Rañjanā Script

- Kashinath Tamot

Rañjanā script is a specific style of Nepal script developed in Nepalmandal in 11th century. It was popular not only in Nepal to write Holy scriptures, but it was spread in most of Asian countries. It became Pan-Asian script for writing Mahayan Buddhist mantra. We need to know history of script popular in Nepal to understand the origin and development of it.

Brahmi script of Niglihawa Pillar inscription of Taulihawa district, western Terai of Southern Nepal is the first epigraph of Nepal established by Emperor Ashok (BC 273-232) of Magadh in the 14th year of his coronation (BC 255), when he visited there are doubled the stupa of Kanakamuni the fifth among seven Buddha lineage. Ashok visited here again in 20th year of his coronation (AD 249) as well as in Lumbini, where he established another Pillar inscription conforming the birth place of Shakyamuni Budha. After Ashokan Brahmi found in Lumbini, Lumbini zone of Western Region of Nepal, having passed 434 years, Nepal sees its single Kushan Brahmi of AD 185 in Kathmandu Valley from Maligaon in a pedestal of life size statue of King Jayavarman. The image was unearthed in May 1992. Again after 264 years only, since AD 459 Nepal has its continuous epigraph in Guptā script for 5th and 6th centuries. At 7th to 9th centuries, there developed two common features in script. Hence, two names Kuṭilākṣara and Siddhamātṛkā were commonly used for the script that was popular at that time. Kuṭilākṣara “curved letter” was named because of the curveness of the letter and its diacritics. Tibetan script is one of the variations of this script. Somboda, the minister of King Srong-tsan-Gampo (AD 617-649), came to India, possibly in Nalanda Monastery, Bihar with 15 companions to study Buddhist scriptures. He learnt Kuṭilā/Siddhamātṛkā and developed personally Tibetan (Sambodan) script simplifying naturally developed South Asian Script. He converted Tibetan way the natural script of vowel i.u,e with diacritics on ‘a’ as marks are given in consonant letters. Government of Nepal gave name of its own as Early Licchavi script (AD 459-576) to Guptā and Late Licchavi (576-879) to Kuṭilā in 1960. Thus, Licchavi script became local name for Nepalese epigraphy for popularly known South Asian script of Guptā and Kuṭilā. Scholars prefer to say Kuṭilā to the script of 7-9 centuries in South Asia, though there are other names given to it, but in North Asia it is popularly known by the name of Siddhamātṛkā, specially in Japan, it is preferred.

In course of time modern scripts of South Asia emerged since 8-10th centuries through Kuṭilā. Local forms of it developed in Nepal, Devanagar (Patnā), Gauḍa (Bangladesh-Bengal), Kashmir and so on. In 1654, Pratap Malla (1641-74), the king of Kathmandu made a stone water basin in Hanumandhoka Royal palace and engraved there a verse in Manulipi (“fourteen scripts”) of above mentioned places are given as Nevāra, Devanāgara, Gauḍiyā and Kāsmirī to modern day Nepal (Newari) script, Devanāgarī, Bengali and Shāradā.

There is inter-relation between Nepal era and Nepal script in case of origin of them as a part of Newar civilization of Nepalmandal (modern Central Hilly Region of Nepal). Nepal era was founded by a merchant Shankhadhar in AD 879. The earliest date known of it is from a medical book Laṅkāvatāra (National Archives, No. 1-1647, Kathmandu) of NS 28 (AD 908). This is also supposed to be the earliest specimen of Nepal script. Nepalese history is supposed to be changed from Ancient (Licchavi) to Medieval since Nepal era starts. But some scholars prefer to name Post-Licchavi to the Transitional period (879-1200) of Medieval Nepal. So the script used at that period has also been named Kuṭilā or post-Kuṭila by them. Most of Nepalese scholars agree that Nepal script originated in early 10th century. After the practice of a century, in 11th century three styles of Nepal script evolved. They are named according to the head marks and vision as Pācumola (“straight headed”), Golamola (“round headed”) and Rañjanā (“pleasing”). They are named in Manulipi (AD 1654) of Pratap Malla as Nevāra Ākhara, Golamola Ākhara and Rañjā Ākhara while modern names for them are Pracalita (“popular”), Bhujiṃmola (“fly-headed”) and Rañjanā. Among these three scripts Tibetan people also use two as holy script in their scriptures. They named it Wartu (Skt. Vartula ‘round’) and Lanjā (Skt. Rañjanā). Tibetan writers and artists use Rañjanā in their manuscripts and arts as the script of original scripture and art.

The word Rañjanā is formed of the verbal root rañ-j “to be pleased, satisfy or delighted” suffixed with feminine form of verbal termination - ana (lyut*) forming abstract noun. Thus Rañjanā meant pleasing or pleasure.

There are several manuscripts in Nepalese archives written in frontier states outside Nepalmandal in early Medieval period. They are from Gauḍa, Vārāṇasi, Tirhut (Simaroungarh), Bihar etc. (Regmi 1966: 148-9). There are some interesting account that Nepalese king sent scholar to Indian cities in search of rare scripture and scribe of the foreign state wrote manuscripts for Nepalese donor. It is well known fact that there are many manuscripts in Tirhuti (Maithili) scripts and some manuscripts in Gauḍiya (Bengali) script written in Nepal available in Nepalese archives among Kuṭilā-generated scripts of South Asia Nepalese, Begali, Maithili, Asami and Orissa are sister scripts of the Eastern section. Hence proto-forms of these scripts are identical. It is obvious due to historical relation between early Medieval South Asian states, we can assume that not only languages but also scripts were popular among. them. According to Svayambhupuran, Pracaṇḍadeva (Śāntikarācārya afterwards), the King of Gauḍa (7th cent.) came to Kathmandu Valley and made firstly the Svayambhucaitya. He initiated Vajrācārya priest lineage in Kathmandu Valley and popularized it by his pupil Bandhudatta, the priest of the king Narendradeva (AD 643- 679) of Ancient Nepal. It is interesting to know that Vikramshila (Nalanda) Mahavihar of Rajgir, Bihar of India rose to ever greater prosperity during the reign of Pāla dynasty (8-12 centuries). [The Seeker’s Glossary of Buddhism, p. 395]. We also know that there were regular contact of scholars between Nepal and Nalanda for studying Mahayan Buddhism. Scholars entered Kathmandu Valley from Nalanda after Muslim destroyed it in AD 1197. It seems to be likely that Vikramsila Mahavihar of Bihar, India was renamed to Thambahil (upper outer monastery) of Yambu, upper city of Kathmandu), as the place became the centre for Mahayan Buddhism studies since 13th century.

One of the earliest known manuscript of Rañjanā script is the Mahayan Buddhist text Kāraṇḍavyūha written in the 2nd year of the reign of king Rāmapāla (AD 1077-1120) [See colophon in Shakya and Vaidya 1970:6] King Rāmapāla is the king of Bengal. Dr. Dinesh Chandra Regmi (1991:102) realizes Rañjanā feature in Aṣṭasāhasrikā Prajñāpāramitā of c. AD 1020 taken from Kathmandu to Cambridge University written in the reign of Mahipāladeva of Bengal. Dr. Regmi thus concludes that Rañjanā originated from Bengal. But we cannot accept it, because that Rañjanā is simply the style of Nepal script. There are similar features among three Nepal script, namely, Pācumola, Golamola and Rañjanā as three styles of Roman: small, capital and italic. Pecularities of Rañjanā lies on combination of thin and thick strokes, headmark composed of solid triangle, slanting line at the end of letters. We rather need to accept that Nepal (Rañjanā) script was one of popular script in Bengal in early Medieval period as Bengali was popular in some extent in Nepal in later period. There seems to be the great possibility that Rañjanā was one of popular script in Mahayani Buddhist centre Vikramshila (Nalanda) Mahavihar of Bihar, which was patronised by Pāla kings during 8-12 centuries. The centre was destroyed by Muslims and scholars came to Kathmandu and started the centre again in Vikramshila (Thambahil), Mahavihar of upper Kathmandu city. Per Kvaerne (1977:1-2) gives as the most important information that the Tibetan translation of Caryagita included in the Tibetan Tajnur was translated by the prolific translator Grags-pa-rgyal-mchan (c. 1285-1378) in the town of Yam-bu (upper Kathmandu, obviously at Vikramshila Mahavihar). He also translated in collaboration with Kashmirian scholar Kirticandra at Yam-bu the Amarakosa (with a Kāmadhenu commentary of subhuticandra) and the play Lokānanda, also compiled into Tanjur in AD 1334. There is the most sacred Rañjanā manuscript of Lakṣāvatī Prajñāpāramitā of NS 344 (AD 1233), which was written by Pt. Jinaśrījñāna. Pratap Malla (1641-74), the king of Kathmandu with his queen Lālamati visited the most venerable text and wrote three stanzas of appreciation happily in the post–colophon (Shakya, 1969:44). The Rañjanā Prajñāpāramitā is taken in chariot procession every year with Dipankar Cankramaṇa in first of dark fortnight of Caitra (ibid). Every year, people from Buddhist Himalaya (Tibet, Bhutan, Sikkim Laddakh) come to visit this gold-lettered Rañjanā Prajñāpāramitā. They suppose the script Lamaihyig “preceptorial letter” (Shakya 1969:45),.

Rañjanā is written to make special. Most of texts of it is Buddhistic, but there are some Hinduistic texts also in Viṣṇudharmottara (AD 1220), Durgāsaptaśatī (AD 1401) etc. Among Buddhistic texts general texts like Nāmasaṅgīti, Pañcarakṣā, Dhāranīmantras are written simply in palmleaves or papers. But the most venerable texts of Nine jewels of Mahayan Buddhist scriptures are generally written with the ink mixed of gold and silver in Nīlapatra (blue papers). There are gold-lettered Rañjanā manuscripts. Which are found generally in Buddhist monasteries. The Aṣṭasāhaśrikā Prajñāpāramitā of Hiraṇyavarṇa Mahavihar (popular by the name Golden Temple among tourists) of Patan is recited occasionally by ten Vajracaryas. This gold-lettered Rañjanā scripture is dated of AD 1225. This holy text is seated in a small silver throne there. One such Prajñāpāramitā of AD 1105 is there in Rudravarna Mahavihar of Patan. Mahayan Buddhist scripture written in Rañjanā script are distributed in the most of libraries of the world.

In case of writing inscription in Rañjanā is rare. We have known such inscriptions less than a dozen in eight centuries within AD 1200 to date. Among these, we can say one of six inscriptions at a corner of the wall inside the gateway of the Cloud Terrace at the foothill of Zhizheng, the Yuan dynasty’s last emperor (AD 1345). there it is inscribed Buddhist scripture in six scripts: Rañjanā for Sanskrit, Tibetan, Phags-pa (Mongolian), Uygur, Tangut and Chinese. China daily (January 9, 1982) has made error giving name of script as Sanscrit. (Joshi 1987: 114-115, photo-print of inscriptions, p. 64).

It is worth-noticing of royal letters of Chinese emperors written in Tibetan, Mancu and Rañjana scripts sent to knigs of Nepal, which are published in the work of Jñānamaṇi Nepal (1988) on Nepal-China relation. There is a clear photo-print of the faramāna (edict) of the emperor Yung-lo (Tayi?) to the governer of Palancok of Nepal, Shaktisiṃha Rāma has been published. The royal edict is written in Sanskrit language and Rañjanā script (Plate No. 11). It show Nepal Saṃvat 535 Āṣāḍha Śukla Daśamī equivalent to June 16th, 1415 (Petech 1984:266) has highlighted Nepal-China relation of this period as below:

It is quite clear that Newar influence on Chinese sculpture and painting was not limited in the Yuan period (1279-1368) but continued during the Ming period (1368-1644), not only under the emperor Yongle (1403-24) but also under his successors, as is shown by the dates in the mentioned inscriptions.

There is the most important role of Tibetan painters for spreading Rañjanā script all over the world through their hundreds of painted scrolls (Tibetan Thankā, Newari Paubhā). They write Sanskrit quotation from Mahayan Buddhist scripture in Rañjanā on the back of each scroll. Newar painters do not write on the back of the scroll. They write inscriptions sometime in Rañjanā on the foot of the painting.

The script of Rañjanā was so beautiful thait it originated further style of it. It developed for writing mantras of Mahayan Buddhist in monogram Kūṭākṣara “mystic letter”. There developed class-lettered alphabet of k-ṅ, c-ñ, ṭ-ṇ, p-m, y-v, ś-h. It is seen in some tantric manuscripts of Nepal that mantras are written in monogram for mysticity. Rañjanā monogram is kept in temples, monasteries and gates of them. The most poplar monogram is of seven-lettered HA KṢA MA LA VA RA YAṂ. It is symbol of universe. In traditional tantric text this mantra has been accepted as Vajrapātādihārim “destroyer of thunderbolt etc.” (Shakya 1969:50). This is why this monogram is kept in holy monuments. Artistic blocks of this monogram is attached in roof side of White Pagoda Monastery of China (Joshi, 1987:31).

In most cases, a monogram is an acronym of individual Vījākṣara “seminal letter”. It is monosyllabic. Many Vījākṣaras are used in tantric mantras. It is used at the centre of a painted scroll. Tibetan people use it on the cover of their publication. It is written in floral design. It is used in eight petalled design. It is used as a symbol of tantric deity, mantra or essence of any idea.

Thus Rañjanā script has been developed as a style of Nepal script, which is used for special purpose and for special text. It is used almost all from writing “God’s language”, that is, Sanskrit. Though it is originated in Nepal, it was spread in many Asian countries as holy script. Kūṭākṣara “mystic letter” in monogram and Vijākṣara “seminal letter” are written only in Rañjanā script. These are further development of general Rañjanā style of Nepal script. Kathmandu Metropolitan City has used it for writing place names and signboards. It is being popular for designing logo of institute and others. Rañjanā script is the living heritage of Nepal.

References

Bue, Erberto Lo, 1985-86

“The Newar Artists of the Nepal Valley: An Historical Account of their Activities in Neighbouring Areas with particular References to Tibet”. Oriental Art (New Series), XXXI: 3 (Autumn 1985). pt. I, pp. 262-277: 4 (Winter 1985/86), pt. II, pp. 409-420.

Joshi, Satya Mohan, 1987

Kalākāra Arniko. Kathmandu: Vijaya Gajananda Vidya, VS 2044. (In Nepali)

Kvaerne, Per, 1977

An Anthology of Buddhist Tantric Songs: A study of the Caryagīti. Oslo: universities forlaget.

National Archives, 1995

A Report on the Survey and Study on Newari script. Kathmandu: N.A. HMG.

Nepal, Jnanamani, 1988

Nepāla-Bhoṭa cīnasambandhakā kehī sāṃskṛtika pakṣa (some cultural aspects of Nepal-Tibet China relation). Kathmandu: Royal Nepal Academy, VS 2045. (In Nepali)

Petech, Luciano, 1984

Mediaeval History of Nepal (c. 750-1482). Rome. IsIMEO.

The seeker’s Glossary of Buddhism. Second ed. New York: Sutra Translation Committee of the U.S. And Canada, 1998.

Rajbanshi, Shankarman, 1974

Nepalī Lipivikas (Evolution of Nepalese script). Kathmandu: Kailas Publication VS 2031. (Reprinted from Kailash, 2:1-2). (In Nepali)

Rajbanshi, Shankarman, 1983

“Aitihāsika patra-Eka paricaya” (An introduction to Historical letters). Rolamba 3:2 (April-une), pp. 4-10. (In Nepali)

Regmi, Dinesh Chandra, 1991

Purālekhana Paricaya Nepal (An introduction to Neplese Paleography) Kathmandu: Sushila Regmi, VS 2048. (In Nepali)

Shakya, Hemraj, 1969

Nepāla-Sanskṛtiyā Mūlukhā (Main Entrance of the culture of Nepal). Laliptur: Candralaksmi Shakya, NS 1089. (In Newari)

Shakya, Hemraj, 1974

Nepāla Lipī-Prakāśa (A light on script of Nepal). Kathmandu. Royal Nepal Academy, VS 2030. (In Newari)

Shakya, Hemraj and T.R. Vaidya, 1970

Medieval Nepal: Colophons and Inscriptions. Kathmandu: T.R. Vaidya.

Tamot, Kashinath, 1991

“Nepālamā Pracalita lipiko Paricaya”. (An introduction to the script popular in Nepal). Madhuparka, 24:7 (VS 2048 Mangsir/Nov-Dec.), pp. 5-13. (In Nepali)

Tamot, Kashinath, 1998

“Pratapa Malaṃ NS 774 sa cvakugu manulipi” (14 scripts made written by Pratap Malla in AD 1654). Viśvabhūmi. (daily), NS 1118 Kachalā 1 .p.kha. (In Newari)

MEMORY NOTE:

1. This write up along with “Shakya Clan” was prepared for Mr. Ma Weiguang of China, former cultural secretary of Nepal and India. This was written on the request of Prof. Ballabh Mani Dahal (1934-2003) and sent to Ma Weiguang through e-mail of June 28, 2002.

2. Mr. Weiguang replied in e-mail of July 8, 2002 as below:

Thank you very much for your write up to me, which is high scholarly value and so useful to my research work needed. These themes are neglected and confused in Chinese research circle, even big scholars cannot tell clearly. Your write up will contribute to make a clear picture of the Sino- Nepalese cultural exchanges in history.