North Indian Inscriptions

Contents
Index
Introduction
Contents
Contents
Preface
Additions and Corrections
Introduction
Images
Texts and Translations
Part - A
Part - B
Other South-Indian Inscriptions
Volume 1	Volume 2
Volume 3	Vol. 4 - 8
Volume 9	Volume 10
Volume 11	Volume 12
Volume 13	Volume 14
Volume 15	Volume 16
Volume 17	Volume 18
Volume 19	Volume 20
Volume 22 Part 1	Volume 22 Part 2
Volume 23	Volume 24
Volume 26	Volume 27
Tiruvarur	Darasuram
Konerirajapuram	Tanjavur
Annual Reports 1935-1944	Annual Reports 1945- 1947
Corpus Inscriptionum Indicarum Volume 2, Part 2	Corpus Inscriptionum Indicarum Volume 7, Part 3
Kalachuri-Chedi Era Part 1	Kalachuri-Chedi Era Part 2
Epigraphica Indica	Epigraphia Indica Volume 3
Epigraphia Indica Volume 4	Epigraphia Indica Volume 6
Epigraphia Indica Volume 7	Epigraphia Indica Volume 8
Epigraphia Indica Volume 27	Epigraphia Indica Volume 29
Epigraphia Indica Volume 30	Epigraphia Indica Volume 31
Epigraphia Indica Volume 32	Paramaras Volume 7, Part 2
Śilāhāras Volume 6, Part 2	Vākāṭakas Volume 5
Early Gupta Inscriptions
Archaeological Links
Archaeological-Survey of India
Pudukkottai

PART B

4. B 41 â 62 INSCRIPTIONS ATTACHED TO IDENTIFIED SCENES FROM
JĀTAKAS^[1] AND AVADĀNAS

B 41 (700); PLATES XIX, XL

ON a coping-stone, now in the Allahabad Municipal Museum (Av/2925). Formerly only a drawing and a photograph of a fragment published by Cunningham were available. Edited by Cunningham, PASB. 1874, p. 111; Cunningham, StBh. (1879), p. 69; 131, No. 11, and Pl. XXVII and LIII; Hultzsch, IA. Vol. XXI (1892), p. 239, No. 158; Barua-Sinha, BI. (1926), p. 81, No. 192; Barua, Barh. Vol. II (1934), p. 90, and Vol. III (1937), Pl. LXXI (691); Lüders, Bhārh. (1941), p. 133; Kala, BhV. (1951), pp. 28 f., Pl. 35; Sircar EI, Vol. XXXVIII (1959/60), No. 6, pp. 59 f.

TEXT:
haṁsajātakaṁ^[2]

TRANSLATION:
The Jataka of the mallard.

The Jataka was identified by Cunningham with the Nachchajātaka, No. 32 of the Pālī collection, which contains the well-known story of the Golden Mallard, the king of the birds, who allows his daughter to choose a husband after her own heart from amongst his subjects. Her choice falls on the peacock, who overjoyed begins to dance and in doing so exposes himself. Shocked at this indelicacy, the king of birds refuses him his daughter. The sculpture is fragmentary. The lower half and portions of both sides are broken off, but enough remains to show that it represented a mallard and to the right of it a peacock with outspread tail. If the fragment, a photograph of which has been published together with the drawing, formed part of the sculpture, some more mallards are represented in the lower left corner showing their back to the exposed peacock.

B 42 (695)^[3]; PLATES XIX, XLI

ON a coping-stone (No. 11), now in the Indian Museum, Calcutta. Edited by Cunningham, PASB. 1874, p. 115; StBh. (1879), p. 77 f.; 130, No. 6, and Pl. XLVII and LIII; Hultzsch, ɀDMG. Vol. XL (1886), p. 61, No. 7 and Pl.; IA. Vol. XXI (1892), p. 227, No. 7; Jātaka translated…under…Cowell, Vol. III (1897), Pl. only; Barua-Sinha, BI. (1926), p. 88, No. 207; Barua, Barh. Vol. II (1934), p. 125 f.; Lüders, Bharh. (1941), p. 134.

TEXT:
biḍalajatara^[4] kukuṭajataka

TRANSLATION:
The Jataka of the cat (also called) jataka of the cock.

____________________________
^[1]A label containing the word jātaka appears also in the fragmentary inscription B 80.
^[2]Cunningham’s eye-copy has haṁsajātaka. The editors would prefer to translate haṁsa by ‘wild gander’.
^[3]Lüders’ treatment of this inscription (B 42) has been lost.
^[4] ra may be a clerical error for ka.

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