Hathigumpha Inscription of Kharavela and Bhabru Edict of Asoka

SR No.: 006726
Original Sutra Author: N/A
Author: Shashi Kant
Publisher: D K Print World
Publication Year: 2000
Total Pages: 196
Language: English
Classification: Book_English
File Size: 16 MB

Page 88

62 The Häthigumphá Inscription and the Bhabru Edict
Works of public welfare were executed by the state. At least two irrigation projects of ancient India are definitely known: the Tanasuliyavātā canal in Kalinga and the Sudarsana lake in Saurāstra. The former was carved out by the Nanda king (in 424 Bc) and extended by Khāravela 244 years later (in c. 180 BC), while the latter was executed by Candragupta Maurya (in 312 BC), about 127 years prior to Khāravela, in west India and it has a recorded history of additions and alterations by successive rulers for about 700 years. We do not know anything about the Kalinga project after Khāravela, yet it has a history of more than 250 years.
Festivals and fairs' were organised by the state to entertain the people. Performances of folk dances, classical dances, songs and instrumental musicwere also organised.
It also appears to have been customary to show off royal opulence and on that occasion to remit taxes, bestow grants and sanction other favours to the people. Khāravela did it in his sixth regnal year.
Some distinction between the townsmen and the villagers appears to have subsisted in the matter of taxes, etc. It also
Usava (= utsava = festival) and samāja (an assemblage for merrymaking, melā, convivial gathering, fair) have been used in a secular sense. The former was accompanied by public feasting while the latter, by various items of amusement. Numerous references to samāja are found in the Mahābhārata and the Buddhist literature. Asoka also refers to it in his R.E. I. From the Sigālovādasutta we learn that naccam (dances), gitam (songs), văditaṁ (music), akkhānam (dramatics), pänisaram (cymbals) and kumbhathūnaṁ (pitcherdances), used to take place in the samájas. Khāravela mentions the performances of dapa, nata (nrtya), gita and vadita. The last two stand for music, vocal and instrumental respectively. Likewise, the first two stand for dances, folk and classical respectively. The context does not allow the interpretation of dapa as acrobatics or combats. All the four should relate to the gandharvavidya. rājaseyam = räjasriyam.
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