The Bakhshali Manuscript, now in the Bodleian Library, is by many centuries the oldest surviving Indic mathematical text and the oldest extant manuscript in the world to use zero and decimal place values.
This remarkable birch bark manuscript consists of 70 extremely fragile folios. It has been the subject of scholarly debates over its date, its purpose, the religious world inhabited by its writers & the question if whether it is unitary text or a collection of different treatises
Over the years, the dates proposed for the Bakhshali manuscripy vary from the third to the twelfth centuries CE, but it is currently thought to have been written around 700CE, a date recently confirmed by a new set of carbon C-14 dates.
Found in 1882 buried in a field 80 kms away from Peshawar, near the village of Bakhshali, it is written in Sanskrit but in a form that has been strongly influenced by the vernaculars of the region. The script is sarada, a North Indian descendant of Gupta Brahmi.
As the Government Palaeographer of India, A. F. R. Hoernle, reported it was “... found in a ruined enclosure, near Bakhshálí, a village of the Yusufzai District, by a man who was digging for stones... " Unfortunately, most of the mss was destroyed at the time of its discovery
It is a hybrid Sanskrit compendium of mathematical formulas, algorithms and examples, in the form of verse rules or sutras and sample problems mixed with a prose commentary.
It contains a collection of several dozen algorithims and mathematical problems in verse, with a commentary explaining them in a combination of prose and numerical notation.
It uses decimal place value, negative numbers, fractions, square roots, and the earliest zero of any known manuscript, represented by a large round dot.
The zeros function as arithmetical operators, i.e., as numbers in their own right, and not merely as place-holder digits; they also represents Unknowns.
The manuscript shows similarities to the 629CE commentary on the Aryabhatiya by the 7thC mathematician, Bhaskara I. This seems to indicate that both works belong to a similar period, although some of the rules and examples in the Bakhshalı may date from earlier periods.
Some probably erroneous c14 put the mss as early as 200AD, but that date has been strongly resisted by most serious scholars who say that the paleography and quasi-codex form date it firmly from c650--900CE, a date supported by the new and more comprehensive set of carbon dates.
A colophon says it was written by an anonymous Brahmin identified as the son of Chajaka and a “king of calculators.” He says he wrote for the use of one “Hasika son of Vasiṣṭha” and his descendants, in a locality probably called Mārtikāvatī in the Gandhāra region.
The manuscript’s consistency of appearance has produced the generally accepted (though far from final) conclusion that it is a single work written by one hand, with a second hand seen in a single portion
Chajaka seems concerned with practical tasks like weighing metal, the composition of alloys and impure metals, refiing and working out losses in raw materials through smelting. He therefore seems to have been in the metal trade.
The plus sign in the mss actually indicates negative numbers
If anyone is interested in learning more,
The Bakhshali Manuscript by Takao Hayashi is a good place to start and, more generally, Kim Plofker's brilliant Mathematics in India, which has a superb chapter on the Bakhshali. Also George Gheverghese Joseph's The Crest of the Peacock.
The Bakhshali manuscript will also be a centrepiece of my next book, The Golden Road, about the diffusion of Indic civilization from 200BCE
The wanton part-destruction of the great Chamunda temple in Devi Kothi is so depressing. It is the Sistine Chapel of Pahari art, and the greatest surviving ensemble of Pahari paintings still in situ. India has such spectacular artistic heritage- and does so little to protect it.
The spectacular murals of Devi Kothi- left unprotected and now lost forever
I'm become very interested in yakshas, yakshis and nagas- classes of sacred beings which seem to be relatively peripheral to modern Indian religion and spirituality, but which dominated much of the art of early India, whether Hindu, Buddhist or Jain.
Monumental stone sculptures of Yakshas —freestanding and carved in the round- begin to appear from the third century BCE, as witnessed spectacular yaksha from Parkham near Mathura made “in the guild of Manibhadra by Gomitaka, a pupil of Kunika."
The Parkham Yakshi (left) is said by the ASI to be the oldest free-standing statue in Indian art, c275 BCE, but the Mathura Museum contains several others that are only slightly younger, 200-100 BCE
Exquisitely poised and supple, Chola bronze deities are some of the greatest works of art ever created in India. They stand silent on their plinths yet with their hands they speak gently to their devotees through the noiseless lingua franca of the mudras of south Indian dance.
For their devotees, their hands are raised in blessing and reassurance, promising boons and protection, and above all, marriage, fertility and fecundity, in return for the veneration that is so clearly their divine right.
It is the Nataraja, Shiva as Lord of the Dance, that is arguably the greatest artistic creation of the Chola dynasty. It is the perfect symbol of the way their sculptors managed to imbue their creations with both a raw sensual power and a profound theological complexity.