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No. 39] KANCHIPURAM INSCRIPTION OF ACHYUTARAYA, SAKA 1453 201 recovered this amount. In another inscription from Elavānāsūr, a Bhögaiyadēva is referred to as the son of Tippayadēva-mahārāja, who is described as Chola-kula-tilaka and Uraiyūr-puravarādhisvara and stated to have served Tirumalaiyadēva-mahārāja. Bhögayadēva is mentioned in our record as the son of Timmarāja and as having belonged to the Sürya-vamsa. If Timma and Tippa can be regarded as variants of the same name, Bhögaiyadēva-mahārāja of the present record would be identical with his namesake mentioned in the Tiruppanangāļu and Elavānāsūr inscriptions.
The theme of Srinivāsa's Sivabhaktivilāsa, stated to be a kávya dealing with the lives of the 63 devotees of Siva, is the same as that of the fine Tamil poetical work entitled Periyapurānan also known as Tiruttondarpurānam composed by Sēkkilār in the first half of the 12th century. Sirabhaktivilāsa has been noticed in Aufrecht's Catalogus Catalagorum.' Charaņādistava, called Padadikēsastava in the Tamil portion, is evidently the same as Ekāmranāthastava noticed in the Catalogus Catalagorum. The works are assigned by Aufrecht to Srinivāsa-dikshita who is no doubt identical with Srinivāsa-yajvan of our record, the titles yajvan and dikshita being synonymous. Charaņādistava was no doubt a description of the god commencing from his sacred feet and ending with the glory of his crown or the head. It is sometimes composed also in the reverse order. It appears that both the types were chosen to describe a god while the latter was employed only to describe a man. The other two works Bhögāvalid and Nāmāvali are evidently names of two types of compositions. Apparently they too were compositions on Ekāmrēša. The munificence of the gifts made to the poet is sufficient indication of the patronage that men of letters enjoyed during the period in question.
Cheyarūr, the native place of the poet, cannot be identified due to want of further details.
TEXT"
1 Subham-astu [1*] Vām-āṁk-ārūdha-vāmākshi-vakshöj-āsakta-pu2 shkaram vāraṇam vighna-tamasāṁ Vāraņāsyam=upāsmaha l[1*] Kāmā3 kshi-tumga-vakshöja-kamkaņāmkita-vakshasam Silayē sthi4 tam-Ekāmra-mūlē Bālēnduśēkhara’m | [2*] Yasy=ājñām sarvva
5 bhūpālā vahanto nija-mūrddhabhiḥ | nirajayanti kotira-ratna-di
6 paiḥ pad-ā[m*]bujam | [3] *] Nasta)-mūrddha-pad-angushtha-nakh-agra-krita-randhratah
yat-pratāpnel? 7 jvālā-jālair=utsarppibhir=mmubuḥ| 4 | Brahmāņdam mukha-nikshipta-nava-palla[va*)-sam8 hatēh | suvarnna-pūrņņa-kumbhasya vibhramam vahati sphutam | [518] [Na]
LXV).
Ibid., 1906, No. 174. ? See p. 670.
Loc. cit. . For the nature of this composition, see Prataparudriya (Bombay Nankarit and Prakrit Series No Kavyaprakarana, p. 98.
. From the original and inked impressions, • Cf. Mükaparicha sati, Āryäsatakam, verse 15. · Tamil is used here.
