Pedestal at Mỹ Sơn EpiDoc Encoding Salomé Pichon intellectual authorship of edition Arlo Griffths Salomé Pichon Conversion of encoding for DHARMA Salomé Pichon DHARMA Paris DHARMA_INSCIC00079

This work is licensed under the Creative Commons Attribution 4.0 Unported Licence. To view a copy of the licence, visit https://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA.

Copyright (c) 2019-2025 by Arlo Griffiths and Salomé Pichon.

 2019-2025 Pedestal at Mỹ Sơn Dominic Goodall 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_INSCIC00079

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. 79 No. 14 Mỹ Sơn 03MSA1.25 Recorded under this number in the registration of Mỹ Sơn as a Unesco World Heritage Site

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.

 Resolved validation problems. Campa file transformed to follow the DHARMA encoding structure. Metadata extracted to be checked and updated according DHARMA workflow. Done through XSLT. Photograph of the pedestal bearing inscription , displayed upside-down, and mounted by an unrelated object. Taken at Mỹ Sơn by Arlo Griffiths on . Photograph of EFEO estampage n. 2071.
maheśvarasakhasyedaṁ kuverasya dhanākaraṁ prakāśadharmmanr̥patiḥ pūjāsthānam akalpayat· ekākṣapiṅgalety eṣa devyā darśśanadūṣitaḥ saṁvarddhayatv īśadhanaṁ pāyāc cāhitatas sadā ||
darśśanadūṣitaḥ darśanadūṣitaḥIn conformity with his general practice, Finot here applies silent normalization. ||

The king Prakāśadharman has fashioned this place of worship, a mine of riches, for Maheśvara's i.e. Śiva's companion Kubera.

Spoiled in one eye by the goddess, such that he became known as Ekākṣapiṅgala, may he cause the property of the Lord to increase, and may he always protect from what is untoward ahitataḥ.

Ce sanctuaire du compagnon de Maheśvara, Kuvera, mine de richesses, le roi Prakāśadharma l'a édifié. Si quelqu'un est affligé d'une maladie d'yeux par la déesse Ekākṣapiṅgalā la rousse borgne, qu'il augmente les richesses du Seigneur, et celui-ci le défendra du mal à jamais.

An early version of the myth of Kubera's companionship of Śiva is recounted in the old Skandapurāṇa, at 29.169 (see .

Finot understood ekākṣapiṅgalety as ekākṣapiṅgalā ity and noted that the (feminine) evil spirit Ekākṣapiṅgalā was not known to him from any other source. As was seen by Majumdar, it has to be understood as ekākṣapiṅgala ity, and so the name in question is (masculine) Ekākṣapiṅgala, which is a name of Kubera, e.g. in the Himavatkhaṇḍa. He appears as Ekākṣipiṅgala in the old Skandapurāṇa. That is also the form of the name in Rāmāyaṇa7.13:24,30-31, which perhaps gives the earliest known version of the myth. For Vettam Mani's version of the myth, see s.v.. The sandhi is a bit unusual, but parallels can nevertheless be cited: the Cambodian inscription K. 524, st. I, begins with vidyāvāseti nāmāhaṁ tejasvī bhuvi viśrutaḥ (); the second half of Harivaṁśa: yathotpannas tathaivāhaṁ kumāra iti viddhi mām | tasmāt sanatkumāreti nāmaitan me pratiṣṭhitam ||. Our interpretation of the two modal verbs in the second stanza as both being predicates to a single subject (eṣa) disagrees with Finot's, following instead Majumdar's. The latter scholar has still misunderstood the significance of darśanadūṣita, for based on the myth to which allusion is made here, this must clearly mean an impairment at the eye (of Kubera), rather than by the eye (of the Goddess).

By contrast with Majumdar, who translates the wealth of this king, we consider it likely that īśadhana here denotes primarly the wealth of Śiva (devadravya) endowed to his temple, and that a subsidiary shrine to Kubera was installed near it for protective purposes.

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