Bottom part of architectural crown from Khánh Lễ (C. 175), ca. 10th c. CE EpiDoc Encoding Conversion of encoding for DHARMA intellectual authorship of edition Arlo Griffths DHARMA Paris DHARMA_INSCIC00175

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Copyright (c) 2019-2025 by Arlo Griffiths.

 2019-2025 Bottom part of architectural crown from Khánh Lễ Arlo Griffiths

First digital edition made by École française d'Extrême-Orient (EFEO), realized in collaboration with the Institute for the Study of the Ancient World (ISAW) at New York University as The Corpus of the Inscriptions of Campā, in 2010-2012.

École française d'Extrême-Orient (EFEO) DHARMA_INSCIC00175

Copyright (c) 2012 by Arlo Griffiths.

This work is licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA.

 DHARMAbase C. 175 Đà Nẵng BTC ĐN 1190 Đà Nẵng Musée Parmentier 33,16

The project DHARMA has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation programme (grant agreement no 809994).

Public URIs with the prefix bib to point to a Zotero Group Library named ERC-DHARMA whose data are open to the public.

Internal URIs using the part prefix to point to person elements in the DHARMA_IdListMembers_v01.xml file.

 revised encoding to bring into compliance with DHARMA Campa file transformed to follow the DHARMA encoding structure. Metadata extracted to be checked and updated according DHARMA workflow. Done through XSLT. General view of the object bearing inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (1/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (2/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (3/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (4/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (5/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (6/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (7/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on . Segment (8/8) of inscription . Taken at the Museum of Cham Sculpture by Arlo Griffiths on .
Oṁ jaimaniñ ca saumantañ ca vaiśampāyanam eva ca yatra nāmāni likhitāni na tatrāśani-pātanaṁ svāhaḥā
tatrāśanipātanaṁ tatrāśaviśivapātanaṁ The new reading adopted here was proposed to us by Somdev Vasudeva (email 2014-03-23) and is quite clearly corroborated by the corresponding estampage. Our published emendation tatrāśivapātanaṁ is hereby withdrawn.

Om! I inscribe the names of Jaimani,This spelling is not an error. See 378 and the Khmer inscription K. 1216. Sumantu and Vaiśampāyana. Wherever these names have been inscribed, there no lightning-strike will occur. Hail!

Om! J'inscris les noms de Jaimani, de Sumantu et de Vaiśampāyana. Où lesdits noms sont inscrits, il n'y aura pas de coup de foudre. Salut!

Enclosed between the elements oṁ and svāhaḥ (for svāhā), which are commonly used throughout the Hindu and Buddhist world to mark that the text enclosed is a mantra, we find a not entirely successful Anuṣṭubh stanza, which is not only metrically deficient but also grammatically awkward, with three names in the accusative case where we would rather expect nominative forms, although the meaning is clear. It would be easy to solve the mentioned grammatical akwardness by emending less conservatively: jaimaniś ca sumantuś ca vaiśampāyana eva ca.This reading is indeed found in the verses cited by Baladeva Vidyābhūṣaṇa (18th century) in his commentary to a song by Rūpa Gosvāmin: muneḥ kalyāṇamitrasya jaimineś cāpi kīrtanāt | vidyud-agni-bhayaṁ nāsti likhite ca gr̥hodare || jaiminiś ca sumantuś ca vaiśampāyana eva ca | pulastyaḥ pulahaś caiva pañcaite vajra-vāraṇāḥ ||. Personal communication from David Buchta. The metrical problem can be circumvented by accepting the license that the sequence of two short syllables in likhitāni be pronounced as one long syllable.

For mythical background the three names Jaimani (or Jaimini), Sumantu and Vaiśampāyana, which are famous names of sages from the Sanskrit epic Mahābhārata, disciples of its narrator Vyāsa, see 377. Why they were invoked for protective purposes remains somewhat unclear. At least it it known that this phenomenon itself was not limited to Campā, but also existed in Cambodia. Cf. the Khmer inscriptions K. 895 and K. 1216.

The expression aśanipātana is one of the factors said to cause the state of mind (bhāva) called terror (trāsa) in Nāṭyaśāstra 7.90: trāso nāma — vidyud-ulkāśanipāta-nirghātāmbudhara-mahāsattva-paśu-ravādibhir vibhāvair utpadyate | tam abhinayet saṁkṣiptāṅgotkampana-vepathu-stambha-romāñca-gadgada-pralāpādibhir anubhāvaiḥ |.

First published in with reproduction of the EFEO estampage sheets under number n. 512. This revised digital edition by Arlo Griffiths (2025).

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