Seal śrī-tribhuvanāṁkuśa

Plates

svasti. śrīmatāṁ sakala-bhuvana-saṁstūyamāna-māṇnavya-sagotraāṇāṁ hārīti-putraāṇāṁ kauśikī-vara-prasāda-labdha-rājyānāṁ mātr̥ītr̥-gaṇa-paripālitānaāṁ svāmi-mahāsena-pādānudddhyātānāṁ vbhagavan-nārāyaṇa-prasāda-samāsāddhita-vara-varāha-lāñcchanekṣaṇa-kṣaṇa-vaśīkr̥tārāti-maṇḍalānāṁ Aśvamedhaāvabhr̥tha-snāna-pavitrīkrir̥ta-vapuṣāṁ| cālukyānāṁ kulam alaṁkraṣokariṣṇoḥ| satyāśraya-vallabhendrasyāaḥ| bhvrātā kubja-viṣṇuvarddhanāo ’ṣṭādaśa varṣaāṇi. veṁgī-maṇḍalam apaālayaT| tad-aātmajo jayasiṁhas trayastriṁśataTM| tad-anujendrarāja-nandano viṣṇuvarddhano nava| tat-sūnur mmaṁgi-yuvarājaḫ paṁcaviṁśati|nM| tat-putrāo jayasiṁhas trayodaśa| tad-avarajaḥ kokkiliṣ ṣaṇ maāsāN| tasya jyeṣṭho bhrātā viṣṇuvarddhanas tam uccāṭya saptatriṁśataM varṣṣaāṇi. tat-putro vijayāditya-bhaṭṭaārako ’ṣṭādaśa| tat-suto viṣṇuvarddhanaṣ ṣatṭtriṁśataM|

narendra-mr̥garājākhyo mr̥garāja-parākramaḥ| vijayāditya-bhūpaālaḥ sa-catvāriṁśat samād aṣṭhyaṣṭabhiḥkaṁ.

tat-putraḥ kali-viṣṇuvarddhaṇno ’dhyarddha-varṣaṁ| tat-putrāaḥ parāacāakrarāmāpara-nāma-dheyaḥ|

hatvā bhūri-noḍaṁba-rāṣṭra-nr̥patiṁ maṁgim mahā-saṁgare gaṁgān āśrīita-gaṁgakūṭa-śikharān nirjjitya saḍ ḍāhalā dhīśaṁ saṁrkilam ugra-vallabha-yutaṁ yo bhāyayitvā catuś catvāriṁśataḥ|m abdakāṁś ca vijayādityāo rarakṣa ksịtiṁ|

tad-anujasya labdha-yauvarājyasya vikramādityasya sutaś cālukya-bhiīmas triṁśataṁ| tasyāgrajo vijayādityaḥ ṣaṇ māsāN. tad-agra-sūnur ammarājas sapta varṣāni. tat-sūnum ākramya bālaṁ calukya-bhīma-pitr̥vya-yuddhamallasya nandanas tāla-nr̥peo māsam ekaṁ|

nānā-sāmanta-varggeair adhika-bala-yutair mmatta-mātaṁga-saiṇanyair hatvā taṁ tāla-rājaṁ viṣama-raṇa-mukhe saārddham atyugra-tejāḥ Ekābdaṁ samyag aṁbhonidhi-valaya-vr̥tām anvarakṣad dharitriīṁ| śrīmān cālukya-bhīma-kṣitipati-tanayo vikramāditya-bhūpaḥ|

paścād ahamahamikayā vikramādityāstamane rkarākṣarsasā Iva prajā-baādhāana-parā dāyāda-rājaputrā rājyābhilāṣiṇo yuddhamalla-rājamaārttaṇḍala-kaṇṭhikā-vijayāditya-prabhr̥tayo vigrāahī-bhūtā stāĀsaN. vigraheṇaiva pāaṁca varṣaāṇi gatāni. tataḥ|

yo ’vadhiīd rājamārttaṇḍan teṣāṁ yena rane kr̥tau kaṇṭhikā-vijayāditya -yuddhamalloau videśāa-gau| Asnye mānya mahī-bhr̥to ’pi bahavo duṣṭa-pravr̥ttād dhatāḥ| deśopadrava-kāriṇaḥ prakaṭitāḥ kālālayaṁ prāpitāḥ dor-ddaṇḍerita maṇḍalāgra-latayā yasyogra-saāṁgrāmaikā nvājñā tat-para-bhr̥ū-nr̥paiś ca śirasoā māleva sandhāryyate. nādagdhvā vinivarttiate ripu-kulaṁ kopāgnir ā mūlataḥ śubhraṁ yasya yaśo na lokam akhilaṁ santiṣṭhate na bhramaT dravyāṁbhodhara-rāśir apy anudinaṁ santapyamāne bhr̥śaṁ dāridryogratarātapena jana-sat-sasye na no varṣati sa cālukya-bhīma-naptā| vijayāditya-nandanaḥ dvādaśādhyāt samās samyaK rāja-bhīmo dharātalaṁ| tasya maheśvara-mūrtter umā-sāamānākr̥teḥ kumārābhaḥ lokamahādevyaāḥ khalu yas samabhavad ammarājākhyaḥ Ammādhīśas tato ’bhuūt para-bala-jayino bhīma-bhūpasya putraś chatrānte vallabhena prahr̥tam api punaḥ paṭṭam aādaāya dharttur nnyāyāyātartta-siddher vvinaya-para-bhbr̥hatd-bhīma-rājasya pautro yavvayauva-śrī-rājya-kaṇṭhābharaṇa-vilasato vikramāṁkasya naptaā. para-sva-santyakta-mano-viśuddhaḥ parāpriyān mukta-vaco-viśuddhaḥ paropakaārī dvija-sattamas tvam iti tri-śuddho musiyābhidhānaḥ śrīman-mahārāja-padottamasya śiṭṣṭeṭṣṭa-banddhu-priya-darśanasya devādy-r̥ṇaāni pratimuṁcato ’laṁ putro ’bhavat sat-kula-nandanasya guṇḍamayyābhidhānasya ṣaṭ-karmma-kāriṇas sadā pautro bhāradvājasya gotreṇāmita-tejasaḥ

svāminā tulayoā dhr̥tasya pāṇḍarāṁgasya naptraā durggarājena vijñāpito ’mmarājaḥ tasmoai prasanna-cittaḥ svaāmi-hitāya prītīi-puūrvvan tava mantriṇe ’grahāran dāsyaāmīti prativacanam uktavāN|

sa yavvayauvarājyāṣṭa-same ’bhiṣikto dvi-ṣatṭka-saṁvatsara-paṭṭa-baddhaḥ mahāhavaeṣu prasabhan nihatya ripuūn anekān pravaibhāti nityaṁ

so ’yaṁ samadhigata-paṁca-mahaā-śabdaḥ parama-brahmaṇyaḥ parama-bhaṭṭārakaḥ parama-maāheśvaro mātā-pitr̥-bhaktaḥ. karmma-raāḻṣṭra-vāsino rāḻṣṭrakūṭa-pramukhān kuṭuṁbinas sarvvaān eva samāhuūyettham ājñāpayati. viditam astu vaḥ|

Iṭṣṭeśvara-prasaādasya sarvva-jiīva-dayāvataḥ nitya-dharmmāddharttha-kaāmasya kim ato musiyasya te| Amma-rājābhidhānārthoau mātr̥-candrāv ubhoau smr̥toau tāv ekībhūya kiṁ citraṁ prajānāṁ hita-kāriṇau|

Aṇmaṇaṁguru naāma graāme dakṣiṇa-dig-bhāge rāja-viṣayādhyakṣa-satkāra-pūrvakaṁ daśa-kkhāri-kodrava-bījāvāpa-kṣetram ādāya Aṇḍeki nāma grāme Uttara-dig-bhāge pūrvavad daśa-khāri-kodrava-bījāvāpa-kṣetram ādaāya yeEtasmin grāme Abhyantarīkr̥tya kāraṁceḍ-vḍu-vaāstavyaāya krovi-kulāya bhāradvāja-gotrāya musiyanaśarmmaṇe sarvva-parihaārīkr̥tya Uttarāyanṇa-nimitte tumiya-veṇiyapūṇḍi nāma graāmāaṭikaā-dvayam agrahaāraṁ praādāT.

Asyāvadhayaḥ. puūrvataḥ medalkoṇḍa. dakṣiṇataḥ gaṭṭipuūṇḍiī. paścimataḥ ḻeṁkoṇḍa-naāma-graāmaḥ Uttarataḥ Aṇmaṇaṁguru-nāma-graāmaḥ|

kṣetra-siīmāni. puūrvvataḥ muyala-kuṭṭuna śāamī. AĀgneyataḥ guṇṭha. dakṣinṇataḥ guṇṭetiAya kaṟiti vevmula gonu. naairirr̥tiyataḥ veṁca dakṣiṇamuna paruvulu. paścimataḥ Eṭiya kaṟiti caṭalalu. vāyavyataḥ kuṇṭa. Uttaraṁ Urataḥ cali-guṇṭha. IĪśaānataḥ muyyalikuṭṭuna vella-ṟāyu.

Asyopari na kenacitd bādhā karttavyā. yaḥ karoti sa paṁca-mahāpātakair yyutkkto bhavati. yaḥ paālayati sa puṇyo bhavati. tathaā coktaṁ rāmabhadraeṇa

saāmaānyo ’yan dharmma-setur ndnr̥pāṇāṁ kaālae kaālae pālanīyo bhavatdbhiḥ sarvvān etān bhaāviṇnaḥ pārtthivendrān bhūyo bhuūyo yācate rāmabhadraḥ. mad-vaṁśa-jāpḫ parāa-mahīpati-vaṁśa-jāś ca pāpād apeta-manaso bhuvi bhāvi-bhūpāḥ ye paālayanti mama dhāarmmam imaṁ samastan teṣaām ayaṁ viracito ’ṁjalir eṣa muūrdhni. bahubhir vvasudhaā dattā bahubhiś cānupaālaitā yasya yasya yadā bhūmis tasya tasya tadā phalaṁ sva-dattāṁ para-dattāṁ vāṁ yo haretā vasundharāṁ ṣaṣṭi-varṣa-sahasraāṇi viṣṭṭhāyāṁ jāyate krir̥miḥ| mānyaṁ viṁśati-khārī-ko drava-bījāvāpa-kṣetraṁ Ājñaptir asya dharmmasya kaṭakeśo yaśo-nidhiḥ.

vaṁgipaṟu-vaāstarvyavyenātraeya-gotreṇa bhaṭṭa-guṇḍena viracitaṁ kāvyaṁ. tasmai bhāga-dvayan dattaṁ. ghanavaṭṭa-bīrojena likhitaḥ. sśivam astu

Seal

Plates mātr̥ītr̥- mātrīr̥- Vowel markers for r̥ (not a subscript r) and ī are both present on t. vbhagavan- bhagavan- -vallabhendrasyāa -vallabhendrasyāaḥ bhvrātā bhrātā -parākramaḥ -pāarākramaḥ The engraver probably started adding the vowel marker for ā, but only got to a short distance horizontally and did not turn downward. sa-catvāriṁśat samād aṣṭhyaṣṭabhiḥkaṁ sa catvāriṁśad abdhyaṣṭakaṁ According to Hultzsch, the text °d abdhyaṣṭakaṁ seems to have been engraved over an erasure and may have been meant for °d aṣṭakaṁ or °d abdakān.In my view, this correction goes hand in hand with the insertion at the beginning of the pāda: the initially engraved text was almost certainly catvāriṁśat samāṣṭabhiḥ. This was corrected to sa-catvāriṁśad aṣṭakaṁ in the following steps. First, sa was added at the beginning. Then, tsa was partly hammered out (only vestiges of the subscript s are now visible) and corrected to da. Next, the engraver attempted to correct mā to ṣṭa, but accidentally engraved ṣṭhya. At this stage, he decided to skip this character, since ṣṭa was already there anyway to the right. He finally went on to correct bhiḥ to kaṁ (the left leg of bh and part of the i remain visible, along with the visarga whose upper dot has been repurposed into an anusvāra). I am quite confident about most of this reconstruction, except for the putative correction of mā to ṣṭa, where something even more complex may have been going on. It may be worth adding that the Maliyapūṇḍi grant, whose preamble is almost to the letter identical to the present one, reads catvāriṁśat samāṣṭabhiḥ at this point. -noḍaṁba- -nodḍaṁba- Hultzsch's emendation may be based on the known form nolamba of this name. In the parallel stanza in the Maliyapūṇḍi grant, he likewise reads d and emends to ḍ. The character here is not a good specimen of d, and I think it plausible that it was intended for ḍ. A previously unpublished parallel of the stanza in the Īnteṟu grant of Bādapa clearly spells the name with ḍ. nirjjitya nirjjitya saḍ ḍāhalā° saḍ-ḍāhalā° Hultzsch construes saḍ- in compound (indicated by his translation, though not in his Devanagari edition), while I take it as a separate word; see the note to the translation. vikramādityasya vikramādityāasya As in parākramaḥ above (l. 11), the engraver probably started adding an ā here, but the end of the subscript y barely turns to the right, and does not turn downward at all.. varṣāni. varṣaāni| saiṇanyair saiṇaenair hatvā hddatvā I do not see the reason for Hultzsch's emendation and believe that it is a typo in his edition. Since it is shown in a footnote together with the previous emendation, he may have intended ha here, which the typesetter mistook for dda. The Maliyapūṇḍi grant, also edited by Hultzsch and at a time previous to the present edition, includes the same stanza. There, Hultzsch reads saino hātvā and emends to senair hatvā. Ekābdaṁ Erkābdaṁ °maārttaṇḍala- °maārttaṇḍala- I choose not to consider the unexpected syllable a scribal mistake, since the same occurs in line 24 of the Maliyapūṇḍi grant. However, line 23-24 of the Īnteṟu grant of Bādapa has the expected mārttaṇḍa in the same sentence. kaṇṭhikā- The ā may be a subsequent addition, since it overlaps with part of the following character. -vijayāditya- -vīijayāditya- -pravr̥ttād dhatāḥ -pravr̥ttāoddhatāḥ See the commentary for my interpretation of this stanza on the basis of parallels. -saāṁgrāmaikā nvājñā -saṁgrāmakānasyājñā See the commentary for my interpretation of this stanza on the basis of parallels. śirasoā śiraso See the commentary for my interpretation of this stanza on the basis of parallels. nādagdhvā nādagdhvā janasat- janasatā- The parallel locus in the Īnteṟu grant of Bādapa confirms the intuition of Venugopaul Chetty, who proposes this emendation for the parallel in line 31 of the Maliyapūṇḍi grant. dvādaśādhyāt dvādaśādhyśāt Hultzsch prefers to emend the verb to aśāt, the active imperfect third person of śās, though he notes that adhyāt may have been intended for the same imperfect form of adhyās. While dh is quite clear here, the reading in both parallels (line 32 of the Īnteṟu grant of Bādapa and line 32 of the Maliyapūṇḍi grant) is dvādaśāvyāt. For the latter, Hultzsch suggests the emendation dvādaśāvat. Although āvat and aśāt are both grammatically sound and metrically fitting, it is perhaps more likely that we are facing a solecism here. The composer may have intended the precative form avyāt for a past indicative, or may have meant adhyāt as a legitimate form of adhyās. bhīma- bhiīma- dharttur nnyā° dharttaur nnḥ| nyā° I believe the reading rtta, printed in Hultzsch's edition, must be a typo. In the published facsimile, the subscript u is the only part of this character that can be made out. I assume that the purpose of Hultzsch's footnote is not to emend rtta to rttu, only to normalise the sandhi and punctuation at the end of the verse line. yavvayauva-śrī-rājya- I second Hultzsch's opinion that the composer must have been driven by metrical constraints to use the impossible form yauvaśrīrājya instead of śrī-yauvarājya. bhāradvājasya It seems that the author mentally added a svarabhakti vowel to this name, e.g. as bhāraduvājasya. svāminā tulayoā dhr̥tasya svāminātulayoddhr̥tvasya I am not satisfied with Hultzsch's emendation, but my own is also offered tentatively. I am not sure of its exact meaning (see note to the translation), but it seems plausible and requires much less intervention in the received text. The o of yo is written as two separate strokes, and it even seems possible that the upper stroke, being much fainter in the facsimile, has been cancelled by the engraver, correcting the character to yā. pāṇḍarāṁgasya naptrcā These words may have been corrected, or at least marked for correction, in the original. There seem to be two vertical lines bracketing the character pā, and quite a bit of noise surrounding the following characters up to and including ptra. rājas The consonant r has an extra vowel marker on the bottom left. Can it be that someone wanted to correct the following tasmo into tasmai by adding such a stroke, and accidentally put it on the wrong letter? yavvayauvarājyāṣṭa-same ’bhiṣikto The wording yauvarājye ’ṣṭa-samo ’bhiṣiktaḥ or yauvarājyāṣṭa-samābhiṣiktaḥ would be easier and clearer here. The second of these requires only a very small emendation and is closer to the style of the next phrase, so it may have been the composer's intent; but the text is only slightly awkward without emendation. saṁvatsara- The character saṁ is rather wide and there is some noise before it and more after it. It is my impression that two or even three characters have been deleted here, and saṁ was inscribed in the resulting space. mahāhavaeṣu mahāhaveṣu kim ato Hultzsch tentatively suggests emending to śrīmato. I find that very unlikely, and believe that kim ato was employed by the composer in the sense of kim ataḥ pareṇa; see also my translation. graāmāaṭikaā- graāmādika- muyala-kuṭṭuna muyyalikuṭṭuna guṇṭha guṇṭa vevmula Hultzsch attributes the correction/normalisation of vevula (of which he prints only ve as unclear) into vemula to his consultant Krishna Sastri. The estampage looks more like navula to me. gonu Hultzsch prints this word as clear. The estampage looks more like koṇḍa to me. Uttaraṁ Urataḥ I follow Hultzsch's emendation here, but I wonder if Uttaraṁ should instead be understood as a noun to go with the previous statement (the northern side of a pond?). In this case there is no dittography, but tta must be supplied to correct Urataḥ into Uttarataḥ, beginning the next statement. -guṇṭha -guṇṭa vella Hultzsch notes that the reading of this word comes from Krishna Sastri. mahāpātakair mahāpātakoair bhaāviṇnaḥ bhaāvināaḥ ātraeya- ātreya- kāvyaṁ kāvyaM

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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 Hārīti, 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 I, for thirty-three. 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 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.

King bhūpāla Vijayāditya II who was called Narendramr̥garāja and who had the courage of a lion mr̥garāja, reigned for eight years and forty.See the last apparatus entry to line 11 for my reconstruction of the pre- and post-correction text in this verse, concerning the length of Narendramr̥garāja’s reign.

His son Kali-Viṣṇuvardhana V, for a year and a half. His son, also called Paracakrarāma,

Having killed in pitched battle Maṅgi, the king of the populousI construe bhūri- in compound with nodaṁba-rāṣṭra, as Hultzsch does in the Maliyapūṇḍi grant, and understand it to mean “large/populous/plentiful/mighty.” It is also possible to construe bhūri as an adverb, as translated by Butterworth and Venugopaul Chetty for that inscription, in which case Vijayāditya III defeated Maṅgi summarily or repeatedly. With this latter interpretation, saḍ must be construed in compound to the following word; cf. the next note. Nodamba country, having summarily defeatedI construe saḍ as an adverb with nirjjitya. Hultzsch construes it in compound with the following word, translating, the excellent Ḍāhala. Both interpretations are plausible grammatically, and the choice matters little ultimately, but I feel that while an enemy country may be described as bhūri (cf. the previous note) to emphasise the king’s prowess even more, the adjective sat would not be used for the country of a defeated enemy. the Gaṅgas ensconced on the top of Gaṅgakūṭa, and having intimidated Saṁkila, the lord of Ḍāhala together with the vicious Vallabha, he protected rakṣ- the earth as Vijayāditya III for forty-four years.

The son of his younger brother—Vikramāditya, who had attained the rank of heir-apparent yauvarājya—this son Cālukya-Bhīma reigned for thirty years. His elder-born sonThe word agraja, literally “fore-born,” is established in the sense of elder brother, yet Vijayāditya IV was the son of Cālukya-Bhīma. The word may have been used by the composer in an unconventional sense here (compare agra-sūnur in the next item and a possible use of agra-janman in line 32 of the Kalucuṁbaṟṟu grant of Amma II). More probably, °āgraja may be a mistake for °ātmaja. Vijayāditya IV for six months. His firstborn son Ammarāja I, for seven years. After assaulting his underage son, King nr̥pa Tāla—the son of Yuddhamalla, the paternal uncle of Cālukya-Bhīma—for one month.

Thanks to his excessively fierce valour, His Majesty King bhūpa Vikramāditya II—the son of King kṣitipati Cālukya-Bhīma—slew at the front line of rugged battle that King rājan Tāla together with groups of diverse underlords sāmanta who possessed a superior force and an army of raging elephants, and then soundly protected rakṣ- the earth—wrapped in her girdle of oceans—for one year.

Then, upon the demise of the Sun of Valour Vikramāditya, collateral dāyāda princes rājaputra—such as Yuddhamalla, Rājamārtaṇḍa and Vijayāditya of the Locket kaṇṭhikā—materialised like demons rākṣasa upon the setting of the sun, yearning for kingship out of egomania and bent on oppressing the subjects. Five years passed in nothing but strife. Then—

he who slew Rājamārtaṇḍa among these pretenders and who through battle banished Vijayāditya of the Locket and Yuddhamalla to a foreign country—

the scimitar graceful like a frond, wielded by his arms like iron bars, has also dispatched to the abode of Death many other kings who were otherwise respectable but, being struck by depravity, were blatantly wrecking the country; and his command, even when it relates to vicious battle, is borne on the head like a wreath even by kings of other lands—See the commentary about the problems with the reading and interpretation of this stanza.

the fire of his anger would never cease unless it has burned the enemy’s family to the root; whose bright reputation would never stand still unless it has ranged all over the world; the cloudbank of his wealth would never fail to rain on the good crop that is the populace, though it be seared day after day by the inexorable sunblaze of poverty—

he, the grandson of Cālukya-Bhīma and son of Vijayāditya IV, King rājan Bhīma II, soundly ruledI translate the expected meaning, but the word adhyāt is problematic; see the apparatus to line 31. the surface of the earth for twelve years.

To him Bhīma II, who was like Maheśvara in form, a son named Ammarāja II, who verily resembled Kumāra, was born from none other than his queen Lokamahādevī, who was like Umā in appearance.

ThenOr, as translated by Hultzsch, “from her,” i.e. from Lokamahādevī. there appeared the overlord adhīśa Amma, taking over the turban i.e. rulership of the earth even though it had been assailed by Vallabha at the edge of his parasol i.e. domain.Hultzsch associates this statement about the turban and parasol with Bhīma I, which does not seem likely from the syntax. He translates, who seized and wore again at the top (?) of (his) parasol the diadem although it had been struck at by Vallabha. I believe that my metaphorical interpretation of chatra was the composer’s intent. He is the son of King bhūpa Bhīma II who defeated enemy armies; the grandsonAs Hultzsch points out, Amma II was in fact the great-grandson of Bhīma I. The composer may have used pautra in the generalised sense of “paternal descendant,” but such usage is not normal. of the great King rājan Bhīma I who was a paragon of decency vinaya and who legitimately came to prevail through ordinance r̥ta;Hultzsch translates this phrase as who duly attained success by righteousness. I think the intent of the composer was more explicit, expressing that Bhīma I was predestined to seize the crown, and did so by rightful means. Hultzsch further proposes an alternative interpretation, namely that he duly attained (the surname) R̥tasiddhi, which does not seem likely. and descendant naptr̥Hultzsch translates naptr̥, most often meaning “grandson” in classical language, as “great-grandson” here, assuming that the composer skipped a generation of the ancestry here, and citing a parallel for such a use of naptr̥. I prefer to take it in the wider sense of “descendant,” since Amma II was the great-great-grandson of Vikramāditya I. of Vikramāṅka Vikramāditya I, who was resplendent with the neck ornament of the majestic status of Heir Apparent yauvarājya.

You, who are named Musiya, are a most excellent Brahmin pure three times over: pure in your mind that is devoid of longing for the property of others, pure in your speech that is free of what is unkind to others, and pure in action, being a benefactor to others.

He, Musiya, is the son of a scion of a virtuous family,Musiya’s father does not seem to be named, unless his name is punningly hidden in one of his epithets; he may, for example, have been called Nandana. There is also a slight possibility that the father was Guṇḍamayya, named in the next stanza; in this case it is Musiya’s grandfather who is not named. who was the most excellent of those who had the exalted rank of mahārāja,If I (in agreement with Hultzsch) interpret this phrase correctly, then Musiya’s father had the title mahārāja. This may have been a religious title, or it may have been conferred on him on account of being a minister, presumably to Pāṇḍarāṅga. I think it is also possible, that the composer had meant to say that his mahārāja (probably Pāṇḍarāṅga) had conferred “the highest rank” (that of minister) on this person. This meaning, however, cannot be obtained in a straightforward manner from the compound. whom learned men, friends and relatives were always pleased to see, and who duly fulfilled his debts to the gods and so on.

He, Musiya, is the grandson of one named Guṇḍamayya, a Bhāradvāja by gotra, a man of immeasurable brilliance who perpetually performed the six duties.

Ammarāja, when he was petitioned to this effect by Durgarāja, the great-grandsonThe Maliyapūṇḍi grant of Amma II tells us that Durgarāja was the son of Vijayāditya, son of Niravadya Dhavala, son of Pāṇḍarāṅga, so naptr̥ must mean great-grandson here. of Pāṇḍarāṁga whom his overlord svāmin had weighed in the balance, gladly replied to him Durgarāja: “I shall be pleased to grant a rent-free holding agrahāra to this minister of yours i.e. to Musiya, as he is dedicated to his master’s i.e. Durgarāja’s cause.”Hultzsch’s interpretation of this passage differs on several counts from mine. Apart from some insignigicant details, the main difference hinges on my emendation tulayā dhr̥tasya. Hultzsch emends differently (see the apparatus to line 43) and translates, “whose fighting-power had been unequalled.” I find his emendation too heavy-handed, and the resulting text less than likely. If my conjecture tulayā dhr̥tasya is correct, I am still not certain of the precise meaning. It may refer in particular to a tulābhāra ceremony in which Pāṇḍarāṅga’s overlord (probably Bhīma I) awarded to Pāṇḍarāṅga the equivalent of his body weight in gold or another precious substance; or it may be meant in a more generic metaphoric sense, i.e. that this overlord had assayed the qualities of Pāṇḍarāṅga (and found them superior). This latter interpretation may be equivalent to the idea of (catur-)upadhā-(vi)śuddha used for ministers in some grants of the Eastern Cālukyas (Śrīpūṇḍi grant of Tāḻa II, Diggubaṟṟu grant of Bhīma II). Additionally, stanza 20 of the Ciṁbuluru plates of Vijayāditya III unambiguously say that Pāṇdarāṅga was weighed against gold by his lord, which confirms my conjecture here and rules out the second interpretation.

He Amma II was anointed as Heir Apparent in his eighth yearThis is quite certainly the meaning intended by the composer, but the text is somewhat awkward (see the apparatus to line 45), and may also mean that he was anointed (as king) in the eighth year of his heir-apparent status. Given the next line’s explicit mention of his crowning at the age of 12, this was probably not the meaning the composer had in mind. and donned the royal turban at the age of twice six years. Having overpowered and defeated numerous enemies in great battles, he shines eternally.

He, Amma II who has deserved the five great soundsThe 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 296-2989 for a discussion. Hultzsch points out that this title is restricted to feudatory chiefs, and therefore opines that the person described here is Durgarāja. The list of epithets is indeed not a typical one for Eastern Cālukya rulers and includes neither the name of Amma nor his biruda Vijayāditya. However, the introduction of the sentence, so ’yam, should definitely mean that the present subject is the same as that of the preceding stanza, and I do not think Durgarāja would have been called a parama-bhaṭṭāraka. As to the crux of Hultzsch’s argument, the words pañca-mahāśabda are mentioned as dynastic paraphernalia in the legendary genealogy of the Eastern Cālukyas (e.g. the Raṇastipūṇḍi grant of Vimalāditya, line 22;), and also appear in some earlier grants (applied to the king in the Paḷḷivāḍa grant of Viṣṇuvardhana II, line 11; applied to the dynasty as a whole in line 7 of the Ceruvu Mādhavaram plates of Kali Viṣṇuvardhana V). Nevertheless, the structure of the grant is inconsistent, and the concept may have been that Durgarāja addresses the interested parties here., the supremely pious Supreme Sovereign parama-bhaṭṭāraka and supreme devotee of Maheśvara, devoted to his mother and father, convokes all householders kuṭumbin—including foremost the territorial overseers rāṣṭrakūṭa—who reside in Karmarāṣṭra district viṣaya, and commands them as follows. Let this be known to you:

This stanza and the next one are apparently out of context, interrupting the progression of the text from “let it be known to you” to the details of the grant beginning in line 52.To one who has the favour of his beloved lord;Or, as Hultzsch translates, who desires the favour of (his) lord. to one who is compassionate to all living beings; to one who always pursues dharma, artha and kāma;Or, perhaps, “who always desires morality dharma and pragmaticism artha.”—in short:See the apparatus to line 51. I choose not to emend the text here and understand it to mean “why go into any further detail?” to your Musiya.I understand musiyasya te to mean your, i.e. Durgarāja’s Musiya. It could also be construed as “to you, Musiya,” but I think Amma is more likely to be addressing his immediate underling, just as he does in lines 44-45, tava mantriṇe.

The meanings of the two terms amma and rājan are known to be “mother” and “moon.” When the two come together, why should it be strange that they do what is beneficial for subjects their offspring?

Having sectioned off a field sufficient for sowing ten khārīs of kodrava seed in the southern direction of the village named Aṇmaṇaṁguru after paying due respect to the royal territorial overseers; having sectioned off a field likewise sufficient for sowing ten khārīs of kodrava seed in the northern direction of the village named Aṇḍeki; and having incorporated the resulting plot into this latter village; on the occasion of the winter solstice he Amma II has given the two hamlets named Tumiya and Veṇiyapūṇḍi, with all exemptions, as a rent-free holding agrahāra to Musiyanaśarman of the Krovi family and the Bhāradvāja gotra, a resident of Kāraṁceḍu.I agree with Hultzsch that the de facto donor implied here is probably Amma II himself, not Durgarāja. I assume that the two hamlets mentioned at the end of the executive section are the administrative divisions incorporating two fields mentioned at the beginning, and thus that one of the hamlets (presumably Tumiya) formerly belonged to the village of Aṇmaṇaṁguru. For “hamlets” I rely on a slight emendation of the text (see the apparatus to line 57) where Hultzsch emends differently. I consider the reading obtained by his emendation to be inferior, and he himself struggles with interpreting it.

Its boundaries are as follows. To the east, Medalkoṇḍa. To the south, Gattipūṇḍi. To the west, the village named Ḻeṁkoṇḍa. To the north, the village named Aṇmaṇaṁguru.

The boundaries of the field are as follows. To the east, a śamī tree at the triple boundary juncture.I translate the Telugu on the basis of Hultzsch’s translation and a smattering of Telugu words gleaned from other Eastern Cālukya inscriptions. To the southeast, a pond. To the south, a gonu tree with neem trees on the bank of the Guṇṭeṟu river. To the southwest, the salt marshesHultzsch notes that he assumes paruvulu to be the plural of para, salt marsh. on the southern side of the lake. To the west, caṭalalu on the bank of the river. To the northwest, a pond. To the north, the Cali pond. To the northeast, a white stone at the junction of boundaries.

Let no-one pose an obstacle to his enjoyment of his rights over it. He who does so, shall be conjoined with the five great sins. He who protects it shall be meritorious. So too has Rāmabhadra said,

“Each in your own time, you shall respect this bulwark of legality that is universally applicable to kings!”—thus Rāmabhadra begs all these future rulers over and over again.

Hereby I offer my respectful obeisance añjali to all future kings on earth, born both in my lineage and different royal lineages, who with minds averted from sin observe this provision dharma of mine in its integrity.

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.

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

The holding mānya is a field sufficient for sowing twenty khārīs of kodrava seed. The executor ājñapti of this provision dharma is the castellan kaṭakeśvara, a storehouse of glory.Or perhaps “the castellan Yaśonidhi.” I agree with Hultzsch that yaśo-nidhi is more likely to be a description than a proper name, and that there is a fair chance that the castellan is Durgarāja himself.

The poetry has been composed by Bhaṭṭa Guṇḍa of the Ātreya gotra, a resident of Vaṁgipaṟu. Two shares of the donated field have been given to him. Written likhita by Ghanavaṭṭa Bīroja.According to Hultzsch’s note, Bīroja corresponds to Sanskrit Vīropādhyāya. Let it be well.

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, fils de Hārīti, ayant reçu leur royaume par l’excellente faveur de 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 de l’excellent sanglier, faveur octroyée par le bienheureux Nārāyaṇa, eux dont les corps ont été purifiés grâce aux bains consécutifs au sacrifice du cheval, a protégé le maṇḍala 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 frère cadet 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, nommé Narendra Mr̥garāja, qui avait le courage du lion, le roi Vijayāditya pendant quarante-huit ans ;

Son fils Kali-Viṣṇuvardhana pendant un an et demi ; Son fils, dont l’autre nom est Paracakrarāma,

qui a tué dans la gande bataille Maṁgi, le roi du puissant Noḍambarāṣṭra, qui a vaincu les Gaṅga réfugiés au sommet du Gaṅgakūta, qui a terrifié Saṅkila, roi des vertueux Dāhala, qui s’était allié au puissant Vallabha, VijayādityaCorr. à Guṇagāṁka. a protégé la terre pendant quarante-quatre ans ;

le fils du roi Vikramāditya, frère cadet de ce dernier,Frère de Guṇagāṁka. qui avait reçu les droits du prince héritier, Cālukya Bhīma a protégé la terre pendant trente ans ; Son fils aîné, VijayādityaCorr. à Kollabhigaṇḍa. pendant six mois ; Son fils aîné, Ammarāja, pendant sept ans ; Après avoir attaqué le fils de celui-ci,Corr. à Vijayāditya V. alors qu’il était enfant, le fils de Yuddhamalla, oncle du côté parternel de Cālukya Bhīma, le roi Tāla a protégé la terre pendant un mois.

Après avoir tué le roi Tāla, à la tête d’une bataille difficile, d’une très puissante énergie avec ses armées d’éléphants furieux, avec la foule de ses divers vassaux, accompagnés de forces immenses, le fils du souverain Cālukya Bhīma, l’illustre roi Vikramāditya a protégé, avec justice, la terre entourée du cercle des océans pendant un an.

Ensuite, convaincus de leur supériorité, lorsque Vikramāditya s’éteignit, occupés à opprimer leurs sujets, comme des Rākṣasa opprimant les créatures au coucher du soleil, les princes prétendant au trône, aspirant à la conquête du pouvoir, Yuddhamalla, Rājamārtaṇḍa et Kaṇṭhikā Vijayāditya en tête, se firent la guerre. Cinq années de guerre passèrentCette époque correspond dans les autres inscriptions au règne de Yuddhamalla qui dura sept ans. Il y a donc un décalage de deux ans dans la chronologie de cette praśasti. puis,

celui qui, parmi ces derniers, tua Rājamārtaṇḍa, qui contraignit à l’exil, lors d’un combat, Kaṇṭhikā Vijayāditya et Yuddhamalla,

qui précipita au royaume de la mort nombre d’autres hommes, qui, bien qu’ils fussent de respectables souverains, s’enorgueillissaient de leur conduite criminelle et se révélaient source de calamité pour le pays, de la lame de son cimeterre, mû par son bras puissant, lui, le combattant puissant, dont les ordres sont portés, telle une guirlande pour leur tête, par les rois de la terre dévoués à cette tâche,

dont le feu de la colère ne s’éteint pas sans avoir consumé totalement l’armée ennemie, dont la gloire resplendissante ne s’arrête pas sans parcourir l’univers entier, la masse immense des nuages de sa richesse ne manque pas de se déverser jour après jour, sur ces blés que sont les hommes cruellement tourmentés par la très intense brûlure de la pauvreté.

Ce petit-fils de Cālukya Bhīma, fils de Vijayāditya, Le roi Bhīma a gouverné avec justice la terre pendant douze années entières.

De ce dernier, manifestation de Maheśvara, et de Lokamahādevī, qui avait revêtu l’aspect d’Umā, pareil à Kumāra, naquit le nommé Ammarāja.

Naquit ensuite de celle-ci, Ammarāja, fils du roi Bhīma, vainqueur des armées ennemies, qui, ayant repris la couronne que Vallabha avait tentée de lui arracher, porta celle-ci à l’extrémité de son parasol, qui, par son sens de la justice, parvint à faire triompher l’ordre, descendant de Vikramāṅka, petit-fils du roi Bhīma, adonné à une conduite vertueuse qui obtint comme il se doit un succès véritable, qui faisait briller le kaṇṭha,Ce mot est sans doute un équivalent de kaṇṭhika , S.I.I. , p 49, note 1. : « collier porté comme emblème du yuvarāja, prince héritier ». illustre marque du prince héritier.

Pur par son esprit, éloigné de la convoitise du bien d’autrui, pur par ses paroles qui sont éloignées de tout propos désobligeant à l’égard d’autrui Serviable envers autrui, tu es le meilleur des brahmanes, tu es trois fois pur, toi qui portes le nom de Musiya.

Il fut le fils du meilleur de ceux qui portèrent le titre illustre de Grand Roi, lui dont la vue charmait les hommes instruits, ses amis, ses proches, lui qui s’acquittait suffisamment de ses dettes envers les dieux et les autres, qui fut un sujet de joie pour sa vertueuse lignée.

Le petit-fils du dénommé Guṇḍamayya, qui accomplit toujours les six devoirs brahmaniques, Descendant de Bhāradvāja par son gotra, doué d’une incommensurable énergie.

Quand le seigneur Durgarāja, descendant de Pāṇḍarāṁga,correct. pour Pārāṁga. aux incomparables vertus guerrières, lui en fit la requête, Ammarāja, dont le cœur était plein de bienveillance envers cet homme dévoué au bien de son maître, répondit : « c’est de tout cœur que je donnerai un agrahāra à ton ministre. »

Lui qui a reçu l’onction du prince héritier à l’âge de huit ans, qui a revêtu le turban royal âgé de deux fois six années, Lui qui a détruit avec force une multitude d’ennemis dans les grandes batailles resplendit éternellement.

Celui-ci qui a étudié les cinq grands sons,Selon J. F. Fleet, ce titre est réservé aux vassaux du roi, cf. E. P. XII, p. 255, note 2. , il s’agirait donc dans ce passage de Durgarāja et non d’Ammarāja, comme le remarque E. Hultzsch in E. P. 18, p 234, note 4. d’une extrême piété, très grand seigneur, très grand adorateur de Maheśvara, dévoué à sa mère et à son père, ayant convoqué tous les chefs de familles du Karmarāṣṭra, les raṣṭrakūṭa en tête, ordonne ceci : qu’il soit connu de vous que :

A lui, qui désire la faveur de son seigneur, qui éprouve de la compassion pour tous les êtres, éternellement amoureux du dharma et de l’artha, à l’illustre Musiya,Il y a manifestement ici une rupture de construction, le donataire est indiqué au génitif alors qu’il sera au datif dans la phrase suivante, datif du bénéficiaire dépendant du verbe prādāt.

Le sens des noms « Amma » et « rāja », l’un et l’autre sont connus pour désigner respectivement « la mère » et « la lune » S’ils sont unis, qu’y a-t-il de merveilleux à ce que l’un et l’autre fassent le bonheur des sujets ?

Après avoir rendu les honneurs à l’administrateur de la circonscription, ayant pris un champ où l’on sème des graines de kodravaPaspalum scrobiculatum, sorte de millet. pour dix khāri,Mesure à grains, quantité équivalente à 9,55 tonnes (d’après les tables de conversion in Renou-Filliozat, 1985, vol. II, appendices p. 758, mesures et poids). dans la partie sud du village nommé Aṇmaṇaṁguru, ayant pris de même un champ où l’on sème des graines de kodrava pour dix khāri, dans la partie nord du village nommé Aṇḍeki, ayant inclus ces deux champs dans ce village, il a donné à Musiyanaśarman, résidant à Kāraṁcedu, de la lignée de Krovi, du gotra de Bharadvāja, exemptés de toute taxe, à l’occasion du solstice d’hiver, en qualité d’agrāhara, les deux villages nommés Tumiyaveṇiyapūṇḍi.

Ses limites sont : à l’est Medalkoṇḍa, au sud Gaṭṭipūṇḍi, à l’ouest le village nommé ḻeṁkoṇḍa, au nord le village nommé Aṇmaṇaṁguru.

Les limites de ces champs sont : à l’est un arbre śamī, au point de jonction des trois limites, au sud-est un étang, au sud un arbre gonu et un arbre vemula sur le rivage de l’étang, au sud-ouest des marécages, au sud du lac, à l’ouest Ca[talalu*]Nous ignorons le sens de ce mot. sur le rivage de la rivière, au nord-ouest un étang, au nord l’étang Cali, au nord-est une pierre blanche au point de jonction des trois limites.

Aucune charge ne doit lui être imposée, celui qui en impose est lié aux cinq grands crimes. Celui qui protège cette terre acquiert des mérites. De même Rāmabhadra a dit ceci :

Ce pont du dharma commun aux rois doit toujours être protégé par vous, Rāmabhadra demande ceci à tous les princes des rois à venir, encore et encore.

Qu’ils soient de ma lignée et de la lignée d’autres rois, c’est pour les souverains à venir sur terre qui, l’esprit éloigné du mal, préserveront cette mienne action pieuseTraduction du mot dharma, qui prend ici le sens d’ « action pieuse » et par extension de « don ». dans son intégrité, que j’ai fait cette añjali sur ma tête !

Beaucoup ont donné une terre, beaucoup l’ont protégée, celui qui possède la terre en possède le fruit.

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.

Ce champ dans lequel il faut semer vingt khari de graines de kodravasoit 19, 11 tonnes de kodrava. constitue une tenure.le mot mānya désigne une terre exemptée de taxe. Cf. D. C. Sircar, 1966, p. 199. L’exécuteur de cette donationTraduction du mot dharma, cf. note supra. est le kaṭakeśa, trésor de gloire.

Le poème a été composé par Bhaṭṭaguṇḍa, du gotra d’Atreya, résidant à Vaṁgipaṟu. Nous donnons à celui-ci deux parts.Des revenus de la donation. Gravure de Ghanavaṭṭabīroja. Bénédiction !