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No. 19) MORE INSCRIPTIONS AT ABLUR
141 arraying his men and horses against him, Ekāntada Rämayya fought and vanquished them. He smashed the Jina and installed the linga (in its place).
Now I will take up two more inscriptions in the same temple. These deal with the same theme as the above, viz., Ekäntada Rāmayya's victory over the Jainas. These are also of the label category. They are not dated, but evidently belong to the same period as that of the above epigraph. They may be assigned approximately to 1200 A.C. on palaeographic considerations.
INSCRIPTION I This is incised above a panel of sculptures to the left of the entrance into the inner shrine of the Sömēsvara temple. The sculptures represent a dignitary with attendants on one side and a row of Saiva devotees on the other. A person holding a document in his hand is shown prominently in the middle. The epigraph reads -
TEXT 1 Srimad-Ekantada-Rāmayyarge Samka-gaunvun2 dan=õleyam kuduva țhāsvu) [1]
TRANSLATION This is the place (depicting the scene) of conferring the certificate (of violory) upon the illustrious Ekāntada Ramayya by Samka-gavunda.
INSCRIPTION II This is incised above a panel of sculptures to the right of entrance into the inner shrine of the me temple. The sculptures depict the scene of a Jina placed horizontally ready to be broken Amidst a group of local officials and Saiva devotees. The epigraph reads
TEXT: 1 Yē(E)kāntada Ramayya ngalu Jinanan=odedu 2 linga-pratishtheyam māờida tāvu[ I ]
TRANSLATION At this place ( is depicted the scene of) Ekāntada Rāmayya breaking the ( image of Jica and setting up the Sivalinga.
INSCRIPTION III
This is an independent insoription by itself, made up of labels. It is incised above a panel of sculptures to the right side of the parapet wall at the entrance proper into the same temple and just opposite to Fleet's F. The characters are of about the same period as those of the foregoing records. The panels of sculptures as well as the inscription divide themselves into three portions pertaining to different episodes in the lives of Saive saints. The first series of sculptures consists of the figure of Siva in his divine form followed by that of a Saiva mendicant standing before a devotee holding a long piece of cloth in his hand. The second series represents a devotee with his wife carrying a child in her arms and a Käpälika bhikshu facing them. The last is the figure of a seated man holding an object like a small round bat. The labels below these sculp
1 In situ and from impressions.
In situ and from impressions.
