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The Indian Analyst
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North Indian Inscriptions |
PART B TRANSLATION: The meaning of the inscription can hardly be definitely established as long as the subject of the relief has not been identified. The sculpture represents a game in which on either side two persons take part. A gaming-board containing 36 squares is drawn on the flat surface of a rock, which splits into two, engulfing the two men on the right and perhaps also the tree under which they are sitting. Of the two men on the left, one is raising his right hand which indicates that he is speaking, while the other is seated crosslegged. Before him lies a small square object which looks like a punch-marked coin, but may be a stone used for the game. Six similar pieces are lying to his left. In the background there is a square block ornamented with three-forked symbols.
Regarding the text of the inscription, Hoernle is in doubt whether sila stands for silā
(Sk. śilā) or for sīlaṁ (Sk. śīlam). The sculpture leaves little doubt that it is the word for rock
(śilā); this has been assumed by Hultzsch. Hoernle’s suggestion to refer chitupāda to the
gaming board and to explain it either as chatushpāda or chitrapāda certainly misses the mark.
The mistakes of the sculptor which Hoernle has to assume are quite improbable and I do
not understand how far these two expressions could suitably designate the gaming board. Chittuppāda literally ‘ arising out of a thought ’, ‘ wish ’, ‘ intention ’ is a word used often in
Pāli; in connection with silā, however, it does not yield any meaning. But uppāda is in
Pāli also a normal representative of Sk. utpāta[1] ‘ abnormal phenomenon ’ and thus it is most
probable that chitupādasila represents Sk. chitrotpātaśilā. ‘A rock of wonders and of abnormal
phenomena ’ or ‘ a rock where miracles and portents happen ’ would seem to be quite an
appropriate name for a rock which suddenly splits[2]. The stranger block with three-forked
symbols has its counterparts in the sculptures described under Nos. B 73 and B 74 which
represent scenes on mount Naḍoda. It is therefore not unlikely that the gambling scene also
has to be localized on that mountain very rich in miracles. This suggestion is however
uncertain as long as the story has not been found in literature. Certainly the relief does
not illustrate the Littaj. (91) as Barua thinks. There is not the slightest similarity between
the Jātaka and the sculpture, and that the label cannot be translated as ‘ the gambler fond
of the square-board game ’ needs scarcely be mentioned. [1]Usually it appears in connection with supina and lakkhaṇa; D. I, 9, 4; Sn. 360; J. 87, 1; 546, 216;
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