The Indian Analyst
 

South Indian Inscriptions

 

 

Contents

Index

Introduction

Contents

Additions and Corrections

Images

Contents

Dr. Bhandarkar

J.F. Fleet

Prof. E. Hultzsch

Prof. F. Kielhorn

Rev. F. Kittel

H. Krishna Sastri

H. Luders

Vienna

V. Venkayya

Index

List of Plates

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

EPIGRAPHIA INDICA

(V. 4.) When many members of that race, bent on conquest, applied to whom the title of Favourite of the Earth had at last become appropriate, had passed away,─

(V. 5.) There was, of the Chalukya lineage, the king named Jayasiṁha-vallabha, who in battle─ where horses, footsoldiers and elephants, bewildered, fell down under the strokes of many hundreds of weapons, and where thousands of frightful headless trunks and of flashes of rays of swords were leaping to and fro[1]─ by his bravery made Fortune his own, even though she is suspected of fickleness.[2]

(V. 6.) His son was he who was named Raṇarâga, of divine dignity, the one master of the world, whose superhuman nature, (even) when he was asleep, people knew from the pre-eminence of his form.[3]

(V. 7.) His son was Polekêśin, who, though endowed with the moon’s Beauty, and though the favourite of Fortune, became the bridegroom of Vâtâpipurî.[4]

(V. 8.) Whose path in the pursuit of the three objects of life[5] the kings on earth even now are unable to follow ; and bathed by whom with the water of the purificatory rite, when he performed the horse-sacrifice, the earth beamed with brightness.

(V. 9.) His son was Kîrtivarman, the night of doom to the Naḷas, Mauryas and Kadambas, whose mind, although his thoughts kept aloof from others’ wives, was attracted by the Fortune of his adversary.

(V. 10.) Who, having secured the fortune of victory by his valour in war, being a scent-elephant of a king, of great strength, at once completely broke down the multitude of the broad kadamba trees─ the Kadambas.[6]

(V. 11.) When his desire was bent on the dominion of the lord of the gods,[7] his younger brother Maṅgalêśa became king, who by the sheets of dust of his army of horse, encamped on the shores of the eastern and western seas, stretched an awning over the quarters.[8]

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(V. 12.) Who in that house which was the battle-field took in marriage the damsel, the Fortune of the Kaṭachchuris, having scattered the gathering gloom, (viz.) the array of elephants (of the adversary), with hundreds of bright-rayed lamps, (viz.) the swords (of his followers).

(V. 13.) And again, when he was desirous of taking the island of Rêvatî, his great army with many bright banners, which had ascended the ramparts, as it was reflected in the water of the sea appeared like Varuṇa’s forces, quickly come there at once at his word (of command).

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[1] Literally, ‘dancing.’ The compound commencing with nṛityad- reminds one of Ragh. VII. 48, where a warrior whose head has been cut off with the sword (khaḍga) rises into the sky, and from there views his headless trunk dancing on the battle-field (nṛityat=kabandhaṁ samarê dadarśa).─The preceding aśva-patti-dvipa is equivalent to aśva-dvipa-vîra, ibid. verse 39.
[2] Compare Ragh. XVII. 46, chapal=âpi svabhâvataḥ . . . Śrîḥ.
[3] The gods are called a-nimisha, or a-nimêsha, because they do not shut their eyes (compare Ragh. III. 43). when the king was asleep, he did shut his eyes, yet even then the pre-eminence of his form shewed him to be a god. Vapuḥ-prakarsha occurs e.g. ibid. III. 34 and 52, and Kir. III. 2.─ It may be noted that the word jagadêkanâthaḥ, used in this verse, occurs in Ragh. V. 23, together with dvijarâja-kântiḥ which is synonymous with the epithet śrit-êndukântiḥ in the next verse of this inscription.
[4] Beauty (Kânti) personified is regarded as the wife the Moon. The town Vâtâpipurî is represented by the poet as a newly married woman (Vâtâpipury=êva vadhûr=navôḍhâ, tasyâ varô vôḍha) ; compare Ragh. XVII. 25, rôjyaśrî-vadhû-varaḥ.
[5] I.e. dharma, artha and kâma.
[6] The expression pṛithu-Kadamba-kadamba-kadambakam apparently was suggested to our author by the pṛithu-kadamba-kadambaka in Kir. V. 9. In the Tâḷgund Kadamba inscription the kadamba tree and the Kadamba family have the epithet uru, corresponding to the adjective pṛithu in the present inscription and in the Kauṭhêṁ plates, Ind. Ant. Vol. XVI. p. 22, l. 21.
[7] I.e. when he died.
[8] Compare Ragh. XVIII. 22, vêlâ-taṭêsh=ûshita-sainikâśvam ; and IX. 50, gaganam=aśvakhur-ôddhata-rêṇubhir=nṛi-savitâ sa-vitânam=iv=âkarôt. The eastern and western seas bound the earth on either side ; compare Kumârasambhava, I. 1.

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