Académique Documents
Professionnel Documents
Culture Documents
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15th-16th Centuries
PATRON
Dr.
I.
V.
Subba Rao,
I.A.S.,
EDITORIAL BOARD
Dr. P. V. Dr.
Parabrahma
Sastri
Tirumala Ramachandra Professor Veturi Ananda Murthy Vidvan Sri Akella Mallikarjuna Sarma Vidvan Sri N.S.Srinivasan
Mahamahopadhyaya
Mahamahopadhyaya
Sathyanarayana
Professor R. Srihari
Published by
The
Executive Officer
Inscription
T.T.0evqsthanams Publication
First Edition
November, 1999
Copies: 1000
Price;
Rs.
3 GO/-
US $35
Published By
Dr.
I.A.S.,
Executive Officer,
T.T,
TIRUPATI- 517501,
Andhra Pradesh.
Printed at
5-9-33, Basheerbagh,
Dr.i.V.SubbaRao
Executive Officer
T.T.
Devasthanams
Tirupati.
Service to humanity,
moral
values have
What
and secular
literature,
development offine
arts, health,
and
of knowledge
well-
known
to the
general public. All this has been possible only through the willing grace of the Lord of the Seven Hills
who
and betterment,
to the
It
is
and
the
T. T.Devasthanam
is
committed to encourage
and
Our
ancients regarded
a sub-Veda
viz.,
Gandharva
Vidya leading one to the meaningful and blissful experience ofRasa, the ultimate. The contribution ofthe practitioners and
theoriticians
ofIndian Music hailing from the South and in particular from Andhra,
by,
is
significant
Ttrtha, Ksetragna,
celebrated Tyflgarajasvami
harriers, are
and many
transcended geographical
and language
ofAndhra
origin.
Hence justifiably
and
patronised
many a publication
"
is
Inscription
is
ascribable to the
century which
is
As
scholars
known Music
is
onlypartly available
the authorship
of the
inscription
is
not
known for
certain.
point to the Tnljap MaPoets, who composed and copied on copper plates the Sm^-tana Lyrics, established the Smikirtana
competed with
the
the Jhdmbadm.
Gam
ofthat
period are something rare and unique that bringglory to the abode ofthe Lord Sri Vwkafcvara" (From his speech on
2nd
ofApril, 1949),
Sri A,
the discovery
V Srinivasacharyulu,
ofSri Prabhakara
Sastri
Gam who
was
blessed
with
in his write
up in 1961,
^fr'W*/ar^50^
splendidpublication. Thanks
Sastri
'to
Managing Trustee,
Veturi Prabhakara
Memorial Trust
(Regd.
1982) Hyderabad,
today
is
multi-disciplina>y nature of this research project enabled him to organise the group effort ofscholars comprising epigraphistt, musicologists, Samkritists and Researchers required in deciphering the inscription successfully.
into the
The
this research
T.T.
Devasthanam
is
ever patefitl
to
the
project.
To give further
XT Devasthanams in
organising a Workshop-cum-Seminar
success in
achieving
its
y^^^farthejoyofreadingandfi^hera Cademicstudy.Youare^
work that has gone into
this publication.
The T.T.D.
Editorial
is
V.P,S.
this
project; the
put
and other
collaborators
in the
field.
The T.T.D.
fr^^
to cater to the
out
bring
this
Telugu, Nffgari
and Roman
characters;
and in
three formats
the Inscriptional,
only in the
Teh^
Our
benefit of the
and artists
interested In
^e rewarded ifth^
interpreting the
same
IV
>
K^a,
S)
s'ogpo^^o
^ofte^
i^^p^g SerjO^eS^^a
oDtS^o
^i*o"$^cSj
as
Stf&o,
erS,
as
looo^db.
ssorfs
5-6
(TheTlrumala Music
scription)
In-
Ai&ipcJtosSr^a.
e?a 15-16
2,
a
<*
VI
SCO VERY
OF
st
'
ns with Svara notations inscribed on stone are found at Tirumala in the precincts of the Cam/:
adaksina (of the Sri Vehkatesvara temple).
W$ would
retrieve
and
jy the Almighty Lord bless us with the blissful divine experience in unison, of
our word,
'
tho*
d deed as
--
in the triple
few musical notated compositions of the Tajjapaka poets inscribed on huge stone slabs of riod are available at Tirumala. Lyrical compositions found chiseled on stones along with s^
iations of that period, are
something rare and unique that bring glory to the abode of the ion
nkalesvara
.'
April, 1
949 on
the
occasion of the
A.V.Srinivasacharyulu
compositions chiseled on stone slabs
4ft.x
itated lyrical
Camp
Hill Temple, Though not certain of their numbers I noticed in all 2 sla numbered 4 and another unnumbered, when I saw them in 1949. 1 conveyed this informa
7?y
Master
Sri Veturi
Prabhakara Sastri Garu and then with the permission of the Devasthai
in
'horities
a lorry to the
'
Museum
at Tirupati.
It
lookei
totaled
by
his
jmalacarya. There
'ligraphy etc,
-
son Peda Tirumaiacarya and translated into Telugu verse by his grandson ( is a Sankirtana in Sanskrit language with the mudra Sri Venkatgsvt
to the
correspond
introduction to the
XV volume
(pp
iii
&
iv)
publis
vn
Our
RESPECTFUL DEDICATION
This humble achievement of
the successful group effort
in multi-disciplinary research is
respectfully dedicated to
and
Visionary
who stood as a
colossus in
modern research
for cherishing
the publication
and
to the
memory
-
researcher
Dr Timmala Ramachandra
.
in
making
his mentor's
dream a
reality,
Vlll
Sri Veturi
(7-2-1888
29-8-1950)
ACKNOWLEDGMENTS
Editorial
Board
is
grateful to
the Almighty
Lord
for
Sastri
late Sri
Veturi Prabhakara
who was
for
its
assistance in enabling the Editorial Board achieve this almost impossible task.
the
for
coming
Sri Veturi
dedicated
Hills.
the
all
of this
project.
who
IX
their grateful
thanks
to all collaborators
Department of Archaeology and Museums, Government of Andlira Pradesh, Hydci Late Sri M.S. Prasad, I.A.S.; -Dr. N.R.V. Prasad; Late Dr. Mukunda Dr. N.S. Ramachandra Murthy; Sri Komaraiah.
Preparation of Transcripts, typing, editing and comparing assistance.
Sri
Smt. Pingali Rajeswari; Sri P.N. Rao; Dr. G. Subbarayadu; Smt. V. Chandrakala; J. V. Kamesh; Dr. Prabhakar Murthy; Sri V.V.R. Pramod; Smt. J. Vandana.
Vidvan
Sri
Workshop-cnm-seminar
Sri A. Subhash Gond, P.R.O. T.T.Devasthanams, Tinipati; Prof. V. Ananda Mi Leader and Project Director, Tirumala Music Inscription; Dr. Medasani Mohan, Din
Annamacharya Project,
Tirupati.
Workshop
Sri S.
Satchidanandam; Dr.
S.
Dakshina Mi
Subrahmanyam; Dr.
N. S. Ramachaiidramurthy; Dr. C. A.
Padmar
Mahamahopadhyaya
Prof. R. Sathyanarayana.
Music Group.
Vidvan Sri AkeliaMallikarjuna Sarma (Leader); Vidvan Sri N.S. Rao; Vidvan Sri Pudukottai R. Krishnamurthy; Smt.
Sri S.
Srinivasan; Dr. B. Rajani,
Gowry
Sathyanarayana; Vi
Sri
Sathyanarayana.
Eminent
Vidvan
who
evinced interest in
Sri
J.
Sri Puranam Pumshottama Sastri; Late Sri Vakati Pandu Ranga Rao.
Rambabu,
M.K.R. Vinayak,
I,
Printing.
Hyderabad.
RTC
Roads, Hyderabad.
Hyderabad. Padmasri Graphics, Gandhi Nagar, Hyderabad. Gayatri Art Printers, Basheerbagh, Hyderabad.
CONTENTS
Preface
in -
w
.
Dr.I.V. SubbaRaoJ.A.S.
vi
vii
Discovery
Dedication
viii
Acknowledgments
ologue
Introduction
ix-x
01-22
23-48 49-56
Editorial
Board
Keynote Address
Prof. R. Sathyanarayana
Prof. Veturi
Ananda Murthy
rt I-
Telugu
Format
Slab 2
Slab 2 Slab 2
Inscriptional
01-12
13-32 33-61
Slab 4
Slab 4
62-73 74-93
Musical Format
Literary
rt II -
Format
Slab 4
94-115
Sanskrit
Format
Slab 2 Slab 2
Slab 2
Inscriptional
01-13
14-36
Slab 4
Slab 4
Slab 4
54-67 68-92
Musical Format
Literary
rt
Format
37-53
93-107
III
English
Format
Slab 2
Slab 2 Slab 2
Inscriptional
01-13
14-35
Slab 4
53-65
Musical Format
Literary
Slab 4 Slab 4
66-87
Format
36-52
88-102
Photo Insertions
Colour
8
Pages
16 Pages
logue
es&>ejo#&>je
01 to 66
-ae*&to
67
to
78
XI
Prasad;
Chari, I.A.S.
Ranga
Ranga Rao;
Prof.V.
Ananda
Murthy.
Workshop on
TheTirumala Music
-
Inscription
Workshop on
TheTirumala Music
Inscription
-
Group Discussion
on Music.
Inaugural Session
Sarma;
Prof.
Sri
A.V Srinivasacharyulu;
Parabrahma
Sastri;
Dr. P.V.
Dr. Sri
M. Mohan;
Venkatramaiah,
I.F.S.;
Prof. V. Prof. R.
Ananda Murthy;
Sathyanarayana.
Prof.
C.
Sri R.S.
Nanda Kums
(Music
Prof. R.
recital);
Sathyanaray?
(Demonstration Lecti
Sri R.S.
Nanda Kumar
rendering
Sri S.
Lakshmanaiah honourin
Member,
Editorial
Board.
Dr M. Mohan and
Sri
Subhash Goud
Sri S.
Lakshmanaiah
honouring
Dr. P.V. Parabrahma Sastri Member, Editorial Board.
Sri S.
Lakshmanaiah
honouring
Vidvan
Sri A.V.
Srinivasacharyulu
Sri S.
Lakshmanaiah
Inscription
(Introduction
II
6m
ri
VSfikatesaya
C.V.V.
namah
Master
Namaskaram
Inscription
INTRODUCTION
I
he
first
notice of the
two
rare
now
following write up of
Sastri,
Veturi Pra
who brought
time, the
life
of the Padakavita
Pitamaha
Sri
TI||apaka Annai
(The Ta||apaka Poets) "worshipped the Lord with their divine music.
with svara notations inscribed
Some
of their lyrical
com
ex
at
Tirumala
in
Campaka Pradak
blissful divine
would
in
retrieve
and publish the contents soon. May the Almighty Lord bless us with the
in
viz.
first
ever Sri
Annamacary
2nd
4th
April
1949).
In
2-4-1949 on
ceremony
Sastri
of the
-
Pn
remarks
on huge stone slabs of thi "A few notated musical compositions of the Ta||apaka Poets inscribed stones along with svara notations of that p at Tirumala. Lyrical compositions chiseled on abode of the Lord Vefikateswara" something rare and unique that bring glory to the
are available
.
After
after the
demise
of Sri. Veturi
1
Prabhakara
Sastri
we find
the notici
vc
c
two
second time
Sri.
in
the year.
96
In his
introduction to the
XV & XVI
and a former
-
Prabhakara
II
Sastri,
inscription slabs
first
I
only in the
and
that
present hei
information, traced so
far,
which disproves
Notated
lyrical
appear
in
stone slabs, of dimensions 4' width, 7' length compositions chiseled on not certain Pradaksina of the Tirumala hill temple. Though
and 9"
t
Campaka
-
numbers,
noticed in
all
two slabs
In
'
In
the appendix
tf
n o0*c
Sri
i&- Editor*
of
TOW
series
on the
is
by
AVB
ton
made
possible
is in
it
is
and
that the
one noticed
to
be unnumbered
fact slab 2.
Editors.
Prabhakara
in
Sastri
a lorry
Museum
this date.
It
at Tirupati.
Estampagei
looked as
tt
were chiseled
the
by way of examples
in
grammar they
evolv
his
.
"Sahkirtana
Sanskrit by
his
Annamacarya, annotated by
Cina Tirumalacarya
In.
Tirumalacarya
into
Telugu verse by
grand son
Udgrahamu,
Mjapamu
TJvutfa
appear there
There
is
a Sanklrtana
peril
in
full,
the
coming
15
intro.
pp
1
iii
and
iv).
Again
-
6 th volume,
Sri
A.V.Srinivasacharyulu
962) adds
further
way
of engraving
them on copper p
in
his
Sankirtana
of roughly 4'
like
an
may occur
no
to
people
us
In
whether
at
all,
they sang
in
Sarma
Prof. P.
century
(Extracts,
Sri
two slabs
in
the subseque
The
significant contribi
was
this
numbered
"4" in that
volume
in
four parts
readers to volume
5 which he
that
edited.
we come across on
titled
in
Anandamurthy
exposition
1974).
In
his
434-458)
Prof. Veturi
Ana
\
earlier
view
that the
by probing further
effort to
j<
making an
from a portion
inbuilt
of the
estampage taken by
his father!
lyrical lines to
trace the
mode
of the
Uga-abhGgatotwak found
Inscriptions".
3.
not correct to say that these inscriptions contain the technical terms mSjapamu, antara (mu) and av/ia niyar careful study it is now clear that these terms are not mentioned in these two slabs - Ed.
It
is
4.
not
series of
ft
Prof. Salva
"
Krishnamurthy,
in his translation
;
treatise
on Hymnod
entitled
The Tunes
of Divinity" (Pub
-
1989), writes
some new
Laksanamu
in
seven
temple of
6ri
Campaka pradaksina
some examples
of
how
the
was
Sri.
Udayagiri Srinivasacarya
is
who
slabs
in
not known; but only two such slabs have been discovered
and press
Srinivasacarya opines that Cina Tirumalacarya could have got them inscribed on stone-sla
7-
11
537
Two
Firstly,
Sahkirtana
Laksanamu seems
to
now
Li intt
research
is
needed
Dr.
ASI,
It
Mysore appears
reported
is
be accoi
On
week
in
August
1988
in
memory
son
Prof.
at
securing estamr,
TTD Museum
and
getting
then Director,
the
made an
earnest attempt
of the
in
deciphering
marked 4
to the
6
in full. But,
unfortunately,
due
to the inherent
complex nature
music inscription am
expected
result
t
poor quality of the estampage then provided, the readings did not
published
in
yield the
the text
the daily
in
Prof.
inviting
of Scholars
Dr.
it
and Public
that
he too
made an aborted
attempt prior to
half
way
as
it
appendix
5).
There might have been many more such individual attempts by others escaping our
remains
that
notice,
it
none bore
fruit.
As
individual attempts
were
failing to
produce tangible
results,
group
effort
would perhaps
5.
the wrile
AVS has
them
6.
XV and
XVI.
We d<
lyrics
There
reading
Prof,
ol
ils
contents
II
is clarified
that
NSR
lhal
read
was
by
TTD
when
Dr.
Krishna Sastri
was
the Director
and
was
the
estampage secured
misplaced
in
earlier
by
Prof.
Anan<
and read by
1
Dr.
N.S.Ramachandramurthy was
either lost or
994,
N.R.V. Prasad,
securing another set of professional estampages of both the inscription slabs and got them read, for
Mukunda
in
emerge,
to
say
it
in
of
Sri.
and music
/idwan
Sri.
some time
was
were
insufficient. True,
.iterary (Sanskrit)
and
iuch of a relevance
in the
littJe interest.
and
rest
was
was
Added
to
all
200
lines
(194
lines
laracters,
:ROUP EFFORTS
At this stage
scription slabs.
it
was
Archaeology
Sastri
Prof.
Dr. P.V,
Parabrahma
Tirumala Ramac
t
compared
It
the
his
observations on
ading.
was
was necessary.
Sastri
Parabrahma
afresh. As the
Archaec
satisfactorily this
group
Sri.
to help in the
musical
Anandamurthy
Rs.
(in
April-May
>n. Sri,
3
P.V.
60,000/-
publication of the deciphered text could not materialize for reasons beyond everyone's control. Never
fixation part of the
farlly
effort:
thi
the
5-member Team
and
veral readings,
with
and a
much
lyrical structure of
with the
Team
being instrumental
this
into the
scheme
of the
hough
Is
a fact that
it
this effort
must be unequivocally
work would
commenced
Sastri.
It
at
is
all
basic contribution from Late Dr. Tirumala Ramachandra and Dr. P.V. Parabrahma
Dr,
It
unfoi
it
Tirumala Ramachandra
is
is
but appn
in this
regard
respects,
and
to the
memory of
his
to realize the
who dreamt
of editing
We
also
acknowledge the
Veturi
who was
Prabhakara
Sastri
instrumental
he was on an
Prthika
1949
Annamacarya Caritradvipada
(see
es&sootf&o
3).
EFFORTS
The
a
half
IN
FIXATION
AND PUBLICATION
the Dept. of Archaeology was dragging its feet for nearly two and promise to publish the deciphered text of the inscription. This matter was
Editorial
as
brought
m a very casual
Sri.
manner
to the notice of
Vidwan
Sri.
Puranam Purushottama
spoke
to Sri. J.
Sastri
members Vidwan
by one
of our
Team
who
in
turn
tc
Rambabu
Revenue, and the then Chairman, Board of Trustees, TTD publication. But for the kind gesture of Sri. J.Rambabu
Executive Officer,
Sri.
and the necessary follow up action taken both by the M.K.R.Vinayak, IAS and Dr. T.Ramachandra the then Chairman, Publications Committee
this project
its
fruition in the
shape of
this
splendid
that there
much
in
better
ought to be an academic discussion on the partly available inscription before exposure and more comprehensive appreciation of the
were quick
and arranged
for
at Tirupati in
Memorial Trust ( Regd. 1982), Hyderabad. Confining to the limitations of time, money and management a couple of eminent Research Scholars in the fields of Music, Literature and Epigraphy were invited to
Sastr,
parl,c,pate
and contribute
enrichment of
this publication.
was
meant
basically
little
an extent of a
of the
also
appended
in this
Appendices 3
to 8).
at Tirumala.
last
appear
to
of
a minimum
first
of five
quarter of the
metexIdurinahislifetimeashepassedawayahortlyafterwardslnAugusngso d ("P Mh V We) SUMe d bV Pr R ^d a Sah " a Sa rlana 6 " ll6kha Pha e
Prllr
!
, tion
title
^ r f * ?:?
'
'^*"-
a"*yw
-d*
title
ialer ,o .he
in. conceived
present
"The Tirumala
Mu*> Inscrip-
in
94
lines
100
lines.
Each
line
we
some of
(he
Vljaj/
is
were
in
more on
the slab
numbered 2 than on
4.
the slab
numbere
on
the slab
2 are more
Although the contents of the two available inscriptional slabs do not refer to any date or king or
author of these musical compositions, the general features of palaeography clearly indicate that the chi
falling
1512 AI
til
on the palaeogi
and other
terms
similarities noticed,
The
lyrics
are
composed
in
like
Pal/avam,
like
Abhogam, Caupadi
etc
Racam&rd
is
other abbreviations
in
be written
in
indicated
that period
as noticed
on music.
The vowels
a, a,
i,
u,
eandews
used
in their
The vowels
in
and n
(Velar
and
palatal nasals).
sa, sa,
The antasthas
all
va
(trillL
ra;
f/ateral)
he
usmas (sibilants)
sa and fa are
used
letters
ka and /?are
similar
letters
3und
in
TaHapaka
(e.g.
poets.
f"
and
compound forms
The
lort
visarj'aniya is indicated
noticeable betwee
and long medials of /and /"sand eand o and das was the case
All
the numerals
trilled
to
in the
(2-lini
th
r
seeded by the
are written
rarely noticeable. In
some
f,
as
in its
modern form
/-etc;
is
below
(4-1.
95,
00). But
in
ises the
this
use
of
"
regard. Punctuation
in
vei
okes as required
the context.
written as
its
(like
theRoman S
on
top
f,
(ft
in
that period.
(
The
letter
ka deviated from
its
old
5")
and
connected
tc
and then
to the serif as
No
side
'f
touching the
serif. In
/^and
is left
open on
The
letter
ya has a
on
and pa,
th century,
between
1460
and 1512
A.D.
(Kemide
am
Inscription).
Readers can
appended.
:RAL,
RAL FEATURES
Inscription 2 contains in
1}
all
94
lines or
47
line
per
number
is
is
Although the
1
to
slab 2
Lines 59.0
and 60.0)
or double strokes
slab
Lines 2.0
and
Continue the
portion to be
matu portion
shown
(e.g.
of the
-
upper
lines in the
is
no need
for the
cfc
slab 2
and double
-
vertical
pramapa
(Slab
Lines 81.0
etc.)
all
suggested or
clarified readings,
gaps, lacunae,
filled
up portions
of
matu and dh
been shown
in all
inscriptional, musical
and
literary (e.g.
slab 2
Lines
.0
and
5.0, 8.0
and
0.0
1.0,
etc.) for
clarificati
d meanings of the
version of the
in
'literary
format'
After the
Praydgam portion
lyric
line
93.0 the we
i.e.
am
r
'S
is
would commence
letters
in the
next slab
three.
However,
of the
at the
in Eine
94.0 the
ririri
the
end
Prayogam
dhatu portion on
that slab.
in all
the lang
and understanding
lines
in
Inscription
No. 4 contains
fn all 1
00
wherein the
first
two
letter!
oiations therein
seem
to
As
slab 2,
in this
las
00.0 ends with the indications of the closure of Rupakam (Rupakam mugisenu)w& the commenceme
ga-jhampa (udgraha portion of the
ab
in
lyric in
Jhampa
ta|a) to
be followed probably
is
in
i.e the
it
is to
be noted here
that there
no
writing
SririSri
end
of the
the
matu portion.
But for these peculiarities, slab
also contains
all
in
However, as mentioned
iser scribal errors,
earlier, slab
4 seems
the other
one
At this point,
[he
'.D.
two slabs
at us.
more) are sp
Tirumala Temple
How
of inscriptions
found
We
shall
have
to look for
now
or remain
dumb-found
mysterious working
DSODICAL FEATURES
The
r
fyrical
compositions
all
in
in
these
like
two
structure with
embellishments
/el
Prasa
(the in
me occurring
J
rhyme
inevitably
found
in
every
line
of the lyric
in
and
rhymes
e.g.
Slab 4
-
Line
1 1
vbodhanas (Address or
calling) occurring
Line
78
Slal
address
e.g.
1 1
.0
and 22.0):
In
and
tangi
resses
and
at
on entwining
into
Besides
all
the e
nes and alliterations, these complex syntactic structural elements appear to be the rare poetic exerc
Ived in these lyrical compositions.
And
is
so simple
to
comprehe
meaning
(e.g.
adopted
in
the
lyric (e.g.
1.0
makes
it
complex to comprehend
until
plexity of
when one
attempt to
in the
Iptional lyrics.
slabs
it
is
appropriate to
make
T^f/d?
a comparison
Ragada metres
extant in Teiugu
and Kannada
literatures,
as
(Tr/sra)
Rupaka
acara and
'sra]
Jhampa
with
han'oagati
and
3gat/ ragatfas.
XOGICAL FEATURES
lore than anything else the musicological features present in these inscription slabs appear to be
and unique;
is)
particularly
so as
Prof.
R.Sathyanarayana
was
16th
in
when
and
iretlcal
il
music found
in
these
terms employed
and
ior(s)
structural
tations as
by Prof. R. Sathyanarayana
ymologlcally
if
a Sujadi refers
to a
is
perfectly maintained
in
classical (marga}
mode as
and Ska,
far as the
in
ampa,
triputa, a\a
no
variation
whatsoever
to
in this
regard.
strictly
'en in the
Annamacarya
this taja
order seems
have been
llowed.
But
Jyavaja and
to
prayogamu found
in
the Gitas
and
abandhas respectively of
that period
makes
it
difficult
name
because
view of
their
was
the question
his
at Tlrupati.
it
dence he was
Prof. V.
inclined to tentatively
feels, to
name them as
may be suggested,
nafana"
Ananda Murthy
madhura
madhura,
Vartakavi
kavitalu,
in
^and
vistara
Nannayya
(1 1th Cent.)
and rhetoricians
ghunathayya (17th
otatala natanalu\
Among
into the
description
these slabs
case
ther evidence
is
3 first
Suladi found
appears
to
be a dasavatara Sufadi
in the
form of
in
Dtal
was
the reason
why
two
talas
structural flawlessness
nd
in
every detail
including
like
abhogam
the
etc.
which
is
first line
of the
of the
lyric.
the
and
Ramachandrudu
complete and
retrieve atleast
one
total
dasavatara comp
modern
practitioners of poetry,
for
Sarma
tune wit
compositions extant.
is
that
in
no
rag*
was mentioned
is
the
first ly
the
Akella Mallikarjuna
Sarma and
was
the reason
why
the newly
it
composed
two
It
lyrics in
dhruva and
in
the
same
raga,
making
an ekaraga
nivesita.
appears to be a similar
<
s^tf'commenclng
lyric in
saying that their melody content agrees with the Varaji raga.
Hence
that
too
in
was considered
to be
sla
ekaraga
nive'sita
lyrics are
missing
second
same
in all
logic holds
good
in the
case
of slab
to musicians,
ta|a.
appears
to pr
the
seven available
lyrics
one
in
Ska
incomplete
the
,this is
the third
Ekaraga
ta/a
in the
and as an extension of
same
commencing
end
that
of
tf
nivesita. But
pos
I
dhruva
in
Saya nata
the inscription.
In fact in
(preceding the letters nata, which are very clear) look as though they are erased after chiseling. Her
wonder
is
that the
musicians also
lyric that
felt
the melody content to be nearer to nata raga. But the point to pond(
that the
Mathyataja
to
rupaka
fa/a again
appeared
to
them
to
be nearer
to
gau/aw\ti not to na|a raga, or padi raga despite the fact that these raga names are not to be found mer
lyric. In
Taj/apaka
the
3 1st
volume, as
it
well,
lyric separately.
The raga
name
first
niv&sita,
Now,
Akella Mallikarjuna
Sarma
feels.
to
In
view of
this
in this
eschew any
faithful
this
be a "bahuraga sapta
/rato"simllar
Sanskrit "lava
ie
composed
Telugu by Annamacirya (3
-
in
Racca
taja
appearing
volume 12-114
'aracanan/j s\in
to the
accompaniment
of the bangle
gamaka
words
of tajas
addressed
to "tiru-Vefikata-Vara" the
Hence
it
is
not un reasonable
lyrics
me, that
pies of
this
in
thse compositions
Uga/Udgraha
(the beginning),
origin
employed
to
caupadadojam),
the term
lyric
where
in
the
the
lyric),
ata tala
same Matya
taja
the vice-versa).
-
their
placements need
certain observations
to
8+
4 +8 =
to
be a variety of mathyam
interposed
=
id
Racam, both
lyrics
having 8 + 8
ion.
Racam
is
in
udgraham,
jyavaja,
have been
by Sn. Tafjapaka Annamacarya having a two-lined Pallavarn (Pallavi) and three Padams (Caraoas)
ied quartets with the
abhaga mudra
it
portion
coming
at
lyric.
Although
this
was
line
the pada
rfected
by Annamacarya
was
16 matras per
whereas
line.
appear
-
to
be
be pondered over
in
two formats
tala
and the
ka
taja lyrics
appears
to
be unique
unheard of as
Prof. R.
Sathyanarayana reveals,
f
name caupada
as Prof.
Ananda Murthy
to
catuspadi
lyric
having
for
ie
padam
i.e
the pallavam)
appears
jing
the
Jieval period.
He
"
says,
hand.
11
3.
(=
\
which
or tala
is
the
certain prefixes
names
bowli-rekulu or Jharnpe-rekulu
general. This
makes
a mention of these
been mentioned
in
"
8-1-8=16 matras
we
find in
If
these slab
as "Sarasijasambhavasakhasurapungava" or
"
Vasudevamavaparvasudhakara",
that
was
[v
reku these are either a "gau[a reku or a malavagaula reku". The prefix caupada happens to be
but the catuspadi or the
padam as
it
fs
is
Prof.
Anandamurthy
feels that
would
not be
unreasona
name
Cent.)
mentioned or
to the
I
Cent,) described;
prayogam. Added
is
to these observ
in
Caupadado|am
not to be found
the
cli
Prof. R.
Sathyanarayana.
pita
Secondly, to
assume that
the inscription poet could perhaps be none else than the padakavita
Fajjapaka Annarnacarya,
signature besides having
who
the
of his stri
abhoga mudra
of
Venkata- with
all
Although
f
it
looks from the dasavafara sujadi tajamalika (slab 2) that the extra three
in
accommodating
all
it
later
appears
to
when the
composition remained a mere "namavaji" without having a need for the ten
it.
Hov
fi
name
we would wish
or believe
to be,
in
were expressed
in
public
October
998
it
is
but natural to
md
DOUBT
Prabhakara
Sastri
that Sri.
he conclusion that these are the compositions of the Ta||apaka Poets, and
>ellef
AVS
about
:
3EPLY As
if
Prof.
Sri
R.Sathyanarayana
clarified
for the
non-comp
a su|adJ by
ividence vanishes
Annamayya was a negative kind of evidence". But even that speck of a negative ki when Sri. Prabhakara Sastri categorically mentions in his first notice of these inscriptic
9.
As quoted by
Sri.
I,
V. Chalapali
Rao
in
his "Arrtrtavar?ini"
P.98
12
ius
"a few notated musical compositions of the Ta||apaka poets inscribed on huge stone slabs of
Tirumala. Lyrical compositions found chiseled
JO
their
ire available at
on stones along
iod
is
something rare and unique that bring glory to the abode of the Lord
6ri
Veftkatesvara.
Sri,
...
We
not
3trieve
1
and publish
Hence
is
was
unwarranted.
AVS could
tor.
lat
the
medium
differs in
stone
it
vs.
copper
plate inscriptions.
in
is
no difference
at all
as
was
In this
all
copper
plate Inscriptions
day
to
negative statement. Did the Ta||apaka Poets not experiment writing their
them on
different sizes of
copper
plates
on experimental basis?
retrieved
by
1
Prof,
daily
28th November
998)
it
we find
jnsive
we find
means
works on such
medium?
we know now
span
Lastly,
tons retrieved from the available two huge slabs forming part of a series of more than five
ly
st
It
which they
our view
it
there
is
variance
in
respect of the
mudrawvb
when examined
the
in detail.
Venkata happens
to
be the mula
the
it.
and
suffixes
to
No one doubts
iyrics
when "Vehkata"
like
absent
certain
paryaya mudrasfawti
er plate
of the
Ta||apika poets
How
ikata-svami (12-209)
ikata-pati
Verikata-vara
(slab 2)
(2-84)
Venkata-pate, Venkata-adhipa,
Vehkata- vallabha
ikata-yiri-svami
(12-242)
(
Vehkata-giri-dhava
ikata-acala-ramana
2-30)
Vehkata-gm-rata
Appendicies
&2
13
Venkata-adri-pan.upugabaog'e (12-48)
Sri- Vefika|a-adri-guhasiddhuda
Sri-
Veftkata-giri-saya
(23-432)
Venkata-gfri-grha
Vefikata-vara daya
Venkata-kamita-varada (2-165)
mudra and
Anandamurthy, thanks
in
to his recent
probe
a considerable variance
be the
m
Ve
innamacarya; -Vehkata- natha happens to be the specific signature of Cina Tirumalacarya and as ob
i
mudra
of
That there
is
of compositional methodology
in
betwe
iscriptions
and
the
is
copper
plates,
and
in
the
language and
style.
This objection
and format
of those musical
compo
irefufly.
The
all its
imposed
structural limitations
and
restn
peculiarities
When
and methodology
style.
also undergo a c\
differs in
is futile
it;
own
form and
this
A sataka
It
len
3
compared
in their
treatment.
to lo
f
methodology
in
is
the reason
why
be
gl\
found
in
their
is
a psycho-socioli
c
enomena and so
to
domain depending
Stylistic analysis
may
help getting to
know the
author
is
mately but by
itself
Now
probed
into.
which
we
have
answer
objectively.
cou
-
compositions
ituries,
it
of
some
say
other contemporary writers, other than the Ta||apaka poets, of the 15th
that that
suffices to
in
forth durin
sussions
support of
failure of procuring
such a neg
he participating scholars
in
the Workshop-cum-Serninar,
and
to
Now
is
14
;ipants,
who may
still
have
lingering
effort
and come
ft
specific evidences in
made
compositions found
'al
in
probed by
(?),
public so
far,
Vyasari
latya,
Vedamanya? Kuwanna
9 & 1 0) given
in
Vehkafamakhi, Purandaradasa
as mentioned
in
his write
up
1
idix
support
is
of
Newspaper
a careful examination he
in their structural
come
character where
sani
)
Mohan
{Saptagiri
ri
Sept.1996
the "kriti"
po
of
3d
Krisriadevaraya (namely
in
Prabhakara SE
-
way back
1939
see parisistam
The word
"kriti"
found there
Dr.
meaning a ka
1
Dr. Aralikatti
and
Mohan
was
with a song
fact that
work "krlshnaraya
kriti"
not
a book
of lyr
lyrics.
So
:he
until
eil
working hypothesis of the Editorial board of ascribing the authorship to the Ta[|apaka poets and
ri
rri
Ically to
-
Annamacarya and
his
in
viewpoint.
INSCRIPTIONS
3d in
j
COPPER PLATES
Also located
in
Tirumala
ri
the Tirumala
rl
Venkatesvara ten
g to
'- 1
5th
6th centuries;
more
specifically to
1525-15
\
2 on palaeographical grounds.
Astabhasa danglakamu
of Cina Tirumalacarya
In 1
537.
^graphical features
>r
writing
on
be
Inscriptic
plates,
ja,
ma and sa appear to
ma and sa
appear
to b
sarlier period.
little
later period.
15
ur margasuladi [ype of
la,
compositions
in Sanskrit
with
One
Annamacarya
to
is
found
taja
published
malika.
to
which appears
be a bahuraga
r
So sujadi
sicianvidvans.
Annamacarya
The
\\
refers to suladitypt
to Pt
"vakyam"
is
noticed
in
the d
and
Raga and
taja
names are
indicated
e.g.
in
certain simi
te
positions
which resemble
lyr-
Sanskrit compositions
Kambodi-racca
)und
in
atataja
(12-116); Mukhari-atataja
2-208). On
ti
Srt
in
is
2-78)
of
Annamacary
Sanskrit resembles
in
in
toto the
caupada-dojam of th
decide which
is
inscription
manner
difficult to
th
replica of which.
of
th*3
inscription
appears io be an adept
systematic
in
com-
sui.h stiucturally
Ivriual
lyrics.
Pedj
formats.
Tirumalayya's
jhombada prabandham
is
with notations
said to contair
.if/
\-i\w\Jtitii compositions
rendered
in
seven
nd aa ekaraga/bahuragal?) malika.
16
i.e.
eka,
itara
theme appears
to
be dear
to the
Same
is
is
antyanuprasa
etc.
Same
poets.
is
luialisms
&
Colloquialisms
hitalata
"yamunakule
:
grhe"
2-78)
(slab2-8,0)
"caitanya
Sripati"
(9-141)
(2-80)
hrdanalpa darpa"
(slab2-12.0) (slab4-78.0)
"daivasikhamani
"ukkumiri
"iriti
tirumaladevuni"
waciidanare"
(23-300)
Yasoda"
(23-372).
Yati
na bhrnga
(|l
?)
kadhara
(slab4- 48.0)
ni|a
manasija
(li
?)
"
lala dagili
(16-57)
nilation
aria"
9 (slab2- 46.0)
Dissimilation
'rukumini"
'lakirni"
(23-520) (23-230)
(23-235)
'sankarusaria"
hangeability
lnterchangeab]iity
"tulasi"- "tulasi"
"-"kelana"(slab4-22.0)
(12-166)
irities
e
(slab2-4.0)
Similarities
ha"
"kirivigurava"
Tirurnalacarya.
jhombada prabandha
of
Peda
latike"va"
(slat>4-7,0)
'polati
maidigapai pulakalu
podaminche"
-Annamacarya (12-179)
"muncina dShalatapai"
"payapu merugudige"
"merugulatigekadg menu
(23-33 1
(23-514)
nidi"
(23-
47)
17
"barhinamiva ghan^tha
masu
vefi kajapate"
(slab4-7.0)
(23calaftgii
"mavurambu mghagarnanarnbunaku
manomayurambu"
(Veftkatesvara
vacanamu
"kantajanamani kamaladharaya
cintayamimiha(cira) Ver'ikatasaya"
"meruguboni yalamelumangayutanu
(slab4-34.0)
"janakasuta janitotsava....
kanahrdi Veftkatagiridhava"
"Alamelumanga
(slab4-99.0)
ni
vabhinavarupamu
jalajaksukannulaku canuviccevamma'
-Annamacarya{12-159)
Borneofthesecoupletsintheinscriptionresemblecomjositions of
to
have "taken
GUI
Venkajesa.
^itanukrfpam Vehkatagingriha"
(sfab2-75.0)
"koccana Vehkatadriguhasiddhucla"
(23-4:
"gopikalaku
manmadhamanrnadhudu"
(23-4"
'ikatanisat?
vipadurukausala"
(slab2-50.0)
"KOpaputasurulaku mrtyuvita^lu"
"bhavaharucJu" (23-144)
(23-41
ihavana tarkava"
(s(ab2-30.0)
asudevarrjava parvasudhakara"
(slab2-48.0)
(23-470)
'
rakatayasoda bhavyatapahphala"
(slab2-48.0)
nidhi"
(23- 1 A
(23-470)
imsaripunjaya"
(slab2-54.0)
"kamsunigupdedigulu" (23-144)
ihulatanugaria"
(slab4-22.0)
"nanarupadharudunarayaou^u"(23-503)
jrajivadana mOditadhainuka"
(slab2-52.0J
ni
ragala
rantulj
vavudo kado"
-Annamacarya (12-179)
18
io.u)
lattunitti
daudo kado"
-Annamacarya {12-179}
tanumagha" (slab2-73.0)
"kaliki
javvanapu
yagamu
2-287)
cesenataclu
ko|i
hdmamu
sesegudi ninnata^u"
-Annamacarya
colbana"
(slab4-20.0)
.samajjana" (slab2-73.0)
2-251
1.0)
"kucakumbhamulaku"-Annamacarya
2-209)
itagiridhava" (slab4-
00.0)
iiiriyam
susyati
dfcihamiha vitanukrpam
"taruni
niyaluka kenta|i
-
dintl niveja
karunimpagadara
Venkatasailanatha"
Annamacarya (12-179)
"lalita
4-37.0)
neJitOcia"
(12-130)
ic is
This lyric
throughout.
is
Finally
is
the repertory
to
in the Hill-temple
lh
happens
ih
-16
_ cent. A.D.)su[adi
music appears
be the
cent.
composer
sts of several
g.
If
such
similarities
found
in
between the
inscriptional
literature of
and
lyrics
can be
only
we had
the benefit of a
concordance on the
overdue,
details
more minutely,
19
this topic,
we would
like
to add two
more observations
Anandamurthy regarding
above he opines
Based on
6ri
Annamacar
as opii
1460-1512
or so,
Sastri,
could be
further, pin
pointed to a date
for this
1500 A.D
is this
-
much befon
Tirurnalacarya started
contain ideas
lot
composing
lyrics.
The reason
surmise
"Venkatanatha"
have
noulded from
his
"karunirnpagadara Venkatasailanatha"
word
"saila"
Venkaja-
giri-
have indicated
all
was
specific to him,
known from
In
the fact that the coupfet "su/abfta vadhusuta suhf- dasukara.... na,
rdi
mama nafinagarS'
found
surmised to be
lyrics
that of
Annamacarya
appe;
3ve
a couple of
by Cfna Tirumalacarya.
dhanadhanyamu/u)
ifiumufigt//
cud i dehu/u
van!
ma yacaryu-tfanaiiccenayya"
nfc/a; jflu mufigili etc)
(16-46)
"
lyric
in
another
pann'matfe
wtlcc!rayya"( 16-46).
in
the
above
lyrics, this
particular idea of
ri
Annamacarya
this is
akii
one contained
in
considei
20
by
Pror.
Anandamurthy, as an
is
indirect
is
in this
respect
and the
and
syr
VeAkatesvara Vacanamulu.
digression from the authorship issue
At this juncture, a
little
may not
<
Bhandaram
to
later cotext,
he
feel
according to the
Kaifiyats
traditional
the historical
(like
the
Mangapuram
Inscri
the stature
and sanctity of an
by
Mahgapuram
temple, the existing pair of icons found on either side of the Sanki
in
Bhan^aram and on
representative of "Peddayya"
and "Cinnayya"
the son
the grandson
man
(Tel.
musali Annamayafig
little
more
intensive study
in this
respect
light
identity of the
composer icons as
well, Prof.
Anandamurthy
feels.
ACKNOWLEDGEMENTS
It
to place
gratitude to
each one
of
who have
Vinayak
We
should
shown
at
every
of this project.
to
Subba Rao,
Devasthanams
of the Publica
mahamahopadhyaya
their unflinching
We
woul
our duty
Sri.
if
we do
not place on record our gratitude to the bold and positive initiative takt
IAS, the then
this
regard by
J.Rambabu
We
are grateful
tc
foi
conduct
of the
Workshop-cum-Seminar
all
held in October
1998
which enabled
this publication
poss
We
who have
us
<
contributed
the process of preparing the base manuscripts, transcripts of the proceedings press
printouts.
We
tc
eminent
Editorial
and
of the text
and particularly
Professor
Mahamahopadhyaya
Prof. R.
Sathyanarayana
21
ihedirfe
and
for giving
us the benefit of
his patient
and
final
We
are
ateful to
mahamahepadhaya
editing certain d
irtions of the Sanskrit text and also for composing the missing portions of the dasavatara sujad
and
transli
o Sanskrit We
.
gratefully
by the
members.
Sri.
We
dedicate
this
work
to the
memt
the
fi
Ramachandra and
to his
Veturi
Prabhakara
Sastri,
who was
we acknow
Sri.
\
ibhakara
Sastri,
who was
the
first
in
this project
or completed.
Ramachandra
(Leader)
Prof, Veturi
Ananda Murthy
Vidvan Vfdvan
Srf.
Akella Mallikarjuna
Sarma
Sri. N.S.
Srinivasan
Dt 25
th
December,1998.
22
KEYNOTE ADDRESS
(Revised and Enlarged)
Mahamahdpadhyaya
Let
i
Dr. R.
Sathyanarayai
is
me commence my address
life
and
rejoicing. This
a red-lett
the
of Prof. Veturi
Anandamurthygaru because
in
hovering benign
his fath
this
the fulfillment of
/eturi
Prabhakara Sastrigaru
envisioned
'
a patriarch of
modern
and creatr
who
this
and language
humans
in his
jestions
witnesses the consummation of a concerted labour of love Team comprising Dr. Parabrahma Sastry, Shri Mallikarjur Ananda Murthy and the othi offer nr iphists, Musicians, Litterateurs who participated in the workshop; at the very outset, e congratulations to them on the professional excellence and competence which they ha\ ht to bear on the famous musical inscription of Tirumala. The inscription is ably edite
This
is
it
svoted five
ia,
member
Editorial
Dr.
and
relegating editorial
objective, Editing
to
its
and the
an
inscription, especially a
own
encountered
the textu
song are
quite differei
The advantages of
plurality of collative
source
apparatus for conflation, recensioi and diaskeutic contributions and so on are not available here. The greater the popularity of
its
written
is
being
held, is
about
500
years
old,
ravaged
fc
wind and
piognant
rain in
relic of its
author's
brilliant originality
and
creativity,
with no
aises
some
speculation:
why was
this inscribed,
in the first
If
its
music?
If
it
a ver
original version, s
sicians,
3
recensional or arbitrary variations in its performance would creep in in the future generation why did it not become popular with the subsequent or contemporary performers? Thi in contrast with the thousands of copper plates inscribed with the songs of, Sri Annamacary darkness away from the ken of the human eye and ear for so long; some of his composition
23
and those
of his
son did
attain
some
a
popular usage as
is
in
at the distant
its
Why
mi
for
new
this,
creative trend in
own
genre, which
was there
and
one
to
stabilis
and gave rise to different evolutes. Why did this not happen in the case of this signi innovation in Andhra? Of course, it did not totally disappear, for some of its features found thei
nto a cognate form, the gita, as nto oblivion?
I.
we
shall
is,
why
itseli
And equally
important, how,
Epigraphicaf Aspect
and Authorship
On
'alaeography and content. These are at best circumstantial evidences and point
re worth, to the
liters;
whatever
of
:
A. D.
of the inscription
may be taken
omposer,
if it was inscribed during his lifetime. The time, location of the inscription in the Garni radaksinart the Tirumala temple, repeated signature of the composer and literary stylistic par 'ith his other songs suggest the authorship of Tajjapaka Annamacaryulu. This may be confirmee
ijected
only after the remaining text of the inscription is recovered. The occurrence of is unequivo >mposers bearing the same signature does not weaken this suggestion till Jtabfished that(1)they belong to this period. (2) they were music composers and (3) they have
i
it
imposed the kind of song as is found in the inscription. The fact that Annamacaryulu has favo e pacfatorm does not detract from the possibility of his having composed in other forms also,
a
common enough
to this
feature
with
>me
workshop
among music composers of the East or the West. an open mind, open to be convinced one way or the
I
In
any case,
I
other.
am
sure
Keynote Address
provide,
if
of this kind sh
and
feasible
firm factual
in
with hasty
First of
Kind
under reference
viz,
The
id.
Inscription
is
This
true
is
in
a limited sense
'hatuj.
There
no dearth
is claimed by the organisers of the workshop as the first c an inscription which contains both words(/??#/M and their m music in India. As a matter of fact, Samaveda is the ol
itated
th
syllable
is
svaraw SK
music
is
les.
),
The musical
treatises of Matanga,
ityasastra,
Veda),
inscrip
at
lers contain
is
is
nothing
new
in
India.
An
ntaining notated
music
is
Varm
24
ii i-j
Mwiiuni. wi
iiivjoiw \jiowi(j|t;o
cti
iiiV7
IMOICU ivjc
kJi
no incillUl,
nuui CUsdl
ya.
ll
UUIIiaillt)
I
tffetraga segments) of the seven suddha gramaragas, which were prescribed by Bharata to srmed at the various junctures of a play. Mahendravarman inscribed the music at Kudumiyama
erformance
in his
own
play
viz.
Mattavilasaprahasanam. There
Inscription has
1
is
times: in 1914 by P. Government of Pudukottai State in Second Bulletin of the Board for Resean Varalakshmi Academy Mysore, collating from both these sources and a fresh estampage. The other musical inscription from Dakshina Kannada which have edited with Dr.B.R.Gopal fortl 'aphia Indica; but this contains only the matutii the song and the names of its rigawA fa/a, b 'hafu What makes the Tirumala Music Inscription the first avaflab/etf its kind is that carries bo
rumayyam
in
also.
The Kudumiyamalai
idarkar
vol. XII; in
in
929 by
in
the
tl
and by me,
1957,
the
it
it
may be regarded as a
in particular
signal contribution to
tl
and
to
Karnataka music
its
tl
The contents
lusical/Musicological Aspect
ry
The present workshop is planned to study three aspects of the inscription viz. epigraphia and musical-musicological. have already made above some general observations on
I
tl
aphical aspect.
It
suffices for
me to
this
song form,
th
ong
that
composed in yathaksara i.e. the duration of the svara mostly, if not always, synchronisi of the word syllable. The matu\* composed in unambiguous metrical structures; these tv
is
are helpful
in
themselves
to
resolution
in
melody syllables are limited to seven decipherment is also facilitated, autonomous and contextu
tf
of the respective ragas. Recreation of the dasavatara portion of the inscription by Prof. Pulle
machandrudugaru
I
is
brilliant
shall
now
is
lem which
is that
take up the musical and musicological aspect of the editing of the inscription, is the need for avoiding historical anachronism. Th
every
should be
made to avoid the superimposition of our own spatioternporal frarr and prejudices of music on that of the music in the inscriptio
in
his
background,
stylistic
is
proclivities
a Space-Time machine to reach the time of the compose and peculiarities. This is seldom possible. Howeve
facilitated
istruction of the
music
somewhat
because of the
josed during the period of the inscription in the region around it. These give the laksaoasti i\ ?and ta/as mentioned therein. So the music editors would need to (1) authenticate the melod
>ments and phrasing of the inscription
-^treatises of the period, especially of
3
in
in
U
et
dhatu readings so as
to
Andhra Pradesh (2) emend anamolies, cruxes, opacity ensure melodic unity and faithfulness to the laksaoart the age.
:
The most important musical question about the inscription is what is the form of the song? 1 at the answer(or ^answer), is necessary to examine its structure. This may be set forth
it
vs:
25
2,
commences
Onfy two slabs of the inscription, numbered 2 and 4 are available. Of these, the first, nurr fn the middle of a song and the second, numbered 4 also ends in the middle of g
inscription
is
composed
with the
now
numbered
1,3,
and,
at least 5,
if
not more.
The
firj
and
erection.
Th
may have
some
of the
above
information.
is
set
The sole contents of the available slabs are songs which reveal a common pattern. Each to a single raga which is mentioned in the beginning, Since the slab number 4 comrnen'
commences and
Each song
in
raga of the latter is not available; however, towards its end, a new its raga\$ given as (Saya?\nata, The secoond slab gives the ragaas varala\=], each slab is divided into several segments, each of which is composed in one
melodic sections.
Each segment is a stanza or carapati the song and is subdivide' In between the racamw\& afe/^/Xsegments is inserted a novei sec
n the
jach of
:
caupadadQ/amw\\\v\\ is structured differently than the other segments or caranas. Each c songs in the sfab number 2 is structured into tfAsfc/sectlons called udgri'ha, jyavajawti ab which has fixed durations measured in definite numbers of avartafcta/acyc\Q$}, thus revt
-
as a musically self
numbered
4,
the
above
ilements, another
one
called pray&ga.
>harjdira(-bhandika}
in
f
M^ssuch
in
as iya,
is
The praydga\& composed of only non-sensic syllables tiya, amvoe\c, to the same /^aand ta/a of the whole c&
c
interesting
that
i.e.
some
or
all
the the
a cararjaaxQ repeated
in
the finale
abhogatf
melody - lines of the opening lines( udg same carana. There is only one except!'
lis
the slab no,4 viz. the mathyatafa carana. Every carapa carries, as a rule, the
compo
I;
stem
of
suffix.
is
part of
a wholefi.e. structural
that at the
and
its
song) dhatu
is
established fror
line
are taken up
ir
jfrain.
This
is
ankirtanalaksanamu of Annamacaryulu. This is also a feature of the sujadi. In the whole lere is only a single Instance wherein the repetition occurs within the abhoga.
inscrip
different form:
.
patfeand
in
kriti
has an introduction, called pallava (comparable Hollowed by three stanzas, each called a pada. The compo;
it
gnature
is
carried
the
last line of
first
at
the en
ich pada.
exactly the
A,D.},
same
as favoured by
(c.
it
vidasas, virasaiva
1550
Bhadracala Ramadasa
16
380
A.D.)
em
to
songs is a uniform feature; but does end of the final pada, the beginning m
fcs/fc/llne
whole song is not repeated. The rhythm content and distribution of the caupadadc ^responds to the ta/a which was then known as jWmpafa, integral to the sujadi fa/as and is /ersion of the moderh adita/atf Karnataka music. The uniform inclusion of the caupadado/amma
3
traditional
sL
availing
is
also totally
unknown
26
rs to the quatrain
W/am'
is
'do/am seems
:
'
to
5uladi
Formal Varieties
Karnataka
in
What
There
is
reference?
is little
1th cent.A.D.)
into
is
of de$/(\.Q.
h
ai
fied
gltakalanidhi,
had
to
to Kallinatha, a senior contemporary of Sri Annamacaryi comm. on Sarhgadeva's Sangitaratnakara). Both the suddhasucfasrd the safahgasu be sung to prescribed ta/as in a prescribed order. The suctdhasuda comprised the
vartani,
seven prabandhas viz. dhruva, mantha, pratimantha, n/ssaruka, addata]a, ekataja ar These had subvarieties totalling 45 and were, with the exception of dhruva prabandt,
be sung
to the
Bribed to
,
namesake
la/a.
of
these
was an independent
separa
they obtained a formal continuity because of their fa/as and the order of performance, Tf
?/7?a
kfrna
prabandhas were 24 in number, beginning with varna and ending with tajirnava. Tf prabandhas were miscellaneous, and numbered 36. That the suda were a /<?/c?-base
nunity
as late as the
itasarasangraha)
who
The haridasas
mporary
of Sri
centAD.) and
Sripadaraj
wdhas\K
three ways:
Annamacarya) experimented with the form and structure of the salaga sue (i) The /^structures were reformed, reorganised and named suladitak
with formal unity
i.e.
trmal continuity
s
was replaced
members
into stanzas,
jhampe,
them only
(of
terms laghuw\
wit
stripping
i/fa.
jt
them
of guru, pluta
became uniquely
fixed.
one aksarakala, &-druta of two aksaraka/a, \-laghum\ jmber aksarakala indicated by a subscript numeral, total number aksarakala of the tajavarta\ after '='): dhruva^ fi^f\A*\ mathya (I 4 d 2 4 =10), rupate (d a 4 =6), jhampa (I 7 d 2 an, =10 d d ?(l d d =7 / drutavirama druta druta -l] ^//5(l 3 2 3 2 2 2 5 5 2 2 =14) and'^A?(l 4 =4) In order to provid Ivlkala mathya\&., double the time span, an already extant form of mafhya called raganamathy
IB
-) l
l l
imed because
ionally
it
corresponds
used
in
retained
am
27
was
this
structurally inverted
the name adiiaja. Afl music composition and performai was based exclusively on these nine tajaszs proclaimed by Vehkatarr
in his
Caturdandiprakasika
in
the mid
was
to pattern the su/adi as an yathaksara prabandha. This was accomplished with the s expedient of performing the su/adi ta/as\^\ fast tempo, representing each arigav\z. laghu, drui
anudruta with
its initial
is in this forr
by Sripadaraya,
su/adfw\d the
pada forms were extensively experimented, explored and exploited by them. One axperiment consisted in liberating the sujadi from the order and number of its stanzas or carana nvariably retaining the suladi ta/as. Thus they composed su!adism\\\ a minimum of five carant
emitting
*a(as).
of ten
Their su/ad/sare characterised uniquely with yet another feature. This consists of a
(jatt,
vati tafa
3.
Formal Variety
Rajasthan
Kumbhakarria, King of Mewad (1433-1468 A.D.) has described in his Sahgitaraja bot luddha- and the sa/aga-sudas\r\ close conformity with Sangitaratnikara. However, he holds th; istapad/stf Gftagovinda of Jayadeva Sarasvatf are sudaprabandhas'and has created musical s
jres of his
own
for
them as well as
for his
own songs
contained
in
a namesake Gftagovinda
e has modelled
delineate
SangitE
is hel
Jrmer
in his
Rasikapriya,
the
latter in his
'
hese
latter
a manuscript entitled
of
'
Sudaprabandha
which
ome
to
Kumbhakaroa.
leng
elerr
The Sangitaraja describes twenty eight misrasudas each being appropriately, though amed. They are specified in respect of ragas, fajas, laya, rasa, chandas, the compositional
vara,
fa/a, their
order of occurrence,
nd abhoga. The
ibhoga
is
composed
at the final
end or
at the
in Jayadeva's astapadis. The songs are composed in vi theme of the song is also summarised in the description. These misras no resemblance to the si/agasutfasw\<& need not be, therefore considered further. Kumbhak suddhasutfasws distinguished from the sa/agasudasty
\r\
which they are performed, whereas the sa/agasudaswQ set to desin ilikrama prabandhas inserted in between the sudaprabandhas ^\\
srformance.
,
Formal Variety
Orissa
quite differently in Orissa, as described by Harina^
isra?) (Sahgitanarayaoa),
!
(Saftgitasarasahgrahi
shall
endeavour
to give
28
By about
sudas had
lost
much
description of the salagasuda prabandhas. These related to both adrsta (pha/a rasaviniyoga
well as drsta (structural) aspects of the songs. Approximately at the
that
same
time, Harinayaka
als
Sarhgadeva's descriptions were no longer in vogue in these songs in Orissa. Rathnak; seems to have spearheaded the renaissance movement of the sa/agasudas in this region. In
place,
into
suddha, sajaga
it
and ksudra
(or cutukifa}.
The
status of
tl
had only vikya (comprising b/ruda&r\& pada] and ta/& still regarded as partaking of the shades of its
fro
dhruva element
these. In the
melody
in
line.
Despite the
abhOgawos 2 or 1 .5 times the length of the cthatu element d, in the mantha \^ were equal. The udgraha itself served the udgraha\\%& a second segment which was sung in proscription of pata, svara, tenae\c., Haladhara illustrates some sa/a^
latter,
evidently poir
experimentation.
in
nine ta/ssonly,
mantha, jhampa,
triputa,
a$da,
some of which bore the names of the rupaka&r\d ekata/L Among these, y<?//and n
:
were employed only for the dhruva suda> mantha and ekata/l\w only the mantha w\<& the rer five, for both. These tolas had the following structures yat/\ lldcf, n/ssarlka : ddll, ad/:/, manti
\i-virama}, triputa
katafi&.
d.d.dv
kudukka(ddll] and upadda($] ta/aso\sQ, thus totalling eleven /^/stffor the 3a/gasuda.\ even these are structurally identical, with nissarikaw\& ekatali respectively Krsna Badajena avers bandha-lalitya (structural frame) of the songs were different. Some used even caccafputa, ca
I
in later
times.
The
be performed
in
the order
aditija
yati- nissari-
The
viz,
jhampa,
triputa,
addawd
in
between man\
ekata/i,
order.
ir
The Orissan sa/agasuf/a$w&cQ similar to those described by 6arhgadeva (c. 1 230A.D.) respects but different in others and developed their own tradition in structure and singing. The
similar in that the prototypes
were
still
only
two
viz.
referred to
respective laksana.
ate/<C//differed
the application
according to Sarngadeva,
composed
in
prescribed
ta/as. The yati (caesura) of mantha was usually only one and was segments or sections could be composed to generate aesthetic effei
yw&was
muktakas (separate or discrete compositions) corr The dhruva and mantha sudas differed in the temporal spans (mitra)<.
In both,
the final
segment
is
of the
nstead of sixteen varieties, the dhruva sutfa of Orissa had only four, but these arose because
parts of the song. This
29
dhruva as described
in
the Sarrigadharapaddhati.
It
may be noted
sajagasufa
It
and uses
en
namesake suda; and the Orissa of this ta/aaz well osjhompata. Thus the tradition lies medial to HE repertoire is totally unaware deva and Sarftgadeva, Sanigadeva and the haridasas. The Orissan y<?//and humar/KQ unknown
but not the dhruva ta/a for the
\\\Q jati/jatetti
OamfidarafSahgitadarpanam) and Narahari Cakravarti admit jagapa mathya whereas its southern analogue uses the ragana mathya.
Besides classifying musical compositions
into
sa/ag&
Narahari Cakravarti describes yet another class of sudaswz. sankirna sudas numbering four
carca (fcharya), bhfla, tollari (dhdtlari), doha, 6vi, hneva karika, tripadieto. and prescribe them to be sung in the spring month of caitra. These seem to muktaka sudas referred to above. The sa/agasutfas were composed and performed to sir
caitrafcaccari?), mafiga/a, nagarika,
t
instruments and dancing according to Krsnadatta of the Orissan School and by Pandarlka
Vitth
of
this
Content Analysis
Writing
on slab
announcements
it
that the
in in
stanza
in atatala
matiyar,
begins
given
is
such
svara
is
written
words throug
/^name,
is
nstancesdines 60,
an abbreviation of w^/aA4=opening musical segment); uga 7 1 of slab no.2, line 65 of slab no. 4). The end
'
replaced with
is
<#only
in
of a stanza
always indicated
'
{but
onJy 'mugise
is
in line
39
The
serial
number
The
of
A new
line
su/&
is
ekaraganivestl
a single raga.
udgraha
once on
9 of
shortened
to
elow),/^V^(j), prayogafy] and abhdgate] are clearly and fully shown always at the begini he structure of each su/acf/\r\ the inscription may be summarised below in terms of these lege
lueslion
mark
of the
in
the
second
(i.e.legend-)
column
umber
/^named
caraoa
its
absence shows
such
serial
number occurs
in
iscription.)
30
b no.2
Slab no. 4
Writing
commences
in
32
iscussion
Taja
/^sequence
viz.
dhruva
ilamatiyaw mathaya-rupaka-jhampa-ragapam-tivuda-atatala-racam-caupada
close conformity with the structure of the conventional or earlier suladiv\ the haridasas excep
ie insertion of
ragapam after jhampa and of racarn and chaupada do/am after ekatafi. There raganam refers to the ragana - mathya ta/a structured with guru-laghu-gurb
iJ
,
mathya
su/ad/ti/a, but is
of
gum
The
of this ta/a is in
in
the
mid17tf
the
A.D.
The use
of this
continued
in
cent. also.
:a,
called
pada
The term caupada do/am seems to derive its adjectival word from the fact that its (line 47, slab no.4) is a quatrain i.e. a pada\N\\\\ four (-caihpadas. The nomina
not occur
in
do/am does
ose are
77,
its
meaning
is
opaque.
(ii)
It
cannot b
is
not
an independent
song,
its
structure anc
caupadi
because of
is
to ta/a
names
its
ighout,
more
likely to
both instances of
rrence
(line
46-54, slab
46-52,
slab no. 4)
l
it
reveals a talavartatf
the
aksarakaia.
II
tothe/M/??^/^(d 2 d 2
4 )or
modern
composed by haridasas, is also consistent with the nine su/aditafas mentioned by Venkatamakhin and by the above iis\ ioned Orissan authorities{cf. jhampatala, ddl, probably a varia of jhompata]. This argues a scribal
it
who use
both tlvude%w\
of caupada for jompata and dolamtof /Rowing to an amanuensal origin of the lexis through cement with a lectio simplicior. However, caupadaddjam cannot be held to be totally inappropri-
is
a stranger
is
to
the
^/^/format
in all
latter but
The use
of this /a/a
is
unknown
in
any
The end
Dral
marked with a
lure from
span of the avartazw\ be thus made out. This quantity is uniformly the same, mostly. A this is because of excess of s-^/adurations over the standard quantity and may be due
more
precisely,
due
to the
in
a few passages
all
cannot
as dvittya
ara. Either
in which the svaras occur in clusters of two, or less frequently, even three. be scribal errors and may be accommodated only by gamaka&\\& /or higher speed kala. Another feature of the musical notation is the absence of s//fc?x/signs for mandra
the music
was confined
lement
:ed
it
of
performance
madhya sthaytw the composer/patron/scribe assumed know which phrases to perform in which register. new or strange. Examples may marga music of kapala, kambalavnA of the prakararta g/'t/s and in
to the of
times, of
/^assuch
have
in fact, limited
range
in register.
33
10. Discussion
Taja Structures
The
terminal
(a/a
structures
may be now
briefly
shown only
la/a
Thus dhruva
l
dines 6<
a standard span of
desya] or
fa/a
I
4 aksarakaia,
divisible into
is
2 4 4
or
\$^naiyadandi) wh
gucu(laghu\
4 4
6 (vfnadantfh
where L
77,87) and 5/5/3/9 /? (slab no.4, lines 79,89). On both occasions the /$? occurs immediately after dhruva A?/* and ha same temporal span of 10 aksarakaia. None of the ten varieties of dsi maitfha fa/a correspon
ta/ais
Skatala.Malhya
Is
written
mat/yaw mathaya
this
in
span; so
it
is
a ^/^//c?/<? defined as d a
4 4
or
this 2 4 Clearly,
l .
is
also ekakala.Rupakatajaw.
of
is,
1
lines
90-100).
It
has the
same span
is
2 aksarakas,
is tfi
avarta,
4+8;
that
the taja
or cfvfma/iah&w.
Jhampa
fa/a
occurs twice
This
accommodates
the
above span
an.d.
if
varieties, the
modern sujadijhampa
is
tala\\%s>
L (=10, ^-iaghusekhara), vaggeyakara jhampa has 7 d an. Thus the ta/a\s used in kakala\t\ the
7 2
inscrtp
ffcgaoa(>naf/iya}
of
used twice
20
aksarakaia which
may be
distributed as
8+4+8,
that
is,
a dvikaia
la,
Tivuda (<tnpula] occurs twice (slab no.2, lines.24-32, slab no.4, lines. 17-29) with a span of aksarakaia. The d8$i triputa takes the form d f (|- = 4, 5 or 6) and is also called atftfata/f; Us ea 2
suiadi
atta]
form
is
d d dv
2
2
span
in
aftga
is
d^d^^
in
used
in tts medieval form and is inverted to d d in its modern version 5 g 2 2 two su/acf/sin the inscription (slab no.2, lines.32-39 slab no.4, 30-36)
may be
distributed as
6 6
d d
2
i.a
c&frorm
in
etefa&\
divyalaghu. This taja has structural correspondence of ofc///wfth the dSsitaja called vaikunda variety of the salaga suda, nfisaru.
//^ft/and with
/** of this
mentioned already, caupadadd/am^ 5 3 probably not the but of a musical form, plausibly that of pada, popularised in Telugu by Sri
dv
in
dvikalaw dvimana. As
lines
36-45)
The
is l.dv.,
the distribution
wo
of
/,
name
Its
16
4Mfe
If
the
lines.54-59; slab no.4, lines.52-59) with a standard ** span of 1 6 atwnteto. The ^/version of this ta/a has only one druta for its afitn but the rik vraon as weif as modern analogue have only one laghu, so that the tala would to'
sulad^
Annamacarya.
titost
it
is in
dvikaia,^
final
/^of
appear
c&tuffla/a,
It
may
be therefore concluded
the
&
Tl
ion ot
a
use of o riiher he speed Sn seed
nly altemative
is
34
Discussion
suladicaranasmsy be considered. In the first place, the compos egarded as a single whole, not as a series of discrete compositions. Secondly, is not divisible is done in the Orissa safgasuda of the pei
Next, the structures of the
it
is
to
any
vai
sa/gasucfa tajasos
'aoa\
mode
totally different
later.
be discussed
caranas
is
also.
second slab
divided
into three
musical secti
first
su/acf/a\sQ, given in
line of
60
of the
>earing on the missing third slab and the missing fifth slab) and the 5i7//0/appearing on the foi 3 have stanzas consisting of udgraha, jyavaja, praydga and abhdga. Thus the inscription appe
;ontain
two
common
dhruva sta
jrth slab,
vaja
is
followed by a
praydga (lines.62,69
respectively).
prayogasard two abhogas. Each of uga\ The second abhdga follows the
a
scribal error.
lediately. This
suggests an
(like
effort at experimentation or
composed
is
of ucfgn.
iyi#and abhoga, omitting melapakabut including an optional, expedient span between the dhr
abhoga
it
dhruva
called jyavaja\v\
In
iription;
is
not
in
Telugu Jav<
Kannada Jav<
ava/a means
common,
for
ance
in
music
be a term of professic the dhruva dhatu\n Telugu. The antara dhatu\s absent perse between dhr
ordinary, rustic or vulgar, So, j'yavala
to
its
seems
is
abhdga
place
3.68, 83; fourth slab, lines.3,13, 23,41, 55, 69, 83, 96). But
it
^/teand/>i#/^fourth
slab, lines.30-36).
is
absent
in
carana (fourth
on
carrier syllables
is
The prayoga is set to fa/a of the respeci such as 'a' '/ya^tfytf etc.
and/ or praydg>
in
The use
ant in
prayoga
in
gamakalaptivfa
early
tin
\\w prabandhasti&v. Thus is prescribed in the performance of the suddha suda prabandhas^ dhenki, jhombada and /asaas well the alikrama prabandhas viz. ctvfpathakawA gadya, besic
e sa/agasucfa ekatafi.
In
wj^/tocomprlses
words.
and
wo) words
',
respectively, totalling
in
(or 12)
it
is
rendered as praydga,
Some regarded the 12th word as m(ap& addressed to the hero of the song. The dhn
while the aftfa^awas the 16th w<
fu consisted of the
35
of the
same
foot.
Among
is
these, the
( 1
first
and second
foot of the
udgraha consisted
of
two
s<
consisting of
and
2),
unrelated
to
words 2 and 3 was spanned by prayoga\r\ both the first and second foot. Further, the dhruw comprising of the words 13, 14 and 15 was also rendered in prayoga. Thus the ela prat contained three or four prayoga passages in all (between the words 2-3, 7-8, 1 2th if it is me
and
1
3,
is
4,
5).
It
may be
there
{antara}\\\
noted that there is no prayoga between dhruva and abhoga dhatus h sajagasuda prabandhas and between jyavafa and abhoga\n the inscrii
rne!apakaw\3y or
It
This
is
true of the
j'hombada suddhasuda^&Q,
lines. 62,83).
may not occur. If does, is rendered as pn may be recalled here that the prayoga occurs
it it
Among the a/fkrama prabandhas, the gadya employs prayoga\r\ slow tempo in two seg between the name of the gadya variety (occurring in the dhruva dhatu)&rd the names of com and patron (occurring in the abhoga dhatu}. It may be remembered that the /?/#>%># occupies a s
nedial
position
in
the
sujadls of
the
inscription
(slab
slab
one of the 4
varieties of the
>y the
use of
many prayogas.
The
iraydga
in
&kat&lf
among
prayoga
in its
three varieties
ram<
in both.
is
2.
such as
in
Haripaiacfeva,
Calukya Somesvara
ill,
lassify the
sudas, implying
dding
uttam&tama in the beginning and adhamadhamaob. the end-the last two in the series are o ighanya and atij'aghanya on the basis of the number of their verse feet, ranging from six to fivi
I
among
the
nume
I
in
suffice
here as extremes of
this
range
in
has only two melodic parts, Udgrah#w\A abh6ga\x&\\ of which are somewhat
1griha\&& three sections, say A.B.C, such that both A and B (regarded as a single unit) have sntical dhatu but composed in different words. But C is set to both different words and to a mel
e which
y
is
D and
E,
is
composed
in
two
secti
different matu. E is set to a melody of hi is sung twice, followed twice by [DEj. The song r< Sarngadeva does not mention the dhatu elements dhruva and an, connection with the dhruva sajagasuda but does so in the case of the ekatajj sajagasucla.
D 1 and D 2 such
name
of the udgraha.
A was regarded
was probably
lip
service to
36
tion of
dhruva s&
refrain or
3 is optionally
'tuka,
lient
In the case of other salagasudas tte only the dhruva occurs they are classified as
was uniformly the among themselves, except that they were performed to the respective namesake tajas. Here, the /tewas of only one segment, pausing at one or two caesuras. This was followed by the dhruva
Structure of manffjaw\d other salagasudas differed from the foregoing, but
'<?/
These two were together sung twice. If the song had no antara, dhruva was succeeded by after this, the song rested on the dhruva. If the antara (also popularly called upantara),
it
'ed
in
the song
i.e.
after udgraha,
In this
Thus
the antara
sequence: antara-dhruva-abhoga-dhruva, on the last of was not executed between the dhruva-m$ abhoga
Kallinatha interprets this as
udgraha.
rowing quite
3
:
elastic
at least three
by Sarngadeva. He records that the salagasudas major changes in their performance during
(\)
number
of feet,
and
later, of
both,
(ii)
fa/a, (iii)
absence
in
of characteristic
order
in
1
udgraha ^A
8th cent. A.D.
(ii)
'A3/<ysegments.
ijendra also:
ig
3
Such
drastic
(i)
le conciliation
An upholder of continuity of tradition, Tulajendra offers a between the changes and the traditional inheritance through the example of a own su/ad/Q\ Purandaradasa. According to both, these changes pervaded, mutatis mutandis,
jayanta.
provincial differences.
other sa/agasudas&\$Q.
arngadhara
?,
classifies the
in
composed
into uttama, madhyama and The udgraha^ the uttama variety has two feet each
is in
4 and 5) constitute abhdga;$\ sixth foot, the coda of abhoga incorporates the name. The song rests on udgraha. Among the 5 feet of the madhyama dhruva\\\ first two
o the
>r
is sung twice. In both varieties the first and second feet are is repeated to serve as antara. An additional foot was abhoga G>\ both varieties to include the names of the composer, the dhruva variety and hero. This was rendered in a higher key, In the adhama fckan/stha) dhruvaft first two feet
in
latter
a higher key, Of the remaining two feet (nos. 3 and name, Either the rule of syllabic quantity per foot
number
was
when the
first
of these rules
yed,
it
was
among
the
two feet of the song while the others were exempted. suddha sudas.
This
37
The
in
North India at
th
of Sri Annarnacaryulu
fn
may be summarised
thus
(i)
to syllabic extent,
number
of feet,
/a^and
tak
(II)
(iii)
named
/,?/#?
from a c@sis
n a later phase.
(iv)
reveal a tendency to amalgamate the individual and separate songs into an integrated
ts/as\n a prescribed order; these /sjtescame vernacular songs.
to
irtVrch
II
be employed exclusiv
regions and
[v)
(vi)
suddha
sue/as
in
form, conte
Iructure,
(vii)
name
glta (as
used by Verikatamakhin).
In
(i)
viz,
relat
secondarily.
etc.
(iii)
the
same
or similar tajasos,
in
mmencement on
(iv)
affla/aox\d ending on ate/4& but the order of the intervening /<?/c?swas opti
c.
allowed any suda ta/ato be used either in the dhruva- or mantha laksana; but some, <//ak$aoa ta/as coufd be used in either, but not both, in the same song.
(v)
entities, instead of
compacting
into
single,
segme
'm,
(vi) devejoped a special cadential device called mana atu and to be followed by abhoga dhitu.
(finale) to
be executed
after the
dh
(vii)
inserting a
number
of inner
segments within
tl
as
to
(viii)
varieties
in
some
sa/agasu$fas.
follov
The
nts
may now
The
su/acff
caranas occur
in the
kata][
ata.
but with
srtion of
2.
The
insertion of
if
ragarja
mathya occurs
caupadadojam is appropriate tf its ta/a is a synonym of used by the haridasas in a su/adl, always occurs after affa ta/a. In the h vice mathya ta/a, or if the latter is also used, after /ftampa te
set to the
3.
Jly
namesake dhruva
ta/a itself.
But
this
stanza
differs
from
(i)
it
textual
analogue
itself
in
form, structure
and performance:
....
to
adhamadhama
(- atfj'agha
..
adhama because
its
dhatu-matu
textual
are far
is
more numerous.
first
(II)
analogue
it
the
section of the
-
the inscription
is
a separate, self
called
>
one of the dhruva carapas has antique jyava/as and two abhogas.
All
(iii)
distil
irly
articulated
segments
of
udgriha, jyava/a(-
jal tradition
own
separate order.
The dhruva caranas are performed in a manner totally different from textual descripti 'raha and abhdga do not have segments or sections of identical dhatu, repeated cthatu
4.
I
ft/In
a higher key.
The name
of the
composer
(*arik/taj
t
in
the
last lint
Oga.
5,
the<
sxtual
sified
norms
in
on
all the safagasutfas, only the dhruva^ There were sixteen of these, commencing v
26
syllables, Ea<
to
I
.crlbed to
be sung
in
As mentioned already, dhruvaswws classified as superior, rnidc lor if they were structured with a total of 6,5 or 4 feet. Sarhgadeva himself notes the laxity of syllabic quantity and states that could apply to all the feet or at least to the first two.
jble, providential benefits.
it
jgh
if
number
of feet
songs and states that was observed and that rules of ser
ta/a
were no longer
strictly
of the inscription
oot.
(a)
66-77 uga
&
14,13,14,13,13,12
(b) 2,
14(71 2?);
1,12,12,12,10 9 12-
Number
of Feet
(a)1 9;
(b)5+7+(3+4)=19
39
On
'/a.
(a)
and (b)would be
in
classified as
utsah
ii
According
Sarngadeva
this
should be composed
viz.(b)
>rous situations
to b<
rmed
in
is
promised
ffcally
The cthruva stanzas under reference, on the other hand, are composed in dhruva fa/a unknown to the sa/agasudas; however their verbal content can be traced to heroic, erotic
roic sentiments.
Every carana
Tiaka/aptn.Q.
in
sw&//(lines.68
et.
of the nature
afapana performed with only carrier syllables but not word syllables, but set to tab respective carana. This recalls to the mind the p^/T^/a^// prescribed for the third section o dgraha in the dhruva sa/agasuda by Sarngadhara, but occurs, however, as an addition to the
& That
'as is
it
is
is
other words,
may be
considerec
experimental departure from the conventional or traditional positioning of the gamakalapti&\ the
'f
the abhoga,
it
may
ation
created
in all
handasa
sujadf.
'
The su/adls inscribed in the slab no.2 (and in the missing slab no.1) prayoga and are probably intended as a foil of the conventional for
'
iventional or innovative.
idicates
5.
:
is
obviously used as a
synonym
for
gamakalapi
There are
dhruva
in
fa/a
carana'(line
two instances in slab no.4 in which the praydga seems to end in a free 73 and in afetafa ma/aya (\\r\esQ5-QB). if this surmise is correct, this
rther innovative
6.
experiment.
The
(line.94)
abhoga dhatu, e.g. the abhCg& is presumably given in the missing slab no.3, but the slab ends with which seems to have a colophonic force. The abhdgas\\\ slab no.4(lines7-8,
are uniformly given only
in
,29,34-36,44-45.58-59,74-75,89-99)
ident that the
ng elsewhere
le
composer/inscriber intends these /ra/fc/llnes to be repeated with the dhatu lines in the song with a line to line correspondence. The correspondence or identity
absence
ry
dhatu linestf the udgraha in the abhdga in slab nos. 2 and 4 offers a conclusive clue of cthatu\r\ the slab nti.4. Such correspondence occurs between these dtefc/segments carana without exception. The pointed absence of dhatu for the abhogas in this slab is 3ly intended to emphasize a total one to one correspondence with the udgraha dhatu\\w$. Such ion of flJteft/JInes for different matu content is a well known device in Indian music. The suddha ela\ an example in ancient music, repetition of the anupallavi dhatu for the second half of a
of the
l
first
Ta||apaka composers, Bhadracala Ramadasa, Tyagaraja, the haridasas and the virasaiva saints
stances in
modern South
Indian music.
40
In textual tradition
in this
;
-rest
yatis}-dhruva(\w\ttVantara-dhruva-abhdga-^\ on udgraha or udgraha-dhruva ^twice)on dhruva'tf antara\$> not employed. The mapfha carapas\r\ the inscription (called atatala
slab no.2Jines
77-87,
slab
no.4, lines
79-89) do
ment. They have the selfsome sequence uga-jyava/a-prayoga -abhdga, uniform with the other
No carana
to the
of
any
an alapa
initially,
medially or terminally
in
There
is
no
parallel to the
uctured
ition
totally
caupadadojamfo the textual sa/agasutfasw the haridasa sujadis. carapas and is an independent, self-contained musical
latter
being identical
absent,
it
mSlapakawti abhdga w
is
it
occurrence between afata/aml ffkatafos never occurs there as a fullfledged dasara pada
its is
th its
hitectonics.
innovation and
distinct contribu-
te inscription.
D.
an important aspect of a composition in any musical The performance of only dhruva sa/agasuf/a rests finally on the first udgraha section but of rs, on the dhruva dhatu. This may be compared with the nyasasthana of the various sujadi
position of final rest (nyasa]
is
The
in
the inscription:
ija
stanza
Refrain line
is
Repeated
after
ab no. 2
1.
rupaka
2.
3.
jhampa
ragapa
4. tivuda
5. atatala
6. 7. 8. 9.
end of uga
beginning of jyavaja beginning of jyavala
begining of pallavam
racam
caupada do/am
ekataji
jyavala,
pada
uga
1,2,3
jyava/a,
abhdga
prayoga, abhoga
dhruvam
uga
{=ad/j,
10. 11.
mathayam
rupakam
end
of
uga
prayoga, abhdga
penultimate
uga?
prayoga
beginning of jyavala?
41
Slab no. 4
1
2.
jhampa
raganam
jyavafa
beginning of jyivafa
13.
\b.tivuda
15. afaia/am
16.
17.
end
of
uga
beginning of jyavafa
beginning of jyavaja
abhdga
racam
praydga. abhdga
1,2,3
18. ega(=$ka)tiff
praydga,-cum~abh6ga
(double praydga ? jyavala}
19.
dhruvam
beginnning of uga
praydga, abhdga
praydga, abhdga
end of uga
praydga, abhdga
1
<
Thus the nyasasthana is beginning of uga or of jyivafa (= dhruva dhatih in most cases. accordance with textual tradition. However, there are some variations too: end of uga{\, 2,
4,
No
such
accommodated.
In
two
insta
be resolvedd 1,20)
Is
easily.
scribal ambiguity
in
becaus
eginning of jyavala
not indicated.
is
both instance.
\
eginnlng of pallavam
padaw
k.rit
\-
hereas
train
[ter is
rs
in textual tradition
only the
abhdga
it
is
suffixed to
to
^& jyivafa.
attracted,
In
one instance
(9),
it
is
repeated even
These are
tr
hich
came
be
absorbed and
stabilised
in
and
extract;
connotation ascribed
'^w^'by Sarngac
the latter
even though both coexisted at his time, the former became widely known and practised. He does not seem to
nposed
was upheld by
isolated giias
er hand,
'agasutfa.
he has composed
many
his paramaguru Tanappa) or the suladis. Or which reveal some similarities with the dh,
DIksita
42
Mudduvenkatarnakhin etc. According to him, t viz. those consisting of only two sections and those composed of three sectioi comprised the udgrahaw\<& abhoga only. The latter was set in a higher key a jong rested on the first segment of the udgraha, serving as the dhruva, ending on the sadjart \
are of two kinds
#/?<?
two-section
lie register.
The three-segment #/& consisted of udgraha, abhoga and the mudrakhanda^z&w carryii composer's signature). Udgraha was followed by dhruva (which was probably a segment -aha), javatfa and then by antari. Javacta is a vernacular word signifying 'one half; thus tl
-aha-dhruva-javadawwM appear to constitute the first half of the song, ending with antari. Ne; 5&A30section was taken up, ending with the antari. Finally the mudrakhaodawzs sung, at the er
ilch antari
i
was executed. The antari (-antara} was a small passage bridging each of the aboi had a constant dhatuw\d matutov all three occasions. Thus seen
It
it
ive
ie
functioned as refrain
and
in this
states,
presumab
authority of
in
not
Subbarama
Diksita
adds
t
i
identit
its
of the udgraha,
Thus
was
different
It
was
train of
ta/as.
was performed
employed antarf oft a constant dhaiuti. the end of eac tn. Its mudrakharjda was an independent entity and separated from the abh6gaw\& employe Its segmentation was different. The two-segment #/?# has no repeating sections. The higher ke
it
'a.
third section
of the udgraha
and abhoga to the whole of the latter in relation to th between the dhruva si/agasuda and the gila is significant: both ar
in
the main.
^/fe
named
emerged during
this period.
in ta/a
of the inscription.
another form, popularised, if not inaugurated, by Purandaradasa. Thesi eluded in the beginners' exercises in Karnataka music to familiarise him with simple, common ic contours of the common ragas$&\ to words and ta/a. Their melodic lines avoid second o
The Devolved
into yet
speeds,
I
difficult,
scholarly or sophisticated
Some
amvo,
nonsensit
01
c clusters such as
lie
vaiya,
re
etc.
They do
development.
43
classified into
sadharana (-samanya^sancarl^stut!}
gfta$\t\
is
praise
and prayer o
[II)
lak?apa gltas\v\ which the word content describes or enunciates the laksanatf the ragas\\
are
composed
in
as
nati,
and arabhi,
re divisible into
^/?5may have only one, two or more sections. The composer's signature is rarely included udgraha&rd abhdga&r\d sometimes a repeating motif, viz. the dhruva. Rarely
is
jfadi Nrtta
'he possibility of relating
'hura
e and therefore the possibility can be neither denied nor affirmed. But
i
a strong
and
well
A
in
variety of the
maotha
in
vcta
known as svaramaptha
in
described by Papo'arika
in its totality
Vlflhala as
a dance form
his Sangita
in
his
by Catura Damodara
Darpanarn,
Dlaced
the perspective of
dance performed
to
musical compositions
general by
Veda
in
3itamakaranda.
lave discussed the su/adl nrtta\\\ *Su/adtsandUgabhdgastf Karnataka Music' and
'a
in
'Makhi-
commentary on the Caturdandiprakasika. The latter work also contains a detailed discushe silagasu0asw\& su/adisw\\\s\\ may be found interesting in the context of the sujadistf the
Dn.
and the
latter
ends,
in
it
is
bs which could be marked 1,3 and 5 and possibly beyond 5, If it may be assumed that these slabs had the same size as the available ones and that they were inscribed with a uniform or
lately the
same
stichornetry,
seme
because the
Analysis'
su]adls\r\
them run
to distinct
and stable
in
the Section
on
above (28-31)
slab probably contained
us the
first
some
and occasion of celebrating the compositions and/or the inscription. They would ajso contain :>n about the composer and (since they are not serially numbered in the inscription) the total
}f
sujadis inscribed,
lay
be divided
into
and probably also the reason why only su/adls are inscribed. These in the slabs no. 1 and 2 containing no praydgaznti
44
se
in
the
end of slab
no.
2 and
in
first
vari
Bribed approximately
7 or 8
and
its
that of the
second variety
in
some 8-10
beginning portions viz. dhruva ta/a. uga, jy< loga andafatala mafaya: Ugajyavaja and abhoga would have been inscribed towards the b< lab no. 1 in some 16 lines. Su/adimA occurs, say, in some 80 lines, comprising each of the
led carapaswz. dhruva, (atata/ajmataya.
i
60
@kata/f,
each
with
its
own
&&
leaves
5-10
lines for
The
third
on
line.60
and has 27
lines
covering dhruva
ta/a, a.
'aya carapas,
each comprising uga, Jyava/a, prayogao.v\& abhdga. The remaining part of the
&
ii
sisting rupaka,
iing slab no.3.
jhampa, ragapa, tivuda, ata, racam, caupada do/am and /te/#//would be Each of these caranas\\%& a segment each consisting of uga, jyava/a, prayogt
as also about
30
jhampa carapa
of su/ad/ no.4.
s~
Slab no. 4 contains the remainder of the suiadi no.4 which ends on line.60. At this point,
begins and runs till the end of the rupaka caranam and the beginning of the jhampa caran 100. Therefore the missing siab no. 5 has the remaining portion of the 5th $u/idiv\z.. jha>
'nam, tivuda, atatala, racam,
9tc.
its
fourfold divisic
oximately
>
20
or
30
lines
is little
is
doubt
70 lines of slab no. 5. It cannot be conjectured whether the remaf contained colophonic contents or the beginning of su/adir&,Q. 1 contained at least five su/actiS'ti not more. The ragasfi only
wra/a\-vara/i)vx\& of the
to
3se
<
definitely
known
viz.
of 'saya 'may be
five
assumed
other is probably known to be nafa(\\ be erased). This makes one wonder if the suladisww* compc
not necessarily in the
textual tradition
ghana ragasvlz.
same
order.
to the
1
;nown reference
A.D.
to these five
ragasm
community
in
music
belongs
Music Inscription
knowledge
\
fein particular
al
and
of the state of
may be
in
5-
1.
the
first
known
inscription
songs
in
ining both
2.
dhatuw\& matu.
The word
line
syllables are given in the upper line and the corresponding svsraswe given in below the respective syllable. This was the method of writing music in South India till so
/ears ago.
3.
to
be performed
in
are
matu pradhana.
45
4.
y,
They seem
to
register. In
any
in ti/a
avartas, the
ends
of
okes
danc/a}.
6.
The
insertion of ragapa,
inscription.
7.
8.
lure.
The
insertion of
prayoga segment as a
Jyavaja,
suffix to
jyavafa
is
a unique feature.
uga
is
segments
is
another unk
The occurrence
of
uga
for
udgriha
an important clue
na
the corresponding
9.
musical form.
There
is
not enough evidence to identify the composer of the inscription, But circumstan
composer
to
The
literary
of transition of this
1 1.
The form of
but to
in
the inscription
in
is
ual) tradition,
analogues
is
Andh
available
in
a mature
and
stable state,
it
ence of a
different tradition fn
Andhra
for at least
two
or three generations.
Marga Suladi
The su/adis
krit
in
in
being
composed
in
tr
language in a metrical form. Astavadhana Somanarya, an authority in music of this perioi g from Andhra, defines su/adim composed in (any of) eight provincial languages, thus excludin ^rit No examples of #$9ofehave survived till our own times except in Kannada and one in Telugi
It
is
segmented
stanzas
mathem fa/aZ,
vara/iraga -rupak
tlvuda tala 6. naja raga ~ a/a talam 7. sriraga - ekata bauliraga -jhampe fa/a .pacti raga hus it is seen that the stanzas are set to the seven su/ad/ talas\t\ regular order. Three of the raga,
imakriya, baujf&nti
d to the
first
/?^//were (and still are) parented to the malavagaula me/a. This riga\i stanza. The three remaining raga$\i\z. varali, /?^*/and s'r/'arQ (and were) classifiec
ragas.
The dhruva
/^fe stanza
Firstly,
it
is
marked as
at
pallavi, but
its
beginning section
i.e.
final
the sriraga
This
is
first line
of the pallavns
3d at the
end
of
parallel,
but each of
its
46
anzas has
oa//aw'\\v\s
its
own dkfdyelements.
after
were repeated
in
including or excluding antara, and is therefore selfsufficient each stanza, the song would be reduced to pada/kriti/sankirtan
(Q.Q. ragakac/amba, ta/amava, pancata/esvara etc. o ragamaJika krt/\t\ recent times). If is repeated only after the
it
composed
val
la stanza, the
:cription
autonomy
of the latter
would be
known
suladis, including
those
ir
nyasasthana separately for each stanza (being the beginning or end o 'ha/ugaw dhruva/jyavaja). In view of the foregoing, it is perhaps simpler to regard the 'pallavi
refrains or
1
have
e terminal
'refrain
The second
d, called
dhruva
ti/a
stanza
is
is
the
ai
'vakyam'.thtf.
is
a separate entity
rhyming (second]
Its
is
different
from that
in
nd
mentioned. This
may be
interpreted
two
alternative
ways:
It
should
prose
formed
the selfsame
first
is
ve as alapa. The
ire,
alternative
malavagauja raga and dhruva fa/a. Or, it should be rendered is more piausible because of its kinship in size,
in
syllabic
rhyming
of the
etc,
It
clearly the
it
contains
Wtd
ears
the end.
The
delineation of
later is relevant to this context. Promising to reveal the heritage of tradition (sampradaya} orming the abhdgatf some music forms such as the kafvatfa, he states that the abhdga had two is. The first of these contained the composer's/performer's signature and was performed as
without
fa/3,
and was therefore called alaparupa khanda or vakya. The second section name was set to fa/a. The vakya in the dhruva fa/a stanza of the d@si su/ad/\$
khanda v\
the
abhGgaw\&
it
to
to
be
noted,
occurs only
in
in
the
first
stanza of
The
first
stanza of the
^/s^y/contains six
lines.
two
of vakya.
hya
fa/a consists of
four
The next
in
four,
composed
in
final
stanza
two and
g syllable
>t
two may be regarded as separate entities because the rhyming syllable in each is different. The is the second in each stanza and differs from stanza to stanza. The syllabic quantity
is
irregular
No
stanza
in
the song
is
large
enough
to be
oned
into uga,
stanza
may be
the
in
the
use
name
afata/a fnaf/yarnvfaQ
in
mathyam
(c)
e or four dtefit/elements
'
each stanza
(e) partial
o'AsA/between
viz.
ugazM
(f)
prayOga
(g)
racam
a whole,
different
music form
caupada dojam
the caupadadolam.
They
differ
view
songs
in
the inscription
may
47
18,
inscription
objectives:
new
trend
in
music
viz.
composing a unique
nusic form.
b)
expounding and
c) dedicating
them
9.
Need
for Correction
Srinivasacharya,
Sri A.V.
>
who has
in his
introdu
the 1 5th and 1 6th volumes of the songs of Sri Annamacarya published (1961-1 962) by the aims the occurrence of the technical words mlapaka, dhruvawti antara\r\ the inscription. sul
It
'hruva
:
do not occur any where in the inscription, in even remote resemblance. The occurs only in the sense of a /^feand never as namesake dhatu element. Similarly his the occurrence of the term avrttaniyama as a rule pertaining to the ta/a cycle recurrence is
say
that they
'
jsed on an erroneous reading. Avrtavtyadavani"^ the beginning of the ugav\ the dhruva tija ca
ne
60
slab no.4)
and serves as
its refrain.
It
is
hoped
would be corrected
in
the
litions.
48
5.
2,
S5o^
bri&
sjos-
1,
3,
5 eso"Serfo
^0
16
^e-awo s-oo
jT-fi^S),
oc5O <it5^co
194955
15,
s
160^^ ^^-5
ds6o&R6 |tod'C5'&><je>
^<3a- (1961)
15-16
49
esff.
Sdg^O'cifcra
(15
16
sfii
0x1
n-
50
16
- 1949^
cto
(1949)
CTII
(0-3/83-84)
cs
1
s-drao
51
n-0
, '
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n0
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CT&QU
n-6
s-rtceto.
4'
x 3/4
cso^rr
17)
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94
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(0)
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4 20,
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59
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39
(12-114)
sWft
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-
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rto
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78, 165)
(to. 23-273).
10).
co.
(to.
1998)
10).
(to.
1976).
Bo-crotf
1994
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48
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17
19
inscription
1512
9
AD
.
letter la
in lines 1 7, 1
& 41
Director,
Epigraphy (Retd.)]
Part-III
ENGLISH
Inscriptional
Format
(Slab No. 2)
.0'
-
.0
(d)
m
ta
LO
i.O
(sthira)
ve
ka
g
ci
ra
ta
ra
(dha
ra
ni)
ka
ma
tha ta
nu
dha
ra
II
m
la
m
ti
II
ta
ta
ma
ya
m(m)u
gi
se
nu
II
(ru pa) ka
talam
luga
II
gu
g
ru
gho
rs
na
ku
ha
ro
da
ra
ma
ru
nsrsndmm
ti
rr
I
4.0
du
(s)
ru
ga
n
ma
gan
r
ta
fa
r
pa
ra
ma nu
ra
5.0
m
ri
pmm
ha ke
gmpdnsr
jyavala
II II
PI
ki
vi
gra
li
ca
r
ra
s
II
p
ta
n(g)
pmgg
ran
ta
II
ra
la
nsr
6.0 7.0
ku(khu)
g
ra
mi
ta
ja
la
ni
ra
va
ti(dhi)va
na
nidhi
pa
r
Grsmmgmlpndpd
la
pmG
Iva
la
pa
s
ri
ghu dhr
ta
bharmaca
ns rg
la
pm
ta
s
gr
ra
m
la
s
2
na
n
g
ka
r
(ku)ra g
ta
ru
ni
g
ta
va g
ra
r
mu
sta
va
li
kan da
n
d
la
mm
sn nd n
pm
1,
first
viz. the
t^m^ka
by Prof.
2.
Pullella Sriramachandrudu to
up
Meaning of this
couplet
is
and meanings suggested at the workshop conducted. not comprehended. See clarified readings
da
pdusrgrg
a
ra
ka
ra
su
pa
(gu ru?)
II
da
ta
ca
la
ki
ra
vi
gra ha
II
abhogam
yu g
ga
r
vr
sa
dhi
va
s
co
va na
ni
ya
te
ta
ra
ni
bhe
da
na
r
mnsr
n
d
ndpral
kha ra
g
4
gr
I
gmp
pm
mn
ja
ya
ve
ka
n
ta
s
si
r
sa
na
gmp
ki
mgrsll
II
ra
vi
gra
ha
II
ru
pakam mugisenu
jhampa uga
II-
vi
ra
r
ma sam
d
II
up
ra
m
d
bha
n
n a(m)
Sgr
vi
ha gg
sa
5
na
ya da
ri
ra
ya
r
m
S
>
p
va
m
ha
m
ha
g va
ra
si
na na
kri
ja
sthi
ra
grs grsndpmlggmpdpmgr
pa
ri
na bhi yam6
s
gr
g
hya ya
r
ti
ta
da
pa
ri
sa
ra
na sva ya
jyavala
Idi
ti
ja
mg
pa
ti
mmp mpDnsGggrsI
Ipa da
7
Ig
hr
da
na
r
s
pa
mo
sa
ka
si
kha
g
ku
mp
ru
p
na
p
mg
ta
sssnggmgml
ha ku ppa8 si
g
vi r
ta
ka
m
vi
s
g
ta
m
ra
m m
n
s
va
di
na
va
g
na
r
kha
sn
(m) gg na
sa
m
khi
sn
g
ra
G
ca
ti
ndddp
is
mgmdpmMg
See
pu
la
ka
ya
ssu
kha
r(s)
noticed here.
The
lapse could be rectified with the suggested reading "v Fta-gdya-vacovana". See - meanings.
Yati here appears to be according to colloquial pronunciation. Here the reading should be "Vara simha samhanana".
- meanings.
The meaning
Yati here
See - meanings,
it
appears to be according to colloquial pronunciation. This reading could be 'kutapa' (kutpa>kuppa) = meaning darbha, as
stands.
the reading
ku
rca
da
s
ti
ka
r
thi
na
yo
pn
m
ka
s
rya
va
s
da
n
r
na
ma ha
d p
tai
ta
mu kha
g
rs
pa
ri
gr
hya
abhogam
dn
m
(ri
ti
pa
p
ra
tu d
su
p
te
ri
ha) vi
I
ha sa
na9
tra
ma
r(g)
m
12
m(M)p
pa d
S(g)'
g(m)"ggg
rS
vi
13
ta
ma ma sam
r s
g(r)
p(m)'*
da g
m
g
ve
n
p
ka
d
ta
va
ra
sa
ma
ip
m
r
m
gr
II
pa
ri
hya
jhampa
mugisenu
II
v'
5
II
16
raganam
uga
II
II
vi
na
ya
vi r
na
kr
s
ta
bhu ja
r
s
ji
ta
s
vi
r
bu
s
dhavi
ro
(r)
m
na
Gr
dpp
ca
r
ta
na
ya
(s)
ma kha
n
hi
ta
pa
g
da
r
mi
s
ta
dharani
18
yacana Ijyavalal
II
II
m
ga
s
m
n a
dn
yU
pa
ri
ma
vi
jr
bhi ta
g
ga
g pa
(P
rgmg
tso
17
pdpml
m
I
ya(yu)
sa
r
na
s
m
1
P)
syllabic
it is
shown
musicology.
These two
shown
in brackets
'
This numerical
in
Telugu
'
The
Raga nam"
erased after chiseling. appear to have been end of the fourths uladitala lyric in the inscription. of th,s talamahka tala and the tnputa in between the lyrics in Jhampa t^a,
composmon
should be read as 'cch inscription as per the conventional spelling, Vidwan Sri. Akella Mallikarjuna are found without the notation.
(with aspiration).
the
Sarma supplied
swam
i.O
ja
ga
da
ti
la
gha
ja
la
khi
r
la
ja
s
la
r
(niV
dhi
ga vesa
p
na
s)
.0
p
vi
m
ga
r
p
li
d
ta
m m
ma
na
s
va
na
r
gu na
g
r
ta s
ri
nu
n
g
vi
m pmm
bhi sa
bhra
ma
p
II
yuga
:
pa
na ma
vi
jr
II
pn
mgg
sa
I
II
II
1.0
abhogam
ra
s
bha sa
ca
ra
n a kra
ma mi
ta
sa
I
ka
la
s
ja
ga
tra
ya
i.O
mgr
Grsn(s)
n
I
r(s)
pp
dp
gg
,20
.0 .0
ragan'a
mugisenu
II
II
tivuda
II
ugall
II
khu- ra
ka
vi
dhi ku. sa
la
vi
sr
ma
ra
sa
ra
ha
ta
krauffca
bhu dha
ra
vi
ra
ci
ta
ga
ma
pmg
.0
Gr
snss
ra
s
I
grsnl sn sndpm
gu ru
ya so bhara
I
vi
sa
da(ra)
kha ga va
.Ogmp
gu
mgr
bha su nd
n
ra
s
I I
Ipdpmgrg
ni
I
na
vi
jyavalal
ra
ghasa ma
r
s
da ya g
r
m m
(I)
Here
'ni' is
an extra
as
"m g gg
r s"
should read as
"m g g g
r s".
editing.
ni
rma
la
sa
ya
gu p
ru
na ra
kr
ti
ko pa bha va ra
ya
s
ka
g
ggmpdp ml
,8.0 ;9.0
mgmggr srgmgr
ka
ra
r
vi
r
dhu ni
sn
s
ta
khala
n
(n)
haiha ya
pm
dha ra
s
ni
pa
ss
ti
bhuja
g
si
dha ra no da ya
pd
sg
in
pa
ra
su
mu kha
kha(khi) pa
ti
ma
kr
ta
bhaya
gu ra
ya so bhara
sgmgrrsn(.n)dpmgrsl
10.0 11.0
abhogamll
II
sa
va vi n a(na)
yi
ta
sa
ka
r
la
(s)
ku va
s,
la
ya
r
n
21
G
va
rs
bha va
g
vi
s
na
(ta)
rkka
bha ktasa
n ve n
mu
r
da ya
s
p
vi
G
ya
ja
SS
(s)g
dha ja
s
ya
ka ta
la
ya
gu
ru
ndpmgmpmgrsl
I
52.0
ya
so
bha ra
tivuda
mugisenu
t.
atatalam
ugal
I
53.0
da
nnnsGrgM
kr sa
n
s
sa
va
da
na
dhi ka
dha
rmma
g
ta
po
ma
r
ya
s
m G
hi
ja
ga
r
da
s
va na
kr pa ma
n
ma
nd
ra
sndpDI
ra
da
sa
dr
22
sta(l) gha
no da ya
jyavalal
pml gmnndmg
The meaning of the compound "bhavana(ta)rkava" The
yati
is
msmg
mrgrsi
meanings for
details,
21
22.
between
'da-dl'
pa
p
vi
la
la
la
ya
so bha
ra
la
ja
pa ha
n
la
sg
si
g
ta
m mg
ba ha
d
vi
pm (g)m
mahu
ta
kra
pnd
56.0 57.0
npdnsgr sgr
I
va
s
ha
ca
s
la
du
ru
ki la
sa
dhi ka
ra
na
ma
ha
II
nsln
li
rgr gmmgrgr
sri ka
ra
si
ka
g
ta r
ja
s
ya
srn
ka
ma
g
la
gra ha
r
s
np d
so
I
g
I
pa
la
la
la
ya
abhogam
sa n
kha(ka)moci
p
s
ta
D
ra
8.0 sa
ka
la
ma
ra
ga n a
r
s
lanka
pu
r
ra
9.0gmgm
\e n
G
ra
V
sndnpndDDnm
na
*
I
pa da
ci
ta
vi
bhisa n
katava
da
ya
^
ve da
r)m g
vi
bhusa
g(g) r
G
pa
m
la
(d)
m
ya
m
I
II
la
la
so
at a
talammugise
II
D.O ell
1-0
racam23
uga
II
kha
la
s
pa (pa)la
pu na
ra
rsa ca
(bha?) yanti
ka
II
n
vi
rgmggrs grgrsnsl
nya
sa
ka
li
ta
sra ya
ra
ka
ma
dhi ka
ta
kan tha vr
n
ta
va na
ndmrglr
ama lika,
"8 racam" and "9 caupada
The
Ska
dol am",
in a and
li
ka
s
jyavala
pa
ra
hi
ta
me
ca
ka pa
ta
ya
mu
nan
ta
ra
gr
srsnssggpndnpd pml
sa
ra
sr
ra
r
da
ma
ra
na di
ta
jha ra
ta
ra
la
pa ndu
g
ra
ta
mi
m
ha
s
n(n)
Grgsgrsl nsrgmr
ga
ru
mpp
ci
ci
sa
ca
r
ra
s
ma
da
li
dra (dr)
s,
ga n
ci
ta
ru
cara
gr
ra
hi
sgrgsgr
I
ndpmsgrs
pa
ri
ta
me
ca
ka
abhogam
ra
hi
ta
re
va
tsaJi
ca(ci)
ta
ru
ci
ca
ra
sr gmgprsgr
ra
s
grsnsl
la
gr
n a
s
di
vi
pa rva ka
ns
dhara
dp gp
ye
ra
ca
gmmnndmgr
im
mugisenull
oII
ya
ba
la
mi ha
kata
man
di
ra
gmgg
24
II
rsl
pallavam
II
caupadado 1 am
su
s
de
sg
hr
va
ma
va pa
p
I
rva
su ta
(dha)
r
ka
g
ra
gm
ti
m
(di)
p
ta
mm
va
sa
ve n
ka
su
dha dha ra
ss
sgrsn-- dp--mplrgrs
pa
ra
I!
ni pa
da
'caupada dol am' may perhaps suggest the compostition set in four quartets, d olam could be the vulgar form of the dhava 1 am, ig an auspices song or a corruption of 'da lam' meaning a petal (reku), generally found in the Yaksagana compositions. This ada dol am' lyric found in the inscription is a replica, in form and structure, of the lyrical format projected by Padakavit a Pitarnaha
irtie
abdaratnakaramu (Telugu dictionary) quotes the following verse line from the Jaimin ibharaiamu
1
in
of
this entry
"danti
dantammu
dance
lyric
/ith
pra ka
ta
ya
n
so
s
(h)
ppa
la (phala)
sa(sa)
ka ta
pn
50.0 su 51.0 g
vi
s
rg
si
(s)
gMmgp mgrlssn
la
I
ra
r
ma
s
da
sa
pa
s
da
g
r
ca n
g
ni
g
si
p(g)
p
pa
p
sn
ka
n
ta
ti
vi
du ru
kausa
rg
r
la
s
d
ta
pm
m
ni
g
rda
ni
ka
r
rju
na yu
ga
la
no jva
(jjva)
la
g va
g
de
mp
va
gnsgrn
rna va
II
dpgr
si
su
52.0 va
ra ra
gi
li
ri
du da
(re)va
rsa
di ta
ka
ka(ra)ka
I
mu
vi
ta
va
ta
na rno
dhai nuka
ra
ci
ba
su
hu
ta
ta
nu
vi
ma
(la
ka)ra
ka
ru
(ra)
ni
gha na
53.0 ta
ta
va
sa sa
na
ke
la
li
ka
va su
la
ri
de va rna
ta
va
II
||
ha
ha
m
m
ku
ka
ka ca
vi
ta
ha ha
si
dhara
ra
I
se
pa do da
mam
ff
sa
la
ma dhyavi
ve n ka ta
hrtipa
ra
I
ka
m
(-)
sa
ri
pu
ja
ya
gha na
va ra
va su
<=
II
de va rna va
eka
II
cau pa da do lam
mugisenu
da
s
II
55.0
tali
II
uga
II
ra
sa
(ni)kr S
ta g,
25
dhara
s
nl pa
la
r
na
s
56
'
"
nn
gm
gg
25.
to
be missing.
It is
aranTkrta'.
ka
g
ra
r
(yi
sle
rs
si)
ta
ka n
li(k)vi
mo
gg
ca
r
na
s
jyavala
sg
nd
ya
ka
s
li
ka
tva
la
ghuka
manl
hi
r
ta
s
II
khala
p
pn
n(ng)
m
la
(D) g
gg
II
57.0 ja
(na)
ma
du
s
da
p
kha n
r
di (da) g
ga
ta
ga
ta
I
>8.0 r
mp
la
d
ru
mg
r)
m m m
Igi
m
ta
s
va d
(bhuja) ha
(p
s
ya
n
va n
ta
so bhi gg
ja
(s)
r
g
tva
dp
m
I
ka
li
ka
la
ghu!
,
a(bhogam)
ga da va
r
na
ni
sa
(sa) jani
ta
nn
ka ta
Sggsrgmg
va ra
ja
59.0
ti
ca
ya
s
vi
ga
to
da
ya
la
ya ve n
ya
50.0
gr
kali
grsgrsnd(n)dpggrrsl
1
ka
tva
laghu
eka
tali
mugisenu
II
oo 26
II
t.o
27
II
va
I
ra
la
ragam
I
2i
I
dhruvatalam adi
ll
na
s
ra
s
ca
r
na po
sa
la
ya ca
tu
ra
nn
ku
ssnnddpmgl
ko
sdd dnnSrgrsnsI
va
sa
r
va
la
ya
(da) (la)
ma
la
ru
ci
bha ra
na
ra
si
ja
na
ns
26.
gr
gmppgGrgl mgrgsnsri
a
ya
na
ni
ran ta
ra
bha va du
ru
da ya pa
The numerical 10 engraved herejuggests the completion of the lyrics on the ten aval aras in this (ekaraga) suladi taja malika. Tin be considered as a "da s avatara sul adi". Whether the view that the total song, which is unique with the extra compositions like the 'nn
'raganam' 'caupadadojam' intervening in set pattern in between, madhurakavita branch of poetry could be examined. The numerical 10 indicates the completion of Che tenth composition and
the
,
and
27.
indicates the
commencement of the
literary content
<>
sixtieth line.
28.
29.
Varali-dhruva tala composition commences from here. "Varala" spelt in the inscription appears to be synonymous to "V arali". The significance of the word "a" di' in this context is not comprehensible. As this is the commencement of the "Udgra ha" portion, with wh the: rei lyric starts, could the word 'a di', meaning the beginning, suggest the same as 'Udgra ha'? This must be explained in the light of
practice of
rentjumarlu paijavalenu"
to be a practice_pf singing, found in the notated palm leaves of Tanjore indicated as "mundari Similarly whether the 'adi' indicated in the place of 'Udgraha' is akin to that may be examined.
J;
53.0
ya
g
ma ma
r
gi
ra
ma
s
va
dha
na da ka
li
ta
sthira
54.0
p
na
ns
ra
ndndpddpmggrs
jya va la
I
bhu va
ca
na
vi
ra
to
pa
r
ma
vi
sva(sva)
ma no ha
ra
gSg
ra
I
rGrsI
ri
pa
ri
na
ta
ra
sa pa
su
ns
rgrsnnn
ka ra
s(s)r
)5.0 56.0
pan ta(h)ppu(pu)
(p)
pa
vrta
g
gu ha pa dma
p
va ra
g
d
ra
pp
ci
m
ta
g
vi
m m
(ka)tva
ppm
ra
I
vi
mpmggrdsmm
ma
(ra) vi
ba
hu
hr
ti
ba
Grsl
1
ka
da
sgr gmpddnddndnlnsGI
>7.0
58.0
ri
(rpa)ga ba
li
ksana dhara30
bha
ri
ta
bhati
r
ta
su
(sa)
r
ma
sa
ra
31
I
sa
ri
da dhi(pa)sa
na
ta
bha ya ha ra
d
dmg
I
snslnsgrrppmn.dnd
I
(pp)
prayogam
iya
(ri)
pn (d)pnd pd ns
rg
rs
ns
)9.0
r
ya iya
iya
iya iya
O.O g
mg
iya
gm
iya
grnnl
iya
iya
iya
iya
iya
sn
iya
ns
iya
nd
iya
ng
iya
dndp
iya
iya
m(p)
iya
dp
gm
(mn)pdds'
- meanings,
sn
nsl
0.
1.
Maravika=king(s')? See
The meaning
is
is
also noticed.
10
1.0 2.0
iya
iya
iya
iya
ya
iya
iya
rs
bhuvana
mg
rgl
rs
sn
ghata
dm
mg
---....
racana
II
abhogam
.
II
adi
II
||
ghana ku ca ghata
pp
na (petu) 32 puna
(n)pmgmggmsggs
nu
r
3.0
ra
s
di
ta
dh
p
ta
ti
ka(ra)
ti
ra
sa
r
ma
s
jja
na
10
m
ti
d ns
ma
na da
(ra)
ma
sndgrs sndpmgrsl
33 ghana ku ca ghata
I
ya
ti
ya so dhana
jyavalal.
ha (hu)
I
ta
ta
ni
(nu)
ma
gha (gha)
hr
si
nsg
makha
r
rg
khava
r s
mg
I
5.0
5.0
ta
ta
nu ru ha
gr
r
ma
p
ti
ja
g(p)
damati
la
su
ha
II
g
su
m
ta
m
dr
m
vi
g
ta
r
nu
r
ri
ya
m
p
su syati
dhami ha
nu kr
pam ven ka
ta
ns
7.0 5.0
gr
ha
s(s)
I
smndpdnslg
I
rsrd dppm
I
gi
ri
gr
r
bhu va na (ra)ca na
dhruva mmugisenu
matayamll uga
II
II
ma
na
si
ra
ca
ya
ma
dhugi
ra
ma
na ga bha va
tya
sn(p)
da
ra
ssrgrgmgrslnsgrr
).0
).0
II
ghana hr da ya ka
s
da
pp
ra
34
I
ja
na ya rya ja
ni
va
r
ra
s
nd d
ggrm g
is
added
corrected.
Hence
is
suggested.
ferent to the one "bhuvanaracana" running in the text could be an interpolation from "ghanakuca" which is dif this portion of the song in the footnote, But it was retained in its place, a different lyric composed in the same t ala, and thought of placing " abhoga" part with a different as suggested by Prof, R, Sathyanarayana, considering the fact that there exists a practice of singing the
was
refrain also.
The meaning
is
11
ta
nu ra
r
sri ta
ta
tpa ra
jyavala
g
ta
G m
nl ya
ds
nn
ru
r
ta
va ka
ta
ra
ni
r
yo dha
ggmmP mg
I
mg
gsprg
I
1.0 dhi ka
ta
ra
sa
ha sa
dhaka (ra)ka
sa ra
sa
yu dhaja
li
ka
P
.2.0
(rp)l
sa
ra
snddnnsndnldgrgrsndd
ta
ya hi
sa
ya ka
(bha)
ra
pa
ri
ca
ra
pa tu
ka
g
nddppdpmgrl sgrgmmp
va ra
mm
bhu (bh
r)ti ra
pa va ra
ka
mggmrg rsnpl
13.0 14.0
prayogarn
tiya
iya
iya
iya
mgl
dd
nn
dn ns ns
nG
rg
mg gm
I
iya iya
sn
dp
I
mg
rg
rp
nu ra
sri ta
abhogam
su
ta
nu
ITU
mam
so bhana
vi
ta
a vi
la
sa
na
ssrgrg
7.0 (ba)ta
8.0 p
ta
mgrpl
ra
-
nsgrrnnndn
na
35
I
(se)(kai?)
va p
pa
(va?)
ku (kr)ta
ve
kata
ke
r
la
s
na
d
r
p
I
nddppml mpmg
mathayam mugisenu
II
r(g)
nu
srita
II
rupakam
llugall
>.
The meaning
is
not clear.
12
ra
na
la
vi
sra (sra)
ma ku
la
dnnpsdg
.
Grs
ca
la
s
I
ru
na ka ra
kanta
ma
s
ru
nan
ka
ka
ma mi
to
Ha
la
grgrs
i
nsrgr
pa
ra
s
ndnd
sa
li
I
mpGr
si
ru
s
ki la 36
mu
na yu
ja
se
nn
da d
pmG
ni
la
G
ke
pm Gr
ru
ga
s
ti
li
nn
dd n
ri
na (sam?) ku
la
pa su) pa su ka
li
ppnns ndrs)rsnl
.
ri
ga
g
sa
ta
ta
dpu
(tpa)
da
r
'
dhu
sn
1 i
p
ra
mgg
(ve)
a)
m
n
ka ta37 sa
(d)
ra
pa ta p
s
li
va ra
g
r
su
s
pa
n
ma
dp
va
li
kurali
m
I
mg
rg
ayogam
tiya
iya
sr
gm
iya
iya
iya
iya
iya
(ri)
ttiya
iya
iya
rr
Is
a
s
dm
iya iya
Pn d
iya
dp
pm
iya
m (s)
1
mgr
rg
iya
duruki la
sri
sri
abhogam
sri
39
38
II
rg
must have
ns
left
dn
sg
rs
II
II
icribe
3s
filled
'pa' is
dropped and read as sara Venkata sara patali' the syntactic and prosodical lapses would not get
e the
amendment
is
"Uruk
ila" in
rupakatal a
is
probably continued
in
which
is
'
not extant
now
top'
Telugu numeral
r
'
on the
is
inscription
commencement of that
in
However
Dr. P.V.
mean
13
Musical Format
(Slab No.2)
O)
(dasvatara
*
ahamll
1)
nndpiPI mpMlgrsnll
pra
la
ya
s
pa
n
ja
yo
d
bha
ra
so
ma
I
ka
S
to
hr
ta
1!
r
11
p
na
d
li
N
nan
II
na
r
na
mu
kha
dga
ta
II
II
vi
ya n
la
ra
hi
ta
ve
da
hr
ti
dhr ta
II
n
sa
d
ca
P
ra
mpndl pmg
sa
II
li
ma
p
ca
va
pu
ra
ci
ta
II
alall
n
la
D
li
P
no
m
jjva
m
la
p
ra
d
gi
d
ri
n
sa
II
ja
ma!
II
R
ri
m
sa
g
ta
R
bhe
G
da
||
ca
la
la
ha
ksa ma!
II
rrgglrrl sSr|Sndll
ca
la
na p
ta
ra
ya
p
la
va
sa
du
ssa
ho
dya ma!
II
p da
m
li
ba
ma
14
im
II
salila
II)
(lldhruvamugisenu
II)
rial
avagau) a)
das avatara sapta
tal
this
this slab.
To
retrieve at least
two
tal as
n our request and vidwan Sri Akella Mallikarjuna sarma set the music based
ilamaiika,
on the
this
Skaraga
Hence
these are
shown within
brackets.
15
2)
(udgrahamll
r
-
r ta
rgrsll
pa
ra
pa
g
ra
ma
r
mf
s
I.
su
ra v
II
g
ra
r
ti
m
ra..
II
va
di
su
ta
ba
li
ka
II
pdndldp
pa
s
ri
mpdnll
ba
hu
ca
d
H
g
ta
ta
bha
ra*.
II
m
i
m
la
ggrsll
dha
ra
dha ra
s
r
va
n
ra^
i.
II
m
tha
p
ta
II
dha ra na ka
ma
d
di
nu
dha
ra!
II
Jyavala
II
p
ta
D
va
n
sa
n
vatf
II
pa
s
ra
ma mu
r
II
g
kr
m
ta
p
su
m
-
g
sta
||
su
ra
ga
na
g
ji
va!
II
p
ri
m
ma
P
to
g
na
s
-
II
ga
ta
ga
bha va!
II
d
ri
m m
nu
ta
g
vai
grsll
-
pa
bha va!
II
II
dharana
abhogam
II
g
ru
II
sphu ra
g g
ra
da
va
r
ya
s
va
r
ri
su
ci
ra
II
g
ka
m
ra!
II
va
ta
nu
gi
bha ya
II
16
pdndldp
ca
ra
mpdnll
sra
da
ca
ra
ya
g
ra
va
ra!
II*)
(s)
d
ve
m
n
m
ta
g
ci
II
sthi ra
ka
ta
ra!
II
II
dharana
II
II
II
(mSlavagauja)
ata$ja
matiyam SbhOgam
lyric in
Only
mathyataja
is
extant in this slab and the proceeding portion^ of the lyrics and music falling
composed by
sarraa.
17
aaaf
(3)
Igraham
II
g
ru
s
-
n
ro
d
-
m
da
m
ra
gu
gho
na
ku
ha
II
ki(ri)vigraha
II
18
abhogarn
II
g
a
n
(ta
s
-
sndpmll
co
-
yu ga! vr
3 dya) va
va
r
na!
II
m M grgmlpd gmpdlrtsfgrhgrsll
p g
II
ni
ya
te
ta
ra
ni
rbhe da
na!
II
ja
ya! ve
ka
ta
si
kha
ra
sa
na!
IIM(ri)vigraha
II
II
rupakam mugisenu
(malavagaula)
19
(raalavagaula)
udgraham
HnrdnppdnSgrihggr
vi ra
g
ri
II
rna sa
m
r
ra
m
n
bha
nam
vi
(gha ta
ye) da
ra
yam
II
s
si
dp
ha na
m
na5
g
va
g
-
dp mgrs
-
II
va
ra
ha sam-
(ktra) ja
sthi
ra
bhi ya
s
6
II
mggrgmmpmp ddnS
pa
ri
II
gr
hyaya
ti
ta
(tpa) ri
sa
ram na sva ya
II
Jyavala
llggmgmpdpmg
di
ti
nggmgmll
-
ja
pa
ti
hf
da
na
Ipa
r
da7 rpa
s
mo
s
a ka
si
kha
r
II
mgmmpgg
ku
tu
mg
va
di
n
-
g
8 )
gg
ta
n
-
II
ka
na
ta
ha
(ku
rca
si
na
va
nakha
s
|| II
II
sndsnDdprng mdpmmmgr
vi
ta
ra
ti
(na) sa
khi! vi
pu
la
ka ra
(ja)
ssu kha
sgrgmpndns grsndpmgrsll
da
ti
ka thi na yo
ry a
va
da
ka
na
ma
II
ha
ta
mu
II
kha
||
parigrhya
abhogam
H'ndpdpMp dn
i
10
(s
ri
s)
g
vi
g"
ha
g
sa
g
9
r 12
||
ti
pa tu
(ta
re)
ri
tai
ha
14
(na )-
tra
mam
g
sa
II
II
g
vi
r 13
P
ra
dp m
pa da
g
ve
dp
va ra
II
II
m
-
II
ta
mama
sa
ka ta
ma
m
II
II
parigrhya
jhampa mugisenu
15
II
(n$)avagaula)
While discussing
this rather astounding meaning lyric on'Mfsimhavatfra Prof. Pullela Sriramachandrudu pointed to a parallel "sata cc hatabhinnaghan5na bibhrata nfsimha saimhj matanum tanum tvaya sa mugdhakanta stana sangabhangurairurovidaram praticaskare nakhaih. (1-47)
the
of
20
(mfilavagaula)
n
ta
I
raganam
s
I
16 -
5
p
-
ahamllr
vi
mgr grs
na
ya
s
II
vi
na
kr
bhu ja
g
r
ji
ta
vi
bu
dha vi ro
ca na
II
g
ta
m
na
d n
n
ta
(r
d
-
dprm)
ya
18 ca na
!
!l
ya makha-
hi
ta
pa da mi
dhara ni
II
ala
II
g
ri
g
-
m
ma
g
vi
p
jr
m
ta
p
17
r
-
II
yu ga
pa
na
mbhi
yu ga pa (echo)
s r
sa na!
II
pmpdpmmgl Grg
ja
g
9
(m p d n
s)
II
ga
da
ti
la
ghaja
la
khi la
ja
ladhi'
gave- sa
na!
II
g
vi
g
li
m
ta
p
va
m m
-
grsnlpndpm
gu
grsl
-
ga
mana
na
ta
nu
vi
bhrama
II
bhi
sa
na!
II
yugaparinama
togamlls
s -
n
kra
m
ta
Dp m
gattraya!
s
20
II
sa ra
bha sa
ca ra n a
ma mi
sa ka la ja
II
ra
ta
spada ba
li
vail
ve n
ka ta va ralja ya
II
II
yugaparinama
II
II
raganam mugisenu
II
II
(mSlavagaula)
21
(malavagaula)
udgraham
II
n
ra
s
li
G
ka
g
vi
m
dhi
spgrgl
la
khu
ku
sa
vi
sr
ma
n
ra!
ra
pmgGrsI
ka
ra
r
-
sa
ra
ha ta
kraun ca
bhu
dha
ra
ci
ta
ga
ma
vi
sa
ra
kha ga
va
ra!
gu
ru ya
so
bhara!
gu
na
vi
bha
su
ra!
Jyavala
llgrsggrs
ni
ra
gha sa
ma da
ya!
pmgmggr
gu
g
ru
na
r
ra
kr
ti
n
-
ka
ra
vi
dhu
s
(ni) ta
g
ni
r
ti
m
ja
dha
ra
pa
bhu
sgmgrrs
pa
ra
rma
la
sa
ya!
ko
pa
bha va
ra
ya!
kha
la
ka
hai
ha
ya
(da)-
ra
no
da
ya
su
mu
kha
si
(khi)
pa
ti
(ma)kr
ta
bha ya
II
guruyas obhara
22
im
II
bha va na
m
ta
sa
va
vi
(na)yi
sa
ka
la
ku
va
la
ya!
ta
rkava21
bha kta
sa
mu
da
ya!
vi
vi
dha da ya!
ja
ya!
ve
ka
ta
la
II
ya!
guruyas obhara
tivu
II
II
da mugisenu
II
II
malavagaula)
(triputa)
23
(raalavagaula)
udgraham
II
ata
n
da
MgmGr
dha n
kr
sll
ya
II
sa va
s
da
r
na dhi ka
s
rma
ta
po (bha)
n
kr
d
na!
sndpDpmll
pi
-
sa ja
ga
da va
ma
hi
ma
sra ya!
II
grnnndmg
da
msmgmrgr
ra dr 22
-
sll
ya!
II
sa
ra
tha
bhu
dha
sta
gha no
da
Jyavala
II
n
la
g
-
g
(sa)
m m
ya
g
-
p
la
mgmg
-
mil
ha!
II
pa
la
so
bha ra
ja
pa
pndnpdn
vi la
si
grsgrsnsll
vi
-
ta
ba
r
ha
kra
ma
r
hu
g
ta
va
s
ha!
II
n
ca
g
ru
g
-
m
la
m
-
(G
sa
r)
II
la
du
kl
dhi
ka
ra
na
ma
ha!
II
gri-sSnp
ka
li
pmgggrs
ra
II
ta
ja
ya sr
ka
ka
ma
la
gra ha!
II
II
palaia(sa)yas o
abhogamll
nnpsDrg
sa
n.
g
sa
mgmggrs
ka
la
-
II
n
s
ka
mo
s
ci
ta
ma
ra
ga
na!
II
r
-
n
ra
pnddDnmll
ra
ci
la
ka
pu
pa
da
ta
vi
bhl sa
na!
II
Gmndmgmp- mgmggrs
ven ka ta
va
raija
ya!
II
ve
da
vi
bhu
sa n a
II
II
palala(s a)yas 6
atatal
1!
(malavagaula)
-
am mugisenu 7
II
(trisrajati
6 kriyas)
24
racam23
- ,8
aham
llnsrgmggr
kha
g
la (ha)
la
sgrgrsns
ka
r
-
II
pu na
n
ra
rs a
bha ya
ti
ka
II
r
li
s
-
n
ra
ndpdpm(g)ll
-
ka
g
vi
ta
sra ya
vi
ka
nya
sa
ma
dhi
ka
s
II
g
la
m
si
g
ta
d
tha
mr gr mggr
-
II
ka n
vr
ta
va
na
ma
li
ka!
II
a}a
Us
pa
rs
ra hi
n
ta
s
-
p'ndnpdp
pa
ta!
mil
ra
II
me
ca
ka
ya
mu
na
ta
grgmpdnn Grgsgrs
sa
ra
!l
da
ma
ra
na
sa
ra
(sru) ta
jha ra
II
(malavagaula)
(Ska)
25
*
n
9
mil
ra!
II
pallavamll
g
-
m
-
d
-
mmrg
dha
-
va
su
de
va
rnava
pa
rva su
ka
psssgrsndpmprg.r
va
sa
sll
ra!
II
hr
(di)
ve
ka
ta
va
su
dha
dha ra
pa
padam
pra
ka
ta
ya
so
da
bha vya
ta
pa
pha
la!
II
sa
ka
ta
su
ra
ma
da
sa
si
pa
da
ca
la!
II
sndnpgpmppmgrgr
vi
sll
la!
II
ka
ta
ni
sa
ti
vi
pa
r
-
du
ru
kau
sa
gr
ni
g
ta
m
-
p
rju
g
ni
ndpgr
rda
fa
sll
la!
II
ka
na
yu ga
no
II
jjva
vasudevarnava
!l
(padam 2)
:
ndnsr
ra
gi
ri
gr
re
-
Mmgpmgr
var
II
va
du
sa
(na) ka
ra
ka!
II
ss
mu
ra
vi
sll
ka!
II
va
da na
mo
di
ta
dhai
nu
sndnpdpmppmgrgr
ra
ci
sll
ka!
II
ta
ba
hu
ta
nu
s
vi
ma
i"
la
ka
ra
gr
ta
(ra)
gmpd
ni
g
ta
dpgr
na ke
I!
sll
ka!
II
su
ta
ghana
ta
va
vasudevamava
11
26
lam: 3)
p ha
s
m
s
ndnsrggmmmgpmg
sa
-
II
ku
la
ka ca!
ha
sa
ia
si
ta
dhu
ra!
II
?
sa
g
ta
r
-
n
*
II
ha
ka
se
vi
ha
ri
pa
do
da
ra!
II
ma
g
sndnpdpmppmgrgr m
sa
la
sll
ra!
II
go
p!
n
ma
g
dhya
n
ve
vi
hr
ti
pa
r
g
sa
m
ri
p pu
d n
s
ra!
II
ka
ja
ya!
gha na!
n
II
ka
ta
va
II
vasudevarnava
II
II
caupadadolam mugisenu
II
II
(malavagaula)
(Ska)
27
- 26
10
II
udgraham
HssnnSggs rgmggrs
da
ra
sa
s
ra
ni
25
kr
ta!
dha
d
ta
ra
pa
la
na!
II
g
-
s
-
n
si
Ndmggrs
ka
(Ika)vi
ka
ra
vi
sle
mo
ca
na!
Jyavala
sPNgmGg mggr
li
sll
ta
II
ka
(ki
tva)
la
ghuka
ya!
ma
g
no
r
hi
p-d"r
kha
d
la
mpdp
na
g
ru
m
la
g di
rnMgm
ga
ta
II
ja
ma n
p
r
da
s
kh
an
ga
ta
II
n
la
nndpmggr
ya
va
-
sll
ta!
II
va
du
bhuja!
ha
Igi
ta
so
II
bhi
kali(kttva)Iaghukaya
abhogamll
ja
va
g
-
na
ni
(sa)
ja
ni
ta
kr
ti
ca
ya!
II
vi
ga to
da ya
la
ya!
ve
ka
ja
va
II
raj
ja
ya!
II
kali(kitva)laghukaya
ekatali
II
mugisenu
1110
(malavagaula
Skatali)
28
Ii)
29
-.(1)
s
adi
nn
bhuva
d
la
p ca
s
mgll
tu
ra!
II
(udgraham)!!
na ra
ca
na
po sa
S ko
r
ya
r
sd
ku va
ddnn
la
g
la
II
ya
da
la
ma
ru
ci
bha
ra!
li
nsrgrgmppgGrgll mgrgsnsrsgrpnsll
na va
sa
ra
si
ja
na ya
na!
ni
ran
ta
ra
II
bhava
s
du
ru
da
ya!
pa
la
ya
ma ma
g
ta
gi
ra
II
n
va
dndp
dha
-
dd
da
-
m
li
g
-
rsil
sthi ra!
II
II
ma
na
ka
bhuvanaracana
Jyavala
HdgGrgSgrGr
vi
II
ra
to
pa
ma!
vi
sva
ma no
ha
ra!
II
ns
pa
ri
rgrs nnNDpmll
na
ta
ra
sa!
pa su
pan
tab
pu
r
ra
II
gr
pa
ri
gmmp
vf
ta!
Dp
pa
ms
-
mil
ra
II
gr
ha
dma
ka
ra
va
rnp
vi
mggr
ci
ds
vi
mmGr
ti
sll
ra!
II
ra
ta
ba
hu
hr
(hr
tam)ba
ma
sgrgmpddn nsGprgdmgr
ra
d
-
dn dnll
ksa na
vi
ka
da
rpa!ba
li
dha ra30
II
snsll
ma
sa
ra31 !il
bhari
ta
ri
ni
pa
ti
ta
(sa)
29
nsgi-RPndnddnll
sa
ri
da
dhi pa
san
na
ta!
bha ya
ha
ra!
II
II
bhuvanaracana
pray ogam
II
abhogam
II
p
" gl
""
adi
II
A.
JL
nu
n
di
ta
dhr
ti
(ra)
ti
ra
sa
ma
jja
na!
II
d
da
g
li
ndpmgrsll
ya
ti
ma
na
ta
ra
ma
ya
so
dha
na!
II
II
ghanakucaghat a
33
II
Jyavala
Us
(hu)
n
ta
gr
gm ggmgrr
hf
si ta
g
ha!
II
ta
(nu)ma(gha)!
ta
nu
ru
II
30
p
a
m
ti
g
ja
p
da
m
ma
r
g
ti
rgmggrsll
(khi)la
ma
S Su
su
kha
d
va
s
ha!
II
n
su
g
ri
d
ti
p
dr
||
ta
nu
r
ya
n pa
m
d
sya
p
dha mi
ha
II
g
vi
i'
D
ven
m
ta
g
gi
g
ri
II
ta
nu
kr
ka
gr
II
ha!
II
bhuvanaracana
II
II
dhruvam mugisem,
*
+
vara(li)
The second
refrain
thought of placing
it
"ghanakucaghaf a" and the lyric concerned appeared to be an interpolation in the text, and hence the editors in the Footnote. But it was retained in its place as suggested by Prof. R. Salhyanarayana based on the tiiec
a different refrain.
31
dgraham
Us ma
n
srgrgmg
na
si
ra
ca
ya
s
-
ma
n
tya
dhu
gi
ra
P
-
d
da
in ra
34
n
ra
ma
s
na ghalbha va
n d
s
n
ya
d
-
D
ka
p
(ta)
gha na hf
da
ja
mpMgrmg grgmpds
n va
rya
-
ja
ni
va n
-
ra
n
tpa
ta
nu ra
s ri ta
ta
ra!
yavala
II
rggMPmg mgrgspr
g
ta
ru
ni
yanta
va
ka
g
-
p ka
ta
ru
ni
ma yo
d
-
dha
s
dhi
n
ra
d
sa
n
-
dn
ra ka!
ta
ha sa
dha
dgrgrsn
sa
ra
d
-
dp
H
ka!
sa
yu dha ja
nddppdp mgr
sa ra
ya
r
hi
ta
sa
ya
g
ka
g
ra!
gmmP
ri
m
tu
bha
pa
ca
ra
pa
ka
32
m
va
g
ra
m
ti
bhr
ra
pa
va
tanuras rita
prayogam
s
ti
g ya d
m
i
ya
n
ya
n
d
i
n
i
d
i
ya
n
i
ya
'
ya
p
a
G
ya
g
i
g ya
s
m
i
ti
p
i
m
ya n ya
m
ya p
i
ya
g
d
i
m
i
ya
ya
II
tanuras rita
abhogam
su
m
so
n
vi
ta
nu
g
te
mi
r
-
ma
r
m
r
bha na
n
la
n
vi
dn
sa
ta
ksa na
na
pndpndDp mpmgrgmg
(pa) ta
(nai)-
ml
na35
r
!
I
ra
va
pa
va
kr
ta
ve
ka
ta (khe)
la
na!
tanuras rita
II
mathyani mugisenu
II
II
II
(varali)
33
(varap)
udgraham
(3)
llddnnpsd
vi
g
(sa
Gr
ra)
r
s
la!
ra
ha
na
la
vi
ku
mgrgrs
ka
s
n
ka
gr
-
ra
na
ka ra
ta
ca
s
la
ndndpmp
ru
Gr
to
ma
na n
ka ka
ma
mi
Ha
la
nsnnpml (grggrs)l
du
ru ki
-
la
- 36
(16
jjva)Ia
(ta
la)
jyavala
llgnsgrgp mGr
(ci)
ra
ra
na yu
(ga)
se
sa
}T
mpddnns
ga
ra
n
ti
Dd
ke
r
n
!
da
ni
la
ga
]T
s
-
dppnnsnd
pa
ri
NI
ll
! |
sa
ku
la
pa
su
ka
srgppmggrsnpl
pa
ri
ga
ta
ta
tpa
da
dhu
lT
pdPnndn
sa
ra!
d
pa
nps
ta
|T
-
venkata37
sa
ra
grsndpmp mgrgl
va
ra!
su
(sa)ma-
va
li
ku
(ru)
lT
II
(u)rukila
34
prayogam
llprgmsd
ti
mp
i
pn
i
dp
i
ya
ya
ti
ya
ya
ya
ya
dpPmmgrrgR
i
ya
n
i
ri
tti
ya n
i
ya
ya
g
r
i
d
i
n
ya
s
i
rs
i
ya
ya
ya
'
*
ya
ya
II
(u)ruki
abhogam
II
38 -
sri
sn
(varaii)
35
Literary
Format
(Slab No.2)
(malavagaula
dhruva
1)
pralayapayobharasomakahrta
nalinajamukhanalinantodgata
vilayarahitavedahftidhrta
s alilacara samavapurancita !
'avala
II
Jalalinojjvalacaragirisama!
calalahari s atabhe daks araa!
II
salila
II
>hogam
II
bahukulisavalisutulitabala
mahitas rn gamathitorahsthala
nihatasuranikara! mahabala!
ii
salila H
II
dhruva mugisenu
(malavagaula)
Lyrics pertaining to the first two aval aras, viz the
in
dhruva and
efca
In order to present
one
fljadi
talamalika in
full.
Prof.
Ramachandrudu composed
ma
thya
tal
shown
in brackets.
36
(malavagaiiia
udgraham
II
mathya
2)
paramamrtaparasura
varaditisutabalikara
paricalitabahubhara
dharanitaladharavara
dharanakamathatanudhara
Jyavala
II
paramamuditavasava
suraganakrtasustava
!
garimajitanagabhava
paritonutavaibhava
!
dharana
abhogam
II
sphuradavayavasurucira
varatanugiribhayakara
!
il
dharana
A
II
II
atatala
matayam mugisenu
*
+
(malavagauia)
Filled
up
shown within
brackets.
37
(raalavagaula)
udgraham
II
gurughonakuharodara
Jyavala
taralakhurantaramitajala
niravadhivananidhipalvala
parilaghudhrtabharmacala
tarunankura(dhara)n itala
2
varamustavalikandala
darakaragurudanta(ii) cala!
II
ki(ri)vigraha
II
abhogam
II
ki(ri)vigraha
II
rupakam mugisenu
(malavagaula)
38
(malavagaula)
udgraham
II
viramasamrambhanamvi(ghataye)darirayam
varasimhasamhanana5 va(ktra)jasthirabhiyam6
parigrhya yati ta(tpa)risaram na svayam
Jyavala
II
ditijapatihrdanalpada rpamosakasikha
parigrhya
datikathinayoryavadankanamahatamukha
abhogam
10
II
iti
patu(tare )ritairiha
3
mam
vita' ra
parigrhya
II
II
jhampa mugisenu
(maiavagauja)
this rather
astounding lyric on
to
a para
sa
mugdhakanta
(malavagaela)
udgraham
II
ragaeam
16 -
vinayavinakrtabhujajitavibudhavirocana
18
tanayamakhahitapadamitadharaniyacana
Jyavala
II
yugaparinamavijrmbhitayugapa(cch6 )sana!
j
17
vigalitavamanagunatanuvibhramabhisana!
yogapannama
abhogam
II
sarabhasacaranakramamita sakalajagattraya!
virata spadabalidanava!
venkatavara! jaya! 20
II
yugaparinama
II
II
raganam mugisenu
II
(maiavagaula)
40
udgraham
II
khuralikavidhikusala! visrmara
karas arahatakrauncabhudhara!
viracita gamavisarakhagavara!
guruyas obhara
gun avibhasura
Jyavala
II
niraghasamadaya! nirmalasaya!
gurunara kr tikopabhavaraya
!
karavidhu(ni)takhalakahaihaya
dharanipatibhuja(da)ranodaya
paras umukhasi(khi)patimakrtabhaya!
guruyas obhara
abhogam
II
savavi(na)yitasakalakuvalaya!
bhavanatarkava21 bhaktasamudaya!
!
guruyas obhara
tivuda mugisenu
1!
II
II
*k
(maiavagaula)
(triput a)
41
igraham
II
dasavadanadhikadharmatapo(bha)ya
krs ajagadavana! krpamahimasraya!
/avala
II
vilasitabahavikramahutavaha
caladurukilasadhikaranamaha!
kalit aj ay as r ikar akamalagraha
!
II
palala(s a)yas o
II
Dhogam
II
san(ka)mocitasakalamaragana!
lahkapurapadaracitavibhis ana!
venkatavara!
(i
a)y a vedavibhusana!
'
palala(s a)yas o
atatalam mugisenu
(maiavagaula)
(trisrajati
-
6 kriyas)
42
udgraham
II
khala(ha)lapunarakarsabhayantika
kalitasrayaravikanyasamadhika
vilasitakanthavrtavanamalika
!
Jyavala
II
parafaitamecakapata! yaniunantara
saradarnaranadisara(sru)tajhara
taralapanduratanurucisahacara
(da)ru(na)madali(dr)gancitarucicara
!
Parahitamecaka
abhogam
II
arahitare(ca)tsancitarucicara
paripuranadiviparvakaladhara
Parahitamecaka
racam mugisenu
II
II
a-
*
+
(maiavagaula)
(eka)
43
24 -
Pallavam
II
vasudevarnavaparvasudhakara
Padam:
II
prakatayasodabhavyatapahphala!
s
akatasuramadas asipadancala!
nikatarjunayuganirdalanojjvala
Vasudevarnava
(Padam:2)
II
varagiridure varsa(na)karaka!
mural i vadanamoditadhainuka!
viracitabahutanuvimalakaraka
ta(ra)nisutaghanatatavanakelika!
Vasudevarnava
(Padam: 3)
II
hamsakulakaca! hasalasitadhara
hamsakasevitaharipadodara
i
!
Vasudevarnava
II
caupadadolam mugisenu
k
+
(maiavagauja)
(eka)
44
- 26
10
udgraham
II
darasaranikrta 25 !.dharanipalana
karavis le s itaka(lka)vimo cana
!
Jyavala
kali(kitva)iaghukayamanohita
khahijanamandalakhandigatagata
II
kali(kitva)laghu
II
abhogam
II
II
kali(kitva)laghu
ekatali
II
II
mugisenu
II
oo 26 toll
7
II
(mai avagau 1 a
gkatai
45
27
60
II
varflQi)
bhuvanaracanaposalayacatura
kuvalayadalakomalarucibhara
navasarasijanayana! nirantara
!
(1)
adi
(udgraham?)
II
bhavadurudaya! palaya
mama gira
!
mavadhanadakalitasthira
bhuvanaracana
jyavala
II
viratopama! visvamanohara!
parinatarasa!
parivrta!
pasupantahpura
grhapadmakaravara
!
viracitabahuvihrti(hrtam)bara
!
30 maravikadaipa baliksanadhara
bharitarinipatitasamas ara
31
!
saridadhipasannata! bhayahara!
||
bhuvanaracana
||
Praypgam
II
ya iya iya
iya iya
iya iya
iya iya
iya
iya iya
i
iya
iya
bhuvanaracana
||
abhogam
adi
32
II
ghanakucaghata
33 3
II
jyaval a
(hu)tata(nu)ma(gha!) hrsitatanuruha
(abhogam)
atijadamatima(khi)lasukhavaha!
46
krpam venkatagirigrha!
II
||
bhuvauaracana
||
II
dhruvam mugisenu
II
vara(li)
1
refrain 'bhuvanaracana running throng This refrain 'ghnakucaghata appears to be out of place and different to that of the earlier the fact retained in its place, as suggested by Prof. R. Sathyanarayana, considering composition. However this portion of the lyric is
1
'
47
(varfili)
udgraham
II
managha! bhavatyadara
34
ghanahrdayaka(ta)ra
janavaryajani vara
tanuras ritatatpara!
Jyaval a
II
taruniyam tavaka
tarunimayodha dhika
tarasahasadharaka
sarasayudhajalika
!
!
sarayahitasayaka
bhara! paricarapatuka
II
tanuras rita
II
Pray ogam
II
tanuras rita
abhogam
sutanumimams obhana
vitateksanavilasana
35
(pa)ta(nai)rava, pavana!
krta venkata(khe)lana!
tanuras rita
II
mathyam mugisenu
48
(varali)
ham
II
rftpakam
(3)
virahanalavi(sara)kula!
karunakarakantacala
niarunahkakamamitollala
durukf!a 36 (lojjva)!a(tala)!
la
II
gamdanilagatikelT
parisankulapas ukalT
parigatatatpadadhUlI
sara!
venkata! 37 sarapatall
!
II
II
(u)rukila
II
gam
II
tiya iya
tiya
ttiya
iya
iya
iya iya
iya
iya
iya
ri
iya
iya
iya
iya
iya
II
II
(u)rukiia
II
jam
IP
sri
sn sn 39
49
a summary
rupakam
II
3
rhyme of
'
1-3
this lyric.
Considering
'
cara
'
is
changed
to
vara
'
in the
compound
'bhavadaga(v)ara'.
II
2-4
'
tarumtala Sri N.Ch. Krishnamacharya opined that the word taruni could suggest the
'
'
'
meaning of dharani and hence no change is needed. However, other scholars accepted
'
'
the
'.
2-6
'dantacala'
by
3-1
all
II
'ayugavrsadhi
The
Prof.R.Srihari is accepted
by
'
all
the scholars as
'
it
satisfied the
meaning and
rectified
ayuga!
jhampa - 4
II
1-2
'vakrijasthiranabhiyam'.
Sri
'
'
vaktraja sthira
bhiyam suggested by
N.Ch.Krishnamacharya
accepted.
il
2-1
'ditijapatihrdanalpadarpamosaka'sikha'.
2-2
'kuppasita'.
Sri
N.Ch.Krishnamacharya suggested
could be
('kurca'). Prof.
'kuppa' to
be changed
to 'kutapa',
while others
felt it
'kurca' is accepted.
II
3-1
'patusuteritai'.
patutareritai.
is
accepted.
.
3-1
'rivavihasana'. Sri
The readings in this lyric containing the description of Narasimhavatara lent to prolonged
discussion leaving much to be desired. Finally Prof.Pullela Sriramachandrudu resolved
50
the problem to
Format.)
raganam - 5
I
2-2
'lahghajalakhila
Sri
3-1
'jagatraya'
Sri
tivuda
II
6
1
2-1
'niraghasamaday
reading 'daya'
is
a'
The inscriptional
others.
retained as agreed
upon by
Sri
N.Ch.Krishnamacharya and
il
3-1
'savavinayita'. Sri
'savavinakrta'.
as an address.
3-2
are the
readings suggested by
be arrived at. However Prof.Pullela Sriramachandrudu opined that the reading 'tarkava
could be retained and the meaning deducted as 'tarkava' could be derived from
'tarku' ,
meaning a
splitting
implement.
ata- 7
II
1-1
'dasavadanadhikadharmatapomaya'.
Sri
'das
As 'dasavadana'
is
not a 'dharmatapomaya'
-
kadarya tapomaya.
1-3
da = de
II
3-1
'
Sankhamodita'.
Some
'
Sankamodita
',
'.
While
Sri
Sankamodita
In fact
Prof.Pullela
Sriramachandrudu
reading 'mocita'
could be
'
S ankamocita
'.
on
was found
in the inscription.
Hence retained
it
as
S ankamocita
'.
51
racam - 8
aval a
1
112-2
'sarasrta
Prof.
meaning
the
'sarasmta'
is
accepted.
2-4
'garunimadali'
Sri
N.Ch.Krishnamacharya opined
that
it
could be 'arunamadali'.
)hogam
II
3-2
'paripurana'.
is
'paripuraya'.
caupadadolam - 9
adam3
II
3-1,2
Vidwan Sri. Singaraju Satchidanandam opined that this reading might have contained a
reference to the story of Hamsa and Dibhaka.
ekatali
pavala
II
10
2-1
Scholars suggested the reading kalikr tyalaghu'. Prof. Pullela Sriramachandrudu opined that the reading could be
Kaliki
-
'
amended
to
'
kalikatvalaghukaya' refering to
Kalikitva, and
the
vara(il)
'
ragam
is
1
dfaruva talam
a
(1)
yavala
II
2-5.
'
maravika =
'
(kings'?).
Meaning
the
-
doubtfull.
Sri
2-6.
'
bharitari'.
bharitabha'
.......
amendment suggested by
N.Ch.Krishnamacharya.
4-3
5-1
'manadalita
Prof.
ramayati
not clear.
to this phrase, quoting the
(varali
Jdgraha
II
ragam)
'
.
rapakara
(3)
Sri
1-4
'uruklla
.... la .....
N.Ch.Krishnamacharya
yavala
II
2-3
'
kalT 'Suggested
-
change by
varali
rupakam
lyric
is
'pal!'.
In this
52
Inscriptional
cT
Format
(Slab No. 4)
.0'
.0
.0
Pray ogam
iya
nr
iya
sr
ia
iya
iya.
-.0
pn
I
ns
ss
snppn spm
aya
rp
iya
iya iya ya
a
r
mp
a
r
mm G mp
iya
m
iya
5.0
y
r
ya
p
iya
5.0
mrs
mm pm
iya rg
rm
ps
np
iya
iya iya
sr
iya
iya
iya
iya iya
m
7.0
a
(p)
pn
grn
rgn
pm
mr
sn
snr
iya
iya iya
navadehalatikeva
2
I
abhogam
8.0
run
pnpmrs
ni
si
I
II
ba
rhi
mi
sa
va
khi
I
gha ne
-
tha
ba
to
3
hu bhi
(h) ki
mi
ri
tai
Ora rha
tra
ma
llvll
su ve n
ka tapa
te
navadehalatikeva
jhampa mugisenu
raganam
9.0
udgraham
II
sa
r
ra
da
ha
na
hi
ta
r
sa jvara
ta
ti
ni
sa
ha
ca
n
s
10.0
II
p
ti
m
pa
p
da
gm
sai
m
ni
mm rs
(I)
Irs
npmpn
vi ra
ci
ta
prsrnsnpmpns
1
.
ga
ka
2.
The Udgraha and Jy avala portions of this lyric are missing here. Lines 1 & 2 appear to have been chiseled and erased. From the structural evidence available in the inscription it is presumed that the refrain "Navad eha latikeva" should have formed
the
first
part o
khanda.
this
3.
The
ma
4.
third face of this inscription which is missing. " t "tat ini sanjwara" in order to rectify the prosodical yati found in this line appropriate to reallign the compound "Sajwarata im to when compared with the other lines. All the raga n a compositions in these inscription slabs have the thirteenth letter in each line as ya<
end of the
It is
53
vr
r
ta
s
la
ka
pu
ra
s
lljyavala
II
mmr
ra
11.0 12.0
ma
p
ka
r
da
bha
ma
tha
ra
I
rnana
sa
5
I
ma kha
r
ca
ra
sin
dhu
ra
m
da
m
ni
n
5
p
rka
nslr
sa
5
I
mmp mp
da
sa
na
ra
ta
ra
ka
ka
ra
ka n
ndha n
m m
da p
1
n
li
n
vi
rs
n
bhi ta
s
I
pp
I
vi
na ke
jr
r
m
s
vi
kra
pr
ma
ba
s s
m
a
13.0
14.0
dhu
(r
ra
s)
prayogam
ti
yya
s s r
yya
s
ya
sn
yya
yya
pp
lya
yya pn
lya
lya
yya
ns
iya
rs
iya
iya
rm
lya
np
I
ns
np
I
pm
tiya
n
P
n
P
ti
ya
r
iya
rs
rm
rm
m
i
I
ns
15.0
16.0
iya
ya
iya iya
iya
rs
rp
ti
pmgm
yai
rrm
ya
(r)
Mp
ns
yai
yai
yya
iya
srgmrs(n)p
da
nS
tha
rsnppmrs
ra
I
ma
bha
ra
ma
abho
17.0
ni
hi
ta
vi
bhi sa
na bhu va
ra
no
tha
da
ra
ra
jaya
7
ve n
kata
I
bhu
clhai
bhu sa na
5.
ma
da
bha
ma
raganam
mugisenu
(A)
tivudaluga
in the ninth
While the
on the
consonance found
The
two lines appears to be an additional structural embellishment. bracketed words set in the lacuna found in the inscription are filled by our Edtorial team member, the Late Dr. Tirumala
Ramachandra.
7.
am"
lyric in
between the
lyrics set in
jhampa and
found
in this
54
8.0
ni
s
pu na
s
mu
p
ra
r
li
ni
na
da
bha va
na
s
9.0
mr(g)g
sa
sa
ra
mrsn
ya
ca
pa
la
ma
na
dha va
'i
na
n
mp
ha
rsa
pf
iia
gi
ya
P
ya
y
l
55
nps nssnppsnp(p)
26.0
27.0
ya
ya
ya
ya
ya.
ya
(i)
ya
ya
ya
ya
d
ya
ya
ya
ya
ya
m
i
ml
i
rm
i
p
i
m
ya
rpmrp
i
m
ya
n
pro
i
ya
ya
ya
ya
ya
r
mprmp npr
ya
,
p(i)s
ya
ya
ya
rp-mrg
ya
i
mr
pi
ta
28.0
29.0
ya
iyal
r s
It
ku
go
pi
ku
sa
la
vs
dana
abhogam
II
sr
vi
9
m
ta
II
II
ha
I
da na
ra
va
vi
dhu
di
ri
ta
dvi
pa
dhi
(I)
pa
vi
vi
ha
ta
ma ma
ksa na ku
hr
ven ka
ta
pa
hi
pi
ra
vi la
ma
va
la
sat
(kri)krpa
lltivuda
ku
ta
go pi
sa
da
na
mugisenu
lit
II
30.0
atatalarn
ugal
31.0
Issnprnssprr
na
sa
sa
kra
ma
ga
ti
vi
ra
hi
ta
kam
sn
vi
du
sa
na
srsns
sa
mi
nsrgmrsrsmnppmg
vi
ja
na
ma
ma
da
po
sa
na
ml
rmpnsrsnpm
32.0
33.0
ma
la
gu na
va
li
vi
sra(sru)
ta
r,
bhu sa
na
s
jyavala
va
r
na
s
ma
n
hi
s
sa
r
n
r
ga
ta
va
lla
va ba
la
ka
dpm
II
II
mrrmpgmrsl
mama hridi' was continued
After chiseling the notated lyric partly in lines 28 and 29, the literary content "vimala satk r-pa/Vihara further in both the lines without wasting the space in the inscription.
56
ta
nu
ta
ra
r
de
ha
n
vi
da
ha
vi
s
dhaya
rs
ka
p p
m
na
mp
n
va
s(s) r
gha
ta ra
kt la
ka
ci
mgmmrrs
pa va
sn p
mr
da
si
ta
34.0
ta
r
ka
ka na
p n p
ga
mr
sn
ra
s
sa
s
gra sa
,
vi
bha
vi
r
ka
s
35.0
n
ta
IT
pm
10
II
vana ma
ja na
hi sa
abhogam
ra
ma
tu
n i ka
hr da
ma la
n
ta
dha
ra
ya
ni
jan
ci
ja
to
gi
pa
ri
sra ya
ka va
ta
ta
yama mi
n
ha
ven"
ka ta
sa ya
na
ma
36.0
hi
sa
ga
ta
II
II
atatalam
mugisenu
II
racam
uga
II
37.0
la
ma
la
mala
n
sai
sai
II
ra
va ga
ti
vi
ra
sai
(h)
ka
li
hi
ta
da
sai (h)
38.0
p
ka
r
mr
pa p
ta
nip
ni
r
SI
I
rssrsnpnlpnrrggM
vi(li) r s
va
ra
r
ku ra la na
n
ss
gin rs
sai (h)
sn
ma
s
ksi vi
la
II
jyavala
su la
bhava dhu
r
m
su
r
mprs
II
mr
39.0
su
ta
hr
da (nu) ka
r
s
r
ra
s
ka
s
r
li
(ta) vi
s
pa dha
r
I
ni
su ka
r
la
40.0
m
12
i
mm
sa
(ha) vi
ca
iii
ca
la
ka
ri
karna
s
(r)
n n p
I
ca
la
s
ma
s
dhara
rr
mr
m m
np
10.
earlier
convention of not wasting the inscriptional space was followed while chiseling.
in 'cinta'
Could the
yati
followed
and
"ve
h ka" be
letter)?
suggested readings
12.
in the
workshop
in this regard.
Meaning
is
57
na
la
ga
tu
hr
ti
ma ma
na
sr
na
rs
mp
ra
I
mri
I
m
tiya
41.0 42.0
li
ga
IT
prayogam
iya
iya
iya
iya
iya
iya
m
i
sn
pm
i
pn
i
np
i
ns
i
rs
srsn
I
ya
ya
ya
ya
ya
r
ya
ya
ya
ya
a
r
(i)
(s) s
r r
mm
iya
p p
rr
mr
a
a
r s
43.0
44.0
ya
ss
ti
ya
s
ya
iya
iya
iya
la
Ir
a a
a a
(n)
np
iya
mp
iya
mp
II
sn
pm
mpns
sutal
rsn
II
iya iya
su
labha va dhu
abhogaml surasekhara
sn pm
45.0
su
gm
la
rs
bha
su
II
ma
su
mo
da
bha ja
va
sa
du
(si)
ru
ta
kha da
va
pu
sa
m m m
pa
ra
muku
ven
bha
(ta)
(cat)
vara
su la
ka ta
va
gi
ri
dhu
racam 13
mugisenu
II
46.0
Her
'II
Caupadadolam
Pallavaml
sa
ra
si
ja
r
sa
m
r
bhava
g
47.0
In
sa
m
I
kha su
s
ra
pu n
ga va
s
vi
ra
ci
ta
na va
ja
p
gi
mg mrr
dha va
r
s
I
Irmpsnpnsl
I
ya
ven
pr
ka ta
sn
ri
pa da
dhara
p
p
ma
n
da na
na
s
la
s
m
ri
nn
48.0
49.0
dha
pr
ni
s
ta
ca
ma
ra
pa
ri
sa
ra
ya du
dhr ta
pa da pa
du
va
ra
rs rsnslr
ru
rmmpmgmlrrMrrs
14
pa
ma
bhr n
ga
li
ka
dha
ra
ni
si
ca
ra
snpmpmpl
"caupadadolam"
in
"li"
pm
the
ppnnsl
viz.
13.
appears to be an innovation
14.
yati appear meaning is incomprehensible. This resembles Annamacharya's Telugu compound "kappedinallani yalakala nuduru vide" (12-256)
and
to
have the
58
va
r
ru
na
la
s
m
n
bi
ta
va ra
bhu
nn p
sa bha ra
mr
si
ta
50.0 sa
ra
si
ja
sa
m
n
ra
bhava
ku
I
II
oil
I
marudara
ka ra
du
(ta)
ma
ni
vyaja
na
ra
dhr ta
ga
ca
(sa)
tu
ta
ka
ra
ra
15
n
ra
I
da dha ne (ne)sva
na
pa
ca
sa
ra
sa
ka da
sa ta
ra
sa
ha
51.0
ta
ri
ha
sa
ra ra
na
pa da
ra
ni
I
ve da
ni
kti
ka
ra ra
16
I
sa
ra
si
ja?
sa
mbha
va
bha su
ta
bha
dhu
'"dha ra
ra
na na
mu
di di
sa
m
ra
bha sa na
pa ra
ni
ru
pa
ma
ru
ci
52.0 ca
ya
ni
ci
ta
(dhu)
ra
II
I
dhara
si
vi
ra
15
pa
I
ma
ja
ya
ven ka
ta
ma
17
sa ra
ja
sa
I
bha va
caupadadolam
mugisenu
II
egatalill
uga
53.0 a 54.0
s
vi
s
ra
ri
ta
bo
pp
lo
dha
I8
I
ru
nama ksama
g
ra
pa na
n n
m
si
mg
ca
r.
M
ji
ra
vi
sa
na
19
(ti)
ta
da ksi na
jyavala
I
prprsss
khyata
rr
nl
I
I
psnp
ci
pm
va
sa
vi
s
ta
ni
s
ja
(s)
gha na ru
r
na
r
mi
s
I
sa
ta
va
(n
ni
-)
sr
m
ta
pp
mp
55.0 pi 56.0
ki
Isa
ha
te
nu na
ml
pi
ba
ra
(dhara)
npnslssr
bhr gu
srsrlrmpr(mgrr)!
ml si
prayogam
I
gu na
-
da
p
na n
ti
ya
mr
rs
rr
snppmgl
this inscription.
ya
ya
ya
15.
16. 17. 18. 19.
yati lapse is
noticed here.
See
clarified meanings.
in footnote
clarification of the
24 appended
is
in slab
2 of
The The
not clear.
the reading stands as "r ajita".
Hence
59
i9.0
la
rama
llabha
mita
kupita
(-
kr
ta
ti)
saya
ja
vasaya(ti)
ven ka ta
II
va
palaya
khya
ta
vi
ni
II
ekataH mugisenu
iO.O.
loo
II
sa ya
na
ta20
dra
va
uga
vr
ta
vi
ya
da va
nidi
il.O
nsnpnnpnsn
su
sa
ga
na
de
va
vi
ma
ta
ti
mi
ra
dha
ma
21
(ai)
ni
(...)?
dppmllPn ss npdnsrmns
ra
va
na ma da
ra
ja
ni
rgmmgrs
2.0 (ka) vi
ra
rg
ko
vi
ma na
da (ka
vi
go
ga na) ra
ksa na
-
3.0
gm
bha
ps
snpl rmm(spnnpsrta
vi
su
g ya
bha pa
da
r
vi
vi
ha
n
ra
na
II
prayogam
m
i
mm
yya
p
i
p
i
m
ya
ppssnslPns rssr
).
ya
ya
ya
II
to
be shaded.
fit
It
'
ngta'.
I.
one vague
See-meanings.
60
64.0
ya
p
ya
ya
s
ya
-
(i
ya
ya)
ya
65.0 p
(-
___-)._
in
du va
da
s
na
pi
66.0 hr
m
ma
ms
vi
da
ya
mo
da
n
na
s
ma
rs
da
(gama
(-
na)
-)
ra
-)
la
ka p
sa
na
s
mr g
ku
n
ing rs
ns sr
da ra
da
na
ku va
la
sssmpns snpprmpl
ka
ya
ka na
na
da
li
gha na
ka
nti
ji
ta
pa gha na
na n
di
ta
ja
na (na)
g
dpprnp mr
68.0 ya
69.0
pmgr
I!
grnr
na
(-
sr
ga
su)
23
mr
bha
na
bu
ja
na
vi
m
sa
r
smg(M)
n
g
dar sa
rs
na
sa
Imrsr
ku
tu
du
vi
nka
na
(----)
va
pmpm mp
ka sa
ma
na
mp
I
dns
i
rs
i
srssri
i
prayogam
mm pmmprpmgl
I
ya
ya
ya
ya
ya
70.0
71.0
ya
ya
s
ya
ya
(i
ya
ya
ya)
ya
ya
m m
i
ss
i
r(ggmnsr)rpmpl
I
ya
pr
22.
sndn
"
ya
ya
ya
sn
first line
Inppmmpl
of the udgr aha khand am, but chiseled wrongly as
a)"
"
ya
ya
ya
This
is
tli
avrtaviya (-davanidisagan
was
recorded. This
is
Here the
letters are
61
ya
ya
ya
ya
s
ya
ya
gmpmp
ya
1
rpnp
ya
i
72.0
73.0
ya
ya
ya
ya
ya
ya
s
pmlr pm
i
pg
i
m
i
gmmgrr
i
nsrsrgrgmppnpml
aaaaaa aa aaaaaa(aa) prnsrs rgmpmmrs
a
ss
ya
ya
ya
ya
ya
ya
ya
74.0 a 75.0
yi
ya
sn
ya
n
ya
s
vr
ta
vi
ya
II
abhogaml
idi
mr
a
sp d
p
ra
II
sa
va
p
ma
p
da
ha
r
It
la
yi
ta
r
pp
sai
n sa
m
ti
p
pa
r
mg
la
s
rg
va ga
ca
sikhaii
ci
ta
II
srgmpns
76.0 kau sa
77.0
lya
s
nprsrll
I
abhogam
II
jyavala
rgmrsn
ni(si)sa bhrta
ss
np
24
mmrs
ta
ba
li
ni
dha na kr
vra ta
nsrr pmmpsnnpl
si
r
ku
s
ka
ta
na
ya
ku sa
la
va
co
hr
ta
da
sa
ra
tha
gmgr
25
sr
ma
hi
gmprms! mmgr
ta
I
78.0 nr 79.0
s
pa
s
dr
dha ra
ga
vi
sa
mama
hr
*
di
ven ka ta
snpmp sn
if
si
rs ns
"
ndpnnp
24. 25.
read as
"ni sabhrtabali",
Here the
yati appears to
be according to
62
gi
ri
ra
.
ta
s
vr
ta
vi
ya
dhruva
mugisenu
26
II
o
...
I!
m
at
n
a ta
II
II
la
ma
yam
uga
ve
sp
dhi ta
ku
r
ta
vi
m
yu
m
dhani
.0
ka
d
ti
ta
sa
sr
dhu
s
kathi
sa
ta
ta
bo
ya
ti
pu
la
s
ki
s
ta
si
na
rdn
ra
ss
kr
ta
27
!
np
ka na
rgm(dn ns
na
-
n)
ga
d(n)
dhi ta
ssnpp
na
vai sa
sa
ya
ka
da
- 28
I
mr
da ka
slmmpp------!
I
va
rsrggmrpmr Ipmmprp
na
.0
pa
di
na ka
ra
sa
ma
de
si
ka
r
mu
s
ni
r
ma
mm g
ka
I
gm
sa
r
mo
s
da
r
ka
(gg)
ghana
tan
ki
ta
kar
mu
g
vi
r
(dn
si
ppnnpr)np!
I
ni
ve
s
si
ta
vi
kha ka
p
ja
na
(ni) to
pa ra
jo
s
dhi
ka29
p nu g
(dn) p
m m
ta
s
(pm)
30
mp mr
I
rgml
ta
r
pa
ti
ta
ta
sr
ka
r
prayogam
ya n
ya
mp
i
.0
ya
n
ya
pr
ya
ya
ya
ya
ya
ya
.On
mrs
Is
snpl mmpssnl
Since the
initial
This dhruva
tal a
composition appears very unique with two pray ogas, two jy aval as and two abhogas. The second abhflga which contains
of the
lyric.
rhyme (second
letter)
abhoga pieces
"sa"
and
"
sa"
almost similar and these could perhaps be considered as one piece abhflga with the signature at the end. This feature could be further
examined.
The
"
refrain
in this lyric
part
of the
last line
first line
of the
jyaval a portion as per the inherent structure found in the inscriptional lyrics.
Hence
in the text
is
missig here.
The meaning
is
is
The meaning
not clear,
oga portion
in
mathya
tal a.
63
(i
srnsrs
e e e
ya
ya
ya
ya
56.0
n.Q
iS.O
ss ee --
nplnpnsssnsrsi
el -i
e e
I
ya)
ee
-a
a
a
rs
srlrgmp pm
I
mg
laaaaaaaaaal
r
pm
ss
npmppnpl
aa aal mp pnl
aa
s r
9.0
srg
so
mn
ta
dha na
mi
ra
la
so
dhi ta
abhogaml
ca
ra
va
vi
mu
sa
m
sa
ga va
nava
va na
sa
I
na
pa
ra
ri
palana
ta
pa va na
saila su
na
va(ci)
venka
0.0
so
ru
dha na
pa
ka
ta
nu
II
so
dhi ta
II
(a)
ta
talama
ti
ya
mugisenu
II
II
m
ta
s
uga
1.0
2.0
sa
ri
(ti)
ya
n
ti
sa
rs
snppmlrsnppm
ya n
ci
na hi
ta
(ta) ta
gu na
(n ci ta)
kau
sr
tu
ka ka
ra
ka
rp
ta
ja
s
ta
s
pu
r
la
s
ka
n
ja
s
na ka dr
ta
gn
mp
I
mg
ri s
mr
m
bha
snp
np.mrsrll
5.0
I-.O
jyavala
pa
ra
r
Ir
gr
mgmpmr
64
napa ka
ru
na
II
si
na
p
ra
.n
pa
s
ti
gha ta
n n
na da
ps
ra
na
ha
r
ra
gha na dha nu
p n
ra
ro
hana
r
np
m m m
ra
r
pa
s
ni
ru
r
I
M M
I
m
ta
5.0 5.0
pa
(s
ma ba
r)
ha
sr
rpa
na
p ya
va p
ra
gu
g
na ga
g
ra
na
p
I
ra
ga
n
na
s
II
prayogam
II
m
i
ns
ns
II
II
ya
g
ya
g
ya
ya
ya
r
a
s
yya ti
rr
yya
r
a
s
yya
r g
yya
m
7.0
i
mp mp
i
m m
i
mg
i
mrs
ya
r s
ya
ya
ya
s
ya
ya
ya
ya
g
ya
ya
s r
II
3.0
m
a
mrs
ya
p
m
i
ns
ya
i
sns
I
nn
i
d
i
ya p
ya
m
i
m
ya
n
mp
ta
mmdd
la
ya
ya
ya
ya
ya
snmd
ta
II
smr
I
3.0
ya n na
ta
II
ja
pu
ka
ri
ja
na
ka dr
I
abhogam
30.0
II
ven
ja ja
rti
ka ta
ni
to
gi
dhava
I
ja ja
vi
ka su
ta
tsa
va
pu
la
ka
na ka
(rthi)
dr ta
ta
II
rupakam mugisenu
va
I
II
3 lljhampall
uga
31
II
na
ya gu
na
briar ga
ka na
hr
di
The
talas of
this
is
alas
slab to
not extant. This can be surmised from the word 'jhampa" chiseled
end of this
reproduced as
it is.
See "Musical
for the
concerned
text.
65
'udgrahamll
Jyavala
---------na va de ha
la
tl
ke
va
(II
navadehalatikeva
II)
Prayogam
llnrsrpnnsss
i
ya
ya
ya
ya ya
rrsnppnspm
i
ya
ya
ya
ya
rpmpramgg
a
mp
ya
ya a
ya
ya
ya
rmrrmrsnsp
a
i
ya
ya
mmpmrmpsnp
i
ya
ya
ya
ya
ya
66
mpns
a
i
g
i
m
ya
n
-
ya
ya
ya
pmrgmrsnsnl
I
ya
r
i
ya
ya
ya
ya
s
-
p
a
nnpnpmr
ya
i
ya
ya
(II
navadehalatikevall 2
abhogam
II
(p
m
-
r rhi
r
-
s)
ba
(na)miva
n
gha(no)
P)
tai
I
tha
(r
n
ri
ba hubhihki
mi
(pnsrsR
ra
-
g
tra
r
-
s)
tu
rha
si
sa
(khim)
r
(s
n
a
p
ve
m
n
s)
(m
su
ka ta
pate
-!
II
navadehaSatikeva
II)
3
II
jhampa mugisenu
II
(gau'a)
is
not found as the beginning of this su] adi lyric (saptata] anat ana?)
is
that this
could be (gauj a)
r'aga.
Hence
the raga
name is shown
within brackets.
67
5
s
jdgraham
II
pmpg mmr
da ha na
s r
-
mr
ti
si
5 I
n
ca
p
ra
m
sa(n)
p
-
II
sa ra
(ha)ta
ta
ni
sa
ha
s
jva ra
II
p
vi
n ga
s
ti
m
sai
p
-
n
ni
npp
la
mrsll
-
ra
ci
ta
pa da
ka
vf
ta
ka
pu
ra
II
yavala
llppmrg mr
ma
r
In
5
I
p
-
r
5
mmP
ca
ra
sin
m
dhu
p
ra
da bha ra ma n
tha ra
n
ta
s
ma
na sa
s
ma kha
s
5
m m
r
5
s
-
nsn
da sa ka
kra
ppm
n
ka da na ni ra
n
s
-
ra
ka
rkasal
ka ra
dhara
p
vi
n
li
p
vi
ssrlnprsmrrs
m
bhi ta
5
I
da la
na ke
jf
vi
ma
b an dhu ra
(II
madabharamanthara
II)
rayOgam
HrssrsssnlppMlrmpnnp
ti
s
-
II
yyayyas
ya ya
yyal
ya yya
ya
r
yya
s
II
nsn
i
p
-
pmlr mr
i
ml
ya
I
PP mr
ri
II
ya
s
ya
ya
ya
ri
ti
ya
v
ya
r
s
II
n
ti
mgmlr rmrlMp
-
p
ya
ns
i
ya yya-
yya
yya-
ya
ya
ya
ya
nsrgmr
ti
snip
-
nS|rsnppm
yyal
i
rs
i
yai
yai-
yai
ya
ya
ya
ya
ya
II
II
madabharamanthara
68
P
vf
r
m
ta
P
ra
m m
+
I
m
n
n
ta
p
vi
m
bhl
p
-
(ni
na n
n
s
ga n a !l
la
ka
)<>\
ni
hi
sa
na!
r
-
n
ja
p
ya!
s
-
m
-
>
bhuva no
da
ra!
ve n
ka
ta
bhu
dhara
II
bhu
sa
nu
li
<
madabharamanthara
7
II
raganam mugisenu
II
I!
69
6
s
illssrprmr
ni
ggmr
ni
n va
pu
na
mu
ra
]i
na
da
bha
na!
(II
kupitagopf
II)
70
II
kupltagop!
II)
II
kupttagopi
II
II
tivuda mugisenu
II
il
(gauja-iripuia)
71
ata
udgraham
II
&
n ga
r
p
ti
n ra
kra
ma
s
vi
hi
ta
m
ma
s
r
-
sa
mi
ja
na
na
s
sa
m
ma
p
la
n
li
vi
gu
na
va
fyavaja
II
rsnsrrpm
va na
ma
hi
sa
ga
n
ta
p
ta
m
ta
mp
de
rh
-
n
vi
nu
ra
ha
f
g
ta
rh
s
-
gha na
p
p
ra
k! n
la
n da
s
-
p
ta
ka
na
mf
ra
sa
ibhogam
llssnprnss
ja
tu
hf
da
ta
ra
r
ta
m
!0 J
ka
ja
na
r
-
ma
s
ni
rmpns
ci
n
ha
I!
ta
ya
ma
mi
vanamahisangata
atatalam mugisenu
II
II
II
(gauja-2ka)
(gaula)
racam - 8
II
sulabhavadhu
||
73
abhogam
llpmrmp
su
ra
ri
ssrs
la
np
-
se
kha
ra
su
ma
su
bha
mo
da
p pa
n
ra
g
ta
g n
M
ca
pmrg
du
ru
su
-
mi:
kha da
mu
ku
dbha ja
s
rrsns
va
ra
ss nl
ta
gi
ri
I
npriim pr
sa!
II
ve
ka
va
ta
va
(pa
II
da)
sulabhavadhii
"
II
racham 13 mugisenu
II
(gau)a- 6ka)
74
(gaula)
pallavam
Caupadadolam
I
9
si
va
i
llnnsrgrgml ps
sa
mgmrr
ra
ra
si
ja sa
bha va
sa
kha su
s
pu
p
gi
ga
r
rmpsnpnsi
vi
pi"
ve
n
ta
m
ri
sll
II
ra
ci
ta
na
va ja
ya!
ka
dha va!
padam
lllppnpnnsslprrsrsn
da ra
r r
si
rail
ma
da n
na
la
dha
r
ri
ta
ca
ma
n
ra!
m m
sa ra
mgml
du dhf
ta
I
Mrr
pa
du
-
pa
ri
ya
pa
r
I4
da
va
ssnpmpmpl
ni
mp
dha
n
ra
p
ni
nn
si
ru pa
mabhr
ga
(ri)
ka
r
ca
ra!
rgmrs
va ru na
-
np ml
m
bi
ta
I
n
-
p
sa
mr
-
sll
ra!
II
la
va
ra
bhu
bha
II
sarasijasambhava
(padam
2)
II
s rai
ma
ru da
ra(dhu
ni)
ta
ma
ni
vya ja
r
na
ku
r
-
rrmmpmgml
ka ra dhf
ta
-
r
I5
mr
n|
ra'.l
sa
ta!
ka
ran
da dha ne
s\va
ssnpmpmpl rpmppnnsl
sa
ra
sa
ka (tha)-
sa
ta!
ca
tu
(ra
su)
ra
ha
ra!
rgmir
pa
ri
snpml
(vi)
nnpmr
ve
-
sll
!
nata
ha
ra
na
pa
da
da
ni
ka ra 16
II
II
sarasijasambhava
75
(padain 3)
II
p
ri
n
.
p
ra
I
.
r
-
s.
pa
r
sa
bha su
p
na
ra
bha
kti
dhu ra
dha
r
ra!
m m
na
-
m
ta
ml
ni
I
m
bha
r
-
n
ra!
ca
ra
mu
sa
m
p
ci
sa
na pa
n
ssnp-mpmpi
ni
m
ta
p
di
n
(ta)
s
ra!
m
g
ra
pa maru
ci
ca
ya
ni
(ga) n
m
lo
r
-
m
ya!
r.
n
ta
m
n
II
vi
pa
ma!ja
ve
ka
ma
II
di
ra!
II
sarasijasambhava
17
II
caupadadofam
mugiseni
(.gaula
76
10
r
r
'
udgraham
II
srmp.pmgl
'
r
18
M
ma
n
ji
vi
ra
ta
bo
.dha
ru
na
ksa
ma
p da
pa
na
p
ra
p
sa
r
si
s
-
..
n
.
p
ra
s
-
p
ta!
m
-
rsl
ksi nail
vi
16
ca
na
Jyavala
II
r
.
r
-
r
-
p
ra
s
p
ci
m
va
s
g
sa
rsl
na
s
khya
p
si
ta
(mi) ta
m
n
pi
r
ja
s
gha na
s s
m
r
p
-
m
ta
p
-
p
ni
r
-
r
-
va
ki
sa
ha
r
te
nu
n
na n na
m
s
m
-
p
ta
m
ba
g
ra
m
bhr
P
-
pT
dha
ra
gu
gu
na
da
(II
khyata(mi)tanya
II
H khyata(mi)taiuja
II
77
Dhogam
ku
sa
la
ra
ma
mi
ta
ku
pi
ta
kr
ti
sa
ya
s
-
va
sa
ya
ti
ve
n^
ka
ta
va
lla
bha! pa
II
la
ya
II
khyata(mi)tanija
ekatali inugisenu
II
II
10
*
f
(gaula)
The
first
Hence
shown
in brackets.
78
eata20
dhruva
79
Dpml
kan da
(la)!
I
ml
I
p
n
m
ti
g
ji
mr
gha na!
(va) na!
gha na
I
ka
(da)
pa
g
di
m
ta
g! ms mg
na
I
mgrs
bu
ja
na
ja
(na)
ya
na
80
11
avrta(v%adavani
dhruva26 mugisenu
Si
li
II
I!
(saya)nata
"
after
being chiseled.
and
aya)
is
shown
81
*
(pftdi)
matfaya
m
vi
2
II
pmgl rgl
ve
dhi ta
I
d
ka
r
ti
s
ta,
(su) ta
II
srsrldnlssnpil
sa
-
dhuka
tha
sa
s
ta
yu
s
ta
II
g
-
(d
n ya
n
(ta)
n)
ta
II
bo
d ga
(n
dhani
s
pu
la
ki
II
n
-
npi pmrs
na p
ta
II
dhi ta
ya
ka
ra
kr
ta
II
r
-
m
nu
m
so
d
-
II)
(so
dhana!
dhi ta27 !
II)
II
m m
ka
r
(d
-
n
-
d
-
d
-
m)
- 2S
II
na
da na
II
g
-
g
sa
m
sa
p
-
II
va
na
vai
(va)
(ra) ka!
II
pmmpl
di
mmgr
de
s
-
II
na
ka ra
sa
ma!
r
si
ka
II
m
-
r
-
(g
g)
II
mu
(d
ni
ma
p
ta
na
n
ki
sa
mo
p
da
ka!
II
p
n n
-
n
ta
r)
p
ka!
II
gha na
r
ka
p
vi
rmu
II
p
ni
(d
si
n)
ta
m
sa
m
la
p
ka!
II
vi
ve
II
82
II
83
g
a
rh
a
m
a
n
a
p
a
p
a
il
SI
ogam
I!
p
ra
m
mu
s
g
ni
m
va
d
-
II
va
s
ga
na
n
na!
sa
na!
1!
r
-
d
la
n
va
s
II
pa
r
ri
pa
pa
s
na
II
g
ra
(d
n
la
n
sa
n)
il
ca
na'.vi
sa
(ma) va
na!
II
n'
p
|a
m
-
r
la
!i
sthi ra
ve
ka
fsi)
(na)
il
il
II
II
atata|a
mathyam mugisenu
II
II
II
idgraham
11
n
sa
r
s ta
n
ti
n
sa
n na
p
-
p
hi
m
ta!
II
ti
ya
II
n
ta
p
ta
1
p gu
g ka
m
na
r
g
(va
n
ci
ta!
II
(vya)-
la
ya) n
r s
II
m
kau
s
p
-
p
tu
m
ka
s
p ka n
ja
m
-
n
ci
p
ta!
II
ra
ya
n
r
-
II
s
-
a
la
m
na ka
!!
ja
ta
pu
ka
dr
ta!
Jyavaja
11
s
ri
mgmpmr
na
n
ta
II
pa
p
(ca
ra
m
s
-
(ha)
pa
p
sa
ka
n
ta
ru
na
II
n
ra
p
-
p
ra
m
na)!
II
na
na
II
m m
ra
in
ti
II
na
pa
s
gha ta
i-
na (dha) ra
na
r
11
p
ha
s
M M
ra
II
ra
ghana
dha nu
(s
ro
ha
s
na!
r
-
II
m
ni
r)
s la
n
ra)
p
na!
II
pa
ra
ru
pa
ra
ma
p
(ba
ha n
ra
II
m
ra
n
ta
s
-
n
ga
11
va
gu na
ga
na
na!
(!!
II
jatapulakaj
85
II
jatapulakajanafedrta
||
II
(majavagaula)
is
aga
to
be nearer to malavagaula.
86
(?)
- +
jhampa
(4)
udgraham
31
II
*
+
The r^ga name is not mentioned here. The beginning of the udgr^ha lyric in jhampa t^la
i&
indicated here,
which
is
perhaps continued
in slab
no. 5
87
Literary Forma
No.4
'udgraham
II
Jyavala
navadehalatikeva
(II
navadehalatikeva
II)
Prayogam
II
iya
iya
iya
iya
iya iya
iya
iya
ya
iya
ya
aiya
iya
iya
iya
iya
iya
iya
iya
aiya iya
iya iya
iya
iya
iya
iya
II
aiya iya
navadehalatikeva
IP
fohogam
il
bahubhih kimTritai
rarhasi sa(khlni) tra tu
mas it venkatapate
(il
3
II
navadehalatikeva
II)
jhampa mugisenu
II
II
(gaula)
is
not
this
louiiti, as the beginning of this S uladi lyric (Sapialamij ana?) is missing coukl be (grm Hence the raga name is shown within brackets. ja) raga.
88
(gaula)
[graham
4
II
saradahana(ha)tatatini sahacarasa(n)jvara!
viracita gatipada sainikavrtalankapura!
aval a
madabharamanthara
II)
rayogam
iyayya iyayya
rlri
tiya iya
iya
iya
iya iya
iya
tiyai yai
ya ayya
iya iya
iya
iya
madabharamanthara
I!
jhogam
madabharamanthara
raganam mugisenull
7
II
II
II
(gain a)
The lacuna
in the literary protion falling within the brackets in the text is filled
and supplied by Dr
89
(gaula)
udgraham
II
tlvuda
nipunamuralininadabhavana!
capalamanasasarayadhavana!
kapat abhis anakalus a locana
!
kupitagoplkus alavadana!
Jyavala
II
taralamanimayadandabhusana!
kara (yuga8 )ncalakalitakahkana!
carananupuracayajhanamjhana!
gururatotsukagopikolbana
sarasa(khe)lanajataharsana
bharan asambhrtabahulatanugana!
kupitagopi
II)
Prayogam
II
iya
iya
iya
iya
iya
iya iya
iya
.
aiya
iya
iya
iya
iya iya
iya
iya
iya iya iya
iya
iya iya iya
iya iya
iya iya
iya
iya iya
iya iya
iya
iya iya
II
iya
kupitagopi
II
abhogam
II
vihatadanava! vidhuritadvipa!
vihitaraks ana! vimalasatkrpa9
!
vihara
mama hrdi
venkatadhipa!
II
kupitagopi
tivuda
II
II
mugisenu
II
II
(gaula
triputa)
90
(gaula)
udgraham
II
ata
kramagativirahitakamsavidusana!
s amijanamanasasarnmadapos ana!
vimalagunavalivis rutabhusana!
Jyavala
II
vanamahisangatavallavabnlaka
tanu taradehavidahavidhayaka
ghanatarakllakavacitapayaka
kanadamrtarasagrasavibha(va)ka!
II
vanamahisaAgata
abhogam
II
jantuhrdantarajanitopasraya!
mamiha "(cira)venkatasaya!
II
vanamahisangata
atatalam mugisenu
II
(gauia
eka)
91
(gaula)
udgraham
II
alamalamalasai ravagativirasai(h)
kalihitadasai(h) kapatanivasai
.
ralikuralana
maks ivilasai(h)
Jyavala
II
sulabhavadhusutasuhrda(su)kara,
12
kalitapadani(sa)kalahavicara,
calakarikarnancalasamadhara
na lagatu, hrdi
mama nalinagara
II
sulabhavadhu
II
Prayogam
II
sulabhavadhu
suras ekharasumasulabhamodam
paramukutancadbhajadurusukhadam
varavenkatagirivasa! tava (pada)m
II
sulabhavadhu
I!
II
racam mugisenu
II
II
92
(gaula)
n
II
sarasyasambhavasakhasurapungava
viracitanavajaya! venkatagiridhava!'
II
daramadananaladharitacamara!
parisarayadudhrtapadapaduvara!
nirapamabhrnga (ri)kadharanisicara!
varunalambitavarabhusabhara!
II
!4
sarasijsambhava
marudara(dhuni)tamanivyajanahkura!
karadhrtasata(ka) karandadhaneswara!
sarasaka(tha)s ata! catu(rasu)rahara!
I(S
15
parinata(vi)haranapadavedanikara
sarasijsambhava
n 3)
II
parisarabhasurabhaktidhurandhara!
carananatamunisambhasanapara!
nirapamarucicayanicitadi(ga)n(ta)ra!
sarasijsambhava
17
II
caupadado}am
mugisenu
II
II
m\ a-gkatjl am)
93
(gaula)
(eka)tali
10
udgraharn
11
aviratabodha'
runamaksamapana
ravisasilocanarajita! daksina!
Jyavala
II
khyata(mi)tanijaghanarucivasanam
satavanipiki sahate
nunam
khyata(mi)tanija
II)
Prayogam
II
khyata(mi)tanija
II
abhogam
II
^kusalaramamitakupitakrtisaya
vasayati venkatavallabha! palaya
!
khyata(mi)tanija
ekatali
II
mugisenu
II
II
10
(gaul a
ekatal
94
nata20
am
II
dfaruva
avrtaviyadavanidisagana!
de vavimatatimirasu(daran a
2
!
'
;am
II
iyaiya
iya iya
iya
iya
iya
iya
iyaiya
iya iya
22
II
iyaiya
avrita(vi)yadavani
11
vala
II
induvadana! h r dayamodana!
mandagamanamaralavi(ha)sana!
kundaradana! kuvalayakanana
kanda(l a) ghanakantiji(da)paghana!
!
nanditajana(na)yanambuja(va)na!
M subhankana!
sandars anasakutukasamavana!
>gam
II
iya
iya
iya iya iya
iya
aa
a
aa
a
aa
a
aa
aa
aa
iya
aa
iya
22
II
ayiya
avritaviyadavani
II
95
5am
II
asavamadaharalilayita
s ai'savagaticapalas ikhan cita!
kausalya(ghanahrtsammatal)
II
ila
24
II
ni(si)bhrtaba(la)
nidhanakrtavrata!
II
gam
II
kusikatanayakusalavacohrta!
das arathanrpa25 dr dharagamahita
visa
II
II
avritaviyadavani
II
II
dhruva26 mugisenu
II
II
name
in the slab
could
to
Ije
read as
'
's
aya' appear to
after
being
chiseled
Musicians believed
this to
be nearer
96
(pad!)
graham
II
mathya'- 2
vedhita(s;uta)vikatita.
.,
sadhukathasatayuta*
bodhaniya(ta)pulakita
gadhitanayakarakrta
(s
II)
avala
II
kanadana
vanavais asa(va)raka!
28
,
munimanasamodaka!
ghanat ankitakarmuka
vinives itavis alaka!
j anitoparaj
!
odhika 29
tanupatitatataka!
II
II
prayogam
II
iya
iya iya
iya iya
iya
iya iya
ee
ee
ee
a
a a
aa
aa aa aa
aa
aa
a aa
aa aa
'
'
aa aa aa aa
aa
aa
aa
.
aa
a
aa
aa
'&&
aa
'
'
a'
II
s odhana tanus
odhita
II
97
abhogam
II
varamuniganavasana!
paripalana! pavana
carana! vilasasa(ma)vana!
sthiravenkata (sl)la(na)!
II
II
II
atatala
mathyam mugisenu
II
II
is
gga to be nearer to
'p jj
i'
98
(malavagaula)
ugraham
II
rupakam
satitayatisannahita!
(vya)tataguna(valaya)ncita!
kautukakarakay ancita
j atapulakajanakadr ta !
Jyavaja
II
pariram(ha)napakaruna
(carananatasantarana)
!
narapatighatana(dha)rana
haraghanadhanurarohan a
paranirupama(balahara)n a
varagunaganataragana!
jatapulakajanakadrta
30
Prayogam
II
iya a
iya
iya iya
ti
iya
iya iya
yya
iya iya
yya
aya
iya iya
iya iya
aiya iya
iya iya
iya iya
iya iya
iya
iya
iya
jatapulakajanakadrta
abhogam
II
janakasutajanitotsava!
vinayaguna(nvi)tabhargava!
II
II
jatapulakajanakadrta
II
rupakam mugisenu
II
II
is
99
*
(?)
udgraham
31
II
Ihampa - (4)
*
+
The r^ga name is not mentioned here. The beginning of the lyric in
udgrjha
jhampd t a ja
is
indicated here,
which
is
:ioo
(gaiila)bhogam
II
jhampa-4
4-1
"barhinimivaghano"
is
(gaula)..- ata
ibhogam
II
3-3
Sri
(gaula)
:aran am
II
caupadadolam - 9
2-4
Sri
N. Ch. Krishnamacharya opined that 'parin atavaran a' could be a more meaningf
(gauIa)-ekatali-lO
udgraham
II
1-1
Sri
'runarnaks amapana'
Jyava|a
II
2-2
Sri
'
for 'satavanipiki'
abhogam
II
4-1
Sri
that 'kupitakrtibhaya
would be
a better readi
than 'kupitakrtisaya'.
'
nata
.
dhruva
1
'rajanl' for 'rajanika'
udgraham
adiJyavala
II
1-3
Sri
II
3-3
abhogam abhogam
II
5-3
and supplied the lacuna in the lyric with the reading "ghanahrtsamir
II
6-1
'nis
ibhrtabala'
is
101
(pad!)
Jyavala
II
mathya-2
2-2
Prof.
*
ibhogam
II
4-4
The reading
's
ailasu'-
R Ch. Krishnamachary
(malavagaula)
1
riipakara-3
adgraham
II
1-1
'yati
could be changed
to 'mati
1-2
'(a)tataguna(jata)ncita'
is
by
Sri
N.Ch. Krishnamachafyi
'(
lacuna
(as
shown within
the brackets)
V y5)tatagun
(valaya)ncita'.
yavala
II
2-2
letters
shown
2-5
Sri
that 'balaharana
'baharpana'
bhogam
II
4-2
Sri
102
SYSTEM OF TRANSLITERATION
FOLLOWED IN THE ENGLISH (TEXT) FORMAT AND THE MUSICAL FORMAT OF THE TIRUMALA MUSIC INSCRIPTION
Vowels :
a 3T e
1
ai
06
3tt (long)
au
3JT
m
anusvSra
h
visarga
Consonants :
kh
gh
ch
jh
th
dh
th
dh
Music Notation :
s
r
m
G
q
S
M
TTI
Due
care
is
taken to present the English (text) Format of The Tirumala Music Inscription according to the
are reprokey mentioned above. Diacritical marks are not used for contemporary proper names. Excerpts quoted duced without. change. However the Editorial Board seeks the indulgence of the reader for any inadvertant slip
due
In
crtf, rT*,
3rf,
DS,
svara, swara)
is
Anusvara (m)
103
12
15 16
18
20
22
Anniyuru inscription of
Sri
Krishna Devaraya
1520
(Courtesy
:
AD
AS
I,
Director Epigraphy,
Mysore)
lnscri
l
19
Sri
Krishna D<
(Co
Director Ep,
Note
letter la
formation
in line
4 and ka formation
in lines
6 &
9.
AS/,1
*-
"
.-..
...
-~:*
s-'jV.
(,-
-,,
13
#
*:
15
Srisailam inscription of Avasaram Chandrasekharayya 1529 Note the shape of the letter la in lines 13 & 15.
[Courtesy
:
AD
Dr. P.V.
Parabrahma
Sastry,
Deputy
Director,
Epigraphy (Retd.)]
Tirumala Music Inscription ascribable to the end of the 15th century based on the following letter forms
AD
4
5
4
5
12
12
16
16
19
21
19
21
of letters
n
la
in line 5;
in line
19
2 &21.
24
24
and ka
in lines
28
s?
28
32
Srisailam inscription of
32
Kapileswara
1460
AD
37
(Courtesy : Director
Epigraphy,
AS
I,
Mysore)
Text of
The Tirumala Music Inscription (Slab No. 4) Ramachandra Murthy, Published in "Udayam"
Daily.
If
Oficer's reading of
Inscription
i I
,JS.
Jjfcfctf,.
j, t.
" C
v eo
--'
'
**** *****
t
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rf^rs
^ jits
,,',
,v..' '!
'
'
f>
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and
his group.
Front
Sn Venkalrarni
Murtny.
,'
Prof.
V Ananaa
Sri A.
Sub'hash Good,
P NarasimKi
Knshnamutthy
AV
Prof.
Sarv:,;::,r.;,:
Sr.r..
Sn N S
Sri
;-::;)".
N.Ch
Sri S.
Lakshmanaiah
honouring
Prof. R.
Sathyanarayana
Sn
S. Lakshniar!:v;i'
honouring
Prof. V. An.w.l;i
f.'.ii
Sri S.
Lakshmanaiah
honouring
Prof. R. Srihari
Sri S.
Lakshmanaiah
honouring
Sri
N.Ch. Krishnamacharya
Sri S.
Lakshmanaiaf
honouring
Sri
Komaraiah
EPILOGUE
The Tirumala Music
Inscription
(Appendices
Ibio
1949
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The
Journal of Oriental Research Madras, Volume 7-4 1933 October/December 5*
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36
6
MUSICAL EVENING SESSION *
(27-10-1998)
ACHARYA
Distinguished gentlemen
riend Dr Medasani
But
SRI. R.
SATHYANARAYANA GARU
little
who
graced
this
stage a
Mohan
he
felt
is
me
to
which he
is
going
to
perform
hails
earliest of
whom was
disciple. Sri
parampara
to give
of Sri
nusician.
music,
He has
is
and
broadly based
nusical compositioins --
under a fellowship
conducted quite a
nieces
bit
of research in
at
a sense he
is
competent
perform
this
evening certain
a comparative study.
in part,
And since
Sri
Nanda Kumar
it
is
going to perform
a Suladi which
is
found
in
is
being
is
relevant for
me
made
by Dr Medasani
in
dohan.
made
the
field of
and
research,
would
like to
said.
Very
briefly
Dr
Mohan
was taken
as an evidence for
he non-composing of Su|adi by
5ri
Annamayya
by
Sri
Rallapalli
Anantha Krishna Sarma garu and Archakam Srinivasacharyulu. Secondly he pointed out
also having the
many
rther
composers
same
etc.
And
thirdly
he pointed out
that this
jajrticular inscription
world inscription of
is
course of
and
the
first inscription
first,
particular
if
at all
later.
connection
would
very
briefly
submit because,
we
music,
firstly
first
ihould
be
proved
compostion which
garu.
is
is
now found
belongs to one
those
earlier
Annamayya
So
las really
far
concerned,
that
friend,
who
done a
and which
far as the
Cudimiyamalai inscription
concerned.
In his brief
which mentions
SEE ANNEXURE
(<><&>
saotf&o) 437
inscription has
been
in
first
published
in
2, edited
by Bhandarkai
on
this
was
edited again
in
and published
in
whole by
person,
the site
supply
me
havi
in
detail
is
same
not a
"Swara
Sahityi
Silalekha".
portion,
it
It
Swaragamas and
it
the Mati
respect of
any
present
in
and under
the tutelage of
the tutelage of
Rudracarya composed
he wrote
is
called
compose
engraved
in this
inscrption,
which
is
18
it
feet
Kudimiyamalai and
this
So
the
first
says
that
in
it
is
not a
Swara Sahitya
Silalekha.
And
been published by
me
edited
So among
it
is in
my
my humble
the
first
"Prathamopalabdha
is
Swara Sahitya
"Prathamopalabdha".
If
there
is
going
to
be discovered, say which originally belongs to the 10th century or the 12th century very clearly
be the
it
will
And
finally
would
like to
from
afar,
as particpants
in
the seminar,
or
nobody since
not.
been
really
We
we
literary style of
Annamacarya
We
task, the task of editing the music, task of editing the text.
And
Annamacarya's name
mentioned only
incidentally
now and
if
there
is
possibility.
In
my
insisted that
one
is
the
of the inscription.
little
And secondly
is
of
more research
is
-- than
into
exercise
in
the
only available
in part,
the Sahitya
available only
in part,
whatever
is
available
literary
it
stylistic
grounds
in
among
moreover
to
determine whether
is
is
totally
is
it
is
a composition of
Sri
Annamacarya
if
so we are
many
Unique both
in
and unique
it,
It
is
that
going
to
be
presented to you
evening.
In
additon to
would
may be
It
other
composers
bearing
name
was
of
Vehkata
is
was found
in
at a place which
the
same
precinct and
It
therefore
we
naturally
assumed wrongly
it
or rightly
only be determind
in
is
yet, but is
a working hypothesis.
this
is
going to be disproved
38
:er,
no body
it
will
be happier than
credit
this particular
it
group
of scholars
here to acknowledge
their error
and
ctify
where
is
really due.
And
addition to that
would
like to
humbly submit
that the
far
was
is
We
must take
into
available
and
this
be made
inscription
have so
first
fifth
far
sen discovered.
presumption
is
is
phase,
ere must have been the third, and since the fourth
id posibly a
little
inconclusive,
will
it
to
be assumed
phase
more. Only
when these
be
in
this inscription
was
instance at
the meanwhile considering the various factors given to us under the consideration
is
is
Sri
Annamacarya's, and
in inviting
so
brilliant
an
intellect
in
3 Dr.
to join the
band and
it
us and
get a copy
his
shall review
have already
sry brief,
i
think,
now say
that Sri
Nanda Kumar
is
going to present
music
particular section of a
ujidi
which
is
do not
music portion
is
Ragam,. and
it
is in
dhruva
ta|a. In
going
this
am
must very
we
are going
to
use during
resentation.
Every musical song has a begining and an end and a content. The beginning
ind
is
because
is
parisamapti, paripuniata-yena
lyasyate,
if
where
is
udgraha
is
the beginning.
And
the song
body
repeat Udgraha
And
>etween the
wrongly reported
6th
rolume as contained
jsed
in earlier
Now
Melapaka
it
the type of
he compostions which are being presented today and from about, the
Bridge
3th,
it
4th centuries
is
in
portion,
called, that
was
introducd as antara, an
the
aptional piece of
abhoga
portion
these songs.
So
Now
there were
in
two streams
of Su]adis
North
in
India
which
have
already presented
my
to again.
One
presented
it
presented
in
found only
inscription
and incidentally
is
not as
in
were
that Sri
because one
Suljkli attributed to
thing
about
this Sujadi is
is
So
in this
it
bahuraga
not as
if
He has
in
that composition.
So
is
Annamacarya was
totally
a stranger
to this type of
39
So we are going
if it
to
is
is
being presen
may be
It
called a Suladi at
is
of
which
assembly.
enough
to
90
on
its
talanam ekatra
gumphanam Sudam'. So
1
this
offered
in
the
prove because
'bahutalanam ekatra
is
many
tajas.
them strung
for
which
is
ekaraga
assume
want of
is
a Suiadi. And of this Su|adi there were nine- the nine were named Dhru
in the
stream adopted
in
Karnataka and
in
Andhra Pradesh
names
of the talas
Triputa, Ata
taias
in
the inscription
and
that practised in
It
Karnataka areis
first
is
totally different in
the song
in this inscription.
uses what
called Udgral
it
and
may
contaii
ai
Prayoga, a kind of a free alapana containing words of bharjdlra bhasa and such as lyya, thiyya, Oyi
uniquely found only
then
it
and these
in this
inscription, not
even
in
found
in
So
because
he
Sri
is
if
Sri
Nanda Kumar
is first
ta|a Varaji
Riga
offers
an excellent comparison basis for the dhruva part composed by the Haridasa composers on one ham
this
dhruva, he
in
is
So
first
of a
refer
Nanda Kumar
sing dhruva
Varali
in
it
to the
It
who
is
dexterous
Racana
creation,
Posa
Sustenance, Laya
Samhara
starts with a
is
Jyavala
is
a term which
(it
is
the
first
this inscription,
whether by Annamacarya or by
x,
y or
it
It
Prayogam which
is
is in
it
contains abhoga.
And
is
some reason or
is noi
abhoga, he introduces Jyavaja again. Here Nanda Kumar sings dhruva part of the composition
in th
Varaji raga.
[Recital of the
songs]
40
*SAftKIRTANA LAK$ANAMU
Salva Krishnamurthy,
Certificate in
MA,
M.U'tt,,
Ph.D.
German
in the 1
5th century,
is
Mahatmya
in
Sanskrit,
Ramayapa
in
Dvipada metre
in
zen other Satakas. Out of these only Vefikatacala Mahatmya and Venkateswara Sataka are
the author of
is
Besides he
32,000 Sanklrtanas, mostly in Telugu and some in Sanskrit out of which some 12,000 are extant. known to have composed a Sariklrtana Laksanam in Sanskrit (Telugu S.L. verse 15). His son Peda umalacarya is known to have flourished roughly between 1473-1553 A.D. He was a great scholar and held the
also
33
Vedamargaprat/sthapanacarya,
and
ranagata Vajrapafijara.
lagavadgita),
He
is
known
have
written Dvipada
Harivamsamu
Telugu (not
extant),
Andhra-Vedanta
Udaharana kavyas,
Niti-Sisa
Satakamu, Srngara
Sudarsana Ragada,
igara
ler,
Dapdakamu and Vairagya Vacana-malika-gitalu. He was a great devotee of Lord VeAkateswara and like his composed Sankirtanas at the rate of one per day. Also he is known to have written a commentary. He got the Sankirtanas, his father's and his own, inscribed on copper plates, established the Saiikirtana Bhandara in the ikateswara temple at Tirumala sometime in 1540 A.D. with a singer, and two vaisipavite servants appointed. Cina
jmalacarya, the eldest of the five sons of
irished
also
-a
great scholar.
1553
other
work
is
and Adhyatma
Caritrarnu in Dvipada
a younger contemporary to Annamacarya. As Annamacarya, Peda Tirumalacarya and Cina Tirumalacarya have
iposed Saftkirtanams on Lord Veiikateswara and as these three have been connected with the laying
regulations for Saftkirtana composition albeit the non-availability of
down
of
Annamayya's Sanskrit
it
original
and Peda
is
made between
is
should be
deemed
endeavours
of the
known
The
in
ra notation on stone slabs of seven feet length and four feet width. This establishes the presence of writing with
ra notation
:
in
Carnatic
sixteenth century.
credit of discovering
and
bringing
them
to
goes
to Sri Udayagiri
made
1949 and
in
happily
we
1 1
larticipating in this
workshop. Again
was
given to
Sri
9 Smgara Saiikfrtanas
the Tirumala Tirupati
"0
Adhyatma Sankirtanas
It
1962 by
asthanams.
is
of Saiikirtanams.
This writer has had the privilege of editing the text of Saftkirtana
jer plates
Laksanamu
preserved
in
in
the
museum
English.
at Tirupati
English with a
mentary both
inai-119.
Telugu
and
The copper
?
plates
have the
title
legend as
tal/apakaannamacaryulskumaruiidu
It
Moo<Mii (annxure)
3,
41
is
clear Sarikirtana
Laksarjamu
"
and
18 of
S.L.
reads as
is synonymous with Padacchandamu. Again the prose linkage -between the verses " Verse 19 mahaniyambagu satikirtananamaka padasampradayam bettidanina
hi
"padamargacchando mudhatmukavita". This work Sankirtana Laksanamu revives the tradition of Pada-niryukta Bharata's Natya Sastra. Indeed the first 1 2 verses of S.L, is a eulogy of padams of Annamacarya. It would appe
Annamacarya had written S.L. after he had composed many sanklrtanams and came The word pitamaha means creator and not merely the grand-old man.
This
to
Kannada or
work Sankfrtana Laksaoamucx Padacchandamu is a rare one the like of which does not exist either in Tamil. This work is a original laksana granthaty Annamacarya. Before we attempt correlating the laksy;
down by
the author,
some
for.
in
The word padam indicates a musical composition. The compound Dhruvapadam seems to have become Dhrup; North-Indian or Hindustani music. The kirtanakar-tradition of Maharashtra uses the word pad for a music
composition.
so.
The songs
in
of dasa-sahitya of
Kannada are
referred to as
padagaluwA Purandaradasas
is
The kirtans
a dance tradition
in
Orissa pertainir
to padavali-kirtana. In
Telugu also compositions of Peddidasu and certain others are called padalu. Thus
is
padam
the
name
Ganam
is
the
name
swara
its
treated as create
treated as pauruseya.
Gandharvam, accordir
32-25). Any composition of meaningful words evocative of swara ar tala is padam. The meaningful words generally speak of some story material (vastu). This padam can be of two typ< nibaddham or framed in or anibaddham (not framed in, free). Whatever is framed-in with dhatu or swara and ta
tala
padatmakam
is
'nibaddha'.
Whatever
of Natya Sastra
is not so framed-in is 'a-nibaddha'. This latter implies lack of prosody also. The 'tajaadhya^ as well as Sangita Ratnakaram speak of niryuktam, padaniryuktam and aniryuktam. The Ta|a Adhya}
and
that
it
is
Sapta Gita Prakrti, says that Padaniryuktam is in the cause of worshipping got devoid of subsidiaries of bahirgltam (bahirgitafigasakhavihinam). Sangita Ratnakara (5-58, 59) also deflni
in
'Padaniryuktam' as a song
the subsidiaries 'asravana'
praise of a god.
1625
and
A.D.
in his
etc.,
kinds: 'a-padam'
'a-padam'
is
called 'bahirgltam'
baddhas only.
Now
is
still
this
1.
prabandha
2.
name
'rupaka'
<
'rupakalapti'
and
Yagalapti'.
is
ragalapti
has no
tala constrair
used
in
and 'varnaka-prabandha'.
si.)
Adhyiya 4 pada-34
in
to
be a past-mast
'Sanjna trayam nlbaddhasya prabandho va& rupakam'says Sangita Ratnakara (4-6) 'Prabandho rupakam vastu nibaddhasyabhidha frayam'says Sangita Sama\ Sara of Parsvadeva (Adhi 4-1). is clear that Padam, Prabandha and Saflkirtanam^Q synonymous with one anothf Saiiklrlana Laksariamu uses these terms in one and the same sense.
It
It
'prabandha-gina'.
is
a specific
genre
4.
It
antara
is
These n/bandha namaka padams are composed with the dhatus called 1. udgraham, 2, melapakam, 3. dhruva and 5. abhCgam. The limbs of a prabandha are 1. swara 2. biruda 3. pada 4. tenaka 5. pata and 6. ta! said padam and tenaka are the eyes for the Prabandha Purusa; pita and birudam are the hands; (pata meai
like
the
Elapadam or Ela-prabandham is a very ancient genre. Sariglta Cudamani has more than hundred sISkas on this; Saftglia Sudhakaram of Haripala Mahipala
Samayasara of Parsvadeva also gives
it
Jagadekamalla
1
(1
134-1 143
it
A.[
175
A.D.) gives
briefly; Saiigi
Sangita Ratnakaram of Sarangadeva gives some 356 kinds of El prabandha. Broadly they are categorised under three heads: 1. Sudi-prabandhas 2. Ap-prabandhas and 3. Vipraklri)
briefly.
42
in
one
of the
seven talas
Dhruva
2.
Mathya
Rupaka
4.
Jhampa
5. Triputa 6. Atta
varieties.
and
7. Eka.
in Suladis.
Viprakirnas are
different
Saiigita
24 AHprabandhas and 36
is
Viprakirrtaprabandhas.
Now
although Elaprabandha
one
is
of the talas
from Manthya,
of
Dvitiya,
Kahka|a and
This information
fixing the
innumerable compositions
'Ela'
Annamacarya where
or
'atta'.
The word
qualities.
means
'the Exalted'
Nayaka
(protagonist)
and
his
is
and
4. Desaila.
This Desaila
and
Dravidaila.
full
Karnataila
of
is
in
is
and
no prasa but
Andhraila
Lataila
without any
Verse 18 of the Sankirtana Laksaoamu (S.L) establishes the hoariness of 'Padam' from the time
Natya Sastra, Sangita Cudamani
of
of Bharata's
Madhava
Bhatta, Saiigita
Sudhakara
of Haripala
Mahipala and Sangita- Ratnakara and he goes on to emphasize the importance of knowledge of the Padam-prosody
or the
know-how
Bharata,
in
of
in
'GItas'
in
have
limbs.
S.L.
in
is
is
avayavi
is
he says
in
it
verse 25. and compares the dhatus of prabandha with those of Ayurveda namely Vata,
Vrttapadam can be
Aliprabandhas.
it
in
Verse 28 highlights the Desaila in Kannada, its subsidiaries of prosody etc. and Gauda languages. This Desaila can be in Vrttas, in nibandha form and curnika form. any one of the 26 forms of chandas. Sangita Ratnakara mentions Vrttaprabandham under
If
vrtta is
is
Vrtta
Prabandham.
Some
sung with a taja, adding musical notes or swaras at the end of each line or the verse, say even the swaras are not compulsory. (S.R. 4-247). Arya Prabandham from Sanskrit
'jati'
verses.
In this latter
Kandaprabandham the
half
it
half is to
be sung as 'udgraha'.
The second
'nyasa'.
half is to
be Dhruva.
has to be
4-204
to
208).
visama
15 matras
in
even numbered
prabandha
in
These
Many
instances of
matra chandas:
'Jaladhikanyapanga-laliteksanamulalS
kalisivelugucununna-kajjalambitadu
jalajasanuni
vadanajaladhi-madhyamunandu
some 20 matras or
syllables for
each
line.
An example
cirunawulunawaga
nikavi andinavi
(20-178)
have 16 matras or
syllables
The
first
and
third lines
fourth have
14 matras
each.
For visama
vrtta-bandha:
43
'tagavulu
(27-69)
22 and 20
1
syllables respectively.
In
requirement
(verse 32)
is
that
it
to 'taja
number
of ganas/matras/letters.
Verse
34
of S.L.
enumerates
yatis,
ta|a
Yatis
and prasas are the simple prosodial requirements for padam composition. Now. there are some six types of specific and varnam. Among them compositions for music in the classical system. Prabandham, gitam, tanam, kirtana, padam a pada is counted in terms of taja avrttas. In Prabandha, Gita and Tana, yati and prasam are only embellishments.
There
of yati
is
no harm even
if
there
is
an occasional
default.
But
in the
case
of kirtana,
the observance
The
this: following slokas from Adharvana Karikavaji are the authority for
'prabandha
talavrttatmakam
padam gayakah
paricaksatS
II
prabandhadi
trike
prasavisramau carutavahau
na tayoh
kutracit
II
II
yati
II
(Aj'anta
103-106)
and prasam are insisted upon for
kirtana,
yati
is
padam and
and prasam
i/arnam.
Not only
that,
in Sanskrit.
tatra'
(12-374)
the four lines respectively.
is is
hi-hi
and sa-sa
in
ne
this.
Now
Before
we proceed
lines with
further
it
is
necessary to
know
little
rolution of Ela.
works
to Sahgita
line in Ela.
Ratnakara
like Saiigita
Sudhakaram and
Saiigita
Samayasaram
Three
Thereafter pallavi.
prasam is 'udgraha dhatu'. There must be gamaka prayoga no regulation of ganas or matras. The fourth line should
we
:
with the name of the 'nayaka' which is embellished be the carana with the vaggeyakara mudra with 'abhoga' dhatu. After singing 36ga', 'dhruva has to be sung and 'nyasa or conclusion made. This is the prescribed method of (vide singing, .ngita Sudhakara Gita Prakaranam, Sangita Samayasaram- Adhyl 4-sl. 130 to 134). These works consider Ela caturdhatuka, enjoin gamaka prayoga at the end of each of the first three lines and do not
th
anuprasam.
And then
there
will
prescribe
any
prosodial
antification of
d the
ats
ganas or matras. By the time of Sangita Ratnakara Ela Prabandham came to be treated as 'tridhatuka' 12 ganas of first two lines got redistributed as the kharida traya with 5+5+2 terms. And Sangita Ratnakaram the last three padams of each of the first two lines as Pallavam. In this school, besides the 1 2 terms
or
padams
44
there
will
be 3 terms
in
'dhruva'
and
to
Among
first
two
lines,
the
first
be sung
druta-mana.
Similarly the
first
two
one
of the
commentators
of
at the first
madhya-mana and the third in viiambita-mana. And while Kallinatha, Sangita Ratnakara instructs that the 1 6 padas or terms have to be sung a second time word or term of the fourth tine. Singabhupala another commentator, says after singing
are to be sung
line with
or varnas.
Thus
came
into being.
another variety.
ganas
Kamaganas; ganas
each
8+8 and so on up to a maximum of 29 letters. Coming to prosody for padam thus: three units of smara laghus of 5
the Desaila
Telugu, Vella(uri
yati
two ganas and prasam being observed both at the end as well as at the beginning. Liiigana Mantri flourished sometime between 1550 and 1600 A.D. The change over from tryaksara ganas to matras can be clearly seen here. Smaraganas/Kamaganas pertain to the third chandas with three Aksaras. One more laghu is prefixed
to the laghvadi garias. =
Kamaganas,
Thus 5x3=15+3
18 matra.
(1660-1680
Laksana
Dipika, enjoins
in his
16 matra per
line
Pottapi
Venkataramana Kavi
pallavi
Laksana Siromani
Pa-garia has
came
only
to prescribe
five
matras.
of
matrasamaka pa-ganas with three lines being khandika-traya, The three caranas indicate the three dhatus with pallavi and
in
and
upa-pallavi.
anu-pallavi.
No
number
matra ganas
a line
is
indicated.
Desaila
in
Telugu
came
to adopt a certain
number
and
anupallayi.
As
in
is
no
many except a
few.
Ramakriyaraga
text
given
Rupaka
37 mentioned Marga and Desi ta|as one would presume the currency of both at that time. Perhaps were more popular. Today the tajas Dhruva, Mathya, Rupaka, Jampe, Triputa, Ata and Eka are in vogue. These were in vogue at the time of Annamacarya as the previous examples show.
S.L
verse
the Desi tajas
S.L.
verse
2.
88 enumerates
3.
like virja
are 1.
Udgraham
Mejapakam
The
Dhruva
flute,
Antara and
5,
Abhogam.
There
is
wind instruments
of transition.
and
The period
separate 'dhatu-vicaram' for stringed and of S.L. seems to have been a period
to be called 'gitam' by the time Sangita
came
Suryodaya
A.D.).
is
of
Bandaru Laksmlnarayana who was the court musician and composer of Krsrjadevaraya (1509-1530
'Ranjaka swara
to
samuho
gitamityabhidhiyate
(S.Su.
5-2).
It
enough
remember here
it
that there
were two schools: one which considered a prabandha as 'caturdhatuka' and 'tridhatuka'. Many of Annamayya's compositions are 'tridhatukas'. The dhatu 'antara'
This 'antara' or
'antari'
is
in this
discussion.
The
'antara'.
some
is
indicated by 'antarastu
Elsewhere
it
is
More about
Verse
Pallavi
39 and 40
after
was sung
Earlier
we have
and
Ratnakara
of
each
line
this pallavi
had no regulation
of
all
of
ganas or varnas.
a cararia) and
Now, we
is
meaning
and
the terms
(in
No doubt
have
Pallavi
there
was
its
Annamacarya.
quantification
lines of the
Some
seem
kirtans attributed
Madhva
Pontiff,
pallavi.
is
But
to have
come by
Verse
is
40 says
caraoa.
type.
And
termed as Sikhapadam
one
line.
two
45
'ela
radamma-intirQ va
dela
radamma
na-nne!ina vadu
II
(pallavi)
II
paccani pulugula-bandimidanundu
paccavirrti pinna-baluni tandri
paccanicayala-bayani bangaru
II
(ela)
II
in
Sikhapadam was
effect (sravanotkarsa).
to
vogue as complement
it
Earlier
was
4-125
126),
in
Sikhapadam as a
in
point of 'Elabhasas
Pallavi.
if
Perhaps
this quantification ol
the quantification of
In all
probability this
Sikhapadam shoulc
should not be
in
become
the present
day
'anupailavi'.
There was a
restriction that
there
was
pallavi there
pallavi
and Sikhapadam
the
same padam.
Verses 42 to
45
Among
the nibandhe
nama padams,
is
a caturdhatuka
padam
will
pallavi. 'Antara'
dhati
dropped.
'niruvattugonnacota-netadlruna
sare natanipondule calimandulu naku
1
(18-242)
is
said to
A mahaprabandha
Pallavi.
pallavi.
in
Kallinatha.
tridhituka has
Any number
1
A dvidhatuka
padam avers
has udgraha
S.L.
In this
can be had from Annamacarya's Sarikirtanas the mudra occurs in Dhruvam. There is no 'Ekadhatuka
This reference
is
regional drama-halis.
is
to Tamil 'mogavari'.
in
Starting
similar to pallavi
prevalent
Tamil dramas.
But
this
As
there can be
In
many
kinds of take
is
them as 'Ekadhatukas'.
the context of
Lambha Prabandha
some which
with
have
many
endowed
even
partially.
Verses 46 to
55
They are astapadapadarn, padamalika, sarabhapadapadam and candamamapadamulu, ardhacandrikalu, and curnapadamu.
'aho surataviharoyam/
Now
with
the
Astapada
padam
with pallavi
is
is an example from Annamacarya. These can be composed in many ways ganas of 4,5 or 7 matras, says Pottapi Veftkata Ramapa Kavi. These can be seen in Telugu Yaksaganas ir context of Nayika pining for Nayaka. These are in Ekata|a with garias of 4 matra. While some are in madhuragati
fit
like
Sise
The laksana
1550
at
A.D.)
12 or 18
'enta
Pottapi
the end.
1
vegirakadavemoy
pantagadavintalona-vadarakumoyi'
is different
Mukhari
3-220)
is
an example
of
1
Padamalika with
Sri
lines.
is
Sarabhapadapadarr
Now
is
S.L,
'nityatmudaiyundi nityudai velugondu in goes on to deal with compositions which can be either in two
ku|aka.
it
from Astapadapadarn.
Raga (1-75)
a Sarabhapada
First,
padam
Daruvu can be
muktaka or
Vastu
is
a time
If
there
is
kriyabheda
it
ekakriyanvaya
druta
becomes
kujaka.
ta|a.
in
is
It
means
Drutalaya
46
nayati
for daruvu.
These daruvus
generally called
irimerigi
daruvus'.
kaikovu
nl
taja.
ta|a
some
called Ardhacandrika.
We
have Ardhacandrikapadam
in
hogam have
to
be sung
half only
Annamacarya's compositions. Udgraham, Dhruvam and be inserted. Tanams will be many in this. 'Atisobhiteyam
is
similar to
Garbha
Nrtya.
The word
worship.' konda goduguga-govulagacina an example with 16-14-16-14 matras for each line. Though S.L. speaks of irnika and Talagandhi, Annamacarya does not seem to have composed any. In verses 56 to 59 he says that the oken tongue can be used with appropriateness in the case of women involved in erotic situations. Verses 60 and
the Tamil
is
define Adhyatmas,
earlier
days. Sanglta
from Annamacarya.
but
Now Vakyam
is
in,
S.L.
sung without
with
great
meaning
'edaivamu
sripadanakhamunabuttina gaiigaI
am
inclined to .agree
of pining of the
vice versa.
Though not
in
.Candamama padams
in
3-
23)
is
'to
some 25
:
carapas. Verse
langajamu, meluk6lupulu
ompositions,
lalipatalu,
sobhanamulu, suvvisuvvala
in
Annamacarya's
some addressed
/innapalu vinavale-vintayintalu.
II
(pallayi)
II
II
".....
)annagapudomatera-paikettavelayya,
5uvvi patalu are the
(anupallavi)
II
(14-25).
while pestling
women
rice
used
for
talambralu&
he time of marnage^by the bride; and bride-groom. The subject matter can be .srngara or adhyatmarn. 'suvvi suvvi juvvalamma, navvucu devaki,nandanuganiye'-(pallavi) inBhupalam (12-353) is one such. Allonerellu are the songs sung
in
girl is
on
s 'jambu' tree
and
its fruit.-Allanerellu
fruit.
This word
used as
There
is'
is
only
one with
mentioned.
Desalarn
(12-179)
is
by gypsy
like,
women.
character 'kuravata'
niyiccayella
women). There
is
one 'sodepata'
(pallavi)'
in
The word
festival
'carcari' in Sanskrit.
time of Holi by
sticks. Jajara
has
come
mean the
one another on
festive
jajara
jajara
47
in
philosophical
in
self-instruction
Annamayya's Tummedapata addresses Srinivasa obviously because of forms, 'toilintivalegavu tummeda inka vollavugamammu no tummeda'
in diffe
Ragam,
kata|i
(4-9)
is
the padam.
refrain
'cil
word
'ciluka'
meaning
'parrot' also
ni vavalik;
is
metaphor
paramiimudaiyundu ciluka' in Ahiri is such a song. Tandana patalu have 'tandana or 'tandana tana/ tana tnudana'. There is at least one such song in Annamayya's composition.
'jivatumudaiyundu ciluka
the re
II
(pallavi)
II
brahmamokkate parabrahrnamokkate
in
II
(tanda)
II
Baup (7-151). Sobhanamu generally indicates an auspicious event. In particular is denotative of marriagi consummation of marriage. Sobhanam songs are sung on these occasions by married women whose husbands
it
alive,
'piluvakavaccitimi peratandlamu'
12),
in
in
Sue
Vasantam (26-4
in
'sobanabademu
'ipeku
memu sudatulamu'
dagu
nitanikipe
1
Bhupalam (15-55)
nitadu
dagu
in
(27-40), 'nindusobanamu neciu neyyapu dampatul Salanga Nata (22-295) and 'podduvoddukii
'
bhogincarayya iddarikigaligenedidivosobhanamu,
aratu lintulala'
in Sri
in
Padi (27-417).
sri
v
e'1
Ragam (14-84).
'Ksirabdhi
(ni
kanyakaku
in
Man:
(
duvali =
like
may you
live
Malahari
jalajavasinik
jo
Gunda
in
acyutananda jo
mukui
farm
lite
(Heccarikalu) are
1
composing in verse 70. In a longish composition Verrulara miku-vedukagaligitenu (copper plate 196) in ten cararias has deprera chayapahara of his Sankirtanams. Verse 71 condemns cauryam' (theft of music) by alluding to Bharata's opii Sangita Ratnakaram in its Prakirna Adhyayam 11-12 Vastu Kavi is the best; Varnaka Kavi mediocre and who composes words for somebody's musical cc the worst and is called Kuttikara.
there
is
1
elements
like
about coalescene S.L stresses the importance of 'tanaka riga bhavam, rasam, alanikaram, sayya etc., S.L. deprecates plagiarism in
in
v^
S-L. gives a
integrated into
Padam, prabandham,
..;-al
klrtan
and sanklrtanam
art
arc
possibibilities
as a science and
ancients h
Conceived
it
as an articulation
will
terms of a
spirit-/
nt
libretto
Without s
vong music
a musician
is
be delimited
to the
sense
pi,
nadanu,
.uhana of a yogi
who
listens to 'a-nahata'
mudra
in
laya yoga.
is in this
work
of TaJlapaka poets
assumes
significance.
we
blemish.
on 26-10-19
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,;.f
Divinity
(Sankirtana Laksanarnu)
KRI8KNAMURTHY (19901
2.
Telugu by
Dr.
48
8 -
^606* 8&&&<5*
S^^orr
>
ff^
&DP&33.
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26 esgado tfctfc&o
I,
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$,
3o5'|to"&>o&g, IPS
cm
3^8ocrdo.
us^rdS
S^oeS* 3S^8c|Sooo,
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.o*SS>
Sjod'aoulSi
3^r^
j*da a^eoirdo.
^Se^oir sSra-^croSo^^ou),
15,
16
dofioOS
sss^rrra
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So^do
1998 ssfaCb 27
sriiS
^c&o^o $#&
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f&oS)j.;jeS
Scy^do
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cr-dg cDS.a.
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a^Sj-Srrdj
Si^iydbn- |5>
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as
15, 16
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50
28, 1998
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64
CD
1
Mahendravarman I
Ramachandran
South Indian Art under the following
"We
heads
(1) (2)
:-
shall
Fine Arts
(a) Painting
(3)
(b)
Music
Literature (poetry,
drama
etc.)" (p.
220)
Kudimiyamalai.
and
It
in
"An inscription of the same characters as those found in the other records of Mahendravarman, any case dating from the 7th century was discovered at Kudimiyamalai in the Pudukotta state.
incised on a rock on the slopes of the
hill
was
at the right
end
of the sixth
basement
of a
mandapa
belonging to an adjoining rock-cut temple called Melaikkovil covered it up so that a few notes in each sub-section together with the words "samaptah svaragamah" are lost. This inscription is devoted
entirely to
music and
is
said to have
Dr.
been engraved
at the instance of
sufficiently strong
examine under
unnamed
king with
Mahendravarman whom he
an
accomplished musician."
233-234)
"Coming
classical
it
is
Maeffyamagnima, (2) Sad/agmma, (3) Sada/dya), (4) $ad/iarifa, (5) Pancama, (6) JKaifihz?nadfyama&n& (7) f(a/sfhi. The arrangement of the notes on the stone is described by Mr. Bhandarkar as follows :- "Each section consists of a collection of groups of four notes, arranged in sub-sections of 16 each sub-section taking up one line of the inscription .... Each group in a subsection ends in the same note. The note in which a particular mga must be ended is called the nifisa
mgas,
That sub-section which consists of groups having the ny&safo\ their ending note, is put the a section. The other sub-sectins are arranged according to the position of the ending note in the Hindu gamuf'sa, ri, ga, ma, pa, dha, ni," a sub-section consisting of groups ending in ^preceding
(final).
last in
JOB
Part 3
&4
fifty
four
page
article.
65
in /-/and
so
on.'Y*.
E.I.,
Voi.xn, p.227).
The
later
The seven /aj^ymentioned in this inscriptior works such as Mradf-s'iksa and the Sarigifc
is
we can call
the earliest, permanent record of a wonderful system of notation designec unhesitatingly "the father of South Indian Music". On comparing
this with the definition of the mgffs found in the other two later works, Mr. Bhandarkar has demonstratec that the music of our record agrees more with the Afo/ifftfi'Stfca than with the Sangtfo-mfmfam, a
point that establishes the indebtedness of the M.rfftff-s/foa to our record. This is further corroborated by a South Indian tradition (Even Chlnnaswami Mudaliar records it in his Oriental Music) that the present South
Indian
Music
If
is
of
sage Namda.
after him,
Narada
is
is
the arch-songster of
all
Hindu
mythology.
he
named
he
after
the follower of
Mahendra,
the Father of South Indian Music? Surely even the superior musical accomplishment of the celebrated
sage-musician pale
peculiarities in the
musical equipment of
"Mattavilasa."
The
engraver are
(1)
It
:-
begins with "Siddham", a term of auspicious commencement that is most common in Buddhist records such as the Asokan edicts, the Amaravati and other Buddhist inscriptions. This is followed by "Namah Sivaya" in which the so-called convert to Qaivism is offering worship to the
"Destroyer of the Universe."
Each /n^has got its label or heading on the left side (2) the section concerned, mostly at the beginning of each section.
in
a margin and
is
placed against
in
in the
same
of
Mahendra are
at
assigned
left
Mahendravarman.
"&ri-Rudracaryasisyena Paramamahesw arena rajna sisya-hitartham krtah svaragamah" announces the author of this musical treatise, who is a king, the devoted disciple of Rudmcarya. He is said to
have made the classification of the swaras for the good of the sisj/as. Who are the &syas? Surely those vocalists that were required as a result of his invention to learn to produce in vocal music (fantfasru//) (See Mamandur inscription) all the s%wws\ha\ a f//J%7can easily produce. The term sisyas
would mean
all
is followed by four words in Tamil of about the same period which serve the a correction slip or general remark on the whole subject. They run as "ettirkum elirkum and mean "These (smras) are common to eight and seven." This statement is another stunt probably. Knowing as we do by now Mahendravarman' s ways, we are tempted to suspect that Mahendra probably introduced another /2g*2?also, thus making the total number of rigwselghl. The statement would either mean that all the svaras mentioned in all the seven sections would apply to
purpose
ivai uriya"
the eighth raga that he had invented or that the s&ffms mentioned " seventh mga would also apply to the eighth ragx. (P. 305-307)
in
66
SOURCES*
"The present work has for its subject matter the musical inscription at Kudimiyamalai in the hill of Him who has the Sikha) is the in South India. At Kudimiyamalai (lit Mnathasvami temple near the Melaikkovil. This huge inscription is engraved on a rock on the
dukkottai state
:
pe
of the
hill
behind the
some of the
3S of
the
final
mandapam
the
slaikkovil,
is
well-preserved.
It
written
pallavagrantha characters, containing all the headings and the colophon in samskrta It contains quadruple groupings of musical notes pertaining to the
ven archaic buddhagramaragas - Madhyamagrama, Sadjagrama, Sadharita, Pancama, to my :isikamadhyama and Kaisika in vogue in ancient India. Thus the inscription which, musical owledge, is unique in the world, and certainly the only primary evidence of contemporary
ictice in ancient India, is
icription at
worthy of wide notice and systematic research. Unfortunately, a in greater part at a later period and
similar
is
now
nost
in
an
However,
is left of this
inscription at
I
need not enter here, believe in the probable existence of me other inscriptions of a similar nature in the same area and have requested the Archaelogical jpartment of India (southern circle) to institute a search for them.
ength of certain reasons
which
The
inscription is believed to
in
scriptorial
Its
generally believed to be
the Pallavas.
early as in 1904 and edited by P.R. Bhandarkar in an estampage supplied by the late Rao Saheb Sri H. Krishna of the inscription has been made till now. Thus the Board istri, only an occasional or a casual study Research felt that a systematic study of the inscription would be of considerable value in the study
Though
the inscription
was discovered as
14 with commentary
Indian
Music
in its
historical perspective.
the interesting features of the inscription deserving special notice are the quadruple use of the notes a, u, e and ka, ku, ouping of musical notes, dots placed on some musical notes, the the the conspicuous absence of the usage of the notes and ki, the peculiar end-signs placed at and the line 'ettirkum llirkum ivai uriya' at the end". (Foreword id of each line in the
Among
i;
inscription
yii-viii)
Academies
of Fine Arts,
Mysore
1957.
67
).
143-147.
68
(S3*
fiS
Sedfo
69
GLORY OF SRiNIVASA*
Dr. R.N. Aralikatti
"Not only Haridasas but Acharyas and even King Krishnadevaraya of Vijayanagar empire have composed songs in Sanskrit and Kannada singing the glory of Venfafeswff? and highlighting the and possess a blend of importance of devotion and surrender to God. These songs are very sublime and literary graces. Sincere rhythm and meaning. They display a high order of musical excellence and passionate devotion of the poet-devotees are transperant throughout. They are the spontaneous would be proper on this auspicious outpourings of the emotional ecstasy of the ardent poets. It
'
occasion
skrit, in
to consider some of the sample songs in San(of Brahmotsavam of Lord Venkateswara) Kannada and in Marathi by Karnataka King, Acharyas and Haridasas. We may take up the Sanskrit songs first one by king Krishnadevaraya and then by others both in Sanskrit and in Kannada
and one
in
Marathi.
is
There
in
Library
fa-
'Krishnadevaraya
Kriti
(in
of King's family Vijayanagar Kingdom. The manuscript records the biographical details and his great Guru, who advised him to worship Lord Venkateswara etc. In the first and third verses, Lord Venkateswara is saluted and His glory is described. He has dedicated his Kriti to the Lord. He
mous
ruler of
his teacher to says "samarpayam Venkatshaila bhartre" because he was counselled by Vyasatirth no similarity between Hari and sing the glory of Vishnu in all respects in view of the fact that there is as supreme 'Hari Hara and also that all Vedas, Puranas, Shastras, epics (itihasas) proclaim
1
(Sarvottama).
original
for
me
accordingly".
His
words are
"utsaham
mama
veekshya
abode
in
my
heart.
He
is
one,
who
is
Reproduced as
it
is
from Saptagiri
Sept,
996.
70
is
lauded by
all
the
Gods lead by
their chief. To
mahata nirajitorasthalah
taradhisha-dinadhinatha nayano
soyam
tishtatu
mamakina hrdaye
Mukunda
Shr! Venkateshabhidhah"
In
3
the third verse also the king praises the Lord Venkateswara designating him as
in
to
not
rvaded
Upanishadic
itements.
He
He
is
free from
all
blemishes.
He
is
unborn
is
eternal bliss.
salute such
Pyakaram sabadamatratamupagatam
yasyaiva satyatmanah
tarn
of the
couple of verses
cited
in
above
it
king's poetic
daily
and
to
He says he could not get by mere verbal praise (stuti) of the Lord. So his teacher advised him to perform become permanent devotee of Lord Venkateshwar. He says
the vedas and puranas.
:
evam ca cetasyanavapya
trptim
latter to
otsteps to the
this
purpose and
this
bespeaks
of
71
Prabhakara Sastri
"Krsnadevaraya states
in
his
in
Sanskrit,
i//2
Madalasacarita, Jnanacintamani, Sakalakathasarasangraha, Satyavadhuprinana and Rasamanjai Some verses from the Rasamanjan and Satyavadhuprinana are cited in the Sanskrit anthologici
of
which, however, these works are attributed not to Krsnaraya himse but to his poet laureate Allasani Peddana. It may, however, be noted that, like other anthologies, th Prapancadarpana also shows a good deal of confusion regarding the authorship of works cited in
found
in
called the Jambavatikalyana not mentioned in the Amuktamalyad Library at Tanjore. A part of the prastavana in this play is lost. Bi
it
what remains
work.
is
the author of th
A new
work. The
been
recently discovered
in
is a fragment containing only the introductory portion of tri work and the author cannot be distinctly made out, but from tri verses that are preserved, there can be no doubt that the work was written by Krsnadevaray, From the drift of the verses we can make out the name of the work as th
The Ms.
names
of the
Sakalakathasarasangraha.
In
the
Amuktamalyada is said that Krsnadevaraya culled out storie composed the Sakalakathasara- sangraha. Tr Therefore have identified as th
it
I
it
Vyasamya
explicitly
Krsnaraya states that he undertook to write this work at the command of his Guru Vyasa Tirth is said to have been a Guru of Krsnadevaraya according to Madhva literary tradition; bi
this fact
in this
no exact reference to
mentioned
is found in any known historical work. It is noteworthy that this fact work composed by Krsnadevaraya himself. The poet Ayyalarfc
be dedicated n
no
whom
PP.
1
was
given by
See Telugumerugulu
43-1
unexpected death of the Ray a, the work was Madras Government Oriental Mss. Library. It can be inferred that this Telugu compilation oiRambhad is an adaption of the Ray a 's Sanskrit work of the same name, mentioned in the Amuktamalyada, ar
47 (1 948;
960)) (Pflrisistem-3)but
JOB. Madras
(July
Sept. 1939).
72
by the Raya at the instance of Vyasaraya as is known from the available fragmentary .There seems to be a similar connection between the Sanskrit Sutyavadhiiprinana of Krsnaraya i the Telugu Parijatapaharana of Nandi Timmanna, both of which deal with the same story. Though
tten
Sanskrit original
is
not available,
its
Telugu adaptation
is
available.
of
Madras Ms.
of the
Sakalakathasarasangraha
Krsnaraya.
Iff
TIT
-i
cm ei ^ H
I
t^H
O
Prof. V.
ANANDA MURTHY
M.A., Ph.D.
DEPARTMENT OF TELUGt
Hyderabad
Head
(Retired)
15, 16
fi97"4S
as
74
Prof.V.ANANDAMURTHY
M.A., Ph.D.
DEPARTMENT OF TELUGU
Osmania
Hyderabad
University
-
Head
(Retired)
500 007.
1.1.
^>43
^o
sios"
rfOo),
CJ*5
2. ra 3. I,
4. I,
5. CPU
<ts
75
elrb
^dg^^^^^^
-y5c>rdc;orr
20 ^i^oad), 199
76
RT
500 057.
Date
To
The Chairman,
T.T.
Devasthanams,
Tirupathi.
Sub
Publications
Printing of the
-
Financial Aid
Requested.
***
Way
back,
during
(7
4'
x 9") containing
in the
some
The
Kirtanas of
Annamacharya,
in Sanskrit
Prabhakaru Sastry
gam was
Monumental Discovery*.
been carefully taken
in the
About
my
initiative, the
so prepared were studied and deciphered by a team of eminent scholars in Sanskrit, Padasahitya, Epigraphy
and Musieology.
the
It
took about four months to the team to decipher and prepare a definitive reading of
194
lines containing
is
more
The manuscript
select scholars,
now
with the team of scholars which intends to publish the same incorporating and
any, for a better and meaningful reading in a formal
in
acknowledging suggestions
if
view of
its
rare
As the Musical compositions are in Sanskrit language it is appropriate to publish them in a book form both in Telugu and Nagari characters, so that non-Telugu music lovers and scholars the world over, could get the benefit of reading and learning the musical tradition of the past from the available compositions of
the earliest
known
all,
Above
known
instance
incised on stones with Sahitya coupled with detailed Svara notation and indications of Raga, Tala, Pallavi,
77
Charanam and
Such
Museum
On my
promised
1994
the then
Government of
A.P. issued a
this regard.
The Director
However,
of Archaeology and
it
Museums, A,
workshop and
the publication.
is
and half years the project has not materialised till date, perhaps for paucity of funds. In view of tl International importance of the subject we, the team members of the Editorial Board take full responsibili
to get this
book published.
In this connection,
we
full
financial expenditure
Devasthanams,
in
a fitting manner.
enclosed.
Yours sincerely,
Sd/-
(V.
ANANDA MURTHY)
(Sp.&i
-1949^
"
tfo4SSo3.*&e& a
78