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· <title>SII 1.34: original edition by Eugen Hultzsch</title>
· <title type="alt">PART I. SANSKRIT INSCRIPTIONS. I. INSCRIPTIONS OF THE PALLAVA DYNASTY. Nos. 33 AND 34. TWO CAVE-INSCRIPTIONS FROM THE TRIŚIRÂPAḶḶI ROCK. No. 34. ON THE PILLAR TO THE RIGHT.</title>
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· <forename>Emmanuel</forename>
· <surname>Francis</surname>
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· <pubPlace>Paris, CEIAS</pubPlace>
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· <change who="part:emfr" when="2025-05-25" status="draft">Further conversion of digital encoding to DHARMA encoding scheme according to EGD (Encoding Guide for Diplomatic Editions)</change>
· <change who="part:mime" when="2025-05-06" status="draft">Conversion of digital encoding to DHARMA encoding scheme according to EGD (Encoding Guide for Diplomatic Editions)</change>
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· <lb n="1"/>śailendramūrddhani śilābhavane vicitre
· <lb n="2"/>śailīntanuṁ guṇabharo nṛpatirnnidhāya <supplied reason="subaudible"><g type="danda">.</g></supplied>
· <lb n="3"/>sthāṇuṁ vyadha<unclear>tta</unclear> vi<unclear>dhi</unclear>reṣa yathārtthasaṁjñaṁ
· <lb n="4"/>sthāṇuḥ svayañca saha tena jagatsu jātaḥ <supplied reason="subaudible"><g type="ddanda">.</g></supplied> <supplied reason="subaudible">1</supplied>
60 <lb n="5"/>gṛhamakṛta śatrumallo gir<choice><sic>i</sic><corr>ī</corr></choice>ndrakanyā
· <lb n="6" break="no"/>paterggirāvasmin· <supplied reason="subaudible"><g type="danda">.</g></supplied> giriśasya giriśa
· <lb n="7" break="no"/><unclear>saṁ</unclear>jñāmanvartthīkartumartthapatiḥ <g type="ddanda">.</g> <supplied reason="subaudible">2</supplied>
· <lb n="8"/>vibhūtiñcoḷānāṁ kathamahamavekṣe
· <lb n="9" break="no"/>ya vipulāṁ nadīṁ vā kāvīrīmavanibhavanāva
65 <lb n="10" break="no"/>sthita Iti <supplied reason="subaudible"><g type="danda">.</g></supplied> hareṇoktaḥ prītyā vibhuradiśa
· <lb n="11" break="no"/>dabhraṁlihamidammanupra<unclear>khyo rājye</unclear> g<choice><sic>a</sic><corr>i</corr></choice>ribhavana
· <lb n="12" break="no"/>masmai guṇabharaḥ <g type="ddanda">.</g> <supplied reason="subaudible">3</supplied> nirmmāpitā<unclear>miti mudā</unclear>
· <lb n="13"/>puruṣottamena śailīṁ harasya tanumaprati
· <lb n="14" break="no"/>māmanena <supplied reason="subaudible"><g type="danda">.</g></supplied> kṛtvā śivaṁ śirasi <unclear>dhā</unclear>rayatātma
70 <lb n="15" break="no"/>saṁsthamuccaiḥśirastvamaca<unclear>lasya</unclear> kṛtaṁ kṛtā
· <lb n="16" break="no"/>rttham· <g type="ddanda">.</g> <supplied reason="subaudible">4</supplied>
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75
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80 <div type="translation" source="bib:Hultzsch1890_01">
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· <p>(<hi rend="italic">Verse</hi> 1.) When king <hi rend="bold">Guṇabhara</hi> placed a stone-figure in the wonderful stone-temple on the top of the best of mountains, he made in this way<note>Literally: ‘this was the way.’</note> Sthāṇu (<hi rend="italic">Śiva</hi>) stationary<note>Literally: ‘he made Sthāṇu (i.e., <hi rend="italic">the stationary one</hi>) one whose name was true to its meaning.’</note> and became himself stationary (i.e., <hi rend="italic">immortal</hi>) in the worlds together with him.</p>
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· <p>(2.) King <hi rend="bold">Śatrumalla</hi> built on this mountain a temple of Giriśa (<hi rend="italic">Śiva</hi>), the husband of the daughter of the king of mountains, in order to make he name Giriśa (i.e., <hi rend="italic">the mountain-dweller</hi>) true to its meaning.</p>
85
· <p>(3.) After Hara (<hi rend="italic">Śiva</hi>) had graciously asked him: “How could I, standing in a temple on earth, view the great power of the <hi rend="bold">Choḷas</hi> or the river <hi rend="bold">Kāvīrī ?</hi>”—king <hi rend="bold">Guṇabhara</hi>, who resembled Manu in his manner of ruling, assigned to him this mountain-temple, which touches the clouds.</p>
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· <p>(4.) Thus having joyfully placed on the top (<hi rend="italic">of the mountain</hi>) a matchless stone-figure of Hara (<hi rend="italic">Śiva</hi>), which he caused to be executed, that <hi rend="bold">Purushottama</hi>, who bore Śiva fixed in his mind, made the loftiness of the mountain fruitful.</p>
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90 </div>
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· <p>Digital edition of SII 1.34 by <bibl><ptr target="bib:Hultzsch1890_01"/></bibl> converted to DHARMA conventions by Emmanuel Francis.</p>
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