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132
EPIGRAPHIA INDICA
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(VOL. XXVIII
their masters and lords or under a religious vow. These generally date from the period of the 7-8th century onwards. But here is a singular instance, perhaps the first and the only one of its kind, known so far, that stands out as a welcome departure from the usual convention. Further, its early age lends importance to its unique nature.
After reviewing the contents of the epigraph, we may revert for a while to the sculptures on stone which are inseparably associated with it. The art of moulding images in plastic material was known to the civilization of the Indus Valley' and the history of Indian sculpture may be traced from that early age. The early creations seem to have been religious in origin and design and they generally formed part of a monument in stone or were scooped out in rocks of hills. Portrait sculpture as a secular art does not seem to have been cultivated independently by Indian artists and the few available instances of portraits depicting royal devotees or distinguished personalities, associated with religious constructions, may be taken to prove the truth of the above statement. Under these circumstances, the present piece of sculpture on a detached slab deserves a noteworthy place in the account of Indian sculpture, particularly that of the Deccan region.
The funeral scene is well laid amidst consuming fire and a few devout followers of the lady. In their refined execution, clarity of expression, wealth of details and general impressiveness, the figures of the lady and attendants compare favourably with the early sculptures of Bharhut and Amarāvati on one side and later ones of Ajantă and Bädāmi on the other. The realistic nature of the scene may be judged from the fact that out of three followers, one is seen seated firmly facing the ordeal of fire and another is shown fleeing away unable to stand its blaze. The figures above the inscription, which are largely obliterated, represented, in all probability, the heavenly scene, as is usually noticed on the memorial slabs of satis and heroes of later period.
No details regarding the place or family of king Pu... are mentioned in the epigraph. But it would be, perhaps, too much to expect them in an epitaph of the kind. During the period represented by the inscription, the rulers of the early Kadamba house were still powerful and their sway extended as far as the area of the Belgaum District in the north. We are not sure if the Kolhấpur region also was included in their territory. At this time the area of the Satără District and the tract further north were under the administration of the Rashtrakūta princes of Mänapura. There is no indication to assume whether king Pu... Was & subordinate ruler under either of these. Or as is more plausible, he was maintaining a semi-independent status, his chiefdom being situated in a corner on the border of and in between the two above-named kingdoms. Tho headquarters of this chiefdom lay, most probably, not far away from the provenance of the memorial tablet.
TEXT
1 Om[l ] Sr[i-Paj'-u u[la]ächhanasya nfipatēr=yya Halldēv=ity=abhat bhäryyš sach
charitēna bha[r]tri UU--- -- St. Kramrisch: Indian Sculpture, Plate i.
* T. G. Aravamuthan: Portrait Sculpture in South India. Also compare, above, Vol. XXI, pp. 4-5 where references to devakula in the Pratima-nafaka and guru-ayatana in the Matburk pillar inscription are discussed.
Indian Sculpture (op. cit.), Plates iv, xii, xxiv, xxv, etc.
Halsi in this district was an important soat of the early Kadamba power and inscriptions of the oarly Kadambe rulers issued from this place indicato the extent of their authority over this region; Ind. Ant., Vol. VI, pp. 23-24, 28 and 30 ; etc.
Ann. Bh. Or. Res. Inst., Vol. XXV. pp. 36-42. • From the impressions.
Expressed by a symbol.
. The subscript of the second akahara of this expression which appears to be a porsonal namo, might bo p. 80 the name may be restored either a Pushpayudba or Pushpadhvaja to suit the motro. Of these the former is proforable as it appears to be familiar.
• The metre requires that the second ayllablo of this name be li.
1. This aksharu might be hrisomo traces of which are soon. If so, the word may possibly be restored hridayam.
