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Indian Palaeography c15.s6: B V. Gujarat and Kathiawad

Indian Palaeography c15.s6

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B V. Gujarat and Kathiawad

c15.s6.1

This is the region where the Western Kshatrapas formerly held sway. Often they were at war with the Sātavāhanas. The style of writing which developed in this region was the result of the mutual influence exerted by both of them—the Sātavāhanas introducing southern influences and the Western Kshatrapas trying to maintain their northern tradition. The legacy left behind by them is seen in the inscriptions of the Traikūṭakas, the Gurjaras and the Maitrakas. The tendency revealed here is gradually to abandon the southern features and to evolve a simplified style of their own and thus pave the way for Gujarātī. The simplified nature of the style may be due to the copper plates from which the writing is known to us today. But one important fact is remarkable, that no influence of ornamental writing either from the north or from the south is traceable in the style as developed here. The inscriptions are studied in the following groups:

c15.s6.2

(*a*) Pl. XIV. 1 is taken from the Junagadh rock inscription of Skanda Gupta, dated in the (Gupta) years 136, 137 and 138. This inscription does not copy the Gupta forms of other regions, but is completely in the local style. It establishes a link between the writing of the Western Kshatrapas and that which later developed in this region and further provides a source from which the Malwa style of the fifth century was derived. In this as well as all the subsequent inscriptions of this region the head-mark is a simple line. No foot-mark is traceable in any of these inscriptions. In the Junagadh inscription new developments in the medial vowels are seen. These are entirely different from those used in the north. The medial *i* has a circle-stroke, and an additional tick within it makes it a sign for the medial *ī*. The medial *o* in *lo* is cursively drawn by turning the top of the right arm into a tailed loop.

c15.s6.3

Henceforward I shall call it the curve *o* in *lo*. The medial *ṛi* is a curved stroke turned upwards on the left. The medial *ū* has an additional horizontal stroke given to the vertical of *u*. The southern tendency is traceable in the curved tips of *a*, *ka* and *ra* as well as in the vertical type of the medial *u* and the right arm of *la*. The local types are seen in the initial vowels and also in the consonants. The initial *a* has a hook at the bottom of the left limb, and for the long *ā* a slanting curve is added to its right vertical. *I* is of the three-dot form, with two dots on the left and one on the right. *Ū* has its base turned upwards with an additional horizontal stroke within. *E* is triangular with a stem projecting upwards from the right arm. *Ga*, *ta* and *śa* have equal arms meeting upwards in a rounded curve. *Kha* has a short upper hook and a quadrangular loop below. The body of *cha* is almost quadrangular, having a stem on the right. It resembles a foot, and henceforward I will call it the foot type of *cha*. *Ja* retains the form of two curves one above the other. *Ña* as seen in the conjunct *jña* has its full form. *Ḍa* and *da* are round backed. Both *na* and *ṇa* are of the looped type. *Tha* is either oval or quadrangular with a short line within. *Dha* has a broad arc added to the vertical on the right. *Pa*, *pha*, *ba*, *sha* and *ha* have their left arms bent. *Bha* is of the broad type with a notch in the middle. *Ma* has a loop below and two prongs above. *Ya* is of the tripartite form but has no loop at the left arm. *La* has a firm base with its arm curling up towards the left. This type will be henceforward called the curved *la*. *Va* is triangular. *Śa* has its mid-line optionally short. *Sa* has the hook on the left. *Ya* in the conjunct *bhyaṁ* still maintains the tripartite form.

c15.s6.4

*(b) Inscriptions of the Traikūṭakas*

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Pl. XVI. 8 is taken from the Pardi plates of Dahrasena, dated in the (Kalachuri) year 207 (A.D. 457), and the Surat plates of Vyāghrasena, dated in the (Kalachuri) year 241 (A.D. 490). These inscriptions not only preserve the southern characteristics, as seen in *(a)* above, but they also show some further southern features. The most remarkable of these is the adoption of the southern type of the initial *i*, which here has a double roof. A new type of the medial *au* appears in *pau*, in which the two top strokes join together in a curve on the right. This will be henceforward called the curved type of the medial *au*. Other medial vowels are of the same type as in *(a)* above. But the medial *ā* as in *lā* and the medial *e* as in *ne* are sometimes applied to the middle of the letters. This tendency is certainly derived from the practice in the Girnar version of the Aśokan edicts, where in *mā* and *me* the medial vowels are given in the middle. The medial *u* in *gu*, *nu*, *bhu* and *śu* curves upwards—a tendency common in the southern inscriptions. The initial vowels other than *i* are of the same type as in (*a*) above. Of the consonants the looped base of *kha* is almost triangular; both *ḍa* and *da* show the angular back of the south; *ta* has an angular hook attached to the right vertical as in the proto-Nāgarī *ta*; *tha* is a rough oval with a small circle within; *dha* is of the broad type; the left arms of *pa* and *sha* are bent; *ba* is rectangular; *bha* is of the broad type; *ma* has the loop with two top prongs; the right vertical of *la* curves at the top; and *ya* is of the tripartite form with its left vertical dropped, but sometimes we find a loop in place of the latter. In the conjunct *yya* the first letter is tripartite and the second is hooked.

(c) Inscriptions of the Gurjaras

c15.s6.t1.1

Pl. XVI. 9 is taken from the Sankheda plates of Dadda, dated in the (Kalachuri) year 346 (a.d. 595) and the Abhona plates of Śaṅkaragaṇa, dated in the (Kalachuri) year 347 (a.d. 596). Pl. XVI. 10 is derived from the Vadner and Sarsani plates of Buddharāja, dated respectively in (Kalachuri) years 360 and 361, and from another set of Sankheda plates of Dadda, dated in the (Kalachuri) year 391 (a.d. 640). There are other inscriptions of the Gurjaras which have square head-marks. These will be discussed in the next section. The two groups given here illustrate how far the southern influence was affecting this region. In the medial vowels the only noticeable change is in the medial *ī*, in which the circle type has a small circle within it, as in *nī*. But side by side we also find the northern form with its curve turned to the right, as in *vī*. Another northern form is seen in the medial *au* as applied to *pau*. The medial *ā* in *ṇā* is turned upwards as in the north. But in no. 10 the medial *ā* is generally a long vertical on the right of the letter—a feature probably derived from the south and passed on to the north. Among the consonants we find at least one northern type—the open-mouthed *ṇa* of the Kauśāmbī style is used here optionally. We can also note the optional use of the angular *bha* of the north, The southern types are observable in the following—one of the initial *ās* in no. 9 extends the lower curve of the right vertical upwards as in the Chālukyan writing;¹ the initial *e* has a stem and optionally opens its mouth; the looped base of *kha* opens its mouth in no. 10; *cha* in no. 10 is a further development of the foot type; *ba* in no. 10 has its left arm deeply curved inwards; in no. 9 *la* optionally extends its curve downwards. But against these outside influences we notice in these letters a tendency to reduce the curves at the tips of the verticals. The initial *u* maintains the local form as in (*a*) above, and the initial *o* has the ‘z’-form. No change is seen in the forms of *ga*, *ja*, *ṭa*, *ḍa*, *ta*, *da*, *dha*, *pa*, *pha*, *ma*, *ya*, *va*, *śa*, *sha* and *ha*. All these letters maintain the local forms. Similarly looped *ṇa* and *na* are also seen here. In *tha* the inner circle is sometimes replaced by a tick. The distinction between nos. 9 and 10 is well-marked by the development in the medial vowels and the adoption of new forms.

c15.s6.t1.2

¹ See below, p. 184.

(d) Inscriptions of the Maitrakas of Valabhī

c15.s6.t2.1

The inscriptions of the Maitrakas represent what may truly be called the Kathiawadi style of writing. They illustrate the development of writing from the Junagadh inscription of Skanda Gupta. Though extraneous influences are noticeable in some of the letters, we can trace through them a gradual evolution of a simplified local style. The old feature of curved tips seen at the verticals of the letters is retained till the last, though the curvature is gradually reduced in all but *la*. This letter gives importance to its upper curl as is also seen in the later Chālukya and Rāshtrakūṭa inscriptions. Technically the evolution here takes place by a process of simplification. This process will be studied in two stages: (i) the inscriptions of the sixth century a.d. which show a change from the Junagadh writing to the Maitraka style, and (ii) the final development of this style in the seventh century a.d.

c15.s6.t2.2

(i) Pl. XIV. 2 is compiled from the Maitraka inscriptions, dated between (Gupta) years 183 and 210 (a.d. 502 and 529), and Pl. XIV. 3 is derived from their inscriptions dated between (Gupta) years 246 and 286 (a.d. 565 and 605). The medial vowels used in the Junagadh inscription continue in no. 2, but changes are also seen. The medial *ī* optionally uses the northern type of the right curve, and this type ultimately displaces the circle type in no. 3. The curved type of the southern medial *au* is seen here in *mau*, but with the verticals extended downwards. The medial *u* in *ku*, *chu*, *tu*, *bhu*, and *su* is curved downwards, and the medial *ū* in *dhū* shows an additional curved stroke to the left of the curved *u*—a type which is also seen in the southern inscriptions. In the initial vowels the change is seen in *i*, which is now of the roof type, with a notch in the middle of the roof. This roof in no. 3 has a double curve. The initial *ī* is of the common type with a dot on either side of a vertical. The base of *u* curves upwards, and *e* has a stem in no. 2, but in no. 3 it is of the foot type with its mouth optionally open. The curves at the vertical tips of *a*, *ka*, *ra* and *ña* (in the conjunct *jña*) are seen in both inscriptions. *Kha* in no. 2 has an optional form with its triangle at the outer side of the vertical. Both *ga* and *śa* have equal arms meeting in a rounded top, but in no. 3 a head-mark is seen over *ga*. The left arms of *gha*, *pa*, *pha*, *sha* and *ha* have bends, but these are less prominent in no. 3. *Cha* is of the broad type, but the pointed beak is seen optionally used in no. 2. *Chha* is of the double-looped type with its right loop smaller than the left. The two curves of *ja* are now quite distinct, the upper being smaller than the lower. *Jha* has the angular hook but no curved tip. The head-mark is given over *ṭa* and *ṭha*. *Ḍa* is round-backed, with an additional curve attached to its end. The forms of *pha* and *ḍha* are almost identical. Besides the looped types of *ṇa* and *na* we have also the open-mouthed type of *ṇa*. *Ta* shows a definite change in having an angular hook attached to the right vertical, as is later seen in proto-Nāgarī. *Tha* has either a spiral form with the mouth open or a rough oval with a tick within. *Da* is of the round-backed type, while *dha* is broad, with an optional head-mark. *Ba* in no. 3 has a deeply bent left arm. *Bha* is of the broad type, but its middle bar is either straight or slanted upwards with a notch in the middle, the whole approaching the shape of the angular *bha*. *Ma* has the bottom loop, but in no. 2 the loop is almost quadrangular and tilted to the left. *Ya* is of the tripartite form and occasionally has the inner loop or curl at the left arm. The hook and the left vertical of *la* are drawn together in a curve and the right vertical is either short or extends its curl downwards. *Va* is triangular, but its left arm shows a slight notch. *Sa* has a hook on the left, and *ha* either rounds its base or has a gradual bend. In the conjuncts *ya* is of the hooked type as seen in *dhyā*. The *upa-dhmānīya* shows a double loop on a base.

c15.s6.t2.3

(ii) Pl. XIV. 4 is taken from the Nogawa plates of Dhruvasena II, dated in the (Gupta) year 320 (A.D. 639), and Pl. XIV. 5 is derived from the Bhavanagar plates of Śīlāditya IV, dated in the (Gupta) year 372 (A.D. 691). The predominant feature of these inscriptions is the reduction of the curvature at the lower ends of the verticals. In fact this curvature has almost disappeared in no. 5. This inscription also shows the cursive forms of *ṇa*, *ta*, *tha*, *ya* and *la*. The change in the medial vowels is very remarkable. The circle type of the medial *ī* is replaced by the right curved stroke, and the medial *i* has optionally a left curve along with the circle-type. The medial *ā* in no. 5 is generally a long vertical placed on the right of the letters. The top slants in the medials *e*, *ai*, *o*, and *au* are prominent. The medial *ṛi* shortens its curvature. Of the initial vowels *a* has the hook on the left, *i* has a double curve for its roof, *u* has an upturned base, and *e* is of the foot-type with its mouth wide open. *Ka* has the short mid-bar, *kha* has a small hook placed over a broad looped base, and *ga* shows the head-mark. In no. 5 *ga* is of the angular type, and *gha* is simplified into a form with three straight verticals on a base. *Cha* has an almost pointed beak, and *chha* in no. 5 is a cursive form. *Ja* has two curves, the upper one being smaller than the lower. The additional hook in *ḍa* is bent downwards, the form coming closer to *ḷa*. The cursive form of *ṇa* is the three-teeth type, as is already known from the conjuncts of North India. The cursive form of *ta* reduces the left angle to a mere line. *Tha* is almost heart-shaped. *Na* is of the looped type. *Ba* has a notch at the upper arm. *Bha* is nearer to the angular form. *Ma* has the loop at the bottom. *Ya* has dropped its left arm completely. *La* extends the upper curl into a circle and reduces the left limb into an unrecognizable shape. *Va* is tri-angular with a notch at the left arm. *Sa* has the hook on the left, and *ha* has a bend in the base line and a pointed angle on the right. On the whole the writing has become much simplified in no. 5. There are some letters such as *ṇa*, *ta* and *ha* which are similar to the forms in proto-Nāgarī. The medial vowels also incline towards the proto-Nāgarī forms. This tendency to abandon southern features and come in line with the northern character is also to be seen in the later development of the Gujarātī script.