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

LITERATURE

 

site mattavāraṇaka. They then asked the poet about the book on his bed. The poet also felt curious as this surprising incident, and said, “I shall tell you about it; but first tell me who you are.” Then one of them replied, “This noble companion of mine is Tilaka and I am Tālaka. Being always in the company of Saravatī, we have obtained poetic talent. But tell us what your book is about.” The poet then said, “This is my own kāvya. It will remain tied like this until I find a good poet willing to listen to it.” On this they both pressed him to read it out to them. The poet then took the book out of the bundle and began to read it aloud.

.. That work was the Udayasundarīkathā. Its story is very complicated like that of Bāṇa’s Kādambarī. It cannot be given here in detail,[1] but it may be summarised as follows:

The Story of Udayasundari

.. “In the magnificent city of Pratishṭhāna on the bank of the Godāvarī in the country of Kuntala there reigned a great king named Malayavāhana. One day, as he was sitting in his sabhā, there came his gardener Vasantaśīla with a parrot having a wonderful tuft of hair on his head and, therefore, appropriately called Chitraśikha. He was really a prince of Mathurā named Kumārakēsarī, but was transformed into a parrot by the curse of a female hermit (tāpasī) when he accidentlly stepped on her ruby-shell used in worship in Pātāla, and broke it to pieces. Being entreated by him, the Tāpasī relented and said, “Even as a parrot, you will be able to lead the life of a human being, and when your beak will be broken in a temple of Śiva, you will be restored to your original human form.” After some days the king went ahunting taking the bird with him. In the course of hunting he came to a beautiful temple decorated with jewelled statues of females. Just then the parrot Chitraśikha broke open the coral door of his cage, flew out and then began to peck at the pomegranate in the hand of a female statue in the maṇḍapa. In doing so his beak broke, and lo! he was restored to his
human form. The tuft of hair on the parrot’s head was just then transformed into the portrait of a lovely damsel. The king fell in love with the young lady whose portrait it was, and roamed about in search of her. Once in a moonlit night he noticed a Rākshasa molesting a young hermit girl in a lonely temple of Chaṇḍikā. He fought with him and rescued her. She told him that she was Tārāvalī, a dear friend of Udayasundarī, the daughter of a Nāga king named Śikhaṇḍatilaka ruling in Pātāla. Once upon a time Udayasundarī saw the portrait of king Malayavāhana which had been brought there by a Kinnara couple, fell in love with him, and began to pine for him. Tārāvalī then got another portrait of Udayasundarī painted. At her mother’s bidding, Udayasundarī once went to the temple of Hāṭakēśvara (Śiva) for his darśana, where Kumārakesarī also had come. As stated before, he accidentally stepped on a ruby-shell and was cursed by the female hermit of the temple to become a parrot. The portrait of Udayasundarī was transformed into its śikhā. Having heard her story, the king Malayavāhana asked her to say in a maṭha of his capital for some time.

.. In the meanwhile Udayasundarī, who had been sleeping on the terrace of her palace, was abducted by a Vidyādhara who had gone to Pātāla for the darśana of Hāṭakēśvara. As he was flying with her in his aeroplane, he struck a hermit who was practising penance, and was cursed by the latter and turned into a monkey. He kept Udayasundarī in imprisonment in a mansion inside a hill. King Malayavāhana once saw a wonderful mare, which brought him to the place where Udayasundarī was imprisoned. The king saw the monkey and slapped him. Then the latter regained his original form of a Vidyādhara. The mare was none other than Tārāvalī, who had been transformed when she drank the water of a magic kuṇḍa. She was also restored to her original form.
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[1] For a more detailed summary of the contents of this work, see our Literary and Historical Studies in Indology, pp. 75 f.

 

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