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Therefore, king Viveka expresses his joy and says that "This picture-gallery, through
limited in space, represents the boundless universe (in the form of artistic work) and
affords a good illustration of the Divine Persor called Dahar膩-ak膩艣a who the
Upanisad says, lives in the lotus of the heart. Cr it reminds us of the child (the Lord)
at the end of the Kalpa, having all the objects of the Universe in His stomach."
Further he says,
"This painter has not painted the Universe here with external materials like
the brush and paints; surely under the pretext of painting, he has brought out of his
own varied imaginations painted with the brush of joy".
The other pictures which are painted by sa峁僺k膩ra are Lord Vis峁噓's forms of
Matsy膩vat膩ra, Kurm膩vat膩ra, Var膩h膩vat膩ra, Narasimh膩vat膩ra, V膩man膩vat膩ra,
Para峁�ur膩m膩vat膩ra, R膩m膩vat膩ra, K峁涐梗峁嚹乿at膩ra and of Kalki Avat膩ra.
Though Samsk膩ra is a character of a very high culture he shows humility and
declares that he is to serve his master Viveka with all dedication.
To conclude, Samsk膩ra represents truth of experience.
TARKA
Tarka's role in the drama is characterised as Viveka's charioteer. As the very
name indicates, Tarka is indispensible to the activities of Viveka. He represents a
power of reasoning or logic. He plays his role along with viveka in selecting a
suitable place for Puru峁�a's meditation. He is seen on the stage in the Sixth Act.
Viveka moves in his chariot, run by Tarka. The extent of his travel is from the
northern parts of Bharatavar峁�a to the extreme south. The holy places, Tarka shows
are-the mountain Meru, Kail膩sa, Gandham膩dana Himalaya, the Ganga, Region of
Vindhy膩 mountains, Ayodhy膩, Mathur膩, S膩lagr膩ma, V膩ra峁嚹乻i, region of Sahyadri
mountains, Y膩dav膩cala, Para峁�ur膩mak峁�etra, Malaya mountain, Pandya country,
V峁涐梗膩cial, Chola country, 艢rirangam, Tun岣嵞玶ama峁囜笉ala and Venka峁�膩cala.
Tarka points to important places and suggests their holy features too. But
Viveka finds them not suitable to the purpose for one or the other reason. Finally he