Edited and
translated by Rajendra Shakya
Created: 2018-01-11;
Last modified: 2018-11-26
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[1r]
1श्री\ 1श्रीभगवती[1r]
Śrī Bhagavatī – 1
[Seal with the inscription "Śrī Ṣaḍānanda [18]72"]1
Having received the original, the priest Ṣaḍānanda Gubhāju2 puts [his] seal to the copy in attestation that the copy is true to the original.
Hail! A letter from Prime Minister and Commander-in-Chief General Jaṅga Bahādura Kũvara Rāṇā, the venerable prince born of a prince.
Āge: To the elders (tharī), headmen (mukhiyā), respected persons (bhalā mānisa), pradhānas, village agents (gauruṅ), landholders (raitī) and all others of Palāñcoka.
Yathocita uprānta: We have issued [lit. allowed to be signed] a directive that instructs the amālī to launch an investigation of and punish anyone there who cuts [flowers] in the garden(s) or clears forestland belonging to [Śrī Bhagavatī]3 , or forestland above the Dhārāpānī Kheta irrigation channel that has remained protected since times past.
Tuesday, the 2nd of the bright fortnight of Vaiśākha in the [Vikrama] era year 1906 (1849 CE). Auspiciousness.
It is unclear what specifically, if anything, prompted Jaṅga Bahādura to take measures to protect land set aside for Palāñcoka Bhagavatī. It is interesting that Ṣaḍānanda Gubhāju, the temple priest, has a seal of his own, though this is perhaps not so surprising, given the temple’s renown. The number 72 may be an abbreviated form of VS 1872, the year the priest possibly began to serve the deity or else was first authorized to use a seal of his own.
Situated some 50 km east of Kathmandu, Palāñcoka Bhagavatī is one of a quartet of Bhagavatī temples, the others being Naksāla Bhagavatī and Śobhā Bhagavatī in Kathmandu and Nālā Bhagavatī in Kabhrepalāñcoka District. A popular legend credits the creation of all four figures to the same artist, who first attended to the Palāñcoka Bhagavatī. The result was a masterpiece, and hence his fingers were cut in an attempt to prevent him from creating a duplicate. But he still managed to create the other three, even after losing his fingers and then an arm each after creating the third and the fourth figures (Slusser 1998: I, 309–310). M. Slusser believes that the figure of Naksāla Bhagavatī "is almost certainly a work of the twelfth or thirteenth century, while the Palanchok and Sobhā Bhagavatī images are both products of the period of the Three Kingdoms. The Nala image is undatable" (ibid.: 310), but she presumes that it belongs to the same period as the Naksāla Bhagavatī, as both closely compare with each other in size and form.