Pedestal from Trà Kiệu EpiDoc Encoding Salomé Pichon intellectual authorship of edition Arlo Griffths Salomé Pichon Conversion of encoding for DHARMA Salomé Pichon DHARMA Paris DHARMA_INSCIC00173

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 from Trà Kiệu Arlo Griffiths Dominic Goodall

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_INSCIC00173

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. 173 (none) Hanoi BTLS-QG LSb 42277 Hanoi EFEO Museum B 2, 38

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.

 Campa file transformed to follow the DHARMA encoding structure. Metadata extracted to be checked and updated according DHARMA workflow. Done through XSLT. Photograph, with scale, showing the stone bearing inscription in three-quarter view. Taken in the Hanoi Museum by Arlo Griffiths on . Photograph, with scale, of face A of inscription . Taken in the Hanoi Museum by Arlo Griffiths on . Photograph of EFEO estampage n. 508. Photograph of the left half of EFEO estampage n. 508. Photograph of the right half of EFEO estampage n. 508.
Face A. yasya śokāt samutpannaṁ ślokaṁ brahmābhipūjati viṣṇoḥ puṅsaḥ purāṇasya manujasyātmarūpiṇaḥ rāmasya caritaṁ kr̥tsnaṁ kr̥taṁ yenābhisādhanaṁ kaver ādyasya maharṣṣer vvālmīkeś cāvaner iha
Face B. pūjāsthānaṁ punas tasya kr̥ta ⎼ Cy ⏓ ⏑ ⎼ ⏑ ⎼ prakāśadharmmanr̥patis sarvvārigaṇasūdanaḥ vidyāśaktikṣamālakṣmīkīrttidhairyyaguṇānvitaḥ jayaty eṣa jagatkāntaś śārade ntarite vidhau
ślokaṁślokampuṅsaḥpumsaḥDoubtless a printing error for puṁsaḥ.manujasyātma°mānuṣasyātma°rāmasyacaritaṁ kr̥tsnaṁx x x x ritaṁ kr̥tyaṁOur reading presupposes that this pāda is directly based on Vālmīki's Rāmāyaṇa 1.2.30a.yenābhisādhanaṁyenābhiṣecanaṁcāvaner ihaśru ⏑ ⎼ r ihasthānaṁ°sthānamThe word pūjāsthāna is attested in two other dedication inscriptions of the same king, viz. C. 79 and C. 136kr̥ta ⎼ Cy ⏓ ⏑ ⎼ ⏑ ⎼kr̥ta x x y ⏑ ⎼ ⏑ ⎼Compared to Mus, we assume one akṣara less before and one more after the one bearing a subscript y, on the supposition that we may restore something like kr̥tavān ya ....sarvvāri°sarvāri°jayaty eṣax x ty eṣa vidhauripauIt seems unlikely that the enemy would be equated with the autumn, as Mus' reading implies. This is precisely the season associated with beauty of the moon (vidhu) due to its proverbial clear skies. The idea rather seems to be that the autumn moon itself would be eclipsed by the king.

Having restored here the place of worship for the primordial poet and great[est] sage of the earth, Vālmīki, from whose anguish was born the verse that Brahmā praised, (and) who has composed the complete, ... (abhisādhana?) acts of Rāma, the human own/bodily form of the ancient male, Viṣṇu, this king Prakāśadharman, who subdues all (worldly and internal) foes, who is cherished by the world (or: the goddess Earth), being endowed with the virtues of knowledge, power, forbearance, wealth, fame, and patience, is victorious as the beloved of [all] creatures, the autumnal moon having been eclipsed (by his glory)!

The text alludes to, and even directly replicates phrases from, the Bālakāṇḍa of Vālmīki's Rāmāyaṇa. See the observations of . The new reading of stanza II presented here adds significantly to the extent of our poet's dependence on Vālmīki, and simultaneously removes the need to presume, as did Mus, that Vālmīki is being identified as Viṣṇu. For the significance of the expression arigaṇa, see the commentary on C. 137. Since the word pūjāsthāna in the inscriptions of Prakāśadharman seems to refer each time either to the inscribed pedestal itself or to the place where that pedestal was installed, we cannot follow the reasoning in identifying this ‘place of worship’ as the different and more famous pedestal from Trà Kiệu that is decorated with elaborate sculptural reliefs.

If abhisādhanaṁ is indeed the correct reading, perhaps it can be understood either as an adjective with the sense 'propitiating' (cf. Monier-Williams s.v. abhisidh) or as a noun, 'propitiation', in apposition to caritaṁ. We therefore tentatively propose interpreting this quarter-verse to mean: 'who composed, [as an act of] worship/propitiation, the complete Acts of Rāma'.

478BCAI55-56