Quantcast
Channel: Bharatkalyan97
Viewing all 10894 articles
Browse latest View live

Bhāratiya Itihāsa “Neolithic Y-chromosome genetic bottleneck” caused by patrilineal clans, 7000 years ago in ancient India

$
0
0

MAY 30, 2018

Wars and clan structure may explain a strange biological event 7,000 years ago, Stanford researchers find

Genetic data suggest there was a collapse in male, but not female, genetic diversity starting 7,000 years ago. The reason may be wars between clans structured around male ancestry.
BY NATHAN COLLINS
Starting about 7,000 years ago, something weird seems to have happened to men: Over the next two millennia, recent studies suggest, their genetic diversity –specifically, the diversity of their Y chromosomes – collapsed. So extreme was that collapse that it was as if there were only one man left to mate for every 17 women.
from left to right: Tian Chen Zeng, Marcus Feldman, Alan Aw
Undergraduates Tian Chen Zeng, left, and Alan Aw, right, worked with Marcus Feldman, a professor of biology, to show how social structure could explain a genetic puzzle about humans of the Stone Age.(Image credit: Courtesy Marcus Feldman)
Anthropologists and biologists were perplexed, but Stanford researchers now believe they’ve found a simple – if revealing – explanation. The collapse, they argue, was the result of generations of war between patrilineal clans, whose membership is determined by male ancestors.
The outlines of that idea came to Tian Chen Zeng, a Stanford undergraduate in sociology, after spending hours reading blog posts that speculated – unconvincingly, Zeng thought – on the origins of the “Neolithic Y-chromosome bottleneck,” as the event is known. He soon shared his ideas with his high school classmate Alan Aw, also a Stanford undergraduate in mathematical and computational science.
“He was really waxing lyrical about it,” Aw said, so the pair took their idea to Marcus Feldman, a professor of biology in Stanford’s School of Humanities and Sciences. Zeng, Aw and Feldman published their results May 25 in Nature Communications.

A cultural culprit

It’s not unprecedented for human genetic diversity to take a nosedive once in a while, but the Y-chromosome bottleneck, which was inferred from genetic patterns in modern humans, was an odd one. First, it was observed only in men – more precisely, it was detected only through genes on the Y chromosome, which fathers pass to their sons. Second, the bottleneck is much more recent than other biologically similar events, hinting that its origins might have something to do with changing social structures.
Certainly, the researchers point out, social structures were changing. After the onset of farming and herding around 12,000 years ago, societies grew increasingly organized around extended kinship groups, many of them patrilineal clans – a cultural fact with potentially significant biological consequences. The key is how clan members are related to each other. While women may have married into a clan, men in such clans are all related through male ancestors and therefore tend to have the same Y chromosomes. From the point of view of those chromosomes at least, it’s almost as if everyone in a clan has the same father.
That only applies within one clan, however, and there could still be considerable variation between clans. To explain why even between-clan variation might have declined during the bottleneck, the researchers hypothesized that wars, if they repeatedly wiped out entire clans over time, would also wipe out a good many male lineages and their unique Y chromosomes in the process.

Computing clans

To test their ideas, the researchers turned to mathematical models and computer simulations in which men fought – and died – for the resources their clans needed to survive. As the team expected, wars between patrilineal clans drastically reduced Y chromosome diversity over time, while conflict between non-patrilineal clans – groups where both men and women could move between clans – did not.
Zeng, Aw and Feldman’s model also accounted for the observation that among the male lineages that survived the Y-chromosome bottleneck, a few lineages underwent dramatic expansions, consistent with the patrilineal clan model, but not others.
Now the researchers are looking at applying the framework in other areas – anywhere “historical and geographical patterns of cultural interactions could explain the patterns you see in genetics,” said Feldman, who is also the Burnet C. and Mildred Finley Wohlford Professor.
Feldman said the work was a unusual example of undergraduates driving research that was broad both in terms of the academic disciplines spanned – in this case, sociology, mathematics and biology – and in terms of its potential implications for understanding the role of culture in shaping human evolution. And, he said, “Working with these talented guys is a lot of fun.”
The research was supported by the Center for Computational, Evolutionary and Human Genomics, the Morrison Institute for Population and Resource Studies and a grant from the National Science Foundation.
https://news.stanford.edu/press-releases/2018/05/30/war-clan-structubiological-event/

Contact

Nathan Collins, Stanford News Service: (650) 725-9364, nac@stanford.edu
  

Update your subscription

Email: news-service@stanford.edu
Phone: (650) 723-2558

Is there agreement among astronomers that Kaliyuga starts in 3102 BCE?

$
0
0
"According to the astronomer and mathematician Aryabhata the Kali Yuga started in 3102 BCE. He finished his book “Aryabhatiya” in 499 CE, in which he gives the exact year of the beginning of Kali Yuga. He writes that he wrote the book in the "year 3600 of the Kali Age" at the age of 23. As it was the 3600th year of the Kali Age when he was 23 years old, and given that Aryabhata was born in 476 CE, the beginning of the Kali Yuga would come to (3600 - (476 + 23) + 1 (As only one year elapses between 1 BCE and 1 CE) = ) 3102 BCE." ( H.D. Dharm Chakravarty Swami Prakashanand Saraswati. Encyclopedia Of Authentic Hinduism The True History and the Religion of India, Hardbound, 2nd Edition, 2003 
https://en.wikipedia.org/wiki/Kali_Yuga

I do not understand why some astronomers claim the date of Mahabharata war to be in 18th cent. BCE in the face of this Arbhayatiya date for Kaliyuga (at times using shaky archaeological evidences, e.g. the find of a chariot in Baghpat reported in June 2018). 


I think it is the reponsibility of such claimants to reconcile the date of Kaliyuga which has been specified by Aryabhata.

Kalyanaraman
Sarasvati Research Centre

Baghpat chariot compares with Daimabad chariot with Indus Script hypertexts. Suggest archaeometallurgical investigations on Baghpat chariot.

$
0
0

I suggest further detailed archeometallurgical investigations on Baghpat chariot.
Does the solid wheel of the chariot have a lynch-pin on the axle? Is it made of an alloy metal?
The serendipitous find of Baghpat should lead to intense multi-disciplinary studies, starting with analyses of associated archaeometallurgical finds like the axle-pin of any wheel. See the chariot-lynchpin-head found in the Smithy of nations -- solving an archaeological mystery. https://web.archive.org/web/20100705114906/http://newmedia-eng.haifa.ac.il/?p=3309 Archaeological evidence for the expression Haosheth hagoyim, smithy of nations (Hebrew) is achieved through goya, gotra 'guilds' formed of khār, कर्मार blacksmith artisans of Sarasvati Civilization evidenced on Epigraphia Indus Script which now total over 8000 inscriptions. See: 

https://tinyurl.com/yc3zndc6

 This find helped resolve the famous statement in tbe Book of Judges about Harosheth-hagoyim'smithy of nations'.

The suffix -prastha to explain the city's name (Baghpat). Indra-prastha and bhaga-prastha are cities in the MBh historical tradition on the banks of Yamuna river, not far from Rakhigarhi which is the largest site (over 500 hectares) of the Sarasvati Civilization.Is the name Baghpat derived from वाक्यप्रस्थ vākyaprastha‘city of delivering speeches’? The old form may be bhagaprastha.प्र-स्थ m. a level expanse , plain (esp. at the end of names of towns and villages ; cf. इन्द्र- , ओषधि- , करीर-प्र्° and » Pa1n2. 4-2 , 110); going on a march or journey , going to or abiding in (cf. वन-प्र्°भग   m. (ifc. f( and ). g. बह्व्-ादि) " dispenser " , gracious lord , patron (applied to gods esp. to सवितृRV. AV.
 (Monier-Williams)

Surya worship may explain the fascination with chariot by the aristocracy, the gaṇa of 3rd millennium BCE Baghpat. 

The detailed imagery on Bronze Daimabad chariot provides a comparator to the Baghpat chariot. The shape and the solid wheels compare with reconstructed Baghpat chariot. (Dating of Daimabad artifact is tough because it is a surface find together with other bronze artifacts of Indus Script hieroglyphs of elephant, buffalo, rhinoceros signifying metalwork repertoire). karibha, ibha'elephant' rebus: karba, ib'iron'; kaṇḍa'rhinoceros' rebus: kaṇḍa 'metal equipment'; rango'buffalo' rebus: rango'pewter alloy.'
Image result for daimabad chariot


A four-hooded cobra hovers over membrum virile of the charioteer. This is an Indus Script hypertext to signify phaḍa, 'cobra hood' rebus: phaḍa'metals manufactory' (cognate paṭṭaḍa, 'goldsmith's workshop'). See the decipherment of Indus Script hypertexts of Daimabad chariot at 

 https://tinyurl.com/ybzbb2mc



 

http://bharatkalyan97.blogspot.com/2018/06/discovery-of-2000-bce-chariots-of.html

2000 BCE chariots set to redefine Mahabharata Age

Tuesday, 05 June 2018 |  | Baghpat ome 60 km drive from Delhi, at Sanauli in Uttar Pradesh’s Baghpat, the Archaeological Survey of India (ASI) has stumbled upon “royal burials” with remains of chariots dating 2000BC-1800BC.
The first-of-its-kind findings in the Indian sub-continent dating back to the Bronze Age suggest that people of that era belonged to the warrior class and were living a highly sophisticated lifestyle.

Archaeologists involved in the excavation that started three months ago are excited about the findings. They said the recovery is set to give new dimension to our history and date of the Mahabharata period, and further into the origins of chariots and horses in the Harappan age.

SK Manjul, director of Institute of Archaeology under the ASI, and co-director Arvin Manjul, who led a team in excavating the site, said, “The new findings will shed light on India’s place in the ancient world history. Previously, chariots were found to be a part of Mesopotamia, Georgia, Greek civilisations. But, the Sanauli recovery shows we were on par with them.”

He said that though in the past, burial pits were excavated at Rakhigarhi, Kalibangan, and at Lothal, this is the first time that chariots have been discovered alongside the burial pits.  “This is also for the first time in the Indian sub-continent that we got royal burial pits,” he added.

 “It is confirmed that they were a warrior class. The swords have copper-covered hilts and a medial ridge making it strong enough for warfare. We have also found shields, a torch and daggers,” said Manjul, adding at least three burial pits have highly decorative coffin covers bearing floral designs and anthropological figures like horned and peepal leafed crown.

Some of the graves contained full skeletal remains while others have a few human bones along with pots (secondary burials); in yet others, only pots were found (symbolic burials that suggest that the person died elsewhere, and was symbolically brought here).

On being asked whether bull or horse was used in chariots, Manjul said, “This is debatable, it could be a bull or a horse, but having said that the preliminary understanding points to the horse. The chariot is a lookalike of the ones found in its contemporary cultures like Mesopotamia. It is a solid wheel with no spokes. In one of the pits, crown or helmet worn by the rider of the chariot has been recovered.

The other noteworthy finds were four copper antenna swords, two daggers, seven channel-like objects, shield, comb, mirror, torch, hundreds of small cylindrical paste beads, steatite beads and triangle and rectangular inlays, semiprecious and gold beads, etc.

The excavations at the Sadiqpur in Sanauli is the extension of the ASI’s excavation in 2005 when around 116 graves belonging to Indus Valley Civilisation were found. These graves, dated 2200-1800 BC, were a fairly recent addition to the list of Indus Valley Civilisation sites in India.

“We wanted to take the research and investigation in that region further and conducted excavations just 120 metres away from the earlier site, as a trial dig, and discoveries are also set to unravel entire new history,” Manjul added.

“This throws light on the lifestyle and cultures of the people who lived in the pre-Iron Age — there are mirrors with copper, the elaborate burials, all this show the society was technologically advanced, aesthetic and had the sense of art and craft. They were warrior clans, and had a sophisticated lifestyle,” he said.

While it was difficult to ascertain the exact race of the latest buried remains, the experts feel that the chariots and coffins did not belong to the Harappan civilisation.

But again this is the subject of further investigation, Manjul said.

पांच हजार साल पुरानी कब्रगाह क्यों है एतिहासिक खोज? Baghpat (NDTV)

Pre-Iron Age relics excavated in UP district June 5, 2018Archaeologists at the site in Baghpat. (Photo: G.N. Jha)

Excavations at Baghpat
The excavation that began in March 2018 at Sanauli was conducted by a 10-member team with S. K. Manjul of the Institute of Archaeology.

Lucknow: Chariots dating back to the pre-iron age have been found in an excavation in Sanauli in Baghpat district in Uttar Pradesh.

The excavation by a team of archaeologists was unveiled on Monday, showing burial pits with chariots in the Pre-Iron Age (Bronze). This is the first time that a chariot has figured in the excavations.

The excavation that began in March 2018 at Sanauli was conducted by a 10-member team with S. K. Manjul of the Institute of Archaeology.

Talking to reporters, Mr Manjul said, “We have the place in the ancient global history. To name a few of our contemporary cultures, chariot appears in Mesopotamia, Georgia, Greek civilisations, and with this finding we can say that among our contemporary cultures in the Pre-Iron Age, we too had chariots”.

Chariots figure prominently in the Rig Veda, which gives evidence of their presence in India in the 2nd millennium BCE.

Mr Manjul informed that in the past, there has been evidence of horse in the Chalcolithic period. This discovery is an added thrust to inquire further into ancient Indian history. If we go by the world history, there is evidence of wheeled vehicles only from the mid-4th millennium BCE in Mesopotamia, the Northern Caucasus (Maykop culture Bronze Age) and Central Europe. The question, concerning which culture originally invented the wheeled vehicle, remains unresolved.


In a First, Chariot From Pre-Iron Age Found During Excavation in UP's Sanauli

In the past there has been evidence of horse in the Chalcolithic period. This discovery is an added thrust to inquire further into ancient Indian history.

 Updated:June 4, 2018, 12:58 PM IST






Baghpat: For the first time in the Indian sub-continent, burial pits have been found with chariots that date back to the Pre-Iron Age(Bronze). This new finding is set to create space for further investigation on dating of the Mahabharata period and further inquiry into the origins of the horse in the Harappa age, as per the experts involved in the three-month trial dig Uttar Pradesh's Sanauli.
The excavations that the team of archaeologists conducted was unveiled on Monday showing burial pits with chariots in the Pre-Iron Age (Bronze).

The burial pits have been found in the past excavations at Rakhigarhi, Kalibangan, and at Lothal, but the chariot has figured for the first time. 

The excavation started in March 2018 at Sanauli and was conducted by a 10-member team with SK Manjul, of Institute of Archaeology, established in 1985, heading it. The co-director was Arvin Manjul.

Speaking on the development, Manjul said, “We have the place in the ancient global history. To name a few of our contemporary cultures, chariot appears in Mesopotamia, Georgia, Greek civilisations, and with this finding we can say that among our contemporary cultures in the Pre-Iron Age we too had chariots.”

He added, “This is giving our history and our past a new dimension – we have to rethink our past and approach it with a fresh perspective – with the elements found in the burial pits it shows we were a warrior clan in the Pre Iron Age.”

Who rode the chariot in the Bronze Age?

If there was a chariot in the Bronze Age, would it not need a beast to run it? Was it a bull or a horse? Manjul said, “This is debatable, it could be a bull or a horse but having said that the preliminary understanding points at the horse. The chariot is a lookalike of the ones found in its contemporary cultures like Mesopotamia, it is a solid wheel with no spokes.”

The chariot is with solid wheel and pole; in one of the pits the excavators have also found crown or helmet worn by the rider of the chariot.

Chariots figure prominently in the Rigveda, which gives evidence of their presence in India in the 2nd millennium BCE. Among Rigvedic deities, notably Ushas (the dawn) rides in a chariot, as well as Agni in his function as a messenger between gods and men).

Manjul added that in the past there has been evidence of horse in the Chalcolithic period. This discovery is an added thrust to inquire further into ancient Indian history.

If we go by the world history, there is evidence of wheeled vehicles only from the mid-4th millennium BCE in Mesopotamia, the Northern Caucasus (Maykop culture Bronze Age) and Central Europe. The question concerning which culture originally invented the wheeled vehicle remains unresolved. 

The objective of the research

In 2005, excavations around 116 graves belonging to Indus Valley Civilisation were found. These graves, dated 2200–1800 BC were a fairly recent addition to the list of Indus Valley Civilisation sites in India.

The archaeological experts wanted to take the research and investigation in that region further and conducted excavations just 120 meters away from the earlier site, as a trail dig, and found chariot in the excavation. They dug eight burials and each tells a different story of the life and style prevalent in Post Iron Age period. These decomposed wooden coffins were decorated with copper but with time have turned green due to patina.

“The challenges were many – we had to dig in a way that the structure standing tall does not get damaged in further deeper digging. This is the first time we used the X-Ray, CT scan to find the nails embedded in the wooden coffins,” added Manjul. 

There are eight burial pits – which have skeletons, beads, pottery, chariot, sword, torch. These are wooden decomposed coffins with copper decorations that made the spotting of the coffin easier. There are eight anthromorphic figures having horned and peepal leafed crown decorated on cover of coffin. The designs are aesthetic and say a lot about the society in Pre-Iron Age.

“This throws light on the lifestyle and cultures of the people who lived in the Pre Iron Age – there are mirrors with copper, the elaborate burials, all this shows the society was technologically advanced, aesthetic and had the sense of art and craft. They were warrior clans, and had a sophisticated lifestyle,” added Manjul. The evidence found here is important to conduct further investigation in finding “horse skeletons”.

In one of the burials, one can find the dog being buried; in Hindu mythology, dog is the vehicle of Yama. There are symbolic burials with just objects buried without a body, maybe in reverence of the deceased not found and twin burials showing two skeletons in one grave.

Counterview

The horse driven chariots are known in the Vedic period, said historian DN Jha. “However, iron makes appearance in the post Vedic or not earlier than the late Vedic period. This find cannot be dated to the pre-Vedic/Harappa phase,” said Jha.

Several scholars have written on the dating of the Mahabharata, but Jha said that he is not aware of who has used the evidence of chariots for dating the text of Mahabharat.

Some archaeologists like B B Lal have argued for the 8th century BC, on the basis of the silt deposited at Hastinapur, which was flooded following the Great War. “But this hardly inspires confidence. In fact the text is so full of interpolations that it cannot belong to one point of time,” said Lal. 

According to V S Sukthankar, whose work on the chronology of the text is authoritative, Mahabharata’s composition spreads over several centuries. “The general consensus is that the text was composed over a period of about a millennium - roughly between 400BC to 400AD. However, there are some scholars who argue for a shorter period. In any case the Mahabharata in its present form cannot be the work of single author and that is one of the reasons which make its dating difficult,” Jha added.
https://www.news18.com/news/india/in-a-first-chariot-from-pre-iron-age-found-in-excavation-in-uttar-pradeshs-sanauli-1768085.html

Chariot from Pre-Iron Age found during excavation in Uttar Pradesh's Sanauli

Chariot from pre-Iron Age was found in Uttar Pradesh's Sanauli after a three-month-long excavation. It is expected to provide a new perspective on Indian history.


Jun 4, 2018 15:48 IST

When archaeologists stumbled upon the burial pits at Sanauli in Uttar Pradesh's Baghpat district, no one would have thought of discovering a chariot from the Pre-Iron Age. It has been found after a three-month-long excavation, according to News18.


Led by SK Manjul, director of Institute of Archaeology, and co-director Arvin Manjul, the 10-member team unveiled the chariot from the Pre-Iron Age (Bronze) for the first time in one of the burial pits, which were found earlier in several places. The excavation first began in March at Sanauli.

According to Manjul, this new finding will shed light on India's place in the ancient global history. Previously, chariots were found to be a part of Mesopotamia, Georgia, Greek civilizations.

He also told the publication, "This is giving our history and our past a new dimension – we have to rethink our past and approach it with a fresh perspective – with the elements found in the burial pits it shows we were a warrior clan in the Pre Iron Age."

Aside from the chariot, another significant finding during this excavation was a crown or helmet, which is normally worn by the rider of the chariot during the journey.

Asked whether the chariot was run by a bull or a horse, Manjul said that the answer still remains unknown as it is a very debatable topic.

"it could be a bull or a horse but having said that the preliminary understanding points at the horse. The chariot is a lookalike of the ones found in its contemporary cultures like Mesopotamia, it is a solid wheel with no spokes," the director added.

Speaking of the time when the first evidence of the wheeled vehicle was found in the world history, the archaeological experts shared their insights into the matter. Chariots figure were prominently mentioned in the Rigveda. During their presence in the 2nd millennium BCE, a few eminent Rigvedic deities including Ushas and Agni used to ride a chariot.

The Sanauli excavation is a further effort to find out more significant findings adding to 116 graves belonging to Indus Valley Civilisation, which were found in 2005. Among which, the archaeologists dug out eight burials and found out that each has a different story of life and style and shed light onto the lifestyle from the Pre-Iron Age. "This throws light on the lifestyle and cultures of the people who lived in the Pre Iron Age – there are mirrors with copper, the elaborate burials, all this shows the society was technologically advanced, aesthetic and had the sense of art and craft. They were warrior clans, and had a sophisticated lifestyle," added Manjul.


Indus Script Hypertexts on chariot lynchpins: मुष्टिक 'fist' rebus: मुष्टिक goldsmith, ram animal heads, rams signify metalwork

$
0
0

Pins in the shape of clenched fist signify Indus Script Hypertexts. Such pins may have been used as alloy metal lynch-pins on chariot axles.

A remarkable terracotta object was found in Lothal and reported by SR Rao. This shows a person with clenched fists which is an Indus Script Hieroglyph Sign 358 raised, closed fists. 20 out of 32 occurrences of Sign 358 are on Mohenjodaro copper tablets. Indus Script Hypertext and rebus reading: मुष्टिक 'fist' rebus: मुष्टिक goldsmith. 
Detachable perforatedarms of an alabaster statue. Source: Lothal, Vol. II: Plate CCLXIIB. Image inverted to show fisted hands. "The object is interpreted by us as the physical basis of the Indus Ideogram, depicting a pair of raised hands with folded fingers, conveying the intended meanings 'dexterity, skill, competence'. "
http://www.iiserpune.ac.in/userfiles/files/Evidence_for_the_Artisan_in_the_Indus_Script.pdf

mẽḍha'ram' Indus Script hypertext rebus mẽḍh 'iron', meḍho'helper of merchant' signified on (chariot?) lynch-pins

Fig.2 (Mackay 1937: pl. C3)
Bactria; metal pins; fig 2.10 is a pin with a head in the shape of two sitting rams; this resembles a pin was found in Mohenjodaro with a head in the form of seated goats with helically bent horns (Mackay 1937: pl. C3). Pins with zoomorphic heads is typically noticed in southwest Iran and the Near East. Fig. 2.11-12 show pins with heads in the shape of clenched fist with parallels of similar pins in Mesopotamian royal tombs of Ur (Maxwell-Hyslop 1971: 13, fig.11). Good examples of Iranian-Afghan-Indian ties.

A bronze hairpin with "cartwheel" design as the head from Tepe Yahya, Iran
(note the incised circled cross or "X" in the center) (Potts 2001: 64). (Image after Diwiyana)

Image result for chariot axle linchpin

Bronze. Chariot axle cap linchpin (xia) with kneeling human figure.Source: Freer Gallery of Art and Arthur M. Sackler Gallery. H x W x D (overall): 11.5 x 4.9 x 4 cm (4 1/2 x 1 15/16 x 1 9/16 in) Accession Number S2012.9.617

https://www.freersackler.si.edu/object/S2012.9.617/  China. late Anyang period, Late Shang dynasty, ca. 1100-1050 BCE Mirror: https://learninglab.si.edu/resources/view/236341#more-info

Antique Chinese bronze axle cap with a lynchpin decorated as a tiger attacking a buffalo. Bronze axle cap which dates from the ‘Spring & Autumn’ period (770 – 476BC). The axle cap is obviously corroded and has some tiny holes in line with its stay underground for a few thousand years but the linchpin is in perfect condition. This particular linchpin is exceptional because it depicts a small tiger sitting on top of a buffalo head. This is quite rare and we havenot seen a similar subject on a linchpin before. Axle cap length 13.5 cm. Linchpin length 10 cm. For an almost identical set see the January – February 2011 edition of ‘Arts of Asia’ (page 85). Last mentioned set is in the Long County Museum in Shanxi. Acryllic glass
http://vanderwerf-collection.nl/product_info.php?products_id=2473&osCsid=61f45bc7961b3e3ad493d0a3a185808e
Image result for chariot axle linchpin

Bronze. Pair of chariot wheel linchpins. Early Western Zhou dynasty (about 1050-771 BCE) H: 12.7 cm. https://www.comptonverney.org.uk/cv_collections/pair-chariot-wheel-linchpins/

Ekron example is the first wheeled cult stand found in Israel. It is also the closest in time (11th century B.C.E.) to Solomon’s Temple (mid-tenth century B.C.E.).
Lynch-pin? "And this inventory raises anew the question of the Philistines’ role in the introduction of ironworking technology." https://members.bib-arch.org/biblical-archaeology-review/16/1/2
Face on a lynch-pin is an Indus Script Hypertext: 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.'https://members.bib-arch.org/biblical-archaeology-review/16/1/2
Image result for nagaraja erapattra bharhutTop register shows a chariot. A hypertext on the field is cobra hood with multiple hoods. 

फडphaa 'hood of cobra' rebus: फडphaa 'metalwork artisan guild in charge of manufactory'

Nāgaraja, Erapattra worshipping at the smelter and tree. kuṭi 'tree' rebus: kuṭhi 'smelter. Bharhut, 100 BCE. The cobra hood is an Indus Script hypertext:




Wagon wheel, with forged linchpin https://en.wikipedia.org/wiki/Linchpin

A 3,200-year-old round bronze tablet with a carved face of a woman, found at the El-ahwat excavation site near Katzir in central Israel, is part of a linchpin that held the wheel of a battle chariot in place. This was revealed by scientist Oren Cohen of the Zinman Institute of Archaeology at the University of Haifa. “Such an identification reinforces the claim that a high-ranking Egyptian or local ruler was based at this location, and is likely to support the theory that the site is Harosheth Haggoyim, the home town of Sisera, as mentioned in Judges 4-5,” says Prof. Zertal.

The El-ahwat site, near Nahal ‘Iron, was exposed by a cooperative delegation excavating there during 1993-2000 from the Universities of Haifa and Cagliari (Sardinia), headed by Prof. Zertal. The excavated city has been dated back to the end of the Bronze Age and early Iron Age (13th-12th centuries B.C.E.). The city’s uniqueness - its fortifications, passageways in the walls, and rounded huts - made it foreign amidst the Canaanite landscape. Prof. Zertal has proposed that based on these unusual features, the site may have been home to the Shardana tribe of the Sea-Peoples, who, according to some researchers, lived in Harosheth Haggoyim, Sisera’s capital city. The city is mentioned in the Bible’s narratives as Sisera’s capital, and it was from there that the army of chariots set out to fight the Israelites, who were being led by Deborah the prophetess and Barak, son of Avinoam. The full excavation and its conclusions have been summarized in Prof. Zertal’s book “Sisera’s Secret, A Journey following the Sea-Peoples and the Song of Deborah” (Dvir, Tel Aviv, 2010 [Hebrew]).

One of the objects uncovered at the site remained masked in mystery. The round, bronze tablet, about 2 cm. in diameter and 5 mm. thick, was found in a structure identified as the “Governor’s House”. The object features a carved face of a woman wearing a cap and earrings shaped as chariot wheels. When uncovered in 1997, it was already clear that the tablet was the broken end of an elongated object, but Mr. Cohen, who included the tablet in the final report of the excavations, did not manage to find its parallel in any other archaeological discoveries.

Now, 13 years later, the mystery has been solved. When carrying out a scrutinizing study of ancient Egyptian reliefs depicting chariot battles, Mr. Cohen discerned a unique decoration: the bronze linchpins fastening the chariot wheels were decorated with people’s faces - of captives, foreigners and enemies of Egypt. He also noticed that these decorations characterized those chariots that were used by royalty and distinguished people.

“This identification enhances the historical and archaeological value of the site and proves that chariots belonging to high-ranking individuals were found there. It provides support for the possibility, which has not yet been definitively established, that this was Sisera’s city of residence and that it was from there that the chariots set out on their way to the battle against the Israelite tribes, located between the ancient sites of Taanach and Megiddo,” Prof. Zertal concludes.

Photos:

Chariot linchpin (Moshe Einav)
See: 

http://bharatkalyan97.blogspot.com/2011/11/archaeological-mystery-solved-site-of.html
The inscription on the m557 copper plate is deciphered:)  ḍāṅgā 'mountain' rebus: dhangar 'smith'. N. ḍāṅro ʻ term of contempt for a blacksmith ʼ (CDIAL 5324); khaṇḍa 'division' rebus: kaṇḍa .'fire-altar','equpment'; 
dula 'two' rebus: dul 'metal casting' PLUS muka 'blow with fist' (Sindhi)(CDIAL 10150). Rebus: mũhe 'ingot' (Santali) kanda kanka 'rim of jar' Rebus: कर्णिक m. a steersman (Monier-Williams)karaṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.' (Marathi).

Thus, together, the rebus Meluhha reading is: dhangar mũhe kanda kanka 'blacksmith furnace ingot (from) goldsmith (for) supercargo/steersman'. Thus, the catalogue (samgaha) entry of wealth accounting ledger related to metalwork is documented on the inscription. Meaning of 'goldsmith' is validated by the etyma which are semantic expansions of the Bhāratīya sprachbund word: muka 'blow with fist' (Sindhi) rebus: mũhe 'ingot' (Santali)मुष्टिक partic. position of the hands rebus: मुष्टिक a goldsmith L.; (pl.) of a despised race (= डोम्बास्) R.;N. of an असुर Hariv.  अ-क्षर--मुष्टिका f. the art of communicating syllables or ideas by the fingers (one of the 64 कलाs) वात्स्यायन

The etyma Kur. muṭkā ʻfistʼ Prj. muṭka ʻblow with fistʼ are cognate with phonetic forms: Ku. muṭhagī
muṭhkī f. ʻblow with fistʼ, N. muṭkimuṛki, M. muṭkā (CDIAL 10221). This suggests the basis for a hypothesis that an early spoken form in  Bhāratīya sprachbund is: muka 'blow with fist' (Sindhi)(CDIAL 10150). This is read rebus: mũhe 'ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends;kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali). 

*mukka1 ʻ blow with fist ʼ. [Prob. ← Drav., Prj. muṭka ʻ blow with fist ʼ, Kur. muṭkā ʻ fist ʼ, DED. 4041]
K. muköli f. ʻ blow with fist ʼ, (El.) mukāl m. ʻ fist ʼ; S. muka f. ʻ blow with fist ʼ, L. mukk°kī f.; P. mukk m. ʻ fist ʼ, °kī f.; WPah.bhal. mukki f. ʻ blow with fist ʼ; N. mukkā°ki ʻ fist ʼ, H. mūkāmukkā m., °kī f., mukkhī f. (X muṭṭhī < muṣṭí -- ); G. mukkɔ m., °kī f. ʻ blow with fist ʼ.(CDIAL 10150).

muṣṭí m.f. ʻ clenched hand, fist ʼ RV., ʻ handful ʼ ŚBr. Pa. Pk. muṭṭhi -- f. ʻ fist, handful, handle of an instrument ʼ; Ash. mušt ʻ fist ʼ NTS ii 267, mūst NTS vii 99, Wg. müṣṭ, Kt. muṣṭmiṣṭ; Bashg. "misht"ʻ hilt of sword ʼ; Pr. müšt ʻ fist ʼ, muṣ (?) ʻ hilt of knife ʼ; Dm. muṣṭ ʻ fist ʼ, muṣṭi ʻ handle ʼ; Paš. uzb. muṣṭī ʻ fist ʼ, lauṛ. muṭhīˊ; Gaw. muṣṭ ʻ handle (of plough) ʼ, muṣṭāˊkmuṣṭīke ʻ fist ʼ, muṣ -- kaṭāˊrī ʻ dagger ʼ; Kal.rumb. muṣṭí ʻ fist ʼ; Kho. muṣṭi ʻ fist, grip ʼ; Phal. muṣṭ ʻ a measure of length (elbow to end of fist) ʼ, múṣṭi f. ʻ fist ʼ, muṭṭi f. ʻ arm below elbow ʼ (← Ind.?) → Bshk. mut (= *muṭh?) ʻ fist ʼ AO xviii 245; Sh.gil. muṭ(h), pl. muṭí m. ʻ fist ʼ, muṣṭí ʻ handle of plough ʼ, jij. mv́ṣṭi ʻ fist ʼ, koh. gur. mŭṣṭăkf., pales. muṭh ʻ arm, upper arm ʼ; K. mŏṭhm&obrevdotdot;ṭhü f. ʻ fist ʼ; S. muṭhi f. ʻ fist, fistful, handle ʼ; L. muṭṭh ʻ fist, handle ʼ, muṭṭhī f. ʻ handful ʼ, awāṇ. muṭh; P. muṭṭhmuṭṭhī f. ʻ fist ʼ, muṭṭhā m. ʻ handle, bundle ʼ; Ku. muṭhī f. ʻ fist, handful ʼ, muṭho ʻ handle ʼ; N. muṭh ʻ handle ʼ, muṭhi ʻ fist ʼ, muṭho ʻ handful ʼ; A. muṭhi ʻ fist, handful, handle ʼ, muṭhan ʻ measure of length (elbow to middle joint of little finger) ʼ; B. muṭhmuṭi ʻ fist, handful ʼ, muṭ(h)ā ʻ handful ʼ; Or. muṭhi ʻ fist ʼ, muṭha ʻ hilt of sword ʼ, muṭhā ʻ clenched hand ʼ; Bi. mūṭhmuṭhiyā ʻ knob on body of plough near handle ʼ, mūṭhāmuṭṭhā ʻ the smallest sheaf (about a handful) ʼ; Mth. muṭhā ʻ handle of mattock ʼ; Bhoj. mūṭhi ʻ fist ʼ; OAw. mūṭhī f. ʻ handful ʼ; H. mūṭh f., mūṭhā m. ʻ fist, blow with fist ʼ, mūṭhīmuṭṭhī f. ʻ fist, handful ʼ, muṭṭhā m. ʻ handful, handle (of plough), bundle ʼ; G. mūṭh f. ʻ fist ʼ, muṭṭhī f. ʻ handful ʼ; M. mūṭh f. ʻ fist ʼ, Ko. mūṭ; Si. miṭa, pl. miṭi ʻ fist, handful ʼ, miṭiya ʻ hammer, bundle ʼ; Md. muři ʻ hammer ʼ: the forms of P. H. Si. meaning ʻ bundle ʼ perh. rather < *muṭṭha -- 2 s.v. mūta -- ; -- in Gy. wel. mušī, gr. musī ʻ arm ʼ loss of  is unexpl. unless -- ī is secondary. -- Poss. ← or infl. by Drav. (Prj. muṭka ʻ blow with fist ʼ &c., DED 4041: see *mukka -- 1): Ku. muṭhagīmuṭhkī f. ʻ blow with fist ʼ, N. muṭkimuṛki, M. muṭkā m. nimuṣṭi -- .Addenda: muṣṭí -- : WPah.kṭg. mvṭ -- (in cmpd.), múṭṭhi f. ʻ clenched hand, handful ʼ; J. muṭhā m. ʻ handful ʼ, Garh. muṭṭhi; A. muṭh (phonet. muth) ʻ abridgement ʼ AFD 94; Md. muř ʻ fist, handle ʼ, muři ʻ hammer ʼ.(CDIAL 10221). Pa. muṭṭ- to hammer; muṭkablow with fist. Ga. (P.) muṭa fist. Go. (Mu.) muṭ, (Ko.) muṭiya hammer; (Mu.) muṭka a blow (Voc. 2874). Pe. muṭla hammer. Manḍ. muṭla id. 
Kuwi (Su.) muṭla id. Kur. muṭga'ānā to deal a heavy blow with the fist; muṭgā, muṭkā clenched hand or fist, hammering with the fist; muṭka'ānā to hit or hammer at with the fist. / Cf. Skt. muṭ- to crush, grind, break; Turner, CDIAL, no. 10186: root,  muṭáti ʻ *twists ʼ (ʻ kills, grinds ʼ Dhātup.) . (DEDR 4932) Muṭṭhi (f.) [Vedic muṣṭi, m. f. Does defn "muṭ=mad- dane" at Dhtm 125 refer to muṭṭhi?] the fist VvA 206.; Muṭṭhika [fr. muṭṭhi] 1. a fist -- fighter, wrestler, boxer Vin ii.105 (malla˚); J iv.81 (Np.); vi.277; Vism 31 (+malla). -- 2. a sort of hammer J v.45.(Pali) मुष्टि the clenched hand , fist (perhaps orig. " the hand closed to grasp anything stolen ") RV. &c; a compendium , abridgment सर्वदर्शन-संग्रह (Monier-Williams).
See: 

 


Clenched fist as an Indus Script Hypertext which signifies 





Evidence from Anatolia. 

Drinking vessel in the shape of a fist

Near Eastern, Anatolian, Hittite
Hittite New Kingdom, reign of Tudhaliya III
14th century B.C.
Place of Manufacture: central Anatolia
This ceremonial drinking vessel is shaped in the form of a human fist with a procession of musicians in relief along the cuff.

Three chariots, shields, daggers found in Baghpat: ASI (Video 4:08)

$
0
0

This is an addendum to  Indus Script Hypertexts on chariot lynchpins: मुष्टिक 'fist' rebus: मुष्टिक goldsmith, ram animal heads, rams signify metalwork https://tinyurl.com/ya22wmd2

https://www.youtube.com/watch?v=YZOQKNqu0NE बागपत के सोनौली में 5000 साल पुरानी कब्रगाह मिलीNDTV India Jun 4, 2018 पहली बार किसी राजा की कब्रगाह मिली है. कब्र के साथ तांबे का रथ और तलवार भी मिली जो इसे मेसोपोटामिया की सभ्यता के बराबर खड़ा करती है. बागपत के सनौली गांव में पांच हजार साल पुरानी शाही कब्रगाह मिली है. इस कब्रगाह में मिले ताबूत और यहां रखी एतिहासिक चीजों को भारतीय पुरातत्व विभाग एक महत्वपूर्णखोज बता रहा है जो कई ऐतिहासिक मान्यताएं बदल देगा. दिल्ली से करीब 60 किलोमीटर दूर बागपत का सोनौली गांव, जहां जमीन के नीचे दफ्न 126 कब्रगाहें मिली हैं. ये कब्रें करीब पांच हजार साल पुरानी हैं.

ASI unearths ‘first-ever’ physical evidence of chariots in Copper-Bronze age

TNN | Updated: Jun 6, 2018, 10:16 IST

HIGHLIGHTS The excavation, which began in March, has also unearthed eight burial sites and several artefacts, including three coffins, antenna swords, daggers, combs, and ornaments

  • The discovery of a chariot puts us on a par with other ancient civilizations, like Mesopotamia, Greece,etc.  ASI                                                                   
Remains of one of the chariots found in the excavation.

MEERUT: In a first, Archaeological Survey of India (ASI) has stumbled upon the remains of a chariot that dates back to “Bronze Age” (2000-1800 BC) at Sinaulivillage of Baghpat district in Uttar Pradesh. Decorated with copper motifs, the findings of the Copper-Bronze age have opened up further research opportunities into the area’s civilisation and culture.



The ASI team, which has been excavating the archaeologically rich site for the past three months, unveiled the new finding on Monday.

meerut2




The swords and daggers confirm the existence of a warrior population.




The excavation, which began in March, has also unearthed eight burial sites and several artefacts, including three coffins, antenna swords, daggers, combs, and ornaments, among others. The three chariots found in burial pits indicate the possibility of “royal burials” while other findings confirm the population of a warrior class here, officials said.

The discovery of a chariot puts us on a par with other ancient civilizations, like Mesopotamia, Greece, etc. where chariots were extensively used. It seems a warrior class thrived in this region in the past,” said SK Manjul who is co-director of Excavations and ASI’s Institute of Archaeology in Delhi.


Burial

A coffin found at one of the ‘royal burial’ sites
Manjul termed the digging drive a “path-breaking” one, also because of the copper plated anthropomorphic figures – having horns and peepal-leafed crowns – found on the coffins, that indicated a possibility of “royal burials”.



“For the first time in the entire sub-continent, we have found this kind of a coffin. The cover is highly decorated with eight anthropomorphic figures. The sides of the coffins are also decorated with floral motifs,” Manjul said.




While coffins have been discovered during past excavations in Harappa, Mohenjo-daro and Dholavira (Gujarat), but never with copper decorations, he added.




The findings also shed light on the noteworthy progress the Indian civilsation had made at the time, making it at par with the 2000 BC Mesopotamia.



“We are now certain that when in 2000 BC, the Mesopotamians were using chariots, swords, and helmets in wars, we also had similar things.”




burial1

The ASI team is excavating the archaeologically rich site for the past three months and unveiled this new finding only on Monday




The swords, daggers, shields and a helmet confirmed the existence of a warrior population, and the discovery of earthen and copper pots, semi-precious and steatite beads, combs, and a copper mirror from the burial pits point towards a “sophisticated” craftsmanship and lifestyle.



“It is confirmed that they were a warrior class. The swords have copper-covered hilts and a medial ridge making it strong enough for warfare. We have also found shields, a torch and daggers,” the archaeologist said.


The current site lies 120 metres from an earlier one in the village, excavated in 2005, where 116 burials were found along with antenna swords and pottery.


meerut7
Experts termed the digging drive a “path-breaking” one.




While it was difficult to ascertain the exact race of the latest buried remains, Manjul asserted that the chariots and coffins did not belong to the Harappan civilisation.





“The findings of the 2005 excavation – pottery, beads and other cultural material – were similar to those of the Harappan civilisation.”




Manjul said the similarities could have been an outcome of the migration of the Harappans to the Yamuna and the upper planes during the late mature Harappan era.


https://timesofindia.indiatimes.com/city/meerut/asi-unearths-first-ever-physical-evidence-of-chariots-in-copper-bronze-age/articleshow/64469616.cms

ASI unearths 'first-ever' physical evidence of Copper-Bronze age chariots

Press Trust of India  |  Sanauli (UP) 



The "first ever" physical evidence of chariots dating 2000 BC - 1800 BC have been found by the Archeological Survey of (ASI) during a trial excavation in village near here.
Decorated with copper motifs, the findings of the Copper-Bronze age have opened up further research opportunities into the area's civilisation and culture.
The three-month long excavation, which started in March this year, has unearthed eight burial sites and several artifacts including three coffins, antenna swords, daggers, combs, and ornaments, among others.
The three chariots found in the burial pits could remind one of the familiar images of horse-drawn carriages from mythological television shows.
The relics suggest the existence of a two-wheeled open vehicle that may have been driven by one person.
"The wheels rotated on a fixed axle linked by a draft pole to the yoke of a pair of animals. The axle was attached with a superstructure consisting of a platform protected by side-screens and a high dashboard," S K Manjul, of Delhi-based Institute of Archaeology, said.
The wheels and the pole have been found decorated with copper triangles, symbolic of the rays of the sun.
termed the digging drive a "path-breaking" one, also because of the copper plated anthropomorphic figures -- having horns and peepal-leafed crowns -- found on the coffins, that indicated a possiblity of "royal burials".
"For the first time in the entire sub-continent we have found this kind of a coffin. The cover is highly decorated with eight anthropomorphic figures. The sides of the coffins are also decorated with floral motifs," said.
While coffins have been discovered during past excavations in Harappa, Mohenjo-daro and Dholavira (Gujarat), but never with copper decorations, he added.
The findings also shed light on the noteworthy progress the Indian civilsation had made at the time, making it at par with the 2000 BC Mesopotamia.
"We are now certain that when in 2000 BC, the Mesopotamians were using chariots, swords, and helmets in wars, we also had similar things." 

The swords, daggers, shields and a helmet confirmed the existence of a warrior population, and the discovery of earthen and copper pots, semi-precious and steatite beads, combs, and a copper mirror from the burial pits point towards a "sophisticated" craftsmanship and lifestyle.
"It is confirmed that they were a warrior class. The swords have copper-covered hilts and a medial ridge making it strong enough for warfare. We have also found shields, a torch and daggers," the said.
The current site lies 120 meters from an earlier one in the village, excavated in 2005, where 116 burials were found along with antenna swords and pottery.
While it was difficult to ascertain the exact race of the latest buried remains, asserted that the chariots and coffins did not belong to the Harappan civilisation.
"The findings of the 2005 excavation -- pottery, beads and other cultural material -- were similar to those of the Harappan civilisation." 

Manjul said the similarities could have been an outcome of the migration of the Harappans to the Yamuna and the upper planes during the late mature Harappan era.

However, the recent findings were "completely different" from the ancient civilisation.

Eight Indus Script hypertexts, copper anthropomorphs in bas-relief depicted on coffin, Sinauli (Baghpat) signify guild-master of 8 metalwork mints

$
0
0

https://tinyurl.com/y7aefz2h

This monograph deciphers the eight copper anthropomorphs shown in bas-relief on the lid of a coffin discovered in Sinauli, Baghpat archaeological site on the banks of Yamuna river.

In Kisari Mohan Ganguly's English translation of Mahābhārata the word gaṇa is translated as 'aristocracy'. Such an aristocrat is signified in the Indus Script Hypertexts of Sinauli, Baghpat discovery of remarkable artifacts which included three chariots, apart from swords, shields and other armour. Clearly, the eminent person venerated at the site in a wooden coffin is an armourer who also controlled eight mint metal workshops.

To present the significance of Baghpat finds in perspective, the following map shows the location of Rakhigarhi close to Yamuna river. Rakhigarhi is the largest site of Sarasvati Civilization of over 500 hectares.


Related imageRakhigarhi on the banks of Yamuna river (earlier phase of ancient channel as tributary of River Sarasvati).
Related image
Image result for sinauli baghpat


The recent discoveries of chariots and swords have to be evaluated for their significance in the context of a find in 2015 of a metal crown jewel of breath-taking beauty shown below in a computer reconstruction.

:A computer reconstruction of the copper crown found in Baghpat in Uttar Pradesh in 2015 (See Annex II report) Photo: PTI  

An explanatory note in Annex I details the significance of 'ficus glomerata' (Sign327 Indus Script) as an Indus Script Hypertext. The hypertext reads: lohkarṇīka'metal (guild) helmsman (master)'. It may also signify lohkarṇī 'metal supercargo(a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.).'


The top lid of the wooden box (referred to as kabragah, 'coffins or samādhisthal') has eight identical copper anthropomorphs in bas relief. I suggest that these are read as Indus Script hypertexts, composed of human faces with with a head gear (crown) composed of curved horns holding a pipal leaf in the middle. Sanjay Kumar Manjul explains in Hindi in the video cited above: "इस लकड़ी में बनी है इस के ऊपर जो मानव आकृति बने हैं  इस में  आप देखेंगे सिंग, बीच में  पीपल लीफ, जैसा उनका क्राउन है, बाड़ी, और उनके पास सम्भवता कुछ आयुध उसके पास...ऐसे आठ डेपिक्शन जो कॉफिन के ऊपरी लिड में डेपिक्ट हुए हैं ..." Translation: "coffin made of wood. Lid is decorated with anthropomorphs (bas-relief) with horns, pipal leaf in the middle,making it a crown, body of the seated person and perhaps some weapon beside him...like this there are eight anthropomorphs depicted on the lid."


Another view of two anthropomorphs: taambe ki nakkāśī   नक्काशी 'copper hieroglyphs (art work)'




See how a long inscription is signed off by a 'squirrel' hieroglyph: The guild-master signs off on the inscription by affixing his hieroglyph: 
palm squirrel,Sciurus palmarum' 

 https://tinyurl.com/y9ug5h9y


The horned crown (head gear) with a 'ficus' leaf in the middle PLUS perhaps a 'squirrel' hieroglyph signifies: khār'blacksmith'śrēṣṭhin'guild-master' 

Hieroglyph: squirrel:  *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri)*śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ°ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭhśeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh°ṭhīśeṭ°ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭuhi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhīśeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or seṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)


Eight anthropomorphs khār खार् 'blacksmith' seṭṭhin 'blacksmith guild-master' so depicted on the lid of the wooden box signifies that the person venerated was guild-master of eight metalsmithy mints of Sinauli, Baghpat.

The horns of the anthropomorphs: Kannada. kōḍu horn, tusk, branch of a tree; kōr̤ horn.(DEDR 2200) rebus: kōḍ 'workshop'; thus, togethr with 'ficus glomerata', the headgear signifies :loh kōḍ 'metals workshoop'.

Frames excerpted from the Youtube video https://www.youtube.com/watch?v=YZOQKNqu0NE&t=70s (4:08) with an oral explanation provided by Sanjay Manju, the archaeologist.

https://www.youtube.com/watch?v=71jfGCi-e0k (14:39) News 24 Published on Jun 5, 2018

यूपी के बागपत जिले में सिलोनी गांव वालों ने अचानक से जमीन उठने का दावा किया.और जब ऑर्कियोलॉजिकल सर्वे ऑफ इंडिया ने 2 फीट नीचे खुदाई की.तो पांच हजार साल पुरानी सभ्यता के सबूत मिले.शाही कब्रगाहे मिली और ताबूत में एक राजा की कब्र थी तांबे का रथ और ताबें के हथियार थे.

Significance of artifacts found at Sinauli, Baghpat

A decorated comb was found (with dotted circles). Another comb had a peacock signified.

126 burials have been found.


Bronze Age 'Chariots’ Found, Claims ASI



  • TNN
  • Publish Date: Jun 6 2018 12:03PM
  • |
  • Updated Date: Jun 6 2018 12:03PM
  • The excavation, which began in March, has also unearthed eight burial sites and several artefacts, including three coffins, antenna swords, daggers, combs, and ornaments, among others.The three chariots found in burial pits indicate the possibility of “royal burials” while other findings confirm the population of a warrior class here, officials said. The discovery of a chariot puts us on a par with other ancient civilizations, like Mesopotamia, Greece, etc. where chariots were extensively used. It seems a warrior class thrived in this region in the past,” said SK Manjul who is co-director of Excavations and ASI’s Institute of Archaeology in Delhi.

    https://toistudent.timesofindia.indiatimes.com/news/top-news/bronze-age-chariots-found-claims-asi/34474.html

    Annex I

    'ficus glomerata' (Sign327 Indus Script) as an Indus Script Hypertext

    Seal m0296 Two heads of young bulls, nine ficus leaves)


    m0296 Two heads of one-horned bulls with neck-rings, joined end to end (to a standard device with two rings coming out of the top part?), under a stylized pipal tree with nine leaves. Text 1387 
     dula 'pair' rebus: dul 'cast metal' dhAv 'string/strand' rebus: dhAv, dhAtu 'element, ore'.


    Mohenjo-daro Seal impression. m0296 Two heads of one-horned bulls with neck-rings, joined end to end (to a standard device with two rings coming out of the top part?), under a stylized tree-branch with nine leaves.

    खोंद [ khōnda ] n A hump (on the back): also a protuberance or an incurvation (of a wall, a hedge, a road). Rebus: खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or -पुसणें To question minutely and searchingly, to probe.गोट [ gōṭa ] m (H) A metal wristlet. An ornament of women. 2 Encircling or investing. v घाल, दे. 3 An encampment or camp: also a division of a camp. 4 The hem or an appended border (of a garment).गोटा [ gōṭā ] m A roundish stone or pebble. 2 A marble (of stone, lac, wood &c.) 3 fig. A grain of rice in the ear. Ex. पावसानें भाताचे गोटे झडले. An overripe and rattling cocoanut: also such dry kernel detached from the shell. 5 A narrow fillet of brocade.गोटाळ [ gōṭāḷa ] a (गोटा) Abounding in pebbles--ground.गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble. 2 A marble. 3 A large lifting stone. Used in trials of strength among the Athletæ. 4 A stone in temples described at length under उचला 5 fig. A term for a round, fleshy, well-filled body.
    Rebus: गोटी [ gōṭī ] f (Dim. of गोटा A lump of silver: as obtained by melting down lace or fringe. 
    Hieroglyph: lo = nine (Santali); no = nine (B.)  on-patu = nine (Ta.)

    [Note the count of nine fig leaves on m0296] Rebus: loa = a species of fig tree, ficus glomerata,
    the fruit of ficus glomerata (Santali.lex.)
        Epigraph: 1387 
    kana, kanac =
    corner (Santali); Rebus: kan~cu
    = bronze (Te.)  Ligatured glyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka =?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel,nave of the wheel through which the axle passes; cf. ara_, spoke]erka = ekke (Tbh.of arka) aka (Tbh. of arkacopper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka= copper (Ka.)eruvai =copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a= syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால்ஆரஞ்சூழ்ந்தவயில்வாய்
    நேமியொடு (சிறுபாண்253). Rebus: ஆரம் brass; பித்தளை.(அகநி.) pittal is cognate with 'pewter'.
    kui = a slice, a bit, a small piece (Santali.lex.Bodding) Rebus: kuṭhi
    ‘iron smelter furnace’ (Santali) kuhī factory (A.)(CDIAL 3546)
    Thus, the sign sequence
    connotes a copper, bronze, brass smelter furnace
    Ayo ‘fish’; kaṇḍa‘arrow’; rebus: ayaskāṇḍa. The sign sequence is ayaskāṇḍa ‘a quantity of iron,excellent iron’ (Pāṇ.gaṇ) ayo, hako 'fish'; a~s = scales of fish (Santali); rebus:aya = iron (G.); ayah, ayas = metal (Skt.) kaṇḍa‘fire-altar’ (Santali) DEDR 191 Ta. ayirai,acarai, acalai loach, sandy colour, Cobitisthermalis; ayilai a kind of fish. Ma. ayala a fish,mackerel, scomber; aila, ayila a fish; ayira a kind ofsmall fish, loach.
    kole.l 'temple, smithy'(Ko.); kolme ‘smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.); kollan-blacksmith (Ta.); kollan blacksmith, artificer (Ma.)(DEDR 2133)  kolme =furnace (Ka.)  kol = pan~calo_ha (five
    metals); kol metal (Ta.lex.) pan~caloha =  a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Man:garāja’s Nighaṇṭu. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali)
    Zebu and leaves. In
    front of the standard device and the stylized tree of 9 leaves, are the black
    buck antelopes. Black paint on red ware of Kulli style. Mehi. Second-half of
    3rd millennium BCE. [After G.L. Possehl, 1986, Kulli: an exploration of an
    ancient civilization in South Asia
    , Centers of Civilization, I, Durham, NC:
    46, fig. 18 (Mehi II.4.5), based on Stein 1931: pl. 30. 
    poLa 'zebu' rebus; poLa 'magnetite'

    ayir = iron dust, any ore (Ma.) aduru = gan.iyindategadu 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 interpretationof the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330) DEDR 192  Ta.  ayil iron. Ma. ayir,ayiram any ore. Ka. aduru native
    metal.
     Tu. ajirdakarba very hard iron
    V326 (Orthographic variants of Sign 326) V327 (Orthographic variants of Sign 327)
    loa = a species of fig tree, ficus glomerata, the fruit of ficus
    glomerata
     (Santali.lex.) Vikalpa: kamaṛkom ‘ficus’ (Santali);
    rebus: kampaṭṭam ‘mint’ (Ta.) patra ‘leaf’ (Skt.); rebus: paṭṭarai
    ‘workshop’ (Ta.) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy) lauha = made of
    copper
     or iron (Gr.S'r.); metal, iron (Skt.); lo_haka_ra = coppersmith, ironsmith (Pali);lo_ha_ra = blacksmith (Pt.); lohal.a (Or.); lo_ha = metal, esp. copper or
    bronze
     (Pali); copper (VS.); loho, lo_ = metal, ore, iron (Si.) loha lut.i = iron utensils and implements (Santali.lex.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (G.lex.) kōṭu = horns (Ta.) kōḍiya, kōḍe = 
    young bull (G.) Rebus: koḍ  = place where artisans work (G.lex.)
    dol = likeness, picture, form (Santali) [e.g., two tigers, two bulls, duplicated signs] me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron (Santali) [Thus, the paired glyph of one-horned heifers connotes (metal) casting (dul) workshop (koḍ)]

    PLUS

    śã̄gaḍ ʻchainʼ rebus: sanghāta 'vajra, metallic adamantine glue'. Thus, the metallurgist has achieved and documented the alloy of copper, as adamantine glue.

    The chain hieroglyph component is a semantic determinant of the stylized 'standard device' sã̄gaḍa, 'lathe, portable brazier' used for making, say, crucible steel. Hence the circle with dots or blobs/globules signifying ingots.

    Annex 2

    Digging up historyBAGHPAT:, JANUARY 14, 2015 00:00 IST 

    When labourers were digging farmland to collect clay for making bricks in Uttar Pradesh, they stumbled upon a habitation of late Harappan era

    When brick kiln workers stumbled upon human skeletal remains at Chandayan village, some 100 km from Delhi, no one had any inkling that it could be the first ever habitation from the later phase of Harappan civilisation to be found in the state. The early Harappan phase lasted from 3300 BC to 2600 BC, the mature phase from 2600 BC to 1900 BC and the late phase from 1900 BC to 1600 BC.
    “The artefacts came to light when labourers were digging farmland to collect clay for making bricks,” Superintending Archaeologist of Archaeological Survey of India A K Pandey told PTI.
    “This is for the first time that a habitation of late Harappan era has been found in UP...though a burial ground was found in Sinauli in the past,” he said. “It was a chance discovery when some labourers found a skeleton with copper crown on his head while digging mud for bricks,” Pandey said. “The crown indicates that the skeleton was probably that of a local chieftain or village head. We have discovered terracotta pottery too. But these are crudely crafted and not of very fine quality,” Pandey said.
    The ASI then began extensive exploration of the site in the second half of last year in Baraut tehsil of Baghpat district on the plains of river Hindon, he said.PTI
    First observatory
    A group of scientists identified two circular structures at Dholavira in Kutch district of Gujarat, which they said was the first identification of a structure used for observational astronomy during the Harappan Civilisation. The discovery by M N Vahia from the Tata Institute of Fundamental Research (TIFR) and Srikumar Menon from Manipal School of Architecture and Planning (Karnataka) is crucial, said scientists, as it was the first direct indication of intellectual capacity of people in the context of the civilisation and their relation to astronomy.
    It is highly implausible that such an intellectually advanced civilisation did not have any knowledge of positional astronomy. These (structures) would have been useful for calendrical (including time of the day, time of the night, seasons, years and possibly even longer periods) and navigational purposes apart from providing intellectual challenge to understanding the movement of the heavens.
    Vahia said Dholavira, assumed to be an island at that time, is almost exactly on the Tropic of Cancer and was an important centre of trade. "Hence, keeping track of time would be crucial to the city. So far, there had been no positive identification of any astronomy-related structure in any of the 1,500-odd sites of the Harappan Civilisation known today. The two structures identified by us seem to have celestial orientations inbuilt into their design. So, we have concluded that the two rooms in the structure were meant for observations of the sun," he said.
    He said the discovery will enable scientists to measure the intellectual growth of people of the Harappan Civilisation. It could give valuable insights on how the mentalities of the civilisation developed, in what ways they used the astronomical data to conduct business, farming and other activities.
    The scientists simulated, what is now left of the two rooms, for response to solar observations and have concluded that important days of the solar calendar could easily be identified by analysing the image inside the room.
    The simulations were conducted for summer and winter solstice. The study says the narrow beam of light from the entrances would also enhance the perception of the movement of the sun over a year.
    "The interplay of image and its surrounding structures seem to suggest that the structure is consistent with it being a solar observatory to mark time. The west-facing circle has two flanking walls outside the exit, whose shadow touches the entrance on winter and summer solstice. The two square well-like structures at the southern end would provide an excellent location to observe zenith transiting stars even in the presence of city lights," says the study.
    Image result for sinauli baghpat

    Continuum of Indus Script (ca. 2000 BCE) on eight copper anthropomorphs discovered in Baghpat, signify wealth accounting metalwork ledgers

    $
    0
    0

    The Indus Script continuum is vivid on Baghpat discoveries of artifacts.

    This monograph explains the significance of the horned figures shown as eight copper anthropomorphs in bas-relief on the top lid of the wooden coffin discovered in Baghpat.

    Thanks to Jijith Nadumuri Ravi for the following elucidation of the prastha suffix in the place name Baghpat: See: 

     https://tinyurl.com/y7aefz2h

    An explanatory note in Annex I details the significance of 'ficus glomerata' (Sign327 Indus Script) as an Indus Script Hypertext. The hypertext reads: lohkarṇīka 'metal (guild) helmsman (master)'. It may also signify lohkarṇī 'metal supercargo(a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.).'


    The top lid of the wooden box (referred to as kabragah, 'coffins or samādhisthal') has eight identical copper anthropomorphs in bas relief. I suggest that these are read as Indus Script hypertexts, composed of human faces with with a head gear (crown) composed of curved horns holding a pipal leaf in the middle.

    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.'.

    "Prasta seems to be a popular placename - suffix in the Kuru Rashtra region during the Kurukshetra War period. We have Indraprasta which is also known as Shakraprasta and Khandavaprasta. Then there are Paniprasta (Panipat), Yamaprasta, Bhagaprasta (Bhagpat), Svarnaprasta (Sonipat), Tilaprasta (Tilpat) and so on in this same region (Western UP + Eastern Haryana = Kuru Rastra). Then there is the prefix sthali/sthala in the place names like Vyasasthali (Bastali), Karnastali (Karnal), Vrkastali, Kushastali, Achyutastala and so on.  Other names in Kururastra  like Makandi, Pramanakoti, Vardhamana etc stand out as odd. We also have the most polular 'pura' / puri suffix for Hastinapura and 'vata' / vati suffix for Varanavata which is popular in the whole of Bharatavarsha.  (The 'puram' suffix is interestingly a placename suffix in southern India as well with its own meaning along with the akam/ aham suffix. The ahi in Ahichatra with the meaning associating it with the Nagas (ahi=naga=snake) is also interesting. Nag/naka in various regional languages have connotations of locality.) The names Indraprasta, Bhagaprastha (taken to be named after the Aditya Bhaga) as well as the tirthas dedicated for Varuna, Indra, Aryaman, Vishnu, Vivasvat etc along Sarasvati river passing through Krurukshetra, make this region heavuly associated with the Aditya devatas."

    The ancient name of Baghpat is likely to be Bhagaprastha. The word bhaga perhaps is cognate with bonga (Santali) as in sim bonga 'boundary divinity', sing bonga 'the sun'.

    It is indeed a stunner to see 8 anthropomorphs atop the lid of the wooden box discovered in Baghpat. They are emphatic blacksmith hieroglyphs as in Mesopotamia.

    British Museum number103225 Baked clay plaque showing a bull-man holding a post. 

    Old Babylonian 2000BC-1600BCE Length: 12.8 centimetres Width: 7 centimetres Barcelona 2002 cat.181, p.212 BM Return 1911 p. 66 

    On this terracotta plaque, the mace is a phonetic determinant of the bovine (bull) ligatured to the body of the person holding the mace. The person signified is: dhangar ‘blacksmith’ (Maithili) ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’.
    Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488) N. ḍāṅro ʻ term of contempt for a blacksmith ʼ "... head and torso of a human but the horns, lower body and legs of a bull...Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. British Museum. WCO2652Bull-manTerracotta plaque. Bull-man holding a post. Mesopotamia, ca. 2000-1600 BCE." 
    Terracotta. This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.
    Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.8 cm Width: 7cm ME 103225 Room 56: Mesopotamia Briish Museum
    Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. While many show informal scenes and reflect the private face of life, this example clearly has magical or religious significance.
    Hieroglyph carried on a flagpost by the blacksmith (bull ligatured man: Dhangar 'bull' Rebus: blacksmith') ḍhāla 'flagstaff' Rebus: ḍhāla 'large ingot'
    Note: Indus Script Corpora signifies bull as a hieroglyph: dhangar 'bull' rebus: dhangar 'blacksmith'
    Image result for dhangar bharatkalyan97Harappa prism tablet

    Field Symbol Figures 83 to 89

    Field Symbol codes 50 to 53:

    50. Personage wearing a diadem or tall head-dress Slanding between two posts or under an ornamental arch.
    51. Standing pe rsonage with horns and bovine features (hoofed legs an d/or tail).
    52. Standing personage with ho rns and bovine features. hold ing a bow in one hand and an arrow o r an un ce rtain
    object in the other.
    53. Standing pe rsonage with horns and bovine features holding a staff or mace on his shoulder.

    Stone seal. h179. National Museum, India. Carved seal. Scan 27418 Tongues of flame decorate the flaming pillar, further signified by two 'star' hieroglyphs on either side of the bottom of the flaming arch.

    The canopy is visually and semantically reinforced by a series of decorative canopies (pegs) topped by umbrella hieroglyph along the arch.

    The hypertexts are read rebus in Meluhha Bhāratīya sprachbund (speech union): 

    1. The adorned, horned person standing within the canopy:  karã̄ 'wristlets' khār 'blacksmith'  kūṭa, 'horn'kūṭa 'company'

    2. Headdress: kolmo 'rice plant' rebus: kolami 'smithy, forge'. Vikalpa: Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali).Thus the standing person with twig headdress is a khār blacksmith working with khār smelter and furnace.

    3. Canopy:  M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ(CDIAL 9734) rebus: 
    maṇḍā 'warehouse, workshop' (Konkani)  maṇḍī 'market' karã̄ n. pl.wristlets, banglesRebus: khār 'blacksmith, iron worker' (Kashmiri).कर्मार m. an artisan , mechanic , artificer; a blacksmith &c RV. x , 72 , 2 AV. iii , 5 , 6 VS. Mn. iv , 215 &c (Monier-Williams)  karmāˊra m. ʻ blacksmith ʼ RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf. Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra -- ]Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , °aya -- m. ʻ blacksmith ʼ, A. kamār, B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ blacksmith ʼ, Si. kam̆burā.*karmāraśālā -- .
    Addenda: karmāˊra -- : Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898)

    4 Decoration on canopy: umbrella on pegs: Hieroglyph: canopy, umbrella: Ta. kuṭai umbrella, parasol, canopy. Ma. kuṭa umbrella. Ko. koṛ umbrella made of leaves (only in a proverb); keṛ umbrella. To. kwaṛ 
    id. Ka. koḍe id., parasol. Koḍ. koḍe umbrella. Tu. koḍè id. Te. goḍugu id., parasol. Kuwi (F.) gūṛgū, (S.) gudugu, (Su. P.) guṛgu umbrella (< Te.). / Cf. Skt. (lex.) utkūṭa- umbrella, parasol.Ta. kūṭāram(DEDR 1881) Rebus: kūṭa 'company' (Kannada)

    5. The canopy is flanked by a pair of stars: Hieroglyph:मेढा [ mēḍhā ] 'polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) dula'two' rebus: dul 'metal casting' Thus, signifying a cast iron smelter.
    6. Text message on the obverse of the Harappa tablet h179:

    Signs 47, 48khāra 2 खार (= ) or khār 4 खार् (L.V. 96, K.Pr. 47, Śiv. 827) । द्वेषः m. (for 1, see khār 1 ), a thorn, prickle, spine (K.Pr. 47; Śiv. 827, 153)(Kashmiri) Rebus: khār  खार् 'blacksmith' (Kashmiri)
    Sign 8 käti ʻwarrior' (Sinhalese)(CDIAL 3649). rebus:  khātī m. ʻ 'member of a caste of wheelwrights'ʼVikalpa: bhaa 'warrior' rebus: bhaa 'furnace'. bhāthī m. ʻ warrior ʼ bhaa 'warrior' Rebus: bhaTa 'furnace', thus reinforcing the smelting process in the fire-altars. Smelters might have used bhaThi 'bellows'. bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ (CDIAL 9424)
    Sign 342 karṇaka, kanka 'rim of jar' rebs: karṇī  'scribe, supercargo' कर्णिक m. a steersman(Monier-Williams)


    Ka.  kūṭa joining, connexion, assembly, crowd, heap, fellowship, sexual intercourse; ku·ṭï gathering, assembly. Tu. kūḍuni to join (tr.), unite, copulate, embrace, adopt; meet (intr.), assemble, gather, be mingled, be possible; kūḍisuni to add; kūḍāvuni, kūḍisāvuni to join, connect, collect, amass, mix; kūṭuni, kūṇṭuni to mix, mingle (tr.); kūḍa along with; kūḍigè joining, union, collection, assemblage, storing, mixing; kūṭaassembly, meeting, mixture. Te. kūḍu to meet (tr.), join, associate with, copulate with, add together; meet (intr.), join, agree, gather, collect, be proper; kūḍali, kūḍika joining, meeting, junction; kūḍa along with; kūḍaniwrong, improper; kūḍami impropriety; kūṭamu heap, assembly, conspiracy; kūṭuva, kūṭuvu heap, collection, army; kūṭami meeting, union, copulation; kūṭakamu addition, mixture; kūr(u)cu to join, unite, bring together, amass, collect; caus. kūrpincu; kūrpu joining, uniting. Kol. (Kin.) kūṛ pāv meeting of ways (pāv way, path). Pa. kūṛ er- to assemble. Go. (S.) kūṛ- to join; (Mu.) gūḍ- to assemble (Voc. 833); (M.) guṛnā to swarm (Voc. 1160). Konḍa kūṛ- (-it-) to join, meet, assemble, come together; kūṛp- to mix (cereals, etc.), join or put together, collect; kūṛaŋa together. Pe. kūṛā- (kūṛa ā-) to assemble. Kuwi (Su.) kūṛ- id.; (Isr.) kūṛa ā-to gather together (intr.); kūṛi ki- to collect (tr.); (S.) kūḍi kīnai to gather; kūṛcinai to collect. Kur. xōṇḍnā to bring together, collect into one place, gather, wrinkle (e.g. the nose), multiply in imagination; xōṇḍrnā to meet or come together, be brought into the company of.(DEDR 1882)


    Obverse: Pictorial motif

     khā'blacksmith' emerges out of the tree or flaming pillar (skambha) identified by the 'star' hieroglyph'. The wristlets he wears and headdress signify that he is khāworking with kuṭhi 'tree' Rebus: kuṭhi 'smelting furnace'. He is a smith engaged in smelting.

    Hieroglyph:मेढा [ mēḍhā ] 'polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) dula'two' rebus: dul 'metal casting' Thus, signifying a cast iron smelter.
    Santali glosses.

    Hieroglyph: karã̄ n. pl. wristlets, bangles' rebus: khā'blacksmith'
    Hieroglyph: head-dress:  kūdī, kūṭī bunch of twigs (Sanskrit)  kuṭhi 'tree' Rebus: kuṭhi 'smelting furnace' (Santali) (Phonetic determinative of skambha, 'flaming pillar', rebus:kammaTa 'mint, coiner, coinage'). Skambha, flamiung pillar is the enquiry in Atharva veda Skambha Sukta (AV X.7,8)
    Scan 27419. 


    Reverse Text message:


    Hieroglyphs: backbone + four short strokes  

    Signs 47, 48: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) + gaṇḍa ‘four’ Rebus: kaṇḍ ‘fire-altar’. Thus, Sign 48 reads rebus: bharat kaṇḍ ‘fire-altar’, furnace for mixed alloy called bharat(copper, zinc, tin alloy), Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.( (CDIAL 2670) rebus: karaDa 'hard alloy'. Vikalpa: 


    Hieroglyph: khāra 2 खार (= ) or khār 4 खार् (L.V. 96, K.Pr. 47, Śiv. 827) । द्वेषः m. (for 1, see khār 1 ), a thorn, prickle, spine (K.Pr. 47; Śiv. 827, 153)(Kashmiri) Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.*kaṇṭa3 ʻ backbone, podex, penis ʼ. 2. *kaṇḍa -- . 3. *karaṇḍa -- 4. (Cf. *kāṭa -- 2, *ḍākka -- 2: poss. same as káṇṭa -- 1]1. Pa. piṭṭhi -- kaṇṭaka -- m. ʻ bone of the spine ʼ; Gy. eur. kanro m. ʻ penis ʼ (or < káṇṭaka -- ); Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼ; S. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f., kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ°ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ; WPah. bhal. kaṇṭ f. ʻ syphilis ʼ; N. kaṇḍo ʻ buttock, rump, anus ʼ, kaṇḍeulo ʻ small of the back ʼ; B. kã̄ṭ ʻ clitoris ʼ; Or. kaṇṭi ʻ handle of a plough ʼ; H. kã̄ṭā m. ʻ spine ʼ, G. kã̄ṭɔ m., M. kã̄ṭā m.; Si. äṭa -- kaṭuva ʻ bone ʼ, piṭa -- k° ʻ backbone ʼ.2. Pk. kaṁḍa -- m. ʻ backbone ʼ.(CDIAL 2670) కరాళము karāḷamu karāḷamu. [Skt.] n. The backbone. వెన్నెముక (Telugu) Rebus: khār  खार् 'blacksmith' (Kashmiri)

    bhāthī m. ʻ warrior ʼ bhaTa 'warrior' Rebus: bhaTa 'furnace', thus reinforcing the smelting process in the fire-altars. Smelters might have used bhaThi 'bellows'. bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ Kāv., bhastrikā -- f. ʻ little bag ʼ Daś. [Despite EWA ii 489, not from a √bhas ʻ blow ʼ (existence of which is very doubtful). -- Basic meaning is ʻ skin bag ʼ (cf. bakura<-> ʻ bellows ʼ ~ bākurá -- dŕ̊ti -- ʻ goat's skin ʼ), der. from bastá -- m. ʻ goat ʼ RV. (cf.bastājina -- n. ʻ goat's skin ʼ MaitrS. = bāstaṁ carma Mn.); with bh -- (and unexpl. -- st -- ) in Pa. bhasta -- m. ʻ goat ʼ, bhastacamma -- n. ʻ goat's skin ʼ. Phonet. Pa. and all NIA. (except S. with a) may be < *bhāsta -- , cf. bāsta -- above (J. C. W.)]With unexpl. retention of -- st -- : Pa. bhastā -- f. ʻ bellows ʼ (cf. vāta -- puṇṇa -- bhasta -- camma -- n. ʻ goat's skin full ofwind ʼ), biḷāra -- bhastā -- f. ʻ catskin bag ʼ, bhasta -- n. ʻ leather sack (for flour) ʼ; K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ; -- S. bathī f. ʻ quiver ʼ (< *bhathī); A. Or. bhāti ʻ bellows ʼ, Bi. bhāthī, (S of Ganges) bhã̄thī; OAw. bhāthā̆ ʻ quiver ʼ; H. bhāthā m. ʻ quiver ʼ, bhāthī f. ʻ bellows ʼ; G. bhāthɔ,bhātɔbhāthṛɔ m. ʻ quiver ʼ (whence bhāthī m. ʻ warrior ʼ); M. bhātā m. ʻ leathern bag, bellows, quiver ʼ, bhātaḍ n. ʻ bellows, quiver ʼ; <-> (X bhráṣṭra -- ?) N. bhã̄ṭi ʻ bellows ʼ, H. bhāṭhī f.Addenda: bhástrā -- : OA. bhāthi ʻ bellows ʼ .(CDIAL 9424) bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]
    Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭhm., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhībhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]P. bhaṭhiār°ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656, 9658)

    Hieroglyph: canopy: nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?)(CDIAL 9737) maṇḍapa m.n. ʻ open temporary shed, pavilion ʼ Hariv., °pikā -- f. ʻ small pavilion, customs house ʼ Kād. 2. maṇṭapa -- m.n. lex. 3. *maṇḍhaka -- . [Variation of ṇḍ with ṇṭ supports supposition of non -- Aryan origin in Wackernagel AiGr ii 2, 212: see EWA ii 557. -- Prob. of same origin as maṭha -- 1 and maṇḍa -- 6 with which NIA. words largely collide in meaning and form]1. Pa. maṇḍapa -- m. ʻ temporary shed for festive occasions ʼ; Pk. maṁḍava -- m. ʻ temporary erection, booth covered with creepers ʼ, °viā -- f. ʻ small do. ʼ; Phal. maṇḍau m. ʻ wooden gallery outside a house ʼ; K. manḍav m. ʻ a kind of house found in forest villages ʼ; S. manahũ m. ʻ shed, thatched roof ʼ; Ku. mãṛyāmanyā ʻ resthouse ʼ; N. kāṭhmã̄ṛau ʻ the city of Kathmandu ʼ (kāṭh -- < kāṣṭhá -- ); Or. maṇḍuā̆ ʻ raised and shaded pavilion ʼ, paṭā -- maṇḍoi ʻ pavilion laid over with planks below roof ʼ, muṇḍoi°ḍei ʻ raised unroofed platform ʼ; Bi. mã̄ṛo ʻ roof of betel plantation ʼ, mãṛuāmaṛ°malwā ʻ lean -- to thatch against a wall ʼ, maṛaī ʻ watcher's shed on ground without platform ʼ;  karã̄ 'wristlets' khār 'blacksmith' kūṭa, 'horn' kūṭa 'company'ʼ, mã̄ḍvɔ m. ʻ booth ʼ, mã̄ḍvī f. ʻ slightly raised platform before door of a house, customs house ʼ, mã̄ḍaviyɔm. ʻ member of bride's party ʼ; M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ; Si. maḍu -- va ʻ hut ʼ, maḍa ʻ open hall ʼ SigGr ii 452.2. Ko. māṁṭav ʻ open pavilion ʼ.3. H. mã̄ḍhāmāṛhāmãḍhā m. ʻ temporary shed, arbour ʼ (cf. OMarw. māḍhivo in 1); -- Ku. mã̄ṛā m.pl. ʻ shed, resthouse ʼ (or < maṇḍa -- 6?]*chāyāmaṇḍapa -- .Addenda: maṇḍapa -- : S.kcch. māṇḍhvo m. ʻ booth, canopy ʼ(CDIAL 9734)

    maṇḍa6 ʻ some sort of framework (?) ʼ. [In nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. (as illustrated in BPL p. 42); and in BHSk. and Pa. bōdhi -- maṇḍa -- n. perh. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402). If so, it may belong to maṇḍapá -- and maṭha -- ]
    Ku. mã̄ṛā m. pl. ʻ shed, resthouse ʼ (if not < *mã̄ṛhā < *maṇḍhaka -- s.v. maṇḍapá -- ).(CDIAL 9737)

    maṇḍa2 m. ʻ ornament ʼ lex. [√maṇḍ]Pk. maṁḍaya -- ʻ adorning ʼ; Ash. mōṇḍamōndamūnda NTS ii 266, mōṇə NTS vii 99 ʻ clothes ʼ; G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; M. mã̄ḍ m. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ.(CDIAL 9736)maṇḍana n. ʻ adorning ʼ MBh., maṇḍaná -- adj. Pāṇ. [√maṇḍ]
    Pa. maṇḍana -- n., Pk. maṁḍaṇa -- n. and adj.; OMarw. māṁḍaṇa m. ʻ ornament ʼ; G. mã̄ḍaṇ n. ʻ decorating foreheads and cheeks of women on festive occasions ʼ. (CDIAL 9739) *maṇḍadhara ʻ ornament carrier ʼ. [maṇḍa -- 2, dhara -- ]N. maṛhermaṛer ʻ one who carries ornaments &c. in the marriage procession ʼ. (CDIAL 9738) maṇḍáyati ʻ adorns, decorates ʼ Hariv., máṇḍatē°ti Dhātup. [√maṇḍ]
    Pa. maṇḍēti ʻ adorns ʼ, Pk. maṁḍēi°ḍaï; Ash. mū˘ṇḍ -- , moṇ -- intr. ʻ to put on clothes, dress ʼ, muṇḍaāˊ -- tr. ʻ to dress ʼ; K. manḍun ʻ to adorn ʼ, H. maṇḍnā; OMarw. māṁḍaï ʻ writes ʼ; OG. māṁḍīiṁ 3 pl. pres. pass. ʻ are written ʼ, G. mã̄ḍvũ ʻ to arrange, dispose, begin ʼ, M. mã̄ḍṇẽ, Ko. mã̄ṇḍtā.(CDIAL 9741)

    Konḍa maṇḍi earthen pan, a covering dish. Pe. manḍi cooking pot. Kui manḍi brass bowl. Kuwi (S.)
     mandi basin; (Isr.) maṇḍi plate, bowl. Cf. 4682 Ta. maṇṭai(DEDR 4678)Ta. maṇṭai 
    mendicant's begging bowl, earthen vessel, head, skull, cranium, brain-pan, top portion as of palms, a standard of measure. Ma. maṇṭa skull; similar objects. Ko. maṇḍ head. To. maḍ id. 
    Ka. maṇḍe id.; (Hav.) maṇḍage a big jar. Koḍ. maṇḍe head. Tu. maṇḍè large earthen vessel, skull, head. Kor. (M.) maṇḍa, (O. T.) manḍe head. Cf. 4678 Konḍa maṇḍi. / Cf. Skt. (lex.maṇḍa- head. (DEDR 4682)

    Ta. maṇṭu (maṇṭi-) to blaze up, glow; maṭu (-pp-, -tt-) to kindle. Te. maṇḍu to burn, blaze, flame, cause or produce a burning pain, be angry, be in a fury or violent rage, be envious; maṇṭa flame, blaze, burning pain, anger, wrath, fury, envy; maṇḍincu to burn (tr.), inflame, provoke, irritate; maḍḍu great heat, redhot iron, brand; very hot; (K.) mrandu to be consumed by fire, burn. Kol. (Pat., p. 167) manḍeng to burn, scorch(intr.). Nk. manḍ- to burn (intr.). Go. (M.) maṛgānā to blaze; (Ma.) maṛg- to burn (intr.) (Voc. 2745); (Tr.) maṛūstānā to cook in oil (Voc. 2743); (ASu.) maṛū- (curry) to be charred. Kui mṛahpa (mṛaht-) to consume by fire, burn; n. destruction by fire.(DEDR 4680)

    Grain market: OAw. māṁḍa m. ʻ a kind of thin cake ʼ, lakh. maṇḍī ʻ grain market ʼ(CDIAL 9735) 

    Swami Vivekananda -- BBC documentary, Vivekananda Samiti, May 2018(1:05:48)


    Sanauli gold & four types of bronze anthropomorphs of Sarasvati Civilization are professional calling cards, Indus Script metalwork dhamma samjñā responsibility signifiers

    $
    0
    0


    The golden anthropomorph discovered in Sanauli in 2006-7 excavations, compares with four types of bronze anthropomorphs found in many parts of Sarasvati Civilization, including Lothal. 



     The gold anthropomorph dated to ca. 2000 BCE signifies a standing person with spread legs. This is an Indus Script hieroglyph read rebus:  कर्णक kárṇaka, कर्णकm. du. the two legs spread out AV. xx , 133 , 3 Rebus:  कर्णिन््  karn-ín having ears; barbed; m. helmsman. कर्ण kárna â, î) -dhâra, m. helmsman; sailor: -tâ, f. helmsmanship (Monier-Williams) karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ. (CDIAL 2826)

    See: Continuum of Indus Script (ca. 2000 BCE) on eight copper anthropomorphs discovered in Baghpat, signify wealth accounting metalwork ledgers https://tinyurl.com/y7f3k8q4 The hypertexts read rebus: dhangar 'bull' rebus: dhangar 'blacksmith'; lohkarṇīka 'metal (guild) helmsman (master)'. It may also signify lohkarṇī 'metal supercargo(a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.).' 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.'


    The gold anthropomorph of Sanauli, Baghpat compares with eight copper anthropomorphs proclaimed in bas-relief on the lid of a wooden coffin (a discovery reported in 2018 by the team of Sanjay Kumar Manjul).


    See: 



    All types of anthropomorphs are metalwork professional calling cards, dhamma samjñā responsibility signifiers to create the wealth of the nation, the commonwealth.

    Type I Anthropomorph: fish inscribed on chest of ram with curved horns, human body, spread legs


    Sheorajpur (Inv. No O.37a, State Museum of Lucknow. 

    ayo 'fish' mẽḍhā 'curved horn' meḍḍha 'ram' rebus: ayo meḍh 'metal merchant' ayo mēdhā 'metal expert' karṇika 'spread legs' rebus: karṇika कर्णिक'steersman'.

    Thus, Type I anthropomorph signifies a steersman (of seafaring vessel), metals expert, metals merchant.


    Type II Anthropomorph. Seated position of Anthropomorph.


    Seated position if signifying penance, the rebus reading is: kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage.


    meḍh 'iron' mRdu 'iron' med 'copper' (Slavic) PLUS meḍh 'merchant' mēdhā 'expert' 

    PLUS kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage'. '


    Thus, Type II anthropormph signifies a copper/iron merchant with mint. Photograph of one of the 6 Madarpur anhropomorphs (After Fig. 1 in: R. Balasubramaniam, et al, 2002, Studies on ancient Indian OCP period copper, in: IJHS 37.1, pp. 1-15). http://www.dli.gov.in/rawdataupload/upload/insa/INSA_1/2000616d_1.pdf


    Type III Anthropomorph seated with upraised arm

    eraka 'upraised arm' rebus: eraka 'copper'.


    ayo meḍh 'metal merchant' ayo mēdhā 'metal expert' 

    PLUS kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage'. 


    Type IV Anthropormorph standing inscribed with one-horned young bull and ligatured with head of a boar

    Type III anthropomorph with Indus Script hieroglyphs signifies a copper worker, metals merchant with mint  A composite copper anthropomorphic figure along with a copper sword was found by Dr. Sanjay Manjul, Director, Institute of Archaeology at the Central Antiquity Section, ASI, Purana Qila in 2005. This composite copper anthropomorph is a solitary example in the copper hoard depicting a Varaha'boar' head. The Anthropomorphic figure, its inscription and animal motif that it bears, illustrate the continuity between the Harappan and Early Historical period.


    Hieroglyph: mẽḍhā 'curved horn', miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep; mē̃ḍh 'ram' Rebus: Медь [Med'] (Russian, Slavic) 'copper'.


    मृदुमृदा--कर'iron, thunderbolt'  मृदु mṛdu 'a kind of iron' मृदु-कार्ष्णायसम्,-कृष्णायसम् soft-iron, lead.

    Santali glosses.

    Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).

    Ma. <i>mErhE'd</i> `iron'.

    Mu. <i>mERE'd</i> `iron'.

      ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).

    Ho <i>meD</i> `iron'.

    Bj. <i>merhd</i>(Hunter) `iron'.

    KW <i>mENhEd</i>

    @(V168,M080)


    — Slavic glosses for 'copper'

    Мед [Med]Bulgarian

    Bakar Bosnian

    Медзь [medz']Belarusian

    Měď Czech

    Bakar Croatian

    KòperKashubian

    Бакар [Bakar]Macedonian

    Miedź Polish

    Медь [Med']Russian

    Meď Slovak

    BakerSlovenian

    Бакар [Bakar]Serbian

    Мідь [mid'] Ukrainian[unquote]

    Miedź, med' (Northern Slavic, Altaic) 'copper'.  


    One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.


    ayo meḍh 'metal merchant' ayo mēdhā 'metal expert' 

    PLUS  karṇika 'spread legs' rebus: karṇika कर्णिक'steersman'.

    barāh, baḍhi 'boar' vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel'.

    eka-shingi 'one-masted' koḍiya ‘young bull’, koṭiya 'dhow', kũdār 'turner, brass-worker'.


    Thus, Type IV anthropomorph with Indus Script hieroglyphs signifies a steersman/helmsman, metals expert, metals turner (brass worker), metals merchant with a dhow, seafaring vessel.













    Sanauli Excavations – 2006-2007
    hdr_exc_sanauliSanauli, tehsil Barot, district Baghpat, U.P. is under excavation by the ASI since September 2005. The site was a chance discovery while locals undertook levelling operation for agricultural purposes. Subsequently, ASI identified the site as a prominent cemetery site of late Harappan period (early 2nd millennium B.C.).

    The excavations have so far brought to light 125 burials all in north-south orientation; most of them are primary burials. Evidence for secondary and multiple burials have also been noted. In some burials, animal’s bones are also found next to the human bones. The burial goods consisted of vases (often placed near the head, and in odd numbers, 3, 5, 7, 9, 11, etc.), bowls, dish-on-stand (mostly placed below the hip), antenna swords and sheath of copper, TC figurines, etc. A good number of personal jewellery in the form of gold and copper bangles, beads of semi-precious stones (two necklaces of long barrel shape) and steatite, etc. are also found. The antenna swords from these burials have a striking resemblance with that of the copper hoards specimens.

    Remains of a brick wall (50 X 50 X 24 cm) along with two dish-on-stands and a flat copper container (violin shaped) with nearly 35 arrow-head shaped copper objects placed in rows are among the important finds. Similar to the copper container, another symbolic burial yielded a careful arrangement of steatite beads in the shape of violin with a copper sheath placed across. These specimens may represent actual human beings. http://121.242.207.115/asi.nic.in/sanauli/
    undefined
    Skeletal remains of an individual with the upper body turned towards the left
    undefined
    Skeletal remains along with burial pots, second millennium BCE
    undefined
    General view of the excavated Burials, Sanauli, second millennium BCE
    undefined
    General view of the excavated Burials, Sanauli, second millennium BCE
    undefined
    General view of the excavated Burials, Sanauli, second millennium BC2
    General view of the excavated Burials, Sanauli, second millennium BC
    undefined
    General view of the excavated Burials, Sanauli, second millennium BC
    General view of the excavated Burials, Sanauli, second millennium BC1undefined
    General view of the excavated Burials, Sanauli, second millennium BC
    undefined
    Faience beads, second millennium BC02
    undefined
    Faience beads, second millennium BC
    undefined
    Faience bead, second millennium BC
    undefined
    Bone point, second millennium BC
    undefined
    Beads of semi-precious stones from various burials, second millennium BC
    undefined
    Association of an antenna sword and sheath of copper along with burial
    undefined
    Association of an antenna sword and sheath of copper along with burial 3
    undefined
    Association of an antenna sword and sheath of copper along with burial 1

    In Mahābhārata Śri Kr̥ṣṇa refers to evidence of seals. Dwaraka seal and anthropomorphs of Sarasvati Civilization are mudra, Indus Script dhamma samjñā carried by citizens.

    $
    0
    0
    https://tinyurl.com/y9mj2qkh 

    Sanauli gold & four types of bronze anthropomorphs of Sarasvati Civilization are professional calling cards, Indus Script metalwork dhamma samjñā responsibility signifiers https://tinyurl.com/y9uext8p




    The gold anthropomorph dated to ca. 2000 BCE discovered in Sanauli signifies a standing person with spread legs. This is an Indus Script hieroglyph read rebus:  कर्णक kárṇaka, कर्णकm. du.
    the two legs spread out AV. xx , 133 , 3 Rebus:  
    कर्णिन््  karn-ín having ears; barbed; m. helmsman. कर्ण kárna â, î) -dhâra, m. helmsman; sailor: -tâ, f. helmsmanship (Monier-Williams) karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ. (CDIAL 2826)
    The gold anthropomorph of Sanauli, Baghpat compares with eight copper anthropomorphs proclaimed in bas-relief on the lid of a wooden coffin (a discovery reported in 2018 by the team of Sanjay Kumar Manjul).


    See: 

    Anthropomorphs four types on Indus Script signify metal-, mint-worker, seafaring merchant, karṇika 'supercargo, helmsman', koṭiya 'dhow' http://tinyurl.com/zgzv5e5

    Four types of anthropomorphs have been discovered so far from the Sarasvati-Ganga River Basins. 


    All types of anthropomorphs are metalwork professional calling cards, dhamma samjñā responsibility signifiers to create the wealth of the nation, the commonwealth.

    Type I Anthropomorph: fish inscribed on chest of ram with curved horns, human body, spread legs


    Sheorajpur (Inv. No O.37a, State Museum of Lucknow. 

    ayo 'fish' mẽḍhā 'curved horn' meḍḍha 'ram' rebus: ayo meḍh 'metal merchant' ayo mēdhā 'metal expert' karṇika 'spread legs' rebus: karṇika कर्णिक 'steersman'.

    Thus, Type I anthropomorph signifies a steersman (of seafaring vessel), metals expert, metals merchant.


    Type II Anthropomorph. Seated position of Anthropomorph.


    Seated position if signifying penance, the rebus reading is: kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage.


    meḍh 'iron' mRdu 'iron' med 'copper' (Slavic) PLUS meḍh 'merchant' mēdhā 'expert' 

    PLUS kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage'. '


    Thus, Type II anthropormph signifies a copper/iron merchant with mint. Photograph of one of the 6 Madarpur anhropomorphs (After Fig. 1 in: R. Balasubramaniam, et al, 2002, Studies on ancient Indian OCP period copper, in: IJHS 37.1, pp. 1-15). http://www.dli.gov.in/rawdataupload/upload/insa/INSA_1/2000616d_1.pdf


    Type III Anthropomorph seated with upraised arm

    eraka 'upraised arm' rebus: eraka 'copper'.


    ayo meḍh 'metal merchant' ayo mēdhā 'metal expert' 

    PLUS kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage'. 


    Type IV Anthropormorph standing inscribed with one-horned young bull and ligatured with head of a boar

    Type III anthropomorph with Indus Script hieroglyphs signifies a copper worker, metals merchant with mint  A composite copper anthropomorphic figure along with a copper sword was found by Dr. Sanjay Manjul, Director, Institute of Archaeology at the Central Antiquity Section, ASI, Purana Qila in 2005. This composite copper anthropomorph is a solitary example in the copper hoard depicting a Varaha'boar' head. The Anthropomorphic figure, its inscription and animal motif that it bears, illustrate the continuity between the Harappan and Early Historical period.


    Hieroglyph: mẽḍhā 'curved horn', miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep; mē̃ḍh 'ram' Rebus: Медь [Med'] (Russian, Slavic) 'copper'.


    मृदु, मृदा--कर 'iron, thunderbolt'  मृदु mṛdu 'a kind of iron' मृदु-कार्ष्णायसम्,-कृष्णायसम् soft-iron, lead.

    Santali glosses.

    Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).

    Ma. <i>mErhE'd</i> `iron'.

    Mu. <i>mERE'd</i> `iron'.

      ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).

    Ho <i>meD</i> `iron'.

    Bj. <i>merhd</i>(Hunter) `iron'.

    KW <i>mENhEd</i>

    @(V168,M080)


    — Slavic glosses for 'copper'

    Мед [Med]Bulgarian

    Bakar Bosnian

    Медзь [medz']Belarusian

    Měď Czech

    Bakar Croatian

    KòperKashubian

    Бакар [Bakar]Macedonian

    Miedź Polish

    Медь [Med']Russian

    Meď Slovak

    BakerSlovenian

    Бакар [Bakar]Serbian

    Мідь [mid'] Ukrainian[unquote]

    Miedź, med' (Northern Slavic, Altaic) 'copper'.  


    One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.


    ayo meḍh 'metal merchant' ayo mēdhā 'metal expert' 

    PLUS  karṇika 'spread legs' rebus: karṇika कर्णिक 'steersman'.

    barāh, baḍhi 'boar' vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel'.

    eka-shingi 'one-masted' koḍiya ‘young bull’, koṭiya 'dhow', kũdār 'turner, brass-worker'.


    Thus, Type IV anthropomorph with Indus Script hieroglyphs signifies a steersman/helmsman, metals expert, metals turner (brass worker), metals merchant with a dhow, seafaring vessel.

    Eight Copper anthropomorphs on lid of wooden box of Sanauli
    In Kisari Mohan Ganguly's English translation of Mahābhārata the word gaṇa is translated as 'aristocracy'. Such an aristocrat is signified in the Indus Script Hypertexts of Sinauli, Baghpat discovery of remarkable artifacts which included three chariots, apart from swords, shields and other armour. Clearly, the eminent person venerated at the site in a wooden coffin is an armourer who also controlled eight mint metal workshops.

    The top lid of the wooden box (referred to as kabragah, 'coffins or samādhisthal') has eight identical copper anthropomorphs in bas relief. I suggest that these are read as Indus Script hypertexts, composed of human faces with with a head gear (crown) composed of curved horns holding a pipal leaf in the middle.

    The rebus reading of Hypertext of copper anthropomorphs of Sanauli

    The hypertexts on the eight copper anthropomorphs signify: kampaṭṭa  ‘mint’ PLUS khār 'blacksmith' śrēṣṭhin 'guild-master'; lohkarṇīka 'metal (guild) helmsman (master)'. They may also signify each of the eight anthropomorphs as lohkarṇī 'metal supercargo(a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.) Thus, the guild-master led a gaṇa,  śreṇi of eight metalwork mints.

    The person (anthropomorph) is seated in penance. Hypertext decipherment: kamaḍha ‘penance’ (Pkt.) Rebus: kampaṭṭa  ‘mint’ (Ma.) 
    kamaṭa = portable furnace for melting precious metals (Te.)

    An explanatory note in Annex I details the significance of 'ficus glomerata' (Sign327 Indus Script) as an Indus Script Hypertext. The hypertext reads: lohkarṇīka 'metal (guild) helmsman (master)'. It may also signify lohkarṇī 'metal supercargo(a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.)'
    The horned crown (head gear) with a 'ficus' leaf in the middle PLUS perhaps a 'squirrel' hieroglyph signifies: khār 'blacksmith' śrēṣṭhin 'guild-master' 

    Hieroglyph: squirrel:  *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri)*śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ°ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭhśeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh°ṭhīśeṭ°ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭuhi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhīśeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or seṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)


    Eight anthropomorphs khār खार् 'blacksmith' seṭṭhin 'blacksmith guild-master' so depicted on the lid of the wooden box signifies that the person venerated was guild-master of eight metalsmithy mints of Sinauli, Baghpat.

    The horns of the anthropomorphs: Kannada. kōḍu horn, tusk, branch of a tree; kōr̤ horn.(DEDR 2200) rebus: kōḍ 'workshop'; thus, together with 'ficus glomerata', the headgear signifies :loh kōḍ 'metals workshoop'.

    taTTHAr 'buffalo horn' Rebus: taTTAr 'brass worker' 

    The horns signify hypertext for a bull. The bul-man hieroglyph-multiplex is thus an artisan working in metal and with smelters/furnaces. Mth. ṭhākur 
    ʻblacksmithʼ (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
    clip_image032Another example of a seal with curved horns + twigs + two stars.


    Here is a backgrounder to the discovery of a turbinella pyrum seal in Dwaraka by SR Rao.
    सांगडणें (p. 495sāṅgaḍaṇēṃ v c (सांगड) To link, join, or unite together (boats, fruits, animals);  सांगड (p. 495) sāṅgaḍa m f (संघट्ट S) A float composed of two canoes or boats bound together: also a link of two pompions &c. to swim or float by. 2 f A body formed of two or more (fruits, animals, men) linked or joined together. 

    An example of सांगड (p. 495sāṅgaḍa 'joined animals to form a body is a Dwaraka seal in turbinella pyrum.This seal has a bovine body with  attached heads of antelope, one-horned young bull and an ox. Each animal head is a hieroglyph. 


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

    ranku 'antelope' or melh 'goat' rebus: ranku 'tin' milakku, mleccha 'copper'; 

    konda 'young bull' rebus konda 'engraver, sculptor'; खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: खोदणी (p. 216) [ khōdaṇī ] f (Verbal of खोदणें) Digging, engraving &c. 2 fig. An exacting of money by importunity. v लाव, मांड. 3 An instrument to scoop out and cut flowers and figures from paper. 4 A goldsmith's die.खोदणें (p. 216) [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave.खोदींव (p. 216) [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. खोदणावळ (p. 216) [ khōdaṇāvaḷa ] f (खोदणें) The price or cost of sculpture or carving. Rebus: kō̃da -कोँद ।'kiln' (Kashmiri); kundana 'fine gold' (Kannada).

    Thus by the device of sāngaa'joined animal' rebus: sangara'trade' is signified in copper, tin and alloy metal of copper, pewter, tin.

    Similarly, other animal hieroglyphs signify other sangara, 'trade' categories.


    "It was the discovery of a seal (photo, right) that convinced Dr. Rao he had found Krishna's city. The seal is engraved with the images of a bull, a goat and a unicorn in an unmistakable style--a motif he says is no doubt of Indus origin and goes back to the 16th or 17th century bce. It is a small, flat artifact, no bigger than the palm of your hand, carved from a conch shell. This, Rao believes, is a seal of free pass: only those carrying it were allowed to enter the fabled city. "There is a reference in the Mahabharata, " he explains, "that when Dvaraka was attacked by king Shalva, Krishna was not there. Upon his return, Krishna takes certain measures to defend the city. One of them is described to be a mudra seal, an identity that every citizen of Dvaraka must carry. It was the duty of the gatekeepers to make sure that absolutely nobody without this seal would have entered the city. This gave us reliable evidence to identify these ruins, where we found the seal, as Krishna's Dvaraka. Finding this mudra was very exciting." Skeptics point out, however, that the discovery of a single seal, which could even have come from another area, is not irrefutable evidence of the city's identity." (Behold the Holy City Where Krishna Was Prince, Mark Hawthorne (March 2008)

    https://www.hinduismtoday.com/modules/smartsection/item.php?itemid=1585 


    Sanauli gold anthropomorph with a round hat signifies a Valacha Meluhha smith in a फडा phaḍā 'metals manufactory’

    $
    0
    0
    https://tinyurl.com/yc6up4dp


    Rotating left 45% and enlarging to 150%, the photo-shopped image of the Sanauli gold anthropomorph looks a little more life-like, as a dance-step of a person wearing a round hat. I suggest that the anthropomorph signifies 1. a goldsmith, working with metals (iron, copper). 2. ingots
    3. supercargo, helmsman

    I also present evidence of a metals manufactory guild in the shape of the hat signified on the Sanauli gold anthropomorph. It appears that the Lady of the Spiked Throne rides on a bull-boat/chariot which has cobra-hoods painted on the shoulders and thighs of the bull. This renders the hypertext: फडा phaā cobra hood’ rebus:  फडा phaā 'metals manufactory’.

    कर्णक 'spread legs' rebus: 'helmsman', karī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale'; meed 'iron' rebus: meh 'merchant' ayo 'fish' rebus: aya 'iron' ayas 'metal'; 2. कर्णक 'spread legs' rebus: 'helmsman', karī 'supercargo'  Indicative that the merchant is seafaring metalsmith. karadhāra m. ʻ helmsman ʼ Suśr. [kára -- , dhāra -- 1]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836).  

    me 'step, dance step' rebus: mẽṛhẽt, me 'iron' med 'copper' (Slavic). Thus, the entire bull-boat is a ride by metalworkers of a फडा phaā 'metals manufactory'.







    Sanauli gold & four types of bronze anthropomorphs of Sarasvati Civilization are professional calling cards, Indus Script metalwork dhamma samjñā responsibility signifiers 

    https://tinyurl.com/y9uext8p






    Since the round hat signified on the Sanauli gold anthropomorph is comparable to the round hats worn by 'smiths' of the bull-boat/chariot discussed by Massimo Vidale, I suggest that the Sanauli gold anthropomorph with a round hat signifies a smith in a फडा phaḍā 'metals manufactory’ (For discussion by Massimo Vidale, see: https://www.harappa.com/content/lady-spiked-throne 

    This monograph identifies the shape, form and message of Sanauli Gold anthropomorph.                                                                                                                                                                                                                              
    The Meluhha rebus readings of hypertexts on the artifact with a characteristic dance-step and a round hat, suggest that the Sanauli gold anthropomorph is a  dhamma samjñā responsibility signifier of a helmsman/supercargo (with) an ingot metalsmithy. The characteristic shape of the hat points to a Zhob-type figurine. 
    Zhob (Pashto and Urdu: ژوب‎), formerly known as Fort Sandeman or Appozai, is a city and district capital of Zhob District in Balochistan province of Pakistan. It appears that the Sanauli gold anthropomorph belongs to a Balochi artificer. (cf. Baloch cognate Valacha Mleccha, Meluhha). "An earliest Sanskrit reference to the Baloch might be the Gwalior inscription of the Gurjara-Pratihara ruler Mihira Bhoja (r. 836–885), which says that the dynasty's founder Nagabhata I repelled a powerful army of Valacha Mlecchas, translated as "Baluch foreigners" by D. R. Bhandarkar. The army in question is that of the Umayyad Caliphate after the conquest of Sindh."(Bhandarkar, D. R. (1929). "Indian Studies No. I: Slow Progress of Islam Power in Ancient India". Annals of the Bhandarkar Oriental Research Institute10 (1/2): 30The identification of a (Baluch) Valacha Meluhha of Sarasvati Civilization explains the nature of the coffin burial discovered in Sanauli archaeological site. The most famous Indus Script uses a lexeme of Baluch (Brahui) dialect to signify the goat (antelope) held by Meluhhan merchant on Shu-Ilishu cylinder seal.


    The rollout of Shu-ilishu's Cylinder seal. Courtesy of the Department des Antiquites Orientales, Musee du Louvre, Paris. The cuneiform text reads: Shu-Ilishu EME.BAL.ME.LUH.HA.KI (interpreter of Meluhha language). Apparently, the Meluhhan is the person carrying the antelope on his arms. Shu-ilishu cylinder seal narrates a trade transaction with a Meluhha speaker. Meluhha speaker (who carries a goat or antelope to signify his identity: melh,meka 'goat or antelope' rebus: milakkhu 'copper trader', cognate mleccha 'copper') accompanied by a lady who carries a ranku 'liquid measure' rebus: ranku 'tin'; thus, a trader in copper and tin. Ka. mēke she-goat;  the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go.(M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat. (DEDR 5087)

    The Shu-ilishu cylinder seal is a clear evidence of the Meluhhan merchants trading in copper and tin. The Meluhha merchant carries melh,meka 'goat or antelope' rebus: milakkhu 'copper and the lady accompanying the Meluhhan carries a ranku 'liquid measure' rebus: ranku 'tin'. 


     rotated left  

           


    This sign is shown on the chest of the anthropomorph. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. 


    The round hand compares with the hats worn on the Chariot of the Lady of the Spiked Throne dicussed by Massimo Vidale.

    https://tinyurl.com/y8me6tze 


    For a detailed discussion of the bull-shaped object (chariot or boat), see: https://cogniarchae.com/2016/08/02/the-lady-of-the-spiked-throne-decoding-the-symbols/

    On the shoulders and thighs of the bulls are representations of snakes – cobras with inflated hoods. It has been noted that cobra hood is an Indus Script hypertext:  फडा phaḍā 'cobrahood'  फडा phaḍā 'metals manufactory' phaṭā फटा(Samskrtam), phaḍā फडा 
    (Marathi), paṭam (Tamil. Malayalam), paḍaga (Telugu) have the same meaning: cobra hood. Rebus words/expressions which signify 'manufactory, metals workshop' are: bhaṭṭh m., °ṭhī f. ʻ furnaceʼ, paṭṭaṭai, paṭṭaṟai 'anvil, smithy, forge', paṭṭaḍe, paṭṭaḍi 'workshop'.




     

    cobras.jpg
    enthroned lady.jpg
    cow boat.jpg



    Defeated, retreating hero Alexander receives gift of famed urku, utsa steel sword from Porus

    $
    0
    0
    Alexander’s invasion of India is regarded as a huge Western victory against the disorganised East. But the largely Macedonian army may have suffered a fate worse than Napoleon in Russia. In Part 1 we discuss the stubborn Indian resistance to the invasion; Part 2 will examine whether it was Alexander or Porus who won the Battle of Hydaspes.
    In 326 BCE a formidable European army invaded India. Led by Alexander of Macedon it comprised battle hardened Macedonian soldiers, Greek cavalry, Balkan fighters and Persians allies. Estimates of the number of fighting men vary – from 41,000 according to Arrian to 120,000 as per the account of Quintus Curtius. (1)
    Their most memorable clash was at the Battle of Hydaspes (Jhelum) against Porus, the ruler of the Paurava kingdom of western Punjab. For more than 25 centuries it was believed that Alexander’s forces had defeated the Indians. Greek and Roman accounts say the Indians were bested by the superior courage and stature of the Macedonians.
    More than a thousand years after Alexander’s death, the myth-making reached absurd and fantastic proportions with the arrival of a new genre known as the Greek Alexander Romance (2), a fictional account of Alexander’s Asian campaigns composed of a conglomeration of the rumours surrounding his rule. The destruction of the Persian Empire and the defeat of the Indian kingdoms were the highlights that drove the popularity of the Alexander Romance in Europe. A version of this story was included in the Koran in which Alexander is called Dhulkarnain.
    During the colonial period, British historians latched on to the Alexander legend and described the campaign as the triumph of the organised West against the chaotic East. Although Alexander defeated only a few minor kingdoms in India’s northwest, in the view of many gleeful colonial writers the Greek conquest of India was complete.
    In reality much of the country was not even known to the Greeks. So handing victory to Alexander is like describing Hitler as the conqueror of Russia because the Germans advanced up to Stalingrad.

    Zhukov’s view of Alexander

    In 1957, while addressing the cadets of the Indian Military Academy, Dehra Dun, the great Russian general Georgy Zhukov (3) said Alexander’s actions after the Battle of Hydaspes suggest he had suffered an outright defeat. In Zhukov’s view, Alexander had suffered a greater setback in India than Napoleon in Russia. Napoleon had invaded Russia with 600,000 troops; of these only 30,000 survived, and of that number fewer than 1,000 were able to return to duty.
    If Zhukov compared Alexander’s campaign in India to Napoleon’s disaster, the Macedonians and Greeks must have retreated in an equally ignominious fashion. The WW II commander would recognise a fleeing army if he saw one; he had chased the Germans over 2000 km from Stalingrad to Berlin.

    No easy victories

    Alexander’s troubles began as soon as he crossed the Indian border. He first faced resistance in the Kunar, Swat, Buner and Peshawar valleys where the Aspasians (Iranian Aspa, Sanskrit Asva = horse) and Assakenoi (Sanskrit Asvakas or Asmakas, perhaps a branch of, or allied to, the Aspasioi), challenged his advance. Although mere specks on the map by Indian standards, they did not lack in courage and refused to submit before Alexander’s killing machine.
    The Aspasians hold the distinction of being the first among the Indians to fight Alexander. The Roman historian Arrian writes in ‘The Anabasis of Alexander’ that with these people “the conflict was sharp, not only from the difficult nature of the ground, but also because the Indians were….by far the stoutest warriors in that neighbourhood”. (4)
    The intensity of the fighting can be measured from the fact that during the siege Alexander and his two of leading commanders were wounded. Alexander was hit by a dart which penetrated the breastplate into his shoulder. But the wound was only a slight one, for the breastplate prevented the dart from penetrating right through his shoulder.
    In the end the guile and superior numbers of Alexander’s army won the day. The Macedonians captured 40,000 men and 230,000 oxen, transporting the choicest among the latter to their country for use as draft animals.
    Alexander next attacked the hill state of Nysa, which probably occupied a site on the lower spurs and balleys of the Koh-i-Mor. It was governed by a body of aristocracy consisting of 300 members, Akouphis being their chief. The Nysaens readily submitted to the Macedonian king, and placed at his disposal a contingent of 300 cavalry. According to Rama Shankar Tripathi (5), the Nysaens claimed descent from Dionysius. “This gratified the vanity of Alexander, and he therefore allowed his weary troops to take rest and indulge in Bacchanalian revels for a few days with their alleged distant kinsmen.”

    Greek guile defeats Massaga

    Alexander’s next nemesis was the Assakenoi who offered stubborn resistance from their mountain strongholds of Massaga, Bazira and Ora. Realising the gravity of this new threat from than West, they raised an army of 20,000 cavalry and more than 30,000 infantry, besides 30 elephants.
    The fighting at Massaga was bloody and prolonged, and became a prelude to what awaited Alexander in India. On the first day after bitter fighting the Macedonians and Greeks were forced to retreat with heavy losses. Alexander himself was seriously wounded in the ankle. On the fourth day the king of Massaga was killed but the city refused to surrender. The command of the army went to his old mother, which brought the entire women of the area into the fighting.
    Realising that his plans to storm India were going down at its very gates, Alexander called for a truce. Typical of Indian kingdoms right through history, the Assakenoi agreed to their eternal regret. While 7,000 Indian soldiers were leaving the city as per the agreement, Alexander’s army launched a sudden and sneaky attack. Arrian writes: “Undaunted by this unexpected danger, the Indian mercenaries fought with great tenacity and “by their audacity and feats of valour made the conflict, in which they closed, hot work for the enemy”.
    When many of the Assakenoi had been killed, or were in the agony of deadly wounds, the women took up the arms of their fallen men and heroically defended the citadel along with the remaining male soldiers. After fighting desperately they were at last overpowered by superior numbers, and in the words of Diodoros “met a glorious death which they would have disdained to exchange for a life with dishonour”. (Hindu women like Rani Padmini, who preferred to jump into the fires of jauhar rather than become captives, can trace their tradition of self-sacrifice and valour to antiquity.)
    After the fall of Massaga, Alexander advanced further, and in the course of a few months’ hard fighting captured the important and strategic fortresses of Ora (where a similar slaughter followed), Bazira, Aornos, Peukelaotis (Sanskrit = Pushkaravati, modern Charsadda in the Yusufzai territory), Embolima and Dyrta. (Due to the peculiar Greek orthography most of these cities are now impossible to identify or decipher.)
    However, the fierce resistance put up by the Indian defenders had reduced the strength – and perhaps the confidence – of the until then all-conquering Macedonian army.

    Faceoff at the river

    In his entire conquering career Alexander’s hardest encounter was the Battle of Hydaspes, in which he faced king Porus of Paurava, a small but prosperous Indian kingdom on the river Jhelum. Porus is described in Greek accounts as standing seven feet tall.
    In May 326 BCE, the European and Paurava armies faced each other across the banks of the Jhelum. By all accounts it was an awe-inspiring spectacle. The 34,000 Macedonian infantry and 7000 Greek cavalry were bolstered by the Indian king Ambhi, who was Porus’s rival. Ambhi was the ruler of the neighbouring kingdom of Taxila and had offered to help Alexander on condition he would be given Porus’s kingdom.
    Facing this tumultuous force led by the genius of Alexander was the Paurava army of 20,000 infantry, 2000 cavalry and 200 war elephants. Being a comparatively small kingdom by Indian standards, Paurava couldn’t have maintained such a large standing army, so it’s likely many of its defenders were hastily armed civilians. Also, the Greeks habitually exaggerated enemy strength.
    According to Greek sources, for several days the armies eyeballed each other across the river. The Greek-Macedonian force after having lost several thousand soldiers fighting the Indian mountain cities, were terrified at the prospect of fighting the fierce Paurava army. They had heard about the havoc Indian war elephants created among enemy ranks. The modern equivalent of battle tanks, the elephants also scared the wits out of the horses in the Greek cavalry.
    Another terrible weapon in the Indians’ armoury was the two-meter bow. As tall as a man it could launch massive arrows able to transfix more than one enemy soldier.

    Indians strike

    The battle was savagely fought. As the volleys of heavy arrows from the long Indian bows scythed into the enemy’s formations, the first wave of war elephants waded into the Macedonian phalanx that was bristling with 17-feet long sarissas. Some of the animals got impaled in the process. Then a second wave of these mighty beasts rushed into the gap created by the first. The elephants either trampled the Macedonian soldiers or grabbed them by their trunks and presented them up for the mounted Indian soldiers to spear them to their deaths. It was a nightmarish scenario for the invaders. As the terrified Macedonians pushed back, the Indian infantry charged into the gap.
    In the first charge, by the Indians, Porus’s son wounded both Alexander and his favourite horse Bucephalus, the latter fatally, forcing Alexander to dismount. (6) This was a big deal. In battles outside India the elite Macedonian bodyguards had provided an iron shield around their king, yet at Hydaspes the Indian troops not only broke into Alexander’s inner cordon, they also killed Nicaea, one of his leading commanders.
    According to the Roman historian Marcus Justinus, Porus challenged Alexander, who charged him on horseback. In the ensuing duel, Alexander fell off his horse and was at the mercy of the Indian king’s spear. But Porus dithered for a second and Alexander’s bodyguards rushed in to save their king.
    Plutarch, the Greek historian and biographer, says there seems to have been nothing wrong with Indian morale. Despite initial setbacks, when their vaunted chariots got stuck in the mud, Porus’s army “rallied and kept resisting the Macedonians with unsurpassable bravery”. (7)

    Macedonians: Shaken, not stirred

    The Greeks claim Porus’s army was eventually surrounded and defeated by Alexander’s superior battle tactics, but there are too many holes in that theory. It is acknowledged by Greek and Roman sources that the fierce and constant resistance put up by the Indian soldiers and ordinary people everywhere had shaken Alexander’s army to the core. They refused to move further east. Nothing Alexander could say or do would spur his men to continue eastward. The army was close to mutiny. These are not the signs of a victorious army, but a defeated group of soldiers would certainly behave in this manner.
    Says Plutarch: “The combat with Porus took the edge off the Macedonians’ courage, and stayed their further progress into India. For having found it hard enough to defeat an enemy who brought but 20,000 foot and 2000 horse into the field, they thought they had reason to oppose Alexander’s design of leading them on to pass the Ganges, on the further side of which was covered with multitudes of enemies.”
    The Greek historian says after the battle with the Pauravas, the badly bruised and rattled Macedonians panicked when they received information further from Punjab lay places “where the inhabitants were skilled in agriculture, where there were elephants in yet greater abundance and men were superior in stature and courage”.
    Indeed, on the other side of the Ganges was the mighty kingdom of Magadh, ruled by the wily Nandas, who commanded one of the most powerful and largest standing armies in the world. According to Plutarch, the courage of the Macedonians evaporated when they came to know the Nandas “were awaiting them with 200,000 infantry, 80,000 cavalry, 8000 war chariots and 6000 fighting elephants”. Undoubtedly, Alexander’s army would have walked into a slaughterhouse.
    Hundreds of kilometres from the Indian heartland, Alexander ordered a retreat to great jubilation among his soldiers.

    Partisans counterattack

    The celebrations were premature. On its way south towards the sea via Punjab, Sindh and Balochistan, Alexander’s army was constantly harried by Indian partisans, republics and kingdoms.
    In a campaign at Sangala in Punjab, the Indian attack was so ferocious it completely destroyed the Greek cavalry, forcing Alexander to attack on foot.
    In the next battle, against the Malavs of Multan, he was felled by an Indian warrior whose arrow pierced the Macedonian’s breastplate and ribs. Says Military History magazine: “Although there was more fighting, Alexander’s wound put an end to any more personal exploits. Lung tissue never fully recovers, and the thick scarring in its place made every breath cut like a knife.”
    Alexander never recovered and died in Babylon (modern Iraq) at the age of 33.
    The Battle of Hydaspes was Alexander’s last major open-field battle. Everything else was a skirmish compared with it. The Macedonians and Greeks were not the same tough guys anymore; always on the retreat; constantly being harried by Indian kingdoms. If ever there was a defeated army, this one certainly behaved like one.
    (Part 2: The concluding part will analyse who really won the battle.)

    Sources

    1. Quintus Curtius, ‘History of the Wars of Alexander’, (Book XIII, 17)
    2. ‘Greek Alexander Romance’, https://www.britannica.com/art/Alexander-romance
    3. S. Rajaram, ‘Porus’s Defeat of Alexander at the Battle of Hydaspes’, https://voiceofindia.me/2016/10/05/porus-defeat-of-alexander-at-the-battle-of-hydaspes-jhelum-n-s-rajaram/
    4. Arrian the Nicomedian, ‘The Anabasis of Alexander’ (Book IV, 25), https://archive.org/stream/cu31924026460752/cu31924026460752_djvu.txt
    5. Rama Shankar Tripathi, ‘History of Ancient India’, p 118
    6. Arrian (Book 15, 14, 4)
    7. Plutarch, ‘The Life of Alexander’, http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Plutarch/Lives/Alexander*/8.html
    Rakesh Krishnan Simha
    Rakesh is a journalist at New Zealand’s leading media house. He mostly writes on defence and foreign affairs.
    His articles have been quoted extensively by universities and in books on diplomacy, counter terrorism, warfare, and development of the global south; and by international defence journals.
    Rakesh’s work has been cited by leading think tanks and organisations that include the Naval Postgraduate School, California; US Army War College, Pennsylvania; Carnegie Endowment for International Peace, Washington DC; State University of New Jersey; Institute of International and Strategic Relations, Paris; BBC Vietnam; Siberian Federal University, Krasnoyarsk; Centre for Air Power Studies, New Delhi; Institute for Defense Analyses, Virginia; International Center for Not-for-Profit Law, Washington DC; Stimson Centre, Washington DC; Foreign Policy Research Institute, Philadelphia; and Institute for Strategic, Political, Security and Economic Consultancy, Berlin.
    His articles have been published by the Centre for Land Warfare Studies, New Delhi; Foundation Institute for Eastern Studies, Warsaw; and the Research Institute for European and American Studies, Greece, among others.
    Comment:
    Excellent article, Rakesh Krishna Simha. A vivid testimony to the victory of Porus over Alexander is in a painting at Steel Authority of India Institute, Ranchi The painting shows Porus gifting to the departing Alexander a steel, ukku, urku, utsa (wootz) sword for which Bharatavarsha was famous the world over. Read on at A treatise on gaṇa who contribute wealth accounting ledgers of Indus Script Corpora of 8000 inscriptions, व्रातं व्रातं गणम् गणम् (RV 3.26.6) 
    https://tinyurl.com/yc9lhmd5

    Svādhyāya: Studying our Holy Books -- Vishal Agarwal (May, 2018)

    $
    0
    0

    Svādhyāya: Studying our Holy Books -- Vishal Agarwal


    Indology | From 25-12-2017 to 31-05-2018 Vishal Agarwal

     


    The Hindu tradition lays great stress on the study of scriptures-svādhyāya. It is considered a religious duty for Hindus to study and recite their scriptures on a daily basis, if possible.


    The Hindu tradition lays great stress on the study of scriptures. It is considered a religious duty for Hindus to study and recite their scriptures on a daily basis, if possible. In particular, Hindu priests are required to recite their own designated group of scriptures (called ‘svādhyāya’) every day, and even multiple times every day because that is what grants them the status of priesthood.

    Shruti and Smriti are the two eyes of Brahmanas. He who is bereft of one is one eyed, and if bereft of both, is completely blind – thus it is said.” Vādhūla Smriti, verse 197

    Hindu scriptures assign five great daily duties for all householders, and the very first one of them is the Brahmayajna, or the daily study and recitation of scriptures, in particular, the Vedas.

    Lord Krishna enunciates the study of sacred scriptures as one of the 26 attributes of one who is endowed with divine wealth.

    “Absence of fear, Purity of heart and Mind, Steadfastness in the path of Spiritual Wisdom, Charity, Control over one’s senses, Performance of Vedic sacrifices, Study of Holy Scriptures, Austerity and Straightforwardness” Gita 16.1


    “Ahimsa, Truth, Absence of Anger, Renunciation, Peacefulness, Absence of Backbiting or Crookedness, Compassion towards all Creatures, Absence of Covetousness, Gentleness, Modesty (Decency), Absence of Fickleness (or immaturity).” Gita 16.2

     “Vigor and Energy, Forgiveness, Fortitude, Cleanliness (external and internal), and Absence of too much pride – These belong to the One who is born to achieve Divine Wealth, O Bhārata!” Gita 16.3

    Millions of Hindus recite ‘Om’, the Gayatri Mantra, the Purusha Sūkta (Rigveda 10.90), Stotras (hymns in praise of different deities), or sing devotional hymns, or study their holy books on a daily basis as an act of piety and to earn religious merit.

    During the convocation ceremony, the Vedic teacher, therefore exhorts his student to continue studying and teaching the scriptures everyday even after they have graduated and have left the school. The Upanishad says that while performing various religious duties and practicing virtues, we must at all times continue svādhyāya and pravachana (teaching to others).

    Righteousness, and study and teaching (are to be practiced). Truth (should be adhered to), and study and teaching (are to be practiced). Austerity, and study and teaching (are to be practiced). Control over senses, and study and teaching (are to be practiced). Control over the mind, and study and teaching (are to be practiced). The Vedic ceremonial fires (are to be kept lit), and learning and teaching (are to be practiced. The Agnihotra or Vedic twilight worship (is to be performed), and study and teaching (are to be practiced). The guests, scholars, and the needy (are to be served), and study and teaching (are to be practiced). Humans (should be served and interacted with appropriately), and study and learning (are to be practiced)…..Taittiriya Upanishad 1.9

    Hindu scriptures themselves equate the study of scriptures to acts of worship, and the fruit of studying and reciting scriptures is said to be considerable. They say: They studied the Riks and thereby offered milk to the Devas. The Devas then manifested. With the study of Yajus, the Rishis made the offerings of clarified butter; with Samans, made an offering of Soma; with the Atharva Angiras, the made the offering of honey. With the study of Brahmanas, Itihāsa, Nārāshaṃsī, Gāthā, Kalpa and Purāṇa, they offered animal fat to the Devas. When the Devas manifested, they destroyed hunger and other evils, and then returned to heaven. By means of this Brahmayajna, the Rishis attained proximity to the Supreme Being. (Taittirīya Ārayaka 2.9.2)

    If a twice born recites the Rigveda daily, he offers milk and honey (so to speak) to the Devas and honey and Ghee to his ancestors. If he studies the Yajurveda daily, he offers Ghee and water to the Devas, and Grains and honey to his ancestors. If he studies the Samaveda daily, he satisfies the Devas with Soma and Ghee, and satisfies his ancestors with honey and Ghee. If he studies the Atharvaveda daily, he offers butter to the Devas and honey and Ghee to the ancestors. He who studies the Vākovākya, Purāas, Nārashamsi (ballads), Gāthās, Itihāsas and different sciences offers meat, milk, honey and porridge to the ancestors. Satisfied with these offerings, the Devas and ancestors bestow desired fruits to the regular student of the scriptures. He who is ever devoted to the study of scriptures obtains the fruit of whatever yajna (Vedic religious ceremony) he performs, the fruit of donating the entire earth filled with treasures and food thrice, and obtains the fruit of performing numerous austerities. Yajnavalkya Smriti 1.41-48

    Chanting the Scriptures:

    This study of the sacred Hindu literature can occur in many ways –

    1.  Japa or chanting of ‘Om’ and selected passages (such as the Purusha Sūkta from the Rigveda), stotras (devotional hymns to various Deities) from holy books with attentiveness and reverence, and paying attention to the meaning and significance of the words recited. In most cases, the focus is on chanting as an act of devotion, without paying much attention to the meaning although the latter too is strongly recommended.

    2.  Svādhyāya: In ancient times (and to a limited extent even today), different families studied a specific set of scriptures from the entire corpus of Hindu sacred literature. For example, a family belonging to the Deshastha Brahmana community in Maharashtra (India) could chant a specific group of 10 scriptures related to the Rigveda (the Rigveda Samhitā, Aitareya Brāhmaṇa, Aitareya Āraṇyaka, Aitareya Upanishad, Āshvalāyana Shrauta Sūtra, Āshvalāyana Grhya Sūtra, Panini’s Așhtādhyāyī, Pingala’s Chhandasūtra, Yāska’s Nirukta and Kātyāyana’s Sarvānukramaṇī) during their lifelong study of scriptures. This same set of scriptures was studied by the members of the family as their primary focus generation after generation and constituted their traditional scriptural study or Svādhyāya. In this form of study too, the focus is on the recitation of the sacred texts, and not necessarily on their meaning.

    3.  Adhyayana or study of scriptures in general to imbibe their teachings, and reflect upon their meaning. There may or may not be any chanting involved. The student may study them privately, or under the guidance of a Guru.

    The three terms are however used interchangeably. For example, the word ‘adhyayana’ is often used to denote the corpus of texts that are recited during ‘Svādhyāya’. Likewise, Japa is also often used to denote svādhyāya.

    A lot of times, Hindus recite and study scriptures without reflecting upon their meaning. This method of reciting scriptural passages from memory mechanically as a ritualistic or a devotional act, without pondering over their meaning, is a good preliminary step towards studying them and acquiring familiarity with their contents. But we must not stop at that.

    Importance of Knowing the Meaning of our Scriptures:

    Hindu scriptures criticize those who merely chant the scriptures like parrots without trying to understanding their meaning. They say –

    He, who having learned the Veda does not know its meaning is like a pillar which merely carries a burden, because only he who knows the meaning attains the auspiciousness and the holy, having got rid of all his sins through wisdom (contained in the meaning of the words).Sage Yāska’s Nirukta 1.18; Rigveda’s Shānkhāyana Ārayaka 14.2


    An ignorant man has eyes to see but sees nothing, has ears to hear but hears nothing, has a tongue to speak but speaks nothing. The ignorant can never understand the hidden mysteries of knowledge. But it is to the learned alone that knowledge reveals its true nature, just as a woman longing to meet her husband, dresses in her best and puts on her finest jewelry, so as to display her charms to him. Rigveda 10.17.4


    Only he who knows (and not merely recites) the Vedic mantras knows the Deities because the Deity does not accept the ceremonial offering that is made without knowledge. Rishi Shaunaka’s Brihaddevatā 7.130,132

    Therefore, one must try to understand the meaning of scriptural passages too. But even and chanting and knowing the meaning of the scriptures is not sufficient. Hindu tradition states that the study of our holy books involves five activities:

    Fivefold is the practice of Vedas: First is learning it from a teacher, second is contemplation, third is their practice (acting per their teachings and performing the rituals taught by them), fourth is their recitation (Japa) and the fifth is teaching them to one’s own disciple. Daksha Smriti 2.31


    Knowledge is acquired and mastered in 4 steps – during the period of study, during the period of self-reflection on what is taught, during the period of teaching it to others, and while practicing it. Mahābhāshya of Patanjali

    In other words, the learning of the letter and the meaning of scriptures must be followed by self-reflection, teaching it to others, and application of the teachings in our daily lives. The daily study of scriptures, and the performance of our daily duties are closely inter-related, and they illuminate and reinforce each other.

    Benefits of Studying our Scriptures

    1.  Means of attaining all the goals of our Life

    Hindu Dharma states that every human being should have four aims in life: Artha (material possessions), Kāma (gratification of senses), Dharma (piety, performing one’s duty) and Moksha (liberation from the cycle of births and deaths). These goals might seem mutually irreconcilable, but the scriptures provide ways and means and frameworks for our lives and the society so that all of them can be achieved in a harmonious manner.

    With the eyes of knowledge, a wise man should closely examine all the sources of Dharma, and then determine and practice that Dharma which is in accordance with the Vedas. Manusmriti 2.8Following the Dharma taught in the Shruti and the Smriti, one obtains great fame in this life, and attains a state of great happiness upon death. Manusmriti 2.9

    By Shruti is meant the Veda, and by Smriti is meant the Dharmashāstra. Dharma has originated from these two main sources, and therefore one should not find fault in them unnecessarily. Manusmriti 2.10

    The four varnas, the three worlds, the four ashramas, the past, present and future are all known well through the Vedas alone. Manusmriti 12.97

    The Vedas sustains all creatures and promotes their success/progress – therefore I consider the Vedas as the best means of attaining one’s goals. Manusmriti 12.99

    “… A young man working in Indian Army could not find any meaning in life and so contemplated suicide while sitting on a bench at Delhi Railway Station. But, suddenly he remembered that his sister was to get married shortly. So, he decided to postpone his suicide mission until the marriage or his sister. Next day, he went to a book shop to purchase newspaper when he came across a book by Swami Vivekananda which contained many inspiring thoughts like – ‘This life is short, the vanities of the world are transient. They alone live who live for others; the rest are more dead than alive.’ He made up his mind to live for others. Afterwards he took premature retirement from Army and received Rs. 65,000/ – as retirement benefits. He went to his village in Maharashtra and utilized this money to repair the village temple. With the temple as the focal point, he mobilized public opinion and stopped all liquor outlets in the village despite stiff resistance from the vested interests. He educated the villagers, both young and old, and started many economic projects. In a few years, his village was declared an ideal village by the Government. The Maharashtra Government then released grant for transforming some more villages. The name of the village is Ralegaon Siddhi and the person’s name is Anna Hazare. He was awarded Padmasri and then Padma Bhushan for his work. Just a small book by Swami Vivekananda gave a new direction in Anna Hazare’s life.”[1]

    2.          Golden Standard for judging Good from Evil

    Scriptures, and especially the Vedas, are the yardstick by which we measure the morality of our actions and judge whether we are right or wrong.

    With the eyes of knowledge, a wise man should closely examine all the sources of Dharma, and then determine and practice that Dharma which is in accordance with the Vedas. Manusmriti 2.8By Shruti is meant the Veda, and by Smriti is meant the Dharmashāstra. Dharma has originated from these two main sources, and therefore one should not find fault in them unnecessarily. Manusmriti 2.10

    In the Bhagavad Gita, Lord Krishna censures those persons who act without regard to scriptural directives:

    He who, having cast aside the commandments of the scriptures, acts under the impulse of desire, attains neither spiritual powers, nor happiness, nor the Supreme Goal. Gita 16.23
    Therefore, let the scriptures be your authority, in determining what should be done and what should not be done. You should perform your actions in this life only after knowing what is said in the commandments of the scripture. Gita 16.24

    When we read our scriptures, we learn how we can live a virtuous life and why doing evil does not benefit us in the long run.

    3.          Provide Supra-sensuous Answers to difficult Questions about Life and Universe

    Hindu Dharma seeks to address core questions related to our being – Who are we? What are we here for? Where do we go? What happens when we die? And so on. The answers to these questions are supra-sensuous, and cannot be determined through logical reasoning, or scientific experimentation. Hindus believe that our Holy books contain the wisdom of spiritually enlightened Rishis, Saints and Sages who had realized and understood these supra-sensuous or paranormal truths and therefore a study of these scriptures can help us answer our fundamental questions and doubts. In fact, Hindu schools of philosophy maintain that scriptures are the only perfect means of finding the true nature of Dharma and God because their true nature cannot be ascertained beyond doubt through other means such as perception by senses, or by logical inferences.

    The Vedas are the eternal eye of the ancestors, devas and humans. Vedic teaching is beyond perception by senses and beyond logic – this is the established rule. Manusmriti 12.94Sense perception results when a person’s senses come into contact with an object that is present and can be perceived. But perception cannot be a means for knowing eternal Dharma because it is not a material object that can be perceived. On the contrary, the Vedas are an independent and infallible means of knowing imperceptible Dharma, and the relationship between the letters and meaning of Vedas is eternal – so says Bādarāyaṇa. Jaimini’s Pūrva Mimāmsā Sūtras 1.1.4-5

    Brahman (Supreme Being) is not known from perception by senses or by logical inferences because he can be understood only through scriptures. Vedānta Sūtra 1.1.3

    4.          Collected Wisdom of Several Millennia

    We can all eventually learn the principles of Physics, Chemistry etc. on our own if we spend ages trying to observe things first hand without the benefit of using any texts on these subjects or study under any teacher. But no one wastes time and energy in learning first hand through endless experimentation when one can conveniently learn from reliable books. Likewise, Hindus should consult and study the scriptures that contain collected wisdom on Dharma and Moksha instead of trying to figure it out again, and re-invent the wheel.

    5.          Substitute for other Dharmic Practices

    Certain acts of Dharma such as charity, construction of temples, rituals and so on require wealth. So what should a poor person do? Hindu scriptures state that a person who is unable of performing rituals should still not abandon practices such as study and recitation of the Vedas.

    Even if a Brahmana stops performing Vedic rituals, he should nevertheless exert to study the Vedas, acquire spiritual wisdom and control his senses. Manusmriti 12.92

    6.          Save us from Sins

    Reflection upon and recitation of specific hymns from holy books helps us in reducing the burdens of our sins.

    Regular study and recitation of scriptures, performance of the five great daily duties and forgiving others – these save a person from the greatest sins. Manusmriti 11.245

    By studying the Rigveda, Yajurveda and Sāmaveda together with their Brāhmaṇas and Upanishads three times with a focused mind, one becomes free from all sins. Manusmriti 11.262

    Good deeds to not necessarily cancel the results (or fruit) of bad deeds, and therefore, one must reap their fruits independently. However, there are a few good deeds that are exceptions and can cancel the results of bad deeds. Scriptural study is one of these exceptional good deeds.

    Story: Ekanath’s son-in-law overcomes his bad habits with the help of Bhagavad Gita

    Svādhyāya Sant Eknath Bhagavad Gita.jpgSant Eknath was a renowned saint of Maharashtra. He married his daughter to a famous scholar (Pandit) of the region. Unfortunately, this scholar fell into bad company. He started going out of his home late in the night, leaving his wife alone. Eknath’s daughter became very worried about her husband’s behavior and she spoke to her father about it.

    Eknath then called his son in law and said, “Look here my son in law. You are a learned man, but my daughter is not. Do her a favor. Before you leave your home every night, please read to her a verse or two of the Bhagavad Gita. This will benefit her greatly. Then, you can go out wherever you please.” The Pandit agreed. So every night before he stepped out, he would read a couple of verses of the Bhagavad Gita to his wife, and explain the meaning to her. Slowly and slowly, the Pandit realized how beautiful the teachings of the Bhagavad Gita were. They started having an influence on how own mind. After some time, with the effect of the Gita, the Pandit stopped going out at the night. He had not intended to study the Gita for his own benefit. But nevertheless, the study of the holy book for the sake of his wife impacted him too in a positive way, and he became a virtuous man.

    A traditional story is narrated from the times of the virtuous and scholarly king Raja Bhoja, who ruled central India in the 11th century CE. In his kingdom, there lived a virtuous Brahmana who was very learned in Hindu scriptures, but was very poor. The Brahmana was too proud to beg for food. But one day, he was so overcome by the hardships of poverty that he decided to rob Raja Bhoja’s palace.

    He somehow entered the palace on a dark night, and reached the chamber in which the King was sleeping with his queen. Expensive jewels, gold jewelry and other costly items were scattered all across the room. The Brahmana could have stolen some of them, but just at that moment, he recalled the teachings of scriptures that one must not steal. Heeding the teaching, he refrained from the evil act. But now, he was realized that the sun was rising on the horizon and darkness was vanishing rapidly. There was no way he could free from the palace in daylight. Scared, he quickly hid under the bed of the King.

    Soon thereafter royal attendants arrived to awaken the King and the Queen with song and music. The King got out of the bed in a good mood, and said three quarters of a verse that praised the joys and pleasures of his life.

    When the Brahmana heard these words, he could not restrain himself and uttered the fourth quarter of the verse, “But none of these remain when the eyes are shut.”

    Startled the King bent down and saw him. His guards rushed to arrest the Brahmana. The King asked him the reason for his hiding. The Brahmana narrated how he wanted to rob the palace but that he recalled the words of shāstras at that very moment and therefore stopped himself. The King was pleased to hear the truthful Brahmana and said, “Since you have practiced the teachings of our scriptures, I will not let you go away empty handed. You certainly seem to be a scholar because you completed my verse. And I value scholarship and give gifts to poets in my kingdom.” Saying this, Raja Bhoja ordered that the Brahmana be sent away with costly presents.[2]

    7.          Help us in knowing the truth about our multiple Lives

    Hindus also believe that an intensive study of scriptures assists in recollection of our past lives. And when we learn about our former existences in different forms, we get less attached to this material world, and become inclined towards the path of spirituality, eventually resulting in Moksha.

    Through constant study of the Vedas, austerities, purity (of mind and body) and absence of any hatred towards other creatures, a person comes to recollect his former lives. Recollecting one’s previous lives, such a person then becomes devoted to Brahman, and as a result, he attains the blissful state of Moksha. Manusmriti 4.148-149

    When we remember our previous lives, we see the futility and the triviality of our current life in the larger scheme of things. And therefore, we start getting drawn towards the more real, and permanent entities, such as our soul, which survives multiple bodies; and God, who transcends the entire creation in space and time.

    8.          Provide a Starting Point for one’s Spiritual Journey

    Reading scriptures is one of the means by which we can purify our bodies and minds, and make it a fit receptacle for spiritual enlightenment.

    Practice of Tapas (austerity and forbearance), svādhyāya and Ishvara-prāṇidhāna (resigning oneself to God’s will, and offering him the fruits of all of one’s actions) are recommended as a starting point for those who desire to progress along the path of Yoga, but whose mind is unsteady…. svādhyāya means recitation of ‘Om’ and other sacred purifying scriptural statements, and study of spiritual scriptures.Patanjali’s Yogasūtra 2.1 and Vyāsa’s commentary on it (paraphrased)

    Through recitation of scriptures, performance of religious vows (vrata), performance of homa (daily Vedic ritual), study of the Vedas, daily offerings, birth of children, five great daily sacrifices and Vedic sacrifices, one’s body becomes Divine and holy. Manusmriti 2.28

    Practice of Dharma does not necessarily have to involve grand and great deeds. One can do great deeds in a small way every day, and this is the basis of the performance of the five great daily sacrifices. Studying a portion of the scriptures every day is one of these five great daily sacrifices.

    9.          Assist Practice of Spiritual Disciplines such as Yoga

    Study of scriptures has a synergistic relationship with the practice of Yoga and aids in attainment of Moksha-

    The mind of the Yogi who constantly repeats ‘Om’, and reflects on its meaning and significance simultaneously becomes very focused and attentive. And so it has been said- “Let the Yoga be practiced through svādhyāya and let svādhyāya be facilitated through the practice of Yoga. By practicing Yoga and svādhyāya together, the Supreme Ātman (God) shines (in the heart of the Yogi).”Vyāsa’s commentary on Patanjali’s Yogasūtra 1.28

     Rishis, Brahmanas and householders can enhance their wisdom and austerity, as well as purify their body by studying the Vedas and the Upanishads. Manusmriti 6.30 

    Study of the Vedas, austerity, spiritual enlightenment, control over one’s senses, service towards one’s Guru and Ahimsa, these six lead to the greatest good (Moksha). Manusmriti 12.83

    10.       Result in Spiritual Visions, help in Divine Interventions

    Study of Scriptures is indeed known to be productive of good results. It gives one the peace of mind, and leads to a direct vision of the Devas.

    The Devas, Rishis and Siddhas (spiritual masters) become visible to who is given to svādhyāya, and they assist him in his tasks.

    Vyāsa’s commentary on Patanjali’s Yogasūtra 2.44

    Therefore, a regular study of scriptures accelerates our spiritual growth.

    11.       Beneficial effect on Minds and Body

    The very act of recitation of Vedic scriptures is said to have a beneficial effect on our minds due to the combination of the sounds involved, and their soothing teachings. Study of scriptures gives peace to one’s mind and directs us towards the path of virtue and happiness.

    He who studies all the Vedas is freed of all sorrows before long. He who practices purifying Dharma is worshipped in Heaven. Brihaspati Smriti 79

    Therefore, in times of great sorrow (such as the death of a family member); it is a common Hindu practice to organize a public recitation and sermon of Hindu scriptures.

    12.       Means for Worshipping Rishis and Repaying our Debt to them

    Hindu scriptures are a sacred inheritance of all human beings. They are the wisdom of the Rishis and have been passed on from generation to generation to our present times by a devoted and continuous string of teachers and students. Therefore it is our duty to continue the tradition of their study and teaching. Many saints and sages have recommended the study of scriptures and Hindus should feel obliged to follow their advice.

    Hindu scriptures say that we are all born with a triple debt – the debt towards Devas, debt towards the Rishis and debt towards our elders. The debt towards Rishis is repaid only by reading the scriptures. Therefore, Hindu scriptures state that study and recitation of Vedas is a form of worshipping the Rishis themselves.

    Do not neglect the study and teaching of scriptures. Taittiriya Upanishad 1.11.1

    And for in as much as a person is bound to study the Veda, for that reason he is born with a debt owed to the Rishis. Therefore, he studies the Vedas to repay that debt, and one who has studies the Vedas is called the guardian of the treasure of Rishis. Shukla Yajurveda’s Mādhyandina Shatapatha Brāhmaṇa 1.7.2.3

    Rishis are worshipped through svādhyāya. Manusmriti 3.81

    13.       Pleasing to the Lord

    Hindu scriptures also state that recitation of the Vedas and other scriptures are pleasing to Lord Vishnu and other Deities, due to which their devotees should do the same regularly.

    Story: Ravana chants the Samaveda to get his Freedom

    When the arrogant Ravana tried to uproot and lift Mount Kailash (the abode of Shiva) in his hands, Shiva taught him a lesson by pressing the mountain with a toe and crushing Ravana below it. Ravana was trapped, and was not able to extricate himself out of the mountain. The Rishis advised him to chant the Samaveda, as Bhagavān Shiva loved to hear its chanting.

    Ravana followed their advice and started chanting Mantras from the Samaveda. Soon, Shiva was pleased and He released Ravana from the mountain. Shiva also granted him a boon.

    14.       Teaching of Scriptures to Others earns Religious Merit

    We should study our scriptures so that we can teach them to others. Teaching scriptures to others is an act of charity or gift, and in fact this gift is more exalted than many other forms of charity:

    The gift of Vedic learning is the best of all gifts because the Vedas are the repository of all Dharma. The donor of Vedas dwells in Brahmaloka (the Supreme Abode) forever. Yājñavalkya Smriti 1.212

    15.       Non Religious Reasons for Studying Hindu Scriptures

    It is fruitful to study Hindu scriptures for several other reasons:

    §  The doctrines and logic of Pūrva Mimāmsā related scriptures are the basis of the Hindu personal law in India. Likewise, a study of the Nyāya Sūtras and other associated scriptures is beneficial for acquiring skills of logic and debating.

    §  Hindu scriptures are amongst the oldest surviving and living religions traditions in the world. As such, a study of these texts is essential for understanding our past, and the development of religious ideas of the entire humanity as a whole.

    §  Hindu scriptures can also be studied to gain insights into historical linguistics, history, and ancient mathematics, music, grammar etc.

    §  Several Hindu scriptures are a delight to study from the perspective of appreciating good poetry.

    §  There is an astonishing amount of information on medicine, statecraft etc., in Hindu scriptures and scholars are still unraveling bits of this knowledge.

    John Hanning Speke, who discovered the source of the Nile river in Lake Victoria in 1862 CE, wrote “The Journal of the Discovery of the Source of the Nile” a year later. In his Journal, the British explorer claims that he discovered the location of the source of the river in descriptions of the region in the Skanda Purāa, a Hindu scripture!

    References

    [1] Swami Nikhileshwarananda (2015), pp. 17-18

    [2] Chaitanya and Chakra, pp. 662-663

    Featured Image: Wikipedia


    Svadhaya 3
    In this part we discuss the relative importance of scriptures vis-à-vis Dharma and Moksha.

    Scriptures and Dharma- Their Relative Importance

    With all the benefits of studying scriptures, it must be clarified that even the study and recitation of scriptures is no substitute for good conduct and pious living. One cannot wash his hands off goodness and perform evil actions thinking that his scriptural learning will save him.

    The Vedas cannot help a man who does not have a virtuous conduct, even though he may have studied them together with the six Vedāngas. At the time of his death, the Vedas abandon such a man, just as birdlings fly out of their nest when they become adults.

    Indeed, all the Vedas together with the Vedāngas and the Yajnas, can bring no joy to a man devoid of good conduct, just as a blind husband derives no joy on seeing his beautiful wife. Vasishtha Smriti 6.3-4

    A Brahmana whose conduct is evil does not reap the fruit of Vedic study. Conversely, a Brahmana who shows appropriate conduct reaps the entire fruit of his Vedic study. Manusmriti 1.109

    Study of scriptures is only one of the virtues of acts of Dharma. Dharma is much more than studying scriptures. They who are masters of scriptural learning but are evil in their conduct have merely wasted their time in studying the holy books. Therefore, scriptures are a means to knowing the difference between Dharma and Adharma, and not a substitute for practicing Dharma.

    Scriptures and Moksha (The Final Goal) – Their Relative Importance

    Hinduism also does not consider study of scriptures as the final goal. Unlike Abrahamic faiths, Hindus are not strictly a ‘book-religion’. Although long revelatory and other sacred texts exist in hundreds (‘Mahabharata’ in 100,000 verses is the longest poem in the world), they are merely considered as a guide to experience and realize the Supreme Reality, which is beyond all books and intellectual enterprise.

    What good can the Vedas do unto him who does not know that Great Being, who is All-pervading and Eternal, Holiest of all, Who sustains the Sun and the Earth, and is the support of the learned, the method of Whose realization is the chief aim of Vedic teaching? But they alone enjoy eternal bliss who study the Vedas, live a righteous life, become perfect Yogis and realize God. Rigveda 1.164.39.

    The purport of all Scriptures is Brahman (Supreme Being) indeed, and this is known when their passages are considered harmoniously. Vedānta Sūtra 1.1.4

    After studying the scriptures, the wise person who is solely intent on acquiring spiritual knowledge and realization, should discard the scriptures together, just as a man who seeks to abandon rice discards the husk. Amritabindu Upanishad 18

    As is the use of a pond in a place flooded with water, so is that of all Vedas for a Brahmana who is enlightened spiritually. Gita 2.46

    The mere study of the letter of the scriptures does not have much benefit. One should first study the scriptures, try to understand their essence and finally practice the same to achieve the final goal of their teaching – spiritual realization. Moksha is the final goal of our life, and therefore also the final goal of scriptural study. If scriptural learning does not advance one’s understanding of God and lead us closer to Moksha, then it is of no use. And when the goal is achieved, the scriptures have no value left because the means of reaching the goal are of no further use once the goal itself is reached.

    How to and How not to Study the Scriptures

    As state above, a study of scriptures and following their teachings is a pre-requisite to advancing in Dharma and Moksha. However, many people study the scriptures with the wrong intentions, or they believe that they are very Dharmic and are entitled to Moksha just because they have mastered the scriptures. The following parables from the Hindu tradition teach the correct and the wrong ways of studying the holy books.

    1.  Live the Scriptures, do not just memorize their Words

    Svadhaya 3 - 01Studying the scripture is not an end in itself. Once, a man came to Swami Chinmayananda and said, “I have gone through the Gita fifteen times.” Swami-ji asked, “But has the Gita gone through you even once?” The story below illustrates this message very aptly-

    “While touring South India, Chaitanya encountered a certain Brahmin in the temple of Ranga-kshetra. This man daily sat in the temple turning over the pages of the Bhagavad-gita, but his constant mispronunciation of the Sanskrit made him the object of general mirth and derision. Chaitanya, however, observed signs of genuine spiritual ecstasy on the Brahmin’s body, and he asked him what he read in the Gita to induce such ecstasy. The Brahmin replied that he didn’t read anything. He was illiterate and could not understand Sanskrit. Nevertheless, his guru had ordered him to read the Gita daily, and he complied as best he could. He simply pictured Krishna and Arjuna together on the chariot, and this image of Krishna’s merciful dealings with his devotee caused this ecstasy. Chaitanya embraced the Brahmin and declared that he was an “authority on reading the Bhagavad-gita.”[1]

    2.          Do not study scriptures to show-off, but for self-transformation

    Svadhaya 3 - 02The story of Vāmana Pandit below shows how mere learning of Gita and other scriptures does not benefit us spiritually. We become ‘alive’ only when we give up our ego and pride, when our heart is filled with devotion, and when we are able to teach the scriptures to the common man in a simple language out of love and compassion.

    “Vāmana pandit was born in a Brahmin family of Bijapur, which was under Muslim rule. Even as a young boy he could compose Sanskrit verses. When the ruler Adil Shah heard of this child prodigy, he offered to support the boy, if he embraced Islam, so the family sent him secretly to Varanasi to study under some scholars. After studying there for about twenty years, Vāmana became quite famous for his knowledge and skill at debating. He used to go on tours and challenge other pandits to a debate. Hearing of Ramadasa, he decided to visit him and challenge him also to a debate. When he arrived near the place where Rāmadāsa was staying, Vāmana pandit sent a messenger to get Rāmadāsa. Vāmana waited and waited under a tree, but by midnight Rāmadāsa had still not come. At that time, he happened to see two ghosts, and overheard them talking about him. The ghosts were saying that Vāmana would soon be joining them. Vāmana pandit became very afraid. He thought about what the ghosts had said and gradually understood that his egotism and pride of scholarship was leading him to hell. In fact, he became so repentant that he decided he would approach Rāmadāsa for spiritual instructions.

    Soon after, at dawn, Rāmadasa arrived and Vāmana pandit bowed down at his feet. Rāmadasa blessed the pandit and after giving him some spiritual instructions, told him to go to Badarika Ashrama, in the Himalayas, and meditate on Vishnu. After practicing sadhana whole-heartedly there for a long time, Vāmana pandit had a vision of the Lord, who blessed him and told him to go back to Rāmadāsa for further instructions. When Vamana pandit met Rāmadāsa again, Rāmadāsa gave him more instructions and told him to go to Shri Shaila Hill to meditate on Shiva. Again Vāmana did as he was told, practicing intense sādhanā for several years. Here also he was blessed by the Lord and told to return to Rāmadāsa. This time (in 1668 CE) Rāmadāsa described to the pandit how the common man needed religious education in their own language. Thus far the pundit had written only in Sanskrit. His learning was learning only among other Brahmin pundits like himself. It was of no use to ordinary people. So Rāmadāsa requested Vāmana pandit to write religious books in Marathi for the common people, and Vāmana agreed. Besides some very beautiful poems, Vāmana pundit also wrote a Marathi commentary on the Bhagavad-Gita, entitled Yathārtha Dīpikā.”[2]

    3.          There are no Short-Cuts to Studying the Scriptures, it takes Hard Work

    Svadhaya 3 - 03Sage Bharadvāja and his son Yavakrīta were neighbors of Sage Raibhya and his sons. The latter were all great scholars. Many people travelled long distances to study under Raibhya and his children. This made Yavakrīta jealous. But he did not like to study. So, he started praying to Lord Indra. Pleased with Yavakrīta’s penance, Lord Indra appeared in front of him and offered him a boon. Yavakrīta asked that he become a great scholar, so that people should come to study under him, just as they went to study under Raibhya and his scholarly sons.

    But Indra replied, “If you want to become knowledgeable, you should focus on your studies, rather than trying to please me and get the boon of wisdom from me.”

    But Yavakrīta would not listen. He resumed his austerities and penance, hoping that Indra would eventually get impressed and bless him with knowledge. One day, Yavakrīta went to the River Ganga to take a bath, when he noticed an old man throwing handfuls of sand into the river current. When Yavakrīta asked him the reason for doing so, the old man said, “People have a difficulty crossing the river. Therefore, I am constructing a bridge across it by throwing sand into the water.”

    Yavakrīta was amused, and said, “But you cannot construct a bridge this way because the water will keep washing away the sand that you throw. Instead, you need to work harder and put in more effort and materials to construct the bridge.” The old man replied, “If you can become a scholar without studying, I too can construct a bridge with just handfuls of sand.”

    Yavakrīta realized that it was Lord Indra who came disguised as the old man to teach him that worship alone cannot result in scholarship. He therefore apologized to Lord Indra and started studying diligently.

    4.          Scriptural Learning is not a Substitute for Practical Wisdom & Wisdom

    Svadhaya 3 - 04“Once several men were crossing the Ganges in a boat. One of them, a Pandit, was making a great display of his erudition, saying that he had studied various books – the Vedas, the Vedanta, and the six systems of philosophy. He asked a fellow passenger, “Do you know the Vedanta?” “No, revered sir.” “The Samkhya and the Patanjala?” “No, revered sir.” “Have you read no philosophy whatsoever?” “No, revered sir.” The pandit was talking in this vain way and the passenger was sitting in silence when a great storm arose and the boat was about to sink. The passenger said to the pandit, “Sir, can you swim?” “No”, replied the pandit. The passenger said, “I don’t know Samkhya or the Patanjala, but I can swim.”

    What will a man gain by knowing many scriptures? That one thing needful is to know how to cross the river of the word. God alone is real, and all else is illusory.”[3]

    5.          Scriptural learning is not a substitute for common-sense

    A Sanskrit proverb reads – “Just as a blind man has no use for a mirror, what will he do with scriptural knowledge if he lacks common-sense?” The following story from the Panchatantra illustrates the truth that in addition to mastering the Holy Scriptures, one must also have commonsense.

    Svadhaya 3 - 05The Four Pandits and the Lion: There were four childhood friends. Three of them studied a lot in different schools and became very learned scholars. The fourth was not that learned, but he had a lot of wisdom and commonsense. One day, the three scholars met with each other and said, “What is the use of our knowledge if we are not able to make any money out of it? Let us go to the royal palace and get a job with the King. This will make us rich.” The first scholar said, “The fourth among us is not really a scholar. What is the use of taking him with us? Let us leave him behind.’

    But the third of them was a kind hearted person. He said, “We have been friends since our childhood. Therefore, it is not fair to leave him behind.” So all the four got together and started walking towards the palace. On the way, there was a jungle. There, they saw a pile of bones lying on the ground. They immediately recognized that these bones belonged to a dead lion.

    Svadhaya 3 - 06The first scholar said, “I know how to put these bones together and complete the skeleton of the lion.” He used his knowledge, and within a few minutes, the skeleton was ready.

    The second scholar said, “I know how to put blood, skin and muscles into the skeleton.” He too worked for some time, and soon, the skeleton had muscles, eyes, blood and skin on it.

    The third scholar said, “I can give life to this animal and make it alive!” Everyone seemed impressed. But, the fourth friend, who was not very scholarly, immediately stopped them and said, “Do not be foolish. A lion eats human beings. If you make it alive, it will pounce on us and eat us.” But the three did not listen to him. However, he begged them to allow him to climb a tree before they make him alive. They agreed.

    When the lion came alive, it immediately pounced on the three scholarly friends and killed them. The fourth friend on the tree looked at the dead bodies of his friends and wept. He waited for the lion to go away, and then got off the tree and went back to his village. He said, “I wish that my scholarly friends also had some common-sense.”

    6.          Scriptural learning is useless if it does not make you a better Human Being

    Once, a gathering of Rishis took place at Mt Kailash, where Bhagavan Shiva lives. Rishi Durvasa too walked in with a bundle of books in his hand. But he did not greet any of the other Rishis present, and went up to Bhagavan Shiva’s throne, sitting right next to him. Bhagavan Shiva asked him, “Rishi, how is your study progressing?” With pride on his face, Rishi Durvasa replied, “I have studied all the books that I am carrying and have learned them by heart.”

    Rishi Narada got up and then said, “Pardon me Rishi Durvasa, but you are just carrying these books like a donkey that carries burden on its back.” When Rishi Durvasa heard these words, he became red with anger, and threatened Rishi Narada, “How dare you ridicule me? I will curse you. Why did you compare me to a donkey?”

    Rishi Narada replied, “True knowledge gives humility, forgiveness and good manners. You walked in without greeting others, and sat right next to Bhagavan, instead of sitting at His feet. Does this not show that you have not learned anything even after memorizing your books?”

    Rishi Durvasa realized that Rishi Narada was saying the truth. He realized that his behavior had been foolish. In repentance, he discarded his books in the ocean, and left the assembly to do meditation to atone for his inappropriate behavior.

    7.          At the Time of Death, it is not Scriptural learning, but Bhakti that will save you

    Svadhaya 3 - 07Once, Shri Shankaracharya was walking along the banks of the Ganga River in Varanasi with his disciples. He saw a very old Pandit, almost on his death bed, trying to master and teach the rules of Sanskrit grammar. Out of compassion, the Acharya composed a stotra of 13 verses, in which he asks humans to seek refuge in Krishna because only He can save us at the time of death. Learning rules of grammar for mere intellectual satisfaction will not save us from death. The 14 disciples of Shankaracharya added a verse each, and collectively, it became a Stotra of 27 verses. This beautiful stotra is called Bhaja Govindam, or Moha Mudgara (a Hammer to shatter delusion).

    The stotra teaches the worthlessness of worldly desires and ego and asks us to seek refuge in Bhagavān by chanting His names, reading the Gita, and becoming dispassionate towards worldly pleasures.

    References

    [1] Rosen, Steven. 1988. The Life and Times of Lord Chaitanya. Folk Books: Brooklyn (New York). pp. 163-164

    [2] Parivrajika, pp. 199-200

    [3] Tales and Parables of Sri Ramakrishna. Sri Ramakrishna Math. Mylapore: Madras, pp. 58-59

    Featured Image: Wikipedia

    Svādhyāya 4 Purana Bhagavata 
    Why do Hindus have so many Scriptures?

    Most religions have one holy book. The Sikhs have the Adi Granth, Christians have the Bible (which is a collection of 66 books plus a few more in the Catholic version), Muslims have the Koran and Jews have the Torah. But Hindus, Buddhists and Jains seem to have an abundance of scriptures – literally hundreds of them. Why don’t Hindus have just one Holy Book?

    Story: Rishi Bharadvaja realizes that there is no end to studying Scriptures

    Svādhyāya 4 01A beautiful story in the Yajurveda (Taittiriya Brahmana 3.10.11) narrates the infinite extent of the Vedas themselves. Some Rishis in the Hindu tradition are said to have lived a very long life. One of them was Rishi Bharadvaja. A beautiful story is narrated on his love for the study of the Vedas. He spent his extra-ordinary long life of 300 years studying the Vedas. Pleased with his devotion to the scriptures, Indra appeared before the Rishi and asked: “If I were to increase your life by another 300 years, what would you want to do?”

    The Rishi replied, “I would spend the next 100 years again in studying the Vedas.”

    Indra then created three mountains of sand in front of the Rishi, and said, “These three mountains represent Rik, Yajus and Samans, the three types of Vedic mantras. And from each mountain, your study is but a fistful of sand because endless are the Vedas (anantā vai vedāh).”

    Rishi Bharadvaja was amazed, and asked Indra to show him the true path. Indra recommended him to worship the Divine in the form of the Sun through a special religious ceremony. He said that worshipping Bhagavān was equivalent in merit to mastering the three mountains of sand worth Vedic knowledge.

    Rishi Bharadvaja followed Indra’s advice, and attained Moksha. He realized that there is no end to studying the scriptures. At a certain point, we should focus more on applying their teachings.

    There are many answers to the question why we Hindus have thousands of scriptures:

    1.  There is a lot of wisdom in Hindu Dharma, and this requires many books. Hindus have been blessed with a continuous string of saints and sages for several thousands of years. These great men and their disciples have collected their teachings resulting in a vast number of sacred writings. It is similar to the fact that the entire knowledge of Physics cannot be captured within a single book these days. So also, the entire wisdom of Hindus cannot be incorporated in just one holy book.

    2.  Hindu Dharma is the most ancient faith in the world. It is expected then that it has had the longest period of time to churn out more holy writings than others. This is another obvious reason why Hindus have so many scriptures.

    3.  The core scriptures of other religions originated in a very small area whereas the core scriptures of Hindus were compiled in a much larger region, resulting in Hindus having a lot more holy writings than many other faiths. To get a perspective, most Hindu writings originated in different parts of the Indian subcontinent, a region that is dozens of time larger than Israel (where the Jewish and Christian writings arose) or Hijaz (where the Koran originated). This too has resulted in the large number of Hindu scriptures.

    4.  Hindu Dharma recognizes a diversity of beliefs, doctrines and practices. It is not a ‘one size fits all’ or a ‘my way or the highway religion’. To reach these diverse perspectives, Hindus have multiple books. This explains why Hindus have multiple schools of philosophy, each with their own set of scriptures.

    5.  Hinduism also permits the worship of God in many different forms and also as a Formless Supreme Being. Many different scriptures contain instructions on the proper procedure for worshipping these different forms of the Divine. For example, the Vaishnava Pancharatra texts have details on worshipping Lord Vishnu, whereas the Shaiva Agamas contain instructions on worshipping Lord Shiva. The multiplicity of worship amongst Hindus has also contributed to the diversity of Hindu scriptures.

    6.  Hindus recognize the fact different people are at different levels of mental capacity, spiritual attainment and temperaments. To cater to people of different calibers, Hindus have different scriptures. For example, the Purāas are more user-friendly and are geared towards Hindus who might not have the competence or temperament to study the more difficult Vedas. This is just like the fact that students use different textbooks for the same subject (say, Chemistry) in different grades in their schools.

    7.  Hindus also tend to have different scriptures to discuss different topics instead of lumping all topics and branches of learning into a single book. For example, just as students have different textbooks for Physics, Chemistry and Biology, Hindus too have different scriptures to explain to them the principles of ritual, devotion, wisdom and so on in separate books. If the wisdom of Hindus were not great in extent, it would have been possible to combine all these different writings into one collection. But individual Hindu scriptures can also tend to be very vast. E.g., the Vedic literature is six times the length of the Bible.

     

    Svādhyāya 4 02

    8.          Hindus do not have a central authority that regulates what is scripture and what is an ordinary writing. In other religions such as Islam and Christianity, there too existed many versions of scripture in the past, but central councils of scholars met to stamp out diversity of holy writings and mandated only one particular version of their scripture as authorized or acceptable. For example the Council of Nicea in 325 CE suppressed several alternate versions of the Bible and approved only one that is similar to the version available these days. Similarly, the second Islamic Caliph Othman ordered destruction of several divergent versions of the Koran and allowed only one to circulate. In contrast, Hindus accept diversity and the original four Vedas developed into hundreds of different branches that differ slightly from each other. Hindus consider all these versions as authoritative because of the realization that all these branches teach the same principles, even though in a slightly different language. Hindus explain the multiplicity of our scriptures through the dictum that “The Truth is One, but the wise teach it in many different ways” (Rigveda 1.164.46).

    9.  Hindu Dharma is not tied to a particular period of time, or to a particular founder of the Hindu religion, or to a last Prophet or the only son of God. Hindus believe that although the Vedas are held to be the gold standard because they were intuited by spiritually realized Rishis, there are many other writings that contain the teachings of Saints, Sages and scholars who were also divinely inspired. Hindus believe that at any given point of time in history, it is possible for a spiritual person to attain great heights of realization which the Vedas talk about, and the writings of such great men then assume the form of scripture, because they reflect the spirit of the Vedas and other holy books.

    10.               Hinduism relies a lot on personal teaching by a Guru. Much of Hindu scriptures have been passed on from generation to generation through the medium of instruction from Guru to his disciples. Several Gurus have added their own commentaries and explanations to the scriptures to explain their meaning more effectively. Or they have compiled their own versions of the scripture to cater to the needs of their own disciples better. This has lead to several versions of the same scripture, and Hindus do not have a problem treating these different versions and commentaries as sacred writings.

    11.               Hindus also believe that several scriptures such as the Dhamashastras do not have eternal validity because of changed social conditions. Therefore, new scriptures are codified to apply the Vedic principles so that they suit the new conditions better. For example, it was believed by some Hindus that the Manu Smriti was applicable in more ancient times whereas the Parashara Smriti is applicable in the present age according to some Hindus.

    12.               In many cases, one holy book of the Hindus has been split into many for the convenience of the readers. For e.g., Hindus believe that the Vedas were one holy book which was split into four Vedas (Rigveda, Yajurveda, Samaveda and Atharvaveda) for the convenience of students by Veda Vyasa. In contrast, Christians have combined 66 books written by different people and during different times into a single book called the Bible.

    13.               The final reason for such a large number of scriptural texts in Hinduism is the fact that Sanskrit, in which the most ancient writings of Hindus were composed, ceased to be a popularly spoken language in the last 2000 years or so. Therefore, Saints who were filled with compassion wrote versions of several popular ancient Sanskrit scriptures in the vernacular languages prevalent amongst Hindus in their region. E.g. the Rāmāyaa of Vālmīki has been rendered into Tamil, Hindi, Marathi, Bengali, Telugu and numerous other languages by Saint Poets and is widely read with reverence by Hindus today.

    Can we Read all these Scriptures? Choosing One Scripture for Studying

    Svādhyāya 4 03
    Having multiple scriptures can sometimes make the task of reading them daunting for most Hindus. Therefore, there are some scriptures that are believed to contain the main teachings of all the other scriptures. E.g., the Gita is said to be the essence of teachings of spiritual scriptures such as the Upanishads. It is recommended that if one can read only one Hindu scripture, then let it be the Bhagavad Gita. Or Ramayana. Or Bhāgavata Purāa. Intellectual minded Hindus also like to read the Upanishads today.

    In the chart below, the scriptures that are commonly read by ordinary Hindus are shown in the red font.

    Featured Image: The Hindu Portal

     

    Svādhyāya: Studying our Holy Books- VThe Hindu tendency to see all faiths through their own spiritual viewpoint is patronizing and insulting to other faiths, whose followers openly reject the Hindu interpretations of their own doctrines which they have understood in a different manner traditionally.

    Hindu Scriptures and the Proverbial Hindu Tolerance: Interfaith Perspectives


    Hindu Dharma is not a ‘One Book, One Prophet, One God’ religion. The very fact that there are thousands of sacred books within our own tradition, and that thousands are Saints and Sages are associated with revealing and compiling them has made Hindus take it for granted that diversity of scriptures is a fact of nature. The existence of so large a number of scriptures within our own tradition makes it easier for Hindus to accept that religious traditions outside our own also have their own scriptures, and that these non-Hindu scriptures are also worthy of study, respect and reverence.

    Hindu Dharma encourages us not just to get a well-rounded knowledge of all our scriptures (or as many as possible), but also study the Holy Books of other religions with respect. A scripture which says that it is itself is ‘the only true book’ and everything else is not worthy of study and respect is actually the product of the limited spiritual vision and world view of its author. This is why Hindus have not indulged in bouts of burning and destroying books of other religions. In contrast, the followers of ‘One Book, One Religion, Last/One Prophet, One God’ faiths have frequently burned the scriptures of other religions and continue to cause bloodshed and destruction even in our own times.

    Instead of telling us to prove ourselves different from other peoples so that we can set ‘up our own prophetable shop’ for potential customers, Hindu Dharma advises us to look for common spiritual themes or the common essence of all these diverse scriptures. Therefore, instead of seeing these different holy books as disconnected and discrete pieces of knowledge, we should seek their underlying higher teachings.  For example, the Upanishad says:


    Truth is One, but the realized Poets with spiritual vision describe it in many different ways. Rigveda 1.164.46

    Cows are of different colors but their milk is the same color. Similarly, (the wise person) regards spiritual wisdom as the milk and the many branched Vedas as different cows. Amritabindu Upanishad 19

    Just as the bee extracts the essence from several flowers (to make the nectar like honey), a clever man should also take the essence from all sources and scriptures, whether they are short or long. Bhāgavata Purāņa 11.8.10

    This does not mean however that Hindus should accept any writing considered as sacred by any community as a holy scripture. The rule still remains that the Vedas are the golden standard by which all other scriptures are judged. Unfortunately, Hindus have carried the spirit of inclusivism and acceptance of diversity to such an extreme that they have ceased to see the genuine differences in the doctrines of different religions, and also fail to see the faults in various religious scriptures. Likewise, they have also started assuming that the Prophets and Saints of all religions were also spiritually realized souls in the Vedāntic and Yogic mold of Hindu tradition. However, when we actually read the sacred texts of other religions, and study the biographies of prophets and saints, the results are not always flattering. In fact, the Hindu tendency to see all faiths through their own spiritual viewpoint is patronizing and insulting to other faiths, whose followers openly reject the Hindu interpretations of their own doctrines which they have understood in a different manner traditionally. Therefore, instead of considering scriptures and important figures of all religions as equal, Hindus ought to use ‘viveka’ and try to discriminate between what is false, and what is true.

    Classification of Hindu Scriptures

    The two major categories in which all Hindu scriptures are divided are the Shruti and the Smriti.

    Shruti: The Vedas constitute the Shruti, a word that means ‘that which has been heard (from God) by the Rishis’ and are considered of Divine origin[1]. The principles of Dharma that are taught in the Vedas are called the ‘Vaidika Dharma’ or ‘Shrauta Dharma’ and are considered to be infallible (without error), universal and eternal.

    Smriti: The word Smriti word literally means ‘that which is remembered’. Human culture advances when the collected wisdom of the society is passed on from one generation to another (‘societal memory’), and each new generation adds to its inherited wisdom.

    Whereas Shruti is considered of Divine origin or inspiration, Smriti is considered the wisdom of Saints and Sages who were pious, virtuous and had understood the Vedas. It is believed that the teachings of Smritis are derived from the Vedas itself. The Hindu tradition says that although the Saintly authors of the Smritis were enlightened souls, yet it is still possible that they had some imperfections. For this reason, the Smriti scriptures have a lower authority than the Shruti scriptures, which are directly revealed by or inspired by the perfect God. Smritis which openly conflict with the Veda are rejected.

    “Smriti or ‘remembering’ is an eminently personal experience. One remembers what one has done or what has happened to one. Through memory one can appropriate and relive one’s past, and learn from experiences. These marks – appropriation, reliving, learning, and guidance – are all included in the sense of smriti. Smriti refers to that store of group experiences by which the community appropriates and relives its past, learns from it and is guided by it, and in the process shapes its identity. In so far as smriti has to do with personal experience, it is humanly authored (paurusheya in contrast to shruti proper, which is apurusheya or ‘not humanly produced.’ This is a crucial distinction for the ongoing life of a community. The non-personal Veda, received by the seers, which is religiously sacrosanct, linguistically immutable, culturally perfect…. Needs to be made accessible and humanized. Smriti probes, interrogates, debates, offers answers, mediates. It makes the impersonal personal. It allows the shruti to shape the world in which we live, and so to shape lives. For what may be smriti to you or your community, may not function as smriti for me or my community. Or it may weight this authority differently according to the particular traditions that nurture us, or the demands of our situations. Smriti is the medium through which we hear the voice of the shruti; it is interpretive, selective, collaborative, pliable. Shruti and smriti – or their equivalents, namely the primary scripture and tradition – are the co-ordinates by which the religious authority of Hinduism has been transmitted.

    For Hindus, smriti recalls exemplary figures and events that have shaped their past, the universe they inhabit. These figures may be human or non-human, benevolent or hostile, virtuous or malign. Smriti pronounces on the origination and transmission of almost every branch of human expertise. Its concerns include how to use words, how to read the heavens, how to care for elephants, how to make love, how to make war, how to make temples, how to worship, how to go on pilgrimage (and where and why), how to dance, how to sing; how to classify men, women, horses, gems, snakes, herbs, dreams….how to curse and how to heal. Smriti deals with the founding of ancient dynasties and their ending; with the origination and destruction of the world; with rites of passage, the goals and stages of life, and cremation rites.

    Smriti prescribes and cautions in all matters of dharma or right living: in the dharma of husbands, in the dharma of wives….of eating, drinking….worshipping, purifying: in a word, in the dharma of living and in the dharma of dying. Smriti is a great story-teller, myth-maker, codifier, teacher, punisher, rewarder, guide.”[2]

    “Smriti can support primary scripture directly or indirectly through stories about gods, saints and sacred events, cautionary tales, graphic descriptions of heavenly and hellish realms, didactic discourses, the elaboration of codes of dharma, the sanctioning of reward or punishments for observing or violating these codes, and by recording the development of human expertise in prosody, phonetics, astronomy, love-making, war-waging, temple building, icon-shaping, philosophy and theology and so on. The amount of accumulated material that counts for smriti over the past 4000 years is immense, and in the more articulate world in which we live this material is increasingly rapidly all the time….”[3]

    “….implementing smriti is a subjective exercise. What may be suitably corroborative material for my grasp of primary scripture may not be so for you; or you may use the same material in a different way. For smriti to function as smriti, what matters is the intention seen to underlie the material in question. An item of smriti may not seem to focus on primary scripture at all, e.g. a treatise on erotics, or grammar, or astronomy, but it is regarded as smriti because it is seen as intended to further – or is made by those in appropriate authority to bear upon – the aims of the shruti or primary scripture. For instance, it may do this by enabling an appropriate lifestyle to be followed, for it is only on this basis that scripture would be efficacious.”[4]

    Although the word Smriti may be used in general to denote all the non-Shruti literature, it is often used in a more restricted sense to denote only the Dharmashāstra scriptures. Traditionally, the Dharmashāstras are considered the second only to Shruti in terms of authority. Therefore, they are more authoritative than the Purāas, Itihāsas and all the other non-Shruti classes of scriptures.

    Āgamas:

    There is a class of Hindu scriptures called the Āgamas which are accepted only by the sampradāya or the tradition to which they belong. For e.g., the Vaishnava Āgamas are followed only by worshippers of Vishnu, and the Shaiva Agamas are accepted only by worshippers of Shiva.  The Āgamas are also referred to as Tantras, especially those belong to the Shākta and Shaiva traditions. Sometimes, the followers of these Āgamas consider their own Agama text as at par with Shruti. It is for this reason that Hindu traditions sometimes says that the Shruti is of two types – Vaidika and Tāntrika. However, this view that the Āgamas are of equal authority as the Shruti is not accepted by all Hindus.

    Shruti as the Supreme Authority for Hindus:

    Practically all Hindus accept the supreme authority of the Shruti literature, with a few exceptions such as the Lingayyata Shaivite Hindus, who consider the Shaiva scriptures as more authoritative. Acceptance of the Vedic authority is often considered a hallmark of being a Hindu. For this reason, Jains and Buddhists are not sometimes considered as Hindus, even though they share their history, cultural heritage, ethical values etc., with the Hindu community. The case of Sikhs is more complicated, because their own supreme scripture (the Ādi Grantha) seems to accept the Divine origin and authority of the Vedas in matters of Dharma. However, modern Sikhs by and large do not accept the Vedas and do not consider themselves as Hindus.

    Sometimes, the Agamas and Tantras are considered a second type of Shrutis in addition to the Vedas (Samhitā, Brāhmaa, Āranyaka and Upanishads). This is because according to some Hindu traditions, the Āgamas and Tantras were also directly revealed by Bhagavān.

    Some Hindus also believe that the Bhagavad Gita is Shruti, because Bhagavān in the Form of Krishna revealed it to Arjuna. A majority of Hindus however believe in the chart displayed above.

    Similarly, the school of Indian philosophies (Darshana Shastras) that accept the authority of the Shruti, even if for the sake of formality, are considered as Āstika (or ‘Believer’, ‘orthodox’) Darshanas; whereas those which reject the Shruti are called the Nāstika (heretical) Darshanas. The latter includes the Buddhist, Jain and the Chārvāka/Bāhrsapatya (atheist and materialistic) Darshanas.  The former includes the Hindu Darshanas of Sāmkhya, Yoga, Vedānta, Pūrva Mīmāmsā, Nyāya and Vaisheshika Darshanas.

    The chart below shows the major categories of Hindu sacred literature.

    Svadhyaya Hindu Scriptures

    Notes

    [1] The word ‘Rishi’ is derived from the Sanskrit root ‘Drish’, or ‘to see’. In other words, the Shruti is the record of the spiritual vision, or insight into the Divine of the Rishis.  The Rishis were pure hearted and spritually advanced individuals who devoted their entire lives to Dharma and Moksha. Women Rishis are called Rishikas.

    [2] Lipner (2010), p. 89

    [3] Lipner (2010), p. 90

    [4] Lipner (2010), p. 90

    Svādhyāya-6 VedaTraditionally, the Vedic literature as such signifies a vast body of sacred and esoteric knowledge concerning eternal spiritual truths revealed to sages (Rishis) during intense meditation. They have been accorded the position of revealed scriptures and are revered in Hindu religious tradition.

    The Vedas or Shruti

    Importance of the Vedas

    As explained above, the Vedas are considered the supreme scriptures, or the gold-standard by most Hindus. The word ‘Veda’ is often derived from 5 Sanskrit roots these days:

    §  Vid jnaane: To know

    §  Vid sattaayaam: To be, to endure

    §  Vid labhe: To obtain

    §  Vid vichaarane: To consider

    §  Vid chetanaakhyaananiveseshu: To feel, to tell, to dwell

    To these roots is added the suffix ‘ghaw’ according to Ashtādhyāyī 3.3.19, the celebrated text of Sanskrit grammar of Panini. Accordingly, the word Veda means ‘the means by which, or in which all persons know, acquire mastery in, deliberate over the various lores or live or subsist upon them.’

    Traditionally, the Vedic literature as such signifies a vast body of sacred and esoteric knowledge concerning eternal spiritual truths revealed to sages (Rishis) during intense meditation. They have been accorded the position of revealed scriptures and are revered in Hindu religious tradition. Over the millennia the Vedas have been handed over generation to generation by oral tradition and hence the name “shruti” or “that which is heard”. According to tradition they are un-authored (apaurusheya) and eternal, and are considered the revelation of God to the Rishis. This is the other reason for calling them Shruti.

    Theoretically, the Vedic corpus is held in deep reverence in the Hindu society. It constitutes the most authoritative genre of Hindu scriptures. Any other Hindu scripture must agree with the Vedas in order to be considered an authority. Schools of philosophy which reject the authority of the Vedas are considered ‘Naastika’ or heretical, while schools which accept Vedic authority, even if nominally, are considered ‘Aastika’ or orthodox, from a Hindu perspective. While most Hindus never see Vedic texts in their lifetime, the term ‘Veda’ is used as a synonym for authoritativeness in religious matters. The Vedas are considered full of all kinds of knowledge, and an infallible guide for man in his quest for the four goals – DharmaArtha(material welfare), Kāma (pleasure and happiness) and Moksha (Salvation). In sacred Hindu literature, they are considered the very manifestation of God, and the ultimate source of all wisdom and of all Dharma.

    Hindu priests were exhorted to study them regularly, recite their sentences, practice their sacraments and memorize their words. In practice however, this has been restricted to a dwindling minority of the Brāhmaa caste, despite recent attempts to revive Vedic study, ritual and recitation in the traditional manner. On the other hand, the Vedic texts are now widely available in print, and this has lead to a greater dissemination of their knowledge amongst Hindu masses, than say, a century back. Even here however, the popularization largely concerns the spiritual treatises called the Upanishads – the texts par excellence of Hindu spirituality. In fact, for several centuries now, the word ‘Veda’ has been used by Hindu teachers to indicate the Upanishadic texts in particular.

    How Were the Vedas Revealed?

    Svādhyāya-6 Vedas
    According to Hindu tradition, Bhagavān Brahmā created the Universe and then revealed the four Vedas to numerous Rishis at the beginning of this creation. Since then, an unbroken chain of students and teachers have been transmitting the Vedas down to our time. The four faces of Brahmā represent these four Vedas as well as the four directions.

    The Vedas are also associated with his consort Devi Sarasvati, who is the Devi of all wisdom and knowledge.

    The Vedas however are not the creation or composition of the Brahmā because they are eternal. Bhagavān Brahmā is merely their caretaker of this Divine knowledge, which really belongs to the Supreme Being (Brahman). However, Brahmā also composed some original works, which initiated many other branches of Hindu knowledge – like Ayurveda, Dharmashāstras etc. All these works whose tradition started from the original compositions of Brahmā are called Smritis; whereas the Vedas which were revealed by Brahmā but not authored by him are called Shruti (‘that which are heard from Brahman’).

    As time progressed, the capacity of human beings to study scriptures declined. Sometimes, the Vedas even got lost. Therefore, a Rishi appeared periodically to re-arrange them and even rediscover them. The current version of the four Vedas is said to have been given their present form by Rishi Veda Vyasa, who was the son of Rishi Parāshara, and a fisherwoman named Satyavatī. Veda Vyāsa then taught the Rigveda, Yajurveda, Samaveda and Atharvaveda to his four students: Rishi Paila, Rishi Vaishampāyana, Rishi Jaimini and Rishi Sumantu respectively. They in turn taught them to numerous disciples and so on, leading to slightly differing versions of the four Vedas. These versions are known by the names of the last Rishis after whom no other modifications were made to the texts of the Vedas.

    However, another viewpoint is that hundreds of very ancient Rishis (mainly on the banks of the river Sarasvati which dried out by 1500 BCE or even earlier) received the hymns and sections of the four Vedas from Brahman. Brahmā has no role to play in this viewpoint. A big chunk of these revelations were lost with time, and Veda Vyāsa compiled whatever remained, to preserve it for posterity. Even the existing Vedic literature is 6 times the length of the Bible, and is much older!

    There is a third, modern viewpoint proposed by Swami Dayanand Saraswati (1824-1873 CE). According to this view, the Supreme Being revealed the four Vedas respectively to Rishis Agni (Rigveda), Vāyu (Yajurveda), Āditya (Samaveda) and Angirasa (Atharvaveda).

    Several modern scholars have proposed different dates for the Vedas:[1]

    §  Tilak       4000 – 2500 BCE

    §  Jacobi    4000 BCE

    §  Wilson  3500 BCE

    §  Hough   2500 – 1400 BCE

    §  R C Dutt 2000 – 1400 BCE

    §  Roth      1000 BCE

    §  Max Mueller 1500 – 1200 BCE

    Classification of the Vedic Scriptures

    The Vedas are four in number – Rigveda, Yajurveda, Sāmaveda and Atharvaveda. According to tradition, each Veda can be divided into two parts – Mantras and Brāhmaas. A collection of Mantras is typically called a Samhitā, although they can also occur in the Brāhmaa texts. Currently, and often in ancient Hindu tradition as well, it is often the Samhita portion alone which is referred to as the Veda. For instance, the word ‘Rigveda’ would typically mean the Rigveda Samhitā. The Ārya Samāj school of Hindus, responsible for the modern revival of Vedic study in northern India, and founded by Swami Dayanand Saraswati in 1875 CE, in fact rejects the Brāhmaas as portions of Vedas. For them, the Vedas include only the four Samhitās Rigveda Samhitā( Shākala version), Atharvaveda Samhitā (in its Shaunaka version), Yajurveda Samhitā (Mādhyandina version) and the Sāmaveda (Kauthuma version). All other Samhitās and the rest of the Vedic literature is considered by them to be outside the Veda proper.

    The Brāhmaas have their own names and are more like theological treatises of the Vedas. The ending portions of many Brahmanas have an esoteric content, called the ‘Ārayaka. Embedded in these Ārayakas, or normally at their very end, are deeply spiritual treatises called the Upanishads. For several centuries now, Upanishads are the mainstay of Hindu spiritual traditions, and are held in the highest esteem.

    In the case of the Rigveda, Samaveda and the Atharvaveda, there is a clear-cut separation of the Mantra collection from the Brahmana portions. In contrast, the Yajurveda is of two types: Shukla (or ‘white’) Yajurveda and Krishna (or black) Yajurveda. In the former, the Mantra and Brāhmaa collections occur separately from each other. But in the latter, the Mantra and the Brāhmaa portions are intermixed. Thus, the Taittiriya Samhitā’ belonging to the Krishna Yajurveda has Mantras interspersed with Brahmana portions. Even the Taittiriya ‘Brahmana’ has both Mantras and Brāhmaa passages mixed with each other.

    Coming to the Brāhmaa texts, there is often no clear-cut distinction between the Brāhmaas proper and the Ārayakas, or between the Ārayakas and the Upanishads. The Brāhmaa text proper often merges into the Ārayakas and many old Upanishads are actually embedded in the Ārayakas.

    There are a few exceptions even to the above generalizations on the internal distinctions in the Vedic texts.

    What are Mantras? What are Samhitās?

    The mantras are basically hymns sung to the Devas or Deities – the devotional outpourings of the souls of poets. The Samhitās of the four Vedas were compiled for the smooth performance of Vedic ceremonies. Four types of priests are needed to perform a Vedic sacrifice:

    §  The Hotr priest who sings hymns to Gods inviting them to preside over the sacrifice.

    §  The Udgātā priest who sings sweet hymns in musical tones for the entertainment of the Gods

    §  The Adhvaryu priest who performs the sacrifice according to strict ritualistic code and makes the offering to the Gods

    §  The Brahmā priest well versed in all the Vedas who supervises the sacrifice.

    The four Samhitas are said to have been compiled to fulfill the needs of these four main priests: Rk-Samhita for the Hotr, Sama-Samhita for the Udgātā, Yajurveda Samhita for the Adhvaryu and the Atharvaveda Samhita for the Brahma priest. Initially however, there was no special connection of the Brahmā priest with the Atharvaveda, as this Veda was and is not as closely integrated with Vedic ritual as the other three Vedas are.

     Mantras are basically of 3 major types, when classified according to their physical form: Riks, Yajus and Sāmans. Riks are versified mantras. Yajus are prose mantras whereas Sāmans are melodies set on Rk.

    §  The Rigveda is so called because it is comprised of Riks.

    §  The Yajurveda is so called because it is composed predominantly of prose mantras (Yajus) although it has hundreds of Riks as well. However, even the Riks in Yajurveda are recited as if they were prose passages.

    §  The Sāmaveda Samhitā is composed of melodies called Sāmans, and also the underlying Riks which are set to these melodies.

    §  The Atharvaveda is comprised of Riks (5/6 portion) as well as Yajus (1/6). Some adept Vedic scholars can set even the mantras of Atharvaveda to melodies.

    In many ways, the Samhitā of the Rigveda constitutes the basis of other Samhitās. Not only is it the most ancient Vedic text, it also contributes hundreds of verses to the other Samhitās. The poetical beauty of the Rigveda and the depth of its meaning are described in the following words by a modern scholar:

    “The fact that the verses of the Vedas are poetic in form and liturgical in function warns us against trying to reduce them to strictly rational forms or literal meanings. This sacred wisdom goes far beyond mere intellectual knowledge; it is the wisdom heard and felt in the hearts of the great seers and expressed by them in poem and song so that it might resound in the hearts of all people, awakening them to the tremendousness, mysteriousness, and joy of their own being as they participate in cosmic creation.”[2]

    Theoretically, the Mantras have a higher authority than the Brahmanas.

    What are the Brāhmaas?

    The word ‘Brāhmaas means through which we can know Brahma, where Brahma is another name for the Vedas. Therefore, the Brāhmaas are texts which expound the Vedic mantras and Vedic ritual ceremonies (Yajñas). These scriptures are characterized by statements of eulogy, censure, exposition and (ritual) application (of mantras). Many scholars, modern and ancient, have tried to define the Brāhmaas by stating their characteristics. The reality however is that there is no sharp difference in the characteristics of the Mantra and the Brahmana portions of the Vedas. The only thing that we may state safely is this – Mantras are those portions of the Vedas that are designated as such traditionally. And the rest is Brāhmaa.

    Unlike the mantras, which are mostly in verse, the Brāhmaas are predominantly prose. The Brāhmaas contain formulas for rituals, rules and regulations for rites and sacrifices and also outline other religious duties. The formulas and rules for conducting extremely complex rituals are explained to the minutest detail. And every ritual is performed for a specific purpose for which a specific effect/benefit is expected. It was felt that there was nothing that could not be achieved by sacrifices – the sun could be stopped from rising and Indra, the chief of Deities, could be deposed from his throne. The duties of men professing different occupations, the eternity of the Veda, popular customs, cosmogony, historical details, and praise of ancient heroes are some other subjects dealt with in the Brāhmaas.

    What are Ārayakas? [3]

    The Brāhmaas which deal predominantly with Vedic Yajnas fade gradually into more spiritual treatises called the Ārayakas. These scriptures contain several techniques of meditation and they explain the esoteric and mystical meanings of Yajñas. In short, the symbolic and spiritual aspects of the Vedic religion are meditated upon in the Ārañyakas.

    The word Ārayaka means belonging to the wilderness” that is, as Taittiriya  Ārayakas says, from where one cannot see the roofs of the settlement. According to some scholars, the other reason for their name is that this portion of the Vedas was the primary focus of study during the Vānaprastha’ (forest hermit) state of one’s life, when the person retired from active life in his old age to lead a sedentary lifestyle devoted to study of scriptures and performance of specific Vedic Yajñas.

    Ārayakas are also called Rahasya-Brāhmaa or the secret portion of the Brāhmaas. The Ārayakas are secret in the sense that

    1.     They are restricted to a particular class of rituals that nevertheless were frequently included in the Vedic curriculum that was primarily conveyed individually from teacher to student.

    2.     They convey the non-apparent spiritual meanings of the Vedic ceremonies.

    The Ārayakas are associated with and named after individual Vedic shākhās or branches.

    1.     Aitareya Ārayaka belongs to the Shākala Shākhā of Rigveda

    2.     Kaushitakī Ārayaka belongs to the Kaushitakī and Shānkhāyana Shākhās of Rigveda

    3.     Taittiriya Ārayaka belongs to the Taittiriya Shākhā of Krishna-Yajurveda

    4.     Maitrayaniya Ārayaka belongs to the Maitrayaniya Shākhā of Krishna-Yajurveda

    5.     Katha Ārayaka belongs to the (Charaka) Katha Shākhā of the Krishna-Yajurveda. Only fragments of it survive and are being still published.

    6.     Brihad- Ārayaka in the Mādhyandina and the Kāva versions. The Mādhyandina version has 8 sections, of which the last 6 are the Brihadarāyaka Upanishad.

    7.     Talavakāra Ārayaka or Jaiminiya Upanisadbrāhmaa belongs to the Talavakāra or Jaiminiya Shākhā of Sāmaveda.

    8.     The first three of the eight chapters of the Chhāndogya Upanishad have the nature of a Ārayaka.

    9.     Ārayaka Samhitā The Pūrvārchika of the Sāmaveda Samhitās have a section called the ‘Ārayaka Samhita on which the Āranyagāna Sāmans are sung.

    10.The Atharvaveda has no surviving Ārayaka, though one may regard the Gopatha Brāhmaa as its Ārayaka, a remnant of a larger Atharva (Paippalāda) Brāhmaa.

    What are the Upanishads?

    The Vedas have highly philosophical portions called the Upanishads, that form the bedrock of Hindu spirituality and theology. The Upanishads typically occur towards the end of the corpus of their respective Vedic Shakha and therefore they are often also called ‘Vedānta’. For example, the Taittiriya Shākhā of Yajurveda is arranged in the following manner: Taittiriya Samhita, Taittiriya Brāhmaa and Taittiriya Ārayaka. The last 4 of the 10 chapters of the Taittiriya Ārayaka comprise the Taittiriya and the Mahānārāyaa Upanishads. The presence of the Upanishads towards the end of their respective Vedic corpus indicates that they represent the final conclusion (Siddhānta) of the Veda. This is another reason why they are called Vedanta (Veda + Siddhānta).

    Traditionally, the 10 Upanishads on which Ādi Shankarāchārya wrote his commentary are considered the major Upanishads. These 10 Upanishads are:

    §  Aitareya Upanishad belonging to the Rigveda

    §  Ishāvāsya and Brihadārayaka Upanishad belonging to the Shukla Yajurveda

    §  Taittiriya and Katha Upanishads belonging to the Krishna Yajurveda

    §  Chhāndogya and Kena Upanishads belonging to the Sāmaveda

    §  Mudaka, Mādukya and Prashna Upanishads belonging to the Atharvaveda.

    In addition, the following Upanishads are also considered very ancient and authoritative:

    §  Kaushitaki Upanishad belonging to the Rigveda

    §  Mahānārāyaa, Kaivalya, Shvetashāvatara and Maitrāyaīya Upanishad belonging to the Krishna Yajurveda

    Tradition lists 108 Upanishads as the major Upanishads, and close to 200 Upanishads survive. However, the above 15 Upanishads and some others (such as Nīlarudra, Chhāgaleya, Ārsheya, Shaunaka, Bāshkalamantra) alone are the ancient Upanishads. Several portions of the Samhitā proper (e.g., the Brahmasūkta of the Atharvaveda), Brāhmaa proper (e.g., the first few sections of the Jaiminiya Brāhmaa or the Agnirahasya portion of the Shatapatha Brāhmaa) and Ārayakas (e.g., Chapters 9-10, 14-15 of the Shānkhāyana Ārayaka) are also similar to Upanishads.

    Many of the newer Upanishads propound doctrines related to Sannyāsa, Yoga, Sāmkhya, Vaishnavism, Shaivism, and Shāktism, worship of Gaapati and also summaries and expositions of the newer school of Vedānta such as Advaita Vedānta. Such sectarian Upanishads have been utilized to the hilt by later Hindu teachers to provide the Shruti based proof that their sectarian ways are exalted above the other sectarian ways. While doing so, they quote the Upanishads selectively but never reject the other Upanishadic texts directly or indirectly since the Shruti cannot be rejected at all. For example, the Vaishnava Vedantists quote the Nārāyaa Upanishad and similar Upanishads profusely to prove that Lord Vishnu is the Supreme Lord and all other Deities are lesser, explaining away the Shaivite Atharvashīrsha Upanishad. The Shaivite Vedantists do the opposite.

    “…Some have referred to the Upanisads as the ‘philosophical’ section of the Vedas. If by ‘philosophical’ one understands a systematic, coherent body of knowledge derived from inferential argument based on an analysis of experience, then these ancient texts are not ‘philosophical.’ In that case, one cannot criticize them for having a plurality of views that are not always mutually compatible, for being mystical and therefore non-rational in places, or for being didactic, that is, bent on teaching and instruction. The nature of philosophy in the modern Western sense is to be a form of public knowledge, its rational credentials available to the scrutiny of all. But the Upanisads, which ask questions and offer answers on the prigins of the universe and the production of being, on the nature of human existence and its goals, the relationship between beings and the source of being etc., attempt this task by continuing the Vedic tradition of private instruction based on personal initiation and passed down from teacher to disciple, by exploring perceived hidden correspondences between the human microcosm and the cosmic macrocosm, by plumbing the depths and searching the heights of conscious experience, by interiorizing the solemn ritual still further and understanding the role of speech and speech acts in this process, by giving instruction about the good life, by offering teaching about the mystery of death and the after-life, by trying to unify inner and outer being. They are a plural and pluralistic exercise in solving the conundrum of existence for the initiated; they are not systematic philosophical treatises. Nor can they be described as ‘speculative’ as is sometimes asserted; at least not from their point of view. They generally profess to give accredited insights based on experience and inquiry (whether one accept these or not); they do not claim to be guesswork. This is one reason why they exerted, and still exert, an unparalleled authority among large sections of the Hindu tradition, once their secretive teachings were recorded for posterity and opened up to increasingly wider public.”[4]

    Oral Nature of Vedic Scriptures

    Svādhyāya-6 02 Oral

    The Vedic texts were traditionally transmitted orally (or at least predominantly without the aid of manuscripts, which might have been used sparingly as memory aids). This was essential because the texts were ‘accented’, or in other words the different words or letters therein were recited according to different pitch/tones. Very elaborate mnemonic devices were developed to preserve the texts with great fidelity, and harsh Divine vengeance and evil repercussions were promised to those who deformed or mutilated the text in any manner. As a result, several Vedic texts were indeed transmitted over several millennia with utmost fidelity, together with accent. It took several years for a student to memorize one or more Vedic texts, word for word, letter for letter, with the correct accent, under the personal supervision of a competent teacher. The texts that are used for aiding the memorization and recitation of the Vedas with utmost fidelity, are called ‘Lakshaa Granthas. These texts include Anukramaīs, Padapāthas, Ghanapāthas, Kramapātha and other Vikrtis or modifications of the root text, phonetic treatises like Shikshās and Prātishākhyas and so on.

    Svādhyāya-6 03 Rig Veda AccentPage from a manuscript of Rigveda showing accents in red ink

    In some cases however, the accents were lost with time and the texts had to be recited without the Vedic accents. This is called the ‘ekashruti’ mode of recitation. A prime example of such a text is the Paippalāda Samhitā of the Atharvaveda. Similarly, Bhatta Kumārila (circa 650 CE) notes that the Brāhmaas of Samaveda had lost their accents even in his times and were recited without them.

    Notes

    [1] Sharma (2000), p. 204

    [2] Koller, p. 21

    [4] Lipner (2010), p. 52

    Featured Image: Wikipedia


    Svādhyāya 07 Vedanga Upaveda
    The prominent or the most important Smritis are those of Manu, Yājñavalkya and Parāshara. Other important Smritis are those by Shankha-Likhita, Harita, Brihaspati, Atri, Daksha, Nārada etc.

    Vedāngas

    These are six branches of learning whose knowledge is considered a pre-requisite to learning the Vedas. They are: Kalpa (ritual), Vyākaraṇa (grammar), shikshā (phonetics), Nirukta (Etymology), Jyotisha (astronomy) and Chhanda (Prosody)

    Phonetics (Shikshās)

    Shikshā is one of the six Vedangas, treating the traditional Hindu science of phonetics and phonology of Sanskrit.
    Its aim is the teaching of the correct pronunciation of the Vedic hymns and mantras. The oldest phonetic textbooks are the Prātishākyas (prātiśākhya, a vrddhi abstract from Sanskrit prati-śākhā), describing pronunciation, intonation of Sanskrit, as well as the Sanskrit rules of sandhi (word combination), specific to individual schools or Shakhas of the Vedas.
    The Prātishakhyas, which evolved from the more ancient padapāthas around c. 500 BCE, deal with the manner in which the Vedas are to be enunciated.
    Eight Pratishākhyas are preserved today:
    • Rigveda-Prātishākya (Shākala shākhā), attributed to Shaunaka
    • ShuklaYajurveda-Prātishākhya
    • Taittiriya (Krishṇa Yajurveda) Prātishākhya
    • Sāmatantram. A portion of it is also called Aksharatantra, and is often taken to be a separate text.
    • Riktantram (Sāmaveda). A versified abridgment of this text called the Laghuriktantra also exists.
    • Pushpa Sūtra (Sāmaveda), also called the Phulla Sūtra
    • Atharvaveda-Prātishākhya (Shaunakīya shākhā)
    • Shaunakiya Chaturādhyāyīkā (Shaunakīya shākhā)
    Several others known to exist till recent centuries have been lost. A manuscript of Maitrāyaṇīya Prātishākhya existed till a few decades back for instance. Likewise, the Bāshkala Prātishākhya belonging to Rigveda is found quoted in literature.
    In addition, several other Shikshā texts are preserved, such as Vyāsa Shikshā, Yājnavalkya Shikshā, Panini Shikshā, Āpishali Shikshā, Māṇdukī Shikshā, Kauṇdinya Shikshā and so on.

    Grammar (Vyākaraṇa)

    Will be dealt in future articles.

    Ritual (Kalpasūtras)

    Kalpa Sūtras are systematic and practical, aphoristic treatises laying down the procedures for the performance of Vedic rituals for its adherents. The Kalpa sūtra are typically aligned to one of these recensions or Shākhās of the Vedas. For instance, the Baudhāyana texts are aligned with the Taittiriya Samhitā, Taittiriya Brāhmaṇa and the Taittiriya Āraṇyaka. So is the case with the sutras of Āpastamba, Bhāradvāja, Hiranyakeshin, Vaikhānasa and so on.
    Types of the Kalpa Literature
    1. Shrauta Sūtras: The Shrauta rituals are very complex Vedic rituals requiring the use of the 3 Vedic fires. They employ Vedic mantras in their liturgy and often require a team of specialist priests for their performance. The Shrauta Sūtras often form the core text of the entire Kalpa Sūtra, and the following Grhya Sūtra etc., presuppose their existence.
    2. Grhya Sūtras: Deal with the domestic fire rituals. The Grhya rituals are comparatively simple, and can be performed by a householder without the aid of priests. They employ only one fire and their liturgy consists of collections of verses taken from various Vedic texts.
    3. Dharma Sūtras: These are like the laws of Manu, being codes of conduct. The Dharma sūtras are manuals of ethical instruction. Unlike the Shrauta and the Grhya sūtras that restrict themselves to the parent Vedic school, the Dharma Sūtras are more general in their sphere of instruction. They cover the duties and the rights of people belonging to different stages of life and castes, contain instructions on ritual purity, morals, atonements for various sins, and the kārmic result of various sinful and virtuous actions and so on.
    4. Shulvasutras: These are mathematical/geometrical treatises dealing with the construction of altars of various shapes and sizes for the performance of Vedic sacrifices. They are often included in the Shrauta Sūtras.
    5. Pitrmedha Sūtras: Treatises on cremation of the dead. They lay down the correct procedure for the funeral ceremony, for adherence by the son or a close relative of the deceased person. Often included in the Shrauta Sūtras or appended to the Grhya Sūtras. The surviving texts in this class are those of Āpastamba (or Bhāradvāja), Baudhāyana, Gautama
    6.Pravara sutras: List of various lineages, and clans and their progenitors of these clans and so on.
    7. Other miscellaneous texts: Parishishtas, snāna sūtras and so on.
    The following chart gives some of the major surviving Kalpasutras related to the different Vedas:
    #VedaShrauta SutraGrihya SutraDharma SutraShulba Sutra
    1RigvedaĀshvalāyana, Shānkhāyana, KaushitakiĀshvalāyana, Shānkhāyana KaushitakiVasishthaX
    2SāmavedaMashaka, Ārsheya, Lātyāyana, Drāhyāyana Nidāna, Pratihāra, Upanidāna, Anupada, Kalpānupada, Gāyatravidhāna, JaiminiyaKhādira Gobhila Gautama Drāhyāyana
    Jaiminiya
    GautamaX
    3Shukla YajurvedaKātyāyanaPāraskara, KātyāyanaXKātyāyana
    4Krishna YajurvedaBaudhāyana, Mānava, Hiraṇyakeshin, Vādhūla, Āpastamba,
    Vaikhānasa, Vārāha, Bhāradvāja
    Baudhāyana,
    Agniveshya, Mānava, Hirañyakeshin, Vādhūla, Āpastamba,
    Kathaka (Laugakshi)
    Vaikhānasa,
    Vārāha
    Kapishthala
    Bhāradvāja
    Baudhāyana, Hirañyakeshin, Āpastamba,
    Haarita
    Vaikhānasa, Vishṇu
    Baudhāyana, Mānava, Hirañyakeshin, Vādhūla, Āpastamba, Maitrāyaṇīya
    Varāha
    5AtharvavedaVaitānaKaushika
    Shanti Kalpa
    Nakshatra Kalpa, Āngirasa Kalpa
    XX
    Many of these Kalpa Sūtras have commentaries written on them by later scholars, and therefore form a vast literature in themselves.

    Jyotisha (Astronomy)

    Unlike later texts on Jyotisha which deal mainly with Astrology, the Vedanga texts of Jyotisha deal with astronomy. The division of time in smaller units, planetary motions and positions and so on were of vital importance to plan and execute Vedic rituals per a pre-determined schedule and per the proper procedure. The Rigveda and Yajurveda have a Vedānga Jyotisha authored by Rishi Lagadha whereas the Atharvaveda Jyotisha is authored by Rishi Kashyapa. In later times, the astrology aspect of Jyotisha became a very popular tradition in the Hindu society and dozens of texts belong to astrology exist. However, texts on astrology do not strictly fall within the Vedānga category and should be studied separately because they do not have any direct Vedic connection.

    Nirukta (Etymology)

    This Vedānga deals with derivation and etymology of Vedic words and supplements Grammar. It comprises of a lexicon called Nighantu and a commentary on it by Rishi Yāska called the Nirukta. In the tradition of Atharvaveda, a Kautsavya Nirukta also survives. Many older works in this category by Shākapūṇi, Upamanyu etc., have not survived but are found quoted in existing works.

    Chhanda (Prosody)

    Much of Vedic Samhitas comprise of verses that have a fixed number of syllables arranged in particular order. The oldest surviving work on Vedic Meter is by Pingala Muni, who is said to be the younger brother of the great grammarian Panini. This subject matter is also dealt with in several ancient surviving works such as the Chhandovichiti of Patanjali and the Rik-Prātishākhya of Shaunaka.
    The main principle of Vedic meter is measurement by the number of syllables. The metrical unit of verse is the pada (“foot”), generally of eight, eleven, or twelve syllables; these are termed gāyatrī, trishtubh and jagatī respectively, after meters of the same name. A Richa is a stanza of typically three or four padas, with a range of two to seven found in the corpus of Vedic poetry. Stanzas may mix padas of different lengths, and strophes of two or three stanzas (respectively, pragātha and tricha) are common.
    In the Indian tradition, it is customary to know three things about each mantra : The devatā (deity), the Rishi (the speaker) and the Chhanda (the poetical meter). It is forbidden to study the Vedas without knowing these 3 things about the mantras. All good editions of the Vedas explicitly list these 3 for each mantra at the beginning of each chapter, sūkta (hymn) and so on. Many of the meters of the Vedic verses (like Ushnika, Gayatri, Jagati etc.) are actually mentioned in some mantras of the Rigveda, Atharvaveda etc., implying that knowledge of prosody was presumed by the Rishis of these mantras.
    Each Veda also has traditionally a sequential list/tabulation of meters for all verses called the Chhando’anukramaṇī. The Chhando’anukramaṇī of RV is written by Sage Shaunaka. It was later incorporated into a more general Anukramaṇī (list) by Kātyāyana who is placed at 4th to 2nd Cent. BCE. The Chhando’anukramaṇī of Atharvaveda is a part of the ‘Brihatsarvanukramaṇi’ which is an undateable text but very old nevertheless. The Chhando’anukramaṇī of Samaveda is so old that it is accorded the rank of a ‘Brāhmaṇa’ (scriptural cannon) text.

    Upavedas

    The term Upaveda (“applied knowledge”) is used in traditional literature to designate the subjects of certain technical works.  Lists of what subjects are included in this class differ among sources. A commonly accepted list is as –
    1. Medicine (Āyurveda), associated with the Rigveda. The major texts of this Upaveda are Charaka Samhitā, Sushruta Samhita, Bhela Samhitā, Hārita Samhitā and Kāshyapa Samhitā. But Sushruta Samhitā and Bhāvaprakāsha mention Āyurveda as an Upaveda of the Atharvaveda.
    2. Military Science (Dhanurveda), associated with the Yajurveda. The main surviving texts are Nītiprakāshikā of Vaishampāyana, Dhanurveda of Vashishtha and Īshvara Samhitā of Shiva.
    3. Music and sacred dance (Gāndharvaveda), associated with the Sāmaveda
    4. Arthashāstra (Economics), associated with the Atharvaveda.  The Arthashāstra of Kautilya is the oldest surviving text in this genre. The Arthasūtras of Brihaspati and some other later texts also survive, but the original texts of Indra etc., are considered lost.
    5. Sometimes, the Shilpa-Sthāpatya Veda (dealing with architecture and construction) is also considered as the fourth Upaveda attached to the Atharvaveda. Several texts survive in this class – Mayamatam, Vāstuvidyā of Vishvakarma etc.
    It may be noted that whereas the Vedas and their allied literature focus more on Dharma and Moksha amongst the 4 Purushārthas, the Upavedas focus more on the Artha and Kāma Purushārthas.

    Featured Image: YouTube

    Vishal Agarwal is an independent scholar residing in Minneapolis (USA) with his wife, two children and a dog. He has authored one book and over fifteen book chapters and papers, some in peer reviewed journals, about ancient India and Hinduism. He and his wife founded the largest weekend school teaching Hinduism to students, and also a teenager organization to keep them engaged in Dharma. Vishal has participated in numerous interfaith forums, and has represented Hindus and Indians in school classrooms and in seminars. Vishal is the recipient of the Hindu American Foundation’s Dharma Seva Award (2010), the Global Hindu Academy’s Scholar award (2014) and service awards from the Hindu Society of Minnesota (2014 and 2015). He is very strongly engaged in the social and Dharmic activities of the Indian and Hindu communities of Minnesota, and has authored a series of ten textbooks for use in weekend Hindu schools by children from the ages 4-14. Professionally, Vishal is a biomedical Engineer with graduate degrees in Materials Engineering and Business Administration (MBA). His scientific and statistical training enables him to bring precision and a high level of rigor in his research – qualities that are very often missing in contemporary publications on Indology and in South Asian Studies.



    Indus Script Meluhha (Mleccha) speakers are evidenced on a cylinder seal & Cuneiform texts, and link to priest images of Mari (ANE) & Sarasvati Civilization

    $
    0
    0

    Cuneiform texts evidence trade of Ancient Near East areas with Meluhha and Shu-ilishu seal attests a language called Meluhha. 

    Indus Script inscriptions use a logo-semantic writing system to express Meluhha words related to wealth accounting ledgers of metalwork.

    A vivid link to priest image carrying, in a procession, the banner of 'one-horned young bull' of Sarasvati Civilization is presented on a painting in Mari (showing association with metalwork/metal weapons).
    Image result for culm of millet mari procession susa louvre
    Related image
    Frieze of a mosaic panel Circa 2500-2400 BCE Temple of Ishtar, Mari (Tell Hariri), Syria Shell  and shale André Parrot excavations, 1934-36 AO 19820 (Fig.2) Indus Script Cipher provides a clue to the standard of Mari which is signified by a young bull with one horn.

    On the Mari mosaic panel, a similar-looking priest leads a procession with a unique flag. The flagpost is a culm of millet and at the top of the post is a rein-ring proclaiming a one-horned young bull. All these are Indus Script hieroglyphs. The 'rein rings' are read rebus: valgā, bāg-ora 'bridle' rebus (metath.) bagalā 'seafaring dhow'.


    Hypertexts on a procession depicted on the schist panel inlaid with mother of pearl plaques are: 1. culm of millet and 2. one-horned young bull (which is a common pictorial motif in Harappa (Indus) Script Corpora.

    Culm of millet hieroglyph: karba 'culm of millet' rebus: karba 'iron'.


    One-horned young bull hypertext/hyperimage: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. 
     कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃daकोँद 'potter's kiln'  (Kashmiri) Thus, an iron turner (in smithy/forge).

    The rollout of Shu-ilishu's Cylinder seal. Courtesy of the Department des Antiquites Orientales, Musee du Louvre, Paris. The cuneiform text reads: Shu-Ilishu 

    EME.BAL.ME.LUH.HA.KI (interpreter of Meluhha language). 

     

    The Shu-ilishu cylinder seal is a clear evidence of the Meluhhan merchants trading in copper and tin. The Meluhha merchant carries melh,mr̤eka 'goat or antelope' rebus: milakkhu 'copper and the lady accompanying the Meluhhan carries a ranku 'liquid measure' rebus: ranku 'tin'; On the field is shown a crucbile: 

    kuṭhāru'crucible'rebus: kuṭhāru'armourer' 


    Apparently, the Meluhhan is the person carrying the antelope on his arms. I also suggest that on the Shu-ilishu cylinder seal, a significant hieroglyph is shown. It is a crucible which may have been used by the copper-tin artisans to work with an extraordinary invention called ukku in Kannada produced in a crucible. I suggest that Kannada word ukku is the root word because of semantic association signified by cognate words: uggi, urika which mean 'burning'. Crucible steel process is vividly explained by these etyma. "Another Akkadian text records that Lu-sunzida “a man of Meluhha” paid to the servant Urur, son of AmarluKU 10 shekels of silver as a payment for a tooth broken in a clash. The name Lu-sunzida literally means “Man of the just buffalo cow,” a name that, although rendered in Sumerian, according to the authors does not make sense in the Mesopotamian cultural sphere, and must be a translation of an Indian name." (MASSIMO VIDALE Ravenna Growing in a Foreign World: For a History of the “Meluhha Villages” in Mesopotamia in the 3rd Millennium BC Published in Melammu Symposia 4: A. Panaino and A. Piras (eds.), Schools of Oriental Studies and the Development of Modern Historiography. Proceedings of the Fourth Annual Symposium of the Assyrian and Babylonian Intellectual Heritage Project. Held in Ravenna, Italy, October 13-17, 2001 (Milan: Università di Bologna & IsIao 2004), pp. 261-80. Publisher: http://www.mimesisedizioni.it/)

    https://www.harappa.com/sites/default/files/201402/Vidale-Indus-Mesopotamia.pdf


    The 1977 paper of Simo Parpola et al reviews texts containing references to Meluhha and Meluhhans, focussing on 9 texts dated to Ur III times (22nd to 21st cent. BCE) and included references to Sargonic texts (24th to 23rd cen. BCE). (Parpola S., A. Parpola & R.H. Brunswig, Jr. (1977) “The Meluhha Village. Evidence of acculturation of Harappan traders in the late Third Millennium Mesopotamia.” Journal of Economic and Social History of the Orient, 20, 129-165.)

    Massimo Vidale provides a succint summary of the general picture presented in the paper of Simo Parpola et al. The surprising references relate to the fact that metals like gold, silver and tin were imports from Meluhha and involved Meluhhan settlers in Ancient Far East. "The maximum archaeological evidence of Indian imports and Indusrelated artefacts in Mesopotamia may be dated to latest phases of ED III (at the Royal Cemetery of Ur) and immediately later to the Akkadian period, when, as widely reported, Sargon claimed with pride that under his power Meluhhan ships docked at his capital, and at least one tablet mentions a person with an Akkadian name qualified as a “the holder of a Meluhha ship.”… (pp.262, 263)… according to the literary sources, between the end of the 3rd and the beginning of the 2nd millennium BC Meluhhan ships exported to Mesopotamia precious goods among which exotic animals, such as dogs, perhaps peacocks, cocks, bovids, elephants (? Collon 1977) precious woods and royal furniture, precious stones such as carnelian, agate and lapislazuli, and metals like gold, silver and tin (among others Pettinato 1972; During Caspers 1971; Chakrabarti 1982, 1990; Tosi 1991; see also Lahiri 1992 and Potts 1994). In his famous inscriptions, Gudea, in the second half of the 22nd century BC, states that Meluhhans came with wood and other raw materials for the construction of the main temple in Lagash (see Parpola et al. 1977: 131 for references). Archaeologically, the most evident raw materials imported from India are marine shell, used for costly containers and lamps, inlay works and cylinder seals; agate, carnelian and quite possibly ivory. Hard green stones, including garnets and abrasives might also have been imported from the Subcontinent and eastern Iran (Vidale & Bianchetti 1997, 1998-1999; Heimpel et al. 1988; Vidale 2002; see also Collon 1990, Tallon 1995 and Sax 1991). Carnelian could have been imported in form of raw nodules of large size (as implied by some texts) to be transformed into long beads, or as finished products. As we shall see, recent studies would better suggest that the Indus families in Mesopotamia imported raw materials rather than finished beads (Kenoyer 1997; Kenoyer & Vidale 1992; Inizan 2000), and expediently adapted their production to the changing needs of the Mesopotamian demand and markets. To the same period is ascribed a famous cylinder seal owned by a certain Su-ilisu, “Meluhha interpreter” (Sollberger 1970; Tosi 1991). Another Akkadian text records that Lu-sunzida “a man of Meluhha” paid to the servant Urur, son of AmarluKU 10 shekels of silver as a payment for a tooth broken in a clash. The name Lu-sunzida literally means “Man of the just buffalo cow,” a name that, although rendered in Sumerian, according to the authors does not make sense in the Mesopotamian cultural sphere, and must be a translation of an Indian name…… the Mesopotamian demand and markets. To the same period is ascribed a famous cylinder seal owned by a certain Su-ilisu, “Meluhha interpreter” (Sollberger 1970; Tosi 1991). Another Akkadian text records that Lu-sunzida “a man of Meluhha” paid to the servant Urur, son of AmarluKU 10 shekels of silver as a payment for a tooth broken in a clash. The name Lu-sunzida literally means “Man of the just buffalo cow,” a name that, although rendered in Sumerian, according to the authors does not make sense in the Mesopotamian cultural sphere, and must be a translation of an Indian name." (MASSIMO VIDALE Ravenna Growing in a Foreign World: For a History of the “Meluhha Villages” in Mesopotamia in the 3rd Millennium BC Published in Melammu Symposia 4: A. Panaino and A. Piras (eds.), Schools of Oriental Studies and the Development of Modern Historiography. Proceedings of the Fourth Annual Symposium of the Assyrian and Babylonian Intellectual Heritage Project. Held in Ravenna, Italy, October 13-17, 2001 (Milan: Università di Bologna & IsIao 2004), pp. 261-80. Publisher: http://www.mimesisedizioni.it/)
    Among the imports from Meluhha into the Ancient Near East, the imports of silver and tin metals are significant because these two metals were the principal engines of the Tin-Bronze Revolution from 5th millennium BCE and for laying the foundations of monetary systems based on currency-based transactions which emerged in 7th century BCE with the Lydia electrum coins and Aegean Turtle silver staters of 480 to 457 BCE.

    Massimo Vidale, 2017, A “Priest King” at Shahr-i Sokhta? in: Archaeological Research in Asia The paper discusses the published fragment of a statuette made of a buff-grey limestone, recently found on the surface of Shahr-i Sokhta (Sistan, Iran) and currently on exhibit in a showcase of the archaeological Museum of Zahedan (Sistan-Baluchistan, Iran). Most probably, it belongs to a sculptural type well known in some sites of Middle and South Asia dating to the late 3rd-early 2nd millennium BCE - a male character sitting on the right heel, with the left hand on the raised left knee, and a robe leaving bare the left shoulder. 
    Images of Zahedan torso (Shahr-i-Sokhta):


    1. "In this new light, the Zahedan torso confirms that the same sculptural model had a widespread distribution, which is encountered in a single leg and lap fragment at Gonur Depe on the Murghab delta in Margiana, in the head found at Mundigak on the Arghandab river in Kandahar, Afghanistan, in other heads from sites of the Seistan basin, as well as in various states of conservation at least two major sites of the greater Indus valley such as Mohenjo-Daro (12 specimens) and Dholavira (one fragment; for references see below). As far as chronology is concerned, the picture is quite partial, but somehow coherent. Mundigak IV, 3, the context of the head found near the terraced building of Mundigak (Casal 1961), is contemporary to Shahr-i Sokhta late Period III to Period IV (Phases 3 to 0, ca. 2200–1800 BCE, according to the ceramic evidence presented in Biscione 1974and 1979). The head from Tepe Chah-i Torogh 2, on the other hand, was found on the surface of a site exclusively covered by pottery of Period IV, phase 1 (the main phase of occupation of the Burnt Building, see Tosi 1983). According to the absolute chronology established in Salvatori and Tosi 2005“A circumstantial evidence for a dating of Shahr-i Sokhta phase 1 between 2200 and 2000 BC comes from the presence of pottery types strongly related to the ceramic production of the Late Namazga V - early Namazga VI of Margiana and Bactria (Biscione 1979: figs. 7, 8, 10)”. This fits very well also with the general surface context at Shahr-i Sokhta where the sculptural fragment discussed in this paper was reportedly found. On the other hand, all the stone sculptures of the same model from Mohenjo-Daro were notoriously found in the uppermost and latest layers of the city's settlement, i.e. to late horizons grossly belonging (following the chronology established at Harappa) to Harappa 3C period, ca. 2200–1900 BCE (Kenoyer, 1991a,b). The Dholavira fragmentary statue visible in Fig. 5 (Bisht 2015: 593–594; figs. 8.306–307) was found in a Stage VI secondary context, dated ca.1950–1800 BCE, although the discoverer suspects that the statue was made in an earlier period, to be vandalized in the early 2nd millennium BC. The fragment from room 132 of the “Royal Sanctuary” of Gonur North, in Fig. 6 (Sarianidi 2005, 118, 121, fig. 30; Sarianidi 2009, 89–90; 104–105, fig. 31; Bakry 2016) may be generically dated between the last two centuries of the 3rd and the beginning of the 2nd millennium BCE, further supporting the discussed chronological horizon.The general evidence therefore agrees with the absolute chronology of Shahr-i Sokhta proposed by Salvatori and Tosi 2005 (see also Cortesi et al. 2008contraJarrige et al. 2011). After Mohenjo-Daro, Shahr-i Sokhta and its hinterland is where this sculptural model is most consistently attested. The distribution reveals an interaction sphere that on the threshold of the 3d and the beginning of the 2nd millennium, probably for a short period, extended from southern Turkmenia to the Rann of Kutch - a hypothesis already explored in Winckelmann, 1994, although, I believe, in too wide cross-cultural terms. The nature of this interaction sphere depends upon the interpretation of this peculiar image. For which reason part of the people of different civilizations made and circulated across such an enormous area, and in the context of completely different societies, the same statuettes?"

    This article is discussed in the monograph: 

     

    Other pronunciation variants for the word meluhha are: milakkha, milakkhuka 'a regional dialect speaker, explained as "Andha -- Damil'ādi."; milakkhu'copper', milāca'a wild man of woods' (Pali) mleccha- in mleccha-mukha'copper'; mleccha'a person who lives by agriculture or by making weapons' (Samskrtam). Milakkha [cp. Ved. Sk. mleccha barbarian, root mlecch, onomat. after the strange sounds of a foreign tongue, cp. babbhara & mammana] a barbarian, foreigner, outcaste, hillman S v.466; J vi.207; DA i.176; SnA 236 (˚mahātissa -- thera Np.), 397 (˚bhāsā foreign dialect). The word occurs also in form milakkhu (q. v.).Milakkhu [the Prk. form (A -- Māgadhī, cp. Pischel, Prk. Gr. 105, 233) for P. milakkha] a non -- Aryan D iii.264; Th 1, 965 (˚rajana "of foreign dye" trsl.; Kern, Toev. s. v. translates "vermiljoen kleurig"). As milakkhuka at Vin iii.28, where Bdhgh expls by "Andha -- Damil'ādi."Milāca [by -- form to milakkha, viâ *milaccha>*milacca> milāca: Geiger, P.Gr. 622; Kern, Toev. s. v.] a wild man of the woods, non -- Aryan, barbarian J iv.291 (not with C.=janapadā), cp. luddā m. ibid., and milāca -- puttā J v.165 (where C. also expls by bhojaputta, i. e. son of a villager).(Pali) म्लेच्छ m. a foreigner , barbarian , non-Aryan , man of an outcast race , any person who does not speak Sanskrit and does not conform to the usual Hindu institutions S3Br. &c (f(ई); a person who lives by agriculture or by making weapons L.; ignorance of Sanskrit , barbarism Nyāyam. Sch.; n. copper L.; vermillion.)

    In the reviews of ancient languages of India, Prakrit is linked with many dialects. One such dialect is Paiśācī which could also have the characteristic mis-pronunciations of words which are labeled 'mleccha'. The mleccha, according to Mahābhārata are located all over ancient India and are active participants in the events recorded in the Great Epic. One Paiśācī language work is attested in Jaina Maharashtri dialect (cf. a fragmentary text discussed by Alfred Master). Thus, languages such as Paiśācī, Pali, Ardhamāgadhi, Jaina Maharashtri can be clubbed under the group called 'mleccha' (with mis-pronounced words and ungrammatical expressions in local speech parlance). Such dialects are seen as Indian sprachbund (speech union) with links to literary forms attests in ancient texts in Samskrtam and Chandas. Some linguists also see links between Paiśācī and Gondi (with speakers in in the present-day states of Madhya Pradesh, Gujarat, Telangana, Maharashtra, Chhattisgarh, Andhra Pradesh). Links of Ardhamāgadhi with Munda, Santali, Mon-Khmer languages are also attested.

    Ardhamagadhi Prakrit was a Middle Indo-Aryan language and a Dramatic Prakrit thought to have been spoken in modern-day Uttar Pradesh and used in some early Buddhism and Jainism. It was likely a Central Indo-Aryan language, related to Pali and the later Sauraseni Prakrit.[3]

    It was originally thought to be a predecessor of the vernacular Magadhi Prakrit, hence the name (literally "half-Magadhi").

    Theravada Buddhist tradition has long held that Pali was synonymous with Magadhi and there are many analogies between it and an older form of Magadhi called Ardhamāgadhī "Proto-Magadhi" -- derivative from Prakrit. Ardhamāgadhī was prominently used by Jain scholars (Constance Jones; James D. Ryan (2006). Encyclopedia of Hinduism. Infobase Publishing. p. 42.) and is preserved in the Jain Agamas. Both Gautama Buddha and the tirthankara Mahavira preached in Magadha.

    Other Prakrits, such as Paiśācī, are reported in old historical sources but are not attested. "The most widely known work, although lost, attributed to be in Paiśācī is the Bṛhatkathā (literally "Big Story"), a large collection of stories in verse, attributed to Gunadhya. It is known of through its adaptations in Sanskrit as the Kathasaritsagara in the 11th century by Somadeva, and also from the Bṛhatkathā by Kshemendra. Both Somadeva and Kshemendra were from Kashmir where the Bṛhatkathā was said to be popular." https://en.wikipedia.org/wiki/Paishachi The 13th-century Tibetan historian Buton Rinchen Drub wrote that the early Buddhist schools were separated by choice of sacred language: the Mahāsāṃghikas used Prākrit, the Sarvāstivādins used Sanskrit, the Sthaviravādins used Paiśācī, and the Saṃmitīya used Apabhraṃśa.(Yao, Zhihua. The Buddhist Theory of Self-Cognition. 2012. p. 9).

    ":The term Prakrit, which includes Pali, is also used as a cover term for the vernaculars of North India that were spoken perhaps as late as the 4th to 8th centuries, but some scholars use the term for the entire Middle Indo-Aryan period. Middle Indo-Aryan languages gradually transformed into Apabhraṃśa dialects, which were used until about the 13th century. The Apabhraṃśas later evolved into Modern Indo-Aryan languages."(https://en.wikipedia.org/wiki/Apabhraṃśa
    Prakrits (/ˈprɑːkrɪt/Sanskritप्राकृत prākṛtaShaurasenipāudaJain Prakritpāua) are classified as Middle-Indo-Aryan spoken languages"The phrase "Dramatic Prakrits" often refers to three most prominent of them: ShauraseniMagadhi Prakrit, and Maharashtri Prakrit. However, there were a slew of other less commonly used Prakrits that also fall into this category. These include Pracya, Bahliki, Daksinatya, Sakari, Candali, Sabari, Abhiri, Dramili, and Odri. There was a strict structure to the use of these different Prakrits in dramas. Characters each spoke a different Prakrit based on their role and background; for example, Dramili was the language of "forest-dwellers", Sauraseni was spoken by "the heroine and her female friends", and Avanti was spoken by "cheats and rogues" (Banerjee, Satya Ranjan. The Eastern School of Prakrit Grammarians : a linguistic study. Calcutta: Vidyasagar Pustak Mandir, 1977, pp.19-21) https://en.wikipedia.org/wiki/Prakrit

    Sten Konow, ("181 [95] - The home of the Paisaci - The home of the Paisaci - Page - Zeitschriften der Deutschen Morgenländischen Gesellschaft - MENAdoc – Digital Collections"menadoc.bibliothek.uni-halle.de) Felix Lacôte ( Félix Lacôte (4 March 2018). "Essai sur Guṇāḍhya et la Bṛhatkathā"& Alfred Master have explained that Paiśācī was the ancient name for Pāli, the language of the Pāli Canon of Theravada Buddhism.(See embedded monograph on a fragment of Paiśācī): Alfred Master, 1948, An Unpublished Fragment of Paiśācī in: Bulletin of the School of Oriental and African Studies, University of London, Vol. 12,No. 3/4, Oriental and African Studies Presented to Lionel David Barnett by His Colleagues, Past and Present (1948), pp. 659-667           

    https://www.scribd.com/document/186271058/An-Unpublished-Fragment-of-Paisachi

    Śiva Sūtrāṇi of Vasugupta. Commentaries by Subhash Kak (2018) & Pavel Celba (2009). Dance-step intimations from Indus Script

    $
    0
    0

    Front Cover

    https://tinyurl.com/y9glduh9


    "Somānanda (850-900 CE), the first Dārśanakāra of Monistic Kashmir Śaivism is hailed as the first logical exponent of Pratyabhijnā- śāstra. Abhinava Gupta (960-1015 CE) compliments him in the Tantrāloka(I.10) as:

    Svātmeśvara-pratyabhidhānasya tarkasya kartārah


    The special feature of Pratyabhijnā as a path to Mokṣa is that it does not involve physical exertion such as Praṇāyāma, Bandha etc., as in Yoga, and the renunciation of the world as was expected in the pathways to Mokṣa detailed in Vasugupta’s Śiva Sutra.(825-850 CE)" (Ganesh Vasudev Tagare, 2002, The Pratyabhijn ā Philosophy, Motilal Banarsidass Publishers, pp.10-11)

    "Pratyabhijna (Sanskritप्रत्यभिज्ञा pratyabhijñā, lit. "re-cognition") is an idealistic monistic and theistic school of philosophy in Kashmir Shaivism, originating in the 9th century CE...Etymologically, Pratyabhijna is formed from prati – "something once known, now appearing as forgotten", abhi – "immediate" and jñā – "to know". So, the meaning is direct knowledge of one's self, recognition. The philosophy is continuation of the Vedic knowledge.,,The central thesis of this philosophy is that everything is Śiva, absolute consciousness, and it is possible to re-cognize this fundamental reality and be freed from limitations, identified with Shiva and immersed in bliss. Thus, the slave (pasu - the human condition) becomes the master (pati - the divine condition)." (Jaideva Singh. Pratyabhijñāhrdayam, p.117S. Kapoor. The Philosophy of Saivism, p.254). 

    https://en.wikipedia.org/wiki/Pratyabhijna This ādhyātmikā framework of Vasugupta in the Veda tradition is amplified in  प्रत्यभिज्ञा pratyabhijñā school of Kashmir Śaiva Siddhānta. The focus is attainment of mokṣa or nihśreyas, uniting the ātman with the paramātman. This is the framework of Pavel Celba's commentary on Śiva Sūtrāṇi of Vasugupta which provides the metaphor of Śiva pada which evokes the cosmic dance, tāṇḍava nr̥tyam as a series of padāni, dance-steps.  

    The key is the metaphorical exposition of the words atman and pada.

    आत्मन् (variously derived fr. अन् , to breathe ; अत् , to move ; वा , to blow ; cf. त्म्/अन्) the breath RV.; principle of life and sensation RV. AV. &c; self , abstract individual [e.g. आत्म्/अन् (Ved. loc.धत्ते , or करोति , " he places in himself " , makes his own TS. v S3Br. आत्मना अकरोत् , " he did it himself " Ka1d. आत्मना वि- √युज् , " to lose one's life " Mn. vii , 46 ; आत्मन् in the sg. is used as reflexive pronoun for all three persons and all three genders e.g. आत्मानं सा हन्ति , " she strikes herself " ; पुत्रम् आत्मनः स्पृष्ट्वा निपेततुः , " they two having touched their son fell down " R. ii , 64 , 28  (Monier-Williams)

    पद a step , pace , stride; a footstep , trace , vestige , mark , the foot itself , RV. &c (पदेन , on foot ; पदे पदे , at every step , everywhere , on every occasion ; त्रीणि पदानि विष्णोः , the three steps or footprints of विष्णु [i.e. the earth , the air , and the sky ; cf. RV. i , 154 , 5 Vikr. i , 19], also N. of a constellation or according to some " the space between the eyebrows " ; sg. विष्णोः पदम् N.of a locality ; पदं- √दा,पदात् पदं- √गम् or √चल् , to make a step , move on ; पदं- √कृ , with loc. to set foot in or on , to enter ; with मूर्ध्नि , to set the foot upon the head of [gen.i.e. overcome ; with चित्ते or हृदये , to take possession of any one's heart or mind ; with loc. or प्रति , to have dealings with ; पदं नि- √धा with loc. , to set foot in = to make impression upon ; with पदव्याम् , to set the foot on a person's [gen. or ibc.] track , to emulate or equal ; पदम् नि- √बन्ध्with loc. , to enter or engage in); a ray of light (Monier-Williams)

    Consciousness is the self, says Subhash Kak, translating चैतन्यमात्मा॥१॥1.3 Śiva Sūtra of Vasugupta. Pavel Celba translates the Sutra as: Enlightened ātman (See the early semantics provided by Monier-Willliams as 'principle of life and sensation')

    Dance step of Gaṇeśa shown on a sculptural friezed of Candi Sukuh:
    Dansende Ganesha & geboorte van de walvis
    Forge scene stele.  Forging of a keris or kris (the iconic Javanese dagger) and other weapons. The blade of the keris represents the khaNDa. Fire is a purifier, so the blade being forged is also symbolic of the purification process central theme of the consecration of gangga sudhi specified in the inscription on the 1.82 m. tall, 5 ft. dia.  lingga hieroglyph, the deity of Candi Sukuh. 

    Foot with anklet; copper alloy. Mohenjo-daro (After Fig. 5.11 in Agrawal. D.P. 2000. Ancient Metal Technology & Archaeology of South Asia. Delhi: Aryan Books International.)
    Why is a 'dancing girl' glyph shown on a potsherd discovered at Bhirrana? Because, dance-step is a hieroglyph written as hypertext cipher.
    Image result for male dancer mohenjo-daroTorso of a male dancing figure from Harappa: -Grey limestone, ht 4 inches -National Museum, New Delhi -Prototype of Shiva Nataraja ‘The king (raja) of dancers (nata): Torso of a male dancing figure from Harappa: -Grey limestone, ht 4 inches -National Museum, New DelhiI submit that the word pada as a 'step' is an Indus Script hypertext as seen in a sculptural fragment of Harappa.  me 'dance' (Remo); మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu)  Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Dance step is also a sculptural metaphor replicated in the pratimā of the Cosmic Dancer.

    Subhash Kak presents the metaphor of Śiva pada (not as a cacading pada metaphor and hence, unlike Pavel Celba) as a sequence of dance-movements of consciousness, in a neuroscientific framework.

    Play of Consciousness -- A commentary by Subhash Kak (2018) on Śiva Sūtra of Vasugupta

    Could meditation on Consciousness have led the ṛṣis to insights that remain beyond the pale of our current understanding of the nature of reality?

    Who are we? Why are we here? Are we free? If yes, what is the source of our freedom?Science tells us we are machines, and looking from it our freedom is an illusion. In science there is no place for the spirit.We are sure that there is something real to our inner world.But ordinary science cannot reveal to us the nature of consciousness. This is because science can only tell us of the laws of objects which are expressed in language. With language we can only speak of objects.But Consciousness is not an object.It is the searchlight with which we see objects in our inner or outer spaces or through the medium of the senses. Consciousness is the perceiving subject.Science, through its study of the brain in the search of the source of awareness can only reveal its limitations. It can show that the brain is like a machine but it cannot create a machine that is like the brain.We face paradoxes; science has reached its limits.That is where the 1200-year old Śiva Sūtra comes in. Vasugupta saw the Sūtra in a dream. A great classic of the Vedic tradition, it speaks to the mystery of consciousness.The universal and the individualOur phenomenal knowledge can only be in terms of the associations of the outer world. But the associations in themselves need something to bind them together. The binding is the mātkā, the womb of elementary sounds. It is this that makes it possible to understand words or symbols when they are strung together. Since they lack the mātkā, computers cannot understand language.Universal consciousness, as a unity, is Śiva or Bhairava. Śiva makes it possible for the material associations of the physical world to have meaning. The domain of the union of Śiva and the phenomenal world is an astonishing mystery.The gveda speaks of two birds are sitting on a tree where one of them eats the sweet fruit and the other looks on without eating; one of the birds is the Universal Consciousness, the other the Individual Consciousness. In truth, there is only one bird; the other is just the image of the first as reflected in the fruit!Although we cannot explain consciousness using science, we can intuitively grasp it. Our root consciousnessŚiva, prakāśacitis what makes it possible to comprehend it.The capacity of consciousness to reflect on itself is vimarśa. We can also say that the Sun of Consciousness illuminates the associations in the mind. What facilitates this illumination is the “power of the will.”Innate knowledge emerges from the mind, which is the mantra. It leads to the knowledge of the reality that lies beyond material associations.Sound is made meaningful by strings of words. But what about the meaning of elementary sounds? This meaning is grasped as one opens the crack between the universal and the individual.The individual is transformed into a state where knowledge is food.Detachment from associations is the key to the knowledge of the Self or the Universal Being. Be an outsider. By separating the senses from the source of consciousness, it becomes possible to reach to the heart of the Self.Could meditation on Consciousness have led the ṛṣis to insights that remain beyond the pale of our current understanding of the nature of reality?The Śiva Sūtra deals with questions such as: How do the senses emerge in the emergence of the mind? Could there be more senses than we possess?The stories of Śiva are a retelling of the astonishing insights of the science of consciousness. We can enjoy the dance of Śiva.The Śiva Sūtra has three movements:·         The first movement is about universal consciousness.·         The second movement is about the emergence of innate knowledge·         The third movement is about self-transformation.These movements begin with the question of who we are.We couldn’t be just our life-history, our memories, and our desires and aspirations. A lot of that is the accident of our birth and our social experience.When we strip off layer upon layer of the social self, we come to the essential being. The process of the stripping of the social self is painful but it is liberating.It is this process that transforms the individual. It is this process that is the greatest sacrifice.The Śiva Sūtra requires instruction by a master. Without that it is like talking of a fast moving current in the middle of a raging river. The only way to experience the force of the current is to be in it.The Śiva Sūtra1. Śāmbhavopāya, Śiva’s View1.1 Consciousness is the self. चैतन्यमात्मा॥१॥1.3 (Ordinary) knowledge consists of associations. ज्ञानंबन्धः॥२॥1.3 Emanations of the source are embodied activity. योनिवर्गःकलाशरीरम्॥३॥1.4 The ground of knowledge is mātkā. ज्ञानाधिष्ठानंमातृका॥४॥1.5 The upsurge (of consciousness) is Bhairava. उद्यमोभैरवः॥५॥1.6 By union with the energy centers one withdraws from the universe. शक्तिचक्रसन्धानेविश्वसंहारः॥६॥1.7 Even during waking, sleep, and deep sleep one can experience the fourth state (transcending ordinary consciousness). जाग्रत्स्वप्नसुषुप्तभेदेतुर्याभोगसम्भवः॥७॥1.8 (Sensory) knowledge is obtained in the waking state. ज्ञानंजाग्रत्॥८॥1.9 Dreaming is free ranging of thoughts. स्वप्नोविकल्पाः॥९॥1.10 Deep sleep is māyā, the (state of) delusion. अविवेकोमायासौषुप्तम्॥१०॥1.11 The experiencer of the three states is the lord of the senses. त्रितयभोक्तावीरेशः॥११॥1.12 The stages of the union are astonishing, vismaya. विस्मयोयोगभूमिकाः॥१२॥1.13 The power of the will is the playful Umā. इच्छाशक्तिरुमाकुमारी॥१३॥1.14 The observed is embodied. दृश्यंशरीरम्॥१४॥1.15 By fixing the mind on its core one can comprehend the perceivable and emptiness. हृदयेचित्तसङ्घट्टाद्दृश्यस्वापदर्शनम्॥१५॥1.16 Or by contemplating the pure principle one is free of the power that binds animal instincts. शुद्धतत्त्वसन्धानाद्वापशुशक्तिः॥१६॥1.17 Right discernment is the knowledge of the self. वितर्कआत्मज्ञानम्॥१७॥1.18 The bliss of the sight is the joy of samādhi. लोकानन्दःसमाधिसुखम्॥१८॥1.19 The body emerges when the energies unite. शक्तिसन्धानेशरीरोत्पत्तिः॥१९॥1.20 Elements united and elements separated and the universe is assembled. भूतसन्धानभूतपृथक्त्वविश्वसङ्घट्टाः॥२०॥1.21 Pure knowledge leads to a mastery of the wheel (of energies). शुद्धविद्योदयाच्चक्रेशत्वसिद्धिः॥२१॥1.22 The great lake (of space-time) is experienced through the power of mantra. महाह्रदानुसन्धानान्मन्त्रवीर्यानुभवः॥२२॥2 Śāktopāya, the Process2.1 The mind is a measure, mantra. चित्तंमन्त्रः॥१॥2.2 Effort leads to attainment. प्रयत्नःसाधकः॥२॥2.3 The secret of mantra is the being of the body of knowledge. विद्याशरीरसत्तामन्त्ररहस्यम्॥३॥2.4 The emergence of the mind in the womb is like a dream based on inferior knowledge. गर्भेचित्तविकासोऽविशिष्टविद्यास्वप्नः॥४॥2.5 When the knowledge of one’s self arises, one moves in the Sky of ConsciousnessŚivas state. विद्यासमुत्थानेस्वाभाविकेखेचरीशिवावस्था॥५॥2.6 The guru is the means. गुरुरुपायः॥६॥2.7 The awakening of the wheel of mātkā (the elemental energies). मातृकाचक्रसम्बोधः॥७॥2.8 The body is the oblation. शरीरंहविः॥८॥2.9 The food is knowledge. ज्ञानमन्नम्॥९॥2.10With the extinction of knowledge emerges the vision of emptiness.विद्यासंहारेतदुत्थस्वप्नदर्शनम्॥१०॥3 Āavopāya, the Individuals Means3.1 The mind is the self. आत्माचित्तम्॥१॥3.2 (Material) knowledge is bondage (association). ज्ञानंबन्धः॥२॥3.3 Māyā is the lack of discernment of the principles of transformation (kalā). कलादीनांतत्त्वानामविवेकोमाया॥३॥3.4 The transformation is stopped in the body. शरीरेसंहारःकलानाम्॥४॥3.5 The quieting of the vital channels, the mastery of the elements, the withdrawal from the elements, and the separation of the elements. नाडीसंहारभूतजयभूतकैवल्यभूतपृथक्त्वानि॥५॥3.6 Perfection is through the veil of delusion. मोहावरणात्सिद्धिः॥६॥3.7 Overcoming delusion while enjoying the world innate knowledge is obtained. मोहजयादनन्ताभोगात्सहजविद्याजयः॥७॥3.8 Waking is the second ray (of consciousness). जाग्रद्द्वितीयकरः॥८॥3.9 The self is the actor. नर्तकआत्मा॥९॥3.10 The inner self is the stage. रङ्गोऽन्तरात्मा॥१०॥3.11 The senses are the spectators. प्रेक्षकाणीन्द्रियाणि॥११॥3.12 The pure state is achieved by the power of the intellect. धीवशात्सत्त्वसिद्धिः॥१२॥3.13 Freedom (creativity) is achieved. सिद्धःस्वतन्त्रभावः॥१३॥3.14 As here so elsewhere. यथातत्रतथान्यत्र॥१४॥3.15 Emission (of consciousness) is the way of nature and so what is not external is seen as external. विसर्गस्वाभाव्याद्अबहिःस्थितेस्तत्स्थितिः॥१५॥3.16 Attention to the seed. बीजावधानम्॥१६॥3.17 Seated one sinks effortlessly into the lake (of consciousness). आसनस्थःसुखंह्रदेनिमज्जति॥१७॥3.18 The measure of consciousness fashions the world. स्वमात्रानिर्माणमापादयति॥१८॥3.19 As (limited) knowledge is transcended, birth is transcended. विद्याविनाशेजन्मविनाशः॥१९॥3.20 Māheśvarī and other mothers (sources) of beings reside in the “k” sound elements. कवर्गादिषुमाहेश्वर्याद्याःपशुमातरः॥२०॥3.21 The fourth (state of consciousness) should be used to oil the (other) three (states of consciousness). त्रिषुचतुर्थंतैलवदासेच्यम्॥२१॥3.22 Absorbed (in his nature), one penetrates (the phonemes) with one’s mind. मग्नःस्वचित्तेनप्रविशेत्॥२२॥3.23 A balanced breathing leads to a balanced vision. प्राणसमाचारेसमदर्शनम्॥२३॥3.24 The lower plane arises in the center (of the phoneme). मध्येऽवरप्रसवः॥२४॥3.25 What was destroyed rises again by the joining (sandhāne) of perceptions (svapratyaya) with the objects (mātrā) of experience. मात्रास्वप्रत्ययसन्धानेनष्टस्यपुनरुत्थानम्॥२५॥3.26 He becomes like Śiva. शिवतुल्योजायते॥२६॥3.27 The activity of the body is the vow. शरीरवृत्तिर्व्रतम्॥२७॥3.28 The recitation of the mantras is the discourse. कथाजपः॥२८॥3.29 Self-knowledge is the gift. दानमात्मज्ञानम्॥२९॥3.30 He who is established is the means and knowledge. योऽविपस्थोज्ञाहेतुश्च॥३०॥3.31 The universe is the aggregate of his powers. स्वशक्तिप्रचयोऽस्यविश्वम्॥३१॥3.32 Persistence and absorption. स्थितिलयौ॥३२॥3.33 Even when this (maintenance and dissolution) there is no break (anirāsa, in awareness) due to the perceiving subjectivity. तत्प्रवृत्तावप्यनिरासःसंवेत्तृभावात्॥३३॥3.34 The feeling of pleasure and pain is external. सुखदुःखयोर्बहिर्मननम्॥३४॥3.35 The one who is free of that is alone (with consciousness). तद्विमुक्तस्तुकेवली॥३५॥3.36 A mass of delusion the mind is subject to activity. मोहप्रतिसंहतस्तुकर्मात्मा॥३६॥3.37 When separateness is gone, action can lead to creation. भेदतिरस्कारेसर्गान्तरकर्मत्वम्॥३७॥3.38 The power to create is based on one’s own experience. करणशक्तिःस्वतोऽनुभवात्॥३८॥3.39 That which precedes the three (states of consciousness) vitalizes them. त्रिपदाद्यनुप्राणनम्॥३९॥3.40 The same stability of mind (should permeate) the body, senses and external world. चित्तस्थितिवच्छरीरकरणबाह्येषु॥४०॥3.41 Craving leads to the extroversion of the inner process. अभिलाषाद्बहिर्गतिःसंवाह्यस्य॥४१॥3.42 When established in pure awareness, (the craving) is destroyed and the (empirical) individual ceases to exist. तदारूढप्रमितेस्तत्क्षयाज्जीवसङ्क्षयः॥४२॥3.43 Although cloaked in the elements that are not free, like the Lord, one is supreme. भूतकञ्चुकीतदाविमुक्तोभूयःपतिसमःपरः॥४३॥3.44 The link with the vital breath is natural. नैसर्गिकःप्राणसम्बन्धः॥४४॥3.45 Concentrating on the center within the nose, what use are the left and the right channels or suumnā? नासिकान्तर्मध्यसंयमात्किमत्रसव्यापसव्यसौषुम्नेषु॥४५॥3.46 May (the individual) merge (in the Lord) once again. भूयःस्यात्प्रतिमीलनम्॥४६॥तत्सत्

     

    This article first appeared here and has been republished with permission from the author

    Pipal leaf, twig, horned anthropomorph, penance, wristlets, stars are Indus Script hypertexts, wealth accounting ledgers of Sarasvati Civilization. Context, Baghpat spoked wheel chariot of helmsman (ca.2000 BCE)

    $
    0
    0


       https://tinyurl.com/yaqn48ok

    Select inscriptions from Indus Script Corpora provide parallels to the Baghpat artifacts of eight copper anthropomorphs on the lid of the wooden coffin. At the same site three chariots with spoked wheels have been discovered. These artifacts constitute evidence for continuum of Sarasvati Civilization in copper-hoard cultures, exemplified by anthropomorphs discusssed at 
    Image result for harosheth hagoyim lynch-pinsContinuum of Indus Script (ca. 2000 BCE) on eight copper anthropomorphs discovered in Baghpat, signify wealth accounting metalwork ledgers https://tinyurl.com/y7f3k8q4 
    Hopefully, further archaeometallurgical investigations and serendipitous finds of metal lynch-pins of the types found to prove Harosheth Hagoyim, will provide additional evidence of the types of alloy metals used for axle lynch-pins of the three chariots. See: Harosheth Hagoyim: Lady on the chariot lynchpin is Meluhha, Indus Script hypertext kharoṣṭhī goya, 'blacksmith speech community' 
    https://tinyurl.com/yc3zndc6 This monograph decodes hypertexts, in Indus Script cipher, the Baghpat anthropomorphs as hypertexts to signify 'blacksmith guild, mint'. OMarw. māṁḍaï ʻ writes ʼ; OG.māṁḍīiṁ 3 pl. pres. pass. ʻ are written ʼ, G. mã̄ḍvũ ʻ to arrange, dispose, begin ʼ, M. mã̄ḍṇẽ, Ko. mã̄ṇḍtā. (CDIAL 9741) This set of semantics is signified by the hieroglyph 'canopy' as formed with ficus glomerata leaves surrounding a standing horned person, who signifies a blacksmith. It is significant that the rebus rendering of kole.l 'smithy, forge' is rebus: kole.l 'temple'. (Kota language Anthropomorphs are formed by ligaturing human bodies to bovine hoofs as on the following three-sided tablet. The hypertexts signify: dhangra 'bull' rebus: dhangar 'blacksmith'.

    bhaTa 'warrior' rebus: baTa 'iron' bhaTa 'furnace' meD 'dance step' rebus: meD 'iron' Thus iron furnace. karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNika 'scribe, account' PLUS sal 'splinder' rebus: sal 'workshop'. Thus, account for supercargo, the person responsible for the cargo/shipment on behalf of the merchant (guild).

    kolmo 'three' rebus: kolimi 'smithy, forge' PLUS baTa 'rimless pot' rebus: baTa 'iron' bhaTa 'furnace'. Thus furnace (of) smithy/forge


    While awaiting detailed archaeo-metallurgical investigations to provenance Baghpat chariot and copper anthropomorphs on the wooden coffin, it may be suggested that the Baghpat artifacts discussed in this monograph point to a Sarasvati Civilization continuum on the banks of Yamuna river, not far from Rakhigarhi site (on Drishadvati river waterway which links with Veda river Sarasvati which flows further west through Kalibangan, Bhirrana, Binjor (Anupgarh) into the Rann of Kutch, waterways of Persian Gulf, Tigris-Euphrates doab).

    An image of Baghpat chariot artifact. Radial, spoked wheel design? 

    An image of copper anthropomorphs on coffin. Horned Pipal leaf in horned headdress.

    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.


    Hieroglyph multiplexes of the hypertext of the cylinder seal from a Near Eastern Source can be identified: aquatic bird, rhinoceros, buffalo, buffalo horn, crucible, markhor, antelope, hoofed stool, fish, tree, tree branch, twig, roundish stone, tiger, rice plant.


    Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter'; koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'.


    Image result for jujube twigZiziphur Jojoba, badari twig


    kūdī ‘twig’ Rebus: kuṭhi ‘smelter’. The two ibexes + twig hieroglyhs, thus, connote a metal merchant/artisan with a smelter. The bunch of twigs = kūdi_, kūṭī  (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (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 Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177). Rebus: kuṭhi ‘smelter furnace’ (Santali)

    Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundār turner (A.)(CDIAL 3295). kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1185 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'. 


    The boatman karnonou (cernunnos) is the boatman from Meluhha shown on a Mohenjo-daro seal


    त्रि--शिरस् [p= 460,3] mfn. n. कुबेर L.; three-pointed MBh. xiii R. iv; three-headed (त्वाष्ट्र , author of RV. x , 8.) Ta1n2d2yaBr. xvii Br2ih. KaushUp. MBh. Ka1m. (Monier-Williams)

    tvāṣṭra त्वाष्ट्र 'copper' This meaning is significant if tvaṣṭṛ remembered as Cernunnos as a boatman from Meluhha. The seafaring boatman from Meluhha was a metalworker, worker in copper. He was also a chariot-maker celebrated in harosheth haggoyim'smithy of nations' (Old Bible. The Judges).

    The author of Sukta RV 10.8 and 10.9 is tvaṣṭṛ त्वष्टृ m. [त्वक्ष्-तृच्] 1 A carpenter, builder, workman, त्वष्ट्रेव विहितं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नो- ल्लिखितो विभाति R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods.] पर्वतं चापि जग्राह क्रुद्धस्त्वष्टा महाबलः Mb.1.227. 34. -3 Prajāpati (the creator); यां चकार स्वयं त्वष्टा रामस्य महिषीं प्रियाम् Mb.3.274.9. -4 Āditya, a form of the sun; निर्भिन्ने अक्षिणी त्वष्टा लोकपालो$विशद्विभोः Bhāg.3.6.15.

    tvāṣṭra

    त्वाष्ट्र a. Belonging or coming from त्वष्टृ; त्वाष्ट्रं यद् दस्रावपिकक्ष्यं वाम् Rv.1.117.22. -ष्ट्रः Vṛitra; येनावृता इमे लोकास्तमसा त्वाष्ट्रमूर्तिना । स वै वृत्र इति प्रोक्तः पापः परमदारुणः ॥ Bhāg.6.9.18;11.12.5. -ष्ट्री 1 The asterism Chitra. -2 A small car. -ष्ट्रम् 1 Creative power; तपःसारमयं त्वाष्ट्रं वृत्रो येन विपाटितः Bhāg.8.11.35. -2 Copper.


    r.s.i: tris'ira_ tvas.t.ra; devata_: agni, 7-9 indra; chanda: tris.t.up

    RV 10.8


    10.008.01 Agni traverses heaven and earth with a vast banner; he roars (like) a bull; he spreads aloft over the remote and proximate (regions) of the sky; mighty, he increases in the lap of the water. [Agni traverses: as the lightning in the firmament].
    10.008.02 THe embryo (of heaven and earth), the showerer (of benefits), the glorious, rejoices; the excellent child (of morn and eve), the celebrator of holy rites calls aloud; assiduous in exertions at the worship of the gods, he moves chief in his own abodes.
    10.008.03 They have placed in the sacrifice the radiance of the powerful Agni, who seizes hold of the forehead of his parents, gratifying his cherished, radiant, and expanding limbs, in their course, in their chamber of sacrifice. [His parents: the parents are either heaven or earth, or the two pieces of touchwood; gratifying...of sacrifice: as'vabudhna_h = vya_ptamu_la_H, with outspread bases, i.e., broad at the bottom and tapering to the top, the usual shape of a fire; in his fight the dawns, drawn by horses, rejoice their bodies in the source of truth (i.e., the sun)].
    10.008.04 Opulent Agni, you precede dawn after dawn. You are the illuminator of the twin (day and night); engendering Mitra from your own person, you retain seven places for sacrifice. [Mitra: the sun; seven places: the seven altars for the fire: dhisn.ya_ etc.]
    10.008.05 You are the eye, the protector of the great sacrifice; when you proceed to the rite, you are Varun.a; you are the grandson of the waters, Ja_tavedas; you are the messenger (of him) whose oblation you enjoy.
    10.008.06 You are the leader of the sacrifice and sacrificial water to the place in which you are associated with the auspicious steeds of the wind; you sustain the all-enjoying (sun) as chief in heaven; you, Agni, make your tongue the bearer of the oblation. [The place: i.e., the firmament; you sustain in heaven: you raise your glorious head in heaven; you make...oblation: yada_; when, Agni, you have so done, you are the leader...; you are the leader of the sacrifice and of water (rain) in the firmament and in heaven (Yajus. 13.15)].
    10.008.07 Trita by (his own), desiring a share (of the sacrifice), for the sake of taking part in the exploit of the supreme protector (of the world), chose (Indra as his friend); attended (by the priests) in the proximity of the parental heaven and earth, and reciting appropriate praise, he takes up his weapons.  [Legend: Indra said to Trita, 'You are skiled in the weapons of all; aid me in killing Tris'iras the son of Tvas.t.a_'. Trita agreed on condition of having a share in the sacrifices offered to Indra. Indra gave him water to wash his hands with and a share in the sacrifice, whereby Trita's strength increased; seven-rayed: i.e., seven-tongued, seven-rayed, like the sun, or seven-handed].
    10.008.08 He, the son of the waters, incited by Indra, skilled in his paternal weapons, fought against (the enemy), and slew the seven-rayed, three-headed (asura); then Trita set free the cows of the son of Tvas.t.a_.
    10.008.09 Indra, the protector of the virtuous, crushed the arrogant (foe), attaining vast strenth; shouting, he cut off the three heads of the multiform son of Tvas.t.a_ (the lord) of cattle. [Shouting: s'abdam kurvan; gona_m acakra_n.ah, appropriating the cattle].


    r.s.i: tris'ira_ tvas.t.ra or sindhudvi_pa a_mbari_s.a; devata_: a_po devata_ (jalam); chanda: ga_yatri_, 5 vardhama_na_ ga_yatri_, 7 pratis.t.ha_ ga_yatri_, 7-9 anus.t.up

    RV 10.9
    10.009.01 Since, waters, you are the sources of happiness, grant to us to enjoy abundance, and great and delightful perception. [Great and delightful perception: mahe ran.a_ya caks.ase = samyajn~a_nam, perfect knowledge of brahman; the r.ca solicits happiness both in this world and in the next; the rapturous sight of the supreme god; to behold great joy].
    10.009.02 Give us to partake in this world of your most auspicious Soma, like affectionate mothers.
    10.009.03 Let us quickly have recourse to you, for that your (faculty) of removing (sin) by which you gladden us; waters, bestow upon us progeny. [Let us go to you at once for him to whose house you are hastening; waters, reinvogorate us; faculty of removing sin: ks.aya = niva_sa, abode; aram = parya_ptim, sufficiency; perhaps a recommendation to be regular in practising ablution].
    10.009.04 May the divine water be propitious to our worship, (may they be good) for our drinking; may they flow round us, and be our health and safety. [This and previous three r.cas are repeated at the daily ablutions of the bra_hman.as].
    10.009.05 Waters, sovereigns of precious (treasures), granters of habitations to men, I solicit of you medicine (for my infirmities). [Precious: va_rya_n.a_m = va_riprabhava_na_m vri_hiyava_dina_m, the products of the water, rice, barley etc.; bhes.ajam = happiness driving away sin].
    10.009.06 Soma has declared to me; all medicaments, as well as Agni, the benefactor of the universe, are in the waters. [This and the following r.cas of the su_kta are repetitions from RV.1. 23, 20-23; in man.d.ala 1, Soma speaks to Kan.va; in this present man.d.ala, Soma speaks to A_mbari_s.a Sindhudvi_pa, a ra_ja_].
    10.009.07 Waters, bring to perfection, all disease-dispelling medicaments for the good of my body, that I may behold the Sun.
    10.009.08 Waters, take away whatever sin has been (found) in me, whether I have (knowingly) done wrong, or have pronounced imprecations (against holy men), or have spoken untruth.
    10.009.09 I have this day entered into the waters; we have mingled with their essence. Agni, abiding in the waters approach, and fill me (thus bathed) with vigour. ["I invoke for protection the divine (waters) of excellent wisdom, discharging their functions (tadapasah), flowing by day and flowing by night": supplementary khila 1.2.3: sasrus'is tada_paso diva_ naktam ca sasrus'ih! varen.yakratur ahama devir avase huve].


    त्रिस् [p=461,3] ind. ( Pa1n2. 5-4 , 18) thrice , 3 times RV. (सप्त्/अ , 3 x 7 , i , iv , vii ff. ; /अह्नस् or /अहन् , " thrice a day " , i , iii f. , ix f. ; cf. Pa1n2. 2-3 , 64) S3Br. Ka1tyS3r. Mn. (अब्दस्य , " thrice a year " , iii , xi) &c before gutturals and palatals ([cf. RV. viii , 91 , 7]) ः may be substituted by ष् Pa1n2. 8-3 , 43.

    Stone seal. h179. National Museum, India. Carved seal. Scan 27418 Tongues of flame decorate the flaming pillar, further signified by two 'star' hieroglyphs on either side of the bottom of the flaming arch.

     

    Seal. Kalibangan  K-50
    h1951B tablet with a canopy of ficus leaves

    Tablet (G.R. Hunter, 1934; Hunter, G. R., 1993. The Script of Harappa and Mohenjo-Daro and its Connection with other Scripts. (Munshiram Manoharlal Publishers Ltd.) New Delhi. Plate. X X X X, No. 42).shows an elongated anthropomorphic figure with a trident shaped protuberance in the head surrounded by a loop from head to toe from both sides of the figure and pipal tree leaves attached to 13 smaller loops that come out from the bigger loop. The reverse side of the tablet is inscribed with the Indus sign sequence[​IMG]
    Related image
    Mohenjo-daro tablet. Excavation No. HR 4161, National Museum of India, New Delhi.
    Stone seal. h179. National Museum, India. Carved seal. Scan 27418 Tongues of flame decorate the flaming pillar, further signified by two 'star' hieroglyphs on either side of the bottom of the flaming arch.




    Front

    khā'blacksmith' emerges out of the tree or flaming pillar (skambha) identified by the 'star' hieroglyph'. The wristlets he wears and headdress signify that he is khāworking with kuṭhi 'tree' Rebus: kuṭhi 'smelting furnace'. He is a smith engaged in smelting.

    Hieroglyph:मेढा [ mēḍhā ] 'polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) dula'two' rebus: dul 'metal casting' Thus, signifying a cast iron smelter.
    Santali glosses.

    Hieroglyph: karã̄ n. pl. wristlets, bangles' rebus: khā'blacksmith'
    Hieroglyph: head-dress:  kūdī, kūṭī bunch of twigs (Sanskrit)  kuṭhi 'tree' Rebus: kuṭhi 'smelting furnace' (Santali) (Phonetic determinative of skambha, 'flaming pillar', rebus:kammaTa 'mint, coiner, coinage'). Skambha, flamiung pillar is the enquiry in Atharva veda Skambha Sukta (AV X.7,8)
    Scan 27419. 

    Reverse Text message: 



    Hieroglyphs: backbone + four short strokes  

    baraḍo = spine; backbone; the back; baraḍo thābaḍavo = lit. to strike on the backbone or back; hence, to encourage; baraḍo bhāre thato = lit. to have a painful backbone, i.e. to do something which will call for a severe beating (G.lex.) Sign 47 may signify 

    kaśēru rebus: metal worker. Sign 48 may signify भरत   bharata n A factitious metal compounded of copper, pewter, tin &c Hieroglyph: khāra 2 खार (= ) or khār 4 खार् (L.V. 96, K.Pr. 47, Śiv. 827) । द्वेषः m. (for 1, see khār 1 ), a thorn, prickle, spine (K.Pr. 47; Śiv. 827, 153)(Kashmiri) Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.*kaṇṭa3 ʻ backbone, podex, penis ʼ. 2. *kaṇḍa -- . 3. *karaṇḍa -- 4. (Cf. *kāṭa -- 2, *ḍākka -- 2: poss. same as káṇṭa -- 1]1. Pa. piṭṭhi -- kaṇṭaka -- m. ʻ bone of the spine ʼ; Gy. eur. kanro m. ʻ penis ʼ (or < káṇṭaka -- ); Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼ; S. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f., kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ°ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ; WPah. bhal. kaṇṭ f. ʻ syphilis ʼ; N. kaṇḍo ʻ buttock, rump, anus ʼ, kaṇḍeulo ʻ small of the back ʼ; B. kã̄ṭ ʻ clitoris ʼ; Or. kaṇṭi ʻ handle of a plough ʼ; H. kã̄ṭā m. ʻ spine ʼ, G. kã̄ṭɔ m., M. kã̄ṭā m.; Si. äṭa -- kaṭuva ʻ bone ʼ, piṭa -- k° ʻ backbone ʼ.2. Pk. kaṁḍa -- m. ʻ backbone ʼ.(CDIAL 2670) కరాళము karāḷamu karāḷamu. [Skt.] n. The backbone. వెన్నెముక (Telugu) Rebus: khār  खार् 'blacksmith' (Kashmiri)

    Signs 47, 48: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) + gaṇḍa ‘four’ Rebus: kaṇḍ ‘fire-altar’. Thus, Sign 48 reads rebus: bharat kaṇḍ ‘fire-altar’, furnace for mixed alloy called bharat(copper, zinc, tin alloy), Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.( (CDIAL 2670) rebus: karaDa 'hard alloy'. 

    bhāthī m. ʻ warrior ʼ bhaTa 'warrior' Rebus: bhaTa 'furnace', thus reinforcing the smelting process in the fire-altars. Smelters might have used bhaThi 'bellows'. bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ Kāv., bhastrikā -- f. ʻ little bag ʼ Daś. [Despite EWA ii 489, not from a √bhas ʻ blow ʼ (existence of which is very doubtful). -- Basic meaning is ʻ skin bag ʼ (cf. bakura<-> ʻ bellows ʼ ~ bākurá -- dŕ̊ti -- ʻ goat's skin ʼ), der. from bastá -- m. ʻ goat ʼ RV. (cf.bastājina -- n. ʻ goat's skin ʼ MaitrS. = bāstaṁ carma Mn.); with bh -- (and unexpl. -- st -- ) in Pa. bhasta -- m. ʻ goat ʼ, bhastacamma -- n. ʻ goat's skin ʼ. Phonet. Pa. and all NIA. (except S. with a) may be < *bhāsta -- , cf. bāsta -- above (J. C. W.)]With unexpl. retention of -- st -- : Pa. bhastā -- f. ʻ bellows ʼ (cf. vāta -- puṇṇa -- bhasta -- camma -- n. ʻ goat's skin full ofwind ʼ), biḷāra -- bhastā -- f. ʻ catskin bag ʼ, bhasta -- n. ʻ leather sack (for flour) ʼ; K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ; -- S. bathī f. ʻ quiver ʼ (< *bhathī); A. Or. bhāti ʻ bellows ʼ, Bi. bhāthī, (S of Ganges) bhã̄thī; OAw. bhāthā̆ ʻ quiver ʼ; H. bhāthā m. ʻ quiver ʼ, bhāthī f. ʻ bellows ʼ; G. bhāthɔ,bhātɔbhāthṛɔ m. ʻ quiver ʼ (whence bhāthī m. ʻ warrior ʼ); M. bhātā m. ʻ leathern bag, bellows, quiver ʼ, bhātaḍ n. ʻ bellows, quiver ʼ; <-> (X bhráṣṭra -- ?) N. bhã̄ṭi ʻ bellows ʼ, H. bhāṭhī f.Addenda: bhástrā -- : OA. bhāthi ʻ bellows ʼ .(CDIAL 9424) bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]
    Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭhm., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhībhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]P. bhaṭhiār°ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656, 9658)

    : rim of jar Rebus: kanda kanka 'fire-trench account, karṇi supercargo' karNika 'helmsman, merchantman, scribe, account' 

     http://dsalsrv02.uchicago.edu/cgi-bin/huntington/show_detail.py?ObjectID=30033512

    hēmata मेढ Polar star, मत Dogma or sect; me 'iron'. mẽhet iron’ (Mu.Ho.)  loa 'ficus glomerata' rebus: loh 'copper,metal'. dhatu 'scarf' rebus: dhatu 'mineralore' kūdī 'twig' kuhi 'smelter';

    ã̄g 'mace' hangra ‘bull’ hangar ‘blacksmith’; karā 'wristlets, bracelets' rebus: khāra-bai 'blacksmith furnace'. 

    Canopy:  M. ̄ḍav m. ʻ pavilion for festivals ʼ, ̄ḍvī f. ʻ small canopy over an idol ʼ(CDIAL 9734) rebus: maṇḍā 'warehouse, workshop' (Konkani)  maṇḍī 'market' 

    <lia>(:)  ??iron  *So.<lOaG>?.  #9851.<sini-lia>(C)  {N} ``^blade of a ^plough''.  @S.  #9862.

    <lOa>(KM)  {N} ``^iron''.  Syn. <hemRaD>(P), <emRaD>(*).  %20841.  #20681.<loha>(BD)  {NI} ``^iron''.  Syn. <luaG>(D).  *@.  #20131.<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.  ??VAR.  #20371.<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.  Syn. <loha>(BD) `iron'.  ??VAR.  #20381.<luyaG>(A),,<luaG>(D),,<luwaG>(B)  {NI} ``^iron, ^plough-^share''.  ??VAR.  #20421.<lowa>(F)  {N} ``^iron''.  *Loan.  @N501.  #21131.<lua>(B),,<loa>(B)  {N} ``^iron''.  Pl. <-le>.  @B23760.  #21231.<laG>\\<lOaG>,,<loaG>,,<luaG>(L)  {N} ``^iron, ^steel''.  #44072.<A-iDEra-laG>(L)  {N} ``rusty iron or steel''.  #31613.  <asOG-laG>(L)  {N} ``mica''.  #42792.<lOaG>,,<loaG>,,<luaG>//<laG>()  {N} ``^iron''.  #44071.Kh<loha>(BD)  {NI} ``^iron''.  Syn. <luaG>(D).Kh<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.Kh<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.  Syn. <loha>(BD) `iron'.Kh<luyaG>(A),,<luaG>(D),,<luwaG>(B)  {NI} ``^iron, ^plough-^share''.  Syn. <loha>(BD) `iron'.Kh<luyaG>(A),,<luaG>(D),,<luwaG>(B)  {NI} ``^iron, ^plough-^share''.Ju<lOa>(KM)  {N} ``^iron''.  Syn. <hemRaD>(P), <emRaD>(*).So<laG>\\<lOaG>,,<loaG>,,<luaG>(L)  {N} ``^iron, ^steel''.So<lOaG>,,<loaG>,,<luaG>//<laG>()  {N} ``^iron''.Re<lua>(B),,<loa>(B)  {N} ``^iron''.  Pl. <-le>.

    लोह a. 1 Red, reddish. -2 Made of copper, coppery. -3 Made of iron; भ्रमतश्च वराहस्य लोहस्य प्रमुखे समम् Mb.1. 135.23. -हः, -हम् 1 Copper. -2 Iron. -3 Steel. -4 Any metal; वस्तून्योषधयः स्नेहा रसलोहमृदो जलम् Bhāg.2. 6.24. -5 Gold; यथा सौम्यैकेन लोहमणिना Ch. Up.6.1.5.7 A weapon; अद्भ्यो$ग्निर्त्रह्मतः क्षत्रमश्मनो लोह- मुत्थितम् Ms.9.321. -8 A fish-hook -उच्छिष्टम्, -उत्थम्, -किट्टम्, -निर्यासम्, -मलम् rust of iron (मण्डूर). -उत्तमम् gold. -कान्तः a loadstone, magnet. -कारः a blacksmith.

    Harappa Raised script: H94-2198 (After Fig. 4.14 in JM Kenoyer, 1998). Eight such tablets were found by HARP (Harvard Archaeological Project)



    The inscription on the cast copper tablet of Harappa is read as: dul 'cast metal', khoT 'alloy ingot', bharata, 'alloy of coper, pewter, tin'.Hieroglyphs: dula 'pair' Rebus: dul 'cast metal'; goT 'seed' Rebus: khoT 'alloy ingot'. खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi) baraDo 'spine' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c. (Marathi) karava 'pot' Rebus: kharva 'wealth'; karba 'iron'; karNaka 'rim of jar' Rebus: karNI 'supercargo'; karnIka 'scribe'.

    All inscriptions of the corpora are kharaḍā खरड़ा wealth accounting ledge entries of metalwork wealth created in smithies, forges, foundries of the Tin-Bronze Age Civilization.

    Vol 1 728 pages

    Vol 2 772 pages

    Vol 3 775 pages

    Excavations at Dholavira 1989-2005 (RS Bisht, 2015) Full text including scores of Indus inscriptions announced for the first time

    Dholavira 56 A horned person standing between two branches of a tree, each with three leaves on outer side and one at the top; a devotee kneels, hands touching the ground; R lower side, a goat with outstretched wavy horns, upturned tail. Vertical perforation. 
    Field symbol: kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165)(Kashmiri) kundana ‘fine gold’ (Tulu)
    sangaa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaa (double-canoe, catamaran) Hence, smith seafaring guild. 
     
    Heulandite. H. 1 3/8 in. (3.4 cm); dia. 1 in. (2.4 cm) Proto-Elamite period, ca 3100-2900 BCE Sb 2675 

    Comment by Holly Pittman on Rutten, (Ed.), 1935-36, Encyclopedie photographique de l’art, Paris: “Although the tree on the mountain is undoubtedly a landscape element, tree, mountain, and the combination of the two are distinct script signs as well.” (After Fig. 45, Prudence O Harper et al, opcit., p.74).

    On this cylinder seal, there are two message segments composed of Indus Script hieroglyph-multiplexes.

    1. mountain, ficus glomerata, two wild goats, two +hieroglyphs (fire-altar)

    2. mountain, ficus glomerata, two goats, two twigs emanating from the mountain range, + hieroglyph (fire-altar)

    dula 'pair, two' Rebus: dul 'cast metal' 

    Thus, together, loh 'copper' PLUS dul 'cast metal' PLUS kuhi '(copper)metal smelter'

    Similarly, two antelopes signify by rebus-metonymy layer: dul 'cast metal' PLUS milakkhu 'copper' ORranku 'tin'.

    Similarly, two wild goats signify by rebus-metonymy layer: dul 'cast metal' PLUS mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) OR med 'copper' (Slavic languages).

    Медь [Med'] (Russian, Slavic) 'copper' gloss is cognate with mē̃ḍ 'iron' (Munda) meḍ 'iron' (Ho.) . The early semantics of the Meluhha word meḍ is likely to be 'copper metal'. Rebus: मेढ meḍh 'helper of merchant'. Seafaring merchants of Meluhha ! 


    Miedź, med' (Northern Slavic).
    Corruptions from the German "Schmied", "Geschmeide" = jewelry.
    Used in most of the Slavic and Altaic languages.

    — Slavic
    Мед [Med] Bulgarian
    Bakar Bosnian
    Медзь [medz'] Belarusian
    Měď Czech
    Bakar Croatian
    Kòper Kashubian
    Бакар [Bakar] Macedonian
    Miedź Polish
    Медь [Med'] Russian
    Meď Slovak
    Baker Slovenian
    Бакар [Bakar] Serbian
    Мідь [mid'] Ukrainian

    http://www.vanderkrogt.net/elements/element.php?sym=Cu


    This hieroglyph-multiplex has three hieroglyph components: mountain, two bunches of twigs, ficus glomerata leaf (NOT a tree).

    Hieroglyph: bunch of twigs: कूटी [p= 299,3] v.l. for कूद्/.  कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/) AV. v , 19 , 12 Kaus3.accord. to Kaus3. , Sch. = बदरी, "Christ's thorn". (Samskritam)


    Hieroglyph: mountain: कुठि [p= 289,1] m. a tree L. m. a mountain L.(Samskritam)

    Rebus:kuhi ‘a furnace for smelting iron ore, to smelt iron’;koe ‘forged (metal)(Santali) kuhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuhieda koles smelt iron (Santali) kuhi, kui (Or.; Sad. kohi) (1) the smelting furnace of the blacksmith; kuire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkui 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; kuhi-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) kuhi = a factory; lil kuhi = an indigo factory (kohi - Hindi) (Santali.Bodding) kuhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuhi yet kana, they are working (or building) the furnace to-day (H. kohī ) (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-kuha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuhī factory (A.); kohābrick-built house (B.); kuhī bank, granary (B.); koho jar in which indigo is stored, warehouse (G.); kohīlare earthen jar, factory (G.); kuhī granary, factory (M.)(CDIAL 3546). koho = a warehouse; a revenue office, in which dues are paid and collected; kohī a store-room; a factory (Gujarat) ko = the place where artisans work (Gujarati) 

    I suggest that two types of caprids are orthographically delineated: Section A. a wild goat (say, markhor) with curved horns and Section B. a goat or antelope.

    Section A. Wild goat: Tor. miṇḍāˊl
    ʻmarkhorʼ. Rebus: med 'copper' (Slavic languages)

    British Museum 120466 Proto-Elamite administrative tablet (4.4x5.7x1.8 cm) with a cylinder seal impression cf. Walker, CBF, 1980, Elamite Inscriptions in the British Museum in: Iran Vol. 18 (1980), pp. 75-81. Indus Script hieroglyphs on this seal impression are: markhor, ficus glomerata, twig.


    With the emphasis on curled, curved horns, the semantics are related to the set of glosses: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔmiḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312)

    Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)


    kanda 'fire-altar'


     This hieroglyph is signified three times on the cylinder seal. kolom 'three' Rebus: kolimi'smithy, forge' kole.l 'smithy, temple'. Holly Pittman notes: “The cross, shown three times in the upper field, is a sign belonging to the Proto-Elamite script.” (Prudence O. Harper et al, opcit., p.74). 

    Since Proto-Elamite has NOT so far been deciphered, I have no comment to make on the possible decipherment of this sign in Proto-Elamite texts. There is a possibility that the sign may have been read as a Meluhha word, 'kanda' meaning 'smelter or furnace' as a continuum of the Meluhha metalwork tradition in Elam. (See appended not on Elam).


    Orthographically, this is a fire-french with four distinct arms of four pits (four is a semantic determinative or reinforcement of the substantive message): gaNDa 'four' Rebus: kanda 'fire-trench'.

    Substantive message:
    Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings.(DEDR 1214)


    An expression लोखंड [lōkhaṇḍa ] 'metal implements' gets 

    signified by adding in hypertext, the following hieroglyphs:


    ficus glomerata (loa)

    AND a mountain (kaNDa).

    WPah.kṭg. (kc.) kaṇḍɔ m. ʻ thorn, mountain peak ʼ(CDIAL 2668)Pk. kaṁṭī -- f. ʻ space near a village, ground near a mountain, neighbourhood ʼ(CDIAL 2669) Pk. kaṁṭha -- m. ʻ border, edge ʼ; L. awāṇ. kaḍḍhā ʻ bank ʼ; P. kaṇḍhā m. ʻ bank, shore ʼ, °ḍhī f. ʻ land bordering on a mountain ʼ; WPah. cam. kaṇḍhā ʻ edge, border ʼ; N. kānlokã̄llo ʻ boundary line of stones dividing two fields ʼ, kã̄ṭh ʻ outskirts of a town ʼ ← a Mth. or H. dial.; H. kã̄ṭhā ʻ near ʼ; OMarw. kāṭha m. (= kã̄°?) ʻ bank of a river ʼ; G. kã̄ṭhɔ m. ʻ bank, coast, limit, margin of a well ʼ; M. kāṭhkã̄ṭh°ṭhā m. ʻ coast, edge, border ʼ, kã̄ṭhẽ n. ʻ arable land near the edge of a hill. ʼ -- L. P. kaṇḍh f. ʻ wall ʼ perh. infl. in meaning by kanthā (CDIAL 2680)


    loa ficus glomerata’ Rebus: loh ‘iron, copper’ (Sanskrit) PLUS 

    unique ligatures: 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.  The business of an ironsmith.लोखंडी [ lōkhaṇḍī 

    a (लोखंड) Composed of iron; relating to iron. (Marathi)

    http://bharatkalyan97.blogspot.in/2015/07/indus-script-deciphered-mlecchita.html

    Section B. Goat or antelope: Set 1: mr̤ēka, mēḻẖ 'goat' Set 2: ranku 'antelope' Rebus: milakkhu, mleccha-mukha 'copper'; ranku 'tin'

    [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.]Ka. mēke she-goat; mē the bleating of sheep or goats. Te. mē̃ka,mēka goat. Kol. me·ke id.

    Nk. mēke id. Pa. mēva, (S.) mēya she goat. Ga. (Oll.) mēge
    (S.)mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat.  / Cf. Skt. (lex.) meka- goat.(DEDR 5087)

    raṅku m. ʻ a species of deer ʼ Vās., °uka -- m. Śrīkaṇṭh.(CDIAL 10559); ranku 'antelope' (Santali)

    ranku 'tin' (Santali) raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1]Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562)

    *margā ʻ wild goat ʼ. 2. *marjikā -- . [Cf. Wkh. merg f. ʻ ibex ʼ. -- mr̥gá -- ]1. Ash. mlaṅ f. ʻ mountain goat ʼ, Wg. mŕaṅ, mraṅ; Kt. mŕoṅ ʻ female ibex ʼ (→ Kal.urt. mroṅ); Pr. mā̆ṅgə, mā̆ṅg ʻ female markhor ʼ, maṅċū̃ ʻ markhor kid ʼ, Paš.kuṛ.loṅ f. ʻ markhor ʼ, Gaw. blaṅ; -- Dm. mraṅ m. ʻ markhor ʼ (~ maži f. below).
    2. Dm. maži ʻ female markhor ʼ, Kal. muṣ, Kho. mažḗ
    g.(CDIAL 9885) mr̥gá m. ʻ wild animal, deer ʼ RV.  Pa. migī -- f. ʻ doe ʼ, Pk. migī -- , maī -- f.; Paš.kch.  f. ʻ mountain goat ʼ, ar. bleaṭo ʻ ibex or markhor ʼ.Kal.rumb. mū̃ru ʻ female ibex ʼ; Kho. múru f. ʻ mountain goat ʼ. (CDIAL 10264)WPah.bhal. me\i f. ʻ wild goat ʼ; H. meh m. ʻ ram ʼ. mēṣá m. ʻ ram ʼ, °ṣīˊ -- f. ʻ ewe ʼ RV. (CDIAL 10334) 

    maiāro ʻ wild animal of goat or sheep type (including markhor, ibex and oorial) ʼ(CDIAL 10274)

    Tor. miṇḍāˊl ʻ markhor ʼ: mẽḍhā 'ram' mēṇḍha2 m. ʻ ram ʼ, °aka -- , mēṇḍa -- 4miṇḍha -- 2°aka -- , mēṭha -- 2mēṇḍhra -- , mēḍhra -- 2°aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ]1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā -- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv.yēṛo -- miṇ; Phal. miṇḍmiṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., °ḍhī f., ludh. mīḍḍhāmī˜ḍhā m.; N. meṛhomeṛo ʻ ram for sacrifice ʼ; A.mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or. meṇḍhā°ḍā m., °ḍhi f., H. meṛhmeṛhāmẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā.2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.3. H. mejhukā m. ʻ ram ʼ.*mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- .Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ AFD 235.(CDIAL 10210).

    Pleiades, women wearing scarf as headgear, wristlets, bangles 
    Hieroglyph: bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ]
    Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boulbolh, Sh. (Lor.) b*lle.(CDIAL 9195)

    Rebus:thick, solid armour for the arms: bāhula n. ʻ armour for the arms ʼ lex. [bāhú -- ]Pk. bāhulaga -- m. ʻ arm ʼ; Gy. pal. baúlă ʻ bracelet ʼ; L. bôhlī, mult. bāhvlī, (Ju.) ḇālhī f. ʻ action of the arms in swimming ʼ, ḇūhlī f. ʻ sleeve ʼ; P. bāhulī f. ʻ sleeve ʼ, ludh. bauhlī f.; Ku. baũlī ʻ hand, arm ʼ,baũlo ʻ sleeve ʼ, gng. bɔ̄˜*l_; N. bāulo ʻ sleeve ʼ, °li ʻ small do. ʼ; Or. bāhuḷa ʻ armour for the arms ʼ; M. bāhuḷābāvḷā m. ʻ region of the shoulderjoint ʼ.(CDIAL 9233) *bāhutrā ʻ arm -- armour ʼ. [bāhutra -- m.n. Apte: cf. bāhutrāṇa -- n. lex. -- bāhú -- , trāˊ -- ]A. bāhati ʻ armour for the arms ʼ.(CDIAL 9231) Rebus: bahulá ʻ large, thick ʼ RV. [~ bahura -- . -- bahú -- ]Pa. Pk. bahula -- ʻ much, abundant ʼ; Gy. germ. buxlo ʻ wide ʼ, pal. bōlbṓli ʻ much, great ʼ; A. bahul ʻ much, abundant ʼ; Or. bahuḷa ʻ much, thick ʼ; Si. bahulabola ʻ thick, solid ʼ.bahulā -- ; bahulīkr̥ta Addenda: bahulá -- : Md.  ʻ thick ʼ, bolē ʻ is thick ʼ.(CDIAL 9194) bahulīkr̥ta ʻ *thickened ʼ (ʻ augmented ʼ MBh.). [bah- ulá -- , kr̥tá -- ] L. bôhlī f. ʻ milk of a cow newly calved ʼ.(CDIAL 9196)

    dhaṭu 'scarf' Rebus: dhatu 'mineral ore' PLUS  karã̄ n. arms, pl. ʻ wristlets, bangles ʼ Rebus: khār खार् 'blacksmith'

    Hieroglyph: WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).

    Rebus: mineral: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M.dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773).

    Hieroglyph: G. karã̄ n. pl. ʻ wristlets, bangles ʼ.kará1 ʻ doing, causing ʼ AV., m. ʻ hand ʼ RV. [√kr̥1]Pa. Pk. kara -- m. ʻ hand ʼ; S. karu m. ʻ arm ʼ; Mth. kar m. ʻ hand ʼ (prob. ← Sk.); Si. kara ʻ hand, shoulder ʼ, inscr. karā ʻ to ʼ < karāya. -- Deriv. S. karāī f. ʻ wrist ʼ(CDIAL 2779) Rebus: khAr 'blacksmith'.

    [Pleiades, scarfed, framework,  scarfed person, worshipper, markhor, ficus religiosa] Brief memoranda:

    The bottom register has hieroglyphs of: worshipper, ram, ficus, buffal-horned person: bhaTa 'worshipper' Rebus: bhaTa 'furnace' meDha 'ram' Rebus: meD 'iron', loa 'ficus' Rebus: loh 'copper, metal' taTThAr 'buffalo horn' 

    Rebus:  ṭhaṭherā 'brass worker' (Punjabi) Thus, the message of this portion of the epigraph is: brass worker furnaces of loh 'copper' and meD 'iron'

    The top register has scarfed, pleiades: Hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral ore' bahulA 'Pleiades' Rebus 1:bagalo 'Arab merchant vessel, boat' Rebus 2:  bāhula 'armour for the arms' 

    Hieroglyph: worshipper: bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’

    Hieroglyph: ram, markhor: Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ(Ho.); mẽṛhet ‘iron’ (Munda.Ho.)

    Hieroglyph: standing person with buffalo horn: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' Ta. taṭṭāṉ gold or silver smith; fem. taṭṭātti. Ma. taṭṭu a blow, knock; taṭṭuka to tap, dash, hit, strike against, knock; taṭṭān goldsmith; fem. taṭṭātti; taṭṭāranwasherma(DEDR 3039) *ṭhaṭṭhakāra- brassworker;(CDIAL 5490) *ṭhaṭṭh ʻ strike ʼ. [Onom.?]
    N. ṭhaṭāunu ʻ to strike, beat ʼ, ṭhaṭāi ʻ striking ʼ, ṭhaṭāk -- ṭhuṭuk ʻ noise of beating ʼ; H. ṭhaṭhānā ʻ to beat ʼ, ṭhaṭhāī f. ʻ noise of beating ʼ. ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- . [*ṭhaṭṭha -- 1, kāra -- 1] 1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār°rā m.
    2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5490, 5493).


    Hieroglyph: loa ‘ficus’ Rebus: lo ‘copper’ Hieroglyph: loa 'ficus religiosa' Rebus: lo, loh 'copper, metal' (Samskritam)Rebus: lo 'copper' 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. lɔ̃un., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu°hā, A. lo, B. lono, Or. lohāluhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. lohlohā m., G. M. loh n.; Si. loho ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper ʼ. WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md.  ʻ metal ʼ.(CDIAL 11158)

    Hieroglyph: Te. pilaka a tuft or knot of hair. Konḍa pilka, pilika pigtail, dangling ends of hair. Kuwi (F.) pilka lovelock (worn curled under the ear by males).(DEDR 4179) Rebus: pĩṛulo ʻ calf of leg, thigh ʼ; A. pirā ʻ severed leg of an animal with flesh still attached ʼ, pīri ʻ lump of earth taken with a plant for transplanting ʼ;pī˜ṛī ʻ platform of lingam ʼ; Mth. pĩṛ, pĩṛā ʻ lump ʼ(CDIAL 8168)

    Brief memoranda:

    baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) 
    muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula 'pair' Rebus: dul 'cast metal'.  (See two ladles). Thus, the offering on the stool denotes: a metal ingot.

    bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)
    m0448 (Framework, tiger, scarfed-horned person with bracelets on arms, worshipper, twig, horn, markhor, stool, ladle) The offering on the offering platform is:

    muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula 'pair' Rebus: dul 'cast metal'.  (See two ladles). Thus, the offering on the stool denotes: a metal ingot. (See embedded image enhancement and interpretation of Huntington).


    h097 Text 4251 h097 Pict-95: Seven robed figures (with stylized twigs on their head and pig-tails) standing in a row.


    h097 [Pleiades, twigs (on head), ladle, rimless pot]
    Brief memoranda:
    baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) 
    muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula'pair' Rebus: dul'cast metal'.  (See two ladles). Thus, the offering on the stool denotes: a metal ingot.
    bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)

    A Meluhha gloss for hard stone ore or iron stone is mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) which is denoted by the hieroglyph, 'markhor'. miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Meluhha glosses are annexed which indicate association with cire perdue (or lost wax) method of casting metals using beeswax, particularly in the glosses for miedź, med'  'copper' in Northern Slavic and Altaic languages. 

    Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:

    Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).

    Ma. <i>mErhE'd</i> `iron'.

    Mu. <i>mERE'd</i> `iron'.

      ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).

    Ho <i>meD</i> `iron'.

    Bj. <i>merhd</i>(Hunter) `iron'.

    KW <i>mENhEd</i>

    @(V168,M080)


    — Slavic glosses for 'copper'

    Мед [Med]Bulgarian

    Bakar Bosnian

    Медзь [medz']Belarusian

    Měď Czech

    Bakar Croatian

    KòperKashubian

    Бакар [Bakar]Macedonian

    Miedź Polish

    Медь [Med']Russian

    Meď Slovak

    BakerSlovenian

    Бакар [Bakar]Serbian

    Мідь [mid'] Ukrainian[unquote]

    Miedź, med' (Northern Slavic, Altaic) 'copper'.  


    One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.


    Seal m 1186 Mohenjo-daro


    Decipherment: ḍabu ‘an iron spoon’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) ḍabe, ḍabea wide horns (Santali) Rebus: ḍhābā workplace (P.) 


    The stool on which the bowl is placed is also a hieroglyph read rebus:

    Kur. kaṇḍō a stool. Malt. Kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'stone (ore)' as in: ayaskāṇḍ 'excellent iron' (Panini)

    dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) Allograph: ḍato = claws of crab (Santali) Rebus: dhātu = mineral (Skt.), dhatu id. (Santali) 

    See the human face ligatured to a ram's body (an indication of the hieroglyphic nature of the orthographic composition):

    mũh 'face' (Santali). Rebus: mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen mẽṛhẽtko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) 

    miṇḍāl 'markhor' (Tor.wali) meḍho 'a ram, a sheep' (G.)(CDIAL 10120)mēṇḍhaʻramʼ(CDIAL 9606).मेंढा [mēṇḍhā] m (मेष S through H) A male sheep, a ram or tup. मेंढका or क्या [ mēṇḍhakā or kyā ] a (मेंढा) A shepherd (Marathi) Rebus: meḍ 'iron' (Ho.) mēṇḍh 'gold' as in: मेंढसर [ mēṇḍhasara ] m A bracelet of gold thread. (Marathi)

    मेढ [mēḍha] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.


    m1186 (DK6847) [Pleiades, scarfed, framework, ficus religiosa , scarfed person, worshipper, twigs (on head), horn, markhor, human face ligatured to markhor, stool, ladle, frame of a building] 

    Brief memoranda:

    bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’
    bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’
    mū̃h ‘human face’ Rebus: mū̃h ‘ingot’ (See human face ligatured to a markhor: Seal m1186) PLUS Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ(Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
    lo, no ‘nine’ phonetic reinforcement of: loa ‘ficus’ Rebus: lo ‘copper’
    dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali)
    maṇḍa m. ʻ ornament ʼ Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)

    A group of six or seven women wearing twigs may not represent Pleiades, bagaḷā). The groups of such glyphs occur on four inscribed objects of Indus writing. (See four pictorial compositions on: m1186A, h097, m0442At m0442Bt). Glyph (seven women): bahula_ = Pleiades (Skt.)bagaḷā = name of a certain godess (Te.) bagaḷā ,bagaḷe, vagalā (Ka.); baka , bagaḷlā , vagaḷā (Te.) bakkula = a demon, uttering horrible cries, a form assumed by the Yakkha Ajakalāpaka, to terrify the Buddha (Pali.lex.) bahulā f. pl. the Pleiades VarBr̥S., likā -- f. pl. lex. [bahulá -- ] Kal. bahul the Pleiades , Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle (CDIAL 9195) bahulegal. = the Pleiades or Kṛittikā-s (Ka.lex.) bahula_ (VarBr.S.); bahul (Kal.) six presiding female deities: vahulā the six presiding female deities of the Pleiades (Skt.); vākulai id. (Ta.)(Ta.lex.) Pleiades: bahulikā pl. pleiades; bahula born under the pleiades; the pleiades (Skt.lex.) bahule, bahulegal. the pleiades or kr.ttikās (Ka.)(Ka.lex.) Image: female deities of the pleiades: vākulēyan- < va_kulēya Skanda (Ta.lex.) பாகுளி pākuḷi, n. perh. bāhulī. Full moon in the month of Puraṭṭāci; புரட்டாசி மாதத்துப் பெளர்ணமி. அதைப் பாகுளி யென்று (விநாயகபு. 37, 81). Glyph (twig on head on seven women): adaru ‘twig’; rebus: aduru ‘native metal’. Thus, the seven women ligatured with twigs on their heads can be read as: bahulā + adaru; rebus: bangala ‘goldsmith’s portable furnace’ + aduru ‘native metal’. bāhulēya Kārttikēya, son of S'iva; bāhula the month kārttika (Skt.Ka.)(Ka.lex.) வாகுலை vākulai, n. < Vahulā. The six presiding female deities of the Pleiades. Rebus: bagalo = an Arabian merchant vessel (G.lex.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.) bagalo = an Arabian merchant vessel (G.lex.) cf. m1429 seal. बहुल Born under the Pleiades; P.IV.3.33. An epithet of fire. -ला 1 A cow; कस्मात् समाने बहुलाप्रदाने सद्भिः प्रशस्तं कपिलाप्रदानम् Mb.13.77.9. The Pleiades (pl.) -लम् 1 The sky. बहुलिका (pl.) The Pleiades. बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. बाहुलेयः An epithet of Kārtikeya.बाहुल्यम् 1 Abundance, plenty, copiousness. -2 Manifoldness, multiplicity, variety. -3 The usual course or common order of things. (बाहुल्यात्, -ल्येन 1 usually, commonly. -2 in all probability.) बाह्लिः N. of a country (Balkh). -Comp. -ज, -जात a. bred in the Balkh country, of the Balkh breed.बाह्लकाः बाह्लिकाः बाह्लीकाः m. (pl.) N. of a people.-कम् 1 Saffron; ... प्रियाङ्गसंगव्यालुप्तस्तनतटबाह्लिक- श्रियो$पि दृश्यन्ते बहिरबलाः Rām. Ch.7.64. Amarakosha makes references to the Saffron of Bahlika and Kashmira countries (Amarkosha, p 159, Amarsimha.) 

    The Sumerians were also aware of the importance of Pleiades, showing it in several seals and images.
      (E. Douglas van Buren. The Seven Dots in Mesopotamian Art and Their Meaning. AfO 13 (1939-41), 227 ff.)

    Alternative readings of Sumerian hieroglyphs:

    koThAri 'crucible' Rebus: koThAri 'warehouse, treasurer'
    arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'
    7 numerals: four + three: gaNDa 'four' Rebus: khaNDa 'metal implements'; kolmo 'three' Rebus: kolimi 'smithy, forge' sangaDa 'portable furnace, standard' Rebus: sangar 'fortification'; sanghAta 'adamantine glue' (Varahamihira) सांगडणी [ sāgaaī ] f (Verbal of सांगडणें) Linking or joining together. Pali: Sanghāa [fr. saŋ+ghaeti, lit. "binding together"miṇḍāl 'markhor' (Tōrwālī) meḍho 'ram' Rebus: meD 'iron' kola 'jackal' Rebus: kol 'working in iron' kaNDa 'arrow' Rebus: khaNDa 'metal implements'.
    Detail of the seal.(Framework, ficus religiosa,  scarfed person, twig, horn)http://huntingtonarchive.osu.edu/resources/downloads/webPresentations/harappanSeals.pdf
    Detail of the seal. (ladles, rimless pot, worshipper, kneeling) http://huntingtonarchive.osu.edu/resources/downloads/webPresentations/harappanSeals.pdf 

    Brief memoranda:
    baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) 

    muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula 'pair' Rebus: dul 'cast metal'.  (See two ladles). Thus, the offering on the stool denotes: a metal ingot.

    The ‘offering’ (and production of metal ingot) is on a fire-altar: kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’kaṇḍa  ‘fire-altar’
    m0442 (Seated in penance, ornament) Brief memoranda:
    kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.
    maṇḍa m. ʻ ornament ʼ Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
    kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’
    Engraved Shell. Barakat Gallery. (Framework, ficus religiosa, tiger, scarfed person, horns, worshipper, twig)

    Characteristic orthography to signify an am with bangles, wristlets hieroglyph in hieroglyph-multiplexes of Indus Script Corpora

    Hieroglyph: G. karã̄ n. pl. ʻ wristlets, bangles ʼ.kará1 ʻ doing, causing ʼ AV., m. ʻ hand ʼ RV. [√kr̥1]Pa. Pk. kara -- m. ʻ hand ʼ; S. karu m. ʻ arm ʼ; Mth. kar m. ʻ hand ʼ (prob. ← Sk.); Si. kara ʻ hand, shoulder ʼ, inscr. karā ʻ to ʼ < karāya. -- Deriv. S. karāī f. ʻ wrist ʼ(CDIAL 2779) Rebus: khAr 'blacksmith'.

    The long curving horns may also connote a ram:
    clip_image061h177Bclip_image062[4]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.)
    Ligatures: Worshipper + rimless pot + scarf (on pigtail)

    Signs 45, 46: A variant of ‘adorant’ hieroglyph sign is shown with a ‘rimless, broad-mouthed pot’ which is baṭa read rebus: bhaṭa ‘furnace’. If the ‘pot’ ligature is a phonetic determinant, the gloss for the ‘adorant’ is bhaṭa ‘worshipper’. If the ‘kneeling’ posture is the key hieroglyphic representation, the gloss is eragu ‘bow’ Rebus: erako ‘moltencast copper’. Thus moltencast copper furnace. + dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali). Thus Sign 46 read rebus: moltencast copper minerals furnace.

    Arbour, canopy: మండ [ maṇḍa ] manḍa. [Tel.] n. A twig with leaves on it. చెట్టుకొమ్మ. A small branch, ఉపశాఖ.MAṆḌ ʻ adorn ʼ. [Scarcely < *mr̥ndati ʻ rubs ʼ; nor is P. Thieme's derivation (ZDMG 93, 133) as MIA. < *mr̥ṁṣṭē (√mr̥j) phonet. convincing. Prob. with J. Bloch BSOS v 741 ← Drav. (Tam.maṇṇu ʻ to decorate ʼ  9736 maṇḍa2 m. ʻ ornament ʼ lex. [√maṇḍ]Pk. maṁḍaya -- ʻ adorning ʼ; Ash. mōṇḍamōndamūnda NTS ii 266, mōṇə NTS vii 99 ʻ clothes ʼ; G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ.(CDIAL 9736) maṇḍa6 ʻ some sort of framework (?) ʼ. [In nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. (as illustrated in BPL p. 42); and in BHSk. and Pa. bōdhi -- maṇḍa -- n. perh. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402).(CDIAL 9737) N. maṛhermaṛer ʻ one who carries ornaments &c. in the marriage procession ʼ.(CDIAL 9738) maṇḍana n. ʻ adorning ʼ MBh., maṇḍaná -- adj. Pāṇ. [√maṇḍ] Pa. maṇḍana -- n., Pk. maṁḍaṇa -- n. and adj.; OMarw. māṁḍaṇa m. ʻ ornament ʼ; G. mã̄ḍaṇ n. ʻ decorating foreheads and cheeks of women on festive occasions ʼ.(CDIAL 9739) maṇḍapa m.n. ʻ open temporary shed, pavilion ʼ Hariv., °pikā -- f. ʻ small pavilion, customs house ʼ Kād. 2. maṇṭapa -- m.n. lex. 3. *maṇḍhaka -- . [Variation of ṇḍ with ṇṭsupports supposition of non -- Aryan origin in Wackernagel AiGr ii 2, 212: see EWA ii 557. -- Prob. of same origin as maṭha -- 1 and maṇḍa -- 6 with which NIA. words largely collide in meaning and form] 1. Pa. maṇḍapa -- m. ʻ temporary shed for festive occasions ʼ; Pk. maṁḍava -- m. ʻ temporary erection, booth covered with creepers ʼ, °viā -- f. ʻ small do. ʼ; Phal. maṇḍau m. ʻ wooden gallery outside a house ʼ; K. manḍav m. ʻ a kind of house found in forest villages ʼ; S. manahũ m. ʻ shed, thatched roof ʼ; Ku. mãṛyāmanyā ʻ resthouse ʼ; N. kāṭhmã̄ṛau ʻ the city of Kathmandu ʼ (kāṭh -- < kāṣṭhá -- ); Or. maṇḍuā̆ ʻ raised and shaded pavilion ʼ, paṭā -- maṇḍoi ʻ pavilion laid over with planks below roof ʼ, muṇḍoi°ḍei ʻ raised unroofed platform ʼ; Bi. mã̄ṛo ʻ roof of betel plantation ʼ, mãṛuāmaṛ°malwā ʻ lean -- to thatch against a wall ʼ, maṛaī ʻ watcher's shed on ground without platform ʼ; Mth. māṛab ʻ roof of betel plantation ʼ, maṛwā ʻ open erection in courtyard for festive occasions ʼ; OAw. māṁḍava m. ʻ wedding canopy ʼ; H. mãṛwā m., °wī f., maṇḍwā m., °wī f. ʻ arbour, temporary erection, pavilion ʼ, OMarw. maṁḍavomāḍhivo m.; G.mã̄ḍav m. ʻ thatched open shed ʼ, mã̄ḍvɔ m. ʻ booth ʼ, mã̄ḍvī f. ʻ slightly raised platform before door of a house, customs house ʼ, mã̄ḍaviyɔ m. ʻ member of bride's party ʼ; M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ; Si. maḍu -- va ʻ hut ʼ, maḍa ʻ open hall ʼ SigGr ii 452.2. Ko. māṁṭav ʻ open pavilion ʼ.3. H. mã̄ḍhāmāṛhāmãḍhā m. ʻ temporary shed, arbour ʼ (cf. OMarw. māḍhivo in 1); -- Ku. mã̄ṛā m.pl. ʻ shed, resthouse ʼ (or < maṇḍa -- 6?]*chāyāmaṇḍapa -- .Addenda: maṇḍapa -- : S.kcch. māṇḍhvo m. ʻ booth, canopy ʼ.(CDIAL 9740) maṇḍáyati ʻ adorns, decorates ʼ Hariv., máṇḍatē°ti Dhātup. [√maṇḍ]Pa. maṇḍēti ʻ adorns ʼ, Pk. maṁḍēi°ḍaï; Ash. mū˘ṇḍ -- , moṇ -- intr. ʻ to put on clothes, dress ʼ, muṇḍaāˊ -- tr. ʻ to dress ʼ; K. manḍun ʻto adornʼ, H. maṇḍnā;
    (CDIAL 9741) G. mãḍāṇ n. ʻ wooden frame on a well for irrigation bucket ʼ?(CDIAL 9745) Ta. maṇṇu (maṇṇi-) to do, make, perform, adorn, beautify, decorate, polish, perfect, finish; maṇṇ-uṟu to polish as a gem; maṉai (-v-, -nt-) to make, create, form, fashion, shape. Ma.manayuka, maniyuka to fashion, form earthenware, make as a potter. (DEDR 4685) మండనము [ maṇḍanamu ] manḍanamu. [Skt.] n. Adorning, dressing, decorating, decoration. An ornament, jewel, భూషణము, అలంకరణముమండనుడు manḍanuḍu. n. One who is dressed or ornamented. "ఏకాంతభక్తి మహితమండనుడు" he who is adorned with faith. BD. v. 1.


    Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center. Found in Harappa in 1997.
    https://www.harappa.com/answers/what-evidence-specific-religious-practices-ivc


    kunta ʻspearʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻspearʼ EWA i 229]1. Pk. kuṁta -- m. ʻspearʼ; S. kundu m. ʻspike of a topʼ, °dī f. ʻspike at the bottom of a stickʼ, °diṛī°dirī f. ʻspike of a spear or stickʼ; Si. kutu ʻlance ʼ.2. Pa. konta -- m. ʻstandardʼ; Pk. koṁta -- m. ʻspearʼ; H. kõt m. (f.?) ʻspear, dartʼ; -- Si. kota ʻspear, spire, standardʼ perh. ← Pa.(CDIAL 3289) Rebus: kuṇṭha munda (loha) 'hard iron (native metal)'. kō̃da कोँद  कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल्  कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165)(Kashmiri) kundana ‘fine gold’ (Tulu)

    karā 'crocodile' rebus: khār 'blacksmith'.

    rã̄go ʻbuffalo bullʼ Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻpewter, tinʼ Ku. rāṅ ʻtin, solderʼ Or. rāṅga ʻtinʼ, rāṅgā ʻsolder, spelterʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻtin, pewter ʼraṅgaada -- m. ʻboraxʼ lex.Kho. (Lor.) ruṅ ʻsaline ground with white efflorescence, salt in earthʼ *raṅgapattra ʻtinfoilʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻtinsel, copper -- foilʼ.

    kolsa 'to kick the foot forward, the foot to come into contact with anything when walking or running'; kolsa pasirkedan 'I kicked it over' (Santali) mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali)  kol ‘to kill’ (Ta.) Rebus:  kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.) 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) Rebus: meḍ 'iron' (Mu.Ho.)

    kamaḍha 'penance, yoga', rebus kammaṭa 'mint'
    kūdī 'twig' kuṭhi 'smelter' 
    ḍã̄g 'mace' ḍhangra ‘bull’ ḍhangar ‘blacksmith’


    m0173  kõda ‘young bull-calf’. Rebus: kũdār ‘turner’kō̃da कोँद  कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल्  कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165)(Kashmiri) kundana ‘fine gold’ (Tulu)

    sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith seafaring guild.
    Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.).


    (lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge. 


    ranku ‘antelope’ rebus: ranku ‘tin’


    kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl°lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ 
    (CDIAL 2984) कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith


    loa 'ficus glomerata' Rebus: loha 'copper, iron'.   PLUS karṇī ‘ears’ rebus: karṇī 'supercargo, scribe, helmsman'

    kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribeकर्णिक 'steersman, helmsman'.


    Indus Valley Stone Sculpture of a Zebu Bull - FF.103 Origin: India Circa: 3000 BC to 1600 BC Dimensions: 8.5 (21.6cm) high x 14 (35.6cm) wide Collection: Asian Art Medium: Stone Location: Great Britain
    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.Image result for pipal leaf nal pot archaeologyImage result for pipal leaf buffalo horns indus valley
    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 hoofs 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 https://www.harappa.com/indus/33.html


    dula 'pair' rebus: dul 'metal casting' PLUS मेढ 'Polar star' Rebus: meḍ 'iron'. mẽṛhet iron’ (Mu.Ho.) PLUS koḍ 'horn' rebus: ko 'workshop' PLUS loa 'ficus glomerata' rebus: loh 'copper,metal' PLUS kūdī 'twig' kuṭhi 'smelter'. Thus, the narrative on the headdress hypertexts signify: copper metal smelter, iron, metalcasting workshop.

    The bovine hoofs of the throne signify the hypertext 'bovine, bull' read rebus: ḍhangra ‘bull’ ḍhangar 
    ‘blacksmith’; mũh,'face' Rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace'; karā 'wristlets, bracelets' rebus: khārai 'blacksmith'; kamaḍha 'penance, yoga', rebus kammaṭa 'mint'. Thus, the narrative of hypertexts of the person seated in penance signify: blackmith ingot smithy, mint.

    One side of a triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of Eastern Art, Ashmolean Museum, Oxford. 
    Hieroglyph: kamaha 'penance' (Prakrit) kamaha, kamaha, kamahaka, kamahaga, kamahaya = a type of penance (Prakrit)

    Rebus: kamaamu, kammaamu = a portable furnace for melting precious metals; kammaīu = a goldsmith, a silversmith (Telugu) kãpau  jeweller's crucible made of rags and clay (Bi.); kampaṭṭam coinage, coin, mint (Tamil)

    kamahāyo = a learned carpenter or mason, working on scientific principles; kamahāa [cf. karma, kām, business + sthāna, thāam, a place fr. Skt. sthāto stand] arrangement of ones business; putting into order or managing ones business (Gujarati)  

    The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaha 'a person seated in penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) + kamaa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kama, khama 'copulation' (Santali) -- conveys the same message: mint of a blacksmith kāru kampaṭṭa 'mint artisan'.




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

    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.

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

    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.) 


    Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)

    meď 'copper' (Slovak)

    Image result for seated person bharatkalyan97m0453 . Scarf as pigtail of seated person.Kneeling adorant and serpent on the field.

    Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up.

    Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’.  Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint  or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.

    Rebus readings of glyphs on text of inscription:

    koṇḍa bend (Ko.); Tu. Kōḍi  corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR 2054b)  G. khū̃ṭṛī  f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ  = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295)

    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)

    ãs = scales of fish (Santali); rebus: aya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)

    G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779).  Rebus: khār खार् ‘blacksmith’ (Kashmiri)


    dula ‘pair’; rebus dul ‘cast (metal)’


    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)

    The suggested rebus readings indicate that the Indus writing served the purpose of artisans/traders to create metalware, stoneware, mineral catalogs -- products with which they carried on their life-activities in an evolving Bronze Age.

    khaṇḍiyo [cf. khaṇḍaṇī a tribute] tributary; paying a tribute to a superior king (Gujarti) Rebus: khaṇḍaran,  khaṇḍrun ‘pit furnace’ (Santali)

    paṭa
    . 'serpent hood' Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Kota)

    Seated person in penance. Wears a scarf as pigtail and curved horns with embedded stars and a twig.

    mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.) dula ‘pair’ (Kashmiri); Rebus: dul ‘cast (metal)’(Santali) ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = (smelter) furnace (Santali) The narrative on this metalware catalog is thus: (smelter) furnace for iron and for fusing together cast metal. kamaḍha ‘penance’.Rebus 1: kaṇḍ ‘stone (ore) metal’.Rebus 2: kampaṭṭa‘mint’. 

    The classifier is the cobra hood: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

    Hieroglyph: फडा (p. 313phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.
    फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. फडफरमाश or स (p. 313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas and public officers, on the authority of their order upon the villages; any petty article or trifling work exacted from the Ryots by Government or a public officer. 

    फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फडनिशी & फडनीसफडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस

    फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). 

    फडझडती (p. 313) phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. 

    फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्याचा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work, as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊसवांग्यामिरच्याखरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चालपडघालमांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणेंराखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. 

    These are three clinchers from Sanchi, Amaravati and Bharhut to explain the semantics of फड phaḍa 'cobra hood' shown together with a fire-altar (a signifier of a smithy/forge) or fiery skambha of a yajña kuṇḍa or smelter. In the bottom register, camasa, wooden ladles of Veda culture are also shown.

    Inline image 1
     Fiery skambha of a yajña kuṇḍa Plus Ta. paṭam instep. Ma. paṭam flat part of the hand or foot. Pe. paṭa key palm of hand. Manḍ. paṭa kiy id.; paṭa kāl sole of foot. Kuwi. (Su.) paṭa naki palm of hand. (DEDR 3843) rebus: फड phaḍa'metals manufactory' PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint'.
    Image result for bharhut nagaHieroglyph: kuṭi 'tree' Rebus: kuṭhi 'smelter' (smithy)
    फड phaḍa 'metals manufactory; I suggest that the semantic cognates are: Ta. paṭṭaṭai, paṭṭaṟai anvil, smithy, forge. Ka. paṭṭaḍe, paṭṭaḍi anvil, workshop. Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop.(DEDR 3865)పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.

    பட்டறை² paṭṭaṟai n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம்.


    The lexical entry of Kannada is significant.

    Since the semantic cognate is 'metals manufactory, account register' (Marathi), the DEDR 3865 entries should be seen as part of Bhāratīya sprachbund (speech union) as cognate with फड phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. (Marathi) फडणिशी or सी  phaḍaṇiśī or sī & फडणीस Preferably फडनिशी or सी & फडनीस. फडनिशी or सी (p. 313) phaḍaniśī or sī f The office or business of फडनीस.  फडनीस phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. (Marathi)

    I submit that the Kannada phonetic form paṭṭaḍi is likely to be earlier than Tamil form paṭṭaṟai. The suffix -aṟai signifies 'room'. The suffix -aḍi signifies 'anvil' and hence an indictor of metals manufactory or workshop. Yes, language speculation, on my part, of early meanings of the early form फड which is retained even today in Marathi language. This early form फड is consistent with the rebus words and semantics: फड 'cobra hood' (Marathi) Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45. (DEDR 47) Note the Pkt. form. This phaḍā is likely to the early phonetic form in the lingua franca. Hence, I submit that फड is the early form of paṭṭaḍe 'smithy, forge, anvil, workshop'(Kannada).


    Proto-Elamite seal impressions, Susa. Seated bulls in penance posture. (After Amiet 1980: nos. 581, 582).

    Hieroglyph: kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'

    Hieroglyph: dhanga 'mountain range' Rebus: dhangar 'blacksmith'
    Hieroglyph: rango 'buffalo' Rebus: rango 'pewter'.


    Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.


    ṭhaṭera 'buffalo horns'. Rebus: ṭhaṭerā 'brass worker'

    meḍha 'polar star' (Marathi). Rebus: meḍ 'iron' (Ho.Mu.)


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

    karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker'

    rango 'buffalo' Rebus:rango 'pewter' 

    kari 'elephant' ibha 'elephant' Rebus: karba 'iron' ib 'iron'

    kola 'tiger' Rebus: kol 'working in iron'

    gaNDA 'rhinoceros' Rebus: kaNDa 'im;lements'

    mlekh 'antelope, goat' Rebus: milakkha 'copper'

    meD 'body' Rebus: meD 'iron''copper'

    dhatu 'scarf' Rebus: dhatu 'mineral 


    Image result for seated person bharatkalyan97Triangula tablet. Horned seated person. crocodile. Split ellipse (parenthesis). On this tablet inscription, the hieroglyphs are: crocodile, fishes, person with a raised hand, seated in penance on a stool (platform). eraka 'raised hand' rebus: eraka 'molten cast, copper' arka 'copper'. manca 'platform' rebus: manji 'dhow, seafaring vessel' karA 'crocodile' rebus: khAr 'blacksmith' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'. kamaDha 'penance' rebus: kammaṭa 'mint, coiner, coinage'.
    Image result for seated person bharatkalyan97m1181. Seal. Mohenjo-daro. Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated on a hoofed platform.

    m1181 Text of inscription.


    Each glyphic element on this composition and text of inscription is decoded rebus:

    Two glyphs 'cross-road' glyph + 'splice' glyph -- which start from right the inscription of Text on Seal m1181.The pair of glyphs on the inscription is decoded: dhatu adaru bāṭa 'furnace (for) mineral, native metal’. dāṭu 'cross'(Telugu); bāṭa 'road' (Telugu). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)


    Other glyphic elements: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.


    *the person is seated on a hoofed platform (representing a bull): decoding of glyphics read rebus: ḍangar ‘bull’; ḍhangar ‘blacksmith’ (H.); koṇḍo ‘stool’; rebus: koḍ ‘workshop’. The glyphics show that the seal relates to a blacksmith's workshop.


    *the seated person's hair-dress includes a horned twig. aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali)


    *tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883)Rebus: cuḷḷai = potter’s kiln, furnace (Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.); cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857). 


    *bangles on arms cūḍā ‘bracelets’ (H.); rebus: soḍu 'fireplace'. Vikalpa: sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra sakom a kind of armlet of bell metal (Santali) 


    *fish + splinter glyph ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.)sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: Glyph: ḍhāḷiyum = adj. sloping, inclining; rebus: ḍhāḷako = a large metal ingot (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). Thus, the ligatured 'fish + sloping (stroke)' is read rebus: metal ingot.


    •dāṭu = cross (Te.); dhatu = mineral (Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.)H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). aṭar a splinter; aṭaruka to burst, crack, slit off, fly open; aṭarcca splitting, a crack; aṭarttuka to split, tear off, open (an oyster)(Ma.); aḍaruni to crack (Tu.)(DEDR 66). dāravum = to tear, to break (G.) dar = a fissure, a rent, a trench; darkao = to crack,to break; bhit darkaoena = the wall is cracked (Santali) Rebus: aduru 'native (unsmelted) metl' (Kannada).


    Seated person in penance: kamaḍha ‘penance’ (Pkt.); rebus: kampaṭṭa ‘mint’(Ma.) Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) 


    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.)  


    Executive summary:


    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]

    Image result for pipal leaf nal pot archaeologyPot with a bull and pipal
    https://defence.pk/pdf/threads/harappan-connections-opens-at-gandhara-art-space.418150/
    pōlaḍu, 'black drongo' rebus: pōlaḍ 'steel'. This Indus Script cipher explains why often a bird is shown together with a zebu, bos indicus on some artifacts.
    Image result for black drongo zebu nausharo pot
    Image result for A zebu bull tied to a post; a bird above. Large painted storage jar discovered in burned rooms at Nausharo, ca. 2600 to 2500 BCE.A branch with Pipal leafs. A zebu bull tied to a post; a bird above. Large painted storage jar discovered in burned rooms at Nausharo, ca. 2600 to 2500 BCE. 
    Image result for black drongo zebu nausharo pot
    Ceramic from Nausharo showing transition from Early to Mature Phase of Sarasvati Civilization (Image after Jarrige, J.F., 1989, Excavations at Nausharo )

    "With short legs, they sit upright on thorny bushes, bare perches or electricity wires. They may also perch on grazing animals."(Whistler, Hugh (1949). Popular handbook of Indian birds (4th ed.). Gurney and Jackson, London. pp. 155-157.)  Hence, the expression, 
    పనుల పోలిగాడు in Telugu: పసులు pasulu. n. plu. Cattle, గోవులు. పసిగాపు pasi-gāpu. n. A herdsman, గోపకుడు పసితిండి pasi-tinḍi. n. A tiger, పెద్దపులి. పసులపోలిగాడు pasula-pōli-gāḍu. n. The Black Drongo or King crow, Dicrurusater. (F.B.I.) ఏట్రింత. Also, the Adjutant. తోకపసులపోలిగాడు the Raquet-tailed Drongo shrike. Jerdon. No. 55. 56. 59. కొండ పనులపోలిగాడు the White bellied Drongo, Dicrurus coerulescens. వెంటికపనుల పోలిగాడు the Hair-crested Drongo, Chibia hottentotta. టెంకిపనుల పోలిగాడు the larger Racket-tailed Drongo, Dissemurus paradiseus (F.B.I.) పసులవాడు pasula-vāḍu. n. A herdsman, గొల్లవాడు.

    https://www.skyscrapercity.com/showthread.php?p=147827025



    The impressions of a pipal leaf found in the upper clay levels of the drain (shown here with a modern pipal leaf) indicate that what many think was a sacred tree even at that time was growing in the ancient city of Harappa.
    https://www.harappa.com/indus5/71.html
    This unique well and associated bathing platform was discovered in the course of building a catchment drain around the site. It was reconstructed on the ground floor of Mohenjo-daro site museum.
    https://www.harappa.com/indus6/heartwell81.html
    Fig. 2 Hear-shaped leaf of pipal tree shown on a Nal (Baluchistan) pot. Pakistan cultures  cultures referenced at http://www.simbolivivi.beniculturali.it/english.html 
    (Mohenjo-daro DK 6847, Islamabad Museum, NMP 50.295, Mackay 1938: pl. XCIV, 430; pl. XCIX, 686a).
    Seal depicting a deity with horned headdress and bangles on both arms, standing in a pipal (sacred fig) tree and looking down on a kneeling worshiper. A bowl with ladles rests on a small stool. A giant ram and seven figures in procession complete the narrative. The figures wear a single plumed headdress, bangles on both arms and long skirts.
    Several script signs are interspersed with the figures along the top of the seal and a single sign is placed at the base of the tree. This scene may represent a special ritual sacrifice to a deity with seven figures in procession. The seal has a grooved and perforated boss and the edges are worn and rounded from repeated use.
    Material: fired tan steatite with traces of glaze
    Dimensions: 4.06 x 3.95 cm, 0.8 cm thickness.
    Mohenjo-daro DK 6847
    Islamabad Museum, NMP 50.295
    Mackay 1938: pl. XCIV, 430; pl. XCIX, 686a.


    https://www.harappa.com/indus/34.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. https://www.harappa.com/indus2/142.html


    '"Pendant or medallion [from Mohenjo-daro] pictures the unicorn combined with many sacred symbols of the Indus religion. The body of the figure has a womb-shaped symbol in its belly, the same motif is elaborated to form the frame for the pendant, which is also a common design for shell inlay. Two leaf shapes of the sacred pipal tree are depicted at the animals shoulders and rump. A ritual offering stand is placed in front of the image. The deeply incised frame and the symbols on the unicorn would have been set with inlay." (J.M. Kenoyer, Indus Civilization, p. 188
    https://www.harappa.com/blog/unicorn-pendant

    The Kalibangan terracotta cake inscription signifies a iron workshop smelter/furnace and smithy.
    I suggest that the rebus reading of कर्ष 'act of drawing, dragging' signifies कर्ष with the semantics 'gold'. Thus, the Kalibangan terracotta cake signifies smelting processes (cf.kola 'tiger' rebus: kol 'working with iron' kolhe 'wmelter') to produce gold. There are no indications that the word कर्ष was used ca. 2500 BCE to signify 'gold or silver coin of a particular weight'.
    The earliest imagery of 'drawing, dragging in Sarasvati Civilization occurs on the terracotta cake of Kalibangan with an Indus Script hypertext (possibly discovered in a fire-altar). The terracotta cakesignifies a horned hunter and a tigerbeing dragged, drawn by a chord. 


    Pl. XXII B. Terracotta cake with incised figures on obverse and reverse, Harappan. On one side is a human figure wearing a head-dress having two horns and a plant in the centre; on the other side is an animal-headed human figure with another animal figure, the latter being dragged by the former. 

    If the act of 'drawing, dragging' is so vividly signified on the Kalibangan terracottacake, was it the intention of the artisan who made the orthographs to signify, कर्ष m. ( √कृष्) , the act of drawing , dragging to be interpreted rebus: कर्ष 'weight of metal object (coin); weight of gold or silver (= 16 माषs = 80 Rettis = 1÷4 पल = 1÷400 of a तुला = about 176 grains troy'? Does the pictorial narrative signify a goldsmith working to produce gold objects of the desired weight of karṣa?


    These hypertexts signify: 


    A terracotta type found in Kalibangan has the hieroglyph of a warrior: bhaTa 'warrior' Rebus: bhaTa 'furnace', thus reinforcing the smelting process in the fire-altars. Smelters might have used bhaThi 'bellows'. bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ Kāv., bhastrikā -- f. ʻ little bag ʼ Daś. [Despite EWA ii 489, not from a √bhas ʻ blow ʼ (existence of which is very doubtful). -- Basic meaning is ʻ skin bag ʼ (cf. bakura<-> ʻ bellows ʼ ~ bākurá -- dŕ̊ti -- ʻ goat's skin ʼ), der. from bastá -- m. ʻ goat ʼ RV. (cf.bastājina -- n. ʻ goat's skin ʼ MaitrS. = bāstaṁ carma Mn.); with bh -- (and unexpl. -- st -- ) in Pa. bhasta -- m. ʻ goat ʼ, bhastacamma -- n. ʻ goat's skin ʼ. Phonet. Pa. and all NIA. (except S. with a) may be < *bhāsta -- , cf. bāsta -- above (J. C. W.)]With unexpl. retention of -- st -- : Pa. bhastā -- f. ʻ bellows ʼ (cf. vāta -- puṇṇa -- bhasta -- camma -- n. ʻ goat's skin full ofwind ʼ), biḷāra -- bhastā -- f. ʻ catskin bag ʼ, bhasta -- n. ʻ leather sack (for flour) ʼ; K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ; -- S. bathī f. ʻ quiver ʼ (< *bhathī); A. Or. bhāti ʻ bellows ʼ, Bi. bhāthī, (S of Ganges) bhã̄thī; OAw. bhāthā̆ ʻ quiver ʼ; H. bhāthā m. ʻ quiver ʼ, bhāthī f. ʻ bellows ʼ; G. bhāthɔ,bhātɔbhāthṛɔ m. ʻ quiver ʼ (whence bhāthī m. ʻ warrior ʼ); M. bhātā m. ʻ leathern bag, bellows, quiver ʼ, bhātaḍ n. ʻ bellows, quiver ʼ; <-> (X bhráṣṭra -- ?) N. bhã̄ṭi ʻ bellows ʼ, H. bhāṭhī f.

    *khallabhastrā -- .Addenda: bhástrā -- : OA. bhāthi ʻ bellows ʼ .(CDIAL 9424) bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj] Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭhm., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhībhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]P. bhaṭhiār°ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656, 9658) 


    Decipherment of hieroglyphs on the Kalibangan terracotta cake:


    bhaṭa 'warrior' rebus: bhaa 'furnace'
    kolmo 'rice plant' rebus: kolimi 'smithy, forge'

    koḍ 'horn' rebus: ko 'workshop'
    kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron'


    The tiger is being pulled to be tied to a post, pillar.


    Hieroglyph: Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post. (DEDR 1723) Rebus: (agni)kuNDA 'fire-altar, vedi'.

    Hieriglyph: meṛh rope tying to post, pillar: mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), mihomiyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽhmẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. mehmehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīrmīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛhamehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭāmẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319) Rebus: meD 'iron' (Ho.); med 'copper' (Slavic)


    Trefoil

    Trefoil Indus Script hieroglyph signifies dhā̆vaḍ 'smelter' dhāu 'ore'

    It may be seen from the table of evolution of Brahmi script orthography that

    1. a circle signified the Brahmi syllable 'ṭha-' and a dotted circle signified the syllable 'tha-'; 


    2. a string with a twist signified the syllable 'da-', a string ending in a circled twist signified the syllable 'ḍha-' and a stepped string signified the syllable 'ḍa-'.


    It will be demonstrated that a dotted circle is a cross section view of a string or strand of rope, derived from the explanations provided for the Rigvedic word dhāˊtu which signifies a strand (of rope) and also a mineral or element.


    Doted circle is used as an Indus Script hieroglyph. Three such dotted circles joined together orthographically signify a trefoil which is also used as an Indus Script hieroglyph.


    Evolution of Brahmi script syllables ḍha-, da- traced from Indus Script hieroglyph dotted circle, S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. rebus: dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāūdhāv m.f.ʻ a partic. soft red stone ʼ; dhāˊtu n. ʻ substance ʼ RV., m. ʻ elementʼ.


    dām 'rope (single strand or string?)', dã̄u ʻtyingʼ, ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore'. 


    Hieroglyph: A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B. dāmṛā ʻcastrated bullockʼ; Or. dāmaṛī ʻheiferʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ°ṛi ʻyoung bullockʼ.WPah.kṭg. dām m. ʻyoung ungelt oxʼ.(CDIAL 6184) damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali) धाम 1 [p= 514,3] m. pl. N. of a class of superhuman beings MBh.; abode (Samskrtam) 
    A Polished Limestone Seated Bull, Indus Valley, circa 3000 BC, Size: 11 cm long. © Oliver Hoare Ltd The horns, ears and clover leaf inlays are of lapis lazuli, the eyes are inlayed with shell, polished black chlorite and lapis lazuli. The body of the bull is pierced with a vertical hole. Lapis lazuli was mined in ancient Bactria and exported widely, notably to Egypt and Mesopotamia. The technique of inlaying stone in this way was also used over a wide area, with examples known from Susa, Bactria and the Indus Valley, the latter being the most likely origin of this example. https://www.skyscrapercity.com/showthread.php?p=147827025

    Five plano-convex tablets with identical narratives

    Five molded plano-convex tablets were found at Harappa by Harvard Archaeology Project (HARP) Team. It appears that these tablets contained the same narrative Indus Script hypertexts: 


    Side A: 1. spoked wheel; 2. one-eyed person thwarting to rearing jackals; 3. elephant

    Side B: 4. seated person with twigs as hair-dress; 5. a person kicking with foot head of a buffalo and spearing the animal; 6. crocodile; 7. person seated on a tree branch; 8. tiger below the tree looking back. 


    These eight Indus Scripthypertexts are deciphered: 


    1. arā 'spoke' rebus: āra 'brass' eraka 'knave of wheel' rebus:eraka 'moltencast copper' arka 'gold'; 

    2. kāa काण 'one-eyed' PLUS vaṭṭa -- ʻround ʼ, n. ʻcircle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻround ʼ(CDIAL 12069) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaa id.; kammai a coiner. (DEDR 1236) கண்வட்டம் ka-vaṭṭam  Mint; நாணயசாலை. கண்வட்டக்கள்ளன்(ஈடு.) PLUS kola 'woman' rebus: kol 'working in iron' PLUS

    tau 'thwart' rebus: dhatu 'mineral ore' PLUS dula 'pair' rebus: dul 'metal casting' PLUS Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ< *hu -- ; H. kolhā°lām. ʻ jackal ʼ, adj. ʻcrafty ʼ; G. kohlũ°lũ n. ʻ jackal ʼ, M. kolhā°lā m.(CDIAL 3615) rebus: kol 'working in iron'.

    3. karibha, ibha 'elephant' rebus: karba, ib 'iron'

    4. kamaha 'penance' (Prakritam) Rebus: kammaa 'mint, coiner' PLUS kūtI 'twigs' Rebus: kuhi 'smelter'

    5. kolsa 'to kick the foot forward' rebus: kolhe 'smelter' PLUS  Pk. kota -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻspear, dart ʼ; -- Si. kota ʻspear, spire, standard ʼperh. Pa.(CDIAL 3289) Rebus: kuṇṭha munda (loha) 'hard iron (native metal)' PLUS  rã̄go ʻbuffalo bullʼ Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ  *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.

    6. karā 'crocodile' Rebus: khār 'blacksmith' (Kashmiri)

    7. heraka 'spy' rebus: eraka 'moltencast copper'

    8. krammara ‘look back’ Rebus: kamar ‘smith, artisan’.PLUS kola 'tiger' rebus: kol 'working in iron' 


    Thus, the Indus Script hypertext messages on the plano-convex tablets are: alloy metal, copper, spelter, brass mintwork, smithy/forge blacksmith, smelter of iron and other minerals.



    Wim Borsboom suggests a reconstructed narrative on one side of the burgundy colored tablet. http://paradigm-update.blogspot.in/2012/03/harapp-culture-pictures.html?m=1 
    Although neither of these specific molded terracotta tablet pieces comes from Trench 11, four less well preserved examples from the same mold(s) were found in debris outside of the perimeter wall in that area, clearly establishing a second half of Period 3B date for these tablets. Note the rear of the buffalo and the front of the gharial in the left tablet which overlaps with the iconography of the right tablet, although in this case they do not seem to come from the same mold. (See also Images 89 and 90.
    https://www.harappa.com/indus5/80.html
    Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the west side of Mound E, is broken, but was made with the same mold as ones found on the eastern side of Mound E and also in other parts of the site (see slide 89 for the right hand portion of the same scene). The reverse of the same molded terra cotta tablet shows a deity grappling with two tigers and standing above an elephant (see slide 90 for a clearer example from the same mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka 'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'.

    Ochre coloured tablet H-2001ab. The dark burgundy colored tablet fragment, both faces (H-95ab)
    (length: 3.91 cm, width: 1.5 to 1.62 cm)

    Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.

    On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.
    Material: terra cotta
    Dimensions: 3.91 length, 1.5 to 1.62 cm width
    Harappa, Lot 4651-01
    Harappa Museum, H95-2486
    Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
    kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'
    kUtI 'twigs' Rebus: kuThi 'smelter'
    muh 'face' Rebus: muhe 'ingot' (Santali)
    One side of a molded tablet m 492 Mohenjo-daro (DK 8120, NMI 151. National Museum, Delhi. A person places his foot on the horns of a buffalo while spearing it in front of a cobra hood.

    Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali) 
     kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’ (Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding)

    nAga 'serpent' Rebus: nAga 'lead'
    Hieroglyph: rã̄go ʻ buffalo bull ʼ 

    Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ  *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.

    paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu)

    Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]1. Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick ʼ, °diṛī°dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.
    2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)

    Rebus: kuṇha munda (loha) 'hard iron (native metal)'

    Allograph: कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi)
    Slide 90. 
    m0489A One side of a prism tablet shows: crocodile + fish glyphic above: elephant, rhinoceros, tiger, tiger looking back and up.
    m1431A m1431B Crocodile+ three animal glyphs: rhinoceros, elephant, tiger
    It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.
    Reverse side glyphs:
    eraka ‘nave of wheel’. Rebus: era ‘copper’.
    Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’.
    Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers + nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul ‘casting (metal)’ + kũdā kol (tiger jumping) + era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’; kan ‘brazier, bell-metal worker’;
    The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.
    Glypg: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
    Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)
    Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.


    On the reverse, a female is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity. 



    Material: terra cotta
    Dimensions: 3.91 length, 1.5 to 1.62 cm width 
    Harappa, Lot 4651-01
    Harappa Museum, H95-2486
    Molded terracotta tablet with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet is broken, but was made with the same mold. The reverse of the same molded terra cotta tablet shows a woman grappling with two tigers and standing above an elephant. 
    http://www.sindhishaan.com/gallery/manuscripts.html Such narratives get repeated on inmultiple Harappa tablets.Slide 80
    https://www.harappa.com/slideshows/harappa-excavations1995-2000

    https://www.harappa.com/indus/89.html Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.
    On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.
    Material: terra cotta
    Dimensions: 3.91 length, 1.5 to 1.62 cm width
    Harappa, Lot 4651-01
    Harappa Museum, H95-2486
    Meadow and Kenoyer 1997


    Image result for spoked wheel indus scriptPlano convex molded tablet showing a female deity battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity. Discovered in Harappa, 1997. https://www.harappa.com/answers/what-current-thinking-female-diety-outstretched-arms-ancient-indus-egyptian-and-mesopotamian


    arā 'spoke of wheel' rebus: āra 'brass' eraka 'knave of wheel' rebus: eraka 'moltencast copper', arka 'gold'.
    karibha 'elephant' rebus: karba 'iron'

    Head of woman with one eye who thwarts to rearing jackals (tigers)
    kola 'woman' rebus: kol 'working in iron'
    tau 'thwartTa. taṭu (-pp-, -tt-) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist; Ma. taṭa resistance, warding off (as with a shield), what impedes, resists, stays, or stops, a prop; taṭa-kūṭuka to hinder; taṭaṅṅalhindrance, stoppage; taṭaccal impeding, stop, stumbling; taṭayuka to be obstructed, stop between, stop; taṭavu what resists, wards off, a prison; taṭassu obstruction, hindrance; taṭukkuka to stop, hinder; taṭekka to stop; taṭṭuka to ward off, beat off, oppose. Ko. taṛv- (taṛt-) to obstruct, stop; taṛ, taṛv obstruction. To. taṛf- (taṛt-) to delay, prevent, screen; taṛprevention, screen; taḍgïl hindrance, obstruction, delay. Ka. taḍa impeding, check, impediment, obstacle, delay;(DEDR 3031) ḍāṭnā ʻ to threaten, check, plug ʼ (→ P. ḍāṭṇā ʻ to check, cram ʼ(M.);  B. ḍã̄ṭā ʻ to threaten ʼ; Or. ḍāṇṭibā ʻ to check ʼ; H. ḍã̄ṭnā ʻ to threaten, check, plug ʼ (→ N. ḍã̄ṭnu ʻ to threaten ʼ, (Tarai) dã̄ṭnu). (CDIAL 6618) rebus: dhatu 'mineral'.

    kāṇa काण 'one-eyed'  RV. x , 155 , 1 AV. xii , 4 , 3 TS. ii , 5 , 1 , 7 Mn. MBh. PLUS  Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ(CDIAL 12069) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) கண்வட்டம் kaṇ-vaṭṭam  Mint; நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.)

    Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā°lām. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ°lũ n. ʻ jackal ʼ, M. kolhā°lā m.(CDIAL 3615) rebus: kol 'working in iron'

    dula 'pair' rebus: dul 'metal casting' PLUS kola 'tiger' rebus: kol 'working in iron', kolle 'blackmith', kolhe 'smelter'.

    Thus, the message of the inscription on this side of the plano convex Harappa tablet is: mint metalcasting work of iron, brass and minerals.


    http://tinyurl.com/go765mj

    The narrative on an Indus Script tablet is unambiguous. 

    A one-eyed lady is shown to impede,check two rearing tigers (Side A of two-sided tablets). Same narrative appears on two tablets of Harappa. The hypertext of a woman/person thwarting two rearing tigers also occurs on four other seals with Indus Script inscriptions. The lady with one-eye is: kāṇī ʻone -- eyedʼ (feminine) rebus: kārṇī 'Supercargo' 
    See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyph-narrative-of.html

    The rebus readings of hypertext on Side A of the two tablets of Harappa are: kāṇī ʻone -- eyedʼ (feminine) rebus: kārṇī 'Supercargo' -- a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. By denoting six curls on locks of hair, the word suggested is Ara 'six' rebus read together with kārṇī + Ara =  kaṇṇahāra -- m. ʻhelmsman, sailorʼ. Thus, the hieroglyph of the six-locks of hair on woman signifies a 'helmsman + Supercargo'.

    She is thwarting two rearing tigers: dula 'two' rebus: dul 'cast metal' PLUS kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS taTu 'thwart' rebus: dhatu 'mineral'. Thus, 'mineral smelter'. Together the hieroglyph-multiplex or hypertext of a woman thwarting two tigers signifies: 'helmsman, supercargo of metal casting products from mineral smelter'.

    What minerals? The top hieroglyph is a spoked wheel; the bottom hieroglyph is an elephant. They signify copper and iron minerals. eraka 'nave of wheel'rebus: eraka 'moltencast, copper' karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron.

    Thus the entire narrative on Side A of the Harappa tablets signifies 'helmsnan, supercargo of products from copper and iron mineral smelters.

    See: http://bharatkalyan97.blogspot.in/2016/06/evidence-of-masted-sail-boat-of-mohenjo.html

    kāṇī m. ʻone-eyed' rebus: kārṇī m. ʻ prime minister, supercargo of a shipʼ

    Hypertext of one-eyed woman with six locks of hair: kaṇṇahāra -- m. ʻhelmsman, sailorʼ.
    kola 'tiger' rebus: kotiya 'outrigger boat, dhow' (with cargo of dhatu 'mineral').

    Bengali word: f. kāṇī ʻone -- eyedʼ: kāṇá ʻ one -- eyed ʼ RV.Pa. Pk. kāṇa -- ʻ blind of one eye, blind ʼ; Ash. kã̄ṛa°ṛī f. ʻ blind ʼ, Kt. kãŕ, Wg. kŕãmacrdotdot;, Pr. k&schwatildemacr;, Tir. kāˊna, Kho. kāṇu NTS ii 260, kánu BelvalkarVol 91; K. kônu ʻ one -- eyed ʼ, S.kāṇo, L. P. kāṇã̄; WPah. rudh. śeu. kāṇā ʻ blind ʼ; Ku. kāṇo, gng. kã̄&rtodtilde; ʻ blind of one eye ʼ, N. kānu; A. kanā ʻ blind ʼ; B. kāṇā ʻ one -- eyed, blind ʼ; Or. kaṇā, f. kāṇī ʻ one -- eyed ʼ, Mth. kān°nā,kanahā, Bhoj. kān, f. °nikanwā m. ʻ one -- eyed man ʼ, H. kān°nā, G. kāṇũ; M. kāṇā ʻ one -- eyed, squint -- eyed ʼ; Si. kaṇa ʻ one -- eyed, blind ʼ. -- Pk. kāṇa -- ʻ full of holes ʼ, G. kāṇũ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ? Cf. ã̄dhḷũ n. ʻ hole ʼ < andhala -- ).*kāṇiya -- ; *kāṇākṣa -- .Addenda: kāṇá -- : S.kcch. kāṇī f.adj. ʻ one -- eyed ʼ; WPah.kṭg. kaṇɔ ʻ blind in one eye ʼ, J. kāṇā; Md. kanu ʻ blind ʼ.*kāṇākṣa ʻ one -- eyed ʼ. [kāṇá -- , ákṣi -- ]Ko. kāṇso ʻ squint -- eyed ʼ.(CDIAL 3019, 3020)

    Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)

    Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031) baTa 'six' rebus: bhaTa 'furnace'. Alternative: Ta. āṟu six; aṟu-patu sixty; aṟu-nūṟu 600; aṟumai six; aṟuvar six persons; avv-āṟu by sixes. Ma. āṟu six; aṟu-patu sixty; aṟu-nnūṟu 600; aṟuvar six persons. Ko. a·r six; ar vat sixty; a·r nu·r 600;ar va·ṇy six pa·ṇy measures. To. o·ṟ six; pa·ṟ sixteen; aṟoQ sixty; o·ṟ nu·ṟ 600; aṟ xwa·w six kwa·x measures. Ka. āṟu six; aṟa-vattu, aṟu-vattu, ar-vattu sixty; aṟu-nūṟu, āṟu-nūṟu 600; aṟuvar, ārvarusix persons. Koḍ. a·rï six; a·rane sixth; aru-vadï sixty; a·r-nu·rï 600. Tu. āji six; ājane sixth; ajipa, ajippa, ājipa, ājpa sixty. Te. āṟu six; āṟuguru, āṟuvuru six persons; aṟu-vadi, aruvai, aravai sixty;aṟuvaṇḍru sixty persons. Kol. (SR. Kin., Haig) ār six; (SR.) ārgur six persons. Nk(Ch.) sādi six. Go. (Tr.) sāṟung six; sārk six each; (W.) sārūṅg, (Pat.) harung, (M.) ārū, hārūṃ, (L.) hārūṅg six; (Y.)sārvir, (G.) sārvur, (Mu.) hārvur, hāruṛ, (Ma.) ār̥vur six (masc.) (Voc. 3372); sarne (W.) fourth day after tomorrow, (Ph.) sixth day (Voc. 3344); Kui (Letchmajee) sajgi six; sāja pattu six times twelve dozen (= 864); (Friend-Pereira; Gūmsar dialect) saj six; sajgi six things; (K.) hāja six (DEDR 2485) Together, the reading of the hypertext of one-eyed PLUS six hair-knots is: kArNI-Ara, i.e. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ (Prakrtam):  karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836) PLUS मेढा [mēḍhā] A twist rebus: mẽṛhẽt, meD 'iron' Thus, the narrative hypertext signifies helmsman carrying cargo of smelted iron.



    काण [p= 269,1] mf()n. (etym. doubtful ; g. कडारा*दि) one-eyed , monoculous (अक्ष्णा काणः , blind of one eye Comm. on Pa1n2. 2-1 , 30 and 3 , 20RV. x , 155 , 1 AV. xii , 4 , 3 TS. ii , 5 , 1 , 7 Mn. MBh." having only one loop or ring " and " one-eyed " Pan5cat. Rebus: kārṇī m. ʻ prime minister, supercargo of a ship ʼ Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058)

    Side A narrative is common to both tablets: arA 'spoked wheel' rebus: Ara 'brass'; eraka 'knave of wheel' rebus: eraka 'moltencast, copper' PLUS karabha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' PLUS karA 'crocodile' rebus: khAr 'blacksmith' PLUS one-eyed woman thwarting rearing tigers:

    The obverse side of the tablets of Harappa have two different narratives: 1. One narrative shows a tiger looking up at a spy ona tree branch (H2001-5075/2922-01). 2. Another narrative shows a person kicking and spearing a bovine (m489B) PLUS crocodile and a horned person seated in penance with twig head-dress as field hieroglyphs.

    The first type of narrative records products from a smelter. The second type of narrative records products from a smithy/mint.



    Flipped horizontally

    Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the west side of Mound E, is broken, but was made with the same mold as ones found on the eastern side of Mound E and also in other parts of the site (see slide 89 for the right hand portion of the same scene). The reverse of the same molded terra cotta tablet shows a deity grappling with two tigers and standing above an elephant (see slide 90 for a clearer example from the same mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka 'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'. Another animal (perhaps bovine) is signified in a procession together with the tiger. This may signify barad, balad 'ox' rebus: bharat 'alloy of pewter, copper, tin'. Thus the products shown as from smithy (blacksmith).with a smelter.
    m489Am489B
    Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.

    On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.
    Material: terra cotta
    Dimensions: 3.91 length, 1.5 to 1.62 cm width
    Harappa, Lot 4651-01
    Harappa Museum, H95-2486
    Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
    kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'
    kUtI 'twigs' Rebus: kuThi 'smelter'
    muh 'face' Rebus: muhe 'ingot' (Santali)

    This is in continuation and amplification of the rebus readings of Indus Script hieroglyphs at http://bharatkalyan97.blogspot.in/2016/03/indus-script-inscriptions-43-deciphered.html 

     


    It was suggested at http://bharatkalyan97.blogspot.in/2016/03/indus-script-inscriptions-43-deciphered.html that the hieroglyph 'thwarting' is signified by the glosses: hieroglyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

    Three Mohenjo-daro seals; two seals are shown together with their seal impressions:Images show a figure strangling two tigers with his bare hands.
    Deciphered readings of the three seals:

    m0308 Seal 1 Hieroglyph: śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, sangaDa 'lathe, portable brazier' rebus: sangarh 'fortification' PLUS sal 'splinter' rebus: sal 'workshop' (That is, guild workshop in a fortification) ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khaNDa 'arrow' rebus: khaNDa 'implements'. Thus the hypertext signifies; metal implements from a workshop (in) fortification. The seal is that of a guild-master and helmsman PLUS supercargo (responsible for the shipment/cargo).

    m0307 Seal 2 & seal impression: Two part message: Part 1: kanac 'corner' rebus: kancu 'bronze' sangaDa 'lathe, portable brazier' rebus: sangarh 'fortification' kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' muh 'ingot' dhatu 'claws of crab' rebus: dhatu 'minerals' Part 2:  kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' plus kole.l 'temple' rebus: kole.l 'smithy, forge'. The seal is that of a helmsman PLUS supercargo responsible for cargo of ingots, minerals and products from smithy/forge.

    m0306 Seal 3 and impression: dhatu 'claws of crab' rebus: dhatu 'minerals' dhāḷ 'a slope'; 'inclination' rebus: dhALako 'ingot' PLUS kANDa 'notch' rebus: khaNDa 'implements' dula 'two' rebus: dul 'cast metal' kuTil 'curve' rebus: kuTila 'bronze' dula 'pair' rebus: dul 'cast metal' kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' . The seal is that of a helmsman of bronze cargo of metal castings, ingots and implements

    Indus Script seals showing a lady thwarting, impeding, checking two rearing tigers.

    Mohenjo-daro seal.  Mohenjo-daro, ca. 2500 BCE Asko Parpola writes: "The 'contest' motif is one of the most convincing and widely accepted parallels between Harappan and Near Eastern glyptic art. A considerable number of Harappan seals depict a manly hero, each hand grasping a tiger by the throat. In Mesopotamian art, the fight with lions and / or bulls is the most popular motif. The Harappan substitution of tigers for lions merely reconciles the scene with the fauna of the Indus Valley ... The six dots around the head of the Harappan hero are a significant detail, since they may correspond to the six locks of hair characteristic of the Mesopotamian hero, from Jemdet Nasr to Akkadian times," (Deciphering the Indus Script, pp. 246-7).


    Mark Kenoyer writes that "discoveries of this motif on seals from Mohenjo-daro definitely show a male figure and most scholars have assumed some connection with the carved seals from Mesopotamia that illustrate episodes from the famous Gilgamesh epic. The Mesopotamian motifs show lions being strangled by a hero, whereas the Indus narratives render tigers being strangled by a figure, sometime clearly males, sometimes ambiguous or possibly female. This motif of a hero or heroine grappling with two wild animals could have been created independently for similar events that may have occurred in Mesopotamia as well as the Indus valley," ( Ancient Cities, p. 114). 

    Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°.


    Indus Script hieroglyphs of Prakrtam sprachbund lexis khambhaā'fin' rebus: kammaa 'mint' has a synonym கண்வட்டம் ka-vaṭṭam 'mint, coiner, coinage' 

    The note has recorded evidence that கண்வட்டம் ka-vaṭṭam 'mint' has a synonym (demonstrably, a phonetic variant in mleccha/meluhha):  khambhaā 'fin' (Lahnda) rebus: kammaTa 'mint' and these two expressions are combined in the Begram ivory (Plate 389) 


    Hieroglyph componens are: face in profile, one eye, circumfix (circle) and 6 curls of hair. Readings: muh 'face' rebus: muhA 'ingot'; கண்வட்டம் ka-vaṭṭam 'eye PLUS circumfix' rebus: கண்வட்டம் ka-vaṭṭan 'mint'; baTa 'six' rebus: baTa 'iron' bhaTa 'furnace' PLUS meD 'curl' rebus: meD 'iron' (Mu.Ho.) med 'copper' (Slavic) Thus, the message is: mint with furnace for iron, copper. Tigers: dula 'two' rebus: dul 'cast metal' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kariba 'elephant trunk' ibha 'elephant' rebus: karba 'iron' ib 'iron' eraka 'nave of wheel' rebus: eraka 'moltencast, copper' arA 'spoke' rebus: Ara 'brass'.


    கண்வட்டம் ka-vaṭṭam n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள்கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). 2. Mint; நாணயசாலை.aya khambhaā (Lahnda) rebus: aya 'iron' PLUS khambhaā'fish fin'


    Rebus: kammaTa 'mint, coiner, coinage' (Kannada)==  'fish PLUS fin' rebus: ayas kammaTa 'metal mint'.


    h180: Three-sided prism tablet from Harappa also includes a rearing-set of tigers narrative






    ext 4304 Text on both sides of the tablet Hieroglyphs read rebus from r. to l.: koDi 'flag' rebus: koD 'workshop' gaNDa 'four' rebus: kanda 'fire-altar' kanda kanka 'rim of jar' rebus: kanda 'fire-altar' karNI 'supercargo' karNika 'scribe' khaNDa 'notch' rebus: khaNDa 'i9mplements' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi 'smith, forge' kuTi 'water-carrier' rebus: kuThi 'smelter'.

    Two tigers: dula 'pair' rebus: dul 'cast metal' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'.

    h180A
    h180B4304 Tablet in bas-relief h180a Pict-106: Nude female figure upside down with thighs drawn apart and  crab (?) issuing from her womb; two tigers standing face to face rearing  on their hindlegs at L.
    h180b
    Pict-92: Man armed with a sickle-shaped weapon on his right hand and a cakra (?) on his left hand, facing a seated woman with disheveled hair and upraised arms.



    A person carrying a sickle-shaped weapon and a wheel on his bands faces a woman with disheveled hair and upraised arm. kuṭhāru ‘armourer’ (Sanskrit) salae sapae = untangled, combed out, hair hanging loose (Santali.lex.) Rebus: sal workshop (Santali) The glyptic composition is decoded as kuṭhāru sal‘armourer workshop.’ eṛaka 'upraised arm' (Tamil). Rebuseraka = copper (Kannada) Thus, the entire composition of these glyphic elements relate to an armourer’s copper workshop. Vikalpa: 

    मेढा A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: mēḍ 'iron' (Munda)

    <raca>(D)  {ADJ} ``^dishevelled'' (Mundarasāṇẽ n. ʻglowing embersʼ (Marathi). rabca ‘dishevelled’ Rebus: రాచrāca (adj.) Pertaining to a stone (ore) (bica).

    The descriptive glyphics indicates that the smelting furnace is for bica, stone (ore). This is distinquished from sand ore.
    The object between the outspread legs of the woman lying upside down is comparable orthography of a crocodile holding fiish in its jaws shown on tablets h705B and h172B. The snout of the crocodile is shown in copulation with the lying-in woman (as seen from the enlarged portion of h180 Harappa tablet).

    kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ) kuThi 'vagina' rebus: kuThi 'smnelter' karA 'crocodile' rebus: khAr 'blacksmith' khamDa 'copulation' rebus: kammaTa 'coin, mint'
    The glyphic elements shown on the tablet are: copulation, vagina, crocodile.
    Gyphic: ‘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’; rebus: kuṭhi ‘smelting furnace’. The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore. Glyph: ‘crocodile’: karā ‘crocodile’. Rebus: khar ‘blacksmith’. kāru a wild crocodile or alligator (Te.) Rebus: kāruvu ‘artisan 

    kāru a wild crocodile or alligator (Te.) 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. Rebus: khAr 'blacksmith' (Kashmiri)

    kuhi = pubes. kola ‘foetus’ [Glyph of a foetus emerging from pudendum muliebre on a Harappa tablet.] kuhi = the pubes (lower down than paṇḍe) (Santali) kuhi = the womb, the female sexual organ; sorrege kuhi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. kohī, the womb) (Santali.Bodding) kōṣṭha = anyone of the large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); kohī heart, breast (L.); koṭṭhā, kohā belly (P.); koho (G.); kohā (M.)(CDIAL 3545). kottha pertaining to the belly (Pkt.); kothā corpulent (Or.)(CDIAL 3510). koho [Skt. koṣṭha inner part] the stomach, the belly (Gujarat)  kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.); ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre (Tu.)(DEDR 188). kūṭu = hip (Tu.); kua = thigh (Pe.); kue id. (Mand.); kūṭi hip (Kui)(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891).

    Glosses: Indian sprachbund
    kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) 
    kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) dhamkara 'leafless tree' Rebus: dhangar 'blacksmith'
    Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

    koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali) 

    koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)]baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali) baṭhi furnace for smelting ore (the same as kuṭhi) (Santali) bhaṭa = an oven, kiln, furnace; make an oven, a furnace; iṭa bhaṭa = a brick kiln; kun:kal bhaṭa a potter’s kiln; cun bhaṭa = a lime kiln; cun tehen dobon bhaṭaea = we shall prepare the lime kiln today (Santali); bhaṭṭhā (H.) bhart = a mixed metal of copper and lead; bhartīyā= a barzier, worker in metal; bhaṭ, bhrāṣṭra = oven, furnace (Skt.) mẽhẽt bai = iron (Ore) furnaces. [Synonyms are: mẽt = the eye, rebus for: the dotted circle (Santali.lex) baṭha [H. baṭṭhī (Sad.)] any kiln, except a potter’s kiln, which is called coa; there are four kinds of kiln: cunabat.ha, a lime-kin, it.abat.ha, a brick-kiln, ērēbaṭha, a lac kiln, kuilabaṭha, a charcoal kiln; trs. Or intrs., to make a kiln; cuna rapamente ciminaupe baṭhakeda? How many limekilns did you make? Baṭha-sen:gel = the fire of a kiln; baṭi [H. Sad. baṭṭhi, a furnace for distilling) used alone or in the cmpds. arkibuṭi and baṭiora, all meaning a grog-shop; occurs also in ilibaṭi, a (licensed) rice-beer shop (Mundari.lex.) bhaṭi = liquor from mohwa flowers (Santali)

    ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.  Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa  'rhimpceros'   Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

    Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.


    Hieroglyph: heraka ‘spy’. Rebus: eraka, arka 'copper, gold'; eraka 'moltencast, metal infusion'; era ‘copper’. 

    āra 'spokes' Rebus: āra  'brass'. Hieroglyph: हेर [ hēra ] m (हेरक S through or H) A spy, scout, explorator, an emissary to gather intelligence. 2 f Spying out or spying, surveying narrowly, exploring. (Marathi) *hērati ʻ looks for or at ʼ. 2. hēraka -- , °rika -- m. ʻ spy ʼ lex., hairika -- m. ʻ spy ʼ Hcar., ʻ thief ʼ lex. [J. Bloch FestschrWackernagel 149 ← Drav., Kuiēra ʻ to spy ʼ, Malt. ére ʻ to see ʼ, DED 765]1. Pk. hēraï ʻ looks for or at ʼ (vihīraï ʻ watches for ʼ); K.ḍoḍ. hērūō ʻ was seen ʼ; WPah.bhad. bhal. he_rnū ʻ to look at ʼ (bhal. hirāṇū ʻ to show ʼ), pāḍ. hēraṇ, paṅ. hēṇā, cur. hērnā, Ku. herṇo, N. hernu, A. heriba, B. herā, Or. heribā (caus. herāibā), Mth. herab, OAw. heraï, H. hernā; G. hervũ ʻ to spy ʼ, M. herṇẽ. 2. Pk. hēria -- m. ʻ spy ʼ; Kal. (Leitner) "hériu"ʻ spy ʼ; G. herɔ m. ʻ spy ʼ, herũ n. ʻ spying ʼ. Addenda: *hērati: WPah.kṭg. (Wkc.) hèrnõ, kc. erno ʻ observe ʼ; Garh. hernu ʻ to look' (CDIAL 14165) Ko. er uk- (uky-) to play 'peeping tom'. Kui ēra (ēri-) to spy, scout; n. spying, scouting; pl action ērka (ērki-). ? Kuwi (S.) hēnai to scout; hēri kiyali to see; (Su. P.) hēnḍ- (hēṭ-) id. Kur. ērnā (īryas) to see, look, look at, look after, look for, wait for, examine, try; ērta'ānā to let see, show; ērānakhrnā to look at one another. Malt. ére to see, behold, observe; érye to peep, spy. Cf. 892 Kur. ēthrnā. / Cf. Skt. heraka- spy, Pkt. her- to look at or for, and many NIA verbs; Turner, CDIAL, no. 14165(DEDR 903)

    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 -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.

    Further archaeometallurgical work needed on 3 Baghpat chariots

    $
    0
    0

    https://www.youtube.com/watch?v=71jfGCi-e0k (14:39) 

    यूपी के बागपत जिले में 5000 साल पुरानी सभ्यता के मिले सबूत

    Published on Jun 5, 2018
    यूपी के बागपत जिले में सिलोनी गांव वालों ने अचानक से जमीन उठने का दावा किया.और जब ऑर्कियोलॉजिकल सर्वे ऑफ इंडिया ने 2 फीट नीचे खुदाई की.तो पांच हजार साल पुरानी सभ्यता के सबूत मिले.शाही कब्रगाहे मिली और ताबूत में एक राजा की कब्र थी तांबे का रथ और ताबें के हथियार थे.


    Published on Jun 5, 2018Image result for facebook baghpat chariot
    Image result for facebook baghpat chariot

    This is an addendum to


    Pipal leaf, twig, horned anthropomorph, penance, wristlets, stars are Indus Script hypertexts, wealth accounting ledgers of Sarasvati Civilization. Context, Baghpat spoked wheel chariot of helmsman (ca.2000 BCE)

    I suggest that further archaeometallurgical work is needed on 3 Baghpat chariots to narrate the Tin-Bronze-Iron continuum in Ancient India linking Sarasvati-Sindhu River Basins with Ganga-Yamuna-Brahmapura river basins.

    Eight copper anthropomorphs on the lid of coffin at Baghpat are the key links of the guild-master to Sarasvati Civilization.
    More work has to be done to re-think the roots of Copper Hoard Culture + iron from Lohar Dewa, Malhar, Raja-nal-ki Tila (18th cent. BCE) on the Ganga-Yamuna doab as a continuum of Sarasvati Civilization, given the R̥gveda & Śatapatha Brāhmaṇa evidence of Gautama Rāhugaṇa moving to Karatoya (Brahmaputra-Ganga confluence), i.e., Sadānīra according to Amara). Bogra is the famous archaeological site on this river (spelled Korotoa on the map).

    Image result for raja nal ki tila iron smelterDamaged 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. See: 

     http://tinyurl.com/ndt2a6b


    Hope we will find metal alloy lynchpins of the three chariots. 

    S. Kalyanaraman
    Sarasvati Research Centre



    Media reports on Baghpat chariot discoveries should make every historian re-think his/her views on Ancient Bharat's metallurgical history

    $
    0
    0

    Lots of speculations have been made abou the significance of Baghpat chariot archaeological discoveries in the TV media and in news reports. 

    The reports are an object lesson for historians to introspect on their ideology-bound speculations about history of Ancient Bharat.

    The chief excavator Sanjay Kumar Manjul of ASI is indeed excited about the finds dated to ca. 2000 BCE. 

    The burial in a coffin is intriguing. 

    I have posted some thoughts in a series of posts. 

    I think the key is to find the alloymetal lynchpins on the axles of the chariots. May provide an archaeometallurgical account of Tin-Bronze-Iron metallurgical competence of Ancient Indian artisans. 

    I am convinced that the Ganga-Yamuna-Brahmaputra basins are integral to the Sarasvati Civilization during 3rd millenniu BCE and perhaps, earlier periods along a Maritime/Riverine Waterway Tin Route between Hanaoi and Haifa (Israel) This route predated Silk Road by 2 millennia. 

    The Sarasvati Civilizations extends into Brahmaputra river basin. 

    Korotoa river mentioned in the map is Karatoya which according to Amara is the river Sadānīrā mentioned in R̥gveda and  Śatapatha Brāhmaṇa -- texts which document the migration of Gautama Rahugaa from Kurukshetra (Sarasvati Basin) to Sadānīrā. This migration in R̥gveda times is an emphatic evidence that Sarasvati Civilization had links with the cultures in Ganga-Yamuna Doab and into Brahmaputra river basin. 

    The dating of ca. 18th century BCE for iron smelters in sites such as Lohar Dewa, Malhar, Raja Nal-ki-tila point to the links of Iron Age with the Tin-Bronze Age of the Bronze Industrial Revolution of ca. 4th to 2nd millennium BCE in Ancient Near East and in Ancient Bharat. There are also Indus Scriptlinks with Dong Son and Karen Bronze drums of Ancient Far East. See reports on finds of iron in Sarasvati Civilization: 

     https://tinyurl.com/yddkmxvx

    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.

     
    Karen/Don Son bronze drums with Indus Script hypertexts

    The links are:

    https://www.youtube.com/watch?v=cCFUyVSTMpw

    https://www.youtube.com/watch?v=5Q0ThlecboQ

    https://www.youtube.com/watch?v=zlvl4h3OsFk

    https://www.youtube.com/watch?v=71jfGCi-e0k (14:39) 

    यूपी के बागपत जिले में 5000 साल पुरानी सभ्यता के मिले सबूत

    यूपी के बागपत जिले में सिलोनी गांव वालों ने अचानक से जमीन उठने का दावा किया.और जब ऑर्कियोलॉजिकल सर्वे ऑफ इंडिया ने 2 फीट नीचे खुदाई की.तो पांच हजार साल पुरानी सभ्यता के सबूत मिले.शाही कब्रगाहे मिली और ताबूत में एक राजा की कब्र थी तांबे का रथ और ताबें के हथियार थे.

    ASI-Excavated Sanauli Chariots Have Potential To Challenge Aryan Invasion Theory

    Recent discovery of three ‘pre-Iron Age’ carriers in Western Uttar Pradesh has excited the world of ancient history. But equally interesting would be the result of a search: were they horse-ridden?
    ASI-Excavated Sanauli Chariots Have Potential To Challenge Aryan Invasion Theory
    The copper remains of the chariots, found inside burial pits in a quiet spot along the Gangetic plains in present-day Western Uttar Pradesh's Baghpat district, date further back to the Bronze Age. That would mean an antiquity of 4,000 years—and a possible hint at their similarities of what existed during the civilisation in faraway Mesopotamia in Western Asia, according to ASI officials.

    The latest round of a three-month-long excavation in Sanauli, 75 km west of Delhi, began in March this year, and has unearthed eight burial remains as well. Out of these, three are coffins, archaeologists reveal. All the burials have pottery kept around the body: big pots near the legs and small bowls close to the head—indicating their lying in northwest direction, reveals Dr Sanjay Kumar Manjul, director of the ASI’s Institute of Archaeology, in charge of the excavation.
    As for the discovery of the chariots, a conclusion about the animal that pulled them is important. Why? The answer lies in the cultural history of India. For, the discovery of a horse chariot, dated back to 2000 BC, would challenge some of the basic premises of the construct of the ancient Indian history. Historians who support the Aryan invasion theory claim that horses were brought in by the invading Aryan army around 1500 to 1000 BC. Chariots pulled by horses had given the Aryans the edge over the Dravidians and the power to conquer the North Indian plains by pushing them to south of the peninsula.
    According to these historians, the Vedic culture was brought into India by the invading Aryans from central Asia. The Rig Veda, for instance, carries references to horses, they point out about the ancient Hindu text said to be composed during the same period (1500-1100 BC) when the Harappan civilisation was on its decline.

    Of late, several Indian and foreign historians have challenged it, saying that this theory is being floated by Western historians to attribute India’s ancient Vedic culture to the invaders from Central Asia. The Aryan invasion theory will face a more serious challenge if the archaeologists get scientific proof to the presence of horse-ridden chariots dating back to 2000 BC.
    This argument gets empirical support: there was hardly any evidence to show the presence of horses in the Harappan civilisation. Clay seals of different shapes and sizes with figures of bulls and dancing girls had been unearthed in large numbers at the Harappan sites, but none with the figure of a horse. This is one of the prime arguments that support the Aryan invasion theory.
    The swords, daggers, copper-chest shields and helmets confirm the presence of a warrior population in the Gangetic plain—these also challenge the theory of an easy invasion by Aryans from Central Asia.
    The dusty pocket in UP’s Sanauli was first excavated in 2004-05, leading to the discovery of 116 burial remains. Following that, authorities decided to undertake more trail excavations to understand the extent of the burial site and the habitat, points out Dr Manjul, who initiated the excavation. He is of the opinion that the latest findings will aid “recalibrate” India’s position on the map of ancient global history.

    The 2005 excavations helped us discover pottery of different sizes, besides beads and other materials that were similar to those of the Harappan civilisation, but a chariot near a coffin is not seen anywhere in the Harappan sites. That way, this is a “path-breaking” discovery, Dr Manjul adds.
    Globally, excavations have unearthed chariots dating back to 2000 BC, near the burial sites of Mesopotamia and Greek civilisations, but such a discovery is pioneering for the Indian subcontinent, says Dr Manjul.  These chariots have many similarities with those unearthed in Mesopotamia (which has sites tracing back to the initial period of the Neolithic Revolution of 10000 BC). “This would give a new dimension to our history and ancient culture,” he adds.
    In Sanauli, decorated copper-plated anthropomorphic figures having horns, peepal-leafed crowns and even a torso shaped armour made of copper have been found near the coffins, indicating the possibility of the site featuring a “royal burial”, the expert says. Apart from this, researchers have discovered four copper antenna swords, two daggers, three copper bowls, combs, mirrors and beads of different shapes and sizes.

    Yet, coffins with copper decorations, and chariots have never been discovered anywhere in the subcontinent. “It was during one of our visits to Western UP that some villagers informed us of their having found a few pieces of pottery and traces of copper in their fields. This prompted us to start excavations in Sanauli,” says Dr Manjul, revealing how scientists stumbled upon this discovery. On whether the chariots were run buy a bull or a horse, the expert says more research can ascertain the matter.
    The ASI, which functions under the Union government’s ministry of culture, has been surveying the area for the past two decades. The 116 Sanauli burials shed light onto the settlement pattern of Protohistoric period of this region, where they “are very much similar” to those discovered in Harappa and Mohenjo-daro (2500 BC) besides Dholavira (in today’s Gujarat state), also of the Indus Valley civilisation.
    The swords unearthed at Sanauli have copper-covered hilts and medial ridge making it strong enough for warfare. The chariots discovered have two wheels fixed on an axle that was linked by a long pole to the yoke of a pair of animals. A super structure was attached to the axle consist of a platform protected by side-screens and a high dashboard. The wheels were found solid in nature, without any spokes, Dr Manjul says. “This is just a trail excavation. Now we are planning to have more detailed excavations in this area.”

    Locally, many people believe that Sanauli is one of the five villages that the mythological Krishna unsuccessfully negotiated with the Kauravas to avoid the epic war of Kurukshetra. The Mahabharata carries many references of horse-ridden chariots. In fact, a popular image of Lord Krishna is of him revealing the essence of the Bhagavat Gita to the Pandava prince Arjuna, while sitting in his war chariot. That apart, Dr Manjul refuses to link the discovery of a chariot to any mythical story. “As a scientist, I can’t support any such overarching links without having valid scientific evidence,” he says. 
    Local youths are also roped into the excavation activities. The villagers are excited to see their sleepy, backward village grabbing global attention now. The chosen among them have been given basic training to support the ASI’s field staff camping at the site for the past three months.
    People from the nearby areas are coming in large numbers to see the site.  “They are influenced by the Mahabharata serial aired by Indian television channels,” shrugs Dr Manjul, with a smile. “Many who had come here to see an impressive golden chariot are disappointed after seeing the shape and size of the unearthed chariot.” However, for archaeologists Sanauli is much more than a point of ephemeral historical interest.

    (The writer is a Delhi-based television journalist.)


    Meluhha is the language of Indus Script -- Kalyan Indo-European language family: Angela Marcantonio questions about its status

    $
    0
    0
    https://tinyurl.com/y8ogqscy

    Meluhha is the language of Indus Script -- S. Kalyanaraman (Author of Epigraphic Indus Script -- Hyperexts & Meanings, 3 vols. 2017). The word Meluhha used in cuneiform texts is called mleccha in Ancient Indian texts. The region of Meluhha speakers may include regions of Ancient India and also Straits of Malaka (Malacca) in the Indian Ocean. More than 2000 words of Meluhha speakers explain the readings of over 8000 Indus Script inscriptions. These inscriptions are in Meluhha hypertexts read rebus; for e.g. karibha, ibha'elephant' rebus: karba, ib 'iron'. Such an elephant is shown on an Indus Script seal from Gonur Tepe. It is for linguists to figure out how Meluhha word for elephant travelled in Eurasia and got used in Gonur Tepe (spelled as Gonur Depe on the map) of Bactria-Mariana Cultural Complex. With the comments of Angela Marcangonio presented in the following excerpts, it is suggested that the linguists shold re-visit their theories about the roots of Indo-European language family.

    Let me cite a reference in Mahābhārata which refers to mleccha (cognate Meluhha, as a language used by Vidura and Yudhishthira): "Vaisampayana continued, 'Hearing these words, the illustrious Kunti was deeply grieved, and with her children, O bull of Bharata's race, stepped into the boat and went over the Ganges. Then leaving the boat according to the advice of Vidura, the Pandavas took with them the wealth that had been given to them (while at Varanavata) by their enemies and safely entered the deep woods. In the house of lac, however, that had been prepared for the destruction of the Pandavas, an innocent Nishada woman who had come there for some purpose, was, with her children burnt to death. And that worst of Mlechchhas, the wretched Purochana (who was the architect employed in building the house of lac) was also burnt in the conflagration. And thus were the sons of Dhirtarashtra with their counsellors deceived in their expectations. And thus also were the illustrious Pandavas, by the advice of Vidura, saved with their mother. But the people (of Varanavata) knew not of their safety. And the citizens of Varanavata, seeing the house of lac consumed (and believing the Pandavas to have been burnt to death) became exceedingly sorry. And they sent messengers unto king Dhritarashtra to represent everything that had happened. And they said to the monarch, 'Thy great end hath been achieved! Thou hast at last burnt the Pandavas to death! Thy desire fulfilled, enjoy with thy children. O king of the Kurus, the kingdom.' Hearing this, Dhritarashtra with his children, made a show of grief, and along with his relatives, including [paragraph continues] Kshattri (Vidura) and Bhishma the foremost of the Kurus, performed the last honours of the Pandavas.' (MahābhārataSection CXLIII,, Jatugriha Parva, pp. 302-303). The Great Epic is replete with hundreds of references to Mlecchas and mleccha speakers.
    Image result for elephant gonur tepe
    Image result for elephant gonur tepe

    "...it is hard to pin down what the foundations of the theory are actually supposed to be”-- Angela Marcantonio

     Türkic in English
    Angela MarcantonioThe Indo-European Language Family: Questions About Its Status
    Introduction

    Institute for the Study of Man, Washington D.C.
    Journal for Indo-European Studies Monograph Series, Monograph 55, 2009, ISBN 978-0-941694-03-2, 978-0-941694-02-5
    www.jies.org, Copyright © 2009 Institute for the Study of Man
    Pagination per reprint in Journal of Eurasian StudiesRepublished with permission
    January-March 2015, Vol. VII, Issue 1, http://www.federatio.org/joes/EurasianStudies_0115.pdf
    Mikes International, The Hague, Holland, 2013, ISSN 1877-4199
    © Copyright Mikes International 2001-2015, All Rights Reserved
    © Copyright Angela Marcantonio, 2009-2015
    Links
    http://www.lettere.uniroma1.it/users/angela-marcantonio University page
    http://uniroma1.academia.edu/AngelaMarcantonio Links to publications
    https://sites.google.com/site/angelamarcantonio/ Scholarship
    Posting Introduction
    The science of modern linguistics is built on the pattern of the Indo-European (IE) linguistics, rather to the detriment of the science. The pattern of the IE linguistics  carries its reasoning and problems to every other linguistic group, bearing on the relationship between Türkic in English and quite a few other “IE languages”. The problems of the IE linguistic theory are massaged from its inception 200 years ago by self-policing acolytes who nearly always found partial fixes, but a systematic synopsis of the problems and solutions has never existed; to see an impartial critical synopsis of the IE linguistics is an  event of the epochal scale. Instead of periodical general review done by any other discipline, this field had discretely circulated dispersed criticisms, citations of diverse opinions, and discussions of some particular aspects, all with an implied premise that the theory is right, albeit requires tweaking. The offered citations on the theme of the sanity of the IE linguistics are extracted from the work of Angela Marcantonio, an editor of a linguistic compendium, who wrote an editorial introduction that laid out IE problems, inventoried positions, analyzed situation, and drew conclusions. The punch line is jesting, it rings “it is hard to pin down what the foundations of the theory are actually supposed to be”. In science, any theory rests on fundamentals. If the fundamentals are not fundamental, the term “theory” is a misnomer for speculation, propaganda, a set of beliefs, and the like craze promoting some cause. The past 200 years have proved that, every imbalance of the IE theory was mitigated by shifting foundation over under. These shiftings, hatched to fix specific problems particular to the IE model, as scientific approaches are useless for the IE linguistics, and even less applicable for the rest of the world's linguistics.
    This posting cites the snippets taken from the Angela Marcantonio's Introduction, and as always, the devil is in the details, they need to be traced in the original publications, follow the links for the JIES and JOES publications. Few accents may be added.
    Any editorial comment added to the text of the author and highlighted in (blue italics) or blue boxes is posting comment unrelated to the views of the author. The author explicitly does not personally believe that there may be a Turkic substratum to IE, or to Sanskrit, not only because there was no IE, but also because, even if IE had exited, the time and area of the two language groups do not add up, each appearing at the scene of history far apart from one another. The author does not subscribe to any links between the Turkic languages and IE, or Sanskrit.
    The origin of the “IE theory” was apt to its time, a biblical model where Noah produced Semitic Shem, African Ham, and Eurasian Japheth, otherwise depicted as a Family Tree. The modern linguistic terminology still uses biblical tales, Semites are from Shem, and Hamites are from Ham. The IE linguistics formed as an obverse side of a racial coin, its dignified theoretical side, while the now eroded reverse side was a practical reality. The biblical model implies that at one remote point in time existed a formed language that split off into various dialects that grew into languages and language families. In most cases, that is a fallacy. The tiny bands of hunter-gatherers needed large tracts to forage, reaching into other's territories and initiating social exchanges. Creolization held the day, or rather many millennia. Then, the “Family Tree” had a shape of a grass lawn with stolons extending from every base and crisscrossing with stolons of their neighbors. After a drought, the surviving islands were restarting the process uncountable number of times. A most aggressive weed propagated and conquered. The emergence of the roving agriculture and animal husbandry tilted creolization toward the more fecund side, the Family Tree took a shape of brush spots in a grassy lawn. Leveling became a greater force in communications, all linguistic aspects were affected by leveling, typology, syntax, morphology, and phonetics. That trend grew with introduction of a 3-field system starting in 800s AD, which reduced agricultural roving, with companion linguistic fallout. The resultant leveling gave Family Tree a shape of groves in brushy tracts surrounded by grassy lawns. The printing presses of the Late Middle Ages made leveling ubiquitous at the expense of minority languages and dialects. At the same time, increased productivity of agriculture allowed rulers to engage in permanent warfare that stirred and dispersed subject population along the path travelled by cattlemen ranchers five millennia earlier. It took another 1000 years for the emergence of linguistics and its biblical-type etiology. Some linguists might have thought of the example of biological evolution. It took another 200 years for some linguists to realize that their model is hopelessly faulty, and come up with an alternate Wave model.
    Every and all IE linguistic broodings see the ancient languages as some frozen codified entities, while our recent experience attests that languages are dynamic creatures with definite lifetimes and a spatial differentiation that makes versions separated by a mountain ridge or 200 km distance mutually unintelligible. So people speak 2, 3 languages, or whatever is needed. One of them is an areal pan-language that is used as a first and last resort, a lingua franca. Each language influences the others in all linguistic aspects, that is an areal Sprachbund. There comes a revolution, a new language becomes a pan-language, say, Greek, but the old  pan-language keeps living within all languages of the Sprachbund. There comes a revolution, a, say, Latin language becomes a pan-language. Then the new pan-language and local languages evolve, becoming a tool of the literati, who start to codify them, setting rules of right and wrong, and deliberately pushing the wrongs way down. Then comes a linguist that discovers too many synonyms and homonyms, and a general linguistic chaos that needs to be systematized and classified. A linguistic model is born, full of contraventions, but suitable as an unifying force blind to its inner conflicts in all linguistic aspects. Throwing the effects of the layers of non-codified and mutually unintelligible causes into the IE studies makes the confused theory unmanageable. The model bursts from the inside.
    One predominating theme of the Introduction is that linguistics is a science with no laws. The laws are created as needed, adjusted as needed, manipulated at will, and have premises as their conclusions. The only reliable element in the study of the linguistic laws is not taught, because it augurs that there are no laws. No law or a defined set of laws can take a student from Anglo-Sax. to English, in reverse, or in any direction. The only utility of the linguistic laws is the self-perpetuating education industry.
    Unfortunately, the typology, a most basic property of language is totally unaddressed, as if it is not linguistics but a whimsical idea. In the ratings of importance within linguistics, typology trails endings in some God-forgotten IE language with a dozen of active speakers. That is not to say that the scholarship of 460 IE languages has 460 dictionaries, in fact it is far from that. And typology trails the last of them
    One of the leading linguistic parameters is “genetic connection”, like “Noah begot Shem”, used as a premise (i.e. cognates) and as an objective. Genetic connection is a statistical parameter with 2 levels, that of a word, and that of a paradigm (class of all items). On the level of word, a critical threshold must be present, constituting a lexical paradigm; the other paradigms may consist of other shared innate linguistic properties. Aside from its inability to project into the future, what sets the linguistic genetic connection apart from the science is the absence of a demographic aspect. Unlike languages that are carried by warm bodies, the linguistic languages are carried by spirits entitled “demic diffusion”, “elite dominance”, and the like abstractions. The roles of maternal language imbibed with milk, of generations raised by mamas systematically imported from the same group, and other physical processes of systemic recurrent movements (a la colonization of Americas) and incidental impacts (a la nearly instantaneous spread of literacy) with heavy demographic impact are systematically neglected. The distorted vision turns a lively bouquet of a blend of languages brought into the family of any modern language into an unrealistic scheme fit for inclusion into unrealistic “IE theory”. Languages as diverse as analytical English, agglutinative Armenian and Ossetian, and morphologically rich Romance languages are facetiously combined into a single rubbery class.
    A reader should keep in mind that the oldest writing in the world belongs to Sumerians, ca. 4,500 BC, and no claims to deeper knowledge are evidentiary supported. We can do many things theoretically, like weighing stars, because we have hard and validatable scientific toolbox, but the intuitive linguistics falls way short from being a science yet.
    Is this analysis auguring the wane of the easy come - easy go biblical model and a coming of a real science? Not so fast, first we need an uncomfortable sober-up period, and a shift of the entire IE education industry. As to the nearly sanctified LIV (IE etymological dictionary), a single critical review by non-IE linguists would go a long way toward its credibility.
    Page numbers are shown at the bottom of the page. The posting's notes and explanations, added to the text of the author, are shown in parentheses in (blue italics) or blue boxes.
    Contents
    Introduction38
    2. The comparative method and the sound laws41
    2.1. The strengths and weaknesses of the comparative method41
    2. 2. The circularity issue43
    2. 3. Borrowing vs inheritance45
    2. 4. Is the phonological evidence malleable?46
    3. The role of morphology46
    3.1. Is morphology the most reliable indicator of genetic inheritance?46
    3. 2. The degree of ‘borrowability’ of grammar47
    3. 3. Is the morphological evidence malleable?49
    3. 4. Are morphological reconstructions predictive?52
    3. 5. Counter evidence within morphology54
    3. 6. Is there hard core evidence at the foundation of Indo-European?55
    4. Is there a pre-historical reality behind reconstructed Indo-European?58
    4. 1. Conventionalism vs realism58
    4. 2. The Aryan debate59
    4. 3. Sanskrit and the South Asia linguistic area60
    4. 4. The conventionalist approach62
    5. Introduction to the chapters (in alphabetical order)63
    Chapter X. Angela Marcantonio, Evidence that most Indo-European lexical reconstructions are artefacts of the linguistic method of analysis69
    6. Conclusion71
    References72
    Angela MarcantonioThe Indo-European Language Family: Questions About Its Status
    Introduction
    38
    1. 1. The purpose of the present volume is to survey the current state of the Indo-European (‘IE’) theory in the light of modern linguistic knowledge. Included in the survey is also extra-linguistic evidence, such as recent archaeological, genetic and palaeo-anthropological findings. Its ultimate purpose is to revisit the validity of the various tenets of the theory. In fact, when scholars refer to the “IE theory”, they may be referring to one of a number of competing, and sometimes contradictory, models. For example, some regard IE as purely a linguistic classification, whilst others regard it as an attempt to reconstruct a ‘real’ pre-historical language. To take another example, some scholars hold that the original IE protolanguage was a morphologically complex language, similar to Sanskrit, whilst others argue it was morphologically simple.
    ...in a single volume, these various approaches and views about IE that it clearly and explicitly emerges how surprisingly different and, often, even deeply contradictory, these views and approaches may be. Thus, the IE theory is widely accepted despite the fact that opinions differ enormously on what the theory actually comprises. Opinions may clash even as to the very nature and validity of many of the underlying tenets of the theory – whether explicitly stated or quietly assumed. For example, as mentioned, some scholars regard the subject a ‘pure theory’, which helps to describe correlations between languages, whilst others regard it as a valid means to reconstruct pre-historical facts. Although there seems to be a widely shared assumption that at least a ‘hard core’ of the correlations among the IE languages are ‘compelling’ – that is, too striking to be the result of chance – there may be deep divergences on how to interpret these correlations, as well as on other, less central but equally important aspects of the theory. In other words, contrary to what one would expect, the wide acceptance of the IE linguistic classification does not appear to be accompanied by a parallel acceptance of a coherent and equally agreed set of tenets, a coherent common denominator, consisting of what one could call the ‘hard linguistic evidence’ and the ‘fundamental principles’ upon which the theory, supposedly, is based.
    39

     ...This, ultimately, amounts to the task of re-assessing the founding principles of the theory. In particular, one might reasonably ask the following questions:
    1. How is it possible that such widely differing and often contradictory views are still unresolved today?...
    2. Is the IE theory a ‘scientific’ theory, that is, has it been established through “methods of analysis which produce results that are subject to invalidation”1? If so, what precisely is the evidence counter to the model?...
    3. As an alternative, some scholars believe that the theory cannot be invalidated and therefore is not a ‘scientific’ theory; nevertheless its validity is simply ‘compelling’. What is the basis for this claim?...

    The points of views and perspectives... have hardly been dealt with and confronted with one another..., despite being inextricably interdependent. As a consequence, the questions raised in the points (1)-(3) above have hardly been addressed in a targeted and systematic way. ...there are plenty of publications dealing with the issue of the strengths and weaknesses of the methods of historical linguistics... However, these publications hardly ever ponder on whether the acknowledged weaknesses may have a negative impact on the IE theory and, if yes, to what extent. Similarly, there are many publications revolving around “how real(ist) are reconstructions” (Lass 1993), but their scope hardly ever extends to encompass the consequent issue of how to best interpret the IE reconstructed, comparative corpus. On the other hand, there are plenty of publications which... revolve only around the question of the whereabouts of the (assumed) IE proto-community. ...textbooks of IE linguistics (and, often, specialist publications too), hardly ever mention any of these ongoing debates. ...the fact remains that textbooks typically present a highly idealized, monolithic picture of IE: a paradigmatic, problem-free language family, where everything works (especially sound laws, lexical and morphological correspondences), where there are hardly any contradictions or ambiguities in the linguistic or extra-linguistic evidence, or even any significant divergence of views among scholars. ...this idealized picture is in stark contrast with the messy reality – in terms of variation, high level of exception, contradictory evidence, etc. – found in practically all the other language families of the world, as well, admittedly, within branches of IE (such as the Romance and Germanic languages, or the Balto-Slavic continuum, etc.). This in turn has lead several scholars (such as Grace 1990 & 1996) to come up with the rather ‘aberrant’ idea that there must exist in the world two basic types of language families: the ‘the exemplary ones’ (IE and just few others) and the ‘aberrant’ ones (all the rest).
    40

    There are, of course, textbooks that present... the poor quality and /or quantity of the evidence in support of otherwise widely accepted theories. One may compare, for example, Szemerényi’s (1973 & 1996:122 ff.) and Gusmani’s (1979) account of the slippery evidence on which the laryngeal theory is typically based on the Hittite side, or Sihler’s (1995:144 ff.) account of the factual and methodological obscurities found in Verner’s Law, one of the most revered IE sound laws. However,...  it is difficult to evaluate their potential impact on the validity of the theory, or simply just to acknowledge them. ...if, at some stage in the history of a theory the amount of evidence counter to the model reaches what is usually called a ‘point of critical mass’, then a revision of the theory might be in order, whether to modify or update its tenets, or, if necessary, to reject it altogether. In other words, minimizing, re-interpreting or adjusting any evidence found to be inconsistent with the model might be misleading, and therefore not desirable. In fact, scholars identifying problems in their area of research may wrongly assume that the matter has been settled beyond doubt in other areas of study, ...in this way, unwillingly, and maybe wrongly, contributing to reinforce the validity of the theory in question.
    41

    2. The comparative method and the sound laws
    2.1. The strengths and weaknesses of the comparative method
    The debate revolving around the issue of the strengths and weaknesses of the comparative method is an intense, long standing debate. In fact, establishing regular sound correspondences is considered by several (many / most?) scholars to be a crucial part of the process of establishing language families (see for example Campbell (1998:315)). ...this debate has hardly ever been associated with a targeted, extensive investigation of the possible impact the weaknesses of the comparative method may have on the validity of IE as a linguistic classification. In particular, the long standing “Lautgesetz controversy” (for which see Wilbur 1977) subsided without resolution, and despite its recent resurfacing in publications dealing with several linguistic areas / families in the world (see for example Ross & Durie (eds, 1996); Blust (1996)2, Aikhenvald & Dixon (eds, 2001), etc.), it is rarely referred to in textbooks of IE. In fact, these usually assume, whether explicitly or implicitly, that the ‘regularity principle’ and the related family tree model have been established in IE beyond doubt, through the support of an extensive amount of data derived from the various IE languages.
    However, this is not necessarily the case... As a consequence, the reader, including general linguists or even experts in historical linguistics who are not acquainted with the details of IE, may be excused if they are confused as to the actual ‘quality’ and ‘quantity’ of the phonological / lexical correspondences conventionally established for IE. Indeed, within IE too irregularity and exceptions do occur – it would be odd otherwise.
    42

     However, the vital questions are:
    A) How pervasive is this irregularity?
    B) Is it really true that the encountered irregularities can, in most cases, be justified through ‘genuine’ linguistic processes, that is, without stretching the explanatory system up to the point of dangerous ‘circularity’, by ‘appending’ ad-hoc justifications?

    The reader who would expect an answer to these questions which is coherent, unanimous, and, most importantly, decisive – one way or the other – might be disappointed. To show that this is the case, here is a list of the most common justifications put forward to answer question (A):
    1. Only the ordinary nouns in IE, particularly those referring to objects and concepts of everyday life, display a high degree of irregularity (much higher in any case than verbal roots), but this is only because they belong to the lower level of speech, the lower level stratum of the IE population (Meillet 1934: 396 ff.; Benveniste 1935:175 ff.).
    2. The irregularities are only, in most cases apparent, in the sense that linguists have not yet found the appropriate explanation to account for them.
    3. There are some / many / plenty of irregularities (according to interpretations), but there is nothing to be surprised about. We know that sound changes do not proceed so regularly after all, but this does not have a negative impact on the validity of IE, whose establishment, in fact, has not been based (only) on the phonological / lexical correlations, but on the morphological ones. Such a view is embraced, among others, by Harrison (2003:214 ff), Greenberg (1987:18; see also Croft 2005) and, in this volume, by Kazanas. For example, Harrison (2003: 217) states that: “If one can prove that even one single cognate pair holds over two languages, one has proven those languages genetically related”. The (implicit) claim here appears to be that proper lexical ‘correspondences’ are generally hard, if not impossible to attain. Therefore, linguists must come to terms with the fact that also within IE (like within other language families or across macro-families) the correlations among the assumed cognates are not, in the main, as ‘regular and systematic’ as generally claimed.
    This is probably the most inept claim of all claims related to linguistics in general. The mechanism of estimating probability of chance lexical coincidences shows that any two languages have a considerable proportion of lexical coincidences with probability exceeding 1, i.e. in each case is at least one and possibly more valid correspondences. Statistical probability drops exponentially with the increase in the number of morphemes in the word. Any two languages can be mechanically compared across entire dictionary, with probability value for chance lexical coincidence established for each lexeme in the language using the frequency parameter of each morpheme in the language being compared. Once the algorithm is established, comparison and results are produced automatically, providing hard and validatable parameters. The process may be performed with any desired accuracy by setting up the width of phonetic and semantic fields.
    4. Sound changes do, in the main, proceed regularly, but the encountered irregularities are a natural effect of the great antiquity of the IE family, although its precise degree of antiquity is impossible to assess...
    ...the neo-grammarians worked on sound changes only ex post facto; therefore they were unable to observe particular changes in progress.
    43

    ...As to the answer to question (B), we are not aware of any research carried out with the specific purpose of ascertaining whether or not the circularity issue has had a negative impact on the soundness of IE...
    ...On the issue of the reliability... of sound laws, ...the following statement made by Clackson (2007: 60-61) with specific reference to the laryngeal theory: “The comparative method does not rely on absolute regularity, and the PIE laryngeals may provide an example of where reconstruction is possible without the assumption of rigid sound-laws”. This statement begs the question of why, when and where, and on the basis of which criteria, scholars may – or may not – assume the existence of “rigid sound-laws”.
    2. 2. The circularity issue
    If – as it seems – the circularity issue has not been solved (yet?), scholars could attempt to set up some sort of qualitative and / or quantitative constraint to the number of the defining parameters a given law may consist of. In practice, however, as far as we are aware, there has never been any such attempt. On the contrary, in the every-day, painstaking practice of establishing sound laws and correspondences, any mismatch in the evidence (ambiguity or absence of the expected outcome, exceptions, etc.) can always “be explained away” through a range of procedures, a range of ‘adjustable parameters’, to be added to the original definition of the law. In other words, instead of casting doubts on the validity of an assumed law (and, if necessary, dropping it) when faced with exceptions and difficulties, typically the practitioner tries to ‘rescue’ the stated law, even at a cost of making recourse to a (virtually unlimited) number of (often ad-hoc) adjustments, such as:
    44

    1. re-defining the law
    2. identifying a different starting-point of the law
    3. assuming borrowing, from other languages, or ‘transitional’ dialects, or even from unknown (phantom), extinct languages /dialects
    4. assuming analogical processes
    5. re-arranging the stated sequence of rules in a different order
    6. postulating a (/another) laryngeal segment
    7. stating that the mismatches in the expected outcomes of the law are not significant for calling into question a theory as well established as IE.
    The obvious consequence of this circularity deeply embedded in the comparative method is that the explanatory system runs into the risk of becoming so powerful, so flexible, that it can be stretched to match almost any data, in this way making it impossible to compare the results it yields against the predictions of the model. In other words, although each single ‘adjustable parameter’ as listed above may in itself reflect a plausible, genuine linguistic process, the overall cumulative effect of many adjustable parameters added to the definition of a given law may endanger the ‘cumulative effect’, the ‘statistical significance’ any established ‘law’, or even ‘tendency’, should display to deserve these names. This is an issue that has hardly ever been properly and systematically addressed...
    Although the supposedly rigorous, ‘scientific’ nature of the comparative method has often been called into question, and more objective quantitative methods of analysis have been at times adopted within historical linguistics, the statistical significance of the IE comparative corpus itself (both the phonological (/lexical) corpus and the morphological one) has never been tested....
    ...Authors have used the IE family, whose validity is taken for granted, basically as a ‘control case’ for various kinds of statistical tests within historical linguistics, but have not tested the statistical significance of the IE comparative corpus itself.
     45

    ...Marcantonio... argues that the great majority of the conventionally stated IE sound laws lack statistical significance and that, therefore, most of the conventionally established correspondences (within the LIV corpus) are simply similarities, most probably in the given sense of ‘chance resemblances’.
    2. 3. Borrowing vs inheritance
    ...the possibility that the established ‘cognates’ – be they ‘similarities’ or proper ‘correspondences’ – may be due to the common processes of borrowing, diffusion, convergence, or even chance resemblances. As is known, borrowed words tend to integrate into the sound pattern of the receiving language, as well as undergoing the same (more or less regular) changes that inherited words would undergo. Thus, the identification of borrowed elements on the basis of internal, linguistic clues only might not always be easy. Therefore, sound correspondences, whilst fundamental to most approaches in assessing language families, “can be misused”...
    ...several semantic fields within the IE basic lexicon..., in addition to being mainly irregular, typically lack a wide distribution across the IE area, being often confined to just two or three contiguous languages... In contrast, the cognate terms for ‘mother’, ‘father’, ‘brother’, ‘daughter’, etc., display a much wider distribution, and a higher degree of regularity. This factor has correctly raised the suspicion that processes of loss (and consequent replacement) of original words, or even processes of chance resemblance, may have been involved in this area. The issue of the wide vs restricted distribution and the (degree of) irregularity of many basic cognates within IE is interpreted differently by different scholars... ...patterns of original words are typically retained, and are therefore easily identifiable even within a context of extensive borrowing...
    46

    2. 4. Is the phonological evidence malleable?
    ...one could certainly argue that the conventional, phonological / lexical evidence on which the IE theory is based, to a closer scrutiny, appears to be rather ‘malleable’ – it is certainly not as decisive (one way or the other) as generally claimed. As a matter of fact, it is always possible to find a plausible, although not always testable, justification to any intervening piece of evidence counter to a stated rule or tendency. Similarly, it is also always possible to provide at least two equally plausible, equally well founded explanations for any given linguistic phenomenon.
    This is also the case within non-controversial areas of IE linguistics, such as the postulation of the so-called ‘Indo-Iranian branch / unity’. One can in fact compare the different interpretations given to this unity – (also) on the basis of phonological /lexical evidence... Schmitt... argues that the data from both Vedic and Sanskrit are not with absolute necessity genuinely antique and that, therefore, Old Indo-Aryan is not as close to PIE as still believed by some scholars...
    At this point one could object that all these methodological and factual difficulties do not, after all, matter, even if they did impact negatively on the validity of the conventionally established sound laws (and related correspondences and reconstructions). This is because... the lexicon is often considered to be the level of language less (or not at all?) relevant for the purpose of assessing genetic relationships. This would be sound and acceptable if there were indeed a consensus among Indo-Europeanists as well as comparativists in general on the principle that it is morphology the level of language (mostly?) relevant in this context...
    3. The role of morphology
    3.1. Is morphology the most reliable indicator of genetic inheritance?
    Unlike lexical comparisons, a low-hanging fruit that needs only a dictionary, morphological comparisons require innate knowledge of compared and candidate languages. Within the IE family, morphological comparisons are as problematic as comparisons between morphologically far-away individual families, attesting that IE languages belong to different morphological families. Applying some notion grown from the IE unity concept to anything grown with an alien morphology, where a morphological element from an unsuspected language is treated as a root element of the IE base form, leads to grotesque conclusions and even more grotesque reconstructions, comparisons, and final judgments. In a minimal case, with one-syllable CVC-type word taken as an IE base root, the second consonant may be a bound marker of deverbal concrete noun that points to the origin of the word from a foreign verb never suspected and never investigated by the grotesque-headed linguist uninitiated on the significance of  morphological elements outside of the IE unity concept.
    Since the very times of the establishment of IE the prevailing opinion appears to have been that grammar can offer the most reliable evidence for assessing genetic relatedness. Grammar has typically been considered to be a rather stable level of language and, often, totally resistant to borrowing – in contrast to the volatility of the lexicon. These properties have made morphological correlations quite popular among many historical linguists, even if it has always been (more or less openly) recognized that it is not clear what the criteria are, if any, on the basis of which to identify and evaluate morphological similarities.
    In fact, not even the regularity principle is expected to consistently operate at this level, due to the overwhelming interference of the analogical principle.
    In addition, there has never been... any systematic attempt to define a possible measure, a ‘unit of similarity’ (in form and / or function) – as it were – to be applied in the practice of comparing morphemes. This measure of similarity would work as a common denominator against which to evaluate the at times vaguely similar, at times very similar and at times identical morphemes occurring among (most / some) IE languages. Thus, the problem is that the morphological correlations are typically observed and established by intuitive, visual inspection (often by single scholars), whereby considerable latitude may be allowed when it comes to phonological forms as well as to similarity of functions. For the morphological (and morpho-phonological) correlations to be rigorous, to be proper ‘correspondences’, one should certainly require regular phonological correspondences between morphs which also indicate similar (but how similar?) meanings and /or functions – condition which is hardly ever met. Indeed, one often reads in the literature that the grammatical correlations within IE are (still nowadays) simply and purely ‘obvious’ to the ‘naked eyes’ of the trained philologist (see Nichols 1996a), exactly as they appeared to the first scholars who dealt with them a couple of centuries ago.
    47

    3. 2. The degree of ‘borrowability’ of grammar
    In recent years a mounting body of evidence has been accumulating according to which not only grammar is found to be ‘borrowable’, but, given the appropriate historical and social context, it may rate quite high on the scale of borrowability. It could therefore be difficult to determine whether shared grammatical innovations are the result of genetic inheritance or of areal convergence. ...is grammar borrowable to such an extent that historical reconstruction becomes impossible?...
    48

    ...within IE studies there is still an open question regarding the nature of the original morphological structure of PIE: was PIE rich in morphology (as is the case, mainly, of Greek and Indo-Iranian), which has then been ‘reduced’ or ‘lost’ in the other languages, or was it rather poor in morphology, in which case the complex morphology of Indo-Iranian and Greek is the result of parallel, shared innovations, rather than of genetic inheritance?...
    Still on the issue of the ‘borrowability’ of grammar, it has been claimed at times that the IE morphological correlations are, on the whole, similar enough to be considered valid correlations but different enough so as not to raise the suspicion that borrowing might have been involved. However, certain IE grammatical forms typically reported in textbooks as ‘obvious’ examples of genetic inheritance – such as the paradigm of the verb ‘to be’, or ‘to bear, carry’ – are so similar, if not in some forms identical across the area, that the suspicion of borrowing may indeed arise. In fact, one would normally expect much more divergence from a long process of inheritance and development. ...In addition to this, one should take into consideration the numerous morphological correlations which supposedly connect the IE family with other contiguous, but different language families, as argued for by the supporters of the so-called macro-families...
    The two suggested examples, the verbs ‘to be’ and ‘to bear, carry’, illustrate the difficulties encountered in concocting and dissecting the IE theory. Both words are not only shared with Türkic, they are shared paradigmatically, attesting to a common genetic connection. Without a demographic aspect, the suspicion of borrowing may indeed arise, and be never solved. Add the demographic aspect, and the linguistic genetic connection becomes a natural result of the demographic preponderance, of the population replacement, subjugation, and amalgamation that supplanted the diverse local languages with a feature typical for the Sprachbunds, an areal feature shared across numerous dissimilar languages. That is a birth of the IE unity that millenniums later occurred, in a vague and mushy form, to the European linguistic explorers.
    49
    3. 3. Is the morphological evidence malleable?
    At this point one could object that the risk of reconstructing false matches within IE grammar is rather low, since one can rely on a wealth of shared (inflectional and derivational) morphology in a great variety of areas. Furthermore, although much of the grammatical evidence put forward by traditional IE studies is certainly rather intuitive and subjective, as it happens, this evidence turns out to fall within the range of what Nichols (1996a: 49 & 64) calls “diagnostic evidence”:
    Traditionally linguistic kinship was identified on the basis of diagnostic evidence which is grammatical and combines structural paradigmaticity […] and syntagmaticity with concrete morphological forms. The Indo-Europeanists’ intuitive feel for what was diagnostic evidence of relatedness corresponds to a computable threshold of probability of occurrence […]. A grouping can be regarded as established by the comparative method if and only if it rests on individual-identifying evidence
    Nichols makes a smooth but loaded connection between intuition and computable science. The role of intuition in science, called “subliminal thinking” in other spheres, is undeniable, in IE linguistics it implies an innate knowledge of native language. The opposite side of that is that a linguist without innate knowledge of the native language has no intuition, and thus can't progress from a superficial knowledge of the language to “computable threshold of probability of occurrence”. The subliminal thinking is also called “vision”, and, unfortunately, Indo-Europeanists without an innate knowledge of the alien language have no vision, they are Indo-Europeanist functionaries, not Indo-Europeanist visionaries. The fate of such functionaries is self-digging predicated by inability to perceive life beyond the horizons of their knowledge or absence thereof. The circularity, speculation, propaganda, beliefs, and other traits of the IE linguistics are logical consequences of a life in an eggshell.
    The idea is that one can compute the probability of occurrence in the languages of the world of certain features, certain patterns, such as consonant sequences (in the dimension of syntagmaticity), or the co-occurrence of some grammatical categories and their morphological indicators (in the dimension of paradigmaticity), etc., whereby the Author assumes that a probability of occurrence of a given phenomenon of 1 in 100.000 is “individual-identifying”. Within IE one finds several, arguably a statistically significant number of instances of individual-identifying diagnostic evidence.
    50

    The following data, as proposed by Nichols herself (1996a: 47), are among the most quoted ones for the purpose of this discussion (notice that to the Latin and Greek endings reported in this table at least the corresponding Sanskrit endings should be added to complete and strengthen the picture...)
    It is not clear why paradigmaticity is of the Latin and Greek, which share a continuous historical and demographical common past, plus the missing Sanskrit, carried from the same Mediterranean area to India. What's wrong with the other 457 IE languages, why are they abandoned, and why not to address all 460 languages claimed by the IE family theory? This kind of evidence does not rate above anecdotal evidence. It is a partial anecdotal evidence that looks at two traits out of extended list of the grammatical traits. It is a selected partial anecdotal evidence because it looks at some selected parameters. Except for a propaganda moment, there is nothing to be the most quoted evidence. As such, it does not reach to the level of phrenology or Biblical Genesis story. It is no different than pulling, say, R1a Y-DNA genetic marker, because it is prominent among Indian brahmans, and pronouncing that all carriers of that haplogroup are Aryans or modern offsprings of the Proto-Aryans.
    ...there is plenty of evidence that wholesale (nominal and verbal) paradigms of the type under discussion can also be the effect of borrowing, as shown by Matras’ contribution... Second, not all the IE languages do possess those rich, (more or less) consistent, paradigmatic morphological systems we would need to establish a wealth of ‘individual-identifying’ grammatical evidence.
     51, 52
    ...Di Giovine... argues that looking at the issue in simple, binary terms of ‘archaism’ vs ‘innovation’ does not lead anywhere, since the status of the IE verbal system is much more intricate and subtle than this dichotomy would lead us to believe. All this, once again, ties in with, and lends support to, the well known fact that a clear-cut IE family tree is still difficult to draw, both at the phonological and morphological level (This problem emerges again in the various IE ‘philogenies’ attained through ‘cladistic’ techniques). ...Drinka insists that areal / contact models of interpretation have to be adopted in addition to, or, actually, incorporated into, the traditional paradigm: only an integrated, three dimensional model (“an amalgamation of family tree and wave models”) can “explain” the nature and distribution of the correlations found among the IE languages...

    Whatever the case, one has to admit and reflect on the fact that the morphological reconstructions are essentially based on a few core languages, whose morphological correlations – whether the result of archaism, or innovation, or borrowing, or convergence – are nevertheless well attested, whilst “the attribution of the other (so called “IE”) languages to the (“IE”) family is necessarily done on partial evidence”...
    The term “necessarily” is a misnomer, since the “partial evidence” is intentionally selected evidence to fit suitable material into the predestined model and ignore the rest of the language, at times including its most basic traits.
    3. 4. Are morphological reconstructions predictive?
    It is reasonable to ask at this point whether the circularity issue (as discussed above with regard to phonology and lexicon) could have a negative impact also on the morphological reconstructions, including the area of diagnostic evidence. In fact, here too scholars can increase the power of the comparative method by making recourse to a number of ‘adjustable parameters’. Actually, the risk of circularity is higher at the morphological level, because of the (supposed) pervasive operation of analogy and the lack of a rigorous definition of ‘morphological correlation / similarity’... some case endings cannot be reconstructed in an economic, straightforward way, or cannot be reconstructed at all, so that a number of ‘adjustable parameters’ have to be introduced in order to overcome the observed mismatches. The adjustable parameters in question include:
    53

    1. a chain of (at times unverifiable) assumptions, including syncretism and reshaping through analogy;
    2. a chain of (at times unverifiable) intermediate reconstructions and alternating forms;
    3. a chain of minor but frequent (and, at time unverifiable) language-specific sound changes,
    4. if any of these procedures fail, there is always the possibility of giving different interpretations to the internal structure, function and origin of the case endings themselves.
    54
    3. 5. Counter evidence within morphology
    It has been argued above that the morphological evidence on which the IE theory is founded appears to be rather ‘malleable’, this problem being caused by the general lack of criteria and guidelines on how to evaluate morphological correlations. This in turn means that it is equally difficult, if not impossible, to identify evidence potentially counter to the model (with perhaps the only exception of the evidence from languages in contact that wholesale morphological paradigms can be borrowed). For example, the absence of the fundamental IE category of feminine gender in Anatolian23 could be considered a paradigmatic example of the inability on behalf of the IE theory (and the methods of historical linguistics in general) to make very clear-cut, testable predictions. There have been no claims (as far as we know) that the absence of this ‘diagnostic’ category should be classified and set apart as potential evidence counter to the IE origin of Anatolian (Hittite, for example, has no nominal declension corresponding to the feminine stems). Quite the contrary, efforts have been devoted only to finding traces of the feminine gender here and there or to justify its absence in the most plausible, natural way... The same could be argued with regard to one of the most puzzling aspects of Hittite verbal morphology, the ‘qi-conjugation’, which, admittedly, does not easily slot into any reconstructed category of IE (although there are claimed to be some good lexical correspondences between verbs adopting this conjugation and verbal roots in other IE languages...). The situation does not appear to be much different at the level of morpho-phonology, as is evident from the state of the research regarding the IE Ablaut (vowel alternation / apophony) (A vowel whose quality or length is changed to indicate linguistic distinctions (such as sing sang sung song). Here, the scanty and irregular distribution of vowel alternations across the IE area has generated an array of complex, sophisticated explanations, none of which however appears to be either testable or satisfactory... Carruba suggests that the original function of Ablaut is to be sought in the ‘deixis’ – a rather archaic, elementary function, but a very productive one within IE.
    55

     He ascribes the poor attestation of coherent patterns of vowel alternations across the IE area to the very ancient origin of phenomenon itself. This is certainly a plausible explanation; however, again, there may be alternative explanations. For example, it could be argued that the Ablaut present in Sanskrit (and partially in Greek), does not represent a phenomenon to be traced back to the IE proto-language, but on the contrary, a language-specific phenomenon. ...Sanskrit would be the only IE language that has roots and a “proper vowel gradation”. ...‘statistical significance’ (or lack of it) of the present vs perfect vowel alternation...
    3. 6. Is there hard core evidence at the foundation of Indo-European?
    Bearing in mind the shortcomings of the morphological correlations as discussed above, it is understandable how several scholars, such as Campbell (2003a & b) and Morpurgo Davies (Cambridge Seminar 2005; see note [19]) have reiterated and emphasized the role of the phonological (/lexical) correspondences for the purpose of assessing genetic relations. One could compare also the case of Proto-Dravidian, where it is the lexicon that has seen the greatest amount of relevant, comparative work, as illustrated by Steever (1996). As a matter of fact, phonology has at times offered us the possibility of testing the validity of the comparative method, in the sense that some predictions made by the comparative analysis have subsequently been proven correct in connection with the discovery of new linguistic material. For example, new evidence from Hittite and Linear B Mycenaean has confirmed the validity of earlier reconstructions, in this way also allowing us to redefine the processes which lead to the attested languages...
     56

    These are undoubtedly remarkable discoveries, and fine analyses. However, the data and analyses under discussion are not void of difficulties... Furthermore, one could observe that the more linguistic material, the more comparanda one brings into the equation whilst doing comparison, the easier it is to find a phonological /lexical (as well as morphological) match with a given form or reconstruction. As Campbell (1998: 277) puts it, referring to the issue of mass-comparison and macro-families: “The potential for accidental matching increases dramatically … when one increases the pool of words from which potential cognates are sought or when one permits the semantics of compared forms to vary even slightly”...  Hock (1993:221ff.) observes the following: “Preliminary results [of an experiment in which English, Finnish and Hindi are compared] suggest that enlarging the data base does not improve the reliability of the method. In fact, if there is any change at all it may consist in a slight increase of false friends”. On the other hand, Hock (ibidem) also recognizes that working through a comparison of only a small number of languages (three in the specific case), may be equally misleading.
    Finally, one could always argue that a few instances of fulfilled predictions – the occurrence of the right, predicted reflex at the right place – are not enough to prove the supposed predictive nature of all the conventionally established IE laws.
    As to the laryngeal theory, it is undeniable that it represents one of the most outstanding examples of a successful theory within historical linguistics. As Andersen (2007)30 puts it: “From a purely algebraic theory in Saussure; given putative phonetic justification by Hermann Moeller; then actually justified by the discovery of some of the posited segments in Anatolian; found to correlate with the 'prothetic vowels' and 'Attic reduplication' in Greek, and of 'final lengthening' in Homer; and then with the Baltic and Slavic distinction between acute and circumflex long vowels and diphthongs”.
     57

    Nevertheless, the laryngeal theory is not uncontroversial, at least with regard to the number of laryngeal segments to be postulated. ...However, the main problem associated with the laryngeal is that the advantages attained by making recourse to the laryngeal theory are counterbalanced by a number of disadvantages. For example, Winter (1990: 20-1) referring to Saussure’s original idea of the ‘coefficient sonantique’ and subsequent developments, describes one of the known ‘disadvantages’ of the laryngeal theory as follows: "We attempt to simplify our statements by subsuming overtly differing phenomena under one common formula which may or may not require positing directly unattested elements conditioning the differences [….]. This analysis had the tremendous advantage that now all subtypes of ablaut in Proto-Indo-European could be treated alike and that canonical forms of roots could be set up; along with this, however, went the disadvantage that the Proto-Indo-European system of vowels apparently had to be reduced in an unreasonable way."
    Sihler (1995:111 ff.), who reconstructs an Ablaut system “considerably leaner” than others thanks to the support of the laryngeal theory, appears to (implicitly at least) identify another, major ‘disadvantage’. In fact, he states that the economy of his model is achieved by “a complication elsewhere in the system”, because his reconstruction also requires “a number of sound laws” applying to the postulated laryngeals. Here, the fundamental questions (which have not been asked yet, to our knowledge) are:
    a) how many more sound laws do we need to make the laryngeal system work?
    b) is this extra number of segments and required operating rules added to the system as high as to nullify the otherwise attained benefits?
    58

    Thus, if we accept the analyses, objections and counter objections expounded thus far, it is still not clear what exactly the uncontroversial, hard core evidence that lies at the foundation of the IE theory is supposed to be.
    ...Last, but not least, one should take into consideration also those further limitations of the comparative method as pointed out in recent years by scholars such as Dixon (1997), Aikhenvald & Dixon (2001) and Nichols (1992, 1993/1995, 1996b, 1997 & 1998); see also Andersen (2006). These are:
    a) the inability of the method to get at a more remote linguistic prehistory than the generally assumed 8000/6000 years);
    b) its inability to account for the actual distribution of the degree of linguistic ‘diversity’ vs linguistic ‘uniformity’ found in the world....

    4. Is there a pre-historical reality behind reconstructed Indo-European?
    4. 1. Conventionalism vs realism
    The ‘conventionalist’ vs ‘realist’ approach to linguistic reconstruction, and related concept of proto-language (in general as well as within IE), is another long standing debate within historical linguistics, and one for which, yet again, there does not appear to be much of a consensus... It is true that between the extreme conventionalist approach on the one side and the full realistic approach on the other there are plenty of more moderate, intermediate positions. Nevertheless, it appears that the fully realistic approach, which in turn is based on the controversial method of palaeo-linguistics, is the one that has so far attracted many supporters, and not only among archaeologists (such as Mallory (1989 & 2001) and Renfrew [1987, 1990]), but also among linguists.
    For example, in his criticism to the thesis by Gimbutas (1970) regarding the location of the IE home land, Schmitt (1974: 283) observes that “[with] the methods of linguistic paleontology anything can be proved as Proto-Indo-European, but it can not be proved as typically Proto-Indo-European”. Thus, Schmitt appears to have confidence in the validity of the realist approach, although he has doubts regarding the factual interpretation of single reconstructions and the hasty conclusions reached about the reconstruction of single ‘pre-historical facts’. It could be said that in this case too (like in the case of the ‘regularity principle’) it is not always made explicit what the motivations are, what the evidence is, that provides the basis for the choice of one approach, or the other.
    The case with Gimbutas theory is illustrating. The archeologist confused two demographic movements, the westward movement of the Türkic Kurgan people, marked by male R1b Y-DNA, with the eastward movement of a hodge-podge of the European people, marked by a soup of the European male Y-DNA, groups G, J, I, and R1a. The two counterflows were separated in time by a full millennia, first the westward expansion of the Kurgan people (First Wave in Gimbutas' nomenclature), and then the eastward flight of the “Old Europeans”. Naturally, the European traces overlaid those of the Kurgans. Thus, in the late archeologist's eyes, the European farmers gained the attributes of the Kurgan nomads, and from a mass of cart-riding refugees turned into Kurgan rider conquerrors of Europe. Gimbutas was right in detecting European farmers in the Eastern Europe of the time, but wrong in the interpretation of a transit point as a (linguistically) Indo-European homeland. The European refugees ended up as upper castes in India (R1a), a variegated human mass in the Caucasus (G, J), and repatriants to the Europe (I).
      59...Di Giovine, on the basis of the analysis of the IE verb inflectional system..., argues that PIE was not a compact language or not even a community language at all.
    Di Giovine is right, the IE verbs are akin to Belgian verbs, they originated in two (actually, many more) different phylа, and just happened to occupy the same spatial and temporal location. If a potato salad is taken as a model for the IE verbs, and scholars would study the amalgamated salad vegetables, they would come to the same conclusions as did Di Giovine: potatoes and cucumbers are not compact, and they even do not speak the same vegetable language at all. They must be cooked differently, they complement each other, and they can be swallowed in a single bite.
    4. 2. The Aryan debate
    Within the camp of the realist approach the debate has revolved mainly around the issue of the whereabouts of the (assumed) IE proto-community. A strand of this debate has recently re-surfaced under the definition of: 'the Aryan Debate'... The Aryan debate centers on the following, major interconnected issues (all questions are linguistic, although framed demographically, but independent from the popular linguistic schemes of elite domination, code change, lingua franca, etc.):
    1. Was the assumed homeland located in the west, somewhere in Europe, or in the east, somewhere in North India /Pakistan? In other words, were the bearers of the Old Indo-Aryan (Vedic and Sanskrit) culture indigenous or intrusive in North India?
    2. Why, how, when and in which direction did the original proto-community disintegrate and migrate / spread, so as to bring about the distribution of the IE languages as we found them in historical times?
    3. How old is Old Indo-Aryan? Is it as old as the traditional IE theory claims (about 1700/1500 BC), in line with the ‘migrationist’ model, or is it much older than that, in line with the ‘indigenist’ model? In turn, these questions are connected with the following major issue (already touched upon above):
    4. Is Old Indo-Aryan the most archaic, and therefore, the most important language for the purpose of reconstruction?

    The issues raised in points (3) and (4) are of particular relevance, not only because they are strictly connected to the home land issue, but also because the assumption of the great antiquity of (Vedic) Sanskrit is (or, at least, it has been) one of the pillar tenets at the foundation of the IE theory, and related traditional reconstructions. As we have seen above (par. 3. 3.), this tenet is now under attack, since several scholars believe that the Greco-Aryan morphological paradigm represents in fact innovation, and not archaism. As to the more specific issue of the archaicity of Sanskrit, Schmitt in this volume calls into question this traditional view, arguing that:
     60

    “the archaism particularly of the Old Avestan language makes it only too clear that, despite the old age of the earliest Vedic texts, the Old Indo-Aryan language is not the only fundament of the IE proto-language […] and that its data are not with absolute necessity genuinely antique; therefore Old Indo-Aryan (both Vedic and Sanskrit) is not so close to PIE as many people think”.
    On the other hand, Kazanas... supports the traditional way of thinking as well as the indigenist model claiming exactly the opposite: Old-Indo-Aryan is indeed the oldest language within the family (actually, much older than conventionally assumed), as well as the closest language to PIE, even though a PIE language cannot be reconstructed. In turn Drinka, in her contribution to this volume, rejects the indigenist / ‘Out-of -India’ model, arguing against it (mainly) on the basis of those very “archaic” morphological isoglosses Indo-Aryan shares with some IE languages and those very “innovative features” it shares instead only with Iranian and Greek.
    4. 3. Sanskrit and the South Asia linguistic area
    This already articulated debate is in turn connected with the other, equally tangled issue of how to interpret the lexical, phonological, structural and even morphological correlations that have been identified as existing between the Old (and Modern) Indo-Aryan languages and the other non IE languages of India, such as (mainly) Dravidian and Munda. In fact, these (and other) various languages / language families of India are widely claimed to form what is usually referred to as the ‘South Asia linguistic area’, for which see Steever (1993:10 & 1996:11 ff.); Masica (1976) and Emeneau (1956, 1971 & 1980). In particular, on the basis of (supposed) lexical borrowing from Dravidian into Indo-Aryan and from the modern geographical distribution of the Dravidian languages, it is often claimed that Dravidian and Indo-Aryan must have been in contact – since prehistoric times– in those extreme northwestern areas of India first inhabited by the Indo-Aryans...
    Thus, the relevant question here, the question which has been hotly debated and whose resolution, if ever attained, could help to break the deadlock of the indigenist vs migrationist model – together with the issue of the degree of antiquity of Sanskrit – is the following: Are the non IE features present in Old-Indo-Aryan the result of sub-stratum, super-stratum, ad-stratum, convergence, or even genetic inheritance?...
    Several scholars... have compiled long lists of (Rig-) Vedic words believed to be of Dravidian or, more generally of non-Aryan origin. Other scholars, particularly Hock (1996: 36 ff.), have drawn attention to the fact that the situation is not that clear-cut after all. In fact, in many instances it is difficult to trace back the origin of the lexical as well as structural similarities observed in this intricate linguistic area, and to sort out whether they are attributable to borrowing, convergence, or chance resemblances. On the other hand... Indian scholars... challenge the traditional classification of Sanskrit as an IE language, observing that under a different socio-politico-cultural context, the similarities under discussion could have been interpreted differently...
    The following selection of Turkisms and Türkic substrate in English cites instances when IE etymology appeals to Sanskrit to establish IE attribution. Selection provides some statistical insight, it plucked 60 Turkisms out of the body of 700 entries, giving about 10% of Türkic content in Sanskrit. In respect to Sanskrit, the sampling is random, since the content of Turkisms in English is independent from the content of Turkisms in Sanskrit, or of Sanskrit loanwords in Türkic. The number 10% is however a very rough approximation, being dependent on the number of factors that influenced the sources. First and foremost is the poor appearance of Sanskrit cognates in the IE etymological exercises: the citing is spotty, only to the degree needed to establish connection to a predestined target; just that variable may underrepresent reality by a factor of 2 or 3, potentially raising proportion to 20-30%. Then there is a loose treatment of semantics, when Sanskritisms are cited inappropriately (Cf. janiṣ is cited for both “queen” and “wife”, the “wipes off”̣ is cited for “milk”, “bewail” for “call”, the avasám “food” for “oat”, etc.); that is falsely inflating the proportion. The presence of Sanskritisms in Türkic also inflates the proportion, since although they entered English as Turkisms, etymologically they originated with Sanskrit; these are terms of Buddhist lexicon that grew on the Indian soil and were brought to English at about the turn of the eras as the Türkic substrate. These cases are few, but with the small sample of 60 items they need to be considered. Then there is a case of erroneous attribution to Turkisms; the questionable cases also inflate the proportion by as much as 1/3. Adjusted for these factors, the proportion of Turkisms in Sanskrit may be reasonably assessed as to be close to 15%. The presence of the basic vocabulary that could not have been introduced by the demographically inferior Indo-Saka, Indo-Scythians, Huns, Kushans, Ephthalites, and later migrants, attests to a time depth of these loanwords ascending to the middle of the 2nd mill. BC, the time of the initial migration of the Indo-Aryan farmers to the South-central Asia.
    EnglishSanskrit, Avesta (Av.)TürkicEnglishSanskrit, Avesta (Av.)Türkic
    1anger (v.)aihus, aihas, Av. azah- “need”özak (adj.)I (arch. ic)ah(am)ič (es)
    2at(prepos.)adhi “near”at- (v.)juiceyus- “broth”
    3auroraeos, usah ausra “dawn”yarukkinjanati “begets, bears”, janah “race”, jatah “born”kin/kun/kün
    4axleaksahi:klull (v.)lolatiulï- (v.)
    5bake (v.)pakvah “cooked”bukaçmantramantra-s “sacred message or text, charm, spell, counsel”maŋra- (v.)
    6band (v. & n.)bandhahba- (v.)me (pron.)Skt., Av. mammin (pron.)
    7be (v.)bhavah “becoming”, bhavati “becomes, happens”buol- (v.)meadmadhu “honey, honey drink, wine”, Av. maδumir
    8bear (v.)bhárāmiber- (v.)milkmarjati “wipes off”meme
    9bode (v.)bodhibodimindmatih “thought, mind”ming
    10bowbhujatiboq-(v.)oatavasám “food”ot
    11bursarybuddha sangha,bursaŋogle (v.)akshi “eye”ög- (v.)
    12callgarhati “bewail, criticize”qolotterudrah, Av. udraätär
    13candlecand- “to give light, shine”, candra- “shining, glowing, moon”kandilpotpatra “bowl”patır
    14capkaput- “head”kappurge (v.)pavate “purifies, cleanses”, putah “pure”pür- (v.)
    15cowgauscoyqueenjaniṣ “wife, woman”, gna “goddess”, Av. jainish “wife”, gǝna-, ɣǝna, ɣna, ǰaini “woman, wife”yeŋä
    16crustkrud- “make hard, thicken”kairyregal (adj.)raj- “king, leader”arïɣ (adj.)
    17daydah “to burn”dünsapphiresanipriya “dark precious stone”sepahir
    18dindhuni “roar”tоŋsarisati “garment, petticoat”sarïl (v.)
    19ea (OE)ap “water”aq- (v.)sew (v.)sivyati “to sew”sač-
    20EarththiraYersinewsnavah, Av. snavar “sinew”siŋir
    21eyeakshiög- (v.)sip (v.)sabar- “sap, milk, nectar”syp (v.)
    22fartpardburut- (v.)smile (v. and n.)smayatē, smayati, smēras, smitassemeye (v.)
    23fire (v. & n.)pubur-sonsunussong
    24fissurebhinadmiözstairstighnoti “mounts, rises, steps”šatu
    25footpad-, Av. pad-butsuturesutram “thread”sač
    26chintzchintčittreedru “tree, wood”terek
    27cookpakvah “cooked”kok- (v.)turfdarbhah “bale of grass”ter- (v.)
    28genejanati “begets, bears”, janah “race”, janman- “birth, origin”, jatah “born”ken-ululate (v.)lolatiulï- (v.)
    29go (v.)gjihite “goes away”gitwasvasativar- (v.)
    30herdsardhahkertwifejaniṣ “wife, woman”, gna “goddess”ebi
    The detectable presence of Türkic substrate in Sanskrit points to the demographically mixed origin of the Indo-Arian farmers, an idea that never crossed the minds of the IE linguists. At the dawn of the Bronze Age, and enduring into the 21st century, ethnicity and trades were connected very tightly. The leaders and rulers could have been of one ethno-linguistic group, the military base and its economy of another ethno-linguistic group, the Indo-Aryan Levites of a third group, farmers and their economy of a fourth group, and artisans still of another group. We know for whom the Levites wrote their version of the history, but we may never know the native vernacular of the Levites. The Sanskritic foundation may be a layered cake, misdated, misinterpreted, taken for a gospel, and exploited by patriots and politicians. The problems of the IE theory are rather systemic, precipitated and protracted by loyalty to the premises grown more on the notions of aged popular beliefs than on empiric experience. Started as a lump of raw dough, it was baked into a good-looking tangible and spongy loaf, tunneled through in all directions by incessant criticisms, and now stands as a fossilized crust, to be re-ground and re-baked with whatever flour it contains.
    61
    For example, they could have been ascribed to the postulation of a shared, common ancestor for Sanskrit and Dravidian, and the studies of the South Asian linguistic area, as we know them today, might have taken a totally different course, generating a different production of knowledge, and, possibly, a totally different proto-language as the ancestor of Sanskrit. In turn, these scholars are accused to be strongly biased in their research, being driven by nationalistic feelings and political motivations. Certainly – it has to be said – there are elements of truth in this statement, since the main concerns (mostly unexpressed) of these Indian scholars are for the cultural unity of India under a Sanskritic proto-banner, whereby Dravidian would be some sort of Sanskritic Prakrit...
    Nevertheless, it is also fair to recognize that had the events, the accidents of History been different, in other words, had Sanskrit not been brought to the attention of the western scholars (as a consequence of the English colonization of India,...), the cultural scenario of historical linguistics might well have been totally different indeed, and one can easily imagine how a different paradigm might have been created to account for the origin of Sanskrit and the other languages (/language families) of India. Actually, the fact that the initial choice of comparing a certain pair / set of languages, rather than others, is by its own nature ‘intuitive’ and may be also influenced, or even dictated by circumstances external to linguistics, can increase the risk of circularity embedded in the traditional methods of analysis, as discussed above... (The classification of Sanskrit is not the only known instance of linguistic classification which has been influenced by historical /political events.  ...“The operation of the comparative method does not guarantee a language’s place in the family; only the initial recognition that two or more languages are related can do that […]. When does a linguist decide that there is enough material to relate a language to the IE family? There is no absolute set of criteria beyond the general rule that the evidence must convince both the individual linguist and the majority of the scholar community”).
    The last comment (Clackson 2007: 3) says it all: Catholics have to be convinced of the absence of Catholicism, idealists have to be convinced of the absence of their ideals, and IE linguists have to be convinced of the absence of IE family. That simple. That reminds us that after the the sputnik's flight around the Earth, and after the Apollo's flights to the Moon, a sizable community trusted their leaders that that is all Hollywood trickery staged in Universal City to debase the faithful. Anybody can see that the Earth is flat: put a ball on the football field, and it does not roll off.
    It would therefore be desirable to be able to ‘demonstrate’ that the correlations shared by Sanskrit and Dravidian, for example, are the genuine effect of a typical process of Sprachbund convergence, rather than simply ‘labeling’ them as ‘contact-induced’ just because it is widely accepted that the languages in question are not genetically related... ...The thesis that the correlations shared by Sanskrit and Dravidians are the genuine effect of Sprachbund.... ...the issue of the origin of the non IE features present in Old (and Modern) Indo-Aryan languages...  argue that Dravidian is a clearly distinct linguistic family from Indo-Aryan, although the latter does indeed display Dravidian features. In other words... “some of the four genetically distinct language stocks in South Asia have clear genetic linguistic relations outside of the subcontinent”. ...a comparison of two classical languages of India, Sanskrit and Old Tamil,... would reveal and illustrate a typical Sprachbund situation, where “two languages may be genetically distinct, yet grammatically related”.
    At this point it is interesting to observe that there is at least one aspect within this intermingled debate about which there appears to be consensus among all scholars: there is no archaeological evidence for the assumed migrations of (part of the) original IE community, either from a supposed western homeland eastward into North India, or the other way round...
    62

    ...the explanation of the spread of the Indo-European languages as “the spread of the culture of a concrete group of people from a cradle […] has not been proved by anthropology and archaeology as yet”... ...“all attempts to reconstruct the old culture of the Indo-Europeans as existing in a concrete cradle, by the means of ‘linguistic paleontology’ are wrong”.
    ...scholars are faced here with yet another area of IE studies where the ‘evidence’ (or lack of it) is malleable and un-decisive. As a matter of fact, Häusler himself believes that “the IE linguistic community must have existed at some point in ancient times, since the linguistic classification has been fairly safely established, even if this (assumed) linguistic community is not at all retrievable by the means of archaeological and anthropological research”... Whatever the case, the fact remains that, thus far, the required, supporting (one way or the other) archaeological and palaeo-anthropological evidence has not been found.
    Since the 2009 publication of this work, and its cited publications of 1997, 2001, 2002, 2003, and 2004, things have changed. A new method was developed and validated in genetics to date haplogroups assembled on a phylogenic diagram. The method allowed to trace migration flows from Central Europe to Eastern Europe, and on to South-central Asia. These migrations were validated over and over by independent sampling and independent analyses. The peoples' movement is beyond doubts; the doubts relate to the cultural and technological innovations carried by the migrant peoples, their definitions, their propagation, and their timing. The paleogenetic revolution brings to reality the innate beliefs of the IE Theory and Out-of-India pundits. Both sides are right in accusing the other party to be laughably wrong.Further clarifications on the migration of the Indo-Aryan farmers will be produced by analyses of  phylogenic trees for accompanying haplogroups complimentary to the well-understood R1a group, particularly the Y-DNA of the upstream groups R and R1, and the pre-exodus Central European haplogroups I, J, and G. Some branches of the above haplogroups, taken from the same sample material, must return the date already received for the R1a haplogroup, first to corroborate the dating determined for the R1a haplogroup's Indo-Aryan branch, and secondly to narrow the spectrum of the haplogroups that the Indo-Aryan farmers brought over to the Hindustan peninsula.
    Probably the most important finding of the haplogroup dating methodology is the finding corroborating postulations of the “Circumpontic” hypothesis (Merpert, 1974, 1976) and “Kurgan theory” (Gimbutas, 1964, 1974, 1977, 1980) about the importance of the Eastern Europe in the evolution of the “Indo-European” languages within the framework of the “Indo-European homeland”, albeit without their fancied allusions to the “Indo-Europeans”, but with evolutionary perspective on the migratory processes that had the Eastern Europe as one of the staging stations for the asynchronous counter flows from the Central Europe to the South-central Asia (3rd mill. BC) and from Asia to the Atlantic (starting at 5th-4th mill BC). Unwittingly, Gimbutas had conflated separate migratory events in opposite directions and a millennium apart. The horse was domesticated in the Northern Kazakhstan, a nomadic wave that brought domesticated horse to the Eastern Europe created conditions underlying the Gimbutas'“Kurgan theory”. The migration stipulated within the “Anatolian” (or “Neolithic Gap”) theory (Gamkrelidze and Ivanov, 1980, Renfrew, 1987, Safronov, 1989, Gray and Atkinson, 2003) is a specific episode of the Eastern European parallel path traversing Anatolia to reach the Balkans and Iberia, the “Anatolian theory's” Urheimat results conflict with Anatolia's role as a migratory corridor for particular migrants at a particular time. Within a larger framework, having accounted for the ample reverse migrations, and freed from the parochial biases of the “Indo-European homeland”, the theories' data is largely consistent with the linguistic and migratory processes.
    As to the palaeo-linguistic evidence – place and river names, terms for flora & fauna, names of deities, etc. – mainly from Sanskrit, some scholars claim that this evidence is malleable, and therefore inconclusive when it comes to trying to establish the indigenous or intrusive character of Old Indo-Aryan... ...other scholars claim that the palaeo-linguistic evidence clearly supports the indigenist / ‘Out-of-India’ model...
    ...it is worth mentioning that recent genetic evidence (pre-2009) (whatever its relevance may be in this context) appears to support the indigenist hypothesis of the origin of the Sanskrit speaking peoples and culture...
    The genetic conclusions (unlike their historical interpretations) drawn before 2010 suffer not from incorrect data, but from an absence of reliable dating theory and practice. There, again, a blind trust of other discipline's authorities, who happened to act on intuition instead of empiric data solely because no reliable scientific methods exist yet, raises a cottage industry of patriotic contenders.
    4. 4. The conventionalist approach
    Those scholars who adopt the conventionalist approach to reconstruction claim that linguistic classifications do not necessarily imply and guarantee the existence of the corresponding speech community. Therefore, searching for the original IE community, and the pre-historical, highly intertwined linguistic and extra-linguistic processes that would have brought about the IE languages, is a pointless task. This remains the case even if linguistics is assisted by other disciplines whose methods of analysis are claimed to have recently achieved high levels of reliability, such as archaeology and genetics. In other words, comparative historical linguistics cannot in any way shed light onto pre-historical ‘facts’ (homelands, migrations, institutions etc.). Historical linguistics was not meant to be, it is not and cannot be used as a ‘branch of prehistory’...
    63, 64

    5. Introduction to the chapters (in alphabetical order) (Introduction to the chapters illustrates points of the general observations with specific contents of the contributors. Although immensely interesting in their depth and detail, they are not cited in this posting)
    65, 66, 67, 68, 69
    Chapter X. The main thesis of Angela Marcantonio’s chapter: Evidence that most Indo-European lexical reconstructions are artefacts of the linguistic method of analysis, is that the methods of historical linguistics, including the comparative method, can be so flexible – by their very nature – that they can be stretched to account for almost any data. This means that the explanatory system runs the risk of becoming dangerously circular, and, therefore, of yielding misleading results – in this case within the field of IE studies. Over the course of about two hundred years of everyday practice of reconstruction within IE the encountered counter-evidence has been typically ‘explained away’ through all sorts of (often ad-hoc) justifications, so that today one can find hardly any evidence counter to the model. The Author examines this ‘explaining away’ process critically, by asking the question: have we fitted the IE data to the model, or have we made the model so flexible that it can fit almost any data, including potential counter evidence? Marcantonio analyzes the full comparative corpus of the verbal root reconstructions contained in the most recent IE etymological dictionary (LIV), by adopting simple, quantitative methods of analysis. She argues that the great majority of these reconstructed roots lack the required ‘statistical significance’, the required ‘cumulative effect’. As a consequence, the cognates relating to these roots are to be interpreted as ‘similarities’, rather than ‘correspondences’; in turn, these similarities can be interpreted as instances of ‘chance resemblances’....

    Marcantonio also argues that adding laryngeal segments to the process of reconstruction (whatever the rights and wrongs of the laryngeal theory may be), dangerously increases the explanatory power of the comparative method, in this way further contributing to the flexibility of the overall explanatory model....
    70, 71

    6. Conclusion
    The reader has seen... a variety of views about IE, ranging from the belief that it represents the language of a real pre-historical community; through the thesis that it is only a model to embody linguistic correlations; all the way to statistical evidence that (many) linguistic correlations themselves may be merely an artefact of the method of analysis. In fact, when the various components of the theory are brought together so that they can be seen holistically, it is hard to pin down what the foundations of the theory are actually supposed to be.
    For example, one of the founding principles of the traditional version of the theory was the assumption that morphological paradigms cannot be borrowed, and therefore it is possible to trace genetic inheritance through them. However, we have seen evidence of wholesale paradigm borrowing, based on studies of languages in contact. In any case, some scholars now hold that morphology is less relevant than other factors – but it is at present unclear whether, or how, these other factors may be verified or falsified...
     72-87

    References(all references are intentionally omitted in this posting. Refer to copyright holders www.jies.orghttp://www.federatio.org/joes/EurasianStudies_0115.pdf  for omitted information)

    http://s155239215.onlinehome.us/turkic/40_Language/MarcantonioA2009IELanguageFamilyEn.htm

    A tribute to Mohit Bharadvaj, Abhijeet Dinkar Savale, Gyanendra Sapkota, three men on a Sarasvati mission

    $
    0
    0
    Vaidika Bharata 01 Mohit Bharadwaj
    Picture 1 Mohit Bharadwaj
    Mohit Bharadwaj is a man on a mission.
    He wants to have the 21 nitya sacrifices performed again in Madhyadesa, the original homeland of the Vedas and the very air ring with the songs of the Sama Veda and the most ancient Rks.
    He has seen a future of an air with rising smoke from the agnihotra, the earth trodden by horses led to the soma sacrifice and of somayajis taking the ritual avabhrita bath at the conclusion of the somayaga.
    It is the future he and his team of scholars have pledged their lives to.

    Out of the mists of Time

    Imagine a whole version of the Iliad, sung by bards as in Homeric times. Imagine a full manual dedicated to the ritual performance of the Iliadic drama, lost for centuries. Now imagine finding 2 old men in a remote Aegean island singing the stories, unchanged across the centuries, in a village of people dedicated to preserving it in hand-written manuscripts, carefully drafted and secreted away.
    Such is Banswada, a small town in Rajasthan. It was here that a whole recension of the Rig Veda has been discovered, thought to have been lost for centuries. Here, on the border of Gujarat, are two septuagenarians who are the last two living reciters of the Shaankhaayana Shakha of the Rg Veda.

    How Vedic learning is organized.

    The primary corpus of the Vedic trove are the 4 – Rig, Yajur, Sama and Atharvan. Each of these Vedas has multiple recensions, called shaakhas. Patanjali in his Mahabhaashya mentions 1131 recensions in all – 21 Rig Veda Shaakha, 86 of the Krishna Yajurveda, 15 of the Shukla Yajur Veda, 9 of the Atharva Veda and 1000 of the Sama Veda.
    Each shaakha, to be considered complete – is composed of 4 parts
    • Samhita – the core collection of hymns
    • Brahmana – An expansion of the hymns and some description of the rituals that these hymns are intended for
    • Aranyaka – Philosophical excursions into the inner meaning of the mantra and associated ritual
    • Upanishad – Pure philosophical discussions.
    However, this is not a water-tight definition. The Brihadaranyaka Upanishad, for example, contains descriptions of certain rituals.
    Different families are required to specialize in different shaakhas, so that the task of memorizing and preserving the text is shared among many people.
    Now, to the subject of ritual. Ritual manuals have been composed for grihya and shrauta rites. Grihya rites are the household rituals, starting from the garbhaadhaana ritual before a child is conceived, to the seemantonnayana ritual for pregnant women, to the choula ceremony at the time of the first tonsure of a child, the upanayana or beginning of studies and so on.
    More complex are the shrauta sutras – manuals composed for the performance of major rites. These rites mainly take the form of fire-sacrifices or homa/havanas. These rituals (or karma, literally meaning ‘something done’ or ‘activity’) are organized into
    • Nitya karma – to be performed as a duty, with expectation of no reward
    • Kaamya karma – performed with certain benefits in mind
    Of the nitya karma performed in the shrauta fashion, they are further divided into 21 rites
    1. 7 paaka yajnas (literally cooked sacrifice) – simple rituals performed at home, such as the aupasana, vaishvadeva rituals
    2. 7 havir yajnas (literally burnt offering or oblation) – more complex rituals, which can be performed at home. These requires the tretagni – or 3 rituals fires permanently burning for the householder. The well-known agnihotra rite is the primary one, to be performed every day by the householder.
    3. 7 soma yajnas – the most complex rituals, which involve the offering of the famed soma juice. These are simply the most complex ritualistic behaviour ever recorded anywhere among human beings, such the intricately choreographed atiratram, which is a 12-day non-stop performed, continuing through the night (hence atiratram).
    Ritual manuals are allocated to different shaakhas and regions. The Bodhayana and Apastamba Shrauta Sutras, for example, are designed for Krishna Yajur Veda and the Baashkala or Aashvalaayana Shakhas of the Rig Veda.
    Sutras, by their very design, are concise and cryptic in their brevity. They were designed for easy memorization and transmission.
    They are further elaborated upon by commentators, and the commentaries are called Bhashyas.
    Of the extant shaakhas, the Aashvalaayana Shaakha of the Rig Veda is the best preserved and has most practitioners in the South of the Vindhya mountains.
    In the North, the given book of Shrauta is the Kaatyayana Shrauta Sutra, whose related Yajur Veda rescenscion is the Vajaseyani Samhita of the Shukla Yajur Veda. The associated Sama Veda rescenscion is the Kauthuma Shaakha. The Kauthuma Shaakha, again, has 2 recitation styles, called paddhatis (literally ‘procedure’) – the Madra paddhati, and the Gurjara paddhati. The Madra paddhati (which originated in the Madra region, said to be the Ravi-Chenab doab in Pakistani Punjab), is well preserved among the Sama Veda reciters in the South. The Gurjara paddhati, however, has no more than 10 experts left, almost all of them resident in Kashi, prominent among them being Shri Sharat Joshi.
    The Rig Veda shaakha associated with the Kaatyayana Shrauta Sutra is the Shaankhaayana. This was thought to have been lost, save for a rare text published several decades ago.
    This brings us back to our tale.

    A Fellowship Is Born

    We begin our tale in 2014, when Mohit, a young engineer working for a multinational IT Corporation in Noida, was scouting the possibility of improving his repertoire of Yajur Veda, when he met Gyanendra Sapkota, a scholar from Nepal, who shared his passion for reviving the Shukla Yajur Veda Shrauta ritual. It was from scholars in Gujarat that the duo learnt of the last two people proficient in chanting the Samhita of the Shaankhaayana Shaakha, thought extinct.
    Vaidika Bharata 02 Gyanendra Sapkota
    Picture 2 Gyanendra Sapkota
    After visiting Banswada in November 2014, they were joined in their quest by Abhijeet Dinkar Savale of Tryambakeshwar, a young man in his 20s, who had completed studies in the Shukla Yajur Veda and who had learnt Vyakarana (grammar) from Shri Gyanendra Sapkota, while Gyanendra was teaching in Varanasi.
    Abhijeet’s hereditary shaakha was the Rig Veda, but he was forced to undergo basic training in the Madhyandina Shaakha of the Shukla Yajur Veda instead. Despite his family’s straitened circumstances, Abhijeet volunteered to spend years in learning the Rig Veda, in order to carry forward the legacy bequeathed to him.
    It is but a manifestation of the eternal nature of Sanatana Dharma that three people, a Maharashtrian Madhva, an engineer from Mathura and a Sanskrit Scholar from Nepal, were brought together on this quest to revive a millennia-old tradition, nearly extinct for several centuries.
    It was during their second visit that the two exponents, Shri Indrashankar Jha and Shri Harshad Nagar, let it be known that they had handwritten manuscripts in their possession.
    After Abhijeet had committed to learning the Shaakha, the three men started going through the manuscripts that were there.
    Nothing had quite prepared them for what lay ahead.

    Inside a secret treasure cave

    What would greet them but a horde of manuscripts from centuries past. Over time, they found that the entire lost Shaankhayana Shaakha was there – Samhita, Brahmana, Aranyaka and Upanishad. To their wonderment, the manuscripts were from a wide range of periods. The earliest was a manuscript of the Shaankhaayana Brahmana that declared itself to have been scribed in Vikrama Samvat 1525, or 1468 CE. To put that in perspective, the earliest Rig Veda manuscript found thus far is from 1464 CE, now preserved at the Bhandarkar Oriental Research Institute, Pune.
    From this period until the early part of the 20th Century, there were manuscripts in all centuries, with hardly any gaps beyond a couple of decades.
    In this small town, a dedicated group of scholars had preserved and transcribed their knowledge continuously, from before the advent of the Mughals, through the worst depredations of British rule and beyond the rule of Queen Victoria.
    And the range of these manuscripts is equally humbling. Besides the entire Shaankhayana Shakha, there were manuscripts of the Shaankhaayana Sutras for performance of Grihya and Shrauta rites, This Sutra was accompanied by the Bhashya, a commentary by an unknown scholar Narayana, whose commentary on other Sutras is in Jammu.
    Another scholar, possibly local, has written the entire paddhati, or ritual performance manual.
    Vaidika Bharata 03 Digitization Abhijeet
    Picture 3 The task of identifying digitization. At extreme right is Abhijeet, torch bearer of Shaankhaayana
    To give the reader an understanding of the significance of this, the Grihya Sutra would merely state that an aajyabhaaga oblation would have to be given to the accompaniment of a specific Rk or hymn from the Rg Veda.
    The Bhashya would further elaborate how the oblation is to be given, the specific implement to use and more details on the Rk to pronounce.
    The paddhati would elaborate on how the implement is to be cleansed, with what material, if it is to be whisked with the darbha grass, how many times. Essentially, the paddhati is purely for the practitioner, intended as a guide to choreograph every thought and action of each individual involved in the ritual.
    Beyond this, there are manuscripts for various Vedangas or limbs of the Veda, for Vyakarana grammar, as well as paddhati manuals for the pronouncement of these Rks in the Ghana format.
    There are manuscripts on detailed chanting guides for the Kauthuma Shaakha of the Saama Veda in the Gurjara paddhati.
    It is conceivable that with these set of manuscripts, an entire Shaakha, all rituals and rites associated with it can be revived in it’s entirety and in pristine glory, as it was 3500 years ago, at the earliest.

    The Road Ahead

    With support from sponsors, scanners have been purchased and the work of digitization and preservation of the manuscripts is continuing in full earnest.
    Abhijeet Savale has taken leave of his profession as a purohit (which would give him a decent living) and spent the last 3 years in mastery of the Shaakha from the two Acharyas. He has done this for a meager stipend merely for sustenance and travel expenses. These expenses have been met by private individuals. A full pAryAyaNam, or recital, of the entire shaakha is scheduled for June 2018.
    Abhijeet and Mohit are planning to start a paathashaala near Delhi, where Abhijeet shall teach the Rig Veda, Mohit the Shukla Yajur Veda, and together, the two shall conduct the Shrauta rites of yore.
    This tale is destined for a happy ending, provided the Hindu Samaj wills it. It is entirely up to us to support these intrepid scholars in their journey.
    You can reach the Vaidika Bharata team at:
    You can donate to them here:
    Account Name: Vaidik Bharat Trust
    Current Account No: 073405001350
    IFSC : ICIC0000734
    Featured Image: Treasures from Across Time (Author)
    http://indiafacts.org/after-millenia-tradition-reborn-vaidika-bharata/
    Viewing all 10894 articles
    Browse latest View live




    Latest Images