Doorjamb from Prasat Preah Khan of Kompong Svay (K. 161), 924 Śaka

Editors: Kunthea Chhom, Louis Finot, Arlo Griffiths.

Identifier: DHARMA_INSCIK00161.

Hand description:

The lettering is characteristic of the eleventh century CE.

Language: Sanskrit.

Repository: Khmer (tfc-khmer-epigraphy).

Version: 2025-05-09 15:54 (8b4ab6d), last modified 2024-12-27 14:04 (0bad8df).

I. Sragdharā

⟨1⟩ ✤śrīmat-pādāgra-līlāvanamita-dharaṇīkṣobha-saṁkṣobhitā¡p!⟨b⟩dhi

⟨2⟩ bhrāmyatkrandatsurendraṁ bhujava¿l?⟨n⟩apavanais saṁskhalatsadvimānaiḥ

⟨3⟩ svāṅgais svalpīkr̥tāśaṁ nava-rasa-rucibhir visphuradraśmimālyai⟨4⟩r

nāṭyaṁ vrahmādi-sevyaṁ sukhayatu dayitānandanaṁ candra-mauleḥ||

II. Anuṣṭubh

⟨5⟩ ⟨Column a⟩✤namo vuddhāya sarvvajña-

⟨Column b⟩-śavdo yatraiva sārthakaḥ

⟨6⟩ ⟨Column a⟩tasyaiva hi vacas satyaṁ

⟨Column b⟩pramāṇena nirūpitam·

III. Anuṣṭubh

⟨7⟩ ⟨Column a⟩tad-uktau pāram¡i!⟨ī⟩tantra-

⟨Column b⟩-tayau tad-gata-yoginaḥ

⟨8⟩ ⟨Column a⟩try-akṣarañ ca nija-jñānaṁ

⟨Column b⟩guru-pāda-yugan name

IV. Anuṣṭubh

⟨9⟩ ⟨Column a⟩śrīddhaś śrīsūryyavarmmāsī⟨Column b⟩c

catur-bhuja-vilāsakaḥ

⟨10⟩ ⟨Column a⟩yas sūryya-vaṅśajo rājye

⟨Column b⟩catur-bhuja-vilāsaka⟨ḥ⟩

V. Anuṣṭubh

⟨11⟩ ⟨Column a⟩smaro ’naṅgaś śaśāṅko ’pi

⟨Column b⟩śaśīti niravadyakam·

⟨12⟩ ⟨Column a⟩Asr̥jad yan nv idaṅ karmma

⟨Column b⟩kānti-sarggāvadhīcchayā

VI. Anuṣṭubh

⟨13⟩ ⟨Column a⟩bhāṣyādi-caraṇā kāvya-

⟨Column b⟩-pāṇiṣ ṣa¡d!⟨ḍ⟩darśanendriyā

⟨14⟩ ⟨Column a⟩yanmatir dharmmaśāstrādi-

⟨Column b⟩mastakājaṅgamāyata

VII. Anuṣṭubh

⟨15⟩ ⟨Column a⟩Etāvatānumeyaṁ ya-

⟨Column b⟩-d-vīryaṁ yad rūḍhadhīr muniḥ

⟨16⟩ ⟨Column a⟩raṇa-stho rāja-saṅkīrṇā⟨Column b⟩d

rājño rājyaṁ jahāra yaḥ

VIII. Anuṣṭubh

⟨17⟩ ⟨Column a⟩kāla-doṣānalāviṣṭā

⟨Column b⟩yasya sekāmvu-nirggame

⟨18⟩ ⟨Column a⟩tad-vināśāt kṣaṇaṁ lokāḥ

⟨Column b⟩sukhāyante sma sarvvathā

IX. Anuṣṭubh

⟨19⟩ ⟨Column a⟩yugahāner ayan dharmmaḥ

⟨Column b⟩pada-hīno jarākr̥śaḥ

⟨20⟩ ⟨Column a⟩yannītirasam āsādya

⟨Column b⟩sat-padas sma yuvāyate

I. Sragdharā

⟨1⟩ ✤śrīmat-pādāgra-līlāvanamita-dharaṇīkṣobha-saṁkṣobhitā¡p!⟨b⟩dhi

⟨2⟩ bhrāmyatkrandatsurendraṁ bhujava¿l?⟨n⟩apavanais saṁskhalatsadvimānaiḥ

⟨3⟩ svāṅgais svalpīkr̥tāśaṁ nava-rasa-rucibhir visphuradraśmimālyai⟨4⟩r

nāṭyaṁ vrahmādi-sevyaṁ sukhayatu dayitānandanaṁ candra-mauleḥ||

II. Anuṣṭubh

⟨5⟩ ⟨Column a⟩✤namo vuddhāya sarvvajña-

⟨Column b⟩-śavdo yatraiva sārthakaḥ

⟨6⟩ ⟨Column a⟩tasyaiva hi vacas satyaṁ

⟨Column b⟩pramāṇena nirūpitam·

III. Anuṣṭubh

⟨7⟩ ⟨Column a⟩tad-uktau pāram¡i!⟨ī⟩tantra-

⟨Column b⟩-tayau tad-gata-yoginaḥ

⟨8⟩ ⟨Column a⟩try-akṣarañ ca nija-jñānaṁ

⟨Column b⟩guru-pāda-yugan name

IV. Anuṣṭubh

⟨9⟩ ⟨Column a⟩śrīddhaś śrīsūryyavarmmāsī⟨Column b⟩c

catur-bhuja-vilāsakaḥ

⟨10⟩ ⟨Column a⟩yas sūryya-vaṅśajo rājye

⟨Column b⟩catur-bhuja-vilāsaka⟨ḥ⟩

V. Anuṣṭubh

⟨11⟩ ⟨Column a⟩smaro ’naṅgaś śaśāṅko ’pi

⟨Column b⟩śaśīti niravadyakam·

⟨12⟩ ⟨Column a⟩Asr̥jad yan nv idaṅ karmma

⟨Column b⟩kānti-sarggāvadhīcchayā

VI. Anuṣṭubh

⟨13⟩ ⟨Column a⟩bhāṣyādi-caraṇā kāvya-

⟨Column b⟩-pāṇiṣ ṣa¡d!⟨ḍ⟩darśanendriyā

⟨14⟩ ⟨Column a⟩yanmatir dharmmaśāstrādi-

⟨Column b⟩mastakājaṅgamāyata

VII. Anuṣṭubh

⟨15⟩ ⟨Column a⟩Etāvatānumeyaṁ ya-

⟨Column b⟩-d-vīryaṁ yad rūḍhadhīr muniḥ

⟨16⟩ ⟨Column a⟩raṇa-stho rāja-saṅkīrṇā⟨Column b⟩d

rājño rājyaṁ jahāra yaḥ

VIII. Anuṣṭubh

⟨17⟩ ⟨Column a⟩kāla-doṣānalāviṣṭā

⟨Column b⟩yasya sekāmvu-nirggame

⟨18⟩ ⟨Column a⟩tad-vināśāt kṣaṇaṁ lokāḥ

⟨Column b⟩sukhāyante sma sarvvathā

IX. Anuṣṭubh

⟨19⟩ ⟨Column a⟩yugahāner ayan dharmmaḥ

⟨Column b⟩pada-hīno jarākr̥śaḥ

⟨20⟩ ⟨Column a⟩yannītirasam āsādya

⟨Column b⟩sat-padas sma yuvāyate

Apparatus

⟨1⟩ -līlāvanamita- ⬦ -līlāvanāmita- LF.

⟨5⟩ vuddhāya ⬦ buddhāya LF.

⟨7⟩ pāram¡i!⟨ī⟩tantra ⬦ pāramītantra LF. — ⟨7⟩ -tayau ⬦ -taryau LF.

⟨9⟩ śrīsūryyavarmmāsī⟨Column b⟩c ⬦ śrīsūryavarmmāsī⟨Column b⟩c LF.

⟨15⟩ -d-vīryaṁ ⬦ -d vīryaṁ LF.

Translation by Arlo Griffiths

I

Let the dance of the Moon-Crested [Śiva], by which the ocean is shaken due to the shakings of the earth bent down under the tip-toe play of his fortunate feet, [the dance] in to which the king of the gods whirls and shouts [in alarm] at the winds of [Śiva’s] arm-forest which causes [even] the sturdy celestial cars to falter, [the dance] in which the regions are made small by [Śiva’s] own limbs, which have the beauty of [all] nine [aesthetic] flavors (nava-rasa-ruci), from which garlands of rays shine forth, [the dance] to be attended by Brahmā etc., [the dance] that delights his wife (dayitā-nandana) – let [this dance] bring pleasure.

II

Homage to the Buddha, in whose sole case the word ’omniscient’ has meaning, because only his words are established as true by a means of valid knowledge.

III

I bow to both Ways taught by him, the one of Perfections and the one of Mantras; to the Yogins who have gone those [ways]; to my innate three-syllabled knowledge, and to the feet of the guru.

IV

Śrī Sūryavarman, ignited by Śrī (glory), whose affection was for the Four-Armed [Viṣṇu], who was born in the Solar Dynasty, was in royal power having [as date of accession the śaka year 9] manifestations (vilāsa, i.e. orifices), [2] arms, 4.

V

He (Brahmā) surely made this impeccable creation, viz. him (Sūryavarman), out of the desire for an absolute highpoint in the creation of beauty, [thinking]: "Even [the paragon of beauty] Smara is bereft of a body, and [likewise] Śaśin is marked by a hare."

VI

His thought, which had commentaries etc. as feet, poetry as hands, the six Darśanas as organs, the Dharmaśāstras etc. as head, was like a living being (ajaṅgamāyata).

VII

By this his heroism can be gauged, [namely] that that sage of renowned intelligence, when engaged in battle, stole the kingdom from a king allied (saṁkīrṇa) with kings.

VIII

When the water of his consecration (seka = abhiṣeka) issued out [of the vessel], the people, burdened with the fire of the faults of time, everywhere were happy for a moment because of that [fire’s temporary] extinction.

IX

After the dissolution of [the last] Yuga, this Dharma, emaciated due to age, deprived of its feet, obtained the [fresh] juice of his governance, was rejuvenated and [became] provided with feet.

Translation into French by Finot 1904

I

Ébranlant les régions de l’espace par l’ébranlement de la terre qui fléchit sous le frôlement du bout de son pied divin ; faisant tournoyer et mugir l’Indra des dieux au vent de ses bras puissants qui ballotent les palais célestes ; rapetissant l’espace par ses membres luisants d’une sueur récente et enguirlandés de rayons étincelants ; puisse-t-elle nous porter bonheur, la danse - digne de l’attention respectueuse des dieux et délice de sa bien-aimée, - la danse de Celui qui a pour diadème la lune !

II

Hommage au Buddha, à qui seul s’applique avec son plein sens le nom d’Omniscient ; de lui seul en effet la parole est vraie et logiquement établie.

III

Désignés par lui comme les deux barques de la doctrine des Pāramīs pour le yogin qui s’y applique, je salue les pieds de mon guru, dont la science a sa source dans le faveur du dieu aux trois yeux.

IV

Il était [un roi nommé] Śrī Sūryavarman, enflammé par Śrī, ayant la grâce de Viṣṇu, né de la race du Soleil ; son règne avait pour base quatre, les bras et les ouvertures.

V

On le surnommait Smara, Anaṅga, Śaśāṅka, Śaśin : c’est pourquoi il créa cette œuvre irréprochable dans le désir de porter à son extrême limite la création du beau (ou: la diffusion de son éclat).

VI

Ayant pour pieds le Bhāṣya, etc., pour mains les kāvyas, pour organes des sens les six darśanas, pour tête les dharmaśāstras, son intelligence était une personne vivante.

VII

Quelle fut sa vaillance, on peut l’inférer de ce que, Muni à l’intelligence mûrie, il enleva dans la bataille la royauté à un roi mêlé à d’autres rois.

VIII

Les gens qui était tourmentés par le feu des vices du temps, lorsque ce feu fut éteint par l’eau de ses libations, se sentirent à l’instant dans une félicité parfaite.

IX

Par l’écoulement des yugas, Dharma était privé de ses pieds et desséché de vieillesse : grâce à l’ambroisie du gouvernement de ce prince, il retrouva ses pieds et sa jeunesse.

Bibliography

Edited by Louis Finot (1904, pp. 672–675) with a French translation; re-edited here by Arlo Griffiths with an English translation.

Primary

[LF] Finot, Louis. 1904. “Notes d’épigraphie, VII : L'inscription de Práḥ Khan.” BEFEO 4, pp. 672–675. DOI: 10.3406/befeo.1904.1361. [URL]. Pages 672–675.

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<p rend="stanza" n="1">Let the dance of the Moon-Crested <supplied reason="subaudible">Śiva</supplied>, by which the ocean is shaken due to the shakings of the earth bent down under the tip-toe play of his fortunate feet, <supplied reason="subaudible">the dance</supplied> in to which the king of the gods whirls and shouts <supplied reason="subaudible">in alarm</supplied> at the winds of <supplied reason="subaudible">Śiva's</supplied> arm-forest which causes <supplied reason="subaudible">even</supplied> the sturdy celestial cars to falter, <supplied reason="subaudible">the dance</supplied> in which the regions are made small by <supplied reason="subaudible">Śiva's</supplied> own limbs, which have the beauty of <supplied reason="subaudible">all</supplied> nine <supplied reason="subaudible">aesthetic</supplied> flavors <supplied reason="explanation"><foreign>nava-rasa-ruci</foreign></supplied>, from which garlands of rays shine forth, <supplied reason="subaudible">the dance</supplied> to be attended by Brahmā etc., <supplied reason="subaudible">the dance</supplied> that delights his wife <supplied reason="explanation"><foreign>dayitā-nandana</foreign></supplied> – let <supplied reason="subaudible">this dance</supplied> bring pleasure.</p>

<p rend="stanza" n="2">Homage to the Buddha, in whose sole case the word 'omniscient' has meaning, because only his words are established as true by a means of valid knowledge.</p>

<p rend="stanza" n="3">I bow to both Ways taught by him, the one of Perfections and the one of Mantras; to the Yogins who have gone those <supplied reason="subaudible">ways</supplied>; to my innate three-syllabled knowledge, and to the feet of the <foreign>guru</foreign>.</p>

<p rend="stanza" n="4">Śrī Sūryavarman, ignited by Śrī <supplied reason="explanation">glory</supplied>, whose affection was for the Four-Armed <supplied reason="subaudible">Viṣṇu</supplied>, who was born in the Solar Dynasty, was in royal power having <supplied reason="subaudible">as date of accession the śaka year 9</supplied> manifestations <supplied reason="explanation"><foreign>vilāsa</foreign>, i.e. orifices</supplied>, <supplied reason="subaudible">2</supplied> arms, 4.</p>

<p rend="stanza" n="5">He <supplied reason="explanation">Brahmā</supplied> surely made this impeccable creation, viz. him <supplied reason="explanation">Sūryavarman</supplied>, out of the desire for an absolute highpoint in the creation of beauty, <supplied reason="subaudible">thinking</supplied>: "Even <supplied reason="subaudible">the paragon of beauty</supplied> Smara is bereft of a body, and <supplied reason="subaudible">likewise</supplied> Śaśin is marked by a hare."</p>

<p rend="stanza" n="6">His thought, which had commentaries etc. as feet, poetry as hands, the six Darśanas as organs, the Dharmaśāstras etc. as head, was like a living being <supplied reason="explanation"><foreign>ajaṅgamāyata</foreign></supplied>.</p>

<p rend="stanza" n="7">By this his heroism can be gauged, <supplied reason="subaudible">namely</supplied> that that sage of renowned intelligence, when engaged in battle, stole the kingdom from a king allied <supplied reason="explanation"><foreign>saṁkīrṇa</foreign></supplied> with kings.</p>

<p rend="stanza" n="8">When the water of his consecration <supplied reason="explanation"><foreign>seka</foreign> = <foreign>abhiṣeka</foreign></supplied> issued out <supplied reason="subaudible">of the vessel</supplied>, the people, burdened with the fire of the faults of time, everywhere were happy for a moment because of that <supplied reason="subaudible">fire's temporary</supplied> extinction.</p>

<p rend="stanza" n="9">After the dissolution of <supplied reason="subaudible">the last</supplied> Yuga, this Dharma, emaciated due to age, deprived of its feet, obtained the <supplied reason="subaudible">fresh</supplied> juice of his governance, was rejuvenated and <supplied reason="subaudible">became</supplied> provided with feet.</p>

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<p rend="stanza" n="1">Ébranlant les régions de l'espace par l'ébranlement de la terre qui fléchit sous le frôlement du bout de son pied divin ; faisant tournoyer et mugir l'Indra des dieux au vent de ses bras puissants qui ballotent les palais célestes ; rapetissant l'espace par ses membres luisants d'une sueur récente et enguirlandés de rayons étincelants ; puisse-t-elle nous porter bonheur, la danse - digne de l'attention respectueuse des dieux et délice de sa bien-aimée, - la danse de Celui qui a pour diadème la lune !</p>

<p rend="stanza" n="2">Hommage au Buddha, à qui seul s'applique avec son plein sens le nom d'Omniscient ; de lui seul en effet la parole est vraie et logiquement établie.</p>

<p rend="stanza" n="3">Désignés par lui comme les deux barques de la doctrine des Pāramīs pour le yogin qui s'y applique, je salue les pieds de mon guru, dont la science a sa source dans le faveur du dieu aux trois yeux.</p>

<p rend="stanza" n="4">Il était <supplied reason="subaudible">un roi nommé</supplied> Śrī Sūryavarman, enflammé par Śrī, ayant la grâce de Viṣṇu, né de la race du Soleil ; son règne avait pour base quatre, les bras et les ouvertures.</p>

<p rend="stanza" n="5">On le surnommait Smara, Anaṅga, Śaśāṅka, Śaśin : c'est pourquoi il créa cette œuvre irréprochable dans le désir de porter à son extrême limite la création du beau <supplied reason="explanation">ou: la diffusion de son éclat</supplied>.</p>

<p rend="stanza" n="6">Ayant pour pieds le Bhāṣya, etc., pour mains les <foreign>kāvya</foreign>s, pour organes des sens les six <foreign>darśana</foreign>s, pour tête les dharmaśāstras, son intelligence était une personne vivante.</p>

<p rend="stanza" n="7">Quelle fut sa vaillance, on peut l'inférer de ce que, Muni à l'intelligence mûrie, il enleva dans la bataille la royauté à un roi mêlé à d'autres rois.</p>

<p rend="stanza" n="8">Les gens qui était tourmentés par le feu des vices du temps, lorsque ce feu fut éteint par l'eau de ses libations, se sentirent à l'instant dans une félicité parfaite.</p>

<p rend="stanza" n="9">Par l'écoulement des <foreign>yuga</foreign>s, Dharma était privé de ses pieds et desséché de vieillesse : grâce à l'ambroisie du gouvernement de ce prince, il retrouva ses pieds et sa jeunesse.</p>

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<p>Edited by Louis Finot (<bibl rend="omitname"><ptr target="bib:Finot1904_08"/><citedRange unit="page">672-675</citedRange></bibl>) with a French translation; re-edited here by Arlo Griffiths with an English translation.</p>

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