svasti śrī tiru vaḷara-c ceyam vaḷara-t teṉṉavar tam kulam vaḷara v-aru-maṟai nāṉk' avai vaḷara v-aṉaitt' ulakum tuyar nīkka-t teṉ-maturā-puri-t tōṉṟi ttēdevēndraṉōṭ' iṉit' irunta maṉṉar pirāṉ vaḻutiyar-kōṉ vaṭimp' alampa niṉṟ-aruḷi māl-kaṭalai Eṟint-aruḷi malaiyattu-k kayal porṟittu-c cēralaṉai-c ceruvil veṉṟu tiṟai koṇṭu vākai cūṭi-k kūpakar-kōṉ makaṭ kuoṭuppa-k kula-viḻiñam kai-k-koṇṭu kaṉṉi-p-pōr ceyt-aruḷi-k kāntaḷur-c-cālai kalam aṟuttu maṉṉupukaḻ maṟaiyavar tammm aṇi-y-ampalatt' iṉit' iruntu Āyiratteṇmar Avirōtam paṇi-p-paṇiyāl maṟai pērttu-k kal nāṭṭi-p paṇṭ-uḷḷa pēr tavirttu niṟuppaṉavum aḷappaṉavum kayal eḻuti Aṉanta-purattemmāṟku nilaviya poṉ maṇi-viḷakku niṉṟ' eriya-p patt' amaittu Āṅk' amaitta tāyanallūr Aṭatteṉṉāṭ ṭaraiyaṉeṉa Aṟivāakaiyāl y-arṟinturaittu teṉṉavar taṅ kula-teyvam teṉ-kumari-kaṉṉiyar tam tiru-nāḷ viḻāvataṉiṟ ⌈tai-p-pūca-p piṟṟai nñāṉṟu vant-iruntār ellārkkum māṟṟātē tiyākam Iṭa Aṟattāl viḷaṅkiya Āynta kēḷvi-p puṟattāyanāṭu pū-makaṭ kaḷittu-t teliṅka-vīymaṉ kuḷaṅ koṇṭu teṉ-kaliṅkam aṭippaṭuttu-t ticai Aṉaittum uṭaṉ āṇṭa

śrī -parāntaka-tēvarkku yāṇṭu 9-tāvatu

rājarāja-p-pāṇṭi-nātu Uttama-cōḻa-vaḷanāṭṭu-p puṟattāyanāṭṭu-k kumari-k-kaṉṉiy ā-pakavatiyār tēvatāṉattukku-p perunāṉk' ellai vaṭa-v-ellai nāñci-nāṭṭu Atiyaṉūrum miṉṉāṭṭu-p peruṅ-kuṭi malai-y-uṭpaṭa paṇaikuṭi nīṅkal-āka mūṉṟuṅ kūṭiṉa malaiyiṟ cantēcatēca-p-piramāṇam Āṉaimalaiyum maṉuttira-p pā-pāṟaiyum tōraṇa-kuḻiyum piṭāraṉ-ēri-k-koḻukkuttum kaṇṭaṉ-ēri-k- koḻukkuttum vāḻaiyāṟṟu vaṭavāṟum nāvāyum kōṭikkaḷāvum viṟakaṭukuppaiyum Oḻukkantāḻvum Iṉ-ṉāṭṭu vaṭa-kīḻ mūlai karuṅkuḷamum Aḷḷiyūrum pūca ṉ kuṭiyum kūṭiṉa piramāṇam-āṉa pukkūḻ-kuḻiyum kirārattikkuḷamum citaṟṟai-p-pāṟaiyum neṭu-vāli-kuḻiyum mēṟku ⌈ nōkkiṉa nīr-vīḻtāḻvum viḷakkaṉ-kuḻi nīr-koḷḷiyum Iraṭṭai-k-kiṇaṟum Ātaṉārtuṟai nīr-vīḻtāḻvum pālpāṭum neṭuṅ kaḷarum Ucilōṭu-kuḻiyum Āṉai Aṭi-p-pāṟaiyum kaṟaṭimaṇalum Iraṭṭai nurampum kaṟimpāṭum Āṉaikkallum Iv-ellaiyil kiḻakku-c karuṅkuḷa-vaḷa-nāṭṭu vicāpuriyum Irukkantuṟaikkun teṉ-kīḻ mūlaiyum teṉ Ellai kiḻakku-p pārucamē pōntu In-nā ṭṭu-t teṉ-mēl-malai kēraḷaṉ-kuṟicci-y-āṉa kēraḷaṉ-kuṭiyum nāñci-ṉāṭṭu maṉṟakuṭiyum kūṭiṉa cantēca-p-piramāṇam kēḷara ṅkuṭikku-t teṉ-mēl mūlai pe ḻaiyum kaṭa mapaṉṟitalai viḷai ṟkum naṭuviḷaiyum māṇākka ṉ kuḻi-k kīḻ-viḷimpum naṅkai kiṇaṟu tāka-c cucīntiramum kēraḷaṉ-kuṟicciyum vaḻiyum tēvi-kuḷattil nī rkoḷḷiyum Āṟuṇṇi vaṭa kompil kkuppāṟaiyum pāppāṉ-kuḻiyum pāṟaiyum vaṭakku nōkki ṉa nīr-vīḻkkāraṭu veḷḷeluppai-t-tāḻvum paḷḷiccanta nīṅkal-āka kuruntō ḷaṟpoṟṟaiyum ma laiyē yoḻuṅkākap pōntu tōvāḷaikku-k kīḻ ellaika ṉaiyum Uruṇṭappoṟṟaiyum Oḻuṅk-āka Ūcimalaiyu m Oḻuṅk-āka-p pōntu Āṉaimalai y-āka Ivv-icainta perunaṉk' ellai y-uṭpaṭṭa taṅkaḷum Amirta-paṭi cāntu -p-paṭiyuñ cantaṉaṅ-kaṟpūrattukkum nām piṟanta tai-p-pū ca-t-tiru-nāḷukkum celvit-āka Iṟaiyili tēvatāṉam-āka namakkuṭai-paṭi nīrvārttu-k kuṭuttōm kumari-kaṉṉi-p -pakavatiyārku

nīkkat notes: nīṅka would be better. iṉit' irunta notes: The other inscription reads iṉit' iruntu. mālkaṭalai notes: vārkaṭalai would suit the rhyme better. Āyiratteṇmar Avirōtam paṇippaṇiyāl notes: The other inscription has . . . . m va(ḷarp)pa Amaitta pērāyiratteṇmar aviṟōtap paṇippaṇiyāl. niṟuppaṉavum aḷappaṉavum notes: The letter ṉa is engraved below the line. The other inscription reads Aḷappaṉavum mukappaṉavum niṟuppaṉavum. For metre and rhyme it would be better if the reading is mukappaṉavu niṟuppaṉavu maḷappaṉavum. eḻuti ēḻuti Āṅkamaitta notes: The second inscription reads Āṅkamainta. Aṟivāakaiyāl yarṟinturaittu notes: Read vakaiyāl Aṟintu. The other inscription reads Aṟintuṇartta. teṉkumarikaṉṉiyar tam vantiruntār ellārkkum notes: The second inscription reads vantirantōrellāṟkum which appears more correct. It means "to all these that came and asked for alms. Aṟattāl viḷaṅkiya Āynta kēḷvip puṟattāyanāṭu notes: The second inscription reads here Aṟattāl viḷaṅkiya Āynta kēḷvip puṟattāyanāṭu . śrī parāntakatēvarkku notes: The second inscription has here śrīkōrcaṭaiya paṉmārāṉa tiripuvaṉa cakkaravattikaḷ śrīparāntakatēvaṟku.

Prosperity! Fortune!

Ninth year of the the glorious king Parāntaka,

who, so that fortune thrives, so that victory thrives, so that the lineage of the Southerner(s)That is, the Pāṇḍya(s). thrives, so that the four great secretsThat is, the vedas. thrives, so as to remove the affliction in the whole world, appeared in the southern Maturā city,That is, the southern Mathurā, that is, Maturai., who is the lord of kings, the Vaḻuti king,That is, the Pāṇḍya king., who pleasingly sat along with the king of gods,That is, Indra. who, graciously stood so as to wash his feet and graciously hurled a javelin at the great sea, who engraved the carp on the mountain, who vanquished the Cēra king in battle, obtained tribute from him and wore the vākai flower, who, whereas/so that the Kūpakar king gave him his daughter, seized Vīḻiñam of noble lineage and graciously made his debut fight, who apportioned pots in the feeding-hall cālai at Kāntaḷur and pleasingly sat in the beautiful hall of the Brahmins of enduring fame, who ..., who inscribed the fish ..., who established to permanently burn ten beautiful lamps ... for our lord at Aṉantapuṟam, who ..., who, so as to give presents to all those who came at the time of and after taippūcamSee MTL: The full moon in the month of Tai, a day of festival. during the festival of the southern Kumarikaṉṉi, the family deity of the Pāṇḍyas, who ..., who ..., ruled in all directions.

Whereas the four great boundaries of the devadāna of the Lady Kumarikkaṉṉi in the Purattāyanāṭu, itself in the Uttamacōḻavaḷanātu, itself in the Rājarājavaḷanāṭu, are the northern boundary ... east to this boundary ... the southern boundary ... the land comprised within these four great boundaries ... we have given it, with water libation, as tax-free devadāna to the Lady Kumarikkaṉṉi.

notes that there is one more record of the 9th year of the king Parântaka in the same temple, but unfortunately it is built in. He occasionally refers to readings from this other inscription.

Edited from impressions in , with English translation and visual documentation (TAS 1.3).

Edited here by Emmanuel Francis, based on and visual documentation therein.

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