Old Bramhi Inscriptions In Udaygiri And Khandagiri

Author(s): Benimadhab Barua
Publisher: University of Calcutta
Catalog link: https://jainqq.org/explore/020516/1

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/ kobAtIrthamaMDana zrI mahAvIrasvAmine namaH / / / / anaMtalabdhinidhAna zrI gautamasvAmine namaH / / / / gaNadhara bhagavaMta zrI sudharmAsvAmine namaH / / / / yoganiSTha AcArya zrImad buddhisAgarasUrIzvarebhyo namaH / / / cAritracUDAmaNi AcArya zrImad kailAsasAgarasUrIzvarebhyo namaH / / AcArya zrI kailAsasAgarasUrijJAnamaMdira punitapreraNA va AzIrvAda rASTrasaMta zrutoddhAraka AcAryadeva zrImat padmasAgarasUrIzvarajI ma. sA. jaina mudrita graMtha skeniMga prakalpa graMthAMka :1 jaina ArAdhanA na kandra mahAvIra kobA. // amarta tu vidyA zrI mahAvIra jaina ArAdhanA kendra zahara zAkhA AcAryazrI kailAsasAgarasUri jJAnamaMdira kobA, gAMdhInagara-zrI mahAvIra jaina ArAdhanA kendra AcAryazrI kailAsasAgarasUri jJAnamaMdira kobA, gAMdhInagara-382007 (gujarAta) (079) 23276252, 23276204 pheksa : 23276249 Websiet : www.kobatirth.org Email : Kendra@kobatirth.org AcAryazrI kailAsasAgarasUri jJAnamaMdira zahara zAkhA AcAryazrI kailAsasAgarasUri jJAnamaMdira traNa baMgalA, Tolakanagara parivAra DAiniMga haoNla kI galI meM pAlaDI, ahamadAbAda - 380007 (079)26582355 - - - For Private And Personal Use Only

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OLD BRAHMI INSCRIPTIONS IN THE UDAYAGIRI AND KHANDAGIRE CAVES CALCUTTA UNIVERSITY PRESS 1999 For Private And Personal Use Only

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OLD BRAHMI INSCRIPTIONS For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra , 66 www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir abhidhAtRvazAt kiMvA dravyazaktirviziSyate / ato matsaramutsRjya mAdhyasthamavalambatAm // RSi-praNIte prautizcenmukkA caraka-suzrutau / bher3AyA: kiM na pavyante tasmAda grAhyaM subhASitam // 33 For Private And Personal Use Only

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L OLD BRAHMI INSCRIPTIONS IN THE UDAYAGIRI AND KHANDAGIRI CAVES THE ADVAN BY Edited with new readings and critical notes UNIVERSITY BENIMADHAB BARUA, M.A., D.LIT. (LOND.) PROFESSOR IN CHARGE OF THE DEPARTMENT OF PALI, HONORARY LECTURER IN THE DEPARTMENTS OF SANSKRIT AND ANCIENT INDIAN HISTORY AND CULTURE, CALCUTTA UNIVERSITY, FORMERLY A GOVERNMENT OF INDIA RESEARCH SCHOLAR IN PALI OF CALCUTTA RDVANCEMENT Acharya Shri Kailassagarsuri Gyanmandir OF LEARNING PUBLISHED BY THE UNIVERSITY OF CALCUTTA 1929 16942 K For Private And Personal Use Only

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93298 PRINTED AND PUBLISHED BY BHUPENDRALAL BANERJER AT THE CALCUTTA UNIVERSITY PRESS, SENATE HOUSE, CALCUTTA Reg. No. 372B-April, 1929--- For Private And Personal Use Only

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To All of those who paved the way for this work in token of respect and gratitude For Private And Personal Use Only

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Serving Jinshasan 093298 gyanmandir@kobatirth.org For Private And Personal Use Only

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nana sUcana isa grantha ke abhyAsa kA kArya pUrNa hote hI niyata samayAvadhi meM zIghra vApasa karane kI kRpA kareM. jisase anya vAcakagaNa isakA upayoga kara sakeM. PREFACE The preparation of a critical edition of fourteen old Brahmi inscriptions and one table of Brahmi alphabet in the Udayagiri and Khandagiri caves, such as has been attempted in the present volume, is an undertaking, which could not be faced without a feeling of diffidence. So far as I am concerned, it had never been in my contemplation to undertake this difficult work before the task of teaching the Hathi-Gumpha inscription of Kharavela was thrust upon me by the Boards of Higher Studies in Pali and Ancient Indian History and Culture in the session 1924-25, during the absence on leave of the colleague in charge of the subject. I proceeded, however, with the task, examining the facsimiles of this bafilling epigraph, reading and discussing its text and interpretation, week after week, in a class of pupils, all of whom readily cooperated with me, and yet the prospect of solving its riddles was far from being bright. After many fruitless attempts I took it up in all earnestness in 1927, devoting myself wholly to it during the Poojah holidays with the firm determination to come to a definite solution. It was only towards the middle of October that the faded lines of the document appeared to me in a somewhat clear light. I was aware that since Mr. Stirling published the first notice of this inscription in 1827 in a volume of the Asiatic Researches, James Prinsep, General Cunningham and Rajendra Lala Mitra grappled with it without even succeeding in ascertaining the name of King Kharavela, in whose name it stood. The study of it obtained, no doubt, a right direction and received a fresh impetus when Dr. Bhagawanlal Indraji (vii) For Private And Personal use only .

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viii PREFACE published his edition in 1907 in the Acts du Sixieme Congres International des Orientalistes. I knew quite well that Mr. K. P. Jayaswal stood foremost amongst those who had tried, in recent times, to carry on the work commenced by Indraji, and that he was the scholar and epigraphist to whom the Indologists would ever remain indebted for his untiring energy in leaving no stone unturned to make the contents of Kharavela's inscription known to the world and to emphasize their importance and value. In spite of the fact that he achieved much by way of orientation of the opening and concluding paragraphs of the Hathi-Gumpha text, I felt that his treatment of the subject left room for a good deal of revision and supplementation. Making it a point of duty to take best guidance from the publications of previous scholars and epigraphists, from Stirling, Kittoe and Prinsep to Jayaswal and Banerji, I essayed since 1925 with the aid of Locke's plaster-cast in the Calcutta Museum and with the aid of the eye-copies and estampages within my access to probe into secrets of the Hathi-Gumpha text. And realising that the study of this important text would be incomplete without that of other old Brahmi inscriptions in the Udayagiri and Khandagiri caves, I thought it would be worth while also to carefully examine their readings and renderings published by Prinsep, Cunningham and Indraji, and finally by Mr. R. D. Banerji in the Epigraphia Indica, Vol. XIII. Examining and re-examining these shorter inscriptions as they appeared on original stones, plaster-casts and facsimiles, I was able to detect certain palpable mistakes in previous publications standing badly in need of correction. This in itself, as I believed, was a sufficient justification for venturing a fresh undertaking. But it seemed to be no less a justification that Kharavela's inscription in the Hathi. Gumpha and the remaining old Brahmi inscriptions in the Udayagiri and Khandagiri caves, were not studied before in For Private And Personal Use Only

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PREFACE is their inter-connection, as well as in their connection, with the table of Brahmi alphabet in the first Tattva-Gumpha on the Khandagiri bill. It will be noticed that all the shorter inscriptions have been treated in the present work, together with the table of Brahmi alphabet, as appendices to the Hathi-Gumpha inscription, while the Hathi-Gumpha inscription itself has been treated as the main text serving as a complete Kharavela. Carita,-anyhow, a Prakrit panegyric (prasasti) of King Kharavela in ancient Indian epigraphy, composed by some unknown Harisena or Bana in an elegant prose diction clearly anticipating the prose style of the Pali Milinda-Panha. The scheme of treatment has been conceived in such a manner that it includes Kharavela's inscription as the first text, Kharavela's chief-queen's inscription as the second text, KadampaKudepa's inscription as the third, and so on and so forth till the series closes with the Tattva-Gumpha table. And yet I am afraid that the sense of incompleteness is apt to remain in view of the fact that some four or five caves which have sunk down showing just their covering roofs on the slopes of Udayagiri have not, as yet, thanks to the goodness of the Department of Archaology, been completely exposed to view, affording a chance to the visitors to satisfy themselves as to whether they bear inscriptions or not, and if they bear any inscriptions, what their contents and characters would be. Pressure of work and shortage of funds would be lame excuses, I venture to submit, in this case, for just a few strokes of the pick and shovel are what is required to accomplish the needful work. Even though some of the inscriptions in some of the buried caves do not find place in this volume, for the reasons stated above, it may be hoped that their contents and characters, when made known, will not have much to add to the information culled from those records which find place in it. True it is that I have found it expedient to be guided, For Private And Personal Use Only

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PREFACE nay, even misguided, by Mr. R. D. Banerji, to treat the table of Brahmi alphabet inscribed in scarlet colour, not to say written in red ink, on a dressed portion of the back wall of one of the chambers of the Tattva-Gumpha on the Khandagiri hill as of the same date as the Hathi-Gumpha and other old Brahmi inscriptions in the Udayagiri caves. On my visit to Udayagiri and Khandagiri, the caretaker appointed by the Archaeological Department informed me that the late lamented Mr. Panday doubted the contemporaneity of this table with Kharavela's inscription. Mr. Panday might be right, but he did not substantiate his opinion with any definite evidence. Till nothing was found to upset Mr. Banerji's assumption, I thought I should make the best use of it in including the fourteen old Brahmi inscriptions, as well as the TattvaGumpha table in a complete and coherent scheme of treatment. Whatever be the actual date of this curious table, it is certain that the general forms of the Brahmi letters which appear in it closely resemble those of the Brahmi characters in the Hathi-Gumpha and other old Brahmi inscriptions. Certainly the importance of this table lies in the fact that it clearly indicates the first step to the engraving of inscriptions with chisel and by means of whetting on pieces of stone or rocky surfaces. It goes at once to show that the engravers used first to make designs of the letters to be engraved in some sort of colour or ink. As the Hatthipala-Jataka (Fausboll, Vol. IV, p. 489) goes to prove, inscribing in letters of vermilion upon a wall (jatihingulakena bhittiya akkharani likhanam) was a common practice in India. It was not, moreover, unusual, as some of the Central Asian manuscripts attest, to annex a table of alphabet as a key to the reading of the manuscript. Whatever be the actual date of this "table, I find no difficulty in supposing its purpose to be that of serving as a key to the reading of the whole set of old Brahmi inscriptions in the Udayagiri and Khandagiri caves. I am sure that it will not make any differ. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra We www.kobatirth.org PREFACE xi ence to the scheme of treatment adopted in the present work, even if the Khandagiri caves, their old Brahmi inscriptions and table of old Brahmi alphabet prove to be posterior to the Udayagiri caves with their old Brahmi records. The present work comprises two books, the first of which consists of texts and translations of the inscriptions, and the second of notes or dissertations. It is evidently a departure from the usual practice of introducing the texts, translations and word-notes by an introduction dealing appropriately with the points of general importance. In reversing the usual order, my sincere desire is to enable the reader to form his own opinion before reading the author's opinion developed in the notes. It will, nevertheless, be seen that with the text and translation of each of the inscriptions has been attached a short preface or introduction dealing with matters of textual importance and containing a full bibliography. The reader's attention must also be drawn to the fact that as regards the Hathi-Gumpha inscription, I have preferred the paragraphic arrangement of its text to the usual and mechanical "line arrangement. But the "line" arrangement, too, has not been ignored; it has simply been subordinated to the paragraphic arrangement. I confess that in building up the dissertations I have had to take the old Brahmi inscriptions at their face value. If King Kharavela had really recorded falsehood in his inscription, there is no means of checking it. But to raise the slightest suspicion as to the veracity of the Hathi-Gumpha inscription is, to my mind, to be over-indulgent to unnecessary scepticism. Acharya Shri Kailassagarsuri Gyanmandir Taking the records as they are, or as they can be made out, I have been concerned to discuss, in a threadbare manner, their historical bearings and importance, showing all possible sides and keeping an eye to consistency of the data yielded by them. What I mean by consistency of the data may be best understood in the light of an example. If, as recently For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org - Acharya Shri Kailassagarsuri Gyanmandir xii PREFACE done by Mr. Jayaswal, Namdaraja in the expression Namdarajativasasata-oghatita-panadi be taken to signify the Nanda-era, one has got to show that the same Namdaraja in another expression, viz., Namdaraja-nita-Kalimga-Jinasana, can be taken to convey the same meaning. If it can be shown, I say there is consistency; if not, I say there is no consistency. As regards the disputed points admitting of two alternative readings or renderings, there are one or two instances (e. g., Goradhagirim ghatapayita), where I have indicated my predilection differently in the two books. I humbly request the reader, therefore, not to take anything to be my final opinion without considering the position taken up by me in the book of notes. While I leave the whole of this work to be judged for what it is worth, I may confidently hope that if the readings proposed by me stand the test of time, they will serve to lay many old ghosts for ever, and to convince the reader once for all (1) that there is no statement in the Hathi-Gumpha inscription as to the population of Kalinga ; (2) that there is no allusion to Rsi Khibira ; (3) that it contains no statement as to the Greek king Dimita-Demetrios retreating with his troops and transports to abandon Mathura ; (4) that there is no mention of Avaraja ; (5) that there is no statement as to Pithuda being ploughed with an ass-plough ; (6) that there is no statement as to the existence of a league of the Tamil powers ; (7) that there is no mention of the Maurya-era ; (8) that there is no allusion to the Nanda-era ; (9) that there is no reference as to the corpus of the Jain canon with its various divisions ; and lastly (10) that there is no such epithet of Kharavela as Bhikhuraja. On the other hand, I shall not be surprised if in the illegible portion of the twelfth year's record (I. 13), the name of Satakani recurs as one of the kings subdued by Kharavela in a second campaign undertaken by him. For Private And Personal Use Only

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PREFACE xiii Mr. R. D. Banerji says (JBORS, Vol. III, Part IV, p. 487) that he prepared, in 1917, two inked impressions of the Hathi-Gumpha inscription. One of these two must be the impression reproduced in JBORS, Vol. III, Part IV, p. 472, Plate I. Mr. Jayaswal has, on the other hand, published a plate (JBORS, 1927, Vol. XIII, Parts III-IV) reproducing photographs of select portions of two impressions, which are said to have been prepared by Mr. Madhosarup Vats. And I had the privilege of separately examining the two impressions, one of which resembled the impression reproduced in JBORS, 1917, and the other resembled the extracts from one of the impressions claimed to be of Mr. Vats and reproduced in JBORS, 1927. Although I failed to unravel the mystery which shroud these impressions, I was very happy to find that one of the impressions examined by me clearly showed my reading of ceca-yathi-adhasatikam instead of ca coyathi agasatikam (I. 15), to be quite correct. As for the reading (sila)-thambhani ca cetiyani ca karapayati (I. 14), I have largely relied upon a small plate published by Mr. Jayaswal in JBORS, 1918. As for the rest of the new readings and interpretations, grounds have been stated in proper places. A p'ate prepared by patching up select portions of two impressions, such as one published by Mr. Jayaswal in JBORS, Dec., 1927, is bound to be misleading. The sounder procedure in a matter like this is to compare the results obtained from the study of both after carefully studying each of them separately. So far as published estampages go, one has still to place greater reliance upon one published previously by Mr. Jayaswal in JBORS, Vol. III. I could not but congratulate myself to be able, when the printing of the book of notes was far in progress, to check the errors into which I was at first led by the symmetry of the reading of the text of the inscription of Kbaravela's chiefqueen Hathisahasa papotasa dhutuna offered by Indraji and For Private And Personal Use Only

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xiv PREFACE Banerji. There can be little doubt, as the original stone clearly proves, that the correct reading is no other than Hathisa(i) ha-sampain)atasa dhutuna. I cannot, however, claim that finality has been reached or can be reached. If the following pages serve to guide the study of the Hathi-Gumpha and other old Brahmi inscriptions along the right path, I shall have sufficient reasons to rejoice. But I deeply regret an omission on p. 46, namely, the rendering of Arahato nisidiya samipe pabhare (I. 15), "on a slope in the vicinity of the Arhata (cave)-dwellings." The "Additions and Corrections" will indicate where this is to be inserted. My grateful thanks are due to Prof. S. Radhakrishnan, President of the Council of Post-Graduate Teaching in Arts, in urging me to prepare a critical edition of the old Brahmi inscriptions, making it useful to the students and discussing the readings and interpretations of all previous scholars and epigraphists. Mr. Narain Chandra Kundu, Conseil Agree, Chandernagore, has rendered me a distinct service by translating for me required passages from M. Sylvain Levi's article in JA. Among my colleagues in the University, Mr. Sailendranath Mitra, Dr. N. P. Chakrabarty, Dr. P. C. Bagchi, Dr. S. K. Chatterji and Dr. H. C. Raychaudhuri have helped me with their valuable suggestions but for which my treatment of the subject would have been, in some places, far different from what it now is. I am indebted also to the Hon'ble Mr. Ramaprasad Mookerjee, Mr. (now Prof.) R. D. Banerji, Dr. Radhakumud Mookerjee, Prof. S. K. Ayengar, Dr. G. N. Banerji, Mr. Cbaru Chandra Roy, and Rai Bahadur Ramaprasad Chanda for the keen interest taken by each of them in this work. I am deeply indebted to Dr. Stella Kramrisch for her note on the reliefs in the Udayagiri and Khandagiri caves without which the treatment of the question of chronology of the old Brahmi inscriptions, their authors and receptacles would For Private And Personal Use Only

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PREFACE XV have remained incomplete. Among the younger scholars, Mr. Prabodh Chandra Sen, M.A., Mr. Raman Chandra Bhattacharyya, M.A., Mr. Nihar Ranjan Ray, M.A., Mr. Devaprasad Ghosh, M.A., P.R.S., Mr. Sitis Chandra Basu, M.A., and Mr. Mrinal Kumar Ghosh, B.A., have assisted me in various ways, and but for their youthful zeal it is doubtful if I could have made a sustained effort. But I am in no way less indebted to Mr. J. C. Chakravorti, the Assistant Registrar, Mr. A. C. Ghatak, the Press Superintendent, and the Press Staff for their readiness to oblige me while this life-killing work was being seen through the press. CALCUTTA UNIVERSITY, The 16th December, 1928. B. M. BARUA For Private And Personal Use Only

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ALTERNATIVE READINGS AND RENDERINGS [The asterisk mark indicates preference.] I. 1-Airena" or Verena. I. 1--caturamta-(rakhana)* or caturamta-(luthana), I. 3--Asaka or Asika. I. 4-dampa or dapa. I. 5--(a)hatapuva* or Arakatapura. I. 9--"having stormed Gorathagiri (the hill-fortress)''** or "having killed Gorathagiri (the man)'' as a rendering of "Goradhagirim ghatapayita." I. 12-anupa or junasa. T(i)mira or Tamira. I. 14--kaya-nisidiyam (rajupa)jivakehit or kaya-nisi liyaya (raja)- bhatakehi. raja-putehi or raja-sutehi. III.-Airasa* or Verasa. III.--Kadampa* or Kudepa. IV.--Vadukha* or Varikha, X.--"The cave (which is an excavation) of the High Func tionary Nakiya of Bariya" or " The cave (which is an excavation) of Mahamada, Bariya and Nakiya." xvii For Private And Personal Use Only

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ADDITIONS AND CORRECTIONS P. 10, Para. 2-Set in the marginal space the Svastika symbol, the symbol, No. 2, reproduced on p. 141. P. 29, Para. 16-Set at the end the Tree-symbol, the symbol, No. 4, reproduced on p. 141. P. 32, L. 8, Para. 9--Read" greari" for "fariani." P. 33, L. 3, Para. 15--Read "asfee" for " asfiy." P. 46, L. 7, Para. 15-Insert after "stone-pillars to be made" -"on a slope in the vicinity of the Arhata (Jain) cave-dwellings" as a rendering of Arahata-nisidiya samipe pabhare. P. 47, L. 5--Read " invincible" for " undaunted." P. 47, L. 6--Read " troops and transports " for "carriers of the realm of royal command" omitting f. n. 4. P. 81, L. 3--Read" kothao" for " Kothadeg." P. 93, L. 3-Set the Tree-symbol, the symbol No. 1, reproduced on p. 144, to the left of Kammasa. P. 99, L. 3--Enclose the text between the symbols, Nos. 2 and 3, reproduced on p. 144. P. 155, Foot-note 1-Read "Malayehi" for " malayehi." P. 161, L. 10, P. 171, L. 32-Read " pasadanam" for "pasadayam". P. 161, L. 11, P. 171, L. 33-Read "Hathisa(i)ha-sampanatasa dhutuna" for "Hathisahasa papotasa dhituna."' P. 211, L. 3, L. 5-Omit"wrongly" and reference to p. 300. P. 211, L. 6-Read " from another passage in the same Nikaya (III, pp. 299-300)" instead of " from the Pali pass age." P. 211, L. 14-Add before the sentence--"It Berar and Konkan were the principalities etc." :-" It cannot certainly be maintained that Prof. Bhandarkar has succeeded in establishing yet a decisive interpretation on the evidence of the first passage relied xix For Private And Personal Use Only

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ADDITIONS AND CORRECTIONS upon by him (A. III, pp. 76, 78). He has sought to establish that the two words, ratthika and pettanika, represent one item of enumeration in the statement, yadi va ratthikassa pettanikassa, in the same way as the three words, raja, khattiya and muddhabhisitta, do in the immediately preceding statement, yadi va ranno khattiyassa muddhabhisittassa. The falsity of analogy between the two sets of words is clear from the second passage (A. III, pp. 299-300) in which the distinction between the two has been brought out by embodying the series of the three words, raja, khattiyo, and muddhabhisitto, in one paragraph, and the series of natthiko, pettaniko, senapatiko, gamagamiko and puga-gamanika in another. It is impossible to draw any other inference from the enumeration in the second paragraph than that ratthika, pettanika and the rest are intended each to form a separate item. And Buddhaghosa, too, has precisely treated each of them as a separate item. The argument by analogy is weak because the association of two or more names or designations in a stock enumeration in Pali and Asokan texts (e.g., in R. E. V and R. E. XIII) is generally meant to balance up the expressions and, no less, to indicate the contiguity or similarity of places, persons or functions, denoted by them." P. 219, L. 33--Read " Natya" for "Natya." P. 225, F. n. 3--Read "pabhata" for " pabbata." P, 267, L. 22--Read "duradayao" for " duradasyao." P. 292, L. 35~Read "samuthapitahi" for " samthao." P. 293, L. 38, L. 40-Read " suite" for " suit."' P. 295, L. 31-Omit (Chota-Hathi-Gumpha). P. 29.), L. 9-10--Read" Pavana-Gumpha" for "Chota-Halhi Gumpha." For Private And Personal Use Only

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ADDITIONS AND CORRECTIONS I. 12--Read janasada-bhavanam for anupa-dabha-vanam, and translate it by " the de mon's habitat," interpreting janasada as the same word us the Pali purisa sadd or porisada which literally means" a man-eater." P. 210-Add : " Vijadharadhidasa is evidently an expression similar to Vijjahara-nagara. vasa (Jaina Jambudvipa-Prajnapti, Ch. I), which means the Vidyadhara capital (rajadhani).' The Jambudvipa-Prajiapti alludes to 50 Vidyadhara cities in the south, situate on two sides of the Vaitadbya range, extended length wise, dividing South India from the Northern, and to 60 cities in the porth, situate along the spurs of the Himalayan mountain. The cities are described as rich, secure, prosperous and deligntful, where the inbabitants of the towns and districts lived bappily. Their inhabitants who were human classes of Vidyadharas represented diverse physical types." P. 267--Omit the opinion attributed to Prof. Chatterji and insert : " Prof. S. K. Chatterji inclines to think that Kharavela is just an Aryanised spelling of a name of Dravidian origin, and that it may be taken to mean 'be of the black lance,' deriving it from the Dravidian karu, meaning 'black' and vel, meaning *a lance,' which both occur in Tamil, and that the Kalinga people inspite of the early inscriptions in the Aryan languages seem to have been non Aryan speakers down to a late period." P. 312-Read L. 27, if for a; L. 23, is for in and in rows for rows. P. 314-Read L. 8, limbs for imbs; L. 23, female for Saivite. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir CONTENTS xvii PAGES Preface vii-xvi Alternative readings and renderings Additions and Corrections ... xviii-xx Book I-Texts and Translations 1-134 No. 1-Inscription of Kharavela 1-48 No. II-Inscription of Kharavela's chief queen ... 49-58 No. III-Inscription of Kadampa-Kudepa 59-64 No. IV-Inscription of Vadukha-Varikha 65-70 No, V--Inscription of Vadukha-Varikha (?) 71-76 No. VI-Inscription of Culakamma... 77-82 No. VII-Inscription of Culakamma 83-88 No. VIII-Inscription of Kamma and Khina 89-94 No. IX-Inscription of Bhuti 95-100 No. X--Inscription of Nakiya(?)... 101-106 No. XI-Ananta-Gumpha inscription 107-112 No. XII---Ananta-Gumpha inscription 113-118 No. XIII_Tattva-Gumpha I inscription 119-124 No. XIV-Inscription of Kusuma ... 125-130 No. XV-Table of Brahmi alphabet 131-134 Book II-Notes 135-136 1. The Inscriptions and their Authors 137 2. The relative total of the Caves and Inscriptions 137-140 3. The Symbols ... 141-144 4. The Letter-forms ... 145-153 5. Jayaswal's Five Corrected Readings 154-156 6. The Language ... 157-169 7. The Style 170-174 xxi For Private And Personal Use Only

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xxii CONTENTS PAGES ! 8. The Contents 9. The Relative Chronological Position 10. The slokas concerning King Aira of Utkala ... 11. The Geographical Allusions 12. Kharavela's Personal History ... 13. Some Points concerning Personal History 14. Kharavela's Place in History ... 15. The City of Kalinga 16. The Caves, Shrines and Pillars ... 17. Marshall on Chronology of the Caves 18. Stella Kramrisch on Reliefs in the Caves 119. Relative Chronology of the Caves List of Inscriptional Words Index to Notes 175-180 181-182 183-187 188-231 231-265 266-267 268-287 287-291 292-303 303-307 307-314 314-316 317-321 322-324 For Private And Personal Use Only

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TEXTS AND TRANSLATIONS

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No. I INSCRIPTION OF KHARAVELA IN THE HATHIGUMPHA For Private And Personal Use Only

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ARVAN WA For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA The following inscription, noticed for the first time by Mr. Stirling, is engraved "on the overhanging brow of " the Hathi-Gumpha, better the Bada-Hathi-Gumpha, which is "a natural cavern, very little improved and enlarged by art," and, therefore, "not important from an artistic and architectural point of view." " From the remains which can still be traced in its floor," Dr. Bhagawanlal Indraji is led to think that "the cave had at one time been destroyed, whether by violence or neglect, and had afterwards been repaired and added to.". "The inscription is carved," says Dr. Indraji, "on the rock which is not perpendicular but bends in. The inscription itself is in seventeen lines occupying a space about eighty-four feet square. The face of the rock does not appear to have been well smooth for the work, but the letters are large and deeply carved. Time and weather have wrought ravages. The first six lines are well preserved. The last four, partly so. The greater part of the intervening space has been much spoilt, portions of it being entirely weather-beaten, while in other portions single letters or groaps of letters can still be made out. The left corner of the inscription, in especial, has been greatly injured, and the initial letters of eight lines in that direction are entirely lost." Mr. K. P. Jayaswal, who has made the reading, restoration and interpretation of the contents of this important epigraphic record his life's work, writing in 1917, says: " The rock was roughly dressed on the righthand side. The chisel marks of the dressing are misleading; they tend to produce misreadings. These long and irregular marks left by the original dressing, are not the only pitfalls. Rain-water which trickles down the roof of the cave has cut into the letters and produced & few letter-like marks, Natural decay produced by time has given misleading turns to numerous letters......even hornets like to take liberty with the record of the Emperor Kharavela with perfect impunity and have added a few irregular marks on it....... The inscription is weather-beaten. The first four lines are completely readable. The fifth live has about 13 syllables obliterated by natural decay. Half of the record of the 6th year (L 6) and the entire record of the 7th year (L 7) have disappeared. From the Sth up. to the 15th lines, every line has got large gaps wrought by decay. The 16th and 17th lines are comparatively well-preserved except for the For Private And Personal Use Only

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OLD BRAHMI INSCRIPTIONS loss of about 12 initial syllables. There aro visible signs of a progressive decay." The text is based upon the facsimile taken by Col. Mackenzie, and published by A. Stirling in 1825 without a transcript in Asiatic Researches, Vol. XV, in connection with his most valuable paper containing " An Account, Geographical, Statistical and Historical of Orissa Proper-of Cuttack"; Major Kittoe's facsimile read and reproduced by James Prinsep, in 1837, in JASB, old series, Vol. VI, Pl. LVIII, in bis Note on Inscriptions at Udayagiri and Khandagiri in Cuttack in the Lat (Asokan) Character ; Rajendra Lala Mitra's copy of Prinsep's transcript published, in 1880, with a few minor changes in his monumental work, the Antiquities of Orissa, Vol. II, pp. 16 foll. ; Alexander Cunningham's hand-copy prepared partly from Kittoe's facsimile and partly from a photograph of Locke's plaster cast in the Indian Museum, Calcutta, and reproduced, in 1877, in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVIII; Bhagwanlal Indraji's eye-copy and editio princeps, publisbed, in 1885, in Actes du Sixieme International Congres des Orientalistes, Part 111, Sec. II, pp. 152-177, in his bighly suggestive paper The Hathigumpha and Three other Inscriptions in the Udayagiri Caves near Cuttack ; certain corrections proposed by Buhler, in 1895, in his Indian Studies, No. III, pp. 13 foll. and, in 1898, in his monograph - Origin of the Brahmi Alphabet, pp. 13 foll. ; Luders' List of Brahmi Inscriptions, published, in 1910, in EI, Vol. X, Appendix, No. 1345, containing a summary of the contents of the inscription ; certain corrections proposed by J. F. Fleet, as to the 16th lide, in his two short notes published in JRAS, 1910, pp. 242 foll. and 824; R. D. Banerji's inked impression prepared in 1917, and reproduced in JBORS, 1917, Vol. III, Part IV, Pls. I, II and IV; a small plate published by K, P. Jayaswal in JBORS, 1918, Vol. IV, Part IV, p. 364, representing the portion of L 12 and the end of L 15; R. D. Banerji's Note on the Hathi-Gumpha Inscription of Kharavela in JBORS, 1917, Vol. III, Part IV, pp. 486-505; K. P. Jayaswal's masterly edition of the Hathi-Gumpha Inscription, published with a translation and critical notes in JBORS, 1917, Vol. III, Part IV, pp. 425-485; K. P, Jayaswal's revised readings in JBORS, 1918, Vol. IV, Part IV, pp. 364-403; K. P. Jayaswal's corrections in J.BORS, 1927, Vol. XIII, Parts III-IV, pp. 221. 246; certain readings offered by Ramaprasad Chanda, in 1919, in No. 1 of Memoirs of the Archaeological Surrey of India, in his learned paperDates of the rotire Inscriptions on the Stupas at Sanchi; certain readings suggested by R. C. Mazumdar in 1A, 1919, p. 190; certain corrections For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA proposed by Sylvain Levi as to the reading of L 11 in JA, 1925, pp. 57-62; certain corrections proposed by Sten Konow as to the reading and interpretation of the inscription in Acta Orientalia, Vol. I, 1923, in his paper-Some Problems raised by the Kharavela Inscription ; Locke's cast preserved, in a broken condition, in the Indian Museum, Calcutta; the plaster cast prepared by H. Panday for the Patna Museum ; and, above all, the plate published by K. P. Jayaswal in JBORS, 1927, Vol. XIII, Parts III-IV, reproducing photographs of judicio usly selected portions of two impressions prepared by Madhosarup Vats. For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA TEXT 1. Namo ar (i) hamtanam 1 [:] Namo sava-sidhanam [:]* Airena2 maharajena mahameghavahanena 2(a) Ceta 3-raja 17 vamsa-vadhanena 9 pasatha-subha- lakhanena caturamta-(rakhana) - guna-upetena Kalimgadhipatina siri-Kharavelena 10 [11] pamdarasavasani siri-kadara 11 -sariravata kidita kumarakidika 12 [ ] Tato lekha-rupa 13-ganana-vavahara- 14.vidhisava-vijavadatena nava-vasani 16 20 21 vadhamana 23 visaradena yovarajam va sasitam 18.] Sampuna-catuvisati -vaso (so) dan (i) 22 sesayovanabhivijayo 24 tatiye [12] Kalimgarajavamse 26 purisa-yuge maharajabhisecanam 27 papunati 28 [.] + 25 15 Acharya Shri Kailassagarsuri Gyanmandir Namo arihamtanam ||Namo sidhanam|| Namo ayariyanam||Namo uvajhayanam|| Namo loe savva-sahunam|| *Cf. the Jaina formula of namokkara or nokara, the Jaina form of invocation, met with on the first page of a Jaina book and quoted by Rajendra Lala Mitra and Bhagawan Lal Indraji :-- 8 Cf. Makhadeva-Jataka (Fausboll, No. 9): Atite Videha-ratthe Mithilayam Makhadevo nama raja ahosi dhammiko dhammaraja. So caturasiti-vassa-sahassani kumara-kilam tatha oparajjam tatha maharajjam katva. Cf. Vikrama-Prabandha, verses quoted in the Pattavalis of the Digambaras, edited and translated by Hoernle in IA, Vol. XXI, p. 67 :-- For Private And Personal Use Only Satlari cadusadajutto tina kale Vikkamohavai jammo | Atha-varasa vala-lila sodasa-vase hi bhammie dese|} Rasapana-vasa rajjam kunanti micchavadesa samjutto |

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OLD BRA MI INSCRIPTIONS 1. Prinsep and others read arahamtanam. In Banerji's impression there. appears a vowel-mark, the a-mark, which may be taken to stand for an i-sign, yielding the reading arihamtanam which, in ardha-Magadhi or Jaina Prakrit, is just & variant of arahamtanam. 2. Prinsep, Mitra and Indraji read Verena, Indraji wrongly suggests that Airena is not to be found in Pali or Prakrit. See Liders' List of Brahmi Inscriptions, No. 1276- Aira Utavipabhahi : No. 1280-Cula Ayira, Ayira Bhuta-rakhita, Ayira-Budharakhita. See Fausboll's JAtaka, Vol. VI, p. 300 : Ayiro hi dasassa janinda issaro. See, also, the Old Oriya Text quoted by Jayaswal, where one finds such expressions as " Ahiro namo raja," " Airo jitavan bhavet," " Airah Utkalesvarah." Banerji reads Kharena, which is out of the question. The first letter is far from being kha. Cunningham, Luders, Jayaswal and Sten Konow correctly read Airena. 2(a). Jayaswal finally reads mahamegha. 3. Prinsep, Mitra, Cunningham, Luders, Banerji and Jayaswal read Ceta. Rama. prasad Chanda justifies this reading by the evidence of the Vessantara-Jataka (Fausboll, Vol. VI, pp. 514-528), in which the kings of the Ceta royal family are said to have reigned in Kalinga. Sten Konow reads Ceti, which he thinks is absolutely certain. He says that both Mr. Jayaswal and Dr. Thomas, who have examined the stone, agree to accept it. He maintains that the reading Ceti (=Cedi) is quite in keeping with the adjective rajisi-vamsa-kula-vinisito in L 17 whereby Kharavela claimed to have descended' from an ancient family of royal sages. Locke's cast shows, indeed, a deep cutting on the top of the letter ta, which one may take to be an i-mark. But on a closer examina. tion it appears that this cutting is either due to the flowing of water or may be simply & slit in the rock. Jayaswal finally reads Ceti. I have always been tempted to suggest such a reading as [Ka]limga-raja-vamsa-vadhanena on these three grounds : (1) That there is the faintest trace of a letter after mahameghavahanena, which is no other than ka; (2) that the letter read as ce looks also like a damaged li; and (3) that the letter read as ta or ti is, strictly speaking ga, the upper vertical line standing on the left arm of the angle rather than on its apex, as it should be, had the letter been ta. The appearance of an apper vertical line with an i-mark may just be due to some mysterious erosion around the anusvara-mark. See Plate in JBORS, 1927, Vol. XIII, Parts III-IV. 4. Prinsep, Mitra and Cunningham wrongly read ka for ra. 5. Prinsep and Cunningham read chadhanena. Nothing is more likely than the mistaking of the Brahmi letter va for ca or cha. 6. Prinsep and Cunningham read suke, which is meaningless. 7. Prinsep reads caturamtala-thana; Ounningham, caturamkala-thana, Jayaswal, caturamtala-thuna, correcting his former reading caturamtala-thuna. I maintain that there is no such word as caturamtala, the usual literary expression being caturanta or caturanto, cf. the classical Pali expression caturanto-vijitavi. The fifth letter is clearly ra or lu. The supposed u-mark appearing below tha is nothing but a lower exten. sion of the letter kha or erosion on the inscribed surface of the rock, having no organic connection with the main letter. So I propose to read rakhana or luthana. Jayaswal finally reads caturamtaluthita. 8. Prinsep fancifully reads ganenakha te va. Jeyaswal reads gunopahitona, correcting his former reading gunopagatena, which accorded with the reading proposed by Cunning. ham and Indraji. I accept Chanda's guna-upetena, which serves as an instance, where the two words of a compound are juxtaposed without being combiped according For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA to the rule of the Sandhi, Jayaswal finally abandons the reading -opahitena in favour of -opapitena. 9. Prinsep reads Kalamgadhapatira, and Cunningham Kalimgadhipati ca, both of which are incorrect. 10. Prinsep reads sikhiravalonam, and Cunningham, sikara-varabelena. 11. Indraji reads kumara, which is evidently an oversight. Jayaswal in his revised reading, accepts Prinsep's kadara, in preference to his former reading kadara. 12. Indraji reads kidaka. Cunningham omits da through mistake. 13. Jayagwal's former reading was rupa. 14. Prinsep reads vavapara and Cunningham, varepara. Jayaswal adopts vavakara, giving up his former reading vevahara. Locke's cast has ve, and I see no harm in reading vevahara. 15. Canningham reads tijavadatenn-i, which is fantastic. 16. Prinsep reads vasana, and Cunningham, vasati, both of which are incorrect. 17. Prinsep reads hovaraja ; Cunningham, yovaraja; Indraji, hovarajam; Jayaswal, correctly yovarajam. 18. Prinsep reads pamsasiya(sa), separating sa from Sampuna following: Canning. ham, pamsasiyam. Indraji and Jayaswal read pasasitam. But the first letter which is somewhat fissured seems to be va rather than pa. 19. Prinsep reads puna, separating it from sam preceding. Cunningham is the first to read sampuna. 20. Prinsep reads cava-visati, also visati ; Cunningham, catuvimsati. Jayaswa! reads catuvisati, correcting his former reading catubisati. 21. Prinsep reads vase; Cunningham, vase(su). Indraji correctly vaso. 22-23. Prinsep reads danavadhamena, which is accepted by Cunningham and Indraji. Jayaswal reads tadani-vadhamana, correcting his former reading ti aana cu dhamena. I am also inclined to read samana for tadani. 24. Indraji reads vijaya. Jayaswal in his revised reading, accepts Prinsep's yovenabhivijayo, suggesting that the e-mark in ve is the result of an abrasion. Jayaswal finally reads sesayo Venabhivijayo, taking Venabhivijayo to mean "a conqueror like Vena, a Vedic personality." 25. Indraji reads vatiye. Others read tative. 26. Indraji reads vamsa ; Jayagwal, vamsa, correcting vamse. 27. Jayaswal finally reads maha. 28. Cunningham reads papenati. Others read papunati. For Private And Personal Use Only

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10 OLD BRAHMI INSCRIPTIONS "2. Abhisitamato? cao padhame 8 vase vata-vihata-gopura *pakara-nivesanam patisamkharayati Kalimga-nagari [ , ] gabhira 6-sitala-tadaga 8-paliyodeg ca bamdhapayati o [] savdyana" patisamth[@]panam ca [13] karayati panatisahi 13 sata-sahasehi [ 1 ] 14 pakatiyo 15 ca 18 ramjayati" [.] 1. Prinsep alone reads 'mate. Others read omato. 2 Prinsep reads va ; Cunningham, cam ; Indraji, correctly ca, though oa is more idiomatio. 3. Prinsep, Cunningham and Indraji read padhama. Jayaswal correctly reads padhame, 4. Prinsep and Cunningham read to pura, which is incorrect, 5. Indraji reads na garim ; Jayaswal, nagari, correcting his former reading nagaram. Both Prinsep and Cunningham read nagari. 6. Prinsep reads Khidira ; Cunningham, khimbira ; Indraji, khibira, suggesting that the roading should be khidhiram ; Jayaswal, 'Khi-biram correcting his former reading khibira. Jayaswal finally reads Khibira, taking it to be the name of a sage. Locke's cast helps us to account for the appearance of ga as khi. It shows that rain-water trickling down from or along the u-mark in pu of sampuna in L 2, has cut into the right arm of ga, lengthening it and making the whole letter look like khi. The second letter appears, at first sight, as bi. 7. Prinsep and Indraji read sitala. Cunningham reads isitala; Jayaswal, isitala, correcting his former reading sitala. 8. Cunningham alone reads tadiya. . Others read tadaga. 9. Prinsep alone reads pariya. Others read padiyo. Jayaswal's former reading was padiyo. 10. Prinsep reads bathupayasi or bathapa yasi ; Cunningham, thapapayati ; Indraji, badhapayati ; Jayaswal, correctly bamdhapayati. 11. Prinsep reads sapa yani ; Cunningham, savo yanam ; Indraji, savuyana ; Jayaswal correctly, sadayana. 12. Prinsep and Canningham read patisanthapanam; Indraji and Jayagwal, patisam. thapanam. Jayaswal finally reads patio. 13, Prinsep fancifully reads panatisirasihi; Cunningham pamnitasidhi. Indraji is the first to correctly read panatisahi. 14. There is a large space between sahasehi and pakatiyo. 15. Prinsep reads pakatiyo. Cunningham and Indraji read pakatiye. Jayaswal reads pakatiyo, correcting his former reading pakatiyo. Jayaswal finally reads Pakatiya. 16. Both Prinsep and Cunningham omit ca. 17. Cunningham reads ijayata ; Indraji, rajayati. Prinsep and Jayaswal correctly road ramjayati. For Private And Personal Use Only

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11 INSCRIPTION OF KHARAVELA 3. Dutiye 1 ca ? vase : acitayita * Satakanimo pachima - disaip haya?-gajae-nara-radha-bahulamodamdam 10 pathapayati11 [, ] Ka(limga)gataya? ca 18 senaya 14 vitas[e]ti 15 Asaka 16-nagaram "[.] 1. Prinsep and Canningham read datiye. Indraji reads ditiye ; Jayaswal, dutiye, correcting his former reading ditiye. 2. Jayaswal accepts the reading ca of Prinsep, Cunningham and Indraji, in preference to his former reading cu. 3. Prinsep and Cunningham read vase ; others vase. 4. Cunningham reads acitayata ; Indraji, abhitayita. Prinsep is the first to correctly read acitayita. 5. Prinsep reads Satekari or Sotekari ; Cunningham, Sotakani ; Indraji, satakani ; Jayaswal, satakanim, correcting his former reading satakamnim. 6. Prinsep reads pachima. Others read pachima. 7. Prinsep reads haya or haye ; Cunningham, iha ; Jayaswal, haya. 8. Cunningham alone reads yejam ; others read gaja. 9. Prinsep and Cunningham read babhula : Indrajj and Jayaswal, bahulam. 10. Prinsep reads darim or damdi ; Cunningham, nam te; Indraji, correctly damdam. 11. Prinsep reads pathapayati; Cunningham pathapanati ; Indraji, pathapayati; Jayaswal, pathapayati, correcting his former reading pathapayati. 12. Prinsep reads Kamsabandgataya ; Cunningham, sabanagataya ; Indraji, Kusamba. nam khatiyam ; Jayaswal, Kanhabenam gataya, correcting his former reading Kasapa. nan khatiyam. Jayaswal finally reads Kanhabemni. I maintain that the reading cannot but be Kalingagataya. There are three holes between ka and la, and one or two holes between la and ga, which are, after all, responsible for the appearance of a letter like fiha, and for the appearance of ga as be. I concede Kam(sava) ndgataya as an alternative reading. 13-14. Prinsep reads Qasanaya; Cunningham, disenoya ; Indraji, ca sahaya ; Jayaswal, ca senaya, correcting his former reading ca sahaye. 15. Prinsep reads vatanam ;l Cunningham, vatanamta ; Indraji, (sahayav)ata patam ; Jayaswal, vitapati, correcting his earlier reading ditopati. Jayaswal finally reads vitasitam. 16. Prinsep and Cunningham read Saka, ignoring the first letter. Indraji reads Masika. Jayaswal finally reads M(u)sika. That the first letter is a, an not ma or mu, is certain. I am unable to decide whether the name of the place is Asaka or it is Asika. Water has trickled down in a continuous stream from or along the left arm of ti of bamdhapayati in L 3 reaching as far as the top of sa of Asaka or Asika. 17. Prinsep and Cunningham read nagara; Indraji and Jayaswal correctly, nagaram. For Private And Personal Use Only

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OLD BRAHMI INSCRIPTIONS 4. Tatiye' puna vase [14] Gamdhava -veda-budho dampa -nata *-gita 6-vadita-sandasanahi usava-samaja-karapanahi ca kilapayati o nagarim'[] 1. Prinsep reads pusino ; Canningbam, navaye ; Indraji, tatiye ca ; Jayaswal correctly, tatiye. 2, Prinsep, Cunningham and Indraji read Gamdhapa. Jayaswal reads at last Gum. dhava, correcting his former reading Gandhava. 3. Prinsep and others read dampa. 4. All read nata. 5. Prinsep and Cunningham read gita ; Indraji and Jayaswal correctly, gita.. 6. Prinsep reads kidapayati ; Cunningham, kadapayamti; Indraji is the first to correctly read kidapayati. 7. Prinsep reads nagari ; Cunningham, nagari ; Indraji nagaram ; Jayaswal correctly, nagarim. For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA 13 5. Tatha cavuthe ' vase : Vijadharadhivasan* A(raka) ta 5puram Kalimga ?-puva-rajana(m) (dha)m[e]na o va nitina va pasasa(yati) o savata dhamakute(na) "[, ]bh(i)ta-tasite " ca nikhita 12-chata-(15)-bhimgare 18 hita 14-ratana 15-sapateye 16 sava 17. rathika 18-bhojake pade 19 vamdapayati 20 [ - ] 1. Prinsep and Canningham read tatha. Indraji reads itha ; Jayagwal, tatha, correcting his former reading itha. 2. Prinsep and Cunningham read riputhe ; Sten Konow reads civuthe ; Indraji, cavuthe; Jayaswal, too, cavuthe, correcting his former reading ciputhe. The appearance of ca as ci may be accounted for by the fact that rain water trickling down from the space between bahulay and pachimam in L 4, has formed a canal reaching the top of ca below. 3. All road oase. 4. Prinsep reads "vase; Canningham, vasam; Indraji correctly, 'vasam. 5. Prinsep reads a(ra)hata. Cunningham and others read ahata. In one of the impressions three letters are prominently brought out, the middle one as ha. It seems that the two letters, ra and ka, being somehow connected at the base, appear together as one letter, which is ha. Immediately after Vijadharadhidasam, anyhow some. where in the sentence, we must expect to get the name of a place. But if the word coming immediately after Vijadharadhivasam be read as an adjective, as ahata-puram, we get no place-name to stand as the object of the verb pasasayati following: 6. Prinsep reads puve or puba; Cunningham, puva. Indraji and Jayaswal read puram. I think the supposed va is nothing but a fissured ra. 7. Prinsep reads Kalimga or Kalaga. Cunningham and others read Kalimga. Jayaawal finally reads Kalimga. 8. Prinsep reads rajana e satu ; Cunningham, rajan... ; Indraji, raja.namamsitam; Jayagwal, raja-nivesitam, correcting his former reading raja-mamamsitam. 9. The reading from dhamena to nitina is tentative. 10 Prinsep reads "pata dhamatita ; Cunningham, oata dhamatisapa ; Indraji, dhama. kutasa ; Jayaswal, vitadha-makute. The letter na looks, indeed, like sa. Jayaswal finally reads makuta. 11. Prinsep reads (sa)ra...rite ; Cunningham, doubtfully taijatite ; Indraji, pujita ; Jayaswal, (sa)bilamdhite, correcting his former reading sabichidate. 12. Prinsep reads nikhite. Cunningham and Indraji read nikhita. Jayaswal, too, reads nikhita, correcting his former reading nikhite. 13. Prinsep reads (a)bhigare(hi); Cunningham, higare(hi); Indraji, bhimgarehi ; Jayaswal, correctly bhimgare. 14-15. Prinsep reads taratuna; Cunningham, taratanam ; Indraji, tiratana(sa); Jayaswal, hita-ratana, correcting his former reading hita-ratana(sa). 16. Prinsep reads sapatena; Cunningham, sapataye ; Indraji, 'patayo; Jayagwal. sapateye, correcting his former reading (ratana)sa pateye. 17. Prinsep and others read sava. Jayaswal, too, reads sada, correcting his former reading sava. 18. Prinsep reads rathika or rathike. Cunningham and others read rathika. 19-20. Prinsep reads (bhojake) pa devam dapayaati : Cunningham, bhojakepa devam dasayati ; Indraji, too, devam dasayated ; Jayaswal correctly reads vam dapayati. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 14 www.kobatirth.org OLD BRAHMI INSCRIPTIONS 2 6 Pamcame1 cedani vase Namdaraja-tivasasata 3-oghatitam Tanasuliya-vata panadim" nagaram pavesayati ['] sata(saha)sehi ca (khana) pa(yati) 1o [.] Acharya Shri Kailassagarsuri Gyanmandir 8 1. Prinsep reads paca or pacala; Cunningham, pamcapam. Indraji and Jayaswal correctly read pamcame. 2. Prinsep, Cunningham and Indraji read dani. Jayaswal reads dani. One cannot be sure about the second vertical stroke in front of i-mark of ni. It appears that rain. water trickling down from the letter ca of dutiye ca in L 4, has formed a canal, which has cut through the letter ki of kidapayati in L 5, and flowed down as far as and parallel to the i-mark of ni. Dani may be accepted as an alternative reading. 3. Prinsep and Cunningham read tivasasata; Indraji and Jayaswal, tivasasatam. I find no dot-stroke denoting m in front of ta. 4. Prinsep and Cunningham read ughatitam; Indraji and Jayaswal correctly, oghatitam. Ramaprasad Chanda rightly argues in favour of the reading tiva sasata-oghati. tam, instead of tivasasatam oghatitam, when he points out (1) that there is no anusvar asign (m) either above or beside the final ta of tivasasata, and (2) that the absence of a suffix after tivasasata is due to the fact that it forms part of a compound word Namdaraja-tivasasata-oghatitam, an instance like guna-upetena, where the two words, sata and ogha are not combined according to the rule of the Sandhi. To these arguments of Chanda, I may add (1) that unless Namdaraja-ti vasasata be treated as part of a compound word, it becomes unmeaning, and (2) that Namdaraja-tivasasatam has no meaning at all as a separate word in the present context. Sten Konow, too, reads Namdaraja-tivasasata-oghatitam. 5. Prinsep reads tamnisaraliya or tanasaraliya; Cunningham, tanamsuliyam; Indraji Tanasuliya; Jayaswal correctly, Tanasuliya. 6. Prinsep reads vaja; Cunningham, vata. Indraji and Jayaswal correctly read vata. 7. Prinsep and Cunningham omit m. 8. Prinsep and Cunningham omit m. 9. Prinsep reads pavesa rise; Cunningham, pavesa viso. Jayaswal reads the last letter as ti. For Private And Personal Use Only 10. Jayaswal reads the concluding words as so pi vase chadam, completing his former reading so?... vi., and treats them as the opening words of the record of Kharavela's 6th regnal year. I think there can be little doubt about the correctness of the reading proposed above to complete the statement regarding the 5th year.

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INSCRIPTION OF KHARAVELA 15 7. Abhisito ca [chadhe]? vas[e] deg (raja-sirim) sandamsayamto 5 sava-kara-vana - [16]-anugaha-anekani? sata-sahasani visajati pora P-janapadam [.] 1. Prinsep reads sabhasari; Cunningham sabhisori ; Jayaswal correctly, abhisito. 2. The gap containing space at least for three letters has altogether been lost sight of by Jayaswal. 3. The letter just beyond the gap appears to be sa. 4. Prinsep reads pasaca; Cunningham, hasa ca; Indraji, rajaseyam ; Jayaswal, rajasuyam, correcting his former reading rajaseya. I maintain that the word is neither rajaseyam nor rajasuyam ; it is rajasirim. 5. Prinsep reads sadasa te; Cunningham, samdasamto; Indraji, samdamsanato; Jayagwal, samdamsayamto, correcting his former reading samdemsanato. 6. Prinsep reads pava karavana; Cunningham, sa vakara vana; Indraji, save-karavanam, which is accepted by R. D, Banerji ; Jayaswal, sava-kara-vanam, correcting his former reading sava-bharavana[m]. I was inclined at first to read savabharanani. But it is certain that the letter after ra is va. 7. Pringep alone reads anekani. Others read anekani. 8. Prinsep alone reads sahasani. Others read sahasani. 9. Jayaswal alone reads poram. Others read pora. I do not find any anusvara-sign. For Private And Personal Use Only

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16 OLD BRAHMI INSCRIPTIONS 8. Satame' ca vas(e)? (a)si-chata * -dhaja-ra(dha)-rakhitu(ramga) *-sata *-gbatani savata? sandasanam & sava!-(mamgalani) to karapayati" [-] sata-sahasehi [.] 1. Prinsep and others read satamam. But the e.mark attached to the final letter of satame is distinct. 2. Prinsep reads tisam ; Cunningham, vesam. I do not find the anusvara-sign along with the second letter. 3. Prinsep and others read Pasasato. It is certain that the first letter which is somewhat obscured by fissure is not pa : it is either ma or a, more likely the latter. The third letter is prominently cha. 4. Prinsep reads vajaragharavedham ; Cunningham, vajarighavadhasatima ; Jayaswal, vajira-gharavi-Dhi(si), correcting his former reading jara-ghara khata. Jayaswal finally reads Vajira-ghara-va[m]tigh[u]sita. 5. Prinsep reads satam; Jayagwal, (Dhi)si ti. The appearance of ra as si may be due to fissure. To me, the reading (Dhi)si is meaningless. 6. Prinsep and Cunningham read gharini. Jayaswal reads gharini, correcting his former reading gharini. None may doubt that the second letter is ta, and not ri. 7. Indraji reads savotu ; Jayaswal, samatu(ka), correcting his former reading savitu. Prinsep and Cunningham correctly read savata. 8. Prinsep reads kahadapana or kahadapamna; Cunningham, kahadapana; Indraji, kula ...... ; Jayaswal, (matu)ka-padapuna, correcting his former reading upadapumna. 9. Priusep and Cunningham read nara(pa). Jayaswal reads saku(mara). Jayaswal finally reads ( ti ?] [ kumara). 10. Cunningham reads pa ketana. Jayaswal reads the first letter as ma. 11. I have little doubt about the correctness of this reading. 12. The gap must have contained a word denoting a number. For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA 17 9. Athame' ca' vase ma(ha)ti-(se)na(ya)l'a(dhu)ra[m]* a(nupa)to Goradhagirim [17] ghatapayita Rajagahanam papid[W]payati? 1,1 (e)tinam ca kamma-padana '-panadena.losambhita 11-senavahane 12 vipamumcitum 18 Madhuram 14 apayato 15 yeva naridole stories lifgha]ravas[i]nam ca [-] 18 sava-gahapatikanam ca [-]' sa [-] 20 pana-bhojanam dadati21 [:] [Kalim]gam (ya)tia palavabharaos- [1 8]-Kaparukha24-hayagaja-(nara)25-radha%-saha yatia [,] sava28-gharavasina ma ca sava-raja-bhatakanam 30 ca sava-gahapatikanamica (sava). Bamhananam ca pana-bhojanam dadati [,] Arahatanam (samananam ca) [--]34 dadati [-] (sata-sahasehi) 85 [.] M 1. Prinsep reads thame, omitting the first letter : Cunningham, ye thame. Indraji and Jayaswal correctly read athame. 2. Prinsep omits ca. 3. Prinsep reads manamna-n; Cunningham, munamti mena-va; Jayaswal, mahati. senaya, correcting his former reading manatino dhamani. Jayaswal finally reads mahata. 4, 5. Cunningham reads...tapabhate; Jayagwal, mahata-bhitti, which is nowhere. The occurrence of such a conjoint consonant as tti in the orthography of Kharavela's inscription is yet a discovery to be made. Mr. Jayaswal seems to have thought of such a reading under the influence of a latent bias that Goradhagiri was an impregnable hill. fortress guarding an entrance to Rajagaha. 6. Prinsep reads de vegiri. Kittoe's facsimile has gedaragiri. Cunningham reads dare sari idha; Jayaswal, Goradhagirin, correcting his former reading Goradhagiri. 7. Prinsep reads rajagabham (or, rajagambha) upapidapayati; Cunningham, rajagambhu upapidapayati; Indraji, Rajagaha-napam pidapayati; Jayaswal, Rajagaham upapi. dapayati, correcting his former reading Rajagaha.napam pidapayati. Sten Konow finds no objection to reading nipa instead of upa. I find that the horizontal base stroke of na is really in line with that of pa of pidapayati, and that it stands out, at least in Banerji's impression, as the horizontal base line of na. Rajag ahanam in the sense of the people of Rajagaha is an expression of the same kind as Magadhanam signifying the people of Magadha. This reading can well account for the use of (e)tinam following. 8. Prinsep and Canningham read dhatinam ; Indraji reads etinam; Jayaswal, etina, correcting his former reading etinam. One may read etina, but etinam gives a better grammatical construction of the sentence. Sten Konow, too, reads etina. Jayaswal finally reads etinam or etina. 9. Pringep reads kammupadana; Indraji, kamapadana: Jayagwal, kamma'padana =(kamma + apadana), correcting his former reading kamupadana. Cunningham correctly reads kamma-padana. Jayaswal finally reads kammapadana. 10. Prinsep reads panadena or panadena. Others read panadena. Jayagwal finally reads samnadena. 11. Prinsep reads pambata ; Indraji, savata ; Jayaswal, sambita, correcting his former reading sabata. The second letter is undoubtedly bhi. 12. Prinsep reads sena-vahayati) or sena-vahana(ti); Indraji and Jayaswal correctly read sena-vahane; Jayaswal finally reads "vahano. 13. Prinsep reads ti pamucitu or "ti panimucita; Cunningham, pamacitu ; Indraji, vipamucitu; Jayaswal, vipamumcitum, correcting his former reading vipamumcitam. For Private And Personal Use Only

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18 OLD BRAHMI INSCRIPTIONS 14. Prinsep, Cunningham and Indraji read Madhuram. Jayuswul reads Madhuram, correcting his former reading Madhuram. Sten Konow, too, reads Madhuram. It is certain that the reading is Madhuram, and not Madhura. 15. Prinsep reads aparato or apanato; Cunningham, apayato; Indraji and Jayaswal correctly read apayato. Sten Konow reads upayati, which is doubtful. The o-mark attached to the final letter is very distinct. 16. Cunningham reads navam rana ba; Indraji, navame ca vase; Jayaswal, yeda narido, correcting his former reading navame ca vase. Here Sten Konow would read Yavana-raja which is ingenious but uncertain. The fifth letter is distinctly da and not ja. Jayaswal finally reads Yavana-raja.. 17. Jayaswal reads nama; Sten Konow, fancifully Dima(ta). Jayagwal finally reads Dinsite or Dimiti. I cannot offer a better reading than sapa-gho 18. The gap may perhaps be filled in by raja-bhatakanam ca. 19. The gap may be filled in by Bamhananam ca Arahatanam. 20. The gap may be filled in by samananam ca. -21. Prinsep and Cunningham read mora dadati; Jayaswal reads mo yacati, correct. ing his former reading mo. ya chati. 22. These five letters appear to be above palavabhara, with which the line closes. Jayaswal finally reads (yachati-vi) palava... 23. Cunningham reads palavama ke; Indraji, pavarako; Jayaswal, palavabhare, correcting his former reading palavariko. 24. Prinsep and Cunningham read kapam ukha; Indraji reads Kaparukho; Jayaswal, Kalparukhe, correcting his former reading Kaparukho. Jayaswal finally reads Kaparukhe. 25. Prinsep traces three letters after gaja, which he doubtfully reads raluve. Cunningham suggests two letters. Indraji and Jayaswal read radhu immediately after gaia, which seems to be skipping over a fissured short space containing room for two letters, which I propose to read nara. 26. Prinsep reads raluve ; Indraji and Jayaswal correctly read radha. 27. Prinsep and Cunningham read sahaya se; Indraji reads saha-yata; Jayaswal, saha-yamte, correctiug his former reading saha-yate. 28. Prinsep and Cunningham read saca; Indraji reads savam ; Jayaswal, correctly sava. 29. Prinsep reads ghara-vasapa; Cunningham, gharavasaya; Indraji, gharavasadham; Jayaswal, gharadasa-pa, correcting his former reading gharadasadhan. 30. Cunningham reads anatika-gava yasu(va); Jayagwal, sa-aginathiya, correcting his former reading aginathiye. 31. Prinsep reads sahanam ca ka(ra); Cunningham, gahanam ca ka(ra); Indraji, (yasava) gahanam ca ka(ra); Jayaswal, gahanam ca ka(ra). 32. Prinsep reads (kara)yitum ba imananam; Cunningham (kara) yitum ba imana. nam; Indraji, (kara)yitum Bumanam; Jayaswal, (kara)yitum Bamhananam. 33. Prinsep reads (jatapa para ; Cunningham, (ja) puha sara; Indraji (ta)mhi radhi-saram ; Jayaswal (ja)ti-pamtim pariharam, correcting his former reading jatharam bhi param. Jayaswal finally reads jatim pariharani. 34. The gap may be filled in by pana-bhojanam. 35. The record of the 8th year may be taken to close with an expression, which was preceded by another denoting a numerical adjective. For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA * 10. Na(vame)' ca vase? [/ 9] veduriya: Kali[m]ga-* raja-nivasam. Mahavijaya-pasadam karayatio atha-tisgya? satasahasehi [.] 1. Jayaswal reads only the first letter as na. 2. Jayaswal reads giya. 3. Prinsep reads ra-i; Cunningham, venati; Jayaswal, okei, correcting his former road. ing abhaya. 4. Prinsep reads manati or manati ; Cunningham, manati ; Jayagwal, manehi, correcting his former reading praci-tate. Jayaswal finally reads manasti]. The third letter, as it appears in Banerji's estampage, must be read as ga. 5. Prinsep reads pamdarasa or raini rasa ; Cunningham, pamdarasa ; Indraji, nivasam; Jayaswal, sapnivasam, correcting his former reading nivasam, which was really correct. 6. Prinsep reads karayati or derayati. Others read karayati. 7. Prinsep reads thatasaya, omitting the initial letter ; Cunningham, atha hita du; Indraji, atha-tisa ; Jayaswal correctly, atha-tisaya. 8. Prinsep reads sata sarelahi; Cunningham, (du)savasahasehi. Indraji is the first to correctly read sata-sahasehi. For Private And Personal Use Only

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20 OLD BRAHMI INSCRIPTIONS 11. Dasame' ca' vases (Kalimga-raja-vamsanam tati(ya). y[u]ga-sagavasane (Kallimga* -pu(varajanam ya)sa-sakaram kara pagati" sata-(sahasehi). [.] Prinsep and Cunningham read dasame; Indraji and Jayagwal correctly dasame. 2. Prinsep omits it. 3. Prinsep reads case ; Cunningham, tuse; Indraji and Jayaswal correctly read vase. 4. From Kalinga to Kalimga Prinsep reads dava...rara gavasapa; Cunningham, datibhisara... karatha vasa p-na; Indraji.... Bharadhavasa-pathana; Jayaswal, mahadhi. ta'bhisamayo Bharadhavasa-pathanam, correcting his former reading damdasa......nadasa Bharadhavasa- pathana. Jayaswal finally reads damda-samdhi-sama-mayoo. 5. Prinsep reads pabayava ; Cunningham, mahajava ; Jayaswal, mahi-jayanam. 6. The reading suggested is tentative. 7. Cunningham reads racabiyati; Indraji and Jayaswal correctly read karapayati. 8. Both Indraji and Jayaswal take the sentence to close with karapayati, which seems incorreot. For Private And Personal Use Only

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21 INSCRIPTION OF KHARAVELA 12. (Eka)dasame ca vase! [---]-mani-ratananio-saha yati* [,] [1 10] [- ] (Kalim)ga -puvaraja? -nivesita. Pithudaga-dabham Nagalo nekasayati [,1 (a)nupa-dabhavanam ca terasa-vasa-sata-katam bhidatil Timira-dahasamghatam [.] 1. The opening words of the record of the 11th regnal year are not effaced. Even the first three letters, e, ka and da, can be read, though, to some extent, obscured by fissure. 2. Prinsep reads the letters to be made out in the gap as raharunatanara ; Indraji, uyatanam ca ; Jayaswal, niritaya uyatanam, correcting his former reading ... puna ca. I shall not be astonished if the letters were meant to inscribe Kaparukha-haya-gaja-nararadha. 3. Prinsep reads manetanana ; Cunningham, soti yo ru-ni; Indraji, manoradhani; Jayaswal, mani-ratanani, correcting his former reading manoradhani. Here I have tentatively accepted Jayaswal's reading. Jayaswal finally reads manio. : 4. For saha yati Prinsep reads upahi ; Cunningham, upalebhata; Indraji, upalabhata ; Jayaswal, upalabhata, correcting his former reading upalabhata. 5. Indraji points out that "the beginning piece of lines 11-17 is lost, and about ten lettere are lost in each." 6. Jayagwal reads mamde ca. He finally reads mamdam. I maintain that the reading is no other than Kalimga. 7. Cunningham reads puve raja ; Indraji and Jayaswal correctly read puvaraja. 8. Cunningham reads nivesatam ; Indraji and Jayaswal read nivesitam, 9. Prinsep reads pithu daga dambha nagare nakasayatta; Cunningham, pithudaga dambha nagalo nakasamyata ; Indraji, pathudam Gadambha nagale nakasayati; Jayaswal, Pithudaga-dalbha-nagale nekasayati, correcting his former reading Pithudaga-dabha-nagale nekasayati. Sylvain Levi and Sten Konow read pithuda[m] gadabha-na[ m galena kasayati. The reading kept in view by Luders is pithudam gadabha.namgalena kasayati ("Pithuda, ploughed with an ass plough). Fleet takes pathudaga to be=pamthuddamga, "& market-town for the convenience of travellers," It is certain that there is no anusvara along with da. Jayaswal finally reads pithuoa-gadabha-namgalena kasayati. 10. Prinsep reads janapade bhavana ; Canningham, janapuda bhavana ; Indraji, Jayagwal, R. C. Mazumdar and Sten Konow read janapada-bhavanam. The reading kept in view by Luders is Jinapada-bhavanam ("the meditation on the feet of Jina"). Jayagwal finally reads j(i)nasa dambhavanam. Read janasao as a variant. 11. Prinsep reads terasa vase satake... ; Cunningham, terasa vase satake bhidasi; Indraji, terasa vasa sata ka...da; Jayagwal, terasa-vasa-sata-Ketubhada(ti); R. C. Mazumdar, terasa-Khasa-satam katabhadata ; Sten Konow, terasa-vasasata-kata bh Cildati. Jayagwal finally reads satikam tu bhidati. 12. Prinsep reads tatemara-dehasapata ; Cunningham, tamaradehasapata; Indraji, tamara-dehasamghatam ; Jayaswal, titamara-dehasamghatam, correcting his former read. ing titamara, etc.; Sten Konow, t[a]maradeh[]sa[m]ghatam. Mazumdar reads dehasamghatam. For Private And Personal Use Only

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22 OLD BRAHMI INSCRIPTIONS 13. Barasamei ca ? vase : [-]* sata.sabasehi vitasayati 6 Utara pa (dha)-rajanos [, ] [111] [- ]" Magadhanam ca vipulam 1 bhayam2 janeto 18 hathi. sam Gamgaya 14 payayati 15 [ ] Magadham ca rajanam"? Bahasatimitam pade vandapayati [, ] Namdarajan(i)tamo Kalimga 2-jinasanama (Amga-Magad hato Kalim. gam aneti haya-gaja)28-sonavahana-sahasehi 24 [ , ] AmgaMagadha25-vasinam28 ca27 pade 28 (vandapayati) 29 [ , ] [112] [- ]30 vithi-catara-(pa)likhani gopurani 81 siharani" nivesayati 88 [ ] sata-Vasuki (rata)nam p(e)sayam[ti]34 [ ] abhutamachariyam 35 ca hathi(sa)-pasavam 38 paribaramti 37 [ ] (miga)-haya-hathi 38 u(p)anamayati 39 ( , ) Panqa-raja +0 vi(vidhyabharanani" muta-mani-ratanani 43 aharapayati 48 idha sata-sahasal ni](,). [1 13] [- ]95--sino vasi k(a)reti [.] Cf. Mahabharata, II. 30. 27-29 : Sa sarvan mleccha-nTpatin sagardnupavasinah 1 Karamaharayamasa ratnani vividhani call Candandguri-vastrani mani-mauktika-kambalami Kancanam rajatancaiva vidrumanca mahadhanam # Te kotibata-samkhyena Kaunteyam mahata tada 1 Abhyavarsan mahatmanam dhanavarsena Pandavam Cf. Mahabbarata, II. 31, 71-72, 75-76: Pardyamsca Dravidam-scaiva Sahitamacondra-Keralaih 1 Andhamstalavanamseaiva Kalinganustrakarnikan# Atavinca purim ramyam Yavananam puram tatha 1 Dutair eta vase cakre karancinanadapayat u Tatah sampregayamasa ratnani vividhani oa Candandguru-kasthani divyanyabharanani call Vasamsi ca maharhani manimscaiva mahadhanan Nyavarttata tato dhiman Sahadevah pratapavan || 1. Prinsep reads Barasama, Cunningham, Barasama; Indraji, Barasamam ; Jayaswal correctly Barasame. 2. Prinsep roads va ; Cunningham, da; Indraji and Jayaswal correctly read ca. 3. Indraji roads vasam ; Jayaswal correctly vase. 4. The letters are so mach effaced that it is impossible to attempt to make out what they are. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir INSCRIPTION OF KHARAVELA 23 5. Here I have relied apon Banerji's impression reproduced in JBORS, 1917. For sehi of sahasshi Cunningham reads phahi. Jayaswal finally reads hasa.-keja savasehi. 6. Prinsep reads vitisayato ; Cunningham, vitisiyita ; Indraji, pitisayamto; Jayaswal, vitas ayati, corracting his former reading vitasayamto. Jayaswal finally reads vitasayato. 7. Prinsep reads Utiripithi ; Cunningham, Utarapatha. Indraji and Jayaswal read Utarapatha, which I accept as an alternative reading. 8. Prinsep and others read rajano. But there cannot be any serious objection to reading it as rajanam, the singular Accusative form. 9. The beginning piece of L 12 is lost for ever. It is likely that such an expression as Amganarn ca or simply Amga-preceded Magadhanam. 10. Prinsep reads macalava ; Cunningham, madhanam ; Indraji and Jayaswal read, perhaps correctly, Magadhanam. 11. Prinsep reads vipula ; Cunningham, vipula(ya); Indraji and Jayaswal read vipulam. 12. Prinsep reads leyam. Cunningham is the first to correctly read bhayam. 13. Prinsep and others road janeto. The o-mark seems to be quite clear. 14. Prinsep reeds hithasam gamgasa ; Cunningham, hathasam Gamgaya; Indraji, hathisa Gamgayam ; Jayaswal, hathisu Gamgaya, correcting his former reading h athisu Gamgiya ; Sten Konow, Sugamgaya, suggesting that Sugamga or Sugamgi is certainly the ancient Maurya palace in Pataliputra which is called Sugamga in the Mudraraksasa. Jayaswal finally reads hathi Sugamgiya(m). Sugamgaya does not suit the context of the Hathi-Gumpha inscription of Kharavela. 15. Prinsep reads panayati. Cunningham and Indraji read payayati. Jayaswal, too, reads payayati, correcting his former reading prayayati. 16. Prinsep reads ..dha; Cunningham,...ma ; Indraji, Magadham ; Jayaswal, Magadham, correcting his former reading Magadha. 17. Prinsep reads rajana. Cunningham is the first to correctly read rajanam. 18. Prinsep reads ibahaga sasita ; Cunningham, bahasati sita ; Indraji, bahu patisasita; Jayaswal, Bahasatimitam, correcting his former reading Bahapatimitram. 19. Prinsep reads va dapayata ; Cunningham, pa deva dapam yati ; Indraji pade vadapayati ; Jayaswal pade vamdapayati. 20. Prinsep reads raja nita ; Canningham, Namdarajanita ; Indraji, Namdaraja-nita ; Jayaswal, Namdaraja-nitam, correcting his former reading Namdaraja-nitani. 21. Prinsep rende va a ga ; Cunningham, vamaga ; Indraji, sa aga ; Jayagwal, Kalimga, correcting his former reading ni Aga. 22. Prinsep reads jinasana ; Canningham, jinasa ; Indraji, Jinasa ; Jayaswal, Jinasamnivasam, which has no meaning. Jayaswal finally reads Jinam. 23. The bracketted reading is tentative. For aneti Canningham seems to read ma ata. 24. For senavahana-sahasehi Prinsep reads makhana pamda pakhasi ; Canningham, rota na sudiha ; Indraji, gaha ratana-pariharehi ; Jayaswal, gaha-ratanana-pariharehi, which is an unintelligible jargon. 25. Prinsep reads ae mugadha ; Canningham, mariga Magadha ; Indraji, a Magadhe ; Jayaswal, Amga-Magadha, correcting his former reading Amga-Magadha. 26. Prinsep reads cajava ; Cunningham, vasasa ; Indraji, vasivu ; Jayaswal, vasum ca. 27-29. For ca pade vamdapayati Prinsep reads naghari ; Indraji, nayari ; Jayaswal, neyati. 30, The beginning piece of L 13 is lost. For Private And Personal Use Only

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OLD BRAHMI INSCRIPTIONS 31. Prinsep reads tajalarala khila barani; Cunningham, tu jiva ralakhilaye Barana(si); Indraji, vijadharu lekhilam barani; Jayaswal, ta jathara-likhila-barani, correcting his former reading ta jathara-lekhilani barani. Jayaswal finally reads tum for ta. 32. Prinsep reads sihirani ; Cunningham, si hirana(ni); Indraji, siharani; Jayaswal, sihirani, correcting his former reading siharani. I accept Indraji's reading. 33. Prinsep reads nivaneyati; Cunningham, ni ca iyati; Indraji, nivesayati ; Jayaswal, nivesayati, correcting his former reading nivesayati, which was really correct. 34. Prinsep reads sata vasa sana pariharenam asum ; Cunningham, sata vasadana thari harenam asitam; Indraji, sata-vasu-dana.pariharena abhutam ; Jayaswal, sata-visikanam pariharena abhutam, correcting his former reading sata-vasu dana, etc. Jayaswal finally reads vesikanam. 35. Prinsep reads (m)asariya ; Cunningham, (m)asariya ; Indraji, (m)akariyam ; Jayagwal, (nu)achariyam. 36. Prinsep reads hathi-navuna ; Canningham, hathi.naveno ; Indraji, hathi nadana ; Jayaswal, hathi-navana. 37. Prinsep reads paripara ara ; Cunningham, pariha; Jayaswal, paripuram upa. Cunningham's reading is nearer the mark, 38. Prinsep reads ranasa yahava; Jayaswal, denha haya-hathi. Jayaswal finally reads savadena for upadenha. 39. Cunningham reads ...na-piva ; Jayaswal, ratana-manikam, correcting his former reading ratana-janana. Ratana-manikam as an adjective of Pamdaraja may be Indian epigraphy but no Indian language. 40. Prinsep reads Padaraja (no); Canningham, maha ri raji (ne); Jayaswal Pamdaraja. 41. Prinsep reads davi aneka na ; Cunningham, anekani; Jayaswal, edani anekani. Jayaswal finally reads cedani for edani. 42. Prinsep reads dato manorata rana; Cunningham, dato mani ratanani, adding muta to his former reading. 43. Prinsep, Cunningham and Jayagwal read aharapayati ; Indraji reads aharapayati. 44. Prinsep reads idha satasa ; Cunningham, idha samte ribha ; Indraji, idham satasa; Jayaswal, idha satasa. Jayaswal finally reads sato for satasa. 45. The beginning piece of L 13 is missing. 46. Prinsep reads sinevasi kadati ; Cunningham, si novasikariti; Indraji, sino oasi. karoti ; Jayaswal, sino vasi karoti, correcting his former reading (va] sino vasi kareti. For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA . 25 14. Terasame cat vase supavatavijaya'-cakes Kumaripavate* Arahato* parinivasato bi kaya -nisidiyaya? (raja). bhatakehio rajabhatihi' raja-natibio raja-p(u)tebi" rajamahisihi Kharavela.sirina satadasa-lena-satam karapitam15 [.] [1 14] *Cf. Inscription of Udyota kesari iu Lalatendu-Kesari's cave in Khandagiri edited by R. D. Banerji in EI, Vol. XIII, p. 166 :-SriUdyota kesari-vijaya-rajya-samvat 5 sri-Kumara parvrata-sthane jirnna vapi jirnna isana Udyotita (.] Tasmina thane catur-vimsati Tirthamkara sthapita. 1. Prinsep and Cunningham read Terasama va. Indraji omits ca. Jayagwal correctly reads Terasame ca. 2. Prinsep and Canningham read vijaya ; Indraji and Jayagwal, vijayi. Jayaswal finally reads vijayo. 3. Prinsep and Indraji read cako. Jayaswal correctly reads cake, Jayaswal finally reads caka. 4. Prinsep reads arahite ; Jayaswal, too, arahite, correcting his former reading arahato. Cunningham and Indraji correctly read arahato. 5. Prinsep reads papnavisata pi; Cunningham, punapasata hi, also, parinavasamta. Indraji, upanivase va ; Jayaswal, (ya)pa kh[i]ma-oyasamtahi correcting his former reading parin[i]vase tahi. Jayaswal finally reads yapa-khina-sapsitehi. 6. Prinsep reads kamra ; Cunningham, kaya ; Indraji, kayam ; Jayaswal, kayya, correct. ing bis former reading kaya, which was really correct. Jayaswal finally reads kaya. 7. Prinsep reads nisidinaya ; Cunningham, nisidinaya ; Indraji, nisidiyaya ; Jayaswal, nisidiyaya, correcting his former reading nisidiyaya. 8. Prinsep reads yapuhavakehi ; Cunningham, yapujakehi; Indraji, yapajake; Jayaswal, yapanavakehi, correcting his former reading yapujavakehi. 9. Prinsep reads ra. atam ; Cunningham, ra.ladatini ; Jayaswal, raja-bhitini, correcting his former reading raja-bhitani. 10. Prinsep roads cenan devani ; Cunningham, cenam dareni ; Jayaswal, cinavatani. 11. Prinsep reads sasagutani ; Cunningham nase sitani, Jayaswal, vosasitani, correcting his former reading vusa-satani. Jayaswal finally reads vasasitani. 12. Prinsep roads ujana utasa ; Cunningham, ujani kata uvasa ; Jayaswal, pujani katauvasa, correcting his former rending pujani sa ba ta. Jayaswal finally reads pujaya. rata-uvasa. 13. Prinsep reads yarava ladirana ; Cunningham, yeravaladirana ; Jayaswal correctly, Kharavela-sirina, 14. Prinsep reads ji deta dakararikhiti ; Cunningham jivima-kapuri khita; Indraji, ...kale ; Jayagwal, Jivadeva-siri-kalpam. Jayaswal finally reads japa-deha-sirika. 16. Jayaswal takes the line to close with rakhita. He finally reads parirakhita. mA. zrI kailAsanagAri sAnamAra zrI mahAvIra kena mAgavanA kendra a. (mind) R. *6* For Private And Personal Use Only

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26 OLD BRAHMI INSCRIPTIONS 15. 1 sakata2-samana-suvihitanam ca sata disanam (ya) tinam tapasa- (i)sinam lenam' karayati [,] Arahata-nisidiya1-samipe pabhare" varakara1-samuthapitahi13 aneka-yojanabitahi1 panatisahi1-sata1-sahasahi" silahi18 silathambhani1 ca cetiyani20 ca kirapa (yati)" [,] [115] [-]2 patalika28-catare24 ca25 veduriya-gabhe thambhe patithapayati 29 panatariya-sata-sahase(hi) [,] (vedu)riya-nila. vochimnam ceca-yathi-adhasatikam t(i)riyam upadayati[.] Acharya Shri Kailassagarsuri Gyanmandir 1. The beginning piece of L 15 is missing. Jayaswal traces the remnant of a letter before sakata which he reads as ta. There is, indeed, such a remnant, but precisely of what letter I cannot say. One thing is certain that the sentence embodying the record of the 13th regnal year and running up to the end of I. 14 is in Passive Voice, while the statement filling up L 15 and the first half of L 16 is in Active Voice. This cannot be consistently accounted for unless one assumes (1) that the record of the 13th year end in L 14, and (2) that the missing words in the beginning piece of L 15 constituted the introductory phrase, such as Cudasame ca vase, indicating the particular regnal year to which the record in question refers. 2. Prinsep and Cunningham read sakata. Indraji reads the last two letters as kata; Jayaswal, (ta)su katam, correcting his former reading sukata, which was nearer the mark. Jayaswal finally reads sukati. 3. Prinsep reads same rasavihitinam; Cunningham, samelasa vihitenam; Indraji, samayo suvihitaram; Jayaswal, samana-suvihitanam, correcting his former reading samana.suvihitanam. 4. Prinsep reads suta disanam; Cunningham, suta dasinam; Indraji sava-disanam; Jayaswal correctly, sata-disanam. 5. Prinsep reads jnata ; Cunningham, tanapesi; Indraji, yaninam; Jayaswal, natanam, correcting his former reading khatiyam. I accept Jayaswal's as an alternative reading. Jayaswal finally reads naninam. 6. Prinsep reads yevai-sampa; Cunningham, mapusa isa pu; Indraji, tapasanam samha; Jayaswal, tapasa-isinam samgha. 7. Prinsep and Cunningham read panam; Indraji reads tanam; Jayaswal, yanam. Jayaswal finally reads tapasi-samghiyanam. 8. Prinsep and others have missed karapayati. 9. Prinsep reads arahasa; Cunningham, cahasa; Indraji is the first to correctly read arahata. For Private And Personal Use Only O 10. Prinsep reads nisidiya; Cunningham, nisidaya; Indraji, nisidiya; Jayaswal nisidiya. 11. Prinsep and Cunningham read subhare; Indraji and Jayaswal, pabhare. 12. Prinsep reads vasara; Cunningham, va, bha; Indraji, varakaru; Jayaswal correct. ly, varakara,

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INSCRIPTION OF KHARAVELA 13. Prinsep reada samathaghisipa; Cunningham, sa matha ghisipa; Indraji, samatha. thapatihi; Jayaswal, samuthapitahi. 14. Prinsep reads anakaya janahi pihi; Cunningham, anake yojana piti ghi; Indraji, aneka-yojan ahi; Jayagwal correctly, aneka-yojanahitahi. 15. Prinsep reads the five letters of which there are traces as pa .. ra; Cunningham, as pa.. pipe. Indraji and Jayaswal wisely leave a blank space. Jayaswal finally reads pa, sio. 16, 17. There can hardly be any doubt about the given reading. 18. Prinsep reads silaha; Jayaswal, silahi, correcting his former reading silahi. 19, 20, 21. Prinsep reads sa papatha dhara si dhasayani nani; Cunningham, bhagapatha... dhadayana; Jayaswal, Simhapatha-Raniya Dhusiya nisayani, correcting his former reading sappatha... Jayaswal finally reads rani Sidhudaya. 22, The beginning piece of L 16 is missing. 23. Prinsep reads patalake; Jayaswal, pataliko. Cunningham and Indraji read patalake. Jayaswal finally reads ghamtalakto. 24. Prinsep reads catapa; Cunningham, catara; Indraji, Cetake; Jayaswal correctly, catare. 25. Prinsep and Cunningham read ce; others, ca. 26. Prinsep reads veruriya ; Cunningham, teghariya. Indraji is the first to correctly read veduriya. 27. Pringop and Cunningham read gabha, Indraji and Jayaswal correctly, gabhe. 28. Prinsep and Indraji read thabhe; Cunningham and Jayagwal, thambhe. 29. Prinsep reads patipa-yati; Cunningham, patitha payati. Indraji and Jayaswal correctly read patithapayati. 30. Prinsep reads panatanusa ; Cunningham and Indraji read pamnatariya. Jayaswal reads panatariya, correcting his former reading panamatariya. In Sten Konow's opinion panatariya is the correct reading. 31. Prinsep reads saca. . raja ; Cunningham, sa ca vasa; Indraji, sathi-vasa-sate raja ; Sten Konow, sacasahite, partly accepting and partly modifying Fleet's reading pamnatariya sacasata ; Jayaswal, sata-sahasehi, correcting his former reading sathi-vasa-sata Raja. Jayaswal has, I believe, placed the reading beyond all dispute. 32. Prinsep reads -riya; Cunningham, ...ya; Indraji, Muriya ; Jayaswal, too, Muriya. Banerji also offers the reading Muriya. Sten Konow thinks that the reading Muriya is certain. Where is the certainty of such a reading ? None need be misled by Banerji's impression. Locke's plaster cast shows that the stone has been peeled off just where some letter was engraved, presenting a socket, which is apt to delude the eye with the appearance of a ma or mu, or to come out in an estampage as a ma or mu. His cast also shows that there is a short space after sahasehi, just enough for engraving one letter. I have carefully examined this space where I find the faint trace of a letter, which is no other than ve. The same has also been made out froin one of the two impressions within my access. See Pl. I in J BORS, 1927, Vol. XIII, Parts III-IV. The letter lost or obscured in the socket is found to be, both in Locke's cast, rather du than ma or mu, 33. Prinsep reads la; Cunningham, kala, Indraji, kale; Fleet, too, kale, Jayaswal, kalam, correcting his former reading kale or kale. I doubt very much if the first letter can be read as ka or ka. I say it is not at all ka or ka. Locke's cast clearly shows how For Private And Personal Use Only

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28 OLD BRAHMI INSCRIPTIONS rain-water trickling down along the vertical line of na of ni and flowing to some distance along the right hand side of its horizontal base line, flows down at last cutting deep into the rock and serving to transform the na into a ka-shaped hobgoblin. I shall be the last man to mistake this apparition for ka in which two vertical strokes of equal length go to meet the horizontal base line from two sides at two distant points. 34. Prinsep reads machinam ; Cunningham, ce cinam; Indraji, vochine : Jayaswal, vochimne or vochimnam, correcting his former reading vocchine, 35. Prinsep reads ca coyatha ; Cunningham, cace yatha ; Indraji, ca coyatha ; Jayaswal, ca cayathi, correcting his former reading ca-cheyathi. The first letter, as it appears in Locke's cast or in Banerji's impressions, in either ce or la, and the second letter, ignoring the vowel mark, is ca or ta. One may correctly read the four letters together as cecayathi or lata-yathi. 36. Prinsep reads agi sati ka : Canningham, ageszti ka ; Indraji, agesati ku; Jayaswal, agasatikam, correcting his former reading Argasi ti kam. Sten Konow, Am gasatikam. tariyam. Jayaswal finally accepts Sten Konow's reading. I frankly confess that it is very difficult to resist the temptation of the reading of the second letter as ga. It is only after a prolonged examination that one will be inclined to read it as dha. I can press these three arguments in favour of reading it as dha : (1) that it is so unlike other forms of ga in the Hathi-Gumpha inscription ; (2) that Locke's cast also shows the dha, and (3) that in one of Vats' impressions it stands out almost as a dha. 37. Prinsep and Cunningham read ka tariyam, which is quite possible. Indraji reads ku tariyam ; Jayaswal, amtariyam, correcting his former reading kam tariyam. Sten Konow accepts Jayaswal's reading satikamtariyam. Jayaswal finally reads turiyam. I find no difficulty in reading tiriyam. 38. Prinsep reads napadayati ; Canningham, napada chati; Indraji, capadayati, Jayagwal, upadayati, correcting his former reading upadiyati. Sten Konow correctly reads upadayati. I am tempted to read the concluding words of the record of the 14th year also as cetiya-thambhagasatam katariyam upadayati. AVON For Private And Personal Use Only

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I. SCRIPTION OF KHARAVELA 29 16. Khema'-raja sa [,] Vadha-raja sa [] (Imda)". rajat sa [] Dhama (r)-raja* pasamto?sunamto 8 anubhavamtoo kalanani 10 [116] [-]" guna 12-visesa 13-kusalo sava pasamdapajako 14 sava-devayatana 15.samkara 18-karako ?? apatihata. 18 caka 19-vahana 20-balo 21 caka-dhar(o) 22 guta-cako 28 pavata- 24 cako raj(i)si 25-vamsa 20-kula 27-vini(s)ito 28 mahavijayo 29 raja Kharavela So-siri 31 [-] [117]. * Cf. Manu-Samhita, VII. 7: So'gnir bhavati Vayus ca so'rkah Somah sa Dharmarati Sa Kuverah sa Varunah sa Mahendrah prabhavatah # 1. Prinsop and Cunningham read agama. Indraji is the first to read Khema. 2. Prinsop and Cunninghamn read vatha Indraji reads vadha; Jayaswal, Vadha, correcting his former reading vadha. 3. Prinsep reads rese ; Cunningham, bhi ? Indraji and Jayaswal read bhikhu. The portion of the rock where the two letters were engraved has been peeled off presenting a socket, which deludes the eye with the appearance of two letters resembling bhikhu. I find that bhikhu is but an apparition of Imda. 4. Prinsep reads raja ; Canningbam, -ja. Indraji and Jayaswal correctly read raja. 5. All have missed sa. 6. Prinsep reads ma. Cunningham and Indraji read nama, Jayaswal correctly reads dhama. 7. Prinsop and Cunningham read pasata. Indraji is the first to correctly read pasamto. 8. Prinsep reads satite ; Cunningham, sanamto; Indraji, sanato, Jayaswal, sunamto, correcting his former reading sunato. 9. Prinsep reads apadhajida ; Vunningham, anubhivato; Indraji, anubhavato; Jayaswal, anubhavamto, correcting his former reading anubhavato. 10. Prinsep reads -lanoni; Cunningham, -Tanani ; Indraji is the first to correctly read kalanani. 11. The beginning piece of L 17 is missing. 12. Prinsep reada dirono; Cunningham, rutapano; Indraji is the first to read guna. 13. Prinsep and Cunningham read vise, omitting sa; Indraji and Jayaswal, correctly visesa, 14. Prinsep reads sava-pasaida-pajano; Cunningham, sava-pathabhi-pujako; Indraji is the first to reid sava-pasamda-pujako. 15. Indraji reads ..tana ; Jayaswal, devayatana, correoting his former reading ... tina. 16. Prinsep roads kara; Cunningham, makara. Indraji and Jayaswal read samkara. The second lotter might also be treated as a broken kha. 17. Prinsep and Cunningham read kara; Indraji and Jayaswal correctly, karako. For Private And Personal Use Only

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30 OLD BRAHMI INSCRIPTIONS 18. Prinsep reads ravato; Cunningham, padahata; Indraji and Jayaswal correctly read apatihata. 19. Prinsep reads laki; Cunningham, cako; Indraji, caki; Jayaswal, caki. 20. Prinsep and Canningham read vahani. Jayaswxl, too, reads vahani, correcting his former reading vahanu. Indraji correctly reads vahana. 21. Prinsep roads bale; Cunningham, thalo. Indraji is the first to read balo. 22. Prinsep reads vakadhara; Canningham, cako dhara ; Jayaswal, caka-dhuro correct. ing his former reading cakadharo. Indraji correctly reads cakadharo. 23. Prinsep alone reads gata cano. Others read guta-cako. 24. Prinsep reads ghavata; Indraji, pasamta; Cunningham, pavata ; Javaswal, too, pavata, correcting his former reading ghisamta. 25. Prinsep reads rajasa ; Cunningham, rajasa. Indraji ani Jayaswal read rajisi. 26. Cunningham and Indraji read vamsa. Jayaswal reads vasa. 27. Prinsep reads kala. Cunningham is the first to read kula. 28. Prinsep reads dinaravato; Canningham, vinigato; Indraji, vinicchito; Jayaswal, vinisrito, correoting his former reading vinicchito. 29. Prinsep roads mahavijaye ; Cunningham, mahavijayo. Indraji and Jayaswal read mahanijayo. 30. Prinsep reads kharavela; Canningham, kharapela. Indraji is the first to read Kharavela as a name. 31. Prinsep reads samdara; Cunningham, sirino. Indraji is the first to read siri, For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN THE ORIGINAL 1 / namo arahaMtAnaM [1] namo sava-sidhAnaM [1] airena verena iti vA mahArAjena mahAmegha-vAhanena cetarAjavaMsavadhanena pasatha-subha-lakhanena caturaMtarakhaNa-guNa-upetena kaliMgAdhipatinA siri-khAravelena paMdarasa-vasAni sirikar3Ara-sarIravatA kaur3itA kumAra-kor3ikA [1] tato lekha-rUpa-gaNanAvavahAra-vidhi-visAradena savavijAvadAtana nava-vasAni yovarajaM va sAsitaM [1] saMpuNa-catuvI sati vaso sodAni-vadhamAna-sesayovanA'bhijayo tatiye kaliMgarAjavaMse purisa-yuge mahArAjAbhisecanaM pApunAti [1] 2 / abhisitamato ca padhame vase vAta-vihata-gopura-pAkAra-nivesanaM paTisaMkhArayati kaliMga-nagari [] gabhora-sotala-tar3Aga-pADiyo ca baMdhApayati [] savayAna-paTisaMThApanaM ca kArayati panatosAhi sata-sahasehi [1] pakatiyo ca jayati [1] 3 / dutiye ca base acitayitA sAtakaNiM pachima-disaM haya-gajanara-radha-bahulaM daMDaM paThApayati [,] kaliMgAgatAya ca senAya vitAmeti asakanagaraM ( asika-nagaramiti vA ) [1] 4 / tatiye puna base gaMdhava-veda-budho daMpa-nata-gIta-vAdita-saMdasanAhi usava-samAja-kArApanAhi ca koDApayati nagari [1] 5 / tathA cavuthe vase vijAdharAdhivAsaM bharakatapuraM kaliMga-puva-rAjAnaM dhamena va nitinA va pasAsayati savata dhamakUTena [,] bhIta-tasite ca nikhita-chatabhiMgAre hita-ratana-sApataye sava-raThika-bhojake pAde vaMdApayati [1] 6 / paMcame ca dAni vase naMdarAja-tivasasata-oghATitaM tanasuliyavATA panADiM nagaraM pavesayati [.] sata-sahasahi ca khanApayati [1] 7 / abhisito ca [ chaDhe va se rAja-siriM saMdaMsayaMto sava-kara-vaNaanugaha anekAni sata-sahasAni visajati pora-jAnapadaM [1] 8 / matame ca base asi-chata-dhaja-radha-rakhi-turaMga-sata-ghaTAni sakta saMdaMsanaM sava-maMgalAni kArayati[-] sata-sahamehi [1] (31) For Private And Personal Use Only

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32 OLD BRAHMI INSCRIPTIONS / aThame ca vase mahati-senAya madhuraM anupato goradhagiriM ghAtApayitA rAjagahAnaM papIr3a[]payati[.] etinaM ca kaMma-padAna-panAdena-saMbhauta-sena-vAhanevipamaMcitaM madhuraM apayAto yeva narido sava-[gharavAsinaM ca sava-[-] gahapatinaM ca [-] sa [-] pAna-bhojanaM dadAti [.] [ kaliM gaM yAti [,] palavabhAra-kaparukha-haya-gaja-nara-radha-saha yAti [.] sava-gharavAsinaM ca sava-rAjabhatakAnaM ca sava-gahapatikAnaM ca sava-bamhaNAnaM ca pAna-bhojanaM dadAti [, nigaMthAnaM samaNAnaM ca [-] dadAti [-] sata-sahasehi [1] 10 / navame ca vase veDuriya-kali[]ga-rAja-nivAsaM mahAvijaya-pAsAdaM kArayati aThatisAya sata sahasehi [1] 11 / dasame ca vase kaliMga-rAjavaMsAnaM tatiya-yuga-sagAvasAne kaliMgapuva-rAjAnaM yasa-sakAraM kArApayati sata-sahasehi [1] 12 / ekAdasame ca vase [-]-maNi-ratanAni saha yAti [, [-] kaliMga-puvarAja-nivesita-pithaDaga-darbha nagale nekAsayati / anupadabhavanaM ca terasa-vasa-sata-kataM bhidati timiradaha-saMghAtaM [1] 13 / bArasame ca vase [...] sata-sahase hi vitAsayati utarApadhagajAno,] [-]mAgadhAnaM ca vipulaM bhayaM janeto hathIsaM gaMgAya pAyayati[,] mAgadhAnaM ca rAjAnaM bahasanimitaM pAde vaMdApayati[.] naMdarAja-notaM kAliMga-jinAsanaM aMga-magadhato kaliMgaM Aneti haya-gaja-senavAhana-sahasehi [.] aMga-magadha-vAsinaM ca pAde vaMdApayati [] [-] vothi-catara-palikhAni gopurAni siharAni nivesayati [,] sata vAsuko ratanaM pesayaMti [.] abhUtamachayiyaM hathIsa-pasavaM pariharaMti [5] miga-haya-hatho upanAmayaMti [,] paMDarAjA vividhAbharaNAni mutA-maNi-ratanAni AharApayati idha sata-sahasAni [] [-]-sino vasI kArati [1) 14 / terasame ca vase supavata-vijaya-cake kumArI-pavate arahato pari nivasato hi kAyanisaudIyAya rAjabhatakehi rAja-bhAtihi rAja-jAtihi rAja-putehi rAja-mahisihi khAravela-sirinA satadasa-leNa-sataM kArApitaM [1] 15 / [-] ? sakata-samaNa-suvihitAnaM ca sata-disAnaM yatinaM tApasaisina leNaM kArayati [] arahata-nisodIya-samIpe pabhAra varAkara-samuthApitAhi aneka-yojanAhitAhi panatosAhi-sata-sahasAhi silAhi sila-thaMbhAni ca For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA 33 cetiyAni ca kArApayati [] [-] paTalika-catare ca ver3a riya-garbha thaMbhe patiThApayati panatariya-sata-sahasehi [] [vai]r3a riya-nIla-vorkina ceca-yaThi-adhasatikaM tiriyaM upAdayati [1] 16 / khemarAjA sa [,] vadha-rAjA sa [.] Ida-rAjA sa [] dhama-rAjA pasaMto sunaMto anubhavaMto kalANAni [-] guNa-visesa-kusalo sava-pAsaMDa-pUjako sava-devAyatana-saMkAra-kArako aparihata-caka-vAhana-balo cakadharI guta-cako pavata-cako rAjisi-vasa-kula-vinisito mahAvijayo rAjA khAravela-siri (1) For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN PALI 1 / namo arahantAnaM [ // ] namo sabba-siddhAnaM [ // ] ayirena (vIreNa iti vA) mahArAjena mahAmeghavAhanena cetarAjavaMsa-vadhanena pasastha-subhalakkhaNena caturantarakkhaNaguNopetana kaliGgAdhipatinA siri-khAravelena pannarasa-vassAni sirikalAra-saroravatA kolitA kumAra-kolikA [1] tato lekha-rUpa-gaNanA-vohAravidhi-visAradena sabbavijjodAtena nava-vassAni yovarajjaM va sAsitaM [1] saMpuramacatuvosati-vasso so dAni-vaddhamAna-sesayobbanAbhivijayo tatiye kaliGgarAjavaMse purisa-yuge mahArAjAbhise canaM pApuNAti [1] 2 / abhisitta-matto ca paThame vasse vAta-vihata-gopura-pAkAra-nivesanaM paTisaMkhArayati kaliGga-nagara [.] gabhIra-sItala-talAka-pAliyo ca bandhApayati [.] sabbu yyAna-patisaNThApanaM ca kArayati paJcatimehi sata-sahassehi [.] pakatiyo ca raJjayati [1] 3 / dutiye ca vasse acintayitvA sAtakaNiM pacchima-disaM haya-gaja-mararatha-bahulaM daNDaM paTThApayati [.] kaliGgAgatAya ca senAya vittAse ti asmaka-nagaraM' ( isika-nagara-miti vA) [1] 4 / tatiye puna vasse gandhabba-veda-budho dappa-nacca-gota-vAdita-sandasmanAhi ussava-samajjA-kArApanAhi ca kolApayati nagariM [1] 5 / tathA catusthe vasse vijjAdharAdhivAsaM arakatapuraM kaliGga-pubbarAjAnaM dhamna va notinA va pasAsayati sabbattha dhammakUTena [.] bhIta-tasita ca nikvitta-chatta-bhiGgAra hita-ratana-sApateye sava-rahika-bhojake pAde vandApayati [1] 6 / paJcame cedAni vasme nandarAja-tivasmasatogghATitaM tanasuliya-vadyA paNAli nagaraM pavesayati [, sata-sahassehi ca khanApayati [1] 7 / abhisitto ca [chaThe va sme rAjasiriM sandasmayanto sabba-kara-paNa.. anuggaha-anekAni mata-sahassAni visajjati pora-jAnapadaM [1] 8 / sattame ca vasse asi-chatta-dhaja-ratha-rakkhi -turaGga-sata-ghaTAni sambastha sandasmanaM savva-maGgalAni kArApayati [-] sata-sahasmehi [1] 1. pAThAntare-kasapesAgatAya......musika-magaraM / (34) For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA 35 / aTThame ca vasne mahatiyA senAya madhuramanupatto gorathagiriM ghAtApayitvA rAjagahakAnaM papolApayati [,] etAnaJca kamma-padAna-panAdena-sambhIta-senavAhane vippamuJcitu' madhuramapayAto yeva narindo sabbegharavAsinaJca sabba- [-] gahapatikAnaJja [-] sa[-] pAna-bhojanaM dadAti[] [kaliGga yAti[, pallavabhArakapparukkha-haya-gaja-nara-ratha-saha yAti[] sabba-gharavAsinaJca sabba-rAjabhatakAnaJca sabba-gahapatikAnaJca sabba-brAhmaNAnaJca pAna-bhojanaM dadAti,ArahatAnaM samaNAnaJca [-] dadAti [-] sata-sahasmehi [1] 10 / navame ca vasne veluriya-kaliGga-rAjanivAsaM mahAvijaya-pAsAdaM kArayati atisehi sata-sahasmehi [1] 11 / dasame ca vasne kaliGga-rAjavaMsAnaM tatiya-yuga-saggAvasAne kaliGgapubba-rAjAnaM yasa-sakkAraM-kArApayati sata-sahasmehi [1] 12 / ekAdasame ca vasse [...]-maNi-ratanAni saha yAti[] [-] kaliGga-pubbarAja-nivesita-pithudaka-dabha naGgale nekAsayati [.] anupadabhavanaca terasa-vasma-sata-kataM bhindati timiradaha-saMkhAtaM [1] 13 / vArasame ca vasne [...] sata-sahasmehi vittAsayati uttarApatharAjAno[,] [-]-mAgadhAnaJca vipulaM bhayaM janayanto hasthismaM gaGgAya pAyayati[,] mAgadhAnaJca rAjAnaM behasmati-mittaM ( vehapphatimittaM iti vA) pAde vandApayati [,] nandarAja notaM kAliGga-jinAsanaM aGga-magadhato kaliGga Aneti[] ya-gaja-senavAhana-sahasmehi[] aGga-magadha-vAsinaJca pAde vandApayati[,] [-] vIthi-cattara-palikhAni gopurANi sikharANi nivesayati[,] sata-vAsuko ratanaM pesayanti[,] anbhutamacchariyaM hatthisma-pasavaM pariharanti [] miga-haya-hasthI upanAmayanti[] paNDarAjA vividhAbharaNAni muttA-maNiratanAni AharApayati idha sata-sahassAni[] [-] -sino vasokArati [1] 14 / terasame ca vasse supavatta-vijaya-cakke kumArI-pabbate arahato parinivasato hi kAya-nisaudiyAya rAjabhatakehi rAja-bhAtIhi rAja-AtIhi rAja-puttehi rAja-mahisohi khAravela-sirinA sattadasa-leNa-sataM kArApitaM [1] 15 / [-]? sakkata-samaNa-suvihitAnaJca sata-disAnaM yatInaM tApasaisonaM leNaM kArayati[,] arahata-nisaudiya-samIpa pababhAra varAkara-samutthApitAhi For Private And Personal Use Only

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36 OLD BRAHMI INSCRIPTIONS aneka-yojanAhitAhi paJcatisAhi-satasahassAhi silAhi silA-thambhAni ca cetiyAni ca kArApayati[,] [-] paTalika-cattare ca veluriya-gababhe thambhe patidvApayati paJca-sattati-satasahasmehi[,] [vai] luriya-nIla-vocchivaM ceJca-yaTTiavasatikaM tiriyaM uppAdayati [1] 16 / khemagajA sa [,] vaDarAjA sa[] indarAjA sa [] dhammarAjA pasmantI anubhavanto kalyANAni [-] guNa-visesa-kusalo saba-pAsaNDa-pUjako sabbadevAyatana-saMkhAra-kArako appatihata-cakka-vAhana-balo cakkadharo guttacakko pavattacakko rAjisi-vaMsa-kula-vinismito mahAvijayo rAjA khAravela-siri [] For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN SANSKRIT 1 / namo'haMdrAH [] namaH sarvasiddhebhya: [u] AryeNa (voraNa iti vA) mahArAjana mahAmeghavAhanena 'ceta'-rAjavaMzavardhanena prazasta-zubha lakSaNana caturanta-rakSaNa-guNopetana kaliGgAdhipatinA zrI-khAravelena paJcadaza-varSANi zro-kar3Ara-zaroravatA koDitAH kumArakor3AH [1] tato lekha-rUpa-gaNanAvyavahAra vidhi-vizAradena sarvavidyAvadAtena nava-varSANi yauvarAjyameva zAsitam [1] sampUrNa-caturviMzati-varSaH sa idAnoM vaImAna-zeSa-yauvanAmivijayastatoye kaliGga-rAjavaMze puruSa-yuge mahArAjAbhiSecanaM prApnoti [1] 2 / abhiSikta-mAtrazca prathame varSe vAta-vihata-gopura-prAkAra nivezanaM pratisaMskArayati kaliGganagare [,] gabhIra-zItala-tar3Aga-pAlIzca bandhayati [] sarvodyAna-pratisaMsthApanaJca kArayati paJcaviMza-zatasahastraiH [] prakRtIca rastrayati [1] 3 / hitoye ca varSe acintayitvA zAtakarNi pazcimAM dizaM haya-gaja-nararatha-bahulaM daNDaM prasthApayati [.] kaliGgAgatayA ca senayA vitrAsayati azmakanagaram' (RSika-nagaramiti vA) [1] 4 / tRtIye punarvarSe gandharvaveda-budhaH darpa-nRtta-gIta-vAditra-sandarzanairutsavasamAja-kAraNAbhizca krIr3ayati nagaraum [1] 5 / tathA caturthe varSa vidyAdharAdhivAsaM arkatapuraM kaliGga-pUrvarAjAnAM dharmeNa vai nautyA vai prazAsayati sarvatra dharmakUTena [.] bhIta-trastAn ca nikSipta-chatrabhRGgArAn hata-ratna-skhApateyAn sarva-rASTrika-bhojakAn pAdau vandayati [i] 6 / paJcame cedAnI varSe nandarAjena trivarSazatAt pUrvamudghATitaM tanazUlIyaghamanaH praNAloM nagaraM pravezayati [5] zatasahastraizca khAnayati [1] / abhiSiktazca [SaSThe varSe rAjazriyaM sandarzayan sarva-karapaNAdyanekAnuahAn zatasahasrasaMkhyakAn visRjati paura-jAnapade [1] 1. pAThAntara-kRSNaveNAgatayA......bhUSika-nagaram / (37) For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir 38 OLD BRAHMI INSCRIPTIONS 8 / saptame ca varSe asicchatra-dhvaja ratha-rakSi-turaGga-zata-ghaTAnAM sarvatra sandarzanaM sarva-maGgalAni ca kArayati zatasahasraH [1] 8 / aSTame ca varSe mahatyA senayA mathurAmanuprAptaH gorathagiri ghAtayitvA rAjagrAhakAn prapaur3ayati [.] eteSAJca karma-pradAna-praNAdena sambhItAn senAvAhanAn vipramoktaM mathurAmapayAta eva narendraH sarvagrahavAsibhyazca sarva [...] gRhapatibhyazca [...] sa [-] pAna-bhojanaM dadAti [.] [kaliGgaM yAti [,] pallava bhAra-kalpavRkSa haya gaja-nara-rathaiH saha yAti [.] sarva grahavAsibhyazca sarva-rAja bhRtyakamyazca sarvagRhapatibhyazca sarva-brAhmaNebhyazca pAnabhojanaM dadAti [.] AItebhyaH zramaNebhyazca [--] dadAti [-] zatasahasraiH [1] 10 / navame ca varSe vaidUrya kaliGga-rAjanivAsaM mahAvijaya-prAsAdaM kArayati aSTAviMzacchatasahastraiH [1] 11 / dazame ca varSe kaliGga-rAjavaMzAnAM TatIya-yugasargAvasAne kaliGgapUrvarAjAnAM yazassatkAraM kArayati zatasahasraH [1] 12 / ekAdaze ca varSe [-] maNi-ratnaiH saha yAti [] [-] kaliGgapUrvarAja-nivezita-pRthUdaka-darbha lAgale niSkAsayati [.] anupadarbhavanaJca trayodazavarSa-zata-kRtaM bhinatti timirahada-saMkhyAtam [1] 13 / hAdaze ca varSe [-] zatasahastraiH vitrAsayati uttarApatha-rAjAn [] [-] mAgadhAn ca vipulaM bhayaM janayatI hastyakhaM gaGgAyAM pAyayati [, mAgadhAnAJca rAjJAM bRhaspatimitraM. pAdau vandayati [, nandarAja-nautaM kAliGga-jinAsanam aGgamagadhebhyaH kaliGgamAnayati haya-gaja-senAvAhanasahanaiH [.] aGga-magadha-vAsinaH pAdau vandayati [] [-] vIthi catvara-palighAn gopurANi zikharANi nivezayati [] zataM vAsukayo ratnaM preSayanti [.] adbha tAnAzcAn hasyakha-pazUn parihArayanti[,] mRga-haya-hastina: upanAmayanti[] pANDyarAjA vividhAbharaNAni muktA-maNi-ratnAni AhArayati iha zatasahastrasaMkhyakAni [] [-] sinaH vazokArayati [i] 14 / trayodaze ca varSe supravartta-vijaya-cakre kumAro-parvate arhataH parinivasato hi kAya-niSIdoM rAjabhRtyaiH rAjadhATabhiH rAjaputraH rAjamahiSobhiH khAravelena zrImatA saptadaza-layana-zataM kAritam [1] For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA 39 15 / [-] satkRta-zramaNebhyaH suvihitebhyazca zatasya dizAM yatibhyaH tApasarSimyaH layanaM kArayati []] arhaviSIdyAH samIpe prAgbhAre varAkarasamutthApitAbhiraneka-yojanAhitAbhiH paJcaviMzacchatasahasrAbhiH zilAbhiH zilAstambhAn ca caityAni ca kArayati [.] pATalika-catvare ca vaidUrya-garbha stammAn pratiSThApayati paJcasaptati-zatasahasraH [] [vaidUrya-nIla-vyavacchinnaM caityayaSTAIzatakaM tiryak utpAdayati [1] 16 / kSemarAja: sa [] vaI-rAjaH sa [1] indrarAjaH sa [5] dharmarAjaH pazyan zRNvananubhavan kalyANAni [-] guNa vizeSa-kuzala: sarva-pASaNDa-pUjakaH sarva-devAyatana-saMskAra-kArakaH apratihata-cakra-vAhana-bala: cakradharaH guptacakraH pravarta-cakra: rAjarSi-vaMza-kula-viniHsRto mahAvijayo rAjA khAravela-zrIH [1] For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA TRANSLATION 1. Let the head bend low in obeisance to Arhats, the Exalted Ones. Let the head bend low (also) in obeisance to all Siddhas, the Perfect Saints. By His Lordly' (and) Graceful Majesty 3 Kharavela, the mighty ruler, the Sovran Lord of Kalinga, whose vebicle is Mahamegha (the greatcloud-like state-elephant), who is the increaser of the Royal House of Ceta, who is possessed of the noble and auspicious bodily marks, who is gifted with the capacity for protecting the earth extending as far as the four seas, were played, for fifteen years, the games befitting the young age of the prince,8 with a body lovely and of fair brown complexion.'! Thereafter, 1. Adoration or salutation as a rendering of namo does not precisely convey its meaning. The Indian namaskara primarily signifies the bending of the head in token of respect. Here namo is a symbolical expression, into which a whole sentence has been abbreviated. 2. Here Aira has been taken to be a synonym of Arya or Srami, Lord' or 'Master.' I am against equating it with Aila, a derivation from Ila. Adopting the reading Verena, I may offer By His Heroio, etc.' as an alternative rendering 3. The English rendering of Siri is Graceful rather than Gracious. 4, Or, who vies with Mahendra, the mighty king of the gods, whose vehicle is cloud. For the epithet Mahameghavahana, cf. the Mahabharata, Sabhaparva, Ch. XIV, Verse 13 : Vakradantah Karugas ca Karabho Meghavahanah. Jayaswal seems to think that the Megha in the Paranas is nothing but a shortening from Meghavahana. In the Arthasastra, II. 2. 20, the elephants of Kalinga, Aiga, Pracya and Karusa are said to have been of the best breed: "Kalinganga-gajah sresthah Pracyas ceti Karusajah." 5. The Royal House of Ceta is the same expression as Jayaswal's "the House of King Ceta." Adopting the reading Ceti-tajavamsa, one may translate" of the Cedi rnling race." 6. That is, the marks or features that are of importance to the astrologer, diviner, palmist or physiognomist. 7. Adopting the reading caturamtala.thuna, one may render with Jayaswal-"the support of the whole land"; or, adopting the reading caturama-lathuna, one may render with Sten Konow-"provided with virtues famous to the four ends of the world)." 8. Jayagwal's "princely games" may be preferred for its brevity, 9. With Childers kalara or kalara is "tawny" or "tan-coloured." Sten Konow suggests that Siri-kadara is the same Prakrit expression as Siri-katara, which means, according to the Sabdamala, nagara and kami. From this he is led to think that " Siri-kadara is the lover of Sri, i.e., Krona," and that "Kharavela's boyish games are compared with Krana's pranks and sports in Vindavana." Jayaswal ( 40 ) For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA 41 for nine years, just the office of a Crown-Prince was administered by (His Royal Highness) who became an expert in (matters relating to) writing, coinage, accounting, administration and procedures, whose self was purified by proficiency in all (Indian) 'polite learning.'2 On completing then (his) twenty-fourth year, he who, as he waxed great, passed the rest of (his) manhood in making conquests, gained the high state implied in the coronation of a great king, in the royal dynasty of Kalinga, in the third generation of two kings." 2. And as soon as he was anointed, in the very first year, (His Majesty) caused the gates, walls and buildings that had been damaged by stormy wind to be repaired in the city of Kalinga, and caused the embankments of the deep and cool tanks to be built up, and (also) caused the work of restoration of all the gardens to be done at the cost of thirty-five hun dred thousand (coins), and (thus) enabled the people (his subjects) to be pleased." finally accepts Sten Konow's explanation and renders Siri-kadara "the lover of Sri (Vienu)." I think it will not be judicious to commit ourselves so far as that. "Kadaram trna-bahni-vat" is a quotation made by Jayaswal just to the point. Cf. Kadara-Jaimini, Kalara-Janaka, and Kalara-mattuka. 1. See Notes passim. 2. I mean, the whole body of useful sciences and arts. See Notes passim. 3. The expression vadhamana involves the metaphor of the moon waxing day by day. Cf. Kalidasa's Kumara-Sambhava-Kavya, I, 25: Dine dine sa parivardhamana labdhodaya candramasiva lekha | 4. For maharajabhisecana, cf. yuvarajabhisecana in the Artha-Sastra, II. 36. 5. Jayaswal takes tutiye Kalimga-rajavamse purisa-yuge to mean "in the third dynasty of the Aira line of the kings of Kalinga." According to R. C. Mazumdar, the phrase does not mean any more than "in the third generation of the Kalinga kings, the third generation of the same reigning dynasty." In accordance with the above rendering, the phrase meaus. "in the third generation of the same reigning dynasty of Kalinga, each generation of which was considered as consisting of two kings." Jayaswal's rendering is evidently based upon the authority of a few Sanskrit stanzas quoted by him from an old Oriya manuscript, which according to Prof. Haraprasad Shastri, belongs to the 14th century A.D., These stanzas clearly state that a king named Aira, who was the lord of Utkala, had defeated King Nanda in a battle, and that he was a great friend or enemy of Asoka. There is nothing definite to show that Kharavela belonged to the third dynasty of the Aira line of Kings. For further discussion, see Notes passim. 6. Jayaswal connects pana-tisahi satasahasehi with pakatiyo, taking it to denote the total number of the subjects, the citizens of Kalinga, whom Kharavela sought to please. He cites with confidence, in his support, the authority of the Siddhanta-Kaumudi which 6 For Private And Personal Use Only

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42 OLD BRAHMI INSCRIPTIONS 3. And in the second year, not (at all) bringing Satakarni into (bis) thought, (His Najesty) caused a multitudinous troop of horses, elephants, foot-men and chariots to move on to the western quarter, and with the aid of the army from Kalinga, struck terror, into the city of A saka. 4. Again, in the third year, (His Majesty), who was versed in the science of music--the Gandharva-lore, caused the capital (the city of Kalinga) to be amused by exhibiting 'combats,' 2 and dancing, singing and musical performances, and (no less) by arranging festivities and merry gatherings.'3 5. Likewise, in the fourth year, (His Majesty) caused the city of Arakata which was the habitation of Vidyadbaras, the spell-muttering denizens, to be governed in accordance with the principle and usage of the former kings of Kalinga, all over by the highest kind of law, and compelled all the local chiefs '4 and headmen '5 who were robbed of their wealth ganctions the use of the expression "Satena vatsan payayati payah," applying satena to mean "satena parichidya." Supposing satena in this expression is connected with vatsan (calves, an Accusative plural), what does it mean? Does it mean a hundred calves ? I would say, No. Here satena vatsan just means "the calves divided into the groups of one hundred." Applying this meaning of satena vatsan to panatisahi sata-sahasehi pakatiyo in Kharavela's text, one has to say that Kharavela pleased his subjects, dividing them into the groups of thirty-five hundred thousaad persons, a meaning, which hardly suits the context. See what Patanjali has got to say on this point. In commenting on Panini's aphorism, II. 3. 18, he says: " Dvidronena dhanyain krinatiti......dvidrosene kiranyena dhanyam krinati" and 80 as to "pancakena pasun, sahasrena asvan krinatiti." Thas going by the authority of Patanjali, one may explain Kharavela's clause as meaning "he sought to please his subjects by spending thirty-five hundred thousand coins,' if pana-tisahi sata-sahasehi be at all connected with pakatiyo. For connecting panatisahi satasahasehi with pakatiyo Jayaswal's argument is that there is a large space between karayati and panatisahi. I can quite see that spaces in the Hathi-Gumpha inscription have some meaning. But that meaning in not in all places punctuation. The spaces are also intended to keep twe words distinct. Even it is found that spaces are not where they should be, e.g., in L 4, before tatiye puna Dase. * 1. Note that in the Nagik Cave inscription, Cave No. 3, Satukarni has been described as the lord of Arika and Asaka among other places mentioned by name (A sika-A saka ...... pati). Adopting Jayagwal's reading Kanhapenagataya...... Musika-nagaram, one may translate" with the aid of the army which advanced as far as the Kranavena river, struck terror into the Musika city." 2. For the meaning of dampa or darpa, see Notes passim. 3. For the meaning of samaja, see Notes passim. 4, 6, For the neaping of rathika-bhojalca, see Notes passim. For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA. 43 and jewels, whose insignia consisting of umbrellas and golden vases had been cast away, who were frightened and terrified, to bow at (bis) feet. 6. And, then, in the fifth year, (His Majesty) caused the canal opened out by King Nanda, a hundred-and-three years back, to be brought into the capital from the Tanasuli" road, and caused (it) to be dug at the cost of a hundred thousand (coins). 7. And in the sixth year since he was anointed, (His Majesty), while displaying the royal fortune, 3 bestowed an unprecedented) favour on the inhabitants of the towns and districts 4 by remitting all taxes and duties 5 amounting to many hundred thousand (coins). 8. And in the seventh year, (His Majesty) caused a hundred kinds of pom pous parade of swords, umbrellas, flags, chariots, guards and horses, and all ceremonies of victory i to be performed at the cost of some hundred thousand (coins). 9. And in the eighth year, (His Majesty) baving killed 8 Gorathagiri on reaching Mathara with a mighty army, caused a terrible pressure to be brought to bear upon the people of Rajagaha (Rajaglha),10 and, in order to release the troops and vehicles terrified by the uproar of counter-attacks 1. Or, three hundred years. 2. To me, Tanasuli is the same expression as Tanasiva. I am not sure if Tanasult is the same place as Tosali mentioned in Asoka's two Separate Rock Edicta. 3. Adopting tho reading rajasuyam, Jayaswal translater" showing Rajasuya." 4. Jayaswal seems to go too far in explaining Pora.Janapada as moaning the Paura and the Janapada as two corporate bodies. See Notes passim. 5. Here kara-pana has been taken as an equivalent of the Sanskrit kara-pana or kara. panya. Jayaswal translates "all Government taxes (lit., tad money)." 6. Or, remitted all taxes and duties and did many hundred thousand (other) kinds of farour. 7. Note that in the Sattu-Nipata, mangala has been used as the opposite of parabhava. The idea of victory attaching to the word mangala is clearly brought out in the conclu. ding verse of the Mangala-Sutta which reads : Etadisani katvana subbattham aparajita Sabbattham sotthim gacchanti tam tesam mangalamuttamuntil 8. Suggesting the reading malata-bhitti Goradharim ghutapayita, Jayaswal translates "having got stormed the Gorathagiri (fortress) of great enclosure." For arguneuts for and against taking Gorathagiri as the name of a hill fortress or as a personal name, see Notes passim. 9. Literally, terribly opp:essed. 10. Adopting the reading Rajagaham upapidapayati, Jayaswal translates causes pressure around Rajagrha (lays siege to Rajagrha)." For Private And Personal Use Only

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10 44 OLD BRAHMI INSCRIPTIONS on their part, as he, the lord of men, retreated to Mathura, 1 offered food-and-drink as a means of entertaining all the inbabitants of the place), and all the royal servants, all the householders, all the Brahmins and Arbata (Jain) recluses, returned to Kalinga, marching back with Kalpavsksa, the Wishing Tree, burdened with foliage, and the troop of the horses, elephants, footmen and chariots, offered (on return) food-anddrink by way of entertaining all the inhabitants, and all the royal servants, and all the householders, and all the Brahmins, and offered food and drink (also) for entertaining the Arbata (Jain) recluses, at the cost of [so many] hundred thousand (coins). 10. And in the ninth year, (His Majesty) caused Mahavijaya-Pasada, the Great-victory Palace, the Beryl(r) House of the King of Kalinga, to be built at the cost of thirty-eight hundred thousand (coins). II. And in the tenth year, on the termination of a part of the period of reign of the third generation of two kings of the royal dynasty of Kalinga, (His Majesty) caused homage and honour to be paid to the memory of the former kings of Kalinga at the cost of a hundred thousand (coins). 4 12. And in the eleventh year, (His Majesty) went in procession with jewels, precious stones, etc. [-] caused the grassy jungle of Psthudaka, founded by the former kings of Kalinga, to be driven into the Langala river, 6 and destroyed the watery jungle of grass called Timira-daha, the Dark-swamp,? which grew up in one hundred and thirteen years. 8 1. Jayaswal translates " on account of this report of the acts of valour (i.e., the capture of Goradhagiri, etc., the king so called to forsake the invested (sambita) division of his army, went away to Mathura indeed." Reading Yavana-raja Dimata, Sten Konow translates " and through the uproar occasioned by the action the Yavana king Demetrios went off to Mathura in order to relieve his generals who were in trouble." 2. It is mentioned in soine of the Jain books that only the paramount sovereigns we e entitled to perform the ceremony of installing the Wishing Tree. 3. Some of the scholars prefer lapis lazuli as a rendering of vetluriya or raidurya. 4. Ruadiog mahadhitabhisamayo Bhuradhavasa-pathanam mahi-jayanam...ti karapuyati, Jayaswal translates "he having by sacred rites undertaken war, causes... departure for Northern India to conquer the land." 5. Indraji reads the name as Pathula ; Fleet, as Pamthudamga; Syl ain Levi, as Pithuda (Pihumda); Sten Konow, as Pithumda; and Jayaswal, as Pithuda. 6. Sylvain Levi and Sten Konow read gadabhanamgalena kasayati and translate, " caused to be ploughed with the donkey plough," which means "to be destroyed." 7. Or, "abounding in dark swamps." 8. Adopting the reading terasa-casa-sata, Indraji, Jayaswal and Sten Konow translate " thirteen hundred years." Adopting the reading terasa-khasa-satam, R. C. Mazumdar translates "thirteen hundred Khasas." For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA 45 13. And in the twelfth year, (His Majesty) caused (something to be done] with the aid of (some] hundred thousand, produced consternation among the rulers of Uttarapatha,' while generating a great fear for the people of [Arga and] Magadha made the elephants and horses to drink at the Ganges, and compelled Bahapatimita, 4 the king of Magadha, to bow at his feet ; caused the honoured seat of the Jina belonging to Kalinga which was taken away by King Nanda to be bronght back from Anga and Magadha to Kalinga by a procession of the horses and elephants and a thousand troops and vehicles, and compelled the inhabitants of Anga and Magadha to bow at his feet; [] caused the streets, courtyards, gate-bars, gates and temples to be set up; one hundred Vasukis (Dragon Chiefs) sent (him) precious stones, supplied (him) with rare and wonderful elephants, horses and such other animals, and made presents of antelopes, horses and elephants; the king of Paudya had procured the various kinds of apparels and ornaments, hundreds and thousands of them, for use here in the city of Kalinga) 9; [-] brought (some ones) into submission. 14. And in the thirteenth year, on the Kumari hill,' in the well-run realm of victory,8 one hundred and seventeen caves were caused to be made by His Graceful Majesty Kharavela, by his queens, by his sons, 1. Literally, terrifiod. 2. Adopting the reading Utarapadha-rajanam, one may translate "the king of Uttara patha." 3. Reading hathi Sugamgaya payayati, Jayagwal translates "he effects the crossing of the Ganges on his elephants." 4. See Notes passim. 5. Reading hathi-navana for hathisa-pasavam, Jayaswal translates " cargo of elephant. ships." 6. Note that by idha or iha Asoka had clearly meant Pataliputra, his capital. See Rock Edict, V. 7. From the two data supplied in Udyotakesari's inscription in Lalatendukesari's cave on the Khandagiri hill, the installation of the images of twenty-four Tirthai karas, such as those in the Navamuni cave, and the excavation of a tank, it may easily be inferred, as done by R. D. Banerji, that Kumara-parvata was the ancient name of Khandagiri. If so, by way of contrast, Kumari-pavata nay be regarded as the ancient name of Udayagiri. There is much justification for Banerji to remark that the twin hills, Khandagiri and Udayagiri, were known as the Kumara. Kumari-pavuta even up to the 10th or 11th century A.D. 8. It seems that supapata-vijaya-cake Kumari-parate is an expression of the same kind as vijaya-rajye sri-Kumara-parcata-sthane. One may also translate : "on the Kumari hill in the august belt of Suparvata, the noble mountain range," For Private And Personal Use Only

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46 OLD BRAHMI INSCRIPTIONS by his relatives, by his brothers, by the royal servants for the residing Arhats desiring to rest their bodies." 15. [And in the fourteenth year,] (His Majesty) caused a cave to be built for the honoured 3 recluses of established reputation as well as for the yatis, hermits and sages hailing from a hundred directions ;8 caused the shrines and stone-pillars to be made with stone-slabs quarried out of the best quarries and collected from an extensive area of many leagues; [-] caused the pillars to be set up in a beryl-hall with ornamental floor and ceiling at the cost of seventy-five hundred thousand (coins); and caused half-a-hundred shrine-posts (votive pillars) inlaid with the alternate settings 11 of beryl 1! and emerald (lotuses) 13 to be produced across (alongside).14 16. He who was the lord of security, he who was the lord of bounty, he who was like Inda-raja, the lord of power, she who was] like Dhamma-raja, the lord of justice, perceiving, hearing and experiencing the 1. Reading Yapa-navakehi, Jayaswal translates to the Yapa professors who are actively engaged in Yupu und Rhemu practices." 2. For the meaning of kaya-nisidiyaya, see Notes passim. 3. Readiny sukuta, Jayaswal translates "virtuous." 4. Jayaswal translates " well provided for." 5. They are the spiritually advanced Brahmanical ascetics of the fourth stage of effort. Yati is but a synonym of bhiksu and parivrajuka. 6. They are the Brahmanical religieus of the third stage of effort. 7. They are the high-farned Brahmanical teachers, whether belonging to the second stage of effort or to the third. 8. Reading sava-disanam with Indraji, one may translate" of all quarters." 9. Buddhaghoga explains the term pataliki as meaning "ghanapuppho unnamayo attharako" "a woollen coveriet thickly woven with flowers." He informs us that a patalika was also known as umilaka-patta (Childers, sub ooce Patalika). Jayaswal suggests that patalika. aracatoara, meaning "on the lower roofed terrace" is the Sanskrit equivalent of Kharavela's patalika catare. 10. Ceca-yathi=caitya-ganti, cf. chatra-yasti, Luders' list, Nos. 925, 927. For cetiya=cecca, see Fausboll's jatika, Vol. V, p. 273 : Ceco'ti Cetiya raja. Ceca-yathi is but a synonym of cetiya-khambha, which means a caitya-pillar, Luders' List, Nos. 1210, 1229. 11. The literal rendering of vochimna is "divided alternately into." 12, 13. The vaidurya and nila varieties of gems are thus enumerated in the Artha-bastra, II. 11.29 : (1) Vaiduryah-utpalavarnah, sirusapugpakah, udakavarnah, vamiaragah, sukapatravarnah, pusyaragah, gomatrakah, gomedakah." (2) "Nilavaliyah-indranilah, kalaya. puspakah, mahanilah, jambavabhah, jimutaprabhah, nandakal, sratanmadhyah, aitavrati, suryakantas ceti marayah. 14. For justification of the rendering of the concluding clause of the record of the 14th year, see Notes passim. For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA things that are conducive to welfare,' [-] was His Graceful Majesty Kharavela, the great conqueror, who was descended from a family of the dynasty of royal sages, who kept up the realm of royal command, the protector of the realm of royal command, who was strong with undaunted carriers of the realm of royal command, who was the repairer of all abodes of the gods, the honourer of all sects, who became an expert by the possession of special qualities. 3. Literally, by whom is protected. 4. i.e., ministers and officers, 5 i.e., shrines and temples. Acharya Shri Kailassagarsuri Gyanmandir 1. The five mahakalyanas, according to the Jainas, consist of the Descent, Birth, Initiation, Attainment and Final Release in the life-history of a Jina. 2. Cakka is the anacakka or ajnacakra. For Private And Personal Use Only 47

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No. II INSCRIPTION OF KHARAVELA'S CHIEF QUEEN RELATING TO THE VAIKUNTHAPURA CAVE For Private And Personal Use Only

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93298 INSCRIPTION OF KHARAVELA'S CHIEF QUEEN The followin, record is connected with the cave which is called Vaikuntha Cave by Mr. James Prinsep and Vaikupthapura Cave by Raja Rajendra Lala Mitra. The cave concerned "is in reality," says Mr. R. D. Banerji, "the upper story of a cave with stories and a side-wing, but the local people very often give different names to different parts. It was known as Svargapura sometime ago. In the plan printed with the Puri volume of the Bengal District Gazetteer, the whole group is called Mancapuri. I have found that the local names of these caves vary with each generation. As one name is forgotten, a new one is immediately invented. The record is incised on the raised space between the second and third doorways in front. This raised space represents a house or verandah with a pointed roof and spires supported little dwarfs who act as brackets. (The record itself) consists of three lines which have suffered much from exposure. The characters of this and the following two inscriptions are slightly later than those of the Hathigumpha inscription of Kharavela." Regarding this and the following two caves, and regarding this and the following two inscriptions, we have the following authentic account in Raja Rajendra Lala Mitra's Antiquities of Orissa, Vol. II, pp. 14-15: "Further north-west of the Gopalapura and Muncapura caves), a little above the level of the surrounding country, we come to a two-storeyed range designed somewhat in the style of the Queen's Palace (Rani-nur), but on a smaller scale. The storeys are so arranged as not to rest directly one above the other, but the upper recedes so as to have the top of the lower one open to form a terrace. The upper storey is called Vaikunthapura, and the lower Patalapura. The lower storey comprises a suite of three rooms, two on a line facing the west, and one on the south, projecting considerably beyond the line of the former, the whole protected by a verandah in front. The eastern rooms are of a trapezoid shape, the extreme length before and behind differing by about I foot, the breadth being 7 feet. Each room has two doors opening into the verandah. The southern room is also a trapezium 10 feet in length on the western side, and 11' 6' on the southern, the breadth being, as before, 7'. It opens into the verandab by a single door. The doorways are framed with pilasters and semi-circular arched ( 51 ) mA. zrI kailAsalAgarahuri ganama die zrI mahAcIra jaina mAgatA yeta ST, (ingl ** For Private And Personal Use Only

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52 OLD BRAHMT INSCRIPTIONS bands on the top as in the Queen's Palace, but without any intervening frieze. The two ends of the verandah project forward to the extent of about 5 ft. Its pillars are now very much decayed, and mis-shapen, but originally they were of the Queen's Palace type, square above and below, and octagonal in the centre. The architrave once had a deep frieze formed of basso-relievo figures of men and animals, but it has been very much defaced by the ravages of time." "A little beyond the northern projection of the verandah, there is a narrow flight of steps reaching to the upper storey which is an exact counterpart of the lower floor except that on the east side, there is only one room running along the whole length of the verandah, and baving three doors, and the side room has, in the middle of the western wall, a window of a much larger size than any that I have seen on this hill. The dimensions of the eastern room are 22' x 6' 6", that of the southern room 9' X 6', both average, and that of the verandah 24' x 3 ft. The doors measure 3 ft. by 2, and have the usual side pilasters and semi-circular arched bands, but no frieze. The verandah had a range of four detached and two attached pillars, of which the last only are visible. On the architrave on the top of the verandah, there was a frieze of angels, elephants, devotees, the Bo tree, the wheel of law, etc., but they are hardly distinguishable now." "To the west of the southern room and forming the right wing of the Patalapura cave, there is a small room running east and west, with two doors and a verandah divided into two intercolumniations by a beavy pillar in the middle. At the corner where the verandah starts from the Patalapura range, there is an alto-relievo figure against the side pier, in imitation of the sentinel before the right wing of Queen's Palace. The cave is in a very ruinous condition now, and bears the appropriate name of Yamapura or Hades. The exterior view of a rihara on the Udayagiri hill in Mr. Fergusson's Illustrations of the Rock-cut Temples of India represents the three caves of Vaikunthapura, Patalapura and Yamapura." "On the right hand pier of the centre door of the Vaikuotha range (the upper storey of the Mancapuri cave in Mr. Banerji's description), there is a Pali inscription in the Lat (Asokan) characters, which is very carefully and deeply cut." The text is based upon Major Kittoe's facsimile read and reproduced by James Prinsep in JAS 3, old series, Vol. VI, PI, LVII, Cave No. 8 called Vaikuntha Cave ; Rajendra Lala Mitra's copy of Prinsep's transcript For Private And Personal Use Only

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INSCRIPTION OF KHARAVELA'S CHIEF QUEEN For Private And Personal Use Only 53 in his Antiquities of Orissa, Vol. II, p. 15, the Cave called Vaikunthapura; Alexander Cunningham's eye-copy reproduced in Corpus inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No. 9 called Vaikuntha; Bhagawanlal Indraji's eye-copy reproduced in Actes du Sixieme Congres International des Orientalistes, Part III, Sec. II; Luders' List of Brahmi inscriptions in E I, Vol. X, Appendix, No. 1346, the Cave called Svargapura; Haridas Dutta's inked impression read and reproduced by R. D. Banerji in E I, Vol. XIII, Udayagiri and Khandagiri Cave-inscriptions, Pl. I, No. I, the Cave denoted by the expression "the upper storey of the Mancapuri Cave"; and, above all, A. E. Caddy's cast preserved in the Indian Museum, Calcutta.

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INSCRIPTION OF KHARAVELA'S CHIEF QUEEN TEXT 8 * * Arahamta-pasada (na) m1 Kalimga(na)m2 (sama)n[a]nam3 lenam karitam [,--]rajino La]laka (sa)? [1. 1] Hathisa(i) ha-sampa(n)atasa 8 dhutuna9 Kalimgaca(kavatino)10 (siri-Kharave)lasa " [1.2] aga-mahisi(n)a 12 ka[r]i-(tam)13 [.] [1.3] Acharya Shri Kailassagarsuri Gyanmandir 1. The fourth letter is not at all noticed in Kittoe's facsimile. Cunningham and Indraji correctly read pasadanam. Sten Konow thinks that the reading may be pasadaya, a Dative form of pasada in the sense of prasada or "gift." Luders contemplates a similar reading when he renders the word "in honour of." Banerji reads pasadayam, treating it as a Locative form of pasada, which is taken to be the equivalent of prasada, "temple or palace." His argument in support of his reading pasadayam is this: "There is a short vertical stroke attached to the right end of the horizontal base line of the letter," and "there are indications of a similar vertical stroke at the left end." But pasadayam as a Locative form of pasada in the sense of prasada, "temple or palace" is unexpected in the language of an inscription of this kind, pasada being a neuter stem. Were Banerji's reading at all correct, pasadayam might have been treated as a Sandhi of pasada (=Sk. prasadat," by the grace of") and ayam, a pronominal adjective qualifying lenam, although here, too, one would expect idam or imam instead of ayam. So far as I am able to ascertain, neither the plaster cast nor the original stone shows any trace of a short vertical stroke attached to the end of the left extension of the horizontal base line. The appearance of such a stroke above the right extension of the horizontal base line may be due to the mysterious work of a hornet. The letter, as we see it, is neither ya, nor pa, nor na. The reading of it as pa (pasadapam) yields no intelligible meaning. The reading of it as na (Arahamta-pasadanam, "of the Arhata [Jaina] faith") yields an intelligible meaning. The letter with a short vertical stroke appearing above the right extension of the horizontal base line resembles the third letter after Hathisaha in 1. 2 which Prinsep reads no, Cunningham reads na, and Indraji and Banerji read po. It resembles the third letter of papunati in I. 1 (1. 3), and the first letter of nagari in I. 4 (1. 5), see Pl. 1, JBORS, Vol. III, Part IV, p. 472. 2. Prinsep reads Kalimga; Cunningham, Kalimganam. Indraji and Banerji correctly read Kalimganam. 3. The first letter is represented in Kittoe's fascimile as ya, and the second letter is not at all noticed. Cunningham is the first to correctly read samananam. In Dutta's estampage, the lower half of the letter ma is missing on account of abrasion. 4. Prinsep reads lona, rendering it "excavated." Cunningham and Indraji read lenam. Banerji correctly reads lenam. (55) For Private And Personal Use Only

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56 OLD BRAHMI INSCRIPTIONS 5. Prinsep reads kadatam, mistaking the second letter ri for da. It seems to appear, at first sight, as da. Cunningham is the first to correctly read karitam. 6. Prinsep reads rajino. Bat Kittoe's facsimile has clearly) the a-mark in the first letter. 7. Prinsep reads lasa......Kittoe's facsimile shows the traces of four letters which are clearly set forth in the eye-copies of Cunningham and Indraji. Both Cunningham and Indraji read Lalakasa. In Dutta's estampage, as noted by Banerji, "the 2-mark is more prominent in the second syllable than in the first." 8. Prinsep reads hethisahasampanot asa. Kittoe's facsimile has hethisehasam. Cunningham reads hathisahanampanatasa; Indraji, Hathisahasa papotasa, suggesting that the intended name must have been Hathisiha; Banerji, Hathisahasa papotasa, suggesting that the intended name is either Hathisahasa or Hathisaha. The inscribed - surface of the original stone distinctly shows that the four letters after Hathisaha or Hathis[i]ha are sam-pa-(n)a-ta-sa. It showed the same even a century ago when Kittoe prepared a facsimile of it. It is certain that the third letter may be read as (pa but by no means as (po. When the fourth letter is a clear ta, we need not presume it to be a mysterious transformation from ga, in order to make out sampanagasa (sarpanagasya) after Hathisaha or Hathis[i]ha. For a similar compound in which a noun is preceded and followed by two adjectives qualifying it, cf. sakata-samana-suvihita in I. 15. 9. Prinsep reads only the first letter as ya. Kittoe's facsimile has ya, una. Cun. ningham reads ca tino. Indraji and Banerji correctly read dhutuna. Jayaswal fails to find out in Dhutina the name Dhuti( = Sk. Dhreti) of King Lalaka's daughter. 10. Cunningham reads only the first letter as ca. Indraji proceeds so far as cakavati. Banerji hits the goal by reading cakavatino. 11. Prinsep reads the last three letters as velasa. Indraji reads the last five letters as Kharavelasa. Banerji reads all the seven letters as siri-Kharavelasa. 12. Prinsep reads mahi pita ; Cunningham, mahi pida. Indraji correctly reads mahi. sina. 13. Prinsep reads kada ; Cunningham, kada; Dutta's estampage bears out Banerji's reading karitam. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN THE ORIGINAL arahaMta pasAdA(naM) kAliMgAnaM samanAnaM leNaM kAritaM - rAjino la[] lAkasa hathisa[ ] hasaMpa-(nAtasa dhutunA kaliMgacakavatino sirikhAravelasa aga-mahisinA kAritaM [1] TEXT AS IT READS IN PALI arahanta-pasAdAnaM kAliGgAnaM samaNAnaM leNaM kAritaM [.] rAjino lAlakasma hathisa[ ] i-sampabattasma dhautunA kaliGgacakkavattino siri-khAravelamma amgamahisinA kAritaM [] TEXT AS IT READS IN SANSKRIT arhatsu prasannebhyaH kAliGgebhyaH zramaNebhyaH layanaM kAritaM[,-]rAjJo lAlArkasya hasti[f] saMha-sampatrAtmanaH duhitA kaliGgacakravartinaH zro-khAravelasya agramahiSthA kAritaM [] TRANSLATION The cave has been made for the Kalinga recluses 1 of the Arhata (Jain) faith,2-caused to be made by the chief queen of His Graceful Majesty Kharavela, the (King) Overlord of Kaliiga,-by the daughter of the high-souled 3 King Lalarka 4 Hastisaha or Hastisimha. must translate: "The cave of the 1. Treating samananam as a Genitive case, one Kalinga recluses of the Arhata (Jain) faith." (57) For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 58 www.kobatirth.org OLD BRAHMI INSCRIPTIONS 2. Adopting the reading Arahamta-pasadaya, one may translate with Sten Konow and Luders: "In honour of;" and adopting Arahamta-pasadayam, one may translate: "By the grace of the Arhat or Arhats, this (cave)." # Acharya Shri Kailassagarsuri Gyanmandir 3. The word sampanata is equated with the Sk. sampannatma, which literally means "self-endowed," "one whose self has prospered by the attainment of desired objects." For the meaning sampannatma, cf. Chandogya Upanisad, VIII. 3: Yam yam antam abhikamo bhavati, yam kamam kamayate so'sya samkalpad eva samuttisthati, tena sampanno mahiyate. Sankara explains sampanna thus: abhipretarthapraptya ca sampanno. 4. L[a]laka or Lalarka means "glorious like the rising sun," apparently as an earlier synonym of Baladitya. For the use of Lalaka as a biruda, cf. Yasalalaka-Tissa occurring in the Mahavamsa (XXXV. 50) as the name of a king of Ceylon. But it may not be going too far to treat Lalaka. as a local epithet signifying that Hastisaha or Hastisimha was the sun of Lala." For Private And Personal Use Only

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No. III INSCRIPTION OF KADAMPA OR KUDEPA RELATING TO THE PATALAPURA CAVE

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INSCRIPTION OF KADAMPA-KUDEPA The following record is incised on a raised band between the third and fourth doors from the left' in the verandah of the lower storey of the Mancapuri group of three caves which are designated by Mr Fergusson and Raja Rajendra Lala Mitra as Vaikunthapura, Patalapura and Yamapura. There is every reason for believing that the inscription was meant to record the excavation and dedication of the second cave of this interesting group by siri-Kadampa or siri-Kudepa, the Sovran Lord of Kalinga, who may have been either the contemporary or immediate successor of siri-Kharavela. The text is based upon Major Kittoe's facsimile read and reproduced by James Prinsep in JASB, old series, Vol. VI, Pl. LVII, Cave No. 6 miscalled Manikpura; Rajendra Lala Mitra's copy of Prinsep's transcript in his Antiquities of Orissa, Vol. II, p. 16; Alexander Cunningham's hand-copy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No. 7 miscalled Manikpura; Bhagwanlal Indraji's eye-copy reproduced in Actes du Sixieme Congres International des Orientalistes, Part III, Sec. II; Luders' List of Brahmi inscriptions in E I, Vol. X, Appendix, No. 1347, Cave called Udayagiri Mancapuri-gumpha; Haridas Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Cave Inscriptions, Pl. I, No. II, Cave denoted by the expression Mancapuri Cave-Lower Story, Front Wall"; and, above all, A. E. Caddy's cast preserved in the Indian Museum, Calcutta. (61) Acharya Shri Kailassagarsuri Gyanmandir (6 For Private And Personal Use Only

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INSCRIPTION OF KADAMPA-KUDEPA TEXT Airasa' maharajasa Kalimgadhipatino2 maha(megha). vaha(nasa)* Kadampa - sirino" lenam" [:] 1. Prinsep, Rajendra Lala Mitra and Indraji read Verasa, Banerji reads Kharasa, which is impossible Cunningham, Jayaswal and Sten Konow read Airasa. I am strongly inclined to read the royal epithet also as Verisa. The first letter bears the closest possible resemblance to the first letter of the name Vaihidari in the Pabhosa inscriptions of Asadhasena edited by Fuhrer in EI, Vol. II. 2. Prinsep reads Kalimgadhipatano; Cunningham Kalimgadhipatino. Indraji is the first to correctly read Kalimgadhipatino. 3. Prinsep reads only the first letter as ma. Cunningham reads mahamegharahana; Indraji, mnhameghavahana; Banerji correctly, mahameghavahanasa. 4. Prinsep reads Kadepa. Cunningham reads the last two letters as depa. Indraji and Luders read the name as Vakadepa. Banerji reads Kudepa. In Dutta's estampage and in the cast one may read the first letter as Ku or ku, but I do not see how the second letter might be read as de. The second letter is unmistakably de or dam. 5. Banerji is perfectly justified in reading sirino as it appears in Dutta's estampage or in the cast. But there is nothing to prevent one reading sirino with Prinsep and others. 6 Prinsep and Rajendra Lala Mitra wrongly read lonam. ( 63 ) For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org TEXT AS IT READS IN THE ORIGINAL airasa (verasa iti vA ) mahArAjasa kaliMgAdhipatino mahAmeghavAhanasa kadaMpasorono (kUpa - sirino iti vA ) leNaM [1] Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN PALI arissa (vIrasma iti vA ) mahArAjassa kaliGgAdhipatino mahAmeghavAhanassa kadamba - sirino ( kUdeva - sirino iti vA ) leNaM [ i ] TEXT AS IT READS IN SANSKRIT yasya ( vArasA iti vA ) mahArAjasya kaliGgAdhipatermahAmeghavAhanasya zrI-kadambasya ( zrI kudevasya iti vA ) layanaM [1] TRANSLATION The cave (which is an excavation) of His Lordly Graceful Majesty Kadampa or Kudepa, the Great King, the Sovran Lord of Kalinga, whose vehicle is Mahamegha (the great cloud-like state-elephant ). (64) For Private And Personal Use Only

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No. IV INSCRIPTION OF VADUKHA OR VARIKHA RELATING TO THE YAMAPURA CAVE For Private And Personal Use Only

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INSCRIPTION OF VADUKHA-VARIKHA The following inscription, consisting of one line, 'is incised on the right wall of the verandah of the lower story, to the right of the entrance to the righthand side-chamber of the main wing' of the Mancapuri group of three caves designated Vaikunthapura, Patalapura and Yamapura by Mr. Fergusson and Raja Rajendra Lala Mitra. There is every reason for believing that the inscription was meant to be a record of the excavation and dedication of the third cave of this group by Prince Vadukha or Varikha. The text is based upon Major Kittoe's facsimile read and reproduced by James Prinsep in JAS3, old series, Vol, VI, P. LVII, Cave No. 7 miscalled Manikpura cave; Rajendra Lala Mitra's copy of Prinsep's transcript in his Antiquities of Orissa, Vol. II, p. 16; Alexander Cunningham's eye-copy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No. 8 miscalled Manikpura Cave; Bhagwanlal Indraji's eye-copy reproduced in Actes du Sixieme Congres International des Orientalistes, Part III, Sec. II; Luders' List of Brahmi Inscriptions in EI, Vol. X, Appendix, No, 1348, Cave called Udayagiri Mancapuri-gumpba; Hari Das Dutta's inked impression read and reproduced by R. D Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Cave Inscriptions, Pl. I, No. III ; and, above all, A. E. Caddy's cast preserved in the Indian Museum, Calcutta. ( 67 ) For Private And Personal Use Only

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2 INSCRIPTION OF VADUKHA-VARIKHA TEXT Kumaro-Vadukhasa 2 lenam [.] 3 1 Banerji rightly points out that the a-stroke in the second letter is added to the middle instead of the top. This phenomenon may be observed also in some instances afforded by the Hathi-Gumpha inscription. The o-stroke in the third letter is quite distinct. It is difficult to decide all at once whether the retention of the singular masculine Nominative case-ending in Kumaro, the first word of a compound, is a dialectical peculiarity or a mistake of the mason-engraver. In one of the Barhut Jataka-labels we have Sujatogahuto-Jataka, but in another, Miga-Jatakam. (69) Acharya Shri Kailassagarsuri Gyanmandir Prinsep wrongly reads Vattakasa; Cauningham, Vaddakasa or Vadukasa. Indraji is the first to read Vadukhasa. Regarding the second letter, Banerji remarks: "The medial u in Vadukha is very small in size but quite distinct"; and regarding the third letter, he observes that here the kha" has neither a triangle nor a circle at its base." It is not impossible that the intended name is Varikha, the u-stroke being only an accidental chisel mark. It is remarkable how Prinsep and Cunningham have mistaken ri for da in the inscription of Kharavela's chief queen, the Inscription No. II. Prinsep and Rajendi Lala Mitra wrongly read lonam. For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL kumAro var3akhasa ( varikhasa iti vA ) leNaM [1] TEXT AS IT READS IN PALI kumAra-valakhassa (varikkhassa iti vA ) leNaM [1] TEXT AS IT READS IN SANSKRIT kumAra-vaDukhasA ( varekSamA iti vA ) layanaM [1] Acharya Shri Kailassagarsuri Gyanmandir TRANSLATION The cave (which is an excavation) of Prince Vadukhai or Varikha.2 i Vadukha is apparently a pet name of the prince like Tivala in Asoka's "Queen's Edict." 2 Varikha may be equated with Vareksa, and taken to mean "one of excellent look." (70) For Private And Personal Use Only

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No. Y INSCRIPTION OF VADUKHA OR VARIKHA IN THE CHOTA-HATHIGUMPHA For Private And Personal Use Only

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marTV For Private And Personal Use Only

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INSCRIPTION OF VADUKHA-VARIKHA The following inscription noticed for the first time by Mr. A. E. Caddy, when he was taking casts of the inscriptions of this class for the Indian Museum, Calcutta, "consists," says Mr. R. D. Banerji, "of a single line, very much mutilated, on the outer face of the tympanum of the arch over the doorway." The text is based upon Hari Das Datta's inked impression read and reproduced by R.'D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. IX, the cave called Chota-Hathigumpba. I regret that Caddy's cast of the inscription, which Mr. Banerji saw in the Calcutta Museum, is no longer to be seen there. ( 73 ) For Private And Personal Use Only

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INSCRIPTION OF VADUKHA-VARIKHA TEXT ? ? kha ? ? ? sa ' lonam [-] 1. Banerji doubtfully reads the first three letters as Agikha. The first letter might be read as Va or Ta, but never as A. The second letter looks like du or ri, even like ta or sa, but never like gi. The letter after kha might be made out as ka or k[u]. The next letter which was probably ma has been split up into two parts, one appearing as da and the other as na. The letter immediately before sa seems to have been ra. I shall not be surprised if the record was meant to rend Vadukha (Varikha) kumaraga lonam [.] (75) For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL ?? ? ??? H U [1] var TEXT AS IT READS IN PALI ?? ??? g adi [1] TEXT AS IT READS IN SANSKRIT ?? C ??? ero [1] TRANSLATION The cave (which is an excavation) of Prince Vadukha or Varikha (?). (76) For Private And Personal Use Only

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No. YI INSCRIPTION OF CULAKAMMA OVER THE DOORWAY OF THE SARPA-GUMPHA OR SNAKE-CAV For Private And Personal Use Only

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INSCRIPTION OF CULAKAMMA The following "inscription, consisting of one line, is incised," says Mr. R. D. Banerji, "over the doorway of the Sarpagumpha, which is very close to the Bada-Hathigumpha (No. 14 of the plan published in the Bengal District Gazetteer, Puri)." Regarding the cave which is a notable excavation on Udayagiri, Raja Rajendra Lala Mitra in his Antiquities of Orissa, Vol. II, p. 30, says: "Retracing our steps now to the west of the Hathi-Gumpha, the first cave worthy of notice occurs on the most protruding ledge of the fracture between the Udayagiri and the Khandagiri hills. It is remarkable for having in front, on the top of its entrance, a rude carving of the hood of a three-headed cobra, whence its name Ajagara-Gumpha--ajagara, a serpent able to swallow (gara) a goat (aja). Under the hood of the serpent, the cave is cut in the form of a cube of 4 ft. with a door just large enough to admit a man crawling in, and framed in the usual style." For a similar authentic description of Sarpa-Gumpha, see Mr. Mano Mohan Ganguly's Orissa and Her Remains-Ancient and Mediaval, p. 46, where one reads : " It is a small cave consisting of a single cell and a verandah ;. the latter having in the front tympanum of the door, the carving of the hood of a three-beaded serpent, and hence the name. The level of the verandah is higher than the ground in front. Drs. Fergusson and Burgess (in their Cave Temples of India, p. 697), have taken the Tiger and the Serpent Caves to be the oldest sculptured caves in the hills. This cave is important for containing an inscription, which, however, does not throw any light on the probable date of its construction." The text is based upon Major Kittoe's facsimile read and reproduced by James Prinsep in JASB, old series, Vol. VI, Pl. LVII, Cave No. 1 called Snake-Cave ; Rajendra Lala Mitra's copy of Prinsep's transcript in his Antiquities of Orissa, Vol. II, p. 30; Alexander Cunningham's handcopy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No. 2 called Snake-Cave; Luders' List of Brahmi Inscriptions in EI, Vol. X, Appendix, No. 1349: Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. I, Vol. IV, Cave called Sarpagumpha; and, above all, A. E. Caddy's cast preserved in the Indian Museum, Calcutta. (79) For Private And Personal Use Only

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INSCRIPTION OF CULAKAMMA TEXT Culaka[m]masa' Kothajeya' ca (pasado] [ . ] 1. In Dutta's inked impression, the letter a appears to be le, the letter ka to be ko, and the letter ma to be me or mo. These vowel-marks must at once ne dismissed as chisel-marks or fissures. Kittoe need not be blamed for having represented kammasa as kammesa. Cunningham reads Culakammasa. But the u-mark attached to the first letter is prominent. Sten Konow says, " The first word looks like Culakemesa, owing to the abrasions on the inscribed surface. The estampage seems to read Oulakremesa." 2. Prinsep and Rajendra Lala Mitra read kothajaya. Cunningham reads kothajaya ; Laders, kothajeya; and Banerji, kothajeya. 3. The occurrence of the Copulative Conjunction ca is indicative of the loss of another word, which seems to be no other than pasado=pasudo. (81) 11 For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL 2 [] ## often a [UHET] [1] TEXT AS IT READS IN PALI cUlakammassa koThAjayayA ca pAsAdo [1] TEXT AS IT READS IN SANSKRIT CFANT 01877279 [ateic:] [1] TRANSLATION The facader and the unconquerable2 cells (which are the meritorious works) of Culakamma (Ksudrakarma). S 1. Banerji agrees with Prinsep, Rajendra Lala Mitra and Cunningham in rendering pasada (= pusada) 'temple or palace.' But it seems that a temple or palace is too high an honour to be accorded, in all cases, to any part of a cave-construction. What seems to have been meant by pasada or pasada here is a frontal outer construction consisting of a roofed, pillared and ornamented verandah and having the appearance of a palace. Pasada or Pasada is the same word in sound and meaning as facade. 2. Kothajeya is treated as a sandhi joining kotha and ajeyi. Here'unconquerable,' as suggested by Prinsep, rather means 'impregnable, than 'unequalled ' or 'ungurpagsable.' Banerji observes : " Kotha and jeya have been separated by Dr. Luders, most probably because the compound kothajeya) is followed by the conjunction ca, kotha, Sk. Kostha, is still in use in modern vernaculars to denote a brick or stone-built house or chamber, or even a fort. Jeya may have a technical meaning and may denote the verandah or some other part, wbile kotha denotes the main chamber. But it is also possible to take it in another way, in which there is a randhi between this word and ajeya, unconquerable, qualifying kotha or kotha. The only difficulty is the use of the conjunction." The guggested difficulty can be removed, if it be assumed that the conjunction was followed by a word like pasado or pasado. It is quite possiblo that jeya is a separate technical term denoting some kind of building work. Cf, jeyakah kara pitah in the inscription No. V from Northern Gujarat, EI, Vol. II. The term kothajeya may be taken to mean either a cellular shed' or 'chambers with arched entrances.' 3. According to Prinsop, Rajendra Lala Mitra and F. W. Thomas, Culakammar Cudakarma, which is apparently absurd. I agree with Liders in equating the Prakrit form of the name with the Sk. Ksudrakarma. ( 82 ) For Private And Personal Use Only

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No. VII INSCRIPTION OF CULAKAMMA. IN PAVANA-GUMPHA OTHERWISE CALLED HARIDAS-GUMPHA. For Private And Personal Use Only

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INSCRIPTION OF CULAKAMMA The following "record," says Mr. R. D. Banerji, "consists of a single line and is incised over one of the three entrances to the main chamber of the cave from the verandah. The characters belong to the first century B. C. and are distinctly later in form than those of the Mancapuri inscriptions (meaning Nos. II-IV)." Of the cave itself which is an excavation on the Udayagiri bill, we bave the following useful information from Raja Rajendra Lala Mitra's Antiquities of Orissa, Vol. II, p. 30: "Immediately to the north of the Elephant-Cave (Hathi-Gumpba) there is a small excavation which is known under the name of PavanaGumpba or the 'Cave of Purification. It is of no importance whatever as a work of art." The text is based upon Major Kittoe's facsimile read and reproduced by James Prinsep in JASB, old series, Vol. VI, Pl. LVII, Cave No. 5 called Pawan-Cave; lajendra Lala Mitra's copy of Prinsep's transcript in bis Antiquities of Orissa, Vol. II, p. 30; Alexander Cunningham's band-copy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No. 6 called Pawan-Cave; Luders' List of Brahmi Inscriptions in EI, Vol. X, Appendix, No. 1353, Cave called Haridasgumpha; Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. VI, Cave called Haridas Cave; and, above all, A. E. Caddy's cast preserved in the Indian Museum, Calcutta, (85) For Private And Personal Use Only

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INSCRIPTION OF CULAKAMMA TEXT Culaka [m]masa e pasato 2 kothaje(ya) ca + [.] 1. Prinsop and Rajendra Lala Mitra read Culakamasa. Cunningham reade Culakrammasa ; Banerji Culakramasa. I cannot conceive of the occurrence of a letter, such as kra, in this series of Jain Cave inscriptions. 2. Prinsep und Rajendra Lala Mitra read paseta. Kittoe's facsimile has paseta, Cunningham and Banerji read pasato. The correct reading must be either pasato or pasata, pasato deserving to be treated as a noun, which is the equivalent of pasado (or pasado), and pasata deserving to be treated as an adjective qualifying kotha. 3. Prinsep and Rajendra Lala Mitra read Kothaja(ya). Cunningham reads kothaja. Luders reads kothajeya; Banerji Kothajeya. 4. If it be that a word is effaced after the conjunction ca, the reading of the inscription must be this : Culaka[m]masa pasata kothaje(ya) CA (pasado] [.], the word posata being an adjective qualifying kotha. (87) For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL qan[*]ag qui TITOLO [] TEXT AS IT READS IN PALI culakammasma pAsAdo koThAjeyayA ca [1] TEXT AS IT READS IN SANSKRIT kSudrakarmasya prAsAdaH koSThajeyazca [1] TRANSLATION The facade and the unconquerable cells (which are the meritorious works) of Ksudrakarma, 1. In the cast, as well as in Hari Das Dutta's estampage, the word is pasato. There is absolutely no a-mark in the first letter. If pasato be a phonetic equivalent of pasado, and the clear estampage of this inscription guarantee the certainty of the reading pasato, it is to be seen whether pasato or pasado is the same word as pasado or prusadah, or it is a word to be equated with a word like pracchadah, meaning a projecting cover, that is, a verandah with an overhanging roof. Sten Konow suggests : "If we should read pasado (or pasato), this word is perhaps Sk. prasada, a gift." To my mind, the use of the word in the sense of a gift is altogether out of the question, Such a word with such a meaning cannot fit in with the context. (88) For Private And Personal Use Only

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No. VIII INSCRIPTION OF KAMMA AND KHINA TO THE LEFT OF THE DOORWAY OF THE SARPA-GUMPHA OR SNAKE-CAVE For Private And Personal Use Only

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INSCRIPTION OF KAMMA-KHINA The following "record," says Mr. R. D. Banerji, "consists of two lines and the characters used in it are about a century later in date than those of the other epigraph in this cave (Sarpagumpha). The characters belong to the first century B.C." The text is based upon Major Kittoe's facsimile read and reproduced by James Prinsep in JASB, old series, Vol. VI, PI LVII, Cave No. 2 called Snake-cave; Rajendra Lala Mitra's copy of Prinsep's transcript in his Antiquities of Orissa, Vol. II, p. 30; Alexander Cunningham's hand-copy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No. 3 called Snake-Cave; Luders' List of Brahmi Inscriptions in EI, Vol. X, Appendix, No. 1350; and Hari Das Dutta's inked impression read and reproduced by R. D. Banerji, in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. I, Cave called Sarpagumpha. ( 91 ) For Private And Personal Use Only

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INSCRIPTION OF KAMMA-KHINA TEXT Kammasa' (kotha) ca Khi-sl 1]-a(a)ya. ca pasado" [.] [1 2]. 1. Prinsep wrongly reads Kamesa. Kittoe's facsimile has Kamasa. Cunningham reads Kamase; Banerji correctly, Kammasa. 2 & 3. Prinsep reads rikhinaya; Cunningham, ra...khi Naya(co); Banerji, Halakhinaya. Dutta's estampage yields, at first sight, the reading suggested by Banerji : Halakhinaya= Sk. Slakanayah (F. W. Thomas), = doubtfully Harakina (Luders). But it is certain that the letter after khi is na or n[a]. Examining Dutta's estampage closely, I detect that the second lettor is tha. 4. Kittoe's faosimile has ce, and Cunningham's hand.copy co. The o-mark appears also in Datta's inked impression, which is undoubtedly an abrasion. Banerji correctly reads ca. 5. Prinsep, Rajendra Lala Mitra and Cunningham read pasade, which is incorrect. Kittoe's facrimile has pasado. Datta's estampage, too, yields the reading pasado. Sten Konow remarks: "The plate (reproducing Dutta's estampago) has, however, pasade though the a-stroke is indistinct and perhaps erased." ( 93 ) For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL kaMmasa koThA ca khoNAya ca pasAdo [1] TEXT AS IT READS IN PALI kammarama koThA ca khoNAya ca pAsAdo [1] TEXT AS IT READS IN SANSKRIT karmasya koSThazca kSINAyAzca prAsAdaH [0] TRANSLATION The cells (which are excavations) of Karma and the facade (which is a meritorious work) of Khina.1 1. Accepting the reading Halakhinaya, one must render the record: "The cells (or chambers which are excavations) of Karma and Slakana. (94) For Private And Personal Use Only

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No. IX INSCRIPTION OF BHUTI IN THE VYAGHRA-GUMPHA OR TIGER-CAVE For Private And Personal Use Only

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INSCRIPTION OF BHUTI The following "record is incised," says Mr. R. D. Banerji, "on the outer wall of the inner chamber of the Bagh or Tiger cave (No. 15 of the clan published in the Bengal District Gazetteer, Puri). It consists of two lines. The characters used are as old as the inscriptions in the Mancapuri cave and belong to the second century B.C." Of the Bagh-Gumpha or Tiger-cave which is an excavation on the Udayagiri, we have the following interesting description in Raja Rajendra Lala Mitra's Antiquities of Orissa, Vol. II, p. 31 : "In size it is similar to the (Alakapura cave), but its exterior is cut into the shape of a tiger's head. The distended jaws of the animal form the verandah, and the entrance to the cell occupies the place of the gullet. The head is remarkably well-formed, and the chiselling is excellent. By the right of the entrance (we have) a short inscription in the Lat (Asokan) character." For a similar description of the cave, see Mr. Mano Mohan Ganguly's Orissa and Her Remains--Ancient and Medieval, pp. 45-46, where one reads : " The Tiger cave, on the west of the Hati Gumpha is a small one consisting of a verandah, and a single cell. It is situated higher up the hill than the Ganesa or the Hati Gumpha. The roof of the front verandah is formed by the upper jaw of the animal. In this cave, the eye, nose and upper jaw of the tiger have been represented ; the two canine teeth on the two sides of the incisors have been shown; the number of incisors is greater than what is noticed in the animals of the feline species. The cell is provided with one door flanked by pilasters resting on raised platforms and surmounted by a semi-circular arch-band." For a short description of the cave, see Dr. W. W. Hunter's Statistical Account of Bengal, District of Puri and the Orissa Tributary States, p. 73. The text is based upon Major Kitto e's facsimile read and reproduced by James Prinsep in JAS B, old series, Vol. VI, Pl. LVII, Cave No. 5, called Tiger-cave ; Rajendra Lala Mitra's copy of Prinsep's transcript in his Antiquities of Orissa, Vol. II, p. 31; Alexander Cunningham's handcopy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. 1, Pl. XVII, ( 97 ) 13 For Private And Personal Use Only

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98 OLD BRAHMI INSCRIPTIONS Cave No. 4, called Tiger-cave; Luders' List of Brahmi Inscriptions, in EI, Vol. X, Appendix, No. 1351; Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. 7, Cave called Bagh or Tiger Cave ; and, above all, A. E. Caddy's cast preserved in the Indian Museum, Calcutta. The inscription is interposed between two symbols, a tree-symbol representing a vlksa-caitya or woodland-shrine and marking the commencement, and a Svastika marking the close. For Private And Personal Use Only

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INSCRIPTION OF BHUTI TEXT Nagara'-akhadansa-[1 1]-sa ? Bhutinos lenam * [-] [1 2]. 1. Prinsep, Rajendra Lala Mitra and Cunningham read Ugara. Luders and Banerji correctly read Nagara. 2. Prinsep and Rajendra Lala Mitra wrongly read avedasa, aveda being taken to mean an anti-Vedist, and the Genitive cage-ending sa being regarded as the initial of the donor's name which they read Sasupi. Cunningham reads akhadasa and Banerji, akhadamsa, both agreeing with Prinsep and Rajendra Lala Mitra in treating the sixth cage-ending sa as the initial of the donor's name which they read Sabhuti (Subhuti). Luders correctly reads akhadamsasa. Banerji's argument is : " There is plenty of space after the last letter of the first line and so it cannot be said that the possessive case-ending had to be incised in the lower line for want of space. Generally a mason does not mutilate words when there is no dearth of space." Sten Konow's counter-argument is : " The two lines have been kept of the same length, and that is apparently the reason why the termination of akhadamsasa has been written in L 2." I find that, in spite of there being no dearth of space, the mason has written, in one of the Barhut inscriptions, the sixth case-ending in L 2 (Hultzsch's Bharhut Inscriptions in I. A. Vol. XXI, No. 90): (1) Bhadata-Budharakhitasa Satupadana(2) 8a danam thabho. 3. Prinsep and Rajendra Lala Mitra road Sasuvin ; Cunningham and Banerji, Sabhutino. Luders correctly reads Bhutino. Caddy's cast, which I have carefully examined, clearly bears out Luders reading. 4. Prinsep and Rajendra Lala Mitra wrongly read lonam. ( 99 ) For Private And Personal Use Only

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1 TEXT AS IT READS IN THE ORIGINAL nagara- akhadaMsasa bhUtino leNaM [1] Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN PALI nagara-akkhadassassa bhUtino leNaM [1] TEXT AS IT READS IN SANSKRIT nagara-akSadarzasA bhUteH layanaM [1] TRANSLATION The cave (which is an excavation) of the Town-judge1 Bhuti. Nagara-akhadamsa is obviously the same official designation as Nagala. Viyohalaka or Mahamata-Nagalaka in Asoka's First Separate Rock Edict, and Nagarika or Nagarika. Mahamatra in the Arthasastra of Kautilya-Kautalya, Bk. II, Ch. 36 and Bk. IV, Ch. 6. 100) For Private And Personal Use Only

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No. X INSCRIPTION OF NAKIYA IN THE JAMBESVARA CAVE For Private And Personal Use Only

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INSCRIPTION OF NAKIYA The following "record is incised," says Mr. R. D. Banerji, "over one of the entrances to the inner chamber of the Jambesvara Cave (No. 16 of the plan published in the Bengal District Gazetteer, Puri). The characters of the inscription are of the same age as those used in the Mancapuri inscriptions." The cave itself is one of the excavations on the Udayagiri bill. The text is based upon Major Kittoe's facsimile read and reproduced by James Prinsep in J A S B, old series, Vol. VI, Pl. LVII, Cave No. 4, termed a nameless cave ; Alexander Cunningham's hand-copy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No, 5, termed a nameless cave; Luders' List of Brahmi Inscriptions in EI, Vol. X, Appendix, No. 1352 ; and Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. 8, Cave called Jambesvara ; and, above all, A. E. Caddy's cast preserved in the Indian Museum, Calcutta. (108) For Private And Personal Use Only

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INSCRIPTION OF NAKIYA TEXT Mahamadasa * Bariyaya ? Nakiyasa : lena[m] * [.] 1. Prinsep reads Mapamadati; Cunningham, Mapamadasa; Laders, Mahamadasa ; Banerji, Mahamadasa. Banerji is of opinion that the a in da is superfluous. I think that the a-stroke is an appearance rather than a reality. 2. Prinsep reads bakaya (Ya); Cunningham, baniyaya ; Luders, bariyaya; Banerji, too, bariyaya, treating it as a mistake for bhariyaya. I take Bariya to be the name of a locality, the native place of the donor, or the name of a lady donor. 3. Princep reads (Ya)nakiyasa; Liders, Nakiyasa, Cunningham and Banerji correctly read Nakiyasa. Naki, according to Luders, or Nakiya, according to Banerji, is the name of the wife of Mahamada. Had it been so, there would have been a feminine Genitive case-ending aya in the declension of Naki or Nakiya. But we have, instead of Nakiyaya, a masculine Genitive form Nakiyasa. I take Nakiya to be the name of the donor, Bariya to be his native place, and Mahamada to be his official designation, or all the three of them to be personal names. 4. Prinsep wrongly reads long. ( 105 ) 14 For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL mahAmadasa bAriyAya nAkiyasa leNa[] [0] Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN PALI mahAmattassa ( mahAmadassa iti vA ) bAriyAya nAgitassa leNaM [1] TEXT AS IT READS IN SANSKRIT AGIHIABI ( AG(AZ81 efa ai ) aruiai; ziqaar gaaq [1] TRANSLATION * 2 The cave (which is an excavation) of the High Functionary Nakiya " of Bariya. * Another possible rendering is : "The cave (which is an excavation) of Mahamada, Bariya and Nakiya." 1. Both Luders and Banerji take Mahamada to be the personal name of a man whose wife Nak or Nakiya dedicated the cave in question. Mahamada seems to me to be the same official designation as the Pali Mahamatta or the Sk. Mahamatra, which literally means "Great-measure" or "Magnate." (106 1 2. Nakiya is evidently the same name as the Pali Nagita. 3. I am unable to identify the locality. It must be some place, a village or a town in Kalimga. For Private And Personal Use Only

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No. XI INSCRIPTION ON THE ARCHITRAVE OUTSIDE THE ANANTA-GUMFHA For Private And Personal Use Only

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ANANTA-GUMPHA INSCRIPTION The following "inscription is incised," says Mr. R. D. Banerji, "on the architrave outside, between the left antae and the first pillar. The characters of this inscription are certainly later than those used in the inscription in Tatwa Cave, No. 2. No other notice of this inscription has been published except that which has appeared in Mr. Mon Mohan Chakravartti's Notes on the Remains in Dhauli and in the Caves of Udayagiri and Khandagiri." The following description of the cave with which the inscription is associated is an extract from Mr. Mano Mohon Ganguly's Orissa and Her Remains--Ancient and Mediaeval, pp. 56-60 : "The Ananta-Gumpha (which is the most important cave on the Khandagiri Hill) consists of an ante-chamber (24'*7') having a covered verandah 26' x 7' in front. The ceiling of the chamber at the rear is curved, the rise of the arch or curve being about a foot; originally there were four doors leading to the room ; these have been reduced to two doors, and one window. The doorways are surmounted by circular arches ending in borizontal bands at the springing. Two fillets of the circular band enclose ornamental figures. The horizontal friezes resemble those noticed in Rani Nur and Ganesa Cave. The crown of the arches is formed by the interlaced tails of serpents." "A long line of Buddhist rails runs over the arches unlike those in Rani Nur and Ganesa cave broken at intervals by battlemented pyramids, the like of which we notice in the Bharhut sculptures. On the back wall of the ante-chamber are carved the characteristic Bauddha symbols of Swastika, Trisula, etc., and also a standing figure of Buddha (?). The tympana of the arches are carved with representations of various scenes. The scene of Gaja-Laksmi... is exquisitely beautiful...... The pilasters by the sides of the doorways have striking features characterised by animal capitals and a profusion of sculptures not noticed elsewhere in the locality." "We agree with Drs. Fergusson and Burgess in detecting similarity between the sculptures of the Ananta-Gumpha and those of the Bharhut Stupa, built sometime between the 2nd and 3rd cent. B.C.......the probable period of the excavation of the cave cannot be earlier than the third ( 109 ) For Private And Personal Use Only

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110 OLD BRAHMI INSCRIPTIONS century B.C., and not second or third century A.D. as fixed by Beglar in the Archaeological Survey of India, Vol. XIII (p. 81)." The text is based upon Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. XI, the cave called Avantagumpha, and A. E. Caddy's cast preserved in the Indian Museum, Calcutta. For Private And Personal Use Only

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ANANTA-GUMPHA INSCRIPTION TEXT [- ]'???saman[@]namo lepam [-] 1. The letters representing the opening words of the inscription are irrevocably lost. 2. The stone is peeled off and shows just the sockets of three letters which are read by Banerji as Dohada. I doubt very much the correctness of such a reading. Any one attempting to guess the letters from the outlines of the sockets is apt to glide into a fatal error Anyhow, the outline of the first socket resembles rather that of sa than that of do. Kalimga or Kalimga is the word which may be supposed to have preceded samananam in an inscription of this kind. 3. samananam in Dutta's estampage. (111) For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL [-]??? HAT[1]# ami[] TEXT AS IT READS IN PALI [--]??? HATI ati [1] TEXT AS IT READS IN SANSKRIT [-]??? FUTAI 174 [1] TRANSLATION The cave (which is excavated for) the recluses (of Kalinga ?] [- ] (112) For Private And Personal Use Only

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No. XII INSCRIPTION ON THE ROCK OUTSIDE THE VERANDAH OF THE ANANTA-GUMPHA 15 For Private And Personal Use Only

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ANANTA-GUMPHA INSCRIPTION The following "record," says Mr. R. D. Banerji, "is incised on the rock outside the verandah of the Anantagumpha." The text is based upon Luders' List of Brahmi Inscriptions in El, Vol. X, Appendix, No. 1343; Mon Mohan Chakravartti's Notes on the Remains in Dhauli and in the Caves of Udayagiri and Khandagiri ; and Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. XII, Cave called Anantagumpha. For Private And Personal Use Only

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ANANTA-GUMPHA INSCRIPTION TEXT [-]" ko(th)aje(ya) *[-] [.] 1. It may be safely assumed that a few letters recording the name of the donor or donors are missing. 2. Mon Mohan Chakrabartti reads Dajacara. Banerji differing, remarks: "It is really something like a mason's mark. There are three symbols, of which a central one is the Brahmi letter ja, while the other two may resemble, but are not, letters." It is not too much to say that Banerji's is a cheap explanation, which has the merit of avoiding any difficulty that confronts a man attempting to read an old Brahmi inscription wherein the letters are effaced and obscured. As far as I can make out, the first letter is ka or ko. The second letter is a fissured tha. The third letter is distinctly je. And the fourth letter is an obscured ya. 3. If the proposed reading kochajeya be correct, it is easy to understand that it was followed by the conjunction ca and a word like pasado or pasado. For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL [...] filetfen [-] [1] TEXT AS IT READS IN PALI [...] Filzstien [-] [1] TEXT AS IT READS IN SANSKRIT [...] 77815fta: [-] [1] TRANSLATION The [-]unconquerable cells' (which are the meritorious works of) (-). 1. In commenting on pasata and kotha occurring in the Inscription No. VII, Banerji observes: "It is interesting to note that here two words denoting almost the same thing, i.e., pasato (Sk, prasada and kotha or kotha, have been used, and that we here find the word pasado. The Sarpagumpha has only one small chamber but the Haridasgumpha has a verandah, a large inner chamber with three doorways and one small side chamber on each side. So it is quite possible that the word pasato refers to the main chamber and the word kotha to the side chambers." I am unable to accept such a suggestion for the simple reason that the word kotha, as plaral form of kotha, denotes all the cells or chambers, and that there is not a word to denote the verandah which is an outer construction. For Private And Personal Use Only

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No. XIII INSCRIPTION IN THE TATTVA-GUMPHA No. 1 For Private And Personal Use Only

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TATTVA-GUMPHA INSCRIPTION The following "inscription is written or painted," says Mr. R. D. Banerji, "on the back wall of the inner chamber of the cave (the Tatwagumpba, No. 1), and on prolonged examination I found that, in addition to a row of letters which I cannot make out, it was a repetition of the Indian alphabet." These observations of Mr. Banerji led me to examine Mr. Hari Das Dutta's estampage closely, and have ultimately enabled me to detect an inscription consisting of one line and a table of Brahmi alphabet consisting of no less than six rows of letters. The table has been separately presented as the last of the present series (No. XV) of iuscriptions in the caves on the Udayagiri and Khandagiri bills. The text is based upon Hari Das Dutta's inked impression reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. XIII, Cave called Tatwagumpha No. 1. ( 121 ) 16 For Private And Personal Use Only

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TATTVA-GUMPHA INSCRIPTION TEXT Acharya Shri Kailassagarsuri Gyanmandir ......???? ripu (tasa) kaya......???? [-] (123) For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir TEXT AS IT READS IN THE ORIGINAL ......????ttgag mal... ???? [1] TEXT AS IT READS IN PALI ......????#Iyan Fill (?)...???? [1] TEXT AS IT READS IN SANSKRIT ...17118gre (?)--?119 [1] ( 124 ) For Private And Personal Use Only

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No. XIV INSCRIPTION OF KUSUMA IN THE TATTVA-GUMPHA No. 2 For Private And Personal Use Only

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INSCRIPTION OF KUSUMA The following "inscription," says Mr. R. D. Banerji,." is the oldest of the inscriptions in the Khandagiri caves. Most of the caves on the Udaya. giri are ancient, as proved by their inscriptions; but, with the exception of Tatwagumpba, No. 1, Tatwagumpba, No. 2 and Anantagumpba, all other Khandagiri caves appear to be mediaeyal, as the inscriptions in them are not earlier than the ninth or tenth century A. D. The record in this cave is incised over one of the entrances to the inner chamber and consists of one line. The cave is No. 1 of the plan of the Gazetteer (the Bengal District Gazetteer, Puri)." The text is based upon Major Kittoe's facsimile read by James Prinsep in JASB, old series, Vol. VI, p. 1074; Alexander Cunningham's hand-copy reproduced in Corpus Inscriptionum Indicarum, old series, Vol. I, Pl. XVII, Cave No. 1; Luders' List of Brahmi Inscriptions in EI, Vol. X, Appendix, No. 1344; Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, P. II, No. X, Cave called Tatwagumpba, No. 2. ( 127 ) For Private And Personal Use Only

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INSCRIPTION OF KUSUMA TEXT Padamulikasa' Kusumasa' lensa]nio [.] 1. Prinsep and others correctly read Padamulikasa. Kittoe's facsimile has "kasa, 2. Kittoe's facsimile is responsible for Prinsep's reading Kutamasa instead of Rustmasa. Banerji reads Kusumasa, and remarks that the a-mark in ma is superfluous. 3. Prinsep wrongly reads lonam. Banerji doubtfully reads lena[m]phi, remarking that the last syllable (phi) in this record is superfluous and devoid of any significance. The cast in the Indian Museum clearly shows that the reading is nothing but lenani, (129) 17 For Private And Personal Use Only

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TEXT AS IT READS IN THE ORIGINAL pAdamulikasa kusumasa leNa [T] ni [1] TEXT AS IT READS IN PALI pAdamUlikassa kusumassa leNAni [1] TEXT AS IT READS IN SANSKRIT pAdamUlikasya kusumasA layanAni [1] TRANSLATION Acharya Shri Kailassagarsuri Gyanmandir The caves (which are the excavations) of Kusuma of Padamulika.1 1. Padamulika has been rightly explained by Banerji as signifying either the locality or the professional designation of the donor. As a professional designation, it cannot but mean a server of the feet,' that is, a menial. Accepting the second meaning of the word, I may render the record: "The caves (which are the excavations) of the menial Kusuma." ( 180 ) For Private And Personal Use Only

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No. XV TABLE OF BRAHMI ALPHABET IN THE TATTVA-GUMPHA No. 1 For Private And Personal Use Only

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TABLE OF BRAHMI ALPHABET "was The following inscription containing a table of Brahmi alphabet noticed for the first time," says Mr. R. D. Banerji, "by the late Mr. J. D. Beglar in 1882, who published an eye-copy of it with his report (Arch. Surv. Rep., Vol. XIII, p. 82). But unfortunately the eye-copy was printed upside down. Mr. Monmohan Chakrabartti tried to read it from this plate, but apparently did not succeed. The whole inscription is written or painted on the back wall of the inner chamber of the cave, and on prolonged examination I found that, in addition to a row of letters which I cannot make out, it was a repetition of the Indian alphabet. Some young monk had used the back wall of the cell as a (slate or) copy-book and improved his knowledge of the alphabet by writing on it. The characters belong to the first century B. C. or first century A. D." Acharya Shri Kailassagarsuri Gyanmandir The table is based upon Hari Das Dutta's inked impression read and reproduced by R. D. Banerji in EI, Vol. XIII, Udayagiri and Khandagiri Inscriptions, Pl. II, No. XIII, Cave called Tatwagumpha No. 1. "A (188) For Private And Personal Use Only

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Acha TABLE OF BRAHMI ALPHABET ia aj mi u oo ....kha ga gba ? ca cha... .............. .....na ta tha da dha na........... .............na ta tha da dha na pa pha...sa sa sa ha.......? ........na ta tha da dha na pa pha ba bha...ga sa ba... ...............ta tha da dba na pa pha ba...sa sa sa ha..... ..........ta tha........ 1. In L1, Banerji reads just one letter, which is gha. 2. In L 3, Banerji does not read the two letters after na. They look like ya and ra, but they may be pa and pha. 3. In L 6, Banerji reads just the second letter. (134) For Private And Personal Use Only

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NOTES

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NOTES 1. THE INSCRIPTIONS AND THEIR AUTHORS Of the fifteen old Brahmi inscriptions in the Udayagiri and Khandagiri Caves, No. I is the Hathi-Gumpha inscription of King Kbaravela; No. II, the Vaikunthapura Cave inscription of Kbaravela's chief queen; No, III, the Patalapura Cave inscription of King Kadampa-Kudepa; No. IV, the Yamapura Cave inscription of Prince Vadukha-Varikha; No. V, probably the Chota-Hathigumpha inscription of the same prince; No. VI, the Sarpa-Gum pha inscription of Culakamma ; No. VII, the Pavana or Haridas-Gumpha inscription of the same donor; No. VIII, the SarpaGumpha-side Cave inscription of Kamma and Khina; No. IX, the Bagh-Gumpba inscription of the Town-judge Bhuti; No. X, the Jambesvara Cave inscription of the High-functionary Nakiya of Bariya, or it may be, of Mahamada, Bariya and Nakiya; Nos. XI and XII, the Ananta-Guimpha inscriptions of some donors ; No. XIII, the inscription of some donor in the Tattva-Gumpha No. 1; No. XIV, the inscription of the menial Kusuma, or it may be, of Kusuma of Padamula; and No. XV, a table of Brahmi alphabet in the Tattva-Gumpha No. 1. 2. THE RELATIVE TOTAL OF THE CAVES AND INSCRIPTIONS The fifteen inscriptions edited in the present volume, and arranged serially as No. I, No. II, and so forth, are the oldest known Brahmi inscriptions which have hitherto been discovered as epigraphic records relating to different caves on the Udayagiri and Khandagiri hills in Orissa. The first ten of them belong to the caves on the Udayagiri and the remaining five to those on the Khandagiri hill. Though, as a general rule, each of these inscriptions is meant to refer to a particular cave, it will be a mistake to presume that there are as many caves as inscriptions. For instance, there are two inscriptions, one of which (No. XI) is incised on the architrave outside the AnantaGumpha, and the other (No. XII) on the rock outside the verandah of the same cave. The concluding words of No. XI, samansa]nam lenam, ( 137 ) 18 For Private And Personal Use Only

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138 OLD BRAHMI INSCRIPTIONS refer to the cave as a cave (lena), and not in terms of its component parts, while the surviving word of No. XII, kothajeya, refers to the cave not as a cave but in terms of its component parts. Here the presumption cannot but be that these two inscriptions, one referring to the cave in term of the whole and the other in terms of the parts, belong as well as refer to one and the same cave. Secondly, there are two inscriptions in the Tattva-Gumpha No. 1, one of which (No. XIII) is meant to commemorate the name of the excavator of the cave, and the other (No. XV) to serve as a table of Brahmi alphabet. In this particular instance, the two inscriptions. belong to one cave, one referring to the cave as an excavation of some donor and the other serving altogether a different purpose. Thus it may be shown that the total of the caves falls short of the total of the inscriptions at least by two, Nos. XI and XII being taken as referring to one and the same Ananta-Gumpha, and No. XV being left out of consideration as an alphabetic table. We maintain that even further reduction of the total of the inscribed caves is possible. For No. XIV refers not to one cave but to caves in the plural number (lenani), which were all the excavations of Kusuma. Why, it may be argued, if the inscription of Culakamma (No. V) is incised over the doorway of the Sarpa-Gumpha and that of Kamma and Khina (No. VIII) to the left of the doorway of the same cave, should we not take these inscriptions as referring to one and the same cave? Here we have got to distinguish between " belonging to " and "referring to." same cave. These two inscriptions belong to the Sarpa-Gumpha in the sense that both are incised over and to the left of the doorway of the But they refer to two caves, each cave in terms of its component parts, kothajeya and pasada. The incising over the doorway of the cave goes to show that the inscription of Culakamma is meant to refer to the Sarpa-Gumpha. The incising to the left of the doorway of this cave may be taken to indicate that the inscription of Kamma and Khina is meant to refer to another cave, which lay on the left side of the Sarpa-Gumpha and would not at once be seen from its entrance. The Sarpa-Gumpha being unicellular and provided with one verandah, it is difficult to think that a second inscription was needed to refer to it in terms of its cell and verandah. This argument may be substantiated by the study of a parallel case of the Mancapuri group of three caves and three inscriptions. The inscription of Kharavela's chief queen (No. II) belongs and clearly refers to For Private And Personal Use Only

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NOTES 139 the Vaikunthapura cave in the upper storey of the Mancapuri group. The remaining two inscriptions are both incised in the verandah of the Patalapura cave in the lower storey, the inscription of King KadampaKudepa (No. III) being incised on a raised band between the middle pillars, and that of Prince Vadukha-Varikha (No. IV) on the right wall of the verandah. Here the inscription of Prince Vadukha-Varikha refers undoubtedly to the Yamapura cave forming the right wing of the Patalapura. That is to say, two inscriptions belonging to one cave refer indeed to two caves. The local tradition asserts that there were formerly about 750 caves on the Udayagiri and Khand'agiri hills. This is surely a much exaggerated number, should it be treated as the total of the caves excavated during the reign of King Kharavela and thereabout. For we have a definite statement in the Hathi-Gumpha inscription (No. 1) regarding the total number of the caves excavated on these two hills during Khara vela's reign. In accordance with this statement, just 117 caves were constructed (sata. dasa-lena-satam kara pitum) in the thirteenth year of Kharavela's reign. We cannot say that all the 1!7 caves were inscribed. If each one of them might be supposed to have an inscription referring to or labelling it, the total of the inscriptions would have been not less than 117. But if all of them were not inscribed, the total of the inscriptions must have been less than 117. Probably all or most of them were not inscribed. Even the famous Rani Nur or Queen's Palace is found without an inscription. Though the local tradition ascribes the construction of this cave-architecture to King Lalatendu-Kesari who reigned about the year A.D. 617, the general style of its architecture and the technique, motifs and other details of its basso-relievo are strongly in favour of dating it as old as the Tiger and other inscribed caves wbich may be supposed to have been excavated during the reign of Kharavela or thereabout. Moreover, many of the gurviving caves being natural cavities little improved by human hand, are likely to have been left uninscribed. In these circumstances, it is not unreasonable to think that the original total of the inscriptions stood far below that of the caves, although the exact ratio of the two totals cannot be determined, nor is it possible to say how many inscriptions have been actually lost due to the ravages of time. In the Hathi-Gumpha record of the thirteenth year of Kharavela's reign, we read that His Majesty caused 117 caves to be constructed on the Kumari hill, obviously a common name for designating the twin-hills of For Private And Personal Use Only

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140 OLD BRAHMI INSCRIPTIONS Udayagiri and Khandagiri by himself, by his queens, by his sons, by his relatives, by his brothers, and by the royal servants. Among the caves of his queens, we get just one inscribed cave of his chief queen ; among those of the princes, we get just two inscribed caves of Prince Vaduk haVarikha; so on and so forth. It may be expected that at least those caves which were excavated by the members of Kharavela's royal family were inscribed. We mean that some at least of the inscriptions must have disappeared with the destruction of the ancient caves. And yet the fact would remain that the original total of the inscriptions stood far below that of the caves. We have wrongly assumed so far as if the inscription of Kbaravela (No. I) were meant to refer exclusively to one cave, namely, the HathiGumpba on the Udayagiri hill. It is far from being the case. It is not distinctly stated in the record of Kharavela's thirteenth regral year how many out of 117 caves were constructed by His Majesty, how many by his queens, and how many by others. We would think that the majority of these caves were constructed on the strength of the donations made by His Majesty. We shall be doing injustice to him to suggest that the inscription standing in his name was meant to relate exclusively to a cave which is of little importance as a work of art. To suggest this is to leave the acclaimed costly and excellent works of art and architecture accomplished by him altogether unexplained. The so-called Hathi-Gumpba inscription of Kharavela was, indeed, meant to refer not to one cave but to all the works of art and architecture done by him on the twin-hills of Udayagiri and Khandagiri. As a matter of fact, the Hathi-Gumpha record was meant to refer in a general way to all the 117 caves with their inscriptions and architectural constructions. For Private And Personal Use Only

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1 NOTES 3. THE SYMBOLS The Hathi-Gumpha inscription of Kharavela is enclosed between two pairs of symbols. Two symbols are to be seen on its left side, and two on its right. The first symbol on the left stands over against its second line. The fourth symbol on the right stands over against its seventeenth line. These two symbols were apparently intended to mark respectively the beginning and end of the inscription. The second symbol on the left appears below the first, and stands over against the fourth and fifth lines of the inscription. And the third symbol on the right appears at the end of and between the first and second lines of the inscription. 2 45 3 4 Acharya Shri Kailassagarsuri Gyanmandir 4 For Private And Personal Use Only 141 H It is not correct to say that the third symbol appears immediately after the name of Kharavela with which the first line terminates.1 Even if this symbol figured just after the name of Kharavela, I do not see how any importance might have been attached to it because of such a position. The symbol, as it now stands, seems to have been set off on the right against the first and second symbols on the left, as an equipoise. In theory, of the four symbols, the first and the fourth were intended to mark the commencement and close of the inscription, and the second and the third to stand, somewhere in the middle, on two sides, enclosing the inscription between them. I believe that this arrangement would not have been departed from, if the right upper corner had not appeared bare as a result of the third symbol having been placed far below the position in which it appears. What are these four symbols? The first symbol is what the Jains call Vuddha-mangala translated by Dr. Coomarswamy as "Powder-box." The second symbol is the well-known Svastika. The third symbol is what has been labelled as Nandipada or "Bull's foot-mark" in a Buddhist 1. Jayaswal says, "This symbol is inscribed just after the name of Kharavela in the first line." JBORS, 1917, Vol. III, Part IV, p. 428.

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142 OLD BRAHMI INSCRIPTIONS inscription on the Padana hill near Kanheri.! The fourth symbol is what may be aptly described as Rukh ha-cetiya or Vsksa-caitya, " Tree-device" or " Woodland-shrine." The first symbol, which looks like a modern crown ? figures, as pointed out by Dr. Bhagawanlal Indraji, in sculptured decorations carved over the doorway arches in some of the Udayagiri caves. It is one of the auspici. ous devices adorning the doorway of a Jain cave at Junagad. It stands over the third figure on the Sanchi gateway. It is found in some of the Buddhist cave inscriptions in Western India, e.g., in the second inscription at Junnar, the first inscription at Karle and the third inscription at Bhaja. It is not uncommon in necklaces (candrahara). It is still very popular as one of the asta mangalas or " eight auspicious symbols " among the Jains in whose modern representation, it appears as "a beautiful bowl with a lid surmounted with three pinnacles." 4 What this first symbol actually signifies none can tell. Nothing is to be inferred as to its meaning from the name Vadiha-mangala offered by the Jains. With regard to its external feature, the Jains may describe it as vaddha or "closed," and the modern scholars as a "shield," or a Trisula, or a tri-ratna device, or a "powder-box." These do not carry us far. But it may be worth while to inquire if any clue might be obtained from the study of some of the devices on the ancient punch-marked coins. On some of these coins, the second, third and fourth symbols of the Hathi-Gumphi inscription appear around and in association with a device which Sir Alexander Cunningham took to be a representation of Mount Meru, and other numismatists take to be the representation of a mountain. On some of these coins, this device occurs alone, and on some, it figures in association with one or another of the second, third and fourth symbols of the Hathi-Gumpha inscription. A prototype of this device is met with on the Sohgaura copper-plate where it appears in the middle in association with the third and fourth symbols of the Hathi-Gumpha inscription and with a crescent-mark in its upper curve. So far as this copper-plate and the punch-marked coins are concerned, I have been strongly inclined to explain it as signifying a caravan-camp 1. JBBRAS, XV, p. 320. 2. JBORS, 1917, Vol. III, Part IV, p. 428. 3. Archaological Survey of Western India, separate pamphlet, x, pp. 23, 28, 42. 4. JBORS, 1917, Vol. III, Part IV, p. 429. 5. Ganguly's Orissa and Her Remains, p. 40. For Private And Personal Use Only

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NOTES 143 under a canopy. This explanation of mine has been partly based upon a Buddhist description in the Vannupatha Jataka (Fausbull's No. 2) of a caravan journey across a desert. Though there are some points of likeness between this device and the first symbol in the Hathi-Gumpha inscription, the two are not identical. Nor does it appear that the same symbolic device suggested the same idea to all and in all connexions. As regards the Hathi-Gumpha inscription, I would, for a proper consideration of their nature, divide the four symbols into two groups, one group consisting of the first and fourth symbols, and the other of the second and third. Taking the first and fourth symbols, one may not be far wrong, I believe, in thinking that these were designed, in this particular connexion, to represent a hilly woodland in which the cave with its inscription was situated. The naming of a hill-cave by a tree adjoining it was an ancient convention, which is evident from the names of certain caves in some of the old inscriptions, e.g., Nigoha-kubha, "the Banyan cave," in the first Barabar Hill Cave inscription of Asoka, and Imdasala-guhu, "the Shorea Robusta Cave," in one of the Barhut inscriptions. Similarly taking the second and third symbols together, it may be said that, whatever may be their origin, as they stand in this inscription, they are intended to convey respectively the idea of svasti (well-being) and that of mangala (victory). The association of these two ideas in Buddhism, and a posteriori in Jainism, is clearly brought out in the concluding verse of the Pali Margala-Sutta which reads as follows: Etadisani katvana sabbattham aparajita / Sabbattha sotthim gacchanti, tam tesam mangalamuttamanti If the Jains and Buddhists associated these two symbols to convey the ideas of svasti and mangala, one need not be surprised if the Vedic religionist associated them to convey his ideas of auspiciousness. I mean to say that Mr. Harit Krishna Deb's suggestion, that these two symbols served, perhaps, as epigraphic devices for representing the mystical formula "OM," need not be dismisssd as a mere ingenuity. There are divergent theories regarding the origin of these two symbols, which are, however, too well-known to need repitition. For a general information about the Svastika symbol, the reader is referred to For Private And Personal Use Only

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144 OLD BRAHMI INSCRIPTIONS Dr. Bhagavanlal Indraji's note in Actes du Sixieme congres International des Orientalistes, Part III, p. 137. And for the discussion of different theories about the origin and explanations of the form of the Nandipada symbol, he is referred to Dr. Fleet's paper on the Sohgaura copper-plate inscription which he published in JRAS, 1907, pp. 529-32. Regarding the second of these two symbols, it remains to be seen whether its name Nandipada was suggested in the Buddhist inscription from its external resemblance with the bull's foot-mark or from some other circumstance. There is something to be said for the second alternative. The Cullakalinga-Jataka (Fausboll's No. 301) says that the tutelary god of Kalinga was represented in the shape of "a white bull," and that of Assaka in the shape of "a black bull." Dr. Indraji is right to say that the Buddhists, giving it the name Nandipaila, meant to represent it as a " Bull symbol," and not as a mere "foot-mark of a bull." One tree-symbol marks the beginning of the inscription of Kamma and Khina in the Snake Cave (No. VIII), and another tree symbol that of the inscription of the Town-judge Bhuti in the Tiger Cave (No. IX). These two symbols are just two different varieties of the fourth symbol in the Hathi-Gumpha inscription. The inscription in the Tiger Cave has, indeed, a second symbol at its end. It is again a Svastika mark carved in a somewhat different form. These three symbols appear as represented in the following table : 7 8 5 For Private And Personal Use Only

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NOTES Acharya Shri Kailassagarsuri Gyanmandir 145 4. THE LETTER-FORMS In the present edition we have so arranged the fifteen old records in a progressive numerical order as to make No. I, the Hathi-Gumpha record of Kharavela, to appear as the peg, and to make the rest, Nos, IIXV, to appear as hanging upon No. I. Looked at from this point of view, Nos. II-XV, are to be taken as subservient to No. I, which is the principal record. In our plan, Kharavela's Hathi-Gumpha record stands first and the Table of Brahmi Alphabet stands last, the series starting from the former and being closed by the latter. Considered in the light of this plan, a special importance has been meant to be attached to the first, as well as to the last number of the series. The special importance of the first is that it furnishes the key to the appreciation of the contents of the records, Nos. II-XIV; and the special importance of the last is that it furnishes the key to the understanding of the letterforms of the preceding records, Nos. I-XIV. The table is found on the back wall of the inner chamber of the Tattva-Gumpha. No. 1. It presents some six straight rows of Brahmi letters carefully incised one below the other and all below the inscription attached to the cave. The succession of the letters that may yet be read, especially in the right half of the table, indicates that in each row a complete set of the Brahmi alphabet was intended to be shown, and that the letters were meant to be alphabetically arranged, each set beginning with the letter a and ending with the letter ha. For Private And Personal Use Only Mr. R. D. Banerji seems to think that the dressed surface of the wall of the cave was used by a young monk as a sort of copy.book for improving his knowledge of the alphabet by writing on it. This is, no doubt, a very plausible explanation for the possibility of the table as it is. It also might be that the mason who was employed to incise the inscription, after having incised the short inscription of one or two lines, found sufficient unfilled space on the dressed surface which he eventually thought of filling up with the rows of Brahmi letters. That the table was the manipulation of a practised hand cannot at all be doubted. And the practising hand of a young monk cannot be expected to have produced such a good specimen. As bad luck would have it, not a single row of letters in the table is legible to-day from beginning to end, and not a single row can be wholly deciphered. The consequence is that, as regards orthography, we cannot 19

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146 OLD BRAHMI INSCRIPTIONS say precisely how many vowel-letters were incised in each row That the vowel-signs were not separately shown and that, at least, these vowelletters, a, i, e, 16, u, e and 0, were incised in each row may be taken for granted. In the texts of the old Brahmi inscriptions, we have the use of the following vowel-letters and vowel-signs : (1) . Vowel-letters--a, a, i, u, e, ai ( ? ), and o; (2) Vowel-signs for a, i, i, u, u, e and o Precisely from what period of time the Brahmi alphabet was adapted to the needs of Sanskrit language we do not know. If Mr. Jayaswal's "Sunga Inscription of Ayodhya" may be presumed to have been incised actually during the reign of Pusya mitra, or, at least, during the Sunga reign, the second century B. C. is the earliest period to which the date of a Sanskrit record in Brahmi characters can be pushed. But the Junagad inscription of Rudradaman I (circa 150 A. D.) is certainly the earliest known lengthy Sanskrit royal record in Brahmi characters. In accordance with a statement in the Artha-Sastra of KautilyaKautalya, the orthography of royal writs (in Sanskrit) comprised some sixty-three letters. The commentator accounts for this total by the summation of twenty-two letters for representing the vowel-sounds and forty-one for representing the consonant-sounds. Thus the dictum in the Artha-Sastra might be taken to imply that, at the time of its compilation, twenty-two was the conventional maximum of the total of vowel-letters required for orthography of royal writs in Sanskrit). But, in reality, Kautilya-Kantalya thought not so much of the orthography of the royal writs as of the letters, signs and notations of Sanskrit phonology. The notations required for representing nine pluta-svaras were quite out of place in the general orthography of Sanskrit royal writs. Leaving aside the nine pluta-svaras, we get thirteen as the conventional maximum total of Sanskrit vowels. It is impossible to think that the orthography of the Tattva-Gumpha table comprised so many letters as were required to represent all the thirteen Sanskrit vowels. Here the important inquiry is whether this orthography included in it the letters required for representing the two dipthongs, ai and au, or 1. Artha-Sastra, II, 9. 28 : Akaradayo varnah trisastih. 2. Artha-Sastra of Kautalya, edited by Ganapati Sastri, Part I. p. 170. 3. Ganapati Sastri's edition of the Artha-Sastra, Part I, p. 170 ; Dirghal svarunam tatrastau, panca hrasvah, pluta nava. For Private And Personal Use Only

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Acharya Shri Kailassagarsuri Gyanmandir www. kobatirth.org Shri Mahavir Jain Aradhana Kendra NOTES 147 not. The point might be partly decided if we could ascertain that Airena was the openin word of the main portion of the text of Khara vela's inscription. The first letter of the opening word, as it appears in the plaster-casts and estampages, is the dipthong ai, and we have agreed with Mr. Jayaswal and others in reading the opening word as Airena, and have differed from Mr. R. D. Banerji who proposed to read Kharena, as well as from Sir Alexander Cunningham who read it as Verena. As we have noted, the name of the king of Utkala who defeated king Nanda in a battle was known to the author of the Sanskrit verses, quoted by Mr. Jayaswal from an Old Osiya MS. of the 14th or 16th ceutury A. D., to be Aira and Ahira. If Airena be at all a correct reading, one must not forget that it is the only instance where a Brahmi letter representing the dipthong ai is met with in our old Brahmi inscriptions. But our faith in the correctness of the above reading bas, to a large extent, been shaken by the consideration of two facts, one brought to our notice by Sir Alexander Cunningham and the other gleaned by us. Sir Alexander has pointed out that Vera in the sense of Vira (Heroic) occurs as a royal epithet in some of the coin-legends of Ancient India. And we find, in corroboration of the soundness of Cunningham's argument, that the first letter of the opening word of Kharavela's inscription exactly resembles the first letter of a proper name in the two Pablosa inscriptions of Asadhasena, which the epigraphists have agreed to read as Vaihidari. It is certain that the first letter of Vaihidari could not be read other than as Vai. If the first letter were meant to be read as Ai, we would have found the lettere with one e-sign attached to it instead of a letter resembling e with two e-signs. But for these two e-signs attached to the first letter, the name would have been read as Vehidari. If this be correct, it goes without saying that the Brahmi letters to represent the dipthongs, ai and au, were unnecessary for incising our old Brahmi inscriptions. Further, we should remember that there was no occasion for the scribe or scribes of our old Brahmi inscriptions to make use of the ai or au sign. These signs were, indeed, needed for incising the Barhut E. Gateway inscription of Dhanabhuti and the Pabhosa inscriptions of Asadhasena, for inscribing such words as pautena and Vaihidari. Apparently the number of consonants represented in the Tattva-Gumpha table seems to have fallen short of the total, forty-one, contemplated in the dictum of the Artha-Sastra for the orthography of Sanskrit royal For Private And Personal Use Only

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148 OLD BRAHMI INSCRIPTIONS writs, nay, of Sanskrit language, by as many consonants as eight. For in each row of letters in the table we are not to expect to see more than thirty-three letters intended to represent the following consonants in such order as-ka, kha, ga, gha, na ca, cha, ja, jha, na ta, tha, da. dha, na ta, tha, da, dha, na pa, pha, ba, bha, ma | ya, ra, la, va sa, sa, sa, ha , that is to say, the five consonantal groups of five each, the two semi-vowels, the two liquids and the four sibilants. It is impossible to conceive that the consonantal signs for representing the Sanskrit ref, ra-phala,ya-phala, anusvara, visarga, as well as for indicating that the pronunciation of da is as in vidala, or that the pronunciation of dha is as in gadha, or that the pronunciation of ta is t as in matsya were meant to be displayed. We have the frequent use of the anusvara-sign (m) in our old Brahmi inscriptions. In point of fact, the predominant tendency of the orthography of our old Brahmi inscriptions is to represent the nasals of all the five consonantal groups by m in all cases of conjoint consonants. There was no occasion for the use of the visarga-sign (h). But this does not mean that the Brahmi alphabet was wanting in this sign. For we have a clear use of this sign in Mr. Jayaswal's 'Sunga Inscription of Ayodhya.' There was yet no necessity for having a separate letter for representing the Sanskrit ksa, or for having separate conventional signs for representing the r, ra and ya sounds of conjoint consonants. Looked at from this point of view, it would be wrong to say that the consonantal system covered by the Brahmi alphabet fell short of the orthography of KautilyaKautalya's royal writs in Sanskrit. Even the Brahmi alphabet used for the inscriptions of Asoka, especially for those at Girnar and Kalsi, was adequate for the entire Sanskrit consonantal system minus the visarga-sign. Anyhow, it is certain that, like the orthography of the Kalsi rock inscriptions of Asoka, the orthography of the Tattva-Gumpha table included three letters representing sa, sa and sa. So far as the language of our old Brahmi inscriptions goes, the letters representing sa and sa were of no use. Mr. Jayaswal makes out two words in Kharavela's inscription, one affording a singular instance of the use of the letter sa, and the other that of the use of the letter sa. The two words are respectively rajisi-vamsa-kula-vinisrto (I. 16) and Tramiradesa-samghatam (I. 12). Mr. Jayaswal depends for these readings on the estampages taken by Mr. Vats. We can quite see that in Mr. Vats' estampages, at least, in one of them, the letter meant to represent si appears, by some mysterious work of erasion and fissure, as rua, and that ha of daha appears, for some For Private And Personal Use Only

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www.kobatirth.org. NOTES 149 reason or other, as sa and no less as Asokan ha. But the first letter cannot undisputably be read as de in view of the fact that it presents to view two similar e-signs, attached one to the upper end and the other to the lowerend. Depending on Mr. Vats' estampages. Mr. Jayaswal makes out a word, Simdhulaya (I. 14), affording a singular instance of the use of a letter representing the Vedic cerebral la which is frequently used in Pali as a substitute for da. We have to reject his reading on these two grounds: (1) that the Tattva-Gumpha table has no place for such a letter, and (2) that the three letters read by him as dhulaya can be better read, with the aid of the estampages previously published by him, as silahi. As a working hypothesis, it may be taken for granted that, as regards the main letters, what is to be found in the Tattva-Gumpha table may be found in the texts of our old Brahmi inscriptions and what is not to be found in the Tattva-Gumpha table cannot at all be found in the latter Prof. Sten Konow reads Calakramesa for Culakamasa, If, indeed, the intended reading were Culakramasa (Culakarmasa), we might have used it as a remarkable evidence to prove that the scribe or mason-engraver, employed to incise the inscription belonged to the Uttarapatha, or more particularly, the Gandhara-region where the prevailing tendency was to spell dharma as lhrama, and darsi as draoi. The letter-forms of our old Brahmi inscriptions show a stage of development of the Brahmi alphabet, which is posterior to that of the Brabmi inscriptions of Asoka. Dr. Bhagawanlal Ipdraji notices the following as the chief points of difference between the two sets of Brahmi letter-forms: "While Asoka's ka has the vertical and horizontal strokes equal in size, here the vertical stroke is longer than the horizontal stroke; ga originally angular now becomes arched; gha, pa, la and ha originally with a rounded base now becomes flat; ma and va with a well-rounded base now becomes triangular; the two base-strokes of ta originally making an angle now tend to be an arch; ikara-strokes making an angle no longer 1. We are indebted to Dr. Niranjan Prasad Chakrabarty of the Calcutta University for drawing our attention to a number of manuscripts found in E. Tarkestan, each of which has in it a Table of Alphabet, obviously as an aid to the reading of it. Here, too. the table was annexed apart from the consideration that all the letters included in it were actually required for the Ms. concerned. For Private And Personal Use Only

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150 OLD BRAHMI INSCRIPTIONS 1. do so and go up higher. These are all points which prove that the character is later than Asoka's." Rai Bahadur Ramaprasad Chanda points out the following as the; most notable characteristics of the Hathi-Gumpha alphabet: "(1) A considerable number of letters with thick-headed vertical or serif; (%) ka with the lower part of the vertical prolonged ; (3) invariably rounded ga (4) cha of the butterfly type with two loops ; (5) ta's baving in most cases rounded lower part." 2 It may also be noticed that in the Hathi-Gumpha alphabet, the letter a is made up of two side strokes meeting the vertical leavng a wide space between them; the vertical of kha which in its earlier forms had nothing at its base has invariabiy a triangular or circular base; the letter ra which in its earlier forms was of a cork-screw pattern has become a straight vertical; and the letter ha has no longer a short horizontal stroke attached a little below its right vertical. Applying all these prominent characteristics as a test of chronology of the letter-forms, and observing that the Hathi-Gumpha inscription shares them, to a considerable extent, with the inscriptions on the Sanchi Gateways, Rai Bahadur Chanda finds indication to be able to say that the Hathi-Gumpha inscription "is later in date not only than Asoka's edicts and the Besnagar Garuda pillar inscriptions, but also later than the Bharhut torana inscription and the Nanagbat inscription of the time of the Andhra king Siri Satakani I." The Rai Bahadur has sought, indeed, to deepen the significance of Dr. Indraji's observations by conceiving as many as seven stages in the evolution of the Brahmi letter-forms from the Edicts of Asoka to the Sanchi Gateway-inscriptions, the sixth being represented by the HathiGumpha inscription of Kharavela and the fifth by the Besnagar Garuda Pillar inscription of Maharaja Bhagavata, the Nanaghat Cave inscription of Nayanika, the widow of Satakani I, and the Barhut E. Gateway inscription of Dhanabhuti, taken in a chronological order. In the opinion of Prof. Buhler, the characters of the Sanchi South Gateway inscription wherein a king Siri-Satakani is mentioned were almost identical with those of the Nanaghat Cave inscription of Nayanika. As against this opinion, Rai Bahadur Chanda maintains that the characters of the Nanagbat Cave inscription of Nayanika and also those of the T. 1. Actes du Sixieme Congres International des Orientalistes, Part III, p. 140. 2. Memoirs of Archeological Survey of India, No. 1, p. 10. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir NOTES 151 Nasik Cave inscription of king Kanha differ from the Sanchi Gateway inscriptions in these two essential features : "(1) Letters with the socalled serif or thick-headed vertical are quite conspicuous by their absence in these records. (2) In place of ta's with the invariably round lower part of the Sanchi Gateway inscriptions, we have in these earliest Andhra inscriptions and in the coins of king Siri Sata (rightly identified with Siri Satakani of Nanaghat) ta's with mostly angular lower part." Sometime ago Mr. R. D. Banerji read, at one of the monthly meetings of the Asiatic Society of Bengal, a carefully written paper embodying the results of his study of the letter-forms of the Nanaghat Cave inscription of Nayanika and the Hathi-Gumpha inscription of Kharavela. His paper, which has been meant for publication in JASB with copious illustrations, showed that he had made a most painstaking analysis of the letter-forms of the two inscriptions. He said, in the course of discussion, that he could see in Kharavela's inscription the engraving of three separate bands. He tried to point out that in all cases ga's and ta's were not arched or rounded but angular, and that, as a matter of fact, there were a number of letter-forms bearing the characteristic features of Asokan Brahmi, and that, on the other hand, there were certain letter-forms in the Nanaghat Cave inscription that anticipated those of the Kusana inscriptions. Thus he found reasons to differ from Rai Bahadur Chanda who assigned an earlier date to the alphabet of the Nanaghat record. He seemed to think that as, on the ground of anticipation of some of the letter-forms of the Kusa!a inscriptions, the Nanaghat record might be dated later, so, on the ground of lingering resemblance with the letter-forms of Asokan Brahmi, the Hathi-Gumpha record might be dated earlier. He inclined to explain the occurrence of different types of Brahmi letters in the Hathi-Gumpha inscription by the fact that of the scribes employed, one was well-practised in the Eastern variety, one in the Southern variety, and so on. Mr. Banerji's analysis of the Brahmi letter-forrns of the two inscriptions leaves nothing to be desired in the way of industry and precision. It convinces us that all the ga's in Kharavela's inscription are not arched ; that the lower parts of all the ti's are not invariably rounded ; that it has a number of letter-forms bearing the characteristic features of the alphabet of the Maurya inscriptions ? ; and that the Nanaghat Cave inscription shows some letter-forms anticipating those of the Kusana inscriptions. 1. Some of the Nathi-Gumpha letter-forms may be Asokan or Mauryan, but none of the Asokan or Mauryan letter-forms has a serif or thickened top. For Private And Personal Use Only

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152 OLD BRAHMI INSCRIPTIONS His analysis serves so far as to enable us to think that Rai Bahadur Chanda's statement has erred in facts. But he himself has failed to produce a convincing proof to substantiate his position as to the currency of the Northern, Southern, Eastern and Western varieties of the Brahmi alphabet precisely at that period of time which had seen the engraving of the inscriptions concerned." In dealing with the language of Kharavela's inscription, he has taken the substitution of dha for tha to be a characteristic of the Southern dialect, the dialect which was current in Kalinga and Andhradesa. Is it a right assumption that because the inscription of Kharavela and that of Nayanika are found engraved in Southern countries their language must have been a Southern dialect ? Can we seriously take, on the same ground, the letter-forms of the Nanaghat Cave inscription as representative of the Southern variety of the Brahmi alphabet ? We cannot. We find that for the engraving of the most southern copies of his Minor Rock Edicts, King Asoka employed a scribe, named Pada, who hailed from a country, say the Gandhara region, where Kharosthi was the script in common use. The same remark holds true of the scribe or mason-engraver employed to inscribe Dhanabhuti's record on the Barhut E. Gateway. We are prepared to entertain Mr. Banerji's hypothesis in so far as it leads us to believe that the scribes employed to incise Kharavela's inscription represented different localities. In examining the letter-forms of the Barhut inscriptions, we found some clear data compelling us to think on similar lines,-to feel that certain carvings and inscriptions were the work. manship of a particular group of artists, and others those of other groups. We were constrained to think that Rai Bahadur Chanda's view of the development of the Brahmi alphabet was defective in so far as it did not consider what effects might have been produced if different groups of artistscribes hailing from different parts of India were employed to do work on the same piece of stone, either at the same time or at different times. The Rai Babadur failed to notice that, so far as the Barhut Inner Railing was concerned, there were two carvings 2 with a number of inscriptions, in which the letter cha was of the butterfly type with two loops, the letter pa had a 1. We mean the period anterior to the date of composition of the Lalita-Vistara which mentions various local alphabets. 2. Cunningham's Stapa of Bharhut, PI, XIV For Private And Personal Use Only

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NOTES 153 fat base, and the letters tended to show thickened tops or serifs. Although we felt that these were the workmanship of one group of artists who represented a particular locality, we found no means of ascertaining what locality of India was actually represented by them. We bave now, thanks to the continued efforts and successes of the explorers and epigraphists, a good number of inscriptions, the letter forms of which show a close resemblance in many respects, to wit: (1) our old Brahmi inscriptions in the Udayagiri and Khandagiri caves ; (2) Mr. Jackson's second Barabar inscription recording the name of the rock on which it is engraved as Goradhagiri ; (3) the Sanchi Gateway inscriptions incised during the reign of one King Siri-Satakaoi ; (4) two Pabhosa inscriptions of Asa lhasena referring to Bahasatimita; (5) Gotamimitra's inscription referring to King Visnumitra 1 ; and (6) Mr. Jayaswal's "Sunga Inscription of Ayodhya," ? referring to Pusyamitra. Curiously enough, while these epigraphs, especially the inscriptions of Kharavela and Asadbasena, all referring to Bahasatimita, show all the signs of later development, later than the Mauryan, Yasamita's Brick Tablet inscription referring to Brhasvatimita is found in Brahmi characters which are decidedly Mauryan If Brhasvatimita of Yasamita's Brick-tablet was, as Dr. Vogel takes him to be, the same person as Bahasatimita of Asadhasena's inscriptions, or the same person as Bahasatimita of Kharavela's Hathi-Gumpha record, we get at last a fact, which altogether upsets Rai Bahadur Chanda's chronological order of the Brabmi inscriptions. And we are inclined also to think alike with Mr. Jayaswal who says: "The Sungas both in inscription and on coins used a script whose letter-formas are of a different style, and more advanced than the letter-forms of the later Mauryas. In the Besnagar inscription of the later Sunga Bhagabhadra, we have the Maurya forms. There being thus more than one style of writing in vogue at one and the same time, the chronology of the records of the second century B.C. and thereabout is not deducible merely from letter-forms."'4 1. Indian Historical Quarterly, Vol. II, No. 3, p. 56. 2. JBORS, Vol. XIII, Parts III-IV, p. 247. 3. JRAS, 1912, p. 120. 4. JBORS, Vol. XIII, Parts III-IV, p. 249. 20 For Private And Personal Use Only

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154 OLD BRAHMI INSCRIPTIONS 5. JAYASWAL'S FIVE CORRECTED READINGS The third instalment of corrections published by Mr. Jayaswal in JBORS, Vol. XIV, Part I, pp. 150-1, goes to show that he keeps yet an open mind as to the reading of the text of Kbaravela's inscription. The fact that he has so far revolved like a weather-cock at every gust of wind is indicative of pothing but his indecision. We shall consider below five of the corrected readings which he has offered and see whether and how far they bear scrutiny. First, he proposes to read Mahameghavahana, instead of Mahameghavahana, as a common patronymical epithet of King Kharavela and King Kadampa-Kudepa in the old Brahmi inscriptions Nos. I and III. He seems to think that the patronymic Mahameghavahana implies that Mahameghavahana wag the personal name of Kbaravela's grandfather. Even if his reading be correct, we do not see how his conclusion is correct. There are numerous instances in the Brahmi inscriptions where for a we have the use of a, e.g., Brhasvati for Brhaspati in Yasamata's Brick-tablet inscription. Even supposing that in Mahameghavahana, a has not been represented by a, where is the evidence to prove that Kharavela's grandfather was succeeded by his father and that his father was succeeded by him? Seeing that, whether as Mahameghavahana or as Mahameghavahana, it occurs as a common epithet of two kings of the same Kalinga royal family, we may say without much fear of contradiction that Mahameghavahana was a common epithet of King Kbaravela and King Kadampa-Kudepa, as well as that of their predecessors. But here his reading itself is open to dispute. As bad luck would have it, exactly that portion of the inscribed surface of the rock is fissured which contains the letters inscribing the epithet. So far as No. I is concerned, the choice lies not only between ma and ma, but also between ma and mo. As regards No. III, the a-stroke is not where it should be. A similar apparition can be noticed in the inscription of Kusuma (No. XIV) inducing one to read Kusumasa as Kusumasa. We do not see much use making fuss over ma and ma. Secondly, he proposes to read in 1. 9 sa-b(i)ta-senavahano vipamumcitum Madhuram apayato, correcting samb(i)ta his previous correction to sa-b(i)ta, and to translate sa-bita-senavahano: " with his army and transport having lost their morale." He thinks that bita is the same word as vita, which has a technical military sigpificance, For Private And Personal Use Only

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NOTES 155 as may be proved on the authority of the Amarakosa where (in Bk. Ksatriya, 43) we read : vitam tu asaram hastyasvam. Here vita is explained as a substantive. But Mr. Jayaswal interprets bita as an adjective qualifying sena-vahana, which is impossible on the authority of the Amarakosa. Another objection is that after panadena there must be a verbal form to denote the effect of the action implied, wbile Mr. Jayaswal's reading and rendering serves to remove the verbal form altogether. Moreover, one can be sure more about ne as the final syllable than about no. We do not deny the possibility of the reading sabita as it appears in the estampages. What we deny is the possibility of Mr. Jayaswal's interpretation of it. Even sabita must be taken in the same sense as sam hita. For the appearance bha as ba, one may compare gabhira in 1. 2. For sabita = sambhita, one may compare samkara = samkhara in I. 16. Thirdly, he proposes to read in I. 2 mamoam Avaraja-nivesitaPithudam gadabha-namgalena kasayati, correcting his previous correction mamdam * avaraja-nivesitam pithuda, and takes it to mean "He (Kharavela) razes to the ground (lit. ploughs down) with an ass-plough Pothumla the market town (manna), founded by (the) Ava king." Iu support of his reading Ava-raja, he argues : " There was an ancient Tamil race Aya (Cam. H.I., p. 596) and a kingdom called Ava-mukta, to the north of Kanchi, in the time of Samudragupta (Allahabad inscription), and a people spelt as Avarni and Aruarni below or by the Kistna as described by Ptolemy." He also puts forward as an argument: " The Bhagavata records an Ara dynasty (xii, 2-29) which the Visnu (iv. 24. 13) equates with Andhra. This agrees with Ptolemy. The Avas were in the Andhra country at the time." We have looked in vain into the Visnu-Purana (iv. 24. 13) for the equation of any dynasty by the name of Ara with the Andhra. The letter read as a in Mr. Jayaswal's Avaraja cannot be read as a in view of the fact that in it the two left strokes do 1. A statement in the Nasik Cave inscription No. 10 (EI, Vol. VIII) goes indeed to prove that panadena may be used even without a verbal expression after it to denote the effect produced by the action implied in it. But it is difficult to understand that in the Hathi-Gumpha statement the verbal expression vipamumcitum (to release, to relieve) governs madhura instead of senavahanas. The statement in the Nasik Cave inscription reads: "Bhataraka amnatiya ca gatosmim varsaratum malayehi rudham Utamabhadram moca yitum ca Malaya pranaden' eva apayata," which Senart translates : " And by order of the lord I went to release the chief of the Uttamabhadras, who had been besieged for the rainy season by the Malayas, and those Malayas fled at the mere roar (of my approaching) as it were. For Private And Personal Use Only

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156 OLD BRAHMI INSCRIPTIONS not meet the vertical leaving a space between them. We doubt the correctness of his reading mamdam. Mr. R. D. Banerji's estampage clearly shows that the first letter of Mr. Jayaswal's Avaraja is pu. We make bold to dispute namgalena kasayati because the letter after namgale or nagale is ne and is intended to be connected with kasayati. Fourthly, he proposes to read in I. 12 Tramira-desa-samghatam, correcting his previous correction tamara-deha-samghatam, and takes it to mean "the combination (or league) of the Tramira (Tamil) countries." His reading Tramira has come very near to our tamira or timira. Mr. Jayaswal does not at all consider that here the word samghata may also be interpreted in the sense of samkhata meaning "called". Regarding his reading desa, our first objection is that in the estampage of Mr. Vats, the letter da shows similar e-strokes on both ends. Our second objection is that the use of the cerebral sibilant ga is unexpected. Mr. R. D. Banerji's estampage tends to produce the appearance of the first letter as ti, and the estampage of Mr. Vats that of tra. We cannot think that here Tramira occurs as a spelling for the Tamil (Tamila or the Sk. Dravida), due to the fact that la or da is in all cases represented by da, and nowhere by ra. Fifthly, he proposes to read in I. 16 vinisrto, correcting his previous reading vinis(i) to. He has evidently relied too much on the estampage of Mr. Vats, forgetting that in taking an impression, a man, however careful and cautious he may be, is apt to exercise his own discretion in determining the outlines of the letters. If we were the men engaged for the purpose, we would have found ourselves quite at liberty to mark out the letter as s(i). Anyhow, it is certain that the letter was never meant to be sr, cf. the letter by in Brhasvati on Yasamita's Brick-tablet (JRAS, 1912, p. 120). For Private And Personal Use Only

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NOTES Acharya Shri Kailassagarsuri Gyanmandir 157 6. THE LANGUAGE Judged by the sound-system and syntax, the language of the old Brahmi inscriptions is very nearly Pali, the language of the Buddhist Tipitaka preserved in Ceylon, Siam and Burma. Leaving the spelling and pronunciation of a few words out of consideration, we can say that their language is Pali, and nothing but Pali. The exceptional cases of spelling and pronunciation are important as enabling the reader to detect the under-current of a dialect having affinity, in respect of its phonetics, with Ardha-Magadhi, the language of the extant Jaina Agama. Broadly speaking, the differences between the language of the old Brahmi inscriptions and Ardha-Magadhi are the differences which exist between Pali and the Jain Prakrit and have been specified by Prof. Jacobi.1 For example, in the Jain Prakrit, in final syllables, as well as in the middle of words, o is frequently represented by e, while in the language of the old Brahmi inscriptions and in Pali, o is nowhere represented by e. At the same time, the language of the old Brahmi inscriptions shows a complete agreement with both Pali and Ardha-Magadhi in its tendency not to replace the Sanskrit r-sound by the l-sound. The language of the old Brahmi inscriptions differs from ArdhaMagadhi and agrees with Pali also in its main tendency not to indiscriminately cerebralize the dental nasal. Now let us examine the exceptional cases of spelling and pronunciation and see what results we obtain and hoy we can account for them. Let us, first of all, examine the invocation formula as it occurs in Kharavela's inscription. This was obviously a rendering from a current Jain formula, which probably survives in the later full-fledged formula: Namo arihamtanam, namo sidhanam, etc. In the inscriptional formula, the cerebral nasals are replaced by the dental, but the spelling arihamta is yet retained, while the commoner spelling, as evidenced by the inscriptions of Kharavela and Kharavela's chief queen, is arahamta. Both of these two spellings are met with in Ardha-Magadhi, the spelling arihamta being met with more frequently than arahamta, while only one spelling, arahanta, is met with in Pali. We also notice that, in the second clause, the cerebral For Private And Personal Use Only 1. Preface to the Ayaramga-Sutta, edited by H. Jacobi, Part 1-Text, pp. VIII-XIV. Read also P. V. Bapat's interesting paper "The Relation between Pali and ArdhaMagadhi," Indian Historical Quarterly, Vol. IV, No. 1.

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158 OLD BRAHMI INSCRIPTIONS sonant aspirate dha has been replaced by the dental dha, and we have, for the Sk. sarva, sava ( = savva), precisely as in ardha-Magadhi, instead of saba ( = sabba) as in Pali.1 The language of the old Brahmi inscriptions shows an agreement with Ardha-Magadbi in its tendency to retain the Sk. d-sound instead of substituting for it the Vedic cerebral sound ? as in Pali : kalara (I. 1)=Ardha-Magadhi kacara=Sk. kaoara= Pali kalara ; kudika, kidita (I. 1)=Ardha-Magadhi kioiya, kidda, kadiya=Sk. krida, kridita = Pali kilika, kalita; kilapayati (I. 4)= Ardha-Magadhi kilavayai =Sk. kridayati = Pali kilapayati ; pilapayati (I. 9) - Ardha-Magadhi pidavayai =Sk. pidayati= Pali pilapayali ; tadaga (I. 2)=Ardha-Magadhi tadaga= Sk. tadaga=Pali talaka ; veduriya (I. 10, I. 15)=Ardha-Magadhi veduriya =Sk. vaidurya=Pali veluriya. Further, as to the exceptional cases of spelling and pronunciation, the language of the old Brahmi inscriptions differs from Pali and agrees with Ardha-Magadhi in its greater tendency to replace the surd by the sonant of a consonantal group : tadaga (I. 2)=Pali talaka= Ardha-Magadbi tadaga; padhame (I. 2)=Pali pathame, pathame=Ardha-Magadhi padhame; opadha (I. 13)=Paliopatha=Ardha-Magadhi "paha (a change from padha); nadha, Goradha (I. 3, I. 8, I. 9)=Pali radha, Goratha=Ardha-Magadhi raha, Goraha (changes from radha, Goradha); Pithuduga (1. 12)=Pali Puthudaku=Ardha-Magadhi Pihudaga, Pihudaga ; samghata (I. 12)=Pali sum khuta, samkhyata=Ardha-Magadhi sankhatu ? ; Madhuram (I. 9)=Pali Madhuram=Sk. Muthuram=Ardha-Magadhi Mahurum (a change from Madhuram). The language under discussion differs from Pali and agrees with Ardba-Magadbi also in its tendency to form a gerund by adding ta (= ArdhaMagadhi tta) instead of tva to the verb ; acitayita (1.3)=Ardha-Magadhi acimtayitta=Pali acintayitva ; ghatapayita (I. 9) =Ardha-Magadhi ghata. vayitta=Pali ghatapayitva; in its tendency to change p into v in the middle of a word : kara-vana-anugaha (I. 7)=Pali karu-pana-anugaha ; in its tendency to frequently use pana (= Ard ha- Magad bi panna, Pali panata, papa, panna) for panca : palati8@li (I. 2)=Pali pancatiz sahi ; panatariya (1. 15) = Pali pusca-sattali ; in its tendency to represent the r of 1. Cf. also pura (1. 5, 1, 12)= Ardha- Magadhi puva=Pali pubba i savata (I. 8)=ardhaMavadhi savuvattha = Pali sabbattha ; youana (1.1) = Ardha-Magadhi yovvana = Pali yobbana. 2. Here samyhata may be equated also with Sk. and Pali samghato. For Private And Personal Use Only

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NOTES 159 a conjoint consonant by n: dampa (1. 4)= Pali dappa=Sk. darpa 1; samdansayamto (I. 7) = Pali samdassayamto=Sk. sandarsayan ; akhadamsa (IX) - Pali akkhadassa =Sk. aksadarsa ? ; in its tendency to dispense with tsound in the middle of a word ; cavuthe (I. 5)= Ardha-Magadhi cautthe = Pali catuithe ; and in its tendency to represent kl by h : siharani (1.13)= Ardha-Magadhi siharani = Pali sikharani. If Mr. R. D. Banerji's reading dhut[u]na be correct, we find in it another point of agreement between the language of the old Brahmi inscriptions and Ardha. Magadhi : dhutuna (II)=Ardba-Magadhi dhutuna= Pali dhituna. In paoiyo (I. 2) = Sk. palih= Pali and ardha- Magadhi paliyo, one has an exceptional instance, where l is represented by d= Pali ?. In veduriya (1, 10, I. 15)=Sk. vaidurya, one has a case, in which d is represented by d=!. In rana (I. 7)=Sk. pana and in dapa (if it is a correct reading)=Sk. drava, we have a case, in which p and v are interchanged. In palikhani (I. 13)=Sk. parighan and in samghalam (I. 12)=Sk. samkhyalam, ove has a case, in which ich and gh are interchanged. In lenin=Sk. layanam, one has a case, in which the dental nasal is represented by the cere. bral. In Madhuram (I. 9)=Sk. Mathuram, one has a case, in which th is represented by dh. But these are exceptions which are met with equally in Pali. ! Regarding the use of two spellings of pali as pali and pali, of Lala as Lala and Lala, and of lena as lena and lena in Pali, Dr. E. Muller's observations are worth quoting: " It is very difficult to give exact rules for the use of l as the manuscripts are even less consistent in this respect than with regard to the dental and cerebral n."3 As regards palikhani =Sk. parighan, the usual Pali spelling is palighani or palighani. The palikha spelling occurs in one of the Jataka verses (Fausbolls Jataka, Vol. VI, P. 276):- Esika parikhayo ca palikham aggalani ca. The commentator suggests paligha as an alternative reading : palikhan ti paligham, ayam era va patho. "Here palikha means paligha. This paligha may also be the intended reading." 1. If dapa be the correct reading, the word must be equated with Pali and Ardha. Magadhi dava, and Sk. drava. 2. The only exception in Pali is lomahamsa=lomaharga, 3. E, Muller's Pali Grammar, p. 27. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 160 www.kobatirth.org OLD BRAHMI INSCRIPTIONS As for samghata=Sk. samkhyata, we find a parallel instance in Pali Maghadeva (Culla-Niddesa, p. 80) = Makhadeva, although here both the forms may be regarded as phonetic changes from Mahadeva, which is the usual Pali spelling. No hypothesis regarding the character of the language should be built on the basis of the readings etinam (I. 9) and samkarakarako (I. 16). For it seems that etinam is but the engraver's mistake 1 for etisanam = Pali etesanam, and samkara for samkhara, ef. patisamkharayati (I. 2). One need not be surprised if the intended reading in Kharavela's inscription (I. 9) was bramhananam or brahmananam, which is the same in pronunciation as the Pali brahmananam. So far as the present inscribed surface of the rock goes, one has to read bamhananam or bahmananam. Apart from the question of chronology, the following Brahmi inscriptions may be so arranged as to indicate a march of the official language of ancient India from a stage of old Magadhi towards Sanskrit through a Pali stage reached in the language of Ananda's Sanchi Gateway inscription of Satakarni's time and in that of the old Brahmi inscriptions: I. Piprahwa Vase Inscription Acharya Shri Kailassagarsuri Gyanmandir II. Asoka's Rummindei Pillar Inscription IV. Iyam salila-nidhane Budhasa Bhagavate Sakiyanam sukitibhatinam sabhaginikanam saputadalanam. III. Yasamata's Brick-tablet Inscription2 Devanampiyena Piyadasina lajina visativasdbhisitena atana agaca...silavigadabhica kalapita silathabhe ca usapapite. Jivaputaye rajabharyaye Brhasvatimitadhitu-Yasamataye karitam. Gotamimitra's Pillar Inscription3 ...mitrasa-putrasa-rano-Visnumitrasadhitu-Idragibhadaye dhatiye Gotamiye Mitraye danam thambho. 1. Etinam may be a genuine genitive plural form from etisa. 2. JRAS, 1912, the inscription edited by J. Ph. Vogel. 3. IHQ, Vol. II, No. 3, p. 442, the inscription edited by N. C. Majumdar. For Private And Personal Use Only

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NOTES 161 : V. Dhanabhuti's Barbut E. Gateway Inscription Sugaram raje rano Gigiputasa Visalevasa pantrar Gotiputasa Agarajasi putena lachipulena Dhanabhutina kurilan toranam xilakamnamto on upamna. VI. Ananda's Sanchi Gateway Inscription Runo siri-Satakaaisa uvesanisa Vasithiputasa Anamlasa da nam. VII. Kharavela's Chief-queen's Inscription Arahamta-pasadayar Kulingana samananan lenai kari tam-rajino Lali lasa Ilathisihasa papatasa dhituna Kalimga-cakavatino siri-khararelasa agama hisina karitam. VIII. Asadhasona's Pabhosa Inscription, No. II-- Adhichatraya rano songkayanaputrasa Vamsa palasa putrasya rano Tevaniputrasya Bhagavatasya putrena Vaihidariputrena Asadhasenena laritam. IX. Sunga Inscription in Ayodhya 1 - Kosaladhipena dvirasvamedhayajinah Senapateh Pusyamitrasya sasthena Kausikaputrena Dhana...dharmarajnaha pituh Phalgudlevasya ketanam karitan. We maintain that, from the point of view of antiquity of the Pali language, the foregoing setting of the Brahmi inscriptions is of little importance. For going back to earlier times, we find that, upon the whole, the sound system and grammatical forms of the language of the Girnar version of Asoka's Rock Edicts are strikingly similar to those of Pali. It appears that, for the adaptation of wordings of Asoka's edicts to the local dialects, arrangements were made in Asoka's Imperial Secretariat to have the drafts prepared by the drafters who were supposed to have been conversant with the local dialects of different centres, for which the edicts were intended. In theory, the Girnar copies of the fourteen rock edicts were meant to be drafted by the drafter familiar with the local dialect of Girnar. But in practice, in some instances, the drafters by a mutual 1. JBORS, Vol. XIII, Parts III-IV, p. 247, the inscription edited by K. P. Jayaswal. 2. Jayaswal reads dharmarajnih. 21 For Private And Personal Use Only

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162 OLD BRAHMI INSCRIPTIONS arrangement worked for one another or, for some reasons or other, the drafter employed to prepare drafts for one place was called upon to do the work for another place, and, in some instances, the draft prepared for one place was despatched by mistake to another place. For example, by the sareness of opening words, Devanampiyasa vacanena, we may ascertain that the Dhauli copies of Asoka's Separate Rock Edicts and the copy of Queen's Edict were drafted by one and the same drafter. We think there is no better way than this of explaining the irregularities of spellings and grammatical forms in the Girnar copies of Asoka's fourteen Rock Edicts. Among distinctive characteristics of the sound system, we notice that the Girnar language invariably retains the st-sound instead of assimilating it into th(=ith), and the st-sound instead of assimilating it into th(=tth): asti, nasli, samstuta, stita, tistamti, anusasti, nistanaya ; invariably retains the r-sound in the word sarvata or sarvatra and optionally in the word purva, while in sava, rv is assimilated into v(=vv); and shows a greater tendency to optionally retain the ra-stop: prana, priya, sarvatra, brahmana, sramana, parakrama. The last characteristic, viz., the retention of r-stop has its vestiges in such Pali words as yatra, tatra, atra, annatra, amutra, bhadra, brahmana, gadrabha. In Pali, we have sm and mh as two alternative forms, while in the Girnar language, we have the use of only one form, namely, mh: vijitamhi, a pakaranamhi. The retention of the ya-stop is another point of agreement between the two languages : Girnar-katanya, vyamjanato, divyani; Pali-Sakya, vakya, vyamjanalo, samkhyata. This may suffice to convince the reader of the fact that the Pa language was modelled on a western form of the Indian Prakritic dialect as typified by the language of the Girnar version of Asoka's rock edicts. And if the language of our old Brahmi inscriptions is found to be very nearly Pali, we cannot, for that reason, be justified in thinking either that it was representative of a dialect, which was prevalent in the kingdom of Kalinga, or that the Pali language was based upon the Kalinga dialect presupposed by it.1 Apart from other arguments advanced by other scholars against Prof. Oldenberg's view, we find that, unlike Asoka's 1. Vinaya-Pitaka edited by Oldenberg, Vol. I, Introduction, p. liv. 2. Nalinaksha Dutt's Early History of the Spread of Buddhism and the Buddhist Schools, pp. 262-4 ; Sunitikumar Chatterji's The Origin and Development of the Bengali Language, Vol. I, pp. 56 ff. For Private And Personal Use Only

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NOTES 163 edicts, our old Brahmi inscriptions bear no proof of adaptation to local dialects. In many essential points, the language of our old Brahmi inscriptions bears likeness to that of the Girnar version of Asoka's rock edicts. We can account for this likeness without resorting to Prof. Oldenberg's hypothesis. The likeness might be simply due to the fact that our old Brahmi inscriptions were drafted by a Jain recluse who came to live in the Udayagiri and K bandagiri caves from Gujrat, or that the Jain recluse who composed our old Brahmi inscriptions was won over from the Buddhist faith and utilised his knowledge of the Pali language. To render an adequate explanation for the Pali diction, as well as for the exceptional cases of spelling and pronunciation, we see no better way than to presume that the old Brahmi inscriptions, as we now have them, were a rendering in a kind of Girnar language or of Pali from an original draft prepared by a Jain recluse in an eastern dialect presupposed by ArdhaMagadhi or Jain Prakrit, and that this rendering was done by another Jain recluse in the course of rewriting it, the Jain recluse who was either born and brought up in the Girnar region or won over from the Buddhist faith having an opportunity of being conversant with a dialect similar to the Girnar language or with Pali itself. Whether or no the spoken dialect of the people of Kalinga was originally a Dravidian form of speech is a disputed question. But it seems certain that the language of our old Brahmi inscriptions was not the spoken dialect of the people of Kalinga. The Udayagiri and Khandagiri caves where these inscriptions were engraved are situated in the heart of the Puri District of Orissa. The spoken dialect of the inhabitants of this District is now known as Oriya. The spoken dialect of the people of Utkala. varsa, the country of Utkala, was known to the outsiders, say to the cultured people in Magadha, as an unintelligible and uncouth jargon as might be inferred from the expression Ukkalavassa-bhanna which has been used as a term of contempt in one of the passages of the Pali Tipitaka. Buddhaghosa, the Pali commentator, has altogether missed the significance of this expression. He takes it to mean "two men of Utkala, Vassa and Bhanna by name."2 This meaning is out of the question in the Pali passage where, while speaking of the philosophers propounding 1. Aiguttara-Nikaya, Part II, p. 31. 2. Manoratha-Puraai, Siamese edition, Part II, p. 377: Ukkalati Ukkala-janapada. vasino. Vassa-Bhannati Vasso ca Bhanno ca dve jana. For Private And Personal Use Only

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164 OLD BRAHMI INSCRIPTIONS views contrary to his own, the Buddha has referred to them as Ukkalavassa-bhanna, that is, as persons speaking in terms of the unintelligible and uncouth jargon of the country of Utkala. Acharya Shri Kailassagarsuri Gyanmandir Prof. Our old Brahmi inscriptions' is a conventional language, which tended to remain clear of Magadhisms, the elements of eastern dialects.1 S. K. Chatterji rightly observes: "The Aryan language...came in the wake of the North Indian religions, Brahmanism, Buddhism and Jainism, and was used by royal patrons of these religions among Dravidians and other non-Aryans, merely as a sort of religious language, in documents of a religious, and often of an administrative character."2 3 We have sought to maintain that the Pali language, too, tended to remain clear of Magadhisms. It is most astonishing that Prof. Bapat freely admits attakare, parakure, sukhe, dukkhe, jiva-sattame, and the like to be the genuine Pali forms, forgetting that these Ardha-Magadhisms are clearly associated in the earliest Pali texts, notably the SamannaphalaSutta of the Digha-Nikaya, Vol. I, with the doctrines of such recluse teachers as Purana-Kassapa, Pakudha-Kaccayana and Makkhali-Gosala, and that, as such, these are meant to have been put within inverted commas as a means of being kept distinct from the Pali forms, attakaro, parakaro, sukham, dukkham, and jiva-sattamo.1 It is interesting to observe how scholars after scholars have erred on the wrong side in subsuming that all that is in Pali is Pali. The spelling of Raigiri as Isigili, met with in the title and body of the Pali Isigili-sutta of the Majjhima Nikaya, is cited by Prof. Luders as a notable instance of lingering old Magadhism in Pali, and no less as an evidence in support of his theory about the rendering in the existing Pali canon of old Magadhi texts in a western dialect. But what can be more misleading than this? As we have sought to show elsewhere, the usual Pali name of the hill would have been Isigiri, and the Isigili form had 1. The word palikhani which occurs in Kharavela's inscription as an equivalent of the Pali palikhani or palighani, and the Sk. parighan, might be cited as an exception. But the alternative Pali spelling of paligha as paligha, met within the Vasettha-Sutta, SuttaNipata, indicates that the case is not that of replacement of the ra-sound by the la-sound but that of an inter-consonantal change effected through la or da. 2. The Origin and Development of the Bengali Language, Vol. I, p. 63. 3. Indian Historical Quarterly, Vol. IV, No. 1, p. 23. 4. See Barua's paper-The Ajivikas-in the Calcutta University Journal of the Department of Letters, Vol. II, pp. 46-51. 5. Barua's paper-Jinalogy and Buddhalogy-Calcutta Review, Oct., 1924, p. 60. For Private And Personal Use Only

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NOTES 165 to be adopted for a very special reason, meaning it to be put within inverted commas. The reason for adoption or retention of the spelling Isigili has been stated in the Sutta itself : " Bhutapubbam, Bhilkhave, panca-Pacceka-buddha-satani imasmim Isigilismim pabbate ciranivusino ahesum. Te imam pabbatam pavisanta dissanti, pavittha na dissanti. Tam enam manussa disva evam ahamsu: Ayam pabbato ime isi gilatiti Isigili,' Isigili tveva samanna uda padi."1 "Formerly, O Bhikkhus, some five hundred Eyotistic Buddhas (hermit teachers) came to live for ever i.e., to cast off their bodies) in the dark caverns of) this Isigili mountain. They could be seen entering (the caverns of) this mountain, and once they entered into the mountain, they could no longer be seen. Observing this strange happening, the people said : This mountain swallows these sages,' and hence arose the name of the hill-Isigili, 'the swallower of sages.'" The explanation offered by the Buddha enables us to understand that the real name of the mountain which was Rsigiri or Isigiri, " the Mountain abode of the Hermits," was locally pronounced as Isigili, and acquired a new association of ideas in the fanciful etymological derivation "Isigilatiti Isigili," "the Hermit-swallower because it swallows the hermits." and that this new association could not be embodied without coining such a longer name in Pali as I sigili-giri=Rsigili-giri, "the Hermit-swallowermountain." As we have seen, the substitution of the Dental sonant aspirate for the Dental surd aspirate in such words as padha, radda, Goradha, padhama, and Madhura is a characteristic of the dialect presupposed by the language of our old Brabmi inscriptions, that is to say, of the language of the supposed first draft. Among the later Prakrit dialects, the Sauraseni, the vernacular of the people of Surasena or Mathura region, has alone been characterised by this kind of phonetic change in Vararuci's PrakstaPrakasa, in the aphorism (XII. 3) : " The Dental consonants la and tha which are not the initials of any words and are not conjoined with other consonants change respectively into da and dha." One need not be astonished if the first draft of Kharavela's inscription was prepared in the dialect of the Mathura region by a Jain recluse who 1, Majjhima - Nikaya, Vol. III, Part I, p. 68. For Private And Personal Use Only

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166 OLD BRAHMI INSCRIPTIONS was familiar with it. The two inscriptions discovered and published by Mr. Jackson in the Barabar Hills offer us an instance of the substitution of dha for tha.? In the earlier inscription, the letter-forms of which are similar to those of Asokan inscriptions, the name of the particular bill to which it is attached is recorded as Gorathaqiri, while in the later inscription, the letter-forms of which are strikingly similar to those of Kharavela's inscription, the paine of the sau.e hill has been recorded as Goradhagiri.? Mr. R. D. Banerji offers this explanation for the use of the spelling Goradhagiri in the second inscription : " The substitution of dha for tha shows that the second record was incised by an inhabitant of Southern India. It is quite possible that this record was incised by an inbabitant of Kalinga, probably one of the men who had accompanied Kharavela in bis first campaign against the king of Magadha,"3 We find it difficult to agree with Mr. Banerji in thinking this kind of substitution was a peculiarity of the spoken dialect of the people of Kalinga in view of the fact that in none of Asoka's inscriptions in Kalinga we notice it. If it be true that the second record was actually incised by one of the men who had accompanied King Kharavela in his campaign against the people of Rajagaha, the fact may be explained differently. The author of the record might be a man who was brought up in Mathura or the Mathura region. Our explanation is more plau on the ground that, according to the Hathi-Gumpha record, Mathura was used by King Kharavela as the military base in his campaign against the King of Anga-Magadha, and no less in his campaign against the kings of Uttarapatha. 4 We may, on another ground, maintain that the presupposition of the language of the supposed first draft of Kharavela's inscription was not the spoken dialect of the people of Kalinga. In Kharavela's inscription, we have cavuthe (1. 5) for the Pali catutthe. We find that cavudasa occurs in all the versions of Asoka's fifth Pillar Edict as a common spelling for catuddasa. The dialects of all the versions of Asoka's Pillar Edicts point, beyond any doubt, to the existence of a widely prevalent lingua franca, or language of the cultured laity as Professor Rhys Davids would like to 1, JBORS, Vol. I, Part II, pp. 159-71. 2. The point is ably discussed by R. D. Banerji in JBORS, Vol. III, Part IV, p. 500. 3. JBORS, Vol. III, Part IV, pp. 500-501. 4. See for fuller discussion passim, under Geographical Allusions. For Private And Personal Use Only

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NOTES 167 call it, in the third century B. C., in the Middle Country extending as far, say, as Kausam bi and Mathura. It is apparent that the dialects of these Pillar Edicts are full of Magadbisms. And if we go by the verdict of Vararuci, the predominant tendency of the Magadhi dialects was Sauraseni, that is to say, of the dialect of the people of Mathura. Thus we are led to assume that the Udayagiri-Kbandagiri caves in Orissa, Mathura and Ujjeni-Girinagara were the three important centres of Jainism during the reign of Kharavela, and that the language of Kbaravela's inscription is, so far as its grammatical forms go, the same as the dialect of the Girnar version of Asoka's Rock Edicts, and, so far as its sound system goes, a combination of the Girnur and Mathura dialects. The substitution of dha for tha cannot be said to be a peculiarity of the Pali language on the ground that in Pali, too, we have Madhura as a spelling for Mathura, just in the same way that we have in it Isigili as a spelling for Isigiri, and Makhadeva and Maghadeva as two spellings for Maha. deva. All these were locally current proper names retained in Pali, and meant to be put within inverted commas, that is to say, to be kept distinct from the standard Pali spellings. The spelling of the name MadhavaVideha as Mathava-Videgha occurring in the Satapatha-Brahmana (I. 4. 1) is an apt parallel in Sanskrit literature. This spelling shows that the personal name Madhava-Videha was locally pronounced, most probably by the inhabitants of Videha or Mithila region, as Mathava-Videgha. We mean to say that the spelling Madhura was not due to a Pali rendering of the sk. Mathura,--that, in other words, Madhura was a janapada-nirutti or desi-nama, that is to say, a locally current proper name, which found recognition in Pali. In accordance with a significant statement made by the Buddha in the Aranavibhanga-Sutta of the MajjhimaNikaya (Vol. III, Part III), one locally current proper name, if it signifies an object for which it is intended, is as good as the other, and there is no sound reason for regarding one of them as more correct than the other. The importance of his statement lies also in the fact that it contains a reasonable explanation for the recognition of a particular form of the proper name not from any intrinsic superior value of its own but on account 1. Vararuci's Prakyta-Prakasa, XI.2 : Prakrtih Sauraseni. 2. See Actes du Sisieme Congres International des Orientalistes, Part III. p. 140, where Bhagawanlal Indraji remarks: "The whole inscription is in prose. Its language is Prakrit, different from the Lat (Pillar) inscriptions of Asoka, but resembling the old Maharasyra Prakrit of the Western India cave inscriptions." This characterisation is too general to need comments. For Private And Personal Use Only

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168 OLD BRAHMI INSCRIPTIONS of local adaptation. We quote below his statement in ertenso to enable the reader to judge for himself what it is and what it implies : Janapada-niruttim nabhiniveseyya, samannam natidhaveyyati--iti kho pana etam vuttam. Kinc'etam paticca vuttam? Kathan ca, Bhikkhave, janapada niruttiyu ca abhiniveso hoti samannaya ca atisaro ? Idha, Bhi. kkhave, tad ev'l ekaccesu janapadesu 'Pati'ti sanjananti, Pattan'ti, Vitthan' ti, Saravan'ti, 'Dharopan'ti, 'Ponan'ti, 'Pisilan'ti sanjananti. Iti yatha yatha nam tesu tesu janapadesu saijananti tatha tatha thamasa paramassa abhinivissa voharati? : "Idam cvu saccam, mogham annan" ti. Evam kho, Bhikkhave, janapada-niruttiya ca abhiniveso hoti samnnaya ca atisaro.3 Kathan ca, Bhikkhave, janapada-niruttiya ca anabhiniveso hoti sam. annaya cu anatisuro ? Idha. Bhikkhavo, tad cv'ekaccesu janapadesu "Puti'ti sanjananti, Pattan'li, "Vitthan'ti, Saravan'ti, Dharopan'ti, Ponan'ti, 'Pisilan'ti sanjunanti. Iti yathi yatha nam tesu tesu janapa. desu sanjananti "Idam kira'me ayasmanto sandhaya voharanti" ti tatha tatha voharati aparamasam.4 Evam kho, Bhikkhave, janapada-niruttiya anabhiniveso hoti samannaya ca anatisaro. Janapada-niruttim nab hiniveseyya, samannam natidhaveyyati-iti yam tam vuttam idam etam paticca vuttam. " The local form of a proper name is not to be dogmatically adhered to the local designation is not to be pressed too far. Such is the rule as stated. For what reason is the rule so stated ? And how is it, O Bhi. kkhus, that a man becomes inclined to dogmatically adhere to the local form of a proper name, and to press the local designation too far? Here, 0 Bhikkhus, it so happens that in some locality a utensil is known by the name of Pati, in some by the name of Patta, in some by the name of Vittha, in some by the name of Saruva, in some by the name of Dharopa, in some by the name of Pona, and in some by the name of Pisila. The inhabitant of a particular locality having strongly embraced and dogmatically adhered to a particular form of the proper name whereby the utensil 1. Buddhaghosa's Papasca-Sudani, Siamese edition, Part IIT, p. 471 : Tad evan tam yeva bhajanan. 2. Ibid, p. 471 : Abhinivissa voharatiti 'Pattan'ti-sanjanana-janapadam gantva "Pattam aharatha dhovatha'' ti sutva "Andha-puthujjano, nayidam 'Pattan' 'Pati' nama esa, eram vadaht" ti abhinivissa voharati. 3. Ibid, p. 471 : Atisaro'ti abhivadanan (a misprint for atiahavanam). 4. Ibid, pp. 471-2: Tatha tatha voharati aparamasanti " Amhakam janapade bhajanan Pate'ti' puccati, ime pana nam 'Pattan'ti vadanti. Tato patthaya janapada. voharam muncetva pattam 'Pattan' t'eva aparumasanto voharati. For Private And Personal Use Only

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169 is known in this or that locality, boastfully says: This is the only correct form, and the others are incorrect.' Thus it is, O Bhikkhus, that a man becomes inclined to dogmatically adhere to the local form of a proper name, and to press the local designation too far. How is it, O Bhikkhus, that a man does not become inclined to dogmatically adhere to the local form of a proper name, and to press the local designation too far? Here, O Bhikkhus, it so happens that a utensil is known by different proper names in different localities, in some by the name of Pati, in some by the name of Patta, and so on and so forth. The inhabitant of one locality, when he is in another locality, realising that the gentlemen of the second locality conventionally use this form of the proper name to designate this object,' wisely use that particular form whereby the object is known in that particular locality without any local attachment (that is, abandoning the form whereby the object is known in his own locality). Thus it is, O Bhikkhus, that a man does not become inclined to dogmatically adhere to the local form of a proper name, and to press the local designation too far. It is for this reason that the rule is so stated as: The local form of a proper name is not to be dogmatically adhered to, the local designation is not to be pressed too far." "1 22 NOTES Acharya Shri Kailassagarsuri Gyanmandir 1. Here we have refrained from introducing a discussion as to the origin and antiquity of Pali language, reserving it for a separate monograph. But it is our decided opinion that a conclusion about the antiquity of Pali drawn from the similarity observed between it and the language of Kharavela's inscription is bound to be a dogmatism and dangerous presumption. Truman Michelson's paper on Magachisms in the Language of the Girnar, Shahbazgarhi and Mansehra Inscriptions' (American Journal of Philology, 1909, pp. 234 ff., and JAOS, 1909, I, pp. 77 ff.) will receive full attention in the proposed monograph. 4 For Private And Personal Use Only

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170 OLD BRAHMI INSCRIPTIONS 7. THE STYLE Our old Brahmi inscriptions are all written in prose, a rhythmic prose abounding in alliterations, elegant expressions, and balanced sentences, clauses and phrases. In reading these inscriptions, especially those which stand in the names of King Kharavela and his chief-queen, one cannot but be tempted to make out verses in them. We venture to say that all attempts made in this direction are destined to end in failure. Their diction is metrical prose without revealing the actual process of versification. In reading out the inscription of Kharavela one is apt to feel as though one were chanting verses in marked cadences, the invocation formula in a variety of Kumara-Lalita metre, and the main text in a kind of Simhavikridita, Scan the invocation formula as carefully as you may, you cannot confidently class it as a metrical composition in any of the known metres, and yet your inclination will all along be to trace in it a process of versification in the Kumara-Lalita metre. The fact is that the desire to produce a complete rhythmic effect has led the composer to balance up the groups of sounds in successive sentences, clauses or phrases, inducing a tendency to versification within a prose construction. So far as its greater rhythmic effect goes, the inscriptional formula || Namo ari hamtanam || Namo savasidhanam || shows an improvenient upon an earlier Jain formula || Namo arihamtunam || Namo sidhanam || which seems to linger in the later fullfledged Jain formala || Namo ari hamtanam | Namo sidhanam || Namo ayari. yanam || Namo uvajhayanam || Namo loe savra-sahunam || quoted on p. 8 (ante). Comparing the inscriptional formula with the later Jain formula, we detect that after the monotonous repetition of four similar clauses, the latter is closed with a clause || Namo loe savva-sahunam || constructed so as to maintain the rhythm of the whole, and that, in this final clause, one has a two-syllabic word in addition to those contained in the second clause of the former. In the formula consisting of two clauses, the insertion of one two-syllabic word suffices for the purpose, while in the formula consisting of five clauses, the insertion of an additional word is needed. 1. Inscriptional formula || Namo arihamtanam || Namo sava-sidhanam || 11. Later Jain Formula || Namo arihamtanam || Namo siohanam || Namo arjariyanam || Il Namo uvajhayanam || Namo loe savva-sahunam || For Private And Personal Use Only

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NOTES 171 A similar Buddhist formula of invocation consisting of three clauses can be traced in the Petakopadesa which is one of the extra canonical works presupposed by Buddhaghosa's Atthasalini, and probably also by the Milindapanha. III. Buddhist Formula in the Petakopadesa Acharya Shri Kailassagarsuri Gyanmandir Namo sammasambuddhanam || Paramatthadassinam || || Siladiguna-paramippattanam || In the Buddhist formula, the first two clauses joined together read like a line of a verse, while the third clause shows that the composition is yet rhythmic prose. The real character of the composition will be manifest if we supply the omissions and read it as follows: Namo sammasambuddhanam || [Namo] paramatthadassinam || || [Namo] siladigna-paramippattanam | Coming to the main text of Kharavela's inscription, we find that the effect of rhythm is heightened by a mathematical progression of the volumes of sound, and that the main statement commences from the point where the climax is reached. In such a text as this the verbs are bound to be sparingly used, and a rhyming process is bound to play its part as will be evident from the following quotation : I. (1)|| Airena maharajena || mahameghavahanena || Ceta-rajavamsavadhanena pasatha-subha-lakhanena || caturamta-rakhana-guna-upetena || Kalimgddhipatina siri-Khararelena || pamdarasa-vasani || siri-kadara || sari. ravata kidita kumara-kidika || The rhyming process plays its part also in a sentence consisting of several clauses, each with a separate verb : 1. (2)-pakara-nivesanam patisamkharayati || tadagapadiyo ca bamdhapayati || savayana-patisamthapanam ca karayati || pakatiyo ca ramjayati || In the text of the inscription of Kharavela's chief queen, the same verb is repeated for the sake of rhythm and emphasis : II- Arahamta-pasadayam Kalimganam samananam lenam kari. tamrajino Lalakasa Hathisihasa papotasa dhituna Kalimga-cakavatino siri-Kharavelasa aga-mahisina karitam || The rhythm is sought to be maintained even in such a short inscription as that of Kamma and Khina : VII- Kammasa kotha ca | Khinaya ca pasado || For Private And Personal Use Only

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172 OLD BRAHMI INSCRIPTIONS For the sake of rhythm the words are left as they are without being joined according to the rules of Sandhi, e.g., guna-upetena (I. 1), and tivasa. sata-oghatitam (I. 6).1 So far as these peculiarities are concerned, our old Brahmi inscriptions clearly anticipate the Pali prose style of the Milindapanha, another of the extra-canonical works presupposed by Buddhaghosa's commentaries, which, even according to the tradition embodied in it, was not composed within the first five centuries of Buddha's demise. And so far as these peculiarities are concerned, there is nothing save a few long-drawn conpounds within the four corners of the Pali Tipitaka to anticipate the prose style of our old Brahmi inscriptions. The Milinda descriptions of the city of Sagala and the earthquake signalising the memorable character of Vessantara's charity, quoted below, will, we believe, show how close is the resemblance of its prose style with that of Kharavela's inscription, in spite of the fact that the prose style of the latter has not, as yet, attained the maturity of the prose style of the former : I. Description of Sagala-- Atthi Yonakanam nanaputabhedanam Sagalam nama nagaram nadi. pabbati-sobhitam ramaniya-bhumippadesabhagam aram-uyyanopavanatalaka-pokkharani-sampannam nadi-pabbata-vana-ramaneyyakam, etc. II. Description of the Earthquake Hettha mahavata sascalanti, sanikam sanikam sakim sakim akulakula vayanti, onamanti unnamanti vinamanti, sinappatta padapa papatanti, gumbagumbam vaiahaka sandhavanti,...rudanti yakkha appesakkha, hasanti yakkha mahesakkha kampamanaya mahapathaviya. Our old Brabmi inscriptions' is not the prose style of the Pali Tipitaka, nor that of earlier portions of the Jaina Agama, nor that of the Vedas, Brahmanas, older Upanisads, Kalpa-Sutras, Niruktas and Pratisakhyas. So far as their prose style goes, they stand out, in point of time, as a notable landmark in the literary history of India. Just as with reference to the accidental unconscious beginning and maturer development of the style of Kavya poetry Asvaghosa's Buddha-Carita stands midway between 1. Cf. Vasa-abhisita or vara-abhisita (Asoka's R. E. XIII, Sabbazgarbi; P. E, V Delbi-Topra, Delhi-Mirath; P. E. VI, Delhi-Topra). For Private And Personal Use Only ----------

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NOTES 173 the Prologue of the Pali Nalaka-Sutta as found in the Sutta-Nipata? on one side and Kalidasa's Kumara-Sambhava on the other, so with reference to the accidental unconscivus beginning and maturer development of the rhythmical prose style, our old Brahmi inscriptions represent a link of transition between some of Pali set formulas of Buddhist precepts and the Milinda's descriptions of the city of Sayala and the earthquake. The Pali formulas representing an accidental unconscious beginning of the prose style of Kharavela's inscription are being quoted below : I. Pali Formulas of Buddhist Precepts(a) Nacca-gita-vadita-visika-dassana-veramani (Vinaya Mahavagga) Nacca-gita-vadita-visuka-dassana-veramani-sikkhapadam (Khuddaka-Patha) Nacca-gita-vadita-visuka-dassana-veramani-sikkhapadam samadi yami (Khuddaka-Patha-Comy.) (b) mala-gandha-vilepana-dharana-mandana-vibhusana-tthana veramani (Vinaya Mahavagga] mala-gandha-vilepana-dharana-mandana-vibhusana-tthana-vcramani-sikkhapadam (Khuddaka-Patha) mala gandha-vilepana-dhara na-mandana-vibhusana-tthuna veramani-sikkhapadam samadiyami (Khuddaka-Patha-Comy.] 1. We mean that the Sutta-Nipata contains one of the two versions of the discourse in I ndian languages, the other version being found in the Mahavasta, III, pp. 386-87. If Dhammananda Kosambi's identification be correct, as we believe it is, this is the very discourse which was recommended for study by King Asok a in his Bhabru Edict under the title "Moneya-Sute." The verses of the Prologue appear to be a supergrowth and later addition. As to the relation between the Pali Prologue and the Buddhacarita, the follow. ing quotations will suffice :(4) Pali PrologueDadallamanam siriya anomarannam dassesi puttam A sitaphayassa Sakya. Disva kumaram sikhim iva pajjalanttam tarasamam da nabhasigamam pisuddham. (b) Buddha-Carita, III, 23 :Dretva ca tam rajasutam striyasta jajvalyamanam vapuga oriya ca. For Private And Personal Use Only

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174 OLD BRAHMI INSCRIPTIONS II. Kbaravela's Inscription I. 4-Dampa-nata-gita-vadita-samdasanahi kidapayati nagarim. I. 1-Sava-kara-vana.anugaha-anekani-sata-sahasani visajati pora-jana padam. Striking, indeed, is the resemblance in respect of the prose style and letter-forms which exists between the Barhut inscriptions attached as labels to two companion suenes depicting one of the Buddha-legends presupposed by those in the Lalita-Vistarat and the Hathi-Gumpha inscription of King Kharavela, although the latter shows a maturer development : I. Barhut Inscriptions (a) Utaram disa tini savata-nisisani. Dakhinam disa cha-kamavacara-sahasani. (6) Saoikarsammadam turam devanam. II. Hathi-Gumpha Inscription (a) I. 3-Satakanim pachima-disam haya-gaja-nara-radha-bahulam damdam. (6) I. 12-Anupadabhavanam ca terasa-vesa-sata-katam bhidati tamiradaha-samghatam. - 1. Cunningham's Stupa of Bharhut, Pl. XIV, S, Gate, Prasenajit Pillar, Middle and Lower Bas-Reliefs. The point is discussed by the author in the Buddhist India, a Buddhist Quarterly edited by Barua and Dharmacharya, Vol. I, No. 3. For Private And Personal Use Only

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NOTES 8. THE CONTENTS Acharya Shri Kailassagarsuri Gyanmandir 175 The contents of the Hathi-Gumpha inscription entitle it to a unique position. Among the remaining inscriptions, No. XV contains, as we saw, a table of Brahmi alphabet and the rest are short epigraphs to label the caves to which they are attached, or to which they are intended to refer, with records commemorating the names of their excavators or builders, that is to say, of their donors. In two instances (Nos. II and XIII), the records expressly mention the class of persons for whom the caves are built, the donee to whom the caves are meant to be dedicated. In so far as these records commemorate the names of the donors and the donee, they remind us of the Barabar Hill Cave inscriptions of King Asoka and of the Nagarjunt Hill Cave inscriptions of King Dasaratha. And in so far as these records stand without the expression dana or dina signifying the act of dedication, and emphasize the excavation or building work in the verbal expression karita, they remind us of the Rummindei Pillar inscription of King Asoka and the Barhut E. Gateway inscription of King Dhanabhuti. But in the majority of the cases the inscriptions are so worded as to indicate that the caves are intended to bear the names of their excavators, to be known as the caves of so and so, of King KadampaKudepa, of Prince Vadukha- Varikha and the like. The reader will entirely misjudge to differentiate the bulk of the remaining inscriptions from Nos. II and XIV on the ground that they commemorate the names of the excavators or builders of the caves but not those of the persons for whom the caves are excavated or built. We would say that the mention of the persons for whom the caves are excavated or built is unnecessary in these inscriptions. The fact that these caves are all meant for the residence of the recluses in Kalinga (Kalimganam samananam) is implied in each one of these inscriptions. For reading with reference to the context supplied in the Hathi-Gumpha record of Kharavela's thirteenth regnal year, we find that all of the 117 caves are meant to serve as kaya-nisidi or resting places of the Arhats who happen to dwell on the Kumari hill (Kumari pavate Arahato parinivasato hi kayanisidiyaya). For Private And Personal Use Only It is not only for finding out the context of the remaining inscriptions and for understanding the specific purpose of the 117 caves excavated during the thirteenth year of Kharavela's reign that one is to turn one's attention to the Hathi-Gumpha inscription. One has to read the last-mentioned

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176 OLD BRAHMI INSCRIPTIONS inscription as well for a general record of all the architectural construotions done during Kbaravela's reign and under his auspices. This is again not all. This inscription presents a systematic record of all the notable achievements of Kharavela, including all the works of art andil architecture done under his auspices. And this, too, will be but an imperfect and inaccurate characterisation of the contents of this inscription. The Hatbi-Gumpha inscription appears to be a systematic record of K baravela's personal history and successive achievements. The recorded facts are presented in the garb of an autobiographical sketch. The concluding paragraph is so designed as to make the record appear as closed with the name of King Kharavela-siri, that is, to create the impression that the record is written and signed by the king with his own hand. The invocation formula with which the record begins is meant to indicate the nature of the religious faith of the king. The opening statement contains a succinct account of how King Kharavela spent the first twenty-four years of his life, the first fifteen years as a young prince and the remaining nine years as a crown-prince, previous to bis installation in the throne of Kalinga, which took place after he had completed his twenty-fourth year. Here certain relevant details are given as to the physical feat ires and other kingly qualities of Kharavela, the name of the royal family of which he was the scion, and the useful sciences and arts in which he acquired proficiency. This is followed by the first year's record containing an account of how, in the very first year of his reign, King Kharavela undertook to repair the capital of Kalinga, and to do all in order to please bis subjects. The record expressly mentions the large amount of money spent by the king to do this work. The second year's record contains an account of how the king, in the second year of his reign, defied King Satakarni in marching towards the western quarter with a large army to attack the city of Asvaka or Rsika. The third year's record contains an account of how the king, in the third year of his reign, entertained the city of Kalinga with musical performances and general feasts and festivities. The fourth year's record contains an account of how the king, in the fourth year of his reign, consolidated his rule in Arakatapura or some other place which was inhabited by the Vidyadharas, an aboriginal race of men, The fifth year's record contains an account of how the king, in the fifth year of his reign, facilitated communication by effecting an extension ** For Private And Personal Use Only

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NOTES 177 of the old canal opened out by King Nanda so as to lead it into the capital city from the Tanasuliya or Tanasuli road. This record indefinitely hints at the amount of money spent for the purpose. The sixth year's record contains an account of how the king, in the sixth year of his reign, showed unprecedented favours to inhabitants of the towns and districts by remitting all taxes and duties. The seventh year's record contains an account of how the king, in * the seventh year of his reign, performed all the ceremonies of victory as a public demonstration of his royal pomp and power. The eighth year's record contains an account of how the king, in the eighth year of his reign, after having killed or stormed Gorathagiri, brought a heavy pressure to be brought upon the people of Rajaglha and effected a timely retreat to Mathura in order to relieve his troops terrified by the uproar of counter-attacks, and sumptuously feasted, in Mathura as well as in Kalinga, all sections of people, those who kept to household life or those who turned ascetics, those who belonged to the Brabmanical orders or those who belonged to other religious orders. This record, too, mentions the large amount of money spent for the purpose. The ninth year's record contains an account of how the king, in the ninth year of his reign, undertook to build a magnificent royal palace known by the name of "Great-Victory-Palace." This record expressly mentions the large amount of money spent for carrying out the project. The tenth year's record contains an account of how the king, in the tenth year of his reign, paid proper homage to the memory of the former kings of Kalinga at the cost of a large amount of money. The eleventh year's record contains an account of how the king, in the eleventh year of his reign, reclaimed and rehabilitated Psthudaka, founded by the former kings of Kalinga, by arranging to drive out its watery jungle of grass into the Largala river. The twelfth year's record contains an account of how the king, in the twelfth year of his reign, terrorised the rulers of Uttarapatha, subdued Bshaspatimitra, the king of Magadha, forced the inhabitants of A nga and Magadha into submission, brought back the throne of Jina from Anga-Magadha to Kalinga, and made improvements of the capital city by opening new roads and squares and adding gate-bars, gate-houses and towers. This record also contains an accouut of how the Vasukis and the king of Pandya sent valuable presents to Kharavela. The thirteenth year's record contains an account of how the king, in the thirteenth year of his reign, completed the excavation of 117 caves 23 For Private And Personal Use Only

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178 OLD BRAHMI INSCRIPTIONS under joint auspices of himself, his queens and others on the Kumari hill for the resting of resident Jain saints. The fourteenth year's record contains an account of how the king, in the fourteenth year of his reign, excavated a special cave for the residence of the recluses, ascetics and hermits from all quarters, caused stonepillars and shrines to be made with stone-slabs quarried out of best quarries, and set up ornamented pillars in beryl chambers at the cost of a huge sum of money. The concluding paragraph which is but a long string of nicely woriled and choicest adjectives heaped upon the name of King Kharavela-siri is evidently a literary device to represent the sovran lord of Kalinga as the noblest type of kingly personality and the greatest and best of earthly warrior heroes. He is styled Khemaraja, the Lord of Security. He is styled Vadharaja, the Lord of Prosperity. He is styled Indaraja, the Lord of Kingly Power. He is styled Dhammaraja, the Lord of Justice. He is represented as a person who had the ripeness of understanding and judgment of the nature of what is conducive to human welfare. He is represented as a person gifted with special qualities; as one who honoured all sects and denominations; and as one who repaired all religious temples. He is represented as a descendant of a family of royal sages. He is represented as a great conqueror. He is represented as a most powerful king who maintained the prestige of his illustrious predecessors, who had the ability to protect his kingdom, and who secured services of the ablest and fearless ministers and officers. The Pali Upali-Sutta in the Majjhima-Nikaya goes to show that this mode of praising the acknowledged high personality or this exaggerated mode of bero-worship was Jaina, as will be evident from the following quotation : The householder Upali who happened to be formerly a Jain by faith is represented as saying to Nigaatba-Nataputta, the historical founder of Jainism, in praise of the Buddha in whom he subsequently took refuge : Dhirassa vigatamohassa pabhinna-khilassa vijita-vijayassa | anigbassa susamacittassa vuddhasilassa sadhupannassa || vessantarassa vimalassa Bhagavato tassa savako' ham asmi Tanhacchidassa buddhassa vitadhumassa anupalittassa ahuneyyassa yakkhassa uttamapuggalassa atulassa || mahato yasaggappattassa Bhagavato tassa savako' ham asmi 11 1. Majjhima-Nikaya, Vol. I, p. 315. Upali calls himself savaka in the sense of " a lay disciple," which accords with Jain phraseology, and not with Buddhist, For Private And Personal Use Only

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NOTES 179 It is interesting indeed that most of the high-sounding adjectives in the Hathi-Gumpha record are to be found in Upali's eulogium of the Buddha : khemaraja=khemankari; vadkaraja =vuddasila ; imdaraja= purindada sakka ; dhammaraja=dhammattha; mahavijaya =vijitavijaya ; apatihata-caka-vahana-bala= appatipuggala; rajisi-vamsa-kula-vinisita= isisattama ; guna-visesa-lensala=visarada nipuna ; pasamta sunamta anubhavamta kalanani = satima vipassi viditaveda. The concluding paragraph clearly brings out the fact that Kharavela's autobiographical epigraph was composed for him by a skilled composer, to whom the task of composition was entrusted. The composition must have received the warm approval of His Majesty before it was incised on the rock and set up on a hanging brow wherefrom it might attract the visitors and pilgrims of the Kumari hill. Thus in one important respect the Hathi-Gumpha record of Kharavela differs from the edicts * of Asoka, and the Dialogues of the Buddha, namely, that in it one misses the personal touches of the personage in whose name it stands. Both the edicts of Asoka and the Dialogues of the Buddha make one feel as though their texts were written to dictation by some reporters and were afterwards edited by certain agents with slight changes here and there, either in the sound-system or in the expressions, the general method of the editorial agents having consisted in (1) the use of Devanampiye Piyadasi Laja hevam aha or a similar set clause as a literary device for paragraphic divisions ; and (2) the conversion of a direct narration into an indirect one by substituting Devanampiye for laja, Devanampiyena Piyadasina lajina: for me, maya and mamaya, and Devanam piyu sa piyadasino lajino for me and mama, precisely in the same way as in the Dialogues of the Buddha Tathagato is substituted for aham, Tathagatena for me, maya, and i Tathagatassa for me, mama. The Artha-Sastra of Kautalya-Kautilya (II. 10, 31) prescribes certain rules of composition to be observed in drafting the royal writs. It specifies the principal qualities and defects of composition and hand. writing. In accordance with the prescription in the Artha-Sastra, the defect of composition (lekha-dosa) consists in (1) vyaghata--irrelevancy; (2) punaruktam--repetition ; (3) apasabda--non-grammatical and unidiomatic use of words and expressions ; and (4) samplava-irregularity. According to the same authority, the qualities of composition (lekha-guna) consist in (1) arthakrama--the maintenance of syntactical order and logical sequence ; (2) sambandha-consistency of meaning ; (3) paripurnata-sufficiency; (4) madhurya-elegance or exquisiteness ; (5) For Private And Personal Use Only

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180 OLD BRAHMI INSCRIPTIONS audarya-refinement or propriety; and (6) spastatva-lucidity or expressiveness. The fourteenth rock edict of Asoka goes to show that, as early as the third century B, C., the Maurya emperor was aware of these merits and defects, at least of the fact that repetition was a defect of composition in a royal writ which might be excused only if it was needed for emphasis and elegance. Acharya Shri Kailassagarsuri Gyanmandir Explanations were required for repetitions and certain omissions, errors and irregularities in the edicts of Asoka. But as regards Kharavela's inscription, the composition of its text is free from all the defects mentioned above and is bright with the required qualities. For Private And Personal Use Only

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NOTES 181 9. THE RELATIVE CHRONOLOGICAL POSITION The Hathi-Gumpha inscription was heretofore judged as an epigraph, the final record of which did not extend beyond the thirteenth year of Khara vela's reign. But a weighty reason has now been found compelling us to believe that its final record extends beyond the thirteenth year, though by no means beyond the fourteenth. Its record of the thirteenth year opening with the words Terasame ca vase begins in the middle of the left half of 1, 14 and continues to the end of the same. This particular record cannot be said to run as far as I. 15, nay, to extend as far as the left three-fourths of the total length of l. 16 as previously supposed. The thirteenth year's record in 1. 14 contains a statement about the construction of 117 caves on the Kumari hill, the twin-bills of Udayagiri and Khandagiri, a joint work of Kharavela and others, while the record in 1. 15 and l. 16 contains a statement about some costly works of art and architecture done by Kharavela himself on the defilement of the mountain, in the proximity of the resting place of the Jain saints. Further, the thirteenth year's record in I. 14 presents a grammatical construction in Passive Voice, while the record in 1. 15 and 1. 16 presents a construction in Active Voice. 1. L 14--Terasame ca vase......satadasa-lena-satam karapitam. 2. L 15 and 16 kurayati......patithapayati...upadayati. If the foregoing reasoning be sound, there is little doubt that the final record of the Hathi-Gumpha inscription extends as far as and not beyond the fourteenth year of Kharavela's reign. And in the absence of any. thing to prove the contrary, there is little difficulty in representing the Hathi-Gumpha inscription as an epigraph, which was incised or put up in Kharavela's fourteenth regnal year. That is to say, this inscription was set up on a hanging brow of rock on the Udayagiri hill, in front of the Hathi-Gumpha, about a year after the excavation of 117 caves with their inscriptions and architectural constructions. In accordance with the thirteenth year's record, some out of 117 caves were excavated by Kharavela's queens, some by his sons, some by his relatives, some by his brothers, some by the royal servants, and the rest by himself. Going by this statement, we cannot help thinking that the caves and inscriptions standing in the name of Kharavela's chief queen, of King Kadampa-Kudepa, of Prince Vaclukha-Varikha, of the Town-judge Bhuti, of the menial Kusuma, and of others were works, which were For Private And Personal Use Only

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182 OLD BRAHMI INSCRIPTIONS commenced and finished in Kharavela's thirteenth regal year. If so, is it correct to argue on the peculiarity of certain exceptional letter-forms and to draw such a conclusion therefrom as that one among the fifteen old Brahmi inscriptions containing an exceptional letter-form reminding us of one in the inscriptions of Asoka is earlier by a century than the other ? Will it be correct, for instance, to say with Mr. R. D. Banerji that inasmuch as in the inscription of Prince Vaukha-Varikha (No. IV), the u-sign is quite distinct, though very small in size, and the letter kha "has neither a triangle nor a circle at its base," the inscription itself is anterior to that of King Kadampa-Kudepa (No. III)? We may venture to think that Mr. Banerji can no longer maintain his position, and that he will be prepared to appreciate the force of our argument pressed in favour of accepting the inscriptions standing in the names of Kharavela's chief queen, King Kadampa-Kudepa, Prince Valukha-Varikha, and the rest as (contemporary votive records, the records incised in Kbaravela's thirteenth regal year. For Private And Personal Use Only

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NOTES 183 10. THE SLOKAS CONCERNING KING AIRA OF UTKALA Mr. Jayaswal's search for light from literature on the history of Kharavela has proved a success, at least, in so far as it has enabled him to obtain a few Sanskrit slokas from an Oriya Ms., which is lying unedited in the archives of the Indian Museum, Calcutta. These are seven in number, and the MS. itself, though described as "old," may, in the opinion of experts, be safely assigned to the 16th century A.D., and can by no means be dated earlier than the 14th century. The slokas, as cited by him in JBORS, 1917, p. 482, and reproduced by Dr. Sten Konow in Acta Orientalia, Vol. 1, read as follows : MS. LEAF B (OBVERSE) 1. Abiro nama rajabhut cotkale vidyate pura abinsa-dharmamasetya Buddha dharina-parayanah # 2. Nandaraja suvikhyatah Magadhe vidyate tada sakara-pasako Nandah Veda-dharma-parayanah || 3. Nandasya sahito yuddbe Airo jitavan bhavet, Airo jayam apnoti mabahsstena manasah 1 4. Svadharma cotkale khyatih Veda-dharma-vinasakah Asokasya mahamittrah Airah Utkalesvarah # 5. Eka-prastara-khande tu puranah parvatottamah | Khandagiriti namasan pavitra cotkale bhuvi 6. Nivasa-karanarthaya daiva-bani tu praptavan "Asmin nivasatu rajan yavat tisthati medini # tavat kalasu paryyantah tava kirittih virajate " ! 7. Daiva-bani srute Airah harsa-nirbhara-manasah | Kosala-nagaram tyaktya Khandasaila-samipatu ! The substance of the verses, as made out by Mr. Jayaswal, is as follows: "(a) That Kalinga had been conquered by the kings of Magadha, and that it was liberated by one Aira (king) who defeated a Nanda king of Magadha. (6) That the Nandas were Vedic, orthodox Hindus ; and the Aira was heterodox (Jaina or Buddhist). (c) That the Aira was a great enemy of Asoka. For Private And Personal Use Only

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184 OLD BRAHMI INSCRIPTIONS (d) That the former capital of the Aira was Kosala (South Kosala), and that the Aira removed his capital to the Khandagiri at 'Eka prastara' spot." We have nothing to say against or to add to Mr. Jayaswal's fourth point. But his first three points are misleading, and need correction. As to his first point, we find in the verses no indication whatsoever of Kalinga having been conquered by the kings of Magadha and liberated afterwards by King Aira. The implication of the verses obviously is that King Nanda of Magadba who tried either to conquer Utkala or appeared as a rival in his attempt to conquer some other country, was defeated by King Aira of Utkala in a battle. As to his second point, what the verses state is that King Nanda of Magadha who was defeated by King Aira of Utkala in a battle, which ensued between them, was an adherent of the Vedic system. The verses are reticent about the religion of other Nanda kings of Magadha. As to his third point, it does not appear from the verses that King Aira of Utkala was a great enemy of Asoka. Rather as a destroyer of Vedic religion and a promoter of his own faith, which was non-Vedic or anti-Vedic, he bore comparison with King Asoka, and the greater probability is that by mahamittra, as pointed out by Dr. Sten Konow, the verses were intended to represent King Aira as "a great friend of Asoka." In the inscriptions No. 1 and No. 3, Aira occurs as one of the distinctive royal titles prefixed, in the same manner, to the names of both Kharavela and Kadampa-Kudepa, the remaining titles being Maharaja, Mahameghavahana and Kalimgadhipati. Seeing that both Kharavela and Kadampa, two kings of one and the same dynasty, bore these titles in common, especially the epithet Aira, it may be surmised that Aira was a hereditary royal title or epithet of all the kings of this dynasty reigning in Kaliaga, in the same way that Brahmadatta was a hereditary royal title or epithet of all the kings of a particular dynasty reigning in Benares. Bat we are unable to see how such a surmise as made by Mr. Jayaswal could reasonably be made from the Sanskrit verses in the applauded Oriya MS. In support of this surmise, he argues, saying, "It is apparent that the Aira, who lived from the time of Nanda up to Asoka could not have been one and the same Aira. Aira tlerefore indicates a series of kings." This ar zument of his, the force of which has freely been acknowledged by Dr. Sten Konow, is, in our opinion, unconvincing. For, in the first place, from the quoted verses, it is not at all clear that King Nanda of Magadha, referred to therein, was a pre-Mauryan Nanda king. And, For Private And Personal Use Only

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NOTES 185 secondly, in describing King Aira of Utkala as a mahamittra (great-friend) of Asoka, the intention of the author of the verses does not appear to be to say that he was also a contemporary of the latter. The purport of the verses seems to be to the effect that in so far as King Aira of Utkala was a destroyer of Vedic religion and promoter of his own faith, which was nonVedic or anti-Vedic, he deserved, in the opinion of the author of the verses, to be described as "a great friend of Asoka." As to the genuineness of two traditions embodied in the Sanskrit verses -(1) that King Aira of Utkala removed his capital from the Kosalacity to the Ekaprastara-tract around the Khanoagiri bill in Utkala, and (2) that the former capital of King Aira, who was a contemporary and victorious rival of King Nanda of Magadha, was in Kosala or South KosalaMr. Jay aswal has urged two separate arguments, which are as follows : (1) (2) That the capital of Kalinga before Asoka and after the Nandas is called Parthali (by Megasthenes) which corresponds with the Prastara of the Sanskrit verses, the Parthali which, by its location in the Khandagiri, seems to have been identical with Dhauli (Tosali). That, according to the Puranas, amongst the local dynasties which arose during the Andhra-period, there was :(a) the dynasty of Kosala (South Kosala, which, as described in the Visnu-Purana, adjoined Udra or Orissa, and, as described by Hwen Theang, adjoined Kalinga to the north-west and above the Andhra country); () who were commonly known as the Megbas, Megha having been a shortened form of Meghavahana ; (c) who were very "powerful" and "wise"; and (d) whose kings were nine in number. 1 It is possible that Megha was a shortened form of Meghavahana or Mahamegharahana. It is not impossible that nine kings of the Megha or Meghavahana dynasty, including Kharavela and Kadam pa-Kudepa, reigned in Kalinga during the Andhra-period of Indian history. But there is 1. Kosalayam tu rajano bhavisyanti mah abalah "Megha" iti samakhyata buddhimanto navaiva tu 24 For Private And Personal Use Only

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186 OLD BRAHMI INSCRIPTIONS nothing in the inscription of Kharavela and Kadampa-Kudepa to corroborate the tradition that the Mahameghavahana kings of Kalinga removed their capital from Kosala to Ekaprastara-tract. It might be, if the information supplied in the Indika of Megasthenes be at all reliable, that Parthalis corresponding with Ekaprastara of the verses, was the capital of Kalinga before the reign of Asoka. But there is nothing in the Indika of the Greek ambassador to the court of Chandra. gupta to indicate that Parthali was the capital of Kalinga when King Aira of Utkala was its lord. The occurrence of the name of the hill as Khanc'agiri is enough to show that, whatever the source, the tradition is of a late origin. Mr. R. D. Banerji has conclusively proved by the evidence of the inscription of Udyotakesari that the ancient name of the Khandagiri hill, up to the 10th or 11th century A.D., was Kumara-parvata, the expression embodying the name of the hill being Sri-Kumaraparvata-sthane. It is for Mr. Jayaswal to say when the name of the sacred hill changed into Khandagiri or Khandasaila. This is not all. In the Hathi-Gumpha inscription of Kharavela, Kalimga-nagara," the city of Kalinga," occurs as the name of the capital of Kalinga. This city, as the description goes, was not far removed from the Tanasuliya or Tanasuli road. That Tanasuliya or Tanasuli is the same geographical name as Tosala or Tosali is a conjecture, which awaits confirmation from independent evidence. Mr. Jayaswal has still to prove that Khandasaila in the Ekaprastara-tract is identical with Kalimga. nagara, which is mentioned in Kharavela's inscription as the capital of Kalinga. Lastly, we notice a wide discrepancy between what is stated in the Sanskrit verses and what in Khara vela's inscription concerning King Nanda of Magadha. In accordance with the statement in the Sanskrit *verses, King Aira of Utkala defeated King Nanda of Magadba. And from the three statements in Kharavela's inscription, (l) that there was an aqueduct in Kalinga opened out by King Nanda 103 years back (Namdarajativasasata-oghatitam panadim), (2) that the Throne of Jina belonging to Kalinga was carried off by King Nanda (Namdaraja-nitam KalimgaJindsanam), and (3) that Psthudaka, founded by the former kings of Kalinga, became a dark pool overgrown with a jungle of grass in 113 years (Kalimga-puvaraja-nivesitam Pithudaga-dabham anupa-dabhavanam ca terasa-vasa-sata-katam Ta(i)mira-daha-samghatam), it is clear that the then reigning king of Kalinga was defeated in a battle by the then reigning King Nanda of Magadha, For Private And Personal Use Only

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NOTES 187 It seems that the story in the Sanskrit verses is a curious medley of a certain result of the misreading of Kharavela's inscription and a certain legend in the Puranas. We are, no doubt, at one with Mr. Jayaswal to think that these verses are important as confirming the correctness of the reading of the first word of Kharavela's inscription, after the invocation formula, as Airena instead of Verena or Kharena.

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Shri Mahavir Jain Aradhana Kendra 188 www.kobatirth.org OLD BRAHMI INSCRIPTIONS Acharya Shri Kailassagarsuri Gyanmandir 11. THE GEOGRAPHICAL ALLUSIONS The old Brahmi inscriptions in the Udayagiri and Khandagiri caves contain certain geographical allusions, the value of which has not, as yet, been systematically discussed and fully ascertained. What are these allusions? Of the fourteen Brahmi inscriptions, the first ten are attached to the caves which were excavated by different donors on the hill now known by the name of Udayagiri, and the remaining four are attached, together with the table of Brahmt alphabet, to the caves which were excavated on the bill now known by the name of Khandagiri The two hills "form," says Major Kittoe, "part of a belt of sandstone rock, which, skirting the base of the granite hills of Orissa, extends from Autgar and Dekkunal (in a southerly direction) past Kurda and towards the Chilka lake, occasionally protruding through the beds of laterite." 1 "C These belong, according to Mr. Stirling, to a group of four small hills, which are severally called the Udayagiri, Dewalgiri, Nilgiri and Khandgiri, are composed of a silicious sandstone of various colour and texture, and are all curiously perforated with small caves, disposed in two or three irregular stories," This group of four hills, from 150 to 200 feet in height, is situated "about five miles west of Bhobanesar, near the village of Jaymara, in the Charsudhi Khandaiti of Khurda, and still within the limits of the Khetr." The Khandagiri is just four or five miles north-west of Bhuvanesvar and nineteen miles south-west of Cuttack, and is separated from the Udayagiri by a narrow glen about a hundred yards in width.3 Mr. R. D. Banerji has rightly suggested that the twin hills of Khandagiri and Udayagiri were known to the authors of the cave-inscriptions as Kumara-Kumariparvata, the Kumara and Kumari mountains. The ancient name of Khandagiri as Kumara-parvata is met with in Udyota-Kesari's inscription in Lalatendu-Kesari's cave on the Khandagiri, and that of Udayagiri as Kumari-parvata is met with in the Hathi-Gumpha inscription of Kharavela.* 1. JASB, Old Series, Vol. VI, p. 1079. 2. Extract from Stirling's Report on Orissa in JASB, Old Series, Vol. VI, p. 1076. 3. Kittoe's letter to Prinsep in JASB, Old Series, Vol. VI, p. 1079. 4. EI, Vol. XIII, p. 166. For Private And Personal Use Only

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NOTES 189 Mr. Banerji has made a mere suggestion without bringing forward any arguments to prove his point or offering any explanations for its orientation. That the ancient name of Khandagiri was known to the author of Udyota-Kesari's inscription to be Kumara-parvata is beyond dispute. The internal evidence of this inscription which must be assigned to the 10th or 11th century A.D. is enough to prove the identity between Kumara-parvata and the modern Khandagiri. The inscription, dated in the 5th regnal year of Sri-Udyota-Kesari, records the re-excavation of an old tank, the repairing of an old cave-temple and the installation of the images of the twenty-four Tirthankaras on the sacred site of Kumaraparvata as meritorious works of the donor. The text of the inscription embodying this record reads as follows : Sri-Udyota-Kesari-vijaya-rajya-saqavat 5 Sri-Kumara-parvata-stbane jirnna vapi jirnna isana udyotita Tasmina thane caturvimsati Tirtham kara sthapita. Here the tank referred to is no other than the one which exists up till to-day on the eastern face of the Khandagiri, hewn out of the rock and sacred to both the Jains and Hindus, and the caves with images of the twenty-four Tirthankaras installed therein are no other than those which are known now-a-days as Navamuni, Durga and Hanuman on the same hill. In the Hathi-Gumpha inscription of Kharavela (1. 14), it is stated that His Majesty caused one hundred and seventeen caves to be made on Kumari-pavata in the well-run realm of victory (supavata-vijayacake). Mr. Jayaswal and other scholars have sadly missed the real sense of the phrase supavata-vijaya-caka. As we have sought to show, this is just another and earlier form of the phrase sri-vijaya-rajya. We mean that supavata is not to be equated with suparvata, "the noble mountain," but with supravartta or supravrtta, " well-run," " wellconducted," and that here the word caka is not to be taken in the sense of a belt, but in that of a realm of command (ana.cakka). The manipulation of such an expression as supavata-vijaya-caka is perfectly in accord with the two of the royal epithets, pavata.caka and mahavijaya, attached to the name of siri-Kharavela in the Hathi-Gumpba inscription (I. 16). It cannot finally be decided whether the designation Kumari-pavata was restricted to one hill, the Udayagiri, or was used to denote the twin hills of Udayagiri and Khandagiri. It is more probable that the author of the inscription intended to denote both the hills by a general name, just in the same way that the fashion For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir 190 * OLD BRAHMI INSCRIPTIONS now-a-days is to denote both the hills, if brevity demands it, by one name, the name of Khandagiri. But this is not to deny that the Khantagiri was possibly known, as early as the Hathi-Gumpha inscription, by a separate name such as Kumara-pavata. Here the case made out of the twin hills designated by a group name is on a par with that of Narada and Parvata, the twin hills or mountain peaks designated by a common name as Narada. If it be true, as we believe it is, that the earlier group-name was Kumari parvata, that is, Udayagiri, and the later group-name was Kumaraparvata, that is, Khandagiri, the historian has to find out a solution of the problem how was it that the name of Khandagiri came to receive a greater sanctity than, and gain precedence over, that of Udayagiri. Thus it is clear that Kharavela's kingdom has been praised in his inscription as a supavata-vijaya-caka or "well-run realm of victory" (I. 14), an expression, corresponding to sri-vijaya-rajya in Udyota-Kesari's inscription, and a grandiloquent substitute for such a simple and earlier expression as vijital in Asoka's R. E. II, raja-visaya in Asoka's R. E. XIII, or raja (rajya) in Dhanabhuti's inscription on the Barhut E. Gateway, in such a phrase as Suganam raje (Sunganam rajye). What was the kingdom for which the high-sounding phrase supavata-vijaya-caka was coined ? One of the royal titles attached to the name of King Kharavela in the Hathi-Gumpba inscription is Kalimoddhipati, "the Sovran Lord of Kalinga" (I. 1). The same royal title adorns the name of King KadampaKudepa in his inscription (No. III). Kbaravela figures in the inscription if bis chief queen as Kalimga-cakarati, "the (King) Overlord of Kalinga" (No. II). These go at once to show that the intended kingdom was no other than Kalinga. . The Hathi-Gumpha inscription strikes throughout a patriotic note about Kalinga. In it, Kharavela is styled Kalimgadhipati, "the Sovran Lord of Kalinga" (I. 1). In it, he is said to have been consecrated as a Maharaja or "Great Majesty" in the third generation of two kings in Kalimga-rajavamsa, "the royal dynasty of Kalinga" (I. 1). In it, he is said to have caused terror to the Assaka or Asika city with the aid of the army from Kalinga (Kalimga gataya senaya, I. 3). In it, he is said to 1. Cf. Nandaraja-vijitasmim in the Petavatthu, II. I, and III, 2. 2. Note that Jayaswal reads Musika. 3. Note that Jayaswal reads Kanihabenagataya. For Private And Personal Use Only

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NOTES 191 have governed Arakatapura,' inhabited by the Vidyad baras, in the manner of the former kings of Kalinga (Kalimga-puvarajanam dhamena va nitina va, I. 4). In it, he is said to have built the Great-victory-Palace which was the Kalinga-royal-residence (Kalimga-rajanivasa, 1. 10). In it, he is said to have done due honour to the memory of the former kings of Kaliaga (Kalimga-Puvarajanam-yasasakaram, I. 11). In it, he is said to have rehabilitated Pithudaga or Pithuda, founded by the former kings of Kalirga (Kalimga-puvaraja-nivesita, I. 12). Lastly, in the same record, he is said to have triamphantly brought back to Kalinga (Kalimgam aneti) the Throne of Jina belonging to Kalinga which was carried away by King Nanda (Namdaraja-nitam Kalimga-Jinasanam, I. 13). And in the inscription of Kharavela's chief queen, a cave is said to have been made by Her Majesty for the residence of the honoured recluses of the Kalingas (Kalimganam samananam, II) The Hathi-Gumpha inscription clearly shows that the capital of Kalinga during the reign of Kharavela was Kalimga-nagara, " the city of Kalinga," which has been satisfactorily identified with Mukbalingam on the Vamsadbara and the adjacent ruins in Ganjam District, Madras Presidency." The Purle Plates of Indravarman, dated in the Ganga year 149, go to show that the kings of the Ganga dynasty had generally granted their donations from Kalinga-nagara, 8 the self-same city of Kalinga which Prof. Sylvain Levi seems inclined to identify with Kalinga patam,* 20 miles north-east of Srikakola or Chikakol. We read in the Hathi-Gumpha inscription that as soon as he was anointed, in the very first year of his reign, King Kharavela repaired the gates, walls and buildings badly damaged by stormy wind in the city of Kaliiga (Kalimga-nagari), raised the embankments of the deep and cool tanks, and restored all the gardens at the cost of 35,00,000 (coins), thereby enabling his subjects to be pleased (1.2). We also read in the same inscription that His Majesty spent the first fifteen years of his life playing the princely games, and nine as a crown-prince, well-versed in the art of writing, coinage, and the rest ; and also that he belonged to the third generation of two kings belonging to the royal dynasty of Kalinga (tatiye Kalimga-rajavamse purisa-yuge), the kings of which may be 1. Note that another possible reading is ahatapuva or ahatapuva. 2. EI, Vol. IV, p. 187. 3. EI, Vol. XIV, p. 36. 4. JA, 1925, T. CCVI, pp. 50, 53, 57. 5. Cunningham's Ancient Geography of India, S. N. Majumdar's edition, Notes, p. 735 For Private And Personal Use Only

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192 OLD BRAHMI INSCRIPTIONS supposed to have been all distinguished by such royal titles as Aira-Siri, Maha meghavahana and Kalimgadhipati (I, II, III). It may be safely inferred from these that the city of Kalinga was the capital of Kalinga also during the reign of the preceding two generations of two AiraMeghavahana kings each, at least, during the reign of the second generation of two kings. The city of Kalinga has been referred to in the records of the third, fifth and eighth years of Kharavela's reign, and there is nothing in any of the fourteen old Brahmi inscriptions to suggest that this city ceased to be the capital of Kalinga during the reign of the third generation of two kings, of whom Khara vela was one. What was the capital of Kalioga, the land of the Kaliogas, when King Asoka of Magadha conquered it and permanently annexed it to his empire, no one knows. What is manifest from his edicts, especially the two copies of his two Separate Rock Edicts, is that Tosali and Samapa were two principal towns in the Kalinga Province of his empire, of which the former was a seat of Maurya viceroyalty. One set of his Rock Edicts and one copy of his Separate Rock Edicts have been found "inscribed on a rock called Aswastama, situated close to the village of Dhauli," and the modern village 07 Dhauli which is no other than the town of Tosali is "about seven miles to the south of Bhuvanesvar,"1 though one must endorse the opinion of Prof. Vincent A. Smith that the exact position of Tosali, as known then," has not been ascertained." A second set of Asoka's Rock Edicts and a second copy of his Separate Rock Edicts have been found "engraved on the face of a picturesque rock in a large old fort called Jaugala (Lac-fort), near the bank of Rsikulya | river, about eighteen miles to the west-north-west of the town of Ganjam."? Though we have no means of ascertaining the exact position of Samapa, this much is certain that it was a District town of the second division of Asoka's Kalinga Province, and that it was situated somewhere in the vicinity of the Jaugala Fort in the Ganjam District. The ancient name of the rock on the face of which the Dhanli version of Asoka's Rock Edicts and Separate Rock Edicts was engraved was embodied in the Dhauli copy of his Rock Edict I. But, as bad luck would have it, exactly that portion of the inscribed surface is broken off which bore the four letters inscribing the name of the rock, and there is no means of restoring the lost name. In the present state of our knowledge, we have to be 1. D. R. Bhandarkar's Asoka, p. 255. 2. Ibid, p. 256, For Private And Personal Use Only

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NOTES 193 satisfied with the fact that, whatever was the actual name of this rock, it had consisted of four syllables. We are very fortunate to have intact the Asokan name of the Jaugada rock in the Jaugada copy of Asoka's Rock Edict I, in the statement: Iyam dhammalipi Khapimgalasi pavatasi Devanam piyena Piyadasina lajina likhapita. "This Edict of the Law was caused to be inscribed by His Gifted Majesty and Grace the King on Mt. Khapimgala." Thus the recorded name is found to be Khapimgalapavata, "the Khapingala mountain." Acharya Shri Kailassagarsuri Gyanmandir Now, comparing the two statements, one in the Dhauli copy containing the lost Asokan name of the Dhauli rock and the other in the Jaugada copy containing the Asokan name of the Jaugada rock, and noticing how closely these agree with each other, and bearing in mind that the missing name in the Dhauli copy, precisely like Khapimgala in the Jaugada version, consisted of four syllables, one cannot help feeling inclined to think that the same also was the name in the Dhauli copy. If these were correct, one might have reasonably taken Khapimgala to be the name, not of an isolated rock, but that of a range or group of hills representing the northern extension of the Eastern Ghats and extending along the sea-coast of Kalinga in its eastern extremity. We are not pressing this as an established fact, but just what is possible, if Khapimgala occurred as a common name in both the copies. Even if this were an established fact, the problem would have remained, whether the Kumaraparvata of UdyotaKesari's inscription and the Kumaripavata of Kharavela's inscription would have been included in the Khapingala range known in Asoka's time. The Fragment LVI of the Indika of Megasthenes mentions Parthalis as the royal city of the Calinga representing the tribes that dwelt by the Ganges, nearest the sea. Partualis is the spelling of the name which appears in one of the foot-notes of the Fragment XX. B in Prof. McCrindle's translation. Portalis is evidently a simpler form of the spelling Partualis, which has been suggested in the second foot-note of the Fragment LVI. M. de St. Martin would identify the royal city of the Calinga with Vardhana (contraction of Varddhamana), now Burdwan. Prof. McCrindle thinks that the Calinga were a great and widely diffused tribe that settled mainly between the Mahanadi and the Godavari, and that their capital was situated "on the Mahanadi, higher up than the site of Katak." And Mr. Jayaswal, as we saw, takes Parthalis in good 1. Dhauli Iyamsi pavatasi. Jaugada Iyam dhammalipi Khapimgalasi pavatasi. 25 For Private And Personal Use Only

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194 OLD BRAHMI INSCRIPTIONS faith to be the correct and only spelling, and identifies Parthalis with the Ekaprastara tract which, according to the story of the Sanskrit verses quoted from an old Oriya MS., was the site of the new capital of King Aira of Utkala, around Khaqdagiri. Because Megasthenes, the Greek ambassador at the court of Chandragupta Maurya, happened to mention Parthalis as the royal city of the Calinge, he safely assumes that Parthalis was the capital of Kalinga in the time of Chandragupta Maurya, nay, also during the reign of King Nanda who is mentioned in the Hathi-Gumpha inscription, and who, according to him, was no other than Nanda referred to in the Sanskrit verses as the king of Magadha defeated by King Aira of Utkala in a battle fought between them. The implication of this is that Pithudaga or Pithuda became abandoned to its fate 102 years (113-11) previous to the consecration of Kharavela. In the same inscription (I. 6), we read that His Majesty brought into his capital, from the Tanasuliya or Tanasuli road, the canal which was opened out by King Nanda 103 years back (Nandaraja-tivasasata-oghatitam panadim). This canal must have been opened out 98 years (103.5) previous to the consecration of Kharavela. In the same inscription (I. 18), we also read that His Majesty brought back to Kalinga, from Anga-Magadha, the throne of Jina which had been carried off from Kalinga by King Nanda (Nandaraja-nitam KalimgaJinasanam). Now squaring up these three statements, it becomes easy to understand (1) that Kalinga was under the sway of King Nanda of Arga-Magadha, at least, from the 102nd to the 98th year previous to the reign of Kharavela ; (2) that Pithudaga or Pithuda, founded by the former kings of Kalinga, became abandoned to its fate with the advent of King Nanda in Kalinga ; (3) that here by the former kings of Kalinga Kharavela wanted to mean those kings of Kalinga who had reigned before Kalinga was conquered by King Nanda ; and (4) that the rule of King Nanda in Kalinga ended when the dynasty of Kalinga kings to which Kharavela himself belonged came into power. It cannot be confidently maintained that Parthalis or Partualis, mentioned in the Indika of Megasthenes as the royal city of the Calinga, was a Greek pronunciation of the name of the tract called Eka-prastara or Prastaru which, according to the Sanskrit verses in Mr. Jayaswal's Old Oriya MS., became the site of the new capital of King Aira of Utkala, whose former capital was the Kosala-city, and that in other words, Parthalis or Partualis was the capital of Kalinga in the days of King Nanda of For Private And Personal Use Only

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NOTES 195 Magadha who is supposed to have been a pre-Mauryan Indian monarch and a contemporary of King Aira of Utkala. A presamption without convincing proofs may be utterly devoid of truth in sober history. In order to maintain (1) that Parthalis or Parlualis in the Indika was a Greek spelling of Elea-prustara or Prastara in the Sanskrit verses, (2) that Kiny Nanda of Magadha mentioned as a temporary of King Aira of Utkala was a pre-Mauryan Nanda king, and (3) that Parthalis or Prastara was the capital of Kalinga when King Aira of Utkala reigned there in the days of Chandragupta Maurya when Megasthenes was in India, one must be sure (1) that Parthalis or Partualis is mentioned in the Indika as a tract, like Eka-prastara, around the Khandagiri, and (2) that there is mention of any Aira King of Utkala or Kalinga as a contemporary of a Nanda king of Magadha who was a precursor, a posteriori, of Chandragupta Maurya. But nothing is surer than that one cannot be sure about these two points. We are entirely in the dark as to who, among the kings of Kalinga, were contemporaries of the pre-Asokan Maurya kings and pre-Mauryan Nanda kings of Magadha. In Kharavela's inscription (I. 12), we have mention of a place founded by the former kings of Kalinga and known by the name of Pithudaga or Pithudu, which had become, in 113 years, a watery jungle of grass. The city of Kalinga could not have been very far from the Panasuliya or Tanasuli road wherefrom the canal opened out by King Nanda 103 years back was brought into it by King Kharavela in the fifth year of his reign. The reading Tanusuliya is certain. The plaster casts and estampages of the Hathi-Gumpha inscription leaves no chance for the reading of the second letter as u. If the inscribed name might be read as Tausuliya or Tausali, it could have been easily equated with Tosali. But read as Tanasuliya or Tanusuli, it remains to be seen how the name could be equated with Tosali (passim). We have noted that tana, the first member of the compound, occurs in one of the verses of the Mahavamsa as the opposite of maha: Muhasivu, Sivu, Tanusivu. And suliya, the second member of the compound, must be treated either as an equivalent in an eastern dialect of the Pali suriya, or of the Sk. suryya, or as a form of suli conjoined with the suffix yu. The first alternative is less likely for the reason that the general tendency of the dialect of the Hathi-Gumpha inscription is to replace l-sound by r-sound, unless it be supposed that the name has been retained as it was locally pronounced. If Tanasuliya be regarded as an equivalent of Tanasuriya, it must be rendered in English : "the Little Sun-temple (road)." If, on the other hand, it be regarded as a form of/ For Private And Personal Use Only

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196 OLD BRAHMI INSCRIPTIONS Tanasuli conjoined with the suffix ya, it must be rendered: "the Little Siva temple (road)," sul being one of the epithets of Siva. Anyhow, it is certain that the opposite of Tanasuliya or Tanasule is Mahasuliya or Mahasuli. If so, it may be shown that Pithudaga or Pithuda, the site of the former capital of Kalinga, was just in the neighbourhood of the city of Kalinga. Acharya Shri Kailassagarsuri Gyanmandir Pithudaga is the same name as Prrthudaka in Sanskrit, and Pithuda is but a shortening from Pithudaga, a word which is the same in meaning as bahudaka, "abounding in many waters," "the watery." The same significance of the name may be gathered, I think, from a legend in the Visnu-Purana regarding the origin of the name of Prthudaka or Peboa, "Prthu's pool," an old town near Thaneswar. 1 The Gandavyuha which is a Buddhist work in Sanskrit and counted among the maha-vaipulyasutras by the Buddhists of Nepal, contains an interesting account of the wanderings of a Buddhist seeker of truth in the Deccan (Daksinapathe). In it, the Buddhist learner concerned has been represented as travelling from Mulaka (on the bank of the Godavari, near Patitthana or Paithan2) to Naladhvaja, from Naladhvaja to Suprabha, from Suprabha to Sarvagrama of Tosala in Amitatosala, and from thence to Prthurastra. This Prthurastra is apparently not different from what Ptolemy in his work on geography (VII. 1. 93), calls Pitundra-metropolis, Pitundra, the capital, Pitundra which was a Greek spelling, as shown by Prof. Sylvain Levi, of Pihumda. The following note on Pitundra from the pen of Prof. Sylvain Levi is worth quoting in this connection : 3 "Ptolemy," says Prof. Sylvain Levi, "describing the towns situated in the interior of the country of Maisoloi (VII. 1. 93), designates its capital Pitundra-metropolis. The country of Maisoloi or Maisolia (VII. 1. 15) lent its name to the river Maisolos which represents the group of the mouths of the Godavari and the Krsna. The Periplus writes Masalia instead of Maisolia. Since a long time the scholars have equated Maisoloi or Maisolia with Masuli, the denomination in the first word contained in the well known name of Masulipatam (patam=pattana, the town) 1. Cunningham's Ancient Geography of India, edited by S. N. Majumdar, p. 335. 2. Sutta-Nipata, Parayana-Vagga, Vatthugatha, verse 977. Assakassa visaye Alakassa (Mulakassa) samasane, Godhavari-kule. For the discussion of the information contained in the Sutta-Nipata-Commentary, see passim. 3. JA, 1925, T. CCVI, p. 61. For Private And Personal Use Only

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NOTES 197 near the mouths of the Krsna).1 Maisolia extended in the north up to Paloura, or more accurately, up to the equator in the neigbbourhood of Paloura....... Ptolemy locates Pitundra in the interior of Maisolia, between the mouths of the two rivers) Maisolos and Manadas, to put it otherwise, between the delta of the Godavari and the Mahanadi, nearly at an equal distance from both. It would, therefore, be convenient to search for its location in the interior of Chikakol and Kalinga patam,...... towards the course of the river Nagavali which bears also the name of Larguliya, the River of the Plough.' The Imperial Gazetteer of India itself indicates this etymology: langala, Sanskrit ; nagula, Telugu. This denomination evokes, bringing nearer the souvenir of Pitundra, the text of the Hatbi-Gumpha inscription in which Kharavela flatters himself having ploughed with the plough the soil of Pithuda,"? or as we prefer to read and interpret it, " having let out the grassy jungle of Pithudaga into Namgala, the river Langala (Languliya)."3 Prof. Sylvain Levi draws attention to the story of Samudrapala in Lec. XXI of the Jaina Uttaradhyayana-Sutra, in which there is mention of Pihumda as a sea-coast town reminding us at once of Kharavela's Pithuda. Pithudaga and Ptolemy's Pitundra.4 This story clearly shows that Pithuda was an emporium of trade which could be reached from Campa by the merchant vessels that had to follow a sea-route to complete their voyage. Campa, as we all know, was the capital of Arga, situated on the lower course of the Ganges, and the story in question relates that a Jain merchant named Palita, who was a native of Campa, had a son born to him at sea (samudra) wben he was returning home with his wife from Pihumda, where he went for the purpose of trade and happened to win the hand of the daughter of a merchant of the place. The father chose Samudrapala, " the Protege of the Sea," as the name of the boy then born at sea. There can be little doubt that Pihumda in Ardha-Magadhi is the same geographical name as Pithuda-Pithudaga in Kharavela's inscription, Ptolemy's Pitundra, the capital of Maisoloi-Maisolia, and Pythurastra in the Gandavyuha. 1. For the historic name and etymology of Masulipatam, see Yule-Burnell, sub voce. 2. Translated from the French in JA, 1925, T. COVI, pp. 60-61. 3. Named Langalini in the Markandeya-Parana. 4. JA, 1925, T. CCVI, pp. 57-58. 6. Jacobi's Jaina Sutras (B, E.), Part II, p. 108. For Private And Personal Use Only

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198 OLD BRAHMI INSCRIPTIONS According to the unanimous testimony of the Jatakas, particularly of two versions of the Mabagovinda-Suttanta which represents one of the earliest forms in which one finds the Jatakas in Buddhist litera Dantapura was the earlier capital of Kalioga, as early as when Kasi an empire with Kalinga as one of its provinces. The couplet in the Suttanta-Jataka" mentioning Dantapura as the capital of Kalinga, 9 the land of the Kalingas, is found to be a quotation from an earlier chronicle en Purohitas in the Anguttara-Nikaya,+ embodied in a prose-story, which has not, as yet, assumed the character of a Jataka. Dantapura, which is no other than Dantakura in the Mahabharata and Dantagula in Pliny's Natural History, has been definitely identified by Prof. Sylvain Levi with Ptolemy's Paloura and modern Paloura near Chicacole in the Ganjam District. When exactly Dantapura-Palonra ceased to be the capital of Kalinga we cannot say. But it is certain that it had been the capital of Kalinga before Pilhuda-Pitundra became the royal city. It may be safely concluded from the foregoing discussion that the transfer of the capital from Dantapura to Prthudaka must have taken place before the advent of King Nanda in Kalinga and before the establishment of the rule of the royal dynasty of Kalinga to which Kharavela himself belonged. The Sarabhanga-Jataka (Faus boll's No. 522) refers to a time when Kasi was just an independent kingdom, which existed side by side with the kingdom of King Dandaki. The city of Kumbhavati was the capital of Dandaki's kingdom, of Dandaka, measuring 60 yojanas long. Dandaki was a powerful emperor, whose supremacy was freely acknowledged by Kalinga, the king of the land of the Kalingas (Kalinga-raja). King Kaliiga is described as one of the lords of the subordinate kingdoms (antararatthadhipatino). The prosperity of the Danilaka empire and the 1. One in the Digha-Nikaya, Vol. II, and the other in the Mahavastu. 2. Mahagovinda-Suttanta enlisted as a Suttanta-Jataka in the Calla-Niddesa, p. 80. Dantapura Kalinganam Assakanam ca Potanum | Mahissati Avantinam Sovirunarn ca Rorukan! Mithila ca Videhanan, Campa Angesu mapita | Baranasi ca Kusinam ete Govinda-mapita # 4. Auguttara Nikaya, Part III, pp. 371-373. 5. That is, it has not the concluding identification, 6. See for references and quotations, Sylvain Levi's Notes Sur la Geographie Ancienee de L'Inde, I. Paloura-Dantapura in JA, 1925, T. CCVI, pp. 46-57. For Private And Personal Use Only

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NOTES 199 subordination thereto of Kalinga are the annals, if we are to believe the Jataka, of the political history of ancient India before the rise of Kasi to the status of an empire. The Sarabharga-Jataka which contains a pathetic story of the dire calamity that befell the kingdom of Dandaki and brought ut ter destruction upon it, indicates a turning point in the political history of ancient India, in the subsequent chapter whereof the historian is to look for the annals of the rise and influence of the Kasi empire. If it be true that the Buddhist Birth-story in the Mahagovinda-Suttanta is an annal of the full flowering of the Kasi empire with Kalinga, Asvaka, Avanti, Sauvira, Videha and Anga as the six subordinate kingdoms under it, we have to understand that Dantapura became the royal city of Kalinga during the supremacy of Kasi, and not before. The Sarabhanga-Jataka does not mention the name of the capital of Kalinga when it was a subordinate kingdom under Dandaka. The Mahabharata speaks of a time when a matrimonial alliance came to be established between the Kuru kingdom and Kalinga by the marriage of the Kuru prince Duryyodhana with the Kalinga princess Citrangada, - when Hastinapura was the capital of the Kuru kingdom and Rajapura that of Kalinga. Some of the Indologists are inclined to identify Rajapura with Rajmahendri on the Godavari river, "251 miles to the south-svest of Ganjam,' which became the capital of the junior or eastern branch of the Chalukya princes of Vengi from the time of the conquest of Kalinga by the Chalukya king of Vengi in circa 750 A.D. and the removal of the Chalukya capital from Vengipura to Rajamahendri. The remains of the former still exist at Vegi, 5 miles (more accurately, 7 miles) to the north of Ellur, and 50 miles to the west-south-west of Rujamahendri." ? Mr. Manomohan Ganguli doubts the soundness of the identification proposed evidently on the basis of an accidental coincidence of prefixes.' 3 Rajapura is phonetically the same geographical name as the modern Raipur. As regards the connection of Rajapura in the Mahabharata with Raja mahendri, some light might perhaps be obtained from the Mahavastu which professes to be the first work of the Vinaya-Pitaka of the Lokottaravadi section of the Mabasarghikas. This great Buddhist work in Sanskrit, dealing with a previous birth-story of three Kasyapa brothers who are to be counted among the first Buddbist converts and 1. Mahabharata XII, 4,3. 2. Cunningham's Ancient Geography of India, edited by S. N. Majumdar, pp. 590.592. 3. Manomohan Gangali's Orissa and Her Remains, p. 8, For Private And Personal Use Only

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200 OLD BRAHMI INSCRIPTIONS immediate disciples of the Buddha Sakyamuni, relates that they were born, in a former life, as three half-brothers of the previous Buddha Puspa or Pusya and sons of King Mahendra of Hastinapura, by one mother (ekamatyka trayo bhrataro), and reigned together amicably in the city of Simhapura, in the land of the Kalingas,' Simbapura which is identified by Prof. Dubreuil with modern Singupuram near Chicacole.2 The source from which the tradition in the Mabavastu was derived is unknown. The Pali version of the previous birth-story of the thr Kasyapa brothers, as found in Buddhaghosa's Manoratba-Purani, Part I, speaks of King Mahendra without any reference to llastinapuru, and speaks of the three half-brothers of the previous Buddha Pusya without any reference to Kalinga and Simhapura, and, curiously enough, in this respect, the Pali version of the story is completely in accor with the narration in the verses quoted in the Mahavastu.3 Moreover, the Buddhavamsa which is a Pali canonical work belonging to the Sutta-Pitaka and the Nidana-Katha of the Pali Jataka-commentary present a life of the previous Buddha Pusya, which differs entirely in its details from that in the Mahavastu or in Buddhaghosa's commentary on the Anguttara-Nikaya. In these circumstances, the Mabavastu tradition of the reign of Raja Mahendra in Hastinapura and of the reign of his three sons in the Simhapura city of Kalinga must be regarded as the growth of an age later than the date of composition of the Buddhavamsa and earlier than the date of composition of Buddhaghosa's Manoratba. Purani and of the Mahavastu in its extant form. Be that as it may, the importance of the prose version of the story in the Mabavastu lies in the fact that it enables us to account for the foundation of royal city in Kalinga commemorating the name of Raja Mahendra. The historical fact behind the Buddhist story in the Mahavastu is not probably far to seek. We learn from the Allahabad pillar inscription of Samudragupta that Kosala or South Kosala was the first kingdom in South India (Daksinapatha) against which the great invader from the north directed his first attack, and that the first king in South India endra. 1. Mahavastu, edited by Senart, T. III, pp. 432-433. 2. Ancient History of the Deccan, p. 94. Mahavastu, T. III, p. 433 : Rajno Mahendrasya mahim prasasato Dharmena jnanam ca samadaya-vartino || Trayo bhrataro asya samanacarino 11 For Private And Personal Use Only

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NOTES 201 who was defeated by him was King Mahendra of Kosala. This Kosala or South Kosala as may be now ascertained, "comprised the modern Bilaspur, Raipur and Sambalpur districts, and occasionally even a part of Ganjam."! " Its capital was Sripura, the modern Sirpur about 40 miles east by north from Raipur."'? None need be surprised that the Buddhist story under notice3 grew up round the tradition of King Mahendra of Kosala or South Kosala who was a contemporary of Samudragupta, and that Hastinapura, which is said to have been the capital of King Mahendra, was just another name for Sripura. The story distinctly says that Kalinga was conquered and governed by the three sons of King Mahendra for their father. We may understand from this that Kalinga proper was treated as a seat of viceroyalty with its official headquarters at Simhapura or Singupuram near Chicacole. Thus our enquiry concerning the successive capitals of Kalinga leads us to a point where we have to recognise (1) that the capital of the kingdom during the reign of Kharavela and other kings of the Aira. Meghavahana dynasty was Kalinga-nagara, the modern Mukhalingam on the Vamsadhara in the Ganjam district ; (2) that Pithudaga-Pithuda was the capital of the former kings of Kalinga before the advent of King Nanda of Arga- Magadha in Kalinga and the reign of the kings of the A ira-Meghavahana dynasty ; (3) that Tosali-Dhauli and Samana were respectively the official headquarters of two divisions of Kalinga during the reign of King Devanampriya Asoka of Magadha; (4) that the still earlier capital of the kingdom was Dantapura-Paloura near Chicacole; (5) that the capital of the kingdom under Dancaka is unknown; (6) that Sripura-Hastinapura and Simhapura-Singupuram were respectively the seats of government in South Kosala and Kalinga proper during the reign of Raja Mahendra in the middle of the 4th century A.D.; (9) that Rajamahendri became the Chalukya capital in Kalinga in the 8th century A.D.; and (8) that the city of Kalinga again became the capital of the kingdom in the 11th century A.D. when the kings of the Ganga dynasty made themselves masters thereof. Now we shall pursue an enquiry concerning the territorial extension and political divisions of Kalinga during the reign of Khara vela, as well 1. & 2. 4. C. Raychaudhuri's Political History of Ancient India, 2nd edition, pp. 337-338. 3. According to the Buddhavamsa and the Jataka Nidana-Katha, the previons Buddha Pusya, was the son of King Jayasena of Kasi. 26 For Private And Personal Use Only

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202 OLD BRAHMI INSCRIPTIONS as concerning the ranges of Kharavela's military expeditions and conquests. It will be our interest also to indicate the regions where the influence of his military powers was felt and openly acknowledged. As regards all these points, we are to attempt to draw our corclusions from the following data that may be gathered from the Hathi-Gumpha inscription and other sources, epigraphic and literary, which are now within our reach. The old Brahmi inscriptions are all found attached as labels to the caves or the Udayagiri and Khandagiri bills which are situated about five or six miles north-west of Bhuvaneswar and at a distance of a few miles from the village of Dhauli-Tosali that lies about seven miles south of Bhuvaneswar. That is to say, our old Brahmi inscriptions and the Dhauli copy of Asoka's Rock Edicts and Separate Rock Edicts are found engraved at a distance of a few miles on the rocks or hills that are included in the modern Puri District of Orissa. It is clearly implied in the edicts of Asoka, especially in the two copies of his two Separate Rock Edicts, that his Kalinga province comprised two political divisions, the first or presidency division of which the official headquarters was Tosali-Dhauli, and the second division of which the official headquarters was Samapa, and that adjoining thereto were the outlying unconquered tracts ("mta avijita). The names of the two divisions of Asoka's Kalinga province are not mentioned in his edicts. But we learn from the Gandavyuha account of the wanderings of a Buddhist seeker of truth in South India that Sarvagrama was a locality in Tosala, while Tosala, undoubtedly a city corresponding to Asoka's Tosali, was located in Amitatosala, and that beyond Amitatosala was Psthurastra, which has been identified with Pithudaga-Pithuda in Kharavela's inscriptions, Pihumda in the Jaina Uttaradhyayana-Sutra and pitundra in Ptolemy's work on Geography. It may be easily infer this that Asoka's Tosali-Tosala was the chief town of a division of the Ssame name, Amitatosala, Tosali or Tosala. Here the crux is--does the Hathi-Gumpha inscription offer us any information about the existence of a political division of Kalioga by the name of Amitatogala, Tosali or Tosala? Whether it does or not depends solely on the accuracy or inaccuracy of the identification of Tanasuliya or Tanasuli with Tosali. It is evident from the record of Kharavela's fifth regnal year that Kalimga-nagara, the capital of Kbaravela's kingdom of Kalinga, was not far from the Tanasuliya or Tanasuli road wherefrom a canal opened out by King For Private And Personal Use Only

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NOTES 203 Nanda was led by extension into the city of Kalinga. We have seen that Tanasuliya or Tanasuli is a name which stands in contrast to Mahasuliya or Mahasuli, tana or tanu being the opposite of maha or maha. We are to bear in mind that Kalimga-nagara is the modern Mukhalingam the modern Mukhalingam on the vansadhara river and the adjacent ruins in the Ganjam district of Madras Presidenzy. We are to remember that Pithuoaga-Pitbula referred to ing the Hathi-Gumpha inscription as the earlier capital of Kalinga is not different from Psthurastra in the Ganda vyuha which lay just beyond Amitatosala- Tosala, from Pihumda in the Jaina Uttaradhyayana-Sutra which was a sea-coast town reachable by the Indian merchant ships sailing from Campa, the capital of Anga, and from Ptolemy's Pitundra which was the metropolis of Maisolia-Maisoli and is located by Prof. Sylvain Levi somewhere near Chicacole in the Ganjam district. We are also to keep in mind that the Periplus writes Masalia for Maisolia-Maisololi. Thus in Ptolemy's Maisoilia-Maisoloi, written as Masalia in the Periplus, we trace the nearest Greek spelling of Mahasuliya- Mahasuli, which is the suggested antithesis of Tanasuliya-Tanasuli. Apparently Tanasiliya-Tanasuli and l'ahasuliya- Mahasuli stand, in their contrast, on a par with Tosala and Mosila, which, as noted by Mr. Jayaswal, are mentioned as two among the three divisions of Kalinga in the Kavyamala edition of the Bharatiya-Natya-Sastra, Ch. XIV, Verse 40, where one reads : Kosalas-Tosalascaiva Kalinga ya ca Mosalah. The text of the quoted line may be so interpreted as to mean that the 1 kingdom of Kalinga consisted of these three divisions : Tosala, Mosala, and_Kesala. We have in M. Joanny Grosset's edition Yavanosala instead of Mosala, which may not be copyist's mistake but ather an interesting variant indicating that Mosala was known to some of the copyists as a locality associated with the Yavanas. The importance of the text in the Kavyamala edition lies in the fact that here Mosala occurs as the final | form of phonetic decay: Mahasuliya, Maisolia, Maisoloi, Masalia, Masuli, Mosala, three 'missing links being Mahasuli, Masali and Mosali. We maintain that in a similar manner Tosala may be treated as the final form of phonetic decay from Tanasuliya : Tanasuliya, Tosali, Tosala, the missing links, among others, beiny Tansalia and Tansali. If so, we may draw this * conclusion that Tunasuli, Tosali or Tosala was that division of Kalinga of which the official headquarters was somewhere near the Kumarl-parvata or Udayagiri, and that it extended along the sea-coast, at least, from the For Private And Personal Use Only

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204 OLD BRAHMI INSCRIPTIONS Nilgiri to the Chilka lake during tho reign of Kharavela, and may be, also during the reign of Asoka. What was precisely the southern limit of the second division, called Mosala or Mosali in the Bbaratiya Natya-Sastra, whether during the reign of King Asoka or during the reign of King Kharavela we cannot say. From the texts and location of the Rock and Separate Rock Edicts of Asoka, it may be clearly ascertained (1) that Samapa was the official headquarters of the second division, (2) that the second division occupied, if it was not co-extensive with, the modern Ganjam district, and (3) that his Kalinga Province was guarded along its eastern sea-coast, from the Jaugada hill-fort to the rock at Dhauli, by a range of hills, which was perhaps known by the name of Khapimgala-pavata. This range of hills was nothing but a northern or upward extension of the Eastern ghats, and, probably no other than what is called Palapinjara in the Bharafya Natya-Sastra.? If it be correct, as Prof. D, R. Bhandarkar suggests, that the Kalinga Province of King Asoka abutted in the south on the territory of the Andhras, counted among the vassal tribes within the dominions of the great Maurya emeror, and that the strips of territory occupied then by them included the Godavari and Kistna Districts, we may safely conclude that the second division of Asoka's Kalinga Province did not extend in the south beyond the Godavari river. And if King Asoka had anything to do with the canal referred to in the Hathi-Gumpba inscription as an excavation of King Nanda near the Tanasuliya or Tosali road, we may understand that the second division of Kalinga extended during the reign of the Maurya emperor from the mouth of the Vamsadbara to that of the Godavars. It is clear from the inscription of King Kharavela that during his reign the Tanasuliya or Tosali road was not far from the city of Kalinga which is identified with Mukhalingam on the Vamsadhara. If it was possible for King Kharavela to cause the grassy jungle of a swamp in Pithuca-Pitundra to be let out into the Namgala or Langala river, we must understand that Pithuda-Pitundra was situated somewhere near the course of the river Nagavali which bears also the name of Languliya, "the river of the plough," -- the Langalint river which finds mention in the Markandleya-Purana along with the Vangadhara. We have seen that WM 1. Bharatiya Natya-Sastra, XIV: Mahendrah Malayo Sahyah Mekulah Palapinjarah. For Private And Personal Use Only

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NOTES 205 Ptolemy locates Pitundra-Pithuda between the mouths of the rivers Maisolos and Manadas, which is to say, between the deltas of the Godavari and the Mahanadi, nearly at an equal distance from both. Seeing that both Kalimga-nagara and Pithu aga mentioned in the Hathi-Gumpba inscription lay outside of the Tanasuliya or Tosali division and fell within the second division, we may be pretty certain about the extension of the second division of Kalinga during the reign of King Kharavela from the mouth of the Vamsadhara to as far south as the mouth of the Godavari, if not further south. Acharya Shri Kailassagarsuri Gyanmandir The nanner in which King Asoka mentions in his edicts the kingdoms that lay outside of, and the territories that lay within, his empire enables us to conceive that, as early as the 3rd century B.C., just beyond the land of the Kalingas towards the south was the principality of the Andhras, that just beyond the latter was the independent kingdoms of the Cholas and Pandyas extending as far south as Tamraparni (nicam Coda Pamdiya avam Tambapamniya). Our old Brahmi inscriptions are wanting in such clear data concerning the southern limit of the Mahasuliya-Mosali division of the Kalinga kingdom of King Kharavela. These are totally silent about the Andhras and the Cholas. But the Hathi-Gumpha inscription records that, in the twelfth regnal year of King Kharavela, the King of Pandya supplied him with the most valuable presents of pearls, gems and jewels and various kinds of apparels (Pamda-raja vividhabharanani muta-mani-ratanani aharapayati idha sata-sahasani). In the absence of any mention of the Andhras and the Cholas, there may not be much difficulty in imagining that the second division of Kharavela's Kalinga stretched along the sea-coast even beyond the Godavari, and as far south as the mouths of the Krshna, if it was then known, as supposed, by the name of Mahasuliya-MaisoliaMosali-Mosala. Anyhow, the problem remains why the Andhras and the Cholas whose principalities lay to the north of Pandya have been passed over in silence in the inscription of King Kharavela. A clear hint might be taken from one of the geographical allusions in the Hathi-Gumpha inscription in establishing the fact that the suzerainty of King Kharavela of Kalinga was felt in the south, along the eastern coast of the Deccan, into the very heart of the land of the Cholas, below the Krshna, below the Pennar, as far down as the northern limit of the kingdom of Pandya. The allusion referred to above is in the record of Kharavela's fourth regnal year wherein we read that His Majesty caused Arakatapura, the city of Arakata, inhabited by a race of magicians called For Private And Personal Use Only

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206 OLD BRAHMI INSCRIPTIONS Vidyadharas (Visadharadhivasa Arakatapura), to be governed according to the established usage and administrative principle of the former kings of Kalinga, by the highest kind of law, and that he compelled all the tribal chiefs and village headmen of the place (sava-rathika-bhojake) who trembled in fear, whose royal insignia consisting of umbrellas and golden vases were taken away, and who were robbed of their jewels and riches, to bow at his feet (1.5). Arakata or Arakata is the same kind of geographical name as Parakata Bhojakata, or Bibikanadikata in the Barhut votive labels, and phonetically it is the same name as the modern Arcot which is wrongly "believed to be quite modern."} The Greek geographer Ptolemy speaks of a northern kingdom of Sorae Nomades, the Sora nomads, which lay between Mount Bettigo and Adeisat bros. With regard to the royal city of these nomads, in some editions of Ptolemy's work, the statement is sora regia Arcati, "Sora, the capital of Arcatos," and in some editions, it occurs as Arcati regia Sora, " Arcatos, the capital of Sora." The latter reading has come to be accepted as the correct representation of Ptolemy's statement, and Dr. Caldwell identifies Ptolemy's Arcati-Arcatos with the modern Arkad or Arcot. Sir Alexander Cunningham considers the Sorae Nomades of Ptolemy to be a branch of the Sauras, a race of aborigines, "who are still located on the banks of the Kistna river: while Prof. D. R. Bhandarkar is of opinion that the Sora of Ptolemy " can easily be recognised to be the Tamil Sora or Choda." 4 If Prof. Bhandarkar's suggestion has any truth in it, one has to understand that the dwellers of Ptolemy's Arcati-Arcatos were a race of the Chola nomads. Kharavela's inscription also distinctly says that the inhabitants of Arakatapura were the Vidyadbaras, an aboriginal people noted for their magical skill. The mention of Arakatapura in Kharavela's inscription and that of Arcati-Arcatos in Ptolemy's work set at once at nought the belief about the modern origin of the name of Arkad-Arcot, near Madras. If this identification be correct, it will be a mistake to suppose that the words rathika and bhojaka as used in Kharavela's inscription have precisely the same implication as that in Asoka's edicts. As used in Kharavela's inscription, the words are to be treated rather as titular designations than as names of any semi-independent tribes." 1. Cunningham's Ancient Geography of India, edited by S. N. Majumdar, p. 626. 2. JA, Vol. VIII, p. 362. 3. Cunningham's Ancient Geography of India, edited by S. N. Majumdar, p. 627. 4. Bhandarkar's Asoka, p. 89. 5. Anguttara-Nikaya, Part III, pp. 76, 78, 300. Maporatha-Parani, Siamese edition, Part III, p. 119: Ratthiko' ti yo rattham bhunjati-Gamayamiko' ti gamablojako. For Private And Personal Use Only

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NOTES 207 But, upon the whole, one must take the river Godavari as the southern boundary of Kharavela's Kalinga, which appears to have extended along the Vindhya range as far as the western valley of the Godavari. In the western direction, the only great royal power which King Kbaravela had to reckon with was that of King Satakarqi, whose territories must have comprised a number of small states near about the western valley of the Godavari. In the Hathi-Gumpha inscription, in the record of King Kbaravela's second regnal year, we read that His Majesty, without taking King Satakarni into his thought (acitayita Satakaaim) caused a large army consisting of all the four divisions of Indian troops to move towards the Western quarter (pachima-disam......pathapayati), and struck terror into Asakanagara, or it may be, into Asikanagara, with the army from Kalinga (Kalingagataya senaya). If Mr. Jayaswal's reading Kanhabernagataya senaya vitasitam Musikanagaram be accepted as correct, we have to say either (1) that King Kharavela succeeded in striking terror into Musika-nagara, the Musika. capital, with the aid of the army that advanced on the banks of the Kronavena river, or (2) that he achieved this military feat with the army that advanced from the Kronavena river, the expression Kanhabemnagataya admitting of a twofold interpretation as suggested above. Taking the expression in the first sense, Mr. Jayaswal has sought to maintain that the presumed Musika-nagara was situated on the banks of the Kanhabena or Kronavena river. Mr. Jayaswal's notes on the Musikas and the Krsmarena, written in justification of his reading quoted above, are worth quoting in this connection. First, as to the Musikas, he has written: "They were a people of the south. The Mahabharata (VI. 9. 58) mentions them in the company of the Vanavasis. Their country could not have been far removed from Kalinga, for the Natya-Sastra (circa 100 B.C-100 A.C.) describes the Tosalas (the people of Tosali), the Kosalas (the people of Southern Kosala), and the Mosalas (the Musikas) as the Kalingas, implying that they comprised the Kalinga empire. This is a description naturally subsequent to the time of Kharavela. A more definite reference is in the Puranas (Wilson, Visnu, IV, p. 221) where after a kingdom of some Vindhyan countries Stri-rajya and Musika countries are mentioned as forming one princedom. According to the Kama-Sutra Stri-rajya was a Vindhyan I country towards the West. The Musika country must have been between latitudes 20 and 22, between Paithana and Gondwana. As Kosala came For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir 208 OLD BRAHMI INSCRIPTIONS {next to Orissa (North-West), the Musika-land must have been contiguJous to it on the West." Secondly, as to the Krenavena, he has written : " The Puranas place this river near the Godavari and treat it as distinct from the Southern Krshna. The Krshna-vena is mentioned in some authorities as if it were two rivers Krslina and Vena.? Markandeya derives it from the Vindhya range.3 It is evident from these details that the river is identical with the modern * Wain River' or Wain-ganga' which has for its main tributary the Kanhan. The Kanban and the Wain unite in the district of Bhandara and the united stream comes down to meet the Wardha in the district of Chanda.. ...... The capital of the Musikas, which the Hathi-Gumpba inscription contemplates to be on the Kanhabena, was situated somewhere within the districts of Bhandara and Chanda in the Central Provinces." 4 It cannot be denied that the Musikas were a people of the south. We are aware that the political division of Musika " lay to the south of Kerala or Chera, the country south of Kupaka (or Satya), extending down to Kanheri in Central Travancore."5" Mr. Jayaswal is the best person to say if he has not misled his readers by stating that the Mahabharata mentions the Musikas" in the company of the Vanavasis." The Mahabharata, as will appear from the following quotation, has not only mentioned the Musikas in the company of the Vanavasis, but also in that of the Dravidas and the Keralas or Cheras : Atbapare janapada daksina Bharatargabhai Dravidah Keralah pracya Musika Vanavasikah | We are ignorant of Mr. Jayaswal's authority for his identification of the Mosalas of the Natya-Sastra with the Musikas. Vatsyayana's Kama-Sutra, so far as we have read it, keeps us entirely in the dark about the location of Strirajya. Yasodhara in bis commentary on the Kama Sutra, says that the Strirajya lay to the west of the country called Vajravanta, 1. JBORS, 1917, Vol. III, Part IV, p. 442. 2. Vayu-Purana, LV. 103. 3. Markandeya-Purana, LXVII. 26-27 : Godavari-Bhimaratha-Kronavenya-tathapara Vindhyapada-viniekranta ityeta sariduttama il 4. JBORS, 1918, Vol. IV, Part IV, pp. 374-375. 5. JRAS, 1923, p. 413. 6, Kama-Sutra, VI. 5.27 : "Stri-rajye Kosalayam ca." Stri-rajya iti-Vajravanta. deaat pascimena Stri-rajyam. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir NOTES 209 and that the Gramanari-visaya was situated adjoining and on the other side of the Strirajya. Hence, even if it be true that the Puranas mention Strirajya and Muzika countries as forming one princedom, Mr. Jayaswal has yet to supply us with a definite evidence for locating Strirajya as "a Vindhyan country towards the West." It may be, as Mr. Jayaswal argues, that the Krsnavena is the same river as the modern Wain which unites with the Kanhan, its main tribu. tary, in Bhandara District, and that the united stream comes down to meet the Wardha in Chanda District in the Central Provinces. But is there any independent evidence, we ask, to prove that the Musika city or country was situated on the banks of the Kronavena ? Even assuming his reading Kanhabenagataya to be a correct one, can it be definitely suggested that the Hatbi-Gumpha inscription contemplates Musikanagara, the capital of the Musikas, " to be on the Kanhabena"? Can it not also be suggested that King Kbaravela struck terror into Musika. nagara with the army that advanced from the Kanhabena ? While Mr. Jayaswal's Hathi-Gumpha inscription contemplates the capital of the Musikas to be on the Krsnavena, Dr. H. C. Raychaudhuri finds reasons to suggest that " the Musikas were probably settled on the banks of the river Musi on which Hyderabad now stands." 2 We have maintained that the intended reading is not Kanhabendgataya but Kalimgagataya; not Musika-nagara but Asaka-nagara or Asika-nagara. Had the letter been intended to rea i mu, there is no reason why the 1-mark should appear as the lower prolongation of a straight vertical line on the right. We have offered a good explanation for the probable appearance of the 2-mark along with sa, in case such a vowel-mark was not in the intention of the engraver. We also have shown how a few holes on the inscribed surface, on two sides of the letter li, are accountable for the production of a mirage of a letter, which Mr. Jayaswal reads siha in the estampages. If our reading be correct, as we believe it is, a great advantage to be derived therefrom is that it does not compel us to resort to a number of assumptions without any proofs, that the Muzikas " were probably a subordinate ally of Satakarni," that the capital of the Musikas was a city on the river Kronavena, that Strirajya and Masika countries formed at Strirajya." 1. Kama-Sutra, VI. 6.42: "Gramanarivisaye Stri-rajye ca Vahlike." samipa eva parato Gramanari vinayah. 2. Political History of Ancient India, 2nd edition, p. 59. 27 For Private And Personal Use Only

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210 OLD BRAHMI INSCRIPTIONS one time or another one princedom in a Vindhya region towards the West, and so on and so forth. The foregoing discussion concerning Arakatapura will have no effect and the question as to the non-mention of territories of the Andhras and Cholas will remain undecided if the reading proves to be otherwise. Mr. Vats' estampage reproduced by Mr. Jayaswal in JBORS, Dec., 1927, clearly presents a word consisting of five syllables, the letter representing the second syllable appearing as ha and the letter representing the fifth syllable as va. If so, we have to read the intended word either (1) as ahatapuva (=ahatapurva, unhurt before), or (2) as (a)hatapuva (=ahrtapurva, acquired beforehand). Mr. Jayaswal reads ahatapuva interpreting it in the sense of unhurt before.' Such an interpretation as this is utterly inappropriate in a statement where King Kharavela is said to have governed the Vidyadhara-abode (Vijadharadhivasa) in the manner of the former kings of Kalinga compelling all the Rattbika-Bhojakas (sava RathikaBhojake) to pay due homage to him, no doubt as a test of their owing allegiance to him as they did to his predecessors. The statement, taken as a whole, indicates that the Vidyadhara-abode was an aboriginal tract of land, which was annexed to Kalinga previously, that is to say, by some Aira-Meghavahana king among Kharavela's precursors. This sense can be brought out only if one agrees to read the intended word as (a) hatapuva interpreting it in the sense of "acquired beforehand." Having regard to the fact that the statement just referred to has been made immediately after the statement in which Kharavela is said to have struck terror into the heart of the city of Asaka (Asvaka) or Asika (Rsika), we may maintain that the Vidyadhara-abode was situated somewhere near Agvaka or Rsika on the western border of the kingdom of Kalinga, and that this abode formed the territories of the Rathika Bhojakas who find mention in the edicts of Asoka (R. E. V, R. E. XIII) as semi-independent ruling races dwelling somewhere in Western India. The Ratthika-Bhojakas figure in Asoka's edicts among westerners, the peoples of Western India (apalamta, aparanta). In R. E. V. the Ratthikas as a ruling race ale mentioned in combination with the Pettanikas (Lathika-Pitenika), while in R. E. XIII, we have the mention of the Bhojas or Bhojakas in the same combination (Bhoja-Pitinika). It would appear from this either (1) that the Ratthikas and the Bhojakas were two confederate clans, or (2) that one and the same ruling race was known by two different names, such as Ratthika and Bhojaka. That the Ratthikas and the Bhojakas were two separate clans is undoubted because, corresponding to them, we have For Private And Personal Use Only

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NOTES 211 the mention of the Maharatthis and the Mahabhojas in the records of the Satavahana kings. Prof. D. R. Bhandarkar has wrongly maintained Pitinika to be an adjective of Rathika or Bhoja on the strength of the Pali passage in the Anguttara-Nikaya (III, pp. 76, 78, 300). It is clear from the Pali passage, as well as from Buddhaghosa's explanations, that Ratthika and Pettanika were two different or titular designations. Buddhaghoga, for instance, says: Ratthiko' ti yo rattham bhunjati, "the Ratthika is one who enjoys the income derived from rastra (as defined in the Artha-Sastra, II. 6. 2 t)'; Pettuniko' ti yo pitarabhuttanubhuttam bhunjati, " the Pettanika is one who enjoys the hereditary rights and privileges." The term Bhoja or Bhojaka may be interpreted either in the sense of rattha-bhojaka or ratthika, " the enjoyer of rastra," or in that of gamaga manika or gama-bhojaka, " the village headman." If Berar and Konkan were the principalities of the Ratthika-Bhojakas, we can say that the Vidyadhara-abode was co-extensive with the ancient kingdom of Dandaka (Sarabhanga-Jataka, No. 520) bounded on the east by the kingdom of Kalinga, on the west by the kingdom of Avanti, on the north by the kingdom of Kasi, and on the south by the kingdom of Asvaka to the south of the Vindhya range. We might go further and maintain that this Vidyadhara-abode was no other than what is mentioned in the Puranas as StrIrastra or Strirajya. Depending on the reading in one of the MS. of the Visnu-Purana, Mr. Jayaswal says that in the Puranas, Strirajya and Musika country are said to have formed one principality.3 The VisnuParana is not all the Pura vas. Even all the MSS. of the Visnu-Purana do not offer the same reading. The different MSS., as noted by Mr. Pargiter, give different readings, one giving Musiva, one Mukhika... one Musith, and one Musika. 4 The Puranas as a whole telt altogether a different story. In them, we read that Strfrastra and Bhoksyaka formed one principality under a king named Kanaka.5 Curiously enough, we have precisely Bhojaka as a variant for Bhoksyaka, which is significant as implying that Strirastra and Bhoksyaka formed the principalities of the Rathika-Bhojakas. 1. Sita bhago balih karo vanik nadipalastaro navah pattanam vartani rajjus corarajjus ca raetram, 2. H. C. Raychaudhuri's Political History of Ancient India, 2nd edition, pp. 195.197. 3. Pargiter's Dynasties of the Kali Age, p. 54, f.n. 25: Strirajya-Trairaja-Musika. janapadan Kanakahvaya bhok yanti. Some of the MSS. omit Trairaja. 4. Ibid, p. 54, f.n. 25. 5. Ibid, p. 54; Strirastram Bhokayakams caiva bhokayate Kanakahvayah. For the variant Bhojaka see ibid, p. 54, f.n. 24. For Private And Personal Use Only

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212 OLD BRAHMI INSCRIPTIONS NY HA According to Kharavela's inscription, King Satakarni was the only powerful rival on the western border of his Kalinga kingdom whom he defied in striking terror into Asaka-nagara or Asika-nagura, the capital of Asaka or Asika. Asaka is just a Prakrit form of the Pali Assaka and the Sanskrit Asvaka or Asmaka, and Asika is nothing but a Prakrit form of the Sanskrit Rsika or Arsikai met with in Patanjali's Mahabhasya (IV. 2.2). It is clear from Ptolemy's Geography that the capital of Pulumayi or Vasisthiputra Sri Palumayi of the Satakarni Satavahana dynasty, was Baithan, Paithan, Patityhana or Pratisthana, which became, according to the Prologue (Vatthugatha) of the Parayanavagga in the Sutta-Nipata, the southern destination of a great trade-route called Dakkhinapatha or Southern Road.2 The Parayana-Prologue speaks of the hermitage of a hermit named Bavari as a religious institution founded on the bank of the Godavari river (Godhavarikule), in the dominion of Assaka, in close proximity to Alaka or Mulaka (Assakassa visaye Mulakassa samasane). The author of the Sutta-Nipita-Commentary, writing in the 5th century, A.D., says that Bavari's hermitage was situated in a strip of territory, which stood midway between the two Andhra kingdoms of Assaka and Alaka or Mulaka, that is to say, in that region where the Godavari having divided into two streams, formed a doab, between them, and where in former times, the Hermit Sarabhanga and others lived. 3 In referring to the hermitage of Sarabhanga the author of the SuttaNipata-Commentary kept evidently in his view the legend of th bhanga-Jataka which points to a time when the high road called Dakkbina. patha had not come into existence, when a traveller undertaking a from Benares to the valley of the Godavari had to proceed by a one-foottrack, or a "road for a foot-passenger (eka-padi-magga) under the escort of a forester (vanacaraka). This Jataka legend is on a par with the Ramayana account of Rama's wanderings from Ayodhya in the north to Pancavati on the bank of the Godavari in the south, which too, points to a time when a traveller 1. Noticed by H. O. Raychaudhuri in his Political History of Ancient India, 2nd edition, p. 310, f. n. 2. 2. Rhys Davids' Buddhist India, Ch. V. 3. Paramatthajotika, Vol. II, p. 581 : " Assakassa visaye Alakassa (Mulakassa) samasane' ti Assakassa ca Alakussa ca ti dvinnam Andhaka-rajanam samasanna visaye, asanne ratthe, dvinnam pi ratthanam majjhe ti adhippayo. "Godhavari-kule ti Godhavari. nadi-kule, yattha Godhavari dvidha vijjhitva tiyojanappamanam antara-dipam akasi sabbam kavitthavana-sanchannam, yattha pubbe Sarabhangadayo vasimsu tasinim padese, For Private And Personal Use Only

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NOTES 213 from the north had to proceed to the south from hermitage to hermitage, following a forest track. When exactly the high road was built and by whom we cannot say. But it is certain, as evidenced by several Pali Dialogues, that some such high road was already in existence in the life-time of the Buddha, any. how from Rajagaha to Kusinara, fron Kusinara to Pava, from Pava to Kapilavatthu, from Kapilavatthu to Saketa vid Setavya and Savatthi, and from Saketa to Kosambi and further south. And yet the Prologue of the Parayana-vagga in the Sutta-Nipata must be considered a later addition and relegated to a post-Asokan age for the simple reason that it did not find any place in the Culla-Niddesa which is a Pali canonical exegesis on the Parayana group of sixteen poems and undoubtedly a composition of a post-Asokan time. Even this Prologue has nothing in it to indicate that Assaka and Alaka or Mulaka were two Andhra territories. It is only in the Sutta-Nipata-Commentary that we have the mention of Assaka and Mulaka as principalities of two Andhra kings. As to who these two Andhra-kings were, this commentary does not supply us with any information whatever. The Cullakalinga-Jataka (Fausboll, No. 301) presents in its quoted verses an old chronicle of a war, which ensued between the Assakas and the Kaliigas when King Aruna was the ruler among the Assakas, and ended in the victory of the former and the defeat of the latter. In explaining the historical allusions, the commentary version of the Jataka in prose introduces certain details that are beyond the scope of the chronicle in verse. According to the commentary version, the war alluded to in the chronicle broke out between Kalinga and Assaka when King Kalioga reigned in Dantapura, the capital of Kalinga, and King Assaka reigned in Potali, the capital of Assaka. It represents the then reigning king of Kalinga as a ruler who was equipped with a powerful army (sampannabala-vahano) and a mighty warrior who was unrivalled in military prowess (nagabalo patiyodhum na passati), a description worthy of King Kbaravela of Kalinga as he appears in the Hathi-Gumpha inscription. These three points are clearly brought out in the commentary version of the Jataka : (1) that the war which ensued was an agressive war inflicted on the king of Assaka by the then reigning king of Kalinga who suffered from the mania for war and love of conquests over the whole of India, a spirit so much extolled in Kharavela's inscription ; (2) that the battle was fought on a field between the boundaries of the two kingdoms For Private And Personal Use Only

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214 OLD BRAHMI INSCRIPTIONS (dvinnam rajjanam antare), it implying that the kingdom of Assaka lay contiguous to the kingdom of Kalinga towards the west exactly as during the reign of King Kharavela ; and (3) that the king of Kalinga was ultimately compelled to return to his capital, acknowledging his defeat, in spite of the fact that he stacted with a mighty army (mahatiya senaya nikkhami), a fate which is virtually the same as the final result of Kharavela's attack on the capital of Assaka, if it had been recorded in an inscription of the King of Assaka. Whatever be the period of time to which the evidence of the commentary version of the Jataka refers, it cannot be doubted that this evidence is in some important respects similar to that of Kharavela's inscription in the Hathi-Gumpha. If its first verse, which appears to have been a later manipulation, be left out of consideration and be linked up with the prose story, the older chronicle in verse becomes reduced to a bardic narration of a tribal feud between the Assakas and the Kalingas, whereas the prose story in the Jataka-commentary has for its theme the final result of a war, which ensued between two kings, viz, King Kalinga of Kalinga and King Assaka of Assaka. According to the first verse which we consider to be a later addition, Aruna was the family or personal name of the then reigning king of Assaka, and Nandisena was the name of his commander-in-chief feared for his valour.! The Jataka as a whole keeps us in the dark as to the family or personal name of the then reigning king of Kalinga and the name of his commander-in-chief. It is highly improbable that any king of Kalioga before or after Kharavela, up till the 5th century A.D., is known to have grown so powerfal and ambitious as to make bold to stir out for effecting conquests all over India. As to the relationship of Aruna, the then reigning king of Assaka, either with the Andhras or with the Satakarni-Satavahanas, the Jataka has nothing to say. But it definitely says that the king of Kalinya ultimately suffered a defeat and failed of his purpose in waging war upon the kingdom of Assaka, in spite of his being a mighty warrior unrivalled in military prowess and equipped with a powerful army, in spite of the fact that he marched towards Assaka with a mighty army. The Hathi-Gumpha inscription, too, clearly brings out the same fact, namely, that King Kharavela of Kalinga could do no more than striking terror into the heart 1. Vivaratha imasam dvaram, nagaram pavisantu 1 Arunarajassa sihenn susatthena surakkhitam Nandisenena til For Private And Personal Use Only

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NOTES 215 WARENA of the capital of Asaka or Asika in spite of the fact that he caused a large army consisting of all the four divisions of Indian troops to move on towards the west without paying any attention to the presence of satakarni's power. It cannot be inferred from this inscription that Asaka | or Asika was ever permanently annexed by Kharavela to his kingdom. That the Satakarais and other kings of the Satavahana dynasty exercised suzerainty over Asaka, Asika and a number of other subordinate states, which clustered round the western Godavari valley to the west and south of Kalinga, cannot at all be doubted. For we find that in the Nasik cave inscription of Queen Gautami, dated in the 19th year of the reign of her grandson King Vasisthiputra Sri-Pulumayi, her son King Gautamiputra Sri-Satakarni has been eulogised as the ruler of Asika, Asaka (Asmaka on the Godavari), Mulaka (the district round Paithan), Suratha (Kathiawar), Kukura (in Western on Central India, near the Pariyatra or Western Vindhyas), Aparamta (North Konkan), Anupa (the district round Mahismati on the Narmada), Tidabha (Berar), and Akara-Avati (East and West Malwa), and no less as the lord of the Vijha, Chavata, Paricata, Sahya, Kanhagiri, Maca, Siritana, Malaya, Mahida, Selagiri and Cakora pavata, in short "of all the mountains from the Vindhyas to the Travancore bills." There is little doubt that in Queen Gautami's inscription the same eulogium was meant also for her grandson King Vasisthiputra Sri-Pulumayi. Even after King Mahaksatrapa Rudradaman I of the Ksaharata family had wrested some five of the western territories, after A.D. 130 and before A.D. 150, from one King Sri-Satakarai, the lord of the Deccan, who was perhaps King Vasisthiputra Sri-Pulumayi bimself, Asi ka, Asaka and the rest of the subordinate states mentioned in Gautami's inscription remained included in the dominions of the Satakarni-Satavahana kings up till, we venture to say, the reign of Yajna-Sri-Satakarai, the last great king of the Satavahana family. Even going back to earlier times, to a period of the Satakarni-Satavahana reign before the Ksaharata rule in Western India and the Daccan and occupation of Maharaztra in the 1. EI, Vol. VIII, p. 60: Asika- Asaka-Mulaka-Suratha-Kukura-Aparamta-Anupa-Vidabha-Akara-Avati-rajasa Vijha-Chava'a.Paricata-Sahya-Kanhagiri. Maca-Siritana Malaya. ifahida-Setagiri-Cakora prvata prtisa. See, for the identification of the places, H, C. Ray. chaudhuri's Political History of Ancient India, 2nd edition, pp. 310-311. 2. Namely, Akara- Avanti, Anupa, Surastra, Kukura and Apzranta. See EI, Vol. VIII, pp. 44-47. For Private And Personal Use Only

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216 OLD BRAHMI INSCRIPTIONS time of Nahapana, nay, to the reign of king Sri-Satakarni I, the son of Sinuka who was the founder of the Satavahana branch of the Andhra family, the successor of King Krsna who was Simuka's brother, and the husband of Queen Nayanika, we find the same state of things. The Ninazhat inscription of Queen Nayanika and the Sanchi inscription of Ananda, the leading artisan of one King Sr1-Satakarni bear testimony to the rise and existence of the first great Satakarni-Satavahana empire in the western Godavari valley "which," as Dr. Raychaudhuri acutely puts it, "rivalled in extent and power the Sunga empire in the Ganges valley and the Greek empire in the Land of the Five Rivers."'1 Thus the epigraphic records connected with the Satakarni-Satavahana and Ksaharata Saka-Ksatrapa kings enable us to understand not only (1) why Ptolemy wrote to say that Baithan or Paithan (Patitthana on the Godavari, the southern terminus of Dakkhinapatha, the Southern Road) was the capital of King Pulumayi Vasisthiputra Sri-Pulumayi, and (2) why Assaka and Mulaka or Alaka have been represented in the Sutta-Nipata-Commentary as two Andhra principalities in the western valley of the Godavari, but also (3) why the Hathi-Gumpha in scription records that King Kbaravela of Kalinga defying King Satakarni caused a large army consisting of all the four divisions of Indian troops to move on towards the west to strike terror into the heart of the capital of Asaka or Asika. If it has been conclusively proved that Asaka or Asika, which was one of the subordinate states in the dominions of King Satakarni, lay to the west of Kharavela's Kalinga, there can be no denying the fact that the Kalinga kingdom of Kharavela included in it the third division, Kosala or South Kosala, " which comprised the modern Bilaspur, Raipur and Sambalpur districts, and occasionally even a part of Ganjam."? Both Mr. Jayaswal and Dr. Sten Konow seem to think that Kosala or South Kosala was that division of the Kalinga kingdom in the time of King Asoka which comprised anta avijita, the unconquered outlying tracts, referred to in two copies of Asoka's Separate Rock Edicts. Even if it be so, we find it impossible to say that any Aira King of Utkala, associated in 1. Political History of Ancient India, 2nd edition, p. 264. 2. H. C. Raychaudhuri's Political History of Ancient India, 2nd editon, pp. 337-338. fee, for extension of Kosala when Hwen Thsang visited it, Cunningham's Ancient Geography of India, S. N. Majumdar's edition, pp, 595, 735, For Private And Personal Use Only

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NOTES 217 the Sanskrit verses from an old Oriya Ms. with Kosala, was the then reigning monarch of Kosala. The denotation of the term antas or pratyantas has varied with different authorities. As used in Buddhist literature, it denotes the regions that lay immediately beyond what is called Madhya-desa, the Middle Country. As used in the Allahabad Pillar inscription of Samudragupta, it denotes such North-Eastern frontier states as those of Samatata, Davaka, Kamarupa, Nepala, Karttapura and the rest. And as used in Asoka's inscriptions, it denotes the unconquered territories or tracts that lay beyond his dominions, whether in the north-west, or in the south, or in the east. In his Rock Edict XIII, King Asoka has expressly mentioned the five Greco-Bactrian principalities as typical examples of antas in the north-west, and Chola, the land of the Cholas, and Pandya, the land of the Pandyas, as typical examples of antas in the south. In speaking of the independent dwellers of the antas with whom his Viceroy and High Functionaries at Tosali and Samapa were to deal, King Asoka has not cared to name any ruling chiefs, peoples or powers as worthy of mention. If by antas in connection with his Kalinga Province he really meant Kosala or South Kosala, it must have then comprised the feudal states of a number of tribal chiefs, instead of being one kingdom under the rule of King Kharavela. It is recorded in the Hathi-Gumpba inscription that King Kharavela, in the eleventh year of his reign, caused the grassy jungle of Prthudaka to be driven out into the Lanyala river and caused the watery jungle of grass to be destroyed, the watery jungle which was allowed to grow up in one hundred and thirteen years. The statement is important as giving us some glimpses into the physical features of Kalinga, of which we are offered the following interesting description in Mr. Mano Moban Ganguly's Orissa and Her Remains, pp. 6-7: "It was always a terra incognita, by reason of its geographical position L and local circumstances. The whole country was a swamp intersected by a network of rivers with their feeders and tributaries carrying silt to the Bay of Bengal; impassable hilly jungles fringed its borders. The country was in a process of geological formation; there was a perpetual struggle between the different rivers and the sea, for the formation of the deltaic regions." In the Hathi-Gumpha record of Kharavela's twelfth regnal year, we read (1) that His Majesty was able to strike terror into the heart of the kings of Uttarapatha, (2) that in generating a great fear for the 28 For Private And Personal Use Only

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218 OLD BRAHMI INSCRIPTIONS people of Anga and Magadha he caused the elephants and horses to drink at the Ganges, (3) that he compelled King Bahasatimita of Magadha to bow down at his feet, (4) that he triumphantly brought back to Kalinga from Anga-Magad ba the Throne of Jina belonging to Kalinga which was carried away by King Nanda, (5) that be compelled the inhabitants of Anga and Magadha to bow down at his feet, (6) that a hundred Vasukis sent him jewels, procured for him the elephants, horses and other animals capable of exciting curiosity, and made presents of deer, horses and elephants, (7) that the king of Pandya supplied him with many valuable presents of apparels, pearls, gems, and jewels, and (8) that he subdued the inhabitants of some other place. The significance of the geographical designation Uttarapatha is to be understood in contrast to that of Daksimapatha. As we noticed, the Prologue of Book V of the Sutta-Nipata represents Daksivapatha as a great trade-route, the Southern High Road, which starting from Rajagaha, the capital of Magadha (Magadha-pura), passed through Nalanda and Pataligama (where the city of Pataliputta was afterwards built), to extend northward to Vesali across the Ganges and via Kotigama, and extending as far as Kapilavatthu via Kusinara and Pava, turned southward to reach Savatthi via Setavya, and proceeding southward passed through Saketa to extend to Kosambi across the Yamuna, and proceeding further south, reached Vana or Vana-Savatthi, at which point it turned towards the west to pass through Ujjeni and Mahissati, and extended as far south as Patitthana or Paithan across the Vindhya range. This Southern High Road lent its name to the region through which it passed, the whole tract of land lying to the south of the Ganges and to the north of the Godavari being known, according to Buddhaghosa, as Daksinapatha, the Deccan proper.1 That this region was known up to a late period as Daksinapatha is evident from these two literary references : (1) Daksinatye janapale Putaliputram nama nagaram, " Pataliputra a city on the south bank of the Ganges in a Deccan district," occurring in one of the stories of the Pancatantra,' and () Avanti Dakkhinapathe, " Avanti in Daksimapatha," occurring in one of the passages of the Vinaya-Pitaka. This original significance of 1. Sumangala-Vilasini, Part I, p. 256. 2. Paficatantra, Sresthi-Ksapanaka-Napita-Katha. 3. Vinaya-Malavagga, V, 13, 0.' Vinaya-Callavagga, XI, 1, For Private And Personal Use Only

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NOTES 219 the name Daksinapatha was gradually lost sight of with the result that in later times the location of Daksinapatha came to be shifted to the south of the Vindhya range,? to finally cover the whole of the modern South India lying between the Vindhya range and the Cape Comorin, the Deccan proper still being the region between the Godavari and the Krsia. It may be easily inferred from the Nasik cave inscription of Queen Gautami, from the list of countries included in the dominions of Gautamiputra Sri-Satakarni, that, as late as the first two centuries of the Christian era, the kingdom of Avanti was located in Daksinapatha. A similar historical process can be conceived with reference to Utara padha or Uttarapatha. For Uttarapatha, too, may be supposed to have been originally a great trade-route, the Northern High Road, whic extended from Savatthi to Takkasila in Gandhara, and have lent, precisely like the Southern High Road, its name to the region through which ity passed, the region, broadly speaking, covering the north-western part of the United Provinces, the whole of the Punjab Province and the NorthWestern Frontier Provinces. That this region was known up to a late period as Uttarapatha is evident from these three literary references : (1) Uttara-Madhura-Uttarapalhe," the Northern Mathura, the Mathura proper on the Yamuna, in Uttarapatha," occurring in Dharmapala's ParamatthaDipani, a commentary on the Petavatthu ; (2) Psthudakat paratah Uttara. pathah, " Uttarapatha lies (towards the west) beyond Psthudaka (near Thaneswar)," occurring in the Kavya-Mimamsa ;? and (3) the following verse occurring in the Mahabharata, XII, 207, 43 : Uttarapatha-janmanah kartayisyami tan api Yauna.Kamboja-Gandharah Kirata Barbaraih saha || 8 Buddhaghosa in his commentary on the Kathavatthu, attributes certain views in the Kathavatthu to two Buddhist schools called Hemavatika and Uttarapathaka. Hemavatika and Uttara pathaka were the local or 1. Kavya-Mimamsa, p. 93. M&hismatyah paratah Daksinapathah, " Daksinapatha is the tract of land which lay beyond Mahismati in the south." Cf. Bharatiya Natya-Sastra, XIV, 39-41. 2. Kavya-Mimainsa, p. 93, quoted in Canningham's Ancient Geography of India (8. N. Majumdar's edition), p. 965. 3. Quoted in H. C. Raychaudhuri's Political History of Anoient India, 2nd editio p. 83. For Private And Personal Use Only

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220 OLD BRAHMI INSCRIPTIONS territorial names of two post-Asokan Buddhist schools, the former being derived from Himavanta, and the latter from Uttarapatha. We have reasons to say that the Himavanta region consisted of a number of Himalayan states to the north of the Southern High Road in its extension from Vesali to Savatthi and beyond the northern boundary of the Middle Country as defined in Buddhist literature. Thus Uttarapatha may be accurately defined as a tract of land, which lay to the west of the Himavanta region, extending westward from Thaneswar, and which lay to the north-west of the Buddhist Middle Country and to the north of the Daksinapatha, extending north-west from Mathura, the capital of Surasena. Whatever be its later territorial extension, it is certain that Kharavela's Uttarapatha signified nothing but the region specified above, the region including Mathura in its south-eastern extension. Anyhow, from the record of Kharavela's twelfth regnal year, it is clear that Uttarapatha lay towards the west or north-west beyond Anga and Magadha. And should our reading be correct, from the use of the plural expression Uttarapadha-rajano, "the rulers of Uttarapatha," it may be inferred that when King Kharavela carried his campaign into Uttarapatha, it was parcelled, precisely as it was when Alexander invaded the plains of India, into a number of small independent principalities, although the Hathi-Gumpha inscription does not mention the names of their rulers. According to the Mahabharata account of the journey of the Pandavas from Hastinapura to Kalinga, Kalinga proper could be reached by the travellers journeying along the sea-coast from the mouth of the Ganges, and it was the country through which the river Vaitarauf flowed.1 On the strength of this Epic description, Mr. Mono Mohan Ganguly assigns the following boundaries to Kalinga proper : "On the North, the Vaitarani; on the South, the Godavari; on the East, the Bay of Bengal ; on the West, the Tributary States of Orissa."2 The reader can judge for himself whether and how far the geographical extension of Kalinga proper, 1. Mahabharata, Vanaparva, Canto I: Tatah samudra-tirena jagama rasudhadhipah | Bhratrbhih sahito virah Kalingan prati Bharata || Lomasa uvaca : Acharya Shri Kailassagarsuri Gyanmandir Ete Kalingah Kaunteya yatra Vaitarani nadi | Yatrayajata dharmopi devaccharanametya vai || 2. Orissa and Her Remains, p. 9. For Private And Personal Use Only

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NOTES 221 as may be inferred from the Mahabharata account, coincided with that of the Kalinga kingdom of Kharavela. Apparently, as we have sought to show, Kharavela's Kalinga kingdom with its three divisions comprised the Epic Kalinga as well as the modern Orissa with its Tributary States. The countries of Anga and Magadha are too well-known to need any elaborate comments. The Hathi-Gumpha inscription clearly indicates that both Anga and Magadha were situated side by side with each other on the south bank of the Ganges, which is to say, that the Ganges formed the natural northern boundary of both the countries. Anga lost her independence and became a dependency of the kingdom of Magadha as early as the reign of King Bimbisara, who is said to have been one of the elder contemporaries of the Buddha. The Hatbi-Gumpha inscription indicates that Anga continued to be the same old dependency of the kingdom of Magadha as during the reign of King Bahasatimita as during that of King Nanda. The Vasukis referred to were not fabulous beings. There would be no reason for mentioning them in a serious document if they were fabulous. The Vasukis were the Naga kings who had established principalities in all parts of India. "The prevalence of Naga rule over a considerable portion of Northern and Central India in the third and fourth centuries A. D., is amply attested by epigraphic evidence." 1 The name of the Chota-Nagpur District situated between Bihar in the north and Orissa in the south may be taken as a reminiscence of the Naga principalities that existed at one time between Anga-Mayadha, on one side, and Kharavela's Kalinga kingdom, on the other. There are inscriptional records to show that Mathura and the countries around it were occupied in circa 300 A. D. by the Nagas. The statement that the Vasukis sent precious jewels to King Khara vela, procured for bim the elephants, horses and other animals capable of exciting curiosity, clearly indicates that their principalities comprised those jungle tracts which abounded in the wealth of precious stones, and wild elephants, horses and other animals. The statement that the king of Pandya supplied King Kharavela with many valuable presents of pearls, gems and jewels and various kinds of apparels, requires a word of explanation. One might say this could be explained without having to assume that the kingdom of Pandya was at any time invaded by King Kbaravela; the statement might be justified 1. H. C. Raychaudhuri's Political History of Ancient India, 2nd edition, pp. 809-304. For Private And Personal Use Only

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222 OLD BRAHMI INSCRIPTIONS either (1) on the ground that the kings of Pandya were the less powerful allies of the Aira-Meghavahana kings of Kalinga from earlier times, or (2) on the ground that alarming reports of the irresistible force of Kharavela's victorious arms compelled the then reigning king of Pandya to make an alliance, acknowledging the supremacy of King Mahavijaya Siri-Kharavela of Kalinga. As to whether Kharavela had at any time invaded Pandya, we should bear in mind that the fact of sending presents by the king of Pandya to King Kharavela is stated in the record of Kharavela's twelfth regnal year. Whether or no, the Hathi-Gumpha inscription bears testimony to the invasion of Pandya by King Kharavela depends, to a large extent, upon the nature of the reading and rendering of the record of Kharavela's eighth regnal year. The following are the three successive readings and renderings of this record that have been offered by Mr. Jayaswal : I (4) First Reading: Athame ca vase (manatino ?) (dha ma ni ??) ......Goradhagiri ghatapayita Rajagaha-napam pidapayati etinam ca kamupadana-panadena sabata sena-vahane vipamumcitam Madhuram apayato [.] (6) First Rendering: "In the eighth year, the ministers (?)...at Goradhagiri.....having got killed, (he) causes oppression to the King of Rajagrha who by the report of (Kharavela's offer of marching forward, was made to retire to Mathura, leaving behind everywhere his troops and vehicles." II (a)-Second Reading: Athame ca vase mahati-senaya mahata(bhittim) Goradhagirim ghatapayita Rajagaham upapidapayati [;] etina ca kamma' padana-panadena sambita-sena-vahinim vipamumcitum Madhuram apayato yeva narid(o) (nama)......(mo?) (yacati) vicha-palava-bhar(e)***[*] (6)-Second Rendering: "In the eighth year, he (Kharavela) having got stormed the Gorathagiri (fortress) of great enclosure by a great army, causes pressure around Rajagrha (lays siege to Rajagrha). On account of this report of the acts of valour, (i. e., the capture of Goradhagiri, etc.), the king (so-called) to forsake the invested division of his army, went away to Mathura indeed,.. ...." III (a) Third Reading: etian(am or a) ca kammapadanasamnadena samb(i)ta-sena-rahano ripamumcitum Madhuram apayato Yavana-raj(a)-Dimi(ta or oti) yachati...vi-palava....... [-] (6)-Third Rendering "on account of the report (uproar) occasioned by the acts of valour (i.e., the capture of the Gorathagiri For Private And Personal Use Only

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NOTES 223 fortress and the siege of Rajaglha, etc.) the Greek king Demetrius drawing in his army and transport, retreated to abandon Mathura." It will be seen that all the three renderings offered by Mr. Jayaswal show an agreement in representing Gorad hagiri not as a personal name but as the name of a hill-fortiess at Gorathagiri, the modern Barabar range of hills in the District of Gaya. These also show an agreement in represent. ing Rajagaha as the earlier capital of Magadha, and Madhura as a city on the Yamuna in Northern India. The difference between his first and second renderings is that whereas in the former, accepting the reading Rajagaha-napam pidapayati......, the king of Rajagsha is represented as the timid warrior who retired to Mathura, in the latter, accepting the reading Rajagaham upapidapayati......yeva narido, indefinitely the king so-called is represented as the warrior who went away to Mathura. And the difference between his third and earlier two renderings is that while in the latter either definitely the king of Rajagrha or indefinitely and sarcastically the king so-called is represented as the warrior who went away to Mathura, in the former Dimita- Demetrius is represented as the Greek king (Yavani-raja) who, drawing in his army and transport, instead of advancing towards Rajagrha, retreated to abandon Mathura. Before we decide one way or the other, we ought to thresh out the matter carefully. We have nothing to say against Mr. Jayaswal's reading and rendering of the opening words of the eighth year's record up to senaya. There, taken by themselves, clearly indicate that King Kbaravela started on a campaign with a mighty army in the eighth year of his reign, His reading Goradhagirim ghatapayita cannot be challenged. This expression may be rendered either as (1) " baving caused Gorathagiri to be killed," or as (2) " having caused Gorathagiri to be stormed," according as we take Goradhagiri to be a personal name or the name of a hill-for.) tress or mountain-fastness. Whether Goradhagiri is a personal name or the name of a hill-fortress might have been decided at once if the words preceding it could be accurately read. From the faint traces of the letters, Mr. Jayaswal made out mahata-bhitti," of great enclosure," as an adjunct of Goradhagiri, keeping in his view Mr. V. H. Jackeon's identification of Goradhagiri or Gorathagiri with the modern Barabar hills. But he has given up at last this reading, declaring it to be uncertain. Mr. Banerji's estampage published in JBORS, 1917, enables us to make out Madhuram a[nupa]to, " as he reached Mathura." For Private And Personal Use Only

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224 OLD BRAHMI INSCRIPTIONS We say that the use of Goradhagiri as a personal name in Kharavela's Vinscription is not impossible. For in the Mabavamsa, Giri occurs as the name of a Nigamtha or Jain contemporary of King Vattagamani of Ceylon. In one of the ancient Brahmi inscriptions, Yasogiri occurs as the name of a Buddhist monk. In Jain literature, Mahagiri and Simhagiri occur as the names of two Jain apostles. And none need be surprised if Mahendragiri occurs as the name of the king of Pisthapura in the Alla habad Pillar inscription of Samudragupta. 3 The use of the verbal expression ghatapayita in the sense of "having caused to be killed " is appropriate, if Goradhagiri is a personal name. It may be argued that the use of the same verbal expression in the sense of "having caused to be stormed" is equally appropriate, if Goradhagiri is the name of a hill-fortress or mountain-fastness. We cannot but agree with Mr. Jayaswal when he maintains that the use of the expression Goradhagirim ghatapayita, even where Goradhagiri is the name of a hillfortress, is sanctioned by literary usage, and calls our attention to the Pali expression Dipaghataka Damila, "the Tamil devastators of the Island of Larika."4 The Mahabharata is the only Indian work where we have the mention of Gorathagiri as a hill or mountain from which one might have a view of Girivraja or Old Rajagaha, the first or most ancient known capital of Magadha. Mr. Jackson is inclined to think that this Gorathagiri is no other than the mountain which Hwen Thsang saw between Pataliputra and 1. Luders' List of Brahmi inscriptions, No. 601, 2. P. O. Bagchi" On the Purvas", Calcutta University Journal of the Department of Letters, Vol. XIV, p. 5. 3. It is only by suggestio falsi that Fleet represents Mahendragiri of Samudragupta's inscription as the name of a hill or mountain. From the system of using the patronymio of a place name as an adjunct of a personal nume which has beeu consistently maintained in the whole list of the kings subdged by the Indian Napoleon, it is easy to understand, As D. R. Bhandarkar points out, that Mahendragiri is a ersonal name, nothing but a personal name. Kausalaka-Mahendra-Mahakanta, aka-Vyaghraraja-Kuuraluka. MantarajaPaisthapuraka - Mahendragiri-Kautturaka-Svamidatta, etu. 4. Attentio might be drawn to a better instance in the Dathavamsa, III. 16 (JPTS, 1884, p. 126): Kutena ghata payi dantadhatum," he caused the tooth-relio to be smashed with a hammer." 5. Mahabharata, II. 19-30. Goratham girim asadya dadraur Magadhan purap. 6. JBORS, Vol. I, Part II, p. 162. For Private And Personal Use Only

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NOTES 225 Gaya, and on the eastern summit of which the " Tathagata formerly stood for a time beholding the country of Magadha."1 Seeing that the names Goratha and Baithan are both connected with cattle and having regard to the fact that there is no hill near enough jgir besides the Baithan hill, Mr. J. D. Beglar found reasons to think that the hill named Goratha in the Mahabharata could not but be the same as the present Baithan hill.2 And with reference to Isigili or Rsigiri, Buddhaghosa says that the Blessed One was once upon a time seated in that place sitting where he could behold all the five hills (that stood close to one another surrounding Rajagaha). The Isigili-Sutta of the Majjhima-Nikaya records the names of these five hills as the Vebhara. the Pandava, the Vepulla, the Gijjhakuta and the Isigili. In the opinion of Mr. Oldham, Magadhapura referred to in the Mababharata as the capital of Magadha which could be seen from the summit of the Gorathagiri hill might have been " a town close to the east of the Barabar hills, on the site of what is now known as Ibrahimpur." But the description in the Mababharata leaves no room for doubt tbat this Magadhapura was no other than Girivraja, which precisely like Rajagaba of the Isigili-Sutta, was guarded by the five lofty-peaked and cool-planted hills, the vipula-Vaihara, the Varaha, the V rsabba, the Rsigiri and the subha-Caityaka. 4 Further, the Sutta-Nipata-Commentary takes Magadhapura to mean Rajagaba, We must carefully note that Gorathagiri, according to the Mahabharata, was the hill which stood at some distance from Girivraja or Old Rajagaha and could be reached by the travellers journeying from the land of the Kurus through the Kuru-jungle, proceeding to the beautiful lotuslake and getting beyond the Kalakuta... mountain, and likewise going by degrees across the Gandaki, the great Sone and the Sadanira, the rivers taking their rise from one and the same mountain, crossing the charming 1. Beal's Records of the We.tern World, Vol. II, p. 104, 2. Arch. Sur. Reports, 1872-73, Vol. VIII, pp. 46-47. 3. Papasca-Sudani, Siamese edition, Part III, p. 536 : yasmim thane nisinnanam panca pabhata pannayanti tattha. 4. Mahabharata, II, 21-23 : Vaiharo vipulah sailo Varaho Vrgabhas tatha | Tatha Rsigiris tabha subhas Caityaka-pancamah || Ete panca mahasrngah parvatah sitala-druma) Raksantivabhisamhatyasamhatanga Girivrajam || 5. Para mattha-Jotika, II, p. 584 ; Magadham puranti Magadhapuram Rajagahanti adhippayo. 29 For Private And Personal Use Only

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226 OLD BRAHMI INSCRIPTIONS Sarayu and beholding the Eastern Kosala, going beyond Mithila, crossing the rivers Mala and Carmanvati, crossing the Ganges and the Sone, and proceeding further eastward to get from Kusaciracchada to what was called Magadha-ksetra, the Magadha-territory (literally, "the Magadha-field ").1 There can be little doubt, as Mr. Jackson has sought to prove on the strength of two short Brahmi inscriptions, that Gorathagiri was but one of the two ancient names of the Barabar hills, the other being Khalatikapavata, which latter is met with in two of the Barabar Hill-Cave inscriptions of Asoka and in Patanjali's Mahabhasya (I. 2. 2). As the ancient capital of Magadha was known at the same time by two names, Girivraia and Rajagrha, so, Mr. Jackson thinks, the Barabar hills were known at one time by two names, Gorathagiri and Khalatika-pavata, while, later on, they came to be known by the name of Pravaragiri, Pravara wherefrom the modern name Barabar was apparently derived. The two Brahmi inscriptions, relied upon by Mr. Jackson in proposing his identification, are engraved on rocks in two different places, both of which are not far from the well-known caves dedicated by Asoka to the Ajivikas," and consist each of five syllabic letters, one of them recording the name of the hill as Gorathagiri and the other as Goradhagiri, the letterforms of the former bearing a close resemblance to those of the dedicatory inscriptions of Asoka, and the letter-forms and spelling of the latter to those of the Hathi-Gumpta inscription of Kharavela. On palaeographic grounds, Mr. R. D. Banerji assigns the former to the Asokan age and places the latter a century later, going so far as to believe that the latter was actually engraved by one of the men who accompanied King Kharavela and took part in His Majesty's first invasion of Magadha.5 If it be as Mr. Jackson presumes, that the earlier inscription recording the name of the hill on which it was engraved as Gorathagiri was of the same age as two of the dedicatory inscriptions of Asoka recording the name of the hill on which they were engraved as Khalatika-pavata, we do not see any necessity for 1. Mahabharata, II, 20, 26-29, quoted with Ramavatar Sarma's translation in JBORS; Vol. I, Part II, p. 161. 2. JBORS, Vol. I, Part II, p. 169. 3. The Lomasa Rishi cave is called Pravaragiriguha in an undated Sanskrit inscription belonging probably to the 7th century A. D.. JBORS, Vol. I, Part II, p. 169. 4. JBORS, Vol. I, Part II, p. 162. 5. JBORS, 1917, Vol. III, Part IV, p. 500. See Plates in JBORS, Vol. I, Part II, published by Jackson. For Private And Personal Use Only

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NOTES 227 speculating if Khalatika was a phonetic transformation of Goratha, or Goratha that of Khalatika. In such a case as this, one is compelled to think that neither Khalatika-pavata nor Gorathagiri was intended by Asoka to serve as a name for the whole of the present Barabar range but as dames for two separate hills of this range. The close likeness between the Brahmi letter-forms and the spelling Goradhagiri as found in the second inscription and as found in the Hathi-Gumpha inscription is, beyond a doubt, a strong point in the argument pressed by Messrs. Banerji and Jayaswal for taking Goradhagiri of Kharavela's inscription to denote the Barabar hills. And yet in justifying the use of the verbal expression ghata payita in the sense of "having stormed," one has to prove that Gorathagiri or Goradhagiri was at all, at any time, a hill-fortress. It is certain that "the Mahabharata which mentions the Gorathagiri in connexion with the earlier period of Rajagrha, does not refer to any fortifications there." " Inside the Barabar enclosure stone foundations of buildings can be seen in various places, notably apon and to the east of tbe artificially raised area at the foot of the Siddheswarpath hill due north of the caves, and in the jungle towards the southwestern end of the valley. The whole enclosure is too small to bave been the site of any large town, but the natural strength of the position and the fact that the defences are strengthened at all vulnerable places by stone walls render it reasonable to suppose that it formed a refuge used in times of danger by the people who ordinarily lived in the plains and valleys outside." These reflections and the fact that the local tradition speaks of the hills as those which in ancient days formed a stronghold or fortress enable Mr. Jackson to opine " that as Pataliputra was open to an attack from the south, the Gorathagiri which lay on the way to the capital was made a fortified position," and that " it must have been treated as the first line of defence on the southern side of Pakaliputra." 1 We need not attach to the local tradition quoted by Mr. Jackson any more importance than what we should attach to his inference from a study of the ancient remains. The question still is whether the stone-enclosure and other remains are the relics of a rocky stronghold or hill-fortress or those of a rocky shrine, stupa or temple. Evidently, the Barabar hills were a sanctified rather than a fortified position. For it is here that King Asoka dedicated certain caves for the residence of the Ajivikas. It is again here that Hwen Thsang saw a Buddhist stupa on the eastern summit of the 1. Quoted by Jayaswal in JBORS, 1917, Vol. III, Part IV, pp. 469, 472. For Private And Personal Use Only

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228 OLD BRAHMI INSCRIPTIONS mountain where the Tathagata formerly stood beholding the country of Magadha. The Chinese pilgrim's mountain with the stupa on its summit is connected with "the country of Magadha." The Mahabharata connects Gorathagiri with Magadha-ksetra or Magadha-territory. And we find that the Sutta-Nipata-Commentary locates Pasanaka-cetiya, the site of the rocky shrine, in Magadha-khetta (Magadha-khette Pasanaka-cetiyam),1 and says that in spite of the fact that it became, during the dispensation of the Blessed One, a Buddhist retreat, the spot where there was formerly a shrine of Deva-worship continued to be designated by its ancient name as Pasanaka-cetiya or Pasana-caitya." The identification thus sought to be established between Gorathagiri and Pasana-caitya may receive its confirmation also from the fact that just as in the Mahabharata, Gorathagiri has been mentioned as the monntain standing on which the travellers coming from the Kuru-country to Mithila and finally getting into the Magadha-territory by a southward journey through Kusacfracchada, could have a view of Girivraja or Old Rajagrha, so in the Sutta-Nipata and its commentary, Pasaga-caitya has found mention as a Buddhist retreat, which could be reached from Rajagaha by the travellers starting from Kapilavatthu along the great high road, reaching Pataliputta from Vesali by a southward journey and proceeding further southward, along the same high road, via Nalanda. Thus it may be shown that all the available evidences conspire only to prove the contrary of Mr. Jackson's inference that Gorathagiri was a rocky stronghold or hill-fortress. If Gorathagiri was a hill noted for its rocky shrine, stupa or Deva-temple, it is difficult to justify the use of the verbal expression ghatapayita in the sense of " having stormed." Why should Kharavela storm Gorathagiri if it was not used as a fortress or stronghold of the Magadhan army? Strangely enough, the Hathi-Gumpha expression following Goradhagirim ghatapayita is one involving a reference to Rajagaha. These are the three possible readings of this expression: (1) Rajagaha-napam pidapayati, "caused the king of Rajagaha to be harassed; " (2) Rajagahamupapidapayati, "caused pressure around Rajagaha; or (3) Rajagahanam papidapayiti, " caused a heavy pressure to be brought to bear upon the people of Rajagaha." The first reading does not suit the context in view of the 99 1. Paramattha-Jotika, Vol. II, p. 583. 2. Paramattha-Jotika, Vol. II, p. 584: Pasanakam cetiyan ti mahato pasanassa upari pubbe devatthanam ahosi, uppanne pana Bhagavati viharo jato so ten' eva purima-vorhaena Paranakam cetiyan ti vuccati, For Private And Personal Use Only

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NOTES Acharya Shri Kailassagarsuri Gyanmandir 229 fact that in the twelfth year's record, the king of Magadha is alluded to as "the king of Magadha " (Magadha-raja), and not as "the king of Rajagaha," and no less for the reason that Rajagaha ceased long ago to be the capital of Magadha. The second reading, too, cannot justify the use of etinam, a pronominal expression with a genitive plural case-ending, immediately after upapidapayati. The third reading alone fulfils all the requirements. There were at least two Rajagahas or Rajagrhas in India, one which was the earlier capital of Magadha and the other which was the capital of the Kekayas "located in the Ramayana on the other side of the Vipasa (Beas) and stretching up to Gandhara."1 The latter Rajagrha also bore a second name, Girivraja. By the people of Rajagrha we may understand as well the Magadhas as the Kekayas. And there were Kekayas in the north-west, in Uttarapatha, as well as in the south, in the Daksinapatha. "C The Kekayas of Uttarapatha were settled in the Panjab." It is evident from the Ramayana that their territory "lay beyond the Vipasa (Beas) and abutted on the Gandharva or Gandhara Visaya."2 And it may be surmised from a number of inscriptions discovered on the ruins of the Jagayyapeta Stupa in the Krishna District and belonging, according to some of the archaeologists, to so early a date as the second century A.D., that the Kekayas of Daksiuapatha who were matrimonially connected with the Iksvakus of South India were "probably a ruling family of ancient Mysore."3 These are then the three possible interpretations of the Hathi-Gumpha record of Kharavela's eighth regnal year: (1) That His Majesty having stormed Gorathigiri, a stronghold of the Magadhan army in the Barabar hills, caused a heavy pressure to be brought to bear upon the citizens of Rajagaha, the earlier capital of Magadha; (2) that His Majesty having caused Gorathagiri, the king or general of Mathura in Uttarapatha, brought a heavy pressure upon the Kekayas whose capital was Rajagrha beyond the Beas; or (3) that His Majesty having caused Gora thagiri, the king or general of Mathura, the capital of Pandya in Daksinapatha, brought a heavy pressure upon the Kekayas who founded a territory in Ancient Mysore. For Private And Personal Use Only 1. Canningham's Ancient Geography of India edited by S. N. Majumdar, Notes. 2. Ramayana, II. 68. 19-22; VII, 113, 114, Raychaudhuri's Political History of Ancient India, 2nd edition, p. 36. 3. Dubreuil's Ancient History of the Deccan, pp. 88, 101; Raychaudhuri's Political History of Ancient India, p. 315, fn. 1.

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230 OLD BRAHMI INSCRIPTIONS Each of these interpretations has its strong and weak points. The strong points of the first interpretation are obvious: (1) the contiguity of the kingdom of Magadha to that of Kalinga; (2) the discovery of two Brahmi inscriptions as old as the Barabar Hill Cave inscriptions of Asoka and the Hathi-Gumpha inscription of Kharavela enabling us to identify Gorathagiri with the Pravaragiri or Bara bar hills; (3) the exploration of the lingering remains of an ancient enclosure; (1) the local tradition asserting that there was a fortress or stronghold in the Barabar hills; and (5) the Mahabharata describing the Gorathagiri of Magadhaksetra as the hill or mountain from which one could have a view of Girivraja or Old Rajagsba, the earlier capital of Magadha. Its weak points are: (1) the Mahabharata describing Gorathagiri simply as a bill or mountain, and not as a stronghold or fortress; (2) the stone-enclosure and other supposed remains of an ancient fortress being explained also as vestiges of an ancient sbrine, temple or stupa ; (3) it being inexplicable why, if Pataliputra were at that time the capital of Magadha and Gorathagiri had served as its first line of defence on the south, Kharavela bad directed his attacks towards Rajagraba, unless it be presumed that the capital had to be removed from Pataliputra to Rajagpha in fear of an attack from the north as formerly done during the reign of King Munda or that the army of Magadha having bien gradually driven southward, was finally concentrated in Rajagrha. The strong point of the second interpretation is that it enables us to understand how Kharavela could venture to carry his expeditions into the very heart of Uttarapatha after having made himself the master of Mathora even before he planved his attacks on Angu and Magadha. The weak point of it is that there is no other authority but the Ramayana to establish that there was a Rajaglha in the Uttarapatha as distinguished from Rajaglha, the earlier capital of Magadba. The strong point of the third interpretation is that it enables us to understand how the king of Pandya was compelled to send valuable presents to Kharavela, which is to say, to ackaowledge the supremacy of the king of Kalinga. Its weak point is that there is yet no evidence to prove the identity of the Kekayas with the Rajagahikas. Another point in its favour is that if it could be established, we might have clearly seen that Kharavela turned his attention to Northern India only after he had subdued the powers in the Deccan. But weighing the matter carefully, we feel that the balance of probablity lies, after all, with the first interpretation, and, to some extent, with the second interpretation. And it follows from either of these two interpretations For Private And Personal Use Only

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NOTES 231 that Kharavela had to effect a timely retreat to Mathura to relieve his army terrified by the alarming reports of counter-attacks from the inhabitants of Rajagaba, while his twelfth year's record goes to show that he made a second attempt, which proved entirely successful. 12. KHARAVELA'S PERSONAL HISTORY Many interesting facts concerning the personal history of Kharavela can be gleaned from the old Brahmi inscriptions, particularly his own inscription in the Hathi-Gumpha, so much so that the Hathi-Gumpha inscription itself may be judged as a Kharavela-Carita " The Life of Kharavela," in Indian epigraphy, and no less as an Asokavadana, "The Edifying Legend of Asoka," in Jain records. The text of the Hathi-Gumpha may be judged also as a kind of maha. tira-carita, " the annal of a great hero," taking Kharavela to be the great warrior bero. There can be little doubt that the composer of the Hathi-Gumpha text has sought all along to extol Kharavela as a mighty earthly hero who was destined to conquer, to rule, to protect and to please. Anyhow, no other inference can be drawn from the honorific epithets adorning the name of His Graceful Majesty Kbaravela. In the Hathi-Gumpha inscription (I. 1)., Kharavela is described as pasatha-subha-lakhana, "one who bore the noble and auspicious bodily marks," and as caturumta-rakhana-guna-upeta, "one who was endowed with the qualities of a ruler capable of protecting the whole of this earth extending as far as the four seas." A less likely alternative of the reading of the second epithet may be caturamta-luthana-gunauprta, "one who was endowed with the qualities of a warrior capable of undertaking expeditions over the wbole of this earth bounded by the four seas." The expression caturanta' was the current old Indian idiom to denote indefinitely the whole extension of the earth conceived as an island in the seas or oceans. Corresponding to caturamta-rakhana-guna-upeta or caturamtaluthana-guna-upeta, we have the familiar Pali expression caturanta-vijitavi. janapadathavariyappatta, " the ruler of the whole earth bounded by the four seas, the upholder of the realm by the right of conquest and the 1. Here caturanta is the same expression as caturanta mahi (Artha-Sastra, III. 2.50), and asamudra-ksiti. For Private And Personal Use Only

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232 OLD BRAHMI INSCRIPTIONS consolidator of his hold on his territories," which is an oft-recurring epithet of a king overlord (raja cakkavatti). Buddhaghosa explains caturanta as meaning "the lord of the earth bordering on the four seas and comprising the four island-like continents." He explains vijitavi as meaning "one who has quelled the rebellious agitations within, overpowered the inimical rebels without and conquered all other kings."2 And lastly, he explains janapadathavariyappatta as meaning "one who has established so sure and permanent a hold on his territories that no one is able to move it an inch, or having retained a permanent hold on his territories, remains engaged in his duties unworried, unshaken and unmoved."8 Acharya Shri Kailassagarsuri Gyanmandir of That pasathasubha-lakhana and the other epithet are meant in the Hathi-Gumpha text to represent Kharavela as a king overlord is beyond dispute. For in the inscription of his chief queen (No. II), Kharavela is freely represented as Kalinga-cakavati, "the King Overlord Kalinga. But this is not enough to bring out the real significance of the two epithets. As used in the first paragraph of the HathiGumpha text, the epithets signify what the expert astrologers, palmists and diviners (lakkhana- patiggahaka, nakkhatta-pathaka), after reading the bodily marks and making a thorough study of the birth-star and other factors and signs connected with the birth and person of the childprince Kharavela, declared him to be in future.1 Let us now see how Kharavela is represented in the HathiGumpha text and, to some extent, in some of the remaining old Brahmt inscriptions to have fulfilled other conditions of a person destined to become a king overlord, the conditions specified in such ancient texts as the Pali Cakkavatti-Sihanada-Sutta in the DighaNikaya, and Rajavagga in the Anguttara-Nikaya, and the Lalita-Vistara (Ch. VIII). 1. Papanca-Sudani, Siamese edition, Part III, Brahmiyusutta-vannaua; "caturantaya issaroti caturanto, catusamuddantaya catubbidhadipa-bhusitaya ca pathaviya issaroti attho." 2. Ibid: "Ajjhattam kopadi paccatthike bahiddha ca sabbarajano vijetiti vijitavi." 3. Ibid: "Janapade dhuvabhavam thavarabhavam patto, na sakka kenaci caletum janapade va tamhi thavariyappatto anussuko sakammani rato acalako asampabedhi." 4. Cf. Nidana-Katha in Fausboll's Jataka, Vol. I, p. 56, where the Lakkhanapatiggahaka Brahmin astrologers and diviners are said to have declared with regard to the future of Prince Siddhartha: "Imehi lakkhanehi samannagato agaram ajjhavasa. mano raja hoti cakkavatti pabbafjamano Buddho' ti," "If one endowed with these marks choose to keep to household life, one is destined to be a king overlord, and choosing to renounce worldly life, one is destined to be an Enlightened Master." For Private And Personal Use Only

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NOTES 293 - The nobility of origin is one of the primary conditions. Regard. ing the nobility of Kharavela's origin, we read in the Hathi-Gumpha inscription (1) that he was Cetarajavamsa-vadhana, "the increaser of the royal House of King Ceta" (I. 1); (2) that he was rajisivamsakula-vinisita, " emanated from the family and line of royal sages" (I. 16); and (3) that he was installed as a great king in the third generation of two kings belonging to the reigning dynasty of Kalinga (tatiye Kalimgarajaramse purisa-yuge maharajabhisecanam papunate). Prof. Sten Konow prefers, in agreement with Mr. Jayaswal and Prof. F. W. Thomas, to read Cetirajaramsa-vadhana. We fully appreciate the force of his argument that the reading Ceti (Cedi) is quite in keeping with the adjective rajusivamsakula-vinisita whereby Kharavela claimed to have descended from an ancient family of royal sages. In adhering to the reading Ceta, our own point is that it is equally in keeping with the very same adjective, and does not at the same time make itself open to dispute from the palaeographic point of view. In the Vessantara-Jataka (Fausboll, No. 547), Ceta occurs as an alternative spelling of Cetiya, Cetaratthn being the same kingdom as Cetiyarattha of the Cetiya-Jataka (Fausboll, No. 422). In the saine Jataka, the ruling people of the Ceta or Cetiya Kingdom are represented as Cetiya, Cela and Cetaputta, which conclusively proves that Ceta was an alternative spelling of Ceti, and that the Cetas or Cetis as a ruling people were known as the descendants of King Ceta. The information thus derived from the Vessan.' tara-Jataka is doubly significant inasmuch as the references are all found in the verse-quotations. The prose narrative wbich is peculiar to the commentary.version of the Birth-story contains an additional information concerning a land-route connecting Jetuttaranagara, the capital of the Sivi kingdom, with the Brahmin village Dunnivittha, situated in the kingdom of Kalinga. We are told that the mountain named Suvannagiritala was at a distance of five Yojanas from Jetuttaranagara, that the river named Kontimara was at a distance of five yojanas from the Suvannagiritala mountain, that the mountain named Aranjaragiri was at a distance of five yojanas from the Kontimara river, that the Brahmin village named Dunni. vittha, situated in the kingdom of Kalinga, was at a distance of five yojanas, that the capital of the Ceta kingdom was at a distance of ten yojanas from the Dunnivittha Brahmin village, and that the total distance 1. Hatbi.Gunnpha inscription, I. 1. 30 For Private And Personal Use Only

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234 OLD BRAHMI INSCRIPTIONS between Jetiittaranagara and the capital of the Ceta or Catiya kingdom covered thirty yojanas.1 The Vedabbha-Jataka (Fausboll, No. 48) points to the existence of a bigh road (mahamagga) from Benares to Cetiyarattha, which was not safe in all parts, " being infested with roving bands of marauders." The Cetiya-Jataka (Fausboll, No. 422) represents Upacara or Uparicara as the king of Ceti (Cetiya-raja) whose genealogy could be traced back to Mahasammata, the first kaown king of the Solar line, who reigned in the kingdom of Ceti (Cetiyaratthe), in the city of Sotthivati, and who was gifted with four supernormal faculties. He was known also by the name of Apacara. His five sons are said to have built after his death five cities in five directions, to wit, Hatthipura in the east, Assa pura in the south, Sihapura in the west, Uttarapancala in the north, and Daddarapura in the north-west. And the great Brahmin named Kapila is said to have been his family priest. In referring to the above Jataka, the Milinda-Pad ha mentions the name of the king as Suraparicara, and says that he reigned in the land of the Cetis (Cetisu). Dr. H. C. Raychaudhuri seems to be perfectly justified in identifying the Ceti-king Upacara, or Suraparicara with Vasu Uparicara, who is mentioned in the Mahabharata (I. 63. 1-2) as the Paurava king of Cedi. And there is probably nothing to object to Prof. Rapson's identification of the Cedi-king Vasu Uparicara with Kasu Caidya, the king of the land of the Cedis, who is pra ised in the Rg-Veda (VIII. 5. 37-39), in a hymn containing danastuti at its end. Dr. Raychaudhuri rightly observes that in the Mahabharata account, too, the five sons of the Cedi-king are said to have founded the five different imperial lines of kings, 4 Bihadratha among the Magadha people, Pratyagraha, Kusamba the Manivabava, Mavella and the unconquerable Yadu. The tradition in the Ramayana (I. 32-6-9) "'associates the scions of Vasu's family with the cities of Kausambr, Mahodaya and Girivraja." All these are legendary arcounts of Ceta and the Cetis or Cedis. But these are not without their bearing on the Hathi-Gumpha text. These enable us not only to grasp the significance of Kharavela's epithet 1. Fausboll's Jataka, Vol, VI, pp. 514, 521. 2. Milinda-Papiha, Trenckner's edition, p. 202. 3.4. H.C. Raychaudhuri's Political History of Ancient India, 2nd edition, p. 82. For Private And Personal Use Only

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NOTES 235 Cetarajavamsa-vadhana or Cetirajaramsa-vadhana but also to appreciate why he has been praised as rajisivamsakula-vinisita. The third statement as to Kharavela being installed as a mighty king in the third generation of two kings belonging to the then reigning dynasty of Kalinga, implies that be ascended the throne of Kalinga by the lawful right of succession, which is to say, that he was in no sense a usurper of the royal power. Differences of opinion are bound to be as to the correct interpretation of the phrase tatiye Kalimgarajavamse purisa-yuge. Mr. Jayaswal explains it as meaning "in the third dynasty of the Aira line of the kings of Kalinga," while with Dr. R. C. Majumdar it means "in the third generation of the Kalinga kings." Both the interpretations have obviously missed the technical sense of the expression purisa-yuga. As for the ordinal tatiya meaning " the third," there is no doubt that it qualifies purisa-yuga. For in the Hathi-Gumpha record of Kharavela's tenth regnal year (I. 11), we come across the expression Kalimgarajavamsanam tatiyayugasagavasane which, as a slightly different manipulation of the phrase taliye Kalimgarajavamse purisa-yuge, leaves no room for doubt that the numerical adjective tatiya was intended to be applied to yuga or purisayuga. Here the plural form of Kalim garajavamsa might seem to bear out Mr. Jayaswal's interpretation. But we must not forget that the word purisa is understood, and that the expression Kalimgarajavam sanam may be better interpreted as meaning "of those of the royal dynasty of Kalinga." The yuga, saga (sarga) and vamsa are three of the main subjectmatters of a Hinda Parana. The term tatiya-yuga presupposes the Indian tradition of caturyuga, "the four yugus," each of the yugas implying, according to Hindu cosmogony, a distinct "age" in the development of the world-system, the term "age" being used in the same sense as in " the Golden Age," " the Iron Age," and so forth, Thus it may be shown that the Hindu sense of ynga or of caturyuga is primarily cosmogonic. The term saga or sarga signifies, according to Hindu cosmogony, a stage or landmark in, or a sectional presentation of, the creative evolution of the cosmos. It is precisely in the sense of sectional presentation or chapter-division that the term sarga has been used in both 1. Sridharasvami in his Tika on the Visnu-Parana, I. 2. 66, explains sarga as a synonym of sreti : sargad ikartta ai esamurttih sretya dirupah cf. the terms Brahmasargo, dovasarga, bhutasarga, and the like used in the Visnu.Purana, I. 5. 18-24. For Private And Personal Use Only

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OLD BRAHMI INSCRIPTIONS the Mahabharata and the Ramayana, it being conveniently rendered in English as "canto." Several sargas or cantos go to make a book called parva or kanda. Thus it may be shown that we are justified in interpreting the term saga in yugasaga in the sense of a "part," "portion " or "period" of a yuga. Keeping the tradition of cosmogonic caturyuga as a presupposition, the Buddha or the Buddhist conceived four yugas ((cattari yugani) of Ariyapuggalas, "those of the Aryan lineage," i which is the same as to say, the Buddha or the Buddhist conceived four purisa-yugas (cattari purisa-yugani) in Ariyavinsa, "the Aryan lineage,"2 understanding the term yuga in the sense of yugga (couple) or yamaka (twin).3 Thus with the Buddhists the four yugas or purisa-yugas denote the four couples of Aryan personalities (purisa-puggalas) representing the eight notable stages in the progress of the Buddhist pilgrim towards Arahatship, which is his final destination. A notion of sequence or succession is implied in the Buddhist enumeration of four yugas or purisa-yugas as vathama (the first), dutiya (the second), tatiya (the third) and catuttha (the fourth). But each yuga or purisa-yuga considered by itself, eliminates altogether the notion of sequence or succession, for a yuga, to be worth the name, requires as a sine qnd non the co-existence of two persons, one representing, as the Buddhist put it, the stage of inception (maggattha), and the other that of fruition (phalattha). * Corresponding to yuga or purisa-yuga in Pali, we have the use of yuga or purisa-ynga in the Hathi-Gumpha text. And the expression tatiya-yuga or latiya purisa-yuga suggests the same kind of gradational enumeration as that of four yugas or purisa-yugas in Pali. If so, there is no other alternative but to interpret the expression in the Hathi-Gumpha text in the sense of the third couple of royal personages, one representing the fifth king and the other the sixth king of one and the same reigning dynasty of Kalinga. This is precisely the sense sought to be conveyed by the rendering " the third generation of two kings." 1. Ratana-Sutta in the Sutta-Nipata and the Khuddaka-Pagha, verse : Ye puggala archasata-pasattha | Cattari etani yugani honti || 2 Mahspartnibbana-Suttanta, Digha-Nikaya, Vol. II : Cattari purisa-yagani atthapurisa-puggala. 3. Cf. Pali savaka-yuga. The chapter which bears the name of Yamakavagga in the Pali Dhammapada 's entitled Yugavarga in the Sanskrit Udanavarga. 4. Paramattha-Jotika, Khuddaka-Patha-Commentary : Sota pattimaggatthophalattho'ti ekam yugam, evam tava Arahattamagghytho-phalattho'ti ekekam vuganti cattari yugani honti. For Private And Personal Use Only

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NOTES 237 Does it imply a conjoint rule of two kings of the same royal family reigning at the same time, and if so, in what sepse? In upholding the interpretation offered by Prof. D. R. Bhandarkar and Prof. R. C. Majumdar of the text of the Andhau inscription as implying a conjoint rule of King Chastana, the grandfather, and King Rudradaman I, the grandson, of the same Ksaharata royal family, Dr. H. C. Raychandhuri calls our attention to a number of facts deserving consideration : (1) the account given by Diodorus of the political constitution of Tauala (Patala), the Indus Delta, as having been drawn on the lines of the Spartan, enjoining the conjoint rule of two kings representing the two eldest representatives of the ruling clan and as vesting the command in war in two hereditary kings of different houses; (2) the mention of dviraja in the Atharva-Veda (V. 20. 9) in the sense of a conjoint rule of two; (3) the danger of dvairajya, the conjoint rule of two kings, in the event of their disagreement and mutual enmity and hostility, discussed in Artha-Sastra (VIII. 2. 128);' (4) the system of dorajja (dvairajya), referred to in the Jaina Ayaramya-Sutta ; (5) the case of King Dhrtarastra, the father, and King Duryodhana, the son, reigning together, to be cited from the Mahabharata; (6) the case of Eukratides and his son reigning together to be cited from Justin's work ; and (7) tbe conjoint rule of Strato I and Strato II or that of Azes and Azilises, to be cited among other instances. 2 The overwhelming evidence thus produced goes to prove that there is no inherent improbability of a conjoint rule of two kings in each generation of the then reigning dynasty of Kalinga being implied in the two Hathi-Gumgha expressions : (') tatiye Kalimgaraja-ramse purisa-yuge, and (2) Kalimgarajavamsannm tatiyayugasagavasane. But 1. N. N. Law in his well-informed article on "Technical Institutions" (Indian Historical Quarterly), maintains that dvairajya or " the rule by two kings " was, according to the Artha-gaetra, a vyasana or " distress" of the royal state, it implying rather an abnormal than a normal state of things. The dvatrajya form of government must have been ushered in as a means of avoiding keeping the crown-prince waiting indefinitely till the death or retirement of the reigning king. 2. Political History of Ancient India, 2nd edition, p. 308. Attention has also been drawn to an anecdote in the Mahavastu (III, p. 432), in which three sons of King Mahendra, the three uterine brothers, are said to have conjointly reigned in Simhapura, the capital of Kalinga. But attention might also be drawn to the Buddhist tradition of pine Nanda brothers, the nine kings of the pre-Mauryan Nanda dynasty, reigning conjointly in Magadha.. For Private And Personal Use Only

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238 OLD BRAHMI INSCRIPTIONS to be sure about it, as well as to form an idea of the personal relation of the two reigning kings in each generation in the aforesaid sense, we must carefully take the Lalita-Vistara use of the term purusa-yuga into our consideration. Acharya Shri Kailassagarsuri Gyanmandir The Lalita-Vistara mentions the following characteristics, among others, of an ideal royal family fit to be graced by the birth of the Buddha: Purusayugasampannam ca tatkulam bhavati. Purvapurusayugasampannam ca tatkulam bhavati. Abhijatapurusayugasampannam ca tatkulam bhavati. Abhilaksitapurusayugasampannam ca tatkulam bhavati. Mahesakhyapurusayugasampannam ca tatkulam bhavati. Raja Rajendra Lala Mitra translates these : "Such a family is......remarkable for having two generations (living at the same time). It has two predecessors, as well as two successors (living at the same time). It has two special generations living, and having a member of the name of Mahesa in two successive generations." 1. Literally, a coupling of. We offer the following as a correct rendering of them : "Such a family is noted for having throughout a connecting link between two successive representative men. It has in its previous generation a connecting link between two successive representative men. It has in its present generation a connecting link between two successive representative men. It has also in its coming generation a connecting link between two successive representative men. It has throughout a connecting link of two greatly powerful successive representative men." The idea of an uninterrupted continuity of the royal line from father to son is contemplated in the Lalita-Vistara passage concerning purusayuga. In the life-time of the grandfather and father, the son and grandson are to be in full vigour of life ensuring the prospect of the birth of the great-grandson and great-great-grandson. Considered in this light, if the grandfather and father represent the first purusa-yuga, the son and grandson represent the second, and the great-grandson and great-greatgrandson represent the third. And if, as is recorded in the HathiGumpha text, the third purusa-yuga of the then reigning dynasty of Kalinga was completed with the birth of Prince Kharavela, it follows that Prince Kharavela was the great-great-grandson of the first king of this For Private And Personal Use Only

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NOTES 239 dynasty, and that the part of the third couple (tatiya-yuga-saga) could be over only with the death of his father. Keeping consistency with this meaning of purusa-yuga, as used in the Hathi-Gumpha text, we might say that Kharavela's father remained joined as a king with his grandfather when he had been discharging the administrative functions as the crownprince for nine years from his sixteenth to his twenty-fourth year; that on the death of his grandfather be himself became joined with his father as a king as soon as he completed his twenty-fourth year; that his father died in the eleventh year of his reign in the record whereof we are told that the part of the third couple was over by that time and he paid proper homage to the memory of the former kings of Kalinga, which is to say, he performed the sradh ceremony; and that Kadampa-Kudepa came to be joined with him as a king after the death of his fatber in the eleventh year of his reign. If the cave standing in the name of Kadampa-Kudepa was one of the 117 caves excavated in the thirteenth year of Kharavela's reign, it is evident from the epithets, Aira, Maharaja, Mahameghavahana and Kalimngailhipati, adorning the name of Kadampa-Kudepa in the old Brahmt inscription No. III, that Kadampa-Kudepa as the son of Kharavela was then joined with him as a king of Kalinga in the fullest sense of the term. Like the nobility of origin and ancestral line, the brightness, perfection and dignity of the bodily form and appearance is a primary condition to be fulfilled by a prince destined to be a king overlord. The Indian popular feeling on this point bas found a pithy expression in the following stanzas quoted in English translation from the Uluka-Jataka (Fausboll, No. 270): "The owl is king, you say, o'er all bird-kind : With your permission, may I speak my mind ?" "I like not (with all deference be it said) To have the owl anointed as our Head. Look at his face! if this good humour be, What will he do when he looks angrily." 1. The meaning made out is this: A and B represent the first purusa-yuga; after the death of A, the first yuga comes to be partly over and C comes to be joined as a king with B; after the death of B, C and D combine to represent the second purusa-yuga; after the death of C, the second yuga comes to be partly over and E comes to be joined as a king with D; after the death of D, E and F combine to represent the third purusa-yuga; after the death of E, the third yuga comes to be partly over (tatiyayugasagavasana) and G comes to be joined as a king with F. For Private And Personal Use Only

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240 OLD BRAHMI INSCRIPTIONS The Mugapakkha-Jataka (Fausboll, No. 588) bears testimony to the fact that bodily infirmity or deformity was considered an unbearable disgrace to a royal family. The Asokan legends, as found in the Divyava. dana and the Mahavamsa-Tika, bring out the fact that the ugliness of appearance stood greatly in the way of Asoka when he was still a prince. The description in the Hathi-Gumpha text (I. 1) goes to prove that Kharavela as a prince had the very best bodily form "glowing with graceful majesty, so lovely as to captivate the heart of Grace herself, a veritable god Visga in the human garb." So much is implied indeed in the adjective siri-kadara-sarirava. Acharya Shri Kailassagarsuri Gyanmandir Proficiency in polite learning is another primary condition. Here the term 'polite learning' involves the study and practice of various useful sciences and arts. Proficiency in sciences implies the sound theoretical knowledge of the principles and details of the systems, and proficiency in arts implies the intelligent and skilful use or application of those principles and details. As to proficiency in polite learning in the above sense, the pronouncement of the Artha-Sastra (I. 5. 2) is:--- a Vidya vinito raja hi prajanam vinaye ratah\ Ananyam prthivim bhunkte sarvabhutahite ratah || "The king who is well brought up in the discipline of sciences and arts, and engaged in bringing up his subjects in discipline, enjoys the earth without sharing it with others, doing good to all living beings under his rule." The Artha-Sastra (1.5.2) prescribes the following courses of study for prince: (1) a prince should learn the alphabet and practise writing (lipi), and should learn counting and arithmetic (samkhyana) from the ceremony of tonsure to that of investiture with sacred thread, that is to say, from the third or fifth year to the ninth or tenth year; (2) from the ninth or tenth year to the sixteenth year, a prince should study the Brahmanical treatises based upon the Three Vedas (trayi) and the systems of speculative philosophy (Anviksaki) under the teachers of acknowleged authority, should acquire the knowledge of the science of wealth (Varta) under the superintendents of various departments, and should acquire the knowledge of the science of government (Dandaniti) under those who are adepts in theories as well as in practical application; anl (3) from the sixteenth year onwards, a prince should spend the forenoon in receiving lessons in military tactics concerning the proper handling of troops and of weapons, and the afternoon in hearing the Purana, the Itivrtta, the Akhyayika, the For Private And Personal Use Only

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NOTES 241 Udaharana, the Dharma-gastra, and the Artha-sastra, all of which go by the name of Itihasa, To the same effect we read in the Milindapan ba (Trenckner's edition, p. 178) : "Mahiya rajaputtanam hatthi-assa-ratha-dhanu-tharu-lekha-muddasikkha-khattamanta-suti-muti-yujjha-yujjhapana-kiriya-karaniya." " The princes of the earth are to learn the arts of writing and counting and of handling the weapons and troops, and are to put into practice the principles of polity, Srali, Smrti and the sciences of war and warfare." This is but a rough and ready way of enumerating in one breath the list of sciences and arts, which the Indian princes were required to learn, and make judicious and skilful use of. We may take it for granted that the list in contemplation of the author of the Milindapanha is virtually the same as that in the Artha-Sastra. The Milindapanha furnishes us with a list of nineteen sciences and arts in all, in which King Milinda-Menander, its ideal Indo-Bactrian Greek prince, gained high proficiency. We read : " Many were the arts and sciences he knew-holy tradition and secular law; the Sankhya, Yoga, Nyaya, and Vaisesika systems of philosophy, arithmetic ; musio; medicine; the four Vedas; the Puranas, and the Itihasas; astronomy, magic, causation, and spells ; the art of war; poetry ; conveyancing--in a word, the whole nineteen." 1 Mabaksatrapa Rudradaman I is represented in his Jundgari inscription (circa 150 A.D.) as a prince who "gained fame by studying grammar (sabda), polity (artha), music (gandharva), logic (nyaya), etc." As to Prince Kharavela's education and ability, the Hathi-Gumpha text (1.1) represents him (1) as one who was lekha-rupa-ganana-vavahara. vidhi-visarada, and (2) as one who was savavijaradata. It will be a mis. take to suppose that the second adjective, savavijavadata, "one whose self was purified by proficiency in all Indian polite learning," has been used in apposition with the first. The term savavija ((sarva.vidya), the whole of Indian polite learning, is meant to include lekha, rupa, and the rest enumerated in the body of the first adjective but not to be exhausted by them. There are two very strong arguments against taking sava-vija as limited or exhausted by lekha, rupa and the rest. First, we find 1. This is Rhys Davids' rendering of the Milinda text (pp. 3.4) which reads: bahuni c'assa satthani uggahitani honti, seyyathidam ; suti sammuti sankhya yoga niti visesika ganika gandhabba tikiccha catubbeda purana itihasa jotina maya hetu mantana yudddha chandasa mudda, vacanena ekunavisati, 31 For Private And Personal Use Only

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242 OLD BRAHMI INSCRIPTIONS that the Hathi-Gumpha text (I. 4) has praised him as Gamdhavavedabudha, "one who was versed in the science of music-the Gandharvalore." This goes at once to show that sava-vija of Kharavela's inscription includes the science of music which is not mentioned in the first adjective. Secondly, the fact that King Kharavela ventured, in the very second year of his reign, to defy so powerful a rival as King Satakarni in triumphantly marching with all the four divisions of his army amply attests that he excelled, even while he was yet a prince, in the art of war and warfare (yujjha-yujjhapana-kiriya), which is to say, that sava-rija in Kharavela's inscription is meant also to include yuddha-vidya. The same inference may be drawn from the many acts of valour recorded in the Hathi-Gumpha inscription. Nevertheless, the expression sava-vija, as employed in Kharavela's inscription, suffers from vagueness and indefiniteness. What was precisely the traditional total of vidya (sciences and arts) prescribed for the educa tion and training of Indian princes in the days of Kharavela we cannot say. The Milinda panha (circa first century A.D.) mentions the total as nineteen (vacanena ekunavisati), while the Nidana-katha of the Pali Jataka-com. mentary (Fausboll, Jataka, I. p. 58) speaks of twelve (dvadasavidham sippam), including archery (dhanuggaha). The Vatsyayana Kama-Sutra enumerates the ancient Indian sciences and arts called yogas under sixty-four heads (catuhsasthika yoga), implying that by the time the Sutra was compiled in the extant form (circa 3rd or 4th century A. D.), the traditional total came to be reckoned at sixtyfour. This total, once established, continued to be in use and gained a proverbial character in the later Hindu expression catuhsasti-kala. The Kama-Sutra enumerates, as pointed out by Raja Rajendra Lala Mitra,1 the sixty-four yogas as sciences and arts to be learnt and practised by "the young maidens aspiring for the position of court-ladies or for that of expert courtezans, either alone or in the company of their tutors, fellow students, friends of the same age, etc." Strangely enough, Sridhara Svami in his commentary on the Bhagavata-Purana, represents the Yadu princes Baladeva and Vasudeva as learning the sixty-four science and arts. Although references to all or most of the sciences and arts can be traced in such an ancient Buddhist work as the Digha-Nikaya, Brahmajala-Sutta, 1. Rajendra Lala Mitra's translation of the Lalita-Vistara, pp. 186-8, For Private And Personal Use Only

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NOTES 243 it is difficult to conceive the total sixty-four as coming into existence much before the third or fourth century A. D. The Hathi-Gumphi description of Prince Kbaravela's proficiency in I earning, lekha-Tupa-ganana-ravahara-ridhi-visarada and savavijavadata, seems to correspond almost to a description of Prince Siddhartha's education in the Lalita-Vistara (Ch. X), which runs as follows : Sastrani yani pracaranti manusyaloke Sa khe lips ca gamam ani ca dhatutantra | Ye silpayoga pythu laukika aprameyah 1 Tegvesu siksitu pura bahukalpakotyah 11 The parallel thus quoted from the Lalita-Vistara enables us to interpret the Hathi-Gumpha expression savarija (sarva-vidya) as implying "whatever subjects of study are current in the world of men, the various multitudinous sciences and arts that are of use to the generality of mankind,"1 that is to say, " the whole of the Indian polite learning prevalent at that time." Of the four enumerated subjects of study, samkhya, lipi, ganana and dhalutantra, the first two are met with in the Artha-Sastra (1. 5,2); and the second and the fourth are met with in the Milindapanha (p. 178) in the form of lekha and mudda. The Lalita-Vistara and the Artha-Sastra have used the term samkhya or samkhyana in the simple meaning of counting the numbers. All the three texts bave used the term lipi or lekha in the simple meaning of the knowledge and writing of alphabet or alphabets. The term dhalutantra, as used in the Lalita-Vistara, does not seem to convey the idea of the knowledge of verbal roots, the meaning in which Raja Rajendra Lala Mitra has interpreted it. The term dhatutantra appears to have been used just as another expression for mudda (mudra) in the Milindapanha. Buddhaghosa has explained mudda as meaning hatthamudda-ganina, which may be rendered as "counting the totals on one's fingers." The word hatthamulda is generally taken to mean a seal. ring.' But none need be surprised if in hatthamudda (hastamudra) we trace a word similar to kilamudra in the ancient Kharosthi documents, and if 1. For the enumeration of the science and arts, see the Lalita-Vistara, Oh, XII, pp. 156-157 (Lefmann's edition). 2. The Lalita Vistara itself substitutes mudra for dhatutantra in a second enumeration in Ch. XII, p. 166 (Lefmann's edition): lipi-mudra-ganana-samkkya. For Private And Personal Use Only

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244 OLD BRAHMI INSCRIPTIONS the same was a current name for ' a punch-marked coin.' If so, the dhatu. tantra was no other than a mudrasastra dealing with the rules of calculation applied to monetary transactions,-to transactions by metallic media of exchange. We think that the enumerated four subjects of study may be conveniently reduced to three to make them correspond to three in the HathiGumpba text, the term lipi corresponding to lekha, the term dhatutantra or mudra to rupa, and the terms samkhya and ganana to ganana. Mr. Jayaswal is in the right to suggest that the three terms lekha, rupa and ganana, as used in the Hathi-Gumpha text, were intended to have a deeper significance than what they generally implied in popular usage. The term lekha was not used to mean simply the knowledge of the alphabet and the practice of alphabet-writing. The learning and writing of alphabet has been proscribed in the Artha-Sastra as a course of study for a beginner, for a prince of three or five years of age. Lekha in the sense of mere knowledge and writing of alphabet is evidently inconsistent with the adjective lekhavisarada, representing Prince Kharavela as an expert in the art of writing' in the Hathi-Gumpha record giving an account of the nine years spent by Kharavela as a crown-prince, from his fifteenth to his twenty-fourth year. The Hathi-Gumpha inscription says that Kharavela passed the first fifteen years of his life just playing the games befitting his young age. But we shall misinterpret this statement to assume that Prince Kharavela commenced to learn ka, kha, ga just after he completed his fifteenth year and not before. The statement goes rather to show that he commenced his career as a crown-prince when he passed as "an expert in all matters relating to the art of writing,". The statement as to his spending the first fifteen years of his life in princely games has no meaning except as implying that he spent these years uomindful of and without being called to the responsibility of administration. This may suffice to justify us in interpreting the term lekha in the Hathi-Gumpha text in the same wider and deeper sense as lekha or sasana (royal writs) in the Artha-Sastra (II. 9-28). Similarly we are not to take rupa as a simple term for the counting of the totals of stamped coins but in the wider and deeper sense of all matters relating to coinage and currency, all transactions in which the medium of exchange is a factor, more or less in the same sense rupa in the Artha-Sastra. In the same way we are not to take ganana as a simple tarm for counting or calculation but in the wider and deeper sense of all matters For Private And Personal Use Only

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NOTES 245 relating to accounting, more or less in the same sense as ganana in Asoka's R. E. III and in the Artha-Sastra (II. 7. 25). Over and above lekha, rupa ang ganana, we have the use of two other words, to wit, vavahara and vidhi. In the compound lekha-rupa.gananavavahara-vidhi, vidhi may be either combined with each of the preceding words and interpreted in the sense of "rule," lekha-vidhi, "the rule of writiny," riparidhi, "the rule of coinage and currency," etc., or treated as a separate term per se. We have tentatively translated vavahara-vidhi by "administration and procedures," which is somewhat vague and misleading. The Sanskrit term ryavahara corresponding to darahara has bee clearly defined in the Artha-Sa-tra (III. l. 58) as vyavaharika-sastra, "judicial, administration and procedures in accordance with established cou Ventions." Treatiny ridhi as a separate term, Mr. Jayaswal has sought to interpret it in the sense of dharma-sastra. There is no inberent improbability of tbis sense of ridhi. Tbe term vidhi has been used in the Artba-Sastra in the sense of kriya-vidhi, "the rule of action." But tanahara, too, is just a " rule of action," the difference between the two being that while vidhi implies state-action in accordance with the established laws of human conduct and duty, vavahara implies stateaction in accordance with established conventions. In the two enumerations of four things in the Artha-Sastra (III. 1. 58), caritra has been replaced by samstha or dharmasastra, and rajasasana by nyaya or danda. It is quite possible that vidhi in the Hathi-Gumpha text is just a synonym forge niyama (Artha-Sastra, I. 5. 2), or caritra or samstha or dharmasastra (ArthaSastra, III. 1. 58). Varahara of Kharavela's inscription is obviously the same word as vivohala of A soka's P. E. IV, in which viyohala stauds in contradistinction to hamda : viyohala-samata ca damda-samata. We fully agree with Prof. D. R. Bhandarkar in interpreting viyohala-samata in the sense of "uniformity of procedures" but differ from him, as well as from Prof. Buhler, both of whom take viyohala to be a synonym of abhihala ( Pali abhihara). Prof. Buhler seems, however, to be right in interpreting the Asokan expression abhihale ra damoe va as signifying " in the awards of reward or punishment" on the authority of the Sambhava-Jataka (Fausboll, No. 515) where abhihara is paraphrased by puja. We prefer to take damda of damda-samata as an equivalent of nyaya or raja-sasana of the Arthasastra, to interpret damoa-samata in the sease of " uniformity of decisions," and to explain abhihala and damda as meaning respectively " decisions for" and "decisions against." For Private And Personal Use Only

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240 OLD BRAHMI INSCRIPTIONS There is nothing in the Hathi-Gumpha inscription to indicate that Prince Kharavela was sent out of Kalinga for his education to such a place as Taxila, which was famous as an ancient seat of learning. On the other hand, the recorded facts go to show that he spent the first twentyfour years of his life in Kalinga. In all probability he was placed during the first fifteen years of his life under an experienced tutor,-a vrddha in the language of the Artha-Sastra, just in the same way that Prince Siddhartha was placed, according to the Lalita-Vistara, under a tutor named Visvamitra, and the Yadu princes Balarama and Vasudeva were placed, according to the Bhagavata-purana, under a tutor named Sandipani. It also seems probable that, while a crown-prince, he received a practical training in the art of administration at the hands of the high functionaries in charge of various departments, and acquired the knowledge of the systems of religion and philosophy at the hands of the saintly and far-famed ascetic and recluse teachers in Kalinga. Acharya Shri Kailassagarsuri Gyanmandir The numerical strength of family members, relations and retinues is another primary condition to be fulfilled by a prince destined to be a king overlord. On this point we are supplied with some information in the Hathi-Gumpha record of Kharavela's thirteenth regnal year where we read that his queens, sons, brothers, relatives and the royal servants cooperated with him in excavating one hundred and seventeen caves on Kumari-pavata, the Kumari hill, to provide resident Arhats (Jain saints) with accommodations and shelters for resting their bodies. The old Brahmi inscription No. II records the upper cave of the Mancapuri group as an excavation of Kharavela's chief queen and a dedication to the recluses in Kalinga. Thus this inscription furnishes us with a corroborative evidence of the truth of the Hathi-Gumph record of Kharavela's thirteenth regnal year. The expression "the recluses in Kalinga" may be viewed as explanatory of the Hathi-Gumpha expression "resident Arhats." The very fact that she has been honoured as the chief queen (agamahisi) of His Graceful Majesty Kharavela, the king overlord of Kalinga, goes to prove that King Kharavela had queens more than one, that his chief queen was not the only queen, and that she was just the queen consort, the chief one among the queens, although we cannot definitely say among how many queens in all. Although this is a fact that Kharavela had queens more than one, we do not know altogether how many caves were donated by his queens. Asoka's "Queen's Edict" introducing Kaluvaki as his second queen (dutiya devi) enables us to say that King For Private And Personal Use Only

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NOTES 247 Asoka had at least two queens of whom Kaluvaki was the second in rank. The old Brahmi inscription No. II, containing a reference to Kbaravela's chief queen, leaves the question as to the number of his queens entirely open. Some of the caves on the Kumari hill were excavated by Kharavela's sons in the thirteenth year of his reign, and King Kharavela became thirty-seven years old in his thirteenth regnal year. If he had married in the sixteenth year of his life and a son was born in that very year, his eldest son could not be older than twenty-one years when the caves were excavated. He had sons more than one, but altogether how many sons he then bad, and how many by each of his queens we cannot say. In the Mancapuri group of three caves, the cave in the upper storey was an excavation of Kharavela's chief queen, the corresponding cave in the lower storey was an excavation of King Kadampa-kudepa, and the side cave in the lower storey is said to have been an excavation of Prince VadukhaVarikha. In the inscriptions of King Kadampa-Kudepa (No. III) and Prince Vadukha-Varikha (No. IV) their personal relationship with King Kharavela is not at all indicated. But the grouping of the three caves in the manner just described seems to indicate that even in the works of art and architecture the mother has sought to be combined with her two sons, of whom King Kadampa-Kudepa was the elder and Prince VaqukhaVarikha the younger. The brothers of King Kharavela have been referred to as excavators of some of the caves in the record of his thirteenth regnal year. No caves have, as yet, been discovered with inscriptions recording their names. Had there been found out any such inscriptions, as princes of the same royal house, their names would have been recorded each as a "KumaraPrince," precisely as in the case of Prince Vaukha-Varikha. As regards Kharavela's kinsfolk among the excavators of the caves we have no definite information from the old Brahmi inscriptions. Two of these inscriptions (Nos. VI-VII) record the name of one Culakamma (Ksudrakarma, Junior Karma) as the excavator of two separate caves. The inscription No. VIII records the name of Kamma (Karma) as the gentleman who donated the chambers of one of the caves, and the name of Khina (Ksiva) as the lady who donated the frontal building construction. 1. R. D.'Banerji observes : "A minor inscription mentions a king of Kalinga named Kudepa-siri who may be a descendant or a successor of Kharavela as he bears the same titles as Kbaravela" (JBORS, Vol. III, Pt. IV, p. 605). For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir 248 OLD BRAHMI INSCRIPTIONS The association of the two names in one and the same inscription as well as in one and the same work of art and architecture is significant, and it may be taken to indicate that the gentleman was the husband and that the lady was his wife. It may be inferred from the two games, Kamma and Culakamma, that the gentlemen known by these two names were related to each other as brothers, of whom Kamma was the elder and Culakamma the younger. It seems probable that Kamma, Culakamma and Khina were counted among Kharavela's kinsfolk. With regard to the royal officers and servants among the excavators of the caves, we have one inscription (No. IX), in which a gentleman named Bhuti has been distinctly mentioned as a Town-judge (Nagara-akhadamsa),--a designation corresponding to Nagalaka-mahamata or Nagalavi. yohalika-mahamata in Agoka's S.R.E.I., and to Nagaraka in the Artha-Sastra (11. 35. 56); one inscription (No. X), in which Nakiya of Bariya has been represented as a High-functionary with ministerial duties (Mahamada); and one inscription (No. XIV), in which the donor Kusuma has been described as a Padamilika. Kusuma, as his inscription shows, donated more caves than one (lenani). It is snggested that Padamulika may be regarded as a local patrony. mic signifving a man belonging to a locality named Padamula. But we must draw the reader's attention to the Asadisa-Jataka (Fansboll, No. 181) in which the Raja-padamulikis ("Servers of the royal feet ") figure as the attendants who were in close touch with the king. Prof. Cowell and Mr. Ronse in their English translation have rendered Raja-padamulika as "slaves," and we, following Mr. R. D. Banerji, have rendered Pudamulika of the inscription as "Menial." Now it would seem that the Raja-pada. mulikas or Padamulikawere not slaves or menials of an ordinary kind. For, according to the Buddhist Birth-story, they were the persons who slandered Prince Peerless to the king, big brother. In Mr. Francis' rendering of the Sarabhanga-Jataka (Fausboll, No. 52?), the Raja-padamulikas stand forth as "king's attendants." This Birth-story relates that on his return home from Takkasila as a master of archery, Sarabhanga, the coval chaplain's son, was appointed a Raja-palamulika bv the king of Benares in compliance with the request of his father. He daily attended on the king (upatthahi) and daily received a thousand pieces of money, a much higher honorarium than " the king's attendants" could ordinarily expect. On the display of his skill in archery, he was soon promoted to the post of commander-in-chief, a fact which clearly proves that the king's attendant's rank was a lower status than that of a commander-in-chief, For Private And Personal Use Only

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NOTES 249 The inscription No. X is capable of an interpretation, aocording to which Mahamada, Bariya and Nakiya may appear as joint donors of one and the same cave. Should this be accepted as the correct interpretation, it may be inferred from the order of the three names that Mabamada, the father, Bariya, the mother, and Nakiya, the son, were associated in one and the same work of art and architecture. In the inscription of Kharavela's chief queen (No. II), Her Majesty has been represented as rajino Lalakasa Hathisa(i) ha-sampanatasa dhuta, 1 " the daughter of the high-souled king Hastisaha or Hastisimba of rising glory." In this reading and rendering, it is difficult to ascertain, whether Lalaka is a royal epithet derived from the name of the kingdom of which Hastisaba-Hastisimha was the king or it is just a title of praise similar to Yasalalaka in the name Yasalalaka-Tissa of a king of Ceylon mentioned in the Mahavamsa. If it be a royal epithet derived from the name of the kingdom, it is easy to understand, first that Hastisaba- Hastisimha was the king of Lala, and, secondly, that the royal families of Kalinga and Lala were united by a matrimonial alliance. In accordance with the location suggested in the Mahavamsa, Lala or Lala was a kingdom situated between Kalinga and Magadha, 1 in which case Lala or Lala cannot but be identified with Ladha or Ra lha.? Accepting the other interpretation of Laldka, we fail altogether to understand of what kingdom Hastisaha-Hastisimba was the king. Whatever the correct interpretation, it is certain that Kharavela's chief queen was a princess born of a distinguished royal family. The possession of a superb state-elephant is one of the tests for determining the status of a king overlord. The royal style Mahameghavahana adorning the names of Kharavela and Kadampa-Kudepa goes to show that) the state-elephant of the kings of the royal family of which they were the descendants was known by the name of Mahamegha, " the Gread Cloud." Mahameghavahana is also an epithet of Indra, the king of the gods. This royal epithet may accordingly be taken to imply that Kharavela and other kings of the Mahameghavahana family were very powerful, each of them bearing comparison with Mahendra. Every Indian king was 1. Mahavamsa, Ch. VI. 2. For the arguments in favour of the identification of Lala or Lala with lata in Western India, see S. K. Chatterji's "The Origin and Development of the Bengali Language, Vol. I, p. 72, f.n. 32 For Private And Personal Use Only

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250 OLD BRAHMI INSCRIPTIONS regarded as an earthly representative of Indra or Mahendra. This is corro. borated by the royal title Imdaraja occurring in the concluding paragraph of the Hathi-Gumpha text. The reading Bhikhuraja suggested by Mr. Jayaswal and others is out of the question. The elephants of Arga and Kalinga have been praised in the Artha-Sastra (II. 2.20) as those of the noblest breed. The Kurudbamma and Vessantara Jatakas (Fausboll, Nos. 276, 547) bear testimony to the fact that a kind of religious sanctity was attached by the peoples of India to state-elephants. The possession of enormous wealth in the shape of a large amount of ready money, vast stores of food-stuffs, precious stones, rich apparels, horses, elephants and other live-stocks is a test of the high fortune and prosperity of a king overlord. Fortunately, the Hathi-Gumpha text is not lacking in information on all these points. First, as to ready money and solvency of His Majesty's government, we find that King Kharavela possessed a sufficiently large amount to be in a position to spend 35,00,000 pieces, in the very first year of his reign, to repair the capital of Kalinga (I. 2); to spend 1,00,000 pieces, in his fifth regnal year, to bring the canal near the Tanasuliya or Tanasuli road, into the capital (I. 6); to remit within the kingdom of Kalinya all taxes and duties in his sixth regnal year, the taxes and duties amounting to many hundred thousand pieces (I. 7); to spend some hundred thousand pieces, in his seventh regnal year, to organise a hundred kinds of pompous parade and to perform all ceremonies of victory (1. 8); to spend some hundred thousand pieces, in his eighth regnal year, to feast all sections of the people in Mathura as well as in Kalinga (I. 9); to spend 38,00,000 pieces, in his ninth regnal year, to erect the "Great-victory Palace' (I. 10); to spend 1,00,000 pieces, in his tenth regnal year, to pay due homage to the memory of the former kings of Kalinga (I. 11); to spend 75,00,000 pieces, in his fourteenth regnal year, to erect certain religious edifices (I, 15); to carry out, in his eleventh regnal year, the costly work of reclamation of Pithuda-Pithu laga, which had become converted into a watery jungle of grass ([. 12); to excavate, in his thirteenth regnal year, as many as 117 caves on the Kumari hill (I. 14); and, last but not the least, to finance, in bis second, fourth, eighth and twelfth regnal years, the expensive undertakings of military expeditions all over India (I. 3, 1. 5, I. 9, I. 13). In this connexion, three points of importance deserve consideration : (1) that in the Hathi-Gumpha records of Khara vela's regral years, just the amounts, 35,00,000, 38,00,000 and 75,00,000, are mentioned without any indication as to what sort of money, Karsapana, Suvarna or Satamanu, For Private And Personal Use Only

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NOTES 251 was current at that time in Kalinga; (2) that the treasury of the government inherited by King Kharavela was full of ready money to enable him to spend 35,00,000 pieces, in the very first year of his reign, for repairing the capital city; and (3) that the annual income of His Majesty's government from the taxes and duties collected from his subjects in the kingdom of Kalinga, from the inhabitants of the towns and districts (pora-janapada,),1 amounted to many hundred thousand pieces. Even leaving a good margin for hyperboles and exaggerations in the specified figures, one cannot but gather this impression from the Hathi-Gumpha record, that Kbaravela was a fabulously rich king or that Kalinga was a prosperous kingdom under his rule. Secondly, as to food-stuffs, we find that King Kharavela possessed vast stores to be in a position to sumptuously feast, in his ninth regnal year, all sections of the community--the religieux of Brahmanical and non-Brahmanical orders, the ascetics and householders, the officials and non-officials once in Mathura and subsequently in Kalinga (I. 9); and to arrange for similar feasts on several other occasions, such as at the time when he was formally installed in the throne (I. 1), when he organized festiviti-s and merry gatherings (1. 1), when he performed all ceremonies of victory (I. 7), when he paid homage to the memory of his predecessors (I. 11), and, lastly, when he dedicated the caves and other religious edifices (I. 14, I. 15). King Asoka in his R. E. I, says that formerly many hundred thousands of living beings were daily slaughtered in his kitchen for dainty dishes, while subsequently the number was reduced to three, two peafowls and one deer. Although he has expressed in it a pious wish to stop even the daily slaugher of three living beings, there is nothing in his inscriptions to indicate that he was an advocate of vegetarian diet. What is clear from his edicts, especially R.E. I, is that he undervalued sacrificial slaughter of life, killin, living creatures in the name of religion. The Hathi-Gumpha text is altogether silent on this point. If King Kharavela were a scrupulous Jain layman, it might have been expected from him! that he would strictly observe vegetarian practice. 1. Jayagwal has taken infinite pains to establish that in contexts, such as that of the Hathi-Gumphi inscription, where the terms pora and Janapada are used in singular num. ber, they are intended to denote two representative bodies of citizens and peoples. See, for a lengthy and detailed criticism of such an interpretation, N. N, Law's instructive paper-" The Janapada and the Paura," in the Indian Historical Quarterly, Vol. II, Nos. 2.3. For Private And Personal Use Only

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252 OLD BRAHMI INSCRIPTIONS Thirdly, as to precious stones and the rest, we read in the Hathi. Gumpha text that King Kharavela received abundant supplies of pearls, gems, jewels and various kinds of apparels as tribute from the then reign ing king of Pandya whose kingdom was noted for those products and received as well precious stones and horses, elephants and antelopes as presents from a hundred Vasukis (I. 13). The Vidyalhara-abode was apparently another territory wherefrom the precious metals were collected for filling the royal storehouse with the treasures of value (1.5). It may be inferred from the occurrence of such expressions as veluriya ... Maha. vijaya pasada (l. 10), veduriya.gabha (1. 15) and veduriya-nila-vochimna (I. 15), that the precious stones treasured up in Kharavela's royal storehouse belonged to these two classes, viz., (1) the beryl (if lapis lazuli is not the correct rendering of veduriya), and (2) the emerald (nila). Lastly, from the Hathi-Gumpha record of Kharavela's fourteenth regnal year, it is evident that the kingdom of Kalinga abounded in the best quarries of stone extending over many leagues (varakarn-samuthapita aneka-yojanaahita sila, I. 15). We do not know, as yet, where these stone-quarries were to be found, whether in the Tosali division of his Kalinya kinydom or elsewhere. It is clearly brought out in the record of Kharavela's fourteenth regnal year that the stone-slabs quarried out of those quarries were best available materials for making stone-pillars, shrines and shrineposts. The numerical strength and equipment of the army constitute a good test for determining the status of a king overlord. As to the numerical strength of Kharavela's army, we read in the Hathi-Gumpha record of his eighth regnal year (1.9) that His Majesty marched out with a mighty army (mahati-sena) enabling him to bring a terrible pressure to bear upon the people of Rajagaha. The second year's record (I. 3) says that the Kalinga army of King Kharavela consisted of a multitudinous troop of the horses, the war-elephants, the foot soldiers and the chariots (haya-gaja. nara-radha-bahulam damdam), that is to say, of the traditional four divisions of an Indian army. The fact that King Kharavela was able to undertake, in the very second year of his reign, such a campaign towards the western quarter in defiance of so powerful a rival as King Salakarni, distinctly proves that his fighting army was, more or less, the fighting army of his predecessors, the kings of the Aira-Meghavabana dynasty. Sena or army is a general term for denoting the fighting strength of a king. The horse (haya), the elephant (gaja), the footman (nara) and the chariot (radha) are the four terms to represent the four divisions of an For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir NOTES 253 army, while sena and vahana (troops and conveyance) are the two terms to distinguish the fighting warriors and soldiers from horses, elephants and chariots considered as vehicles and conveyances. We have the use of all these technical terms in Kharavela's inscripion. As to the equipment of Kharavela's army, we find that, in the concluding paragraph of the Hathi-Gumpba inscription (I. 16), His Majesty has been represented as apatihata-caka-vahana-bala, a mole of praise, which we have rather wrongly rendered (ante, p. 47) as a strong with undaunted carriers of the realm of royal command," suggesting in the footnote that by these carriers were intended to be meant " the ministers and other royal officers." We now detect that such an interpretation as this is not borne out by the expression actually used. Ca ka-vahana is evidently the same expression as sena-vahana, which occurs in the eighth year's record (I. 9). Can there be any doubt that by sena-vahana, the drafter of the inscription intended to signify the troops and transports? In the Culla-Kalinga-Jataka, King Kalinga of Kalinga, precisely as Kalingadhipati Kharavela in the Hathi-Gumpha inscription, has been described as a warrior who was in a position to march out for conquest with a mighty army (mahatiya senaya), equipped that he was with multitudinous troops and transports (sampanna-bala-vahana). If this reasoning be at all sound, it clearly follows that undaunted' or 'invincible' (apatihata) was the character of Kharavela's fighting army: There is nothing distinctly on record to indicate whether, when and how King Kharavela increased the number and fighting equipment of his army. It may be easily inferred, however, from the eighth year's record (I. 9) that the troops and transports with which he attacked the people of Rajagaha did not suffice to withstand the fear of counter-attacks. He must bave sufficiently reinforced bis fighting army and increased its equipment before he marched out again iu the twelfth year to produce consternation among the rulers of Uttarapatha, as well as to subdue Bahasatimita, the then reigning king of Magadha (I. 13). Thus it may be shown that the Kalinga army of King Kbaravela was sufficiently well-equipped and enormously large. And yet the fact remains that the Hathi-Gumpba inscription does not supply us with the actual figures relating to Kharavela's troops and transports. A tolerably clear idea of the numerical strength of his fighting army may, however, be formed from a few collateral evidences. We know, for instance, "from the earlier account of Megasthenes (Indika, Frag. I. 6) that the king of the Kalingas was protected by a For Private And Personal Use Only

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254 OLD BRAHMI INSCRIPTIONS standing army, numbering 60,000 infantry, 1,000 cavalry, and 700 war elephants." Prof. Radhakumud Mookerji rightly suggests that "this army must have been considerably expanded by the time of Asoka when the number of casualties alone is stated to be at least 4 lacs (taking the number of those who ultimately succumbed to the wounds of war to be, say, 3 lacs)."I Prof. Mookerji's reference is evidently Asoka's R. E. XIII containing, as it does, an account of the heavy casualties suffered by the king. dom of Kalinga in the aggressive war waged by the Maurya emperor in the eighth year of his reign. This account goes to prove that the fighting army of Kalinga in Asoka's time could afford to suffer the losses of 150,000 men as deportees, of 100,000 men as those killed in action, and of " many times as many * men as 'those who died of wounds received in the fight.'2 Here the expression "many times as many" is vague and indefinite, and guilty, no doubt, " of an exaggeration." The following seems to be a reasonable estimate of the fighting army of Kalinga, which has been recently suggested by Prof. Mookerji : " If the number of those (who died of wounds received in the fight) be taken to be at least thrice that of the killed, the total number of casualties would be 4 lacs, and adding to this the number of the deportees, the number of the army that fought on the battle-field would be at least 5 lacs.:'3 Having regard to the fact that in the case of Asoka's Kalinga war, the army of Kalinga fought in defence against a foreign invasion, and that in the case of Kbaravelu's campaigns, the army of Kalinga marched out to produce a marked impression all over India, it may be safely presumed that the total pomber of the standing army of Kalinga during Kharavela's reign was by far the greater and by no means less than 51 (or 37 ?) lacs. In accordance with Plutarch's statement (Life of Alexander, Ch. XII), "Androkottos (Chandragupta Maurya) was able to overrun and subdue the whole of India with an army of 600,000." If it was possible 1. Asoka, p. 16. 2. If Asoka's statement be taken to refer to the casualties suffered by two armies, the army of Kalioga and the army of Magadha (which is not likely), the number of the Kalinga army in Asoka's time must have been much less than 5 lacs, the number fixed by Radhakumud Mookerji 3. Asoka, p. 162, f. n. 3. It seems that Asoka's expression bahutavamtake may be interpreted, with reference to the just preceding figure of 1 lac, also as meaning "as many as that (1 lao)," it which case the total will be 37 lacs (17 +1+1). For Private And Personal Use Only

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NOTES 255 for Chandragupta Maurya to overrun and subdue the whole of India with an army of 6 lacs, there is no reason why it would be impossible for Kharavela to undertake military campaigns all over India with an army numbering thereabout. It cannot be supposed that King Khara vela marched out with the whole of the standing army of Kalinga without leaving a fraction of it for the defence of his kingdom in his absence. This fraction must be added to the number of the units with wbich he marched out in order to determine the total number of the standing army of Kalinga during his reign. In the case of Chandragupta Maurya, we find that he proceeded to conquer the whole of India with an army of 6 lacs, while the standing Maurya army during his reign consisted of 700,000 men in round numbers, 600,000 infantry, 30,000 cavalry, 9,000 elephants attended by 36,000 men, and 8,000 chariots managed by 24,000 men. It is impossible to thivk that the total of the standing army of Kalinya during Kharavela's reign exceeded 6 lacs. The idea of militia was not, perhaps, altogether absent. The account given by King Agoka of his Kalinga war tends to create an impression in favour of the opinion that the conquest effected by the Maurya conqueror proved ultimately to be a defeat to the people of Kalinga. If the general people of Kalioga had not somehow taken part in the battle, there is no reason why King Asoka would feelingly dwell upon the suffering caused to the civilian population by " violence or slaughter or separation from their loved ones." In the Hathi-Gumpha record of Kbaravela's eighth regnal year (I. 9), ve read that he effected a timely retreat to Mathura in order to relieve the troops and trausports of his army terrified by the uproar of counter-attacks from the people of Rajagaha. If our interpretation of this particular record be correct, it clearly follows that the citizens of Rajagaba took up arms in defence of their city against a foreign invasion. The twelfth year's record (I. 13) shows that His Majesty's conquest of Anga-Magadha was not completed until he was able to force into submission the inhabitants of these two countries (Amga-Magadhavusinam ca pade vamdapayati) after subduing King Bahasatimita. It is evident from many of the records in the Hathi-Gumpha text that in undertaking military campaigns all over India, King Kharavela tried by all possible means to evoke the patriotic sentiments among his subjects, the inhabitants of the kingdom of Kalinga in general and the citizens of his capital in particular. The record of his seventh regnal year (I. 8) says that he caused a hundred kinds of pompous For Private And Personal Use Only

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256 OLD BRAHMI INSCRIPTIONS parade of swords, umbrellas, flags, guards and horses, and all ceremonies of victory to be performed. The eighth year's record (I. 9) says that he sumptuously feasted all sections of the people once in Mathura and subsequently in Kalinga, and organised triumphal processions as a means, no doubt, of impressing the idea of victory on the minds of the people. The erection of a new royal palace known by the name of Jaha-vijaya-pasada, "the Great-victory Palace," the assuming of the self-conferred title Maha-vijaya, "the Great Conqueror," the bringing back by a triumphal procession from Anga-Magadha to Kalinga of the Kalinga Throne of Jina which was carried off by King Nanda as a trophy, the receiving of tributes and valuable presents from the king of Pandya, as well as from a hundred Vasukis, the entertaining of the citizens of the capital of Kalinga with feasts, festivities and musical performances, the remitting of taxes and duties, the adorning of the capital with new roads, squares, gate-bars and towers --- all helped him to keep the people always in excitement, and induce them, as we may say, to join the army to fight for the glory of their country. It seems that Mr. Jayaswal' and Prof. Radhakumud Mookerji have tried the impossible in endeavouring to infer the total of the population of Kalinga from the total number of its standing army. Whether assuming with Goltz that "every 15th soul of the population can take up arms in defence against a foreign invasion," or slightly altering with Prof. Mookerji, the proportion of its fighting strength to its total population from six per cent. to eight per cent. one counts 75 or 60 lacs as a reasonable figure of the population of Kalinga in Asoka's time against the present population of 50 lacs, we must treat it as nothing but an ingenuity without proofs. To infer the total of the population from the total of the standing army of a country, no matter whether it is Kalinga or any other land, is to forget that history is neither logic nor mathematics. Anyhow, we may assure Prof. Mookerji that Kharavela's inscription keeps us entirely in the dark about the population of Kalinga. The soundness of administrative policy and method is another test for determining the status of a king overlord. The Hathi-Gumpha inscription bears a clear testimony to the fact that it was a declared policy of King Kharavela to govern his kingdom in accordance with established customs 1. JBORS., Vol. III, Part 1V, p. 440. 2, Asoka, p. 162, f, n. 3, For Private And Personal Use Only

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NOTES 257 and not departing from the traditional methods of his forefathers. In order that his subjects might bave no misgiving on this point, he did not forget to remind them of the fact that whatever he did, he did in consonance with the noble tradition of the former kings of Kalinga. For instance, the fourth year's record of his reign (I. 5) says that he governed the Vidyad hara country in accordance with the principle and usage of the former kings of Kalinga, everywhere by the highest kind of law (Vijadharddhi-vasam... Kalimga-puvarajanam dhamena va nitina va pasasayati savata dhamakutena). Similarly in the tenth year's record (I. 11), we read that he caused proper homage and honour to be paid to the memory of the former kings of Kalinga, as a public demonstration, no doubt, of his loyalty to the tradition of his royal predecessors (Ralimga-purarajanam yasa-sakaram karapayati). The eleventh year's record (I, 12) says that he reclaimed and rehabilitated Pfthudaka, founded by the former kings of Kalinga, by arranging to drive its grassy jungle into the Langala river (Kalimga-puvaraja-nivesita-Pithudaga-dabham Nagale nekasayati). In the very opening paragraph of the Hathi-Gumpha text (I. 1), he has been represented as "an increaser of the fame and prosperity of the royal House of King Ceta" (Cetarajavamsa-vadhana). The same opening paragraph goes to show that he felt much pride in declaring his connection with the reigning dynasty of Kalinga. And the same inference can be drawn from the concluding paragraph (I. 16) where he figures as a king who descended from a family of the dynasty of royal sages (rajisi-vamsa-kula-vinisita). It is clear from the records in the Hathi-Gumpha text that King Kharavela successfully followed all the traditional methods of Indian kings to please his subjects. For instance, the first year's record (1. 2) says that as soon as he was anointed, in the very first year of his reign, he undertook to repair the capital of Kalinga, to build up the embankments of the deep and cool tanks and to restore all the gardens, avowedly as a means of pleasing the people, his subjects (pakatiyo ca ramjayati). In the sixth ar's record (1.7). we read that he showed a great favour to the inhabitants of towns and districts by remitting all taxes and duties, which, too was one of the traditional methods of gaining popularity by a king with his subjects. The third year's record (I. 4), goes to show that he tried to entertain the citizens of the capital of Kalinga by musical performances and festivities and merry gatherings.' It is equally clear from other records in the Hathi-Gumpha text that King Kharavela spared no pains and left no stones unturned to win the 33 For Private And Personal Use Only

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258 OLD BRAHMI INSCRIPTIONS heart of his subjects by convincing them of the fact that he gave them the full benefit of a good and efficient government, and that he enhanced their happiness by administeriny justice with an even hand, by increasing the wealth and prosperity of his kingdom, by the maintenance of internal peace and order, by guarding the kingdom well against foreign invasions, by facilitating communication with the capital, and no less by securing for the people a fertile tract of land for agricultural purpose. The details of Kharavela's administrative machinery are unknown The Hathi-Gumpba text records (I. 14) that the rayal servants (raja. bhataka) co-operated with him in excavating caves for the Jain saints and recluses on the Kumari hill. The reference to the royal servants is to be found also in the record of his eighth regnal year (I. 9.). As regards these royal servants, we have mention of a Nagara-akhadimsa (Town-judge) in the old Brahmi inscription (No. IX), of a Mahamada (if it is the same official designation as Mahamatta) in the inscription (No. X), and of a Padamulika (if it is the same official designation as Raj padamulika in the Jatakas) in the inscription (No. XIV). We have no information as to whether there were any separate boards and departments, and as to whether any innovations were introduced by King Kharavela in the existing administrative system. Kharavela was evidently too much preoccupied with the ideas of military campaigns and expansion of dominions to be able to think of administrative changes, and Kalinga was too small a kingdom compared with the Maurya empire to require any very elaborate administrative arrangements. As regards attitude towards the tradition of the former kings, there are some important points of difference between King Kharavela and King Asoka. As is well-known, King Asoka has not cared at all to refer to his royal pedigree in his edicts. His reference to his brothers, sisters and relatives (R. E. V) has no bearing upon the question of his ancestry. Even the name of the Maurya royal dynasty to which he belonged does not find mention. In his famous Bhabru Edict, be has simply introduced himself as "the king of Magadha" (laja Magadhe). In the inscription of Kharavela's chief queen (No. 11), Her Majesty has been represented not by her personal name but as the chief queen of Kharavela-siri and the daughter of the high-souled King Lalarka Hastisaha-Hastisimha (rajino Laldkasa Hothisaha-sampanatasa dhuta), while in Adoka's Queen's Edict," he has issued instructions to his high functionaries to commemorate all the works of benevolence done under the auspices of his second queen by inscriptions recording them as " donations of his second queen For Private And Personal Use Only

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NOTES 269 Kaluvaki, the mother of Tivala" (Dutiyaye deviye ti Tivala-matu Kaluvakiye [dane]). Thus the same difference of Asoka's mental attitude has been clearly brought out in his "Queen's Edict," in his instructions to commemorate his second queen's donations by inscriptions representing her by her personal name and as his second queen and the mother of Prince Tivala. In as many as five of his edicts (R. E. IV, R. E. V, R. E. VI, R. E. VII, P. E. VII), King Asoka has discussed his own position as a ruler with reference and in contrast to that of the former kings " who reigned in the past, during many hundred years." Like all great reformers, Buddha, Christ, and others, he has declared himself with reference to those who had gone before him to the effect that he came rather to fulfil than to destroy the Law. He says (P. E. VII) that he was able to recognize that the underlying motive of the former kings was to see the Law prosper sufficiently among the people, but the means adopted by them was not well-suited to the end. True to this underlying motive or spirit, he proceeded to devise, as a ripe fruit of his own reflections, certain new methods, such as the appointment of Dharma-mahamatras, the public proclamations conveying happy royal messages, the formulations of moral principles, the nactment of many legislations, the introduction of quinquennial and tri. ennial tours of official inspection, the arrangements for a prompt despatch of business, the granting of the power of discretion to the high judicial officers, whereby he could see the Law prosper sufficiently among the people. So far as those methods went, he claimed that he had played the most difficult part of a pioneer (adikara). On the other hand, King Kbaravela, as he is represented in his inscription, appears to have followed the traditional methods of the former kings of Kalinga without exercising any discrimination on his own part. He did not play the role of a critic and reformer. He carried out a set programme of royal duties under the prompting of noble instincts and impulses, rather mechanically, without ever realising the need of a conscious adjustment of new methods to changed conditions of a progressive people. Thus in spite of the splendid success attending his administration, the credit must go to the time-honoured tradition which, as one might say, he had the prudence enough not to question... The ability to foster all religions and to vouchsafe protection and extend patronage to all religious sects and institutions constitutes just another test for determining the status of a king overlord. If the invocation formula of the Hathi-Gumpha inscription, Namo arihamtanam, namo For Private And Personal Use Only

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260 OLD BRALMI INSCRIPTIONS sara-sidhanam, be indecisive as to whether Jainism was the religious faith of its composer or it was the religious faith of King Khoravela, for whom | the text was composed, the contents of the Hathi-Gumpha and other old Brahmi inscriptions clearly prove that Jainism was the religious faith of King Kharavela and other excavators of the caves on the Kumari hill. For instance, the inscription of Kharavela's chief queen (No. II) records that the cave commemorating her name was made for the sake of the Kalinga recluses of Arhata persuasion (Arahanta-pasadanam Kalimganam samananam). Similarly, the thirteenth year's record of Kharavela's reign (I. 14) says that 117 caves were built on the Kumari bill to serve as resting places of the Arhats or Jain saints residing there (Arahato parinibaoato hi kaga-3%8&dagaya). Buddhism became the state religion of India when King Asoka embraced it and vigorously espoused its cause. His father and grandfather were supporters of religions other than Buddhism. Even when he espoused its cause, it is difficult to prove that all the members of his royal family favoured Buddhism. If there are Buddhist legends in Pali as well as in Sanskrit asserting that some of his wives, sons, daughters, brothers and relatives had become Buddhists, there are both inscriptions and legends to prove that some or most of them had not become Buddhists. On the other hand, the Hathi-Gumpha inscription goes to prove that Jainism had become the state religion of Kalinga even long before the reign of Kharavela. With the royal support at its back, it had become the predominant faith in Kaliaga. The thirteenth year's record (I. 14) clearly brings out three facts of importance in this connection : (1) that when King Nanda had conquered Kalinga, he carried off the throne of Jina belonging to Kalinga as the highest trophy (Namdaraja-nita Kalimga-Jinasana): (2) that King Kharavela signalised his conquest of Anga-Magadha by bringing back that Throne of Jina to Kalinga by a triumphal procession ; and (3) that King Kharavela professed Jainism in common with his queens, sons, brothers, relatives and royal servants. One cannot mistake that, somehow or other, the affection and honour of the royal family, as well as of the people of Kalinga, became bound up with that Jipa-throne. 1. Regarding Bindusara, Asoka's father, Buddhaghoga in his Samanta Paszdika (Oldenberg's Vinaya-Pitaka, Vol. III, pp. 390-301), says: Bindusaro brahmana-bhatto ahosi : 80 brahmananan ca brahmanajatiyapasandanan ca pandaranga-paribbajakadinam (pandarangaparibbajaka-Gjivika-Niganchadinam) nicca-bhattam pattha pesi. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir NOTES 261 This is not to say there were no other religions and religious shrines in Kalinga. The Hathi-Gumpha inscription clearly proves that there were other religions and religious edifices. If the remaining religions, including the different forms of animism, be designated in the lump as Hinduism, one can say that during the reign of King Kharavela, as also during the reign of his predecessors, Hinduism flourished side by side with Jainism, and the Hindu temples dedicated to various deities shone forth along with the cave dwellings of the Jain saints and recluses. The royal epithet sava-pasamda-pujaka occurring in the concluding paragraph of the Hathi-Gumpha text (I. 16), attests, beyond doubt, that King Kharavela of Kalinga unknowingly followed in the footsteps of King Devanampiya Piyadasi Asoka of Magadha in declaring himself as a ruler " who honoured all lenominations." There would have been no necessity for the use of such an epithet, if there were no adherents among the people of Kalinga of different denominations. King Asoka in his R. E. XIII, definitely says, while speaking of the spread of Aryan religions in India in his time, that there was no other place but the Yona-region, where the sects of the Brahmanas and Sramanas were not, nor was there any other place where the people had not adhered in faith to one or the other of those sects. Similarly, there would have been no necessity for the use of the epithet sava-devayatana-samkara-karaka, "the repairer of all temples of the deities", if there were no worshippers among the people of Kalinga of those deities at the temples dedicated to them. The second epithet representiug Kharavela not as a builder, but only as a repairer of those temples, goes rather to show that those places of worship had existed from an earlier time. What those temples could be and where they were actually to be found, unfortunately, the Hathi-Gumpha inscription does not clearly specify. And no Hindu temples have as yet been discovered with inscriptions or tablets recording that they were caused to be repaired by King Kharavela. Who could the recognised representatives of the different religious denominations be is also a question at issue. Fortunately, the answer is not far to seek. For the fourteenth year's record of Kharavela's reign (I. 15) says that apart from 117 caves excavated on the Kumari hill for the residence of the Jain saints and recluses, King. Kbaravela constructed a separate cave for the accommodation of the honoured recluses of established reputation (sakata-samana-suvihita), as well as for the accommodation of the yatis, hermits and sages hailing from a hundred directions For Private And Personal Use Only

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262 OLD BRAHMI INSCRIPTIONS (satadisanam yatinam tapasa-isinam lenam karayati). Here the yatis, hermits and sages must be taken as representatives of the fourth and third Brahmanical stages of effort (asramas), that is to say, of the orders of Brahmanical ascetics. It is somewhat difficult to decide whom the king actually meant by referring to them as sakata-samana-suvihita," the honoured recluses of established reputation." Mr. Jayaswal contends for the reading sukata-samana-suvihita, taking sukata to be the same word as sukrta," virtuous." Kata-samana occurs indeed in the Upali-Sutta, Majjhima-Nikaya, as a Jaina mode of praise applicable to a recognized recluse teacher. Buddhaghosa explains it as meaning "a recluse who has fulfilled the aims of recluse life." I Taking sukata to be the correct reading, it is easy to tend to equate it with Sugata, which is a well-known epithet of the Buddba. But it would be risky enough, in the absence of clear evidences, to suggest that the Buddhist teachers gained a foothold in Kalinga either during the reign of Kbaravela or before. We bave reasons to think that by sakata-samana-suvihita or sukata-samana-suvihita the composer of Kharavela's inscription rather kept in his view the Jain recluses who, as occasional visitors, had to be distinguished from those who permanently resided on the Kumari hill, Anyhow, the thirteenth year's record of Kbaravela's reign (I. 14) says that 117 caves on the Kumari bill were excavated to serve as resting places of the Jain saints who resided there (Kumara-parate arahato parinivasato hi kaya-nisidiyaya). In the edicts of King Asoka, notably in his P. E. VII, the Jains (Nigamtha), the Ajivikas and the Buddhists (Samghatha) have been mentioned as typical representatives of the orders of the recluses as distinguished from those of the Brahmanical ascetics, while in Kharavela's inscription, the yatis, tapasas and isis are mentioned as representatives of the Brahmanical orders, and, as regards the representatives of the sramanas, the. Buddhists and the Ajivikas are passed over in silence. The eighth year's record of Kharavela's reign (I. 9) says that His Majesty feasted all the inhabitants (gharavasi), all the royal servants (rajabhataka), all the householders (gahapatayo), all the Brahmins (bamhana), as well as the Jain recluses (arahata-samana) once in Mathura and subsequently in Kalinga. It will be noticed that in the above enumeration, the royal servants have been 1. Papanca. udani, Siamese ed., Part III, pp. 92-93 : kata-samarassdti kata-samannassa, samana.dhainmassa matthakampattassa. 2. Barua's Religious Policy of Adoka' in the Maha Bodhi Journal, Vol. XXXV, No. 11, pp. 349.650. For Private And Personal Use Only

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NOTES 268 distinguished from the general population (gharavast), in the same way that the Brahmins and the Jain recluses have been distinguished from those who kept to household life (gahapatayo). Here the Jain recluses have been specially mentioned as representatives of the sramanas, while the Buddhists and the Ajivikas have found no recognition. Seeing that the same sort of statement occurs in the Hathi-Gumpha record (I. 9) with regard to feasting in Mathura and to that in Kalinga, we may be led to think that even Mathura proved 'to be up till the reign of Kharavela an impenetrable region for Buddhism, although this faith was destined to thrive there together with Jainism during the reign of the Kusana kings. Acharya Shri Kailassagarsuri Gyanmandir It is quite clear, we think, from the foregoing discussion that King Kharavela was a Jain from his very birth. King Asoka was not born in a Buddhist family. It can be established by the evidence of his own inscriptions and Buddhist legends that he was converted to Buddhism, his conversion itself being a gradual process of mental change,1 and that he possessed and displayed all the zeal of a new convert. Kharavela does not appear to have taken religion so seriously as Asoka. If Kharavela was a Jain, what sort of Jain was he? The education which he received was purely secular and did not differ from that received by other Indian princes. His coronation ceremony was celebrated, as may be easily imagined, in accordance with Brahmanical rites. The principles and methods which he adopted in governing his kingdom were precisely those prescribed in the Brahmanical treatises on Hindu royal polity. Jainism did not compel him to exercise any scruples in undertaking military expeditions and aggressive wars for territorial expansion and world domination. The patriotic spirit which underlay all his activities was not inspired by Jainism. As for Jainism, he caused a large number of caves to be constructed on the Kumari hill to provide the resident Jain saints and recluses with resting places, and erected ornamented stone-pillars, shrines and pillared halls on a slope of the same hill. As for Hinduism, he made donations for repairing the temples dedicated to various gods and goddesses, and feasted alike the Brahmin ascetics and Jain recluses. Is it not to be inferred from all these that so far as this world was concerned he was a Hindu, and that so far as the other world was concerned, he was a pious Jain ? 1. Radhakumad Mookerji's Asoka, pp. 109-112, f. n. 3. For Private And Personal Use Only

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264 OLD BRAHMI INSCRIPTIONS Kbaravela differed indeed from Asoka in beating the drum of victory by sword (bherighosa) rather than in proclaiming the glory of conquest by Dhamma, the higher and higher ideal of progressive humanity. He was proud to give out to the world that he excelled in his knowledge of the science of music (Gamdhava-veda-budha) rather than in that of the deeper truths that Jainism had to teach. He caused to be organized a pompous parade of swords, umbrellas, flags, guards and horses, in short, of emblems of royalty (kakudhas). He differed from Asoka also in his endeavour to entertain the citizens of his capital even by pandering to their taste, by dampa-dapa, by dances, songs and instrumental music, and by festivities and merry gatherings (dampa-nata-gita-vadita-samdasanahi usava-samaja-karapanahi). If dampa be the correct reading, it is, without doubt, the same word as darpa, which is mentioned in the Artha-Sastral as a sport and pastime (krida) along with madya-krida. The Artha-Sastra prescribes a fine of three panas for the ladies of good society going to witness these two sports and pastimes. There must have been something inherently wrong in them for which the Artha-Sastra found it necessary to prevent the ladies of good society under penal laws from witnessing them. The word madya ("spirituous liquor") suggests that in the sport od pastime bearing its name, there was a good deal of drunkenness, a good deal of licentiousness, a good deal of intemperance, a good deal of middight revelry. The exact significance of dampa or darpa-krida is unknown. Bhattasvami's commentary on the Artha-Sastra does not throw any fresh light. It may be a general name for a number of sports and pastimes in which challenging, boasting, competing and bettings play an important part. The name dampa or darpa seems to convey the idea of combating such as in wrestling, boxing, mock-fighting and gladiatorial feats. Anyhow, there must have been in this kind of sport and pastime a good deal of excitement, a good deal of noise and tension, for which the ladies of good society were prevented from witnessing it. If dapa be the correct reading, it is, without doubt, the same term as dava kamma, which is mentioned in the Maha-Nid desa (p. 379) as an example of vacasika khidda along with natika (dramatic acting), gita (singing) and lasa (dancing by women) precisely in the same way that in the Artha-Sastra darpa and madya-krida are mentioned along with preksa 1. Artha-Sastra, III. 358: Pratigiddh a-stri darpa-madya-kridayam tripanam dandam dadyat. For Private And Personal Use Only

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NOTES Acharya Shri Kailassagarsuri Gyanmandir 265 (dramatic performances, operas). The commentary explains davakamma in the sense of comics' (hasa-karana-kila). Whatever be the correct reading of the word, it is certain that Kharavela did not refrain from pleasing the citizens of his capital by 'combats' or 'comics,' and by dancing, singing and instrumental music, which were against the doctrine of Jainism. There is no evidence to prove that he exercised discrimination, like Asoka, in selecting and encouraging only those samajas' or joyous gatherings' which were approved ways of educating the people even through amusements and festivities. It is true that Kharavela, too, honoured all denominations, which is to say, that he, too, observed the principle of religious toleration. But his idea of religious toleration was essentially of a Hindu nature. In his case, just as in the case of a Hindu, toleration implied the idea of noninterference, non-intervention, not meddling in another man's religion. He found it to be a wise policy on his part to leave each sect to follow its own creed without taking the trouble of considering the details of each faith. He does not appear to have made an attempt to bring all sects on a common platform for a free and frank discussion, and an interchange of ideas for discovering the common ground and mission of all religions, as well as for determining the merits and defects of each religion. Asoka and Akbar had their own ideas and programmes of religion. But Kharavela had no such ideas and programmes. How Asoka's idea of religious toleration differed from that of Kbaravela will be manifest from Asoka's R. E. XII, the relevant portion of which is quoted below: "His Sacred and Gracious Majesty the king is honouring all sects, both ascetics and house-holders; by gifts and offerings of various kinds is he honouring them. But His Sacred Majesty does not value such gifts or honours as that how should there be the growth of the essential elements of all religious sects. The growth of this genuine matter is, however, of many kinds. But the root of it is restraint of speech, that is, there should not be honour of one's own sect and condemnation of others' sects without any ground. Such slighting should be for specified grounds only. On the other hand, the sects of others should be honoured for this ground and that; concord alone is commendable in this sense that all should listen and be willing to listen to the doctrines professed by others. This is, in fact, the desire of His Sacred Majesty, viz., that all sects should be possessed of wide learning and good doctrines." For Private And Personal Use Only 1. For the meaning of this term, see Radha Kumud Mookerji's "Asoka," p. 129, f. n. 1. 34

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266 OLD BRAHMI INSCRIPTIONS 13. SOME POINTS CONCERNING PERSONAL HISTORY Our rendering of Aira as " Lordly" requires a word of explanation. The first letter as it appears on the stone or in the estampages cannot but be read as ai. The correctness of such a reading is confirmed, no doubt, by the Sanskrit slokas quoted by Mr. Jayaswal from an old Oriya MS. But one must not lose sight of the fact that in these slokas, Ahira has been used as an alternative spelling. We have, moreover, sought to show that a similar letter occurring in the two Pabhosa inscriptions of Asadhasena has been read by Dr. Vogel as va, the letter serving as the initial of the personal name Vaihidari. Should Aira be read on this ground as Vera, we have mentioned that there is no other alternative but rendering it " Hero" or " Heroic," vera being the same word as vira. Even if we adhere to the reading Aira, we do not quite understand why it should be interpreted as signifying " a descendant of Ila." Rather keeping the two alternative spellings Aira and Ahira in the Sanskrit slokas from the old Oriya MS. in view, we have to think of a royal title, which can account for both of them. Such a royal title is undoubtedly Ayira which has been explained in the Jataka-Commentary as meaning sami, "master" or " lord," "a master as distinguished from a slave," that is to say, "an Arya, whose condition, according to the Artha-Sastra, is not servitude." 1 We still feel that Mr. Jayaswal's first note on Aira (JBORS, Vol. III, Part IV, p. 434) is something to the point : "The first word of the royal style is Aira. This word occurs in a Satavahana inscription and has been translated by M. Senart as 'noble' (Arya). I am inclined to take it as indicating the ethnic difference of Kharavela from his subjects (who were mostly Dravidians, or the mixed Aryo-Dravidians, for according to the Natya-Sastra, the people of Kalinga wore dark but not black)." The personal names occurring in our old Brahmi inscriptions have an importance of their own. We find that most of them are obviously Aryan names, viz., Kamma, Culakamma, Kusuma, Nakiya (Nagita), Hathisaha. Hathisiha and Khina (misread Halakhina-Slakona). Vadukha or Varikha, too, appears to be an Aryan name, Vadukha being a Prakrit equivalent of Vadavaksa, and Varikha that of Vareksu. As regards Kadampa or Kudepa (misread Vakadepa by Dr. Indraji, and Kudepa by Mr. Banerji), 1. Barhut Inscriptions edited by Barus and Sinha, sub poce" Aya." For Private And Personal Use Only

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NOTES 267 we are inclined to think in the same way. Kadampa may be equated either with Kadamba or with Kandarpa. Kudepa as an alternative reading may be treated as an equivalent of Kudeva (the " Lord of the Earth"). Mr. Jayaswal explains the name Kharavela as meaning " the Ocean" (lit." one whose waves are brackish").1 Prof. S. K, Chatterji prefers to explain it in the sense of Kada-vilvan, " the Black-lancer," kada being the same word as the Sk. krsna, meaning "black." Kalavela occurs in the Mahavamsa2 as the name of a Yakkha, and in the Jataka-Commentary as the name of a village in Ceylon, the spelling in the latter case being Kalavela.3 The word kalavela is met with in the Mahaniddesa where it is explained in the sense of " one who speaks words befitting the time." 4 We can quite see that khara is the same word as kala or krena, and vela is an equivalent of vilva, cf. Uruvela-Uruvilva. Whatever the sense in which the name is interpreted, Kharavela may be equated with Kronavilva. But, as suggested in the Mahaniddesa, vela of Kharavela may have been derived from vela meaning " the shore " or "the wave breaking upon the shore." If so, Kharavela must be equated with Kronavela meaning " the Sea," " the Ocean" (lit., "that which is girt by watery black shores"). Kalidasa's famous description of the sea or ocean may serve, it is hoped, to clear up this meaning of Kharavela or Kronavela : Duradasyascakranibhasya tanvi tamala-tali-vanaraji-nila / Abhati vela lavanamyuraser dharapibadd heva kalan ka-rekha 5 ! 1. JBORS, Vol. III, Part IV, p. 434. 2. Mahavamsa, IX-23. 3. Faugboll's Jataka, Vol. VI, p. 30 : Kalavelavasi. 4. Mahapiddesa, p. 504 : Katama kalavela? Kalatikkantam vacam na bhaseyya kalami asampattam vacam na bhaseyya. 8. Raghuvamsa, Canto XIII. Vela tirabhumih dharanibaddha cakraorita kalankarekha malinyarekha iva abhati (Mallinatha). "Vela syat tiranirayoh " iti Visvah. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 268 www.kobatirth.org 14. OLD BRAHMI INSCRIPTIONS KHARAVELA'S PLACE IN HISTORY Kharavela is one of the most striking figures in the annals of Indian kings. Although he cannot claim the proud position enjoyed by an Asoka or an Akbar as a world-figure, even as a provincial figure, he represents a remarkable and charming personality. He maintained the noble tradition of Asoka as a successful builder of such sacred and artistic monuments as rock-cut caves, stone-pillars, shrines and ornamented shrine-posts, as a ruler who honoured and favoured all religious sects, and no less as a king who did his level best to work and strain all his resources for the good and happiness, or as is put in his inscription, for the pleasing of the people, his subjects, while he became, by his warrior-like spirit, valour and victory, the worthy precursor of Samudragupta. As an expert in the science of music (Gandhava-veda-budha) and a patron of fine arts, too, he played well the role of a precursor of the imperial Gupta monarchs. From the chronological point of view, too, he stood just midway between Asoka, on one side, and Samudragupta, on the other. In respect of its style and contents, his inscription in the Hathi-Gumpha, too, must be accorded a similar intermediate position between the notable inscriptions of Asoka and the Allahabad pillar inscription of the lion-like Samudragupta. But unique is his posi tion in Indian history as an unsurpassed patriotic king of Kalinga, just in the same way that unique is his inscription of seventeen lines on the hanging brow of the Hathi-Gumpha roof in its presentation of systematic records of his successive regnal years. King Asoka followed, as shown elsewhere,1 a quinquennial system in issuing his edicts and in all of his other undertakings from his twelfth regnal year onwards. So far as the edicts of Asoka go, these are far from presenting a systematic record of the events of his successive regnal years except, as one might say, with regard to the release of prisoners from the imperial jail (P.E. V). But, nevertheless, the chronological system of presentation followed in Kharavela's inscription goes to connect it historically with the edicts of the Maurya emperor rather than with the inscriptions of the Gupta emperors. It is the Jains and Buddhists who dated their votive offerings in the term of the successive years of the reign of the Kusana kings, precisely in the same way that in 1. Barua's Asoka Edibts in New Light, pp. 63-66.

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NOTES 269 the subsequent phase of Indian History the universal custom became to date all public and private records and works in the term of an era known as the Saka-era. V Kbaravela was the greatest known king among the monarchs of the Meghavahana or Aira-mahameghavahana dynasty who exercised their suzerainty over the kingdom of Kalinga, nay, among all the monarchs who reigned in Kalinga before King Asoka and after the Meghavahana kings. The memory of his predecessors in the Meghavahana line would have been completely obliterated from the pages of history but for allusions to them in his inscription as his predecessors. With regard to the part played by his predecessors in the Meghavahana line, it may be clearly inferred from certain statements in his inscription that since the first king of this line succeeded in freeing the kingdom of Kalinga from the yoke of a foreign rule, they successfully maintained its independence till they safely handed it on to him in the third generation of two kings (tatiye purisa-yuge). If our reading ahatapuva in the sense of ahrtapurva, "previously annexed," be accepted as correct, the HathiGumpha record of his fourth regnal year (I. 5) may be so interpreted as to imply that the Vidyadhara-country was already annexed to the kingdom of Kalinga by some one of his predecessors, while the task that was left to him was just to consolidate the Meghavahana rule over it. In the absence of any clear record in his icscription as to his conquest of Pandya kingdom, the record of his twelfth regnal year stating that the king of Paadya supplied him with pearls, gems, jewels and rich apparels cannot be accounted for without some such supposition that either the king of Padya was an old ally of the Meghavahana kings or the king of Pandya was compelled to acknowledge his supremacy, even as an ally, in fear of the consequences of an invasion contemplated by him. Further, he could not have used Mathura as a military base of his attacks on Uttarapatha, on one hand, and on Anga-Magadha, on the other, as it appears from the records of his eighth and twelfth regnal years (I. 9, 1.13) that he did so, if either he himself had not conquered it or it had not been an old dependency of the kingdom of Kalinga. It is very clear from the record of his first regnal year (I. 2) that the city of Kalinga with its gates, walls, residential houses, deep and cool tanks and all kinds of gardens was used as the capital of the Kalinga kingdom also by his predecessors. If Danta pura-Paloura was the most ancient known capital of Kalinga, and no evidence be forthcoming as to the city of Kalinga being used as the capital by any pre-Meghavahana For Private And Personal Use Only

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270 OLD BRAHMI INSCRIPTIONS kings, some one among his Meghavahana predecessors must be credited with the building of this as the capital city. The Hathi-Gumpha inscription contains the following two significant statements indicating under whose sway the kingdom of Kalinga had remained before the Meghavahana kings rose into power: (1) Pamcame cedani vase Namdaraja-tivasasata-oghatitam Tanasuliya-vata panadim nagaram pavesayati, "And then in the fifth year, King Kharavela caused the canal opened out by King Nanda 103 (or 300) years ago to be extended into the capital city;" and (2) Barasame ca vase......Namdaraja-nitam Kalimga-Jinasanam (Amga-magadhato) Kalimgam aneti, "And in the twelfth year, he caused the throne of Jina belonging to Kalinga which was carried off by King Nanda to be brought back (from Anga-Magadha) to Kalinga." To us the two statements are important as indicating (1) that some king associated with Anga-Magadha and known as Nandaraja had invaded and conquered Kalinga before the Meghavahana kings established their sovereignty over it; and (2) that that Nandaraja opened out a canal or aqueduct near the Tanasuliya, Tanasuli or Tosali road while the kingdom of Kalinga was under his sway. Now, the Sanskrit slokas from the Old Oriya MS. tell us that King Aira or Ahira of Utkala proved to be the victor in a battle, which ensued between him, on one side, and King Nanda of Magadha, on the other. These represent King Nanda, as we saw, as a staunch supporter and King Aira-Ahira as a ruthless destroyer of the Vedic religion or Brahmanism. As a destroyer of the Vedic religion, King Aira-Ahira is said to have been a great friend (mahamitra) of King Asoka. The slokas credit King AiraAhira with the transfer of the capital of Utkala from the main city in South Kosala to the Ekaprastara-tract around the hill of Khandagiri. Thus Utkala itself is described as a kingdom, which extended so far as to include in it Kosala and Tosala, forming two main divisions of Kharavela's kingdom of Kalinga. And if we are to believe the story of the Sanskrit slokas, it is from the hands of King Nanda of Magadha that King AiraAhira of Utkala freed the kingdom and people of Kalinga. All these may be true, but until we have the opportunity of examining the nature and credibility of the original source of information, it is likely to be injudicious to attach undue importance to them. It is too late in the day of Indian historical research to attach any importance whatever to the opinion of Raja Rajendra Lala Mitra assigning Kharavela to the 4th century B. C. and claiming him, a fortiori, to For Private And Personal Use Only

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NOTES 271 be a pre-Asokan king. It is impossible to regard Kharavela as a preAsokan king in the face of these two facts : (1) that his inscription in the Hathi-Gumpha distinctly represents him as a contemporary and rival of Satakarni, whose territories lay contiguous to the western border of his Kalinga kingdom (I. 3), and (2) that whatever the actual date and identification of this Satakarni, he was undoubtedly one of the Andhrabbstya Satavahana kings who rose into power on the decline of the power of the earlier Andhra kings and years after the reign of King Asoka. It is equally impossible to regard Kbara vela as a pre-Asokan and not as a postAsokan king in view of the fact that his inscription distinctly alludes to Bahasatimita (Bshaspatimitra) as a contemporary king of Magadha, subdued by him in the twelfth year of his reign, while there is neither tradition nor inscriptional evidence as to Bahasatimita's rule in Magadha before or immediately after Asoka's reign. If our interpretation of the two expressions, tatiya-purisa-yuga and tatiya-yugasagavasana, be correct, Kharavela was unquestionably the sixth king of the Mahameghavahana family with whose accession to the throne of Kalinga the third couple of its two successive representative men was completed, and with whose father's death, the reign of the third couple of kings was at an end, and his son and successor Kadampa-Kudepa came, as the seventh king, to be joined with him. The records of the HathiGumpba inscription take us as far as the fourteenth year of his reign and, by no means, beyond it, and there are neither inscriptions nor traditions to inform us who among the Mahamegbavahana kings and how many kings of the Mabameg havahana family reigned in Kalinga as successors of Kharavela and Kadampa-Kudepa, when actually the reign of Kharavela came to an end, or what befell the Mahameghavabanas after Kharavela's death. Looking back, we find that Khara vela remained an ordinary prince for fifteen and a crown-prince for nine years, which is to say, the tenor of his life as a prince and crown-prince covered full twenty-four years of the reign of the Mahameghavabana kings. From the foundation of the rule of the Mahameghavahana dynasty right up to the accession of Kharavela we have to conceive the successive reign of (1) the first couple, (2) the first couple and a half, (3) the second couple, and (4) the second couple and a half. Even allowing twenty years as the average period of each reign, we do not get more than eighty years to represent the total length of the reign of Kharavela's predecessors in the Mabamegbavahana lipe. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 272 www.kobatirth.org OLD BRAHMI INSCRIPTIONS 6 It is very likely, as suggested by Mr. Jayaswal, that Megha' in the Puranas is but a shortening from Meghavahana' or Mahameghavahana,' which is the high-sounding epithet whereby Kharavela and other kings of the same royal family were designated. The traditions in the Puranas unanimously assert that among the different Indian kings who reigned in various parts of India as contemporaries of the Andhra or Andhrabbrtya-Satavahana rulers were the kings who reigned in Kosala or South Kosala, who were just nine in number, very powerful, intelligent and well-known as 'Meghas.' And it is expressly stated in the Bhavisya-Purana that seven Kosala kings of the Megha-Meghavahana dynasty and seven AndhraAndhrabbrtya-Satavahana kings reigned as contemporaries.2 Thus the traditions in the Puranas lead us to understand that altogether nine kings of the Megha-Meghavahana family reigned in South Kosala, which, as we have sought to show, formed one of the three principal divisions of Kharavela's Kalinga kingdom. And if it can be elicited from the Hathi-Gumpha and other old Brahmi inscriptions that Kharavela reigned as the sixth king and Kadampa-Kudepa as the seventh king of the Mahameghavahana family, we can say that just two other kings of this family reigned after their death, which is to say, the rule of this family came to an end within thirty or forty years of Kharavela's death. The determination of the age of Kharavela depends, to a large extent, on a satisfactory identification of King Nanda, Satakani and King Bahasatimita of Magadha, all of whom find mention in the Hathi-Gumpha inscription. As to the identification of King Nanda, this inscription furnishes us with a key in the two facts stated by it: (1) that a canal or aqueduct was opened out near the Tanasuliya, Tanasuli or Tosali road by him 103 or 300 years ago, the years being counted back from the fifth year of Kharavela's reign (pamcame cedani vase Namdaraja-tivasasataoghatita-panadim tanasuliya-vata); and (2) that the Kalinga throne of Jina, carried off by him (Namdaraja-nita Kalimga-Jindsana) was brought back from Anga-Magadha to Kalinga by King Kharavela by a triumphal procession. Here ambiguity arises from the possibility of two alternative explanations of the compound ti-vasa-sata as meaning either 103 or 300 1. Pargiter's Dynasties of the Kali Age, p. 51: Acharya Shri Kailassagarsuri Gyanmandir Kosalayam tu rajano bhavisyanti mahabalah | 'Megha' iti samakhyata buddhimanto navaiva tu | 2. Pargiter's Dynasties of the Kali Age, p. 51, f. n. 16; Eka kaldh ime bhupah sapta Andhrah sapta Kausalah. For Private And Personal Use Only

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NOTES 273 years. Admitting both the alternatives to be equally possible, we have to look out for a King Nanda of Magadha who conquered Kalinga, carried away the Kalinga throne of Jina as a trophy and opened out a canal in the Tosali division and not far away from the city of Kalinga, either 98 (103-5) or 295 (300--5) years before Kharavela's accession. The only key to the identification of Satakani furnished in the HathiGumpha inscription is that he held territories contiguous to the western border of Kbaravela's kingdom of Kalinga, comprising, as it did, South Kosala as one of its three main divisions. The tradition in the BhavisyaPurana leads us to think that the first seven Meghavabana and the first seven Satavabana kings reigned as contemporaries, in which case if Kharavela was the sixth Meghavahana king, Satakani must have been the sixth Satavahana ruler. It remains to be seen whether the tradition in the Parana can be so rigorously interpreted as to mean that the first king of one dynasty was a contemporary of the first king of the other, the second of the second, and so on. Regarding Bahasatimita our information from the Hathi-Gumpba inscription is that he is the king of Magadha whom King Khara vela subdued in the twelfth year of bis reign. In Yasamita's Brick-tablet inscription, found in Mathura, Queen Yasamita is described as the daughter of Brhas vatimita, the royal personage whose name is taken by Dr. Vogel to be the same as Bahasatimita or Bshaspatimitra. In one of the two Pabhosa inscriptions of Asaohasena, King Asadhasena, the king of Adhichatra, is represented as the maternal uncle (matula) of King Bahasatimita. The same Pabhosa inscription records the construction of a cave in the tenth year of Udaka whom Mr. Jayaswal identifies with Odraka, Odruka or Ardraka, mentioned in the Puranas as the fifth king of the Sunga dynasty, suggesting that King Asadhasena of Adhichatra was feudatory to the Sunga kings of Magadha. A coin, too, has been found with a Brahmi legend recording the name of Bahasatimita. The legend in the Divya. vadana speaks of a Brhaspati as a Maurya king among the successors of Samprati, the grandson of King Asoka. It remains to be seen whether King Bahasatimita, mentioned as a contemporary of King Kbaravela, is the same personality as Bahasatimita of the coin, King Bahasatimita of the Pabhosa inscription, Behasvatimita of Yasamita's Brick-tablet, and Bihaspati of the Divyavadana, or he is a king of any neo-Mitra dynasty, which came possibly into existence sometime after the Kanvas.' The data of chronology which may be collected thus from the HathiGumpha inscription and other sources are insufficient to determine 35 For Private And Personal Use Only

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274 OLD BRAHMI INSCRIPTIONS . undisputably the date of Kbaravela. In the present state of our knowledge, We can do no better than stating the three views put forward by three emi. nient Indian scholars, drawing the reader's attention to certain strong and weak points in the assumptions and arguments of each of them. First Mr. Jayaswal's latest publication on the subject 1 assigns Kbaravela's accession to 182 B. C., taking him to be a contemporary of Pus yamitra, the founder of the Sunga-Mitra dynasty, whose accession is placed in 188 B. C. The validity of this view is claimed primarily on the soundness of identification of Bahasatimita or Bshaspatimitra, mentioned in the Hathi-Gumpha text as a contemporary Magadhan king whom Kharavela subdued in the twelfth year of his reign, chiefly on the ground that Babasati or Bshaspati finds mention in the Sankhyayana Gshya-Sutra (I. 26. 6) as the presiding deity of the Pusya constellation of stars. King Bahasa timita or Bphaspatimitra is sought to be connected with the Sunga-Mitra kings of Magadha by the argument that a king of this very name figures in a Pabhosa inscription as the nephew of King Asadhase na of Adhichatra (in North Pancala), while the main text of this inscription records the excavation of a cave by Asao hasena for the Kasyapiya Arhats in the tenth year of Udaka (Odraka, Odruka or Ardrakas) who happens to be counted in the Puranas as the fifth king of the SungaMitra dynasty. 4 The reign of a king known by the name of Brhaspati among the successors of King Asoka and of his grandson Sam prati can be inferred as well from a legendary list in the Divyavadana. The reign of a king known by the name of Brhaspatimitra towards the end of the Maurya rule can be inferred equally from Yasamita's Brick-tablet, in which Queen Yasamita (of Mathura ?) is described as the daughter of Bshas vatimita, a name that can be equated either with Bphaspatimitra or with Brhatsvatimitra, the Brahmi letter-forms of this record appearing to be in their essential features still Mauryan. The coin-name Bahasatimita for Pusyamitra is explained by the fact, that in other Sunga-Mitra and Sungabhity a-Kanva coins, the names of some of the Sunga and Kanva kings agree with and differ from those in the Puranas : 1. JBORS, Vol. XIIJ, Parts III-IV, pp. 236-245. 2. JBORS, Vol. III, Part IV, pp. 477-478. 3. The Jains commentator Silanka equates U daka with Ardraka. See Jacobi's Jains Sutras, Part II, p. 417. 4. Pargiter's Dynasties of the Kali Age, p. 31; JBORS, Vol. III, Part IV, p. 474. - 5. JBORS, Vol. I, p. 96. 6. EI, Vol. II, pp. 242-243, For Private And Personal Use Only

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NOTES Coin-name. Agnimitra Bhanumitra Jethamitra Purana-name. Agnimitras Vasumitra. 5 Vasujyestha. Sujyestha. Ghosa. 3 Ghosavasu. (Vajramitra. Devabhuti. Bhumimitra, Ghosa Bbadragbosa Indramitra Devamitra Bhumimitra The objection arising from the Hathi-Gumpha statement Namdarajativasasata-oghatitam Tanasuliya-vata panadim nagaram pavesayati which must be ordinarily rendered as " He (King Kharavela) caused the canal opened out by King Nanda 103 (or 300) years ago to be extended from the Tanasuliya or Tanasuli road into the city (of Kalinga)" is sought to be met by the argument that here the expression Namdaraja-tivasasata oghatita should be taken to mean "opened out in 300 Nanda-era (the era founded by King Nandavardhana, the grandfather of Mahapadma Nanda, in 485 B. C.)." 8 The existence of such an era is sought to be proved by the fact that Alberuni, writing his Indika in 1030 A. D., 'found this era in actual use in Mathura and Kanauj,' and 'heard the local tradition that the founder of the era lightened the taxes by obtaining wealth from the undersoil (which reminds us of the story of the buried treasures of the Nandas).' 4 The same is sought to be proved also by the evidence of the Yedarava inscription of the Chalukya king Vikramaditya VI, stating : " Having said, why should the glory of the Kings Vikramaditya and Nanda be a hindrance any longer ? he with a loud command abolished that (era) which has the name of Saka, and made that (era) which has the Chali counting " (Bombay Gazetteer, Vol. I, Part II, p. 437). In accordance with Mr. Jayaswal's chronological interpretation of the fact of Kharavela's ' marching against the west disregarding Satakarni' one must identify . Kharavela's Satakarni 'with Satakarui I, who is no other than Sri-Satakarni mentioned in the Paranas as the third king of the Andhrabhftya-Satavahana dynasty founded by Simuka, the father of 1. JBORS, Vol. III, Part IV, p. 479. 2. JBORS, Vol. I, pp. 78, 106. 3. JBORS, Vol. III, Parts III-IV, p. 240. 4. JBORS, Vol. III, Parts III-IV, p. 240. 5. JBORS, Vol. III, Parts III-IV, p. 238. For Private And Personal Use Only

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276 OLD BRAHMI INSCRIPTIONS Sri-Satakarni, and Satakarni mentioned as the Lord of the Deccan (Daksinapatha-pati) in the Nanaghat Cave inscription of Queen Nayanika, the daughter-in-law of Simuka. Further, one must assign this Satakarni's accession to 172 B. C., placing the foundation of the Satavahana dynasty in 203 B. C., on the strength of the expert opinion of Dr. Buhler who found Nayanika's Nanaghat Cave inscription to be, on palaeographic grounds, slightly older than Kharavela's inscription in the Hathi-Gumpba. Our difficulty in accepting his interpretation of Namdaraja of the expression Namdaraja-tivasasata-oghatita in the sense of "Nanda-era" is that the same construction cannot be applied to Namdaraja in Namdaraja-nita Kalimga-Jindsana, which, too, is an expression in the Hathi umpha text and must be rendered as "the Kalinga throne of Jina carried away by King Nanda." We cannot appreciate the presumption in the Cambridge History of India suggesting even the possibility of Namdaraja being a local ruler, that is to say, one of the earlier kings of Kalioga, in view of the clear suggestion in the Hathi-Gumpha record that this King Nanda took away the throne of Jina from Kalinga and was somehow connected with Anga and Magadha. Thus the interpretation of Namdaraja as Nanda-era failing to hold its ground, the only alternative left is to ex pound the compound Namda. raja-tivasasata-oghatita-panadi as signifying "the canal opened out by King Nanda 103 or 300 years ago." Though there is much to be said in favour of the presumption that "103 years" is the prima facie construction of tivasasata, and that if " 300 years " were the intended sense, 'the expression would have been differently worded, the compound, as it is, must not be expounded excluding the possibility of the sense of " 300 years." Proposing to expound the compound tivasasata in the sense of " 103 years," counted back from Kharavela's fifth regnal year and to identify Kharavela's contemporary King Bahasatimita of Magadha with Pusyamitra, the founder of the Sunga dynasty, none can escape from the conclusions that "Kharavela's Nanda' was no other than King Asoka Maurya who conquered Kalinga in 261 B. C., in the eighth year of his reign, and that Kharavela's accession took place in 163 (261-98) B.C. But is no other plausible reason for the supposed representation of King Asoka as King Nanda except the fact that his grandfather, Chandragupta 1. JBORS, Vol. III, Part IV, pp. 441-442. For Private And Personal Use Only

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NOTES 277 NOMOR Maurya, is described in the Vayu-Purana as a scion of the Nanja family (Nandendu). To us, the proposed identification of Kharavela's Nanda' with Nandavardhana or Nandivardhana, the first king of the pre-Mauryan Nanda dynasty, is arbitrary. It is difficult to prove that Nanda vardhana either conquered Kalinga or reigned in 458 B.C. to be able to found an era in that year. We find it difficult to agree with Mr. Jayaswal in thinking that "Kharavela's Satakarni" holding territories that lay contiguous to the western border of Kharavela's Kalinga kingdom, was a contemporary of Pusyamitra, the founder of the Surga-Mitra dynasty, in the face of these two facts: (1) that the traditions in the Puranas assert that the Andhra. bhrtya-Satavahana rulers established their suzerainty after the reign of the Sungabhitya-Kanya kings had come to an end, 2 as well as after the destruction of the Andhra power ;) and (2) that the territories to the west of Kharavela's Kalinga kingdom were included in the Sunga empire during the reign of Pusyamitra and governed by the Surga Viceroy Agnimitra, the son of Pusyamitra. : Vidisa was governed, according to the Malavikagnimitra, by Prince Agnimitra acting, no doubt, as the Viceroy of his father, King Pusyamitra. One of the Barhut inscriptions records the first pillar of the Barhut stonerailing as a gift from Capadevi, the wife of Revatimitra of Vidisa,5 Another inscription records another gift from Vasisthi, tbe wife of Veli. mitra of Vidisa. There can be little doubt that both Revatimitra and Velimitra were connected with the Mitra family in Vidisa. The Barhut E. Gateway inscription clearly proves that even when King Dhanabhuti invested the Barhut stone-railing with the gateways, Barhut continued to be included in the Sunga dominions (Suganam raje).6 The Puranas definitely state that Sisuka (Simuka of the inscription), the founder of the Andhrabhstya-Satavahana dynasty, came to rule the 1. B, C. Mazumdar's Orissa in the Making, p. 56. In the Mudra-Raksasa, too, Chandragupta Maurya is described as a son of the Nanda king by a Sudra woman. In the Buddhist Pradition, the origin of the Moriyas is traced to the Moriya warriors of Pippalivana. 2. Pargiter's Dynasties of the Kali Age, p. 35. 3. Pargiter's Dynasties of the Kali Age, pp. 45.46. 4. H. C. Raychaudhari's Political History of Ancient India, second edition, p. 236. 5. Barhut Inscriptions (Barua and Sinha), No. 4. 6. Barhut Inscriptions (Barua and Sinha), No. 1. For Private And Personal Use Only

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278 OLD BRAHMI INSCRIPTIONS earth by destroying the lingering remains of the Sunga power represented by Susarman, the last of the Sungabhitya-Kanva kings. On the termination of the Sunga reign, Vidisa came under the rule of Sisunandi who was succeeded by his younger brother Nandiyasa or Yasonandi, and Nandiyaga was succceded in his turn by three kings of his line, wbile his daughter's son Sisuka became the ruler of Purika.! Curiously enough, as Dr. Raychaudhuri observes, Sisuka is precisely the Purana spelling of the name of Simuka, the founder of the Andhrabbotya-Satavahana dynasty.2 Here two important facts can be gleaned from the Purana chronicles : (1) the rise in Vidisa of a neo-Nandi or neo-Nanda family of kings who struggled for supremacy within the Surga dominions, it being quite possible that either Sisunandi or Nandiyasa temporarily seized the throne of Magadha, and even conquered Kalinga and opened out a canal 98 years prior to Kharavela's accession and after the termination of the rule of the Sunga family, and (2) the rise of the Satavahana dynasty after destroying the vestiges of the Sunga power represented by the last of the Karvas, say, in 27 B.C. The evidence of the Pabhosa inscription of King Asadhasena of Adhichatra, representing Asa!hasena as the maternal uncle of King Bihaspatimitra and recording the construction of a cave for the use of the Kasyaplya Arhats in the tenth year of Udaka who is mentioned in the Paranas as the fifth king of the Suoga-Mitra family, is really a strong point in favour of Mr. Jayaswal's identification of Kharavela's Magadhan rival Bphaspatimitra with Pusyamitra. But there are certain inscriptional evidences to dispute the correctness of the inclusion. It is difficult moreover, to account by Mr. Jayaswal's theory of two sets of names in literature and epigraphy for a number of kings bearing 'Mitra' as a common surname, e.g., Visnumitra of Gautamimitra's inscription, Brahmamitra whose wife Nagadevi donated a corner pillar of the old stone-railing at Buddha-Gaya, and Indragnimitra whose wife Arya Kurangi donated a large bulk of the Buddha-Gaya stone-railing. There may seem to be much truth in Dr. Raychaudhuri's suggestion that these Mitra kings belonged, perbaps, together with Bshaspatimitra, to a neo-Mitra dynasty, which arose sometime after the destruction of the Kanva power. We 1. Pargiter's Dynasties of the Kali Age, p. 49. 2. H. C. Raychaudhuri's Political History of Ancient India, second edition, p. 254. 3. Sir John Marshall's "A Guide to Sanchi," p. 11, f. n.; Raychaudhuri's Political History of Ancient India, p. 252. For Private And Personal Use Only

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NOTES 279 must bear always in mind that so far as Pusyamitra is concerned, he is designated Pusyamitra both in literature and in inscription (Jayaswal's Sunga Inscription of Ayodhya '), and so far as Bshaspatimitra is concerned, he is designated Bahasatimitra in the inscriptions and in the coin-legends. Secondly, in the opinion of Rai Bahadur Ramaprasad Chanda, Namdaraja of the Hathi-Gumpha inscription should be identified with Mahapadma Nanda or with one of his sons on the ground that "it is not Nandivardhana but Mahapadma Nanda who is said to have brought all under his sole sway' and uprooted all Ksatriyas or the old reigning families ; " Satakani mentioned in the Hathi-Gumpha inscription as a contemporary of Kharavela should be identified with " Satakarni II whose reign may be tentatively dated between B.C. 75.20," partly on the ground that this Satakarni finds mention in the Puranas without a qualifying adjective sri' characterising his name, just in the same way that Satakani finds mention in Kbaravela's inscription withouc such a qualifying epithet; King Sri Satakarni of the Sanchi Gateway inscription should be distinguished as Satakarni II from Simuka's son, Satakarni I, referred to in the Nanaghat Cave inscription of Nayanika for the simple reason that on palaeographic grounds the HathiGumpha inscription of Khara vela must be placed between the Nanagbat Cave and Barbut E. Gateway inscriptions, on one side, and the Sanchi Gateway inscription, on the other. 1 Identifying Kharavela's Nanda' with Mahapadma Nanda or with one of his sons who reigned in the 4th century B.C. and explaining ti-vasasata in the sense of "300 years," it is easy to conclude that the rise of Kharavela "probably synchronised with the fall of the Sunga dynasty and the consequent weakening of the power of Magadha." 2 Our main objectiou to the proposed identification of Kharavela's Nanda' with Mahapadma Nanda or with any other pre-Mauryan Nanda king is that it is almost conclusive from the statements in Asoka's R, E. XIII that Asoka was the first among the Indian kings reigning after the Buddha's demise to conquer the theretofore unconquered land of the Kalingas (avijitam vijinitum) and to annex the same to his own kingdom. Kalinga has been described as 'a recently annexed territory' (adhuna-ladha Kalimga), it being conquered just in the eighth year of his reign (261 B.C.). Serious reflections on the terrible consequences of his war with 1. Memoirs of the Archaeological Survey of India, Vol. I, pp. 10, 11, 14-15. 2. Ibid, Vol. I, p. 11, For Private And Personal Use Only

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280 OLD BRAHMI INSCRIPTIONS Kalinga are said to have brought about a great turning point in his life and career. It is evident from his two Separate Rock Edicts that he governed the province of Kalinga by his viceroy and high functionaries. It is certain that this province remained under his rule for at least twentynine years (261-232 B.C.). It is manifest from all his statements that he really found the conquest of Kalinga a hard nut to crack, and that, in spite of his most determined attacks, he failed to conquer and annex all the tracts covered by Kharavela's kingdom of Kalinga. He had to leave out certain parts demarcating them as unconquered outlying tracts (amta avijita) and placing them in charge of his high functionaries known as Wardens of the Marches' (Amtapala-mahamata). The digging of a canal near the Tosali road may be regarded as a possible work of his. And, lastly, there were two sets of inscriptions, one set incised on the Dhauli rock separated by an open plain from the hills of Udayagiri and Khandagiri and the other incised on the Jaugada rock within a few miles from Kharavela's capital to remind the inhabitants of Kalinga of the fact of its conquest by an outsider. The personal name of King Asoka having not been recorded in these inscriptions, it was not impossible for the local people to identify the author of the inscriptions and the excavator of the Tosali road canal with a Magadhan king Nanda whom the growing spurious Brahmanical traditions made them familiar with. Two of the stories of hell in the Petavatthu which is one of the postAsokan Pali works included in the Buddhist Tipitaka alludes to the kingdom of a fabulously rich Nanda king abounding in the wealth of all kinds of apparels. 1 The commentary on the Petavatthu identifies Nandaraja of these stories with a pre-Buddhistic king of Kasi.2 The Jaina BhagavatiSutra (XV. 1) speaks of a powerful King Jayasena Vimalavahana Mahapadma (Mahapauma) reigning in the city of Satadvara at the foot of the Vindhya mountain long long after the death of the Ajivika teacher Gosala who predeceased Mahavira by sixteen years. As a mighty persecutor of the Jains, this King Mahapadma is represented as an embodiment of the evil spirit of Gosala. None need be surprised if this Jayasena 1. Petavatthu, II. 1, III. 2 : Yavata Nandarajassa vijitasmim paticchada. Acharya Shri Kailassagarsuri Gyanmandir 2. Paramattha-Dipani, the volume containing the Petavatthu-Commentary, p. 73. Somehow, it is to this King Nanda that the legend in Alberuni's Indika of the Nanda king, rich with buried treasures, may be traced. 3. None need be surprised if some such king was behind the story in the Sanskrit slokas from an Old Oriya MS. of a vedadharma-parayana Nanda rival of the Jain King AiraAhira of Utkala. For Private And Personal Use Only

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NOTES 281 Vimalavahana Mahapadma who held his kingdom at the foot of the Vindbya mountain was the same king as Pra vira, the son of Vindhyasakti, whom the Puranas praise as a ruler who reigned in the city of Kancanaka for sixty years and performed a horse sacrifice. 1 Under the circumstances, particularly having regard to the hard facts recorded by King Asoka, it may be far safer to err by identifying * Kharavela's Nanda' with Asoka Maurya and assigning Kharavela's accession to the second quarter of the ist century A.D., interpreting ti-vasa sata in the sense of " 300 years," or by identifying him with Sisunandi or with Yasonandi who snatched away Vidisa from the Sunga dominions on the fall of the Sunga power and assigning Khara rela's accession to the same second quarter of the 1st century A.D. interpreting ti-vasa-sata in the sense of "103 years," than falling into endless difficulties by proposing to identify Kharavela's Nanda' with Mahapadma Nanda and to assign Kbaravela's accession to the period covered by the reign of the Kanvas in the 1st century B.C. and identifying Kharavela's contemporary King Bphaspatimitra of Magadha with none. Kharavela's Satakarni may have been the sixth Satavahana king mentioned in the Puranas, that is to say, Rai Bahadur Chanda's Satakarni II. This identification is borne out by the tradition in the BhavisyaPurana representing the first seven Meghavahana and the first seven Satavahana kings as contemporaries. We may even concede that Sata. karni II was King Sri-Satakarni during whose reign and within whose kingdom the Sanchi gateway was donated by a donor. But how can we think that this Satakarni reigned in the Vidisa region after the fall of the Sunga power when it is expressly stated in the Puranas that King Sisunandi and his four successors reigned in Vidisa contemporaneously with the Kanva rulers of Magadba, and that Sisuka-Simuka founded the Satavahana dynasty only after he had succeeded in destroying the lingering remnants of the Sunga power represented by Susarman, the last of the Kanva kings, --Siguka-Simuka of Parika who is described as Yasonandi's daughter's son ? Thirdly, in the opinion of Dr. Raychaudhuri, Khara vela's Nanda' should be identified with Mahapadma Nanda on the authority of the Puranas extolling Mahapadma, the third pre-Mauryan Nanda king, as "the sole monarch who brought all the ruling powers under his way," 2 and Kharavela's 1. Pargiter's Dynasties of the Kali Age, p. 50. 2. H. C. Raychaudhuri's Political History of Ancient India, 2nd edition, p. 141. 36 For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir 282 OLD BRAHMI INSCRIPTIONS Satakarni' should be identified with Satakarni I, while Satakarni I himself should be identified with (1) Simuka's son, King Satakarni, the lord of the Deccan, mentioned in the Nanaghat Cave inscription of Nayanika, (2) King Sri-Satakarni of the Sanchi Gateway inscription, (3) the elder Sarganus mentioned in the Periplus, and (4) Sata karvi, the lord of Pratisthana and father of Saktikumara mentioned in Indian literature,i Regarding Mahapadma Nanda, he seems to think that the traditions in the Puranas can be liberally interpreted so as to imply that even the old ruling family of Kalinga was subdued by the all-powerful Nanda monarch. In short, he does not think it improbable that Mahapadma Nanda effected a conquest in Kalinga," which is said to have been ruled by thirty-two or a similar number of kings who reigned independently as contemporaries of the Saisunagas. At the same time he seeks to maintain that Sisuka-Simuka, the first king of the Satavahana family, was able to found the Satavahana dypasty only after the destruction of the Kanva power in 28 B.C. We have already disposed of the boasted claims in the Puranas for Mahapadma Nanda. If Kharavela's Nanda' be Mahapadma Nanda, the all-powerful pre-Mauryan Nanda monarch of Magadha, if 'Kharavela's Satakaroi' be the third king of the Sata vahana family, and the Satavahana dynasty were founded not earlier than 27 B.C., and if " 300 years" be the correct rendering of ti-vasa-sata, it is for Dr. Raycbaudhuri to explain how Kbara vela's accession can be placed in the last quarter of the 1st century B.C. We must still hold that one should take the presumption created, on the strength of the tradition in the Puranas, in favour of the possibility of Mahapadma Nanda's conquest of Kalinga with a grain of salt, first, because this tradition does not tally with the more reliable tradition in the Pali chronicles, including the Mahabodhivamsa, and, secondly, in the face of a clear evidence of Asoka's R. E. XIII tending to prove just the contrary of what is elicited from the Paranas. Dr. Raychaudhuri bas attempted indeed in vain to invest the tradition in the Puranas with cogency and authenticity by reducing the length of Mahapadma Nanda's reign from 88 to 28 years on the strength of the reading astavimsati in a solitary manuscript of the Vayu-Purana. So long as the reading about the total length of the reigns of Mahapadma and his successors remains satam samah ("one bundred years "), the reduction of the length of Mahapadma's 1. H. C. Raychaudhuri's Political History of Ancient India, 2nd edition, p. 263 foll. 2. Ibid, pp. 142. 3. Pargiter's Dynasties of the Kali Age, p. 24. For Private And Personal Use Only

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NOTES 283 reign from 88 to 28 in a single manuscript of a particular Purana is unavailing as a proof of authenticity and cogency of the tradition. We cannot, however, help appreciating the general tenor of Dr. Raychaudhuri's arguments persuading us to assign Kharavela's accession to the second quarter of the 1st century A.D. by placing the commencement of the Satavahana rule in 27 B.C., identifying Satakarni of the HathiGumpha text with the third king of the Satavahana dynasty' and relegating King Bshaspatimitra of Magadha to a neo-Mitra dynasty. This chronological conclusion may derive support from a few collateral evidences, wbich are as follows: (1) The style of the Hathi-Gumpha text is closely similar and slightly anterior to that of the Milinda-Panha which is one of the extra-canonical! Buddhist texts quoted by Buddhaghosa in bis commentaries (ante, pp. 172), which, in its turn, presupposes all the Pali canonical texts as we now have them,--the texts which were committed to writing during the reign of King Vattagamani towards the close of the 1st century B.C., and which according to a tradition embedded in it, was not compiled earlier than 500 years from the Buddha's demise,- an event placed now-a-days in 483 or 484 B.C.: The Milinda-Papiha was compiled when the memory of King Milinda-Menander was still green in India with that of his courtiers Anantakaya-Antiochus and Damayanta-Demetrios, his capital Sagala or sakala, and his birthplace Alasandadipa (Alexandria). The political position of the Greco. Bactrian king is well brought out in a passage in which he is represented as comparing himself to a lion in a golden cage surrounded by many enemies. 4 Just as the authenticity of the tradition about the compilation of the Katbayatthu as a Pali canonical text in the 18th year of Asoka's reign and 236 years after the Buddha's demise 6 may be proved by the close 1. According to the Paranas, Simuka, the first Satavahana king, reigned for 10, Krsna, the second king, for 10 or 18, and Sri-Satakarni, the third king, for 10 years. 2, 3. Geiger's Translation of the Mahavamsa, Introduction. 4. Trenckner's Milinda-Patiha, p. 88 : Seyyatha pi scho migaraja suvanna-panjare pakkhitto bahimukho yeva hoti, evam eva kho' ham kincapi agaram ajjhapasami bahimukho yeva acchami.......bahu me paccatthika. 5. Trenckner's Milinda-Paniha, p. 13; Buddhaghosa's Atthasalipi, p. 6, wrongly places the event 218 years, while the Mahavamsa (V. 278-280) rightly places it 236 years, after the Buddha's demise. For Private And Personal Use Only

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284 OLD BRAHMI INSCRIPTIONS resemblance, among other evidences, 1 between the most peculiar dialectical style of the Kathavatthu and that of Asoka's R.E. IX, so, perhaps, the authenticity of the tradition about the compilation of the Milinda-Panha some 500 years after the Buddha's demise may be proved by the observed close resemblance of its style with that of the Hathi-Gumpha text. As regards the similarity of style between the Kathavatthu and Asoka's R.E. IX, the following quotations may here suffice :1. Katbavatthu, 1.6--Atthi siya atitam siya nvatitanti. Hanci atitam atthi, althi siya atitam siya nvatilam tendtitam nvatitam nvatitam atitanti, etc. 2. Asoka's R. E. IX--Siya va tam atham nivateya siya puna no hidalo kike ca vase. Tyam puna dhamma-magale akalikye. Hamce pi tam atham no nite ti hida atham palata anamtam puna pasavati. Hamce puna tam atham nivate ti, etc. (2) The invocation formula, Namo arihamtanam namo sava-sidhanam, used at the commencement of the Hathi-Gumpha text is closely similar to and somewhat simpler than the formula, Namo samma-samouddhanam paramatthadassinam silddigunaparamippattanam, occurring at the commencement of the Petakopadesa. It may be noted that the Satavahana inscriptions have mostly Siddham for their benedictory formula. Another form of the convention characterising such works as the Netti-Pakarana, the Milinda-Panba and the Kautiliya Artha-Sastra is the epitome of the text presented in one or more verses. This twofold convention 3. which became a universal phenomenon in Indian literature dating from 1. Kathayatthu, I. 3, stating : Majjhimesu janapadesu atthi brahmacariyavaso, Puccantimesu janapadesu n'atthi brahmacariyavaso Milakkhesu avinnataresu. yattha n'atthi gati bhikkhunam bhikkhuninam upasakanam upasikanam. 2. Netti-Pakarana, p. 1 : Yam loko pujayate salokapalo sada namassati ca Tass'eta sasanavaram viduhi neyyam naravarassa | Milinda-Panha, p. 1: Milindo nama 80 raja Sagalayam puruttame Upaganchi Nagasenam Ganga va yatha sagaram | Artha-Sastra, p. 6: Sukha-grahana-vijneyam tattvarthapada-nis citam Kautilyena krtam sastram vimuktegrantha-vistaram || 3. The rule that a treatise should be commenced with either benedictory invocation or the specification of the thesis (asirnamaskriya vastu-nirdeso vapi tanmulam) which is prescribed in the Kivya-Prakasa and other Indian works on poetics must have been sug. gested by the twofold convention that came into vogue. For Private And Personal Use Only

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NOTES 285 the 2nd or the 3rd century A.D. cannot be traced either in Indian literature or in Indian epigraphy prior to the beginning of the Christian era. The Petakopadesa and the Netti-Pakarana are the two extra-canonical Pali companion works ascribed to Mahakaccana. Of them, the former may be shown to have been quoted by name in Buddhaghosa's Atthasalint,' and the latter may be shown to have been presupposed by the Milinda-Panha and Buddbag hosa's Atthasalini. Prof. Hardy, the editor of the Netti-Pakarana, fixes the 2nd century A.D. as the date of composition of this work. We have taken these two Pali works with the ArthaSastra because, in our opinion, the Artha-Sastra, as we now have it, cannot be dated earlier than the 2nd century A.D. The concluding chapter of the Artha-Sastra deals with 32 Tantra-yuktis representing the terminology of textual methodology. Curiously enough, a precisely similar treatment has been accorded to the same number of Tantra-yuktis in the Susruta-Samhita (Uttaratantra, Ch. LXV) which is, in its extant form, a compilation of the 2nd or the 3rd century A.D., while the total number of the Tantrayuktis has been increased to 34 in the Caraka. Samhita.3 So far as Pali literature is concerned, the Netti-Pakarana and the Petakopadesa are the two well-known treatises on textual methodology. It will be noticed that the twofold convention combined in the opening verses characterises also the Madhyamika-Karika of Nagarjuna who was associated with one of the Satavahana rulers : Anirodham anutpadam anucchedam asasvatam Anekartham ananartham anagamam anirgamam # Yah pratitya-samutpadam prapancopasamam sivam Desayamasa sambuddhas tam vande vadatam varam # (3) The Barhut stone-railing which is a purely Suriga architecture bears two sculptural representations of Asokan pillars. 4 There are instances of imitation of Asokan pillars in Sunga architecture among the ruins of Buddhist monasteries and monuments at Sarnath. The pillars 1. Atthasalini, p. 165. 2. See the characterisation of saddha in the Netti (p. 28), the same in the Milinda (pp. 34 foll.), and the quotation of both in the Atthasalini, pp. 119.120. See, also, how the simple characterisation of sati by apilapana-lakkhana satiti in the Netti has been elaborated in the Milinda (pp. 37-38). 3. Caraka Samhita, Siddhisthana, Ch. XII. 4. Cunningham's Mahabodhi, Pl. III. For Private And Personal Use Only

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286 OLD BRAHMI INSCRIPTIONS with octagonal shafts and Asokan capitals as typified by the pillars of the Barhut E. Gateway represent the final stage in the development of the Sunga style of architecture. The old stone-railing at Buddha-Gaya, mostly donated by the queens of the later Mitra dynasty, bear sculptural representations of the typical Sunga pillars at Barhut, while the typical Buddha-Gaya pillars go to show a considerably modified form of the Sunga pillars at Barhut.2 The shrine-posts on the hills of Udayagiri and Khandagiri, ornamented according to their description in the HathiGumpha text (I. 15), alternately with two different flower-designs, indicate a wide departure from the Sunga style established at Barhut. Thus we dispose of the vexed question of Kharavela's date, remembering all the while that Indian chronology is a house of cards, which may break down at any moment. But it cannot be doubted that the sun of the royal power of Kalinga reached the zenith during the reign of King Kharavela, though the light which dazzled the eyes was destined to set for ever. The warrior-like spirit of Kharavela and his bold undertaking of military campaigns all over India clearly prove that militarism was in full vigour in the country in spite of Asoka's advocacy of the ideal of conquest by the dhamma. But what has been the final result of the wars and warfares that served to keep Kharavela ever busy and the people of Kalinga always in excitement? The final result has been this that Mahavijaya Kharavela disappeared completely out of sight after the 14th year of his reign and the Meghavahana dynasty came to an end within a few years of his death. The fateful career of Kharavela is enough to prove that the arms that hurl missiles may strike terror, but the arms that embrace that conquer for good. It is Asoka who set up the ideal of conquest by the dhamma. Kharavela upset this ideal only to be forgotten even in the literature of the Jains, while the memory of Asoka has all along been adored by the whole Buddhist world. The sigh of monarchs found its fitting expression in the verse singing the death-ode of the royal state and the everlasting glory of the nobler deeds of men : Jiranti ve rajaratha sucitta, atho sariram pi jaram upeti Satan ca dhammo na jaram upeti, santo have sabbhi pavedayanti || 3 1. Canningham's Mahabodhi, Pl. IV, two square panels. 2. Cunningham's Mahabodhi, Pl. IV, the pillar in the middle. 3. Dhammapada, Jaravagga. Such is indeed the moral or central idea of the Maha. vamaa which is the greatest known epic chronicle of the kings of Ceylon, and of all the epics of the Hindus, For Private And Personal Use Only

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NOTES 287 "The painted royal chariot falls indeed into decay ; even the body (which passes as one's own) is sure to approach the same fate. The noble tradition of the virtuous alone does not go to decay. This is indeed the proclaimed opinion of those of tranquil heart who discuss with good men." Kharavela, the sovran lord of Kalinga, was wise enough to beware of his royal state betimes and to take steps, when opportunity occurred, to build the costly works of art and architecture in glorification of his religion. And it is the lingering rock-cut caves on the hills of Udayagiri and Khandagiri which have immortalised him and raised up the people of Kalinga in the estimation of civilised humanity. 15. THE CITY OF KALINGA Kharavela's inscription is not without a few interesting hints as to the plan, picturesqueness, internal life, joy and prosperity of the city of Kalinga which was the capital of his Kalinga kingdom. As regards the plan and picturesqueness, we have mention, in the firstyear's record (I. 2), of (1) gopura (gate-house), (2) pakara (wall), (3) nivesana (residential building), (4) tadaga (tank), and (5) uyana (garden) as features associated with the city of Kalinga. As to other features, there are allusions, in the ninth year's record (I. 10), to (6) raja-nivasa Mahavijayapasada (the royal residence, the Great-victory palace); in the twelfth year's record, to (7) vithi (road), (8) catara (square), (9) palikha (gate-bar), and (10) sihara (tower), besides gopura (gate-house); and in the fifth year's record (I. 6), to (11) panadi (canal). A few terms preceding vithi and denoting other features are now missing from the twelfth year's record. So far as the twelfth year's record goes, the terms withi, catara, palikha, gopura and sihara are all used in plural forms (vithi-catarapalikhani gopurani siharani). We may with good reasons maintain that the terms gopura, pakara, nivesana, tadaga and uyana have been used in a plural sense also in the first year's record. The plural sense of the first three terms is not inconsistent with the copulative compound gopura-pakara-nivesanam. The plural sense of tadaga may be easily derived from the compound tadaga-padiyo which is a plural expression. The plural sense of uyana is conveyed by the pronominal adjective sava which is the first member of the compound savuyana (sarvodyana). it may be established that the city of Kalinga, even as King Kharavela found it at the time of his anointment, contained many a gopura, many a Thus For Private And Personal Use Only

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(1) gopura (2) tadaga (3) uyana (4) vithi-catara (5) nivesana-sihara 288 OLD BRAHMI INSCRIPTIONS But as pakara, many a nivesana, many a tadaga, and many a uyana. regards Mahavijaya-pasada and panadi, the implied sense is singular. The general features implied by these terms go to show that the city of Kalinga was built, even before the reign of Kharavela, on the same plan, more or less, as other Indian cities, e.g., the city of Sagala of which we have a vivid description in the Milinda-Panha (Trenckner's edition, pp. 1-2). It may be inferred from the hints given in Kharavela's inscription that the palace used as the royal residence was the main centre of interest in the city of Kalinga, precisely as in other cities; that the residential buildings were all inside a city-wall provided with gateways and gate-bars, and themselves were provided with enclosures and gate-houses; that the various gardens, parks and groves added to picturesqueness of the city; that the roads, squares, court-yards and canals facilitated easy communication and intercourse; that the deep and cool tanks (gabhira-sitala-tadaga) served as reservoirs of water for drinking, bathing and washing purposes, while the spire-temples towering above the house-tops stood out as various centres of religious worship. Comparing the plural expressions in Kharavela's inscription with those in the Milinda description of the city of Sagala, we cannot fail to notice that each of them falls short of the expected expression by one or two words, as the following table will indicate : K. I. Acharya Shri Kailassagarsuri Gyanmandir M. gopura-torana talaka-pokkharani arama-uyyana-upavana vithi-caccara-catukka-singhataka antarapana-vividha-danaggasataHimagiri-sikhara-samkasa-vara For Private And Personal Use Only bhavana Reading between the lines, it is easy to understand that the purpose of Kharavela's inscription was far from giving a connected description of the city of Kalinga, and that the features implied by the additional words in the Milinda description were meant to be covered by the plural sense of the words in the former. We say that where gopura in the sense of gate-house or gate-tower is employed, torana in the sense of gate or gateway is implied there. Similarly where tadaga in the general sense of tank is

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NOTES 289 employed, pokkharani in the sense of small tank need not be separately mentioned. The Hathi-Gumpha expression savuyana, interpreted in the sense of all gardens or all kinds of garden, may be said to include in it both arama (park) and upavana (grove). As regards vithi and catara, it is not unlikely that some term corresponding to the Pali catukkasinghataka meaning cross roads bas vanished with the missing words preceding vithi. Anyhow, where vithi in the general sense of road is employed, catukka-singhataka in the sense of cross-roart need not be separately mentioned. And so as to the varieties of nivesana-sihara. For details of the plans of Indian cities, the reader is referred to Dr. B. B. Dutt's " Town-planning in Ancient India." As for the technical architectural significance of the above terms, Dr. P. K. Acharya's "Dictionary of Hindu Architecture" is sure to prove to be the best help. It will be evident from Dr. Acharya's quotations that gopuras in the sense of gate-houses or gate-towers were not peculiar to religious edifices; but these formed the paraphernalia of religious temples, as well as of resi. dential buildings. It is equally manifest from Dr. Acharya's article on Prasada that the Great-victory-palace as a literal rendering of Maha. vijaya-pasada in Kharavela's inscription does not bring out the technical architectural significance of the term. The buildings of the Vijaya class were all two-storeyed. His quotations from the literary texts and the inscriptions make it clear that sihara or sikhara as a tower or turret was as much a crowning construction of a spire temple as that of a palatial building. Nevertheless, the terms gopurani and siharani, as used in the twelfth year's record of Kharavela's reign, would seem to be associated with certain religious temples within the city of Kalioga. As for the existence of temples dedicated to various deities, we have to look just into the concluding paragraph of the Hathi-Gumpha inscription (I. 16) in which Kharavela has been praised as sava-devayatanasamkara-karaka, " the repairer of all abodes of the gods." Devayatana is a technical term, the significance of which may be made clear from Dr. Acharya's quotations sub voce--Ayatana, Devayatana and Devalaya. It is not difficult to understand that the so-called abodes of the gods' were in reality nothing but the Hindu shrines which stood in the name of different deities or the Hindu temples in which the images of different gods, demi-gods, goddesses and demi-goddesses were enshrined for worship by the people. These shrines and temples were to be located, as Dr. Dutt's book will show, in every Indian city. We shall entirely miss the force of sava (all) in the expression sava-devd yatana, "all abodes of the 37 For Private And Personal Use Only

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290 OLD BRAHMI INSCRIPTIONS 0 gods," not taking it to denote all kinds of shrines and temples : those in which there were images and those in which there were no images. If it can thus be proved that the Hathi-Gumpba text clearly refers, in its concluding paragraph, to the existence of "Deva-temples," we may be justified in thinking, first, that the terms gopura and sihara in its twelfth year's record were intended to be interpreted as well in connection with nivesana and parada preceding them as with devayatana following them; and secondly, that the worship of idols in the Hindu temples and shrines had come into existence in Kalinga before the reign of Kharavela, and long before the Buddhists made the Buddha-images for worship during the Kusana rule, With regard to the part played by Kbaravela in the building up of the city of Kalinga, we read in the Hatbi-Gumpha text (I.2) that imme. diately after his consecration, in the very first year of his reign, he spent 35,00,000 (pieces of money) in thoroughly repairing the gate-houses, walls and residential buildings damaged by stormy wind in his capital, in raising up embankments of the deep and cool tanks, and in restoring all the gardens. From this it is clear that his first year's work was just a work of reparation and restoration. This record clearly proves that the royal city of Kalinga was bedecked with many gardens and many kinds of gardens ; that it shone forth with its high walls, gate-towers and buildings; and that it abounded in the deep and cool tanks serving as reservoirs of good drinking water and as bathing places. So far as these tanks go, we may say that the kingdom of Kaloga is remarkable in its modern identity precisely as it was two thousand years ago. King Kharavela did not, however, stop at the work of reparation and restoration. The extension of Nanda-king's canal from the Tanasuliya or Tanasuli road into the heart of the city was a costly work, which was accomplished by him in his fifth regnal year as a meaus of facilitating communication and irrigation, among other advantages. The two-storeyed new royal residence known by the imposing name of "Great-victory palace" and decked with beryl work, for which he is said to have spent 38,00,000 (pieces of money), was, undoubtedly, a very costly addition made by him to the city architecture. But even this was not all. The 1. The architectural significance of the expression veduriya-Maha-vijaya-pasada may be understood in the light of veluriya.phala-santhata pasada in Fausboll's Jataka, Vol VI, p. 279. For Private And Personal Use Only

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NOTES 291 twelfth year's record goes to show that he made a good deal of im. provement by constructing new roads and squares, by strengthening the gates with new burs, as well as by setting up new gate-houses and towers. Now, with regard to the internal life, joy and prosperity of the city of Kalinga, it may suffice to observe that there are allusions, in the second year's record (1, 3), to (1) the location of multitudinous fighting army, consisting of all the four divisions ; in the eighth year's record (I. 9), to (2) triumphal processions of victory characterised by the carrying of the Wishing-tree at the head and by the marching of the four divisions of the army at the back, as well as to (3) the feasting of all sections of the people, the general population, the officers, the religious sects keeping to household life, the Brahmanical ascetics and the Jain recluses ; in the third year's record (I. 4), to (1) the entertainment of the citizens by combats or comics, by songs, dances, musical performances, as well as by feasts, festivities and joyous gatherings, the king himself being represented as an expert in the science of music ; in the seventh year's record (I. 8), to (5) a pompous parade of swords, umbrellas, flags, guards and horses, as well as to (6) the performance of all ceremonies of victory; in the sixth year's record (1. 7), to (7) the wholesale remission of taxes and duties and the dispensing of many bounties as a display of the royal fortune ; and in the twelfth year's record (I. 13), to (8) the receiving of jewels, antelopes, horses and elephants, as well as the elephants, horses and other animals capable of exciting curiosity (abhutam-achariya-hathisapasava) as presents from the Vasukis, and no less to (9) the supply of pearls, gems, jewels and rich apparels as tributes from the king of Pandya ; and in the eleventh year's record (I. 12), to (10) the paying of homage to the former kings of Kalinga as a great public and social function. The description is apparently incomplete. Nevertheless, it is full enough to portray a vivid picture of the joyousness of a happy, active, prosperous and crowded city. Here just one point calls for remark. In regard to the presents from a hundred Vasukis (1. 10), we have these two statements, (1) abhutamachariyan hathisa-pasavam pariharamti, and (2) miga-haya-hathi upanamayamli, which would have been mistaken as overlapping. But from the adjective abhuta-achariya, "curious and wonder. ful," characterising the elephants, horses and such other beasts in the first clause, it appears that these were collected and preserved as curios, and reared in the royal enclosure for exhibition. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 292 www.kobatirth.org OLD BRAHMI INSCRIPTIONS Acharya Shri Kailassagarsuri Gyanmandir 16. THE CAVES, SHRINES AND PILLARS Kharavela's hard-earned fame as a builder was not confined to the repairing of the city of Kalinga and the improvement of the same by the rebuilding of embankments of the deep and cool tanks, the restoration of all the gardens, the extension of the Nandaraja canal, the erection of Mahavijaya-pasada as a new two-storeyed and beryl-set palace, and the addition of new roads, squares, gate-bars, gate-houses, and towers. And we may note that his religious endowments were not exhausted by the repairing of Hindu temples and the occasional feasting of the Brahmins and Jain recluses. The Hathi-Gumpha and other old Brahmi inscriptional records go to prove that he showed his royal munificence to the professors of his own faith, namely, the Jain saints and recluses who resided on the Kumari hill, in causing one hundred and seventeen caves (satadasa-lena-salam) to be made as joint excavations of himself, his queens, his sons, his relatives, his brothers, and his officers, sharing the merit and fame with the rest of the pious donors and glorifying the tradition of Jainism with the most ancient known landmarks of its art and architecture. All of these 117 caves were intended to serve as resting places of the resident Jain saints and recluses (Arahato parinivasato hi kaya-nisidiyaya). Apart from what he accomplished jointly with other excavators of the Jain cave-dwellings on the Kumari hill, the Hathi-Gumpha inscription clearly shows (I. 15) that he caused to be excavated under his own auspices and as the crowning glory of the recorded last year of his reign, one cave for the accommodation of the venerated (Jain) recluses and the (Hindu) yatis, hermits and sages visiting the place from a hundred directions. His last recorded munificence, amounting to seventy-five hundred thousand pieces of Indian money current at that time in his Kalinga kingdom, sufficed to enable him to make, along with the excavation of the last-mentioned spacious cave, a number of stone-pillars and shrines on a slope in the neighbourhood of cave-dwellings of the Jain saints and recluses and by means of some hundred thousand slabs of stone, quarried out of excellent quarries extending over several leagues (Arahato nisidiyasamipe pahhare varakara-samthapitahi aneka-yojana-ahitahi silahi silathambhani ca cetiyani karapayati). The same amount just sufficed also to cover the cost of erecting an edifice, providing it with a canopied court-yard adorned with a pillared For Private And Personal Use Only

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NOTES 293 beryl-hall, as well as of causing one-half-hundred shrine-posts, ornamented with the alternate settings of beryl and emerald, to be produced alongside (patalika-catare ca veduriya-gabhe thambhe patithapayati panatariya-satasuhasehi, veduriya-nila-vochimnam cera-yathi-adhasati kam tiriyam upadayati). With regard to the 117 caves jointly excavated on the Kumari hill by King Khara vela and others, the following questions are apt to arise here: (1) Why all of them were not inscribed ? (2) What was the system of counting them ? (3) What has befallen the missing caves ? (4) How to account for their modern names ? (5) What are the component parts of a cave? (6) What is the technical significance of the term lena ? (7) What are the purposes that these caves in particular were intended to serve ? First, the question as to why all the 117 caves were not inscribed has been discussed at some length in connection with the problem of the relative total of the caves and inscriptions. We have sought hitherto to maintain that the caves excavated by the donors other than Kharavela himself were labelled with inscriptions, recording in each of them the name of the person or persons by whom the particular cave or group of caves was excavated or the component parts of a cave were donated, while in the case of the caves excavated by King Kharavela, as well as of other works of art and architecture done under his auspices, we have a departure from the general rule in that these, instead of bearing a separate inscription each, are all collectively referred to in the records of a single inscription, namely, the lengthy inscription of Kharavela incised on the hanging brow of the projected roof of the Hathi-Gumpha on the present hill of Udayagiri. We have also pointed out that the thirteenth year's record in this inscription alludes in a general fashion to the caves excavated by his queens, sons, brothers, relatives and officers, in which case the engraving of separate inscriptions would have been superfluous were it not for keeping them distinct from His Majesty's own works, and no less for eatisfying the natural but legitimate desire of the various donors to perpetuate their memory and offering an incentive to others to similar acts of piety. Secondly, as to the system of counting the caves, the general principle seems to have been to count each of the one-storeyed caves consisting of one or more cells or chambers confronted by an open or pilla red verandah as one cave, and to count each such suit on each floor of a two-storeyed construction as one cave, e.g., in the example of the Mancapuri group of caves representing a two-storeyed construction, the suit in the upper storey was labelled by an inscription recording it to be a cave excavated by Khara. vela's chief queen, and the corresponding suit in the lower storey was For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 294 OLD BRAHMI INSCRIPTIONS similarly labelled by a second inscription recording it to be a cave excavated by King Kadampa-Kudepa. A puzzling complication has arisen from a third inscription incised over the doorway of a side chamber on the southern side of the verandah of Kadampa Kudepa's cave and recording it to be a cave excavated by Prince Vadukha-Varikha. Bat it is somewhat difficult to decide whether the side chamber confronting the verandah of Kadampa-Kudepa's cave or a separate chamber provided with some sort of a verandah and situated on the southern side of the open enclosure or courtyard in front of Kadampa-Kudepa's cave was intended to be recorded in the third inscription as Prince Vadukha- Varikha's cave. In discussing the problem of the relative total of the caves and inscriptions, we have sought to maintain that although the third inscription was incised over the door-way of the former, it was really intended to refer to the latter, that is, to the suite on the southern side of the court-yard, and that the object of engraving the third inscription over the door-way of the former was to draw the notice of the visitor or pilgrim entering the verandah of Kadampa-Kudepa's cave and moving towards the right in peeping into the three chambers including that on the south side with the possibility of coming out without minding what was on the south side of the courtyard. If this argument be sound, we may make bold to say that the system was to count each suit of one or more chambers, whether in one line or not, but surely confronted by some sort of a verandah, as one cave. Thirdly, as to the fate of the missing caves, we cannot but be astonished that so many of the caves on the Kumari hill have vanished beyond recognition. Sir John Marshall says that taken together, the two groups of caves on the hills of Udayagiri and Khandagiri, "comprise more than thirty-five excavations." But we are not, as yet, aware what method he has adopted in counting the total of the surviving caves, and whether the number suggested by him includes the four or five caves which have suuk down showing still their roofs above the ground on two sides of the Udayagiri or not. We may, once again, draw the reader's attention to Mr. Stirling's paper in the Asiatic Researches, Vol. XV, containing, as it does, all that we yet know of the miserable fate that overtook the missing caves, 1 As for the names whereby the caves are known at present, it is obvious that we require more explanations than one to account for them. In the 1. Manomohan Ganguly, in his Orissa and Her Remains, p. 81, has produced the following list of caves on the two hills (1) Hathi-Gampha, (2) Vaikunthapura, For Private And Personal Use Only

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NOTES 295 case of such names as Hathi-Gumpha (the Elephant-cave), Chota-HathiGumpha (the Small Elephant-cave), Vyaghra-Gumpha (the Tiger-cave), Sarpa-Gumpha (the Snake-cave), Ajagara-Gumpha (the Python-cave), and Ben-Gumpha or Bheka-Gumpha (the Frog-cave), we find that all of them were suggested by the general shapes of the caves designated by them, particularly their front views creating appearances of the foreparts of the animals or creatures indicated in them. It is very striking indeed that the front view of the cave known by the name of Hathi-Gumpha suggests the appearance of just the forepart of a royal elephant sitting majestically on its front legs. Such an appearance was appropriate to the cave which was to bear on the hanging brow of its projected roof the famous inscription of His Graceful Majesty King Kharavela. Similarly, the appearance of a small elephant was appropriate to the Chota-Hathi. Gumpha which was to bear an inscription of Prince Vaduka-Varikha's. The most remarkable is the front view of the Vyaghra-Gumpba sug. gesting the appearance of the head of a tiger with its distended jaws. No one can mistake that the front view of the Sarpa-Gumpha suggests the appearance of the upraised large hood of a cobra, or that the front view of the Ajagara-Gumpha suggests the appearance of the gaping mouth of a python. In the same way, none can mistake that the front view of the Ben-Gumpha or Bheka-Gumpba suggests the appearance of the open mouth of a frog. In the absence of all of the caves it is difficult to say if there were not, amongst them, some caves with their front views suggestive of the appearances of animals other than the elephant and the tiger, and of creatures other than the cobra, the python and the frog. One fact, however, is certain that one can still trace shapes of the same creature, whether it is snake or frog, in a set of two or more caves, say, for instance, in the roofs of four or five caves that have sunk down on two sides of the hill of Udayagiri. (3) Patalapura, (4) Mancapuri (Yamapura ?), (5) Haridas Gumpha (Chota-Hathi-Gumpha), (6) Sarpa-Gumpha, (7) Vyaghra-Gumpha, (8) Ganesa-Gumpha, (9) Jagannath-Gumpha, (10) Svargapuri or Alakapuri, (11) Rani-Gumpha, (12) Jaya-Vijaya, (13-20) eight nameless, these being the caves on Udayagiri ; (21) Ananta-Gumpha, (22) Navamuni, (23-24) Satbakhra or Satghara group of two caves-the Barbhuji and the Trisula, (25) supposed cave of Lalatendu, (26-27) two nameless, these being the caves on Khandagiri. Be it noted that one of Ganguly's nameless cave on Udayagiri is known by the name of Jambesvara or Ben-Gumpha, and that among the caves on Khaqdagiri, one is known by the name of Tattva-Gumpha I, another by that of Tattva-Gamphi II, a third by that of Durg&-Gumpha, and a fourth by that of Hanuman-Gumph&. For Private And Personal Use Only

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296 OLD BRAHMI INSCRIPTIONS If an inference can at all be drawn from the last mentioned fact, it will certainly be this that the underlying motive in the fashioning of the animal and creature shapes of the rock-cut caves was to represent the principal denizens of the Kumari hill and to limit these shapes to them. Anyhow, the elephants, tigers, cobras, pythons and frogs are still the chief denizens of the two hills of Udayagiri and Khandagiri. We are unable to unravel the mystery of the Frog-cave being otherwise known as Jambesvara-Gumpha. But it is certain that the ChotaHathi Gumpba came to be otherwise known as Haridas-Gum pha on account of the fact that this cave was once tenanted by a Vaisnava ascetic known by the name of Haridas. Among the remaining names, Ganesa-Gumpha may engage our first attention. This name which, like Haridas-Gumpha, is of Hindu origin, must have been suggested by the figures of two calves of elephants set up in the court-yard in front of the cave concerned. It was easy for the neighbouring Hindu inhabitants to associate these figures with Ganesa, the elephant-faced god of the Hindu pantheon. The name of the Ananta-Gumpha on the Khandagiri hill appears to have been suggested by the figures of the pairs of crawling tripleheaded snakes lying over the arch-fronts of the cave which are ornamented with various reliefs containing, among others, one standing figure of Gaja-Laksmi, the Hindu goddess of Luck. A Vaishnavite must have been easily led by their association with a figure of Laksmi, the consort of Visnu, to identify the trip le-headed snake with the famous Ananta or sesa-naga of his legend. Thus it may be proved that the name AnantaGumpha, too, was of Hindu origin, and that it must have come into existence when the Vaishnavite Hindu ascetics occupied some of the Udayagiri and Khandagiri caves. A more convincing proof of the Hindu origin of some of the names can be adduced from the modern designations of three caves forming a group on the Khandagiri hill. Of these three caves, one is known as Navamuni on account of the fact that the figures of nine Hindu sages were set up on the walls of the cave in parallel with those of twenty-four Jaina Tirtharkaras set up, as recorded in a medieval inscription of the 6th or 7th century A.D. or of still later period in one of these caves, by King Udyota-Kesari of the Kesari dynasty ; another is known as Durga-Gumpha on account of the fact that the figures of the Hindu goddess Durga came to be set up at the entrance of the cave containing on its walls in the interior the figures of twenty-four Tirtharkaras set up by For Private And Personal Use Only

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NOTES 297 King Udyota-Kesari in a row; and the third is known as Hanuman. Gumpha on account of the fact that the figures of Hanuman of the Hindu legend came to be set up in a similar manner in the cave contain: ing the figures of the Tirthankaras set up by the same king on its walls. Here we may add that the name Tattva-Gumpha whereby two of the caves on the Khandagiri hill are designated can as well be treated as being of Hindu origin. The Vaisnava legend of Jaya and Vijaya as two attendants of Visyu may be held responsible for the name JayaVijaya designating one of the surviving caves on the Udayagiri hill, although there is no difficulty to regard this, along with Tattva, also as a Jain name. At all events, there can be no doubt that the name Mancapuri designating a group of three caves, the name Alakapuri designating one of the surviving sculptured caves on Udayagiri and the Rani-Nur or Rani-Gumpha designating another richly sculptured cave on the same hill, were of Jain origin, although we are unable to say wben these came actually into existence. The tradition about the Rani-Gumpha is that it came to be known as Rani-Gumpha on account of the fact that a queen of the Kesari family of kings lived in it. The idea of naming the cave of Kharavela's chief queen in the upper storey of the Mancapuri group as Vaikunthapura (the Paradisiacal), of the cave of King Kadampa-Kudepa in the lower storey as Patalapura (the Infernal), and the side cave of Prince Vadukha-Varikha on the ground floor as Yamapura (the Hidden) must have been suggested by the peculiarity of their relative position. We have no mears, as yet, of ascertaining whether these caves bore any distinct names as at the present time, and if so, by what names before and immediately after the reign of the Kesari kings. But it may he noted here that in Udyota-Kesari's inscription recording the fact of installation of the images of twenty-four Tirthankaras in the caves now known as Navamuni, Durga and Hanuman, the caves have not been referred to by any name. Now with regard to the component parts of a cave (lena) considered as a distinct structure of architecture, we have just a few hints from the inscriptions of Culakamma (Nos. VI. VII) and the single inscription of Kamma and Khina (No. VIII). In the inscriptions of Culakamma, we find that the structure has been represented in terms of its component parts instead of being denoted by a term, such as lena, representing the whole of it. Kothajeya and pasada or pasata are the two expressions that 38 For Private And Personal Use Only

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a cave. 298 OLD BRAHMI INSCRIPTIONS have been employed in these records to denote the component parts of a cave-structure. So far as the term kotha goes, there is little doubt that it was intended to denote the cells or chambers' hollowed out at the back and at the end,' and that the term pasada or pasata was used to denote the open or pillared verandah presenting the appearance of the front view of a palace or building, of a facade as one might say. The difficulty lies in clearing up the mystery of kothajeya as to whether it was to be a combination of the two words, kotha and ajeya (impregnable, unconquerable), treating the latter as an adjective of kotha, or it was to be a compound of the two words, kotha and jeya, treating the latter as a term denoting altogether a separate construction within Acharya Shri Kailassagarsuri Gyanmandir Seeing that in the inscription of Kamma and Khina, the two terms, kotha and pasada, have been used without any word suggestive either of ajeya or of jeya, we may be justified in treating jeya even as a distinct technical term.1 If so, we have to decide what particular construction was intended to be denoted by it. Dr. P. K. Acharya's Dictionary of Hindu Architecture makes it clear that jeya in the sense of 'pent-roof' is a technical term, which may be equated with the Prakrit jeya. One may notice that in some of the Udayagiri caves, there is a pent-roof in the form of a small projection from the side-wall of the verandah and a little below its main roof. It is possible that this small projection was intended to be denoted by jeya in Culakamma's inscriptions. As to the technical significance of the term lena, we are aware that each of the cave-dwellings on the Kumari hill which is designated lena in the old Brahmi inscriptions is known now-a-days as gumpha, a term equating with the Prakrit gumpha, the Asokan kubha, and the Sanskrit and Pali guha. Guha has been distinguished in Pali literature as mattika-guha (earthen cave) and giri-guha (mountain-cave). In the Barabar Hill cave inscriptions of King Asoka and the Nagarjun Hill cave inscriptions of King Dasaratha, the term kubha or guha has been employed to designate certain cave-dwellings of the Ajivikas prepared by dressing up the mountain-caves and rocky dens of animals, polishing their walls and 1. The text is-Kammasa kotha ca Khinaya ca pasado. 2. The term pabbatanam guha (cave formations in the mountains) is explained in the Maha-Niddesa (p. 466) as signifying (1) Kandara (caverns), (2) giri-guha (mountaincaves), and (3) pabbata-gabbhara (hollowed depressions in the mountains). For Private And Personal Use Only

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NOTES 299 ornamenting their entrances with arches serving to lend to them the appearance of chapels. These cave-dwellings of the Ajivikas have neither any verandah nor any properly shaped chambers hollowed out in the interior, and still bears the form of natural cavities and animal dens. These ancient cave-dwellings with their arch-entrances represent the ruder form wherefrom the later Buddhist cave-temples, with their infinitely superior workmanship and ornamentation in the interior, may be said to have developed. And with these ancient Maurya cave-dwellings may be sharply contrasted the caves excavated on the Kumari hill by King Kharavela and his coadjutors for the accommodation of the resident Jain saints and recluses as representing altogether a different architectural design and artmanship. It is evident from their component parts mentioned in some of the old Brahmi inscriptions, that each of the caves on the Kumari hill was so designed as to make it appear like a regular cottage or residential building with an open or pillared verandah (pasada) in front of one or more chambers (kotha) dug out in the interior in the shape of rooms, the verandah being provided, in some examples, with a pent-roof (jeya). These cottage-like or palace-like cave-dwellings of the Jain saints and recluses may be judged with their peculiar roofs as Orissan patterns of the Buddhist monasteries at Sarnath and other places. Now it remains to be seen whether the literary usages sanction the application of the designation lena to the kubha or cave-dwellings of the AjIvikas in the Barabar and the Nagarjuni hills, and the application of the designation gumpha-guha to the lenani or cave-dwellings of the Jains on the two hills of Udayagiri and Khandagiri. So far as the Pali literary usages go, we find that the term lena or lena has been employed in its generic, as well as in its specific sense. In its generic sense, it has served as a common designation for five kinds of monastic abodes, viz., (1) vihara, (2) addhayoga, (3) pasada, (4) hammiya, and (5) guha.1 And in its specific sense, it has served as a designation for a particular kind of construction, which is distinguished, in the Vinaya Texts," from guha (cave) and tinakutika (straw-thatched cottage), and in the Milinda-Panha, 3 from pasada (residential building), kuti (cottage) and guha (ordinary cave) on the one hand, and from pabbhara (cavity with a sloping projection as its covering 1. Vinaya Mahavagga, I. 30. 4; I. 77; II. 8.1; III. 5; VI. 33. 2; VIII. 7. 1; Vinaya Cullavagga, VI. 1. 2. See Pali English Dictionary, sub voce-lena. 2. Vinaya Sutta-Vibhanga, IV. 1.1; XIX. 1-2. 1. 3. Milinda-Papha, p. 151. For Private And Personal Use Only

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300 OLD BRAHMI INSCRIPTIONS roof), dari (grotto), bila (chasm), vivara (hole) and pabbatantara (crevice), on the other. It may be realised at once from the Milinda list that pasada, kuti and lena represent human art and architecture, while pabbhara and the rest represent natural formations. As regards guha, it may be treated either as a natural formation or partly as a work of human hand and skill. As for a natural cave, cavity or cavern improved by human hand, there can be no objection to applying to it lena as a designation or to applying the designation gumpha or guha to a lena in the sense of such a cave. It cannot be denied that the lena on the Kumari hill sought to combine in its architectural design the structures of a pasada, a guha and a kuti. Another interesting point is that one of the Vinaya passages, stating, as it does, that a pabbhara was being cleared for making a lena (pabbharam sodhapeti lenam kattu kamo), enables us to understand the connexion and difference between the pabbhara and the lena, the pabbhara (HathiGumpha pabbhara) which ordinarily carries with it the idea of a slope or projection (ninna, pona)? conveys also the idea of a pabbbata-kucchi,3 that is to say, of a mountain-cave with a sloping projection as its covering roof. We can say that the lena as an excavation and form of architecture made by human hand is just a pabbhara in its natural condition. At any rate, no other inference can be drawn from Buddhaghosa's definition of a lena as "a habitation with an opportunity for sitting and lying, made either by excavating a house in a mountain or raising a wall where a pabbhara is insufficient (to serve as a dwelling)." 4 Lastly, as to the purposes to be served by the Orissan caves in particular, two years' records in the Hathi-Gampha inscription state (1) that 117 caves were jointly excavated by King Kharavela and others to provide the Jain saints and recluses permanently residing on the Kumari hill with shelters for resting their bodies (Kumari-pavate Arahato parinivasato hi kaya-nisidiyaya), and (2) that one spacious cave was excavated by King Kharavela himself for the accommodation of the distinguished visitors among the Jain recluses and the yatis, hermits and sages among the Hindu 1. Vinaya Mabavagga, VI, 15. 1. 2. See, for references, the Pali-English Dictionary, sub voce-pabbhara. 3. Niddega-Commentary, Siamese edition, Part II, p. 172: pabbata-gabbharati pabbata-kucciyo. 4. Pabbharam khanitva va pabbharassa appaho nakatthane kuddam utthapetra ta kata-senasanam. Quoted in the Pali-English Dictionary, sub doce-lena. For Private And Personal Use Only

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NOTES Acharya Shri Kailassagarsuri Gyanmandir 301 ascetics, coming from a hundred directions (sakata-samana-suvihitanam ca sata-disanam yatinam tapasa-isinam lenam karayati). In the fourteenth year's record (I. 15), the cave-dwelling on the Kumari hill are collectively designated as Arahato nisidiya, "the Arhata (Jain) seats." Mr. Jayaswal seeks to maintain on the strength of some later and mediaeval Jain authorities that the term nisidiya, as employed in the HathiGumpha inscription, should be interpreted as signifying a "tomb." Accepting his interpretation of the term, we have to understand that King Kharavela and his compatriots excavated the 117 caves on the hills of Udayagiri and Khandagiri to provide the resident Jain saints and recluses with suitable places for entombing or burying their bodies. We know perfectly well that his explanation of nisidiya, considered as another form of nisaddhi, nisidi, nisadya, nisadyaka, nisidhiya, nisidhika. nisidhyalaya or nisidhigeha, may be justified by the use of the term in several mediaeval inscriptions, mostly found in South India, the references whereto have been collected by Dr. P. K. Acharya in his Dictionary of Hindu Architecture. But the question is whether this later medieval meaning can be read into nisidiya of the Hathi-Gumpha inscription or not, whether, if at all, the idea of a tomb can be associated with lena in its generic or in its specific sense. For Private And Personal Use Only In the first two Barabar Hill cave inscriptions, King Asoka has not stated the purpose of the caves labelled by them and dedicated to the Ajivikas. But in the third inscription, if Dr. Hultzsch's reading of it be correct, the stated purpose of the cave was to provide its inmates with a retreat during heavy showers of rain (jalaghosagamathati). Anyhow, we have the Nagarjuni Hill cave inscriptions of King Dasaratha to clearly state the purpose of the dedicated caves to be to provide their Ajivika-dwellers with resting places during the rainy season (vaanisidhiya). As regards the thirteenth year's record in the Hathi-Gumpha text (I. 14), the stated purpose of the caves may be taken to be, first, to provide the Jain saints and recluses with permanent residences as may be inferred from the expression Arahato parinivasato, and, secondly to provide them with solitary retreats for rest, bodily as well as mental (kaya-nisidiyaya, here kaya denoting both rupa-kaya and nama-kaya as the Buddhists would explain it). We have, moreover, seen that the Pali commentator Buddhaghosa has explained lena as a synonym of sendsana, a term standing for all kinds of retreats of the ascetics and recluses affording an opportunity for lying and sitting. It may also be noticed that the various purposes of the five kinds of hermitages or

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302 OLD BRAHMI INSCRIPTIONS monastic abodes, commonly designated as lena, do not include the idea of entombing the bodies. We read in the Vinaya Cullavagga (VI. 1. 3-5 : Sitam unham patihanti tato valamigani ca Sirimsape ca makase ca sarire capi vutthiyo il Tato vatatapo ghoro sahjato patihannati i Lenatthan ca sukhatthan ca jhayitun ca vipassitum || Vihara-danam samghassa aggam Buddhena vannitam! Tasma hi pandito poso sampassam attham attano # Vihare kuraye ramme vasay'ettha bahussute ! It is manifest from the quoted verses that the purposes of dedicating a lena to the ascetics and recluses were to provide the learned teachers of religion with retreats with an accommodation for their residence, to provide them with shelters, comforts and suitable places for meditation and introspection, as well as with the means of protection as against heat and cold, wind and sun-light, ferocious animals, reptiles, mosquitoes and showers of rain. We may understand that all these were precisely the purposes that the Udayagiri and Khandagiri caves were intended to serve, and that in the curious animal or creature shapes of their roofs and front views one can trace the motive of keeping off the ferocious animals and the venomous reptiles. Turning to the works of art and architecture done under the auspices of King Kharavela in the fourteenth year of his reign, we have to confess that we are incapable of identifying the spacious cave excavated by him as a sort of rest-house for the distinguished visitors among the Jain recluses, as well as for the Hindu ascetics hailing from a hundred directions. The fourteenth year's record (I. 15), stating that some hundred thousand slabs of stone were collected from the excellent quarries extending over many leagues for the erection of stone-pillars and shrines in the neighbourhood of the Jain cave-dwellings on the Kumari hill, eloquently speaks of the use of stone as an art-material, as well as of the free development of the stonecutter's art in Orissa by the time of King Kharavela. Although King Asoka is generally credited with the use of stone (pavata, sela-thambha, sila-phalaka) as an enduring art and engraving material, the general consensus of opinion among the Indologists is tending to be in favour of an earlier existence of the stone-cutter's art in India which was called in requisition and brought to perfection by the great For Private And Personal Use Only

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NOTES 303 Maurya emperor.1 If King Asoka can claim the credit for the rock-cut figure of an elephant on Dhavalagiri, the hill of Dhauli, as the earliest known stone-carving in Orissa, King Kharavela can equally claim the credit for employing the stone-cutter's art successfully on an extensive scale for conjuring up all manner of figures even on the roofs of the rock cut caves. Acharya Shri Kailassagarsuri Gyanmandir In connexion with the stone pillars and shrines (sila-thambhani ca cetiyani), the important point calling for attention is whether the shrines stood apart from the pillars or the pillars and the shrines were combined. The fourteenth year's record goes also to show that the last great work of art and architecture done by King Kharavela was a pillared beryl hall erected in the centre of a canopied court-yard surrounded by fifty shrineposts, which were ornamented with the alternate settings of beryl and emerald (veduriya-nila-vochimnam ceca-yathi-adhasatikam). We are unable to say where exactly this hall was erected together with the court-yard and the shrine-posts, and whether any traces thereof can yet be found. With regard to ornamentation of the shrine-posts with the alternate settings of beryl and emerald (veduriya-nila-vochimna), we have sought to maintain that here by the beryl and the emerald were intended to be meant two different kinds of designs or floral devices. It is impossible to think that the shrine-posts were inset alternately with two varieties of precious gems in view of the fact that no such shrine-posts or pillars are to be anywhere found among the lingering remains of the Udayagiri and Khandagiri works of art and architecture. On the other hand, there survive some of the shrine-posts with two kinds of floral devices alternating each other on their shafts.2 17. MARSHALL ON CHRONOLOGY OF THE CAVES 3 "Of the early caves along the east coast, the only ones that merit attention here are the two neighbouring and intimately connected groups "" na 1. If the simile in the Anguttara-Nikaya (Part I, p. 283), Seyyatha pi bhikkhave pasane vatena va, ciratthitika hoti," O bhikkhus, a writing on a stone is not quickly effaced either by the effects of wind or by those of water but becomes long-enduring," which is put into the mouth of the Buddha be earlier than Asoka's time, it is certain that the idea of employing stone or rock as a long-enduring material for engraving had not originated with Asoka. 2. R. L. Mitra's Antiquities of Orissa, Vol. I, Pl. I. 3. Quoted from the Cambridge History of India, Vol. I, pp. 638-642, Sir John Marshall's article" The Monuments of Ancient India." For Private And Personal Use Only

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304 OLD BRAHMI INSCRIPTIONS of the hills of Udayagiri and Khandagiri in Orissa. Unlike the rockhewn monuments of Western India which were the handiwork of Buddhists, these Orissan caves were both excavated and for many years tenanted by adherents of the Jain religion, who have left behind them unmistakable evidences of their faith both in the early inscribed records and in the mediaeval cult statues which are found in several of the caves. To this sectarian difference is due many distinctive features of the architecture, including, among others, the entire absence of Chaitya halls, for which, apparently, there was no need in the ceremonial observances of the Jains. Taken together, the two groups comprise more than thirty-five excavations, of which the more remarkable in point of size and decoration are the Ananta-Gumpba and the Jaya-Vijaya caves on the Udayagiri hill. Besides these, there are two caves in the Udayagiri group, namely, the Hati. gumpha and the Manchapuri cave in which a special interest attaches by reason of the inscriptions carved on them. Of the whole series, the oldest is the Hati-Gumpha, a natural cavern enlarged by artificial cutting on the over hanging brow of which is the famous epigraph recording the acts of Kharavela, king of Kalinga. This inscription was supposed by Pandit Bhagabanlal Indraji and others to be dated in the 165th year of the Maurya epoch, which, if reckoned from the accession of Chandragupta would coincide with 157-6 B.C. Other scholars have, however, since denied that any such date occurs in the inscription, and at the present time, there is still a sharp division of opinion on the point. In the absence of the undoubted date in this record or in the records of Kharavela's queen and of his successor in the Manchapuri cave, we must endeavour to determine the age of these monuments from other sources of information. In the case of the Manchapuri cave, the problem luckily derives some light from the style of the sculptured reliefs of the interior. This cave, erroneously called Vaikuntha or Patalapuri by earlier writers, possesses two storeys, the lower consisting of a pillared verandah with chambers hollowed out at the end; the upper of similar design but of smaller dimensions and without any chamber at the extremity of the verandah. It is in the upper storey of this cave that the inscription of Kharavela's queen is incised, while in the lower are short records stating that the main and side chambers were the works, respectively of Vakradeva (Vakadepasiri or Kudepasiri), the successor appareptly of Kharavela and of Prince Vadukha, For Private And Personal Use Only

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NOTES 305 It may be presumed, therefore, that the upper storey is the earlier of the two. The rail pattern which once adorned the broad band of rock between the two storeys is now all obliterated, but in the ground-floor verandah is a well-preserved frieze which confirms by its style what the inscriptions might otherwise lead us to suppose, namely, that next to the Hati-Gumpha, this was the most ancient cave in the two groups. Compared with some of the reliefs of the sculptures in the locality, they are of poor, coarse workmanship, but in the depth of the relief and plastic treatment of the figures, they evince a decided advance on the work of Bharhut, and unless it be that sculptures in this part of India had undergone an earlier and independent development (a supposition for which there is no foundation) it is safe to affirm that they are considerably posterior to the sculptures of Bharhut. Next in chronological sequence comes the Ananta-Gumpba--a singlestoreyed cave planned in much the same way as the Manchapuri, which seems to have been the prototype of all the more important caves excavated on this site. Over the door-ways of this cave are ornamental arches enclosing various reliefs; in one standing figure of Laksmi supported by the usual elephants on lotus flowers; in another is the fourhorsed chariot of the sun god (?) depicted en face, with the crescent moon and stars in the field; in a third are elephants; in a fourth, a railed-in tree, and figures to right and left of it bearing offerings in their hands or posed in an attitude of prayer. The arch-fronts themselves are relieved by bands of birds or of animals and Amorini at play or of garlands intertwined, and over each is a pair of triple-headed snakes, while in the intermediate spaces are flying Gandharvas disposed in separate panels. The last-mentioned are more stiff and schematic than the similar figures in the Manchapuri cave. And this, taken in conjunction with other features such as the Chubby Amorini and the treatment of the sun-god's chariot. seems to indicate for these sculptures a date not much earlier than the middle of the first century B.C. A further stage in the development of this architecture is reached in the Rani-Gumpha, which is at once the most spacious and elaborately decorated of all the Orissan caves. It consists of two storeys, each originally provided with a verandah--the lower 43 ft. in length with 3 cells behind, the upper 20 ft. longer with 4 cells behind; in addition to which there are chambers of irregular plan in the wings to right and left of the verandahs. In both storeys the facades of the cells are enriched with pilasters and highly ornate friezes illustrating episodes 39 For Private And Personal Use Only

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306 OLD BRAHMI INSCRIPTIONS connected with the Jain religion of which unfortunately the interpretation has not yet been established. The friezes resemble each other closely so far as their general treatment is concerned, but the style of their sculptures in the two storeys is widely different. In the upper, the composition is relatively free, each group forming a coherent whole, in which the relation of the various figures to one another is well expressed; the figures themselves are posed in natural attitudes; their movements are vigorous and convincing; and from plastic and anatomical point of view the modelling is tolerably correct. In the lower, on the other hand, reliefs are distinctly elementary and crude. The best of them, perhaps, is the group reproduced in Pl. XXVIII, 77, but even here the figures are composed as independent units connected only by their tactile congruity; their postures, too, are rigid and formal, particularly as regards the head and torso, which are turned almost direct to the spectator, and in other respects the work is stiff and schematic. At first sight it might appear that in proportion as these carvings are more primitive-looking, so these are anterior to those of the upper storey, but examined more closely, they betray traces, here and there, of comparatively mature art, which suggest that their defects are due rather to the clumsiness and inexperience of the particular sculptors responsible for them than to the primitive character of the plastic art at the time when they were produced. Accordingly, it seems probable that in this cave, as in the Manchapurf, the upper of the two floors was the first to be excavated, though the interval of time between the two was not necessarily a long one; and there is good reason, also, to suppose that the marked stylistic difference between the sculptures of the two storeys was the result of the influence exercised directly or indirectly by the contemporary schools of central and north-western India. In this connection a special significance attaches to the presence in the upper storey of a doorkeeper garbed in the dress of a Yavana warrior, and of a lion and rider near by treated in a distinctively western Asiatic manner, while the guardian door-keepers of the lower storey are as characteristically Indian as their workmanship is immature. It is significant, too, that various points of resemblance are to be traced between the sculptures of the upper floor and the Jain reliefs of Mathura, where, as we have already seen, the artistic tradition of the north-west, were at this time obtaining a strong foothold. The pity is that the example of these outside schools made only a superficial and impermanent impressions in Orissa-a fact which becomes clear if we consider some of the other caves on this site. For Private And Personal Use Only

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NOTES 307 In the Ganesh-Gumpba, for example, which is a small excavation containing only two cells, the reliefs of the frieze are closely analogous in style and subject, but, at the same time slightly inferior to those in the upper verandah of the Rani-Gumpha. Then, in the Jaya-Vijaya, we see the style rapidly losing its animation, and in the Alakapuri cave, which is still later, the excavation has become still more coarse and the figures as devoid of expression as anything which has survived from the Early School. The truth appears to be that the art of Orissa, unlike the art of Central or Western India, possessed little independent vitality, and flourished only so long as it was stimulated by other schools, but became retrograde the moment that inspiration was withdrawn." 13. STELLA KRAMRISCH ON RELIEFS IN THE CAVES The reliefs that decorate the facades of all the Orissan caves have three main functions : (1) As friezes above a railing pattern, they stretch from tympanon to tympanon above the many small entrances into the caves. Mostly they are narrative. The frieze of the Ananta-Gumpha forms an exception. (2) As symmetrical compositions, on the other hand, they fill the intrados of the tympanon. This, however, is the case in the AnantaGumpha only. Otherwise the intrados are left plain. (3) As continuous rhythmical bands, containing animal, floral and human figures purely decorative, they rise as a lively decoration of the arch of the tympanon. Besides these types of relief the Rani-Gumpha has two walls of its laterally projecting mandapa-like cells, especially on the one to the left of a large relief composition, depicting a forest scene, which reminds one of the Indra relief from Bbaja. It is one of the earliest renderings of an extensive " landscape" scene in Indian art. Single human figures accompany the curve of bracket capitals and of 1 he bracket supports of the railings. Single and coupled animal figures form the capitals of the entrance pilasters. Isolated male and female figures, standing as a rule and riding once (Rani-Gumpha, upper storey), rendered on a large scale, and in a variety of types, guard the entrances. The style of the Mancapuri-cave reliefs puts them right at the beginnirg of artistic activities in the rock-cut caves of Orissa. The relatively well-preserved portion of a frieze shows, above a railing pedestal from left to right, a group of four walking figures in three-quarter profile, the hands folded in anjali-mudra. All of them wear loin-cloths and scarves and For Private And Personal Use Only

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308 OLD BRAHMI INSCRIPTIONS heavy earrings. The first figure is considerably damaged, but seems to wear a crown on the head. The second is decorated by a heavy mural crown as worn by the Mauryan figures. The third has locks curling into the face, a fashion much favoured during the Gupta period and a heavy chignon to the left at the back of the head, as is frequently seen in Mediaeval Indian sculptures. Above these four isocephalous figures, two fat-bodied ganas disport themselves. Behind them appears a cross-bar, with a rope and an object suspended from it. Next to it is a lotus-petalled sun-disc with human-faced seed-pot. Divided from this group by a considerable interval, the figure of an elephant is seen coming forward, emerging from the background of the relief and turning into three-quarter profile, following the procession. It is followed by an inpetuously flying Gandharva, holding a basket. The spacing of the figures has the restfulness and simplicity by which most of the Barhut compositions excel. A sameness of gesture makes the mood of adoration impressive in a concentrated manner. The diction is bold and simple, and denotes this relief as one instance in a long tradition, of which, however, nothing is known, as most of its work, most probably executed in a perishable material, has succumbed to the effects of time. Besides these general features in common, what distinguishes this relief from any of the Barhut reliefs is more important than what links it up with it and with such other early Indian reliefs as those from Bhaja. Here, howerer, as well as in Barhut, the transition froin one artistic attitude into another of quite a different temperament and outlook, is well-marked. The four standing figures, short in stature, and treated as dense rectangular volumes, are faintly reminiscent of that trend of art which during the Maurya period was still alive and degenerated in the following century into a stiff and lifeless awkwardness. All the other figures are animated considerably. This animation, playful and purposeless in the Gana-figures, is enhanced into energetic speed in the onrush of the Gandharva-figure. The transition from the static squareness of the Mauryan figures to linear vitality-peculiar to the 2nd century B.C.,-is marked bere as well as in Barhut. But there the movement is of a hesitating grace and reverential, whereas here it is not only variegated in speed and expressions, but is altogether more intense, untouched almost by any scruples of the religious mind. The craftsmanship is mediocre. Yet it took Indian sculpture eight centuries more to develop it, until at the end of the Gupta period the flying movement could be rendered as convincingly For Private And Personal Use Only

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NOTES 309 as it is done here. The way in which the movement is enhanced from the " kneeling" bent right leg of the flying figure to the raised and outstretched left in order to culminate in the graceful diagonal of the ends of the scarve is contrasted with the playful hovering of the ganas with their enlarged, rounded and inarticulate limbs. Altogether the anatomy of the figures is more suppressed even than in Barhut in favour of an all-round smoothness of limbs, which may be seen in the treatment especially of the forelegs of the elephant, as also in the way in which the drapery is arranged into serpent-body-like " folds " and streamers. This plasticity of limbs is subservient to an easy flow of movements. It gains in liveliness by addressing itself directly to the spectator. Whereas the Barhut figures, unconcerned about his presence, enacted their parts, intensely absorbed by them or by their own existence ; the figures of superhuman beings, of men and animals alike, address the spectator in three-quarter profile, so to say, or else they turn their faces in full front-view towards him. Yet in spite of forcefulness and agitation, the work on the Mancapuri cave, with its halting and economical way as far as spacing and description go, is on one level with the work of Barhut. The features last mentioned belong to the diapason of Indian sculpture in the second century B.C.; whereas the direct emotional appeal, liveliness of gesture, and smoothness of limbs belong to a somewhat later period and are fully developed in the first century B.C. (cf. the relief in Mahabodhi and Sanchi) and destined to become more and more emphasized in the work of the other caves. Although undated and without inscriptions, the reliefs of the AnantaGumpha on the Khandagiri, of the Rani Gam pha, of the Jaya-Vijaya and Ganesa-Gumpha in Udayagiri are further documents for the potentialities and the successive stages of early Orissan sculpture. If the Mancapuri reliefs are somewhat posterior to Barhut, the friezes and tympanon fillings of the Ananta-Gumpha appear to be subsequent to the early portion of the Mababodhi railing reliefs. The Surya-reliefs, bere as there, apart from the similarity of subjectmatter and composition, betray in either case a further step taken in the direction indicated in Barhut as well as in the Mancapuri reliefs. Freedom from the shackles of the static cubic form adhered to in the Maurya period had been reached partly and gained in Barhut in a painstaking and careful process, whereas this selfsame freedom was reached in the Mancapuri reliefs with bolder vigour and impetuousness. This freedom, once gained in all the reliefs of the 2nd century B.C. and For Private And Personal Use Only

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310 OLD BRAHMI INSCRIPTIONS of the succeeding period, asserts itself with ever-increasing ease. It lends to the monuments of Central India and Bihar a plastic roundness of limbs, able to display themselves with ever-growing liveliness. It adds in Orissa to such reliefs as those of the Ananta-Gumpha, a plastic volume of infinite curvilinear possibilities. The cobra-body running parallel with the extrados is the most abbreviated formulation of this inherent tendency. The chariot on which Surya with his two female companions are drawn is of similar construction in both the representations. The wicker-work front introduced in the AnantaGumpha relief facilitates the employment of smooth, elongated and rounded units. They appear again in the bent legs of the horses to which further company is added by the zigzag of the broader, serpent-like and rounded limbs of " Pingala " with staff and pot. The way in which his flabby body and face are modelled and are spread into the surface with great breadth, resembles the treatment of the ogress of darkness in the Surya relief from Bhaja. It stands in striking contrast to the relatively firm plastic form of Barhut and Mahabodhi reliefs, but it shows how the artistic traditions of Central, Eastern and Western India touched each other in certain features while yet retaining their local inde. pendence in the main. Nothing indicates the peculiar idiom of the Ananta-Gumpba reliefs more distinctly than the sweeping variety of curves in which the necks of the prancing borses are bent hither and thither. In the corresponding Mahabodhi relief their movement is more uniform, more definitely connected with reality. The Ananta-Gumpba composition adding, as it does, the lotus disc of the sun and the bead-accompanied crescent of the moon to the figures with elbows, splayed out into the relief, obtains a peculiar fulness of an almost flowing and flat relief, which again strongly contrasts with the firmer discipline of the higher and more energetic Mahabodhi relief. The Mancapuri relief was remarkable specially for the direct and bold vigour of its movements. This vigour is not muscular. It is not rendered by a firm modelling, but by linear curve. The method remain the same in the Ananta-Gumpha reliefs, but what formerly expressed itself as vigour has been transmitted now into a tough pliability. The speed has slowed down. The movement unfolds itself in breadth instead of being stated in an outspoken and sharp curve (cf. the Gandharva, Mancapuri). It appears as a continuation of that hovering playfulness that had splayed out the For Private And Personal Use Only

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NOTES 311 clumsy limbs of the ganas there. But what was noticeable only in one type of figures and just in one variety there, is made now the exclusive principle of form. The boyish figures playing and rushing about in and between animal figures, amply betray this. The Laksmi relief, in the second tympanon of the Ananta-Gumpha 'corroborates it. The flying Gandharvas filling the single rectangular compartments of the frieze show a sweep of drapery ; more to fill the surface than to express movement dynamically. The figures themselves in a flat, round and inarticulate modelling blissfully hover in their respective attitudes instead of rushing towards a goal. The frieze of the Ananta-Gumpha deserves notice. Its main panels containing the flying Gandharvas suggests a barrel vaulted corridor supported in even intervals by the smooth shafts of round pillars stuck into pots. Above this runs a minor frieze, partly consisting of the usual railing pattern and partly of the combination of battlement and blue-lotus profile-pattern, well established in Barhut. Next to these reliefs, those of the verandah, lower storey, left wing proper of the Rani-Gumpha have to be placed. They stand in striking contrast to the few reliefs of the Mancapuri lower storey that escaped defacement and specially to those of the upper storey. The complete scene with the dance, the other with the kingly person seat. ed with his companions, as well as the minor scenes, such as the one of adoration recall the plastic treatment of the Ananta-reliefs. The contour, however is somewhat hardened, the proportions are somewhat more elongated than there. But a sameness prevails in the wide open and almost expressionless glance of the faces, in the splayed-out plastic, awkward in its flabbiness on account of the hard contour that limits it. These reliefs appear to be the work of a less-gifted band and of a more harshly conducted tool as those of the Ananta-Gumpha, but otherwise they are the outcome of one and the same artistic mentality although they appear to be of later date. Quite different are the scenes on the main wing and those on the corner portion of the left wing. The figures have grown in the height of the relief and in individual vivacity. Frequently one row is oversected by the other, groups of figures are formed as spontaneously and as rebellious with life as those in Sanchi. The faces have a happy smile, the movements are full of individual freedom. Their keen variety is supplemented by a factor that now becomes of a paramount importance. For Private And Personal Use Only

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312 OLD BRAHMI INSCRIPTIONS This is the darkness differentiated in its depth that gives to the single figures and groups a texture elusive and rich. They form the light pattern on it. This pattern effect of plastic forms surging into light from the darkness of the background is worked out in the most intricate manner on the walls of the projecting, portico-like side-cell. Above polygonal pilasters in pot-basis supporting a tympanon arch above animal capitals on the one facade and above less elaborate rectilinear pilasters supporting on capitals a tympanon on the adjacent side, and on the wall to its left proper a scene of forest life is carved with mangoe trees, rocks, waterfall and animals. Every single form is worked out by itself in bold relief. The forms are so densely set that the entire wall is dissolved into a deep and rough texture. Even the figure of a bird which by its smallness might become inconspicuous, is represented as a clearly visible entity by means of a receptacle, co to say, carved around it of circular or squarish shape. These very elaborate devices make up one of the earliest pure "landscape" scenes of Indian sculpture. The forest here is rendered in the same way as the jungle grows. One forms next to the other, densely crowded, not allowing any hori. zon to be seen, any path to be found, an intricate pattern in which the single forms arrange themselves by crowding into every nook and corner. The heavier and more voluminous fall to the ground, the smaller and more slender forms rise up. The density of the pattern worked in high relief, pervaded by the contrast of light and shade, scarcely gives room for any rhythms except a perchance the rigorous discipline of densely set figures in superimposed rows; it is of the same type as the method of crowding with figures the reliefs of the Sanchi gateways. Whatever the actual chronology of these undated caves may be, an inner process is at work, akin, nay parallel, to the changes that took place in the evolution of the reliefs from Barhut, through Mahabodhi, to Sanchi. These three stages are represented in Orissa by the work on the Mancapuri, on the Ananta and Rani-Gumpha. Guardian figures are carved at the side of the cells of the Rani. Gumpha or in front of the verandah pillars. Such guardian figures are to be seen on the Bhaja Vihara rendered in a somewhat different idiom and in an earlier fashion. The figures from the Rani-Gumpha represent most varied types in body and dress, The treatment, however, remains one For Private And Personal Use Only

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NOTES 313 and the same. It is a modelling with naturalistic aim, elaborating the anatomy in a broadly summarizing manner. The standing posture, though generally easy,-except the one figure clad with dhoti only, occupying the uttermost panel of the upper storey, left wing, betrays determination. The faces are damaged beyond recognition but from the minutely variegated physique and costume it appears as if these high reliefs were meant to be portraits. The tall figure, wearing a staff in the right hand, is reminiscent in its slenderness of the Southern type as may be seen in the figure of the worshipping prince from the Jaggayapeta relief ; remarkable again is the mighty bodily bulk of all the figures in the upper storey ; specially striking is the man, clad in Northern style, girded with a sword and wearing high boots. Just as the Surya composition of the Ananta-Gumpha tympanon may be traced via Mahabodhi to Mathura, 80 also is the costume of this figure to be met with among the Indo-Scythian statues from Mathura. Of greatest artistic value, however, amongst all the early Orissan reliefs, is the frieze decorating the upper storey, main wing of the Rani-Gumpha. It begins with the frenzied onrush of a youthful male figure, carrying a tray with floral offerings in the left and a full blown lotus in the right. Its impetuous movement is a direct descendant of that of the flying Gandharva, Mancapuri. The hovering of the Ananta-Gumpha flight has sunk into oblivion. Moreover, the movement which in the first storey amounted to a gliding just abyve the surface of the earth, now seems to emerge from it; the left foot is still half-covered by it; it is no longer a movement from above downward, nor a hovering in mid-air, nor a gliding above the surface, but a frenzied gesture of freedom ; uttered with the conviction of one who masters the decorative side of every experience. The following relief on the other side of the tympanon shows three elephants next to a prelude of a rocky landscape with cave and animals. Nothing could afford a stronger contrast to the perfectly decorative, two-dimensioned ma iner in which the figure with the offering was treated than this bold modelling, as impetuous in its realism and voluminous depth as the other is accomplished in width and complete organization of the surface. The daring oversecting, the mastery of mass, the agitation of light and shade and the one superb sweep by which the mighty bodies are composed into a circle have nothing in early Indian sculpture to compare with. The following scenes are more lyrical in their treatment, more bent towards the decorative, so that the animated figures, 40 For Private And Personal Use Only

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314 OLD BRAHMI INSCRIPTIONS carved in a high, yet sparingly modelled, relief become displayed lucidly over a flat background. The trend of art represented by the bulk of Barhut reliefs is still going strong. But a greater individual animation, a more dissected rhythm, a tougher sense of modelling are characteristic features. The modelling especially is conspicuous; the figures appear as if made of blown glass, so smooth is the texture of their rounded surface. This softness, however, is counteracted again by crisp movements, imparted to imbs, weapons, etc. The ambiguous character of the frieze may best be judged by comparing the elephant group with the group of girls surrounding a seated woman. Whatever has been depth there is surface here : volume is displaced by linear flow and calm surface, boldness by playfulness, altogether a perfect artistry, a last climax of a development. Its mannerism, its being oversure of itself, may be seen in such forms as offered by the back-view of the musicians where anatomy and movement are mastered and distorted to make a pattern and nothing more. The reliefs on the Jaya-Vijaya cave may be considered a second rate side-issue of the work on the Rani-Gumpha. The worship of the tree scene, however, deserves notice, inasmuch as it contains the clearest formulation of the spatial conceptions of early Indian sculpture, widely made use of at the days of Barhut, matured into completion in Mababodhi and in this special example. One of the female guardian figures betrays in the slimness of her body and by the easy grace of her posture that selfsame affinity with southern Saivite type that suggested itself already in view of the male standing figure of the Rani-Gumpha (side wing, lower storey). One of the latest excavations, the Ganesa-Gumpha, gives in the reliefs of its frieze a somewhat slipshod and abbreviated, though a more mature, version to the same scenes that figured with such ingenuous variety on the frieze of the upper story of the Rani-Gumpha. From the style of the carvings the reliefs of the Udayagiri and Khandagiri caves, compared with the reliefs on the Buddhist railings in Bihar and Central India, cover a period of one and a half century approximately. The Manchapuri relief and those of the Ganesa-Gumpha mark the beginning and end of this continuity. 19. RELATIVE CHRONOLOGY OF THE CAVES Rightly presuming that the bas-reliefs in the Ananta-Gumpha, the Rani-Gumpha and such other caves on the hills of Udayagiri For Private And Personal Use Only

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NOTES 315 and Khandagiri were not an independent local development in Orissa, Sir John Marshall finds reasons to maintain that in the depth of the reliefs and the plastic treatment of the figures, these show a development posterior to that of the sculptured reliefs on the Barhut stonerailing, and that judged by the relative inferiority and superiority of workmanship in the reliefs of different caves, these appear to reveal a successive chronology of the Orissan art. Dr. Stella Kramrisch agreeing with sir John Marshall in many of his main points, goes so far as to regard the bulk of the Orissan cave-reliefs as standing midway in some of their essential features between the sculptures on the stone-railing at Barhut and those at Buddha-Gaya. She inclines to think that the evolutionary process of plastic art in the Orissan caves took about a century and a half from its commencement to produce all the works that we find there. So far as their conclusions with reference to the development of plastic art in the reliefs themselves go, we may have nothing to gain. say. Our difficulty is whether at all their conclusions as to the relative chronology of the reliefs are valid so far as to decide the relative chronology of the caves themselves. The real point at issue is whether the arch-bands with their wealth of reliefs treating of various subjects and adorning the entrances of the Ananta-Gumpha and such other caves were at all there when the caves were excavated by King Kharavela and his compatriots. The point gains in significance as we find that the Hathi-Gumpha and other old Brahmi inscriptions allude to the architectural details, but not at all to any sculptured reliefs. And from the architectural point of view, the inferior workmanship and the superior workmanship as arguments respectively for the priority and the posteriority of the caves cannot bear scrutiny. It is evident from descriptions in the Hathi-Gumpha inscription itself that workmanship displayed in the costly works of art and architecture done by King Kharavela in the fourteenth year of his reign was far superior to that displayed in the 117 caves jointly excavated by King Kharavela and others in his thirteenth regnal year on the Kumari hill for providing the resident Jain saints and recluses with suitable resting places. In one case, King Kharavela started with the distinct object of producing certain monumental works of art and architecture, and in the other, he started with the distinct object of comfortably housing the resident Jain saints and recluses. For Private And Personal Use Only

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316 OLD BRAHMI INSCRIPTIONS The differences in style and workmanship may as well be accounted for by the differences in the tradition, training and skill of the artists or craftsmen employed. To prove that the caves with superior style and technique of art in their reliefs were chronologically posterior to those without reliefs, as well as to those with inferior style and technique of art in their reliefs, it is necessary, first of all, to establish that any of the caves now found with highly ornamented reliefs was not counted among the 118 caves excavated in the thirteenth and fourteenth years of Kharavela's reign. We have no evidence, as yet, to prove that. The inscriptions in the Udayagiri and Khandagiri caves standing next iu point of chronology to the old Brabmi inscriptions are a few Sanskrit inscriptions, including one incised by King Udyota-Kesari in the 7th century A.D. or even at a later period. King Udyota-Kesari's inscription, as we have seen, records the installation of the images of 24 Tirtharkaras in three of the caves on the Khandagiri bill which are known as Navamuni, Durga and Hanuman, and the re-excavation of an old tank. None of these medieval inscriptions alludes to the excavation of a new cave. On the other hand, the installation of the images of 24 Tirtharkaras by King Udyota-Kesari and that of the images of nine sages, Durga and Hanuman by the Hindus thereafter indicate a process of successive superaddition of stone-figures. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra -akhadamsasa, VII. aga-mahisina, II. Amga, 1.13. Amga-Magadhato, I.13. Amga.Magadha-vasinam, I.13. Amganam I.13. acitayita, 1.3. -adhasatikam, 1.15. -adhipatina, I.1. -adhipatino, III. -adhivasam, I.5. -anugaha, I.7. anubhavamto, I.16. aneka, I.15. anekani, I.7. anupato (?), 1.9. -achariyam, I.13. -ajeya (jeya), V, VII, XII. athatisaya, I.10. athame, I.9. apayato, 1.9. apatihata, I.16. abbisitamato, I.2. abhisito, I.7. Arahamta, II. Arahato, I.14. Arihamtanam, I.1. avadatena, I.1. -asa, asam, I.13. Asaka (Asika ?), I.3. asi, 1.8. A -abhisecanam, I.1. abhutam, 1.13. Arakatapuram (ahatapuvam ?) I.5. Arahata-nisidiya, I.15. -akara, I.15. -agataya, 1.3. aneti, 1.13. -bharapani, 1.13. -ayatana, 1.16. aharapayati, I.13. -ahitahi, 1.15. LIST OF INSCRIPTIONAL WORDS Imdaraja (?), 1.16. -idani, I.1, 1.6. idha, 1.13. -isi, 1.16. -isinam, I.14. A www.kobatirth.org I U Utarapadha-rajano, I.13. upanamayamti, I 13. upadayati. 1.15. upetena, 1.1. -uyana, I.2. usava, 1.4. ekadasame, I.12. etinam, I.9. -eva, I.9. Airasa, III, Airena, I.1. -oghatitam, I. 6. Acharya Shri Kailassagarsuri Gyanmandir karitam, II. kareti, I.13. E For Private And Personal Use Only Ai 0 kamma-padana, I.9. Kammasa, VI. -kadara. I.1, Kadampa (Kudepa ?), III. Kapa-rukha, 1.9. -kara, I.7. kalanani, I.16. Ka Kalimga-cakavatino, II. Kalimga-nagari. 1.2. Kalimga-puvaraja, I.12.. Kalimga-pavarajanam, 1.5, 1.11. Kalimga-rajanivasam, I.10. Kalimga-rajavamsanam, I.11. Kalimgam, I.9. Kalimgagataya, 1.3. Kalimgadhipatina, 1.1. Kalimgadhipatino, III. kaya-nisidiyaya, I.14. karako, 1.16. karayati, 1.2, 1.10, 1,15. karapanahi, I.4. karapayati, 1.8, I.11. I.15. karapitam, I.14. karapeti, I.12.

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318 OLD BRAHMI INSCRIPTIONS Cha chadhe, 1.7. -chata, 1.5, 1.8. Kalimga-Jinisanam, 1.13. Kalimganam, II. kida payati, 1.4. -kidika, 1.1. kidita, I.1. kumara-kidika, 1.1. Kumari-pavate, 1,14. kamaro, IV. Kusumasa, XIII. -kutena, 1.5. kotha, VI. kotbajeya, V, VII, XII. janetum, 1.13. janapadam, 1.7. Jinasanam, 1.13. jeya (ajoya ?), V, VII, XII. Kha Na - atibi, 1.14. khanapayati,1.6. Kharavela, 1.14, 1.16. -Kharavelasa, II. -Kharavelena, 1.1. Khinaya, Vi Khemaraja, 1.16. Ga Gamgayam, I.13. Gamdhava-veda, 1.4. -gaja, 1.3, 1.9, I.13. -ganana, I.1. gabhira, I.2. -gabhe, 1.15. -gahapatikanam, 1.9. -gita, I.4. guna, 1.1., I. 16. guta-cako, I.16. gopura, 1.2. gopurani, 1.13. Goradhagirim, I.9. -tadaga-padiyo, I.2. tatiya, I.11. tatiye, 1.1, 1.4. tato, I.1. tatha, 1.5. Tanaguliya, 1.6. tapasa, 1.15. -tasite, 1.5. tiriyam, 1.15. -tivasa-sata, 1.6. -tisaya, 1.10. tishi, I.2. -turamga, 1.8. terasame, I.14. terasa-rasa-sata-katam, 1.12. Tha -thambhani, 1.15. thambhe, 1.15. Gha -ghatani, I.8. -gharavasinam, 1.9. -ghatapayita, 1.9. Da ca damdam, 1.3. dampa (dapa ?), I.4. -dabham, 1.12. dadati, 1.9. dasame, 1.11. -disam. I.3, -disanam, 1.15. dutiya, 1.3. devayatana, 1.16. ca, 1.2 foll. -caka, 1.16. -cakavatino, 11. -cake, 1.14. -cako, I.16. -catara, I.13. -catare, I.15. catu visati, 1.1. cavathe, I.5. Culakammasa, V, VII, ceca-yathi, 1.15. Ceta-rajavamsa, 1.1. cetiyani, I.15. cedani 1.6. Dha -dhaja, 1.8. .dhamakutena, 1.5. Dhamaraja, 1.16. dhamena, 15. -dharo, I.16. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra nagaram, 1.6. -nagari, I 2. nagarim, 1.4. -nata, 1.4. namo, 1.1. nara, 1.3, 1.9. narido, 1.9. nava-vasani, I.1. navame, 1.10. Nakiyasa, IX. nikhita, I 5. Nagale, 1.12. Namda-raja, 1.6, 1.13. nagara-akhadam sasa, VIII. -nivasam, I.10. .nivesanam, I.2. nivesayati, 1.13. nivesitam, I.12. -nisidiya, I.15. -nisidiyaya, I.14. -nitam, 1.13. -nila, 1.15. nekasayati, I. 12. pamcame, 1.6. Papda-raja, 1.13. pardarasa-vasani, I.1. pakatiyo, 1.2. pachima, 1.3. patalika, I.15. patisamkharayati, I.2. pathapayati, 1.3. patithapayati, 1. 15. patisartha panam, 1, 2 -padaua, I. 9. padhame, 1. 2. panatariya, I. 15. panatisahi, I. 2, 1, 15. panadim, I. 6. -panadena, I. 9. papidapayati, I. 9. pabhare, I. 15. palikhani, I. 13. parinivasato, I. 14. pariharamti, I. 13. palava-bhara, I. 9. pavata-cako, I. 16. -pavate, I. 14. pavesayati, I. 6. pasatha, I. 1. pasamto, I. 16. -pasadanam, II. -pasasayati, I. 5. pakara, I. 2. -padiyo, I. 2. padamalikasa, XIV. -pada, I. 12 pade, I. 5, I. 12. pana-bhojanam, payayati, I. 13. pasato (pasado ?) VII. I. 9. Na LIST OF INSCRIPTIONAL WORDS www.kobatirth.org Pa Acharya Shri Kailassagarsuri Gyanmandir -pasadam, I. 10. pasado (pasado), V, VI, Pithudaga, I. 12. puram (pavam ?), I, 5. purisa-yuge, I. I. puvarajanam, 1. 5, I, 11. pujako, I. 16. -pesayamti, I. 13. pora-jana padam, 1. 7. -bhatakanam, 1.9. -bhatakehi, 1. 14. bhayam, I. 13. -bhatihi, I. 14. -bhimgare, I. 5. bhita, I. 5. Bhutino, VIII. -Bhojake, I. 5. -bhojauam, I. 9. bamdhapayati, I. 1. bamhananam, 1, 9. -balo, I. 16. -Bahasatimitam, 1. 13. -bahnlam, 1. 3. barasame, I. 13. Bariyaya, IX. -budho, I. 4. Ba yamti, I. 9, J. 12. yatinam, I. 15. yasa-sakaram I. 11. yuga-saga, I. 10. -yuge, I. 1. For Private And Personal Use Only Bha -mamgalani, I. 8. -mani, I. 12. Madhuram, I. 9. -Magadhato, I. 13. -Magadha-vasinam, I. 13. mahati, I. 9. Mahamadasa, IX. Ma Mahameghavahanasa, I. 1. Mahameghavahanena, III. maharajabhisecanam, I, 1. Maharajasa, III. maharajena, I. 1. mahavijayo, I. 16. -mahisina, II. -mahisihi, I. 14. Magadhanam, I. 13. muta 1. 13. Ya Ar

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Shri Mahavir Jain Aradhana Kendra 320 yojana-ahitahi, I. 15. yovanabhivijayo, I. 1. yovarajam, I. 1. ramjayati, I. 2. -rakhi, I. 8. rakhanu (?), I. 1. -rathika, I. 5. -ra tana, I, 5, ratanam, I. 13. ra tanani, I. 12. -radha, I. 3, I. 8, I. 9. -raja, I. 6, I. 12. Rajagahanam, I. 9. raja-natihi, I. 14. raja-nivasam, I. 10. raja-bhatakanam, I. 9. raja-bhatakehi, I. 14. raja-bhatihi, I. 14. raja-mahisihi, 1. 14. rajavamsa-vadhanena, I. 1. -rajavamsanam, I. 11. rajavamse, I. 1. raja-sirim. I. 7. raja-sutehi, I. 14. -raja, I. 16. rajanam, I. 5, I. 11. -rajano, I. 13. rajino, II. .rukha, I. 9. -rapa, I. 1. -lakhanena, I. 1. Lalakasa, II. Ra varakara, I. 15. Vadha-raja, I. 16. vavahara, I. 1. -vasasata, I. 6. La lena, I. 14. lenam, lenam, II, III, IV, VIII, IX, X, lenani, XIV. -vasani, I. 1. vase. I. 2 foll. -vaso, I. 1. -vasinam, I. 13. -vata, I. 6. vata-vihata, I. 2. .vadita, J. 4. -vamsa, I. 5. -vamdapayati, I. 5, I. 13. -vamsa, I. 1, I. 16. -Vamsanam, I. 11. -vamse, I. 1. Vadukhasa (Varikhasa?), IV. -vana, I. 7. -vadhanena, I. 1. vadhamana, I. t. Va www.kobatirth.org OLD BRAHMI INSCRIPTIONS -vasasatam, I. 12. -Vasuki, I. 13. -vahana, I. 1. -vahanasa, II. -vahane, I. 9. -vahanena, I. 1. -vijaya-cake, I. 14. vijaya-pasadam, I. 10. -Vijayo, I. 1, I. 16. vijadharadhivasam, I. 5 vijavadatena, I. 1. vitaseti, I. 3. -vidhi, I. 1. -vinisito, I. 16. vipamumcitum, I. 9. vipulam, I. 13. visajati, I. 7. -visaradena, I. 1. vividha, I. 13. -visesa, I. 16. -vihata, I. 2. vithi, I. 13. -veda-budho, I. 4. veduriya, I. 10, I. 15. -vochimnam, I. 15. sa, I. 16. -samkara-karako, I. 16, -samkharayati, I. 2. -samthapana, I. 2. samdamsanam, I. 8. samdamsayamto, I. 7. samdamsanahi, I. 4. sampuna, I. 1. sambhita, I. 9. Sa sakata (sukata ?), I. 15. -sakaram, I. 11. sagavasane, I. 10.. sata, I. 6. -satam, I. 12, I. 14. -sataghatani, I. 8. satadasa-lena-satam, I. 14. sata-disanam, 1. 15. satame, I. 8. sata Vasuki, I. 13. -satikam, I. 15. samana, I. 15. sata-sahasani, I. 7, I. 13. sata-sahasahi, I. 15. -sata-sahasehi, I. 2, I. 6, I. 9, I. 10, I. 11, I. 13, I. 15. samananam, I. 9, II, XI. samaja, I. 4. samipe, I. 15. samuthapita hi, I. 15. -sariravata, I. 1. sava-kara-vana, I. 7. savata, I. 5, I. 8. sava-mamgalani, I. 8. sava-rathika-bhojake, I. 7. sava-vijavadatena, I. 1. sava-sidhanam, I. 1.

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POETR 41 LIST OF INSCRIPTIONAL WORDS savuyana, I. 2. -saha, I. 9, I. 2. -sahasani, I. 1, I. 11. -sahasahi, I. 15. sitala, I. 2. .sihasa, II. -sutehi, I. 15. sunamto, I. 16. -sahasehi, I. 2, I. 6, I. 8, I. 9, I. 10, I. 11, supavata, I. 1. I. 13, I. 15. satakamnim, I. 3. -sapateye, I. 5. sasitam, I. 1. -sidhanam, I. 1. -siri, I. 16. siri-kadara, I. 1. -sri-Kharavelasa, II. siiri-Kharavelena, I. 1. -sirina, I. 14. -sirino (sirino), III. -sila-thambhani, I. 15. silahi, I. 1. siharani, I. 13. Acharya Shri Kailassagarsuri Gyanmandir -subha-lakhanena, I. 1. -suliya, I. 6. sena-vahana, I. 13. sena-vahane, I. 9. so, I. 1. For Private And Personal Use Only Ha hathi, I. 13. hathisam, I. 9. hathisa-pasavam, I. 13. haya, I. 3, I. 13. hita, I. 5. 321

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INDEX TO NOTES Abhuta-achariya, a description of certain Beal, Samuel, p. 225. elephants and horges from the land of the Beglar, J. D., p. 225. Vasukis, pp. 221, 291. Ben-Gumpha (Jambeswara), name of a cave Acharya, P. K., pp. 289, 298. on the Udayagiri, p. 295. ahatapuva (ahatapuva ? ), an adjective ap- Bhandarkar, D.R., pp. 204, 211, 224, plied to the Vidyadhara-abode, p. 210. Bhojaka, pp. 210.1. Aira (Ahira), a king of Utkala, pp. 183-5. Bhuti, a town-judge of Kalinga and donor of aira, a royal style, p. 262. a cave on the Udayagiri, p, 248. Ajagara-Gumpha, name of a cave on the Bindusara as a Brahmana-bhatta, p. 260. Udayagiri, p. 295. Brahmamitra, & king of the neo-Mitra Akbar, pp. 265, 268. dynasty (?), pp. 278-9. Alaka (Mulaka). one of the Andhra terri- Bphaspatimitra. identified by Jayaswal with tories, p. 212. Pasyamitra, p. 274. Alakapuri, name of a cave on the Udayagiri, Byhasvatimita, father of Queen Yagamita, pp. 295, 297. p. 274. Amga, a country conquered by Kharavela, caka-vahana-bala, an epithet of Kharavela, p. 231. p. 263. Ananta Gumpha, name of a cave on the Caldwell, p. 206. Khandagiri, pp. 295-6. cakaoati, a royal epithet, p. 232. anta avijita, pp. 216.7. caturamta-rakhana-guna-upeta, an epithet anupa-dabha.vana, a description of Pithu. of Kharavela, pp. 231-2. daga, pp. 197, 217. ceca-yathi, p. 303. apparels, as presents from the king of Cetarajavamsa-vadhana, an epithet of Kbara. Pandya, p. 252. vela, pp. 233-5. apatihata-caka-vahana-bala, an epithet of cetiyani, shrines, p. 303. Kharavela, p. 253. Chakravarty, Niranjan Prasad, p. 149. Arahamta (Arihamta), a Jain designation, Ohanda, Ramaprasad, pp. 150, 180-1. pp. 262-3. Ohatterji, S. K., pp. 164, 249, 267. Arakatapura (?), a city identified with Arcot, Chicacole, p. 201. pp. 205-6. Ohola, pp. 205-6. Asaka (Asika), a city identified, pp. 212-6. Chcta-Hathigampha, name of a cave on the Agoka, his Kalinga province compared with Udayagiri, p. 295. Kharavela's Kalinga kingdom, pp. 192-3, Coomarswamy, p. 141. 202; prohibition of sacrificial slaughter, p. Cowell, p. 248. 251; Kalinga War, pp. 264 foll. ; popula. Cunningham, Alexander, pp. 206, 229. tion of Kalinga in his time, p. 256; atti. Dakkhina patha as distinguished from Uttaratude towards former kings, p. 258; patha, p. 218. religious policy and idea of toleration, dampa (dapa), pp. 264-5. pp. 264 foll.; conquest of Kalibga as a Dantagura-Paloura, old capital of Kalibga, p. landmark in the history and civilisa-! 198. tion of Kalinga, pp. 279-80, 302-3; Deb, Harit Krishna, p. 143. compilation of the Kathavatthu during Dhanabhuti, donor of Barhut gateways, his reign, p. 284 ; ideal of conquest by p. 277. dhamma, p. 286 ; work of art on the Dubreuil, p. 228. Dhauli rock, p. 303. Dutt, B.B., p. 289. Agadhasena, maternal uncle of King Bahasati- Durga-Gumpba, name of a cave on the Khan mita and king of Abichatra, p. 278; his dagiri, p. 296. inscriptions, pp. 147, 161. ekapadimagga, p. 212. Bagchi, P.C., p. 224 Fleet, p. 144. Bahasatimita (Brhaspatimitra), king of Francis, p. 241. Magadha and contemporary of Kharavela gaja, a division of Indian army, p. 252. identified, pp. 273-4. gahapatayo, p. 262. bamhana, p. 262. Gamdhava-veda-budha, an epithet of Banerji, R.D., pp. 161, 160, 166, 248, 326, Kharavela, p. 242. Bara bar hills, its different names, pp. 226-7. Gamga, as a northern boundary of AmgaBariya, a place or personal name, p. 248. Magadha, p. 221. 322 For Private And Personal Use Only

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INDEX TO NOTES 323 kata-sama ini, p. 247. cells of a cave ganana, an art mastered by Kh&ravela, pp. | Kamma, donor of the cells of a cave on the 241 foll. Ganesa-Gampha, name of a cave on the kata-samana, p. 262. Udayagiri, p. 296. Khalatika-pavata, old name of Barabar Ganguly, Manomohan, pp. 217, 220, 294-5. hills, p. 226. gharavasi, p. 262, Khapingala-pavata, p. 193. Girivraja, old capital of Magadha, p. 224. Khara vela, contents and importance of his gopurani, pp. 287-90. inscription, pp. 175 foll. ; king ove lord of Goradhagiri, a place or personal name, pp. Kalinga, pp. 231-2; significance of his 223-7. name, p. 267; nobility of origin, pp. guta-oaka, an epithet of Kharavela, p. 178. 233-5; dignity of bodily form, p. 239; Hunuman.Gumpha, name of a cave on the education, pp. 240.6; family members, Khandagiri, p. 297. relations and officers, pp. 246.9; state Haridas-Gumpha, another name of Pavana. elephant, pp. 249-50; wealth, pp. 250Gumpha, p. 296. 2; army, pp. 252-6; administrative Hathi-Gumpha, name of a cave on the method, pp. 256-9; religion and religious Udayagiri, p. 295. policy, pp. 259 foll.; place in history, pp. Hathis, ha (Hathisiha), father-in-law of 268 foll.; date, pp. 272 foll. ; city of Kharavela, p. 249. Kalinga, pp. 287 foll.; other works of art hattha-mudda, P, 243. and architecture, pp. 292 foll. haya, a division of the Indian army, p. Khiqa, a female donor of the verandah of 252. a cave on the Udayagiri, p. 247. Himavanta region as distinguished from Kramrisch Stella, pp. 305 foll. Uttara patha and Dakkhinapatha, pp. Kosala, a division of Kharavela's Kalinga 219-20. kingdom, p. 203. Imdagimita, a king of the neo-Mitra dynasty Kothajeya, p. 298. (P), p. 278. Kumara, an epithet of Vadakha-Varikha, p. Indaraja, an epithet of Kharavela, p. 247. 250. Kusuma, donor of caves on Khandagiri, p. Indraji, Bhagawanlal, p. 144. 248. isi, Hindu gages, p. 262. Lalaka, an epithet of King Hathisaha, Isigili, one of the five hills round Rajagana, p. 249. pp. 164-5, 225. Lekha, an art learnt by Kharavela, pp. 241 Jackson, V. H., p. 224. foll. Jaya-Vijaya, name of a cave on the Udaya-Lena (cave), 117 caves on the Kumari hill, giri, p. 297. p. 292; one special cave, p. 292; why Jayaswal, K. P., his explanation of the all are not inscribed, p. 293; system symbols, p. 142; fire corrected readings, of counting, pp. 293-4 ; fate of missing pp. 154-6, Sanskrit Slokas from an old caves, p. 294; modern names, pp. 294 foll.; Osiya MS., pp. 183-7; notes on Muzikas, component parts, p. 300; technical sig. Kronavena and Strirajya, pp. 207 foll. ; nificance, p. 301 ; purposes, pp. 301.2. readings and renderings of Kharavela's Levi, Sylvain, pp. 196-7. 8th year's record, pp. 222-3; identifica. Law, N. N., pp. 237, 251. tion of Goradhagiri, pp. 225-8; explana. Laders, H., pp. 164, 224. tion of purisa-yuga, p. 235; explanation Madhura (Mathura), identified, pp. 219 foll. of lekha-rupa-ganana-vavahara-oidhi, pp. madya-krida, p. 264. 244-5; inforence about population of Magadha, country, p. 234. Kalinga, p. 256 ; opinion about Khara. Magadha-Khetta, p. 228. vela's date, pp. 274 foll. Magadha-pura, pp. 218, 225, Kadampa (Kudepa), a king of Kalinga and Magadha-raja, p. 229. donor of a cave on the Udayagiri, p. 239; Magadha-vasi, p. 234, relationship with Kharavela, p. 247; Mahamada, an official designation or persignificance of his name, p. 267; se s onal name, p. 248. venth king of Meghavahana line, p. 239. mahamagga from Benares to Cetiys-rattha, Kalinga, kingdom of Kharavela, pp. 189-90; its different capitals, p. 201; three Mahameghav hana, an epithet of Kharavela divisions, p. 203 ; contiguity to Assaka, and Kadampa, pp. 249-50. pp. 212-5. Mahapadma Nanda, third king of the Nanda Kalinga-cakavati, an epithet of Kharavela, dynasty, pp. 279 foll. p. 232. maharaja, a common epithet of Kbaravela Kalingadhipati, an epithet of Kharavela and and Kadampa, p. 239. Kadampa-Kudepa, p. 239. Maharatthi-Mahabhoja, p. 211. Kalioga-naga a, capital of Kharavela, pp. Mahavijaya, an epithet of Kharavela, 195 foll. ; proximity to the Tanasuli road, p. 256; name of the palace built by pp. 202-51; plan, picturesqueness and Kharavela, p. 289. internal life, pp. 287 foll, Majumdar, R. C., pp. 235, 237. p. 234. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra 324 www.kobatirth.org INDEX TO NOTES Mazumdar, B. C., p. 277. Manicapuri, group of three caves, pp. 138, 247, 293. mani, as a present from king of Pandya, p. 252. Marshall, Sir John, pp. 278, 304, 315. Megha, a shortening from Meghavahana, p. 272; nine Meghas, pp. 272, 281. Mitra Rajendra Lala, pp. 238, 243. Mosala-Maisolos, a division of Kalinga, p. 203. Mukhalingam, modern identity of Kalinga. nagara, p. 191. Mukherji, Radhakumud, pp. 254, 256, 263, muta, as a present from the King of Pandya, P. 252. Nagala (Langala), a river in Kalinga, p. 204. nagara-akhadamsa, the same official designation as nagalaka-mahamata and nagaraka, p. 248. Nakiya, donor of a cave on the Khandagiri, P. 248. Namo arihamtanam, a Jain formula of invocation, pp. 170, 259-60. Nandaraja, pp. 275 foll. nara, a division of the Indian army, p. 252. Nava-muni, name of a cave on the Khanda-, giri, p. 296. nava-vasani, nine years spent by Kharavela as a crown-prince, p. 280. Nayanika a queen of the Satavahana family, daughter-in-law of Simaka and wife of Satakarni I, pp. 276 foll. nigamtha, a Jain designation, p. 262. nila, an architectural ornament, p. 304. niti, principle of government, p. 257. nivesana, p 287. Oldenberg, p. 162. Oldham, p. 225. Old Oriya MS., pp. 183. 266, 270. pakara, pp. 287-8. pakatiyo ramjayati, p. 257. Palapinjara, perhaps another name of Mt. Khapingala, p. 204. Pamdaraja, pp. 221, 222. pamdarasa-vasani, fifteen years spent by Kharavela as a young prince, p. 271. Pargiter, p. 211. Pasanaka-cetiya, an ancient Hindu shrine, p. 228. pasata, pasada, prasada, p. 298. Pasatha-subha-lakhana, an epithet of Kha ravela, p. 232. Patalapura, name of a cave on the Udayagiri, p. 295. Pavana-Gumpha, name of a cave on the Udayagiri, p. 295. pavata-caka, an epithet of Kharavela, p. 189. Pithudaga-Pithuda, a marshy tract reclaimed by Kharavela, pp. 196 foll. pora-janapada, p. 251. Pravaragiri, a mediaeval name of the Barabar hills, p. 226. Acharya Shri Kailassagarsuri Gyanmandir purisa-yuga, pp. 235-9. radha, a division of the Indian army, p. 252. Rani-Gumpha, name of a cave on the Udaya. giri, p. 294. Rapson, p. 235, Rathika-Bhojaka, pp. 210-1. Raychaudhuri, pp. 201, 209, 211, 212, 216, 219, 221, 229, 234. Rhys Davids, T. W., pp. 212, 241. Rules of royal writs, pp. 179-80. rupa, an art learnt by Kharavela, pp. 241-2. Saja, pp. 225-6. Sakata-samana, pp. 262-3. samaja, p. 263. Samapa, p. 192. Sarpa-Gumpha, name of a cave on the Udayagiri, p. 294. Satakani, king of the Satavahana family and contemporary of Kharavela, pp. 215. 6. sava-devayatana-samkara-karaka, an epithet of Kharavela, p. 261. sava-pasamda-pujaka, an epithet of Khara. vela, p. 261. sava-vija, pp. 242 foll. savuyana, p. 287. siharani (sikharani), p. 289. Sisuka-Simuka, Nandiyasa's daughter's son and first king of the Satavahana family, p. 281. Sisunandi, king of Vidisa on the fall of the Sunga power, p. 281. Smith, Vincent A., p. 192. supavata-vijaya-caka, a description Kharavela's Kalinga kingdom, p. 189. Sugarman, last king of the Kanva family, p. 281. tadaga-padiyo, pp. 287-8. of Tamira-daha-samghata, pp. 156, 217. Tanasuliya-vata, pp. 195 foll. Tattva-Gumpha, name of two caves on the Khandagiri, p. 294. Udaka (Ardraka), fifth king of the Sunga family (?), p. 273. Uttarapatha, pp. 218-20. Uttarapatha kings, p. 220. Vadukha (Varikha), prince of Kalinga, and donor of two caves on the Udayagiri, p. 247. Vaikunthapura, name of a cave on the Udayagiri, p. 294. varakara, excellent quarries, p. 252. vavahara-vidhi, certain sciences and arts learnt by Kharavela, pp. 241-2. Vogel, p. 163. For Private And Personal Use Only Vyaghra-Gumpha, name of a cave on the Udayagiri, p. 294. Yasonandi (Nandiyaga), second king of Vidisa on the fall of the Suhga power, pp. 281 foll. Yavana-raja, p. 223. 1

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Some of the Publications of the Calcutta University on Ancient Indian Culture, Religion and Philosophy. : A History of Indian Literature BY M. WINTERNITZ, Ph.D. PROFESSOR OF INDOLOGY AND ETHNOLOGY AT THE GERMAN UNIVERSITY OF PRAGUE (CZECHOSLOVAKIA) VOL. I INTRODUCTION, VEDA, NATIONAL EPICS, PURANAS, AND TANTRAS TRANSLATED FROM THE ORIGINAL GERMAN BY MRS. S. KETKAR AND REVISED BY THE AUTHOR Only Authorised Translation into English Demy. 8vo, pp. 653. Rs. 10-8. Some Problems of Indian Literature By the Same Author. Royal 8vo, pp. 130. Rs. 2-EUR. D9 Lectures on Comparative Religion (Stephanos Nirmalendu Ghosh Lectures delivered in the Calcutta University in 1923) . Published in July, 1925 BY Prof. A. A. MACDONELL, M.A. (Oxon.), Ph.D. (Leipzig), D.Litt. (Edin.), D.O.L. (Calcutta) Royal 8vo, pp. 194, 1925. Agents for Sale.--Messrs. Longmans, Green & Co., 39 Paternoster Row, London, E.C. 4. Also all leading book-sellers of Calcutta, Bombay and Madras. Rs. 3. For Private And Personal Use Only

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Shri Mahavir Jain Aradhana Kendra www. kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir rving Jin Shasan 093298 gyanmandir@kobatirth.org For Private And Personal Use Only