Seal śrī-tribhuvanāṁkuśa

Plates

svasti. śrīmatāṁ sakala-bhuvana-saṁstūyamāna-mānavya-sagotrāṇāṁ hārīti-putrāṇāṁ kauśikī-vara-prasāda-labdha-rājyāṇnāṁ mātr̥-gaṇa-paripālitānāṁ svāmi-mahāsena-pādānudhyātānāṁ bhagavan-nārāyaṇa-prasāda-samāsādita-vara-varāha-lāñcchaṇanekṣaṇa-kṣaṇa-vaśīkr̥tārāti-maṇḍalānāṁm aśvamedhāvabhr̥ttha-snāna-pavitrīkr̥ta-vapuṣāṁ cālukyānāṁ kulam alāaṁkariṣṇoḥ satyāśraya-vallabhendrasya bhrātā kubja-viṣṇuvarddhano ’ṣṭādaśa varṣāṇi veṁgī-deśam apālayaT| tad-ātmajo jayasiṁhas trayastriṁśataṁ| tad-anujendrarāja-nandano viṣṇuvarddhano nava| tat-sūnur mmaṁgi-yuvarājaḥ paṁcaviṁśatiM.tat-putro jayasiṁhas trayodaśa| tad-avarajaḥ kkokkiliḥ ṣaṇ-māsāN. tasya jyeṣṭho bhrātā viṣṇuvarddhanas tam uccāṭya sapta-triṁśataṁ| tat-putro vijayāditya-bhaṭṭārako ’ṣṭādaśa| tat-sauto viṣṇuvarddhanaḥ ṣaṭtriṁśataṁ| tat-suto vijayāditya-narendra-mr̥garājaś cāṣṭacatvāriṁśatsaṁ| tat-sutaḥ kali-viṣṇuvarddhano ’ddhyarddha-varṣaṁ| tat-suto guṇagāṁka-vijayādityaś catuścatvāriṁśataṁ| tad-anuja-yuvarāja-vikramāditya-bhūpateḥ sūnuś cālukya-bhīma-bhūpālas triṁśataṁ| tat-putraḥ kollabigaṇḍa-vijayādityaḥ ṣaṇ māsāN| tat-suto ’ṁba-rājas sapta varṣāṇi| tat-sutaṁ vijayādityaṁ bālam uccāṭya tālapo māsam ekaṁ| taṁ jitvā cālukya-bhīma-tanayo vikramāditya Ekādaśa māsāN| tatas tālapa-rājasya suto yuddhamallaḥ sapta varṣāṇi| taṁ jitvā kollabigaṇḍa-vijayāditya-suto bhīma-rājo dvādaśa varṣāṇi| tasya maheśvara-mūrtteḥ bhīma-bhūpateḥ Umā-samānākr̥teḥ lokamahādevyāḥ kumārābhaḥ khalu yas samabhavad ammarājākhyaḥ Asau samyag dharmma-nyāyena veṁgī-deśaṁ tri-kaliṁga-sahitaṁ rakṣati sma.

Āśritya karṇa-rājākhya -vallabhaṁ bādapādhipaḥ vinirggamayya tan deśād amma-rājākhyam uūrjjitaM jitvājeyān mr̥ditvā ripu-nikaram athābhyartthiṇnāṁ vastu-rāśiṁ datvā saṁpuūjya bandhūn sakala-guṇa-gaṇālaṁkr̥tottuṁgga-kīrttiḥ mānī dhīraḥ pratāpī manu-mata-caritaḥ pālayan bhāti bhūmiṁ| veṁgīśo yuddhamalla-kṣitipati-tanayo bādapākhyādhirājaḥ. yasmin śāsati nr̥patau| paripakvāneka-sasya-saṁpat-sahitaḥ| bhavati dharmmānurakto nirītir aparujṅ nirasta-coro deśaḥ. manur iva sakala-janānāṁ janaka Ivāśeṣa-bhr̥tya-varggāṇāM kāma Iva kāmīninām artthi-janānāṁ ca kalpataruḥ.

ssa samasta-bhuvanāśraya-śrī-vijayāditya-mahārājādhirāja-parameśvaraḥ parama-bhaṭṭārakaḥ parama-māheśvaraḥ parama-brahmaṇyo mātā-pitr̥-pādānudhyāyī velanāṇḍu-viṣaya-nivāsino rāṣṭrakūṭa-pramukhān sarvvaān kuṭiuṁbinas samāhūyettham ājñāpayati

viditam astu vaḥ

śreṣṭho yaś ca dhanurddharaḥ kaliyuge tat-kārtytavīryyāpahaḥ bhūyo jāta Iti prakyakr̥ṣṭa-mahimā rāmārjjunābhyāṁ samaḥ bāḷāditya-viśeṣa-nāma-vinuto dharmme ratas satyavāK trātā prārtthiṣuva-pati vidviṭsu kālānalaḥ tat-putro nr̥pakāma Ity abhinutas satya-pratijño dhanur ddharmmaṁ cāpy adhigacchati sma vikhyāta-saurryākaraḥ yadd-rāṣṭre pathi gacchatāṁ ca pavaṇno nāsraṁsayaty aṅśukaṁ core tā yasya pratāpānalaiḥ sa kārmmuka-jitāritvāt kārmmukārjjuna-nāma-bhr̥T satyaika satyaballāta-saṁjñakaḥ dhīmanto gurum agra-janma-nikarā vyāsaṁ sahāyaṁ nr̥pāḥ prītyā sva-janakaṁ kalpadrumaṁ cārtthiṇnaḥ manyante ’pi sadaikam ūrjjitam anekaṁ pārttham uddhanvinaḥ cittraṁ śrī-vara-kārmukārjjuna-nr̥paṁ kāmāsaṁ sakāmāḥ striyaḥ yac-chauryyaṁ yudhi vairi-bhūpa-nivaha-vyāghāta-jātaṁ bhrir̥śaṁ yad-dānaṁ dvija-saṁśritārtthi-jana-santrir̥pti-kriyā-peśalaṁ| yat-kīrttis sakalāñ ca candra-dhavalā śubhrī-karoti kṣitiṁ so ’yaṁ bhāti sukārmmukārjjuna-saro-nāthorjjito vīryyavāN. kanati san-nr̥pakāma-saraḥpatiḥ śrita-janānana-padma-sunandanaḥ| Iha sadoditir aṁśu-nidhiḥ kṣitoau ripu-tamo-nud inena samo ’naghaḥ| dānodāra-dayā-bala-prakaṭita-prāvīṇya-śauca-kṣamā -mānālaṁghya-śivārccanoru-guṇa-muktā-hāra-saṁbhūṣitaḥ dīnānātha-naṭāndha-nagna-kavi-vāgmīndra-dvijānanda-krir̥d bhāti prastuta-kīrttimān raṇa-jayī śrī-satyaballāta-rāṬ dhavala-guṇo dhavala-yaśo-dhavalita-dig-maṇḍalo ’vadamitārātiḥ| bhava-bhakto bhava-karuṇodbhava-bhava-bhogānvito vibhāti sukīrttiḥ| Arkka-pratāpo ’ri-riḍ agra-dhanvī śrī-hrī-kṣamājñā-karuṇāśrīito ’bhīḥ Enaḥ-kṣid asyāṁ bhuvi bhāti nityaṁ| satyāśritas san-nr̥pakāma-śauriḥ| yo ’vadhīt kṣurikeṇaikaḥ paṁca-vīrān balāt svayaṁ| punaś ca dhanuṣā śatraūn sahasrān yudhi bhāti saḥ| brahmeśendra-hrir̥ṣīkeśa -kumārāṇāṁ yathābhavan vāgvadhūmā-śaciī-lakṣmī| -jaya-śrī-subhagāḥ striyaḥ. tathā teṣāṁ samasyābhūn nr̥pakāma-saraḥpateḥ tāsāṁ samā priyā bhāryyā nāyamaṁbā Iti śrutā. sarvva-lakṣaṇa-saṁpannā sarvvābharaṇa-bhūṣitā| sarvva-strī-dharmma-tatva-jñā śīla-vr̥ttavatī satī. tasyāṁ pativratāyāṁ ca gaṇḍanārāyaṇāhvayaM satyaballāta-nāmāṁkaḥ pātraṁ putram ajījanaT. Umā-vr̥ṣāṁkayor yyathā guhaś śaciīndrayor iva jayanta Ity abhūt sutaḥ tayoś ca tat-samānayoḥ| vyūḍhorasko vr̥ṣa-skanddhaḥ skanda-pratima-vikramaḥ mahotsāhī mahodyogī mahā-bāhur mmahā-balaḥ. nr̥pakāma-saronātha -putro jyeṣṭho ’tibuddhimān gaṇḍanārāyaṇaḥ śrīmān gajāśvāruūḍḍha-kauśalaḥ. paṭus sūras sś śucir ddakṣaḥ śīla-vr̥tta-guṇānvitaḥ dhanuṣmat-puruṣa-śreṣṭhaḥ śreṣṭhas sarvva-kalāsu ca. mātā-pitr̥-pāadāṁbhoja -bhramaro bhāskaro nr̥ṇāṁ gaṇḍanārāyaṇāhvo yas sarvva-śastra-bhrir̥tāṁ varaḥ. tasmai bādapa-rājādhi rājo rājendra-puṁgavaḥ prītaḥ prādān mahā-grāmam āruṁbāketi viśrutaṁ.

tasmai gaṇḍanārāyaṇasyaāya velanāṇḍu-viṣaye Āruṁbāka nāma grāmaṁḥ sarvva-kara-parihāraṁ tāmra-śāsanī-kr̥tya mayā datta Iti. bādapa-rājendreṇa dattadattaṁ grāmaṁ svīkr̥tvātya sa gaṇḍanārāyaṇaḥ svayaṁ sva-mātur nnāyamaṁbāyāḥ kanīyasī sahodarī sāmakāṁbā tasyāḥ putraś candeṇākhyaḥ. tasmai candeṇākhyāya svīkr̥tam āruṁbāka nāma grāmaṁm udaka-pūrvaṁ prādāT. taṁ grāmaṁ svīkr̥tvātya candenākhyaḥ kalānāḥ svīkr̥tvātya pūrṇṇacandra Iva bhrājati sma

śūraḥ kumāras subhaṭāgra-gaṇyas saro-narāṇāṁ sakalāgama-jñaḥ kāruṇyavān garvvita-śatru-hantā cārūdayo bhāti sucandenāryyaḥ.

tasya grāmasyāvadhayaḥ. pūrvvataḥ ceṟakuṁballi. dakṣiṇataḥ śrīpūṇḍi. paścimataḥ kāvūru. Uttarataḥ gomaḍuvu. Asya grāmasyopari na kenacid bādhā karttavyā. yaḥ karoti sa pañca-mahā-pātaka-saṁyukto bhavati|

sva-dattāṁ para-dattāṁ vā yo hareta vasundharāṁ ṣaṣṭi-varṣa-sahasrāṇi viṣṭṭhāyāṁ jāyate kr̥miḥ|

vyāsenāpy uktaṁ

bahubhir vvasudhā dattā bahubhiś cānupālitā yasya yasya yadā bhūmiḥ tasya tasya tadā phalaṁ| ājñaptiḥ kaṭaka-nr̥paḥ kavir ayyanabhaṭṭa-sarvva-śāstra-jñaḥ likhitaṁ bhaṭṭadevena śāsanam ācandra-tārārkaM.

Seal

Plates -lāñcchaṇanekṣaṇa- -lāñcchaṇnekṣaṇa- °āvabhr̥ttha- °āvabhr̥tha- trayastriṁśataṁ trayastriṁśataṁ paṁcaviṁśatiM paṁcaviṁśatiṁ -bhūpateḥ sūnuś cālukya-bhīma- -bhūpates tanayaś cāḷukya-bhīma- While the exact wording of the lost text cannot be reconstructed and its meaning is beyond doubt, the words I propose seem most likely on the basis of related grants. The words tad-anuja-yuvarāja-vikramāditya-bhūpateḥ occur in two grants of Amma II, in both cases followed by the words proposed here. In other versions of the genealogy, the phrasing deviates from the text preserved here, e.g. tad-anuja-yuvarāja-bhūbhr̥d-ātmajaś cālukya-bhīma-; tad-anuja-yuvarāja-vikramāditya-narapātmajaḥ cālukya-bhīma-; tad-anuja-vikramādityātmajaś cālukya-bhīmas; tad-anujasya labdhayauvarājyasya vikramāditasya sutaś cālukya-bhīmas. -bhīma-tanayo vikramāditya -bhīma-sūnur vvikramāditya The loss is larger than the space required for LR's restoration; the damaged character after the gap seems to be vi, not rvvi; and related plates use the word tanayo here. I wonder if LR also had my restoration in mind, but accidentally mixed up two restorations next to the name Bhīma (compare the note to line 11). karṇa- The reading kaṇha or kaṇṇa cannot be excluded; see the commentary. bādapādhipaḥ This ruler's name has been read as Bāḍapa in 90-91 (for the present plates) and as Bāḍaba 108 (for the Śrīpūṇḍi grant of Tāḻa II). Lakshmana Rao asserts that he has carefully compared instances of da and ḍa in these two inscriptions and come to the conclusion that the name is Bādapa. Although LR's estampage is rather indiscernible, da is indeed clear in the photo, as well as in the estampage of the Śrīpūṇḍi grant (where the spelling is indeed with b). vinirggamayya viniggamayya The emendation proposed by Lakshmana Rao is probably a typo and his intent must have been vinirgamayya. In the scanned estampage it seems definitely possible that the repha is in fact there above gga, so I prefer the reading that does not require emendation. jitvājeyān jitvā dāyān Lakshmana Rao assumes that his reading dāyān means dāyādān, which I do not find convincing at all. The first character of this string, which he prints as a clearly legible ji, is mostly lost with a missing chunk of the plate; the vestiges outside the lost chunk are indiscernible in both the photo and the estampage. After that, tvā and the final nmr̥ are quite clear in the estampage, though less so in the photo. The third character is wholly indistinct in both. Lakshmana Rao's editor (probably Hirananda Sastri) tentatively proposes in a footnote to read it as je, which I adopt provisionally, though the character appears a little narrow for je. If this reading/restoration is correct, it permits construing either jitvā+jeyān or jitvā+ajeyān, of which I slightly prefer the latter because the former is extremely bland. From the vestiges, I could also imagine datvā deyān, but in addition to being bland, this would be quite the same as the statement later in the same quarter. bhūmiṁ After bhū, there is a dot at head height. This may be the headmark of an aborted character or a space filler. bhavati bhamvati Although the second character does resemble ma (more in the photo, less in the estampage), what appears to be its right limb is placed too low, is next to a vertical crack in the plate, and is probably not attached to the body. I think the engraved text is correct, and the upper part of the apparent right limb is in fact the end of the following t, while its lower part is probably damage associated with the crack. aparujṅ aparuṅ The same spelling is found in the Paḷaṁkalūru grant of Amma II. prakyakr̥ṣṭa- prarkyākr̥ṣṭa- I adopt Lakshmana Rao's emendation, but I am not sure of his reading. In the estampage, kya appears quite distinct and there may well be a repha there, but only the subscript y is certain from the photo. There is a slight chance that the engraved text is prasya, intended for praśasya; there may also be a scribal correction engraved in small size above the problematic character and no longer legible. -mahimā -mahimo samaḥ sammaḥ bāḷāditya- bāḷāditya- I provisionally accept LR's reading of the first character, but I am far from certain about it. Subramanian 743 discusses this name as Bālāditya or Colāditya. The latter (rather with ḷ than l) also seems possible, as do others such as veḷāditya, vejāditya and Eḻāditya. prārtthiṣuva-pati vidviṭsu vidviṣṭa- My tentative prārtthiṣu at the beginning of this line is based on very faint and ambiguous vestiges. I cannot interpret vapati, but perhaps the word pati is involved. I am also unsure about ṭsu, but LR's ṣṭa seems unlikely for the last character of this stretch. -pratijño dhanur The first two characters in line 28 are completely indiscernible in both the photo and the estampage, but I accept LR's reading as very plausible in the context. py adhigacchati sma a I restore tentatively. If the vestiges are clearer in the original, then it may be possible to confirm or reject dhigaccha; the rest of this stretch is lost with a chunk of the plate. core LR prints this word as clear, but as far as the facsimile and photo tell, it could also be veda or a number of other things. If LR is correct, then perhaps read/emend corai, then restore ḥ kiṁ or r nna. The last character before the missing chunk of plate may have had the vowel i. dhīmanto gurum According to LR, these characters are inscribed over an erasure. I see no definite indication of this, but he is probably correct anyway. vyāsaṁ sahāyaṁ nr̥pāḥ I accept LR's reading here, which he prints as clear except for saṁ. The second charaqcter in line 31 is mostly lost to a hole where the plate has been eaten through, but it seems from LR's rubbing that the hole may have been smaller at that time. In the vestiges of nr̥, the vowel marker is quite far below the consonant, so I wonder if the character is in fact nnr̥ (with the subscript n now indiscernible), without a preceding anusvāra. bhr̥tyā prītyā I suggest a restoration that is in my opinion more likely in the context than LR's; compare stanza 4. The first two characters may also be something else, such as patyu. Another problem with this locus is that the size of the lacuna does not appear to be more than four characters, but the metre requires six here. Something may have been omitted by the scribe, or there may be a correction in which six characters were inscribed over a smaller number of earlier ones. anekaṁ pārttham uddhanvinaḥ Here, the condition of the plate has definitely deteriorated since LR's rubbing was taken. cittraṁ I accept LR's word that a superfluous subscript t is present here; it is not clear either in the estampage or the photograph. inena ianena I find that Lakshmana Rao's emendation does not improve the text. A superfluous i would be an unusual sort of mistake, especially here where the last line on the plate is written more calligraphically than the rest (with extended descenders). The word anena does not fit the context, while ina is attested in several cognate inscriptions. -prakaṭita-prāvīṇya- I accept LR's reading since it is very plausible in the context. The second and third characters of line 38 are illegible in both facsimiles, and the vowel marker of the fourth is a hook attached to a stroke ascending from below on the right of the damaged body. It thus appears most likely to be pyā or or syā, and reading prā may require emendation. There is a slight possibility that the text is svāvīṇya, inviting the emendation svādhīnya; but the only specimen of svā in the text does not clearly have the stem of the subscript v ascending beside the body of s. san-nr̥pakāma- This is my preferred parsing of this string, because the composer uses su- and sat- repeatedly to fill out the metre. The letters could also be analysed as san nr̥pakāma-. punaś ca dhanuṣā puūrṇātta-dhanuṣā Nothing in line 44 before nu is discernible in either facsimile, and the plate is completely corroded through where the third character should be. In addition to reading and emending as shown above, LR notes that the first two characters of line 44 look like naḥ sa in the original plate. If this is so, then I do not see the need for reading something as different from that as rṇātta, which even requires an emendation. The reading punaḥ sa, as well as punaḥ su° and punaḥ sva°, are possible given the awkward style of the composer, but lacking a better facsimile, I consider punaś ca to be most likely. śatraūn The vowel u or even ū may be present in the original, overlapping the subscript s of the next character. -vr̥ttavatī The characters marked as unclear are wholly indistinct in the scan. Lakshmana Rao's reading makes perfect sense, but the space seems rather narrow for them. It is possible that one character was omitted in the original, or that these three characters were inscribed as a correction over only two earlier characters. āhvayaM āhvayaḥṁ °āruūḍa- °ārūḍha- The ḍ in Lakshmana Rao's text may be a typo. The original character permits either reading and ḍ makes no sense in the context. The second character is ru, not rū (compare āruṁbāketi in line 55). Lakshmana Rao's editor (Hirananda Sastri?) proposes reading °āroha- in a footnote, but this does not seem possible from the estampage. While āroha may be smoother in the context, ārūḍha is in fact attested as a substantive (neuter) meaning "mounting, arising" (Monier-Williams s.v.). paṭus sūras sś śuci° These words, and perhaps also the following character rdda, are narrow and crowded, indicating that they may be a correction written over an erased shorter text (perhaps paṭuś śuci, an eyeskip omission?). However, no traces of an earlier text are discernible. I agree with LR in emending śśū to ssū, though as s and ś are not confused elsewhere in the inscription, the composer may have intended sūra in the sense of sūri, "learned man." -pāadāṁbhoja- I agree with Lakshmana Rao's emendation but note that it may not be absolutely necessary. The line may have been intended as a ma-vipulā, though in that case the fourth syllable ought to be long. °nārāyaṇasyaāya °nārāyaṇāya dattadattaṁ grāmaṁ dattadattaṁ grāmaṁ The anusvāra after the second iteration of datta was, I assume, not meant to be deleted. According to an editorial footnote in LR's edition, the last word is grāmaḥ, but this is incorrect (what may seem like a higher dot in the estampage is not present in the photo). After grāma, there is a single dot at baseline level. I take this to be a subsequently added anusvāra, for which there was no room at head height between ma and the following svī, nor above the latter. Although there is plenty of free space above ma, the engraver seems still to have preferred this unusual position. sa Or possibly restore sa ca; but given the size of the gap, one character is more likely than two. LR shows two dots here, by which he probably means a lacuna of one akṣara. sāmakāṁbā sāmakāṁbāṁ The first character of line 60 is absolutely illegible in both the estampage and the photo. LR may have made out some vestiges here or may have been guessing. An editorial footnote next to LR's emendation of sāmakāṁbāṁ to sāmakāṁbā says, the anusvāra is placed on the syllable bā. I am not sure what the point of this note was. The definite anusvāra is between kā and bā, just above headline, and closer to the latter, but surely describing this would not merit an editorial note. There is no second anusvāra on bā. What LR saw as a superfluous anusvāra was probably a dot, much the same size as an anusvāra, between bā and the following ta. However, this dot is far above the headline, in fact closer to the line above, and is in my opinion not a deliberate engraving. ājñaptiḥ ājñaptiḥ The dots at the beginning of line 68 are not quite positioned as a visarga would be, and there are several similar pits on the corroded surface here. I believe these dots were not engraved.

Seal

Plates

Greetings. Satyāśraya Vallabhendra Pulakeśin II was eager to adorn the lineage of the majestic Cālukyas—who are of the Mānavya gotra which is praised by the entire world, who are sons of Hārītī, 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 land of Veṅgī for eighteen years. His son Jayasiṁha Vallabha I, for thirty-three years. His younger brother Indrarāja’s Indra Bhaṭṭāraka’s son Viṣṇuvardhana II, for nine. His son Maṅgi Yuvarāja, for twenty-five. His son Jayasiṁha II, for thirteen. His younger brother, Kokkili, for six months. After dethroning him, his eldest brother Viṣṇuvardhana III, for thirty-seven. His son Vijayāditya I Bhaṭṭāraka, for eighteen. His son Viṣṇuvardhana IV, for thirty-six. His son Vijayāditya II Narendramr̥garāja, for forty-eight. His son Kali-Viṣṇuvardhana V, for a year and a half. His son Vijayāditya III with the cognomen Guṇaga, for forty-four. The son of his younger brother the heir-apparent yuvarāja Prince bhūpati Vikramāditya, King bhūpāla Cālukya-Bhīma, for thirty. His son Kollabigaṇḍa Vijayāditya IV, for six months. His son Ambarāja Amma I, for seven years. After dethroning his son the child Vijayāditya V, Tālapa, for one month. After defeating him, Cālukya-Bhīma’s son Vikramāditya II, for eleven months. Then, King rājan Tālapa’s son Yuddhamalla, for seven years. After defeating him, Kollabigaṇḍa Vijayāditya’s son Bhīmarāja II, for twelve years. A son who resembled Kumāra was born to that King bhūpati Bhīma, who was like Maheśvara, from none other than his queen Lokamahādevī, who was like Umā in appearance. Named Ammarāja II, he protected rakṣ- the land of Veṅgī together with the three Kaliṅgas with proper piety dharma and justice nyāya.

Having sought the aid of the Vallabha Rāṣṭrakūṭa named Karṇarāja Kr̥ṣṇa III, King adhipa Bādapa expelled from the country that puissant one called Ammarāja.

Having first defeated the invincible ones,Or, “defeating those who needed to be defeated.” See the apparatus to line 18. and crushed droves of enemies, then having donated heaps of largesse to supplicants and honoured his kinsmen, the king adhirāja named Bādapa, son of King kṣitipati Yuddhamalla, now shines while he protects pāl- the earth as Lord of Veṅgī, esteemed, steadfast, valiant, conducting himself according to the teaching of Manu, his lofty fame embellished by a host of all virtues.

While this king rules, the land, devoted to righteousness dharma, becomes replete with the bounty of many a ripe harvest, free from disasters īti, devoid of pestilence and rid of bandits.

He is like Manu to all people, like a father to all classes of his dependants bhr̥tya, like Kāma to amorous women and like a wish-granting tree to supplicants.

That shelter of the entire universe samasta-bhuvanāśraya, His Majesty Vijayāditya Bādapa the Supreme Lord parameśvara of Emperors mahārājādhirāja, the Supreme Sovereign parama-bhaṭṭāraka, supremely pious and supreme devotee of Maheśvara, humbly devoted to his mother and father,While I consistently translate the phrase (pāda+)anudhyāta, occurring in almost all Cālukya plates, as “deliberately appointed by,” the construction here is with °ānudhyāyin. Thus, the composer of this text had in mind “meditation on the mother’s and father’s feet,” or at least a humble devotion to the persons of the mother and father. This in turn may mean that the standard phrase with (pāda+)anudhyāta was also understood to have this latter meaning by this time in the Cālukya chancellery. Compare 109. convokes and commands the householders kuṭumbin—including foremost the territorial overseers rāṣṭrakūṭa—who reside in Velanāṇḍu district viṣaya as follows:

Let it be known to you that

There was a man renowned by the distinguishing name Bāḷāditya,See the apparatus to line 26 about the reading of this name. who has the outstanding eminence of being the most excellent bowman of the Kali era, a reborn Bane of Kārtavīrya Paraśurāma of that Kali era, and being on par with Rāma and Arjuna. He is dedicated to righteousness dharma, true to his word, a saviour to supplicants and a fire of death to his enemies.

His son, renowned as Nr̥pakāma, is true to his promises and has studied both religious duty dharma and the bow. He is a mine of famed heroism, in whose country wayfarers’ robes are not pulled off even by the wind, much less by banditsThis element of my translation is based on a tentative conjectural restoration for which see the apparatus to line 29. It is also possible that the clause about travellers’ clothes and the wind is not connected to the mention of bandits. by the fires of his valour.

He bears the name Kārmukārjuna Arjuna of the Bow on account of having defeated his enemies with his bow. His designation is Satyaballāta because truth alone.

How strange! Though His Highness the excellent King nr̥pa Kārmukārjuna is only one puissant person, others always think of him manifoldly: the wise as a preceptor, flocks of Brahmins as Vyāsa, rulers as their helper, dependants See the apparatus to line 31 for the conjectural reading on which this translation is based. as their own father, supplicants as a wish-granting tree, bow-wielders as Pārtha Arjuna, and lustful women as Kāma.

As one whose valour is strongly manifest in striking down hordes of enemy rulers in battle; as one whose generosity is fascinating because it pleases Brahmins, dependants and supplicants; as one whose moon-white reputation brightens the entire earth—so does this good Kārmukārjuna, valorous and puissant Lord of the Lake, shine.

Gracious Nr̥pakāma, Lord of the Lake, shines immaculate like a trove of rays, the equal of the sun, eternally on the rise, greatly delighting the lotuses that are the faces of his subjects and dispelling the darkness that is his foes.

His Majesty King rāj Satyaballāta, victorious in battles, shines with an explicit reputation, adorned with a pearl necklace of excessive virtues such as compassion lavish with munificence, an aptitude manifest through strength, The text is problematic here, see the apparatus to line 38. The meaning of the original may be slightly different. purity, tolerance, and an adoration of Śiva uninfringed by his self-esteem, delighting the needy, the helpless, actors, the blind, the naked, poets, orators and Brahmins.

Bright in virtue, brightening the circle of directions with his bright fame, having subdued his enemies he, a devotee of Bhava Śiva endowed with creature comforts bhava-bhoga arising udbhava from the mercy of Bhava, shines with good reputation.The intended meaning of the repetitions of the word bhava may be slightly different, perhaps involving abhava-karuṇā, compassion towards those who lack prosperity.

Gracious Nr̥pakāma, the fearless devastator of enemies, foremost of bowmen, accomplished in majesty, modesty, tolerance, authority and compassion, blazing like the sun and ensconced in truthfulness, ever shines as a destroyer of sin like a veritable Śauri Viṣṇu on this earth.

He shines, who alone and on his own overpowered and killed five bravos with just a knife, and then with his bowThere is again some uncertainty in the text at this point, see the apparatus to line 43. Whatever the correct reading is, the meaning is much the same as that translated here. slew a thousand foes in battle.

As the auspicious women Miss Speech Sarasvatī, Umā, Śacī, Lakṣmī and Lady Victory came to be the spouses of Brahmā, Īśa Śiva, Indra, Hr̥ṣīkeśa Viṣṇu and Kumāra, so one renowned as Nāyamāṁbā and equal to those goddesses became the beloved wife of Nr̥pakāma the Lord of the Lake, who is equal to those gods.

Endowed with all good bodily omens, embellished with all ornaments, familiar with all nuances of womanly duty strī-dharma, she was a devoted wife virtuous in morals and conduct.

The one bearing the epithet Satyaballāta begat a worthy son called Gaṇḍanārāyaṇa on that faithful lady.

As Guha Kārttikeya was to Umā and the one with the bull mark Śiva, as Jayanta to Śacī and Indra, so was he born to these two, who are equal to those gods and goddesses.

The majestic Gaṇḍanārāyaṇa, the greatly intelligent eldest son of Nr̥pakāma the Lord of the Lake, has a swelling chest, the shoulders of a bull and valour like that of Skanda. He is great in his undertakings, great in his efforts, great of arm and great in strength, and is a talented rider of horses and elephants.

He is clever, valiant, pure and skillful, possessed of moral, good conduct and virtues, the most excellent of bow-wielders and also most excellent in all arts.

This sun among men who is called Gaṇḍanārāyaṇa is the foremost of all weapon-wielders and is a bee devoted attendant to the lotuses that are the feet of his mother and father.

To him Emperor rājādhirāja Bādapa, that bull among the greatest kings, was pleased to grant a great village renowned as Āruṁbāka.

To that Gaṇḍanārāyaṇa I have granted the village named Āruṁbāka in Velanāṇḍu district viṣaya, formulating a remission of all taxes in a copper edict. Having received the village granted by King rājendra Bādapa, that Gaṇḍanārāyaṇa himself—his mother Nāyamāṁbā has a younger co-uterine sister Sāmakāṁbā, and she has a son called CandeṇaThis genealogical information is enclosed, parenthetically as it were, in the sentence about passing on the grant.—Gaṇḍanārāyaṇa has given the received village named Āruṁbāka to that one called Candeṇa, the donation being sanctified by a libation of water. Upon receiving that village, the one called Candena became resplendent like the full moon upon receiving its digits lost in its waning.

Beautiful in his rising, the good nobleman ārya Candena shines, a valiant bachelor, ranking first among good soldiers, familiar with all traditions āgama of the Men of the Lake, endowed with compassion, but a slayer of haughty enemies.

The boundaries of that village are as follows. To the east, Ceṟakuṁballi. To the south, Śrīpūṇḍi. To the west, Kāvūru. To the north, Gomaḍuvu. Let no-one pose an obstacle to his enjoyment of his rights over that village. He who does so, shall be conjoined with the five great sins.

He who would seize land, whether given by himself or by another, shall be born as a worm in faeces for sixty thousand years.

Vyāsa too has said,

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.

The executor ājñapti is the castellan kaṭaka-nr̥pa. The poet is Ayyanabhaṭṭa, learned in all textbooks śāstra. This edict, which is to last as long as the moon and the stars, was written likhita by Bhaṭṭadeva.

Seal

Plates

Prospérité ! Kubja Viṣṇuvardhana, frère de Satyāśraya Vallabhendra, qui orne la dynastie des Cālukya, illustres, du même gotra que les descendants de Manu, loués dans l’univers entier, descendants de Hārīti, ayant reçu leur royaume par la faveur de l’excellente Kauśikī, protégés par les Mères réunies, méditant aux pieds du seigneur Mahāsena, eux dont les cercles ennemis ont été soumis en un instant à la vue du signe illustre du sanglier, faveur octroyée par le bienheureux Nārāyaṇa, eux dont les corps ont été purifiés grâce aux bains consécutifs à l’aśvamedha, a protégé la contrée de Veṅgī pendant dix huit années. Son fils Jayasiṁha pendant trente-trois ans ; Le fils d’Indrarāja, frère cadet de ce dernier, Viṣṇuvardhana, pendant neuf ans ; Le fils de celui-ci, Maṁgi, le prince héritier, pendant vingt-cinq ans ; Son fils Jayasiṁha pendant treize ans ; Le successeur de ce dernier, Kokkili, pendant six mois ; Son frère aîné, Viṣṇuvardhana, après l’avoir chassé, pendant trente-sept ans ; Le fils de celui-ci, Vijayāditya, l’illustre seigneur, pendant dix-huit ans ; Son fils Viṣṇuvardhana pendant trente-six ans ; Le fils de ce dernier,Vijayāditya Narendra Mr̥garāja, pendant quarante ansLes autres inscriptions attestent un règne de 44 années. ; Son fils Kali Viṣṇuvardhana pendant un an et demi ; Son fils VijayādityaCe roi porte le nom de Guṇagāṁka dans les autres inscriptions. pendant quaranteLes autres inscriptions mentionnent un règne de quarante-quatre ans. ans ; Le fils du roi Vikramāditya, prince héritier et frère cadet de ce dernier, le roi Cālukya Bhīma pendant trente ans ; Le fils de ce dernier, Kollabigaṇḍa Vijayāditya, pendant six mois ; Son fils, le roi Amma, pendant sept ans ; Après avoir chassé le fils de celui-ci, Vijayāditya, alors qu’il était enfant, Tālapa régna pendant un mois ; Après avoir vaincu ce dernier, le fils du roi Cālukya Bhīma, Vikramāditya régna pendant onze mois ; Puis, fils du roi Tālapa, Yuddhamalla pendant sept ans ; Ayant vaincu celui-ci, le fils de Kollabigaṇḍa Vijayāditya, le roi Bhīma, régna pendant douze ans ; Du roi Bhīma, manifestation de Maheśvara, et de Lokamahādevī, dont la beauté était telle que celle d’Umā, naquit celui qui était vraiment semblable à Kumāra, le roi nommé Amma, qui régna sur le royaume de Veṁgī et sur les trois Kaliṁga conformément en tout point au dharma.

Le seigneur Bādapa, auquel Vallabha était soumis, roi surnommé Karṇa, chassa du pays le puissant roi nommé Amma.

Ayant vaincu les Dāya, écrasé la multitude de ses ennemis, donné aux mendiants un amas de biens, honoré ses alliés, lui dont la haute gloire était ornée par la foule de toutes ses vertus, fier, intelligent, étant toute splendeur, se conduisant selon les préceptes de Manu, il resplendit en protégeant la terre , lui le seigneur de Veṁgī, fils du roi Yuddhamalla, le grand roi nommé Bādapa.

Sous son règne, doté d’une abondance de terres cultivées de toutes sortes, le pays est voué au dharma, exempt de calamités, de maladie et de voleur.

Tel Manu pour tous les êtres, tel un père pour les foules innombrables de serviteurs, tel Kāma pour les les femmes amoureuses, pour les suppliants tel l’arbre à vœux,

celui-ci, refuge de l’univers entier, illustre, Vijayāditya, souverain suprême des grands rois, excellent seigneur, excellent dévôt de Māheśvara, très pieux, qui médite aux pieds de sa mère et de son père, ordonne ceci à tous les chefs de famille rassemblés, habitant le viṣaya de Velanāṇḍu, rāṣṭrakūṭa en tête : qu’il soit connu de vous que :

l’excellent archer, dont on loue la grandeur incomparable en se disant : « c’est le meutrier de Kārtavīrya rené dans le Kaliyuga », lui qui est semblable à Rāma et Arjuna est connu sous le nom sans pareil de Bāḷaditya, voué au dharma, à la parole vraie, protecteur, feu destructeur pour ses ennemis.

Son fils, loué sous le nom de Nr̥pakāma, connaisseur de vérité, et qui acquit la science de l’arc, dont l’abondante vaillance est célèbre, dans son rāṣṭra, sur les routes, le vent n’emporte pas les vêtements des voyageurs, les voleurs .... par les flammes de son tāpas.

Du fait que ses ennemis soient vaincus par son arc, il porte le nom de Kārmukārjuna,Allusion à l’arc invincible d’Arjuna. et du fait de .... la vérité, il est connu sous le nom de Satyaballāta.

Les nombreux brahmanes avisés le tiennent pour le maître Vyāsa, les rois pour leur allié, en raison de son affection ... pour leur père, les affligés pour l’arbre à vœux, et pourtant voilà qui est merveilleux : les archers, bien qu’il soit seul, le prennent pour un puissant Pārtha qui se démultiplierait, cet illustre et excellent roi Kārmukārjjuna, et les femmes habitées par Kāma pour Kāma.

Lui, dont la vaillance est immense, qui se révèle un obstacle dans les combats contre les multitudes de rois ennemis, dont les dons charmants satisfont les brahmanes, ceux qui s’en remettent à lui et les affligés, dont la gloire, blanche comme la lune, illumine la terre entière, le valeureux, bon et puissant Kārmukārjuna SaronāthaCe biruda celui des vers suivants semble faire allusion à l’évergétisme du roi qui finance des travaux d’irrigation. Ce composé n’apparaît pas dans les autres inscriptions du corpus. resplendit.

Le vertueux Nr̥pakāma Saraḥpati resplendit, source de joie pour ces lotus que sont les visages des hommes qui dépendent de lui, masse de rayons en perpétuelle ascension sur cette terre, irréprochable, pareil au soleil qui repousserait ces ténèbres que sont ses ennemis.

Orné d’un collier de perles que sont ses vertus profondes : générosité, immense compassion, force, habileté manifeste, pureté, patience, fierté et dévotion à l’égard de Śiva insurpassable, source de joie pour les malheureux, les hommes sans protection, les danseurs, les aveugles, les êtres démunis, les poètes, les grands orateurs et les deux-fois nés, glorieux, dont on célèbre la gloire, victorieux dans les batailles, lui, le roi illustre Satyaballāta resplendit.

Doué de vertus resplendissantes, d’une gloire resplendissante, maître du cercles des horizons qu’il fait resplendir, lui dont les ennemis sont domptés, lieu de naissance de la compassion suscitée par le cycle des existences et possédant les jouissances qu’apportent la prospérité,Laṭānuprāsa fondé sur le terme bhava qui est employé dans trois sens différents. il rayonne, entouré de gloire.

Doté de la splendeur du soleil, destructeur des ennemis, excellent archer, doué de prospérité, modestie, patience, autorité, compassion, exempt de crainte, destructeur des vices, il brille sans cesse sur cette terre, voué à la vérité, lui, le bon Nr̥pakāma, Śauri.

Lui qui, seul, tua, avec son poignard, cinq héros, grâce à sa force, et, avec son arc bandé aussitôt que saisi, des milliers d’ennemis lors d’un combat, resplendit.

De même que les épouses de Brahma, Īśa, Indra, Hr̥ṣīkeśa, Kumāra étaient respectivement la déesse de la Parole, Umā, Śacī, Lakṣmī, Jayaśrī,

de même, l’aimable épouse de Nr̥pakāma Saraḥpati, pareil à ces dieux, fut pareille à ces déesses, connue sous le nom de Nāyamaṁbā,

pourvue de toutes les marques auspicieuses, parée de tous les ornements, connaissant toute l’essence des devoirs des femmes, épouse à la conduite pure.

De cette femme fidèlee, celui qui porte le nom de Satyaballāta donna naissance à un fils méritant nommé Gaṇḍanārāyaṇa.L’ordre des pāda n’a pu être conservé.

De même que Guha naquit d’Umā et Vr̥ṣāṁka, Jayanta de Śacī et d’Indra, le nommé Jayanta fut le fils de ces deux êtres qui étaient pareils à ces divinités.

Il avait un large torse et des épaules de taureau, un courage pareil à celui de Skanda, il était très audacieux, très persévérant, et possédait des bras puissants et une grande force,

fils aîné de Nr̥pakāma Saronātha, très intelligent, l’illustre Gaṇḍanārāyaṇa, expert dans la monte des éléphants et des chevaux,

adroit, instruit, pur, habile par nature, doué d’une bonne conduite et de vertus, le meilleur des archers et le meilleur dans tous les arts,

abeille sur les lotus que sont les pieds de sa mère et de son père, soleil pour les hommes, lui, nommé Gaṇḍanārāyaṇa, le meilleur de tous les hommes en armes.

A celui-ci, Bādapa roi suprême des rois, rois des rois, satisfait, donna le grand village célèbre sous le nom d’Āruṁbāka.

J’ai donné à ce Gaṇḍanārāyaṇa, le village nommé Āruṁbāka, dans le viṣaya de Velanāṇḍu, exempté de toute taxe, moi qui ai fait cet édit de cuivre. Ayant pris possession de ce village donné par le roi des rois Bādapa, Gaṇḍanārāyaṇa, l’a donné à sa mère Nāyamaṁbā. La jeune sœur de celle-ci est Sāmakāṁbā. Le fils de cette dernière est appelé Candeṇa. Après en avoir pris possession, elle a donné à son fils appelé Candeṇa le village nommé Āruṁbāka, après avoir fait une libation d’eau. Ayant pris possession de ce village, le nommé Candeṇa resplendit comme la pleine lune quand elle s’est approprié ses seize quartiers.

Jeune héros, qu’il faut compter parmi les meilleurs guerriers, Saras pour les hommes, connaissant tous les Āgama, doué de compassion, destructueur des orgueilleux ennemis, lui dont l’ascension est charmante, resplendit, le bon et noble Candena.

Les limites de ce villages sont : à l’est Ceṟukuṁ balli, au sud Śrīpūṇḍi, à l’ouest Kāvūru, au nord Gomaḍuvu. Aucune charge ne doit lui être imposée à ce village, celui qui en impose est lié aux cinq grands crimes.

Qu’elle soit donnée par lui ou par un autre, celui qui prend une terre renaît ver de terre dans des excréments pendant soixante mille ans.

Vyāsa a dit :

Beaucoup ont donné une terre, beaucoup l’ont protégée, celui qui possède cette terre en possède les bénéfices.

L’exécuteur est le kaṭakanr̥pa, le poète est Ayyanabhaṭṭa, qui connaît tous les traités. L’édit a été gravé par Bhaṭṭadeva, il perdurera aussi longtemps que la lune, le soleil et les étoiles.