Current Version: draft, 2024-09-02Z
Editor: Dániel Balogh.
DHARMA Identifier: INSVengiCalukya00049
Hand Description:
Halantas. Final T is a reduced and raised ta shape with a curly tail instead of a headmark. Final N is a slightly reduced na with the arm low down and a long, sinuous stem without a headmark. Final M is a small circle at foot height, with a long, slightly sinuous stem upward. Final K in line 69 is unclear but seems to be much like final M.
Original punctuation marks are straight or slightly bent vertical bars with a (more or less explicit) serif on top and sometimes also a knob at the foot. The opening and closing symbols are flowers comprised of a circle, four petals in the cardinal directions, and four spikes in the intercardinals, all detached from the centre.
Other palaeographic observations. Anusvāra is to the right of the character to which it belongs, usually at headline height but occasionally lower. Consonants are frequently doubled after anusvāra. Dependent o is often written with two separate strokes, but the single-stroke form also occurs. Dependent au differs from cursive dependent o in being asymmetrical, with a much larger right hump. Rare initial Ai occurs in line 6; its body is unclear but seems to be the regular form of Ai for this period and area (in turn resembling initial E plus a curly arm on the left), but in addition to this body, the present character also has an upper stroke identical to that for cursive o. Rare initial R̥ occurs in line 7; its shape is like the consonant bha with two extra arms on top (resembling an ā marker and its mirror image). Subscript n apparently takes two forms, a plain one like regular na and a looped one; both are visible in line 16, where aviccinna uses the plain form and ekānna uses the looped one. The consonants ṭ, ḍ, ḷ and d are not confidently distinguishable; in the Telugu parts, I accept VV’s reading of these characters.
No metadata were provided in the table for this inscription
gadyaM|
tasmād āyur[.] ā-
4yuṣo nahuṣaḥ[.] nahuṣād yayātiś cakravarttī vaṁśa-ka(r)ttā[.] tataḫ purur i(ti) cakravarttī[.]
tato janamejay¿ā?⟨o⟩ [’]śvamedha-tritaya-
5sya kartt¿a?⟨ā⟩| tataḫ prā◯cīśaḫ[.] prācīśāt s{y}ainyayātis[.] sainyayāter ha(ya)patir[.] hayapates
sārvvabhaumas[.] sārvvabhau-
6māj jayasenaḥ[.] ja◯yasenān ma(hā)bhaumaḥ[.] mahābhaumā(d ai)śānakaḥ[.] Aiśānakāt
krodhānanaḥ[.] krodhānanād devakiḥ[.]
7devake ¡ri!⟨r̥⟩¿c?⟨bh⟩ukaḥ[.] ¡ri!⟨r̥⟩◯¿c?⟨bh⟩ukād r̥kṣakaḥ[.] R̥kṣak(ān ma)ti¿n?⟨v⟩aras satra-yāga-yājī sarasvatī-nadī-nāthaḥ[.] tataḥ kātyā-
8yanaḥ[.] kātyāyanā◯n nīlaḥ[.] nīlād ¿y?⟨d⟩uṣyanta{ḥ}s ta(t-s)¿(ū)?⟨u⟩taḥ|
āryy¿a?⟨ā⟩(|)
tato bharatād bhūmanyur[.] bhūmanyos suhotras[.] suhotrā-
10d dhastī[.] hasti⟨no viroca⟩naḥ[.] virocanād ajam(ī)laḥ[.] Ajamīlāt saṁvaraṇaḥ[.]
saṁvaraṇasya tapana-sutāyās tapatyāś ca sudhanvā[.] sudhanva-
11naḫ parikṣit[.] parikṣito bhīmasenaḥ[.] bhīmasenāt pradīpanaḫ[.] pradīpanāc ¿c?⟨ch⟩anta(nuś)[.] (śa)ntanor vvicitravīryyaḥ[.] vicitravīryy¿a?⟨ā⟩t pāṇḍu-rājaḥ|
Ā-
12ryy¿a?⟨ā⟩|
vr̥ttaṁ|
tato [’]⟨r⟩junād abhimanyur[.] abhimanyoḫ parikṣi⟨T| parikṣi⟩to jana-
15mejayaḥ[.] janamejayāt k⟨ṣ⟩emuk⟦ā⟧⟨⟨a⟩⟩ḥ[.] kṣemukān naravāhanaḥ[.] nara(vāhanāc)
¿c?⟨ch⟩atānīkaḥ[.] śatānīkād udayanaḥ[.] tataḫ paraṁ tat-prabhr̥-
16ti¿s?⟨ṣ⟩v avic¿c?⟨ch⟩inna-santāneṣv ayodhyā-siṁhāsanāsīneṣv ekānna-ṣaṣṭi-cakravarttiṣu gateṣu ta{ṁ}d-va⟨ṁ⟩śyo
vijayādityo nāma rāj¿a?⟨ā⟩ vijigīṣa-
17yā dakṣiṇāpathaṁ ga◯tvā ttrilocana-pallava{ṁ}m adhikṣipya daiva-durīhayā lokāntaram
aga{ṁ}maT|
tasmin saṁkule
18purohitena sārddha◯m antarvvatnī tasya mahādevī muḍiv(aimu nā)māgrāhāram upagamya
tad-vāstavyena viṣṇubhaṭṭa-
19-somayājinā du◯hitr̥-nirvviśeṣam abhirakṣitā sa(tī) ⟦[1×]⟧ viṣṇuvarddhanam asūta[.]
sā tasya ca kumārakasya mā-
20navya-sagotra-hāri◯t¡a!-putrādi-sva-kṣatra-gotra-kramo(ci)tāni karmm¿a?⟨ā⟩ṇi kārayitvā tam avarddhayaT| sa ca mā-
21trā vidita-v¡ri!⟨r̥⟩t⟨t⟩āṁtas san nirggatya (ca)lukya-girau na(nd)āṁ bhagavatīṁ gau(rī)m ārādhya kumāra-(n)ārāyaṇa-mātr̥-gaṇāṁś
ca saṁtarpya śvetā-
22tapatraika-¿g?⟨ś⟩aṁkha-paṁca-mahāśabda-pāli-ketana-pratiḍhakkā-varāha-(lāṁc)¿(c)?⟨ch⟩(a)na-piṁc¿c?⟨ch⟩a-kuṁ(ta-s)i(ṁ)hāsana-makara-toraṇa-kana⟨ka⟩-daṇḍa-gaṁggā-
23-yamunādīni sva-kula-kramāgatāni nikṣiptānīva sā¡ṁb!⟨m⟩r¿a?⟨ā⟩jya-ci(h)n(āni) samādāya (kaḍa)ṁba-gaṁggād(i)-bh(ū)mipān nir¡j!itya setu-na-
24rmmadā-madhyaṁ sārddha-sapta-lakṣaṁ (da)kṣiṇāpa¿dh?⟨th⟩aṁ pālayām āsa|
śl(o)ka⟨ḥ⟩|
(tat-suta)ḥ ¿b?⟨p⟩olakeśi-vallabhaḥ[.] tat-putraḥ kīrttivarmmā[.] tasya tanayaḥ|
svasti[.] śrīmatāṁ sakala-bhu-
26vana-saṁst¿u?⟨ū⟩yamāna-mānavya-sagotrāṇāṁ ¡hāriti!-putrāṇāṁ kauśi(kī-vara)-prasāda-labdha-rājyānāṁ mātr̥-gaṇa-paripālitānā⟨ṁ⟩
27svāmi-mahāsena-pādānudhyātān(āṁ bhagavan-n)ārāyaṇa-prasāda-sa(m)āsādita-vara-varāha-lāṁc¿c?⟨ch⟩anekṣaṇa-kṣaṇa-vaśīkr̥tārā-
28ti-maṇḍalānām aśvamedhāvabhr̥tha-snāna-pavitrīkr̥ta-vapuṣāṁ cālukyānāṁ kulam alaṁkariṣṇos
sat(y)āśraya-vallabhendrasya
29bhrātā (ku)bja-viṣṇuva◯rddhano [’]ṣṭādaśa varṣāṇi veṁgī-deśam apālayaT| tad-ātmajo
jayasiṁha-vallabhas trayastriṁ-
30śata(M)| tad-anujendra◯rājas sapta dinān¿ī?⟨i⟩⟨|⟩ tat-suto viṣṇuvarddhano nava| tat-sūnur mmaṁgi-yuvarājaḥ paṁcaviṁśa-
31ti(M)| tat-putro jaya◯si⟨ṁ⟩has trayodaśa| tad-avarajaḥ kokkiliṣ ṣaṇ māsāN| tasya jyeṣṭho
bhrātā viṣṇuvarddhana-
32s tam uccāṭya sapta◯triṁśataṁ| tat-pu(tro) vijayāditya-bhaṭṭārako [’]ṣṭādaśa| tat-tanujo
viṣṇuvarddhanaṣ ṣaṭtriṁśa-
33taṁ| tat-sūnur vvijayāditya-narendra-mr̥garājaś cāṣṭaca(tvā)riṁśataṁ| tat-s¿ū?⟨u⟩taḥ kali-viṣṇuvarddhano [’]dhyarddha-varṣaṁ| tat-suto guṇaga-vija-
34yādityaś catuścatvāriṁśa⟨ta⟩ṁ| tad-bhrātur vvikramāditya-bhūpates tanayaś cālukya-bhīmas
triṁśataṁ| tat-sutaḥ kollabigaṇḍa-vijayādi-
35tyaṣ ṣaṇ māsāN| tat-sūnur ammarājas sapta va(r)ṣ(āṇi)| (tat-sutaṁ vi)jayādityaṁ bālam
uccāṭya tāḷapo m¿a?⟨ā⟩sam ekaṁ| taṁ jitvā cālu-
36kya-bhīma-tanayo vikram¿a?⟨ā⟩ditya Ekādaśa mās(āN)| ta(t)-t(āḷa)pa-rāja-(s)uto yuddhamallas sapta varṣāṇi|
sa vīra-makara-dhvajaḥ (maka)ra-dhvaja ¡y!iva dhvasta-vigra-
55haḥ grahapatir i◯vāhitāndha-tamasāpaharaḥ hara (Iva) rāja-kalā-dharaḥ dharaṇīdhara
¡y!iva
56ramā-rāmābhi◯rāmaḥ rāma ¡y!iva paraśu-kriyā-sa(haḥ sahad)eva ¡y!iva dev¿a?⟨ā⟩dhvaryyu-nandanaḥ
57nandana-viśeṣa ¡y!ivābhilaṣita-phala-samut-kavi-sahasraḥ sahasrākṣopamānaḥ mānavya-sagotraḥ gotra-ni-
58stārakaḥ tārakādhipānvaya-varddh¿i?⟨ī⟩ vr̥ddhi-niśākaraḥ karadī-kr̥tārāti-para(mpa)raḥ para-narapati-nikara-mukuṭa-
59-taṭa-ghaṭita-maṇi-gaṇa-kiraṇa-parikarita-samaruṇita-cara(ṇe)n(d)ī(varaḥ) vara-varāha-lāṁcchanālokana-m¿a?⟨ā⟩-
60tr¿ā?⟨a⟩-vitrāsitākhila-dharādhīśa-cakraḥ cakravartt(i)-padavī-(sam)ucitā(ne)ka-dhavala-c¿c?⟨ch⟩atrac¿c?⟨ch⟩āyā-c¿c?⟨ch⟩ādita-sarvva-
⎘ plate 4r 61-lokaḥ s{s}arvva-lokāśraya-śrī-viṣṇuvarddhana-mahārājādhirāja-parameśvara-parama-bhaṭṭ(ā)raka-parama-brahmaṇya-parama-
62-māheśvaraḥ| gud¡dh!avādi-vi⟨ṣa⟩ya-nivāsino rāṣṭrak¿u?⟨ū⟩ṭa-pramukhāN kuṭuṁbi(na)s sarvv(ā)n samāhūya mantri-purohi-
63ta-senāpati-yuvarāja-dauvārikādhyakṣam ittham ājñāpayati
yathā|
tasmai mad-bhaktāya kr̥ta-kleśāya kāramaceḷu-vāstavyāya kauṇḍinya-gotrā-
⎘ plate 5r 85y¿a?⟨ā⟩mātya-śikhāmaṇaye budha-vajra-prākārāya saujanya-ratnākarāya vajji(ya)peggaḍa Iti
prasiddhābhidhā-
86nāya bhavad-viṣay¿a?⟨e⟩| pāṟuvaḻa (nāma grām)eṇa sārddhaṁ ra(ṇastipūṇḍ)i nāma grāmo [’]grahārīk¡ri!⟨r̥⟩tya mat-saṁvarddhi-
87tatv¿ā?⟨a⟩-nimitte may¿a?⟨ā⟩ datta Iti vi(d)i(ta)m as(tu vaḥ)|
(A)syāva(dhaya)ḥ[.] (pūrvvata)ḥ kauta nāḍipiya c(e)ṟuvu paḻumaṭi ka-
88ṭṭa| Āgneyataḥ mroṁtukaṟtiyuṁ bā(lū)(riyu?) (raṇa)stipūṇḍiyu muyyali-kuṭṟuna velaṁga-guṇṭa paḻumaṭi
kaṭṭa| dakṣi-
89ṇataḥ peṁjeṟuvu ◯ kaṭṭa ḍi(ggunā?)li trova| nair¿i?⟨r̥⟩tyataḥ pālūriyuṁ goṟukeṭiyu raṇastipūṇḍiyu
90muyyali-kuṭṟuna ◯ cinta-guṇṭha| paścimataḥ koṟukeṭi podaṟu| v¿a?⟨ā⟩yavyataḥ ḻulla-s¿i?⟨ī⟩maiva s(ī)mā|
91Uttarataḥ kaḻapa◯ṟtiyun eḻṭayu-s(ī)maiva (s)īmā| ¿Ī?⟨Ai⟩śānataḥ Eḻṭayu mrontukaṟtiyu raṇastipūṇḍi-
92yu muyyala-kuṭṟu| ◯
(Etad-ra)ṇa{ra}(st)ipūṇḍi-nām¿a?⟨ā⟩grahāra-saṁbandhinaḥ tāṁkaḻapolamu nāma ¿llaṁghana?-kṣe-
93trasyāvadhayaḥ[.] pūrvvato dakṣiṇa(taś ca) (gā?)ṁgal(e)ṟu| paścimataḥ sirip(odipūṇ)ḍiyu goṁganavroliyu ḻullayuṁ bottun⟦u⟧⟨⟨a⟩⟩ kollikuṟṟu|
94Uttarataḥ siripodipū(ṇḍ)i-(sīmaiva) sīmā|
Asyopari na kenacid bādhā karttavyā[.] yaḥ karoti sa paṁc(c)a-(mah)āpāt¿ā?⟨a⟩ko bhava-
95ti| tathā coktaṁ bhagavatā vyāsa-bhaṭṭ(ā)rake¿b?⟨ṇ⟩āpi|
Aṣṭama-varṣa-varddhane siṁha-m¿a?⟨ā⟩se dattasyāsya śāsanasya śrī-daṇḍanāyaka Iti dvij¿a?⟨ā⟩dhināyakaḥ|
3[What follows is] prose.
3-8From him [was born] Āyus. From Āyus, Nahuṣa. From Nahuṣa, the universal sovereign and dynastic father Yayāti. From him, the universal sovereign called Puru. From him, Janamejaya, performer of three Aśvamedha (sacrifices). From him, Prācīśa. From Prācīśa, Sainyayāti. From Sainyayāti, Hayapati. From Hayapati, Sārvabhauma. From Sārvabhauma, Jayasena. From Jayasena, Mahābhauma. From Mahābhauma, Aiśānaka. From Aiśānaka, Krodhānana. From Krodhānana, Devaki. From Devaki, R̥bhuka. From R̥bhuka, R̥kṣaka. From R̥kṣaka, Mativara, performer of a Sattra sacrifice and Lord of the River Sarasvatī. From him, Kātyāyana. From Kātyāyana, Nīla. From Nīla, Duṣyanta. His son [was the one]—
8[What follows is] moraic verse.
9-11From that Bharata [was born] Bhūmanyu. From Bhūmanyu, Suhotra. From Suhotra, Hastin. From Hastin, Virocana. From Virocana, Ajamīla. From Ajamīla, Saṁvaraṇa. [The son] of Saṁvaraṇa and of Tapatī, the daughter of Tapana, [was] Sudhanvan. From Sudhanvan [was born] Parikṣit. From Parikṣit, Bhīmasena. From Bhīmasena, Pradīpana. From Pradīpana, Śantanu. From Śantanu, Vicitravīrya. From Vicitravīrya, King Pāṇḍu.
11-12[What follows is] moraic verse.
12[What follows is] syllabic verse.
14-17—from that Arjuna [was born] Abhimanyu. From Abhimanyu, Parikṣit. From Parikṣit, Janamejaya. From Janamejaya, Kṣemuka. From Kṣemuka, Naravāhana. From Naravāhana, Śatānīka. From Śatānīka, Udayana. Thereafter, when sixty-less-one universal sovereigns beginning with him (Udayana) had passed in uninterrupted succession, [each] seated on the throne of Ayodhyā, a king of their dynasty named Vijayāditya marched to Dakṣiṇāpatha [driven] by a desire to conquer. He challenged Trilocana Pallava and, by an ill turn of fate, passed to the otherworld.
17-24In the midst of that tribulation, his pregnant chief queen went with their chaplain (purohita) to a Brahmanical settlement (agrahāra) named Muḍivaimu, and [there] gave birth to Viṣṇuvardhana while under the protection of its resident the soma-sacrificer Viṣṇubhaṭṭa, [who cherished her] as if she were his own daughter. She raised that boychild, arranging for the performance of the ceremonies traditionally applicable to his particular kṣatriya gotra, [namely] being of the Mānavya gotra, a son of Hārita, and so on.↓2 He in turn, when her mother had told him the story, went forth to Mount Calukya and worshipped Nandā, [who is] the goddess Gaurī, and also appeased Kumāra, Nārāyaṇa and the band of Mothers. Having [thereby] recovered the hereditary paraphernalia of sovereignty belonging to his family, as though they had been deposited (with these deities for safekeeping)—[namely,] the white parasol, the one conch shell, the five great sounds↓3, the pennant garland (pāli-ketana), the ¿inverted drum? (pratiḍhakkā)↓4, the Boar emblem, the peacock fan (piṁcha), the lance (kunta), the lion throne, the makara archway, the golden sceptre, the Gaṅgā and Yamunā and so forth—and having conquered the kings of the Kaḍambas, Gaṅgas and so on, he reigned over Dakṣiṇāpatha (extending) from (Rāma’s) bridge to the Narmadā (and comprising) seven and a half lakhs (of villages).
24[What follows is a] śloka.
25His son was Polakeśi Vallabha. His son was Kīrtivarman. His son—
26-36Greetings. Satyāśraya Vallabhendra (Pulakeśin II) was eager to adorn the lineage of the majestic Calukyas—who are of the Mānavya gotra which is praised by the entire world, who are sons of Hāriti, who attained kingship by the grace of Kauśikī’s boon, who are protected by the band of Mothers, who were deliberately appointed (to kingship) by Lord Mahāsena, to whom enemy territories instantaneously submit at the [mere] sight of the superior Boar emblem they have acquired by the grace of the divine Nārāyaṇa, and whose bodies have been hallowed through washing in the purificatory ablutions (avabhr̥tha) of the Aśvamedha sacrifice. His brother Kubja Viṣṇuvardhana protected (pāl-) the country of Veṅgī for eighteen years. His son Jayasiṁha Vallabha (I), for thirty-three. His brother Indrarāja (Indra Bhaṭṭāraka), for seven days. His son Viṣṇuvardhana (II), for nine [years]. His son Maṅgi Yuvarāja, for twenty-five. His son Jayasiṁha (II), for thirteen. His [brother] of inferior birth, Kokkili, for six months. After dethroning him, his eldest brother Viṣṇuvardhana (III), for thirty-seven [years]. His son Vijayāditya (I) Bhaṭṭāraka, for eighteen. His son Viṣṇuvardhana (IV), for thirty-six. His son Vijayāditya (II) Narendramr̥garāja, for eight and forty. His son Kali-Viṣṇuvardhana (V), for a year and a half. His son Guṇaga Vijayāditya (III), for forty-four. The son of his younger brother King (bhūpati) Vikramāditya, Cālukya-Bhīma, for thirty. His son Kollabigaṇḍa Vijayāditya (IV), for six months. His son Ammarāja (I), for seven years. After dethroning his son the child Vijayāditya (V), Tāḷapa, for one month. After defeating him, Cālukya-Bhīma’s son Vikramāditya (II), for eleven months. [Then] that King (rājan) Tāḷapa’s son Yuddhamalla, for seven years.
54-63He is a veritable crocodile-bannered (Kāma) among heroes; he has annihilated strife, like the crocodile-bannered (Kāma) {whose body has been annihilated}; he dispels the blind darkness of enemies, like the lord of heavenly bodies (the sun) {which dispels malevolent darkness}; he possesses the royal arts, like Hara (Śiva) {who bears a digit of the moon}; he pleases the woman (rāmā) who is Fortune (ramā), like a mountain {which is pleasing with delightful (rama) gardens (ārāma)}; he is a capable wielder of the battleaxe, like Rāma (i.e. Paraśurāma);↓11 he delights the gods and adhvaryu priests, like Sahadeva {who is the son of the adhvaryu priests of the gods (the two Aśvins)}; he makes thousands of poets (kavi) happy (sa-mud) by [granting them] the desired reward, like a special kind of Nandana (garden)↓12 {whose desirable fruits thousands of birds (vi) covet (samutka)}; he is comparable to the thousand-eyed (Indra); he is of the Mānavya gotra; he is a saviour of his gotra; an uplifter of the lineage of the overlord of stars (the moon); resplendent in prosperity {a waxing moon}; he has turned a succession of enemies into tributaries; his lotus feet are attended upon and tinted red by the rays of a multitude of jewels fitted to the surfaces of the crowns of flocks of enemy kings; he strikes terror into the entire circle of rulers through the mere sight of his Boar emblem; he casts the shadow of the numerous bright parasols appropriate to his rank of Universal Sovereign (cakravartin) over the entire world. That shelter of all the world (sarva-lokāśraya), His Majesty Viṣṇuvardhana, the supremely pious Supreme Lord (parameśvara) of Emperors (mahārājādhirāja), the Supreme Sovereign (parama-bhaṭṭāraka) and supreme devotee of Maheśvara, convokes all householders (kuṭumbin)—including foremost the territorial overseers (rāṣṭrakūṭa)—who reside in Guddhavādi district (viṣaya), and commands the minister (mantrin), the chaplain (purohita), the general (senāpati), the crown prince (yuvarāja) and the commander of the guard (dauvārikādhyakṣa) as follows—
63To wit:
84-87To him—the crest jewel of ministers, the wall of adamant for the protection of the wise, the ocean of benevolence, who is popularly known as Vajjiyapeggaḍa, who is my devoted [servant] who has undertaken travails [on my behalf], and who is a resident of Kāramaceḷu and belongs to the Kauṇḍinya gotra—I, for the sake of my [continuing] prosperity, have given the village Raṇastipūṇḍi together with the village named Pāṟuvaḻa [located] in your district, converted into a rent-free holding (agrahāra). Let this be known to you.
87-92Its boundaries [are as follows].↓15 To the east, the western bank of the tank in the middle of Kauta. To the southeast, the western bank of the Wood-apple Pond at the triple boundary juncture of Mrontukaṟṟu, Bālūru and Raṇastipūṇḍi. To the south, the road on the ridge sloping to the bank of the Big Tank. To the southwest, the Tamarind Pond at the triple boundary juncture of Pālūru,↓16 Goṟukeṭu and Raṇastipūṇḍi. To the west, a bush in Koṟukeṭu↓17 To the northwest, the border is none other than the border of Ḻulla. To the north, the border is none other than the border of Kaḻapaṟṟu and Eḻṭa. To the northeast, the triple boundary juncture of Eḻṭa, Mrontukaṟṟu and Raṇastipūṇḍi.
92-94The boundaries of the ... (llaṁghana) field ¿named Tāṁkalapolamu?,↓18 which is attached to this rent-free holding (agrahāra) named Raṇastipūṇḍi, [are as follows]. To the east and to the south, Gāṁgaleru.↓19 To the west, Kollikuṟṟu ¿near? Siripodipūṇḍi, Goṅgalanrolu and Ḻulla.↓20 To the north, the border is none other than the border of Siripodipūṇḍi.
94-95Let no-one pose an obstacle (to the enjoyment of rights) over it. He who does so shall have the five great sins. So too has the reverend master Vyāsa spoken:
97Of this decree issued in the course of the eighth (regnal) year in the month Siṁha, [the recipient is] the lord of Brahmins, with the title “His Honour the Commander of Law Enforcement (daṇḍanāyaka)”.
Sandhi-obscured caesura in v19 (śārdūlavikrīḍita) b; v28 (śārdūlavikrīḍita) a; v29 (śārdūlavikrīḍita) b. Unobserved caesura in v20 (sragdharā) a2. The break between an odd and even pāda is obscured by sandhi in v32 (vaṁśastha) ab. Muta cum liquida licence is used in the second hemistich of v31 (vallarī), where udgha-śrīkaḥ must be scanned as –⏑––.
Reported with discussion in ARIE 1899-1900: 12–13. Edited from the original plates by V. Venkayya(1900-1901), with estampages and translation (skipping the legendary and historic genealogy up to line 36). The present edition by Dániel Balogh is based on a collation of Venkayya’s edition with his rubbings. No image of the seal is available.
↑1. The stanza, as I read it (see the apparatus entry on line 9), does not permit the
interpretation that he performed the great sacrifice Aśvamedha and obtained the name
Bharata. But regardless of the slightly problematic reading, in my opinion the word
nāma must in any case be construed as the object of alabhata, and I know of no connection between his sacrifices and the name Bharata. Thus, the
interpretation reflected in my translation (as well as in that of VV, but not in Hultzsch’s
translation of the parallel cited in the apparatus) is much preferable.
↑2. In some parallel versions (see the apparatus to line 20), the ceremonies are described
as being applicable to a member of a double gotra, namely Mānavya and Hārītaputra.
↑3. The expression pañca-mahāśabda probably refers to being honoured by the sound of five musical instruments, but may
also mean five titles beginning with “great”. See Fleet 1888: pages 296–298, note 9 for a discussion.
↑4. Some Cālukya grants use the words paḍa-ḍhakkā and daḍakkā in similar contexts. See the Ceruvu Mādhavaram plates of Kali Viṣṇuvardhana V and the commentary thereto.
↑5. According to Kielhorn’s personal communication reported by VV, the particulars of
the date in fact work out for the fifth lunar day and correspond to 10 May, 1011 CE.
Kielhorn goes so far as to propose emending yaṣ ṣaṣṭhyāṁ to pañcamyāṁ.
↑6. I do not find this stanza fully intelligible, because the sentence lacks an object
to the verb avahat and includes only an adjective qualifying that unspecified object. As VV notes, the
body of Śiva was probably conceived of as white and thus not really visible in the
glare of Vimalāditya’s fame. VV’s translation supplies ‘a black spot’ as the object of the sentence, which Śiva ‘wore’ on his neck. I rather believe the stanza alludes to the dark streak for which Śiva
is called Nīlakaṇṭha, and VV too may have had this in mind, though it is not evident
from his translation.
↑7. The reference is to pearls supposedly found in the heads of elephants. There may well
be a word missing from this stanza; see the apparatus to line 45.
↑8. I am not certain of the interpretation of the first half of this stanza. Although
prāghūrṇaka means a guest and prāghūrṇikā is known to mean the hospitable reception of a guest, I believe the composer’s intent
may have been a gift brought by a guest. If this is accepted, I believe kalpa makes good sense in the context as “prescribed (by convention).” VV translates, ‘The ground (in front of) his (palace) was sprinkled with the rut of strong foreign
elephants, brought by the rulers of the country of Sārvabhauma.’ He adds that “foreign” in his translation literally means “guest;” and he explains
“the country of Sārvabhauma” as the lands to the north, reasoning that Sārvabhauma
is the name of Kubera’s elephant, and Kubera is the regent of the north. I find this
altogether unconvincing and believe sārvabhauma-dharaṇīśvara should be understood literally as “kings from all over the earth;” or perhaps more
strongly as “universal sovereigns.” The rest of VV’s translation is possible, but
it strikes me as awkward. I would not expect the elephants to be described as guests.
↑9. Or, as understood by VV, on his hundreds of thousands of lances.
↑10. As also noted by VV, the Vijayāditya mentioned here is the ruler of Ayodhyā in the
legendary genealogy, and Satyāśraya is clearly Pulakeśin II. Mummaḍi-Bhīma and sarvalokāśraya must be titles of Vimalāditya, who claims to be as prominent a figure in the history
of his dynasty as those listed here.
↑11. I wonder if in the composer’s pronunciation, paraśu-kriyā and para-sukriyā sounded the same. In this case the meaning understood for the king would be “capable
of benefitting others.”
↑12. VV’s translation speaks of a nandana tree here.
↑13. VV feels quite confident that this deity is the Bhīmeśvara of Drākṣārāma. While that,
or another image of Śiva patronised by a king Bhīma is indeed probably meant here,
I think there is at least a bitextual allusion to Mummaḍi-Bhīma Vimalāditya himself,
who has been called deva no less than twice above. If the first line of the stanza is understood in this way,
then the second line must be understood as “the anytime Lord of Veṅgī” who is superior
to any other king even while Bhīma himself is superior to any other king of Veṅgī.
↑14. See Arthaśāstra 6.1.1, svāmy-amātya-janapada-durga-kośa-daṇḍa-mitrāṇi prakr̥tayaḥ.
↑15. Throughout this passage, I translate the Telugu phrases tentatively on the basis of
VV’s translation and words occurring in other Eastern Cālukya inscriptions.
↑16. This name is evidently identical to Bālūru above. VV in his translation normalises
the former to Pālūru.
↑17. Evidently the same name as Goṟukeṭu above. VV normalises both to Koṟukēṟu in his translation.
↑18. The meaning of the text is not clear here; see the apparatus to line 92. VV translates,
‘The boundaries of the Āmallaṅghana(?) field in the fields of Tāṅkala’.
↑19. According to VV, this is the name of a river.
↑20. Here too, I follow the translation of VV, including his indication of uncertainty.
↑21. VV reads the prose in line 97 with this stanza, taking the prose to be a description
of Nr̥pakāma. This is possible, but it seems more likely to me that the prose passage
is yet another description of Minister Vajra. Nr̥pakāma is certainly different from
the Nr̥pakāma mentioned in the Ārumbāka grant of Bādapa, who was already old when that grant was issued. Bhīmana Bhaṭṭa, the son of Rāciya
Pedderi is also the executor of the Korumelli and Kalidiṇḍi grants of Rājarāja I, where his title is kaṭakeśa and the name or title Nr̥pakāma does not appear. Nonetheless, the Nr̥pakāma mentioned
here as executor may be the same person as Bhīmana Bhaṭṭa, in which case Jontācārya
was both the composer and the writer. Finally, Jontācārya in turn is probably, but
not certainly, different from the Jontācārya who was the writer of several grants
of Amma II.