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On Poetic Modes of Glorifying a Ruler and Telling His Past: The Sāḷuvābhyudaya Narrative on Sāḷuva Narasiṃha the Ahobilanarasiṃha Incarnate

100%
Dębicka-Borek E.
Acta Asiatica Varsoviensia
|
2022
|
issue 35
5-38
EN
This paper discusses the poetic modes of recounting the past in a Sanskrit mahākāvya titled Sāḷuvābhyudaya, authored by Rājanātha Ḍiṇḍima ca. 1480 AD, to eulogise Sāḷuva Narasiṃha, the soon-to-be founder of the Sāḷuva dynasty of Vijayanagara. Focusing on the poem’s second canto, which is built on the theme of divine intervention culminating in the miraculous conception of the future, I argue that depiction of Sāḷuva Narasiṃha as the Ahobilanarasiṃha incarnate – a rather locally known form of Narasiṃha presiding over a Vaishnava religious centre in Ahobilam (currently Andhra Pradesh) – was aimed at enunciating his martial power and justifying his claims to the Vijayanagara throne, while simultaneously revealing the growing interests of Vijayanagara rulers in cooperating with temples and religious institutions.
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From Kāñcīpuram to Ahobilam and Back: Narasiṃha Chasing the Demons in the Kāñcīmāhātmya 3

84%
Dębicka-Borek E.
Folia Orientalia
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2019
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vol. LVI
3

When the God Meets a Tribal Girl: Narasimha’s Second Marriage in the Light of the Vāsantikāparinayam

84%
Dębicka-Borek E.
Cracow Indological Studies
|
2016
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vol. 18: Cosmopolitanism andRegionalism in Indian Cultural Dynamics
301-338
EN
A widely diffused pattern of a recognized god who takes a second wife, usually local, has essentially articulated the acculturation of tribes or other spatially and socially separated groups. This motif has been discussed regarding South Indian literary traditions, where two brides are opposites in terms of origin, status and appearance, and a double marriage metaphor that aims at reconciliation of two distant spheres should be often contextualized within bhakti ideology. The motif of unconditional devotion of the additional wife to her husband is also closely connected to Vijayanagara politics: a local girl as a spouse may reflect the extension of both royal and spiritual power symbolized by the god. The present paper explores the strategy and purpose of the adaptive re-use of a vernacular legend from the area of Ahobilam about the love between Narasiṃha and a Ceñcū huntress, as extolled by the author of a Sanskrit drama entitled Vāsantikāpariṇayam.
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