Pœng Ta Roet rock wall (K. 172)

Author of digital edition: Chloé Chollet (chch).

Languages: Old Khmer (okz) [Khmer (khmer)], Sanskrit (san) [Khmer (khmer)].

Repository: Khmer (tfc-khmer-epigraphy).

Identifier: DHARMA_INSCIK00172.

File path: texts/xml/DHARMA_INSCIK00172.xml.

Version: 2026-05-13 16:01 (7eb3294), last modified 2026-05-06 08:39 (94c7011).

Edition

⟨1⟩ namaś śivāya yaj-jyotir ujjvalad viśvato bhr̥śam· nikr̥ntati jagad-dr̥ṣṭi-tiras-kr̥ti-karan tamaḥ ╫
⟨2⟩ dharmmāvāsa-pure jātyā dharmmāvāsābhidhāna-bhr̥t· śuddha-dharmmādhivāso yo vudho dharmma Ivābhavat· ╫
⟨3⟩ janma-bhū-bhūri-vibhave bhavaty apy aviśad vanam· yo bhikṣā-vr̥tty aho citraṁ mahatām īhitaṁ vata ╫
⟨4⟩ Imāṁ śambhu-guhābhikhyāṁ sa guhāṁ sva-guṇoktaye vyāttāsya-śriyam asyorvvīdharasyeva vyadhād vudhaḥ ╫
⟨5⟩ ta¡t!ākam āśmam etac ca bhogi-bhoga-dhr̥tācyutam· tapas-tejas-tanūbhūtadugdhāvdhim iva sannyadhāt· ╫
⟨6⟩ pāvanāya pra¡n!ayināṁ vyoma-tīrthābhidhānakam· Idan tīrtham adr̥śyaṁ sa dr̥śyatām anayan muniḥ ╫
⟨7⟩ bhasma-pātram idaṁ pātrapratipādita-kośakaḥ Akarot sa sura-rṣīṇām imāś ca prati-yāta¡ṇ!āḥ ╫
⟨8⟩ tai kaṁ(p)al jaṁnvana vraḥ śrikaṇ¿dh?a
⟨01⟩ Om̐

Translation

Homage to Śiva whose radiance burning intensely from all sides disperses the darkness blurring creatures’ sight.

The sage named Dharmāvāsa, because he was born in the city of Dharmāvāsa, and in whom pure dharma resided, was like the dharma (incarnate).

Although his wealth in his native land was very abundant, he went off into the forest. Ah, the marvellous aspiration of the great, to live on alms!

In order for his virtues to be proclaimed, this sage arranged this cave named “Śambhu Cave” (Śambhuguhā), which is like an attractive open mouth in this mountain {which is like a Śrī ⟨accompanying Viṣṇu⟩ for that open-mouthed (bhūdhara) snake}¹.

And he brought back this basin (taṭāka) of stone, immovable thanks to the one supported by the folds of the serpent (Viṣṇu), like an Ocean of milk of reduced size, by the force of his asceticism {by the force of the heat ⟨which reduces the water⟩}.

For the purification of devotees, this muni has made visible that tīrtha named Vyomatīrtha ⟨formerly⟩ invisible.

He whose provisions (kośa) are provided in a bowl, he made this ash bowl as well as these images of the gods and R̥ṣis.

⟨8⟩ The tai Kaṁpal is offered by Śrīkaṇṭha. Om̐

Translation into French

Hommage à Śiva dont l’éclat brûlant intensément de toute part disperse l’obscurité qui trouble la vue des créatures.

Le sage portant le nom de Dharmāvāsa, parce qu’il était né dans la ville de Dharmāvāsa, en qui résidait le pur dharma, était comme le dharma (incarné).

Bien que sa richesse dans sa terre natale fût très abondante, il s’en alla dans la forêt. Ah! Merveilleuse aspiration des grands que de vivre d’aumônes !

Afin que l’on proclame ses vertus, ce sage a aménagé cette grotte nommée « grotte de Śambhu » (Śambhuguhā), qui est comme une jolie bouche ouverte dans cette montagne {qui est comme une Śrī ⟨accompagnant Viṣṇu⟩ pour ce serpent (bhūdhara) à la gueule ouverte}².

Et il a ramené ce bassin (taṭāka) en pierre, inébranlable grâce à celui soutenu par les replis du serpent (Viṣṇu), comme un Océan de lait de taille réduite, par la force de son ascétisme {par la force de la chaleur ⟨qui réduit l’eau⟩}.

Pour la purification des dévots, ce muni a rendu visible ce tīrtha nommé Vyomatīrtha ⟨autrefois⟩ invisible.

Lui dont les provisions (kośa) sont fournies dans un bol, il a fait ce bol à cendres ainsi que ces images des dieux et des R̥ṣis.

⟨8–9⟩ La tai Kaṁpal est l’offrande du vraḥ Śrīkaṇṭha. Om̐.

Commentary

For an elaborate commentary on this inscription, see Chollet 2026.

A photogrammetric model revealed that above the first stanza, the lapicide had begun to write this same stanza, but stopped at the end of the third pāda, and erased the whole. He had in fact written too large, and no longer had room to write the fourth pāda.

The last line in Old Khmer was probably written by a different person, because the writing is smaller and irregular.

The final Om̐ sign is not mentioned by G. Cœdès because the rubbings do not show it.

Bibliography

First edited by George Cœdès (1911, pp. 398–400) with a French translation of the Sanskrit stanzas. This digital edition, based on photographs and 3D model, with an English translation, by Chloé Chollet (Chollet2025_01).

Primary

[GC] Cœdès, George. 1911. “Études cambodgiennes, I: La légende de la Nâgî; II: Une inscription du sixième siècle çaka; III: Une nouvelle inscription du Phnoṃ Bàkheṅ, IK 496; IV: La grotte de Pơṅ Práḥ Thvãr (Phnoṃ Kulèn); V: Une inscription d’Udayādityavarman I; VI: Des édicules appelés « bibliothèques ».” BEFEO 11 (3-4), pp. 391–406. [URL]. Pages 398–400.

[CC] Chollet, Chloé. 2026. “Contribution à l’étude du phénomène érémitique du Cambodge ancien à la lumière de données épigraphiques et archéologiques (Xe-XIIIe siècle de notre ère).” Thèse de doctorat, Ecole Pratique des Hautes Études, Université PSL. Paris.

Notes

1. The pun involves splitting vyāttāsya and śriyam and alludes to the carved representation of Viṣṇu Anantaśāyin that is presented in the following stanza
2. Le jeu de mot implique de scinder vyāttāsya et śriyam et fait allusion à la représentation sculptée de Viṣṇu Anantaśāyin qui est présentée dans la stance suivante.

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<ab><lb n="01"/>Om̐

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<p rend="stanza" n="1">Homage to Śiva whose radiance burning intensely from all sides disperses the darkness blurring creatures' sight.</p>

<p rend="stanza" n="2">The sage named Dharmāvāsa, because he was born in the city of Dharmāvāsa, and in whom pure <foreign>dharma</foreign> resided, was like the <foreign>dharma</foreign> <supplied reason="explanation">incarnate</supplied>.</p>

<p rend="stanza" n="3">Although his wealth in his native land was very abundant, he went off into the forest. Ah, the marvellous aspiration of the great, to live on alms!</p>

<p rend="stanza" n="4">In order for his virtues to be proclaimed, this sage arranged this cave named <q>Śambhu Cave</q> <supplied reason="explanation">Śambhuguhā</supplied>, which is like an attractive open mouth in this mountain <seg rend="pun">which is like a Śrī <supplied reason="subaudible">accompanying Viṣṇu</supplied> for that open-mouthed <supplied reason="explanation">bhūdhara</supplied> snake</seg><note>The pun involves splitting <foreign>vyāttāsya</foreign> and <foreign>śriyam</foreign> and alludes to the carved representation of Viṣṇu Anantaśāyin that is presented in the following stanza</note>.</p>

<p rend="stanza" n="5">And he brought back this basin <supplied reason="explanation"><foreign>taṭāka</foreign></supplied> of stone, immovable thanks to the one supported by the folds of the serpent <supplied reason="explanation">Viṣṇu</supplied>, like an Ocean of milk of reduced size, by the force of his asceticism <seg rend="pun">by the force of the heat <supplied reason="subaudible">which reduces the water</supplied></seg>.</p>

<p rend="stanza" n="6">For the purification of devotees, this <foreign>muni</foreign> has made visible that <foreign>tīrtha</foreign> named <placeName>Vyomatīrtha</placeName> <supplied reason="subaudible">formerly</supplied> invisible.</p>

<p rend="stanza" n="7">He whose provisions <supplied reason="explanation"><foreign>kośa</foreign></supplied> are provided in a bowl, he made this ash bowl as well as these images of the gods and R̥ṣis.</p>

<p n="8">The <foreign>tai</foreign> Kaṁpal is offered by Śrīkaṇṭha. <foreign>Om̐</foreign></p>

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<p rend="stanza" n="1">Hommage à Śiva dont l'éclat brûlant intensément de toute part disperse l'obscurité qui trouble la vue des créatures.</p>

<p rend="stanza" n="2">Le sage portant le nom de <persName>Dharmāvāsa</persName>, parce qu'il était né dans la ville de Dharmāvāsa, en qui résidait le pur <foreign>dharma</foreign>, était comme le <foreign>dharma</foreign> <supplied reason="explanation">incarné</supplied>.</p>

<p rend="stanza" n="3">Bien que sa richesse dans sa terre natale fût très abondante, il s'en alla dans la forêt. Ah! Merveilleuse aspiration des grands que de vivre d'aumônes !</p>

<p rend="stanza" n="4">Afin que l'on proclame ses vertus, ce sage a aménagé cette grotte nommée « grotte de Śambhu » <supplied reason="explanation"><placeName>Śambhuguhā</placeName></supplied>, qui est comme une jolie bouche ouverte dans cette montagne <seg rend="pun">qui est comme une Śrī <supplied reason="subaudible">accompagnant Viṣṇu</supplied> pour ce serpent <supplied reason="explanation">bhūdhara</supplied> à la gueule ouverte</seg><note>Le jeu de mot implique de scinder <foreign>vyāttāsya</foreign> et <foreign>śriyam</foreign> et fait allusion à la représentation sculptée de Viṣṇu Anantaśāyin qui est présentée dans la stance suivante.</note>.</p>

<p rend="stanza" n="5">Et il a ramené ce bassin <supplied reason="explanation"><foreign>taṭāka</foreign></supplied> en pierre, inébranlable grâce à celui soutenu par les replis du serpent <supplied reason="explanation">Viṣṇu</supplied>, comme un Océan de lait de taille réduite, par la force de son ascétisme <seg rend="pun">par la force de la chaleur <supplied reason="subaudible">qui réduit l'eau</supplied></seg>.</p>

<p rend="stanza" n="6">Pour la purification des dévots, ce <foreign>muni</foreign> a rendu visible ce <foreign>tīrtha</foreign> nommé Vyomatīrtha <supplied reason="subaudible">autrefois</supplied> invisible.</p>

<p rend="stanza" n="7">Lui dont les provisions <supplied reason="explanation"><foreign>kośa</foreign></supplied> sont fournies dans un bol, il a fait ce bol à cendres ainsi que ces images des dieux et des R̥ṣis.</p>

<p n="8-9">La <foreign>tai</foreign> Kaṁpal est l'offrande du <foreign>vraḥ</foreign> <persName>Śrīkaṇṭha</persName>. <foreign>Om̐</foreign>.</p>

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<p>For an elaborate commentary on this inscription, see <bibl><ptr target="bib:Chollet2026_01"/></bibl>.</p>

<p>A photogrammetric model revealed that above the first stanza, the lapicide had begun to write this same stanza, but stopped at the end of the third <foreign>pāda</foreign>, and erased the whole. He had in fact written too large, and no longer had room to write the fourth <foreign>pāda</foreign>.</p>

<p>The last line in Old Khmer was probably written by a different person, because the writing is smaller and irregular.</p>

<p>The final <foreign>Om̐</foreign> sign is not mentioned by G. Cœdès because the rubbings do not show it.</p>

</div>

<p>First edited by George Cœdès (<bibl rend="omitname"><ptr target="bib:Coedes1911_01"/><citedRange unit="page">398-400</citedRange></bibl>) with a French translation of the Sanskrit stanzas. This digital edition, based on photographs and 3D model, with an English translation, by Chloé Chollet (<bibl rend="omitname"><ptr target="bib:Chollet2025_01"/></bibl>).</p>

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