1) The document describes the iconography and mythology of Sarabha, a mythical creature depicted as overcoming the deity Narasimha. 2) Sarabha is described as having the body of a bird or animal with 8 legs, 32 hands, and wings composed of deities. It is depicted carrying the subdued form of Narasimha. 3) The text provides details on Sarabha from various Hindu scriptures and religious texts, noting some variations in the depictions, and references the village of Tribhuvanam as being the site of Sarabha's victory over Narasimha.

1. Veda elucidates the episode in four
mantras. Here Brahma replying to
the query raised by a sage called
Baipalatha, panegyrizes the
Brahmanda Pu-rana narrates how
Narasimha propitiated Sarabha by
chanting His Ashtotra namas. These
mantras are reminiscent of those
contained in . Akasa
Bairava Kalpa delineates the
mantras, yantras and dhyanas
pertaining to the worship of
Sarabha. Iconographic features:
Kamika Agama furnishes a graphic
description of . His
body is golden in colour and is
shaped like a bird. It has two
uplifted wings.
Four others
possess steely and uplifted claws.
Like any other animal it possesses
a tail.

2. Side-tusks are also present in his
person. This loathsome and-ghastly
figure seems to carry Narasimha
with two of his legs.
Narasimha is portrayed in an
ordinary form with his two hands
held in-the anjali pose.
The Karanagama, which could be
grouped among twenty eight
Mahaagamas composed mostly during
the ninth and the tenth centuries
A.D. furnishes a slightly different
form.

3. The subterranean fire referred to
as 'badavanala' serves as his
tongue. Kali and Durga act as his
wings. Indra forms his nails, while
Kalagni is his belly. Kala and Mri-
tyu are his thighs.
Sarabha's person should be as
majestic as the Mem hills. It
should emit radiance, like the bum-
ing Sun. He is endowed with eight
legs and thirty two hands. Surya,
Chandra and Agni constitute his
eyes. Durga and Kali form his
wings. His kesam (hair) is in the
Urdhava (erect perpendicularly)
form. His fifteen right hands are
adorned by the vajra (thunderbolt),

4. mushti (the clensed fist), chakra
(disc), sakti (spear), danda
(staff), ankusa (elephant Goad),
katti (Sword), khattvanga (staff
with a skull on top), parasu
(battle-axeO, akshamala (rosary),
bone, trident, bow, pestle and agni
(fire).
The sixteenth right hand reveals
the abhaya pose. Fourteen of his
left hands bear objects like pasa
(noose), gada (mace or club),
khetaka (shield), bana (arrow),
dwaja (flag), a saw, snake, sankha
(conch), padma (flower), kapala
(skull), pustaka (book), kuntam
(lance), hala and mudgara.
The fifteenth left hand offers the
varada pose while the sixteenth
hand embraces Durga. His person is
crimson hued. He possesses
protruding teeth and manes which
encircle his head. The whole figure
could infuse terror into the hearts
of the timorous onlookers. Both
Karanagama and Sritatvanidhi fail

5. to furnish any information on the
features' of Narasimha.
Hari glitters in the arms of
Sarabha luminously.
The work also stresses that Hari-
and Sarabha are identical and are
capable of granting eternal bliss
to the devotees.
The Uttarakaranagama asserts that
consecration of the image of
Sarabha leads to considerable
benefits.

6. The Gown" Mayura kshetra Kanda
contained in Brahmanda Purana
furnishes yet another* picture of
Sarabhesvara which is analogous to
the one contained in Karanagama.
Sarabha is endowed with eight legs,
four arms, two wings and a
stretching -tail. He possesses
incisive teeth and piercing claws.
His three eyes are formed by Surya,
Chandra and Agni. The crescent moon
adorns his head. His body is
luminous like thunderous clouds and
lightning. The lifted ears, dark
throat, and sharp tongue are awe-
inspiring has
given a tantalising description of
Sarabhesvara in his Kanchi purana.
Some dhyana slokas provide Him with
one thousand arms and the tail of a
fox.
has
delineated - 64 - forms of Lord
Shiva. The thirtieth form is known
as Simhanamoorthy.

7. This form could be
identified with Sarabhesvara.
Passing references to
Simhanamoorthy are found in Rig
Veda, Thaithriga, Skanda Purana and
Brahmanda Purana'.
While instituting the images of
Sarabhamurthy in temples, the
sculptors affected certain
aberrations from tfie Agamic
injunctions in accordance with
their imagination and skill.
Tribhuvanam, a small village that
at a distance of about six
kilometres from Kumbakonam is
considered the venue of Sarabha's
victory.
The grandiose temple located here
is known as Kampa-haresvara Temple.