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JAINA HPIGRAPBS : PART III
881
TEXT 1 @ Svasti[*] Śri-Mūla-Samgha Dēsiya-ganada Mādaņa-daņāyaka mādisida ba[ sadi ]ge Rā
2 ya-rājaguru Mamặalāchāryyar=appa śrīmad(n)- Māghanamdi-siddhānta-chakravarttigaļa ( pri]ya [guddagaļu Śrī]- Kopaņa
3 tīrtthada Emmeyara [Prithi ]gaudana priyāṁgane Malauvege pu[]tida suputraru Bopannarā taṁ ... lāmja.
4 ļi mu[ khya ]v-āgi e[lla] nõmpigeyu Chauvis'a (sa )-tīrtthakara māļi. si ko[t*]taru [*] Mamgala-mahā-śrī-sri-sri @
TRANSLALION Hail! This image of Chauvisa Tirthakara (Twenty-four Tīrthakaras) was caused to be prepared and dedicated on the occasion of consummation of several religious vows ......, to the basadi (Jaina temple ) erected by Mādana Daņāyaka, a constituent of the Dēsiya gana of the illustrious Müla Samgha by Bopaņņa, worthy son of Emmeyara (Prithi ]gauda and his beloved wife Malauve, a resident of the illustrious holy town of Kopaņa and a favourite lay disciple of the illustrious pontiff' Măghanandi Siddhāntachakravarti (Supreme master of the Jaina philosophy ) who bore the titles, Rāyarājaguru (royal preceptor of the princes) and Maņdalāchārya ( ecclesiatical head of the province). May ::uspiciousness and great glory attend this !
INSCRIPTION No. 50
(Found on an Image unearthed at Yalbargi) This inseription was detected on the pedestal of an image at Kopbal. The image is known by the name Pañchaparamēshthi. It was kept in the Nēminātha temple when I visited the place in 1930. But as observed in the introductory remarks on the previous epigraph, this image along with the one bearing the foregoing inscription was unearthed about forty years ago at Yalbargi.
The sculpture in question is executed in the same style as of the image of Chauvisa Tirthakara noticed previously. It is carved out of nicely polished black granite stone. Panchaparamēshthi is a Jaina technical term which represents the following five dignitaries; Jina, Siddha, Āchārya, Upādhyāya and Sādhu. So the present image constitutes all these five into one composite piece. The main central figure is that of the Jina. This may be recognised from the characteristic triple umbrella over its head and the two fly-whisks depicted in miniature size on its two sides. Of the remaining four, two seated figures which are plain and undignified are portrayed on the two sides of the Jina near his shoulders. The other two are shown in seated postures at the bottom on the
