365bet娱乐

As indicated in the General Introduction to this study, we will try to reiterate here some of the important conclusions that are already obtained through discussions in the foregoing Chapters. We have seen that a major portion of this text is devoted to the tantric worship of goddess Samrajya-lakshmi and other rituals performed by a king. The ceremonies of propitiating the goddess Samrajya-lakshmi or other god-heads are seen to be done with two primary objectives namely, to obtain and extend the dominions and stabilise it when secured. Other profane subjects like forts and castrametation, hypology, oneiromancy, archery, royal behaviour at various occasions, etc. Which are detailed in Samrajya-lakshmi-pithika as useful for an ambitious Hindu Emperor also, appear to be directed towards similar end. Thus, the work can best be summed up as a tantric treatise and a royal encyclopaedia at the same time and the one, which is devoted to the expansion and maintenance of an Empire.

632 Other works of this genre also contain informations on various useful subjects and with still greater details. Sarngadhara-paddhati classifies its subject-matter in such a way so as to encompass the four-fold objectives of human life, viz. Dharma, Artha, Kama and Moksa and so also, Sivatattvaratnakara which in a big way follows this line of approach. "Introduction to Sivatattvaratnakara ...", Journal of Oriental Institute, Baroda, Vol.XXX, 1980, p.60). We observe that Sivatattvaratnakara is written by (See Ganesh Thite Basava Bhupala with the express purpose of educating his son Svarupasekhara and as such, the author consciously tries to make it a 'compendium of contemporary knowledge' by incorporating material from Smrtis, Puranas, treatises on polity, Saivism, music, medicine, erotics, culinary arts etc. Likewise, king Somesvara, the author of Manasolla sa proclaims in the beginning of his work that he is writing a book 'that teaches the whole world' (jagadacarya-pustaka) (Manasa.1.10) and with such motive, when written, his work also has become not different from the works mentioned above.

633 Samrajya-lakshmi-pithika on the otherhand, appears to carry a more pointed objective of paving way for the two-fold royal objective of extending and stabilising the domains of an empire. Our author neither intends to consciously write an encyclopaedia nor he puffs of boasting that his work is a 'teacher of manking'. In contrast, we observe that this treatise, as a successful tool in the hand Emperor is surreptitiously meant to be a serect document. Thus, though somewhat encyclopaedic in its nature Samrajya-lakshmi-pithika cannot in full measure, be said to tantamount to works which are consciously written to be encyclopaedias. of an Further, it is seen that Samrajya-lakshmi-pithika is characterised by distinctions for which neither of these works can lay any claim. For example, For example, Samrajya-lakshmi-pithika is seen to contain numerous tantric rituals, meant for expansion and maintenance of a kingdom which are conspicuously absent in other texts. Also, we observe that while describing the normal life of a king, Samrajya-lakshmi-pithika projects him to be ideal in every respect so much so that his behaviour is worthy of being emulated by hi subjects and subordinates. Thus, it is observed that Samrajya-lakshmi-pithika breathes a sort of puritanical atmosphere in which the king is portrayed to grow from strength to strength. As a result of such an attitude maintained by our author

634 possibly, in Samrajya-lakshmi-pithika are not described that royal pomp and grandeur, amusements and enjoyments, merriment and revelry, which so often, and with gusto are described in other texts. On the otherhand, royal duties and obligations appear to weigh heavy for our author which are so prominently described in Samrajya-lakshmi-pithika We may even say that Samrajya-lakshmi-pithika enshrines in itself a sort of royal code for ideal conduct as per the tenets of Hinduism. And, this we note, is a singularly significant matter. Thus, we see that the image of the king of Samrajya-lakshmi-pithika is shown to be made resplendent not by basking in the sunshine of enjoyment but by treading the pure and sanctified path of a pilgrimage. Other subjects like archery, horses and elephants etc. though detailed here, do not appear to substantially contribute anything new and are purposively culled and collected from ancient sources, to contribute and further the twin-purposes of attainment and consolidation of an empire. It may be further noted here that Samrajya-lakshmi-pithika while dealing with its details magically ascribes good and bad results to everything a king is expected to do. Whether he stays in a particular type of fort-palace, leads a hunting expedition,

635 a vrata or festival - all occupies a throne or performs a vrata these are characterised by, and associated with a number of magical properties which we discover throughout the text. Thus, we find that Samrajya-lakshmi-pithika, like other encyclopaedic works is not merely 'a compendium of contemporary knowledge' or a 'treatise that purports to teach the world' but it represents a special class of anthological literature which has a place of its own, because of its propagation of a host of magico-religious details than informations on other arts and crafts, it contains. (Cf. G.U.Thite, "Samrajya-lakshmi-pithika of Akasabhairavakalpa ..." Sambodhi, Vol. VII, 1978-79, p.52). The religious atmosphere which is built in the text also portrays the tolerant picture of religious eclecticism and is free from the parochial preachings of sectarian cults like Saivism or Vaisnavism. A survey of subject matter of Samrajya-lakshmi-pithika, more specifically, its rituals, propitiation of planets, Santis and royal duties etc. when compared to those of Smrti works like Yainyavalkya, Brhatparasara or Harita reveals a sort of close proximity. And, the glorification of Vratas,

636 festivals, pilgrimage etc. preached through the medium of old anecdotes, narratives and citation of examples of ancient kings like Sagara, Dilipa, Rama etc. frequently resorted to by Samrajya-lakshmi-pithika, reminds us of similar techniques adopted by the Purana texts. The dialogue form, the Anustubhi metre, the lucid and flowing diction, all of which are chosen to be adopted by our author also betrays similarity to those of a Smrti like Parasara, Vrddhaharita or Puranas like Padma or Kalika. In these respects we do not observe any striking similarity of Samrajya-lakshmi-pithika with pure political treatises like Arthasastra, Sukraniti or Kamandakiyanitisara Thus, in the treatment of its subject-matter, in its form and style Samrajya-lakshmi-pithika is found to resemble more to an amalgam of Smrti and Purana texts given to Rajadharma than to a work on politics like Arthasastra Further, we observe that Samrajya-lakshmi-pithika through the description of goddess Samrajya-lakshmi (2 nd Patala), her environment, entourage, retinue, etc. and by providing her formula (3 rd Patala), diagram (4 th Patala) and details of instruction on her worship, oblations, etc. (13 th and 14 th patalas), evolves and raises the abstract concept of prosperity of a state which we find mentioned as such -

by poets and authors¹ - 637 to the concrete and anthropomorphic picture of a goddess, powerful enough to bestow power and glory, when rightfully propitiated by a righteous and deserving emperor (1.11-12). In this way it is observed that through the text of Samrajya-lakshmi-pithika, more specifically, at the hand of our author, goddess Samrajya-lakshmi is added to the pantheon of Hindu goddesses. This entails a significant contribution of our text to Indian ritualistic tradition in one hand and mythology, in the other. Regarding some of the unique features of the text of Samrajya-lakshmi-pithika it may be pointed out here that in its description of the Navaratra festival, more specifically, in the context of the pyrotechnic display of 'light' and 'sound' 1. Some of the occurences of the word Samraivalaksmi are as follows: Bhagavatapurana (3.1.36), Brhatsamhita (5.20), Kathasaritsagara (4.3.69-70), Navasaha sankacarita (18.68), Yuktikalpataru (Calcutta, 11917, p.181), Vikramankadevacarita (1.40,3.2,3.50,12.41), The author of Yasastilakacampu names the third chapter as Rajalaksmivinodana, HammIramahakavya (8.38,49 and 110), Adbhuta sagara (Benaras, 1905, p.4) and Bhaminivilasa (2.33).

638 (107,29-32) Samrajya-lakshmi-pithika provides one of the earliest documentations of use of fire-works in India for purposes of entertainments 2 at festivals. Also, it is felt that the elaborate references to twentyfive entertainments, the pageantry and tableaux (107 Patala) which carry a sort of preponderance of militaristic and cultural elements, reviewed by the king amidst mirth and gaiety at public celebrations during Navaratra remind us of similar ceremonial practices of the modern-day march-past of a military contingent in the first place and secondly, unfolds before us the prototype of a recent picture akin to what we observe during Republic Day and such other celebrations. In view of such overall importance of Samrajya-lakshmi-pithika as a varitable Source-Book of royal traditions of the famous kings varitable of Vijayanagar, we feel that our modest attempt in this thesis in bringing to light the mine of informations provided by Samrajya-lakshmi-pithika, which more or less remained neglected so far, seems not far from being whole-some and rewarding. 2. Cf. P.K.Gode, "The History of Fireworks in India", Gode, P.41 where the learned author gives credit to the Vijayanagara kings namely, Devaraya for the use of fireworks as a source of entertainment during festive occasions and mentions this as one of earliest recorded uses of gunpowder in India for purposes of entertainment and amusement.