The name itself brings Scintillating experience in hearts of even scholars. True to his name he is victorious “Indra” in all spheres. He established himself as undisputed victor in all 64 Arts of excellence. He was dazzling Sun amongst his contemporaries. He is one of the most celebrated scholar and wise, in the realmsof Tatwavada. His name is household in followers of Acharya Madhwa’s Philosophy. He has contributed maximum number of un-paralleled works strengthening the Fort of Acharya Madhwa’s Tatwavada.
Piercing logic, breathtaking diction, immaculate presentation, utmost devotion…. What not ? Everything is brimming in abundance in all his works. His towering personality can best be experienced, by scanning his works.
It is even wonder to have darshan of this towering personality. Here it is
His works are:
¨ nyAyamruta gurvAmoda or laghu Amoda : Sri VijayIndra’s famous commentary on Nyayamruta
¨ NyAyAyamruta nyAyaratnamAla
¨ Nyayamauktikamala – Gloss on Chandrika criticizes the views embodied in the Sankara Bhasya and Srikantha Bhasya.
¨ NyAyamAla : gloss on Chandrika
¨ NyAyachampakamAla (nayachampaka mAla)
¨ NyAyAmrutOdAhruta jaiminIya nyAyamAla
¨ Naya manjari
¨ VAda mAlika
¨ turIya shiva khanDanam
¨ Vagvaikhari : A short tact dealing with validity of Vedas and scope and purpose of Bhedhashrutis.
¨ Shruti tAtparya kaumudi
¨ Turiya shiva khanDanam
¨ Bheda vidya vilasa : It is devoted to the establishment of the reality of difference in it’s five fold aspect. It is direct criticism of Bhedadhikkara of Nrshimasharma.
¨ Parattva prakAshika : A criticism of Sivattva-Viveka of Appayya Diksita, who seeks Shiva as the supreme Brahman of Veda.
¨ Upasamhara-Vijaya : A rejoinder to Upakarma-Parakram of Appayya Diksita
¨ Madhvadhva-Kantakoddhara : A reply to the critics made by Appayya Diksita in his Madhvatantra –Mukhabhanga; against Madhva’s cogency and adhikaranas.
¨ Chakra-Mimamsa : A tract in which Sri VijayIndra establishes shastric character of practice of branding the body with Vaishnava symbols; on the basis of Vedic text.
¨ adhikaraNa mAla – Work explaining Mimamsa rules of interpretation utilized in Nyayamruta.
¨ Shaiva sarvasva khandanam : A short tract discussing eleven Puranic legends touching supremacy of Shiva over Vishnu.
¨ Appayya-Kopola-Chapetika : A rejoinder to the multifarious charges against Madhva and his works , made by Appayya Diksita.
¨ brahmasUtra Nyayasangraha : A short metrical tract offering the gist of Adhikaranas of Brahma Sutras of Srimad Acharya.
¨ rAmAnujamatarItya sUtrArtha
¨ pramANA lakshaNa teeka vyAkhya
¨ katha lakshaNa teeka vyAkhya
¨ tatva sankhyAna teeka vyAkhya
– tatvodyota gUDha bhAva prAkAsha
¨ VishNu tatva nirNaya teeka
¨ Madhva siddhAnta sAroddhArah
¨ sarva siddhAnta saroddhArah
¨ siddhanta sArAsara-Viveka I
¨ sarva siddhanta sArAsara-Viveka II
¨ yuktiratnAkarah – Commentary on Tarkatandava
¨ Pranavadarpana-Khandanam : It is a reply to the contention of Srinivascarya Sathamarsana in his Pranava Darpana , that the syllable OM has no right to be read as part of first Sutra
¨ Chandrikodahrta nyaya vivaranam – An exposition of the principles and adhikaranas of the Purva-Mimamsa made use of in the Chandrika of Sri VyasaTirtha
¨ NarayanashabdhArtha nirvachanam : A tact dealing with etymology of word Narayana as applied to Vishnu and refuting contention of Saivites
¨ Advaita-Shiksa : It is a general chastisement of Advaita theory and a rejoinder to Advaitadipika of Nrishimasharma
¨ Narasimha stutih
¨ vyAsarAja vijayah – A sanskrit drama
¨ Subhadra-Dhananjeya : A Sanskrit drama
Works that are now not available:
¨ VyAkhyas on the remaining prakaranas (out of the dasha prakaranas, commentaries on only five are available)
¨ TatvamANikya peTika
¨ NyAya vivarNa tippaNi
¨ aNubhAShya tippaNi
¨ tatvaprakAshika tippaNi
¨ nyAyadIpika tippaNI
– prameyadipikA TippaNi
¨ Ananda tAratamya vAdArthah
¨ MimAmsa nyAyakoumudI
¨ BhEda chintAmaNI (bhedha kalpataru)
¨ Bheda kusumAnjali
¨ BhedaprabhA (bhedaratnaprabhA)
¨ Kuchodyakuthara : A tract dealing with the Sutra interpretation and defending the particular arrangement adopted by Sri Madhva.
¨ ubhayagrasta rAhUdaya : A Sanskrit drama.
– Madhvantara-Nyamanjari : It is a short argumentative work the Sutra-Prasthana. The adhikarana-sariras of rival Bhamati and Vivarana are criticized.
just for example, have a look at this masterpiece sculpted by Sri Vijayeendra. It speaks volumes about his alround mastery:
Time and again, he proved his excellence in all these 64 arts
(1) Geet vidya—art of singing.
(2) Vadya vidya—art of playing on musical instruments.
(3) Nritya vidya—art of dancing.
(4) Natya vidya—art of theatricals.
(5) alekhya vidya—art of painting.
(6) viseshakacchedya vidya—art of painting the face and body with color
(7) tandula-kusuma-bali-vikara—art of preparing offerings from rice and flowers.
(8) pushpastarana—art of making a covering of flowers for a bed.
(9) dasana-vasananga-raga—art of applying preparations for cleansing the teeth, cloths and painting the body.
(10) mani-bhumika-karma—art of making the groundwork of jewels.
(11) sayya-racana—art of covering the bed.
(12) udaka-vadya—art of playing on music in water.
(13) udaka-ghata—art of splashing with water.
(14) citra-yoga—art of practically applying an admixture of colors.
(15) malya-grathana-vikalpa—art of designing a preparation of wreaths.
(16) sekharapida-yojana—art of practically setting the coronet on the head.
(17) nepathya-yoga—art of practically dressing in the tiring room.
(18) karnapatra-bhanga—art of decorating the tragus of the ear.
(19) sugandha-yukti—art of practical application of aromatics.
(20) bhushana-yojana—art of applying or setting ornaments.
(21) aindra-jala—art of juggling.
(22) kaucumara—a kind of art.
(23) hasta-laghava—art of sleight of hand.
(24) citra-sakapupa-bhakshya-vikara-kriya—art of preparing varieties of delicious food.
(25) panaka-rasa-ragasava-yojana—art of practically preparing palatable drinks and tinging draughts with red color.
(26) suci-vaya-karma—art of needleworks and weaving.
(27) sutra-krida—art of playing with thread.
(28) vina-damuraka-vadya—art of playing on lute and small drum.
(29) prahelika—art of making and solving riddles.
(30) durvacaka-yoga—art of practicing language difficult to be answered by others.
(31) pustaka-vacana—art of reciting books.
(32) natikakhyayika-darsana—art of enacting short plays and anecdotes.
(33) kavya-samasya-purana—art of solving enigmatic verses.
(34) pattika-vetra-bana-vikalpa—art of designing preparation of shield, cane and arrows.
(35) tarku-karma—art of spinning by spindle.
(36) takshana—art of carpentry.
(37) vastu-vidya—art of engineering.
(38) raupya-ratna-pariksha—art of testing silver and jewels.
(39) dhatu-vada—art of metallurgy.
(40) mani-raga jnana—art of tinging jewels.
(41) akara jnana—art of mineralogy.
(42) vrikshayur-veda-yoga—art of practicing medicine or medical treatment, by herbs.
(43) mesha-kukkuta-lavaka-yuddha-vidhi—art of knowing the mode of fighting of lambs, cocks and birds.
(44) suka-sarika-prapalana (pralapana)? — art of maintaining or knowing conversation between male and female cockatoos.
(45) utsadana—art of healing or cleaning a person with perfumes.
(46) kesa-marjana-kausala—art of combing hair.
(47) akshara-mushtika-kathana—art of talking with fingers.
(48) dharana-matrika—art of the use of amulets.
(49) desa-bhasha-jnana—art of knowing provincial dialects.
(50) nirmiti-jnana—art of knowing prediction by heavenly voice
(51) yantra-matrika—art of mechanics.
(52) mlecchita-kutarka-vikalpa—art of fabricating barbarous or foreign sophistry .
(53) samvacya—art of conversation.
(54) manasi kavya-kriya—art of composing verse mentally.
(55) kriya-vikalpa—art of designing a literary work or a medical remedy.
(56) chalitaka-yoga—art of practicing as a builder of shrines called after him.
(57) abhidhana-kosha-cchando-jnana—art of the use of lexicography and meters.
(58) vastra-gopana—art of concealment of cloths.
(59) dyuta-visesha—art of knowing specific gambling.
(60) akarsha-krida—art of playing with dice or magnet.
(61) balaka-kridanaka—art of using children’s toys.
(62) vainayiki vidya—art of enforcing discipline.
(63) vaijayiki vidya—art of gaining victory.
(64) vaitaliki vidya—art of awakening master with music at dawn.
His Brindavan is situated in Kumbakonam. Only fortunates can have a glimpse of his Brindavan :
We seek the blessings of Sri Vijayeendraru and earnestly start publishing all his available works. Only with his blessings this should be possible O-<—-<