Kahau Stambh evam Kshetriya Puratattv ki Khoj

Author(s): Satyendra Mohan Jain
Publisher: Idrani Jain
Catalog link: https://jainqq.org/explore/004156/1

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja AL lekhaka satyendra mohana jaina For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja lekhaka ... satyendra mohana jaina - bI.esa.sI., bI.i., ema.i. phailo yunAiTeDa rAITarasa esosiyezana avakAza prApta, adhizAsI abhiyantA, u.pra., loka nirmANa vibhAga; . vAstuzAstrI For Personal & Private Use Only

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(c) prathama saMskaraNa - satyendra mohana jaina dinAMka : vIra nirvANa saMvat-2433, kArtika kRSNA, 30 zrI mahAvIra svAmI nirvANa divasa 22 akTUbara, IsvI san 2006 prakAzaka idrAnI jaina ema.e. bI.eDa. bI. 32/12, nariyA, vArANasI pina-221005 mobAila-94153-00971 mUlya ru0 100/ For Personal & Private Use Only

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OM hrIM zrI puSpadantasvAmine * namaH For Personal & Private Use Only

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prAkkathana kahAU~ grAma paraganA salemapura se 5 ki.mI. dUra devariyA jile meM hai / yaha sthAna digambara jaina tIrtha hai / isa sthAna para nauveM tIrthaMkara zrI puSpadanta svAmI kI dIkSA sampanna huI evaM kevalajJAna huA / khukhundoM grAma jahA~ zrI puSpadanta svAmI kA garbha evaM janma huA vaha sthAna yahA~ se 16 ki.mI. dUra hai / khukhandoM hI purAnI kAkandI nagarI hai| kahAU~ grAma meM purAtAtvika avazeSa ke rUpa meM kevala eka stambha zeSa hai jisa para IsA kI pAMcavIM zatAbdI kA eka lekha hai / yaha stambha eka mahattvapUrNa avazeSa hai jisane I. san 1807 meM bukanAna se Aja taka labdha-pratiSThita purAtatvavidoM kA dhyAna AkRSTa kiyA hai / isa pustaka meM ina purAtatvavidoM ke varNana ko ekatra kara prakAzita kiyA gayA hai evaM lekhaka kI TippaNI va niSkarSa diye haiN| stambha meM aba eka lambavat darAra par3a gaI hai| Upara kI cAroM evaM nIce kI mUrtiyA~ galakara cappar3a chor3a dI haiM / isa stambha kA ucita rakha-rakhAva Avazyaka hai / isa adhyayana kA yaha dhyeya hai ki isa stambha ko saMrakSita karane kI sahI dizA mila ske| isa stambha kA mahattva yoM bhI bar3ha jAtA hai kyoMki digambara jainoM meM stambha banAne kI paramparA to purAnI hai parantu jaina stambhoM kA samagra adhyayana abhI nahIM huA hai / anumAna aisA hai ki isase purAne bhI kucha stambhoM ke pramANa mileMge parantu saMgrahAlayoM meM athavA apane sthAna se dUra kahIM anya sthAna para lagAye gaye hoMge / sambhavata: yaha sabase purAnA digambara jaina stambha hai jo apane mUla sthAna para khar3A hai| isa grAma se 16 ki.mI. para purAnI nagarI 'kAkandI' ke avazeSa haiM / vahA~ bhI purAne jaina avazeSa haiM jina para 19vIM zatAbdI ke aMta meM eka jaina mandira banAyA gayA hai / yahA~ guptakAla kI eka manojJa jaina pratimA virAjamAna kI gaI thI, jo bhUgarbha se prApta huI thii| yaha pratimA surakSA ke abhAva meM abhI kucha samaya pUrva corI ho gaI / vahA~ kA vistRta purAtAtvika anveSaNa ho to jaina itihAsa ke kucha rahasya pragaTa hoNge| For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 5 yaha pustaka isa kSetra ke vistRta adhyayana ke lie AdhAra rUpa hai / abhI bahuta khoja karanI zeSa hai, jaise rAjasva-abhilekha evaM gajeTiyara itihAsa kI kucha sUcanAyeM chipAye hogeM jo hamane nahIM khojI / AcArya guNadharma (I. 1230) kI racanA 'puSpadaMta purANa' kA adhyayana bhI nahIM kiyA jA sakA hai / unhoMne puSpadanta svAmI ke dIkSA evaM kevalajJAna sthala ke viSaya meM kyA likhA hai ? 'TaisTa-piTa' banAnA evaM vAstavika khudAI kA kArya yahA~ abhI taka nahIM huaa| AsapAsa ke sthaloM-khukhundoM, par3araunA Adi para bhI purAtAtvika anveSaNa nAma mAtra ko hI huA hai / anya jaina stambhoM kA alaga se koI adhyayana nahIM huA jo isa stambha ke mahattva ko rekhAMkita kare / prophesara mahezvarI prasAda oNnarerI DAyarekTara pArzvanAtha vidyApITha karauMdI, vArANasI, unhoMne mUla prati dekhakara mUlyavAna sujhAva diye; DaoN0 mArutinaMdana prasAda tivArI prophesara kalA kA itihAsa, banArasa hindU vizvavidyAlaya, jo jaina mUrti vijJAna ke ananya vidvAna haiM, jinakI chatrachAyA meM DaoN0 AnaMda kumAra zrIvAstava ne isa khoja kArya ke kucha aMza kiye; DaoN0 bI.Ara. maNi DAyarekTara insTITyUTa oNpha/ArkeyolaoNjI, jinhoMne saMdarbha khojane meM merI madada kI; zrI nirmala kumAra jaina adhyakSa, bhAratavarSIya jaina mahAsabhA, lakhanaU, jinhoMne chapAI evaM khoja meM sahayoga pradAna kiyA; zrI pukharAja jaina adhyakSa, zrI digambara jaina pAvAnagara siddha kSetra samiti, gorakhapura; DaoN0 abhayakumAra jaina, zrI balavIra siMha jaina gorakhapura; ziva pratApa kuzavAhA kahAU~ ne hamArI madada kI evaM anya saba mahAnubhAvoM kA jinakA nAma sthAnAbhAva se na likhA jA sakA, maiM sabakA AbhArI hU~ evaM dhanyavAda jJApana karatA huuN| pustaka ke jilda ke pRSTa para puSpadanta svAmI kI cauthI sadI kI mUrti kI phoTo hai jo prophesara roz2araphIlDa ke saujanya se zrI Ara.sI. agravAla ne 'oriyanTala insTITyUTa oNpha bar3odA' kI 18vIM jilda (1968) meM chApI . hai| yaha mUrti mArutinaMdana prasAda tivArI kI pustaka 'jaina pratimAvijJAna' pR0 104 ke anusAra zrI puSpadanta svAmI kI prAcInatama pratimA hai / yaha mUrti isa stambha se pUrva kI hai| satyendra mohana jaina bI.esa sI. bI.I., ema.I., epha.yU.DablU.e.AI. bI.32/12 nariyA, vArANasI / For Personal & Private Use Only

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pRSTha saM0 viSaya-sUcI kra.saM. vivaraNa prAkkathana viSaya-sUcI pariziSToM kI sUcI citroM kA vivaraNa ... 1. aMcala kA mahattva 2. grAma kA nAma 3. purAtAtvika khojoM kA varNana .. 4. zilAlekha kA adhyayana 5. mAnastambha kA citra 6. stambha kI U~cAI 7. paJcendrA~ 8. stambha ke zIrSa para khUTI 9. stambha ke nirmAtA 10. stambha ke Asa-pAsa kA purAtattva (1) stambha kA cauka (2) stambha ke pAsa kA maMdira (3) tAlAba (4) stambha ke samakSa maMdira (5) maMdira ke pAsa stUpa 11. niSkarSa " a For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja pariziSToM kI sUcI 30 kra.saM. vivaraNa pRSTha saM0 1. IsTarna iNDiyA, 2 (1838), pR. 366-367, phigara-2 27 2. jarnala baMgAla eziyATika sosAiTI, 7 (1838), pR. 33-34 evaM 36 - 39 pleTa-1 3. dI bhilasA Topasa, (1854), pR. 138-39, 141-42, 144 37 4. AAlAjikala sarve riporTas, 1 (1871), pR. 91 - 95, / pleTa 28,29, 30 5. iNDiyana eNTIkverI, 10(1881), pR. 125 - 126, pleTa 1 45 6. AAlAjikala sarve riporTasa, 16 (1880-83), pR. 129-30 51 7. kArpasa inskripznam, 3 (1888), pR. 65-68, pleTa 9 53 8. salekTa inskripzan, 1(1942), pR0 308-310 9. iNDiyana hisTrArikala kvArTaralI, 28(1952), pR. 298-300 61 10. jaina zilAlekha saMgraha, 2(1952), pR 59 64 11.. bhArata ke digambara jaina tIrtha, 1(1974),pR.173-175, citra 60 65 12. inaskripzansa oNpha da arlI gupta kiMgsa, (1981), pR. 305-308 pleTa 29 13. prAcIna bhArata ke pramukha abhilekha (guptakAla 319-543 I.), 2 (1999), pR 146-147 / 14. dI keva Taimpalasa oNpha iNDiyA, (1880), pR. 497, pleTa 8.0, 81 15. . bhArata ke digambara jaina tIrtha, 1 (1974), citra 67 16. hisTrI oNpha iNDiyana eNDa IsTarna ArcITekcara 2 (1876, tRtIya mudraNa 1910) pR. 56-58 | 17. tIrthavaMdanA apraila (2001), pR. 4-5 79 18. jarnala bAmbe brA~ca oNpha rAyala eziyATika sosAiTI, 7 (186364, 1864-65, 1865-1866) pR. 246-47 82 19. jarnala baMgAla eziyATika sosAiTI 43 (1874) pR. 368-372) 84 For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja citroM kA vivaraNa 1. stambha ke nIce pArzvanAtha kI mUrti / 2. stambha ke Upara pazcimI pahalU para tIrthaMkara mUrti / 3. stambha ke Upara pazcimI pahalU para banI mUrti kA zIrSaH / 4. stambhaM ke Upara uttarI pahalU para tIrthakara mUrti / . 5. stambha ke Upara pUrvI pahalU para tIrthaMkara mUrti / 6. . stambha ke Upara dakSiNI pahalU para tIrthaMkara mUrti / 7. stambha para zilAlekha jo pUrva-uttara, uttara evaM uttara-pazcimI pahalU para hai| 8. stambha / For Personal & Private Use Only

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1. aMcala kA mahattva bhagavAn puSpadanta jainadharma meM nauveM tIrthaMkara haiM / inakI dIkSA kakubhavana meM huI evaM inheM kevalajJAna bhI isI vana meM huA / yahI sthAna aba 'kahAU~' nAma se prasiddha hai / yahA~ jainadharma kI paramparA ucchinna-sI ho gaI hai / kevala eka stambha maujUda hai jo pA~cavIM zatAbdI I. kA hai / cAroM tarapha khaNDahara evaM kucha TUTI-phUTI jaina mUrtiyA~ avazya haiM / pAsa meM khukhundoM grAma hai jo purAnA kAkandI nagara hai / vahA~ bhI kAphI khaNDahara haiM va kucha guptakAlIna jaina mUrtiyA~ jaina mandira meM dekhI jA sakatI haiM / kAkandI bhagavAn puSpadanta ke garbha evaM janma kA sthAna hai / ina khaNDaharoM meM isa kSetra kA itihAsa chipA hai jo prAgaitihAsika kAla taka jAnA caahiye| gaptakAla meM avazya hI yahA~ para jainadharma kA varcasva rahA hai| tabhI eka pASANa kA itanA sundara stambha yahA~ virAjamAna hai / AveM, isa stambha ke itihAsa kA adhyayana karake dekheM ki isase pahale va Age isa kSetra kA dhArmika svarUpa kyA rahA hogA ? 2. grAma kA nAma (1) DaoN0 phrAMsisa bukanAna ne isa sthAna ko 1807 se 1813 ke bIca dekhA / unhoMne isa gA~va kA nAma Kangho likhA hai / (2) liraTana jinhoMne 1837 meM yaha stambha dekhA, ne isa gA~va kA nAma Kubaon btaayaa| (3) janarala kaniMghama ne 1861-62 meM isa sthAna kA bhramaNa kiyA evaM batAyA ki loga isa gA~va ko Kahaon yA Kahawan kahate haiM / unhoMne kahA bukanAna kA Kangho, Kanghon se vikRta hokara banA hai / (4) bhagavAnalAla indrajI paNDita ne sthAna kA nAma Kahaun varSa 1881 meM likhaa| (5) gairika ne 1880-81 meM gA~va kA nAma Kahaon yA Kahong btaayaa| (6) jona phedaphula phlITa ne 1888 meM apane lekha meM isa gA~va kA nAma Kahaum yA Kahawam chApA / phlITa apane lekha meM likhate haiM ki iNDiyana eTalasa kI zITa 103 meM isa gA~va ke nAma Kahaon, Kahaong, Kangho evaM For Personal & Private Use Only

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10 kahAU~ stambha evaM kSetrIya purAtatva kI khoja Kuhaons batAye haiN| isa prakAra aMgrejI meM purAtattvavidoM dvArA batAye nAmoM ke nimna zabda vinyAsa huye- (1) Kangho, (2) Kanghon, (3) Kuhaon, (4) Kahaon, (5) Kahawan, (6) Kahawam, (7) Kahaun, (8) Kahaum, (9) Kahong, (10) Kahaong. hindI meM jaina zilAlekha saMgraha meM nAma kahAya~, bhArata ke digambara jaina tIrtha meM nAma kahAU~ evaM sahArA iNDiyA meM kahAMva nAma likhA hai / hama isa pustaka meM grAma kA nAma kahAU~ likha rahe haiN| - zilAlekha meM prisepa va kaniMghama ne grAma kA nAma 'kakubha:rati' par3hA hai / bhagavAnalAla indrajI paNDita evaM bAda ke vidvAnoM ne isa grAma kA nAma 'kakubhaH' pddh'aa| paNDita balabhadra, bhArata ke digambara jaina tIrtha meM hindI vizvakoSa kA saMdarbha dekara kahate haiM ki kakubha kA artha hai kuTaja jAti ke puSpa, arjuna vRkSa / unhoMne isa jagaha ko 'kakabha vana' batAyA / kaniMghama ne bhI kakubharati se kakubha, kakubhavana kahAvana isa prakAra nAmoM kI utpatti darzAI hai / 'rati' zabda kA artha nAlandA vizAla zabda sAgara. (1950) pRSTha 1157 meM diyA hai-jaina matAnusAra vaha karma jisakA udaya hone se kisI ramaNIka vastu se mana prasanna hotA hai / isa prakAra 'kakubha:rati' kA artha huA arjuna ke vRkSoM kA vana jisase mana prasana ho| , sAhitya meM bhagavAn puSpadanta ke dIkSA evaM kevalajJAna kA varNana hai / tiloyapaNNatti (I. san 540-609) kI gAthA 4/652 evaM 4/686 meM yaha varNana hai / bhArata ke digambara jaina tIrtha bhAga 1 (1974) pRSTha 171 meM ise 'puSpaka vana' par3hA gayA hai| jainendra siddhAnta koza bhAga 2 (1971) pRSTha 382-383 meM ina gAthAoM meM nAma "puSpa vana' par3hA gayA hai / mahApurANa (I. san 800-848) meM, jaisA jainendra siddhAnta koza ke uparokta saMdarbhita pRSThoM para likhA hai dIkSA kA 'puSpaka vana' evaM kevalajJAna kA 'puSpa vana' nAma batAyA hai / puSpaka zabda kA artha saMskRta-zabdArtha-kaustubha (1977) pRSTha 726 para 'phula', 'lohe kA pyAlA' kahA hai / Ara.pI.ena. sinhA kI pustaka 'avara TrIja' bhArata sarakAra ke sUcanA evaM prasAraNa maMtrAlaya dvArA prakAzita (1977) pRSTha 47 para arjuna vRkSa kA dUsarA nAma 'kvInsa phlAvara' likhA hai evaM ise ati sundara vRkSoM meM kahA gayA hai / DaoN0 ema0 esa0 randhAvA kI pustaka 'phlAvariMga TrIja' nezanala buka TrasTa dvArA prakAzita (1995) pRSTha 93 para arjuna ke phUla ko pyAle kI zakala kA batAyA hai / isa prakAra isa sthAna kA nAma 'kakubha:rati', 'kakubha grAma', 'kakubha vana', 'puSpaka vana' evaM 'puSpa vana' paryAyavAcI huye| uparokta donoM per3oM kI pustakoM meM arjuna per3a ke puSpita hone kA samaya apraila se jUna taka diyA hai / bhagavAna puSpadanta svAmI ke dIkSA kA dina pauSa zuklA ekAdazI For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 11 evaM kevalajJAna kA dina kArtika zukla tRtIyA hai / isa kAraNa ina donoM samaya para yaha puSpa puSpita na hogA / paNDita balabhadra kA yaha anumAna hai ki arjuna kA vRkSa dIkSA samaya puSpita thA (isa kAraNa nAma puSpaka vana huA) ThIka nahIM lagatA hai| 3. purAtAtvika khojoM kA varNana (1) sabase pahale DaoN0 phrAnsisa bukanAna (hamilaTana) ne 1807 se prArambha kara sAta varSoM taka 'presIDensI oNpha baMgAla' ke purAtattva kA sarvekSaNa kiyA / yaha riporTa unhoMne 1816 meM 'korTa oNpha DAyarekTarsa IsTa iNDiyA kampanI' ko bhejI / isa riporTa ke aMzoM ko monaTagumarI mArTIna ne 'IsTarna iNDiyA' meM 1838 meM chApe / isa pustaka ke sambandhita aMza pariziSTa-1 para haiM / (2) san 1837 meM zrI lisTana ne yaha stambha dekhA evaM isakA varNana priMsepa ko bhejA / unhoMne isa zilAlekha kA anuvAda evaM zrI lisTana kA yaha patra 'eziyATika sosAiTI oNpha baMgAla' kI 1838 kI riporTa meM chApA, jisake sambandhita aMza pariziSTa-2 para haiN| (3) janarala kaniMghama ne 1861-62 meM isa stambha ko dekhA evaM isakA varNana 'AyolAjikala sarve riporTa', 1 meM chApA, jisake sambandhita aMza kI prati pariziSTa-4 para hai / isase pahale 2854 meM ve isa zilAlekha kI vivecanA chApa cuke the / dekheM pariziSTa-3 / / ... (4) san 1873 meM bhagavAnalAla indrajI paNDita ne stambha ko dekhA evaM vahA~ kA vRttAntaM evaM zilAlekha kA anuvAda 'iNDiyana eNTIkverI' 1881 meM chApA, jisake sambandhita aMza pariziSTa-5 para haiN| (5) zrI eca.bI.DablyU. gerika ne yaha stambha 1880-81 meM dekhA / unakA vRtAMta janarala kaniMghama ne 1880-83 kI riporTa meM chApA jo pariziSTa-6 para hai| ___(6) san 1974 meM paNDita balabhadra ne isa stambha ko dekhA va isakA varNana evaM phoTo 'bhArata ke digambara jaina tIrtha' prathama bhAga meM chApI, jo pariziSTa-6 para hai| 4. zilAlekha kA adhyayana (1) sabase pahale priMsepa ne isa lekha kA anuvAda 1838 meM kiyA jo pariziSTa-2 para hai| (2) janarala kaniMghama meM isa lekha ke samaya ke viSaya meM apane vicAra 1854 meM 'dI bhilasA Topsa' meM chApe / isakI prati pariziSTa-3 para hai / (3) prophesara fiTz2a eDavarDa hAla ne 1855, 1859, 1861 meM isa lekha For Personal & Private Use Only

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12 kahAU~ stambha evaM kSetrIya purAtatva kI khoja kI tithi ke viSaya meM apane vicAra chApe, jo 'jarnala oNpha baMgAla eziyATika sosAiTI', 24 (1855) pR. 385 n-, 'jarnala oNpha amerikana oriyanTala sosAiTI', 6 (1860) pR0 530., 'jarnala oNpha baMgAla eziyATika sosAiTI', 30(1861) pR. 3 n para chApe / yaha tInoM lekha yahA~ upalabdha nahIM haiN| (4) janarala kaniMghama ne 'AAlAjikala sarve riporTa', 1 (varSa 1861-62 kI riporTa chapI 1871) pariziSTa-4, meM samaya nirdhAraNa ke krama ko Age bddh'aayaa| (5) DaoN0 bhAu dAjI ne 1864 meM 'jarnala oNpha bAmbe brAMca oNpha eziyATika sosAiTI', 8, pR. 246 para stambha ke nirmANa kI tithi.para apane vicAra rkhe| isa lekha ke kucha aMza pariziSTa-18 para haiN| (6) rAjendra lAla mizrA ne 'jarnala oNpha baMgAla eziyATika sosAyaTI' 43 (1874) pR0 368-372 para zilAlekha ke samaya ke viSaya meM vivecanA kI, jo pariziSTa-19 para hai| (7) bhagavAnalAla indrajI paNDita ne 'iNDiyana eNTIkverI', 10 (1881), para apane 1873 meM liye gaye impresana ke AdhAra para anuvAda chApA, jo pariziSTa5 para hai| (8) jona phedaphula phlITa ne 'kArpasa inskripzana iNDikeram', 3 (1942) meM isa zilAlekha kA anuvAda chApA jo pariziSTa-8 para hai / (9) dinezacandra sarakAra ne 'salekTa inskripzan', 1 (1942) meM yaha lekha chApA jo pariziSTa-8 para hai / ___ (10) rAjabalI pANDeya ne 'iNDiyana hisTArikala kvArTaralI', 28 (1952) meM isa zilAlekha ke kucha zabdoM kI vivecanA kara pAsa meM anya maMdira hone kI puSTi kii| yaha pariziSTa-9 para hai| (11) 'jaina zilAlekha saMgraha' 2 (1952) meM bhI isa zilAlekha ko chApA gayA / dekheM pariziSTa-10 / (12) paM0 balabhadra jaina ne 'bhArata ke digambara jaina tIrtha' 1 (1974) para isa zilAlekha kI vivecanA chApI, jo pariziSTa-11 para hai|| (13) devadatta rAmakRSNa bhaNDArakara ne 'iskRipzansa oNpha da arlI gupta kiMgsa' (1981) meM isa lekha kA aMgrejI anuvAda chApA hai / dekheM, pariziSTa-12, / (14) paramezvarI lAla gupta ne prAcIna bhArata ke pramukha abhilekha, 2 (1999) meM zilAlekha kA hindI anuvAda chApA hai, jo pariziSTa-13 para hai| For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 5. mAnastambha kA citra sarvaprathama phrAMsisa bukanAna ne san 1807 se 1813 ke bIca stambha kA eka khAkA banAyA, jo pariziSTa-1, para dekhA jA sakatA hai / unhoMne isa stambha ke pAsa ke maMdira kA khAkA bhI banAyA jo isa saMdarbha ke bAda kahIM nahIM milatA hai / yaha maMdira kucha samaya bAda dhvasta ho gayA thA / bukanAna ne eka choTA-sA khAkA grAma kA bhI banAyA hai| san 1837 meM lisTana kA banAyA stambha kA khAkA priMsepa ne chApA, jo pariziSTa-2 para dekhA jA sakatA hai / eka khAkA kaniMghama ne 1861-1862 meM banAyA jo sabase adhika spaSTa hai / yaha khAkA pariziSTa-4 para dekhA jA sakatA hai / isa khAke meM pratyeka bhAga ke nApa phuTa-iMca meM saphAI se likhe haiM / sAtha meM eka khAkA usa bhUbhAga kA bhI dikhAyA gayA hai jahA~ yaha stambha khar3A hai| isa stambha kI eka phoTo bhArata ke digambara jaina tIrtha meM chapI hai jo pariziSTa6, para dekhI jA sakatI hai| aba isa lekha ke sAtha hama isa stambha kI phoTo (dekheM citra-8) evaM stambha ke ukere pA~coM tIrthaMkaroM kI phoTo (dekheM citra 1 evaM 3-6) jo varSa 2002-3 meM inTaika kI lakhanaU zAkhA ne isa stambha kI vaijJAnika surakSA kA kArya karate haye lI hai, unake saujanya se chApa rahe haiN| __isa pustaka meM zilAlekha ke pA~ca lithogrApha bhI dekhe jA sakate haiM-sarvaprathama bukanAna ne 1807 se 1813 ke bIca banAyA jo pariziSTa-1 para hai / lisTana ne 1837 yA 1838 meM priseMpa ke kahane para eka lithogrApha banAyA jo pariziSTa-2 para hai / kaniMghama ne 1861-62 meM isa stambha kA lithogrApha banAyA jo pariziSTa-4, para hai| DaoN0 bhagavAnalAla indrajI paNDita ne 1873 meM lithogrApha taiyAra kiyA jo pariziSTa-5 para hai / uparokta bhagavAnalAla indrajI ke lithogrApha meM eka do zabdoM kA saMzodhana kaniMghama ke lithogrApha ke AdhAra para karate hue jona phedaphula phlITa ne 1888 meM eka lithogrApha taiyAra kiyA jo pariziSTa-7 para hai / aba isa lekha kI phoTo bhI isa pustaka meM chApI jA rahI hai jo 2002-03 meM inTaika dvArA khIMcI gii| dekheM citra-7 / 6. stambha kI U~cAI (1) DaoN phrAMsIsa bukanAna ne 1807 se 1813 ke bIca meM isa stambha kA nirIkSaNa kiyaa| unhoMne batAyA isakA besa 22.1/2 iMca caukora evaM lagabhaga 4 phuTa U~cA hai / isa bhAga meM banI mUrti ke donoM tarapha do upAsaka bane haiM / For Personal & Private Use Only

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14 kahAU~ stambha evaM kSetrIya purAtatva kI khoja (2) lisTana ne 1837 meM isa sthAna ko dekhA evaM 4 phuTa 6 iMca taka caukora bhAga batAyA / unhoMne batAyA ki isa caukora bhAga meM ukerI mUrti ke donoM tarapha do upAsaka striyA~ mUrti ke caraNoM kI vaMdanA karate huye dikhAI gaI haiN| (3) janarala kaniMghama ne isa stambha kA 1861-62 meM nirIkSaNa kiyA / unhoMne nIce ke caukora bhAga ko 4.1/2 phuTa U~cA evaM 1 phuTa 10 iMca kA caukora batAyA / unhoMne caukora bhAga meM banI khaDgAsana mUrti ke eka tarapha eka puruSa evaM dUsarI tarapha eka strI daNDavat karate huye pahacAnA / stambha kI kula U~cAI unhoMne 24 phuTa 3 iMca btaaii| .. (4) bhagavAnalAla indrajI paNDita 1873 meM yahA~ Aye / unhoMne nIce ke caukora bhAga meM ukerI khaDgAsana mUrti ke donoM tarapha kI mUrtiyoM ko do strI mUrtiyA~ likhA hai| (5) bhArata ke digambara jaina tIrtha (1974) meM likhA hai-"jamIna se savA do phuTa Upara bhagavAna pArzvanAtha kI savA do phuTa avagAhanA vAlI pratimA usI pASANa meM ukerI huI hai |....crnnoN ke donoM ora bhakta strI-puruSa hAthoM meM kalaza liye caraNoM kA prakSAlana kara rahe haiN|" (6) yaha stambha san 2001 meM jaba DaoN0 o0 pI0 agravAla evaM isa lekha ke lekhaka evaM anya ne dekhA to pakke sImenTa ke pharza se kevala 1.1/2 phuTa Upara pArzvanAtha svAmIkI khaDgAsana mUrti ukerI huI hai evaM isa mUrti ke caraNa evaM caraNoM ke donoM tarapha ke upAsaka kI mUrtiyoM ne cappar3a chor3a diye haiM / vahA~ gorakhapura ke jaina mahAnubhAvoM ne batAyA ki lagabhaga 15 varSa pUrva unhoMne yaha pakkA pharza cahAradivArI evaM jamIna ko U~cA karane kA kArya kiyA hai| - isa prakAra san 460 I0 meM bane stambha ke caukora bhAga meM ukerI mUrti ke caraNa evaM unake donoM tarapha bane upAsaka AtatAI ke AkramaNa se bhI bace rahe evaM prakRti se bhI san 1974 taka bace rahe parantu pichale sambhavataH 15 varSa meM hI vikhaNDita ho gaye / avazya hI stambha ke Upara kA varSA kA pAnI pakke pharza para par3A va usake chIMTe lagAtAra mUrti ke caraNoM para par3e isa kAraNa yaha kSati ho gayI / mUrti evaM stambha kI kisI bhI surakSA kI yojanA meM yaha Avazyaka hai ki kucha upAya jaise pharza ko nIcA karanA tAki varSA ke chIMTe isa mUrti para na AveM, athavA pharza para stambha ke cAroM tarapha DhAla avazya banA diyA jAve / ___ yaha bhI vicAranA ucita hai ki stambha ke nirmANa ke samaya pharza kitanA nIce thA evaM stambha ke caukora bhAga kI U~cAI kitanI thI / isa viSaya meM nimna bindu vicAraNIya haiM For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 15 (1) varSa 2001 meM isa sthala kA nirIkSaNa zrIrAma siMha saciva uttara pradeza zAsana rASTrIya ekIkaraNa vibhAga evaM zrI mukta jJAnAnanda jI jo eka anupama marmajJa evaM vaiSNava santa haiM, ne kiyA / unake samakSa isa gAMva ke bAla, vRddha, sAmAjika kAryakartA evaM janatA ikaTThI huI / unhoMne apane pUrvajoM ke anubhavoM se batAyA ki stambha itanA U~cA thA ki hAtha Upara karake kaThinAI se pArzvanAtha svAmI ke caraNa chU pAte the| unake pUrvaja ina pArzvanAtha mUrti ke, kevala caraNoM meM siMdUra lagAte the / aba pUrI mUrti para siMdUra lepate haiN| .. (2) bhArata ke digambara jaina tIrtha meM sambhAvanA vyakti kI gaI hai ki sultAna alAuddIna ke sipahasAlAra malika habbasa ne usa kSetra kA vinAza kiyA hogA jaisA ki usane zrAvastI Adi nikaTavartI tIrthoM ko vinAza kiyA / vaise bhI isa kSetra ke itihAsa se yaha spaSTa hai ki kisI AtatAyI ne hI yahA~ vinAza kiyA / kaniMghama ke anusAra yaha kSetra 1200 x 400 phuTa ke kSetraphala meM phailA thA / itihAsa yaha bhI batAtA hai ki AkramaNakartA kevala luTere hI nahIM, mUrti bhaMjaka bhI the| unhoMne Asa-pAsa ke sabhI maMdira dhvasta kara diye parantu stambha ke caukora bhAga kI mUrti ko evaM unake caraNoM meM banI mUrtiyoM ko nahIM tor3a pAye / spaSTa hai ki yaha mUrti AdamI kI U~cAI se Upara rahI hogii| (3) priMsepa ke anusAra isa stambha ke nirmANakartA bhaTTi parivAra ke ve loga ho sakate haiM jinhoMne ilAhAbAda kA stambha banAyA, jo gupta vaMza meM pramukha maMtrI ke pada para the va kAphI dhanI va prabhAvazAlI the / agara unakA sambandha ilAhAbAda ke stambha ke nirmAtAoM se na bhI ho to bhI spaSTata: stambha nirmAtA madra avazya dhanI, dharmaniSTha evaM surucipUrNa vyakti hogA / vaha apane ArAdhya deva pArzvanAtha ko avazya hI baccoM kI pahu~ca se Upara baitthaayegaa| . (4) kaniMghama ne likhA hai ki yaha TIlA pAsa ke khetoM se 6 phITa U~cA hai| isa 6 phuTa U~cAI meM kucha U~cAI yahA~ ke maMdiroM evaM bhavana ke malavoM se banI hogii| samajhA jA sakatA hai ki khetoM se 1 hAtha U~cAI para maMdiroM evaM stambha kI kursI hogI va zeSa sAr3he cAra phuTa malavA / isa prakAra usa stara se jo bukanAna evaM kaniMghama Adi purAtatvavidoM ne dekhA, lagabhaga 4.5 phuTa nIce stambha nirmANa ke samaya pharza hogA / (5) bukanAna se Aja taka kisI bhI purAtatvavida ne isa kSetra kI khudAI nahIM kI evaM 'TaisTapiTa' bhI nahIM lagAyA / 'TaisTapiTa' lagAkara guptakAla ke pharza kA stara sahI-sahI jJAta ho sakatA hai| (6) kaniMghama ne stambha kA nApa bar3e karIne se liyA evaM likhA / unake anukUla stambha kA gola bhAga-3 phuTa 3 iMca U~cA hai / usake nIce 16 pahala kA bhAga For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 5 phuTa U~cA hai / usake nIce ATha pahala kA bhAga 6 phuTa 3 iMca U~cA hai / phira cAra pahalU vAlA bhAga kevala 4 phuTa U~cA hai / Upara ke donoM bhAgoM ke U~cAI ke krama ko Age bar3hAye to caukora bhAga lagabhaga 7 phuTa U~cA hogaa| (7) stambha kI caur3AI bhI pharza ke pAsa lagabhaga 28" ho sakatI hai jo maujUdA meM kevala 22" hai / jemasa phargusana ne cunAra patthara ke dUsare stambhoM ke adhyayana ke AdhAra para likhA hai ki U~cAI evaM besa para moTAI kA anupAta prAyaH 12 hotA thaa| dekheM, pariziSTa-16 / isa prakAra anumAna lagAyA jA sakatA hai ki caukora bhAga do hissoM meM banA hogA-eka 28" caur3A jo malave meM r3haka gayA va dUsarA 22" caur3A jo aba dIkha rahA hai| - uparokta sabhI dRSTi se caukora bhAga lagabhaga 9 phuTa U~cA honA cAhie / yaha U~cAI sundaratA, surakSA evaM pArzvanAtha svAmI kI mUrti kI pavitratA hetu Avazyaka thii| 7. paJcendrA IsvI san 1881 meM bhagavAnalAla indrajI paNDita ne 'iNDiyana anTIkverI' meM, sarvaprathama stambha kI pA~coM mUrtiyoM ko AdinAtha, zAntinAtha, neminAtha, pArzva va mahAvIra kahA hai (dekheM pariziSTa-5) / yaha anumAna hI binA tarka ke vidvAn lekhaka camana lAla je. zAha ne apanI pustaka 'jainIjm ina nArtha iNDiyA' landana, 1932, pR0 209; pro0 .mArutinandana prasAda tivArI ne 'jaina pratimA vijJAna', vArANasI, 1981, pR0 69, evaM usake bAda ke sabhI lekhakoM ne jaise pariziSTa 9,10,11,13 evaM 17 para dekhA jA sakatA hai, likhA hai / isa viSaya meM merI asahamati ke tarka nimna prakAra haiM zrI bhagavAnalAla indra jI ne apane lekha ke aMtima pairA meM likhA hai ki 'jaina apane tIrthaMkaroM ko AdikartA [ lipi pA0 AdikaMRtris ] kahate haiM / Age ve kahate haiM ki 'parantu unameM se pA~ca suvikhyAta haiM, unheM vizeSa priya haiM, jinakI mUrtiyoM ko hI vo prAya: apane maMdiroM meM sthApita karate haiN| yaha dhAraNA ina pA~ca mUrtiyoM ke pratyakSa adhyayana ke AdhAra para nahIM banAI gaI hai, na hI koI anya pramANa diyA gayA hai| jainadharma ke maMdiroM ke viSaya meM unhoMne jo vicAra prakaTa kiyA hai usa para gahana adhyayana Avazyaka hai| vAstava meM isa stambha ke Upara eka sarvatobhadrikA jina mUrti (jina caumukhI) virAjamAna hai / DaoN0 mArutinandana prasAda tivArI kI pustaka 'jaina pratimA vijJAna' 1981, pR0 149 meM likhA hai-'jina caumukhI pratimAoM ko mukhyataH do vargoM meM bA~TA jA sakatA hai / pahale varga meM aisI mUrtiyA~ haiM jinameM eka hI jina kI cAra mUrtiyA~ For Personal & Private Use Only

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For Personal & Private Use Only 1. stambha ke nIce pArzvanAtha kI muurti| ___2. stambha ke Upara pazcimI pahalU para tIrthaMkara mUrti /

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For Personal & Private Use Only 3. stambha ke Upara pazcimI pahalU para banI mUrti kA zIrSa / 4. stambha ke Upara uttarI pahalU para tIrthaMkara mUrti /

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For Personal & Private Use Only 5. stambha ke Upara pUrvI pahalU para tIrthaMkara muurti| 6. stambha ke Upara dakSiNI pahalU para tIrthaMkara muurti|

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For Personal & Private Use Only 23:10Howl Hreshe 1 mt`nats`:YohandS S <> HKTHnv 101: HH AVTs, e r d 1161 16 Shan e, An AHHK-TTE & A K e: AJN ANHIncr8 0 Hown: Miats`yats` agh:ts` a:Mas 1 HAAH: otexquKYOWN | Jeyrowm Hoghj:Hrach` 43.nlinota8een e reorclove loi m za selo Ame, :-H: An/ Herhakan 7. stambha para zilAlekha jo pUrva-uttara, uttara evaM uttara-pazcimI pahalU para hai| 8. 441

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 17 utkIrNa haiM / dUsare varga kI mUrtiyoM meM cAra alaga-alaga jinoM kI mUrtiyA~ haiM / zilAlekha ke paJcendra zabda se spaSTa hai ki yaha dUsare varga kI caumukhI pratimA hai / guptakAla kI kevala do aura sarvatobhadra pratimAyeM jJAta haiM / ye donoM sarvatobhadra pratimAyeM dUsare varga kI hI haiM / eka sarvatobhadra mUrti kA varNana DaoN0 tivArI apanI pustaka ke pRSTha-50 para isa prakAra karate haiM 'purAtatva saMgrahAlaya, mathurA (bI. 68) meM eka jina caumukhI bhI surakSita hai / guptakAlIna jina caumukhI kA yaha akelA udAharaNa hai / kuSANakAlIna caumukhI mUrti ke samAna hI yahA~ bhI kevala RSabha evaM pArzva kI hI pahacAna sambhava hai / ' spaSTa hai ki zeSa do mUrtiyoM kI pahacAna nahIM kI jA sakatI va koI anumAna bhI vaha vidvAn lekhaka nahIM lagA rahe haiM / eka anya guptakAlIna caumukhI mUrti digambara jaina maMdira bhelUpura ke saMgrahAlaya meM rakhI hai / ise prophesara sAgaramala jaina ne apanI pustaka 'pArzvanAtha janma bhUmi mandira vArANasI kA purAtAtvika vaibhava' meM caturtha zatAbdI kA batAyA hai / maiMne apane lekha 'pArzvanAtha kI janmasthalI ke itihAsa para kucha aura vicAra' jo 'bhAratIya saMskRti aura sAhitya meM tIrthaMkara pArzvanAtha', 1999, vArANasI pR0 38 para chapA hai. meM isa sarvatobhadra pratimA ko kumAra gupta ke rAjya kAla kI mAnA hai evaM isameM lAMchana ke AdhAra para RSabha, pArzva, mallI evaM padma prabhu kI mUrtiyA~ pahacAnI haiM / DaoN0 tivArI kI pustaka ke pRSTha 149 meM pUrvamadhyayugIna mUrtiyoM kA varNana karate samaya likhA hai-'bihAra baMgAla kI caumukhI mUrtiyoM meM sabhI jinoM ke sAtha svataMtra lAMchanoM kA utkIrNana vizeSa lokapriya thaa| anya kSetroM meM sAmAnyata: kuSANakAlIna caumukhI mUrtiyoM ke samAna kevala do hI jinoM RSabha evaM pArzva kI pahacAna sambhava hai / caumukhI mUrtiyoM meM RSabha aura pArzva ke atirikta ajita, sambhava, supArzva, candraprabha, nemi, zAnti aura mahAvIra kI mUrtiyA~ utkIrNa haiN|' pro0 mArutinandana prasAda tivArI evaM DaoN0 zAntisvarUpa sinhA ne apanI pustaka 'jaina kalA tIrtha devagar3ha' meM pR0 41 para likhA hai- 'guptakAla meM kevala RSabhanAtha, candraprabha, puSpadanta, pArzvanAtha evaM mahAvIra kA hI nirUpaNa huA / ' isa sUcI meM bhagavAnalAla indrajI dvArA batAye zrA, zAntinAtha evaM zrI neminAtha kA nAma nahIM hai| - jaina mUrti kalA ke vikAsa krama meM paMcatIrthI mUrtiyoM kA bhI nirmANa huA / eka 1451 I0 kI paMcatIrthI pratImA madhubana teraha paMthI digambara jaina maMdira meM surakSita hai, jise pro0 mArutinandana prasAda tivArI evaM DaoN0 zAntisvarUpa sinhA ne apane aprakAzita lekha dinAMka-12.07.2005 meM padmaprabha, caMdraprabha, aranAtha, neminAtha va pArzvanAtha pahacAne haiM / isI prakAra kucha paMcatIrthiyoM meM paMcabAlayatiyoM kI mUrtiyAM ukerI jAtI haiM / jinameM-vAsupujya, mallinAtha, neminAtha, pArzvanAtha evaM mahAvIra hote haiM / bhagavAnalAla indra jI paNDita ne yaha bhI kahA hai ki inhIM pA~ca suvikhyAta For Personal & Private Use Only

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18 kahAU~ stambha evaM kSetrIya purAtatva kI khoja tIrthakaroM kI stuti jainadharma kI pustakoM ke Arambha meM kI jAtI hai / yaha bhI vivAdAspada hai / zrI jainendra varNI dvArA racita 'jainendra siddhAnta koza' jo bhAratIya jJAnapITha se 1985 meM chapI hai, pRSTha 1 para yaha graMtha sarasvatI kI vaMdanA se prArambha kiyA hai / ina vidvAn lekhaka ne isa pustaka meM jaina siddhAnta kI vivecanA pA~ca bRhad bhAgoM meM kI hai / agara koI pA~ca pramukha tIrthaMkara hote evaM unakI stuti kI paripAThI hotI to avazya hI isa graMtha kA prArambha unakI stuti se hotA / isI prakAra digambara jaina pUjApATha kI pustakoM meM sabase adhika pracalita pustaka 'pUjana-pATha-pradIpa' kA udAharaNa leN| isake 26veM saMskaraNa, 1996, pR0 17 para yaha pustaka maMgalASTaka stotra se prArambha kI gaI hai| yaha maMgalASTaka stotra paMca parameSThI kI stuti hai, na ki kinhI pA~ca pramukha tIrthaMkaroM kI / maiM yahA~ bhI batA deM, yaha stambha digambara hai| isa prakAra bhagavAnalAla indrajI dvArA batAye 'pAMca suvikhyAta jino' kI dhAraNA evaM aMkana siddha nahIM hotA / merI dhAraNA hai madra ne stambha ke pazcimI pahalU para zrI pArzvanAtha ke Upara zrI AdinAtha svAmI ko ukerA hai jinakI pahacAna unakI jaTA se kI jA sakatI hai / dekheM citra -2 va 3 / zeSa tIna kona tIrthaMkara Upara sthApita kiye jJAta nahIM hai, parantu puSpadanta bhagavAna kA tIrtha hone se unakI mUrti bhI ina tIna meM hai| bhagavAna puSpadanta kI mUrti isa stambha ke nirmANa se eka sadI pUrva vidizA meM sthApita ho cukI thI jisakA, citra pustaka kI jilda para hai evaM varNana prAkkathana meM hai| ina paJcedrA~ ke bAre meM dUsarA mata rAjabalI pANDeya kA hai ki ye pA~ca mUrtiyA~ stambha ke sAmane bane hue mandira meM thiiN| rAjabalI pANDeya kA mata hai ki-(1) sthApayitvA zabda kA artha hai-vidhi pUrvaka mUrti kI sthApanA; (2) 'dharaNidharamayAna' zabda kA artha hai pASANa dvArA nirmita jo pASANa para ukerI ina mUrtiyoM ke liye prayukta nahIM hogA; (3) pANDeya jI ne vahA~ pAsa hI kucha jaina mUrtiyoM ke avazeSa dekhe evaM unhoMne anumAna lagAye ve avazeSa una pA~ca mUrtiyoM ke haiM jo madra ne stambha ke sAmane ke maMdira meM sthApita kI hoMgI; (4) maMdira ke sAmane ke stambha para maMdira kI mUrtiyoM kA pratIka sthApita hotA hai / isa prakAra ke stambha kI ukerI zakleM maMdira kI mUrtiyoM ke pratIka haiN| . ___isa viSaya meM mujhe kahanA hai ki (1) jainadharma meM stambha evaM usameM sthApita athavA ukerI mUrtiyoM meM devatva kI sthApanA pUjA, vidhi-vidhAna se kI jAtI hai; (2) maMdiroM meM bhI zilApaTa jinameM mUrtiyA~ ukerI gaI hoM sthApita kiye jAte haiN| unakI sthApanA evaM tadantara pUjA-arcanA kA vidhAna vahI hai jo tInoM dizAoM meM tarAzI marti kA hotA hai / isa prakAra 'dharaNidharamayAna' zabda kA artha saMkucita nahIM kiyA jA sakatA; (3) madra ne koI mandira nirmANa nahIM kiyA anyathA usa maMdira kA ullekha isa For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja zilAlekha meM hotA / stambha sthApanA jaisA vizAla evaM usa samaya ko dekhate hue biralA kArya karanevAlA madra dUsare ke maMdira meM apanI mUrtiyA~ kyoM sthApita karegA; (4) aisI koI paripATI jainadharma meM nahIM hai ki jitanI va jina bhagavAnoM kI mUrti maMdira meM sthApita hoM utanI yA una bhagavAnoM kI mUrti hI stambha para sthApita hoM / maMdira meM sthApita martiyoM kA pratIka yA cihna stambha para banAne kI paripATI bhI jainadharma meM nahIM hai / bodha pratIka svarUpa haMsa athavA zera evaM zaiva trizUla avazya sthApita karate haiM / dekheM pariziSTa-8 / ina kAraNoM se maiM rAjabalI pANDeya ke mata se asahamati pragaTa karate huye kahanA cAhatA hU~ stambha kI pA~ca mUrtiyoM kA hI varNana stambha lekha meM hai / mandira avazya stambha se pUrva yahA~ maujUda hogA / pAsa ke do maMdira bukanAna ne dekhe / ho sakatA hai vahA~ kaI maMdira hoM / stambha ke samakSa avazya eka vizAla maMdira hogA tabhI itanA vizAla mAnastambha banavAyA gayA / una mandiroM meM se kucha ke avazeSa zrI pANDeya ne dekhe / zrI rAjabalI pANDeya ke bAda ke lekhaka-paNDita balabhadra, bhaNDArakara evaM paramezvarI lAla-bhI stambha kI pA~ca mUrti hI stambha meM varNita paJcedrAM mAnate haiM / isa viSaya meM eka anya bhrAnti 'bhArata ke digambara jaina tIrtha' ke bhAga-1 citra 60 para isa stambha ke phoTo meM hai jisake zIrSaka meM likhA hai ki isa mAnastambha ke zIrSa para ATha jina pratimAyeM virAjamAna haiM / vAstava meM zIrSa para cAra evaM kula pA~ca pratimAyeM hI stambha meM virAjamAna haiM / paNDita balabhadra svayaM stambha ke vivaraNaM meM 5 pratimAyeM hI batAyeM haiM / isa prakAra pustaka meM citra ke zIrSaka para galatI se ATha kI saMkhyA likhI gaI hai| stambha ke zIrSa ke cAra tIrthaMkaroM kI phoTo jo 2002 meM bhAratIya saMrakSaNa saMsthAna kI lakhanaU zAkhA ne stambha ke saMrakSaNa ke samaya lIM, ve unake saujanya se saMlagna haiM-dekheM citra 2 se 6 / stambha ke nIce pArzvanAtha kI mUrti kI phoTo citra 1 para hai / yaha bhI inhIM ke saujanya se hai / .. 8. stambha ke zIrSa para khaTI (1) prArambha meM DaoN0. phrAMsisa bukanAna ne likhA hai ki eka bar3A chUTA jo kisI dhAtu kA dikhatA hai, stambha ke Upara ThokA huA hai / Age unhoMne kahA ki sambhavataH isa khUTe para isI dhAtu kA koI bhAga suzobhita thA / (2) priMsepa ne likhA hai ki sabase Upara, dhAtu kA eka khUTA hai jisa para adhikatama sambhAvanA hai ki eka zera baiThAyA gayA hogA jo bAda meM naSTa ho gayA hogaa| usakA koI Tukar3A bhI sabUta ke liye zeSa na rahA / (3) kaniMghama ne kahA hai ki khUTe se spaSTa hai ki stambha ke Upara zera athavA For Personal & Private Use Only

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20 kahAU~ stambha evaM kSetrIya purAtatva kI khoja koI anya pazu apane ugra rUpa meM pradarzita kiyA gayA hogA jisakI U~cAI 2.1/2 phuTa se 3 phuTa se adhika nahIM rahI hogii| . (4) bhagavAnalAla indrajI paNDita ne likhA hai ki 6 iMca U~cA lohe kA chUTA stambha ke zIrSa para gola bhAga meM gar3A hai jisa para koI jaina dhArmika pratIkaM lagAyA gayA hogaa| unhoMne elorA kI indrasabhA meM bane sundara eka patthara ke stambha kI tulanA isa stambha se kI hai / indrasabhA ke isa stambha ke zIrSa para caumukhI cAra jinoM kI mUrti banI hai| unhoMne Age kahA hai ki isI prakAra bauddha apane stambha zIrSa para eka yA cAra zera baiThAte haiM eva zaiva trizUla sthApita karate haiM / indrasabhA ke isa stambha kA citra, indrasabhA kA plAna evaM saMkSipta vivaraNa, spaSTatA hetu pariziSTa-14 para darzAyA haiN| yaha vivaraNa jemsa pharagyusana evaM jemsa bargIja kI 'keva Taippilasa oNpha iNDiyA' jo 1880 meM prathama bAra chapI va 1999 meM dillI se punaH mudrita huI, se liyA gayA hai| ina vidvAn lekhakoM ne elorA kA yaha stambha 8vIM zatAbdI kA batAyA hai / bhagavAnalAla indrajI paNDita ne 'kahAU~' ke isa stambha ke 'kaipiTala' ko 'pairIpolITiyana TAipa' kA kahA hai evaM jemasa pharagyusana kI pustaka 'hisTrI oNpha iNDiyana evaM IsTarna ArkiTekcara' kA saMdarbha diyA haiM / maiM isa pustaka ke saMdarbha ko sulabhatA hetu pariziSTa saMkhyA-16 para saMlagna kara rahA huuN| yaha adhyayana vizeSa rUpa se azoka stambha evaM usake bAda ke buddha stambhoM se sambandhita hai / jainastambhoM ke alaga se adhyayana kI AvazyakatA isa prakAra pratIta hotI hai| (5) jona phedaphula phlITa kA kahanA hai ki stambha ke zIrSa para eka khUTA hai| isa khUTe para lagI aTArI dhvasta ho cukI hai| ___(6) rAjabalI pANDeya kA kahanA hai ki stambha ke zIrSa para koI jainadharma kA pratIka cinha hogA jo aba dhvasta ho cukA hai| (7) jaisA maiMne stambha kI U~cAI ke zIrSaka meM likhA hai varSa 2001 meM 'kahAU~' meM nirmita naye jaina maMdira meM atithiyoM ke samakSa grAmavAsI ekatra huye the / unhoMne batAyA ki isa stambha ke Upara sone kA kalaza thA, jo kisI ne Upara car3hakara corI kI niyata se utAra liyA va vo cora use lekara bhAganA cAhA parantu stambha ke samIpa ke kuyeM meM girakara mara gayA / yahA~ yaha bhI dhyAna dene yogya hai ki kaniMghama ne apanI riporTa 1861-62 meM likhA hai ki stambha ke dakSiNa-pUrva meM eka purAnA kuA~ thA jo kucha samaya pUrva bharA gayA thaa| yaha kuA~ 1807-13 meM bukanAna ne dekhA thaa| uparokta purAtatvavAdiyoM meM prisepa evaM kaniMghama ne Upara zera athavA anya koI pazu hone kI sambhAvanA batAI hai / puna: AtatAyI AkramaNa se yahA~ vidhvaMsa huaa| ve loga luTere evaM mUrti bhaMjaka the| unhoMne Upara kA pazu tor3akara girA diyA evaM mUrtiyA~ For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 21 tor3akara nahIM girAI aisA yuktisaMgata nahIM hai / puna: jaina kalA meM pazu tIrthaMkara ke caraNoM meM pradarzita hote haiM / caumukhI pratimA ke Upara pazu kA honA yuktisaMgata nahIM hai| __ phlITa kA kahanA hai ki staMbha ke Upara aTArI yA burja hogA jabaki DaoN0 phrAMsisa bukanAna kahate haiM ki staMbha ke Upara khUTe kI hI dhAtu kA koI bhAga suzobhita hogA / punaH zrI paramezvarI lAla guptA kA zilAlekha kA jo anuvAda pariziSTa-13, para hai usameM likhA hai 'stambha jo himAlaya kI coTI kI taraha dikhAI detA hai / yahA~ coTI se tAtparya zikhara se hI ho sakatA hai / coTI zera athavA kisI anya cihna meM nahIM bana sakatI / ina donoM rAya ko anuzruti se jor3eM to stambha ke Upara dhAtu kA Amalaka evaM kalaza banA hogA jo sone kA hogA yA usa para sone kA patarA car3hA hogaa| isa prakAra ke stambha kI phoTo 'bhArata ke digambara jaina tIrtha', 1 citra 67 para hai jisameM isI prakAra khaDgAsana mUrtiyoM ke caumukhe ke ThIka Upara Amalaka evaM kalaza dikhAyA gayA hai / isa phoTo meM darzAyA gayA stambha devagar3ha meM hai / isa phoTo kI prati pariziSTa-15 para hai| isa phoTo meM Amalaka evaM kalaza pASANa meM banAyA gayA hai / madra ne 'kahAU~ ke isa stambha meM yaha dhAtu kA banA kara sone kA patarA car3hAyA hogaa| isa dhAtu ke bartana ke andara cUne ityAdi kA masAlA lagA hogA evaM isa sabako rokane hetu yaha khUTI lagI hogI / stambha ke caumukhe kI caur3AI evaM devagar3ha ke stambha ke caumukhe kI caur3AI kA anupAta dekha kara kalaza kI U~cAI isI anupAta se nikAleM to lagatA hai ki sabase upara 4.1/2 iMca U~cAI meM Amalaka hogA va lagabhaga 1.1/2 phuTa U~cAI ke kalaza ke tIna bartana hoMge / janasla kaniMghama ne isa khUTe ke sahAre lage hue pratIka kI U~cAI 2.1/2 yA 3 phITa se kama batAI hai parantu uparokta devagar3ha ke udAharaNa se yaha mApa kevala do phuTa hI ucita lagatI hai| . uparokta vivecana se isa khUTe para kalaza hone kI sambhAvanA hI prabala hotI hai| uparokta janazruti ke AdhAra para barAbara ke baMda kuyeM ko khoda kara dekhanA bhI ucita hai| aba stambha ke zIrSa para kalaza nirmANa karane kI sambhAvanA ko bhI khojA jAnA caahiye| 9. stambha ke nirmAtA DaoN0 bukanAna ke anusAra kucha loga ise parazurAma dvArA nirmita evaM kucha bhIma dvArA nirmita batAte haiM / kucha loga ise laTha kahate haiM / kucha kahate haiM ki kucha bhI jJAta nahIM hai ki kisane ise banAyA / vizAlakAya eka patthara bAhara se lAkara khar3A karanA bar3A mahAna himmata kA kArya hai / isa kAraNa parazurAma jo bhArata meM mahAna yoddhA mAne For Personal & Private Use Only

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22 kahAU~ stambha evaM kSetrIya purAtatva kI khoja . jAte haiM evaM bhIma jo apratima zakti ke dhAraka mAne jAte haiM, kA nAma isa stambha se jor3A gayA / bukanAna isa para nirmita lekha nahIM par3ha pAye isa kAraNa ve anuzruti para hI nirbhara rahe / isa prakAra anuzruti, nirmAtA ke viSaya meM mauna hai| stambha kA pahalA anuvAda priMsepa ne kiyA, jinhoMne likhA 'amilA ke putra bhaTTi soma ke putra rudra soma (vyAghraratI) ke putra madra, jo hamezA brAhmaNoM, guruoM evaM yatiyoM ke mitra rahe, ne isa stambha ko banAyA' / __jo anuvAda bhaNDArakara ne 'inskripzansa oNpha arlI gupta kiMgsa' meM prastuta kiyA, usameM bhI hai ki somila ke putra bhaTTi soma ke putra rudra. soma (vyAghra upanAma) ke putra madra jo brAhmanoM, dharmaguruoM aura sAdhuoM ke priya the, ne yaha stambhaM banAyA / paramezvarI lAla gupta ne hindI meM anuvAda kiyA hai-somila ke putra bhaTTi soma ke putra rudra soma (vyAghra) ke putra madra jo brAhmanoM, gurujanoM aura sAdhu-saMtoM ke prati zraddhA bhAva rakhatA thA, ne isa stambha ko banavAyA / priMsepa ne bhaTTi nAma se ilAhAbAda ke stambha kA saMbandha jor3ate hue kahA hai ki sambhavataH yaha vahI bhaTTi hoM, jinhoMne ilAhAbAda kA stambha TIlA bhaTTi banavAyA yA unake parivAra ke hoM / yaha parivAra cIpha majisTreTa thA evaM bahuta zaktizAlI ho gayA thA va dhanADhya bhI thA / bhArata ke digambara jaina tIrtha meM madra ko brAhmaNa kahA hai vaha tadanurUpa hI stambha ke pUrva dizA meM naI banI dIvAra-jo lagabhaga san 1986 meM banI hai-meM aMkita lekha meM madra ko brAhmaNa kahA gayA hai / brAhmaNa bhI jainadharma ko mAnate the va aba bhI kucha brAhmaNa jainadharma mAnate haiM / isa prakAra madra brAhmaNa ho to Azcarya nahIM hai / 10. stambha ke Asa-pAsa kA purAtatva (1) stambha kA cauka-phrAMsisa bukanAna ne likhA hai ki yaha stambha eka AyatAkAra kSetra meM khar3A hai jo IToM kI dIvAra se ghirA hai evaM sambhavata: kucha choTIchoTI koThariyA~ bhI banI haiM / isa cauka meM eka kuA~ bhI banA hai| lisTana ne likhA hai ki yaha stambha Ama ke per3a ke choTe se jhuramuTa meM khar3A hai evaM pAsa meM eka Ama kA per3a hai| janarala kaniMghama ne uttara-pUrva dizA meM eka purAne kue~ ke cihna dekhe jo kuA~ bharA jA cukA thA / inhoMne stambha ke uttara meM stambha ke pAsa hI kucha r3hera dekhe jisameM kucha bhavana ke khaNDahara dikhe / isase vidita hai ki yahA~ khaNDahara na kevala kisI AtatAI ne kiyA apita jo AtatAI se bacA vaha pichale do sau varSa meM prAkRtika tAkatoM evaM manuSyoM kI kriyAoM For Personal & Private Use Only

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23 kahAU~ stambha evaM kSetrIya purAtatva kI khoja se samApta ho gyaa| paNDita balabhadra ne isa stambha kI phoTo dikhAI hai jisameM stambha ke sAmane daravAje para eka khambhA evaM pIche Ama ke bagIce kA jhuramuTa dikhAI de rahA hai / yaha khambhA pharza banAte samaya haTAyA gayA hogA / aba san 2001 meM vahA~ pharza bAuNDrIvAla va lohe kA daravAjA pazcimamukhI thA / yaha dIvAra bhI jagaha-jagaha kharAba ho rahI thii| (2) stambha ke pAsa mandira-bukanAna ne karanAI nAma ke tAlAba ke pAsa eka IMToM se banA mandira dekhA jisameM do khaNDa the evaM Upara meM gumbaja thA / isakA citra bhI inhoMne banAyA / Upara ke khaNDa meM koI mUrti nahIM thI va nIce ke khana meM eka khaDgAsana khaNDita mUrti dekhI evaM eka aura mUrti dekhI jo atyadhika bigar3a cukI thI evaM kisI caupAye kI laga rahI thii| lisTana ne isa mandira kA koI varNana nahIM kiyA / janarala kaniMghama ne likhA hai ki yaha mandira usa samaya maujUda nahIM thA / unake batAye anukUla lisTana ne bhI isakA varNana nahIM kiyA jisase spaSTa hai ki lisTana ke samaya se pUrva hI yaha TUTa cukA thA / kaniMgahama ne khudAI se jJAta kiyA ki isa mandira kA nApa andara-andara 9'x9' thA, dIvAreM 1' - 9' moTI thiiN| isa prakAra bAhara-bAhara nApa 12'-6' x 12'-6' huA | bukanAna ke banAye citra para yaha nApa lagAne se mandira kI U~cAI 30' nikAlI, kaniMghama ne / dakSiNa ke dhvasta mandira ke Dhera para kaniMghama ne eka Adama kada khaDgAsana mUrti dekhI / paNDita balabhadra ne isa mandira kA varNana isa prakAra kiyA hai-eka TUTe-phUTe kamare meM jisa para chata nahIM hai, eka dIvAra meM AlamArI banI huI hai / isameM pA~ca phuTa sileTI varNa kI tIrthaMkara pratimA kAyotsarga mudrA meM avasthita hai / pratimA kA eka hAtha kuhanI se khaNDita hai| donoM paira khaNDita haiM / bA~ha aura peTa kreka haiM / chAtI se nIce peTa kA bhAga kAphI ghisa gayA hai / mukha ThIka hai / grAmINa loga tela-pAnI se isakA abhiSeka karate haiM isa kamare ke bAhara cabUtare para eka bhagna mUrti par3I huI hai / yaha khaDgAsana hai / yaha tIrthaMkara mUrti hai / raMga sileTI hai tathA avagAhanA 4 phuTa ke lagabhaga hai| yaha khaDgAsana hai| yaha itanI ghisa cukI hai isakA mukha taka patA nahIM cltaa| mUrti ke pASANa meM parte nikalane lagI haiN| aba varSa 2001 meM yaha mandira nayA bana cukA thA / khaDgAsana mUrti 5 phuTa U~cI pArzvanAtha svAmI kI hai evaM isa mandira ke pazcima kI dIvAra meM jar3a dI gayI hai| anya atyanta ghisI mUrti kA patthara bAhara se uThA kara andara mandira meM isa lekhaka dvArA rakhavA diyA gayA hai / For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja (3) tAlAba-phrAMsisa bukanAna ne do tAlAba batAye haiM / eka purAyina tAla yA neluMbiyama pattiyoM kA tAlAba jo gA~va ke pAsa hai, dUsarA tAlAba-karanAI-choTe mandira ke pAsa hai / 24 lisTana ne kisI tAlAba kA varNana nahIM kiyA hai / kaniMghama ne batalAyA hai ki yahA~ cAra tAlAba haiN| unakA kahanA hai ki ye tAlAba kahalAte haiM / yahA~ ke garoM ke nAma haiM - ( 1 ) purinA gara- gA~va ke uttara sthita, (2) karahahI gara-isa TIle ke uttara-pazcima meM, (3) jhakarAhi gara - uttara-pUrva dizA meM, jise sophA gara bhI kahate haiM, (4) asakAmini yA akAsakAmimi gara- gA~va ke pUrva dizA meM hai / kaniMghama ke anukUla ise hI bukanAna ne karanAI kahA hai / kaniMgahama kA anumAna hai ki isI gara se ina saba aitihAsika bhavanoM hetu IMTeM banIM hogI evaM nirmANa meM prayuktaM miTTI lI gayI hogI / . yahA~ yaha bhI dhyAna dene yogya hai ki 'rASTrIya sahArA' ne eka lekha chApA jisakI prati 'tIrtha vaMdanA' ke apraila, 2001 ke aMka meM chapI, jo pariziSTa - 17 para hai / isa lekha meM likhA hai ki jo 5 phuTa U~cI pArzvanAtha kI khaDgAsana mUrti khaNDita avasthA meM hai aba naye mandira kI pazcima kI dIvAra meM jar3I gayI hai / usako gA~vavAle 'sophA bAbA' kahakara pukArate haiM / yaha bhI dhyAna dene yogya hai ki isa mandira ke pAsa ke gara kA eka nAma kaniMgahama ne 'sophA gara' batAyA hai / 1 isa sthAna kI kaI yAtrAoM meM maiMne dekhA ki stambha ke pAsa 'gara' (tAlAba) meM jaba pAnI kama thA taba eka moTI majabUta dIvAra dikha rahI thI / zrI Ara0bI0 pANDe kahate haiM ki stambha ke pUrva dizA meM eka tAlAba hai jo sahI nApa-jokha meM hai / zrI lisTana ne to zilAlekha kI antima paMkti ke artha nikAle ki pAsa meM eka bAvarI stambha ke sAtha banAI gaI hai| spaSTa hai yaha stambha kI zobhA hetu koI pakkI bAvarI banAI gaI hogI / 1 (4) stambha ke samakSa mandira - rAjabalI pANDeya ne stambha ke sAmane mandira hone ke do tarka diye haiM (1) unhoMne kucha TUTI-phUTI mUrtiyA~ kisI purAne IMToM ke Dhera para rakhI dekhI / unake anukUla ye avazya hI una mUrtiyoM ke Tukar3e the jo stambha ke sAmane ke mandira meM sthApita kI gaI thIM / (2) isa prakAra ke stambha maMdira ke sAmane hI banAye jAte haiM / yaha stambha bhI eka mandira ke samakSa hogA, jisa mandira kA daravAjA pUraba kI tarapha hogA / isa kSetra kA nirIkSaNa karane vAle sabase pahale purAtatvavid bukanAna ne likhA hai ki yaha grAma eka malave ke Dhera para basA hai / yaha malave kA Dhera kisI maMdira ke dhvasta hone se banA lagatA hai / kaniMghama kahate haiM ki maiM samajhatA hU~ ki yaha stambha kisI mandira For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 25 ke daravAje ke samakSa banA thA / bhagavAnalAla indra jI kA kahanA hai ki yadyapi isa stambha ke pAsa aba koI mandira nahIM hai, parantu stambha ke uttara meM 25 phuTa kI dUrI para maMdira kI IMToM kI nIMva upalabdha hai jisa para kabhI jaina mandira banA thaa| isa prakAra inhoMne sambhavataH uttara dizA meM vaha hI avazeSa khoje haiM jo kaniMghama ne malave ke Dhera ke rUpa meM dekhe the / kaniMghama ne yaha bhI likhA hai ki stambha ke cAroM tarapha anya maMdira va bhavana bhI hoMge, anyathA itanA bar3A TIlA kaise banatA jisakI lambAI pUrva se pazcima 1200 phuTa, ausata caur3AI 400 phuTa hai evaM pAsa ke khetoM se jisakI U~cAI 6 phuTa taka hai / bhagavAnalAla indra jI kA kahanA hai ki stambha maMdira ke sAmane hogA / paMDita balabhadra kA kahanA hai ki yahA~ khudAI karAne se bhagavAna puSpadanta-jinakA yaha tIrtha hai--kA mandira nikalane kI sambhAvanA hai| aise stambha hamezA maMdira ke sAmane hI hote haiN| ina saba tarkoM meM yaha bhI jor3anA ucita hai ki stambha meM nIce kI mUrti stambha ke pazcima pahalU para banI hai / vaha taba hI sambhava hai jaba isake sammukha pUrvamukha kA maMdira ho anyathA stambha ke nIce kI mUrti pUrva pahalU para yA uttara pahalU para ukerI jaatii| (5) maMdira ke pAsa stUpa athavA gola cabUtarA-purAnA maMdira jo bukanAna ne bhI varNana kiyA hai ke sthAna para aba nayA maMdira bana gayA hai / isa maMdira ke pUrva-dakSiNa chora para eka gola cabUtarA, dikhAI de rahA hai / yaha naye maMdira ke cabUtare se lagA huA hai / purAnA maMdira jaisA kaniMgahama ne nApA kevala 12'-6" x 12-6" kA thA / isa cabUtare kI dUrI purAne maMdira se lagabhaga 10' rahI hogI / isa cabUtare kA paMDita balabhadra ne bhI varNana kiyA hai|| isa maMdira meM pahale se pArzvanAtha svAmI kI mUrti virAjamAna thii| isa mUrti ko gA~va vAle 'sophA bAbA' kahate haiM jaisA ki 'sahArA iNDiyA' meM likhA hai / anumAna lagAyA jA sakatA hai, sophA zabda sUpha-sUpa-stUpa se banA hogA / yahI vaha stUpa hogA jo bhagavAna puSpadanta ke dIkSA kalyANaka athavA kevalajJAna kalyANaka sthala para banA .. hogaa| 11. niSkarSa - navama tIrthaMkara puSpadanta svAmI kI dIkSA evaM unakA nirvANa 'kakubhavana' meM huA thA / kAlAntara meM yahA~ grAma basa gayA aura tIrtha ke rUpa meM isakI pratiSThA ho gaI / isa grAma meM prAcIna kAla se hI jaina yAtrI Ate hoNge| yaha grAma kAkandI nagara ke pAsa evaM vaizAlI se zrAvastI jAne vAle pramukha mArga para thA / yahA~ jaina maMdiroM kA nirmANa For Personal & Private Use Only

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26 kahAU~ stambha evaM kSetrIya purAtatva kI khoja bhI kAphI pUrva se Arambha ho gayA hogA, jisake purAtAtvika pramANa isa kSetra kI vistRta khudAI se mila sakate haiM / gupta kAla meM yaha nirmANa prakriyA Age bar3hI va eka stambha bhI banAyA gayA jo abhilikhita hai evaM abhI taka maujUda hai / isa stambha ko 19vIM zatAbdI ke prArambha meM phrAMsisa bukanAna ne khojA evaM taba se aba taka yaha stambha purAtattvavidoM ke AkarSaNa kA kendra rahA hai / yaha adhyayana isI stambha ke itihAsa ko lekara prArambha kiyA gayA hai / isa adhyayana meM nimna niSkarSa nikAlate haiM / tiloyapaNNatti (I0 san 540-609) evaM mahApurANa ( I0 san 800-848), jina kI racanA isa stambha ke nirmANa ke bAda kI hai meM puSpadanta ke dIkSA evaM kevalajJAna ke sthAna kA nAma 'puSpaka vana' evaM 'puSpa vana' likhA hai / maiMne zabdoM kI vivecanA se isa lekha meM yaha batAne kA prayatna kiyA hai ki 'puSpaka vana' va puSpa vana' 'kakubha vana' kA hI nAma hai ' kyoMki kakubha kA artha haiM arjuna kA per3a, jisa para ati sundara puSpa pallavita hotA hai| isa prakAra yahI grAma tiloyapaNNatti evaM mahApurANa meM varNita puSpadanta svAmI ke dIkSA evaM kevalajJAna kA sthAna hai / isa lekha meM maiMne yaha bhI anumAna pragaTa kiyA hai ki nirmANa ke samaya stambha ke Asa-pAsa pharza itanA nIcA thA ki caukora bhAga kI U~cAI 9 phuTa thI / yaha pharsa nIcA karanA stambha kI zobhA evaM surakSA ke liye Avazyaka hai / stambha ke pAsa kA gara (tAlAba) madra ke samaya se hI pakkI bAvarI thI jo stambha kI zobhA bar3hA rahI thI / isa pakkI bAvarI kA punaH nirmANa isa sthala kI zobhA meM cAra cA~da lagA sakatA hai / isa stambha ke zIrSa para eka lohe kI khU~TI hai / merA mata hai ki isa khU~TI para eka mUlyavAna sone kA yA kisI dhAtu para sone kA pattara car3hA zikhara rahA hai| merI dhAraNA hai ki stambha para utkIrNa pA~ca tIrthaMkara mUrtiyA~ hI zilAlekha meM varNita paJcendroM haiM, nIce pArzvanAtha haiM evaM Upara sarvatobhadra meM pazcimI pahalU para zrI AdinAda svAmI haiN| zeSa tIna pratimA lAMchana yA nAma ke abhAva meM pahacAne nahIM jA sakI haiM / parantu kyoMki yaha puSpadanta svAmI kA tIrtha hai isa kAraNa inameM puSpadanta svAmI kI bhI mUrti hogI / maiMne yaha bhI kahA hai ki navIna maMdira ke samakSa koI stUpa rahA hogA jo prAgaitihAsika kAla puSpadanta svAmI ke dIkSA athavA / evaM kevalajJAna sthala para banA hogA / se pAsa ke vistRta khaNDahara apane meM bahumUlya aitihAsika sAmagrI dabAye huye haiM jinameM jainadharma evaM vizeSa rUpa se puSpadanta svAmI kA itihAsa chipA hai / yaha lekha Age ke anveSaNa hetu samarpita hai / For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 27 Appendix - 1 The History, Antiquities, Topography and Statistics of Eastern India, Vol.2, 1838, reprint Cosmo Publications, Delhi in 1976, Page 366-367 and figure - 2. | About six miles north and west from Bhagulpoor, near village named kangho, is a pillar attributed also by some to Parasu Rama, and by others to Bhim, the son of Pando; but most people call it merely the staff (lath), and have no tradition whatever concerning the person by whom it was made. It is much more elegant than the one near bhagulpoor (Plate 5, No.2), stands erect, and is 21 feet high. The base for about four feet is a quadrangle of 22%2 inches a side, and has a Buddha on its west face. The image is naked and stands before a large many headed serpent, while there is a votary at each foot. The shaft for about seven feet is octagonal, and on two of the faces has an inscription of 12 lines, tolerably perfect, which has been copied in the drawing. The character differs much from that on the pillar at Bhagulpoor, and still more from the Devanagri now in use, and has some resemblance to that in the ruins of Mahabalipoor south from Madras. The upper part of the shaft has 16 sides, alternately wider and narrower. The capital is about 6 feet long, and is not easily described, but near its upper end is quadrangular, with the figure of standing Buddha carved on each face. A large spike, apparently, metallic, is inserted into the top of the pillar, and it probably supported an ornament of the same material. The pillar has stood in a small quardrangular area, which contains a well, and has been surrounded by a brick wall, and probably by some small chambers. Near it are two small tanks. One is called Purayin, or the tank of Nelumbium leaves. Beyond this is the village of Kangho, situated on a heap of rubbish, which has probably been a temple. The other tank is called Karnai, and surrounds For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Village Kangle. exigugam WATAT: Aforig? BURU 81, Eyyty TABBY FEATURY, BUATEM:&n4y o som hahit ymgyuh DEL FUTAFIT:13EUR* 1 giorgt Yazguyganar do g ryde 7n334 SHYAFUZORI . 443453553Mua 18 - 4243 E92 Fisterin Daf40)20707255AZIJA ugrunisof operation un Hry HryHTOTANTOWN **** CO M Temie Ziliar. on three sides a space, on which there is a small temple of chiseled brick, in the usual pyramidical form; but, like those at Buddha Gaya and Koch in Behar, it contains two apartments one above the other. The door into the lower is not 3 feet high, and a window equally mean is the only aperture in the upper, which contains no image, and the temple is entirely deserted. Much of the foundation has been removed, whether For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 38 in an attempt o destroy altogether the building, or in search of treasure, I did not learn. In the lower chamber I found two fragments of images, which probably had been broken by some zealot who was offended by their heterodoxy. One had represented a person standing, but only the two feet and a female votary seated at one side remained. Two persons had been standing behind the feniale, but only their legs remain. The other fragment contained the figure of some quadruped very much defaced, but probably intended to represent a buffalo. For Personal & Private Use Only

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30 kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix - 2 The journal of the Asiatic society of Bengal, Vol.7, 1838 page 33,34,36,37,38,39, plate 1. IV - Facsimiles of Ancient Inscriptions, Confinued. Notice of antiquities discovered in the eastern division of Gorakhpur; with a copy of an inscription on a stone pillar, &c. By D. LISTON, Esq. I have the pleasure of sending you a copy of an inscription on a pillar which stands close by the village of Kuhaon in tuppah Myle, pergunnah Selampoor Mujomlee, zillah Gorakhpur. The copy I believe to be tolerably correct, it was first transcribed by a friend and myself on the spot; a clean copy of it was then made at leisure, taken back and compared letter by letter with the original. The people of the village had no tradition to offer regarding the erection of the column, but it was generally agreed by them and others that no one who had made the attempt had been able to decipher the character, though it had occasionally been visited by natives of learning who had essayed the task. The pillar is of very compact sandstone and the letters deeply and clearly carved. Should it be my lot to return to the purgunnah, I shall be most happy, if you intimate that the inscription contains matter of importance, to endeavour to take an accurate impression of it, so that it may be submitted to the examination of those who have studied the characters of such inscriptions, exactly as it appears on the column. The base of the pillar to the height of four and half feet is a square of one foot ten inches. At 4-6 it is wrought into an octagonal form, and it is on the three northern faces of this For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja portion of the column that the inscription is found. The accompanying sketch which I have attempted will serve to give an idea of the appearance of the column. The base portion on the western side has a naked male figure in relief carved on it, two females kneel at his feet and behind him is a snake coiled, gifted with seven heads which form a sort of canopy over the hero or god. On each aspect of the square portion of the column at the upper end is also a figure in relief, and the whole is topped by a metal spike, on which most probably was fixed a lion or Singh, but that has disappeared; not a fragment even remaining as evidence of its former existence. All these objects (Pillar 5 miles south-east Kuhon & stone images at Serga) have ceased to attract much respect or even to excite much interest, and seem the remains of a people or of a religion that has passed away. Though taking somewhat lively interest in remains of this sort, it has been by accident that those of which I have given this notice have come under my observation. I had been encamped at Bhagalpur several times, and for days together before I heard of the pillar at that village, and, in consequence, of the more entire one at Kuhaon. It is not indeed easily found, being situated in a small mango tope and close by one of the trees. That at Kuhaon stands isolated and is a conspicuous object to the passing traveler from every side. 31 Note on the above inscription from Gorakhpur, by J.P. The Kuhaon inscription is however of a much more interesting character. (in comparison of inscription on column at Bhagalpur) Perceiving from the copy which accompanied by the above note, that it was in the Chandra Gupta (or for For Personal & Private Use Only

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32 kahAU~ stambha evaM kSetrIya purAtatva kI khoja Plate-1 -- VOZY INSCRIPTION ** KUNAON PILLAR V2.17 PLI| ei vajag, uduhanan: UPSTALL 098 gymous irsiokuwafunguh: 044 ALAT 17421, ofty T1952121918Edq soon yh. e gjyqtyarko & Ausz TAALSF* 293 29eus9:13 2348 27 EU30x30 avalas: 435,06 g *enzun Ba|123 TO&M was starten udrugu (orokoruar the Galami - Kadmon. shortness sake the Gupta) alphabet, I requested the author to take off an impression from the stone itself, which he has since done with entire success, acknowledging that with all the care he had taken in his former copy there were discrepancies and redundancies which he could have believed impossible. For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 33 The facsimile is introduced on a reduced scale into Plate I. It is in excellent preservation, and the versification, in the Srigdhara measure complete throughout. At the head of the second and third lines only there are a couple of superfluous letters introduced, in the former fu and in the latter i which I presume should be read together as siddha, 'accomplished' - or it may be the name of the sculptor. After transcription, my pandit KAMALA KANTA readily furnished me with the interpretation of this curious monument, which I accordingly annex in modern Devanagariand translation: Transcript in Modern Devanagari. yasyoyasthAnabhUmi nRpatizataziraH pAtavAtAvadhUtA guptAnAM vanzajasya pravisTatayazasastasya sarvottamaddheH rAjye zakropamasya kSitipazatapateH skandaguptasya zAnteH varSe trinzaddazaikottarakarzatatame jyeSThamAsi prapanne khyAtesminyAmaratne kakubhaH rati janaissAdhusaMsargapUte putro yasso milasya pracura gaNa nirbhaTTi somo mahArthaH tatsunUrudrasomaH prathulamati yazA vyAghraHratyanyasaMjJo madrastasyAtmajo bhUddvijaguruyatiSu prAyazaH prItimAnyaH puNya skandhaM sa cakre jaMgadidamakhilaM saMsaradvIkSya bhIto zreyotthaM bhUtabhUtyai pathi niyamavatAmarhatAmAdikartRN paJcendrAM sthapayitvA dharaNi dharamayAnsannikhAtastatoyAN / / .. zailastambhaH sucArugirivarazikharAyopamaH kIrti kartA* *The following errors of orthography are noted by the pandit : applying before stand in the second fourth lines. The insertion of visarga in kakubhaHrati and vyAghraHrati bhIto for bhItaH in the ninth line : the final of the tenth and eleventh lines, which sould both be naH and khAta statoyAM in the 10th which should be khAtasthatoyAM. For Personal & Private Use Only

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34 kahAU~ stambha evaM kSetrIya purAtatva kI khoja Translation.. "In the month of jyaistha, in the year one hundred and thirty-threef after the decease of SKANDA GUPTA, the chief of a hundred kings, resembling Indra in his rule, possessed of the chiefest of riches, enjoying far-spread reputation, born of the royal race of the GUPTAS, whose earthly throne was shaken by the wind of the bowing heads of a hundred kings. At this celebrated and precious village, sanctified in reverential attachment by the inhabitants of Kakubharatig. The opulent BHATTI Soma was the sone of Amla, the receptacle of good qualities. His son was the very famous and talented RUDRA SOMA, known by another appellation as VYAGHRARATT. * His own son was MADRA, the constnt and friendly patron of brahmans, gurus, and yatis. He, struck with awe at beholding the universal instability of this world, made (for himself) a road of virtuet; having set up (established) along the roadside, five images, made of quarried stone, of INDRA, objects of adoration to the religious and devout, for the increase of his own moral merit and the happiness of mankind; (the same) having attached thereto a tank filled with water. This stone pillar, beautiful and lofty as the craggy pinnacles of the mountains, is the maker of renown: (i.e. records his meritorious act.)" The circumstance of chief importance in the above monument, is its allusion to 'SKANDA GUPTA, of the family of the GUPTAS' a name so well known to us from the Bhitari inscription and from our Canouj coins. That his sway was For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja nearly as potent as the expression 'lord of a hundred kings' would seem to convey, I shall have hereafter occasion to prove by the exhibition of his own name and of that of his predecessor KUMARA GUPTA on the coins of Saurashtra or kaitywar on the western extremity of the Indian continent. The death of this prince is here employed as an epoch in a somewhat enigmatical way. According to the ordinary mode of interpretation, the several figures should be set down from the right to the left hand; thus 30+2+1+100 should be written 1001230; but, as this would be evidently ridiculous, I have rather summed the whole together as '133 years after the death of SKANDA'. It does not appear who succeeded him, or whether the Gupta dynasty there terminated; but I think it is open to conjecture that the whole power was usurped by the minister's family, because we find TilA BHATTI, a chief magistrate, erecting the Allahabad pillar, and we here find another of the same name, the opulent BHATTI SOMA, the son of AMILA (BHATTI?) at the head of new race, not to be sure arrogating to themselves the title of raja, but possessing wealth and power and erecting pillars in their own name. Four generation from AMILA, viz. I AMILA, 2 BHATTI SOMA, 3 RUDRA SOMA, 4 MADRA - will give about 33 years to each generation which for.private life may be tolerably near the ordinary average. . The five Indraso may possibly be the five figures stated by Mr. LISTON to be carved, four on the upper part, and one on the lower of the pillar itself, for there are no other relics in the neighborhood. As the inscription states, it is placed on the high road in a most conspicuous position, although it had hither to escaped the eye of an European. We perceive from this specimen that the alphabetical character had undergone no change since the time of SAMUDRA GUPTA, say in two centuries. For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja + Lit. "The month Jyestha in the year thirty and two and one plus one hundred, being arrived." I Shanteh, of the repose, i.e. death. $ Written Kakubhahrati kukubhaH ratijanaisa (sic): the meaning must be that such was the name of the village; and probably the modern Kuhaon may be a corruption of the ancient appellation kakubha. * Punyaskandham sa chakkre; in punning allusion perhaps to his adorning the road with these five images. + The word seems to be written Pachaindram from the contracted space occupied by the n of use. The small figure below has very much the character of Buddha. * The lover of (the bunting of) tigers. For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix.-3 The Bhilsa topes by Brev-Major Alexander Cuningham, 1854, pages 138-39, 141-42, 144. THE GUPTA DYNASTY-DECLINE AND FALL OF BUDDHISM (Page 138-39) 1. At the period of Fa Hian's pilgrimage, the Gupta dynasty occupied the throne of Magadha. Their dominions extended from Nepal to the Western Ghats, and from the Indus to the mouths of the Ganges. The family was established by maharaja GUPTA, in 319 A.D., which became the first year of the GUPTA era. This epoch is not mentioned in the Allahabad inscription of Samudra Gupta; but it is used in the Sanchi and Udayagiri inscriptions of Chandra Gupta; in the Kuhaon Pillar inscription of Skanda Gupta; and in the Eran Pillar inscription of Budha Gupta. It is besides especially mentioned by Abu Rihan, who, in his account of Indian ears, identifies the GUPTAKAL, or Gupta era, with the BALLABA-KAL, or era of Balabhi, which commenced in A.D. 319. these eras are mentioned no less than three times by Abu Rihan; and each time he has identified them as starting from the same date. 37 (Page 141-42) The chronology of the Guptas as derived from all sources will then stand thus*: For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja GUPTA .. . 540 570 600 NAME TITLES GUPTA A.D. ERA 0 319 GHATOT KACHA 340 CHANDRA GUPTA Ist 360 IV* SAMUDRA GUPTA Parakrama CHANDRA GUPTA 2ND Vikramaditya KUMARA GUPTA Mahendra SKANDA GUPTA Kramaditya Lagradityat 133 LX* BUDHA GUPTA 161 TAKTA GUPTA 191 XI .NARA GUPTA Baladitya 221 XII VAJRA......... 251 Conquest of Siladitya................ 281 : The stars placed against the names in this table denote that coins have been discovered of each of those princes; and it is from coins alone that I have ascertained that BALADITYA was named Nara Gupta. The chronological table has been framed upon the following data. (Page 144) 3rd. The date of Skanda Gupta's death, which is found upon the Kuhaon Pillar, is the year 133**. No era is stated; but it must of course be that era which was used by the "royal race of Guptas," of which he is said to have been born, and which could only have been the Gupta-kal, or Gupta era. His death, therefore, occurred in 319+133=452 A.D., as given in my table. *The dates obtained from various sources are: for Chandra Gupta vikramaditya, 82 (Udayagiri Inscription), and 93 (Sanchi inscription), equivalent to AD. 401 and 412, from Jain authorities A.D. 409; and from Chinese authorities A.D. 428- for Skanda Gupta - his death in 133, or A.D. 452, as stated on the Kuhaon pillar; for Budha Gupta 165, or AD.484, as given in the Eran pillar inscription. + Or Lokaditya. ** Prinsep's Journal, vii. 37. For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 39 Appendix. 4: Archaeological Survey of India, vol.1, 1871, page 91-95, plate 28, 29, 30. XXII. KAHAON : The village of Kahaon is situated eight miles to the south of Khukhundo, and 40 miles to the south-east of Gorakhpur in a direct line. To the north of the village there is a stone pillar, and also some other remains, which have been described by Dr. Buchanan' and by Mr. Liston?. Dr. Buchanan calls the villate Kangho, but the name is written Kahaon, or kahawan, by the people of the place, and I can only surmise that Buchanan's kangho may have been originally written Kanghon, and that the final nasal has been omitted by mistake, either in copying or in printing. In the inscription on the pillar the village would seem to be called kakubharati; and from some compound of Kakubha, such as Kakubhawan, the name of Kahaivan would be naturally derived. * The remains at Kahaon consist of an inscribed stone pillar, an old well, two ruined temples, and several tanks. The whole of these, together with the village itself, are situated on a low but extensive mound of brick ruin. Although the mound is of rather irregular outline on the east side, it may be best described as a square of nearly 500 yards3. The village occupies the south - Western quarter of the square, and contains some fine old wells build of very large bricks, which are a sure sign of antiquity. The tanks, which would seem to have been connected with the old buildings, are all called gar, the meaning of which I was unable to ascertain, but which as applied to water, much certainly be derived from the Sanskrit gri, to wet. These tanks are, 1st, the Purena-gar, a dirty pond immediately to the north of the village; 2nd, the karhahi-gar, For Personal & Private Use Only

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yo kahAU~ stambha evaM kSetrIya purAtatva kI khoja .. Plate-28 Thailanther 1. * VZW af den Knine nat im WAHAON Xaram Scale or lyly STABILITET A. Cueningham del Litho, at the darur. Gen!'<<. Omice. Cal. October 1871. . a small deep pond at the north-west angle of the ruins; 3rd, the Jhakrahi-gar, another small pond at the north-east angle, which is also called Sopha -gar; and 4th, a large sheet of water to the east of the village called Askamini, or Akaskamini-gar. This is the tank which Buchanan calls Karhahi, a mispring probably for Kamini. From the size and appearance of the Askamini Tank, I conclude that from it must have been exeavated all the bricks and earth for the construction of the temples and village of Kahaon. The Kahaon Pillar is a single block of coarse grey sand stone, 24 feet 3 inches in height from the ground to the metal spike on the top. The existence of this spike shows that the pillar has once been crowned by a pinnacle of some kind, perhaps by a statue of a lion, or of some other animal rampant; but whatever the pinnacle may have been, its height could not have exceeded 22 or 3 feet. The total height of the column, therefore, must have been about 27 feet. The lower part of the shaft, to a height of 42 feet, is a square of 1 foot 10 inches; For Personal & Private Use Only

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KANAON PILLAR kahAU~ stambha evaM kSetrIya purAtatva kI khoja Plate-29 88 above this, for a height of 6 feet 3 inches, it is octagonal; then sixteen sided for a height of 5 feet 101/2 inches; and then circular for a height of 2 feet / 11/2 inch. Above this, for a height of 9 inches, the pillar becomes square with a side of 18 inches, and then circular again for a height of 41/2 inches, making the total height of the shaft 19 feet 10%1/2 inches. The height of the capital, in its present incomplete state, is 4 feet 41/2 inches. The lower portion, which is 22 feet high, is bell shaped, with circular band of moulding both above and below. The bell itself is reeded, after the fashion of the Asoka pillars. Above this the capital is square, with a small niche on each side holding a naked standing figure. The square top slopes backward on all sides, and is surmounted by a low circular band, in which is fixed the metal spike already described4. On the western face of For Personal & Private Use Only

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42 kahAU~ stambha evaM kSetrIya purAtatva kI khoja the square base there is a niche holding a naked standing figure, with very long arms reaching to his knees. Behind, there is a large snake folded in horizontal coils, one above the other, and with its seven heads forming a canopy over the idol. Two small figures, male and female, are kneeling at the feet, and looking up to the idol with offerings in their hands. On the three northern faces of the octagonal portion of the pillar, there is an inscription of 12 lines in the Gupta characters of the Allahabad Pillar'. There is a good copy of this inscription in Buchannan', and another and better copy in Prinsep's Journal". In the translation given by james Prinsep, the date was read as being 133 years after the decease of Skanda Gupta, instead of in the year 133, after the death of Skanda. The true number of the year is 141, as pointed out by Professor Fitz Edward Hall, but the epoch or era in which the years are reckoned is doubtful. Professor Hall, on the authority of Bapu Deva Sastri, the learned Astronomer of the Banaras College prefers the era of Vikramaditya, but I am inclined to adopt that of Sake; and this era, I believe, is also preferred by Mr. Thomas. The difference between the two is 135 years. If dated in the Vikrama era, the pillar must have been erected in 141-57 = 84 A.D.; but if dated in the Sake era, the period of its erection will be 141+78=219 AD. The latter date, I think, accords best with the now generally admitted epoch of the overthrow of the Gupta Dynasty in A.D. 319. The purport of the inscription, as translated by Prinsep, is simply to record the dedication of five images of Indra by one Madra, who calls himself "the constant and friendly patron of Brahmans, Gurus, and yatis," or "Brahmans, religious teachers, and sages", or Ascetics who have subdued their passions. In the present day the term Yati is, I believe, applied For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 43 Let me a Thana. Plate-30 cuidado cuya 747BT: @haragama surare una puntur:vera s BESCHATR420 Hyundai 30 UTSIJA:TRELL ng orayaran at TS8152 a iyot Four : Sopa Enezwa jezerate textos Tootja gora hopsadigingen in Spok Hister's Paradi s 12 18 only to a Jain Priest; and, although at first the mention of Brahmans would seem to preclude any reference to the Jain religion, yet the Yatis themselves are usually, if not always, Brahmans, and the naked figures with crisp curled hair, on the base and capital of the pillar, must belong either to the Jains, or to the latter Tantrika Buddhists. I found a similar naked standing figure, canopied by a seven headed snake, inside the great mound of old Rajagriha. Both of the temples described by Buchanan8 are now in ruins, and as they are not mentioned by Mr. Liston in 1837, they must-have fallen before his visit. Buchanan describes them as pyramidal in form, with two apartments, one over the other, as in the great temple at Buddha-Gaya. Inside he found only two fragments of images, of which one showed the feet of a standing figure with a female votary seated at one side. I made For Personal & Private Use Only

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88 kahAU~ stambha evaM kSetrIya purAtatva kI khoja an excavation in the northern ruin, and found that the temple had consisted of a room 9 feet square with walls only 1 foot 9 inches in thickness. The building, therefore, was only 12 feet 6 inches square on the outside. In the slight sketch of this temple given by Buchanan, no dimensions are noted, but the height of the building is twice and a half its width, or about 30 feet, according to the measurement obtained by my excavation. On the ruin of the southern temple, I found a naked standing figure of life-size, similar to that on the base of the pillar. Immediately to the north of the pillar, and on the highest point of the mound, there are traces of the brick walls of some building; and to the south east, there is an old well which has been lately filled up. Buchanan describes the pillar as having originally "stood in a small quadrangular area, surrounded by a brick wall, and probably by some small chambers."I presume that the pillar must have been placed opposite the entrance of the temple, in which the Panchendra or five images of Indra were enshrined. It is probable that there were several temples and other buildings crowded around the pillar, otherwise it will be difficult to account for the great size of the mound, which, though not more than 6 feet in height above the fields, extends from west to east up wards of 1,200 feet, with an average breadth of 400 feet. 1. Eastern India-II, p. 366 2. Bengal Asiatic Society's, Journal, 1838, p. 33 3. See Plate XXVIII 4. See Plate XXIX 5. See Plate XXX 6. Estern India, II, Plate-V 7. Bengal Asiatic Society's, Journal, 1838, Plate-I 8. Eastern India, II, p. 367 For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 84 Appendix. 5 The Indian Antiquary, Vol 10, 1881, Reprint Delhi 1984, pages 125-126, plate-1. THE KAHAUN INSCRIPTION OF SKANDAGUPTA BY BHAGWANLAL INDRAJI PANDIT AND THE EDITIOR. The Kahaun Inscription of Skandagupta was noticed by Dr. Buchanan', but was first brought to the notice of Mr. J. Prinsep in 1837, by Mr. D. Liston, who sent him a description of the pillar with a copy, and after wards an impression, of the inscription.? * The village of Kahaun (Tels) is in the Selampur Majomli paragana, about 46 miles in a straight line south east from Gorakhpur, the principal town of the district. The pillar, which stands to the north of the village, is about 24 feet high above ground, and is formed of a compact sandstone, the letters of the inscription being deeply and clearly cut. The base of the pillar, to the height of four and a half feet from the ground, is a square of 1'10"; at 4'6'' it changes into an octagon for a height of 6'3'' and it is on the three northern faces of this portion of the shaft that the inscription is found. Above this a section.5'10/2" in height has sixteen sides, then it is circular for 2'11% over which is a square member 9" thick, and 18" square,- the pillar tapering slightly up to this. On a circular neck, 4.72" in height, rests the capital which is of the Perepolitan type employed in other lats, is 2'12" in height, the principal member being bell-shaped and reeded. This is surmounted by a square block with a small niche on each side containing standing figures of naked Tirthankaras. Into a circular head, 6'' in height, over this square block, is inserted For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja an iron spike which probably supported some symbol of the Jaina religion. The beautiful monolithic column in the court of the Indra Sabha Jaina Cave-temple at Elura, which may be regarded as analogous to this, supported a Chaumukha or figure of four Jinas. Similarly the Buddhists, we know, placed lions, singly or in groups of four, on their stambhas, and the Saivas a Trisula. On the western side of the base of this pillar is also a naked figure of Parsvanatha - the snake being coiled up behind him in the fashion usually represented in Jaina sculptures with its saptaphana spread out as a canopy for the head of the Jina, while two females kneel at his feet. Prinsep was was the first to translate the inscription, but he made the date out as "30 and 2 and 1 plus 100" or "133 after the decease of Skandagupta." Gen. Cunningham in 1854 understood it to give the date of the death of Skandagupta in the year 133 of the Guptakal.' Dr. HitzEdward Hall in 1855 noted the error in the date, and later (in 1859)'he read "the month of Jyshiha having arrived in the one hundred and fortyfirst year; the empire of Skandagupta .... being quiescent, &c." but in the following year, he gave this up, and published as 'a more tenable version' - "The month of jyeshtha being current, the empire of Skandagupta... being exinct for the hundred and forty first year," &c.* Dr. Bhau Daji (1864) read it correctly' - "In the month of Jyestha in the year 141, in the peaceful reign of Skandagupta". Lastly, Rajendralala Mitra after a long discussion decides on taking the troublesome word sante along with varshe, and alters Hall's reading to - "In the empire of Skandagupta, ....the year 141 having passed away and the month of jaishthya arriving. &e. 10 All these differences of rendering turned on the meaning and construction of the word sante, and pandit For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 47 Bhagwanlal Indraji in the following version and remarks, which I have rendered into English for him, supports Dr. Hall's first rendering and Dr. Bhau Daji's. The lithograph has been prepared from an impression which he took of the inscription in 1873, when he went to copy the Asoka inscriptions at Ludiya and Araraj.-J.B. Transcript siddham (1) yasyopasthAnabhUmirnRpatizataziraHpAtavAtAvabhUtA (2) guptAnAM vanzajasya" pravisRtayazasastasya sarvottamaddheH (3) rAjye zakropamasya kSitipazatapateH skandaguptasya zAnte (4) barSe trinza'2 ddazekottarakazatatameM jyeSThamAsi prapanne (5) khyAtesminyAmaratne kakubha iti janaissAdhusaMsargapUte (6) puco yassomilasya pracuraguNanidheTTisomo mahAtmA (7) tatsUnU rudrasoma (:) prathulamatiyazA vyAghra ityansaMjJo (8) madrastasyAtmajobhUdvijaguruyatiSu prAyazaH prItimAnyaH (E) puNayaskandhaM sa cakre jagadidamakhilaM saMsaradvIkSya bhIto (10) zreyortha bhUtabhUtye pathi niyamavatAmarhatAmAdikartRn (11) paJcendrAsthiApayitvA dharaNidharamayAnsannikhAsatastatoyam (12) zailastambhaH sucArurgirivarazikharAyopamaH kIrtikartA Translation To the perfect one! He - the floor of whose audience hall is swept by the breeze of the bowing heads of hundreds of kings, born of the Gupta race, whose glory is wide expanded, prosperous beyond all others, like to Sakra, and master of hundreds of sovereigns, - in this Skanda-gupta's peaceful reign, For Personal & Private Use Only

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48 kahAU~ stambha evaM kSetrIya purAtatva kI khoja in the year a hundred and forty one, 13 when the month of Jyeshtha was come in this jewel - like village, known to people as Kakubha- purified from being associated with the good: the great hearted Bhattisoma, who is the son of Somila, a store of many good qualities, and whose son Rudrasoma is great in mind and in glory, and is otherwise called Vyaghra, whose son was Madra, kindly disposed, especialiy to Brahmans Gurus an ascetics. Being afraid on seeing this world to be evanescent, he made a heap of merit, and for his won and other people's welfare, having established, of stone, 14 five chief's Adikartris 16 (Tirthankaras) in the path of the ascetic Arhats, he set up this fame-conveying stone-pillar, which is beautiful and like the summit of chief of mountains. Plate I INSCRIPTION OF SKANDAGUPTA AT KAHAUN. jun 2828A7@y=- PS178549TR zu vgrad gys JUAL HEALTH TIPS Surs of way RuaTUR: 421 033 55 MT41AA NI SAW Dian. Juzi ya Zaquest Uze 25 Bhaymin wangi For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 49 Remarks The differences in previous renderings of the first sloka of this inscription have all turned on the word sante, which means both 'peaceful' and 'expired'; but it was correctly construed by Dr Hall in his first version, and by Dr. Bhau Daji. Dr. Hall's second rendering of 141 years after the extinction of the empire of Skandagupta is untenable on palaeographic grounds alone, as the characters do not belong to a later age than that of the Guptas. Then the Girnar inscription of Skandagupta's governor Parnadatta, is dated 'in the year 136 calculated from the time of Gupta (Gupta sya Kaladganana Vidheya)', and it is well known that the coins and all other dated inscriptions of the Guptas show no other era but this Rajendralala Mitra connects sante with the date which commences in the following pada of the sloka, and makes it express that the 'year' was 'expired', but such a construction is unusual. The remainder of the inscription has not been translated since Prinsep's time. The inscription states that one Madra, whose pedigree is given up to his great grand-father set up "five principal originators in the path of the Arhats," and then this pillar. The Jains call their Tirthankaras by the name of Adikartris; but five of them, it is well known, are special favourities, viz:Adinatha, Santinatha, Neminatha, Parsva, and Mahavira. These are oftenest represented in their temples, and addressed at the beginning of Jain books. These are doubtless the "five lords" (Panchendra)spoken of. The pillar we know from the sculptures on it to be Jaina, and though there are no temples near it now, there are traces of brick foundations in the ground about 25 feet distant from the pillar on the north, on which For Personal & Private Use Only

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40 kahAU~ stambha evaM kSetrIya purAtatva kI khoja must have stood a Jain temple in former times. Besides this, there are ruins of two temples on the east side of the pillar, at a distances of about 200 yards, which were standing in the time of Buchanan. In one of these ruins there is still a Jaina image of Parsvanath in Kayotsarga Moodra. 1. Buchanan's Eastern India, vol. II, pp. 366,367 and pl. v. 2. Jour, As. Soc. Beng. vol. VII (1838), p. 34. 3. See Fergusson's Ind. and East. Archit. p. 54; there is a small sketch of the pillar in Jour. As. S. Beng. vol. VII, pl. i, p. 37; and another in Cunningham's Archaeol. Sur. Reports, vol. I, pl; xxix, p. 92. . 4. I have availed myself, in these details, of General Cunningham's measuroments, Archaeol. Rep. vol. I, pp. 91 ff. 5. Bhilsa Topes, p. 144 6. Jour. A.S.Ben. vol. XXIV (1855), p. 385 n.. 7. Jour. Amer. Or. Soc. vol. VI, p. 530 8. Jour. A.S. Ben. vol. XXX (1861), p. 3n., where he gives a long note justificatory of his rendering of sante, &c. 9. J.B.B.R.A. Soc. vol. VIII, 246. i 10. J.A.S. Beng. vol. XLIII, p. 371. 11. Read aguren 12. Read ligto 13. Literally "thirty, ten, and one over a hundred." 14. Dharanidharamayan, literally 'made of a mountain,' but employed here to mean simply 'of stone,' 15. Panchendra is an adjective to Adikastri, -- 'five chief or 'five lordly.' 16. Adikartri - 'originators' the first who lead in the path, but usually applied to the Tirthankaras; see Kalpa Sutra, sakrastava. 7regoi 1940744 TURA Yat YENDTERA TERRA alrerererer 1- Sanskrit trans. The zramaNAya bhagavate mahAvIrayAdikatre crmtiirthNkraay| For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix. 6 Archaeological survey of India, Report of Tours in North and south Bihar in 1880-81; Vol.XVI, 1880-83, republished in Delhi in 1994, pages 129-30.. Note: The preface of this book gives this information-Mr. H.B.W Garricke joined General Cunningham on 4th December 1880. In his way from Kasia, Khukhundo to Bhagalpur he visited Kahaon to photograph the well-known pillar of Skanda Gupta. The account given by Mr. Garricke is added in the report of General Cunnimgham which is enclosed. KAHAON, OR KAHONG A little to the north of the village of kahaon, which is situated about one march south of khukhundo, and 46 miles south-east of Gorakhpur, there stands a stone pillar about three-fourths the size of those of Laurya Navandgarh and rampurwa. In a previous report of General Cunningham's full particulars with measurements of the kahaon pillar are given. The shaft is of rough grey standstone, and shaped into no less than six different forms from base to top; the lower portion being square, a little higher up it is octagonal, then sixteensided; the next member assumes a circular form; above this the pillar is square, and finishes with a circular band; that is to say, the shafi finishes, as the upper portion of the capital is missing, though the metal spike by which it was fastened is still in situ, and lends to the pillar a most odd appearance. The usual bell-shapen capital crowns this column, and the metal spike most probably held the image of some animal, perhaps a lion, after the fashion of most Asoka monuments. On the west face of the pillar, in a niche formed to receive it, stands a perfectly nude figure, about 32 feet high, with disproportionally long arms; there are also two attendant For Personal & Private Use Only

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52 kahAU~ stambha evaM kSetrIya purAtatva kI khoja figures, one on either side, with offerings in their hands. In my opinion, the principal feature of this sculpture is the fantastic canopy over it; this canopy projects from the niche to within a level of the most prominent part of the figure, and is formed by the heads of seven snakes, which emanate from behind the figure, and by their maniforld coils, form the background. Towards the north, and on the ocgagonal part of the shaft of this pillar, there is an inscription of twelve lines!. Besides this pillar, there are at Kahaon two ruined temples, and some tanks, &c., which, however, are hardly worth a separate note. 1. An impression of this inscription is given in Plate XXX of General Cunningham's Report of the archaeological Survey, 1861-62: For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Encl.-7 Corpus Inscriptionum Indicarum by John Faithfull Fleet, Vol. 3, 1888, pages 65-68, Pate IX. 53 KAHAUM STONE PILLAR INSCRIPTTION OF SKANDAGUPTA THE YEAR 141 This inscription appears to have been discovered by Dr. Francis Buchanan (Hamilton), -whose Survey of the Provinces, subject to the Presidency of Bengal, was commenced in 1807 and was continued during seven years, and whose manuscript results were transmitted in 1816 to the Court of Directors of the East India Company,-and to have been first brought to notice in his reports, from which Mr. Montgomery Martin compiled, and in 1838 published, the book entitled Eastern India, in which the inscription is noticed in Vol. II, p.366 f., with a reduced lithograph (id. Plate v. No.2)In the same year, in the Jour. Beng. As. Soc. Vol. VII. p.37 f., Mr. James Prinsep published his reading of the text, and a translation of it', accompanied by a lithograph (id. Plate i) reduced from a copy made by Mr. D. Liston.- In 1860, in the Jour. Amer. Or. Soc. Vol. VI. p.530, Dr. Fitz Edward Hall published his reading of the first verse of the inscription, and a translation, which was subsequently revised and reprinted in the Jour Beng. As. Soc. Vol. XXX. p.3, note - In 1871, in the Archaeol. Survey. Ind. Vol. I., p. 93 f. and Plate xxx., General Cunningham published another lithograph, reduced from his own ink-impression. And finally, in 1881, in the Ind. Ant. Vol. X. p. 125 f., Dr. Bhagwanlal Indraji published his revised reading of the text, and a translation of it, accompanied by a lithograph reduced from an impression made by him when he visited Kahaum in 1873. Kahaum or Kahawam2, the ancient Kakubha or Kakubhagrama of this inscription, is a village about five miles For Personal & Private Use Only

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54 kahAU~ stambha evaM kSetrIya purAtatva kI khoja to the west by south of Salampur-Majhauli?, the chief town of the Salampur-Majhauli pargana in the Deoriyaor. Dewariyat Tahsil or Sub-Division of the Gorakhpur District in the NorthWest Provinces. The grey-sandstone column on which the inscription is, stands a short distance on the north of the village. Of the sculptures on the columa, the most important are five standing naked figures, -one in a niche on the western face of the square base; and one in a niche on each side of the square block immediate below the circular stone with an iron spike in it, which, the original pinnacle having been lost, now forms the top of the column. As appears to have been first fully recognized by Dr. Bhagwanlal Indraji, these are distinctly Jain images. He suggested that they represent the five favourite Tirthamkaras, Adinatha, Santinatha, Neminatha, Parsva, and Mahavira. And they are in all probability the five images of Adikartris, or Jain Tirtham karas, referred to in the inscription itself. The writing, which covers a space of about 2'222" broad by 1'8'' high, is on the three northern faces of the octagonal portion of the column; and the bottom line appears to be about 7'6'' above the level of the ground. It is evidently in a state of excellent preservation throughtout. - The size of the letters varies form 5/8" to 7/8". The characters belong to the northern class of alphabets, and are of the same type with those of the Allahabad posthumous pillar inscription of Samudragupta, No.1, p.xff. above, Plate i. The language is Sanskrit; and, except for the opening word siddham, the inscription is in verse throughout.- In respect of orthography, the only points that call for notice are (1) the use of the dental nasal, instead of the anusuara, before s, in vansa, line 2, and itrinsat, line 4; and (2) the usual doubling of k and t, in For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 44 conjunction with a following r, e.g. in chakkre, line 9 (but not in sakro, line 3), and puttro, line 6. - My lithograph has been prepared from a lithograph of the same kind, handed to me by Dr. Burgess, from which was prepared the opposite lithograph, with the letters in black on a white ground, published with Dr. Bhagwanlal Indraji's paper. One or two letters, imperfect in that lithograph, have been cleared out on the authority of General Cunningham's ink-impressions, which, though not adapted for complete reproduction, sufficed for this purpose. The inscription refers itself to the reign of the Early Gupta king Skandagupta. It is dated, in words, in the year one hundred and forty-one (A.D. 460-61); and in the month Jyeshtha (may-June); but without any specification of the day of the month or fortnight. As is shewn by the images in the niches of the column, as well as by the tenour of the record itself, this is distinctly a Jain inscription. And the object of it is, to record that a certain Madra set up five stone images of Adikaritris or Tirthamkaras, - i.e. apparently the five images in the niches of the column, - and the column itself, at the village of Kakubha or Kakubhagrama, i.e. Kahaum. TEXT" 1. Siddham'[11*] Yasy* = opasthana - bhumir = nsipati - sata - siraho - pata - vat - avadhuta 2. Guptanas vansa-jasya pravissita - yasasas-tasya sarv Ottam-arddheh 3. rajye Sakra-opamasya kshitipa-sata-pateh Skandaguptasya sante 4. varshe ttrinsad-das-aik-ottaraka-satatame Jyeshtha-masi prapanne I(II) 5. Khyate=smin=grama-ratne Kakubha iti janais=sadhu samsarga-pute 110 6. puttro yas=Somilasya prachura-guna-nidher = For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Bhattisomo mahat[m] a 7. tat-sunu rudrasoma(h*) prithula-mati-yasa Vyaghra ity-anya-samjno 1". 8. Madras=tasy=atmajo=bhud=dvija-guru-yatishu prayasah pritiman=yah |(II) 9. * Punya-skandham sa chakkre jagad=idam-akhilam samsarad=vikshya bhito 10. sreyo-rttham bhuta-bhutyai pathi niyamavatam = arthatam = adikarttrin 11. panch=endras(n) sthapayitva dharanidharamayan= sannikhatas-tato=yam 12. saila-stambhah su-charur=giri-vara-sikhar-agropamah kirtti-kartta [11*] TRANSLATION : Perfection has been attained !. In the tranquill2 reign of Skandagupta, whose hall of audience is shaken by the wind caused by the falling down (in the act of performing obeisance) of the heads of a hundred kings; who is born in the lineage of the Guptas; whose fame is spread far and wide; who excels all others in prosperity; who resembles (the god) Sakra; (and) who is the lord of a hundred kings;in the one hundredth year, increased by thirty and ten and one; the month Jyeshtha having arrived; (Line 5.) - In this jewel of a village, which is known by people under the name of Kakubha, (and) which is pure from association with holy men'3-(there was) the high minded Bhattisoma, who (was) the son of somila, that receptacle of many good qualities. His son (was) Rudrasoma, of great intellect and fame, who had the other appellation of Vyaghra!4. His son was Madra, who (was) especially full of affection for Brahmans and religious preceptors and ascetics. For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja [L.9] He, being alarmed when he observed the whole of this world to be ever) passing through a succession of changes, acquired for himself a large mass of religious merit. (And by him),- having set up, for the sake of final beatitude (and) for the welfare of (all) existing beings; five excellentis (images) made of stone16, (of) those who led the wayl7 in the pati of the Arhats who practise religious observances,- there was then planted in the ground this most beautiful pillar of stone, which resembles the tip of the summit of the best of mountains, (and) which confers fame (upon him). 1. The translation is reprinted in Thomas' edition of Prinsep's Essays, Vol. 1, p. 250. 2. The 'Kahaon, Kahong, Kangho and Kuhaon of maps &c. Indian Atlas, Sheet No. 103. Lat. 26deg16' N.; Long 830.55' E. 3. The 'Sullempoor-Mujhowlee' of maps. 4. The 'Deorya' of maps. 5. For a full description, with drawings, of the column and other remains at Kahaum, see. Archaeol. Surv. Ind. Vol. I, p. 91, ff. and Plate XXIX, and id. Vol. XVI. p. 129 f. and Plate XXIX. 6. From Gen. Cunningham's ink-impression, together with the lithograph from which my lithograph is reduced. 7. In the original, this word is in the margin; the si opposite the commencement of line 2, and the ddham oposite, and partly above, 'the commencement of line3. 8. Metre, Sragdhara, throughout. 9. The mark in the original after this visarga would seem to be an accidental slip of the engraver's tool, rather than intended for a mark of punctuation, which is not required here. 10 and 11. In each case, the mark of punctuation is unneccessary. 12. 'sante' - It is unnecessary to explain in detail the interpretation of this word. The difficulty is, - not the correct rendering of it, which is perfectly obvious, -. but to comprehend how it ever came to be read, santeh, and to be interpreted by "of the repose, i.e. death," i.e. "after the decease (of Skandagupta);" or, being read sante correctly, to comprehend how it ever came to be interpreted as For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja meaning "(the empire of Skandagupta) being quiescent," or "(the emire of Skandagupta) being extinct (for the hunded and forty-first year)." - The correct interpretatin appears to have been first pointed out by Bhau Daji; "in the year one hundred and forty-one, in the peaceful reign of Skandagupta" (Jour, Bo Br. R.As. Soc. Vol. VIII, p. 246.) 13. The proper context is -"(there was) Madra;" who is mentioned in line 8. The intervening genealogical matter is by way of a parenthesis. 14. For some similar instances of second names, see page 27 above, note 4. 58 15. indran. - Bhagwanlal Indraji, in his published version, first pointed out the kind of meaning to be given to this word here. 16. lit 'made of (the substance of) mountains'. 17. adikartrin, lit. 'originators.'-Bhagwanlal Indraji first pointed out the correct meaning of this word, as referring here to five of the Tirthankaras or sanctified teachers of the Jains. GRAL GOTT O Juga 3 rri38hg Y gkoopLrgy'i ptthkp'i mnu5myni 8JHE 14118 119 1184511411176 mm 41 naamnrdulom p pkaailyu:sky HELEN AYRI paTa LA thHyo-kTHdacu25nmtsn-po?n Plate-9 for 1samaya 36 111616+1+ B.-Indor Plate of Skandagupta.-The Year 146. For Personal & Private Use Only O

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix. 8 Select Inscriptions Bearing On Indians History And Civilization Vol.I, 1942, pages 308-10. No.- 26 Kahaum Stone Pillar Inscription of Skanda Gupta -- Gupta year 141 (=460 A.D.) KAIIAUM or KAHAIVAM, Gorakhpur Dist., U.P. Fleet, Corp. Ins. Ind, III, p. 67; BHANDARKAR, LIST, NO. 1278 (For other references). Language : Sanskrit Script : Brahmi of the Northern Class Metre : Verses 1-3 sragdharA TEXT siddham (II) 1. yasyopasthAna-bhUmirnRpati-zata-ziraH- pAta-vAtAvadhUtA 2. guptAnAM vanzajasya pravisRta-yazasastasya sarvottamaddheH () 3. rAjye zakropamasya zitipa-zata-pateH skandaguptasya zAnte' 4. varSe trinzaddazaikottaraka-zatatame jyeSTha-mAsi prpnne| (*)1 5. khyAte (54) smingrAma-ratne kakubha' iti jnaissaadhu-sNsrg-puute| 6. putro yassomilasya pracura-guNa-nirbhaTTisomo mahA(tmA) (*) 7. tatsUnU rudrasoma (:*) pRthula-mati-yazA vyAghra ityny-sNjnyo|' 8. madrastasyAtmajo (s*) bhUvi ja-guru-yatiSu prAyazaH priitimaanyH| (*)2 6. puNya-skandhaM sa cakkaM jagadidamakhilaM saMsaradvIkSya bhIto 10. zrIyotthaM bhUta-bhUtyai pathi niyamavatAmarhatAmAdikartRn (i) 11. paJcendrAM sthApayitvA dharaNidharamayAnsannikhAtastato (5*) yam 12. zaila-stambhaH sucArurgirivara-zikharAyopamaH kIrtti-kartA (1)3 For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 1. From the facsimile in Corp. Ins. Ind., III, 2. This word stands in the left margin, Ra on the level of 1.2, and 4 a little above that of 1.3. 3. There is a sign resembling a punctuation mark, which might have been an accidental slip on the part of the engraver. 4. 2 Read deto. 5. The word may refer to the fact that Skanda Gupta's reign became peaceful after the early years of struggle. MT= undisturbed by enemies, calamities, etc. Of course the santi may have been temporay or local. pateH looks like patiH, 6. Read BIRTENT". w ote. 7. Kakubha is the old name of modern Kahauim. ..! 8. The mark of punctuation is superfluous. 9. The mark of punctuation is superfluous. . 10. Read Yod 17. The expression is usually translated "five excellent (images)" and referred to the five naked Jaina Tirthankaras sculptured on the column. Indira (lord) may however indicate Jinendra (lord of the Jinas) and refer to the five favourite Tirthankaras viz. Adinath, santinatha, Neminath, Parsvanatha and Mahavira. Refore 1944 = 261144. BERI ofer una corona (= 37- 99constanty those who lead the way in the path of the Arhats. As looks like 244. For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja $ Appendix. 9. The Indians Historical Quarterly, Vol. 28, 1952, page 298-300. The Kahaum Stone Pillar Inscription of Skandagupta Kahaum is a village situated in the Salempur tahsil of the Deoria district (formerly Gorakhpur district in the Uttar Pradesh). On the west of the Stone Pillar there is an elevation, obviously the remnant of a brick foundation, indicating that there was a temple here; to the east of the pillar there is a pond, quite regular in construction, which lies between the pillar and the village kahaum; to the south of the pillar, at a distance of about fifty yards, there are broken images of the Jain Tirthankaras placed under improvised brick structures. The last four lines of the inscription run as follows: puNayaskandhaM sa cakre jagadidamakhilaM saMsaradvIkSya bhiito| zreyotthaM bhUtabhUtyai pathi niymvtaamhNtaamaadikrtRn|| paJcendrAM (ndrAn) sthApayitvA dhrnniaadhrmyaansnnimkhaatstNto'ym| .: Steretan: Paroff after 194: Epicent in Fleet in his Corpus Inscriptionum Indicarum. Vol. III (p.68) translated these lines thus: "(L.9) - He being alarmed when he observed the whole of this world (to be ever) passing through a succession of changes acquired for himself a large mass of religious merit, (and by him) having set up, for the sake of final beatitude (and) for the welfare of (all) existing beings, five excellent (images), made of stone, (of) those who led the way in the path of the Arhatas who practice religious observances, - there was then planted in the ground this most beautiful pillar of stone, which resembles the tip of the summit of the best of mountains, (and) which confers fame upon him." For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja The above-quoted translation is literally correct. But in his prefactory note, by way of explanation, referring to the sculptures on the column, he writes. "Of the sculptures on the column, the most important are five standing naked figures - one in a niche on the western face of the square base; and one in a niche on each side of the square block-immediately below the cirucular stone with an iron spike in it; which, the original pinnacle having been lost, now forms the top of the column. As appears to have been first fully recognize by Dr. Bhagwanlal Indraji, these are distinctly Jain images. He suggested that they represent five well known Tirtharkaras - Adinatha, santinatha, Neminatha, Parsva and Mahavira. And they are in all probability the five images of Adikartris, or Jain Tirthankaras, referred to in the inscription itself." Dr. Bhagwanlal Indraji and Flect both, supposing the pillar to be a solitary monument, were of the opinion that the five images mentioned in the inscription refer to the five representations on the column itself. This opinion, however, does not seem to be correct. For correct explanation and interpretation of the inscription two factors are decisive: - (1) the internal evidence of the inscription and (2) the topography of the pillar... (1) There are two significant words in the inscription:(i) sthapayitva ( having installed) and (ii) dharanidharamaya (made of stone). Sthapana or installation is a technical term which means ceremeoniously placing an image (an icon or idol) in a shrine and not mere carving a representation on the surface of a stone piece. The term 'dharanidbaramaya' clearly indicates that the images were made of stone (in round and independent) and not on stone; the carving on the pillar contain only representations of them. Now the question is: where are those independent For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 63 images of the Tirthankaras? The answer to this question is given by the topography of the pillar. (2) The topography of the pillar consists, as already observed, of an elevation evidently indicative of a temple, an extensive pond and broken pieces of images assembled under improvised brick structures. Obviously there was originally a temple to the west of the pillar in which the five images mentioned in the inscription were installed. There is no doubt that the images assembled under improvised sheds are Jain images. Unfortunately all the broken pieces are not available and in their absence it is not possible to identify the five Tirthankaras whose images were installed in the original temple; but it is certain that the broken pieces are the remnants of the original idols installed in the temple. :One more fact is worth consideration. Generally pillars were erected before the temples. They bear either the effigies of the conveyances (vahanas) of the deities (in the case of Brahamanical temples) on some symbols or emblems peculiar to religious sects; in some cases they were dipastanibbas and bore niches for lamps. Most probably the pillar under consideration was one of such pillars. It was erected before a temple, facing towards the east, and it bore the representations of the images installed in the temple and symbol or emblem which constituted the pinnacle now missing. In the circumstances the conclusion is strongly suggested that pance Indras and adikartris refer to the fullfledged stone idols originally installed in the temple which was built to the west of the pillar and not to the representations on the pillar. R.B. PANDEY For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja pariziSTa - 10 jaina zilAlekha saMgraha :, bhAga 2 1652, pRSTa 56 . kahAyU~kA lekha 63 kahAyU~-saMskRta (guptakAla 141 vAM varSa = 461 I0saM0) / siddhm| (1) yasyopasthAnabhUmirnRpatizataziraHpAtavAtAvadhUtA (2) guptAnAM vaMzajasya pravisRtayazasastasya sarvottamaddheH (3) rAjye zakropamasya kSitipazatapateH skandaguptasya zAnte (4) varSe triMzaddazaikottarakazatatame jayeSThamAsi prpnne||1|| (5) khyAte'smin grAmaratne kakubha iti janasAdhusaMsargapUte (6) putro yassomilasya pracuraguNanidheTTisomo mahAtmA (7) tatsUnUrudrasoma (:) prathulamatiyazA vyAghra ityanyasaMjJo (8) madrastasyAtmajo'bhUd dvijaguruyatiSu prAyazaH prItimAn yH|| (6) puNayaskandhaM sa cakre jagadidamakhilaM saMsaradvIkSya bhIto (10) zreyo'rthaM bhUtabhUtyai pathi niyamavatAmarhatAmAdikartRn (11) paJcendrAMsthApayitvA dharaNidharamayAn sannikhAtastato'yam (12) zailastambhaH sucArurgirivarazikharAyopamaH kIrtikartA / / 3 / / (isa zilAlekhameM, jo ki guptakAla ke 141 veM varSa kA hai, batAyA gayA hai ki kisI bhadra nAma ke vyakti ne, jisakI ki vaMzAvalI yahAM usake prapitAmaha somila taka ginAI hai, arhantoM (tIrthaMkaroM) meM mukhya samajhe jAne vAle, arthAt AdinAtha, zAntinAtha, neminAtha, pArzva, aura mahAvIra, ina pAMcoM kI pratimAoM kI sthAnA karake isa stambhako khar3A kiyaa| lekhakI 11 vIM paMkti ke 'paJcendrAn' se inhIM pAMca tIrthaMkaroM se matalaba hai|) (iNDiyana eNTikverI, jilda 10, pR0 125-126) For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 65 pariziSTa-11 bhArata ke digambara jaina tIrtha, bhAga-1, bambaI 1674, pRSTha 173-75, citra 60 kakubhagrAma mArga kakubha grAma vartamAna meM 'kahAU~' gA~va ke nAma se prasiddha hai| yaha devariyA jileM meM paraganA salemapura se 5 ki.mI., kAkandI se 16 ki.mI. aura gorakhapura se 73 ki.mI. kI dUrIpara hai| kAkandI se yahA~ taka kA mArga kaccA hai| basa aura jIpa jA sakatI hai| yaha eka choTA sA gA~va hai, jo IMToM ke khaNDaharoM para basA huA hai| jisa TIle para yaha gA~va AbAda hai, vaha lagabhaga ATha sau varga gaja hai| tIrthakSetra ___ bhagavAn puSpadantakI janmabhUmi kAkandI yahA~ se kevala 16 ki.mI. dUra hai| pahale yahA~ grAma nahIM thA, vana thA, jo kAkandI nagarI ke bAhara thaa| bhagavAna puSpadanta ne kAkandI ke isI vana meM dIkSA lI thii| usa vana meM kuTaja jAti ke vRkSa adhika the| sArA vana unake puSpoM se mukharita aura surabhita rahatA thaa| unhoMne pauSa zuklA 11 ko isa vana meM dIkSA lI thii| isa Rtu meM vana cAroM ora puSpita thaa| kuTaja jAti ke vRkSoM ke atirikta isa vana meM arjuna ke vRkSa adhika saMkhyA meM the| isalie isa vana ko 'kukubha' vana' kahA jAtA thaa| devoM, indroM aura manuSyoM ne yahIM para bhagavAn kA dIkSAkalyANaka manAyA thaa| isake cAra varSa pazcAt isI vana meM kArtika zuklA tRtIyA ko kevalajJAna huaa| yahIM prathama samavasaraNa lagA aura yahIM dharmacakra pravartana huaa| ataH bhakta janatA meM yaha tIrthakSetra ke rUpa meM prakhyAta ho gyaa| pazcAt isa vana ke sthAna meM grAma basa gayA aura vaha kukubha vana ke nAma para kakubhagrAma kahalAne lgaa| yahA~ bhagavAn mahAvIra kA bhI samavasaraNa AyA thaa| jaba bhI bhagavAn kA vihAra vaizAlI se zrAvastI kI ora hAtA thA to mArga meM isa sthAna para bhI padhArate the| isI prakAra vaizAlI se vihAra karate hue bhagavAn kAkandI, kakubhagrAma hote hue zrAvastI jAte the| yaha nagara zrAvastI se setavya, kapilavastu, kuzInArA, hastigrAma, maNDagrAma, vaizAlI, pATaliputra, nAlandA rAjamArga para thaa| pUrvI bhArata ke isa mahattvapUrNa rAjamArga para avasthita hone ke kAraNa nagara kI samRddhi bhI nirantara bar3ha rahI thii| deza-videza ke sArthavAha barAbara Ate-jAte rahate the| bhagavAn puSpadanta kA dIkSA aura kevalajJAna kalyANaka kA sthAna hone ke kAraNa sudUra dezoM ke bhI yAtrI yahA~ tIrtha vandanA ko Ate rahate the| isalie ati prAcIna kAla For Personal & Private Use Only

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66 kahAU~ stambha evaM kSetrIya purAtatva kI khoja . se hI yahA~ jainamandira, mAnastambha aura stUpoM kA nirmANa hone lagA thaa| maurya aura guptakAla meM isa prakAra ke nirmANa vipula parimANa meM yahA~ hue| phira patA nahIM kisa kAla meM kisa kAraNa se ina prAcIna dharmAyatanoM aura kalAkRtiyoM kA Akasmika vinAza ho gyaa| sambhavataH zrAvastI Adi nikaTavartI tIrthoM kI taraha sultAna alAuddIna ke sipahasAlAra mAlika havvasa ne isakA bhI vinAza kara diyA aura ise khaNDahara banA diyaa| isake bAda isakA phira punaruddhAra nahIM ho paayaa| ina AyatanoM ke bhagnAvazeSoM para eka choTe-se gA~va kA nirmANa avazya ho gyaa| gA~va ke punarnirmANa ke samAna isake nAma kA bhI punarnirmANa ho gayA aura kakubhagrAma hI badalate-badalate kahAU~ bana gyaa| ye avazeSa kAphI bar3e kSetra meM bikhare par3e haiN| eka TUTe-phUTe kamare meM, jisake Upara chata nahIM hai, eka dIvAla meM AlamArI banI huI hai| usameM 5 phuTa U~cI sileTI varNa kI tIrthaMkara pratimA kAyotsargAsana meM avasthita hai| pratimA kA eka hAtha kuhanI se khaNDita hai| donoM paira khaNDita haiN| bA~ha aura peTa keka haiN| chAtI se nIce peTa kA bhAga kAphI ghisa gayA hai| mukha ThIka hai| grAmINa loga tela-pAnI se isakA abhiSeka karate haiN| . isa kamare ke bAhara eka bhagna cabUtare, para eka mUrti par3I huI hai| yaha tIrthaMkara mUrti hai| raMga sileTI hai tathA avagAhanA 4 phuTa ke lagabhaga hai| yaha khaDgAsana hai| yaha atanI ghisa cukI hai ki isakA mukha taka patA nahIM cltaa| mUrti-pASANa meM parateM nikale lagI haiN| ina mUrtiyoM se uttara dizA meM gA~va kI ora bar3hane para prAcIna mAnastambha milatA hai| yaha eka khule maidAna meM avasthita hai| isake cAroM ora prAcIna bhagnAvazeSa bikhare par3e haiN| yadi yahA~ khudAI karAyI jAye to bhagavAn puSpadanta kA prAcIna jainamandira nikalane kI sambhAvanA hai kyoMki mAnastambha sadA mandira ke sAmane rahatA hai| yadi yahA~ jaina mandira nikala sakA to usase gupta kAla kI kalA aura itihAsa para nayA prakAza par3a sakatA hai| mAnastambha bhUre pASANa kA hai aura 24 phuTa U~cA hai| stambha nIce caupahalU, bIca meM aTha pahalU aura Upara solaha pahalU hai| jamIna se savA do phuTa Upara bhagavAn pArzvanAtha kI savA do phuTa avagAhanAvAlI pratimA usI pASANastambha meM ukerI huI hai| yaha pazcima dizA meM hai| cAraNoM ke donoM ora bhakta strI-puruSa hAthoM meM kalaza liye cAraNoM kA prakSAlana kara rahe haiN| mUrti ke pITha ke pIche sarpa-kuNDalI banI huI hai aura sirake Upara phaNamaNDapa hai| For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja stambha ke madhya meM, bAraha paMktiyoM meM, uttara dizA kI ora brAhmI lipi meM lekha aMkita hai, jo isa prakAra hai 1. yasyopasthAnabhUmirnRpatizataziraHpAtavAtAvadhUtA 2. guptAnAM vaMzajasya pravisRtayazasastasya sarvottamaH / 3. rAjeya zakropamasya kSitipazatapateH skandaguptasya zAnte 4. varSe triMzaddazakottarakazatatameM jyeSThamAsi prapanne / / 1 / / 5. khyAte'smin grAmaratne kakubha iti janaissAdhusaMsargapUte 6. putrA yassomilasya pracuraguNanidherbhaTTisomo mahAtmA 7. tatsUnU rudrasoma (:) prathulamatiyazA vyAghra ityanyasaMjJo 8. madrastasyAtmajo'bhUd dvijaguruyatiSu prAyazaH prItimAn yaH / / 2 / / 6. puNyaskandhaM sa cakre jagadidamakhilaM saMsaradvIkSya bhIto 10. zreyo'rthaM bhUtabhUtyai pathi niyamavAtAmarhatAmAdikartRn 11. parcendrAnsthApayitvA dharaNidharamayAn sannikhatastato 'yam 12. zailastambhaH sucArurgirivarazikharAgropamaH kIrttikartA / / 3 / / (isa zilAlekha meM, jo ki guptakAla ke 141ve varSa kA hai, batAyA gayA hai ki kisI madra nAma ke vyakti ne, jisakI vaMzAvali yahA~ usake prapitAmaha somila taka ginAyI hai, arhantoM (tIrthaMkaroM) meM mukhya samajhe jAne vAle, arthAt AdinAtha, zantinAtha, neminAtha, pArzva aura mahAvIra, ina pA~coM kI pratimAoM kI sthApanA karake isa stambha ko khar3A kiyaa| lekha kI 11vIM paMkti ke 'paMcendrAn' zabda kA inhIM pA~ca tIrthakaroM se matalava hai / ) - iNDiyana eNTikverI, jilda 10 pRSTha 125 - 126 - jaina- zilAlekha saMgraha, bhAga 2, pRSTha 56 / stambha ke Upara caukI banI huI hai| usake Upara pA~ca tIrthaMkaroM - AdinAtha, zAntinAtha, neminAtha, pArzvanAtha aura mahAvIra kI pratimAe~ virAjamAna haiN| brAhmI lekha ke anusAra isa mAnastambha kA nirmANa evaM pratiSThA jaina dharmAnuyAyI madra nAmaka eka brAhmaNa ne gupta saMvat 141 ( I0 san 460 ) meM samrAT skandagupta ke kAla meM karAyI thI / 67 grAmINa loga ajJAnatAvaza usa mAnastambha ko 'bhImakI char3I' yA 'bhImasena kI. lATa' kahate hai aura dahI - sindUra se isakI pUjA karate haiM / isake kAraNa nIce ke bhI bhAga meM banI huI pArzvanAtha pratimA kAphI virUpa ho gayI hai / 1. kakubha kA artha hai, kaTuja jAti ke puSpa, arjuna vRkSa (hindI vizvakoSa ) / For Personal & Private Use Only

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68 kahAU~ stambha evaM kSetrIya purAtatva kI khoja asooooooooo oooooos HEESEREEMERI 38800300380 80489 86030 6 38988 60. kakubhagrAma ( kahAU~ ) meM gupta kAlIna mAnastambha / zIrSa para 8 jina pratimAeM virAjamAna haiN| 888560380868800300000000000 935 3900386088888888888888888888888888888 888888888888888888600480880880530 For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix. 12 Archaeological Survey of India,, Corpus Inscriptionum Indicarum, Vol. III Inscriptions of the early Gupta Kings, New Delhi, 1981, pages 305-308, plate 29. Note : This is a revised edition of corpus Inscriptinum Indicanum by John Faithfull Fleet, Vol. 3, 1888, Page 65-68 (reproduced in this book erlier). This revision is being done by Devdatta Ramakrishna Bhandarkar. The text is more or less the same as of John Faithfull Fleet. However translation is different which is reproduced here. Translation Luck! (Verse 1) In the peaceful' reign of Skandagupta, whose hall of audience is fanned by the breezes cause by the throwing down (at his feet) of the heads of hundreds of kings; who is born in the lineage of the Guptas; whose fame is spread (far and wide); who is of supreme greatness; (and) who resembles (the god) Sakra, being the lord of a hundred Kings;- in the 141st year, the month, Jyeshtha having arrived; (Verse 2) In this jewel of a village named by the people as Kakubha, (and) purified by the intercourse of holy men, - (there was) the great-souled Bhattisoma, who (was) the son of Somila, the receptacle of many good qualities; his son (was) Rudrasama, of great intellect and fame, who had the other appellation of Vyaghra?. His son was Madra, who (was) exceedingly affectionate towards Brahmanas, religious preceptors and ascetics. (Verse 3) Observing and being alarmed that this whole world is evanescent, he acquired a mass of religious merit; and for (his own) bliss and for the welfare of (all) existing beings, having established, of stone, the five lords who were originators (adikartsis)" in the path of the Arhats who practise restraint of mind, (he) thereupon planted (in the ground) this For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja exceedingly beautiful and fame-contributing pillar of stone which resembles the tip of the summit of the chief of mountains. 1. Sante : It is unnecessary to explain in detail the interpretation of this word. The difficulty is, as Fleet correctly remarks, not the correct rendering of it, which is perfectly obvious, but to comprehend how it ever came to be read santeh, and to be interprected by "of the repose, i, e., death" i.e. "after the decease (of Skandagupta);" or, being read sante correctly, to comprehend how it ever came to be interprected as meaning."(the empire of Skandagupta) being quiescent," or "(the empire of Skandagupta) being extinct (for the hundred and forty-first year). "The correct interpretation appears to have been first pointed out by Bhau Daji; "in the year one hundred and forty-one, in the peaceful reign of Skandagupta" (JBBRAS., Vol. VIII, p. 246.) 2. For some similar instances of second names, see page 254 above, note 3. 3. Indran Bhagwantal Indraji, in his published version, first pointed out the kind of meaning to be given to this word here (Ind. Ant., Vol. X, p. 126) 4. Adikartsin : lit. 'originaors.'Bhagwanlal Indraji first pointed out the correct meaning of this word, as reffering here to five of the Tirtharkaras or sanctified teachers of the Jainas (Ind. Ant., Vol. X. p. 126 and note 16). See also SBE, Vol. XXII, pp. 224-25. ayudara77761-cigorost e sugary 8 yazinde 24 Tremy URTUR: 45148TA men ATX1977 Booyza 45471714:19 29 on even varvarar FW Justid 193 LZHALEN EntomPugdune cups 4G HDMIENZE DE on top 2855002 1 yarazkiyoratorios, mas not yet Adehored bharu --*7 KAHAUM STONE PILLAR INSCRIPTION OF SKANDAGUPTA: THE YEAR 141 PLATE XXIX For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja pariziSTa-13 prAcIna bhArata ke pramukha abhilekha (gupta kAla 316-543 I0) paramezvari lAla guptA, bhAga-2, 1666, pRSTa 146-47 37. kahA~va stambha-lekha, varSa 141 paricaya devariyA (uttara pradeza) jile ke antargata salemapura-majhaulI se pA~ca mIla para sthita kahA~va grAma meM sthApita eka stamabha para, jisa para pA~ca tIrthaMkaroM kI mUrtiyA~ utkIrNa haiM, yaha lekha aMkita hai| lekha stambha ke bIca ke aThapahala bhAga ke tIna ora 2 phuTa 2 / / iMca x 1 phuTa 8 iMca ke ghere meM hai| uttara pradeza kA sarvakSaNa karate samaya 1906 aura 1816 I0 ke bIca phrAMsisabukAnana (hemilaTana) ne isa lekha ko dekhA thaa| isakA ullekha unhoMne apanI usa riporTa meM kiyA hai jise unhoMne IsTa iNDiyA kampanI ke saMcAlaka maNDala ke sammukha prastuta kiyA thaa| isa hastalikhita riporTa ke AdhAra para 1838 I0 meM mANTagomarI mArTIna ne apanI pustaka 'IsTarna iNDiyA' meM isa lekha kA ullekha kiyA aura usakI chApa prakAzita kii| usI varSa jemsa priMsepa ne bhI aMgarejI anuvAda sahita isakA pATha prakAzita kiyaa| 1860 I0 meM phiTja eDavarDa hAla ne isake prathama zloka ko anuvAda sahita prakAzita kiyaa| 1871 I0 meM kaniMgahama ne aura 1881 I0 meM bhagavAnalAla indrajI ne apane pATha prakAzita kiye| phira phlITa ne usakA sampAdana kiyaa| pATha bhASA : sNskRt| lipi : brAhmI (uttaravartI) . 1. siddha(m) (1) ___ yasyopasthAna bhUmirnRpati-zata-ziraH-pAta-vAtAvadhUtA 2. guptAnAM vanzajasya pravisRta-yazasastasya sarvottamaddheH (1) 3. rAjye zakropamasya kSitipa-zata-pateH skandaguptasya zAnte 4. varSe trinzaddazaikottaraka-zatatame jyeSTha-mAsi prapanne ( / / 1) 5. khyAte (5) smingrAma-ratne kakubha iti janaissAdhu-saMsarga-pUte ( / ) 6. putro yassomilasya pracura-guNa-nidheTTisomo mahA(tmA), ( / ) 7. tatsUnU rudrasomaH pRthula-mati-yazA vyAghra ityny-sNjnyo| 8. madrastasyAtmajo (5) bhUdvija-guru-yatiSu prAyazaH prItimAnyaH ( / / 2) 6. puNya-skandhaM sa cakke jagadidamakhilaM saMsaradvIkSya bhIto 10. zrIyorthaM bhUta-bhUtyai pathi niyamavatAmarhatAmAdikartRn ( / ) 11. paJcendrAM sthApayitvA dharaNidharamayAnsannikhAtastato'yam 12. zaila-stambhaH sucArugirivara-zikharAyopamaH kIrti kartA ( / / 3) . For Personal & Private Use Only

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72 kahAU~ stambha evaM kSetrIya purAtatva kI khoja anuvAda siddhm| jisakI upasthAna-bhUmi zata nRpatiyoM ke sira jhukAne se utpanna vAyu se hila uThatI hai, jisakA vaMza gupta hai, jisakA yaza jagat-vikhyAta hai, jo samRddhi meM sarvottama hai, jo zakropama (indra-tulya) hai, jo zata kSitipati hai usa skandagupta ke zAMnti (pUrNa zAsana ke) varSa eka sau ekatAlIsa kA yaha jyeSTha mAsa / gA~va kA yaha ratna kakubha nAma se prakhyAta hai aura sAdhu-saMsarga se pavitra hai| isa grAma meM somila kA putra pracura-guNanidhi mahAtmA bhaTTisoma huaa| usakA putra prathula-mati aura yazavAlA rudrasoma huA, jise loga vyAghra nAma se bhI pukArate the| usakA putra madra huA, vaha brAhmaNoM, gurujanoM aura sAdhu-saMtoM ke prati zraddhAbhAva rakhatA thaa| yaha dekhakara ki yaha saMsAra satata parivartanazIla hai, bhayabhIta hokara usane apane lie adhikAdhika puNya baTorane kA prayAsa kiyaa| (aura) samasta jagat ke hitArtha arhata pada ke Adi kartA pA~ca indro (jitendroM) kI mUrtiyA~ utkIrNa karAkara isa zaila-stambha ko bhUmi para khar3A kiyA jA himAlaya kI coTI kI taraha dikhAI detA hai| TippaNI yaha lekha usa zaila-stambha ke sthApanA kI ghoSaNA hai, jisa para vaha aMkita hai| isa stambha ke zIrSa para eka tathA caupahala tala ke cAroM ora eka-eka tIrthakara kI pratimA utkIrNa hai| ye haiM-AdinAtha zAntinAtha, neminAtha, pArzvanAtha aura mhaaviir| isa lekha se jJAta hotA hai ki kahA~va grama kA, jahA~ yaha stambha hai, pracIna nAma kukubha thaa| isa lekha kI paMkti 3-4 meM Aye skandaguptasya zAnte varSe kA tAtparya aneka vidvAnoM ne skandagupta ke zAnta (mRtyu) hone ke pazcAt athavA skandagupta kA (sAmrAjya) zAnta (samApta) hone para liyA thA aura ise usake mRtyUparAnta athavA usake zAsana ke samApta hone ke bAda kA lekha anumAna kiyA thaa| kintu bhAU dAjI ne ise skandagupta ke zAntipUrNa zAsanakAla ke artha meM grahaNa kiyA aura usakA anumodana phlITa ne bhI kiyaa| yahI artha saMgata bhI hai| isa lekha meM anya kucha aisA nahIM hai, jisakI kisI prakAra kI koI vistRta carcA kI jaay| sandarbha mANTagomarI mArTIna IsTarna iNDiyA, 2 (1828), pR0 366 / jemsa priMsepa jarnala baMgAla esiyATika sosAiTI, 7 (1828), pR0 37 / phiTja eDavarDa hAla jarnala, amerikana oriyaNTala sosAiTI, 6 (1860), pR0 530 / jarnala, baMgAla esiyATika sosAiTI, 30 pR0 3 / kaniMgahama AryAlAjikala sarve riporTa, 1 (1871), pR0 63 / bhagavAnalAla indrajI iNDiyana eNTIkvairI, 10 (1881), pR0 225 / phlITa kArpasa inskRSzanam iNDikeram 3 pR065| rAjabalI pANDeya iNDiyana hisTrArikala kvArTaralI, 28 (1652), pR0 268 / dinezacandra sarakAra selekTa inskRSzansa, pR0 216-17 / iskRpzansa Ava da arlI gupta kiMgsa, pR0 305-308 / bhaNDArakara For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix. 14 The Cave Temples of India by James Fergusson and James Burgess, 1880, reprint Delhi 1969, page 497, Plate 80, 81. Indra Sabha - Elura * Entering the court; on the right side is a large elephant on a pedestal, and on the left stood a fine monolithic column 27 feet 4 inches high, with a quadruple or chaumukha image on the top (see Plate LXXX., fig.2), but it fell over against the rock the day after Lord Northbrook visited the caves. In the centre of the court is a pavilion or mandapa over a quadruple image, either of Rishabanatha, the first of the twenty-four Tithanakaras, or of mahavira, the last'; the throne is supported by a wheel and lions, as in Buddhist temples. The style of the pavilion and of the gateway leading into the court is nearly as essentially Dravidian as the Kailasa itself, and so very unlike anything else of the kind in ELURA. Plate. LXXX. 3. INDRA SABHA. MONOLITHIC COLUMN. H 73 For Personal & Private Use Only Syker 2.

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74 kahAU~ stambha evaM kSetrIya purAtatva kI khoja the north of India that it probably was excavated during the supremacy of the Rathors, and is of about the same age as the Jaina cave at Badami. The details, too, of that cave have so marked a similarity to those of the Indra Sabha, that the probability is they all belong to the eighth century. 1. A view of this pavilion, with the entrance doorway or miniature gopura, is gien in my Ind. and East Arch., p. 252, woodcut 147. ELURA. INDRA SABRA-LOWER HALL Plate XX For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 75 pariziSTha- 15 88000000000000 / APAN 33333383 67. devagar3ha-eka jaina mandira ke sAmane bhavya mAnastambha / For Personal & Private Use Only

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OG kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix. 16 History of Indian and Eastern Architecture by James Fergusson, Vol.I, 1876, Revised and Reprinted in London 1910, pages 56 to 58. BUDDHISTARCHITECHTURE CHAPTER I STAMBHAS OR LATS. It is not clear whether we ought to claim a wooden origin for these, as we can for all the other objects of Buddhist architecture. Certain it is, however, that the lats of Asoka, with shafts averaging twelve diameters in height, are much more like wooden posts than any forms derived from stone architecture, and in an age when wooden pillars were certainly employed to support the roofs of halls, it is much more likely that the same material should be employed for the purposes to which these stambhas were applied, than the more intractable material of stone. The oldest authentic examples of these lats that we are acquainted with, are those which King Asoka set up in the twenty-seventh year after his consecration- the thirty-first of his reign - to bear inscriptions conveying to his subjects the leading doctrines of the new religion he had adopted. The rock-cut edicts of the same king are dated in his twelfth year, and convey in a less condensed form the same information - Buddhism without Buddha - but inculcating respect to parents and priests, kindness and charity to all men, and, above all, tenderness towards animal life. The best known of these lats is that removed from Topra in Ambala district, and set up in 1356, by Firoz Shah Tughlak, in his Kotila at Delhi, without, however, his being in the least aware of the original purpose for which it was erected, or the contents of the inscription. Afragment of a second was found For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 77 lying on the ridge, north of Delhi, where it had been set up by Firoz Shah, in his hunting lodge; and was re-erected in 1867. Two other exist in Champaran district at Radhia, and Mathia, and a fragment of another was recognized - utilized as a roller for the station roads by an utilitarian member of the Civil Service. The most complete shaft, however, is that which in 1837, was found lying on the ground in the fort at Allahabad, and then re-erected with a pedestal, from a design by Captain Smith. This pillar is more than usually interesting, as in addition to the Asoka inscriptions it contains one by Samudragupta (A.d. 380 to 400), detailing the glories of his reign, and the great deeds of his ancestors. It seems again to have been thrown down and was re-erected, as a Persian inscription tells us, by Jahangir (A.D. 1605), to commemorate his accession. It is represented without the pedestal (Woodcut No.4). The shaft, it will be observed is more than 3 feet wide at the base, diminishing to 2 feet 2 inches at the summit, which in a length of 33 feet looks more like the tapering of the stem of a tree - a deodar pine, for instance -than anything designed in stone. Like all the others of this class, this lat has lost its crowning ornament, which probably was a Buddhist emblem - a wheel or the triratna ornament - but the necking still remains (Woodcut No.5), and is almost a literal copy of the honeysuckle ornament we are so familiar with as used by the Greeks with the lonic order. In this instance, however, it is hardly probable that it was introduced direct by the Greeks, but is more likely to have been borrowed, through Persia, from Assyria, whence the Greeks also originally obtained it. The honeysuckle ornament, again, occurs as the crowning member of a pillar at Sankisa, in the Doab, half-way between Mathura and Kanauj (Woodcut No. 6), and this time surmounting a capital of so essentially Persepolitan a type, that there can be For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja little doubt that the design of the whole capital came from Persia. This pillar, of which the greater part of the shaft is lost, is surmounted by an elephant, but so mutilated that even in the 7th century the Chinese traveler Hiuen Tsiang mistook it for a lion, if this is indeed the effigy he was looking at, as General Cunningham supposes, which however, is by no means so clear as might at first sight appear. Another capital of similar nature to that last described crowns the Lauriya Navandgarh lat in Champaran - this time surmounted by a lion of bold and good design (Woodcut No. 7). In this instance, however, the honeysuckle ornament is replaced by the more purely Buddhist ornament of a flock of the sacred hansas or geese. In both instances there are cable ornaments used as neckings, and the bead and reel so familiar to the student of classical art. The last named form is also, however, found at Persepolis. These features it may be remarked are only found on the lats of Asoka, and are never seen afterwards in India, though common in Gandhara and on the Indus for long afterwards, which seems a tolerably clear indication that it was from Persia that he obtained those hints which in India led to the conversion of wooden architecture into stone. After his death, these classical features disappear, and wooden forms resume their sway, though the Persian form of capital long retained its position in Indian art. Whatever the Hindus copied, however, was changed, in the course of time, by decorative additions and modifications, in accordance with their own tastes For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 72 pariziSTa-17 tIrtha baMdanA apraila, 2001, pRSTha 4-5 jaina dharma kA prAcIna gaurava kahAMva kA staMbha stabha para aTaikita abhilekha itihAsa saMracanA ke lie ati mahatvapUrNa mAne jAte haiN| itihAsakAra sAhityika sAkSyoM kI apekSA abhilekha sAkSya ko adhika vastuniSTha mAnate haiN| bhArata meM stambha para abhilekha likhavAne kA krama mauryavaMzIya samrATa azoka ne prAraMbha kiyA thaa| jise kAlAMtara meM guptavaMzIya zAsakoM ne bhI jArI rkhaa| pUrvI uttara pradeza se aise abhilekha alpa hI mile haiM, usI meM se eka abhilekha kahAMva kA hai| jise vizeSajJa guptavaMza ke pratApI zAsaka skaMdagupta kA mAnate haiN| kahAMva nAmaka yaha grAma jahAM yaha staMbha sthita hai, vartamAna meM uttara pradeza ke devariyA jile ke salemapura tahasIla ke aMtargata AtA hai| baraThA caurAhe se khukhundU Ane vAlI sar3aka para karIba AdhA kilomITara Age yaha gAMva par3atA hai| abhilekha meM ise 'kakubha grAma' kahA gayA hai| prasiddha itihAsavid paramezvarIlAla gupta kI pustaka prAcIna bhArata ke abhilekha bhAga do ke anusAra sarvaprathama san 1816 I0 ke bIca uttara pradeza kA sarvekSaNa karate hue phrAMsIsI bukAnana ne. isa lekha ko dekhA thaa| inakI riporTa ke AdhAra para 1838 I. meM mANTagomarI mArTina ne apanI pustaka 'isTarna iMDiyA' meM eka lekha likhA aura isakI chApa prakAzita kii| isI varSa jemsa priMsepa ne bhI aMgrejI anuvAda sahita isakA pATha prakAzita kiyaa| ___ san 1860 I. meM phiTja eDavarDa hAla ne isake prathama zloka ko anuvAda sahita prakAzita kiyaa| san 1871 I. meM kaniMghama, 1881 I. meM bhagavAna lAla indra jI ne apane pATha prakAzita kiye. aura phlITa ne usakA sampAdana kiyaa| stambha 24 phITa U~cA hai aura lekha stambha ke bIca ke aThapahala bhAga ke tIna ora 2 phuTa 11 iMca guNe eka phuTa 8 iMca ke ghere meM hai| stambha kA nirmANa lAla balue patthara se huA hai aura yaha dekhane meM azoka ke stambhoM sA lagatA hai| aisA pratIta hotA hai ki yaha stambha kahIM bAhara nirmita kiyA gayA aura bAda meM ise yahAM sthapita kiyA gyaa| stambha ke sabase UparI hisse para lohe kI char3a dikhAyI detI hai jo jaMga rahita hai, jisase . spaSTa hotA hai ki gupta kAla meM acche kisma kA lohA prApta hotA thaa| azoka ke stambhoM kI bhAMti isa stambha para bhI ulaTA kamala puSpa alaMkRta For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja caukI kA aMkana hai| isa stambha ke zIrSa para eka tathA caupahala ke cAroM ora jaina tIrthaMkaroM kI pratimA utkIrNita hai| jisameM AdinAtha, zAMtinAtha, neminAtha, pArzvanAtha haiN| stambha ke nicale bhAga meM AdhAra caukI para pArzvanAtha kI mUrti kA aMkana hai| __isa lekha kI paMkti 3-4 meM Aye 'skaMda gupta zAMti varSe se spaSTa hai ki abhilekha ke uTaMkana ke samaya yAnI 460 I. meM skaMdagupta kA zAsanakAla zAMtipUrNa thaa| isase yaha dhvanita hotA hai ki isa samaya taka skaMdagupta ne hUNoM para vijaya prApta kara lI thI, sAtha hI abhilekha dvArA yaha bhI sUcita hotA hai ki isa samaya taka aneka rAjA unakI adhInatA hI nahIM svIkAra karate the varan unake sAmaMta bama gaye the| stambha abhilekha kA mahatva isa tathya ke lie bhI hai ki gupta samrATa vaiSNava hote hue bhI anya dharmo ke prati sahiSNu the| vizeSa rUpa se yaha kSetra isa kAla meM jaina matAvalambI thaa| abhileza ke dvArA 'kakubha grAma' kI mahattA sthApita hotI hai| cira kAla se yaha grAma vidvAnoM ke lie vikhyAta thaa| abhilekha ke dvArA isa kAla ke mAnavIya saMvedanA kA jJAna bhI hotA hai| madra kI sarvakalyANakArI bhAvanA ke tahata hI isa stambha kA sthApana huA thaa| adhyayana ke dvArA abhI aura kaI mahatvapUrNa sUcanAeM A sakatI haiM, paraMtu vartamAna meM stambha lekha asurakSita evaM upekSita hai| stambha para darAreM dikhane lagI haiM aura mUrtiyAM bhI khaMDita ho rahI hai| - sabase mahatvapUrNa bAta yaha hai ki gokhapura maNDala ke aMtargata hone ke bAvajUda bhI isa abhilekha ko gorakhapura vizvavidyAlaya ke parAsnAtaka pAThayakrama meM sammilita nahI kiyA gayA hai| ataH AvazyakatA isa bAta kI hai ki purAtatva vibhAga evaM gorakhapura vizvavidyAlaya isa stambha lekha kI surakSA kI vyavasthA kare eMva abhilekha ko pAThyakramoM meM sammilita kara, isake vyApaka adhyayana kA mArga prazasta kre| stambha lekha se thor3I hI dUrI para eka Azunika jaina maMdira hai| isa maMdira kA nirmANa zrImatI sohanI devI dharmapatanI harakhacaMda seThI (tinasukiyA, asama) ne karavAyA hai| jahAM yaha maMdira sthApita hai, vahAM ati prAcIna jaina maMdira thA, paraMtu kahAMva grAma ke nivAsI isase anabhijJa the aura maMdira ke garbhagRha meM sthita 5 phITa UMcI sleTI raMga kI jaina pratimA ko ve 'sophA bAbA' kahakara pukArate the| maMdira ke saMrakSaka bharata kuzavAhA ke anusAra bAda meM vidvAnoM ke Agamana ke phalasvarUpa maMdira evaM mUrti kI pahacAna ho pAyI aura usake dvArA isa maMdira kA nirmANa kiyA gyaa| maMdira ke zilApaTTa ke anusara jaina dharma ke tIrthaMkara puSpadaMtanAtha ko yahIM kevalya jJAna prApta For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 81 huA thA, jinakA janma yahAM se 16 kimI. dUra khukhundU (kAkaMdI) meM huA thaa| nirmANa ke bAda se yaha maMdira bhI upekSita-sA hai| isa maMdira kI prApti evaM stambha para bhI jainamUrti kA aMkana yaha sApha iMgita karatA hai ki yaha kSetra dIrghAvadhi taka jaina matAvalaMbI thaa| maMdira ke saMrakSaka bharata kuzavAhA ke anusAra maMdira se thor3I dUra para sthita pokhare ke pAnI ke sUkha jAne para utkhanana kara jaba miTTI nikAlI jAtI hai to kaI prAcIna vastueM sAmane AtI haiN| spaSTa hai ki vyApaka jJAna evaM kSetra kI prAcInatA ke lie yahAM purAtatva vibhAga ko dhyAna denA caahie| (rASTrIya sahArA se sAbhAra) For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix-18 The Journal of the Bombay Branch of the Royal Asiatic Society vol 8, 1863-64, 1864-65, 1865-66. Article III-A Brief Survey of Indian chronology by Mr. Bhau Daji 82 That latest date of the Valabh kings is 348, i.e. A.C. 426, and they appear to me to have been succeeded by Kumaragupta and Skandagupta. Regarding the various errorswhich have been committed in reading the dates of the Gupta dynasty, it would be waste of time now to dwell upon; but it is clear from the Junagur inscription, where the date is given three times, as well as from the Kuhaon pillar inscription, that Skandagupta flourished from 129 to 141 of the "Guptakala, an era which was established from the foundation of the Gupta dynasty." Many attempts have been made to decipher and translate correctly the first lines on the Kuhaon pillar, containing the date. The grand source of error has arisen from putting a visarga after the word Sante (in the peaceful), the visarga not existing in the original Sante, being an adjective qualifying Rajye. The correct rendering and translation, I submit is :"In the month of Jyestha, in the year 141, in the peaceful reign of Skandagupta." The Benares copper-plate grants of Sri Hastinah are dated in the 163rd year of the Guptakala (Prinsep's Indian Antiquities, by Thomas, Vol. II. page 251), and I have no doubt that the date on Toromana's coins, 187, is from the same era. When did this era commence ? is a question that cannot be answered with certainty. I am inclined to regard, with Colo For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 83 nel Cunningham, A.C. 318, as the commencement of the Guptakala. I have a Jaina manuscript which is dated in the 772nd year of the Guptakala, but unfortunately the corresponding Vikrama or Salivahana's year is not given, nor is it possible at present to ascertain the exact date of the author from other sources. It is remarkable, that A.C. 318 is equal to 78+240, i.e. the era commences four cycles of 60 after the Sakanripakala. The principal, and I may say the only authority for the Guptakala, is Albiruni, who says, that the era of the Guptas begins with the 241st year of the era of the Sakas. For my own part, I am not disposed to place implicit reliance on Albiruni, who blunders frequently in his facts and dates; not so much perhaps form want of zeal or ability, as from carelessness and imperfect knowledge of his informants. We have the following dates for the Gupta kings Chandragupta I. Samudragupta. Chandragupta II.. Kumaragupta Skandagupta Bakragupta, Devagupta. Budhagupta....................................... 165-180. 82-93 Guptakala. 90+?-121 Guptakala 138-141, For Personal & Private Use Only

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84 kahAU~ stambha evaM kSetrIya purAtatva kI khoja Appendix-19. Journal of the Asiatic Society Of Bengal Vol 43, Part 1, 1874, Page 368-375 Rajendralala Mitra-On Skanda Gupta Inscription To aruge upon such a passage and to torture other documents to conform to it is by no means commendable. Had it been otherwise, still the argument that a love of euphemism, or a desire to avoid the hazard of popular prejudice'' had led to the use of santa and bhukta in the inscriptions would appear futile at best. Instead of its not being "singular," it would be in the last degree singular ''that a direct encomium should be bestowed on a potentate" who, however truculently he may have once lorded it, had become dust and ashes for nearly a century and a half." As ''to impulses of family pride" the family being extinct for so long a time, there was none to be guided by such impulses, and it would no doubt be a most extraordinary phenomenon in political history, if popular prejudice could be irritated by calling a king, however great or popular he might have been when living, dead a hundred and forty-one years after the the extermination of his dynasty. To use Mr. Hall's language, "the idea would be preposterous." The Arabic authority, however, apart, I am clearly of opinion that the translations hitherto published of the first stanza of the Kuhaon pillar inscription is wrong, and no argument therefore can be based on those erroneous renderings. Prinsep's Pandit misled him by putting in the Nagari transcript a visarga after sante, whereby it was converted into the genitive singular of the noun santi, 'peace' or 'extinction', For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 85 and it was accordingly interpreted as qualifying the noun Skanda Gupta, which was also in the genitive case. The visargs, however, does not occur in the facsimile published by Prinsep, and therefore it should be at once rejected. Had it existed in the original, it should still have been rejected, for santi is itself a noun, and cannot possibly be used as an adjective for another noun. Mr. Hall was the first to notice this mistake, and he correctly pointed out that the word as used in the text was in the seventh case of a past participle.'' The late Dr. Bhau Daji did the same a few years after, the former rendering it by being quiescent," the latter peaceful."'? Both were, however, mistaken in accepting the word as qualifying the term rajye, as also in the meanings they assigned to it. Mr. Hall subsequently rejected his first version, and accepted the word to mean "being exitinct," but he still insisted on applying it to rajye, and the result therefore continued as unsatisfactory as before. The word stands just before varshe, and by the ordinary rule of Sanskrit construction it should be interpreted along with that which is proximate to it, and not taken over to rajye, which is removed from it by the intervention of several other words in a different case. Doubtless the exigencies of metre often lead to the reversion of the natural order or connexion of words in a sentence, but where both a distant and a near connexion are possible, the most appropriate course is to adopt that which is most natural, unless the context shows this to be inadmissible. This is the course which Sanskrit exegesists usually follow, and I see no reason to depart from it in explaining the stanza under notice. In it the words sante, varshe, trins addas aikottara-s atatame, jaishthasi and prapanne stand in regular succession, and I have no hesitation in taking For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja them to be intimately connected in sense. The meaning they together yield is ''the year one hundred and forty-one having been over, and the month of Jaishthya having arrived,'' or "on the close of the year one hundred and forty-one, the month of Jaishthya having arrived", and this instead of being opposed to the context offers a much more natural and consistent sense than the version given by Mr. Hall. To Europeans it might appear strange that the passed year should be named in the record, and not the current one to which the month specified belonged. But there is no inconsistency in this. In Bengal the usual practice to this day is to write in horoscopes the past year, and not the current one : thus were a child to be born at this moment (ten minutes past eleven A. M. of the 3rd of February, 1875, assuming that the Christian era is used and the day begins with sunrise at 6 A.M.), his date would be given in these figures: 1874, 1, 2, 5, 9, 59, i,e, born on the lapse of fifty-nine seconds, nine minutes, five hours, two days, one month, and one thousand eighthundred and seventy-four years of the Christian era. Logically, this is the most precise way of putting the figures, and to leave no room for doubt, the figures are usually preceded by the words saka nripateratitabdadayah, "the saka king's past year, &c." That this principle has been adopted in the inscription is evident from the use of the two participles sante and prapanne together. The word rajye in the inscription is in the locative case, showing the locale of the occurrence, whereas sante and prapanne are in the locative case-absolute according to the rule of Panini which says that which through its own verb governs another takes the locative case." For determining the tense of such cases-absolute, the great logician Gadadhara lays For Personal & Private Use Only

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kahAOM stambha evaM kSetrIya purAtatva kI khoja down the following rule in his dvitiyadivyutpatti-vada: "The relation of a verb in the seventh declension with another implies the same or some other time: Thereof the present participle affix (krit) implies the same time [i.e. the action of the two verbs takes place simultaneously). Where the participle affix is of the past tense, the time of the second verb is subsequent to that of the first; thus: on your going to the earth to conquer it, he attacked this city, &c. In the case of future participles the time of the first verb succeeds that of the other."3 Applying this rule to the two participles of the stanza under notice, we have sante preceding prapanne, and the "extinction" or close of the "year" (varshe) must take place before the "arrival" (prapanne) "of the month of Jaishthya." If we take sante to refer to rajye the meaning would be "the kingdom having become extinct and the month of Jaishthya arriving," leaving the varshe grammatically unconnected with the rest, or serving as a locative, which is absurd. As the vrse in question has proved a stumbling-block to many, and is of great importance in connexion with the history of the Guptas, I shall here repreoduce Mr. Hall's reading and translation modified accroding to the above remarks. Trenuren-rafa-fufagiafor: pAtavAtAvadhUtA guptAnAM vaMzajasya pravisRtayazasastasya sarvekamarddhe / rAjye zUkropamasya kSitipatapateH skandaguptasya zAnte * varSe triMzaddazaikottarakazatatame jyeSThamAsi prapanne / 87 "In the empire of Skanda Gupta,-the floor of whose audience chamber is swept by gusts from the bowing of heads of kings by hundreds; who is sprung from the line of the Guptas; of wide extended fame; opulent beyond all others; comparable with Sakra; lord of hundreds of monarchs;-the For Personal & Private Use Only

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66 kahAU~ stambha evaM kSetrIya purAtatva kI khoja year one hundred and forty-one having passed away, and the month of Jaishthya arriving,"' &c. It might be said that as the words bhukti and bhukta in the two inscriptions of King Hastin* are connected with the word rajya, the same should be inferred in the case of the Kuhaon record. But the circumstances under which the words occur are not the same, nor even similar. In the Kuhaon moument the sante stands as a participle distinct by itself, whereas in the Hastin records bhukti and bhukta are members of compound terms of which rajya forms only a subordinate member; and as participle adjectives they further qualify the word samvatsara the counterpart of the Kuhaon varsha and not rajya, and therefore they rather support my inference than oppose it. Gupta-nripa-rajya-bhuktau and Gupta-nripa-rajyabhukte simply mean "during the dominancy of the Gupta kings;" for according to the usually received interpretation bhoga, when referring to years, implies its currency. Hastin evidently was a vassl of the Guptas and he satisfied himself with the title of Maharaja, whereas the Guptas always claimed to be maharajadhiraja and therefore there is no inconsistency in his avowing the supremacy. Mr. Fergusson may take exception to this, as in his scheme of Indian chronology he accpets the title Maharaja to be synonymous with emperor, and those who bore it to have been independent sovereigns; but with scores of Maharajas who bow to the supremacy of our gracious sovereign Queen Victoria, and many of whom are not better than mere zamindars, none who is familiar with the history of India and of the ultra regal titles of the innumerable potentates who owned allegiance to the Pandus, will be disposed to follows his lead. For.Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja Accepting the above arguments as correct, it is impossible to avoid the conclusion that Skanda Gupta was a reigning sovereign when the Kuhaon monument was put up, i. e. in the month of Jaishthya following the year 141, or the second month of 142; and as he could not under any human probability extend his reign to one hundred and forty-six years, the conclusion becomes inevitable that the year of his reign refers to some, at the time, well-known era which needed no special specification. To say that the eras of the Kuhaon and the Indor monuments are different, and that consequently the one hundred and forty-one years of the former was calculated from a different starting point to that of the latter, would be a mere assertion quite unsupported by proof, and opposed to every legitimate argument. According to Abu Raihan the Gupta-kala reckons from the years 241 of the saka era = A. C. 319, and if this could be accepted as correct, and we could assume that the era fo the inscription under notice was the Gupta-kala, its date would be A. C. 465; but as Abu Raihan's statement as preserved for us is hopelessly corrupt, and there is not a scintilla of proof to show that the Guptas used the so-called Gupta era, this assumption cannot be taken for granted. I am not disposed to reject altogether the statement of Abu Raihan, for however corrupt the passage, the fact of the Gupta and the Ballabhi eras being the same may be correct. Seeing that the Gupta era was current only over a small area in the Western Presidency, and that during the supremacy of the Ballabhi kings, the idea strikes me that the Ballabhi kings, having expelled the Guptas from Gujarat, started an era to commemorate the event, just as Sakaditya had done two hundred and forty-one years be For Personal & Private Use Only

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90 . kahAU~ stambha evaM kSetrIya purAtatva kI khoja fore them after expelling the Sakas from northern India, and the era was optionally called Ballabhi or Gupta. And as Abu Raihan gathered his information in Western India, he was right in saying that the era dated from the extinction of the Guptas, meaning their expulsion from Gujarat, without implying their total annihilation. This theory affords a very plausible solution of the question; but I must leave it aside for further research; the more so as two such distinguished Indian archaeologists as General Cunningham and Mr. Thomas are engaged in discussion on the subject, and it is quite unnecessary for me to join issue with either of the disputants. I need here only observe that my own conviction is that the era of the Chandra Gupta inscriptions of Sanchi, of the Skanda Gupta inscriptions of Junagash, Kuhaon, and Indor, of the Budha Gupta inscription of Eran, and of the Hastin inscriptions, are all dated in the Saka era which being current and well known, needed no special specification, and is accordingly indicated by the word Samvatsara, which means "a year" and not an era, as it has been erroneously suppsed by some. The aptote noun samvat also originally meant a year, but it has been so uniformly used in connexion with the era of Vikramaditya, that the secondary meaning must now be accepted as the right one. When the abbreviation H occurs in an inscription, it may mean the samvator Samvatsara, and therefore it would be unsafe to take it for samvat for certain. There are many unquestionable instances in which it has been used for other than the Samvat. Under this conviction I accept the record under notice to be sixteen hundred and fifty years old, or, in other words, to date For Personal & Private Use Only

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kahAU~ stambha evaM kSetrIya purAtatva kI khoja 91 from 224 of the Christian era, and that Skanda Gupta was then a reigning sovereign, whose sway extended from Gujarat to Anupshahar on the Ganges. 1. Journal, American Oriental Society, VI., p. 530. 2. Journal, Bombay As. Soc., VIII, p. 241. 3. saptamyAtha samAnakAlInatvAdikaM kriyAntarasambandhaH ta eva vartamAnArthakRtpranyayasthalaM samAnakAlInatvaM sambandhatayA / atItArthakakRtpratyayasamabhivyAhArasthale uttarakAlInatva yathA tvayi bhaumaM gate jetumarautsIt sapurImibhAmityAdau / bhaviSyadarthakRtapratyayasamabhivyAhArasthale ca pUrvakAlInatvaM yathA dogdhavyAsu gata ityAdI ityAdikaM svayamUhanIyaM / / 4. Ante XXX, pp. 6 and 10. General Cunningham informs me that he has another inscription of king Hastin, and one of his son, in which the word bhukti occurs under identically the same circumstances, bu I have not but seen them. For Personal & Private Use Only

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9 zuddhAzuddhi-patra pRSThAMka lAina azuddha 6 kra. saM. 5 ....... kra. saM. 10 (3) kra. saM. 16 pahalI lAina kra. saM. 18 pahalI lAina 3 (6) antima lAina (8) dUsarI lAina prathama pairA antima lAina . . zrA, dUsare pairA kI dUsarI lAina chaThI lAina pariziSTa-. nIce se AThavIM lAina AdinAda nIce se sAtavIM lAina . pahacAneM / 2w hotI : : * hotA pariziSTa 5 AdinAtha 'pahacAnI For Personal & Private Use Only

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lekhaka kA paricaya nAma ___ - satyendra mohana jaina pitA-mAtA - caudharI prakAza candra , jainamatI jaina nivAsI - sulatAnapura-cilakAnA, jilA-sahAranapura janma dinAMka - 24 mArca 1935 zikSA - bI.esa.sI.,bI.i.(sivala), ema.i. (hAIvez2a), phelo yunAiTeDa rAiTarsa esosiezana / sevA nivRtti - adhizAsI abhiyantA, lo.ni.vi., yU.pI. kAryarata rahe - projekTa mainejara, yU.pI. rAjakIya nirmANa nigama li. projekTa iMjiniyara, ena.DablyU.TI.epha.pI., AI. AI. TI., kAnapura lekhanI 1. 'jainadharma meM yoganI', apraila 1996, lekha 'rASTrIya saiminAra DAimensasa oNpha yAntrika/Agamika philaoNsaphI' meM / 2. pustaka 'digambara jaina' zrI pArzvanAtha janmabhUmi mandira, bhelUpura, vArANasI kA aitihAsika paricaya', vArANasI, disambara 1999 3. lekha-uparokta ke tAratamya meM-'pArzvanAtha kI janmasthalI ke itihAsa para kucha aura vicAra' / pustaka jisameM chapA-'bhAratIya saMskRti aura __sAhitya meM tIrthaMkara pArzvanAtha', bArANasI, 1999 4. lekha 'sAranAtha kI jaina paramparA evaM vastu sthiti', 'jJAna-pravAha' vArANasI ke semInAra meM par3hA, varSa 2000, va vahIM chapA / isa prakAra sAranAtha saMgrahAlaya meM 'jaina sekzana' banAne kI pRSTha-bhUmi banI / 5. lekha 'jainadharma meM maMtra-taMtra-yaMtra', vArANasI 2005, bAlAcArya yogendra sAgara ke sAnnidhya meM isa viSaya para huI saMgoSThI kA prArambhika bhASaNa / anya kArya kSetra 1. vAstuzAstra va maMdira-nirmANa kA vAstuzAstra / 2. purAtattva- pArzvanAtha vidyApITha' karauMdI, vArANasI ke purAtattva saMgrahAlaya meM eka sekzana apanI saMgraha se banAyA evaM vahA~ ke niyAmaka pada para suzobhita / 3. samAja sevA-sambhAgIya adhyakSa, digambara jaina mahAsamiti, vArANasI sambhAga / 4. ma~AvA, mirjApura ke jaina mandira ke punaH nirmANa meM aham bhUmikA / For Personal & Private Use Only