महाराणा कुम्भा (हरविलास सारदा - मेवाड़ साम्राज्य के अद्वितीय विजेता, निर्माता व विद्वान्)

Maharana Kumbha. deity; especially the Kiner or oleander, which grows in great luxuriance on the Aravalli. Groves of bamboo and mango were formerly common, according to tradition; but although it is deemed sacrilege to thin the groves of Bal, the bamboo has been nearly destroyed: there are, however, still many trees sacred to the deity scattered around."¹ The temple of Eklingji is dedicated to Mahadeva or Siva. Bappa Rawal is said to have built the original temple. It was rebuilt by Maharana Mokal who built a wall round it. Maharana Raimal greatly improved it and iustalled a four faced image of Siva in it in V.S. 1545 (A.D. 1488). Maharana Kumbha renovated² the temple, constructed the magnificent Kumbhaman- dapa (domed hall) in front of the sanctum sanctorum and the toran (archway) leading to the mandapa (dome). He presented the temple with the gold flagstaff and numerous Kalus and bestowed on the temple for its maintenance, the four villages of Nagada³ ¹ Tod's Rajasthan, Vol. I, p. 515. ² Kumbhalgarh Inscription verse, 241. ³ Nāgada, in olden days a famous town, was the capital of the rulers of Mewar. It is situated not very far from Eklingji. 157

Maharana Kumbha. Kathdāwan, Malak-Khera and Bhimān.¹ The temple of Eklingji is of an unusual design having a double storied porch and a double storied sanctuary, the former covered by a flat pyramidal roof composed of many hundred circular knobs, the latter roofed by a lofty tower of more than ordinary elaboration. “It would be difficult to convey a just idea of a temple so complicated in its details. It is of the form commonly styled pagoda, and, like all the ancient temples of Siva, its sikhara, or pinnacle, is pyramidal. The various orders of Hindu sacred architecture are distinguished by the form of the sikhara, which is the portion springing from and surrounding the perpendicular walls of the body of the temple. The sikhara of those of Siva is invari- ably pyramidal, and its sides vary with the base, whether square or oblong. The apex is crowned with an ornamental figure, as a sphynx, an urn, a ball, or a lion, which is ¹ Tod's Annals and Antiquities of Rajasthan, Vol. I, p. 515. The shrine of Eklingji is endowed with twenty-four large villages from the fisc, besides parcels of land from the chieftains. 158

Maharana Kumbha. called Kullus. When the sikhara is but the frustrum of a pyramid, it is often surmounted by a row of lions, as at Bijolli. The fane of Eklingji is of white marble and of ample dimensions. Under an open- vaulted temple supported by columns, and fronting the four faced divinity, is the brazen bull, nandi, of the natural size; it is cast, and of excellent proportions. The figure is perfect, except where the shot or hammer of an infidel invader has penetrated its hollow flank in search of treasure. Within the quadrangle are miniature shrines, containing some of the minor divinities. The high priest of Eklingji, like all his order, is doomed to celibacy, and the office is continued by adopted disciples. Of such spiritual descents they calculate sixty- four since the sage Harita, whose benediction obtained for the Guhilot Rajput the sove- reignty of Chitor. The town of Eklingji is separated from Nagada by a lake, which is one of the many artificial waters that beautify the Udaipur valley, and its bund or dam was built by 159

Maharana Kumbha. Bhogaditya, five generations before Bappa, and has since been frequently repaired. It is shut in by wooded hills, and on its western margin are two interesting temples, both ranking high as specimens of ancient Hindu architecture. OTHER TEMPLES. Following the example set by Maharana Kumbha, the people of Mewar following different faiths constructed several fine temples and dedicated them to the gods of their worship. In Ranpur itself, Porwad mahajan Vanshisagar’s son Kurāpal’s son Ratna, and Ratna’s sons and grandsons built with Maharana Kumbha’s permission in S. 1496 (A.D. 1439), a magnificent Chaumukha (four faced) temple called Trilokyadipak (the light of three worlds) dedicated to Yugadishwara. This is one of the notable temples of the Jain faith in India. Shah Gunaraj, who was a favorite of Maharana Kumbha, built temples in Ajahari (Ajari), Pindarvataka (Pindwara)—both at present in the Sirohi territory—and Salera (Mewar) and renovated many old temples.¹ ¹ Bhavanagar Inscriptions, pp. 114-15. 160

Maharana Kumbha. Maharana Kumbha’s treasurer Vela son of Sah Kelá built a temple at Chitor and dedicated it to Sāntinath.¹ Similarly a Siva temple on a hill near the Sema village, not far from Eklingji, and several Jain temples in Vasantpur, Bhula and other places were built in Kumbha’s time. This shows that in Kumbha’s time, Mewar was in a very prosperous condition and the people were rich and happy. SINGAR CHANVRI. Midway between the Nava Lakha Bhandar and the Nava Kotha, built by the imposter Banbir in A.D. 1537, and near the Tower of Victory, stands the “graceful and richly carved”² building called the Singar Chanvri or Vedi built by Bhandari Velaka or Velā, son of Sah Kela, Maharana Kumbha’s treasurer, in V. S. 1505 (A.D. 1448-49). The building is square in plan with four wings projecting from its four sides and raised on a plinth some 5 feet in height. The main or central chamber of the Singar-Chanvri measures 22' internally both ways. Entrances ¹ Rajputana Museum Report for 1920-21, p. 5. ² Cunningham's Archæological Survey Report, Vol. XXIII, p. 118. 161

Maharana Kumbha. are from the north and west, the sides east and south being filled by trellis windows. In the centre of this building, and raised 4'1" from its floor, is a fortytwo-sided and highly ornamental vedi, or alter, which supports four carved pillars each 7' high and bearing lintels 1'3" deep; thus the total height of the vedi is 8'9". This vedi is at present uncovered, save by the cupola of the temple itself, and the area between its pillars is 9 square feet. Along the edges of the vedi, run small water channels with outlets at the angles The centre part of the building is covered by a circular Jain dome built in horizontal layers richly ornamented. The exterior walls are beautifully sculptured in horizontal bands containing numerous figures and floral scrolls and are worth study by any one who is a carver. The original roof terminations of the central chamber and porches of the building have disappeared. There is a perfect figure of Paraswanath over the west entrance and a less perfect one above the door to the north. Its architecture is admirable and the building, although small, is one of the most attractive in Chitor. 162

CHAPTER XIV ————— KUMBHĀ AS A SCHOLAR. GREAT as Kumbhá was as a sovereign and a military commander, he was also a great scholar and poet. The Kumbhalgarh Ins- cription says that it was as easy for him to write poetry as it was to go to battle. It is marvellous how, while constantly engaged in warfare, defending his empire against his foes, conquering new territories and adding them to Mewar, building forts, strengthening the defences of the country, embellishing it with works of art, continually moving from one part of the country to another, the Maharana could find opportunities to develop his literary abilities, and time to write poetry, compose dramas, annotate old poems and write treatises on the science of Music. The important contemporary work, Eklinga Mahatmya¹ shows that Maharana Kumbhā knew the Vedas and was well-versed in the ¹ Eklinga Mahatamya, Rajvarnan Adhyaya, slokas 172—73. 163

Maharana Kumbha. Smrities (law), Mimansa (philosophy), Natya Śastra (Drama) Rajaniti (Political Science), Ganita (mathematics); Vyakarana (grammar), Upanishads (metaphysics) Tarka (logic) and Sahitya (general literature). He knew the Karnataki, the Maháráshtri and other languages. The commentary on Gita Govinda, named Rasika Priya and the last part of Eklinga Mahatmya, which was written during Kumbha's time, show that he was a great Sanskrit scholar, and that he wrote good poetry with as much ease as prose. The former work contains quotations from nume- rous Sanskrit works and shows that Kumbhá was a man of extensive reading. The last part of Eklinga Mahátmya is a lyric and its poetry is sweet and musical, and full of grace and beauty. The Eklinga Mahatmya, sloka 74, men- tions four dramas¹ written by him. This would show that he was a scholar of Prākrita, like the famous Chauhan Emperor Visaladeva; ¹ Also Chitorgarh Kirtisthambha Inscription, V. 158. 164

Maharana Kumbha. but, as none of his plays has so far been discovered, it is neither possible to speak of his proficiency in the Prákrita, nor to assign him a place due to him amongst the dramatists of India. The Kirtisthambha Inscription, verse 158, says that in his four dramas he made use of Karnataki, Medapati and Maháráshtri langu- ages, and adds that in Nātaka (play par excellence), Prakarana (play that takes a less elevated range than Nātaka) Vithi (one act play performed by one or two actors) Nātakā (a play in four acts), Bhán (monologue in one act), Prahasana (farcical or comical satire in one act), Rupaka (drama generally) he was a new Bhārata. He was an accomplished musician and possessed a knowledge of the science, un- equalled in his time. He was a most accomplished player on Vina, the noblest musical instrument invented by the Hindus. He was regarded as the highest authority on music; and because of this, the title of Abhinava Bharatáchárya (new Bharatá- 165

Maharana Kumbha. chárya), as distinguished from the old Bharatáchárya, the authority on Natya Sastra in ancient India, was conferred on him.¹ His works² on the science of music, Sangitarája, Sangita Mīmānsá, Sudpra- bandha, and Rasika Priyá³ (commentary on the celebrated master piece, the lyric poem Gita Govind) and his commentary on Sangita Ratnakar are evidence of his mastery of the science. He composed numerous poetic invocations to gods to be sung in various Rāgs accompanied by different Tāls. They are to be found in the Eklinga Mahatmya. Among other works known to have been written by him is a commentary on Chandi Shataka.² Himself a great scholar, Maharana Kumbha always valued men of learning, and showed them respect and appreciated their work. ¹ Kumbha's commentary on Gita Govind, p. 174. (Nirnayasagar Press, Bombay.) ² Chitorgarh Kirtisthambha Inscription, V. 157. See also Catalogue of Mss. existing in the Central Provinces, by F. Keilhorn, Nagpur, 1874 A.D. ³ Ibid, V. 158. 166

Maharana Kumbha.

The poets Atri, the composer of the first portion of the inscription on the Tower of Victory, and Mahesh, the composer of the remaining portion of it, lived in his court. He took great interest in architecture, as is clear from the magnificent buildings and works of art constructed during his time in Mewar—at Chitor, Abu, Kumbhalgarh, Ránpur and other places. A number of books on this noble art were written under his auspices, some of which have come to light. The following eight books on architecture and sculpture were written by Maharana Kumbha's architect Mandan,¹ son of Çrikshetra (vide Abfrecht's Catalogus Catalogorum, Part I., pp. 730-1, Leipzig, 1891 A.D. ( १ ) देवतामूर्तिप्रकरण        ( ५ ) वास्तुमण्डन ( २ ) प्रासादमण्डन          ( ६ ) वास्तुशास्त्र ( ३ ) राजवल्लभ              ( ७ ) वास्तुसार ( ४ ) रूपमण्डन              ( ८ ) रूपावतार ¹ A copper plate inscription of S. 1462 (A.D. 1405) in the possession of Champalal, a descendant of Mandana at Udaipur shows that Sutradhara Mandan was a native of Gujrat and had been brought to Udaipur by Maharana Mokal, father of Maharana Kumbha and granted a village for maintenance. 167

Maharana Kumbha, Three other works on architecture by Mandan's son Govind, are उद्धारधोरणी, कलानिधि, द्वारदीपिका, Mandan's brother Natha, wrote वास्तुमंजरी. All these works are in existence at Udaipur and were seen with Champalal, a descendant of Mandan, by Prof. S. R. Bhandarkar, as mentioned by him in his "Report of a Second Tour in search of Sanskrit manuscripts in Rajputana and Central India in 1905-6 A.D." Maharana Kumbha himself wrote a treatise on the art of building Kirtisthambhas (Towers of Victory or Fame), based on principles of Jaya and Aprajit, and had it engraved on stone tablets and fixed in the lower part of the Tower of Victory. A part of the first tablet, found at Chitor and since deposited in the Udaipur Museum, gives Maharana Kumbha- karan's description of the characteristic features of Towers according to Jaya and Aprajit 168

CHAPTER XV.

INSCRIPTIONS AND COINS. INSCRIPTIONS. MORE than 60 inscriptions of the time of Maharana Kumbha have been discovered. The earliest inscription is dated the V. S. 1491 (A.D. 1434) and the latest, V. S. 1518 (A.D. 1461). Many of them are of the great- est importance to the history of India in general and of Rajputana in particular. They have thrown a flood of light on the history of Rajputana and elucidated several obscure points in the history of Mewar. It is due to the discovery and deciphering of some of these inscriptions that the splendid achieve- ments of this great monarch have become known, and it has become possible to appre- ciate his elevated character, his great attain- ments, and his high position among the great monarchs of India. A few of these inscrip- tions are described below :— 169

Maharana Kumbha.

1. The earliest stone inscription of the time of Maharana Kumbhā is that dated the Kārtik Sud 2, V. S. 1491 (A D. 1434) and is in the possession of yati Khemsāgar in the village Delwārā Udaipur State. It records that, during the victorious reign of Rana Kumbha- karna, 14 Tankas (silver coins) were allotted for the worship of Dharmachintāmani Temple as detailed below :— 5 Tankas from the Māndavi (custom house); 4 from the Mapa tax (octroi); 2 from Manaheda- vatā tax ; 2 from Kharivata (Salt tax); and 1 from Patasutriya (cloth tax) of Delwara. This Inscription is published in Jainacharya Vijayadharmsuri's booklet Deva Kulapātak, p. 22.
2. Copper plate inscription of Asādh Vad Amāvasyā, S. 1494 (A.D. 1437) found in the village Nāndiya, (Sirohi State), and at present deposited in the Rajputana Museum, Ajmer. It records a grant of a well and land to one Prabhā Brahmin. (Unpublished).
3. Inscription of Māgh Sud 11, Thurs- day, S. 1494 (A.D. 1437) engraved on the pedestal of the magnificent image of Adbhudhji (Śāntinath) in the Jain temple of Adabada-

170

Maharana Kumbha. nāthji in the town of Nāgadā. It is trans- cribed in The Bhāvanagar Inscriptions, page 112. It records the erection of the image of Sāntināth by Sāh Sārang in the temple during the time of Maharana Kumbhā. 4. The celebrated Rānpur Temple Inscrip- tion of V. S. 1496 (1439 A.D.). This inscrip- tion and an English translation of it were first published by Mr. Peter Peterson in his Bhāvanagar Inscriptions. Dr. D. R. Bhandar- kar, in his excellent article on the Ranpur Temple, contributed to the Annual Report of the Archæological Survey of India for 1907-8, re-translates the inscription (p. 216). The inscription is engraved on a stone built up in a pillar to the left of the entrance into the Chaumukha Temple at Rānpur, about 6 miles from Sadadi in the Jodhpur State. The stone, a slab of white marble, mea- sures 3'.3" by 1'.1', and contains 47 lines of Sans- krit prose. It is well preserved. The inscription after stating that Sri Bappa was supreme ruler of Mewar in V. S. 1496, gives the genealogy of the Kings of Mewar upto Maharana Kumbha- karan, incidentally mentioning Rana Bhuvana 171

Maharana Kumbha.

Simh as the conqueror of Sultān Allauddin (Khilji) and the Chauhān king Kituka, and Rana Lakhshman Simh as the vanquisher of the king of Mālava (Malwa). Of Maharana Kumbhakaran, the inscription says:— “The lion of the forest, viz., (his) family, the king Rana Sri-Kumbhakarna, who had demonstrated the pride of the effulgence of a conqueror by seizing, in mere play, the several great fortresses (such as those) of the very inaccessible and impregnable Saramgapura, Nāgapura, Gagarana, Naranaka, Ajayameru, Mandora, Mandalakara, Bundi, Khatoo, Chata- soo, Jana, and others; who was like the lord of elephants, being exalted by his own bhuja (arms) and having acquired many bhadras (auspicious qualities, or elephants of a particular class); who was the lord of birds i. e. Garuda, in having destroyed hoards of snakelike Mlechchha kings, whose foot-lotus was caressed by the rows of the foreheads of the kings of various countries, whose obstinate resistence was baffled by his terrible staff-like arm; who was a Govinda for his amorous dalliance with the faithful and love- ly Lakshmi (goddess of sovereignty or the

172

Maharana Kumbha. goddess Lakshmi); by the spreading of whose valour, which acted like wild fire to burn the thicket of bad polity, droves of beasts, viz., all the powerful hostile kings, were fleeing away; whose title as the Hindu Sultān was proclaimed by the umbrella of royalty given (him) by the Sultans protecting Gurjaratra and the territory of Dhilli which were occupied by his great exploits; (who was) the asylum of the sacrifice of gold; who was the suppor- ter of the duties (enjoined) in the six systems of philosophy; who was the ocean to the river, viz., his quadripartite army; who imitated Sri-Rama, Yudhishthira, and other kings by his fame, virtue, protection of his subjects, truthfulness and other qualities." 5. A big stone inscription of Māgh Sud 5, V. S. 1500 (25th January, A. D. 1444), fixed in a wall in a temple of Krishna on a hill near the village of Kadiyān about 15 miles from Udaipur. It records that during the reign of Maharana Kumbhā, a Brahmin named Tilla Bhatta built the temple of Krishna. Tilla Bhatta is stated to have belonged to the 173

Maharana Kumbha. Bharadwaja Gotra and his two predecessors were Sihad and Villa Bhatta. Tilla Bhatta had received honours from Maharana Kumbha. (Unpublished). 6. Rupāhéli Inscription.—An inscrip- tion engraved on the back of a Jain image in the Jain temple at Rupāheli (Mewar). It is dated the 1st day of the dark half of Ashādha, Samvat 1505 (A.D. 1448) and records that the image was set up by Sā (Saha) Sāliga, his wife Hānsū, their son Narasinha, his wife Jivani, their son Israna and his wife Lisi; all belong- ing to the Ukesa (Oswāl) family and Malya Gotra. See Report of the Rajputana Museum, Ajmer, for A.D. 1926, p. 2. 7. Four inscriptions dated the full moon day of the bright half of Mārga (Margasirsha), Sam. 1505 (A.D. 1448) recording the installa- tion of the images of Sridhara, Krishna-Rukmini, Rama-Lakhmana and Madhava-Tulasi by Maharana Kumbhakarna of Mewar. The inscriptions are engraved on the pedestals of the images which are placed in the niches of the Mandapa of the temple of Kumbha- 174

Maharana Kumbha. svami at Chitor. Vide, The Rajputana Mu- seum Report for 1917-18, p. 2. 8. An Inscription engraved on a pillar in the temple, known as Singār Chanvri at Chitor. It is dated Samvat 1505 (A.D. 1448). It refers to "the time of Rana Kumbha- karna (Kumbha), son of Rana Mokal, son of Rana Lakha." It records the erection of a temple of the Jain Tirthankara Santinatha by Bhandāri Velaka, son of Saha Kelha, the treasurer of Rana Kumbhakarna (Kumbha). It mentions Velaka's wives Vilhanadē and Ratnadē, and his sons Mundharaja, Dhanaraja and Kumarapala. The consecration was per- formed by Jinasenasuri of the Kharatara- gachchha. It also mentions the names of the Jain pontiffs Jinaraja, Jinavardhana, Jina- chandra, Jinasagara and Jinasundarasuri in order of succession. Pandit Udayasilagani is also mentioned as paying his obeisance. See Rajputana Museum Report for 1920-21, p. 5. 9. Inscription of Asādh Sud 2, S. 1506 (A.D. 1449) engraved on a pillar in the court- yard between the famous temples of Vimal Shah and Tejpāl at Abu. It records the abolition, 175

Maharana Kumbha. at the request of the Maharana's minister Dunger Bhoja, of the Pilgrim tax, Customs, Valhavi (armed escort) and Chaukidari and Cattle taxes levied in Abu in those days. This inscription is published in the Nāgari Prachāriṇī Patrikā, New Series, Vol. I, p. 450-51. 10. An inscription on a perforated stone window in the second storey of the Kirti- sthambhā (Tower of Victory) of Maharana Kumbha at Chitor. It is dated the 5th day of the bright half of Phālguna, Samvat 1499 (A.D. 1443). It belongs to the reign of Maharajadhiraja Maharana Kumbhakarna (Kumbha) and records the offering of obeisance to god Samiddhesva (Samiddhesvara) by Sūtradhara (architect) Ja-i-ta (Jaita) and his two sons Nāpā and Punjā. (Unpublished). 11. An inscription engraved on the pedestal of a Jain image lying in the Jain temple at Vasantgarh in the Sirohi State. The inscription is greatly defaced. It is of the reign of Maharana Kumbhakarna of Mewar and is dated Wednesday, the 11th day of the bright half of Māgh, Samvat 1507 (A.D. 1450). 176