North Indian Inscriptions

PART B

8. B 77 – 78 INSCRIPTIONS ATTACHED TO THE REPRESENTATIONS OF
CHANKAMAS

B 77 (696); PLATES XXIII, XLVI

ON coping-stone No. II, now in the Indian Museum, Calcutta (A 21). Edited by Cunningham, StBh. (1879), p. 94; 130, No. 7, and Pl. XLVII and LIII ; Hultzsch, ɀDMG. Vol. XL (1886), p. 61, No. 8, and Pl; IA. Vol. XXI (1892), p. 227, No. 8; Barua, PASB. New Ser. Vol. XIX (1924), pp. 354-356, and Pl. XV, fig. 4; Barua-Sinha, BI. (1926), p. 88, No. 205; Barua, Barh. Vol. II (1934), p. 121 ff., and Vol. III (1937), Pl. LXXXI (116). Barua’s explanation of the sculpture was criticized by Vogel, JRAS. 1927, p. 595, Note 2; Lüders, Bhārh. (1941), p. 35 ff.

TEXT :
Daḍanikamo chakama

TRANSLATION:
The walk Daḍanikama (Dṛiḍhanishkrama: of Strong Exertion).

   Cunningham’s explanation of Daḍanikama need not be discussed Hultzsch doubtfully rendered it by Sk. Daṇḍanishkrama, Barua by Dṛiḍhanishkrama, referring to the term daḍhanikkama, an epithet of the solitary monk in Sn. 68, which in the corresponding passage of the Mvu. (I, 357) is replaced by ḍriḍhavikrama. As in the Bhārhut inscriptions the anusvāra is generally omitted and ḍha is written as ḍa, phonetically both explanations would seem to be equally good, but Barua’s is certainly the more plausible one. But his translation of the inscription ‘ the walk wherefrom the egress is difficult ’ is impossible, as daḍha cannot have the meaning ‘ difficult ’. Pāli daḍhanikkama means ‘ of strong exertion ’ and if daḍanikama in the label is the same word, it must have the same meaning, although at first sight it is a little difficult to conceive how in that case it could be the designation of a chaṅkama, a terraced walk. Perhaps the sculpture will help us to understand the term.

   The centre of the relief is occupied by the chaṅkama decked with pañchaṅgulikas and flowers. In front are two colossal heads of demons with a large hand between them. Between these heads and the chaṅkama lies a bundle of fagots, apparently burning. On the left side of the bundle a snake is visible, and a lizard on the right side of it. In the background just above the chaṅkama four lions appear (of three of these only the heads can be seen). On the right side stands a well-dressed man with folded hands followed by four men dressed in the same fashion. In the left corner a man sits on the ground with his head leaning on his left hand. In his right hand he holds a small stick pointed to the ground.

   Barua has identified the sculpture with the Uragajātaka, No. 354 of the Pāli collection. The Jātaka belongs to the class of the stories intended to drive away the grief (śokāpanodana). The Bodhisattva is born as a brahmin who lives together with his wife, his son, his daughter, his daughter-in-law and a female servant. One day he is working on his field together with his son. When son is burning some rubbish, he is bitten by a poisonous snake and dies. The brahmin is unmoved. He sends for his family and the servant. When they have arrived, they burn the body, but not a single tear is shed by any one. On account of their virtue Sakka’s throne manifests signs of heat. He resolves to reward their equanimity by