The Indian Analyst
 

North Indian Inscriptions

 

 

Contents

Introduction

Preface

Contents

List of Maps and Plates

Abbreviations

Additions and Corrections

Images

Introduction

Political History

The Early Silaharas

The Silaharas of North Konkan

The Silaharas of South Konkan

The Silaharas of Kolhapur

Administration

Religious Condition

Social Condition

Economic Condition

Literature

Architecture and Sculpture

Texts And Translations  

Inscriptions of the Silaharas of North Konkan

Inscriptions of The Silaharas of South Konkan

Inscriptions of The Silaharas of kolhapur

APPENDIX I  

Additional Inscriptions of the Silaharas

APPENDIX II  

A contemporary Yadava Inscription

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

ARCHITECTURE AND SCULPTURE

 

fine smile playing on his face. On the right is shown the donor of the image in the añjalimudrā, and on the left his wife with a pot full of sweets. By their side are seen two gaṇas holding musical instruments.

.. This image too is unfinished. On its two sides at the top were to be carved two aṅgadevatās in niches, and in the pediment at the top, the ten incarnations of Vishṇu as in several other images of the mediaeval age. Still, even in its present unfinished condition, this image can be reckoned among the finest specimens of the age.

.. Siva−In the Śiva-temples the object of worship is the Śiva-liṅga, but images of the god are affixed to their walls, the principal one being in the niche on the hind wall of the garbha-gṛiha. In the temple at Ambarnāth this image of Śiva is three-faced. It has been described before.

.. Besides this, other forms of Śiva such as the Ardhanārīśvara and the Kalyāṇasundara are noticed in the Ambarnath temple.

.. Besides the images of the three principal gods, Brahmā, Vishṇu and Śiva, those of other gods and goddesses have been found at some places in Koṅkaṇ. Of them, the image of the goddess Mahishāsuramardinī [1] found at Ṭhāṇā is specially noteworthy.

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.. This image is 58 cm. high. The goddess is seen killing the demon Mahishāsura (Buffalodemon). She is in the tribhaṅga pose, with her right foot planted on the back of the buffalo, whose head is cut off. She wears a kirīṭa-mukuṭa and several beautiful necklaces, bracelets and anklets. The scarf which half covers her breasts has a knot tied in front. Her raśanā (girdle) is adorned with small bells, with its pearl tassels hanging in front. She is four-armed. Her upper right hand wields a sword, while the left one has a shield. With her lower right hand she is seen piercing with a trident the demon who has emerged out of the beheaded buffalo. She holds his head tightly with her lower left hand while he is trying to prevent the trident from piercing his chest. The lion, the vehicle of the goddess, is seen biting off the flesh of the buffalo. The goddess has a pleasing smile, indicating her inward joy at the ultimate destruction of the mighty buffalo-demon. This panel is full of action and reaches a high-water mark of artistic perfection.

.. Karttikēya−In the hills near Chipḷuṇ in the Ratnāgiri District there are finely carved images of Kārttikēya and Vindhyavāsinī Dēvī. Of the six faces of Kārttikēya, [2] five are seen, two on each side of the central one. The god is standing in the sama-bhaṅga pose. The image is 71 cm. in height. All the heads have kirīṭa-mukuṭas studded with jewels. Two of his twelve hands are now broken, but those that are undamaged are shown holding the arrow, the mace, the bow, the lotus, etc. He wears the yajñōpavīta and the champaka-mālā reaching below the knees. The tassels of his elaborately carved girdle are shown gracefully hanging on his legs. To his left is seen his vehicle, the peacock, and to his right a female chawri-bearer. This images also is one of the best specimens of the plastic art of the Śilāhāra age.

.. On stylistic grounds this image can be referred to the Śilāhāra age, and this is confirmed by the reference to it in an old Sanskrit work, viz., the Śrī-Vāḍēśvarōdaya-kāvya. [3] This kāvya was composed by the poet Viśvanātha, a Brāhmaṇa of the Kauśika gotrā, in the Śaka Saṁvat 1550 (A.D. 1628-29) and so it is nearly three hundred and fifty years old. It is of the sthala-māhātmya type, its purpose being to describe the construction and importance of the sacred shrines in and around the village Guhāgara in the Ratnāgiri District. The kāvya mentions the images of Vindhyavāsinī and other gods and goddesses at Guhāgara. In the
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[1] Pl. U, Fig. 27. Bulletin of the Prince of Wales Museum, No. 9, p. 37.
[2] Pl. V, Fig. 28. See also ibid., pp. 40-41 ; Indian Antiquary, (Third Series), Vol. V, pp. 207 f.
[3] Ed. by A.D. Pusalkar in Indian Thought, Vol. VI.

 

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