Indian Palaeography c17.s3.10

c17.s3.10

(i) In this group are included three series of inscriptions: Pl. XX. 7 is taken from Thap Muoi inscription of Guṇavarman; Pl. XX. 8 is derived from Ta Prohm inscription of Rudravarman, with which also agrees the Neak Ta Dambhang Dek inscription of Jayavarman² and the Myson inscription of Śambhuvarman; and Pl. XX. 9 is taken from the Tham Prasat inscription of Mahendravarman and the Phnom Banteai Neang inscription of Bhavavarman. No. 9 represents the latest in the series. There is a marked difference in the style of writing noticed in these inscriptions from that of group A. In these inscriptions only line head-marks are seen, and the influence of stylus writing is noticeable in the frequency of the notches or waves in the lines. The medial vowels are entirely southern. It is further possible to localize the origin of these medial vowels to one of the proto-regional scripts of South India. The most distinctive are the circle-type of the medial *i* and *ī* and the broad curved type of the medial *u*. These are invariably found in the Pallava records beginning from the sixth century A.D. onwards (Pl. XVIII. 5, 6). In the Kadamba records they are used optionally, while the Gorantla plate of Attivarman (Pl. XVII. 11) shows them as an influence from the Pallavas. Other medial vowels show much local development. The medial *ā* has an exceptionally long vertical, as can be seen in *sā* and *hā*, the medial *e* drops down and ends in a curl, while the medial *ai* has one stroke on the top and another below the letter, as in *lai*. No. 9 has a new type of medial *o* in *no*. It has one top stroke on the right and a lower sloping one on the left. The broad type of the medial *u* is applied not only to *bhu* and *gu* as in the Pallava records, but also to *tu*. No. 9 also shows a new type of the medial *ū* in *bhū*, which has a double curved stroke attached to its right vertical. Of the initial vowels we get only *a* and *e*. *E* has a stem over its foot-form. *A* is of two varieties: one with a small curve at the lower end of the right vertical, as in no. 7, and the other with an extended curve, as in no 8. This difference is also maintained in the case of *la*, no. 7 having a small upward curve and no. 8 showing an extended curve. This extension of the curve in no. 8 suggests the continuation of the influence from the western coast. This influence is also to be seen in the recurrence of the looped varieties of *ṇa*, *na* and *ta*, the broad looped base of *kha*, and the narrow upper ends of *tha* and *dha*. However, it should be noted that the looped varieties of *ṇa*, *na* and *ta* were fairly well known on the eastern coast as well. The study of the consonants shows a gradual development of the letters from 7 to 9. The lower curve of no. 9 is extended farther, while *ra* in nos. 8 and 9 has doubled its vertical. *Ga* in no. 9 is of the horseshoe type. All three arms of *ja* are waved. *Ṇa* in no. 9 has double loops as in the Pallava records (Pl. XVIIIa, 9, 11). Another remarkable development in the looped *ṇa* and *na* is seen in their right-hand hooks, which are now turned up. The cursive form of the medial *o* in *lo* is extended below the letter. Other distinguishing forms are those of *śa* and *sha*, which have short mid-strokes attached to the right verticals and are definitely derived from the Pallava records. The same is true in the case of the subscript *sha* in *ksha*. The hooked type of the subscript *ya* has an ornamental bulge on the left. On the whole the writing shows highly ornamental forms ultimately traceable to the style known from the Pallava records of the sixth century A.D.