Indian Palaeography c14.s2: Mathura Styles
Indian Palaeography c14.s2
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Mathura Styles
c14.s2.1
The first series of the inscriptions is included in the ‘Early Group’ (Pl. VIII. 1). In these cases the verticals show the tapering thickness, familiar to us from the inscriptions of the Mathura Śaka Kshatrapas. The medial vowels generally follow the old style, except that medial *i* does not show the tall flourish, but the *anusvāra* is marked by a short line. The development is seen in the form of the initial *a* (Fig. 10. 1*a*). Here prominence is given to the upper left curve while the lower one has an additional tick. The triangular bases of *kha*, *ma* and *va* receive greater attention. *Na* and *ṇa* have optionally bent bases. But *da* retains the older form. Only rarely is the new form with the mouth open to the right seen. *Bha* is of the broad type (Fig. 10. 11*b*) with a notch in the middle. Similarly *ya* has a wider base. *Ra* has its lower tip curved. The subscript *ya* maintains its tripartite form. On the whole the style of writing is pre-Kushāṇa but post-Mathura Kshatrapa. It seems that the end of the Kshatrapa rule of the House of Rañjuvula and Śoḍāsa was followed by disturbances, during which these inscriptions were produced.
c14.s2.2
With the coming of the Kanishka group of the Kushāṇas to Mathura the style of writing changed rapidly (Pl. VIII). This change appears to be the result of the introduction of the ‘pen’ style in the earlier period. The general popularity of writing is evidenced by the large number of private records, which show attempts at reproducing the accepted forms in various ways. A common feature in all these inscriptions is the use of the line head-mark in place of the tapering verticals—a practice which is quite understandable in popular writing. This fact accounts for the poor quality of engraving, in which respect these private records contrast strikingly with inscriptions on the statues discovered at Mat near Mathura. Nevertheless, there is a certain unity of form in all the inscriptions from Mathura, except in two records¹—one the Kanishka inscription of the year 14 (Pl. VIII. 4) and the other the Huvishka inscription of the year 33 (Pl. VIII. 6). The specific letters which distinguish these two from the others are the tailed variety of *ma* and looped variety of *sa* in both, and hooked *la* and *ha* in the first. As these forms became a popular feature in the Gupta records, the date of this inscription of Kanishka has always been doubted. Dr. Lohuizen, on the basis of this doubt, propounded the theory that the inscription omitted the first digit and that it should properly be dated to the 114th year of the Kanishka era. She makes no mention of the inscription of Huvishka. On the other hand, she has included a number of other inscriptions in her re-dated group. But none of these, except one¹ which has a looped *sa*, has the special forms of the Kanishka inscription. Obviously these two inscriptions of Kanishka and Huvishka are intruders in this region. As I shall show, their affinity lies elsewhere, with the Kosam group. To accept this is to reject the whole classification of Lohuizen's thesis, because the remaining discrepancies pointed out by her can be explained on the ground of different hands being employed in the different inscriptions.
c14.s2.3
¹ A newly discovered inscription of Kanishka, dated in the 4th regnal year, uses the hooked variety of *ha*. *Indian Archaeology, A Review*, 1956–7, p. 39.
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¹ *Epigraphia Indica*, ii. 209, no. 37.
c14.s2.5
Leaving aside these two inscriptions, we find minor variations in the others. Among the vowels the forms of *a* and *u* vary much. *A* shows developments in two distinct ways, as shown in Fig. 10. I. In both the varieties the upper left stroke becomes important, but while in (*a*) this upper stroke slants downwards to meet the vertical and the lower stroke maintains its curved form, in (*b*) the upper stroke makes an angle before meeting with the vertical and tries to assimilate the lower stroke, which sometimes appears below the line. Henceforth the variety (*a*) will be called the curved type and variety (*b*) the angular type. The letter *u* rarely slants its base upwards but more often bends its tip downwards. The bend is more marked in the medial *u*. The short *i* has three short lines in place of the dots, while the form of *e* is almost standardized with the apex of its triangle on the left. *O* has its middle vertical inclined. *Ka* has its middle horizontal variously curved, and in *Kha* the triangular base is now prominent. *Ga* has both angular and rounded forms, while *Gha* has its verticals straightened. *Cha* shows variations in the inverted beaked type, sometimes with graceful bends. *Chha* is of the double-looped variety, but the older oval variety is seen optionally. *Ja* maintains the form of the Roman capital letter ‘E’ with its vertical sometimes curved inwards, and rarely outwards, while the lowest arm occasionally bends its tip downwards. The older forms of *jha*, *ṭa*, *ṭha*, *tha* and *ba* continue. The stepped *ḍa* has its angles rounded. *Ḍha* has a more or less squat form. *Ṇa* appears in all the varieties except the open-mouthed one. *Ta* has its lower appendage rounded, but the Deccani *ta* (with its appendage to the right of the vertical) also appears. The round-backed *da* with mouth open to the right now replaces the older type. *Na* has its base variously bent. *Pa* occurs only in the angular variety, with the left arm some-
c14.s2.6
FIG. 10
c14.s2.7
times curved. *Bha* exhibits two distinct lines of development, as shown in Fig. 10. II. In type (*a*) the middle bar slants upwards and the right arm is elongated, both making an angle at the apex. This will be hereafter called the angular *bha*. In type (*b*) the middle bar is elongated and finally notched, with two curved arms at either end. This will be called notched *bha*. *Ma* has its triangular base emphasized by lengthening its lower side. The base of *ya* is flattened and takes various forms, as shown in Fig. 10. III. This base bends gracefully to give differential effect to the three uprights, which receive special attention. The left arm develops its line head-mark into a curl and finally into a loop, and the middle arm inclines to the left, while the right presses downwards to balance the loop in the left. *Ra* has either a straight vertical or a bend at its lower tip. The long vertical of *la* is normally straight or gently curved outwards; only rarely it bends inwards. *Ḷa* continues the older form—the sign of *ṭa* with an additional hook below. *Va* generally has a triangular form, but occasionally a rounded form is also seen. In both cases the upper stem has vanished. *Śa* has mostly the rounded form, with its right arm optionally longer. The inner stroke makes three varieties: in some it is inclined, in others it is horizontal, either halfway or full length. The three arms of *sha* are generally straight, but occasionally curved. Its inner stroke again is of three varieties as in the case of *śa*. The form of *sa* has definite angles, with the left hook usually drawn in one sweep with the left arm. *Ha* has either straight or curved arms, but greater variation is seen in the additional tick. The conjuncts are formed in the usual fashion, but the most distinctive conjunct of the Mathura style is the hooked variety of the subscript *ya*. The tripartite form (i.e. with three uprights on a horizontal base) as a second element in a compound is rarely seen at Mathura.