The Indian Analyst

South Indian Inscriptions







List of Plates

Additions and Corrections



A. S. Altekar

P. Banerjee

Late Dr. N. K. Bhattasali

Late Dr. N. P. Chakravarti

B. CH. Chhabra

A. H. Dani

P. B. Desai

M. G. Dikshit

R. N. Gurav

S. L. Katare

V. V., Mirashi

K. V. Subrahmanya Aiyar

R. Subrahmanyam

T. N. Subramaniam and K. A. Nilakanta Sastri

M. Venkataramayya

Akshaya Keerty Vyas

D. C. Sircar

H. K. Narasimhaswami

Sant Lal Katare



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





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

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





(Continued from Vol. XXIX, part V)

Abstract of contents

Slab I ; Invocation

The contents of the first slab are mostly invocatory, though the main theme of the inscription, namely the construction of the artificial lake called Rājasamudra, is also alluded to at places as in verse 3. The first thirteen verses constitute a Bhavānīstōtra, the following nine a Gaṇēśastōtra and the rest a Sūrya-stōtra. There are altogether thirty stanzas, the concluding portion of the last one being destroyed. Although the first eulogy is designated as Bhavānī-stōtra, yet in it are invoked some other deities as well, such as Rāma in verse 1, Ramā in verse 5, Sarasvatī in verse 6, and so forth. In the last verse of this stōtra, that is in verse 13, the poet has introduced his name as Raṇachhōḍa, whose parentage is given further on in the record.

Slab II ; Canto I

The second slab also has an invocation in the beginning, comprising eight stanzas, collectively named in the inscription as Maṅgalāshṭaka. From the first verse we gather that the temple of Ēkaliṅga (13 miles to the north of Udaipur) was situated near the stream Kuṭilā[2] on the top of the mount Vivara,. It is indicated in verse 7 that Rāṇā Rājasiṁha was a descendant of the solar race to which belonged Manu, the first of the kings. After the Maṅgalāshṭaka, verse 9 describes the poet Raṇachhōḍa to be a Tēlaṅga Paṇḍita, born in the Kaṭhōṇḍī family ; his father’s name is given as Madhusūdana, while his mother is one Vēṇī, daughter of the family of the Gōsvāmins.[3] The same stanza speaks of Raṇachhōḍa’s two brothers whose names appear to be Bharata and Lakshmaṇa, for whose teaching the Rājapraśasti was utilized. The next verse, i.e., verse 10, tells us that the king, while residing at Dhōdhuṁdā, commenced the construction of the great lake on the 7th day of the dark half of the month of Māgha in the year (or rather after the completion of the year) 1718 (of the Vikrama Saṁvat), and that the poet Raṇachhōḍa at the same time began to compose the praśasti of that lake at the command of the king.

In verse 16 the poet says : ‘ I compose this work in the language of the gods, i.e., in Sanskrit, because the works composed in that language, like the Mahābhārata, are everlasting like the immortals themselves, whereas Bhāshā works are short-lived as the mortals themselves.’ Then, before


[1] The inscription seems to have been noticed for the first time by Major A. N. Bruce, Political Agent at Hadoti, and Captain J. J. Blair, Assistant Agent to the Governor General in Rājputāna, during their visit to Udaipur early in the eighties of the last century. Yadurāya, a Brahmaṇa of Rājnagar, was subsequently asked to transcribe the record and to despatch the transcript of each canto to Major Bruce as soon as it was complete. The text thus received by Major Bruce was being forwarded to Captain Blair at Tonk who had it translated into English by Pandit Ramkarna of Tonk. Sixteen cantos were thus transcribed and translated into English when the work suddenly stopped due to the sad demise of the two English officers. The labour was, however, not wasted ; for, Munshi Deviprasad prepared a summary of the contents of the sixteen cantos with the help of Pandit Ramkarna’s translation and published it in Urdu as a brochure titled Tārīkh Rājparshasti (Nawal Kishore Press, Cawnpore, 1884). The transcript was, however, defective as some names had either been wrongly read or altogether omitted (including that of Hamīr) by Deviprasad. Kavirāj Shyāmaldās published the text in the Vīravinōda which was not accessible to us.
[2] It is a small stream near the Ēkliṅgaji temple and is also mentioned in the Ēkaliṅga-māhātmya of the time of Mahārāṇā Rāimal. See Ojha, History of Udaipur State (in Hindi), Vol. I, p. 112, n, 1. Perhaps the same stream is mentioned in the Śṛiṅgī-Ṛishi Inscription, v. 20. See above, Vol. XXIII, p. 237.
[3] Apparently connected with the Gōsvāmins of Nāthadvārā, whose ancestors originally came from the Telugu country. Viṭṭhalanātha, the second son of Vallabhāchārya, the founder of the Vallabha sect of the Vaishṇavas acquired the title of Gōsvāmin. This family was originally settled in Brindavan and Mathura but later on in V. S. 1728 moved to Nāthadvārā with the deity Raṇchōḍjī during the reign of Mahārāṇa Rājasiṁha out of fear of molestation at the hands of Aurangzeb.

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