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MISCELLANEOUS
protector of Kāñchīpura ’, etc. The former record is dated in Śaka 1047 and
registers a provision made for maintaining a perpetual lamp in the temple of
Sakalēśvara-Mahādēva by Pinnama-Nāyuṇḍu, son of Viṭṭapa-Nāyuḍu and grandson of Nāmi-Nāyuṇḍu, who was the lord of Māvundalapura. Other members
of this family viz., Maṇḍe-Nāyaka, and his brothers Paṇḍe-Nāyaka and Sāde-Nāyaka are known to us from an inscription of this village copied in previous
years (No. 289 of 1932-33), but their relationship to the chief of the present record
is not known.
The other record No. 346 dated in Śaka 1204, mentions [Erra]-Nāyuṇḍu, son
of Dēvi-Nāyuṇḍu, and his elder brother Kommi-Nāyuṇḍu as the grandsons of
Buddhavarman and registers the provision made for a perpetual lamp by the
former and Pōnti-Nāyuḍu, son of the latter, to god Sagarēśvara-Mahādēva of
Māvundala which is said to be their vṛitti in Koṇḍapaḍumaṭi country. The
chiefs Maṇḍe-Nāyaka, Paṇḍe-Nāyaka and Sāde-Nāyaka referred to above also
claim to have owned Māvundala as their vṛitti. Pōnti-Nāyuḍu of the present
record seems to be identical with the Pōti-Nāyuḍu of the family who figures
as a sāmanta of the Kākatīya queen Rudrāmbā in Śaka 1199 (Ep. Rep. for 1916,
para. 52).
No. 344, dated in Śaka 1077 introduces the Brahman minister Karṇa, his son
Goṅka and the latter’s son Nāma by Kommamā. Nāma or Nāmana who
makes a provision for a perpetual lamp to the god Sakalēśvara-Mahādeva of the
village is described as ‘an ornament to the Yājñavālkya-kula ’ and is said to have
belonged to the Kāśyapa-gotra.
A spurious (?) Persian copper-plate grant.
83. A set of three copper-plates inscribed in Persian characters (C. P. No. 21)
was secured for examination from a resident of Hāvināḷ in the Indi taluk of the
Bijapur district. It was kindly read for me
by Mr. Yazdani, Government Epigraphist
for Moslem inscriptions. It is dated in the 7th Rājab, 992 H. (=1584 A.D.) and
purports to record the grant of some inām with all its rights and the office of muquaddam over the village Mauzai Oj in the Pargana of Bidrūr without the
obligation of renewal of the sanad every year, on two brothers Lakh-Gōvinda and
Kanaka-Gōvinda by king Shah Ibrahim Bādshāh (Ibrahim Qutb Shah) for rather
queen reasons. A reports had been made to the royal court during a Jamābandi in
which all officials high and low had gathered, that these two persons who were muquaddams of Muzai Oj under the sarkār had not paid the revenue (tankawa) amounting to 450 huṇs due from them up to date. They were produced before
the king to whom they represented that they had no income wherewith to pay
the sum. The king being convinced of the helplessness of the two
persons. not only excused them from the payment of the revenue but also
granted them the ināms as stated above. Qutb Shah ruled from 957-988 H.,
while the year given in the sanad is Shahur San 984 corresponding to 991-992 H.,
and as the subject matter is confused and the language is also defective, the
Moslem Epigraphist is of the opinion that the sanad may not be a genuine
document.
Reference to marionette plays and theatre hall.
84. References to marionette play and to dramatic art are found in
three records of this year’s collection. One of these which is in Telugu and
comes from the Cuddapah district (No. 216) is dated in Śaka 1501 and registers the
endowment of the village Chadupurēla as sarvamānya by a certain Chandramayya
to one Pedachiṭṭayya for the performance of screen-dramas (teranāṭakam). The donor who was probably a local chieftain appears to have been himself an
art-connoiseur and composer and an adept in the art of marionette plays, as
indicated by the birudas ‘Bommalāṭa-rayitu ’ and ‘Bommalāṭa-amṛitakavi’
borne by him. The other two records
respectively dated in cyclic years corresponding to A.D. 1722 and 1723 (Nos. 49 and 48)are from Jambukēśvaram near
Trichinopoly, and refer to the donor of a maṇḍapa as Pāṭakam Vaidyappayya, the
son of Veṅkaṭēśvarayya, an instructor in the theatre-hall (nāṭakaśāla-sikshakam) of Vijayaraṅga Chōkkanātha-Nāyak. This theatre was probably attached to the
royal palace situated at Trichinopoly. The Madura and Tanjore Nayaka rulers
are known to have been great patrons of music and other fine arts, and the
present inscriptions from Jambukēśvaram afford interesting epigraphical confirma-
tion of the encouragements given by them to these arts.
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