The Indian Analyst
 

North Indian Inscriptions

 

 

Contents

Introduction

Contents

Preface

List of Plates

Abbreviations

Additions and Corrections

Images

Introduction

Political History

Administration

Social History

Religious History

Literary History

Gupta Era

Krita Era

Texts and Translations

The Gupta Inscriptions

Index

Other South-Indian Inscriptions 

Volume 1

Volume 2

Volume 3

Vol. 4 - 8

Volume 9

Volume 10

Volume 11

Volume 12

Volume 13

Volume 14

Volume 15

Volume 16

Volume 17

Volume 18

Volume 19

Volume 20

Volume 22
Part 1

Volume 22
Part 2

Volume 23

Volume 24

Volume 26

Volume 27

Tiruvarur

Darasuram

Konerirajapuram

Tanjavur

Annual Reports 1935-1944

Annual Reports 1945- 1947

Corpus Inscriptionum Indicarum Volume 2, Part 2

Corpus Inscriptionum Indicarum Volume 7, Part 3

Kalachuri-Chedi Era Part 1

Kalachuri-Chedi Era Part 2

Epigraphica Indica

Epigraphia Indica Volume 3

Epigraphia
Indica Volume 4

Epigraphia Indica Volume 6

Epigraphia Indica Volume 7

Epigraphia Indica Volume 8

Epigraphia Indica Volume 27

Epigraphia Indica Volume 29

Epigraphia Indica Volume 30

Epigraphia Indica Volume 31

Epigraphia Indica Volume 32

Paramaras Volume 7, Part 2

Śilāhāras Volume 6, Part 2

Vākāṭakas Volume 5

Early Gupta Inscriptions

Archaeological Links

Archaeological-Survey of India

Pudukkottai

THE GUPTA INSCRIPTIONS

There are, however, two representations of his which are singular, and they are both found at Kārvāṇ, the place where this last incarnation of Śiva came off and also passed away. Here we have two liṅgas with the portraits of Lakulī sculptured in front. One of these is in the temple of Naklēśvar and the other, in that of Rājarājēśvar, both at Kārvāṇ. If they were mere liṅgas, how could they be distinguished one from the other? How could we say that one liṅga denoted one āchārya, another liṅga another āchārya and so on? It will thus be seen that the Śiva liṅga has been combined with the representation of Lakulī into one image. It may be asked: What could be the meaning of this? Now, the Purāṇas and the inscriptions are unanimous in saying that Lakulī was the originator of certain austerities and religious practices called the Pāśupata or Māhēśvara yōga, which his pupils disseminated. And it is well-known that when a yōgī passes away, he does not die like an ordinary mortal with his last breath going out of his earthly nostrils, but rather by a yōga feat which enables him to pass it through the brahmarandhra, that is, by breaking through his human skull. It is only in this manner that he is absorbed into Brahman, if he is a Vedantist, or into Śiva, if he is a Pāśupata or Māhēśvara. But as Lakulī was a worshipper of Śiva, we have to suppose that the two sculptures from Kārvāṇ represent obviously the absorption of Lakulī into the divinity of Śiva. It is therefore not at all unreasonable to suppose that even in the case of Upamitēśvara and Kapilēśvara, we had not mere Śiva liṅgas set up here but rather liṅgas with portraits of Upamita and Kapila carved into them, as is the case with Lakulī in the two images of Kārvāṇ. Upamita and Kapila, being descendants of Kuśika, must have been experts in the Pāśupata yōga. We have therefore to presume that they too must have passed away like the yōgins by driving away their prāṇa-vāya through the brahma-randhra. They must have thereby merged themselves into the godhead of Śiva . This alone can explain why all these departed ascetics of the Lakulī sect have received the divine title of bhagavat. The teacher, Uditāchārya, who was still living and who was not yet absorbed into Śiva, was not to, and, in fact, cannot, be honoured with this supreme title. He has, therefore, been merely styled ārya. Here it may be asked whether even this title has at all any significance of its own. In this connection my attention had been drawn by my late lamented friend Jogendra Chandra Ghosh, to a verse in the Cintra praśasti.1 It is with reference to Tripurāntaka, the ascetic-teacher of the Gārgya line, who has been referred to above. He was a contemporary of the Chaulukya king Sāraṅgadēva, during whose time the inscription was engraved. The verse runs thus:

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................Iha sākshād=Umākāṁtaḥ śrīmān Gaṇḍa-Bṛihaspatiḥ |
................Āryam=ēnaṁ vinirmāya shashṭhaṁ chakrē mahattaram [||] 34

        â€œHere the illustrious Gaṇḍa Bṛihaspati, visibly the husband of Umā, having made him an Ārya, appointed him sixth Mahattara.”

        What the verse says is that Gaṇḍa-Bṛihaspati, who was apparently the State Officer in charge of the religious monuments, made Tripurāntaka an ārya and then appointed him sixth Mahattara. Bühler who edited the inscription was himself not sure whether Ārya and Mahattara referred to officers, or were mere titles. The second alternative is considered by him as more probable. Personally, however, I think that Mahattara denotes an officer, and corresponds possibly to the modern Mahant, the head of a religious order. As regards ārya, it is worthy of note that Hēmachandra’s Abhidhānachintāmaṇi gives it as a synonym of prabhu, “a master, an owner.”2 This fits excellently not only in the Cintra praśasti, but also in our record. For in the first case we know that Tripurāntaka built five temples of which he legitimately could be an Ārya or owner. In the second case we have seen that Uditāchārya raised two
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1 Ep. Ind., Vol. I, pp. 271 ff.
2 Martya-kāṇḍa, paryāya I (verse 23).

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