated poet Jayadeva, the author of Gita-Govinda who flourished in the 12th century A.D.13 The place of Kenduli was once a stronghold of Brahminical form of worship.14 The central niches of the southern and western sides of the bada are completely plain without parshvadevata images. Trivikrama is the parshvadevata of the northern side (Plate No. 3). The four handed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal. He displays lotus, chakra, shankha and gada in his four hands. The right leg of deity is put on the base of pedestal whereas the left uplifted leg touches the Brahma image. There is a Balidana scene depicted beneath the uplifted leg of deity on the pedestal. Apsara figure holding garland is carved on right top corner of slab. The image Trivikrama is made of chlorite stone. It measures 15 inches X 8½ inches. 3.2.5.Trivikrama of Kuanrpur

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The temple of Dadhivamana is one of the neglected Vaisnava shrines of the Prachi Valley in the coastal belt of Odisha. It is located at the village Kuanrpur (Deuli) in the Kantapara Block of the Cuttack district. This temple is situated at a distance of 32 kms from Bhubaneswar on the northern bank of the river Prachi.15 The northern side bada wall niche of the natamandapa of the temple of Dadhivamana contains the image of Trivikrama. The four handed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal (Plate No. 4). The lower left hand of deity holds padma, the right lower hand is broken from the elbow portion, the upper right hand possesses gada and the upper left hand displays chakra. The right leg of deity is put on the pedestal whereas the left leg uplifts to heaven. But the upper part of the uplifted leg is missing from the ankle. Female attendant figure is carved on both sides of the deity. The backside of the head of deity is decorated with trefoil arch crowned by the kirtimukha motif. Apsara figure is depicted on both side top corners of the slab. He wears a vanamala in his body. The image Trivikrama measures 32 x 17 inches. There is a Balidana scene finely depicted beneath the uplifted leg of deity. Here king Bali swears before Lord Vamana to give an auspicious gift to him. At that moment Sukracarya has raised his hands up with dismay. The image Trivikrama is made of granite stone. The image Trivikrama is possibly the original parshvadevata of the temple. When the vimana became dilapidated condition, then this image was possibly replaced from its original place and subsequently has been housed in the outer wall niches of the natamandapa. The iconography of the Trivikrama image contains the artistic features the Odishan classical art of the Gajapati period. 3.2.6. Trivikrama of Paribasudeipur The temple of Narasimhanatha is located at the village Paribasudeipur in the Balianta Block of the Khurdha district. This temple is situated about 12 kms from the Hansapala chhak of the National Highway No. 5 and 1 km from the Prachi river. The temple is a renovated shrine of that locality. An image of Trivikrama is preserved inside the jagamohana for worship. It is kept on the east-south corner of the jagamohana hall. The four armed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal (Plate No. 5). Figures of Sridevi and Bhudevi are flanked on either side of the deity. The left leg of deity is put on the base of slab whereas the right uplifted leg touches the Brahma image. He holds gada, padma, chakra and shankha in his four hands. There is a Balidana scene depicted beneath the uplifted leg of deity. King Bali is swearing to give an auspicious gift for Lord Vamana. Here Sukracarya has raised up his hands with dismay. The backside of the head of deity is carved with trefoil arch. The flying apsara figure is portrayed on right top corner of the slab. Image Trivikrama is made of chlorite stone. The slab of deity measures 18 inches x 34 inches. This image is possibly the original parshvadevata of the temple. According to Padma Charana Panda, the temple priest, this image was unearthed from the ground of the temple complex. He says that the half of the bada portion of the jagamohana was buried under the earth. The Trivikrama image and Garuda figure were also buried under the earth of the temple complex. When the Staffs of the State Archaeology Department excavated the temple complex then these two sculptures were unearthed by them as said by the temple priest. 3.2.7. Trivikrama of Varahipur The temple of Gopinath is located at the village Varahipur in the Kantapara Block of the Cuttack district. This temple is situated about 20 Miles from Bhubaneswar and 2 miles from Kantapara on the left bank of the sacred Prachi river.16 The temple is exactly found erected inside a matha of that village. The central niches of the three sides of the bada of the Gopinath temple are housed with the parshvadevata images of Trivikrama, Narasimha and Varaha. The central niches of the three sides of the bada of vimana are housed with the parshvadevata images of Trivikrama, Narasimha and Varaha. Trivikrama is the parshvadevata of the northern side. The four armed image of Trivikrama is carved in standing posture on the pedestal. He displays chakra, padma, shankha and gada in his four hands. The left leg of deity is put on the base of the slab but the right uplifted leg is depicted touching the figure of Brahma. There is a Balidana scene depicted beneath the uplifted leg of deity. The image Trivikrama is made of sand stone. The slab of deity measures 16½ inches x 13 inches. The image of Trivikrama is possibly made in the late medieval period.

3.2.8. Trivikrama of Narasinghpurhat

The temple of Madhavananda is is located at the village Narasinghpurhat in the Gop Block of the Puri district. This temple is situated about 8 kms from Kakatpur and 1½ km from Nauhat. The central

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niches of the three sides of the bada of vimana are housed with the parshvadevata images of Trivikrama, Narasimha and Trivikrama. Trivikrama is the parshvadevata of the northern side. The four armed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal. The right leg of deity is put on the slab and His left leg uplifts towards heaven and it touches the Brahma image. He holds lotus bud, chakra, shankha and gada in his four hands. Garuda, the conventional mount of deity is not found on the pedestal. There is a Balidana scene depicted beneath the uplifted leg of the deity. King Bali swears before Lord Vamana to give an auspicious gift to him. Here the saint Sukracarya has raised up his hands with dismay. Apsara figure holding garland is depicted on both side top corners of the slab. The image Trivikrama is made of chlorite stone. The slab of deity measures 17 inches x 34 inches.17 Trivikrama is also the parshvadevata of the southern side (Plate No. 6). The temple is a rare shrine in the Prachi valley, because it contains two Trivikrama images as parshvadevatas. The four armed image of Trivikrama is carved in standing posture on the double sectional pedestal. He holds gada, padma, chakra and shankha in four hands. Sridevi and Bhudevi figures are carved on either side of the deity. There is a Balidana scene depicted beneath the uplifted leg of deity. The right leg of deity is set up on the base of slab while the left leg uplifts towards heaven and it touches the image of Lord Brahma. The Image Trivikrama is made of granite stone. It measures 13 inches x 23 inches. The iconographic features of these two parshvadevatas indicate the Odishan classical art of the 19th century A.D.

3.2.9. Trivikrama of Ottarasasana

The temple of Patita Pavana is located at Ottarasasana in the Gop Block of the Puri district. 129 This temple is situated about 5 kms from Nuahat and 6 kms from the Prachi river.19 The central niches of the three sides of the bada of vimana are housed with the parshvadevata images of Narasimha, Vamana(Trivikrama) and Varaha. Vamana is the parshvadevata of the western side. The two armed image of Vamana is inserted in the central niche of the bada of the western side. It is made of sand stone. The left hand of deity holds an umbrella while the right hand possesses a begging pot. He wears a sacred thread in his body. Here the Vamana image has three legs. The right leg sets up on the ground, the left leg puts on the head of King Bali and another left leg uplifts towards heaven. The sculpture depicts the Balidana scene of Lord Vamana. The figure Vamana is thickly plastered with the modern cement. It is completely the work of the modern period.

3.2.10. Varaha of Pahanga

The temple of Madhavananda is located at the village Pahanga in the Niali Block of the Cuttack district. This temple is situated about 10 KMs from Niali and 8 kms from the Prachi river. The temple is a modern shrine of that locality. The central niches of the three sides of the bada of vimana of the Madhavananda temple are housed with the parshvadevata images of Narasimha, Vamana and Varaha. Vamana is the parshvadevata of the western side. The two armed image of Vamana is carved in standing posture on the pedestal. The right side hand holds a kamandalu and the left hand possesses an ornamented parasol. The image Vamana is made of Baulamala pathara. It measures 7 inches x 13 inches. The image is not the original side deity of the temple.

3.2.11. Trivikrama of Balara

The temple of Madhavananda is located at the village Balara in the Kakatpur Block of the Puri district. The central niches of the three sides of the bada of vimana are housed with the parshvadevata images of Trivikrama, Narasimha and Varaha. Trivikrama is the parshvadevata of the northern side. The four armed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal. He holds padma, chakra, shankha and gada in four hands. The right leg is put on the base of the slab whereas the left uplifted leg touches the image of Brahma. There is a Balidana scene depicted beneath the uplifted leg of the deity. The image Trivikrama is made of sand stone. It measures 8½ inches 15 inches. The image of Trivikrama is made in the modern period.

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Conclusion

The Trivikrama worship has been prevailing in the Prachi valley since the Ganga period of Odishan history as evidences of the available images. The four handed Trivikrama image of Madhava villge is depicted in standing posture. Most probably, the original Trivikrama image of Madhava was eroded by nature and it has been replaced by the present image of Trivikrama. The iconographic features of the Trivikrama image of Mudgala display the Odishan classical art of the Ganga period. At Nuapatna, Trivikrama is the parshvadevata of the southern side. The four armed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal. The iconography of the Trivikrama image of Nuapatna indicates the artistic features the Odishan classical art of the modern period. At the temple of Lashmi-Narasimha of Kenduvilva Deuli (Kenduli) , Trivikrama is the parshvadevata of the northern side. The four handed image of Trivikrama is carved in standing posture on the double petalled lotus pedestal. The iconographic features of the Trivikrama image of Nuapatna show the Odishan classical art of the medieval period. The northern side bada wall niche of the natamandapa of the temple of Dadhivamana of Kuanrpur (Deuli) contains the image of Trivikrama. The image Trivikrama is possibly the original parshvadevata of the Dadhivamana temple. The iconography of the Trivikrama image contains the artistic features the Odishan classical art of the Gajapati period. At the temple of Narasimhanatha at Paribasudeipur, a Trivikrama image is preserved inside the jagamohana for worship. This Trivikrama image possesses the iconographic features of the Odishan classical art of the 16th century and it is possibly the original parshvadevata of that temple. The Trivikrama image of Varahipur is possibly made in the late medieval period considering its iconographic features. The Vamana image of Ottarasasana is the fine workmanship of the Odishan artists of the modern period. At the Madhavananda temple of Pahanga, the present Vamana image is not the original side deity of the temple. The Trivikrama image of the Madhavananda temple of Balara possesses the artistic features of the Odishan classical art of the early part of 20th century. Really, the Prachi Valley preserves fine specimens of Trivikrama images as parshvadevatas in most of the Vaisnavite temples ranging from Ganga period to the 20th century. Considering the style and iconography, some of the Trivikrama images of the Vaisnavite temples of Prachi valley can be considered as masterpiece sculptures of Odisha. Really, the extant Trivikrama images of the above sites of Prachi valley represent the excellent workmanship of the Kalingan School of artists. On the whole, the iconographic features of all the extant Trivikrama images discussed in the above Vaisnavite temples of Prachi valley possess a distinctive place in the history of Vaisnava art of Odisha as well as Eastern India.

References

1. Gopinatha Rao, T. A. (1914). Elements of Hindu Iconography, Vol.1 , Part-1, Law Printing House; Madras , pp.119-123. 2. Deborah A. Solfer (1991). The Myths of Narasimha and Vamana: Two Avataras in Cosmological Perspective, State University of New York Press, pp.3-4. 3. Games G. Lochtefeld (2002). The Illustrated Encyclopaedia of Hinduism, The Rosen Publishing Group, p.711. 4. Deborah A. Solfer (1991). The Myths of Narasimha and Vamana: Two Avataras in Cosmological Perspective, State University of New York Press, pp.18-19, 22-25. 5. Gopinatha Rao, T. A. (1914). op.cit., Vol.1 , Part-1, pp.161-168. 6. Behera, K.S. & Donaldson, Thomas E. (1998). Sculptures Masterpieces from Orissa : Style and Iconography, New Delhi, pp.85-86. 7. Ibid., (1998). 8. Donaldson, T.E. (1985/86). Hindu Temple Art of Orissa, Vol. III, Leiden, p. 1125. 9. Ray, P.K. ed. (1975). Archaeological Survey Report Prachi Valley, Orissa State Archaeology; Bhubaneswar, p.12.

10. Das, G.S. (1958). Exploration of the Prachi Valley, Utkal University; Bhubaneswar, 1958, p.19. 11. Donaldson, T.E. (1985/86). Hindu Temple Art of Orissa, Vol. II, Leiden, p. 692. 12. Ray, P.K. (1975). op.cit., p. 16.

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13. Mishra, K.C. (1971). The Cult of Jagannath, Calcutta, p.58. 14. Mohapatra, R.P. (1986). Archaeology in Orissa (Sites and Monuments), Vol. I, New Delhi, pp.126-127. 15. Ray, P.K. ed. (1975). op.cit., p.6. 16. Mohapatra, R.P. (1986). Archaeology in Orissa (Site and Monuments), Vol. II, New Delhi, p. 97. 17. Mohapatra, R. and Meher, K. (2013). “Madhavananda temple at Narsinhpurhat: A Study on Art and Architecture”, in Proceedings of Orissa History Congress , Vol. XXXIV, Annual Session, p.48. 18. Mohapatra, R. ( 2014). ‘Patita Pavana temple at Ottarasasana : A Study on art and architecture", in Orissa Review, June Issue, Cuttack, p.74.

Pl. No. 1 : The image Trivikrama, the northern side parshvadevata of the Mudgala-Madhava (Nila- Madhava) temple at Mudgala , Puri district, Odisha, India.

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Pl. No. 2 : The image Trivikrama , the southern side parshvadevata of the Lashmi-Narasimha temple at Nuapatna , Puri district, Odisha, India

Pl. No. 3 : The image Trivikrama , the northern side parshvadevata of the Lashmi-Narasimha temple of Kenduvilva Deuli (Kenduli) , Khurda district, Odisha,India.

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Pl. No. 4 : The image Trivikrama is found inserted in the northern side bada wall niche of the natamandapa of the Dadhivamana temple of Kuanrpur, Cuttack district, Odisha, India.

Pl. No. 5 : The image Trivikrama is found preserved in the east-south corner of the jagamohana of the Narasimhanatha temple at Paribasudeipur, Khurdha district, Odisha, India.

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Pl. No. 6 : The image Trivikrama , the northern side parshvadevata of the Madhavananda temple of Narasinghpurhat , Puri district, Odisha, India