Who invented the oxhide ingot shape? Meluhha artisans. An archaemetallurgical journey along the Maritime Tin Route.

April 27, 2017, 7:07 pm

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Who invented the oxhide ingot shape?

I suggest Meluhhan artisans did in Mohenjo-daro/Harappa/Chanhudaro/ Dholavira, ca.. 3rd millennium BCE, using the tin ore brought in as cargo, by seafaring merchants from Ancient Far East, from the largest Tin Belt of the globe in Irrawaddy-Salween-Mekong Himalayan river basins -- along the Ancient Maritime Tin Route which linked Hanoi (Vietnam) and Haifa (Israe), predating the Silk Road, by about two millennia.

Evidence is provided by a deciphered prism tablet showing a boat carrying oxhide ingots and with Indus Script inscription which is dateable to ca. 2500 BCE (Mature Harappan phase).

This could be the earliest recorded evidence for an oxhide ingot.

Tin ingot in the same ox hide shape as the copper ingot above. (Uluburun Project)

Tin Trade

"... In fact, the tin trade between Afghanistan and Mesopotamia probably did not start until the end of the 3rd millenium BCE. Since there is evidence of lapis lazuli from Afghanistan being traded with Mesopotamia before this, it is likely that smaller sources closer to Mesopotamian centers were providing tin. That being said, tin was traded across about the same distance as copper, most likely for the production of bronze.
Like copper, tin was traded in the partially maufactured form of ingots and worked once recieved at its final destiation." http://www.arth501-2016.com/how-people-traded-copper.html

m1429 Three sided molded tablet. One side shows a flat bottomed boat with a central hut that has leafy fronds at the top of two poles. Two birds sit on the deck and a large double rudder extends from the rear of the boat. On the second side is a snout nosed gharial with a fish in its mouth. The third side has eight symbols of the Indus script.

Material: terra cotta
Dimensions: 4.6 cm length, 1.2 x 1.5 cm width Mohenjo-daro, MD 602
Islamabad Museum, NMP 1384
Dales 1965a: 147, 1968: 39

The large oxhide ingots were signified by ḍhālako a large metal ingot (Hieroglyph: dhāḷ 'a slope'; 'inclination' ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.(CDIAL 5583).

I suggest that the rebus rendering of ḍhāla to signify ḍhālako 'large ingot' indicates that the persons who signified the specific hieroglyphs as devices to signify the metal ingots, were familiar with Indus Script writing system and hence, the underyling language of Indus speakers (Indian sprachbund or speech union).

It is significant that the divinity shown as protecting oxhide ingots carries a shield and a spear as shown on the figure from Cyprus.;

Bronze horned warrior.Enkomi.

30 cm. high bronze statue. Enkomi Level III sanctuary. ca. 1200 BCE Cyprus Archaeological Museum, Nicosia.

Bronze figurine from Enkomi on Cyprus. Note oxhide ingot as stand, ca. 1150 BCE

Alaina M. Kaiser has presented (in a Graduate Thesis of 2013) a detailed account of marks on copper oxhide ingots which have been discovered in Ancient Near East. This documentation provides a link to one particular hieroglyph which also appears on Indus Script Corpora: the T symbol. Though many oxhide ingots have been found in Cyprus, this symbol of T on the ingots is NOT related to cypro-minoan script which has not been deciphered so far.

Evidence is presented to view the T symbol as an Indus Script hieroglyph.

Alaina M.Kaiser, 2013, Copper oxhide ingot marks – a database and comparative analysis, Thesis in Graduate School of Cornell University https://ecommons.cornell.edu/bitstream/handle/1813/34104/amk342.pdf

Complete distribution of Copper Oxhide Ingots, Fragmens and Miniatures,After Map 1 in Kaiser, AlainaM.2013

Possible route of the Uluburn ship, Pulak 2008: 238. Map after Fig. 2 in Kaiser, AlainaM.2013

T symbol on ox-hide ingot (in the middle) from Cape Gelidonya shipwreck. Copper ox-hide ingots (Talents) After Fig. 5 on http://ina.tamu.edu/capegelidonya.htm

T symbol on an ox-hide ingot http://narnia-itn.eu/projects/the-production-and-trade-of-cypriot-copper-in-the-late-bronze-age-and-early-iron-age/

Double T symbol on fourth ingot from L. T symbol on fifth ingot from L. Disegno dei tre lingotti superstiti di Serra Ilixi, Nuragus, conservati al Museo di Cagliari (5). Come si vede dalla figura 1, non tutti gli autori concordano sull'esatta trascrizione dei segni. http://monteprama.blogspot.in/2013/09/i-marchi-dei-lingotti-oxhide.html

“The T and Double T symbols are usually impressed and most often appear on the rough side of Type 2 ingots. These marks were then made during the cooling of the metal with some form of stamp or brand in these shapes…Geographical distribution analysis places these two marks predominantly in the same regions. The majority of both T and Double T marks are from the Uluburn and Cape Gelidonya shipwrecks. On land, T marks appear at Enkomi (Cyprus) and Ozieri (Sardinia), Double T marks appear at Mycenae (Greece) and three sites on Sardinia (Teti, Nuragus, and Capoterra). This data, especially the prominence of these marks on Sardinia, indicates a possible connection between these symbols and ingots sent to the western areas of the Mediterranean.” (Kaiser, AlainaM.2013, p.39).

T symbol which appears on ox-hide ingots of the shipwrecks (Cape Gelidonya and Uruburun) is an Indus Script hieroglyph. The hieroglyph T symbol appears in a catalogue of metalwork on a Rehmandehri carved ivory pendant together with hieroglyphs of: frog, and two scorpions (on side A) and two markhors (on side B).

T symbol appears on both sides of the Rehman Dehri ivory pendant.

Rehman Dehri pendant seal 1A, B.

dula 'two' rebus: dul 'metal casting'

miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Thus, iron metal casting.

T-glyph may denote a fire altar like the two fire-altars shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali)

Two T symbols shown below the hieroglyphs of markhor and tiger on Warka vase. The T symbol on the vase also shows possibly fire on the altars superimposed by bun-ingots.kand ‘fire-altar’ (Santali)

The appearance of T symbol (orthography of a stool) on ox-hide ingots is thus significant signify an Indus Script hieroglyph which is read rebus as a fire-altar: Hieroglyph: Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'fire-altar' (Santali)kand ‘fire-altar’ (Santali)

This indicates the possibility that many of the ox-hide tin ingots which were found in many locations of Ancient Near east and had the T symbol incised may have been produced by artisans familiar with the meanings of Indus Script hieroglyphs.

I suggest that the oxhide ingots with specific shape and signified by Indian sprachbund words were the products popularised by Sarasvati civilization artisanjs, based on the evidence of the Mohenjo-daro prism tablet which shows a shipment of oxhide ingots on a boat.

The ox-hide ingot was called ḍhāla 'large ingot'. Artisans who use this word belong to the Prakrtam Indiansprachbund (linguistic area).Whether these Prakrtam speakers had colonies in Cyprus calls for further researches becauee a large number of ox-hide ingots have been discovered in Cyprus and other parts of Ancient Near East.

ḍhālako = a large metal ingot The phonetic determinant for the metal product is the palm tree: tāṛ, tāla 'fan palm'. The aquatic birs id kaRa which signifies karaDa 'hard alloy'. Thus, the cargo on the boat comprises large metal ingots of hard alloy. This rebus rendering indicates that the oxhide shaped large ingot was called ḍhāla.

kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]
Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi) kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]
Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi)

Ox-hide ingots.

The word ḍhāla also means 'shield' and ढालपट्टा (p. 204) ḍhālapaṭṭā m '(Shield and sword.) A soldier's accoutrements comprehensively.' This semantics is clear from a bronze figure of Enkomi, Cyprus signifying a warrior standing atop an ox-hide ingot and holding a shield and a spear.

Hieroglyph: tāla -- m. ʻ fan -- palm ʼ, (Pali) tāṛ m. ʻ palm tree ʼ (Sindhi): *tāḍa3 ʻ fan -- palm ʼ, tāḍī -- 2 f. in tāḍī -- puṭa -- ʻ palm -- leaf ʼ Kād., tāla -- 2 m. ʻ Borassus flabelliformis ʼ Mn., tālī -- , °lakī -- f. ʻ palm -- wine ʼ W. [Cf. hintāla -- ] Pa. tāla -- m. ʻ fan -- palm ʼ, Pk. tāḍa -- , tāla -- , tala -- m., tāḍī -- , tālī -- f., K. tāl m., P. tāṛ m., N. tār (tāṛ ← H.), A. tāl, B. tāṛ, Or. tāṛa, tāṛi, tāḷa, Bi. tār,tāṛ, OAw. tāra, H. G. tāṛ m., M. tāḍ m., Si. tala. -- Gy. gr. taró m., tarí f. ʻ rum ʼ, rum. tari ʻ brandy ʼ, pal. tar ʻ date -- spirit ʼ; S. tāṛī f. ʻ juice of the palmyra ʼ; P. tāṛī ʻ the fermented juice ʼ; N. tāṛī ʻ id., yeast ʼ (← H.); A. tāri ʻ the fermented juice ʼ, B. Or. tāṛi, Bi. tārī, tāṛī, Bhoj. tāṛī; H. tāṛī f. ʻ the juice, the fermented juice ʼ; G. tāṛī f. ʻ the juice ʼ, M. tāḍī f. <-> X hintāla -- q.v.tālavr̥nta -- ; *madatāḍikā -- .Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ.(CDIAL 5750) Ta. kara tāḷam palmyra palm. Ka. kara-tāḷa fan-palm, Corypha umbraculifera Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree.(DEDR 1270) Ka. tār̤ palmyra or toddy palm, Borassus flabelliformis. Tu. tāri, tāḷi id. Te. tāḍu, (inscr., Inscr.2) tār̤u id.; tāṭi of or belonging to the palmyra tree;tāṭi ceṭṭu palmyra tree; tāṭ-āku palmleaf. Kol. (Kin.) tāṭi māk palmyra tree. Nk. tāṛ māk/śeṭṭ toddy palm. Nk. (Ch.) tāṛ id. Pa. tāṛ id. Ga.
(S.3) tāṭi palmyra palm. Go. (G. Ma. Ko.) tāṛ, (S.) tāṛi, (A.) tāḍi toddy palm; (SR.) tādī kal palm liquor (Voc.1709). Konḍa ṭāṛ maran, ṭāṭi maran palmyra tree. Pe. tāṛ mar toddy palm. Kuwi (Su.) tāṭi mārnu, (S.) tāti id. Kur. tāṛ palm tree. Malt. tálmi Borassus flabelliformis. / Cf. Skt. tāla-, Pkt. tāḍa-, tāla-; Turner, CDIAL, no. 5750 (some of the Dr. items may be < IA).(DEDR 3180) tāl 2 ताल् m. the palmyra tree or fan palm, Borassus flabelliformis. (Kashmiri)

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS Hieroglyph: ढाळ (p. 204) ḍhāḷa Slope, inclination of a plane. Rebus: ḍhālako = a large metal ingot . Thus, large metal or iron ingot.

Hieroglyph: ढाळा (p. 204) ḍhāḷā m A small leafy branch, spring. 2 A plant of gram, sometimes of वाटाणा, or of लांक. ढाळी (p. 204) ḍhāḷī f A branch or bough. தளம்³ taḷam, n. < dala. 1. Leaf; இலை. (சூடா.) 2. Petal; பூவிதழ். (சூடா.)

This Mohenjo-daro prism tablet signifies on Side A a pair of palm trees flanking two oxhide ingots. It has been suggested that the hieroglyphs on all three sides of the tablet are read rebus to signify a metalwork catalogue of cargo carried on the boat (bagala?). Side A; tALa 'palm trees' rebus: DhALa 'large ingot (oxhide)' karaDa 'aquatic bird' rebus: karaDa 'hard alloy' Side B: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS karA 'crocodile' rebus: khAr 'blacksmith', thus aya-kara 'metalsmith' Side C: from l.to r. Part 1: karaNika 'spread legs' rebus: karNI 'supercargo' kanka, karNaka 'rim of jar' rebus: karNI 'supercargo, script, engraver' dula 'pair' rebus: dul 'metal casting' muh 'ingot' khANDA 'notch' rebus:kaNDa 'implements' Part 2: kanka, karNaka 'rim of jar' reebus: karNI 'supecargo, script, engrave' ayo, aya 'fish' PLUS khambhaṛā 'fish-fin' rebus: kammaTa 'mint' kolom 'three' rebus: kolimi 'smithy.forge' muh 'ingot' PLUS kolmo 'rice plant' rebus: kolimi 'smithy/forge'. Thus, the inscription on the three sides signifies mint, metalwork, hard alloys,metalcastings ingots, metal implements from smithy/forge.

Hieroglyph: tamar 'palm' (Hebrew). Rebus: tamba 'copper' (Santali) tamra id .(Samskrtam)See: http://bharatkalyan97.blogspot.in/2016/07/indus-script-hieroglyphs-on-ancient.html

Oxhide ingot from Mycenae and ingots from Kyme in the Numismatic Museum, Athens.

from Kyme in the Numismatic Museum, Athens

“Copper oxhide ingots are generally flat, rectangular ingots measuring 4-8 cm thick, 30-60 cm long, and 20-45 cm wide. The weight of these ingots varies greatly, from about 10 kg to 37 kg. The most prominent features of the ‘oxhide’ ingots are elongated, pulled-out corners that would facilitate carrying them by two people or tying them together, or to the back of an animal, with a rope. The shape of these “ears” and the ingot sides vary a great deal, from very long hornlike “ears” and a small waist as on the ingot found at Mycenae, to gently concaved sides and small protrusions at the corners as seen on the “pillow” ingots from Kyme, Kato Zakros, Tylissos, and Hagia Triada…the purity of copper in all tested cases is over 99%...Some of them have signs, either stamped or imprinted during casting, or as in many cases, incised after the ingot had cooled. So far there is no firm conclusion as to the meaning of these signs…The best study case for these ingots is the collection of several hundred discovered on the Uluburn shipwreck, which also carried oxhide-shaped tin ingots (Pulak, C., 2000, ‘The coper and tin ingots from the late Bronze Age shipwreck at Uluburn,’ in Anatolien Metal 1 (Der Anshnitt Beiheft 13), U. Yalcin, ed., Bochum, pp. 137-157)...it seems that the earliest ingots of the oxhide shape are still those found on Crete in the Hagia Triada palace and at Tylissos, Gournia, Zakros, and coastal Mochlos. All these finds are dated to 1500-1450 BCE (Late Minoan 1😎..PRS Moorey (2001, ‘The mobility of artisans and opportunities for technology transfer between Western Asia and Egypt in the late Bronze Age’, in The Social Context of Technological Change, A. Shortland, ed., Oxford, 3-4) summarizes the evidence for the important role that the Hurrians played in this region in propagating innovative technologies. It is very likely that they were also involved in facilitating the tin trade from central Asia to the eastern Mediterranean. Did the Hurrians invent the oxhide ingot shape?...From about 1550 BCE the Anatolian coast facing Cyprus on the northeast was coming under the influence of the emerging Hurrian state of Mitanni, which in the next two centuries became a power equal to Egypt and the Hittite Empire (Kuhrt, A., 2000, The Ancient Near East ---c. 3000-330 BCE (Routledge History of the Ancient World, 2 vols.), London, 2876-287).” (Zofia Anna Stos-Gale, “Biscuits with ears:” A search for the origin of the earliest oxhide ingots, in: Philip P. Betancourt and Susan C. Ferrence, eds., 2011, Metallurgy: understanding how, learning why, studies in honor of James D. Muhly, Philadelphia, INSTAP Acdemic Press, pp. 221 to 228).

While 354 oxhide ingots discovered were copper ingots, it should be noted that oxhide shaped tin ingots were also discovered (Fawcett, N. & Zietsman, J.C. "Uluburun - the discovery and excavation of the world's oldest known shipwreck". Akroterion, Vol. 46 (2001): 5 - 20. , http://akrolerion.journals.za )

Side A

Side B

Side C

Three Sided Moulded Tablet with a boat and crocodile
Indus inscription Fired clay L.4.6 cm W. 1.2 cm
Indus valley, Mohenjo-daro,MD 602, Harappan,ca 2600 -1900 B.C
Islamabad Museum, Islamabad NMP 1384, Pakistan.

bagalo = an Arabian merchant vessel (Gujarati) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Kannada) Rebus: bangala = kumpaṭi = angāra śakaṭī = a chafing dish a portable stove a goldsmith’s portable furnace (Telugu) cf. bangaru bangaramu = gold (Telugu)

Side B:

karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)

A pair of birds కారండవము [ kāraṇḍavamu ] n. A sort of duck. కారండవము [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. कारंडव [kāraṇḍava ] m S A drake or sort of duck. कारंडवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n. Rebus: karaḍa 'hard alloy (metal)'. tamar ‘palm’ (Hebrew) Rebus: tam(b)ra ‘copper’ (Santali) dula ‘pair’ Rebus: dul ‘cast metal’ (Santali)

Rebus readings of the other 2 sides of the Mohenjo-daro tablet:

Side A: kāru a wild crocodile or alligator (Telugu) ghariyal id. (Hindi)
kāru 'crocodile' (Telugu) கராம் karām, n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) కారుమొసలి a wild crocodile or alligator. (Telugu) Rebus: kāru ‘artisan’ (Marathi) kāruvu 'artisan' (Telugu) khār 'blacksmith' (Kashmiri)

[fish = aya (G.); crocodile = kāru (Telugu)] Rebus: ayakāra ‘ironsmith’ (Pali)

khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.) Side C: Text 3246 on the third side of the prism. kāḍ  काड् ‘, the stature of a man’ Rebus: खडा [ khaḍā ] m A small stone, a pebble (Marathi) dula ‘pair’ Rebus: dul ‘cast (metal)’shapes objects on a lathe’ (Gujarati) kanka, karṇaka ‘rim of jar’ Rebus: karṇaka ‘account scribe’. kārṇī  m. ʻsuper cargo of a ship ʼ(Marathi)
Alloy ingots
A pair of ingots with notches in-fixed as ligatures.

ḍhālako ‘large ingot’. खोट [khōṭa] ‘ingot, wedge’; A mass of metal (unwrought or of old metal melted down)(Marathi)  khoṭ f ʻalloy (Lahnda) Thus the pair of ligatured oval glyphs read: khoṭ ḍhālako ‘alloy ingots’ PLUS dula 'pair' Rebus: dul 'cast metal'.

Forge: stone, minerals, gemstones
khaḍā ‘circumscribe’ (M.); Rebs: khaḍā ‘nodule (ore), stone’ (M.) kolom ‘cob’; rebus: kolmo ‘seedling, rice (paddy) plant’ (Munda.) kolma hoṛo = a variety of the paddy plant (Desi)(Santali.) kolmo ‘rice plant’ (Mu.) Rebus: kolami ‘furnace,smithy’ (Telugu) Thus, the ligatured glyph reads: khaḍā ‘stone-ore nodule’kolami ‘furnace,smithy’. Alternatives: 1. koṛuŋ young shoot (Pa.) (DEDR 2149)

Rebus: kol iron, working in iron, blacksmith (Tamil) kollan blacksmith, artificer (Malayalam) kolhali to forge.(DEDR 2133).2. kaṇḍe A head or ear of millet or maize (Telugu) Rebus: kaṇḍa ‘stone (ore)(Gadba)’ Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).
kolmo ‘three’ Rebus: kolami ‘furnace,smithy’. Thus, the pair of glyphs may denote lapidary work – working with stone, mineral, gemstones.

ayo ‘fish’ Rebus: ayas ‘metal’. kāru ‘crocodile’ Rebus: kāru ‘artisan’. Thus, together read rebus: ayakara ‘metalsmith’. PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'.
kanka 'rim of jar' (Santali) karṇika id. (Samskritam) Rebus: kārṇī m. ʻsuper cargo of a ship ʼ(Marathi)
meḍ ‘body’, ‘dance’ (Santali) Rebus: meḍ ‘iron’ (Ho.)
kāḍ  काड् ‘, the stature of a man’ Rebus: खडा [ khaḍā ] m A small stone, a pebble (Marathi)

The vernacular in ancient India was Meluhha also called Mleccha. Hundreds of words of this language in Indus-Meluhha writing represented metal-/stone-work hieroglyphs. This was the linear ancestral language of most Indians. It later was known as Deśi or Prākṛts.

Source: http://bharatkalyan97.blogspot.in/2013/12/tin-road-from-meluhha-to-ancient-near.html

Archaeometallurgical affirmation of the Indus writing cipher

Given the archaeological evidence for oxhide copper and tin ingots, this key argument of rebus readings of Meluhha glosses related to the hieroglyphs is archaeometallurgical reaffirmation of the cipher: Meluhha (aka Santali-Indian sprachbund) and use of the writing system on the two pure tin ingots of a shipwreck at Haifa.

23 Tin ingots in the Museum of Ancient Art of the Municipality of Haifa, Israel (left #8251, right #8252). The ingots each bear two inscribed Cypro-Minoan markings. (Note: I have argued that the inscriptions were Meluhha hieroglyphs (Indus writing) denoting ranku 'tin' dhatu 'ore'. See: The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman in: Journal of Indo-Judaic Studies Volume 1: Number 11 (2010), pp. 47-74.)

ranku 'liquid measure'; ranku 'antelope' Rebus: ranku 'tin' (Santali) dhatu 'cross' Rebus: dhatu 'mineral ore' (Santali).

ran:ku = tin (Santali)

• ran:ku = liquid measure (Santali)

• ran:ku a species of deer; ran:kuka (Skt.)(CDIAL 10559).

• dāṭu = cross (Te.); dhatu = mineral (Santali)

• Hindi. dhāṭnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771).

These two hieroglyphs were inscribed on two tin ingots discovered in port of Dor south of Haifa from an ancient shipwreck. They are allographs. Both are read in Meluhha (Mleccha) of Indian sprachbund: ranku ‘liquid measure’; ranku ‘antelope’.Rebus: ranku ‘tin’. An allograph to denote tin is: tagara ‘ram’ Rebus: tagara ‘tin’. Rebus: damgar ‘merchant’ (Akkadian)

tagara ‘ram’ Rebus: tagaram ‘tin’.

Ta. takar sheep, ram, goat, male of certain other animals (yāḷi, elephant, shark). பொருநகர் தாக்கற்குப் பேருந் தகைத்து (குறள், 486).Ma. takaran huge, powerful as a man, bear, etc. Ka. tagar, ṭagaru, ṭagara, ṭegaru ram. Tu. tagaru, ṭagarů id. Te. tagaramu, tagaru id. / Cf. Mar. tagar id. (DEDR 3000). Rebus 1: tagromi 'tin, metal alloy' (Kuwi) takaram tin, white lead, metal sheet, coated with tin (Ta.); tin, tinned iron plate (Ma.); tagarm tin (Ko.); tagara, tamara, tavara id. (Ka.) tamaru, tamara, tavara id. (Ta.): tagaramu, tamaramu, tavaramu id. (Te.); ṭagromi tin metal, alloy (Kuwi); tamara id. (Skt.)(DEDR 3001). trapu tin (AV.); tipu (Pali); tau, taua lead (Pkt.); tū̃ tin (P.); ṭau zinc, pewter (Or.); tarūaum lead (OG.); tarvũ (G.); tumba lead (Si.)(CDIAL 5992). Rebus 2: damgar ‘merchant’.

tagaraka tabernae montana (Skt.) Rebus: tagara ‘tin’ (Ka.)

ranku ‘antelope’Rebus: ranku = tin (santali)

tagara ‘ram’ Rebus: tagaram ‘tin’.

ranku ‘liquid measure’. Rebus: ranku ‘tin’ (Cassiterite) (Santali)

ranga = tin (Kur.)

Another tin ingot with comparable Indus writing was reported by Artzy:

Fig. 4 Inscribed tin ingot with a moulded head, from Haifa (Artzy, 1983: 53). (Michal Artzy, 1983, Arethusa of the Tin Ingot, Bulletin of the American Schools of Oriental Research, BASOR 250, pp. 51-55) https://www.academia.edu/5476188/Artzy-1983-Tin-Ignot

The two hieroglyphs incised which compare with the two pure tin ingots discovered from a shipwreck in Haifa, the moulded head can be explained also as a Meluhha hieroglyph without assuming it to be the face of goddess Arethusa in Greek tradition: Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh ‘ingot’ (Santali). The three hieroglyphs are: ranku 'antelope' Rebus: ranku 'tin' (Santali) ranku 'liquid measure' Rebus: ranku 'tin' (Santali). dāṭu = cross (Te.); dhatu = mineral (Santali) Hindi. dhāṭnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). [The 'cross' or X hieroglyph is incised on both ingots.]

Source: http://bharatkalyan97.blogspot.in/2015/02/ancient-history-of-bharatam-janam-along.html

Conclusion

It is unclear if the oxhide shaped tin ingots were cast in Sarasvati-Sindhu (Indus) civilization sites or in situ in cassiterite mine sites of Ancient Far East. The inscriptions on the tin ingots with Indus Script point to the possibility that the ingots were cast in Sarasvati-Sindhu (Indus) civilization sites from ca 3rd millennium BCE. Austro-asiatic speakers (Meluhha artisans) of ancient India and ancient Far East may have been involved in the invention of oxhide shape for large tin ingots.

S. Kalyanaraman

Sarasvati Research Center

April 28, 2017

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Priyanka: problematic explanation -- Sandhya Jain

April 28, 2017, 7:51 pm

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Priyanka: Problematic explanation

With her Press Statement, Priyanka has raised more questions than answers

By Sandhya Jain -

April 29, 2017

From Multiple DINs to din over Vadra's land holdings, Priyanka is in the hot seat

The mills of god grind slowly, but they grind exceedingly fine. Congress president Sonia Gandhi’s daughter, Priyanka Vadra, shot herself in the foot when she sprang into the limelight fearing an exposé in the Dhingra Commission report that has concluded that her husband, Robert Vadra, a small time exporter of costume jewellery at the time of their marriage in 1997, had earned a colossal Rs 50 crore without investing a penny.

A thorough explanation, if not investigation, is in order.

This feat owes its success to irregularities in allotment of land licenses in Gurgaon during the regime of then Haryana Chief Minister Bhupinder Singh Hooda. This was the Golden Era when it seemed that the sun would never set on the Gandhi Parivar. Alas.

Knowledge that a prominent newspaper had accessed a copy of the report caused Priyanka Vadra to issue a statement explaining her hitherto unknown land deal in Faridabad in 2006, which explanation raises more questions than it answers. A thorough explanation, if not investigation, is in order.

The Justice Dhingra panel was set up by the BJP government in May 2015, to investigate the grant of commercial licenses to real estate firms in four villages of Gurgaon, where “gross procedural irregularities” were detected. The companies include M/s Skylight Hospitality, in which Robert Vadra and his mother, Maureen Vadra, are the sole directors.

When B.S. Hooda learnt that The Economic Times had accessed a copy of the Dhingra Commission report on Thursday, 27 April 2017, he approached the Punjab and Haryana High Court for a restraining order against publishing its contents, but withdrew his plea after the court said this was beyond its jurisdiction.

As Priyanka Vadra has herself let the cat out of the bag as far as her own property deals are concerned, they are naturally being subjected to Twitteratti scrutiny.

Within hours of this development, Priyanka Vadra issued a suo moto statement to the effect that land purchased by her in Faridabad district of Haryana “has no relationship whatsoever with Shri Robert Vadra’s finances and/or Skylight Hospitality and no relationship whatsoever with DLF”, the impugned firm in several of Robert Vadra’s rags-to-riches story. The Dhingra Commission report is yet to be tabled in the Haryana Vidhan Sabha, and the Court has given an interim stay on its release; an issue which need not detain us.

As Priyanka Vadra has herself let the cat out of the bag as far as her own property deals are concerned, they are naturally being subjected to Twitteratti scrutiny. According to her own statement, on 28 April 2006, six years before the purported “land deal involving Skylight Hospitality”, Priyanka Vadra had purchased 40 kanal (5 acres) of agricultural land in Village Amipur, tehsil Faridabad, district Faridabad, Haryana. The land was purchased for a total price of Rs 15 lakh, at the circle rate of Rs 3 lakh per acre, and was paid for entirely by cheque.

This is where the deal turns murky. In an attempt to protect herself against allegations of “converting” Robert Vadra’s easy earnings, Priyanka Vadra tried to defend herself by putting the supposedly ‘full details’ of the land deal on record. Only she raised more questions than she answered!

First and foremost, which income tax officers should have flagged when the transactions took place, is why a property purchased at circle rates was resold just four years later at market rates…

To begin with, Priyanka Vadra claims that the source of her funds – she has not been employed for a single day in her life – was rental income from property inherited from her paternal grandmother, late Prime Minister Indira Gandhi. She further adds that the source of funds for this or any other property acquired by her has no relationship with her husband’s finances or those of his companies, and especially the controversial realty major, DLF.

Recall that in 2002, Priyanka Vadra told Prime Minister Atal Bihari Vajpayee that she could not afford to pay Rs 53,000/- as market value for a house in Lodi Estate, where family acolytes fought to install her for her own “security” (as a future leader of the nation!!!). The then NDA government promptly obliged and reduced the rent to Rs 8000/month, which is what students from outside Delhi pay for one-room paying guest accommodation.

Before scrutinising her claims, it would be in order to follow her complete statement, which indicates immense panic at the creeping proximity of the law of the land to what was once an impregnable Gandhi Fortress. Priyanka explains that having bought the land at the circle rate of Rs 3 lakh per acre (the minimum price at which the land can be registered for purposes of estate duty to the state), she resold it to the same seller (original vendor pursuant to a right of first refusal) four years later, on 17 February 2010, at the prevailing market rate of Rs 16 lakh per acre, thereby netting a cool Rs 80 lakh, by cheque.

Many questions arise. First and foremost, which income tax officers should have flagged when the transactions took place, is why a property purchased at circle rates was resold just four years later at market rates, that too, to the same person, who paid five times the original price on which he sold the land. Agreed that this period may have been the high noon of property prices in the National Capital Region, but the buyer needs to explain why property sold so cheap was repurchased at full market value in just four years, and the source of funds to explain this magnanimity.

But the larger question pertains to the property allegedly inherited from late Indira Gandhi. Where and when did Indira Gandhi purchase these properties; did she declare the same in her personal income tax returns, and are they cited in her will? These are questions that Priyanka Vadra cannot now evade. Since Indira Gandhi died in October 1984, any transfer of property from her name should have been completed by 1985. Can Priyanka Vadra show unbroken possession of such property in her name, from which she claims rental income?

In April 2014, it was discovered that Priyanka Vadra and her mother-in-law Maureen Vadra possessed multiple DIN (Director Identification Numbers).

In her affidavit to the Election Commission, Rai Bareli MP, Sonia Gandhi, mother of Priyanka Vadra, states her immovable assets as three Bigha self-purchased agricultural land in Village Deramund (no further details given), worth over Rs four crore, and 12 Bigha & 15 Biswas in Village Sultanpur, worth over Rs one crore. There is no non-agricultural land, commercial building or residential building, other than an interest in property inherited in Italy.

Amethi MP, Rahul Gandhi, brother of Priyanka Vadra, has declared his sole immovable asset as 2.346 acres of agricultural land, the Indira Gandhi Farm House, in Village Sultanpur, Mehrauli, New Delhi, which he owns jointly with his sister. As per circle rate, the land is valued at Rs. 53 lakh per acres. There is no record of this property ever being put on rent.

There is no public record of late Indira Gandhi owning any other property (the farmhouse was inherited from late Feroze Gandhi) which was bequeathed to Priyanka Vadra exclusively. Having suo moto initiated explanations which distance her entirely from any income earned by her husband in whatever manner, Priyanka Gandhi must make a complete disclosure of this inherited property and the rental income it has yielded over the years.

Explanations are also due for her purchase of 4.25 Bigha at Mashobra, near Shimla, Himachal Pradesh, between 2007 and 2013, for constructing a house. The property is next door to the President’s retreat in a high security zone, and is therefore high value as well. Newspaper reports indicate that the house was constructed and demolished at least once (some say twice) as Priyanka did not like the design. The purchase involved special relaxation of Section 118 of Tenancy and Land Reforms Act that bars any non-agriculturist from purchasing land without the permission of the government. Priyanka Vadra approached the high court last year for a stay against the State Government releasing details of her purchase to an RTI activist.

This is not Priyanka Vadra’s first brush with controversy, but she may now find her once virulently protective media acolytes less eager to defend her. In April 2014, it was discovered that Priyanka Vadra and her mother-in-law Maureen Vadra possessed multiple DIN (Director Identification Numbers). This phenomenon is generally associated with businesses not known to Income Tax authorities. Priyanka Vadra was found to possess three DINs (01038703, 01840144 and 0291439) and Maureen Vadra two (01840680 and 01839769), which is an offence under Section 154 and 155 of the Companies Act 2013.

With social media going berserk over the manner in which Priyanka Gandhi has distanced herself from her husband and his business activities, she will find it difficult to explain the sources of funds for her acquisitions.

In May 2014, facing life without power, Priyanka Vadra claimed inadvertent error and paid a fine to the Union Ministry of Corporate Affairs.

Her name also figured in some of the murky dealings that enabled Sonia Gandhi and Rahul Gandhi to transfer the properties of the public limited company, Associated Journals Pvt Ltd, that owned the National Herald Group of publications, to a private firm (Young Indian) in which they held the controlling interest.

With social media going berserk over the manner in which Priyanka Gandhi has distanced herself from her husband and his business activities, she will find it difficult to explain the sources of funds for her acquisitions. Yet, explain she must.

Sandhya Jain

Sandhya Jain is a writer of political and contemporary affairs. A post graduate in Political Science from the University of Delhi, she is a student of the myriad facets of Indian civilisation. Her published works include Adi Deo Arya Devata. A Panoramic View of Tribal-Hindu Cultural Interface, Rupa, 2004; and Evangelical Intrusions. Tripura: A Case Study, Rupa, 2009. She has contributed to other publications, including a chapter on Jain Dharma in “Why I am a Believer: Personal Reflections on Nine World Religions,” ed. Arvind Sharma, Penguin India, 2009.

https://www.pgurus.com/priyanka-problematic-explanation/

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R̥gveda dāśarājñá war waged by Sudāsa, a Bharata & Indus Script Corpora, Hariyūpiyā treasury of bhāratam janam

April 29, 2017, 8:21 pm

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This is a historical itihāsa narrative of 1. R̥gveda dāśarājñá a fight with ten or mjore kings waged by Sudāsa, a Bharata & 2. Indus Script Hariyūpiyā treasury of bhāratam janam with a datamine created in Indus Script Corpora.

R̥gveda dāśarājñá is a battle of kings of ten or more groups of dāśa 'fishermen, ferrymen, mariners', i.e. cognate, > dahae, 'people, in general' (Old Persian) (See Annex).

The consequent artha samgraha or 'wealth repository', Hariyūpiyā Indus Script Corpora constitutes 'treasury' itihāsa narrative with details of metalwork transactions. The Corpora is a veritable demonstration of how the wealth of a nation was created by bhāratam janam, (RV 3.53.12) 'metalcaster artisans'& seafaring merchants (पणि). The full repository of 2590 inscriptions which document constitutes a bewildering variety clustered in many categories of metalwork cagalogues, which document the wealth created. This treasury documentation will be presented together with decipherment of mlecchita vikalpa (Meluhha cipher) in a separate monograph.

After Bharata Sudāsa's battle with ten kings decribed in R̥gveda dāśarājñá, some historical processes are narrated. The battle of many (ten+) groups of people who were mariners and fire-workers -- मत्स्य, अनुः, अलिन, भृगु, पुरु, द्रुह्यु (yadu), पर्शु, paktha, bhalana, śivi, शिम्यु, विषाणिन्, पृथु, vaikarṇa, turvaśa,

पणि -- led by ten or more kings should have been a traumatic event for the samājam,of Eurasia, the commonwealth of guilds engaged in the creation of nation's wealth.

dāśa, 'mariners' in the expression dāśarājñá indicates that the battle of kings was a battle of kings leading ten groups of mariners. Sudāsa is a Bharata and hence, dāśarājñá may also be titled the First Bhārata Yuddha fought by Sudāsa, which gets repeated in the Mahābhārata war. History repeats itself. dāśa > Avestan *Dāha-(or rather *Dåŋha-) may signify 'people' perhaps two Scythian groups (Ancient Persian).

Together with fortifications of workshops of guilds, the wealth repository -- artha samgraha -- of Hariyūpiyā Indus Script Corpora was created to document & protect nation's wealth. The documentation processes in mints resulted in later-day activities of mints to produce punch-marked and cast coins to regulate monetary transactions in trade exchanges. This continuum explains the reason why many symbols used on early punch-marked and cast coins are Sarasvati-Sindhu (Indus) script hieroglyphs which signified metalwork catalogues.

Sudāsa & dāśarājñá, mariner-kings including पणि paṇi 'seafaring merchants' fought a battle on Yavyāvatī (dr̥ṣadvatī) river, and at Hariyūpiyā.यूप [p= 856,1] m.

(prob. fr. √ युप् ; but according to Un2. iii , 27 , fr. √2. यु) a post , beam , pillar , (esp.) a smooth post or stake to which the sacrificial victim is fastened , any sacrificial post or stake (usually made of bamboos or खदिर wood ; in R. i , 13 , 24 ; 25, where the horse sacrifice is described , 21 of these posts are set up , 6 made of बिल्व , 6 of खदिर , 6 of पलाश , one of उडुम्बर , one of श्लेष्मातक , and one of देव-दारु) RV. &c; a column erected in honour of victory , a trophy (= जय-स्तम्भ) L.

Indus Script is repository of Bronze Age wealth creation on 2590 Harappa< Hariyūpiyā inscriptions of metalwork clustered by categories

Cluster analysis of 2590 Harappa inscriptions defines metalwork wealth categories in a Bronze Age industrial port town (paṭṭana पट्टन on Ravi river bank) -- catalogues of cargo entrusted to seafaring merchants.

The battle occurred on Yavyāvatī, on Hariyūpiyā, the designation of a river or a city according to the commentators.

यव्या-वती [p= 848,1] f. N. of a river or a district RV. Ta1n2d2yaBr.

परोष्णी parōṣṇī N. of a river in the Punjab; also परुष्णी. It is now called Rāvī. परोष्णी [p= 606,1]

N. of a river Ra1jat. (Cf. परुष्णी under परुष.)

दाश 1 [p= 476,3] or ( Un2. v , 11) दाश्/अ (written also दास) fisherman , ferryman , mariner VS. xxx , 16 Mr2icch. viii , 408 , 9MBh. Hariv. &c; the son of a निषाद by a woman of the आयोगव caste Mn. x , 34

पणि [p= 580,2] m. a bargainer , miser , niggard (esp. one who is sparing of sacrificial oblations) RV. AV.;N. of a class of envious demons watching over treasures RV. (esp. x , 108) AV. S3Br.; a market L.

पृथु [p= 646,2] copious , numerous , manifold RV. &c ( °उ ind. ); m. of a दानव Hariv.

मत्स्य a [p= 776,3] (pl.) N. of a people and country (which accord. to Mn. ii , 19 forms part of ब्रह्मर्षि) RV. &c &c

विषाणिन् [p= 997,3] m. pl. N. of a people RV. vii , 18 , 7 (" holding horns in the hand " Sa1y. )

वैकर्ण [p= 1020,1] m. (fr. वि-कर्ण) N. of two tribes (du.) RV.

शिम्यु a [p= 1072,2] m. pl. N. of a people ib. vii , 18 , 5.

तुर्वश [p= 451,2] m. N. of a hero and ancestor of the Aryan race (named with यदु ; du. तुर्व्/अशा य्/अदू , " तुर्व and यदु " , iv , 30 , 17 ; pl. तुर्व's race) RV

अनुः anuḥ Ved. 1 A man. -2 N. of a son of Yayāti. -3 An ancient tribe in India; अनुत्वाहिघ्ने अध देव देवा Rv.6.18.14.

अलिन [p= 95,1] m. pl. N. of a tribe RV. vii , 18 , 7.

भृगु [p= 765,1] m. pl. ( √ भ्राज्) N. of a mythical race of beings (closely connected with fire , which they find [ RV. x , 46 , 2] and bring to men [i , 58 , 6 ; 195 , 2] or enclose in wood [vi , 15 , 2] or put in the navel of the world [i , 143 , 4] ; or which is brought to them and first kindled by मातरि-श्वन् [i , 60 , 1 ; iii , 5 , 10] ; they are also said to fabricate chariots [iv , 16 , 20] and are mentioned together with the अङ्गिरसs , अथर्वन्s , ऋभुs , मरुत्s , द्रुह्युs &c [cf. Naigh. v , 5] ; in Hcat. 12 भृगुs are enumerated among gods.

पुरु [p= 636,2] m. (cf. पूरु) N. of a prince (the son of ययाति and शर्मिष्ठा and sixth monarch of the lunar race) MBh. S3ak.

दृह् a [p= 490,2] or दृंह् cl.1 P. द्/ऋंहति , to make firm , fix , strengthen RV. AV. VS. &c (p. दृंह्/अन्तम् AV. xii , 29) ; द्रुह्यु [p= 502,3] m. pl. N. of people RV; sg. N. of a son of ययाति and brother of यदु &c MBh. (w.r. द्/उह्यु) Hariv. (v.l. द्रुह्य) Pur.

पर्शु 1 [p= 609,2] m. a rib AV. TS. Br. ([cf. Zd. perezu]) ; a curved knife , sickle AV. Kaus3. Aligned with गान्धारि [p= 353,3] m. pl. ( Pa1n2. 4-1 , 169 ; 4-2 , 52 Va1rtt. 2) N. of a people (also called गन्धारs or गान्धारs) MBh. viii , 2135.; गान्धार m. pl. N. of a people and of their country (north-east of Peshawar and giving its N. to Kandahar ; पाणिनि is said to have been a गान्धार ; cf.गन्ध्° , गन्धारि , गान्धारि) MBh. Hariv.

R. iv , vii VarBr2S. &c; m. minium or red lead L.

पारशव [p= 620,2] mf(ई)n. (fr. परशु ; but also written पारसव) made of iron (only in सर्वप्°); m. or n. iron L.

pl. N. of a warrior-tribe Pa1n2. 5-3 , 117 (cf. पारशव); . pl. N. of a people in the south-west of मध्य-देश Var. Ma1rkP.

Ajas, Sigrus, and Yaksus were probably the eastern people.

Pashtunistan (Pashto: پښتونستان‎, Pax̌tūnistān; also called Pakhtunistan,or Pathanistan,meaning the "land of Pashtuns") is the geographic region inhabited by the indigenous Pashtun people of modern-day Afghanistan and Pakistan. Pashtunistan

پښتونستان

Pashto-speaking regions in Afghanistan and Pakistan

Some scholars have argued that the Bhalanas lived in East Kabulistan, and that the Bolan Pass derives its name from the Bhalanas. (Macdonell, A.A. and Keith, A.B. 1912. The Vedic Index of Names and Subjects.)

Belligerents in the dāśarājñá Battle with Ten Kings (RV)

7.018.01 Our forefathers, Indra, glorifying you, have obtained all desirable (riches); in your gift are cows easy to be milked, and horses, and you are the liberal donor of wealth to the devout. [tve = tvayi, in you].
7.018.02 You dwell with your glories like a ra_ja_ with his wives; Maghavan, who are wise and experienced, (reward our) praises with the precious metals, with cows, with horses; conduct us who are dependent on your riches. [With the precious metals: pis'a_, silver or gold, and the like; ru_pen.a hiran.ya_dina_ va_; ru_pa may also mean beauty].
7.018.03 These gratifying and pious hymns, emulous (in earnestness), are addressed on this occasion to you, may the path of your riches lead downwards; may we, Indra, (diligent) in your praise, enjoy felicity.
7.018.04 Desirous of milking you like a milch cow at pasture, Vasis.t.ha has let loose his prayers to you; every one of my people proclaims you the lord of cattle; may Indra be present at our praises.
7.018.05 The adorable Indra made the well-known deep waters (of the Parus.n.i) fordable for Suda_sa, and converted the vehement awakening imprecation of the sacrificer into the calumnation of the rivers. [Converted the vehement: sardhantam s'imyum uchahasya s'a_pam sindhu_na_m akr.n.od as'asti_h = utsahma_na_m bodhma_na_m stotuh s'a_pam abhis'asti_h sindhu_na_m akarot, he made the exerting awakening curse of the praiser the imprecations of the rivers; vis'varu_podbhavam a_tmano abhis'a_pam, the imprecation on his (Indra) has its birth in vis'varu_pa].
7.018.06 Turvas'a, who was presiding (at solemn rites), diligent in sacrifice, (went to Suda_sa) for wealth; but like fishes restricted (to the element of water), the Bhrigus and Druhyus quickly assailed them; of these two everywhere going the friend (of Suda_sa, Indra) rescued his friend. [The legend: Indra saves one of the two, Suda_sa (and perhaps slays the other), turvas'am avadhi_t; matsyaso nis'itah, fishes limited to water; the people of the country Matsya were attacked by Turvas'a, tena matsyajanapada ba_dhitah; s'rus.t.im cakruh (applied to the Bhrigus) = as'upra_ptim cakruh; sukham turvas'asys cakruh-- making the Bhrigus and Druhyus the allies of Turvas'a].
7.018.07 Those who dress the oblation, those who pronounce auspicious words, those who abstain from penance, those who bear horns (in their hands), those who bestow happiness (on the world by sacrifice), glorify that Indra, who recovered the cattle of the Arya from the plunderers, who slew the enemies in battle. [Those who dress: Denominations of the persons assisting at religious rites are: 1. paktha_sah, havis.am pa_cakah, cooks of the butter offered in oblation; 2. bhala_nasah, bhadra va_cinah, speakers of that which is lucky; 3. alina_sah, tapobhir apravr.ddhah, not eminent by austerities; 4. vis.a_n.inah, having black horns in their hands for the purpose of scratching kan.d.uyana_rtham, the same as di_ks.itah, having undergone the preliminary purification called di_ks.a; 5. s'iva_sah, ya_ga_dina_ sarvasya lokasya s'ivakarah, the makers happy of all people by sacrifice and the like].
7.018.08 The evil-disposed and stupid (enemies of Suda_sa), crossing the humble Parus.n.i river, have broken down its banks; but he by his greatness pervades the earth, and Kavi, the son of Ca_yamana, like a falling victim, sleeps (in death). [Sleeps in death: killed Suda_sa].
7.018.09 The waters followed their regular course to the Parus.n.i, nor (wandered) beyond it; the quick courser (of the king) came to the accessible places, and Indra made the idly-talking enemies, with their numerous progeny, subject among men (to Suda_sa). [Indra is said to have repaired the banks of the river so that the waters -- iyur artham na nyartham-- went to their object, that is, their former bed, not below or beyond it; the enemies Amitra_n are called vadhriva_cah or jalpaka_n].
7.018.10 They who ride on particoloured cattle, (the Maruts), despatched by Pr.s.n.i and recalling the engagement made by them with their friend (Indra), came like cattle from the pasturage, when left without a herdsman; the exulting Niyut steeds brought them quickly (against the foe).
7.018.11 The hero Indra created the Maruts (for the assistance of the ra_ja_), who, ambitious of fame, slew one-and-twenty of the men on the two banks (of the Parus.n.i), as a well-looking priest lops the sacred grass in the chamber of sacrifice.
7.018.12 You, the bearer of the thunderbolt, did drown S'ruta, Kavas.a, Vr.ddha and afterwards Druhyu, in the waters; for they, Indra, who are devoted to you, and glorify you, preferring your friendship, enjoy it.
7.018.13 Indra, in his might, quickly demolished all their strongholds, and their seven (kinds of) cities; he has given the dwelling of the son of Anu to Tr.tsu; may we, (by propitiating Indra), conquer in battle the ill-speaking man. [Seven kinds of cities: purah sapta, seven cities; nagai_h sapta praka_rah or pra_ka_ra_h, seven-walled; conquer in battle: jes.ma pu_rum manus.yam mr.dhrava_cam, speaking imperfectly or barbarously; or baddhava_cam, whose speech is threatening, obstructing or adverse].
7.018.14 The warriors of the Anus and Druhyus, intending (to carry off the) cattle, (hostile) to the pious (Suda_sa) perished to the number of sixty-six thousand six hundred and sixty; such are all the glorious acts of Indra. [Sixty-thousand: s.as.t.ih s'ata s'at. sahasra s.as.t.ir adhi s'at. = sixty hundreds, six thousands, sixty, with six more; s'ata_ni = thousands, sahasra_ni_tyartham].
7.018.15 These hostile, Tr.tsus, ignorantly contending with Indra, fled routed as rapidly as rivers on a downward course, and being discomfited, abandoned all their possessions to Suda_sa.
7.018.16 Indra has scattered over the earth the hostile rival of the hero (Suda_sa), the senior of Indra, the appropriator of the oblation; Indra has baffled the wrath of the wratfhful enemy, and the (foe) advancing on the way (against Suda_sa) has taken the path of flight.
7.018.17 Indra, has effected a valuable (donation) by a pauper; he has slain an old lion by a goat; he has cut the angles of the sacrificial post with a needle; he has given all the spoils (of the enemy) to Suda_sa. [Indra has effected: the three impossible acts are illustrative of the wonderful power of Indra].
7.018.18 Your numerous enemies, Indra, have been reduced to subjection, effect at some time or other the subjugation of the turbulent Bheda, who holds men praising you as guilty of wickedness; hurl, Indra, your sharp thuderbolt against him. [Bheda: one who breaks or separates; may mean an unbeliever, a na_stika; or, the name of the enemy of Suda_sa].
7.018.19 The dwellers on the Yamuna and the Tr.tsus glorified Indra when he killed Bheda in battle; the Ajas, the S'igrus, the Yaks.as, offered him as a sacrifice the heads of the horses (killed in the combat). [Offered to him: balim s'i_rs.a_n.i jabhrur as'vya_ni : they represented the best horses, taken; bali may also have the import of a sacrifice].
7.018.20 Your favours, Indra, and your bounties, whether old or new, cannot be counted like the (recurring) dawn; you have slain Devaka, the son of Ma_nyama_na, and of thine own will, has cast down S'ambara from the vast (mountain).
7.018.21 Para_s'ara, the destroyer of hundreds (of ra_ks.asas), and Vasis.t.ha they who, devoted to you, have glorified you in every dwelling, neglect not the friendship of you (their) benefactor; therefore prosperous days dawn upon the pious. [The destroyer: s'ataya_tu, that is, s'akti, the son of Vasis.t.ha, the father of Para_s'ara (Vis.n.u Pura_n.a 8.4)].
7.018.22 Praising the liberality of Suda_sa, the grandson of Devavat, the son of Paijavana, the donor of two hundred cows, and of two chariots with two wives, I, worthy (of the gift), circumambulate you, Agni, like the ministrant priest in the chamber (of sacrifice).
7.018.23 Four (horses), having golden trappings, going steadily on a difficult road, celebrated on the earth, the excellent and acceptable gifts (made) to me by Suda_sa, the son of Paijavana, bear me as a son (to obtain) food and progeny. [The excellent: smaddis.t.ayah, an epithet of as'vah: prasa'sta_tisarjana_ s'raddha_dida_na_n:gayukta_, being or having part of a donation made in the belief of presenting what is excellent].
7.018.24 The seven worlds praise (Suda_sa) as if he were Indra; him whose fame (spreads) through the spacious heaven and earth; who, munificent, has distributed (wealth) on every eminent person, and (for him) the flowing (rivers) have destroyed Yudhyamadhi in war.
7.018.25 Maruts, leaders (of rites), attend upon this (prince) as you did upon Divoda_sa, the father of Suda_sa; favour the prayers of the devout son of Pijavana, and may his strength be unimpaired, undecaying].

7.033.01 The white-complexioned accomplishers of holy ceremonies, wearing the lock of hair on the right side, have afforded me delight, when, rising up I call the leaders (of rites) to the sacred grass; the Vasis.t.has, (my sons) should never be far from me. [White-complexioned: s'vity an~cah = s'vetavarn.ah, white-coloured (applied to the vasis.t.has); wearing the lock of hair on the right side: daks.in.atas kaparda_h: kaparda = cu_d.a or single lock of hair left on the top of the head at tonsure; Vasis.t.has wear it on the right of the crown of the head, daks.in.e s'iraso bha_ge].
7.033.02 Disgracing (Pa_s'adyumna), they brought from afar the fierce Indra, when drinking the ladle of Soma at his sacrifice, to (receive) the libation (of Suda_sa); Indra hastened from the effused Soma of Pa_s'adumna, the son of Va_yata, to the Vasis.t.has. [They brought: A legend is related. The sons of Vasis.t.ha had undertaken a soma sacrifice to Indra on behalf of Suda_sa. They found that he was present at a similar solemnity instituted by the ra_ja_ Pa_s'adyumna, the son of Va_yata, on which they abused the ra_ja_, broke off his sacrifice, and by their mantras, compelled Indra to come to that of their patrons].
7.033.03 In the same manner was he, (Suda_sa) enabled by them easily to cross the Sindhu river; in the same manner, through them he easily slew his foe; so in like manner, Vasis.t.has, through your prayers, did Indra defend Suda_sa in the war with the ten kings. [He easily sle his foe: bhedam jagha_na: bheda may also be a proper name; in the war with ten kings: da_s'ara_jn~e = das'abhi_ ra_ja_bhih saha yuddhe].
7.033.04 By your prayers, leaders (of rites), is effected the gratificcation of your progenitors; I have set in motion the axle (of the chariot); be no you intert, for by your sacred metres, Vasis.t.has, (chanted) with a loud voice, you sustain vigour in Inda. [Of your rogenitors: pitr.n.a_m, in the gen., pl. used honorifically, implying father, i.e. Vasis.t.ha; I have set in motion: aks.am avyayam = rathasya aks.am avyaya_mi, ca_laya_mi, I cause to move the axle of the car, ascribing the words to Vasis.t.ha, as announcing his intention to return to his hermitage].
7.033.05 Suffering from thirst, soliciting (rain), supported (by the Tr.tsus) in the war with the ten ra_ja_s, (the Vasis.t.has) made Indra radiant as the sun; Indra heard (the praises) of Vasis.t.ha glorifying him, and bestowed a spacious region on the Tr.tsus.
7.033.06 The Bharatas, inferior (to their foes), were shorn (of their possessions), like he staves for driving cattle, (stripped of their leaves and branches); but Vasis.t.ha became their family priest, and the people of the Tr.tsus prospered. [People of the Tr.tsus: Tr.tsus are the same as the Bharatas. Sam.varan.a, the son of R.ks.a, the fourth in descent from Bharata, the son of Dus.yanta, was driven from his kingdom by the Pa_n~ca_las, and obliged to take refuge with his tribe among the thickets on the Sindhu until Vasis.t.ha came to them and consented to be the ra_ja_'s purohit, when they recovered their territory].
7.033.07 Three shed moisture upon the regions, three are their glorious progeny, of which the chief is night; three communicators of warmth accompany the dawn; verily the Vasis.t.has understand all these. [Three shed moisture: S'a_tya_anais cited: the three who send rain on the three regions of earth, mid-air, and heaven, are Agni, Va_yu and A_ditya; they also diffuse warmth; thei offspring are the Vasus, the Rudras, the A_dityas, the latter of whom are the same as Jyotis., light].
7.033.08 The glory of these Vasi.s.t.has is like the splendour of the sun; their greatness as profound as (the depth of) the ocean; your praise, Vasis.t.has, has the velocity of the wind; by no other can it be surpassed.
7.033.09 By the wisdom seated in the heart the Vasis.t.has traverse the hidden thousand branched world, and the Apsarasas sit down wearing the vesture spread out by Yama. [The hidden thousand-branched world: nin.yam sahasravals'am abhisan~caranti, they completely go over the hidden, tirohitam, or durjn~a_nam, ignorant, sahasra vals'am, thousand-branched, that is, sam.sa_ram, the revolving world of various living beings, or the succession of many births; the allusion is to the repeated births of Vasis.t.ha, who is the first of the Praja_patis, or mind-born sons of Brahma_, who is the son of Urvas'i_; hr.dayasya praketaih prajn~a_naih, internal convictions or knowledge; this may imply the detachment of Vasis.t.ha or his sons from the world. The apsaras sit down: yamena tatam paridhim vayanto apsarasa upasedur vasis.t.ha_h: te vasis.tha_h, those vasis.t.has or that vasis.t.ha; yamena = sarvaniyantra_, by the restrainer or regulator of all; ka_ran.a_tmana_, identical with cause, that is, by acts, as the causes of vital condition; the garb paridhim, vastram, spread, tatam, by him, is he revolution of life and death; janma_diprava_ha_h, weavin, vayantah; connecting this with apsarasah, the myphs, or, the nymph Urvas'i_, who sat down or approached in the capacity of a mother, jananitvena, wearing that vesture which he was destined by former nets to wear].
7.033.10 When Mitra and Varun.a beheld you, Vasis.t.ha, quitting the lustre of the lightning (for a different form), then one of your births (took place), inasmuch as Agastya bore you from your (former) abode. [Agasya bore you: agastyo yat tva_ vis'a_ a_jabha_ra = yada_ purvavastha_na_t tva_m a_jaha_ra, when Agastya took you from the former condition; mitra_varun.au a_va_m janayisya_va, we two Mitra and Varun.a, will beget; or, a_va_bhya_m ayam ja_yeta iti samakalpata_m, the two divinities determined this Vasis.t.ha shall be begotten by us].
7.033.11 Verily, Vasis.t.ha you are the son of Mitra and Varun.a, born, Brahma_, of the will of Urvas'i_, after the seminal effusion; all the gods have sustained you, (endowed) with celestial and Vedic vigour in the lake. [Born of the will of Urvas'i_: Urvas'i_, on seeing the birth of the R.s.i, said to herself, let this be my son; Endowed with celestial and vedic vigour: brahman.a_ daivyena; adding an epithet: yuktam, joined with; devasambandhina vedara_s'ina_hambhuva yuktam; pus.kara = kumbha, pitcher used at sacrifice, or the vasati_vara, the pool of water prepared for the same. Vasis.t.ha was born when the vessel, pus.kara, was over-filled and some contents fell upon the earth. Agastya was born of the contents in the vessel; the overflowing fluid being collected together, Vasis.t.ha remained in the lake, tato apsu gr.hyama_n.a_su vasis.t.ha_h pus.kare sthitah; Pus.kara is also the name of a lake in Ajmer; Padma Pura_n.a cites it as the hermitage of Agastya (Sr.s.t.i khan.d.a)].
7.033.12 He, the sage, cognizant of both worlds, was the donor of thousands; he was verily donation; wearing the vesture spread spread by Yama, Vasis.t.ha was born of the Apsaras.
7.033.13 Consecrated for the sacrifice, propitiated by praises, they, Mitra and Varun.a, poured a common effusion into the water-jar, from the midst of which Ma_na arose, and from which also, they say, Vasis.t.ha was born. [Consecrated: satre ja_tau = ya_ge di_ks.itau, prepared by preliminary purifications for the ceremony; Ma_na: a name of Agastya with reference to his being of the measure of a span at his birth; udiya_ya tato agastyah s'amyama_tro mahitapah ma_nena sammito yasma_d ma_nya ihocyate, thence arose the great asceic Agastya of the measure of a span, as measured by a measure (ma_na); he is therefore, caled upon earth Ma_nya. Another legend: Agastya was, in a preceding birth, the son of Pulastya].
7.033.14 Pratr.ts, Agastya comes to you; welcome him with devoted minds, and he in the foremost station directs the reciter of the prayer, the chanter of the hymn, the grinder of the stone, and repeats (what is to be repeated). [Pratr.ts = Tr.tsus; in the foremost station: agre, in front, that is, as their Purohita].

The Trtsu are the tribe led by king Sudas ( Sudas of North Panchal kingdom is the ancestor of Draupadi.). Sudas himself is included in the "ten kings", as the Trtsus are said to be surrounded by ten kings in 7.33.5. But it is not made explicit how this number is supposed to be broken down: if of the tribes mentioned in 7.18, the Turvasas, Yaksus (pun for Yadu), Matsyas, Bhrgus, Druhyus, Pakthas, Bhalanas, Alinas, Shivas and Visanins are counted, the full number is reached, leaving the Anavas (7.18.14), the Ajas and Sigrus (7.18.19) and the "21 men of both Vaikarna tribes" (7.18.11) without a king, and implying that Bheda (7.18.19, also mentioned 7.33.3 and 7.83.4, the main leader slain by Sudas), Shimyu (7.18.5), and Kavasa (7.18.12) are the names of individual kings. The Bharatas are named among the enemies in 7.33 but not in 7.18.

Alinas: One of the tribes defeated by Sudas at the Dasarajna,and it was suggested that they lived to the north-east of Nuristan, because the land was mentioned by the Chinese pilgrim Xuanzang.
Anu: Some place them in the Paruṣṇī (Ravi) area.
Bhrigus: Probably the priestly family descended from the ancient Kavi Bhrigu. Later, they are related to the composition of parts of the Atharva Veda (Bhṛgv-Āṅgirasa) .
Bhalanas: Fought against Sudas in the Dasarajna battle. Some scholars have argued that the Bhalanas lived in the Bolan Pass area.
Druhyus: Some align them with the Gandhari (RV I 1.126.7).
Matsya are only mentioned in the RV (7.18.6), but later in connection with the Śālva.
Parsu: The Parśu have been connected by some with the ancient Persians.
Purus: One of the major tribal confederations in the Rigveda.
Panis: Also the name of a class of demons; later associated with the Scythians.

https://en.wikipedia.org/wiki/Battle_of_the_Ten_Kings

6.027.01 What has Indra done in the exhilaration of this (Soma)? What has he done on quaffing this (libation)? What has he done in friendship for this (Soma)? What have former, what have recent adorers obtained from you in the chamber of this (libation)? [The r.s.i is expressing his impatience at the dealing of the reward of his praises; in the next stanza, he recants].
6.027.02 Verily, in the exhilaration of this (Soma) Indra has done a good deed; on quaffing the libation (he has done) a good deed; (he has done) a good deed in friendship for this Soma; former as well as recent adorers have obtained good of you in the chamber (of the libation).
6.027.03 We acknowledge no one, Maghavan, of greatness equal to yours, nor one of like affluence, nor one of equally glorifiable riches, none has (such as) your power been ever seen (in any other).
6.027.04 Such as your power (is) it has been comprehended (by us) as that wherewith you have slain the race of Varas'ikha, when the boldest (of them) was demolished by the noise of your thunderbolt hurled with (all your) force. [varas'ikha: name of an asura; or, perhaps, the name of a people].
6.027.05 Favouring Abhya_vartin, the son of Ca_yama_na, Indra destroyed the varas'ikha (people), killng the descendants of Vr.ci_vat, (who were stationed) on the Hariyu_pi_ya, on the eastern part, while the western (troop) was scattered through fear. [Abhya_vartin, Ca_yama_na: names of ra_ja_s. Vr.ci_vat is the first-born of the sons of varas'ikha, thereafter others are named. Hariyu_pi_ya is the name of either a river or a city].
6.027.06 Indra, the invoked of many, thirty hundred mailed warriors (were collected) together on the Yavya_vati_, to acquire glory, but the Vr.ci_vats advancing in a hostile manner, and breaking the sacrificial vessels, went to (their own) annihilation. [Thirty hundred: trim.s'ac chatam varmin.ah = trim.s'ada dhikas'atam, one hundred and thirty; kavacabhr.tas, wearers of breasplates or armour; yavya_vati_ = same as hariyu_pi_ya].
6.027.07 He whose bright prancing horses, delighted with choice fodder, proceed between (heaven and earth), gave up Turvas'a to Sr.n~jaya, subjecting the Vr.ci_vats to the descendant of Devava_ta (Abhya_vartin). [Sr.n~jaya: there are several princes with this name in the pura_n.as; one of them, the son of Haryas'va, was one of the five Pa_n~ca_la princes; the name is also that of a people, probably in the same direction, the northwest of India, or towards the Punjab (Vis.n.u Pura_n.a)].

6.027.08 The opulent supreme sovereign Abhya_vartin, the son of Ca_yama_na, presents, Agni, to me two damsels riding in cars, and twenty cows; this donation of the descendant of Pr.thu cannot be desroyed. [Two damsels: dvaya_n rathino vim.s'ati ga_ vadhu_mantah = rathasahita_n vadhu_matah stri_yukta_n dvaya_n mithunabhu_ta_n, being in pairs, having women together with cars; twenty animals, pas'u_n; perhaps, the gift comprised of twenty pairs of oxen yoked two and two in chariots; the gift of females to saintly persons; this donation: du_n.a_s'eyam daks.in.a_ pa_rthava_na_m = na_s'ayitum as'akya_; pa_rthava: Abhya_vartin, as descended from Pr.thu, the plural is used honorifically].

(Griffith translation) RV 6.27

1 WHAT deed hath Indra done in the wild transport, in quaffing or in friendship with, the Soma? What joys have men of ancient times or recent obtained within the chamber of libation?
2 In its wild joy Indra hath proved him faithful, faithful in quaffing, faithful in its friendship. His truth is the delight that in this chamber the men of old and recent times have tasted.
3 All thy vast power, O Maghavan, we know not, know not the riches of thy full abundance.No one hath seen that might of thine, productive of bounty every day renewed, O Indra.
4 This one great power of thine our eyes have witnessed, wherewith thou slewest Varasikhas'children,When by the force of thy descending thunder, at the mere solund, their boldest was demolished.
5 In aid of Abhyavartin Cayamana, Indra destroyed the seed of Varasikha.
At Hariyupiya he smote the vanguard of the Vrcivans, and the rear fled frighted.
6 Three thousand, mailed, in quest of fame, together, on the Yavyavati, O muchsought- Indra, Vrcivans' sons, falling before the arrow, like bursting vessels went to their destruction.

7 He, whose two red Steers, seeking goodly pasture, plying their tongues move on twixt' earth andheaven,Gave Turvasa to SrÑjaya, and, to aid him, gave the Vrcivans up to Daivavata.
8 Two wagonteams-, with damsels, twenty oxen, O Agni, Abhyavartin Cayamana, The liberal Sovran, giveth me. This guerdon of Prthus' seed is hard to win from others.

[quote] The reason behind the war is the rivalry between Vishwamitra and Vasishtha.
As we have seen in Proving the Out of India Theory 5 the Vishwamitras from the earliest times were related to the kings of Purus and Panchalas who are called Bharatas in general. Sudas himself was a Bharata. The profuse references to places in Haryana and hymns in the praise of Sudas prove the same. Specifically, the hymn RV(3.53) composed by Vishwamitra himself praises Sudas and tells us that with the help of Vishwamitras, Sudas had reached the Sindhu river, crossed it and had done a huge Yagya there. The Brihad Devata tells us even the Vasishthas were present there.Along with Vishwamitras, the Jamadagnis were also present. Because of some dispute between some Jamadagnis and Shaktyas ( descendants of Vasishthas's son Shakti), some Jamadagnis fainted. This caused them to utter curses which also find place in RV(3.53). These curses are called Sasarpari (ससर्परी).
Also, we know that before the era of Sudas, the Vasishthas were more or less related to Ikshvakus in Ayodhya or central Indian Yadus. But soon, the relations between Vishwamitras and Sudas began to deteriorate. During the same time, a Vasishtha named Shreshthabhaj was the priest of the Ikshvaku king Kalmashpada. Because of his rivalry with Vasishtha, Vishwamitra sent some Danavas to cook meat for Vasishtha and feed him through king Kalmashpada. The same Vishwamitra had killed Vasishtha's 100 sons along with Shakti,his eldest son. Such was the rivalry between them.
With the Vasishtha getting closer to Sudas and the consequent jealousy of Vishwamitra resulted in Vishwamitra leaving Sudas and consolidating a group of 10 kings and pitching them against Sudas. Hence this war is known as Battle of 'Ten' Kings.
The other people who were involved against Sudas are Kavasha Ailusha and Kavi Chaymana.
Kavash Ailusha himself was against Sudas whereas his son Tura Kavasheya had crowned King Janmajeya II of Puru dynasty. Talking of Kavi Chayamana, he was the descendant of Abhyavartin Chayamana who is mentioned by Bharadvaja in RV(6.27.8) as a Parthav ( or descendant of Pruthu) and was an Anu king and had fought the Hariyupiya war from the side of the Bharatas. But see how politics changes- Abhyavartin was allied to the Bharatas, but his descendant Kavi fought against the Bharata king Sudas !!!]

War Description
The war is described properly in the hymns RV(7.18), (7.19), (7.33 )composed by Vasishtha.For obvious reason ,it has to be Vasishtha who will praise Sudas since it was his rival Vishwamitra who had pitched 10 kings against Sudas.
According to RV(7.18.5) the war took place on the banks of the river Parushni (Ravi) in Punjab. Following were the enemies of Sudas-

Paktha RV(7.18.7)
Bhalanas RV(7.18.7)
Alina RV(7.18.7)
Vishanin RV(7.18.7)
Shivi RV(7.18.7)
Turvasha RV(7.18.6)
Matsya RV(7.18.6)
Bhrugu RV(7.18.6)
Druhyu RV(7.18.6)
Vaikarnas RV(7.18.11) ( 21 in number)
Anus RV(7.18.13)
Pruthus (which includes Kavi Chayamana) RV(7.18.8)
Parshus RV(7.83.1)
Simyu RV(7.18.5)

These all were segregated under 10 kings for the war. Along with this, there were many other enemies with whom Sudas fought the war on the banks of Yamuna. They were

Yakshas RV(7.18.19)
Shigrus RV(7.18.19)
Aja RV(7.18.19)

and whose leader was a king called Bheda (भेद) RV(7.18.19)
There were other enemies who had attacked on the Vasishthas-

Yudhyamadhi, who were killed by drowning RV(7.18.24)
Trushnaj RV(7.33.5)

The only known ally of Sudas in this war were Trutsu people (Ikshvakus)
Now after knowing the participants of the war, let us now see how the war took place.
The war was started on the banks of the river Parushni. RV(7.18.8) records that the banks of the Parushni were broken and badly damaged by the enemies. The war was a big one and Sudas and his army fought bravely. The enemies were destroyed and finally Sudas won the war, Later on, he had to fight Aja,Shigru and Yakshas on the Yamuna and he defeated them too. They had to pay a war revenue to Sudas.
Sudas emerged as a winner of the war. A total of 6666 people were killed in the war as mentioned in RV(7.18.14).
He donated handsome gifts to the Vasishthas as mentioned in RV(7.18.22-25)

Dasharadnya and Aryan Invasion Theory
We have seen the hymn composed by Vishwamitra RV(3.53) where he mentions that he had helped Sudas to CROSS THE SINDHU RIVER and had done a holy yagya. Now this info has been used by the Aryan Invasion Theory (AIT) propagandists to prove their point. They feel this event of Sudas crossing Sindhu was the 'actual' event of the invasion of the Aryans. They feel that later on Sudas allied with another 'aryan', Vasishtha with the help of whom fought the Dasharadnya war. Such can be the level of scholarship that they can't even think beyond their decided principles.

Since an argument has been made in the favor of AIT, we must refute it too..
A thing of common sense is that Sindhu river can be crossed from east to west or west to east. The assumption made by the AIT scholars is that Sudas crossed Sindhu from west to east. This is not the case. The simple reason for this is based on the geographical data of the Kingdoms provided by the Puranas.
The Puranas tell us that Sudas was the king of North Panchala, a kingdom present in the doab region of Ganga ans Saraswati i,e today's East Haryana and plains of western UP. And it's not that Sudas was the first to come and live there. Right from the time of Nila Ajamidha, who was the starter of this kingdom, the kings of this dynasty have been ruling the area mentioned above.
So if Sudas had actually crossed the Sindhu, in his conquest for new land, he had done that from east to west. This is exactly opposite of what AIT followers believe. [unquote]

https://www.quora.com/What-are-the-facts-about-the-Battle-of-Ten-Kings

S. Kalyanaraman

Sarasvati Research Center

April 30, 2017

Annex DAHAE

i. The name.

ii. The people.

i. The Name

Already in 1912 the Old Persian ethnonym Daha- (Gk. Dáoi, Dáai; Lat. Dahae) had been connected by Sten Konow with Khotanese daha- “man, male,” an etymology that is all the more plausible as it is common throughout the world for nations to designate themselves with the words meaning “man” in their respective languages (for a few examples, see Bailey, 1958, pp. 109-10). The corresponding long-grade form *dāha- is represented by New Persian dāh “servant,” Buddhist Sogdian dʾyh, Christian Sogdian dʾy “slave woman,” and apparently also Avestan *Dāha-(or rather *Dåŋha-), attested only as feminine Dāhī-, in Yašt 13.144, where it occurs, together with the Airiia-, Tūiriia-, Sairima- and Sāinu-, as the name of one of the tribes that followed the Zoroastrian religion. The fact that Old Persian Daha- and Avestan *Dāha- seem to be related etymologically is not, however, necessarily proof that the two names referred to the same ethnic group; if the Daha- were indeed a Scythian tribe (see ii, below) it would be difficult to identify them with a group that is clearly excluded from the Airiia- (Aryans) in the Avesta. The ancient Indians also knew of a people called *Dasa- (attested only in adjectival dāsa-), depicted in the Rigveda as enemies of the Ārya-. The same root is also apparent in Avestan dax́iiu-, Old Persian dahyu- (dahạyu-) “province” (i.e., “(mass of) people”; cf. Skt. dasyu- “(hostile) people, demons”), and perhaps also Avestan aži- dahāka- “manlike serpent” (cf. Schwartz, 123-24).

See AŽDAHĀ.

Bibliography:

S. Konow, “Vedic 'dasyu,' Toxrī [i.e. Khotanese] "dahä,"” Festschrift Vilhelm Thomsen, Leipzig, 1912, pp. 96-97.

H. W. Bailey, “Iranian arya- and daha-,” TPS 1958, pp. 71-115, esp. 107-12.

M. Schwartz, review of M. Mayrhofer, Die avestischen Namen, Iranisches Personennamenbuch I/1, Orientalia 49, 1980, pp. 123-26.

O. Szemerényi, Four Old Iranian Ethnic Names, Vienna, 1980, p. 43 n. 123.

(François De Blois)

ii. The People

Herodotus (1.125) referred to the Dáoi as one of the nomadic tribes of the Persians, together with the Mardians, Dropicans, and Sagartians. The name also occurs in the so-called “Daeva inscription” of the Achaemenid king Xerxes I (486-465/4 b.c.e.), where the Dahā are included in a list of thirty dahyāva (lands, provinces) that formed part of the Achaemenid empire (Kent, Old Persian, XPh 26, p. 151). Near the end of the list the Dahā are mentioned together with two clearly Scythian groups, the Sakā haumavargā and the Sakā tigraxaudā, among various lands and peoples along the periphery of the empire. Furthermore, it is possible that delegates from the Dahā are depicted among the subject peoples in the reliefs in the Central Building and in the Throne Hall at Persepolis (Schmidt, 1953, pls. 118-20, 135-36). Four of the delegates (nos. 17/W9, 18/E9, 22/E11, 28/E14) on each relief are shown wearing almost identical costumes (including the cutaway coat), clearly connecting them with the Scythian groups from the far northeastern part of the empire (see clothing i, v). From the evidence of the provincial lists in various Achaemenid inscriptions, only the Sakā haumavargā, the Dahā, and the people from Sugda- and Uvārazmī- could be identified with these four delegates.

In various classical sources the Dahae are listed in the rosters of the Persian army that fought against Alexander the Great at Gaugamela. Arrian (Anabasis 3.11.37) reported that the Dahae fought in the left wing, together with the Bactrians and the Arachosians. Curtius Rufus (4.12.5ff.) also placed the Bactrians and Dahae in the left wing. In addition, both authors noted that beyond the Persian ranks, at the extreme left, there were Bactrian and Scythian cavalry and scythe chariots (Arrian), or the Massagetae (Curtius Rufus). It is thus clear that the left wing of the Achaemenid army was formed by troops from the northeastern part of the empire, predominantly of Scythian descent, and that the Dahae were one of these groups.

According to his biographers, Alexander later also incorporated Dahae into his own cavalry (Arrian, Anabasis 5.12.2; cf. Curtius Rufus, 7.7.32). They were described as “horseriding” bowmen (cf. Appian, Syriaca 167) and were said to have lived in the wastes northeast of Bactria and east of Sogdiana. At least some of the Dahae must thus be placed along the eastern fringes of the Karakum desert, near ancient Margiana, a conclusion confirmed by information found in some other classical sources (e.g., Ptolemy, Geography 6.10.2; Tacitus, Annales 11.10). It is possible that the Dahae were thus responsible for nomadic invasions of Margiana and Areia some time around 300 b.c.e., in which the towns of Alexandreia and Heracleia, the first located in Margiana, the latter apparently in Areia, were destroyed (cf. Pliny, Historia Naturalis 6.47-48; 33; 6.67; Strabo 11.516).

The spread of the Dahae farther west, at least by the mid-3rd century b.c.e., is indicated in other sources, which refer to Dahae who settled in the lands north of ancient Hyrcania, along the southeastern shores of the Caspian Sea. This area was later known as Dahistān (Dehestān). In this connection Strabo (11.508, 11.515) referred to the (S)párnoi (cf. Justin 41.1.10). He also mentioned two other Dahā tribes, namely the Xánthioi and the Píssouroi, who lived east as far as the lands north of ancient Areia (11.511). The (S)párnoi are of particular interest, as elsewhere Strabo reported that Arsaces, the founder of the Parthian empire, who lived around the middle of the 3rd century b.c.e., was the chief of this Dahā tribe (11.515). Strabo added that the (S)párnoi lived along the Ochus; this reference cannot be separated from another (11.509) to the Ochus as one of the rivers that crossed Hyrcania. All this information suggests that the (S)párnoi lived in or near what was later called Dahistān; at least one ancient tradition linked their presence in this area to the Scythian invasions of Parthia that led to the foundation of the Parthian empire. The ensuing history of the Dahistān steppes and their role as a cradle for future rulers on the Persian plateau (cf. the sequence of Turkmen dynasties in Persia since the Middle Ages) appear to support the hypothesis that these lands formed the basis for nomadic inroads into the plains along and between the Khorasan mountain chains.

When exactly the (S)párnoi or Dahae settled along the southern and southwestern fringes of the Karakum desert remains unclear; they may have moved there in the late 4th or early 3rd century b.c.e., when other Scythian tribes invaded Margiana and Areia (see above), though the Dahae may have settled in ancient Dahistān much earlier.

It could thus be concluded that the main group of the Dahae resided in the arid steppes of the Karakum, in lands inhabited in recent centuries mainly by Turkmen.

There is no need to assume, however, that the present harsh conditions already existed in the 1st millennium b.c.e.; archeological finds, for example, a fortress of the Parthian period at Igdy along the banks of the now dried-up Uzboi river (Koshelenko, 1985, pp. 211, 214, 216), suggest that the Karakum was far from completely deserted. The Dahae must have been one of those Scythian groups that dominated traffic between Hyrcania and Parthia to the south and ancient Choresmia to the north. Whether or not the Dáoi listed by Herodotus as one of the Persian tribes should be identified with the Dahae of the Karakum remains uncertain, but in the light of other evidence of northern infiltrations onto the Persian plateau and beyond during the early 1st millennium b.c.e. (cf., e.g., the name of the Mardians), it cannot be excluded that Scythian groups, including the Dahae, were present in southwestern Persia at a fairly early date.

Bibliography:

G. A. Koshelenko, ed., Arkheologiya SSSR. Drevneĭshie gosudarstva Kavkaza i Sredneĭ Azii (Archeology of the U.S.S.R. The ancient empires of the Caucasus and Central Asia), Moscow, 1985.

E. F. Schmidt, Persepolis I, Oriental Institute Publications 68, Chicago, 1953.

W. Tomaschek, “Daai,” in Pauly-Wissowa IV/2, cols. 1945-46.

Idem, “Daoi,” in Pauly-Wissowa IV/2, col. 2133.

(Willem Vogelsang)

(François de Blois, Willem Vogelsang)

Originally Published: December 15, 1993

Last Updated: November 11, 2011

This article is available in print.
Vol. VI, Fasc. 6, pp. 581-582

http://www.iranicaonline.org/articles/dahae

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Work is worship, ಕಾಯಕವೇ ಕೈಲಾಸ -- Basava (NaMo on May 1, 2017)

April 30, 2017, 9:47 pm

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‏ @kalyan97

@narendramodi Work is worship, ಕಾಯಕವೇ ಕೈಲಾಸ -- Basava (NaMo on May 1, 2017) http://bharatkalyan97.blogspot.com/2017/04/work-is-worship-basava-namo-on-may-1.html ……

गुजरातऔरमहाराष्ट्रकेस्थापनादिवसकीदोनोंराज्योंकेनागरिकोंकोबहुत-बहुतशुभकामनाएं।दोनोंराज्योंनेविकासकीनयीऊंचाइयोंकोपारकरनेकेअलावादेशकीउन्नतिमेंयोगदानदियाहै| यहांकेमहापुरुषोंकाजीवनहमेंप्रेरणादेतारहताहै।

My greetings to people of Gujarat and Maharashtra on Gujarat Day and Maharashtra Day. Both states scaled new heights of progress and have contributed in the growth of the country. The life of the great personalities here keeps us motivated.

गुजरातऔरमहाराष्ट्रकेस्थापनादिवसपरहमेंसंकल्पलेनाचाहिएकियहांकेमहापुरुषोंकोयादकरतेहुए2022 यानीआजादीके75 सालतकहमअपनेराज्य, देश, समाज, नगरऔरपरिवारकोकहांपहुंचाएंगे।

On the statehood day of Gujarat and Maharashtra, we should take a resolution while remembering the great personalities of these places that where we will take our state, country, society, city when India marks 75 years of Independence.

गर्मीकेसमयबालकनीमें, छतपरपानीरखनेकीपहलछोटे-छोटेबालकबखूबीकरतेहैं| बालकमनमेंसंवेदनाएंजगानेकायेएकअद्भुतअनुभवहोताहै| पशु-पक्षीकेसाथथोड़ालगावभीएकनयेआनंदकीअनुभूतिकराताहै।

At the time of summer, children are enthusiastic to keep water on the terrace or in the balcony. It is a wonderful experience to awaken enthusiasm in the child's mind. A little attachment to the animals and birds can become a joyful experience.

मैंआपसेआग्रहकरूंगाकिइसVacation मेंजहांभीआपकीजिज्ञासाहै, उसेजाननेकीकोशिशकीजिए, नयाExperiment कीजिए।Experiment Positive हो, थोड़ाComfort Zone सेबाहरलेजानेवालाहो।

During the vacations, find out where your curiosity lies; perform new experiments that are positive and little out of your comfort zone.

शामकेसमयअपनाFootball, Volleyball याकोईभीखेल-कूदकासाधनलेकरगरीबबस्तीमेंचलेजाएं।उनगरीबबालकोंकेसाथखुदखेलिए।आपदेखिएगाशायदजिंदगीमेंखेलकाऐसाआनंदपहलेकभीनहींमिलाहोगा।

Indulge into sports like football or volleyball. Reach out to poor kids to play. It will be an unforgettable experience.

मुझेइसबातकीभीचिंतासतारहीहैकिTechnology दूरियांकमकरनेकेलिएआयीं, लेकिनउसकादुष्परिणामयेहुआहैकिएकहीघरमेंछःलोगएकहीकमरेमेंबैठेहैं, लेकिनदूरियांइतनीहैंकिकल्पनानहींकरसकते!

Technology is meant to bridge the distances. But sometimes, that is not the case. Even while we are in one room, we are at times separated by technology.

दोस्तो! जीवनमेंबहुत-कुछबननेकेसपनेअच्छीबातहै, लेकिनयेभीदेखिएकिकहींहममानवीयगुणोंसेदूरतोनहींचलेजारहेहैं! क्याइसबारकीVacation मेंटेक्नोलॉजीसेदूरखुदकेसाथसमयगुजारनेकाप्रयासकियाजासकताहै!

It is good to visualise what we want to achieve in life, but we must ensure that we don’t lose the human qualities. In the vacations, let us make attempts to move away from technology for introspection of our qualities.

Out Of Box कुछकरिएदोस्तो! जिंदगीबनानेकायहीतोअवसरहोताहै।आपसोचतेहोंगेकिसारीExam समाप्तहोजाएंतोCareer केनयेपड़ावपरजाऊंगा, तबसीखूंगा।तोवोमौकानहींआएगा।

Doing something Out of the Box helps. If one decides to learn after entering a new phase in career, that won’t help. We must be constant learners. We must utilize every opportunity to grow.

Drawing करें।भलेउत्तमDrawing नहींआएगा, लेकिनकुछतोकागजपरहाथलगानेकीकोशिशकरें।आपकेभीतरकीजोसंवेदनाहैवोप्रकटहोनेलगेगी।

Take up drawing or any other activity. We may not be perfect in doing it but it can ignite a sense of passion within us.

जिसकोहमछोटेकामकहतेहैं, कभी-कभीहमवोसीखें! नयेप्रयोग, नईskill ऐसीहैकिआपकोआनंदभीदेगीऔरजीवनकोएकदायरेमेंजोबांधदियाहै, उससेआपकोबाहरनिकालदेगी।

We must learn the work we consider inferior for us. It will become a new skill and will give joy and help setting us free from a life tied in a circle.

कुछ-न-कुछऐसीचीजेंजोआपनहींजानतेहैं, उसकोजाननेकाप्रयासकीजिये, उससेआपकोजरूरलाभहोगा।आपकेभीतरकीमानवीयशक्तियोंकोचेतनामिलेगी।विकासकेलिएबहुतअच्छाअवसरबनेगा।

Try to know something that you don’t know, you will surely benefit from it. Your inner human powers will gain consciousness. There will be a great opportunity for development.

अगरBHIM App आपकिसीऔरकोRefer करेंऔरवोनयाव्यक्तिअगरतीनTransaction करे, तोआपकेखातेमेंसरकारकीतरफसे10 रुपयेजमाहोजाएगा।अगरदिनमेंआपने20 लोगोंसेTransaction करवालिया, तोशामहोते-होतेआप200 रुपयेकमालेंगे।

I urge people to further the use of BHIM App. If someone does three transactions after your referral, then you get 10 rupees from the government. If you encourage 20 people in the day, you would earn 200 rupees.

अबहिंदुस्तानमेंकितनाहीबड़ाव्यक्तिक्योंनहो, वोअपनीगाड़ीपरलालबत्तीलगाकरनहींघूमेगा।लालबत्तीतोVehicle परलगतीथी, लेकिनधीरे-धीरेवोदिमागमेंघुसजातीथीऔरदिमागीतौरपरVIP Culture पनपचुकाथा।

No matter how powerful a person is in India, there would be no red beacon on his car. It is because of this red beacon that a VIP culture had flourished.

हमकितनेभाग्यवानहैंकिहरयुगमेंसमाजकीबुराइयोंकोखत्मकरनेकेलिएहमारेसमाजसेहीमहापुरुषपैदाहुएहैं।संतरामानुजाचार्यजीकी1000वींजयंतीकेमौकेपरहमइसभावकोजगानेकेलिएउनसेप्रेरणालेंकिसामाजिकएकताकेलिएसंगठनमेंशक्तिहोतीहै।

India is blessed with greats who have transformed our society. As we mark 1000th birth anniversary of Saint Ramanujacharya Ji, we must take inspiration from his noble thoughts on organisation and social harmony.

रामानुजाचार्यजीनेसमाजमेंजोबुराइयांथीं, ऊंच-नीचकाभावथा, छूत-अछूतकाभावथा, जातिवादकाभावथा, इसकेखिलाफबहुतबड़ीलड़ाईलड़ी।समाजजिनकोअछूतमानताथा, उनकोगलेलगाया।उनकेमंदिरप्रवेशकेलिएसफलआंदोलनकिये।

Ramanujacharya fought the social evils. Those considered as untouchables, were embraced by him. He led successful movements to let them enter the temple.

1 मईकोश्रमिकदिवसहै।जबLabour कीचर्चाहोतीहै, तोमुझेबाबासाहेबअम्बेडकरयादआतेहैं।आजश्रमिकोंकोजोसहूलियतेंमिलीहैं, जोआदरमिलाहै, उसकेलिएहमउनकेआभारीहैं।श्रमिकोंकेकल्याणकेलिएबाबासाहेबकायोगदानअविस्मरणीयहै।

On 1^stMay, we mark the Labour Day and we must remember Baba Saheb Ambedkar’s contributions on this day. His contribution for the welfare of Shramiks is unforgettable. He ensured that Shramiks lead a life of dignity.

कन्नड़भाषामेंजगतगुरुबसवेश्वरनेकहाथा- “कायकवेकैलास”।उसकाअर्थहोताहै- आपअपनेपरिश्रमसेहीभगवानशिवकेघर‘कैलाश’ कीप्राप्तिकरसकतेहैंयानीकर्मकरनेसेहीस्वर्गकीप्राप्तिहोतीहै।दूसरेशब्दोंमेंकहें, तोश्रमहीशिवहै।

Jagatguru Basaveshwar had said in Kannada language - “कायकवेकैलास”. It means - You can achieve 'Kailash', the abode of Lord Shiva only by your hard work, which is to get heaven only by doing karma.

एकतरफमाओवादसेप्रेरितविचारथाकि“दुनियाकेमजदूरोंएकहोजाओ” औरदूसरीतरफदत्तोपन्तठेंगड़ीकहतेथे“मजदूरोंआओ, दुनियाकोएककरें।” आजजबश्रमिकोंकीबातकरताहूंतोदत्तोपन्तठेंगड़ीजीकोयादकरनाबहुतस्वाभाविकहै।

A Maoism-inspired thought was - "The workers of the world should unite," and on the other hand Dattopant Thengadi gave the clarion call to the Shramiks to unite the world. Dattopant Thengadi ji’s thoughts inspire us even today.

New India काहमाराconcept यहीहैकिदेशमेंVIP कीजगहपरEPI कामहत्वबढ़े| जबमैंVIP केस्थानपरEPI कहरहाहूंतोमेराभावस्पष्टहै- Every Person is Important

Our vision for New India is about strengthening the commons. For us, EPI is important instead of VIP. By EPI, we mean - Every Person is Important.

Vacation केउपयोगपरमैंतीनसुझावदेताहूं।New places, New experiences, New skills - येदेखेंकिNew Experience हो, प्रयासकरेंकिNew Skill काअवसरमिले।जिसकेविषयमेंनकभीसुनाहै, नदेखाहै, नसोचाहै, नजानतेहैंफिरभीवहांजानेकामनकरताहै, तोचलेजाएं।

Vacations must be about New places, New experiences and New skills. Visit new places, have a new experience, learn a new skill which you may not have heard, may haven’t seen or thought.

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A moral claim for mandir for Sri Ram is both jus ad bellum, jus in bello

May 2, 2017, 3:27 am

≫ Next: Haryana: Kunal village excavation points to possibly oldest Harappan site

≪ Previous: Work is worship, ಕಾಯಕವೇ ಕೈಲಾಸ -- Basava (NaMo on May 1, 2017)

Demolition of a political structure is a political act, comparable to an act of war.

Czars had built an Orthodox Church in the heart of Warsaw during their occupation of Poland. When Poland gained independence in 1918, the Polish Government pulled down the Orthodox Church.

About this pulling down, the judgement of a historian, Arnold Toynbee was this: "I do not greatly blame the Polish Government for having pulled down that Russian Church. The purpose for which the Russians had built it had not been religious but political, and the purpose had also been intentionally offensive." (Azad Memorial Lecture: One World and India, 1960).

I wonder why the Babri issue or a mandir for Sri Ram is being litigated in the courts. A political act of constructing the Masjid has been undone by another political act of tearing the structure down.

Image result for ayodhya mandir

How does this political act become a subject of judicial adjudication? I suggest that the judicial institutions should not interfere in the time-barred Babri case and leave it to the judgement of history. One offensive act (building a Masjid) has been undone by another offensive act (bringing it down). Both are political acts, not subject to adjudication by the justice system.

I cite the doctrine of jus bellum iustum which justifies offensive action as morally justifiable. Morality justifies demolishing a structure which is a product of war. I think the courts err in invoking a doctrine of jus in bello (just conduct in war) because even under this doctrine, bringing down the offensive structure is NOT the worst option. Didn't Rousseau argue for insurrection against oppressive rule?

The issue is about land use. State should exercise its sovereign jurisdiction and decide on how the land should be used. If the State decides to use the Ayodhya land (where Masjid stood) to build a temple for Sri Ram, it is a political act in facets of both just bellum justum and jus in bello (just war and justice in war). There is no cause for action in any court of law because the courts are unlikely to arrive at justice in determining if the act of constructing a Masjid in the first place was a just act (by Babar or whoever).

An act of political offense is non-justiciable, since the rules of insurrection go beyond the framework of Rule of Law and hence, beyond the jurisdiction of the justice system -- even for determining the proportionality of the original offence and the counter-offence.

The key requirements of Just War Theory -- jus ad bellum (the right to go to war), and jus in bello (right conduct within war) are satisfied in the case for mandir for Sri Ram. The reasons for going to war are just and the reasons for the particular conduct of the war are also just -- by the touchstone of inalienable human rights.

To summarise, what the State decides is just.

Kalyanaraman

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Haryana: Kunal village excavation points to possibly oldest Harappan site

May 2, 2017, 3:38 am

≫ Next: Combating the de-Hinduisation of West Bengal -- Tapan Ghosh

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Haryana: Kunal village excavation points to possibly oldest Harappan site

"The findings at the excavation may push the history of civilisation back by at least 1,000 years."

Written by SUKHBIR SIWACH | Chandigarh | Published:May 2, 2017 5:43 am

harappa civilization, harappa excavation, haryana harappan excavation, kunal village harappan site, harappan excavation site, haryana archeology dept, indian archeological society, asi india, national museum india, harappa sites in india, haryana historical sites, historic excavation harappa haryana, haryana news, indian express

The two-month-long excavation was wrapped up Sunday and the findings are being scientifically examined

A TWO-MONTH-LONG excavation at Kunal village in Haryana, billed as the biggest archaeological site in the state, has yielded substantive finds, including a kitchen hearth that may confirm the site to be among the oldest Harappan sites, officials associated with the dig said.

The dig was wrapped up Sunday and the findings are being scientifically examined. The excavation is a joint project of the Haryana Archaeology department, Indian Archaelogical Society, a private organisation and National Musuem.

The finds could be from the ‘pre-Harappan era’, officials and arcaheologists here said, referring to the term used to describe the earliest stages of the Harappan/Indus Valley civilisation.

Haryana Archaeology and Museums Department Principal Secretary Sumita Mishra told The Indian Express on Monday that the latest excavation had brought out the earliest material culture of the civilisation.

“The findings at the excavation may push the history of civilisation back by at least 1,000 years,” said Mishra. At Kunal, archaeologists have found a dwelling pit, hearths and a pot. Other finds include beads, including a gold bead too, a few copper rings, terracotta bangles and mud pots.

Organic material, including charcoal samples, bones and soil from the hearth and pot have been collected for a detailed scientific examination.

The dwelling pit was found at a depth of 2.9 metres from the surface. Two hearths have been found at two different levels.

Banani Bhattacharya, deputy director of Haryana’s archaeology department, said the excavation at Kumal and the finds were completely different from the one at Rakhigarhi. “This is older, and looks to be pre-Harappan,” she said.

The other finds, especially of the gold bead, point towards trade with other centres. “The gold bead is an indication of trade because there was no gold mining in these parts. The testing of the gold will reveal which mining area it belongs to,” Bhattacharya said.

The other types of beads, including unfinished, polished, and micro beads, also pointed to trade links with other settlements, she said.

Indian Archaeological Society Chairman K N Dikshit said, “The scientific examination of material found during excavation will bring more clarity about the exact period of the civilisation.”

Earlier, an agreement was signed for excavation at Kumal between Haryana Archaeology and Museums Department and Indian Archaeological Society, National Museum, New Delhi at Kunal. The core area of the settlement is about three acres but the site expands to nine acres.

The excavation at this site was first conducted by late J S Khatri and M Acharya under Haryana State Archaeology Department in 1985-86.

http://indianexpress.com/article/india/haryana-kunal-village-excavation-points-to-possibly-oldest-harappan-site-4636429/

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Combating the de-Hinduisation of West Bengal -- Tapan Ghosh

May 2, 2017, 8:38 am

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Combating the de-Hinduisation of West Bengal

by Tapan Ghosh

on 30 Apr 2017

26 Comments

Namaste and a very good evening to you!

Today I will tell you two sides of the story of contemporary Bengal; on one side I’ll narrate how the Hindus face existential crisis and I will tell you heart wrenching stories of the suffering and persecution at the hands of an ever aggressive Muslim population. On the other side, I’ll tell you how almost a decade back, me and my young compatriots decided to take direct action on the ground about this threat while forming the Hindu Samhati.

Let me begin by describing the nature of the current crisis in Bengal. Hindus in Bengal and many parts of eastern India today are facing a looming disaster. Slowly but steadily, they face complete extinction and there is no other way to say this more directly and honestly than this. There is relentless Islamic aggression and assault that is very well-funded and organized.

On a daily basis, Hindu religious practices are being attacked in many corners of Bengal, be it by destruction of our temples or illegal, forceful occupation of religious lands, encroachment of funeral ghats, cow stealing and illegal slaughter or sometimes direct murder of priests and temple personnel.

Even worse is the condition of Hindu women and minor girls. I can speak for hours narrating horror stories of their suffering day in and out in rural or even suburban towns, including kidnapping and forced marriage by Muslim men or by deceitful love jihad, sexual assault during communal carnages and rape in many cases. In addition to the agony of this social aggression, there is an economic impact of growing Islamisation of Bengal. This includes targetted destruction of home and property, vandalisation of shops and vehicles that are the means of livelihood for poor Hindu families during communal riots or Islamic religious processions.

Then there are many cases of land grabbing by organized mafia that are often led by Muslim criminals and smugglers who enjoy political patronage. Many times, government lands marked for public works, banks of rivers or lakes, are encroached upon and mosques are built by illegal immigrants with the connivance of Islamic criminal mafia with the goal of displacing nearby Hindus. All these factors have caused a huge change in demography, forcing hapless Hindus to flee their ancestral lands after being completely surrounded by Muslims. Many villages that didn’t have significant Muslim population during partition have become completely Hindu-less in the last seven decades of Islamic aggression.

However, political indifference is a critical factor as none of this could happen without the implicit and often explicit support of politicians and the administration. As is true for large parts of India, Hindus do not form vote banks, but Muslims do so under strict religious diktat. And their effort to form a vote bank and influence politics is very well organized and systematic, via local mosques and religious leadership.

A large part of the current political scenario, wherein politicians and administration are indifferent to the plight of Hindus, is the communist history of Bengal that is directly responsible for suppression of legitimate Hindu grievances while appeasing the Muslim population. The communists in Bengal, as in whichever part of India where they hold power [Kerala–Ed], have systematically ignored, tolerated and often promoted Islamic fundamentalism in order to stay in power.

The current TMC government is merely following such policy very effectively. So while the communists have generously promoted the spread of fundamentalism by establishing madrassas and mosques mushrooming all over rural Bengal, the current government is only continuing the course by providing economic assistance to imams and muezzin or by providing huge economic assistance to only Muslim students.

Unfortunately for the Hindus of Bengal, this patronage is not limited to the ordinary Muslims, but also to Muslim criminals as they too enjoy political patronage and protection from prosecution, arrest and police investigation under political pressure. It is important to mention the role of police and administration in worsening the situation since they work under direct instructions from the political leadership. In addition to being extremely corrupt, the police often form an intermediary of a criminal nexus between Islamic gangs engaged in nefarious activities from smuggling to terrorism, and the political leadership that need support of such criminals to garner Muslim votes. In many places, the police acts in direct synergy with Muslim criminals to lodge false cases against Hindu activists. Here, our only respite is the relatively enlightened judiciary that often provides some relief.

To fully understand how the situation has come to such a low pass in Bengal, I want to say a few words on the effect of partition and the current history of Bengal. While undivided Bengal was Muslim majority, the Bengali intelligentsia was Hindu-centric but secular and hence totally ignorant, sometime tolerant, of Muslim fundamentalism. On the other hand, ordinary Muslims from pre-partition days were poor, illiterate and largely under the grip of Islamic leadership, which continues to this day.

It is undeniable that the combination of ignorant Hindu intelligentsia and fanatic Islamist leadership led to horrific events of Bengal, including Direct Action Day on 16 August 1946, and subsequent rioting in places like Noakhali. Even more unfortunate was that Bengali Hindu society in those days was deeply fragmented with upper castes exploiting and undermining the lower castes with terrible consequences for all Hindus. This was cunningly exploited by the Islamic leadership in the early days of Pakistan, when a majority of lower castes aligned with the Muslims and stayed back in East Pakistan.

Although much effort was visible from the Hindu Mahasabha and the astute leadership of Syama Prasad Mookerjee, because of whom West Bengal exists today, clearly this was insufficient to make a mark. Subsequently, as atrocities on lower castes grew, the Bengali Hindu upper castes deserted them without providing a leadership role and consolidation of Hindus against Muslim aggression. Unlike India’s western frontier, there was no exchange of population in the east, leaving a large Muslim population in rural Bengal. Subsequently, while Hindu-populated areas of East Pakistan were de-Hinduised, the Muslim population continued to grow in West Bengal.

However, this did not immediately lead to the current crisis, but a series of monumental blunders by the post-partition leadership in controlling the Islamisation in West Bengal led us to our current mess. As you very well know, partly due to Jinnah’s two-nation theory and more due to Nehru’s policies of appeasement and promotion of Muslim fundamentalism in the garb of minority rights, Muslims all over India, but especially in Bengal, did no effort to integrate into mainstream secular society.

Subsequently, Nehru’s strong apathy towards Bengal followed by the rise of communist ideology in Bengal ensured the gradual but complete demise of residual Hindu activism in the State. Consequently, Islamic fundamentalism grew unchecked in Bengal and the situation worsened with the influx of both Hindus persecuted in Bangladesh as well as Muslim infiltration into Bengal. The situation was further inflamed with foreign intervention, be it via influx of Saudi funds to promote Salafist forms of Islam or intervention by Pakistani and Chinese interest groups to incite Islamic terrorism through the eastern frontier.

The genesis of Hindu Samhati can be traced to the aforementioned events as well as the eventual failure and near-complete eradication of grassroots organisations affiliated to either the Sangh Parivar or other Hindu organisations in Bengal. By the early 2000s, most Hindu activists had disintegrated into various political platforms in the absence of a strong Hindu resistance organisation, seeking whatever protection they could get from them, which was minimal or absent in most cases.

It reached a do-or-die situation for Hindus in many parts of Bengal. That no political platform could save the eternally divided Hindu society became even clearer with the rise of the Trinamool Congress, by which time Bengali Hindus had already experienced the Congress and CPI(M) with utter disgust. It became an absolute necessity to first recognise that Muslim aggression is an existential problem for Hindus that could not have a purely political solution, and second, to provide a non-political platform to persecuted Hindus of Bengal to rise against an ever-aggressive Islamism.

This was, and remains to date, the cornerstone of the Hindu Samhati movement. The rise of Hindu Samhati was further necessitated by two additional factors. First was the partisan role of the media, which in collusion with the politicians, suppresses incidents of atrocities by Muslims, thereby creating a facade of peace and harmony that is virtually non-existent in rural Bengal. Second was the passive to outright harmful role of the intellectual Bengali elite that had hijacked the public discourse and worked in tandem with media to completely suppress Islamist aggression from public view.

In spite of the tremendous disadvantage, I am very happy to say that Hindu Samhati today is a success story. Our motto, “Courage, Strength & Action,” defines our movement to build a direct grassroots non-political Hindu defence solidarity movement in Bengal and Eastern India. Thanks to our team of dedicated volunteers and enthusiastic support of ordinary Hindus, we made significant achievements that even the mainstream media is forced to admit.

Hindu Samhati today deploys an immediate, rapid action team of volunteers after verifying the authenticity of a crisis call and follows it up with a fact-finding team to document the incident and spread it across Bengal, India and worldwide. After overseeing an immediate crisis like riots and carnages, we follow it up with more measured response in a two-fold strategy.

On one hand, we need to engage the administration, petition the police for prompt action against Muslim criminals or in many cases, appeal to women’s rights groups or SC/ST Commission, wherever appropriate. In many cases, we have to approach the judiciary for intervention and relief. On the other hand, we must also attend to the needs of poor, persecuted Hindus, help rebuild their lives, provide medical assistance to our activists injured by Islamist attacks and organise legal assistance in procuring bail, representation by lawyers when false cases are slapped by the police under pressure from Muslim groups. In almost all cases, our success depends on how fast and wide can we spread the information whenever Hindus are under attack since media censorship of Hindu persecution hurts more than the Islamist attack itself.

To that end, we typically receive enormous support from our supporters who call the administration to do their duty and offer protection towards the Hindus and Hindu activists. I’m happy to share with you that due to our continuous activism, in many cases the police have turned from oppressor to our supporters. Due to our continued solidarity with persecuted Hindus, many Hindus have refused to flee and are fighting in their ancestral lands in a do-or-die battle. Many Hindus have successfully resisted encroachment of their land and properties by Muslim goons.

In border areas, Hindus can today perform Hindu religious festivals like Durga puja and Ram Navami rallies with honour and pride that would not be possible otherwise. All this is possible due to the enormous love and support that our volunteers enjoy from the distressed Hindus as well as their well-wishers here and worldwide. Hence, I request you all, to actively follow our Website, Facebook and Twitter postings and help us bypass the mainstream media and reach out to all our supporters in every corner of the world.

A core area of our activism is the protection of Hindu women and girl child’s honour from love jihad. For this we employ a two-fold strategy. On one hand, we take help of the distressed victim’s parents to rescue the girl either directly by our activists or via the judiciary and police via social activism and the case of Tuktuki Mandal that received worldwide publicity attests to our efforts. On the other hand, we empower Muslim women who are under severe oppression and seek Hindu households to escape Islamic persecution by facilitating their marriage with a suitable partner. In many cases, we have to bear all the expenses, perform legal paperwork and help them resettle and start a new life. These women are my daughters and as of now I can proudly say that I have hundreds of daughters.

Before I end, I would like to take a few more minutes to inform you of our future plans. Today, the Hindu Samhati has reached all 22 districts of Bengal and made an enormous contribution to the condition of Hindus, especially in Muslim-dominated areas of Bengal. We have many victories, our success is resounding and even our enemies acknowledge us as the first line of defence of Hindus in Bengal.

The concept of Hindu defence groups, started in rural Bengal, is gradually spreading to suburban towns too. But we must ask ourselves, how much have we succeeded? Have we stopped the persecution of Hindus by an ever aggressive Muslim force? Are Hindus returning to the ancestral lands they left when driven out by encroaching Muslims? Is the honour of Hindu women secure? The answer, sadly, is a big NO! Yes, we have been able to reduce the atrocities but not stop them completely. In fact, we are far from it. But our goal is to stop it. Completely! And then reverse it! Yes, Hindus must regain all the lost ground in the past 70 years so that our future generation does not face what we are facing today.

No one needs to be told that this is an uphill task. The demand for Hindu activism far-far exceeds what Hindu Samhati can supply today. Believe me when I say that the sheer number of atrocities being committed today is so enormous that we do not have sufficient resources to even document it. I receive frantic and desperate calls from remote areas to send activists, but I’m unable to do anything with very limited manpower and financial resources. And the first step to overcome persecution is to document it and spread awareness, which we try to do by Facebook and Twitter but we must also explore avenues through audio-visual media as well.

While our opponent is extremely well funded internationally, our resources are rather limited, which we must increase if we have to fulfil our goals. In spite of all the constraints, Hindu Samhati has never compromised on its core principles of creating a non-political platform for all Hindus to resist Islamic aggression and we welcome Hindus from all parties to participate and help us.

I have to regretfully state that some opportunistic politicians reap benefits of Hindu Samhati’s work without due acknowledgement in the media, which is too happy to report us as an offshoot of some political groups, which we are not. And it is this unique distinction of being a non-political organisation that helps Hindu Samhati reach out to Hindus and unite them across all sections of society.

Bengal has a strong undercurrent of Hindu religiosity from the time of Rishi Bankim Chandra, author of Vande Mataram, and has produced prominent leaders like Swami Vivekananda and organisations like Ramakrishna Mission, ISKCON and Bharat Sevashram Sangha, to name a few.

Sadly, due to decades of communist rule and the ensuing decadence, most of these organisations have deviated from their core philosophy of fearlessness and truthfulness in their actions. In spite of full knowledge of the situation with their counterparts in neighbouring Bangladesh, our religious organisations refuse to acknowledge the existential crisis looming in Bengal. Perhaps they are afraid of losing followers, I do not know.

But Hindu Samhati strongly believes in the unity of Hindu and Hindu religious organisations and we strive to bring all Hindu spiritual movements into the path of resistance. And this includes bringing together many traditional, folklore-based but disorganised Hindu spiritual groups. Without this, we can only delay our demise but not reverse our historical loss and completely secure our future.

Thank you all.

The author is founder-president of Hindu Samhati, an organisation that tirelessly fights for justice and dignity for beleaguered Hindus of West Bengal. Speech delivered at the Ninth Shri P.A. Ramakrishnan Memorial Lecture, on 29 April 2017, at Bharatiya Vidya Bhavan, Chennai

User CommentsPost a Comment

What could one expect from a cow vigilante!
India is under total control of Hindu Talibans,just recently a BJP "leader" ,a saffronist, yogi something said that hindus should rape muslim women in their graves and every Masjid must have an idol of hindu god shows the frothing by the mouths of hindus and their real mind set....this will only lead to a civil war that will result in final disintegration of an already moth-eaten india.

observer
April 30, 2017

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Thank you Sri Tapan Ghosh, for your work is relevant and important not only to Bengal, but to the whole of Bharatha Desa.

How can we, the rest of Bharath that is India join in this war? How can we help? We know that we are fighting for the fresh, perfumed winds of Freedom, the vast blue skies of Knowledge, and the rich green-brown earth of wealth and growth for our coming generations. We are fighting against the Blackness and evil Miasma of ignorance, fear, hate, cruelty, stagnation and putrification, that our grand children will be condemed to suffer if ever Islam gains power.

Chandra Ravikumar
April 30, 2017

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@observer
What can Paki suids do except troll! Carry on, while your sty collapses around you - East Pakistan went, now Balochistan will. Watch out for your own civil wars first! How long can you survive as an international bootlicking beggar!

Bharati
April 30, 2017

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PS
observer calls your columnist a cow vigilante. That's rich, coming from a pig vigilante! (If, for Mr Ghosh, cows are not to be eaten; for observer, pigs are not to be eaten!)

Bharati
April 30, 2017

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After vivisection of akhund bharat in 47, most of the hindu leaders were predicting that Pakistan will crawl back to india in 6 months,well Pakistan not only survived but thrived and still is a thorn in the sides of saffaronists.48 it snatched half of the india's "attoot ungh" (and still holds it,where is brave indian army) , Kargil is still giving you upset stomachs,71 made Pakistan nuclear and still there is a green flag fluttering over Dhaka.You should be more worried about not just loosing Jammu and Kashmir but also Khalistan, Assam and Naxal land which amounts to 60% of left over india.

observer
April 30, 2017

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Thank u Sandhyaji, for publishing Shri Tapan Ghosh's speech in record time

Anantha
April 30, 2017

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@observer .. classic case of monkey balancing.. after dreaming for 70 years for a independent kashmir, you guys are still licking wounds..

ravi
April 30, 2017

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Do you mean by monkey....the "lord" Hanuman?

observer
April 30, 2017

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@observer
Stick to pigs - you understand them better; they're sacred to you.

Bharati
Yesterday

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Islam as it stands today is only a banner there is no Muslim faith. The so-called followers of Prophet defied and ignored every thing spoken by the Prophet and corrupted the religion of Islam.

The followers burned the original illiteracy and then asked somebody to write from 'memory' this book has reference to caricature, Sharia- both written 200 years after Prophet's death. It can be safely said 90% of Muslims have never opened a Kuran or know nothing of it.

There are multiple sects each calling themselves as 'real muslim' and others as 'infidels' along with followers of all other religion without any supporting arguments.

The Muslims are distinguished in any society with poor health, illiteracy, in-breeding, over population, violence, crime and now terrorism, everywhere in the world. They have reduced the religion to a caricature- Long beard, short pants acting like Arabs of Middle ages.

Is there a future for Islam, as it stands or Muslim of today. On the record till date the answer has to be NO.

Som Chatterji
Yesterday

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Sandhya, thanks so much and also to Tapan Ghosh.

Really wonder if West Bengal is going the Kashmir way

SM
Yesterday

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Heartfelt thanks to Vijay Vaani for highlighting the plight of Hindus in Bengal.

Yatho Dharmasthatho Jayah

RR
Yesterday

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More power to you Tapan-da.
May devi protect you from your enemies, always.

Adit
Yesterday

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@ som chattering, could you explain hinduism to me and specially the caste system,why your religion makes a human "un touchable", what makes a brahmin a brahmin just because he was born in a brahmin family .
How about you live a life of a dalit or sudhrah or an un touchable for a month and face the prejudice ,contempt and hate that he/she faces on daily basis.
Why a dalit cannot pray in a brahmin temple, why one gets paleed (impure) by just the shadow of a shudrah ?
No wonder when Mohammed Bin Qasim (a 17 years old kid) after defeating raja dahir established his government in Sindh (the door to Islam) had low caste hindus flocking to Islam in hordes.
What do you call raping of dalit women with impunity by the "high caste" hindus just to teach them a lesson, what is the beef lynching of Muslims and burning of the churches, where does all this fit in your so called "AHIMSA".....isn't that just a farce?
You have corrupted your religion so much that you don't even know what is right and what is wrong,for example meat was allowed in your religion and there are verses in your books proving that and here we are killing Muslims just on a suspicion...that is BIGOTRY in any ones book.
Just watch this on youtube,"India untouched " and explain all that to me.

observer
Yesterday

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Bengali elites, like most elites elsewhere, hijack the public discourse and work in tandem with foreign funded/controlled media to completely suppress Islamist aggression from public view.

All border regions are under severe threat from Islamists/Xtians for conversion leading to destruction of things Hindus, which has only one destiny- break up of nation.

So called Hindu nationalist BJP have surrendered to media crafted fake minority victimhood and started appeasing Minorites.

Hindus will need to struggle & fight for survival & where courage & success of people like Tapan Da would be inspiration.

All prayers & best wishes for his success.

Ashok Singhal
Yesterday

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@observer
Explain to you? Did your madrasa teach you to understand rational / logical explanations? All it taught you is the language of suids and, so, all you can do is troll.

Bharati
Yesterday

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This jihadi called Observer can troll as much as he can, but everyone knows the truth and truth will prevail even if it takes time.

Jay
Yesterday

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May Goddess Durga be with you and your organisation to give you enough power to overcome the obstacles.This is time for Bengalee Hindus to unite politically to throw out Congress,Communists,TMC and other appeasers.Not only Hindus but entire Bengal is suffering by voting in governments which have done precious little for the state.

Jitendra Desai
Yesterday

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So no rebuttal........as expected!!!

observer
Yesterday

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Say thanks to the "liberation" of Bangladesh that all of you doing "maatha peetna" (slapping your fore head) here, aren't they the same people that your country was dying to liberate....it is just a poetic justice that the "liberated" people are a thorn in your sides now, during the last population count in Bangladesh over 2 carore people were un accounted for, I wonder where did they go, any guesses.....hmmmmm!

observer
Yesterday

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@observer
You ungrateful suid, we relieved you of one thorn in your flesh (East P) and will soon relieve you of another (Balochistan) and another (Waziristan) and another (Pashtunistan)! You want East Pakistan back, you'll have to fight us for it! And this time we won't return your 90,000 who lick our boots. We'll hand them over to Bangla Desh where they'll be made to lick Bangla Deshi butts instead!

Bharati
Yesterday

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Hey Bharatty, worry about Maoists,Assamies,Khalistanis let alone Kashmiris it is time that Pakistan should take page of RAW's hand book and help you relieve you from your miseries.
How could you easily forget thousand years (boot licking like you put) of Muslim rule over you, they taught you how to be civilized or you still be running amok around the Ganges semi clad , they gave you architecture (yes The Muslim Taj and many more) , they gave you cuisine or you still be eating leaves or grasses, talking of being ungrateful!

observer
20 Hours ago

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@observer

/** Just watch this on youtube,"India untouched " and explain all that to me.
**/

How about pakistan touching numerous bangladeshi womans in 1971 war.. compared to that, India Untouched is something that i am proud of.. that by not touching (as per ur theory), we gave the privacy and freedom of the different people group, to follow their culture and live their own life without any disturbance.

Probably the descendants of plunder and rape by islamic invaders can never understand what is am saying.

senthil
12 Hours ago

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Read sarmila bose's book dead reckoning!
see what is your army doing in Kashmir and manipur, remember the naked demonstration of those 12 women in mani pur,so step down from high pedestal senthil!

observer
11 Hours ago

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@observeer
You're not just an ungrateful but you're also an ignorant suid! Guess it's your madrassa education! Why did your suid ancestors come to us - for our wealth and knowledge. You tried for a 1000 years to subdue us - and failed. Noe we're giving you a taste of your own medicine, which is why you froth and fume. And your Suid State of Pakistan is a fine example of the civilization you talk about - killing each other, raping each other, enslaving each other.

Bharati
11 Hours ago

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hey Indiot, you "survived" because they let you and since you mention raping you would know better as this is your nation's (in lose terms) favorite pass time,no wonderyour own indian press named Delhi "the rape capitol" for some reason!

observer
17 Minutes ago

http://vijayvaani.com/ArticleDisplay.aspx?aid=4295

↧

Archaeometallurgical itihāsa from Hariyūpiyā inscriptions (2590) clustered in 10 metalwork categories

May 2, 2017, 8:29 pm

≫ Next: Book announcement: Pattanam -Constructs, Contexts and Interventions, by BS Harishankar (2017)

≪ Previous: Combating the de-Hinduisation of West Bengal -- Tapan Ghosh

Mirror: http://tinyurl.com/n7cwj4u

https://www.facebook.com/srini.kalyanaraman/posts/10156186205934625

The monograph is archaeometallurgical itihāsa, narrated from 2590 inscriptions of Indus Script Corpora from one site of the civilization -- Hariyupiya (Harappa).

Derived from the Corpora is an evolution of methods to document hypertext expressions related to metalwork.

Coterminus with the advances in metallurgical processes, hypertext compositions seek to document the advances in such metallurgical processes.

Hypertext clusters help identify how expressions expand semantically to convey specific details of metalwork processes.

Metalwork resources (minerals, metals) and metalwork products (alloys, ingots, implements) produced at a workshop or by an artisan get documented on tablets/seals.

h1522a (Evidence of the earliest writing system on a potsherd, stratigraphically dated to ca. 3300 BCE)

The full repository of 2590 inscriptions of Hariyūpiyā (Harappa) which document a datamine, constitutes a bewildering variety clustered in many categories of metalwork cagalogues, as a recorded evidence of the wealth created. This treasury documentation is presented together with decipherment of mlecchita vikalpa (Meluhha cipher) in this separate monograph.

Hariyūpiyā may be described as a pattanam पत्तनम् 1 A town, city (opp. ग्राम); पत्तने विद्यमाने$पि ग्रामे रत्नपरीक्षा M.1 पट्टम् paṭṭam  A city, town. This is  पुट--भेद where cargo received from a number of sources are repackaged for seafaring merchants for onward transmission to, say, destiantion ports in Ancient Near East.

Sudāsa & dāśarājñá, mariner-kings including पणि paṇi 'seafaring merchants' who fought a battle on Yavyāvatī (dr̥ṣadvatī) river, and at Hariyūpiyā.यूप
[p= 856,1] m. (prob. fr. √ युप् ; but according to Un2. iii , 27 , fr. √2. यु) a post , beam , pillar , (esp.) a smooth post or stake to which the sacrificial victim is fastened , any sacrificial post or stake (usually made of bamboos or खदिर wood ; in R. i , 13 , 24 ; 25, where the horse sacrifice is described , 21 of these posts are set up , 6 made of बिल्व , 6 of खदिर , 6 of पलाश , one of उडुम्बर , one of श्लेष्मातक , and one of देव-दारु) RV. &c; a column erected in honour of victory , a trophy (= जय-स्तम्भ) L.

The battle occurred on Yavyāvatī, on Hariyūpiyā, the designation of a river or a city according to the commentators. यव्या-वती [p= 848,1] f. N. of a river or a district RV. Ta1n2d2yaBr.

Hariyūpiyā may have been so designated to signify the ketu, emblem, of a yūpa installed to proclaim the performance of a Soma Yāga.

Harappa (Hariyūpiyā) is located on the southbank of परोष्णी parōṣṇī N. of a river in the Punjab; also परुष्णी. It is now called Rāvī. परोष्णी [p= 606,1]  N. of a river Ra1jat. (Cf. परुष्णी under परुष.)

Together with fortifications of workshops of guilds in this town, the wealth repository -- artha samgraha -- of Hariyūpiyā Indus Script Corpora was created to document & protect guilds'/nation's wealth.

The documentation processes in mints resulted in later-day activities of mints to produce punch-marked and cast coins to regulate monetary transactions in trade exchanges, replacing barter methods of trade. This continuum explains the reason why many symbols used on early punch-marked and cast coins are Sarasvati-Sindhu (Indus) script hieroglyphs which signified metalwork catalogues.

Bhāratam janam who created mlecchita vikalpa (Meluhha cipher) continued to use the hieroglyphs/hypertext tradition into the historical periods in mints from Takshasila to Karur to Anuradhapura.

Hypertext expression clusters (sets)

h1882a  āra 'spokes' Rebus: āra 'brass'. sal 'splinter' rebus: sal 'workshop'

h1882b kanac 'corner' rebus: kanac 'bronze' kolmo 'three' rebus: kolimi 'smithy, forge'

h2089a
khaṇḍ ‘field, division’ (Skt.); Rebus: khaṇḍa ‘implements' PLUS dula'two' rebus: dul'metal casting'. Thus cast metal implements
kamaḍha'archer, bow' Rebus: kammaṭa 'mint, coiner'.
kanka, karNaka'rim of jar' rebus: karNI'supercargo'
khareḍo = a currycomb (Gujarati) rebus: करडा [karaḍā] Hard alloy

h2089b

āra 'spokes' Rebus: āra 'brass' PLUS khāṇḍā m A jag, notch Rebus: khāṇḍa, khaṇḍa. 'implements'.
ḍhāla'slanted' ḍhāla 'ingot' PLUS khāṇḍā m A jag, notch Rebus: khāṇḍa, khaṇḍa. 'implements'. kanac 'corner' rebus: kanac 'bronze'

Hariyūpiyā inscriptions (2590) are clustered in 10 metalwork categories. The metalwork resources, products and processes are described in the following sections.

Section 1 Smelting operations
Section 2 Producing implements of hard metal alloys
Section 3  Portable furnace/crucible operations

Section 4  ayas 'alloy metal', pyrites

**Section 5 Crook मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ'iron'

Section 6 pōḷā पोळ'zebu'pōḷā पोळ 'magnetite, ferrite ore'

Section 7 ranku 'antelope', 'liquid measure' rebus: ranku'tin'

Section 8 dhāˊtu 'strand of rope'dhāū, dhāv'soft, red stone'

Section 9 కారుమొసలి a wild crocodile or alligator.కారువు kāruvu. [Skt.] n. An artist, artificer. శిల్పి.

Section 10
खोंड khōṇḍa m A young bull, a bullcalf. khōnd खोद 'engraving, sculpting, scripting'

Section 1 Smelting operations

Hieroglyph: kuṭhi 'tree' कुठि [p= 289,1** m. a tree L.
Rebus:kuṭhi ‘a furnace for smelting iron ore, to smelt iron’;koṭe ‘forged (metal)(Santali) kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding) kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati)

h188a

h188b

Section 2 Producing implements of hard metal alloys

kaṁḍaʻbackbone'kanda'implements'baraḍo'spine' भरत (p. 353) rebus bharata n A factitious metal compounded of copper, pewter, tin

Multiples of identical inscription (h309text) occur on 4405, 4509, 4543, 5419, 5421, 5422,
5423, 5425, 5442, 5449           Incised miniature tablets
h309, h311, h317, h932, h959, h935, h960

Section 3  Portable furnace/crucible operations

sangaḍa,'lathe-brazier' rebus: sangara'trade'

h196a

h196b

Or. kāṇḍa, kã̄ṛ ʻstalk, arrowʼ(CDIAL 3023). rebus:  khāṇḍa 'implements'. ayaskāṇḍa 'a quantity of iron, excellent ayaskāṇḍa 'a quantity of iron, excellent iron'
kanka, karNaka'rim of jar' rebus: karNI 'supercargo'
ranku'liquid measure' rebus: ranku 'tin'
ḍabu'an iron spoon' (Santali) Rebus: ḍab, ḍhimba, ḍhompo'lump (ingot?)' PLUS  baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron bhaṭa 'furnace'
kuṭila'bent' rebus: kuṭila, katthīl 'bronze'

Section 4  ayas 'alloy metal', pyrites

h2040a

h2040b

Section 5 Crook मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron'

Section 6 pōḷā पोळ'zebu' pōḷā पोळ 'magnetite, ferrite ore'

h1953a

h1953b

Section 7 ranku 'antelope', 'liquid measure' rebus: ranku 'tin'

h899a

h899b

Section 8 dhāˊtu 'strand of rope' dhāū, dhāv 'soft, red stone'

h353a

h353b

h353c

kolmo 'three' rebus: kolimi 'smithy, forge' PLUS baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron bhaṭa 'furnace'

kaṁḍa ʻbackbone' kanda 'implements' baraḍo 'spine' भरत (p. 353) rebus bharata n A factitious metal compounded of copper, pewter, tin.

kanka, karNaka 'rim of jar' rebus: karNI 'supercargo'
khareḍo = a currycomb (Gujarati) rebus: करडा [karaḍā] Hard alloy

(Hypertext expression is one of the most frequently occurring expressions on Script Corpora).

Section 9 కారుమొసలి a wild crocodile or alligator.కారువు kāruvu. [Skt.] n. An artist, artificer. శిల్పి.

ayakara 'blacksmith'; ayo 'fish' rebus: aya 'metal (tin+ copper alloy)' PLUS karavu'crocoile' (Telugu) rebus: khar 'blacksmith' (Kashmiri);

h278a

h278b

h279a

h279b

h280 to h284 are identical and constitute multiples of inscriptions comparable to h278 and h279. Thus, a total of 7 tablets have multiple, identical inscriptions -- describing a veritable repertoire of metallurgical competence.

Section 10 खोंड khōṇḍa m A young bull, a bullcalf. rebus: khōṇda खोद 'engraving, sculpting, scripting'

h252A

h252B

The same inscription occurs on 27 additional identical tablets: h253, h255, h256, h257, h258, h259, h260,h261, h262, h263, h264, h265, h276, h277, h859, h860, h861, h862,h863, h864, h865, h866,h867, h868, 869, 870, h1155

A variant glyph comparable to the 'pillar with ring-stones' which is part of the composite glyph with an arch over the glyph is provided by one side of a Harappa tablet: h739B Obverse: H739A: glyph: kuṭi 'tree'; rebus: kuṭhi 'smelter furnace' (Santali)

If this comparison of glyphs is valid, the 'pillar with ring-stones' may, in fact, represent a churning motion of a lathe-drill: Allograph: A sack slung on the front shoulder of the young bull is khōṇḍā , khōṇḍī , kothḷɔ Rebus: B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295) Rebus: koṭṭil ‘workshop’ (Ma.)(DEDR 2058). koṭe ‘forged metal’ (Santali) koḍ 'artisan's workshop' (Kuwi) Vikalpa: saṅgaḍa, portable brazier and lathe; rebus: sanga 'guild (of turners)'.

Thus, the arched drill glyph may connote a turner's workshop. This is a vikalpa reading, if the 'arch' is not to be read as roof of a 'storehouse'. The arch over the drill-lathe glyph may connote semantics of a guild: pattar. (Tamil); battuḍu 'guild of goldsmiths'. This may be consistent with the semant. patthar 'stones' (Hindi) pattar ‘trough’; rebus: . patthara -- m. ʻ stone; pattar ‘merchants, guild (smiths)’ (The word may, thus, denote a lapidary).(CDIAL 8857).

Glyph and rebus decoding: Patthara [cp. late Sk. prastara. The ord. meaning of Sk. pr. is "stramentum"] 1. stone, rock S i.32. -- 2. stoneware Miln 2. (Pali) Pa. Pk. patthara -- m. ʻ stone ʼ, S. patharu m., L. (Ju.) pathar m., khet. patthar, P. patthar m. (→ forms of Bi. Mth. Bhoj. H. G. below with atth or ath), WPah.jaun. pātthar; Ku. pāthar m. ʻ slates, stones ʼ, gng. pāthlr ʻ flat stone ʼ; A. B. pāthar ʻ stone ʼ, Or. pathara; Bi. pāthar, patthar, patthal ʻ hailstone ʼ; Mth. pāthar, pathal ʻ stone ʼ, Bhoj. pathal, Aw.lakh. pāthar, H. pāthar, patthar, pathar, patthal m., G. patthar, pathrɔ m.; M. pāthar f. ʻ flat stone ʼ; Ko. phāttaru ʻ stone ʼ; Si. patura ʻ chip, fragment ʼ; -- S. pathirī f. ʻ stone in the bladder ʼ; P. pathrī f. ʻ small stone ʼ; Ku. patharī ʻ stone cup ʼ; B. pāthri ʻ stone in the bladder, tartar on teeth ʼ; Or. pathurī ʻ stoneware ʼ; H. patthrī f. ʻ grit ʼ, G. pathrī f. prastarapaṭṭa -- , prastaramr̥ttikā -- , prastarāsa -- .Addenda: prastará -- : WPah.kṭg. pátthər m. ʻ stone, rock ʼ; pəthreuṇõ ʻ to stone ʼ; J. pāthar m. ʻ stone ʼ; OMarw. pātharī ʻ precious stone ʼ. (CDIAL 8857)
Rebus: paṭṭarai ‘workshop’ (Ta.) pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).(Pali) cf. Pattharati [pa+tharati] to spread, spread out, extend J i.62; iv.212; vi.279; DhA i.26; iii.61 (so read at J vi.549 in cpd ˚pāda with spreading feet, v. l. patthaṭa˚). -- pp. patthaṭa (q. v.). பத்தர்&sup5; pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.) battuḍu. n. The caste title of all the five castes of artificers as vaḍla b, carpenter.

Thus, the seal inscription shows the pattern of tally accomplished by bringing into the storehouse 1. unsmelted native metal; and 2. (output from) furnace of worker in wood and iron. The assumptio made is that the the two categories brought into the storehouse would have been tallied using tablets with inscriptions denoting: 1. unsmelted metal; and 2. (output from) stone iron (metal) ore furnace.

Glyph (arch-around a pillar with ring-stones may denote a storehouse): koḍ = a cow-pen; a cattlepen; a byre (G.) कोठी cattle-shed (Marathi) कोंडी [ kōṇḍī ] A pen or fold for cattle. गोठी [ gōṭhī ] f C (Dim. of गोठा) A pen or fold for calves. (Marathi)koḍ = a cow-pen; a cattlepen; a byre (G.) कोठी cattle-shed (Marathi) कोंडी [ kōṇḍī ] A pen or fold for cattle. गोठी [ gōṭhī ] f C (Dim. of गोठा) A pen or fold for calves. (Marathi) Rebus: koḍ = place where artisan’s work (Kur.) कोठी [ kōṭhī] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. (Marathi) [An attempt has been made to provide rebus readings of some 'architectural' glyphs and the use of 'dot or circle' as a hieroglyph atop a bull on Urseal 18; the note is appended in Annex 2.]

Glyph: kolmo ‘seedling, paddy plant’; rebus: kolami ‘forge, smithy’ (Te.)Vikalpa: pajhaṛ = to sprout from a root (Santali); Rebus: pasra ‘smithy, forge’ (Santali)[It is possible that two variants of the glyph: one with three pronged representation of seedling; and the other with five-pronged representation of seedling might have been intended to decode the fine distinction between the two lexemes: kolmo, pajhaṛ perhaps denoting two types of forge].

sal 'splinter' rebus: sal 'workshop' Alternative reading of glyph: aṭar ‘a splinter’ (Ma.)aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada)aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)Viklpa: sal ‘splinter’; rebus: sal ‘workshop’ (Santali)

Thus the two glyphs of the text of the tablet inscription showing arch-around a pillar with ring-stones + paddy plant + splinter glyph may connote, rebus: kolami koḍ aduru, 'forge unsmelted metal workshop'.

Glyph: Fish + scales aya ãs (amśu) ‘metllic stalks of stone ore'Vikalpa: badhoṛ ‘a species of fish with many bones’ (Santali) Rebus: badhoria ‘expert in working in wood’(Santali)

Glyph: kaṇḍa ‘arrow’ (Skt.) rebus: kaṇḍa 'fire-altar, furnace'.

The two glyphs together an furnace of a worker in wood and iron: aya ãs (amśu) ‘metallic stalks of stone ore'aya ãs kanḍa* ‘furnace (with)a quantity of iron, excellent iron (metal) from stone ore’ Vikalpa: badhor kanḍa 'furnace (of) worker in wood and iron'. ayaskanḍa is a lexeme attested in: Paan.gan.

Examples of multiple hypertexts on miniature tablets as tokens
h2219A First side of three-sided tablet
h2219B Second side of three-sided tablet
h2219C Third side of three-sided tablet

The two glyphs which appear on the h2219A example also appear on a seal. "In a street deposit of similar age just inside the wall, a seal was found with two of the same characters as seen on one side of the tablets."

This is a string of hieroglyphs on 22 tiny steatite tablets of Harappa.
Rebus readings: kolmo 'three' rebus: kolami 'smithy' PLUS kuṭhi kaṇḍa kanka 'smelting furnace account (scribe), karNI, supercargo'. In short, String 1: 'smelter-smithy supercargo'. This hieorlgyph-string is entered on the seal which technically documents the shipment with product catalogues included in a shipment.

h1682A (color) The messages of two strings are r. to l.: String 1: The smelter-smithy supercargo (taken from the product descriptions on tiny steate tablets) PLUS String 2: smithy cast implements. “Of great interest in this regard is a unicorn seal (Fig. 4.1) that was found inside the perimeter wall in the approximate location marked…The last two signs of this seal are the same as those on one side of the 22 tablets (taking the three strokes as a single sign). These are preceded by three additional signs (reading left to right on the seal as opposed to on the tablets which we assume are meant to be read right to left because they were not meant to be uimpressed…) It is rare to find the same sign sequence on a seal and on tablets, and the situation is that much more compelling because the street deposits from which the seal comes contain the same ceramic corpus as the dump deposits from which the tablets come, suggesting that both were originally formed at about the same time.” (Meadow and Kenoyer, 1997, p.16)

This shows that tiny steatite tablets were documentation of work in process (say, from smelters, furnaces, circular platforms) which are brought into the storeroom (documentatin centre) to create a consolidated technical consignment note or metalwork catalogue on a seal. The supercargo is ready for despatch after the cargo is packed and the package sealed with the seal impression. For deciphered hieroglyphs of one-horned young bull PLUS standard device on the seal.

Three groups of tablets discovered at Harappa in 1997. 22 tablets were clustered in 3 groups to show styles of writing/incision indicating three distinct scribes at work. "Group of incised baked steatite tablets. A group of 16 three-sided incised baked steatite tablets, all with the same inscriptions, were uncovered in mid- to late Period 3B debris outside of the curtain wall. (See 146). These tablets may originally been enclosed in a perishable container such as a small bag of cloth or leather."

Harappa 1995-7: MoundE, HARP Trench 11: steatite seal and incised steatite tablets (After Fig. 4. Harappa 1995-1997: Mounds E and ET; Trench 11: steatite seal H96-2796/6874-01 and incised steatite tablets (22) with the same inscriptions). "The last 2 signs of this seal are the same as those on one side of the 22 tablets (taking three strokes as a single sign)...Each tablet is three-sided with the inscription on each side comprising a single more complex sign accompanied by three or four simple strokes." The tablets are "incised with script that was to be read directly from the tablet." (Note by J. Mark Kenoyer & Richard H. meadow on Inscribed objects from Harappa excavations: 1986-2007 in: Asko Parpola, BM ande and Petteri Koskikallio eds., 2010, CISI, Vol.3: New material, untraced objects, and collections outside India and Pakistan, Part 1: Mohenjo-daro and Harappa, Helsinki, Suomalainen Tiedeakatemia, (pp.xliv to lviii), p. xliv http://www.harappa.com/indus/Kenoyer-Meadow-2010-HARP.pdf)

Indus script tablets are workshop product account tokens. Seals are technical aggregation of supercargo for shipment (caravan).

S. Kalyanaraman
Sarasvati Research Center
May 3, 2017

S

↧

Book announcement: Pattanam -Constructs, Contexts and Interventions, by BS Harishankar (2017)

May 3, 2017, 8:00 am

≫ Next: Abiding cultural, civilizational heritage of ध्माकारः >ध्मकर, मकर 'blacksmith blowing the forge'> damgar 'merchant' in Meluhha cipher on Indus Script Corpora

≪ Previous: Archaeometallurgical itihāsa from Hariyūpiyā inscriptions (2590) clustered in 10 metalwork categories

"Pattanam: Constructs, Contexts and Interventions” by Dr. B.S.
Harishankar was released on March 17, 2017 at Kozhikkode in Kerala by Professor MGS Narayanan, former ICHR Chairman. The book exposes the excavations conducted by Kerala Council for Historical Research (henceforth KCHR) an NGO organised by CPM, SYRIAN CHRISTIAN LOBBY led
Left government in Kerala in 2004 to excavate Pattanam, a site in Ernakulam district. The book brings to light how the left historians joined hands with Christian church in Kerala to establish that Pattanam was the ancient site of Muziris where Saint Thomas landed in India in 200AD to preach Christianity. The Marxist historians led by Professor K.N. Panikkar from JNU who is now chairman of KCHR, manipulated archaeological evidence, manufactured new evidence and spread huge lies to establish that Pattanam had historical relations with Jerusalem, Israel and other countries in west Asia from 1000BC. The director of Pattanam excavations is Dr.P.J.Cherian, a church historian who is supported by University of Rome and Vatican. This book brings to light the fraud research of Marxist historians who work with Christian church at Pattanam. The KCHR has huge financial and academic support of a Euro–American-Church lobby outside India. The KCHR has kept away ASI (Archeological Survey of India) and Indian Universities from Pattanam excavations. These left historians who now try to establish myth of St’ Thomas as history, simultaneously oppose clinching archaeological evidence at Ayodhya." GP Srinivasan

At the outset, my heartfelt congratulations to Dr. B.S. Harishankar for bringing out an excellent monograph on Pattanam - Constructs, Contexts and Interventions, Bharateeya Vichara Kendram, Thiruvananthapuram, 2017.

Academic justice system grinds as slowly as the other justice system dealing with civil and criminal suits.

It is a travesty of justice, in any case, that the perpetrators of a monumental fraud of Pattanam have been allowed to roam free proffering archaeological judgements in foreign 'academic' fora.

I agree with Prof. DK Chakrabarti that any collaborations with foreign 'experts' should be viewed with caution since their agenda does not include the search for satyam, truth, but only an 'imagined colonial supremacy' -- an euphemism for racism in academia and evangelical church fora.

It is tragic indeed that institutions like the KCHR and Indian Museum have been subverted to posit a colonial, racist agenda.

I am happy to find images of exquisite splendour from Thiruvanchikulam which are the ātmā of our cultural heritage, samskr̥ti. It is this heritage that we should celebrate and not the trash dished out by colonial apologists masquerading as archaeologists or historians.

It is time to remind ourselves of the the ethical principles of our heritage: सत्यं वद धर्मं चर -- speak the truth, live by dharma.

S. Kalyanaraman

Sarasvati Research Centre

May 3, 2017

↧

Abiding cultural, civilizational heritage of ध्माकारः >ध्मकर, मकर 'blacksmith blowing the forge'> damgar 'merchant' in Meluhha cipher on Indus Script Corpora

May 3, 2017, 10:44 pm

≫ Next: Shanghai unveiled Kalisasa in 2006, Bharatam renames Meghaduta Theatre as Al Kazi Peeth on 3 May 2017. Fake secularism gone berserk.

≪ Previous: Book announcement: Pattanam -Constructs, Contexts and Interventions, by BS Harishankar (2017)

Mirror: http://tinyurl.com/k7yleu2

https://www.facebook.com/srini.kalyanaraman/posts/10156189615299625

This monograph demonstrates that the characteristic sculptural tradition of Makara toraṇaevidenced on hundreds of heritage monuments of Eurasia, is an abiding tradition traceable to Sarasvati_Sindhu Civilization writing tradition of Indus Script Corpora. This monograph also establishes that the engraver tradition of Indus Script instituted by metalwork artisans of the Bronze Age civilization continues in the stone sculptural traditions, for millennia, all over Ancient Bhāratam, and in the Ancient Far East.

A possible etymological framework to explain the expression, makara, a composite animal artistic expression comes from Meluhha words cognate with: ध्म, 'blow'धम, धमकdhmākārḥ ध्माकारः A blacksmith, smith dhamakḥधमकः, धमकर> मकर'blacksmith blowing the forge'.

See
Annex A: semantic structures which evolved over time, from the expression ध्माकारः

Annex B: కారుమొసలి a wild crocodile or alligator.కారువు kāruvu [Skt.] n. An artist, artificer. శిల్పి hypertexts of Indus Script Corpora

There are two sememes in the expression ध्माकारः -- ध्म, 'blow' and कारः 'smith'. In artistic sculptural expressions and in ancient Meluhha cipher (Mlecchita vikalpa) writing system, the two phonemes are signified as two hieroglyphs: dāmā 'rope, garland'.

As a semantic determinative the 'fin of fish' hieroglyph is added to kāru 'a wild crocodile or alligator' (Telugu) to signify that ayakara, 'blacksmith' works with alloy metal in a mint: ayo'fish' rebus: aya'iron', ayas'alloy metal' PLUS khambhaṛā'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'. To further semantically reinforce working wit metals, feet of elephant are ligatured: karibha, ibha 'elephant' rebus: karba, ib'iron'ibbo'merchant'. Sometimes the feet are signified by feline paws providing for the hieroglyph of kola'tiger' rebus: kol'working in iron', 'backsmith', kolhe'smelter'.

The entire Ganga Basin was settled with Bhāratam Janam, 'metalcaster folk' and hence Ganga River is personified in an artistic expression, as a rider on a makara, ध्मकर, मकर 'blacksmith blowing the forge'. ध्मकर, मकर damgar 'merchant', ṭhākur ʻblacksmithʼ.

Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights

Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.

Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884

Next slide

Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle. The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html

Ganga on Makara.5th cent. CE. Ajanta caves.
Gupta era terracotta of Ganga Devi; found at Ahichchhatra, UP - now in the National Museum, New Delhi, India

Gupta era terracotta of Ma Ganga. Ahichchhatra, UP - now in the National Museum, New Delhi, India

Makara. Amaravati.

The artisan emerges out of the snout of the makara. Fragment in the shape of Asura rising up from the mouth of Makara water monster, carved sandstone, 10th-11th century CE. Quang Nam province, central Vietnam. Decoration exterior of roof corner of Cham temple.

Northern Qi dynasty, ca. 550 CE (Exhibitd at National Gallery of Victoriain Melbourne, Australia)

Makara with elephant trunk (Exhibited in Indian Museum, Kolkata)

Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.

Image result for bharhut ancient makara sculptures

Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')

The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahAkara, karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha 'fish tail' Rebus: puja 'worship'. xolA 'tail' Rebus: kole.l 'smithy, temple' kol 'working in iron' kolimi 'smithy, forge'.

Makara on lentil of sambor prei kuk temple, Cambodia

Fragment of a makara capitalAllahabad Museum, Allahabad"The four hands of the God are damaged so that none of the attributes can be seen. On top, just above the crown, is an image of Yogasana Visnu with the fish and turtle avataras and Maladharadevas on either side. The pilasters flanking the god support niches with images of Brahma and Siva to his right and left respectively; and at their base are female and male attendant figures in front of whom are small seated figures of Buddha and Kalki on a horse. The offset to the right has, from top to bottom, a small figure of Varaha, a makara, a vyala motif, a large figure of Rama holding a bow, and a seated figure of Vamana. Similarly, to the godâ??s left, we have a mutilated image of Narasimha, and at the base the serpent hooded Balarama leaning on a club in front of whom is a seated image of Parasurama. The central projection of the pancaratha pedestal carries a male and female figure in anjalimudra at the sides." http://nmma.nic.in/nmma/antiquity_search.do?method=explore_antiquity_search&id_link_mat=22&?w=&pager.offset=2300

Entrance. Puri Jagannath temple. 1890 photo .Ganga on makara on the pillar at the entrance. http://inspirationtheory.blogspot.in/2011/03/very-old-photographsdrawings-and.html

Statue of Ganga, Jagannatha Temple, Puri

Photograph of a statue of Ganga in the Jagannatha Temple at Puri, from the Archaeological Survey of India Collections, taken by Poorno Chander Mukherji in the 1890s. The temple was founded in the 12th Century by Anantavarman Chodaganga (r.1077-1147) of the Eastern Ganga dynasty.

http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/s/019pho000001003u00384000.html

Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.

The hieroglyphs or metaphors which adorn the toraṇa and the temple precincts are a declaration of the smithy as temple for dharma-dhamma. The semantics of the temple architecture are a re-affirmation of the message of good work, of virtuous conduct, sanatana dharma-dhamma.

The hieroglyph multiplex of crocodile, elephant, tiger, fish is celebrated as mahAkara, makara and makara toraṇa as a sculptural metaphor is explained in the context of veneration of Ganga as Ma Ganga, mother Ganga. This association of the Gavialis gangeticus – gharial with River Ganga is related to the life-activity of the people of the Gangetic plain as Bharatam Janam, metalcaster folk working with iron. This has been attested archaeologically by the discovery of iron smelters and iron work at Malhar, Raja-nal-ki-tila and Lohardiwa on the Ganga River basin.

See: http://archaeologyonline.net/artifacts/iron-ore

Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India.

Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli.

This correlation explains the veneration of Ma Ganga by Bharatam Janam which finds expression in the association of makara hieroglyph complex with the life-activities in Ganga River basin of the metalcasters.

Hieroglyph: dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct, dharma' Rebus: ध्मकर, मकर 'blacksmith blowing the forge'

Rebus: dhárma m. ʻ what is established, law, duty, right ʼ AV. [dhárman -- n. RV. -- √dhr̥] Pa. dhamma -- m. (rarely n.), Aś.shah. man. dhrama -- , gir. kāl. &c. dhaṁma -- ; NiDoc. dham̄a ʻ employment in the royal administration ʼ; Dhp. dharma -- , dhama -- , Pk. dhamma -- m.; OB. dhāma ʻ religious conduct ʼ; H. kāmdhām ʻ work, business ʼ; OSi. dama ʻ religion ʼ (Si. daham ← Pa.).(CDIAL 6753)

Sculpture slab from the lower monastery at Nutta, Peshawar

Wavy garland with bearers from Shrine at Miran in China

Bass relief from Musee Guimet, Paris

Amaravati Stupa rail copings with garland motif

"The Avatamsaka Sūtra (Sanskrit: महावैपुल्यबुद्धावतंसकसूत्र >Mahāvaipulya Buddhāvatamsaka Sūtra) is one of the most influential Mahayana sutras of East Asian Buddhism."

https://chandrashekharasandprints.wordpress.com/2012/02/15/garland-bearers-of-the-buddha/

Garland bearing Yaksha. Amaravathi stupa.

The sculptural metaphors speak, declare *saṁhati, *saṅghati, through mlecchita vikalpa hieroglyphs of kole.l 'smithy, temple'.

Just as Indus Script Corpora embody speech, Meluhha speech, the metaphors of ancient temples are a continuum in the mlecchita vikalpatradition of writing, engraving, carving, sculpting.

The messaging cipher, mlecchita vikalpa, of Meluhha artisan explains the grammar of dharma-dhamma sanatana: dharmasamkathA pl. pious conversation; dhamakArya 'any act of duty or religion, good work, virtuous conduct (Samskritam)

Meluhha artisan emerges out of Makara. Ganga fish-eating ghara 'snout of crocodile', aya 'fish'; āhan gar, ayakara 'metalsmith'; ayo meḍh 'goat-fish''iron merchant'.

Molluscs and Makara hieroglyphs. The iron worker, blacksmith āhan gar, ayakara has created a smithy, a temple: kole.l 'smithy'; kole.l 'temple'.

Makara composition and Makara toraṇa hieroglyph multiplex in the semantics messaging traditions of Indian sprachbund is rebus-metonymy-layered cipher in Meluhha.

The toraṇa which emerges out of the snout of the makara is thus a chord, a garland which carries the mesage like the waves of an ocean, damarebus: dhamma 'virtuous conduct'.

See:http://bharatkalyan97.blogspot.in/2015/02/vajra-sanghata-binding-together.html

"Makara Torana: The ornate Makara Torana (Capricorn Arch or festoon) carved out of a single stone with four opposed fierce makara-heads (crocodile heads) adorns above the entrance of the sanctum. It reminds us the Pallava style Makara torana at the Satrumallesvara rock-cut cave temple at Dalavanur and Draupadi ratha at Mamallapuram. Two opposing capricon heads, (facing north and south) are carved at the center of the door lintel and they appear spitting warriors (in miniature size) holding swords and shields. A male image seated on lotus flower flanked by two chauris is shown within the floral ring located at the center between two makara heads. The parallel pair of opposing makara heads are placed one each in the southern and northern corners of the festoon. The intricately coiled feathers appear spread across the entire door lintel." http://know-your-heritage.blogspot.in/search/label/Architecture

Makara Torana (4 opposed Capricorn Heads)

Makara Torana: Center Figure

Makara Torana: Figure at Side

Makara Torana: Figure enlarged

Source: http://know-your-heritage.blogspot.in/search/label/Architecture

Torana of Jagannath Temple, Puri (Photo, 1890)

Makara Angkor Complex, Cambodia.

Makara metaphor is so central to the artists' message that the makara torana (architrave) is an abiding image to support sculptural friezes of many divinities. In this composition, Indra on Airavata elephant is supported by the makara ensemble ligatured with kIrtimukha. So, karA becomes mahA karA, makara in the writing tradition which started from the mlecchita vikalpa cipher of Indus Script Corpora. Out of the snouts of the makara emerge the garlands, an offering of puja to the paramaatman. Kamadeva sports the makara-dhvaja.

Kirtimukha PLUS makara: Lakkundi, Lokki Gundi, Gadag Kashi vishwanatha temple.

Makara on lentil of sambor prei kuk temple, Cambodia

Ganga on makara. VaruNa on makara.. Varuna on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag

Finial, makara, early-md 16th cent., Ayutthaya Period (1350-1767), Sawankhalok, stoneware, brown & white glaze, 67.5x19.5 cm. South Australian Govt. Grant, 1979

Relief depicting a Makara with Nagas, Wat Suthat, Bangkok, Thailand.

Makara carving. Krishna temple. Hampi. Out of this makara snout emerge a composition of molluscs. sanghin 'mollusc, shell' Rebus: pilgrim: saṅgin ʻ attached to, fond of ʼ MBh. [saṅgá -- ]

Pk. saṁgi -- , saṁgilla -- ʻ attached to ʼ; S. L. P. saṅgī m. ʻ comrade ʼ (P. also ʻ one of a party of pilgrims ʼ), N. saṅi, Or. sāṅga, °gī, H. saṅgī m., M. sãgyā, sāgyā m. *saṅghati ʻ tells ʼ
WPah.kṭg. (kc.) sɔ́ṅgi m. ʻ friend ʼ, kṭg. sɔ́ṅgəṇ, kc. sɔṅgiṇ f., J. saṅgī, saṅgu m. (prob. ← H. Him.I 212).(CDIAL 13084) 12842 sáṁkhyāti (*saṁkśāti) ʻ reckons ʼ ŚBr. (samakhyata ʻ appeared ʼ RV., sáṁkhyāpayati ʻ causes to be observed ʼ TS.). [Derivation of RV. khyā -- < kśā -- (Indo -- ir., cf. esp. ásaṁkhyāta -- AV. = Av.ahaͅxšta -- ) preserved in MaitrS. and Kāṭh. (EWA i 313 with lit.) is supported by Aś.gir. sachāya = shah. saṁkhaya, the development of kś > khy and cch being parallel with that of kṣ > kkh and c̣c̣h (NW.),cch (SW.). -- √khyā] Pa. saṅkhāti, saṅkhāyati ʻ reckons, appears ʼ; Aś. shah. saṁkhaya, kāl. saṁkhaye, gir. sachāya (< *saṁkśāya Hultzsch As 26 n. 6) ʻ having regard to ʼ; Pk. saṁkhāi ʻ counts, knows ʼ, absol. saṁkhāya, caus. pp. saṁkhāviya -- , (orig. NW.?) saṁghaï, sagghaï ʻ says ʼ (J. Bloch BSL xxxi 62 < IE. *sengwh -- , Gk. o)mfh/ &c.); Kal.rumb. saṅghāˊam ʻ I hear ʼ (→ Kt. seṅā -- ); Or. sāṅgibā ʻ to tell, speak ʼ; M. sã̄gṇẽʻ to declare, bid ʼ, sã̄g m. ʻ order ʼ. -- Pk. sāhēi, °haï ʻ says, orders ʼ (Bloch loc. cit. connects with Germ. sagen) < saṁhaï ʻ says ʼ with abnormal sound -- change in a verb of ʻ saying ʼ (see ākhyāti) <saṁghaï?
Pk. saṁhaï, sāhaï, sāhēi, saṁghaï, sagghaï ʻ says ʼ, uvasāhaï ʻ tells ʼ, saṁsāhaṇa -- n. ʻ conversation ʼ with Kal. Or. M. rather < *saṁhati, *saṅghati < IE. *senghw -- (Bloch); Pk.āsaṁghā -- f. ʻ wish ʼ formed after Sk. āśaṁsā -- .But saṁhaï, saṁghaï, sāhaï < śáṁsati

RV., saṁsāhaṇa -- < saṁśaṁsati Br., āsaṁghā -- < āśaṁsā -- Pāṇ., with abnormal dev. in verb of ʻ saying ʼ ~ākhyāti, is a simpler hypothesis. J.C.W.).(CDIAL 12842)

The message of the mollusc hieroglyphs is thus, saṁhati -- the sculptures speak as the floral garlands emerge out of the snout of the makara.

The semantics 'says, speaks' may explain the hieroglyph which is a homonym of this gloss: *saṁhati, *saṅghati,'declaration'. The hieroglyph to signify this hypertext expression is sanGaDa 'lathe, portable furnace'.

Image result for indus hieroglyphs lathe portable furnace

sãghāṛɔ 'lathe' (Gujarati. Desi) m0008 Mohenjo-daro seal. This shows the bottom bowl of the 'standard device' superimposed with dotted circles. Since the top portion of the 'device' is a drill-lathe, these dotted circles are orthographic representations of drilled beads which were the hallmark of lapidaries' work of the civilization. Rebus reading of the kandi 'beads' (Pa.) is: kaND, kandu 'fire altar, smelting furnace of a blacksmith' (Santali.Kashmiri)Glyphs of dotted circles on the bottom portion of the 'standard device': kandi (pl. -l) beads, necklace (Pa.); kanti (pl. -l) bead, (pl.) necklace; kandit. bead (Ga.)(DEDR 1215). Rebus: लोहकारकन्दुः f. a blacksmith's smelting furnace (Grierson Kashmiri)See: http://bharatkalyan97.blogspot.in/2011/09/meluhha-epigraphia-indus-language.html

Entrance. Puri Jagannath temple. 1890 photo .Ganga on makara on the pillar at the entrance. http://inspirationtheory.blogspot.in/2011/03/very-old-photographsdrawings-and.html

http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/s/019pho000001003u00384000.html

Harappa tablet h180 (section). One glyph composition enlarged to show the crocodile ligature close to pudendum muliebre of the female with thighs apart and shown lying upside down.

kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)

The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.

The glyph showing the image of a crocodile issuing forth from a female with thighs drawn apart is one side of a tablet h180. Same text is repeated on both sides.

The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.

Hieroglyphic composition: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’.

Glyph: vagina: kuṭhi ‘vagina’; kuṭhi ‘pudendum muliebre’ (Mu.) khoḍu m. ‘vulva’ (CDIAL 3947). rebus: kuṭhi ‘smelting furnace’. Rebus: kuṭhi ‘smelter furnace’ (Mu.)khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947)

The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore.

Crocodile (copulating with or) issuing forth from the womb: karā 'crocodile' (Telugu) khār 'blacksmith' (Kashmiri)

kāru a wild crocodile or alligator (Telugu) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422) கரவு² karavu , n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). கரா karā , n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) கராம் karām , n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) கரவா karavā , n. A sea-fish of vermilion colour, Upeneus cinnabarinus; கடல்மீன்வகை.

ध्मकर =dialect variant pronunciation मकर [ makara ] m (S) An aquatic monster understood usually of the alligator, crocodile, and shark, but, properly, a fabulous animal. It is the emblem of the god of love. (Marathi)

H گهڙيال घड़ियाल ghaṛiyāl [S. घण्टिका+आलः or आलु], s.m. A crocodile; the Gangetic alligator, Lacerta gangetica (cf. magar).H مگر मगर magar [Prk. मकरो; S. मकरः], s.m. An alligator; a crocodile. ध्मकर = मकर [ makara ] is a hypertext expression composed of a number of hieroglyph components:

1. Crocodile snout, ghara Rebus: khār ‘blacksmith’

2. Fish-tail, xolā Rebus: kolle 'blacksmith'

3. Elephant trunk as snout, ibha 'elephant' Rebus: ib 'iron'

కారుమొసలి a wild crocodile or alligator (Telugu).

Rebus: khār ‘blacksmith’ khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु‍; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. - a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू‍ । लोहकारकन्या f. a blacksmith's daughter. -koṭu ; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.

Gharial (Gavialis gangeticus) is only a fish-eater. Gharial is one of three crocodilians (apart from the mugger crocodile and the saltwater crocodile) native to India and once inhabited all the major Himalayan glacier river systems of the Indian Subcontinent, from the Irrawaddy River in the east to the Sindhu River in the west. "They inhabit foremost flowing rivers with high sand banks that they use for basking and building nests. They usually mate in the cold season. The young hatch before the onset of the monsoon." (Whitaker, R., Members of the Gharial Multi-Task Force, Madras Crocodile Bank (2007). "The Gharial: Going Extinct Again" /Iguana 14 (1): 24–33.) http://www.ircf.org/downloads/Iguana14_1%20Gharial%20Going%20Extinct%20Again.pdf)
The average body weight of the species is from 159 to 250 kg (350 to 550 lb). Males commonly attain a total length of 3 to 5 m (9.8 to 16 ft), while females are smaller and reach a body length of up to 2.7 to 3.75 m (8.9 to 12.3 ft). http://crocodileworld.blogspot.in/2012_11_01_archive.html

Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884

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Ganga on Makara. Kelaniya Temple. Sri Lanka.

Asian Art Museum of San Francisco: Ma Ganga on Makara

Ganga on Makara.5th cent. CE. Ajanta caves.
Gupta era terracotta of Ganga Devi; found at Ahichchhatra, UP - now in the National Museum, New Delhi, India

Gupta era terracotta of Ma Ganga. Ahichchhatra, UP - now in the National Museum, New Delhi, India

Makara. Amaravati.

Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock.

The hieroglyphs declare *saṁhati, *saṅghati:These are hieroglyph components of the multiplex cipher read in rebus-metonymy-layers: ibha 'elephant' rebus: ib 'iron'; aya 'fish' rebus: aya 'metal', arye 'lion' rebus: arA 'brass', kuThAru 'monkey' rebus: kuThAru 'armourer', baDhi 'boar' rebus: baRea 'merchant'; maraka 'peacock' rebus: makara loha 'copper alloy calcining metal'.

Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal

Torana of Jagannath Temple, Puri (Photo, 1890)

The toraṇa which emerges out of the snout of the makara is thus a chord, a garland which carries the mesage like the waves of an ocean, damarebus: dhamma 'virtuous conduct'; dhma 'blow (fire)', dhamaka 'blacksmith, blower of fire in a forge'.

Relief depicting a Makara with Nagas, Wat Suthat, Bangkok, Thailand.

Ganga on makara. VaruNa on makara.. Varuna on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag

Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock. (Note: Why a peacock, why a pig? maraka 'peacock' Rebus: marakaka loha'copper alloy'. বরাহ barāha 'boar' Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali)

To signify ध्म, धम 'blow' the hieroglyph: dama 'garland' is ligatured to the artistic expressions on sculptures.

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A gray schist relief of garland bearers Gandhara, 2nd/3rd century
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A schist architectural panel with a garland bearer Ancient Region of Gandhara, 2nd/3rd cent.
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Amaravati. Garland-bearers.
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Garland bearer. Amaravati, Maharashtra, India. Circa 1st Century BCE - 2nd century

Garland bearing Yaksha. Amaravathi stupa.

Bharhut rail copings with lotus stem pattern

Celestial Garland bearers at Sanchi
Celestial Garlan bearer from Bharhut stupa

https://chandrashekharasandprints.wordpress.com/2012/02/15/garland-bearers-of-the-buddha/

Makara Torana (4 opposed Capricorn Heads)

Makara Torana: Center Figure

Makara Torana: Figure at Side

Makara Torana: Figure enlarged

Makara Angkor Complex, Cambodia.

Kirtimukha PLUS makara: Lakkundi, Lokki Gundi, Gadag Kashi vishwanatha temple.

Makara on lentil of sambor prei kuk temple, Cambodia

"In New York’s Metropolitan Museum of art, there is an exhibit, the citation for which reads as “ Marble sarcophagus with garlands and the myth of Theseus and Ariadne [Roman, Hadrianic or early Antonine] .” Now a sarcophagus in simple English means a coffin. It appears that the garland with cupids motif was so popular with Greeks and Romans, that it was used even on a coffin."

https://chandrashekharasandprints.wordpress.com/2012/02/15/garland-bearers-of-the-buddha/

Annex A: semantic structures which evolved over time, from the expression ध्माकारः

कारः 'smith' is signified by the hieroglyph: kāruvu 'crocodile', on a number of hypertexts of Indus Script Corpora.

Thus, together, ध्माकर or धमकर > मकर 'blacksmith blowing the forge' is signified by the hypertext 'makara' composite artistically depicted animal with the hieroglyph components to signify the words ध्म, धम and khār 1 खार् 'blacksmith blowing the forge'

khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta

khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु‍&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू‍&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2,see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् ।लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil (Kashmiri)

मकर, makara, is an abiding metaphor in Hindu art and writing system traditions. I suggest that the expression is a shortened version of and derived as a pronunciation variant -- a vernacular, dialectical version -- from धमक, ध्माकारः, धमकर, 'a blacksmith blowing the forge'. The tradition is so abiding along the Ganga river basin, that the early metaphor for the personification of the river is to depict in art, makara as a vehicle -- a makara.vāhana This मकर, makara is also the vāhana of Varuṇa,

ध्म [p= 520,3] mfn. blowing , a blower (cf. तूण- , शङ्क-). उद्ध्मा 1 P. 1 To breathe out, puff, blow.-2 To inflate, to make known by blowing (a trumpet).
उद्धम uddhamaउद्धम a. [उद्-ध्मा-श] Sounding, blowing.-मः 1 Sounding, blowing.-2 Breathing hard, panting.
धम [p= 509,3] mfn. blowing , melting (ifc. ; cf. करं- , खरिं- , जलं- &c ) धम dhama

धम a. (-मा, -मी f.) [धम् ध्माने-अच्] (Usually at the end of comp.) 1 Blowing; अग्निंधम, नाडिंधम. -2 Melting, fusing. -मः 1 The moon. -2 An epithet of Kṛiṣṇa. -3 Of Yama, the god of death. -4 Of Brahmā. धम् dhamधम् 1 P. See ध्मा.

धम dhamaधम a. (-मा,-मी f.) [धम् ध्माने-अच्] (Usually at the end of comp.) 1 Blowing; अग्निंधम, नाडिंधम.

ध्मा dhmāध्मा 1 P. (धमति, ध्मात; Caus. ध्मापयति) 1 To blow, breathe out, exhale. -2 To blow (as a wind-instru- ment), produce sound by blowing; शङ्खं दध्मौ प्रतापवान् Bg.1.12,18; R.7.63; Bk.3.34;17.7. -3 To blow a fire, excite fire by blowing, excite sparks; को धमेच्छान्तं च पावकम् Mb. -4 To manufacture by blowing. -5 To cast, blow, or throw away.ध्माकारः dhmākārḥध्माकारः A blacksmith, smith.ध्मात dhmātaध्मात p. p. [ध्मा-क्त] 1 Blown (as a wind-instrument). ध्माता गिरेर्धातवः Bh. -2 Blown up or into, inflamed, blown, fanned, excited. -3 Inflated, puffed, puffed up.ध्मानम् dhmānamध्मानम् Blowing.ध्मापनम् dhmāpanamध्मापनम् Inflating, swelling by blowing into.ध्मापित dhmāpitaध्मापित a. Reduced to ashes, burnt to cinder.
धमक [p= 509,3] m. " a blower " , blacksmith (as blowing the forge) Un2. ii , 35 Sch. dhamakḥ धमकः A blacksmith.

कर--ं-धम [p= 253,2] m. N. of two princes MBh. VP. &c धामवत् dhāmavat

धामवत् a. powerful, strong; पुरःसरा धामवतां यशोधनाः Ki.1.43.

धमन 1 A Blowing. -2 Cruel. -नः A kind of reed. -नम् Melting. धमिः f. The act of blowing. -Comp. -त्रम् an imple- ment for kindling fire; see धमनी. धमनिः नी f. 1 A reed, blow-pipe; वेणुधमन्या प्रबोध्य Vaiśvadeva. -2 A tube or canal of the human body, tubular vessel, as a vein, a nerve, &c. -3 Throat, neck. -4 A speech धामनिका dhāmanikā धामनी dhāmanī धामनिका धामनी See धमनी.

धामन् dhāman धामन् n. [धा-मनिन्] 1 A dwelling-place, abode, residence, house; तुरासाहं पुरोधाय धाम स्वायंभुवं ययुः Ku.2. 1,44; पुण्यं यायास्त्रिभुवनगुरोर्धाम चण्डीश्वरस्य Me.33; Bg.8.21; Bh.1.35; पतत्यधो धाम विसारि सर्वतः किमेतदित्याकुलमीक्षितं जनैः Śi.1.2. -2 A place, site, resort; श्रियो धाम; भूतैः स्वधामभिः पश्येदप्रविष्टं प्रविष्टवत् Bhāg.7.12.15. -3 The inmates of a house, members of a family. -4 A ray of light; धाम्ना- तिशाययति धाम सहस्रधाम्नः Mu.3.17; Śi.9.53. -5 Light, lustre, splender; Mu.3.17; Ki.2.2,55,59;1.6; Amaru.86; R.6.6;18.22 -6 Majestic lustre, majesty, glory, dignity; गां गतस्य तव धाम वैष्णवं कोपितो ह्यसि मया दिदृक्षुणा R.11.85. -7 Power, strength, energy (प्रताप); सहते न जनो$प्यधःक्रियां किमु लोकाधिकधाम राजकम् Ki.2.47. -8 Birth. -9 The body. -1 A troop, host. -11 State, condition; Prab.1.3. -12 A class. -13 Ved. Law, rule. -14 Ved. Property, wealth. -15 A fetter. -16 Fashion, mode, manner, form, appearance; स बिभ्रत्पौरुषं धाम भ्राजमानो यथा रविः Bhāg.1.2.17. -Comp. -केशिन् m., -निधिः the sun; Mb.3.3.63. -छद् m. Ved. N. of Agni. -मानिन् a. believing in a material existence; नैवेशितुं प्रभुर्भूम्न ईश्वरो धाममानिनाम् Bhāg.3.11.38.

Semantic expansion: dhamá -- , dhámati, dhamana -- , dhamáni -- , dhamanī -- , dhamyátē, dhmātá -- , dhmātŕ̊ -- , *dhmātra -- , dhmāna -- ; ādhmāna -- , āˊdhmāyati, uddhama -- , *uddhāma -- , uddhmāna -- , *uddhmāyatē, upadhmāˊna -- , prádhamati, vidhmāpayati.

DHAM or DHMĀ ʻ blow ʼdhamá 6730 dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham]
Pa. dhama -- , °aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.; K. dam m. ʻ blast of furnace or oven, steam of stewing ʼ; -- Kho. Sh.(Lor.) dam ʻ breath, magical spell ʼ ← Pers. dam.

6731 dhámati ʻ blows ʼ RV. [√dham]
Pa. dhamati ʻ blows, kindles ʼ, Pk. dhamaï, °mēi; K. damun ʻ to roar (of wind), blow up a fire ʼ; S. dhãvaṇu ʻ to blow (with bellows), beat (of pulse) ʼ; P. dhauṇā ʻ to blow (with bellows) ʼ, WPah.khaś. rudh. dhamṇū, G. dhamvũ. -- Kt. dəmō -- , Pr. -- lemo -- ʻ to winnow ʼ rather < dhmāyátē. -- Kho. (Lor.) damik ʻ to work a charm on ʼ deriv. dam ʻ charm ʼ ← Pers. rather than < *dhāmayati. -- Ext. -- kk -- or X MIA. phukk -- , phuṁk -- s.v. *phūtka -- : L. dhaũkaṇ ʻ to blow (with bellows) ʼ; P. dhauk(h)ṇā, dhaũk(h)ṇā ʻ to blow (with bellows), bellow, brawl ʼ; Ku. dhaũkṇo ʻ to blow, breathe ʼ, dhaũkalo ʻ bellows ʼ; H. dhaũknā ʻ to blow (with bellows), breathe on, pant ʼ.
dhamana 6732 dhamana n. ʻ blowing with bellows ʼ lex. [√dham]
K. damun m. ʻ bellows ʼ. -- Ash. domótilde; ʻ wind ʼ (→ Pr. dumūˊ), Kt. dyīmi, Wg. damútildemacr;, Bashg. damu; Paš.lauṛ. dāmāˊn, kuṛ. domón, uzb. damūn ʻ rain ʼ (< ʻ *storm ʼ → Par. dhamāˊn ʻ wind ʼ IIFL i 248): these Kaf. and Dard. forms altern. < dhmāna -- ?

dhamáni 6733 dhamáni f. ʻ vein, nerve ʼ AV., ʻ throat, neck ʼ lex. [√dham]
Pa. dhamani -- f. ʻ vein ʼ, Pk. dhamaṇĭ̄ -- ; Kt. gəŕək -- də́mə ʻ adam's apple ʼ; Wg. damŕē̃, damə̃ŕ ʻ neck ʼ, Pr. lúmu, lümīˊ; L. dhauṇ, dhôṇ f. ʻ nape of neck ʼ, awāṇ. dhauṇ, °ṇī f. ʻ neck ʼ; P. dhauṇ, dhaun f. ʻ nape of neck ʼ.

dhamanī 6734 dhamanī f. ʻ bellows ʼ KātySm., ʻ sort of perfume ʼ Bhpr. [√dham]
Pk. dhamaṇĭ̄ -- f. ʻ bellows ʼ, S. dhãvaṇi f., H. dhaunī f., G. dhamaṇi f. (whence dhamaṇvũ ʻ to blow with bellows ʼ); -- K. daman, dat. °müñü f. ʻ bad smell (esp. of stale curd or other bad food) ʼ.

dhamm 6735 *dhamm ʻ noise ʼ. [Cf. dhamadhamā ʻ with the noise of bellows or trumpet ʼ MW., dhamadhamāyatē ʻ roars ʼ Nāg., ʻ quakes ʼ Mālatīm.]
Pk. dhamadhamaï ʻ makes a noise ʼ; P. Ku. dhamādham m. ʻ noise of beating ʼ; N. dhamādham ʻ incessantly ʼ; A. dhamdhamāiba ʻ to roar ʼ; B. dhamdham ʻ blowing repeatedly ʼ; Or. dhamādham ʻ with a thump ʼ; OAw. dhamari f. ʻ tumultuous movement ʼ, dhamadhama m. ʻ tumult ʼ; H. dhamādham ʻ noisily, suddenly ʼ; G. dhamādham f. ʻ scuffle ʼ, M. dhamādhamī f.; -- P. dhammaṛdhussā m. ʻ noisy stamping ʼ; N. dhamardhus ʻ fat, stalwart ʼ, H. dhamdhūsar.
*dhammakka -- .

dhammakka 6736 *dhammakka ʻ threat ʼ. [Ext. of *dhamm -- ]
P. dhamkī f. ʻ threat ʼ, N. dhamki, A. B. dhamak, Or. dhamaka, H. G. M. dhamkī f.; -- S. dhamkaṇu ʻ to take fright ʼ; P. dhamkāuṇā ʻ to threaten ʼ; Ku. dhamkoṇo ʻ to scold ʼ; N. dhamkāunu ʻ to threaten ʼ, B. dhamkāna, Or. dhamakāibā, H. dhamkānā, G. dhamkāvvũ, M. dhamkāviṇẽ.

6737 dhamyátē ʻ is blown on ʼ RV. [√dham]
L. dhammaṇ ʻ (night) to turn into dawn ʼ (< ʻ *to be kindled ʼ), dhammī, °mī˜ f. ʻ dawn ʼ < MIA. pp. *dhammiā sc. *rāttī.
vātaṁdhama -- .

dhmātá 6887 dhmātá ʻ blown ʼ RV. [√dham]
Ku. dhwã̄ ʻ being out of breath, panting ʼ (< *dhumāa -- ); A. dhā̆ĩ ʻ panting, asthma ʼ.
dhmātŕ̊ -- see next.

dhmātra 6888 *dhmātra ʻ fireplace ʼ. [dhmātŕ̊ -- n. ʻ implement for smelting ʼ RV. -- √dham]
Phal. dhatāˊr, dahatāˊr m. ʻ fireplace ʼ (→ Bshk. dātar), Sv. dāntar -- kuṭha.
dhmāna -- n. ʻ puffing ʼ Suśr.: see dhamana -- . [√dham] *vātadhmāna -- .

आध्मानम् ādhmānam

आध्मानम् [आ-ध्मा-ल्युट्] 1 Blowing inflation; (fig.) growth, increase; अयं विन्ध्यो येनाहृतविहृतिराध्मानमजहात् Mv.7.14. -2 Boasting, vaunting. -3 A bellows. -4 In- tumescence, swelling of the belly, body &c., dropsy. -नी 1 A kind of fragrant substance. -2 A blow-pipe.

ādhmāna 1169 ādhmāna n. ʻ blowing, puffing ʼ Suśr., ʻ intumescence ʼ lex. [√dhmā]
Ku. adāṇ, adhyāṇ ʻ boiling water for cooking rice, &c. ʼ; G. ādhaṇ, ã̄dh° n. ʻ ebullition, putting water on a fire to boil, water so put ʼ.

1170 āˊdhmāyati ʻ swells with wind ʼ ŚBr., ʻ is puffed up ʼ MBh. [√dhmā]
S. ābhāmaṇu ʻ to be swelled up ʼ (anal. intr. from *ābhā -- after type visã̄iṇu < viśrāmayati; visāmaṇu < viśrāmyati after which also u&dtodmacr;āmaṇu: uḍ̠āiṇu), ābhāmiṛo m. ʻ an ignorant child that has not reached years of discretion ʼ.

uddhama 2008 uddhama m. ʻ panting ʼ Vop. 2. *uddhāma -- . [Cf. uddhamati ʻ blows out ʼ TĀr., Pk. uddhamaï ʻ blows ʼ: √dham] 1. K. wŏdam m. ʻ zeal ʼ; -- with unexpl. m: N. udhum ʻ vehemence ʼ; H. ūdham m. ʻ noise, uproar ʼ (→ P. ūdham m.). 2. G. udhāmɔ m. ʻ agitation, preparation for a fight, struggle, appearance of the sky before rain ʼ.*uddhāma ʻ excitement ʼ see uddhama -- .

upadhmāˊna 2185 upadhmāˊna n. ʻ breathing or blowing on ʼ AV. [√dham]
G. udhān n. ʻ asthma ʼ: why n? Very doubtful; -- N. obhānu ʻ dry ʼ rather < udvāna -- 1.

8670 prádhamati ʻ blows ʼ AV., ʻ blows into ʼ MBh. [√dham] Si. pumbanavā ʻ to blow air in, swell ʼ, pret. pumbu SigGr ii 448?

11758 vidhmāpayati ʻ extinguishes ʼ HYogay. [vídhamati ʻ blows away, destroys ʼ RV. -- √dham]
Si. vidavanavā ʻ to destroy ʼ or < *vijjhāpayati.

लॄ lॄ

लॄ f. A mother, a divine female. -m. Śiva. . -सूत्रम् N. of a small double drum played by a string and ball attached to the body of it (Mar. डमरू). -स्तोमः N. of Soma ceremony

डमरु [p= 430,2] m. ( L. )a sacred drum, shaped like an hourglass, used by the god शिव and by Buddhist mendicant monks for a musical accompaniment in chanting, cf. MWB. 384, 385 Ra1jat. ii , 99 Prab. iii , 14 डमरु (p. 201) ḍamaru m (S) A sort of tabor shaped like an hourglass. 2 A little rattle, a windlass &c. of this shape. (Marathi)

ढक्का (p. 204) ḍhakkā m f S A large or a double drum; a large नौबत or डमरु. Ex. अनेक वाद्यांचे गजर ॥ ढक्का गरजे त्यांत थोर ॥. ढक्क [p= 431,1] m. a large sacred building Ra1jat. iii , v; N. of a locality (cf. टक्क) Mricch. ?? Sch. Introd.; f. a large drum (cf. गज- , जय-) Ra1jat. vi , 133

S. Kalyanaraman
Sarasvati Research Center
May 4, 2017

Blacksmith signified on Indus Script Corpora

Hieroglyph: *ḍaṅgara1 ʻ cattle ʼ. 2. *daṅgara -- . [Same as ḍaṅ- gara -- 2 s.v. *ḍagga -- 2 as a pejorative term for cattle] 1. K. ḍangur m. ʻ bullock ʼ, L. ḍaṅgur, (Ju.) ḍ̠ãgar m. ʻ horned cattle ʼ; P. ḍaṅgar m. ʻ cattle ʼ, Or. ḍaṅgara; Bi. ḍã̄gar ʻ old worn -- out beast, dead cattle ʼ, dhūr ḍã̄garʻ cattle in general ʼ; Bhoj. ḍāṅgar ʻ cattle ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ horned cattle ʼ.
2. H. dã̄gar m. = prec.(CDIAL 5526)

Plain text: ध्माकारः > ध्मकर > N. ḍāṅro ʻ term of contempt for a blacksmith ʼ Or. dhāṅgaṛ ʻ young servant, herdsman, name of a Santal tribe ʼ, dhāṅgaṛā ʻ unmarried youth ʼ, °ṛī ʻ unmarried girl ʼ, dhāṅgarā ʻ youth, man ʼ; H. dhaṅgar m. ʻ herdsman ʼ, dhã̄gaṛ, °ar m. ʻ a non -- Aryan tribe in the Vindhyas, digger of wells and tanks ʼ(CDIAL 5524)

h74a

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Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.

Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا‎ Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.

Canopy: Ku. pāl ʻ canopy ʼ; N. pāl ʻ tent ʼ; A. pāl ʻ sail, large sheet of cloth, palanquin ʼ; B. pāl ʻ sail ʼ, pāil ʻ sail, awning ʼ-- P. H. pallā m. ʻ cloth spread out for grain ʼ poss. < palya -- . Addenda: *palla -- 3: S.kcch. pāl m. ʻ big jute cloth ʼ.(CDIAL 7967).

phala2 n. ʻ point of arrow ʼ Kauś., ʻ blade of knife ʼ MBh. 2. *phara -- 1. [i.e. ʻ splitting ʼ ~ phala -- 3 ʻ what is split ʼ. -- √phal]1. Pa. phala -- n. ʻ point of arrow or sword ʼ, Pk. phala<-> n. ʻ point of arrow ʼ; K. phal ʻ tip of arrow, blade of mattock ʼ; S. pharu m. ʻ blade, arrowhead ʼ; L.awāṇ. P. N. phal ʻ blade ʼ, B. phal, °lā; Or. phaḷā ʻ blade ʼ, phaḷī ʻ arrowhead ʼ; H. phal m. ʻ blade ʼ, G. M. phaḷ n.; M. phaḷẽ n. ʻ spear -- head ʼ.2. P. pharhā m. ʻ blade, nib ʼ.Addenda: phala -- 2. 1. Md. fali ʻ oar ʼ or < *phāla -- 2?(CDIAL 9052)

Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.

Prakritam gloss: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya= a type of penance.

The venerated, person seated in a type of penance has been rendered in Indus Script cipher as kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'. What did the kneeling adorant as Signs 45 and 46 signifY? I have suggested the cipher: bhaTa 'worshipper' rebus: bhaTa 'furnace'.

Prakritam lexis.

Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230)

2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)

3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)

Hieroglyph: Ta. kump-iṭu (iṭuv-, iṭṭ-) to join hands in worship, make obeisance with the hands joined and raised, beg, entreat; n. worship. Ma. kump-iṭuka, kumm-iṭuka to bow down, prostrate oneself, worship. Ko. kub-iṛ- (iṭ-) to bow down, pray; kumiṭe· salutation used by Kota to Badaga or Kurumba. To. kub-ïḍ- (ïṭ-) to salute (not used of religious salutation); ? ku·ḍ- (ku·ḍQ-) to bow, bend down. Ka. kumbu bending, bowing down, obeisance; kumbiḍu to bow down, do obeisance (DEDR 1750)

Rebus: Ta. kumpiṭu-caṭṭi chafing-dish, portable furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish. Ka. kuppaḍige, kuppaṭe, kumpaṭe, kummaṭa, kummaṭe id. Te. kumpaṭi id. Cf. 1752 Ta. kumpu. Ta. kumpu (kumpi-) to become charred (as food when boiled with insufficient water); kumpal smell of charred rice; kumpi hot ashes; kumuṟu (kumuṟi-) to burst with distress; kumai (-v-, -nt-) to be hot, sultry. Ma. kumpi, kumpiri mirage; kumpal inward heat; kummu expr. descriptive of heat; kummal sultriness, mustiness; kumuṟuka, kumiṟuka to be hot, close; kumuṟal oppressive heat; ? kukkuka to be hot; ? kuppu heat. Ka. kome to begin to burn, as fire or anger. Tu.kumbi mirage; gumulu fire burning in embers; gumuluni to be hot, feel hot as in a fit of fever. Te. kummu smouldering ashes; kumulu to smoulder, burn slowly underneath without flame, be consumed inwardly, grieve, pine. Go. (Hislop) kum smoke (Voc. 763); (Tr.) gubrī fine ashes of burnt-out fire (Voc. 1141); (Koya Su.) kumpōḍ smoke. Cf. 1751 Ta. kumpiṭu-caṭṭi. / Cf. Pkt. (DNM) kumulī- fireplace. (DEDR 1751, 1752)

Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.

Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless pot held on Sign 46 is a phonetic determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is the kneeling adorant, a worshippper of a person seated in penance, a bhaTa 'worshipper in a temple' Rebus: bhaTa 'furnace'. For him the kole.l 'temple' is kole.l 'smithy, forge' (Kota language).

http://bharatkalyan97.blogspot.in/2016/01/je-tiens-mon-affaire-orthography-of.html

"Je tiens mon affaire!" Orthography of penance signifies kammaṭa 'mint, coiner' on 10 Indus Script inscriptions

m478a tablet

கோலம்¹ kōlam, n. [T. kōlamu, K. kōla, M. kōlam.] 1. Beauty, gracefulness, hand- someness; அழகு. கோலத் தனிக்கொம்பர் (திருக் கோ. 45). 2. Colour; நிறம். கார்க்கோல மேனி யானை (கம்பரா. கும்பக. 154). 3. Form, shape, external or general appearance; உருவம். மானுடக் கோலம். 4. Nature; தன்மை. 5. Costume; appropriate dress; attire, as worn by actors; trappings; equipment; habiliment; வேடம். உள்வரிக் கோலத்து (சிலப். 5, 216). 6. Ornament, as jewelry; ஆபரணம். குறங்கிணை திரண்டன கோலம் பொறாஅ (சிலப். 30, 18). 7. Adornment, decoration, embellishment; அலங்காரம். புறஞ்சுவர் கோலஞ்செய்து (திவ். திருமாலை, 6). 8. Ornamental figures drawn on floor, wall or sacrificial pots with rice-flour, white stone-powder, etc.; மா, கற்பொடி முதலியவற்றாலிடுங் கோலம். தரை மெழுகிக் கோலமிட்டு (குமர. மீனாட். குறம். 25).

The hieroglyphs on m478a tablet are read rebus:

kuTi 'tree'Rebus: kuThi 'smelter'

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati) This hieroglyph is a phonetic deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaṭa 'a furnace'. Hence, the hieroglyph-multiplex of an adorant with rimless pot signifies: 'iron furnace' bhaTa.

bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a smelting of three minerals: copper, zinc and tin.

Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’ (Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's wrkshop'.

Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies 'cast metal workshop'. meD 'body' Rebus: meD 'iron'.

khareḍo = a currycomb (G.) Rebus: kharādī ‘turner’ (Gujarati)

m1186

Offering and adorant glyphs of Indus script

There are two seals of Indus script (m1186 and m0488) depicting a kneeling person with some offerings on a stool/tray. In a vivid orthographic analysis, John C. Huntington identifies the nature of the offering on m1186: it is a bowl with ladles. The offering kept on a stool on m0488 is likely to be a similar glyph, though analysis of a higher resolution image is not possible because the tablet with this glyph is worn-out.

m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533).

Rebus: kol ‘pancaloha’ (Tamil)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)

saman 'make an offering (Santali) samanon 'gold' (Santali)

minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)

heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'

maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)

maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)

dhatu 'scarf' Rebus: dhatu 'mineral ore' (Santali)

The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)

The long curving horns may also connote a ram on h177B tablet:

h177B

4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.

The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram (H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_, me~d.a_ ram with curling horns (H.)

miṇḍ 'ram' rebus: mẽṛhet iron (metal), meD 'iron' (Ho.) med 'copper' (Slavic)

https://kalyan97.wordpress.com/2007/06/29/mleccha-written-read-rebus/

See:

http://www.rafiquemughal.com/mughal_1990_twin-capitals_jo-of-central-asia.pdfRafique Mughal argues about major 'cities' of the civilization (including Ganweriwala).

Indus Script bull-man hieroglyph-multiplex hypertext koḍu 'horn'; koḍ 'artisan’s workshop' eraka 'copper' dhangar 'smith'

Characteristic hieroglyph-multiplex is noticed on many artifacts across Eurasia, on seals in particular, depicting a man ligatured to the hindpart of a bovine. This hypertext has been deciphered on Indus Script Corpora as artisan working with smelters, furnaces and in smithy/forge, that is, a metalsmith or metalcaster. The so-called conflict narratives are in fact archaeometallurgical explorations and inventions of new metal alloys and metalcasting techniques.

A characteristic representation of bull-man occurs on many Sumerian/ Mesopotamian artifacts and cylinder seals. This hieroglyph-multiplex has its roots in the hieroglyphs used on Indus Script Corpora which display horned persons with the hindparts of a bovine and wearing headdress of a twig which in Indus Script cipher is kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi

'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams).

The bul-man hieroglyph-multiplex is thus an artisan working in metal and with smelters/furnaces. Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488) N. ḍāṅro ʻ term of contempt for a blacksmith ʼ S. ḍhaṅgaru m. ʻ lean emaciated beast ʼ ; L. (Shahpur) ḍhag̠g̠ā ʻ small weak ox ʼ(CDIAL 5324) These words in the Proto-Prakritam lexis provide the rebus-metonymy renderings leading to bull-men orthography.

On Pict-103, a decrepit woman with hanging breasts is ligatured to the hindpart of a bovine signifying a blacksmith. dhokra 'decrepit woman' Rebus: dhokra 'cire perdue metalcasting artisan'.

Hieroglyph: eṛaka 'upraised arm' (Tamil); rebus: eraka = copper (Kannada) eraka 'molten cast' (Tulu) 'metal infusion' (Kannada)

kuTi 'tree' Rebus: kuThi 'smelter'

kamaDha 'archer' Rebus: kampaTTa 'mint'

Hieroglyph: ḍhaṅgaru, ḍhiṅgaru m. ʻlean emaciated beastʼ(Sindhi) Rebus: dhangar ‘blacksmith’ (Maithili)

Hieroglyph: karava 'pot with narrow neck' karNaka 'rim of jar' Rebus: kharva 'nidhi, wealth, karba 'iron'; karNI 'supercargo' karNIka 'scribe'.

Mohenjo-daro seal (2500-2000 BCE) showing a seated yogi with horns of a buffalo showing a twig (pipal branch?) growing out from between them. http://www.harappa.com/indus/33.html

Molded tablets from Trench 11 sometimes have impressions on one, two, three or four sides. This group of molded tablets shows the complete set of motifs. One side is comprised entirely of script and has six characters, the first of which (on the very top) appears to be some sort of animal. A second side shows a human figure grappling with a short horned bull. A small plant with at least six branches is discernible behind the individual. The third panel portrays a figure seated on a charpoy or throne in a yogic position, with arms resting on the knees. Both arms are covered with bangles, and traces of a horned headdress and long hair are visible on some of the impressions. A second individual, also with long hair and wearing bangles, is seated on a short stool to the proper left of the individual on the "throne." The fourth panel shows a deity standing with both feet on the ground and wearing a horned headdress. A branch with three pipal leaves projects from the center of the headdress. Bangles on seen on both arms

Mohenjo-daro. Square seal depicting a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress. Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress.

Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the seal.
Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050
Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222

kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams)

Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.)

Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri)

The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person]

Mahadevan concordance Field Symbol 83: Person wearing a diadem or tall
head-dress standing within an ornamented arch; there are two stars on either
side, at the bottom of the arch.मेढ (p. 662) [ mēḍha ] 'the polar star' (Marathi) Rebus: meḍ 'iron' (Ho.Mu.)

When a phoneme evokes more than one image, the artist who creates the glyptic representations uses ligatures. Thus, ko_la = woman (Nahali) kol = tiger (Santali). The representation in glyptic are yields a ligature of a woman and a iger. Ash.kū́l.Ə ‘child,

foetus’, istrimalī—kul.ä́ ‘girl’; Kt. kŕū, kuŕuk ‘young of animals’; Pr. kyuru ‘young of animals, child’, kyurú ‘boy’, kurı̄́ ‘colt, calf’; Dm. kúŕa ‘child’, hum. Kul.; Kal. kūŕ *l k ‘young of animals’; Phal. Kul.ī̆‘woman, wife’; K. kūrü f. ‘young girl’, kash. Kōl.ī, ram. Kul.hī; L. kul.ā m. ‘bridegroom’, kul.ī f. ‘girl, virgin, bride’, kul.ī f. ‘woman’; P. kul.ī f. ‘girl, daughter’, P. WPah. khaś. kul.i, cur. Kul.ī, cam. ko;l.ā ‘boy’, kuṛī ‘girl’ (CDIAL 3245). Kur..antai ‘child’ (Tamil) kola ‘woman’ (Nahali. Assamese).

It appears that the person holding back the two rearing jackals on the tablet is a woman: ko_l ‘woman’ (Nahali);dual. ko_lhilt.el (Sudhibhushan Bhattacharya, Field-notes on Nahali, Ind. Ling. 17, 1957, p. 247); kola = bride, son’s (younger brother’s) wife
(Kui) ko_l is a phonetic determinative of the two jackals, kol ‘tiger’; rebus:
kol ‘metal’ (Ta.) Rebus: kol ‘pancaloha’ (Tamil) m1186 seal. The rice plant adorning

the curved horn of the person (woman?) with the 'scarf' pig-tail is kolmo; read
rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is:
kod.u = horn; rebus: kod. artisan’s workshop (Kuwi) dhatu 'scarf' Rebus: dhatu 'mineral' (Santali) https://kalyan97.wordpress.com/2007/06/29/mleccha-written-read-rebus/

showing Sarasvati hieroglyphs].

m305 A person with a plaited pigtail, bangles/armlets on both hands from wrist to shoulder, seated in penance, with three faces, two stars on either side of the curved buffalo-horn and twig. "The seal depicting seven (or six) robed figures with pig-tails and stylized twigs on their heads, for instance, is routinely interpreted as the seven (or six) presiding deities of Pleiades. K provides an additional, possible reading of the seal as pertaining to the goldsmith’s portable furnace + native metal (p. 197-199, 430)...An Indus seal showing a horned male person seated in yoga like posture figures in many text books assigned to courses on Indian religions, history, and civilization. A three-leaved branch of the Pipal tree appears on his crown with a star on either side. Two stars adorn the curved buffalo horns of the seated person who wears a scarf on pigtail. Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. In the considered opinion of the scholarly community, the person in the seal represents (a) a yogi or an ascetic practicing meditation or engaged in austerities or penance; (b) a proto-Rudra/Shiva or (c) Agni, the god of fire...Without disputing this line of interpretation, K suggests that the seal may have additional information to communicate in the field of metallurgy. The word in Prakrit for penance is kamandha, which is homonymous with the Tamil ord kampattam meaning ‘mint. The word for large horns with sweeping upward curve as applied to buffalos is dabe in Santali. The words dab, dhimba, dhombo meaning a lump (clot) are homonyms for dabe. The word for twig in the Atharvaveda (5:19.12) is kudi. A Santali word kuthi meaning ‘smelting furnace’ would be a homonym for kudi. Another Santali

word kote meaning ‘forged’ [metal] is also relevant here. After analyzing other glyptic elements on the seal, K concludes that the person on the seal is a lapidary scribe working in a mint (p. 188 and personal communication from K)." From: Solving the Indus script puzzle: A review of Indus Script Cipher by Dr S. Kalyanraman By Shrinivas Tilak* (Sept. 9,
2010)

I have suggested that the antelope is read rebus: ṭagara ‘ram’; rebus: tamkāru, dam-gar ‘(mint) merchant’; reading antithetical antelope as pus̱ẖt bah pus̱ẖt ‘generation to generation.’ referring to the artisan/mechant lineage from neolithic times.

Source: Fig. 48. Kul Tarike, copper figurine from Iron Age burial (photograph courtesy H. Rezvani) cited on Massoud Azarnoush and Barbara Helwing, 2007, Recent archaeological research in Iran -- Prehistory to Iron Age, p. 222 (pdf embedded below).

Map 4 Iran Middle Bronze Age to Iron Age sites. 1 Haft Tappe. 2 Cˇoga¯ Zanbil. 3 Qal’e Geli Tappe. 4. Sˇahryeri-Mesˇkinsˇahr. 5 Hasanlu. 6 Buka¯n (Tappe Qa¯ la¯ycˇi). 7 Tabriz – Masjˇed-e Kabud. 8 Qal’e Ziwiye. 9 Kul Tarike. 10 Tappe Sangtara¯sˇa¯ n. 11 Sorkdom-e Laki. 12 Tappe Ozbaki. 13 Tappe Ma’morin. 14 Tappe QoliDarvisˇ. 15 Vesˇnave. 16 Sarm. 17 Sˇamsˇirga¯ h. 18 Zar Bolag¯. 19 Va¯sun-e Kahak. 20 Tappe Sialk. 21 Ganda¯b-e Karand. 22 Jamsˇida¯ba¯ d. 23 West Sefidrud. 24Gohar Tappe. 25 Ba¯zgir. 26 Talesˇ graveyards, Tul.

Phoen., MH and Assyr.; in the latter damgaru or tamkaru, Syr. taggara, {2} = merchant, Del. Ass. HWB, 222. Source: Encyclopaedia Biblica/Trade and Commercehttp://en.wikisource.org/wiki/Encyclopaedia_Biblica/Trade_and_Commerce

—Sumerian damgar, Babylonian tamkarum—usually is translated as “merchant” or,by Babylonian times,“entrepreneur.” http://press.princeton.edu/chapters/s9006.pdf (Page 12).Michael Hudson, Entrepreneurs: from the Near Eastern Takeoff to the Roman collapse July 19, 2010 http://michael-hudson.com/2010/07/entrepreneurs-from-the-near-eastern-takeoff-to-the-roman-collapse/

Cognate with tamkāru, dam-gar ‘(mint) merchant’ Indian sprachbund glosses:

Mth. ṭhākur ʻ blacksmith ʼ; ṭhakkura m. ʻ idol, deity (cf. ḍhakkārī -- ), ʼ lex., ʻ title ʼ Rājat. [Dis- cussion with lit. by W. Wüst RM 3, 13 ff. Prob. orig. a tribal name EWA i 459, which Wüst considers nonAryan borrowing of śākvará -- : very doubtful]Pk. ṭhakkura -- m. ʻ Rajput, chief man of a village ʼ; Kho. (Lor.) takur ʻ barber ʼ (= ṭ° ← Ind.?), Sh. ṭhăkŭr m.; K. ṭhôkur m. ʻ idol ʼ ( ← Ind.?); S. ṭhakuru m. ʻ fakir, term of address between fathers of a husband and wife ʼ; P. ṭhākar m. ʻ landholder ʼ, ludh. ṭhaukar m. ʻ lord ʼ; Ku. ṭhākur m. ʻ master, title of a Rajput ʼ; N. ṭhākur ʻ term of address from slave to master ʼ (f. ṭhakurāni), ṭhakuri ʻ a clan of Chetris ʼ (f. ṭhakurni); A. ṭhākur ʻ a Brahman ʼ, ṭhākurānī ʻ goddess ʼ; B. ṭhākurāni, ṭhākrān, °run ʻ honoured lady, goddess ʼ; Or. ṭhākura ʻ term of address to a Brahman, god, idol ʼ, ṭhākurāṇī ʻ goddess ʼ; Bi. ṭhākur ʻ barber ʼ; Bhoj. Aw.lakh. ṭhākur ʻ lord, master ʼ; H. ṭhākur m. ʻ master, landlord, god, idol ʼ, ṭhākurāin, ṭhā̆kurānī f. ʻ mistress, goddess ʼ; G. ṭhākor, °kar m. ʻ member of a clan of Rajputs ʼ, ṭhakrāṇī f. ʻ his wife ʼ, ṭhākor ʻ god, idol ʼ; M. ṭhākur m. ʻ jungle tribe in North Konkan, family priest, god, idol ʼ; Si. mald. "tacourou"ʻ title added to names of noblemen ʼ (HJ 915) prob. ← Ind.

Addenda: ṭhakkura -- : Garh. ṭhākur ʻ master ʼ; A. ṭhākur also ʻ idol ʼ AFD 205.(CDIAL 5488)

Homonym: tagara1 n. ʻthe shrub Tabernaemontana coronaria and a fragrant powder obtained from itʼ Kauś., °aka<-> VarBr̥S. [Cf. sthagara -- , sthakara -- n. ʻ a partic. fragrant powder ʼ TBr.] (CDIAL 5622).

Hieroglyph: Ta. takar sheep, ram, goat, male of certain other animals (yāḷi, elephant, shark). Ma. takaran huge, powerful as a man, bear, etc. Ka. tagar, ṭagaru, ṭagara, ṭegaru ram. Tu. tagaru, ṭagarů id. Te. tagaramu, tagaru id. / Cf. Mar. tagar id. (DEDR 3000).

Substantive (in the context of a merchant's business): Ta. takaram tin, white lead, metal sheet, coated with tin. Ma. takaram tin, tinned iron plate. Ko. tagarm (obl. tagart-) tin. Ka. tagara, tamara, tavara id. Tu. tamarů, tamara, tavara id. Te. tagaramu, tamaramu, tavaramu id. Kuwi (Isr.) ṭagromi tin metal, alloy. / Cf. Skt. tamara- id. (DEDR 3001).

The hieroglyphs on the Kuwait Museum gold disc can be read rebus:

1. A pair of tabernae montana flowers tagara 'tabernae montana' flower; rebus: tagara 'tin'

2. A pair of rams tagara 'ram'; rebus: damgar 'merchant' (Akkadian) Next to one ram: kuTi 'tree' Rebus: kuThi 'smelter' Alternative: kolmo 'rice plant' Rebus: kolimi 'smithy, forge'.

Alternative: melh, mr..eka 'goat' (Brahui. Telugu) Rebus: milakkhu 'copper' (Pali), mleccha-mukha 'copper' (Samskritam)

An important official named in a cuneiform text was 'chief of merchants' (LU rab tamkaru). (Jonas Carl Greenfield, Ziony Zevit, Seymour Gitin, Michael Sokoloff, 1995, Solving Riddles and Untying Knots: Biblical, Epigraphic, and Semitic Studies in Honor of Jonas C. Greenfield, Eisenbrauns, p. 527). The gloss tamkaru is cognte damgar (Akkadian) and also ṭhākur ʻblacksmithʼ.)

Ta. takar sheep, ram, goat, male of certain other animals (yāḷi, elephant, shark). பொருநகர் தாக்கற்குப் பேருந் தகைத்து (குறள், 486).Ma. takaran huge, powerful as a man, bear, etc. Ka. tagar, ṭagaru, ṭagara, ṭegaru ram. Tu. tagaru, ṭagarů id. Te. tagaramu, tagaru id. / Cf. Mar. tagar id. (DEDR 3000). Rebus 1:tagromi 'tin, metal alloy' (Kuwi) takaram tin, white lead, metal sheet, coated with tin (Ta.); tin, tinned iron plate (Ma.); tagarm tin (Ko.); tagara, tamara, tavara id. (Ka.) tamaru, tamara, tavara id. (Ta.): tagaramu, tamaramu, tavaramu id. (Te.); ṭagromi tin metal, alloy (Kuwi); tamara id. (Skt.)(DEDR 3001). trapu tin (AV.); tipu (Pali); tau, taua lead (Pkt.); tū̃ tin (P.); ṭau zinc, pewter (Or.); tarūaum lead (OG.);tarvũ (G.); tumba lead (Si.)(CDIAL 5992). Rebus 2: damgar ‘merchant’.

ṭhākur ʻblacksmithʼ: ṭhakkura m. ʻ idol, deity (cf. ḍhakkārī -- ), ʼ lex., ʻ title ʼ Rājat. [Dis- cussion with lit. by W. Wüst RM 3, 13 ff. Prob. orig. a tribal name EWA i 459, which Wüst considers nonAryan borrowing of śākvará -- : very doubtful]Pk. ṭhakkura -- m. ʻ Rajput, chief man of a village ʼ; Kho. (Lor.) takur ʻ barber ʼ (= ṭ° ← Ind.?), Sh. ṭhăkŭr m.; K. ṭhôkur m. ʻ idol ʼ ( ← Ind.?); S. ṭhakuru m. ʻ fakir, term of address between fathers of a husband and wife ʼ; P. ṭhākar m. ʻ landholder ʼ, ludh. ṭhaukar m. ʻ lord ʼ; Ku. ṭhākur m. ʻ master, title of a Rajput ʼ; N. ṭhākur ʻ term of address from slave to master ʼ (f. ṭhakurāni), ṭhakuri ʻ a clan of Chetris ʼ (f. ṭhakurni); A. ṭhākur ʻ a Brahman ʼ, ṭhākurānī ʻ goddess ʼ; B. ṭhākurāni, ṭhākrān, °run ʻ honoured lady, goddess ʼ; Or. ṭhākura ʻ term of address to a Brahman, god, idol ʼ, ṭhākurāṇī ʻ goddess ʼ; Bi. ṭhākur ʻ barber ʼ; Mth. ṭhākur ʻ blacksmith ʼ; Bhoj. Aw.lakh.ṭhākur ʻ lord, master ʼ; H. ṭhākur m. ʻ master, landlord, god, idol ʼ, ṭhākurāin, ṭhā̆kurānī f. ʻ mistress, goddess ʼ; G. ṭhākor, °kar m. ʻ member of a clan of Rajputs ʼ,ṭhakrāṇī f. ʻ his wife ʼ, ṭhākor ʻ god, idol ʼ; M. ṭhākur m. ʻ jungle tribe in North Konkan, family priest, god, idol ʼ; Si. mald. "tacourou"ʻ title added to names of noblemen ʼ (HJ 915) prob. ← Ind.

Addenda: ṭhakkura -- : Garh. ṭhākur ʻ master ʼ; A. ṭhākur also ʻ idol ʼ

(CDIAL 5488)

Hieroglyphs, allographs: ram, tabernae montana coronaria flower: तगर [ tagara ] f A flowering shrub, Tabernæ montana coronaria. 2 n C The flower of it. 3 m P A ram. (Marathi)

*tagga ʻ mud ʼ. [Cf. Bur. t*lg*lỵ ʻ mud ʼ] Kho. (Lor.) toq ʻ mud, quagmire ʼ; Sh. tăgāˊ ʻ mud ʼ; K. tagöri m. ʻ a man who makes mud or plaster ʼ; Ku. tāgaṛ ʻ mortar ʼ; B. tāgāṛ ʻ mortar, pit in which it is prepared ʼ.(CDIAL 5626). (Note: making of mud or plaster is a key step in dhokra kamar's work of cire perdue (lost-wax) casting.)

krəm backʼ(Kho.) krammara 'look back' (Telugu) rebus: karmāra‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

Annex B: కారుమొసలి a wild crocodile or alligator.కారువు kāruvu [Skt.] n. An artist, artificer. శిల్పి hypertexts of Indus Script Corpora

A plain text expression ayakara 'alloy metal artificer' is signified on a hypertext which shows a crocodile holding a fish in its jaws is: ayo'fish' rebus: aya 'iron'ayas'alloy metal' PLUS kāru'crocodile' rebus: kāruvu [Skt.] n. An artist, artificer. శిల్పి

h1778a

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S. Kalyanaraman, Sarasvati Research Center May 4, 2017

↧

Shanghai unveiled Kalisasa in 2006, Bharatam renames Meghaduta Theatre as Al Kazi Peeth on 3 May 2017. Fake secularism gone berserk.

May 4, 2017, 3:32 am

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Kālidāsa (Sanskrit: कालिदासः) was a Classical Sanskrit writer, widely regarded as the greatest poet and dramatist in the Sanskrit language. His plays and poetry are primarily based on the Indian Puranas.

https://en.wikipedia.org/wiki/K%C4%81lid%C4%81sa

Picture:Kalidasa Statue in China (Shanghai Theatre Academy)

Shanghai unveils Kalidasa’s statue

TNN | Sep 10, 2006, 02.53 AM IST

BEIJING: Shanghai now has a statue of Sanskrit poet Kalidasa on one of its most important streets, something that few Indian cities can boast about. A bronze bust of the poet was unveiled at the Shanghai Theatre Academy on a street called 'Shanghai theatre way', which is being developed as the cultural and artistic hub of the eastern metropolis.

Shanghai is one of the few world cities outside India, if any, to sport a statue of the great 5th century poet. The authorities plan to put up 19 statues of literary luminaries from across the world at the 'theatre way'. The statue of Kalidasa is the first to be set up. He may be the only Asian literary figure to be given this honour as the other statues will depict writers and poets from non-Asian countries, sources said.

This is the second statue of great sons of India being put up in China, the earlier being one of Mahatma Gandhi which was unveiled at the prestigious Choyang park in Beijing late last year.

Two other Indian icons, Rabindranath Tagore and Jawaharlal Nehru were recently listed among the 50 important foreigners who have influenced modern China.

The listing was announced by the People's Daily, the Communist Party of China official organ, recently. These are among the strong indications of growing interest in India and its culture in China with the active backing of Chinese official agencies. The two countries are celebrating this year as the Year of India-China Friendship.

http://timesofindia.indiatimes.com/india/Shanghai-unveils-Kalidasas-statue/articleshow/1973762.cms

Kalidasa is widely considered to be the greatest Indian poet and playwright of all time. He wrote in Sanskrit. There are seven works written by him-two epic poems, two shorter poems and three plays. They are 1.Raghu Vamsa (dynasty of Raghu),2.Kumara Sambhava (Birth of Kumara, 3.Megha Duta (Cloud Messenger),4.Ritu Samhara (Cluster of Sesons), 5.Malavikagnimitram (Malavika and Agnimitra),6.Abijnana Shakuntala (The recognition of Shakuntala) and 7.Vikramorvasiya (Urvasi won by valour).His master piece was Shakuntala.

The age of Kalidasa has been debated for long. He could have lived anytime between 2ndcentury BC and 4th Century AD. Though the western scholars have placed him in the period of Gupta dynasty, Indians believe that he lived in the time of the great Indian king Vikramditya who started his own Vikrama era in 56BC. Kalidasa was one of the Nine Jewels (Navaratna) of Vikramaditya’s court.

https://tamilandvedas.com/2012/01/22/kalidasas-age-tamil-works-confirm-1st-century-bc/

https://swarajyamag.com/culture/sorry-kalidasa-this-is-lutyens-delhi

Sorry, Kalidasa – This Is Lutyens’ Delhi

SNAPSHOT

The Meghdoot Theatre Complex at Rabindra Bhavan, New Delhi, will be renamed as Alkazi Rangapeeth, on 3 May, in a “dedication ceremony” meant to honour renowned theatre director Ebrahim Alkazi.

What is the logic behind renaming a stage with an unmistakable reference to Kalidasa?

The Sangeet Natak Academy, located in Rabindra Bhavan, New Delhi, is scheduled to conduct a “dedication ceremony of Meghdoot Theatre Complex as Alkazi Rangapeeth”, on 3 May 2017. For those who have seen this open air theatre located in Rabindra Bhawan called Meghdoot Theatre as its only and vintage performing space, to comprehend this ‘dedication’, or to bluntly call it renaming of the Meghdoot Theatre, needs a great flight of imagination.

What exactly is being done? This naamakarana is being conducted in the Rabindra Bhawan that houses the three ace academies – Lalit, Sahitya and Sangeet Natak.

The question that arises is plain and simple. What is the logic behind renaming a stage named with an unmistakable reference to Kalidasa in the memory of a modern stage director and teacher Ebrahim Alkazi?

Meghdoot Theatre is the only, I repeat, the only mark in Delhi, that reminds us of Kalidasa, one of the greatest poets of India. (Yes, there is a road, a kilometre long, from Anand Parbat to Shakti Nagar, which is partly called Kalidasa Marg – a road where you see only cars and buses. What was the logic behind this perfunctory naming?)

And now, the Meghdoot Theatre, where so many good performances of all kinds are held, will be named after Alkazi. I want to question this setting up of Alkazi against Kalidasa. Why is it being done? What are the intentions behind it? Is there a debate being generated to assert the modernity as an arbitrator on classical India? Is India (and its history) so small that modernity has to be recognised and its existence affirmed by constantly pushing out the ancient and particularly the classical? I know that it is a game been played for 70 years, and has landed India, now with nothing more than a 'Bollydelicous' identity – to make a living out of which is the main aspiration of most National School of Drama (NSD) graduates.

I have all the respect for Alkazi, his contribution to Indian theatre, and his work as a founding director of the NSD, and I do not need non-Delhites to remind me of his contributions. I have seen the area, from Bengali Market to Lodhi Road, develop as a cultural space, brick by brick, and great men and women perspire there for the last 55 years.

The NSD was once located in Rabindra Bhawan, but has long shifted to Bahawalpur House. All other organisations, like Centre for Cultural Resources and Training, Kathak Kendra and American Library were vacated for it, and it is now, more or less, the holder of the entire campus. Why not call that house Alkazi Rangasthala? Why not call Abhimanch, the main auditorium of NSD, as Alkazi Rangashaala? Will that not be a more fruitful and a complete honour to Alkazi? Instead of establishing the revered guru in his home, the NSD campus, why encroach upon a space sanctified for Kalidasa?

There is a story doing the rounds, that Alkazi and some of his dear students, with their bare hands, constructed the Meghdoot Theatre. Admirable indeed, but it gives them, or some great well wisher of theirs, a right push over Kalidasa, is beyond me (am more in the company of dasas than maharathis).

There is something much more entertaining and astonishing that I am being told. It is that Meghdoot Theatre will always be called Meghdoot Theatre, but will be rededicated as Alkazi Rangapeetha. Grammatically, ranga (theatre) peetha (stage) means performing space. How the two shall coexist, and demarcate different spaces, is sheer mysticism. I have only one guess: when lectures are held on Indian theatre in the memory of Alkazi, the place shall become a Rangapeetha (a chair of theatre studies), but when performances are held, we shall allow the poor dasa to have his name.

The whole space which contains Meghdoot Theatre, and smaller Meghdoot I, 2 and 3, will be called Alkazi Rangapeeth. So, a space or a complex will be called peetha. The academy lacks a dictionary!

There is nothing surprising or new in what is going on at Rabindra Bhawan. The whole enterprise is typical of India’s truncated modernity which marginalises the ancient to assert its superiority.

Bharat Gupt is trustee and executive member, Indira Gandhi National Centre for the Arts, New Delhi.

Bharat Gupt
Former Faculty, Delhi University,
Trustee and Executive Member
INDIRA GANDHI NATIONAL CENTER FOR THE ARTS
(Ministry of Culture), New Delhi
mobile:+91- 98100 77914
home phones: +91-11-2724-1490.
email: bharatgupt@vsnl.com
homepage: http://www.bharatgupt.com
http://en.wikipedia.org/wiki/Bharat_Gupt

Sorry, Kalidasa – This Is Lutyens’ Delhi

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Isro unveils solar car made of desi resources

May 4, 2017, 4:06 am

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Isro unveils solar car made of desi resources

Unveiled - ISRO's solar hybrid electric car

The Brushless motor had to be modified to improve torque

MUMBAI: The Indian Space Research Organisation (Isro) recently demonstrated a solar hybrid electric car, designed and developed using in-house resources, at Vikram Sarabhai Space Centre (VSSC) in Thiruvanathanapuram. Isro made an announcement about this environment-friendly car on Monday.

VSSC is Isro's centre for making various types of rockets like the Polar Satellite Launch Vehicle and the Reusable Launch Vehicle. The demonstration of the green-friendly vehicle, held in the last week of March, included a successful uphill drive. Isro is now researching ways to cut down the car's cost.

Isro said vehicles using fossil fuels cause problems to environment and life. "An ideal transportation system should envisage zero emission without any pollution," it said.

Isro project that can aid refuel, repair of satellites in space gets push

The car is run using high-energy lithium ion batteries, which can be recharged using sunlight, said sources. The main challenges in developing the vehicle included designing a solar panel on top of the car and also control electronics for the battery and solar panel interface and, what is known as, "drive electronic" to run the car smoothly.

http://timesofindia.indiatimes.com/india/isro-unveils-solar-car-made-of-desi-resources/articleshow/58506141.cms

↧

In Bhāratiya sculptural tradition, why is vāhana of Ganga a makara, why is vāhana of Yamuna a turtle?

May 4, 2017, 9:49 am

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Mirror: http://tinyurl.com/mt8hgr8
https://www.facebook.com/srini.kalyanaraman/posts/10156190860604625

The answers to these two questions are provided by Indus Script Corpora which are Meluhha expressions rendered in Mlecchita vikalpa (Meluhha cipher) rebus readings related to metalwork in general and mintwork, in particular, producing metal tokens of authentications of trade and barter transactions.

Consistent with this Cipher, the vehicles of 1. Yamuna and 2. Ganga signify specific categories of metalwork -- 1. alloy metals mintwork and 2. mineral ores smelter work respectively.

Many ancient sites are associated with discoveries of ancient coin hoards.

Many Mahajanapadas clustered on the Yamuna and Ganga River Basins issued ancient coins.

Hieroglyph: kamaṭha'turtle' rebus: kammaṭa'mint, coiner, coinage'. On the banks of River Yamuna, a number of ancient mints are located.

Hieroglyph: (dh)makara'composite animal as hypertext with crocodile, fish-fin, elephant, feline hieroglyphs) rebus: dhmakara'blacksmith blowing the forge'; dhangar 'blacksmith'. On the banks of River Ganga, a number of ancient smelter sites are located such as Lohardiwa, Malhar, Raja-nal-ki-tila, dated to 18th cent. BCE.

Thus, the chosen vāhana-s are hieroglyphic signifiers of the nature of metallurgical activities of ancient times on sites of the river basins: one river basin (Ganga) was spotted with smelters of ores to produce metals; the other river basin (Yamuna) was spotted with mints to work with alloys and metals.

At the entrance to the Gupta gallery, 5th century, in National Museum, New Delhi, there are two terracotta statues of Goddesses Ganga and Yamuna from Ahichatra, Uttar Pradesh. Ganga stands on her vehicle, makara, a hybrid creature with the body of a crocodile and the tail of a fish; she holds a pot full of water. An attendant holds a parasol over her. On the other side, Yamuna stands on her vehicle, kamaṭha, a turtle, also holding a pot of water. Two attendants, signifying the hydrological character of a river named Yamiuna which is prone to river captures. and migrations.

These statues were originally placed at the entrance to a temple symbolizing a dip in the sacred rivers for purification.

For examples of the use of hieroglyph components of crocodile, fish in Indus Script Corpora to signify dhmakara 'blacksmith blowing the forge'; dhangar 'blacksmith', see: http://tinyurl.com/k7yleu2

Abiding cultural, civilizational heritage of ध्माकारः > ध्मकर, मकर 'blacksmith blowing the forge'> damgar 'merchant' in Meluhha cipher on Indus Script Corpora

Pictorial motif 69 (Mahadevan concordance). Tortoise/turtle of Indus Script Corpora.

Thus the hypertext expressions of the Ahicchatra terracotta sculptures of Ganga and Yamuna signify the nature of metalwork activities carried out on the two river basins, to create the nation's wealth. Ganga sites worked with ores, smelters and metals. Yamuna sites worked with metals, alloys, furnaces, crucibles, mints, metal castings to create implements, weapons, pots and pans. Both rivers facilitated movements of cargo-laden boats and catamarans by

kāraṇīka 'helmsman,supercargo' -- helmsmen and seafaring merchants.

On this copper tablet m1543, the correct identification of the animal heads will be turtle species comparable toMeiolania, a horned large turtle of New Guinea.

m1532b On another copper tablet, the emphasis is clearly on the turtle's shell like that of Meiolania's shell.
The hieroglyph multiplex on m1534b is now read rebus as: dula 'pair' rebus: dul 'cast metal' PLUS kassa 'turtle' rebus: kãsā 'bell-metal' kamaṭha 'turtle' rebus: kãsā kammaṭa 'bell-metal coiner, mint, portable furnace'.
Front view of Meiolania platyceps fossil Meiolania ("small roamer") is an extinct genus of cryptodire
turtle from the Oligocene to Holocene, with the last relict populations at New Caledonia which survived until 2,000 years ago.

The animal was rather large, measuring 2.5 metres (8.2 ft) in length, making it the second-largest known nonmarine turtle or tortoise, surpassed only by Colossochelys atlas from Asia, which lived in the Pleistocene. It lived in Australia and New Caledonia. Remains have also been found on the island of Efate in Vanuatu, associated with settlements from the Lapitaculture...When the first fossil remains (a vertebra) were found, they were originally thought to be from a large monitor lizard, similar to, but smaller than Megalania, so the genus was named accordingly. Later, when more remains were found, it was realized that the "small roamer" was actually a turtle, and not a lizard. Synonyms include Miolania and Ceratochelys."

http://en.wikipedia.org/wiki/Meiolania

Tortoises as the supporting agent
An 1876 drawing of the world supported on the backs of four elephants, themselves resting on the back of a turtle. "The World Turtle in Hindu mythology is known as Akupāra (Sanskrit: अकूपार), or sometimes Chukwa. Example of a reference to the World Turtle in Hindu literature is found in Jñānarāja (the author of Siddhāntasundara, writing c. 1500): "A vulture, which has only little strength, rests in the sky holding a snake in its beak for a prahara [three hours]. Why can [the deity] in the form of a tortoise, who possesses an inconceivable potency, not hold the Earth in the sky for a kalpa [billions of years]?"The British philosopher John Locke made reference to this in his 1689 tract, An Essay Concerning Human Understanding, which compares one who would say that properties inhere in "substance" to the Indian, who said the world was on an elephant, which was on a tortoise, "but being again pressed to know what gave support to the broad-backed tortoise, replied—something, he knew not what."
Brewer's Dictionary of Phrase and Fable lists Maha-pudma and Chukwa as names from a "popular rendition of a Hindu myth in which the tortoise Chukwa supports the elephant Maha-pudma, which in turn supports the world"""In several cultures of the world, there is the concept of a gigantic turtle that holds up the Earth. Versions of the mtyh are found in India, China and North America, the last of which is known as "Turtle Island" to some tribes as a reference to the belief that the continent was resting on the back of a gigantic turtle. The European reduction of the myth is the island-beast, a creature so large that sailors take it to be an island and land upon it. When the creature submerges, the sailors are doomed. the Bestiary name for the Island-beast is Aspidochelone or snake-turtle but in some myths such as St. Brendan's voyage, it is called a "Whale"
http://en.wikipedia.org/wiki/World-Turtle

"The original for the gigantic turtle that is the World Turtle of Indian myths is the giant fossil tortoise found in India, Colossochelys atlas, whose name actually means Giant Turtle That Holds Up The Earth(or The Sky)."

http://frontiers-of-anthropology.blogspot.in/2011/11/giant-turtle-that-bears-world-on-its.html
"Colossochelys atlas, formerly known as Testudo atlas, and originally described as Geochelone atlas, is an extinct species ofcryptodire turtle from the Pleistocene period, [as far back as] 2 million years ago. During the dry glacial periods [ie, after 2 million years ago-DD] it ranged from western India and Pakistan (possibly even as far west as southern and eastern Europe) to as far east as Sulawesi and Timor in Indonesia."
"Some more reconstructions and museum mounts for Colossochelys, which is something like double the dimensions of the Galapagoes or Seychelles tortoises of our times.
It would seem that the myth originates in the arera of Sundaland and adjoining-India, where pockets of Colossochelys survived and where they were not only economically exploiteed, they are indicated to have been of a particular religious and ritual status, along with the horned turtle Meiolania in Australia, New Guinea and Islands farther to the East."
http://frontiers-of-anthropology.blogspot.in/2011/11/giant-turtle-that-bears-world-on-its.html
http://en.wikipedia.org/wiki/Colossochelys
'Giant tortoises are characteristic reptiles of certain tropical islands. Often reaching enormous size—they can weigh as much as 300 kg (660 lbs) and can grow to be 1.3 m (4 ft) long—they live, or lived (some species are recently extinct), in theSeychelles, the Mascarenes and the Galapagos. ...Prior to the arrival of Homo sapiens, giant tortoises occurred in non-island locales as well. Between 200,000 to 10,000 years ago, tortoises on the mainland of Asia,^[1] in Indonesia,^[1] in Madagascar,in North and South America,and even the island of Malta^[1] became extinct.'
Map of Giant Tortoises: light blue on South Asia for Colossochelys Which seems to have persisted in pockets including in Indonesia up to the end of the Ice Ages (Green Squares), plus the Madagscar
area group of Tortoise islands, where some still survive, and Meiolania Islands offshore of Australia, where the turtles survived into the postglacial period but were killed off in Ancient times.
http://en.wikipedia.org/wiki/Giant_tortoise
Yamuna, kamaTha 'turtle' Ellora caves

vāˊhana n. ʻ any vehicle or draught animal ʼ ŚBr., ʻ oar ʼ R., ʻ driving ʼ Suśr. [√vah] Pa. vāhana -- n. ʻ vehicle, draught or riding animal ʼ; Pk. vāhaṇa -- n.m. ʻ waggon, ship ʼ, n. ʻ driving ʼ; Sh. (Lor.) bān m. ʻ cultivation ʼ (cf. dōno baiyoiki ʻ to plough ʼ: in sense ʻ sowing ʼ < vāpana -- ?); P. vāhaṇ m. ʻ ploughed field ʼ; Ku. bahāṇo ʻ ploughshare ʼ, gng. bã̄&rtodtilde; ʻ ploughing ʼ; N. bahanā ʻ oar ʼ; Or. bāhāṇa ʻ rowing, spreading of nets in deep water ʼ (in latter mng. prob. < *vyādhana -- ); -- N. A. B. bāhan ʻ draught animal ʼ; Mth. bāhan ʻ conveyance, riding animal ʼ; H. bāhan m. ʻ draught or riding animal ʼ; G. vā̆hāṇ n. ʻ ship ʼ; Si. vahana -- ya, vahala -- ya ʻ raft ʼ; -- L. vāhṇ m. ʻ mountain torrent ʼ, vāhṇī f. ʻ gentle current, small torrent ʼ, awāṇ. vāˋṇ ʻ streamlet ʼ; M. vahāṇ f. ʻ current, stream ʼ, vāhṇẽ n. (or < vahana -- ).(CDIAL 11610)

Often, Indus Script signifies a hunter with horns.

Oslo Museum. Unprovenanced cylinder seal (from Afghanistan?)

m1535Act

m1535Bct

m1540Act

m1540b

A line drawing rendering of the hieroglyph as Pict-89 pictorial motif on Mahadevan concordance.

kammaṭa 'coiner, mint' signified by hieroglyph: kamāṭhiyo 'archer' evolves as an iconic metaphor of the aniconic ekamukhalinga on Batesvar sculptural frieze shown atop a smelter together with a tree in the background: kuTi 'tree' rebus: kuThi 'smelter', thus reinforcing the association of Yupa Skambha as a fiery pillar of light as a metaphor for the smelting processes transmuting mere earth and stone into metal heralding the inexorable processes of creation, destruction and rebirth exemplified by the Supreme divine -- a transformation from Being tio Becoming exemplified by the Cosmic Dancer emerging out of the Sivalinga. The process is mentioned as gangga sudhi on Candi Sukuh inscription on a linga signifying sudhi, 'purification' by kanga 'brazier'.

kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228).

In ancient Mesopotamia, the turtle was associated with the god Ea and was used on kudurrus as a symbol of Ea(Green, Anthony and Black, Jeremy, 1992, Gods, Demons and Symbols of Ancient Mesopotamia: an illustrated dictionary, University of Texas Press.)

Silver stater obverse Aigina

Greek drachma of Aegina. Obverse: LandChelone / Reverse: ΑΙΓ(INA) and dolphin. The oldest AeginaChelone coins depicted sea turtles and were minted ca. 700–550 BCE

Greek drachma of Aegina

Ta. yāmai, āmai turtle tortoise. Ma. āma id. Ko. e·m(b) tortoise. To. (Sak.) a·my id. (< Ta.). Ka. āme, āve, ēve, (Hav.) ēme tortoise, turtle; tābēlu, tāmbēlu a sea or land turtle; (Bell., U.P.U.) ālve tortoise. Koḍ. a·me id. Tu. ēme turtle. Te. tã̄bēlu, tāmēlu id., tortoise. Go. (G.) hēmul, (Ma. Ko.) ēmul, (Mu.) samel, hamul, (M.) hemūl tortoise (Voc. 3334); (LuS.) emilee id.; (Koya Su.) yāmōl id. Konḍa tāmbel(i) id. Pe. hāmaṇ a kind of large tortoise. Kuisēmbi tortoise. Kuwi (S. Su. Isr.) tāmbeli, (P.) hēmbi id.

(DEDR 5155) कमठ [ kamaṭha ] m S A tortoise or turtle.(Marathi)

After Fig. 21.15 Parpola, 2015 opcit. A ‘pictorial translation’ of an Indus sign: the identical inscriptions on the obverse sides correlate the ‘horned archer’ on the reverse of the type B-19 (there are fourteen identical tablets of this type) and the ‘fig+crab’ sign on the reverse of the type C-6 (there are seven identical tablets of this type) among the copper tablets from Mohenjo-daro. After Asko, 1994. Deciphering the Indus script. Cambridge: Cambridge University Press.,p. 234, fig. 13.13.

The hieroglyph-multiplex of fig+crab (shown as Sign 124 Parpola concordance) occurs on other Indus Script inscriptions as shown in the following examples, with variant orthographic renderings of the components:

Variants of Sign 124 Parpola concordance. After Fig. 11 in Parpola http://www.thehindu.com/multimedia/archive/00133/_A_Dravidian_Soluti_133901a.pdf

Rhinoceros, trough hieroglyphs. Copper tablet type A11: 2 examples

Asko Parpola, 2008, Copper tablets from Mohenjo-daro and the study of the Indus script, pp. 132-139 in: Eri Olijdam & Richard H Spoor (eds.), Intercultural relations between south and southwest Asia: Studies in commemoration of ECL During Caspers (1234-1996). BAR Interntional Series 1826. Oxford: Archaeopress.

Rhinoceros, trough hieroglyphs. Copper tablet type A11: 2 examples

The copper plate kept in Lahore Museum has -- on the obverse --a hieroglyph-multiplex of rhinoceros + trough which is deciphered as 'Excellent implements of metalworkers guild'.

On the reverse of this plate is the following inscription (photo from Lahore Museum):

Bronze plate with inscription. Sarasvati-Sindhu civilization Lahore Museum. (This is referred to as Copper plate on Indus Script Corpora).

On the obverse of this copper plate inscrition is a hierolyph-multiplex: rhinoceros PLUS trough:

kANDa 'rhinoceros' Rebus: khaNDa 'metal implements' pattar 'trough' Rebus: pattar 'metalworker (goldsmith) guild'.

The text of the inscription is supercargo, scribe documenting three types of ayas 'iron, metal':
Hieroglyph: fish 'aya' Rebus: aya 'iron' ayas 'metal'

Hieoglyph-multiplex or hypertext: fish PLUS lid: aya 'fish' Rebus: aya 'iron, metal' adaren ‘lid’ Rebus: aduru 'native unsmelted metal'

Hieroglyph-multiplex or hypertext: fish PLUS notch: खांडा [ khāṇḍā ] m A jag, notch Rebus: ayaskhāṇḍa 'excellent implements: tools, pots and pans, metalware'

Hieroglyph-multiplex or hypertext: fish PLUS oval as parenthesis circumscript PLUS horn: aya 'fish' Rebus: aya 'iron, metal' PLUS goTa 'round' Rebus: khoT 'ingot' koD 'horn' Rebus: koD 'workshop'

Hieroglyph: rim of narrow-necked jar: karava 'narrownecked jar' Rebus: kharva 'nidhi, karba 'iron'; karNaka 'rim of jar' Rebus: karNI 'supercargo', karNIka 'scribe'.

Thus, the text message is: Metalworker guild workshop supercargo scribed, ingot (of) native unsmelted metal, excellent metal implemets.

Second line on Texts 3415, 3318:

kanac 'corner' Rebus: kancu 'bronze'
koDi 'flag' Rebus: koD 'workshop'
sal 'splinter' Rebus: sal 'workshop'
meD 'body' Rebus: meD 'iron' PLUS koDa 'one' Rebus: koD 'workshop'
dula 'pair' Rebus: dul 'cast metal' PLUS khaNDa 'rectangle divisions' Rebus: khaNDa 'excellent metal implements' Thus the text message on this line is: excellent metal imlements (from) iron, bronze workshop.

There are examples of copper plates with the pictorial motifs of large turtles combined back to back, as a pair to signify: dula 'pair' rebus: dul 'metal casting'.

m1528Act

m1529Act2920

m1529Bct

m1532Act

m1532Bct

m1534Act

m1534Bct

1703 Composition:

Two horned heads one at either end of the body. Note the dottings on the thighs which is a unique artistic feature of depicting a turtles (the legs are like those of an elephant?). The body apparently is a combination of two turtles with heads of turtles emerging out of the shell and attached on either end of the composite body.

Copper tablet type B18, B17b. Tortoise with mirror duplicaes.

B17a, B17b, B18

Hieroglyph: two large turtles joined back to back. Thus, signifying meta casting using cire perdue (lost-wax) technique of creting mirror image metal castings from wax casts.

The hieroglyph multiplex on m1534b is now read rebus as: dula 'pair' rebus: dul 'cast metal' PLUS kassa 'turtle' rebus: kãsā 'bell-metal' kamaṭha 'turtle' rebus: kãsā kammaṭa 'bell-metal coiner, mint, portable furnace'.

kamaṭha crab, tortoise (Gujarati); ‘frog’ (Skt.); rebus: kammaṭa ‘mint’ (Kannada) kampaṭṭam ‘coiner, mint’ (Tamil)

kamaṭha crab, tortoise (Gujarati); ‘frog’ (Skt.); rebus: kammaṭa ‘mint’ (Kannada)kampaṭṭam ‘coiner, mint’ (Tamil).கமடம், [ *kamaṭam, ] s. A turtle, a tortoise, ஆமை (Winslow Tamil lexicon) కమఠము [ kamaṭhamu ] kamaṭhamu. [Skt.] n. A tortoise.

Rebus: కమటము [ kamaṭamu ] kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. Allograph: कमटा or ठा [ kamaṭā or ṭhā ] m (कमठ S) A bow (esp. of bamboo or horn) (Marathi). Allograph 2: kamaḍha ‘penance’ (Pkt.)

Frogs are dominant hieroglyphs on Dong Son bronze drums. Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mū̃h ‘ingot’ mũhe 'ingot' mũhã̄ = the quantity of iron produced at one time in a native furnace. Alternative: kamaṭha 'frog', 'turtle' (Samskritam) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236) கம்பட்டக்காரன் kampaṭṭa-k-kāraṉ, n. < கம்பட்டம் +. Coiner; நாணயம்செய்வோன். (W.)கம்பட்டக்கூடம் kampaṭṭa-k-kūṭam, n. < id. +. Mint; நாணயசாலை. (W.)கம்பட்டம் kampaṭṭam, n. [K. kammaṭa, M. kammṭṭam.] Coinage, coin; நாணயம். (W.) கம்பட்டமுளை kampaṭṭa-muḷai, n. < id. +. Die, coining stamp; நாணயமுத்திரை. (W.) Alternative: Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR

Text Line 1 B17b

kolmo ‘rice plant’ rebus: kolimi ‘smithy, forge’

gaNDA ‘four’ rebus: kanda ‘fire-altar’

sal ‘splinter’ rebus: sal ‘workshop’

koDi ‘flag’ rebus: koD ‘workshop’ (Phonetic determinative)

Three mountain peaks (range): danga ‘mountain range’ rebus: dhangar ‘blacksmith’

koD ‘horn’ rebus: koD ‘workshop’

Text Line 2 B17b, B17a

khaNDa ‘division’ rebus: khaNDa ‘implements’ PLUS dula ‘pair’ rebus: dul ‘cast metal’

meD ‘body’ PLUS meDa ‘staff’ rebus: meD ‘iron’

ranku ‘liquid measure’ rebus: ranku ‘tin’

dula ‘two’ rebus: dul ‘cast metal’

kuTila ‘curve’ rebus: kuTila ‘bronze’ PLUS koD ‘horn’ rebus: koD ‘workshop’ Thus, bronze workshop

S. Kalyanaraman
Sarasvati Research Center
May 4, 2017

↧

Challenge posed by Mohenjodaro 5000 year old seal memento of Pakistan Intl Airlines paperweight. Answer, metalwork catalogue.

May 4, 2017, 7:44 pm

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Mirror: http://tinyurl.com/lk84ykl

https://www.facebook.com/srini.kalyanaraman/posts/10156192256224625?pnref=story

Forty years ago, Pakistan Intl Airlines (PIA) issued a paperweight memento to airline passengers travelling between Karachi and Islamabad. The memento was a paperweight about 3 in. square. A copper plate with a replica of Seal m1169 Mohenjodaro is mounted either on wood or on turquoise stone. The memento is distrubuted to promote awareness about the civilizational heritage of Pakistan dating back to over 5000 years. The write-up on a blurb pasted on the back of the paperweight challenges researchers to decipher the script. The blurb reads: "Seals from Mohenjodaro 5000 year old. These seals have thrown open a challenge to the scholars to decipher their worth. Indus Valley civilization flourished five thousand years ago in Pakistan. The inhabitants lived largely on agriculture but also maintained trade with lands as far away as Mesopotamia."

An image and inscription of the seal used as a model for the mementos is presented below:

m1169 Pict-58: Composite motif: body of an ox and three heads: of a one-horned bull (looking forward), of antelope (looking backward), and of short-horned bull (bison) (looking downward).

Same text message is presented together with an ox on a PIA memento with a wood base (instead of turquoise used for a memento on turquoise stone base).

Mlecchita vikalpa (Meluhha cipher) provides a framework for decipherment of the inscriptions on such Mohenjodaro seals and seals from over 2000 archaeological sites of the civilization of the Bronze Age which become part of the Indus Script Corpora as new excavation results get reported.

Decipherment of inscription on seal m1169 Mohenjodaro

Pictorial motif of three combined animals:

Hieroglyph: sangaḍa'joined parts of animals' (Marathi) rebus: संगर sangar 'trade',

barad, balad'ox' rebus: bharata'factitious alloy of copper, pewter, tin'

कोंद kōnda 'young bull' rebus: कोंद kōnda'engraver, turner'.(metalworker)

melh 'goat' (Brahui) rebus: milakkhu'copper' (Pali) mleccha'copper' (Samskrtam)

Text message:

Text 2024 (Mahadevan Concordance)

dula'two' rebus: dul'metal casting'

kole.l'temple' rebus: kole.l'smithy, forge'

పోలడు [ pōlaḍu ] , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)(Telugu) rebus: पोळ [ pōḷa ] 'magnetite', ferrous-ferric oxide Fe3O4 (Asuri) पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad'steel, flint and steel for making fire' (Amharic); fUlAd'steel' (Arabic) The Marathi gloss pōlāda may be formed with pōḷa+hlād = magnetite ore + rejoice.

Parenthesis which encloses the bird is a split lozenge or ingot shape: mũh 'a face' in Indus Script Cipher signifies mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'

sal'splinter' rebus: sal 'workshop'. Thus the hypertext composed of four hieroglyphs: bird, ingot, parenthesis, splinter is a Meluhha expression which signifies: workshop (for) magnetite, ferrite ore, steel ingot .

Hieroglyph: kaṇḍa‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.

Hieroglyph: ayo'fish' rebus: aya'iron' (Gujarati) ayas'alloy metal' (Rigveda) PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.

dula'two' rebus: dul'metal casting'

ayo'fish' rebus: aya'iron'ayas'alloy metal' PLUS khambhaṛā ʻfinʼ rebus: kammaṭa'coiner, coinage, mint (Kannada)

Hypertext: baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) PLUS muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali)

kolom'three' rebus: kolimi'smithy, forge'.

The inscription on Mohenjodaro seal m1169 is thus a repository of technical information about metalwork produced by the artisan guild of smithy/forge and transacted for trade. The metalwork catalogue documents the wealth created and traded by working with 1. magnetite (ferrite) ore in furnaces to produce hard iron (steel); 2 bharata, alloy of copper, pewter, tin; 3. copper, ayas metal alloy; 5. metals engraving/sculpting using cire perdue (lost-wax) technique to produce ingots and metal implements.

S. Kalyanaraman
Sarasvati Research Center
May 5, 2017

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The communal agenda of Marxist and Christian historians in India – G. P. Srinivasan

May 5, 2017, 6:01 pm

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The communal agenda of Marxist and Christian historians in India – G. P. Srinivasan

Posted on March 28, 2017 |

The Kerala Council for Historical Research (KCHR) aimed to establish under manufactured and deceptive archaeological evidence that Pattanam was ancient Muziris of the Cheras where, supposedly, Thomas the Apostle had landed. – G. P. Srinivasan

The Director of Pattanam Excavations Dr.P.J.Cherian

Historical records and archaeological evidence are conveniently denied, but strategically manipulated and suppressed by Communist historians in India. They vigorously preach Aryan invasion theory despite clinching archaeological, archaeozoological and palaeoanthropological evidence. They vehemently deny palaeohydrological and palaeoclimatic evidence on Sarasvati river. But the Left historians have always joined hands with Church lobbies in India for transforming myth into history. The recent evidence of this Communist–Church federation is at Pattanam, a site in Ernakulum district of Kerala.

Prof M. G. S. Narayanan and Dr B. S. Hari Shankar : Book release on March 17, 2017 at Kozhikkode

The book titled Pattanam: Constructs, Contexts and Interventions by Dr B. S. Hari Shankar was released on March 17, 2017 at Kozhikkode in Kerala by Professor M. G. S. Narayanan, former ICHR chairman. According to Professor M. G. S. Narayanan eminent historian, Kerala Council for Historical Research (KCHR) is a Marxist research council. Professor Narayanan made this observation when he was inaugurating the release of this book published by Bharatheeya Vichara Kendram. Dr M. G. S. Narayanan charged that the KCHR was organised by the CPM, consisting of historians who followed the dictates and agenda of the party. They kept away the Archaeological Survey of India and Indian universities while initiating the Pattanam excavations under the Muziris Heritage Project. The KCHR aimed to establish under manufactured and deceptive archaeological evidence that Pattanam was ancient Muziris (Muchiri) of the Cheras. The project was also launched for protecting the personal gains of CPM leaders Dr T. M. Thomas Issac, current finance minister in CPM government in Kerala and M. A. Baby, polit bureau member.

There was no transparent archaeological research at Pattanam under KCHR. Earlier, stone beads were identified at Pattanam following heavy rains. It was widely propagated that the site was a port city and an ancient township of the Cheras before launching the excavations. When questions were raised at KCHR regarding claims of a township and port city, they took a retreat from their early contentions and made incredible statements that the structural remains unearthed were carried away by local residents.

The KCHR also provides an incredible presentation of a wharf to vindicate their claims of a port city according to M. G. S. Narayanan. Ambiguous and distorted evidence of pottery has been put forward by KCHR. Pattanam was highlighted by KCHR in its National Museum exhibition in 2014 as the third site to unearth terra sigillata pottery in India after Arikamedu and Alagankulam in Tamil Nadu. KCHR has suppressed the fact that terra sigillata has been recovered from Uraiyur, Kanchipuram, Vasavasamudram, Kodumanal, Karur and Sulur in Tamil Nadu and numerous sites in western India, especially Gujarat. Similarly, KCHR contended that rouletted pottery from Pattanam was reported for the first time on west coast. This is another false statement. This pottery has been reported from 124 sites across Bay of Bengal and Arabian Sea.

Fraudulent Pattanam archaeological dig, supposed landing place of St Thomas

Professor Narayanan said that KCHR also intends to propagate that St Thomas landed in Kerala coast in first century AD to propagate Christianity. There are no archaeological evidence or historical records to substantiate that Apostle Thomas arrived in India. There are some records to vindicate that he arrived in the Afghanistan region. The Pattanam excavations under KCHR is the biggest archaeological duplicity and treachery in the history of Indian historical research in this century. Narayanan said the current book has comprehensively documented and discussed Pattanam excavations using all researched and published material available which the KCHR cannot push aside or ignore.

Pattanam excavations were not an accidental episode or a project initiated in understanding the historical past of India’s west coast. Pope Benedict XVI, refused to accept St Thomas myth as history. But following pressure by Syro Malabar Church, Vatican secretariat send letter to Cardinal Mar Varkey Vithayathil in Kerala on November 25, 2006 accepting St Thomas myth as history and initiating activities for establishing it as truth. Pattanam excavations by KCHR comprising Left historians panel started at this time.

The Marxist historians led by Professor K. N. Panikkar from JNU who is now chairman of KCHR, manipulated archaeological evidence, manufactured new evidence and spread huge lies to establish that Pattanam had historical relations with Jerusalem, Israel and other countries in West Asia from 1000 BC. The director of Pattanam excavations is Dr P. J. Cherian, a Left and Church historian who did his Ph.D in 1993 from University of Calicut on the topic, The Communist Movement in Travancore: From the Origins to the Uprisings in 1946. For Pattanam excavations, Cherian is supported by University of Rome. The University of Rome Tor Vergata has conferred a three-year research fellowship on P. J. Cherian, Director, Kerala Council for Historical Research and Pattanam excavations as reported by The Hindu on February 16, 2011. Cherian took an interest in archaeology due to directions given by United Board for Christian Higher Education in Asia (UBCHEA) with headquarters in New York as reported by Express News Service on 17-02-2011. The Holy Apostolic Catholic Assyrian Church of the East published on 5 March 2011 Cherian’s statement that recent excavations in Kerala have found evidence of a port city that existed more than 2,000 years ago at a place where Saint Thomas is believed to have landed. P. J. Cherian is executive president of the Association for the Preservation of the Saint Thomas Christian Heritage. Cherian has presented papers linking St Thomas and Pattanam at the seminars organized by Liturgical Research Centre of Syro Malabar Church in November 2005 at Kochi and July 2011 at Kalyan in Mumbai. Irving R. Finkel, scholar in Biblical studies, inaugurated Khor Rori KCHR Children’s Museum at Pattanam. Few people know the fact that Khor Rori, a place said to be located in Oman said to be associated vaguely to Biblical episodes.

The KCHR has huge financial and academic support of a Euro-American lobby outside India. The KCHR has kept away ASI and Indian universities from Pattanam excavations. Recently, the Union Ministry of Home Affairs has cancelled the license of over twenty NGOs in Kerala under Foreign Contribution Regulation Act 2010 with effect from November 1, 2010 which included KCHR. It is also alleged that the KCHR director Dr P. J. Cherian was involved in creation of fake government documents, illegal appointments and financial irregularities worth crores.

The Left and pseudo secular historians in India who now work hard at Pattanam for proving the archaeological evidence of Apostle Thomas have simultaneously denied the existence of a Hindu temple at Ayodhya. Veteran archaeologists such as Professor B. B. Lal, late Dr P. Gupta, Y. D. Sharma and K. M. Srivastava presented convincing archaeological evidence of a temple beneath the Babri Masjid at Ayodhya. The team found that the objects were dateable to the period ranging from the 10th through the 12th century AD. Besides Vaishnavite images and that of Shiva–Parvati, the unearthed objects at Ayodhya also included a number of amakalas, i.e., the cogged-wheel type architectural element which crown the bhumi shikharas or spires of subsidiary shrines, as well as the top of the spire or the main shikharas. There were other evidences such as cornices, pillar capitals, mouldings, door jambs with floral patterns precisely showing clinching evidence regarding the existence of a 10th-12th century AD temple complex at the site of Ayodhya.

B. B. Lal has noted that the ruins of Ayodhya have a circuit of 4 to 5 kms and rise at places to a height of 10 metres above the ground level. He observed that the Northern Black Polished Ware (NBPW) at the earliest level and continues with several structural phases up to the third century AD. The Left historians such as Professors R. S. Sharma, Romila Thapar, Irfan Habib, D. N. Jha and K. N. Panikkar from Jamia Millia, Delhi, JNU and Aligarh universities denied this archaeological evidence at Ayodhya for their pseudo secular interests. Their research methodology, manufacture of archaeological evidence and communal agenda have all been exposed from Pattanam excavations.

» G. P. Srinivasan does historical research and reporting at Srirangam.

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How ISI funds stone-pelters via Hurriyat in Kashmir: Times Now

May 6, 2017, 2:03 am

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How ISI funds stone-pelters via Hurriyat in Kashmir: Times Now

TIMESOFINDIA.COM | May 6, 2017, 12.31 PM IST

How ISI funds stone-pelters via Hurriyat in Kashmir: Times Now

NEW DELHI: Television channel Times Now today aired an expose showing how Pakistan's intelligence agency ISI has routed Rs 70 lakh or more to stone-pelters in Jammu and Kashmir+ through Hurriyat leader Shabir Shah.

This explosive revelation comes on the heels of confessions by two recently captured ISI agents in India, that they regularly got money from Abdul Basit, Pakistan's envoy to India. Taken together, the two startling disclosures only strengthen New Delhi's long-held assertion that Pakistan, through both state and so-called non-state actors, funds terror in India, especially in Kashmir.

Kashmir has been on the boil since the July 2016 + when security forces killed terrorist Burhan Wani. From then until now, those protesting Wani's death have waged a battle against security forces in the state by resorting to pelting stones at them. And the numbers of stone-pelters have risen dramatically.

The money route, the players

While there has always been speculation that Pakistan is involved in paying off these protestors to come out and throw stones at security forces+ , Times Now has in its possession documents that show details of the money route, of the players at both ends - that is , the funders and the primary recipients - and of whose hands much of the money ends up in ultimately.

The ISI's cash register documents accessed by Times Now show that the two ends of the money trail are Rawalpindi, which is ISI's headquarters, and Srinagar, where the Hurriyat is based. From Srinagar, the money makes its way to people in places like Anantnag, Pulwama and Kupwara. These are all areas that have regularly reported often intense stone pelting.

In Rawalpindi, an ISI man named Ahmed Sagar is regularly in touch with Hurriyat leaders, especially Shabir Shah, Times Now's story reveals. Shah then disburses the money to various district offices of the Hurriyat who then hire young people to participate in pelting stones.

Incidentally, Sagar is known to be close Pakistan's envoy in India, Basit.

In fact, the Times Now story said the ISI also uses the Hurriyat to fund separatists and terror acts in troubled Kashmir. Shah has been under the scanner for this too, before.

(Image courtesy: TimesNow via Twitter)

Government's and analysts' reactions

The Prime Minister's Office (PMO) has issued a directive that a close watch is to be kept on the financial activities of businessman associated with Kashmiri separatists and Hurriyat leaders, Times Now said. The director general of police in Kashmir has been requested to initiate action and send a status report of what has been done.

"Every effort is being taken to ensure this kind of sponsored unrest will be put to an end," said minister of state, PMO, Jitendra Singh, to the TV channel.

Some politicians wanted sterner action taken.

"We need immediate President's rule in Kashmir" said BJP MP Subramanian Swamy, in reaction to Times Now's investigation.

"Hurriyat is a big money-making racket," said defence analyst Maroof Raza. He added that the organization has in fact "been set up by Pakistan."

Opposition politicians too condemned this sponsored unrest.

"We don't go by names; anybody who is a traitor is nation's enemy. In the matters of national security we are totally with the Center," said Sunil Singh, JDU leader, to Times Now.

http://timesofindia.indiatimes.com/india/how-isi-funds-stone-pelters-via-hurriyat-in-kashmir-times-now/articleshow/58546402.cms

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Kashmir hard fist - Sweep signals start of stern action -- Sankarshan Thakur

May 6, 2017, 3:25 am

≫ Next: Pakistan’s Triangle of Hate: Taliban, Army, India -- Mohammed Hanif

≪ Previous: How ISI funds stone-pelters via Hurriyat in Kashmir: Times Now

| Saturday , May 6 , 2017 |

Kashmir hard fist

- Sweep signals start of stern action

Sankarshan Thakur

A soldier during the operation in Shopian on Thursday. (AFP)

New Delhi, May 5: The Centre has decided to proceed beyond the mere rejection of talks with Kashmiri separatists and mount a hard-fist offensive to quell militancy and street resistance in the Valley.
BJP general secretary Ram Madhav's stern promise - made in an interview to The Telegraph last month - that security forces will go after militants with the "utmost harshness" is coming into play. Madhav had also hoped that strong and sustained thwarting of militancy by security forces would "ensure a peaceful summer".

The army-led multi-formation security sweep across villages in south Kashmir's Shopian district yesterday marks the first of several such operations in the works. Based on conversations with informed political and security operatives in Delhi and Srinagar, the essence of the emerging official outlook is this: no government can remain idle in the face of daily and violent provocation, there will have to be a stern response to "put down the challenge to India".

Renewed hostility along the LoC around the killing and mutilation of two jawans by Pakistani soldiers has only served to harden the stand of the establishment, which sources the spike in Valley militancy to Pakistan.
Resumption of the 1990s-style cordon-and-search operations (CASO) in troubled urban pockets of Srinagar and elsewhere isn't being ruled out. Up-scaled visibility of khaki and armour is imminent.
The new buzzword among the security brass dealing with Kashmir is demonstrating "physical presence and hold" of areas that militants have overrun in the past couple of years.
Most of these pockets lie around the south Kashmir hub of Anantnag where the threat of violence forced a Lok Sabha by-election to be scrapped last week.
South Kashmir has been the most violence-and-strife-prone part of the Valley, especially since the killing of young Hizbul Mujahideen militant Burhan Wani last July.
Security convoys have been ambushed dozens of times, militants have grabbed and looted government facilities, police camps and banks have been raided, entire villages have come out to disrupt anti-militant operations by jawans.
The civilian administration in large parts of south Kashmir has been in physical retreat and, though deployed, the police and paramilitary haven't been in a position to claim dominance. A classified police survey conducted months ahead of Wani's killing had also flagged south Kashmir as the most militancy-ridden.
It is not inconceivable that in order to demonstrate "physical presence and hold", security forces will re-enact the early 1990s when army and paramilitary camps were attached to every major habitation, rural or urban, and CASO was standard procedure.
Post-2005, these camps, and dozens of security bunkers in downtown Srinagar, were wound up in a graded response to the easing of the security environment.
CASO was given up as an instrument because its cost-benefit returns were in the red - intrusive raids into localities at odd hours and mistreatment of residents left them alienated. One of the key elements of the late Mufti Mohammed Sayeed's "healing touch" policy was to put an end to CASO.
The Mufti's daughter and successor as chief minister, Mehbooba, may well have to preside over a rollback of the "healing touch" policy and oversee a harsh steamrolling of militant and street violence this summer.
Privately, aides of Mehbooba speak of her "discomfiture" with the "jackboot" approach of New Delhi but say her "hands are tied". They also apprehend, like many others in the Valley, that strong-arm military tactics, such as the Centre is determined to pursue, may serve to anger and alienate the populace even more.
"What happens when you resort to cordon-and-search ops is that you assume everyone is your hostile enemy, you are not selectively taking out militants or mischief-makers, you are targeting entire villages or communities. This could inflame sentiments even more," one of them said.
Mehbooba had advocated widening the political dialogue in the Valley on her last trip to New Delhi but returned bluntly rebuffed. Her priority, she was told, was to put down law-and- order disruptions.
There are now signs the Centre is moving swiftly on its own to dictate security measures across the Valley. Since Mehbooba returned to Srinagar, the central leadership has held a series of consultations with military and paramilitary commanders, political leaders and administrators. It was as part of this exercise that Jammu and Kashmir governor N.N. Vohra met and briefed Prime Minister Narendra Modi today.
A key interlocutor on what's to be done is also Madhav, the BJP's proactive Kashmir point man, who has pressed the view that militants and other "pro-Pakistan" elements in the Valley need to be stamped out.

https://www.telegraphindia.com/1170506/jsp/frontpage/story_150130.jsp#.WQ2j9eV97IU

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Pakistan’s Triangle of Hate: Taliban, Army, India -- Mohammed Hanif

May 6, 2017, 3:35 am

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Pakistan’s Triangle of Hate

Mohammed Hanif MAY 4, 2017

KARACHI, Pakistan — Pakistan has found a new ally in its never-ending war against India — and he is the public face of our most ruthless killers.

For years Liaquat Ali, better known as Ehsanullah Ehsan, was a familiar and dreaded figure on national media. It seems that after every atrocity committed by the Pakistani Taliban, or Tehrik-e-Taliban Pakistan (TTP), he would make triumphant statements in audio messages or bloodcurdling videos, putting the fear of God in Pakistani media and causing revulsion among Pakistani people.

Soon after the TTP killed three employees of Express TV in January 2014, the television channel invited Ehsan on the air by phone. He very calmly explained the reasons for the murder, and the interviewer promised — respectfully, repeatedly — to give him more airtime, while begging for guarantees that there would be no further attacks.

Ehsan later claimed responsibility for an Easter Day attack in a park in Lahore last year, which killed dozens of people. He had previously claimed responsibility for an attack on a girl named Malala, who was shot in the head on her way to school, adding that the TPP would hunt her down if she survived.

With his appearance, the Pakistani Army seemed to be sending this message: You can kill thousands of Pakistanis, but if you later testify that you hate India as much as we do, everything will be forgiven.

There was some pushback. State media regulators banned a detailed interview with Ehsan before it aired after families of Taliban victims expressed outrage. The parents of students slain at the Army Public School in Peshawar in 2014, where Taliban attackers butchered more than 140 people, mostly students, wanted Ehsan hanged in front of the school.

But the army has preferred to parade him and his winning smile in front of TV cameras, and to release footage of him telling salacious stories about how his Taliban colleagues had three wives or how the current TTP leader took away his teacher’s daughter by force. The purpose seems to be to suggest that the Taliban are not a formidable force with an ideology and deep roots in Pakistani society, but rather a bunch of sexual perverts bankrolled by India. India, forever our existential enemy.

Pakistani society is still deeply divided over what the Taliban represent. Some see them as barbarians at our door who want to destroy the last vestiges of our faltering democratic and civil order. Others think of them as our misguided brothers: The Taliban, too, want a just society; it’s only their methods that are unacceptable. They are brave, and we are a little bit proud of them: In Afghanistan, these fallen brothers, our creation, are still managing to keep America at bay.There is, it’s true, evidence that India has funded groups to strike at Pakistan for interfering in Kashmir. But do we really need to enlist our children’s killers in our campaign against India?

But when they wage the same brave fight in Pakistan, we recoil.

The Taliban were supposed to be our assets in our historic feud with India. When India and Pakistan were on the verge of another war in 2008, the Taliban leaders of the day vowed to fight alongside Pakistan’s soldiers.

“If they dare to attack Pakistan, then, God willing, we will share happiness and grief with all Pakistanis,” said Maulvi Omar, the Pakistani Taliban’s spokesman then. “We will put the animosity and fighting with the Pakistani army behind us, and the Taliban will defend their frontiers, their boundaries, their country with their weapons.”

Today, while the nation is still trying to decide if yesterday’s monster can be today’s patriot, the Pakistani Army has already made it clear that it wants to have the last word on the subject.

The leading English daily Dawn reported last year that the civilian and military leaderships were divided over what to do with Pakistani anti-India militant groups, which are often accused of waging attacks in India. The army declared that the story was a national security breach, and demanded stern action against both the people who had leaked information about those disagreements and the people who had dared to write about them. A high-powered investigation was set up to look into what has come to be known as the Dawn Leaks.

Last week, after reviewing the results, Prime Minister Nawaz Sharif ordered the removal of two of his close aides and referred a journalist to a newspapers’ representative body. The army spokesman tweeted: “Notification is rejected.” The army won’t abide any discussion with civilians over who is a good or bad militant, or a good or bad Pakistani.

Many Pakistanis still love the army. And many politicians fear it. They look to it to remove their rivals, accusing one another of being security threats, if not outright traitors. Many political parties are asking for Mr. Sharif’s head for daring to have a closed-door discussion about what might be wrong with the army’s idea of good and bad.

Most countries have an army, but in Pakistan it’s the army that has a country, goes the saying. If the politicians want to take the country back, they’ll have to stop calling one another traitor just to please the army.

Mohammed Hanif is the author of the novels “A Case of Exploding Mangoes” and “Our Lady of Alice Bhatti,” and the librettist for the opera “Bhutto.”
https://www.nytimes.com/2017/05/04/opinion/pakistans-triangle-of-hate.html?_r=0

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Everything you need to know about trade economics, in 70 words -- George P Shultz & Martin Feldstein

May 6, 2017, 5:20 am

≫ Next: Indus script cipher of 1.four-hooded cobra arching over membrum virile of Daimabad charioteer 2.Candi Sukuh śivalinga 3.Sit Shamshi linga

≪ Previous: Pakistan’s Triangle of Hate: Taliban, Army, India -- Mohammed Hanif

Everything you need to know about trade economics, in 70 words

By George P. Shultz and Martin Feldstein May 5 at 7:52 PM

George P. Shultz, a former U.S. secretary of labor, treasury and state, is a distinguished fellow at the Hoover Institution. Martin Feldstein is professor of economics at Harvard University and former chairman of the Council of Economic Advisers and president of the National Bureau of Economic Research.

If a country consumes more than it produces, it must import more than it exports. That’s not a rip-off; that’s arithmetic.

If we manage to negotiate a reduction in the Chinese trade surplus with the United States, we will have an increased trade deficit with some other country.

Federal deficit spending, a massive and continuing act of dissaving, is the culprit. Control that spending and you will control trade deficits.

http://tinyurl.com/kd9ka7g

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Indus script cipher of 1.four-hooded cobra arching over membrum virile of Daimabad charioteer 2.Candi Sukuh śivalinga 3.Sit Shamshi linga

May 6, 2017, 8:49 am

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Mirror: http://tinyurl.com/ktohgmv

https://www.facebook.com/srini.kalyanaraman/posts/10156196652154625

Indus Script hypertexts signify metalwork competence on 1. four-hooded cobra arching over membrum virile of Daimabad charioteer 2. Candi Sukuh śivalinga 3. Sit Sham linga

Mlecchita vikalpa (Meluhha cipher) is an abiding tradition which also finds expression in sculptures of Hindu Civilization. Mlecchita vikalpa is the use of hieroglyphs as hypertext compositions to signify metalwork competence.

This monograph presents three sculptural expressions of Mlecchita vikalpa (Meluhha cipher) which is the framework for the abiding tradition of Indus Script,meluhha hieroglyphs rendered rebus.

The three sculptural expressions presented are: 1. Daimabad bronze chariot (ca. 2000 BCE); 2. Sit Shamshi bronze, 12th cent.BCE, Susa; and 3. Candi Suku śivalinga, ca. 5th cent.

The tradition of animals and other sculptures (generally or bronze or pancaloha) carried in processions is called utsava bera. During Pola (cattle) festival, the celebrations include the display of toys of animals on wheels.

This tradition is traceable to Sarasvati_Sindhu Civilization evidenced by similar wheeled toys of bronze in Daimabad.

Terracotta animal figurines from a Harappan site in Kurukshetra 1921–22; Courtesy: Photo Section, ASI - https://www.sahapedia.org/images-of-harappan-relics#sthash.ey5Eq7Hu.dpuf
Image result for daimabad animals

This bronze sculpture of chariot is part of bronze repertoire as demonstration objects (utsava bera); the repertoire includes the following bronze sculptures of animals on wheels:

Image result for daimabad animals

A hypertext expression is composed on Daimabad bronze chariot with hieroglyphs: 1. Erect membrum virile with over-arching hieroglyph of four cobra hoods. 2. Crook stick; 3. Pair of black drongo birds perched on the axle rod; 4. Jackal standing on the rod which links the axle to the harness; 5. Pair of bullocks; 6. Chariot/cart with two solid wheels

Four hoods of cobra arch over membrum virile. Hypertext expression reads: lo gaṇḍa phaṇin Rebus plaintext readings : 1. phaṇi lokhaṇḍa, 'tin or lead foil,metalware,metal implements market (pun on the word paṇi, 'market'); 2. lokhaṇḍa paṇe (paṇi) 'metal implements production,metals quarry'. Thus, the charioteer is described to be a paṇikkan, 'a metals workers, a master metallurgical artificer'. Alternative: mēṇḍhra -- m. ʻ penis ʼ(Samskritam)(CDIAL 9606) rebus: मृदु mṛdu, mẽṛhẽt, meḍ'iron' meḍ'iron, metal' (Ho.Mu.)

Curved stick held in his right hand: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) rebus: मृदु mṛdu, mẽṛhẽt, meḍ 'iron' meḍ 'iron, metal' (Ho.Mu.)

Ta. paṇṭi cart, waggon, carriage; vaṇṭi id., cartload; vaṇṭil cart, carriage, bandy, wheel; pāṇṭi cart with a top, bullock cart; pāṇṭil two-wheeled cart, horse-drawn chariot. Ma.vaṇṭi, vaṇṭil wheel, cart, bandy. Ko. vaṇḍy cart. To. poḍy bullock-cart. Ka. baṇḍi bandy, cart, carriage, wheel. Tu. baṇḍi, bhaṇḍi cart. Te. baṇḍi carriage, cart, any wheeled conveyance. Kol. baṇḍi bullock-cart for freight. Ga. (P. S.&super2;) banḍi cart. Kuwi (Su. Isr.) baṇḍi id. / Skt. (Hem. Uṇ. 608) Or. baṇḍi. Ultimately from Skt. bhāṇḍa- goods, wares, as carrying these; for an IE etymology for bhāṇḍa-,(DEDR 50)

Hieroglyph: dula 'pair' rebus: dul 'metal casting' PLUS pōlaḍu, 'black drongo' rebus: pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto).पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic).

Hieroglyph: कोला (p. 105) kōlā m (Commonly कोल्हा) A jackal. For compounds see under कोल्हे. कोल्हा (p. 105) kōlhā m A jackal, Canis aureus. Linn. कोल्हें (p. 105) kōlhēṃ n A jackal. Without reference to sex. Pr. अडलें कोल्हें मंगळ गाय Even the yelling jackal can sing pleasantly when he is in distress. कोल्हें Ta. kol working in iron, lacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l
smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi
blacksmith (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi
(F.) kolhali to forge.(DEDR 2133)

Hieroglyph: barad, 'bullock': balivárda (balīv° ŚBr.) m. ʻ ox, bull ʼ TBr., balivanda- m. Kāṭh., barivarda -- m. lex. [Poss. a cmpd. of balín -- (cf. *balilla -- ) and a non -- Aryan word for ʻ ox ʼ (cf. esp. Nahālī baddī and poss. IA. forms like Sik. pāḍō ʻ bull < *pāḍḍa -- : EWA ii 419 with lit.)]

Pa. balivadda -- m. ʻ ox ʼ, Pk. balĭ̄vadda -- , balidda -- , baladda -- m. (cf. balaya -- m. < *balaka -- ?); L. baledā, mult. baled m. ʻ herd of bullocks ʼ (→ S. ḇaledo m.); P. bald,baldh, balhd m. ʻ ox ʼ, baled, baledā m. ʻ herd of oxen ʼ, ludh. bahld, balēd m. ʻ ox ʼ; Ku. balad m. ʻ ox ʼ, gng. bald, N. (Tarai) barad, A. balad(h), B. balad, Or. baḷada, Bi.barad(h), Mth. barad (hyper -- hindiism baṛad), Bhoj. baradh, Aw.lakh. bardhu, H. balad, barad(h), bardhā m. (whence baladnā ʻ to bull a cow ʼ), G. baḷad m. balivardin -- .Addenda: balivárda -- [Cf. Ap. valivaṇḍa -- ʻ mighty ʼ, OP. balavaṇḍā]: WPah.kc. bɔḷəd m., kṭg. bɔḷd m. (LNH 30 bŏḷd), J. bald m., Garh. baḷda ʻ bullock ʼ.(CDIAL 9176) Rebus: भरत (p. 353) bharata n A factitious metal compounded of copper, pewter, tin &c.; भरती (p. 353) bharatī a Composed of the metal भरत.; भरताचें भांडें (p. 353) bharatācē mbhāṇḍēṃ n A vessel made of the metal भरत. (Marathi)

karukku-paṇi embossed work (Ma.)(DEDR 1280) Ka. paṇe ground that is worked, tillage, quarry; paṇṇeya, paṇya farm, landed estate. Tu. (B-K.) paṇe quarry. (DEDR 3891) Ta. paṇ service, work, business, employment, decoration; paṇi act, action, performance, work, service, decoration; paṇati workmanship, action, creation, ornament; paṇiti work, structure, ornament; paṇikkaṉ master-builder, carpenter; paṇikkam, paṇikku accuracy of design, elaboration in a work; paṇinar servants; paṇpu action, deed; paṇṇu (paṇṇi-) to make, effect, produce, adorn; paṉṉu (paṉṉi-) to do anything with consideration and skill. Ma. paṇi work, labour, service, building, exertion; paṇikkan workman, artificer; paṇiyuka to build; paṇiyan a caste of cultivators in hilly districts; game-trackers, living chiefly in Wynad; paṇṇuka, paṇṇikka vb. denoting coitus (obscene). Ko. paṇynman of a caste at Gudalur in Wynad; fem. paṇc; ? paṇ anvil. To. poṇy work. Ka. paṇṇu to make ready, prepare, equip, decorate; paṇṇika, paṇṇige, paṇṇuge arranging, making ready, equipping. Koḍ. paṇi work. Tu. paṇipuni to give a shape (e.g. to a vessel). Te. pani work, labour, act, deed, workmanship, art; (inscr.) paṇi work; pannu to contrive, plan, design, invent; (K. also) be ready, make ready; (K. also) n. suitability. Kol. (SR.) pannī work, labour. Nk. pani work. Pa. panḍp- (panḍt-) to make, do. Ga. (Oll.) panḍ- to be able. Go. (LSI, Kōi) paṇi, (Grigson) paṛī, (Ko.) paṛi work (Voc. 2092); panḍ- (G.) to build (house), (Mu.) to make, build, repair, (Ma.) to make, construct; (L.) pandānā to make, repair (Voc. 2093). Konḍa pand- (-it-) to prepare, construct, devise, plan; paṇi work(DEDR 3884)

gaṇḍa set of four (Santali); rebus: kaṇḍ 'fire-altar, furnace' (Santali) rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) खंडा [ khaṇḍā ] m A sort of sword. It is straight and twoedged. खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended. खांडाईत [khāṇḍāīta] a Armed with the sword called खांडा. (Marathi)

PLUS phaṇin'cobra hood' rebus: phaṇi'tin or lead foil'.

Hieroglyph: lo 'penis'Go<luGguj>(Z) [lUGguy'] {NB} ``male ^genitals, ^penis, ^scrotum''.(Munda etyma) loe'penis' (Ho.) Rebus: loh'copper, iron, metal' (Indian sprachbund, Meluhha) लोह [p= 908,3]mfn. (prob. fr. a √ रुह् for a lost √ रुध् , " to be red " ; cf. रोहि , रोहिण &c ) red , reddish , copper-coloured S3rS. MBh.made of copper S3Br. (Sch.)made of iron Kaus3.m. n. red metal , copper VS. &c





Hieroglyph: ``^penis'':So. laj(R)  ~ lij  ~ la'a'j  ~ laJ/ laj  ~ kaD `penis'.Sa. li'j `penis, esp. of small boys'.
Sa. lO'j `penis'.Mu. lOe'j  ~ lOGgE'j `penis'.  ! lO'jHo loe `penis'.Ku. la:j `penis'.@(C289) ``^penis'':
Sa. lOj `penis'.Mu. lOj `penis'.KW lOj@(M084) <lO?Oj>(D),,<AlAj>(L)//<lAj>(DL)  {N} ``^penis''.  #43901.
<ului>(P),,<uluj>(MP)  {NB} ``^penis, male organ, male^genitals''.  Cf. <kOlOb>(P),<susu>(M) `testicle'; <kuLij>(M), <kuRij>(P) `vulva'.  *Sa., MuN<lO'j>, MuH, Ho<lo'e>,So.<laj-An>, U.Tem.<lo'> ??. %33271.  #33031.So<lO?Oj>(D),,<AlAj>(L)//<lAj>(DL)  {N} ``^penis''.
<lohosua>(D)  {NI} ``^dance''.  #20141.

lo-khaṇḍa, penis + gaṇḍa, 4 balls; Rebus:lokhaṇḍa iron, metalware.

Hieroglyph: फणि 1 [p= 716,1] m. a serpent (only gen. pl. फण्/ईनाम्) Suparn2.;
in comp. for फणिन् m. " hooded " , a serpent esp. Coluber नाग) Ka1v. Katha1s.
Pur. phaṇin ʻ hooded (of snake, esp. cobra) ʼ Kathās. [phaṇá -- 1] Pk. phaṇi -- m. ʻ snake ʼ; P. phaṇī ʻ flat -- headed (of snake) ʼ; A. phanī ʻ snake ʼ; Or. phaṇī ʻ hooded ʼ, sb. ʻ snake ʼ; H. phanī ʻ hooded ʼ; G. phaṇī m. ʻ snake ʼ, Si. paṇiya.(CDIAL 9046) phaṇa1 m. ʻ expanded hood of snake (esp. of cobra) ʼ MBh. 2. *phēṇa -- 2. [Cf. phaṭa -- , *phēṭṭa -- 2 and *phaṇati2. -- For mng. ʻ shoulder -- blade ʼ &c. cf. association of shape in phaṇāphalaka -- Bhartr̥. ~ aṁsaphalaká -- ŚBr. and cf. phēna -- n. ʻ cuttlefish bone ʼ Car.] 1. Pa. phaṇa -- m. ʻ expanded hood of snake ʼ, Pk. phaṇa -- m., °ṇā -- f.; Wg. paṇ -- šī ʻ big snake ʼ (+šai ʻ head ʼ? NTS xvii 287); K. phan m. ʻ expanded hood of snake ʼ, S. phaṇi f., L.awāṇ. phaṇ, P. phaṇ, °ṇu f., ludh. phan m., WPah. (Joshi) faṇ m., Ku. phaṇ, °ṇi, N. phani, A. phanā, B. phan, °nā, Or. phaṇā̆, Mth. phanā, Bhoj. phan, H. phan, °nā m., G. pheṇ (< *phaṇi), phaṇī f., M. phaṇ m., °ṇī f., Si. paṇa, peṇa. -- S. phaṇi f. ʻ shoulderblade ʼ; H. phanī f. ʻ wedge ʼ; G. phaṇɔ m. ʻ fore part of foot ʼ. 2. A. phenā ʻ expanded hood of snake ʼ, Or. pheṇā̆. phaṇin -- , phaṇakara -- .phaṇá -- 2 ʻ froth ʼ see phāṇita -- .Addenda: phaṇa -- 1: S.kcch. phaṇ f. ʻ snake's hood, front part of foot ʼ, phaṇī f. ʻ weaver's toothed instrument for pressing and closing the woof ʼ; WPah.kṭg. phɔ́ṇ m. ʻ cobra's hood ʼ; Garh. phaṇ ʻ snake's hood ʼ. (CDIAL 9042) phaṇakara m. ʻ cobra ʼ lex. [Cf. phaṇākara -- , phaṇa- dhara -- , phaṇādh° m. lex. -- phaṇa -- 1, kará -- 1]L. phaniar m., P. phanyar m., WPah. (Joshi) fanā'r m. (all with n, not ṇ?).Addenda: phaṇakara -- : WPah.kṭg. phɔ́ṇər m. ʻ cobra ʼ, J. fanā'r m. (kṭg. phɔ́ṇir m. poss. ← P. Him.I 127). (CDIAL 9043)

Rebus 1: tin or metal foil: फणिन् [p= 716,2] n. (prob.) tin or lead Ka1lac. panī f. ʻ tinfoil ʼ(Sindhi); P. pannā m. ʻ leaf, page ʼ, pannī f. ʻ gilt leather ʼ; H. pān m. ʻ leaf ʼ, pannā m. ʻ leaf, page ʼ, pannī f. ʻ metal foil, grass for thatching ʼ; G. pānũ n. ʻ blade ʼ(CDIAL 7918) prāmāṇika ʻ founded on authority ʼ Dāyabh., m. ʻ chief of a trade ʼ W. [pramāṇa-- ] B. pāni, pã̄in, pāin a surname? (CDIAL 8949)

Rebus 2: पणि [p= 580,2] a market L.; N. of a class of envious demons watching over treasures RV. (esp. x , 108) AV. S3Br.; m. a bargainer , miser , niggard (esp. one who is sparing of sacrificial oblations) RV. AV.

Rebus: <loha>(BD) {NI} ``^iron''. Syn. <luaG>(D). *@. #20131) laúha -- ʻ made of copper or iron ʼ Gr̥Śr., ʻ red ʼ MBh., n. ʻ iron, metal ʼ Bhaṭṭ. [lōhá -- ] Pk. lōha -- ʻ made of iron ʼ; L. lohā ʻ iron -- coloured, reddish ʼ; P. lohā ʻ reddish -- brown (of cattle) ʼ.lōhá 11158 lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho.loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam.lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md.ratu -- lō ʻ copper ʼ.WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md. lō ʻ metal ʼ. (CDIAL 11172).

lōhakāra m. ʻ iron -- worker ʼ, °rī -- f., °raka -- m. lex., lauhakāra -- m. Hit. [lōhá -- , kāra -- 1]Pa. lōhakāra -- m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra -- m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., °rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohār, luh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ.WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m. (CDIAL 11159).lōhaghaṭa 11160 *lōhaghaṭa ʻ iron pot ʼ. [lōhá -- , ghaṭa -- 1]Bi. lohrā, °rī ʻ small iron pan ʼ.*lōhaphāla -- ʻ ploughshare ʼ. [lōhá -- , phāˊla -- 1]WPah.kṭg. lhwāˋḷ m. ʻ ploughshare ʼ, J. lohāl m. ʻ an agricultural implement ʼ Him.I 197; -- or < †*lōhahala -- .(CDIAL 11160) lōhala ʻ made of iron ʼ W. [lōhá -- ]G. lohar, lohariyɔ m. ʻ selfwilled and unyielding man ʼ.(CDIAL 11161).*lōhaśālā ʻ smithy ʼ. [lōhá -- , śāˊlā -- ]Bi. lohsārī ʻ smithy ʼ. (CDIAL 11162).lōhahaṭṭika 11163 *lōhahaṭṭika ʻ ironmonger ʼ. [lōhá -- , haṭṭa -- ] P.ludh. lōhṭiyā m. ʻ ironmonger ʼ.†*lōhahala -- ʻ ploughshare ʼ. [lōhá -- , halá -- ]WPah.kṭg. lhwāˋḷ m. ʻ ploughshare ʼ, J. lohāl ʻ an agricultural instrument ʼ; rather < †*lōhaphāla -- .(CDIAL 11163).

Significance of linga and 4 spheres on Sit Shamshi bronze and Meluhha hieroglyphs on Candi Sukuh linga

The message of Sit Shamshi bronze, consistent with the Akkadian inscription is viewed as a metalwork catalog by bronze workers celebrating a gangga sudhi'water purification' puja, a consecration also referred to on Candi Sukuh linga inscription.The gloss sudhi also indicates that the consecration is related to veneration of ancestors. Water purification is a metaphor for purification processes in metalwork, removing impurities from minerals to produce pure metal and also alloy metals.

Mirror: https://www.academia.edu/10359858/Significance_of_linga_and_4_spheres_on_Sit_Shamshi_bronze_and_Meluhha_hieroglyphs_on_Candi_Sukuh_linga

Depicting water ablutions on sunrise or sunset in front of the four-step ziggurat: Susa. Sit-Shamshi (Musée du Louvre, París).

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-ziggurat-and-related.html

kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Te.) मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(Marathi)(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Together: kolami meḍ 'smithy iron'. A pair of linga + 4 spheres is dula 'pair' Rebus: dul 'cast metal'. Thus the reading: dul kolami meḍ 'iron casting smithy'.

Two devotees offer water ablutions to the Sun divinity at dawn and dusk. The Sun is symbolized by the Ziggurat temple flanked on either side by a linga-s and 4 spheres.

(गोटा)gōṭā Spherical or spheroidal, pebble-form; 'round pebble' rebus: goṭa 'laterite, ferrite ore'; खोट (p. 121) khōṭa f A mass of metal (unwrought or of old metal melted down); an ingot or wedge.

dula 'pair' rebus: dul 'metal casting'. Thus, the hypertext expression is: goṭa 'spheroidal pebble' PLUS lo 'linga' rebus: dul 'metal castings' (of) loh 'copper, redd ore' PLUS goṭa 'laterite, ferrite ore', khōṭa 'ingot or wedge'. The linga may also signify kambha'pillar' rebus: kammaṭa'mint, coiner, coinage'

What is the significance of the pair of linga and 4 spheres flanking a dagoba, ziggurat? लोखंड [ lōkhaṇḍa ] 'metalwork' [Hieroglyphs: (lo + gaṇḍa) 'phallus + four, swelling'; Rebus: loh 'copper, metal' + kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)]

The sword hieroglyph, khaNDa reinforces the rebus reading as kanda 'fire-trench' used by metalcasters. Fire-trench PLUS smelter furnace constitute the tools of trade of metalcasters and are denoted by the hieroglyphs: membrum virile and kuThi, pudendum mulibre in Candi Sukuh, Central Java; read rebus: kanda 'fire-trench'; kuThi 'smelter'.

The word dagoba is cognate with dhatu garbha, denoting the smelting of minerals (dhatu) in a smelter as a metaphor for the bearing of a child in month's womb (garbha). This imagery becomes the central presentation of an ancient Hindu kole.l temple; koil, 'temple' (Tamil), as a metaphor of creation in a cosmic dance. Hence, the hieroglyphs of linga + 4 spheres flank the ziggurat, dagoba. dhatu garba lit. means 'the womb of minerals (the earth)'. The Sit Shamshi bronze is a representation of the cosmic dance repeated on the earth with the work on dhatu, minerals yielding metals, pots and pans, tools and weapons. The metaphor of the divine as paramaatman, 'supreme divine' is born.

The imagery of linga and 4 spheres is paralleled on a 1.82m. tall linga of Candi Sukuh temple together with an inscription in Javanese and hieroglyphs of: kris sword-blade flanked by hieroglyphs of sun and crescent-moon.

The 1.8 metre lingga of Candi Sukuh has four such balls and also has an inscription (representing the vein of the phallus) that reads: ‘Consecration of the Holy Gangga sudhi in … the sign of masculinity is the essence of the world’.

See: http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-sukuh.html
Image result for sit shamshi bronze

Model of a temple, called the Sit-shamshi, made for the ceremony of the rising sun 12th century BCE Tell of the Acropolis, Susa Bronze J. de Morgan excavations, 1904-05 Sb 2743

Three stakes on Sit-Shamshi bronze.

Glyph: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(Marathi)(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Vikalpa: khuṇṭ ‘stump’. Rebus: khũṭ ‘community, guild’ (Mu.) Thus, three jagged sticks on the Sit Shamshi bronze may be decoded as khũṭ kolami ‘smithy guild’ or, meḍ kolami 'iron (metal) smithy'. 'Iron' in such lexical entries may refer to 'metal'.

The Candi Sukuh temple fortification on Mt. Lawu in Central Java is comparable to one of the 16 pyramids in Greece dated to 2720 BCE called Pyramid in Hellenicon, Greece.

Candi Sukuh, Java, Indonesia and Pyramid of Hellencion, Greece

On top of the Mt.Lawu fortification of Candi Sukuh stood this 1.82m. tall linga.

The Lingga discovered at Candi Sukuh on the slopes of Mt. Lawu in Central Java and now in the National Museum in Jakarta; note the keris. (from c.j. van der Vlis report of 1843).

Candi Cetho. Lingga shows a pair of balls at the top of the penis -- to be read rebus as Meluhha hieroglyph composition: lo-khaNDa, penis + 4 balls; Rebus: iron, metalware.

The four balls of the penis are also clearly shown on a 6 ft. tall linga inscribed with 1. a sword; and 2. inscription in Javanese, referring to 'inauguration of the holy ganggasudhi...'

See: http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-sukuh.html Histoire ancienne des Etats hindouises along the Tin Road from Haifa to Hanoi. NaMo, Obama, announce United Indian Ocean States.

lo 'penis' Rebus: loh 'copper, metal'

Hieroglyphs: gaṇḍa 'swelling' gaṇḍa 'four' gaṇḍa 'sword'

Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)

Together, hieroglyphs: lo + gaṇḍa. Rebus: लोखंड [ lōkhaṇḍa ] 'metalwork'

Thus, the hypertext expression is: goṭa 'spheroidal pebble' PLUS lo 'linga' rebus: loh 'copper, redd ore' PLUS goṭa 'laterite, ferrite ore', khōṭa 'ingot or wedge'. The linga may also signify kambha 'pillar' rebus: kammaṭa 'mint, coiner, coinage'

Metaphor: Sh. K.ḍoḍ. lō m. ʻ light, dawn ʼ; L. awāṇ. lō ʻ light ʼ; P. lo f. ʻ light, dawn, power of seeing, consideration ʼ; WPah. bhal. lo f. ʻ light (e.g. of moon) ʼ.(CDIAL 11120). + kaṇṭa 'manliness'. Metaphorical rendering of the effulgence (sun and moon) associated with the pillar of light yielding the imagery of an representation of a fiery pillar with unfathomable beginning, unreachable end, thus of infniity of Mahadeva representing the paramaatman for the aatman in search of nihs'reyas (moksha), from Being to Becoming, the way earth and stones transmute into metal in the smelter and smithy, kole.l 'smithy, temple'.

Bharatiyo, 'metalcasters' (Gujarati) are awestruck by this parallel with the cosmic energy replicated in the energies of the smelter, fire-altar and smithy. Hence, the veneration of the linga + 4 spheres as the essence of every phenomenon on cosmos, on the globe, of the world. These hieroglyphs and related metaphors thus yield the gestalt of Bharatiyo, 'metalcasters' (Meluhha). This enduring metaphor finds expression in sculptures on many Hindu temples of Eurasia.

The gloss gaṇḍu 'manliness' (Kannada); 'bravery, strength' (Telugu) is a synonym of the expression on Candi Suku linga inscription: 'sign of masculinity is the essence of the world'. Thus, the gloss lokhaṇḍa which is a direct Meluhha speech form related to the hieroglyph composition on Candi Suku inscription is the sign of masculinity. The rebus renderings of khandoba or kandariya mahadeva are elucidations of the rebus gloss: kaṇḍa, 'mahadeva S'iva or mahes'vara.' The hieroglyphs deployed on the 1.82m. tall stone sculpture of linga with the inscription and hieroglyphs of sword, sun, moon and four balls deployed just below the tip of the phallus are thus explained as Meluhha speech: lokhaṇḍa. The rebus rendering of the phrase is: lo 'light' and kaṇṭa 'manliness'. These attributes constitute the effulgence of the linga as the fiery pillar, skambha venerated in Atharva Veda Skambha sukta as the cosmic effulgence as the cosmic essence.

gaṇḍa -- m. ʻ four' (Munda) गंडा[ gaṇḍā ] m An aggregate of four (cowries or pice). (Marathi) <ganDa>(P) {NUM} ``^four''. Syn. <cari>(LS4), <hunja-mi>(D). *Sa., Mu.<ganDa> `id.', H.<gA~Da> `a group of four cowries'. %10591. #10511.<ganDa-mi>(KM) {NUM} ``^four''. |<-mi> `one'. %10600. #10520. Ju<ganDa>(P) {NUM} ``^four''. gaṇḍaka m. ʻ a coin worth four cowries ʼ lex., ʻ method of counting by fours ʼ W. [← Mu. Przyluski RoczOrj iv 234]S. g̠aṇḍho m. ʻ four in counting ʼ; P. gaṇḍā m. ʻ four cowries ʼ; B. Or. H. gaṇḍā m. ʻ a group of four, four cowries ʼ; M. gaṇḍā m. ʻ aggregate of four cowries or pice ʼ.(CDIAL 4001)

gaṇḍa -- m. ʻswelling, boil, abscessʼ(Pali)

Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) खंडा [ khaṇḍā ] m A sort of sword. It is straight and twoedged. खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended. खांडाईत [ khāṇḍāīta ] a Armed with the sword called खांडा. (Marathi)

लोखंड [ lōkhaṇḍa ] n (लोह S) Iron.लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.

लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron.

Glosses
ulkāˊ f. ʻ meteor, fire falling from heaven ʼ RV., ʻ fire- brand ʼ ŚBr.Pa. ukkā -- f. ʻ torch ʼ, Pk. ukkā -- f ʻ meteor, fire -- ball ʼ; B. ūk, ukā ʻ torch ʼ; Or. uka ʻ torch, flash of fire, meteor ʼ, ukiā ʻ sun's rays ʼ; Mth. ūk ʻ torch ʼ; H. ūk m. ʻ torch, blaze, meteor ʼ.(CDIAL 2362). Rebus: ukku 'steel' (Telugu) Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender, melt (as the heart), be kind, glow with love, be emaciated; urukku (urukki-) to melt (tr.) with heat (as metals or congealed substances), dissolve, liquefy, fuse, soften (as feelings), reduce, emaciate (as the body), destroy; n. steel, anything melted, product of liquefaction; urukkam melting of heart, tenderness, compassion, love (as to a deity, friend, or child); urukkiṉam that which facilitates the fusion of metals (as borax). Ma. urukuka to melt, dissolve, be softened; urukkuka to melt (tr.); urukkam melting, anguish; urukku what is melted, fused metal, steel. Ko. uk steel. Ka.urku, ukku id. Koḍ. ur- (uri-) to melt (intr.); urïk- (urïki-) id. (tr.); ukkï steel. Te. ukku id. Go. (Mu.) urī-, (Ko.) uṛi- to be melted, dissolved; tr. (Mu.) urih-/urh-(Voc. 262). Konḍa (BB) rūg- to melt, dissolve. Kui ūra (ūri-) to be dissolved; pl. action ūrka (ūrki-); rūga (rūgi-) to be dissolved. Kuwi (Ṭ.) rūy- to be dissolved; (S.)rūkhnai to smelt; (Isr.) uku, (S.) ukku steel. (DEDR 661)

लोखंड [ lōkhaṇḍa ] n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously.
लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron. 2 fig. Hardy or hard--a constitution or a frame of body, one's हाड or natal bone or parental stock. 3 Close and hard;--used of kinds of wood. 4 Ardent and unyielding--a fever. 5 लोखंडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of distinction or designation. Examples follow.
लोखंडी [ lōkhaṇḍī ] f (लोखंड) An iron boiler or other vessel. 2 A large scandent shrub, Ventilago Maderaspatana. Grah.
लोखंडी काव [ lōkhaṇḍī kāva ] f A red ochre or earth.
लोखंडी चुना [ lōkhaṇḍī cunā ] m A term for strong and enduring chunam-work.
लोखंडी छाप [ lōkhaṇḍī chāpa ] m (Iron type.) A term, according to popular apprehension, for Leaden types and for Printing; in contrad. from दगडछाप Lithography.
लोखंडी जर [ lōkhaṇḍī jara ] m (लोखंड & जर) False brocade or lace; lace &c. made of iron.

शेणामेणाचा [ śēṇāmēṇācā ] a (Of dung and wax.) Weak, feeble, flimsy, slight, superficial, unsubstantial, soft, easy, yea and nay, milk and watery. A colloquialism expressing contempt or slight, and used of buildings, articles, business, animals, men.
शेणामेणालोखंडाचा [ śēṇāmēṇālōkhaṇḍācā ] a (Of dung, of wax, and of iron.) That seems at first soft and easy, empty and unmeaning, and becomes gradually hard, difficult, significant, weighty, grievous, until at length it resembles iron;--as a work or a business, a speech, a treatment. 2 Weak and strong; flimsy and substantial; of which part is earthy, part adamantine; of a mixed character or confused quality;--as a building, a business.

मेणा or ण्या[ mēṇā or ṇyā ] a (मेण) Smeared with a composition of wax, dregs of oil or ghee, ashes of burnt rags and cowdung &c. Used of टोपलें, सूप, पांटी, हरा &c.

लोह [ lōha ] n S Iron, crude or wrought.

खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended.

खांडेकरी [ khāṇḍēkarī ] m A man armed with the sword called खांडा.
खेंड [ khēṇḍa ] f A sort of sword with a rounded and weighty extremity.
खंडोबा [ khaṇḍōbā ] m A familiar appellation of the god खंडेराव. सोळा गुणांचा खं0 (Marathi)

गंडा[ gaṇḍā ] m An aggregate of four (cowries or pice). (Marathi) <ganDa>(P) {NUM} ``^four''. Syn. <cari>(LS4), <hunja-mi>(D). *Sa., Mu.<ganDa> `id.', H.<gA~Da> `a group of four cowries'. %10591. #10511.<ganDa-mi>(KM) {NUM} ``^four''. |<-mi> `one'. %10600. #10520. Ju<ganDa>(P) {NUM} ``^four''. gaṇḍaka m. ʻ a coin worth four cowries ʼ lex., ʻ method of counting by fours ʼ W. [← Mu. Przyluski RoczOrj iv 234]S. g̠aṇḍho m. ʻ four in counting ʼ; P. gaṇḍā m. ʻ four cowries ʼ; B. Or. H. gaṇḍā m. ʻ a group of four, four cowries ʼ; M. gaṇḍā m. ʻ aggregate of four cowries or pice ʼ.(CDIAL 4001)

Psht. guṇḍ ʻ round ʼ, Pers. gunda ʻ ball of leaven ʼ, gund ʻ testicle ʼ < *gr̥nda -- NTS xii 263. -- See also gaḍu -- 1, gaṇḍu -- , *giḍa -- , *gilla -- , kanda -- ]1. Pa. gaṇḍa -- m. ʻ swelling, boil, abscess ʼ; Pk. gaṁḍa<-> m.n. ʻ goitre, boil ʼ, NiDoc. gaṁḍa(CDIAL 3997)

S. Kalyanaraman

sarasvati Research Center

May 6, 2017

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