Bottom part of architectural crown from Khánh Lễ EpiDoc Encoding Salomé Pichon intellectual authorship of edition Arlo Griffths Salomé Pichon Conversion of encoding for DHARMA Salomé Pichon DHARMA Paris DHARMA_INSCIC00175

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 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.

 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 samantañ ca vaiśampāyanam eva ca | yatra nāmāni likhitāni na tatrāśanipātanaṁ svāhaḥ
samantañcorrect sumantuñtatrāśanipātanaṁtatrāśavipātanaṁThe reading adopted here was proposed to us by Somdev Vasudeva (email ) and is quite clearly corroborated by photo 7/8. Our published emendation tatrāśivapātanaṁ is hereby rescinded.svāhaḥcorrect svāhā

Om! [I inscribe the names of] Jaimani, 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 [ces] 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. Our translation implies the minimal emendation of three words, as indicated. It would be easy to solve the mentioned grammatical akwardness by emending less conservatively: jaimaniś ca sumantuś ca vaiśampāyana eva ca. 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 the mythological background of this inscription, we refer to our printed publication.

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 — vidyudulkāśanipātanirghātāmbudharamahāsattvapaśuravādibhir vibhāvair utpadyate | tam abhinayet saṃkṣiptāṅgotkampanavepathustambharomāñcagadgadapralāpādibhir anubhāvaiḥ |