Seal śrī-viṣamasiddhi

Plates

svasti vijayavāṭa-skandhāvārāT. śrīmatāṁ sakala-jagad-abhiṣṭūyamāna-mānavya-sagotrāṇāM hāritī-putrāṇāM svāmi-ṣmahāsena-pādānudhyātānāM kauśikī-vara-prasāda-labdha-rājyānāM bhagavan-nārāyaṇa-prasāda-samāsādita-vara-varāha-lāñchanānāM Aśvamedhāvabhr̥tha-snāna-pavitrīkr̥ta-vapuṣāM calukyānāṁ kula-jaladhi-samuditenduḥ naya-vinayavikramārjita-cāru-bhūri-kīrttiḥ śrī-viṣṇuvarddhana-mahārājaḥ. tasyātmajaḥ śrī-jayasiṁha-vallabha-mahārājaḥ. tat-priyānujasyatyāgoaudāryya-gāṁbhīryya-kānty-ādi-guṇa-gaṇālaṁkr̥ta-śarīrasya sva-vikramākrānta-mahī-maṇḍalasyendra-samāna-vikramasyendra-bhaṭṭārakasya priya-tanayaḥ svāsi-dhārā-namita-ripu-nr̥pati-makuṭa-taṭa-ghaṭitāneka-maṇi-kiraṇa-rāga-rañjita-caraṇa-yugalaḥ parama-brahmaṇyo mātā-pitr̥-pādānuddhyātaḥ kali-timira-nirasanodddyotita-praḷlayādityaḥ śrī-viṣamasiddhi-mahārājaḥ vr̥kṣa-mūla-yāpanīya-gaṇa-tilakasya bhagavataḥ kanakanandy-aācāryyasya dharmmopadeśaena kasumi-sthitāya jinālayāya bhagavatām arhatāM bali-vaiśvadeva-navakarmma-saraṇārtthaM sva-dharmmābhivr̥ddhayepotupa-viṣaye Elī-nadyāḫ pūrvvae taṅgomanūṟuvu-grāmāTdakṣiṇe naḷupūru-grāmāT paścime Iṇṭharu-śgrāmāT Uttare EṣāM madhye parttipāka-grāmaTM dattaM

na kenacid bādhā karaṇīyā. Itaḫ paraṁ sa bhūta-rājyaiḥ ri rājabhiḫ paripālayaitavyaMḥ. Atra vyāsa-gītāḥ

bahubhir vvasudhā dattā bahubhiś cānupālitā yasya yasya yadā bhūmiḥ tasya tasya tadā phalaM sva-pitānighnato-bhartr̥-go-vipra -bāla-yeoṣit-tapasvināM yā gatis sā harebhaved bhūmiM harataś śāsanāṁkitaāM

AyaM dharmmaḥ prathama-varṣa paripālitaḥ. Āṇati sva-mukhamaM. Ubhaya-gaṇa-rakṣitavyaM

Seal

Plates svasti svasti I see no trace of the spiral design reported by PS, not any room where it may have been. vijayavāṭa- vijayavāṭi- abhiṣṭūyamāna-mānavya- abhīṣṭhaāya mānavya -sagotrāṇāM hāritī-putrāṇāM -sagotrāṇāmaṁ -ṣmahāsena- -meahāsena- bhagavan-nārāyaṇa bhagavan-nārāyaṇa calukyānāṁ caḷukyānāṁ tyāgoaudāryya-gāṁbhīryya- tyāgodoāryyā-goṁbhīryya- -nirasanodddyotita- nirasta ketodyotita -praḷlayādityaḥ Pra may have been corrected from ma, or perhaps pa was first engraved so close to the bottom edge as to leave no room for the subscript r, and then re-engraved slightly higher up. bhagavatām arhatāM bali- bhagavatā mahāto mahābali- -saraṇārtthaM saāra netrī In his discussion, PR subtly further modifies the reading to just navakarmma-sāra, which he considers to be a reference to nine works apparently called sāras by Koṇḍakuṇḍācārya. I utterly fail to see why these works would be mentioned in the context. The ARIE correctly says that the grant's purposes included navakarmasaraṇa. I accept this word as correct, interpreting it as "uninterrupted continuation". The parallel locus in the third Peddāpurappāḍu set reads śaraṇārtthaM, which I find inferior. potupa-viṣaye PS shows the name as unclear. After examination of the photos, there is no reasonable doubt to the spelling. -nadyāT PS's use of the double hyphen for transliterated characters belonging to a single akṣara is unreliable, so the text may be -nadyāt; conceivably, this may also be a misreading of -nadyāḥ or -nadyāḫ. pūrvvae taṅgomanūṟuvu-grāmāT pūrvvata jemanūruva-grāmā In PS's edition, the name is set with a line break after jemanū and a large space after r. I assume that his author manuscript used the Telugu character ṟ here, which the typesetter of the paper messed up. In the plate, the character I read tentatively as ta is atop the break between the two halves of the plate, and has been partly rubbed off at the edge. In the next character, the g component is very faint but quite clear, and the strokes for the vowel o have been attached to the top of this component rather than to the upper ṅ component, presumably because the descender of rttha in the previous line was in the way. In spite of the non-standard execution, the reading is reasonably certain. A field named Taṁgodunaruva is mentioned in the mid-sixth century Kondavidu set II of Pr̥thvīśrīmūla (EIAD 0188), in the vicinity of Tāṇḍikoṇḍa. The present charter probably concerns a different region (although see my commentary to the second Peddāpurappāḍu set), but the attestation of that name adds to the plausibility of my reading. In pūrvve, I emend to harmonise with the rest of this part of the sentence, but retaining pūrvva in compound or emending to pūrvvataḥ would also be acceptable. naḻpuru- nalpuru- In PS's edition, this word is set with a line break after na and a large space after l. I assume, but may be mistaken, that his author manuscript used the Telugu character ḻ here, which the typesetter of the paper messed up. Iṇṭharu- Interu- In PS's edition, this word is set with a line break after Inte and a large space after r. I assume, but may be mistaken, that his author manuscript used the Telugu character ṟ here, which the typesetter of the paper messed up. PS may have been aware of the Īnteṟu grant of Bādapa and been influenced by the name of that village in velānāṇḍu-viṣaya. Here, the second character's principal consonant is clearly ṇ. The rest is most likely ṭha mixed up with the vestiges of an earlier character (see the commentary), but possibly ṭhu or ṟu. The last character of the name is definitely ru, although a second curved stroke is attached to the bottom left of the consonant component, which may be a vestige or a slip of the chisel. EṣāM Eṣānaṁ parttipāka- pattipoka- The ARIE report gives this name as Pattipāka, along with the possible alternative Pattipāḍu. The segment parttipā is clear. The ā marker is notched and thus reminiscent of the later cursive o, but compare the similarly notched ā e.g. in l. 3 pādānudhyātānāM, as opposed to the bipartite o marker in l. 19 potupa. The last character of the name has the fracture line running through its body, and what may be a vowel marker atop it is tangled with the subscript part of ści in the previous like. It was this subscript that made the ARIE reader think of ḍ, with the body of k resembling a dependent u attached to it. That reading can be ruled out with certainty. I believe that no dependent vowel is attached to this last consonant. -grāmaTM -grāmāT dattaM dataM The illegible last character may be a damaged final M or a vestige of the earlier text on this section of the plate. Given the syntax in the earlier part of the sentence, perhaps dattavāN was intended. The characters of this last word are widely spaced, but there is no illegible text here. See also the next note. na kenacid bādhā karaṇīyā dākaraṇīya The missing words seem not to have been re-engraved after overwriting the last three lines on 2v. See also the previos note and the commentary. paraṁ sa bhūta-rājyaiḥ ri rājabhiḫ paripālayaitavyaMḥ para-śa bhūta rājya rājabhir paripālatavyaM PS rājabhir was probably intended as an upadhmānīya here, which the typesettermessed up. I interpret sa to refer to dharmaḥ meaning this charter, but the sentence is problematic nonetheless. tasya tasya tasya tasya sva-pitānighnato-bhartr̥- sva putā chātrā I normalise the beginning to the expected form, paralleled e.g. in the Koṇḍaṇagūru grant of Indra Bhaṭṭāraka. The alteration seems to be deliberate, but not only does it use a form inappropriate in compound, it also deletes the participle without which the stanza becomes rather nonsensical. See also the note to line 26. -bāla-yeoṣit-tapasvināM pālayokṣittat-upasthi nāma yā gatis sā harebhaved bhūmiM yogati soha bhūmi This line dips to avoid the descender of rtr̥ in the previous line, while the next line is initially quite level. As a consequence, the characters ma varṣa in line 27 line overlap the subscript s of ssā and the lower parts of hare in the present line. Also, ha is partly obscured by the fracture line in the plate. Nonetheless, the reading hared is beyond doubt. It seems to be a clumsy attempt to restore sense to the stanza after the alteration in the first quarter (q.v. the note to line 25). harataś śāsanāṁkitaāM sāsanāmkitāM The character ha may have been corrected from ppa or misinterpreted as ppa by the engraver. AyaM dharmmaḥ prathama-varṣa paripālitaḥ AyaM dharmma pradhama varṣaM paripālitāni The characters ma varṣa increasingly overlap with the previous line (see also the note to line 26). Thereafter, the current line skips to the point after the large descender of dbhū and continues at a lower horizontal level. The fracture affects only the right limb of ma in this line. The character va looks rather like ṣa and may have been corrected from that. The end of the line is clearly paripālitaḥ; what PS may have taken for an i marker or ni (promting the rest of his reading) is in fact the subscript part of śśā in the previous line. I suspect that paripālitaḥ was inscribed erroneously for pratipāditaḥ. śrī

Seal

Plates

Greetings from the encampment at Vijayavāṭa. From the ocean that is the lineage of the majestic Caḷukyas—who are of the Mānavya gotra which is praised by the entire world, who are sons of Hāritī, who were deliberately appointed to kingship by Lord Mahāsena, who attained kingship by the grace of Kauśikī’s boon, who acquired the superior Boar emblem by the grace of the divine Nārāyaṇa, and whose bodies have been hallowed through washing in the purificatory ablutions avabhr̥tha of the Aśvamedha sacrifice—had arisen a moon who was His Majesty King mahārāja Viṣṇuvardhana, who earned his great good reputation by his political acumen naya, discipline vinaya and valour. His son was His Majesty King mahārāja Jayasiṁha I. His dear younger brother was Indra Bhaṭṭāraka, whose body was adorned by a host of virtues such as selflessness, generosity, profundity and beauty, who had by his own valour conquered the circle of the earth and whose valour equalled Indra’s. His dear son, His Majesty the supremely pious King mahārāja Viṣamasiddhi Viṣṇuvardhana II—who was deliberately appointed as heir by his mother and father, whose pair of feet are tinted by the hues of the rays from the many gems fitted to the surfaces of the crowns of enemy kings bowed down by the blade of his sword, a blazing doomsday sun by his way of dispelling the darkness of the Kali age—has, according to the religious dharma- instruction of His Reverence Master ācārya Kanakanandi, a forehead mark on the Vr̥kṣamūla Yāpanīya gaṇa, in order to increase his own merit dharma, granted the village Parttipāka in Potupa district viṣaya, to the east of the river Elī, to the south of the village Taṅgomanūṟuvu, to the west of the village Naḷupūru, to the north of the village Iṇṭharu—thus situated in the midst of these—to the Jain temple located in Kasumi for the perpetuation of bali and vaiśvādeva ceremonies and renovation for the Reverend Arhats.

Let no-one pose an obstacle to the enjoyment of their rights over it. This ruling shall be protected by kings whose kingdoms have come into existence hereafter.This sentence is very awkward in the original. I translate the best sense I can make of the received text, but something different may have been intended. In this connection the following stanzas were sung by Vyāsa:

Many kings have granted land, and many have preserved it as formerly granted. Whosoever at any time owns the land, the fruit reward accrued of granting it belongs to him at that time.

It is the fate of a killer of his lord, a cow, a Brahmin, a woman or an ascetic that meets one who takes away land allotted aṅkita by royal charter śāsana.The received text is unintelligible. I translate as normalised from parallels of this stanza; see the apparatus to lines 25 and 26.

This ruling dharma was grantedI translate what I believe was the composer's intent; see the apparatus to line 27. in the first year. The authority āṇati is the king’s own mouth. It is to be protected by both groups.I do not know what groups (gaṇa) are meant here.