Ratnagiri plates of Mahāśivagupta Karṇa year 6

Metadata

Current Version:  draft, 2024-12-17Z

Editor:   Amandine Wattelier-Bricout.

DHARMA Identifier: INSSomavamsin00031

Hand Description:

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Additional Metadata

Alternative identifier:

Origin:

Classification:

Languages: Sanskrit

1. Predominantly in Sanskrit, script and

Corresponding Artefact: ARTSomavamsin000028$ARTSomavamsin000029$ARTSomavamsin000030 #CONARTSomavamsin000010

Technique: engraved.

Layout: 18(plate1)-68 lines are observed/preserved on the artifact.

Edition

^{⎘ plate 1v 1}

spiralL

^{⎘ plate 2r 19}

svasti| śrī-yayātinagarāt{a}| parama-māheśvara-parama-bhaṭṭāraka-mahārājādhi-
³²rāja-parameśvara-soma-kula-tilaka-trikaliṅgādhipati-śrī-mahāśivagupta^👤-rāja-devaḥ ³³kuśalī| Uttara-to¿ṣ?⟨s⟩alīya-vra(hmo?)-Aṭṭhāvīsa-khaṇḍa-saṁ-koṇā-grāmaḥ| Atastat{i}-khaṇḍīya-vrāhma-
³⁴ṇān āp¿u?⟨ū⟩jya{|} samāhartr̥-sannidhātr̥-{|} niyuktādhikārika{|} dāṇḍapāśika-{|} piśuna-vetrikāvarodha-
³⁵(ja)na-{|} rājñī-{|} rāṇaka{|} rājaputra-{|} rājavallabha-{|} bhogi-jana-pramukha-nivāsi-samasta-janapadān a
³⁶(nu)nayati vodhayati samājñāpayati⟨.⟩ viditam astu bhavatāṁ| yathāsmābhir ayaṅ grāmaḥ
^{⎘ plate 2v 37}sa-jala-sthalaḥ| sa-garttoṣaraḥ{|} sāmra-madhūka-prabhr̥ti-nānā-vr̥kṣaḥ{|} sa-nidhiḥ{|} sopanidhi-
³⁸ḥ{|} hasti-daṇḍa-{|} vara-valīvardda-{|} ciṭṭola-{|} AndhāruĀ{|} pratyandhāruĀ{|} Adattā-{|} padāti-jīvya-{|} A-
³⁹ntarāvaḍḍi-{|} rintakāvaḍḍi-{|}vasāvakī-{|} viṣayālī-{|} ¿Ā?⟨A⟩hi-daṇḍa-{|} hala-daṇḍa-{|} vandha-daṇḍa-{|} vandāpanā-
⁴⁰-{|} vijayavandāpanā-prabhr̥ti-nānā-mārggaṇī-sametā-bhaviṣyat-kara-sahitaḥ| sa-khaṇḍa-pālīyaḥ|
⁴¹sarvva-vādhā-varjjitaḥ| sarvvoparikara-dāna-sahitaḥ| catuḥ-sīmāvacchinnaḥ| Utkaladeśīya-śrī-
⁴²saloṇapura-mahāvihāra-vinirggatāyai| kā¿s?⟨ś⟩yapa-sa-gotrāyai| tryārṣa-pravarāyai| Udyama-
⁴³tī-nāmnyāḥ pautryai| mahācīmāhūṇadev¿i?⟨ī⟩-nāmnyāḥ putryai| rāṇī-śrī-karppūraśrī-nāmn¿au?⟨yai⟩| sali-
⁴⁴la-dhārā-purassaraṁ| Ācand⟨r⟩ārka-kṣiti-sama-kālopabhogārthaṁ| mātā-pitror ātmanaś ca pu-
⁴⁵ṇya-yaśobhivr̥ddhaye| tāmra-śāsanenākarīkr̥tya| sampradatte Ity avagatya| samuci-
⁴⁶ta-kara-bhāga-bhogam upanayadbhi⟨r⟩ bhavadbhiḥ sukhena prativastavyam iti| bhāvabhiś ca bhūpati-
⁴⁷bhir ddattir iyam asmadīyā| dharmma-gauravād asmad-anuro¿v?⟨dh⟩āc ca sva-dattir ivānupālanīyā| tathā
⁴⁸coktan dharmmaśāstre|

^{⎘ plate 3r 55}

parama-māheśvara-parama-bhaṭṭāraka-mahārājādhi-
⁶⁶rāja-parameśvara-śrīmat-karṇṇa^👤-rāja-devasya pravarddhamāna-vijaya-rājye| ¿saṭa?⟨ṣaṣṭha⟩-samvatsare| Ā-
⁶⁷ś⟨v⟩ina-śudi-dvādaśyāṁ| Aṅke samvat{a} 6 Āśvina-śudi12 svarṇṇa-vīthi-prativaddha-(su/sva)nnahi-vijñāni-
⁶⁸śaṅkhukena tāmra-śāsanam idam utkīrṇṇam iti⟨.⟩

Apparatus

¹ dhūrjja¿t?⟨ṭ⟩i° ◇ dhūrjjati° DCS S
³ nr̥patir jjāto DCS ◇ napatir jj¿a?⟨ā⟩to S
⁴ °¿kūrccha?⟨kr̥cchra⟩kasya ◇ kūrcchakasya DCS S
⁷ °li-¿hu?⟨ccha⟩dmanā DCS ◇ °li-¿hu?⟨ccha⟩dbhanā S
⁸ nistriṁśaika DCS ◇ °nitriṁśaika° S
¹⁰ paryyanta° DCS ◇ paryanta° S
¹¹ pūrvvetarakṣṃā° DCS ◇ p¿u?⟨ū⟩rvvetarakṣṃā° S — ¹¹ yasyo¿ttāmyada?⟨ktaṁ pada⟩-rāti° ◇ yasyottāmyad-arāti° DCS S
¹⁹ narendrai⟨ḥ⟩ ◇ narendrai D S
²⁶ °sunāsīra° D ◇ °sunā¿s?⟨ś⟩īra° S
²⁷ bhuja-sāra-śaṅkayā D ◇ bhuja-bhāra-śaṅkayā S
³³ vra(hmo?)-Aṭṭhāvīsa- D ◇ vra(hme?) Aṭṭhāvīsa- S — ³³ saṁ • As indicated by Mitra 1959–1960, here saṁ is the contraction for saṁbaddha.
³⁴ āp¿u?⟨ū⟩jya D ◇ āpūjya S — ³⁴ vetrikāvarodha° D ◇ v¿e?⟨ai⟩trikāvarodha° S
³⁵ rājñī-{|} rāṇaka{|} D ◇ rājñīrāṇaka{|} S
³⁶ samājñāpayati⟨.⟩ S ◇ samājñāpayati D
³⁹ ¿Ā?⟨A⟩hi-daṇḍa° S ◇ Āhi-daṇḍa° D
⁴¹ °parikara-dāna° D ◇ °parikar¿a?⟨ā⟩dāna° S
⁴³ mahācīmāhūṇadevī ◇ mahārīmāhūṇadevī DCS • Even if Sircar 1959–1960: page 273 does not edit this part of the text, he gives his interpratation of the word in his paper. — ⁴³ pautryai D ◇ pautrye S
⁴⁹ sva-d¿att?⟨ān⟩āt ◇ sva-dattāt D S
⁵⁶ harat¿i?⟨e⟩ S ◇ harati D — ⁵⁶ vāruṇaiḥ S ◇ dāruṇaiḥ D
^58–59 ā⟨b⟩hū / ta- S ◇ āhū / ta- D
⁶² (pa/yahr̥/jr̥)ṇḍa° D S • Mitra 1959–1960 suggests understanding pracaṇḍa. — ⁶² s¿ū?⟨u⟩nāsīro S ◇ sūnāsiro D — ⁶² (puthyī/yuthyā) D S • Sircar 1959–1960 reads puthvī and suggests understanding pr̥thyāḥ.
⁶³ eka-patnīva ta¿r?⟨t⟩sthitā D ◇ eka-patnī¿va?⟨vra⟩ta{r}sthitā S
⁶⁷ śudi-dvādaśyāṁ D ◇ śuvi-dvādaśyāṁ S

Translation by Rajaguru 1966

As the beginning of the text (from verse 1 to 11) is similar to Bālijhari (also known as Narasinghpur) Plates of Mahābhavagupta Uddyotakeśarin, Year 4, I reproduced and adapted to the line numbering the translation of Pandit Binayaka Misra (JBORS, vol. XVII, part.1 (1930-31), pp.1-24) offered in Rajaguru 1966. The whole is followed by Rajaguru’s translation of the extended text (see Rajaguru 1966: pages 260–262).

The joyful luminous and nectar-rayed lord (Moon) -- who is skilful in causing lilies to laugh -- who rests on the mansion of the head of Dhūrjjaṭi -- who is the store of nectar streams -- who is the lord of the stars in the inner appartments -- who serves as point of arrow of the good archer love-god and who is the son of milk-ocean -- (lines 1-3)

In this illustrious dynasty of the Moon, whose lustre dispels the spot of intense darkness covering the horizon, were born the enjoyers of the earth, who, like bulb sent forth all the good qualities, and whose fame was as white as kunda flower. (lines 3-5)

Janamejaya became king and then his son king Yayāti was floowed by Bhīmaratha, the ornament and the protectors of the earth. He (Bhīmaratha), through his frontier guards, built the pillars of victory on all sides beyond his kingdom, which served as glittering weapons piercing the heart of the possessors of the regions. (lines 5-7)

Dharmaratha, the son of the glory of the Lunar Race, the achiever of the desired object and the only friend of the sword, became the head-jewel of all the kings, when the hostile kings retreated to the extremity of the far-off country, being chased by his soldiers marching on digvijaya, in the course of which the dusts swelled.(lines 7-10)

There was a king, other than mentioned before, at Kaṭaka in the countries, lying on the coast of eastern sea, extending from the Himālayas up to the forest adjoining the Setuvandha. His fame was chanted by the hollow bamboos, standing adjacent to (the palace of hostile kings), when they sounded, being struck with the high wind, exhaled in sigh by the trembling women of the enemies.(lines 10-12)

His brother Naghusha, the over lord of the country and the celebrated ornement of the earth, was as mighty as the lord of the animate beings. (lines 12-15)

His (Naghusha’s) rod-like hand, being adorned with the tongue of (double edged) sword, resembled the snake when it took the air separated from the throat of enemy’s soldiers (who are slain). (lines 15-17)

The old Śavara women, having suppressed the tears in order to teach how to wander in the forest, took pity on the female of his (Naghusha’s) enemy and told them that there ar many ruttish elephants and there is also a strong lion having irrestible access all over the world and again there are huge snakes in the holes in the caves of the hills. (lines 17-18)

His (Naghusha’s) younger brother Yayāti, the conqueror of the world, the representative of Madhusūdana and the ocean of learning, was elected as king of two countries - Kośala and Utkala - by the warrior chiefs. He (Yayāti- effectively repulsed the enemies. His lotus-like feet were radiant with the wreath of the rays of head-jewels of all the prostrate enemies and his hands acccomplished well his purpose on all sides. (lines 19-20)

Then, his son king Śrīmān Udyotakeśarī enjoys the rewards of good acts (of his father), brightens the world and possesses immense good qualities. He is never destitute of the leadership and his fame resembles the Malli flowers dorpped down from the hairs of the kings, who bow down in reverence from a long distance when offering the presents. (lines 20-22)

His (Yayāti’s) son Janamejaya became the king whose lotus-feet were kissed by the bee-like crest diadems with blue coloured jewels which decorated the heads of the subordinate kings. (lines 22-23)

His (Janamajaya’s) sharp weapon has washed away the fine toilet paintings done by musk (kastūrikā) on the cheeks of (young) ladies or wives of his enemy-kings. It means that the enemy-kings died so that their wives turned to widowhood and could not use musk paintings in accordance to a long prevailing custom. (lines 23-25)

After him (Janamejaya), his son Purañjaya was born like the mind-born (Madana) who (according to the meaning of his name), conquered the cities of his enemies. The subordinate kings bow down at this feet and (thus) his prowess is as great as that of Indra’s (the lord of heavens).(lines 25-26)

Not only that he successfully resisted the attacks of his foes (from) Gauḍa, Ḍāhāla, Kaliṅga (and) Vaṅga but also be made their kings tremble out of fearat his own prowess and valour. (lines 26-28)

His (Purañjaya’s) brother, Karṇṇadeva, who acquired glory as brilliant as the sun, made less luminous the moon-like fame of his foes, while the jewels shining over the crowns of (his) subordinate kings kissed his feet which rested on the royal pedestal; (lines 28-29)

whose glory (also) creeped (high above) being supported by his powerful arms, turned to be an object of picture in all the three worlds. (lines 29-31)

^31-33Om! Hail! From the city of Yayāyinagara, the illustrious king Mahāsivagupta (alias Karṇṇadeva), who is the lord of tr̥kaliṅga, who is the best (king) of the Soma-kula, who is a paramamāheśvara (a devoted worshipper of Śiva) and who is a paramabhaṭṭāraka, mahārājādhirāja and parameśvara is well.

^33-36In the province of Uttara-Toshalī (there is a village called) Koṇā-grāma (consisting of eighteen parts?); having honoured the brāhmaṇas of that khaṇḍa (district), we declare this charity (order) before the officers (such as) samāhatr̥, the niyukta, the adhikārika, the dāṇḍāpāśika, the piśuna, the vetrikā, the avarodhanajana, the rājñī, the rāṇaka, the rājaputra, the rājavallabha, the Bhogijanas etc. and before all the inhabitants (of the district),

^36-41that this village, together with the lands, the water, the tanks, the marsh, the various linds of trees including the mangos and madhuka in the boundaries, (also) with the upanidhis, the hasti-daṇḍa (elelphant-sticks?), the oxes, the chittola (?), the andhāruā (?), the pratiandhāruā(?), the adattā(?), the padātijīvya (right to maintain the foot-soldiers?), the antarābaḍḍi(?), the rintakābaḍḍi, the vasāvakī(?), the vishayāli(?), the ahidaṇḍa(?), the hala-daṇḍa (plough-stick?), the vandha-daṇḍa(?), the vandāpanā(receiving of sacred honour), vijaya-vandāpanā (reveiving of sacred and victorious honour), etc including many mārggaṇis(?), (and also with the rights of) collecting assessments in future, (excercising power on) the khaṇḍa-pālas, with prohibition of all sorts of oppressions -

^41-48(this grant) is issued with libations of water, free of taxes, for the increase of merit and glory of (our) mother , father (and) ourselves, to Rāṇi Śrī Karpuraśrī, daughter of Mahārimā Hūṇadevī and grand-daughter of Udayamati of Kaśyapa gotra (and) the pravara of three r̥śis (and) migrated from the Mahāvihāra of Solaṇapura in Utkaladeśa. Let this grant be continued as long as the moon, the sun (and) the earth would endure. Let the donee live happily by enjoying the taxes and his shares (of produce from the lands of the village). The future kings are requested to maintain this grant as if it would be a part of their own religious charity.

^48-62From line 48 to 62, there are some benedictory and imprecatory verses quoted from the Dharmaśāstras

^62-64In these lines, there are two verse composed in favour of Sandhivigrahin Kr̥ṣṇadeva Bhūpati who acted as the dūtaka in this grant. The verses are written erronously [quotation of the verse]. The meaning of these verses is not clear. But, according to Dr. Sircar, Kr̥ṣṇadeva Bhūpati, the Snadhivigrahin who made karṇa “the lord of the earth in the real sense by the various kings killed by the minister Kr̥ṣṇadeva and that the earth, including the territories of those rulers, came into the possession of a better master”

⁶⁴The writers of this charter are the Akshapaṭali Vīra-Chittalladeva and Khalānandāsa. THe document is written in the sixth victorious reigning year of the P.M.P. Karṇṇarājadeve and in the twelvth tithi of the bright fornight of the month Āśvina. The same is given in figures also.

Translation into French by Amandine Wattelier-Bricout

Le dieu qui répand une lumière semblable à l’ambroisie (Soma) et qui est né du barattage de l’océan de lait, clair de lune synomyme de prospérité, ce coquin capable à lui seul de faire rire les lotus, lui dont le palais n’est autre que la chevelure de Dhūrjaṭi (Śiva), lui qui est à la tête d’un harem d’étoiles, qui sert de pierre à aiguiser pour les traits de l’époux de Rati (Kāma) a gagné son séjour dans l’océan de lait.

Dans l’auguste lignée de l’astre lunaire qui, par son expiation, a effacé de l’horizon du ciel sa tâche et qui transperce l’osbcurité toute entière, naquirent ces seigneurs de la terre, bulbes dont poussent toutes les qualités de la vertu, eux à la gloire aussi pure que la fleur blanche du jasmin.

D’abord le roi des rois Janamejaya, puis son fils Yayāti, après lui vint au monde l’illustre Bhīmaratha, le parangon de la protection de la souveraineté sur terre, puisqu’à l’intérieur des huit directions, il offrit une ouverture aux flèches pour qu’elles transpercent les coeurs même des gardiens des directions en cachant des colonnes (armées) fixes pour la victoire.

De lui [il y eut] Dharmaratha, le fruit désiré pour la fortune de la lignée lunaire, parmi tous les protecteurs de la terre, il fut un joyau de tête, dont l’unique amie était une épée : son apparition lors de ses conquêtes fit autrefois déguerpir les rois ennemis de la frontière et après lui, s’élevait l’épaisse poussière (soulevée) par son armée.

À la limite de la forêt bordant le Setu, de l’Himālaya jusqu’aux confins de la terre, de la montagne de l’ouest jusque dans les forêts qui longent la côte est, à Kaṭaka,^↓1 sa gloire était chantée par les bambous résonnant dans les airs faisant entendre les bruissements du vent et de la pluie, semblables aux soupirs des femmes des rois par la grâce de (toucher) ses pieds.

Le frère (bhrātā) de ce souverain de la terre, seigneur parmi les seigneurs de la terre, à la splendeur semblable à celle de Bhuteśa (Śiva) fut connu comme joyau de la terre sous le nom de Naghuṣa, de son bras tel un serpent sur un sceptre qui tenait son épée étincelante telle une langue fourchue, il ôta les souffles de la gorge des soldats de l’armée ennemie.

« En ces lieux, celui qui a cinq visages s’est installé avec une multitude d’éléphants en rut, ici-bas il est devenu adulte ; les grands serpents ennemis du monde sont (désormais cachés) dans les cavités de ces montagnes et dans ces cruches », voilà ce qu’expliqua un groupe de vieilles femmes Śavara par affection retenant leurs larmes aux femmes des ennemis qui s’en allaient se réfugier dans la forêt.

Son frère cadet (anuja), le roi Yayāti, naquit tel un trésor de connaissance, image même du meutrieur de Madhu (Viṣṇu), conquérant universel, aux pieds duquel reposait l’éclat étincelant des joyaux de tête de tous ses rivaux réunis.

Une fois les deux régions du Kosala et d’Utkala conquises par les troupes de ses meilleurs hommes, par ce succès obtenu de ses deux bras, il eut totalement les mains libres.

De lui naquit un fils (tanaya), un fruit de perfection, éclairant le monde de ses actes fructueux, l’illustre Uddyotakeśarin, sommité unique de qualités :

les grands rois s’approchant en rangs, telle une lignée de gloire, l’honorèrent de tous côtés et ressemblaient à des guirlandes vacillantes de jasmin lorsqu’ils s’inclinaient à distance par dévotion.

De lui naquit un fils (tanaya), le roi Janamejaya, dont les pieds ornés par les joyaux bleus des couronnes des meilleurs des hommes s’agenouillant semblaient des lotus entourés d’abeilles (voulant butiner).

La pluie de ses coups d’épée lava le fard musqué des épouses bien-aimées des rois ennemis ; ce roi des serpents menaça son bras semblable à une flèche le grand porteur du fardeau de la terre (Viṣṇu).

De lui il y eut un fils (tānuja), le meilleur des hommes, le roi Purañjaya (le bien nommé) vainqueur (jaya) des cités (pura), lui dont les lotus de pieds resplendissaient de la gloire de ceux lui rendant hommage, lui au courage égal à celui du chef des armées célestes (Indra) lorsqu’elles se mettent en marche.

Même les rois ennemis écartés par ce souverain, eux qui sont originaires de Gauḍa, de Ḍāhala, du Kaliṅga et du Vaṅga, tremblant de la crainte des flèches de ce roi, s’en remirent toujours à lui.

Son frère cadet effaca la gloire des ennemis par la vaillance acquise de ses propres bras comme la lune est effacée par la splendeur du soleil levant : l’ombre des joyaux sertis sur les couronnes des rois vient embrasser le piédestal de l’illustre roi Karṇadeva.

Alors que la liane de sa propre gloire serpentait sur les toits de chaume des trois mondes, il reçut le statut d’une haute position par des rangées de bras joints.

Commentary

The term anuja is used twice in this charter. According to dictionnaries, it literally means “younger brother” or “someone born after”. Sircar 1966: page 24, quoting this charter, mentions the particular meaning of “a younger cousin”. In his paper (Sircar 1959–1960: page 271, he explains that the word anuja is used ‘in the sens of a younger cousin, since the Brahmeśvara temple inscription represents Caṇḍīhara as the son of Abhimanyu, grandson of Vicitravīra and great-grandson of Janamejaya I Mahābhavagupta’. Even if it is the reference to this ston inscription is correct, I choose to translate the word by the meaning given by the dictionnaries, i.e. younger brother.

I disagree with the reading of the name of the donee (line 43) given by Sircar 1959–1960: page 272. By comparing the manner to write the akṣaras va, ra and ca within this set, I affirm that the word is not mahārīmāhūṇadevī but mahācīmāhūṇadevī. Consequently his supposed etymology of a word māhārī close to a prakrit meharī to argue that the female donee was an harlot is no longer convincing.

Bibliography

The text incised on the first plate was first edited by Tripathy and then reedited by Sircar 1959–1960. The text incised on the two other plates was first edited by Mitra 1959–1960. The first plate is preserved in the Odisha State Museum (photos available here). While Tripathy 2010: page 254 and Acharya 2014: page 280 give no information about the place of preservation of the second and the third plates, during a field trip in Ratnagiri in February 2024, Annette Schmiedchen and Amandine Wattelier-Bricout found that the two others are preserved in a showcase of the gallery 4 in the museum of Ratnagiri (photos available here). Tripathi 1930: page 206 explains that the first plate was found in 1914 by a cultivator and the reason why a bit from the left hand bottom corner is cut (the cultivator suspected the plate to be of gold).

Primary

Secondary

Notes

↑1. Considérant le possible parallélisme de construction des deux premiers hémistiches (alternances de locatifs et d’ablatifs), je considère que cette partie de la phrase indique les points géographiques extrêmes où s’entendent les exploits chantés du roi. Vu que le premier hémistiche indique un axe nord-sud et que la première partie du second indique la direction de l’est (prāg-ambhodhi-taṭī-vaneṣu), j’attribue le sens de montagne de l’ouest au composé pūrvvetara-kṣṃā-bhr̥taḥ, ce qui aboutit à la description d’un axe est-ouest. Ce composé a été traduit tout autrement par le Pandit Binayaka Misra : ‘There was a king, other than mentioned before, at Kaṭaka in the countries, lying on the coast of eastern sea, extending from the Himālayas up to the forest adjoining the Setuvandha.’ (traduction reportée dans l’édition de Rajaguru 1966: page 232). En contexte épigraphique, attribuer le sens de la direction cardinale ouest au substantif pūrvetara semble plus probable. Bien qu’il propose une restitution du vers différente, Shastri 1995: note 79–79a, page 291 mentionne la possibilité de donner le sens de montagne de l’ouest à l’expression pūrvvetara-kṣṃā-bhr̥taḥ.