Indian Palaeography c15.s6.t2: (d) Inscriptions of the Maitrakas of Valabhī
Indian Palaeography c15.s6.t2
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(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.