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Samudramanthana yksdfiz;lkfgR;xzUFkekyk&36 Published by Registrar SAMUDRAMANTHANA Rashtriya Sanskrit Sansthan (Deemed University) 56-57, Institutional Area, Janakpuri New Delhi-110058 EPABX : 28524993, 28521994, 28524995 Gram : SAMSTHAN E-Mail : [email protected] Website : www.sanskrit.nic.in ISBN : 978-93-86111-80-7 Author San Sarin Edition : 2012 Price : 350/- &j Printed at : Amar Printing press Rashtriya Sanskrit Sansthan Vijay Nagar, Delhi (Deemed University) E-mail : [email protected] New Delhi Tel. 9871699565, 8802451208 ( iv ) critical notes on each and every word. Here his deep knowledge of Sanskrit Grammer is evident. He has in his introduction provided us with the comperitive study of “Samudramanthana” of Matsya-Pur¹ªa, Vi¬ªu Pur¹ªa, FOREWARD Bh¹gavata Pur¹ªa and Mah¹bh¹rata. As it is noted by Mr. San Sarin in his introduction – San Sarin, worthy scholar of Sanskrit, is by “On counting the protagonists at the right hand of the profession an accountant though he possesses deep dancing God Vi¬ªu, we have 92. This is the demon’s camp. knowledge of Sanskrit language and literature, as he At the left hand of the God, the number of protagonists is cherishes great interest in this subject. He is a regular 88. This is the gods’ camp.” Being an accountant he has contributor to the World Sanskrit Conference. He has tried in his own way to explain the secret of 92 and 88, visited thereby many countries where this conference was which would prove interesting. held in past. I congratulate Mr. San Sarin for his deep critical We met in Leiden, The Netharland where the World study of the Sanskrit Text of “Samudramanthana” of Sanskrit Conference was organized. Fortunately he took Mah¹bh¹rata ¸di Parvan. He has sent this text to me before us to an exhibition where photos etc. of the Khmer some years. I have presented it to the Grant-in-aid sculptures of Angkorian period were displayed. There with committee for publication and Prof. V. Kutumbshastri, then great interest he has explained especially the greatest Vice-Chancellor of the Rashtriya Sanskrit Sansthan, and temple in the world of “The Great God Vi¬ªu of the world.” other members have approved it for publication. Today The complete structure of the series of these temples is the book sees the day light especially when the Rashtriya spread in the area of 12 km x 12 km. which is known as Sanskrit Sansthan (Deemed University) is organizing the “Big City”. As Mr. San Sarin has explained in his World Sanskrit Conference. introduction, “The Big City” with its squareness (12 km x I thank Dr. Radha Vallabha Tripathi, the Vice- 12 km). This City is surrounded by large trenches and Chancellor of the Rashtriya Sanskrit Sansthan, New Delhi, walls. It has four axial doors which direct to the four for bringing out this work at a proper occasion. cardinal points of space. The centre of these four directions is started from the Bayon, the last Khmer “Temple- Dt. 11-11-11 - Dr. Gautam Patel Mountain”. The fifth door called Dv¹r Jay, “Victory Door”, “Valam”, L-111, Former Chairman, is at the East side, opened on the ancient pavement guided Swatantrya Senani Nagar, Sanskrit Sahitya Akademi, toward the “Royal Tribune” and the “Royal Palace”. Each Nava Wadaj, Ahmedabad. Gujarat State, Gandhinagar. door of the City has three big and imposing towers.” Gujarat - 380013. INDIA. Gujarat, INDIA. The author of “Samudramanthana” is inspired by this scene of churnig of the ocean for AmÅta. He has provided us with the text of “Samudramanthana” from the ¸di Parvan of Mah¹bh¹rata with translation and a ( vi ) Sanskrit grammar studies as meant in this view assent to a way of dealing with positive real knowledge of the order and discipline of this language. These grammatical studies attempt to unravel some of the first operational, INTRODUCTION intellectual attainments of the fundamental elements of Panini’s Sanskrit grammatical system. An analysis of each I wanted to be a Sanskrit reader and to understand strophe of the purposeful story aims at bringing in the some basics of the language, but it has not been enough first elements of Paninian grammar and at the same time to grasp the fundamental sense of certain passages of the improving the contact of the beginners. I have made a epic stories which had been depicted by my ancestors decision about the large knowledge of Panini’s work by through the many bas-reliefs of Khmer temples. focussing one’s attention on each strophe. For that purpose What I have seen through them, I have realized that and by degrees, I have never hesitated about quoting the the sculptors of the past had deeply known the stories from The as it is about how to instil extracted from the great Hindu epics, i.e. the into one’s mind the deepness of Sanskrit grammatical and the . rules. Otherwise, it is intent on creating an acceptable way Moreover, they had rendered the living appearance with a view to understanding the meanful word used in of what had been told through the strophes of the epics each strophe. I have resolved the full account of my and other old tales. analysis by producing some useful references as they are After a while, I have discovered what I will do, facing needed. the matter which could have got mixed up over the The last relevant point is the story being considered question. To distangle the train of my thought, I have as a support of discussion and analysis. For the present concentrated my mind on three relevant points, so that time, I have chosen the large bas-relief that anyone can they should not notice anything discrepant in what I am see at Angkor Vat Temple, East gallery, Southern part intending to do. These three relevant points are : (3rd surrounding wall). This is the bas-relief a 50 metres a) iconography, long and 2 metres high; obviously, Khmer sculptors of b) Sanskrit grammar studies, the Angkor Vat period had a panel of 100 square metres. c) stories depicted by Khmer sculptors of Angkorian Admittedly, this is the bigest bas-relief of the world period. devoted to the churning of the Ocean for Amrta. These points may be believed to be consistent with Angkor Vat had been built under the reign of King the evidences handed down by cultural heritage. Suryavarman II (1113-1150 A.D.). In this period, Khmer civilization had been at its apotheosis. The Angkor Vat Iconography is one of the matters or topics associated Temple was dedicated to the King as after his death, his with archaeological studies and it may be a fit element soul was believed to be identified with the God , for the framework, which I would like to set forth in the and received accordingly the posthumous name scope. , “The Great God of the World”. ( vii ) ( viii ) The theme of the churning of the Ocean for backs toward the City, and are for anyone who enters in had been taken up again after II’s death. it, the gods at his left-hand and the demons at his right. The demons, the gods and the serpent had the Grappling with the Vasuki’s body and holding on to their choice place as they became part and parcel of the positions for ever, their eyes gaze on anyone who has to creation of urban art. After thirty years of the Angkor go in the City. At each door, there are 108 protagonists Vat style, the forthcoming one was under the reign of of the churning of the Ocean. Emperor Jayavarman VII (1181-1219 A.D.). Bayon style, Going in the City, any visitor is always overwhelmed that is what scholars name the new form of Khmer art of by a) an uncanny, glassy stare of all the threatening faced this reign. Moreover some huge temples having been demons from his right-hand, b) a silent serene of purpose raised up by his authority, the remaining famous work becoming apparent from the mild features of the gods’ of this Emperor was Angkor Thom, “The Big City” with faces from his left-hand, c) the gigantic faces of the high its squareness(12 km x 12 km). This City is surrounded three towers, bearing sway over any creature by offering by large trenches and walls. It has four axial doors which a constant, enigmatic smile. These faces seem to direct to the four cardinal points of space. The centre of thoroughly stand looking over the 108 protagonists who these four directions is started from the Bayon, the last did what they had been told to be successful in this Khmer “Temple-Mountain”. The fifth door called operation. Jay, “Victory Door”, is at the East side, opened on the One may appreciate B.P.Groslier’s point of view : ancient pavement guided toward the “Royal Tribune” “Now, if one considers the city with its ensemble : the and the “Royal Palace”. Each door of the City has three big and imposing towers. central temple which symbolizes the Mount, the swivel of the Universe, the doors being symmetrically opposed The elements of the churning of the Ocean for to East-West and North-South, one gets simply a Amrta had been making arrangements to create the new representation of the churning of the Ocean on a gigantic effect by the authors of the Bayon style. When anyone scale. For example, the gods of the Southern door hold goes into the City, he must take the large pavement on to an end of the nâga [serpent] who symbolically jumping over the outer trench; the road runs quite a coils round the central mount, he is on other side, way under the imposing towers and leads then to the grabbed by the demons of the Northern door.
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